Tag Archives: italy

Concert Review – Alestorm (The Concert Hall, Toronto, ON, 03/22/2024)

Posted on by
Reply

In a winter-like night of spring in Toronto, countless fans braved a ruthless snowstorm to enjoy the incendiary concert by the most famous pirates of the metal scene worldwide.

OPENING ACTS: Glyph and Elvenking

Unfortunately due to a heavy snowstorm that hammered the city of Toronto on Friday night (it looks like we moved from a spring-like winter to a winter-like spring, which is a real bummer), I wasn’t able to make it to The Concert Hall to enjoy the start of the Tour of the Dead Marauder 2024, with the bands GLYPH, ELVENKING and ALESTORM, another amazing event brought to the city by the one and only Noel Peters of Inertia Entertainment. Not only that, this was the first ever event Noel held at The Concert Hall, which according to my buddy Keith Ibbitson of Metal Paparazzi is a fantastic venue for metal concerts. Huge stage, amazing lighting and sound, and the wrap around the upper balcony has a wicked view with one bar. Hopefully I’ll be able to see other bands playing at The Concert Hall, because I’m really curious to see how it is now. Anyway, as mentioned Keith was able to make it to the show, so not only he was responsible for the photos, but he also had to send me some words about each of the bands that played Friday night. I’ll add some information about the bands to the review as well, just to make it more detailed, and I hope you crazy metalheads enjoy the reading.

“Toronto is in its 4th day of spring and old man winter thought it would be nice for a snowstorm. However, the fans of the band Alestorm didn’t care. They stood outside for more than an hour in the blustery wind and snow to get inside a warm and newly renovated The Concert  Hall, where Noel Peters and his company Inertia Entertainment put on their first show. The bands Glyph, Elvenking and headliners Alestorm kicked some ass and let all their fans enjoy some much needed moshing,” said Keith about the entire night. The doors opened at 7pm and the first band of the night, GLYPH (a Power Metal featuring members of Gatekeeper, Greyhawk, Hjelvik, and Ravenous) went on shortly after, leaving Keith scrambling to get his camera ready and fight his way through the already packed venue. I believe they played the songs Honor, Power, Glory, A Storm of Crimson Fire and When The World Was Young during their set, and maybe a few others, but these three definitely deserve a listen. Moreover, Glyph will release their new album Honor. Power. Glory. this Friday March 29, so don’t be a fool and get ready to rock with such an amazing band by purchasing it or streaming it on BandCamp and on Spotify.

Band members
R. A. Voltaire – vocals
Rob Steinway – guitars
Darin Wall – bass
Jeff Black – keyboards
Ryan Yancey – drums

Right after Glyph finished warming up the crowd, it was time for Italian Melodic Power/Folk Metal entity ELVENKING to take the city of Toronto by storm (and fortunately not a snowstorm) with their hypnotizing concert, blending songs from their vast catalogue (as the band has been kicking ass all over the world for 27 years already) with their most recent effort, the 2023 album Reader of the Runes – Rapture. In addition, Elvenking are not your regular band, as their lineup includes mystical creatures represented by frontman Damna, guitarist and keyboardist Aydan, guitarist HeadMatt, bassist Jakob, drummer Symohn, and the iconic violinist Lethien, who definitely adds an extra touch of magic to their live performances. Keith said their concert was insane, driving their fans crazy and eager for more Elvenking in the city in the near future, and I honestly can’t wait for that as long as there isn’t a boring snowstorm blocking all roads, of course.

Setlist
Rapture
The Hanging Tree
Draugen’s Maelstrom
Pagan Revolution
Silverseal
Moonbeam Stone Circle
To Oak Woods Bestowed
Pagan Purity
Bride of Night
The One We Shall Follow
The Wanderer
The Divided Heart
Elvenlegions
She Lives at Dawn

Band members
Damna – lead vocals
Aydan – guitars, harsh and backing vocals, keyboards
HeadMatt – guitars
Jakob – bass
Lethien – violin
Symohn – drums

ALESTORM

Finally, after a quick break, the main attraction of the night took the stage for a memorable performance. The one day Scottish but now multinational Folk/Power Metal privateers ALESTORM kicked some serious ass according to Keith, with a jam packed venue making the night even more special. Having released that same Friday their new EP Voyage of the Dead Marauder (which is really cool, by the way), the band formed of Christopher Bowes, Máté Bodor, Gareth Murdock (and if you don’t know his Black Metal band Imperial Demonic, I highly recommend listening to their 2023 debut EP Beneath the Crimson Eclipse), Elliot Vernon, and Peter Alcorn was on fire during their entire set, playing classics like Keelhauled, Drink and Zombies Ate My Pirate Ship as well as the new songs The Last Saskatchewan Pirate and Voyage of the Dead Marauder, leaving a sold out The Concert Hall eager for another killer show by those metallic pirates in a not-so-distant future. “The crowd barrier broke and me and the security held it up during the third song for Alestorm. They had to fix it on the fly,” said Keith who, despite having a corrupt memory card and losing most of his over 200 Alestorm photos, made sure I got a very special (or maybe I should say divine) photo taken by our amazing brother and photographer Ryan Miles Leblanc. “There was a special appearance by the lord Jesus Christ who graciously moshed and crowd surfed,” said Keith in a message to me. Well, who would say that Jesus would be a fan of pirate metal, right? YAAAAAARRRR!

Setlist
Keelhauled
No Grave but the Sea
The Sunk’n Norwegian
Alestorm
Under Blackened Banners
Hangover (Taio Cruz cover)
The Last Saskatchewan Pirate
Wenches & Mead
Magellan’s Expedition
Mexico
Voyage of the Dead Marauder
Big Ship Little Ship
Nancy the Tavern Wench
P.A.R.T.Y.
1741 (The Battle of Cartagena)
Shit Boat (No Fans)

Encore:
Drink
Zombies Ate My Pirate Ship
Fucked With an Anchor

Band members
Christopher Bowes – vocals, keyboards
Máté Bodor – guitars
Gareth Murdock – bass
Elliot Vernon – keyboards, backing vocals
Peter Alcorn – drums

This slideshow requires JavaScript.

