Tag Archives: gothic metal

Album Review – Moonspell / Hermitage (2021)

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Portugal’s own Dark Metal institution returns with their thirteenth full-length album, offering us all a revolutionary and epic journey through the darkest days of human existence.

Portugal’s own Dark Metal institution Moonspell is approaching their 30th anniversary more ambitious and stronger than ever, and in order to proper celebrate such important milestone there’s nothing better than savoring each and every track from their newest opus, entitled Hermitage, the thirteenth studio album in their undisputed career. Recorded, mixed and mastered by Jaime Gomez Arellano (Paradise Lost, Ghost, Sólstafir) at Orgone Studios and featuring a stylish artwork by Latvian artist Arthur Berzinsh, Hermitage is not only the follow-up to their critically acclaimed 2017 album 1755 and their 2015 masterpiece Extinct, but it’s also a revolutionary, wonderfully intuitive and epic journey through the darkest days of human existence masterfully crafted by frontman Fernando Ribeiro, guitarist Ricardo Amorim, keyboardist Pedro Paixão, bassist Aires Pereira and newcomer Hugo Ribeiro on drums, as well as a testament to what they’ve always loved the most, which is honest, emotional metal that binds us even in the darkest times.

Just like the soundtrack to a dark thriller, the opening track The Greater Good will already mesmerize your senses, with the thunderous bass jabs by Aires and the massive beats by Hugo adding heaviness to such atmospheric tune, whereas sheer poetry flows from Fernando’s words (“So close to me, as tight as you can be / Inside the cell / The voice within, the desert wind / Calls out our name / So close, so close”) in Common Prayers, another captivating Gothic Metal aria by Moonspell where Ricardo and Aires are on absolute fire with their stringed weapons, not to mention the epic keys by Pedro. In All or Nothing, the guitars by Ricardo exhale passion and harmony nonstop in a beautiful display of Dark and Melancholic Metal that will please all fans of Moonspell’s most Gothic side, while Fernando is flawless as usual on vocals; and back to a more visceral and atmospheric sonority we’re treated to the dense Hermitage, with Fernando roaring the song’s epic lyrics (“In the circle of life and sin / On this day of apocalypse / On our way to hermitage / It’s the return to innocence”) while Hugo pounds his drums mercilessly. Then the cryptic bass sounds by Aires are intertwined with the classic keys by Pedro in Entitlement, a very melodic tune blending elements from Gothic and Progressive Metal, therefore sounding very experimental at times, with Ricardo taking the lead with his soulful riffs and solos.

It’s time for a fully instrumental voyage through the realms of darkness in the form of Solitarian, offering our ears classic, crying guitars, delicate keys and tribal beats, working as an interlude for the piercing The Hermit Saints, a headbanging extravaganza where all band members are in absolute sync, generating that classy trademark sound found in their latest albums. Moreover, Fernando’s anguished vocals are effectively supported by all background elements, resulting in a lecture in Dark Metal. In Apophthegmata we face an enfolding and smooth start, evolving into a massive sonority where Ricardo and Aires are once again unstoppable with their axes while Hugo showcases all his skills and potency behind his drums and Pedro keeps the ambience as sinister as it can be with his keys; whereas the quintet offers us fans over seven minutes of magnificent Dark Metal titled Without Rule, where the music remains ethereal but at the same time heavy and sharp from start to finish, with Fernando leading his bandmates into the unknown, flowing into the cinematic Black Metal-inspired outro City Quitter, putting a beyond atmospheric conclusion to such multi-layered album. Not only that, if you purchase the superb mediabook or limited deluxe box set versions of Hermitage, you’ll get as a beyond amazing bonus track the song Darkness in Paradise, Moonspell’s cover version for Candlemass’ classic tune from their 1988 album Ancient Dreams (check out the original version HERE), and let me tell you that their tribute to one of the pillars of Doom Metal is just as imposing as the original song, with Fernando stealing the spotlight with his Stygian vocals.

You can enjoy Hermitage in its entirety on Spotify, but this album is so detailed, enfolding and captivating that I highly recommend you purchase a copy of it to add it to your collection of dark and melancholic albums from Moonspell’s BandCamp page or webstore (where you can by the way find the special mediabook edition), or simply click HERE for all locations where you can buy or stream this precious gem of contemporary Dark Metal. Needless to say, don’t forget to follow Moonspell on Facebook and on Instagram to keep up to date with all things surrounding one of the most important metal bands of the European scene. As soon as this pandemic is over, we’ll all be able to leave our hermitages, including the guys from Moonspell, and we’ll finally be able to meet them again on stage to stun us all with the impressive creations of their newborn spawn.

Best moments of the album: Common Prayers, Hermitage, The Hermit Saints and Apophthegmata.

Worst moments of the album: Solitarian.

Released in 2021 Napalm Records

Track listing
1. The Greater Good 5:04
2. Common Prayers 4:08
3. All or Nothing 7:22
4. Hermitage 4:43
5. Entitlement 6:16
6. Solitarian 4:07
7. The Hermit Saints 4:22
8. Apophthegmata 5:41
9. Without Rule 7:42
10. City Quitter (Outro) 2:59

Mediabook/Limited Deluxe Box Set bonus track
11. Darkness in Paradise (Candlemass cover) 7:10

Band members
Fernando Ribeiro – vocals
Ricardo Amorim – guitars
Pedro Paixão – keyboards, samples, programming
Aires Pereira – bass
Hugo Ribeiro – drums

Album Review – Rioghan / Blackened Sky EP (2021)

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An up-and-coming Finnish poet and lyricist translates her work into music in her debut EP, deeply rooted in Progressive, Gothic and Progressive Metal.

Formed in 2019 by Finnish singer Rioghan Darcy, Lapua, Finland-based Alternative/Gothic Metal entity Rioghan is deeply rooted in Progressive, Gothic and Progressive Metal, translating into fresh and captivating music Rioghan’s work as both a poet and a lyricist. Now in 2021 our dauntless artist teamed up with Jonne Soidinaho, Eemeli Bodde and Atte Pohjonen, all skilled musicians from the Finnish music scene, to come up with a four-song EP entitled Blackened Sky, her debut installment as a vocalist. With all instruments being recorded and programming done by Eemeli and Jonne in various locations while vocals were recorded with Ville Hautaluoma in his studio in Seinäjoki, Finland, Blackened Sky brings something new to the table, being recommended for fans of rock and metal music who are not afraid of exploring newer, more alternative lands that are at the same time heavy, obscure, whimsical and fascinating.

