This Teutonic army will attack your senses with their debut album, paying tribute to 90’s Black and Death Metal from Norway, Sweden and England while also presenting some modern influences.
Formed in 2020 in the beginning of the coronavirus pandemic in Hamm, a city in North Rhine-Westphalia, Germany, Black/Death Metal horde Brimstone Gate has just unleashed their debut album, entitled Return from the Brimstone Portal, paying tribute to 90’s Black and Death Metal from Norway, Sweden and England while also presenting some modern influences. Recorded by the band’s two founding members Carsten Nachtigall and Michael Gruen, mixed and mastered by Michael “Obelxxx” Elsner, and displaying a classic artwork licenced by iStock and re-worked and designed by Michael Gruen, Return from the Brimstone Portal is recommended for admirers of the music by Belphegor and Zyklon, showcasing all the talent and hard work by Simon Stellmacher (Niflhel) on vocals and bass, and Carsten Nachtigall (Niflhel) and Michael Gruen (Niflhel, Deathstruction) on the guitars and drum programming.
Cinematic, somber and atmospheric from the very first second, Beyond the Gate works as an intro to a horror movie, dragging our souls to the Stygian lair ruled by Brimstone Gate in Return from the Brimstone Portal, exploding into a technical yet visceral form of Death Metal with Simon roaring like a beast, therefore adding an extra dosage of dementia to the overall result; and the guitars by Carsten and Michael bring fire to their music in Voices of the Dead, accompanied by the song’s massive beats in another solid display of German Death Metal. Then spearheaded by the venomous screams by Simon we have Emperor of the Painful Realm, sounding infernal from start to finish to the song’s hammering drums.
The second half of the album begins with another bestial creation by the quintet named Path to Your Liberation, offering Simon’s rumbling bass and the always scorching riffs and solos by Casrten and Michael, and it’s then time for a neck-breaking extravaganza entitled The Void Darkened, displaying the band’s usual savagery spiced up by another demonic drum explosion. There’s no time to breathe as those Teutonic metallers keep darkening the skies with their fusion of Black and Death Metal in Death Arises in the Wind, showcasing more of their piercing, dirty riffs; whereas closing the album it’s time for the six-minute tune Lost Nightsun, sounding bold and austere while led by the deep roars by Simon, albeit a bit too lengthy in the end.
The new opus by Brimstone Gate is available for a full listen on YouTube and on Spotify, but of course if you’re an admirer of extreme music with an epic background story you can purchase a copy of the album (and consequently show all your support to the underground scene) directly from their own BandCamp page. Don’t forget to also follow the band on Facebook and on Instagram for tour dates, news and so on, and to subscribe to their YouTube channel for more of their incendiary music. Those German metallers are on absolute fire in Return from the Brimstone Portal, the first step in their promising career, and an amazing display of the always entertaining Black and Death Metal scene from one of the meccas of heavy music worldwide.
Best moments of the album:Return from the Brimstone Portal, Emperor of the Painful Realm and Path to Your Liberation.
Worst moments of the album:Lost Nightsun.
Released in 2023 ADG Records
Track listing 1. Beyond the Gate (Intro) 1:33
2. Return from the Brimstone Portal 5:00
3. Voices of the Dead 4:37
4. Emperor of the Painful Realm 4:11
5. Path to Your Liberation 5:26
6. The Void Darkened 5:12
7. Death Arises in the Wind 5:36
8. Lost Nightsun 6:26
Band members
Simon Stellmacher – vocals, bass
Carsten Nachtigall – guitars, drum programming
Michael Gruen – guitars, drum programming
Live lineup
Dominik Zillmann – vocals
Carsten Nachtigall – guitars
Michael Gruen – guitars
Robin Vieler – bass, backing vocals
Daniel Müller – drums
Behold the majestic fourth album by this unrelenting German Black Metal horde, explicating the undeniable fact that everything will turn to dust someday.
Forged in 2015 in the deep darkness of the Black Forest, a mountainous region in southwest Germany, bordering France, the unrelenting Black Metal horde Thron is back with a fantastic new opus, titled Dust, their fourth full-length album following up on their 2021 effort Pilgrim. Currently formed of Samca on vocals, PVIII and Raven Dust on the guitars, SXIII on bass and J on drums, the band incorporated new elements to their sound in Dust by going back to their very roots which lie in the early 80’s, when bands like Iron Maiden, Judas Priest and Mercyful Fate ruled the field, while at the same time taking inspiration from the 90’s when bands like Tiamat, Edge of Sanity and Sentenced expanded their horizons. This fusion of sounds, combined with serious dedication to the glorious Progressive Rock dinosaurs of the 70’s, the love for the dark extreme musical arts with blasting fury and aggressive vocals, the crisp recording at Black Halo Studios Rheinfelden, Chäuer Studios Bärn and RL Studios Freiburg, the first-class mixing and mastering by Christoph Brandes at Iguana Studios, and the sinister artwork by Khaos Diktator Design, turn Dust into a must-listen for admirers of the music by Dissection, Watain, Necrophobic, Unanimated and Tribulation, just to name a few.
