Mixing several influences and musical styles from Alternative Rock to Post-Hardcore, this up-and-coming French quintet might be exactly what you’re looking for in modern heavy music.
Mixing several influences and musical styles, French Alternative Rock/Metal act Ways. might be exactly what you’re looking for in alternative music, offering a wide variety of genres in their compositions that will please fans of heavier groups such as Deftones, Marilyn Manson and Killswitch Engage, to radio-friendly bands like Foo Fighters. And that harmonious but still fierce fusion of styles can be easily witnessed in their debut EP entitled Watching From Afar, a six-track album that nicely summarizes what Ways. are capable of, their main influences and their goals with their music.
Formed in 2013 in Paris, France, this talented quintet brings forward dynamic and melodic music displaying elements from Alternative Rock, Heavy Metal and Post-Hardcore, among others, always keeping their musicality fresh and vibrant throughout the almost 20 minutes in Watching From Afar. You’ll be positively surprised by the band due to all their sudden tempo changes and variations, going from harsh and desperate screams to gentle vocals and smooth guitar sounds. Featuring a sexy artwork by French photographer Sebastien Bessac, Watching From Afar can entertain you at a pub, at home, in your car or anywhere else good music is required.
In the opening track, titled My Blue Stain, a melodic beginning quickly turns into a blend of Metalcore and Alternative Metal, with lead singer Clément smoothly transitioning from harsh screams to clean vocals. Furthermore, it’s easy to notice influences from Deftones and In Flames, among other bands, in all instruments, which is also the case in As A Duty, showcasing a lighter side of the band with Bruno and Nico doing a great job on guitars, firing gentle lines and heavier riffs in sync with the vocals by Clément. Overflowing anguish and melancholy, this nice composition displays hints of Alternative Rock (in special during the song’s calm passages) that add an extra flavor to the overall result. And in Misty Hope, despite starting in a calm and relaxing way, vocal lines keep fierce and deranged, being recommended for fans of Foo Fighters and Deftones in pursuit of a higher level of aggressiveness in music. In addition to that, drummer Tony leads the song’s pace with his rhythmic beats, increasing its effectiveness and appeal for the delight of the listener.
The title-track Watching From Afar is an instrumental track that’s more progressive and introspective than everything else in the album (and also the shortest of all songs), a nice display of dexterity by all band members leading up to the melancholic tune Something To Say…, where the groovy and smooth lines by session bassist Thomas Houche, together with the atmospheric riffs by Bruno and Nico, provide all the support for another passionate performance by Clément on vocals. Watching From Afar closes with Twenty First Sectuary, the heaviest and in my opinion the best composition of the album, getting closer to Melodic Death Metal without losing the harmony of Metalcore. Not only all guitar lines by Bruno and Nico sound amazing in this chant, but Tony also pounds his drums harder than in any other song of the album, translating into more electricity and consequently accrediting it to be one of the best options for the band’s live performances.
You can get more details on the music and career by Ways. by visiting their Facebook page, YouTube channel and Instagram, and if you want to purchase Watching From Afar, simply go to their BandCamp page for a preview of the album and to get a physical copy of it, or you can also get it on iTunes, supporting not only Ways. but the entire heavy music independent scene. As previously mentioned, Ways. can offer you a wide range of heavy, classic and soft rock in their compositions, making your day better with their pleasant musicality and showing you that Watching From Afar is just the beginning and a nice sample of what’s coming next for those talented French musicians.
Best moments of the album: My Blue Stain and Twenty First Sectuary.
Worst moments of the album: None.
Released in 2016 Independent
Track listing 1. My Blue Stain 3:17
2. As A Duty 4:48
3. Misty Hope 3:17
4. Watching From Afar 2:13
5. Something To Say… 3:11
6. Twenty First Sectuary 3:39
Band members Clément – vocals
Bruno – guitar
Nico – guitar
Elo – bass
Tony – drums
This Halloween let’s all eat, drink, be scary and listen to another kick-ass Rock N’ Roll party brought forth by the most awesome horde of hair-raising monsters in the universe.
Once again it’s Halloween, or All Hallows’ Evening as many people prefer, a day dedicated to remembering the dead and to many distinct activities such as trick-or-treating, attending costume parties and carving pumpkins into jack-o’-lanterns, and there’s nothing better to set fire to that amazing celebration than the top-notch Hard Rock and Heavy Metal played by the most awesome horde of scary monsters in the universe, Finnish icons Lordi. With that said, put on your most spine-chilling costume, grab some chocolate (or beer) and head to the nearest Halloween party blowing your speakers to the music by Mr. Lordi and his (were)wolfpack, who are back with another excellent release entitled Monstereophonic (Theaterror vs. Demonarchy), the eighth studio album in their solid career.
And let me tell you that Monstereophonic (Theaterror vs. Demonarchy) is different from everything these guys have done since their inception back in 1992, with the album being divided in two distinct parts. While the first half of the album (Theaterror) showcases their classic Hard Rock and Heavy Metal, the second half of the album (Demonarchy) is conceptual and includes 6 or more minute songs that sound a lot heavier than what we’re used to, talking about the unholy gathering of The Undead Son, The Bloodsucking Count, The She-Wolf and The Witch, and their story with a little girl named Lizzy. The band also announced that their new costumes would be split in half, representing the two sides of the album. The overall production of the album is outstanding as usual, enhancing the experience of listening to our beloved monstrosities transforming the fusion of fear, love and electricity into old school heavy music.
In THEATERROR, we’re treated to one of those wicked intros by Lordi, entitled SCG8: One Message Waiting, this time with a freak named Ruiz threatening a woman from right outside her house, before the band kicks off Let’s Go Slaughter He-Man (I Wanna Be the Beast-Man in the Masters of the Universe), showcasing that great Hard Rock from the 80’s with the crisp keyboards by Hella adding an extra touch of nostalgia to the song. Moreover, as cheesy as the song and its lyrics might sound, it ends up working extremely well, being fun and energetic in its entirety. Besides, who doesn’t want to see He-Man dead, right? Anyway, Hug You Hardcore is another mid-tempo classic composition displaying a fantastic main riff by Mr. Lordi’s right-hand man Amen (just don’t ask me to talk about the lyrics), whereas Down with the Devil can be considered a newborn Hard Rock hymn, from its hellish riffs and keyboards to its spooky lyrics (“They say the devil dressed me / They hear him speak when I speak / They say I’m lost and damned / But I know damn well just where I am”). It’s a mandatory choice for the soundtrack to the most awesome Halloween party you can think of (and the best song of the album in my opinion), with its catchier-than-hell chorus getting even more awesome due to the song’s classy backing vocals.
Slowing down and getting more obscure, Mary Is Dead tells the sad story of how the death of a woman was kept a secret by her lover (who was also her killer, by the way), with Hella kicking ass with her melancholic notes while Mana delivers his precise doomed beats; followed by Sick Flick, another old school Lordi chant offered to the listener. The band makes a statement that the Rock N’ Roll party is just starting through the song’s upbeat rhythm and the excellent riffs and solos blasted by Amen. Once again we face cheesy lyrics inspired by classic Hard Rock from the 80’s with a horror movie twist, and once again that works perfectly. And the end of Theaterror couldn’t sound more Lordi than None for One, bringing forward all the elements we expect in their music. Furthermore, Lordi’s kitchen architects Ox, Mana and Hella craft such an inspiring ambience with their instruments it’s impossible to stand still to the beat of the song.
