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Album Review – Mustan Kuun Lapset / Saatto (2017)

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A fresh new start for an amazing Dark Metal band from Finland, with their renovated attitude and passion for heavy music translated into nine excellent compositions blending different styles and emotions.

Rating4

mkl_saatto_coverart2500pisLegendary Finnish Dark Metal group Mustan Kuun Lapset, which is Finnish for “Children of the Black Moon”, have finally resurrected from the depths of abyss since ending their career in 2007, setting to release in 2017 their first official full-length album since their 2011 compilation 14 Talvea and their 2007 album Viimeinen Laulu Kuolemasta. And their brand new album, entitled Saatto (the Finnish word for “procession” or “follow-through”), not only brings forward MKL’s new lineup, but it’s also a fresh new beginning for this talented band, with their renovated attitude and passion for heavy music translated into nine excellent compositions blending different styles of Extreme Metal.

Founded in the city of Hollola under the name Häiriö (or “disorder” in Finnish) in the distant year of 1993, MKL recorded a few garage tapes during their first couple of years, never releasing them to the public. In 1996, after changing the name to Mustan Kuun Lapset, the band released their first demo titled Kunnes Loppuu Yö, being on a roll for the next decade before it was time to close the coffin in December 2007 due to lack of time and commitment. Fortunately for fans of their dark music, in 2015 MKL decided to start all over again, now hailing from the city of Lahti and as already mentioned with a reformulated lineup, culminating with the release of their brand new diverse, many-sided record Saatto, and I’m sure even if you have absolutely zero knowledge of the Finnish language you’ll have a blast listening to it.

Right after the atmospheric intro Ja Toinen Yötä Rakastaa, or “and another night love”, we have the melodious Peikonmieli (“the troll’s mind”), with the soulful guitar lines by Pete Lehtinen and Heikki Piipari dictating the song’s very pleasant pace and sonority, whereas the harsh vocals by Pete sound like a blend of Symphonic Black Metal and Melodic Death Metal. And the aura generated by the first song goes on in Kuolemanvirta (“death power”), where drummer Mikko Hautala showcases his abilities by being fierce and melodic at the same time with his darkened Doom Metal beats.

An obscure start announces another epic and powerful composition by MKL, Amor Vincit Omnia, which is Latin for “love conquers all”, with Pete doing an amazing job not only on vocals and guitars but also with his synths, delivering a rousing musicality with hints of Scandinavian Folk Metal full of variations and tempo changes. Cilice brings forward more folk elements, gently morphing into Dark Metal with Pete firing some deeper guttural growls amidst his harsh gnarls, all embraced by the band’s solid instrumental, while Sudenilma (“wolf’s air”) offers the listener heavier, headbanging riffs that lean towards pure Melodic Death Metal from Scandinavia. In addition, Mikko delivers faster beats nicely complemented by the bass lines by Ville Pelkonen, not to mention the song’s outstanding guitar solo as the icing on the cake.

mkl_promokuvaValkoinen Satama – Haaksi (“white haven – the ship”) is the first part of a two-piece story, epic and metallic from the very first second thanks to the awesome job done by both guitarists with Pete getting a lot darker on vocals. The second part of this journey, titled Valkoinen Satama – Tyven (“white haven – calm”), is a smooth, melancholic acoustic ballad wtih female vocals that end up providing a good balance to all the obscurity from the first part, an interesting variation to the MKL we’re used to. And closing the album we have the title-track Saatto, also the longest of all tracks, which begins in an introspective way, as calm and serene as the previous track, suddenly exploding into kick-ass modern Melodic Death Metal. In this multilayered composition, MKL bring forth cleaner vocals and plenty of epicness flowing from all instruments, in special the precise beats by Mikko, until the song’s thrilling conclusion.

You can witness the rebirth of the Finnish children of the black moon, appreciate their music and get updates about their upcoming projects and concerts at their Facebook page, and you can also put your metal hands on Saatto at the Inverse Records webstore or at Record Shop X. Mustan Kuun Lapset have not arisen from the ashes in vain, they’re back from the netherworld with an invigorated passion for metal to deliver their diehard fans more of their high-end music and to show the new generation how good Scandinavian Metal should always be done, and by supporting them you’ll not only help to keep that metallic fire burning, but also become part of their inspirational career.

Best moments of the album: Peikonmieli, Amor Vincit Omnia and Saatto.

Worst moments of the album: Cilice.

Released in 2017 Inverse Records

Track listing
1. Ja Toinen Yötä Rakastaa 2:06
2. Peikonmieli 5:19
3. Kuolemanvirta 5:47
4. Amor Vincit Omnia 4:59
5. Cilice 5:12
6. Sudenilma 5:17
7. Valkoinen Satama – Haaksi 5:29
8. Valkoinen Satama – Tyven 5:08
9. Saatto 8:45

Band members
Pete Lehtinen – vocals, guitar, synths
Heikki Piipari – guitar
Ville Pelkonen – bass
Mikko Hautala – drums

Album Review – Soulwound / No Peace (2016)

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This berserk quintet from Finland brings forward absolutely no peace with their high-end assault of visceral Death and Thrash Metal.

Rating4

soulwound-cover640Carrying a robust and ominous name taken from a Fear Factory bonus song from the limited edition of their 1998 classic album Obsolete, Finnish Death/Thrash Metal group Soulwound are releasing their second opus entitled No Peace, offering fast, brutal, heavy and aggressive metal music with both old school and more contemporary influences, picking up where their 2013 debut full-length album Seeing Red left off. While listening to No Peace, you’ll find hints of the unique sonority crafted by Sepultura, the sonic havoc brought forth by Testament, the intricate and thunderous beats by Slayer, among other elements from several Thrash Metal giants, all enhanced by the band’s own Death Metal touch. In other words, if you’re looking for soft and romantic music, forget about Soulwound, as they’re among us to crush and destroy.

Forged in the fires of the small village of Myllykoski in Kouvola, Finland (located around 130 kilometers northeast of the capital Helsinki) by brothers Niko (guitar) and Janne Huusari (drums) in 2005, and having released a few demos before Seeing Red became a reality in 2013 with Arto Jauho stepping in as the band’s vocalist, Soulwound’s current lineup took form in 2014 when Mikko, the youngest of the Huusari brothers, joined the band as their second guitarist, resulting in all three brothers playing in the same band. And it’s perhaps that family unity that helped Soulwound achieve such a high level of professionalism in a short span of time, sounding like long-serving defenders of extreme music.