Album Review – Yass-Waddah / Lust for Domination (2023)

Posted on by
Reply

A lone wolf hailing from Spain will take you on a dark and mysterious Symphonic Black Metal journey to the sound of his third and bestial full-length opus.

Formed in 2011 in , Venice, Italy, but currently located in Tenerife, in the Canary Islands, Spain, the unrelenting Symphonic Black Metal one-man army Yass-Waddah, which name was taken from the novel Cities of the Red Night, by American writer and visual artist William Burroughs (with Yass-Waddah being the name of a city, a “female stronghold” where “everything is true and nothing is permitted except to the permitters”) has just unleashed its third full-length opus, titled Lust for Domination, the follow-up to the project’s 2020 album This Reality Is Just a Deception. Written, recorded, mixed and mastered by the project’s mastermind, vocalist and multi-instrumentalist Pietro Baldan, displaying a sick artwork by Gragoth of Luciferium War Graphics, and featuring guest drummer Arnaud Krakowka (Embryonic Autopsy, Shivered), Lust for Domination will take you on a dark and mysterious journey highly recommended for fans of Cradle of Filth, Dimmu Borgir and Septicflesh, among others.

A sinister intro suddenly explodes into a Black Metal feast titled Ride The Kali Yuga, with Arnaud kicking some ass on drums while Pietro sounds devilish with both his gnarls and riffs; and Pietro and Arnaud continue to darken the skies with their fusion of Symphonic and Melodic Black Metal in Decomposition Of Virtues, again showcasing an overdose of Stygian, infernal roars and visceral yet melodious riffs. Then after a grim spoken excerpt their Black Metal onrush goes on in Sophisticated Use Of Force, with the sound of the guitars living up to the legacy of classic Scandinavian Black Metal, whereas Collective Catatonia lacks the same energy and variations from the previous tracks, but the project’s core elements are there and the drumming by Arnaud sounds solid from start to finish. Then we have Ouroboros, perhaps the rawest, most Black Metal of all songs, where Pietro goes straight to the point with a sonic avalanche distilling his demonic gnarling and razor-edged riffs for our total delight, while also presenting some interesting tempo changes throughout the song.

The second half of the album begins with the beautifully titled Envelope Filled With Black Sand, where Pietro and Arnaud slow things down a bit while still sounding as heavy and obscure as possible, while Pietro delivers some striking solos to give the whole song an extra kick; followed by In The Name Of Progress, another infernal attack by the duo with Pietro taking the lead with his scorching vocals and riffs while Arnaud continues to smash his drums in the name of extreme music. Then investing in a even more demonic sonority we have Flesh Suit, where Pietro’s screeches and gnarls exhale Black Metal while the instrumental pieces sound absolutely demolishing. Their second to last Black Metal extravaganza, titled Burn Your Flag, will leave you totally disoriented due to its endless rage, madness and heaviness, presenting an amazing job done by Pietro on vocals supported by the thunderous drums by Arnaud, before we face one final demonic attack by Pietro and his Yass-Waddah entitled Fortune Favours The Brave, ending the album on a sulfurous note thanks to his always scorching riffs and rumbling bass.

In a nutshell, the bestial and symphonic Lust for Domination, which is available for a full listen on YouTube and on Spotify, will definitely help Pietro cement the name of Yass-Waddah in the underground extreme scene, bringing to our avid ears all of his talent, creativity and, of course, passion for heavy music in the form of an amazing album tailored for admirers of the genre. Hence, in order to support Pietro, you can purchase his new album directly from his BandCamp page as well as from Apple Music, inspiring our beyond talented musician to keep crafting majestic Black Metal music for many years to come under his Stygian and thrilling alter-ego Yass-Waddah.

Best moments of the album: Ride The Kali Yuga, Ouroboros and Burn Your Flag.

Worst moments of the album: Collective Catatonia.

Released in 2023 They Live We Sleep Recordings

Track listing
1. Ride The Kali Yuga 3:58
2. Decomposition Of Virtues 3:55
3. Sophisticated Use Of Force 3:33
4. Collective Catatonia 3:52
5. Ouroboros 3:04
6. Envelope Filled With Black Sand 4:17
7. In The Name Of Progress 2:48
8. Flesh Suit 3:18
9. Burn Your Flag 4:11
10. Fortune Favours The Brave 2:44

Band members
Pietro Baldan – vocals, guitars, bass

Guest musician
Arnaud Krakowka – drums (session)

Album Review – Delyria/ III; Oracles And Tentacles (2023)

Posted on by
Reply

An introspective journey into the deepest fears and disbelief that keeps humanity on the religious and irreligious leash of doubt, brought into being by an unrelenting Italian Death and Thrash Metal squad.

Having their name inspired by the 1987 thriller/horror movie Deliria, by Michele Soavi, Grosseto, Italy-based Death/Thrash Metal squad Delyria was founded back in 2005 and coils in the Lovecraftian concept of some kind of unnamable horrors from beyond the known boundaries of the universe. Now in 2023 the band formed of Synder (Eyeconoclast, Promaetheus Unbound, Hideous Divinity) on vocals, Fabio Barbetti and Franco Piras on the guitars, Dario Capitani on bass and Kyle Mencucci on drums returns in full force with III; Oracles And Tentacles, the third full-length album in their career. Recorded at Fugu Studios,  mixed and mastered at Tide Studios, and with the participation of Giuseppe “Tat0” Tatangelo (Zora, Defechate, Glacial Fear, Spiral Wounds, Throne Of Flesh, Unscriptural) and artwork by Francesco “Basthard” Moretti (Southern Drinkstruction, Corpsefucking Art), the album is an introspective journey into the deepest fears and disbelief that keeps humanity on the religious and irreligious leash of doubt, blindly reading an hypothetical anti-book of Doom – The Book Of Nihil.

