Tag Archives: heavy metal

Album Review – Titanium / Atomic Number 22 (2016)

Posted on by
Reply

This prosperous five-piece act from Poland brings to us all the strongest element in the world in the form of beautiful Melodic Power Metal.

Rating4

titanium_atomic-number-22In case you didn’t already know, titanium is a chemical element with symbol Ti and atomic number 22, recognized mainly for its high strength. However, since 2010 this metallic element has also been a very important part of the Polish Metal scene, being represented by the skillful Melodic Heavy/Power Metal squad Titanium who released this September their second full-length album, cleverly entitled Atomic Number 22. After listening to this high-end album, you’ll realize titanium is not only very strong, but also extremely melodious, invigorating and brisk.

Formed in late 2010 by Pathfinder guitarist Karol Mania in Ostrów Wielkopolski, a city located in central Poland, Titanium have been on a constant rise since their inception, having released an EP entitled We Come to Rock! in 2012 and their self-titled full-length album the following year.  Now in 2016, Atomic Number 22 not only cements Titanium as one of the most promising bands from Poland, but also sets a new era for the band with Ukrainian singer Konstantin Naumenko (from Kiev’s Power Metal band Sunrise) taking the microphone and elevating the strength and epicness of the band’s already powerful musicality.

You better be ready for the Heavy Metal battle ignited by the title-track, Atomic Number 22, with the flawless connection between guitars and keyboards reminding me of Scandinavian Metal bands such as Stratovarius and Battle Beast, not to mention its superb backing vocals supporting Konstantin in this upbeat hymn. In addition, I have to admit I honestly can’t think of lyrics that sound more metal than this (“Atomic number 22 the father and the thunder / We’re coming right for you / Atomic number 22 no compromise just metal / Titanium comes for you”). And there’s no time to breathe as Titanium keep firing pure Melodic Power Metal for us in World of Contradictions, where drummer Filip Gruca dictates the rhythm with his fast beats and fills while the band’s guitar duo comprised of Karol Mania and Jaroslav Bona delivers those traditional riffs and solos we all love in Power Metal. Slower but more melodic and thrilling, Torn Reality brings forward heavy guitar riffs inspired by Hard Rock from the 80’s mixed with contemporary Melodic Metal, with another spot-on performance by Konstantin and an interesting ending with smooth piano notes and a melancholic vibe.

Defusive Skies is pure Stratovarius and Sonata Arctica, overflowing harmony and being probably one of Filip’s favorite songs due to its speed, with Karol and Jaroslav sounding simply amazing with their intricate solos; followed by Time Is Out, where we’re treated to a feast of sheer Melodic Metal. Once again, Konstantin keeps amusing us with his potent high-pitched vocals while Karol and Jaroslav set fire to the music through their unstoppable guitars. One Single Night, another track highly inspired by Melodic Metal from Finland, showcases a pleasant melody with the heavier punch of Power Metal enhancing its electricity, whereas the headbanging tune Guardians of Might, featuring  guest singer Piet Sielck (kicking some serious ass as he always does with his marvelous band Iron Savior), is a very traditional composition that couldn’t sound more metallic, in special due to its inspiring chorus (“In our realm We are one / Like the blazing stars will shine forever / We’re the saviors, guardians of might / We deny the fate”).

titanium-2016Future of Mankind, the longest of all tracks, is a Melodic Power Metal extravaganza with a cheerful vibe and a great balance between the main vocals by Konstantin and all backing vocals. Moreover, the musicality never slows down, keeping the level of energy always at its peak in this lesson in melodious music for fans of the genre. The last song of the regular version of Atomic Number 22, titled The Way of the White Flag, is another explosion of Melodic Metal thanks to its fast-paced drumming and truly harmonious vocal lines. Furthermore, bassist Szymon Szydłowski delivers some rumbling uppercuts while both guitarists are absolutely on fire with their fantastic riffs and solos. In case you go for the Japanese edition of the album, you’ll be nicely rewarded with Titanium’s cover version for Eagleheart, one of the biggest classics by Melodic Metal heroes Stratovarius. Very different from the original version, the band managed to switch the original base of this metal hymn to their own musicality without losing the song’s uplifting essence.

