Album Review – Arch Enemy / Deceivers (2022)

One of the most important names of the current heavy music scene is back in action with their most solid and detailed album with Alissa White-Gluz on vocals.

Marking the longest gap between two of their studio albums since their 2017 opus Will to Power, the breathtaking Deceivers, the eleventh studio album by Swedish Melodic Death Metal icons Arch Enemy, not only will inspire you to break your neck headbanging to its 11 pulverizing tracks, but it’s also by far their most solid and detailed album with the she-wolf Alissa White-Gluz on vocals. Produced, mixed and mastered by Jacob Hansen and Hansen Studios, and displaying a classy artwork by Alex Reisfar, Deceivers brings to our avid ears a much more cohesive band where the guitars by Michael Amott and Jeff Loomis, supported by the heavy-as-hell kitchen by bassist Sharlee D’Angelo and drummer Daniel Erlandsson, provide Alissa with exactly what she needs to roar in full force, not to mention it’s also their first album from the Alissa-era where her clean vocals do not sound out of place; quite the contrary, they actually bring a welcome additional touch to their unparalleled music.

The unmatched guitar lines by Michael and Jeff set the stage for Alissa to kick some serious ass with her deep roaring in Handshake with Hell, an absolute banger spearheaded by the classic, pounding drums by Daniel, and they waste no time and keep decimating our senses with their undisputed Melodic Death Metal in Deceiver, Deceiver, where Sharlee and Daniel craft a boisterous kitchen perfect for Alissa’s screams, resulting in a true circle pit machine. In the Eye of the Storm is more melodic and somber than its predecessors with Michael and Jeff cutting your skin deep with their riffs and solos in a more contemporary version of Arch Enemy. Then it’s time for a fulminating creation entitled The Watcher, where Alissa sounds fantastic throughout the entire song growling and screaming deeply like there’s no tomorrow, not to mention the heavy artillery brought forward by Daniel; whereas Poisoned Arrow is the least exciting of all tracks, an introspective creation by Arch Enemy showcasing their usual melodic lines but that lacks the same power from the rest of the album.

Sharlee’s metallic bass ignites the infernal, epic Sunset over the Empire, with Alissa being absolutely demonic on vocals accompanied by her unstoppable bandmates, while House of Mirrors, one of the first singles to come out, sounds in line with their most recent albums, with Michael and Jeff once again elevating the song’s kick with their pulverizing riffs and solos. Dedicated to the memory of LG Petrov from Death Metal institution Entombed, who passed away in 2021 after battling an incurable form of bile duct cancer, Spreading Black Wings is a lot darker than its predecessors, with Daniel dictating the song’s somber pace in great fashion, flowing into the interlude Mourning Star, soothing our souls before the band comes ripping once again in One Last Time, a vicious composition that will inspire you to slam into the pit to the venomous roars by Alissa while Sharlee and Daniel bring thunder and groove to the overall result. Lastly, a sinister intro evolves into a marching tune entitled Exiled from Earth, putting an obscure and climatic ending to the album to the sharp riffage by Michael and Jeff. Moreover, if I were you I would go for the boxset or artbook edition of the album, as they offer us as bonus tracks their electrifying renditions for Fight’s undisputed hit Into the Pit (check the original version HERE), and Picture’s Diamond Dreamer (check the original version HERE).

As already mentioned, Alissa sounds a lot more in sync with the music by Arch Enemy in Deceivers, in special her clean vocals which now make a positive difference whenever they’re inserted in one of the songs from the album, strengthening the legacy of the band even more in the current metal scene. Having said that, you should definitely go after your favorite version of the album by clicking HERE, and also by streaming it in full on Spotify, and don’t forget to follow the band on Facebook, on Instagram and on YouTube for news, tour dates and more of their awesome music. Now it’s just a matter of enjoying Deceivers by listening to it as many times as you want, by getting ready for their thrilling live concerts, by raising your horns to the first-class Melodic Death Metal played by one of the most important names in the more recent history of heavy music.

Best moments of the album: Handshake with Hell, Deceiver, Deceiver, The Watcher and Sunset over the Empire.

Worst moments of the album: Poisoned Arrow.

Released in 2022 Century Media

Track listing
1. Handshake with Hell 5:38
2. Deceiver, Deceiver 3:51
3. In the Eye of the Storm 4:09
4. The Watcher 4:58
5. Poisoned Arrow 3:51
6. Sunset over the Empire 4:03
7. House of Mirrors 3:40
8. Spreading Black Wings 4:46
9. Mourning Star 1:36
10. One Last Time 3:49
11. Exiled from Earth 4:44

Boxset/Artbook bonus tracks
12. Into the Pit (Fight cover) 3:52
13. Diamond Dreamer (Picture cover) 3:53

Band members
Alissa White-Gluz – vocals
Michael Amott – lead guitars, backing vocals
Jeff Loomis – lead guitars, backing vocals
Sharlee D’Angelo – bass
Daniel Erlandsson – drums

Guest musicians
Jacob Hansen – vocals on “Sunset over the Empire”
Raphael Liebermann – cello on “Poisoned Arrow”

Album Review – Amon Amarth / The Great Heathen Army (2022)

Join the great heathen army spearheaded by one of the most respected bands of the current metal scene to the sound of their electrifying, Viking-inspired new album.

One of the best-loved metal bands in the world, Sweden’s own Melodic Death Metal horde Amon Amarth is back into the battlefield with a new opus, the heavy-as-hell, epic The Great Heathen Army, their twelfth studio album and the follow-up to their 2019 release Berserker. Produced, mixed and mastered at Backstage Productions in Derbyshire, England by the one and only Andy Sneap, and displaying a pure Viking-style artwork by Tom Thiel of Illuvision, the album encapsulates the essence of the band currently formed of frontman Johan Hegg, guitarists Olavi Mikkonen and Johan Söderberg, bassist Ted Lundström and drummer Jocke Wallgren, while still allowing acres of space for new ideas. “The Great Heathen Army is not a concept album like Jomsviking, but I’m taking inspiration from some of the same historical elements,” said Johan Hegg. “There were also some really cool and different ideas I wanted to explore, and they came very much from my wife, Maria, who has been tapping into the more esoteric aspects of Viking lifestyle and culture. Musically, I would say there are a couple of surprises on there, a little bit of uncharted territory for Amon Amarth. Overall it’s one of the heavier albums we’ve made.”

The dirty, raw guitars by Olavi and Johan permeate the air in Get in the Ring, a fighting song that exhales Amon Amarth with its official video featuring wrestling superstar Joseph Ruud (aka Eric Redbeard or Eric Rowan, of AEW and WWE), who’s by the way a huge metal fan, kicking off the album in great fashion. The title-track The Great Heathen Army is another headbanging creation by those Norsemen, where Johan Hegg growls deeply and with tons of anger like a true metal Viking from start to finish; whereas in the fantastic Heidrun it’s time to raise your horns and pints, and sing its catchy lyrics together with the band (“Hail the dead and the goat that gives us mead / On the roof she’s gnawing Lärad’s leaves / Fills the vat with a drink that is so sweet / Worthy of fame / Heidrun is her name”). Then they put the pedal to the metal and deliver the frantic Oden Owns You All, which will inspire all fans at their live concerts to slam into the circle pit manically while Jocke does a great job hammering his drums like there’s no tomorrow in the name of Melodic Death Metal.

