Tag Archives: melbourne

Album Review – Eskhaton / Horracle EP (2022)

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***Review by Luke Hayhurst, writer for Morbid Wings (Print) Zine, VM Underground Fanzine and Doom-Metal.com***

Australian horde Eskhaton had a lot of momentum on the run up to the end of the decade, and then the pandemic hit. Now though, the band has returned with a Hell’s Headbangers Records released, a five track EP entitled Horracle.

Eskhaton perform with a frenetic, urgent energy, and they aren’t averse to dabbling in unorthodox time signatures which break up the flow of their blistering brutality. Horracle is a combination of ruthless, menacing growled vocals, intensive cavernous sounding drum tones, as well as thundering bass play and maniacal, scorching guitar leads and riffs.

When Eskhaton aren’t ploughing a deep groove of bleak Death Metal savagery, their guitarists engage in frequent bouts of technical barbarity in the form of colossal guitar solos that sound out at will and rise from the gloom and up into the toxic atmosphere created by this malevolent and crushing release.

I think the artwork for this release really hits the spot, for just like the album art there is a shocking current of damaging energy that runs through this release, whether it be from the controlled pummelling from the man behind the drum kit, the unstoppable ferocity of the vocalist or the marauding aggression from the guitarists.

With only five tracks to play with, Eskhaton do keep things pretty similar throughout, so you could say a lack of variety in their play is a downside, however this is picking fault when there is very little to be had. This EP makes up for this shortcoming with stunning brutality and technical wizardry, and the end result is a very solid slab of Aussie Death Metal.

Best moments of the album: The vocals. Utterly ruthless growling fury. Also the guitar tones, furious and bleak.

Worst moments of the album: None

Released in 2022 by Hells Headbangers Records

Track listing
1. Omnicidol 7:54
2. Khaossuary 6:33
3. Vortexecution 3:31
4. Aftermathemagician 3:03
5. Nethereal 8:19

Band members
Invokocide – vocals, guitars
Whirlwindead – guitars
Sublimorkunt – bass
Militiarkh – drums

Links
Eskhaton Facebook | Instagram | Twitter | Spotify | BandCamp

Album Review – Klendathu / Avarist: The Beginning & The End at Once EP (2022)

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A Melbourne, Australia-based Blackened Death Metal entity returns with a new concept EP of one massive 25-minute music journey inspired by the ever-present environmental threat on our planet.

After two years since the release of Ad Nauseam, Melbourne, Australia-based Blackened Death Metal entity Klendathu is back in action with a new EP, entitled Avarist: The Beginning & The End at Once, the culmination of a year of hard work to not only improve on Ad Nauseam but to also create something of substance that the band’s mastermind Scott Masson and other people can be proud of. A concept record of just one song, this 25-minute Dark Metal journey will keep the listener’s attention from start to finish, allowing your mind to create a story inside your head. Featuring Ross Savage on drums, who by the way also produced the album, Avarist: The Beginning & The End at Once is inspired by renowned acts the likes of Behemoth, Machine Head, Gojira and Kataklysm, among others, as well as by the ever-present environmental threat on our planet and the suffering of all the poor animals that we enslave, use and discard without mercy every single day.

Like the soundtrack to a sinister thriller, eerie sounds arise amidst chaos until Scott begins hammering his bass accompanied by one of his trademark anguished roars and the blasting drums by Ross, blending elements from Groove and Industrial Metal into his core sonority. The song’s “second act” showcases a heavier-than-hell riffage by Scott while he keeps screaming manically, not to mention Ross’ beats will put you to headbang like a beast, whereas near the eight-minute mark it’s time for some dark vocalizations by Scott spiced up by his piercing guitar lines, and as the song approaches its twelfth minute it’s time for Scott to put the pedal to the metal and invite us all to crush our heads into the circle pit to the sound of his demented growls and Ross’ infernal drums in a fulminating Death Metal assault with hints of Hardcore for our vulgar delectation. We’re 17 minutes in and the music is only getting more apocalyptical and thunderous, not to mention how impressive it is that Scott’s energy level doesn’t go down not even for a single second. And our one-man metal army keeps roaring and roaring in the most demented way, with his riffs piercing through our minds and souls until the song’s obscure and terrorizing finale.

You can join Scott and his Klendathu in such distinguished, heavy and visceral musical voyage by streaming Avarist: The Beginning & The End at Once in its entirety on YouTube and on Spotify, and of course by purchasing a copy of the 25-minute EP from Apple Music or from Amazon. When you think of Black and Death Metal, the first thing that comes to your mind is violence, blood and death, but with Klendathu the multi-talented Scott wants to show us all that although death is necessary and a crucial part of our lives it doesn’t have to be part of our eating habits, blending the importance of veganism and vegetarianism into his visceral music. That’s what Klendathu is all about, and that’s how it will always be thanks to the fantastic job done by our unrelenting Australian metaller.

Best moments of the album: The whole song is amazing, but its last part will pulverize your senses mercilessly.

Worst moments of the album: None, of course.

Released in 2022 Independent

Track listing
1. Avarist: The Beginning & The End at Once 25:49

Band members
Scott Masson – vocals, guitars, bass

Guest musician
Ross Savage – drums (session)

Album Review – Mazikeen / The Solace of Death (2020)

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A beastly album of Symphonic Death and Black Metal from Australia that proves death can be comforting when enfolded by first-class extreme music.

What started in 2013 in Melbourne, Australia as a solo project by guitarist Andrew Shiells with the help from Chris Meyer (from Australian Black Metal act Aberration Nexus), who recorded some drums and synths for the project’s first demo tracks, has evolved to a much bolder and multi-layered beast in recent years, blasting a crushing hybrid of Symphonic Death and Black Metal with other extreme styles such as Melodic Death Metal and old school Black Metal. I’m talking about Mazikeen (based on the Hebrew word “mazzikim”, meaning “harmful spirits”), an infernal horde comprised of the aforementioned Andrew Shiells and his henchmen James Edmeades (Claret Ash) on vocals, Kris Marchant on the guitars, Aretstikapha (Plasmodium, Klavierkrieger) on piano and synths, and Marco Pitrruzzella (Six Feet Under, Sleep Terror) on drums, who are unleashing upon us their first full-length opus titled The Solace of Death, featuring eight original songs and four insane cover tracks throughout impressive 67 minutes of music, all embraced by the stylish and sinister artwork by Australian artist Jamie Ludbrooke.

