Tag Archives: doom metal

Album Review – Korpiklaani / Jylhä (2021)

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The Finnish clan of the wilderness is ready to put us all to dance around the firepit once again with their majestic fusion of folk elements and heavy sounds.

Forged in the already  distant year of 1993 (first as Shamaani Duo and later as Shaman), Finnish Folk Metal institution Korpiklaani is more than ready to put us all to dance around the firepit once again with their fusion of folk elements and heavy sounds found in their eleventh studio album, titled Jylhä, and let me tell you there couldn’t be a better name to describe such awesome record. Jylhä is the Finnish word for “majestic”, which is exactly what frontman Jonne Järvelä, guitarist Kalle “Cane” Savijärvi, bassist Jarkko Aaltonen, violinist Tuomas Rounakari, accordionist Sami Perttula and drummer Samuli Mikkonen have to offer throughout the album’s 13 original compositions in the impressive span of one hour of music, all embraced by the beautiful artwork by Finnish designer Jan “Örkki” Yrlund (Darkgrove Design), resulting in one of the most sonically diverse records they’ve ever written and, therefore, proving why they’re considered one of the most important names of the genre alongside giants the likes of Finntroll, Eluveitie, Ensiferum and Turisas.

The tribal beats by Samuli kick off the dark and folk Verikoira (“bloodhound”), a headbanging, beer-drinking tune by those old school Finnish guys with the violin by Tuomas and the accordion by Sami taking us back on a journey to a distant time, whereas it’s time to slam into the circle pit and drink some vodka in the name of Folk Metal in Niemi (“the cape” or “peninsula”), a song about the triple murder in Lake Bodom in 1960 that shocked the whole Finland, with Jonne leading his horde with his inebriate vocals while the slashing guitar by Cane adds some extra spice to the overall result. Then we have Leväluhta (“algae”), with its name taken from a spring in Isokyrö where remains of approximately a hundred Iron Age bodies have been found buried, highly inspired by Finnish traditional folk music where Samuli’s beats dictate the rhythm accompanied by the wicked accordion by Sami; followed by Mylly (“the mill” or “grinder”), the story of a man’s journey to the mill who on his way sees a figure sitting on a fence, a “devil” with a hoof as a  foot. Musically speaking, it’s another entertaining round of their fusion of Folk and Heavy Metal where Jonne nicely declaims the song’s dark words.

A melancholic and pensive intro led by Jonne’s introspective vocals evolves into a dark and metallic Folk Metal extravaganza titled Tuuleton (“windless”), showcasing the razor-edge riffs by Cane in constant paradox with the crying violin by Tuomas, while in Sanaton Maa (“wordless land”), inspired by a legend known at least in Kaukola and Valkeala in Finland, a beautiful melody flawlessly flows from their unstoppable riffs, violin and accordion, resulting in a Folk Metal headbanger that will please all fans of the band. The violin by Tuomas keeps crying in Kiuru (“lark”), not as inspiring nor as vibrant as its predecessors despite the decent job done by Jonne with his trademark raspy vocals and the always stylish riffs by Cane; and Cane continues to extract electrifying sounds from his stringed axe in Miero, showcasing elements from Doom and Melancholic Metal carefully inserted in their traditional Folk Metal, therefore exhaling sadness while Jonne is effectively supported by his bandmates’ backing vocals.

Get ready to prance around the fire pit together with the boys from Korpiklaani in the fun Pohja (“base” or “ground”), where Samuli is on fire with his crushing drums while Cane and Jarkko make our heads tremble with their riffs and bass jabs, not to mention Tuomas’ incendiary violin solo. Then more traditional, old school Finnish music in the form of Folk Metal is offered to us all in Huolettomat (“careless”), keeping the atmosphere light and exciting while Jonne’s vocals sound like a drunk minstrel from the past; and never tired of drinking and partying around the fire, the band brings to our ears the straightforward Anolan Aukeat, with Samuli and Jarkko providing Tuomas and Sami a strong base for their refined violin and accordion sounds. Their second to last display of insanity and booze comes as the semi-acoustic extravaganza titled Pidot (“feast”), which should work really well if played live mainly because of how much fans of the band love this type of dancing tune, and last but not least Korpiklaani fire the grim and heavy Juuret (“roots”), presenting their usual dexterity and musical roots infused with pensive and sluggish sounds, changing its shape and form as the music progresses and with Cane, Tuomas and Sami displaying all their passion for folk music.

In a nutshell, we can rest assured that as long as the Finnish clan of the wilderness is among us, our good old Folk Metal will remain alive and kicking, with albums like Jylhä beautifully showing how majestic and fun Scandinavian Metal (as well as all other styles from the north) can be. Hence, don’t forget to give the guys from Korpiklaani a shout on Facebook and on Instagram, to subscribe to their YouTube channel and to search for them on Spotify for more of their first-class music, and of course to buy your copy of Jylhä by clicking HERE​ or HERE. Every single time Korpiklaani release a new album, you know it’s time to stretch our legs and arms, grab some cold beer, start the fire and get ready to spend hours and hours dancing around the firepit, celebrating the Scandinavian culture and, above all, our deep passion for heavy music together with those unstoppable Finnish metallers.

Best moments of the album: Niemi, Pohja and Huolettomat.

Worst moments of the album: Kiuru.

Released in 2021 Nuclear Blast

Track listing
1. Verikoira 6:19
2. Niemi 3:42
3. Leväluhta 3:50
4. Mylly 4:43
5. Tuuleton 5:50
6. Sanaton Maa 4:29
7. Kiuru 5:26
8. Miero 4:21
9. Pohja 4:28
10. Huolettomat 4:16
11. Anolan Aukeat 3:05
12. Pidot 3:47
13. Juuret 6:19

Band members
Jonne Järvelä – vocals, mandolin, hurdy gurdy, violafon, shaman drum, djembe, flute
Kalle “Cane” Savijärvi – guitars, backing vocals
Jarkko Aaltonen – bass
Tuomas Rounakari – violin
Sami Perttula – accordion
Samuli Mikkonen – drums

Album Review – Yoth Iria / As The Flame Withers (2021)

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Dark, diabolical, and majestic while taking a fresh look into 90’s Greek Black Metal with a nostalgia of the past and a twist into the future. That’s what these infernal veterans have to offer in their newborn spawn.

