Embark on an exciting journey across the stars with the new concept album by this Italian Atmospheric Black Metal act, representing a further evolutionary step in their distinct career.
Initially announced as a complementary EP to last year’s album oltreLuna, the new album by Italian Atmospheric Black Metal act Progenie Terrestre Pura (which translates as “Pure Terrestrial Progeny”), entitled starCross, turned out to be an even more powerful and impressive opus than this Veneto-based band comprised of Emanuele Prandoni on vocals, Davide Colladon on guitars, drum programming and synths, and Fabrizio Sanna on bass could have imagined. Featuring a classy artwork by visual artist Kuldar Leement, starCross uses its 30 minutes to tell a precise story, as the EP is an all-round concept release based on a tale written by the band’s mastermind Davide Colladon.
In order to make the release fully understandable beyond the Italian borders, the band decided to use English for the first time in their career. The music, either, is very different from what could be heard on everything Progenie Terrestre Pura (also known as “q[T]p”) ever released since their inception in 2009. “starCross represents a further evolutionary step for qTp”, says Colladon, “its sound is extremely connected to the story it tells, which is pretty dark. My intention was to recall thrilling sci-fi masterworks such as Ridley Scott’s Alien, Grant Morrison’s Nameless and the Dead Space videogame saga.” In other words, get ready to embrace fear, madness and despair in the darkest Progenie Terrestre Pura release to date, and prepare yourself for what might be your last trip across the stars.
The band wastes no time in starCross by offering us Chant of Rosha, an atmospheric, futuristic intro from outer space, enfolding us and taking us to the whimsical world of Progenie Terrestre Pura, warming up our senses to the breathtaking Toward a Distant Moon, an explosion of the most disruptive elements from Black Metal led by the razor-edged guitar lines by Davide, with Emanuele’s enraged growls creating an electrifying paradox with the excellent background choir, remaining vibrant, ethereal and aggressive from start to finish for our total delight. And that electricity keeps permeating the air, as the music builds a cinematic connection with the also impactful Twisted Silhouette, starting in an eerie manner with a dark narration before all hell breaks loose, with the song’s demolishing beats together with Davide’s crisp riffs and Fabrizio’s thunderous bass building the perfect stage for Emanuele to fire his harsh growls, also adding tons of progressiveness to its core. In the end, you’ll get deliciously lost in all the madness, wicked noises and flammable sounds blasted by the band throughout the entire song.
The Greatest Loss also showcases a modern and creepy intro that morphs into a blend of Atmospheric Black Metal with Industrial Metal, with all mechanized elements and nuances bringing an extra touch of lunacy to the overall result. Furthermore, Davide does a superb job with his guitar and synths by generating a menacing ambience perfect for Emanuele’s growls, with the last part of the song being a heavier version of the industrial music played by bands like Ministry and KMFDM. And finally, q[T]p’s last blast of obscure, futuristic movie-inspired music comes in the form of a bizarre outro named Invocat, where future meets past with electrified and cold, mechanic sounds being complemented by a background Gregorian chant.
Do you have what it takes to join q[T]p in their metallic space odyssey? If the answer is yes, you can get to know more about the band, their tour dates and future plans on their official Facebook page, and purchase starCross (available for a full and detailed listen on YouTube and on Spotify) from their own BandCamp page, as well as from the Avantgarde Music’s BandCamp page or Big Cartel as a very, very special A5 Digipack CD, showcasing a brand new artwork (courtesy of Italian artist Ballak., who gave a face and a spaceship to the main character of the starCross concept, Robert I.C. Cross) and including the storyline of the EP in its entirety. You can also buy it from other regular retail places such as iTunes, Amazon and discogs (in vinyl or CD format), but if I were you I would certainly go for the A5 Digipack edition of the album, because if you’re going on a musical voyage through the stars, you better be armed with the best weapon and soundtrack available at the same time, right?
Best moments of the album: Toward a Distant Moon and The Greatest Loss.
Worst moments of the album: None.
Released in 2018 Avantgarde Music
Track listing
1. Chant of Rosha 2:22
2. Toward a Distant Moon 6:41
3. Twisted Silhouette 8:02
4. The Greatest Loss 7:50
5. Invocat 4:31
Band members Emanuele Prandoni – vocals
Davide Colladon – guitars, drum programming, synths
Fabrizio Sanna – bass
Get ready for over one hour of top-of-the-line Symphonic Power Metal, courtesy of one of the most prominent and skillful bands from the Italian scene.
Hailing from the always fun and vibrant Italian city of Milan, a global capital of fashion and design, here comes one of the most important and most consistent metal acts from the European scene, Symphonic Power Metal squad Derdian, back with another vibrant and well-balanced album titled DNA, the seventh full-length release in their beyond prolific and interesting career. In an era where most renowned bands tend to release only a handful of songs per album, Derdian go against the tide by offering fans of their fusion of symphonic elements and Heavy Metal nothing more, nothing less than over one hour of first-class music split into 13 original songs, proving once again how much they love what they do.
Comprised of Ivan Giannini on vocals, Enrico Pistolese and Dario Radaelli on the guitars, Marco Banfi on bass, Marco Garau on keyboards and Salvatore Giordano on drums, which is the same extremely talented and focused lineup from their previous releases such as their 2014 album Human Reset and their 2016 release Revolution Era, Derdian keep blasting their usual sonic extravaganza full of symphonic layers, epic passages and endless electricity in DNA, all embraced by a crystal clear overall production that enhances the impact of their music even more, turning the experience of listening to DNA a musical orgasm for admirers of the genre.
Abduction, a symphonic-cinematic intro that sounds and feels very serene, sets the stage for Derdian to kick some serious ass with the title-track DNA, a fast and very melodic Power Metal feast inspired by the golden days of Sonata Arctica and Stratovarius, with Ivan showcasing a superb performance on vocals while Marco Garau and Salvatore have a healthy “duel” of delicacy versus stamina with their instruments. After such powerful start the band offers a top-notch Melodic Metal tune for the masses titled False Flag Operation, with its conspiracy theories-inspired lyrics (“It flies along the blue skies / No one knows what’s gonna happen / New York city will have / The right punishment to be / A nest of worms without a faith / Greedy hawks vultures and jackals / Soon the west will got a / Nice surprise to share with me!”) and sheer epicness flowing from the guitars by Enrico and Dario, followed by Never Born, where a smooth start evolves to a feast of harmonious and delicate sounds, but still bringing the traditional electricity of Melodic Power Metal. In addition, this is a great song to sing along with Ivan and the guys, with Enrico, Dario and Marco Banfi giving a lesson in intricacy, melody and feeling with their stringed weapons.
The next track in DNA, called Hail to the Masters, presents a fun fusion of Symphonic Power Metal with Epic and Folk Metal, considerably different from their traditional sonority, with Ivan singing like a true minstrel and with Marco Garau dictating the rhythm with his whimsical keys; while in Red and White, a perfect example of what Melodic Metal is all about, the band gets back to their old school musicality, which means fast and melodic riffs, nonstop drums and another great vocal exhibit by Ivan, flowing smoothly form start to finish. Then we’re treated to a prancing mid-tempo composition entitled Elohim, led by the rhythmic beats by Salvatore and feeling almost a hundred percent Folk Metal at times, before morphing into a Jazz-infused feast of bass punches, keyboard solos and an upbeat vibe. It’s indeed a fantastic and unique side of Derdian, but if that is not entertaining enough for you, we have another powerful tune named Nothing Will Remain for your avid ears, blending elements from classic and symphonic music with modern Progressive Metal, with highlights to the spot-on guitar solos by both Enrico and Dario.
