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Concert Review – Cattle Decapitation (The Opera House, Toronto, ON, 12/02/2023)

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As we’re all going to die one day, why not enjoying our time left on earth with some first-class Death Metal like what the unparalleled Cattle Decapitation offered us this Saturday night in Toronto?

OPENING ACTS: Castrator, Sanguisugabogg and Immolation

Before I start the actual review of the show, I gotta say that although I don’t have anything against Christmas, I do nurture a deep hatred for the Christmas market known as The Distillery Winter Village that happens this time of the year in Toronto. Because of that, it took me almost two hours to get to The Opera House last night to see CASTRATOR, SANGUISUGABOGG and IMMOLATION during their demented The Terrasitic Infestation Tour 2023, brought to the city by the always awesome Noel Peters of Inertia Entertainment, and I had to skip some quality time with my friend Keith Ibbitson of Metal Paparazzi (and some other nice ladies and gents) and simply rush to the venue (after parking way too far from it, of course). And before I forget, the concert was absolutely SOLD OUT, so you can all imagine how demonic the atmosphere was indoors on Saturday, right?

Anyway, at least I made it in time for the opening act of the night, the ruthless New York-based Death Metal entity CASTRATOR, who hit the stage of The Opera House at 7pm sharp and pulverized our senses for intense 30 minutes of Old School Death Metal. I have no idea why their guitarist Kimberly Orellana isn’t playing this tour, but fortunately for all fans of first-class extreme music the awesome Long Island, New York guitarist Kurtis Layne stepped up and made their whole tour possible. Playing seven demolishing songs from their top-notch debut full-length Defiled in Oblivion, released in 2022 (and available for a full listen on BandCamp and on Spotify, or click HERE for all things Castrator), including the fantastic tunes Inquisition Sins and the closer Dawa of Yousafzai, the band formed of the unstoppable growler Clarissa Badini, bassist Robin Mazen, drummer Carolina Perez, and the aforementioned Kurtis Layne on the guitar was vicious form start to finish, igniting some of the wildest mosh pits I’ve ever seen for an opening act in my life. Clarissa was insane on vocals, roaring and headbanging like a maniac nonstop, therefore having the crowd in the palm of her hands all the time. She’s one of the best growlers of the new generation, and I highly recommended seeing Castrator live whenever they take your damned city by storm. When she was announcing the last song of the night, the audience demanded more, and she laughed and said “c’mon guys, we’re just the opener”. Well, hopefully one day we’ll see Castrator as the headliners in Toronto, because we all loved their wicked Death Metal attack, turning several of us (including myself) into a fanboy of the band.

Setlist
Tormented by Atrocities
Forsaken and Deprived
Inquisition Sins
Tyrant’s Verdict
Befoul My Existence
Sinister Mind
Dawa of Yousafzai

Band members
Clarissa Badini – vocals
Kurtis Layne – guitars
Robin Mazen – bass
Carolina Perez – drums

That circle pit madness initiated by Castrator kept moving frantically during the demented 30-minute onrush of Brutal Death Metal by Columbus, Ohio-based horde SANGUISUGABOGG (by the way, the band’s name is a combination of “sanguisuga”, which is Latin for “leech”, and “bog”, a British English slang for “toilet”), demanding a high level of stamina and fitness form everyone who dared to brave the floor section. Playing songs mostly from their latest album Homicidal Ecstasy, such as Black Market Vasectomy and Face Ripped Off, plus the closer Dead as Shit, from their 2021 debut Tortured Whole (all available on Spotify), the band that has one of the most unreadable logos ever and that’s spearheaded by this massive dude named Devin Swank kicked some serious ass on stage, demanding the crowd to keep moving inside the circle pit like crazy, even throwing a football to the fans for some sort of twisted football or even rugby madness. Kudos also to drummer Cody Davidson, who kept hammering our heads with his infernal beats just the way we like it in Brutal Death Metal, and next time the band comes to Toronto I’ll make sure I’m there for some quality slamming.

Setlist
Black Market Vasectomy
Face Ripped Off
Pissed
A Lesson in Savagery
Permanently Fucked
Mortal Admonishment
Dead as Shit

Band members
Devin Swank – vocals
Ced Davis – guitars
Drew Arnold – guitars
Cody Davidson – drums

I don’t think there’s anything I can say about Death Metal institution IMMOLATION at this point that hasn’t been said before. After seeing them quite a few times already, I’m always impressed with the heaviness, the charisma, the vibe and the dexterity those New York death metallers bring to the stage, putting their hearts and souls into each of their shows. Ross Dolan and his henchmen were on fire as usual throughout their entire set, making The Opera House tremble with their thunderous Death Metal for the delight of all concert goers. Furthermore, I have to say Robert Vigna might be one of the most underrated guitarists in heavy music, as not only he’s amazing in the studio, but when he’s on stage his axe sounds even more menacing, piercing and striking, adding an extra touch of heaviness to the band’s performance. As mentioned in other reviews of their previous live concerts, the new songs form Acts of God, those being The Age of No Light and An Act of God, matched perfectly with their older material, proving once again the music by one of the torchbearers of Old School Death Metal is simply timeless. In a nutshell, it was a fulminating headbanging party not recommended for the lighthearted, and I’m sure we’ll see those guys back in Toronto sooner than we can say “Death Metal”.

Setlist
And the Flames Wept
All That Awaits Us
The Age of No Light
Dawn of Possession
Once Ordained
When the Jackals Come
Christ’s Cage
Abandoned
An Act of God
Higher Coward
Epiphany

Band members
Ross Dolan – vocals, bass
Robert Vigna – guitars
Alex Bouks – guitars
Steve Shalaty – drums

CATTLE DECAPITATION

It was close to 10pm when the main attraction of the night, San Diego, California’s own Progressive Death Metal/Grindcore titans CATTLE DECAPITATION, took the stage of The Opera House by storm with one of the most infuriated and captivating concerts they’ve ever done in Toronto, and the fact they were the headliners this time helped boost their energy and impact considerably. One of the best details of their setlist was that they played several songs form their masterpiece Terrasite, by far one of the best albums of 2023, including the infernal songs Terrasitic Adaptation, We Eat Our Young, Scourge of the Offspring, The Storm Upstairs, Solastalgia, and A Photic Doom, and the reaction form each fan at the venue to those new tunes was superb.

