“Life is funny. If you don’t laugh, you’re in trouble.” – Taylor Hawkins
And just like that, after 880 days of nothing, I was finally able to attend a metal concert this year, just like countless other metalheads who patiently waited for the Canadian government to lift all restrictions due to the pandemic to get back to our normal lives. And it was a busy year concert-wise as you can see HERE, with Judas Priest, Lamb of God, Megadeth, Iron Maiden, Cannibal Corpse, Trivium, Amon Amarth, Arch Enemy, Behemoth and several others putting a smile back on our faces and the horns back in our hands, because in the end the beauty of heavy music is when it’s played live, right? On the other hand, we unfortunately saw some important names of the global metal scene disbanding such as Nuclear Assault, Tristania and Every Time I Die, plus of course the brave warriors who left us and are now sitting beside the metal gods in Valhalla. Just to name a few, we all mourned the losses of Fredrik Johansson (former guitarist of Dark Tranquillity), Jon Zazula (co-founder of Megaforce Records), Bruce Greig (former guitarist of Misery Index and Dying Fetus), Taylor Hawkins (drummer of Foo Fighters), Ronnie Deo (former bassist of Incantation), Trevor Strnad (vocalist of The Black Dahlia Murder), Alec John Such (former bassist of Bon Jovi), Bob Heathcote (former bassist of Suicidal Tendencies), Steve Grimmett (vocalist of Grim Reaper), Stuart Anstis (former guitarist of Cradle of Filth), David Andersson (guitarist of Soilwork), and Dan McCafferty (former vocalist of Nazareth).
However, one of the biggest losses in the world of heavy music happened right here in Toronto, Canada, as we lost the biggest metalhead of the entire Torontonian scene, Walter Froebrich. Our super fan Walter, who was a staple in the local scene for over 20 years (and I remember seeing him in every single concert I’ve attended in the past 10 years or more at least), sadly died alone at home last month following three visits to a local hospital due to severe abdominal pain. This is extremely tragic and cannot happen again, as we all have the right to decent healthcare it doesn’t matter who we are. There will be a memorial show for Walter on January 7, 2023 at The Rockpile (details can be found HERE and tickets HERE) with several local independent bands, and we at The Headbanging Moose also want to honor the life of Walter and his undisputed passion for heavy music by dedicating to him The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2022, excluding EP’s, best of’s and live albums.
1. Kreator – Hate Über Alles (REVIEW) Let the hate flow through you to the sound of the magnificent new opus by one of the trailblazers of the German Thrash Metal scene.
Best song of the album: Hate Über Alles
2. Lorna Shore – Pain Remains (REVIEW) The most explosive name of the current Deathcore scene invites us all to dance like flames to the sound of their newborn masterpiece.
Best song of the album: The Pain Remains Trilogy
3. Megadeth – The Sick, the Dying… and the Dead! (REVIEW) The unstoppable Mr. Dave Mustaine strikes again with the sick, the dying… and the Megadeth!
Best song of the album: Life in Hell
4. Rammstein – Zeit (REVIEW) Germany’s own Neue Deutsche Härte institution wasted no time during the pandemic and is back in action with their fantastic eight opus.
Best song of the album: Angst
5. Behemoth – Opvs Contra Natvram (REVIEW) A stunning work against religious oppression by Poland’s most important Extreme Metal institution of all time.
Best song of the album: Malaria Vvlgata
6. Arch Enemy – Deceivers (REVIEW) One of the most important names in metal is back in action with their most solid and detailed album with Alissa White-Gluz on vocals.
Best song of the album: The Watcher
7. Lamb of God – Omens (REVIEW) Ignore the omens and listen to the pulverizing new album by one of the best and most dynamic metal bands of the past two decades.
Best song of the album: Ditch
8. Amon Amarth – The Great Heathen Army (REVIEW) Join the great heathen army spearheaded by one of the most respected bands of the current metal scene.
Best song of the album: Saxons and Vikings
9. Hiss From The Moat – The Way Out Of Hell (REVIEW) There’s only one way out of hell, and that’s to the sound of the incendiary Blackened Death Metal by this Italian horde.
Best song of the album: Generation Of Cowardice
10. Diabolical Raw – Elegy of Fire Dusk (REVIEW) Behold this grandiose album of Symphonic Black and Death Metal inspired by ancient Central Asian Turkish mythology.
Best song of the album: Face the Judgement
And here we have the runner-ups, completing the top 20 for the year:
11. Abaddon Incarnate – The Wretched Sermon (REVIEW)
12. Cage Fight – Cage Fight (REVIEW)
13. Dark Funeral – We Are The Apocalypse (REVIEW)
14. Stratovarius – Survive (REVIEW)
15. Konvent – Call Down the Sun (REVIEW)
16. Scorpions – Rock Believer (REVIEW)
17. Disturbed – Divisive (REVIEW)
18. Thundermother – Black and Gold (REVIEW)
19. Blind Guardian – The God Machine (REVIEW)
20. Ferum – Asunder / Erode (REVIEW)
In addition to all that, let’s bang our heads with our Top 10 EP’s of 2022 to prove once and for all that not all great albums of the year have to be so long. The EP’s from this list are simply awesome, showcasing the band’s talent and their ability to sound epic even if the music lasts for only a few minutes.
1. Eskhaton – Horracle (REVIEW)
2. Headfist – This New World…. (REVIEW)
3. Sullen Guest – Phase (REVIEW)
4. Pyrrhic Salvation – Manifestum I (REVIEW)
5. Klendathu – Avarist: The Beginning & The End at Once (REVIEW)
6. Through The Noise – Tragedies (REVIEW)
7. Rotten Casket – First Nail in the Casket (REVIEW)
8. Circa Arcana – Bridget Viginti (REVIEW)
9. All Else Fails – The Incident at Black Lake (REVIEW)
10. Haunted By Silhouettes – No Man Isle (REVIEW)
Do you agree with our list? What are your top 10 albums of 2022? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show! And if you lost some or most of our special editions of The Headbanging Moose Show, including our Top 20 Underground Albums of 2022 – Parts I and II, go to our Mixcloud page and there you have hours and hours of the best of the independent scene, sounds good?
Metal Xmas and a Headbanging New Year! See you in 2023!
And before I go, I’ll leave you with what’s in my humble opinion not only the best song of 2022, but it also carries a very inspiring message to us all… ROW! ROW! ROW!
Liechtenstein’s own one-man Gothic and Doom Metal band returns with the second part of his four-album concept, surrendering to inner preferences and being less and less controlled by material or negative things.
Formed in 2018 in Triesen, the third largest municipality of the Principality of Liechtenstein, Gothic/Doom Metal one-man army Black Reuss has just released the second part of his four-album concept, entitled Journey, the follow-up to his 2021 album Metamorphosis and a preparation for the upcoming albums Arrival and Death. The man behind Black Reuss, vocalist and multi-instrumentalist Maurizio Dottores, is at home in doomy Heavy Metal with a touch of melancholy and a certain heaviness that has accompanied him in some chapters of his life, with Journey being about surrendering to inner preferences and being less and less controlled by material or negative things, being therefore highly recommended for admirers of the doomed music by Paradise Lost, Type O Negative, Katatonia and Black Sabbath, among others.
Eerie, futuristic sounds ignite the atmospheric Exodus, with Maurizio wasting no time by distilling his trademark fusion of Gothic Rock and Metal while firing sharp riffs from start to finish, and switching gears to a more sinister vibe thanks to his tribal beats and minimalist guitar lines we’re treated to Dejection, living up to the legacy of classic Doom Metal. Moreover, Maurizio’s deep vocals add a touch of anguish to the overall result, whereas experimenting with more unconventional sound and elements it’s time for the somber Egression, where Maurizio does a great job with both his riffs and bass lines; followed by the bold, atmospheric and pensive Hole, where its sonority will embrace you in the name of Gothic and Doom Metal and with Maurizio’s riffage and beats bringing forward sheer heaviness. Slowing things down a bit we have the Gothic Rock feast Fail, where once again Maurizio is on fire armed with his rumbling bass, adding endless groove to the music, while a beyond sinister and atmospheric start evolves into a Gothic Metal extravaganza in Deep-Seated, with Maurizio’s introspective, deep vocals and low-tuned bass lines beautifully darkening the skies, also presenting hints of Southern Rock and Metal for our total delight.
