Tag Archives: doom metal

Album Review – The Sun Through a Telescope / Black Hole Smile (2017)

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Brave the psychedelic sludge waters of Doom and Drone Metal brought forth by this inventive one-man band from Canada, and have your musical boundaries pushed further in a unique way.

I love when a band challenges our senses and pushes our musical boundaries further and further, which is exactly what you’ll face in Black Hole Smile, the brand new album by Canadian Drone/Doom Metal one-man project The Sun Through a Telescope, led by Ottawa-based multi-instrumentalist Leigh Newton (also known as Lee Neutron). In nothing less than 17 (yes, seventeen!) distinct tracks, Lee offers the listener an unconventional fusion of several styles and genres that will blow your mind, or as he likes to say, his music is where “Blackened Doom meets Ambient Drone, soaked in psychedelic sludge water.”

Lee has been very active with his The Sun Through a Telescope since 2011, having released a few EP’s that year before his first full-length album, titled I Die Smiling, came to light in 2013. The following year saw the birth of a new EP named Unnatural Cruciform on a Moss Covered Rock, paving the path for Lee to go even further with his creativity and bring forth Black Hole Smile. Each song will sound different than the others, each one being a distinct experiment by Lee, creating a parallel universe of music that might not make a lot of sense at first, but that will certainly get you entranced from start to finish.

In the very atmospheric, psychedelic and experimental Never Pray, Lee’s clean vocals sound as if he was in a different dimension, with the song’s background being only a distant, smooth noise, becoming an interesting warm-up for Living Every Single Hell, where alternative and distorted guitars are complemented by slow, sharp beats before an explosion of rage and anger with elements of Black and Death Metal invades our ears. Furthermore, Lee goes from maniac growls to desolated clean vocals and back to his demented mode à la Mike Patton, guiding us in a 10-minute voyage through the world of The Sun Through a Telescope. With such an impactful name, I couldn’t expect anything less visceral and experimental than Worm(hole)s, where Lee offers more of his hypnotic guitars and doomed beats, as well as his sick gnarls blending Drone and Doom Metal in a very gripping manner; followed by The Inverted Cross Of A Sunday Funday, a fun and solid instrumental piece by this one-man army displaying less than two minutes of demonic sounds inspired by the meanest forms of Industrial and Drone Metal.

“More Light” continues with Lee’s movie score-inspired extravaganza, being somehow epic and building an instant connection to Every Single Living Hell (note the word play with the second track of the album), with the crow in the background giving it a funereal vibe before becoming a hellish hybrid of Blackened Doom and Drone Metal, also presenting wicked sounds usually found in Alternative and Groove Metal. Focusing on its choir-like vocals and gentle guitar lines, the purely atmospheric composition Dead Dies, New Born gets to a more Alternative Rock and Metal sonority halfway through it, giving even a sense of hope to the whole song, whereas Something Witchy offers 40 seconds of a demented devastation full of distortions and wicked growls before peace returns in No Way Home. However, that peaceful ambience lasts only until half of the song, when Lee beings firing his blast beats and atmospheric vocals again.

Black Hole Bile and “Oh No, This Is Mine” are two similar but somehow unique one-minute deranged instrumental tunes, while A Prolonged Vegetative State presents a more violent side of The Sun Through a Telescope, showcasing deeper guttural and heavier sounds as if Faith No More was “poisoned” with the darkness of Drone and Doom Metal. And never tired of experimenting with different sounds, Lee delivers the Ambient Black Metal tunes Burn Everything and No More Light, with things only getting weirder and more experimental as the album progresses, so alternative it’s impossible to label what’s happening. If I try to explain the music in Caught, Drugged, Trial, Exile, one more atmospheric creation spawned by Lee, I would say there’s an inner fury in this song that never fully comes out, increasing its anxiousness and despair, while the melancholy and the sounds of birds in the background in Dead Tomorrow flow into the pleasant sonority with smooth vocals and the delicate instrumental from Whitehole / Brighthell, with moments of anger meticulously inserted at specific parts of the song, building a suffocating and climatic conclusion to this extravagant album.

If you want to know more about Lee and his The Sun Through a Telescope, simply visit his Facebook page for the most up-to-date news, with Black Hole Smile (which can be streamed in its entirety HERE) being available for purchase on BandCamp, CD Baby, iTunes and on Amazon. After swimming in the psychedelic sludge waters of Doom and Drone Metal proposed by The Sun Through a Telescope, I’m sure your view of the current state of heavy music will change considerably, proving how important independent artists like Lee are for music and arts in general.

Best moments of the album: Living Every Single Hell, Every Single Living Hell, A Prolonged Vegetative State and Whitehole / Brighthell.

Worst moments of the album: “Oh No, This Is Mine” and No More Light.

Released in 2017 Independent

Track listing
1. Never Pray 2:55
2. Living Every Single Hell 9:57
3. Worm(hole)s 6:20
4. The Inverted Cross Of A Sunday Funday 1:39
5. “More Light” 1:35
6. Every Single Living Hell 7:50
7. Dead Dies, New Born 4:06
8. Something Witchy 0:38
9. No Way Home 3:14
10. Black Hole Bile 1:06
11. “Oh No, This Is Mine” 1:17
12. A Prolonged Vegetative State 2:59
13. Burn Everything 1:04
14. No More Light 2:05
15. Caught, Drugged, Trial, Exile 5:38
16. Dead Tomorrow 0:51
17. Whitehole / Brighthell 7:08

Band members
Lee Neutron – vocals, guitars, bass, drums, programming, samples

Guest musician
Ava – additional vocals

Album Review – Mord’A’Stigmata / Hope (2017)

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Explore the obscure sea of negativity and spirituality crafted by this up-and-coming Polish unit, all embraced by atmospheric passages, caustic guitars and tormented growls.