The entire band was on total freakin’ sync during their demonic set, but let’s say that two guys ended up stealing the spotlight, drummer David McGraw and obviously their iconic frontman Travis Ryan. David sounded infuriated behind his drums, and you know that when the band’s drummer is insane, the mosh pits also are, enhancing the speed, the fury and the madness going on inside such. Not only that, as the concert was on a Saturday I guess all kids inside the circle pit didn’t have to worry about school or work the next day, and they went mental to the point it was impossible to keep up with their pace. The other name of the night was as mentioned Travis, one of the best, most charismatic frontmen in the history of extreme music, who not only was insane as usual with both his deep guttural and his trademark goblin screeches, but he was also having a lot of fun with the crowd, even using a Dr. Seuss Cat in the Hat top hat (and yes, someone brought it to the concert for a reason beyond my understanding) to wipe up his ass while the audience was laughing a lot of the scene. In other words, Travis is awesome, period.

Most of us were curious to know why there was a disco ball hanging from the ceiling during the band’s performance, and fortunately I have a secret source who explained to me the reason for that. During their sound check, one of the band’s guitarists was checking his sound by playing a slow song (we believe it was “Endless Love”, originally recorded as a duet by Lionel Richie and Diana Ross in 1981), and when the lighting tech turned the disco ball on, Travis saw that and said they had to use it during their set. Well, I personally think that was an AWESOME idea, making their Toronto gig truly unique, with the light coming form the disco ball matching perfectly with their savage music. Everyone loved it, and the city is more than ready for another round of the caustic music by Cattle Decapitation anytime they want to return to the city, if possible with the disco ball back, of course. And lastly, I just want to say one thing about the band’s merch. One of the stickers sold at their merch stand had their classic phrase “We’re All Gonna Die. Have a Nice Day.”, and let’s say that’s exactly how we should face our lives, having a great time at metal concerts with our friends and family like this Saturday at The Opera Hose until our inevitable end. Thank you, Cattle Decapitation. You guys are the best!

Setlist
Terrasitic Adaptation
We Eat Our Young
Scourge of the Offspring
Dead Set on Suicide
The Storm Upstairs
Bring Back the Plague
Finish Them
Solastalgia
A Photic Doom
Vulturous
Time’s Cruel Curtain
Pacific Grim

Encore:
Kingdom of Tyrants

Band members
Travis Ryan – vocals
Josh Elmore – lead guitars
Belisario Dimuzio – rhythm guitars
Olivier Pinard – bass
David McGraw – drums

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Album Review – Ringworm / Seeing Through Fire (2023)

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Cleveland’s own Hardcore, Death and Thrash Metal masters are ready to kill armed with their ninth studio album, pushing the band up into the frontrunners of modern metallic talent.

Ever since emerging from the Cleveland underground, the unrelenting American Death/Thrash Metal/Hardcore horde Ringworm has garnered the immediate attention of all types of heavy music fans, always displaying endless ferocity and, consequently, always fascinating metalheads with their unorthodox melodies for over 30 years. Now in 2023 the band formed of James ‘Human Furnace’ Bulloch on vocals, Matt Sorg and Mike Lare on the guitars, and Ed Stephens on bass has just unleashed their ninth studio album, titled Seeing Through Fire, the follow-up to their 2019 installment Death Becomes My Voice. Recorded, mixed and mastered by Noah Buchanan at Mercinary Studios, Seeing Through Fire showcases the abundant complexities in the music by Ringworm and pushes the band up into the frontrunners of modern metallic talent, being highly recommended for fans of Integrity, Earth Crisis, Converge and American Nightmare, among others.

The title-track Seeing Through Fire is utterly harsh and infuriated from the very first second, with James’ vocals exhaling despair and aggressiveness amidst a hurricane of Thrash Metal and Hardcore crafted by his bandmates, resulting in the perfect way to start such sick album. There’s no time to breathe as their feast of pulverizing sounds goes on in Carved in Stone, where the guitars by Matt and Mike will penetrate deep inside your skin and burn your muscle tissue mercilessly in the name of the darkest form of Hardcore you can think of. Then let’s all slam into the circle pit together with ringworm to the sound of the high-octane No Solace, No Quarter, No Mercy, a lecture in modern-day Thrash Metal with Hardcore elements spearheaded by the brutal vocals by James, followed by Death Hoax, sounding like some of the most insane creations by Slayer from their Divine Intervention and Undisputed Attitude albums, with the song’s fierce blast beats matching perfectly with the rabid roars by James. And the band continues their path of destruction in Thought Crimes, another frantic, sharp and caustic tune showcasing more of the scorching riffs by Matt and Mike.

The second half of the album begins in full force with Unavoidable Truth, bringing to our avid ears more of the band’s infernal fusion of Thrash Metal and Hardcore while Ed keeps hammering his bass nonstop, bringing an extra touch of groove and heaviness to the music; and if you think those American metallers would slow down anytime, you’re absolutely wrong, as they keep speeding things up and inviting us into the pit in House of Flies, with James growling rabidly supported by the wicked riffs and solos by the band’s guitar duo. You Want It To is another feast of Death and Thrash Metal infused with Hardcore nuances where Ed’s bass sounds thunderous, not to mention the song’s demented drums; and let’s keep banging our heads in the name of evil in Mental Decontrol, with James bursting his lungs screaming while Matt, Mike and Ed are ruthless armed with their axes. There’s no mercy for our souls in the demonic Power and Blood, an incendiary lecture in Thrash Metal and Hardcore by Ringworm that will smash you like an insect, with James once again stealing the spotlight with his sick, visceral growls; whereas closing Seeing Through Fire we have the outro Playing God, which is not bad but another ferocious tune would have added more taste to the album.