An eerie, phantasmagorical intro evolves into a feast of symphonic and dark sounds in the opening track The Solace Of Death, where Marco is absolutely infernal with his blast beats while James delivers his Dani Filth/Shagrath-inspired roars and gnarls, supported by the imposing synths by Andrew and Aretstikapha, whereas in Apostate it’s time for ten minutes of Symphonic Black Metal infused with Doom and Melodic Death Metal nuances where the guitars by Kris and Andrew sound sharp and very harmonious just the way we like it in extreme music. Brutal and enthralling form start to finish, this great composition lives up to the legacy of bands like Emperor, Dimmu Borgir and Carpathian Forest, which can also be said about Vexation Through The Golden Sun, even more obscure, violent and epic than its predecessors, spearheaded by the insane drums by Marco while his bandmates make sure every empty space in the air is filled with darkness and evil, resulting in a lecture in modern-day Symphonic Black Metal full of breaks and variations, Stygian passages and even some serene, acoustic moments for our total delight. And featuring guest vocals by Josh Young (Astral Winter, Atra Vetosus), Mazikeen go full Scandinavian Black Metal in Fractricide, inspired by the trailblazers of the genre such as Mayhem and Emperor, blasting a demolishing sonority that will make your head tremble nonstop.

Josh returns with his wicked gnarls in the melancholic and somber Psychotic Reign, starting in a Gothic Metal-ish vibe while also presenting elements from Atmospheric Black Metal in its core essence. Moreover, I personally love the paradox created between Marco’s stone crushing beats and all background keys and symphonic elements, giving the whole song and extra touch of eccentricity, flowing into the cryptic and atmospheric instrumental bridge Harrowing Cessation, which also develops into a romantic instrumental ballad entitled MORS VINCIT OMNIA, or “death conquers all” from Latin, where the strength and depth of the piano notes take the lead and guide the music until its inevitable and grim ending. And in the last original song from the album, Cerulean Last Night, Mazikeen get back to a more ferocious and visceral mode, uniting the most piercing elements from old school Black Metal and contemporary Symphonic Black Metal spiced up by the visceral guest vocals by Ian McLean (The Maledict).

The last batch of songs in The Solace of Death is the band’s own tribute to their biggest idols and influences, starting with Mayhem’s Freezing Moon, originally released in the 1994 cult album De Mysteriis Dom Sathanas (check the original version HERE), with Mazikeen’s version featuring the vicious vocals by guest Ashahalasin (Inhuman Remnants, Somnium Nox) infernally complemented by the pulverizing drums by Marco, followed by Disection’s Night’s Blood, from the 1995 album Storm of the Light’s Bane, as bestial as the original song with Kris and Andrew delivering sheer electricity and rage through their scorching riffs. Then we have a cover for Dimmu Borgir’s Mourning Palace, from the 1997 album Enthrone Darkness Triumphant (you can listen to the original one HERE), where James does a fantastic job on vocals accompanied by the whimsical keys and synths by Andrew and Aretstikapha. And finally, Ashahalasin returns for their cover song for Darkthrone’s Transilvanian Hunger, from the 1994 album Transilvanian Hunger, as raw and malevolent as the original tune, with Marco once again taking the lead firing endless dementia and wrath from his blast beats.

You can enjoy this precious gem of Australian Black Metal in its entirety on YouTube and on Spotify, and also grab your copy of the album from the Satanath Records’ BandCamp page, from the Iron, Blood & Death Corporation’s BandCamp page, from Apple Music, or click HERE for all options where you can buy or stream the album. Mazikeen can also be found on Facebook, where you can know more about the band, their tour dates, their music and plans for the future, proudly carrying the flag of Black Metal wherever they go. In a nutshell, Andrew and his horde from Mazikeen nailed it in The Solace of Death, showing us all that death can be indeed comforting, especially if enfolded by a good amount of first-class Black Metal like the sonic devastation blasted by such distinct band hailing from the always inspiring Australia.

Best moments of the album: Vexation Through The Golden Sun, Fractricide and Night’s Blood.

Worst moments of the album: Harrowing Cessation.

Released in 2020 Satanath Records/Iron, Blood & Death Corporation

Track listing
1. The Solace Of Death 6:57
2. Apostate 10:05
3. Vexation Through The Golden Sun 10:46
4. Fractricide 4:54
5. Psychotic Reign 7:00
6. Harrowing Cessation 2:30
7. MORS VINCIT OMNIA 2:59
8. Cerulean Last Night 7:34
9. Freezing Moon (Mayhem cover) 6:36
10. Night’s Blood (Dissection cover) 7:10
11. Mourning Palace (Dimmu Borgir cover) 5:36
12. Transilvanian Hunger (Darkthrone cover) 5:36

Band members
James Edmeades – vocals
Kris Marchant – guitars
Andrew Shiells – guitars, synths
Aretstikapha – piano, synths
Marco Pitrruzzella – drums

Guest musicians
Josh Young – vocals on “Fractricide” and “Psychotic Reign”
Ian McLean – vocals on “Cerulean Last Night”
Ashahalasin – vocals on “Freezing Moon” and “Transilvanian Hunger”

Album Review – Klendathu / Ad Nauseam EP (2020)

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Bang your head to the debut EP by an Australian one-man band with a huge focus on artistic expressionism, animal rights, veganism and the inevitability of the planet’s decline.