An eerie intro named SCG VIII: Opening Scene informs the listener the second part of the album, the conceptual DEMONARCHY, is about to begin, and it’s time for some brutal Heavy Metal with Demonarchy, with Mana pounding his drums while Amen is on fire with his riffs. This is by far the most aggressive composition of the whole album, a sensational display of what Mr. Lordi and his crew can do when they get truly heavy with the creepy keyboards by the sexy doll Hella embellishing the overall result even more. A lot more melodious, the slow-paced The Unholy Gathering continues from where the previous song stopped in the storyline, and when they speed up the musicality it becomes a heavy music extravaganza with highlights to the potent vocals by Mr. Lordi and the spooky notes by Hella. And it looks like the second half of the album is indeed dedicated to much heavier and darker material based on what the band delivers in Heaven Sent Hell on Earth, one of those headbanging badass compositions with a gripping story in the background and a chorus that is yet again a beautiful option to sing along with the band.
The final triumvirate of Hard Rock blasted by Lordi is pure awesomeness, starting with And the Zombie Says, a first-class Heavy Metal tune with brilliant guitar lines and keyboards, not to mention the thunderous drums by Mana and the song’s beautiful chorus. It’s a nonstop action-packed song that transpires adrenaline until its very last second, with Mr. Lordi providing an amazing performance on vocals as usual. In the neck-breaking chant Break of Dawn, another song to scream the chorus together with Mr. Lordi and a song also played to perfection by all band members, Amen kicks some serious ass with his sharp riffs. And last but not least, The Night the Monsters Died is the perfect climatic ending to the story being told and to the whole album, full of breaks and soulful passages and solos, and having as its main element a more-than-addictive chorus (“It’s the morning after the night / The night the monsters died / Don’t have to be afraid / Cause we’re already dead / It’s the morning after the night / The night the monsters died / We’ll never say goodbye / For the final time”). Put differently, this is a full-bodied composition that will put a smile on the face of everyone that listens to it, no matter how angry or sad that person might be.
There’s that Halloween quote by an unknown author that says we should all “eat, drink and be scary”, but after listening to such an entertaining album of kick-ass melodic old school Hard Rock and Heavy Metal I guess we need to change the saying to something like “eat, drink, be scary and listen to Lordi”. It’s insanely hard for a band to top a once-in-a-lifetime masterpiece like The Arockalypse, but Mr. Lordi and his living-dead crew have been on a roll since their 2013 release To Beast or Not to Beast, constantly producing high-end material for the undead masses. Could it be the charming spell Hella put on Lordi when she joined the band back in 2012? Or has Mr. Lordi found a special full moon that fully recharges his monster power endlessly? Either way, it looks like it will need a lot more than just garlic, silver bullets, sunlight and any other known weapon to kill the music by this iconic herd of rockin’ monsters from Finland.
Best moments of the album: Down with the Devil, Demonarchy, And the Zombie Says and The Night the Monsters Died.
Worst moments of the album:The Unholy Gathering.
Released in 2016 AFM Records
Track listing 1. SCG8: One Message Waiting 1:10
2. Let’s Go Slaughter He-Man (I Wanna Be the Beast-Man in the Masters of the Universe) 4:30
3. Hug You Hardcore 3:40
4. Down with the Devil 4:29
5. Mary Is Dead 4:37
6. Sick Flick 4:00
7. None for One 4:15
8. SCG VIII: Opening Scene 1:22
9. Demonarchy 6:01
10. The Unholy Gathering 5:09
11. Heaven Sent Hell on Earth 5:43
12. And the Zombie Says 6:23
13. Break of Dawn 5:47
14. The Night the Monsters Died 7:13
Band members Mr. Lordi – vocals
Amen – guitars
OX – bass
Hella – keyboards
Mana – drums
If you can move your neck, feel your back, walk and breathe normally, that means you didn’t attend the pulverizing performance by French icons Gojira this Friday at the neat and well-located Metropolis in Montreal, Quebec. Who cares if it was only 8 degrees outside and raining nonstop? It was a night of heavy music played to perfection, which means no weather could stop us metallers from leaving our places and head to the venue to bang our fuckin’ heads to the most important metal band in the history of France. Very few times I’ve seen such flawless interaction between band and crowd, a night that will forever be kept inside our hearts and remembered as the night Gojira beautifully conquered “La Métropole du Québec”.
Before we get to the Armageddon generated by Gojira, let’s talk about the opening act, British Progressive Metal/Rock band TESSERACT. Founded in 2003 and having released three full length albums and a few EP’s, including the 2016 EP Errai, The band formed by the talented musicians Daniel Tompkins, Acle Kahney, James Monteith, Amos Williams and Jay Postones provided the fans at the venue a very professional and technical performance, but that didn’t mean it was exciting. Quite the contrary, their whole concert felt like one endless 45-minute song so tiresome it was. I honestly couldn’t tell the difference between songs, and I was about to fall asleep after just a few minutes. Well, there were many fans that had a good time during their concert, but for fans of old school stuff like Slayer, Pantera and Anthrax, for example, the concert never really clicked. They are all awesome musicians, especially Amos with his brutal and thunderous bass sounds, but overall they sound like a less metallic version of the latest (boring) album by Dream Theater. If you enjoyed the concert that’s fine, I respect it, but we must admit there were tons of other better choices to warm up the crowd for the main attraction of the night.
Setlist
Phoenix
Concealing Fate, Part 2: Deception
Concealing Fate, Part 3: The Impossible
Of Matter – Proxy
Of Matter – Retrospect
Dystopia
Survival
Of Mind – Nocturne
Band members Daniel Tompkins – vocals
Acle Kahney – guitar
James Monteith – guitar
Amos Williams – bass
Jay Postones – drums
After TesseracT was over I was feeling so bored I chugged a beer to see if that would wake me up, but I didn’t realize that wasn’t necessary because when GOJIRA started, they needed less than a second to make my blood boil again with excitement. I’m pretty sure they are considered the active volcano of their hometown Bayonne in France, in special after the release of the marvelous Magma earlier this year. When the heavier-than-hell Only Pain kicked off the concert, that’s exactly what every single person present on the floor section felt: a lot of pain in their entire bodies caused by the demented circle pits that started right at the first notes played by Gojira, and that madness didn’t stop until the very end of the night.
After that spine-crushing beginning, Gojira showed no mercy for our souls and blasted three songs made in the depths of hell aiming at destroying our necks, the amazing The Heaviest Matter of the Universe (obviously played by one of the heaviest bands on the entire planet), and their two newborn classics Silvera and Stranded. Yes, they played those three in a row for our total delectation. Not that after that it wasn’t heavy, because they only played brutal material, as for example the bestial Backbone, but that initial sequence was memorable. The only moment of peace was during Terra Inc., but that didn’t last long because Wisdom Comes came crushing our souls like there was no tomorrow. There were beer flying all over the places, fists and horns in the air, pure anarchy and tons of screaming and headbanging. I was just sweating like a wild boar, with my Pantera T-shirt, my pants and even my underwear soaking wet with my own sweat, with many other people’s sweat and with a considerable amount of beer.
I really don’t know what to say about the rest of their setlist as everything was superb, like for instance the demonic Oroborus and Vacuity. Perhaps the moment where the connection between band and fans reached its peak was during the stunning circle pit generated by the melancholic hymn Pray, a song you don’t usually expect to see that type of aggressiveness coming from the crowd. Or maybe it was when bassist Jean-Michel Labadie threw himself into the crowd in wat can be called an “enhanced stage-diving” as he was still holding (and playing) his low-tuned ax? Anyway, brothers Joe and Mario Duplantier, as well as Jean and guitarist Christian Andreu, were absolutely flawless with their instruments, captivating everyone with their powerful performances during the entire concert. Furthermore, Mario’s drum solo even made me forget how boring drum solos usually are, just for you to have an idea of how good he was.
Well, it’s already Sunday night, I’m back to Toronto and my neck still hurts to the point I have to move around like the old Robocop from the 80’s, but it’s that kind of pain we all love to endure after such an incredible concert of first-class heavy music. I might be getting old for the level of devastation brought forth by Gojira in Montreal, but you know what? The day I cannot get into a pulverizing mosh pit like that, the day I don’t consider the pain in my body caused by a Heavy Metal concert a good thing, I’ll call it a day. Merci beaucoup pour cette nuit incroyable, Gojira! À bientôt, j’espère!