Formed by guitarist, composer and main visionary Static in 2004 in Bochnia, a town located only around 50km from the multicultural city of Kraków, in southern Poland, Black/Avantgarde Metal act Mord’A’Stigmata has been on a constant growth since the band’s inception, reinventing themselves year after year with each album released and, at the same time, maintaining a reasonable distance from the main routes taken by extreme music in general. After the considerable success of their 2013 full-length album Ansia and their 2015 EP Our Hearts Slow Down, Mord’A’Stigmata return with their fourth full-length album, titled Hope, a bold musical statement that has all it takes to become their most accomplished work to date.

Divided into four distinct chapters, Hope is a ride into the palest corners of the void within oneself, a landscape of deep melancholy adorned with sparks of light that will please fans of bands such as Agalloch, Neurosis and Altar of Plagues. The album’s enigmatic artwork, designed by Bartek Rogalewicz from Hellywood (who has already worked with iconic groups like Rogi, Non Opus Dei and Behemoth), represents exactly what you’ll face in Hope, an obscure sea of negativity and spirituality embraced by lugubrious and atmospheric passages, caustic guitars and tormented growls, providing you a full-bodied experience in avant-garde extreme music.

The distorted but melodious lines crafted by guitarists Golem XIV and Static kick-off the 12-minute aria of darkness Hope, an ominous fusion of Black and Doom Metal where lead singer and bassist Ion effectively darkens the musicality with his hellish gnarls. Not only that, the band also brings forward hints of Blackened Doom and Dark Metal with their instruments, especially after four minutes when Ion delivers some deep clean vocals, with the music displaying a hypnotic pace until the song’s ardent ending. That obscure aura goes on in the Stygian and intricate composition The Tomb from Fear and Doubt, with drummer DQ and his doomed beats leading the rhythm while Ion grasps the song’s somber lyrics (“Have you ever lost something you ever had? / Have you ever missed someone that never was? / Have you ever stared into the abyss / with the matches stuck between the eyelids?”) and all instruments maintain a sulphuric stench reeking in the air. In addition to that, once again blending the darkest and most visceral elements from Black and Doom Metal, the wicked sounds emanating from the last part of the song will penetrate deep in your blackened soul without a shadow of a doubt.

Rhythmic beats and cursed guitars ignite another fantastic composition by Mord’A’Stigmata, entitled To Keep the Blood, where a melancholic but fierce instrumental builds the desired ambience for Ion to thrive with his devilish growls. This is not only the song with the most electrified vibe, but also a newborn hymn of Black and Doom Metal, with Golem XIV and Static enhancing the song’s impact considerably through their sharp guitar lines. Lastly, in the mournful In Less than No Time, tribal drumming and the band’s trademark damned sounds create a mesmerizing tone, growing in intensity until Ion comes vociferating his hopeless words (“There is a kind of grief / Can’t be expressed by tears / Nor yelled into the night / On an empty field”). Presenting elements from the music by Paradise Lost, My Dying Bride, Katatonia and other icons of Doom Metal, this beautiful creation by Mord’A’Stigmata is the perfect fourth and final act for Hope, with highlights to the superb work done by DQ on drums.

You can find all details about the chthonic creations of this talented quarter from Poland, as well as their current tour dates and plans for the future, through their Facebook page, with Hope being available for purchase at their official BandCamp page, at the Pagan Records’ BandCamp page or webshop in CD-digipack, in LP format, as a CD + T-shirt combo or as an LP + T-shirt combo, as well as on Amazon and at Discogs. After putting your hands on Hope, simply let the darkness blasted by Mord’A’Stigmata fill your inner void, guiding you on a path of no return to the underworld of heavy music.

Best moments of the album: To Keep the Blood.

Worst moments of the album: None.

Released in 2017 Pagan Records

Track listing
1. Hope 12:02
2. The Tomb from Fear and Doubt 12:08
3. To Keep the Blood 8:45
4. In Less than No Time 11:30

Band members
Ion – vocals, bass
Golem XIV – guitars
Static – guitars
DQ – drums

Album Review – Blaze Bayley / Endure And Survive (Infinite Entanglement Part II) (2017)

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The indomitable Blaze Bayley returns with the second installment of Infinite Entanglement, his most ambitious project to date, this time offering an action-packed album bursting with anger, passion and mystery.

Less than one year after the release of the gripping Infinite Entanglement, the indomitable Blaze Bayley returns with the also astounding Endure And Survive, the second part of his most ambitious project, a Sci-Fi trilogy about Mr. William Christopher Black, a man who doesn’t know if he’s a man or a machine on a futuristic mission to discover one of the new Kepler planets. After the dark and climatic ending of the first part, I’m sure all fans of the Heavy Metal crafted by Blaze (including myself, of course) have been waiting anxiously for the next chapter in the eccentric journey of our mysterious main character, and Endure And Survive offer us all that and more in a brilliant way.

Once again accompanied by the talented Chris Appleton (guitar), Karl Schramm (bass) and Martin McNee (drums), all from British Heavy Metal band Absolva, plus many other very special guests such as Anne Bakker (violin) and Thomas Zwijsen (acoustic guitars), Blaze continues to tell the story of William Black magnificently, with a lot of poetry in his lyrics and, as usual, endless passion and energy in his vocals. The album’s futuristic artwork, designed once again by Andreas Sandberg with additional images from Christopher Steenstrup (who is also working on a Blaze Bayley video game), builds an instant connection with part one, showing how focused Blaze was on providing his loyal fans the most cohesive and exciting story possible.