Titanium are waiting for you at their Facebook page and YouTube channel, and you can put your hands on the strongest and most melodic element in the world of heavy music at Amazon (exclusively at their Japanese store) or also at Discogs. This beautiful display of Melodic Power Metal will enliven your toughest days without a shadow of a doubt, proving one more time the sensational effect high-quality heavy music always has on our hearts and souls.

Best moments of the album: Atomic Number 22, Torn Reality and Guardians of Might.

Worst moments of the album: None.

Released in 2016 Avalon/Marquee

Track listing
1. Atomic Number 22 5:50
2. World of Contradictions 4:45
3. Torn Reality 5:57
4. Defusive Skies 5:13
5. Time Is Out 4:00
6. One Single Night 5:37
7. Guardians of Might (feat. Piet Sielck) 4:50
8. Future of Mankind 8:52
9. The Way of the White Flag 4:01

Japanese Edition bonus track
10. Eagleheart (Stratovarius cover) 5:30

Band members
Konstantin Naumenko – vocals
Karol Mania – guitars
Jaroslav Bona – guitars
Szymon Szydłowski – bass
Filip Gruca – drums

Guest musician
Piet Sielck – additional vocals on “Guardians of Might”

Album Review – False Coda / Secrets and Sins (2016)

Posted on by
1

A lesson in progressiveness and feeling by a five-piece Greek band that brings forth a classy fusion of different musical styles, highly recommended for fans of top-of-the-line Heavy Metal.

Rating4

album-coverI think I’ve never faced a boring band from Greece to review here at The Headbanging Moose, and Greek Progressive Metal act False Coda is no exception to that. Formed in 2009 in Athens by brothers Andreas Milios (drums) and Vasilis “Bill” Milios (guitars), this five-piece band brings forth a marvelous fusion of genres and subgenres of heavy music, including Progressive Rock, Heavy Metal, Power Metal and Doom Metal, among many others, as well as other styles such as classical music, never getting tiresome or repetitive even playing songs that go on for over eight or nine minutes. Quite the opposite, it looks like the longer their compositions are, the more exciting they get.

However, it was only in 2014, after considerable lineup changes, that False Coda were able to release their debut album, entitled Closer to the Edge, which received excellent reviews from magazines and webzines from around the globe. And that positive feedback fueled those Greek metallers with confidence for more, culminating with the release this year of their brand new album Secrets and Sins, a lesson in progressiveness and feeling featuring Stefanos Zafeiropoulos as their new lead singer, a classy artwork by French artist Nihil, world-famous guitarist Jeff Loomis (Arch Enemy, Nevermore) with a special solo for one of the album songs, and of course an infinite amount of first-class heavy music.

An exotic and pleasant intro with elements from the East ignite the excellent Throne Of Blood, an upbeat heavy music composition with cutting guitar lines and a high dosage of complexity the likes of Dream Theater, with the keyboards by Lefteris Kapetanios sounding sharp and exciting throughout the whole song (and as you’ll see, throughout the whole album as well). Moral Compass brings forward more intricacy and metallic sounds to us fans of Progressive Metal, where Bill showcases all his abilities with his stringed weapon while the vocals by Stefanos remind me of both Matt Barlow and Stu Block (Iced Earth), adding an extra touch of violence to the overall result; whereas in New Paradigm a gentle intro flows into pure progressiveness, morphing into a song that could easily be played on any rock n’ roll station with highlights to the spot-on performances by Stefanos on vocals and Nick Pogkas with his groovy bass lines.

false-codaThe title-track Secrets and Sins couldn’t be more imposing and symphonic, a feast of tempo changes, beautiful solos and tons of heaviness flowing from all instruments, sounding as if Dream Theater merged with Iced Earth in the most effective way. Needless to say, it’s one of the best songs of the album, highly recommended for some good headbanging. Flickering Lights, despite having an amazing intro and some interesting moments (in special the solid riffs by Bill), is not as captivating as the rest of the album, sounding a bit generic compared to the other songs. And Monolith, perhaps the darkest of all songs, is also one of the most thrilling, with its dense ambience and the theatrical vocals by Stefanos, together with the powerful Doom Metal-ish beats by Andreas and the sensational solo by guest guitarist Jeff Loomis, making listening to it simply mandatory to any fan of modern and organic Heavy Metal.

