Try listening to the Symphonic Gothic Metal by this up-and-coming Russian band with your eyes blindfolded. You will love the experience.
In case you don’t know (well, I’m pretty sure you don’t, and there’s nothing wrong with that), the Latin word “velaverunt” means “blindfolded”. For instance, you can find that word in the Bible, like in Lucas 22:64, “et velaverunt eum et percutiebant faciem eius et interrogabant eum dicentes prophetiza quis est qui te percussit?”, which in English means “and when they had blindfolded him, and smote him on the face, and asked him, saying: Prophesy, who is it that smote thee?” However, from now on Velaverante also means high-quality Symphonic Gothic Metal brought forth by this passionate band from the city of Kirov, Russia, located around 950km from the capital Moscow.
And when you listen to their debut EP, the excellent My Dark Images, you’ll perfectly understand why I’m saying that about Velaverante. For a top to bottom independent band, the attention they paid to all details, including the sound production and mixing, their outfits and the album art, is truly remarkable. Even minor details like the blindfolds that appear on the artwork of My Dark Images and on some of their promotional pictures prove how much they care about their creation, and of course, that’s beyond good for everyone who takes a listen at Velaverante.
That high level of professionalism is latent in the first track of the EP, Too Late, where the band offers the listener a very symphonic sounding similar to what Nightwish and Epica have mastered doing, but with the melancholic atmosphere found in Black and Doom Metal. The keyboards by Max Seleznyov and the robust operatic vocals by Anna Egorova keep the music ominous and dark, whilst drummer Irina Kropotova and guitarist Gleb Uraev seem more inspired by old school Gothic Metal the likes of Tristania. The second track, Insomnia, begins as obscure as the previous one, once again showcasing a superb performance by Anna on vocals, especially during the song’s captivating chorus. It’s unquestionably a beautiful Gothic Metal tune for fans of the dark side of music.
In my humble opinion, the best of the four tracks is Jailed, where a smooth piano intro is suddenly surrounded by the band’s strong and mournful notes, with highlights to all the emotion found on vocals (yet again with an awesome chorus). Not only that, its somber rhythm is as amazing as the biggest dark classics from Norwegian and British Gothic music, with Max boosting the band’s energy with his keyboard notes. And lastly, we have the most symphonic of all tracks, Chained No More, with deeper riffs and stronger beats, almost like a Metal Opera mainly due to the vocal performance by Anna blended with interesting medieval/epic notes.
Unfortunately, My Dark Images has only 15 minutes of music, making us eager for more of their music in the form of a possible full-length album in a not-so-distant future. In the meantime, let’s all go check their Facebook page, VK profile, YouTube channel (where you can find some excellent live videos by the band), and more important than all that, listen to their profound and skillfully engendered music on their official SoundCloud page. And if you have the guts to appreciate My Dark Images blindfolded, amplifying your sense of hearing to a whole new level, do not think twice and just go do it.
Best moments of the album:Jailed.
Worst moments of the album: None.
Released in 2015 Independent
Track listing 1. Too Late 4:20
2. Insomnia 3:10
3. Jailed 4:18
4. Chained No More 3:34
Band members Anna Egorova – vocals
Gleb Uraev – guitar
Oleg Starikov – bass
Max Seleznyov – keyboards
Irina Kropotova – drums
I guess I don’t need to say that lots and lots of Gothic/Doom Metal fans got extremely excited back in June 2013, when our metal chick this month announced through her official Facebook page that she was finally coming out of her retirement to reignite her brilliant music career in Heavy Metal. I’m talking about one of the most beloved female singers of all time in heavy music, Norwegian soprano Vibeke Stene, known for her unparalleled contribution to making Norwegian Symphonic Gothic Metal band Tristania a true reference in Gothic Metal history.
Daughter of Steinar Stene and Sissel Bø Stene, Vibeke was born on August 17, 1978, in the municipality of Sokndal in Rogaland county, Norway, about 450km from the capital Oslo. Her personal life and her career seem to walk hand in hand, becoming even the same entity sometimes, as she’s been fully involved with music and singing since she was a little girl. For instance, at the age of three, our diva already performed for people that were not part of her family, evidencing how much she loved music and starting to build her successful career as a singer.
It was at the age of thirteen, when she started taking singing lessons after she moved to Stavanger (about 100km from Sokndal), that she got interested in classical singing, taking lessons until the age of 23 in order to become her own teacher. By the way, not only Vibeke is the owner of a unique vocal range and an incredible charisma when she’s performing live, but she also became a teacher, studying music and giving singing lessons in Stavanger, Kristiansand and Oslo.
In regards to her professional career as a singer, it’s more than obvious that she left her deepest mark and became a huge heavy music idol during her years with Tristania, which was actually the very first band she joined in her life. Speaking of which, when she was 18 years old Vibeke was invited to join Tristania after attending a live concert of the band, and although she was initially supposed to be only a guest musician in their first demo, she ended up becoming a permanent member due to her incredible performance. The other members of Tristania mentioned in some interviews that Vibeke wasn’t into Gothic Metal before joining the band, but a lot more into Classic Rock and Heavy Metal, which of course didn’t prevent her at all from perfectly blending her voice with the band’s musicality. Furthermore, her performances with Tristania were so good and so powerful it’s quite impossible not to associate the band with her name even today, and it’s hard to imagine Vibeke singing in a band that’s not Gothic or Doom Metal.
Her awesome career as Tristania’s female singer includes the demo Tristania (1997), the full-length albums Widow’s Weeds (1998), Beyond the Veil (1999), World of Glass (2001), Ashes (2005) and Illumination (2007), as well as the singles Angina (1999) and Sanguine Sky (2007), two live albums, two compilations and three music videos, including the eerie official video for the excellent song Libre and the more than pleasant Equilibrium (which can be seen at the end of this text). All those albums are really good and sound very professional, but in my humble opinion the best one by far is Widow’s Weeds, where Vibeke’s smooth voice and Morten Veland’s harsh vocals, together with a very melancholic and obscure sonority, make this album a must-have in the collection of any fan of high-quality music. Songs like Evenfall, Pale Enchantress and My Lost Lenore are those things that deserve to be included in the “never before, never again” music category.
