Chasing the heretics since 2016 anno Domini, these French Heavy and Doom Metal inquisitors are back with their fantastic sophomore album, armed with purifying fire, blessed swords, and Holy Rage.
Chasing the heretics since 2016 anno Domini, French Heavy/Doom Metal inquisitors Ecclesia are back with their sophomore black mass, entitled Ecclesia Militans (or “the church militant” from Latin, an expression traditionally ascribed to Pope Clement V, who used it in his letter to King Philip IV in 1311 to indicate all living Christians), the follow-up to their critically acclaimed 2020 opus De Ecclesiæ Universalis. Armed with purifying fire, blessed swords, and Holy Rage, the band currently formed of Frater Arnhwald on vocals, Julius Accusator and The Witchfinder General on the guitars, Frater Ignis Sacer on bass, Pater Walkelinus on organ and keyboards, and Pater Hexenhammer on drums will convert fans of Candlemass, Solstice, and especially Tony Martin-era Black Sabbath as well as anyone who can feel the righteous fervor of medieval brimstone with their new album, demanding us to confess our sins to the sound of their perfect syncretism between traditional Heavy Metal and Epic Doom Metal.
The irreligious intro Vade Retro (from the admonition “vade retro me satana” or “get behind me, Satan!”, from the Gospel of Mark, 8:33, spoken by Jesus to Peter) will invite you to join the black mass conducted by Ecclesia in the rockin’ feast titled If She Floats, where the striking riffs by Julius Accusator and The Witchfinder General will slash your ears mercilessly, setting the tone for the soaring vocals by Arnhwald, all boosted by the song’s phantasmagorical background keys. Then we have Et Cum Spiritu Tuo (or “and with your spirit” from Latin), keeping their mass-infused sound reverberating to all four corners of the earth, in line with the excellency of their 2020 album by presenting a solid fusion of Heavy and Doom Metal with poetic lyrics (“Fear not my friend / For I have come to relieve you / Wherever you hide / You shall be found out and snatched out of misery / A gang of priors is waiting for you / We’ve had enough / The chalice is broken / Are you ready for a wild holy ride?”). The howling winds will bring to our avid ears six minutes of heresy and doom in the form of Antecclesia, starting in an enfolding way to the bass by Frater Ignis Sacer and evolving into a lecture in Heavy and Doom Metal in the vein of Mercyful Fate and Candlemass; and it’s pedal to the metal in the breathtaking title-track Ecclesia Militans, showcasing the band’s trademark heaviness accompanied by their church-like background sounds, or in other words, it’s an incendiary Rock N’ Roll party led by Arnhwald’s striking vocals.
The second half of the album kicks off with the keyboard-infused aria The Exorcism, a headbanging feast spearheaded by the heavy and groovy riffage by the band’s guitar duo, always supported by the metallic bass by Frater Ignis Sacer, whereas more of the hammering drums by Pater Hexenhammer will hit you hard in Ereptor Verae Fidei (or “redeemer of the true faith” from Latin), sounding haunting yet captivating at the same time. Redden the Iron is the perfect hybrid of Heavy Rock and Doom Metal, with Arnhwald sounding flawless on vocals once again while Julius Accusator, The Witchfinder General and Frater Ignis Sacer bring the noise armed with their thunderous axes, and Ecclesia still have time for another Stygian aria entitled Harvester of Sinful Souls, with the keys by Pater Walkelinus sending shivers down our spines while Pater Hexenhammer blasts sheer obscurity from his drums in the most Doom Metal of all songs, living up to the legacy of such brilliant genre, before the otherworldly outro Quis ut Deus (a Latin sentence meaning “Who [is] like God?”) puts a stylish, grim and ethereal ending to another successful black mass by Ecclesia.
If you consider yourself a true heretic, it’s time to confess all your sins and grab a copy of Ecclesia Militans from Ecclesia’s own BandCamp page as well as from the Aural Music webstore as a CD, a black and gold LP, or a heretic blood LP, and don’t forget to also follow the band on Facebook and on Instagram for news, tour dates and other nice-to-know details about one of the rising forces of the European metal scene. Just like the Catholic church, Ecclesia are increasing their dominance all over the world with their first-class witchfinding doom, and their new album Ecclesia Militans will certainly convert more and more heretics to their cause in the coming years. Amen.
Best moments of the album:Antecclesia, Ecclesia Militans, Redden the Iron and Harvester of Sinful Souls.
Worst moments of the album: None.
Released in 2024 Aural Music
Track listing 1. Vade Retro 1:41
2. If She Floats 4:35
3. Et Cum Spiritu Tuo 3:58
4. Antecclesia 6:13
5. Ecclesia Militans 3:48
6. The Exorcism 5:19
7. Ereptor Verae Fidei 4:49
8. Redden the Iron 4:07
9. Harvester of Sinful Souls 7:02
10. Quis ut Deus 1:50
Band members Frater Arnhwald – vocals
Julius Accusator – lead guitar
The Witchfinder General – rhythm guitar
Frater Ignis Sacer – bass
Pater Walkelinus – organ, keyboards
Pater Hexenhammer – drums
This multi-national Technical Black and Death Metal entity will crush you with their vicious debut album, one of the most extreme displays of aggression in the style in recent times.
After simmering behind the scenes for quite some time, the multinational Technical Black/Death Metal horde Arborescence of Wrath has finally unleashed their vicious debut album, simply titled Inferno, which promises to be one of the most extreme displays of aggression in the style in recent times. Comprised of a beyond formidable lineup with members from France, Germany and the United States, those being vocalist Jason Keyser (Origin), guitarists Michel Beneventi and JP Battesti, bassist Charles Collette (Benighted), and world renowned drummer Simon Schilling (Marduk), the band offers some superbly composed music with thought out structures and variations in their newborn spawn, only delivered out of pure anger with blistering speed and oppressive intensity. Add to that the incendiary artwork by Santiago Francisco Jaramillo of Triple Seis Design and there you have one of the strongest candidates for Death Metal album of 2023, a must-listen for fans of Hate Eternal, Krisiun, Hour of Penance, Origin, Depravity and Deathfuckingcunt, among other names who definitely know how to blend the most visceral side of metal music with first-class musicianship.
Wrath is a freakin’ massacre from the very first second, with Simon proving why he’s the drummer for Marduk and now also for Arborescence of Wrath while Jason also provides us all with his bestial roars in a lecture in Black and Death Metal. Then we have Carnage, and the name of the song says it all as Michel and JP sound inhumane with their ravenous riffage, supported by the thunderous bass by Charles. Needless to say, this is not recommended for the lighthearted. Their infernal onrush of extreme music goes on in full force in Hangman, again showcasing Jason’s demonic screams while Simon continues to hammer his drums in the name of Black Metal; followed by Relentless Infights, another bestial devastation by Arborescence of Wrath spearheaded by the fulminating blast beats by Simon, whereas after a sinister, operatic start the music explodes into sheer savagery in Holier Than You, again presenting a demented guitar work by Michel and JP for our total delight.
