New York-based Death Metal maidens are back with their relentless sophomore album, firmly cementing the band among the extreme music elite.
Three years after their crushing debut Defiled in Oblivion, New York-based Death Metal maidens Castrator return with Coronation of the Grotesque, an album that not only exceeds all expectations, but leaves them shattered in its wake, firmly cementing the band among the North American Death Metal elite. Recorded across multiple studios with key figures in the United States Death Metal scene, mixed and mastered by Noah Buchanan at Mercinary Studios, produced by Carolina Perez and Taylor Nordberg (Deicide, Inhuman Condition, Ribspreader), and displaying a gruesome, dystopian artwork by Jon Zig, the new album by the badass Clarissa Badini on vocals, Sara Loerlein on the guitars, Robin Mazen on bass, and Carolina Perez on drums explores a range of historical and societal themes that reflect on injustice, victimization, and human suffering. Among the topics confronted are the tragic killing of Mahsa Amini, the ancient Sumerian practice of eunuchization, and seething condemnation of predator Naasón Joaquín García.
The opening tune Fragments of Defiance will already melt your damned faces to the demented beats and fills by Carolina and the she-demon gnarls by Clarissa, resulting in an insane way to kick off the album, and Sara showcases all her dexterity and rage armed with her stringed axe in I Am Eunuch, delivering pure Death Metal riffs for our total delight. Covenant of Deceit is another song that reeks of Death Metal, starting with a cryptic intro before Sara and Robin hammer their sonic weapons mercilessly until the very last second; whereas Clarissa’s vocals get even deeper and more demonic in Mortem Opeterie, which is Latin for “to meet a violent death”, always supported by the visceral, no shenanigans sounds blasted by her bandmates. And Carolina keeps showing no mercy at all for our necks and bodies in Remnants of Chaos, inviting us all for some wild action inside the pit.
Those girls are definitely not fooling around when it comes to playing old school Death Metal, with Deviant Miscreant sounding as infernal as it is technical and vibrant, led by the stone crushing drums by Carolina, followed by Psalm of the Beguiled, less frantic but heavy-as-hell, with Sara delivering some Cannibal Corpse-inspired riffs that will burn you alive accompanied by the low-tuned, menacing bass lines by Robin. After such an imposing tune, Sara continues to strike us all with her riffs and solos in Blood Bind’s Curse, adding an extra touch of insanity to the band’s onrush of brutality while Clarissa barks and roars nonstop, and those girls are on absolute fire in the also demented Discordant Rumination, keeping the album at an insane level of violence. Last but definitely not least, their cover version for the all-time classic Metal Command by Exodus, from their 1985 masterpiece Bonded By Blood (check the original version HERE), is a stunning Death Metal rendition of such a thrashing beast, with Clarissa and Sara stealing the spotlight with their respective roars and riffs.
“We see it as a leap forward,” exclaims drummer Carolina Perez. “It’s by far the strongest work we’ve done to date. Writing Coronation of the Grotesque was an incredibly enjoyable experience, and everything seemed to come together much more naturally this time. While the album still retains elements of who we were as a band, it’s much more refined, cohesive, and brutal.” And if you want to join those absolutely talented and ferocious ladies in their quest for Death Metal you can start following them on Facebook and on Instagram, stream their ass-kicking music on Spotify, and of course grab a copy of the incendiary Coronation of the Grotesque from the Dark Descent Records’ BandCamp or webstore (as a CD, LP, or tape), or simply click HERE for all things Castrator. Those girls are not fooling around when it comes to crafting brutal, in-your-face Death Metal, and you better be ready as once you have the pleasure of listening to their scathing new opus, you’ll be pulverized by their undisputed heavy music.
Best moments of the album:Fragments of Defiance, Mortem Opeterie, Blood Bind’s Curse and Metal Command.
Worst moments of the album: None.
Released in 2025 Dark Descent Records
Track listing 1. Fragments of Defiance 3:33
2. I Am Eunuch 3:42
3. Covenant of Deceit 4:08
4. Mortem Opeterie 3:18
5. Remnants of Chaos 3:17
6. Deviant Miscreant 3:15
7. Psalm of the Beguiled 3:41
8. Blood Bind’s Curse 3:46
9. Discordant Rumination 4:20
10. Metal Command (Exodus cover) 4:13
Band members
Clarissa Badini – vocals
Sara Loerlein – guitars
Robin Mazen – bass
Carolina Perez – drums
Here I am Filling in for my man Gus, Who couldn’t make it out tonight due to other obligations and I’m sorry to say that I am quite happy to do it. Gus… you missed an absolute banger of a show brother! Traffic is such a fucking bitch in this city, I was worried my brother Keith and I were going to be late for the opening of the doors of the Phoenix Concert Theatre in downtown Toronto, Ontario. It was a cool damp Tuesday evening and people were driving like the usual idiots they are and we had to make a couple of detours along the way. Luckily we made it in time and found a parking spot thankfully. We found some friends in line and proceeded into the venue to check in at the box office. Keith and I split up to get to our usual spots as he was the photographer this evening and I made my way to the front barrier beside our good friend Scott Herod whom I had the pleasure of rocking out beside in the same spot for the Black Dahlia Murder show this past remembrance day. Scott and I were both bewildered to the fact that Security was criminally understaffed with only two men working the barrier. Those boys had their work cut out for them tonight and their efforts were to be applauded. Injuries and all, these two security guards put in the work and did a fantastic job.
The show got started at 7 p.m. with Oxnard, California’s DEAD HEAT. Despite their enthusiasm and talent, their set fell a little flat for me through no fault of their own due to poor sound quality and slight technical issues. It is important to note that the venue at this time was about a quarter full so crowd participation was at a minimum. So it was a bit of a rough opening but they put in a noble effort and I appreciated that. Next up was the experimental hardcore band CANDY out of Pittsburgh, Pennsylvania and they fell flat as well for the same reasons. We could barely hear the vocalist, the drums were not mic’d up very well and the bass overpowered the guitar. Also Candy’s style of ending their songs abruptly was a bit confusing for us in the crowd as we couldn’t gauge if the song ended or was about to launch into a fat breakdown, so the band missed out on our feedback and response. Technical issues ruined their mojo a bit and it showed. Not so sweet for Candy sadly, no knock against them.
As my spirits were down, Denver Colorado thrash lords HAVOK turned my frown upside down and absolutely blew my fucking face off with a blistering set that had the crowd going totally bonkers. If Havok was the only band on this bill I would have left the show an insanely happy man. Oh my gawd! The energy in the building was incredible. Security had its hands full with endless waves of crowd surfers. The venue was almost full and by this point the pits were massive. We were having the time of our lives, loving every minute of it. Havok’s sound engineer was on point and the quality of it was on another planet compared to the opening bands. The gulf between them was enormous. David Sanchez’s vocals and riff shredding was absolutely killer as well as the solos of Reese Scruggs. Pete Webber destroyed it on the drums and the stand-out was the stand-in bass player Kaden Hunsacker (guitar tech/road manager) was incredible. If you had never seen them before you would never know that he was not their actual bassist. Havok alone was worth the price of admission. 11/10
Now with everybody in attendance positively buzzing with energy, we couldn’t contain ourselves when EXODUS hit the stage. The Bay Area thrash legends blessed us with a show for the ages. This was one of the most fun shows I have ever been to in my life and this arguably had to be the best show of the year. I have never seen so much crowd-surfing at a show ever. Non-stop action in the pit as well as countless waves of surfers. Seriously the crowd was insane. Toronto made me so proud that night and it was an honour to be among them. Gary Holt was on fire and Lee Altus was phenomenal on lead guitar. Jack Gibson held everything down with his stellar bass playing and Tom Hunting was pulverizing on the drums. Vocalist Steve “Zetro” Souza was electric and remarked that whenever they visit Canada, the crowds are always insane. He also gave a shout out to the two brave security guards handling all of the surfers coming over the barrier. The crowd was rowdy and rambunctious but kept it fun too without any animosity towards each other.
