Tag Archives: groove metal

Album Review – Mikaela / Nocturne In Red (2020)

Posted on by
1

Succumb to the dark and personal fusion of Metalcore, Deathcore, Progressive and Nu Metal by one of the most prominent voices of the Maltese metal scene in her debut solo album.

A few months after leaving her previous band MartYrium due to personal issues with the other band members, Maltese metal goddess Mikaela Attard is unleashing upon humanity under her newborn Metalcore solo project Mikaela her debut opus entitled Nocturne In Red, featuring guitarist and bassist Kyle Farrugia (from Maltese Active Metal band Align the Tide) and drummer Marco Minnemann as her loyal henchmen throughout the entire album. Written and produced by Mikaela herself, and mixed and mastered by Tue Madsen at Antfarm Studio, the pivotal concept behind Nocturne In Red highlights subjects surrounding personal experiences and states of the mind, but according to Mikaela it is up to the listener and viewer to perceive them on how it’s relative to their lives. Not only that, the album also provides an incendiary mixture of Metalcore, Deathcore, Progressive and Nu Metal, and even nuances of Black and Death Metal, all spiced up by Miakela’s native language Maltese carefully added to some of the tracks from the album, being therefore recommended for fans of the music by Pantera, Godsmack, Mastodon and Lamb Of God, among several others.

The cinematic and creepy intro Into a New Hell opens the gates of the underworld for the she-demon Mikaela to stun us all in Bring Me Blood, showcasing darkly poetic lyrics declaimed by Mikaela (“I flew high on black wings when death looked me closer in the eye / I may have pushed up daisies before, I gasped and wanted more / Now, hell came to me to show you what I see / The blade won’t reign on me, you sick fuck, it ends when you can’t breathe”) embraced by the solid fusion of Metalcore and Deathcore blasted by Kyle and Marco. And her insanity in the form of music keeps flowing nonstop in the also heavy and groovy Chaotic Mind, once again presenting psychological lyrics growled by our talented diva (“A whisper of existence / A face wrapped in maleficent greed / Silence even grins at you / Delusion creeps in the lies let lose”), smashing drums by Marco and Groove Metal-inspired riffs and bass punches by Kyle; followed by Disenthralled, highly recommended for fans of the demented music by Slipknot and Jinjer, where Mikaela is on fire with both her violent roars and strident clean vocals, and with the riffage and solos by Kyle sounding even more piercing than before. Then it’s time to break your neck headbanging to the venomous Alternative Metal hymn Nightmare, with Mikaela’s growling ranging from deep guttural to hellish gnarls while Marco brings his dosage of heaviness with his progressive beats.

In Death Dance we face more of Kyle’s metallic, rumbling bass jabs accompanied by Marco’s smashing drums and the mesmerizing vocals by Mikaela, blending elements from Metalcore with Melodic Death and Groove Metal, albeit going on for a bit too long, though, whereas Abyss is a piano-infused dark ballad by Mikaela where the sharp guitars by Kyle walk hand in hand with her passionate vocal performance, sounding very personal, epic and obscure from start to finish and presenting a unique and captivating side of our banshee. Back to her beastly she-wolf mode, our dauntless diva of darkness and her henchmen will penetrate deep inside our psyche once again with the Metalcore extravaganza titled Enthalpy Rage, feeling like an electrifying fusion of the current music played by Arch Enemy with modern-day Deathcore, while Ophidian’s Whisper is another solid composition by the trio with Marco dictating the pace with his infernal and intricate drumming, and with Mikaela once again alternating between demonic screams and melodious clean lines. And lastly, we’re treated to a sinister atmosphere embellished by a melancholic piano and the gorgeous voice by Mikaela, morphing into one final metal attack titled Room Hell, with both Marco and Kyle being on absolute fire with their sonic weapons, providing all Mikaela needs to shine on vocals and, consequently, ending the album in a truly devilish way.

Mikaela’s musical journey to hell and back can be appreciated in its entirety on Spotify and on Deezer, but of course you should purchase a copy of such amazing album of modern-day Metalcore from her own webstore, from Apple Music or from Amazon, also showing your support to one of Malta’s most prominent names in metal music by following her on Facebook and on Instagram, and by subscribing to her YouTube channel for more of her darkly enchanting official videos. Nocturne In Red is a very personal album by Mikaela that will undoubtedly please all fans of Metalcore, Deathcore and all related styles, showing us all the darkest side of such talented artist while at the same time adding the charming Republic of Malta to the worldwide map of contemporary metal music.

Best moments of the album: Bring Me Blood, Disenthralled and Enthalpy Rage.

Worst moments of the album: Death Dance.

Released in 2020 Independent

Track listing
1. Into a New Hell – Intro 2:29
2. Bring Me Blood 4:25
3. Chaotic Mind 4:35
4. Disenthralled 5:44
5. Nightmare 6:37
6. Death Dance 6:20
7. Abyss 4:56
8. Enthalpy Rage 4:41
9. Ophidian’s Whisper 5:23
10. Room Hell 5:00

Band members
Mikaela Attard – vocals

Guest musicians
Kyle Farrugia – guitars, bass
Marco Minnemann – drums

Interview – Andreas Nieratschker (Agony Atlas)

Posted on by
Reply

Guitarist Andreas Nieratschker, from Germany-based act Agony Atlas, joins us for an exclusive interview about their new EP Retrogression Part I: Egomania, the metal scene in his homeland, the future of the band (and of the entire world), and more.

Andreas Nieratschker (Agony Atlas)

The Headbanging Moose: Thanks for taking the time to talk to us about the music by Agony Atlas. Can you please start by introducing yourself to our readers? Who Agony Atlas and what are your goals with the band?

Andreas Nieratschker: One could say, we are a four-person sonically chaotic gathering of people that is actually not that chaotic…

Christoph e.g., my companion on the guitar, is particularly good at collecting tattoos and being a caring father. He simply is our savior when it comes to organising whatsoever. Well actually, everyone is, except Liane and myself (laughter). Organisationally, I mean.

Markus plays like Thor’s hammer when he’s out on his drums. You can feel the concentrated power of the gods, although you hardly see it. – Absolutely smooth playing. Above all, he manages everything when it comes to texting and working towards our famosity.

Liane just has a brute voice, which has impressed me since the first rehearsal of our other band, where we used to play together. I just thought “THIS is the voice I want!”

Well, yeah and I am Andreas.

Together we decided to travel back in time to prevent humanity from its own extinction and to enlighten them about the fucked-up conditions the human kind exposes to our planet. At least, this is the short version behind our story.

THM: Your music is being labeled by fans and the media as “Progressive Metalcore”. Do you agree with that classification, and if so, how would you personally describe it? What other genres and styles can the listener expect to hear in your music?

AN: It’s almost always hard to pinpoint the band’s genre. But I think besides many different influences the term “Progressive Metalcore” describes our music best. Although the progressive part is not extremely present yet, but you will hear more of it in the future songs. Speaking in genres: you can find melodic death metal and metalcore, djent, electro, industrial and thrash metal and sometimes even a hint of black metal.