“We wanted to go with a slightly different approach and look than the previous records, it’s a new era for us,” explained James. “It’s a little bit of a return to our roots, you have those moments every so often where you wanna get back to your comfort zone, but at the same time you want to expand that comfort zone. On the production side, we definitely wanted something that was raw, more in your face, and way more sonically abrasive than the last several albums. Vocally it’s the same approach on every record, my voice is just a hammer, and every song looks like a nail to me.” Hence, if you want to experience all that raw, massive violence blasted by Ringworm in Seeing Through Fire, you can stream the album in full on YouTube and on Spotify, and of course grab a copy of it by clicking HERE or HERE. Don’t forget to also follow the band on Facebook and on Instagram, and to subscribe to their YouTube channel for more of their insane music. As aforementioned, Seeing Through fire is at the same time modern and old school, showing how the band knows what they do, staying loyal to their foundations without forgetting to always move forward in their career, and to always invite us for some action inside the circle pit.

Best moments of the album: No Solace, No Quarter, No Mercy, House of Flies and Power and Blood.

Worst moments of the album: Playing God.

Released in 2023 Nuclear Blast

Track listing
1. Seeing Through Fire 3:17
2. Carved in Stone 2:49
3. No Solace, No Quarter, No Mercy 3:09
4. Death Hoax 2:51
5. Thought Crimes 2:53
6. Unavoidable Truth 2:41
7. House of Flies 2:56
8. You Want It To 2:02
9. Mental Decontrol 2:29
10. Power and Blood 2:39
11. Playing God 3:09

Band members
James ‘Human Furnace’ Bulloch – vocals
Matt Sorg – guitar
Mike Lare – guitar
Ed Stephens – bass

Guest musician
Daniel Mongrain – guitar solo on “Death Hoax”

Concert Review – Dark Funeral (The Phoenix Concert Theatre, Toronto, ON, 05/27/2023)

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The Decibel Magazine Tour 2023 brought another night of blasphemy, rage and heaviness to Toronto, spearheaded by one of the pillars of Swedish Black Metal.

OPENING ACTS: Blackbraid, 200 Stab Wounds and Cattle Decapitation

If there’s one thing that the Toronto metal scene has specialized in, that’s undoubtedly mosh pits, and it doesn’t matter which concert we’re talking about. Add to that the perfect weather on Saturday and four insanely heavy bands, and there you have the perfect recipe for nonstop action on the floor section. The venue chosen for such metallic celebration was The Phoenix Concert Theatre, and the bands featured in that night of rage and blasphemy were BLACKBRAID, 200 STAB WOUNDS, CATTLE DECAPITATION and DARK FUNERAL, as part of The Decibel Magazine Tour 2023. My only complaint was that the line to get in was ridiculous, and between the doors opening at 6pm and the first band starting at 7pm, there wasn’t much time to do anything like buying merch, having a beer, or simply getting into the venue. I myself just got in at 6:55pm, and I was there as soon as the clock hit 6pm.

Fortunately, I just made it for the openers, Adirondack Mountains, New York-based Atmospheric Black Metal horde BLACKBRAID, and I must say I’m beyond happy to have arrived in time for such intense and unique performance. The solo project of vocalist and multi-instrumentalist Sgah’gahsowáh (pronounced “SKA-Gah-SoW-Ah”, a Mohawk name meaning “the witch hawk”), supported by touring musicians Y. E. and an unknown musician on the guitars, another unknown guy on bass, and Johnny Violence on drums, the band simply nailed it with their fusion of Atmospheric Black Metal with elements of traditional indigenous music, such as the Native American flute, generating a mesmerizing and ominous atmosphere that captivated everyone already at the venue. They might have played only four songs from both their 2022 debut Blackbraid I and their upcoming sophomore album Blackbraid II (to be released in the beginning of July), but as they’re all long songs let’s say the fans had plenty of time to enjoy their unique music, and of course, ignite some decent mosh pits. If you’re curious to know more about their music, you can find their creations on BandCamp and on Spotify, and I really hope Sgah’gahsowáh and his henchmen return to Toronto sooner than later because they’re awesome.

Setlist
The Spirit Returns
The River of Time Flows Through Me
Moss Covered Bones on the Altar of the Moon
Barefoot Ghost Dance on Blood Soaked Soil

Band members
Sgah’gahsowáh – vocals
Y. E. – guitars
Unknown – guitars
Unknown – bass
Johnny Violence – drums

After a really short break (and I think maybe there shouldn’t be so many bands on the lineup so fans can at least try to buy some merch and go for a bathroom stop without missing any of the action on stage), it was time for Cleveland, Ohio-based Death Metal marauders 200 STAB WOUNDS to give their Torontonian fans all the fuel they needed to slam into some sick mosh pits like true headbanging bastards, delivering a pulverizing concert that left everyone at the venue absolutely on fire. Playing songs form all of their albums, with a bigger focus on their 2021 album Slave to the Scalpel plus the two songs form their brand new EP Masters of Morbidity, the band spearheaded by vocalist and guitarist Steve Buhl was ruthless from start to finish, praising their Torontonian fans for always showing everything they got inside the circle pits, and saying that Toronto is one of their favorite places to play. I guess you know why, right? And if you’re also a lover of some good old mosh pits, you can enjoy the music by this fantastic band on BandCamp and on Spotify.

Setlist
Phallic Filth (Intro)
Fatal Reality
Skin Milk
Tow Rope Around the Throat
Drilling Your Head
Itty Bitty Pieces
Masters of Morbidity
Phallic Filth
Release the Stench
Stifling Stew
She Was Already Dead

Band members
Steve Buhl – vocals, guitars
Raymond Macdonald – guitars
Ezra Cook – bass
Owen Pooley – drums 

As the temperature kept rising inside The Phoenix Concert Theatre, American Progressive Death Metal/Grindcore masters CATTLE DECAPITATION hit the stage with another pulverizing performance, proving why they’re one of the most admired bands of the genre worldwide. I strongly believe Travis Ryan, Josh Elmore, Belisario Dimuzio, Olivier Pinard and David McGraw love Toronto as much as the Torontonian metalheads love them, because the synergy was incredible, and the mosh pits even more. Blending classics with new songs from their 2023 masterpiece Terrasite (to be reviewed soon here at The Headbanging Moose), those being the fantastic We Eat Our Young, Scourge of the Offspring and A Photic Doom, the band fired a flawless concert overflowing heaviness, dexterity and feeling, putting a smile on the faces of everyone at the venue, including the band. I don’t think Travis was expecting such powerful reception from their fans in the city, but let’s be honest, when the music is great like what Cattle Decapitation have to offer us, of course the concerts will be incendiary! I can’t even describe how insane the mosh pits were throughout their entire set, to a point the entire floor section became one massive, unstoppable circle pit. It was superb, to say the least! Thank you, Cattle Decapitation!