Setlist Only Pain
The Heaviest Matter of the Universe
Silvera
Stranded
Flying Whales
The Cell
Backbone
Terra Inc.
Wisdom Comes
Drum Solo
The Shooting Star
Toxic Garbage Island
Pray
Encore: Clone
Oroborus
Vacuity
Band members Joe Duplantier – vocals, guitar
Christian Andreu – guitar
Jean-Michel Labadie – bass
Mario Duplantier – drums
Delivering chaos, sex and blasphemy for over 20 years, one of the most prominent bands from the underground Japanese scene strikes back with more of their libertine and devilish music.
Whenever the name “Abigail” is enunciated, your mind probably takes you to Denmark, home of one of the most iconic metallers of all time, the one and only King Diamond. However, if you travel further east, more specifically to Japan, the Land of the Rising Sun, you’ll face a high-octane fusion of Black, Thrash and Heavy Metal from the 80’s with a libidinous twist through the music by an uncompromising power trio known as Abigail, who have recently released their fifth studio album, titled The Final Damnation, highly recommended for fans of bands like Venom, Bulldozer and Carnivore who also nurture a profound admiration for topics such as war, alcohol, partying, depravity and bitches.
Abigail, who have dubbed themselves as “The Most Evil Band in Japan”, was formed in 1992 in the city of Tokyo, Japan by Yasuyuki Suzuki, a talented multi-instrumentalist and one of the most important names in the underground extreme music scene in Japan, having played with bands such as Cut Throat, Barbatos, Tiger Junkies and the iconic Sigh, from our beloved metal chick Dr. Mikannibal. Their musicality might have shifted a bit from their earliest raw Black Metal to a more complex degree of Speed Metal mixed with Street Punk (a mixture classified by the band as “Street Metal”), also increasing the level of debauchery and blasphemy in their lyrics. With The Final Damnation, which features an obscure artwork by French artist Christophe Moyen, the band has considerably increased the dosage of Black Metal in their music, going back to their roots without losing their current thrashy attitude and electricity.
Frantic guitars and drums with a strong melody supporting them set the tone for the berserk title-track The Final Damnation, before Yasuyuki begins firing his inebriate gnarls. In essence, it’s music to drink and fight, exactly what the band wants you to do, boosted by all old school guitar solos Noboru “Jero” Sakuma delivers throughout the whole song. Blasphemy Night is insanity in the form of music, a bestial marriage between Black and Thrash Metal with nuances of Hardcore and Punk Rock where Yasuyuki sounds truly demonic on vocals while drummer Youhei shows no mercy for mankind, obviously commanding us all to slam into the fuckin’ pit, followed by a massacre titled Whisky Coke and Bitch. I guess nothing needs to be said about the name of the song, right? Anyway, Jero continues delivering his traditional solos in this less obscure chant, strongly inspired by the rebellious Punk Rock played by bands such as The Exploited and Black Flag.
In spite of its slower-than-usual start, the deranged composition Sex & Metal (another song with a “cute” name) is sheer devastation throughout its almost 6 minutes, with Yasuyuki and his henchmen smashing everyone who dares to cross their path, also exhibiting more of their insane high-speed guitar solos. And the gates are opened by Abigail’s infernal composition straightforwardly named Open the Gates of Hell, displaying a sonority highly inspired by Thrash Metal from the 80’s with an eccentric Japanese touch. In addition, the bass guitar by Yasuyuki sounds amazingly brutal in this hurricane of disturbing metal. Blazing guitar lines ignite the thrashy composition No Pain! No Limit!, showcasing backing vocals a la traditional Punk Rock while Youhei delivers precisely what we all want in this type of music by pounding his drums like a wild beast during the entire song.
The pulverizing hymn Sweet Baby Metal Sluts doesn’t only have another gentle name, but the screeching gnarls by Yasuyuki will torment your mind while the band keeps discharging their libidinous music through your ears, with Jero continuing his feast of demented solos. And closing the album, how about 7 minutes of total anarchy? That’s what you’ll get in Holocaust by Evil with its Slayer-like guitars and extreme aggressiveness. Youhei pays his personal tribute to Thrash and Black Metal, and although there’s a melodic break influenced by traditional Heavy Metal after around two minutes, Abigail had to obviously finish off the album like a steamroller from hell with their lunatic musicality. Before all is said and done, Yasuyuki fires some final grasps from the depths of hell to give the whole song a more macabre touch.
As aforementioned, if you truly consider Heavy Metal, sex, alcohol and blasphemy as the most important things in your life (and you should), the music by Abigail will definitely be the perfect soundtrack for your metallic and carnal adventures. And in case you want to show your support for those Japanese metallers, go grab your copy of The Final Damnation at the Nuclear War Now! Productions’ BandCamp or at their webstore as a CD, a regular LP or as a “die hard” LP, or at Abigail’s official webstore. Abigail have been on fire since their inception almost 20 years ago, and The Final Damnation is just another proof this defiant troop from Tokyo is far from calling it a day.
Best moments of the album: Blasphemy Night, Sex & Metal and Open the Gates of Hell.
Worst moments of the album: None.
Released in 2016 Nuclear War Now! Productions
Track listing 1. The Final Damnation 4:32
2. Blasphemy Night 3:55
3. Whisky Coke and Bitch 4:50
4. Sex & Metal 5:50
5. Open the Gates of Hell 3:57
6. No Pain! No Limit! 3:04
7. Sweet Baby Metal Sluts 3:22
8. Holocaust by Evil 7:08
Band members Yasuyuki Suzuki – vocals, bass
Noboru “Jero” Sakuma – guitars
Youhei – drums
One of the most important bands from the contemporary Ukrainian Metal scene returns with a full-bodied album that will definitely put you to dance, love, drink a beer and bang your head, if not all at the same time.
If there’s one very special band that proudly raises the flag of Ukrainian Metal as high as the sun, always delivering amazing music to our ears with a high level of professionalism, commitment and dexterity, it’s Symphonic/Progressive Power Metal Majesty Of Revival, and in case you know nothing about them, I highly recommend you go after all their discography as it’s definitely worth a shot. And if you need more than just these few words to convince you of how good this band is, simply take a listen at their brand new album, entitled Dualism, and you’ll certainly get hooked on their melodious and electrifying music.
Formed in the fall of 2009 by lead singer and guitarist Dimitriy Pavlovskiy in Uzghorod, a city located in western Ukraine, at the border with Slovakia and near the border with Hungary, Majesty Of Revival have already built a respectable career not only in their home country but also in important markets such as Japan, despite all the lineup changes since their inception. After releasing their debut EP Meaning of Life (2011), the full-length albums Through Reality (2012) and Iron Gods (2012) and another EP named Netherworld (2014), the band took a break from the outside world to focus on the studio work to give birth to Dualism, experimenting with different sounds and styles in order to provide their fans a unique experience in heavy music.
An avalanche of groove and heaviness will hit you from the very first thunderous notes by bassist Tom Penzel in the opening track, titled Deadlock, where it’s interesting to note how Dimitriy can easily go from deep harsh growls to very melodic vocal lines, not to mention how progressive guitars and drums sound, helping to keep this 6-minute composition exciting in its entirety. More metallic and aggressive in spite of the smooth keyboards by Vladimir Yakubovskiy, Awaken brings forward a good balance between guttural vocals and piercing riffs with serene and progressive passages, an amazing tune that will certainly pump up the fans when played live; followed by the sensational and classy Van Halen-inspired Hard Rock chant Alive, with highlights to the precise drumming by Vasiliy Irzhak and to its lyrics about our struggles in life (“All the changes occur when you least expect / And you never know who’s in charge / They come after you, if you fight, then you shoot / Or then you escape – take the last parachute”).