A humongous amount of heaviness will smash your cranial skull in the opening tune The Glyph, with Kyle dictating the song’s demented pace and, therefore, offering Synder all he needs to roar manically; and  their Thrash Metal vein arises stronger than ever in Irreligious Fallout, while also presenting their more violent Death Metal side and an amazing guitar job done by Fabio and Franco with their guitars, exhaling pure electricity. The band keeps the momentum going with another circle pit feast titled Serpents In Your Churches, again showcasing the heavy and groovy kitchen by Dario and Kyle, and the always demonic roars by Synder; followed by From Outer Spheres, another solid and aggressive creation by the quintet bringing to our ears a well-balanced fusion of modern-day Thrash and Death Metal. After such vibrant tune we have Book Of Nihil, one of the most exciting and caustic of all songs, where Synder sounds infernal on vocals while Fabio and Franco add their share of intricacy and darkness to the music with their classy riffage.

Then investing in a more detailed sound by bringing elements from Progressive Death Metal to their music the band offers us all Republic Of The Obscene, which is not a bad song but it sounds confusing at times as it doesn’t decide if it’s a straightforward heavy tune or a more progressive one. Putrid Monarch Crowned is utterly sinister and evil thanks to the deep growls by Synder, while Dario makes the earth tremble with his bass, again blending the most visceral elements from Thrash and Death Metal, and it’s pedal to the metal as those Italian metallers are on absolute fire in Scourges Of The Sybilline, with Fabio and Franco distilling their metallic venom through their stringed axes supported by the massive beats by Kyle in a great display of contemporary extreme music. Last but not least, the band will hammer our heads one final time with the pulverizing Gazmasked Reaper, ending the album on a high and venomous note with Synder once again stealing the spotlight with his sick roars.

The dark and furious III; Oracles And Tentacles is available in full on YouTube and on Spotify, but of course in order to show those Italian metallers your utmost support you should purchase a copy of the album from the Great Dane Records’ BandCamp page or webstore, as well as from Season of Mist or from Apple Music. Don’t forget to also start following the band on Facebook to stay updated with all things Delyria, letting your inner demons and deepest fears arise to the sound of the band’s devilish new album of contemporary Death and Thrash Metal.

Best moments of the album: Irreligious Fallout, Book Of Nihil and Scourges Of The Sybilline.

Worst moments of the album: Republic Of The Obscene.

Released in 2023 Great Dane Records

Track listing
1. The Glyph 4:01
2. Irreligious Fallout 3:18
3. Serpents In Your Churches 3:00
4. From Outer Spheres 4:23
5. Book Of Nihil 3:06
6. Republic Of The Obscene 3:46
7. Putrid Monarch Crowned 4:50
8. Scourges Of The Sybilline 2:45
9. Gazmasked Reaper 3:39

Band members
Synder – vocals
Fabio Barbetti – guitar
Franco Piras – guitar
Dario Capitani – bass
Kyle Mencucci – drums

Guest musicians
Giuseppe “Tat0” Tatangelo – additional vocals

Album Review – Hyl / Where Emptiness Is All (2023)

Posted on by
Reply

A majestic display of Atmospheric Black Metal, bringing the cruel peace of absolute devastation, and invoking the killing quietude of an abandoned world wrapped in the soft death of snow.

Birthed in the creative cauldron that is the mind of multi-instrumentalist Rick Costantino (Schizo, Krigere Wolf), Italy/Poland-based Atmospheric Black Metal horde Hyl is a new entity that captures an atmosphere of utter desolation, of a world bereft of life, being highly recommended for fans of Ruins Of Beverast, Vemod, Mgla and Fuath, just to name a few. Comprised of the aforementioned Rick Costantino (who also goes by his initials R.C.) on the guitars and bass, Shadow (Black Altar, Ofermod) on vocals, and Krzysztof Klingbein (Vader, Belphegor) on drums, the band is releasing their debut effort, titled Where Emptiness Is All, bringing the cruel peace of absolute devastation, and invoking the killing quietude of an abandoned world wrapped in the soft death of snow. Mixed and mastered by Dionisis Dimitrakos at Descent Studio (with vocals mixed by Devo Andersson at Endarker Studio), and displaying a sinister logo by Christophe Szpajdel of Lord of the Logos and a Stygian album art by Elysivm Artwork, the album transpires Black Metal at its most powerful and enthralling, imbued with winter magic and offering a glimpse into a darkness beyond human experience and understanding.

The atmospheric intro Pvrification will beautifully darken the skies, setting the stage for Hyl to crush our senses in Into the Unknown, with the piercing guitars by R.C. embellishing the airwaves while Krzysztof begins hammering his drums in the name of Black Metal, all complemented by the grim, visceral guttural by Shadow. Their blackened attack goes on in the multi-layered, imposing extravaganza titled And Everything Dies, a lecture in Atmospheric Black Metal sounding even more venomous than its predecessor due to the pulverizing drums by Krzysztof; and the atmosphere remains dense, somber and majestic in the title-track Where Emptiness is All, where once again Shadow roars like a demonic entity accompanied by the sharp riffs and rumbling bass by R.C. in another infernal display of Atmospheric Black Metal. Then a dark, menacing intro gradually evolves into an ethereal voyage titled Endless Illusions, with R.C. and Krzysztof blasting melodic yet at the same time sulfurous sounds from their sonic weapons, flowing into the closing tune Under a Watching Sky, which sounds and feels more like an outro than anything else. I personally preferred if it was a regular song, or if it was a little bit shorter in duration, but it’s still a solid way to conclude the album.

