Album Review – Sun of the Dying / A Throne of Ashes (2025)

These Spanish doomsters continue to walk the path of authentic Death and Doom Metal in their dark and heavy newborn opus.

Inspired by genre classics like My Dying Bride, Anathema, and Paradise Lost, as well as more modern bands such as Ahab, Swallow the Sun, and Shape of Despair, Madrid, Spain-based outfit Sun of the Dying walk the path of authentic Death and Doom Metal, unafraid to incorporate touches from many other styles, like what they have to offer us all in their third full-length opus, entitled A Throne of Ashes. Recorded by Simón Da Silva at The Empty Hall Studio, mixed and mastered by Javi Félez at Moontower Studios, and with a classy artwork and layout by Manuel Cantero of Signonegro, the new album by vocalist Eduardo Guilló, guitarists Casuso and Roberto Rayo, bassist José Yuste, keyboardist David Muñoz, and drummer Diego Weser sees the band take a step even further into the realms of doom, resulting in a worthy follow-up to their 2019 sophomore The Earth Is Silent.

Minimalist sounds gradually grow into an aria of sheer obscurity entitled Martyrs, with Diego’s slow, grim beats matching perfectly with Eduardo’s introspective vocals, who also delivers those deep, enraged guttural we all love so much in Death and Doom Metal. Then enhancing their heaviness to a whole new level, the band offers the massive Black Birds Beneath Your Sky, where Casuso and Roberto hammer their axes in the name of doom supported by the crushing drums by Diego; and David’s keys and orchestrations add an extra touch of finesse and melancholy to With Wings Aflame, flirting with Melodic and Blackened Doom Metal, all boosted by the charming vocals by guest Teresa Marraco of the excellent one-woman project Antinoë. David kicks off the heavy-as-hell, Black Sabbath-infused The Greatest of Winters, while Eduardo vociferates in the name of primeval Death Metal; followed by House of Asterion, even more sluggish, somber and hypnotic, with Casuso, Roberto and José doing an amazing job armed with their stringed weapons. And lastly, closing A Throne of Ashes we face another overdose of Doom Metal titled Of Absence, putting a climatic ending to the darkened path paved by the band in the entire album.

Gloomy and somber from start to finish, A Throne of Ashes is undoubtedly Sun of the Dying’s strongest effort to date, positioning them as one of the most promising names of the Death and Doom Metal scene worldwide. Those Spanish doomsters are waiting for you on Facebook and on Instagram with more of their music, news, and their undisputed live performances, and don’t forget to also stream their heavy and pensive music on Spotify, and to grab a copy of the excellent A Throne of Ashes from their own BandCamp, from AOP Records, or by clicking HERE. Spanish doom has always been a thing of beauty, and it’s bands like Sun of the Dying who make it even more inspiring and captivating as they sit triumphant in their throne of ashes.

Best moments of the album: Martyrs and Black Birds Beneath Your Sky.

Worst moments of the album: None.

Released in 2025 AOP Records

Track listing
1. Martyrs 9:08
2. Black Birds Beneath Your Sky 5:01
3. With Wings Aflame 5:09
4. The Greatest of Winters 7:03
5. House of Asterion 7:22
6. Of Absence 7:43

Band members
Eduardo Guilló – vocals
Casuso – guitar
Roberto Rayo – guitar
José Yuste – bass
David Muñoz – keyboards, orchestration
Diego Weser – drums

Guest musician
Teresa Marraco – vocals on “With Wings Aflame”

Album Review – Amorphis / Borderland (2025)

Finland’s own Melodic Heavy Metal and Rock masters stand on the cusp of a compelling new chapter, fully embracing their melodic sensibilities while venturing into fresh, uncharted sonic landscapes.

A groundbreaking and genre-defying metal band still featuring its original lineup (with a few exceptionally talented additions) and only growing stronger with time, Helsinki, Finland’s own Melodic Heavy Metal/Rock masters Amorphis stand on the cusp of a compelling new chapter, the captivating Borderland, the impressive fifteenth studio album in their unrelenting 35-year journey. Produced, recorded, mixed and mastered by Jacob Hansen at  Hansen Studios, and displaying a classy artwork by Marald van Haasteren, the new album by frontman Tomi Joutsen, guitarists Esa Holopainen and Tomi Koivusaari, bassist Olli-Pekka “Oppu” Laine, keyboardist Santeri Kallio, and drummer Jan Rechberger sees the band fully embracing their melodic sensibilities while venturing into fresh, uncharted sonic landscapes.

The band wastes no time and begins embellishing the airwaves with their blend of rock and metal in The Circle, with the guitars by Esa and Tomi transpiring melody, accompanied by the classic bass by Oppu; whereas the cinematic keys by Santeri are exactly what Tomi Joutsen needs to shine with both his clean vocals and deep guttural in Bones, a lecture in Progressive Metal by those veterans, followed by Dancing Shadow, another blast of classy metal music sounding modern yet deeply rooted in their own core essence, with Jan hammering his drums just the way we like it. Amorphis have mastered the art of mixing truly heavy sounds with ethereal, mesmerizing passages, which is the case in Fog to Fog, and their darkened feast goes on with The Strange, a mix of Gothic and Melodic Death Metal that sounds a bit generic if compared to the rest of the album.

The second half of the album begins with the also melodic and enfolding Tempest, with their acoustic guitars walking hand in hand with Santeri’s whimsical keys in a beautiful ballad by the boys. Light and Shadow is a song that perfectly depicts the present and future of Amorphis, with Tomi Joutsen once again leading his henchmen with his classic vocals and growls while the music remains as inspiring as it can be; and Esa and Tomi Koivusaari continue to fire their stylish riffs in The Lantern, sounding even atmospheric at times thanks to the beautiful keys by Santeri. The title-track Borderland brings forward the perfect fusion of all rock and metal styles found in their music, with Oppu and Jan making sure the ambience feels thunderous and groovy until the very last second, while lastly, they let their Melodic Doom Metal vein arise in the closing song Despair, with Tomi Joutsen stealing the show with a fantastic vocal performance.

With deep respect for the past and eyes firmly on the future, and with extensive touring ahead, Amorphis continue to shape the landscape of Heavy Metal with grace, finesse and integrity in Borderland. “After three and a half decades, we still follow our instincts,” commented guitarist Tomi Koivusaari. “And honestly, Borderland might be the most Amorphis-sounding album we’ve ever made. After such a long and successful career, that feels pretty damn great!” Those undisputed rock and metal veterans are waiting for you with more of their music, news and tour dates on Facebook and on Instagram, as well as on YouTube and on Spotify, and you can obviously put your damned hands on Borderland by clicking HERE, letting the melodious yet visceral sounds blasted by one of the most important bands to ever arise from the Nordic countries penetrate deep inside your metallic heart.