An eerie female voice explaining what impulsive aggression is makes the Fear Factory-inspired metallic Intro: Impulsive Aggression one of those creepy album starts that enfolds the listener before the neck-breaking Hurt Me Plenty kicks off, which despite showcasing lots of modern elements added to its background, in essence it’s old school visceral Death Metal. Moreover, while Arto fires his potent harsh growls, Janne delivers an avalanche of groovy and fierce beats and fills for the delight of lovers of the genre. As violent as the opening track but slightly heavier due to the kick-ass riffs by the guitar brothers Niko and Mikko (as well as the low-tuned sounds by bassist Joni Järvenmäki), Altars of Skin feels like a hybrid of Cavalera Conpiracy and Fear Factory with a Scandinavian twist, translating into pure awesomeness, whereas Alone Against All brings forward high-octane Death Metal highly influenced by the rebellious sound of Bay Area Thrash. Its sick guitar solos and endless amount of electricity turn it into one of the best moments of the album, being strongly recommended as the soundtrack for some insane circle pits.

p7172350-02Wasteland is yet another flawless Thrash Metal tune with elements from Sepultura, Slayer and Testament, in special the boisterous drumming by Janne and the visceral growls by Arto, and if you love darkened music emanating pure hatred you’ll have a complete blast listening to this superb tune. Then it’s time for more of Soulwound’s headbanging music with some menacing voices in the background before Anto comes gnarling like a beast in Crime and Punishment, which albeit slower than the previous songs it showcases some great riffage by both Niko and Mikko; followed by Misery Index with its berserk rhythm powered by huge dosages of anger. This is one of those songs the band wrote with their minds on their live performances due to its “festival potential”, also exhibiting some excellent guitar solos and a demented ending.

Hate Speech sounds very similar to its predecessor, displaying almost the same heaviness, speed and ferocity, which means that if they play these two songs in a row during their concerts I’m quite sure we’ll see some blood spilling from the crowd. And as one final explosion of Death Metal we have Damned, as brutal and well-crafted as the rest of the album, yet again embracing elements from Bay Area Thrash mixed with contemporary Death Metal and with highlights to the deep and desperate guttural by Anto.

As Soulwound is offering us all absolutely no peace with their visceral and modern music, we should all show them our respect and support by visiting their Facebook page, YouTube channel and SoundCloud, and you can take all that peaceless Death Metal craziness home by purchasing their brand new album at the Inverse Records’ webstore (as a regular CD version or a CD + T-shirt bundle), at CDON.COM, or at Record Shop X. As already mentioned, Soulwound are not among us to bring joy or tranquility to our lives, but to provide a demolishing assault of high-end metal music, which is indeed all we ask for when the music in question is Death and Thrash Metal.

Best moments of the album: Altars of Skin, Alone Against All and Wasteland.

Worst moments of the album: Crime and Punishment.

Released in 2016 Inverse Records

Track listing
1. Intro: Impulsive Aggression 1:57
2. Hurt Me Plenty 5:09
3. Altars of Skin 4:29
4. Alone Against All 3:40
5. Wasteland 4:59
6. Crime and Punishment 5:50
7. Misery Index 4:20
8. Hate Speech 4:26
9. Damned 5:55

Band members
Arto Jauho – vocals
Niko Huusari – guitar
Mikko Huusari – guitar
Joni Järvenmäki – bass
Janne Huusari – drums

Album Review – Denominate / Those Who Beheld The End (2016)

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Behold the ascension of an awesome band from Finland that adds a lot of progressiveness to their Death Metal without losing the genre’s core viciousness.

Those_Who_Beheld_the_End_Cover640It’s not a secret to anyone that Finland always delivers when the music in question is Melodic Death Metal. However, the Land of a Thousand Lakes now offers a more brutal and old school version of the genre the likes of Death and Carcass thanks to Progressive/Technical Death Metal band Denominte. This powerful five-piece act has just released their debut full-length album entitled Those Who Beheld The End, experimenting with melody and progressiveness while at the same time keeping the heaviness and aggression of Death Metal flowing from each of the album’s seven demolishing compositions.

Formed in 2009 in the city of Oulu under the name Encrypted and having released their debut EP named Realms of Confusion in 2014, the band decided to change their name to Denominate in 2015 (with no changes to their lineup, though) as well as to increase their focus on the harmonious parts of their music instead of just pounding their instruments manically. As a result, in Those Who Beheld The End, recorded and mixed at a private studio in Oulu in two separate sessions due to their studio engineer’s personal projects (which ended up delaying the release date for some time), Denominate bring forward a strong balance of violence and melody that will please both fans of old school Death Metal and admirers of the more modern sounding of Melodic Death Metal.

As soon as you start listening to the opening track, In A Chasm Of Stone, you’ll be able to notice those core ingredients in their music due to the high level of intricacy found in their guitar lines. As aforementioned, they play a very technical version of Death Metal without losing the genre’s inner havoc, with the exceptional drummer Joni Määttä sounding like a machine gun and, consequently, bringing an additional layer of brutality to their music. Degradation is an old school chant led by the vicious growling by Ville Männikkö, and even with all the devastation going on you can still savor the progressiveness of the riffs and solos by guitarists Kimmo Raappana and Eetu Pylkkänen; whereas the heavier-than-hell bass lines by Tuomas Pesälä kick off the obscure song Penumbra, enhanced by the low-tuned gnarls by Ville and the unstoppable beast by Joni, guiding the listener to darkness. In other words, this is definitely the type of composition that will pave Denominate’s path to stardom in extreme music.

Promokuva_3The Demented Scholar of Abatos not only has an awesome name, but it’s also an extremely well-crafted composition where bass guitar and riffs generate the requested obscurity for Ville to keep growling and screaming. Moreover, this progressive song, less bestial and presenting more melodious lines, perfectly depicts the new concept proposed by the band, and as you’ll be able to notice while listening to it the final result is quite interesting. And following that stampede of progressiveness we have the 11-minute visceral hymn Torments of Silence, starting with a somber acoustic intro before darkness takes over the sonority and the band’s crushing Death Metal dominates your mind. Not only the sharp riffs by Kimmo and Eetu take the spotlight, but add to that the song’s precise tempo changes and the sonic impact of this excellent full-bodied composition increases considerably.

