Tag Archives: melodic death metal

Album Review – Chaoseum / Second Life (2020)

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After taking their first step to hell, it’s time for those Swiss metallers to stun us all with their sophomore album, showcasing a thrilling fusion of Metalcore and Nu Metal with a theatrical twist.

Founded in 2018 by Loïc Duruz and Valery Veings, both former guitarists of Symphonic Metal band Elferya, the up-and-coming Lausanne, Switzerland-based Metalcore act Chaoseum is back in action in 2020 with their sophomore album entitled Second Life, presenting the band’s trademark amalgamation of styles including Metalcore, Power Crossover and Nu Metal, among others. Recorded at both Chaos Studio and Conatus Studios, mixed by Gwen Kerjan from Slab Sound Studio, and featuring a beautiful artwork by Brazilian artist Gustavo Sazes, Second Life brings forward a new (and more theatrical) era in the career of Chaoseum, with its 11 original compositions thoroughly crafted by Loïc and Valery together with fontman CK Smile and drummer Greg Turini appealing to all fans of the modern metal music played by bands such as Lacuna Coil, Korn, Trivium, Killswitch Engage and Slipknot, among others.

The creepy, cinematic intro XXV-IX-MMXX (or September 15, 2020, the official release date of the album) will send shivers down your spine before the quartet comes crushing with their vicious Metalcore in Hell Has No Way Out, with Greg sounding like a machine gun on drums while Loïc and Valery fire melodious riffs for our total delight and CK roars and sings with tons of anguish. The melodic and aggressive title-track Second Life starts in an atmospheric way before exploding into a visceral fusion of Metalcore and Melodic Death Metal, with the rumbling sounds of the bass by Loïc punching us hard in the head, followed by Into My Split, a fulminating Alternative Metal tune tailored for banging our heads nonstop or simply enjoying the gentle guitars and beats by the band, all spiced up by CK’s introspective performance. Then we have the excellent Smile Again, clearly inspired by Nu Metal masters Korn, with CK doing his best Jonathan Davis impersonation while Loïc and Valery keep delivering pure metallic lines through their riffs and bass punches; whereas it’s time to speed things up and offer the listener the sinister and alternative Scream, with Loïc, Valery and Greg bringing tons of progressiveness to their wicked sonority, and with its futuristic and modern vibe being all CK needs to shine on vocals.

Stick Under My Skin is another song with a cryptic, mesmerizing intro, evolving into a feast of Alternative, Groove and Progressive Metal where CK’s clean and harsh vocals are nicely supported by his bandmates’ backing vocals, while Burn My Eyes is a solid rock and metal creation by Chaoseum, albeit a bit generic if compared to the rest of the album, with both Loïc and Valery doing a great job with their flammable guitars. And you better get ready as there’s still a lot more of the music by Chaoseum, starting with Feel, a modern, industrialized party perfect for their live performances where the quartet enhances their rage, punch and insanity. Put differently, this is a heavier version of traditional Alternative Metal led by the classic beats by Greg, while things can’t get more alternative nor groovier than in Sex In Hell, a suggestive song name that matches perfectly with the heavy but sexy music played by the band, resulting in a dark ballad where CK steals the spotlight with his devilish vocals. Lastly, there’s more of their groovy bass punches and rhythmic beats intertwined with futuristic background elements and the raspy vocals by CK in Frozen, a song which fans of Korn, Lacuna Coil and other modern metal bands will surely love.

In a nutshell, it doesn’t matter if you’re a longtime fan of Alternative and Nu Metal or if you’re taking your first steps in this more modern side of heavy music, you should definitely add Second Life to your daily playlist (and you can do so by streaming the album in full on Spotify). Chaoseum put their hearts and souls into the making of their new opus, and you can sense that passion and hard work in each and every track of the album, proving those Swiss metallers are o the right path to stardom. Hence, don’t forget to show them your support by following them on Facebook and on Instagram, by subscribing to their YouTube channel and, above all that, by purchasing their new album from their own BandCamp page or webstore (where you can by the way find tons of ass-kicking merch as well), from Apple Music or from Amazon. Chaoseum’s “first step to hell” was already solid and vibrant, but it’s under this new era, or maybe I should call it their “second life”, that the band is ready to show the world what their music is all about.

Best moments of the album: Hell Has No Way Out, Scream and Stick Under My Skin.

Worst moments of the album: Burn My Eyes.

Released in 2020 Independent

Track listing
1. XXV-IX-MMXX 0:58
2. Hell Has No Way Out 4:07
3. Second Life 4:18
4. Into My Split 4:18
5. Smile Again 4:27
6. Scream 3:38
7. Stick Under My Skin 4:51
8. Burn My Eyes 3:31
9. Feel 4:39
10. Sex In Hell 5:41
11. Frozen 4:41

Band members
CK Smile – vocals
Loïc Duruz – guitars, bass
Valery Veings – guitars
Greg Turini – drums

Album Review – Agony Atlas / Retrogression Part I: Egomania EP (2020)

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Bang you head to the debut EP by this newborn German band, combining elements of Melodic Death Metal, Metalcore and Groove Metal in their thrilling compositions.

Formed in 2019 in Koblenz, a German city on the banks of the Rhine and of the Moselle, a multi-nation tributary, female-fronted Progressive Metalcore unity Agony Atlas is ready to take the world of heavy music by storm with their debut EP entitled Retrogression Part I: Egomania, featuring three original tracks combining elements of Arch Enemy, Jinjer and Architects, among other renowned acts. Mixed and mastered by Aljoscha Sieg at Pitchback Studios, with vocals recorded at Airstream Studio Koblenz, and showcasing a modern logo designed by Jan Hilken, Retrogression Part I: Egomania might be really short in duration, with only 11 minutes of music, but that’s more than enough to prove frontwoman Liane Walter, guitarists Christoph “Smi” Fuchs and Andreas Nieratschker, and drummer Markus Möwis are on the right path to stardom, bringing forward all of their talent, hard work and passion for heavy music in their newborn spawn.

Just hit play and futuristic sounds will permeate the air in the Groove Metal feast titled Economy Class, where Christoph and Andreas extract metallic, austere sounds from their guitars nonstop, offering Liane all she needs to thrive with her enraged roars. Then you better get ready for another round of their fusion of Melodic Death Metal and Metalcore with modernized sounds in Egomania, where we’re all inspired to bang our heads to the crushing drums by Markus, living up to the legacy of the genre and, of course, with Liane once again sounding infernal with her she-demon screams. And last but not least, closing such short but extremely fun EP it’s time to jump up and down with Liane and the boys in Hymn Of Hatred, with the band’s guitar duo being in total sync with the blast beats by Markus, while the song’s lyrics exhale anger, hatred and obscurity, just the way we like it in extreme music.