Drinking from the same obscure fountain as renowned acts the likes of Moonspell, My Dying Bride and Paradise Lost, Maurizio brings forth sheer doom in Regression, another first-class composition showcasing sluggish beats and riffs enfolded by an ethereal ambience, and it’s then time for a headbanging tune entitled Dependence, where Maurizio slashes his guitar in great fashion while his beats bring an extra kick to the song, being clearly inspired by the 80’s Gothic Rock scene (and a recommended addition to your road trip playlist, by the way). Integrity keeps the album at a high level of energy and doom, with Maurizio adding a phantasmagorical vibe to it with his keys while his guitar work sounds very melodic and sharp as usual; and the last two songs of the album are also the longest ones, starting with Affection, a slow, reverberating composition that exhales pure Doom Metal with his guitar solos being a thing of beauty, flowing into the pensive and grim Redemption, an atmospheric nine-minute aria where Maurizio declaims the song’s lyrics with tons of anguish while its instrumental pieces are simply spot-on, consequently putting a delicate but impactful ending to the album.
While we wait for the third and fourth chapters in the musical adventure crafted by Maurizio Dottores and his Black Reuss, we can definitely have a very good time enjoying Metamorphosis and of course Journey, which is by the way available in its entirety on Spotify, and you can also show your utmost support to this interesting one-man band from Liechtenstein by following him on Facebook and on Instagram, by subscribing to his YouTube channel, and obviously by clicking HERE and purchasing your favorite version of Journey. What’s next for Black Reuss? How will Arrival and Death sound in comparison to Metamorphosis and Journey? The wait for those questions to be answered is one of the most compelling parts in the music by Maurizio Dottores, a man that’s definitely placing Liechtenstein in the map of heavy music with his unique creations.
Best moments of the album: Hole, Deep-Seated and Dependence.
After almost eight years, one of the torchbearers of Italian Dark Metal is back with a fantastic, multi-layered work that seals the artistic and human path of the band.
Almost eight years after the excellent Silence, Black/Gothic Metal entity Cadaveria, the creative alter-ego of Italian-based frontwoman Raffaella “Cadaveria” Rivarolo (one of the first women to hit the Extreme Metal scene in the early 90’s), is back with an exciting new album entitled Emptiness, a fantastic, multi-layered work that seals the artistic and human path of the band currently comprised of the aforementioned Cadaveria together with bassist Peter Dayton and drummer Marçelo Santos, plus guest guitarist Kris Laurent (Cadaveria, The Providence) and additional guitars by Pier Gonella (Athlantis, Necrodeath, Mastercastle). Recorded and mixed at Rrooaarr Sound Studio, mixed and mastered at Shadows Studios, produced by Cadaveria and Pier Gonella, and displaying a stylish artwork by Roberto Toderico, Emptiness represents a rebirth for Cavaderia after a three-year long pause from the scene during which Raffaella had to be treated for cancer, containing four singles digitally released between December 2020 and June 2021 alongside seven previously unreleased songs which combined will smoothly penetrate deep inside your mind in the name of rock and metal.
The band wastes no time and begins their sonic attack in The Great Journey, with Cadaveria’s raspy vocals being accompanied by the classic beast by Marçelo and the rumbling bass by Peter, followed by Shamanic Path, blending their core Gothic Metal with Death and Doom Metal nuances while Cadaveria does an excellent job with both her she-demon screams and anguished clean vocals. Then in the title-track Emptiness our beloved Cadaveria declaims the song’s poetic lyrics in a dark and sinister way while Kris fires traditional riffs that match perfectly with her voice; and Marçelo adds endless fury and heaviness with his drums to The Woman Who Fell to Earth, feeling utterly electrifying from start to finish. Cadaveria sounds truly possessed on vocals supported by her bandmates in Divination, with Marçelo kicking some ass behind his drums, while Matryoshcada is more sluggish and somber than its predecessors, with tons of groove flowing from Peter’s bass while Kris’ riffage sounds inspired by old school Black Sabbath.
In Silver Rain we’re treated to pensive words declaimed by Cadaveria (“The children of my thoughts are running / Away naked up to the hill / Your seeds will sprout inside me to enjoy new Springs together / My mind is clear I carry no weight, no pain on my shoulders / Your seeds will sprout inside me to enjoy new Springs together”) amidst a mesmerizing fusion of Dark and Gothic Metal, whereas Cadaveria and her henchmen continue to explore the realms of Dark Metal in The Cure, with her she-wolf roars walking hand in hand with the piercing guitars by Kris while also presenting the rawness and fury of Black Metal in its core essence. Strident riffs ignite the melancholic, sinister tune Life After, where Cadaveria flawlessly alternates between her raspy gnarls and mesmerizing clean vocals, therefore resulting in a beautiful creation by the band that depicts everything Dark Metal stands for; while in La Casa dell’Anima the fact the lyrics are in Italian is awesome, although the music is not as exciting as the rest of the album. Lastly, the band offers more of their darkened sounds in The Sky That Screams Above Us, a sluggish composition where Marçelo brings forward pure doom through his beats.
You can have a very good time by streaming Emptiness in its entirety on Spotify, and also by following Cadaveria on Facebook and on Instagram for news, tour dates and so on, by subscribing to their YouTube channel for not only more of their music but mainly for their top-notch official videos, and above all that, by purchasing a copy of Emptiness by clicking HERE or HERE. Our beloved diva Raffaella “Cadaveria” Rivarolo didn’t only beat the shit out of cancer, but she did that while at the same time she worked on the awesome music found in Emptiness, proving metal is and will always be the best treatment for any type of disease and also highly recommended for filling that emptiness we all have inside us. Thank you, Cadaveria, and may you keep embellishing the airwaves with your beautiful fusion of Gothic and Black Metal for many decades to come.
Best moments of the album: The Great Journey, Divination and Silver Rain.
Worst moments of the album:La Casa dell’Anima.
Released in 2022 Scarlet Records
Track listing 1. The Great Journey 4:55
2. Shamanic Path 5:10
3. Emptiness 5:00
4. The Woman Who Fell to Earth 5:52
5. Divination 3:07
6. Matryoshcada 5:09
7. Silver Rain 4:24
8. The Cure 4:52
9. Life After 4:35
10. La Casa dell’Anima 4:55
11. The Sky That Screams Above Us 5:33
“I wanted to play drums because I fell in love with the glitter and the lights, but it wasn’t about adulation. It was being up there playing.” – Charlie Watts
And there goes another year without a single metal concert in Canada. Another year full of uncertainties, fears, polarization, restrictions, and everything else we “love” so much. I honestly don’t know what to say about 2021 apart form the fact it was undoubtedly much better than 2020, but that means nothing considering the total nightmare that 2020 was. We lost a lot of huge names in the rock and metal scene such as Joey Jordison, Dusty Hill, Mike Howe, Johnny Solinger, Marsha Zazula, Alexi Laiho, John Hinch, John Lawton, Charlie Watts and Hank Von Hell, among many others. Tons of festivals including Download, Wacken Open Air, Hellfest, Bloodstock Open Air, Sweden Rock Festival and Dynamo MetalFest were scheduled to return this year after the 2020 editions of those festivals were cancelled due to the COVID-19 pandemic, but unfortunately Sweden Rock, Hellfest, Download and Wacken Open Air were once again cancelled. With that said, why do we metalheads still believe in a better future? Is it because, despite all adversities, our favorite bands released some of their best albums from the past few years?