While Fire from the Dust brings what’s perhaps their most aggressive lyrics (“Like a snake crawls out from the rocks / We go out from …this fucking hole / Let the hate becomes a fire / Fire from the dust! / Take the weapons, annihilate them / They are not machines! / Like a snake crawls out from the rocks / Fire from the dust!”), musically speaking it’s a Symphonic Metal extravaganza tailored for diehard fans of the genre, with the solos by the band’s guitar duo and especially by Marco Garau adding even more electricity to the overall result. Then in Destiny Never Awaits a gentle piano intro evolves into a decent power ballad by this Italian six-piece squad, presenting pleasant guitar lines and potent vocals, but unfortunately never reaching the same electrifying vibe of the rest of the album; whereas in Frame of the End the band delivers a heavier version of their Symphonic Power Metal (it can even be considered a more symphonic and metallic version of the music by Dream Theater in my opinion) spearheaded by Ivan and his passionate and flammable vocal lines, with Stefano also having a precise and groovy performance on drums, not to mention all of the song’s nice breaks and variations. Marco Garau once again kicks things off in a vibrant feast of Melodic Metal titled Part of This World, where not only Enrico and Dario are in total sync with their riffs, but you should also pay attention to how they meticulously add several elements from classical music to their Power Metal. And lastly, as a “bonus” the band offers us a Spanish version for “Nothing Will Remain”, translated to Ya Nada Cambiara, bringing an extra dosage of epicness and an fresh kick to their Symphonic Power Metal.
If you’re not familiar yet with the symphonic and electrifying world of Derdian, you can get more details about the band, their tour dates and their music on Facebook and on YouTube, and purchase a copy of DNA directly from their webstore, from iTunes or from Amazon. In a nutshell, DNA is more than just another ass-kicking, thrilling album by this Italian squad that lives and breathes Melodic and Symphonic Power Metal, but a beyond recommended option for anyone who admires some good old Heavy Metal with a precise amount of symphonic elements and an epic aura. Some bands are comprised of talented musicians while others work their asses off to provide good music to the listener, but in the case of Derdian we can say they combine the best of both worlds, with DNA being the perfect depiction of the beautiful thing that happens when you put undisputed talent together with endless amounts of hard work.
Best moments of the album: DNA, Never Born, Elohim and Frame of the End.
Worst moments of the album:Destiny Never Awaits.
Released in 2018 Independent
Track listing 1. Abduction 1:12
2. DNA 5:27
3. False Flag Operation 5:00
4. Never Born 5:43
5. Hail to the Masters 4:27
6. Red and White 5:04
7. Elohim 5:26
8. Nothing Will Remain 5:31
9. Fire from the Dust 6:21
10. Destiny Never Awaits 5:41
11. Frame of the End 5:00
12. Part of This World 6:05
13. Ya Nada Cambiara 5:31
King Records Edition bonus track 14. Never Born (Japanese version) 5:41
Band members Ivan Giannini – vocals
Enrico Pistolese – guitars
Dario Radaelli – guitars
Marco Banfi – bass
Marco Garau – keyboards
Salvatore Giordano – drums
An astonishing combination of brutal violence, shredding guitar solos, blasting drums and soaring vocals inspired by classic and melodic Death Metal.
If you consider yourself a diehard fan of modern-day Melodic Death Metal you have to take a very good and detailed listen at Shades, the debut album by Italian metallers Coiled Around Thy Spine. Formed in 2017 in the city of Turin by Italian guitarist Sergio Costa, when he met American drummer David Archie Weiss online, Coiled Around Thy Spine not only have their core essence deeply rooted in Melodic Death Metal, but it’s the classic Death Metal influences spiced up by symphonic elements that make their music so entertaining, electrifying and vibrant, with all songs in Shades being highly recommended for slamming into the pit, banging your head nonstop or simply enjoy their intricate and flammable waves.
After Sergio and David started working on the music together, they decided to expand beyond the initial instrumental idea, recruiting Italian vocalist Daniele Rosso to complete the band’s lineup. Unfortunately, David decided to quit the band for personal reasons before the release of Shades, but that doesn’t mean Coiled Around Thy Spine will call it quits and cease their quest for top-tier metal music. Quite the contrary, featuring a simple but very effective artwork by TheSmashedRabbit, Shades is an astonishing combination of brutal violence, shredding guitar solos, blasting drums and soaring vocals, inspired by classic and melodic Death Metal as well as contemporary metal masterpieces alike, proving this up-and-coming metal unity is here to stay, and after listening to the album you’ll certainly be eager for more of their music.
A movie-inspired intro named Candles builds the ambiance for the hard-hitting tune [God Mode: On], blending the most visceral and modern elements from Melodic Death Metal and Blackened Death Metal, sounding absolutely pulverizing form start to finish with Daniele blasting devilish gnarls and growls while Sergio Costa shreds his guitar in a demonic way. Put differently, this can be called an evil and bastard hybrid of Behemoth and Dimmu Borgir. Then we have Dissected, where David sounds beyond brutal on drums, elevating the impact of this hellish tune considerably, also presenting hints of the music by Arch Enemy on vocals and guitars and flowing demonically until the end; followed by How Freedom Dies, another crushing spawn by the power trio where the strident and sharp sound of guitars is simply outstanding, bringing a high dosage of malignancy to the music. Moreover, its background keyboards add a touch of delicacy to the ambience, bringing more balance to this well-crafted, full-bodied chant. And their Arch Enemy-like vein arises once again in the title-track Shades, a darker and more melodic metal extravaganza than its predecessors, with the only issue being that the music never reaches the same speed as the rest of the album (its level of heaviness and aggression is still quite gargantuan, though).
Their intricate and berserk feast of sounds and tones goes on in Subhumanized, led by the lancinating riffs and solos by Sergio while David keeps smashing his drums, sounding modern and vile from start to finish, whereas in The Sick Game, their most demonic song of all, guitars and keys complement each other flawlessly, supported by the pulverizing drumming by David. Furthermore, the song also displays interesting nuances of Progressive Death and Black Metal, resulting in a lesson in extreme music by the Italian trio where Daniele bursts his lungs screaming like a demon. The second to last spawn of dark sounds by Coiled Around Thy Spine, titled In Vain, showcases more of their high-octane, flammable music tailored for banging your head frantically, with all three members sounding demented with their instruments (in special David and his Stygian beats and fills), and their final avalanche of extreme sounds, named Safe, is perhaps their most obscure one, leaning towards modern Black Metal in a true feast of rhythm, harmony, and darkness led by Daniele and his otherworldly growls, not to mention Sergio and his neck-breaking riffs, ending the album in a menacing and climatic manner.