The name Klendathu, which means means “triangular” in the Zulu language, is the homeworld of the creatures known as the Arachnids from the 1997 cult movie Starship Troopers, while the expression “ad nauseam” is a Latin term for argument or other discussion that has continued to the point of nausea. However, when you put those two together the result is a Melbourne, Australia-based Blackened Death Metal/Dark Metal one-man project entitled Klendathu, formed in the beginning of 2020 by vocalist and multi-instrumentalist Scott Masson, the lead singer for Metalcore/Deathcore act He Who Seeks Vengeance and more recently for Death Metal band Apocalyptian, both already reviewed at The Headbanging Moose. With a huge focus on artistic expressionism and with its lyrical content inspired by our ecological footprint, environmental issues, animal rights, veganism and the inevitability of the planet’s decline, the project’s debut EP Ad Nauseam will surely please fans of the music by Behemoth, Gorgoroth, Cannibal Corpse, Sylosis, Six Feet Under and Sepultura, among many others, while at the same time sending a strong message to everyone who still thinks our decaying world is doing just fine.

Scott, who’s by the way a very proud vegan and animal rights activist and environmentalist, has already hinted at that theme in his previous records with He Who Seeks Vengeance (They Will Speak Of The Ghosts That We Became, released in 2019) and Apocalyptian (Citizens Of The Apocalypse, released earlier this year), but it’s with Klendathu that Scott finally has all the freedom to be himself and express how he feels about the current state of things. In addition, just to give you an idea of how personal the album is, everything in the album was recorded by Scott himself, with the exception of the mixing part which was done by an electronic producer named Kibosh, and the final result is indeed very personal, heavy and dark.

An ominous intro grows in intensity until dark and damned sounds invade our senses in Denying The Birth, where Scott fires Doom Metal-inspired riffs and infernal blast beats while screaming like a rabid beast, reminding me of old school Behemoth with some phantasmagorical background elements to add an extra kick to it. Then once again demolishing everything and everyone with his insane beats and riffage, Scott vociferates and barks nonstop in Anger Awakening, presenting hints of the Thrash and Groove Metal by Sepultura from their Roots-era while keeping Klendathu’s core obscurity intact, followed by Bargaining The New Revelation, the most vicious and devastating of all songs, with Scott doing a great job with his harsh roars and thunderous bass and drums, therefore  generating a reverberating sound that will crush your skull mercilessly, all spiced up by teen activist Greta Thunberg’s famous one-liner “How dare you!” and other parts of her speech during the UN climate summit in New York on September 23, 2019. After such bold and dense tune, Scott adds nuances of devilish Blackened Doom to his already scorching sonority in The Prelude Depression, where you can easily feel all the anguish and hatred flowing from his demented screams while the song’s keys and piano notes give the overall result a touch of finesse. And last but not least, more groovy and enraged sounds permeate the air in Accepting The End, with Scott going full Death Metal on vocals and firing crisp guitar riffs and solos. Moreover, its modern-day Black Metal-like drums are the ultimate proof that this incendiary song couldn’t have sounded more austere than what it already is.

You can follow Scoot and his very interesting Klendathu on Facebook, showing your appreciation not only for his music but also for his fight for animal rights and his efforts against all environmental issues we’ve been facing in the past few decades, and of course purchase his debut opus Ad Nauseam directly from his BandCamp page, as well as from Apple Music and from Amazon, or stream the EP in full on YouTube and on Spotify. In the end, as long as you bang your head to Klendathu’s flammable music while doing your part in trying to make this world a better place, I’m sure guys like Scott will feel utterly inspired to keep crafting meaningful heavy music for many years to come. That, of course, if the world as we know it doesn’t come to an end first.

Best moments of the album: Bargaining The New Revelation and Accepting The End.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Denying The Birth 6:19
2. Anger Awakening 4:52
3. Bargaining The New Revelation 5:27
4. The Prelude Depression 5:52
5. Accepting The End 5:02

Band members
Scott Masson – vocals, all instruments

Album Review – Apocalyptian / Citizens Of The Apocalypse EP (2020)

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A short and pulverizing soundtrack to the apocalypse by a ruthless Death Metal unity from Down Under.

Crafted from a mutual love for Death Metal from the late 90’s and early 2000’s by members of the underground Australian bands He Who Seeks Vengeance, Maleficium, Death Masque and Conscious Control, Melbourne-based three-piece horde Apocalyptian has been working hard since their inception to bring some first-class Old School Death Metal to our avid ear, culminating with the release of their debut EP entitled Citizens Of The Apocalypse now in 2020. Comprised of Scott Masson on vocals (who’s also the lead singer for Metalcore act He Who Seeks Vengeance, whose album They Will Speak Of The Ghosts That We Became was reviewed at The Headbanging Moose in 2019), Allan Butt on the guitars and Jacob Capper on bass, Apocalyptian are ready to pulverize your senses with the 18 minutes of classic Death Metal found in their newborn spawn, being therefore highly recommended for fans of bands such as Cannibal Corpse, Deicide, The Black Dahlia Murder, Monstrosity and Suffocation, among countless others.

The Wretchedness Within is raw, vile and berserk from the very first second, with Scott welcoming us all to the world of Apocalyptian with a demented roar before his bandmates start smashing their instruments just the way we like it in classic Death Metal, with nuances of Deathcore added to make it even more electrifying. Then we have Wage War On A Dying Planet, as sick and violent as the opening track, where Allan and Jacob are on absolute fire with their stringed weapons while Scott gets more and more demented on vocals as the music progresses, living up to the legacy of giants like Cannibal Corpse and Six Feet Under, and let’s keep slamming into the circle pit to the sound of Scorched Wasteland, with Allan delivering razor-edged riffs for our total delight while Jacob’s bass punches are in total sync with the song’s insane beats. Needless to say, Scott is once again venomous with his deep guttural barks, which is also the case in the title-track Citizens Of The Apocalypse, as devastating as its predecessors, bringing forward infernal riffs and beats and inspiring us to bang our heads to the vicious riffage by Allan, with Jacob adding an extra touch of heaviness to the music with his low-tuned bass.

If you’re searching for a good (and extremely heavy) soundtrack for the end of days that seem to be approaching us all faster than we could have ever imagined, you should definitely check what Apocalyptian are up to on Facebook and purchase your copy of Citizens Of The Apocalypse (available for a full listen on Spotify, by the way) from the band’s own BandCamp page or from Amazon. Citizens Of The Apocalypse might be short in duration, but it’s indeed a solid and pulverizing album of classic Death Metal thoroughly crafted by three talented musicians from Down Under that points to a great future ahead of them. As long as the apocalypse doesn’t happen in the coming months or years, of course.