Hence, as new lockdowns are being imposed upon us in a never-ending pandemic loop, there’s not much we can do but enjoy The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2021, excluding EP’s, best of’s and live albums, keeping us sane until this madness is finally over. Or maybe I should say if it will be over one day, of course. There’s a bit of everything for all types of fans, from classic Heavy Metal to the brutality of Death Metal, from the modern nuances of Melodic Death Metal to old school Thrash Metal, and so on, and in my humble opinions one of the most interesting facts about several albums launched in 2021 is their duration, with many of those surpassing the one hour barrier such as Senjutsu, Helloween, Persona Non Grata, Existence Is Futile and Blood on Blood, not to mention the over four hours of music from the Lordiversity boxset, which for me proves how much the bands responsible for those albums love their fans by offering them a lot of new music to enjoy during such difficult times. I would say that even if there are ZERO metal albums launched in 2022, we’ll still have a lot of great music to enjoy throughout the year thanks to all the amazing records released in 2021, don’t you agree?
1. Iron Maiden – Senjutsu (REVIEW) Behold another masterpiece by the one and only Iron Maiden with its 82 minutes of tactics, strategy, war, resilience and determination.
Best song of the album: Hell on Earth
2. Helloween – Helloween (REVIEW) A dream come true for all generations of “Happy, Happy Helloween” fans from all over the world.
Best song of the album: Skyfall
3. Trivium – In the Court of the Dragon (REVIEW) It’s time to join Trivium in the court of the dragon to the sound of their magnificent new opus.
Best song of the album: Like a Sword Over Damocles
4. Exodus – Persona Non Grata (REVIEW) Don’t be a “persona non grata” in the world of heavy music and get into the circle pit to the sound of this newborn thrashing beast.
Best song of the album: Lunatic-Liar-Lord
5. Cannibal Corpse – Violence Unimagined (REVIEW) State of the art Death Metal played with passion and breathless precision by the most violent and unrelenting band of all time.
Best song of the album: Surround, Kill, Devour
6. 1914 – Where Fear and Weapons Meet (REVIEW) Ukraine’s own doom infantry is back into the battlefield with another masterpiece, telling the gruesome tales of World War I.
Best song of the album: Pillars of Fire (The Battle of Messines)
7. Motorjesus – Hellbreaker (REVIEW) Let’s drive through the fires of hell together with one of the best bands from the German rock and metal scene.
Best song of the album: Hellbreaker
8. Nervosa – Perpetual Chaos (REVIEW) A deadly and thrashing lesson in perpetual chaos by four metalheads hailing from Brazil, Italy, Spain and Greece
Best song of the album: Time to Fight
9. Gojira – Fortitude (REVIEW) Let’s all face up the world to the sound of the new masterpiece by one of the most dynamic bands of the current metal scene.
Best song of the album: Amazonia
10. Blaze Bayley – War Within Me (REVIEW) The man who will live for a thousand years is back, inspiring us all to fight the war within us and to take our future in our own hands.
Best song of the album: Pull Yourself Up
And here we have the runner-ups, completing the top 20 for the year:
11. Running Wild – Blood on Blood (REVIEW)
12. Lordi – Lordiversity (REVIEW)
13. Cradle of Filth – Existence Is Futile (REVIEW)
14. Diabolizer – Khalkedonian Death (REVIEW)
15. Angelus Apatrida – Angelus Apatrida (REVIEW)
16. Moonspell – Hermitage (REVIEW)
17. Lutharo – Hiraeth (REVIEW)
18. Unflesh – Inhumation (REVIEW)
19. Scarlet Aura – Genesis of Time (REVIEW)
20. Coiled Around Thy Spine – From The Ashes (REVIEW)
In addition to all that, let’s bang our heads with our Top 10 EP’s of 2021 to prove once and for all that not all great albums of the year have to be so long. The EP’s from this list are simply awesome, showcasing the band’s talent and their ability to sound epic even if the music lasts for only a few minutes.
1. Eonian – The Nomad (REVIEW)
2. Lady Beast – Omens (REVIEW)
3. The Agonist – Days Before the World Wept (REVIEW)
4. Tantivy – Eyes in the Night (REVIEW)
5. Grale – AGITACIÓN (REVIEW)
6. Bouquet of Dead Crows – Hemispheres Part 2: Cerebral (REVIEW)
7. Kadavereich – Radiance Of Doom (REVIEW)
8. Wolvencrown – A Shadow Of What Once Was (REVIEW)
9. Juliet Ruin – Dark Water (REVIEW)
10. Black Hole Deity – Lair Of Xenolich (REVIEW)
Do you agree with our list? What are your top 10 albums of 2021? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show! And if you lost some or most of our special editions of The Headbanging Moose Show, including our Top 20 Underground Albums of 2021 – Parts I and II, go to our Mixcloud page and there you have hours and hours of the best of the independent scene, sounds good?
Metal Xmas and a Headbanging New Year! See you in 2022!
And before I go, I’ll leave you with some touching words by Mr. Lordi and his crew of monsters…
Something something blah blah to you All the sincere wishes come true I put vengeance on my wish list And that’s what Santa brought So have a merry something and a happy blah blah blah
As another weird and dark year is coming to its inevitable end, and as winter is finally coming, let’s set The Headbanging Moose on fire and warm us up this month of December with our tribute to the last metal lady of 2021, the unstoppable Johanna Sadonis, also known as Johanna Claudia Platow, the frontwoman for Heavy/Doom Metal/Rock entity Lucifer. Born on January 21, 1979 in Berlin, Germany, but currently residing in Stockholm, Sweden due to being married to Lucifer’s own guitarist and drummer Nicke Andersson, Johanna is not only an accomplished and extremely talented vocalist, but also a DJ, a designer, an art director and a lyricist involved in various metal bands and projects during the 90’s and early 2000’s. Having said all that, are you ready to join Johanna in her quest for dark and doomed music?
A late bloomer in the Hard Rock scene, Johanna started out in the 90’s playing and singing Extreme Metal in the underground scene, gradually moving to a darker and more melodic 70’s-inspired Hard Rock and Heavy Metal style after founding Lucifer back in 2014. But let’s take a step back in time and talk a little about her early days and how she started in music before moving on to her current band. Johanna got into rock music when she was really young with her parents’ record collection, getting to know bands the likes of The Rolling stones, AC/DC, ZZ Top and Deep Purple, among others, as well as Punk Rock from her older brother. Then in 1992 when she was 13 she went to see Guns N’ Roses and Metallica, with her next gig being Danzig when she was 14, setting her first step into the dark side of music and moving on to heavier and darker styles such as Death, Black and Doom Metal.
According to Johanna herself that happened because she was at a summer camp when she was 12 and two of her friends were into metal, and when she was 16 those guys asked her to guest sing on the demo cassette of their Death Metal band (which by the way ended up happening a few more times as that was the thing in the 90’s), getting her more and more involved with the underground scene in Berlin. At that time Johanna said she was very serious about all that. She had black hair, black clothes, her whole room was black, and she got into magic, having worked at an esoteric book shop after school. However, her earliest memory of her fascination with singing and music was when she discovered the song Leader Of The Pack by the Shangri-Las on a Rock N’ Roll compilation cassette that her mom gave her when she was six. As she couldn’t speak English at that time, she said she started writing lyrics to songs down phonetically so she could sing along as a child. Later in her early teenage years she started to write poems and lyrics, and bought her first acoustic guitar, teaching herself to play and to sing.
