Tag Archives: france

Album Review – Aephanemer / Utopie (2025)

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France’s own Symphonic and Melodic Death Metal powerhouse strikes back with their fourth studio offering, an ambitious, razor-sharp assault of epic melodies, relentless speed, and philosophical depth.

Following the roaring success of their previous albums Memento Mori (2016), Prokopton (2019), and A Dream Of Wilderness (2021), Toulouse, France-based Symphonic/Melodic Death Metal powerhouse Aephanemer strikes back with their fourth studio offering, entitled Utopie, or “utopia” in English, an ambitious, razor-sharp assault of epic melodies, relentless speed, and philosophical depth. Mixed by Dan Swanö at Unisound, mastered by Mika Jussila at Finnvox Studios, with vocals recorded by Yannick Tournier at Waïti Studios, and displaying a stylish artwork by Niklas Sundin, the newborn beast by Marion Bascoul on vocals, Martin Hamiche on the guitars, bass and orchestrations, and Mickaël Bonnevialle on drums surges with heavier classical influences, blistering riffage, Slavic folk undertones, and majestic orchestrations, shaping a sound that feels both ancient and forward-looking while engaging with the concept of utopia not as escape, but confrontation, questioning ideals through the sheer force of sonic precision, and the quest for a world of harmony between living beings.

The album starts in a serene manner with Échos d’un Monde Perdu, or “echoes of a lost world” in English, a cinematic intro that warms us up for Le Cimetière Marin (which title and a couple of verses were borrowed from a poem by Paul Valéry), or “the graveyard by the sea”, with Marion’s harsh vocals walking hand in hand with the striking riffs, keys and orchestrations by Martin. Then Mickaël sounds ruthless behind his drums in La Règle du Jeu, or “the rules of the game”, offering Marion exactly what she needs to kick some ass on vocals in a lecture in Symphonic Death Metal; and their metallic feast goes on in full force in Par-delà le Mur des Siècles, or “beyond the wall of ages”, again presenting intricate, melodic and absolutely electrifying guitar lines and orchestrations by Martin. After such a magnificent tune we have Chimère, the French word for “chimera”, another epic, no shenanigans tune by those French metallers, with Mickaël stealing the spotlight again with his unstoppable beats and fills.

The band shows no sign of slowing down at all in Contrepoint, or “counterpoint”, delivering a breathtaking fusion of Melodic and Symphonic Death Metal led by the venomous roars by Marion and the always incendiary riffs by Martin, whereas La Rivière Souterraine, or “the underground river”, starts like the score to an epic movie thanks to the amazing job done by Martin with his orchestrations, before exploding into eight minutes of sheer instrumental brilliance. Lastly, we’re treated to the album’s phenomenal two-part title-track, starting with Utopie (Partie I), where their cinematic vein pulses harder than ever before Marion comes ripping with her deep, inhumane harsh vociferations, flowing majestically into Utopie (Partie II), where the imposing wall of sounds crafted by Martin and Mickaël surpass all barriers of epicness, all of course spiced up by another thrilling performance by Marion on vocals, ending the album on an atmospheric, climatic and beautiful way.

In a nutshell, Aephanemer continue to carve their own path in the Symphonic and Melodic Death Metal landscape with Utopie, sounding faster, more epic, brutal and classical than ever, and you can join those beyond talented French metallers in their quest for heavy music via Facebook and Instagram, stream their awesome discography on Spotify, and of course purchase Utopie from their own BandCamp or webstore, as well as from Napalm Records or by clicking HERE or HERE. Utopie is more than just an album, it’s a storm of sound, a philosophical reckoning, and a powerful new chapter from one of Europe’s most vital and visionary metal bands, and I can’t wait to see what’s next in their striking career after such an amazing lecture in modern-day Melodic Death Metal.

Best moments of the album: La Règle du Jeu, Par-delà le Mur des Siècles, Contrepoint and Utopie (Partie II).

Worst moments of the album: None.

Released in 2025 Napalm Records

Track listing
1. Échos d’un Monde Perdu 1:16
2. Le Cimetière Marin 5:30
3. La Règle du Jeu 3:53
4. Par-delà le Mur des Siècles 5:14
5. Chimère 4:22
6. Contrepoint 4:31
7. La Rivière Souterraine 8:29
8. Utopie (Partie I) 7:55
9. Utopie (Partie II) 9:38

Band members
Marion Bascoul – vocals
Martin Hamiche – guitars, bass, orchestrations
Mickaël Bonnevialle – drums

Album Review – Naraka / Born In Darkness (2025)

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One of the most promising modern acts emerging from France returns with their hellish, incendiary sophomore offering.

Founded in 2019 by guitarist Jean-Philippe Porteux, French Melodic Death Metal outfit Naraka (a term that generally refers to the realm of hell or a place of torment in Indian religions) is back with their mix of Modern Metal and Death Metal with symphonic and sometimes even electro touches in their sophomore album, titled Born in Darkness. Recorded at Hybreed Studio, Serial Drummer Studio, and At The Gates Ov Hell Studio, mixed and mastered at Darth Vader Studio, produced by Logan Mader, and adorned by a devilish artwork by Andreas Bathory, the follow-up to their 2021 debut In Tenebris continues to pave the path started by the band in their inception, creating a dramatic and atmospheric experience without losing focus on their core instrumentation and, therefore, positioning the band currently formed of vocalist Théodore Rondeau, guitarist Jean-Philippe Porteux, bassist Pierre-André Krauzer, and drummer Franky Costanza as one of the most promising modern acts emerging from France’s always exciting metal scene.