Shall we begin? That’s precisely how the powerful title-track Endure and Survive starts, exactly where the first part ended, with the music itself continuing to be heavy, melodic and thrilling. In my humble opinion, Blaze found in Chris the perfect guitarist for his vocals as we can see in this epic tune, not to mention the song’s inspiring chorus and the amazing narrations, effectively taking us to the Sci-Fi world created by Blaze. In Escape Velocity, the story goes on at the speed of light, with Chris, Karl and Martin crafting electrifying music full of exciting solos and fast beats, while Blaze canalizes all his passion for metal and science fiction into his potent vocals, resulting in another classic song that I can’t wait to see him performing live. And after a dark intro we’re treated to the best musicality Blaze and his bandmates can offer, titled Blood, a high-speed furious Heavy Metal hymn absolutely perfect for the song’s aggressive lyrics, with Chris being simply insane with his riffs. Furthermore, a man and a woman explain who William Black really is, a murderer with blood on his hands according to them. Is that really the truth? Well, I don’t know the answer, at least not yet, but I know this song kicks some serious ass.

A pensive and anguished William is the centerpiece of the dark composition Eating Lies, showcasing all the talent of Blaze as a storyteller, as you can feel all the inner suffering from the story’s main character due to the lies being told about him through his vocals; followed by Destroyer, presenting that traditional sonority by Blaze seen in pretty much all his albums. In other words, it’s a very cohesive and rhythmic song about the “destroyer of worlds”, with the classic beats by Martin and the soulful riffs and solos by Chris supporting another excellent performance by Blaze. Then we have the epic Dawn of the Dead Son, where a woman with a suave voice seems to be talking inside William’s mind, with the music being a mix of his years with Iron Maiden with his contemporary material, displaying a galloping rhythm and blazing guitars. Each and every song has a reason to exist and this one is no exception to that, taking the listener once again on a dangerous but exciting journey before a serene ambience takes place in the stunning acoustic chant Remember. This troubadour-inspired folk version of Blaze is simply superb, being more melodic and romantic than “What Will Come” from part one, with Blaze flawlessly declaiming the song’s lyrics. Needless to say, his partnership with Thomas and Anne couldn’t sound more in sync, with the song’s female backing vocals also being a thing of beauty.

Returning to a more classic musicality, Fight Back is a song that would have already been amazing on its own in any of Blaze’s old albums, but that in Endure And Survive also plays an important part in the storyline, with Karl and Martin adding tons of heaviness to the music, therefore making it easier for Blaze to effectively deliver his potent vocals. Exhibiting hints of the classic Doom Metal played by Black Sabbath and some songs by Dio in his solo career, in special his biggest hit Holy Diver, the stunning The World Is Turning the Wrong Way brings forward a sensational aura and a profound, catchy chorus, with Chris’ guitar sounding heavier than hell, absolutely in line with all the darkness and agony found in the song’s lyrics. And finally, we have Together We Can Move the Sun, the most introspective and passionate of all songs, with Blaze’s strong voice being flawlessly complemented by the female vocal parts. Blaze and his crew offer us all eight minutes of a touching ballad, showcasing classy guitar lines, inspiring lyrics and an enigmatic (and extremely climatic) conclusion, building a sensational expectation for the third and final installment of the story of William Black, and in the end we all understand what has to happen in part three. William Black must… DIE!

Despite being avid for the conclusion of Blaze’s futuristic adventure, I’m more than happy to wait for it listening to both Infinite Entanglement and Endure And Survive in a row, savoring each and every line declaimed by the Messiah in those two albums. His official Facebook page is probably the best place to keep updated with all advancements in the recording of the next album and to know when he’ll be crushing your city with his amazing metal, and in order to put your hands on the second part of this kick-ass trilogy simply visit his official webstore, iTunes, Amazon or Discogs. Only Blaze knows the destiny of the dauntless voyager William Christopher Black, if he will live or die, or even if his entire life was real, and that marvelous uncertainty created by Blaze is the main ingredient that makes Endure And Survive (as well as Infinite Entanglement) stand out beautifully in contemporary heavy music.

Best moments of the album: Endure and Survive, Blood, Remember, The World Is Turning the Wrong Way and Together We Can Move the Sun.

Worst moments of the album: None. The whole album is awesome.

Released in 2017 Blaze Bayley Recordings

Track listing
1. Endure and Survive 4:27
2. Escape Velocity 3:27
3. Blood 4:41
4. Eating Lies 4:48
5. Destroyer 4:30
6. Dawn of the Dead Son 5:19
7. Remember 3:58
8. Fight Back 3:25
9. The World Is Turning the Wrong Way 4:35
10. Together We Can Move the Sun 8:14

Band members
Blaze Bayley – vocals
Chris Appleton – guitars, backing vocals
Karl Schramm – bass, backing vocals
Martin McNee – drums

Guest musicians
Corvin Bahn – accordion
Anne Bakker – violin, backing vocals
Thomas Zwijsen – acoustic guitars
Liz Owen, Melissa Adams, Joanne Kay Robinson & Luke Appleton – backing vocals
Michelle Sciarrotta – backing vocals, acoustic guitars, narration
Rob Toogood – backing vocals, narration
Aine Brewer – narration

Album Review – Falls of Rauros / Vigilance Perennial (2017)

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Feel embraced by the Black and Folk Metal thoroughly crafted by this American quartet, ranging from a multilayered bout of aggression to beautiful moments of music that twist with a powerful and honest emotion.

Rating4

nvp055-coverTheir name comes from one of my favorite books of all time, J.R.R. Tolkien’s The Lord of the Rings, inspired by the great falls of River Anduin beneath Nen Hithoel, where the river fell from Emyn Muil to the wetland of Nindalf. Their music, a fusion of Black and Folk Metal with several other elements from distinct genres of music, ranges from a multilayered bout of aggression to beautiful moments of music that twist with a powerful and honest emotion. I’m talking about Falls of Rauros, an extremely talented quartet hailing from the city of Portland, Maine, in the United States, who are releasing their fourth full-length album titled Vigilance Perennial, for the delight of fans of complex and atmospheric music.