THM: You have just released your debut EP, titled Retrogression Part I: Egomania. Can you please give us more details about it? What’s the story behind the EP, and what can we expect to see in “the next chapter”, assuming this is just the first part of something bigger the band is planning?

AN: Actually, we don’t have a concrete concept for the EP. It is rather based on the general idea we are pursuing with Agony Atlas. The other publications will lead along this common thread and complement our story.

For a while now, environmental movements have been causing enormous discussions in society. The behavior of people towards one another, towards our living space and towards the world in its entirety has become an important and recurring topic. Now is the latest time for a final change to save our whole future. And that’s exactly what we want to tell with our background story: The time travel from the already destroyed future back to the here and now, to save what can be saved. “Retrogression” stands for the development that we want to prevent – from a future perspective, to a certain extent, for a regression. Therefore we chose the title. We are playing our part in not waking up in a dystopian world, like Mad Max, in the near future. So, we will continue our guiding idea and stick to the band concept.

THM: Let’s now talk about each one of the songs from the EP, starting with the opening track Economy Class, which carries a name that couldn’t be more relevant these days. Can you please elaborate a little more on the meaning of the song and why you’ve chosen such important topic as its main theme?

AN: As I said, the environmental issues are very important. In the EP, we address some of the current problems people have in this regard, such as consuming, digitally induced comfort and an egocentric worldview. The concrete events for the song “Economy Class” were the man-made rainforest fires at the beginning of 2019.

THM: What about Egomania, my favorite song of the EP? What was the process to write and compose this song, and what should the listener take from the music and the lyrics while listening to it?

AN: The irrepressible greed of the people has made them look for another “habitable” or, as I’d like to say, “exploitable” planet for years. Earth alone is apparently not enough. Although it is and was more than sufficient for the remaining living beings. However, because of our curiosity, which we take as a given condition of superiority and as unique selling point of the human kind, it seems that we want to take everything – regardless of the losses.

The song should not only serve through unbelievably good acoustic satisfaction, but also stimulate everyone to reflect one’s own behavior and to question society.

Album Review – Agony Atlas / Retrogression Part I: Egomania EP (2020)

THM: Lastly, the closing song in Retrogression Part I: Egomania, Hymn Of Hatred, is undoubtedly the heaviest and most obscure of all three songs. Why did you decide to end the EP with such dark composition?

AN: For us it’s the most forward moving song. It forges a smooth transition to what the listener can expect in the future. “Hymn Of Hatred” is the newest song on the EP and rather reflects our songwriting. Last but not least: the fact is that future doesn’t look bright, if we don’t act now.

THM: How is it to be fronted by such talented woman like Liane Walter, who certainly makes your music appeal to fans of bands like Arch Enemy and Jinjer? How do you see the importance of women in metal music nowadays, and do you see any type of rejection from fans for having a woman as your lead singer?

AN: The question could also be: What is it like to have such a good vocalist? It’s not about gender, but about skills, human interaction, commitment, creativeness and fun.

By now it should rather be normal to see and hear women in the metal genre. There are already a few more bands than Arch Enemy and Jinjer who sing gutturally in the low frequency range. I haven’t heard of any rejections for now. But in any case, I’m a huge fan of her singing, especially while being in the same band.

THM: Changing the topic a bit, what are your main influences in music and arts in general? And how do you incorporate those influences into the music by Agony Atlas?

AN: I can hardly say where all the inspiration comes from. Christoph, for example, takes part in local cultural associations, plays also in his alternative rock band Karabooza and is involved as guitar sub in a carnival rock band. Furthermore, Markus and I are involved in the jazz genre and beyond. And with Liane, I can only guess, but it seems like she started screaming since birth. Over the years of practicing she must be influenced by all kinds of stuff. But who can really tell? Maybe it can be compared with ideas which are formed by words to be explained. I assume, it’s the same with music. The inspiration comes from memories, visions and random synapse formations, which pop up in your mind. And if you listen closely, you can repeat them to write them down.

If you want to know what everybody of us is listening to, just take a look on our Spotify page. There you can find a playlist of each one of us.

Agony Atlas

THM: We all know the Germany metal scene is extremely vibrant with some of the best metal fans in the world, which probably means there’s more room for underground acts like Agony Atlas to play their music to live audiences there, right? Have you been able to start touring around Germany (and any other countries) with Agony Atlas already, or is the pandemic still impacting your touring plans?

AN: Standing in the starting blocks, we slipped straight into the corona pandemic and the light has not yet jumped from red to green. Well, we just recently formed up, therefore we use the unexpected waiting time to prepare ourselves sensibly with concentrated power to play in front of a trembling audience. At least now we will have an encore in petto.

THM: What does the future hold for Agony Atlas? Can we expect to see more of your heavy and melodic music in a not-so-distant future?

AN: Yes, definitely! We are already busy in the process for the next release. Five new songs are ready for recording and more are on the way. Hopefully, we’ll get them on the road in 2021.

THM: Thank you very much for the interview! Any final considerations or comments you would like to share with our readers?

AN: Thank you for the opportunity. Listen to our songs and start to change the world! Everybody has an impact to make a difference.

Links
Agony Atlas Official Website | Facebook | Instagram | YouTube | Spotify

Album Review – War Agenda / Propaganda (2020)

Posted on by
Reply

Join those Teutonic thrashers in their quest for heavy music to the sound of their sophomore album, bringing to our ears a collection of rebellious anthems inspired by the glory of the 80’s and 90’s.

Ready to kill in the name of old school Bay Area Thrash, a Daisbach and Sinsheim, Germany-based horde formed in 2012 that goes by the straightforward name of War Agenda has just unleashed upon humanity their sophomore album, titled Propaganda, a rebellious ode to 80’s and 90’s thrash in the vein of Exodus, Slayer, Testament and Kreator, among others. Featuring an insurgent artwork by Mal Semmens Art, Propaganda has everything a diehard fan of classic Thrash Metal can ask for, from its austere lyrics to raspy vocals and smashing drums, showcasing all the talent of one of the band’s masterminds Ingo on the guitars together with his loyal henchman Hamdi on drums and newcomers Mostafa Troll on vocals, Raafat on the guitar and Marcel on bass. In other words, simply put on your best mask and join those Teutonic thrashers in their quest for heavy music, slamming into the pit and raising your horns to the sound of their visceral creations.