Setlist
Intro (Jurassic Park theme)
The Carbon Stampede
We Eat Our Young
Scourge of the Offspring
Bring Back the Plague
The Great Dying, Pt. 1
Finish Them
Lifestalker
A Photic Doom
Kingdom of Tyrants

Band members
Travis Ryan – vocals
Josh Elmore – lead guitars
Belisario Dimuzio – rhythm guitars
Olivier Pinard – bass
David McGraw – drums

DARK FUNERAL

The night was getting darker and the temperature inside the venue even higher, setting the stage for another sulfurous performance by the one and only Swedish Black Metal institution DARK FUNERAL to conclude the night on a high and devilish note. It was great to see them as the headliners this time, instead of “just” an opener as it happened last year when they played alongside Cannibal Corpse, and based on the reception of the fans this Saturday we’ll surely see Dark Funeral headlining more impious nights in the city in a not-so-distant future.

Still promoting their amazing 2022 album We Are The Apocalypse, the horde formed of Heljarmadr on vocals, Lord Ahriman and Chaq Mol on the guitars, Adra Melek on bass and Jalomaah on drums was demonic from the very first notes of Nosferatu until the climatic Where Shadows Forever Reign, proving why they’re one of the pillars of Swedish Black Metal. I have to admit if there was a little less smoke the fans would have been able to see the band better on stage, but of course I’m pretty sure that was part of their plan, to look and sound as dark and evil as possible, and with the iconic Heljarmadr as their frontman the whole stage smoke and lightning made total sense.

Their setlist was an ode to blasphemy, including precious gems the likes of Vobiscum Satanas, My Funeral and Nail Them to the Cross, with Heljarmadr demanding a huge HAIL SATAN! from the crowd while the mosh pits kept moving like the fires of the pits of the underworld. The setlist could have been slightly longer, though, but nothing that could harm such beautiful performance by Dark Funeral. And if you think slow songs are not Black Metal, simply witness Dark Funeral playing When I’m Gone and Let the Devil In live, and you’ll feel absolute darkness taking over your damned soul. Thanks a million to Noel Peters of Inertia Entertainment and to Metal Blade Records for bringing such venomous tour to Toronto, and thanks also to metal photographer Kim Baarda for letting us use her fantastic photos (as my buddy Keith could not make it to the concert this time). May Dark Funeral return to the city soon for another impressive concert and, of course, HAIL SATAN!

Setlist
Nosferatu
Hail Murder
My Funeral
In the Sign of the Horns
Vobiscum Satanas
Goddess of Sodomy
The Secrets of the Black Arts
When I’m Gone
Unchain My Soul
Temple of Ahriman
Nail Them to the Cross
Let the Devil In
Where Shadows Forever Reign

Band members
Heljarmadr – vocals
Lord Ahriman – guitars
Chaq Mol – guitars
Adra Melek – bass
Jalomaah – drums

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Album Review – Emerald Rage / High King (2021)

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Raise your horns to this triumphant and epic album of pure Heavy Metal crafted by three young American musicians, paying homage to the glorious medieval times, King Arthur and tales of pagan folklore.

After four intense years releasing a bunch of demos, EP’s and singles, Akron, Ohio-based Heavy/Power Metal unity Emerald Rage has finally unleashed upon humanity their debut full-length album, entitled High King, a fun and admirable sonic rollercoaster as the band successfully explores the melodic sense of the NWOBHM and all the explosive leads that come with the baggage, being highly recommended for admirers of the music by Skyclad, Falconer, Iron Maiden, and so on. Paying homage to the glorious medieval times, King Arthur and tales of pagan folklore, the album sounds and feels absolutely triumphant and epic, showcasing all the talent and passion for old school metal music by Jacob Wherley on vocals and guitars, Patrick Kern also on the guitars, and Erik Curry on bass, supported by session drummer David Hardesty.

Frantic riffs and beats ignite the metal extravaganza titled Into the Sky, a beautiful and electrifying tribute to the golden years of Heavy Metal with Jacob kicking ass on vocals accompanied by the galloping bass by Erik. In Wrathful Eyes the rumbling bass by Erik offers exactly what Jacob needs to declaim the song’s wicked lyrics (“You think the morning fog hides all the lies you’ve told / But I see through the dismal gloom straight to your blackened soul / Your forces they stand line by line grumbling to themselves / They know their leader is a thief, a craven and a fool”) in another high-octane display of classic metal music, whereas a more epic, thunderous vibe permeates the air in High King, spearheaded by the tribal beats by David while Jacob and Patrick extract sheer electricity from their guitars in the best Manowar style. Then telling a story of a pagan warrior, the band blasts the traditional Heavy and Power Metal tune Heart of a Pagan, showcasing an excellent guitar attack together with the unstoppable bass jabs by Erik.

In Dire Wolves the band delivers a solid hybrid of classic Heavy Metal with 80’s Hard Rock that reminds me of some of the most thrilling creations by Axel Rudi Pell, with their striking guitar riffs and solos penetrating deep inside your mind; and adding elements from Thrash Metal to their core sonority, Erik and David bring the groove to the music in White Stag while Jacob and Patrick keep slashing their stringed axes with tons of feeling and dexterity. Then inspired by the badass Rock N’ Roll by the unparalleled Motörhead, those young metallers will put you to bang your head and slam into the pit in Empress, with even Jacob’s voice displaying hints of the grumpy vocals by Lemmy, followed by Goddess Freya, which albeit not as exciting as the rest of the album still has its good moments, with Jacob doing another great job on vocals supported by his bandmates’ backing vocals. Last but not least, Emerald Rage bring forth the rumbling tune Wings of Solitude, sounding very stylish with its strident riffs in paradox with the low-tuned, metallic bass by Erik, also full of breaks, variations and endless stamina for our total delight.