A very technical riffage together with blasting drums can only result in good music, which is the case in Apeirophobia (the fear of eternity), highly recommended for guitarists that love extreme music thanks to the job done by both Kimmo and Eetu, not to mention the song’s thoughtful and hellish lyrics (“Arising from a need, to achieve and repeat / tainted by fear to be doomed to predict / every action from here to eternity / linked to the past, past to the future / the ageless serpent ever devouring itself / the Styx ever-flowing, towards the source”). And lastly, walking through the realms of Melodic Death Metal we have Terrestrial Funeral, one final shot of progressiveness blended with endless pugnacity where the bass lines by Tuomas get even more complex than before, while Ville keeps screaming with anger in his heart until an excellent guitar solo concludes the song and the album.

In summary, the music found in Those Who Beheld The End might not be that very traditional form of Death Metal that stormed the world decades ago, but it maintains the vicious essence of those golden years without sounding outdated or repetitive, pointing to a very promising future of the genre. With that said, behold the ascension of this awesomely heavy band by visiting their Facebook page, YouTube channel and SoundCloud, and grab your copy of Those Who Beheld The End (you can listen to the entire album HERE) at Record Shop X, at the Inverse Records’ webstore, at Denominate’s BandCamp page, on iTunes and several other locations.

Best moments of the album: In A Chasm Of Stone and Penumbra.

Worst moments of the album: None.

Released in 2016 Inverse Records

Track listing
1. In A Chasm Of Stone 5:08
2. Degradation 4:05
3. Penumbra 5:07
4. The Demented Scholar of Abatos 5:40
5. Torments of Silence 11:16
6. Apeirophobia 6:04
7. Terrestrial Funeral 5:49

Band members
Ville Männikkö – vocals
Kimmo Raappana – guitars
Eetu Pylkkänen – guitars
Tuomas Pesälä – bass
Joni Määttä – drums

Album Review – Whispered / Metsutan – Songs Of The Void (2016)

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Armed with their powerful fusion of Melodic Death Metal and eccentric sounds from the East, these unstoppable Scandinavian samurais strike again with another thrilling tribute to the Japanese culture.

Rating4

whispered2400pixThe term “Samurai Metal” might not make sense to most fans of heavy music who have never had any contact with Melodic Death/Power Metal act Whispered. And if you think the band hails from Japan, you’re absolutely wrong, as those metallic samurais come from a country well-known for their Heavy Metal bands, but that has nothing to do with the Japanese culture and history. Whispered are a group formed in 2004 in the city of Tampere, Finland by lead singer and guitarist Jouni Valjakka, and despite all members having a pure Scandinavian background, their hearts are filled with the passion, talent and courage of real samurais from the “Land of the Rising Sun”.

It’s not only their Samurai-inspired face-painting, outfits and lyrics that refer to the ancient Japanese culture, but the music itself is a fusion of Scandinavian Melodic Death Metal with Japanese folk music, blending heavy riffs and growls with the sounds of traditional instruments such as the shamisen, the shakuhachi and the koto. After releasing their debut album Thousand Swords in 2010 and the more brutal Shogunate Macabre in 2014, both which led them to share the stage with renowned Finnish bands like Korpiklaani, Turisas and Ensiferum, appearing in major festivals like Tuska Open Air and Nummirock, and even supporting Battle Beast during their 2013 tour in Japan, it’s time for Whispered to strike again with their guitars and katanas in Metsutan – Songs Of The Void, their third full-length installment.

The very entertaining intro Chi No Odori (or “the dance of Chi” in English), with all its wicked sounds and voices, tells the listener the battle is about to begin in the fast-paced hymn Strike!, with its lyrics depicting the relationship between a Samurai warrior and his sword (“And he moves / with the swift pace unrivaled / unseen by the aspirants’ eyes / And he knows / in his heart so unbridled / That he’ll soon execute / the flawless / STRIKE!”). This is the perfect example of how awesome the mix of Melodic Death Metal with Orient Metal (as well as other elements from Japanese culture) can be, with the guitars by Jouni and his fellow swordsman Mikko Mattila adding a lot of electricity to the musicality. Exile Of The Floating World is fury to the second power, a melodic devastation led by drummer Jussi Kallava where the elements from the East become even more evident; followed by Sakura Omen, a thrilling Melodic Power Metal madness showcasing Arch Enemy-inspired riffs and a headbanging rhythm in what is undoubtedly one of the best of all tracks in the album. At this point of Metsutan – Songs Of The Void, there’s absolutely no doubt that “epicness” is a word that can be used to describe all songs by Whispered, don’t you agree?

whispered_promopicWhile listening to Kensei (or “restraint” in English), it truly felt like watching a Japanese anime or a tokusatsu due to its totally adventurous pace and background elements. However, it’s the band’s furious Melodic Death Metal that stands out in this good composition where once again Jussi is relentless on drums; whereas in Our Voice Shall Be Heard the band simply slashes the listener with their razor-edged instruments, with all atmospheric breaks, guitar solos and ancient sounds being inserted in the right place and moment, therefore boosting the song’s impact. And in Tsukiakari (or “moonlight”), the second longest track of the album, a calm intro represents the serenity of our warriors before heading into the battle, with highlights to its melodious passages and riffage following the lines of classic Swedish Melodic Death Metal.

Warriors Of Yama, a three-minute instrumental track that pays homage to the Asian culture, introduces us to the violent Victory Grounds Nothing, with its lyrics portraying the fortunes of a Samurai life (“Age of strife has finally turned away / Fear so strong and sound fades to bliss of the day / Bloodstains on the sword will scene the tale / manifold test of might, honor, verdict and pain”). This high-speed composition feels like a sharp sword cutting our flesh, where Jussi and bassist Kai Palo craft a solid base for Jouni and Mikko to keep delivering their blazing riffs. And lastly, we have Bloodred Shores of Enoshima, the longest and most epic of all tracks divided in 5 distinguished acts: “五頭龍 – Gozuryu”, “The Chord of a Goddess”, “Divine Affection”, “The Fury of the Five” and “龍口山 – Tatsu-no-kuchi Yama”. Each act has its purpose, ranging from imposing and symphonic instrumental passages to pure metallic music led by the growls by Jouni, all enhanced by its outstanding background choir until it reaches its climatic ending, resulting in a masterpiece of the East.