Best moments of the album: The Wretchedness Within.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. The Wretchedness Within 4:40
2. Wage War On A Dying Planet 4:07
3. Scorched Wasteland 5:58
4. Citizens Of The Apocalypse 3:41

Band members
Scott Masson – vocals
Allan Butt – guitars
Jacob Capper – bass

Album Review – He Who Seeks Vengeance / They Will Speak Of The Ghosts That We Became (2019)

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A high-octane fusion of classic Metalcore with Hardcore, Deathcore, Death and Thrash Metal made in Australia, inspired by the biggest names of the current rock and metal scene.

Highly inspired by some of the biggest names of the modern rock and metal scene such as As I Lay Dying, Of Mice & Men, Parkway Drive, Bring Me The Horizon, Thy Art Murder and Trivium, Australian Metalcore outfit He Who Seeks Vengeance is unleashing upon humanity their debut full-length album beautifully entitled They Will Speak Of The Ghosts That We Became, blasting a high-octane fusion of classic Metalcore with Hardcore, Deathcore, Death and Thrash Metal for the masses. Formed in 2016 in Frankston, a suburb of Melbourne in Victoria, Australia, the band comprised of lead singer Scott Masson, guitarist Kye Bradbury-Flint, bassist Joel Petry and drummer Adam Vousden sounds a lot more cohesive, polished and focused in their new album than in their 2017 debut EP The Kid’s Got Alligator Blood, proving the quartet is on the right path in their promising career and explaining why they’ve already become a reference in the underground scene in their homeland.

Distorted sounds and crushing beats invade our ears in Death Mountain before Scott begins roaring deeply for our total delight in a feast of fast, furious and vicious Metalcore infused with classic Death Metal elements, or in other words, an ass-kicking welcome card by the quartet. And keep banging your heads to the band’s demolishing sound in I Know You’re out There, Demon, where we’re able to enjoy the first stint of clean vocals of the album while Kye showcases his refined guitar skills, adding a lot of groove and electricity to their musicality; whereas Screw Feet presents a rumbling sonority led by Joel’s bass jabs and Adam’s vile beats. Furthermore, this is the type of modern metal music I enjoy a lot, being violent, melodic and progressive all at once, not to mention the incendiary riffs fired by Kye from start to finish. Slowing down and getting more obscure, Ghosts brings forward a solid instrumental that lacks the same energy and impact from the previous songs, despite the great job done by Scott with both his growls and clean vocals, followed by Nothing Lasts Forever, where an enraged intro explodes into a fusion of Metalcore with Groove Metal and Deathcore and with Joel’s thunderous bass powerfully complementing the song’s crisp, razor-edged guitar riffs.

Interminable displays a more melodic and less aggressive side of the band led by the metallic, low-tuned bass by Joel, while Scott declaims the song’s lyrics in a Punk-ish/Hardcore-inspired way, sounding perfect for fans of this less bestial side of Metalcore. Then the flammable guitar lines by Kye ignite the also groovy and rhythmic Money Is God, where Scott sounds truly deranged and insane and with Adam pounding his drums just the way we like it in modern-day metal, before the band blasts a rebellious circle pit-generator spearheaded by Adam and Kye titled Mark Me with an X, with both being armed to the teeth with their respective instruments. Needless to say, it should work really well if played live, with the deep guttural roars by Scott being the icing on the cake. In Strychnine the band sounds as modern and metallic as they can be, especially Adam with his crushing beats and fills, also showcasing the band’s trademark neck-breaking rhythm and pace in a solid display of what contemporary Metalcore truly means, while in 80-20, a song tailored for being played live at rock and metal festivals, we’re all invited to jump up and down with He Who Seeks Vengeance, presenting a blazing main riff that will rip your spinal cord out, unstoppable drums and endless stamina.

Once again bringing hints of classic Death Metal and even some Thrash Metal influences to their core sonority, the band offers us Shrapnel, alternating between groovier, more melodic moments and sheer insanity. Moreover, Scott doesn’t stop screaming and roaring, bursting his lungs with his deep guttural lines. Into the Shape of a Heart keeps the album at a high level of adrenaline (which by the way is kind of a tough job as we’re talking about fifteen songs in total), bringing to our ears a great riffage delivered by Kye while Joel continues to hammer his bass mercilessly, followed by Defeatist, offering the listener a more rumbling, dense sonority infused with Djent and Hardcore nuances while its guitar riffs are in total sync with the sound of drums, generating a vibrant atmosphere perfect for Scott’s sick vociferations. Lastly, closing the album we have two very distinct songs, starting with This Is My Day, which despite not being a bad song is slightly generic if compared to the rest of the album, albeit still presenting the band’s characteristic style and vibe and with Adam delivering another great performance on drums, while Blackwater is a very unique, dark and pensive ballad, not as devastating as their usual sound but, in the end, it works extremely well, closing the album on a somber note as if it is some sort of “aftermath”.

What are you waiting for to show your support to this talented four-piece act from Down Under? Go check what they’re up to on Facebook, subscribe to their YouTube channel, and purchase your copy of They Will Speak Of The Ghosts That We Became (available for a full listen on Spotify) by clicking HERE or from CD Baby. Those guys definitely want to put Australia on the map of contemporary Metalcore and Hardcore, and based on the high quality of the music found in their brand new album there’s no doubt they will succeed, which means we can expect to hear more from He Who Seeks Vengeance in a not-so-distant future.

Best moments of the album: Death Mountain, Screw Feet, 80-20 and Shrapnel.

Worst moments of the album: Ghosts and This Is My Day.

Released in 2019 Independent

Track listing
1. Death Mountain 3:33
2. I Know You’re out There, Demon 4:08
3. Screw Feet 4:36
4. Ghosts 5:12
5. Nothing Lasts Forever 4:30
6. Interminable 5:43
7. Money Is God 3:30
8. Mark Me with an X 4:24
9. Strychnine 4:51
10. 80-20 4:40
11. Shrapnel 3:51
12. Into the Shape of a Heart 3:50
13. Defeatist 3:31
14. This Is My Day 4:04
15. Blackwater 4:27

Band members
Scott Masson – vocals
Kye Bradbury-Flint – guitar
Joel Petry – bass
Adam Vousden – drums

Album Review – Moonshifter / Love Lust Fire Dust (2018)

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A lesson in classic Hard Rock with a modern and fresh Australian twist, turning all the band’s love, lust, fire and dust into an ass-kicking Rock N’ Roll party.

