Tag Archives: melodic death metal

Album Review – Orecus / The Obliterationist (2021)

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Behold the rebirth of an amazing Swedish act armed with their first full-length album, drawing influences from the riff-focused modern-era Death Metal together with the aggression of its older counterpart.

Founded in 2011 in Stockholm, Sweden and having released an EP titled Conclusion in 2016, but re-ignited as a band in 2020, Melodic Death Metal unity Orecus draws influences from the riff-focused modern-era Death Metal together with the aggression of its older counterpart, forming a clear path between sheer brutality and clever songwriting. Comprised of Philip Grüning on vocals, Elias Ryen-Rafstedt and Francis Larsson on the guitars, and Martin Maxe on bass, Orecus are set to release their first full-length opus entitled The Obliterationist, showcasing the band’s capability to create uncompromising Modern Death Metal that both grooves and reeks havoc, spiced up by the pristine re-amping, mixing and mastering by Buster Odeholm of Impact Studios and enfolded by a dark and aggressive artwork by Jorden Haley, who has already worked with bands the likes of Daath and The Agony Scene.

Elias and Francis begin slashing their guitars mercilessly in The Obliterationist while Philip roars the song’s austere lyrics like a true beast (“There’s money to be made in reeking havoc / When our leaders slaughter for personal gain / Provoking the underdogs / Until their fates are sealed”) in a vicious display of modern-day Melodic Death Metal; and hammering drums are accompanied by the low-tuned, metallic bass by Martin in Distress Signal, a good headbanging tune where Philip’s growling gets deeper and more demonic than before, also presenting elements from classic Death and Groove Metal. Then investing in a more contemporary sonority by adding hints of Metalcore to their already infernal sound, the band fires the venomous The Destruction Path, where the strident riffage by Elias and Francis will pierce your mind like a bullet, whereas featuring guest vocalist Chad Kapper (Frontierer) we’re treated to Blodvite, displaying industrialized sounds and endless electricity flowing smoothly from all instruments. Moreover, it’s impressive how they can sound technical but at the same time extremely dark and heavy, and it’s time to crush our spinal cords into the circle pit to the sound of Omnipotent, a brutal Melodic Death Metal composition where sheer violence and rage exhale from the band’s riffs, bass jabs and drums nonstop.

Supported by the spot-on guest vocals by Fredrik Söderberg (Soreption), the bass by Martin sounds and feels beyond visceral in Below The Threshold, while the band’s guitar duo cuts our skin deep with their demonic shredding accompanied by Philip’s inhumane gnarls, and they continue their Melodic Death Metal onrush with the also heavy and dark Unborn, Reborn, showcasing an amazing job done by both Elias and Francis in absolute sync with the song’s intricate beats. Then the deep guttural roars by Philip will haunt your soul in the bludgeoning tune My Manifest, presenting their trademark Melodic Death Metal guitars intertwined with a somber atmosphere and endless savagery. In Become The Nihilist the band shows why they’re never tired of blasting obscurity and rage from their sonic weapons, albeit not as vibrant as its predecessors and sounding a bit generic after a while. It’s still heavy-as-hell, though, setting the tone for Extinct, bringing to our ears one last round of their Stygian words barked by Philip (“I’ve caught a glimpse of what’s to come / A sinking world / Suffocated by submissive views / The deafening silence speaks volumes”) while the music remains as demented as possible, not to mention how thunderous Martin sounds on bass.

The ruthless guys from Orecus are waiting for you on Facebook, on Instagram and on Spotify to show you exactly what they got, and of course in order to provide them your utmost support you can purchase The Obliterationist from their own BandCamp page, from Apple Music or from Amazon, adding such intense album of Melodic Death Metal to your personal and vile collection. As already mentioned, Orecus offer us fans of extreme music a fantastic fusion of old school and modern-day Death Metal with endless aggression, heaviness and intricacy in The Obliterationist, and let’s hope that their newborn spawn is just the first step in this new phase of their career, keeping the flames of underground Swedish Melodic Death Metal burning high and bright for many years to come.

Best moments of the album: The Obliterationist, The Destruction Path and Below The Threshold.

Worst moments of the album: Become The Nihilist.

Released in 2021 Violent Groove

Track listing
1. The Obliterationist 4:42
2. Distress Signal 3:23
3. The Destruction Path 4:08
4. Blodvite 3:32
5. Omnipotent 4:27
6. Below The Threshold 3:57
7. Unborn, Reborn 5:06
8. My Manifest 3:52
9. Become The Nihilist 3:39
10. Extinct 4:27

Band members
Philip Grüning – vocals
Elias Ryen-Rafstedt – guitars
Francis Larsson – guitars
Martin Maxe – bass

Guest musicians
Chad Kapper – vocals on “Blodvite”
Fredrik Söderberg – vocals on “Below The Threshold”

Album Review – Demon King / The Final Tyranny EP (2021)

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This newly formed demonic trio aims to be one of the reigning champs of the Death Metal world with their fulminating and very technical debut EP.

Formed in 2019 in the city of Nashville, Tennessee, in the United States, Blackened Death Metal outfit Demon King is the comeback project of prominent original Enfold Darkness guitarist Matt Brown after stepping away from playing music for a number of years, now joined by technical wizards Malcolm Pugh (Inferi, A Loathing Requiem, Entheos) on bass and Jack Blackburn (Inferi, Enfold Darkness, Vital Remains) on drums. Together, this incredibly talented trio aims to be one of the reigning champs of the Death Metal world in the coming years, starting their path of devastation with their debut EP titled The Final Tyranny. Mixed by Zack Ohren at Castle Ultimate Productions, mastered by Justin Shturtz at Sterling Sound, and displaying an infernal artwork by renowned artist Justin Abraham, The Final Tyranny is strongly recommended for fans of Abigor, Arsis, Dimmu Borgir, Naglfar, Necrophagist and Old Man’s Child, among many others, providing the listener 17 minutes of undisputed dexterity, violence and rage.

We must admit Blackened Death Metal always brings us amazing, poetic lyrics, which is exactly the case in the opening track Tyrannical Reign of the Deceiver (“For ages the world did hold the coming of one / Which would usher in the era of din / And the chieftains they called upon disorder as order / Their ally for the clasp within / Multitudes surrender to him as their god”), while Jack sounds like a stone crusher from hell on drums and Malcolm hammers his metallic bass nonstop, resulting in an explosion of sounds that’s as technical and infernal as it can be. Then a sinister intro will darken the skies before the trio comes ripping with their hard-hittingTechnical Death Metal in Invoking the Spirit of Chaos, where Matt not only roars like a demonic entity, but his hellish riffage adds an extra touch of dementia to the music; and it’s time for more lunacy in the form of Technical and Blackened Death Metal in Transmutation of the Artilect, with Malcolm and Jack being absolutely thunderous and menacing with their beats and bass jabs while Matt continues to gnarl and scream rabidly in a perfect fusion of intricacy and heaviness. Lastly, even more obscure than its predecessors, The Watcher, Wreathed In Flame is a ruthless display of modern-day aggressiveness and fury, with the demonic drums by Jack being beautifully supported by the demented strings by both Matt and Malcolm, not to mention how piercing Matt’s guitar solos sound and feel.