Atmospheric and ethereal form the very first second, the opening track Hollowness already presents Rioghan’s delicate, enfolding vocals boosted by the song’s gentle background keys in a stylish fusion of Progressive and Alternative Rock and Metal, whereas sick Groove Metal riffs and bass punches together with tribalistic beats generate the perfect ambience for Rioghan’s piercing voice in Enough, where she showcases her more aggressive side and, therefore, turning this song into a must-listen for fans of the music by bands like Tesseract and Jinjer. Then investing in a much more alternative sound Rioghan brings forth the stylish Wither, where you won’t find the heaviness of the guitars from the previous song but instead electronic and atmospheric elements like what’s seen in the music by Lorde; and lastly, it’s time for an embracing, orchestral ambience in Corrupt, with Rioghan being supported by classic acoustic guitars while the music flows smoothly until everything fades to the sound of her comforting vocals.

I guess there’ll be a lot of discussion among fans of alternative music if Rioghan is rock, metal or something else, and that’s in my humble opinion the beauty of her music, avoiding any labels while at the same time bringing forth stunning elements from an array of musical styles, with Blackened Sky perfectly representing the first step in her promising career. Hence, don’t forget to show your support to Rioghan by following her on Facebook and on Instagram, by streaming her music on Spotify, and of course, by purchasing Blackened Sky from her own BandCamp page (or by pre-saving it to your desired music library by clicking HERE). I truly hope she doesn’t take too long to mesmerize us all once again with another EP or, even better, with her first full-length album, but until then let’s close our eyes and relax to the sound of the unique creations found in Blackened Sky, a short and sweet display of what this talented musician from the land of ice snow is capable of doing.

Best moments of the album: Enough.

Worst moments of the album: None.

Released in 2021 Inverse Records

Track listing
1. Hollowness 3:25
2. Enough 4:46
3. Wither 3:18
4. Corrupt 3:26

Band members
Rioghan Darcy – vocals

Guest musicians
Eemeli Bodde & Jonne Soidinaho – all instruments, programming

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2020

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“Rock stars come and go. Musicians play until they die.” – Eddie Van Halen

What can I say about the year of 2020? No words can describe all the pain, fear, anxiety, losses and struggles we all had to endure during what’s going to be sadly remembered as the worst year of our modern times. We saw the rise of coronavirus, which had a huge negative impact on pretty much everything and everyone we know, with millions of hardworking people unfortunately losing their jobs, concerts being cancelled, restaurants and other businesses being shut down, people getting stuck in their homes and having to deal with psychological issues like depression, and more important than that, with countless lives, and in some cases people really close to us, people we love, losing their battle against such horrible disease. We also witnessed a gut-wrenching surge in racism against black people all over the world, and the importance of the Black Lives Matter movement in the never-ending fight for freedom and justice, trying to make our world a better place for everyone. And last but not least, we lost so many iconic figures it’s hard to list everyone without crying a little. We lost sports titans such as Kobe Bryant, Diego Maradona and Paolo Rossi, amazing, talented actors and actresses including our beloved “Black Panther” Chadwick Boseman, the original “Darth Vader” David Prowse and the unstoppable Mad Max’s villain “Immortal Joe” Hugh Keays-Byrne, and music geniuses like Rush’s unparalleled Neil Peart and one of the best and most revolutionary guitarists of all time, the one and only Eddie Van Halen. May their souls rest in peace.

However, although we might be living such difficult and stressful times, there’s a light at the end of the tunnel with the development of effective vaccines that will certainly put our society back on track sooner than later, giving us all some hope and pointing to a much better future for all of us. In the meantime, I guess one thing that we metalheads have been doing (and will always do) throughout such shitty year is using the music we love to face all of our problems and fears with our heads and horns high in the sky, never giving up nor giving in. Having said that, I’ll leave you with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2020, excluding EP’s, best of’s and live albums, showing to us all that it doesn’t matter what happens with the world, heavy music will always stand strong. From the most primeval form of Black Metal to fast and electrifying Power Metal, from a beyond amazing soaring numbers of women kicking ass in an array of styles such as Doom, Symphonic and Death Metal to the most underground Atmospheric Black Metal entities you can think of, from our good old Rock N’ Roll to modern-day Alternative Metal, music prevailed above darkness, pain and hate, and that’s how it will be forever and ever. Enjoy our list of top metal albums for this (terrible) year that’s coming to an end, and let’s keep raising our horns and banging our heads together in 2021!

1. Primal Fear – Metal Commando (REVIEW)
Join Primal Fear’s undisputed rock brigade and become a true metal commando to the sound of their breathtaking new album.
Best song of the album: Infinity

2. Trivium – What The Dead Men Say (REVIEW)
It’s time to listen to what these four (un)dead men from Orlando, Florida have to say in their thrilling new opus.
Best song of the album: Amongst the Shadows & the Stones

3. Testament – Titans Of Creation (REVIEW)
The titans of Thrash Metal are back in action with another technical, melodic and absolutely pulverizing album of extreme music.
Best song of the album: Night of the Witch

4. Lamb of God – Lamb of God (REVIEW)
Re-energized and unrelenting, Lamb of God are finally back after five years with their pulverizing eighth studio album.
Best song of the album: Gears

5. Sepultura – Quadra (REVIEW)
A sensational concept album based on Quadrivium embraced by a fusion of Thrash, Groove and Progressive Metal.
Best song of the album: Guardians of Earth

6. Onslaught – Generation Antichrist (REVIEW)
These UK veterans are ready to set the world on fire once again with one of the most ferocious Thrash Metal albums of the year.
Best song of the album: Religiousuicide

7. Ecclesia – De Ecclesiæ Universalis (REVIEW)
This army of French inquisitors stands strong on their crusade against every doom heretic with their incendiary debut album.
Best song of the album: Antichristus

8. Eleine – Dancing In Hell (REVIEW)
Time for us all to dance in the fires of hell to the sound of the striking new opus by this unstoppable Swedish Symphonic Metal group.
Best song of the album: Where Your Rotting Corpse Lie (W.Y.R.C.L.)