Everyone in attendance was there for a good time and were all on the same page, to let loose and boy did we do that. I think that we gave Montreal a run for their money. Steve also pointed out that next year will be the 40th anniversary of their seminal record, 1985’s Bonded By Blood and that they will be coming back to Toronto for that tour. I’m definitely saving up for that show. Exodus are legends for a reason, they totally kick fucking ass live and they sounded fucking incredible! At the end of the show, I turned around to observe everyone’s faces and they contained the look of pure satisfaction as I’m sure mine did as well. Personally I can’t wait until next year and I will be counting the days. What a killer show with killer bands. 11/10
Setlist The Last Act of Defiance
Blood In, Blood Out
Fabulous Disaster
And Then There Were None
Body Harvest
Prescribing Horror
The Beatings Will Continue (Until Morale Improves)
Brain Dead
Deathamphetamine
Blacklist
Metal Command
War Is My Shepherd
The Toxic Waltz
Strike of the Beast No Ordinary Love (Sade song)
Band members Steve “Zetro” Souza – vocals
Gary Holt – guitar
Lee Altus – guitar
Jack Gibson – bass
Tom Hunting – drums
Heavy metal is our way! Loud and fast is what we want!
Happy 2023, my dear metalheads! Are you ready for another year of underground awesomeness here at The Heabanging Moose? I’m sure you are, and in order to properly kick off such promising year for heavy music let’s continue our tradition of honoring a badass bass player as our metal lady of the month of January, just like what we did in all previous years, sounds good? And you better get ready as our ruthless bassist will crush your skull with her rumbling bass and rebellious attitude, helping to put her homeland Switzerland in the map of Heavy and Power Metal together with her also extremely talented bandmates. I’m talking about Jeanine Grob, the red-haired bassist for Switzerland-based all-female Heavy/Power Metal coven Burning Witches. Having said that, it’s time to bang our heads and raise our horns to the sound of the thunderous bass by Jeanine Grob, and let the witches burn in the name of heavy music.
Born on June 4, 1990 in Brugg, a Swiss municipality and a town in the canton of Aargau, the talented Jeanine, or simply Jay as her friends like to call her, considers herself some sort of “novice” in music, as she explained that after meeting Romana Kalkuhl (rhythm guitarist with Atlas & Axis who had been looking for a cast for an all-female metal band for a long time) at a party she actually went to her music school for guitar lessons just for fun, but after a while Romana asked if she could handle the bass guitar. Needless to say, she fell in love with that instrument, and of course Romana asked her if she wanted to be part of her all-female band, leading to the creation of Burning Witches. “Romana is something of the fun factor. She didn’t start the band to be famous or anything like that. She just wants to have fun and see how an all-female band works. For me that was great. I could stand on stage with my best friend and bang my head. Never thought it would develop this far with the band,” commented Jeanine in one of her interviews.
It was during the spring of 2015 when Swiss Heavy/Power Metal act Burning Witches was officially formed by Romana, with Jeanine becoming the band’s first official member, later being joined by vocalist Seraina Telli, drummer Lala Frischknecht and guitarist Alea Wyss. Although there have been a few changes to the band’s lineup since their inception, Romana, Jeanine and Lala have remained as its core, with vocalist Laura Guldemond and guitarist Larissa Ernst being the other two current members of the band. As you all know, Laura is from the Netherlands, which means her mother tongue is Dutch and not German like the rest of the band, but that’s not an issue at all for the band according to Jeanine. “Our band language is now English. Of course, situations can arise from time to time in which you have to ask exactly what that was meant to prevent misunderstandings. But before we quarrel about it, let’s talk about it. But it’s definitely not a problem – and then there’s Google.”
When asked about how the band managed the transition from Seraina to Laura on vocals, and if there was a lot of pressure to find the right replacement for a much-vaunted frontwoman like Seraina as quickly as possible, Jeanine said that because Romana writes the music to sound like Burning Witches no matter what, there were no issues nor pressure during that period of change, complementing by saying she thinks Laura sounds even more metal than Seraina (although she considers both great vocalists). “And what makes us very happy, of course, is that Laura is very well received by the fans, and that is ultimately what counts. In terms of character, Laura fits perfectly into the band, she’s just as crazy as we are,” said Jeanine, who doesn’t know exactly where the band could go, while also saying the band would never change their style just to be more successful, and that it was never their declared goal to become such popular metal band. “Hey, we were allowed to perform in Wacken – the dream of every musician who is at home in the metal scene. But we kept our feet on the ground and didn’t take off. And I’m not planning where I want to be in five years, for example to tour with Iron Maiden. We take it as it comes and enjoy every single step!”
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In terms of her idols and influences, Jeanine and the rest of the band are of course inspired by bands the likes of Iron Maiden, Judas Priest, Manowar, Amon Amarth, and Switzerland’s biggest metal band of all time, Celtic Frost, always listening to a variety of music ranging from Jazz to Extreme Metal. Our dauntless bassist is also a huge fan of Exodus, but of course she said the biggest dream tour for her would be with Iron Maiden or Judas Priest, saying she would probably faint if she could go on tour with Iron Maiden. Furthermore, as their musical roots are definitely in the 80’s, Jeanine said there are many parents who attend their concerts and take their kids with them, which certainly has a positive impact on the future of heavy music. Speaking about touring and the life on the road, Jeanine mentioned that playing at Bang Your Head, one of the biggest festivals in Germany, was a fantastic experience to the band and a moment that will be remembered by them. And when asked about the band’s cover version for Manowar’s classic Battle Hymn, Jeanine said that “we’re all Manowar fans and Romana had the brilliant idea of asking Ross The Boss to play on our cover version. And to our delight, he absolutely loved the idea. His bassist Michael Lepond (Symphony X) also found the suggestion exciting, and that’s how the whole thing got rolling.”
Jeanine also has an interesting view on the use of Spotify, YouTube and other streaming services today, and how they impact her music. “Everything is more fast-moving today, especially with all the media platforms that are now available. But I think the real fans who are interested in our music will listen to everything online as well. What was certainly better for us musicians in the past, when everything was still released on disk or CD, is that there were no platforms from which you could simply download music for free. A lot of people are not even aware that we musicians are not doing us any favors because we don’t get anything for our work. On the other hand, these new technologies also offer completely new possibilities. Nowadays it’s much easier to reach people and make them aware of us and our music. If you used to walk into a record store and see a CD from a band you’ve never heard of in your life, you probably hesitated rather than grabbing it spontaneously. Today you’re online, just listen to one or the other song, and if you like it, then you buy it. Everything has its pros and cons.”