You can listen to Shades in full on Spotify, and if you have what it takes to face the modern and absolutely threatening music by Coiled Around Thy Spine you should definitely visit their Facebook page for news, tour dates and everything else that’s related to the band, and purchase the album on iTunes or on Amazon. As aforementioned, Shades combines the brutality and heaviness of Death Metal with the finesse of modern-day Melodic Death Metal in a fantastic way, proving this now Italian duo (who will certainly find another sensational drummer to replace David soon) has all that’s needed to thrive in the world of heavy music. And we’ll all be eagerly waiting for more of their incendiary music in the near future, of course.
Best moments of the album: [God Mode: On], How Freedom Dies and The Sick Game.
Worst moments of the album:Shades.
Released in 2018 Independent
Track listing 1. Candles 1:54
2. [God Mode: On] 5:36
3. Dissected 6:17
4. How Freedom Dies 4:48
5. Shades 6:52
6. Subhumanized 5:54
7. The Sick Game 5:16
8. In Vain 5:59
9. Safe 7:50
Band members
Daniele Rosso – vocals
Sergio Costa – guitars, bass, synth
David Archie Weiss – drums, synth
Embark on a journey through the cosmos with the brand new album by these talented Italian doom metallers, always evolving and exploring new territories without posing musical limits or barriers.
Born as a Black Metal band in the year of 2005 in Rimini, a city on the Adriatic coast in Italy’s Emilia-Romagna region, but slowly shifting away from the Black Metal scene in favor of Doom Metal, Post-Rock and Post-Metal influences, Deadly Carnage continue to pave a path of absolute experimentation with their brand new album titled Through the Void, Above The Suns, evolving and exploring new territories without posing musical limits or barriers. Comprised of lead singer and guitarist Alexios Ciancio, guitarist Davide “Dave” Bacci, bassist Fabio “Adres” Arcangeli and drummer Marco Ceccarelli, the band offers in Through the Void, Above the Suns a phenomenal journey, an unmatched vision of the cosmos with all its tangible and intangible components, such as stars, dark matter and black holes, forces that regulate it up through light and time.
While having explored existentialism in the past, with this new chapter Deadly Carnage move towards a universal vision, halfway between science, philosophy, occultism and spirituality. Musically speaking, the album brings to our ears an amalgamation of different styles and emotions, all embraced by a wide vision and dark moods, putting together the heaviest and most Stygian elements found in traditional Black Metal with the more modern, expanding and sometimes even esoteric tones and nuances from Doom Metal and Post-Rock. As a matter of fact, you’ll find your mind wandering through the realms of the atmospheric and sinister music crafted by Deadly Carnage while at the same time feel the urge to bang your head and scream in anger so subtle is the line between the band’s past and present sound, proving how gripping and timeless their music can be.
The album kicks off with an atmospheric intro titled Quantum, warming us up for to the obscure Matter, where the doomed beats by Marco dictate its funereal rhythm and set the perfect stage for the desperate vocals by Alexios, with the music flowing in a somber way until its climatic finale. Then we have Hyle, with the band’s stringed trio Alexios, Dave and specially Adres with his menacing bass helping enhance the song’s impact considerably by blending the obscurity of Doom Metal with hints of more modern styles such as Groove and Progressive Metal, while Alexios darkly declaims the song’s lyrics (“Here they are / the pillars of every seen and unseen things / the fiery and burning water of existence / that no one can corrupt”), gradually morphing into a pensive and dark bridge called Cosmi, before the band brings forth the melancholic tune Lumis, a lancinating composition with highlights to the somber vocals by Alexios surrounded by a mesmerizing atmospheric background, also displaying a beautiful and potent ending.
As desperate and melancholic as its predecessors, Ifene blends the most obscure elements from Doom, Progressive and Black Metal, with both Alexios and Dave slashing our ears with their guitar lines; followed by another atmospheric creation by Deadly Carnage titled Fractals, where you should simply close your eyes and let the ethereal waves crafted by the band guide your soul to the flammable Divide, showcasing traditional Black Metal blast beats intertwined with the delicacy and introspection of Post-Metal, resulting in a stunning multi-layered composition for admirers of the genre with sheer poetry flowing from Alexios’ vocals (“I’m not allowed no more / can’t see what I left behind / and the choice makes me blind / I’m not allowed no more / I cannot shine, no more / I’m in the divide tonight”) and a smooth piano ending setting the stage for the closing act in the album, the even more progressive and whimsical Entropia, where Alexios and Dave add tons of electricity to the song’s dark ambience with their riffs, while Marco smashes his drums in a beautiful way. Furthermore, the music remains vibrant, melancholic and atmospheric until its very last second for our total delight.
In summary, Through the Void, Above The Suns, which is available for a full listen on YouTube and on sales through the band’s own BandCamp page, through the ATMF’s BandCamp page and webstore, and on Amazon, represents a huge step forward in the career of Deadly Carnage, pointing to a bright future for those four skillful Italian metallers. What part of the cosmos they’ll reach no one knows for sure, but we can all expect to have our ears and minds filled with more of their imposing and always-evolving music in the coming years without a shadow of a doubt.
Best moments of the album: Hyle, Lumis and Divide.
Delivering a clear message that only with the annulment of ego we can be reborn as a species, here comes a ruthless Italian squad and their austere fusion of Groove Metal and Metalcore.
Aiming to resume a path interrupted in 2003, Italian Groove Metal/Metalcore act Dogmathica was born in 2006 in Cagliari, the capital city of the island of Sardinia, from the ashes of another Italian band named L’Ego to deliver what’s called by the band itself as “Groovy, Claustrophobic, Polyrhythmic Metal from Cagliari”. The band has faced some significant changes through the years, until in 2017 they finally reached a stable lineup comprised of vocalist Stefano Pilloni, guitarist and founder Sergio Boi, guitarist Matteo Spiga, bassist Gianni Farci (The Blacktones), and drummer Alessandro Castellano (Acts of Tragedy), culminating with the release in 2018 of their brand new album Start Becoming Nothing.
Featuring a somber artwork by Sergio Boi himself and Elena Delogu, where the leafless tree represents the human condition within modern society, a society that slowly absorbs and consumes our vital energies making us dependent on material possession of objects and people, and with the annulment of ego (“start becoming nothing”) being the only way that leads to rebirth as a species, Start Becoming Nothing is a heavy and bold album of modern-day Metalcore highly recommended for admirers of the genre, inspiring you to slam into the circle pit while at the same time making you think about the awful condition our society is currently going through.
The guitars by Sergio and Matteo generate a heavy and rumbling ambience in the opening track Praghma, before Stefano begins declaiming the song’s austere words (“My fists-the only shots I have / Glass splinter plated knuckles / To blast mirrors and their lies / To fuck fake people / And their doll eyes / From today on I’ll trust / Just my scars”) in a solid display of contemporary Metalcore perfect for cracking your neck headbanging. If that heavy-as-hell start wasn’t enough for your ears, in Chanel N°0 we face bassist Gianni and session drummer Elia Altea (who by the way recorded the drums in the whole album) crushing their instruments mercilessly, making the ground tremble while the band’s stringed trio blasts a potent fusion of classic Melodic Death Metal with American Metalcore, not to mention how beastly Stefano keeps growling and yelling, and consequently inspiring you to headbang like a maniac as well. And led by the groovy and thunderous bass punches by Gianni, Decadancers presents a darker and heavier side of Dogmathica, incorporating the most aggressive and primeval elements of Groove Metal into their Metalcore, with the final result sounding beyond awesome.