There’s no sign of slowing down for this multi-national blackened beast, as they keep destroying our souls with Cleansing Termination, bringing to our avid ears more of their sick riffs, fulminating drums, and the venomous guttural by Jason, and it’s then time to slam into the circle pit like there’s no tomorrow to the sound of Temple of Ashes, keeping the album at a high level of aggressiveness and insanity while Simon blasts his drums in great fashion until the very last second. Repentance, the last original song of the album, will send shivers down your spine, with its initial eerie intro merging flawlessly with the song’s deep, demonic sonority, resulting in six minutes of top-of-the-line Technical Black and Death Metal. And lastly, we’re treated to their cover version for Immolation’s classic Into Everlasting Fire (check the original version from their 1991 album Dawn Of Possession by clicking HERE), with the band’s own rendition of such demonic aria sounding just as hellish and thunderous as the original one.
This demonic album of first-class Technical Black and Death Metal can be appreciated in all of its (devilish) glory on YouTube and on Spotify, but you should definitely purchase your favorite version of it from the Transcending Obscurity Records’ BandCamp page or webstore as a digipak CD in the US or in Europe, or as special CD + shirt combo also in the US or in Europe. Don’t forget to also start following this demented creature from the underworld on Facebook for news and more of their music, and hopefully we’ll be able to see this multinational entity live somewhere in the near future. Inferno is not only about pure hatred and aggression, but it also showcases a band that’s beyond focused and sharp, consequently placing the album as one of the best of 2023 and the band as one of the driving forces of the newest generation of Extreme Metal.
Best moments of the album:Wrath, Carnage, Relentless Infights and Temple of Ashes.
Worst moments of the album: None.
Released in 2023 Transcending Obscurity Records
Track listing 1. Wrath 3:55
2. Carnage 3:58
3. Hangman 4:42
4. Relentless Infights 5:01
5. Holier Than You 6:10
6. Cleansing Termination 3:06
7. Temple of Ashes 4:06
8. Repentance 6:03
9. Into Everlasting Fire (Immolation cover) 5:33
Band members Jason Keyser – vocals
Michel Beneventi – guitars
JP Battesti – guitars
Charles Collette – bass
Simon Schilling – drums
What a perfect night of progressiveness, heaviness, electricity and rage in Toronto yesterday at the Budweiser Stage, courtesy of LORNA SHORE, GOJIRA and MASTODON and their breathtaking The Mega Monsters Tour 2023. The whole event was absolutely brilliant from start to finish thanks to the energy and focus all three bands put on their performances, making it one of the best concerts in the city this year hands down. Almost all attendees didn’t seem to care about the huge lines formed around 4pm outside the venue to try to get a place in the pit, because after Live Nation moved the concert from the Echo Beach to the Budweiser Stage it became a “first come, first serve” adventure, where you would basically test your luck and see if you got a place on the floor section, or a seat in the 200 level. Fortunately I was able to get to the pit (as I told my friends, I need a T-shirt saying “I HATE SEATS”), which quickly lightened up my mood and made the whole thing even more enjoyable for me.
Before the actual concert started, more precisely right after the gates opened at 6pm, I had a chance to watch the pre-show at the “Corona Tropical Oasis” (which was basically some sort of a small ravine with a gazebo, where the drums where placed, right beside the merch stands) with an Iron Maiden cover band named Piece of Maiden, and I gotta say they did a solid job playing several classic the likes of Revelations, The Trooper, Hallowed Be Thy Name and Phantom of the Opera. My only advice to those guys is that they desperately need to get better attires or costumes for their performances to look more professional, because they just looked like a bunch of friends jamming some Maiden songs together. In the end, I personally think that was a nice add-on to the entire event, allowing whoever was already inside the venue to headbang to some classics while having a beer, a hot dog, or waiting in line to buy some merch.
Finally, at 7pm sharp, I was able to witness for the first time ever the pulverizing Progressive and Symphonic Deathcore by New Jersey’s own LORNA SHORE, and they didn’t disappoint at all; quite the contrary, I’m now an even bigger fan of the band, as they brought all the energy from their 2022 masterpiece Pain Remains to the stage in great fashion. The first three songs, those being Sun//Eater, Cursed to Die and Into the Earth, were already superb, with Will Ramos sounding inhumane with his roars and screeches for our total delight. There was a guest vocalist in one of the songs that looked like their own stage photographer, but I have zero idea of who that guy really was. Any thoughts? Anyway, it was when they played their unparalleled Pain Remains Trilogy comprised of Pain Remains I: Dancing Like Flames, Pain Remains II: After All I’ve Done, I’ll Disappear and Pain Remains III: In a Sea of Fire, that they crushed everyone’s souls mercilessly, putting a beyond climatic ending to their flawless performance. If you have never listened to such dark and melancholic trilogy, I highly recommend you go search for it on any streaming platform, and please listen to it while at the same time you follow the lyrics. Hopefully, the mighty Lorna Shore will return to Toronto for another demolishing concert in the near future, and based on the smiles on the faces of all band members I’m sure they’ll take the city by storm again with their amazing music sooner than we can imagine.
Setlist
Sun//Eater
Cursed to Die
Into the Earth
Pain Remains I: Dancing Like Flames
Pain Remains II: After All I’ve Done, I’ll Disappear
Pain Remains III: In a Sea of Fire
Band members
Will Ramos – vocals
Adam De Micco – guitar
Andrew O’Connor – guitar
Michael Yager – bass
Austin Archey – drums
Shortly after 8pm, when the skies were already a lot darker than during Lorna Shore, New York-based French Progressive/Groove Metal institution GOJIRA hit the stage for another electrifying concert, as expected from one of the most technical, hard working and professional bands out there. Joe Duplantier, Christian Andreu, Jean-Michel Labadie and Mario Duplantier put on a jaw-dropping performance, playing songs from all of their amazing albums such as the demolishing Ocean Planet, Backbone, Stranded, Flying Whales (with of course some inflatable whales flying around the floor section, as usual) and Silvera, this one inspiring every single person at the venue to bang their heads nonstop like maniacs. Not only that, the songs from their latest album Fortitude also worked really well live, in special Amazonia, which is now for me one of the most amazing songs to witness live, and The Chant, where Joe got some help from the over 10,000 fans at the Budweiser Stage to sing along with him the song’s beautiful “Aaaaah ah ah ah ahhhhh… ah ah ah ahhhhh…” in one of the coolest moments of their entire set. He even mentioned Toronto was a lot better than Detroit during that song, which made us fans all very proud of our pipes.
Speaking about Joe, the man was on fire throughout the entire show, building a strong and honest connection with the crowd, and even acknowledging a fan at the front row that was already on her seventh concert this tour, I guess, showing how much the band cares about their fans. His brother Mario was also bestial during the entire show, smashing his drums with so much passion, precision and strength that it’s extremely easy to be mesmerized by his performance and “forget” about the rest of the band. During his awesome drum solo he even raised some funny signs that said “I CAN’T HEAR YOU” and “FUCK YEAH” to play with the crowd, showing how a drum solo should be done to avoid becoming the popular “bathroom break”. He’s one of the best drummers in the world right now, no doubt about that, but he’s so humble and down to earth that sometimes I think he’s underrated for not being more vocal like many other drummers who are not even close to him in terms of heaviness, dexterity and energy. As expected from Gojira, their stage was also a brilliant add-on to their music, with all the lights, fire, background videos and so on adding an extra touch of epicness to their concert. Other bands like Iron Maiden, who only rely on backdrop banners or flags, should be inspired by Gojira and modernize their stage with videos like that, as those helped to tell the story from each song majestically. Every single time I see Gojira live I get stunned, and it couldn’t have been any different last night for me and for all 10,000 people at the venue. Put differently, Gojira are perfect live, offering a unique visual and sonic experience for anyone who loves good music.
