Album Review – Belle Morte / Crime of Passion (2021)

Enjoy this stunning album of Gothic and Symphonic Metal made in Belarus with dark and progressive flavors and a beautiful, melancholic vibe.

3.5rating

belle-morte-crime-of-passion-2021Formed in 2015 in Minsk, the capital and the largest city of Belarus, the musical project that goes by the Stygian name of Belle Morte plays a fusion of Gothic and Symphonic Metal with dark and progressive flavors and a beautiful, melancholic vibe. Spearheaded by the talented and stylish vocalist Belle Morte, the project has just released their brand new opus entitled Crime of Passion, following up on their highly acclaimed 2018 debut EP Game On. Produced, mixed and mastered by Sergey Butovsky (who also plays bass and does backing vocals on the entire album), displaying a delicate artwork by Stefan Heilemann (Heilemania), and inspired by John Fowles’ novel The Collector, Crime of Passion tells a coherent story which started as an unhealthy obsession and stalking and resulted in murder, both from the side of the murderer and his victim, all beautifully and meticulously put together by Belle Morte and her bandmates Ilya Rogovoy and Ilya Petrashkevich on the guitars, Sergey Butovsky on bass, Maria Shumanskaya on keyboards and Rostislav Golubnichiy on drums in a way that will certainly please all fans of the genre.

Dark and melancholic sounds permeate the air in the cinematic intro Overture, preparing our hearts and souls for Who Are You, where Belle declaims the song’s poetic lyrics majestically (“You’re watching me, what do you see / I want to hide, but you’re behind / I try to run the hunt begun / Don’t cross this line, there’s no return”) while the band’s guitar duo slashes his stringed axe accompanied by the rumbling bass by Sergey; whereas investing in a more Gothic and modern sonority it’s time for the delicate If Only You Knew, featuring guest guitars by Artur Naumenko and displaying hints of Industrial Rock and Metal added to the band’s core essence. Artur keeps delivering his classic riffs in To Get Her, keeping the dark flames of Gothic and Symphonic Metal burning bright while Belle is again fantastic on vocals, resulting in a thrilling fusion of the music by Nightwish, Tristania and Lacrimosa, and leaning towards pure old school Symphonic Metal we’re treated to Beauty And The Beast, showcasing crushing beats, atmospheric passages and endless passion flowing from Belle’s distinguished voice supported by the guitars by Ilya Rogovoy and Ilya Petrashkevich.

My Little Demon brings forward another round of their cryptic words declaimed by Belle and Sergey (“Come to me, my little demon, stay with me until the dawn / I won’t lie to you, my darling, when you fall asleep I’ll run / I won’t lie to you, my darling, you will lose me with the sun”), with the guitars by Ilya Rogovoy and Ilya Petrashkevich adding a touch of evil to the overall musicality, which is also the case in Broken Things, presenting a pleasant sonority led by Belle and her whimsical vocals and with Sergey once again kicking ass with his groovy bass. Then a serene intro gradually grows in intensity, evolving into a dark and melancholic ballad entitled Beauty Meant To Kill where the acoustic guitars by Sergey generate the perfect ambience for Belle to shine on vocals once again; whereas enfolding piano notes will penetrate deep inside your mind in Lace, featuring guest guitars by Kirill Movshuk, sounding very orchestral at times and with Belle hypnotizing us all with her soulful vocals as usual. And lastly, featuring guest backing vocals by Alexandra Mantis and Katya Shtirts, My Legacy drinks form the same fountain as renowned bands the likes of Epica, Within Temptation and Nightwish, or in other words, it’s the perfect way to close the album in great fashion.

belle-morte-2021The gorgeous and mesmerizing music by Belle Morte in Crime of Passion can be appreciated in full on Spotify, but of course in order to show your true support to the band you should definitely purchase a copy of the album by clicking HERE or HERE, as well as from their own BandCamp page or from the Aural webstore, and if you want to know more about Belle Morte and listen to more of their classy metal music simply go to their official Facebook page, to Instagram, to VKontakte and to their YouTube channel. Crime of Passion is one of those albums that will drag you to darkness, take you to another world and captivate all your senses once and for all, just the way we like it in Gothic music, and let’s hope Belle Morte and her amazing crew can keep embellishing the airwaves with more releases like their excellent new album for all eternity.

Best moments of the album: Beauty And The Beast, My Little Demon and My Legacy.

Worst moments of the album: Broken Things.

Released in 2021 WormHoleDeath

Track listing     
1. Overture 1:38
2. Who Are You 3:48
3. If Only You Knew 4:35
4. To Get Her 5:11
5. Beauty And The Beast 3:43
6. My Little Demon 5:41
7. Broken Things 4:10
8. Beauty Meant To Kill 4:26
9. Lace 5:15
10. My Legacy 3:07

Bonus track
11. To Get Her (Acoustic version) 4:19

Band members
Belle Morte – vocals
Ilya Rogovoy – guitars on “Who Are You”, “Beauty And The Beast”, “My Little Demon”, “Broken Things” and “My Legacy”
Ilya Petrashkevich – guitars
Sergey Butovsky – bass, backing vocals, vocals on  “My Little Demon” and “To Get Her”, acoustic guitars on “Beauty Meant To Kill”
Maria Shumanskaya – keyboards
Rostislav Golubnichiy – drums

Guest musicians
Alexandra Mantis – backing vocals on “My Legacy”
Katya Shtirts – backing vocals on “My Legacy”
Kirill Movshuk – guitars on “Lace”
Artur Naumenko – guitars on “If Only You Knew” and “To Get Her”

Album Review – Nuclear Winter / Greystone (2021)

Harare, Zimbabwe-based Melodic and Industrial Death Metal one-man army is back in action sharper than ever with his most powerful and detailed album to date.