Those three extremely talented metallers from Italy and Poland are eager to know what you think of their music, and you can do so by giving them a shout on Facebook and on Instagram, and of course you can show them your absolute support and admiration by purchasing a copy of Where Emptiness Is All from the Odium Records’ BandCamp page or webstore, succumbing to the darkest and most atmospheric side of extreme music. You’ll certainly have a blast wandering through the Stygian realms explored by Rick Constantino and his henchmen in Where Emptiness Is All, always keeping in mind that there’s no turning back once you let darkness and desolation take over your damned soul.

Best moments of the album: And Everything Dies and Where Emptiness is All.

Worst moments of the album: Under a Watching Sky.

Released in 2023 Odium Records

Track listing
1. Pvrification (Intro) 1:03
2. Into the Unknown 7:41
3. And Everything Dies 6:58
4. Where Emptiness is All 5:12
5. Endless Illusions 7:36
6. Under a Watching Sky 5:03

Band members
Shadow – vocals
Rick Costantino – guitars, bass
Krzysztof Klingbein – drums

Album Review – Descent Into Maelstrom / Dei Consentes (2023)

Posted on by
Reply

Have fun with the farewell opus by this Italian Dodecaphonic Metal entity, a concept album exploring how the Gods of Ancient Rome would present themselves in our modern-day society.

Originally a Dodecaphonic Metal band founded in 2016 as a solo project by guitarist, vocalist and sound engineer Andrea Bignardi, combining the intensity and energy of metal with the intricate, mathematical structures of dodecaphonic music, Piacenza, Italy-based Progressive/Technical Death Metal outfit Descent Into Maelstrom has since expanded to include Mattia Panunzio (Nameless Grave) on lead guitars, Pietro Buzzi (Necroptic) on rhythm guitars, and Michele Augello (Agony Face) on bass, having already released two full-length albums and two EPs, and gearing up now in 2023 to release their third and final full-length opus, titled Dei Consentes. The most direct and powerful effort that the band has ever created, Dei Consentes, which translates from Latin as “God’s consent”, is a 12-track concept album that explores how the Gods of Ancient Rome would present themselves in our modern society if they existed today, with the music uniting twisted and complex rhythms, savage riffing and a gratifyingly dark ambience in the vein of Death, Pestilence and Edge Of Sanity.

Dissonant, devilish and chaotic form the very first second, the opening tune Cinis et Pulvis (or “ashes and dust” from Latin) will darken your mind to the sound of the deep guttural by Andrea, resulting in the epitome of Dodecaphonic Metal, followed by Triumphus Falsarius Daemonium (“false triumph of the demons”), where Mattia and Pietro offer Andrea the perfect support with their slashing riffage and solos while Michele sounds absolutely bestial with his rumbling bass. Then we have Abyssus Devorat Terram (“the abyss devours the earth”), blending the fury of classic Death Metal with their unique progressive and technical sound, or in other words, a song perfect for “slipping into madness”; and there’s no time to breathe as their sonic Death Metal avalanche goes on in Infecundus (“unborn”), with Michele’s metallic bass adding sheer groove to the stringed attack by his bandmates. The first single of the album, titled Pater (“father”), will smash your cranial skull thanks to its massive blast beast and the inhumane roars by Andrea, whereas an imposing start explodes into the band’s somber, technical Death Metal in Silvarum Patrona (“patroness of the forests”), with Michele once again stealing the spotlight with his menacing bass.

The second half of the album begins with Deus Sol Invictus (“the invincible sun god”), another Death Metal onrush by the quartet showcasing their usual fury and dexterity with all instruments exhaling fire and insanity; and slowing things down a bit and investing in a more melodic sound and vibe, Andrea, Mattia and Pietro will pierce your ears with their strident riffs in Amor Sola Lex (“love is the only law”). Back to their most visceral mode, the quartet is ready to go to war in Deus Belli (“god of war”), presenting an amazing guitar job done by the band’s axe triumvirate while Andrea growls deeply nonstop, flowing into the absolutely technical instrumental feast Silentium (“silence”), continuing the band’s path of melodic savagery led by the intricate bass by Michele. Their second to last blast of Dodecaphonic Metal, titled Mater (“mother”), keeps the album at a high level of violence and obscurity, with Andrea leading his horde armed with his visceral growls and sick riffs; while lastly we’re treated to Defloratio Gratiae (“defloration of grace”), a brutal yet very intricate display of Death Metal where once again Michele’s bass lines sound ruthless.

“We regret to inform you that our band will be coming to an end after the release of our final album, Dei Consentes. We have had an incredible journey together, and we are grateful for all of the love and support you have given us throughout the years. This album is a culmination of all of our hard work and dedication to our craft, and we hope that it will be a fitting farewell. We want to thank each and every one of you for being a part of our journey. It has been an honor to make music for you, and we will treasure the memories we have made together. Thank you for everything,” commented Andrea about the end of the band and their farewell opus, and if you want to say goodbye to Descent Into Maelstrom and tell them you’ll miss their wicked music, you can find the band on Facebook, and of course you can also purchase Dei Consentes by clicking HERE. And may the Ancient Gods change Andrea’s mind and we see Descent Into Maelstrom get reborn in the future to keep blasting our heads with their dodecaphonic craziness.

Best moments of the album: Triumphus Falsarius Daemonium, Silvarum Patrona and Deus Belli.

Worst moments of the album: Amor Sola Lex.

Released in 2023 Club Inferno Ent.

Track listing
1. Cinis et Pulvis 4:22
2. Triumphus Falsarius Daemonium 3:27
3. Abyssus Devorat Terram 3:12
4. Infecundus 5:16
5. Pater 4:31
6. Silvarum Patrona 4:32
7. Deus Sol Invictus 4:20
8. Amor Sola Lex 4:15
9. Deus Belli 1:59
10. Silentium 5:42
11. Mater 3:24
12. Defloratio Gratiae 4:36

Band members
Andrea Bignardi – vocals, rhythm guitars
Mattia Panunzio – lead guitars
Pietro Buzzi – rhythm guitars
Michele Augello – bass

Album Review – Hiss From The Moat / The Way Out Of Hell (2022)

Posted on by
1

There’s only one way out of hell, and that’s to the sound of the incendiary Blackened Death Metal by one of the best bands of the current Italian scene.