In one of her interviews, Jeanine said she likes the fact that the Burning Witches are known as an all-girls group, complementing by pointing out to the importance of having more women in a male-dominated scene. “As a woman, it takes a lot of courage to stand up and fight to be taken seriously. When it all started for us back then, we had to fight against the prejudice that we didn’t set it all up ourselves. It was rumored that we first got a record deal and only then gave concerts, which of course is nonsense. And you really have to want success, because the music business isn’t always a bed of roses. What I can also imagine is that female bands quickly get in each other’s hair and then the whole thing falls apart quite quickly. Luckily, that’s not a risk for us, because we’re all very direct and open when dealing with each other and discuss differences of opinion straight away,” also saying that being called “witches” makes total sense for them, as in metal music no woman wants to be a “princess”. By the way, although Jeanine said the band doesn’t have any male groupies, there’s a fun video on YouTube from when the band played in St. Louis, a major city in Missouri along the Mississippi River in the United States, where one of the guys told Jeanine he loves her, and of course the band played along to make the experience even more fun.
As it happens to many, many bands and musicians out there, the girls from the Burning Witches have what can be called regular jobs, including of course Jeanine, but she said that luckily they all have great bosses who support them, saying that if they’re absent for several weeks then they take unpaid leave. “I work in sales, where it wasn’t always easy for the last three years – a lot was promised, but when it came down to it, they suddenly said I was here to work and you couldn’t make money with music anyway. But I was lucky enough to find a new job where I am now really supported. The whole thing is always based on reciprocity. I’m willing to give a lot, but I expect something in return. But this flexibility is not a matter of course, especially in sales, so I was really lucky.” Moreover, on the music side of business, Jeanine is very happy with all the support the band gets behind the scenes from VO Pulver (Poltergeist, Gurd), Marcel “Schmier” Schirmer (Destruction) and Damir Eskic (Destruction). “It’s definitely not the case that Schmier dictates anything to us, like getting involved in the songwriting or something like that, we really enjoy total freedom there. But of course we are also extremely happy about his input, after all he has been in the scene for over 30 years and brings a lot of experience with him. In the end we design the songs the way we want them to, but we also have an open ear for tips and ideas.”
And the Bay struck back in the city of London, Ontario for the delight of all Thrash Metal lovers slamming into the pit on a completely sold-out night.
INTRO: The Bay Strikes Back Tour 2022
Featuring Bay Area Thrash Metal icons DEATH ANGEL, EXODUS and TESTAMENT, the fantastic party labeled The Bay Strikes Back Tour 2022 actually started back in Europe in February 2020, but only lasted for two months due to all COVID-19 restrictions at that time. However, in 2022 the three bands got back in action with the first leg of a North American tour in April and May, another European leg in the summer, and now a second North American leg this fall, including the sold out, majestic thrashing night on October 1 at the London Music Hall in London, Ontario, here in Canada. The place was jam packed from the very first second the doors opened at 6pm, and that was the landscape until Testament closed the night already past 11pm, requiring a lot of stamina, headbanging and moshing from the fans lucky enough to get a ticket for such unique night of pure Thrash Metal.
Precisely at 6:50pm, and with the merch lines still being huge (which caused several fans to miss part of the concert), San Francisco, California’s own Thrash Metal squad DEATH ANGEL kicked off the night on a high note, blending old school tunes the likes of Mistress of Pain and Voracious Souls with newest hits such as The Moth and Humanicide, from their latest effort Humanicide, released in 2019. Mark Osegueda was on fire throughout the entire concert, showcasing an amazing vocal performance while his bandmates made sure there was plenty of heaviness and speed for the fans at the London Music Hall to get into the circle pits. It was really cool to see bassist Damien Sisson sporting a Toronto Raptors jersey, and of course seeing how much Canadians love Death Angel. Right after they finished playing the closing tune, the excellent Thrown to the Wolves, it became obvious that their setlist was way too short, but I’m sure the band will be back for a full-bodied, ass-kicking performance sooner than we can say “Thrash Metal”.
Setlist The Ultra-Violence / Mistress of Pain
Voracious Souls
Seemingly Endless Time
The Dream Calls for Blood
Caster of Shame
The Moth
Humanicide
Thrown to the Wolves
Band members
Mark Osegueda – vocals
Rob Cavestany – guitar
Ted Aguilar – guitar
Damien Sisson – bass
Will Carroll – drums
After a quick bathroom/beer/merch break, all fans at the venue got in their desired positions for the fulminating Thrash Metal attack by the one and only EXODUS, and it was indeed a killer lesson in violence. Steve “Zetro” Souza, Gary Holt, Lee Altus, Jack Gibson and Tom Hunting felt at home in London, crushing everything and everyone that crossed their path during their high-octane, heavy-as-hell performance, and consequently putting a huge smile on the faces of everyone at the venue. Promoting their sensational 2021 opus Persona Non Grata, the band delivered endless adrenaline in a setlist that beautifully mixed new songs like The Beatings Will Continue (Until Morale Improves) and The Years of Death and Dying with old school thrashing classics including A Lesson in Violence, Blacklist and Bonded by Blood. Zetro and Gary were insane on stage the whole time, while their fans were simply slamming into the pit like there’s no tomorrow. Close to the end of the show, before they played the electrifying The Toxic Waltz, Zetro thanked everyone at the venue for an amazing sold-out night and thanked security for the excellent job done in keeping everyone safe during the concerts, while a Canadian flag with the Exodus logo was shining bright behind the drums, and Gary made a tear of pure joy fall from everyone’s faces when he played a snippet from Slayer’s undisputed classic “Raining Blood”. We need Slayer back. Anyway, as usual they ended the concert with Strike of the Beast, or maybe I should say STRIKE OF THE FUCKIN’ BEAST, with a promise Exodus will soon return to Canadian lands for another lesson in violence.
Setlist
The Beatings Will Continue (Until Morale Improves)
A Lesson in Violence
Blood In, Blood Out
The Years of Death and Dying
Deathamphetamine
Blacklist
Piranha
Prescribing Horror
Bonded by Blood
The Toxic Waltz
Strike of the Beast
Band members
Steve “Zetro” Souza – vocals
Gary Holt – lead and rhythm guitars
Lee Altus – lead and rhythm guitars
Jack Gibson – bass
Tom Hunting – drums, percussion
It took a little longer for Oakland, California-based Thrash Metal titans TESTAMENT to hit the stage at the London Music Hall, more specifically at 9:30pm, but I must say the wait was totally worth it as Chuck Billy and his crew masterfully blasted our hearts and souls with their very technical, infernal and thrilling Thrash Metal. It didn’t matter if they played newer songs like Rise Up, The Pale King and WWIII, or thrashing classics the likes of Practice What You Preach and First Strike Is Deadly, the crowd went mental into the circle pit, inspiring the whole band to play even faster and heavier than usual. The new songs from their 2020 album Titans Of Creation sounded fantastic live, but it was the old school stuff that set endless fire to the pit. I have to say that D.N.R. (Do Not Resuscitate), Electric Crown and The Formation of Damnation might be three of the finest Thrash Metal anthems of all time, and if you add to that the sensational way Eric Peterson and Alex Skolnick slashed their axes, the rumbling bass by Steve Di Giorgio, and of course the unparalleled drums by Mr. Dave Lombardo, who received perhaps the most heartwarming ovation from the crowd from all bands, there you have the cream of thrash served on a plate of pure gold to their Canadian fans. Chuck Billy was having an amazing time, being extremely happy with the reaction of the crowd before Native Blood when he mentioned the importance of the day before the show, September 30, to all indigenous people due to the National Truth and Reconciliation Day in Canada, and pretending he was “brewing” pure Thrash Metal in the giant “casserole” known as the floor section while fans were in a devastating mode during Into the Pit, among a few nice stories he told in between songs. Everyone left the London Music Hall extremely satisfied with the whole night, in special with the ass-kicking performance by Testament, and it won’t take long for them to return to Canada to blast our ears once again as long as we always practice what we preach.