You can join Emerald Rage in their metal voyage through the glory of the medieval times by streaming High King in its entirety on YouTube and on Spotify, by following the band on Facebook and on Instagram for news, tour dates and other nice-to-know details, and above all that, by grabbing your copy of their thrilling debut installment from their own BandCamp page, from the Stormspell Records’ Big Cartel, from Apple Music, from Amazon or from Discogs. Now that those young rockers have finally released their first full-length album, let’s wait and see what’s next in their career and to what period in time they’ll take us with their refined Heavy Metal, sounding like true veterans and, consequently, keeping the fires of old school heavy music burning bright wherever they go.

Best moments of the album: Into the Sky, Dire Wolves and Empress.

Worst moments of the album: Goddess Freya.

Released in 2021 Stormspell Records

Track listing
1. Into the Sky 5:30
2. Wrathful Eyes 4:26
3. High King 5:37
4. Heart of a Pagan 3:25
5. Dire Wolves 3:29
6. White Stag 3:54
7. Empress 3:21
8. Goddess Freya 3:56
9. Wings of Solitude 5:35

Band members
Jacob Wherley – lead vocals, guitars
Patrick Kern – guitar, backing vocals
Erik Curry – bass, backing vocals

Guest musician
David Hardesty – drums (session)

https://youtu.be/PzNhztwsqow

Album Review – Nunslaughter / Red is the Color of Ripping Death (2021)

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Cleveland, Ohio’s own infernal squad returns with another bestial display of their trademark “Devil Metal”, their first album in seven years.

3.5rating

nunslaughter-red-is-the-color-of-ripping-death-2021Cleveland’s own infernal squad Nunslaughter requires no introduction. Since their inception in the distant year of 1987, those Ohio natives have prolifically perfected their own brand of what they like to label as “Devil Metal”, an evil blend of classic Death and Thrash Metal with Hardcore Punk, and now in 2021, at long last, the band is back in action with Red is the Color of Ripping Death, their first album in seven years. Recorded, mixed and mastered by Noah Buchanan, the album is a lesson in savagery, speed and sulfur by vocalist Don of the Dead, guitarist Tormentor, bassist Detonate and drummer Wrath, proving Nunslaughter are far from calling it quits even after so many years on the road. Furthermore, many are still mourning the loss of legendary drummer Jim Sadist (RIP), and while Red is the Color of Ripping Death is their first full-length without him playing on it, some of the 14 songs contained herein are unfinished or unrealized music that Jim and founding frontman Don of the Dead wrote years ago, giving the whole album an even more special feel and taste.

Wrath begins hammering his drums manically in the opening tune Murmur, a lecture in fast and heavy Death and Thrash Metal by the band to properly kick things off, not to mention how vile Don’s growls sound, whereas in Broken and Alone they speed up their pace and add a good amount of Hardcore and Punk Rock to their core sonority, with Tormentor treating us with his incendiary, slashing riffage. Then it’s time for a darker and more venomous tune by the quartet named To a Whore, once again inviting us all to slam into the pit to the Stygian riffs and bass jabs by Tormentor and Detonate, respectively; followed by Banished, not as infuriated as its predecessors but still showcasing the band’s trademark heaviness and spearheaded by the deep roars by Don, and the title-track Red Is the Color of Ripping Death, a hurricane of Death and Thrash Metal tailored for admirers of that beautiful sound from the Bay Area, with Wrath once again hammering his drums nonstop. Tormentor continues to extract sheer violence from his guitar in Eat Your Heart, while Don vociferates rabidly amidst a very melodic but at the same time brutal sonority, and in Annihilate the Kingdom of God the unrelenting Don beautifully declaims the song’s austere words while his bandmates keep delivering endless aggression, with Detonate and Wrath sounding bestial with their evil kitchen.

Living up to the legacy of old school thrash the likes of Slayer and Overkill, the quartet fires the absolutely infernal Beware of God, with Don leading his demented horde with his sick growling and screams, whereas another round of deranged roars, classic blast beats and flammable riffs comes in the form of Black Cat Hanging, keeping the album at a high level of animosity for our total delight. And are you ready to be smashed like an insect? Because that’s what will happen to you in Dead in Ten, spearheaded by the fulminating drums by Wrath and the wicked riffage by Tormentor in a superb display of extreme music by Nunslaughter. Then let’s all “calm down” a bit and enjoy a headbanging extravaganza entitled The Devil Will Not Stray, where the band adds hints of Black and Doom Metal to make things even more devilish, while they get back to a more ferocious sonority in The Temptress, with Wrath kicking ass on drums once again supported by the metallic bass jabs by Detonate. Casket Lid Creaks is another slower-than-usual song that albeit displaying the band’s heaviness and obscurity, it doesn’t really take off. Detonate still showcases a great job with his low-tuned bass, though. Lastly, less than one minute is everything the band needs to crush anyone that’s still alive in Below the Cloven Hoof, putting a beyond demonic ending to such awesome album.

nunslaughter-2021In case you want to join Nunslaughter in their quest for metal, depravity and evil, you can start following the band on Facebook and on Instagram for news, tour dates and other nice-to-know details about them, stream more of their savage creations on Spotify, and above all that, purchase the awesome Red Is the Color of Ripping Death from their own BandCamp page or from the Hells Headbangers Records’ webstore in CD or cassette format. As Jim Sadist would say, “red is the color of ripping death,” and I’m sure he’s truly proud of his bandmates for their new album. Long live Jim Sadist, and long live Nunslaughter.

Best moments of the album: Broken and Alone, Red Is the Color of Ripping Death, Beware of God and Dead in Ten.