Featuring a powerful artwork by Japanese artist ToK, Metsutan – Songs Of The Void can be purchased from Record Shop X, iTunes or Amazon, and in case you want to know more about this exciting fusion of Scandinavian and Japanese music you can go check the band’s Facebook page, YouTube channel and SoundCloud. As an admirer of both Finnish and Japanese cultures, I must say it’s impressive how these Scandinavian samurais are capable of creating such a powerful fusion of Melodic Death Metal and different sounds from the East without sounding cheesy, incongruous or even desultory. And that, in the current state of heavy music, is definitely worth gold.

Best moments of the album: Strike!, Victory Grounds Nothing and Bloodred Shores of Enoshima.

Worst moments of the album: None.

Released in 2016 Inverse Records

Track listing
1. Chi No Odori 1:51
2. Strike! 4:50
3. Exile Of The Floating World 4:12
4. Sakura Omen 7:31
5. Kensei 5:29
6. Our Voice Shall Be Heard 5:43
7. Tsukiakari 8:05
8. Warriors Of Yama (Instrumental) 3:07
9. Victory Grounds Nothing 3:20
10. Bloodred Shores of Enoshima 11:23

Band members
Jouni Valjakka – vocals, guitar
Mikko Mattila – guitar
Kai Palo – bass
Jussi Kallava – drums

Album Review – Subliminal Fear / Escape From Leviathan (2016)

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A collection of boundless and modern Melodic Death Metal creations, which together represent the next step in the evolution of the music by this excellent Italian band.

Rating4

Subliminal_Fear-cover640While listening to the brand new full-length album by Italian Modern Melodic Death Metal band Subliminal Fear, entitled Escape From Leviathan, I realized how dynamic, fresh and ravishing the mixture of Extreme and Cyber Metal with electronic music can be when brought forth by a high-skilled and honest band like these Italian metallers. Following the steps of renowned acts such as Sybreed, Mnemic and Fear Factory, this band from the cities of Barletta and Bari put all their passion for heavy music and their futuristic vision in the conception of the album, surpassing their debut album Uncoloured World Dying (2007) and their latest release One More Breath (2012) in quality and feeling. Put differently, Escape From Leviathan is undoubtedly Subliminal Fear’s finest release to date.

There are two additional ingredients that make the album so special, bringing more value to the already gripping music by Subliminal Fear. First of all, the participation of three international guests in different songs add extra layers to the musicality and concept of the album. Guillaume Bideau (Mnemic, One-Way Mirror), Jon Howard (Threat Signal, Arkaea) and Lawrence Mackrory (Darkane) lend their potent voices to some of the best tracks of the album, always in sync with what the band is firing through their instruments. And secondly, the beautiful artwork by Seth Siro Anton, the Greek artist and musician also known as Spiros Antoniou (Septicflesh) who has already worked with bands like Moonspell, Arch Enemy, Paradise Lost and Old Man’s Child, is based on the lyrics concept, which present a futuristic and apocalyptic vision of the world and the society inspired by movies like Terminator, Alien and Matrix. A subtle but very important detail that only proves how focused those guys were while composing the album.

Phantoms Or Drones is industrialized from the very beginning, presenting electrified riffs and a futuristic ambience as expected, as well as a good mix of clean and harsh vocals, with guest singer Guillaume Bideau bringing an extra dosage of aggressiveness to this progressive and groovy tune. The accelerated beats by Ruggiero Lanotte guide the high-octane Industrial Metal chant All Meanings They’ve Torn, featuring Lawrence Mackrory, where once again Carmine Cristallo and Matteo De Bellis make an effective and balanced duo with their clean vocals and visceral growls, respectively; followed by the alternative and mechanized Nexus, an excellent blend of dark and violent soundings with very melodic passages thanks to the electronic effects in the background and its polished riffs. In addition to that, fans of the genre will definitely enjoy the song’s lyrics, in special its excellent chorus.

SubliminalFear-promo_pic1An ominous intro is gradually enhanced by each instrument in the title-track Escape From Leviathan, building a futuristic aura while Ruggiero gets quite progressive behind his drums, adding more intricacy to the overall result; whereas Evilution, featuring guest singer Jon Howard, is a robotic heavy hymn depicting the evolution of man into a greedy and devilish machine. Industrial and Melodic Death Metal are nicely blended in this exctinig song, with the “special effects” in the background together with the industrialized and violent drumming turning it into one of the best moments of the entire album. And if you’re a fan of cover songs, you’ll simply love Living In Another World, an amazing version for a classic from the 80’s by English post-progressive band Talk Talk. The band was capable of keeping the magic from the original version and mechanizing it with their own industrial touch, with guitarist Domenico Murgolo having a great share of responsibility for such a pleasant result due to his powerful guitar lines.

Yet again the band fires a solid Industrial Metal tune with hints of Melodic Death Metal entitled Dark Star Renaissance, with Matteo and his evil growls driving the song’s effectiveness up while Carmine maintains the smoothness in the musicality, before Self-Proclaimed Gods, with its metallic drumming, a brutal industrial atmosphere (even Carmine gets robotic), its lyrics about the arrogance of man (“Killing the parthenogenesis I’ve created / And still living always into the other truth / I’m born on this land for deny / I don’t want to look like you”) and Domenico’s riffs complementing the futuristic keyboards (and vice-versa), brings forward all core elements of the genre, which consequently make it the most exciting of all tunes. Lastly, we have the Melodic Death Metal with industrial elements of Limitless, showcasing a good riffage by Domenico while bassist Alessio Morella and Ruggiero take care of the “structure” of the music, and an eerie outro about the inevitable ending of mankind in a not so distant future named The Disease Is Human Emotion, with its movie-like start (as many industrial bands enjoy doing) and an ominous narrator giving the details about the disease that exists inside every man.