In Inner Dimension the band gets back to brutal and complex Power Metal, with the song’s background keyboards creating an amazing aura nicely complemented by the blazing riffs by Dimitriy, reminding me of old school Dream Theater (especially the guitar solos and all tempo changes). Then we have one of the heaviest of all tracks and consequently one of my favorites, the powerful Darkest, showcasing hints of Pantera in its riffs, an epic vibe led by the nonstop beats by Vasiliy, and lyrics as dark as the music demands (“Darkest fears disappearing with fading dreams / Full of griefs, thru the field of blackhearts / Forgotten truth has been replaced by lies / That destroyed belief for us all”); and Failure, where Rock N’ Roll and Heavy Metal are beautifully united once again. The bass guitar by Tom Penzel sounds like a hammer so heavy it is, adding tons of groove to the musicality and, therefore, turning it into a recommended choice for some good headbanging.
The intro for the power ballad Days seems slightly inspired by Metallica’s classic “One”, suddenly turning into contemporary and progressive Heavy Metal with the symphonic elements in the background increasing the song’s liveliness as well as its soulful guitar solos, whereas Wolfheart feels like listening to Sonata Arctica, including the song’s name and lyrics (“You have the wolfheart / You should free it once / Through the whole pain you have to believe / Release your hopes from the darkest fears / Don’t deny thy destiny / You are the knight of your own life / Cherish thy braveness, honor and love / With the obeisance you have to fight – sword in your hands, high above / You have the wolfheart”). It’s a good composition with beautiful guitar lines and solos, but too smooth at times compared to the overall potency of the album. Tongue gets back to a Symphonic Power Metal vibe with modern elements of Alternative Metal added to it, all without losing its core essence and boosted the the harsh vocals by Dimitriy. In addition, pay good attention to the interesting battle between Dimitriy and Vladimir with their guitar and keyboard solos. And presenting a sonority similar to classic bands like Stratovarius and Sonata Arctica, the very traditional tune Perfection offers nonstop drums and epic vocal lines that will surely accelerate the beat of your heart.
When the band slows down the crazy rhythm of ther music, we’re treated to a medieval power ballad named When the Night Embrace, with the passionate vocal performance by Dimitriy being flawlessly supported by the song’s inspiring atmosphere, becoming a perfect choice for singing along with the band during their live performances. The Hard Rock riffs by Dimitriy and the epic keyboards by Vladimir complement each other in the kick-ass metal tune Serenity, tailored for banging our heads nonstop while Vasiliy keeps hitting his drums as heavy as possible, not to mention the spot-on hints of Industrial Metal added to the vocal lines. As we get close to the end of Dualism, Majesty Of Revival fire the title-track Dualism, more progressive than most tracks of the album due to all its tempo changes and intricate beats and riffs. However, heaviness is still present in the musicality thanks to the deep growls by Dimitriy, feeling almost like a Metal Opera so imposing it is. And the Dream Theater-inspired ballad Same Blood closes the album on a high note, in special due to the superb keyboards by Vladimir and the song’s melancholic and gentle rhythm.
The progressive and symphonic universe crafted by Majesty Of Revival can be better appreciated through their Facebook, VKontakte and YouTube, and the excellency of Dualism can be purchased through their BandCamp page (where you will find some interesting options including bonus tracks and combos with T-shirts), as well as on iTunes and on Amazon. Featuring a modern and fresh artwork by Tomi Fanta, which was probably inspired by the duality found in poker cards, Dualism will instantly put you to dance, love, drink a beer and bang your head, if not all at the same time. In other words, everything we search for in high-quality Heavy Metal music.
Best moments of the album: Awaken, Alive, Darkest, When the Night Embrace and Serenity.
Worst moments of the album:Wolfheart.
Released in 2016 Massive Sound Recordings
Track listing
1. Deadlock 6:56
2. Awaken 6:14
3. Alive 4:13
4. Inner Dimension 6:14
5. Darkest 4:04
6. Failure 4:33
7. Days 6:00
8. Wolfheart 4:37
9. Tongue 5:26
10. Perfection 3:26
11. When the Night Embrace 4:56
12. Serenity 4:53
13. Dualism 5:06
14. Same Blood 4:50
Band members Dimitriy Pavlovskiy – vocals, guitars
Tom Penzel – bass
Vladimir Yakubovskiy – keyboards
Vasiliy Irzhak – drums
Guest musicians Marat Adiev – keyboards
Nelly Hanael – backing vocals
Ivan Kraynyay – bass
David Sánchez – harp, strings
Ladies and Gentlemen, children of all ages… Step right up and get your tickets to the greatest show on earth!
Love them or hate them, we all must admit that the two female metallers chosen to celebrate the third anniversary of The Headbanging Moose have a strong influence on contemporary Heavy Metal due to their unique (and aggressive) attitude, which obviously includes their sexy looks and fiery and chaotic music. They deal with their sexuality more naturally than we prepare a simple orange juice, and although some people might consider their work futile or even too obscene, let’s not forget that heavy music is above all things a form of art where artists can freely express their thoughts, ideals and beliefs through their compositions and, in many cases like for example in Black Metal, through their image. Besides, their music is a billion times better than anything Lady Gaga does, a woman who calls herself a true metal fan but in reality keeps playing second-class meaningless pop stuff. With that said, let’s raise our horns to frontwomen Heidi Shepherd and Carla Harvey, the dynamic duo responsible for the amusing blend of violence and rebelliousness bred by American Metalcore/Groove Metal band Butcher Babies.
Before we talk about each “butcher baby” in more details, let me provide you a short and sweet overview of this Alternative Metal band from Los Angeles, California in case you have never heard of them in your life. Formed in 2010, Butcher Babies probably have one of the most solid lineups in the history of heavy music despite being just a few years old. Apart from Heidi and Carla, the band is also made up by guitarist Henry Flury, bassist Jason Klein and drummer Chris Warner, all still playing together since the band’s inception and, based on how healthy their relationship is, that’s the way things are going to be for many years to come. The name of the band came from the song Butcher Baby by American Punk Rock band Plasmatics, spearheaded by the iconic singer, songwriter and actress Wendy O. Williams. Both Heidi and Carla acknowledge how important Wendy O. Williams was (and still is) for the increasing acceptance of women in heavy music, which is one of the reasons why they wear such eccentric attire during their live performances including wearing nothing but black tape over their nipples (albeit they’ve ditched it in recent years).
Enough said already, now it’s all about the girls. Let’s begin with the sometimes blonde, sometimes red-headed hurricane Heidi Shepherd, the woman accountable for the high-pitched screams and growls for Butcher Babies. Born on April 17, 1985 in Utah, United States, Heidi is more than “just” a metal singer, being also a radio DJ, actress and casting director best known for the 2008 thriller Animals and the TV series MANswers, as well as minor parts and uncredited appearances in different shows such as My Name Is Earl, Ghots Whisperer and CSI: NY.
Heidi, who by the way is the oldest of 6 kids, grew up in Provo, Utah, the third largest city in the state and located around 43 miles south of Salt Lake City, where she attended Provo High School, graduating in 2003. Still in high school, believe it or not Heidi was an accomplished track and field athlete, even traveling to Russia to participate in the Junior Olympics. She also graduated from Southern Utah University, where once again she showcased all her athleticism participating in competitions such as high jump and long jump. Also, as a girl raised in the Mormon religion, Heidi has a very interesting view of the concept of Heaven and Hell, stating those are things the human being made up to make ourselves feel comfortable about the afterlife, something to give people a purpose and life goals.
