Tag Archives: nu metal

Metal Chick of the Month – Elena Vladi

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I’m coming down to feel you, to touch you, to be you, to kill…

Ladies and gentlemen, the heavy music scene in Hollywood, one of the most famous neighborhoods in the world located in the central region of Los Angeles, California in the United States, has recently crowned a new queen, and we all shall bow to her beauty, to her loveliness, and in special to her kick-ass music. Hailing from Mother Russia, here comes the multi-talented artist Elena Vladimirova, better known as Elena Vladi, the lead singer of Nu-Metal act Red Queen and a woman that knows better than anyone else how to provide a fiery fusion of stunning looks and electrifying music, making the work from such distinguished woman even more delectable. The Russian Red Queen is among us, and your life will never be the same again after being infected by her scrumptious venom.

Like any true queen of darkness and lust, there’s little to none information available online about the personal life of Elena, which makes perfect sense for a woman that wants to keep mystery as one of the main ingredients in her promising career. All we know is that she relocated from Russia to the United States in a not-so-distant past and joined her partner in crime Patrick Crisci in order to form what used to be known as Experimental Hybrid Black Metal project Demona Mortiss, but that gradually morphed to Nu-Metal band Red Queen. Let’s say that the band, which used to play a dark fusion containing elements from Gothic, Doom and Death Metal the likes of Tristania and Dimmu Borgir, is now highly recommended for fans of Slipknot, Korn, Deftones and Lacuna Coil, just to give you a better idea of the remarkable change in their sonority through time.

Before we talk about Elena Vladi in more detail, let’s take a quick look at the history of Red Queen. Previously known as Demona Mortiss, the project was created by Elena in 2009 as an Experimental Hybrid Black Metal project as already mentioned, obtaining a significant amount of followers in a short span of time, especially in Europe, before officially changing the name in 2013 to Red Queen. Demona Mortiis were Elena on vocals and synths, Patrick on guitars and Trent Gouveia on drums, and although there are no official albums under the name Demona Mortiis you can still enjoy some of their blackened compositions on YouTube like Lost, Inverted Heaven and Phasmophobia, this one live at the Viper Room in Los Angeles in January 2013.

Not only the name of the project and music direction changed in Red Queen, but the lineup also suffered a few changes. Red Queen are now only Elena on vocals synths and lyrics, and Patrick on guitars, synths, bass and drums, also being responsible for the overall production of the band, with guest musician Grey Soto playing some guitar parts in a couple of songs. This dynamic duo released back in April 2016 their debut EP entitled Star Blood, containing five classy and sexy songs (Asyphyx, Naked, Star Ruby, Insidious and Alchemy), as well as an amazing cover version for Hold Me, Thrill Me, Kiss Me, Kill Me, the classic 1995 single by Irish Rock icons U2 from the Batman Forever soundtrack album. If you want to take a better listen to Star Blood and purchase it, you can go to Red Queen’s official webstore or BandCamp page, and also find it on iTunes. When asked about what inspired her to write the music found in Star Blood, Elena said she gets her inspiration from movies and books, from the cosmos and a variety of “conspiracy theories”, and from her own emotions, always aiming at intriguing people. Well, let’s say she succeeded in that hands down, and if you want to know more details about Red Queen you can check this short and sweet 2015 Q&A interview with Elena Vladi and Patrick Crisci, and also listen to their music at their YouTube channel and ReverbNation page.

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Apart from her career with Demona Mortiis and Red Queen, our Russian bombshell can be seen as a guest musician in distinct projects that have almost nothing to do with the musicality bred by Red Queen, showcasing her versatility as an artist and her will to go beyond any boundaries that she might face in terms of creativity and experimentation. For instance, her stunning voice embellishes the chaos found in the song You Can’t Save Me, So Stop Fucking Trying, from the 2012 album Vanitas by British Industrial Black Metal/Grindcore band Anaal Nathrakh, as well as in two composition from the 2012 albums Evolution and (R)Evolution, by American Electronic duo Blood on the Dance Floor, those being Love Conquers All and La Petite Morte (The Little Death), respectively.

Albeit music might be the primary focus in her life, our Gothic diva also extends all her talent to fashion modeling and graphic and web designing for living, also being proficient at tarot, rune and aura reading, as well as other forms of divination, chakra balancing and necromancy. In addition to all that, Elena lets her geek side flourish through her admiration for Astronomy, String Theory and Quantum Physics, not to mention she also excels in guidance to Spiritual Ascension. And as many other female metallers such as Angela Gossow and Alissa White-Gluz, our voluptuous queen doesn’t eat meat and considers veganism a part of human evolution. In case you’re curious to see Elena modeling instead of singing, click HERE to watch a short clip of when Elena was invited to participate in a cover shoot for volume 34, issue #33 of LA Weekly (released on July 5, 2012), for a special article entitled “Everything You Wanted to Know About Metal” (which is obviously not true, but as that’s not our main goal in this essay let’s simply ignore that). Pay attention to the music in this video, as it’s Elena and her Demona Mortiis playing a beautiful cover version for Confide in Me, by Australian singer Kylie Minogue. The great success achieved by the cover with Elena translated into this specific issue being the best-selling one of 2012. You can enjoy the read by clicking HERE and going directly to page 55, titled ALL HAIL “Metal subgenres explained, from thrash to pornogrind”.

Her passion for modeling can also be seen in the underground publication Gothic Beauty, as for example in their issue #42 when Elena was the cover girl of the magazine, and in tons of pictures modeling for Heavy Red, a Los Angeles-based fashion company established in 1999 by lead designer Tyler Ondine specialized in Gothic fashion and sexually sophisticated clothing, always aiming at being the cutting edge of Gothic clothing including corsets, dresses, gowns, shirts, skirts, coats, hoodies, club wear, lingerie and jewelry. Elena has been one of the faces of the company since relocating to the United States, helping Heavy Red achieve a new level of elegance and darkness in line with the company’s vision of Couture Noir.

The “Russian Queen of Nu-Metal” also focuses her efforts in improving the merch store at the official Red Queen website, working on getting more skirt and other clothing designs for the fans of the band. Furthermore, Elena is also planning on opening her own jewelry shop, named Vladi Fashion Jewelry, where she’ll sell her trial collection of royal necklaces and will expand into rings and more jewelry options later. She thinks every woman (including herself) loves jewelry, and therefore she wants to share her vision of beautiful designs with other women through her new store. And if you think that’s already a lot coming from only one woman, let me tell you that she is also trying to find time for her side project under her name, which according to Elena would be quite mellow and electronic, and fully written and produced by herself. I guess we can never get enough of our stunning queen, don’t you agree? And sorry to say that, Elena, but it looks like the less free time you have for yourself, the better it is for us fans.