9. Grave Digger – Fields of Blood (REVIEW)
Grave Digger celebrate 40 years of their undisputed Heavy Metal on a journey back to the vastness of the Scottish Highlands.
Best song of the album: Freedom

10. Konvent – Puritan Masochism (REVIEW)
A dark, primeval and stunning fusion of Death and Doom Metal masterfully crafted by four unrelenting women hailing from Denmark.
Best song of the album: Puritan Masochism

And here we have the runner-ups, completing the top 20 for the year:

11. Genus Ordinis Dei – Glare of Deliverance (REVIEW)
12. Paradise Lost – Obsidian (REVIEW)
13. Axel Rudi Pell – Sign of the Times (REVIEW)
14. Raventale – Planetarium II (REVIEW)
15. Hellsmoke – 2020 (REVIEW)
16. My Dying Bride – The Ghost Of Orion (REVIEW)
17. Burning Witches – Dance with the Devil (REVIEW)
18. Naglfar – Cerecloth (REVIEW)
19. Scarlet Aura – Stormbreaker (REVIEW)
20. Thundermother – Heat Wave (REVIEW)

And how about we also pay a tribute to the bands that released short and sweet albums that condensed pretty much the same amount of electricity, rage and intricacy than any of the full-length albums from the list above? That’s why we’re also going to provide you as usual our Top 10 EP’s of 2020 for you to see that size doesn’t really matter.

1. Front – Antichrist Militia (REVIEW)
2. Malfested – Shallow Graves (REVIEW)
3. Tøronto – Under Siege (REVIEW)
4. Soul Dissolution – Winter Contemplations (REVIEW)
5. Lutharö – Wings of Agony (REVIEW)
6. Póstuma – Moralis (REVIEW)
7. Black Sun – Silent Enemy (REVIEW)
8. MĀRA – Self​-​Destruct. Survive. Thrive! (REVIEW)
9. Serocs – Vore (REVIEW)
10. Invocation – Attunement to Death (REVIEW)

Do you agree with our list? What are your top 10 albums of 2020? 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 2020 – 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 2021!

And before we go, let’s bang our heads one last time in 2020 with a classic Christmas song by an amazing Romanian band that loves Heavy Metal from the bottom of their hearts, pointing to much better times ahead for all of us! Enjoy!

Album Review – Sombria / Chirographon Dei (2020)

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Let your soul be embraced by the beautiful fusion of Dark and Melancholic Metal from the debut album by a promising international group that has all it takes to conquer the world of heavy music.

Formed in 2019 by singer and songwriter Dimi De San, who comes under the name ‘’Valentina Devin’’, and guitarist and composer Raven Seven, Sombria are an international Dark/Melancholic Metal project featuring members from Greece, Norway and Mexico, those being the aforementioned Dimi De San on vocals and Raven Seven on guitars and orchestrations together with session musicians Lucien Keir also on the guitar, Saber Thorn on bass and Winter Cain on drums, aiming at raising awareness through their music, lyrics and performances over many sensitive subjects like child poverty and environmental issues. Now in 2020 this recently formed unity is unleashing upon humanity their debut opus Chirographon Dei, which translates from Latin as something like “the manuscript of the gods”, containing nine original songs recorded, mixed and mastered by Raven Seven at his own studio, all embraced by a gorgeous artwork by Dimi De San, and all depicting everything Symphonic Gothic Metal stands for.

Enfolding orchestrations and piano notes permeate the air in the opening tune Voyage into Lethe, with Dimi embellishing the airwaves with her operatic vocals while Raven Seven extracts somber, minimalist sounds form his guitar in a hybrid of the early days of Nightwish and Tristania. Then leaning towards the most melancholic form of Gothic Metal the band offers our ears the sorrowful Black December, with Saber Thorn and Winter Cain bringing a welcome dosage of Doom Metal to the musicality, followed by Sarcophagus of Roses, another symphonic and epic aria by Sombria where Winter Cain showcases all his dexterity behind his drums, offering Dimi all she needs to shine once again on vocals and, therefore, resulting in the perfect depiction of modern-day Symphonic Gothic Metal. And whimsical piano notes are intertwined with the rumbling bass by Saber Thorn in the gothic extravaganza Mirror of God, where Raven Seven and Lucien Keir make a dynamic duo with their darkened riffage, with the music remaining dense and imposing until the very end.

Dimi takes the lead with her pensive, anguished vocals in the darkly beautiful Ballet of Sadness, a delicate ballad by Sombria that will conquer the hearts of even the toughest metalheads, whereas the crying sound of the violin kicks off the epic and obscure The Soul’s Manuscript, where Winter Cain keeps pounding his drums and bringing doom to us all while Dimi invades our souls with her mesmerizing voice, not to mention the excellent job done once again by the band’s guitar duo. Then like a creature from another world the band comes ripping in the symphonic and heavy-as-hell Wine of Lunacy, where Gothic, Doom and Symphonic Metal are united in the name of darkness. Needless to say, Dimi is once again stunning on vocals, and investing in an even more romantic musicality we have Penitence, with all band members providing Dimi a truly enfolding ambience perfect for her sexy vocals, while the music alternates between heavier moments and menacing passages. Lastly, Sombria’s final breath of obscurity, melancholy and melodious lines comes in the form of the multi-layered Poem from the Dark Gardens, even more epic and operatic than all previous songs, with Raven Seven and Lucien Keir slashing their axes in great fashion supported by all background orchestrations.

The magical and dark world crafted by Sombria in Chirographon Dei can be enjoyed in its entirety on YouTube and on Spotify, but of course in order to show Dimi, Raven Seven and their loyal henchmen all your support and admiration you should grab a copy of the album from the band’s own BandCamp page, from Apple Music or from Amazon. In addition, don’t forget to also follow Sombria on Facebook and on Instagram to keep an eye on everything surrounding such amazing multi-national band, once again demonstrating your passion for the darkest and most melancholic form of heavy music. Sombria’s hybrid of Dark and Melancholic Metal found in their debut opus will surely embrace you like the bitterly cold wind on a winter night, dragging you to their lair and keeping you in the shadows forever and ever. And I’m more than sure that’s exactly what you’re expecting from those ptalented musicians who put their hearts and souls into creating meaningful music for lovers of the dark side.