Best moments of the album: Bones, Light and Shadow and Borderland.

Worst moments of the album: The Strange.

Released in 2025 Reigning Phoenix Music

Track listing
1. The Circle 4:34
2. Bones 4:55
3. Dancing Shadow 4:58
4. Fog to Fog 5:28
5. The Strange 4:18
6. Tempest 5:20
7. Light and Shadow 4:17
8. The Lantern 4:59
9. Borderland 5:30
10. Despair 5:19

Band members
Tomi Joutsen – vocals
Esa Holopainen – guitars
Tomi Koivusaari – guitars
Olli-Pekka “Oppu” Laine – bass
Santeri Kallio – keyboards
Jan Rechberger – drums, percussion

Guest musician
Francesco Ferrini – orchestral arrangements, MIDI programming

Album Review – …And Oceans / The Regeneration Itinerary (2025)

These iconic Finnish extremists are back with their seventh studio opus, a flamboyant distillation of the group’s grand nocturnal art assimilating all their hopes, dreams and influences into an uncompromising document of ravenous intent.

Chaos chameleons. Nocturnal shapeshifters. The skyward trajectory of idiosyncratic Finnish extremists …And Oceans has been serpentine and sublime, appealing to diehard fans of bands the likes of Dimmu Borgir, Behemoth and Samael with their unique blend of Experimental, Industrial, Electronic and Symphonic Black Metal. Recorded at Inka Studio and at SoundSpiral Audio, produced and engineered by Juho Räihä at SoundSpiral Audio, mixed and mastered by Tore Stjerna at Necromorbus Studio, and displaying a visually stunning artwork by Adrien Bousson, The Regeneration Itinerary is the seventh studio album by this unstoppable band currently formed of Mathias Lillmåns on vocals, Teemu Saari and Timo Kontio on the guitars, Pyry Hanski on bass, Antti Simonen on keyboards, and Kauko Kuusisalo on drums, a flamboyant distillation of the group’s grand nocturnal art assimilating all their hopes, dreams and influences into an uncompromising document of ravenous intent.

Otherworldly, cryptic sounds suddenly explode into a hybrid of Experimental and Symphonic Black Metal entitled Inertiae, with Mathias’ deep roars matching perfectly with the striking keys by Antti, followed by Förnyelse i Tre Akter, or “renewal in three acts” from Swedish, even darker than the previous song thanks to the visceral riffage by Teemu and Timo while Kauko shows no mercy for his drums, delivering his own blend of Black and Death Metal violence. Chromium Lungs, Bronze Optics carries a poetic name for a hard hitting creation by …And Oceans, where their caustic riffs will pierce your mind in great fashion, while their experimental and symphonic sides clash beautifully in The Form and the Formless, once again led by the massive beats and fills by Kauko. Prophetical Mercury Implement showcases massive Stygian lyrics (“Injecting the mirrorlike waters / Feeling it flowing within / Floating on its waves / Observing how it unfolds / Now, / I am the medium / I am the stream”) amidst a beyond enfolding and atmospheric sonority, whereas in The Fire in Which We Burn we face an overdose of heaviness, sulfur and darkness blasted by the band in the best Behemoth style, spearheaded by the inhumane roars by Mathias.

The Ways of Sulphur lives up to the legacy of Industrial Black Metal, with Antti stealing the show with his phantasmagorical keys; and I Am Coin, I Am Two offers a more introspective sound inspired by Melodic Black, Death and Doom Metal, while still presenting their trademark ferocity. Then back to a more visceral mode we have Towards the Absence of Light, with their riffs and the bass lines by Pyry being boosted by Antti’s whimsical keys. The last song of the regular edition, The Terminal Filter, brings to us all another humongous dosage of Black Metal infused with experimental and industrial nuances, resulting in an epic ending to the album, and if you go for the deluxe edition of the album (a digipak with extended 20-page booklet + exclusive gold coloured metal coin symbolizing an adviser through opposites + 2 exclusive bronze coloured acrylic coaters symbolizing the coming together of opposites in clamshell box with alternative cover, hand-numbered and limited to 500 copies worldwide) you’ll get two bonus tracks, Copper Blood, Titanium Scars and The Discord Static, both sounding absolutely insane and worth every single penny invested in it.

…And Oceans The Regeneration Itinerary Digibox + Digital Deluxe Edition

Exploring the interplay between darkness and light, chaos and order, spiritual and material realms, with each song embodying an experience for the mind and body, finally navigating a passage to the present moment, The Regeneration Itinerary is definitely the band’s most experimental album to date. “The new album can be seen as a synthesis of our entire back catalogue,” suggests frontman Mathias Lillmåns. “But there are new levels of extremity, too, ones that we’ve never reached before. These songs simply demanded harsher vocals. The riffs commanded it, and who am I to disobey?” Hence, you can get to know more about …And Oceans, their new album, tour dates, plans for the future, and support them by following them on Facebook and on Instagram, by streaming their music on Spotify, and by purchasing their awesome new album from BandCamp or by clicking HERE. In the end, those Finnish metallers will keep pushing their own boundaries, experimenting with new sounds and nuances and, therefore, delivering more striking albums like The Regeneration Itinerary in the coming years, proving why they’ve become a reference and a force to be reckoned with in the extreme music scene worldwide.

Best moments of the album: Förnyelse i Tre Akter, The Fire in Which We Burn and Towards the Absence of Light.

Worst moments of the album: I Am Coin, I Am Two.

Released in 2025 Season of Mist

Track listing
1. Inertiae 4:30
2. Förnyelse i Tre Akter 5:07
3. Chromium Lungs, Bronze Optics 4:29
4. The Form and the Formless 3:32
5. Prophetical Mercury Implement 6:57
6. The Fire in Which We Burn 3:04
7. The Ways of Sulphur 4:17
8. I Am Coin, I Am Two 4:25
9. Towards the Absence of Light 4:49
10. The Terminal Filter 5:22

Digibox + Digital Deluxe Edition bonus tracks
11. Copper Blood, Titanium Scars 4:14
12. The Discord Static 3:35

Band members
Mathias Lillmåns – vocals
Teemu Saari – guitar
Timo Kontio – guitar
Pyry Hanski – bass
Antti Simonen – keyboards
Kauko Kuusisalo – drums

Album Review – Wurmian / Immemorial Shrine (2025)

Enter the shrine of first-class Melodic Death and Doom Metal crafted by this one-man project from France, and let the echoes from his debut album guide you on a brooding and immersive journey through sorrow, introspection, and existential desolation.