The album kicks off with the cinematic intro Apocalypsis Diem, where the band invites us all to their dark and sinister world before all hell breaks loose in Born In Darkness, offering our avid ears a solid and thrilling fusion of Black, Death and Groove Metal led by the Lamb of God and Machine Head-inspired screams by Théodore. Franky then pounds his drums in great fashion in the heavy-as-hell Something Woke Up, supported by the slashing riffs by Jean-Philippe and all of the song’s wicked background sounds, whereas Jean-Philippe revs up the band’s Blackened Death Metal engine in Blazing Sun, also showing elements from Gothic Rock and Metal. With a title like Hellhound the only thing we could expect was pure doom, and we get it straight from Pierre-André’s bass and the song’s haunting background choir, followed by Tyrants, another hard hitting tune of melodeath with groove and blackened nuances, with Franky taking the lead with his fierce beats.

Then leaning towards Symphonic Black and Death Metal those French metallers fire an adrenaline-fueled beast named Sorcerer, where the harsh vocals by Théodore walk hand in hand with all keys and orchestrations; and like the soundtrack to a horror movie, the climatic interlude Deus Belli sees the band arise from the netherworld in Lost, again venturing through the realms of Gothic Metal, in special in the song’s dark, deep vocals and sluggish beats. The Reign In Red is one more devilish creation by Naraka, evolving into a Symphonic Black Metal aria spearheaded by Franky’s crushing drums, also featuring Sotiris Anunnaki V of SepticFlesh on guest vocals. Parasite is a modern and visceral display of Dark Metal that goes straight into your mind, with Jean-Philippe’s riffs crawling under your skin like a creepy centipede, followed by The Last Day On Earth, a phantasmagorical composition where all background keys add an extra dosage of heaviness to the already vile riffage by Jean-Philippe. Lastly, we face an acoustic version of Lost, not as good as the electrified version, and a bit unnecessary as the album is already grandiose without it.

Although the name Naraka has only been around for less than a decade, the band members are seasoned veterans of the French scene, bringing a powerful and sophisticated sound to the table in their new album Born In Darkness, which is by the way available from the Art Gates Records webstore as a digipak + shirt bundle, a digipak + shirt + hoodie bundle, or a digipak + shirt + hoodie + mug bundle. Don’t forget to also follow such a promising band on Facebook and on Instagram, as I’m sure their live performances are incendiary to say the least, and stream their music on any platform out there like Spotify. If you’re looking for modernity in heavy music while also deeply rooted in classic extreme sounds, Naraka will certainly fulfill your needs with Born In Darkness, keeping the fires of French music burning bright and inspiring those talented musicians to keep melting our faces with album number three in a not-so-distant future.

Best moments of the album: Something Woke Up, Hellhound and Parasite.

Worst moments of the album: Lost (Acoustic Version).

Released in 2025 Art Gates Records

Track listing
1. Apocalypsis Diem 1:41
2. Born In Darkness 5:29
3. Something Woke Up 4:38
4. Blazing Sun 5:08
5. Hellhound 3:57
6. Tyrants 4:12
7. Sorcerer 4:01
8. Deus Belli 3:32
9. Lost 4:25
10. The Reign In Red 5:18
11. Parasite 3:31
12. The Last Day On Earth 5:51
13. Lost (Acoustic Version) 3:55

Band members
Théodore Rondeau – vocals
Jean-Philippe Porteux – guitar
Pierre-André Krauzer – bass
Franky Costanza – drums

Guest musician
Sotiris Anunnaki V – vocals on “The Reign In Red”

Album Review – Esoctrilihum / Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm (2025)

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One of the most innovative names of the Avantgarde Black Metal scene worldwide returns with his tenth opus, a concept album telling the ritual stages in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm.

Often accused of having no sense of measure, French artist Asthâghul churns out a new double album that is grandiose, symphonic, psychedelic, liturgical, and delirious under his Avantgarde Black Metal alter-ego Esoctrilihum. Beautifully titled Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm, his tenth studio album is a prism that reflects every single nuance of the project’s sound, from bombastic Black and Death Metal, to Death and Doom Metal deviations, up to his recent Psych-Folk Metal explorations. Conceptually divided into four chapters, each of which telling a ritual stage in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm, who will finally deliver them to eternal nothingness, the new album by Asthâghul on vocals, guitar, bass, drums, synth, organ, theremin, harp, kantele, hammered dulcimer, and nyckelharpa, with “ultra-dimensional high vocals” by guest Esthurïelh, is a must-listen for fans of Leviathan, The Ruins Of Beverast, Inquisition, Xasthur, all adorned by a wicked artwork named “Youth Of The Beast” by Alan Brown (aka Medusawolf), with photography by Aylowenn Aëla, and visual design by Francesco Gemelli.

In the opening track Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather, there’s no intro nor any build up. It goes straight to your jugular with Asthâghul’s demented beats and creepy keyboards sounding fantastic from start to finish; and his fusion of Avantgarde Black Metal with the church-like sounds from his organ result in an imposing wall of sounds in Kneeling Before the Keeper of the Golden Key to the Absolute Void, followed by At the Mercy of the Flaming Spear of the Bestial Hierophant, also presenting Asthâghul’s demented vision in the form of his own blend of Black Metal. His sonic onrush continues in full force in Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, The Giant Fly, leaning towards Atmospheric Black Metal at times thanks to the dark and dense vibe boosted by his deep, desperate roars, and the way he blends the sounds of all instruments in such a cohesive manner in Hypnotic Danse Macabre of the Blind Noctivagants is outstanding, resulting in a ritualistic Black Metal celebration.

Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme presents even elements from Industrial Black Metal, giving the whole song an even harsher vibe, with his demonic vocals and blast beats living up to the legacy of the genre. Then it’s absolute chaos, madness and despair in Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe, bringing forward another blast of scorching riffs and phantasmagorical keys by our multi-talented Asthâghul, who then goes full Experimental Death Metal in The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite, with his deep guttural and screeching riffage hitting us hard in the head. In Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp we see our lone wolf pounding his drums with tons of anger while his vocals lines sound absolutely ritualistic. It’s a weird song, though, maybe a bit too much, but still enjoyable, flowing into the atmospheric and creepy outro Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites where we face one final Black Metal attack to conclude the album on a visceral mode.

A post-mortem ritual that is told in the secret grimoire of the Ghostigmatah, a sort of modern Necronomicon that constitutes another piece in Esoctrilihum’s phantasmagorical visionary world, Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm is a nightmarish, mystical dimension of death beyond time and space, inhabited by an artist who, through his music, fearlessly lets its dark light filter into our reality. And even if nothing of this massive explanation makes any sense to you, you should definitely go check all albums by the multi-talented and unstoppable Asthâghul and his Esoctrilihum on Spotify, and grab a copy of his new nightmare-fueled album from the I, Voidhanger Records’ BandCamp or from Metal Odissey as a CD (EU or US) or as an LP (EU or US). Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm might not be an album recommended for the average listener or for the lighthearted, but once you dive deep into the experimental realm ruled by Asthâghul like what he has to offer in his new album, you’ll realize you’re in front of one of the leading beasts of the Avantgarde Black Metal movement worldwide.

Best moments of the album: Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather, Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme and Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe.

Worst moments of the album: Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp.

Released in 2025 I, Voidhanger Records

Track listing
1. Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather 9:47
2. Kneeling Before the Keeper of the Golden Key to the Absolute Void 9:06
3. At the Mercy of the Flaming Spear of the Bestial Hierophant 7:46
4. Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, The Giant Fly 8:39
5. Hypnotic Danse Macabre of the Blind Noctivagants 7:28
6. Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme 8:34
7. Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe 9:36
8. The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite 8:36
9. Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp 9:16
10. Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites 5:04

Band members
Asthâghul – vocals, guitar, bass, drums, synth, organ, theremin, harp, kantele, hammered dulcimer, nyckelharpa

Guest musician
Esthurïelh – additional vocals

Album Review – Hasard / Abgnose (2025)

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The sophomore album by this talented French musician sees him dive deeper into nightmarish atmospheres, twisted harmonies and the interaction between orchestra and a typical metal instrumentation.

A spin-off project of Les Chants du Hasard, committed to deliver the darkest and most dissonant Black Metal in the fertile ground on which fascinating orchestral melodies with a dark, melancholic and resigned mood flourish, Paris, France-based Avantgarde Black Metal entity Hasard returns with its sophomore opus, entitled Abgnose. Mastered by Olivier Prouvost, and displaying a sinister artwork by Roy de Rat, the follow-up to the project’s 2023 album Malivore sees vocalist and multi-instrumentalist Hazard dive deeper into nightmarish atmospheres, twisted harmonies and the interaction between orchestra and a typical metal instrumentation, being therefore highly recommended for fans of Akhlys, Aoratos, Blut Aus Nord, and Wreche.

Just like in his previous album, our lone wolf blends the finesse of classical music and opera with the harshness of Avantgarde Black Metal in Oniritisme, with his Stygian vocals walking hand in hand with his haunting riffs and blast beats. Senestral continues to breathe darkness into our already blackened hearts and souls, sounding as the soundtrack to a true psychological horror movie while Hazard’s drumming reeks of classic Black Metal for our total delight; and there’s no time to breathe as Hazard’s nightmarish sounds will penetrate deep inside your rotten mind in Negascendance, a lecture in Avantgarde Black Metal with elements from Post-Black Metal and progressive nuances. Antienne Estrale, the longest of all songs, is also the most detailed, dynamic and multi-layered, not to mention it is creepy and grim as hell, growing in intensity and fire until all fades into oblivion in a lesson in  experimental and extreme music, whereas finally,  the title-track Abgnose closes the album on a high note, with Hazard not only delivering venomous riffs and sluggish beats, but his keys are also phantasmagorical.

The last remnant of the 19th century romanticism had a few words to say about his newborn spawn. “Abgnose is a testament to the greater force that governs our lives, neither a god or a devil, but only pure chance. There is no greater entity sitting in the sky or below the earth, who watches with interest our petty lives. Only pure chance and random events. We spend a short amount of time as a small point on an equally small planet lost somewhere in the universe and we die, only for our futile achievements to be forgotten as fast as we’re replaced. Just count the here and now, as there’s no afterlife. Abgnose stands for removing the idea of the divine, thus leaving only the despair of having to live and not be rewarded for our actions in this world.” Hence, you can get in touch with such a talented musician via Facebook and Instagram, stream his music on Spotify, and of course purchase Abgnose from BandCamp or from Metal Odissey as a CD (EU and US) or LP (EU or US).  Always deeper into nightmares, always further into despair. To what end? That’s a question Hazard keeps asking at every note in his excellent new album.

Best moments of the album: Senestral, Negascendance and Antienne Estrale.

Worst moments of the album: None.

Released in 2025 I, Voidhanger Records

Track listing
1. Oniritisme 8:24
2. Senestral 7:02
3. Negascendance 8:34
4. Antienne Estrale 10:06
5. Abgnose 9:50

Band members
Hazard – vocals, all instruments

Album Review – Eight Lives Down / Fates (2025)

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This multinational Progressive/Groove Metal four-headed creature is back with its sophomore opus, looking at forces beyond human control and how we respond in the face of helplessness.