The devilish guitars by PVIII and Raven Dust will send shivers down your spine in Dying In The Mud, kicking off the album on a beyond dark note with Samca gnarling nonstop in the name of Black Metal; and such talented German horde puts the pedal to the metal in Return…, delivering classic Black Metal spearheaded by the massive drums by J while the band’s guitar duo keeps firing sheer obscurity from their axes, sounding furious, insane and evil just the way we like it. SXIII adds his share of heaviness to the music through his bass lines in The True Belief, leaning towards Melodic Black Metal while Samca keeps vociferating manically, being therefore perfect for some vicious headbanging, whereas back to a more infernal mode the band will demolish our souls with The Golden Calf, once again showcasing a superb guitar job and demonic blast beats, not to mention its welcome breaks and variations. And not a single second of peace is offered to us all in Monologue, another straightforward, Stygian Black Metal extravaganza showcasing the usual demolishing drums by the infuriated J.
The intro in The Eve is certainly spine-chilling, and that sulfurous, demonic vibe grows in intensity before exploding into old school Black Metal with hints of Death Metal. Needless to say, Samca sounds utterly grim on vocals, whereas Into Oblivion is another very harmonious and piercing creation by Thron venturing through the realms of modern-day Melodic Black Metal where all riffs and solos are absolutely incendiary. More of their razor-edged riffs will penetrate deep inside our psyche in The Tyranny Of I, with J dictating the song’s venomous pace with his intricate but also violent beats; followed by Face Of Despair, darker and more demonic than its predecessors thanks to its hints of Doom Metal while remaining loyal to the band’s core essence, presenting another superb vocal performance by Samca and overflowing desperation, hatred and sulfur. Their second to last breath of blasphemy comes in the form of The Wrong God, with PVIII and Raven Dust cutting our skin deep with another flawless riff attack, while lastly the band still has time to fulminate our senses with Martyr, where J is bestial behind his drums supported by the rumbling bass by SXIII throughout the song’s almost seven minutes of pure Black Metal awesomeness.
In summary, Thron more than nailed it with the apocalyptic Dust, delivering a collection of eleven Black Metal anthems that will undoubtedly place it among the best Black Metal albums of the year. Furthermore, such sensational blast of extreme music made in Germany can be appreciated in all of its obscure glory on YouTube and on Spotify, and if you consider yourself a true servant of the underworld you should definitely purchase a copy of it from the Listenable Records’ BandCamp page or webstore, or by clicking HERE. Don’t forget to also follow the band on Facebook and on Instagram for news, tour dates and so on, keeping the fires of Black Metal burning bright until the very end. Because you know, as the band itself stated, everything will turn to dust someday.
Best moments of the album:Return…, The Golden Calf, The Eve and The Tyranny Of I.
Worst moments of the album: None.
Released in 2023 Listenable Records
Track listing 1. Dying In The Mud 5:08
2. Return… 4:52
3. The True Belief 4:06
4. The Golden Calf 6:13
5. Monologue 3:31
6. The Eve 5:52
7. Into Oblivion 3:58
8. The Tyranny Of I 5:42
9. Face Of Despair 4:20
10. The Wrong God 4:48
11. Martyr 6:55
Band members
Samca – vocals
PVIII – guitars
Raven Dust – guitars
SXIII – bass
J – drums
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 embark on an exciting journey to experience a world of sound never heard before in the universe of the German masters of Symphonic Metal.
The time has finally come to dive into new adventures. Six years after the release of Theater of Dimensions, Bielefeld, Germany-based Symphonic Metal masters Xandria are finally back in action with a brand new opus, titled The Wonders Still Awaiting, the eighth studio album in their career, and the first to feature the Greek goddess Ambre Vourvahis on vocals, Rob Klawonn on the guitars, Tim Schwarz on bass, and Dimitros Gatsios on drums, alongside the band’s mastermind Marco Heubaum. Mixed and mastered by Jacob Hansen, and displaying a stylish artwork by Zacarias Guterres, The Wonders Still Awaiting presents 13 tracks in total, clocking at over one hour of music, sounding harder, darker and more epic than all of their previous efforts while holding an intimate setting and range of emotions at the same time. Next to a 40-piece classical choir, authentic Celtic instruments represented by renowned musicians as well as delicate violin and cello contributions, the album is topped by the Bulgarian National Radio Children’s Choir, which marks the first collaboration of this kind in the band’s history.