Best moments of the album: Voyage into Lethe, Sarcophagus of Roses and Wine of Lunacy.

Worst moments of the album: Black December.

Released in 2020 Inverse Records

Track listing
1. Voyage into Lethe 5:47
2. Black December 6:07
3. Sarcophagus of Roses 7:07
4. Mirror of God 6:52
5. Ballet of Sadness 5:01
6. The Soul’s Manuscript 5:45
7. Wine of Lunacy 7:28
8. Penitence 7:11
9. Poem from the Dark Gardens 9:02

Band members
Valentina Devin (Dimi De San) – vocals
Raven Seven – guitars, orchestrations

Guest musicians
Lucien Keir – guitar (session)
Saber Thorn – bass (session)
Winter Cain – drums (session)

Album Review – Veil of Secrets / Dead Poetry (2020)

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Emerging as a result of the contact and joint work between Asgeir Mickelson and Vibeke Stene, this newborn Norwegian Doom Metal unity is ready to darken the skies with their amazing debut effort.

Emerging as a result of the contact and joint work between Asgeir Mickelson, known for having played drums in Borknagar, Ihsahn, Vintersorg and Testament, among others, and the unparalleled Vibeke Stene, known as the singer of Tristania for ten years, in Asgeir’s project called God of Atheists, Norwegian Melodic Doom Metal entity Veil of Secrets has just released their debut opus Dead Poetry, the first official album in 13 years with Vibeke on vocals since Tristania’s Illumination. Produced by Vibeke and Asgeir themselves, mixed by Børge Finstad at Toproom Studio, mastered by Endre Kirkesola at dUb Studio, and featuring guests Sareeta (Ram-Zet, Ásmegin) on violin and Erling Malm (Endolith, Articulus) on harsh vocals, Dead Poetry is everything a fan of Gothic and Doom Metal wants, and a fantastic comeback by Vibeke to the world of heavy music. “After some years with no music production or dissemination, I strongly felt an inner longing to create and feel alive through music. So I started to seek a resolution,” said Vikeke. “I’ve taken the chance to believe that my words, my thoughts, and dreams, could have any value combined with my inner tones. The composing process of ‘Dead Poetry’, was deeply founded on honesty and trust, and therefore I’m very proud to finally share Veil of Secrets.”

Vibeke and Asgeir bring the doom to our hearts form the very first second in The Last Attempt, with our beloved soprano flawlessly declaiming the song’s poetic words (“I kept my promise / The world was unaware / I sheltered in the safest place / And I would not go far away”) while Asgeir pounds his drums with anguish and sorrow and slashes his guitar in great fashion, and  more melancholy and somber passages are offered by the duo in the old school Sear the Fallen, sounding like the early days of Tristania with Asgeir’s own twist, with the grim gnarls by Erling adding an extra dosage of evil to the overall result. Then the stunning violin by Sareeta embellishes the airwaves in the menacing and dense Remorseful Heart, a lesson in Doom Metal infused with melodic and atmospheric elements, all of course spiced up by the razor-edged riffage by the skillful Asgeir and the mesmerizing vocal duet by Vibeke and Erling, whereas acoustic guitars set the tone in the Doom Metal aria The Lie of Her Prosperity, a solid and atmospheric creation by the duo where the drums by Asgeir couldn’t have been more sluggish and grim, and with Vibeke shining as usual with her enfolding vocals.

Heavier and even more doomed than its predecessors thanks to the rumbling bass and fierce beats by Asgeir, Fey is the perfect soundtrack for savoring a dark and bitterly cold night alone, with Vibeke bringing a touch of delicacy and finesse to the heaviness blasted by her bandmate; and you better get ready to be absolutely hypnotized by the crying melody of the violin by Sareeta in Bryd, a lesson in classic Doom Metal with Asgeir being ominous with his riffs and slow and steady drums. Needless to say, Vibeke is sensational with her whimsical voice once again, and the second to last fusion of old school doom with more melodic lines comes in the form of Meson, reminding me of Tristania from their album World of Glass. Furthermore, Asgeir’s piercing guitars make an interesting paradox with his damned beats, with Erling’s demonic roars enhancing the song’s punch considerably. And there’s nothing better than ending such majestic album than with a pure, unfiltered Doom Metal aria spearheaded by Vibeke’s delicate but venomous voice entitled Entirety, flowing smoothly and in the most Stygian way possible thanks to the captivating riffage by Asgeir, with Sareeta’s violin putting a gorgeous ending to the band’s musical voyage.

It’s indeed a true pleasure for any metalhead that enjoys a good amount of melancholy, darkness and sorrow in Gothic and Doom Metal to see the multi-talented Vibeke Stene back in action after so many years, and even better when the final result is an amazing album like Dead Poetry, which is by the way available for a full listen on Spotify and on sale from the band’s own BandCamp page, from the Crime Records webstore in CD and LP format, from Apple Music or from Amazon. In addition, let’s all show our support to Vibeke and Asgeir by following the project on Facebook and on Instagram, thanking Asgeir forever and ever for inspiring Vibeke to return to the metal community, and hoping that Veil of Secrets expand their reach and spread their blackened wings over the entire world with more albums and live performances in a not-so-distant future. In a year that has been nothing but chaos, obscurity and sadness, who could have imagined that one of the best news in the metal community would come in the form of doom?

Best moments of the album: The Last Attempt, Remorseful Heart and Fey.

Worst moments of the album: None.

Released in 2020 Crime Records

Track listing
1. The Last Attempt 5:24
2. Sear the Fallen 6:50
3. Remorseful Heart 5:27
4. The Lie of Her Prosperity 6:19
5. Fey 6:32
6. Bryd 4:27
7. Meson 7:02
8. Entirety 6:21

Band members
Vibeke Stene – vocals
Asgeir Mickelson – guitars, bass, drums

Guest musicians
Sareeta – violin
Erling Malm – harsh vocals

Album Review – Darzamat / A Philosopher at the End of the Universe (2020)

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Let one of the best Polish metal bands of all time take you on a one-way journey to the end of the universe with their highly anticipated fifth full-length opus, showcasing their unique fusion of heavy music, philosophy and witchcraft.