In the intro Sounds of Oppression we’re treated to serene and melancholic acoustic guitars, but of course darkly oppressive, exploding into the title-track Propaganda, where the metallic bass by Marcel will smash your head while Mostafa begins his Bobby Blitz-inspired vocal attack in an old school Bay Area Thrash extravaganza with the band’s own Teutonic twist, perfect for igniting the album’s endless circle pit vibe. Then blending the Speed Metal of Megadeth with the insanity of the early days of Exodus, Ingo and Raafat slash their stringed axes in great fashion firing ass-kicking riffs and solos nonstop in Plan B, a song that will inspire you to bang your head in the name of thrash, followed by Human Race, an acid “tribute” to our rotten society, with Hamdi pounding his drums accompanied by the strident riffage by the band’s guitar duo, spearheaded by Mostafa’s manic declamation of the song’s austere lyrics. And more of their no shenanigans Thrash Metal comes in the form of United in Hypocrisy, a headbanging tune showcasing crushing beats and strident riffs, recommended for slamming into the pit while enjoying a cold beer; whereas Marcel brings forward obscure bass lines in the bold Silence of Justice, before morphing into another feast of classic thrashing sounds the likes of Obituary, Nuclear Assault and Exodus, presenting Ingo and Raafat’s riffage in total sync with Mostafa’s raspy gnarls.

Heavy-as-hell and menacing from the very first second, the quintet brings forth the violent Apartheid, a lesson in 80’s Thrash Metal where Hamdi goes berserk with his wicked beats and fills from start to finish, and it’s time for total anarchy and chaos with the thunderous Chaos Invasion, blending their trademark Thrash Metal with modern-day Groove Metal thanks to the fulminating sounds blasted by Marcel and Hamdi with their unstoppable bass and drums. Then let’s head into the battlefield together with War Agenda in the frantic War of Nations, with Ingo and Raafat taking the lead with their razor-edged riffs while Mostafa vociferates and roars like a true thrashing beast in an awesome display of German Thrash Metal for fans of Kreator. In Killer Disease, despite its dark and venomous feel, the music is not as inspiring as its predecessors, sounding a bit generic I might say. Mostafa continues to bark rabidly while Hamdi smashes his drums with tons of precision, though, and closing such austere album we have Child of Dreams, showcasing a delicate intro before exploding into their classic thrashing sonority where Ingo and Raafat are on fire with their wicked solos, ending the album in a pensive and rebellious way .

You can enjoy Propaganda in its entirety on YouTube and on Spotify, but of course in order to keep supporting underground Thrash Metal you should purchase the album from the band’s own BandCamp page, from the Great Dane Records’ BandCamp or webstore, from Season of Mist, from Amazon or from Discogs, keeping the band more than inspired to destroy everything that crosses their path with their thrashing music for many years to come. In addition, don’t forget to also follow War Agenda on Facebook, and whenever this never-ending, shitty pandemic is finally over, I’m sure you’ll be the first to know where you can slam into the pit like a true Thrash Metal lover to the music crafted by this talented and ruthless German squad, just the way we all like it in the most rebellious music style in Heavy Metal.

Best moments of the album: Propaganda, Human Race and War of Nations.

Worst moments of the album: Killer Disease.

Released in 2020 Great Dane Records

Track listing
1. Sounds of Oppression 2:10
2. Propaganda 4:03
3. Plan B 4:20
4. Human Race 5:31
5. United in Hypocrisy 3:27
6. Silence of Justice 4:49
7. Apartheid 4:08
8. Chaos Invasion 3:20
9. War of Nations 3:46
10. Killer Disease 4:39
11. Child of Dreams 5:24

Band members
Mostafa Troll – vocals
Ingo – guitars
Raafat – guitars
Marcel – bass
Hamdi – drums

Album Review – Without Mercy / Seismic (2020)

Posted on by
Reply

A merciless Vancouver-based Death and Thrash Metal unity is ready to strike us all once again with their newest opus, representing four years of solid work ethic and unwillingness to compromise even in the slightest.

What’s in a name? Everything. And Vancouver, Canada-based Death/Thrash Metal unity Without Mercy certainly stays true to its name. Ruthless and menacing, these Canadian metal titans have cultivated a fusion of death and thrash, a sound that shows off the band’s respect for and dedication to both genres since their inception in 2004, being highly recommended for fans of the fulminating music by Cattle Decapitation, Meshuggah, Whitechapel and Pantera, among others. Now in 2020, the band comprised of Alex Friis on vocals, DJ Temple on the guitars, Ryan Loewen on bass and Matt Helie on  drums is ready to strike once again with their sophomore full-length effort Seismic, representing four years of solid work ethic and unwillingness to compromise even in the slightest. Produced by DJ Temple himself, mixed and mastered by Dave Otero at Flatline Audio, displaying a venomous artwork by Canadian artist Brayden Eshuis, and featuring very special guests Jeff Loomis (Arch Enemy, Nevermore) and Chris Broderick (Act of Defiance, Megadeth, Jag Panzer), Seismic will go straight for your jugular, offering you the most visceral fusion of Death, Thrash and Groove Metal you can think of.

With guest Jeff Loomis blasting one of his trademark, incendiary guitar solos, Thunderbird is an explosion of Thrash and Groove Metal the likes of Lamb of God and Meshuggah where Matt is bestial with his blast beats while Alex sounds like a rabid creature on vocals, and continuing their path of progressiveness, heaviness and rage, DJ Temple fires razor-edged riffs supported by the rumbling bass by Ryan in Abysmal, highly recommended for fans of Progressive Death and Thrash Metal. What DJ Temple does with his axe in the next song, titled Left Alone, is truly impressive, resulting in a lesson in intricacy and violence accompanied by his infuriated band members, and the final sound couldn’t have been more demented and sharper than what it already is; whereas Alex’s deranged roars and gnarls will penetrate deep inside your mind in Wiindigo, while Matt and Ryan make sure the earth trembles to the sound of their respective beats and bass jabs in another solid fusion of modern-day Death and Groove Metal.

Then it’s time for Chris Broderick to provide a sick guitar solo in Disinfect The Soul, a metal beast brought into being by this insane squad showcasing austere, in-your-face words barked by Alex (“Thank God there’s only one of you / I’m striving for a better form of survival / THE MEANS AREN’T AVAILABLE without the threat / I finally understand what could make a man run / Chasing my tail, I have it now / SO MUCH WORSE than first thought”), while in The Disaster the thrashing riffs and solos by DJ Temple are amplified by the crushing drums by Matt, or in other words, it’s a straightforward tune that will inspire you to slam into the circle pit like a maniac. Possessed brings forward another explosive round of their trademark music, feeling and sounding absolutely berserk from start to finish, and with Alex being once again demonic with his sick gnarls, presenting elements from the darkest forms of Death, Thrash and Groove Metal you can think of. I Break The Chain, the second to last blast of infernal metal music by Without Mercy, feels like a more deranged version of Gojira infused with the austerity of Cattle Decapitation, meaning it will hammer your heads mercilessly until the very end, before the band closes the album with Uprooted, presenting beautiful, darkly poetic lyrics “declaimed” by Alex (“To dream of the earth dying is nothing new / To watch in awe of its beauty is something I don’t do / To hold a dead bird in my hand and demand it sing / To hold a gift in my hand and not feel a thing”) while the music remains as acid and pulverizing as possible, spearheaded by DJ Temple’s scorching riffage and the always demented beats by Matt.