Forged in the fires of Athens, Greece in 2019 by bassist Jim Mutilator, a founding member of legendary Greek Black Metal band Rotting Christ, and vocalist The Magus, who formed Necromantia in 1989 together with Baron Blood (R.I.P.), one of the most influential and avantgarde bands of the scene, Hellenic Black Metal outfit Yoth Iria is an amalgam of the influences and visions of its creators, sounding dark, diabolical, emotional, powerful and majestic while taking a fresh look into 90’s Greek Occult Black Metal with a nostalgia of the past and a twist into the future. Now in 2021, the duet which developed and pioneered the underground scene back in the day is ready to crush our souls with their first full-length album, titled As The Flame Withers. Recorded, mixed and mastered at Pentagram Studio by Yoth Iria and George Emmanuel (Rotting Christ, Septicflesh, Lucifer’s Child), and displaying a Stygian artwork by Indian artist Harshanand Singh, As The Flame Withers represents everything this primeval entity stands for, supported by guest musicians George Emmanuel on the guitars, John Patsouris on keys and J.V. Maelstrom (Dephosphorus, Nigredo) on drums, dragging the listeners into the pits of the underworld and keeping them there forever in pitch black darkness.

The Children of Bodom-inspired riffage by George kicks of the melodic and infernal The Great Hunter, bringing to our ears old school Norwegian Black Metal blended with the epicness of Behemoth and Rotting Christ, whereas mesmerizing, imposing sounds permeate the air in the insane title-track Yoth Iria, showcasing beyond obscure lyrics growled by The Magus (“For aeons he laid dormant / speaking through dreams / conspiring in visions / watching from his Throne / Arch-Priest and King / of the Seven Hells / The Highest of Angels / the Brightest of them all”) while his bandmates keep the atmosphere as heavy and somber as possible. Then it’s time for George and Jim to slash their respective guitar and bass in the very melodious but of course heavy-as-hell Hermetic Code, a very atmospheric creation by the band offering our ears a good dosage of Doom Metal added to their core ferocity; and arising from the pits of the underworld like a demonic entity, The Magus and Jim bring forward Demonaz-inspired vocalizations and dirty, rumbling bass lines in The Mantis, with the background keys by John Patsouris sounding insanely epic while J.V. Maelstrom hammers his drums mercilessly.

In the excellent The Red Crown Turns Black we face more of their blasphemous lyrics (“From the deserts of Saturn / and the depths of the Abyss / the General of Chaos / the Devourerof Souls”) while the music sounds like a demonic fusion of Behemoth, Immortal and Children of Bodom, with George being once again sensational with his wicked riffs and solos, and rocking guitars and classic beats ignite the Stygian extravaganza titled Unborn, Undead, Eternal, reminding me of some of the most recent creations by Rotting Christ, with The Magus gnarling like a creature from the netherworld nonstop. The second to last explosion of their Ritualistic Black Metal comes in the form of Tyrants, where The Magus’ roars are effectively supported by the hellish kitchen by Jim and Maelstrom, resulting in another doomed, thunderous aria blasted by this talented Greek horde, while Jim continues to smash his bass in the closing tune The Luciferian, accompanied by the grim guitars by George. Once again blending old school Black Metal with Doom Metal and more contemporary styles, the song unfortunately loses its grip after a while, albeit nothing that could do any harm to such powerful album.

In the end, As The Flame Withers, which is by the way available for a full listen on YouTube, is exactly what such prominent duo from the Greek Black Metal scene is saying the album is, an ode to the early days of the genre without sounding outdated, tiresome nor bland at all. Hence, if you want to explore their obscure realm in more detail and stay updated with all things Yoth Iria, you can start following the band on Facebook and on Instagram, and of course purchase your copy of As The Flame Withers from the Pagan Records’ BandCamp page or webstore (including the CD and black LP versions of the album), as well as from Record Shop X. It’s indeed a true pleasure witnessing two trailblazers of the Greek Black Metal scene generating such infernally dark music with so much punch and potency even after all these decades on the road, proving once again extreme music can be a true fountain of youth for many, while the flames of Black Metal keep burning the souls of the unbelievers for all eternity.

Best moments of the album: Yoth Iria, The Mantis and The Red Crown Turns Black.

Worst moments of the album: The Luciferian.

Released in 2021 Pagan Records

Track listing
1. The Great Hunter 4:24
2. Yoth Iria 5:41
3. Hermetic Code 6:34
4. The Mantis 7:19
5. The Red Crown Turns Black 6:26
6. Unborn, Undead, Eternal 5:14
7. Tyrants 4:51
8. The Luciferian 6:32

Band members
The Magus – vocals
Jim Mutilator – bass

Guest musicians
George Emmanuel – guitars (session)
John Patsouris – keys (session)
J.V. Maelstrom – drums (session)

Album Review – Kabbalah / The Omen (2021)

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Succumb to the dark side to the sound of the Occult Rock with a subtle Spanish folk and western vibe by this talented coven, looming in the dark, esoteric realms of witchcraft.