This short and sweet display of unrelenting Blackened Death Metal by Demon King is available for purchase by clicking HERE, or from other retailers such as Amazon and Record Store Day. Also, don’t forget to follow those insane metallers on Facebook and on Instagram, and to stream their sick creations on Spotify, showing your utmost support to this newborn force of the extreme music scene. Across its four dense tracks, The Final Tyranny deftly combines and shifts on a dime between Technical Death Metal, Black Metal, and Melodic Death Metal in order to create a sound of their own, also pointing to a very interesting future ahead of the trio and, therefore, inspiring fans of Death Metal from all over the world to keep slamming into the circle pit while Matt, Malcolm and Jack show us exactly what to do when armed with their sharp instruments and their blackened hearts and souls.

Best moments of the album: Tyrannical Reign of the Deceiver and Transmutation of the Artilect.

Worst moments of the album: None.

Released in 2021 The Artisan Era Records

Track listing
1. Tyrannical Reign of the Deceiver 3:51
2. Invoking the Spirit of Chaos 4:16
3. Transmutation of the Artilect 4:31
4. The Watcher, Wreathed In Flame 5:04

Band members
Matt Brown – vocals, guitars
Malcolm Pugh – bass
Jack Blackburn – drums

Album Review – Ablaze My Sorrow / Among Ashes and Monoliths (2021)

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One of the most exciting forces of the Swedish Melodic Death Metal scene returns with their fifth full-length album, ready to kill once again with their visceral and aggressive music.

A familiar name in the Melodic Death Metal arena, Falkenberg, Halland-based outfit Ablaze My Sorrow came together in 1993 when Gothenburg, Sweden’s own brand of Death Metal had just begun to take shape, unfortunately splitting up in 2006. However, in 2013 their long-awaited reunion happened, and since this rebirth the quintet released their fourth album, Black, and played a slew of memorable gigs and fests. Now in 2021, after four years of incubation, Ablaze My Sorrow are ready to unleash upon us all their fifth full-length album, entitled Among Ashes and Monoliths, highly recommended for fans of the music by At The Gates, Dark Tranquility and In Flames, among others. Mixed and mastered by Ulf Blomberg at HoboRec/The End Studios, and featuring a classic cover artwork by Algerian artist Mustapha Haraoui (Mustapha Design DZ), Among Ashes and Monoliths is the band’s first-ever record with new vocalist Jonas Udd, whose aggressive rasp fits this passionate band to perfection, while the other members, those being Magnus Carlsson and Dennie Lindén on the guitars, Anders Brorsson on bass and Alex Kribensten on drums, return intact from their previous releases and are ready to kill once again with their visceral Melodic Death Metal.

In the atmospheric and dark opening track My Sorrow, Magnus and Dennie provide their welcome card from the very first second with their slashing riffs, exploding into Scandinavian Melodic Death Metal for diehard fans of the style, followed by the title-track Among Ashes and Monoliths, where Alex hammers his drum set mercilessly providing Jonas all he needs to shine with his enraged roars, also presenting elements from old school Black Metal in an amazing depiction of what the band is capable of. Then an introspective beginning showcasing clean, anguished vocals evolves into the obscure Black Waters, where the guitars by Magnus and Dennie cry in pain from start to finish while Anders and Alex add their share of heaviness to their core sonority; and more of their classic Melodic Death Metal is offered in Grit, with all band members extracting sheer adrenaline and violence from their sonic weapons, all spearheaded by the venomous growling by Jonas. After that, a melodious rhythm spiced up by Anders’ metallic bass punches will inspire you to bang your head with the band in Her Cold Embrace, where Jonas gets the sensational and stunning support of guest vocalist Jonna Enckell; whereas leaning towards old school Death Metal, the band puts the pedal to the metal and decimates our ears with At the Graves of Giants, with the demonic gnarls by Jonas walking hand in hand with the blast beats by Alex.

Dark Chasms brings forward another round of their vicious and aggressive Melodic Death Metal, with the band’s guitar duo extracting rage, pain and electricity form their strings accompanied by the rumbling bass by Anders, and an eerie, wicked intro ignites the In Flames-inspired tune titled The Cavernous Deep, presenting more of Jonas’ clean vocals while the instrumental pieces keep the ambience as dark and heavy as it can be. Then violence and obscurity continue to flow from their music in Nonexistence, exhibiting hints of Thrash Metal carefully added to their core sound and spearheaded by the sharp riffage by Magnus and Dennie, consequently inviting us all to slam into the pit together with the band, whereas somber sounds permeate the air in the instrumental interlude March of the Eldricht Spawn, setting the stage for Ablaze My Sorrow to come crushing once again in The Day I Die, a solid Melodic Death Metal tune showcasing all elements we learned to love in this type of music, including harsh growls intertwined with clean vocals, smashing drums and epic and frantic riffs and solos. Lastly, we have Frihet Framför Feghet, which is Swedish for “freedom over cowardice”, a bestial, hellish creation by the quintet with guest Ulf Blomberg bringing his share of dementia to the band’s sick music, sounding perfect for jumping up and down with those Swedish metallers and cracking our necks headbanging nonstop.

If Melodic Death Metal is your business, and business is good, you should definitely go check what the guys form Ablaze My Sorrow are up to on Facebook and on Instagram, stream their full catalog on Spotify, and purchase your favorite version of Among Ashes and Monoliths by clicking HERE. In the end, despite the ups and downs faced by the band through the years, and by that I mean the fact they ended up splitting up in 2006 and going on a hiatus for seven long years before reuniting in 2013, it doesn’t look and feel at all that the band didn’t “exist” during that period due to the high quality and energy found in their new album, proving those guys are back for good and hungrier than ever for more, strengthening their name as one of the driving forces of contemporary Swedish Melodic Death Metal and, therefore, providing us fans all we need to bang our heads and raise our horns in support of underground Swedish metal music.

Best moments of the album: Among Ashes and Monoliths, Her Cold Embrace, At the Graves of Giants and Frihet Framför Feghet.

Worst moments of the album: My Sorrow and The Cavernous Deep.

