Tag Archives: melodic thrash metal

Metal Chick of the Month – Marlene Muñoz, Elizabeth Castillo & Caro Saturni

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Ruling the night of women’s rites with their dark lullabies!

I think the month of May needs an extra kick, and there’s nothing better than some first-class Mexican spices to turn up the heat considerably, right? That’s exactly why we’re not going to have only one metal lady this month, nor even two. We’re going to feast your eyes and ears with nothing more, nothing less that THREE metal ladies hailing from Mexico, a country known for the passion their metalheads nurture for all types of heavy music. Our three breathtaking metal divas are vocalist Marlene Muñoz, bassist Elizabeth Castillo, and guitarist Caro Saturni, who together with drummer Nicolás Garza form the ruthless Death Metal squad known as Spit On Your Grave, and I’m sure you’ll have a very good time knowing a bit about this triumvirate of absolute female power in Heavy Metal.

Before talking about each one of our chosen metal ladies, let’s do a quick introduction on their amazing band Spit On Your Grave. Formed in 2012 in Monterrey, the capital and largest city of the northeastern state of Nuevo León, Mexico, Spit on Your Grave are a no shenanigans, visceral Death Metal entity with three full-length albums and one EP released to date, always dealing with topics such as madness, serial killers, death and isolation, among others, having already shared the stage with metal titans the likes of Carcass, Sepultura, Nervosa, Cattle Decapitation, Cannibal Corpse, Brujeria and Dark Tranquility, just to name a few. All the information you need about the band is available HERE, and don’t forget to also stream their creations on Spotify, on YouTube, and other streaming services.

Furthermore, although we’re paying our humble tribute to the three girls that are currently part of the band (there are other women who are former members of Spit On Your Grave, but those might be our metal ladies in the future as part of their current bands), only Elizabeth is featured in all of their albums. As a matter of fact, she’s the only remaining member of the original formation of the band, and therefore she deserves to be the first one we’re going to talk about here on The Headbanging Moose. It’s all about seniority, right? But before that, how about a short and sweet overview of each of the albums released by Spit On Your Grave?

Released in 2014, their debut full-length album Existential Murderer consists of ten tracks that refer to raw old school Death Metal, basing its lyrics on situations of revenge, perversions, death, and only Elizabeth from our three metal ladies played in that album as aforementioned, while vocals and guitars were done by two other great female musicians, Zitlalic Gómez and Cecilia Cárdenas, respectively. Then in 2015 the band introduced a more melodic sound to their core essence with the EP Unblessed, the watershed that led the band to a variety of events and concerts making their way to the big stages with international bands, showcasing the same lineup from their 2014 album.

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In 2018, after a few lineup changes, those being newcomers Kharen Guardiola on vocals, Aldo Guerra on drums, and one of our metal ladies Caro Saturni (aka Carolina Ampersand) on the guitar, the band released their sophomore opus The Night Of The Women’s Rites, incorporating a more melodic sound where guitar solos stand out, while the album’s lyrics talk about goddesses and female deities from different cultures that somehow changed the course of history, including for example The Whore Queen (Cleopatra), Aphrodite and Cihuacóatl (these three song also released in 2018 as a single named Cihuacóatl), showing the courage, personality, attitude and the leadership of those women.

In between The Night Of The Women’s Rites and their newest opus Arkanum, the band released the single Ixik Uh in June 2022, which actually serves as a connection link between The Night Of The Women’s Rites and Arkanum, talking about an ancient Mayan ritual to Ixchel, a Mayan deity known as the Goddess of the Moon, in addition to fertility, childbirth, pregnancy, medicine, rain, womanly crafts, and war. The single was already recorded by the current lineup, including not only Elizabeth but also Marlene and Caro, making it the first ever song to feature all of our three metal ladies of the month.

And lastly, on the second week of April, Spit On Your Grave returned with their third studio album, the pulverizing Arkanum, a conceptual album that tells the process of a mental detox, which draws thematically on mystical elements, and with each track inspired by a different tarot card.“It talks about an internal struggle to restore your inner self,” the band said, “where your demons surface, and everything you believed in is questioned. That moment when you realize that for years you have followed someone else’s lead. You’ve had enough and decide to leave everything behind. It’s about losing yourself by being influenced by someone else and the struggle to wake up from that reality. Centering the lyrics in this inner fight with yourself, involving depression, anxiety, mistrust, feeling unfairly judged by everyone and having no help around.” Moreover, there’s a nice interview (in Spanish) to a YouTube channel called The Chill Dude On A Couch, where they talk about the album.

Elizabeth Castillo

Having said all that about the band’s discography, it’s time to focus on each of their amazing women, starting with the remaining founding member of the band, Elizabeth Castillo. Born and raised in Mexico, she’s not only the bassist for Spit On Your Grave, having recorded all of their albums, EP and singles, as already mentioned, but she’s also responsible for the bass duties with Mexican Black/Doom Metal band Hagel since their reactivation in 2014, having recorded with them the album Veneration of the Black Light back in 2021, featuring some insane songs such as Decalogue of Misery. Not only that, you can also find Elizabeth in a distinct folk band named Sandunga, playing traditional Mexican and Latin American music while also dealing with the Mexican folklore; however, Elizabeth is not the bassist for Sandunga, but their guitarist, and she also plays an instrument called “requinto jarocho” or “guitarra de son”, a four- or five-stringed instrument that has originated from Veracruz, Mexico, played usually with a special pick. If you want to know more about the band, simply click HERE, and don’t forget to also enjoy their official video for the song Maclovia, as it’s an amazing song outside of the metal realm. and how about watching her blast her bass in great fashion in the official YouTube channel for Spit On Your Grave, playing the classic Hammer Smashed Face, by the almighty Cannibal Corpse? That’s a really cool video, my friends!

Caro Saturni

The next metal lady of this month of May is the band’s guitarist Caro Saturni. Born on January 18, 1996 in Mexico, she joined Spit On Your Grave back in 2016 and released with the band so far their 2018 album The Night of Women’s Rites (as Caro Ampersand) and their 2024 album Arkanum (already as Caro Saturni), becoming the lead guitarist of the band, and you can check all her dexterity in a video from the band’s official YouTube channel where she plays the song Adjusting the Sun, by Hypocrisy. She’s also the guitarist for an all-female rock and metal band from Monterrey named Sister Sinyster, and although there isn’t much online about the band (as they just started in November 2023), you can enjoy this recent interview to Metalhead Inter Radio, and keep an eye on their Instagram for news as I’m sure we’ll hear a lot about those girls soon.