Hailing from Pamplona, Spain, Occult Rock all-female trio Kabbalah was formed on the ashes of local outfit Las Culebras, looming in the dark, esoteric realms of witchcraft and closed door arts while starting a prolific cycle of music by self-releasing three EP’s, those being Kabbalah, Primitive Stone and Revelations, between 2013 and 2016, progressing to their 2017 debut album Spectral Ascent. Now in 2021 it’s time for Alba DDU (vocals, guitar), Marga Malaria (vocals, bass) and Carmen Espejo (vocals, drums) to come back to life with their sophomore full-length opus entitled The Omen, where their 70’s rock influences are sprinkled with a subtle Spanish folk and western vibe while keeping the heaviness intact. In The Omen, Kabbalah cultivate their distinctive cross of influences moving between heavy riffs, harmonized vocals and killer songwriting, with its cover art, referencing the Kutná Hora ossuary located in the Czech Republic, welcoming listeners to the ill-fated cosmos portrayed in the album.

Those Spanish rockers begin their feast of Doom Metal and Heavy Rock with Stigmatized, heavily inspired by the sound of the Dio-era Black Sabbath, with Marga shaking the foundations of the earth with her sick bass while the song’s mesmerizing vocals are beautifully spiced up by the damned beats by Carmen. And Alba brings forward the power of the riff in Ceibas, being in absolute sync with Marga’s dirty bass jabs in a lecture in Occult Rock with tons of elements from 70’s Psychedelic Rock and 80’s Hard Rock; followed by Night Comes Near, offering us all more of their delicate but piercing sounds with Carmen kicking some serious as with her rhythmic beats, dictating the rhythm and offering Alba and Marga all they need to shine with their axes. Then ritualistic words are stunningly declaimed by the trio (“Seven witches, around the fire, singing and preaching, on a night of thunder. / In the ceremony pyre, where lies the undying, the soul rises, and leaves the body.”) in The Ritual, while the music remains obscure, dense and captivating from start to finish, with the awesome Black Sabbath-like beats by Carmen being the icing on the cake.

Dark clouds are above us all in the Stygian Occult Rock extravaganza titled Lamentations, led by the minimalist but sharp riffage by Alba while Carmen fires some tribalistic beats nonstop, not to mention the fantastic job done by all three girls with their hypnotizing, witch-like vocalizations. Sounding like a song extracted form a Quentin Tarantino movie, Labyrinth is spiced up by the sensational low-tuned bass jabs by Marga, being therefore once again tailored for all admirers of the obscure and eerie sounds blasted by bands like Candlemass, Witchfinder and Pentagram; whereas despite its 70’s-inspired lyrics (“Here I am, I’ve landed in a desert, a place to be, nothing as beautiful as this is. / Orange shades, that looked so familiar, from the first time, I saw the sand.”), Duna is not as powerful as the rest of the album, sounding too polished and light at times. And last but not least, back to a more menacing and somber sonority, the trio offers our avid ears the thunderous Liturgy, where Alba is on fire with her raw riffs accompanied by the sluggish drums by Carmen, all boosted as usual by their enthralling vocal lines.

It’s time to succumb to the dark and delicious rock music crafted by those Spanish witches in The Omen, and in order to do so simply go to Spotify to stream the album in full, and of course if Occult Rock is your cup of tea you can purchase such detailed and enfolding album from several locations including the band’s own BandCamp page, Ripple Music’s BandCamp page, webstore or Big Cartel, the Rebel Waves Records’ BandCamp page, the Stoner Witch Records’ webstore or Amazon. Not only that, don’t forget to follow Kabbalah on Facebook, Instagram and YouTube, for news, tour dates and more of their occult creations, allowing this extremely talented coven hailing from Spain to drag you into their doomed lair for all eternity.

Best moments of the album: Ceibas, The Ritual and Labyrinth.

Worst moments of the album: Duna.

Released in 2021 Ripple Music/Rebel Waves Records/Stoner Witch Records

Track listing
1. Stigmatized 3:56
2. Ceibas 3:16
3. Night Comes Near 3:51
4. The Ritual 3:19
5. Lamentations 3:24
6. Labyrinth 3:47
7. Duna 3:19
8. Liturgy 4:14

Band members
Alba DDU – vocals, guitar
Marga Malaria – vocals, bass
Carmen Espejo – vocals, drums

Album Review – Salò / Sortez vos Morts EP (2021)

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A newborn French entity brings out their dead in their debut EP of pulverizing Industrial Metal and Blackened Crust.

Labeling their own music as “Blackened Crust Industrial As Fuck”, Cherbourg-en-Cotentin, France-based Industrial/Blackened Crust outfit Salò is unleashing upon humanity their debut EP entitled Sortez vos Morts, or “bring out your dead” in English, which as the band itself says, “tells you, without telling you everything either, poor little ones, how it generally goes – after all the lights at the end of the tunnel have closed.” Recorded and mixed by Manu Laffeach at Studio Chaudelande, mastered by Cyrille Gachet at Dick Doom Studio, and featuring an apocalyptic artwork by CLLK Artwork and logo by Dehn Sora, Sortez vos Morts is highly recommended for fans of the darkest and most desperate form of Industrial Metal you can think of, showcasing all the rage and versatility of this up-and-coming quartet formed by HCT on vocals and bass, AVS on the guitars, DLE onkeyboards and samples, and NGH on drums.

There’s nothing better than kicking of an Industrial Metal album than with a wicked, cinematic intro the likes of La Morale C’est Ça… (or “the moral is that…” in English), setting the stage for the band to crush in the visceral Sans Gêne Ni Haine, or “without embarrassment or hatred”, sounding sick and demented from the very first second with AVS and NGH making an infernal duo with their respective riffs and beats, while HCT barks and roars like a rabid beast. Then the phantasmagorical keys by DLE add an extra touch of dementia to the furious fusion of Industrial Metal and Blackened Crust by Salò in Sans Toit Ni Loi (“no roof or law”), with AVS firing his Thrash Metal-inspired riffage, followed by Tant D’interdits (“so many prohibitions”), where another eerie, alternative intro morphs into a neck-breaking sonority showcasing the rhythmic drums by NGH spiced up by the sick keys and samples by DLE, not to mention how HCT effectively takes the lead with his deranged screams. Their second to last blast of industrialized sounds, titled Sonnez La Curée (“ring the quarry”), is an insane and demonic creation by the French quartet where its thrashing, Punk Rock-infused riffs, together with its rebellious attitude and Hardcore growling by HCT, turn it into the most detailed and thrilling of all songs; whereas the ruthless and hellish Contagion closes the album in the most aggressive way possible, bringing to our ears venomous screams and riffs, menacing keys and Doom Metal-inspired beats.