Following their 2019 acclaimed sophomore record The Harrier, Italian Black/Death Metal beats Hiss From The Moat are back in action with their impending, monstrous third full-length opus, entitled The Way Out Of Hell, an extension of their signature, menacing sound while it carves out a unique place in the blackened underground as they search for the light amidst the darkness. Produced by the band’s own bassist Carlo Cremascoli at The Obscure Country Recording Studio, The Way Out Of Hell is the representation of how vocalist and guitarist Max Cirelli,  guitarist Jack Poli, bassist Carlo Cremascoli and drummer James Payne feel that life is, a very difficult thing to go through with a lot of pain and challenges to deal with. “This album is our way to express the feelings about how life is a hard, complicated and confusing way out of hell, there are many things, emotions and people that get in your way, but that’s what life is: getting out of it going through as less suffering as possible,” commented James about their amazing new album.

Arising from the dark pits of the underworld the band comes ripping with the infuriated title-track The Way Out Of Hell, where James sounds utterly infernal on drums while Max roars manically nonstop in a great display of Blackened Death Metal, and the caustic guitars by Max and Jack will penetrate deep inside your skin in I Am Deceived, continuing their path of destruction tailored for lovers of the music by bands such as Behemoth and Septicflesh. More savagery and darkness are offered to us all in Staring At The Abyss, with Carlo and James making the earth tremble with their respective bass and drums, therefore providing Max with all he needs to vociferate like a demonic creature; and get ready for another onrush of Black and Death Metal by those Italian metallers entitled Generation Of Cowardice, sounding brutal and visceral from start to finish with the band’s guitar duo being on absolute fire with their devilish riffage.

Let’s keep raising our horns in the name of evil with The Killing Of Innocence, very progressive and groovy with Carlo sounding amazing with his bass jabs accompanied by the always massive beats by James, whereas a melodic and heavy start morphs into an ode to death and obscurity titled Bury Me, perfect for breaking our necks headbanging while Max rabidly growls the song’s acid lyrics. There’s absolutely no sign of the band slowing down; quite the contrary, their onrush of metallic sounds will hammer our heads mercilessly in All I Have, with James once again stealing the spotlight with his demented drums, followed by A Gallows Of Mirrors, a no shenanigans, Stygian creation by the quartet that exhales Blackened Death Metal for our total delight, showcasing a fantastic guitar work as usual. Lastly, there’s still time for The Magnificent Vision, one final explosion of Extreme Metal by the band where Max leads his horde with his hellish roaring and riffage while Jack and Carlo join him with their stringed weapons in a fulminating onrush of darkened sounds.

Such precious gem of the extreme music scene can be appreciated in full on YouTube and on Spotify, but as I like to say if you want to show your utmost support to the underground you should definitely purchase a copy of The Way Out Of Hell from the band’s own BandCamp page, from the Distortion Music Group’s webstore as a CD or as a special bundle including a CD, a shirt and a poster, or simply click HERE for all locations here you can find the album available. Don’t forget to also follow the band on Facebook and on Instagram, and to subscribe to their YouTube channel for more darkness in the form of music. In a nutshell, Hiss From The Moat have seriously stepped up their game with their new album, proving that if there’s a way out of hell, that needs to happen to the sound of first-class underground Blackened Death Metal.

Best moments of the album: The Way Out Of Hell, Generation Of Cowardice, The Killing Of Innocence and A Gallows Of Mirrors.

Worst moments of the album: None.

Released in 2022 Distortion Music Group

Track listing
1. The Way Out Of Hell 4:10
2. I Am Deceived 4:44
3. Staring At The Abyss 4:17
4. Generation Of Cowardice 4:22
5. The Killing Of Innocence 4:27
6. Bury Me 4:37
7. All I Have 3:46
8. A Gallows Of Mirrors 4:48
9. The Magnificent Vision 4:17

Band members
Max Cirelli – vocals, guitar
Jack Poli – guitar
Carlo Cremascoli – bass
James Payne – drums

Album Review – Cadaveria / Emptiness (2022)

Posted on by
Reply

After almost eight years, one of the torchbearers of Italian Dark Metal is back with a fantastic, multi-layered work that seals the artistic and human path of the band.

Almost eight years after the excellent Silence, Black/Gothic Metal entity Cadaveria, the creative alter-ego of Italian-based frontwoman Raffaella “Cadaveria” Rivarolo (one of the first women to hit the Extreme Metal scene in the early 90’s), is back with an exciting new album entitled Emptiness, a fantastic, multi-layered work that seals the artistic and human path of the band currently comprised of the aforementioned Cadaveria together with bassist Peter Dayton and drummer Marçelo Santos, plus guest guitarist Kris Laurent (Cadaveria, The Providence) and additional guitars by Pier Gonella (Athlantis, Necrodeath, Mastercastle). Recorded and mixed at Rrooaarr Sound Studio, mixed and mastered at Shadows Studios, produced by Cadaveria and Pier Gonella, and displaying a stylish artwork by Roberto Toderico, Emptiness represents a rebirth for Cavaderia after a three-year long pause from the scene during which Raffaella had to be treated for cancer, containing four singles digitally released between December 2020 and June 2021 alongside seven previously unreleased songs which combined will smoothly penetrate deep inside your mind in the name of rock and metal.