Released in 2021 Black Lion Records

Track listing
1. My Sorrow 4:30
2. Among Ashes and Monoliths 4:11
3. Black Waters 3:47
4. Grit 3:39
5. Her Cold Embrace 4:55
6. At the Graves of Giants 4:43
7. Dark Chasms 4:15
8. The Cavernous Deep 4:44
9. Nonexistence 3:45
10. March of the Eldricht Spawn 1:40
11. The Day I Die 3:17
12. Frihet Framför Feghet 3:41

Band members
Jonas Udd – vocals
Magnus Carlsson – guitars
Dennie Lindén – guitars
Anders Brorsson – bass
Alex Kribensten – drums

Guest musicians
Ulf Blomberg – additional vocals on “Frihet Framför Feghet”
Jonna Enckell – additional vocals on “Her Cold Embrace”

Metal Chick of the Month – Britta Görtz

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Follow me into the fire!

In times of turbulence, violence, uncertainty, hope and despair, perhaps the best subgenre of metal music to help us express all those feelings mixed together is our good old Death Metal, and in order to do that here at The Headbanging Moose let’s pay a humble tribute to a ferocious woman hailing from Germany that roars and growls with tons of passion when fronting her ass-kicking underground squads. Born on October 20, 1977 in Hannover, the capital and largest city of the German state of Lower Saxony, the unrelenting Extreme Metal vocalist, lyricist, songwriter and vocal coach Britta Görtz has been making a name for herself in the German and international scene with her potent guttural vocals since around 2005, standing out as the frontwoman for Thrash Metal act Cripper and more recently for Death Metal squads Critical Mess and Hiraes. Having said that, are you ready to bang your head and slam into the circle pit together with such talented growler?

Let’s kick off our tribute to Britta with her main band at the moment, the ruthless Death Metal horde known as Critical Mess, a Hannover-based act formed in 2012 that has already released two full-length albums so far in their career, those being Human Præy in 2018 and Man Made Machine Made Man in 2019, as well as the EP Zombie Apocoverlypse in 2020, all with Britta responsible for the vocal duties. After the band’s inception in 2012 they underwent many changes in lineup and writing styles until Britta replaced former vocalist Simon Körber in 2016, helping her bandmates Marco Schauff and Marco “Elmo” Evers on the guitars, Lommer Wiesener on bass and Benny Komatitsch on drums establish themselves and quickly finding their own, unique sound and style, always true to the familiar and beloved sound of old school Death Metal that they had all grown up with. Bringing forward crushing riffs, insane vocals, fierce harmonies and drum chops that put any industrial slaughterhouse soundscape to shame, Critical Mess have already shared the stage with insane acts the likes of Six Feet Under and Hatesphere, having also played in some of the most important festivals in the world like Wacken Open Air and Metaldays.

In case you’ve never heard any of the wicked creations by Critical Mess until today, you can stream all of their albums and songs on Spotify and enjoy their official videos on their YouTube channel, including the awesome videos for the songs Feasting, Into Oblivion, Cut The Cord, Pansperm; the song Echo live at Wacken Open Air 2019; live-recordings of the songs Gluttony (for the Apes Enraged Re-Live Online Festival) and Preacher of Lies (for Godslaves “Access All Areas” Online Festival), both recorded in their band practice room in Hannover; and a special video dedicated to their fans for the song Demise, from conception to stage. However, if you think Critical Mess are only brutality and rage, you must check their insane cover versions for the songs Everybody (Backstreet’s Back), by the infamous Backstreet Boys, Remmidemmi (Yippie Yippie Yeah), by Hamburg’s own Hip-Hop/Electro band Deichkind, and my favorite one Blinding Lights, by The Weeknd, all as seen on the German television show Halloween Gamenight with Luke Mockridge, which aired during last year’s Halloween. Britta is flawless on all three songs, but what she does in “Blinding Lights” is beyond awesome I must say.

Our skillful growler is also involved in a brand new project named Hiraes, a Melodic Death Metal band formed in 2020 that combines the full force of all four instrumentalists from Dawn Of Disease, those being Lukas Kerk, Oliver Kirchner, Christian Wösten and Mathias Blässe, with the powerful vocals by Britta in order to create an exciting new melodic death emergence. Currently, Hiraes are working on their debut album, which will certainly be highly recommended for fans of the Scandinavian madness brought forth by renowned acts the likes of Insomnium, At The Gates, Arch Enemy and Amon Amarth, pointing to a very interesting path ahead of Britta, therefore allowing her to showcase all her vocal range and potency outside of the purely Death Metal style she’s used to with Critical Mess. I honestly can’t wait to see what she’ll be able to do when venturing through more melodic realms, and let’s hope this never-ending pandemic doesn’t stop Britta and her henchmen from releasing new, vibrant music for all of us metalheads in a not-so-distant future.

Of course, we cannot talk about Britta and her pulverizing vocals without talking about the band that launched her to stardom in the metal community. I’m talking about German Death and Thrash Metal platoon Cripper, formed in 2005 in Hannover, with whom she recorded the EP Killer Escort Service in 2006, followed by the full-length albums Freak Inside (2007), Devil Reveals (2009), Antagonist (2012), Hyëna (2014) and Follow Me: Kill! (2017), with the last two being available on their BandCamp page, and all of them on Spotify. Hence, you can also visit their YouTube channel for official videos, interviews, unboxing of their albums and tons of other amazing footage from this hard-hitting band that unfortunately split up in 2018. Having toured with renowned acts like Overkill and Onslaught, in addition to repeat performances at major European festivals the likes of Summer Breeze, Wacken Rocks, Metalfest and Rockharz Open Air, Cripper effectively converted fans to their cause with their riveting mix of old school and modern thrash, as you can see in the official videos for the songs Animal Of Prey, Mother, Into the Fire, Tourniquet, Pressure, Totmann, A Dime For The Establishment, Shortcut, God Spoken Prayer/Cocoon and Damocles, as well as in their infernal live performances at Rock Im Betonwerk in 2012, at Metaldays in 2014 and at Wacken Open Air in 2016. As you might have noticed, when Critical Mess were formed, Britta was still singing for Cripper, but according to Britta herself it wasn’t difficult at all to manage both bands at the same time. “The two bands feel completely different,” she commented at that time, complementing by saying that “lyrically, Cripper is more expressive, while Critical Mess has so far been more storytelling.”

You can also find Britta screaming and roaring like a true she-wolf in several distinct bands and projects, where she was able to add her own share of violence and creativity to their music. For instance, you can enjoy Britta’s unique guttural vocals in the song My Abomination, from the album ED, released in 2020 by German Death Metal act Corrosive; in the song Into Darkness, from the 2014 album Drone, by German Groove Metal/Metalcore unity Drone; in the song Children of the Pit, from the 2016 album Welcome to the Green Zone, by German Thrash Metal squad Godslave; and doing backing vocals in the 2009 album Marauders, by German Death/Thrash Metal act Lost World Order. Not only that, Britta also showcased her skills as a photographer in the 2007 album Hate Is the Law, by German Death Metal band Ancient Existence.