Find a Way or Make One brings to our ears classic Scandinavian Melodic Death Metal by the Amon Amarth horde, with the riffage by Olavi and Johan Söderberg being simply incendiary while  the message sent by the band through the lyrics is beyond awesome. Following such powerful tune we have Dawn of Norsemen, a song that goes back to the early days of the band including its old school lyrics barked by Johan Hegg (“We’ve heard rumors of land to the West / Beyond the oceans, where the sun sets / Sailing across the waves, we will fly / This voyage of discovery, no one has tried”); and featuring guest vocals by the one and only Biff Byford of Saxon, as well as his bandmates Doug Scarratt and Paul Quinn on the guitars, we’re treated to Saxons and Vikings, a beyond thrilling musical voyage where the unparalleled lines by such imposing vocal duet will pierce through our minds beautifully as a tribute to both bands (and to Heavy Metal in general). They keep pounding their instruments mercilessly in Skagul Rides with Me without forgetting their trademark harmony, and while it’s far from being a masterpiece it’s still very enjoyable. Finally, The Serpent’s Trail, the darkest song of the album, is also the longest one, with Johan Hegg’s introspective vocals bringing an extra somber touch to the overall result while Jocke smashes his drums supported by the low-tuned bass by Ted, flowing into a sinister ending.

My one and only complaint about The Great Heathen Army is the fact that the excellent song Put Your Back into the Oar was not included in the album, and apparently not even in any of its special or deluxe editions, but that’s not a real problem as there’s a lot to enjoy already in the album as is. Having said that, what are you waiting for to put your Viking hands on The Great Heathen Army? Simply go to their official webstore, to the Metal Blade Records webstore, or click HERE for all places where you can buy or stream the album. Don’t forget to also follow the band on Facebook and on Instagram to stay up to date with all things Amon Amarth, including their unique live performances, and to subscribe to their YouTube channel for more of their Viking-inspired creations. In other words, it’s time to grab your sword and shield and join the great heathen army of Amon Amarth to the sound of their new album, heading into the battlefield ruthlessly, without fear, and with metal music in our hearts.

Best moments of the album: Heidrun, Find a Way or Make One, Dawn of Norsemen and Saxons and Vikings.

Worst moments of the album: Skagul Rides with Me.

Released in 2022 Metal Blade Records

Track listing
1. Get in the Ring 4:24
2. The Great Heathen Army 4:04
3. Heidrun 4:42
4. Oden Owns You All 4:17
5. Find a Way or Make One 4:30
6. Dawn of Norsemen 5:32
7. Saxons and Vikings 4:55
8. Skagul Rides with Me 4:34
9. The Serpent’s Trail 6:01

Band members
Johan Hegg – vocals
Olavi Mikkonen – lead guitar
Johan Söderberg – rhythm guitar
Ted Lundström – bass
Jocke Wallgren – drums

Guest musician
Biff Byford – vocals on “Saxons and Vikings”
Doug Scarratt – lead guitar on “Saxons and Vikings”
Paul Quinn – lead guitar on “Saxons and Vikings”

Album Review – Soilwork / Övergivenheten (2022)

Musically and lyrically evolved, Swedish Melodic Death Metal masters are back with a fantastic new opus dealing with darker thoughts that have shaped the band itself.

Musically and lyrically evolved, Swedish Melodic Death Metal masters Soilwork are back with their twelfth studio album, entitled Övergivenheten, the follow-up to the amazing Verkligheten and one of their most complex and elaborate albums to date, strengthening their legacy even more in the world of heavy music. Recorded and produced by Thomas “Plec” Johansson and Soilwork at Nordic Sound Lab, and mixed and mastered by the same Thomas “Plec” Johansson at The Panic Room (assisted by Simon Eliasson and Viktor Brunö), Övergivenheten, which means “abandonment” in Swedish, deals with darker thoughts that have shaped the band itself and affected the development process of the album. The personal struggles align with social difficulties outside of the band, all embraced by the first-class, sharp music beautifully crafted by frontman Björn “Speed” Strid, guitarists Sylvain Coudret and David Andersson, bassist Rasmus Ehrnborn, keyboardist Sven Karlsson, and drummer Bastian Thusgaard.

The acoustic guitars and banjo by guest Johan Randén kick off the multi-layered title-track Övergivenheten before Björn and his henchmen begin a fantastic sonic attack showcasing melodious riffs, rhythmic beats and endless adrenaline; followed by Nous Sommes La Guerre, or “we are the war” from French, where the ladies’ choir brings an extra kick to the music while Björn beautifully declaims the song’s lyrics (“I can feel the shadows enter, risin’ from the earth / Now that everyone is giving me the widest berth / I have nightly visits, sentient absence watchin’ me / Nurturin’ the itch where other worlds are scratchin’ me”). There’s no time to breathe as the band keeps slamming their instruments in Electric Again, with Sylvain and David doing an amazing job armed with their stringed axes; and in Valleys Of Gloam the skillful Bastian adds tons of groove to the overall result is a first-class Melodic Death Metal feast for the masses. Let’s then slam into the circle pit together with the Soilwork boys in the striking, high-octane Is It In Your Darkness, with Bastian hammering his drums mercilessly supported by the rumbling bass by Rasmus, whereas the band keeps invading our senses with their dense, groovy Melodic Death Metal in Vultures, where Rasmus is on fire with his metallic bass lines, being therefore perfect for headbanging like a true metalmaniac. After the short, atmospheric instrumental interlude Morgongåva / Stormfågel, or “morning gift / stormbird” from Swedish, it’s time for us all to bang our heads to Death, I Hear You Calling, a solid composition where Björn’s angry vocals match perfectly with the song’s lyrics, pace and heaviness, meaning it should work amazingly if played live.

The gentle keys by Sven are suddenly joined by a wall of sounds spearheaded by Bastian’s crushing beats in This Godless Universe, presenting elements form Death and even Black Metal which bring a touch of eccentricity to it. More modern than its predecessors, Dreams Of Nowhere offers another round of their caustic lyrics (“Bleeding through the blanching skin you’re / Offering the Gods your name / Bound to see the sunrise fading / The everlasting flame”), flowing into the whimsical interlude The Everlasting Flame, where Sven will captivate your senses once again before we’re treated to tons of progressiveness in the form of Golgata, with Sylvain and David extracting sheer electricity form their guitars, providing Björn with exactly what he needs to fire both his guttural roars and his classic clean vocals. Those Swedish metallers still have a lot of fuel to burn in the album, with Harvest Spine being the perfect depiction of how heavy and melodic they can sound at the same time and with Björn stealing the spotlight once again with his flammable vocals; and lastly we have On The Wings Of A Goddess Through Flaming Sheets Of Rain, a stunning name for an incendiary song that begins in a sinister manner before evolving into one last Melodic Death Metal attack by Soilwork, offering our avid ears piercing, strident riffs and solos, massive blast beats and stylish keys, putting an outstanding ending to Övergivenheten.