Elena Vladi’s Official Facebook page
Elena Vladi’s Official Twitter
Elena Vladi’s Official Instagram
Red Queen’s Official Facebook page
Red Queen’s Official Twitter
Red Queen’s Official VKontakte page

“I am a full blooded Russian… Russians are crazy, we all know that, I expect respect and you shall receive the same in return…” – Elena Vladi

Concert Review – Disturbed & Breaking Benjamin (Molson Canadian Amphitheatre, Toronto, ON, 08/08/2016)

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The city of Toronto got awesomely “infected” by David Draiman and his horde on a warm and beautiful night of alternative music.

OPENING ACTS: Saint Asonia and Alter Bridge

Disturbed_Breaking Benjamin_2016Due to my hectic working schedule yesterday and the distance from my place to the fantastic Molson Canadian Amphitheatre, I wasn’t able to see the performances by the two special guests of the night, Canadian Nu Metal/Hard Rock band SAINT ASONIA and American Rock N’ Roll/Hard Rock band ALTER BRIDGE. To be honest, I wasn’t very excited to watch Saint Asonia, despite the fact they’re portrayed as a “supergroup” based in Toronto formed by lead singer and guitarist  Adam Gontier (ex-Three Days Grace), lead guitarist Mike Mushok (ex-Staind), bassist Corey Lowery (ex-Stuck Mojo) and drummer Rich Beddoe (ex-Finger Eleven). I’m not sure how many people were actually able to watch their concert, nor if they were a good warm-up for the following bands. All I can say is that the music they play is not my cup of tea and I don’t really regret missing their performance.

What I do feel slightly sad about was missing the excellent singer Myles Kennedy and the talented guitarist Mark Tremonti (together with bassist Brian Marshall and drummer Scott Phillips) playing their straightforward and honest rock music with Alter Bridge. We all know Myles and Mark are awesome musicians, and even considering the music by this Orlando-based group a bit too soft for me I’m sure that might have been a kick-ass concert. Well, that’s the price to pay when there are too many bands in such a short period of time, fans end up missing a good chunk of what they paid for unless they arrive REALLY early to the venue, which was not the case for most fans last night.

BREAKING BENJAMIN

IMG_1585The Molson Canadian Amphitheatre got packed only a few minutes before American Rock N’ Roll/Hard Rock band BREAKING BENJAMIN began their show, with frontman and guitarist Benjamin Burnley leading his competent band from Wilkes-Barre, Pennsylvania formed by Jasen Rauch on lead guitars, Keith Wallen on rhythm guitar, Aaron Bruch on bass and Shaun Foist on drums. The band got back in action a couple of years ago after Benjamin was finally able to overcome his phobias and addictions, with all members being completely new to the band (except for Benjamin, of course), and based on the warm reaction from everyone at the venue I believe fans truly missed Benjamin’s melodious mix of Alternative Metal and Hard Rock during the band’s hiatus.

As a fan of the darkest side of music who’s always listening to the most visceral forms of Thrash, Death and Black Metal, I must admit their music didn’t excite me despite being extremely well-crafted and played to perfection by all band members. Except for the brief moments when they played an excerpt of the superb Walk, by one of my favorite bands of all time, Pantera, as well as another excerpt from the classic Smells Like Teen Spirit by Nirvana, I couldn’t really connect to the band’s music. One thing I enjoyed a lot though was the vocal range by Aaron, going from clean and melodic lines to furious growls whenever he was responsible for the vocal parts, and for me that was the best ingredient of their concert. Please don’t think I hate Breaking Benjamin with all my strength or that it was a horrible concert, let’s simply say it’s hard to pay some decent attention to a band you’re not a fan of their music or style when you’re anxious for the following act.

Setlist
So Cold
Angels Fall
Sooner or Later
Blow Me Away
The Imperial March / Schism / Smells Like Teen Spirit / Walk
Polyamorous
Ashes of Eden
Believe
Breath
Failure
Until the End
I Will Not Bow
The Diary of Jane

Band members
Benjamin Burnley – lead vocals, rhythm guitar
Jasen Rauch – lead guitar, electronic strings, programming
Keith Wallen – rhythm guitar, backing vocals
Aaron Bruch – bass, backing vocals
Shaun Foist – drums, electronic percussion, programming

DISTURBED

IMG_1592Only one day after playing at Heavy Montréal, Mr. David Draiman and his Alternative Metal horde DISTURBED hit the stage at the Molson Canadian Amphitheatre to do what they do best, which is playing electrifying razor-edged modern metal music. Still promoting their 2015 album Immortalized (which by the way was awarded gold in Canada as well as platinum to the single The Sound of Silence, as informed by Draiman during the show), this iconic band from Chicago, Illinois not only revolutionized music with their inception back in the 90’s, but they also keep bringing different generations to their live concerts like what happened yesterday, something only traditional bands like Iron Maiden and Metallica do nowadays.

Blending classics such as the opening song Ten Thousand Fists and the classy Stricken with new songs like the kick-ass The Vengeful One, Draiman and his crew conquered all from the very first notes of their powerful performance. Draiman might not be moving around like before, but it looks like that’s a task he’s leaving for guitarist Dan Donegan, drummer Mike Wengren and especially bassist John Moyer to do, with those three guys being unstoppable on stage while Draiman focused on his unparalleled vocals (including his classic “monkey screams”) and leading gestures. They even invited the guys from Saint Asonia and Breaking Benjamin to sing the classic Who Taught You How to Hate with them, although it felt a bit weird seeing two bass players on stage at the same time.

IMG_1602One of the most anticipated moments of the show was their beautiful version for Simon & Garfunkel’s The Sound of Silence, and I have to say that lived up to all expectations and beyond. The drumming by Mike was incredible, as if he was pounding our hearts, and the piano notes embellished the entire ambience, but of course the main ingredient in such a unique ballad were Draiman’s vocals. He sang each and every note to perfection together with the fans, a memorable moment in a warm Torontonian night that will stay fresh in our minds and hearts for many years to come. Another great example of how Draiman flawlessly captivated and commanded the audience throughout the whole gig occurred during their new song called The Light, where he asked everyone to raise their lighters and mobiles during the chorus of the song and every single person obviously attended his demand, creating a sensational view of brilliant dots all over the venue.

My only complaint is that their setlist was way too short, with only fourteen songs being played in total. They could have played a few more tunes like the title-track “Immortalized” or even their version for “Land of Confusion”, which has been part of their recent setlists. Anyway, the icing on the cake came in the form of their biggest hit Down With the Sickness, with all fans jumping up and down and screaming the lyrics together with Draiman, especially the ones in the floor section like myself. The heat of the fire coming from the stage might have been strong, but the heat coming from their music was even stronger, leaving all fans happier than usual on a Monday night on their way back home. When introducing Down With the Sickness, Draiman said Toronto was “infected” by their music. I can’t think of a better definition to their concert than that.