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Regarding her influences, idols and first experiences in music, Britta has a very eclectic and wide range of musicians and bands that she admires. For instance, she said the first-ever concert in her life was back in 1990 in the small town of Seelze, where she grew up, of German Pop Rock band Die Prinzen; her first record was one containing the hit Bruttosozialprodukt, released in the 80’s by Neue Deutsche Welle group Geier Sturzflug; the first CD she bought herself was a live album by Guns N’ Roses (at the same time she bought her first CD player); and she would love to share the stage with the one and only Mike Patton, especially if it’s with his insane cult band Fantômas, which is quite easy to understand why as Mr. Patton is indeed one of the most talented, one of the wildest and one of the most creative vocalists ever. Also, on a side note, if you think Britta makes any distinction between male and female vocalists, or if she cares about the term “female-fronted metal”, she thinks that’s a stupid and very sexist concept, saying that she got tired of it right after her first interview where questions about her being a girl in a Death Metal band started to come up. Having said that, let’s simply stop asking that type of question when interviewing Britta, sounds good?

As mentioned, Britta has already been in several different festivals with all of her bands like the unparalleled holy land of metal music Wacken Open Air, having toured extensively across the entire European continent as well as being part of renowned and innovative events such as being aboard 70,000 Tons of Metal, saying the vibe in each one of those unique events might be different due to the number of people that attend each one, the ticket prices, the age of the fans and so on, but that in the end it’s always a pleasure for her to show her music and art to all types of metalheads. She also said that whenever someone can’t believe how powerful and aggressive her guttural vocals are when seeing he live for the first time, that doesn’t really amuse her as she thinks if you’re a true metal fan you’re already used to women growling for ages. In addition, she mentioned in one of her interviews that she dreams of touring around South America, as (unfortunately) she’s never been there and she would love to experience all South American countries as a touring band, immersing herself in each local youth and music culture.

All that recording, touring and screaming can be extremely strenuous on one’s vocal chords, demanding a lot from the singer, and of course it couldn’t be any different with Britta. She mentioned that there are some warmup exercises she does prior to each show, such as humming and singing some scales, saying that those aren’t only important for her  vocal cords, but they also serve as a ritual to prepare herself mentally for hitting the stage, working at the same time as physical and mental warmups. In addition, our talented growler also listed lots of sleep and lots of water as necessary methods for anyone’s vocals to stay in shape, balancing her partying and avoiding drinking too much alcohol, working out regularly and eating healthy, fresh food (without stressing too much about that). If you want to have a one-hour online lesson (or even a face-to-face one after this pandemic is finally over) in growling, shouting and screaming with Britta, you can visit the LCHQ Online Shop and purchase a vocal coaching voucher, hiring her services to provide you some useful tips, teach you new techniques and warmups, and anything else related to guttural singing, and coming from such talented singer like Britta that’s definitely worth the investment.

Last but not least, Britta has a very strong opinion on populism and the tensions we’ve been experiencing worldwide, saying that it doesn’t matter which perspective you take, be it the way the media reports it or how the reporting is perceived, the desire for security paired with the abandonment of freedom, or the contribution that the so-called “western world” makes to all of this, in the end the situation is pretty tricky, leading people to think they have simple solutions to complex problems. There are countless interviews online with Britta where you can know more about her as a person, as an artist, her opinions, her likes and dislikes and so on, such as this one to Mama Goes Wacken where she talks about her passion for chocolate (among other topics, of course),  this one to The Metal Gods Meltdown where she discusses the decision of Cripper to call it quits, this one to Rock Titan and this one to DJ Vampire talking about Cripper, and this one to Metal & High Heels when they played at FEMME (Female Metal Event). As you can see, Britta is an extremely talented musician with an open heart and an open mind, always willing to share her ideas, experiences and opinions with her fans and, more important than that, always ready to scream and roar in the name of our good old Death Metal.

Britta Görtz’s Official Facebook page
Britta Görtz’s Official Instagram
Critical Mess’ Official Facebook page
Critical Mess’ Official Instagram
Critical Mess’ Official YouTube channel

“I never thought ‘oh look at what she is doing, a girl in a heavy metal, that’s what I wanna do, too’. What got me to wanting to play in a band was probably that I thought it was a good way for me to express myself and at the same time channel my energy. Energetic live shows no matter of which genre attract me. Shows where you can feel the electricity in the air, where it kicks your butt and really grabs you. I am trying to find a certain kind of flow on stage and to share my energy with the fans. That’s not easy, cause it is nothing that you can create every time, but that’s what I am aiming for.” – Britta Görtz

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2020

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“Rock stars come and go. Musicians play until they die.” – Eddie Van Halen

What can I say about the year of 2020? No words can describe all the pain, fear, anxiety, losses and struggles we all had to endure during what’s going to be sadly remembered as the worst year of our modern times. We saw the rise of coronavirus, which had a huge negative impact on pretty much everything and everyone we know, with millions of hardworking people unfortunately losing their jobs, concerts being cancelled, restaurants and other businesses being shut down, people getting stuck in their homes and having to deal with psychological issues like depression, and more important than that, with countless lives, and in some cases people really close to us, people we love, losing their battle against such horrible disease. We also witnessed a gut-wrenching surge in racism against black people all over the world, and the importance of the Black Lives Matter movement in the never-ending fight for freedom and justice, trying to make our world a better place for everyone. And last but not least, we lost so many iconic figures it’s hard to list everyone without crying a little. We lost sports titans such as Kobe Bryant, Diego Maradona and Paolo Rossi, amazing, talented actors and actresses including our beloved “Black Panther” Chadwick Boseman, the original “Darth Vader” David Prowse and the unstoppable Mad Max’s villain “Immortal Joe” Hugh Keays-Byrne, and music geniuses like Rush’s unparalleled Neil Peart and one of the best and most revolutionary guitarists of all time, the one and only Eddie Van Halen. May their souls rest in peace.

However, although we might be living such difficult and stressful times, there’s a light at the end of the tunnel with the development of effective vaccines that will certainly put our society back on track sooner than later, giving us all some hope and pointing to a much better future for all of us. In the meantime, I guess one thing that we metalheads have been doing (and will always do) throughout such shitty year is using the music we love to face all of our problems and fears with our heads and horns high in the sky, never giving up nor giving in. Having said that, I’ll leave you with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2020, excluding EP’s, best of’s and live albums, showing to us all that it doesn’t matter what happens with the world, heavy music will always stand strong. From the most primeval form of Black Metal to fast and electrifying Power Metal, from a beyond amazing soaring numbers of women kicking ass in an array of styles such as Doom, Symphonic and Death Metal to the most underground Atmospheric Black Metal entities you can think of, from our good old Rock N’ Roll to modern-day Alternative Metal, music prevailed above darkness, pain and hate, and that’s how it will be forever and ever. Enjoy our list of top metal albums for this (terrible) year that’s coming to an end, and let’s keep raising our horns and banging our heads together in 2021!