Enjoying this futuristic album by Subliminal Fear and knowing more about the band’s day-to-day activities and music is quite easy, as you can find them on Facebook, YouTube, SoundCloud and ReverbNation, as well as purchase Escape From Leviathan at their BandCamp page, at the Inverse Records’ webstore, at Record Shop X, or on iTunes. In a nutshell, Subliminal Fear are paving a solid and prospering path to stardom with their boundless and modern creations, with Escape From Leviathan being the next step in the evolution of their music.

Best moments of the album: All Meanings They’ve Torn, Evilution and Self-Proclaimed Gods.

Worst moments of the album: Limitless.

Released in 2016 Inverse Records

Track listing
1. Phantoms Or Drones (feat. Guillaume Bideau) 6:17
2. All Meanings They’ve Torn (feat. Lawrence Mackrory) 4:45
3. Nexus 5:00
4. Escape From Leviathan 4:55
5. Evilution (feat. Jon Howard) 5:51
6. Living In Another World (Talk Talk Cover) 4:56
7. Dark Star Renaissance 4:07
8. Self-Proclaimed Gods 5:22
9. Limitless 4:48
10. The Disease Is Human Emotion 3:09

Band members
Carmine Cristallo – clean vocals
Matteo De Bellis – harsh vocals
Domenico Murgolo – guitar
Alessio Morella – bass
Ruggiero Lanotte – drums

Guest musicians
Guillaume Bideau – additional vocals on “Phantoms Or Drones”
Lawrence Mackrory – additional vocals on “All Meanings They’ve Torn”
Jon Howard – additional vocals on “Evilution”

Album Review – The Hypothesis / Origin (2016)

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A complete lineup change and almost four years to conclude an album? In the case of these Finnish metallers, it was definitely worth the wait.

Rating4

The_Hypothesis_cover_2400After what happened with Guns N’ Roses and their controversial album Chinese Democracy (2008), whenever a band suffers significant lineup changes and takes a good amount of time to release an album, people get really skeptical about the final result. Fortunately, that’s not the case with Finnish Modern Melodic Metal band The Hypothesis, who after a complete change in their lineup and four years locked in the middle of a dark forest of Viitasaari, in Central Finland, are finally releasing their debut full-length album, entitled Origin, an excellent display of modern and melodic heavy music.

Formed in the city of Kouvola, Finland in 2009, but currently based about 130km to the southwest of that, in the capital Helsinki, The Hypothesis have already built a solid reputation in Melodic Death Metal, playing in renowned festivals such as Nummirock and Qstock, and sharing the stage with names like Swallow The Sun, Scar Symmetry, Wolfheart and Before The Dawn. And that’s after having released only one EP, named Nightshade, back in 2010. And now, without further ado, it’s time to hit play and start moshing with those Finnish metallers.

Right from the first few notes in Shades to Escape, you’ll notice how much they love futuristic keyboard noises, providing a sound that’s very harmonious and polished as usual, but always as violent as this type of music demands. In addition, frontman Antti Seppälä offers sharp and harsh growls nicely complemented by some clean vocals to give more balance to the song, with the powerful riffs and solos by both guitarists Juuso Turkki and Asko Sartanen filling all the spaces left. Leak, an old school Melodic Death Metal with hints of Metalcore, sounds less experimental and a lot heavier and more vicious, with the precise drumming by Waltteri Väyrynen enhancing the electricity found in the music; while End of Your Days somehow “takes off” from where the opening track stopped, with Antti going on with his furious screams and both guitars blasting some awesome riffs, all supported by the song’s background keyboards and the intricate bass lines by Markku “Neissu” Ruuskanen.

The_Hypothesis_promopic_largeOnce again exhibiting a futuristic and metallic aura, Scarface is a decent composition that unfortunately doesn’t live up to the energy found throughout the rest of the album, with its rhythm sounding a bit confusing (or maybe too progressive compared to what the other songs offer). Exit puts the band back on track with its high level of violence and nonstop action, boosted by an amazing guitar solo by guest musician Daniel Freyberg. Moreover, Markku can’t stop pounding his thunderous strings in this modern and melodic Death Metal chant tailored for fans of the genre, and almost immediately they connect it to Atonement, another song presenting potent riffs and high-end solos by Juuso and Asko where Antti showcases some clean vocals before going back to his demonic mode.

In Eye for an Eye, the rhythmic beats by Waltteri craft the perfect sonic tornado for Antti to fire desperate and harsh vocal lines in the best song of the album. This is how a Melodic Death Metal band should always add progressive elements to their musicality, not to mention its yet again flawless keyboard notes. On the other hand, Weak Story, despite its instrumental pieces being as good as the rest of the album (in special its guitar solos), brings forward out-of-place clean vocals that sound taken from a generic Metalcore song. And closing the album we have the interesting instrumental song Second Chance, where the modern elements added to its polished production turn it into a nice experimental voyage in Melodic Death Metal. Besides, you can pretend to be Antti and add your own lyrics and vocals to it, how about that? Or you can simply relax and relish the beautiful guitar riffs and rumbling bass lines offered by the band during the whole song as well.

This up-and-coming band from Finland can be found on Facebook and on YouTube, and you can purchase Origin at the Inverse Records’ webshop, on iTunes or on Amazon. It might have taken almost four years for The Hypothesis to conclude their first full-length record, but after listening to it you’ll realize it was definitely worth the wait thanks to all the energy and passion those guys put into the making of the album.

Best moments of the album: Leak, Exit and Eye for an Eye.

Worst moments of the album: Scarface and Weak Story.

Released in 2016 Inverse Records

Track listing
1. Shades to Escape 4:20
2. Leak 4:25
3. End of Your Days 4:47
4. Scarface 3:51
5. Exit 3:34
6. Atonement 3:28
7. Eye for an Eye 4:46
8. Weak Story 4:03
9. Second Chance (Instrumental) 4:43

Band members
Antti Seppälä – vocals
Juuso Turkki – guitar
Asko Sartanen – guitar
Markku “Neissu” Ruuskanen – bass
Waltteri Väyrynen – drums

Guest musician
Daniel Freyberg – guitar solo on “Exit”

Album Review – Among The Prey / Only For The Blinded Eyes (2016)

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A solid and energetic album highly recommended for fans of Melodic Death Metal, crafted by a Finnish band that has all it takes to become a future reference in Scandinavian heavy music.