The band wastes no time and begins their sonic attack in The Great Journey, with Cadaveria’s raspy vocals being accompanied by the classic beast by Marçelo and the rumbling bass by Peter, followed by Shamanic Path, blending their core Gothic Metal with Death and Doom Metal nuances while Cadaveria does an excellent job with both her she-demon screams and anguished clean vocals. Then in the title-track Emptiness our beloved Cadaveria declaims the song’s poetic lyrics in a dark and sinister way while Kris fires traditional riffs that match perfectly with her voice; and Marçelo adds endless fury and heaviness with his drums to The Woman Who Fell to Earth, feeling utterly electrifying from start to finish. Cadaveria sounds truly possessed on vocals supported by her bandmates in Divination, with Marçelo kicking some ass behind his drums, while Matryoshcada is more sluggish and somber than its predecessors, with tons of groove flowing from Peter’s bass while Kris’ riffage sounds inspired by old school Black Sabbath.

In Silver Rain we’re treated to pensive words declaimed by Cadaveria (“The children of my thoughts are running / Away naked up to the hill / Your seeds will sprout inside me to enjoy new Springs together / My mind is clear I carry no weight, no pain on my shoulders / Your seeds will sprout inside me to enjoy new Springs together”) amidst a mesmerizing fusion of Dark and Gothic Metal, whereas Cadaveria and her henchmen continue to explore the realms of Dark Metal in The Cure, with her she-wolf roars walking hand in hand with the piercing guitars by Kris while also presenting the rawness and fury of Black Metal in its core essence. Strident riffs ignite the melancholic, sinister tune Life After, where Cadaveria flawlessly alternates between her raspy gnarls and mesmerizing clean vocals, therefore resulting in a beautiful creation by the band that depicts everything Dark Metal stands for; while in La Casa dell’Anima the fact the lyrics are in Italian is awesome, although the music is not as exciting as the rest of the album. Lastly, the band offers more of their darkened sounds in The Sky That Screams Above Us, a sluggish composition where Marçelo brings forward pure doom through his beats.

You can have a very good time by streaming Emptiness in its entirety on Spotify, and also by following Cadaveria on Facebook and on Instagram for news, tour dates and so on, by subscribing to their YouTube channel for not only more of their music but mainly for their top-notch official videos, and above all that, by purchasing a copy of Emptiness by clicking HERE or HERE. Our beloved diva Raffaella “Cadaveria” Rivarolo didn’t only beat the shit out of cancer, but she did that while at the same time she worked on the awesome music found in Emptiness, proving metal is and will always be the best treatment for any type of disease and also highly recommended for filling that emptiness we all have inside us. Thank you, Cadaveria, and may you keep embellishing the airwaves with your beautiful fusion of Gothic and Black Metal for many decades to come.

Best moments of the album: The Great Journey, Divination and Silver Rain.

Worst moments of the album: La Casa dell’Anima.

Released in 2022 Scarlet Records

Track listing
1. The Great Journey 4:55
2. Shamanic Path 5:10
3. Emptiness 5:00
4. The Woman Who Fell to Earth 5:52
5. Divination 3:07
6. Matryoshcada 5:09
7. Silver Rain 4:24
8. The Cure 4:52
9. Life After 4:35
10. La Casa dell’Anima 4:55
11. The Sky That Screams Above Us 5:33

Vinyl Edition bonus track
12. Return (Deine Lakaien cover) 4:04

Band members
Cadaveria – vocals
Peter Dayton – bass
Marçelo Santos – drums

Guest musicians
Kris Laurent – guitars
Pier Gonella – additional guitars

Album Review – Ferum / Asunder / Erode (2022)

Posted on by
1

A ruthless entity arises from the underworld with an obsessive and monolithic record, showcasing the boldness and rot of American death doom and the introspection and emotion of English death doom.

Formed in 2017 in Bologna, Italy, but currently scattered between Bologna and Tallinn, the capital of Estonia, the ruthless Death/Doom Metal entity known as Ferum (which means “wild”, “untamed” or “fierce” in Latin) is unleashing upon us all their debut full-length opus, entitled Asunder / Erode, following up on their 2018 EP Vergence. Recorded and mixed by the band’s drummer Are Kangus at Walter Productions, mastered by Dan Swanö, and displaying a fantastic cover art by Paolo Girardi (read more about the concept and process HERE), Asunder / Erode is a clear step forward in the career of vocalist and guitarist Samantha Alessi, bassist Matteo Anzelini and the aforementioned Are Kangus compared to their previous release, offering fans of heavy music an obsessive and monolithic record showcasing at the same time the boldness and rot of American death doom and the introspection and emotion of English death doom, with its slow, funereal riffs and cavernous atmosphere positioning it as one of the best albums of the genre of the past few years.

The massive, sluggish beats by Are kick off the thunderous opening tune Halfhead, with Samantha roaring deeply like a she-demon while also extracting sheer malignancy from her axe. In other words, it’s dark, sinister and somber just the way we like it in Doom Metal, which is also the case with The Undead Truth, featuring the iconic Mike Perun of Cianide on vocals, sounding even more demonic and grim with Samantha firing obscure riffs nonstop supported by the low-tuned bass by Matteo, not to mention how intricate and vibrant the drumming by Are is. Then continuing their path of old school, sulfurous Death and Doom Metal the trio brings forth the headbanging Desolate Vantaa, a song perfect for breaking your neck in half to the pounding drums by Are while Samantha darkly vociferates the song’s lyrics; and dark clouds are above us in the damned tune Belong, where Samantha and Matteo are in total sync with their stringed weapons, generating a menacing, reverberating sound tailored for admirers of the most obscure form of Doom Metal.

Get ready for almost seven minutes of infernal epicness in Monolithic Acquiescence, presenting elements from Blackened Doom in its core while remaining loyal to the foundations of Death Metal thanks to another awesome performance by Samantha on vocals; whereas investing in a more ferocious vibe, the trio delivers endless violence and heaviness in Entrails Of Linnahall, with Are dictating the song’s brutal pace while also alternating between pure Death Metal and slow, sinister passages. A deep roar by Samantha kicks off the Stygian extravaganza titled Resurgence In Bereavement, another dense, multi-layered composition showcasing Are’s classic Doom Metal beats, growing in intensity and fear until all fades into the void for our total delectation, while eerie vocalizations and minimalist sounds will darken our minds in Outro – Spesso Il Male Di Vivere Ho Incontrato, which is not a bad idea for an outro but it could have been slightly shorter to keep the energy level in the album even higher. Nothing to worry about, though, as in the end the album kicks some serious ass from start to finish.