Sortez vos Morts is available for a full stream on YouTube, but of course if you want to truly show your support for those French metallers you should start following them on Facebook and on Instagram, and even more important than that, purchase the EP from their BandCamp page, from the Cold Dark Matter Records’ BandCamp page or Big Cartel, from the Coups de Couteau’s BandCamp page, and soon also from the Duality Records’ Big Cartel. We must all admit Sortez vos Morts is indeed an amazing start for Salò, therefore already positioning them as a driving force of the genre in their homeland, and if that’s the music we’ll all hear “after all the lights at the end of the tunnel have closed”, then we can rest assured that the other side is at least heavy, furious and frantic, just the way we like it.

Best moments of the album: Sans Gêne Ni Haine and Sonnez La Curée.

Worst moments of the album: None.

Released in 2021 Cold Dark Matter Records/Coups de Couteau/Duality Records

Track listing
1. La Morale C’est Ça… 1:04
2. Sans Gêne Ni Haine 6:53
3. Sans Toit Ni Loi 4:28
4. Tant D’interdits 4:02
5. Sonnez La Curée 6:29
6. Contagion 3:53

Band members
HCT – vocals, bass
AVS – guitars
DLE – keyboards, samples
NGH – drums

Album Review – Coldun / Grand Sun Ritual (2021)

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Armed with their third full-length opus, this excellent German act is among us all to prove that in death nothing is absolute, and certainly not an end.

Initiated as a solo project by vocalist and multi-instrumentalist Coldun himself in 2006 in Chemnitz, a city in Saxony, eastern Germany, Atmospheric Progressive Metal act Coldun has grown into a veritable formation through the years, being currently formed by the aforementioned Coldun supported by his henchmen ZK and MR on the guitars, and NC on drums. Now in 2021 those talented musicians climb the logical next step together with their enthroned throat emperor in the project’s new and third album with the inspiring title Grand Sun Ritual, a real soul slurper that shows influences from Doom to Post-Metal, connecting both worlds throughout its over 51 minutes of atmospheric passages and grandiose, progressive music. Mixed and Mastered by Greg Chandler at Priory Recordings in Birmingham, UK and featuring a minimalist but impactful artwork by KaGo.O_O, Grand Sun Ritual revolves around the eternally topical questions of humanity about the respective meaning of life and death, With its thought-provoking lyrics showing a radically positive basic tenor, which stands for Coldun’s personal conviction that in death nothing is absolute, and certainly not an end.

Featuring guest Markus Bär on saxophone, Middle-Eastern sounds permeate the air in the mesmerizing title-track Grand Sun Ritual, with sheer poetry flowing from the song’s lyrics darkly declaimed by Coldun (“Awaked in timeless space / Bright and dark at once / Where is the coloured field I lay? / Where is the blood, where is the pain?”) while NC dictates the pace with his Doom Metal-inspired progressive beats; and more of Coldun’s atmospheric sounds and passages come in the form of The Forest And The Soul, where ZK and MR will pierce your mind with their classy riffs and solos, reminding me of some of the latest creations by bands like Insomnium with a touch of the melancholy of HIM. Then dark clouds are above us all in the Atmospheric Metal aria Down Below, once again presenting striking guitar riffs and solos supported by the solid bass jabs by Coldun, who also fires his trademark, anguished vocals in a lecture in Atmospheric Progressive Metal.

Blending the sonority of progressive music from the 80’s, 90’s and 2000’s, Coldun and his loyal squad deliver the also bold and epic Salvation Day, where ZK and MR are in absolute sync with NC, crafting a dense ambience perfect for another round of Coldun’s deep vocals. After such intense tune, it’s time to close our eyes and relax to the smooth sound of the acoustic guitars in Stories Untold, where we must all let their piercing guitar solos soothe our souls while NC keeps the rhythm as pleasant and enfolding as possible with his classic beats, and you better get ready for over nine minutes of heavy and imposing sounds in the multi-layered Hail Out To Thebes, uniting the Progressive Metal of Dream Theater with the obscurity and potency of Type O Negative and Danzig. Put differently, you’ll be absolutely stunned by such detailed and powerful aria, before Coldun close the album with the experimental, embracing song I Dreamed That Dream, where all band members do a fantastic job by crafting minimalist but dense sounds, in special their stringed trio that’s on fire from start to finish, not to mention the song’s beautiful atmosphere.

In summary, Coldun’s dark, pensive and progressive voyage offered in Grand Sun Ritual will undoubtedly please all fans of the more atmospheric side of metal music, while at the same time also point to a more introspective path ahead of this excellent German act. Hence, don’t forget to follow Coldun on Facebook for news, tour dates and other nice-to-know details about the band, to subscribe to their YouTube channel for more of their music, and above all, to grab your copy of their new album from their own BandCamp page or from Apple Music. As already mentioned, in death nothing is absolute, and certainly not an end, but in heavy music we can all say that the music by Coldun is forever, atemporal and eternal, carving Coldun’s name in the hearts of all metalheads who have the pleasure of listening to the band’s stylish creations like the ones found in their newborn opus.

Best moments of the album: Grand Sun Ritual and Hail Out To Thebes.