It was only in 2014 in Berlin when Johanna formed Heavy/Doom Metal/Rock outfit Lucifer, and after a few lineup changes Johanna became the only original member of the band currently comprised of our stunning frontwoman together with guitarist and drummer Nicke Andersson, guitarists Martin Nordin and Linus Björklund, and bassist Harald Göthblad, having also relocated the band to Stockholm, Sweden, as already mentioned. When asked if she’s ever faced any legal problems with using the name Lucifer considering it’s a name other bands have already used throughout the years, she mentioned she wouldn’t have chosen the name if it would have belonged to a larger active band, but so far she hasn’t had any problems with it. In addition, when asked about how dark the name of the band is, Johanna reminded us all that bands like Black Sabbath and Pentagram are not Black or Death Metal, also mentioning The Rolling Stones’ classic Sympathy for The Devil as an example of how demonic figures can also be used successfully in a more Rock N’ Roll way.
Playing what can be called a 70’s-inspired fusion of Rock N’ Roll and Doom Metal, Luficer have already released four full-length albums, those being Lucifer I (2015), Lucifer II (2018), Lucifer III (2020), and Lucifer IV (2021), with Johanna obviously being the lead singer in all of those records, plus the keyboardist and sampler on Lucifer I. If you want to have a very good taste of how awesome the music by Lucifer is, you can stream all of their albums on Spotify, or watch all of their breathtaking videos on YouTube including Dreamer, California Son, Bring Me His Head, Leather Demon, Midnight Phantom, their cover versions for The Rattles’ Devil’s On The Loose and Angel Witch’s Loser, and enjoy several amazing concerts like their ass-kicking performances at the Crossroads Festival in Bonn, Germany in 2018 and at Rockpalast in 2018 and in 2019.
Before forming Lucifer, Johanna could be seen in several distinct bands and projects. She was the vocalist for German Symphonic Black Metal band Cryogenic, with whom she recorded their 1996 demo and the 1998 album Celephais; sang for German Black Metal horde Dies Ater on their 1999 album Reign of Tempests, from 1999; formed the Heavy/Doom Metal/Rock band The Oath with her friends Vincent Wager and Linnéa Olsson in 2012, her last band before Lucifer, having recorded their self-titled full-length album in 2014; was part of the Electronic Indie Pop band Informer along with Rayshele Teige, a former employee of Century Media in the United States, in 2010; and was part of Swedish Melodic Black Metal unity Vinterkrig from 1996 until 1997, having recorded with them the demo Härskare över stjärnorna och mina drömmar (which was just released earlier this year).
Not only that, you can also find our beloved vocalist as a guest musician in different bands and projects through the years, those being the female vocals for the songs Marie Louise and Black Wedding, from the 1996 album Leviathan by a German Death Metal band called Ferox; vocals on the songs Now Howls the Beast and Psychic Visions, from the 2017 album Inside the Skull by American Doom Metal act Beastmaker; and vocals on the song Queen Among Rats, from the 2009 album Privilegivm, and on the cover version for Alice In Chains’ hit Them Bones, from the 2010 EP Them Bones / This Inner Soil, both by German Black/Gothic Rock/Metal band Secrets of the Moon. Not only that, Johanna was also the designer, producer and art director in all of the Lucifer’s albums, proving how talented she is. When asked if all her past experiences with the bands that came before Lucifer had an impact on the way she handles the band, she said that she certainly learned that she’s not putting up with ego bullshit and phoniness anymore, and that with Lucifer it’s all about the passion of creating music and enjoying the ride.
Regarding her idols and influences in rock and metal music, Johanna always lists some of the best, most classic vocalists and performers you can think of, including Ozzy Osbourne, Robert Plant, Ann Wilson, Stevie Nicks and Patti Smith, also saying that she listens to a lot of 70’s classic Rock N’ Roll, Hard Rock and early Heavy Metal, and that fictional horror, real life horror and the horror in one’s head also have a huge influence in her lyrics. Furthermore, in one of her interviews she was asked to list ten albums which she feels don’t get the proper attention from the media and the fans, and her list was very diverse, including Hard Attack by Dust, Bloodrock U.S.A. by Bloodrock, the self-titled album by Starz, Electric Jewels by April Wine, Straight Up by Badfinger, the self-titled album by Bob Seger, the self-titled album by Journey, Special Forces by 38 Special, Year of The Cat by Al Stuart, and Lucifer III by “you know who”. Johanna also mentioned that Lucifer do not have a specific formula or concept behind their albums, that they simply think of what kind of songs would make people excited, what makes them feel good, and hope that the band doesn’t lose quality or doesn’t get stale with every release.
In terms of her life on the road with Lucifer, Johanna mentioned that she has already performed hundreds of shows with the band and that each one of those are important in their own way, saying the band plays the same way in front of 20 people in some village or at Helffest in front of over 7,000 people. In addition, when it comes to organizing their setlist, she said that they usually like to start off the set with a mid tempo number to get into the groove and end the set in some sort of sonic eruption, never putting two songs of the same kind in a row (such as two ballads, for example), maintaining an interesting flow to keep the attention of the audience. She also shared an interesting story that happened on the road, when guitarist Martin Nordin ended up playing ping pong with Ace Frehley on the Kiss Kruise where Lucifer played three sets, and also mentioned she would love to play in places such as Australia, New Zealand and South America.
As a prominent woman in the world of rock and metal music, Johanna believes you have to have a little bit of a thick skin if you’re a woman due to the fact the scene has always been a male-dominated one, saying that things got a little better in recent years compared to when she was a teenager as now we can see a lot more bands with girls, but at the same time there are still weird expressions like “female-fronted”. Johana strongly believes gender shouldn’t be a genre, also commenting about how deep that’s within our culture as you get treated differently as a woman in obvious ways, but also in really subtle ways. Johanna also pointed to the fact that there are still too many sexist and nasty comments on social media whenever a woman is part of a rock or metal band, but that fortunately that’s changing. “I felt it necessary for the first time to post, ‘if you’re a homophobe, you’re a sexist, racist, you are not welcome here.’ If you feel like you have to burn your Lucifer album now, please do so. I don’t care. That post went around quite a lot. A lot of people were applauding it, but then there was also all kinds of people going, ‘you suck anyways.’ Because I’m against sexism, racism, and homophobia? I mean, what side are you on then. I’m really shocked at how much racism is out there. But luckily that’s getting talked about too. We’re still a little bit in the middle ages, unfortunately. It can’t go fast enough.”
When asked about the metal scene in her hometown Berlin versus her current home Stockholm, Johanna mentioned that there isn’t a huge difference between those places as the rock and metal community kind of networks around the world, as people in New York, Berlin, Stockholm, London or any other city in the world are connected and know each other through social media, making it a little bit more globalized and organized. She said though that although she used to go out and DJ quite often in Berlin, she doesn’t do that much anymore in Stockholm not because there aren’t enough clubs or because the scene is not big in Sweden, but mainly due to her busy touring schedule as she feels happier with the quietness of her home nowadays after so many weeks on the road. She still misses her DJ years, though, when she used to run a monthly old school Heavy Metal party at the Kill ‘Em All Club in Berlin, which by the way she started together with the same Vincent Wager from The Oath.
Having founded Riding Reaper Records in 2020 alongside her husband and bandmate Nicke Andersson, Johanna commented that some of her advantages of making music today are her wisdom and experience gathered through the years, but also saying that she can’t really compare it to the music industry in the 90’s when she started because she was only part of the underground music scene as a musician. Also, she considers streaming services like Spotify and any social media as necessary evils because they allow the band to stay closely connected to their fanbase and to feel the pulse of what’s up. That connection was actually very important for Lucifer during the pandemic, as Johanna and the boys also had to stay home in isolation for a long period of time without playing any concerts. She mentioned the sales were pretty good, though, probably due to the fact people had more time to listen to music at their homes.