Setlist
Ten Thousand Fists
The Game
The Vengeful One
Prayer
Liberate
Who Taught You How to Hate
Stupify
The Sound of Silence
Inside the Fire
The Light
Stricken
Indestructible
Voices
Down With the Sickness

Band members
David Draiman – vocals
Dan Donegan – guitar
John Moyer – bass
Mike Wengren – drums

Album Review – Ancesttral / Web Of Lies (2016)

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A top of the line Thrash Metal album by a passionate and all fired up quartet that wants to show the entire world Brazil has a lot more to offer than just samba and MPB.

ancesttral_frontcoverWhen my good friend Jorge Diaz, host of the awesome Brazilian radio show Timão Metal, asked me if I wanted to write a review for Web Of Lies, the brand new album by Brazilian Thrash/Heavy Metal band Ancesttral, I obviously accepted the task right away. First and foremost, it’s always a pleasure to show the world that “terra brasilis” has a lot more to offer than just samba and MPB in regards to music. Furthermore, Jorge brought to my attention that two members of Ancesttral are huge supporters of our favorite soccer team (and obviously the team that inspired the creation of Timão Metal), the almighty Sport Club Corinthians Paulista. And do you want to know how Web Of Lies sounds? Well, let me tell you it’s goddamn good, just like scoring a beautiful and pivotal goal against your worst archenemies in a decisive soccer match.

Formed in 2003 in the city of São Paulo, Brazil, Ancesttral have been on an exciting upward spiral of success since the band’s inception, having already released an EP named Helleluiah in 2005, their debut full-length album The Famous Unknown in 2007, and more recently another EP entitled Bloodshed and Violence in 2012. Now in Web Of Lies not only the band’s old school influences the likes of Metallica, Anthrax, Pantera, Slayer and Testament continue to shine in their music, but there’s also the addition of modern elements from artists such as Godsmack, Disturbed and Rob Zombie, contributing to a fresher sounding while remaining loyal to our good old Thrash Metal, their biggest passion in life (together with Corinthians, of course).

There’s a lot of electricity flowing from the very first second in the opening track, the fantastic What Will You Do?, which sounds like an awesome fusion of Fight, Metallica and Anthrax. Even before lead singer and guitarist Alexandre Grunheidt (who’s by the way absolutely nuts for Corinthians) joins the music with his blazing vocals, lead guitarist Leonardo Brito already fires a flammable mini-solo as the band’s welcome card, leading up to a difficult question: can it get any better than this? The solid and sharp headbanging composition Massacre, inspired by the Carandiru massacre, one of the most hideous slaughters in Brazil’s history, answers that question with its endless aggressiveness and dark lyrics (enhanced by an enfuriated Alexandre on vocal), sounding like a hybrid between some of the classics by Fight and the heaviest tunes by Disturbed; followed by Threat to Society, more modern than the two previous tracks due to the additional elements from bands such as Godsmack and System Of A Down. Furthermore, drummer Denis Grunheidt blasts groovier-than-usual beats, providing the perfect atmosphere for Alexandre and Leonardo to bring forth also more contemporary riffs and solos.

Megadeth-like riffs by Leonardo and more tuneful growls by Alexandre are the main ingredients in the well-crafted chant (and a good choice for their live performances) named You Should Be Dead, where its backing vocals are very effective in increasing the song’s impact on the listener, whereas in the excellent Fight a somber intro led by the obscure bass sounding by Renato Canonico suddenly becomes a merciless neck-breaking tune, presenting elements from old school Thrash Metal as well as from Alternative Metal. Not only that, albeit the vocal lines get more melodious (and consequently less violent), Ancesttral do not give up their usual brutality, being driven in this case by their heavier than hell riffs. And in Nice Day to Die, a Speed Metal composition with hints of Alternative and Nu Metal, the band definitely puts the pedal to the metal in terms of pugnacity, in special the demented vocals by Alexandre (and all backing vocals as well) and the frantic drumming by Denis.

After such amazing devastation, it’s time to slow things down in Pathetic Little Liars, focusing on a darker sounding, something that could have been recorded by Metallica in any of their albums after the 90’s (except of course for the horrendous St. Anger). The only minor issue with this song is that, in my opinion, nothing changes in its four minutes, being quite repetitive after a while. Also groovy and as heavy as hell, Subhuman is another high-quality composition with highlights to the burning riffs and solos by Leonardo, its nonstop beats and an awesome Rob Zombie-inspired performance by Alexandre, all translating into modernized metal music tailored for old school metallers.

ancesttral_2016Then we have one of the most thrilling songs of the album, the title-track Web of Lies, another awesome tune where hints of the sonority by Disturbed become manifest one more time, showcasing how much Ancesttral looks into the future when composing their material, and despite being less thrashy than their customary sounding it’s still awesomely vibrant and resonant. Before the wondrous sonic extravaganza in Web Of Lies is over, Ancesttral show us what happens when Pantera meet Anthrax in the deranged Fire, where metallic riffs build the necessary ambience for Alexandre to spit fire through his incandescent vocals. In addition to that, I bet you’ll start screaming “FIRE!” together with the band while slamming into the pit to the sound of this belligerent tune, and that says it all when the music in question is Thrash Metal. As a bonus, What Will You Do? returns with the same punch as its original version, but this time with a special alternate solo by guest guitarist Rodrigo Flausino, concluding the album almost exactly like it started, which is evidently on a very high note.

The guys from Ancesttral are true workhorses, having invested a shitload of money, time and energy into the making of the album, and playing exhaustively everywhere in Brazil where first-class Heavy Metal is demanded. For instance, take a look at their outstanding performance at Manifesto Rock Bar, in São Paulo, on August 23, 2014 playing three of the new songs (“What Will You Do”, “Threat to Society” and “Web of Lies”) before they were even launched, and you’ll be able to notice how much they nurture a profound passion for all things metal. And in order to provide your honest support to this sensational Brazilian band, go check their Facebook, YouTube, ReverbNation and SoundCloud, and buy your copy of Web Of lies through their online store, the Shinigami Records’ webshop, CD Baby, iTunes, Amazon and many other locations. Just like Ancesttral do, simply respect your past, live the present, look into the future… E VAI CORINTHIANS!

Best moments of the album: What Will You Do?, Massacre, Fight and Web of Lies.

Worst moments of the album: Pathetic Little Liars.

Released in 2016 Shinigami Records

Track listing
1. What Will You Do? 5:23
2. Massacre 5:10
3. Threat to Society 3:52
4. You Should Be Dead 3:50
5. Fight 5:32
6. Nice Day to Die 2:38
7. Pathetic Little Liars 4:06
8. Subhuman 3:42
9. Web of Lies 3:14
10. Fire 2:52
11. What Will You Do? (Alternate Solo Version) 5:23

Band members
Alexandre Grunheidt – vocals, guitars
Leonardo Brito – lead guitars
Renato Canonico – bass
Denis Grunheidt – drums

Guest musician
Rodrigo Flausino – guitar solo on “What Will You Do? (Alternate Solo Version)”

Album Review – DevilDriver / Trust No One (2016)

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If Dez Fafara and his crew say we must trust no one, who are we to go against the circle pit masters of California?