In regards to her passion for music and how it helped her become a better person, our unrestrained vocalist said music was basically the only thing she could relate to in her childhood, having as her personal heroes distinct names such as Slipknot, Wendy O. Williams, Gwen Stefani and Joan Jett, most of them being females that defy the male dominance in music as you can see. However, it’s Slipknot, a top to bottom male band, who had the strongest influence on her vocal style and stage performance, saying when she saw a picture of them for the first time (she was around 12 or 13 only) it really scared her but intrigued her at the same time. Once a girl who developed an intense fear of the dark, Heidi learned to embrace fear and use it in her creative process through the years, something we can definitely connect to what Slipknot aim with their unique approach.
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If you think she’s a party girl who doesn’t sleep at all and drinks every alcoholic beverage in sight, you’re absolutely wrong. Well, of course she always has her share of fun, but Heidi mentioned already in different interviews that if she doesn’t get enough sleep every night her live performances suffer a truly negative impact. On top of that, Heidi said that despite loving whiskey she can’t drink it on the road anymore, as the effect of the alcohol hurts her vocal chords, so she saves it for when she gets back home. If you’re a singer I’m sure you can relate to that, because you can be tired and drunk and still play a guitar, for example, but the impact alcohol can have on your vocals can be devastating without any doubt.
Lastly, as a lover of horror flicks and a believer of supernatural and paranormal forces, which in my opinion is an excellent source of inspiration for the type of music played by Butcher Babies, Heidi mentioned that among her favorite recent movies we can find titles like the new Evil Dead, V/H/S and V/H/S/2, You’re Next and The Purge, all pretty decent films with interesting storylines, don’t you think? And who knows, maybe it’s time for a slasher movie with a main female character named “Heidi the Butcher”, who not only chops and dismembers her victims, but does that screaming like a maniac while listening to some vicious heavy music. Or maybe it should be a sanguinary duo of Heidi and Carla? Read the rest of this essay and take your own conclusions.
“There’s no reason why girls can’t get up there and rock just as hard as, if not harder than, the boys. And I’m so happy to say that I’m seeing a movement.” – Heidi Shepherd
CARLA HARVEY
Of course Butcher Babies wouldn’t be complete without the charisma of the daredevil vocalist, author and actress Carla Harvey. Born on October 4, 1976 in Detroit, Michigan, United States, Carla is what we can call a very successful “experiment” as she is of Ethiopian, Finnish, Irish and Italian background, and her contribution to Butcher Babies comes in the form of hellish growls deeper than the screams by Heidi, endless energy on stage and some of the weirdest faces you can think of. Put differently, when Carla is performing with the band, she becomes a true female demon like Lilith, for example.
Carla attended Glenn Levey Middle School in Southfield, Michigan, before going to Mercy High School (an all-girl private Catholic school) and Harrison High School, both in Farmington Hills, Michigan. Her first job in Hollywood was as an Entertainment Reporter for the Playboy Channel, also taking part in several movies such as Frankenstein vs. the Creature from Blood Cove (2005), Happy in the Valley (2009) and Dry Run (2010), and other TV shows like Root of All Evil, Sex Chronicles and, just like her partner Heidi, MANswers. In addition, she took a break from the entertainment world to earn a degree in Mortuary Science from Cypress College in California, and worked as an embalmer and funeral director before forming Butcher Babies.
Our raven-haired (with some blue nuances) brawler said she’s been into music since she was a little kid, playing instruments like guitar and bass but always knowing she was born to be a singer. Her first appearance in a band happened when she was around 17 years old, but it wasn’t until Butcher Babies were born that she reached true stardom. Among her main influences, we can find kick-ass names like Slayer and Slipknot, with Slash and Jimi Hendrix being her personal heroes especially due to their roots. As a biracial girl growing in Detroit, seeing musicians that were also of African-American descent playing the music she loved was essential for her to keep pursuing her dreams and overcoming the odds imposed by society on her. Another huge influence on her vocal style and onstage performance in the one and only Phil Anselmo, the iconic frontman from Pantera and Down, who she has admired since she was a kid, highlighting how humble and easy-going he is as a person after finally being able to meet him on the road.
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Heavily influenced by horror movies such as The Texas Chain Saw Massacre, House of 1000 Corpses and The Devil’s Rejects (these two directed by another one of her idols, Rob Zombie), Carla is also passionate about writing, drawing and reading comic books since she was a kid, something that helped her cope with loneliness as an introverted child, and from that fusion of horror flicks, comics and Heavy Metal she became a “comic book mastermind” according to Hustler Magazine. Her first comic book, entitled Butcher Babies (illustrated by Anthony Winn from Deepcut Productions), was released at the San Diego Comic-Con in 2011, followed by her first full-length novel Death and Other Dances in 2014, and more recently the comic series Soul Sucka, the story about an African-American vampire, in 2015. Carla is always drawing “naked girls” and other stuff, and if you’re interested in taking a look at her work you can visit her Big Cartel page.
And finally, just like what was written about Heidi in terms of drinking and partying while on tour, Carla also said drinking lots of water and hot tea is what truly helps keep her vocal chords moist, together with the obvious and necessary amount of sleep per night. However, she mentioned she also enjoys drinking Jägermeister as it coats her throat rather than drying it out. Although I’m a beer guy, I’m an admirer of Jäger too and I understand perfectly what she’s trying to say about the effect of this exquisite German digestif on your throat. If your job requires you to cut off alcohol, all you have to do is improvise and find other alternatives. And it looks like being creative and always trying new stuff doesn’t scare our roaring metal babe at all.
“I wish, some day people stop using the female fronted this, female fronted that, because it always takes the focus away from the band itself, because you know, we are all just Heavy Metal bands, we are all doing the same thing.” – Carla Harvey
A magnificent lecture in Heavy Metal by four high-skilled electrified beasts who need absolutely no introduction.
Some people call American Heavy Metal band Charred Walls Of The Damned a “supergroup”, but in my opinion they’re a lot more than that. Formed in 2009 by the immensely talented drummer Richard Christy (Death, Control Denied, Iced Earth) after a five-year absence from the metal scene since leaving Iced Earth and joining The Howard Stern Show in 2004, and having the one and only Tim “Ripper” Owens (Judas Priest, Iced Earth, Beyond Fear, Winter’s Bane, Dio Disciples) on vocals, Jason Suecof (special guest musician and producer for Death Angel, Trivium, Kataklysm, Chimaira, DevilDriver and tons of other amazing bands) on guitar, and Steve Digiorgio (Testament, Control Denied, Death, Iced Earth, Sebastian Bach) on bass, Charred Walls Of The Damned go beyond the boundaries of almost all known “supergroups”, being an already established named in the world of heavy music and always delivering first-class material to metalheads all over the world.
If you have never heard their first two releases (their self-titled masterpiece Charred Walls of the Damned, from 2010, and Cold Winds on Timeless Days, from 2011), don’t waste any more time and go after them because those albums are definitely worth a shot, especially for fans of a high level intricacy together with sheer heaviness in music. And now, after almost five years waiting for more of the vigorous music by Charred Walls Of The Damned, Mr. Christy and his henchmen are finally back with another lecture in Heavy Metal entitled Creatures Watching Over the Dead, the third installment (all of them with beautiful names, by the way) by this band that’s a synonym to classy Heavy Metal and, unarguably, one of the best supergroups of all time, if not the best as they are for this guy that writes to you right now.
As soon as the serene intro in the opening track My Eyes explodes into pure Heavy Metal, Ripper’s voice starts penetrating deep inside your mind while the flawless beats by Richard crush your soul, proving how incredible this duo always sounds. We’re treated to the right amount of complexity and progressiveness in this outstanding composition, and don’t forget to check Richard’s drum demonstration for this song as it’s simply awesome. The Soulless, the first single of the album, has everything we love in traditional Heavy Metal. Fast and blazing guitars, a perfect drumming, rumbling bass lines and Ripper’s screams soaring as high as the sun make this demolishing fusion of Death, Thrash and modern Heavy Metal a newborn metallic classic, with its acid lyrics criticizing what’s happening with many of us in our modern but extremely toxic society (“I see you tripping into this electric world / As your brain melts into glass / Thoughts focusing upon a dark screen of deceit / A life that’s paid in full and wallowing in grief / Stepping through the mindless threshold / Now amongst the soulless”). Moreover, I have no words to say how good the guitar solo by Mr. Suecof is, it really gives me goosebumps every single time I listen to it.