“After my initial love affair with classic rock and heavy metal I got heavily into death, doom and black metal at the age of 16 and sang on a variety of demo cassette tapes of local death and black metal bands in Berlin. I had black hair, black clothes, my whole room was black and I got into magic. I worked at an esoteric book shop after school. I was very serious about this all. My mother thought it was just a phase but look at me, not much has changed!” – Johanna Sadonis
From a mutual love of dark, moody and melancholic music emerges the debut album by a Melodic Gothic Rock and Metal husband-and-wife unity from Croatia.
From a mutual love of dark, moody and melancholic music emerges the sound of Split, Croatia-based Melodic Gothic Rock/Metal unity Ewiniar, who has just released their debut effort Burning the Night. Combining female vocals over juddering drums and blistering guitar work to deliver a sonic experience that is all their own, the husband-and-wife duo formed of vocalist Katarina Tramontana and vocalist and multi-instrumentalist Marin Tramontana explores the broad range of their influences by producing music that lights their inner fire in Burning the Night, all enhanced by the top-of-the-line mixing and mastering by Theodor Borovski at Slaughtered Studio and the stylish artwork by James Hutton Illustration, therefore being highly recommended for admirers of the music by renowned bands the likes of Nightwish, Within Temptation and Epica, among many others.
As soon as you hit play a doomed atmosphere will embrace your soul in Against the Stream, with Marin delivering classic beats and riffs, and consequently providing Katarina with all she needs to shine on vocals. Not only that, all elements from 80’s Gothic Rock added to their music make things even more mesmerizing. Then blending the whimsical sounds of bands like Tristania, Nightwish and Paradise Lost, the band offers us all Under the Stars, a beautiful creation by the duo showcasing Katarina’s crisp vocal lines amidst the rumbling bass lines and rhythmic beats by Marin, followed by Years of Heaven, another enfolding creation by Ewiniar where Marian has an awesome performance as a one-man music machine, with his riffs and solos walking hand in hand with his ethereal keys. And a serene start to the acoustic guitars by Marin and Katarina’s gorgeous vocals evolves into Mother, presenting a solid sound but lacking the same punch and feeling from the rest of the album.
Adding hints of folk to their doomed Gothic Rock it’s time for the almost medieval ballad Midnight Sun, flowing smoothly until the very end (and all spiced up by a soulful guitar solo by Marin), whereas drinking form the same fountain as Epica, Nightwish and After Forever the duo brings forward Suspiria, with Katarina stealing the spotlight with her stunning vocals. Back to an 80’s goth sonority the couple delivers the melodic Until the End of Time, feeling like the soundtrack to a fantasy movie thanks to the cryptic ambience crafted by Marin; and the second to last blast of their fusion of Gothic Rock and Metal comes in the form of Seekers of the Sense, another stylish, gentle but at the same time dark composition. Lastly, the title-track Burning the Night is even more epic and imposing than its predecessors, with Katarina embellishing the airwaves with her voice while Marin brings thunder to the music with his riffs, beats and keys until the very last second.
Burning the Night might be available in its entirety on YouTube and on Spotify, but in order to show your true support to such talented couple you should definitely purchase a copy of the album from their own BandCamp page. Also, don’t forget to follow Katarina and Marin on Facebook and on Instagram for news, more of their music and other nice-to-know details about them, immersing yourself in the Gothic and melodic world of Ewiniar. Katarina and Marin deserve our full appreciation and respect for putting together such beautiful and embracing album all by themselves, and let’s hope that their aforementioned mutual love for dark music never dies and that they keep bringing forth an array of albums as good as their debut opus in the coming years.
Best moments of the album: Under the Stars, Suspiria and Burning the Night.
Worst moments of the album:Mother.
Released in 2021 Independent
Track listing 1. Against the Stream 4:43
2. Under the Stars 4:30
3. Years of Heaven 5:23
4. Mother 5:31
5. Midnight Sun 6:29
6. Suspiria 5:11
7. Until the End of Time 5:02
8. Seekers of the Sense 4:57
9. Burning the Night 5:09
Katarina Tramontana – vocals
Marin Tramontana – vocals, all instruments
Jyväskylä, Finland’s own Doom Metal unity returns with another stunning album, offering us all eight beautiful, captivating songs blooming in misery.
Formed in 2000 in Jyväskylä, Keski-Suomi, Finland by guitarist Juha Raivio, the five-piece Finnish Melodic Doom/Death Metal outfit Swallow The Sun has just unleashed upon humanity their new opus entitled Moonflowers, the eight in their undisputed career. Currently comprised of Mikko Kotamaki on vocals, Juha Raivio on the guitars and keyboards, Juho Raiha also on the guitars, Matti Honkonen on bass, and Juuso Raatkainen on drums, Swallow The Sun continue to pave the gloomy path of their previous album When a Shadow Is Forced into the Light (inspired by the loss of Juha’s life partner Aleah Stanbridge in 2016), offering fans of the most melodic side of doom eight beautiful, captivating songs in the span of over 52 minutes, being therefore the perfect soundtrack for the darkest days in your life.
The striking opening song Moonflowers Bloom in Misery is absolutely doomed from the very first second, with Mikko already delivering his melancholic, grim vocal lines accompanied by the sluggish beats by Juuso, exploding into a massive feast of Melodic Death and Doom Metal. Then in Enemy we’re treated to beautiful lyrics declaimed by Mikko (“I crawl back to my shadow / From the edge of the light / Deep down into the sea of my own rain sirens / In the eye of the… / Enemy, inside of me / Torn from a trail of light / Grail of serpents lies”) while Juho and Juha’s guitars make an interesting paradox with Juha’s own keys; followed by Woven into Sorrow, a lecture in darkness and sorrow by the band presenting gorgeous, serene guitar lines intertwined with sheer heaviness and whimsical background elements, also featuring guest backing vocals by Antti Hyyrynen from Stam1na. Not only that, t’s impressive how they manage to make their music epic and symphonic without losing their blackened core essence, which is also the case in Keep Your Heart Safe from Me, almost eight minutes of top-of-the-line doom showcasing infernal, headbanging sounds led by Juuso’s drums supported by the low-tuned bass by Matti while also presenting a more cryptic, delicate side of the band.
All Hallows’ Grieve features guest vocals by the stunning Cammie Gilbert (Oceans of Slumber), and she nails it with her soulful vocals (“Before I go, I’ll let you know / My heart was honest, for you / My heart was cruel / You believed / I’m a soul of a ghost to fight for / I believe, I believe, I lost my will to fight for”), resulting in a sensational doom aria, whereas drinking from the fountain of 80’s Gothic and Doom Metal it’s time for the enfolding and somber The Void, where Matti and Juuso once again generate a reverberating ambience with their respective weapons. The Fight of Your Life is another gentle and melancholic composition by Swallow The Sun which despite presenting all elements we love in their music is not as compelling as the rest of the album; and closing the album it’s time for an infernal composition titled This House Has No Home, where the keys by Juha walk hand in hand with both the clean vocals and the demonic roars by Mikko, putting a climatic and dark ending to the album.
In a nutshell, the very pleasant and obscure Moonflowers, which is available for a full listen on YouTube and on Spotify, cements Swallow The Sun’s name as one of the best Doom Metal acts of the past 20 years while at the same time provides admirers of doom with something fresh, leaving us all eager for more of their stunning creations. Hence, don’t forget to follow the band on Facebook and on Instagram for news, tour dates and so on, and obviously to grab your copy of Moonflowers by clicking HERE. Keep in mind that if you go for the mediabook or boxset edition of the album, it comes with a very beautiful bonus disc with classical versions of all songs of the album recorded at the Sipoo Church in Finland by Trio N O X, comprised of Aino Rautakorpi on violin, Helena Dumell on viola and Annika Furstenborg on cello, as for example their gorgeous rendition of the song All Hallows’ Grieve. And while the moonflowers keep blooming in misery, Swallow The Sun will continue to darken the skies with their classy Doom Metal for at least another 20 years.
Best moments of the album: Moonflowers Bloom in Misery, Woven into Sorrow and All Hallows’ Grieve.