It might have taken excruciating 11 years for Katowice, Poland-based Symphonic Black/Gothic Metal outfit Darzamat to stun us all once again with their fusion of heavy music, philosophy and witchcraft, but fortunately the wait is finally over with the release of the beautifully titled A Philosopher at the End of the Universe, the fifth full-length album in the career of such distinguished band that has been worshiped by fans from all over the world since their inception in the distant year of 1995. Produced, mixed and mastered at Gorycki & Sznyterman Studio in Krakow, Poland by Jarosław “Jaro” Baran, one of the most successful Polish music producers of all time, together with Grzegorz Sznyterman, A Philosopher at the End of the Universe is a concept album picking up the story right where its predecessor Solfernus’ Path, released in 2009, left off, including a fragment of a story straight from a classic Gothic novel written by the band’s vocalist and mastermind Rafał “Flauros” Góral together with his poet friend, prose writer and linguist Jesion Kowal, all of course spiced up by the darkly enthralling vocals by frontwoman Agnieszka “Nera” Górecka, the guitars by Chris, the bass by Markus and the drums by session musicians Icanraz and Kamil Bagiński.

An atmospheric, cryptic intro title Reminiscence opens our minds to the dark and visceral music blasted by Darzamat in the title-track A Philosopher at the End of the Universe, where the mesmerizing vocals by Nera make a beautiful paradox with the harsh gnarls by Flauros while Chris embellishes the airwaves with his melodious riffs and solos. Then we have Running in the Dark, spearheaded by the thunderous bass by Markus and blending Gothic Rock and Metal with modern-day Rock N’ Roll while acid poetry flows from Flauros’ demonic roars (“I take upon my shoulders the weight of the world / Blood and ugliness, bitterness and pain / Death, mourning, sadness and deep shadow / Still the world is hard to accept”), followed by Thoughts to Weigh on Farewell Day, starting in a truly menacing way thanks to the Stygian guitar lines by Chris and the infernal growling by Flauros and evolving into a Symphonic and Progressive Gothic Metal feast for admirers of the genre. And Nera once again captivates our senses with her unique voice in The Tearful Game, while the music remains as ethereal and enfolding as possible, or in other words, a metal version of a witchcraft ritual, also showcasing intricate and fierce beats from start to finish.

Investing in a more aggressive but still very atmospheric sonority, the band fires a lesson in contemporary Gothic Metal entitled The Sleeping Prophet, where the lyrics are once again stunningly declaimed by Nera (“The icon of Man on the monument of the world I am / Mors rules the land on the other side of darkness / The serpent is arisen in my breast / I curse and feel when God deserts me”), whereas in Clouds Clouds Darkening All the band sounds like a hypnotizing hybrid of Moonspell and Type O Negative, with all scorching riffs and fast-paced beats providing Flauros and Nera all they need to shine with their “darkness and light” vocal duet. Their second to last ode to obscurity, The Great Blaze, begins in a sexy and heavy manner with Nera distilling her Medusa-inspired vocals while Chris slashes his guitar in great fashion, alternating between somber moments and sheer melancholy, before Darzamat puts a climatic ending to the album with The Kaleidoscope of Retreat, highly inspired by the Gothic movement from the 80’s and 90’s, and with a huge focus on Nera’s enfolding vocal lines, therefore leaving us eager for more of the music by this new era of one of the best Polish metal bands of all time.

I truly hope Darzamat do not take another decade to release a new album, but as we never know what musicians like Flauros and Nera have in mind and what direction they want to take in their careers, let’s enjoy the moment and appreciate the first-class fusion of Symphonic Black and Gothic Metal from A Philosopher at the End of the Universe by streaming the album in its entirety on YouTube and on Spotify, and of course by purchasing it from Daramat’s own BandCamp page, from Apple Music or from Amazon. Those Polish metallers are also waiting for you on Facebook, on Instagram and on YouTube, ready to invite you to their coven and to take you on a melodic and Gothic journey to the end of the universe with their breathtaking new album, consequently (and hopefully) pointing to a busy and prolific period for the band in the coming years.

Best moments of the album: A Philosopher at the End of the Universe, The Sleeping Prophet and Clouds Clouds Darkening All.

Worst moments of the album: Thoughts to Weigh on Farewell Day.

Released in 2020 TuneCore/Szataniec

Track listing
1. Reminiscence 1:41
2. A Philosopher at the End of the Universe 4:28
3. Running in the Dark 4:30
4. Thoughts to Weigh on Farewell Day 4:17
5. The Tearful Game 5:26
6. The Sleeping Prophet 3:54
7. Clouds Clouds Darkening All 4:39
8. The Great Blaze 4:15
9. The Kaleidoscope of Retreat 5:43

Band members
Nera – vocals
Flauros – vocals
Chris – guitars
Markus – bass
Jacek Gut – drums (live)

Guest musicians
Icanraz – drums (session)
Kamil Bagiński – drums (session)

Album Review – Walk In Darkness / On The Road To Babylon (2020)

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Walk in darkness on the road to Babylon together with one of the newest names of the Italian Symphonic Metal scene to the sound of their third full-length album.

Born in 2015 as a Gothic Metal project with many influences by guitarist, composer and lyricist Shaman, Italian Symphonic Gothic Metal outfit Walk In Darkness has just released their third full-length opus, entitled On The Road To Babylon, the follow up to their critically acclaimed 2018 album Welcome to the New World. Recorded, mixed and mastered at Virus Recording Studio by Alessandro Guasconi, and portraying a stunning artwork by Brazilian artist Carlos Fides (Artside Studio), On The Road To Babylon presents the band’s captivating atmospheres from their previous efforts, dragging the listener to another dimension as in a psychedelic and shamanic journey through time, a dreamlike journey but only in appearance as the dream is lucid and plausible. Constantly evolving, albeit having originally approached the Gothic Metal genre, the band diverged from its primeval sound to more original and unpredictable paths following the emotional and psychedelic component of music, with their brand new album perfectly representing that evolution in their musicality through the years.