Setlist
Ocean Planet
Backbone
Stranded
Flying Whales
The Cell
The Art of Dying
Drum Solo
Grind
Another World
Silvera
Amazonia
The Chant
The Gift of Guilt
Band members
Joe Duplantier – vocals, guitar
Christian Andreu – guitar
Jean-Michel Labadie – bass
Mario Duplantier – drums
After another quick break, where everyone had a chance to go to the bathroom, grab another beer, smoke a cigarette or simply chat with friends that were seated in different levels or sections of the venue, Atlanta, Georgia-based Progressive Metal/Rock titans MASTODON began their monstrous concert at around 9:45pm, and maybe due to that late start (as a lot of people still had to wake up early to work today) the floor section was a lot less busy than during Lorna Shore and Gojira. That doesn’t mean the fans didn’t have a good time and that the mosh pits didn’t keep moving frantically; it’s just that there was a little more room to breathe (which for me was a good thing in the end). Due to their longer setlist, Troy Sanders, Brent Hinds, Bill Kelliher and Brann Dailor (plus guest keyboardist João Nogueira, of bands like Dol Guldur, Stone Giant and The Claypool Lennon Delirium) didn’t spend too much time talking. It was crushing song after crushing song, demanding a lot of headbanging, horns in the air and nonstop screaming from their fans. In other words, their show required a lot of cardio, I might say.
As mentioned, their setlist was long and comprehensive, including several classics, newer songs and some surprises from all their discography, such as the high-octane opener The Wolf Is Loose, the pounding Crystal Skull and Megalodon, and more contemporary songs from their 2017 album Emperor of Sand and their 2021 opus Hushed and Grim, those being Andromeda, Sultan’s Curse, Pushing the Tides, More Than I Could Chew, and my favorite of their set, the groovy and fun Steambreather. Brent and Bill were insane armed with their axes during this song, as well as Brann on drums, another one of the best drummers in the world right now who’s also a very nice guy off stage. The pyro and the videos also enhanced their performance, like what happened with Gojira, and as you can see in the awesome photos taken by my buddy Keith Ibbitson of Lower Eastside Photography, those extra features once again showed how modernizing your stage can bring tons of benefits to your band.
The last batch of songs from their setlist was beyond thunderous, starting with Circle of Cysquatch, where a giant and very colourful “whatever-monster-that-is” entered the stage just like Eddie with Iron Maiden or Vic Rattlehead with Megadeth, captivatign the eyes of the entire crowd, followed by Crusher Destroyer and their biggest hit of all, Blood and Thunder, generating a nice circle pit with a small “island” in the middle. Brann even took some time after their concert was over to thank the fans in Toronto for being amazing as usual, to throw some drumsticks to the crowd, and to say how much he loves the circle pits in the city, saying we have the craziest mosh pits of all (and I fully agree with him). I don’t know about you, but I’m already waiting for those two mega-monsters Gojira and Mastodon to kick some serious ass in Toronto again, and based on the reactions from both bands we’ll certainly see them smashing us all like insects really soon with their incendiary music.
Setlist
The Wolf Is Loose
Crystal Skull
Megalodon
Andromeda
Divinations
Sultan’s Curse
Fallen Torches
Pushing the Tides
More Than I Could Chew
Aqua Dementia
Steambreather
Iron Tusk
March of the Fire Ants
Mother Puncher
Circle of Cysquatch
Crusher Destroyer
Blood and Thunder
Band members
Troy Sanders – vocals, bass
Brent Hinds – vocals, guitars
Bill Kelliher – guitars, backing vocals
Brann Dailor – vocals, drums
Behold the breathtaking first full-length opus by a ruthless Melodic Death Metal horde hailing from France, narrating the end of the world of gods and men through ten incendiary battle hymns.
Formed in 2012 under the name of Esteliath in Montélimar, a town in the Drôme department in the Auvergne-Rhône-Alpes region in north Provence, Southeastern France, the unrelenting Melodic Death Metal horde Hrothgar (a Scylding, the son of Halfdan, the brother of Halga, and the uncle of Hrólfr Kraki, in both Anglo-Saxon and Scandinavian tradition) unleashed upon humanity earlier this year their debut full-length opus, titled Rise of Ragnarök, following up on their 2018 EP First Blood. Recorded and mixed at Studio Artmusic, and mastered by Kristian Kohlmannslehner at Kohlekeller Studio, the album offers a brilliant fusion of Heavy, Death and Viking Metal with Nordic mythology, Viking history and warrior stories masterfully brought into being by Quentin Peyrouse on vocals, Tristan Vatrain and Florian Lagoutte (who has just left the band due to scheduling conflicts) on the guitars, Bertrand Paradis on bass and Sébastien Couriol on drums, being highly recommended for anyone who loves the music by Swedish metal titans Amon Amarth.
The crushing drums by Sébastien ignite the band’s Viking feast titled Dawn of Midgard, with Quentin already delivering a deep roar as his welcome card. Put differently it’s pure Amon Amarth (on a French baguette, I might say), making it impossible to stand still to such thrilling tune. Then the venomous riffs by Tristan and Florian are spiced up by the metallic bass by Bertrand in War Makes Us Beast, another heavy-as-hell, no-shenanigans Melodic Death Metal extravaganza by the band; and get ready to bang your head nonstop to the newborn classic Sons of Odin, sounding like a song written by Amon Amarth but of course Hrothgar added their own French twist to it, with Quentin leading his horde with his deep, devilish growls. After such thrilling feast, the caustic riffage by the band’s guitar duo sets the tone in the dark hymn I Am Berserker, a mid-tempo tune that will please all fans of Scandinavian Melodic Death Metal, whereas the title-track Rise of Ragnarök brings to our avid ears another fantastic wall of sounds blasted by the band, offering everything Quentin needs to shine on vocals in a lecture in Melodic Death Metal.
It’s time to grab your sword and shield and join Hrothgar in the battlefield to the sound of For Gods and North, a tribute to all things Viking Metal where the guitars by Tristan and Florian exhale metal and electricity, followed by A Great Death for the Einherjar, another song clearly inspired by some of the most recent creations by Amon Amarth, with the kitchen by Bertrand and Sébastien sounding truly thunderous. Kill My Son is hands down one of the most exciting of all songs, and you can feel all hatred flowing from Quentin’s vocals while Sébastien keeps hammering his drums in the name of heavy music, whereas their second to last Viking attack comes in the form of Tyr’s Sacrifice, with Tristan and Floiran doing a very good job with their riffs and solos. The song is a bit repetitive, though, but still very enjoyable. Lastly, there’s of course a song about braving the cold and dangerous seas of the north titled Warriors of the Sea, showcasing their always sharp guitars and pounding drums, therefore ending the album in a beyond exciting way.