3.5rating

nuclear-winter-greystone-2021After the success of his 2020 EP Stormscapes, Harare, Zimbabwe-based Melodic/Industrial Death Metal one-man army Nuclear Winter is set to unleash the project’s third full-length opus, entitled Greystone, where the band’s mastermind, vocalist and multi-instrumentalist Gary Stautmeister recorded, wrote and produced everything by himself, giving the whole album a very personal touch. “I’m very happy to have completed this new album titled Greystone. I was aiming to produce something heavy but also more electronic than my previous EP. It was quite challenging mix-wise because each song uses a slightly different sound on the drums/bass/guitars, but I feel the overall production is an improvement from my previous work, and the songs are now hopefully more distinct from each other. I especially like Corridor of Shells – which is about a battle in which the surrendering army brings shame to their country,” proudly commented Gary about his new “baby”.

And Gary doesn’t waste a single second and begins shredding his guitar mercilessly in the opening tune The Wastelands, all boosted by the song’s futuristic background elements, therefore reminding me of some creations by the iconic Fear Factory. More of his fusion of Industrial and Death Metal comes in the form of the visceral and somber Stygian Awakening, with Gary growling like a demonic entity while at the same time generating an interesting paradox with his own clean vocals, resulting in a headbanging, epic and progressive creation by this Zimbabwean lone wolf; whereas Gary’s metallic bass jabs will hit you hard in the head in The Harvest Moon, another whimsical, multi-layered creation that travels through the realms of Progressive, Death and Melodic Metal flawlessly. It’s quite impressive how his music is so dense and detailed taking into account he’s only one single musician, and in Orwellian Future his undeniable talent becomes even clearer as he’s capable of bringing some welcome hints of electronic music to the song’s overall heaviness.

Time for Gary to invest in a more rockin’ sound in Corridor of Shells, where our one-man band kicks some serious ass with his riffs and solos while crushing his drums with tons of intricacy, sounding very atmospheric and therefore living up to the legacy of modern-day Industrial Metal. The Wavering Shadows beings in full force showcasing strident riffs, epic keyboards and hammering drums, keeping the album at a high level of obscurity and insanity, with Gary firing truly demonic, Black Metal-inspired gnarls, while he will put you to dance under the moonlight in Hidden Shrine, showcasing elements from 80’s electronic bands the likes of Depeche Mode, Pet Shop Boys and New Order added to the project’s core essence. The second to last explosion of Industrial Death Metal by Gary, entitled Graveyard Sculpture, continues his path of devastation and insanity, with the machine-like drums walking hand in hand with all futuristic keys; and The Failing Dawn, the closing tune of the album, might not be as impactful as its predecessors, but it still showcases Gary’s own “darkness versus light” vocal duel and his always visceral riffage.

nuclear-winter-2021In a nutshell, as aforementioned, it’s truly impressive how Gary manages to sound like a full-bodied band even doing all by himself, and in Greystone we must all admit he outdid himself in terms of creativity, punch and heaviness, offering us fans of heavy music what’s perhaps the best metal album that has ever been recorded in Zimbabwe, and even if Zimbabwe might not be considered a true metal country that still means a lot. Hence, don’t forget to show Gary your support and admiration by following him and his Nuclear Winter on Facebook and on Twitter, by streaming all of his wicked compositions on Spotify, and above all that, by purchasing your copy of Greystone from the MDD Records’ BandCamp page (or click HERE for all locations where you can stream or buy the full album). As he keeps evolving as a musician (and as a producer), let’s wait and see what’s next in the career of Mr. Gary Stautmeister, and until then we can keep enjoying all tracks from the excellent Greystone in the name of Heavy Metal and Rock N’ Roll.

Best moments of the album: Stygian Awakening, Corridor of Shells and The Wavering Shadows.

Worst moments of the album: The Failing Dawn.

Released in 2021 MDD Records

Track listing
1. The Wastelands 4:00
2. Stygian Awakening 4:12
3. The Harvest Moon 3:58
4. Orwellian Future 3:43
5. Corridor of Shells 4:20
6. The Wavering Shadows 4:07
7. Hidden Shrine 4:40
8. Graveyard Sculpture 3:13
9. The Failing Dawn 4:08

Band members
Gary Stautmeister – vocals, all instruments

Album Review – Sintax / Nano 3000 (2021)

It’s time to celebrate mankind’s downfall to the sound of the brand new opus by this Israeli thrashing squad, telling stories of technologies rising against us all.

After years of performing all across Israel on their own ticket and alongside international acts, keeping Jerusalem’s metal scene alive and kicking, members of local cult bands the likes of Showrchtsechaye and DeuSphera decided to come together to form a Thrash and Groove Metal beast named Sintax back in 2013, delivering a strong punch of groove and a unique raw energy with each one of their sick compositions. Now in 2021 the band comprised of Yehi Zaken on vocals, Roi Illouz and Yoav Gruper on the guitars, Slava Kishka on bass and Adam Levit on drums have just released their sophomore effort, titled Nano 3000, offering the listener an avalanche of old school metal music combined with a modern production and sound. Mixed and mastered by Mark Mynett at Mynetaur Productions and displaying a futuristic artwork by Nadav Halevi, Nano 3000 tells stories of technologies rising against us and a dystopic prophecy taking in the subjects of anarchy, politics, religion, philosophy, war, sex and more, all embraced by an endless dosage of visceral and acid Thrash Metal.

Like a demented grinding machine, the band begins their Groove Metal attack in Skeleton Scale, with the riffage by Roi and Yoav sounding utterly pulverizing while Yehi vociferates rabidly, therefore resulting in the perfect welcome card by the band in their new album. And more of their fusion of the madness of Pantera with the heaviness of Fear Factory is offered to us all in Reefers Sting And Honey, also presenting hints of the early days of Sepultura, and with the frantic and demonic beats by Adam providing Yehi all he needs to growl like a true beast; whereas in Most Hated Man In The Universe the band gets back to a more traditional Thrash Metal sonority, where the brutal sounds blasted by Roi, Yoav and Slava with their stringed axes will pierce your minds, not to mention the song’s pounding, neck-breaking drums and sick backing vocals. Then we face strident riffs and rumbling bass punches in Sight Got Past, morphing from a more melodic vibe to pure adrenaline and rage with Yehi once again roaring and growling nonstop, accompanied by the visceral beats by Adam.