Worst moments of the album: None.

Released in 2021 Independent

Track listing
1. Grand Sun Ritual 7:41
2. The Forest And The Soul 6:23
3. Down Below 7:42
4. Salvation Day 8:32
5. Stories Untold 5:19
6. Hail Out To Thebes 9:16
7. I Dreamed That Dream 6:34

Band members
Coldun – vocals, bass, Hammond, synths
ZK – guitars
MR – guitars
NC – drums

Guest musician
Markus Bär – saxophone on “Grand Sun Ritual”

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2020

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“Rock stars come and go. Musicians play until they die.” – Eddie Van Halen

What can I say about the year of 2020? No words can describe all the pain, fear, anxiety, losses and struggles we all had to endure during what’s going to be sadly remembered as the worst year of our modern times. We saw the rise of coronavirus, which had a huge negative impact on pretty much everything and everyone we know, with millions of hardworking people unfortunately losing their jobs, concerts being cancelled, restaurants and other businesses being shut down, people getting stuck in their homes and having to deal with psychological issues like depression, and more important than that, with countless lives, and in some cases people really close to us, people we love, losing their battle against such horrible disease. We also witnessed a gut-wrenching surge in racism against black people all over the world, and the importance of the Black Lives Matter movement in the never-ending fight for freedom and justice, trying to make our world a better place for everyone. And last but not least, we lost so many iconic figures it’s hard to list everyone without crying a little. We lost sports titans such as Kobe Bryant, Diego Maradona and Paolo Rossi, amazing, talented actors and actresses including our beloved “Black Panther” Chadwick Boseman, the original “Darth Vader” David Prowse and the unstoppable Mad Max’s villain “Immortal Joe” Hugh Keays-Byrne, and music geniuses like Rush’s unparalleled Neil Peart and one of the best and most revolutionary guitarists of all time, the one and only Eddie Van Halen. May their souls rest in peace.

However, although we might be living such difficult and stressful times, there’s a light at the end of the tunnel with the development of effective vaccines that will certainly put our society back on track sooner than later, giving us all some hope and pointing to a much better future for all of us. In the meantime, I guess one thing that we metalheads have been doing (and will always do) throughout such shitty year is using the music we love to face all of our problems and fears with our heads and horns high in the sky, never giving up nor giving in. Having said that, I’ll leave you with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2020, excluding EP’s, best of’s and live albums, showing to us all that it doesn’t matter what happens with the world, heavy music will always stand strong. From the most primeval form of Black Metal to fast and electrifying Power Metal, from a beyond amazing soaring numbers of women kicking ass in an array of styles such as Doom, Symphonic and Death Metal to the most underground Atmospheric Black Metal entities you can think of, from our good old Rock N’ Roll to modern-day Alternative Metal, music prevailed above darkness, pain and hate, and that’s how it will be forever and ever. Enjoy our list of top metal albums for this (terrible) year that’s coming to an end, and let’s keep raising our horns and banging our heads together in 2021!

1. Primal Fear – Metal Commando (REVIEW)
Join Primal Fear’s undisputed rock brigade and become a true metal commando to the sound of their breathtaking new album.
Best song of the album: Infinity

2. Trivium – What The Dead Men Say (REVIEW)
It’s time to listen to what these four (un)dead men from Orlando, Florida have to say in their thrilling new opus.
Best song of the album: Amongst the Shadows & the Stones

3. Testament – Titans Of Creation (REVIEW)
The titans of Thrash Metal are back in action with another technical, melodic and absolutely pulverizing album of extreme music.
Best song of the album: Night of the Witch

4. Lamb of God – Lamb of God (REVIEW)
Re-energized and unrelenting, Lamb of God are finally back after five years with their pulverizing eighth studio album.
Best song of the album: Gears

5. Sepultura – Quadra (REVIEW)
A sensational concept album based on Quadrivium embraced by a fusion of Thrash, Groove and Progressive Metal.
Best song of the album: Guardians of Earth

6. Onslaught – Generation Antichrist (REVIEW)
These UK veterans are ready to set the world on fire once again with one of the most ferocious Thrash Metal albums of the year.
Best song of the album: Religiousuicide

7. Ecclesia – De Ecclesiæ Universalis (REVIEW)
This army of French inquisitors stands strong on their crusade against every doom heretic with their incendiary debut album.
Best song of the album: Antichristus

8. Eleine – Dancing In Hell (REVIEW)
Time for us all to dance in the fires of hell to the sound of the striking new opus by this unstoppable Swedish Symphonic Metal group.
Best song of the album: Where Your Rotting Corpse Lie (W.Y.R.C.L.)

9. Grave Digger – Fields of Blood (REVIEW)
Grave Digger celebrate 40 years of their undisputed Heavy Metal on a journey back to the vastness of the Scottish Highlands.
Best song of the album: Freedom

10. Konvent – Puritan Masochism (REVIEW)
A dark, primeval and stunning fusion of Death and Doom Metal masterfully crafted by four unrelenting women hailing from Denmark.
Best song of the album: Puritan Masochism

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

11. Genus Ordinis Dei – Glare of Deliverance (REVIEW)
12. Paradise Lost – Obsidian (REVIEW)
13. Axel Rudi Pell – Sign of the Times (REVIEW)
14. Raventale – Planetarium II (REVIEW)
15. Hellsmoke – 2020 (REVIEW)
16. My Dying Bride – The Ghost Of Orion (REVIEW)
17. Burning Witches – Dance with the Devil (REVIEW)
18. Naglfar – Cerecloth (REVIEW)
19. Scarlet Aura – Stormbreaker (REVIEW)
20. Thundermother – Heat Wave (REVIEW)

And how about we also pay a tribute to the bands that released short and sweet albums that condensed pretty much the same amount of electricity, rage and intricacy than any of the full-length albums from the list above? That’s why we’re also going to provide you as usual our Top 10 EP’s of 2020 for you to see that size doesn’t really matter.