Rating4

AmongThePrey2400pixFeaturing high skilled musicians previously known from groups such as Thunderstone, Agonizer and Before The Dawn, here comes Finnish Melodic Death Metal band Among The Prey directly from the city of Jyväskylä, the largest city in the region of Central Finland and on the Finnish Lakeland, firing a pugnacious fusion of traditional and modern Melodic Death Metal in their debut full-length album Only For The Blinded Eyes. And before I even begin the detailed review of this 9-track album, I might say this is undoubtedly an excellent choice for fans of a genre that became a synonym to heavy music from all over Scandinavia.

The reason for that is quite simple as Among The Prey deliver exactly what Melodic Death Metal demands to be truly entertaining, including enraged screams, melodic guitar lines and vigorous beats. Formed in 2013 and having released a demo entitled My Demons in 2014, it’s time for the band to reach higher grounds and send their special message to the world with Only For The Blinded Eyes. “The whole point of the album was to make music as it always should be done. If the artist has something to say, he puts himself truly in the line of fire and pours it all out. So that every played note and every vocal line would transfer those raw emotions to the listener. I hope we succeeded in that, so it can be heard why this album just had to be done”, said the band’s founder and frontman Iiro Kuntsi.

In the opening track, directly named Smile, the band offers us all huge doses of violence but with that characteristic polished sounding of Melodic Death Metal, and you’ll quickly notice how each band member masters their respective instruments. As expected, Iiro leads the attack with his sick growls and piercing riffs, making an excellent duo with the other guitarist for Among The Prey, Joni Laine. The following tune, Beyond Repair, is a modernized sonic devastation highly influenced by Groove Metal, where its nonstop beats are enhanced by its excellent guitar lines, turning this into a song tailored for igniting a fun circle pit with your friends during the band’s live performances; whereas the title-track Only For The Blinded Eyes gets darker than its predecessors, exhibiting lots of elements from the Gothenburg Sound but with the band’s own touch. For instance, especially during the song’s chorus the band seems to be paying a “tribute” to iconic bands such as In Flames and Soilwork.

Among_The_Prey_promopicDrinking from a similar music fountain of bands such as Arch Enemy, Among The Prey bring forward the very melodic and thrilling Burning Down In Hell, certainly one of the best tracks of the whole album (if not the best) mainly due to Iiro’s raging vocals, in special during the song’s catchy chorus about sorrow and regret (“Why did I do this to myself / Why can’t I make it go away / Over and over again / I’m burning down in hell”). Following that awesome chant, we have Pieces, which despite being a more introspective tune it still contains the unique fury crafted by the band. In addition, the precision by drummer Atte Palokangas is outstanding throughout the entire album, which can be witnessed in detail in his excellent performance during this song.

In Wake Up the band keeps blasting pure Melodic Death Metal, with the groovy and rumbling lines by bassist Toni Keskinen and the riffs by both Iiro and Joni elevating the overall quality of this neck-breaking chant. However, in order to avoid getting stale, the second half of the song presents a different approach from its first “act”, which in the end is a welcome breathe of fresh air and only makes things even better. In Your Face is another good display of the highly-developed skills of all band members, a solid fusion of Melodic Death Metal and Groove Metal that should sound very powerful during their live  concerts, while in Two Worlds Colliding, a song about  violence and betrayal (“Left behind, forgotten / Bout to walk this path / Blinded by all your / Darkened words / Violence has left me numb”), there’s a lot of hatred flowing from Iiro’s screams, with the only problem being that the song gets a bit tiring after a while. And finally, Dancing On Our Graves comes crushing with its four minutes of blazing riffs in perfect sync with the rhythmic drumming by Atte. This is perhaps the song with the highest amount of elements from different types of heavy music other than Melodic Death Metal, which makes me wonder the level of complexity the band could have reached with a couple of extra minutes if it was slightly longer than the final result (which is already really good, anyway).

In a nutshell, as I mentioned before Only For The Blinded Eyes is a solid and energetic album highly recommended for fans of Melodic Death Metal, crafted by a band that has all it takes to become a future reference in this type of heavy music. You can get more details on Among The Prey, their music, their tour dates and their future plans at their Facebook, YouTube, SoundCloud and ReverbNation, and grab your copy of Only For The Blinded Eyes at the Inverse Records webstore or at the Record Shop X webstore.

Best moments of the album: Smile, Burning Down In Hell and Wake Up.

Worst moments of the album: Two Worlds Colliding.

Released in 2016 Inverse Records

Track listing
1. Smile 3:49
2. Beyond Repair 3:51
3. Only For The Blinded Eyes 3:53
4. Burning Down In Hell 3:44
5. Pieces 4:45
6. Wake Up 4:15
7. In Your Face 3:04
8. Two Worlds Colliding 4:02
9. Dancing On Our Graves 4:16

Band members
Iiro Kuntsi – vocals, guitar
Joni Laine – guitar
Toni Keskinen – bass
Atte Palokangas – drums

Album Review – Charm Designer / Everlasting (2016)

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An everlasting feeling of heaviness and obscurity in over 50 minutes of beautiful Doom and Gothic Metal forged in the dark flames of Colombia.

Rating4

front_cover640Although it might have taken almost 10 years for Colombian Gothic/Doom Metal act Charm Designer to release their first full-length album, entitled Everlasting, the final result is so compelling, professional and melodious it looks like these dark metallers have been doing this for ages. In its over 50 minutes of melancholy, Everlasting offers us metalheads everything we look for in obscure music, definitely putting the city of Bogotá, Colombia in the map of Gothic and Doom Metal, and obviously paving Charm Designer’s path to stardom in the always exciting underworld of Heavy Metal.

Formed in the year of 2006 and having released a demo named Manifested in 2006 and an EP named Blood sounds in 2008, Charm Designer are finally back with a new opus, having recorded Everlasting with legendary German producer Waldemar Sorychta, known for his work with Samael, Lacuna Coil, Moonspell, among other renowned bands, being the first time for him to produce a Latin American band. Featuring a beautiful artwork by Costin Chioreanu (Twilight13media), who has provided his art to bands such as Arch Enemy, Paradise Lost and Opeth, Everlasting will fulfill your needs for heaviness and heartache through its nine powerful chants, and when it’s over you’ll certainly hit play again from the beginning, feeling completely embraced by the band’s gentle darkness.