Worst moments of the album: Banished and Casket Lid Creaks.

Released in 2021 Hells Headbangers Records

Track listing 
1. Murmur 1:33
2. Broken and Alone 1:50
3. To a Whore 2:34
4. Banished 2:48
5. Red Is the Color of Ripping Death 3:34
6. Eat Your Heart 2:41
7. Annihilate the Kingdom of God 2:48
8. Beware of God 1:49
9. Black Cat Hanging 2:13
10. Dead in Ten 3:39
11. The Devil Will Not Stray 2:51
12. The Temptress 2:01
13. Casket Lid Creaks 3:04
14. Below the Cloven Hoof 0:52

Band members
Don of the Dead – vocals
Tormentor – guitars
Detonate – bass
Wrath – drums

Album Review – Coldfells / Coldfells (2017)

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Feel the beauty and desolation of the Appalachian landscapes through the Blackened Doom by a talented American power trio with their debut album, a perfect soundtrack to journeys outside frozen windows and within frozen souls.

“Visions of deep desire lay dormant, broken into fragments by an icy stare from the haggard, furrowed brow of nature – its cruel intent, to taunt the soul with beauty always out of reach, that disappears like mist with time…”

Hailing from Martins Ferry, a city in Belmont County, Ohio, United States, on the Ohio River, the extremely talented American Blackened Doom power trio Coldfells has just unleashed their debut full-length self-titled album upon us, bringing the aura of the band’s Appalachian surroundings as the album’s core essence. According to Coldfells themselves, the sonic purpose of the album is “to see the winter Appalachian landscapes we grew up around, the dead trees, grey skies, run-down mill towns, but, besides everything being desolate, it’s still beautiful.” And the trio comprised of Aaron Carey on vocals and additional guitars, Jonny Doyle on guitars, and Andrew D’Cagna on bass, drums and backing vocals definitely succeeded in providing with the music found in Coldfells a perfect soundtrack to journeys outside frozen windows and within frozen souls in a winter night of introspection.

Creepy, obscure keys ignite a 10-minute darkened feast of Doom Metal named The Rope, spearheaded by the sharp, slow-paced drumming by Andrew while Aaron fires his raspy gnarls tailored for the music and atmosphere created. This song brings a beautiful and melancholic musicality with a precise balance between clean and harsh vocals, or in other words, a very detailed composition recommended for fans of dark and smooth music with a piercing sonority, with its last part flirting with traditional Black Metal. With a melancholic start just like the opening track, The Sea Inside explodes into gripping Melodic Black Metal with highlights to the deep growls by Aaron and the mesmerizing riffs by Jonny, sounding atmospheric and doomed at all times and, consequently, providing amazing Blackened Doom for admirers of the genre. In Time Shall Be Forgotten, the shortest of all songs, is devastating from the very first second, with Andrew demolishing his drum set while Jonny fires sheer darkness through his strings. In addition, the song contains elements from the music by Paradise Lost, My Dying Bride and other darkened bands, which ends up making it as menacing and lugubrious as hell.

All Night We Flew offers the listener sluggish and devilish Blackened Doom, with Aaron and Andrew adding tons of malignancy and darkness to the music with their anguished growls and steady, pounding beats. Once again, harsh and clean vocals complement each other in a fantastic manner, not to mention its magnificent main riff. Hence, while listening to this full-bodied hymn, simply bang your fuckin’ head nonstop until you feel that excruciating pain inside your head. And the last explosion of atmospheric Doom Metal by Coldfells, titled Eons Pass, sounds very stylish and harmonious, with the clean voice by Andrew bringing hope to our ears while Aaron reminds us all life is dark and dammed. Furthermore, the trio wants to drag us to a dark and cold side of life with the song’s mournful rhythm, and after a melancholic break the band returns in full force for one final breath of their Blackened Doom led by the blast beats by Andrew, until the song’s hellish conclusion.

In a nutshell, if what Coldfells wanted us all to feel while listening to their music was the beauty and desolation of the Appalachian landscapes, as aforementioned, they more than triumphed with each one of the five tracks of the album, which by the way can be enjoyed in its entirety on Spotify. And if you want to purchase Coldfells, the album is available at the band’s own BandCamp page, as well as on CD Baby and on Amazon. Actually, there’s a special edition of the album that’s already sold out at the Eihwaz Recordings’ webstore, which includes the two songs from their 2014 demo Black Breath as bonus tracks, but if I were you I would keep an eye on that just in case they print more copies of it.

Best moments of the album: The Rope and All Night We Flew.

Worst moments of the album: None.

Released in 2017 Bindrune Recordings/Eihwaz Recordings

Track listing
1. The Rope 10:26
2. The Sea Inside 8:18
3. In Time Shall Be Forgotten 5:36
4. All Night We Flew 8:28
5. Eons Pass 7:51

Eihwaz Recordings Black Breath Demo 2014 (Disc 2) bonus tracks
1. Dungeons Deep 8:32
2. On Carven Throne 8:17

Band members
Aaron Carey – vocals, additional guitars
Jonny Doyle – guitars
Andrew D’Cagna – bass, drums, backing vocals

https://youtu.be/3KMYLhv5Bvo

Album Review – Shed the Skin / Harrowing Faith (2016)

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Not only an amazing tribute to the life of American musician Tom Rojack (R.I.P.), but also a lesson in old school Death Metal by five skillful veterans.

Rating4

shed-the-skin-album-coverFormed in 2011 in the city of Cleveland, Ohio, in the United States by longtime friends Kyle Severn (drummer from Death Metal legends Incantation) and Matt Sorg (guitarist for Ringworm, Charred Walls of the Damned, Blood of Christ and Beyond Fear, among others) after playing together in a tribute to old school band Blood of Christ at a memorial show for their friend Tom Rojack, who passed away in 1997, Death Metal quintet Shed the Skin are unleashing upon the earth their highly anticipated debut full-length beast entitled Harrowing Faith, following their 2014 7” EP Rebirth Through Brimstone. More than just an album, Harrowing Faith is a statement that proves the fire of traditional and brutal Death Metal is far from being extinguished.