Founded in 2024 by Antoine Scholtès, the mastermind behind Atmospheric Black Metal project Inherits The Void, Clermont-Ferrand, Auvergne-Rhône-Alpes, France-based act Wurmian emerges with a mission to resurrect the essence of classic Melodic Death and Doom Metal. Drawing inspiration from the melancholic and introspective tones of bands like October Tide, Horrified, and Edge of Sanity, the project’s debut offering, titled Immemorial Shrine, embraces the duality of soaring melodies and crushing heaviness. Mastered by Simon Da Silva at The Empty Hall Studio, and displaying a classic logo by Dipayandas Art and a stunning, doomed artwork by Silvana Massa, Immemorial Shrine is a somber odyssey into solitude and decay, a brooding and immersive journey through sorrow, introspection, and existential desolation, turning it into a compelling listen for fans of both classic and modern death and doom.

Antoine begins embellishing the airwaves with his melodious guitar lines in Aeon Afterglows, reminding me of both old school and contemporary Paradise Lost with a harsher twist; whereas in the title-track Immemorial Shrine he showcases all his passion for Black and Death Metal without forgetting to add a good share of Doom and Gothic Metal to his sound, and the final result is simply beautiful. His Melodic Doom Metal attack goes on in Haven, with his guttural vocals and pounding drums being perfect for some sick headbanging, and our lone wolf speeds things up in Spires of Sorrow, offering a rawer, more direct Death Metal attack led by his classic beats and fills. Then back to a more pensive, melancholic sonority, Antoine roars with tons of anguish in Yearning Unseen, also delivering piercing, sharp riffs, followed by Sleeping Giants, another stunning composition by this multi-talented French musician that overflows Atmospheric Black and Death Metal for our total delight. And the closing song of the album, The Everflowing Stream, is another lecture in Doom Metal, with Antoine enhancing the acidity of his riffs and the depth of his Stygian roars for our vulgar delectation.

In the end, prepare to embark on a melancholic odyssey that echoes the spirit of the 90’s Death and Doom Metal while forging a path into the present in Immemorial Shrine, already available in full on YouTube and on Spotify. Hence, don’t forget to follow the project on Facebook and on Instagram for news, and maybe some live performances in the future in case Antoine assembles a live band for his shows, and above all, to purchase  Immemorial Shrine from  Wurmian’s own BandCamp or from the Pest Records’ BandCamp, or simply by clicking HERE. After all is said and done, simply enter the shrine of first-class Melodic Death and Doom Metal crafted by Wurmian. Let the echoes guide you.

Best moments of the album: Immemorial Shrine, Haven and Sleeping Giants.

Worst moments of the album: None.

Released in 2025 Pest Records

Track listing
1. Aeon Afterglows 4:55
2. Immemorial Shrine 4:54
3. Haven 6:33
4. Spires of Sorrow 4:36
5. Yearning Unseen 5:27
6. Sleeping Giants 5:21
7. The Everflowing Stream 7:19

Band members
Antoine Scholtès – vocals, all instruments

Concert Review – Swallow The Sun (The Velvet Underground, Toronto, ON, 02/21/2025)

A night of sheer doom, darkness and melancholy in the form of first-class heavy music took the skies of Toronto this Friday night.

OPENING ACTS: Snakes Of Russia, Ghost Bath and Harakiri For The Sky

A few days after the heaviest snow storm the city of Toronto has seen for quite some time, The Velvet Underground hosted the Shining Over North America Tour 2025 with the bands SNAKES OF RUSSIA, GHOST BATH, HARAKIRI FOR THE SKY and SWALLOW THE SUN, and of course Keith Ibbitson of Metal Paparazzi and I were there to cover such an amazing event. Well, unfortunately due to the insane traffic to get to Toronto AND also inside the city, it was impossible for several concert goers to arrive in time for the performance by United States-based Darkwave/Electronic/Ambient act SNAKES OF RUSSIA, including Keith and I. I honestly have no idea how the show was, if the crowd enjoyed it or not, as while Snakes of Russia was playing I was desperately trying to find a parking lot where most spots were not taken by huge snow banks. At least before the show I had some time to listen to their 2023 album True Surrender, available on BandCamp and on Spotify, and although it’s not my cup of tea I must admit it’s a really cool album for fans of the darkest side of electronic music.

Band members
Joseph Holiday – vocals, all instruments

When I weas finally able to get inside the venue, American Depressive/Post-Black Metal entity GHOST BATH had already started their setlist, but at least in this case I had plenty of time to enjoy their harsh and sinister performance, led by the visceral, anguished screams by vocalist and guitarist Nameless. One of the main issues with The Velvet Underground, if not their biggest issue, is the fact the stage is way too low, almost as if it doesn’t really exist, and it’s really tough to see the bands performing there unless you’re two feet from the “stage”. Add to that a few pillars in the middle of the venue, and there you have the perfect atmosphere to mainly listen to the music played without seeing anything. Furthermore, Keith couldn’t make it in time for Ghost Bath, and as my mobile pictures of the show are beyond nasty, there isn’t anything to show about them on this review. You can still enjoy their music on BandCamp and on Spotify, like their 2021 album Self Loather, and I highly recommend seeing those guys live if you enjoy such a caustic type of Black Metal.

Band members
Nameless – vocals, guitars
Caleb Cheslock – guitars
Liam Frith – guitars
Josh Jaye – bass
Alec Martin – drums

Then after all that hassle to get to Toronto, the shitty traffic, the excruciating task of finding a parking spot, and so on, I was already getting very tired and ready to go back home to relax a little, but fortunately Austria’s own Post-Black Metal masters HARAKIRI FOR THE SKY hit the stage for the most electrifying performance of the night, waking me up and inspiring me to headbang and raise my horns nonstop to their fantastic music. Playing mostly songs from their 2021 album Mӕre and their newborn masterpiece Scorched Earth, the band led by frontman J.J. and guitarist M.S. kicked some serious ass on stage, investing all of their energy into each song played, and with minimal talk in between songs. I simply loved seeing them live for the first time, and songs like With Autumn I’ll Surrender, Without You I’m Just a Sad Song, Fire, Walk With Me, and Sing for the Damage We’ve Done (all available on Spotify) sounded flawless, superb and touching, and the reaction from every single person to their classy performance was a thing of beauty, which clearly indicated it won’t take long for one of the best bands of the current metal scene worldwide to return to Toronto soon.