Forged in the melting pot of some of Melbourne’s most notorious and rocking venues such as The Espy, The Tote, Bendigo Hotel and Cherry Bar, among many others, Australian Hard Rock act Moonshifter determined from their inception to always “keep it fun”, in line with everything that’s done by some of their biggest icons in rock music like AC/DC and Kiss. After a few singles that led to the band being played and interviewed on local community radio shows and TV stations, which of course also resulted in an increase in their number of live concerts, it’s time now for frontman Lachlan Cross, guitarists Wayne Elkin and Mark Cambruzzi, bassist Andy Baker and drummer Mike Cato to release their debut full-length album Love Lust Fire Dust, showcasing their focused brand of rock and groove with stratospheric lead vocals, hypnotic guitar solos, thundering bass and drums encased by addictive guitar riffs.

Are you ready to rock? That’s the main question Moonshifter have in the opening track Dirty Mind, a kick-ass blend of old school Rock N’ Roll and 80’s Hard Rock with the band’s inspired guitar duo blasting sheer electricity through their sharp guitars, while Lachlan beautifully declaims the song’s lyrics about how he wants a woman with a filthy, lustful mind. Then in I Am Yours, You Are Mine we’re treated to a 70’s-inspired Rock N’ Roll extravaganza led by the griping beats by Mike, while Wayne and Mark keep blowing our ears with their riffs and solos, not to mention how catchy the song’s chorus is; followed by Mountain, where hints of Progressive Rock the likes of Rush are added to the band’s classic Hard Rock, resulting in a great choice for any road trip playlist, also presenting a solid performance by Lachlan on vocals as well as Andy and his soulful bass lines.

Leave You Baby is a song to dance with your loved one like in a 60’s or 70’s rock n’ roll party, but of course with a modern (and consequently more incendiary) twist thanks to the flammable guitar lines and fierce beats fired by Moonshifter. After dancing the night away it’s time to take a break from all the band’s rockin’ madness with a melancholic ballad titled I Keep This Light, led by the passionate vocals by Lachlan, who’s by the way nicely supported by the spot-on backing vocals by the rest of the band and by the stunning guitar solos by Wayne and Mark, while in So Much More they get back to their unrelenting Rock N’ Roll mode, with vocals and drums overflowing groove and electricity. Put differently, this is a short and sweet ode to rock and metal that will certainly put everyone to dance or slam into the pit during their live concerts. And in Burnin’ Alive, a song tailored for sharing a beer with your pals and banging your head nonstop, there’s more vibrant rock music for your avid ears, this time inspired by Southern Rock, which proves how versatile Moonshifter are as a band.

Whoever Emily is, she might be very happy with the tribute Moonshifter paid to her in the form of a modern Hard Rock hymn named Oh Emily, where Andy and Mike are responsible for crafting a strong base for the guitars to shine while Lachlan declaims his twisted love for our main character. Then with their guitars sounding metallic and crisp, the band offers the listener Let You Down, another display of modern-day rock music with highlights to the solid drumming by Mike, albeit not as vibrant as the rest of the album, followed by You Feel It, a song so dynamic it can be used both as the opener or the closing tune of their live setlists, presenting a more-than-inspired Lachlan on vocals, electrified riffs and solos, and tons of feeling form start to finish. Lastly, rev up your engines and ride on the waves of Hard Rock with the amazing Ride, or also “Ride (With Me)” if you prefer, with Mike simply smashing his drums while the stringed trio Andy, Mark and Wayne slash our ears with their thrilling sounds, closing the album in a majestic way.

If you want to know more about such promising group from Down Under, go check what they’re up to on Facebook, listen to more of their music on ReverbNation, and obviously purchase their exciting new album from their own BandCamp page or from CD Baby. In a nutshell, Love Lust Fire Dust is a lesson in classic Hard Rock with a modern and fresh twist, turning all the band’s love, lust, fire and dust into an ass-kicking Rock N’ Roll party perfect for dancing, slamming into the pit or having a beer with your friends. And that’s what our good old Rock N’ Roll is all about.

Best moments of the album: Dirty Mind, Leave You Baby, So Much More and Ride.

Worst moments of the album: Let You Down.

Released in 2018 Independent

Track listing
1. Dirty Mind 4:00
2. I Am Yours, You Are Mine 3:46
3. Mountain 3:51
4. Leave You Baby 4:09
5. I Keep This Light 5:42
6. So Much More 2:35
7. Burnin’ Alive 4:10
8. Oh Emily 4:18
9. Let You Down 4:13
10. You Feel It 4:59
11. Ride 4:56

Band members
Lachlan Cross – vocals
Wayne Elkin – guitar
Mark Cambruzzi – guitar
Andy Baker – bass
Mike Cato – drums

Album Review – Airbourne / Breakin’ Outta Hell (2016)

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Let the party begin with another blast of kick-ass straightforward Rock N’ Roll forged in the burning pits of Down Under.

Rating4

airbourne_bohEvery single person who thinks Rock N’ Roll is dead and gone should take a very good listen at Breakin’ Outta Hell, the fourth studio album by Australian rockers Airbourne and an amazing ode to all things rock. You won’t find anything that can be considered brand new or revolutionary in Breakin’ Outta Hell that wasn’t already present in their previous releases, the superb Runnin’ Wild, No Guts. No Glory. and Black Dog Barking, but that’s not what this Melbourne-based quartet has in mind with their music anyway. They simply want to blast the purest and most electrifying form of Rock N’ Roll you can think of, and they always succeed in that.