Gentle keys kick off the opening tune Two Worlds, evolving into a Symphonic Metal feast led by the classy riffs by Marco and Rob and, of course, the striking vocals by Ambre. It’s indeed a beautiful way to start their metallic voyage, whereas Dimitrio pounds his drums accompanied by the rumbling bass by Tim in Reborn, alternating between heavy moments and gentle passages, sounding absolutely solid from start to finish. Then we’re treated to You Will Never Be Our God, featuring the one and only Ralf Scheepers (Primal Fear) as a guest vocalist, making a powerful duo with Ambre supported by her bandmates with their precise riffage, bass lines and beats, followed by the title-track The Wonders Still Awaiting, also showcasing a perfect sync between Ambre and the band’s guitar duo, exhaling epicness and adventure. After that, it’s time for a fast and thrilling Symphonic Metal aria titled Ghosts, with the band’s groovy kitchen formed of Tim and Dimitrio kicking some serious ass, and Your Stories I’ll Remember, a charming ballad with touching lyrics declaimed by Ambre (“I have walked this path with you until you’ve gone on your own / And I hope you’ve heard me still when I have said farewell / You will always be a part of what I have become / And whenever I close my eyes I think back of this time”). Then we have My Curse Is My Redemption, presenting another serene start with stylish background elements, flowing smoothly to the stunning vocals by Ambre.
Illusion Is Their Name is another heavy and thunderous Symphonic Metal beast by Xandria, one of the best songs of the album thanks to its endless electricity, piercing riffs and blast beats, followed by another mesmerizing ballad led by Ambre entitled Paradise, with Marco’s and Rob’s minimalist guitar lines adding an extra touch of darkness to the overall result. Let’s all bang our heads together with Xandria in Mirror of Time, uniting their past, present and future in a fierce and entertaining way, sounding and feeling very detailed and dense until the very last second, and there’s no sign of the band slowing down as they bring forward another full-bodied, intense song titled Scars, with its orchestrations walking hand in hand with Ambre’s passionate vocals. Their second to last aria, titled The Maiden and the Child, embellishes the airwaves with a symphonic and vibrant sonority, with Dimitrio dictating the song’s inspiring pace while their guitars overflow heaviness and potency, before their musical journey ends with Astèria, offering poetic, epic lyrics declaimed by Ambre (“I came from far away to save my soul / To flee this war I have always known / Followed paths away from this / The guns, the suffering / This is not the homeland that we need / Bleeding in vain”) while her bandmates generate a wall of symphonic and orchestral sounds that elevates the album’s impact and reach considerably, or in other words, it’s a fantastic story told by Xandria through their music.
Rich in different styles and genres, the excellent The Wonders Still Awaiting comes close to a movie score, sending its listener on an exciting journey to experience a world of sound never heard before in the universe of Xandria. Hence, you can experience all that by streaming the full album on YouTube and on Spotify, and of course by purchasing your favorite version of the album by clicking HERE or HERE. It’s indeed great to see a band like Xandria getting back on track after such turbulent times in their career, and I’m sure the band would love to hear your thoughts on their new music on Facebook and on Instagram, and don’t forget to also subscribe to their official YouTube channel. Let’s all hope that Xandria have finally reached their desired and, more important than that, stable shape and form, because after seeing what Ambre can do for the band they simply cannot afford to lose her. It would be a total disaster, I might say. Anyway, at least for now Xandria are not only alive and kicking, but their new album will undoubtedly become a reference in the genre, inviting us all to join them in epic adventures only Symphonic Metal can provide us with.
Best moments of the album:You Will Never Be Our God, Ghosts, Illusion Is Their Name and Astèria.
Worst moments of the album:My Curse Is My Redemption.
Released in 2023 Napalm Records
Track listing 1. Two Worlds 7:08
2. Reborn 5:13
3. You Will Never Be Our God 5:11
4. The Wonders Still Awaiting 4:59
5. Ghosts 5:26
6. Your Stories I’ll Remember 6:21
7. My Curse Is My Redemption 5:03
8. Illusion Is Their Name 5:07
9. Paradise 5:02
10. Mirror of Time 6:41
11. Scars 4:07
12. The Maiden and the Child 4:54
13. Astèria 9:08
Band members Ambre Vourvahis – vocals
Marco Heubaum – guitars, keyboards, programming, backing vocals
Rob Klawonn – guitars
Tim Schwarz – bass
Dimitrio Gatsios – drums
Guest musicians Ralf Scheepers – vocals on “You Will Never Be Our God”
Ally Storch – violin, cello
Johannes Schiefner – uillean pipes
McAlbi – low whistle
Luki Knoebl – orchestral arrangements
Bulgarian National Radio Children’s Choir – choir
I’m very much of the opinion that Rogga Johansson doesn’t sleep! How can he sleep with a list of bands and projects that would keep a civil servant happy for a decade? His latest endeavour is the Death/Thrash Metal triumvirate Leper Colony, who have chosen Friday the 13th of January as a suitable date to unleash their debut self-titled album through Transcending Obscurity Records.
You can’t ask for a more powerful opener than The Human Paradox; a blistering track of intensive Death Metal ferocity and wild thrashing aggression. Deep growled vocals bring to life a very captivating chorus section whilst chugging riffs and frenzied drumming complete with punishing bass and extravagant guitar melodies. ‘Perdition’s End’ is a more direct and hard-hitting track with simpler riffs and in-your face vocals, though the rhythm guitar here has a cold tinge to it that is rather enigmatic.