Needless to say, Soilwork did it again, kicking some serious ass with their undisputed Melodic Death Metal throughout the entire Övergivenheten while always loyal to their core essence (even when experimenting with new elements and sounds). Hence, don’t forget to check what the band is up to on Facebook and on Instagram, to subscribe to their official YouTube channel for their official videos, to stream more of their top-of-the-line creations on Spotify, and above all that, to grab your favorite version of Övergivenheten by clicking HERE or HERE. Övergivenheten is one of those albums that not only represents what Soilwork are all about, but it also emanates a sharp and strong energy that’s the result of all of the aforementioned personal struggles from the band members, proving once again heavy music is always the best remedy for any type of adverse situation.

Best moments of the album: Is It In Your Darkness, Death, I Hear You Calling, Harvest Spine and On The Wings Of A Goddess Through Flaming Sheets Of Rain.

Worst moments of the album: Dreams Of Nowhere.

Released in 2022 Nuclear Blast

Track listing
1. Övergivenheten 5:45
2. Nous Sommes La Guerre 6:53
3. Electric Again 4:22
4. Valleys Of Gloam 4:11
5. Is It In Your Darkness 4:04
6. Vultures 5:47
7. Morgongåva / Stormfågel 1:33
8. Death, I Hear You Calling 4:41
9. This Godless Universe 4:41
10. Dreams Of Nowhere 4:29
11. The Everlasting Flame 1:06
12. Golgata 4:59
13. Harvest Spine 5:10
14. On The Wings Of A Goddess Through Flaming Sheets Of Rain 7:31

Band members
Björn “Speed” Strid – vocals
Sylvain Coudret – guitar
David Andersson – guitar
Rasmus Ehrnborn – bass
Sven Karlsson – keyboards
Bastian Thusgaard – drums

Guest musicians
Johan Randén – acoustic guitars and banjo on “Övergivenheten”
Laila Prigorowsky, Helene Alexandersson, Catrine Ellwen, Gonca Yazan, Jenny Ericsson & Cia von Heijne – ladies’ choir on “Nous Sommes La Guerre”

Metal Chick of the Month – Sandie Gjørtz

The resurrection of the Lilith!

As the summer solstice is gone, the days are getting shorter and the nights are getting longer, and here at The Headbanging Moose it’s time to darken the skies even more with our metal lady of the month of August, the stunning, enigmatic and evil Sandie Gjørtz, also known as Sandie “The Lilith” Gjørtz, Sandie The Lilith, or simply Lilith, the unrelenting frontwoman for Danish Melodic Death Metal outfit Defacing God. Her devilish roars will haunt your damned soul for all eternity, and I’m sure you’ll thank us at The Headbanging Moose for introducing you to such talented woman of the current metal scene. Be careful, though, as Lilith is the primordial she-demon as you might know, and succumbing to her enchantment means you might never see the light of day again in your life.

Growing up with Rock N’ Roll and Heavy Metal as both her parents are metalheads, Sandie mentioned heavy music has always been a natural part of her life. “I’ve been told that even before I could walk, I often crawled in front of the TV when my parents played a VHS live video with Ozzy Osbourne and I managed to stand up in front of the TV and shake my diaper-ass to ‘Bark at the Moon’ for example. So yeah, it is simply in my veins”, commented our mesmerizing vocalist in one of her interviews, also saying she started out “softly” with Judas Priest, Black Sabbath and King Diamond before getting to know Pantera and, with the discovery of YouTube when she was around 11 years old, being introduced to harder and heavier bands the likes of Sepultura, a band her father loves by the way. When she told her father about that, he got so excited he showed her his copy of Slayer’s ultimate classic album Reign In Blood, and once again she felt that indescribable rush flowing through her veins.

“I am eternally grateful for these influences on music in my youth. It has always been following me and helped me through dark times, many times! And since that time, I just knew that I wanted to be or do something in this kind of music. It’s a deep, burning passion that is extremely hard to even describe as said. If you know and get it, you get it. If not… You never will,” complemented Sandie, who also said that although she knew nothing about growling or extreme vocal techniques when she was young, she has always been busy with music, singing and acting in drama classes during her school years, as well as choir singing at the church, which was curiously one of her hobbies before turning into Lilith. She knew she wanted to become a vocalist, but as mentioned she didn’t know at that age that women could also do extreme singing, while at the same time she realized choir singing and clean vocals weren’t enough for her.

Having a raging fire burning inside her and dealing with anger issues, things she wanted to express somehow as she considered herself an intense and emotional girl during her youth, Sandie finally discovered bands the likes of Holy Moses and Arch Enemy when she was around 15 years old, being blown away by those women who could manage to do extreme singing just like some of her idols such as Cannibal Corpse and Morbid Angel. “First, it seemed a little bit extreme for me because I never saw anything like that before and for me, it was not a ‘natural’ thing for a woman to scream and sing that deep. Back then, I also don’t think that women who did growls, screams and extreme vocals, in general, was such a common or known phenomenon like it is nowadays. Not that I know at least. I just know that I adored it and decided that if they could do it, I sure as hell could do it too!”

Since then, our unstoppable growler has been investing all her talent, energy and passion into making extreme music, learning extreme techniques on her own, always trusting her feelings and saying metal music works as pure therapy for her, that it is really what she lives for. After so many years practicing and developing her vocal skills, Sandie knew it was time for her to have her own Extreme Metal band, leading to the creation of Defacing God in 2015. “I always wanted to play in a band, but only did something about it in 2015 when our drummer (Michael Olsson) and I decided to start a project together. After the decision was made, we began to search for musicians with the same intentions and passion as ourselves, and it ended up with the constellation we have today.” From that day on, Lilith was born.