The fun and thunderous debut album by Hrothgar is available in full on YouTube and on Spotify, but of course if you want to join those French metallers in their quest for heavy music you can purchase a copy of it from their own BandCamp page or from Apple Music. Don’t forget to also start following the band on Facebook, on Instagram and on YouTube for news, tour dates and so on, proving you’re ready to fight side by side the guys from Hrothgar until your very last breath, and finally have your place right by the gods in Valhalla. The Doom of the Gods is upon us, and there’s nothing better than a first-class album like the new one by Hrothgar to put a huge smile on our faces even when our inevitable end is getting closer and closer.
Best moments of the album:Dawn of Midgard, Sons of Odin, Rise of Ragnarök and Kill My Son.
Worst moments of the album:Tyr’s Sacrifice.
Released in 2023 Independent
Track listing 1. Dawn of Midgard 4:15
2. War Makes Us Beast 4:26
3. Sons of Odin 4:13
4. I Am Berserker 5:17
5. Rise of Ragnarök 4:36
6. For Gods and North 4:42
7. A Great Death for the Einherjar 4:53
8. Kill My Son 4:32
9. Tyr’s Sacrifice 5:17
10. Warriors of the Sea 4:05
If you agree with the statement that humanity is a mistake, you’ll have an absolute blast with our metal lady of this month of April here on The Headbanging Moose, setting fire to our rotten and decaying world with her inhumane gnarls, unique looks and devilish attitude. Known in the underworld of extreme music as the ruthless frontwoman for bands the likes of Lebenssucht, Humanitas Error Est and I Am All Wounds, she’s the perfect depiction of the importance of women in the current Black Metal scene worldwide, inviting us all to her Stygian lair to the sound of her sulfurous and harsh yet mesmerizing music. Her name is Anett Hauzu or Anett Gebauer, but you might know her for her demonic monicker S Caedes, a German Black Metal she-wolf that will crush your damned soul with her undeniable talent and passion for the darkest side of music and arts in general.
Born and raised in Leipzig, the most populous city in the German state of Saxony, S Caedes, which by the way is the combination of “sadist” (S) and “carnage” (Caedes, in Latin), with both words standing for her character, is much more than “just” a Black Metal vocalist, being also a skillful and innovative photographer and model, and according to S Caedes herself, she’s also a “blood fetishista” and a “fucked up mind”. Married to Australian vocalist and multi-instrumentalist Chris Gebauer, of bands such as Deadspace, Humanitas Error Est and I Am All Wounds (and as you might have notice, those two are definitely “partners in crime” in most of their music projects), S Caedes mentioned in one of her interviews that she was discovering different styles of metal music when she was around 12 or 13 years old, getting to know Black Metal and falling in love with it at the age of 14, saying Black Metal was then able to provide her with a special feeling that no other type of music could. “It’s just the feeling of knowing exactly where you stand with yourself. I’m strictly anti-religious and disgusted by humanity. It’s not an empty phrase for me, it’s just… me. Black Metal stands for the hate and aggression I always had and still have inside. I can’t put it better in words. When you’re really into Black Metal, you’ll know what I mean. Either you feel it or not,” commented S Caedes, who also said that after discovering Black Metal she always wanted to be on stage and scream the hell out of her throat, but she didn’t do anything to create a band then.
It was close to the end of 2012 when S Caedes together with drummer Ahephaïm started searching for musicians to finally form a Black Metal band, which was the initial spark for what would become Leipzig, Germany-based Brutal Black Metal entity Humanitas Error Est. One year later, S Caedes and Ahephaïm finally had a complete band lineup and started creating songs for their first album as Humanitas Error Est, resulting in their 2016 eleven-track beast Human Pathomorphism. A project with negative thoughts against any religions and pure misanthropy, Humanitas Erorr Est “is about confronting the world with its own brutality, its own sadism, its own hypocritical statement of liberty. It’s about unleashing indomitability, stir up hatred. It’s a scornful critical examination at mankind itself,” as stated by the band itself, with their name being the idea of Ahephaïm, a very unique, not cliché-ridden name that represents exactly what they stand for, meaning as already mentioned “humanity is a mistake” or “humanity is an error” in Latin.
After the tough decision of disbanding in 2019, S Caedes and Ahephaïm spent the better half of 2019 and early 2020 searching for the right musicians to propel them forward, with their new lineup being comprised of our metal lady and the band’s drummer, of course, together with Basmu (aka Chris Gebauer) on vocals, Arboria and Mictician on the guitars, and Fenrir on bass, turning the band into a multinational horde with members from Germany, Belgium, France and Australia. After the band being reborn like a phoenix, a new song was released back in 2020 entitled An Inexcusable Existence, available for purchase directly from their BandCamp page, following the same misanthropic and anti-human tropes expressed in their earlier work, and you can compare their new sound with their older songs the likes of Raping Religions and Pain Feeder to see their inner fire is still intact. Moreover, the band is currently working on a new album, which I’m sure will be amazingly brutal.
Her other major band, the venomous Depressive Suicidal Black Metal outfit Lebenssucht, is also a multi-national group with most members being the same as from Humanitas Error Est, those being S Caedes on vocals, Ahephaïm on drums, Arboria on the guitars, Basmu on bass, and the non-Humanitas Error Est member Irleskan, from Austria, on lead guitars. One interesting fact about Lebenssucht is that the band was originally formed by S Caedes and Ahephaïm together with a third member, renowned vocalist and multi-instrumentalist Déhà (from bands like Acathexis, Déhà and Yhdarl, among several others, and who also mastered the debut album by Humanitas Error Est), who left the band in 2019. Despite not being a member of Lebenssucht anymore, Déhà is seen like a brother by S Caedes, showing all respect and admiration they have for each other. Lebenssucht, which means “lust for life” or “life addiction”, don’t have any limits as per S Caedes herself, and although the style played by the band is labeled as Depressive Suicidal Black Metal, the project is not about bringing hatred to the world. “It’s about enjoying your life, no matter what price you have to pay for. It’s about turning negativity into strength. Life is our drug,” commented S Caedes. If you want to properly experience the music by Lebenssucht, you can find their 2016 debut EP Fucking My Knife and their 2020 full-length opus -273,15°C (which represents absolute zero, the lowest possible temperature where heat energy is absent in a substance) on Spotify and on BandCamp, and enjoy the officials videos for A Hole in My Heart, Mirrors and Beloved Depression on YouTube, and stay tuned as their next album is going to sound even harsher, according to S Caedes herself.
Apart from her work with Humanitas Error Est and Lebenssucht, the unstoppable S Caedes is also one half of the stunning Black Metal duo I Am All Wounds, together with her life partner Chris Gebauer, describing their music as “two souls colliding in a frenzied internal storm”, or “a sonic illustration of two beings woven together in fervent longing, an unyielding force,” having recorded the EP Keep Me Breathing in 2020, available on their BandCamp page and which contains the beautiful song You’re The Air That I Breathe. Not only that, she has also participated in a live improvisation recording named XXVI – IX – MMXV together with Ahephaïm and Déhà, recorded on September 26, 2015 (but released only in 2020) at Gate 32 Studios in Sofia, Bulgaria.