Setlist Rise Up
The New Order
The Pale King
Children of the Next Level
Practice What You Preach
WWIII
D.N.R. (Do Not Resuscitate)
Native Blood
Night of the Witch
Electric Crown
The Formation of Damnation
First Strike Is Deadly
Into the Pit
Alone in the Dark
Band members
Chuck Billy – vocals
Eric Peterson – guitar
Alex Skolnick – guitar
Steve Di Giorgio – bass
Dave Lombardo – drums
“I wanted to play drums because I fell in love with the glitter and the lights, but it wasn’t about adulation. It was being up there playing.” – Charlie Watts
And there goes another year without a single metal concert in Canada. Another year full of uncertainties, fears, polarization, restrictions, and everything else we “love” so much. I honestly don’t know what to say about 2021 apart form the fact it was undoubtedly much better than 2020, but that means nothing considering the total nightmare that 2020 was. We lost a lot of huge names in the rock and metal scene such as Joey Jordison, Dusty Hill, Mike Howe, Johnny Solinger, Marsha Zazula, Alexi Laiho, John Hinch, John Lawton, Charlie Watts and Hank Von Hell, among many others. Tons of festivals including Download, Wacken Open Air, Hellfest, Bloodstock Open Air, Sweden Rock Festival and Dynamo MetalFest were scheduled to return this year after the 2020 editions of those festivals were cancelled due to the COVID-19 pandemic, but unfortunately Sweden Rock, Hellfest, Download and Wacken Open Air were once again cancelled. With that said, why do we metalheads still believe in a better future? Is it because, despite all adversities, our favorite bands released some of their best albums from the past few years?
Hence, as new lockdowns are being imposed upon us in a never-ending pandemic loop, there’s not much we can do but enjoy The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2021, excluding EP’s, best of’s and live albums, keeping us sane until this madness is finally over. Or maybe I should say if it will be over one day, of course. There’s a bit of everything for all types of fans, from classic Heavy Metal to the brutality of Death Metal, from the modern nuances of Melodic Death Metal to old school Thrash Metal, and so on, and in my humble opinions one of the most interesting facts about several albums launched in 2021 is their duration, with many of those surpassing the one hour barrier such as Senjutsu, Helloween, Persona Non Grata, Existence Is Futile and Blood on Blood, not to mention the over four hours of music from the Lordiversity boxset, which for me proves how much the bands responsible for those albums love their fans by offering them a lot of new music to enjoy during such difficult times. I would say that even if there are ZERO metal albums launched in 2022, we’ll still have a lot of great music to enjoy throughout the year thanks to all the amazing records released in 2021, don’t you agree?
1. Iron Maiden – Senjutsu (REVIEW) Behold another masterpiece by the one and only Iron Maiden with its 82 minutes of tactics, strategy, war, resilience and determination.
Best song of the album: Hell on Earth
2. Helloween – Helloween (REVIEW) A dream come true for all generations of “Happy, Happy Helloween” fans from all over the world.
Best song of the album: Skyfall
3. Trivium – In the Court of the Dragon (REVIEW) It’s time to join Trivium in the court of the dragon to the sound of their magnificent new opus.
Best song of the album: Like a Sword Over Damocles
4. Exodus – Persona Non Grata (REVIEW) Don’t be a “persona non grata” in the world of heavy music and get into the circle pit to the sound of this newborn thrashing beast.
Best song of the album: Lunatic-Liar-Lord
5. Cannibal Corpse – Violence Unimagined (REVIEW) State of the art Death Metal played with passion and breathless precision by the most violent and unrelenting band of all time.
Best song of the album: Surround, Kill, Devour
6. 1914 – Where Fear and Weapons Meet (REVIEW) Ukraine’s own doom infantry is back into the battlefield with another masterpiece, telling the gruesome tales of World War I.
Best song of the album: Pillars of Fire (The Battle of Messines)
7. Motorjesus – Hellbreaker (REVIEW) Let’s drive through the fires of hell together with one of the best bands from the German rock and metal scene.
Best song of the album: Hellbreaker
8. Nervosa – Perpetual Chaos (REVIEW) A deadly and thrashing lesson in perpetual chaos by four metalheads hailing from Brazil, Italy, Spain and Greece
Best song of the album: Time to Fight
9. Gojira – Fortitude (REVIEW) Let’s all face up the world to the sound of the new masterpiece by one of the most dynamic bands of the current metal scene.
Best song of the album: Amazonia
10. Blaze Bayley – War Within Me (REVIEW) The man who will live for a thousand years is back, inspiring us all to fight the war within us and to take our future in our own hands.
Best song of the album: Pull Yourself Up
And here we have the runner-ups, completing the top 20 for the year:
11. Running Wild – Blood on Blood (REVIEW)
12. Lordi – Lordiversity (REVIEW)
13. Cradle of Filth – Existence Is Futile (REVIEW)
14. Diabolizer – Khalkedonian Death (REVIEW)
15. Angelus Apatrida – Angelus Apatrida (REVIEW)
16. Moonspell – Hermitage (REVIEW)
17. Lutharo – Hiraeth (REVIEW)
18. Unflesh – Inhumation (REVIEW)
19. Scarlet Aura – Genesis of Time (REVIEW)
20. Coiled Around Thy Spine – From The Ashes (REVIEW)
In addition to all that, let’s bang our heads with our Top 10 EP’s of 2021 to prove once and for all that not all great albums of the year have to be so long. The EP’s from this list are simply awesome, showcasing the band’s talent and their ability to sound epic even if the music lasts for only a few minutes.
1. Eonian – The Nomad (REVIEW)
2. Lady Beast – Omens (REVIEW)
3. The Agonist – Days Before the World Wept (REVIEW)
4. Tantivy – Eyes in the Night (REVIEW)
5. Grale – AGITACIÓN (REVIEW)
6. Bouquet of Dead Crows – Hemispheres Part 2: Cerebral (REVIEW)
7. Kadavereich – Radiance Of Doom (REVIEW)
8. Wolvencrown – A Shadow Of What Once Was (REVIEW)
9. Juliet Ruin – Dark Water (REVIEW)
10. Black Hole Deity – Lair Of Xenolich (REVIEW)
Do you agree with our list? What are your top 10 albums of 2021? 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 2021 – 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 2022!