There is little variation to this opus which spans just over the half an hour mark, save for the odd passage of slower, groovier rhythm such as during tracks like Rapture Addict. However, the ferocious aggression, raging guitar solos and fuck you attitude certainly make up for that! A very listenable album full to the gills with mighty riffs, energetic urgent drumming styles and unadulterated violence.
Best moments of the album: The roaring opener that is The Human Paradox.
Worst moments of the album: None.
Released in 2023 by Transcending Obscurity Records
Track listing 1. The Human Paradox 4:22
2. Perdition’s End 3:19
3. The Surgical Undeadvors 3:43
4. Tar and Feathers 3:15
5. Rapture Addict 4:40
6. Leper Colony 4:35
7. A Flow So Greatly Macabre 3:20
8. Flesh Crawl Demise 3:24
9. Gruesome End 2:55
Band members
Marc Grewe – vocals
Rogga Johansson – guitars, bass
Jon Skäre – drums
Combining groovy guitar riffs, catchy choruses and spherical synth sounds, the sophomore album by German multi-instrumentalist Markus Pfeffer offers us all another exciting Hard Rock voyage.
The brainchild of Kaiserslautern, Germany-based multi-instrumentalist Markus Pfeffer (Winterland, Scarlett, Lazarus Dream), Melodic Hard Rock project Barnabas Sky combines groovy guitar riffs, catchy choruses, distinctive voices of several singers with international reputation, spherical synth sounds and filigree solos to a timeless rock melange way beyond short-lived trends, which is exactly what you’ll get in the project’s sophomore opus, titled What Comes To Light, the follow-up to its 2021 debut Inspirations. Supported by drummer Thomas Rieder and an array of guest vocalists the likes of Jesse Damon (Silent Rage), Doogie White (Rainbow), Dan Reed, Roy Cathey (Coald Sweat), Dirk Kennedy (Hittman), Carsten Lizard Schulz (Evidence One, Domain), Lee Small (Lionheart), Alan Tecchio (Wartchtower) and Danny Vaughn (Tyketto), Markus embellishes the airwaves with his fusion of Hard Rock and AOR, with the beautiful artwork by Stan W. Decker (Powerwolf, Megadeth, Rage, Masterplan) and the mastering by Rolf Munkes (Michael Schenker, Mad Max, Voodoo Circle) at Empire Studios turning the album into a must-listen for fans of Winterland, Tyketto, Silent Rage, Rainbow and Phenomena, among others.
Featuring the talented Danny Vaughn of Tyketto on vocals, the title-track What Comes To Light brings forward a mix of classic Hard Rock taken directly from the 80’s with modern-day Melodic Rock, spiced up by the amazing job done by Markus with his melodious riffs while Thomas brings tons of groove to the music. Then we have We Are Electric, featuring vocalist Lee Small of SHY, Phenomena and Lionheart, a more rhythmic tune where the bass lines by Markus sound metallic and vibrant, offering Lee exactly what he needs to shine on vocals; followed by Till My Dying Days, featuring Roy Cathey of Cold Sweat and The Fifth on vocals, another modern rock creation by Markus showcasing ethereal backing vocals, classy guitars and passionate vocal lines. Then with the one and only Doogie White of Alcatrazz, Rainbow and Malmsteen on vocals, we have Circus Of Delight, where Markus is once again on fire armed with his guitar and bass while Thomas kicks ass as usual on drums. Needless to say, Doogie has an incendiary performance on vocals. And featuring Dan Reed of Dan Reed Network, Take A Ride is a synth-fueled Hard Rock/AOR extravaganza showcasing delicate but powerful vocals by Dan, while Markus once again brings the groove with his bass lines.
A futuristic and thunderous intro gradually evolves into a Rock N’ Roll song titled A Dying Song, featuring guest vocals by Carsten ‘Lizard’ Schulz of Lazarus Dream and Devoid, and despite its solid structure it could have been slightly shorter, though; whereas Deibys Artigas Venegas of Preincarnation kicks ass on vocals in Isolation, where pure 80’s Hard Rock flows from all instruments and of course from Deibys’ vocals, sounding very exciting from start to finish and with Markus being spot-on with his riffs and solos. Then we have Grant Me A Wish From Heaven, with vocals by Jesse Damon of Silent Rage and backing vocals by Paul Sabu, a solid mid-tempo creation by Markus and his henchmen; and get ready to bang your head together with Barnabas Sky in One Or The Other, showcasing guest Alan Tecchio of Watchtower on vocals, sounding electrifying and modern without losing the project’s core essence rooted in the 80’s. Featuring Dirk Kennedy of Hittman on vocals we have Seven Wonders, closing the regular version of the album by offering our ears more of the project’s melodic and thrilling rock music, whereas Lee Small returns in the bonus track No Tomorrow, a very entertaining composition that’s worth the investment in the physical version of the album, with Lee stealing the spotlight with another stylish vocal performance.