Rating5

coverWhen frontman Dez Fafara and his sick crew known as American Groove/Melodic Death Metal band DevilDriver say we must trust no one, we should definitely follow their trenchant and wise advice. Cursing the clouds over California for almost 15 years, Santa Barbara’s own circle pit masters are back with their seventh studio album, entitled Trust No One (also stylized as trust no one.), another solid release by a band that, above all things, knows how to craft exciting metal music for the masses. Longtime band member and guitarist Mike Spreitzer described the album as “the record (I’ve) been wanting to write for 12 years”, while Dez stated that the album is “a vicious record filled with huge grooves and big hooks, guitar bass assery and thundering drums”.

Although not as amazing as their 2007 classic The Last Kind Words, let’s say that the music found in Trust No One, the first album since their 2013 release Winter Kills (making it the longest time span between two albums in the band’s history due to Dez reuniting with his former band, American Nu Metal act Coal Chamber), matches considerably with the words by Mike and Dez, living up to the band’s history despite all the recent lineup changes. This is their first album without original members John Boecklin and Jeff Kendrick on drums and guitars, respectively, being replaced by drummer Austin D’Amond (formerly of Chimaira) and guitarist Neal Tiemann. Chris Towning, who played bass on Winter Kills, also left and got replaced by former Static-X bassist, Diego “Ashes” Ibarra.

Opening their metallic ceremony, Testimony of Truth is as melodic and groovy as expected from DevilDriver, with the guitars by Mike and Neal sounding polished and brutal at the same time. Furthermore, when the opening track has lyrics like these, you know the band is on the right aggressive path (“The truth is I never liked you this / testimony is one of truth you’re just / a means to an end / With no redeeming thing about you / Walk in my shoes / This dead empty space / Walk in my shoes / This burdens on you!”). In Bad Deeds, the band’s traditional Groove Metal arises, crushing the listener to the sound of the harsh vociferations by Dez and the imposing beats by Austin, also sustaining a creepy atmosphere in the background no matter how violent the music gets; while My Night Sky is an old school DevilDriver composition where all instruments (including vocals) are in line with all their previous records, being therefore tailored for diehard fans of the band.

This Deception proves that when DevilDriver accelerate their music things get even more exciting, resulting in a potent circle pit generator thanks to the awesome job done by Austin on drums and the always piercing sound of their guitars, followed by Above It All, a song which we could call the epitome of American Groove Metal. Dez has another solid vocal performance leading the band’s attack, and although it’s far from being the most creative song in the world, it works quite well in the end. The first single of the album, called Daybreak, blends Melodic Death Metal with Groove Metal, with both Mike and Neal firing some blazing riffs while Dez keeps growling like a beast, whereas the title-track, Trust No One, might be one of the most intricate and harmonious compositions of the band from their past few albums. I love the vocal lines by Dez, transpiring absolute anger and hatred, as well as the song’s kick-ass guitar solo, not to mention the simple but effective message of the song, which makes total sense in modern society (“There’s always a need for violence / Slowly singing to the somber sun / Give my regards to the ones you call your angels / Dusted I’m the only one”).

devildriverThe last part of the album begins with more violence and groove in the form of Feeling Ungodly, a good composition that unfortunately falls flat after a while due to its very repetitive vocals and riffs, followed by the low-tuned bass lines and rhythmic drumming of the decent Retribution, with its second half getting more exciting and obviously adding more electricity to the final result. And finally, the band gets back to a more thrilling and raging state in the closing tune entitled For What It’s Worth, where its beautiful guitar lines and solos perfectly complement Dez’s unique barks and the always violent aura found in their music.

In summary, while many will consider this just another DevilDriver album, I personally think Trust No One is not only an important landmark in their career and an album that will keep the band alive and on fire for the next coming years, but also a solid statement that confirms Dez and Mike won’t be negatively impacted by all the changes that happened to the band recently. Quite the contrary, they were able to absorb all the negativity, go against all odds and turn adversity into high-quality heavy music. And, as already mentioned, when a band like DevilDriver tells us we should trust no one, who are we to go against them? Stay alert to every wolf in sheep’s clothing around you, keep listening to the sincere and hostile music by bands like DevilDriver, and everything else will be a lot easier in your life.

Best moments of the album: Bad Deeds, This Deception and Trust No One.

Worst moments of the album: Feeling Ungodly and Retribution.

Released in 2016 Napalm Records

Track listing
1. Testimony of Truth 4:43
2. Bad Deeds 3:46
3. My Night Sky 4:28
4. This Deception 3:47
5. Above It All 3:22
6. Daybreak 4:23
7. Trust No One 4:38
8. Feeling Ungodly 3:41
9. Retribution 4:01
10. For What It’s Worth 4:31

Digipak/Limited Edition/Japanese Edition bonus tracks
11. House Divided 4:56
12. Evil on Swift Wings 4:17

Band members
Dez Fafara – vocals
Mike Spreitzer – guitars
Neal Tiemann – guitars
Diego “Ashes” Ibarra – bass guitar (live)
Austin D’Amond – drums

Album Review – Fear Factory / Genexus (2015)

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Once again, it’s time to enter the machine and surrender to the mechanized reign ruled by the undisputed masters of Industrial Metal.

Rating4

fear factory_genexusI honestly don’t understand why the music by American Industrial Metal masters Fear Factory has never been part of any of the Terminator movies. I mean, ANY of their songs are powerful, metallic and atmospheric enough to provide the perfect background for all the destruction and chaos caused by the one and only Mr. Arnold Schwarzenegger, which is also the case with the music found in their brand new automaton entitled Genexus, the ninth studio album in their exceptional career and the first to feature drummer Mike Heller (Malignancy, System Divide).

However, it’s not only the density and strength of the music by this Los Angeles-based nonstop machine that amazes me every single time they release a new album, but also the whole futuristic concept surrounding their work. For instance, the new artwork, designed by American artist Anthony Clarkson, reminds me a lot of three iconic movie characters that have everything to do with what the music proposes: the unstoppable killing machine known as the Terminator; the brainy and rebel hero Iron Man; and the mesmerizing but extremely dangerous Ava (from the cult flick Ex Machina). Put differently, Fear Factory marvelously know how to give life and emotion to cold metal.