Currently comprised of Sandie “The Lilith” Gjørtz on vocals (who’s also responsible for all visuals and lyrics), Signar Petersen and Christian Nielsen on the guitars, Rasmus “Kalke” Nielsen on bass, and Michael Olsson on drums, Defacing God were formed in 2015 in Aalborg, a city in the Jutland region of Denmark, but only going public in 2018. Sandie mentioned she hadn’t worked in any other projects before founding Defacing God, only focusing on her singing as well as on some other instruments like the guitar, keyboards, piano and cello, which means we can all consider Defacing God her beloved (and evil) first baby. “Since most of us in the band are experienced musicians by now, we chose to keep our project close to our bodies until we thought everything was completely clear. We didn’t think it made sense to make ourselves visible before, and none of us wanted to stand on stage and deliver something half-finished. Therefore, we have worked at high pressure to be coordinated and create something that we ourselves are proud to show off. I myself really appreciate bands that have a complete theme, stage expression, etc.,” commented our Lilith, also saying that “in addition to the above, we have had some legal construction problems with our rehearsal rooms, and we were therefore forced to take a break for a few months and have our rooms rebuilt and ready. Furthermore, we have had a change in the lineup and our band members. Everything takes time – especially when it comes to music. We have had so much in the making, so many ideas, and it is only now that I feel that we have found our right track and expression. I just think that’s how it is with art in general. It’s one big bubble of ideas, thoughts and expressions, and it can take a long time before the result of all this turns out to be something that makes sense.”

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Inspired by opulent Scandinavian metal traditions, Defacing God base their conceptual themes on the seeping darkness that moves in us all, rooted in occultism and witchcraft, but primarily the mythologically mysterious female demon Lilith and her tales of fervent defiance and perseverance. Through their storytelling, music and aesthetic, the band pulls their listeners into a dark universe of obscure myths, folklore and ancient stories, all the while weaving in often subtle lyrical inspirations from modern societal oppressions and personal demons while musically speaking they echo the styles of artists such as Cradle of Filth, Carach Angren and Dimmu Borgir, blending it with a conventional dose of Black Metal and merging these auras with infernal Death Metal. Hence, as Defacing God are gearing up for the release this September of their debut opus The Resurrection of Lilith, the band has already unleashed upon us a few songs that will feature in the album just to give us a taste of how devilish and heavy it will be, and you can already succumb to the dark world ruled by Defacing God by listening to the songs Succumb the Euphoria, Monolith Of Apocalypse Arise, The Marked Ones, and Rise Of The Trinity, all available on Spotify by the way, also showcasing stunning, hypnotizing visuals thanks to the wicked mind of Lilith. Celebrating feminist power and sisterhood throughout Defacing God’s entire upcoming album, Sandie mentioned that the trinity formed of Abyzou, Jezebel and Lilith is the kind of catalysator who speaks for all cremated witches who never got a voice through times and history, strong and wise women have been slaughtered, molested, executed and abused, just because the herd were scared of their wisdom and free spirit.

As already mentioned, Sandie is highly inspired by Scandinavian metal as well as witchcraft and occultism, also nurturing a personal love for Black Metal, all expressed through the band’s upcoming stage performances and in many of her texts, representing her view of the world and her own experiences. “In the era of witch hunting (between the 15th and 18th centuries) it was only women who stood out from the crowd or perhaps knew something. They were not considered part of normality, and so they were burned – basically because the ‘masses’ did not understand them and were afraid of them. Today it is more acceptable to fall outside the norm. Actually, I think that it has become modern to be alternative – but no matter what, there will always be those who cannot or will not understand you, and you cannot and must not please everyone. That is really what is the message in the theme and what many of the texts can be analyzed down to. Therefore, we have decided that it must be a consistent theme throughout our expression,” commented Sandie in one of her interviews. Furthermore, among her favorite artist and bands, you’ll find some renowned acts the likes of Marduk, Lord Belial, Rotting Christ, Nile, Morbid Angel, Septicflesh, Dimmu Borgir, Cradle of Filth and Belzebubs, also being inspired by movies, books, games, ancient history and “dark places” that she has visited through time.

A proud Aalborg citizen, Sandie said that the metal community in her hometown and in the entire Denmark is quite strong, also saying that it houses a lot of talented solo musicians and great bands compared to other bigger countries. “The community is strong here in Aalborg, too, where I live. We, for example, have a big international festival, Aalborg Metal Festival, scheduled in November every year which is a great festival with lots of passionate, hard-working people behind. Through blood, sweat and tears they make this huge festival work each fucking year without complaints,” also mentioning concerts and festivals arranged by AR&M (Aalborg Rock & Metal) several times a year, where a bunch of hard-working volunteers line up for making the whole thing work as well. One interesting fact about Sandie and her Defacing God is the fact that in 2019 the band was booked for Viborg Metal Festival having only released one song at that time, which according to Sandie herself happened because some people behind the festival already knew her bandmates from other bands and trusted them to put on a great show regardless.

Although she hasn’t been involved with other bands prior to Defacing God, Sandie was a guest musician in the album To Live To Kill To Live, by Danish Heavy/Power Metal act Manticora, saying she loved the experience of collaborating with the band in their latest album. “This part I sang was supposed to be an evil Chinese aunt who killed her whole family due to jealousy. The more brutal, the better!” However, if you think her life is just surrounded by brutality, you might be really impressed by the quality work she used to do before focusing on her career as a musician. “After I finished high school, I took some exams related to business and straight after that I followed my vision (besides of the music) to become a social worker, specialized in young people with mental health diagnoses and social problems. I started to study my bachelor’s in social education and on the side I worked as a teacher,” she said in one of her interviews, also mentioning her passion for the beauty industry. She simply loves everything that has to do with makeup, skincare routines and the ways we can express ourselves in a visual and creative way, taking some exams in the beauty industry and having actually made a living off her own beauty firm, Gorgeous By Gjoertz, while at the same time taking a degree in service, hospitality and tourism management at University College in Aalborg. Not only that, she was also a self-employed insurance agent at one of Scandinavia’s biggest insurance companies, proving how unrelenting and full of energy she is. So, after all is said and done, what are you waiting for to renounce to your weak gods and succumb to the dark powers of a true goddess like Lilith?

Sandie Gjørtz’s Official Instagram
Defacing God’s Official Facebook page
Defacing God’s Official Instagram

“In the name of art there should no boundaries and everyone should have the freedom to be their own independent self, to explore and to express as they desire without being judged or oppressed.” – Sandie Gjørtz

Album Review – Fireproven / Epilogue (2022)

Let’s all say farewell to this talented Progressive Metal act from Finland to the sound of their second (and last) full-length album.

Hailing from the Finnish capital of Helsinki, the Progressive Metal outfit known as Fireproven has just unleashed upon us their sophomore effort, entitled Epilogue, which is also their last album as in January 2022 the band announced they would be disbanded, thanking their loyal fans for their support through the years. “Sadly, we have to announce that Fireproven will no longer continue. There are number of reasons that led us to this decision but we’re all still good friends, and will continue to keep it that way. We’re going to release our last album later this spring but all shows will be cancelled. We want to thank you all for your love and support during these years. None of this would have been possible without you guys listening to our tracks and showing us your love,” commented vocalist Sanna Solanterä, guitarist Janne Väätämöinen, bassist Juha Väätämöinen, keyboardist Ilari Hannula and drummer Nuutti Hannula, leaving us with the musical freedom and explorations from Epilogue embraced by a stylish cover art by Petri Lampela.

