Tag Archives: metalcore

Album Review – Through The Noise / Dualism (2019)

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Let’s make some noise to this five-piece Swedish Hardcore and Nu Metal act and their melodious brand new album overflowing rage and rebelliousness.

Founded in 2013 in the city of Lund, located around 30km from Malmö, in southern Sweden, the unruly five-piece Post-Hardcore/Nu Metal act comprised of Jowl Nyberg on vocals, Victor Adonis and Marcus Skantz on the guitars, Martin Lingonblad on bass and Peter Liwgren on drums, collectively known as Through The Noise, is back in action now in 2019 for our total delight with their second full-length album, entitled Dualism, a natural follow-up to their 2013 demo Adorn The Silence and their 2015 debut album Fall of Gaia, showcasing all the band’s talent, energy and, above all that, their absolute passion for heavy music.

Mixed by Erik Wiss (Eleine, Creye, To Dust), engineered by Ermin Hamadovic (Periphery, Devin Townsend Project, Architects), and mastered by Thomas ‘Plec’ Johansson (Soilwork, Watain, Scar Symmetry) at The Panic Room in Skövde, Sweden, Dualism is a pummeling mix of Hardcore and Nu Metal, containing nine glorious songs that are guaranteed to please even the ficklest of critics. Not only that, Dualism also brings to our ears the amazing guest vocals by local Swedish punk vocalist Jahna Lund (from Death By Horse), adding an extra touch of finesse and rage all at once to three of the most electrifying songs from the album.

The opening track Shattered already provides the listener a heavier-than-usual version of Hardcore from the very first second, with Peter sounding like a machine gun on drums while Jowl begins screaming rabidly, also presenting an atmospheric background that makes an interesting paradox with the slashing riffs by Victor and Marcus. Then featuring the aforementioned Jahna Lund we have Psychomachia, a frantic and aggressive tune perfect for slamming into the circle pit like there’s no tomorrow, and where the sound of the guitars couldn’t be more metallic and vibrant than what it already is. Peter keeps smashing his drums in the also fast and furious House of Asterion, a well-balanced mix of Metalcore, classic Hardcore and Alternative Metal where Martin’s bass lines rumble beautifully while Jowl roars nonstop like a maniac, followed by Digital Playground, a rock n’ roll radio hit where the entire band kicks us in the head with their rebellious instruments, spearheaded by Peter’s violent beats and the guitar duo’s lancinating riffs. And featuring Jahna once again, lending her gorgeous voice to the band’s crisp musicality, we have Secret Project, not as berserk as its predecessors but still very heavy and melodic, with Peter and Martin bringing thunder to the overall result with their respective instruments.

Deceiver is another explosion of Metalcore and Alternative Metal by the quintet, being highly recommended for breaking your neck in half headbanging but obviously maintaining a pleasant harmony in its core, all boosted by Jowl’s visceral growls and screams; whereas in Maktbegär, which translates as “lust for power” from Swedish, the band delivers an aggressive feast of smashing beats, cutting riffs and endless rage,  or in other words, a mosh pit-catalyst Metalcore tune that will work amazingly when played live (and even if you don’t know a single word in Swedish you’ll starting singing the song’s chorus with the band). And there’s no time to breathe as Through The Noise don’t slow down not even a bit in Meaning Through Noise, hammering our skulls with more of their violent fusion of Hardcore and Nu Metal and also presenting those melodious clean vocals we got used to in first-class Metalcore, while the talented growler Jahna joins the band one more time for their last blast of ass-kicking heavy music in Beyond Betrayal, where the amazing job done by both Victor and Marcus with their razor-edged riffs provides Jowl all he needs to scream and shout, inviting us all to jump up and down with the band in a very fun and vibrant way and, therefore, closing the album on a high note.

All the insane and entertaining noise blasted by Through The Noise can be better appreciated by subscribing to their YouTube channel and by listening to their music on Spotify, and if you truly enjoyed the hybrid of Metalcore and Hardcore with a modern-day Nu Metal twist crafted by those Swedish guys in Dualism, don’t forget to purchase your copy of the album from iTunes or from Amazon, and to follow them on Facebook for news and tour dates. Through The Noise definitely know how to make a lot of noise, always loyal to the foundations of Hardcore, and if they keep generating such thrilling music in the years to come I’m beyond sure we’ll hear a lot more from them, a band that can already be considered one of the best bands of the Swedish Hardcore scene, and a band that deserves all our noise in their honor.

Best moments of the album: Psychomachia, Deceiver and Maktbegär.

Worst moments of the album: Shattered.

Released in 2019 Eclipse Records

Track listing
1. Shattered 4:10
2. Psychomachia (feat. Jahna Lund) 2:55
3. House of Asterion 3:47
4. Digital Playground 4:48
5. Secret Project (feat. Jahna Lund) 6:17
6. Deceiver 4:02
7. Maktbegär 4:54
8. Meaning Through Noise 4:48
9. Beyond Betrayal (feat. Jahna Lund) 5:19

Band members
Jowl Nyberg – vocals
Victor Adonis – guitar
Marcus Skantz – guitar
Martin Lingonblad – bass
Peter Liwgren – drums

Guest musician
Jahna Lund – additional vocals on “Psychomachia”, “Secret Project” and “Beyond Betrayal”

Album Review – Soilwork / Verkligheten (2019)

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One of the biggest exponents of the Swedish Melodic Death Metal scene returns in full force with a fresh, groovy and addictive album of first-class heavy music.

Although most people consider Helsingborg-based metal masters Soilwork to play a fusion of Metalcore and Melodic Groove Metal nowadays instead of the Melodic Death Metal we got used to from their early albums, I personally still see them as one of the biggest exponents of the Swedish Melodic Death Metal scene, having influenced (and still inspiring) countless bands worldwide, like for example Trivium. And to prove how relevant and ass-kicking the band is after all these years on the road, frontman Björn “Speed” Strid and his henchmen David Andersson and Sylvain Coudret on the guitars, Sven Karlsson on the keyboards and newcomer Bastian Thusgaard on drums are releasing upon humanity the superb Verkligheten, the eleventh studio album in their undisputed career.

Verkligheten, which by the way is the Swedish word for “reality”, is not only the first Soilwork album to feature Bastian on drums as the replacement of longtime member Dirk Verbeuren (who left the band to join Megadeth a couple of years ago), but it also marks the longest gap between their studio albums to date, with their previous installment, The Ride Majestic, having been released nearly three and a half years earlier. Well, at least the wait was absolutely worth it, because if there’s one word that can be used to describe the music found in Verkligheten is “addictive”. You won’t skip any song from the album, and as soon as it’s over you’ll go back to the first track and listen to everything all over again, which in other words means we’re undoubtedly facing a very strong candidate to be elected one of the best albums of 2019.