Marlene Muñoz

And last but definitely not least, we get to the she-wolf Marlene Muñoz, who joined Spit On Your Grave back in 2020 and has recorded with them so far their breathtaking new album Arkanum. Her harsh screams and guttural gnarls are fantastic, adding an insane dosage of brutality to the band’s core Death Metal, therefore elevating the band’s status in the local Mexican scene as well as worldwide. Apart from Spit On Your Grave, you can find Marlene as the vocalist for a Monterrey-based Melodic/Progressive Thrash Metal band called Judgment since 2019, having released with them a self-titled three-track single back in 2019, plus a standalone song named All I Have, in 2022, and let me tell you that all four songs released so far are amazing, leaving us eager for a full-length album by those Mexican metallers in the near future.

In summary, fi you’re looking for some fresh metal music with a powerful feminine touch, you must check the creations by all bands featuring Marlene Muñoz, Elizabeth Castillo and Caro Saturni, because those three multi-talented women definitely put their hearts and souls into making high quality music for us fans, and if you’re near them in Monterrey keep an eye on their social media because you don’t want to miss the metal attack provided by their bands live, in special the fulminating Spit On Your Grave. Hopefully the band will keep growing and reaching new horizons, playing all across the US and Canada, participating in multiple European festivals, bringing their music to places like Brazil, Japan, Australia and so on, because they play ass-kicking Death Metal, and we always need ass-kicking Death Metal with a feminine touch to make our lives way better, right?

Elizabeth Castillo’s Official Instagram
Caro Saturni’s Official Instagram
Marlene Muñoz’s Official Instagram
Spit On Your Grave’s Official Facebook page
Spit On Your Grave’s Official Instagram
Spit On Your Grave’s Official YouTube channel
Spit On Your Grave’s Official TikTok
Spit On Your Grave’s Spotify
Spit On Your Grave’s Linktree

Album Review – Hyperia / The Serpent’s Cycle (2023)

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One of the driving forces of the current underground Canadian scene returns with another demented album of caustic, unrelenting Thrash Metal.

Known for their wailing vocals, shredding guitars, and fast, heavy drums, Vancouver, British Columbia-based Melodic Death/Thrash Metal outfit Hyperia is back in action with a newborn beast titled The Serpent’s Cycle, following up on their highly acclaimed albums Insanitorium (2020) and Silhouettes of Horror (2022). Mixed by the band’s own guitarist Colin Ryley at Singularity Sound Studios, mastered by Mika Jussila at Finnvox Studios, and displaying a sinister artwork by Caitlin Delaplace, The Serpent’s Cycle has a wide variety of riffs throughout its 11 demented songs, ones that will remind listeners of the 80’s and also ones that usher in the new era of modern thrash, showcasing all the talent, hard work and passion for heavy music by Marlee Ryley on vocals, the aforementioned Colin Ryley on the guitars, Jon Power on bass, and Ryan Idris on drums.

A sinister intro sets the tone in Ego Trip, exploding into sheer madness led by the sick vocals by Marlee, declaiming the song’s acid words rabidly (“Chest is tight / Hard to breath / Tick like a bomb, don’t wanna explode / You got me in a choke hold”), followed by Automatic Thrash Machine, a wild, metallic ride by Hyperia where the frantic riffage by Colin and the classic beats by Ryan will drag you to a fun, unstoppable circle pit in the name of our good old Thrash Metal. More of the band’s insane thrashing sounds is offered to us all in Prophet of Deceit, where Marlee sounds absolutely demented on vocals while her bandmates keep the music as melodic and heavy as it can be, whereas Psychosomatic is another excellent tune crafted by Hyperia where the riffs and solos by Colin together with the rumbling bass by Jon will punch you hard in the head mercilessly. And even more frantic, caustic and demented than its predecessors, the title-track The Serpent’s Cycle is a lecture in modern-day Melodic Thrash Metal where Marlee continues to roar like a she-beast while Ryan steals the show with his ruthless and very technical drumming.

There’s no time to breathe as the quartet continues their thrashing extravaganza in Trapped in Time, again showcasing their trademark wicked screams, sharp riffs and thunderous bass and drums, whereas Marlee takes her insanity to a whole new level in Spirit Bandit, an explosion of old school Thrash Metal that will please all fans of the genre. Eye for an Eye brings forward another round of their acid lyrics (“A flicker of a person / A victim of arson / Sudden movement of a chair / But nothing’s there”) amidst a neck-breaking sound led by the pounding drums by Ryan, followed by Binge & Surge, offering us all a solid display of Thrash Metal with a strong melodic vein (albeit not as exciting as the rest of the album). Deathbringer, the last original song of the album, will darken the skies in the name of pure evil and hatred, and it’s impressive how the band added elements from Black Metal to their sound, in special the demonic riffs by Colin, resulting in a beyond heavy and thunderous tune. Lastly, we’re treated to Hyperia’s rendition of Heart’s classic Crazy On You (check the original version HERE, from their 1975 album Dreamboat Annie), and their version keeps the core essence of the original intact while adding their own thrashing twist to it.

It’s a real pleasure witnessing the evolution of Hyperia through the years, carving their names in the Canadian scene and becoming one of the driving forces of the current Thrash Metal environment, with The Serpent’s Cycle definitely taking the band to new heights. Hence, don’t forget to check what the band is up to on Facebook and on Instagram, to subscribe to their YouTube channel and to stream all of their amazing albums on Spotify, and above all that, to purchase their sick new album directly from their BandCamp page. Having said all that, it’s time to join the thrashing feast by Hyperia in The Serpent’s Cycle, and you better get ready because their circle pit has no date or time to end.

Best moments of the album: Automatic Thrash Machine, The Serpent’s Cycle, Spirit Bandit and Deathbringer.

Worst moments of the album: Binge & Surge.

Released in 2023 Independent

Track listing
1. Ego Trip 4:41
2. Automatic Thrash Machine 4:02
3. Prophet of Deceit 4:16
4. Psychosomatic 4:29
5. The Serpent’s Cycle 5:04
6. Trapped in Time 3:58
7. Spirit Bandit 4:04
8. Eye for an Eye  4:47
9. Binge & Surge 3:44
10. Deathbringer 5:31
11. Crazy On You (Heart cover) 5:03

Band members
Marlee Ryley – vocals
Colin Ryley – guitars
Jon Power – bass
Ryan Idris – drums

Album Review – The Last Prophecy / Hate Is My Mentor EP (2023)

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A young, rising Melodic Death/Thrash Metal band from Finland will kick you in the head to the sound of their new EP, sounding faster, heavier and more ferocious than ever.