1. Primal Fear – Metal Commando (REVIEW)
Join Primal Fear’s undisputed rock brigade and become a true metal commando to the sound of their breathtaking new album.
Best song of the album: Infinity

2. Trivium – What The Dead Men Say (REVIEW)
It’s time to listen to what these four (un)dead men from Orlando, Florida have to say in their thrilling new opus.
Best song of the album: Amongst the Shadows & the Stones

3. Testament – Titans Of Creation (REVIEW)
The titans of Thrash Metal are back in action with another technical, melodic and absolutely pulverizing album of extreme music.
Best song of the album: Night of the Witch

4. Lamb of God – Lamb of God (REVIEW)
Re-energized and unrelenting, Lamb of God are finally back after five years with their pulverizing eighth studio album.
Best song of the album: Gears

5. Sepultura – Quadra (REVIEW)
A sensational concept album based on Quadrivium embraced by a fusion of Thrash, Groove and Progressive Metal.
Best song of the album: Guardians of Earth

6. Onslaught – Generation Antichrist (REVIEW)
These UK veterans are ready to set the world on fire once again with one of the most ferocious Thrash Metal albums of the year.
Best song of the album: Religiousuicide

7. Ecclesia – De Ecclesiæ Universalis (REVIEW)
This army of French inquisitors stands strong on their crusade against every doom heretic with their incendiary debut album.
Best song of the album: Antichristus

8. Eleine – Dancing In Hell (REVIEW)
Time for us all to dance in the fires of hell to the sound of the striking new opus by this unstoppable Swedish Symphonic Metal group.
Best song of the album: Where Your Rotting Corpse Lie (W.Y.R.C.L.)

9. Grave Digger – Fields of Blood (REVIEW)
Grave Digger celebrate 40 years of their undisputed Heavy Metal on a journey back to the vastness of the Scottish Highlands.
Best song of the album: Freedom

10. Konvent – Puritan Masochism (REVIEW)
A dark, primeval and stunning fusion of Death and Doom Metal masterfully crafted by four unrelenting women hailing from Denmark.
Best song of the album: Puritan Masochism

And here we have the runner-ups, completing the top 20 for the year:

11. Genus Ordinis Dei – Glare of Deliverance (REVIEW)
12. Paradise Lost – Obsidian (REVIEW)
13. Axel Rudi Pell – Sign of the Times (REVIEW)
14. Raventale – Planetarium II (REVIEW)
15. Hellsmoke – 2020 (REVIEW)
16. My Dying Bride – The Ghost Of Orion (REVIEW)
17. Burning Witches – Dance with the Devil (REVIEW)
18. Naglfar – Cerecloth (REVIEW)
19. Scarlet Aura – Stormbreaker (REVIEW)
20. Thundermother – Heat Wave (REVIEW)

And how about we also pay a tribute to the bands that released short and sweet albums that condensed pretty much the same amount of electricity, rage and intricacy than any of the full-length albums from the list above? That’s why we’re also going to provide you as usual our Top 10 EP’s of 2020 for you to see that size doesn’t really matter.

1. Front – Antichrist Militia (REVIEW)
2. Malfested – Shallow Graves (REVIEW)
3. Tøronto – Under Siege (REVIEW)
4. Soul Dissolution – Winter Contemplations (REVIEW)
5. Lutharö – Wings of Agony (REVIEW)
6. Póstuma – Moralis (REVIEW)
7. Black Sun – Silent Enemy (REVIEW)
8. MĀRA – Self​-​Destruct. Survive. Thrive! (REVIEW)
9. Serocs – Vore (REVIEW)
10. Invocation – Attunement to Death (REVIEW)

Do you agree with our list? What are your top 10 albums of 2020? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show! And if you lost some or most of our special editions of The Headbanging Moose Show, including our Top 20 Underground Albums of 2020 – Parts I and II, go to our Mixcloud page and there you have hours and hours of the best of the independent scene, sounds good?

Metal Xmas and a Headbanging New Year! See you in 2021!

And before we go, let’s bang our heads one last time in 2020 with a classic Christmas song by an amazing Romanian band that loves Heavy Metal from the bottom of their hearts, pointing to much better times ahead for all of us! Enjoy!

Album Review – Mikaela / Nocturne In Red (2020)

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Succumb to the dark and personal fusion of Metalcore, Deathcore, Progressive and Nu Metal by one of the most prominent voices of the Maltese metal scene in her debut solo album.

A few months after leaving her previous band MartYrium due to personal issues with the other band members, Maltese metal goddess Mikaela Attard is unleashing upon humanity under her newborn Metalcore solo project Mikaela her debut opus entitled Nocturne In Red, featuring guitarist and bassist Kyle Farrugia (from Maltese Active Metal band Align the Tide) and drummer Marco Minnemann as her loyal henchmen throughout the entire album. Written and produced by Mikaela herself, and mixed and mastered by Tue Madsen at Antfarm Studio, the pivotal concept behind Nocturne In Red highlights subjects surrounding personal experiences and states of the mind, but according to Mikaela it is up to the listener and viewer to perceive them on how it’s relative to their lives. Not only that, the album also provides an incendiary mixture of Metalcore, Deathcore, Progressive and Nu Metal, and even nuances of Black and Death Metal, all spiced up by Miakela’s native language Maltese carefully added to some of the tracks from the album, being therefore recommended for fans of the music by Pantera, Godsmack, Mastodon and Lamb Of God, among several others.

The cinematic and creepy intro Into a New Hell opens the gates of the underworld for the she-demon Mikaela to stun us all in Bring Me Blood, showcasing darkly poetic lyrics declaimed by Mikaela (“I flew high on black wings when death looked me closer in the eye / I may have pushed up daisies before, I gasped and wanted more / Now, hell came to me to show you what I see / The blade won’t reign on me, you sick fuck, it ends when you can’t breathe”) embraced by the solid fusion of Metalcore and Deathcore blasted by Kyle and Marco. And her insanity in the form of music keeps flowing nonstop in the also heavy and groovy Chaotic Mind, once again presenting psychological lyrics growled by our talented diva (“A whisper of existence / A face wrapped in maleficent greed / Silence even grins at you / Delusion creeps in the lies let lose”), smashing drums by Marco and Groove Metal-inspired riffs and bass punches by Kyle; followed by Disenthralled, highly recommended for fans of the demented music by Slipknot and Jinjer, where Mikaela is on fire with both her violent roars and strident clean vocals, and with the riffage and solos by Kyle sounding even more piercing than before. Then it’s time to break your neck headbanging to the venomous Alternative Metal hymn Nightmare, with Mikaela’s growling ranging from deep guttural to hellish gnarls while Marco brings his dosage of heaviness with his progressive beats.