Looking at forces beyond human control and how we respond in the face of helplessness, building and exploring tensions created from a sense of unease, Fates, the sophomore album by the multinational Progressive/Groove Metal four-headed creature Eight Lives Down, is a journey into the shadows of mortality. Recorded and mixed by Dan Baune at Tectonic Tone, mastered by Rasmus Andersen at Raw Sound Studio, and with a classy artwork by Diana Sawicka of What the Moon Brings, the follow-up to their 2020 debut Humans turns inward and downward, fixating on death, decay, and forces beyond human control. It’s a gaze into the abyss, and a study in how we respond when all sense of agency is stripped away, all masterfully brought into being by Aliki Katriou on vocals, Paul Allain on the guitar, Marcin Orczyk on bass, and Rodrigo Moraes Cruz on drums.

Dark and sluggish sounds kick off the opening tune Void before exploding into a modern-day blend of Groove and Progressive Metal, all embraced by Aliki’s vicious, raspy vociferations, who also declaims the words to the next song, titled Dog’s Breakfast, with tons of passion (“Everything changed seemingly overnight / Everything messed up and suddenly felt so right / Everyone covered eyes and ears / And climbed inside the anthill / Of despair and death / To practice learned helplessness”) amidst an overdose of heaviness. Fishbones sounds less violent while also leaning towards more melodic and experimental sounds, with Paul’s guitar transpiring electricity; and Aliki’s dark and pensive vocals are perfect for Phobia, again exploding into a feast of heavy and groovy sounds with Rodrigo dictating the song’s frantic pace with his classic beats and fills. Deicide brings forward more of the band’s caustic riffs supported by Marcin’s heavy-as-hell bass and Rodrigo’s killer beats; and Aliki sometimes sounds like a Death Metal version of the iconic Mike Patton, which is obviously awesome, like in the visceral tune The Point.

Then the band switches gears to a more melancholic, darker sonority in Green Light in the Distance without forgetting to blast our faces with their harsh sounds and tones; and the quartet still has a lot of fuel to burn, with Left Behind being a very good example of how they can mix harsher metal sounds with nuances from several non-metal styles. Marcin then blasts his bass, extracting pure metallic sounds in Storm, while Aliki keeps declaiming the song’s Stygian words nonstop (“It starts like liquid, water / One and the same / And I find comfort in the shelter / Hiding from the blame / I feed off you every day / And you infect my mind / In this race of coming out ahead / I’ve already fallen behind”). Constantinople is a bit disappointing compared to the rest of the album, sounding generic at times, but the band gets back on track in The Process of Dying, one of the most diverse, dynamic and vibrant of all songs, with Aliki kicking some serious ass on vocals. Furthermore, the bonus track (available on Spotify) featuring the iconic metal choir Hellscore, directed by Noa Gruman, sounds even more powerful.

Musically, Eight Lives Down maintained their progressive spin, with raw thrash foundations audibly peaking through in Fates (available in full on  Spotify), while the album weaves Greek Zeibekiko, snotty Punk, Black Metal, NWOBHM, and even Brazilian Forró rhythms into a dynamic sonic landscape, being therefore highly recommended for fans of System of a Down, Rage Against the Machine, Sepultura, Carcass, Pantera, Prong, Faith No More, Lamb of God, and Jinjer. you can find those unstoppable metallers on Facebook and on Instagram, subscribe to their YouTube channel, and purchase Fates from their own BandCamp page, from their webstore, or by clicking HERE. In other words, simply sit down, relax, and descend into the abyss of heavy music crafted by Eight Lives Down. You won’t regret the experience at all.

Best moments of the album: Void, Phobia, Storm and The Process of Dying.

Worst moments of the album: Constantinople.

Released in 2020 Independent

Track listing
1. Void 4:51
2. Dog’s Breakfast 5:39
3. Fishbones 4:35
4. Phobia 4:28
5. Deicide 4:20
6. The Point 3:17
7. Green Light in the Distance 7:16
8. Left Behind 4:48
9. Storm 7:33
10. Constantinople 4:56
11. The Process of Dying 7:17

Spotify bonus track
12. The Process of Dying (Hellscore version) 7:14

Band members
Aliki Katriou – vocals
Paul Allain – guitar
Marcin Orczyk – bass
Rodrigo Moraes Cruz – drums

Guest musicians
Hellscore – metal choir on “The Process of Dying”

Metal Chick of the Month – Sofia Bortoluzzi

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I feel, I live… I breathe, I’ve grown…

In this month of August, let’s all travel through the realms of cinematic heavy music, blending the aggressiveness of Progressive Metal and Rock with elements from Jazz, Soul, Hip-Hop, and Rap, courtesy of our multi-talented metal lady of the month. Better known as the striking frontwoman for French Cinematic Metal band No Terror In The Bang, her vocal range allows her to sing pretty much any music style you can think of, and I’m sure after listening to her incredible voice you’ll get simply addicted to any project she’s involved with. Not only that, she complements her phenomenal voice with a lot of charisma, stunning looks, and an amazing attitude onstage, giving her music a lot of depth thanks to her theatrical vibe and moves. Her name is Sofia Bortoluzzi, an extremely talented and promising singer, author, composer and performer, and you better get ready as once you get to know more about such a fantastic musician from the current rock and metal scene worldwide, there’s no turning back as you’ll be forever trapped under her spell.