Markus Pfeffer and his Barnabas Sky are waiting for you on Facebook with news, more of the project’s classy rock music, and other nice to know details about it, and of course if you want to purchase a copy of What Comes To Light you can find all information you need by clicking HERE. In a nutshell, it’s impressive how Markus was capable of putting together such cohesive and dynamic album even with so many different vocalists as guest musicians. Well, all of those vocalists are extremely talented, which already helped him a lot in shaping up the album to be so powerful and balanced, but there are many out there who wouldn’t have been able to reach the same level of quality, proving how skillful and focused Markus is and, therefore, leaving the gates oh heaven and hell open for Markus and his henchmen to deliver another excellent album of Hard Rock in the coming years.
Best moments of the album:What Comes To Light, Circus Of Delight and Isolation.
Worst moments of the album:A Dying Song.
Released in 2023 Pride & Joy Music
Track listing 1. What Comes To Light 4:53
2. We Are Electric 4:33
3. Till My Dying Days 4:49
4. Circus Of Delight 4:44
5. Take A Ride 4:24
6. A Dying Song 8:04
7. Isolation 5:47
8. Grant Me A Wish From Heaven 4:16
9. One Or The Other 4:22
10. Seven Wonders 6:02
CD bonus track 11. No Tomorrow 4:59
Band members Markus Pfeffer – guitars, bass, keyboards, synths
Guest musicians Danny Vaughn – vocals on “What Comes To Light”
Dan Reed – vocals on “Take A Ride”
Doogie White – vocals on “Circus Of Delight”
Jesse Damon – vocals on “Grant Me A Wish From Heaven”
Roy Cathey – vocals on “Till My Dying Days”
Dirk Kennedy – vocals on “Seven Wonders”
Lee Small – vocals on “We Are Electric”
Carsten ‘Lizard’ Schulz – vocals on “A Dying Song”
Alan Tecchio – vocals on “One Or The Other”
Deibys Artigas Venegas – vocals on “Isolation”
Thomas Rieder – drums, percussion
Paul Sabu – backing vocals on “Grant Me A Wish From Heaven”
Stephan Hugo – backing vocals
Vicious and vitriolic, full of raw anger and burning hatred, the new album by this German Black Metal entity will pulverize your senses mercilessly.
Vicious and vitriolic, full of raw anger and burning hatred, yet at the same time bursting with live and lingering on moments of astonishing beauty, Hearts Unchained – At War with a Passionless World, the third full-length opus by German Black Metal entity Imha Tarikat (Turkish for “extermination sect”), announces its inherent contradictions and struggles already in the title. Recorded and produced by the band’s mastermind Kerem Yilmaz (aka Ruhsuz Cellât), mixed by Michael Zech, mastered by Victor Santura (of Triptykon) at Woodshed Studio, and displaying a sinister cover and illustration by Artem Grigoryev (with sigil and additional illustration by Next Gate Art, and additional illustration by Raul CJ Peña), Hearts Unchained – At War with a Passionless World is essentially a Black Metal album in the crackling dry and humorless German style that renounces all bombast and often folk-ish undertones of its Nordic counterparts, with Kerem Yilmaz creating new layers and expanding the dimensions of his unique compositions, supported by session drummer Melvin Cieslar (of Hexer).
Absolutely atmospheric and sinister, Intro – Deeper Within will drag your soul to the Stygian lair of Imha Tarikat before all hell breaks loose in Radical Righteousness, a song that deals with the detachment from addiction to emotional suffering, with Kerem screaming in anger nonstop accompanied by his own scorching riffs and the demented but very intricate drumming by Melvin. Touch Of Mercy starts in a serene, melodic manner to the beautiful guitar lines by Kerem, blending elements from the most primeval form of Black Metal with Progressive and Experimental Metal, whereas Brute Majesty is another song that exhales chaos, insanity and fury, with Melvin sounding bestial on drums while Kerem’s vocals get more and more rabid as the music evolves. And Flood Of Love (The Beast Trigger) will grab you by your throat and choke the life out of your body, sounding massive, sharp and caustic from start to finish, with Kerem stealing the show with his wicked riffs and vile roars.
The phantasmagorical (and a bit lengthy) Interlude – Birth Of Grandeur breaks the album in two, setting the tone for the second half starting with Dominator Proselytism Tactics, offering our ears a very dynamic, straightforward Black Metal sonority led by Melvin’s wicked beats. Put differently, it’s a truly infernal creation by Imha Tarikat, which can also be said about Streams Of Power – Canavar, presenting an incendiary Punk Rock/Hardcore vibe the likes of Misfits. It’s the less Black Metal of all songs, yet still acid and thrilling, not to mention the rumbling bass by Kerem is a thing of beauty; while Stardust Wisdom (Manifest Of The Deity To The Unkeen) is another strident, heavy-as-hell tune where Kerem’s anguished vocals walk hand in hand with the pounding drums by Melvin. And last but not least, it’s time for another obscure extravaganza entitled Beast Of Sovereignty, showcasing Kerem’s trademark vocals and riffs always supported by Melvin and his demented drums.