Setlist
Keep Me Longing
With Autumn I’ll Surrender
Fire, Walk With Me
Without You I’m Just a Sad Song
Sing for the Damage We’ve Done
Calling the Rain

Band members
J.J. – vocals
M.S. – guitars
Marrok – guitars, backing vocals
P.G. – bass
Kerim “Krimh” Lechner – drums

SWALLOW THE SUN

The name of the band says it all. After a quick break, it was time for the darkest show of the night, courtesy of Finland’s Melodic Doom/Death Metal titans SWALLOW THE SUN, and it was indeed a dark, pensive, doomed and visceral concert. Vocalist Mikko Kotamaki and his henchmen were on fire during their entire set, blending their old material with their newest albums Moonflowers (2021) and Shining (2024), with the sequence of Woven Into Sorrow, Charcoal Sky, MelancHoly, New Moon and Night Will Forgive Us sounding and feeling as heavy and obscure as possible. The encore was just as doomed, with November Dust and Swallow (Horror, Part 1), and their diehard fans were having an amazing time with their scorching riffs, pounding drums and visceral energy. It was a somewhat late show for most of us, but in the end it was a fantastic night of contemporary heavy music, and I’ll surely be there anytime Swallow The Sun are back in town with their undisputed doom.

Setlist
Velvet Chains
Innocence Was Long Forgotten
What I Have Become
Firelights
Under the Moon & Sun
Woven Into Sorrow
Charcoal Sky
New Moon
MelancHoly
Night Will Forgive Us
Plague of Butterflies: Pt. I: Losing the Sunsets

Encore:
November Dust
Swallow (Horror, Part 1)

Band members
Mikko Kotamaki – vocals
Juha Raivio – guitars, keyboards
Juho Raiha – guitars
Matti Honkonen – bass
Juuso Raatkainen – drums

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Album Review – Matalobos / Phantasmagoria: Hexed Lands (2025)

This uncanny entity will attack your senses with their dreadful fusion of Mexican folklore and Melodic Death and Doom Metal, painting a vivid picture of the darker side of Mexican mythology.

Emerging from the vibrant Mexican metal scene, Matalobos are a dreadful fusion of Mexican folklore and Melodic Death and Doom Metal that takes you on an unforgettable musical journey through the haunting legends of their hometown, Guanajuato, telling profound and evocative stories through their unique blend of extreme music. Now in 2025, the band formed of Dante Méndez on vocals, Eduardo Santamaría and Germán Nieto on the guitars, and Clemente Escalona on drums, supported by session musician Iván Moreno on bass, is unleashing upon us their third full-length effort, titled Phantasmagoria: Hexed Lands, offering an immersive dive into Mexican folklore, blending melancholic atmospheres with crushing doom elements to create a powerful and evocative sound. Recorded, produced and mixed by Rubén Sánchez at Urvn Studio in León, Mexico, with mastering by Jari Lindholm, the album beautifully captures the spectral and tragic tales embedded in Mexico’s mythological past.

As soon as you hit play, the intro Panoramica will drag you to the band’s realm of legends and darkness in This Mortal Music, starting in an imposing, atmospheric manner before Dante begins roaring like a beast supported by the brutality blasted by Clemente on drums, exhaling pure doom and setting the tone for Purgatory Blessing, offering a huge dosage of clean vocals, which are not bad but take away some of the song’s energy and punch. Back to a much darker, heavier sonority thanks to the sluggish beats by Clemente and the piercing guitars by Eduardo and Germán, we have Below the Dam, and the skies will get even darker and the ambience more pensive and grim in Hatred of Kin, overflowing despair and obscurity spearheaded by another visceral vocal performance by Dante.

The second half of the album begins with the charming yet venomous Hasta el viento tiene miedo, which is Spanish for “even the wind is afraid”, an instrumental tune that shows a more introspective side of the band; and Matalobos come crushing our damned souls again in Where Witches Gather, alternating between sheer heaviness and more melodic passages, all spiced up by the minimalist riffs by Eduardo and Germán. Then again they offer a more melancholic sound with The Alley, where the clean vocals by Dante feel a lot stronger and more penetrating, exploding into pure Doom Metal the likes of My Dying Bride and Paradise Lost, all boosted by a mysterious saxophone, bringing even more melancholy to the music. In Carmen Buried Alive the band blasts their most damned, devilish and hammering sonority of the whole album, a lecture in Doom Metal led by the sluggish, ruthless drums by Clemente, before we face House of Laments, another solid, in-your-face display of Blackened Doom Metal where the eerie vocalizations by Dante will haunt your putrid souls for all eternity.

Resonating with fans of Opeth, Novembre, and Swallow the Sun, the sound by Matalobos is defined by its haunting beauty and depth, offering listeners an unforgettable exploration of despair, mythology, and the human experience, exactly like what’s presented by those Mexican metallers in their newborn spawn. Having said that, don’t forget to give Matalobos a shout on Facebook and on Instagram, to subscribe to their YouTube channel and to stream their music on Spotify, and of course to purchase Phantasmagoria: Hexed Lands from BandCamp, from Concreto Records, or by clicking HERE. Painting a vivid picture of the darker side of Mexican mythology, Phantasmagoria: Hexed Lands is definitely the band’s strongest album to date, not only  cementing their name in the Mexican scene, but also spreading their dark, doomed wings all over the world.

Best moments of the album: This Mortal Music, Below the Dam and Carmen Buried Alive.

Worst moments of the album: Purgatory Blessing.

Released in 2025 Concreto Records

Track listing
1. Panoramica 0:32
2. This Mortal Music 5:50
3. Purgatory Blessing 6:32
4. Below the Dam 7:00
5. Hatred of Kin 7:07
6. Hasta el viento tiene miedo 3:39
7. Where Witches Gather 6:12
8. The Alley 4:12
9. Carmen Buried Alive 6:50
10. House of Laments 7:17

Band members
Dante Méndez – vocals
Eduardo Santamaría – guitars
Germán Nieto – guitars
Clemente Escalona – drums

Guest musicians
Iván Moreno – bass (session)

Concert Review – Dark Tranquillity & Amorphis (The Opera House, Toronto, ON, 10/01/2024)

And everyone enjoyed a very melodic, heavy, fun and sold out night of Nordic metal music in the city of Toronto.