The whimsical keys by Ilari will captivate your senses in the opening track The Maze, being joined by the slashing riffage by Janne and the blast beats by Nuutti, sounding very modern, progressive and melodic from start to finish. Then blending the Melodic Metal from bands such as Epica and Within Temptation with Progressive and Groove Metal nuances we have The Addict, a pleasant, headbanging tune led by the always striking vocals by Sanna; whereas  the metallic, thunderous bass by Juha dictates the pace in King, offering more of the band’s hybrid of Melodic and Progressive Metal with the growls by Juha making a great paradox with Sanna’s vocals. And phantasmagorical keys and pounding drums generate a dense atmosphere in Haunted, sounding very theatrical while Janne extracts pure obscurity from his guitar. Moreover, it’s very different from its predecessors, but still loyal to the band’s core essence.

In Time to Heal, the tick tock on the clock grows in intensity until the music turns into a heavy and aggressive onrush with Juha roaring like a beast alternating with Sanna and her beyond melodic vocals, while sheer adrenaline flows from the breathtaking Dream Catcher, where all band members are in absolute sync spearheaded by the Melodic Death Metal keys by Ilari. After such intense tune, an epic, imposing intro to the slashing riffs by Janne evolves into more of the band’s Progressive Metal in Grace, where Janna once again beautifully declaims the song’s lyrics; and the band offers our ears over six minutes of progressiveness in the form of Waves of Extinction, with a delicate but mesmerizing vocal performance by Sanna as if Dream Theater or Opeth had a female vocalist. Lastly, the keys by Ilari add an extra touch of finesse to the nine-minute aria Unity, where Nuuutti keeps hammering his drums nonstop, providing Sanna with exactly what she needs to shine on vocals while Janne and Juha make an incendiary duo with their stringed weapons.

If Progressive and Melodic Metal with female vocals is your cup of tea, you should definitely take a listen at Epilogue, which is by the way available in full on Spotify, and although Fireproven have just called it quits you can still give a shout to the band on Facebook and on Instagram (and who knows, maybe that will inspire them to get back in action in the near future, right?), listen to more of their music on YouTube, and purchase Epilogue from Apple Music. Unfortunately, as already mentioned, Epilogue is the last album by Fireproven, which means we won’t probably hear from those talented Finnish metallers again unless they decide to come back from the ashes one day. However, they’re definitely going out with a bang thanks to the amazing job done in their new album, leaving their mark in the underground Finnish scene while also bringing a lot of fun and joy to our ears and hearts, all in line with the name chosen for their farewell album.

Best moments of the album: The Addict, Dream Catcher and Waves of Extinction.

Worst moments of the album: Haunted.

Released in 2022 Independent

Track listing
1. The Maze 4:29
2. The Addict 5:19
3. King 4:11
4. Haunted 5:08
5. Time to Heal 5:08
6. Dream Catcher 4:54
7. Grace 5:40
8. Waves of Extinction 6:29
9. Unity 9:02

Band members
Sanna Solanterä – vocals
Janne Väätämöinen – guitar, backing vocals
Juha Väätämöinen – bass, vocals
Ilari Hannula – keyboards
Nuutti Hannula – drums

Album Review – Bloodhunter / Knowledge Was the Price (2022)

Spain’s most ferocious Melodic Death Metal entity offers us all an impressive 55-minute album full of incendiary riffs, blast beats, and the always venomous roars by Diva Satanica.

Almost five years after the release of their critically acclaimed sophomore album The End of Faith, Spanish Melodic Death Metal outfit Bloodhunter is finally back in action with their third full-length installment, beautifully titled Knowledge Was the Price. Formed in 2008 in A Coruña, Galicia, but currently located in the Spanish capital Madrid, the band comprised of the stunning Diva Satanica on vocals, Dani Arcos and Guillermo Starless on the guitars, Daniel Luces on bass and Adrián Perales on drums is on fire throughout the album’s impressive 55 minutes of flammable metal music, all of course spiced up by the top-notch production by Dani Arcos, the production, mixing and recording by Carlos Santos at Sadman Studio, the mastering by Víctor García at Ultramarinos Mastering, the recording by Daniel Luces, and the stylish cover art by Antonio Sicre, turning the album into a must-listen for fans of a good mix of melody, rage and storytelling with venomous vocals.

The opening tune Sharpened Tongues Spitting Venom Inside is very progressive and sinister, spiced up by its wicked lyrics barked by Diva Satanica (“Sharpened tongues spitting venom inside, / The disease is growing, you’re falling, it’s your last sigh. / Repulsive minds create a world full of lies, / Your false awareness infected the world’s demise.”), whereas Adrián kicks off the title-track Knowledge Was the Price with his rhythmic beats accompanied by the strident guitars by Dani and Guillermo in another ass-kicking display of sharp, devilish Melodic Death Metal. In A Twist of Fate to Come the band drinks from the same fountain as renowned acts the likes of Arch Enemy and Soilwork, with Adrián hammering his drums nonstop and, therefore, providing Diva Satanica with exactly what she needs to vociferate like a true she-wolf; and an eerie intro evolves into a neck-breaking feast in Medea’s Guidance, with the metallic bass by Daniel beautifully reverberating in the air. The song could have been a little shorter, though, but nothing to worry about. Then featuring the sensational guest vocalist Tim “Ripper” Owens (Judas Priest, KK’s Priest, Beyond Fear, Iced Earth, Charred Walls of the Damned) we’re treated to Never Let It Rest, where Ripper makes an incendiary, devilish duo with Diva Satanica while the music is simply bestial thanks to the fantastic guitar work by Dani and Guillermo; and more of their piercing guitars are offered to us all in Find Your Inner Fire while Diva Satanica darkly declaims the song’s inspiring lyrics (“Blind Faith – There’s no “tomorrow can wait”. / The Shame – Will be your final disgrace. / All Ends – Even darkness and despair. / Be Brave – Open your arms to self-defense.”).

Investing into a more ferocious, thrilling sonority it’s time for the band to crush us all in The Eye of the Serpent, once again showcasing an amazing job by Adrián with his rhythmic but always demented beats. Put differently, it’s first-class Melodic Death Metal made in Spain, which is also the case in Spreading Your Disease, starting in a somber way to the minimalist guitars by Dani and Guillermo before exploding into another frantic sonority perfect for slamming into the circle pit, also showcasing some sick guitar solos for our total delight. In Nothing Beyond the Realms of Death we face another round of their fusion of melodic, rage and progressiveness, with the intricacy flowing from Adrián’s drums walking hand in hand with the riffage by the band’s guitar duo, whereas an enfolding start to the sound of their harmonious guitars that lasts for almost two minutes morphs into a Stratovarius-ish instrumental tune titled A Relentless Force, followed by The Forsaken Idol, featuring guest vocals by Rosalía Sairem of Therion, a wicked creation by the band that will please all fans of extreme music with Diva Sanatica’s gnarls generating an interesting paradox with Rosalía’s clean vocals. The last original song of the album, The Hunters, brings forward more of the excellent string work by Dani, Guillermo and Daniel while Adrián hammers his drums mercilessly, and as a beyond infernal and heavy-as-hell treat the band blasts their cover version for Children of Bodom’s hit Bodom After Midnight, from their 2000 classic Follow the Reaper (check the original version HERE), with Diva Satanica stealing the spotlight with her roars as usual.