Currently comprised of the aforementioned Shaman together with the talented frontwoman Nicoletta Rosellini (from Kalidia), guitarist Flaming Jack, keyboardist Tio Frank, bassist Monk Key and drummer Arcanus, Walk In Darkness are on fire throughout the entire album, offering us fans a collection of hymns to the sublime beauty of humanity that recedes and declines, dramatically mortal and fleeting but unattainable in its immense poetry. “On the Road to Babylon is a milestone in our endless musical research and evolution, almost like a prophecy and a warning to a world imploding due to pandemic crisis, self-isolation and trans-humanity. Mankind is perpetually on the road to Babylon and once again we are awaiting trial. Our intention is to write original songs with emotional and intense vocal parts combined with atmospheric and heavy music. The album is a concept formed by 9 songs, each of which is surprising and irrepressible because of the melodic and rhythmic solutions, the sweet and strong vocals as well as the deep and engaging lyrics. We directed an attentive gaze to the present and future world, analyzing and thinking about it, and we realized this album with incredible and moving atmospheres. We hope that every human being can listen to this at least once during lifetime on the way to Babylon,” commented Shaman about their newborn opus.

Whimsical keys permeate the air in the gorgeous opening track The Sound Of Rain, morphing into a classic Symphonic Metal feast led by the crushing beats by Arcanus while Nicoletta and guest Emiliano Pasquinelli make a dynamic vocal duo with their respective clean lines and visceral roars, and after such imposing start it’s time for the title-track On The Road To Babylon, starting in a melancholic and dark manner before the scorching riffs by Shaman and Flaming Jack, supported by the rumbling bass by Monk Key, fill out every single empty space in the music, sounding epic and touching until its very last second. Then inspired by the music by renowned European Symphonic Metal bands like Epica, Xandria, Delain and Beyond the Black, Walk On The Sky brings forward another round of slashing riffs, pounding drums and guttural growling, all embraced by Nicoletta’s angelical performance, whereas futuristic elements are thoroughly inserted in their classic sonority in On The Moon Or On Mars, with the keys by Tio Frank bringing a touch of finesse to the overall result, feeling like a hybrid of Progressive Rock and a Metal Opera.

A lot more inclined to old school Gothic Metal, Nothing showcases pensive words declaimed by the charming Nicoletta (“We can see / ships leaving for the stars / along the lines of space-time, / defying the laws of gravity / Only memories / are left in the cone of light / among floating plastic islands / in post-reality”), while in In The Mists Of Time the band enhances their heaviness and epicness considerably, with Nicoletta being amazingly supported by the powerful riffage by Shaman and Flaming Jack. Furthermore, it’s quite easy to visualize their fans hanging their lighters high while singing it together with the band during their live concerts. Then featuring guest vocalist Elisabetta Bettini, the band fires the also extremely melodic and passionate My Restless Wings, where Tio Frank, Mon Key and Arcanus generate a dense base perfect for the band’s guitar duo to shine with their soulful riffs; followed by Time To Rise, one of the first singles of the album, bringing forward the band’s characteristic romance, serenity and an embracing atmosphere while flowing smoothly until the very end and sounding as imposing as good Symphonic Gothic Metal always demands. Lastly, closing the album we have the groovy Critical System Failure, where the heaviness brought forth by Monk Key with his bass creates a gorgeous paradox with the gentle vocals by Nicoletta, resulting in a hypnotizing tune that will leave you eager for more of their music.

The talented metallers from Walk In Darkness are waiting for you to (guess what?) walk in darkness together with them on the road to Babylon, and in order to do that go check what they’re up to on Facebook, subscribe to their YouTube channel, listen to more of their stylish music on Spotify, and of course purchase On The Road To Babylon from their own BandCamp page or from Apple Music, among other locations. Italy is a well-known source of some of the best Symphonic Metal bands in the entire world, and now with Walk In Darkness solidifying their name with a triumvirate of high-end albums we can rest assured not only the country will remain on top of the “symphonic” food chain, but also that it won’t take long before Nicoletta, Shaman & Co. take your city by storm with their delicate and powerful music wherever you are.

Best moments of the album: On The Road To Babylon, On The Moon Or On Mars and In The Mists Of Time.

Worst moments of the album: Nothing.

Released in 2020 Independent

Track listing
1. The Sound Of Rain 5:24
2. On The Road To Babylon 6:22
3. Walk On The Sky 4:40
4. On The Moon Or On Mars 4:47
5. Nothing 5:31
6. In The Mists Of Time 5:24
7. My Restless Wings 5:19
8. Time To Rise 5:35
9. Critical System Failure 4:06

Band members
Nicoletta Rosellini – vocals
Shaman – guitars
Flaming Jack – guitars
Tio Frank – keyboards
Monk Key – bass
Arcanus – drums

Guest musicians
Emiliano Pasquinelli – harsh vocals
Elisabetta Bettini – additional vocals on “My Restless Wings”

Album Review – Dreams In Darkness / The Souls Pit (2020)

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A lugubrious fusion of Gothic and Black Metal made in Argentina by “the soul that cultivates melancholy as a way of seeing the world.”

Dealing with delicate topics such as death, depression, fears and loneliness, Gothic/Black Metal act Dreams In Darkness was born back in 2016 in Tucumán, the most densely populated (and the second-smallest by land area) of the provinces of Argentina, inspired by the music by iconic bands the likes of Lacrimosa, Draconian and My Dying Bride, describing themselves as “el alma que cultiva la melancolía como forma de ver al mundo”, which in English translates as “the soul that cultivates melancholy as a way of seeing the world.” After the releases of their debut self-titled album in 2016 and their sophomore effort Dark Silence in 2018, it’s time for lead singer Giselle Stoker, keyboardist and vocalist Martin Tenebris, guitarist and drummer Cristian Bertrand and bassist Gabriel Nonasco to strike again with their third opus, entitled The Souls Pit, continuing the path of darkness, melancholy and solitude they have been paving since their inception a few years ago.