And before I go, I’ll leave you with some touching words by Mr. Lordi and his crew of monsters…
Something something blah blah to you All the sincere wishes come true I put vengeance on my wish list And that’s what Santa brought So have a merry something and a happy blah blah blah
Don’t be a “persona non grata” in the world of heavy music and get into the circle pit to the sound of the newborn beast by one of the driving forces of Thrash Metal worldwide.
Persona Non Grata, an unacceptable or unwelcome person, is also the name of the brand new Thrash Metal beast by Bay Area titans Exodus, their first studio album since Blood In, Blood Out in 2014 and their second to feature vocalist Steve “Zetro” Souza since he returned to the band that same year. Recorded at drummer Tom Hunting’s three home studios in Lake Almanor, California, mixed by Andy Sneap at Backstage Studios, engineered by Steve Lagudi, displaying an ass-kicking, venomous artwork by Pär Olofsson, and featuring guests Rick Hunolt, who had been an Exodus member on and off since replacing original guitarist Kirk Hammett in 1983, and Zetro’s own sons Nick Souza and Cody Souza on backing vocals, both from Zetro’s band Hatriot, Persona Non Grata is another lesson in violence by the aforementioned Zetro and Tom together with guitarists Gary Holt and Lee Altus and bassist Jack Gibson, and despite the delay in the release of the album due to Gary’s commitments with Slayer until 2019 and Tom’s diagnosis with squamous cell carcinoma of the stomach (and I’m sure Tom will beat the shit out of it), the wait was totally worth it as their new album is undoubtedly one of the best releases in the world of metal in 2021.
Gary and Lee waste no time and begin their axe attack in great fashion in the pulverizing title-track Persona Non Grata, a lecture in savagery by Exodus uniting their early days sound with their heavier and more demonic present, also showcasing a beyond bestial Tom on drums; and they keep hammering our heads mercilessly in the circle pit-generator R.E.M.F., presenting another awesome guitar job by Gary and Lee supported by the metallic bass by Jack, while Zetro vociferates rabidly just the way we like it. Then an incendiary intro evolves into another Thrash Metal extravaganza titled Slipping into Madness, which will inspire you to slam into the pit in the name of heavy music. It’s very old school without sounding outdated, with Zetro once again being on fire with his raspy roars, whereas in Elitist the band sounds less intense but still violent and acid as usual, with Jack and Tom extracting earthshaking sounds from their respective bass and drums while the band’s guitar duo delivers their trademark sharp solos. Sinister sounds permeate the air in Prescribing Horror, a neck-breaking, vile creation by Exodus where Tom smashes his drums flawlessly, followed by The Beatings Will Continue (Until Morale Improves), a pure, unfiltered Bay Area Thrash hymn which will sound amazing when played live, with Zetro, Gary and Lee being in total sync from start to finish.
Exodus Persona Non Grata Box Set
The Years of Death and Dying is a lot more melodic than its predecessors, offering their trademark unfriendly lyrics (“I’m a force of nature pure and sure / I’ve killed through all of time / When a GALE force wind blows through you / You’ll know that you are mine / I am legend, I’m your end / You’ll wither when I’m near / I’m the years of death and dying / the sum of all your fears”), while in Clickbait the unstoppable Zetro gnarls the song’s austere words manically (“We take the clickbait / Follow as they lead / With every word they captivate / We blindly follow they trail like human sheep / Never awake always asleep”) accompanied by the brutality blasted by Tom on drums. After the short and sweet Southern Rock-inspired instrumental interlude Cosa del Pantano, the band comes crushing us all in Lunatic-Liar-Lord, featuring a sick guitar solo by Rick Hunolt while the band brings to our ears eight minutes of aggression, speed and adrenaline, all spearheaded by the undisputed riffage by the one and only Gary Holt. There’s no sign of slowing down and the quintet keeps delivering sheer electricity and rage in The Fires of Division, another Thrash Metal anthem perfect for hitting the “dance” floor while Zetro continues to fire his unique growls; and closing such dense and demolishing album of vicious thrash we have Antiseed, starting in a dark manner before exploding into a massive, evil creature led by the aggressive vocals by Zetro and the heavy-as-hell riffage by Gary and Lee.
After listening to over one hour of the ass-kicking, first-class, undisputed Thrash Metal blasted by Exodus in Persona Non Grata, we can rest assured thrash is very much alive, and will forever be, positioning not only the album as one of the best metal releases of the year, but also Exodus as one of the true driving forces of today’s Thrash Metal alongside Testament. Hence, don’t forget to follow Zetro, Gary & Co. on Facebook and on Instagram, and to buy or stream Persona Non Grata by clicking HERE, and if I were you I would definitely go for the beyond special boxset edition of the album (which you can purchase HERE or HERE), limited to 2,000 worldwide and including the album on CD and orange/red swirl with black splatter vinyl, a “Jam Camp!” Blu-ray, a 20-page booklet, a slip mat, a wall flag and a patch, all embraced by a custom packaging with 3D-vacuformed album art and clamshell box with die-cut window and gold foil stamping. And if after all that you still decide not to grab your copy of such insane album, I’m sorry but from now on you’re “persona non grata” at The Headbanging Moose.
Best moments of the album: Persona Non Grata, R.E.M.F., The Beatings Will Continue (Until Morale Improves) and Lunatic-Liar-Lord.
Worst moments of the album:The Years of Death and Dying.
Released in 2021 Nuclear Blast
Track listing 1. Persona Non Grata 7:30
2. R.E.M.F. 4:22
3. Slipping into Madness 5:33
4. Elitist 3:58
5. Prescribing Horror 5:09
6. The Beatings Will Continue (Until Morale Improves) 3:01
7. The Years of Death and Dying 5:22
8. Clickbait 4:31
9. Cosa del Pantano 1:13
10. Lunatic-Liar-Lord 7:59
11. The Fires of Division 5:23
12. Antiseed 6:17
Band members Steve “Zetro” Souza – vocals
Gary Holt – lead and rhythm guitars
Lee Altus – lead and rhythm guitars
Jack Gibson – bass
Tom Hunting – drums, percussion
Guest musicians Rick Hunolt – lead guitars on “Lunatic-Liar-Lord”, backing vocals
Cody Souza – backing vocals
Nick Souza – backing vocals
This talented German horde returns with a brand new concept album marking a stylistic change from their original sound to a soundtrack-like Black Metal offering.
Brought into being in 2014 as a recording project by Leo and Klaus Bergmann after their previous band Bleak disbanded, Augsburg, Germany-based Epic/Atmospheric Black Metal band Nocturnal Escape is back in action now in 2020 with their sophomore installment, entitled Uncharted Pathways, a concept album consisting of five songs with a combined running time of nearly 58 minutes, marking a stylistic change from the riff-laden Melodic Death Metal found in their 2015 self-titled debut album to a soundtrack-like Black Metal offering. Featuring a grim and exquisite artwork by artist Daniela Teichmann, the album also presents to the listener a new growler, Paul Perlberg (replacing Thomas Zimmermann), and a new session drummer, James Knoerl, instead of the programmed drums from their first album, providing the overall sound a more organic and, therefore, more intense vibe.