Those talented Italian metallers keep hitting us hard in the head with their heavy and groovy sounds in the title-track Start Becoming Nothing, with the guitar duo Sergio and Matteo once again delivering sharp and metallic riffs while Stefano bursts his lungs screaming; and get ready to break your spinal cord in half in another brutally heavy Metalcore tune named Rise Up, also showcasing hints of Groove and Progressive Metal, therefore being recommended for fans of bands like Meshuggah and Gojira, with highlights to the pounding drumming by Elia. After such destructive hymn we have Screaming In The Darkness, a well-balanced blend of the heavier and slower sounds of Groove Metal with the more frantic approach of Metalcore, with all band members bringing tons of progressiveness to the music and with its lyrics being perfect for shouting along with Stefano (“I’m awake, sitting in the middle of nowhere / Feeling your hands around my neck / I feel the cold inside me / I hold the iron of my cage / I perceive all my suffering / And I screaming in empty space / Screaming in the darkness”).
The last pair of unrelenting Metalcore tunes blasted by Dogmathica close the album on a high note, leaving you eager for more of their music. First we have Hatred, another good sample of how aggressive and intricate their music always sounds and feels, being full of breaks and variations, where Gianni and Elia continue to build a massive wall of rumbling sounds with their bass and drums, respectively, followed by Burnum, sounding more modern, belligerent and electrified than all previous tunes. Furthermore, it’s Elia with his complex, progressive beats and Stefano with his sick screams who dictate the rhythm, while Serigo and Matteo don’t get tired of slashing their strings.
In summary, if you love modern Metalcore with a strong Groove Metal essence, then Start Becoming Nothing (which you can listen in full on Spotify) is perfect for your avid ears, presenting all the heaviest and most rumbling elements from those metal styles. And if you want to show your support to Dogmathica, simply like them on Facebook, listen to more of their music on SoundCloud, and purchase Start Becoming Nothing directly from their BandCamp page or from CD Baby. Our society might be heading to its inevitable doomsday sooner than we can imagine, so why not at least banging our heads to the acid music by Dogmathica until the end?
Best moments of the album: Chanel N°0, Decadancers and Screaming In The Darkness.
Children of the night who follow The Headbanging Moose, get ready to be bitten by the sexiest and most alluring female vampire of our modern day society on our metal chick of the month session in this month of May. Born on April 2, 1980 in Florence, capital of Italy’s Tuscany region and home to many masterpieces of Renaissance art and architecture, here comes the stunning Sonia Siccardi, better known by her vampiristic name of Sonya Scarlet, lead singer and lyricist for Italian Extreme Gothic Metal band Theatres des Vampires. Are you ready to fall prey to our bloodthirsty temptress?
Before joining Theatres des Vampires, Sonya was already involved with music and performing arts at a very young age, having studied ballet at the Santa Cecilia Academy from the age of 4, later deciding to study opera singing at the academy. It was when she was a teenager that her passion for heavy music started, as at the age of 13 she attended her first ever concert, seeing the iconic Yngwie Malmsteen live. In addition, the first record she’s ever bought was Guns N’ Roses all-time classic Appetite for Destruction, bringing all elements she loves in music, those being sex, alcohol, drugs, and of course, our good old Rock N’ Roll. She didn’t have any real band before joining Theatres des Vampires in 1999, saying she only had an amateur band in high school made of alcohol addicts, and that she was “too fucked up” at that time to engage in anything serious or professional.
Despite having a background in classical music and ballet, Sonya was destined to become the frontwoman for Theatres des Vampires due to her rebelliousness and passion for the darker side of things, as ballet was too delicate for her. “I saw a black endless road in front of me, calling me and I had to follow it. From there I started this life. If I could live my life again, I would do exactly the same things and go back once more to dance. I have spent half of my life doing that’’, said our Italian vampire about her longtime relationship with dancing. It was in 1999 when she finally joined Theatres des Vampires as a backing vocalist together with Justine Consuelo, who left the band in 2002. In late 2004, when the band’s founding member and vocalist Lord Vampyr left the band, Sonya became their lead singer, taking a huge step forward in her already flourishing career as a musician. However, due to a breakdown she suffered in 2008, the band went on a hiatus for a few years, getting back on track in 2011. Sonya said it wasn’t too hard for her to become the lead singer for Theatres des Vampires, with the only issue being the fact that the band’s main voice was a male voice, which made it more difficult for her to adapt and change everything instead of starting something from scratch. She had to work hard to make her voice connect with the band’s old songs, and the very positive reaction of the fans especially during their live concerts showed her she was following the right path, proving once again that that a good looking girl can also have a strong personality and a powerful voice.
As a backing vocalist, Sonya recorded with Theatres des Vampires the EP Iubilaeum Anno Dracula 2001, in 2001, and the full-length albums Bloody Lunatic Asylum, in 2001, Suicide Vampire, in 2002, Vampyrìsme…, in 2003, and Nightbreed of Macabria, in 2004. After taking over the band’s vocal duties, she also recorded the albums Pleasure and Pain, in 2005, Anima Noir, in 2008, Moonlight Waltz, in 2011, and Candyland, in 2016, as well as the EP Cult of Lahmia, in 2012, and the live DVD’s The Addiction Tour 2006 and Moonlight Waltz Tour 2011. You can spend hours and hours enjoying the lustful vocals by Sonya in songs such as Resurrection Mary, Carmilla, Angel Of Lust (live in Nizhny Novgorod, Russia, in 2010), and several videos from the band’s official DVD The Addiction Tour 2006, such as Dances With Satan, Lilith Mater Inferorum, Pleasure And Pain, La Danse Macabre Du Vampire, and Angel of Lust.
Our sweet and dark vampire has also participated in several interesting bands, albums and projects as a guest vocalist, making the music more vibrant and rousing it doesn’t matter the style played. For instance, she recorded vocals for the 2010 album Existence, by Argentinian Melodic Symphonic Power Metal project Beto Vazquez Infinity; vocals on the song Oblivion from the 2015 album Etoilé, by Industrial/Gothic Metal band J.T.R. Sickert; additional vocals on 100% Hell from the 2006 album 100% Hell, by Italian Black/Death/Thrash Metal squad Necrodeath; vocals on New Life from the 2013 album Untouchable Failure, by Italian Progressive/Doom/Gothic Metal act Resonance Room; and as a guest vocalist on the songs Acid Orgy and Dark Skies, from the EP Clubbers Die Younger, released in 2012 by the electro-industrial duo known as Alien Vampires. Furthermore, Sonya was also involved in a project in 2012 to produce a Gothic horror movie titled The Cult of Lamia, directed by David Bracci, where she would obviously play the part of a vampire. You can check the teaser trailer for the movie HERE and the making of HERE, but it looks like everything was put on hold due to financial issues and no one knows if the movie will ever be released.