The multilayered Moment, with its rumbling bass lines and eerie atmosphere, is the longest of all tracks and, thanks to that, it’s also the song where the band had the highest amount of freedom to showcase all their creativity and passion for heavy music, with highlights to the final guitar solo by Bill, while The Truth Lies, a passionate power ballad by these talented Greek metallers, presents another sensational job done by the guitar/keyboard duo comprised of Bill and Lefteris, enhancing the song’s appeal. Furthermore, I simply love the smooth break with the piano notes, bringing a good balance to the heaviness of the rest of the song. And lastly, California is a very innovative way to finish such powerful album, a beautiful ballad with elements from Blues added to the musicality, tailored for listening to it together with your significant other as he or she will surely enjoy the moment a lot.

You can get more details on False Coda through their Facebook page, YouTube channel and SoundCloud, with the sophisticated Secrets and Sins being available at their BandCamp page, on iTunes or on Amazon. As aforementioned, several distinct Greek bands from different genres and styles have already been reviewed by The Headbanging Moose, and none of those were even close to being boring. Now we can definitely add False Coda to this select Hellenic team, hoping that their music can travel the seven seas and reach the ears of headbangers avid for high-quality Heavy Metal all over the world for many years to come.

Best moments of the album: Secrets and Sins, Monolith and The Truth Lies.

Worst moments of the album: Flickering Lights.

Released in 2016 Freia Music

Track listing
1. Throne Of Blood 6:06
2. Moral Compass 6:11
3. New Paradigm 5:37
4. Secrets and Sins 8:25
5. Flickering Lights 4:09
6. Monolith (feat. Jeff Loomis) 5:29
7. Moment 9:20
8. The Truth Lies 6:03
9. California 3:36

Band members
Stefanos Zafeiropoulos – vocals
Vasilis “Bill” Milios – guitars
Nick Pogkas – bass
Lefteris Kapetanios – keyboards
Andreas Milios – drums

Guest musician
Jeff Loomis – guitar solo on “Monolith”

Accessories Review – Iron Maiden 2017 Calendar

Posted on by
1

Are you ready for the 2017 round of the kick-ass The Book Of Souls World Tour? You’ll need this neat and classy calendar to keep track of all those dates, not doubt about that.

Rating5

00_iron-maiden-calendar-2017As we’re reaching the end of a year full of highs and lows not only in heavy music, it’s about time we get ready for 2017, because if the new year brings us just half of the intensity of 2016 we’ll certainly have a ton of work to do to survive all the issues and hassles of our modern-day society. Well, nothing better than having a badass calendar to at least plan our year in a decent manner, right? Having said that, it’s time to review (and obviously purchase) the Iron Maiden 2017 Calendar, the brand new edition of the famous kick-ass calendar by Heavy Metal heroes Iron Maiden. And finally, after my complaints about the previous edition of it, we’re treated to a calendar featuring images from the highly acclaimed The Book Of Souls 2016 World Tour.

Once again the calendar was produced by Danilo Promotions Limited, displaying as expected very similar dimensions (42 x 29.7 x 0.4 cm) and weight (358 g) to all previous editions. Despite not having any new Eddies from The Book Of Souls’ Mayan theme, except for the one in its front cover, the selection of exclusive photos from this year’s tour is excellent, with the months of May, September and November making me want to travel back in time to March this year, when I had the indescribable pleasure of witnessing the most awesome band in the world mesmerizing the cities of Montreal and Toronto here in Canada with their unique and flammable Heavy Metal.

There are several physical stores and websites where you can grab your copy of this already traditional calendar, like at the Iron Maiden official webshop, at Danilo.com, at your country’s Amazon website such as the ones in Canada and in the United States, or at the Calendar Club’s UK webstore. The price is very reasonable considering the high quality of the material and of course its content, costing between 6 and 12 US Dollars depending on where you buy it, plus taxes and shipping costs.

iron-maiden-official-2017-calendar-square-global-multilingual

Iron Maiden 2017 Square Global (Multilingual Edition)

One thing I “forgot” to mention in the reviews for the previous editions of the calendar was the existence of the square version of it, but as this year both the regular and the square versions follow the same pattern and theme, I thought it would be a good idea to add it to the review. The Iron Maiden 2017 Square Global (Multilingual Edition) costs a little more than the regular version, being priced at around 15 US Dollars, and it’s just as classy and beautiful as its rectangular sibling. You can find this one for sale at Amazon, at Calendars.com, at the Calendar Club’s Canadian website, among other locations. As The Book Of Souls 2017 World Tour is just around the corner, I’m sure this awesome calendar will be very helpful in keeping all those dates in Germany, England and Scotland (and probably in more cities to be added to the tour) perfectly registered for you while you listen to The Book Of Souls for the millionth time, getting ready for another round of flawless performances provided by Steve Harris, Bruce Dickinson, Dave Murray, Adrian Smith, Janick Gers and Nicko Mcbrain. Just remember to hang your calendar really high on your wall so you’ll have to “climb like a monkey” every single time you need to change its month.