I used to call Airbourne as the “heavier version of AC/DC” when I first heard them due to their more metallic riffs and increased speed, but I have to admit the band comprised of Joel O’Keeffe on lead vocals and lead guitar, his brother Ryan O’Keeffe on drums, David Roads on rhythm guitar and backing vocals, and Justin Street on bass guitar, have truly found their core essence through the years, delivering a unique musicality which, albeit initially inspired by their iconic countrymen, has nicely achieved its own shape and form. If you’re a longtime fan of the band you’ll certainly have a lot of fun with Breakin’ Outta Hell, and if you’re a newcomer to the world of Airbourne get ready to be rocked by those four brawlers from Down Under.

Let the Rock N’ Roll party begin with the title-track Breakin’ Outta Hell, a pure Airbourne composition exhibiting their characteristic riffs and the badass vocals by Joel, making it impossible not to grab a beer and get to the front row to better appreciate this marvelous hymn, followed by the also excellent Rivalry, a mid-tempo chant highly recommended for your road trip playlist. The thunderous bass lines by Justin, together with an amazing job done on guitars by Joel and David, represent exactly what we can always expect from this skilled band. Obviously, some of their songs have a strong AC/DC vibe, which is the case in Get Back Up, in special the sound of guitars, with Ryan stealing the spotlight with his rhythmic and fierce beats.

A song with the beyond rockin’ name It’s Never Too Loud for Me couldn’t be bad at all. Quite the contrary, it’s a tribute to true rock music, with another excellent performance by the entire band smashing their instruments in the name of Rock N’ Roll; whereas Thin the Blood, a beer-drinking hymn tailored for a nasty pub fight (“It’s 5 o’ clock I’m ready to rock / Cold beer gonna hit the spot tonight / No more work coz I’ve knocked off / When I start to drink I just don’t stop / I love the buzz it picks me up / Makes me feel a million bucks”), brings forward the band’s high-speed Hard Rock led by the deranged vocals by Joel. I’m Going to Hell for This is the epitome of “badass music from Down Under”, with pure Rock N’ Roll flowing from the guitars by Joel and David while Ryan keeps delivering his precise beats, turning it into one of the best songs of the album without a shadow of a doubt. And Down On You, with its soft porn lyrics (“When I was a boy I played with my toy / Every single day oh it was a joy / I didn’t really see until she said to me / Have you ever kissed a girl between the knees?”), is the perfect choice for a wild strip-tease by a sexy rockin’ woman.

airbourne-2016I can’t imagine a Rock N’ Roll fan not getting thrilled by an old school composition the likes of Never Been Rocked Like This, where Joel focuses all his passion for rock music into firing his always sensational riffs and solos, not to mention his inebriate harsh screams. Then we have When I Drink I Go Crazy, a fast-paced rockin’ chant which works really well despite its repetitive lyrics, with its blazing guitars and nonstop action being its driving force, and Do Me Like You Do Yourself, another song with sexual connotation that doesn’t sound cheesy, being perfect for playing to your Rock N’ Roll babe when you’re in a darkened room with her, with the fiery guitar solo by Joel only making it even more enjoyable and hotter. Lastly, although I know It’s All for Rock N’ Roll was supposed to be a rock anthem and that the music itself is pretty solid, it ends up getting a bit repetitive compared to all the awesomeness found in the rest of the album. That doesn’t mean it’s not a very good song, though, it’s simply not fantastic, if you know what I’m saying. And if I were you, I would definitely go for the deluxe edition of the album, as the bonus track Bombshell is plain awesome.

In a nutshell, Airbourne play music for decent and humble people like us who enjoy drinking a few pints with our friends and family, who love to engage in a nice pub fight if needed and, above all things, who nurture a profound passion for old school Rock N’ Roll, as simple and thrilling as that, and that’s the main purpose of the band with Breakin’ Outta Hell. As I said, there’s nothing that can be considered innovative throughout the whole album, but I don’t think any real fan of the band is worried about that. Every single time Airbourne launch a new album, we’re treated to kick-ass straightforward Rock N’ Roll forged in the burning pits of Down Under, and while they keep drinking from that beautiful source we can rest assured Rock N’ Roll will never die.

Best moments of the album: Breakin’ Outta Hell, I’m Going to Hell for This and Do Me Like You Do Yourself.

Worst moments of the album: It’s All for Rock N’ Roll.

Released in 2016 Spinefarm Records

Track listing
1. Breakin’ Outta Hell 3:53
2. Rivalry 4:03
3. Get Back Up 3:38
4. It’s Never Too Loud for Me 3:24
5. Thin the Blood 3:29
6. I’m Going to Hell for This 3:45
7. Down On You 4:19
8. Never Been Rocked Like This 3:07
9. When I Drink I Go Crazy 2:41
10. Do Me Like You Do Yourself 3:58
11. It’s All for Rock N’ Roll 3:39

Deluxe Edition bonus track
12. Bombshell 3:28

Band members
Joel O’Keeffe – vocals, lead guitar
David Roads – guitar
Justin Street – bass
Ryan O’Keeffe – drums

Concert Review – Cradle of Filth (Phoenix Concert Theatre, Toronto, ON, 03/06/2016)

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As Toronto turned 182 years old yesterday, nothing better than celebrating the anniversary of our beautiful city with a gargantuan amount of fuckin’ “filth”.

OPENING ACTS: Ne Obliviscaris and Butcher Babies

COF_Inquisitional Torture 2016What a lovely day in our stunning, charming and multi-cultural city of Toronto. It might not be Summer (and not even Spring) yet, but sunny Winter days with temperatures above the freezing mark like this Sunday are such a thing of beauty they make us completely forget how harsh Winter can be sometimes. Perhaps that was Mother Nature giving her “birthday gift” to all Torontonians who were celebrating the 182nd anniversary of their beloved city. And what could have been better than hosting one of the most influential Extreme Metal bands of all time at the Phoenix Concert Theatre to properly commemorate the date? Finally, after five long years, the iconic Cradle of Filth returned to the “Land of the Moose”, as Dani Filth himself stated during the show.