The Death and Thrash Metal landscapes might seem a bit too saturated for a lot of fans from all over the world, but let’s say Without Mercy managed to sound unique and fresh throughout Seismic, turning it into a must-listen to anyone who enjoys some well-engendered extreme music while at the same time loves to slam his or her cranial skull into a frantic mosh pit. Hence, you can show your support to those brave Canadian metallers by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by listening to more of their infernal creations on Spotify, and specially by purchasing your copy of Seismic from their own BandCamp page (or simply click HERE for all locations where you can buy or stream the album). In the beginning of this review it was mentioned that the name of the band, Without Mercy, says it all about their music. Well, the same can be said about the album name, as this is a true headbanging, thrashing earthquake made in Canada that will leave you completely disoriented after all is said and done, exactly the way the band had in mind. Yes, my friends, there’s indeed a mission accomplished in the name of death and thrash here.

Best moments of the album: Left Alone, Possessed and Uprooted.

Worst moments of the album: Wiindigo.

Released in 2020 Bloodblast Distribution

Track listing
1. Thunderbird 4:53
2. Abysmal 5:42
3. Left Alone 4:00
4. Wiindigo 4:55
5. Disinfect The Soul 7:18
6. The Disaster 3:52
7. Possessed 4:04
8. I Break The Chain 4:44
9. Uprooted 4:58

Band members
Alex Friis – vocals
DJ Temple – guitars
Ryan Loewen – bass
Matt Helie – drums

Guest musicians
Jeff Loomis – guitar solo on “Thunderbird”
Chris Broderick – guitar solo on “Disinfect The Soul”

Album Review – Eleine / Dancing In Hell (2020)

Posted on by
2

The time has come 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.

My dear metalheads, if you haven’t taken a listen yet at any of the songs from Dancing In Hell, the brand new opus by Landskrona, Sweden-based Symphonic Metal unity Eleine, I highly recommend you do so as soon as possible and get ready to be absolutely stunned by frontwoman Madeleine “Eleine” Liljestam, guitarist Rikard Ekberg, bassist Anton Helgesson and Jesper Sunnhagen throughout the 50 minutes of first-class, undisputed music found in what’s most probably the best Symphonic Metal album of 2020. With Dancing In Hell, the follow-up to their awesome 2019 EP All Shall Burn,  Eleine sound even more powerful, beautiful and unique than in their previous releases, taking a natural step into darker and heavier sounds and setting a new standard within the symphonic genre with hard-hitting, melodic and seductive metal hymns. Written and produced by Rikard and Madeleine, mixed, mastered and co-recorded by Thomas “Plec” Johansson at The Panic Room, and featuring another incendiary and sexy artwork by Néstor Ávalos, the album brings forward stories of inner demons, strength and loss, all embraced by majestic passages, heavy-as-hell riffs and the always sharp and hypnotizing voice of the one and only Madeleine.

Eleine kick off their amazing album with Enemies, originally released in their incendiary 2019 EP, and I won’t repeat myself and say how awesome this tune is. Simply enjoy all of its power and epicness, which is also the case in the title-track Dancing in Hell, one of the band’s heaviest compositions since their inception, offering our ears a massive wall of sounds boosted by symphonic elements with Jesper being unstoppable on drums, while Eleine embellishes the airwaves with her piercing vocals as usual. Then in Ava of Death we’re treated to in-your-face words beautifully declaimed by Eleine (“We will not forgive / Nor will we forget / The willful deceit that spread / Your future is dark / Soon filled with regret”) while Rikard and Anton slash their stringed weapons in a true headbanging mode, whereas it’s time to go full symphonic and epic in Crawl from the Ashes, with Jesper dictating the song’s imposing rhythm while Rikard continues to add the word “metal” to the overall musicality. And Eleine kidnaps our senses once again in As I Breathe, giving life to the song’s dark lyrics (“Have you no eyes at all / You’re standing against your own kind / Sickness from mind and heart / Eating flesh of those who risk it all / We’ll rise / You’ll fall / We run / You crawl”) while her bandmates fire a crisp fusion of Symphonic, Melodic and Groove Metal.

Anton takes the lead with his rumbling, metallic bass jabs in Memoriam, a mid-tempo symphonic tune tailored for admirers of the music by bands like Epica and Nightwish where all background elements only make the song even more thrilling and vibrant, followed by Where Your Rotting Corpse Lie (W.Y.R.C.L.), almost six minutes of grandiose metal music for our total delight where Rikard is not only bestial with his flammable riffs but also with his sick, deep guttural, while Jesper keeps the atmosphere heavy and dense with his unstoppable drums. All Shall Burn is the second song from their 2019 EP, and once again there’s nothing else to say about such amazing and imposing tune, whereas Die from Within is a lot more melodic than its predecessors, with Rikard sounding astounding on the guitar while Eleine brings her touch of finesse and passion to this metallic Opera-inspired tune, showcasing a beautiful paradox between her angelical voice and Rikard’s harsh roars. Lastly, after the serene and melancholic piano interlude The World We Knew, the band offers us all a cinematic and symphonic version for Die from Within, even more enfolding than the original one, with Eleine displaying all her vocal potency, therefore having an absolutely passionate performance supported by all the song’s booming orchestrations.

As already mentioned in the beginning of this review, Eleine are absolutely majestic throughout the entire Dancing In Hell, not only perfectly representing all the magic, epicness and feeling of classic Symphonic Metal in each of the album’s 11 tracks, but also sounding fresh and distinguished in a genre that’s considered already saturated by many critics and fans from all over the world. If you don’t believe me, you’ll have to wait a few more days to be undoubtedly surprised by Madeleine, Rikard & Co. when Dancing In Hell is officially released, but until then you can obviously take a look at what the band’s up to on Facebook and on Instagram, watch all of their astonishing official videos (including all the singles already released from their new album) on YouTube, stream more of their music on Spotify and, above all, purchase a copy or select your favorite streaming version of the album by clicking HERE or HERE, as well as buy a great selection of music, tees, prints and accessories from their own webstore. The time has come for us all to dance in the scorching fires of hell, and there’s nothing better than Eleine’s striking new album to serve as our devilish soundtrack to that.

Best moments of the album: Enemies, Dancing in Hell, As I Breathe and Where Your Rotting Corpse Lie (W.Y.R.C.L.).

Worst moments of the album: None.

Released in 2020 Black Lodge Records

Track listing
1. Enemies 5:22
2. Dancing in Hell 5:06
3. Ava of Death 4:06
4. Crawl from the Ashes 4:02
5. As I Breathe 3:56
6. Memoriam 6:15
7. Where Your Rotting Corpse Lie (W.Y.R.C.L.) 5:55
8. All Shall Burn 4:21
9. Die from Within 4:38
10. The World We Knew 1:35
11. Die from Within (Symphonic Version) 4:34

Band members
Madeleine “Eleine” Liljestam – vocals
Rikard Ekberg – guitar, growls, vocals
Anton Helgesson – bass
Jesper Sunnhagen – drums

Album Review – Genus Ordinis Dei / Glare of Deliverance (2020)

Posted on by
2

Witness the story of a young woman named Eleanor who is persecuted by the Holy Inquisition in the form of a stunning album of Symphonic Death Metal made in Italy.