The title-track Everlasting ignites the dark flames of the album, reminding me of the latest installments by Dark Metal masters Moonspell, being heavy, dense and alluring at the same time. Lead singer/guitarist Andrés Herrera does a great job with both his growls and clean vocals a la Niilo Sevänen (Insomnium), which is also the case in the even more doom-ish and obscure The Replicant. Furthermore, this tune gets closer to the traditional Doom Metal from the UK due to its deeper growling, with drummer Diego A. Morales smashing his drum set while the bass lines by Diego M. Giorgi sound as infernal as possible.

Presenting a strong Gothic Metal/Hard Rock vein, these Colombian metallers deliver a beautiful composition full of melancholy and passion entitled Never After, another song inspired by the unique music by Moonspell and the best of the entire album in my humble opinion. Andrés is on fire with his somber vocals and powerful guitar riffs and solos, and albeit I have absolutely no idea who’s the woman doing the female vocals, she surely adds an additional layer of awesomeness to the musicality. Then we have Disruption, a feast of the most downhearted form of Doom Metal enhanced by its background keyboards and mesmerizing rhythm, where even the smoother passages offer heaviness in the form of the bass lines by Diego M.; followed by Mentors, a solid Doom Metal chant with hints of Gothic Rock where Andrés leads the sounding with his excellent riffs, thus inspiring Diego A. to increase his fierceness on drums.

CharmDesigner_03In Inertial Drain, an acoustic start grows into modern Symphonic Gothic Metal, with the Paradise Lost-inspired drumming by Diego A. and the song’s magnetic riffs enfolding the listener in an ode to grief and misery. In addition, no matter if its comfortless lyrics are screamed or darkly declaimed by Andrés, the final result is simply amazing. The next tune, Endowar, is a lot faster and more violent than most songs despite its symphonic keyboards, showcasing a great job done by Andrés who sounds like a hellish beast without exaggerating on his harsh screams.

However, it doesn’t take too long for Charm Designer to get back to what they do best, in other words, stunning Doom Metal as in the occult hymn By The Unmasked, where the whole band delivers what can be called “dark music under a starless night” (and what a beautiful guitar solo by Andrés, making this excellent tune even more enjoyable). Policy of Truth, , another tribute to the most melancholic form of heavy music, is the icing on the cake in Everlasting, bringing forward an exciting rhythm perfect for the vocal lines by Andrés, as well as more of those gorgeous (and mysterious) female vocals.

In order to truly experience the everlasting feeling of heaviness, sorrow and obscurity brought forth by Charm Designer in their brand new album, go visit their Facebook page, YouTube channel, SoundCloud and ReverbNation, and grab your copy of Everlasting at the Inverse Records webshop, on Amazon and several other locations. Your heart and soul will never be the same after tasting the puissant Doom and Gothic Metal by this talented Colombian band, I must warn you.

Best moments of the album: Never After, Disruption and By The Unmasked.

Worst moments of the album: Mentors.

Released in 2016 Inverse Records

Track listing
1. Everlasting 5:00
2. The Replicant 5:12
3. Never After 6:52
4. Disruption 6:37
5. Mentors 4:51
6. Inertial Drain 7:04
7. Endowar 4:33
8. By The Unmasked 7:41
9. Policy of Truth 4:17

Band members
Andrés Herrera – vocals, guitars
Diego M. Giorgi – bass
Diego A. Morales – drums

Additional musician
Diego A. Hernández – guitars (live)

Album Review – Wolfhorde / Towards The Gates Of North (2016)

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To the sound of the high-quality Folk Metal cast by this talented horde of roaring wolves, we shall travel towards the gates of North.

Rating5

Wolfhorde_-_Towards_The_Gates_of_North640Get ready for a breathtaking journey through the realms of Viking mythology, an expedition from the beginning of the end to the beginning of a new world, also called as the North beyond the gates. Unspoiled by the reach of men, it served as the inspiration for Finnish Folk Metal band Wolfhorde in their first full-length album, beautifully entitled Towards The Gates Of North, a chaotic combination of opposites that will guide you across the northern landscapes together with this talented heathen horde.

Hailing from the city of Keuruu, Finland, around 300km north of the capital Helsinki, this power-trio incorporates heaviness, melancholy, joy, dynamism and history all at once in their music, offering fans of the genre a legit multitude of Norse hymns perfect for sharing a beer with your loved ones and get into the circle pit with your closest friends. The album art in Towards The Gates of North, designed by pnkfdARTS, shows the path we need to follow. It’s just a matter of hitting play now and joining these talented Vikings in their quest for the new world.

Vegvísir, the Icelandic word for a magical stave intended to help its bearer find his way through rough weather, appears in the album as an acoustic folk song warning that the journey is about to begin, before Fimbulvetr comes storming with its electrifying Folk atmosphere and bitterly cold lyrics (“This snowfall, lasted for days / I smell it in the air / Already the blood has been spilt / with frost arrived the fear”). In Norse mythology, this is the immediate prelude to the events of Ragnarök, meaning “Mighty Winter”, a perfect way to get fully immersed in the storyline put forward by the band.

Wolfhorde_-_PromopicIn Taivaankappaleiden Kato (which should translate from Finnish as “celestial roofs” or “celestial ceilings”), multi-instrumentalist Werihukka does an amazing job putting his Viking soul into each instrument played, while lead singer Hukkapätkä sends a message of pain and sadness through his harsh screams. Following that high-end Folk Metal tune, we have the fiery chant Death Long-Due, perfect for singing and prancing around the fire pit thanks to a great performance by Hukkapätkä on both vocals and drums. Besides, there are so many different instruments and elements accurately added to this metallic composition it’s hard to pick just one as its main driver. And accelerating things a bit, The Retribution is another solid tune that blends the best of Folk and Pagan Metal, and I’m sure it will generate some nice circle pits during their live performances.