The serene keys by Leo kick off the 10-minute aria entitled Exodus, evolving into a fusion of classic Black and Doom Metal where Paul roars and gnarls in a true devilish manner, filling every single space in the air with its background choir-like sounds, ritualistic drums and scorching hot guitar riffs, ending in a climatic and melancholic manner and building an instant bridge to Forlorn, once again presenting whimsical sounds blended with the band’s most vicious and extreme side, with Leo and Klaus slashing their strings in great fashion and, consequently, providing Paul all he needs to vociferate like a demon while James dictates the song’s charming rhythm with his sluggish beats. In addition, it becomes crystal clear in this dense and distinguished tune how the band decided to distance themselves from Progressive Death and Black Metal, being now fully invested in a hybrid of Black, Folk and Epic Metal.
Then featuring guest Rüdiger Bergmann on trombone, the trio’s acoustic guitars and low-tuned, rumbling bass lines ignite the also multi-layered and vibrant Tranquillity, morphing into an obscure and crisp Black Metal extravaganza led by Leo and his venomous riffage while Paul adds an extra touch of evil to it with his deep, enraged growls, also bringing forward a few eerie, symphonic breaks to enhance the intricacy and drama of the overall result, sounding and feeling as epic and detailed as it can be. And the band keeps stimulating our senses with their classy extreme music in Insight, where all background elements generate a Stygian atmosphere that will darken your heart and soul. Furthermore, the Black Metal blast beats by James make an interesting paradox with the clean vocals by Leo, resulting in a lesson in Atmospheric Black Metal with Leo’s crisp riffs and solos being the icing on the cake. And accelerating their pace and enhancing their electricity they offer us all the closing tune Departure, featuring guest vocals by Stefan Bauer, with James hammering his drums mercilessly until gentle piano notes permeate the air intertwined with heavy riffs and dense bass lines, flowing into a very symphonic, epic and enfolding finale.
In case you think you have what it takes to face almost one hour of the atmospheric and obscure passages by Nocturnal Escape, you can take a full listen at Uncharted Pathways on YouTube and on Spotify, and of course purchase the album from Apple Music, from Amazon or from the band’s own BandCamp page, where not only you’ll be able to compare their current sound with their debut effort, but you’ll also receive an exclusive remastered instrumental version of the entire album (which means almost 58 extra minutes of instrumental and atmospheric extreme music for your avid ears). Also, don’t forget to check what Leo, Klaus and Paul are up to on Facebook, subscribe to their YouTube channel for more of their music, and let the atmospheric and very detailed Black Metal made in Germany found in Uncharted Pathways penetrate deep inside your mind.
Best moments of the album: Tranquillity and Departure.
Thirteen years ago Exodus returned with another incredible lesson in Thrash Metal.
Sometimes excellent bands go on a huge musical hiatus due to unforeseen reasons, making their fans at the same time really sad and anxious for a possible return someday. However, some of those bands return with very low-quality material and the damage to their careers is almost incurable, as for example what happened with the disappointing comebacks of Running Wild, with the weak album Shadowmaker, and Guns N’Roses, with the controversial Chinese Democracy.
Fortunately, that’s not what happened to Thrash Metal masters Exodus. Quite the contrary, when they got back to life with their first new album since the interesting Force of Habit, from 1992, they kicked some serious fuckin’ass. Tempo of the Damned might not be the best Thrash Metal album in the history of music, but it’s probably the best of the past two decades in terms of creativity, riffs, and of course, violence. With the return of Steve “Zetro” Souza on vocals, Tom Hunting smashing his drums, and especially an inspired Gary Holt absolutely on fire, Tempo of the Damned is the epitome of what’s best in modern Thrash Metal.
Are you ready for a sonic massacre? Well, the first track, Scar Spangled Banner, is even more than that. For over 6 minutes, we have a perfect representation of the “new” Exodus: extremely politicized and intelligent lyrics (“We the people, for no people / Secure the blessings of tragedy / Do ordain we have established / The scar spangled banner”), awesome riffs and solos, creative variations, and a lot of speed. The second track of this brilliant album, War Is My Shepherd, is another fuckin’ carnage, perfect for an intense mosh pit with Zetro doing a pretty good job on vocals.
Then we have the incomparable hit Blacklist, my favorite track of the album and certainly on my top 5 songs in the history of Exodus, with the best vengeful lyrics in Heavy Metal (“You’d better start runnin’ / Cause you know that I’m comin’ / Cocked and loaded and I never miss / I’m onto your game / And I’m layin’ the blame / And I’m addin’ your name to my blacklist”) and a riff that is beyond perfect for banging our fuckin’ heads until we drop. Shroud of Urine keeps the album at a high note, followed by another pure Thrash Metal song called Forward March, where Gary Holt and Rick Hunolt deliver us some truly amazing solos.
Culling the Herd is slower than the previous tracks (maybe for us to take some air), but it is also a great Thrash Metal song. The shortest song of the album, Sealed with a Fist, focus on all the “beauty” of marriage and it’s highly recommended for a friend’s wedding if you like to play pranks on people. The next track, Throwing Down, shows us why Gary Holt is one of the most underrated riff masters in the world, with outstanding riffs and solos. Seriously, when are people going to recognize Gary’s unparalleled contribution to the world of music?
The album ends with the good song Impaler (written by Metallica’s own Kirk Hammett, and it should have been feature in Bonded By Blood if Kirk Hammett hadn’t taken its main riff with him to be used on “Trapped Under Ice”), and the title-track Tempo of the Damned, which can be called a “musical beast” due to its boisterous rhythm, crazy riffs, fast percussion, and of course its very controversial lyrics paying a “tribute” to all types of religions and churches. And if your neck is still attached to your body when this brutal song is over and you have the special digipack version of the album, you can relax and enjoy a very nice cover for AC/DC’s classic Dirty Deeds Done Dirt Cheap, where Zetro simply nailed it with his visceral voice.
Finally, did you notice the length of the songs in Tempo of the Damned? Most of them surpass the 5-minute barrier, something unimaginable for almost all Thrash Metal bands in the world, with some songs having even over 7 minutes. That’s why after this album was released many people started calling Exodus as the “Pink Floyd of Thrash Metal”, and also fans started demanding that Exodus were included in the “Big 4”, making it more like a Big 5 (or even a Big 6 with Testament included too), due to the undeniable quality of their music. I honestly don’t care if they make it a Big 5 or Big 6; what really matters to me is that Exodus keep on delivering us many more “lessons in violence” such as Tempo of the Damned in their career.
Best moments of the album:Scar Spangled Banner, Blacklist and Tempo of the Damned.
Worst moments of the album: It’s hard to choose a bad song in the album, because there are none. I would select Impaler as the “least amazing” tune, though.
Released in 2004 Nuclear Blast
Track listing 1. Scar Spangled Banner 6:41
2. War Is My Shepherd 4:27
3. Blacklist 6:17
4. Shroud of Urine 4:52
5. Forward March 7:32
6. Culling the Herd 6:07
7. Sealed with a Fist 3:36
8. Throwing Down 5:01
9. Impaler 5:25
10. Tempo of the Damned 4:22
Band members Steve “Zetro” Souza – vocals
Gary Holt – lead and rhythm guitars
Rick Hunolt – lead and rhythm guitars
Jack Gibson – bass
Tom Hunting – drums
It’s somehow ridiculous that there was ONLY ONE CONCERT scheduled from the Dark Roots of Thrash II Tour in Canada. Fortunately for me, but not as much for most of our headbanging brothers in B.C., Alberta and other distant locations, the city chosen was Toronto, Ontario, more specifically the Phoenix Concert Theatre. Well, at least for the first time in months we didn’t have any snow, rain, bitterly cold temperatures or any other of the wonders of the winter on a concert night in the city. Quite the contrary, the weather was beyond perfect for a lesson in Thrash Metal.