Although Retrogression Part I: Egomania might represent only the very first step in the career of Agony Atlas, they already sound like true veterans throughout the entire EP, again pointing to a bright future ahead of them anywhere their music takes them. Hence, don’t forget to follow the band on Facebook and on Instagram, to subscribe to their YouTube channel, to listen to their creations on Spotify, and obviously to purchase the EP (as well as other high-quality merch) from their own webstore, and soon from other retailers such as Apple Music and Amazon. As the name of the album already says, Retrogression Part I: Egomania is just the first part of something bigger Agony Atlas are planning on unleashing upon us sooner than later, and I can’t wait to see what’s next in the career of those German metallers based on the amazing music found in their debut effort.

Best moments of the album: Egomania.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Economy Class 3:25
2. Egomania 4:31
3. Hymn Of Hatred 3:28

Band members
Liane Walter – vocals
Christoph “Smi” Fuchs – guitars, keys
Andreas Nieratschker – guitars
Markus Möwis – drums

Album Review – Null Positiv / Independenz (2020)

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A fantastic hybrid of Melodic Death Metal with Alternative Metal and Neue Deutsche Härte brought forth by one of the best new names of the underground German scene.

Forged in the fires of Lübbenau, Germany back in 2015 by the multi-talented frontwoman Elli Berlin, the up-and-coming Alternative/Nu Metal army known as Null Positiv has been on a constant and healthy rise in the underground scene releasing an array of electrifying albums since the band’s inception, starting with their 2016 debut EP Krieger until their brand new opus titled Independenz, or “independence” in English, brought into being earlier this year. Currently comprised of the stunning Elli Berlin on vocals, Bene Gugerbauer on the guitars, Manu Altendorfer on bass and Flo Schnablo on drums, Null Positiv are definitely one of the most interesting bands hailing from Germany from the past few years, not only presenting a fantastic hybrid of Melodic Death Metal with Alternative Metal, but singing all of their songs in their mother tongue German (just like their countrymen Rammstein), giving their music an organic and powerful vibe, with their new album Independenz beautifully representing their amalgamation of styles, their passion for heavy music and, therefore, pointing to an even brighter future for Elli and the boys.

In a truly Neue Deutsche Härte-inspired mode, Null Positiv begin their industrial feast with the excellent Freiheit (“freedom”), where Manu sounds bestial with his metallic bass jabs while Elli roars and screams rabidly from start to finish, followed by Insomnia, bringing forward a thrilling fusion of Alternative and Industrial Metal that reminds me of some of the best creations by Korn, led by the whimsical riffs by Bene and the pounding drums by Flo. Moreover, the music flows smoothly until the very end, setting the tone for the title-track Independenz, where you don’t need to speak a single word in German to understand and feel deep inside your soul what Elli passionately declaims, evolving into a dark ballad showcasing rumbling bass lines, melodious riffs and an empowering atmosphere. And growling like a demonic entity Elli steals the spotlight in the Melodic Death Metal tune Armageddon, infused with modern-day Groove Metal elements while Bene and Manu make a dynamic and incendiary duo with their thunderous strings.

Once again venturing through more alternative and modernized lands, Flo dictates the rhythm with his classy beats supported by the strident guitar lines by Bene in Gib Mir Ein Zeichen (“give me a sign”), while Elli “raps” the song’s lyrics. Then it’s time to be stunned by the gorgeous performance by Elli in the delicate but somber Blutdiamant (“blood diamond”), a stylish semi-ballad where its vicious bass and drums make an amazing paradox with its piano notes and all gentle background elements, whereas Phantomschmerz (“phantom pain”) sounds even more metallic and aggressive than its predecessors, with Elli singing and growling in great fashion while Flo shows no mercy for his drums (and consequently for our necks). After such amazing display of savagery by Null Positiv, grim vocalizations, a sense of hopelessness and endless electricity will penetrate deep inside your soul in Ich Fühl Nichts Mehr (“I don’t feel anything anymore”), one of their most atmospheric tunes while keeping their core Alternative Metal vibe intact.

Let’s keep banging our heads to their groove and melody in the exciting aria titled Fall Out, perfect for jumping up and down with Null Positiv in a fusion of contemporary Melodic Death Metal and alternative music, with Bene kicking ass with his riffs, and the quartet never seems tired of smashing our heads with their heavy-as-hell but very harmonious music as we can all witness in Schwarzes Labyrinth (“black labyrinth”), a very pleasant composition where Manu and Flo bring thunder and groove to our ears with their rumbling weapons. In Deine Haut (“your skin”) we’re treated to a rising metal intro where the guitars by Bene are intertwined with Elli’s striking vocals, resulting in a solid creation by Null Positiv (albeit not as flammable as the rest of the album), followed by Kommen Und Gehen (“come and go”), their last breath of insanity in the form of music with a welcome 80’s and 90’s vibe, bringing forward a great paradox between riffs and drums while Elli continues to hypnotize us all with her piercing clean vocals and evil gnarls.

In a nutshell, if you’re a fan of the Neue Deutsche Härte crafted by Rammstein and at the same time of female-fronted metal bands the likes of Arch Enemy, The Agonist and Infected Rain, you should definitely take a shot at Independenz, which is by the way available for streaming in its entirety on Spotify, as the new installment by Null Positiv might be exactly what you’re craving in heavy and alternative music. Hence, don’t forget to give Elli and the guys a shout on Facebook and on Instagram, to subscribe to their YouTube channel for all of their breathtaking videos, and of course to purchase Independenz from the band’s own webstore, as well as from Apple Music, from Amazon or from Discogs. Null Positiv not only reached new heights with Independenz, but as the name of the album already suggests, any band in the world can be one hundred percent independent (Triplebase Records is their own label, by the way) and still be successful and deliver first-class music to the masses, proving to all critics that heavy music might not be the exact same thing as decades ago, but it’s still alive and kicking.

Best moments of the album: Freiheit, Armageddon and Phantomschmerz.

Worst moments of the album: Deine Haut.

Released in 2020 Triplebase Records

Track listing
1. Freiheit 4:09
2. Insomnia 4:05
3. Independenz 5:29
4. Armageddon 2:55
5. Gib Mir Ein Zeichen 3:37
6. Blutdiamant 3:27
7. Phantomschmerz 3:55
8. Ich Fühl Nichts Mehr 3:37
9. Fall Out 4:00
10. Schwarzes Labyrinth 4:06
11. Deine Haut 5:02
12. Kommen Und Gehen 3:37

Band members
Elli Berlin – vocals
Bene Gugerbauer – guitars
Manu Altendorfer – bass
Flo Schnablo – drums

Album Review – Eshtadur / From the Abyss (2020)

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These unrelenting Colombian metallers return from the abyss once again embodying a deathly melodic atmosphere that reaches into realms of darkness and despair through the decay of humanity.