The title-track Verkligheten, a Western movie-Tarantino-inspired instrumental intro, flows smoothly and serene, inviting us all to join Soilwork in the realm of Melodic Death Metal with the crushing Arrival, presenting some pulverizing elements from Black Metal added to their core musicality, in special the demonic blast beats by Bastian, all enhanced by its classic lyrics beautifully declaimed by Björn (“The sky reflects in my hands / You took my world ’cause you can / Is it just me or is the light / Oh read me, you dust ridden seer / And prepare for the night”). The album couldn’t have started in a more thrilling and vibrant way, I might say. Moving on with the music, speed and violence are replaced with heaviness and an enfolding melody in the headbanging Bleeder Despoiler, where both David and Sylvain are on absolute fire with their scorching riffs, not to mention how the background keys by Sven and Bastian’s rhythmic drums complement each other flawlessly, and the band keeps blowing our speakers with their very melodic and fierce music in Full Moon Shoals, where once again all instruments are thoroughly connected, resulting in a dense and visceral sound complemented by another shot of their pensive and poetic words (“Anyone would cure it with blindness / There were moments where I thought I could be / A man who’s aching for the hour of closure / Darkness clearly kept on covering my needs / But it’s not what it seems / It’s just an inner endless shriek”).

Blending the most slashing elements from Rock N’ Roll, Melodic Death Metal and even Industrial Metal, Soilwork offer us an amazing composition titled The Nurturing Glance, perfect for banging your head, singing along with the band or simply enjoying Björn’s flawless vocal performance accompanied by the precise beats by Bastian, whereas in When the Universe Spoke  a serene intro explodes into top-notch Melodic Death Metal infused with Metalcore and Groove Metal nuances, with both Björn’s clean vocals and harsh growls being potentialized by the strident riffs by the band’s guitar duo (as well as the insane drumming by Bastian). Futuristic waves ignite what feels like a hybrid between contemporary Arch Enemy and Soilwork entitled Stålfågel (or “steel bird” from Swedish), featuring the stunning Alissa White-Gluz from Arch Enemy as a guest vocalist. Björn and Alissa vigorously kick some serious ass together, while David and Sylvain hypnotize us with their riffs and solos in one of the top songs of the album without a shadow of a doubt, and putting the pedal to the metal this Swedish institution fires more of their razor-edged metal music in The Wolves Are Back in Town, showcasing headbanging beats, extremely melodic and sharp guitar lines, and yet another demolishing performance by Björn, spearheading his skillful horde like the true frontman he is.

Verkligheten Digipak CD Cover

Witan also presents a nice balance between harmonious and aggressive sounds, with Björn focusing slightly more on his clean vocals, flowing like a fast arrow until The Ageless Whisper comes ripping our hearts and minds in a solid display of modern-day Melodic Death Metal. Moreover, Bastian pounds his drums like there’s no tomorrow, while the band’s guitar duo continue to grind their axes with a lot of precision and energy. Then featuring guest vocals by Tomi Joutsen (Amorphis), Needles and Kin is classic Melodic Death Metal presenting a vibrant fusion of rage, electricity and harmony with the intricate beats by Bastian dictating its rhythm and pace, all boosted by David’s superb guitar solo, before the closing tune You Aquiver, with guest Dave Sheldon (Exes for Eyes, Annihilator) on the guitar, brings to our ears a good mix of their more ferocious side with the whimsical and ethereal sound of the keys by Sven, with best metal (and even non-metal) albums of 2019. Furthermore, what Mr. Björn “Speed” Strid & Co. did in their new album might not be a revolution in music (as some very demanding fans always expect from their favorite bands), but it’s indeed a solid statement that Melodic Death Metal is still alive and kicking, and that Soilwork will continue to be a reference in the genre no matter what happens to the band. Fortunately for us fans of heavy music, the band is far from calling it quits, which means we’ll certainly have the pleasure of enjoying more of their crisp and vibrant metal with their future releases, and if they’re just half as good as Verkligheten we’ll have a very good reason to celebrate and to keep banging our heads together with those Swedish metal icons.

Best moments of the album: Arrival, The Nurturing Glance, Stålfågel and The Wolves Are Back in Town.

Worst moments of the album: None.

Released in 2019 Nuclear Blast

Track listing
1. Verkligheten (instrumental) 1:44
2. Arrival 3:47
3. Bleeder Despoiler 3:36
4. Full Moon Shoals 4:46
5. The Nurturing Glance 5:24
6. When the Universe Spoke 5:22
7. Stålfågel (feat. Alissa White-Gluz) 4:25
8. The Wolves Are Back in Town 3:24
9. Witan 3:48
10. The Ageless Whisper 5:01
11. Needles and Kin (feat. Tomi Joutsen) 4:57
12. You Aquiver (feat. Dave Sheldon) 4:03

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

Guest musicians
Alissa White-Gluz – guest vocals on “Stålfågel”
Tomi Joutsen – guest vocals on “Needles and Kin”
Dave Sheldon – guitars on “You Aquiver”
Taylor Nordberg – bass (live)

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2018

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“Chasing a dream as I go higher
Playing it mean, my heart’s on fire
Living my life, ain’t no pretender
Ready to fight with no surrender.” – No Surrender, by Judas Priest

Another year goes by and, as usual, we lost a lot of good people, including family and friends. In heavy music, 2018 was the year several amazing musicians passed away, such as Dave Holland (former drummer of Judas Priest), Ralph Santolla (former guitarist of Iced Earth, Deicide, Death and Obituary), Vinnie Paul (the talented drummer of Hellyeah, Pantera and Damageplan), Jill Janus (the stunning vocalist of Huntress), and “Fast” Eddie Clarke, one of the meanest guitarists in history and the last of Motörhead’s “Three Amigos”, signaling the definitive end of Motörhead’s classic lineup. Not only that, we also saw the one and only Glenn Tipton, the iconic lead guitarist for Heavy Metal giants Judas Priest and one of the most influential guitar players in the history of metal, opening up about his ongoing fight against Parkinson’s disease and, as a consequence, having to pull out of the 2018 tour due to his health issues. However, as the Metal Gods themselves sing in their new ass-kicking song No Surrender, we can’t surrender and should keep on fighting with our heads high, always listening to our good old Heavy Metal to inspire us to face our daily struggles.

Enough said already, how about we show the world that we metalheads are still here, always ready for a fight, and that metal music is alive and kicking with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2018, excluding EP’s, best of’s and live albums? From classic bands like Judas Priest, Behemoth and Immortal, to underground bands from all four corners of the earth like Ukraine’s 1914, Australia’s Rise of Avernus and Canada’s Altars of Grief, we can say that 2018 was a damn good year for our beloved Heavy Metal, pointing to a promising future for all its genres and subgenres and proving once again that metal unites us all it doesn’t matter where we live, our culture, language, race or religion. So, get ready to raise your horns and bang your heads nonstop to our selection of best metal albums of the year, and always remember… NO SURRENDER!