The opening track, Autonomous Combat System, is Industrial Metal at its finest from the very first second, a violent and harmonious tune just like we always expect from this amazing band, and when the sick riffs by the unparalleled Dino Cazares and the band’s famous industrial drums begin the energy level goes through the roof. And their futuristic awesomeness goes on in Anodized, another masterful lesson in shredding (who doesn’t love riffs like these?) supporting its meaningful lyrics from a not-so-impossible future for all of us (“A transhuman state / Will liberate man’s evolution / A singularity / Maintains the peace / Machined solution / Lacerate, eviscerate / My body to redefine / My design”). The performance by Mr. Burton C. Bell with both his harsh screams and clean vocals is superb, and if you’re a fan of Alternative Metal or Nu Metal let me tell you this is an awesome example of how everything started. In Dielectric, you can feel the electricity flowing nonstop, especially through its drums that sound like a machine gun, with its background effects being so important I cannot imagine this amazing tune without them.

Then it’s time to bang your fuckin’ head to the low-tuned bass lines by Tony Campos and the vicious riffs by Mr. Cazares in Soul Hacker, where its great chorus will stick inside your mind for sure, followed by the dynamic and thrilling rhythm of ProtoMech, enhanced by its excellent lyrics (“Take everything away from me / Replace my skin with circuitry / All that I have bleeding from me / To feed the machine”) and an amazing feeling provided by its mechanized atmosphere. In my humble opinion, this is the best song of the whole album, proving once again how skillfully Fear Factory are capable of feeding the Heavy Metal machine we all love so much.

fear factoryThe superb title-track, Genexus, is like a journey to a desolated world ruled by machines, exactly like what the future shows in the Terminator franchise, showcasing all the elements that took Fear Factory to stardom, with Burton sounding enraged and ready to confront the machine for his freedom. Church of Execution also provides that mechanic and industrialized sounding and an eerie ambience with lots of groove, despite not being as kick-ass as the others due to the lack of a more violent chorus; while Regenerate, with its weird robotic effects in the background, is perhaps one of the best examples of traditional Thrash Metal modernized by Industrial and Groove Metal. Moreover, I love the energy of its chorus, and how can we not bang our heads to it?

Battle for Utopia is intended to represent the march of the machines with its furious and imposing sonority, including lots of special effects to create the atmosphere desired by the band, before Expiration Date closes the album in a very traditional way, which in the case of Fear Factory means in the form of a melancholic music voyage. Pay good attention to the beauty of its lyrics, gently declaimed by Burton (“Under the surface we’re not machines / Under the surface we’re living dreams / Death lives just one breath away / Somewhere my heart beats in silence / I made my way through the violence / Nobody lives forever”), close your eyes and let yourself be absorbed by the music and its message, the final result is outstanding.

And finally, on a side note, the bonus tracks that come with the limited edition of Genexus keep up with the rest of the album in terms of complexity, violence and electricity, with highlights to the ominous atmosphere in the smooth Enhanced Reality. In summary, if you’re ready to enter the machine engendered  by Fear Factory for the first time, or if you already surrendered to their mechanized reign a long time ago, Genexus is definitely a must-have album to your collection of extreme and melodic music.

Best moments of the album: Autonomous Combat System, ProtoMech and Genexus.

Worst moments of the album: Church of Execution and Battle for Utopia.

Released in 2015 Nuclear Blast

Track listing
1. Autonomous Combat System 5:28
2. Anodized 4:47
3. Dielectric 4:19
4. Soul Hacker 3:12
5. ProtoMech 4:56
6. Genexus 4:48
7. Church of Execution 3:21
8. Regenerate 4:02
9. Battle for Utopia 4:14
10. Expiration Date 8:48

Limited Digipak bonus tracks
11. Mandatory Sacrifice (Genexus Remix) 5:43
12. Enhanced Reality 5:36

Band members
Burton C. Bell – vocals
Dino Cazares – guitar
Tony Campos – bass guitar
Mike Heller – drums

Guest musicians
Deen Castronovo – drums on “Soul Hacker”
Laurent Tardy – piano on “Autonomous Combat System” and “Protomech”
Mister Sam – spoken words on “Autonomous Combat System” and “Expiration Date”
Damien Rainuad – programming, keyboards
Giuseppe Bassi – samples, keyboards

Album Review – Faith No More / Sol Invictus (2015)

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It might have taken 18 long years for Mr. Mike Patton and his demented squad to release a new album, but the result is so good it was definitely worth the wait.

Rating4

FNM_frontAt long last, after 18 fuckin’ excruciating years, the demented squad composed by the gentlemen Mike Patton, Jon Hudson, Billy Gould, Roddy Bottum and Mike Bordin, “usually” known as American Alternative Metal/Rock band Faith No More, is back with another freakish experiment entitled Sol Invictus (Latin for “Unconquered Sun”), the seventh studio album in their revolutionary career. Without Faith No More there wouldn’t be Alternative Metal, Funk Metal, Nu Metal, Grunge, contemporary Hard Rock, and so on. And if you think what I’m saying is bullshit, how about what Corey Taylor, frontman of the biggest Alternative Metal group in the world, Slipknot, said after seeing Mike Patton and his crew performing the all-time classic “Epic” at the 1990 MTV Video Music Awards? “I was mesmerized by that. I never felt a moment like that until that moment. It completely turned me around.”, stated the iconic #8.

Perhaps the greatest question in everyone’s minds, after knowing the band was officially getting out of their state of “creative hibernation”, was that if they were going to be capable of releasing something as amazing as their previous albums, especially the masterpieces The Real Thing (1989), Angel Dust (1992) and King for a Day… Fool for a Lifetime (1995). Well, although Sol Invictus doesn’t have any “A Small Victory”, “The Gentle Art of Making Enemies” or “Digging the Grave” among its songs, it’s still a well-set album with lots of thrilling moments, showcasing a band that doesn’t seem to have been on hiatus (not including their sporadic live performances and tours along all those 18 years) since their previous release, the also spectacular Album of the Year, from 1997.

The title-track, Sol Invictus, is just as weird as the album artwork, which means it’s perfect for opening their live performances. It’s short and melancholic, just like they’ve mastered doing through the years, and we all have to agree that with that piano intro and those whispering vocals you know somehow it’s Faith No More even if you’ve never heard anything about the band in your entire life. The same can be said about the awesome Superhero, a very melodic and alternative tune with interesting keyboard notes by Roddy Bottum, where after only two seconds you know it’s pure Faith No More. I guess there’s no need to mention how incredible Mr. Patton’s crazy screams and vocals are, but it’s valid to mention that the lyrics beautifully follow that vocal craziness (“Like an American drug / Makes a mean cock grow / …kill a priest / Makes a superman of glass”).