Lovers of traditional Folk Metal will have tons of fun with Unyielding, an uncompromised song where, just when you think it’s going to slow down or lose some of its grip, all band members smash their instruments creating an amazing fighting atmosphere. But it’s in Boundless Agony that Wolfhorde step up their game by incorporating elements of Death Metal to their music, which end up elevating the song’s fierceness, and by presenting an inspired Werihukka guiding the music especially through his excellent guitar solos, while bassist Nuoskajalka effectively supports all his intricate work. In the brutal and melodic kick-ass tune Lycomania, a form of insanity in which a person imagines himself to be a wolf, the whole band speeds up the rhythm and goes absolutely mental, turning this into the best moment of the album in my opinion. And The Gates of North, their most epic tune and also the longest in duration, works as an exciting conclusion to their excruciating quest. A lot more symphonic and rhythmic than all previous songs, this chant sounds like a heavy torment, exhaling sorrow and agony until it reaches its climatic ending.

It’s easy to join Wolfhorde in their pursuit of a new world. Simply grab your Vegvísir, visit their Facebook page and YouTube channel, and grab your copy of Towards The Gates Of North at their BandCamp page or at the Inverse Records webstore. To the sound of the high-quality Folk Metal cast in the land of ice and snow by this talented horde of roaring wolves, we shall travel towards the gates of North.

Best moments of the album: Death Long-Due, Boundless Agony and Lycomania.

Worst moments of the album: The Retribution.

Released in 2016 Inverse Records

Track listing
1. Vegvísir 3:20
2. Fimbulvetr 6:32
3. Taivaankappaleiden Kato 4:00
4. Death Long-Due 4:52
5. The Retribution 3:32
6. Unyielding 4:18
7. Boundless Agony 4:56
8. Lycomania 3:52
9. The Gates of North 9:06

Band members
Hukkapätkä – vocals, drums
Werihukka – guitars, other instruments
Nuoskajalka – bass

Album Review – Escalane / The Days Of Decay (2015)

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A delightful album full of catchy riffs, sing-along choruses and endless electricity by an up-and-coming Pop Metal band from Finland, to at least end this tragic year on a high note.

Rating5

escalane_days-of-decay_640The Headbanging Moose has one last treat for you metalheads before this turbulent year finally comes to an end, and in order to lessen the pain caused by so many tragedies and bring some joy into our lives, let’s fly to the city of Jyväskylä, Finland and dance to the brisk and lighthearted music by Finnish Pop Metal band Escalane. In case you have absolutely no idea of how Pop Metal sounds, let me tell you that what this female-fronted four-piece group has to offer is a modern version of Heavy Metal with lots of Pop Rock influences, which translates into a sounding much heavier (and a thousand times better) than Paramore, but obviously a lot lighter than all the extreme music we’ve reviewed lately.

Formed by guitarist Juha Takanen in late 2013 and having released two promo singles in 2014, as well as having toured China for two weeks that same year, Escalane are now ready to spread their amusing fusion of heavy and pop music across the four corners of the world with their debut full-length album, entitled The Days Of Decay. Furthermore, the avant-garde album art designed by Finnish artist Simo Heikkinen already gives you an idea of what to expect from the music by Escalane, a torrent of catchy riffs, sing-along choruses and the charismatic performance by the sexy red-haired frontwoman Hanna Uimonen, so to speak.

If you turn on the radio and the song Waiting For The Sun by Escalane is playing, I’m pretty sure you’ll start smiling right away. It has some sort of “Babymetal” feeling but with more mature vocals, of course, which translates into lots of fun with Juha kicking fuckin’ ass through his heavy riffs and endless energy. Featuring electronic elements in the background but still more metal than pop, Singularity focuses on the smooth vocals by Hanna (with her Finnish accent adding an extra touch of beauty to the song) and her gentle piano notes; whereas Fading In, Fading Out brings to the listener pure Rock N’ Roll with elements from J-Pop. In addition, drummer Iiro Vuori and bassist Joonatan Jaakonaho let their metal side prevail, providing the perfect base for Juha to fire his solid shredding.

Promo_1Careless blends modern Metalcore with Pop Rock, with its keyboards spicing up the musicality, before the introspective ballad Seven Months presents a completely different mood from the rest of the album. In the end it works pretty well, increasing the album’s reach and showcasing another excellent performance by Juha. Reality is a good display of what can be called “progressive pop”, switching from heavier bass lines and guitar riffs to a gentle ambience and so on, while The Spiral is a great option for a special playlist to hit the road due to its exciting rhythm and electrifying riffs. Moreover, some parts of the song even feel like Power Metal and others like Alternative Metal so weird the whole thing is.

In This Disgrace, what seems to be “just” a ballad suddenly turns into high-speed Rock N’ Roll, and I bet you’ll be singing it together with the fiery Hanna without even noticing. And there’s even time for some headbanging with Escalane in The Map thanks to the solid synchronicity between Juha and Iiro, increasing the song’s heaviness. Lastly we have the title-track, The Days Of Decay, closing the album in an thrilling and metallic way, not to mention its extremely catchy chorus (“I don’t want your glow, I don’t want your crow, I don’t want it, no / I don’t wanna know about your flow, you don’t really have to show / I don’t want your glow, I don’t want your crow, I don’t want it, no / I don’t wanna know about your flow, I don’t want to know”).

Now that you have finally been exposed to some good Pop Metal, why not visiting Escalane’s Facebook page and give them a shout? You can also check more of their music at their YouTube channel, or purchase The Days Of Decay at the band’s BandCamp page, at the Inverse Store, or at Record Shop X. As this year might have been tragic and catastrophic for almost the entire world, at least let’s end it on a high note to the joyful music by Escalane, hoping for a better 2016 for all of us.

Best moments of the album: Waiting For The Sun, Fading In, Fading Out and The Days Of Decay.

Worst moments of the album: Reality.

Released in 2015 Inverse Records

Track listing
1. Waiting For The Sun 3:23
2. Singularity 3:52
3. Fading In, Fading Out 3:23
4. Careless 4:37
5. Seven Months 3:59
6. Reality 5:31
7. The Spiral 4:25
8. This Disgrace 4:01
9. The Map 5:16
10. The Days Of Decay 3:27

Band members
Hanna Uimonen – vocals, piano
Juha Takanen – guitars
Joonatan Jaakonaho – bass
Iiro Vuori – drums