When asked about her main influences and biggest idols in music, Sonya provided a list of brilliant musicians and performers I’m sure you’re going to love, despite also saying that her lyrics, her music and her fans are what truly inspire her during her concerts, as well as several other sources such as a sunset, a landscape, literature, poetry, classical music, opera, movies, and life itself. Her list of idols include names like Diamanda Galas, Tarja Turunen, Angela Gossow, Björk, Tori Amos, Siouxsie Sioux, and Nina Hagen, each one being very unique, revolutionary and rebellious in their own way. Furthermore, although Sonya is a declared lover of opera and obviously of Gothic Rock and Metal, she also loves to listen to a lot of distinct styles such as Glam Rock, Thrash Metal, Apocalyptic Folk, Doom Metal, Black Metal, and any other type of music with great atmospheres, with some of her favorite bands of all time being Elend, Katatonia (in special their very first album Dance of The December Souls), Samael, Naglfar, Morbid Angel, Diamanda Galas and Crematory, among others. And guess what song she would like to have played at her funeral? That would be Ludwig van Beethoven’s Symphony no. 9, but played by a real orchestra in a desecrated church under the candlelight. Romantic and inspiring, isn’t it?
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Being the lead singer of a band and being on constant tours is not an easy task to anyone, and if you’re a woman that’s even harder on your body and mind due to all private activities you have to “share” with several men such as the changing room, sleeping and taking a shower. However, it seems that is exactly the type of challenge Sonya always wants, as she loves to take care of herself, always going to the gym to find the right balance to her body and soul. In addition, she considers her bandmates her true blood brothers, making it a lot easier for her to face the hassles of living on a bus for a long period of time. And in regards to her stage performance, she said that as the music by Theatres des Vampires is like the soundtrack to your best nightmare, she likes to create a special atmosphere to the crowd, sliding into the fans’ souls and “taking their blood”. She thinks that the secret for being on stage for over 20 years is to believe deeply in what they do, and to consider the band as a real family that goes through all the problems that can happen in such a long time, sharing all adrenaline on stage and therefore giving their fans the best experience they can get. As a matter of fact, due to that extreme behavior on stage, Sonya has already had a few issues in some of the countries she visited with the band, such as allowing some fans to drink her own blood and unintentionally inciting suicide.
As we’re already talking about drinking someone’s blood, let’s focus now on Sonya’s inner passion for vampirism, which she considers the most fascinating form of seduction. For Sonya, vampirism represents “courtship without touching except to kill and eat the prey, the rebirth of life through life itself that is the blood, immortality, the charm of ancient times, the obscurity, the night that hides its creatures”, saying she has always been interested in Gothic novels, occultism, vampirism and everything from the dark side of the world and from the invisible world since she was a young girl. She complemented by saying that it was fate, not coincidence, that made her join Theatres des Vampires, as she found people who shared the same interest for vampirism and all its related topics. And regarding the style of the band being labeled as “Vampiric Metal”, our bloodlust diva said that she thinks a label like that helps people to find what they like, and that she’s learning how to use that type of tag in social media, albeit it’s not easy to describe the music by a band in one word or tag, especially because behind every band there’s an amalgamation of different ideas, influences, people and years of work.
Regarding Sonya’s dark and hypnotizing looks, she said that although many fans consider her a sex symbol, she doesn’t see herself as one, as she’s only being herself, getting aggressive and rude whenever needed. However, she does think image is something very important, as it’s the first thing people pay attention to or care about any person. Music always comes first, of course, but Sonya also considers her clothes and makeup an important part of her performance and her lifestyle in general. In addition, Sonya even mentioned her stage image is not different from her everyday life, saying she feels free to do what she wants on stage and, as a consequence, to provide her fans a truly unique experience. Still talking about her connection to fashion, some of you might not know this but Sonya studied fashion design for four years in Rome, learning to love the creative and research process behind a fashion show and the making of clothing, with names like John Galliano, Alexander McQueen and Vivienne Westwood being among her favorite stylists. Despite all that, she doesn’t like to follow any trends, as she believes being yourself is the most important thing in this business, but there are a few types of makeup and clothes she has always had with her such as deep black smokey eyes, pale white powder and red, fuchsia or pale pink lipstick, and Gothic and metal clothing, having her own personal stylist, Katja Diktator, to design her stage clothing and clothing she wears for video and photo shoots.
If you think our vampire bombshell is not a socially engaged person and that she only thinks about her music and her image, let me tell you that you’re absolutely wrong, as Sony is involved with two amazing foundations, those being Jay Nepal Foundation and Time4Life International. For instance, with Time4Life International, Sonya has already traveled to very poor areas of countries like Nicaragua, where she was able to help poor children who lived in a garbage dump, with her mission being searching for people that wanted to give them a real hand, to give them the chance to go to school and having a real meal far from the dump. With the action-based humanitarian organization Jay Nepal Foundation, Sonya is part of a volunteer-based, apolitical and non-religious group working on post-earthquake responses, relief and recovery in communities across Nepal. And not only her Jay Nepal Foundation group is apolitical and non-religious, but Sonya doesn’t follow any political party nor any type of religion either. She’s indeed a very curious woman who likes to read and learn about everything that’s part of the “invisible world” as she calls it, but she doesn’t believe in the Christian church, preferring to read more about heathenism and its rituals and celebrations. Needless to say, Theatres des Vampires are not connected to any political party or regime, as they’re musicians and they want to be free and to have their freedom of speech, not making any propaganda to anyone.
When asked about her hobbies and how she enjoys spending her free time, Sonya said that for her there’s no real difference between work and hobbies, as she loves writing, painting, studying art, theatre and music, all part of her life with Theatres des Vampires. Of course, as any regular person (if we can call her “ regular”) she also enjoys spending time with her husband Tiziano Panini (also known as Billy T Cooper, lead singer for J.T.R. Sickert), her family and friends, travelling and having lots of beer with the people she loves, and watching movies (at home, as she hates going to the cinema). In addition, Sonya also loves practicing sports, going to the gym four or five times a week (something very important for her body and mind), and being in the mountains doing trekking, skiing or horse riding, for example.
A few additional nice-to-know facts about Sonya is that she considers herself to be an always-evolving person, always learning with her mistakes, trying to be a more concrete person, and always learning to be more diplomatic for the good of the band (despite trusting people less and less). She also has a very peculiar view of suicide, saying people should be free to do what they want as long as they don’t harm others and they respect other people’s freedom. She said life can be very hurtful, but at the same time it offers us several amazing things, with the most beautiful things in life being the simple ones, saying sometimes we just need to join nature, getting far away from all chaos that surrounds us to properly appreciate everything and to understand what is really important in life. Actually, when she was growing up her dream was to live in an ancient castle hidden by the woods, lost somewhere in the north part of Europe with very few people around her (and that’s still one of her dreams, I guess), showing how much she enjoys being in contact with nature and not with people.
“I think on stage it is very important to be yourself and to express what you really feel and what you want to give to your audience. Therefore I follow my feelings and what inspires me during our show are my lyrics, our music and our fans. I still do not know what I’m going to do on stage before the performance. It’s a surprise, also for me! Anything can happen…” – Sonya Scarlet
Enjoy this Stygian and occult album featuring seven tracks of pure gloomy Doom Metal, masterfully delivered by an Italian quartet that has already succumbed to the dark side of music.