The title-track Nano 3000 sounds and feels highly inspired by 90’s Groove and Industrial Metal, but without abandoning the band’s thrashing core sound of course, with Adam being infernal as usual on drums while Roi and Yoav extract sheer electricity from their guitars; and the menacing bass by Slava ignites another violent yet very melodic feast of riffs and beats titled Shooting Stars, perfect for jumping up and down with the boys from Sintax and slamming into the pit with your metal buddies. Then after a short and wicked intro we’re treated to the fulminating Death and Thrash Metal hurricane Lethal And Armed, where Yehi continues to lead his horde of thrashing maniacs with his deranged screams while Roi and Yoav slash our minds with their metallic riffage, and a massive wall of sounds will smash your cranial skull in the closing tune Lunchtime Funeral, presenting sick guitar solos and bass punches by the band’s stringed warriors from start to finish. Furthermore, when it’s over, I bet you’ll be begging for more of Sintax’s thrashing music.

After listening to Nano 3000, not only you’ll realize how powerful the music by Sintax can be, but also that the Israeli metal scene seems to be getting stronger and stronger, with bands like Sintax proving once and for all first-class metal music is simply everywhere. Hence, let’s show our support to those talented metallers by purchasing their new album from Dead Pulse, Apple Music or Amazon, by streaming the full album as many times as you want on Spotify, by following them on Facebook and on Instagram for news, tour dates and other shenanigans, and by subscribing to their YouTube channel for more of their demented music and videos. We all know that the future of mankind doesn’t look so good right now, and that the advancements in technology are not exactly bringing tons of benefits for us mere mortals, so why not celebrate the end of our existence to the sound of the top-of-the-line Thrash Metal blasted by Sintax in Nano 3000? At least that way we’ll definitely go out with a bang.

Best moments of the album: Reefers Sting And Honey, Most Hated Man In The Universe and Lethal And Armed.

Worst moments of the album: None.

Released in 2021 Sliptrick Records

Track listing
1. Skeleton Scale 4:08
2. Reefers Sting And Honey 2:54
3. Most Hated Man In The Universe 3:51
4. Sight Got Past 3:47
5. Nano 3000 4:24
6. Shooting Stars 5:17
7. Lethal And Armed 3:45
8. Lunchtime Funeral 4:14

Band members
Yehi Zaken – vocals
Roi Illouz – guitar
Yoav Gruper – guitar
Slava Kishka – bass
Adam Levit – drums

Album Review – The Machinist / I Am Void (2020)

An ambitious opus that runs a gamut of genres, featuring haunting synths and grinding guitarwork by a ruthless Blackened Industrial Metal outfit hailing from the UK.

“Do not go gentle into that good night.
Rage, rage against the dying of the light.” – Dylan Thomas

Born earlier this year in the city of Manchester, UK from the ashes of a band named NekroDrako, Blackened/Industrial Death Metal outfit The Machinist has just released their debut full-length album, entitled I Am Void, an ambitious opus that runs a gamut of genres, featuring haunting synths and grinding guitarwork backed up by a psychotic twin vocal approach, being therefore highly recommended for fans of the music by Anaal Nathrakh, The Berzerker and Aboyrm, among others. Summoning all the terror of the eternal, inevitable night, the abyss that waits to swallow us, consuming our dreams, our arrogance and our misplaced certainty of our own importance, I Am Void will explode your senses with a fusion of blasting Black Metal and machine-driven Death Metal, dark visions and confrontational opposition born of absolute self-belief, showcasing all the sonic poison and devastating violence by Scott Walton on vocals, T and Kieran Mackinnon on the guitars, and John Thompson on synths, drum programming and vocals.

Wicked vociferations from the underworld suddenly explode into a demented fusion of Death and Industrial Metal in the opening track Extinction Event, where Scott is a beast on vocals while the synths and drum programming by John live up to the legacy of the genre, and continuing their path of devastation the quartet offers the also metallic and thunderous Skin Is Not Enough, sounding as if Deicide and Ministry had a bastard son, and with the pulverizing guitars by T and Kieran penetrating deep inside our skin mercilessly. Then putting the pedal to the metal they blast the insane The Sky Has Opened, with the infernal screams by Scott being nicely boosted by the crushing riffage and beats by his bandmates, resulting in an amazing option for breaking your neck headbanging nonstop; followed by Approach, a Rammstein-inspired interlude that sounds like taken from a horror flick, warming up the listener for the hard-hitting extravaganza Bleak Affirmations, where T and Kieran deliver a hybrid of Black and Death Metal through their fierce riffage while the atmospheric synths by John add a touch of dementia to the overall result.

Bringing forward elements from Technical Death Metal, Depopulate is as venomous as it can be, with both T and Kieran firing infernal sounds form their guitars while Scott roars and gnarls in a beyond devilish manner, whereas Death Cults Of Abraham offers the listener another round of their industrialized madness, this time with John’s programmed drums sounding as organic as a real drummer. Put differently, this is a phantasmagorical creation by The Machinist feeling doomed and grim from start to finish, while strident riffs and anguished growls are the main ingredients in the hammering onslaught titled Magnificent Desolation, perhaps the song with the strongest Industrial Metal roots, also presenting tons of progressiveness, rage, and endless breaks and variations throughout its unrelenting six minutes. After such insane metal attack, we’re treated to Departure, another utterly Stygian and futuristic Fear Factory-infused bridge that sets the stage for the band’s boldest and most detailed spawn entitled Schwarzschild Radius, starting as wicked as its predecessor while also offering our avid ears dark and metallic sounds, deep, beastly vocals and Doom Metal beats, feeling like a hybrid of Industrial Metal and Blackened Doom at times (not to mention John’s vampiric keys), flowing infernally until its gruesome and otherworldly finale.