Kerem Yilmaz and his alter-ego Imha Tarikat are waiting for you on Facebook and on Instagram for news, tour dates, plans for the future and so on, and if you want to show your full support to such talented musician from Germany you can purchase Hearts Unchained – At War with a Passionless by clicking HERE and by streaming the album in its entirety on YouTube and on Spotify. In summary, Hearts Unchained – At War with a Passionless World is not an album for anyone, while at the same time it is for everyone, showing how dynamic and multi-layered the music crafted by Imha Tarikat is, turning Kerem’s anger and hatred into amazing music that will keep the fires of Black Metal burning for centuries to come.
Best moments of the album:Flood Of Love (The Beast Trigger), Dominator Proselytism Tactics and Streams Of Power – Canavar.
Worst moments of the album:Interlude – Birth Of Grandeur.
Released in 2022 Lupus Lounge/Prophecy Productions
Track listing 1. Intro – Deeper Within 1:27
2. Radical Righteousness 5:57
3. Touch Of Mercy 5:04
4. Brute Majesty 5:19
5. Flood Of Love (The Beast Trigger) 5:32
6. Interlude – Birth Of Grandeur 2:31
7. Dominator Proselytism Tactics 5:51
8. Streams Of Power – Canavar 4:50
9. Stardust Wisdom (Manifest Of The Deity To The Unkeen) 6:44
10. Beast Of Sovereignty 5:48
Luke Hayhurst: Greetings Konstantin and to all of Lifetaker. How is life right now in Germany?
Konstantin Shepes (Lifetaker): Hey Luke, thanks for having us! Since we can not speak for every soul living in this country. Indeed; to us life seems quite bearable at the moment because we are stoked about our new record that came out on Friday!
LH: I won’t lie, until you messaged me about your new album I had not heard of Lifetaker. With that in mind, can you tell me about the genesis of the band? How you came into existence, and how you came to choose the provocative name, Lifetaker?
KS: Lifetaker was formed back in 2018, and we’ve known each other for years. However, we played in different bands up until this point. So, forming Lifetaker became a lucky twist of fate in a way. The band turned out to subjectively fulfill every aspect of being in a band that each member was missing at some point in the past. So, the genesis of Lifetaker lies in the fact that four dudes who share the same vision on art and musical direction happened by mere accident.
You are right! The name itself may appear kind of provocative but so does the music!
LH: You are about to unleash an absolute colossal panzer attack of a second album entitled ‘Der Letzte Raum’ which translates into English as The Last Room. What can you tell me about the concept behind the album name?
KS: We went with “Der letzte Raum” because we thought it’s a decent allegory for the word “crypt” and at the same time the title is not over-explaining things to the listener. On the other hand, it made sense to choose a German title since the songs are performed in German. This is an idea we finally decided to do on this record because it allows us to put lyrics to songs that the songs deserve. Overall, the record is not meant to follow a specific concept. Every song stands on its own.
LH: I’m intrigued by the artwork for the new album. Who designed the piece and what instructions did you give them? How happy are you with the final piece?
KS: The artwork for “Der letzte Raum” is an actual painting by the Russian artist Veronika Polonskaya. We loved it at first sight and worked things out so no instructions were needed.
LH: I mentioned in my review that I’m not massively well versed in the style you play. You combine the very best elements of Grind, Sludge and Hardcore. Which bands would you say are direct influences to the Lifetaker sound?
KS: To be honest, and by saying this I am really honest… We are not influenced by any band out there. We love music to the fullest, of course we do, and we listen to a lot of stuff out there for sure. But, over the years we figured out that being influenced by other artists leads to nothing but the past. We record all the time and besides the records we have already put out, there is an uncountable amount of b-sides on our hard drives that never made it on a record. What drives us is vaguely motivated by music. It is more likely that we let things happen naturally based on our experiences as artists, as musicians, as human beings…true to the motto: If it feels right, it is right. By saying this, I mean that there is not a lot of overthinking going on and we do not plan everything down to the last detail. When you think of a Lifetaker record, and everything that lies beyond, you can think of a car crash. Things happen when you do not expect them to happen!
LH: I saw on your social media that you describe yourself as an anti-fascist band. Do you consider yourself a politically influenced band and how does that channel into your work?
KS: To our understanding anti-facism, or identifying as an anti-facist band, means that you are embracing the future with a healthy mindset and respect for your environment. And the people you are surrounded by, no matter who they are and where they come from. Lifetaker is not meant to be a political band because we prefer the subject of art over the subject of politics. In my opinion, there is no such thing as political art. It is always art, or politics, never both. The moment you try to inject your political taste into art, you are a politician and not an artist. This is what propaganda means. As a band, we really don’t feel like betraying the potential of art because of propaganda that is based on nothing but personal taste. Overall, political views are never channeled into our work.