A young, rising Melodic Death/Thrash Metal band formed in early 2021 in Espoo, Finland, the four-piece act known as The Last Prophecy has been connecting the best bits of Thrash Metal and Melodeath since their inception, crafting their own sound while also honoring their main influences including In Flames and Children Of Bodom. Now in 2023 the quartet formed of Joakim Haahtela on vocals and guitars, Petteri Karinen also on the guitars, Saku Kivirinne on bass, and Henri Toropainen on drums unleashed upon us a 25-minute EP titled Hate Is My Mentor, sounding faster, heavier and more ferocious than ever, with the mixing and mastering by the band’s own Petteri and Henri and the artwork by @dodolokstrom bringing an extra touch of insanity to the album, therefore positioning the band as one of the must-see new names of the current Finnish scene.

The guitars by Joakim and Petteri bring the noise to the opening tune Deranged, slashing our ears in great fashion in the name of Melodic Death Metal supported by the pounding drums by Henri; whereas Dead Forever is even groovier and heavier thanks to the rumbling kitchen blasted by Saku and Henri, or in other words, it’s an amazing option to slam into the pit while Joakim vociferates rabidly. Then drinking from the same fountain as Scandinavian giants the likes of Soilwork, In Flames and Arch Enemy (while also adding their own Death Metal twist to the overall result), we have Dark Sky of the Dawn, where another amazing guitar job by Joakim and Petteri keeps the song’s energy level truly high; followed by the title-track Hate Is My Mentor, which beings in a serene manner before evolving into another classy Melodic Death Metal feast, showcasing dark lyrics (“Restless soul in darkness / Waiting for salvation / World’s turning its back / Sing the song of death / While holding your breath / Aid is never here / It’s a one-way path / Light has passed away / This is the last day”) amidst a neck-breaking sonority. Finally, closing the EP the quartet offers us all Course of War, again delivering their usual incendiary riffage while Henri dictates the pace with his intricate and hammering drums.

Such fun and vibrant EP is available in its entirety on Youtube and on Spotify, and of course if you want to show the guys from The Last Prophecy how much you enjoy their music you can give them a shout on Facebook and on Instagram, subscribe to their YouTube channel, and purchase a copy of Hate Is My Mentor from Apple Music or by clicking HERE. The EP already gives the listener a very good idea of how exciting the music by The Last Prophecy is, and now those Finnish metallers have the mission of delivering an even bolder, faster and heavier full-length album in the near future. Well, I’m sure they’ll get there even if it’s hard to beat the quality of the songs from Hate Is My Mentor, don’t you agree?

Best moments of the album: Dead Forever and Dark Sky of the Dawn.

Worst moments of the album: None.

Released in 2023 Independent

Track listing
1. Deranged 3:52
2. Dead Forever 5:56
3. Dark Sky of the Dawn 3:42
4. Hate Is My Mentor 6:13
5. Course of War 5:34

Band members
Joakim Haahtela – vocals, guitars
Petteri Karinen – guitars
Saku Kivirinne – bass
Henri Toropainen – drums

Metal Chick of the Month – Haruka Morikawa

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A beautiful Japanese nightmare!

As we’re getting closer and closer to the end of another year of pure fuckin’ metal, let’s keep banging our heads nonstop to another extremely talented woman from the underground scene, this time hailing from Japan, or as several people like to call it, the “Land of the Rising Sun”. Easily switching between deep, demonic growls and an angelic, operatic voice, our metal lady of the month of November has been making a strong impact not only on the underground scene in her homeland, but her voice has been echoing all over the world and, therefore, attracting the attention of a wide variety of headbangers worldwide. I’m talking about Haruka Morikawa, also simply known as Haruka, the lead singer for Japanese Melodic/Symphonic Electro Death/Thrash Metal band Heterogeneous Andead, and just by the name of the band and the type of music they play you know you’re in for a treat in our humble tribute to such unique vocalist.

Born and raised in Japan, the skillful Haruka has been the voice of Tokyo’s own Heterogeneous Andead since April 2014, when the band’s current style reached its desired shape and form. However, the band was formed a little before that, though, starting as a project named Andead by founder and multi-instrumentalist Yusuke Kiyama in 2012, changing its name to Heterogeneous Andead in 2013 when they started playing some live concerts. Singing about caustic topics such as sorrow, grief and despair, Heterogeneous Andead have already released one EP and two full-length albums in their career, those being their 2015 debut EP Undead, the 2017 album Deus Ex Machina, and now in 2022 the album Chaotic Fragments, which will be reviewed by The Headbanging Moose sooner than you can say “Japan” and is already available for purchasing HERE. In addition to those, the band was also featured in the compilations Fear Candy 150 (Terrorizer Magazine, 2015), 嘘。(BM Records, 2015), Bad Wish (BM Records, 2015), Halloween – Trick Or Treat (BM Records, 2015), Imperative Music Compilation DVD Vol. 14 (Imperative Music, 2017), and Metal Japan Heavy Chains Vol.5 TieUp ConneXion #2 (Metal Japan Records, 2019).

Heterogeneous Andead have been suffering with several lineup changes lately, with guitarist Sho and bassist Takashi Onitake leaving the band in December 2021 and drummer Tomoyuki Nakano also leaving the band in July this year, which means Yusuke and Haruka are currently searching for a guitarist, a bassist and a drummer to join them in their quest for heavy music. I’m sure they’ll find some talented musicians to be part of the band soon, and until then you can enjoy Haruka’s unique vocals in the official videos for the amazing songs Denied, Automaton and Fission, as well as live recordings of the songs Demise of Reign, Flash of Calamity and Denied live at WildSideTokyo on September 16, 2019, and Unleashed live on February 11, 2017 at Shinjuku Head Power. Furthermore, you can always stream all of the band’s creations on Spotify as well.

An admirer of Classical Music, Jazz, Electronic Pop, Brutal Death Metal and Grindcore, the stunning Haruka doesn’t only mesmerize us all with her mezzo-soprano vocals, singing like an angel, and with her guttural growls and screeches, sounding like a devil, but she also makes sure her looks on stage are in sync with the music being played. According to her bandmate Yusuke, the concept of costumes is basically darkness or gorgeousness influenced by Japanese visual kei, a movement among Japanese musicians that is characterized by the use of varying levels of make-up, elaborate hair styles and flamboyant costumes, often, but not always, coupled with androgynous aesthetics, similar to Western Glam Rock. Simply watch the aforementioned videos of the band, as well as their live performances, and you’ll see the incredible fusion of music and visuals in their creations.