1. Judas Priest – Firepower (REVIEW)
The Metal Gods are firing on all cylinders with their majestic new album of pure and highly inspired Heavy Metal.
Best song of the album: Firepower

2. Blaze Bayley – The Redemption of William Black (REVIEW)
What does the future hold for Mr. William Christopher Black? Enjoy the dramatic conclusion to Blaze’s stunning Infinite Entanglement Trilogy.
Best song of the album: The Dark Side of Black

3. Behemoth – I Loved You at Your Darkest (REVIEW)
Poland’s most blasphemous metal institution returns after four years with a much more melodic and dynamic approach than before.
Best song of the album: Ecclesia Diabolica Catholica

4. Dragonlord – Dominion (REVIEW)
Exploring themes of darkness, here comes Eric Peterson’s Symphonic Black and Thrash Metal project with their first album in 13 years.
Best song of the album: Northlanders

5. Primal Fear – Apocalypse (REVIEW)
The Teutonic eagles of Power Metal return with another sensational opus showcasing the perfect amount of creativity and melody.
Best song of the album: The Ritual

6. Immortal – Northern Chaos Gods (REVIEW)
The Gates of Blashyrkh have finally opened again to the sound of the pulverizing new album by the Northern Chaos Gods of Black Metal.
Best song of the album: Mighty Ravendark

7. 1914 – The Blind Leading the Blind (REVIEW)
It’s time to head into the battlefields of the Great War together with these Ukrainian Blackened Death and Doom Metal infantrymen.
Best song of the album: Passchenhell

8. Rise of Avernus – Eigengrau (REVIEW)
Here come Australia’s own Rise of Avernus with their most symphonic, heaviest and darkest opus thus far.
Best song of the album: Eigenlicht

9. Altars of Grief – Iris (REVIEW)
A superb album of Canadian Blackened Doom narrating a tragic story of a deeply flawed man and his dying daughter.
Best song of the album: Broken Hymns

10. Marduk – Viktoria (REVIEW)
A furious and aggressive fusion of Marduk’s classic Black Metal with their more contemporary warlike sound.
Best song of the album: Viktoria

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

11. Stormzone – Lucifer’s Factory (REVIEW)
12. Motorjesus – Race to Resurrection (REVIEW)
13. Borgne – [∞] (REVIEW)
14. SynlakrosS – Malice Murder (REVIEW)
15. Xenoblight – Procreation (REVIEW)
16. Kaoteon – Damnatio Memoriae (REVIEW)
17. Tamerlan Empire – Age of Ascendancy (REVIEW)
18. Coiled Around Thy Spine – Shades (REVIEW)
19. Chthonic – Battlefields of Asura (REVIEW)
20. NovaReign – Legends (REVIEW)

In addition, how about another round of awesome albums released this year, this time presenting to you our Top 10 EP’s of 2018? Those shorter-than-a-regular-album but still heavier-than-hell releases are like going to a fancy restaurant, where you might not get a humongous amount of food, but what’s served on your plate is more than enough to please your palate (or your ears, in this case). And, of course, you leave the place eager for more of that tasty and exquisite metal music.

1. Violent Life Violent Death – Come, Heavy Breath (REVIEW)
2. Strangle Wire – The Dark Triad (REVIEW)
3. Godless – Swarm (REVIEW)
4. The Black Swamp – Witches (REVIEW)
5. Progenie Terrestre Pura – starCross (REVIEW)
6. Lebowskii – Liquidators (REVIEW)
7. Geisterwald – Geisterwald (REVIEW)
8. Soul Dissolution – Nowhere (REVIEW)
9. Dark Archive – Cultivate Our Blood in Aeon (REVIEW)
10. Forte Ruin – Rebuilding the Machinery (REVIEW)

Do you agree with our list? What are your top 10 albums of 2018? Once again don’t forget to check Antichrst Magazine’s Top 10 Albums of 2018 (Editorial Staff), tune in to Timão Metal every Tuesday on Rádio Coringão for a sensational fusion of metal and soccer, and to The Headbanging Moose Show every Thursday on Midnight Madness Metal e-Radio for the best of the underground and independent metal scene!

Metal Xmas and a Headbanging New Year! See you in 2019!

And last but not least, if you want to support Glenn Tipton and everyone else on their personal battles against Parkinson’s, you can purchase the official Glenn Tipton Parkinson’s Foundation Charity T-shirt by clicking HERE or make a direct donation following the instructions found HERE. You can always help your family, friends and fellow metalheads, as simple as that, and who knows, maybe we can make this world a better place to live.

Album Review – When Plagues Collide / Tutor of the Dying (2018)

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A superb amalgamation of melodic riffs and sweeping solos embraced by the beauty and finesse of symphonic music, blasted by a Belgian outfit that’s among us to dictate violence and spread the plague.

As total strangers, but sharing the same passion for heavy music, five friends met in June 2016 with the same goal in mind, which was translating their vision of life and musical ideas into a genre that’s not well known or developed among headbangers yet, but that has tons of potential to become your next favorite thing in metal. I’m talking about Symphonic Deathcore, an amalgamation of sounds and styles that encompasses melodic riffs and sweeping solos embraced by the beauty and finesse of symphonic music, and there’s no better band to introduce you to this thrilling new genre than Belgian metallers When Plagues Collide (a name standing for the reflection of our modern-day society and, therefore, allowing a critical view on social issues) and their debut full-length opus, titled Tutor of the Dying.

Believe me when I say you’ll be absolutely stunned by the complex and brutal creations by this Aarschot-based squad, comprised of Wouter Dergez on vocals, Joris Dergez and Santy Van der Mieren on the guitars, Bastiaan Barbieux on bass and Siebe Hermans on drums. Featuring an old school Death Metal-inspired artwork by Hans Trasid of Disart Design, as well as the very special guest musicians Ben Duerr (Shadow of Intent, Hollow Prophet), Luke Griffin (Acrania, Human Error) and Tim De Ridder (The Seventh, Before He Shot her), Tutor of the Dying is highly recommended for fans of bands like Fleshgod Apocalypse, Make them Suffer, Martyr Defiled and Molotov Solution, with each one of the album’s 11 tracks “dictating violence and spreading the plague”, like the band itself would say.

If you’re curious to know what Symphonic Deathcroe is all about, simply hit play and let cryptic sounds and noises from the underworld kick off the six-minute aria Messengers of the Holy Falsehood, being gradually accompanied by a choir and background symphonic elements until all hell breaks loose to the demented beats by Siebe and the lunatic vociferations by Wouter, with both Joris and Santy firing truly incendiary riffs from their axes. Fertilization with the Body of Men is a lot more metallic and closer to traditional Metalcore, with Bastiaan and Siebe shaking the foundations of the earth with their rumbling instruments, not to mention how the background piano and other symphonic elements bring an ethereal touch to the band’s sonic havoc, whereas Legion is another ass-kicking, demolishing tune by the quintet where Wouter sounds even more enraged and demented than before, with the strident sound of the guitars beautifully penetrating deep inside our minds.