The attraction responsible for warming up all thrash metallers at the venue was American Metalcore band SHATTERED SUN, who by the way are managed by Chuck Billy’s own company Breaking Bands LLC. Although Metalcore is not among the most reasonable options for pumping up a crowd avid for brutal old school Bay Area Thrash Metal, they had a good performance and didn’t disappoint the crowd with their mix of heavy and melodic music, with the addition of keyboards being a fresh element to the night. I can’t tell much about their setlist, only that they’re promoting their soon-to-be-released new album entitled Hope Within Hatred, which should be available within a few days. If you’re a fan of the genre, here’s a good choice for your collection.
Band members Marcos Leal – vocals
Daniel Trejo – guitar
Jessie Santos – guitar
Joseph Guajardo – bass
Henry Garza – keyboards, samples
Robert Garza – drums
Exodus @ Phoenix Concert Theatre, Toronto, ON, 04/15/2015
Holy. Fuckin’. Shit. EXODUS do not only kick fuckin’ ass when they’re on stage, they ALWAYS teach us motherfuckers a lesson in fuckin’ violence. It’s incredible how such an old band (in a good way, of course) still sounds so fresh and captivating until today, and that’s in my opinion mainly due to the fact they keep releasing awesome albums like their latest installment, the absurdly excellent Blood In, Blood Out. And that, ladies and gentlemen, is how the madness started, with two of the best songs from the new album: the insane Black 13 and the mosh pit-anthem title-track Blood In, Blood Out, which worked so well live to the point if they had left the stage after only two songs it would have been awesome anyway.
Right after that frantic start, Exodus offered us a sequence of Thrash Metal classics to drive all fans crazy into the circle pits (adding some bruises to our personal collections), with highlights to masterpieces such as A Lesson in Violence, The Last Act of Defiance and my favorite Exodus songs of all time, the impeccable Blacklist (“You’d better start runnin’ / Cause you know that I’m comin’ / Cocked and loaded and I never miss / I’m onto your game / And I’m layin’ the blame / And I’m addin’ your name to my blacklist”), The Toxic Waltz and Strike of the Beast, the latter including a smaller version of the infamous wall of death for our total delight. However, I was truly happy to see they didn’t “forget” about the Rob Dukes-era and added two of the most exciting songs of that period, Iconoclasm and Children of a Worthless God. Maybe next time they can play even other songs from that era, such as “Hammer and Life” and “Deathamphetamine”?
Kill the Kardashians, Gary!
In regards to the band members, there were tons of highs, but one significant low. Actually, the low was not the band’s fault, as bassist Jack Gibson wasn’t allowed to enter Canada due to issues with the law. We accept Justin Bieber living here doing all the shit he does, and I don’t care he’s Canadian, but we cannot let good old Jack into the country? That’s ridiculous. Anyway, the dude that replaced him (sorry, I forgot his name, but he also helps Exodus when Gary Holt is with that “other Thrash Metal band”, and Gary even played an excerpt of “Raining Blood” just to remind the crowd about that) did a pretty good job supporting Gary Holt, Steve “Zetro” Souza & Co. during the entire concert. Talking about Zetro and Gary, I guess they can be considered the “new” dynamic duo of old school Thrash Metal so in sync they’ve been since Zetro’s return last year. While Zetro leads the fans into the mosh pits with his raspy voice (is it true it was his first time in Toronto in 10 years?), Gary simply delivers the most motherfuckin’ extraordinary riffs and solos in the world of heavy music. I’m not going to extend my speech about how great Gary is, as I believe I’ve already said enough in previous album and concert reviews, but there’s one thing that must be mentioned that enhanced his performance even more last night: who didn’t love his KILL THE KARDASHIANS T-shirt?
As Zetro said immediately after Exodus played the classic Bonded by Blood, we are all bonded not only by blood, but by our passion for Heavy Metal, and he’s 100% right. We love metal music, we love Exodus, and we cannot wait for them to get back to Toronto to teach us another lesson in Thrash Metal. Remember we are all part of Exodus’ “blacklist”, which means it shouldn’t take long for that to happen, I hope.
Setlist
1. Black 13
2. Blood In, Blood Out
3. Iconoclasm
4. Children of a Worthless God
5. A Lesson in Violence
6. Salt the Wound
7. The Last Act of Defiance
8. Blacklist
9. Bonded by Blood
10. War Is My Shepherd
11. The Toxic Waltz
12. Strike of the Beast
Band members Steve “Zetro” Souza – vocals
Gary Holt – lead and rhythm guitars
Lee Altus – lead and rhythm guitars
Jack Gibson – bass*
Tom Hunting – drums, percussion
*Missed the concert for not being allowed to enter Canada due to issues with the law.
Testament @ Phoenix Concert Theatre, Toronto, ON, 04/15/2015
There was an essential short break between concerts for recovering our energies and enjoying a cold beer, and I’m being serious when I say “essential” because what TESTAMENT did during their flawless concert was inhuman. Playing only songs from their first three albums, The Legacy (1987), The New Order (1988) and Practice What You Preach (1989), Chuck Billy and his crew showed no mercy on our bodies and souls with an avalanche of old school Thrash Metal classics. How not to go wild with songs like Over the Wall, Do or Die or The New Order? Although their latest albums (The Formation of Damnation and Dark Roots of Earth) are Heavy Metal masterpieces, being able to witness a tour only composed by old classics is always interesting.
Testament @ Phoenix Concert Theatre, Toronto, ON, 04/15/2015
From all songs in their setlist, I would say my favorites were Eerie Inhabitants, C.O.T.L.O.D., Practice What You Preach, and especially the devastating tunes Disciples of the Watch and Into the Pit. The song already has “pit” in its name, but it was when Chuck demanded we all slammed into the fuckin’ pit that things got pretty serious. In summary, it was an amazing setlist, which ignited some nonstop headbanging and lots of smiles among the fans who answered Chuck’s call and were having a great time into the circle pit.
Moreover, there’s one thing that amazes me in Testament, and that’s the musicians involved. All five are superb with their instruments, delivering top-notch Heavy Metal, which always makes me wonder why there are metalheads in the world that still don’t know who Testament are. Chuck’s voice is unique (as thunderous as it can be), Gene Hoglan redefines the meaning of the word “stone crusher”, and I have no words to describe Alex Skolnick. Honestly, I didn’t know if I slammed into the pit or if I stayed there just watching him play his guitar so jaw-dropping his technique is (not even when he suffered from technical difficulties he looked less incredible). Watching Gary Holt AND Alex Skolnick delivering the most awesome Thrash Metal riffs and solos you can imagine on the same night was a true blessing. Those guys definitely practice what they preach.