1. Front – Antichrist Militia (REVIEW)
2. Malfested – Shallow Graves (REVIEW)
3. Tøronto – Under Siege (REVIEW)
4. Soul Dissolution – Winter Contemplations (REVIEW)
5. Lutharö – Wings of Agony (REVIEW)
6. Póstuma – Moralis (REVIEW)
7. Black Sun – Silent Enemy (REVIEW)
8. MĀRA – Self​-​Destruct. Survive. Thrive! (REVIEW)
9. Serocs – Vore (REVIEW)
10. Invocation – Attunement to Death (REVIEW)

Do you agree with our list? What are your top 10 albums of 2020? 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 2020 – 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 2021!

And before we go, let’s bang our heads one last time in 2020 with a classic Christmas song by an amazing Romanian band that loves Heavy Metal from the bottom of their hearts, pointing to much better times ahead for all of us! Enjoy!

Album Review – Subterraen / Rotten Human Kingdom (2020)

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Behold the debut opus by this Nantes, France-based Sludge and Doom Metal entity, narrating epic, anguish-ridden tales of the slow destruction of the planet and sowing seeds of the inexorable vengeance of mother nature.

Following the ponderous steps of giants like Eremit and Jupiterian while adding their own darkened grit and weighed down heaviness to the proceedings, Nantes, France-based Blackened Sludge/Doom Metal trio Subterraen has just released their debut opus entitled Rotten Human Kingdom, crafting 10+ minute songs narrating epic, anguish-ridden tales of the slow destruction of the planet and sowing seeds of the inexorable vengeance of mother nature. Formed in 2017, the band comprised of Clem Helvete on vocals and guitars, Chris KKP also on the guitar and Milvus on drums masterfully carries the torch of the style on their newborn spawn, with the crisp recording, mixing and mastering by the band’s own Chris KKP and the cryptic artwork by the talented illustrator Adam Burke (Nightjar Illustration) turning it into a must-listen for admirers of the somber creations by renowned acts such as Eyehategod, Neurosis, , Conan and Primitive Man.

Just like a creature form the abyss the band arises with their sluggish, eerie sounds in the 13-minute doomed feast titled Blood for the Blood Gods, where Clem roars and gnarls demonically while Milvus pounds his drums in the most devilish way possible. Furthermore, their guitar work is also amazing, exhaling darkness and evil, and with all atmospheric, melancholic passages enhancing the song’s taste and punch considerably. Then we have For a Fistful of Silver, an explosion of the most Stygian and darkest fusion of Sludge and Doom Metal, with Clem once again taking the lead with his enraged roaring while Milvus alternates between Black Metal-inspired drums and primeval doom beats. It’s impressive how the music evolves and progresses like if it was the soundtrack to a psychological horror movie, with the dirty and visceral riffs by both Clem and Chris penetrating deep inside your skin. After such avalanche of blackened sounds, it’s time for the trio to enfold us all with the delicate interlude Oceans are Rising, where minimalist guitar lines permeate the air for over two minutes until Clem, Chris and Milvus show no mercy for our souls with the demolishing Blackened Doom Metal aria Wrath of a Downtrodden Planet, a beastly creation by Subterraen where slow and steady beats and malignant ambience provide Clem exactly what he needs to darken our thoughts with his hellish screams, and the music remains as imposing, dense and vile as it can be, all spiced up by their trademark raw, piercing guitars.

Subterraen’s massive monolith of doom can be appreciated in full on YouTube and on Spotify, but of course in order to show those French metallers your support and admiration go grab your copy of Rotten Human Kingdom from countless locations such as their own BandCamp page, the official Transcending Obscurity Records’ webstore, where by the way you can find an amazing Coffin-Shaped Wooden CD Box Set with Laser Engraving including an 8-panel Digipak CD with metallic effect/UV embossing and sandalwood scent, an autographed certificate, a fridge magnet, a metallic sticker, a gold patch and a badge (also available through their US store), Apple Music, Amazon, Walmart and Strictly Discs, and don’t forget to also follow them on Facebook and on Instagram. As the band members themselves like to say, “from ashes to ashes, from dust to dust”, and in the case of their debut album Rotten Human Kingdom, we can also add to that “from doom to doom.”

Best moments of the album: For a Fistful of Silver and Wrath of a Downtrodden Planet.

Worst moments of the album: None.

Released in 2020 Transcending Obscurity Records

Track listing
1. Blood for the Blood Gods 13:28
2. For a Fistful of Silver 14:30
3. Oceans are Rising 2:33
4. Wrath of a Downtrodden Planet 18:20

Band members
Clem Helvete – vocals, guitars
Chris KKP – guitar
Milvus – drums

Album Review – Sombria / Chirographon Dei (2020)

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Let your soul be embraced by the beautiful fusion of Dark and Melancholic Metal from the debut album by a promising international group that has all it takes to conquer the world of heavy music.

Formed in 2019 by singer and songwriter Dimi De San, who comes under the name ‘’Valentina Devin’’, and guitarist and composer Raven Seven, Sombria are an international Dark/Melancholic Metal project featuring members from Greece, Norway and Mexico, those being the aforementioned Dimi De San on vocals and Raven Seven on guitars and orchestrations together with session musicians Lucien Keir also on the guitar, Saber Thorn on bass and Winter Cain on drums, aiming at raising awareness through their music, lyrics and performances over many sensitive subjects like child poverty and environmental issues. Now in 2020 this recently formed unity is unleashing upon humanity their debut opus Chirographon Dei, which translates from Latin as something like “the manuscript of the gods”, containing nine original songs recorded, mixed and mastered by Raven Seven at his own studio, all embraced by a gorgeous artwork by Dimi De San, and all depicting everything Symphonic Gothic Metal stands for.