There’s nothing better than celebrating what’s probably the weirdest Halloween of the past few decades (due of course to all the madness the world is going on right now) than with the pulverizing Symphonic Death Metal         blasted by a four-piece band hailing from Crema, a city and comune in the province of Cremona, in the region of Lombardy in northern Italy, that goes by the stunning name of Genus Ordinis Dei, which translates from Latin as something like “the order of the race”. Comprised of Niccolò “Nick K” Cadregari on vocals and guitars, Tommaso “Tommy” Monticelli on guitars and orchestrations, Steven F. Olda on bass and Richard Meiz on drums, Genus Ordinis Dei are unleashing upon humanity their brand new opus entitled Glare of Deliverance. Produced by Tommy himself at Sonitus Studio, Glare of Deliverance is much more than a follow-up to their sophomore album Great Olden Dynasty, offering us all a series of ten individual songs, each with its own music video or episode, which combine in sequence like a short film or television series that tells the story of a young woman named Eleanor, who is persecuted by the Holy Inquisition, bringing the concept art of American author Tom Roberts to life.

Sounds of nature warm up our senses for the enfolding and atmospheric journey that’s about to begin in a beautiful and imposing intro named Ritual, setting the stage for the band to kill in Hunt, a majestic Death Metal aria infused with symphonic and epic elements, with Nick roaring and screaming in anger nonstop accompanied by the pulverizing drums by Richard and the beyond whimsical orchestrations by Tommy; and soaring choirs intertwined with the pounding beats by Richard ignite the progressive and heavy-as-hell Edict, with Steven adding his share of groove to the music while Nick and Tommy slash their stringed axes powerfully. The band keeps smashing their instruments in great fashion in Examination, where we’re all invited to bang our heads to this sinister tune spearheaded by Nick’s demonic growls and vociferations, alternating between Symphonic Metal moments and eerie passages. After that, like in an epic movie, the music in Torture grows in intensity until all hell breaks loose, morphing into a melodic and atmospheric feast of Death Metal presenting incendiary guitars making a thrilling paradox with all background orchestrations.

Then phantasmagorical guitars, melancholic violins and endless sorrow and pain will penetrate deep inside your mind in Judgement, where Steven and Richard bring a touch of Doom Metal to the music while Nick and Tommy fire Groove Metal-inspired riffs, with the whole experience ending in pure solitude. And cryptic sounds and tones are gradually joined by serene acoustic guitars in Dream, sounding and feeling as progressive as possible, with its hammering drums walking hand in hand with the background keys by Tommy, whereas Gregorian chants kick off the also dense and doomed Abjuration, offering our avid ears a cinematic vibe boosted by Nick’s and Tommy’s razor-edged guitars in another gorgeous creation by the quartet, uniting the rage of Death Metal with the finesse of a classic opera. Sounding like a metallic and grim waltz we face the amazing Exorcism, with Nick taking the lead with his deep guttural roars while his bandmates generate a massive wall of sounds for our total delight, resulting in seven minutes of the best Symphonic Death Metal you can find anywhere in the world; and last but not least, if Mastodon, Nightwish, Dimmu Borgir and Gojira were combined into one single entity they would certainly write the multi-layered, breathtaking tune Fire, where the keys by Tommy are enhanced by the contrast with Steven’s bass and Richard’s beats, and with all breaks, variations, gentle passages and the Stygian growling by Nick blowing our minds, or in other words, it’s a first-class hybrid of sheer heaviness and a stylish metal opera to flawlessly close the album.

I’m sure you’re eager to put your hands on what’s one of the best metal albums of the worldwide underground scene, and you’ll be able to do that sooner than later by clicking HERE and selecting your favorite version of the album to buy or stream when it’s officially released. In the meantime, don’t forget to follow Genus Ordinis Dei on Facebook and on Instagram, subscribe to their YouTube channel to be the first to know about each chapter of the incredible Glare of Deliverance, and listen to more of their music on Spotify. Are you curious to know what happens to Eleanor in this high-octane, top-of-the-line album of Symphonic Death Metal? Well, the skillful musicians of Genus Ordinis Dei are here to tell us the fate of such interesting character in their new album, and let’s hope they continue to embellish the airwaves for many years to come with their impressive creations while at the same time they keep us all absolutely hooked with their refined storytelling abilities in each of their future releases.

Best moments of the album: Hunt, Edict, Exorcism and Fire.

Worst moments of the album: None.

Released in 2020 Eclipse Records

Track listing
1. Ritual 3:47
2. Hunt 4:18
3. Edict 6:42
4. Examination 6:59
5. Torture 4:41
6. Judgement 7:46
7. Dream 6:38
8. Abjuration 7:47
9. Exorcism 7:04
10. Fire 16:08

Band members
Niccolò “Nick K” Cadregari – vocals, guitars
Tommaso “Tommy” Monticelli – guitars, orchestrations
Steven F. Olda – bass
Richard Meiz – drums

Album Review – White Walls / Grandeur (2020)

Posted on by
1

Hailing from the Romanian shores of the Black Sea, four talented musicians return with their third full-length album of dynamic, splendorous and grandiose Progressive Metal.

Hailing from the Romanian shores of the Black Sea, more specifically from the city of Constanța, where the band was formed back in 2009, Progressive/Alternative Metal outfit White Walls has been associated with diverse groups such as Leprous, The Ocean, Opeth, Tool and Karnivool, often intertwining elements of darkness and light with relentless riffs, melancholic chords and a balanced mix between restlessness and restraint, resulting in what the band itself likes to call “Dynamic Progressive Metal”. Now in 2020, vocalist Eugen Brudaru, guitarist Alexandru-Eduard Dascălu, bassist Șerban-Ionuț Georgescu and drummer Theo Scrioșteanu return with an exciting full-length album entitled Grandeur, the third in their undisputed career. Mixed and mastered by Forrester Savell, and featuring a classy artwork by Romanian artist Radu Damian, Grandeur opens a whole new spectrum of musical pathways and offers a more mature sound seven years after the release of their previous effort Escape Artist. Inspired by the state of the world, the title is not only a beautiful word, but also reveals some of the underlying themes in the songs.

Serene guitars and a feeling of peace and hope will penetrate your mind in the intro False Beliefs, revving up the band’s engine for the groovy and violent Eye For An I, offering our ears a frantic, headbanging fusion of classic Progressive Metal the likes of Mastodon and Gojira with modernized Groove Metal nuances, with Eugen being on fire with both his clean vocals and his enraged roars. Then it’s time for another sonic voyage titled Home Is On The Other Side, where Alexandru cuts our skin deep with his riffage while Serban makes the earth tremble with his bass, not to mention it’s atmospheric intermission, sounding very intricate, detailed and vibrant until the very last second; and there’s not a single second to waste as the quartet fires the thrilling Holy Worse, with Eugen growling rabidly while Theo dictates the pace with his rhythmic beats, sounding as if they were a more alternative version of Dream Theater. After that, strident guitars blended with the reverberating bass by Serban ignite the also electrifying Velvet, full of breaks and variations and, therefore, perfectly representing what White Walls are all about, and I must say it will undoubtedly please all fans of the genre; and there’s more of Serban’s thunderous bass jabs in Speaking in Tongues, a very dynamic and straight-to-the-point composition where the band needs less than three minutes to showcase all their dexterity and passion for progressive sounds.