Born and raised in Le Havre, a major port city in the Seine-Maritime department in the Normandy region of northern France, but currently residing in Rouen, capital of that same region, due to her studies and due to her work as a professional musician, Sofia  has been into music at a very early age. “My mother often tells me that I used to sing to sleep. I’ve always been encouraged to pursue a musical education. I started playing the piano at the age of 8 in a small music school.” Having been introduced to jazz, which she particularly loved, she said that it was at the age of 13 that she started taking singing lessons with singer, composer, actor and vocal coach Baptiste Famery, who was her mentor and literally immersed her in the world of music. Having started her studies at Conservatoire Arthur Honegger in Le Havre, and currently in a Professional Orientation Cycle in contemporary music singing at the Conservatoire à Rayonnement Départemental Max Pinchard in Grand-Couronne, France, Sofia is aiming to obtain the Diploma of Musical Studies (DEM), while at the same time she’s also pursuing further training at the Conservatoire de Rouen.

Since 2019, Sofia has been collaborating with drummer and composer Alexis Damien (Pin-up Went Down, Void Paradigm) on alternative metal music with cinematic atmospheres, founding then in Rouen the stunning Cinematic Metal beast No Terror In The Bang. By the way, the name of the band comes from a famous quote from world renowned filmmaker Alfred Hitchcock, who said “there’s no terror in the bang, only the anticipation of it,” comparing an impending thunderstorm to his vast body of work (as he directed over 50 films), and the band thought this described their style of music perfectly. Currently formed of Sofia Bortoluzzi on vocals, Clément Bernard and Etienne Cochin on the guitars, Brice Bouchard on bass, and Alexis Damien on drums, and Romain Greffe on keyboards, No Terror In The Bang play a majestic fusion of Progressive Metal with cinematic and alternative nuances, crafting a chiaroscuro world that balances fragility and fury.

It was back in 2021 when the band released their debut opus, entitled Eclosion, offering fans of heavy music a strong blend of primal energy and sophisticated cinematic orchestration. Three years later, it was time for their sophomore opus to see the light of day. Simply titled Heal, it’s a conceptual album pushing their dynamics further with tracks that are by turns turbulent, touching, and powerful, embracing diverse influences that amplify the album’s intensity. Sounding more brutal and progressive, yet still cinematic, resolutely modern and original, Heal engulfs the listener in the depths of tortuous worlds. You can enjoy several amazing official videos from both albums on their YouTube channel, including Lulled by the Waves, Retch, Another Kind of Violence, a live version of Warrior recorded at Café de la Danse in Paris in 2023, their full set recorded live at La Gare aux Musiques in 2022, as well as stream both albums in all of their glory on BandCamp or on Spotify.

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In 2023, No Terror In The Bang won an award in the emerging category of a French music competition, leading them to perform at several festivals and venues such as Le Normandy, Chien à Plumes, Chauffer Dans la Noirceur, and many others. And as their Cinematic Metal began taking them places, Sofia was asked in one of her interviews how she would define such a unique subgenre of heavy usic. “It’s an alternative genre that combines both metal and film music ambiances. It aims to immerse the listener in a chiaroscuro universe with this contrast between a dark, violent world and another dreamlike one that borders on dreams,” commented our phenomenal diva.

Part of a collective of local artists named La Charbonnerie, Sofia is also involved in other very interesting projects apart form her career with No Terror In The Bang. For instance, she’s a member of a duo with French beatmaker and rapper Mine Sale with influences from Jazz, Soul, Hip-Hop, and Rap. Their first EP, titled Diseases, was released in December 2020, including songs like I Can Fly. “This project, which I started a year ago, is a 7-track EP composed primarily in English. Its influences include Jazz, Soul, Hip-Hop, and Rap. Mine Sale is the beatmaker and initiator of this project. He’s a Rouen-based artist who is a rapper and heads a collective called La Charbonnerie, of which I’m an active member,” said Sofia. “Vocally, I come from a jazz background. It’s a great experience for me, allowing me to broaden my musical palette.” Furthermore, you can also find her making another duo with Pierre-Louis Le Port in a project called Gin Bee, as you can see in this acoustic version for Judas, by Lady Gaga.

Having won the second place in 2020 in the Les Etoiles de nos Régions competition, where she represented Normandy, Sofia had an interesting answer when asked about her vocal range. “People usually say I’m more of an alto, but I’d rather say I’m a mezzo, because I can sing very low as well as high. Recently, I’ve been able to master distorted singing, such as growls and screams.” Furthermore, as a writer and composer of all of her lyrics and melodies, she mentioned she usually starts her creative process with instrumental pieces, playing them on repeat until finding inspiration and the right flow, while also sometimes writing lyrics without music.

Having given vocal technique classes at Ecole de Musique de Quincampoix in addition to her professional training, saying by the way she had never progressed as much regarding her vocals before she started teaching, Sofia grew up with the internet and YouTube, as well as the first streaming platforms, having the opportunity to discover many artists such as the great divas of R&B like Beyoncé and Rihanna, American rappers including Lil Wayne and Eminem, Bob Marley and so on. Also, when asked to name a few artists from the Le Havre region that she would recommend, Sofia mentioned Brav, Tiers Monde (formerly known as Bouchées Doubles), and Médine, all from the French rap scene, showing how much the style has influenced her in her life and career.

There are also some very interesting interviews, most of the time in her mother tongue French, available online if you want to know more about Sofia and her No Terror in The Bang, including this one to France 3 Normandie where the band talks about the release of their second album Heal, and this 30-minute one to Loud TV to also talk about Heal. Sofia and of course her bandmates are going places with the uniqueness and energy of their music, and may her R&B soul keep getting intertwined with her metal heart for many decades to come, bringing to our avid ears an overdose of first-class, emotional heavy music, always enfolded by her unique vocals.