It’s time to enjoy the acoustic lines by Jason and the smoother-than-usual vocals by Ripper before their demonic side arises in the dark power ballad Afterlife, presenting a dense musicality where the thunderous bass by Steve perfectly complements the crisp beats by Richard; followed by the best song of the album in my humble opinion, As I Catch My Breath. Gripping, groovy, atmospheric, powerful and inspiring are only a few adjectives we can use to describe it, with all four band members having outstanding performances showcasing all their skills in this classy hymn. Furthermore, it’s quite impossible not to sing the chorus along with Ripper and the guys, unless you’re absolutely not into metal music, of course. Slightly similar to the musicality from “Afterlife”, Lies brings forward a solid and potent sounding with hints of Power Metal, enhancing the epic vibe of the song. It’s another tune tailored for Ripper to shine with his enraged vocals, also presenting a soulful guitar solo by Jason that puts a beautiful end to such an awesome composition.
Do you like what Ripper did with Judas Priest and Beyond Fear? If your answer is yes, Reach into the Light will put a humongous smile on your face. Its rhythmic drumming and cutting riffs provide Ripper exactly what he needs to fire his old school high-pitched screams, with all breaks and variations adding more flavor to this bestial composition by this incredible quartet. It truly amuses me how they can sound extremely aggressive and very harmonious at the same time, which is the case in another one of my favorites, Tear Me Down, displaying some electrifying vocals and guitar lines while Richard continues to impress on drums. Put differently, they get the best elements from their musical backgrounds and careers, and easily transform that interesting mixture into high-end metal music.
I personally recommend Living in the Shadow of Yesterday for your road trip playlist due to its pleasant rhythm, not to mention how good the crystal clear sound of drums is, as well as the song’s mighty bass lines. In addition, despite minimal, the song’s backing vocals end up working extremely well, and I guess I don’t need to say how tuneful all riffs and solos by Jason sound. Finally, the last sonic strike by Charred Walls Of The Damned, Time Has Passed, is a lesson in bass guitar by Steve. His instrument sounds insanely heavy, slapping the listener in the face pretty hard with each note played, which only gets better when accompanied by Richard’s groovy and furious beats and fills. When the song was over after my first listen to the album, it left me craving more Charred Walls Of The Damned. Well, it’s just a matter of going back to the beginning of the album and savor all songs again and again (something I’ve been doing nonstop since the album’s official launch).
Although there are no live dates scheduled yet for Charred Walls Of The Damned, I’m certain a tour to promote Creatures Watching Over the Dead will happen soon, and I truly hope they add a few Canadian dates to that. When that happens, you might notice Jason and Steve won’t probably join Richard and Ripper due to their other duties, but that’s not a big deal as the live musicians for the band include the also awesome Dennis Hayes (bass) and John Comprix (guitar) from Beyond Fear, as well as Matt Sorg (guitar) from Shed the Skin (check the review for their kick-ass debut album Harrowing Faith by clicking HERE). While we wait for a Creatures Watching Over the Dead tour, you can enjoy the entire album at the Howard Stern’s official website, and obviously purchase your favorite version of it at the Metal Blade Records’ website. More than just a metal album, Creatures Watching Over the Dead is a magnificent lecture in Heavy Metal by four high-skilled electrified musicians who need absolutely no introduction if you live and breathe heavy music.
Best moments of the album: The Soulless, As I Catch My Breath, Reach into the Light and Tear Me Down.
Worst moments of the album: None.
Released in 2016 Metal Blade Records
Track listing 1. My Eyes 4:30
2. The Soulless 4:03
3. Afterlife 2:53
4. As I Catch My Breath 5:03
5. Lies 3:31
6. Reach into the Light 2:39
7. Tear Me Down 3:50
8. Living in the Shadow of Yesterday 3:36
9. Time Has Passed 3:16
Band members Tim “Ripper” Owens – vocals
Jason Suecof – guitar
Steve Digiorgio – bass
Richard Christy – drums
Welcome to Metachthonia, the electric and modern world crafted by an amazing Folk and Melodic Black Metal band from Canada.
Metachthonia: (meh-tah-KTHOH-nee-ah) n. [< A.Grk meta- ‘after’ + chthoni- (stem of chthon ‘earth’ + -ios adj. suffix) + -a;] 1. the epoch after the age of the earth; this current electric age.
Dear metalheads from all over the world, welcome to Metachthonia, the brand new concept album by Canadian Folk/Melodic Black Metal act Thrawsunblat. Metachthonia is ancient Greek for “the age after that of the Earth”, referring to today’s modern world where we find ourselves under fluorescent light more often than sunlight, and so yearn for the natural world. Firing a unique blend of Folk and Black Metal inspired by bands such as Amon Amarth, Borknagar and Ensiferum, being even labeled as “Folkened Black Metal”, this extremely talented band from the city of Fredericton, the capital of the province of New Brunswick, puts no limits to their creations, offering the listener an eccentric and fresh version of extreme music that will captivate you from start to finish.
Formed in 2009 by multi-instrumentalist Joel Violette (ex-guitarist for Woods of Ypres) as a side project together with David Gold, the lead singer and drummer for Woods of Ypres, and having released their debut album named Canada 2010 that same year, Thrawsunblat became Joel’s main band following David’s tragic death in December 2011 as a result of an automobile accident. In 2013, the band released their second album, entitled Thrawsunblat II: Wanderer on the Continent of Saplings, already featuring Brendan Hayter on bass and Rae Amitay on drums, as well as fiddler Jeff Mott (and obviously Joel), presenting a more complex side of their music. Now in Metachthonia (which by the way has each one of its songs divided in three parts as you can see HERE), not only Jeff and his fiddle were replaced by cellist Raphael Weinroth-Browne, but the band also decided to venture through darker paths, sounding more blackened than before and, therefore, more intense and thrilling.
The 11-minute hymn Fires That Light the Earth is a beautiful start to the album. Although the strong sound of the cello is very captivating, it’s when the music explodes into the “Folkened Black Metal” proposed by the band, with Rae setting fire to the music with his bestial beats while Joel is anger incarnate, that the journey truly takes off. In addition, the clean vocals add epicness to the musicality, with the guitar lines by Joel and the bass lines by Brendan creating an ocean of sounds and vibrations. When the smoother and more melodic She Who Names the Stars begins, Joel and his crew are waiting for the listener at Metachtonia with arms wide open (“All you, welcome to Metachthonia. / It’s like the rustle of leaf to ground against the industrial sound. / All you, welcome to Metachthonia. / It’s like the sun on your skin while the diodes draw you in.”), with the cello by Raphael providing a good balance with Rae’s furious drumming. The music flows flawlessly throughout the almost ten minutes of the song, arising all types of emotions until its harmonious ending.
In Dead of Winter, a short choir-like intro morphs into sheer madness, a Blackened Folk Metal feast where Joel and Rae steal the spotlight with their awesome harsh growls/clean vocals alternation and infernal beats, respectively. It’s interesting how they prepare the listener for the sudden eruptions of Extreme Metal, with acoustic folk sounds bursting into an avalanche of blackened music. Hypochthonic Remnants is more violent and visceral than all previous tracks, mainly due to the thunderous guitar lines by Joel, enhanced by the song’s endless progressiveness and the hints of traditional Heavy Metal and even Power Metal added to its main riff. Furthermore, its second part is a solid blend of the Folk Metal by Ensiferum with the darkened sonority of Borknagar and Old Man’s Child, which then flows into an melancholic acoustic ending.