Since their inception in 2005 the band has been in a constant state of evolution in their career, with their music flowing organically and increasing in intensity with each of their releases. Featuring an impactful artwork by Sólfjall Design, Vigilance Perennial offers the listener five unique compositions that not only represent the core essence of Falls of Rauros, but that will also take you on a journey of creativity and discovery together with the four members of this idiosyncratic band. If you truly open your mind to the music found in Vigilance Perennial, the entire album will probably become a constant part of your daily music playlist without a shadow of a doubt.

Smooth guitar lines by Jordan and Aaron kick off the opening track, White Granite, being gradually accompanied by Evan on bass and Ray on drums, before Jordan begins firing some hellish gnarls completing the band’s aforementioned fusion of Folk and Black Metal, in this case nicely complemented by subtle hints of Doom Metal. You’ll be travelling through serene fields and harsher landscapes with the band in this full-bodied composition, elevating your emotions and senses before the second aria of the album, Labyrinth Unfolding Echoes, continues to guide you through Falls of Rauros’ whimsical journey. Slow beats and soulful guitars dictate the rhythm in the song’s gentle beginning, but it’s after around three minutes that things get more flammable with their dark and melodic Folk Metal exploding once again, with Jordan growling in a very somber way while Evan and Ray add a lot of progressiveness and epicness to the sonority.

The instrumental piece Warm Quiet Centuries of Rains showcases two minutes of tranquil guitar lines and a pleasant atmosphere, preparing our ears and souls for the dense and multilayered composition that will certainly blast the minds of fans of the genre entitled Arrow & Kiln, where the band fires heavy and aggressive sounds from the very beginning, with Jordan sounding more menacing and demonic than before. Moreover, Ray has an amazing performance on drums with both his Black Metal blast beats and his more rhythmic and progressive beats, helping the other members to constantly alternate between calm instrumental passages and piercing folk sounds powerfully. And closing the album Falls of Rauros offer us all another extreme music extravaganza named Impermanence Streakt Through Marble, a very harmonious and exciting tune where all band members deliver top-notch Folk and Black Metal through their sharp instruments. The song gets remarkably heavy at times, especially halfway through it, with the riffs by Jordan and Aaron and the precise drumming by Ray creating a darkened ambience perfect for the harsh growls by Jordan to sound even stronger.

If you’re ready to tame the unrestrained waters of Falls of Rauros, simply go check their Facebook page for more details on their career, tour dates and future plans. And there are so many different places where you can grab your copy of Vigilance Perennial I might have missed one or two from my list, as you can buy the album at the Falls of Rauros’ BandCamp page, at the Nordvis Produktion’s BandCamp page or webstore (in CD or LP format), at the Bindrune Recordings’ webstore also in CD or LP format, as well as on iTunes or Amazon. Feel embraced by the beautiful extreme music crafted by Falls of Rauros, and let your emotions flow to the sound of their distinguished creations.

Best moments of the album: Labyrinth Unfolding Echoes and Arrow & Kiln.

Worst moments of the album: None.

Released in 2017 Bindrune Recordings/Nordvis Produktion

Track listing
1. White Granite 10:11
2. Labyrinth Unfolding Echoes 9:30
3. Warm Quiet Centuries of Rains 2:17
4. Arrow & Kiln 12:02
5. Impermanence Streakt Through Marble 10:17

Band members
Jordan – vocals, guitar
Aaron – guitar, vocals
Evan – bass
Ray – drums

Midnight Madness Metal e-Radio Promo Hour Of The Day – From Monday To Friday @ 8pm GMT+2

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http://midnight-madness.is-a-rockstar.com/Great news for all of you metalheads!

FROM MONDAY TO FRIDAY @ 8pm GMT+2, one of our kick-ass partners, Midnight Madness Metal e-Radio, broadcasting directly from Athens, Greece, will blast the best of underground metal music reviewed here at The Headbanging Moose during the PROMO HOUR OF THE DAY!

So remember, FROM MONDAY TO FRIDAY @ 8PM GMT+2 tune into Midnight Madness Metal e-Radio to get your daily shot of the cream of the underground metal music crop, from Hard Rock to Black Metal, from Folk Metal to Thrash Metal, from Doom Metal to Metalcore, and so on! You’ll have the unique pleasure of listening to the superb music by bands like Charm Designer, Neverworld, Majesty Of Revival, Nervosa, False Coda, Atonismen, Diabolizer, The Silent Rage, Terrifier, Gaerea, and tons of other amazing metal acts from all over the world!

Here are all the options where can blow your speakers with Midnight Madness:

Official website
Twitter
Online Radio Box
Tunein
Streema
Listen2MyRadio
Radio Garden

And if you want to have your new album reviewed at The Headbanging Moose AND played at Midnight Madness Metal e-Radio, simply get in touch with us through our CONTACT US page.

Album Review – Viles Vitae / IV EP (2017)

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The four basic elemental principles from ritual magic converted into four powerful and tempestuous compositions by a new horde of experienced Portuguese black metallers.

Rating5

frontcover_vilesvitaeThere’s a new entity arising from the underworld of Portuguese Black Metal that goes by the name of Viles Vitae, or “worthless life” from Latin, who are unleashing upon humanity their debut EP simply titled IV, offering fans of extreme music the four basic elemental principles still used in ritual magic converted into four powerful and tempestuous compositions. Four elements, four songs, or as stated by the band, “a crescendo of feelings and cyclical repetitions to elevate thy souls of the dead straight to the heart of the listener.”