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Owner of a natural Anime voice (according to the band itself), when asked about how she manages to go from her growls to her mezzo-soprano voice (and back) in seconds without having any sort of vocal issues, Haruka said she has already found the perfect way to switch from one style to another, complementing she has never lost her voice due to that extreme change. In one of her interviews our beloved vocalist said that although she didn’t feel her voice was the most remarkable piece of her identity in the beginning, she now understands and feels the power of her voice as part of her character, saying that it was Yusuke who inspired her to sing both harsh and clean vocals when she first joined the band. It was a challenge for her at first, of course, but Yusuke made sure he adapted part of the band’s style to match with her abilities, resulting in a win-win situation for both him and Haruka as the music by Heterogeneous Andead sounds fantastic nowadays. If you’re in Japan you might be lucky enough to witness them playing live, which occurs only once or twice a month, and despite not filling up big venues yet they certainly have a decent amount of followers that always attend their concerts.

Regarding the metal scene in Japan and how well their unique type of Extreme Metal is accepted in the country, Haruka mentioned during an interview that she can see metal bands having issues playing in countries or regions where the catholic church is very strong, but that’s not a problem in Japan as most of the Japanese population doesn’t follow any religion (or at least they don’t follow it blindly, I might say). What’s interesting is that Haruka is a Protestant Christian herself (and she mentioned only 1% of the country is Christian, by the way), but fortunately music and religion are not connected in any particular way in Japan. She also said that because she follows a Christian way of living she believes she can better express herself when singing with Heterogeneous Andead, externalizing all the sorrow and grief from the lyrics in great fashion.

You can watch a few fun and informative interviews on YouTube with Haruka, who’s by the way a big fan of our beloved monster Godzilla. For example, you can enjoy this nice interview to Antichrist Magazine in 2018 where Haruka and Yusuke talk about their previous album Deus Ex Machina; and this one to the Argentinian webzine Territorio Rock, also in 2018. And last but not least, anytime you watch a live performance by Haruka with Heterogeneous Andead you’ll certainly notice her movements are very theatrical, adding an extra touch of finesse to the overall result. The reason for that is that not only Haruka was part of plays and musicals when she was a student, but she also practiced Aikido, a modern Japanese martial art that is split into many different styles, during her childhood, allowing her to improve the visual effects of her personal performance while singing at the same time. In other words, don’t mess with Haruka or you’ll get your ass kicked, got it? Simply relax and enjoy her unique vocals to the fullest, proving how much Japan is and will always be one of the most creative countries in the world when the music in question is Heavy Metal.

Haruka Morikawa’s Official Twitter
Heterogeneous Andead’s Official Facebook page
Heterogeneous Andead’s Official YouTube channel
Heterogeneous Andead’s Official Twitter

Album Review – Hyperia / Silhouettes of Horror (2022)

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This unrelenting Melodic Thrash Metal squad from Canada is back with a fast and furious new album, exploring parapsychology, night terror hallucinations and inhumane government experiments.

Formerly of Calgary, Alberta, and now residing in Vancouver, British Columbia, the unrelenting Canadian Melodic Thrash Metal squad Hyperia is unleashing upon humanity a fast, melodic and heavy-hitting thrasher entitled Silhouettes of Horror, the follow-up to their 2020 critically acclaimed album Insanitorium. Mixed by Colin Ryley at Singularity Sound Studios, mastered by Mika Jussila at Finnvox Studios, and displaying a beyond classic artwork by Belarusian illustrator Andrei Bouzikov, Silhouettes of Horror explores parapsychology, night terror hallucinations and inhumane government experiments, all embraced by the thrashing music blasted by Marlee Ryley on vocals, Colin Ryley and David Kupisz on the guitars, Scott DeGruyter on bass and session musician Gord Alexander on drums. “The album is mostly about government experiments, greed, and conspiracies, but also about sleep disorders because I have suffered from them since childhood and because of that it was an easy theme to write about,” commented Marlee about the band’s newborn beast.

A cryptic voice ignites the frantic opening track Hypnagogia, with Colin and David slashing their stringed axes accompanied by the thrashing beats by Gord, all of course spiced up by the demented roars by Marlee, and putting the pedal to the metal the band fires the insane Thrash Metal feast Intoxication Therapy, living up to the legacy of bands the likes of Anthrax and Toxic Holocaust with Marlee stealing the spotlight with her she-wolf screams. They keep hammering their instruments mercilessly in Experiment 77, another melodic and sick Thrash Metal aria where Colin is on fire with his guitar solos, whereas a more rhythmic start led by the rumbling bass by Scott and the fierce beats by Gord kick off the mid-tempo, darkened tune Severed, with Marlee’s growling being supported by infernal backing vocals. Following such obscure song, the band continues to invest into a NWOBHM-inspired sonority in Prisoner Of The Mind, with the guitar duel by Colin and David sounding awesome throughout the entire song.

Marlee and her henchmen keep blasting their fusion of insanity, rage and metal music in Terror Serum, a solid display of their Melodic Thrash Metal where Gord does an excellent job dictating the song’s pace with his classic beats, and get ready for a thrashing ride together with Hyperia in the form of Whitecoat, the perfect remedy for a boring day. Put differently, simply slam into the pit to the visceral screams by Marlee and be a happier person, whereas the title-track Silhouettes of Horror brings to our avid ears another round of their devilish riffs supported by the metallic bass by Scott, sounding very melodic and thrilling until the very last second. Operation Midnight is a flawless hybrid of classic Heavy Metal with Bay Area Thrash where Marlee sounds truly possessed on vocals while Colin and David deliver sheer aggression and harmony from their guitars, followed by the last original song from the album, Pleonexia, offering at the same time a more obscure side of Hyperia and their usual sonic devastation, flowing violently to the demonic beats by Gord until the very end. Finally, we’re treated to their cover version for ABBA’s classic Gimme Gimme Gimme (check out the original version HERE), and the band did a fantastic job adding their touch of evil to the music while keeping the song’s core essence intact.