In Death Dance we face more of Kyle’s metallic, rumbling bass jabs accompanied by Marco’s smashing drums and the mesmerizing vocals by Mikaela, blending elements from Metalcore with Melodic Death and Groove Metal, albeit going on for a bit too long, though, whereas Abyss is a piano-infused dark ballad by Mikaela where the sharp guitars by Kyle walk hand in hand with her passionate vocal performance, sounding very personal, epic and obscure from start to finish and presenting a unique and captivating side of our banshee. Back to her beastly she-wolf mode, our dauntless diva of darkness and her henchmen will penetrate deep inside our psyche once again with the Metalcore extravaganza titled Enthalpy Rage, feeling like an electrifying fusion of the current music played by Arch Enemy with modern-day Deathcore, while Ophidian’s Whisper is another solid composition by the trio with Marco dictating the pace with his infernal and intricate drumming, and with Mikaela once again alternating between demonic screams and melodious clean lines. And lastly, we’re treated to a sinister atmosphere embellished by a melancholic piano and the gorgeous voice by Mikaela, morphing into one final metal attack titled Room Hell, with both Marco and Kyle being on absolute fire with their sonic weapons, providing all Mikaela needs to shine on vocals and, consequently, ending the album in a truly devilish way.

Mikaela’s musical journey to hell and back can be appreciated in its entirety on Spotify and on Deezer, but of course you should purchase a copy of such amazing album of modern-day Metalcore from her own webstore, from Apple Music or from Amazon, also showing your support to one of Malta’s most prominent names in metal music by following her on Facebook and on Instagram, and by subscribing to her YouTube channel for more of her darkly enchanting official videos. Nocturne In Red is a very personal album by Mikaela that will undoubtedly please all fans of Metalcore, Deathcore and all related styles, showing us all the darkest side of such talented artist while at the same time adding the charming Republic of Malta to the worldwide map of contemporary metal music.

Best moments of the album: Bring Me Blood, Disenthralled and Enthalpy Rage.

Worst moments of the album: Death Dance.

Released in 2020 Independent

Track listing
1. Into a New Hell – Intro 2:29
2. Bring Me Blood 4:25
3. Chaotic Mind 4:35
4. Disenthralled 5:44
5. Nightmare 6:37
6. Death Dance 6:20
7. Abyss 4:56
8. Enthalpy Rage 4:41
9. Ophidian’s Whisper 5:23
10. Room Hell 5:00

Band members
Mikaela Attard – vocals

Guest musicians
Kyle Farrugia – guitars, bass
Marco Minnemann – drums

Album Review – Dormanth / Complete Downfall (2020)

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This already prominent band from the Spanish underground scene returns with the perfect soundtrack for mankind’s downfall, continuing with their traditional style of Melodic Death Metal.

Two years and a few lineup changes after the release of their highly acclaimed 2018 album IX Sins, Bilbao, Spain-based Melodic Doom/Death Metal outfit Dormanth returns to the battlefield with their fourth full-length opus titled Complete Downfall, featuring 11 songs where double bass drums, melodies and catchy choruses prevail in many of the songs along with other mid-tempo tunes, continuing with their traditional style of Melodic Death Metal influenced by bands like Paradise Lost, Amorphis, Amon Amarth, In Flames and Insomnium. Produced, mixed and mastered by Pedro J. Monge at Chromaticity Studios, and displaying a stylish cover art by The Blind Gallery, the album represents another step forward in the career of the band now formed by vocalist and guitarist Oscar Del Val, guitarist Jokin Andrés, bassist Isma Fernández and drummer Javi Martínez.

Javi begins hammering our heads with his vicious beats in the doomed and melodic opening tune Dreamcatcher, before Oscar comes ripping with his deep guttural growls and sick riffs in a first-class lecture in Melodic Death Metal as Dormanth’s welcome card, whereas Fire is another classic creation by the quartet, living up to the legacy of the genre and loyal to their own roots, with Oscar and Jokin being spot-on with their melodious guitars supported by the metallic bass by Isma. Tragicomic Day is as melodic and thrilling as its predecessors, with Oscar roaring in a beyond infernal way accompanied by the traditional drums by Javi, inspiring us all to break our necks headbanging like true bastards, and speeding things up and sounding more vicious than before they offer us all Beyond the Gates, sounding like the early days of Arch Enemy at times and with the riffs and solos by Oscar and Jokin feeling sharper than a razor blade. And in Odyssey in Time we’re treated to a no shenanigans, no bullshit fusion of Death and Doom Metal by Dormanth that will put all fans of heavy music to raise their horns high, with Javi once again showcasing an amazing performance behind his drums.

Galloping bass and drums set the pace in the also harmonious extravaganza The Origin, where the strident guitars by Oscar and Jokin bring a touch of finesse to the overall result, whereas slashing riffs are boosted by endless fury in the excellent Dark Times for the God’s Creation, spearheaded by Oscar’s demented roars and leaning towards a more epic version of Death Metal the likes of Unleashed. Then in the instrumental bridge -273° K enfolding guitars permeate the air before Dormanth kick ass once again with Brainstorm, where the band invites us all to keep banging our heads to their demolishing but very melodic music, also presenting interesting breaks and variations until its crushing finale. And the band puts the pedal to the metal in the Black Metal-ish Crystal Bone, with all band members sounding extremely sharp and focused, specially Javi with his venomous beats and fills, being therefore recommended for diehard fans of Melodic Death and Black Metal. Lastly, it’s time for Dormanth to go full Doom Metal in Bloody Scars, sounding and feeling sluggish and vile from start to finish, with Oscar being even more deranged and infuriated on vocals than before, and the atmosphere remains dark, menacing and grim until the very end.

Dormanth are eager to unleash all the darkness and fury from their first-class new album upon us all sooner than you can imagine, and while we wait for their doomed tempest we can keep an eye on their Facebook page and Instagram for news, tour dates and other nice-to-know details about such talented Spanish squad, and purchase a copy of Complete downfall from their own BandCamp page, as well as from Xtreem Music’s BandCamp page or webstore. As the complete downfall of mankind gets closer and closer, Dormanth are among us to provide our avid ears the perfect soundtrack for our doomsday, exploding our senses with their refined Melodic Death Metal and, above all, proving once and for all that their homeland Spain is indeed the birthplace of some of the best underground metal acts of all time.

Best moments of the album: Dreamcatcher, Beyond the Gates and Dark Times for the God’s Creation.

Worst moments of the album: The Origin.

Released in 2020 Xtreem Music

Track listing
1. Dreamcatcher 4:15
2. Fire 3:35
3. Tragicomic Day 4:52
4. Beyond the Gates 4:10
5. Odyssey in Time 3:37
6. The Origin 4:02
7. Dark Times for the God’s Creation 3:53
8. -273° K 0:50
9. Brainstorm 3:32
10. Crystal Bone 4:23
11. Bloody Scars 5:12

Band members
Oscar Del Val – vocals, guitar
Jokin Andrés – guitar
Isma Fernández – bass
Javi Martínez – drums

Interview – Andreas Nieratschker (Agony Atlas)

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Guitarist Andreas Nieratschker, from Germany-based act Agony Atlas, joins us for an exclusive interview about their new EP Retrogression Part I: Egomania, the metal scene in his homeland, the future of the band (and of the entire world), and more.