Tribal drums ignite another obscure voyage of progressive folk music named Rivers of Underthought, the least violent of all songs where the unique sound of the cello by Raphael yet again adds a lot of beauty to the overall result. It’s a lot more inclined to the harmony of Folk and Pagan Metal than to the savagery of Extreme Metal, all embraced by a strong progressive ambience during the song’s almost nine minutes. And finally, In Mist We Walk kicks off in devastation mode, with the sound of the guitar by Joel together with the galloping bass lines by Brendan not leaving a single space empty in the music. Its second piece is pure high-octane Pagan Metal with atmospheric and acoustic passages, whereas its third part is made for enjoying the excellence of its lyrics (“I walk the banks of the stream of electric thought. / I cross to the warmth of where I once was. / I look down to see a sixfold flame in hand. / Sing me the dark songs of Chthonia. / Sing life immense in passion and pulse.”).
The fantastic concept of Metachthonia can be explored in more detail at the band’s official Facebook page, and if you want to provide your full support to such a distinct band you can purchase the album (which can be relished in its entirety HERE) at their BandCamp page. The electric and modern world of Metachthonia presented by Thrawsunblat might seem really dangerous at times, but we must admit it’s a lot easier to face any type of challenge or fear when the music behind it is as awesome as what’s found in this classy and multilayered album.
Best moments of the album: Fires That Light the Earth and Dead of Winter.
Worst moments of the album: None.
Released in 2016 Ignifera Records/Broken Limbs
Track listing 1. Fires That Light the Earth 11:01
2. She Who Names the Stars 9:33
3. Dead of Winter 9:50
4. Hypochthonic Remnants 8:32
5. Rivers of Underthought 8:56
6. In Mist We Walk 11:56
Band members Joel Violette – vocals, guitars
Brendan Hayter – bass
Raphael Weinroth-Browne – cello
Rae Amitay – drums, additional vocals on “Dead of Winter”
One of the most underrated bands from the heavy music scene in Germany returns with another solid lesson in Power Metal, perfect for banging our heads nonstop and raising our fists in the air.
Meine Damen und Herren, it’s my pleasure to inform you German Power Metal warriors Iron Savior have just released a brand new album, entitled Titancraft, the ninth in their underrated career and another extremely well-crafted collection of old school Heavy Metal hymns. Spearheaded by the skillful Piet Sielck on vocals and guitar, Iron Savior have managed to maintain the same lineup from their 2011 album The Landing and their 2014 kick-ass album Rise of the Hero, and we all know how good and productive it is to music whenever a band doesn’t suffer too many changes in regards to its members.
Instead of changes in their lineup, Iron Savior invested into increasing the reach of their music by simply adding the abilities of several guest musicians to the album. In Titancraft, fans will be able to enjoy the contributions by guitarist Jan Bertram (Paragon), singer Frank Beck (Gamma Ray), keyboardist and pianist Daniel “Danny Danger” Galmarini (Mercury Falling), and Philippa “Pippa” Sielck on backing vocals. Add to that the once again classic cover art by Colombian musician and illustrator Felipe Machado Franco, the same artist responsible for the artwork in The Landing and Rise of the Hero, and there you have an album that transpires Heavy Metal in all possible senses.
Rumbling bass lines, electronic effects and an eerie voice constitute the futuristic intro Under Siege, setting the tone for the title-track, Titancraft, an explosion of the purest form of Power Metal similar to what their countrymen from Gamma Ray usually do. I love when a band like Iron Savior can craft honest and exciting music even after so many years on the road, and although the vocals by Piet sound less aggressive than in their previous albums, that doesn’t mean they’re not awesome. After that solid start, we have the even more powerful Way of the Blade, a superb composition that lives up to the history of true Power Metal showcasing piercing guitar lines by Piet and Joachim “Piesel” Küstner and the thunderous bass by Jan-Sören Eckert, as well as Piet getting back to his beastly mode on vocals.
Seize the Day sounds happier than usual, which doesn’t mean the music is soft or bland despite being slightly below the rest of the album in terms of quality (let’s say that excessive happiness is also a bit tiring after a while); whereas Gunsmoke, with its lyrics inspired by the dangerous lives of gunmen in the Wild West (“And when all hope was gone / Judgement came to town / Seven guns / To shoot the outlaws down / Shoot ‘em down”), has that headbanging rhythm perfect for some air guitar. Furthermore, Thomas Nack is not only a fast drummer, but in this song he also shows his skills in a groovier form closer to classic Hard Rock. And in Beyond the Horizon, a classic Power Metal composition where backing vocals help Piet sound more powerful and epic, Danny Danger embellishes the musicality with his keyboard notes, working really well together with all guitar solos by Piet and Piesel.
The fantastic The Sun Won’t Rise in Hell is an ode to Heavy and Power Metal, blending the best elements from Gamma Ray, Manowar, Judas Priest and so on, with Piet and his crew delivering a potent and metallic hymn where all guitar riffs and solos sound cutting, which is always a good thing in heavy music; and if you love high-octane Power Metal, Strike Down the Tyranny is perfect for you. It’s quite similar to many old classics by Iron Savior, with highlights to the always competent Thomas behind his drums.
Although the average Brother in Arms brings the adrenaline down a bit due to its not-so-exciting rhythm, despite its decent lyrics (“Alone on the journey / Like so often before / My circuits are gleaming / In overload / And now I’m coming ashore”) and good guitar solo, everything gets back on track in I Surrender, an outstanding power ballad where you’ll start singing its catchy lyrics instantly, all enhanced by a beautiful guitar solo and the passionate vocal performance by Piet, making the overall result even more touching. In other words, this is an amazing example of how a band can sound mighty even when not playing at full speed. Finally, if you were born to be rebellious, you’ll have a good time listening to the straightforward Power Metal tune Rebellious and its electrified guitar passages and classic beats.
In summary, Iron Savior never disappoint, always displaying their profound passion for Power Metal through their classic tunes, and it couldn’t be different in Titancraft. By the way, If you’re a diehard fan of the band, you certainly need to purchase the limited edition of the album, containing a stamped tinplate (20×30 cm) with cover artwork, an Iron Savior metalpin, a personal sketch and notes from Piet Sielck himself, a handsigned autograph card and a certificate of authenticity. As you already know, this is true Power Metal crafted by another brilliant band from Germany, a country that has metal music running through its veins, and that’s all we need to bang our heads and raise our fists with a huge smile on our faces.
Best moments of the album: Titancraft, Way of the Blade, The Sun Won’t Rise in Hell and I Surrender.
Worst moments of the album:Seize the Day and Brother in Arms.
Released in 2016 AFM Records
Track listing 1. Under Siege (Intro) 0:58
2. Titancraft 5:21
3. Way of the Blade 3:57
4. Seize the Day 4:57
5. Gunsmoke 5:07
6. Beyond the Horizon 5:58
7. The Sun Won’t Rise in Hell 5:02
8. Strike Down the Tyranny 5:10
9. Brother in Arms 5:23
11. I Surrender 4:04
12. Rebellious 4:49
Japanese Edition bonus track 14. Assailant 2016 4:20
Band members
Piet Sielck – vocals, guitar
Joachim “Piesel” Küstner – guitar
Jan-Sören Eckert – bass guitar
Thomas Nack – drums
Guest musicians Jan Bertram – lead guitars on “R&R Addiction”
Philippa “Pippa” Sielck – backing vocals
Frank Beck – backing vocals, additional lead vocals on “Assailant 2016”
Daniel “Danny Danger” Galmarini – keyboards on “Beyond The Horizon”, “I Surrender” and “Brother In Arms”, piano on “I Surrender”
A top of the line Thrash Metal album by a passionate and all fired up quartet that wants to show the entire world Brazil has a lot more to offer than just samba and MPB.