Album Review – Lifetaker / Der letzte Raum (2022)
LH: Have you had any dealing with bands of a fascist nature? How prevalent in Germany would you say National Socialist ideals are within the music scene?
KS: No, we never had to deal with artists or bands of fascist nature and never will. We do not deal with facism, we smash it!
Concerning National Socalist ideologies within the German music scene. I would say there are people who do not make a secret out of it and are proud to carry these ideals. And there are people who flirt with these ideals but would never admit it in public.
In both cases, the only thing we as a band can say is fuck them!
LH: Getting back to your music. You released your debut album ‘Night Intruder’ back in 2020. How do you feel your sound has progressed since your first album going into your second?
KS: The sound has progressed in a way that we have managed to let go and get rid of certain aspects that are not necessary. The overall statement of a song/record is based on how we have pictured it before recording. Compared to our debut, the new record is straight to the core madness! Both in sound and songwriting, you will find a more punk and noise inspired approach to it.
LH: You have released the new opus on a great looking LP through Black Omega Recordings, who also released your first album. How did this collaboration come about? Why did you decide to stay with the same label?
KS: John who runs Black Omega Recordings used to be the vocalist for a band that I am friends with. At the time, Lifetaker was looking for a label when it came to the release of Night Intruder. We asked John if he would be interested in releasing the record. Since John is a really cool guy, who shares the same views and beliefs, plus the fact that he obviously must have enjoyed the record, it came to the collaboration that lasts until today.
The fact that we stay with the same label is based on the principle that we only work with people who share the same vision and who are truly dedicated towards what they do. We like authenticity, that is why we go with Black Omega Recordings and Lower Class Kids Records.
Lifetaker
LH: Do you take much notice of your local music scene? Are there any bands local to you that you feel people should be paying more attention to?
KS: Sure, we always keep an eye open for what is going on right now! We would love to shout out our friends in Isocult. Check them out, they definitely deserve more attention. It is your way to go if you are into cold post/wavy electronic tunes!
LH: What are the upcoming plans for Lifetaker once the album is unleashed? Will you be touring the new album? How hard is touring right now in Germany, what with the current energy crisis?
KS: We have already started working on new material for future releases. Hopefully we’ll be able to properly tour the new album since COVID-19 made it nearly impossible to play live for the past two years. Furthermore, we hope that the energy crisis will not get us in too much trouble. We are constantly working on things so that we can do what we love most, play live! Let’s see what the future holds for us.
LH: That is all I have for you. Thanks again for taking the time to answer my questions. I shall leave the final words for you.
KS: All the best to you and everyone out there! Stay safe!
Prolific Grind/Hardcore/Sludge quartet Lifetaker have returned with a sophomoric full length album entitled Der Letzte Raum (“The Last Room”) which will see the light of day later this month on an impressive looking LP, put out via Black Omega Recordings.
If you are going to call yourself Lifetaker you damn sure best have a sound to match the statement, and these German chaos merchants go about proving their mettle over the course of fifteen short sharp bursts of violence incarnate. I’m not massively well versed in either Grindcore or Hardcore so I’ll instead spend my time telling you how the album sounds rather than trying to unpick the bands myriad influences.
And what it sounds like is what I imagine having your face forcibly dragged along a cobbled street at a hundred miles per hour might sound like. A violent uncontrollable maelstrom of bludgeoning beats, Buzzsaw riff-age and a vocal style from the gutters, spewing forth bile and spite at every available moment. And yet at times Lifetaker produces moments of pure unadulterated fist pumping madness such as the delightfully catchy Kehlbiss or the equally as fun sounding Kadaverstille which are surely destined to be pit favourites at any upcoming shows that the band grace.
An absolutely banger of an album from start to finish; chaotic and carnage filled, viciously spiteful and intoxicatingly gratifying. Like a Panzer tank belligerently bulldozing your house and making you ask for more! Plug this directly into my veins and leave me to it!
How can a band play without their lead singer and still sound awesome? That’s exactly what the mighty Accept delivered to the city of Toronto on one of the weirdest concerts the city has ever seen.
As I had just returned from Ottawa after seeing Iron Maiden kick some ass again, I had the “mission” to gather all the energy left in me after almost five hours on the road to head to Toronto to see the one and only German Heavy Metal institution ACCEPT deliver the purest form of Heavy Metal you can think of during their Too Mean To Die Tour 2022, and because of that I was extremely late to The Phoenix Concert Theatre and missed ALL opening acts, those being Barrie, Ontario’s Heavy/Thrash Metal band JUGULAR, Toronto, Ontario’s Hard Rock squad RUSTIK, Toronto, Ontario’s Thrash Metal horde KORROSIVE, and South Carolina’s own Death Metal outfit NARCOTIC WASTELAND. I’m really sorry, guys, but my body was asking for some rest, otherwise I would have simply passed out during one of the opening shows. Those bands are amazing, though, and if you enjoy exploring the underground I would highly recommend you go after their music, in special Narcotic Wasteland if you’re a diehard admirer of old school Death Metal.