As already mentioned, the wild and fierce hybrid of Death and Doom Metal blasted by Ferum in Asunder / Erode is a must-listen for anyone who enjoys a good dosage of obscurity and hatred in metal music, proving how focused the trio was while recording the album and, consequently, pointing to an exciting future ahead of them. Having said that, don’t forget to start following Samantha and the boys on Facebook and on Instagram for news, tour dates and other important information about the band, to purchase your copy of Asunder / Erode from the Avantgarde Music’s BandCamp page or from Sound Cave as a CD, a color vinyl or a black vinyl, and to stream all of their devilish arias on Spotify. Ferum are definitely on the right path to conquer the world of extreme music based on what they have to offer us all in their new album, leaving us eager (or I might even say desperate) for more of their music in a not-so-distant future.

Best moments of the album: Halfhead, Desolate Vantaa, Entrails Of Linnahall and Resurgence In Bereavement.

Worst moments of the album: Outro – Spesso Il Male Di Vivere Ho Incontrato.

Released in 2022 Unorthodox Emanations/Avantgarde Music

Track listing
1. Halfhead 5:24
2. The Undead Truth 6:28
3. Desolate Vantaa 5:15
4. Belong 5:23
5. Monolithic Acquiescence 6:53
6. Entrails Of Linnahall 5:24
7. Resurgence In Bereavement 6:39
8. Outro – Spesso Il Male Di Vivere Ho Incontrato 3:02

Band members
Samantha Alessi – vocals, guitars
Matteo Anzelini – bass
Are Kangus – drums

Guest musician
Mike Perun – vocals on “The Undead Truth”

Album Review – I MAIALI / cenere/CENERE (2022)

Posted on by
Reply

A thrilling overdose of Blackened Post-Hardcore by an Italian horde presenting to us all “the gospel of our Messiah” in the form of their sophomore opus.

Brought into being in 2016 in the city of Rome, Italy, Blackened Post-Hardcore project I MAIALI has found their dimension in a dirty, no-nonsense sound between Post-Hardcore and Noise without forgetting the 90’s and the whiff of novelty that it brought to the world of underground music while remaining tied to a modern and impactful sound, and all that can be fully appreciated in their sophomore opus, titled cenere/CENERE. Produced, engineered, recorded and mixed by Davide Rosati at ACME Recording Studio, mastered by Gianpiero Ulacco at Hologram Studios, and displaying a wicked artwork by Coito Negato, “cenere/CENERE is the gospel of our Messiah, starting from his genesis up to the stake that will reduce him to ashes; however, it is not just a story, but a journey, which will first see him indulge, then oppose the will of a superior entity: a master whom he recognizes as a father. The deeds he performed and the continuous struggle with his conscience are the basis of the 12 tracks that mix post-hardcore and black metal, with some forays into psychedelia. We will explore the concepts addressed in the debut album CVLTO, making you know our God better and showing you how easily we humans are conditioned. Our Messiah is now among us, listen to him,” commented vocalist Francesco Foschini, guitarist Daniele Ticconi, bassist Matteo Grigioni and drummer Angelo Del Rosso about the album.

Daniele ignites the band’s wicked musical voyage with his guitar in Genesi, being gradually accompanied by the devilish vocalization by Francesco in a nice way to kick off the album with a huge dosage of modern-day Post-Metal. Then enhancing their rage and animosity it’s time for the quartet to crush our senses with Ora, Sorgi!, showcasing an excellent job done by Angelo behind his drums and, therefore, resulting in a vicious depiction of Blackened Hardcore; whereas L’Orrore follows a similar pattern as its predecessor, which means it’s awesome of course, with Matteo hammering his bass mercilessly while Francesco roars and screams nonstop. There’s no time to breathe as those Italian noisemakers are on fire in the Post-Hardcore extravaganza Parassita, spearheaded by another round of flammable riffs by Daniele, and Stanza 101, a recommended option for banging your head in the name of pure darkness, also presenting elements from the unique music blasted by Marilyn Manson and Rob Zombie. And more of their eerie sounds comes in the form of Oblio, where Francesco’s vocals walk hand in hand with the progressive beats by Angelo.

Messi∀ focuses exclusively on the anguished vocals by Francesco while the background music is comprised of pure noise; whereas in Sculture da Autopsia the band is back to a more melodic, introspective vibe where Daniele an Matteo continue to extract electricity and groove form their stringed weapons in another shot of their trademark Blackened Post-Hardcore. Assalto Cannibale is as demented as it can be, with Angelo dictating the pace and offering his bandmates exactly what they need to smash us all with their sick, darkened Hardcore, and getting closer to the end of the album I MAIALI keep embellishing the airwaves with their obscurity and heaviness in (r)Umore Blu, with Francesco stealing the spotlight with another visceral performance on vocals, followed by Plumbeo Giudizio, sounding modern, vibrant and piercing as our good old Blackened Hardcore demands, bringing forward more of the caustic riffage by Daniele and the classy bass punches by Matteo. Finally, featuring a guest guitar solo by Davide Rosati, the tribal beast by Angelo will hit you hard in the head in Io, Brucio, ending the album on a beyond climatic and acid note.

In case you’re curious to know what Blackened Post-Hardcore is all about, you can enjoy cenere/CENERE in its full glory on Spotify, and don’t forget to follow the band on Facebook and on Instagram to stay up to date with all things I MAIALI, to subscribe to their YouTube channel for more of their wicked music, and obviously to purchase the idiosyncratic cenere/CENERE from their own BandCamp page. As aforementioned, the music by I MAIALI is not just dirty and modern, but it effectively represents everything the band stands for, their passion for heavy music, their hopes and dreams, and I bet it won’t take long for those Italian rockers to invade our senses with more of their incendiary, uncompromising music in the coming years.