Although the band was brought into being only in 2015 in the capital city of Lisbon, Portugal, Viles Vitae are no beginners at all. Featuring experienced and known members of the underground Portuguese scene, this sinful power trio delivers in IV exactly what they wanted to expose, which is the primary spirit of Black Metal crafted from the heart. After facing the somber album art designed by Fábio Infante, you’ll already feel death and darkness growing inside you, but it’s when the music starts that you’ll finally understand how Stygian and complex the creations by Viles Vitae are.

The first track of the EP, The Vortex of Disharmony, begins is an atmospheric way, with background noises taking us to a desolate world before the guitar sounds by Belial Necro slowly impregnate the air together with the bestial drumming by Deimos. Moreover, this macabre and devilish fusion of Blackened Doom and Black Metal is definitely not recommended for the lighthearted, with Vulturius gnarling in the most hellish form possible. Leaning towards a more traditional Black Metal sounding, Sunless Redeemer brings forward demonic and steady blast beats that end up developing the desired ambience for the demon-like vociferations by Vulturius, turning the overall result into a dark hymn of extreme music that brings absolutely no hope to our hearts.

viles-vitae-25Highly influenced by obscure Doom Metal, Source Life Extinction presents a funereal vibe and a menacing musicality, with Belial Necro making sure his riffs sound as vile as possible. This sensational composition by Viles Vitae is not only very impactful and heavier than hell, but also the perfect example of what this demonic horde can offer us all in their future releases. The fourth and last song of the EP, named Theory of Deconstruction, is their most complex and multilayered creation, where Vulturius continues to blast his harsh growls while Deimos gets more blackened than ever on drums. Furthermore, transpiring blasphemy and hatred, the song’s howling wolves and background choir will hypnotize you for the last four minutes of this aria of darkness and despair.

The four basic elemental principles from ritual magic explored by Viles Vitae are available for purchase at the Caverna Abismal Records’ BandCamp page, and soon through their webshop as well. And in case you’re fond of the most obscure side of extreme music just like what is crafted by this amazing horde from Portugal, go check their Facebook page for more details and news about their current work, tour dates and future plans. After the spawn of the ominous IV, I wonder what type of malignancy the talented Vulturius, Belial Necro and Deimos are preparing as the next step in their career and, while we wait for it, the potent music from IV can keep us more than entertained without a shadow of a doubt.

Best moments of the album: Source Life Extinction.

Worst moments of the album: None.

Released in 2017 Caverna Abismal Records

Track listing
1. The Vortex of Disharmony 5:30
2. Sunless Redeemer 5:50
3. Source Life Extinction 6:15
4. Theory of Deconstruction 12:28

Band members
Vulturius – vocals
Belial Necro – guitars
Deimos – drums

Album Review – Gothic / Demons (2017)

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One of the most respected bands in the history of Romanian metal powerfully unleashes their “demons” upon mankind with their heavy and melodic new album.

Rating4

gothic-demonsEstablished back in 1992 by guitarist and singer Alin Petrut in the heart of the Carpathian Mountains of Transylvania, Romania, Melodic Death Metal band Gothic has quickly become one of the most respected metal bands in the country, having played alongside giants like Manowar, Dimmu Borgir, Europe, Korpiklaani, Gojira and Napalm Death, among many others. Even after changing the band’s name to Ali(e)n and then to Innerfire in 2003 when Alin re-located the band to Belgium, the band kept building a strong reputation among metalheads all over Europe, returning to their hometown Petrosani in 2005 again under the name Gothic (as a separate entity from the still-active Innerfire) and culminating with their participation in the 2012 edition of Wacken Open Air after winning the Romanian finals of Wacken Metal Battle that year.

Exactly 25 years after the band’s inception, Alin and his Gothic are back with Demons, their first full-length album since their 2013 release Expect the Worst. Displaying a darkly beautiful artwork by the band’s own bassist Csaba “Taly” Talpai, and featuring for the first time George Lazar on harsh vocals and Vlad Golgotiu on drums, Demons is definitely Gothic’s most professional and multilayered album to date, blending the classic sonority from the band’s extensive career together with fresh new elements from modern metal music. After listening to this cohesive and melodic album, it won’t be hard for you to understand why Gothic play such an important part in the history of Romanian metal.

In the opening track Shadow Man you’ll quickly notice their musicality is not really “Gothic” as the band’s name states, but fast, melodic and aggressive music, a great mix of traditional Death Metal with contemporary Melodic Death Metal where Alin delivers some sick, heavy riffs while George blasts pure fury through his guttural growls; followed by the excellent Disillusion, also exhibiting a similar Heavy/Death Metal hybrid vibe. This song presents a good headbanging pace with neck-breaking riffs by Alin, getting symphonic and futuristic at times due to the spot-on keyboards by Florian Lysy, not to mention its vengeful lyrics (“We grew apart / Betrayed our hearts / Our souls are black / Our minds are flack / You wanted that / Now take it back in your face”).

gothicIn the first single of the album, the title-track Demons, Alin, Taly and Vlad add a lot of groove and heaviness to the musicality, setting the stage for George to growl even deeper, feeling like a mix of Hard Rock with Gothic, Doom and Melodic Death Metal ideal for the song’s lyrics (“I feel their breath inside my dream / The darkness stains around me / A web of black, surrounding scent / The night is growing senseless.”). In Catacombs, which starts in a pleasant, harmonious and exciting way with Taly blasting a thunderous sound from his bass guitar, we face a magnificent balance between the havoc generated by all band members and the extremely melodic guitar solos and keyboards, whereas in Time, an upbeat composition by Alin and his henchmen, Vlad delivers precision and anger through his beats, and despite losing a bit of its electricity in the end it’s still a very enjoyable song.