Three years after the release of the fantastic Mother Gray, which led the band to perform across several countries such as Colombia, Peru, Mexico, Germany, Netherlands, Belgium, France, Poland, Czech Republic, Hungary and Slovakia, the unrelenting Pereira, Colombia-based Melodic Death and Black Metal unity known as Eshtadur has just unleashed upon us all their fourth full-length installment, entitled From the Abyss, once again embodying a deathly melodic atmosphere that reaches into realms of darkness and despair through the decay of humanity. With a name translating to “rebellion of angels”, this South American outfit currently comprised of Jorg August on vocals and guitars, Alejo Guitarecho on the guitars and Andres El Negro on bass, with the support of Polish drummer Michał Łysejko, seeks to rebel in its own darkened way, embracing the abject reality, while offering in their new album ten potent and multi-layered songs tailored for diehard fans of the extreme music blasted by iconic bands such as SepticFlesh, Behemoth, Fleshgod Apocalypse and Carach Angren, all embraced by the Stygian artwork by Colombian artist Carlos Jácome.

Featuring American guitarist Riche Brown from Mindscar, the opening tune Lowborn Bastard is imposing and atmospheric from the very first second, with Michał being already bestial on drums while Jorg roars deeply and manically, also presenting crisp guitar riffs and solos for our total delight, and pounding their instruments mercilessly the band offers our avid ears the fulminating The Adverse Side, showcasing a fantastic performance by Jorg and Alejo on the guitars accompanied by the thunderous bass by Andres and wicked symphonic background elements. Then we have The Red Door, a neck-breaking hybrid of Melodic Death Metal and Symphonic Black Metal bringing forward cryptic words vociferated by Jorg (“The entrance of the never known / The altered state / I dare you find the door / Can you cross the line?”), while it’s impressive how Michał’s beats can be utterly bestial and intricate at the same time; and they go absolutely berserk in The Fall, blending the most visceral elements from Death and Black Metal spearheaded by the venomous growls by Jorg while their guitars sound as piercing and austere as possible. Following such demented tune, and featuring Swedish guiratist Henrik Danhage from Evergrey, She the Void ventures through the realms of Symphonic Doom Metal, presenting an interesting paradox between Jorg’s deep guttural and the song’s whimsical orchestrations, albeit being a little bit longer than what it should.

Then we’re treated to a very special cover version for the song All She Wrote, featuring Tunisian vocalist Zaher Zorgati from Myrath and once again Henrik Danhage on the guitars, originally recorded by Richmond, Virginia-based Glam Metal band FireHouse in their 1990 debut self-titled album (check the original version HERE), and Eshtadur’s version is simply amazing, bringing tons of metal to the original version’s core rockin’ vibe. It’s time for Eshtadur to put the pedal to the metal and blast the infernal Transient Stranger, where all band members are on fire, scathing our skins with their violence and wrath while Andres and Michał make the foundations of the earth tremble with their blackened, groovy sounds. Those Colombian metallers keep delivering sheer adrenaline, darkness and hatred in The Oathbreaker, with Jorg and Alejo making a demonic guitar duo while Michał pulverizes our senses with his menacing beats and fills in a lesson in contemporary Death Metal, followed by The Fear Difusser, featuring Colombian guitarist Adrián Holguín from Souledge, another round of acid, unfriendly extreme music by Eshtadur showcasing their usual blast beats intertwined with stunning background keys and slashing riffs. Lastly, there’s no better way to end such demolishing release than with an aggressive and furious tune, Disphased Dimension, led by Jorg’s devilish roars and the classic drums by Michał, while Andres brings the groove with his sick bass punches, putting a beautiful finale to the album.

As it happens with several bands from the most distinct parts of the world, it’s always a pleasure for fans of underground metal like myself to witness the organic and exciting growth of bands like Eshtadur, a band that’s not only carrying the flag of Colombian metal everywhere they go, but that has also been shaping up their own music style album after album, sounding more and more unique as times passes by, with From the Abyss representing another spot-on step in their already solid career. Hence, don’t forget to follow Jorg and his henchmen on Facebook, on Instagram and on YouTube, and to grab your copy of From the Abyss or to stream the album in its entirety by clicking HERE, keeping the flame of Colombian Melodic Death Metal burning bright for many years to come. After four ass-kicking albums and extensive tours all over the world, I wonder what’s next for such distinct band, and the answer to that seems quite simple after listening to their new album in full a few times, that Eshtadur will keep delivering first-class metal music no matter what, never selling off nor slowing down.

Best moments of the album: The Adverse Side, The Red Door and The Oathbreaker.

Worst moments of the album: She the Void.

Released in 2020 Blood Blast Distribution

Track listing
1. Lowborn Bastard 5:28
2. The Adverse Side 3:44
3. The Red Door 5:00
4. The Fall 3:46
5. She the Void 6:56
6. All She Wrote (FireHouse cover) 4:17
7. Transient Stranger 4:18
8. The Oathbreaker 4:41
9. The Fear Difusser 4:29
10. Disphased Dimension 4:35

Band members
Jorg August – vocals, guitars
Alejo Guitarecho – guitars
Andres El Negro – bass

Guest musicians
Michał Łysejko – drums (session)
Riche Brown – guitar solo on “Lowborn Bastard”
Zaher Zorgati – vocals on “All She Wrote”
Henrik Danhage – guitars on “All She Wrote” and “She the Void”
Adrián Holguín – guitars on “The Fear Difusser”

Album Review – Calarook / Surrender Or Die (2020)

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On a quest for booze we go together with those unstoppable Swiss pirates and their debut full-length album.

On a quest for booze we go! That’s what frontman Philipp Wyssen, guitarist Nico Wiget, bassist Flavio Pompeo, drummer Yves Locher and violinist Lukas Mischler, collectively known as the unrelenting Winterthur, Switzerland-based Pirate Metal crew Calarook, promise to deliver in their debut full-length album Surrender Or Die, mixing rabid Melodic Death Metal with Folk Metal parts and sometimes a pinch of wonderful nonsense, therefore inviting us all to celebrate, mosh and headbang like there’s no tomorrow. Calarook have been on a roll since the band’s inception in 2014 (under the name Calico), firing an endlessly captivating seafaring sound that leaves no one standing still or even sober, starting with their 2017 EP Calico, but it’s now with Surrender Or Die that the quintet is ready to take us all on a full-bodied adventure across the seven seas, offering our avid ears over 69 minutes of first-class metal music while at the same time being always ready for more booze, pillaging and partying in the name of heavy music.