OPENING ACT: Fires In The Distance

One day after a beyond wild night with Hatebreed, Toronto hosted another brilliant metal extravaganza with DARK TRANQUILLITY and AMORPHIS, plus very special guests FIRES IN THE DISTANCE, at the always cozy The Opera House, again organized by the one and only Noel Peters of Inertia Entertainment. And let me tell you that I wasn’t expecting the venue to be so jam packed on a Tuesday night, proving once again how passionate the fans in the city are about heavy music. Seriously, I think someone forgot to stop selling tickets after the venue’s maximum capacity was reached, because it was really hard to move around the venue and to get downstairs to the floor section to enjoy the shows, with a lot of people just standing close to the bar at the back, behind the sound table. Even raising our horns or clapping our hands in the pit was difficult, but of course, nothing that would have made the night less enjoyable.

One major problem before the show was the insane traffic to get to the city, plus the fact there were absolutely no parking spots available anywhere near the venue, and because of that I sadly missed the show by Newington, Connecticut-based Melodic Doom/Death Metal act FIRES IN THE DISTANCE. I was dying to see those guys live as both their albums, Echoes from Deep November (2020) and Air Not Meant for Us (2023), both available on Spotify, are a thing of beauty and I’m sure their songs sounded even more powerful on stage. At least my buddy Keith Ibbitson of Metal Paparazzi was there to take some crazy photos of their concert, and I promise next time they visit Toronto I’ll skip work if needed to get to their show on time.

Setlist
Harbinger
Wisdom of the Falling Leaves
Crumbling Pillars of a Tranquil Mind
Idiopathic Despair

Band members
Craig Breitsprecher – bass, vocals
Kristian Grimaldi – guitars, vocals
Yegor Savonin – guitars, keyboards
Jordan Rippe – drums

AMORPHIS

I was just able to get inside the venue around 15 minutes before the first headliner of the night, Helsinki, Finland’s own Melodic Heavy Metal/Rock institution AMORPHIS, kicked off their ultra melodic, vibrant and colorful show, and I say colorful because the way they set up their stage was very appealing to my eyes. Also, the talented frontman Tomi Joutsen and his henchmen did a very good job in blending their new material that’s clearly more inclined to Progressive Rock, like the songs Northwards, On the Dark WatersThe Moon and The Wolf, from their 2022 album Halo, with old classic including the always stunning Doom Metal aria My Kantele, and that fusion of past and present was really well received by all fans that were almost smashed on the floor section. The entire band sounded sharp and spot-on, and their connection with the crowd was also fantastic during the whole show.

Setlist
Northwards
On the Dark Waters
Sky Is Mine
The Moon
The Castaway
Silver Bride
The Wolf
Wrong Direction
My Kantele
Magic and Mayhem
Black Winter Day
House of Sleep
The Bee

Band members
Tomi Joutsen – lead vocals
Esa Holopainen – lead guitar
Tomi Koivusaari – rhythm guitar
Olli-Pekka Laine – bass
Santeri Kallio – keyboards
Jan Rechberger – drums

DARK TRANQUILLITY

As a lot of people left the pit to grab some merch, a beer or go outside for a smoke, I could then find a spot on the floor section to enjoy the other headliner, the unstoppable Gothenburg, Sweden-based Melodic Death Metal entity DARK TRANQUILLITY, and fortunately I had my concert earplugs with me because those guys were maybe too loud for such a small venue. The multi-talented, iconic, awesome Mikael Stanne alongside his band of first-class musicians also did a beautiful job mixing songs from their excellent new album Endtime Signals, like Shivers and Voids and Not Nothing, with their older material, and all songs sounded so electrifying the circle pit formed in the middle of the floor section looked like one from a pure Death Metal show, putting a huge smile on everyone’s faces including of course Mikael, who was visibly touched by the beyond warm reaction from the sold-out venue. Everyone was singing along with the band, raising their fists, headbanging, and so on, fueling those Swedish rockers to keep hammering our heads with their top-notch metal music until the very end of the night, and after all was said and done it was visible on their faces that it won’t take long for the mighty Dark Tranquillity to take the city of Toronto by storm again.

Setlist
Shivers and Voids
Hours Passed in Exile
Forward Momentum
Unforgivable
Atoma
The Last Imagination
Nothing to No One
Wayward Eyes
One Thought
Cathode Ray Sunshine
Not Nothing
Empty Me
Phantom Days
Lost to Apathy
Misery’s Crown

Band members
Mikael Stanne – vocals
Johan Reinholdz – guitars
Christian Jansson – bass
Martin Brändström – keyboards
Joakim Strandberg-Nilsson – drums

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Album Review – Aeonian Sorrow / Katara (2023)

A stunning album of sorrow, grief and melancholy made in Finland and Greece, dedicated to the loving memory of the grandparents of the band’s own vocalist and keyboardist Gogo Melone.

A project of Melodic Gothic and Doom Metal yet funeral and spiritual music that describes the eternal sorrow and misery above the earth, human nature and instincts under the ownership of grief and pain, Finland/Greece-based outfit Aeonian Sorrow has just unleashed upon us their sophomore full-length opus, entitled Katara. Produced, mixed and mastered by Saku Moilanen at Deep Noise Studios, and displaying a stylish and epic artwork by the band’s own vocalist, keyboardist and renowned illustrator Gogo Melone, the album was inspired by the Katara pass, a mountain pass in the Pindus mountains in northern Greece. According to the legend, Katara got its name from a despot who around 1800 set out from Ioannina to go to Trikala, but the bad weather in the area made it so difficult for him that he died on the way, and he cursed the mountain. There are more stories written about this pass; however, Katara is also dedicated to the loving memory of Gogo’s grandparents Georgia and Michail, with the album music being beautifully crafted by Gogo alongside Joel Notkonen on vocals, Taneli Jämsä and Jukka Jauhiainen on the guitars, Achilleas Papagrigoriou on drums, and guest Oskar Englund on bass.

Anemos sounds doomed, grim and pensive from the very first second, with the delicate keys by Gogo bringing a touch of finesse to the music while Achilleas dictates the song’s pace with his sluggish beats, resulting in a powerful Melodic Doom Metal aria that will darken your mind in a stunning way. The band continues their obscure, melancholic path in Elumia, where the bass by Oskar sounds menacing while Gogo embellishes the airwaves with her charming vocals, in paradox with the harsh roars by Joel; and featuring guest vocalist Alejandro Lotero of Exgenesis (and former vocalist for Aeonian Sorrow), Ashes and Death showcases another solid job done by Taneli and Jukka with their Doom Metal-infused riffs and solos. Her Torment is a massive, bold creation by the band where Achilleas crushes our souls with his heavy-as-hell drums, perfect for some slow, intense headbanging in total darkness, followed by the title-track Katara, where once again we’re treated to a gloomy, ethereal feast of Melodic Gothic and Doom Metal spearheaded by the stunning vocals by Gogo, keeping the album as melancholic and emotional as it can be. They managed to get even more doomed and somber in Forbidden Cry, with the guitars by Taneli and Jukka reverberating in great fashion accompanied by Gogo’s passionate vocal performance; whereas lastly, serene, lugubrious piano notes set the tone in Ikuinen Suru (or “eternal sorrow” from Finnish), presenting their trademark slow and steady beats, deep, touching vocal lines, and crying guitars.