Sofia Bortoluzzi’s Official Facebook page
Sofia Bortoluzzi’s Official Instagram
No Terror In The Bang’s Official Facebook page
No Terror In The Bang’s Official Instagram
No Terror In The Bang’s Official YouTube channel

Album Review – Impureza / Alcázares (2025)

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The trailblazers of Hispanic Extreme Metal return with a fantastic new album, once again exploring the duality between extreme music and Spanish sounds inspired by Andalusian culture and flamenco.

Formed in 2004 by guitarist Lionel Cano Muñoz, Franco-Spanish Brutal Flamenco Death Metal entity Impureza offers a unique fusion of extreme music and Spanish sounds inspired by Andalusian culture and Flamenco, creating an atypical style known as “Hispanic Extreme Metal,” therefore turning them into the pioneers of the genre. Recorded and mixed by Sébastien Camhi at Studio Artmusic, mastered by Jacob Hansen at Hansen Studios, and displaying a stylish artwork by Johann Bodin and Xavier Ribeiro, Alcázares is the brand new offering by the band currently formed of Esteban Martín on vocals, Lionel Cano Muñoz on the guitars, Florian Saillard on fretless bass, and Guilhem Auge on drums, supported by Xavier Hamon on percussion and Louis Viallet on orchestrations, once again revolving around the voluptuousness of Latin atmospheres, the ferocity of metal music, and Spanish culture and history, explored through a fictional and esoteric aspect.

The pure Flamenco intro Verdiales will transport our minds to the world of Impureza before they attack with Bajo las Tizonas de Toledo, with Lionel delivering striking riffs and solos infused with Spanish sounds while Guilhem hammers his drums and Esteban roars deeply until the very end. Covadonga keeps the album at a high level of violence and epicness, with Lionel once again stealing the spotlight with his riffage supported by Florian’s puissant bass; and simply let their Spanish sounds penetrate deep inside your soul in Pestilencia, or “pestilence”, where the Spanish guitars by Lionel are effectively boosted by the percussion by Xavier before all explodes into another feast of Progressive Death Metal. And Reconquistar Al-Ándalus, or “reconquering Al-Ándalus”, is another perfect fusion of extreme music and the Andalusian culture, not to mention how infernal Guilhem sounds on drums.

Impureza will then put you to dance to the sound of Murallas, or “walls”, a fantastic interlude that will set the tone for La Orden del Yelmo Negro, which translates as “the order of the black helmet”, carrying a poetic name for an overdose of harsh vociferations by Esteban, all boosted by another visceral, flawless stringed attack by Lionel and Florian. After such a beautiful song, the band offers six minutes of dark, atmospheric sounds infused with the whimsical touch of the Spanish guitar by Lionel in Castigos Eclesiásticos, or “ecclesiastical punishments”; whereas in El Ejército de los Fallecidos de Alarcos, or “the army of the dead of Alarcos”, all backing vocals add an extra kick to Esteban’s harsh growls while Florian and Guilhem make the earth tremble with their progressive and ruthless kitchen. Then another Andalusian-infused instrumental interlude titled Ruina del Alcázar, or “ruin of the Alcázar”, warms us up for their final onrush entitled Santa Inquisición, or “holy inquisition”, where all band members set the ambience on absolute fire, led by the always demonic vociferations by Esteban in a lecture in extreme music.

Often nicknamed the “French Nile” due to their primary influences, which obviously include Nile, as well as Hate Eternal, Behemoth, and Fleshgod Apocalypse, among many others, plus several Spanish artists such as Flamenco guitarist Paco de Lucía and gypsy singer Camarón de la Isla, Impureza, which by the way means “impurity” in English, beautifully united traditional Hispanic folklore and Extreme Metal in their new album, presenting the duality between those two seemingly opposed musical genres in a beyond compelling way. Hence, you can get to know more about the band on Facebook and on Instagram, subscribe to their YouTube channel, stream their music on Spotify, and grab a copy of their fiery new opus from BandCamp or by clicking HERE. In a nutshell, not only Impureza are the undisputed trailblazers of Hispanic Extreme Metal, but Alcázares will certainly help them carve their name in the history of heavy music, leaving us eager for more in a not-so-distant future.

Best moments of the album: Bajo las Tizonas de Toledo, Reconquistar Al-Ándalus, La Orden del Yelmo Negro and Santa Inquisición.

Worst moments of the album: None.

Released in 2025 Season of Mist

Track listing
1. Verdiales 1:15
2. Bajo las Tizonas de Toledo 6:25
3. Covadonga 4:01
4. Pestilencia 4:44
5. Reconquistar Al-Ándalus 5:25
6. Murallas 2:24
7. La Orden del Yelmo Negro 4:57
8. Castigos Eclesiásticos 6:06
9. El Ejército de los Fallecidos de Alarcos 5:18
10. Ruina del Alcázar 1:37
11. Santa Inquisición 6:26

Band members
Esteban Martín – vocals
Lionel Cano Muñoz – rhythm, lead & Spanish guitars
Florian Saillard – fretless bass
Guilhem Auge – drums

Guest musicians
Xavier Hamon – percussion (session)
Louis Viallet – orchestrations (session)

Album Review – Eminentia Tenebris / Whispers of the Undying (2025)

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This French Black Metal entity returns with its fourth studio album, formed of eight epic and melodic pieces centered around the exaltation of heroism and bravery within an ancient and mythical war-torn universe.