Destroying the Masses, a powerful chant where Gothic displays their darkest side, brings forward a menacing atmosphere and deep guttural vocals closer to old school Death Metal, while modernity comes from the metallic riffs by Alin. And it seems the band really wants to crush our necks with their sick riffs and beats in From Within, with elements from traditional Heavy Metal added to its Melodic Death Metal sonority to make it even more harmonious. Last but not least we have A New End, a melancholic and passionate composition sung entirely in Romanian (which in my opinion is an interesting variation from the rest of the album) and featuring guest vocalist Klaus Pardos, offering the listener the heaviest version of modern Hard Rock you can think of.

Are you ready to face the heavy music engendered by these talented Romanian demons? If your answer is yes, you can follow all things Gothic at their official Facebook page and check their latest videos (including some fun tour diaries) at their YouTube channel, as well as purchase Demons at Loud Rage Music’s BandCamp or webstore. Gothic are unleashing their high-end Melodic Death Metal upon mankind with their brand new album, and if I were you I wouldn’t miss this great opportunity to get in touch with the music by such respected underground band.

Best moments of the album: Disillusion, Catacombs and Destroying the Masses.

Worst moments of the album: Time.

Released in 2017 Loud Rage Music

Track listing
1. Shadow Man 5:01
2. Disillusion 5:42
3. Demons 3:53
4. Catacombs 6:04
5. Time 4:55
6. Destroying the Masses 4:34
7. From Within 4:04
8. A New End (feat. Klaus Pardos) 5:13

Band members
Alin Petrut – guitar, clean vocals
George Lazar – harsh vocals
Csaba “Taly” Talpai – bass
Vlad Golgotiu – drums

Guest musician
Florian Lysy – keyboards
Klaus Pardos – vocals on “A New End”

Album Review – Sepultura / Machine Messiah (2017)

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“Sepultura do Brasil” are back with an exciting, multilayered journey through countless music genres and styles, proving there’s still room for innovation in heavy music.

Rating4

sepultura_machine_messiahIf you’re one of those diehard fans of Brazilian Thrash/Groove Metal icons Sepultura that doesn’t accept anything the band has done after the departure of Max Cavalera, you can stop reading this review right now as that version of Sepultura is long gone. Machine Messiah, the fourteenth studio album by the most important band in the history of Brazilian Metal, is not only their best release since their 1998 album Against, but also (and more important than that) their most experimental album since their 1996 classic Roots, completely different from that basic Thrash Metal formula from their early days, therefore offering admirers of innovative music an exciting, multilayered journey through countless music genres and styles.

Machine Messiah, which features a stylish artwork designed by visual artist Camille Della Rosa that feels like a play with the cover art from their 1991 cult album Arise, is also the band’s first studio album in over three years since The Mediator Between Head and Hands Must Be the Heart, from 2013, marking the longest gap between two studio albums in their career. In addition, this is the second album with Eloy Casagrande on drums, who’s definitely a lot more comfortable now with the band and, consequently, he ends up adding a lot more intricacy, electricity and groove to the music by Sepultura. And regarding Mr. Andreas Kisser, well, nothing I write in this review will be enough to describe what he did in Machine Messiah with his superb technique.

Venturing on new lands never before explored by Sepultura, the title-track Machine Messiah is a dark, slow and atmospheric tune where we have Derrick’s clean and somber vocals complemented by Andreas’ unique riffs and soulful solos, showcasing elements from Doom and Stoner Metal that increase the song’s obscurity; whereas I Am the Enemy, with its rebellious lyrics (“Powered by thoughts of revolution / Building all bridges of error / Search and destroy my sick innerself / To realize I’m not a fraud”), gets closer to the brutal Hardcore found in albums like Against, with Eloy smashing his drums while Andreas and Derrick emanate sheer violence in this excellent high-octane hymn. And in Phantom Self, an experimental Groove Metal composition with hints of Alternative Metal, regional elements from the Brazilian and Middle-Eastern cultures are nicely added to the musicality, enhanced by the song’s thoughtful lyrics (“The crash. Flash backs. Carnage the blood keeps on flowing / Killing me. Trapped inside this tragedy / Can’t see the road in front of me / Replay this nightmare over and over”).

Alethea is another distinct composition in such diverse album, albeit not as crisp and exciting as the previous songs despite its progressiveness and experimentations. Once again, it’s Andreas who delivers the best pieces of the song with his flammable guitar, which also happens in Iceberg Dances, a kick-ass instrumental extravaganza where Andreas, Paulo and Eloy are in perfect sync, firing powerful riffs, thunderous bass lines and groovy beats. It reminds me a lot of the music by Mastodon, which means it’s at the same time insane and harmonious, with its Deep Purple-inspired keyboards and Flamenco acoustic guitar lines bringing even more awesomeness to the overall result. The symphonic and sometimes epic Sworn Oath, the longest of all songs, is not just another good surprise in Machine Messiah, but also in my humble opinion the best sonority for Derrick’s voice when he’s not singing fast-paced Hardcore. Moreover, if played live with a proper orchestra, it should sound simply astounding.

sepultura_2017In the dark Resistant Parasites, Paulo delivers sheer heaviness with his bass lines, taking the song’s modern Groove Metal to the extreme, exhibiting a powerful and innovative vibe without losing the band’s characteristic aggressiveness, followed by Silent Violence, another track that reminds me of the craziness blasted by Mastodon. It’s fuckin’ heavy and complex at the same time, a tune to break your neck where Derrick fires madness and anger with his growls while Andreas continues to deliver pure creativity and feeling through his riffs and solos. Eloy and Andreas speed things up in the thrilling mosh pit-generator hymn Vandals Nest, bringing forward tons of creativity, complexity and groove (needless to say, I can’t wait to feel this song played live), before Cyber God gets back to the doomed sonority found in many parts of the album. This is a beautiful, somber ending to the regular version of the album, displaying low-tuned bass punches and piercing guitars, and blending elements from several styles such as Industrial, Groove, Gothic and Doom Metal, among many others, being extremely hard to define its style. And of course, if you go for the special edition of Machine Messiah, you’ll be treated to two top-notch bonus tracks, in special their cover version for Ultraseven no Uta from the cult tokusatsu science fiction TV series Ultra Seven, originally recorded by The Echoes & Misuzu Children’s Choral Group, not to mention the version that comes with a DVD with the making of Machine Messiah available at the Nuclear Blast webstore.