If you think all of those bands are projects are enough for S Caedes, you’re absolutely wrong, as our diva of darkness can also be found as a guest vocalist in the song Libido Dominandi, from the 2019 EP of the same name released by Australian Depressive Black/Gothic Metal act Deadspace; and also doing vocals on the songs The Unfair Betrayal, Insomnia and Morbus, from the 2019 album Morbus, and additional vocals on the 2019 live album Live at Brutal Assault 2017, both by Déhà’s Drone/Doom/Black Metal project Yhdarl; plus a couple of other guest appearances with the Black Metal bands Withering Night and Absolutus. Do you want more? What if I told you S Caedes was also the artwork model and was responsible for the editing in Deadspace’s 2019 EP Libido Dominandi; took care of the logo and layout for the 2020 EP Nuclear Sundown, by German Black/Doom Metal one-man project Exitium Sui; did the photography for the 2016 demo Century of the Goat, by German Black/Thrash Metal band Goatfuck; and also took care of the layout for the 2020 EP Keep Me Breathing, by her own project I Am All Wounds?
Not only that, S Caedes also did lots of videos for different bands (either her own or other unrelated bands), including the videos for the songs Moksha, by Deadspace; Serpent on a Cross, by Spectral Damnation; A Hole In My Heart, by Lebenssucht; An Inexcusable Existence, by Humanitas Error Est; teasers and trailers for Deadspace and Lebenssucht; and just finished the music video for Demenzia Mortis, which is yet to be released. When asked how she’s capable of maintaining a healthy balance between so many bands and projects with diverse sounds, she said that as each band carries a special part of her character and her view of life she needs them all to express herself with all emotions, always remaining true to herself and her principles, and saving enough physical and mental energy for each one of them.
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As expected, S Caedes is obviously highly influenced by countless Black Metal bands, but that doesn’t mean that she doesn’t enjoy other styles such as Dark Ambient, Doom Metal, Martial Industrial, Death Metal and so on, and that she doesn’t own records from completely different artists such as Shakin’ Stevens and Rosenstolz. Among her favorite bands you’ll find great names the likes of Darvaza, Ritual Death, Merrimack, Vortex Of End, Aversio Humanitati, Regarde Les Hommes Tomber, Arkhon Infaustus, Benighted, Ondskapt, just to name a few; on the Dark Ambient side she likes listening to Slaughter Natives, Gnaw Their Tongues, Triarii and Puissance, among others; and on the Martial Industrial side S Caedes likes groups such as Ordo Rosarius Equilibrio, in special their song The Love & Defiance of Being Alive. “People who know me well often call me complicated concerning my taste of music. I don’t agree with that, I just don’t listen to every shit, that’s the point. Music needs to be able to crawl in my head and stay there, squeeze out my inner self, fuck my brain an give me goosebumps or the will to mosh like a psycho,” commented S Caedes about her unique taste in music, always focusing on the importance of Black Metal in her life and career. “Black Metal is my life, as ridiculous as it maybe sounds to some readers, it’s like that. It’s my personal freedom, I can lay down and just be who I really am.”
Regarding her vocal style and technique, S Caedes said in one of her interviews that in the beginning she just tried out what she could do with her voice, with her training songs being Sluts of Hell from Nattefrost and Bleached Bones from Marduk, and her throat was always scratching like hell after. She then started searching online for instructions on how to use her voice properly and found a very helpful video named The Zen Of Screaming, by renowned vocal coach Melissa Cross, also asking other vocalists for their advice. “It’s really great to discover your voice, trying out what is possible,” commented S Caedes, who also said that it’s important to reach a good balance to be able to sing extreme music. Moreover, when asked about her view of touring with a band and playing live, she mentioned that her bands’ audiences should always be ready to engage with them, as the bands always deliver a very emotional and honest performance. “The advantage of being on stage is that you can let out all your emotions in such extreme way, which is simply not possible when you’re at home. On stage I’m completely in rage, it’s like a shot in my head, letting the audience suck what comes out. Blood always brings me to this special state of mind. I’m a heavy blood fetishist (real blood, no fake shit!), it’s a big passion of mine and I just love being covered in it. When the music begins, I’m not thinking anymore, I’m just 100% in the songs and always give my everything. Off stage… well, I fought several years against all of these rule-based behaviors and finally succeed to be able to do in life what satisfies myself. Family and friends call me a bulldozer. Typical Aries. I agree with that. I’m a sadist. I like to torture slaves. I’m not beating around the bush with that. In addition, I’m also working as photographer and model. So, yeah I have quite a lot to do, but it’s exactly what makes me happy. I don’t care about being evil (whatever that means). I only care about my very needs.” She also said that she really doesn’t care if she plays in front of 50 or 5000 people, mentioning their performances at Underground Remains Open Air, Night Of Blasphemy and Boarstream Open Air as really mind-blowing moments.
When asked about the current Black Metal scene worldwide and in her homeland Germany, S Caedes said she sees it as a big family, finding like-minded people who are able to understand her point of view as opposed to the stress and hypocrisy that comes from living in a regular society. “Most people have their daily routine with all these stupid rules (e.g. dress code at work). Black Metal helps (helped me) to break through (social) conventions, finding myself and staying true to myself. Black Metal can help to relieve everyday’s negativity,” said our Black Metal she-demon, who also believes the Black Metal scene in Germany is a bit more elitist than in other countries as the scene is very developed with lots of festivals, labels and bands. “The fact is that I don’t care from which country a band is. It’s all about the music. Nothing more, nothing less.”
S Caedes is also an accomplished photographer and fetish model, usually under the name Anett Gebauer, having her own website named Anett Gebauer Photo & Film dedicated to that form of art, and stating that her intent is to express various moods and emotions that are sometimes hidden from the naked eye. “Through the visual arts, I work to uncover underlying voices in order to portray alternative perceptions of life without limits. My work is about exposing the beauty of raging desires, unleashing your inner self, and for those who like it the morbid and obscure way, also daring to drown in deep dark waters. I invite you to take a deeper look under the surface. Through my images, I study the unconscious creatures of the collective human existence – pulsating, seductive and also shocking.” She also offers band shootings, CD artwork, music video creation and retouchings, is bookable for events and live photography, and does self-photography and work as a model. “I am a lover of dark arts, spanning from visual arts, film, music and literature. I create art that is rooted in life, with either positive or negative influences. All my work is inspired by bare emotions and the depths of human existence. I am forever excessive, perfervid, dirty-minded and stay always hungry for more.” Furthermore, she has already been part of several exhibitions, including Heart Of Darkness, in 2018 in the United States; Radiant Art Festival, in 2016 in Belgium; Session Noire, in 2011 in Germany and Belgium; and Art-P, in 2009 and 2010 also in Germany, among others.
Last but not least, S Caedes has a peculiar view on different topics, sometimes controversial, sometimes fairly straightforward. For instance, she said that one of the things she wishes the most is that the endless suffering of animals would finally end and that they would be accepted and respected as sentient beings; and also that her mom is her real life childhood hero, as she’s still grateful to her for a lot of things. “Honestly, I didn’t want me as a daughter,” commented S Caedes, who also said that as a wrestling fanatic her biggest heroes in the sport are Triple H and Sabu. “There was just so much blood in their matches, an intoxicating and formatively awesome sight for me.” As you can see, S Caedes is not just an amazing musician and artist, but also a great human being with a lot to offer to the metal community, always carrying the flag of Black Metal, the flag of freedom of expression and the flag of arts in general proudly high, and we’ll always be grateful to her for being so awesome and for creating such inspiring music and imagery.