Andreas Nieratschker (Agony Atlas)

The Headbanging Moose: Thanks for taking the time to talk to us about the music by Agony Atlas. Can you please start by introducing yourself to our readers? Who Agony Atlas and what are your goals with the band?

Andreas Nieratschker: One could say, we are a four-person sonically chaotic gathering of people that is actually not that chaotic…

Christoph e.g., my companion on the guitar, is particularly good at collecting tattoos and being a caring father. He simply is our savior when it comes to organising whatsoever. Well actually, everyone is, except Liane and myself (laughter). Organisationally, I mean.

Markus plays like Thor’s hammer when he’s out on his drums. You can feel the concentrated power of the gods, although you hardly see it. – Absolutely smooth playing. Above all, he manages everything when it comes to texting and working towards our famosity.

Liane just has a brute voice, which has impressed me since the first rehearsal of our other band, where we used to play together. I just thought “THIS is the voice I want!”

Well, yeah and I am Andreas.

Together we decided to travel back in time to prevent humanity from its own extinction and to enlighten them about the fucked-up conditions the human kind exposes to our planet. At least, this is the short version behind our story.

THM: Your music is being labeled by fans and the media as “Progressive Metalcore”. Do you agree with that classification, and if so, how would you personally describe it? What other genres and styles can the listener expect to hear in your music?

AN: It’s almost always hard to pinpoint the band’s genre. But I think besides many different influences the term “Progressive Metalcore” describes our music best. Although the progressive part is not extremely present yet, but you will hear more of it in the future songs. Speaking in genres: you can find melodic death metal and metalcore, djent, electro, industrial and thrash metal and sometimes even a hint of black metal.

THM: You have just released your debut EP, titled Retrogression Part I: Egomania. Can you please give us more details about it? What’s the story behind the EP, and what can we expect to see in “the next chapter”, assuming this is just the first part of something bigger the band is planning?

AN: Actually, we don’t have a concrete concept for the EP. It is rather based on the general idea we are pursuing with Agony Atlas. The other publications will lead along this common thread and complement our story.

For a while now, environmental movements have been causing enormous discussions in society. The behavior of people towards one another, towards our living space and towards the world in its entirety has become an important and recurring topic. Now is the latest time for a final change to save our whole future. And that’s exactly what we want to tell with our background story: The time travel from the already destroyed future back to the here and now, to save what can be saved. “Retrogression” stands for the development that we want to prevent – from a future perspective, to a certain extent, for a regression. Therefore we chose the title. We are playing our part in not waking up in a dystopian world, like Mad Max, in the near future. So, we will continue our guiding idea and stick to the band concept.

THM: Let’s now talk about each one of the songs from the EP, starting with the opening track Economy Class, which carries a name that couldn’t be more relevant these days. Can you please elaborate a little more on the meaning of the song and why you’ve chosen such important topic as its main theme?

AN: As I said, the environmental issues are very important. In the EP, we address some of the current problems people have in this regard, such as consuming, digitally induced comfort and an egocentric worldview. The concrete events for the song “Economy Class” were the man-made rainforest fires at the beginning of 2019.

THM: What about Egomania, my favorite song of the EP? What was the process to write and compose this song, and what should the listener take from the music and the lyrics while listening to it?

AN: The irrepressible greed of the people has made them look for another “habitable” or, as I’d like to say, “exploitable” planet for years. Earth alone is apparently not enough. Although it is and was more than sufficient for the remaining living beings. However, because of our curiosity, which we take as a given condition of superiority and as unique selling point of the human kind, it seems that we want to take everything – regardless of the losses.

The song should not only serve through unbelievably good acoustic satisfaction, but also stimulate everyone to reflect one’s own behavior and to question society.

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

THM: Lastly, the closing song in Retrogression Part I: Egomania, Hymn Of Hatred, is undoubtedly the heaviest and most obscure of all three songs. Why did you decide to end the EP with such dark composition?

AN: For us it’s the most forward moving song. It forges a smooth transition to what the listener can expect in the future. “Hymn Of Hatred” is the newest song on the EP and rather reflects our songwriting. Last but not least: the fact is that future doesn’t look bright, if we don’t act now.

THM: How is it to be fronted by such talented woman like Liane Walter, who certainly makes your music appeal to fans of bands like Arch Enemy and Jinjer? How do you see the importance of women in metal music nowadays, and do you see any type of rejection from fans for having a woman as your lead singer?

AN: The question could also be: What is it like to have such a good vocalist? It’s not about gender, but about skills, human interaction, commitment, creativeness and fun.

By now it should rather be normal to see and hear women in the metal genre. There are already a few more bands than Arch Enemy and Jinjer who sing gutturally in the low frequency range. I haven’t heard of any rejections for now. But in any case, I’m a huge fan of her singing, especially while being in the same band.

THM: Changing the topic a bit, what are your main influences in music and arts in general? And how do you incorporate those influences into the music by Agony Atlas?

AN: I can hardly say where all the inspiration comes from. Christoph, for example, takes part in local cultural associations, plays also in his alternative rock band Karabooza and is involved as guitar sub in a carnival rock band. Furthermore, Markus and I are involved in the jazz genre and beyond. And with Liane, I can only guess, but it seems like she started screaming since birth. Over the years of practicing she must be influenced by all kinds of stuff. But who can really tell? Maybe it can be compared with ideas which are formed by words to be explained. I assume, it’s the same with music. The inspiration comes from memories, visions and random synapse formations, which pop up in your mind. And if you listen closely, you can repeat them to write them down.

If you want to know what everybody of us is listening to, just take a look on our Spotify page. There you can find a playlist of each one of us.

Agony Atlas

THM: We all know the Germany metal scene is extremely vibrant with some of the best metal fans in the world, which probably means there’s more room for underground acts like Agony Atlas to play their music to live audiences there, right? Have you been able to start touring around Germany (and any other countries) with Agony Atlas already, or is the pandemic still impacting your touring plans?

AN: Standing in the starting blocks, we slipped straight into the corona pandemic and the light has not yet jumped from red to green. Well, we just recently formed up, therefore we use the unexpected waiting time to prepare ourselves sensibly with concentrated power to play in front of a trembling audience. At least now we will have an encore in petto.

THM: What does the future hold for Agony Atlas? Can we expect to see more of your heavy and melodic music in a not-so-distant future?

AN: Yes, definitely! We are already busy in the process for the next release. Five new songs are ready for recording and more are on the way. Hopefully, we’ll get them on the road in 2021.

THM: Thank you very much for the interview! Any final considerations or comments you would like to share with our readers?

AN: Thank you for the opportunity. Listen to our songs and start to change the world! Everybody has an impact to make a difference.