It was 9:30pm on a nice and not-so-cold night in Toronto when the mighty ACCEPT hit the stage at The Phoenix Concert Theatre, but it wasn’t their regular concert where the lights would go out and the entire band would start kicking ass with the song “Zombie Apocalypse”, from their 2021 opus Too Mean To Die. What we got was all bands members except Mark Tornillo walking to the stage with the lights still on, with Mr. Wolf Hoffmann grabbing the microphone and saying “as you can see we’re one man down”, explaining Mark had some very serious vocal issues, being prohibited to sing just 20 minutes before the concert otherwise his doctor said he could lose his voice forever. Wolf then asked if we were still OK to have a concert even without their lead singer, saying they would share the vocal duties among themselves and also ask for our help to sing along with them. Well, we were all there eager for some Accept, so what happened next was one of the weirdest and most unique live concerts ever.
Imagine five extremely talented and hardworking musicians playing first-class metal music from the bottom of their (metal) hearts, trying to sing their songs as best as they could, with no frontman to lead the crew. Is that a recipe for a massive failure? Maybe for another band, but not for Accept, who were absurdly professional and gave all they had to entertain their Torontonian fans. It was a much shorter setlist than their usual one, with all songs form their latest album being removed from their performance (probably because none of the band members could sing those), but at least we were smashed by an avalanche of classic the likes of Restless and Wild, Fast as a Shark, Metal Heart, Teutonic Terror, and of course, Balls to the Wall. Wolf was fantastic, brilliant, charismatic and perfect from start to finish, with his guitar screaming Heavy Metal and invading our minds and souls majestically. However, the man of the night for me was drummer Christopher Williams, who not only hammered his drums in great fashion the entire night, but he was the one responsible for most of the vocal parts, making his job even harder but at the same time more fun to watch. Mr. Christopher Williams, you’re a true metal beast! Thank you!
When the show was over after around only one hour there was of course a sense of frustration among some of their fans at the venue, but at the same time a lot of respect and admiration for the band for delivering a really good show even after the disastrous news shortly before their time to hit the stage. Of course I would have loved to see Mark Tornillo roaring in our faces on stage, but health always comes before any type of entertainment. I wish Mr. Tornillo a fast recovery, and may he come back screaming in the name of Heavy Metal faster than a shark. And did I mention there were plenty of mosh pits during Accept’s eccentric performance? That only shows how much those guys were professional and incendiary, inspiring some of the fans at the venue to crush their skulls into the pit even without a lead singer on stage asking them to do so. Hopefully the band will make up for such weird night on a not-so-distant future, returning to Toronto with a bigger, faster, heavier and more infernal set, but for now all I can say is that I’m proud to be an Accept fan, a band that will never surrender and always keep on fighting in the name of Heavy Metal.
Setlist
Restless and Wild
Hung, Drawn and Quartered
Midnight Mover
Demon’s Night / Starlight / Losers and Winners / Flash Rockin’ Man
Fast as a Shark
Metal Heart
Teutonic Terror
Pandemic
Balls to the Wall
Band members Mark Tornillo – lead vocals*
Wolf Hoffmann – guitar
Uwe Lulis – guitar
Philip Shouse – guitar
Martin Motnik – bass
Christopher Williams – drums
*Vocalist Mark Tornillo was absent due to illness. Bassist Martin Motnik and drummer Christopher Williams shared lead vocal duties.
Formed in 2020 in the beginning of the coronavirus pandemic in Hamm, a city in North Rhine-Westphalia, Germany, Black/Death Metal horde Brimstone Gate has just unleashed their debut album, entitled Return from the Brimstone Portal, paying tribute to 90’s Black and Death Metal from Norway, Sweden and England while also presenting some modern influences. Recorded by the band’s two founding members Carsten Nachtigall and Michael Gruen, mixed and mastered by Michael “Obelxxx” Elsner, and displaying a classic artwork licenced by iStock and re-worked and designed by Michael Gruen, Return from the Brimstone Portal is recommended for admirers of the music by Belphegor and Zyklon, showcasing all the talent and hard work by Simon Stellmacher (Niflhel) on vocals and bass, and Carsten Nachtigall (Niflhel) and Michael Gruen (Niflhel, Deathstruction) on the guitars and drum programming.
The new opus by Brimstone Gate is available for a full listen on YouTube and on Spotify, but of course if you’re an admirer of extreme music with an epic background story you can purchase a copy of the album (and consequently show all your support to the underground scene) directly from their own BandCamp page. Don’t forget to also follow the band on Facebook and on Instagram for tour dates, news and so on, and to subscribe to their YouTube channel for more of their incendiary music. Those German metallers are on absolute fire in Return from the Brimstone Portal, the first step in their promising career, and an amazing display of the always entertaining Black and Death Metal scene from one of the meccas of heavy music worldwide.
THE HEADBANGING MOOSE 