And their level of destruction and rage only grows in Dictating Violence, a Deathcore tune perfect for slamming into the pit featuring the first guest of the album, vocalist Ben Duerr, blasting sheer brutality and wrath. Then an eerie and somber semi-acoustic bridge titled Als Imperatieve Grootmacht (which means “as an imperative superpower”, from Dutch) showcases devilish vocalizations and enigmatic words, setting the tone for the fulminating title-track Tutor of the Dying, bringing the most demonic, high-pitched screeches by Wouter, while Siebe shows no mercy for his drums nor for our necks. In other words, this is top-notch Deathcore to the masses with a phantasmagorical and amazing atmosphere, which can also be said about Fleshmould, where guest vocalist Luke Griffin growls and barks like a beast together with Wouter while the band’s guitar duo continues their insane shredding feast for our total delight.

An imposing intro evolves into a bold and introspective creation named Belials Archetype, led by the visceral riffs by both Joris and Santy and also presenting truly wicked lyrics (“Malevolent thoughts slither through the mind of this broken man / The weeping eyes of his unborn child reflecting on the name of his murdered wife / The ever cold breeze carries her scent as reminder of the elegance of life / In her fragile existence she achieves in maintaining the breath of belief in the essence of his being / Still death and reunification offer solace and liberation”); and When Plagues Collide continue their deranged feast of sounds and noises in Marked for Destruction, featuring guest vocalist Tim De Ridder, all embraced by spot-on symphonic elements and without showing any signs of the band slowing down. Quite the contrary, they keep taking their violent Deathcore to new heights, obviously making us fans of extreme music happy. Lastly, presenting a sonority slightly different from the previous songs we have Corpus Maleficus, more symphonic and less barbaric than its predecessors but of course still keeping intact their Deathcore roots, with highlights to the great sync between Siebe’s beats and the flammable guitars by Joris and Santy, before the orchestral, Stygian outro Vows captivates our senses and depressurizes our souls from all the devastation brought forth by the band throughout the entire album.

As already mentioned, I’m certain that after taking a more detailed listen at Tutor of the Dying in its entirety on YouTube or on Spotify you’ll get addicted to Symphonic Deathcore, and in order to show your appreciation for the music by When Plagues Collide don’t forget to follow them on Facebook and to subscribe to their YouTube channel. In a nutshell, the excellent Tutor of the Dying, available from the band’s BandCamp page or webstore, as well as from Chugcore’s BandCamp page, from iTunes and from Amazon, is the utmost depiction of what high-end Symphonic Deathcore is all about, always dictating violence, always spreading the plague and, above all that, showing us all When Plagues Collide are among us to stay (and slay).

Best moments of the album: Messengers of the Holy Falsehood, Dictating Violence and Tutor of the Dying.

Worst moments of the album: Corpus Maleficus.

Released in 2018 Chugcore

Track listing
1. Messengers of the Holy Falsehood 6:27
2. Fertilization with the Body of Men 4:25
3. Legion 4:16
4. Dictating Violence (feat. Ben Duerr) 3:42
5. Als Imperatieve Grootmacht 2:41
6. Tutor of the Dying 4:49
7. Fleshmould (feat. Luke Griffin) 3:28
8. Belials Archetype 3:25
9. Marked for Destruction (feat. Tim De Ridder) 4:00
10. Corpus Maleficus 4:18
11. Vows 2:54

Band members
Wouter Dergez – vocals
Joris Dergez – guitar
Santy Van der Mieren – guitar
Bastiaan Barbieux – bass
Siebe Hermans – drums

Guest musicians
Ben Duerr – vocals on “Dictating Violence”
Luke Griffin – vocals on “Fleshmould”
Tim De Ridder – vocals on “Marked for Destruction”

Album Review – Where’s My Bible / M’N’R (2018)

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Blending rock and punk influences with the violence of Death, Thrash and Black Metal, this Finnish squad is more-than-ready to mosh and roll in their first full-length release.

Blending rock and punk influences with the more violent and austere Death, Thrash and Black Metal sounds, Finnish Mosh N’ Roll squad Where’s My Bible (and yes, that’s the actual name of the band) was formed in 2014 in the city of Heinola with the intention to just have fun and play, although the thought of being taken seriously quickly kicked in, culminating with the release of their debut EP named The Beginning in early 2016. A major milestone for the band, which is reflected in the title itself, the EP led the band to participate in several concerts and festivals in the following months, including a spot in the main stage of the renowned Tuska Open Air in 2017, secured after winning the Tuska-Torstai competition hosted by the festival.

The band kicked off 2018 by starting the recording of their debut album, simply titled M’N’R (the acronym for Mosh N’ Roll), an energetic and upbeat representation of the band’s sound, being released in the fall this year. In other words, if you enjoy slamming into the circle pit and enjoying a cold beer while listening to our good old Rock N’ Roll, but with a more venomous metal twist, get ready to rock together with frontman Jussi Matilainen, guitarists Toni Hinkkala and Pasi Löfgren, bassist Jarno Laakkonen and drummer Antti Jokinen, and enjoy all those fun bruises that high-octane feast of sounds will leave on your body.

A wicked intro kicks things off, setting the tone for the thrashing party titled Speedload, led by the rip-roaring riffs by Toni and Pasi, while Antti hammers his drums like a good thrasher that he is. Also presenting elements from Hardcore and Metalcore, this is not only a true headbanger but a fantastic welcome card by the band, with highlights to the sick growling by Jussi. If you love hitting the dance floor and crushing your skull, well, the time is now, as Where’s My Bible deliver a neck-breaking and vibrant tune named Dancefloor, with Toni and Pasi getting the support of Jarno and his thunderous bass to generate a dense and electrifying ambience, living up to the legacy of 80’s Thrash Metal with a modern vibe; and Jarno ignites another classy exhibit of Mosh N’ Roll titled Absinthe, bringing elements from Punk Rock and Hardcore to their already incendiary sonority. In addition, Jussi sounds even more demented on vocals, helping to keep the music violent and melodic from start to finish.

Then the acoustic and somewhat atmospheric bridge Interlude gives us time to recover our energies before Jussi comes growling as deep as a knife would go in Meatholder, a demolishing display of Melodic Death Metal and Metalcore where the guitars by Toni and Pasi exhale heaviness, rage and harmony in an amazing sample of what the band is capable of. Faster than a bullet and as heavy as hell, Me Myself and I is a sonic extravaganza where Antti doesn’t stop pounding his drums in over six minutes of unrelenting Finnish Thrash Metal, getting considerably progressive and atmospheric towards its ending. Transcendence is another song that surpasses the six-minute barrier, something not very common for Thrash Metal bands, but that keeps the energy level high until its last second, which means there’s plenty of time for you to break your neck headbanging to the vicious riffs by Toni and Pasi while Jussi continues to bark and gnarl manically. And lastly as a bonus track we have Failure, originally recorded back in 2016 and featuring Leevi Luoto (responsible for guitars and clean vocals for Finnish Metalcore act One Morning Left), remaining aggressive, raw and frantic throughout its entirety.