And let me tell you that the name of the band, inspired by the track also named “Shed the Skin” from Blood of Christ’s 1993 four-song promo cassette simply titled Promo ’93, perfectly illustrates what the music by this old school Satanic Death Metal horde will inflict in you. Featuring a gory artwork by James “Human Furnace” Bulloch (Ringworm), Harrowing Faith transpires violence and bloodshed, with each one of its 12 compositions offering the listener the talent and aggressiveness of the band’s five Death Metal veterans in a little less than 40 intense minutes.

The obscure and atmospheric intro Plasmic Flames can be considered the calm before the storm in Harrowing Faith, because when the metallic riffs by Matt ignite the mosh pit-generator Daimonic Adytum all hell breaks loose. Moreover, lead singer and guitarist Ash Thomas (FaithXtractor, Vladimirs, Acheron) vomits his deep guttural like a maniac beast, enhancing even more the impact of this excellent Death Metal devastation. Then we have the title-track Harrowing Faith, a brutal havoc played at full speed where Kyle is absolutely on fire, providing more fuel for Ash to thrive with his demonic gnarls. Albeit very technical, it’s still absolutely raw and dark just the way we love in Death Metal, especially the demented sound of guitars the likes of Cannibal Corpse.

shed-the-skin-bandBlackened bells tow in a sensational demonic intro for the next tune, Putrid and Pious, as fast and aggressive as the previous tunes. The growls by Ash get deeper and deeper, with the album’s outstanding production and hints of Doom Metal taking the song’s pugnacity to a whole new level. A somber ambience grows in obscurity in Unbound Revenant, once again venturing through the realms of Doom Metal, in special the slow and steady drumming by Kyle, being perfect for fans of extremely Stygian music. Right after that doomed exhibit, a sick guitar solo kicks off a two-minute feast of sheer Death Metal entitled Warband Under the Baphomet, with highlights to its amazing vibe, fierce beats and a superb job done by both guitarists Ash and Matt as well as bassist Ed Stephens (Ringworn, Vindicator, Charred Walls of the Damned) with their lacerating strings. And the band keeps the album at a very high level of quality with the deranged composition CSUM, where not only guitars and drums are in total sync, but the hints of progressiveness added amidst all savagery also increase the overall quality of such hostile chant.

In Alpha and Omega, guitar noises grow in intensity and are violently joined by all instruments, generating total madness in the form of high-end Death Metal for the delight of diehard fans of the genre; followed by Cambion, where Ash sounds like a demonic ogre on vocals. Furthermore, this song shows that Death Metal doesn’t need to be played at the speed of light to be awesome, being as heavy as hell due to its amazing riffs and bass lines. There’s still more destruction to come, starting with Inhuman Accretion, a solid composition with demented guitar solos and endless savagery where Kyle is a stone crusher on drums as usual. The last regular song of the album, named Innermost Sanctuary, is very melodic and keeps up with the rest of the album in heaviness, but sounding slightly generic compared to the other songs, with the piercing guitars by Ash and Matt being its best element, whereas the hellish outro Execration Divine, showcasing the Phantom of the Opera-inspired organ by Brian Boston and the demonic guitar lines by Ash and Matt, puts an end to this lesson in Death Metal.

If you’re not yet familiar with the works and projects by each of the five Death Metal war dogs behind Shed the Skin, I suggest you go check their Facebook page, and in case you want to purchase this scorching gem of extreme music called Harrowing Faith simply visit the band’s BandCamp page or the Hells Headbangers Records’ BandCamp page. Wherever Mr. Tom Rojack is, I’m certain he’s truly honored with the final result that Kyle, Matt & Co. achieved with Shed the Skin, a tribute to his life and to all things Death Metal.

Best moments of the album: Harrowing Faith, Putrid and Pious and Warband Under the Baphomet.

Worst moments of the album: Innermost Sanctuary.

Released in 2016 Hells Headbangers Records

Track listing
1. Plasmic Flames 2:06
2. Daimonic Adytum 1:55
3. Harrowing Faith 3:10
4. Putrid and Pious 3:39
5. Unbound Revenant 4:05
6. Warband Under the Baphomet 2:01
7. CSUM 3:28
8. Alpha and Omega 4:44
9. Cambion 4:21
10. Inhuman Accretion 2:42
11. Innermost Sanctuary 4:04
12. Execration Divine 2:38

Band members
Ash Thomas – vocals, guitars
Matt Sorg – guitars
Ed Stephens – bass
Brian Boston – keyboards
Kyle Severn – drums

Album Review – Winterhymn / Blood & Shadow (2016)

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If your fearless heart claims for top-notch Epic Folk Metal, you’ll definitely enjoy this excellent compilation of songs perfect for your mead-drinking and mud-fighting parties.

Rating4

Blood&Shadow_FrontAlthough I couldn’t see Pagan/Folk Metal squad Winterhymn kicking ass live during Paganfest America Part V here in Toronto in 2014 due to traffic issues (as you can read HERE), I went after their music to get to know more about this American sextet, and let me tell you I was impressed with the energy, passion and creativity flowing from their symphonic and progressive compositions. With that said, I guess I don’t need to mention how excited I got when I received their brand new album for review, the melodious Blood & Shadow, right?

Since their inception in 2009, these folk metallers from Cincinnati, Ohio have been bringing the epicness of Celtic and Scandinavian Folk sounds to the United States, starting with their 2011 debut album Songs for the Slain until this year’s Blood & Shadow, also sharing the stage with renowned names like Eluveitie, Turisas, Chthonic, Arkona and many others. Featuring a beautiful and sanguinary artwork by Irish artist Vasilis Zikos, reflecting a scene from Winterhymn’s personal mythos (which the album is entirely based upon), Blood & Shadow is the soundtrack for drinking lots of mead and getting in random fights in the mud around a bonfire, all embraced by the undeniable talent of four brave lads and two stunning maidens.