After Machine Messiah, I wonder where Andreas, Paulo, Derrick and Eloy will go next with their music. It’s such an experimental, intense and elaborate album it’s hard to imagine those four guys will be able to top it in terms of complexity with their future releases. But who am I to doubt what the iconic Sepultura will offer the world in the future? Andreas keeps getting better and better in what he does, putting his heart and soul into his music and uniting with his guitar in the most perfect way imaginable, with the other band members supporting him with precision and stamina. Sepultura are and will always be Brazil’s most prominent metal band no matter what, and with Machine Messiah they’re sending a solid message to the world there’s still room for innovation in heavy music, always keeping their core essence heavy and electrifying.

Best moments of the album: I Am the Enemy, Iceberg Dances and Vandals Nest.

Worst moments of the album: Alethea.

Released in 2017 Nuclear Blast

Track listing
1. Machine Messiah 5:54
2. I Am the Enemy 2:27
3. Phantom Self 5:30
4. Alethea 4:31
5. Iceberg Dances 4:41
6. Sworn Oath 6:09
7. Resistant Parasites 4:58
8. Silent Violence 3:46
9. Vandals Nest 2:47
10. Cyber God 5:22

Special Edition bonus tracks
11. Chosen Skin 3:17
12. Ultraseven no Uta (The Echoes & Misuzu Children’s Choral Group cover) 1:18

Band members
Derrick Green – lead vocals
Andreas Kisser – guitars
Paulo Jr. – bass
Eloy Casagrande – drums, percussion

Album Review – Dead Witches / Ouija (2017)

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Beware as the witches are coming to take your soul with their occult, stoned-out Doom Metal.

Rating4

hps048_deadwitches_300dpi_cmykBritish drummer Mark Greening (Electric Wizard, Ramesses, With The Dead) and Italian singer Virginia Monti (Psychedelic Witchcraft) have joined forces to establish the heaviest occult, psych superbeast to see the light in 2017, taking the shape of Occult Stoner/Doom Metal act Dead Witches and unleashing upon us mere mortals their debut album obscurely entitled Ouija, a must-have for followers of bands like Electric Wizard, Sleep and Pentagram, among others, who love the combination of dark and strong melodies, heavy guitar riffs and a truly supernatural vibe.

Ouija is comprised of six distinct songs that will mesmerize you during the album’s 33 minutes of somber passages, classic Doom Metal beats and a stunning performance by Virginia on vocals, all perfectly depicted by the bewitching artwork designed by Goatess Doomwych. In addition, Ouija also ended up being the last release in the career of guitarist Greg Elk, who sadly passed away late 2016, giving the album an extra mystical touch. In other words, while listening to Ouija, let the awesome sound of Greg’s guitar penetrate your mind and soul, taking you to the other side for a quick visit where he’s definitely having a good time with his deceased guitar heroes right now. I’m pretty sure that’s what Greg and the rest of the band want you to feel with their music.

The album’s two-and-a-half-minute long Intro informs a dark, misty storm is upon us, with the menacing bass by Carl Geary sending a clear message that there will be no sign of happiness from now on, beginning with the excellent Dead, where Greg and Mark generate the most damned atmosphere you can think of with their fetching guitar riffs and Doom Metal beats, respectively, before the classy Virginia begins firing her sexy devilish vocals, leading us all to burn into the fire as the music progresses. And as the icing on the cake, Greg delivers an outstanding solo to make the whole song even more captivating.

deadwitches_02Then it’s Greg and Carl who build the wicked atmosphere in the sensational Drawing Down The Moon, my favorite song of the album where Virginia sounds even more rapturous on vocals. Moreover, when Mark speeds his beats up we’re treated to a potent sonority full of electricity, passion and the delicious obscurity of Doom Metal. The title-track Ouija is a lot more melancholic, highly recommended for savoring a full bottle of a high-quality, traditional red wine. Greg keeps blasting pure awesomeness through his riffs and solos, while at the same time we get hypnotized by the song’s vocal lines and beats inspired by ritualistic Doom Metal.

In Mind Funeral, get ready to play with the words “self”, “mind”, “control” and “funeral” together with Virginia throughout the whole song in a gripping way, while the rest of the band delivers their low-tuned, obscure lines flawlessly. Although this amazing chant might darken your heart a bit, I’m pretty sure you won’t regret feeling that darkness growing inside you thanks to the electrifying sonority brought forth by this England-based group. And A World Of Darkness, the last tune of this darkly alluring album, showcases powerful performances by Mark and Carl in over seven minutes of raw, straightforward old school Doom Metal that smoothly flow into a Stygian ending. Needless to say, the guitar sounds by Greg feel really touching the whole song, an amazing job done by a talented guitarist that will surely be missed by his family, friends and fans.