If you think you have what it takes to face over 52 minutes of ruthless and vicious Blackened Industrial Metal brought forth by The Machinist in their debut album, you can stream such disturbing opus in its entirety on Spotify and purchase it from the band’s own BandCamp page, from Apple Music or from Amazon, and The Machinist are also waiting for you on Facebook and on Instagram to show you more of their amazing music, their plans for the future, tour dates and everything else surrounding such distinguished UK horde. As aforementioned, I Am Void is indeed a devastating barrage of sonic violence, as The Machinist are a poison that will elevate or destroy, which means you should simply hit play on their new album, immerse yourself in their harsh truths, and finally find the strength to evolve.

Best moments of the album: Extinction Event, The Sky Has Opened and Magnificent Desolation.

Worst moments of the album: Bleak Affirmations.

Released in 2020 Independent

Track listing
1. Extinction Event 6:39
2. Skin Is Not Enough 5:27
3. The Sky Has Opened 4:57
4. Approach 2:32
5. Bleak Affirmations 4:15
6. Depopulate 3:49
7. Death Cults Of Abraham 5:48
8. Magnificent Desolation 6:13
9. Departure 2:17
10. Schwarzschild Radius 10:34

Band members
Scott Walton – vocals
T – guitar
Kieran Mackinnon – guitar
John Thompson – synths, drum programming, vocals

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

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

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

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

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

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

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

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

Worst moments of the album: Entry.

Released in 2020 Independent

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

Band members
R.P. – vocals, all instruments

Album Review – Null Positiv / Independenz (2020)

A fantastic hybrid of Melodic Death Metal with Alternative Metal and Neue Deutsche Härte brought forth by one of the best new names of the underground German scene.

Forged in the fires of Lübbenau, Germany back in 2015 by the multi-talented frontwoman Elli Berlin, the up-and-coming Alternative/Nu Metal army known as Null Positiv has been on a constant and healthy rise in the underground scene releasing an array of electrifying albums since the band’s inception, starting with their 2016 debut EP Krieger until their brand new opus titled Independenz, or “independence” in English, brought into being earlier this year. Currently comprised of the stunning Elli Berlin on vocals, Bene Gugerbauer on the guitars, Manu Altendorfer on bass and Flo Schnablo on drums, Null Positiv are definitely one of the most interesting bands hailing from Germany from the past few years, not only presenting a fantastic hybrid of Melodic Death Metal with Alternative Metal, but singing all of their songs in their mother tongue German (just like their countrymen Rammstein), giving their music an organic and powerful vibe, with their new album Independenz beautifully representing their amalgamation of styles, their passion for heavy music and, therefore, pointing to an even brighter future for Elli and the boys.

In a truly Neue Deutsche Härte-inspired mode, Null Positiv begin their industrial feast with the excellent Freiheit (“freedom”), where Manu sounds bestial with his metallic bass jabs while Elli roars and screams rabidly from start to finish, followed by Insomnia, bringing forward a thrilling fusion of Alternative and Industrial Metal that reminds me of some of the best creations by Korn, led by the whimsical riffs by Bene and the pounding drums by Flo. Moreover, the music flows smoothly until the very end, setting the tone for the title-track Independenz, where you don’t need to speak a single word in German to understand and feel deep inside your soul what Elli passionately declaims, evolving into a dark ballad showcasing rumbling bass lines, melodious riffs and an empowering atmosphere. And growling like a demonic entity Elli steals the spotlight in the Melodic Death Metal tune Armageddon, infused with modern-day Groove Metal elements while Bene and Manu make a dynamic and incendiary duo with their thunderous strings.

Once again venturing through more alternative and modernized lands, Flo dictates the rhythm with his classy beats supported by the strident guitar lines by Bene in Gib Mir Ein Zeichen (“give me a sign”), while Elli “raps” the song’s lyrics. Then it’s time to be stunned by the gorgeous performance by Elli in the delicate but somber Blutdiamant (“blood diamond”), a stylish semi-ballad where its vicious bass and drums make an amazing paradox with its piano notes and all gentle background elements, whereas Phantomschmerz (“phantom pain”) sounds even more metallic and aggressive than its predecessors, with Elli singing and growling in great fashion while Flo shows no mercy for his drums (and consequently for our necks). After such amazing display of savagery by Null Positiv, grim vocalizations, a sense of hopelessness and endless electricity will penetrate deep inside your soul in Ich Fühl Nichts Mehr (“I don’t feel anything anymore”), one of their most atmospheric tunes while keeping their core Alternative Metal vibe intact.

Let’s keep banging our heads to their groove and melody in the exciting aria titled Fall Out, perfect for jumping up and down with Null Positiv in a fusion of contemporary Melodic Death Metal and alternative music, with Bene kicking ass with his riffs, and the quartet never seems tired of smashing our heads with their heavy-as-hell but very harmonious music as we can all witness in Schwarzes Labyrinth (“black labyrinth”), a very pleasant composition where Manu and Flo bring thunder and groove to our ears with their rumbling weapons. In Deine Haut (“your skin”) we’re treated to a rising metal intro where the guitars by Bene are intertwined with Elli’s striking vocals, resulting in a solid creation by Null Positiv (albeit not as flammable as the rest of the album), followed by Kommen Und Gehen (“come and go”), their last breath of insanity in the form of music with a welcome 80’s and 90’s vibe, bringing forward a great paradox between riffs and drums while Elli continues to hypnotize us all with her piercing clean vocals and evil gnarls.