Let’s dive deep into the sluggish and obscure realms of old school Doom Metal to the music by a Italian quartet that goes by the name of Summ, formed in 2017 in the Italian capital Rome. Comprised of Mark Wolf on vocals, Painkiller on the guitar, Marcas on bass and Rick on drums, Suum are releasing now in 2018 the full-length album Buried Into The Grave, featuring seven tracks of pure gloomy Doom Metal, bringing to your ears not only a Stygian sound tailored for the doomed, but also cryptic lyrics about darkness, doom and occultism, being highly recommended for fans of Black Sabbath, Danzig, Candlemass, My Dying Bride, Electric Wizard, and all other bands and artists that have beautifully succumbed to the darkest and most lugubrious side of music.
If there’s rain, thunder and wind, you know the music is going to be doomed, which is exactly what happens in the opening track Tower Of Oblivion. Marcas kicks off this damned feast with his low-tuned bass until the rest of the band joins him in darkness, with lead singer Mark Wolf haunting our souls with his Black Sabbath-inspired vocals while Painkiller fires sheer obscurity through his riffs, with all vileness increasing in intensity until its crisp ending. And their Doom Metal mass goes on in Black Mist, led by the steady beats by Rick while the phantasmagoric vocals by Mark and the heavier-than-hell riffs by Painkiller generate a truly somber atmosphere; followed by Buried Into The Grave, which in my humble opinion is the most Stygian of all tracks of the album (hence, it would definitely make Tony Iommi proud). Not only the vocal lines are deep and deranged, but the combined sound of guitar, bass and drums create this gloomy creature that will mercilessly enfold you just like pitch black darkness.
Last Sacrifice is another classic Doom Metal tune spearheaded by the slashing riffage by Painkiller and the slow but intricate beats by Rick, putting you on a trance and inspiring you to crack your neck headbanging, with the music flowing smoothly and darkly until the end. Then bringing the most acid and somber elements from Stoner Metal and Rock we have Seeds Of Decay, an atmospheric and sluggish creation by Suum with highlights to the rumbling sounds extracted by both Painkiller and Marcas from their hellish strings, whereas in the melancholic and introspective instrumental The Woods Are Waiting we face more rain and wind, going on for a bit too long though (albeit nothing that will make you skip it). And finally, rhythmic drums and scorching hot riffs ignite their last breath of old school Doom Metal, the somber extravaganza titled Shadows Haunt The Night, where Painkiller sounds absolutely on fire during the entire song, adding an extra touch of malignancy and obscurity to the final result.
You can succumb to total darkness by listening to Buried Into The Grave in its entirety on YouTube, by visiting Suum’s official Facebook page, and obviously by purchasing such dense and entertaining album from the band’s own BandCamp page, from the Endless Winter webstore, from the Hellas Records webstore, or from Discogs. Those four skillful Italian metallers not only live up to the legacy of traditional Doom Metal, but based on the high-quality of the music found in Buried Into The Grave, they’re also more than ready to carve their names in the history of such distinct music style.
Best moments of the album: Tower Of Oblivion, Buried Into The Grave and Shadows Haunt The Night.
Worst moments of the album:The Woods Are Waiting.
Released in 2018 Endless Winter/Hellas Records
Track listing
1. Tower Of Oblivion 6:25
2. Black Mist 4:40
3. Buried Into The Grave 4:55
4. Last Sacrifice 5:13
5. Seeds Of Decay 5:44
6. The Woods Are Waiting (Instrumental) 3:38
7. Shadows Haunt The Night 4:23
Band members Mark Wolf – vocals
Painkiller – guitars
Marcas – bass
Rick – drums
Binding Heavy and Power Metal sounds to the orchestral parts of classical music, here comes a promising Italian act with their very melodic and symphonic debut full-length album.
Raised from the ashes of a band named Keeper of Time (which by the way was originally called Guardian of Time when it was created back in 2012), Italian Symphonic Metal act Kantica was born around 2014 from the idea of guitarist Matteo “Vevo” Venzano, who searched for musicians to start a band where they could bind Heavy and Power Metal sounds to the orchestral parts of classical music. After many lineup changes and a shift from male to female vocals, this Savona, Ligury-based band finally changed its name into Kantica in April 2016, reaching a stable lineup the following year and consequently getting into gear for the release of their debut album in 2018, titled Reborn in Aesthetics.
After the recording of the album, Kantica suffered another lineup change with drummer Daniele Barbarossa leaving the band, being immediately replaced by the young and talented Tiziana “Titti” Cotella. Titti now joins frontwoman Chiara Manese on vocals, Andy “K” Cappellari and Vevo on the guitars, Fulvio De Castelli on bass and Enrico Borro on keyboards, aiming at spreading their heavy and symphonic music born from the fusion of different styles, backgrounds and experiences from the band’s current and former members. In Reborn in Aesthetics (which by the way features an array of guest musicians such as Fabio Rinaudo on bagpipes and Stefano Pellegrino on cello), not only the band successfully achieves their main goal, but they also put the charming port city of Savona on the map of Melodic and Symphonic Metal.
The cinematic intro (Re)Born Unto Aestheticism transports us to the epic world ruled by Kantica, with Fascination of the Elements bringing a fast and furious start that quickly morphs into pure Symphonic Metal led by the beautiful voice by Chiara and the flammable guitars by Andy and Vevo. Then, getting to an even more symphonic sonority led by the band’s former drummer Daniele Barbarossa and his precise beats, the band enhances their epicness and electricity in And Then There Was Pain, with Chiara stealing the spotlight with her potent vocals. And presenting hints of Folk and Epic Metal (which boosts the flavor of the band’s classic Symphonic Metal) we have Hellborn Lust, showcasing a great job done by both Andy and Vevo on the guitars as well as Enrico with his whimsical keys.
Enrico continues to mesmerize us with his keys in another powerful tune by Kantica, titled Albatross, where Chiara’s voice sounds fantastic once again, not to mention Daniele and his kick-ass fast-paced drums. In order to makes things even more flavorful, the band offers us a gentle break before returning with their full-bodied sonority, with Andy and Enrico delivering excellent solos until the song’s finale. In R.E.M. State, operatic elements in the background make the music even more epic and impactful than usual, with Enrico, Andy and Vevo, together with Fulvio on bass, creating a wall of sounds with their strings; followed by From Decay to Ascension, another song with a Folk Metal vibe without losing the band’s core symphonic essence. Put differently, this is a movie score-inspired creation by Kantica where Chiara embellishes the ambience with her passionate vocal performance once again.
Illegitimate Son brings a Nightwish-like sonority, presenting all elements fans of the genre enjoy such as rhythmic drums, melodious riffs and strong female vocals, with adrenaline and passion flowing throughout the entire song which, in the end, makes it one of the top moments of the album without a shadow of a doubt. And speeding up their pace, Kantica awes us all with Psychological Vampire, a full-bodied shredding feast-like song with Andy and Vevo being absolutely on fire with their axes, also with Chiara increasing her vocal reach, culminating in a truly inspiring performance by our Italian diva. The second to last song in Reborn in Aesthetics, named Lovecide, is an interesting power ballad by Kantica, displaying pounding drums and a dark and ethereal atmosphere, with the music flowing smoothly from start to finish thanks to the excellent guitar lines by both Andy and Vevo. And closing the album there’s more first-class Melodic and Symphonic Metal for our avid ears in the form of a song titled Mescaline, with its solid and steady musicality being complemented by eerie sounds and elements in the background, captivating our attention while Enrico and Andy have a short and sweet solo duel.