“On a personal level, I’ve been through enough difficult changes in my life that it almost made it impossible to keep myself motivated to complete this album. I said several times that I don’t want to do this and I almost didn’t. What kept me going was the reason I started this band and the promise I gave to the grandmother I lost back in 2020 and said that ‘Katara’ album will be recorded in her memory and her husband’s memory too. It will be done for all the years I spent driving to those scary ‘Katara’ roads to go see them. It will be done for each song I wrote inside their empty house when they were gone, and I left to watch the walls and nothing more. On a music level, I think the band has also been through enough and faced the financial critical moments to where we had to take choices, a bit unusual for us, and find ways to make things happen without losing ourselves and our quality. The path to success is full of heavy stones and very lonely so we do what we can and continue writing music from our hearts,” commented Gogo about the album. Hence, you can feel in detail all the sorrow, grief and melancholy from Katara by streaming the album in full on YouTube and on Spotify, by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, and obviously by purchasing Katara from their own BandCamp page or webstore, from Apple Music or from Amazon, joining Gogo and the boys on their doomed path through the Pindus mountains.

Best moments of the album: Anemos and Katara.

Worst moments of the album: None.

Released in 2023 Independent

Track listing
1. Anemos 8:35
2. Elumia 7:07
3. Ashes and Death 6:55
4. Her Torment 7:39
5. Katara 9:22
6. Forbidden Cry 6:21
7. Ikuinen Suru 7:13

Band members
Joel Notkonen – vocals
Gogo Melone – vocals, keyboards
Taneli Jämsä – guitars
Jukka Jauhiainen – guitars
Achilleas Papagrigoriou – drums

Guest musicians
Oskar Englund – bass (session)
Alejandro Lotero – harsh vocals on “Ashes and Death”

Metal Chick of the Month – Gogo Melone

Forged in this world… Chained to this earth… Forced to stay where I am… Evermore…

If you’re an admirer of the darkest forms of music and arts in general, I’m beyond certain you’ll have an absolute blast knowing more about our multi-talented metal lady of the month of May here on The Headbanging Moose. Not only she owns a powerful and beautiful voice, but she’s also a keyboardist, a songwriter, and an accomplished digital artist and graphic designer who has already worked with countless bands from the metal scene. I’m talking about Gogo Melone, the lead singer and composer for Aeonian Sorrow and Elyzia, and former vocalist for Luna Obscura, with guest appearances to bands such as ISON, Mercury Circle, IANAI, Ghostheart Nebula, As The Sun Falls and others, and having worked as a graphic designer for bands such as Xandria, Insomnium, Wolfheart, Omnium Gatherum and Vintersea, just to name a few. As you can see, Gogo Melone is an unstoppable force in heavy music, embellishing the airwaves with her voice while at the same time captivating our attention with her stunning graphic creations.

Born on July 17, 1985 in Ioannina (often called Yannena), the capital and largest city of the Ioannina regional unit and of Epirus, a region in north-western Greece, but currently residing in Helsinki, Finland, Gogo Melone began her career in music back in 2000 when she founded Greek Atmospheric/Melodic Death/Gothic Metal band Luna Obscura (Latin for “dark moon”) together with guitarist Dimitris Papachristos and vocalist Aris Potonos, inspired by the music by Draconian, Trail of Tears, Tristania, Theatre of Tragedy, Crematory, Paradise Lost, and all other bands with death and gothic elements. Gogo Melone mentioned in one of her interviews that there wasn’t any major plan to create Luna Obscura in the beginning, as it was just a musical experimentation, saying that she simply joined the band during the recordings of their demo Darcanda (released only in 2004). “The idea to have male and female vocals came easily, I guess that we all loved this combination at that time and somehow we felt it was the right direction for our music,” commented our diva, describing their sound as having atmospheric, death and gothic elements with harsh male and clean female vocals. “Our lyrics talk about death, human psychology and our transitions, the mystery, the unknown. All in combination with the music and the beautiful alternations of brutal and ethereal female vocals, create a melancholic yet strong-aggressive effect.”

Although the band was put on hold back in 2017 and has been dormant since then, and with Gogo Melone no longer being part of the band, there’s a lot to enjoy from their past releases, including the aforementioned demo Darcanda (as “Gwgw Melone”), their 2007 EP Evilyn, and their 2008 full-length opus Feltia, and you can enjoy several videos of the band on their official YouTube channel including Oronar, The Burden Of Solitude, and a live version of Dance of Forsaken Souls. Moreover, when asked about the importance of the visual part of the live performances by Luna Obscura, Gogo Melone said that all they cared about was delivering an emotional show to the crowd, focusing not only on the music, but also on the atmosphere surrounding it, as that was what their music was all about.

In another one of her bands, Finnish/Greek Gothic/Doom/Death Metal act Aeonian Sorrow, founded in 2015 by Gogo Melone alongside guitarist Taneli Jämsä, bassist Pyry Hanski, drummer Saku Moilanen, and vocalist Alejandro Lotero, she’s not only their vocalist but also their keyboardist, having released with the band the single Forever Misery, in 2017, the full-length album Into the Eternity a Moment We Are, in 2018, and the EP A Life Without, in 2020, all available on their BandCamp page, containing some fantastic creations including My Solitude, The Endless Fall Of Grief, One Love, and Thanatos Kyrie.

Fast forward to 2021, and there she is, the unrelenting Gogo Melone, starting another amazing band named Elysia (now spelled Elyzia), playing a stunning fusion of classic Black Metal and Experimental/Atmospheric Black Metal with nuances of Gothic and Doom Metal. She’s also the vocalist and keyboardist of the project, alongside vocalist, guitarist, bassist and drummer Jani Berney (of bands like As the Sun Falls, Tenebrae Aeternum and Chotzä, and who’s by the way engaged to Gogo Melone), having released their debut effort, the five-track EP Numinous, in August 2022. There’s an official video for the title-track Numinous, as well as official streams of the songs Veiled Fear and Onism on YouTube, and you can also find the full EP available for streaming on Spotify. Moreover, you can find more details about the band on Instagram,  and purchase their music via BandCamp. Regarding the name change, switching the letter S for Z, the duo posted a short and sweet message on their Instagram explaining everything. “Some disrespectful idiots coming from the deathcore scene are spamming our social media with threats and hate because there is an old band using the name Elysia. Considering the fact that this other band has been inactive since 2008 and ever since they had no new releases or shows, it is a joke and a bit boring to have to read bullshit about a name when there are so many other names that have been used already three and five times. But let’s end this in a positive note. We are currently working on a new single and a new album which we plan to release in the next few months.”