It’s time to slam into the pit to the vicious Death Metal spawned by this incendiary French band, dealing with a dystopian universe inspired by science-fiction literature.
The vicious Death Metal spawned by Saint-Nazaire, Pays de la Loire, France-based act Atrocia correlates with diversity and energy, being inspired by the major figures from the 90’s scene in the United States such as Suffocation, Cannibal Corpse and Death with elements of Thrash Metal and a nuance of Grindcore added to their trademark sound. Dealing with a dystopian universe in their lyrics since their inception in 2003, particularly inspired by science-fiction literature, Atrocia are back in action now in 2022 with their third full-length album, entitled Contamination, with the crisp recording and mixing by Arthur Lauth at Brown Bear Recording, the mastering by Zack Ohren at Castle Ultimate Productions, and the futuristic artwork by Giannis Nakos of Remedy Art Design turning it into a must-listen for fans of the genre while also showcasing all the talent by vocalist and guitarist Julien Lésébos, guitarist Sebastian Fuentes, bassist Arnaud Beilvert, and drummer Pierre Garcia.
The fulminating riffs by Julien and Sebastian kick off the brutal Unleashing The Insurgency, with Pierre’s crushing beats adding even more fuel to the band’s Death Metal machine without showing a single second of peace, whereas more of the band’s vile Death Metal comes in the form of Corridors Of The Living Dead, with Julien barking deeply à la Chris Barnes while Arnaud’s bass and Pierre’s drums fill out every empty space in the atmosphere. In Incorporeal Killer the unrelenting Julien keeps vomiting the song’s bloodthirsty words while Pierre dictates the song’s pace, also bringing forward sick, strident guitar solos; and a beyond sinister intro gradually morphs into a putrid sonority in Monolith, an old school Death Metal extravaganza where the whole band will demolish our senses with their heavy-as-hell artillery.
The second half of the album begins in full force with Iron Corps Icy Stalk, presenting truly melodic riffs and solos by Julien and Sebastian while Arnaud and Pierre show no mercy for our damned souls with their wicked kitchen (despite its second part getting a bit repetitive), whereas Lies brings to our avid ears more of their old school Death Metal for our total delight, with Pierre once again stealing the spotlight with his infernal blast beats. Then a cinematic, cryptic start permeates the air until the band returns with their hellish wall of sounds in Curse Of The Two-Headed Queen Cobra, where their riffs will pierce our minds mercilessly, sounding and feeling absolutely pulverizing in an ode to all things Death Metal. Lastly, the band brings forth over seven minutes of pure savagery titled Embrace The Venom, perfect for headbanging like a beast while Pierre hammers his drums with tons of groove, supported by the diabolical riffs and bass by his bandmates.
In summary, Atrocia more than nailed it with Contamination, which is by the way available in full on Spotify, perfectly adding their dystopian lyrics into their core (and extremely brutal) Death Metal, and if you want to show those French metallers how much you love their music you can buy their new album from their own BandCamp page, from the Great Dane Records’ BandCamp page, from Season of Mist, from Apple Music, or from Amazon, as well as by following them on Facebook and on Instagram, and by subscribing to their YouTube channel. It might have taken a few years after the band’s inception before they could release their first full-length effort, but now we can say such French brigade has been on a roll since their 2012 album Inward Chaos, with Contamination cementing their name in the French underground extreme music scene.
Best moments of the album:Unleashing The Insurgency, Incorporeal Killer and Curse Of The Two-Headed Queen Cobra.
Worst moments of the album:Iron Corps Icy Stalk.
Released in 2022 Great Dane Records
Track listing 1. Unleashing The Insurgency 4:59
2. Corridors Of The Living Dead 3:42
3. Incorporeal Killer 4:49
4. Monolith 7:09
5. Iron Corps Icy Stalk 4:50
6. Lies 4:51
7. Curse Of The Two-Headed Queen Cobra 5:34
8. Embrace The Venom 7:25
Band members
Julien Lésébos – vocals, guitar
Sebastian Fuentes – guitar
Arnaud Beilvert – bass
Pierre Garcia – drums
Let’s all have a lesson in violence to the sound of the awesome first full-length album by this ruthless Death and Thrash Metal band from France.
Formed in 2011 in Val d’Oise, a department in the Île-de-France region in Northern France, Death/Thrash Metal troopers My Own Fear have just unleashed upon humanity their first full-length opus, titled Violence Made History, enhancing the heaviness, rage and fury from their 2014 debut EP Rise to a whole new level. Currently formed of Nicolas Benloulou on vocals, Stéphane Neraud and Fabrice Darmon on the guitars, Gilles Sala on bass, and Sébastien Geley on drums, My Own Fear will inspire you to slam into the circle pit to the sound of their newborn spawn dealing with controversial topics like death, inner struggles and the horrors of historical events the likes of the Spanish Inquisition, being highly recommended for admirers of the vicious and intricate music blasted by renowned acts such as Death, Sepultura and The Haunted, among several others.
The atmospheric, cinematic intro Once Upon a Fall works as the calm before the storm, as the band comes crushing our senses in 6:1 – 8, a frantic thrashing feast where Sébastien sounds demonic behind his drums accompanied by the dirty and piercing riffs by Stéphane and Fabrice, being perfect for some sick headbanging. The quintet keeps delivering sheer animosity and rage through their infernal music in Dux Bellarum, with Nicolas roaring manically in the name of Thrash Metal; and deadly and sinister from the very first second, the demolishing Hell Fire Club (H.F.C.) brings to our ears the pounding beats by Sébastien while Gilles hammers his bass nonstop, resulting in an excellent option for their live concerts. Then we have Torquemada, which starts in a cryptic manner to the sound of acoustic guitars before exploding into the band’s vicious fusion of Death and Thrash Metal, or in other words, it’s another neck-breaking tune by those French metallers that also presents exciting and melodic breaks and passages.
Ghosts on the Warpath is a lot more obscure and groovier than its predecessors, with the bass by Gilles sounding thunderous in a lesson in modern-day Death Metal with Hardcore nuances, and it looks like the band will keep firing their most vicious form of Death Metal in Salem, where Nicolas is bestial on vocals, roaring the song’s lyrics from the bottom of his blackened heart (not to mention the song’s wicked guitar solos). After that, the “Era of the Rats Trilogy” begins with 1349 – Era of the Rats, Pt. 1, an instrumental interlude that sounds as if the band is getting ready for war, evolving into the ass-kicking Devoured by Pestilence – Era of the Rats, Pt. 2, blending the best elements from Death and Thrash Metal with European Hardcore where Stéphane and Fabrice are once again demented with their riffage and solos, and finally ending the album the band brings forward five minutes of Death Metal darkness entitled Empire of the Rats – Era of the Rats, Pt. 3, with Gilles and Sébastien being in perfect sync by adding endless groove to the overall result.