Vibeke and Tristania always had an outstanding live performance together. For instance, they were the headliners of the 4th edition of the Metal Female Voices Fest, which happened in Wieze, Belgium, in 2006, where they shared the stage with other great bands such as Theatre of Tragedy, Delain and Xandria. I had the pleasure to see them live twice with the goddess Vibeke on vocals during their World of Glass tour in January 2002, and in March 2005 during their Ashes tour, and in both occasions it was impossible not to be impressed by her voice and moves during the entire concert.
Unfortunately for all the fans of Tristania, Vibeke left the band in February 2007 first to finish her university degree, and also because she didn’t like the music direction the band was taking. And despite all the rumors about her replacing the one and only Tarja Turunen when she left Symphonic Power Metal band Nightwish, as both left their former bands almost at the same time, Vibeke was the first one to publicly confirm she was not going to be the new singer for Nightwish nor would ever be. However, we can say Tristania was not the only band in Vibeke’s life: she was also a guest vocalist in three tracks (In the Realm of the Midnight Sun, My Dark Reflections of Life and Death and Under Eternal Stars) from the 2000 album Journey to the End of the Night, by Norwegian Gothic Metal band Green Carnation; guest vocalist in the interesting song Suspended Time, from the 2007 album Solar Soul by Swiss Industrial Metal band Samael; and more recently, Norwegian Electronic band Plutho released the song Queen of Broken Hearts, from their 2011 album Bob, You Don’t Wanna Go There!, which features Vibeke’s guest vocals. However, according to the group, this was recorded back in 1999, which means Vibeke was still officially “retired” when the song was released.
This slideshow requires JavaScript.
Although Vibeke still owes all her loyal and passionate fans her once promised solo album, at least we’re glad she’s back to the world of heavy music with her unique voice in the Extreme Metal project God of Atheists, by Norwegian musician Asgeir Mickelson, including musicians from Dimmu Borgir, Emperor, Zyklon, among others. This project is still in the making, but should be available sometime in the second half of 2015. In addition, we’ll also be able to see her acting really soon, as she’s making her theatre debut on stage at Kilden in Kristiansand in October, playing the title role in a play entitled “Skammens Gissel” (or “Hostage of Shame” in English).
Vibeke has mentioned more than once that her biggest influences in music do not only come from the bands and artists she enjoys listening to, but also from all the people she’s been doing music together with since the beginning of her career. Besides that, among some of the greatest voices in her own opinion, we have many exceptional artists such as American diva Tori Amos, Icelandic singer and actress Björk, the unparalleled English “chameleon” David Bowie, American singer Tom Waits and American avant-garde artist Diamanda Galás. Our Gothic Metal countess also said in her interviews that she’s extremely critical to whatever she’s doing and she’s never satisfied if the final result is not the best she can provide, and I believe this is something we can always expect from Vibeke due to her strong character and all the perfectionism that emanates from her it doesn’t matter which band or project she’s involved with.
Talking about her personal life, our beautiful soprano loves doing what pretty much every normal person does too, which includes reading a book, travelling, spending time with her family and friends, and enjoying a good beer. Nonetheless, despite loving doing opera, mainly because she can sing and act at the same time, she said she just hates listening to it in her free time. Maybe that’s because while she’s listening to opera that means she’s not singing. Add to that her perfectionism, and it ends up making total sense: who can offer us a better operatic performance onstage than Vibeke, right?
If you’re one of those people who have always thought Vibeke had dark brown or black hair, you might be surprised to know that she’s actually a natural blond. She has however dyed her hair throughout the years, probably because dark hair has more to do with Gothic and Extreme Metal, and also because it looks like almost all blond Scandinavian girls simply love to have black hair. Finally, just as a complement to her personal profile, Vibeke is already a mother of two: she had a son in the summer of 2007, and a daughter a few years later. It’s still too early to know if both kids will follow their mother’s steps in life, but if they inherit at least 1% of her talent and charisma we can rest assured Norway will keep providing the world some dark and melancholic high-end heavy music.
“To sing is to be able to use and take control of your whole body to make the right sound, and not only one kind of sound, to dare to use all your weird thoughts and be able to tell something while you are singing. It’s art.” – Vibeke Stene
Are you ready to find out how many demons and divas surround your life? This Finnish band is willing to show you they are everywhere.
Hailing from the city of Kokkola, in Finland – the Holy Land of all-kinds-of-metal – Velvet Six were formed in 2010. Although still young, this band has been through a lot and have a lot more to show yet. They released their debut album Dark City Nightlife in 2011, saw two of their original band members leaving the group, found competent musicians to fill the gaps and had the opportunity to open a concert for The 69 Eyes, the vampires of Helsinki – all of this in two years.
Now, with a strong line-up and batteries recharged, Velvet Six are ready to release their second album, Demons Los Divas, via Inverse Records. Instead of trying to define their music, it is better to let the band define their own style: “Velvet Six’s music can be described as Gothic Rock that combines the atmosphere of HIM, the arrogance of Billy Idol and the multi-dimension of Muse”, and along the 10 tracks of Demons Los Divas you can find those pieces that make Velvet Six sound so familiar and yet so new.
Demons Los Divas is a story about demons and divas that affect our everyday life. They crawl deep into our feelings leaving scars. The damaged feelings have to be confronted and processed, so that life can go on. But how is it done? Answers can be found in the nightlife, love and death, as those come out in each song of the album. Twist opens the album and puts everybody to dance since the beginning. As a good Gothic band, the keyboard plays a very important role in this album. Combined with heavy guitars and melodies, the result is no different than awesome, dancing and deep songs. The title-track Demons Los Divas comes next and sounds like a great Hard Rock song, with an outstanding riff, an awesome guitar solo and guess what? A chorus that will stick to your mind all day long (”Demons los divas they all taste the same, cold and so heartless, they want the world, and they want it now”).
Something Evil keeps the feeling of the beginning of the album, although it is possible to see things are getting heavier and darker and they prove it with the next song, Back to Black. It starts with a beautiful keyboard solo then the drums and bass join to make it more complex. In this song, particularly, Olle Wallenius’ voice sounds a lot like HIM’s Ville Valo – and it contributes to bring the mysterious feeling in this track. Lightkeeper brings the DNA of Depeche Mode, being really atmospheric with Olle showing how versatile he can be, singing from smooth to aggressive tones.