If you believe you have what it takes to face the 50 minutes of the insane thrashing extravaganza crafted by Hyperia in Silhouettes of Horror, you can enjoy the album in its entirety on YouTube and on Spotify, but of course in order to provide those Canadian metallers  with your utmost support you can purchase the album from their own BandCamp page or from Apple Music. In addition, don’t forget to give the band a shout on Facebook and on Instagram, showing your love for such talented band from the Great White North. Do you believe in government experiments and conspiracy theories? Are you a diehard fan of first-class Thrash Metal? If your answer is yes to one or both of these questions, then Hyperia have exactly what’s needed to put a huge smile on your face while you raise your horns to the demented music found in their excellent new album, leaving us all eager for more of their wicked creations in the nearby future.

Best moments of the album: Intoxication Therapy, Experiment 77, Whitecoat and Operation Midnight.

Worst moments of the album: Severed.

Released in 2022 Independent

Track listing
1. Hypnagogia 4:17
2. Intoxication Therapy 4:38
3. Experiment 77 4:28
4. Severed 4:20
5. Prisoner Of The Mind 4:18
6. Terror Serum 4:51
7. Whitecoat 3:31
8. Silhouettes of Horror 3:54
9. Operation Midnight 4:22
10. Pleonexia 6:59
11. Gimme Gimme Gimme (ABBA cover) 4:29

Band members
Marlee Ryley – vocals
Colin Ryley – lead guitar, backing vocals
David Kupisz – rhythm guitar, backing vocals
Scott DeGruyter – bass, backing vocals

Guest musician
Gord Alexander – drums (session)

Album Review – Celtic Hills / Mystai Keltoy (2021)

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A massive metal attack made in Italy offering us all 11 tracks that speak of ancient alien civilizations, European pyramids, legends and historical facts of Friuli.

3.5rating

celtic-hills-mystai-keltoy-2021Mystai Keltoy, an enigmatic name that alludes to the Elusian Mysteries, is also the name of the brand new album by an Italian Melodic Power/Thrash Metal entity formed in 2010 that goes by the epic name of Celtic Hills, offering us fans of heavy music 11 tracks that speak of ancient alien civilizations, European pyramids, legends and historical facts of Friuli. Recorded and produced at The Groove Factory in Udine, Italy by Michele Guaitoli, and displaying a classy artwork representing the myth of the ancient visitors hand painted by artist Sheila Franco, Mystai Keltoy is a journey through several metal styles from early Thrash Metal to modern-day Power Metal, showcasing all the talent of the band comprised of Jonathan Vanderbilt on vocals and guitar, Jacopo Novello on bass, and Simone Cescutti on drums.

The Iron Maiden-like riffs by Jonathan and the crushing drums by Simone kick off the band’s metal extravaganza in The Light, blending the magic of traditional Heavy Metal with the acidity of the Speed Metal played by Megadeth. And let’s keep banging our heads to the smashing drums by Simone in Blood is not Water, accompanied by the thunderous bass by Jacopo, reminding me of some classic compositions by Overkill, Exodus and Metal Church, whereas powerful backing vocals add an extra touch of epicness to the imposing The Tomorrow of Our Sons, supporting Jonathan and his old school vocal lines. Putting the pedal to the metal, the trio fires the absolutely pulverizing battle hymn The 7-Headed Dragon of Osoppo, where all three musicians are in total sync with their incendiary riffs, bass punches and pounding drums, resulting in a lesson in Italian Heavy and Thrash Metal. There’s no time to breathe as those Italian metallers deliver another kick-ass tune entitled The Landing of the Gods, with Jonathan slashing his stringed axe nonstop.

Already Lost is epic and bold form the very first second, with the trio being on fire throughout the entire song which “forgets” their previous Speed Metal and invests into a pure Melodic Metal sonority. Then a futuristic atmosphere walks hand in hand with the metal demolition spearheaded by Simone’s drums in Falling Star, where it’s impressive how only three musicians can generate such dense sound; followed by Battle Of Frigidium, once again drinking from the same fountain as renowned acts the likes of Manowar, Iron Maiden and Iced Earth, with Jonathan’s vocals getting darker and more enraged as the music progresses. Featuring guest vocals by Italian singer Germana Noage (Aetherna, ƝOΔGE), Celtic Hills offer us fans a more melodic side of their music à la Nightwish, After Forever and Lacuna Coil in Eden, while Temple of Love never really takes off albeit sounding similar to the previous song, and never showing the same amount of adrenaline form the rest of the album. Finally, closing the album it’s time for a Melodic Power Metal tune entirely sung in Italian entitled Allitteratio, with Jacopo and Simone kicking some ass with their groovy and heavy kitchen.

celtic-hills-2021If you’re curious to see how the fusion of heavy music and legends of ancient civilizations sounds, you can enjoy Mystai Keltoy in its entirety on Spotify, but if I were you I would certainly purchase a copy of the album by clicking HERE. And, of course, you can start following Celtic Hills on Facebook and on Instagram for news, tour dates and other nice-to-know information about the band. Inspired by the history of the populations that inhabited the area of present-day Carnia and Friuli, as aforementioned, but seen with a different perspective, Mystai Keltoy will blow your mind so heavy and detailed it sounds, leaving you eager for more as soon as it’s over and, therefore, keeping the fires of Italian metal burning bright thanks to the amazing job done by the unstoppable Celtic Hills.

Best moments of the album: The 7-Headed Dragon of Osoppo, The Landing of the Gods and Eden.

Worst moments of the album: Temple of Love.

Released in 2021 Elevate Records

Track listing  
1. The Light 3:16
2. Blood is not Water 4:05
3. The Tomorrow of Our Sons 3:29
4. The 7-Headed Dragon of Osoppo 4:02
5. The Landing of the Gods 3:27
6. Already Lost 3:51
7. Falling Star 3:58
8. Battle Of Frigidium 4:59
9. Eden 3:54
10. Temple of Love 3:10
11. Allitteratio 3:20

Band members
Jonathan Vanderbilt – vocals, guitar
Jacopo Novello – bass
Simone Cescutti – drums

Guest musician
Germana Noage – vocals on “Eden”

Album Review – Innersphere / Omfalos (2021)

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One of the most promising metal acts from the Czech Republic returns with their awesome sophomore opus, again dealing with topics of our own existence and naturalism.

3.5rating

innersphere-omfalos-2021Established in Pilsen, a city in the western Czech Republic, in the fall of 2015, Melodic Death/Thrash Metal unity Innersphere has just released their sophomore opus, entitled Omfalos, the follow-up to their critically acclaimed 2018 debut effort Amnesia. Produced, mastered and engineered by Dan Friml (Mean Messiah), recorded at The Barn, and displaying a darkly stunning artwork by Martina Samková (Ghost in the Shell, Llyr), Omfalos, which derives from the Greek ομφαλός (omphalos), meaning “center of the world”, once again deals with topics of our own existence and naturalism through mysterious stories with many metaphors, all beautifully brought into being by the ominous quartet comprised of Míra Litomerický on vocals, guitars and samples, Lukáš Mai also on the guitars, Marek Hubocký on bass and Filip Wintr on drums.