In a nutshell, the excellent Violence Made History, which is available in full on Spotify, definitely sets the bar high for My Own Fear regarding their upcoming releases, but I’m sure those talented French musicians will find a way to sound even heavier and more compelling in the future. Hence, go check what My Own Fear are up to on Facebook and on Instagram, and of course grab your copy of Violence Made History from Rock Metal Market, iMusician, Best Buy, Amazon, Barnes & Noble, or Record Store Day. My Own Fear are opening up our eyes to the undeniable truth that violence indeed made what we know today as History, and violence is what will keep fueling not only the future of humanity, but also the first-class music crafted by such skillful and focused band from France.
Best moments of the album:Hell Fire Club (H.F.C.), Ghosts on the Warpath and Salem.
Worst moments of the album: None.
Released in 2022 M.U.S.I.C. Records
Track listing 1. Once Upon a Fall 1:09
2. 6:1 – 8 5:41
3. Dux Bellarum 4:13
4. Hell Fire Club (H.F.C.) 4:08
5. Torquemada 4:20
6. Ghosts on the Warpath 4:04
7. Salem 5:09
8. 1349 – Era of the Rats, Pt. 1 1:36
9. Devoured by Pestilence – Era of the Rats, Pt. 2 3:51
10. Empire of the Rats – Era of the Rats, Pt. 3 5:02
Band members Nicolas Benloulou – vocals
Stéphane Neraud – guitars, backing vocals
Fabrice Darmon – guitars
Gilles Sala – bass
Sébastien Geley – drums
A debut album of old school Thrash/Death Metal that spans four countries and two continents. Enmity hails from France and Greece in Europe, and Jordan and Indonesia in Asia. A multicultural smorgasbord spread across thousands of miles combines to create one aggressive Thrash entity with anger in their collective hearts towards the state of the world and our messed up society. Their debut album Demagoguery means to partake in political activities whilst seeking support by pandering to the prejudices of people instead of using rational argument. Nothing speaks louder than that to sum up the world in which we live in.
Unfortunately, due to a corrupt file I couldn’t listen to the albums opening track and so my first experience of Enmity is the groove drenched tones and mesmerizing guitar solos of The Bullet That Kills You. Chugging Death Metal and intricate Thrash collide through thick meaty drumming, ominous sounding guitar leads and raw vocal work.
So, whilst the main ingredients are present for an intensive Thrash/Death bout of rampaging societal angst, Demagoguery never really hits the highs that I expected of it, despite more than adequate musicianship and song writing ability. There are times when Enmity feels like they are trying to fit far too much technicality into their style, and the stop start nature of their playing robs them of a lot of momentum. Where the band should simply find a groove and ride that crest with the sense of rhythm they clearly possess, they let the moment ebb away on so many occasions that the album feels stilted.
Let me be perfectly clear, Demagoguery isn’t a bad album by any stretch of the imagination, but there is just something about the overall flow of this album that just loses something in translation.
Best Moments of the album: In all honesty, nothing massively stands out.
Worst moments of the album: The stop start nature of some of the melodies which decrease the albums intensity. Also the band occasionally loses momentum by trying to be a little too technical.
Released in 2022 by Kvlt and Kaos Productions
Track listing 1. My Enemy 4:32
2. The Bullet That Kills You 4:45
3. The Enemy Below 5:54
4. Preventable Genocide 4:56
5. Flying Fortress 5:33
6. Resistance 4:32
7. Demagoguery 7:41
Band members Zuul – vocals
David Decobert – guitar
Michael Perwira – guitar
Mohammed Kutkut – bass
George Kollias – drums
Greece, France and Germany are three countries well known for their immensurable contributions to rock and metal music, and here on The Headbanging Moose how about we unite all three and have an absolute blast with our metal lady of the month of July? That’s exactly what you’ll get with the talented, gorgeous vocalist Ambre Vourvahis, the new frontwoman for German Symphonic Metal act Xandria, and a woman who definitely knows how to add tons of passion and feeling to her already powerful vocal lines. Having said all that, are you ready to join us and Ambre in this short but sweet tribute to one of the most promising names of the Symphonic Metal scene worldwide?
Half-Greek and half-French, but currently residing in Germany, the mesmerizing Ambre Vourvahis was already singing in choirs and musicals when she was in middle school, saying in one of her interviews that her life has always revolved around music, although she continued her studies in literature and philosophy and concluded it with a philosophy degree while at the same time she was still dreaming of making music, singing and going to concerts (which she confessed she sometimes did instead of going to class, just like all of us metalheads have already done at a given point in our lives). She said she started listening to metal music when she was around 11 years old, saying metal has been a crucial part of her whole life, and let’s say it’s quite easy to notice that by the way she sings, always putting her heart and soul into her performances.
Just a few weeks ago, our Greek goddess was announced as the new vocalist of Xandria, and in her own words, “I am beyond happy to be part of this adventure, I gave everything I had on the songs that are about to come and I love every single one of them. I hope you will do too. I can’t wait to meet you all and hear about your own musical journey.” Combining atmospheric, delicate vocals with harsh, visceral roars, her potent and versatile voice fits perfectly with the new musical direction of the band, which can already be seen in their new single title Reborn (which you can also stream on Spotify). Formed in 1994 in Bielefeld, a city in the Ostwestfalen-Lippe Region in the north-east of North Rhine-Westphalia, Germany, Xandria have already had in their career the impressive number of eight vocalists, those being Nicole Tobien, Lisa Middelhauve, Kerstin Bischof, Manuela Kraller, Dianne van Giersbergen, Lisa Middelhauve, Aeva Maurelle, and now our metal lady Ambre Vourvahis. Accompanied by fellow musicians Robert Klawonn on the guitars, Tim Schwarz on bass and Dimitrios Gatsios on drums, as well as of course Ambre on vocals, the newly formed outfit around band leader, main songwriter, composer and guitarist Marco Heubaum is ready to bring its impressive career to the next level.
“Xandria is reborn… and the first sign of the return to life is the respectively titled song. Like before, Xandria are taking you on a voyage to your imagination, and the emotional and varied voice of new frontwoman Ambre Vourvahis will show you the way there with more facets then ever – prepare for some surprises! The new line up around mastermind Marco Heubaum will definitely start a whole new chapter that is fascinating and fresh, but still genuinely Xandria. Because this is what Xandria always has been – a voyager and explorer in the inspiring world of symphonic and heavy music. And now it is reborn,” commented the band about this new phase in their career, with Ambre also having some words to say about her new band. “I knew the band personally for a long time now and during their break Marco and I started to work on music for a possible project, while at the same time he was writing already some new Xandria songs, and then he thought my voice would fit very well on them, too. In the end we even took some of the ideas for that project into Xandria as it was fitting also really well actually and brought some new elements and diversity.”