In Starfish Crown we face lyrics that are obviously there to make you think (“Retrieve the heart that whispers in your ear / My crescent lights flow / Would you help me? / Repetition is key / Resolution? We’ll see… / No direction for me / Just a silly dream”), while Serban and Theo make a fantastic duo as the band’s groovy kitchen, whereas Locked-in Syndrome is a little more inclined to Progressive Rock than the other songs, with Eugen doing a great job once again by displaying all his vocal range while Alexandru extracts minimalist but at the same time piercing sounds form his guitar. Then it’s time to enhance their heaviness and groove in the neck-breaking Month’s End, a fantastic tune with Theo smashing his drums with tons of precision and rage, resulting in one of my favorite songs of the album, exhaling an infinite amount of progressiveness and feeling. And you better prepare your senses for over six minutes of hammering Progressive Metal sounds in The Descent, where all band members demonstrate their close relationship with their instruments. In addition, Alexandru’s guitar solos are absolutely stunning, adding an extra touch of finesse to the overall result. Lastly, let’s have a blast with Serban and Theo with their respective bass jabs and beats in The Slaughter (Marche Funèbre), sounding like two or three songs in one thanks to the amazing job done by the quartet throughout the song’s eight minutes of sheer complexity and creativity, before the music smoothly fades into eternity.

It’s indeed a very pleasant and unique experience to explore each and every track found in Grandeur in detail, and you can do so by streaming the album in full on YouTube and on Spotify, but of course if you want to properly support White Walls and inspire them to keep moving forward you can purchase a copy of the album from your favorite retailer by clicking HERE, as well as by following them on Facebook and on Instagram, and by subscribing to their YouTube channel. The actual meaning of the word “grandeur”, which is splendor and impressiveness, especially of appearance or style, perfectly suits the music by White Walls, who not only represent Romanian rock and metal anywhere they go, but they also show everyone that, despite its complexity, Progressive Metal can be just as breathtaking as any other music style.

Best moments of the album: Eye For An I, Velvet and Month’s End.

Worst moments of the album: Locked-in Syndrome.

Released in 2020 Tentasol Records

Track listing
1. False Beliefs 1:38
2. Eye For An I 4:45
3. Home Is On The Other Side 5:04
4. Holy Worse 4:50
5. Velvet 4:56
6. Speaking in Tongues 2:41
7. Starfish Crown 5:32
8. Locked-in Syndrome 4:28
9. Month’s End 4:19
10. The Descent 6:47
11. The Slaughter (Marche Funèbre) 8:57

Band members
Eugen Brudaru – vocals
Alexandru-Eduard Dascălu – guitar
Șerban-Ionuț Georgescu – bass
Theo Scrioșteanu – drums

Guest musician
Cosmin Farcaș – additional keys and effects

Album Review – Kuujeojabenojujanomiashikushija / The Hunting Boar! The Hunting Tyrant! (2020)

Posted on by
Reply

A solitary man on a mission seeking self-emptying and seeing the violent animal within brings to our ears his brand new experimental musical journey.

“You can kill it, but you must see it.”

If you throw  the expression “Kuujeojabenojujanomiashikushija” into Google Translator just out of curiosity like I did, you’ll see the app recognizes it as Swahili, translating it to “Come on in, take a look and enjoy yourself!” I have absolutely no idea if that was the intention of the mysterious American vocalist and multi-instrumentalist R.P. when he originally named his Experimental Death Metal project Kuujeojabenojujanomiashikushija, a solitary man on a mission seeking self-emptying and seeing the violent animal within, but just like its name, this extreme music entity offers a weird, uncanny and absolutely experimental musical journey to the listener in its second studio album, beautifully entitled The Hunting Boar! The Hunting Tyrant!, following up on all the madness found in the project’s 2014 debut EP 82121 and its 2017 full-length opus Hheoalle. In addition, as you might suspect based on the uniqueness of the project, absolutely everything in the album was done by R.P. himself, giving it an additional touch of lunacy and rawness and, therefore, sounding very organic from start to finish.

A mix of Industrial and Avantgarde Metal kicks off the album in the wicked intro Ripped Apart Under Glimmering Constellations, before R.P. slashes his raw, dirty guitar and crushes his drums like a maniac in the excellent Christ’s Descent Into Hell, and let me tell you that the song’s lyrics couldn’t have been more insane than what they already are (“Words accursed: mutational and eclipsed / Iron disc, zwarte zon / Coma of the soul from death to death / I wring the neck! It’s finished. / Poison diplomacy”). You better leave your mind and ears wide open as rumbling bass punches, cryptic vociferations and a sense of hopelessness and despair permeate the air in Vision Of Spinning Golgotha, uniting the sickness of Industrial Death Metal with the finesse of Progressive Metal, whereas R.P.’s demented riffs and beats are the main ingredients in Predator Reconfigured As Prey, another disruptive, dissident metal extravaganza that will make your head tremble throughout its less than three minutes of intense obscurity. And extracting sheer rage and insanity from his razor-edged guitar, R.P. offers our ears more of his Experimental Death Metal in Lycanthrope Before God, resulting in a headbanging tune tailored for admirers of the genre.

Then eerie noises ignite three minutes of industrialized sounds and tones in the instrumental (and lengthy) aria titled Entry, setting the stage for R.P. to roar venomous words (“If they can see me, I will kill them”) nonstop in They Can See Me, while the music remains as paradoxal to anything that can be called mainstream as possible, making an instant bridge with the also eccentric Murderer Swings The Censer, one of the most progressive of all songs, taking his innovative Death Metal to a whole new level of heaviness and fury and ending in a truly sick manner before R.P. comes ripping once again with his austere riffs and low-tuned bass in Scent Trail Under Arched Sconces. Blending the most visceral elements from Death, Groove and Industrial Metal with tons of feeling and darkness, this is one of the best songs of the album hands down. Lastly, are you ready for another round of sick guitars, pounding drums and wicked background noises? That’s what you’ll get in Do You See Over That Mountain?, sounding like an industrialized and instrumental version of the progressive madness blasted by Mastodon, and morphing into the idiosyncratic Epektasis, starting in an atmospheric and ethereal way before becoming a Progressive Rock and Metal exhibit by R.P. until all fades into the void.