The next track, Sunny Side Up, sounds a lot like many songs from Album of the Year, with a stylish blend of Jazz, Blues, Rock N’ Roll and everything else. In other words, fans of the band will enjoy it for sure, while others will probably ask themselves “what the fuck is this?” Even if you don’t understand that song really well, you’ll relish Separation Anxiety and its stronger Rock N’ Roll vein. Mike Patton once again steals the show with his wicked voice and proves why he’s among the best and most versatile singers in the world. The only setback in this exciting tune is the drumming: I was expecting more from Mike Bordin, despite him doing a relatively decent job throughout the whole song.

FNMThe dark intro in Cone of Shame corroborates they really enjoy sounding bizarre, with its last part getting a lot more vibrant and intense, while Rise of the Fall offers the listener some elements from Reggae music and more audible guitar lines, as well as more rhythmic beats. Moreover, the crazy screams by Mike Patton end up adding a lot of electricity to a song that’s below average for a band like Faith No More. Following the lowest point of the album we have Black Friday, a song purely inspired by 80’s classic rock music which despite its lack of creativity has a good blend of semi-acoustic parts and heavier riffs and screams.

And just when you think Faith No More cannot get weirder, they come up with the stupendous Motherfucker, another perfect choice for opening their live concerts, where the focus is obviously on Mike Patton’s vocal lines and the song’s eerie lyrics (“Get the motherfucker on the phone, the phone…”), also including the best guitar solo of the entire album. Not only that, I doubt you won’t be singing this song everywhere, even at work with your boss by your side. Unless you don’t know shit about the band, you probably know how much they love songs with Portuguese or Spanish names (and sometimes lyrics), but unfortunately the boring Matador doesn’t get close at all to the marvelous classic “Caralho Voador”, for example. It’s just an average song with nothing new or outstanding, except for the strong bass lines by Billy Gould. And sounding like a B-side from King for a Day… Fool for a Lifetime, From the Dead gives a melancholic ending to Sol Invictus with the band’s trademark. It’s a good listen if you’re at home or in your car, but definitely not recommended for their live performances.

I wish there were a few more guitar solos by Jon Hudson and some faster beats by Mike Bordin in this or that song, as Sol Invictus sounds too calm for me in many of its moments, but at least we can loosen up knowing Faith No More are not “dinosaurs”. They are a more-than-alive group that still got it in them, and from now on (well, they’ve been doing this already) there are even more outstanding tunes in their lunatic arsenal to be masterfully played during their live concerts all around the world. And we’re all very thankful to the unparalleled Mr. Patton and his fellow mates for that, even if it took so many years for them to return.

Best moments of the album: Superhero, Separation Anxiety and Motherfucker.

Worst moments of the album: Rise of the Fall and Matador.

Released in 2015 Reclamation Records

Track listing
1. Sol Invictus 2:37
2. Superhero 5:15
3. Sunny Side Up 2:59
4. Separation Anxiety 3:44
5. Cone of Shame 4:40
6. Rise of the Fall 4:09
7. Black Friday 3:19
8. Motherfucker 3:33
9. Matador 6:08
10. From the Dead 3:06

Band members
Mike Patton – vocals
Jon Hudson – guitar
Billy Gould – bass guitar
Roddy Bottum – keyboards, vocals
Mike Bordin – drums

Album Review – No Sin Evades His Gaze / Age Of Sedation (2014)

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These young British guys and their sharp instruments keep the fire of heavy music alive with huge doses of professionalism, brutality and progressiveness.

Rating4

Album Art - 1500 x 1500Like French chemist Antoine Lavoisier said once with his law of conservation of mass, “Nothing is lost, nothing is created, everything is transformed.” That can be said about the music by Metalcore/Groove Metal band No Sin Evades His Gaze who, influenced by bands such as Pantera, Lamb Of God and Machine Head, blended elements from Metalcore, Death Metal and Groove Metal in a very professional way, sounding very contemporary and, above all, very technical, melodic and progressive.

It’s amazing how such young guys, all in their early or mid-twenties (and some not even in their twenties yet), were capable of crafting 100% cohesive and honest heavy music like if they have been together on the road for years in a row. This new five-piece metal band, founded in 2013 by vocalist James Denton and with members hailing from London, Blackpool and Scotland in the UK, has just released their debut album, Age Of Sedation, and let me tell you it’s an awesome mix of brutality and melody perfect for fans of modern metal music.

Right after the short but strong intro A Crack In The Looking Glass, where it’s noticeable the band is composed by young members (only young people can write, say or sing words such as “They’re gonna call you weird… They’re gonna call you eccentric…”), we already have one of the top moments of the album, the title-track Age Of Sedation.  It’s polished and professional extreme metal, with its guitar lines conducting the song enhanced by its heavy drumming and all background effects, and of course the excellent guttural vocals by James. The following song, Motionless In Obedience, is a very good choice for fans of extreme music with an apocalyptic touch, getting very progressive halfway through it due to its technical instrumental, and providing the listener the first dosage of clean vocals by drummer Theo Harvey.

Filth is a much heavier tune than its predecessors, perfect for headbanging, with highlights to the great job done by both guitarists Kevin Pearson and Dan Thornton and to the Industrial Metal elements added to the song, similar to what Fear Factory usually do in their music, followed by the nice Metalcore vibe in Roll Up The Royalty, where its very cohesive instrumental gives it a truly badass atmosphere. Another one of my favorite moments in Age Of Sedation is the violent and apocalyptic Debris, with Theo smashing his drums while Matthew “Moat” Lowe shows no mercy for his bass (and you can actually listen to each note from it), while The Cycle Resets focuses on a more contemporary American Metalcore blended with Industrial Metal, with highlights to the awesome vocal performance by James and its totally melodic and catchy riffs.

No Sin Evades His Gaze Promo photo 2014The last part of the album begins with Biometric Alchemy, which could be portrayed as a darker version of what Slipknot do sometimes, mainly due to its deep guttural vocals, followed by The Guillotine Blade: as sharp as a real guillotine blade, the band offers us more atmospheric chaos full of solid riffs, rhythmic breaks and a melancholic ending. And to close the album the band chose their longest and most progressive song, Affinity, with elements from Metalcore, Melodic Death Metal and even Nu Metal, sounding pretty much like three or four songs in one for the delight of fans of complex heavy music.

As aforementioned, the excellent Age Of Sedation, which is available at the No Sin Evades His Gaze’s official BandCamp page, Amazon, iTunes and many other locations, might not be 100% original (what is today, anyway?), but it’s as fresh and creative as possible, thanks to an awesome job done by all band members with their refined techniques. Let’s say that they’re just adapting what Lavoisier discovered in a distant past, but instead of “mass” they’re supporting the conservation of good heavy music.

Best moments of the album: Age Of Sedation, Filth and Debris.

Worst moments of the album: Biometric Alchemy.