The tolling bells in the epic intro 47°30’18”N 8°51’52”E warn us all their festivities are about to start in A Cursed Ship’s Tale, sounding furious and imposing thanks to the crushing beats by Yves and the guttural roars by Philipp, while Lukas brings his share of lunacy with his whimsical violin, flowing smoothly until its climatic finale. They offer more of their visceral fusion of Melodic Death Metal with classic Death Metal and pirate music in Quest For Booze, an ode to all alcoholic beverages where Nico is unstoppable with his riffage accompanied by the rumbling bass by Flavio and the once again magical violin by Lukas, whereas it’s time to break your necks headbanging to the sound of Into The Storm, with Yves pounding his drums like a cannon from a pirate ship while Philipp continues to blast his inebriate, unfriendly growls. In the title-track Surrender Or Die the “captain” vociferates the song’s sailing lyrics rabidly (“We change the course / To pursue the prey / The distance gets smaller / The target turns away / But we can catch up / Prepared to fight / The cannons are loaded / Everyone is quiet”) while his bandmates generate a strong ambience with their respective instruments, inspiring us all to fight side by side with the band; and Flavio and his metallic bass ignite the rhythmic, dancing tune curiously titled Invisible Pineapples, showcasing an amazing job done by Nico with his slashing riffs. Put differently, simply  grab your beer and your sword and get ready to rock together with those metal pirates.

And those buccaneers keep delivering heaviness, speed and harmony in the excellent Kraken’s Chest, the epitome of Pirate Metal overflowing electricity and fury, also presenting an interesting paradox between Lukas’ classy violin and Yves’ thunderous beats, before it’s time to slam into the circle pit to the fun Paul The Parrot. Let’s all be honest, no one can stand still to a metal song about a parrot, with Nico and Yves making sure the rhythm remains as vibrant as possible in a great display of modern-day Melodic Death Metal, while Jack Rackham is another song exhibiting a pleasant speed and pace, with the violin by Lukas adding tons of finesse to the overall result while his bandmates continue to invite us all to prance around the fire pit. Kicking Flamingos is what I call a weird name for a song, but they’re pirates which means all makes sense; however, musically speaking it’s not on par with the rest of the album, sounding a bit generic despite Flavio’s great performance on bass. Fortunately, Calarook get back on track with their trademark Pirate Metal in Davy Jones’ Locker, a lot more introspective than its predecessors while Nico dictates the pace with his classic riffs, accompanied by Philipp’s deep growling.

In Tentacle Explosion we have less than three minutes of hammering Melodic Death Metal infused with the stylish violin by Lukas, resulting in a great option for their live performances which will certainly inspire us all to raise our horns and grab a pint in the name of metal music; and their loyalty to drinking and piracy goes on in Loyal To None But Rum, where all Calarook are telling us is to simply get drunk and slam into the circle pit to the sound of their thrilling music. Then venturing through more traditional lands, they fire their most Heavy Metal of all songs, The Legend Of Liquor Island, bringing forward a galloping rhythm led by Yves and his old school beats while Philipp keeps roaring and growling like a true pirate, whereas in The Feast Of Emerald Meadows the band fills our ears with a more vicious and violent sonority while Nico’s riffs walk hand in hand with Lukas’ violin. Hence, it will certainly urge you to sing its chorus along with Calarook while crushing your skull into the mosh pit once again, and closing this 69-minute pirate quest the band fires the classic The Undying Sailor, where despite the great job done by Yves and Lukas with their beats and violin, the final result is a bit messy, not to mention the song goes on for way too long.

If you’re ready to set sail together with the drunk and talented Swiss pirates of Calarook and support them in their epic adventures, you can follow the band on Facebook and on Instagram, subscribe to their YouTube channel for their fun and fresh official videos, stream more of their rebellious music on Spotify, and obviously purchase a copy of Surrender Or Die from the band’s own webstore (and soon enough from several other locations). In a world where people have the attention span of a goldfish, we must admit releasing a 69-minute album is a beyond bold move by Calarook, but yet again, as already mentioned they are not just musicians, but metal pirates, and as the great privateers they are they know exactly what they are doing by releasing such imposing and epic album. Or do you think only 20 or 30 minutes of music would be enough for all the action you can have together with Calarook on board of their ship in their quest for metal, rum, flamingos, parrots and pineapples?

Best moments of the album: Quest For Booze, Invisible Pineapples, Kraken’s Chest and The Feast Of Emerald Meadows.

Worst moments of the album: Kicking Flamingos and The Undying Sailor.

Released in 2020 Independent

Track listing
1. 47°30’18”N 8°51’52”E 2:02
2. A Cursed Ship’s Tale 4:33
3. Quest For Booze 5:36
4. Into The Storm 7:05
5. Surrender Or Die 4:27
6. Invisible Pineapples 5:09
7. Kraken’s Chest 5:46
8. Paul The Parrot 3:36
9. Jack Rackham 3:22
10. Kicking Flamingos 3:33
11. Davy Jones’ Locker 3:47
12. Tentacle Explosion 2:34
13. Loyal To None But Rum 4:38
14. The Legend Of Liquor Island 3:03
15. The Feast Of Emerald Meadows 4:34
16. The Undying Sailor 5:37

Band members
Philipp Wyssen – vocals
Nico Wiget – guitar
Flavio Pompeo – bass
Yves Locher – drums
Lukas Mischler – violin

Album Review – Unleash The Archers / Abyss (2020)

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The Matriarch is ready to eat our hearts while we fall into the abyss to the sound of the brand new album by one of the best Canadian metal bands of all time.

Formed in 2007 in Vancouver, the biggest city in the stunning province of British Columbia, Canada, the unrelenting Power/Melodic Death Metal squad known as Unleash The Archers has sharpened their arrows and hit the bullseye once again with their fifth full-length album, entitled Abyss. Featuring ten new tracks, this adventure is a concept album and a sequel to their 2017 masterpiece Apex, and was once again recorded with legendary producer Jacob Hansen of Hansen Studios in Denmark. Portraying another epic artwork, this time designed by Adam Burke (Nightjar Illustration), Abyss might not be as grandiose and breathtaking as Apex, something quite impossible to be done in my humble opinion, but it’s indeed a vibrant display of the band’s dexterity, their passion for Heavy Metal and their infinite creativity to bring forth a compelling storyline together with their music, proving why frontwoman Brittney Slayes, guitarists Grant Truesdell and Andrew Saunders, and drummer Scott Buchanan heave reached such high level of admiration and relevance all over the world, carving their spot in the hearts of all types of metalheads.

Smooth, serene guitar lines invite us all to join the band in their quest for metal in the opening tune Waking Dream, where Brittney already showcases all her vocal potency, gradually evolving into the epic title-track Abyss, with Grant and Andrew taking the lead with their crisp and strident riffs and solos. It will work beautifully when played live, blending their modern-day Power Metal with 80’s Glam Metal, I might say. Then again presenting an 80’s rockin’ vibe thanks to its background keys and classic beats we have Through Stars, sounding like it was taken from an old school Hard Rock album, being very pleasant while at the same time developing the story majestically told by Brittney, and when you think they’re going to slow down a little they come with an onrush of sounds titled Legacy, even bringing nuances of Black Metal added to their classic metal music. However, the music never really clicks, though, falling flat after a while (nothing to worry about, though).