The atmospheric and somber intro Presentiment warms up our senses for The Darkest Hour, an imposing Progressive Metal tune showcasing obscure lyrics growled by Míra (“Droughts, plague, famine – we all blame the gods – surrendered / Cannot escape our fate – raising blackest thought – in this hour”) while the instrumental parts remain dense and captivating from start to finish; and  enhancing their aggressiveness considerably, Míra and Lukáš sound infernal with their riffs in Above accompanied by the crushing drums by Filip, therefore resulting in a multi-layered, bold Melodic Death Metal aria. Then it’s time to set fire to the album in Fire, where the classic, strident riffage blasted by the band’s guitarists walks hand in hand with the bass punches by Marek, reverberating in the air in great Black and Death Metal fashion, whereas the title-track Omfalos is a headbanging beast led by the intricate drumming by Filip, with all background elements and orchestrations adding a touch of epicness to the overall result. Not only that, Míra’s roaring gets deeper and more enraged as the music progresses for our total delight.

In Wisdom, a sinister, Blackened Doom-infused intro evolves into a massive wall of sounds, showcasing neck-breaking riffs and beats, a mournful atmosphere and the always demonic vociferations by Míra, ending in a beyond climatic manner; and putting the pedal to the metal, Filip fires some tribal beats in the violent Blackness, with the bass by Marek sounding truly thunderous in an amazing display of their trademark fusion of Melodic Death and Thrash Metal, not to mention the song’s sick guitar solo. Back to a more somber vibe, the quartet brings forward a fusion of Death, Black and Doom Metal in Nature Of Sorrow, which unfortunately falls flat after a while, sounding a bit generic compared to the rest of the album; however, Innersphere gets back on track with their second to last explosion of Melodic Death and Thrash Metal, titled The Embodiment, where they keep slashing their stringed axes nonstop, providing Míra all he needs to growl and scream demonically. Finally, melancholic piano notes ignite the closing aria The Fall, once again investing in a Blackened Doom sonority (in special through the deep gnarls by Míra and the sluggish beats by Filip), flowing smoothly until its Stygian finale.

innersphere-2021Such intense fusion of melodic, progressive and dark music can be appreciated in its entirety on YouTube and on Spotify, and you should also show your support to the guys from Innersphere by following them on Facebook and on Instagram for new, tour dates and so on, and subscribe to their YouTube channel for more of their awesome music. And above all that, you should definitely add Omfalos to your vast collection of metal albums by purchasing it from their BandCamp page, from the Slovak Metal Army webstore, from Apple Music or from Amazon. The guys from Innersphere more than succeeded in depicting the center of the world through their unique music, leaving us more-than-curious to know what’s next in their shining path of life and death.

Best moments of the album: Above, Omfalos and Blackness.

Worst moments of the album: Nature Of Sorrow.

Released in 2021 Slovak Metal Army

Track listing 
1. Presentiment 1:14
2. The Darkest Hour 4:13
3. Above 5:05
4. Fire 4:49
5. Omfalos 4:17
6. Wisdom 6:13
7. Blackness 4:03
8. Nature Of Sorrow 5:48
9. The Embodiment 4:47
10. The Fall 6:05

Band members
Míra Litomerický – vocals, guitars, samples
Lukáš Mai – guitars
Marek Hubocký – bass, backing vocals
Filip Wintr – drums

Album Review – Scythe Beast / Indicted for Misconception (2021)

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A pulverizing display of German Melodic Death and Thrash Metal that will lay waste to any listener unfortunate enough to venture near the battlefield.

3.5rating

scythe-beast-indicted-for-misconception-2021Originally founded in 2012 in the city of Barnstorf, a municipality in the district of Diepholz, in Lower Saxony, Germany, as what was solely intended to be a studio project, Melodic Death/Thrash Metal outfit Scythe Beast quickly morphed into its very own entity, culminating with the released of their debut effort Breeding Devastation in 2016. Now in 2021 it’s time for frontman Claus Ulka, guitarists Sven Stoppelberg and Frank Schwenker, bassist Jens Weymann and drummer Andreas Tegeler to unleash upon us their sophomore opus, entitled Indicted for Misconception, a deadly barrage brought into being during the lockdown period in Germany that will lay waste to any listener unfortunate enough to venture near the battlefield, living up to the legacy of renowned acts the likes of God Dethroned, Carcass and old Dark Tranquility.

Sven and Frank rev up Scythe Beast’s angry machine in the opening tune King of a Dead Land, evolving into a violent fusion of classic Death and Thrash Metal perfect for slamming into the pit right form the very first second, and it’s then time for a Carcass-infused tune entitled Kill Machine, where the quintet fires more of their vicious sounds spearheaded by the raspy roars by Claus, while Andreas keeps hammering his drums mercilessly. What a fulminating start to the album I might say, and their fire keeps burning in Soulicide, where they slow things down a bit while still sounding heavy-as-hell and utterly aggressive, increasing in insanity until exploding into visceral Melodic Death Metal where Jens extracts violent metallic sounds from his bass for our vulgar delectation; whereas the slashing riffs by the band’s guitar duo set the tone in the frantic Colonize, a Swedish Melodic Death Metal-inspired tune where the thrashing beats by Andreas bring even more fury to the overall sonority.

The tile-track Indicted for Misconception brings to our avid ears more of the band’s visceral and extremely harmonious metal music, a multi-layered, imposing tune spiced up by sick guitar solos by Sven and Frank as the icing on the cake, and never letting the energy level go down the quintet blasts our minds with the straightforward Signs of the Decline, where Claus’ demonic roaring is effectively supported by his bandmates’ classic backing vocals. If you think you’re safe from Scythe Beast, you better get ready to be crushed like an insect in For the Love of God, where Claus keeps vociferating rabidly while Sven and Frank are on fire with their wicked riffage, and Sven, Frank and Jens are once again ruthless with their stringed weapons in Truth Beyond, supported by the trademark blast beats by Andreas while also bringing some welcome hints of Black Metal. Lastly, the band demolishes everything and everyone that crosses their path with the venomous Scapegoat, presenting their usual demented riffs and beats and with Claus sounding like a furious beast on vocals just the way we like it in extreme music.

scythe-beast-2021These German beasts of Melodic Death and Thrash Metal are waiting for you on Facebook and on YouTube, but of course if you want to show your true support to the underground you should definitely purchase a copy of Indicted for Misconception from the band’s own BandCamp page or from Apple Music. As already mentioned a few times on The Headbanging Moose in the past year or so, although no one can stand this never-ending lockdown anymore, it looks like several bands the likes of Scythe Beast are making very good usage of their time away from the road, generating top-of-the-line metal music for us fans and, consequently, keeping us sane and making our days a lot more fun to the sound of their wicked creations. I obviously hope this lockdown comes to an end sooner than later, but if this type of isolation is needed for Scythe Beast to keep smashing our souls with their music, then I’m more than fine having to spend some more time indoors.