I guess after all is said and done, the aforementioned translation to the project’s name, “Come on in, take a look and enjoy yourself!”, makes total sense, as if R.P. is indeed inviting us all to enter his wicked realm of experimentations and violence, take a very good look (or maybe I should say listen) around, and have a good time to the sound of each one of his multi-layered creations. Hence, in order to do that and show him your support and admiration for the underground, you can start following R.P. and his Kuujeojabenojujanomiashikushija on Facebook and purchase a copy of The Hunting Boar! The Hunting Tyrant! From the project’s own BandCamp page. As R.P. himself likes to cryptically say, “you can kill it, but you must see it”, or in the case of his newborn opus, you can kill “it”, but of course you must listen to his entertaining new album first.

Best moments of the album: Christ’s Descent Into Hell, Predator Reconfigured As Prey and Scent Trail Under Arched Sconces.

Worst moments of the album: Entry.

Released in 2020 Independent

Track listing
1. Ripped Apart Under Glimmering Constellations 1:09
2. Christ’s Descent Into Hell 3:20
3. Vision Of Spinning Golgotha 1:55
4. Predator Reconfigured As Prey 2:45
5. Lycanthrope Before God 2:14
6. Entry 3:00
7. They Can See Me 1:30
8. Murderer Swings The Censer 3:23
9. Scent Trail Under Arched Sconces 4:03
10. Do You See Over That Mountain? 3:13
11. Epektasis 4:33

Band members
R.P. – vocals, all instruments

Album Review – Sepultura / Quadra (2020)

Posted on by
5

A sensational concept album based on Quadrivium embraced by a fusion of Thrash, Groove and Progressive Metal, masterfully crafted by the best Brazilian metal band of all time.

In case you’re form another dimension and haven’t listened to Quadra yet, let me tell you that the fifteenth studio effort by Brazilian Thrash/Groove Metal titans Sepultura is much more than just another metal album. With a concept based on Quadrivium, which are the four subjects or arts (namely arithmetic, geometry, music and astronomy), taught after teaching the trivium, Quadra, meaning “four ways” from Latin, is a 12-track album divided into four sections of three songs each. The first being Thrash Metal songs based on the classic Sepultura sound; the second section is inspired by the groove-percussion oriented sound the band explored in Roots; the third part has more progressive songs inspired by the track Iceberg Dances from Machine Messiah, albeit not all are instrumental tracks; and side four features slow-paced and melodic tracks similar to the song Machine Messiah. Add to that the undeniable talent by the band’s four horsemen Derrick Green on vocals, Andreas Kisser on the guitars, Paulo Jr. on bass and Eloy Casagrande on drums, and there you have the band’s most successful record since 1998’s Against.

Recorded and produced by Jens Bogren at Fascination Street Studios in Örebro, Sweden, and featuring a bold artwork by Christiano Menezes from Darkside Books revolving around the meaning of the number four, Quadra is also the Portuguese term for sports court. “We all come from different Quadras. The countries, all nations with their borders and traditions; culture, religions, laws, education and a set of rules where life takes place. Our personalities, what we believe, how we live, how we build societies and relationships, all depends on these set of rules that we grew up with. Concepts of creation, gods, death and ethics. Money, we are enslaved by this concept. Who’s poor and who’s rich, that’s how we measure people and material goods. Regardless of your Quadra you need money to survive, the prime rule to play this game called life. Hence the coin. The coin is forged with the senator skull, who represents the set of rules and laws we live by; the world map on his head delimiting the borders of all nations, imaginary lines separating people by concepts of race and the sacred,” explained Andreas about the concept behind the album art.

Tribal beats and futuristic sounds ignite the brutal and groovy Isolation, an old school Thrash Metal chant with Sepultura’s unique twist, where Derrick already tells us all this album is going to be fantastic through his enraged roars, whereas Means to an End is another ass-kicking, trademark creation by the quartet with the talented Eloy bringing tons of progressiveness and fury to the musicality, while Paulo continues to be precise and groovy as usual on bass. And there’s no sign of slowing down in Last Time, where Derrick and Eloy represent the brutality in the music while Andreas showcases his infinite talent as a shredder as well as with his fantastic solos; and adding primeval elements and beats from the band’s cultural background it’s time for one more round of savagery and groove united in the name of metal in Capital Enslavement, with Andreas slashing his strings beautifully accompanied by the unstoppable Eloy on drums. Back to a more traditional sound blending Thrash, Groove and Progressive Metal, Andreas, Paulo and Eloy generate a bold and reverberating atmosphere in Ali, sounding beyond perfect for Derrick to fire his beastly growls.

Raging Void is a mid-tempo, neck-breaking tune led by Eloy and his pounding drums where Derrick is effectively supported by all backing vocals, while Andreas keep stunning us all with his whimsical guitar. Then  a sensational acoustic intro by Andreas sets the stage for an austere and multi-layered metal feast entitled Guardians of Earth (which has one of the best and most touching official videos of the past decade), with all choirs and orchestrations making the whole song even more impactful and thrilling; followed by The Pentagram, bringing to our ears a classic Death Metal sonority infused with endless progressiveness and rage. Furthermore, Andreas is superb on the guitars as usual, while Paulo brings the groove with his minimalist but precise bass jabs, resulting in an excellent instrumental composition. After that we have Autem, uniting the past, present and perhaps the future of Sepultura by alternating between old school thrashing moments and the obscurity and hatred from Death and even Black Metal. Needless to say, Eloy and Andreas are in absolute sync throughout the entire song, and after the brief but beautiful acoustic intermission Quadra, it’s time for a darker, more introspective side of Derek in Agony of Defeat, where once again all background choirs and orchestrations bring a touch of finesse to the overall result, albeit not as majestic as the rest of the album, though. And last but not least, the delicate, sexy vocals by guest Emmily Barreto make a superb paradox with the raspy growls by Derrick in Fear, Pain, Chaos, Suffering, with the music sounding grim, melodic and vibrant form start to finish, or in other words, a great composition showcasing the band’s endless creativity and passion for heavy music.

After all is said and done, it’s more than fair to give such amazing album of heavy music four of our rating skulls, especially as the album revolves around the various meaning of the number four, right? In addition, in case you haven’t done so yet, I recommend you follow the best and most influential band of the Brazilian metal scene of all time on Facebook and on Instagram, subscribe to their official YouTube channel for more of their unique and heavy-as-hell songs and videos, and of course purchase or stream Quadra by clicking HERE. When Derrick was asked during an interview with BraveWords “Which Sepultura album are you most proud of?”, he replied, “Definitely Quadra. It’s the latest album, and we really worked so hard on it. We have so many different elements from the past that have helped us get to here – where we are at right now. So, without a doubt in my mind, this is the strongest album that we’ve done together. And I’m extremely proud of it.” I guess we must all agree with Derrick that Quadra is hands down the most detailed, diverse and electrifying album of his era fronting Sepultura, raising the flag of Brazilian metal higher and higher for the delight of all of their loyal and diehard fans.

Best moments of the album: Isolation, Capital Enslavement, Guardians of Earth and Fear and Pain, Chaos, Suffering.

Worst moments of the album: Agony of Defeat.