When my good friend Jorge Diaz, host of the awesome Brazilian radio show Timão Metal, asked me if I wanted to write a review for Web Of Lies, the brand new album by Brazilian Thrash/Heavy Metal band Ancesttral, I obviously accepted the task right away. First and foremost, it’s always a pleasure to show the world that “terra brasilis” has a lot more to offer than just samba and MPB in regards to music. Furthermore, Jorge brought to my attention that two members of Ancesttral are huge supporters of our favorite soccer team (and obviously the team that inspired the creation of Timão Metal), the almighty Sport Club Corinthians Paulista. And do you want to know how Web Of Lies sounds? Well, let me tell you it’s goddamn good, just like scoring a beautiful and pivotal goal against your worst archenemies in a decisive soccer match.
Formed in 2003 in the city of São Paulo, Brazil, Ancesttral have been on an exciting upward spiral of success since the band’s inception, having already released an EP named Helleluiah in 2005, their debut full-length album The Famous Unknown in 2007, and more recently another EP entitled Bloodshed and Violence in 2012. Now in Web Of Lies not only the band’s old school influences the likes of Metallica, Anthrax, Pantera, Slayer and Testament continue to shine in their music, but there’s also the addition of modern elements from artists such as Godsmack, Disturbed and Rob Zombie, contributing to a fresher sounding while remaining loyal to our good old Thrash Metal, their biggest passion in life (together with Corinthians, of course).
There’s a lot of electricity flowing from the very first second in the opening track, the fantastic What Will You Do?, which sounds like an awesome fusion of Fight, Metallica and Anthrax. Even before lead singer and guitarist Alexandre Grunheidt (who’s by the way absolutely nuts for Corinthians) joins the music with his blazing vocals, lead guitarist Leonardo Brito already fires a flammable mini-solo as the band’s welcome card, leading up to a difficult question: can it get any better than this? The solid and sharp headbanging composition Massacre, inspired by the Carandiru massacre, one of the most hideous slaughters in Brazil’s history, answers that question with its endless aggressiveness and dark lyrics (enhanced by an enfuriated Alexandre on vocal), sounding like a hybrid between some of the classics by Fight and the heaviest tunes by Disturbed; followed by Threat to Society, more modern than the two previous tracks due to the additional elements from bands such as Godsmack and System Of A Down. Furthermore, drummer Denis Grunheidt blasts groovier-than-usual beats, providing the perfect atmosphere for Alexandre and Leonardo to bring forth also more contemporary riffs and solos.
Megadeth-like riffs by Leonardo and more tuneful growls by Alexandre are the main ingredients in the well-crafted chant (and a good choice for their live performances) named You Should Be Dead, where its backing vocals are very effective in increasing the song’s impact on the listener, whereas in the excellent Fight a somber intro led by the obscure bass sounding by Renato Canonico suddenly becomes a merciless neck-breaking tune, presenting elements from old school Thrash Metal as well as from Alternative Metal. Not only that, albeit the vocal lines get more melodious (and consequently less violent), Ancesttral do not give up their usual brutality, being driven in this case by their heavier than hell riffs. And in Nice Day to Die, a Speed Metal composition with hints of Alternative and Nu Metal, the band definitely puts the pedal to the metal in terms of pugnacity, in special the demented vocals by Alexandre (and all backing vocals as well) and the frantic drumming by Denis.
After such amazing devastation, it’s time to slow things down in Pathetic Little Liars, focusing on a darker sounding, something that could have been recorded by Metallica in any of their albums after the 90’s (except of course for the horrendous St. Anger). The only minor issue with this song is that, in my opinion, nothing changes in its four minutes, being quite repetitive after a while. Also groovy and as heavy as hell, Subhuman is another high-quality composition with highlights to the burning riffs and solos by Leonardo, its nonstop beats and an awesome Rob Zombie-inspired performance by Alexandre, all translating into modernized metal music tailored for old school metallers.
Then we have one of the most thrilling songs of the album, the title-track Web of Lies, another awesome tune where hints of the sonority by Disturbed become manifest one more time, showcasing how much Ancesttral looks into the future when composing their material, and despite being less thrashy than their customary sounding it’s still awesomely vibrant and resonant. Before the wondrous sonic extravaganza in Web Of Lies is over, Ancesttral show us what happens when Pantera meet Anthrax in the deranged Fire, where metallic riffs build the necessary ambience for Alexandre to spit fire through his incandescent vocals. In addition to that, I bet you’ll start screaming “FIRE!” together with the band while slamming into the pit to the sound of this belligerent tune, and that says it all when the music in question is Thrash Metal. As a bonus, What Will You Do? returns with the same punch as its original version, but this time with a special alternate solo by guest guitarist Rodrigo Flausino, concluding the album almost exactly like it started, which is evidently on a very high note.
The guys from Ancesttral are true workhorses, having invested a shitload of money, time and energy into the making of the album, and playing exhaustively everywhere in Brazil where first-class Heavy Metal is demanded. For instance, take a look at their outstanding performance at Manifesto Rock Bar, in São Paulo, on August 23, 2014 playing three of the new songs (“What Will You Do”, “Threat to Society” and “Web of Lies”) before they were even launched, and you’ll be able to notice how much they nurture a profound passion for all things metal. And in order to provide your honest support to this sensational Brazilian band, go check their Facebook, YouTube, ReverbNation and SoundCloud, and buy your copy of Web Of lies through their online store, the Shinigami Records’ webshop, CD Baby, iTunes, Amazon and many other locations. Just like Ancesttral do, simply respect your past, live the present, look into the future… E VAI CORINTHIANS!
Best moments of the album: What Will You Do?, Massacre, Fight and Web of Lies.
Worst moments of the album:Pathetic Little Liars.
Released in 2016 Shinigami Records
Track listing 1. What Will You Do? 5:23
2. Massacre 5:10
3. Threat to Society 3:52
4. You Should Be Dead 3:50
5. Fight 5:32
6. Nice Day to Die 2:38
7. Pathetic Little Liars 4:06
8. Subhuman 3:42
9. Web of Lies 3:14
10. Fire 2:52
11. What Will You Do? (Alternate Solo Version) 5:23
Band members Alexandre Grunheidt – vocals, guitars
Leonardo Brito – lead guitars
Renato Canonico – bass
Denis Grunheidt – drums
Guest musician Rodrigo Flausino – guitar solo on “What Will You Do? (Alternate Solo Version)”
Mixing several influences and musical styles, French Alternative Rock/Metal act Ways. might be exactly what you’re looking for in alternative music, offering a wide variety of genres in their compositions that will please fans of heavier groups such as Deftones, Marilyn Manson and Killswitch Engage, to radio-friendly bands like Foo Fighters. And that harmonious but still fierce fusion of styles can be easily witnessed in their debut EP entitled Watching From Afar, a six-track album that nicely summarizes what Ways. are capable of, their main influences and their goals with their music.
The title-track Watching From Afar is an instrumental track that’s more progressive and introspective than everything else in the album (and also the shortest of all songs), a nice display of dexterity by all band members leading up to the melancholic tune Something To Say…, where the groovy and smooth lines by session bassist Thomas Houche, together with the atmospheric riffs by Bruno and Nico, provide all the support for another passionate performance by Clément on vocals. Watching From Afar closes with Twenty First Sectuary, the heaviest and in my opinion the best composition of the album, getting closer to Melodic Death Metal without losing the harmony of Metalcore. Not only all guitar lines by Bruno and Nico sound amazing in this chant, but Tony also pounds his drums harder than in any other song of the album, translating into more electricity and consequently accrediting it to be one of the best options for the band’s live performances.
THE HEADBANGING MOOSE 