Enfolding orchestrations and piano notes permeate the air in the opening tune Voyage into Lethe, with Dimi embellishing the airwaves with her operatic vocals while Raven Seven extracts somber, minimalist sounds form his guitar in a hybrid of the early days of Nightwish and Tristania. Then leaning towards the most melancholic form of Gothic Metal the band offers our ears the sorrowful Black December, with Saber Thorn and Winter Cain bringing a welcome dosage of Doom Metal to the musicality, followed by Sarcophagus of Roses, another symphonic and epic aria by Sombria where Winter Cain showcases all his dexterity behind his drums, offering Dimi all she needs to shine once again on vocals and, therefore, resulting in the perfect depiction of modern-day Symphonic Gothic Metal. And whimsical piano notes are intertwined with the rumbling bass by Saber Thorn in the gothic extravaganza Mirror of God, where Raven Seven and Lucien Keir make a dynamic duo with their darkened riffage, with the music remaining dense and imposing until the very end.

Dimi takes the lead with her pensive, anguished vocals in the darkly beautiful Ballet of Sadness, a delicate ballad by Sombria that will conquer the hearts of even the toughest metalheads, whereas the crying sound of the violin kicks off the epic and obscure The Soul’s Manuscript, where Winter Cain keeps pounding his drums and bringing doom to us all while Dimi invades our souls with her mesmerizing voice, not to mention the excellent job done once again by the band’s guitar duo. Then like a creature from another world the band comes ripping in the symphonic and heavy-as-hell Wine of Lunacy, where Gothic, Doom and Symphonic Metal are united in the name of darkness. Needless to say, Dimi is once again stunning on vocals, and investing in an even more romantic musicality we have Penitence, with all band members providing Dimi a truly enfolding ambience perfect for her sexy vocals, while the music alternates between heavier moments and menacing passages. Lastly, Sombria’s final breath of obscurity, melancholy and melodious lines comes in the form of the multi-layered Poem from the Dark Gardens, even more epic and operatic than all previous songs, with Raven Seven and Lucien Keir slashing their axes in great fashion supported by all background orchestrations.

The magical and dark world crafted by Sombria in Chirographon Dei can be enjoyed in its entirety on YouTube and on Spotify, but of course in order to show Dimi, Raven Seven and their loyal henchmen all your support and admiration you should grab a copy of the album from the band’s own BandCamp page, from Apple Music or from Amazon. In addition, don’t forget to also follow Sombria on Facebook and on Instagram to keep an eye on everything surrounding such amazing multi-national band, once again demonstrating your passion for the darkest and most melancholic form of heavy music. Sombria’s hybrid of Dark and Melancholic Metal found in their debut opus will surely embrace you like the bitterly cold wind on a winter night, dragging you to their lair and keeping you in the shadows forever and ever. And I’m more than sure that’s exactly what you’re expecting from those ptalented musicians who put their hearts and souls into creating meaningful music for lovers of the dark side.

Best moments of the album: Voyage into Lethe, Sarcophagus of Roses and Wine of Lunacy.

Worst moments of the album: Black December.

Released in 2020 Inverse Records

Track listing
1. Voyage into Lethe 5:47
2. Black December 6:07
3. Sarcophagus of Roses 7:07
4. Mirror of God 6:52
5. Ballet of Sadness 5:01
6. The Soul’s Manuscript 5:45
7. Wine of Lunacy 7:28
8. Penitence 7:11
9. Poem from the Dark Gardens 9:02

Band members
Valentina Devin (Dimi De San) – vocals
Raven Seven – guitars, orchestrations

Guest musicians
Lucien Keir – guitar (session)
Saber Thorn – bass (session)
Winter Cain – drums (session)

Album Review – The Machinist / I Am Void (2020)

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An ambitious opus that runs a gamut of genres, featuring haunting synths and grinding guitarwork by a ruthless Blackened Industrial Metal outfit hailing from the UK.

“Do not go gentle into that good night.
Rage, rage against the dying of the light.” – Dylan Thomas

Born earlier this year in the city of Manchester, UK from the ashes of a band named NekroDrako, Blackened/Industrial Death Metal outfit The Machinist has just released their debut full-length album, entitled I Am Void, an ambitious opus that runs a gamut of genres, featuring haunting synths and grinding guitarwork backed up by a psychotic twin vocal approach, being therefore highly recommended for fans of the music by Anaal Nathrakh, The Berzerker and Aboyrm, among others. Summoning all the terror of the eternal, inevitable night, the abyss that waits to swallow us, consuming our dreams, our arrogance and our misplaced certainty of our own importance, I Am Void will explode your senses with a fusion of blasting Black Metal and machine-driven Death Metal, dark visions and confrontational opposition born of absolute self-belief, showcasing all the sonic poison and devastating violence by Scott Walton on vocals, T and Kieran Mackinnon on the guitars, and John Thompson on synths, drum programming and vocals.

Wicked vociferations from the underworld suddenly explode into a demented fusion of Death and Industrial Metal in the opening track Extinction Event, where Scott is a beast on vocals while the synths and drum programming by John live up to the legacy of the genre, and continuing their path of devastation the quartet offers the also metallic and thunderous Skin Is Not Enough, sounding as if Deicide and Ministry had a bastard son, and with the pulverizing guitars by T and Kieran penetrating deep inside our skin mercilessly. Then putting the pedal to the metal they blast the insane The Sky Has Opened, with the infernal screams by Scott being nicely boosted by the crushing riffage and beats by his bandmates, resulting in an amazing option for breaking your neck headbanging nonstop; followed by Approach, a Rammstein-inspired interlude that sounds like taken from a horror flick, warming up the listener for the hard-hitting extravaganza Bleak Affirmations, where T and Kieran deliver a hybrid of Black and Death Metal through their fierce riffage while the atmospheric synths by John add a touch of dementia to the overall result.