Links
Agony Atlas Official Website | Facebook | Instagram | YouTube | Spotify

Album Review – Carcass / Despicable EP (2020)

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The trailblazers of Goregrind, Grindcore and Melodic Death Metal are back with a four-track collection of songs serving as a precursor to their upcoming 2021 album.

The legendary Liverpool, UK-based institution Carcass has released several classic albums over the years and changed the trajectory of Extreme Metal with each consecutive release, with albums like Reek of Putrefaction and Heartwork creating the template for Goregrind, Grindcore and Melodic Death Metal. Now in 2020, seven years after the release of the excellent Surgical Steel (and six years after the EP Surgical Remission/Surplus Steel), the band currently comprised of Jeff Walker on vocals and bass, Bill Steer and Tom Draper on the guitars, and Daniel Wilding on drums is about to release a new EP entitled Despicable, a four-track collection of songs serving as a precursor to the band’s upcoming 2021 full-length album and, above all, a bold and gory statement that those four guys still have a lot of fuel to burn and blood to spill with their wicked creations.

Just hit play and when The Living Dead at the Manchester Morgue begins you’ll know it’s goddamn Carcass form the very first guitar note, with Bill and Tom sharpening their axes for a Grindcore and Death Metal onrush that’s about to start while Jeff snarls demonically as usual, also full of breaks and variations effectively inserted throughout this infernal tune. Led by the classy beats by Daniel, the quartet fires another solid, headbanging creation beautifully titled The Long and Winding Bier Road, where Jeff’s inhumane gnarls get deeper and more enraged, with their guitars showcasing more of their trademark riffage; and one more round of darkened riffs, devilish growls and rhythmic beats fills our avid ears in Under the Scalpel Blade, where it becomes clear the band is focusing a lot more on shaping up their melody rather than pure speed and heaviness. However, it’s when they accelerate their pace that things get really exciting (at least for old school fans like myself). Lastly, the band’s guitar duo keeps extracting strident, razor-edged sounds form their guitars in Slaughtered in Soho, sounding very progressive at times while Jeff continues to haunt our souls with his demon-like barks and vociferations.

I must admit Despicable is much better than what I was expecting, a really entertaining EP of modern-day Melodic Death Metal infused with Grindcore elements, and if this is the direction Carcass are taking with their music I can’t wait to see what they’ll bring into being in 2021 with their seventh full-length opus. Having said that, you can add Despicable to your demonic collection by clicking HERE or HERE, and keep an eye on the band’s official Facebook page and on Instagram for news about their upcoming album and, of course, for their tour dates as soon as all this madness is over. Let’s all hope 2021 is a much better year than this nasty 2020, and that bands like Carcass keep inspiring us all, “despicable” human beings, to slam into the circle pit while they pulverize our ears with their refined technique and aggressiveness for many years to come.

Best moments of the album: The Living Dead at the Manchester Morgue.

Worst moments of the album: None.

Released in 2020 Nuclear Blast

Track listing
1. The Living Dead at the Manchester Morgue 6:00
2. The Long and Winding Bier Road 4:21
3. Under the Scalpel Blade 3:55
4. Slaughtered in Soho 4:37

Band members
Jeff Walker – vocals, bass
Bill Steer – guitars, backing vocals
Tom Draper – guitars
Daniel Wilding – drums

Album Review – Póstuma / Moralis EP (2020)

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Uniting the aggressiveness of Death Metal with the beauty of poetry, this promising Brazilian outfit is ready to conquer the world of heavy music with their thrilling debut EP.

Formed in 2017 in the city of Americana, a municipality located in the Brazilian state of São Paulo, aiming at uniting the aggressiveness of Death Metal with the beauty of poetry, the up-and-coming Melodic Death Metal outfit Póstuma (the Portuguese word for “posthumous”) have just released their debut EP entitled Moralis, presenting Greek mythology and philosophy as the album’s main themes together with a questioning about honor, virtue and perhaps an ode to art and tragedy, something that has been in search of balance since the beginning of times. Recorded, mixed and mastered at Estúdio Fuzza by Ricardo Biancarelli, Moralis is recommended for fans of the aggression blasted by bands such as At The Gates, Arch Enemy, Hipocrisy and In Flames, among several others, with its lyrics exalting the pursuit of knowledge and existentialism combined with Death and Thrash Metal influences, as well as writers and philosophers, resulting in a strong and deep sound carefully crafted by frontwoman Bia da Aldea, guitarists Júlio Alves and Rodrigo Batista, bassist Diego “Bob” Carmelo and drummer Murilo Pasqualino.

Filling every single space in the air with violence and harmony, the band kicks off the EP with the Arch Enemy-inspired Prometheus, where Bia showcases all her vocal potency right from the beginning as the amazing growler she is, while Murilo sounds like a stone crusher on drums. This is what I call a fantastic  welcome card by Póstuma, followed by Minerva, where its poetically acid lyrics are roared by Bia (“Crushing an empire, just for desire / All life drained away / We just learn with pain / They make us discuss, we are numb / They manage our hate / Become misery slaves / So certain they beg for chaos / So modest they beg for chaos”) while the music sounds even more impactful than the opening tune due to the brutality blasted by her bandmates, with Júlio and Rodrigo firing venomous riffs from their guitars and, therefore, adding hints of Thrash and Black Metal to their already powerful sound. And Júlio and Rodrigo, supported by the insane bass punches by Diego, keep piercing our heads with their ass-kicking riffage and solos in the also demented Redemption, with Bia’s screams reaching a whole new level of insanity, whereas in the closing song Gaya the band’s guitar duo proves they’re never tired of slashing and shredding their stringed weapons, and together with Diego and Murilo they generate a massive and very melodic wall of sounds perfect for banging our heads in the name of classic and modern Death Metal.

Hopefully this never-ending coronavirus pandemic will not have a negative impact on the band’s plans for the future, especially because they had just released their fulminating debut EP when all this madness started, which means it’s up to us fans of heavy music to show Póstuma our support and encourage them to keep moving forward no matter what. Hence, I want to please ask you all to follow the band on Facebook and on Instagram, to stream Moralis in its entirety on YouTube and on Spotify, and above all that, to purchase a copy of the EP from their BandCamp page. As a matter of fact, why don’t you visit their BandCamp page and take a look at the lyrics for each one of the four songs of the EP? You’ll see the band is not kidding when they say they want to unite the beauty of poetry with metal music, and when you hit play on any of the songs simply close your eyes and let their amazing Melodic Death Metal flow through your mind and your soul.

Best moments of the album: Prometheus and Minerva.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Prometheus 3:58
2. Minerva 4:42
3. Redemption 4:02
4. Gaya 4:25

Band members
Bia da Aldea – vocal
Júlio Alves – guitar
Rodrigo Batista – guitar
Diego “Bob” Carmelo – bass
Murilo Pasqualino – drums