After a deserved rest with calmer songs, the Hard Rock is back with Loves Like. It’s quite easy to imagine some of these songs being played at a Hard Rock/Gothic party and to see all people enjoying what is going on. Underneath is the next song and, once again, the keyboards are the strongest feature of the melody, just like as in The Family, which sounds a little bit heavier and it would be unfair not to mention the amazing work of base and solo guitars throughout the song. Blood Rain also has that dancing feeling and sounds more like a Love Metal song that reminds me of HIM. This song also has some mysterious female backing vocals that make all the difference, resulting in a pure Goth feeling. The last track, I Saw, is the deepest song of all and, following the timeline of the facts, it closes the album with loneliness and death.
In summary, if you are a Gothic Rock, Hard Rock and Love Metal fan, this is definitely a must-have album. Additionally, but unfortunately not present in the album, Velvet Six recorded a cover to Call Me Anything, by Swedish band Weeping Willows. It is completely different than the original version released in 2004 in the album Presence, and the band found a whole new groove to this amazing song – watch the video below. If you like what you see, do not forget to check their music and show your support on the band’s official Facebook page, as well as purchase Demons Los Divas at the Inverse Records official webstore. They cannot wait to show the world that Gothic music is still alive and kicking.
Best moments of the album:Twist, Demons Los Divas and Back to Black.
Worst moments of the album: None.
Released in 2015 Inverse Records
Track listing
1. Twist 3:26
2. Demons Los Divas 3:54
3. Something Evil 3:36
4. Back to Black 5:16
5. Lightkeeper 3:47
6. Loves Like 3:54
7. Underneath 3:52
8. The Family 5:32
9. Blood Rain 4:43
10. I Saw 4:15
Band members
Olle Wallenius – vocals
Richard Vikman – guitar
Christoffer Solborg – guitar
Matias Muotio – bass
Miro Kronqvist – keyboards
Henrik Björkgård – drums
While this distinguished Portuguese Dark Metal band is among us, we can rest assured good and meaningful music is far from being extinct.
It’s definitely not an overstatement to say Portuguese Dark Metal pioneers Moonspell are the best music group in the history of Portugal, and of course, the best Dark/Gothic Metal band of all times. They’re not just a Heavy Metal band exploring the darkest and deepest emotions with their matchless music, but over the course of their more than 20 years of career they reshaped and redefined Gothic Rock/Metal worldwide, taking it to a whole new level. And even after so many years on the road they still have a lot of creativity and electricity flowing through their veins, culminating in the Goth masterpiece Extinct, their eleventh full-length album and undoubtedly one of their best to date.
With beautifully disturbing cover artworks designed by Greek artist Seth Siro Anton (also known as Spiros Antoniou, leader of Greek Symphonic Death Metal band Septicflesh), a different one per album version by the way, Extinct has an impeccable overall production that only increases its magnitude. Furthermore, the album feels like it’s purposely split in two distinct parts, the first leaning to a more Heavy Metal sounding whilst the second pays homage to pure Gothic Rock. And it doesn’t matter which “part” you prefer, it’s impossible not to enjoy Extinct in its entirety.
When Breathe (Until We Are No More) starts, you can already feel Extinct is going to be a great album. With the keyboard notes by Pedro Paixão providing that ominous atmosphere we love in Gothic music and its progressive riffs blended with a very ferocious chorus due to the harsh vocals by lead singer Fernando Ribeiro, you’ll feel embraced by the band’s unique musicality for sure. The title-track, Extinct, is a work of art of darkness and passion, offering the listener powerful headbanging riffs, beautiful guitar solos and keyboard passages, an incredible job done by Fernando on vocals, as well as a chorus that is beyond phenomenal (“Before the lights go out / Before our time is gone / A taste of your lips / Before we go extinct”). In addition, the official video to the song, which you can see below, perfectly depicts its musicality, and if it doesn’t give you a thrill maybe you should go listen to Justin Bieber or One Direction, because you’re not worthy.
Medusalem is not only the fastest and the most metallic of all songs, but the addition of Middle-Eastern elements electrified it even more. I would love to listen to this more-than-perfect epitome of Gothic Metal live, with highlights to Fernando kicking ass on vocals once again. Following that amazing dark attack we have the touching rock/metal ballad Domina, with its thoughtful lyrics enhanced by a mesmerizing atmosphere and more soulful guitar solos, and a brilliant song entitled The Last of Us: with lyrics tailored to drive any girl crazy (“Let me touch you where’s forbidden / And test the limits of your sanctity”), this song kind of kicks of the Gothic Rock extravaganza in the album, focusing on the same musicality that elevated bands like H.I.M. to stardom.
Extinct Limited Mediabook Edition
The next track, the beautiful Malignia, is even darker than all previous songs, with its name, keyboards, background effects, the depth of the vocal lines and everything else in this Goth anthem being as somber as possible, while Funeral Bloom is a song that could easily be played on any radio station so catchy it is. Besides, the way drummer Miguel Gaspar, bassist Aires Pereira and keyboardist Pedro Paixão are in sync is remarkable. A Dying Breed is another exciting Gothic Rock song where Fernando varies between his clean vocals and deep growls perfectly, with the rhythm flawlessly following his vocal lines from smoother passages to heavier moments thanks to the excellent job done by Ricardo Amorim and Pedro Paixão on guitars.
Extinct 2-LP Gatefold
There’s so much beauty found in The Future Is Dark it’s hard to explain it in just a few words: it has another very passionate and melancholic chorus that will get stuck in your head for days (“Gotta breathe in, gotta breathe out / Up on your feet, gotta think twice / The future is dark, the future is vile / Without you there’s no tomorrow”), and what can I say about the blackened ambience the band brings forth in this song, mainly due to its guitar lines and solos? That’s simply amazing. And lastly we have the weird French song La Baphomette, which despite not being a disaster it doesn’t keep up with the awesomeness of the rest of the album. It’s important to say the deluxe edition of Extinct also brings four high-quality bonus tracks, and unless you’ve just waken up from a coma you might not have noticed yet they’re alternate versions for four of the songs of the regular album. In my opinion, the best of those tracks is the passionate semi-acoustic Doomina, which is a word play of “Doom” and the original song “Domina”, got it?