Founded in Le Mans, Pays de la Loire, France in 2020 as a one-man band by Cryo, Atmospheric/Melodic Black Metal entity Eminentia Tenebris is unleashing its highly anticipated fourth album, Whispers of the Undying, following up on its 2023 album Rise of a New Kingdom. Whispers of the Undying, which marks the arrival of Erroiak on vocals and Daeris as the lyricist, as well as Septev handling all mixing, mastering, and layout, and displaying a classy artwork by Rein Van Oyen, is formed of epic and melodic pieces centered around the exaltation of heroism and bravery within an ancient and mythical war-torn universe. The album title should be interpreted as a metaphor for a timeless force that endures through eternity (via “whispers”), representing the survival of heroic deeds in collective memory over time (and thus never dying, or “undying”).

The duo’s cryptic Black Metal attack begins in full force in Forever Etched, an extended intro that works majestically, warming us all up for Echoes of Triumph, where Cryo delivers striking riffs, bass lines and blast beats nonstop, therefore boosting Erroiak’s visceral roars to a whole new level, sounding vile while at the same time absolutely epic. The galloping pace crafted by Cryo sounds and feels truly inspiring in The Great Betrayal, with all background elements adding an extra touch of obscurity to the music, and after such a demonic metal attack the duo offers a delicate start in Beneath the Moon, gradually morphing into another Black Metal extravaganza led by Cryo’s venomous riffage.

Through Chaos and Shadow is a first-class explosion of Melodic and Atmospheric Black Metal by Eminentia Tenebris, with Erroiak proving why he was chosen by Cryo to be the new voice of the band; followed by Embers of Glory, presenting another gentle, serene intro that will embrace our blackened souls, an ode to heroism and glory, with Erroiak roaring amidst a fusion of Epic and Black Metal. Then we have Marching as One, bringing forward another round of their darkened, epic sounds, with Cryo’s riffs and blast beats walking hand in hand with Erroiak’s desperate gnarls; and lastly, the duo will head into the battlefield one final time to the sound of Time’s Cruel Reign, with Cryo’s Black Metal beats enhancing the song’s heaviness to a whole new level.

Ultimately, Whispers of the Undying questions the legacy one wishes to leave behind and pays tribute both to heroic figures and to the power of nature, before which humankind must remember to remain humble. Hence, if you want to experience such a harsh, detailed and multi-layered album of extreme music in all of its glory, you can purchase a copy of it from the project’s own BandCamp or from the Antiq Records webstore, and don’t forget to also check what Cryo and his Eminentia Tenebris are up to on Facebook and on Instagram, and to stream more of the project’s idiosyncratic creations on YouTube and on Spotify, or simply click HERE for all things Eminentia Tenebris. As the album progresses, the narrator transforms from a triumphant protector to a tormented soul, whose powerlessness in the face of time’s ravages leads him to self-reflection at the moment of death, and there’s nothing better than the first-class fusion of Atmospheric and Melodic Black Metal by Eminentia Tenebris to support his dark and infernal path.

Best moments of the album: Echoes of Triumph, Through Chaos and Shadow and Marching as One.

Worst moments of the album: None.

Released in 2025 Antiq Records

Track listing
1. Forever Etched 1:43
2. Echoes of Triumph 4:26
3. The Great Betrayal 4:20
4. Beneath the Moon 5:21
5. Through Chaos and Shadow 4:35
6. Embers of Glory 5:05
7. Marching as One 4:44
8. Time’s Cruel Reign 5:04

Band members
Erroiak – vocals
Cryo – guitars, bass, drums

Album Review – Primal Age / Until The Last Breath (2025)

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Combining power and commitment, the striking new album by the trailblazers of French Hardcore and Metalcore marks a new chapter for the band, remaining true to their identity and original values.

The unstoppable pioneers of French Hardcore and Metalcore, Évreux, Normandy-based veterans Primal Age, are back in action after their successful 2021 album Masked Enemy with a brand new offering titled Until The Last Breath, the fourth studio album in their solid career. Recorded and mixed by Guillaume Doussaud at Swan Sound Studio, mastered by Alan Douches at West West Side Music, and displaying a classy cover art by Greg of Visual Injuries, the new album by frontman Didier, guitarists Benoit and Florian, bassist Dimitri, and drummer Rudy marks a new chapter for the band who, over 30 years after their debut, remains true to their identity and original values.

The album’s eerie Intro sounds as the calm before the storm, as Didier and his crew are ready to attack in Empire Will Always Fail, with Benoit and Florian showing no mercy for their axes (nor for our necks, of course). Didier also screams manically in False Pretense, supported by the always demented drums by Rudy, whereas in Voiceless Ones we face rebellious lyrics barked by all band members (“In cages small, they live their last and only days / Their freedom gone, in dismal ways / Their cries unheard, their pain unseen / A fucking world of suffering, a silent scream / WE ARE, WE ARE / We are the voice for the voiceless ones / WE ARE, WE ARE / End the cruelty, let love be our course / WE ARE, WE ARE / Their lives matter, / WE ARE, WE ARE / Just like ours”) amidst a lesson in Hardcore. And No Regrets offers another round of frantic, no shenanigans Hardcore made in France, led by the hammering drums by Rudy.