You can also find Gogo Melone as a guest vocalist or keyboardist to several amazing underground bands, metal or non-metal, by the way. “So far I have met so many great musicians and bands and have done amazing collaborations worldwide so I guess the thing that counts the least is the genre of music. Although I would like to experiment more in Gothic Metal, Doom and Death Metal but the most important is to keep making good collaborations and gain more experience,” said our diva, who not only could be seen singing live with Atmospheric Doom/Death Metal band Clouds back in 2018, but she also recorded vocals for the songs In This Empty Room, from their 2017 EP Destin, When I’m Gone, from their 2018 album Dor, and an acoustic version of that same song, from their 2020 compilation Clouds Acoustic; the re-recorded version of Suffer in Darkness, released as a single in 2022 by Finnish Symphonic Death/Doom Metal band Depressed Mode; Underworld, from the 2005 EP Skotos, by Greek Black/Death Metal act Empathy; Ascension Pt. I Cosmic River, from the 2021 album Ascension, by Italian Melodic Doom/Death Metal band Ghostheart Nebula; Scaling the Summit, from the 2023 EP Scaling the Summit, by Greek Symphonic/Melodic Death Metal band Neperia; a partnership with Greek Gothic Metal act Sorrowful Angels in the cover version for Moonspell’s classic Scorpion Flower, from their 2012 EP Reborn: A Tribute to Moonspell; A Light Year Breath, from the 2020 album Empire of the Void, by Italian Death/Doom Metal band Tethra; and Where the Sun Turns to Grey, from the 2021 album Echoes of Winter, by Italian Progressive Doom Metal band Veil of Conspiracy.

Other guest appearances include the songs Drink the Effect, from the 2008 self-titled EP by Greek Industrial Black Metal band Rheinkaos; Scary Place, from the 2014 self-titled album by Vita Nova; and Winter Is Coming, a solo single released in 2014 by Stream of Passion’s Eric Hazebroek. There’s also a solo album that Gogo Melone mentioned she started working in the beginning of 2012, which should be called Black Silent Vision (or something like that), and she even mentioned in one of her interviews that a digital single was almost ready to be released that year in the summer, but so far nothing has been released maybe due to all her responsibilities as a graphic designer, which undoubtedly consumes a lot of her time.

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Speaking about her passion for arts in general and her work as a graphic designer and digital illustrator since 2007, Gogo Melone mentioned that her favorite styles are emotional, dark and surreal, nurturing a deep passion for red, black and white, as well as for digital art, photography, music and film. “I can’t be myself without freedom and creativity and with art you can have both at maximum. My work is a mixture of dark digital art and photography, highly influenced by films, dark and gothic fashion, fairytales, the beauty of fragile souls and dreamy places,” said our diva, who’s also worried about the future of album covers and booklets due to the vast majority of physical albums being replaced by their digital formats. She has already worked with countless bands in her career, being responsible for the artwork, design or layout of their albums, including for example the bands Xandria, Ablaze My Sorrow, Lutharo, Red Moon Architect, Stormbound, As the Sun Falls, Delusions of Reality, Eye of Solitude, Gallia, Mythodea, White Empress and Wolfheart, just to name a few, plus of course her own bands Aeonian Sorrow, Luna Obscura and Elyzia. Furthermore, inspired by her favorite types of music or bands, a good movie, a documentary, a walk in nature, her past memories, her fears and her dreams, Gogo Melone said in one of her interviews that it doesn’t matter the quality or technique behind an image if it captures the essence of the message that’s being sent. In addition, she also mentioned that although she can’t be considered a photographer, she finds it very inspiring to see the works of both classic and modern photographers such as Cecil Beaton, Philippe Halsman, Steve McCurry, Allan Amato, Tim Walker, Nicolas Guerin, Winter Kelly and Natalie Shau.

Regarding her idols and influences, she said that her introduction to the metal scene happened when she bought the Black Album by Metallica, leading her to take some basic non-professional vocal lessons, participating in her school choir, and starting to sing in different bands during her high school years. Among her favorite bands we’ll find some incredible names such as My Dying Bride, Theater of Tragedy, Katatonia, Anathema, Draconian, Novembers Doom, Daylight Dies, Trail of Tears, Swallow The Sun, Shape of Despair, Paradise Lost, Moonspell and many more, being a diehard fan of all things doom, gothic and death. She was also asked to list her top five albums of all time a few years ago, and if her taste hasn’t changed since then her list is formed of The Silent Enigma, by Anathema; The Angel And The Dark River, by My Dying Bride; Viva Emptiness, by Katatonia; Velvet Darkness They Fear, by Theater of Tragedy; and Arcane Rain Fell, by Draconian.

Although Gogo Melone might have never taken professional vocal lessons, she doesn’t encourage people to follow the same path. “Everything is better when you have technical knowledge and when you know how you can use your voice without destroying it,” she said, also mentioning that she warms up her voice with simple techniques and rest it for long periods. “I don’t smoke, I’m not a big alcohol drinker, I drink a lot of water, I work out a bit and I sleep well as much as possible. Thankfully I didn’t do any damage to my voice so far, but after some years, maybe many years, my voice will change anyway so I guess that a few professional lessons will help to maintain it.” She obviously loves to use her voice live, and being onstage is extremely important to her as a musician and as a person. For instance, her most memorable live performances happened during the European tour that Aeonian Sorrow did with Swallow The Sun and Oceans of Slumber in 2019, also saying that one of the best concerts she has ever witnessed was Anathema when they played in Thessaloniki, Greece in 2005.