And melancholic, acoustic guitars ignite the obscure Carrion for the Vultures, where all keys and its background atmosphere remind me of the early days of Cradle Of Filth, while Giselle sounds like a true she-demon with her raspy gnarls, grasping like a Black Metal beast. In the excellent Dark Silence… Desolation, a well-balanced fusion of the most mournful form of Gothic Metal with the austerity of Black Metal, we’re treated to lyrics that exhale anguish and pain (“Bleeding, / Wailing, / In a sky so black, / Dark and immense, / That burns my body. / Screaming in the nothingness, / The crying of the soul, / An imposing emptiness, / That destroys my being.”), and after the cryptic and atmospheric interlude titled Spectral Voices the quarter returns in full force with the grim Bleeding, offering our ears a fusion of blast beats and demonic roars with serene key notes and a sense of hopelessness. Furthermore, the music feels very theatrical from start to finish, with Cristian and Gabriel hammering their stringed axes beautifully in what’s perhaps the creepiest of all songs from the album. And once again with Cristian delivering a solid riffage while Martin keeps the ambience as phantasmagorical as it can be, When the Candles Burn is a slow and steady tune presenting elements from Doom Metal, spearheaded by the scorching gnarls by Giselle.

The interesting ¡Oh… Muerte! is a lugubrious composition led by Martin’s melancholic keys and piano notes where Giselle “abandons” her demonic side and cleanly and stunningly declaims the song’s poetic words in her mother tongue, setting the tone for Beyond the Astral Boundaries, a dark, epic and imposing instrumental extravaganza where Cristian delivers at the same time scorching riffs and intricate beats and fills while Gabriel brings the groove with his bass jabs. In The Hunter we face more of their infernal words powerfully vociferated by Giselle (“I found myself, / In the darkness of my fears. / I become my demons. / And like a wild bird, / Into the forest I sheltered.”), with the entire band generating a fantastic hybrid of Symphonic Gothic and Black Metal with classic Doom Metal with their respective instruments, before another round of vampiric metal music penetrates deep inside our damned souls in the title-track The Souls Pit, where Giselle keeps growling nonstop accompanied by the vicious beats by Martin and the always sulfurous guitar lines by Cristian.

If your souls gets darker and your blood flows stronger through your body to the sound of Gothic and Black Metal, you should definitely give Dreams In Darkness a chance by listening to The Souls Pit in full on YouTube and on Spotify, as well as by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, and by grabbing your copy of their newborn spawn from Apple Music or from Amazon, darkening the skies of heavy music even more. It’s not everyday that we have the pleasure of listening to metal bands from Argentina here on The Headbanging Moose, especially ones as obscure and cryptic as Dreams In Darkness, but whenever that happens we’re always happy to see South American extreme music is alive and kicking, proving once again why the continent has some of the craziest and most passionate fans in the world and why we should keep turning our attention to underground bands like those talented Argentinian vampires.

Best moments of the album: Dark Silence… Desolation and The Hunter.

Worst moments of the album: When the Candles Burn.

Released in 2020 Shadows of Death Records

Track listing
1. Carrion for the Vultures 4:43
2. Dark Silence… Desolation 6:08
3. Spectral Voices 1:38
4. Bleeding 7:30
5. When the Candles Burn 7:03
6. ¡Oh… Muerte! 3:12
7. Beyond the Astral Boundaries 4:09
8. The Hunter 8:28
9. The Souls Pit 5:17

Limited Edition CD Jewel Case bonus track
10. The Souls Pit (Demo) 5:20

Band members
Giselle Stoker – lead vocals
Martin Tenebris – keyboards, vocals
Cristian Bertrand – guitars, drums
Gabriel Nonasco – bass

Album Review – Invernoir / The Void and the Unbearable Loss (2020)

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Succumb to the fusion of the Doom, Death and Gothic Metal sounds found in the first full-length opus by an Italian act that perfectly represents the coldness of anguish and pain.

Born from the desire to revive the fusion of Doom, Death and Gothic Metal sounds of the 90’s taking inspiration from the best albums of bands like My Dying Bride, Anathema, Katatonia and Paradise Lost, Rome, Italy-based project Invernoir is cold and decadence, the anguish due to the awareness of not having a goal, the lack of answers, apathy and pain. Comprised of Alessandro Sforza (Ars Onirica) on harsh vocals, guitars, drum programming and cymbals, Lorenzo Carlini (Black Therapy) on clean vocals and guitars, and Valerio Lippera (Lykaion) on bass, Invernoir have been making a name for themselves since their inception in 2016, having already played alongside amazing bands such as Candlemass, Ahab, Skepticism, Shores of Null, Naga and Weeping Silence, and now two years after their debut four-track EP Mourn this dark and talented Italian triumvirate (now a quartet with the recent addition of drummer Flavio Castagnoli to their lineup, by the way) returns with the bold and atmospheric The Void and the Unbearable Loss, not only their first ever full-length effort, but an album that will surely carve the word “doom” in the blackened hearts of fans of the genre from all over the world.

It’s a grey, rainy and bleak day, the perfect ambience for Invernoir to captivate our senses with the title-track The Void and The Unbearable Loss, slowly growing in intensity until their sluggish beats and piercing guitars permeate the air for our total delight, followed by The Path, sounding less doomed and a lot more inclined to Gothic Metal than its predecessor. Furthermore, Alessandro and Lorenzo are once again precise with their riffs while alternating between their anguished roars and gloomy clean vocals, while Valerio blasts his bass with tons of groove. Then get ready for a somber and heavy-as-hell hybrid of traditional Doom Metal with Blackened Doom and Gothic Metal entitled House of Debris, perfect for breaking your neck headbanging in solitude while Alessandro screams like a demonic entity. And more melancholy in the form of first-class Doom Metal is offered by Invernoir in Suspended Alive, showcasing truly deep and obscure lyrics (“The purest form of pain / I saw it before it was born / The purest form of pain / A frame / Of what it was / And yet not”), smashing drums and endless agony flowing from their riffs.

Investing in a much more atmospheric and melodious sound, with Lorenzo taking the lead with his passionate clean vocals, Cast Away is another dense and introspective fusion of Melodic Doom Metal and Gothic Rock by this talented Italian trio, and they continue their downward spiral into madness and obscurity with the hammering Doom Metal feast titled The Burden, displaying a great job done by all three band members with their stringed weapons, therefore offering both Alessandro and Lorenzo all they need to sing and gnarl in anger. After such dense sonority, a strident riff kicks off the brutal, slow-paced At Night, presenting the band’s most damned side and reminding me of some of the creations by the iconic Paradise Lost and My Dying Bride in what’s probably their rawest and most visceral of all songs, before they come ripping with one more of their Stygian voyages through the realms of gothic and doom in The Loneliest, where Lorenzo is spot-on with his clean vocals by generating an amazing paradox with the harsh growls by Alessandro, always supported by the minimalist, thunderous bass by Valerio. Put differently, they couldn’t have ended the album in a more beautiful way.