Worst moments of the album:The Fight of Your Life.
Released in 2021 Century Media Records
Track listing 1. Moonflowers Bloom in Misery 6:19
2. Enemy 5:39
3. Woven into Sorrow 7:46
4. Keep Your Heart Safe from Me 7:47
5. All Hallows’ Grieve 5:37
6. The Void 5:39
7. The Fight of Your Life 7:13
8. This House Has No Home 6:40
Limited Edition Mediabook/Boxset bonus disc (Trio N O X plays Moonflowers by Swallow the Sun) 1. Moonflowers Bloom in Misery (classical version) 4:52
2. Enemy (classical version) 3:06
3. Woven into Sorrow (classical version) 4:39
4. Keep Your Heart Safe from Me (classical version) 3:13
5. All Hallows’ Grieve (classical version) 4:58
6. The Void (classical version) 4:01
7. The Fight of Your Life (classical version) 4:16
8. This House Has No Home (classical version) 3:03
Band members Mikko Kotamaki – vocals
Juha Raivio – guitars, keyboards
Juho Raiha – guitars
Matti Honkonen – bass
Juuso Raatkainen – drums
Guest musicians Cammie Gilbert – vocals on “All Hallows’ Grieve”
Antti Hyyrynen – backing vocals on “Woven into Sorrow”
Jaani Peuhu – backing vocals
Aino Rautakorpi – violin on all classical versions from the Limited Edition Mediabook/Boxset bonus disc “Trio N O X plays Moonflowers by Swallow the Sun”
Helena Dumell – viola on all classical versions from the Limited Edition Mediabook/Boxset bonus disc “Trio N O X plays Moonflowers by Swallow the Sun”
Annika Furstenborg – cello on all classical versions from the Limited Edition Mediabook/Boxset bonus disc “Trio N O X plays Moonflowers by Swallow the Sun”
As the days are getting shorter and colder in the Northern Hemisphere, let’s warm things up here at The Headbanging Moose this November with the incendiary vocals and performance of our metal lady of the month, the multi-talented Haydee Irizarry, or Haydée Irizarry if you prefer. Vocalist for Melodic Groove/Death Metal act Carnivora, vocalist, multi-instrumentalist and composer for Alternative Rock/Metal project Zahra Lux, and vocalist and composer for her own solo project, not to mention her six years as the vocalist for Melodic Death Metal outfit Aversed, Haydee owns a very potent and dynamic voice, delivering a wide range of styles that go from smooth, clean vocals to deep and visceral growls, positioning her as one of the most interesting names of the current American underground scene. Having said that, are you ready to know a little more about Haydee, her bands and projects, her influences, and her passion for all types of music?
Born on February 28, 1995 in Chicago, Illinois, in the United States, but currently residing in Salem, Massachusetts, and of Mexican and Puerto Rican descent, Haydee graduated in 2013 from Lincoln Park High School in Chicago and then moved on to study jazz, classical and contemporary music writing and production at the Berklee College of Music in Boston, Massachusetts that same year, where she also became the lead singer for her classmates’ band Aversed. However, before we start talking about her professional career in music, let’s take a step back and go all the way to her childhood years, more specifically to when she was only four years old. At that age, Haydee received a keyboard that ignited her interest in studying and writing songs on the piano, while her grade school was a Lutheran school that introduced hymnals and sight reading to her and prompted her to join choirs at the age of eight, when she realized she had a natural talent and love for singing that was undeniable and she knew she wanted to be a vocalist. Not only a vocalist, but a metal vocalist, as while she remembers her family listened to everything from Redding’s soul to their Latin culture’s salsa when she was a kid in Chicago, she also became enchanted by Rock N’ Roll and Heavy Metal. When asked what attracted her to the harder stuff, she said metal offered release and salvation as she struggled with her parents’ divorce, an abusive brother and her mental health. “When I was getting started, I really connected to the aggression because of all the things I was feeling at the time,” she explained. “I was feeling a lot of dark, intense things that I didn’t really quite know how to express outside of music.” Then at the age of 16 she joined the Chicago School of Rock so she could perform and develop as a performing frontwoman, having also studied guitar, piano and bass through private teachers, and through that plus her choral experience she achieved many honors and had the ability to play Lollapalooza and many other local festivals in Chicago. She learned pop, rock, jazz, blues, metal and so on, all of which directed her to the Berklee College of Music, as already mentioned.
Since 2017, Haydee has been the voice of American Melodic Groove/Death Metal act Carnivora, with whom she has already recorded three singles, those being Bogdweller, in 2019, Witch City, in 2020, and more recently Hypnogenic, featuring guests Jon Donais (Anthrax, Shadows Fall) and Matt Bachand (Shadows Fall, Act Of Defiance). The band’s guitarist Cody Michaud believes Haydee is helping Carnivora evolve in a more sophisticated, more accessible, less testosterone-fueled direction, helping them transition their sound from Metalcore and Melodic Death Metal to a more groove-oriented Heavy Metal with Death Metal influences. “If you’re a fan of folk music, there’s folk metal, and there’s symphonic metal,” commented Haydee in one of her interviews. “It doesn’t have to be the Cookie Monster screams. It isn’t always aggressive. It can be very beautiful.” She also explained how she ended up becoming the band’s new vocalist a few years ago. “I had met the Carnivora members at an early Aversed gig and we had become friends and performed with each others bands’ many times. They were interested in transitioning their style and believed my vocal skills and personality was compatible and here we are!”
Speaking about Boston, Massachusetts-based Progressive/Melodic Death Metal act Aversed, Haydee was the band’s vocalist from 2015 until September 1, 2021, having recorded with the band their 2016 EP Renewal and the full-length opus Impermanent earlier in 2021, not to mention the live album Abandoned in Charlestown, released in August 2021. You can enjoy Haydee kicking some ass with Aversed in the official videos for the songs Laboratory, Impermanent, and Close My Eyes, or simply click HERE to enjoy the album in its entirety. When asked how she was invited to join Aversed, she said the band had been active since 2009, before she lived in Boston, and as she was attending Berklee College of Music she had met many local metal musicians and bands and had been referred to be their new vocalist and joined them in 2015. In addition, Haydee mentioned that she had studied gutturals before joining them and it proved to be a great transition to practice performing the new technique that she had been developing.
Apart from her time with Carnivora and Aversed, our beloved vocalist has also lent her beautiful voice to an array of distinct bands through the years, with the first ever metal band she was officially in, called Ephemeral Sunrise, being a huge learning experience as she was able to get a taste of where she needed to grow and what the local scene was like. Another amazing project she’s currently involved with is called Zahra Lux, which translates to “beautiful light” or “flower light”, combining classical, rock and blues music to form one heavy and delicate musical experience featuring gorgeous piano lines, soulful vocals and orchestral arrangements. “Before I went down the surprising road of melodic death metal and guttural vocals I had thought that I would strictly be a blues and heavy metal vocalist that would sound more like Evanescence, and other female fronted rock and metal bands,” said Haydee, having already released under her Zahra Lux project the EP’s The Deam (2018) and Rosewater (2020), and more recently the single Say No More, in August this year.
As aforementioned, Haydee grew up listening to all kinds of music such as blues, classic rock, classical, and Latin music, but when the music in question is our beloved Heavy Metal her main influences range from Joe Duplantier of Gojira and Alissa White-Gluz of Arch Enemy to all classic metal vocalists such as Dio, Ozzy and Rob Halford. Her first ever record which introduced her to heavy music was Fallen, by Evanescence, when she was eight years old, taking her down the rabbit hole that would eventually lead her to find Judas Priest, Black Sabbath and all of the icons of early metal, also delving into the early punk scene. Nowadays you can find pretty much anything on her playlist including Chelsea Wolfe, Bjork, Black Sabbath and At The Gates, as well as “guilty pleasures” such as Katy Perry, Sia and Lady Gaga, as long as it’s well-written pop music, of course. When asked which three songs would be perfect for someone listening to her for the first time, Haydee mentioned her cover versions for Sia’s Everyday is Christmas and Arch Enemy’s As The Pages Burn, plus Aversed’s Renewal, because they are diverse and represent her as she is now, still growing but slowly establishing a strong voice within the music industry. By the way, if you want to see how wide Haydee’s range can be and how eclectic her taste for music is, you can take a shot at her cover versions for Iron Maiden’s Hallowed Be Thy Name, Alanis Morissette’s Uninvited, Leonard Cohen’s Chelsea Hotel, and Prince’s Purple Rain, among several others on her personal YouTube channel.