To sum up, calling Extinct the best album of 2015 even if we’re still in March, with many months to go until the year is over, is not an overstatement either. An awe-inspiring album like this one truly deserves to be appreciated by all music lovers, it doesn’t matter if you’re a metalhead or not. In other words, go listen to Extinct with the person you love the most, or simply close your eyes and savor it by yourself, resting assured that while Moonspell are among us dark and meaningful music will never be extinct.
Best moments of the album:Extinct, Medusalem, Malignia, The Future Is Dark and the bonus track Doomina.
Worst moments of the album:La Baphomette.
Released in 2015 Napalm Records
Track listing 1.Breathe (Until We Are No More) 5:33
2.Extinct 4:42
3.Medusalem 5:06
4.Domina 5:09
5.The Last of Us 3:26
6.Malignia 5:06
7.Funeral Bloom 4:10
8.A Dying Breed 4:29
9.The Future Is Dark 5:09
10.La Baphomette 2:48
Deluxe Edition bonus tracks 11.Until We Are No Less 7:02
12.Doomina 4:49
13.Last of Them 5:24
14.The Past Is Darker 5:43
Band members Fernando Ribeiro – vocals
Ricardo Amorim – guitars
Pedro Paixão – keyboards, guitars
Aires Pereira – bass
Miguel Gaspar – drums
Justice ravaged by pain… I surrended my innocence in vain.
Our Heavy Metal diva this month is a tribute to Gothic Rock & Metal, a “love it or hate it” type of music that always divides the opinion of the more traditional metalheads. Fans of Iron Maiden, Slayer, Judas Priest and Metallica, for example, usually tend to despise almost everything from bands such as Rammstein, The Prodigy or Disturbed, mainly because “those bands are not true Heavy Metal”. However, they all have a lot of very interesting, creative and especially heavy material, which is also the case for the dark alternative music by our blue-haired gothic goddess Lahannya.
Lahannya was born in the United Kingdom, and although I’m not 100% sure, I believe her birthday is on January 20. Don’t ask me her full name or the year and city she was born (which by the way might be London), though, as it seems she’s one of those girls that doesn’t enjoy sharing her age nor many other details about her personal life with the rest of the world. Well, that doesn’t affect the quality of her work by any means, as what really matters here are her music, vocal performance and, of course, her stunning dark alternative looks.
Let’s say that Lahannya is not a regular singer, songwriter and performer: she’s a lot more than that, we should say a one-of-a-kind frontwoman, and her talent and skills can be enjoyed not only in the music from her own band, Lahannya, but also in the compositions from many other different bands and artists. Although she’s never made it to the mainstream, it’s in the underground world of heavy music where she has established her pillars and it’s also where she keeps influencing the newest generations of gothic and heavy musicians with her unique approach.
To begin with, it was back in 2004 when she met bassist Lutz Demmler, from German Gothic Metal band Umbra et Imago, at the M’Era Luna Festival where things really started to happen for Lahannya. After several projects since the beginning of her career in 1998, including the song Drowning for the compilation album Amduscias (1998) and her first EP entitled Drowning (2000), she finally formed the band Lahannya together with her then (and still) good friend Lutz in 2005, which is nowadays complemented live by German guitarist Christopher Milden and Italian drummer Luca Mazzucconi.
Lahannya’s Gothic Metal music is a complex and rich blend of the sonority from bands and artists such as The Prodigy, Disturbed, Loreena McKennitt, among many others. Actually, it’s kind of hard to truly define their music or compare it to other artists, although their lyrical themes are similar to what some of those artists also sing about, like darkness, pain, agony and relationships. The band has already released a good amount of material besides the EP Drowning: three full-length albums entitled Shotgun Reality (2007), Defiance (2009) and Dystopia ( 2011); another EP named Welcome to the Underground (2008); the live album Scavenger (2010); and the live DVD Sojourn (2013). You can take a listen at her mesmerizing voice in songs like Cocoon and Save Me, both from the album Dystopia.
The band has been touring a lot since its inception, especially in the UK and Germany, as for example in the Wave Gotik Treffen music festival, in Leipzig, in 2009, as well as many other dates in countries such as Austria, Netherlands, Poland and Switzerland, among others, with highlights to their exceptional performance during the Metal Female Voices Fest VII that happened in Wieze, Belgium, in 2009. There are some high quality videos on YouTube with Lahannya’s concert at that festival, like the ones for the songs Open Your Eyes and Burn, where it’s quite impossible to take your eyes out of her moves while her voice “invades” our ears with greatness. Another excellent live moments are the heavy and modern Inside the Machine, filmed at the X-Tra Club in Switzerland in 2008, and the metallic Never Enough, during the band’s performance at the the M’Era Luna Festival 2012. There’s also a really nice interview with her during that same festival, which can be seen HERE, where she talks about her career and other stuff. It’s totally worth the time spent, especially because she’s a fun and humble woman, and her British accent is beyond beautiful.
This slideshow requires JavaScript.
Among her infinite number of partnerships, projects and special guest appearances, the most important or famous ones are certainly her collaborations with English Electronic band Greenhaus, German Power Noise/Techno act Soman, Norwegian Aggrotech band Combichrist, German Industrial project Xotox, German Goth Rock band ASP, and German Gothic Electro band Dracul. None of these are close to Heavy or even Gothic Metal, but that doesn’t make the final results less enjoyable.
With Greenhaus, she was part of the songwriting and the vocalist for almost all tracks of their album Another life, from 2003, while with Soman she was the co-songwriter and vocalist for the following tracks: Tears, from the album Revenge (2004); Antique, from a compilation album with various artists entitled Machineries of Joy (2004); Mask and Eye to Eye, from the album Mask (2007); and Skin Deep, from the album Soman Noistyle (2010).