In Return to Me the band brings forward a more progressive and groovier side, with Scott dictating the rhythm with his old school beats, resulting in another good composition by the quartet albeit a bit generic if compared to their older songs, whereas it’s with Soulbound that the party really starts, showcasing ass-kicking lyrics screamed by Brittney (“We race around the melted char of what was once a neutron star / And use the gravity to whip us into dark galactic rifts / Yet still somehow we can’t escape, they have no flaw, they feel no pain / These twisted shadows of the men I once condemned”) while Grant and Andrew are unstoppable with their axes in this ode to Heavy Metal. And get ready for another round of inspiring, metallic words (“Once more we’re flying fast as light / Dark matter passing in the night / Pursued by a force we can’t outrun / As we hurtle towards a dying sun / We maneuver through the remnants of a moon on the solar winds of supernovas / There is not a place to hide, the Matriarch is close behind, it’s plain to see she’s coming for us all”) in the superb Faster Than Light, bringing to our ears a stuninng Stratovarius-like feel (and an absolutely weird official video to our eyes, by the way), with all band members speeding things up and blasting sheer awesomeness for our total delectation.

After such intense tune, it’s time for a passionate performance by Brittney supported by her loyal bandmates in The Wind that Shapes the Land, with Grant and Andrew slashing our ears with their sharp riffage while Scott doesn’t stop hammering his drums throughout the song’s eight minutes of a top-of-the-line fusion of Melodic Death and Power Metal. Carry the Flame is another 80’s-inspired Hard Rock/Heavy Metal song showcasing a beautiful vocal duo between Brittney and Andrew, while Scott continues to bring the thunder to the music with his beats, all spiced up by some ass-kicking, soulful guitar solos. Lastly, in order to properly conclude the album the band brings to our ears the epic, symphonic and climatic Afterlife, a very detailed and dense composition where Brittney is once again flawless with her high-pitched, heroic vocals, accompanied by the galloping beats by Scott and the always flammable guitars by Grant and Andrew until the song’s serene and warm ending.

In a nutshell, as already mentioned, although Abyss is not on par with Apex, it will surely entertain all fans of the band while at the same time it puts a climatic conclusion to the overall story concept initiated with their 2017 album. Do not expect to listen to a new “The Matriarch”, “Call Me Immortal” or “Shadow Guide” in Abyss, but to brand new, unique compositions that have their place and purpose well defined by Unleash The Archers, and if you want to give their new album a shot you can stream it in full on Spotify or purchase a copy of it from several locations such as their own BandCamp page, Napalm Records, Apple Music, Amazon or indiemerchstore.com, among others. Also, don’t forget to follow Brittney and the boys on Facebook and on Instagram, getting up to date to all things related to one of the best metal bands of all time hailing from Canada. In the end, the Matriarch might eat our hearts while we fall into the abyss, but as long as that happens while we listen to the first-class metal blasted by Unleash The Archers, we can rest assured our souls will be free in the afterlife.

Best moments of the album: Through Stars, Soulbound, Faster Than Light and The Wind that Shapes the Land.

Worst moments of the album: Legacy and Return to Me.

Released in 2020 Napalm Records

Track listing
1. Waking Dream 3:45
2. Abyss 6:44
3. Through Stars 5:34
4. Legacy 5:26
5. Return to Me 5:34
6. Soulbound 3:54
7. Faster Than Light 5:11
8. The Wind that Shapes the Land 8:36
9. Carry the Flame 4:42
10. Afterlife 7:30

Band members
Brittney Slayes – vocals
Grant Truesdell – guitar
Andrew Saunders – guitar, harsh growls, additional vocals, synths
Scott Buchanan – drums

Guest musicians
Francesco Ferrini – orchestration on “Afterlife”
Ben Arscott – bass (session)

Album Review – Manticora / To Live to Kill to Live (2020)

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Let the Progressive Power and Thrash Metal by this Denmark-based unity mesmerize you during the 63 minutes of music found in the second part of their horror novel-inspired concept album.

Hvidovre, Denmark’s own Progressive Power/Thrash Metal unity Manticora is back in action in 2020 with their ninth full-length opus, entitled To Live to Kill to Live, the follow-up to the critically acclaimed To Kill to Live to Kill, released in 2018. This is the second part of a grandiose concept based on their 334-page horror novel (which by the way can be purchased HERE), mixed by Jacob Hansen (Primal Fear, U.D.O., Destruction) and featuring guest musicians form bands like Allegiance Reign, Defacing God and Withering Surface, all embraced by a comic book-inspired artwork by Danish artist David Troest. To Live to Kill to Live offers the listener 63 minutes of undisputed metal music, showcasing not only all the dexterity by frontman Lars F. Larsen, gutarists Kristian Larsen and Stefan Johansson, bassist Kasper Gram and drummer Lawrence Dinamarca, but also their creativity and precision in uniting Heavy Metal with a thrilling storytelling. “It all started out as a crazy and almost impossible idea… A book and two albums… I mean… come on? Today I’m so proud of the final result and I still can’t understand that we actually did it,” commented Kristian about the band’s newborn spawn, inviting us all to join them in this breathtaking adventure in the “Land of the Rising Sun”.

A cinematic intro ignites the 14-minute aria entitled Katana – The Moths and the Dragonflies/Katana – Mud, quickly exploding into modern and electrifying Heavy Metal where Lawrence is absolutely bestial on drums, sounding like a hybrid between the music by Trivium and Stratovarius, and with Kristian and Stefan delivering sheer stamina from their riffs and solos. Furthermore, the storyline progresses flawlessly together with the massive wall of sounds and all breaks and variations blasted by Manticora, building an instant connection with the Japanese-inspired bridge To Nanjing, bringing peace to our minds and soothing our souls before those Danish metallers explode our senses with the imposing The Farmer’s Tale, Pt. 3 – Eaten by the Beasts, where Kasper and Lawrence bring tons of groove and intricacy to the music while Lars keeps declaiming the song’s dark words in great fashion, not to mention the guitar duo’s wicked solos. Then it’s time for a Groove and Heavy Metal feast entitled Slaughter in the Desert Room, where both guitars and Kasper’s bass jabs generate a rumbling atmosphere perfect for Lars to fire more of his trademark vocals. In other words, this amazing song couldn’t have sounded bolder nor more epic than what it already is.