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Although nothing is known about the new album yet, Ambre seems to be very excited and can’t wait to meet the band’s fans on the road. “I feel grateful, especially with the overwhelming warm welcome I got so far by the wonderful Xandria fans,” said our raven-haired diva, and I bet you can’t wait to listen to the follow-up to their 2017 album Theater of Dimensions and to see Ambre taking the stages by storm when the band begins their tour to promote their upcoming album. By the way, starting this September the band will embark on a massive European double headlining tour with Austrian Melodic/Symphonic Power Metal band Visions of Atlantis, inviting fans to dive deep into breathtaking soundscapes of Symphonic Metal, and hopefully that tour will also be extended to other places such as North and South America, Japan and Australia. “We want to plan a lot of tours, in as many countries as we can. But especially continue to make music that will be exciting for us and our fans,” said Ambre, also mentioning that she wants to thank all of the band’s fans in person and discover their musical journeys and taste as well, as she really loves to talk about music. Well, I bet you don’t want to miss that opportunity when Ambre hits the road together with Xandria, right?
You can also find Ambre doing the female vocals for Fragment Soul, a Progressive Metal band formed in 2016 in Greece which has another metal lady featured already on our webzine, the charming Heike Langhans, as a special member on vocals. How can she sing in such different bands at the same time, one might ask? Well, Ambre mentioned in one of her interviews that she loves to challenge herself vocally and to try new things, and as she can do both clean and guttural vocals it won’t be a surprise if other musicians and bands start recruiting her to be part of their new albums or live concerts, consequently leading her to visit more and more cities and countries while on tour. Hence, let’s show our total support to Ambre in this new phase of her career, and hope that sooner than later we’ll be able to witness her kicking some ass onstage with her bandmates from Xandria in our hometowns, showing once again why Symphonic Metal has always been the perfect place for skillful and hard working women who rock our world like our up-and-coming Greek vocalist.
“I trained and developed my singing on my own (especially the harsh vocals) as well as with vocal coaches for many years, and still today – there is always so much more to learn and to achieve so I will probably never stop working with a professional vocal coach.” – Ambre Vourvahis
Let your darkest thoughts guide you to the sound of the debut album by a promising “Second Wave Orchestral Black Metal” band hailing from France.
A musical project which began two years ago at the initiative of a single man, Meddy Beaufils Motte, responsible for the guitars, keyboards and orchestrations, and joined a few weeks later by vocalist and guitarist Jeff Grimal, Bordeaux, France-based Symphonic and Atmospheric Black Metal act Citadel has just released their debut full-length effort, entitled Remember Your Past, a “Second Wave Orchestral Black Metal” feast highly influenced by bands the likes of Emperor, Dimmu Borgir, Der Weg Einer Freiheit and Enslaved. Mixed and mastered by Mathis Delepierre, and displaying a sinister artwork by the band’s own Jeff Grimal, Remember Your Past offers the listener seven tracks which form the personal story of a character with a specific life path, ranging from the common murderer to the spiritual man, while mixing different universes (those being science fiction, fantasy and, of course, reality), therefore showcasing all the talent and passion for heavy music by the aforementioned Jeff and Meddy together with bassist Benoit Gateuil and drummer Léo Isnard.
A beyond cinematic and phantasmagorical Intro sets the stage for Citadel to crush our souls with I See You, where Léo begins his sonic attack armed with his devilish drums, providing Jeff with all he needs to gnarl like a creature form the abyss. In other words, it’s kick-ass old school Black Metal with atmospheric nuances, not to mention how sharp the riffage by Jeff and Meddy sounds. The Cradle of Filth-inspired keys by Meddy ignite the also infernal Look, Your Pathetic Attempts, an imposing composition by those French metallers that lives up to the legacy of primeval Black Metal, with Jeff being once again demonic on vocals, roaring deeply and with tons of hatred in his heart; whereas the rumbling bass by Benoit offers a solid support to the strident guitars by Jeff and Meddy in The Road, where Jeff sounds even more demented on vocals than before, consequently enhancing the song’s obscurity and madness in the name of Atmospheric Black Metal.
Your Choice is simply brutal and dense from the very first second thanks to the thunderous kitchen crafted by Benoit and Léo while Jeff keeps screaming with tons of anger, also showcasing orchestral passages and piercing guitars, followed by Resurection, where a serene, melancholic start suddenly evolves into an instrumental Black and Doom Metal aria led by the intricate beats by Léo (and all that progressiveness permeates the air until the very end). Then back to a more visceral and raw mode the quartet fires sheer insanity through their sonic weapons in You’re a Piece of Shit, with Léo and Benoit punching us in the head mercilessly while Jeff and Meddy bring forward their trademark razor-edged Black Metal riffs. Finally, before all is said and done, there’s time for Citadel to captivate our senses one last time with a sinister Outro, fading into the unknown for our total delight.
Such acid and obscure album made in France can be appreciated in its entirety on YouTube and on Spotify, but of course in order to add it to your personal, devilish collection you should purchase it by clicking HERE and selecting your favorite version of it. In addition, don’t forget to start following Citadel on Facebook for news, tour dates and other nice-to-know details about the band, showing all your support to French Black Metal. Remember Your Past is not just dark or evil, but a musical representation of all the talent that emanates form those four metallers, and of course the insanity and obscurity from the human mind. In other words, simply join Citadel in their quest for extreme music, and let your darkest thoughts guide you while enjoying the epic Black Metal blasted by the band throughout their infernal debut opus.
Best moments of the album: Look, Your Pathetic Attempts, The Road and You’re a Piece of Shit.
Worst moments of the album:Resurection.
Released in 2022 Cold Dark Matter Records/Duality Records/Enter the Void Records
Track listing 1. Intro 2:10
2. I See You 4:01
3. Look, Your Pathetic Attempts 4:59
4. The Road 7:44
5. Your Choice 6:11
6. Resurection 6:45
7. You’re a Piece of Shit 5:04
8. Outro 5:32
Band members Jeff Grimal – vocals, guitars
Meddy Beaufils Motte – guitars, keyboards, orchestrations
Benoit Gateuil – bass
Léo Isnard – drums
Chasing the heretics since 2016 anno Domini, French Heavy/Doom Metal inquisitors Ecclesia are back with their sophomore black mass, entitled Ecclesia Militans (or “the church militant” from Latin, an expression traditionally ascribed to Pope Clement V, who used it in his letter to King Philip IV in 1311 to indicate all living Christians), the follow-up to their critically acclaimed 2020 opus De Ecclesiæ Universalis. Armed with purifying fire, blessed swords, and Holy Rage, the band currently formed of Frater Arnhwald on vocals, Julius Accusator and The Witchfinder General on the guitars, Frater Ignis Sacer on bass, Pater Walkelinus on organ and keyboards, and Pater Hexenhammer on drums will convert fans of Candlemass, Solstice, and especially Tony Martin-era Black Sabbath as well as anyone who can feel the righteous fervor of medieval brimstone with their new album, demanding us to confess our sins to the sound of their perfect syncretism between traditional Heavy Metal and Epic Doom Metal.
If you consider yourself a true heretic, it’s time to confess all your sins and grab a copy of Ecclesia Militans from Ecclesia’s own BandCamp page as well as from the Aural Music webstore as a CD, a black and gold LP, or a heretic blood LP, and don’t forget to also follow the band on Facebook and on Instagram for news, tour dates and other nice-to-know details about one of the rising forces of the European metal scene. Just like the Catholic church, Ecclesia are increasing their dominance all over the world with their first-class witchfinding doom, and their new album Ecclesia Militans will certainly convert more and more heretics to their cause in the coming years. Amen.
THE HEADBANGING MOOSE 