After all is said and done, we can all agree Bloodhunter have outdone themselves with Knowledge Was the Price, stepping up their game and positioning themselves as one of the driving forces of Melodic Death Metal in their homeland. Having said that, you can enjoy their newborn beast in its entirety on YouTube and on Spotify, and of course follow the band on Facebook and on Instagram for news, tour dates and so on, and purchase their new album by clicking HERE or HERE. Diva Satanica and the boys are on absolute fire from start to finish in Knowledge Was the Price, and I’m sure after such intense album they’ll advance even further in their already solid career, cementing their name among other giants of the Melodic Death Metal scene worldwide and, consequently, leaving us eager for more of their music in the near future.

Best moments of the album: Sharpened Tongues Spitting Venom Inside, Never Let It Rest, The Eye of the Serpent and The Forsaken Idol.

Worst moments of the album: Medea’s Guidance and A Relentless Force.

Released in 2022 Maldito Records

Track listing
1. Sharpened Tongues Spitting Venom Inside 3:34
2. Knowledge Was the Price 3:45
3. A Twist of Fate to Come 2:49
4. Medea’s Guidance 5:23
5. Never Let It Rest 4:39
6. Find Your Inner Fire 3:40
7. The Eye of the Serpent 5:05
8. Spreading Your Disease 5:16
9. Nothing Beyond the Realms of Death 4:47
10. A Relentless Force 4:05
11. The Forsaken Idol 4:03
12. The Hunters 4:30
13. Bodom After Midnight (Children of Bodom cover) 3:38

Band members
Diva Satanica – vocals
Dani Arcos – guitars
Guillermo Starless – guitars
Daniel Luces – bass
Adrián Perales – drums

Guest musicians
Tim “Ripper” Owens – vocals on “Never Let It Rest”
Rosalía Sairem – vocals on “The Forsaken Idol”
Raúl Plaza – bass

Album Review – Sleepers’ Guilt / What Remained (2022)

Dealing to a large extent with questions about the end of humanity as we know it, this Melodic Death Metal from Luxembourg begins a new era in their career with their thrilling and furious sophomore effort.

Hailing from Dippach, a commune and small town in south-western Luxembourg that is part of the canton of Capellen, Melodic Death Metal outfit Sleepers’ Guilt is back in action with their sophomore opus, entitled What Remained, marking the beginning of a new era in the band’s career with the debut of their new frontwoman Sany Faihrmann. Recorded, mixed and mastered by the band’s guitarist Marc Froehling, What Remained deals to a large extent with questions about the end of humanity as we know it and the challenges we might face in the near or more distant future, all that without being a concept album according to the band itself.  In addition to the classical instrumentation and the usual samples, Sany and Marc, together with their bandmates Chris T. Ian also on the guitars, Philip Rio Ries on bass and Ben Thuy on drums, dare to experiment with more exotic instruments, such as bouzoukis, mandolins, didgeridoos, and cellos, among others, to give the arrangements more opulence, while at the same time the music never loses its heaviness and always demands the listener’s attention.

Futuristic sounds ignite the band’s metal machine in the opening track Posthuman, with Philip and Ben dictating the rhythm with their heavy kitchen while Sany roars nonstop like a true she-demon, whereas Chris and Marc continue to extract sheer electricity from their axes in Wrath of Gods, another Melodic Death Metal extravaganza showcasing all the band’s heaviness, talent and passion for extreme music. As the name already says, Eye of the Storm is indeed a metallic storm by the quintet with Sany’s roars leading her bandmates into the eye of “you know what”, with the band’s guitar duo delivering classic riffs and solos for our total delight, therefore keeping the album at a high level of insanity. Let’s keep banging our heads to the pounding drums by Ben in Freedom Undone, a neck-breaking tune where Sany’s screams sound like a devilish version of Overkill’s Bobby “Blitz” Ellsworth; and slowing things down a bit it’s time for the somber Ultimate Sin, not as powerful as the rest of the album but still very melodic, with Chris and Marc showcasing a great performance with their riffs and solos.

Train of Thoughts feels like a heavier, more devilish version of the Melodic Metal played by Stratovarius, with Sany delivering a dark and thrilling vocal performance by roaring deeply accompanied by the classy beast by Ben; and get ready for 10 minutes of high-quality Melodic Death Metal made in Luxembourg with Tides of Fate, starting in a serene, melancholic way before morphing into an experimental sonority and exploding into the band’s core sound with an epic touch, with Sany delivering her usual she-wolf growls while her bandmates keep the atmosphere as dense and electrifying as possible, not to mention their soulful, striking guitar solos. Then blackening their core essence considerably it’s time for the almost pure Death Metal onrush titled Pyre, also bringing to our ears elements from Groove Metal thanks to the amazing job done by Philip and Ben with their respective bass punches and venomous beats. Last but not least, Sleepers’ Guilt offer us all the Arch Enemy-inspired tune The Remains, with hints of the music played by Soilwork and In Flames while Chris and Marc are on fire armed with their guitars, providing Sany all she needs to gnarl like a creature form the abyss.

You can start following such promising name of the Luxembourger metal scene on Facebook and on Instagram, staying up to date with all things Sleepers’ Guilt, and also watch their videos and  stream all of their creations on YouTube and on Spotify. Furthermore, above all that, don’t forget to show them your utmost support by purchasing the excellent What Remained by clicking HERE. In a dystopian world, humanity is on the brink of extinction and the machines have taken over. But is it really the machines, or rather those who control the machines? And is there life outside the dystopian illusions, in solitude, amid an exhausted, repellent nature? Simply hit play in What Remained and let the band answer those questions to you, while of course you keep banging your head nonstop to their venomous music.

Best moments of the album: Wrath of Gods, Train of Thoughts and Pyre.

Worst moments of the album: Ultimate Sin.

Released in 2022 Independent

Track listing
1. Posthuman 4:23
2. Wrath of Gods 4:19
3. Eye of the Storm 6:39
4. Freedom Undone 5:52
5. Ultimate Sin 4:29
6. Train of Thoughts 6:04
7. Tides of Fate 10:15
8. Pyre 7:17
9. The Remains 9:24

Band members
Sany Faihrmann – vocals
Chris T. Ian – guitars
Marc Froehling – guitars
Philip Rio Ries – bass
Ben Thuy – drums

Album Review – Tishina / Uvod… (2022)

A first-class side-project by Bane’s mastermind to explore the slower, deeper and more emotional side of music, invoking the spirit of late 90’s and early 00’s doom.