You can take a full, detailed listen at Reborn in Aesthetics on Spotify, keep up-to-date with everything Kantica on their Facebook page, and grab your copy of such excellent display of symphonic and melodic music on the Revalve Records Big Cartel, as wel as on iTunes or on Amazon. After listening to Reborn in Aesthetics, it seems that after all lineup changes Kantica have finally reached their desired shape and form, providing fans of Symphonic Metal a well-balanced and fun alternative hailing from the Italian underground scene, and let’s hope the magic crafted by Kantica goes on for years to come with more top-tier releases like their debut installment.
Best moments of the album: Hellborn Lust, Albatross, Illegitimate Son and Psychological Vampire.
Worst moments of the album: None.
Released in 2018 Revalve Records
Track listing 1. (Re)Born Unto Aestheticism (Instrumental) 1:14
2. Fascination of the Elements 5:55
3. And Then There Was Pain 4:23
4. Hellborn Lust 4:23
5. Albatross 4:59
6. R.E.M. State 4:42
7. From Decay to Ascension 3:10
8. Illegitimate Son 5:10
9. Psychological Vampire 5:00
10. Lovecide 5:11
11. Mescaline 5:13
Band members Chiara Manese – vocals
Andy “K” Cappellari – lead guitars
Matteo “Vevo” Venzano – rhytm guitar
Fulvio De Castelli – bass
Enrico Borro – keyboards
Tiziana “Titti” Cotella – drums*
Guest musicians Fabio Rinaudo – bagpipes
Michel Balatti – tin whistle, flute
Stefano Pellegrino – cello
Mattia Fenoglio – percussion
An excellent album of brutal and technical Death Metal conceptually focused on Qlipoth, metaphorical shells which represent evil spiritual forces in the Jewish mysticism.
As the first review of 2018 from The Headbanging Moose to you, our dear metalheads, here comes Italian Death Metal four-piece beast Hellish God armed with their pulverizing debut full-length album titled The Evil Emanations, showcasing 10 tracks of top-notch unrelenting Death Metal, following their 2016 EP Impure Spiritual Forces. Featuring current and former members of Antropofagus, Imposer and Mindful Of Pripyat, this excellent Italian squad was formed in 2015 in Campobasso, a city and commune in southern Italy, with the intent to play savage and satanic Death Metal influenced by the classic late 90’s sound, and I should say they more than succeed in their mission with The Evil Emanations.
Displaying a classic artwork by Indonesian artist Adi Dechristianize, The Evil Emanation is conceptually focused on Qlipoth, metaphorical shells which represent evil spiritual forces in the Jewish mysticism, with its instrumental parts being influenced by bands like Krisiun, Azarath and Abhorrence. “It has many facets, both compositional and conceptual but the composition process was totally spontaneous and homogeneous. Of course, I can say I am very proud of the final result! It sounds compact and extremely true, authentic…”, said frontman Tya about the album, with drummer Luigi Contenti complementing that idea by saying that “this album is the natural evolution of Impure Spiritual Forces, it sounds very natural, effective and damn old school! If compared to the previous work its most obscure component is totally exalted!”
The special effects by guest Mario Seaone set the tone for the whole album in the phantasmagoric intro Kelim Shattering Illumination, before a violent onslaught of Death Metal led by the demonic growler Tya begins, the very technical and impactful Qlipoth, with the low-tuned bass by Stefano Malgaretti sounding infernal while Luigi delivers sheer brutality through his blast beats. After such amazing start, the band keeps bringing chaos and devastation to our minds with a fantastic display of extreme music titled Anti-Cosmic Decree, with the sick guitar riffs by Michele Di Ioia living up to the legacy of old school brutal Death Metal, not to mention the pulverizing job done by Luigi on drums; followed by The Hindering Ones, a full-bodied tempest of gruesome sounds and beats where Tya distills more of his deep guttural gnarls, reminding me of the classic sonority by Brazilian metal masters Krisiun, therefore becoming an excellent choice for crushing your spine into the circle pit.
Hellish God truly know how to create total havoc and at the same time sound harmonious and technical, as we’re able to witness in Tagimron Is Summoned, with Michele and Stefano providing some Cannibal Corpse-inspired lines with their strings while Tya growls deeper and deeper as the music evolves. And if your brain is still somehow attached to your skull after such insane headbanging tunes, it’s time to be completely demolished by those Italian metallers in Burning The Infidel, offering our avid ears three minutes of old school Death Metal with the band’s contemporary twist, boosted by a sick guitar solo by guest musician Rangel Arroyo. In the instrumental bridge Choronzonic Hellfire, wicked noises open the gates of hell for the berserk Agitator Shall Be Triumphant!, with Luigi spearheading the band’s sonic onrush while Tya continues to bark like a rabid beast. Furthermore, Michele fires some old school riffs and solos to make this solid exhibit of Technical Death Metal even more thrilling.
Before all is said and done in The Evil Emanations, Hellish God still have a couple of tormenting hymns to slash our ears, starting with I Am Belial, a short and extremely heavy tune with its demented rhythm being effectively boosted by Tya’s infernal growls and the crushing sound of Luigi’s drums. In other words, this is exactly what extreme metalheads like us are always searching for in Death Metal. And lastly, their final blast of insanity comes in the form of a five-minute Death Metal extravaganza titled Marching With The Accuser, where Michele’s guitar and Stefano’s bass are in total sync, consequently building a menacing wall of cutting sounds until the music flows to a climatic grand finale. Needless to say, when the song is over you’ll feel absolutely disoriented and eager for more of the music by Hellish God.
It’s time to face the evil spiritual forces featured in The Evil Emanations by paying a visit to Hellish God on Facebook, and by purchasing the album (which by the way can be enjoyed in its entirety on YouTube) through their own BandCamp page, as well as through the Everlasting Spew Records’ BandCamp page or webstore in regular CD format or as a CD + shirt bundle. If Hellish God were capable of delivering such high level of professionalism and brutality already with their first full-length release, can you imagine how sensational and cataclysmic they will sound in their future albums? Yes, my friends, Death Metal is doing more than fine in Italy, no doubt about that.
Best moments of the album: Anti-Cosmic Decree, The Hindering Ones and I Am Belial.
Worst moments of the album: None.
Released in 2018 Everlasting Spew Records
Track listing 1. Kelim Shattering Illumination 1:04
2. Qlipoth 4:33
3. Anti-Cosmic Decree 3:11
4. The Hindering Ones 4:03
5. Tagimron Is Summoned 4:02
6. Burning The Infidel 2:59
7. Choronzonic Hellfire 0:27
8. Agitator Shall Be Triumphant! 2:36
9. I Am Belial 2:15
10. Marching With The Accuser 5:24
Band members Tya – lead vocals
Michele Di Ioia – rhythm & lead guitars, backing vocals
Stefano Malgaretti – bass guitar, backing vocals
Luigi Contenti – drums
Guest musicians Rangel Arroyo – lead guitars on “Burning The Infidel”
Mario Seaone – effects on “Kelim Shattering Illumination”
The six pricks from Hell are back in town, hic sunt the motherfuckers.