Absolutely engaged in the music no matter which band she’s in, Haydee not only has an incendiary voice, but her onstage performance is just as flammable and electrifying, earning her a few unique nicknames including Haydee the Hyena, Metal J.Lo and Metal Selena. “I love the Metal Selena and Metal J.Lo because I like to embrace my culture,” she said, “like wearing my hoops.” Furthermore, she mentioned in one of her interviews the importance of understanding R&B and classical music to become a better metal vocalist. “Both styles have extreme soul and depth that is definitely important in metal music in both style and vocal delivery. Having experienced performing many different songs with different stories and intentions I have a large understanding of what level of emotions, strength, and movements to deliver to any song to make it as effective as it can be. I couldn’t do that if those many styles had not molded my range to be the way it is now as well. Every life and musical experience finds itself in each new performance that you share and it’s really wonderful.”
Regarding touring, Haydee said that she dreams of touring the world with Carnivora and of being able to make a living from her art without having to work a day job. having already played in many small to large stages in a wide variety of local bars and clubs, she would also love to play some major festivals the likes of Maryland Death Fest, NAMM and SWSW, and return to Chicago Open Air, a festival that holds a spot in her heart. “At Chicago Open Air 2017 Aversed and I had performed on the last day alongside acts such as Slayer, Behemoth, and Ozzy Osbourne to name a few. Nearing the end of Ozzy’s set our tour bus crew was giving the band a last call to get on the bus or else it was leaving without us! My phone has been dead and I didn’t know. By the grace of the metal gods I ran into my band mates while I was getting a pretzel and ran back with them. Everyone was there besides our guitarist Sungwoo Jeong. After an awful 10 minutes of frantic calling, searching, and figuring out a way for him to fly back to Boston on his own, we searched the bus one last time and found he’d been asleep the whole time. I had immense luck and Sungwoo cracked us all up and it made one hell of a story.” In addition, her first metal experience as a vocalist was the Iron Maiden vs. Judas Priest show at the Chicago School of Rock in 2011, a huge moment for her because it had really transitioned her from a bedroom performer to a real one, pushing her to keep doing it.
As Carnivora is now a female-fronted metal band, Haydee was asked her opinion about the role of women in the current metal scene. She said that the face of metal is shifting a lot towards women, but the metal community still has a lot to learn and that can be frustrating, mainly because bands with female lead singers often get lumped together even if they’re creating radically different sub-styles, although she’s fine with the label “female-fronted metal”. In addition, she said that as a growing force, women get a lot of attention that may not be given as frequently to an all-male group because there is something different brought to the table that is intriguing. Women have the same depth and aggression as men, and to have an artistic platform to display that (as well as their delicate nature) is a new and amazing thing. The only disadvantage that she sees is the play on sexism and creating sex appeal that purposefully overshadows or interferes with the platform for ones natural talent. “Women work hard to do what they do and they do not need to hide behind sex appeal to be respected for their time, talent, and work. Knowing that and showing that is important,” commented Haydee.
Last but not least, Haydee also provided her comments about things that she learned recording new music during the COVID-19 pandemic, starting by saying how important it was for her to put a strong focus on songwriting, something that we all know cannot be done properly when the musician is on the road most of the time, saying the simplicity of “one-on-one” writing with guitarist Cody Michaud allowed them to present something more refined to the rest of the team. Secondly, she mentioned how hard the entire band worked on the recording process of their demos, saying she pushed herself to knock out vocal takes and stacked harmonies. Then Haydee moved on to talking about their jam sessions, how important it was for them to get back to practicing together as soon as it was safe to meet up, and how tighter their playing got after that, followed by how important it was to release new music during the pandemic even without being able to tour during that time. And last but not least, she mentioned a fun game Carnivora had during the video shoot for Hypnogenic, the first time they had to load in and get together since everything shut down, where each band member had to wear their newest Vans shoes acquired during quarantine and compare them. Let’s say this is indeed a very healthy competition for a group of metalheads eager to get back on the road, and those shoes are beyond awesome for any trip or for a demanding activity like kicking ass on stage, and we cannot wait to see Haydee and Carnivora eating our flesh alive during their upcoming concerts.
A bewitching, fearless nosedive into the abyss masterfully brought into being by UK’s most infernal Extreme Metal institution of all ages.
All hope has disappeared into the void. The flames that flickered on the horizon for so long have reached our backyard, leaving endless fields of black ashes and smoke rising from the ruins of our lands. Yet, why shall we not enjoy a last ferocious soundtrack to our inevitable end? That’s exactly what UK’s own Extreme Metal institution Cradle of Fitlh has to offer us all in Existence Is Futile, their thirteenth studio opus and the follow-up to their critically acclaimed albums Hammer Of The Witches and Cryptoriana – The Seductiveness of Decay. Produced by Scott Atkins at Grindstone Studios and displaying another bestial artwork by Arthur Berzinsh, who took inspiration from The Garden of Earthly Delights by Dutch artist Hieronymus Bosch, Existence Is Futile is about existential terror, the threat of everything and the end of the world according to the band’s frontman and mastermind Dani Filth, all embraced by the grandiose metal music carefully brought into being by Dani and his henchmen Richard Shaw and Marek “Ashok” Šmerda on the guitars, Daniel Firth on bass, Martin “Marthus” Škaroupka on drums, and newcomer Anabelle Iratni (who also plays with Dani on the Symphonic Gothic/Groove Metal project Devilment) on female vocals, keyboards, lyre and orchestrations.
The classic intro The Fate of the World on Our Shoulders is absolutely obscure, cinematic and epic, opening the gates of hell for the band to kill in Existential Terror, with all background orchestrations making Dani’s demonic gnarls sound even creepier accompanied by the sulfurous guitars by Richard and Ashok. In other words, it’s an imposing Symphonic Black Metal tune to properly kick things off, whereas switching to their trademark fusion of Gothic and Black Metal we’re treated to Necromantic Fantasies, where Anabelle proves why she was chosen to be the band’s new keyboardist delivering crisp, phantasmagorical keys for our absolute delight. The first single of the album, Crawling King Chaos, is a demonic creature in the form of extreme music where the heaviness of the guitars create an awesome paradox with the song’s whimsical keys, not to mention how infernal Marthus sounds on drums as usual; then it’s time to soothe our damned souls to the enfolding interlude Here Comes a Candle… (Infernal Lullaby) before we face five minutes of sheer darkness in the acid Black Smoke Curling from the Lips of War, with Dani’s hellish screeches walking hand in hand with Anabelle’s clean vocals and the demolishing kitchen crafted by Daniel and Marthus. And Discourse Between a Man and His Soul is another dark and melancholic tune that matches perfectly with the band’s theatrical vibe, with Daniel bringing tons of heaviness to the overall result.