In the end, I guess the best way to summarize M’N’R is by taking a few interesting steps. First of all, simply follow Where’s My Bible on Facebook and listen to M’N’R on Spotify or, even better, show your support to those Finnish metallers by purchasing the album from the Inverse Records webstore, from Record Shop X, from metalmailorder.com, from iTunes or from Amazon, then fill your refrigerator up with some good quality beer, invite your friends for the night, and there you have a true Rock N’ Roll party with a beyond special Finnish Mosh N’ Roll touch. What else can you ask for in good Scandinavian music, right?

Best moments of the album: Speedload, Absinthe and Meatholder.

Worst moments of the album: None.

Released in 2018 Inverse Records

Track listing 
1. Intro 1:04
2. Speedload 4:54
3. Dancefloor 3:35
4. Absinthe 3:48
5. Interlude 1:21
6. Meatholder 5:10
7. Me Myself and I 6:14
8. Transcendence 6:06

Bonus track
9. Failure (feat. Leevi Luoto) 5:00

Band members
Jussi Matilainen – vocals
Toni Hinkkala – guitar
Pasi Löfgren – guitar
Jarno Laakkonen – bass
Antti Jokinen – drums

Guest musician
Leevi Luoto – additional guitars and vocals on “Failure”

Album Review – SynlakrosS / Malice Murder (2018)

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Get ready to be transported to a world of adventure with a good deal of rebellion in the brand new ass-kicking album by one of the most prominent names of the underground metal scene.

Formed in 2008 in the stunning city of Valencia, Spain by bassist Pablo “Roro” Fuentes and drummer Tiko Martínez, the unstoppable female-fronted Melodic Death Metal outfit that goes by the stylish name of SynlakrosS has just taken another amazing step in their (r)evolutionary career with the release of their third full-length installment, the creative, incendiary and utterly fun Malice Murder, cementing their name as one of the best bands in the Melodic Death Metal, Nu Metal and Metalcore scene all over the world, therefore being highly recommended for fans of bands such as In Flames, Slipknot, Butcher Babies, Arch Enemy and Lamb Of God, among several others. Injecting a considerable dosage of energy into our hearts and minds with their music and thematic lyrics, SynlakrosS will transport you to a world of adventure with a good deal of rebellion in Malice Murder, always moving forward but at the same time always loyal to their foundations and, of course, to their already huge fanbase.

In my humble opinion, what really stands out in Malice Murder, apart from its top-of-the-line production and endless electricity, are the insanely metallic and piercing sounds extracted by Pablo from his infernal bass, and especially all the experimentations and different vocalizations blasted by the band’s stunning frontwoman Patricia Pons. She sounds vile, demented, passionate and defiant with her wicked growls, roars and screams, taking her vocals to a whole new (and previously unexplored) level that will certainly please all fans of modern-day Melodic Death Metal. Add to that mix the crushing riffs and solos by the band’s axemen Iván Muñoz and Aarón Hidalgo, not to mention the sensational album artwork designed by Patricia herself, and there you have not only the perfect follow-up to their 2016 opus Death Bullets for a Forajido, but also a gargantuan avalanche of breathtaking metal sounds that will blow your senses mercilessly.

The opening track, titled Angel on Fire, sounds modern, electrified and vibrant right from the very first second, with its futuristic sounds and Patricia’s hypnotizing whispers kicking off a Melodic Death Metal party led by Pablo’s infuriated bass punches. Then in the fast-paced, heavy-as-hell extravaganza named Fatal Frame the band puts the pedal to the metal showcasing furious riffs and tones by the band’s stringed triumvirate, with Patricia growling and gnarling like a she-wolf while Tiko smashes his drums beautifully; followed by Dark Seed, not only the first single of the album but also the epitome of modern-day Metalcore, exhaling sheer madness and rage and with Patricia stealing the spotlight once again with her rabid growls and demented vociferations, as well as Aarón and Iván with their heavy and aggressive shredding. Put differently, this is the type of song that’s absolutely perfect for setting the crowd on fire during their live concerts. And let me remind you that the party is just starting, as in Alone in the Dark, spearheaded by Pablo and his thunderous, hammering bass, melodic guitar lines are flawlessly intertwined with moments of sheer lunacy, living up to the legacy of renowned Nu Metal acts like the iconic Korn.

Eternal Darkness showcases a classic song name for an explosive fusion of Metalcore, Melodic Death Metal and Groove Metal, breaking your neck in half to the precise beats by Tiko (which means it might become a fan-favorite if they add it to their setlists, of course), while Killing Diablos gets closer to their sonority from Death Bullets for a Forajido, but with a 2018 twist if I might say that. In addition, its background effects and tones nicely add an extra touch of madness to the music, while Patricia alternates between her rabid roars and demented clean vocals. Resurrection is another solid and well-crafted metal chant by SynlakrosS where the razor-edged guitars by Aarón and Iván shine brighter than the sun, also presenting a futuristic vibe and atmosphere and, as a consequence, being tailored for jumping up and down with the band; whereas in Morrígan it’s time for total devastation with this steampunk Spanish army, as the “Morrígan” is a figure from Irish mythology that represents a “great queen” or “phantom queen”, being mainly associated with war and fate, especially with foretelling doom, death or victory in battle. Does that remind you of someone? Anyway, I simply love how Patricia screams the song’s name from the bottom of her heart, making it impossible to stand still to this groovy and rumbling tune.

The last batch of songs from Malice Murder begins with Bloody Waltz, a dark an eerie “waltz” of contemporary Alternative Metal presenting elements from the wicked music by Rob Zombie and Marilyn Manson, such as its uncanny background keys, sounding and feeling very theatrical, which means it’s perfect for Patricia to showcase all her skills as the amazing singer and performer she is. Then the number of the beast, the famous 666, names another furious and ominous hymn by the quintet where Pablo slams his bass strings manically, extracting beyond lancinating sounds from it and, therefore, supporting Patricia’s screams flawlessly; whereas in Under the Ice there’s absolutely no sign of the band slowing down or getting any softer. Quite the contrary, it’s time for total anarchy with highlights to the perfect sync between Pablo’s bass and the guitar duo’s crisp riffage, sounding even more modernized than all previous songs. In the short and sweet semi-acoustic bridge Undying, we’re treated to some sort of futuristic western-like sonority, before SynlakrosS come crushing one last time in Siren’s Bloody Curse, the perfect conclusion to such powerful album, feeling more melancholic and obscure than all previous songs, transpiring melody and displaying an amazing performance by Pablo on bass and Iván with his fiery guitar solo. Needless to say, Patricia once again slays our senses with her potent growls and gripping clean vocals throughout the entire song.

In case you’re not a “curly wolf” yet, you should definitely start following SynlakrosS on Facebook, subscribe to their YouTube channel, and obviously purchase your copy of Malice Murder (available for a full listen on Spotify) from their own webstore in regular CD format or as a CD + T-shirt bundle (with the T-shirt also being designed by the unstoppable Patricia), as well as from iTunes, Amazon, or CD Baby. And if you’re already a diehard fan of SynlakrosS, you know the band is going places with their hard work, talent and extreme dedication, with the incendiary Malice Murder beautifully representing what their music is all about and pointing to an even brighter future for what’s in my humble opinion the best metal act hailing from Spain from the past decade and one of the best new names of the current metal scene worldwide.