Founded in 2020 by Serbian vocalist and multi-instrumentalist Branislav Panić, known best for his work with Blackened Death Metal band Bane, Tishina (Тишина), which means “silence” from Serbian, is a new Melodic Doom/Death Metal entity initially born as a side-project to explore the slower, deeper and more emotional side of music, highly influenced by giants such as Saturnus, October Tide, Mourning Beloveth, and Doom:vs, among others, who’s unleashing upon humanity its debut effort titled Uvod… (Увод…), which means “introduction” in English. Mixed and mastered at HellSound Studio by Honza Kapak, who also played drums in the album, and displaying a stylish artwork by Aleksandra Panić, Uvod… came mainly from the book of poems Nad Vodama Aheronta, written by Serbian author Predrag Rava, combining an exquisite blend of mid-paced melodic riffs, blackened sections, and various shifts in atmosphere and tone throughout its playtime while invoking the spirit of late 90’s and early 00’s doom.

Iz Mrtvog Ugla (Из Мртвог Угла), or “from a dead angle”, is a beautiful start to the album, reminding me of some of the classic creations by Paradise Lost and My Dying Bride with Branislav exhaling heaviness through his riffs and bass punches, supported by the sluggish beats by Honza; and continuing their path of obscurity and melancholy we have Dve Crne Ruze (Две Црне Руже), or “two black roses”, another Doom Metal extravaganza led by Branislav’s deep roars while Honza keeps pounding his drums in the name of darkness. Then after the short and sweet instrumental interlude Uteha (Утеха), or “consolation”, Branislav returns with his visceral riffage in Jutro Poslednjeg Dana (Јутро Последњег Дана), or “the morning of the last day”, darkening the skies even more in the name of Melodic Doom and Death Metal. Furthermore, it’s breathtaking to see how the duo is capable of sounding so heavy and serene at the same time, resulting in a multi-layered composition perfect for that type of slow and steady headbanging that’s characteristic of Doom Metal. Lastly, closing such somber album it’s time for Zauvek (Заувек), or “forever”, starting in a mesmerizing, enfolding manner before exploding into more of the project’s doomed sounds, with Branislav and Honza being in absolute sync from start to finish while Branislav’s anguished growls reach a whole new level of obscurity.

In case you would like to add the darkness and beauty of the music found in Uvod… to your personal collection, you can grab a copy of the album from Tishina’s own BandCamp page, from the Hypnotic Dirge Records’ BandCamp page or webstore, or from the Satanath Records’ BandCamp page, bringing an endless dosage of pure doom to your avid ears. I always find it impressive when a musician like Branislav can generate distinct, top-notch music such as with his two projects Bane and now Tishina, not only proving how talented and creative he is, but also providing us with double the awesomeness in the world of heavy music. And may Uvod…, just like the name of the album already says, be just the introduction to the amazing world of doom ruled by Branislav and his Tishina.

Best moments of the album: Iz Mrtvog Ugla [Из Мртвог Угла] and Jutro Poslednjeg Dana [Јутро Последњег Дана].

Worst moments of the album: None.

Released in 2022 Hypnotic Dirge Records/Satanath Records/The End of Times Records

Track listing
1. Iz Mrtvog Ugla [Из Мртвог Угла] 8:01
2. Dve Crne Ruze [Две Црне Руже] 5:55
3. Uteha [Утеха] 0:48
4. Jutro Poslednjeg Dana [Јутро Последњег Дана] 6:13
5. Zauvek [Заувек] 8:49

Band members
Branislav Panić – vocals, guitars, bass
Honza Kapak – drums

Concert Review – Arch Enemy & Behemoth (Rebel, Toronto, ON, 04/25/2022)

A night of rain, insanity, blasphemy and, above all that, first-class Heavy Metal for the delight of thousands of metalheads in Toronto.

OPENING ACTS: Unto Others and Napalm Death

Despite the heavy rain that decided to hit Toronto only a couple of hours before the fantastic tour named The North American Siege 2022 took the city by storm, the venue chosen for such metal attack, the spacious Rebel, was almost packed already when the first band of the night hit the stage exactly at 6:30pm, American Heavy Metal/Gothic Rock act UNTO OTHERS, and let me tell you I feel a little ashamed for not knowing those guys before last night. Promoting their 2021 opus Strength, vocalist and guitarist Gabriel Franco and his henchmen put on a sensational show, with songs such as Give Me to the Night, Summer Lightning and When Will God’s Work Be Done inspiring all fans to dance, slam into the pit, or simply raise their horns in the name of Rock N’ Roll. It was a short and sweet performance by such talented band, and I hope to see them again in Toronto (or anywhere else in the world) in a not-so-distant future.

Setlist
Subdivisions (Rush song)
Heroin
Give Me to the Night
No Children Laughing Now
Can You Hear the Rain
Nightfall
Summer Lightning
When Will God’s Work Be Done

Band members
Gabriel Franco – vocals, guitars, keyboards
Sebastian Silva – guitars
Brandon Hill – bass
Colin Vranizan – drums

Right after a bathroom/beer break (not necessarily in this order), it was time for the iconic Barney Greenway and his Grindcore/Death Metal institution NAPALM DEATH to show Toronto what noise is all about for the delight of admirers of the heaviest and most demented side of music who attended the concert. Having released earlier this year the album Resentment Is Always Seismic – A Final Throw of Throes, the band was on absolute fire from start to finish, with Shane Embury and John Cooke hammering their respective bass and guitar mercilessly throughout their entire set. Amidst a hurricane of infernal tunes the likes of Fuck the Factoid, Contagion, Scum and the one-second masterpiece You Suffer, Barney had time to distill his opinion about controversial topics such as illegal immigration, being always of course on the side of the less fortunate. Closing their boisterous setlist, the band smashed our faces with their rendition of Dead Kennedys’ all-time classic Nazi Punks Fuck Off, sending a message of love and peace, and warning us it won’t take long for those four British noisemakers to return to our beloved city.

Setlist
Unchallenged Hate
Fuck the Factoid
Backlash Just Because
Hung
Contagion
Continuing War on Stupidity
Everyday Pox
Invigorating Clutch
Suffer the Children
Breed to Breathe
Scum
Throes of Joy in the Jaws of Defeatism
You Suffer
Smash a Single Digit
Deceiver
Dead
Nazi Punks Fuck Off (Dead Kennedys cover)

Band members
Mark “Barney” Greenway – vocals
John Cooke – guitars
Shane Embury – bass, backing vocals, noises, effects
Danny Herrera – drums

ARCH ENEMY

Precisely at 8:35pm Sweden’s own Melodic Death Metal army ARCH ENEMY (although we can say the band is now 60% Swedish, 20% American and 20% Canadian) hit the stage and delivered exactly what the crowd wanted, which was a fusion of some of their best classics with the new songs Deceiver, Deceiver, House of Mirrors and Handshake With Hell, from their upcoming album Deceivers (to be released in July), spearheaded by the unstoppable Alissa White-Gluz and, of course, by one of the best guitarists of the Scandinavian metal scene, Mr. Michael Amott. It was clear in their faces how much they missed playing in front of an audience during the pandemic, in special Alissa who always gets very emotional when playing for her Canadian “family”, which translated into sheer adrenaline for our vulgar delectation. As a longtime fan of the band I was obviously more inspired to bang my head to songs such as Ravenous, Dead Bury Their Dead and Nemesis, but I must say their entire performance was awesome. How long will we have to wait to see Alissa and the boys again in Toronto? Massive circle pits like the ones we witnessed yesterday are not created out of silence, you know. We need Arch Enemy!