Cradle of Filth Existence Is Futile Mailorder Edition Box Set
Another massive wall of sounds will hammer your heads mercilessly in the sinister The Dying of the Embers, once again presenting the band’s trademark blast beats infused with more melodic and gothic nuances, followed by the Mephistophelian interlude Ashen Mortality, spearheaded by Anabelle’s somber keys and warming up our senses for How Many Tears to Nurture a Rose?, a beautiful, old school Cradle of Filth composition that will sound amazing if played live. Furthermore, Dani is infernal on vocals as usual while Daniel and Marthus add endless groove and feeling to the music with their respective bass jabs and pounding drums; and a guest narration by Doug Bradley talking about how our rotten society is coming to an end quickly explodes into brutal and melodic Extreme Metal in Suffer Our Dominion, with Anabelle stealing the spotlight one more time. Us, Dark, Invincible, the last song from the regular version of the album, is as imposing and grim as its predecessors, with Dani roaring, growling and screaming nonstop for the delectation of all his fanbase while the band’s guitar duo adds sheer aggressiveness to the overall result. Lastly, if you go for the digital and deluxe edition of the album you’ll be treated to two amazing bonus tracks Sisters of the Mist and Unleash the Hellion, both extreme and demented, with Marthus smashing his drums ferociously until the very last second.
“Existence Is Futile is the apocalyptic conclusion of three years of Cradle of Filth’s world touring and is definitely our most severe album to date, reveling in existential dread, the fear of the unknown, the uncertainty of fate in a yawning cosmos and the meaninglessness of life also being the search for life’s meaning”, commented Dani about the band’s new album, also saying that “heavy stuff indeed and as a wise man was allegedly recently heard to say ‘The inevitable heat-death of the universe and subsequent closure of time and space itself, could have no better soundtrack than this album’.” If you want to join the almighty Cradle of Filth in their quest for extreme music and add Existence Is Futile to your apocalyptic collection, you can follow the band on Facebook and on Instagram for news, tour dates and other sorts of witchcraft, and purchase your favorite version of the album by clicking HERE, including the stunning mailorder edition box set limited to 650 copies worldwide containing the digipack and the silver double LP version of the album, buttons, a flag, a necklace, a lyrics sheet and an alternate cover. A bewitching, fearless nosedive into the abyss, Existence Is Futile is the perfect album for these most imperfect of times, and if the world comes to an end before their next opus is unleashed upon humanity at least we’ll enjoy our afterlife knowing their ultimate howl was indeed a beast of an album.
Best moments of the album: Crawling King Chaos, Black Smoke Curling from the Lips of War, The Dying of the Embers and How Many Tears to Nurture a Rose?
Worst moments of the album:Necromantic Fantasies.
Released in 2021 Nuclear Blast
Track listing 1. The Fate of the World on Our Shoulders 1:37
2. Existential Terror 6:17
3. Necromantic Fantasies 5:40
4. Crawling King Chaos 5:27
5. Here Comes a Candle… (Infernal Lullaby) 1:28
6. Black Smoke Curling from the Lips of War 5:21
7. Discourse Between a Man and His Soul 5:30
8. The Dying of the Embers 6:08
9. Ashen Mortality 1:50
10. How Many Tears to Nurture a Rose? 4:34
11. Suffer Our Dominion 6:22
12. Us, Dark, Invincible 6:26
Digital/Deluxe Edition bonus tracks 13. Sisters of the Mist 7:14
14. Unleash the Hellion 6:23
Band members Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Anabelle Iratni – female vocals, keyboards, lyre, orchestrations
Martin “Marthus” Škaroupka – drums, keyboards, orchestrations
Guest musician Doug Bradley – narration on “Suffer Our Dominion” and “Sisters of the Mist”
This uncanny metal entity is back with their sophomore album, overflowing with the fullness of the rivers, valleys and folk legends and mythology of the mountains of east Tennessee.
Hailing from Nashville, Tennessee, in the United States, commonly known as “Music City” for its vibrant country music scene, the uncanny Experimental Folk/Black Metal entity known as Primeval Well is ready to unleash upon humanity their sophomore effort, entitled Talkin’ in Tongues with Mountain Spirits, the follow-up to their 2019 self-titled album. Absolutely overflowing with the fullness of the rivers, valleys and folk legends and mythology of the mountains of east Tennessee, Talkin’ in Tongues with Mountain Spirits beautifully represents what the band itself likes to call “Experimental Southern Gothic Black Metal”, offering our ears haunting and unsettling sounds and atmospheres carefully brought forth by Ryan Clackner on vocals and guitars, Luke Lindell on bass, Edward Longo on keyboards and Zac Ormerod on drums, showing a healthy evolution from their debut album and, more important than that, showcasing a stunning fusion of experimental sounds with the aggressiveness of traditional extreme music.
Eerie and cryptic from the very first second, the extended intro Psilocybin Psychosis by the Mountain Top Cross brings forward background vocalizations and wicked noises that set the stage for the band to kill in Raising Up Antlers to Our Mountain Gods, where an experimental start explodes into visceral Black Metal to the sick growls by Ryan and the infernal blast beats by Zac, showcasing some interesting breaks and variations and, of course, endless darkness and acidity. After such powerful start, Ryan’s classy guitars are quickly accompanied by the groovy bass by Luke and the galloping drums by Zac in She Flies Undead, less violent at first while presenting a wicked fusion of Southern Rock and Black Metal, or in other words, the epitome of musical experimentation, whereas again exploring new sounds armed with their sonic weapons the quartet adds hints of Doom Metal to their core sonority in Ghost Fires Burn Light in Our Eyes, with Ryan kicking ass with both his demented roars and crisp riffage while Edward adds a touch of finesse to the music with his keys.
The title-track Talkin’ in Tongues with Mountain Spirits will penetrate deep inside your psyche and drag you to the wicked world ruled by Primeval Well, displaying hellish gnarls, razor-edged Black Metal riffs and classic beats by the quartet, while once again presenting elements from their local culture, it’s time for a stylish hybrid of Gothic, Folk and Black Metal titled Tales Carved in Stone on a Forbidden Road, with the guitars by Ryan and the rumbling bass by Luke stealing the spotlight. Then in Where All Things are Forgotten we face a somber, melancholic start to the deep vocals by Ryan, and that atmospheric vibe goes on for over four minutes when everything suddenly bursts into chaos, spearheaded by the massive beast by Zac and finally flowing into the phantasmagorical outro Sickening Laughter with the Grinning Trees, where the acoustic guitars by Ryan walk hand in hand with the song’s haunting background sounds.
The chaotic but at the same time harmonious sounds of the rivers and valleys of Tennessee are waiting for you in Talkin’ in Tongues with Mountain Spirits, an album that might not be an easy listen at first for newcomers to the world of Experimental Black Metal, but that will surely captivate your senses for all eternity once you complete its full musical voyage. Hence, don’t forget to give the guys from Primeval Well a shout on Facebook and on Instagram, and to purchase a copy of such dense and distinguished album from their own BandCamp page. In a nutshell, as aforementioned, Ryan, Luke, Edward and Zac did an amazing job in Talkin’ in Tongues with Mountain Spirits, delivering a majestic hybrid of several metal and non-metal styles that will undoubtedly place the album among the must-have releases of 2021 when the music in question is at the same time experimental and extreme.
Best moments of the album: Raising Up Antlers to Our Mountain Gods, Ghost Fires Burn Light in Our Eyes and Tales Carved in Stone on a Forbidden Road.
Worst moments of the album:Where All Things are Forgotten.
Released in 2021 Moonlight Cypress Archetypes
Track listing 1. Psilocybin Psychosis by the Mountain Top Cross 3:20
2. Raising Up Antlers to Our Mountain Gods 10:45
3. She Flies Undead 9:44
4. Ghost Fires Burn Light in Our Eyes 9:13
5. Talkin’ in Tongues with Mountain Spirits 8:38
6. Tales Carved in Stone on a Forbidden Road 9:21
7. Where All Things are Forgotten 8:01
8. Sickening Laughter with the Grinning Trees 2:22
Band members Ryan Clackner – vocals, guitars
Luke Lindell – bass, vocals
Edward Longo – keyboards, vocals
Zac Ormerod – drums