Best moments of the album: Fatal Frame, Dark Seed, Morrígan and 666.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Angel on Fire 4:24
2. Fatal Frame 3:26
3. Dark Seed 4:03
4. Alone in the Dark 3:46
5. Eternal Darkness 4:33
6. Killing Diablos 3:50
7. Resurrection 3:54
8. Morrígan 3:38
9. Bloody Waltz 3:56
10. 666 3:18
11. Under the Ice 4:05
12. Undying 2:24
13. Siren’s Bloody Curse 4:26

Band members
Patricia Pons – vocals
Iván Muñoz – guitar
Aarón Hidalgo – guitar
Pablo Fuentes – bass
Tiko Martínez – drums

Album Review – Down To The Heaven / [level -1] (2018)

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Bringing forth complex arrangements combined with a large dose of modern electronic music, here comes a metal unity from Poland ready to smash our senses with their debut album of incendiary Metalcore and Djent.

Electronicore, also known as Trancecore or Synthcore, is a fusion of Metalcore and Djent with elements of various electronic music genres, such as trance, electronica, and dubstep, with bands and artists like Attack Attack! in the United States and Enter Shikari in the UK having contributed to the development and the dissemination of the genre all over the world. Furthermore, it looks like the style has been expanding in a healthy and interesting way in recent years with the rising of bands like Switzerland’s own Rage Of Light and Polish Metalcore/Djent unity Down To The Heaven, who are releasing this year their debut album curiously titled [level -1].

Formed in 2013 in the city of Bielsko-Biała, Down To The Heaven have all it takes to become one of the references in Eletronicore and Djent. Comprised of Rusty on vocals, Shaun and Majster on the guitars, Grzela on bass, Cyfrowe Zło on keys and electronic noises, and Hoomer on drums, the band brings forth a style characterized by complex arrangements with heavy guitar playing combined with a large dose of melody and modern electronic music. In [level -1], which was mixed and mastered at Seeker Studio in Wrocław, Poland in 2017 and which features a modern and captivating artwork by Sztuczny Horyzont, this Polish six-piece act showcases all they got, being ready to smash your senses with their vicious and rumbling sounds and noises.

As if a wicked horror flick was about to begin, a creepy intro titled Down to the… gets heavier and heavier as time goes by, generating a metallic and embracing atmosphere for the demolishing Catharsis, where frontman Rusty barks deeply like a beast while the whimsical keys by Cyfrowe Zło make a vibrant contrast with the furious beats by Hoomer, resulting in a fantastic and modern hybrid between Metalcore, Industrial Metal and Melodic Death Metal. Then Shaun and Majster ignite another crushing feast of sounds named Lost in Memories with their cutting riffs, while Grzela will make your head tremble with his sick bass lines. Moreover, the music remains bold and thunderous from start to finish, proving how talented and heavy Down To The Heaven are. And putting the pedal to the metal the band blasts sheer madness and aggression in Unbroken, an excellent sample of contemporary Djent infused with elements from heavier styles where Rusty is once again demented on vocals, while Cyfrowe Zło brings insanity to the music with his keys and special effects.

Even more modernized and eccentric than its predecessors, No Vision is a movie-inspired instrumental extravaganza where its beautiful piano notes go along really well with the guitar solos and the mesmerizing atmosphere, whereas in Kingdom of Delusion it actually feels we’re “entering” a movie, with the rhythmic and tribal beats by Hoomer setting the stage for Rusty and his deranged, lunatic growls. In addition, the music evolves to a potent industrialized sounding, with both Shaun and Majster firing sheer electricity through their crisp riffs. In Tyrant’s Fall we’re treated to an explosion of modern-day Metalcore with an electronic and demented twist, led by Cyfrowe Zło and his piercing keys while Hoomer keeps pounding and smashing his drums and Rusty growls the song’s rebellious lyrics (“Arise in rage! / Image of madness / Dripping from rusty chains / Like deadly poison inside our brains / Blood under feet / Groan of tormented souls / Who’s lurking behind the Throne / BURN THEM ALL!”), before We Are, the last track of the album, continues to punch you in the head with the violent sounds extracted from all instruments, being effectively complemented by the most electronic noises of the entire album. Moreover, the song also presents clean vocals at times, making the whole experience of listening to it even more tasteful and, therefore, ending the album on a high and wicked note.

In summary, Down To The Heaven nailed it in [level -1], creating something truly unique by adding their own twist and electricity to the already innovative Eletronicore, and if you want to know more about this skillful act from Poland simply pay them a visit on Facebook for news, tour dates and other shenanigans, subscribe to their YouTube channel for more of their music, and purchase [level -1] directly from their BandCamp page or from iTunes. Put differently, if it’s fresh and modern music you’re craving, but without giving up that raw and aggressive vibe from heavy music, it’s time you get “down to the heaven”.

Best moments of the album: Catharsis, Unbroken and Tyrant’s Fall.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Down to the… 3:25
2. Catharsis 5:02
3. Lost in Memories 3:48
4. Unbroken 4:10
5. No Vision 6:07
6. Kingdom of Delusion 5:51
7. Tyrant’s Fall 3:32
8. We Are 3:02

Band members
Rusty – vocals
Shaun – guitar
Majster – guitar
Grzela – bass
Cyfrowe Zło – electronic noises, keys
Hoomer – drums

Album Review – Violent Life Violent Death / Come, Heavy Breath EP (2018)

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Take a deep breath and enjoy a vicious and nostalgic feast of heavy sounds made in the United States, proving modern-day Metalcore can be just as pulverizing as old school extreme music.

Hailing from Charlotte, the most populous city in the U.S. state of North Carolina, the incendiary Metalcore unity known as Violent Life Violent Death made their mark in late 2016 with the release of their first studio offering, V-EP, a five-track vicious, nostalgic effort blending the most visceral elements of Metalcore with hints of heavier-than-hell genres such as Thrash and Death Metal. Now in 2018 the band formed by vocalist Scott Cowan, guitarists Joseph Benham and Joey Park, bassist Justin Campbell and drummer David Holquin returns with a refreshed and even more ruthless contribution in the form of their second release, a brand new EP entitled Come, Heavy Breath, proving modern-day Metalcore can be just as pulverizing as old school extreme music.

“Our goal was to create a piece of music that had nostalgic qualities to it but with a new-school edge. Having spent some time in other bands has definitely helped create the sound we have adapted with this band, as we took a good look into what we feel has worked and not worked for us in the past and narrowed it down,” said Violent Life Violent Death, also explaining a little more the concept behind their new EP. “With Come, Heavy Breath, we really wanted to illustrate moments of fervor that draw a gasp, or, a heavy breath, as the title depicts. These are the moments of awe that we each experience in life, whether they be conjured through excitement, joy, sadness, loss, lust, love, wonder, etc., while bringing them each to life through our music in as straight forward of a manner possible, demanding the attention of the listener.”