Our goth diva’s collaboration with Combichrist happened in the form of a spoken sample for the Soman remix of the title-track from their second EP Sex, Drogen Und Industrial (2004), while with Xotox she recorded a spoken intro for the video of the track [psi], from the album [psi] (2005), and was the vocalist on the song Habitat, from the album In Den Zehn Morgen (2008). Finally, she was featured in the remix of the song Nie Mehr, from the album Nie Mehr (2007) by ASP, and was the co-songwriter and vocalist for the tracks Vampiras Dream and Deathwish, from the album Like an Animal (2006) by Dracul.
There are a few other projects she’s involved which unfortunately I cannot list here, otherwise I would never be able finish this document. However, there’s one more interesting detail about Lahannya in regards to her career that you should know: if you’re in London and you are that type of person that likes to party, you might have a chance to see our blue-haired beauty in person doing something very different from singing with her band, which is being a DJ at the London alternative club Slimelight once in a while. Do you want to know where Lahannya finds all that energy to do everything she does? “I think it’s my purpose for living. I don’t really want to find a family or whatever. For me it’s my passion, it’s the legacy I want to leave behind, it’s how I express myself. If I didn’t do it, I would feel like I’m not actually living or breathing.”, she said. That explains a lot.
In regards to her idols in music, the pretty Lahannya mentioned she enjoys listening to and is constantly inspired by many distinct and excellent artists such as Kidneythieves, Dimmu Borgir, The Prodigy, Tori Amos, Celldweller, Bush, Disturbed, Mankind Is Obsolete, Loreena McKennitt, The Cranes etc. However, her inspiration in terms of lyrics comes from what is happening around her life and from her own emotions. Moreover, Lahannya mentioned a couple of times her “dream tour” would be with Industrial Metal icons Rammstein or English Electronic group The Prodigy, which in my opinion are outsdaning options for a full professional and exciting tour, don’t you agree?
Lastly, this nonstop frontwoman said she hasn’t had any free time for hobbies, but when she did she used to go scuba diving and climbing, which in my opinion are “not-so-common” activities for people who live in the gothic world, but each person does what they feel like doing, right? And in order to chill out, Lahannya’s choices often include a good DVD and a glass of wine, especially after a long day of hard work. That’s something even people like us, mere mortals who are not famous masterminds behind a successful band, can relate to, and maybe one of us is lucky enough to enjoy those rare free moments Lahannya has together with her. In the meantime, let’s keep on appreciating her dark and beautiful music.
“The best piece of advice I can give is, don’t waste your time waiting for a manager, booking agent or record label to make things happen for you. If you are prepared to work hard, not just on the music but also on the business side, and you don’t give up, you can achieve an awful lot. No one will work as hard for you as you do yourself and no one will invest more money into your band than you are prepared to do yourself. If you don’t put the work in, why should anyone else?” – Lahannya
A sinister parade of heavy music led by the reigning succubus of Black and Doom Metal.
I got to know Black/Gothic Metal band Cadaveria a couple of months ago while listening to The Metal Moose Show, and basically after that I had to go after more of their excellent obscure music. The band is led by the diabolical Italian beauty Cadaveria (aka Raffaella Rivarolo), known for being the former singer of Symphonic Black Metal band Opera IX. Now, after over ten years in action, the band releases their fifth full-length album, Silence, a sinister parade of Black and Doom Metal, with Gothic influences from the 80’s and the unique feminine touch by Cadaveria.
Despite being extremely hard for bands to stay relevant in Heavy Metal doing this type of dark music, more due to their demanding fans rather than to the music itself, Cadaveria somehow manage to reinvent their musicality with each release, avoiding that feeling of “I’ve heard that before a million times” from any person that gets in contact with their music, no matter if it’s a diehard fan or a brand new listener. Of course the music by Cadaveria is not light-hearted or commercial at all, so do not expect to listen to it anywhere, but only where it really matters: in the underground music world.
The opening track, Velo (The Other Side of Hate), which by the way is probably a play on words with “LOVE”, is the perfect representation of Melodic Black Metal with devilish feminine vocals (can I say Cadaveria is like the reigning succubus of Black Metal?), alternating traditional Black Metal with more symphonic parts and with Frank Booth and Dick Laurent doing an awesome job on guitars. Following that great start, as the name of the song says Carnival of Doom has an awesome Doom Metal punch, being brutal but delicate at the same time, with Cadaveria’s clean vocals redefining the meaning of the word “mesmerizing”, while in Free Spirit there’s a slight change in the band’s approach, with its guitar lines and vocals focusing on a more melancholic tune inspired by Gothic/Doom Metal from the 80’s.
The Soul That Doesn’t Sleep emanates despair and darkness, with Cadaveria beautifully switching between harsh and clean vocals while the rest of the band maintains a morbid rhythm, solidifying the overall result, followed by Existence, which gets closer to apocalyptic Black Metal with drummer Marçelo Santos conducting the rhythm. In the modern and amazing Out Loud, the band offers us a heavy and furious tune with hints of Thrash and Death Metal, sounding like an even more wicked version of Arch Enemy and making it a perfect choice for circle pits, while Death, Again, which begins in the darkest and most melancholic way possible, has that type of hypnotizing melody, with Cadaveria making it even more enjoyable.
The last part of Silence brings to the listener an interesting mix of good, bad and, of course, dark tunes, starting with Exercise1, too generic compared to the rest of the album; Almost Ghostly, a feminine version of Paradise Lost blended with Tristania, with highlights to its amazing vocal lines; Loneliness, another excellent technical track with Gothic elements dominating the entire song; and finally Strangled Idols, again a more melodic and dark song, with its raw Rock N’ Roll vein being very beneficial to the overall energy of the song.
You can check the official album trailer HERE, visit the band’s official Facebook page, and of course buy their music and merchandise at their webshop or on iTunes. If there was a parade of Black and Doom Metal, Silence would definitely be its sinful and delectable soundtrack.
Best moments of the album:Carnival of Doom, The Soul That Doesn’t Sleep and Out Loud.
Worst moments of the album:Existence and Exercise1.