Following such insane composition, phantasmagorical keys give an extra touch of evil and darkness to Through the Eyes of the Killer – Filing Teeth, a true Metal Opera where Kristian and Stefan take the lead with their sinister guitars while Lawrence blasts sluggish, Doom Metal-inspired beats; followed by Katana – Death of the Meaning of Life, leaning towards classic Scandinavian Melodic Death and Power Metal and at the same time sounding as thunderous as it can be, with Lars giving a lesson in passion and feeling while his bandmates don’t stop crushing their instruments not even for a single second for our total delectation. And Tasered/Ice Cage is another explosion of modern-day Melodic Death Metal with both Kristian and Stefan kicking some serious ass with their strident, piercing guitar lines, always in absolute sync with Lawrence’s intricate beats.

Then serene, acoustic guitars intertwined with crisp riffs in a Dream Theater-ish style ignite the pleasant Goodbye Tina, keeping the album at a high level of adrenaline and with tons of harmony flowing from Lars’ vocal lines, before Manticora come ripping once again with Tasered/Removal, a heavy and rumbling tune where Kasper does a superb job with his metallic bass, being perfect for cracking your neck headbanging to their solid fusion of Groove and Power Metal; whereas the atmospheric instrumental bridge Stalin Strikes will expand your senses and gently flow into a Japanese-spoken narrative titled Ten Thousand Cold Nights, advancing the storyline into the closing tune Katana – Beheaded, sounding and feeling imposing and vibrant form the very first second, therefore putting a climatic end to the album with all band members being on fire, in special the band’s unstoppable guitar duo and the talented Lawrence, while Lars continues to give life to the story through his soaring vocals.

If you haven’t got in touch with the music by Manticora yet, go check what those Danish metallers are up to on Facebook and on Instagram, listen to more of their music (including the first part of the story released in 2018) on Spotify, and grab a copy of To Live to Kill to Live from their own BandCamp page, from the Sound Pollution webstore, from the ViciSolum Productions’ BandCamp page, from Apple Music or from Amazon. In summary, we must all admit Manticore have definitely outdone themselves in their new album, sounding tighter and even more melodic and incendiary than in their previous album, and concluding their epic Japanese saga on a high and utterly metallic note. After setting the bar so high with To Live to Kill to Live, what’s next for Manticora? Well, that’s something only time will tell, but until then we have a lot of high-end metal music to enjoy thanks to one of the best bands hailing from the Danish scene.

Best moments of the album: Katana – The Moths and the Dragonflies/Katana – Mud, Slaughter in the Desert Room and Katana – Death of the Meaning of Life.

Worst moments of the album: Goodbye Tina.

Released in 2020 ViciSolum Productions

Track listing
1. Katana – The Moths and the Dragonflies/Katana – Mud 14:40
2. To Nanjing 1:57
3. The Farmer’s Tale, Pt. 3 – Eaten by the Beasts 4:23
4. Slaughter in the Desert Room 6:11
5. Through the Eyes of the Killer – Filing Teeth 4:59
6. Katana – Death of the Meaning of Life 5:25
7. Tasered/Ice Cage 5:45
8. Goodbye Tina 5:54
9. Tasered/Removal 3:16
10. Stalin Strikes 2:36
11. Ten Thousand Cold Nights 0:51
12. Katana – Beheaded 7:26

Band members
Lars F. Larsen – vocals
Kristian Larsen – guitars
Stefan Johansson – guitars
Kasper Gram – bass
Lawrence Dinamarca – drums

Album Review – Pandemmy / Subversive Need (2020)

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A violent and primeval feast of Death and Thrash Metal by one of the most promising names of the Brazilian Northeastern metal scene.

Transitioning between the realms of Death and Thrash Metal just like several Brazilian bands from the 2000’s,  Recife, Pernambuco-based act Pandemmy have recently released their third full-length album, titled Subversive Need, recommended for fans of the aggressive and primeval sound blasted by renowned bands like Kreator, Sepultura, Carcass and Hypocrisy. Produced by the band’s own vocalist and guitarist Guilherme Silva and guitarist Pedro Valença, and featuring a classic artwork by Deafbird Design Lab, Subversive Need showcases an evolution in the sound of Pandemmy since their inception in 2009, offering the listener the same level of violence and heaviness while exhibiting a much more polished and professional overall production when compared to the previous efforts by Guilherme and Pedro together with their bandmates Marcelo Santa Fé on bass and Vitor Alves on drums, therefore positioning Pandemmy as one of the most promising names of the Brazilian Northeastern metal scene.

Raw and putrid from the very first second, the opening track Deforestation is an old school Death Metal tune led by the deep guttural roars by Guilherme, while Vitor alternates between doomed and visceral beats, setting the stage for the vicious Neohate and its in-your-face lyrics (“New legions ignore words of insanity / Blind hordes of prejudice and hypocrisy / Christians are enemies of their own god / Rotten rich and stupid elite who hates the poor / Your vote repeats the past / Your choice are lies that hurt / Neohate, old hate! / Generations alienate / Neohate, old hate! / We will fight, you shall fall”) while the band delivers sheer violence from their sonic weapons, with Guilherme and Pedro being on fire with their dirty Thrash Metal riffage. And they keep smashing our heads with their old school sonority in Free Mumia (A Panther In The Cage), where Guilherme, Pedro and guest Danilo Coimbra bring forth berserk riffs and solos while Vitor doesn’t stop crushing his drums in a solid fusion of Death and Thrash Metal.

Then eerie guitars are boosted by the rumbling bass by Marcelo in the heavy-as-hell Webchaos, a great option for slamming into the circle pit while the band generates a menacing atmosphere, also featuring the gruesome roars by guest Lohy Fabiano, whereas investing in a more frantic, thrashing sound the quartet pulverizes our ears in Xenophobia, showcasing an excellent job done by both guitarists while at the same time reminding me of some of the creations by bands like Slayer, Testament and Exodus. After such demented song, a somber intro morphs into the melodic, mid-tempo I Choose My Blood, where the guitars by Guilherme and Pedro sound truly lancinating, always supported by Marcelo and his menacing bass punches, and getting closer to the Melodic Death Metal played by Arch Enemy but with the band’s own Brazilian twist.

Terror Paranoia offers our avid ears another blast of their straightforward Death and Thrash Metal, with Vitor taking the lead with his vicious beats while Guilherme’s deep roars are nicely supported by his bandmates’ classic backing vocals. On the other hand, I’m not sure what their intention was in The Illusion Of Suffering, as they undoubtedly failed in their experiment  to mix harsh vocals with acoustic passages, sounding like a big mess in the end despite the fact their guitar lines are quite decent. Fortunately for all of us, Pandemmy get back to their boisterous mode in Charlottesville, bringing forward a demented sonority showcasing venomous growls, slashing riffs and pounding beats, clearly inspired by the horrible neo-Nazi movement that sadly put the city in the worldwide map of racism, with a final sinister and progressive jamming putting an end to such meaningful composition.