You can join the entrancing coven by this excellent UK band through their Facebook page or YouTube channel, and you’ll soon be able to buy your copy of Ouija at the Heavy Psych Sounds Records website, at the All That Is Heavy webstore, on Amazon and other locations. So beware, my dear headbanging friend, as the witches are coming to take your soul with the occult, stoned-out music found in Ouija, an album that has all it takes to become a fan-favorite among admirers of underground Doom Metal without a shadow of a doubt.

Best moments of the album: Drawing Down The Moon and Mind Funeral.

Worst moments of the album: None.

Released in 2017 Heavy Psych Sounds Records

Track listing
1. Intro 2:27
2. Dead 6:05
3. Drawing Down The Moon 5:54
4. Ouija 5:04
5. Mind Funeral 5:00
6. A World Of Darkness 7:35

Band members
Virginia Monti – vocals
Greg Elk (R.I.P.) – guitar
Carl Geary – bass
Mark Greening – drums

Album Review – Mustan Kuun Lapset / Saatto (2017)

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A fresh new start for an amazing Dark Metal band from Finland, with their renovated attitude and passion for heavy music translated into nine excellent compositions blending different styles and emotions.

Rating4

mkl_saatto_coverart2500pisLegendary Finnish Dark Metal group Mustan Kuun Lapset, which is Finnish for “Children of the Black Moon”, have finally resurrected from the depths of abyss since ending their career in 2007, setting to release in 2017 their first official full-length album since their 2011 compilation 14 Talvea and their 2007 album Viimeinen Laulu Kuolemasta. And their brand new album, entitled Saatto (the Finnish word for “procession” or “follow-through”), not only brings forward MKL’s new lineup, but it’s also a fresh new beginning for this talented band, with their renovated attitude and passion for heavy music translated into nine excellent compositions blending different styles of Extreme Metal.

Founded in the city of Hollola under the name Häiriö (or “disorder” in Finnish) in the distant year of 1993, MKL recorded a few garage tapes during their first couple of years, never releasing them to the public. In 1996, after changing the name to Mustan Kuun Lapset, the band released their first demo titled Kunnes Loppuu Yö, being on a roll for the next decade before it was time to close the coffin in December 2007 due to lack of time and commitment. Fortunately for fans of their dark music, in 2015 MKL decided to start all over again, now hailing from the city of Lahti and as already mentioned with a reformulated lineup, culminating with the release of their brand new diverse, many-sided record Saatto, and I’m sure even if you have absolutely zero knowledge of the Finnish language you’ll have a blast listening to it.

Right after the atmospheric intro Ja Toinen Yötä Rakastaa, or “and another night love”, we have the melodious Peikonmieli (“the troll’s mind”), with the soulful guitar lines by Pete Lehtinen and Heikki Piipari dictating the song’s very pleasant pace and sonority, whereas the harsh vocals by Pete sound like a blend of Symphonic Black Metal and Melodic Death Metal. And the aura generated by the first song goes on in Kuolemanvirta (“death power”), where drummer Mikko Hautala showcases his abilities by being fierce and melodic at the same time with his darkened Doom Metal beats.

An obscure start announces another epic and powerful composition by MKL, Amor Vincit Omnia, which is Latin for “love conquers all”, with Pete doing an amazing job not only on vocals and guitars but also with his synths, delivering a rousing musicality with hints of Scandinavian Folk Metal full of variations and tempo changes. Cilice brings forward more folk elements, gently morphing into Dark Metal with Pete firing some deeper guttural growls amidst his harsh gnarls, all embraced by the band’s solid instrumental, while Sudenilma (“wolf’s air”) offers the listener heavier, headbanging riffs that lean towards pure Melodic Death Metal from Scandinavia. In addition, Mikko delivers faster beats nicely complemented by the bass lines by Ville Pelkonen, not to mention the song’s outstanding guitar solo as the icing on the cake.

mkl_promokuvaValkoinen Satama – Haaksi (“white haven – the ship”) is the first part of a two-piece story, epic and metallic from the very first second thanks to the awesome job done by both guitarists with Pete getting a lot darker on vocals. The second part of this journey, titled Valkoinen Satama – Tyven (“white haven – calm”), is a smooth, melancholic acoustic ballad wtih female vocals that end up providing a good balance to all the obscurity from the first part, an interesting variation to the MKL we’re used to. And closing the album we have the title-track Saatto, also the longest of all tracks, which begins in an introspective way, as calm and serene as the previous track, suddenly exploding into kick-ass modern Melodic Death Metal. In this multilayered composition, MKL bring forth cleaner vocals and plenty of epicness flowing from all instruments, in special the precise beats by Mikko, until the song’s thrilling conclusion.

You can witness the rebirth of the Finnish children of the black moon, appreciate their music and get updates about their upcoming projects and concerts at their Facebook page, and you can also put your metal hands on Saatto at the Inverse Records webstore or at Record Shop X. Mustan Kuun Lapset have not arisen from the ashes in vain, they’re back from the netherworld with an invigorated passion for metal to deliver their diehard fans more of their high-end music and to show the new generation how good Scandinavian Metal should always be done, and by supporting them you’ll not only help to keep that metallic fire burning, but also become part of their inspirational career.

Best moments of the album: Peikonmieli, Amor Vincit Omnia and Saatto.

Worst moments of the album: Cilice.

Released in 2017 Inverse Records

Track listing
1. Ja Toinen Yötä Rakastaa 2:06
2. Peikonmieli 5:19
3. Kuolemanvirta 5:47
4. Amor Vincit Omnia 4:59
5. Cilice 5:12
6. Sudenilma 5:17
7. Valkoinen Satama – Haaksi 5:29
8. Valkoinen Satama – Tyven 5:08
9. Saatto 8:45

Band members
Pete Lehtinen – vocals, guitar, synths
Heikki Piipari – guitar
Ville Pelkonen – bass
Mikko Hautala – drums