Released in 2014 Scarlet Records
Track listing 1. Velo (The Other Side of Hate) 4:14
2. Carnival of Doom 3:28
3. Free Spirit 4:44
4. The Soul That Doesn’t Sleep 3:34
5. Existence 4:56
6. Out Loud 3:16
7. Death, Again 5:04
8. Exercise1 3:54
9. Almost Ghostly 4:22
10. Loneliness 4:42
11. Strangled Idols 5:00
Band members Cadaveria – vocals
Frank Booth – guitar
Dick Laurent – guitar
Killer Bob – bass
Marçelo Santos – drums
It’s from Norway the most remarkable Gothic Metal album of all time.
Gothic Metal has always been and will ever be a very tricky subgenre of Heavy Metal, especially in terms of originality, because it can bore you at the blink of an eye. I, for instance, do not consider myself a true Gothic Metal fan, as I prefer a lot more heavier and faster material like traditional Heavy Metal, Thrash Metal, Death Metal, and even Hard Rock rather than any Gothic music. However, once in a while there’s a band like Tristaniathat breaks this barrier and gains my respect in the world of heavy music.
After their self-titled EP Tristania (1997), it was time for this Norwegian Gothic Metal band to release in 1998 their first full-length album called Widow’s Weeds, which in my opinion is the best Gothic Metal album of all time. In fact, Widow’s Weeds cannot be considered only Gothic Metal, as it contains elements of many other subgenres of heavy music such as Symphonic, Death and Doom Metal, which explains why this album is so difficult to understand, and consequently so delightful.
Widow’s Weeds is a tsunami of obscure themes and dark lyrics, all full of the most uncomfortable emotions such as depression, sadness and madness, and of course everything is wrapped up by a very precise and dense musicality. Do not expect to hear crazy riffs and solos, or even fast drums with lots of double bass, but lengthy and slow songs where all instruments together form a complex sonority, in parallel with Vibeke Stene’s angelic voice and Morten Veland’s roars.
Right after the intro Preludium…, the band shows all its powerful musical range with the beautiful Evenfall, by far the most amazing composition of their entire career. Vibeke’s performance in this song is awesome, as well as the drums by Kenneth Olsson, and the final result portrays perfectly how pleasant sadness can be when transformed into music. The following track keeps the bar extremely high: Pale Enchantress can be considered another of the band’s classics, a lot faster than the previous one with great melancholic lyrics (“Enchanting all my dreams / A beauty and her flood of tears / Nightfall embrace my heart / Mesmerized and ravendark”).
December Elegy and Midwintertears are examples of what I previously said about the trickiness of Gothic Metal, as both can easily make you feel bored due to their length and lack of speed or changes in rhythm. However, they’re pretty good songs, it’s just that they’re not tailored for MTV or radio. On the other hand, even the more skeptical heavy music lovers will enjoy the next two tracks: Angellore has many interesting goth elements from the 80’s that match perfectly with the band’s style, with the addition of Østen Bergøy doing the clean vocals, and the final result was so good that it was probably the reason why he joined the band full-time from 2001 until 2010; while My Lost Lenore is considered by many Tristania’s biggest masterpiece. Here we have not only Vibeke and Morten doing a superb job, but above all the talented Einar Moen on his synth and piano giving a huge boost to the song.
The (almost) last track, Wasteland’s Caress, is for me the weakest of all tracks, and the outro …Postludium ends this amazing album, unless you have the special edition which contains two excellent bonus tracks called Sirene and Cease to Exist. The front cover of the album simply summarizes how dark and mysterious the music by Tristania is, fully complemented by the band’s sinister outfits.
Unfortunately, there have been way too many changes in the band’s lineup and musicality until today, provoking an immense drop in the quality of their material. Maybe if Vibeke Stene and of course Morten Veland, the mastermind behind Tristania’s eerie and mesmerizing music and currently with Sirenia, were still with Tristania, the whole story would have been a lot different. Nevertheless, based on Tristania’s most recent albums, I don’t believe we’ll see anything close to Widow’s Weeds again.
At least there are some good news about Vibeke returning to the world of heavy music after years of privation, and when she actually returns she deserves a special “Metal Chick of the Month” post for her and one or more reviews of the music projects and/or bands she joins in a near future. She’s a truly underrated musician, and I hope she comes back kickin’ ass as she used to do in her years with Tristania.
Best moments of the album:Evenfall, Pale Enchantress, Angellore and My Lost Lenore.
Worst moments of the album:December Elegy and Wasteland’s Caress.
Released in 1998 Napalm Records
Track listing
1. Preludium… 1:09
2. Evenfall 6:51
3. Pale Enchantress 6:31
4. December Elegy 7:31
5. Midwintertears 8:32
6. Angellore 7:16
7. My Lost Lenore 6:23
8. Wasteland’s Caress 7:40
9. …Postludium 1:12
Three years after her beautiful debut-album Foresting Wounds, our Polish diva Agnieszka “Nera” Górecka is finally back with her Gothic Rock band NeraNature and, of course, another excellent release, the highly anticipated Disorders. For the ones that were somehow expecting something similar to her old group, Polish Symphonic Black Metal band Darzamat, forget about it: Disorders is a delightful sequence to her previous solo album, or maybe I should say a sequence to Nera’s own experiences in life.
First of all, in my humble opinion I believe that if Nera was American she would have already conquered the world of music by now: she has the looks, a powerful voice, a strong charisma and everything else one needs to be successful in North America or anywhere else. Not only that, her music is very professional, beautiful and emanates lots of feeling and energy, but that invisible barrier that exists for many non-American artists keeps hampering a higher acceptance from fans all over the USA and Canada. I really hope that changes with time, and American and Canadian Gothic Rock fans, especially the ones who love that British sonority from the 80’s, can finally acknowledge her awesome work and elevate her to stardom.
Anyway, let’s focus on the smooth and captivating music from the new NeraNature album now, which is the purpose of this review. Although extremely short (the album has only 8 tracks split in less than 30 minutes), Disorders brings the listener more of that pleasant atmospheric rock that became so famous especially in the UK during the 80’s, with lots of additional elements from heavy and experimental music (preventing the music from sounding repetitive or obsolete), and Nera’s unique voice standing out all the time as expected. All of that can already be enjoyed in the opening track, Twisted, a very gothic tune with some electronic elements mixed with the guitar riffs, and Nera’s voice sounding as superb as usual. And have you noticed how happy she looks in her “selfie” music video for this song? Well, she definitely should be, as the final result is truly awesome.