Setlist 1. Over the Wall
2. The Haunting
3. Burnt Offerings
4. Raging Waters
5. The Preacher
6. Do or Die
7. First Strike Is Deadly
8. A Day of Reckoning
9. Apocalyptic City
10. Eerie Inhabitants
11. The New Order
12. Trial by Fire
13. Into the Pit
14. Alone in the Dark
15. C.O.T.L.O.D.
Encore:
16. Practice What You Preach
17. Disciples of the Watch
Band members Chuck Billy – vocals
Eric Peterson – guitar
Alex Skolnick – guitar
Steve Di Giorgio – bass
Gene Hoglan – drums
“May the New Year bring you courage to break your resolutions early! My own plan is to swear off every kind of virtue, so that I triumph even when I fall!” – Aleister Crowley, Moonchild
It’s with these inspiring words found in the occult novel Moonchild, written by British occultist, poet and novelist Aleister Crowley in 1917, that The Headbanging Moose reaches another year end. Well, not before celebrating heavy music, which is the essence of this webzine, right? In order to honour all metal bands and musicians who made our year a lot more fun, here is The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2014, excluding of course EP’s, best of and live albums. Party on, dudes!
1. Judas Priest – Redeemer of Souls (REVIEW)
The Metal Gods are finally back with another marvellous sonic storm forged in the fires of pure Heavy Metal.
Best song of the album: Halls Of Valhalla
2. Primal Fear – Delivering the Black (REVIEW)
Primal Fear once again deliver the awesome with their tenth studio album, their best since Seven Seals.
Best song of the album: King For A Day
3. Triptykon – Melana Chasmata (REVIEW)
One of the most expected albums of 2014 is a beautiful mix of Gothic, Black and especially Doom Metal as grandiose as they can be.
Best song of the album: Boleskine House
4. Exodus – Blood In, Blood Out (REVIEW)
American Thrash Metal masters deliver us another great lesson in Thrash Metal. Welcome back to the family, Zetro!
Best song of the album: Blood In, Blood Out
5. Axel Rudi Pell – Into the Storm (REVIEW)
A fantastic “storm” of heavy riffs and solos by one of the best Hard Rock/Heavy Metal guitar players from Germany.
Best song of the album: Burning Chains
6. Accept – Blind Rage (REVIEW)
And we salute Accept for another wonderful metal album, the third installment in this new amazing Accept-era.
Best song of the album: Dying Breed
7. Escapetor – Fear (REVIEW)
A serious contender for “Thrash Metal Album of the Year”, as heavy, invigorating and awesome as it can be.
Best song of the album: The Queen
8. Vanden Plas – Chronicles of the Immortals – Netherworld (REVIEW)
Get ready for an amazing journey in this new Rock Opera Album.
Best song of the album: The King and the Children of Lost World
9. Godsmack – 1000hp (REVIEW)
Lots of horsepower, groove, great riffs and strong vocal lines are just some of the things you’ll find in this amazing rock album.
Best song of the album: 1000hp
10. Phantom – …Of Gods and Men (REVIEW)
With huge doses of blood, iron, sweat, steel and fire, this Canadian power trio delivers an indie Heavy Metal masterpiece for our total delight.
Best song of the album: Blood & Iron
And here we have the runner-ups completing the top 20:
11. Behemoth – The Satanist (REVIEW)
12. Cannibal Corpse – A Skeletal Domain (REVIEW)
13. Humbucker – King of the World (REVIEW)
14. Insomnium – Shadows Of The Dying Sun (REVIEW)
15. Crucified Barbara – In The Red (REVIEW)
16. Gamma Ray – Empire of the Undead (REVIEW)
17. Motorjesus – Electric Revelation (REVIEW)
18. Lordi – Scare Force One (REVIEW)
19. Dimenzion:Psychosphere – Collapse (REVIEW) 20. Anti-Mortem – New Southern (REVIEW)
One of our recent reviews mentioned the law of conservation of mass by French chemist Antoine Lavoisier, which states that “Nothing is lost, nothing is created, everything is transformed.” With that said, why not innovating a little and listing the Top 10 Cover Songs of 2014? Because in the end it’s metal bands working towards the conservation of heavy music. Let me tell you all those cover versions are amazing, but the first two go beyond that, they’re just perfect.
Also, in 2014 we were able to witness so many impressive releases from new and not so new independent bands (or at least not signed to major record labels) such as Orisonata, SouLost, Goatchrist, Valknacht, Ann My Guard, Septekh, Way Of Changes, Henriette B, Misanthrope Monarch, Witches Of Doom, Phobiatic, Prayed and Betrayed, Temple Of Void, Maahlas, Laugh At The Fakes, Lelahell, Diablery, Humbucker, Phantom, No Sin Evades His Gaze, Endzeit, among tons of other awesome bands and artists, it’s hard to name just a few. They’re indeed a huge slap to the face of those idiots who keep saying heavy music is dead and gone. Just Google those bands or search for them here at The Headbanging Moose and you’ll see what I’m talking about. Some of them even made it to the top10/20 list, as you can see.
You can check The Headbanging Moose’s playlist Top 10 Hard Rock & Heavy Metal Albums of 2014@ Songza, with the best songs from each band of the list above, as well as amazing songs from lots of independent bands who rocked the world in 2014. And, of course, do not forget to listen to the weekly episodes of The Metal Moose Show by the Metal Moose Radio. Support you local bands… AND FOLLOW THE MOOSE!
And last but not least, before the Headbanging Moose goes into “hibernation” until the beginning of 2015, I’ll leave you guys with a song that’s way better than any of that Christmas garbage shoved down our throats every fuckin’ year. This song says it all.
Metal Xmas and a Headbanging New Year! See you in 2015!
Three years after their crushing debut Defiled in Oblivion, New York-based Death Metal maidens Castrator return with Coronation of the Grotesque, an album that not only exceeds all expectations, but leaves them shattered in its wake, firmly cementing the band among the North American Death Metal elite. Recorded across multiple studios with key figures in the United States Death Metal scene, mixed and mastered by Noah Buchanan at Mercinary Studios, produced by Carolina Perez and Taylor Nordberg (Deicide, Inhuman Condition, Ribspreader), and displaying a gruesome, dystopian artwork by Jon Zig, the new album by the badass Clarissa Badini on vocals, Sara Loerlein on the guitars, Robin Mazen on bass, and Carolina Perez on drums explores a range of historical and societal themes that reflect on injustice, victimization, and human suffering. Among the topics confronted are the tragic killing of Mahsa Amini, the ancient Sumerian practice of eunuchization, and seething condemnation of predator Naasón Joaquín García.
“We see it as a leap forward,” exclaims drummer Carolina Perez. “It’s by far the strongest work we’ve done to date. Writing Coronation of the Grotesque was an incredibly enjoyable experience, and everything seemed to come together much more naturally this time. While the album still retains elements of who we were as a band, it’s much more refined, cohesive, and brutal.” And if you want to join those absolutely talented and ferocious ladies in their quest for Death Metal you can start following them on Facebook and on Instagram, stream their ass-kicking music on Spotify, and of course grab a copy of the incendiary Coronation of the Grotesque from the Dark Descent Records’ BandCamp or webstore (as a CD, LP, or tape), or simply click HERE for all things Castrator. Those girls are not fooling around when it comes to crafting brutal, in-your-face Death Metal, and you better be ready as once you have the pleasure of listening to their scathing new opus, you’ll be pulverized by their undisputed heavy music.
THE HEADBANGING MOOSE 