This fantastic and somber gem of Italian gothic and doom can be fully appreciated on YouTube and on Spotify, and if you’re curious to know more about the guys from Invernoir, their music and their plans for the future you can start following them on Facebook and on Instagram, and of course purchase The Void and the Unbearable Loss from their own BandCamp page, from Funere’s BandCamp page or from the BadMoodMan Music’s BandCamp page, as well as from Apple Music, Amazon and Discogs. As aforementioned, the new album by Invernoir is highly recommended for lovers of the melancholy blasted by the titans of the genre like My Dying Bride and Katatonia, proving once again why Italy has become (and will always be) a reference in underground doom.

Best moments of the album: Suspended Alive and Cast Away.

Worst moments of the album: None.

Released in 2020 Funere/BadMoodMan Music

Track listing
1. The Void and The Unbearable Loss 7:03
2. The Path 7:02
3. House of Debris 5:57
4. Suspended Alive 5:37
5. Cast Away 7:09
6. The Burden 5:28
7. At Night 6:08
8. The Loneliest 7:00

Band members
Alessandro Sforza – harsh vocals, guitars, drum programming, cymbals
Lorenzo Carlini – clean vocals, guitars
Valerio Lippera – bass

Album Review – Memoira / Carnival of Creation (2020)

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Combining a symphonic atmosphere with beautiful female vocals, this Finnish Gothic Metal outfit is back after a long hiatus with their third (and amazing) full-length album.

Known for their melancholic melodies and powerful guitar riffs, while combining a symphonic atmosphere with beautiful female vocals, Pori/Jyväskylä, Finland-based Symphonic Gothic Metal act Memoira is back after a long hiatus with their third full-length album, entitled Carnival Of Creation, the follow-up to their 2008 self-titled debut album and to their 2013 release Memories, Tragedies, Masquerades. Featuring a dark and melancholic artwork by Finnish artist Niina Varheenmaa, Carnival of Creation is highly recommended for fans of the music by Kamelot, Nightwish and Delain, among others, showcasing all the passion for the darkest and most delicate side of metal by founding members Jani Puusa on the guitars and Lassi Nuolivaara on keyboards and piano, together with newcomers Annika Jalkanen (For Selena and Sin, Blood Region) on vocals, Hannu Lindholm (The Howl) on the guitars, Niko Laaksonen (Randy Reckless, Blowtorch, Rorschach) on bass and Matti Virtanen (Dark Tone Company, Concrete Words, Anomaly) on drums.

And the gentle piano notes by Lassi intertwined with the enfolding voice by Annika set the tone in the charming opening track Dawn of Time, a very pleasant fusion of Gothic Metal and modern Hard Rock to properly kick things off in Carnival of Creation, followed by the title-track Carnival of Creation, bringing forward circus-inspired keys, potent beats by Matti and a strong symphonic vibe, with the band’s guitar duo Jani and Hannu keeping the ambience as dense and electrifying as possible through their riffs. Then get ready for over six minutes of adrenaline and groove in Queen Element, where sheer poetry flows from Annika’s mesmerizing vocals (“First rays of the sun awake the sleeping land / The roots of the bitter earth shall guide her hand / She pours the wine, sweet taste of divine”) while Niko pounds his bass in great fashion accompanied by the kick-ass drums by Matti; whereas sounding like a symphonic and delicate 80’s-inspired version of the Melodic Metal played by Stratovarius, Hunter’s Moon will please all fans of Scandinavian metal, with Lassi being in absolute sync with Niko and Matti, therefore generating a bold and gripping atmosphere.

Dark Passenger is an embracing metal waltz by Memoira that will penetrate deep inside your soul, with Annika once again stealing the spotlight with her dark and gentle vocals while her bandmates provide her a beautiful wall of sounds perfect for her to shine even brighter; and clearly inspired by the trademark sonority by Nightwish, Shooting Star reminds me of one of their greatest classics “Nemo”, with Niko bringing the groove with his rumbling bass. Put differently, it couldn’t have sounded more pleasant nor more atmospheric, which is also the case in Snowglobe, another gentle composition by Memoira with Annika taking the lead once again accompanied by the melancholic and smooth piano notes by Lassi, resulting in a lecture in Gothic Rock and Metal made in Finland. Last but not least, it’s time for a thrilling fusion of Gothic and Symphonic Metal in Crimson Bride Symphony, where all band member are on absolute fire, especially Jani and Hannu with their precise riffage, while Annika invites us all to dance to Memoira’s top-of-the-line music.

In a nutshell, Carnival of Creation, which is available for a full listen on Spotify, will undoubtedly take Memoira back to the position they deserve in the world of heavy music as one of the most interesting and talented bands from the Finnish Gothic scene, and if you want to show your support to such amazing band from the land of ice and snow you should follow them on Facebook and on Instagram, subscribe to their YouTube channel, and of course grab your copy of the album from their own webstore, from the Inverse Store, from Apple Music or from Amazon. Memoira seem to be back for good, inviting us all to join them in their dark and atmospheric carnival of Symphonic Gothic Metal, with their new album pointing to a bright and thrilling future ahead of those skillful Finnish rockers.

Best moments of the album: Dawn of Time, Queen Element and Crimson Bride Symphony.

Worst moments of the album: None.

Released in 2020 Inverse Records

Track listing
1. Dawn of Time 5:52
2. Carnival of Creation 5:54
3. Queen Element 6:12
4. Hunter’s Moon 5:15
5. Dark Passenger 6:16
6. Shooting Star 5:45
7. Snowglobe 6:50
8. Crimson Bride Symphony 7:50

Band members
Annika Jalkanen – vocals
Jani Puusa – guitar
Hannu Lindholm – guitar
Lassi Nuolivaara – keyboards, piano
Niko Laaksonen – bass
Matti Virtanen – drums