The title-track Come, Heavy Breath, an austere and dynamic Metalcore tune tailored for disturbing the peace of your neighborhood, couldn’t have started in a more distorted and violent way, with Scott beginning his growling attack while Justin and David generate a brutal neck-breaking ambience with their metallic weapons, whereas in Backbiter the band puts pedal to the metal in a sonic onslaught of contemporary Metalcore infused with Melodic Death Metal and traditional Death Metal elements, with the guitar duo Joseph and Joey being on absolute fire with their crushing riffs while Scott screams almost like if he was not human. Put differently, this magnificent song lives up not only to the band’s own name, but also to the legacy of the most violent forms of Metalcore and Hardcore. And in Rot they keep the level of aggressiveness and destruction extremely high, with the razor-edged sound of the guitars inspiring us all to slam into the pit while David also adds his touch of adrenaline to the music through his fierce and straightforward beats.

Mourn is another tune perfect for cracking your spine in half headbanging and for jumping up and down with the band, with the vocals by Scott sounding even more deranged and furious, making it quite impossible to stand still to such demonic display of modern metal music, and there’s no sign of the band slowing down as we face the next song in the EP, entitled Lovers/Deceivers. Quite the contrary, Violent Life Violent Death blast sheer aggression from their instruments, with highlights to the amazing synchronicity between David’s beats and Joseph and Joey’s infernal riffs. And as the last act in Come, Heavy Breath it’s time to roar and gnarl together with Scott during the six minutes of classy Metalcore featured in the song Narcissist, bringing some welcome elements and nuances from Thrash Metal, which in the end translates into an accelerated pace, groovier bass lines, and obviously not a single second of peace, with Joseph and Joey sounding crisp, raw and very melodic at the same time until the music fades into a somber and menacing finale.

After all is said and done, the excellent Come, Heavy Breath, which is by the way available for a full listen on YouTube, will certainly help Violent Life Violent Death cement their name as one of the most promising (and one of the heaviest) Metalcore acts of the past few years, leaving us eager for more of their flammable music. And in order to show your support to those five metallers from Charlotte, you can go check what they’re up to on Facebook, subscribe to their YouTube channel, and purchase Come, Heavy Breath from their own BandCamp page or Big Cartel, as well as from iTunes or Amazon. And when you have the album on your hands, simply take a deep, heavy breath and enjoy Violent Life Violent Death’s chaotic onrush of sounds just the way the band itself expects you to do.

Best moments of the album: Backbiter and Mourn.

Worst moments of the album: None.

Released in 2018 Independent

Track listing 
1. Come, Heavy Breath 3:51
2. Backbiter 3:39
3. Rot 2:50
4. Mourn 3:41
5. Lovers/Deceivers 2:10
6. Narcissist 6:05

Band members
Scott Cowan – vocals
Joseph Benham – guitar
Joey Park – guitar
Justin Campbell – bass
David Holquin – drums

Album Review – Dogmathica / Start Becoming Nothing (2018)

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Delivering a clear message that only with the annulment of ego we can be reborn as a species, here comes a ruthless Italian squad and their austere fusion of Groove Metal and Metalcore.

Aiming to resume a path interrupted in 2003, Italian Groove Metal/Metalcore act Dogmathica was born in 2006 in Cagliari, the capital city of the island of Sardinia, from the ashes of another Italian band named L’Ego to deliver what’s called by the band itself as “Groovy, Claustrophobic, Polyrhythmic Metal from Cagliari”. The band has faced some significant changes through the years, until in 2017 they finally reached a stable lineup comprised of vocalist Stefano Pilloni, guitarist and founder Sergio Boi, guitarist Matteo Spiga, bassist Gianni Farci (The Blacktones), and drummer Alessandro Castellano (Acts of Tragedy), culminating with the release in 2018 of their brand new album Start Becoming Nothing.

Featuring a somber artwork by Sergio Boi himself and Elena Delogu, where the leafless tree represents the human condition within modern society, a society that slowly absorbs and consumes our vital energies making us dependent on material possession of objects and people, and with the annulment of ego (“start becoming nothing”) being the only way that leads to rebirth as a species, Start Becoming Nothing is a heavy and bold album of modern-day Metalcore highly recommended for admirers of the genre, inspiring you to slam into the circle pit while at the same time making you think about the awful condition our society is currently going through.

The guitars by Sergio and Matteo generate a heavy and rumbling ambience in the opening track Praghma, before Stefano begins declaiming the song’s austere words (“My fists-the only shots I have / Glass splinter plated knuckles / To blast mirrors and their lies / To fuck fake people / And their doll eyes / From today on I’ll trust / Just my scars”) in a solid display of contemporary Metalcore perfect for cracking your neck headbanging. If that heavy-as-hell start wasn’t enough for your ears, in Chanel N°0 we face bassist Gianni and session drummer Elia Altea (who by the way recorded the drums in the whole album) crushing their instruments mercilessly, making the ground tremble while the band’s stringed trio blasts a potent fusion of classic Melodic Death Metal with American Metalcore, not to mention how beastly Stefano keeps growling and yelling, and consequently inspiring you to headbang like a maniac as well. And led by the groovy and thunderous bass punches by Gianni, Decadancers presents a darker and heavier side of Dogmathica, incorporating the most aggressive and primeval elements of Groove Metal into their Metalcore, with the final result sounding beyond awesome.

Those talented Italian metallers keep hitting us hard in the head with their heavy and groovy sounds in the title-track Start Becoming Nothing, with the guitar duo Sergio and Matteo once again delivering sharp and metallic riffs while Stefano bursts his lungs screaming; and get ready to break your spinal cord in half in another brutally heavy Metalcore tune named Rise Up, also showcasing hints of Groove and Progressive Metal, therefore being recommended for fans of bands like Meshuggah and Gojira, with highlights to the pounding drumming by Elia. After such destructive hymn we have Screaming In The Darkness, a well-balanced blend of the heavier and slower sounds of Groove Metal with the more frantic approach of Metalcore, with all band members bringing tons of progressiveness to the music and with its lyrics being perfect for shouting along with Stefano (“I’m awake, sitting in the middle of nowhere / Feeling your hands around my neck / I feel the cold inside me / I hold the iron of my cage / I perceive all my suffering / And I screaming in empty space / Screaming in the darkness”).

The last pair of unrelenting Metalcore tunes blasted by Dogmathica close the album on a high note, leaving you eager for more of their music. First we have Hatred, another good sample of how aggressive and intricate their music always sounds and feels, being full of breaks and variations, where Gianni and Elia continue to build a massive wall of rumbling sounds with their bass and drums, respectively, followed by Burnum, sounding more modern, belligerent and electrified than all previous tunes. Furthermore, it’s Elia with his complex, progressive beats and Stefano with his sick screams who dictate the rhythm, while Serigo and Matteo don’t get tired of slashing their strings.