You can enjoy this feast of Thrash and Death Metal made in Brazil in its entirety on YouTube and on Spotify, but of course in order to show your true support to the underground scene you can purchase Subversive Need from Pandemmy’s own BandCamp page, from Apple Music or from Amazon, and also follow the band on Facebook, on Instagram and on YouTube. Guilherme, Pedro, Marcelo and Vitor still have a long road ahead of them to reach stardom in the world of heavy music, but we must admit they’re working hard and developing their own sound with each one of their releases, with Subversive Need giving us all a very good idea of what to expect from those Brazilian metallers from now on.

Best moments of the album: Free Mumia (A Panther In The Cage), Webchaos and I Choose My Blood.

Worst moments of the album: The Illusion Of Suffering.

Released in 2020 Independent

Track listing
1. Deforestation 2:19
2. Neohate 4:00
3. Free Mumia (A Panther In The Cage) 3:15
4. Webchaos 4:16
5. Xenophobia 5:17
6. I Choose My Blood 4:11
7. Terror Paranoia 3:20
8. The Illusion Of Suffering 1:40
9. Charlottesville 7:19

Band members
Guilherme Silva – vocals, guitars
Pedro Valença – guitars
Marcelo Santa Fé – bass
Vitor Alves – drums

Guest musicians
Danilo Coimbra – guitars on “Free Mumia (A Panther In The Cage)”
Lohy Fabiano – vocals on “Webchaos”

Album Review – Dethlehem / Maelstrom of the Emerald Dragon (2020)

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Raise your swords and enjoy this epic album of Melodic Death Metal that will make you want to bang your head while beating the living shit out of magical creatures.

Hailing from Ghorusalem (it’s actually Pittsburgh, a city in western Pennsylvania, in the United States, but please bear with us), the warriors of Dethlehem have traveled through time and space to fight against dragons, wizards, warlocks, leviathans, shape-shifters and a shit ton of other things that needed to die since their inception in 2008. Despite the gimmick, it would be a big mistake to think that Dethlehem’s sound is no more than a witless joke. Truth be told, once you enter their realm you’ll face some good and epic Melodic Death Metal, as the fourth full-length opus from this four-piece army formed by Brutalitus the BloodBeard on vocals, Paladin Bovice on the guitars, Ranger Grimshaw Longfellow on bass and Overlord Brom on drums, entitled Maelstrom of the Emerald Dragon, harnesses the spirit of old whilst drawing from the power of modern Death Metal, creating a multi-layered sound that becomes even more compelling if you go full Dungeons & Dragons with the “Story Mode” edition of the album. Featuring an original artwork by American artist Joe Mruk (Red Buffalo Illustration), Maelstrom of the Emerald Dragon presents a band that has truly stepped up their game, sounding tighter and more technical than ever, showcasing a more progressive take on Death Metal and covering a lot of ground on an album that will make you want to bang your head while beating the living shit out of magical creatures.

And the story begins with Prelude – As Fate Would Have It, where acoustic guitars permeate the air before all hell breaks loose in A Tale That Time Forgot, with all band members blasting ass-kicking Melodic Death Metal sounds led by the raspy roars by Brutalitus, also bringing forward some good breaks and variations, a considerable amount of progressiveness and endless epicness. Although I understand Interlude I – Cloud Megalopolis is the explanation to the beginning of the adventure, it’s way too lengthy for people like me who prefer music rather than talking, sounding like one of those frustrated Manowar interludes from their latest albums; however, back to what really matters, which is metal music, the quartet fires another berserk, groovy and heavy-as-hell tune titled Return to the Halls of Madness, where Overlord Brom does an amazing job pounding his drums with strength and fury accompanied by the scorching riffs by Paladin Bovice, and they keep smashing their instruments in Mind Flayer, where Paladin Bovice’s guitar lines walk hand in hand with the rumbling and groovy bass by Ranger Grimshaw Longfellow, also bringing an Iron Maiden-ish vibe to make things even more vibrant.

Interlude II – Task for the Bog Witch is another interlude to advance the storyline, shorter and more entertaining with a lot of special “characters”, setting the stage for Escape From Wolf Mountain, a lot heavier and also more metallic than its predecessors, with Brutalitus growling manically and, consequently, injecting more adrenaline to the story being told, while Overlord Brom fires classic, furious beats nonstop, followed by the also frantic Beware the Mimic, showcasing a flammable fusion of classic Death Metal with Epic and Melodic Death Metal where once again Paladin Bovice shreds his strings in great fashion, all spiced up by the song’s old school lyrics (“Terrorize / In the rivets and wood lives teeth and eyes / Biding time / Ready to strike and dissolve your insides / This quagmire in plain sight / The treasure it holds is…”). After another decent bridge titled Interlude III – A Ravenous Storm where the heroes interact with a couple of funny giants, it’s time for a brutal extravaganza titled On the Backs of Giants, with sheer epicness flowing from its lyrics (“We rode on the backs of giants through the snow / Making our way through fractured ice / This journey lumbers on”) while all band members craft another vibrant and dark ambience with their respective instruments.

Gelatinous Cube Labyrinth is perhaps the most modernized tune of the album, with its guitars and bass at the same time piercing your mind and punching you in the stomach, flirting with Progressive Death Metal while Paladin Bovice adds a touch of awesomeness to the overall result with his sick guitar solos, whereas Interlude IV – Welcome to Your Doom is obviously another interlude preparing the listener for the final chapter of the story, with our heroes facing a witch and a dragon in The Emerald Dragon, bringing to our avid ears over seven minutes of melodic passages, clean and harsh vocals, thunderous bass punches and crisp guitars, while Overlord Brom sounds absolutely mental on drums from start to finish, flowing smoothly until its epic conclusion and setting the tone for the outro Interlude V – Cyclical Past, putting an interesting conclusion to the album while making the heroes “aware” of “the listeners”, leaving us all eager for more of their fantasy stories. Well, as it’s mentioned during the outro, the story is “to be continued”, which means we’ll hear a lot more from those dauntless metal warriors in a not-so-distant future.

There are actually two versions of the album available, one with no theatrical interludes for those who just want the music, and the full experience presented in the form of the semi-cohesive story that intertwines with the musical tracks, as reviewed above. You can stream the simpler version with no interludes in full on Spotify or purchase it from the band’s own BandCamp page, from Apple Music or from Amazon, or you can prove yourself a true metalhead, grab your sword and shield, and buy the full Story Mode version of Maelstrom of the Emerald Dragon also from their BandCamp page. In addition, don’t forget to join Dethlehem in their quest for metal by following them on Facebook, on Instagram, and by subscribing to their YouTube channel, staying up to date with all things Dethlehem, knowing where their next battles (or live concerts, if you prefer) will happen, and getting useful tips on how to ride giants while fighting witches and dragons at the same time you listen to their crushing and modern extreme music.