Released in 2020 Nuclear Blast

Track listing
1. Isolation 4:56
2. Means to an End 4:39
3. Last Time 4:27
4. Capital Enslavement 3:40
5. Ali 4:12
6. Raging Void 3:57
7. Guardians of Earth 5:11
8. The Pentagram 5:20
9. Autem 4:06
10. Quadra 0:46
11. Agony of Defeat 5:51
12. Fear, Pain, Chaos, Suffering 4:09

Alive in Brazil Digipack and Earbook bonus disc (recorded live at “Audio” in São Paulo, Brazil on June 20, 2015)
1. Choke 3:46
2. Convicted in Life 3:31
3. Sepulnation 4:41
4. Apes of God 3:22
5. Sepultura Under My Skin 3:45
6. Manipulation of Tragedy 4:19
7. The Vatican 6:34
8. Cut-Throat 2:55

Band members
Derrick Green – lead vocals
Andreas Kisser – guitars
Paulo Jr. – bass
Eloy Casagrande – drums, percussion

Guest musicians
Bruna Zenti – violin
Kadu Fernandes – percussion on “Capital Enslavement”
Renato Zanuto – keyboards, orchestrations on “Isolation”, “Means to an End”, “Capital Enslavement” and “Guardians of Earth”, choir arrangements
Francesco Ferrini – orchestrations on “Last Time” and “Fear, Pain, Chaos, Suffering”
Robertinho Rodrigues – acoustic bass
Chorus Mysticus – choir vocals
Jens Bogren – backing vocals
Paulo Cyrino – effects on “Ali”
Gunnar Misgeld – choir arrangements on “Isolation”, “Last Time”, “Guardians of Earth” and “Agony of Defeat”
Emmily Barreto – female vocals on “Fear, Pain, Chaos, Suffering”

Album Review – Reternity / A Test Of Shadows (2020)

Posted on by
Reply

Just one year after the release of their debut album, this German Melodic Heavy Metal outfit returns in full force with a worthy and stronger successor in every way.

Just one year after the release of Facing the Demon and after several successful club shows and festivals, the creative duo consisting of frontman Stefan Zörner and guitarist Carsten Sauter, together with guitarist Oskar Schmidt, bassist Didi Schenk and drummer Suat Gören, collectively known as Heilbronn, Germany-based Melodic Heavy Metal outfit Reternity, are back in full force with their sophomore album entitled A Test of Shadows, a worthy and stronger successor in every way. Produced in cooperation with Jonas Kümmerle at Analog Mixing Studio, A Test Of Shadows brings forward compact songs without unnecessary lengths, always spiced up by the melodic and expressive vocals of Stefan as well as the powerful and original riffs of Carsten, with a musical spectrum ranging from homages to the Speed and Thrash Metal scene of the blissful 80’s to heavy and danceable mid-tempo hymns and neck-breakers, resulting in a sound that should quickly grow on the heart of every friend of melodic, varied metal.

A creepy version to an excerpt from Ludwig van Beethoven’s Symphony NO. 9 in D Minor, OP. 125: IV. Finale: Presto – Allegro Assai – Rezitativo – Allegro Assai sets the stage for Sniper’s Death, where Suat begins crushing his drums in great fashion, offering Stefan all he needs to shine on vocals in a thrilling and heavy-as-hell Melodic Heavy Metal feast, also showcasing Thrash Metal-infused guitars. There’s more of their groovy and smashing riffs in This Is the End, courtesy of the band’s infernal guitar duo Carsten and Oskar supported by Didi’s rumbling bass, keeping the album at a high level of adrenaline and exhaling pure metal, and it’s interesting to see how the band has invested a lot more on the thrill and heaviness of classic Heavy Metal this time rather than the melody of their previous release as in My Crush, with Stefan doing a great job declaiming the song’s passionate lyrics. In the title-track A Test of Shadows, a very progressive and dark creation by Reternity, Carsten’s and Oskar’s riffage sounds as razor-edged as possible, with Suat dictating the pace with his intricate beats and fills. Needless to say, this should sound amazing when played live; and  starting with elements from Groove Metal and from the heavier-than-usual rock blasted by Volbeat and Godsmack they offer us all A Grave Called Home, alternating between more introspective, serene moments and obscure, pounding guitars and drums.

Time to put the pedal to the metal once again in (We Were) the Gods, with Stefan’s precise vocal lines being amazingly supported by his bandmates’ backing vocals in a hybrid of classic Heavy Metal with contemporary Melodic Metal, not to mention Suat’s old school beats, and they keep hammering our heads with their fusion of harmony and aggressiveness in Falling Shadows, where Didi once again blasts metallic sounds form his bass while the band’s guitar duo offers our ears Iron Maiden-inspired riffs. In You’ll See the Sun they tried to sound a little bit more stoner or alternative than usual; however, it didn’t work as well as expected, with even Stefan’s vocals sounding uninspired and bland, feeling disconnected from the rest of such amazing album. Fortunately, in No Deeper Hole the boys get back to a more frantic and berserk mode thanks to the smashing drums by Suat and the always incendiary riffs and solos by Carsten and Oskar, and the sheer electricity flowing from all instruments will surely generate some nice circle pits during their live concerts. Lastly, obscure piano notes kick off the somber and melancholic Stranded, created in collaboration with Jazz musician Aljoscha Crema, by far the most personal of all songs where Stefan has another superb performance on vocals, putting a gentle and introspective ending to A Test Of Shadows.

In summary, if you consider yourself a diehard fan of melodic and classic Heavy Metal, I highly recommend you take a shot at A Test Of Shadows, first by streaming the album in full on YouTube and on Spotify, and then, even more important than that, by purchasing the album from your favorite retailer, including the MDD shop, Nuclear Blast, Apple Music and Amazon. Also, don’t forget to follow Reternity on Facebook for news, tour dates and other nice-to-know details about Stefan, Carsten & Co., as I’m more than sure those German metallers will keep embellishing the airwaves with their refined and extremely pleasant creations for many years to come, just like what they have to offer us in A Test Of Shadows, an album that explains why not only the big German bands like Scorpions and Helloween have conquered the world of heavy music, but also why the underground scene in Germany is by far one of the best in the entire world.

Best moments of the album: (We Were) the Gods, Falling Shadows and No Deeper Hole.

Worst moments of the album: You’ll See the Sun.

Released in 2020 Black Sunset

Track listing
1. Symphony NO. 9 in D Minor, OP. 125: IV. Finale: Presto – Allegro Assai – Rezitativo – Allegro Assai (Intro) 0:19
2. Sniper’s Death 4:08
3. This Is the End 3:21
4. My Crush 4:12
5. A Test of Shadows 4:29
6. A Grave Called Home 5:07
7. (We Were) the Gods 4:11
8. Falling Shadows 4:06
9. You’ll See the Sun 4:29
10. No Deeper Hole 2:47
11. Stranded 5:18

Band members
Stefan Zörner – vocals
Carsten Sauter – guitars
Oskar Schmidt – guitars
Didi Schenk – bass
Suat Gören – drums

Guest musician
Aljoscha Crema – piano on “Stranded”