Best moments of the album: King of a Dead Land, Kill Machine and Indicted for Misconception.

Worst moments of the album: Truth Beyond.

Released in 2021 Independent

Track listing
1. King of a Dead Land 4:23
2. Kill Machine 4:21
3. Soulicide 6:31
4. Colonize 4:31
5. Indicted for Misconception 4:43
6. Signs of the Decline 4:53
7. For the Love of God 5:06
8. Truth Beyond 4:27
9. Scapegoat 5:00

Band members
Claus Ulka – vocals
Sven Stoppelberg – guitars
Frank Schwenker – guitars
Jens Weymann – bass
Andreas Tegeler – drums

Album Review – Hyperia / Insanitorium (2020)

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Are you crazy enough to enter the “insanitorium” together with one of the most promising names of the current Canadian Thrash Metal scene?

Are you crazy enough to enter the Insanitorium, the debut full-length opus by Canadian Melodic Thrash Metal unity Hyperia? If your answer is yes, you better get ready for over 40 minutes of wailing and harsh vocals, melodic guitars, intricate bass lines and hard hitting drums, ranging from traditional Thrash Metal to Power Metal and even Death Metal, highly inspired by a myriad of bands such as Havok, Overkill, Running Wild, Hypocrisy and Gojira,  among others, with the album’s lyrical themes being based around the concept of being stuck in an insane asylum for committing evil crimes and having no way out. Put differently, after listening to Insanitorium, you’ll quickly understand why the band comprised of Marlee Ryley on vocals, Colin Ryley and David Kupisz on the guitars, Scott DeGruyter on bass and Jordan Maguire on drums was one of the nominees for “Metal Recording of the Year” at the 2019 YYC Music Awards and “Music Video of the Year” at the 2019 Stinger Awards, hosted by the CSIF – The Calgary Society of Independent Filmmakers.

Recorded and mixed by Colin Ryley himself at Singularity Sound Studios in Calgary, Canada, mastered by Mika Jussila (Finntroll, Children of Bodom, Ensiferum) at Finnvox Studios in Helsinki, Finland, and featuring a beyond classic cover art by Belarusian illustrator Andrei Bouzikov (Municipal Waste, Skeletonwitch, Toxic Holocaust), Insanitorium perfectly represents what Hyperia are all about, proving that despite the fact the band was only formed less than two years ago, more specifically in September 2018, they can already be considered one of the most interesting and hardworking names of the Canadian underground scene, thrashing venues and taking the metal community by storm since their inception. Put differently, who doesn’t enjoy some old school shredding accompanied by soaring female vocals, right?

In the opening track Mad Trance, a movie-inspired intro morphs into ass-kicking Thrash Metal with a Melodic Death Metal twist, with both Colin and David showing what they got with their incendiary riffs before Marlee comes crushing with both her clean vocals and she-wolf gnarls, and a demented scream by Marlee sets fire to the also berserk Starved By Guilt, where the whole band puts the pedal to the metal spearheaded by Jordan’s frantic and vile beats. In other words, it’s simply perfect for slamming into the circle pit like a true metalmaniac, whereas in Asylum it’s time to break our necks headbanging, blending the ferocity of Exodus with the melody of Arch Enemy and showcasing an amazing sync between Colin and David, providing all Marlee needs to vociferate the song’s psychological words (“My dead lover under a cover / Screaming, trapped in monomania / They cringed as I unhinged / I’m drowning, set me free / Straight jacket because of a hatchet / Bewitched, lost in compulsion / I’m banished, mind vanished / Fixated, please help me!”).

Then eerie noises are quickly joined by the band’s strident guitars in Unleash The Pigs, evolving into another sonic onslaught where Jordan brutally smashes his drums supported by the rumbling bass by Scott, while Marlee once again delivers a superb performance on vocals; and fasten your seat belts as Hyperia flirt with old school Death Metal in the high-octane tune Nullified,  a very detailed and dense creation that lives up to the legacy of extreme music, sounding as frantic, aggressive and demented as it can be, and with Colin being unstoppable with his riffs and solos. And bringing elements from the music by Metallica, Megadeth and other fast and furious thrashing masters we have Fish Creek Frenzy, where Marlee’s wicked vocals are beautifully complemented by Colin’s and David’s flammable riffs, not to mention all the energy flowing from the song’s spot-on backing vocals.

Dystopia is another awesome composition bursting with rage, madness and heaviness, all embraced by the insurgent lyrics blasted by Marlee in a mix of Black and Thrash Metal styles (“War, bloodshed, slavery, hypocrisy / Everywhere, everyday it’s all you see / Take a look at yourself and your plight / It won’t end unless we STAND UP AND FIGHT”). Well, do you think they still have energy for more violence and bloodshed after so many thrashing hymns in a roll? Their answer comes in the form of the metallic hurricane entitled The Scratches on the Wall, with the sick growling by Marlee being flawlessly boosted by the bestial shredding by the band’s guitarists, as well as Jordan’s nonstop beats and fills, while pure, unrelenting riffage is the main ingredient in Contagion, sounding at the same time very old school, inspired by 80’s Heavy Metal, but also bringing a fresh, modern vibe thanks to the polished production of the album. Lastly, how about more undisputed, deranged Thrash Metal to close the album? That’s what Hyperia have to offer us all as infernal riffs and fast and rhythmic drums permeate the air in Evil Insanity, and when it’s over you’ll feel absolutely disoriented just the way we love it in extreme music.

The nonstop metal thrashing madness blasted by Hyperia in Insanitorium can be fully appreciated on YouTube and on Spotify, but if I were you I would definitely show my true support to such promising name of the current Canadian metal scene by purchasing their sensational debut album from their own BandCamp page, as well as from the Dead Pulse webstore or from Apple Music. Also, don’t forget to follow them on Facebook for news, tour dates and all other things Hyperia, because you know, you have to be absolutely insane not to support those Canadian metallers, and even more “insane” to slam into the circle pit to their melodic, furious and utterly entertaining creations.