Bringing forward elements from Technical Death Metal, Depopulate is as venomous as it can be, with both T and Kieran firing infernal sounds form their guitars while Scott roars and gnarls in a beyond devilish manner, whereas Death Cults Of Abraham offers the listener another round of their industrialized madness, this time with John’s programmed drums sounding as organic as a real drummer. Put differently, this is a phantasmagorical creation by The Machinist feeling doomed and grim from start to finish, while strident riffs and anguished growls are the main ingredients in the hammering onslaught titled Magnificent Desolation, perhaps the song with the strongest Industrial Metal roots, also presenting tons of progressiveness, rage, and endless breaks and variations throughout its unrelenting six minutes. After such insane metal attack, we’re treated to Departure, another utterly Stygian and futuristic Fear Factory-infused bridge that sets the stage for the band’s boldest and most detailed spawn entitled Schwarzschild Radius, starting as wicked as its predecessor while also offering our avid ears dark and metallic sounds, deep, beastly vocals and Doom Metal beats, feeling like a hybrid of Industrial Metal and Blackened Doom at times (not to mention John’s vampiric keys), flowing infernally until its gruesome and otherworldly finale.

If you think you have what it takes to face over 52 minutes of ruthless and vicious Blackened Industrial Metal brought forth by The Machinist in their debut album, you can stream such disturbing opus in its entirety on Spotify and purchase it from the band’s own BandCamp page, from Apple Music or from Amazon, and The Machinist are also waiting for you on Facebook and on Instagram to show you more of their amazing music, their plans for the future, tour dates and everything else surrounding such distinguished UK horde. As aforementioned, I Am Void is indeed a devastating barrage of sonic violence, as The Machinist are a poison that will elevate or destroy, which means you should simply hit play on their new album, immerse yourself in their harsh truths, and finally find the strength to evolve.

Best moments of the album: Extinction Event, The Sky Has Opened and Magnificent Desolation.

Worst moments of the album: Bleak Affirmations.

Released in 2020 Independent

Track listing
1. Extinction Event 6:39
2. Skin Is Not Enough 5:27
3. The Sky Has Opened 4:57
4. Approach 2:32
5. Bleak Affirmations 4:15
6. Depopulate 3:49
7. Death Cults Of Abraham 5:48
8. Magnificent Desolation 6:13
9. Departure 2:17
10. Schwarzschild Radius 10:34

Band members
Scott Walton – vocals
T – guitar
Kieran Mackinnon – guitar
John Thompson – synths, drum programming, vocals

Album Review – Baxaxaxa / Devoted to HIM EP (2020)

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A cult German Black Metal horde returns after almost two decades with an infernal new EP hailing from the most rotten and neglected graveyards.

Forged in the darkest pits of Germany in the already ancient year of 1992, Bavaria’s own Black Metal cult horde Baxaxaxa is back from the underworld after almost two decades to keep burning the flame that coursed through them in the very early 90’s with a new EP entitled Devoted to HIM, offering the listener two original ghoulish apparitions lurking in the most rotten and neglected graveyards. Recorded, mixed and mastered by Lord Noctifer at Black Bunker Sounds and featuring a grim cover art by German tattoo artist Slawa Pavlyguine (Black Venom Ink.), Devoted to HIM is a middle-fingered assertion of Baxaxaxa’s ancient values, being recommended to diehard fans of Mortuary Drape, Root, Hungary’s Tormentor, early Samael and very early Mayhem, showcasing all the talent and devotion to darkness by vocalist Traumatic, guitarist Cryptic Tormentor, bassist Sulphur Irae, drummer Condemptor and keyboardist Antitron Desecratum W2J1L8.

And this unrelenting five-piece horde form hell begins their raw and dirty Black Metal attack with the old school Revelation in Sin, with Cryptic Tormentor’s piercing guitar lines exhaling darkness and fire, while Sulphur Irae and Condemptor bring a touch of Doom Metal to their already devilish sonority and Antitron Desecratum W2J1L8 adds sheer dementia to the overall result with his wicked keys, all spearheaded by Traumatic’s infernal gnarls and screams. Put differently, this is one of those songs tailored for haunting the souls of the lighthearted. Then after such demented onrush of extreme music, cryptic sounds permeate the air in the Stygian and sulfurous title-track Devoted to HIM, suddenly exploding into ass-kicking Black Metal infused with the speed and fury of Slayer and the rebelliousness of classic Punk Rock. Moreover, all band members are on absolute fire from start to finish, in special Cryptic Tormentor armed with his hellish axe, and Condemptor, who doesn’t stop hammering his drums not even for a single second, providing Traumatic all he needs to blast his demented growls.

This short but utterly infernal display of the rawest form of Black Metal imaginable is available for a full listen on YouTube, but of course if you consider yourself a true servant of darkness and evil you should follow such insane Teutonic horde on Facebook and, above all, purchase your copy of Devoted to HIM from the band’s own BandCamp page, or from the Iron Bonehead Productions’ BandCamp page or webstore (in black or white vinyl). The demonic and ruthless Black Metal played by Baxaxaxa (which by the way was a name selected before the band’s first rehearsal and refers to a demon found in a now-lost-and-forgotten book) might not be an easy-listen at first for the regular metal fan, but you know what? That’s exactly how their music is supposed to be,  staying true to their roots and, obviously, forever and ever devoted to HIM.

Best moments of the album: Devoted to HIM.

Worst moments of the album: None.

Released in 2020 Iron Bonehead

Track listing
1. Revelation in Sin 6:43
2. Devoted to HIM 4:05

Band members
Traumatic – vocals
Cryptic Tormentor – guitar
Sulphur Irae – bass
Condemptor – drums
Antitron Desecratum W2J1L8 – keyboards