In a nutshell, if you’re a fan of the Neue Deutsche Härte crafted by Rammstein and at the same time of female-fronted metal bands the likes of Arch Enemy, The Agonist and Infected Rain, you should definitely take a shot at Independenz, which is by the way available for streaming in its entirety on Spotify, as the new installment by Null Positiv might be exactly what you’re craving in heavy and alternative music. Hence, don’t forget to give Elli and the guys a shout on Facebook and on Instagram, to subscribe to their YouTube channel for all of their breathtaking videos, and of course to purchase Independenz from the band’s own webstore, as well as from Apple Music, from Amazon or from Discogs. Null Positiv not only reached new heights with Independenz, but as the name of the album already suggests, any band in the world can be one hundred percent independent (Triplebase Records is their own label, by the way) and still be successful and deliver first-class music to the masses, proving to all critics that heavy music might not be the exact same thing as decades ago, but it’s still alive and kicking.

Best moments of the album: Freiheit, Armageddon and Phantomschmerz.

Worst moments of the album: Deine Haut.

Released in 2020 Triplebase Records

Track listing
1. Freiheit 4:09
2. Insomnia 4:05
3. Independenz 5:29
4. Armageddon 2:55
5. Gib Mir Ein Zeichen 3:37
6. Blutdiamant 3:27
7. Phantomschmerz 3:55
8. Ich Fühl Nichts Mehr 3:37
9. Fall Out 4:00
10. Schwarzes Labyrinth 4:06
11. Deine Haut 5:02
12. Kommen Und Gehen 3:37

Band members
Elli Berlin – vocals
Bene Gugerbauer – guitars
Manu Altendorfer – bass
Flo Schnablo – drums

Album Review – Tristwood / Blackcrowned Majesty (2020)

Behold the final part of a saga about the return of a legendary ruler named Ar’ath to Ma’haxul through the eyes of an infernal Industrial Black and Death Metal band from Austria.

Blasting their venomous hybrid of Avantgarde, Black, Death and Industrial Metal with Grindcore nuances (being even labeled Blackened Grindcore by some fans and critics) since their inception in 2001 in the city of Linz, Austria, the cryptic entity known as Tristwood is ready to raise some hell with their fifth full-length opus entitled Blackcrowned Majesty, a musical journey led via Nihilist, early Bathory, Oxiplegatz, Morbid Angel, Hellhammer, Skinny Puppy and Killing Joke into the world of the real underground of the rough 80’s and early 90’s. Representing the final part of a saga about the return of a legendary ruler named Ar’ath to Ma’haxul, born out of pure blackness and disaster, the album describes in a musical way how she flows to the north after her destruction and is crowned again by her faithful. The album art, created in the summer of 2019 in the Alps by Ani van Sunnjurck, is the basis and building block of the story, showing the anti-hero Rauthra and hinting at his outer appearance as well as his quest from northern shores to the interior of the country to join Ar’ath. Comprised of Deimon on vocals, synths and flute, Jegger on vocals and guitars, Neru on guitars, backing vocals and synths, JD on bass and fretless bass solos, and HMG on drums, Tristwood are on fire throughout the almost 40 minutes of music found in Blackcrowned Majesty, uniting a very entertaining concept with their usual musical madness and rage.

Arising from the underworld like evil creatures of darkness, Tristwood begin blasting their fusion of industrial, electronic and extreme music in Re-Enthronement Of The Damned, bringing forward an infernal sound masterfully crafted by all band members, with HMG being beyond pulverizing on drums while Deimon and Jegger keep growling like true demons. In the heavier and more caustic He Who Traversed A Greater Oblivion, the scorching riffs by Jegger and Neru will pierce your ears mercilessly in a frantic and chaotic fusion of Industrial and Black Metal, whereas wicked, uncanny sounds ignite the electro-dark title-track A Blackcrowned Majesty, before all hell breaks loose in another hellish extravaganza by Tristwood. Moreover, the background synths and keys by Deimon and Neru add a touch of dementia to the music, while JD simply hammers his metallic bass nonstop. And it’s time to bang our heads like maniacs to the obscure and futuristic Her Wraith Through Stygonian Lands, where Deimon and Jegger are once again berserk on vocals, supported by the classic beats by HMG and the venom and acid flowing from the band’s stylish guitar riffs.

The quintet keeps smashing our skulls in The Hall Of Rauthra´s Fate, a vicious fusion of Black and Industrial Metal presenting machine gun-like blast beats, razor-edged riffs and demonic gnarls and roars, sounding as dark and grim as it can be from start to finish; and there’s no sign of Tristwood slowing down at all as they continue to fill every single space in the air with sheer darkness, hatred and lunacy in Acherontic Deathcult, with the whimsical keys and synths by Deimon and Neru bringing a welcome balance to their sonic havoc. Then inhumane, desperate screams are potentialized by the band’s high-octane guitars and drums in the visceral Bone Cathedral, a lesson in contemporary Industrial Extreme Metal by Tristwood, not to mention how thunderous the bass by JD sounds during the entire song, followed by the Stygian and captivating Nightshade Eternal, the epic finale to the saga of Rauthra, where the sick and deranged harsh growls by Deimon and Jegger are effectively spiced up by all background elements and the always pounding beats by HMG, flowing smoothly and infernally until its abrupt and somber ending.

Will Rauthra join the Nightshade? All you need to do to have the answer to that question is listening to Blackcrowned Majesty in full, and in order to do that simply go to Tristwood’s official BandCamp page, where you can obviously purchase your copy of the album and show your support to such talented Austrian band. In addition, don’t forget to give the guys from Tristwood a shout on their Facebook page, where you can get more details about the band, their future releases and tour dates. In summary, Tristwood undoubtedly reinvented themselves in Blackcrowned Majesty, adding another solid stone to their ever-growing castle of Industrial Black and Death Metal with such multi-layered and distinguished concept album and, consequently, paving a promising path for those Austrian veterans who know how to make some reverberating and loud noise when armed with their weapons of sonic destruction.