This is one of those bands that, as soon as you listen to their flammable music for the very first time, you become addicted to their electricity and rebellious attitude, especially if you’re already a huge fan of the sound by bands like the Misfits, Social Distortion, the Ramones, Minot Threat and so on, but with a heavier and more melodic approach. I’m talking about Italian Melodic Death Metal six-piece wolf pack 5 Star Grave, who have just released a Rock N’ Roll party-catalyst entitled The Red Room, an album that will surely put you to dance, bang your head, slam into the pit, drink a few beers and do everything else we love so much in heavy music. In other words, the six pricks from Hell are back in town, hic sunt the motherfuckers, and there’s nowhere to run, nowhere to hide from them.
Formed in 2005 in Cuneo, a city and comune in Piedmont, Northern Italy, under the name Ground Zero, changing to 5 Star Grave in 2007, the band already released in their decade of existence the full-length albums Corpse Breed Syndrome, in 2008, and Drugstore Hell, in 2012, as well as a single with a cover version for one of the biggest hits by the Ramones, the classic Pet Sematary, before releasing The Red Room now in 2017. Bringing forth a weird and fun combination of several styles like traditional Heavy Metal and Punk Rock with industrial atmospheres, the band comprised of frontman Claudio Ravinale (who’s also the lead singer for Death Metal act Disarmonia Mundi and Industrial Metal outfit The Silverblack), bassist Andrea Minolfi, guitarists Thierry Bertone and Alessandro Blengino, keyboardist Hervè De Zulian and drummer Domenico Fazzari aims at charging the listener with their relentless hardcore/horror punk-influenced metal highly inspired by the golden years of 80’s metal and shock rock, which they more than achieve with The Red Room.
Wicked noises are suddenly joined by the slashing riffs by Thierry and Alessandro in the opening track, beautifully titled Hic Sunt The Motherfuckers, with Hervè and his keys giving it a futuristic aura. Moreover, this amazing tune brings forward the two main characteristics of Melodic Death Metal, those being aggressiveness and harmony, helping the band in breaking down the walls in fantastic fashion. Following that superb start we have the also whimsical and modern Eat You Alive, where Claudio screams like a maniac supported by the potent backing vocals by Andrea, not to mention the song’s fiery guitar solos and catchy chorus; and Once Upon A Time, with Claudio sounding even more demented on vocals, enhancing the song’s impact while Domenico smashes his drums with tons of dexterity, being highly recommended for admirers of modern and alternative music.
The Ballad Of The Vampire is not a ballad at all, but an ode to the fusion of Heavy Metal, Punk Rock and Hardcore blasted by bands like the Misfits, a fast-paced and electrifying hymn showcasing great performances by Claudio and Domenico that will set their live concerts on fire without a shadow of a doubt, while in Alice the keys by Hervè make it sound more melodic and consequently less violent than the other tunes, but still a heavier-than-usual version of punk music perfect for an insane rockin’ party with its guitars burning our ears nonstop. And adding progressiveness to their high-octane Rock N’ Roll sonority, 5 Star Grave offer us Through The Eyes Of The Monster, where Thierry and Alessandro steal the spotlight with their sick riffs while Hervè brings a touch of lunacy with his synths. Put differently, it’s quite impossible to stand still to this explosion of modern metal music.
And those guys definitely know how to blend the music by the Misfits with modern Metalcore like what can be seen in He Never Died, which means you should start banging your head and screaming together with the band as the party doesn’t have a time to end. In Hell On Heels, a mid-tempo rockin’ tune with hints of Southern Rock, we have an acoustic intro as a variation to their trademark rowdy sounding, and at this point of the album you’ll realize 5 Star Grave cannot craft bad music; whereas For Better Or Worse sounds like the soundtrack to a demented circus act, again inspired by old school punk and metal. In addition, the strident sound of guitars increases the song’s temperature quite a bit, with Domenico taking the lead with his spot-on beats. And before all is said and done we have a semi-ballad entitled There Is No Heaven, which despite presenting their rumbling sounds and growls is slightly below the rest of the album in terms of creativity. Actually, to be fair I wouldn’t consider that a problem at all, as the other songs of the album are way too awesome.
In a nutshell, grab your leather jacket, your fighting boots, make sure the beer is crisp and cold, put on your warrior makeup or mask, and join the uncontrollable party held by 5 Star Grave in The Red Room by following them on Facebook, by listening to their music on YouTube, SoundCloud and Spotify, and by purchasing this excellent album of modern metal music on BandCamp, on iTunes or on Amazon. And after having The Red Room on your hands, simply hit play and get the party started, motherfuckers.
Best moments of the album: Hic Sunt The Motherfuckers, The Ballad Of The Vampire and Through The Eyes Of The Monster.
Worst moments of the album:There Is No Heaven.
Released in 2017 Sliptrick Records
Track listing 1. Hic Sunt The Motherfuckers 4:14
2. Eat You Alive 4:17
3. Once Upon A Time 3:58
4. The Ballad Of The Vampire 1:43
5. Alice 4:03
6. Through The Eyes Of The Monster 3:39
7. He Never Died 3:00
8. Hell On Heels 4:16
9. For Better Or Worse 4:36
10. There Is No Heaven 4:20
Band members Claudio Ravinale – vocals
Andrea Minolfi – bass, vocals
Thierry Bertone – guitars
Alessandro Blengino – guitars
Hervè De Zulian – synth
Domenico Fazzari – drums
Initially announced as a complementary EP to last year’s album oltreLuna, the new album by Italian Atmospheric Black Metal act Progenie Terrestre Pura (which translates as “Pure Terrestrial Progeny”), entitled starCross, turned out to be an even more powerful and impressive opus than this Veneto-based band comprised of Emanuele Prandoni on vocals, Davide Colladon on guitars, drum programming and synths, and Fabrizio Sanna on bass could have imagined. Featuring a classy artwork by visual artist Kuldar Leement, starCross uses its 30 minutes to tell a precise story, as the EP is an all-round concept release based on a tale written by the band’s mastermind Davide Colladon.
The band wastes no time in starCross by offering us Chant of Rosha, an atmospheric, futuristic intro from outer space, enfolding us and taking us to the whimsical world of Progenie Terrestre Pura, warming up our senses to the breathtaking Toward a Distant Moon, an explosion of the most disruptive elements from Black Metal led by the razor-edged guitar lines by Davide, with Emanuele’s enraged growls creating an electrifying paradox with the excellent background choir, remaining vibrant, ethereal and aggressive from start to finish for our total delight. And that electricity keeps permeating the air, as the music builds a cinematic connection with the also impactful Twisted Silhouette, starting in an eerie manner with a dark narration before all hell breaks loose, with the song’s demolishing beats together with Davide’s crisp riffs and Fabrizio’s thunderous bass building the perfect stage for Emanuele to fire his harsh growls, also adding tons of progressiveness to its core. In the end, you’ll get deliciously lost in all the madness, wicked noises and flammable sounds blasted by the band throughout the entire song.
THE HEADBANGING MOOSE 