Best moments of the album: Starved By Guilt, Fish Creek Frenzy, Dystopia and The Scratches on the Wall.

Worst moments of the album: None.

Released in 2020 Sliptrick Records

Track listing
1. Mad Trance 4:36
2. Starved By Guilt 3:55
3. Asylum 4:08
4. Unleash The Pigs 4:56
5. Nullified 4:18
6. Fish Creek Frenzy 3:41
7. Dystopia 4:14
8. The Scratches on the Wall 3:57
9. Contagion 4:09
10. Evil Insanity 4:01

Band members
Marlee Ryley – vocals
Colin Ryley – lead guitar, backing vocals
David Kupisz – rhythm guitar, backing vocals
Scott DeGruyter – bass, backing vocals
Jordan Maguire – drums

Album Review – Rifftera / Across the Acheron (2019)

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Let’s brave the waters of the Acheron to the sound of the brand new opus by this talented Melodic Death and Thrash Metal squad from Finland.

If in 2015 a Finnish Melodic Death Metal band that goes by the stylish name of Rifftera stunned us all with their  aggressive and futuristic debut opus Pitch Black, now in 2019 it’s time for this talented Vaasa-base squad comprised of Janne Hietala and Mikko Kuoppamaa on vocals and guitars, Jupe Karhu on bass, Antti Pöntinen on keyboards and newcomer Ville Härkönen on drums to take another amazing step in their more-than-promising career with Across the Acheron, which is not only their sophomore release but an album that exhales harmony, electricity and rage, bringing a well-balanced and thrilling fusion of Death and Thrash Metal for both fans of what the band presented in their previous album as well as newcomers to their whimsical realm of modern-day metal music.

Featuring once again a beautiful cover art by Petri Lampela, who besides Rifftera has already worked with other excellent bands like  Vinide and Ratbreed, Across the Acheron might have taken longer than expected to be released, but the wait was definitely worth it as each and every song of the album is an absolute feast of first-class Melodic Death Metal. “The aim was basically to take steps forward from our debut in every aspect and we are really happy with the result. In my honest and not at all biased opinion I think that clear improvement was achieved musically, lyrically and production-wise,” commented lead singer and guitarist Janne, complementing his thought by saying that “when it comes to comparing the music between Across the Acheron and Pitch Black, I would say that our expression has reached new levels on both ends of the spectrum; some parts on the new album are more brutal than anything that what we had on Pitch Black and then again some songs are more straight forward and melodic than before. Overall it could be described that the building blocks are the same but writing and performing skills have evolved.”

The opening track Burning Paradise already showcases an epic start led by the always cinematic keys by Antti, being gradually joined by all other instruments until all hell breaks loose to a deep, enraged roar by Janne, becoming an almost Blackened Death Metal tune infused with Melodic and Industrial Metal elements where both Janne and Mikki slash their guitars in a piercing manner. Then we have the 8-minute extravaganza Two Sides of the Story, sounding very close to what they did in Pitch Black, with Ville simply demolishing his drums while Jupe and Antti generate a captivating background sounding with their instruments, also delivering tons of harmony and ethereal vibes for our total delight; followed by Eye of the Storm, a rhythmic, imposing and thrilling display of contemporary Scandinavian metal, showcasing pounding drums, epic keys and a dark and menacing atmosphere. Furthermore, Janne and Mikko have a very healthy “duel” of vocal styles, and as they sing during the entire song, it’s indeed beautiful to enjoy their ass-kicking metal music when you’re “in the eye of the storm”.

And those Finnish metallers keep invading our senses with their fusion of futuristic sounds and endless harmony in Cutthroat Game, with both guitars sounding as sharp as a knife while the bass punches by Jupe get even more thunderous then before, accompanied by Ville’s nonstop drums. After such crushing tune, it’s time to speed things up a bit in the superb Cry Wolf, led by Janne’s deranged growls and with Antti bringing an extra touch of lunacy to the sonority through his keys, resulting in what’s the most metallic and visceral of all songs; whereas Warmonger is another brutal composition tailored for cracking your neck in half headbanging, with Mikko’s clean vocals and Antti’s spot-on keys bringing some peace and hope to all devastation blasted by their bandmates. Not only that, the song’s main riff will entice you to keep bang your head nonstop, which obviously means this is an amazing option to be added to their setlist during their live concerts. Things slow down a bit in Deep Waters, getting more melodic, delicate and introspective than its predecessors but still exhaling the band’s characteristic rage, with the always inspiring keys by Antti stealing the spotlight and, therefore, keeping the level of electricity high, setting the stage for the 11-minute aria Across the Acheron, a very detailed and cinematic exhibit of their Melodic Death and Thrash Metal where you’ll be enfolded by inspiring passages, melodious riffs and solos, powerful vocals and violent growls. Moreover, this song has an amazing vibe and a touch of delicacy that only a band like Rifftera can bring you directly from the stunning Scandinavia, ending the album on a high, ominous and majestic mode.

It’s always a pleasure watching a hardworking and honest group of skillful musicians like Rifftera evolving like what they did from Pitch Black to their new album Across the Acheron, and in order to show them our true support don’t forget to follow them on Facebook and to listen to their music on Spotify, and of course purchase your copy of Across the Acheron from the Inverse Records webstore, from Record Shop X, from iTunes, or from Amazon. In ancient Greek mythology, the Acheron was known as the “river of woe”, and was one of the five rivers of the Greek underworld. Having said that, I guess it’s time for all of us fans of Melodic Death Metal to brave the waters of the Acheron together with Rifftera, and face all the perils the underworld might bring us to the sound of their brand new and excellent album.

Best moments of the album: Eye of the Storm, Cry Wolf and Warmonger.

Worst moments of the album: None.

Released in 2019 Inverse Records

Track listing
1. Burning Paradise 6:12
2. Two Sides of the Story 8:04
3. Eye of the Storm 6:34
4. Cutthroat Game 6:12
5. Cry Wolf 5:08
6. Warmonger 6:29
7. Deep Waters 4:50
8. Across the Acheron 11:20

Band members
Janne Hietala – guitars, harsh vocals
Mikko Kuoppamaa – guitars, clean vocals
Jupe Karhu – bass
Antti Pöntinen – keyboards
Ville Härkönen – drums