Best moments of the album: Ora, Sorgi!, L’Orrore, Parassita and Plumbeo Giudizio.

Worst moments of the album: Messi∀.

Released in 2022 Overdub Recordings

Track listing
1. Genesi 2:22
2. Ora, Sorgi! 1:44
3. L’Orrore 2:05
4. Parassita 2:12
5. Stanza 101 1:49
6. Oblio 1:49
7. Messi∀ 1:29
8. Sculture da Autopsia 2:14
9. Assalto Cannibale 2:58
10. (r)Umore Blu 2:14
11. Plumbeo Giudizio 1:58
12. Io, Brucio 5:50

Band members
Francesco Foschini – vocals
Daniele Ticconi – guitar
Matteo Grigioni – bass
Angelo Del Rosso – drums

Guest musician
Davide Rosati – guitar solo on “Io, Brucio”

Concert Review – Nervosa & Destruction (Lee’s Palace, Toronto, ON, 05/01/2022)

Posted on by
1

The German butchers of Thrash Metal struck back in another diabolical night of heavy music in the city of Toronto.

OPENING ACTS: VX36 and Sunlord

There’s nothing better than ending another fun weekend and getting ready for a cold and rainy Monday than a night of pure Thrash and Death Metal, and that’s exactly what several Torontonian metalheads were able to enjoy last night at Lee’s Palace thanks to the ruthless Diabolical North American Tour 2022, with the bands VX36, SUNLORD, NERVOSA and the iconic DESTRUCTION offering their fans exactly what they needed to slam into the pit and raise their horns nonstop. The first band to hit the stage was Geyserville, California-based Thrash/Groove Metal band VX36, led by vocalist and guitarist Nate Klug, who inspired all thrashers at the venue to bang their heads to great songs such as Satan’s Fury and Blood War. That was an excellent start to the night, and I just wish the band had new material to present as everything they played, despite being awesome, was from over seven years ago I believe.

Band members
Nate Klug – vocals, guitar
Gage Higgins – lead guitar, vocals
Nick Altenburg – bass
John Lorence – drums

After a really, really quick break, it was time for Jackson Heights, New York’s own Heavy/Speed Metal trio SUNLORD to kick some ass on stage. Comprised of vocalist, guitarist and founder Alfonso Ferrazza, bassist Ashely Wells and drummer Lamar Little, the band delivered a solid show including the fun songs Forbidden Witch and Turn Me Loose, with Lamar stealing the spotlight with a beyond professional and thrilling performance behind his drums, adding an extra touch of groove and heaviness to the band’s music. In the end, Sunlord might not be as thrash as the other bands from the night, but they definitely proved why they were chosen to open for Nervosa and Destruction with their energy and passion for heavy music.

Band members
Alfonso Ferrazza – vocals, guitars
Ashely Wells – bass
Lamar Little – drums

NERVOSA

Finally, after years and years waiting, I was able to see for the first time ever the all-female thrashing machine NERVOSA pulverizing everything and everyone live on stage. One of the most multinational bands of the current metal scene, as the band is now formed of Spanish frontwoman Diva Satanica, Brazilian guitarist and founder Prika Amaral, Italian bassist Mia Wallace and Greek drummer Eleni Nota, the quartet was infernal with their fusion of Death and Thrash Metal from start to finish, with the stunning Diva Satanica not only showcasing a breathtaking vocal performance, but her stage presence was also a thing of beauty. Still promoting their 2021 opus  Perpetual Chaos, Nervosa made a lot of awesome noise playing songs the likes of Kill the Silence, Masked Betrayer, Into Moshpit, Guided By Evil and Under Ruins, as well as my favorite ones of the night, Genocidal Command, Time to Fight and Rebel Soul, where not only Diva Satanica was flawless on vocals, but Prika, Mia and Eleni were also smashing their instruments in great fashion. I just wish the girls had some time to interact with their fans at their booth (which apparently was reduced to just a few random items as their shirts couldn’t be delivered on time), but again, what really matters is what they do on stage, and they more than succeeded by inflicting that nice pain in our necks due to all headbanging involved.

Band members
Diva Satanica – lead vocals
Prika Amaral – guitar, backing vocals
Mia Wallace – bass
Eleni Nota – drums

DESTRUCTION

Another short break and there they were, German Thrash Metal institution DESTRUCTION, ready to show everyone at Lee’s Palace what old school thrash is all about. Anything I say about the band’s frontman and mastermind Schmier won’t be enough to depict his energy, his charisma and his onstage performance, kicking ass from the very first second and showing absolutely no mercy for our souls armed with his metallic bass and raspy vocals. Blending classics the likes of Nailed to the Cross, Born to Perish, Mad Butcher, Thrash Till Death, Bestial Invasion and The Butcher Strikes Back with songs from their recently released album Diabolical, including the amazing title-track and the pulverizing No Faith in Humanity, Schmier and his henchmen Damir Eskić and Martin Furia on the guitars and Canadian beast Randy Black on drums gave a lecture in Thrash Metal to their fans, showing why they’ve been alive and kicking since their inception in the distant year of 1983. By the way, close to the end of the show, Schmier had some very nice words to say about a guy that was present at the venue who was their first ever North American fan, being the first person in the US and Canada to purchase their 1984 demo Bestial Invasion of Hell. That was a really cool moment, and that guy, who was not too far from where I was standing, seemed deeply touched by such amazing tribute by one of his favorite bands of all time. That’s pure Thrash Metal, and after all was said and done (already past midnight, by the way), we were all certain those Teutonic metallers will return to destroy Toronto once again in a not-so-distant future.

Band members
Schmier – vocals, bass
Damir Eskić – lead guitars
Martin Furia – guitars
Randy Black – drums

This slideshow requires JavaScript.