The album continues with its first single and a perfect choice for hitting the road, Drifting, which has a pure 80’s rhythm with strong riffs, lots of “wah-wah” and more mesmerizing vocals, and In Contrast To, a heavier track with lots of Gothic moments, with highlights to its interesting piano notes and music breaks. Then we have The Clue, an atmospheric rock semi-ballad, and I Play, the most melancholic track of all, with another beautiful performance by Nera and very introspective lyrics (“I play hide & seek / with the intention of losing myself for good…”). One very important detail that you’ll be able to notice after listening to this first part of the album is the presence of a lot more piano and keyboard passages than in Foresting Wounds, giving the whole album a more feminine and delicate approach, which perfectly suits the music direction Nera has chosen to follow in the past few years.
And it looks like Nera and her very competent band saved the last part of Disorders for a combination of distinct and pleasant songs: Reverse is a nice mix of Gothic Rock and Metal with some progressive passages, sounding a little like some of the old classics from Garbage; Hesitation is an intense song with a more direct instrumental, where Nera beautifully sings with her heart; and the last song, the very Gothic and experimental Mistaken, with its eerie intro and all other unusual elements, sounds completely different from everything else Nera has already done in her career, expanding her music boundaries in a very entertaining way.
To sum up, even though I still consider Foresting Wounds slightly better, Disorders (available for purchase on iTunes) is indeed a lovely album that will probably grow on me with time. That beautiful Gothic musicality only NeraNature is capable of generating is there, the lyrics are very personal and meaningful, and besides, listening to Nera’s voice is always awesome no matter the situation. And if the situation includes enjoying a good wine with the person you love while listening to the true nature of Gothic Rock offered in this album by NeraNature, it gets even better.
Best moments of the album:Twisted, Drifting and I Play.
Worst moments of the album:In Contrast To, and the fact the album is too short.
Released in 2014 Independent
Track listing 1. Twisted 3:09
2. Drifting 4:54
3. In Contrast To 3:13
4. The Clue 3:47
5. I Play 3:09
6. Reverse 2:47
7. Hesitation 3:12
8. Mistaken 3:31
Band members Agnieszka “Nera” Górecka – vocals
Marek “Markus” Tkocz – bass
Paweł “Senator” Nowak – drums
Piotr “Peter” Nowak – keyboards
Gothic, Black and especially Doom Metal as grandiose as they can be.
One of the most expected albums of 2014 from one of today’s darkest and heaviest bands has finally arrived: Melana Chasmata, or Μελανά Χασματα (in the Greek alphabet), which can be translated as “black, deep depressions”, from Swiss Gothic/Doom Metal band Triptykon, has everything it takes to be one of the most acclaimed albums of the year, and undoubtedly the best in terms of extreme music.
This Zurich-based Doom Metal “dream team” founded by Heavy Metal icon Tom G. Warrior (Hellhammer, Celtic Frost) is as cohesive and effective as possible, and of course, totally wicked. There isn’t a single song on this album that can be considered filler or commercial: quite the contrary, Triptykon offer us a masterpiece of darkness, with lots of melancholy, pain and hopelessness, perfect for people who hate all those disposable pop songs made for that annoying and fake sense of “collective joy”.
Tom & Co. open the album with a pure Black Metal track called Tree Of Suffocating Souls, with a fuckin’ heavy instrumental, especially bass and drums, which sound simply amazing together. Moreover, the lyrics are also very intelligent and controversial, making the whole song even better. And what can I say about the Gothic/Doom Metal work-of-art Boleskine House? Its low resonant bass and the female vocals give me the shivers, and make me want to literally feel this song at a Triptykon concert. It’s a flawless brilliant composition, the best song of the album, and the lyrics are those things we feel grateful for being able to enjoy (“Your eyes that once / Have gazed the waves / Have long been closed / Become enslaved / Within these walls”).
Altar Of Deceit continues with the greatness in Melana Chasmata with its dark intro, Tony Iommi-ish demonic riffs, desperate vocals, and a very nice solo at the end, while Breathing, another extremely dark track with a depressive and at the same time beautiful intro, suddenly accelerates to an awesome mix of Death and Black Metal and ends in a very good “old school Slayer” way. What else do we need in a song, right?
The following two tracks are the epitome of evil: Aurorae is a dreary song, tailored for people who enjoy “suffering” alone while savoring the most obscure tunes a band can produce, and its guitar solo gives it an extra touch of fineness; and Demon Pact sounds like if its riffs, vocals, drums, bass and everything else were actually recorded in hell. Based on the name of the song I wasn’t expecting anything less evil, making it one of my favorite tracks by far.
In The Sleep Of Death, a very atmospheric and eerie low-paced song, has some more desperate vocals, followed by the longest track of the album, Black Snow, a lesson in Doom Metal with over 12 minutes of obscurity and awesomeness. Tom proves here he’s the beast incarnate, and it’s impossible not to scream together with him “Black snow! Black snow!”. And to close this stunning album in a majestic way, we have Waiting, with its delicate rhythm and mesmerizing female vocals. It’s a very gothic and beautiful song, and I’m sure lots of fans will consider it one of the highlights of the whole album.
The album art, once again created by Swiss surrealist artist H. R. Giger, who has already worked with music icons such as Emerson, Lake & Palmer, Carcass, Celtic Frost and Danzig, perfectly represents all the density in the music in Melana Chasmata. Besides that, one thing I need to say is that, although all musicians are amazing and Tom G. Warrior is a genius, the badass bass lines are my favorite part of all songs. Vanja Slajh is a Doom Metal Goddess, no doubt about that.
Tom always says that only Death is real. However, he forgot to say the same about his band Triptykon, and now about Melana Chasmata, an album we’re more than glad it’s a reality. Eparistera Daimones was already a great album, but this time Triptykon took Doom Metal to such a level of grandiosity it’s hard to find words to describe it. When music is able to reach our souls like what’s found in Melana Chasmata, we know there’s something special about it. And if Triptykon go to your town for a live performance, don’t miss it by any chance: it’s going to be a unique and thrilling experience that very few bands can provide you nowadays.
Best moments of the album:Boleskine House, Breathing, Aurorae, Demon Pact and Black Snow. As a matter of fact, I should say that the whole album is amazing.