Setlist
Set Flame to the Night
Deceiver, Deceiver
The World Is Yours
Ravenous
War Eternal
My Apocalypse
House of Mirrors
The Eagle Flies Alone
As the Pages Burn
Handshake With Hell
Dead Bury Their Dead
Nemesis
Fields of Desolation (Outro)
Enter the Machine

Band members
Alissa White-Gluz – vocals
Michael Amott – lead guitars, backing vocals
Jeff Loomis – lead guitars, backing vocals
Sharlee D’Angelo – bass
Daniel Erlandsson – drums

BEHEMOTH

And at 10:05pm the gates of hell opened once again and the almighty Blackened Death Metal horde BEHEMOTH emerged from the underworld with another flawless and very theatrical performance, darkening the skies of Toronto and putting a huge, devilish smile on the faces of everyone at Rebel (at least on the faces of the ones not wearing masks). Kicking off their demonic concert with one of my favorite Behemoth songs of all time, the incendiary Ora Pro Nobis Lucifer, the multi-talented Nergal, Seth, Orion and Inferno did not disappoint their fans, sounding utterly heavy, dark and blasphemous until the very last second. Their brand new song, entitled Ov My Herculean Exile, from their upcoming (and still untitled) new album, sounded amazing live, but of course there’s nothing like raising our horns in the name of evil to masterpieces such as Ov Fire and the Void, Christians to the Lions, Chant for Eschaton 2000, and the hymn to Satan himself, O Father O Satan O Sun!, proving why Behemoth are one of the best and most obscure bands of the current metal scene. And when the night was over and those Polish blasphemers left the stage, it was time for us Torontonians to keep some of that darkness inside our hearts, face the cold and rainy weather outside again, and return to our lairs waiting for the next time Behemoth come back to crush the infidels in Toronto with their undisputed music.

Setlist
Ora Pro Nobis Lucifer
Wolves ov Siberia
Ov Fire and the Void
Evoe
Christians to the Lions
Bartzabel
Conquer All
Ov My Herculean Exile
Decade of Therion
Slaves Shall Serve
Chant for Eschaton 2000
O Father O Satan O Sun!

Band members
Adam “Nergal” Darski – lead vocals, guitars
Patryk Dominik “Seth” Sztyber – guitars
Tomasz “Orion” Wróblewski – bass guitar
Zbigniew Robert “Inferno” Promiński – drums and percussion

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Album Review – Gorebringer / Terrified Beyond Measure (2022)

Behold the sophomore opus by an international entity that’s back from the underworld, offering us more of their blackened yet technical Melodic Death Metal with gory themes.

Almost three years after the release of their debut effort A Craving For Flesh, the infernal, multi-national outfit known as Gorebringer is back with more of their Melodic Death Metal with gory themes in the form of their sophomore album, entitled Terrified Beyond Measure. Produced by the band itself, mixed and mastered at Tide Studio in London, England, and displaying an old school cover art by Delic Saike, Terrified Beyond Measure represents a step forward in the band’s career, currently comprised of Serpent on vocals, Kaz “Stench” B on guitars and bass, and guests Krzysztof Klingbein on drums and Burak Ulugüney on keyboards and synths, showcasing an “evilution” in their slightly blackened and somewhat technical sound, but melodic and yet dirty at the same time, being therefore recommended for fans of At The Gates, Death and Dissection, among several others.

Arising from the underworld, the quartet begins blasting their instruments with sheer violence and hatred in The Bottomless Pit, where Serpent sounds beyond bestial on vocals supported by the pulverizing drums by Krzysztof, or in other words, a perfect and devilish way to kick things off; whereas keeping the level of adrenaline extremely high it’s time for Man To Beast, another high-octane, pulverizing feast where Stench is on fire armed with his sharp riffage and rumbling bass lines, while Burak keeps the atmosphere as grim as possible with his spot-on keys and synths. Then we have the title-track Terrified Beyond Measure, bringing to our ears a full-bodied sonority alternating between galloping drums and bass and pure dementia with Serpent roaring manically nonstop, and like a stone crusher from hell Krzysztof will demolish our senses in The Evil Ones, providing Stench all he needs to slash our ears off with his beyond strident guitar lines in a lecture in contemporary Melodic Death Metal with a visceral Black Metal twist.

The instrumental interlude Moon Circle sets the stage for the band to demolish our senses once again with A Blackened Circle, an Arch Enemy/In Flames/Soilwork-inspired extravaganza showcasing piercing riffs, pounding drums and the always venomous gnarls by Serpent. It’s indeed a solid and entertaining tune albeit losing some of its punch after a while, though, whereas Necro Mess is a thrilling instrumental creation by Gorebringer where Stench delivers an amazing performance on the guitar supported by the blast beats by Krzysztof, resulting in a sonic hurricane that will please all fans of the genre and generate intense mosh pits if played live one day. Finally, closing such infernal album of Melodic Death Metal we have Flesh Feast, sounding fast and furious just the way we like it with Serpent’s growls making a brutal paradox with the crisp, melodic guitars by Stench, leaving us eager for more of their music in a not-so-distant future.

As aforementioned, the pulverizing Terrified Beyond Measure, which is by the way available in its entirety on YouTube and on Spotify, represents a huge improvement in the sound by Gorebringer, and you can put your dirty hands on that album by purchasing it from the Great Dane Records’ BandCamp page or from Apple Music. Don’t forget to also follow the band on Facebook and on Instagram, keeping in mind that gore is their business (and business is good), which means unless you have what it takes to face their evil Melodic Death Metal, you’ll become an easy prey to them.

Best moments of the album: The Bottomless Pit, The Evil Ones and Necro Mess.

Worst moments of the album: A Blackened Circle.

Released in 2022 Great Dane Records

Track listing
1. The Bottomless Pit 4:06
2. Man To Beast 4:49
3. Terrified Beyond Measure 5:49
4. The Evil Ones 4:25
5. Moon Circle 0:59
6. A Blackened Circle 4:47
7. Necro Mess 3:38
8. Flesh Feast 5:45

Band members
Serpent – vocals
Kaz “Stench” B – guitars, bass

Guest musicians
Krzysztof Klingbein – drums
Burak Ulugüney – keyboards, synths