When asked if she prefers focusing on her career or her family, as several female singers have already mentioned they would rather concentrate in their careers, Gogo Melone said she would never sacrifice her family for her career, saying that there’s no point in spending most of the time away from your family or having kids you won’t see growing up, complementing by saying that not having a family when you’re in your 20’s or 30’s might be fine, but definitely not when you turn 40 or 50. A member of Eve’s Apple, a community (that might not be active anymore) focused on uniting female metal and rock singers to share their experiences, get to know each other, chat about a variety of topics, and promote their music without any sort of competition, Gogo Melone believes that the metal scene is no longer a male-dominated space, with all female-fronted bands showing metalheads they are no different from men, deserving nothing but respect from the scene. Hence, when questioned about her favorite female singers of all time, she listed Vibeke Stene (Tristania), Liv Kristine (Theatre of Tragedy, Leaves Eyes), Anneke Van Giersbergen (The Gathering), Lisa Johansson (Draconian) and Cathrine Paulsen (Trail of Tears) as her top ones, saying that list will never change for her.

Greece has always been an amazing source of metal music, but Gogo Melone believes the scene is even stronger now, with many bands having started to act more professionaly, therefore helping the local scene grow in a healthier way. “Of course the metal music industry has the normal ups and downs but people are always interested to discover new bands and artists,” she commented about the scene in Greece, also saying that due to having lost contact with her homeland in recent years she doesn’t follow a lot of Greek bands, apart of course form renowned acts such as Rotting Christ and Septicflesh, but that she knows all bands in Greece are putting a lot of effort into their music and they definitely need the support and attention from fans worldwide.

She also mentioned in one of her interviews that working as an independent artist is more in line with her goals, as she doesn’t like the standards such has “1 album every 2 years” or “you have to go live”, relying more on the online support she receives and on crowdfunding campaigns. “The internet and especially social networks are obviously the new way of bringing people together from all over the world. So, in regards to work and how you will promote it, I think it’s one of the best and most clever ways which can give you fast results. I like to use it very often, sometimes more than I should and even if it has helped me a lot…. I believe we must be very careful. It’s very easy to fool around instead of doing serious work, so be careful.” Well, we can all agree she’s been using the internet properly, as we’re all very lucky to be able to access her music and her art from anywhere in the world, bringing endless joy to our dark and gothic hearts.

Gogo Melone’s Official Facebook page
Gogo Melone Art’s Official Facebook page
Gogo Melone’s Official Instagram
Elyzia’s Official Facebook page
Elyzia’s Official Instagram
Elyzia’s Official YouTube channel
Aeonian Sorrow’s Official Facebook page
Aeonian Sorrow’s Official Instagram
Aeonian Sorrow’s Official YouTube channel

“Music is an amazing way to express your emotions and have fun all the time when you don’t take things so seriously. I prefer to sing whenever I want to and enjoy it in a way that makes me feel something instead of making albums every year with amazing productions but without soul, which obviously no one will remember after.” – Gogo Melone

Album Review – Eternally Scarred / Echoes From Beneath (2022)

A Melodic Death and Doom Metal one-man band from Armenia is ready to conquer all to the sound of his newborn beast, dealing with insanity, nightmares, powerlessness, corruption and loss.

Formed in 2016 in Yerevan, the capital and largest city of Armenia and one of the world’s oldest continuously inhabited cities, by vocalist, multi-instrumentalist and songwriter Artak Karapetyan, the thrilling Melodic Doom/Death Metal one-man act Eternally Scarred has been combining slower tempos with faster, melodic guitars and a raw, dirty production since their 2017 debut effort …of Wisdom, and that’s also the case with Artak’s newborn beast, titled Echoes From Beneath. Recorded, mixed and mastered by Artak himself, and displaying a sinister artwork by Vladimir Prokofiev from Paint-It-Black Design, Echoes From Beneath depicts an amalgamation of subjects such as insanity, nightmares, powerlessness, corruption, loss, coping with all aforementioned topics, or being overcome by them, all embraced by the multi-layered, bold music brought into being by this lone wolf from Armenia.

The opening tune Deviance begins in a very atmospheric and pensive manner, with the minimalist sounds by Artak growing in intensity until his riffs enfold us all in a Doom and Death Metal musicality, with his vociferations bringing even more obscurity to the song. Then leaning towards the music played by bands the likes of Insomnium, Artak slashes his guitar and pounds his drums in great fashion in Divinations, a lot heavier and more dynamic than its predecessor with the extra rage coming from its Death Metal nuances being fantastic; and Artak keeps blasting his drums in the name of doom in Brothers In Arms, bringing tons of groove and heaviness through his bass and piercing riffs. After that, Artak’s visceral guitar lines will decimate your senses in Parasomnia, with his deep, enraged guttural growls growing in intensity as the music progresses in a lecture in Melodic Death and Doom Metal.

Adding elements from Stoner and Sludge Metal to his already acid riffs, it’s time for Stone Cold Blood, where its experimental passages might not be bad but they end up taking part of the song’s punch; whereas back to a more doomed, gloomier sound our Armenian metaller offers us all The Absence, showcasing beautiful guitars, slow and steady drums, and his trademark devilish vocalizations. Then prepare your mind for an eight-minute journey through the realms of Atmospheric Doom Metal entitled If The Walls Could Talk, where Artak beautifully alternates between gentle, somber passages and sheer heaviness, followed by Voices Underneath, investing in a grandiose and melodic sound while bringing the same vibe as the music by several Scandinavian Melodic Death Metal icons such as Soilwork and In Flames, resulting in a multi-layered creation that will cut your skin deep majestically. Finally, ending such inspiring and deep album we have Eternally Scarred (Part II), where Artak once again blends melancholy and anger through his riffs, bass and drums, again vociferating rabidly until the very last second.

Such precious gem of the Armenian metal scene can be appreciated in full on YouTube and on Spotify, and obviously purchased from  the project’s own BandCamp page, from the Satanath Records’ BandCamp page, or from Discogs, if you want to show all your support and admiration for the music by Artak. You can also find him and his Eternally Scarred on Facebook, on Instagram and on VKontakte for news, tour dates and so on, letting him know that although he’s a one-man metal band, he’s definitely not alone. We’ll always carry the scars we get in our lives, even after our deaths, but that’s not a problem at all if that happens to the sound of the excellent Melodic Death and Doom Metal crafted by Eternally Scarred.

Best moments of the album: Divinations, If The Walls Could Talk and Voices Underneath.

Worst moments of the album: Stone Cold Blood.

Released in 2022 Satanath Records

Track listing
1. Deviance 6:40
2. Divinations 7:01
3. Brothers In Arms 4:30
4. Parasomnia 5:09
5. Stone Cold Blood 7:46
6. The Absence 8:00
7. If The Walls Could Talk 8:19
8. Voices Underneath 4:28
9. Eternally Scarred (Part II) 6:54

Band members
Artak Karapetyan – vocals, all instruments