Best moments of the album: He Who Traversed A Greater Oblivion, Her Wraith Through Stygonian Lands and The Hall Of Rauthra´s Fate.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Re-Enthronement Of The Damned 4:16
2. He Who Traversed A Greater Oblivion 4:23
3. A Blackcrowned Majesty 5:18
4. Her Wraith Through Stygonian Lands 4:54
5. The Hall Of Rauthra´s Fate 4:08
6. Acherontic Deathcult 4:24
7. Bone Cathedral 4:24
8. Nightshade Eternal 6:16

Band members
Deimon – vocals, synths, flute
Jegger – vocals, guitars
Neru – guitars, backing vocals, synths
JD – bass, fretless bass solos
HMG – drums

Album Review – Zebadiah Crowe / Host Rider (2020)

An infernal British duo returns after almost eight excruciating years of silence with the utmost sound of violence, horror, darkness, filth and savagery in their brand new opus.

Almost eight years after the release of their sophomore album Omak K’aah, a beyond infernal British duo that goes by the curious name of Zebadiah Crowe returns from the pits of the underworld with more of their incendiary hybrid of Black, Thrash and Industrial Metal with Grindcore nuances in their brand new opus entitled Host Rider, a new tome of foulness and fractured sanity featuring seven new psalms of wild abandon and dangerous delirium. Formed in 2006 in London, UK, the duo comprised of The Horrid on vocals, bass and drum programming and Forrrthen on the guitars sounds sharper and more caustic than ever in their newborn spawn, bringing forth the sound of violent punk attitude, suffocating black horror, gothic darkness, mechanistic filth and the savagery of the most vicious outliers of thrash, being highly recommended for admirers of the distinguished terror blasted by renowned acts such as Venom, Ministry, Mantar and Babylon Whores, leaving you broken and destroying your senses without a single drop of mercy.

Imposing, epic sounds explode into a venomous fusion of Black and Industrial Metal in the amazing opening track Knucklebones, where the dirty, scorching riffs by Forrrthen provide The Horrid exactly what he needs to thrive with his wicked gnarls, whereas the thunderous and metallic bass by The Horrid takes the lead in the pulverizing A Tincture of Malic, a song that will undoubtedly inspire you to slam into the circle pit together with this talented unity from hell. Moreover, although the drums might be programmed, they actually sound very organic and evil, giving the whole album an extra touch of rawness. And there’s no time to breathe at all as they keep hammering our heads with their frantic and industrialized sounds in Mantel of Nails and Orphan Skin, reminding me of some of the most vicious creations by Ministry, with The Horrid going full Black Metal with his vile screams while Forrrthen keeps slashing his stringed ax manically.

In The Neon Goat of Crimson Grief we’re treated to more of their blackened music, with the programmed drums working really well once again while the duo smashes their guitar and bass mercilessly, even bringing hints of Punk Rock to its core mechanized essence. Slightly groovier and more visceral than its predecessors, A Horror to the Eyes of Saintly Men is an underground lesson in savagery and dementia where Forrrthen’s riffage sounds bestial from start to finish, not to mention the trademark enraged roars by The Horrid, while in Godblind and Destitute they once again blend the heaviness of Black Metal with the violence of Thrash Metal and the metallic noises of industrial music, keeping the album’s electricity flowing at an insane speed. Lastly, closing such short but utterly extreme and malignant album we have Wormhavens Dance, where Zebadiah Crowe fire tons of rage and darkness through their razor-edged instruments, all spearheaded by The Horrid’s demonic screams and at the same time spiced up by futuristic background elements.

If you think you have what it takes to face Zebadiah Crowe and the anthems of horror and perversion found in their new album Host Rider, you should definitely follow them on Facebook to know more about this distinct entity hailing from the UK, including their tour dates and upcoming releases, but of course in order to show them you’re a creature of the dark just like The Horrid and Forrrthen themselves, you should purchase your copy of Host Rider from their own BandCamp page. No one knows if Zebadiah Crowe will take another long and excruciating eight years to bring to our ears a new sonic beast the likes of Host Rider, but for now let’s not worry about that, as we do have their new album to enjoy, letting their piercing, austere sounds penetrate deep inside our psyche, therefore dragging us to the world of horrors and dementia ruled by one of the most talented duos of the underground British scene.

Best moments of the album: Knucklebones, Mantel of Nails and Orphan Skin and A Horror to the Eyes of Saintly Men.

Worst moments of the album: A Tincture of Malic.

Released in 2020 Lore Breaker Records

Track listing
1. Knucklebones 4:17
2. A Tincture of Malic 2:58
3. Mantel of Nails and Orphan Skin 3:13
4. The Neon Goat of Crimson Grief 3:44
5. A Horror to the Eyes of Saintly Men 3:40
6. Godblind and Destitute 3:50
7. Wormhavens Dance 3:45

Band members
The Horrid – vocals, bass, drum programming
Forrrthen – guitars

Album Review – Dead Animal Assembly Plant / Bring Out The Dead (2020)

Bring out your dead to the sound of the post-apocalyptic Industrial Metal by this Portland, Oregon-based army of freaks.

The Sweet Meats Slaughterhouse, founded in 1895 by Wilhelm Schröder, was internationally known for their advances in industrialized butchery, producing around 30% of the meats consumed in the United States at that time. In 1915 a tragedy struck the small town Wilhelm called home when all the livestock took some unexplained fatal disease, and the ever resourceful Wilhelm turned to the only available meat, the townsfolk. When they discovered the terrible truth they enacted their own form of justice, feeding the once prolific Mr. Schröder to his own machines. The Sweet Meats Slaughterhouse remained eerily quiet and vacant, until one night horrible noises resembling music emanated from the dank hallways, resulting in the birth of Portland, Oregon-based Down N’ Dirty Industrial Metal outfit Dead Animal Assembly Plant. Founded in 2007 by frontman Zach Wager, the band currently formed by Zach and his bandmates Eric ‘Zerø’ Bergen and Rebecca ‘Buzz’ Wager on the guitars, Nick ‘Nix’ Snyder on bass and Jason ‘Skorn’ Moore on drums is set to release their fourth full-length opus titled Bring Out The Dead, effectively combining elements of rock, metal and industrial from the 90’s until the present day. Mixed by Fernando Ruiz Jr. at Primal Recording Studio, mastered by Kevin Hahn at Opal Recording Studio, and with photography by Mothmeister, Bring Out The Dead is highly recommended for fans of Nine inch Nails, KMFDM, Marilyn Manson, Slipknot, Ministry and Rob Zombie, among others, bringing strong post-apocalyptic and horror influences to give it an extra touch of insanity.