This metallic feast started at around 7pm, when Australian Extreme Progressive Metal band NE OBLIVISCARIS hit the stage with their fusion of Symphonic Metal, Black Metal, Heavy Metal, Folk Metal and several other subgenres of heavy music blended in their sound. It took a few minutes for those guys from Melbourne, Australia to actually warm up and start entertaining the crowd, but once their concert took off it was indeed a nice experience, especially due to the amazing performances by Tim Charles with his violin and left-handed guitarist Benjamin Baret with his wicked riffs and solos. I confess I didn’t know much about the band before this gig, which means I’ll obviously go after their music to truly understand what they’re all about. And, of course, it’s good to know there’s more high-quality metal music coming from Down Under.

Setlist
Devour Me, Colossus (Part I): Blackholes
Of Petrichor Weaves Black Noise
Xenoflux
Painters of the Tempest (Part II): Triptych Lux
Pyrrhic
And Plague Flowers the Kaleidoscope

Band members
Xen – harsh vocals
Tim Charles – clean vocals, violin
Benjamin Baret – lead guitar
Matt Klavins – guitar
Cygnus – bass
Dan Presland – drums

When their concert was over and we all had a few minutes to rest and have a beer before the next attraction, I have to say it’s always nice when people come to talk to you about anything without being too wasted or high. That happened to me when a guy from Oshawa wearing a Bad Religion T-shirt approached me to say he liked my Pantera T-shirt, and from then we started chatting about music in general, focusing on bands such as Anthrax, Megadeth, Iron Maiden and Volbeat. So kids, next time you go to a concert try not to be so wasted, falling like a bag of potatoes on everyone around you, or too “Justin Bieber-ish” that no one else can touch you or talk to you. There’s always somewhere in between that works a lot better for everybody, got it?

IMG_1117Getting back to the concert, it was then time for the dynamic duo comprised of Heidi Shepherd and Carla Harvey, known as the BUTCHER BABIES, to kick some serious ass on stage and make everyone in the audience go absolutely mental before the main attraction of the night. It was also my first time seeing them live, and I must say those girls know how to put up an entertaining show. Armed with their demonic voices and supported by very competent musicians, especially bassist Jason Klein, those two girls from Los Angeles, California (dressed like an evil version of Babymetal) didn’t stop banging their heads and screaming for a single second, showcasing their deep passion for heavy music while playing every song of their setlist, which was mostly based on their 2015 album Take It Like a Man. There were a few technical issues with their sound, but no one seemed to care about that. All people wanted were more “excuses” to slam into the pit and do some stage diving, and both Heidi and Carla knew exactly how to ignite that fire with their Alternative Metal, playing some high-octane songs such as National Bloody Anthem, The Butcher and, my favorite of the night, Monster’s Ball. Girls, Toronto loves you and we can’t wait to have you back in the city!

Setlist
National Bloody Anthem
Blonde Girls All Look the Same
The Butcher
Gravemaker
Igniter
Jesus Needs More Babies for His War Machine
Monster’s Ball
Magnolia Blvd.
The Deathsurround/Goliath/I Smell a Massacre
Axe Wound

Band members
Heidi Shepherd – vocals
Carla Harvey – vocals
Henry Flury – guitar
Jason Klein – bass
Chris Warner – drums

CRADLE OF FILTH

IMG_1144It was around 9pm when the diabolical intro Humana Inspired to Nightmare announced the gates of Hades were open wide, therefore releasing the devil’s favorite dark angels to spread hell on earth with their unparalleled Extreme Metal. Promoting their latest opus Hammer Of The Witches under their current tour entitled Inquisitional Torture 2016, British titans CRADLE OF FILTH began to mercilessly discharge a flawless mix of classics with brand new chants, driving all fans at the venue utterly crazy. When a concert starts with Heaven Torn Asunder and Cruelty Brought Thee Orchids, you know it’s going to be a fuckin’ massacre.

The most interesting fact for me about their setlist was that it was divided in two “acts”, like a theatre play. There was an intro for each act, followed by a sequence of blasting classics (covering almost all of their albums) that put a huge smile on the face of this guy here, a longtime fan of Dani and his crew. I simply love songs like Lord Abortion, Honey and Sulphur, Her Ghost in the Fog and my top Cradle of Filth song of all time, the insane From the Cradle to Enslave, but their newer stuff such as Right Wing of the Garden Triptych and Deflowering the Maidenhead, Displeasuring the Goddess work so well when played live I’m sure they’ll become a constant part of their future tours. In addition, Dani (who was the demon himself last night), as a treat to all fans for waiting patiently for the band’s return to Toronto, dedicated to all of us For Your Vulgar Delectation, from their previous album (which unfortunately could not have a Canadian tour due to visa issues).

dani_toronto2016_02The whole band was on fire and Dani’s performance was epic, screaming like a rabid demon and wearing his Stygian attire and corpsepaint the way we all love, but I have to say last night belonged to the adorable keyboardist and singer Lindsay Schoolcraft. Although she’s not exactly from Toronto (technically, she’s from Oshawa), she was so excited and pleased to play together with Dani and his crew in her hometown she couldn’t stop smiling, waving to the fans and headbanging like a maniac during the entire concert. I guess I don’t need to say how memorable the night was for our talented Canadian girl, right? The only band member I couldn’t really watch well was drummer Martin “Marthus” Škaroupka, who was “hiding” not only behind his drums, but also behind some kind of aquarium/glass cell to the left of the stage. That was a weird stage setup, by the way, as if they were keeping Marthus caged before he could escape and kill someone, but nothing that would make the whole concert less memorable.

dani_toronto2016And can you guess why Dani, Lindsay, Marthus and the other band members played so well and were so electrified last night? That’s exactly it, because of us, loyal and demented Cradle of Filth fans. I don’t remember seeing a crowd so insane and in sync with the band like that. What the fans did during Gilded Cunt, growling the lyrics together with Dani, and the furious mosh pits during Nymphetamine (Fix), which is in fact a heavy ballad and not a sick blasting tune, was truly outstanding. Even Gimli, the brave dwarf from Lord of the Rings, was among us weating a Testament T-shirt! If you were there, you know who I’m talking about. Anyway, Cradle of Filth provided us fans another memorable metal night at the Phoenix Concert Theatre, and I’m pretty sure we also made the night memorable to the band as well, especially to Lindsay. I just hope Mr. Dani Filth and his horde of darkness do not take another five years to return to the Land of the (Headbanging) Moose. Actually, how about celebrating each and every anniversary of this distinct city together with the band? That’s the type of “filth” I’m sure no one would complain to have around all the time.