Released in 2014 Independent

Track listing
1. A Crack In The Looking Glass 0:51
2. Age Of Sedation 2:49
3. Motionless In Obedience 3:39
4. Filth 4:06
5. Roll Up The Royalty 3:50
6. Debris 2:54
7. The Cycle Resets 3:52
8. Biometric Alchemy 4:38
9. The Guillotine Blade 3:40
10. Affinity 6:00

Band members
James Denton – vocals
Kevin Pearson – guitars
Dan Thornton – guitars
Matthew “Moat” Lowe – bass
Theo Harvey – drums, clean vocals

Album Review – Slipknot / .5 The Gray Chapter (2014)

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One of the most controversial heavy bands of all time strikes again with a very solid and aggressive tribute to their deceased bassist.

Rating4

Slipknot-5-Album-CoverWhen American Alternative Metal band Slipknot helped put the city of Des Moines, Iowa, United States on the map in the end of the 90’s with their never-before-seen ruthless music, few people believed they would last longer than a couple of years due to several reasons, one of them being their too unorthodox approach, or in other words, they did not play “traditional” heavy music. Well, guess what? Even after all these years and all their countless internal issues, especially the painful death of bassist Paul Gray (R.I.P.) in 2010 and the departure of drummer Joey Jordison in the end of 2013, they’re still alive and more than capable of delivering some good heavy music, like what’s found in their brand new album .5: The Gray Chapter.

Although .5: The Gray Chapter, which by the way is the fifth studio album in the band’s career, the first in six long years and the first to not feature the two aforementioned members, is not as good as most of their previous releases, it’s still a very enjoyable and violent album that surpasses 75 minutes of music, with all those “special effects” only Slipknot can offer us. It sounds like a modern mix of the excellent Iowa and Vol. 3: (The Subliminal Verses), with all lyrics being even more wicked and controversial than before.

And there’s no better way to start a Slipknot album than with one of their trademarks, a dark and creepy intro this time named XIX, with beautiful words such as “This song is not for the living / This song is for the dead” setting up the tone for the ferocious Sarcastrophe, a song that begins as melancholic as the intro before turning into a mix of all Slipknot phases, sounding a lot like “Gematria (The Killing Name)”, especially the vocal lines and riffs (albeit a lot less complex), followed by the Thrash Metal riffs in AOV, which also follows the same musical pattern as in All Hope Is Gone.

I have no idea who the new/session drummer is, but he does a pretty decent job in songs like The Devil in I, where he provides the whole song an extra dose of violence even during its lighter parts, saving it from becoming too soft or too bland. The following track will generate lots of positive and negative reactions from the listeners: Killpop is one of those cases where Slipknot proves once again they know how to craft some cool semi-ballads, this time 100% focused on the vocal lines (both clean and harsh) by Corey Taylor, but many people will end up complaining it sounds too commercial. If you love it, simply enjoy this nice song, otherwise skip to Skeptic, a very old school Slipknot song, and everything you truly love in this band will be there for you, including riffs, drums and vocals, sounding a lot like their material from Vol. 3: (The Subliminal Verses). Besides, it seems to be one more explicit tribute to Paul Gray based on its sorrowful lyrics (“The world will never see another crazy motherfucker like you / The world will never know another man as amazing as you”).

SlipknotLech is one of those Slipknot songs you wait for during their performances to start jumping up and down like crazy when Corey gives the signal, with drums, percussion and guitar lines boosting its energy level, while Goodbye is just filler: I don’t know what they wanted to accomplish with this song, but it didn’t work at all, making it totally disposable. Then we have Nomadic, a good song with interesting breaks and chorus, nothing special but its Iowa-ish vibe keeps it far away from being boring, and The One That Kills the Least, which reminds me of some Stone Sour songs.

After all those highs and lows, it is the last part of the album what all diehard fans of Slipknot were truly waiting for, and it all begins with Custer, that type of sonic madness Slipknot feel really comfortable in playing. It’s a fuckin’ sick “party” full of weird electronic music effects, with a chorus that will drive fans crazy during their live performances (“Cut – Cut – Cut me up and Fuck – Fuck – Fuck me up / CUT – CUT – CUT ME UP AND FUCK – FUCK – FUCK ME UP!”). It’s the best song of the album, and it will sound absolutely amazing live, no doubt about that. The sinister intro Be Prepared for Hell works as an excellent warm-up for the “hell” that comes next, the disturbing The Negative One: it has that raw instrumental and direct sounding like their old classics, with highlights to the great job done by Sid Wilson and Craig “133” Jones in adding a lot of bizarreness to the song. Do I need to mention it’s another perfect option for some insane circle pits? The regular version of the album ends in a pretty weird way with If Rain Is What You Want, a song that’s a lot less metal and more alternative than any other track in .5 The Gray Chapter. And if you purchase the special edition of it you’ll also get two bonus songs that are relatively boring compared to the official album tracks: Override is just an average song, and The Burden focus too heavily on the atmosphere and forgets about the music itself.

You can take a listen to some or all of the tracks in .5 The Gray Chapter on Slipknot’s official YouTube channel, and also see them kicking ass live during their Knotfest dates. Love them or hate them, no matter how controversial they are, we all have to admit their music is unique and each member of the band deserves our recognition for being able to create such a solid, aggressive and entertaining album/tribute even after all the hell they have been through in recent years.

Best moments of the album: Skeptic, Custer and The Negative One.

Worst moments of the album: The Devil in I and Goodbye.

Released in 2014 Roadrunner Records

Track listing
1. XIX 3:10
2. Sarcastrophe 5:06
3. AOV 5:32
4. The Devil in I 5:42
5. Killpop 3:45
6. Skeptic 4:46
7. Lech 4:50
8. Goodbye 4:35
9. Nomadic 4:18
10. The One That Kills the Least 4:11
11. Custer 4:14
12. Be Prepared for Hell 1:57
13. The Negative One 5:25
14. If Rain Is What You Want 6:20

Special Edition bonus tracks
15. Override 5:37
16. The Burden 5:23

Band members*
(#0) Sid Wilson – turntables
(#3) Chris Fehn – percussion, backing vocals
(#4) Jim Root – guitars, bass
(#5) Craig “133” Jones – sampling, keyboards
(#6) Shawn “Clown” Crahan – percussion, backing vocals
(#7) Mick Thomson – guitars, bass
(#8) Corey Taylor – vocals

Additional musicians
Alessandro Venturella – bass
Donnie Steele – bass

*A new drummer is currently in the band but has not yet been named by the band, rumors circulate about his identity but so far no official statement has been made as to who it is.

Album Review – Second To Sun / Three Fairy Tales EP (2014)

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Dark instrumental metal for people who love fast and furious music, recommended especially for the ones that cannot stand harsh vocals.

Rating5

Album artI know a lot of people that really enjoy the vigorous instrumental parts played by most Thrash, Death and Black Metal bands and artists. However, because of the aggressiveness of the guttural or harsh vocals that go along with those types of extreme music, they end up running away from those bands. If you find yourself in a similar situation, I have a very decent alternative for you: Russian Blackened Experimental Metal band Second To Sun and their new EP, entitled Three Fairy Tales, provides you modern and avant-garde heavy metal music, with elements of Black Metal and ethnic Finno-Ugric music, without those vocals that usually give you some undesired shivers.