Like a true infernal assembly line, the intro Cemetery Slums opens the gates of the underworld to the raw and industrialized A Violent Breed, showcasing austere lyrics dealing with everything that’s wrong with the human mind (“I am a violent breed / Programmed to be obscene / These hands praise ignorance / The blame becomes routine / My mind is a dirty bomb / Full of pettiness and virgin blood / With scriptures burned inside my head / Peddled and preached by empty men”), while Eric and Rebecca extract venomous, razor-edged sounds from their axes, sounding at times like a more metalized version of the already heavy-as-hell music by NIN. Then we have The Ghost of Friedrich Nietzsche, which by the way carries a great title for a modern and atmospheric Industrial Metal extavaganza, led by the robot-like drums by Jason while Zach madly vociferates the song’s wicked words, resulting in an amazing choice for a dark and goth party soudtrack, whereas Colors Under Attack couldn’t have started in a heavier and more thrilling way. This is old school Industrial Metal and Rock blending the sonic havoc blasted by icons like Rammstein, Ministry and KMFDM, with Nick and Jason generating a rumbling atmosphere with their respective weapons nonstop.

In the eerie and absolutely grim Somewhere Else, Zac’s vocals walk hand in hand with Eric’s and Rebecca’s metallic riffs, remaining obscure until the very last second and building an instant bridge with Sacred Disgrace, featuring the stunning New York City-based violinist and violist Lulu Black as a guest musician. Uniting the heaviness and groove of Industrial Metal and Neue Deutsche Härte with the finesse of Lulu’s violin, the song also offers an interesting paradox between her delicate sounds and Nick’s low-tuned bass jabs, reminding me of some of the best creations by the one and only Marilyn Manson. And the atmospheric and instrumental bridge Ghost Transmissions sets the stage for Behold the Righteous Plague, sounding heavier and more Rock N’ Roll than its predecessors but still bringing the band’s trademark Industrial Metal for our total delight, with Zach being utterly demented on vocals accompanied by the slashing riffage by the band’s guitar duo and Jason’s blast beats. Do the Inferno is probably the most fun of all songs, feeling like their personal “tribute” to NIN but also presenting a Misfits-inspired vibe, with Nick adding endless groove and thunder to their musicality (and the final result couldn’t have been more awesome, of course), and last but not least more of their classic industrialized sounds will penetrate deep inside our minds in The End of You, showcasing an amazing job done by both Eric and Rebecca on the guitars while Zach continues to lead his horde of freaks with his enraged vocals.

The release date of this excellent album of Industrial Metal might still be unknown due to the current COVID-19 pandemic, but I’m sure sooner than later we’ll all be able to purchase a copy of Bring Out The Dead, which is by the way a very suggestive title for such nasty period the entire world is facing, from the band’s own BandCamp page or from the Armalyte Industries’ BandCamp page, as well as form other retailers like Apple Music and Amazon. In the meantime, you can support the mechanized freaks from DAAP by following them on Facebook and on Instagram for news, tour dates and other nice-to-know details about the band, and subscribe to their YouTube channel or search from them on Spotify to listen to more of their acid and industrialized creations. As the end of the human race draws near based on all the madness and evil things happening pretty much everywhere right now, I personally suggest you add Bring Out The Dead to your post-apocalyptic playlist, banging your head to the first-class Industrial Metal played by DAAP while our putrid and corrupt society goes straight to hell.

Best moments of the album: A Violent Breed, Colors Under Attack, Behold the Righteous Plague and Do the Inferno.

Worst moments of the album: Somewhere Else.

Released in 2020 Armalyte Industries

Track listing
1. Cemetery Slums 1:42
2. A Violent Breed 4:10
3. The Ghost of Friedrich Nietzsche 4:26
4. Colors Under Attack 4:02
5. Somewhere Else 3:00
6. Sacred Disgrace 4:41
7. Ghost Transmissions 2:22
8. Behold the Righteous Plague 4:14
9. Do the Inferno 3:34
10. The End of You 4:15

Band members
Zach Wager – vocals
Eric ‘Zerø’ Bergen – guitars
Rebecca ‘Buzz’ Wager – guitars
Nick ‘Nix’ Snyder – bass
Jason ‘Skorn’ Moore – drums

Guest musicians
Lulu Black – violin on “Sacred Disgrace”
Regulo Junior – additional guitars on “Behold the Righteous Plague”

Interview – Angela Di Vincenzo (Secret Rule)

Are you already tired and bored of staying home during this quarantine? Why not enjoying this exclusive interview with the multi-talented Angela Di Vincenzo, talking about her band Secret Rule and their brand new album Against?

Angela Di Vincenzo (Secret Rule)

The Headbanging Moose: First of all, thanks a lot for having time to chat with us, and let’s start with a very simple question: who are Secret Rule? When did the band start, how do you define the band’s sound, and what are your main goals in the world of heavy music?

Secret Rule: Hi and thank you for this space. Secret Rule is a female-fronted metal band from Italy. We have been active since 2014 and have released 5 albums. Our sound is modern metal with a lot of other influences (electronic, symphonic, etc.). Our goal is to find a space in the metal market, and at the moment we’re really satisfied.

THM: Although the band was formed only a few years ago, in 2014, your excellent new album Against is already the fifth studio album in your career. How do you manage to release such amazing amount of music in such a short period of time, what are the main differences between Against and your previous albums, and how do you see the evolution of your music through the years?