In summary, if you love modern Metalcore with a strong Groove Metal essence, then Start Becoming Nothing (which you can listen in full on Spotify) is perfect for your avid ears, presenting all the heaviest and most rumbling elements from those metal styles. And if you want to show your support to Dogmathica, simply like them on Facebook, listen to more of their music on SoundCloud, and purchase Start Becoming Nothing directly from their BandCamp page or from CD Baby. Our society might be heading to its inevitable doomsday sooner than we can imagine, so why not at least banging our heads to the acid music by Dogmathica until the end?

Best moments of the album: Chanel N°0, Decadancers and Screaming In The Darkness.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Praghma 5:04
2. Chanel N°0 4:22
3. Decadancers 4:23
4. Start Becoming Nothing 4:53
5. Rise Up 4:25
6. Screaming In The Darkness 4:07
7. Hatred 3:50
8. Burnum 5:12

Band members
Stefano Pilloni – vocals
Sergio Boi – guitar
Matteo Spiga – guitar
Gianni Farci – bass
Alessandro Castellano – drums*

*Drums recorded by Elia Altea

Album Review – The Fallen Prodigy / Relive//Regret//Repeat (2018)

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Enjoy 11 stunning metal tracks influenced by a myriad of modern Melodic Death Metal and Metalcore elements, brought forth by a multi-talented female-fronted outfit hailing from New York City.

If you’re a fan of modern-day Melodic Death Metal and Metalcore, I highly recommend you go take a detailed listen at Relive//Regret//Repeat, the brand new album by New York City-based female-fronted outfit The Fallen Prodigy. Featuring a straight-to-the-point artwork by Rob Walden (Rob Walden Design), Relive//Regret//Repeat, the follow-up to the band’s 2015 EP Passengers, consists of 11 stunning metal tracks influenced by a myriad of modern metal elements, being absolutely perfect for fans of the high-octane music by renowned acts such as Trivium, Killswitch Engage, Arch Enemy, As I Lay Dying and All That Remains, among several others.

Comprised of the unstoppable Jay Jimenez on vocals, Andrew Padilla and Daniel Davenel on the guitars, Jonathan Rodriguez on bass, and Joseph Falzone on drums, The Fallen Prodigy solidified their lineup back in 2014 and wasted no time, putting together music that can crush the stereotypes that may surround the metal genre. Through hard work, dedication and great music, The Fallen Prodigy set out to bring something new and unique back to the metal scene, and the music found in Relive//Regret//Repeat will show you exactly what they mean by that, smashing you like an insect with its over 50 minutes of top-of-the-line Melodic Death Metal.

The opening track Extinct is modern, visceral and aggressive form the very first second, with the guitar duo Andrew and Daniel sounding absolutely fantastic. However, it’s Jay who steals the spotlight with both her deranged growls and her potent clean vocals, showcasing all her talented right from the start of the album. Even more violent than the album opener, Boy Who Cried Wolf presents a devilish Jay on vocals, singing and screaming about our vile human nature (“You live life like you deserve more than others / Manipulating everyone and everything to have things your way / You long for acceptance and will seek it at any cost / Consumed by arrogance you’ll always find yourself”), while Joseph doesn’t let the insanely high level of energy go down with his frantic beats; followed by Regret, which starts in an almost electronic vibe before exploding into vibrant Metalcore, with Jay once again providing a fantastic balance between her harsh screams and clean vocals and with the crisp sound of guitars boosting the song’s impact considerably.

Leaning towards more traditional Melodic Death Metal (especially the characteristic Scandinavian sound), the whole band blasts the fresh and gripping Stray, with highlights once again to the amazing sound extracted from the guitars by Andrew and Daniel, whereas Misery is led by the dynamic drumming by Joseph, with Jonathan delivering those rumbling Groove Metal punches from his bass while the music alternates between neck-breaking moments and total devastation. The awesome Eighty-Sixed is a heavier-than-hell, straight-to-the-face high-end Metalcore tune where the extremely talented Jay growls and screams nonstop like a rabid beast, or in other words, it’s that type of song that will ignite some serious circle pits during their live concerts; and featuring guest vocalist Lauren Babic of Canadian Alternative Metal act Red Handed Denial, Composure is a very technical and melodic creation by The Fallen Prodigy, yet still as aggressive as it can be, delivering a modern-day message from the band to our ears (“Disaster awaits those who find a home in a filth called misery / My soul is being held captive / Somewhere it’s screaming just let me go home / Just let me go home”).

Then get ready to bang your head like a maniac to the crushing main riff in Fractured, before a slamming feast begins led by the brutal beats by Joseph in a multi-layered composition where Jay thrives thanks to the amazing support provided by her bandmates. In Repeat, featuring guest vocals by Will Ramos of American Deathcore band A Wake in Providence, we face a band that doesn’t know the meaning of the word “soft”, with the total havoc blasted by the entire band being spiced up by the welcome dosage of progressiveness brought forth by the guitar duo to the musicality; followed by Relive, a good song that feels a bit confusing at times despite the always solid work done by the stringed trio Daniel, Andrew and Jonathan, accompanied by guest guitarist Angel Vivaldi. Last but not least, the final song of the album, titled Endure, is a solid statement by Jay and the guys that they will carry on no matter what, keeping the flame of Melodic Death Metal alive and kicking, enfolded in a classic sound with the band’s own twist, therefore ending the album on a truly high note.

You can listen to the entire Relive//Regret//Repeat on Spotify and get a better sense of how potent and dynamic the music by The Fallen Prodigy is, and also visit their Facebook page for news and tour dates, and their YouTube channel for more of their music. And in case you want to grab a copy of such electrifying album, there are several location where you can find it such as the band’s own BandCamp page and Big Cartel (as a CD + poster bundle or a CD + T-shirt bundle), on iTunes, on Amazon, or on CD Baby. If I were you I would definitely keep an eye on what The Fallen Prodigy are up to, because whenever they take your town by storm you must be there to experience a lesson in Melodic Death Metal and Metalcore, just like what they did in Relive//Regret//Repeat. In other words, do you think you have what it takes to face Jay and the guys?

Best moments of the album: Extinct, Boy Who Cried Wolf, Eighty-Sixed and Fractured.

Worst moments of the album: Relive.

Released in 2018 Independent

Track listing
1. Extinct 4:12
2. Boy Who Cried Wolf 4:32
3. Regret 5:55
4. Stray 4:14
5. Misery 4:22
6. Eighty-Sixed 3:10
7. Composure (feat. Lauren Babic) 5:32
8. Fractured 4:20
9. Repeat (feat. Will Ramos) 3:47
10. Relive (feat. Angel Vivaldi) 4:56
11. Endure 5:04

Band members
Jay Jimenez – vocals
Andrew Padilla – guitar
Daniel Davenel – guitar
Jonathan Rodriguez – bass
Joseph Falzone – drums

Guest musicians
Lauren Babic – vocals on “Composure”
Will Ramos – vocals on “Repeat”
Angel Vivaldi – guitars on “Relive”