The second half of the album begins in a serene, melancholic manner with Madness, a whimsical interlude that once again brings some peace to our blackened hearts before Shadows Of Intolerance presents the band’s guitar duo formed of Benoit and Florian delivering an overdose of electricity, rage and melody through their energetic riffage. Then we’re treated to Walls Of Stone, bringing forward hints of classic Death Metal in their core sonority while Didier roars like a beast and his bandmates deliver a huge dosage of insanity armed with their incendiary sonic weapons; followed by The Meaning Of Life, their second to last breath of Hardcore infused with Metalcore elements, yet again bringing to our avid ears pure adrenaline flowing from their riffs, bass lines and unstoppable beats. Finally, it’s time for one more dive into the circle pit to the sound of Undisguised Shame, sounding as fast, electrifying and ruthless as we all love in the band’s more metallic version of Hardcore.

Combining power and commitment, Until The Last Breath is a must-listen for admirers of Hardcore infused with Metalcore elements with a strong and meaningful message in the background. Hence, you can get in touch with those French rockers on Facebook and Instagram, staying up to date with all things Primal Age including their frantic and electrifying live concerts, stream their awesome creations on Spotify, and of course purchase the excellent Until The Last Breath from Primal Age’s Big Cartel or from the WTF Records’ webstore. Even after three decades on the road, Primal Age are still alive and kicking, sounding as fresh as in their early days in their new album, which means they’ll keep kicking our asses mercilessly for years and years until their very last breath.

Best moments of the album: Empire Will Always Fail, Voiceless Ones and Walls Of Stone.

Worst moments of the album: False Pretense.

Released in 2025 WTF Records

Track listing
1. Intro 1:00
2. Empire Will Always Fail 3:51
3. False Pretense 3:16
4. Voiceless Ones 3:57
5. No Regrets 3:12
6. Madness 2:01
7. Shadows Of Intolerance 3:58
8. Walls Of Stone 3:46
9. The Meaning Of Life 4:01
10. Undisguised Shame 3:56

Band members
Didier – vocals
Benoit – guitars
Florian – guitars
Dimitri – bass
Rudy – drums

Album Review – Disfuneral / In Horror, Reborn (2025)

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This Archaic Death Metal entity from France will crush your souls armed with their sophomore album, delving deeper into themes of death, gore, and horror.

Formed in 2015 in Nancy, France, Disfuneral emerged from the remnants of the band Herpes, embracing a raw and unfiltered approach to Death Metal. Crafting a sound that pays homage to the early days of Death Metal while infusing their unique sense of humor and personality, calling their style as “Archaic Death Metal”, the band formed of Renaud Mann on vocals, Florian Brabant on the guitar, Clément Favre on bass and Nicolas Bauer on drums is set to unleash hell with their sophomore opus, entitled In Horror, Reborn. Recorded by the band itself (vocals, guitars, bass) and by Fabien Cruzille (drums), mixed and mastered by Robert Pehrsson at Studio Humbucker, and displaying a monstrous artwork by Jon Whiplash, the follow-up to their 2022 album Blood Red Tentacle delves deeper into themes of death, gore, and horror, encapsulating the band’s signature sound by blending ferocious riffs, guttural vocals and pounding rhythms, reflecting their strict dedication to the genre’s roots.

Simply hit play and a massive wall of sounds will crush you like an insect in Catacomb Dwellers, with Florian and Clément slashing their stringed axes in the name of classic Death Metal, and it’s pedal to the metal in the infuriated Tombs Vomiting the Dead, led by the hammering drums by Nicolas while Renaud barks and roars manically nonstop. The lancinating, visceral riffs by Florian will pierce your soul in Ripped from Within, a Death Metal beast that sounds and feels as dark and heavy as it can be, whereas Crypt of Demented lives up to its “charming” name, offering an overdose of heaviness and guttural vociferations, with the metallic bass by Clément walking hand in hand with Nicolas’ pounding drums.

Then adding a bit of Crust to their core Death Metal we have Extremity in Morbidity, a fast and furious tune spearheaded by Renaud’s demented roars, and investing in a much more somber, cadenced sound presenting hints of Doom Metal the band brings forward Dark Ages Ritual, with Clément’s bass sounding beyond heavy. Blessed by Decay is another slab of brutality and savagery by those French bastards, with Nicolas dictating the song’s frantic pace with his unstoppable beats, followed by the title-track In Horror, Reborn, presenting everything we love in Death Metal and more, sounding ruthless from start to finish and inviting us all for some wild mosh pit action. The band then closes the album on a high and demolishing note with Call from the Void, again showcasing Florian’s caustic riffage and Renaud’s deranged vocals.

In a nutshell, fans of bands the likes of Autopsy, Entombed, Necrot and Death Breath will certainly have an excellent time listening to In Horror, Reborn, and you can join those ruthless death metallers by following them on Facebook and on Instagram, by streaming their music on Spotify, and above all that, by purchasing their demented new album from Bandcamp or from the Redefining Darkness’ webstore (in the United States or in the EU and rest of the world). Disfuneral are definitely among us to spread gore, violence and death armed with their unrelenting music, with In Horror, Reborn representing a solid step further in their career and, consequently, a very good reason for us all to dive into the pit to the sound of our beloved Death Metal.

Best moments of the album: Tombs Vomiting the Dead, Extremity in Morbidity and In Horror, Reborn.

Worst moments of the album: Dark Ages Ritual.

Released in 2025 Redefining Darkness Records

Track listing
1. Catacomb Dwellers 4:19
2. Tombs Vomiting the Dead 3:59
3. Ripped from Within 3:34
4. Crypt of Demented 4:52
5. Extremity in Morbidity 2:37
6. Dark Ages Ritual 3:50
7. Blessed by Decay 4:16
8. In Horror, Reborn 3:22
9. Call from the Void 4:30

Band members
Renaud Mann – vocals
Florian Brabant – guitar
Clément Favre – bass
Nicolas Bauer – drums