Best moments of the album: A Tale That Time Forgot, Escape From Wolf Mountain and On the Backs of Giants.

Worst moments of the album: Interlude I – Cloud Megalopolis.

Released in 2020 Independent

Track listing
1. Prelude – As Fate Would Have It 1:53
2. A Tale That Time Forgot 6:00
3. Interlude I – Cloud Megalopolis 4:20
4. Return to the Halls of Madness 5:01
5. Mind Flayer 5:04
6. Interlude II – Task for the Bog Witch 1:53
7. Escape From Wolf Mountain 4:00
8. Beware the Mimic 5:52
9. Interlude III – A Ravenous Storm 1:56
10. On the Backs of Giants 4:54
11. Gelatinous Cube Labyrinth 5:06
12. Interlude IV – Welcome to Your Doom 3:39
13. The Emerald Dragon 7:36
14. Interlude V – Cyclical Past 1:36

Band members
Brutalitus the BloodBeard – vocals
Paladin Bovice – guitars
Ranger Grimshaw Longfellow – bass
Overlord Brom – drums

Guest musicians
Lord Bonecrush – narrator, boisterous witch, Overlord Brom, backing vocals
Dan Behrens – Magic Man Dan
Bridget Yeager – Veldras
Dan Gold – giant 1, giant 2
Leighann Calamera – valley girl witch
Doyle M. Daigle II – Nildorph
Jack – himself

Album Review – Nemesis / The War Is On (2020)

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Waging war on mankind, this all-female Melodic Death Metal unity from Serbia will pulverize your senses with their astonishing debut album.

If you’re a fan of female-fronted Melodic Death Metal and old school Death Metal bands the likes of Arch Enemy, The Agonist, Nervosa and Abnormality, you’ll undoubtedly have an absolute blast with Belgrade, Serbia-based all-female Melodic Death Metal unity Nemesis, who has recently released their debut full-length installment entitled The War Is On. Mixed, mastered and produced by Luka Matković at Citadela Sound Production, and featuring a modern artwork and a sharp design by Serbian artists Vladimir Milovanović and Branislav Crvenkovic, The War Is On offers us all a superb balance between sheer brutality and melodious passages, captivating our senses from start to finish and presenting all the ability and passion for heavy music by frontwoman Sanja Drča, guitarists Aleksandra Petrović and Tijana Milivojević, bassist Biljana Sovilj and drummer Selena Simić, therefore proving it might have taken a while for those unrelenting women to release their first album since their inception in 2013, but the final result is grandiose, vibrant and absolutely honest and fresh.

The quintet doesn’t waste a single second and begin their feast of extreme and melodic sounds in Wake Up, led by the razor-edge, heavy-as-hell riffs by Aleksandra and Tijana while Selena smashes her drum set with tons of rage and power, followed by Uprising, bringing forward thrashing lyrics growled by the talented she-wolf Sanja (“Do you see the fire that burns in our eyes / Give us the truth, stop feeding us with your lies / Time is for persecution / No more this mass confusion!”) supported by the Arch Enemy-inspired sounds form her bandmates in an awesome fusion of harmony and violence. And a dense and imposing ambience will put you to bang your head nonstop in Oppression, a Melodic Death Metal tune infused with the more visceral elements from Thrash and Death Metal with Sanja and Selena kicking some serious ass with their respective roars and thunderous beats, not to mention the beautiful groove brought forth by Biljana’s bass punches.

Once again showcasing the band’s unstoppable guitar duo firing their Michael Amott-inspired riffs and solos, the band brings forth Divine Retribution, with the additional vocals by guests Stefan Tomić and Milica Jovanov providing a phantasmagorical support to Sanja’s demonic screams, whereas in Living Dead People we’re treated to almost six minutes of ass-kicking Melodic Death Metal tailored for pulverizing our ears and minds with an insane amount of electricity and rebelliousness. Moreover, Biljana and Selena will shake the foundations of the earth with their rumbling bass and drums, making it impossible to stand still to such thrilling composition. And it’s time for more of their adrenaline-fueled metal music in the form of Savages, where Aleksandra and Tijana display all their skills and addiction to heavy music with their refined riffage, keeping the album at a humongous level of savagery for our vulgar delectation.

In Dead End we face grim, poetic lyrics darkly gnarled by Sanja (“I cannot hold it, I’ve had enough / Watching the world becoming rough / Headless beasts, stripped of the skin / New generation, new king!”), while Selena offers her heavy artillery on drums, being therefore perfect for cracking your neck headbanging, and less infernal and more melodious than the previous songs, Pandemonium has an obscure vibe that’s beautifully complemented by the stunning solos by Aleksandra, resulting in the epitome of modern-day Melodic Death Metal. Back to their trademark berserk mode, the girls pulverize everything and everyone with their endless groove, aggressiveness and dexterity in Born Worthless, with Selena dictating the pace with her vicious beats while the guitars sound truly venomous and piercing. And last but not least, the title-track The War Is On will fuel the listener with the utmost depiction of the band’s hellish musicality, sounding and feeling bold, dense and austere from start to finish, with Sanja providing our ears a lesson in female harsh growls.

This precious gem of contemporary extreme music made in Serbia can be streamed in its entirety on Spotify, but as usual you should obviously grab a copy of the album from the Grom Records website, from Amazon or from Discogs to show those skillful Serbian women your true respect and appreciation for their music. In addition, don’t forget to follow them on Facebook and on Instagram to keep up to date with all things Nemesis, including their tour dates, and to subscribe to their YouTube channel for more of their crushing music and apocalyptic videos. I honestly hope Nemesis can continue to pave their path of destruction with their Melodic Death Metal for the following years and even decades, going against all odds and crushing all the barriers and hassles they might find on their way due to the fact they’re a pure underground band. And if they succeed in their quest for metal, I’m sure we metalheads will all have some awesome reasons to smile and bang our heads to the sound of their sensational creations, just like what we can find in one of the best underground albums of the year, the breathtaking The War Is On.

Best moments of the album: Uprising, Oppression, Living Dead People and The War Is On.

Worst moments of the album: None.

Released in 2020 Grom Records

Track listing
1. Wake Up 3:07
2. Uprising 3:22
3. Oppression 3:28
4. Divine Retribution 3:55
5. Living Dead People 5:37
6. Savages 3:36
7. Dead End 3:51
8. Pandemonium 3:26
9. Born Worthless 3:52
10. The War Is On 4:06

Band members
Sanja Drča – vocals
Aleksandra Petrović – lead guitar
Tijana Milivojević – rhythm guitar
Biljana Sovilj – bass
Selena Simić – drums

Guest musicians
Stefan Tomić – additional vocals on “Divine Retribution”
Milica Jovanov – additional vocals on “Divine Retribution”