SR: It’s very simple for us. We play around 30/40 gigs per year, and the other 10 months, we are free to work on new material. I think that’s a good lapse of time to produce new songs. In addition, as you know, when you do something with passion nothing is boring or tiresome. About Against, I think it’s a more aggressive album than the other ones, and this is what we wanted. For sure, we don’t consider ourselves a symphonic metal band. It would be very limiting for us and not respectful to those who play that kind of music. No doubt there are some symphonic atmospheres in our music, but at the same time, there are a lot of electronic inserts. So in our future the sound will always have something new, and I have to say you that we like this more aggressive approach.

THM: Some of my favorite songs from the album, those being Rise Again, Digital Revolution and Outsiders, bring a high level of energy while at the same time sounding very melodic. How do you guys manage to reach that great balance in your music? Can you give us more details about your writing and recording process?

SR: Andy and I are the main composers of the band. Personally, I grew up with Italian melodic pop music and I met metal music only around my 20s, so all my catchy melodies come from this melting of styles.

Andy was born with metal music in his veins so the heavy aspects come from him! About the writing process, I record all my vocal ideas on my phone each time I have one, at whatever hour and wherever. Andy does the same on his PC when he has an idea for a riff. When we start on a new album, we actually already have a lot of stuff to analyze and in 2 months we work on it and record the album, more or less!

THM: What inspires Secret Rule to write and record heavy music? Do you avoid repeating the themes covered in each song and album, or is this something that’s “out of control” due to the way you create your music?

SR: We can say it’s “out of control” LOL Actually, we like to experiment with new influences and everything comes naturally. We like heavy music but as you can hear, you also can find electronic, symphonic, pop and rock influences in our music, because we are all these things together. For the variety you can find inside, our albums are like a playlist on Spotify instead of a single album.

Album Review – Secret Rule / Against (2020)

THM: As you guys are from Italy, it’s impossible not to ask you about the current COVID-19 crisis that’s having devastating effects on your beautiful country. How are you guys managing the band amidst all the chaos that’s going on there? Also, I hope all is well with you and your loved ones during such difficult times.

SR: Thank you for your question and interest. Here the situation is a little bit hard. At the moment we have been at home just over three weeks. We can go out only to get food or medicine. We have to have a piece of paper with us with our name and reason we’re out and there are heavy penalties for those who don’t respect the government restrictions. It has been difficult for some people to understand they have to stay at home. Now things seem to be getting better in the North of Italy but we have to still wait to have a clearer picture of the situation. About us, we have had to postpone our tour with Semblant in September and we have had to postpone our tour in the UK as well. Since we can’t go on tour and we can’t meet with each other, Andy and I (we live in the same building) have started to work on some cover songs and new stuff. The first music video was released on the 24th of March and was Gets Me Through by Ozzy Osbourne and the second one on the 2nd of April was The Bitter End by Placebo. We already have other songs in mind. In this way, we keep busy and give our fans something new in this difficult period we all are living. We hope to return to normality very soon!

THM: I’ve been following the whole COVID-19 situation in Italy, and during the past couple of weeks I received some videos of Italians playing and singing metal songs such as Slayer’s “Raining Blood” and Black Sabbath’s “War Pigs” on their balconies during this never-ending quarantine. Having said that, how important do you think Heavy Metal and music in general are for everyone in Italy right now?

SR: You have been lucky to see these videos because around my house I only hear people who sing classic Italian music, every day at 6 pm! At the moment here in Italy a lot of newfound musicians and singers are coming out on their balconies every evening hahahaha But this has been fun and it has been a way to give positive vibes in this dark moment. Italian people have great energy and sense of humor.

Unfortunately, this is not the right country for the metal music genre. There are more musicians than fans. But at least they are very good musicians 🙂

THM: How’s the current underground metal scene in Italy in terms of bands, venues and live concerts? And can you tell us about any Italian bands apart from Secret Rule that we should take a listen to?

SR: mmmm…hard question. In Italy there are a lot of metal bands, probably there are more musicians than listeners 😀 ….unfortunately, the scene is not so good. There’s no great cultural movement to listen to new bands. So it’s always very hard to bring people to little shows. Anyway, the few people who follow metal music give a warm welcome and support.

If you wanna listen to THE ITALIAN METAL BAND, you should obviously listen to Lacuna Coil!! Hahahahh LOL

Secret Rule

THM: Who are your biggest idols in music? And who do you dream of sharing the stage with?

SR: Personally, I like a lot of bands and singers but if I had to choose, I would say Lacuna Coil and Within Temptation. Sharing the stage with them would be awesome, a dream. I might cry if I were to meet Cristina and Sharon. I think they have great talent and unique voices. There’s no one like them. First and foremost, I’m a fan of theirs.

THM: As a Symphonic and Alternative Metal band, your whole performance is obviously impacted by your attire, or by the way you look on stage. Who’s responsible for creating all the clothing you guys wear during your promo pictures and on stage during your live concerts?

SR: What you see on us reflects our taste and work.

It’s not simple but for the last album, we made a deal with the fashion brand PUNK RAVE. This has been awesome because they believe in us and we love their style. So it’s been a perfect marriage.

In addition, the mood and the meaning they put in their fashion style fits perfectly with the messages in our latest album “AGAINST”.

THM: Thanks again for your time, and please feel free to send your final message to our readers, to your fans and to anyone else that’s getting in touch with Secret Rule for the first time ever.

SR: Thank you for this opportunity. We invite all readers to get a taste of our music if they haven’t done so before and to trust their perceptions.

You can find our music on the best digital platforms like Amazon, iTunes, Spotify, Google Play and so on. The album is distributed worldwide so you can find it everywhere.

Links
Secret Rule Official Website | Facebook | Instagram | Twitter | YouTube | Spotify | Apple Music