Second To Sun was formed in Russia in 2012 by guitarist Vladimir Klimov, having released an EP entitled The God’s Favourite Whore (when the band suffered some lineup changes) and their first full-length album named Based On A True Story in 2013, before releasing now in 2014 their new EP. Bassist Anton Danilevski and drummer Theodor Borovski truly help Vladimir in his journey to create instrumental music that doesn’t sound annoyingly technical and consequently too snobbish, neither so basic to the point it becomes stale or uninspired. And they actually succeed in their proposal as we can see in this good (but short) album.

Based on the name of the EP, each one of the three tracks represents a different fairy tale, and they even have a specific image created for them, but as there are absolutely no vocal lines in any of them you’ll have to figure out their meaning by yourself. Starting the EP we have The Trapper, which focus on a more Symphonic Black Metal sonority blended with some modern and progressive music elements, as if Dream Theater joined the “dark side” of music. In addition, its heavy bass lines follow the pounding drums really well, plus a weird Russian voice giving the song an extra touch of creepiness.

second to sunIn Merämaa, the best of the three songs in my opinion, their progressiveness reaches its limit, intensified by some Nu Metal riffs and electronic elements, with its guitar lines being a mix of traditional Black Metal and video game-ish music. It’s almost as if the guitar is “trying” to actually speak! And finally Second To Sun offer us the more traditional song Barmaley, with highlights to its amazing double bass generating a more apocalyptic sounding. They prove with this song why they don’t need a singer to create captivating music, with kudos to bassist Anton Danilevski for his extremely strong bass lines throughout the whole song.

You can find Three Fairy Tales available for purchase at Second To Sun’s official BandCamp page, where you can also check the exclusive artwork for each of the three songs (just click on their info link). If one day they’ll add a singer to the band no one really knows, but so far they have been doing an excellent job letting their instruments speak on their behalf, crafting music highly recommended for fans of extreme metal that are not really fond of guttural vocals.

Best moments of the album: Merämaa.

Worst moments of the album: As I always mention when I review an EP, let’s wait for a full-length album to choose one or more bad moments.

Released in 2014 Independent

Track listing
1. The Trapper 4:02
2. Merämaa 3:01
3. Barmaley 3:59

Band members
Vladimir Klimov – guitars
Anton Danilevski – bass
Theodor Borovski – drums

Album Review – Dimenzion:Psychosphere / Collapse (2014)

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These Norwegian “industrialists” are spot on with their cold and futuristic apocalyptic metal.

Rating4

DIMENZION PSYCHOSPHERE - Collapse cover artIf you’re a fan of Industrial Metal bands that are a lot more “metal” than “industrial”, but that still have that cool electronic touch and a unique futuristic concept in each of their albums, such as the incomparable Rammstein, Ministry and Fear Factory, you should take a shot at Collapse, the new album by Norwegian Industrial Metal band Dimenzion:Psychosphere. After a few self-released EP’s and their debut album entitled DNA Phantom Effect (2012), Collapse is their first full-length album signed to a record label (Crime Records), and by far the best in terms of recording and production quality.

Based in the town of Mandal, Norway, this band does not play your average Industrial Metal, but a fresh and creative mix of industrial and heavy music elements, or as Dimenzion:Psychosphere themselves prefer to say, they play “cold apocalyptic metal from the north”. That crazy definition is corroborated by the band members’ monikers (The President, The Architect, The Trooper, The Scientist and The Engineer) and by their apparel, which can be described as a hybrid between Slipknot and Call Of Duty: Black Ops. You have to agree it can’t get any more bizarre than that.

And when all that visual and concept bizarreness translates into music as soon as the excellent opening track The Machine starts, everything makes a lot more sense: Dimenzion:Psychosphere breed a heavy and embodied mix of Industrial and Nu Metal, a kind of musicality only German Industrial Metal giants Rammstein would be able to produce, with highlights to its very entertaining and intelligent lyrics (“The walking machine’s still singing / The time has come to seize control / To which values are you clinging / To whom do you owe your soul?”). The following track, the groovy Fury, keeps up with the futuristic theme by offering us a truly mechanical atmosphere, which together with the “march” halfway through the song and its extremely heavy drums and bass make the whole song even more effective.

DIMENZION PSYCHOSPHERE band photo 2With its Fear Factory-ish intro and its dense and slow riffs enhanced by a dark “assembly line” rhythm, the song Void can be considered the representation of the band’s Industrial Doom Metal side, while the superb Epistemophobia should be used as part of the soundtrack to a futuristic suspense movie, especially due to the symphonic elements added by The Scientist with his insane synths. Moreover, if you don’t know what the name of this song means, Epistemophobia is the fear of knowledge, which ends up being the principle of the lyrics. In my opinion, I wouldn’t consider this lyric theme too futuristic, but extremely realistic (and painful) based on all the shit we see people doing all over the world. Does anyone still think the human being is actually evolving?

Anyway, the next track, Slaves, focus on more melodic lines, with its direct lyrics (“WE’RE ALL A BUNCH OF FUCKIN SLAVES”) and synths being responsible for generating a strong atmosphere once again, followed by the longest track of all, Psychodorm, full of modern American Metal elements the likes of Slipknot. Moreover, the “machinery” sonority created by all instruments is outstanding, boosted by a very cohesive melancholic tune after four minutes, which goes on until the end of the song. And last but not least, the title-track Collapse sort of kicks off from where the previous song ended, maintaining the same eerie sonority, with an amazing vocal performance by lead singer The President. The ending of this song (and the entire album) is very obscure, predicting there’s no sign of a “happy ending” for our society, which I totally agree.

The album art designed by TrippleOneVision is a terrific complement to the album concept, reminding us of the futuristic mechanical artwork found in many (if not all) albums by Fear Factory, and another sign of how professional and committed Dimenzion:Psychosphere are to their work. In short, Collapse, which will soon be available at the official Crime Records Webshop, doesn’t bring any optimistic message to humanity, but it surely provides fans of heavy music an exceptionally good soundtrack to apocalypse, so turn the volume up, relax and enjoy this awkward music journey until the world completely falls apart.

Best moments of the album: The Machine and Epistemophobia.

Worst moments of the album: Void.

Released in 2014 Crime Records

Track listing
1. The Machine 5:02
2. Fury 4:15
3. Void 6:26
4. Epistemophobia 5:18
5. Slaves 4:29
6. Psychodorm 8:49
7. Collapse 7:19

 Band members
The President – vocals
The Architect – guitar, vocals
The Trooper – bass
The Scientist – synth
The Engineer – drums