This slideshow requires JavaScript.

Album Review – Atonismen / Wise Wise Man EP (2016)

Posted on by
Reply

Enjoy a feast of dark, symphonic and dense metal music, crafted by a talented Russian multi-instrumentalist and his loyal and dynamic duo of guitarists.

Rating4

coverOriented in Dark Metal on one side and chamber music on another, Russian metallers Atonismen will surprise you with the density, professionalism and comprehensiveness of their music. Formed earlier this year by Russian singer and multi-instrumentalist Alexander Orso in the charming and historical city of Saint Petersburg, Atonismen fire a precise amalgamation of the darkest elements from Doom and Gothic Metal with choir-like sounds and an epic atmosphere surrounding everything in their debut EP, titled Wise Wise Man, offering the listener a unique experience in heavy music and a journey through the realms of Symphonic Metal.

The high level of professionalism in Wise Wise Man can be noticed not only through the amazing skills of Alexander and his crew, but also on the overall production of the album, very crisp and full of layers thanks to the top-notch job done by Russian musician Sergey “Lazar” Atrashkevich (Arkona), who produced, recorded, mixed and mastered the EP at CDM Records. And the band is already reaping the rewards of such dedication to their music, supporting renowned bands such as The 69 Eyes, Sonic Syndicate and Graveworm in Moscow, and joining the tour of well-known Russian folk band Izmoroz in their homeland. After taking a good listen at the eight distinct tracks of Wise Wise Man, you’ll see they more than deserve that recent but amazing success.

In the excellent Almagest, an atmospheric intro explodes intro bold Symphonic Metal with hints of Black and Pagan Metal added to  increase its epicness, with keyboards and drums leading this electric tune while Mr. Orso blasts his strong and powerful voice perfect for this type of music. Their Dark Metal vein gets stronger in the mesmerizing composition Sorry, where guitarists Alexander Senyushin and Child Catherine beautifully add the word “metal” to it through their potent and aggressive riffs. Furthermore, Mr. Orso is a wrecking machine on drums, delivering exactly what heavy and atmospheric metal music needs to be great. My Tale brings forward a beautiful dose of melancholy to the album, with Mr. Orso also thriving with his passionate clean vocals while a dark ambience embraces the listener in this lovable power ballad, not to mention the potency provided by the astounding guest choir Silver Voice.

atonismenThe title-track Wise Wise Man is a full-bodied Dark Metal song the likes of Moonspell with vicious guitar lines by the stunning Child Catherine and the competent Alexander Senyushin, again with keyboard notes bringing more mystery to the musicality; whereas Wiegenlied, the German word for “lullaby”, is a somber ballad full of traditional folk elements and an eerie rhythm that enfolds the listener before a sonic havoc named In Timeless Clamor comes crushing mercilessly. The metallic bass lines by Mr. Orso and the flammable riffs by the band’s guitar duo are amazingly heavy, sounding almost like sheer Black Metal at times, with vocals reminding me of the iconic Fernando Ribeiro thanks to their passion and violence. And I’m not sure if the last two songs can be considered bonus tracks or not, but we’re treated to two alternative versions for the title-track “Wise Wise Man”. The dark mix is very electronic and could easily be part of the soundtrack of a movie or played at a Halloween party, while the industrial mix is an upbeat and thrilling blend of heavy and electronic music, another perfect choice for providing a horror flick an extra touch of wickedness.

Enjoying and supporting the symphonic and extreme creations of Atonismen is quite easy, as all you have to do is visit their Facebook, VKontakte, YouTube channel and SoundCloud, as well as buy your copy of Wise Wise Man at their official BandCamp page. This feast of dense and symphonic Extreme Metal, beautifully engendered by Mr. Orso and his loyal guitar duo, was made to be relished and admired by all fans of the dark side of music, cementing a very promising start in their career in Heavy Metal.

Best moments of the album: Sorry and Wise Wise Man.