Worst moments of the album: It’s difficult to find a weak song in Melana Chasmata, but if I really had to choose one I would say In The Sleep Of Death.
Released in 2014 Prowling Death Records/Century Media Records
Track listing 1. Tree Of Suffocating Souls 7:55
2. Boleskine House 7:12
3. Altar Of Deceit 7:32
4. Breathing 5:50
5. Aurorae 6:17
6. Demon Pact 6:07
7. In The Sleep Of Death 8:10
8. Black Snow 12:24
9. Waiting 5:55
Band members Tom G. Warrior – guitar, vocals
V. Santura – guitar, vocals
Vanja Slajh – bass, vocals
Norman Lonhard – drums, percussion
Milan-based Heavy Metal icons are back with another good album that will please their fans for sure.
Some like to call them Alternative Metal, some Gothic Metal, and some even Alternative Rock. No matter which definition you believe suits them better, Italian band Lacuna Coilhave always been recognized as one of the most creative and influential bands in heavy music from the past two decades, and now Andrea Ferro, la bella ragazza Cristina Scabbia & Co. return with another good album, Broken Crown Halo, which according to the band was in part influenced by classic Italian horror movies, and it’s also the last to feature drummer Cristiano “Criz” Mozzati and guitarist Cristiano “Pizza” Migliore.
We must admit it might be pretty hard for the band to stay relevant and generate innovative material after all those years on the road, but this Milan-based band always manages to provide us something that’s at least enjoyable, which is the case with this new album. I don’t know how much the departure of Criz and Pizza might have impacted the recording of Broken Crown Halo, nor how this will affect the band’s live performances, but one thing we can rest assured: the album is not disappointing at all.
Nothing Stands in Our Way opens the album in a very traditional “Lacuna Coil” way, with some good riffs and keyboards together with Cristina’s potent voice, making it one of the best tracks of the album. Then we have a more Heavy Metal track called Zombies, in which Andrea and Cristina do a very good job, with highlights also to the pretty cool and strong bass lines, followed by Hostage to the Light, which gets the album back to a more gothic atmosphere (especially due to its beautiful vocal lines).
Victims follows almost the same line as the previous track, although not as good and sometimes too generic, while Die & Rise sounds very alternative with some electronic elements. Can it be considered some kind of “heavy dance music”? Anyway, the next track I Forgive (But I Won’t Forget Your Name) reminds me a little of Within Temptation, albeit too repetitive and even too pop for a heavy music album.
Broken Crown Halo goes on with another alternative semi-ballad called Cybersleep, which is not engaging at all; Infection, a heavier track with Nu Metal bass lines and an interesting chorus; and one of my favorites, I Burn in You, with its vocals, harmony and rhythm inspired by some good old 80’s Gothic Rock mixed with the musicality of bands like Paradise Lost and The Gathering. I wish they had added more of this to the album, as it’s really pleasurable to listen to and avoids that “generic” feeling we’re all afraid of finding in our favorite bands’ material.
The last two tracks of Broken Crown Halo are the good In the End I Feel Alive, especially because of its heavy riffs and bass lines (which I really enjoyed) and another very cohesive vocal duet, and the melancholic ballad One Cold Day, the longest track of the album totally focused on piano passages, beautiful lyrics and Cristina’s delicate vocals. By the way, what else can be said about Cristina that hasn’t been said yet? She’s totally awesome.
In summary, Broken Crown Halo will please almost all fans of the band, because although it’s not a masterpiece it’s far from being a “schifo” (as the band members would say), and the talent and professionalism of the whole band is always remarkable. Besides, in my opinion it’s slightly better than its predecessor, Dark Adrenaline, or at least less pop, which is a good thing for Heavy Metal fans like myself that prefer the heavy riffs found in this album than any overproduced videos or excessive cheesiness done just to make more money, and therefore it will help the band keep their fire burning for many years to come.
Best moments of the album:Nothing Stands in Our Way, Hostage of the Light, I Burn in You and In the End I Feel Alive.
Worst moments of the album:Victims, I Forgive (But I Won’t Forget Your Name) and Cybersleep.
Released in 2014 Century Media
Track listing 1. Nothing Stands in Our Way 4:07
2. Zombies 3:47
3. Hostage to the Light 3:56
4. Victims 4:31
5. Die & Rise 3:44
6. I Forgive (But I Won’t Forget Your Name) 3:56
7. Cybersleep 4:26
8. Infection 4:23
9. I Burn in You 4:15
10. In the End I Feel Alive 4:21
11. One Cold Day 6:09
Band members Cristina Scabbia – vocals
Andrea Ferro – vocals
Marco Coti Zelati – bass
Marco ‘Maus’ Biazzi – guitars
Cristiano ‘Pizza’ Migliore* – guitars
Cristiano ‘Criz’ Mozzati* – drums
In case you don’t know (well, I’m pretty sure you don’t, and there’s nothing wrong with that), the Latin word “velaverunt” means “blindfolded”. For instance, you can find that word in the Bible, like in Lucas 22:64, “et velaverunt eum et percutiebant faciem eius et interrogabant eum dicentes prophetiza quis est qui te percussit?”, which in English means “and when they had blindfolded him, and smote him on the face, and asked him, saying: Prophesy, who is it that smote thee?” However, from now on Velaverante also means high-quality Symphonic Gothic Metal brought forth by this passionate band from the city of Kirov, Russia, located around 950km from the capital Moscow.
That high level of professionalism is latent in the first track of the EP, Too Late, where the band offers the listener a very symphonic sounding similar to what Nightwish and Epica have mastered doing, but with the melancholic atmosphere found in Black and Doom Metal. The keyboards by Max Seleznyov and the robust operatic vocals by Anna Egorova keep the music ominous and dark, whilst drummer Irina Kropotova and guitarist Gleb Uraev seem more inspired by old school Gothic Metal the likes of Tristania. The second track, Insomnia, begins as obscure as the previous one, once again showcasing a superb performance by Anna on vocals, especially during the song’s captivating chorus. It’s unquestionably a beautiful Gothic Metal tune for fans of the dark side of music.
THE HEADBANGING MOOSE 