Setlist
ACT I
Humana Inspired to Nightmare (Intro)
Heaven Torn Asunder
Cruelty Brought Thee Orchids
Blackest Magick in Practice
Lord Abortion
Right Wing of the Garden Triptych
Malice Through the Looking Glass
Deflowering the Maidenhead, Displeasuring the Goddess
Gilded Cunt

ACT II
Walpurgis Eve (Intro)
Yours Immortally…
Nymphetamine (Fix)
Honey and Sulphur
For Your Vulgar Delectation
Her Ghost in the Fog
From the Cradle to Enslave
The Principle of Evil Made Flesh
Born in a Burial Gown
Blooding the Hounds of Hell (Outro)

Band members
Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums

Album Review – 4ARM / Survivalist (2015)

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A phenomenal heavy music album full of groove, fury and energy by an extremely talented Thrash Metal band from Down Under.

Rating3

Survivalist Album CoverWhen I saw Australian thrash metallers 4ARM here in Toronto opening for Slayer in 2013 I knew there was something special about those guys, as I was able to truly enjoy their performance even knowing nothing about their music. That’s what high-quality music does to people, and that’s what will happen to you when you take a listen at Survivalist, the magnificent new album by this Melbourne-based Groove/Thrash Metal band.

Put together the speed and violence of Testament with the modernity and groove of Trivium, adding to that beautiful mixture the talent and refined technique of this band from Down Under, and the final result is an album (or should I say a concept album, as each song is a different “chapter”?) that will become an intrinsic part of your day-to-day playlist so awesome it is. Not only that, the album art by Colin Marks at Rain Song Design, who have already worked with bands such as Exodus, Whitechapel and Suicide Silence, wraps up the musical content perfectly. With that said, let me stop typing for a few seconds while I hit play to listen to Survivalist for the 100th time.

Opening this beautiful album we have Eyes of the Slain, and it’s such a great start it’s hard to explain what it represents in just a few words. Its intro reminds me of some excerpts from the biggest classics by Trivium, before turning into fast and technical metal music perfect for circle pits with the vocals by Markus Johansson being more melodic than the average in Thrash Metal. Besides, there’s an awesome dose of melancholy and anger in this song that only makes it more remarkable. In the following tune, Fragment of a Dream, the riffs are so amazing I dare you to not enjoy them. The level of professionalism is outstanding, and I’m sure you’ll be singing its catchy chorus for days in a row (“HUMAN nature is to kill / NEW WORLD disturbing of the beast / ODER chaos / Reality is hardly what it seems / HUMAN nature is to will / NEW WORLD survive in the extreme / ORDER chaos / Belief is just a fragment of a dream”). In addition, what lead guitarist Evan K and drummer Michael Vafiotis do with their instruments is beyond amazing.

Poisoned Mind is not just another kick-ass tune: it’s an extremely dense and complex composition with the whole band demanding we bang our heads nonstop during its execution, with highlights to the beastly and harmonic drumming by Michael and to the sick bass lines by Andy Hinterreiter. This is in my humble opinion the best song of the album and a lesson in Heavy Metal that truly deserves our recognition. Slowing down a bit (but as heavy as hell), 4ARM deliver the groovy Poverty of Flesh, where its lyrics blend perfectly with its instrumental parts. Markus and Evan offer us a feast of riffs and solos only bands like Trivium and Exodus can do, and if you’re a longtime fan of Testament you’ll go crazy with the last part of the song for sure.

4armSounding like the good times of Metallica mixed with the latest works by Trivium (and 4ARM’s own personality, of course), Lights Out presents great lyrics once again (“It’s in the darkest times / We reveal who we are / Those that can endure / And live beyond the scar / Scars are but a darkness of the soul / Revelation of might, silent control”), and it’s amazing how in just seven minutes they were capable of fusing three or four different “songs” in a very progressive and melodic way. In the next song, In Living Decay, they come blasting a powerful blend of 80’s Thrash Metal with modern extreme music right in our faces. I can imagine the smile on Michael’s and Evan’s faces while playing this song, and in the case of us metal fans, the question is: how not to get into the mosh pit with this song?

Now try to imagine if Dream Theater were a Thrash Metal band. Well, the song Ignitor would probably be the result in your mind. It’s nonstop violence with a strong melody and guitar solos tailored for any guitarist in the world to admire, with highlights to the vocals by Markus for giving genuine life to the lyrics. Last but not least, if 4ARM started the album on a high note, why not closing it with another brilliant tune, right? And for that they chose the title-track, Survivalist, the longest and most introspective of all tracks. This is a stunning semi-ballad where the music follows its sorrowful lyrics flawlessly (“And so it’s come to this / As the days cease to exist / Life in decline / Stare at the abyss / Count down the days yet still insist / There’s always time”), with the final guitar solo by Evan being so awesome it really makes me feel sad the album is over.

I’m not only going to say Survivalist is one of the best albums of 2015 so far,  but that its level of professionalism is absolutely unbelievable for a 100% independent band. How come 4ARM do not have a record label yet playing this first-class metal music? Anyway, you can give them a shout at their official Facebook page, and also purchase Survivalist on iTunes or on their BandCamp page. I really don’t know how we all survived until today without this album on our hands, but that’s how life is. At least we have it now to be listened over and over again, which reminds me what I’m going to do next.

Best moments of the album: Eyes of the Slain, Poisoned Mind and Survivalist.

Worst moments of the album: Honestly, there’s absolutely nothing bad or weak on this album.

Released in 2015 Independent

Track listing
1. Eyes of the Slain 7:30
2. Fragment of a Dream 4:47
3. Poisoned Mind 5:11
4. Poverty of Flesh 7:37
5. Lights Out 6:59
6. In Living Decay 4:45
7. Ignitor 5:22
8. Survivalist 8:31

Band members
Markus Johansson – vocals, guitars
Evan K – lead guitars
Andy Hinterreiter – bass
Michael Vafiotis – drums