Worst moments of the album: Wiegenlied.

Released in 2016 Independent

Track listing
1. Almagest 7:31
2. Sorry 7:21
3. My Tale 8:51
4. Wise Wise Man 5:29
5. Wiegenlied 3:50
6. In Timeless Clamor 5:13
7. Wise Wise Man (dark mix) 5:51
8. Wise Wise Man (industrial mix) 5:30

Band members
Alexander Orso – all instruments, vocals
Alexander Senyushin – guitars
Child Catherine – guitars

Album Review –Metallica / Hardwired… to Self-Destruct (2016)

Posted on by
Reply

A lot better than anything this iconic band has released in the past 25 years, but still way below what they can truly offer to the world of Heavy and Thrash Metal.

Rating6

metallica_hardwired-to-self-destructReviewing an album by American Thrash Metal icons Metallica is never an easy job. This is a band that has an enormous potential to deliver the most amazing metal you can think of, but due to several external and internal factors they keep launching below average albums since their highly acclaimed (but not as good as people say) Black Album back in 1991, and because of that the reviewer is always confused trying to find a good reason for not criticizing the album too much and for not comparing it to classics like Kill ‘Em All and Ride the Lightning. Well, here we go again with Hardwired… to Self-Destruct, their tenth studio album (I can’t believe I’m counting the abominable St. Anger as an album) and another perfect example of how the band doesn’t seem to care anymore about crafting truly remarkable music.

Hardwired… to Self-Destruct is their first studio album in eight years following their 2008 release Death Magnetic (an album I personally cannot distinguish one song from another, but that at least can be considered Heavy Metal), marking the longest gap between two studio albums in the band’s career. Let me be very honest with you, I had some good expectations with this album even not being a huge fan of the band, and after they released the first single, the excellent “Hardwired”, I really thought they would be back to their amazing Thrash Metal mode from the 80’s. However, after listening to the entire album, I felt a little tricked by the band, with a frustrating feeling of “so you guys released your most aggressive song as a single, but the rest of the album is quite slow and boring, uh?” In other words, it might be by far their best and most cohesive album since 1991, but that doesn’t say much taking into account their most recent releases are all pretty tedious.

As already mentioned, in the heavy and fun Hardwired a nice, thrashy start flows into classic Metallica, not as visceral as their metal hymns from Kill ‘Em All and Ride The Lightning but still pretty good and violent. Mr. James Hetfield sounds in pretty good shape with his trademark angry vocals, while Kirk Hammett fires some amazing riffs and solos inspired by old school Thrash Metal. This is the best song of the album by far, and unfortunately after that the album is just a sea of uninspired and generic metal, starting with the tasteless Atlas, Rise!, where a promising intro fades into an annoyingly repetitive rhythm. Despite some good moments and another decent performance by James on vocals, it’s way too lengthy for the lack of tempo changes and variations, in special the extremely basic and uninspired drums by Mr. Lars Ulrich. After two minutes, it sadly becomes that type of ambient or background music that you don’t really pay attention to, it’s just there. Not sure if it was on purpose or not, but the main riff in the following tune, Now That We’re Dead, sounds like an exact copy of the all-time classic “You’ve Got Another Thing Comin’”  by Judas Priest, but obviously this is not going to become a classic like that, not in a million years. Once again, it’s extremely repetitive and unexciting, going on for grueling seven minutes.

We finally get the “old school Metallica” promised by the band for this album in Moth into Flame, which together with the opening track is the best thing they’ve done since the fast and furious song “Fuel”. I love the sound of both guitars and the thunderous bass by Rob Trujillo during the whole song, not to mention that even Lars has a pretty solid performance in this high-octane tune. In Dream No More, they tried to copy their own classic “Sad But True”, but what we get instead is just a boring imitation of it as if Avenged Sevenfold decided to go full Metallica like they almost did in Hail to the King. Furthermore, Lars makes me cringe with his amateur and disconnected drumming in this horrible song, which is also the case in Halo on Fire, undoubtedly one of the most wearisome of all songs. Why this atrocity has excruciating eight minutes is beyond my knowledge, with just a few good guitar lines being enjoyable while everything else seems to be leftovers from Load and Reload. Although James tried hard to add some electricity to it on vocals, there wasn’t actually much he could do about it.

metallica-2016Confusion brings forward a marching intro that had an enormous potential for becoming an amazingly heavy and dark hymn, and despite not reaching that level of awesomeness it’s still a pretty decent composition which would have been a lot more effective if slightly shorter. Then Metallica offer us the unstable ManUNkind (which official video is supposed to be a “tribute” to Norwegian Black Metal masters Mayhem), with an Iron Maiden-ish vibe in the beginning that suddenly turns into another average composition that doesn’t do good or bad for the album showcasing the same basic performance by Lars, sounding like a lazy jam session instead of a real song. Rob fires some powerful bass lines in the above average Here Comes Revenge, with the guitars by James and Kirk also providing some extra energy to it. Elements from Black Album mixed with Load and Reload are found everywhere in this song, and albeit this is not the best Metallica are capable of doing, at this point of their career I’m more than fine with it.

Am I Savage? might be another generic tune, but at least it’s fuckin’ heavy thanks again to the job done by Kirk and Rob with their strings, and despite never really taking off it’s still enjoyable if you’re a fan of darker compositions like I am; whereas their tribute to the one and only Lemmy Kilmister, entitled Murder One, might have “One” in its name and even hints of one of the band’s biggest classics here and there, but it falls flat with nothing really outstanding to offer the listener except for some potent punches by Rob with his bass. Last but not least, we’re treated to one final blast of real Metallica in Spit Out the Bone, a bit sloppy at times and again too lengthy, but at least it has the fury that helped put this band on the map of heavy music decades ago. James sounds so much better when he’s angry, and perhaps this is what the band needs to do to cover all the issues with Lars’ drumming by sticking to the most primeval form of Thrash Metal.

I’m pretty sure there will be many diehard fans of Metallica thanking the gods of heavy music for Hardwired… to Self-Destruct (you can watch the official videos for every song on their YouTube channel), but for me, after listening to the whole album a few good times with an open heart, nothing ever truly clicked; it’s still way below their potential to generate stunning heavy music. Of course it has its good moments, in special when they cut the crap, speed things up and play straightforward heavy music the way we all expect, but the absurdly inflated length of most songs and the complete inability of Lars to provide any hint of intricacy on drums (Metallica definitely need a REAL drummer; even German a capella metallers Van Canto have one) ended up dragging the overall quality of the album down considerably. In other words, you can have some fun listening to Hardwired… to Self-Destruct a few times, but just like everything else released by Metallica in the past 25 years, it will soon become just another lost item in your dusty collection of albums.

Best moments of the album: Hardwired, Moth into Flame and Spit Out the Bone.

Worst moments of the album: Atlas, Rise!, Dream No More, Halo on Fire and Murder One.

Released in 2016 Blackened Recordings

Track listing
Disc 1
1. Hardwired 3:09
2. Atlas, Rise! 6:28
3. Now That We’re Dead 6:59
4. Moth into Flame 5:50
5. Dream No More 6:55
6. Halo on Fire 8:15

Disc 2
1. Confusion 6:43
2. ManUNkind 7:17
3. Here Comes Revenge 6:30
4. Am I Savage? 6:29
5. Murder One 5:45
6. Spit Out the Bone 7:09

Band members
James Hetfield – vocals, rhythm guitars
Kirk Hammett – lead guitars
Robert Trujillo – bass
Lars Ulrich – drums

Album Review – Ways. / Watching From Afar EP (2016)

Posted on by
2

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.

Rating5

ways_watching-from-afarMixing 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.

waysThe 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

Guest musician
Thomas Houche – bass (session)

Album Review – Lordi / Monstereophonic (Theaterror vs. Demonarchy) (2016)

Posted on by
2

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.

Rating4

lordi-monstereophonicOnce 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.

lordi-2016An 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

Concert Review – Gojira (Metropolis, Montreal, QC, 10/21/2016)

Posted on by
Reply

And Gojira melted the spinal cords of all metallers in Montreal with the scorching magma flowing from their kick-ass neck-breaking music.

OPENING ACTS: TesseracT

gojira-fall-2016If 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”.

img_1842Before 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

GOJIRA

img_1843After 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.

img_1851I 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

Album Review – Abigail / The Final Damnation (2016)

Posted on by
Reply

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.

Rating4

abigail-the-final-damnation-coverWhenever 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.

abigail-band-promoFrantic 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

Album Review – Majesty Of Revival / Dualism (2016)

Posted on by
1

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.

Rating4

full var 5If 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.

mor2016The 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