Blending elements from Folk and Black Metal with hints of Power Metal, the melodic battle chant Blood of the Moon kicks off the album on a high note by bringing forward a very epic rhythm with highlights to the mesmerizing sound by violinist Umbriel, followed by Dream of Might, which leans towards pure Folk Metal. Albeit slower than the opening track, it still offers a high dosage of epicness, with the vocals by lead singer and guitarist Draug being perfectly complemented by the pounding drums by Valthrun and the once again incredible violin sounds by Umbriel. And the outstanding Pagan Metal composition Blood Burner is one of those songs tailored for fans of vicious battle chants who love to slam into the circle pit with a pint of cold beer in hand, with Draug and Varrik providing some exciting riffs and solos while Valthrun doesn’t let the amazing energy in the music go down.

Less violent and with a more progressive flow (but still very impactful), Legacy in Flames offers lyrics about the everyday life of a warrior nicely declaimed by Draug and bassist Alvadar (“We hunt our prey / With our last breath / By the sanguine moon / Through realms of death / So curse our name / You’ll be slaughtered all the same / Your legacy in flames”), with its last part being highly recommended for prancing around a fire pit with a pint of mead; whereas The Summoning displays a higher focus on Death Metal guttural vocals while instrumental is purely Folk Metal, a good balance that works well for a while but that unfortunately falls flat close to the end of it. Seafarer, a “Middle Earth-inspired song”, is a semi-acoustic ballad where violin and acoustic guitars generate the perfect atmosphere for Draug and his clean vocals, a soulful break from the band’s traditional battle hymns before Silenced by the Northern Winds gets back to brutal folk music with Draug leading the band’s onrush with his imposing growls, boosted by an excellent guitar solo to properly conclude this thrilling tune.

zGroup (22)In Shadow We Ride, another classic Folk Metal tune by Winterhymn, offers the listener slower beats and a fighting vibe, with its second half getting slightly heavier and, consequently, adding some extra flavor to the overall result (especially the potent bass lines by Alvadar). And in Huntsman, a serene intro morphs into brutal Pagan Metal, with its lyrics being everything a fan of this type of music loves (“They marched across the Iron Jaw with sword and helm / Seeking fabled woodland doorways to the twilight realms / The proudest of their captains are now hunted like boars / Their banners lie in gory pools upon the forest floor”). Moreover, all instruments sound potent and sharp, accrediting it to be one of the best songs of the new album for their live performances.

The final triad of Folk Metal in Blood & Shadow begins with the electrifying The Wolf’s Head, where Death and Power Metal elements arise. The song’s riffs and solos, together with the precise drumming by Valthrun, set the music on fire, with both guttural and clean vocals and the background sonority crafted by Umbriel and Exura on violin and keyboards, respectively, being absolutely outstanding. Into the Depths shows the whole band still has enough fuel for more Epic Pagan Metal, which after a solid intro gets heavier than almost everything from the album, not to mention the heroic singing by Draug. And lastly, Umbriel dictates the rhythm through her fast and melodious violin in The Chosen End, where all band members unite to provide the listener a full-bodied composition overflowing courage, passion and pain, a climatic ending for such a professional album.

If your courageous heart claims for top-notch Epic Folk Metal, go check Winterhymn’s Facebook page, as well as their YouTube channel and ReverbNation page, and don’t forget to buy their new album at the SoundAge Productions’ webstore, at the band’s BandCamp page, on iTunes or on Amazon. As aforementioned, there’s no better way to get drunk with mead and engage into mud-fighting than to the sound of such an amazing band like Winterhymn.

Best moments of the album: Blood Burner, Silenced by the Northern Winds and The Wolf’s Head.

Worst moments of the album: The Summoning.

Released in 2016 SoundAge Productions

Track listing
1. Blood of the Moon 3:48
2. Dream of Might 3:59
3. Blood Burner 3:19
4. Legacy in Flames 4:51
5. The Summoning 4:12
6. Seafarer 3:20
7. Silenced by the Northern Winds 6:53
8. In Shadow We Ride 4:47
9. Huntsman 5:23
10. The Wolf’s Head 3:39
11. Into the Depths 6:25
12. The Chosen End 4:31

Band members
Draug – vocals, lead guitar
Varrik – guitar
Alvadar – bass, backing vocals
Exura – keyboards
Umbriel – violin
Valthrun – drums

Album Review – Verment / Death’s Domain EP (2016)

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These up-and-coming metallers from Cincinnati, Ohio will show you how Death Metal can easily embrace elements from all other genres and subgenres of heavy music without losing its essence, always remaining loyal to its violent and gruesome roots.

Rating5

Deathsdoamin COVER HiDischarging their fast and furious Death Metal directly from the city of Cincinnati, Ohio to the entire world since 2012, American metallers Verment are ready to attack once again with their brand new EP entitled Death’s Domain. If you’re a fan of bands like Morbid Angel, Deicide, The Black Dahlia Murder, Suffocation and Angelcorpse, let me tell you that you’ll definitely have a very good time during the 24 minutes of deep vociferations, crushing beats and blazing riffs found in this unrelenting 7-track album.

Although some of the band’s main influences are purely Death Metal, Verment do not stick only to that genre of heavy music in their compositions, blending elements from Thrash, Melodic Death and even Blackened Death Metal in their musicality, not to mention they also add a modern twist to their sounding in order to sound fresher and more impactful than other regular Death Metal bands. And if you’re good at “deciphering” what lead singer and bassist Eric Payne is vociferating throughout the entire EP, your experience listening to Verment will become even more interesting than expected.

And the band is not kidding when they say they’re not purely Death Metal, as the excellent opening track Casket Fever is actually a bit more Thrash than Death Metal per se. Moreover, the growling by Eric Payne is full of anger and perfectly represents the message in the lyrics (“Exhuming corpses in the darkness / Taking from the hand of death / All to please the inner demon / That is keeping me from rest”), with the clean and melodic solos by Dustin Stockhoff bringing a welcome harmony to the music. That blustering fusion of extreme music subgenres also work really well in Amon’s Wrath, where Black and Death Metal are put together in a neck-breaking tune made to listen at top volume, full of violent riffs by Nick Moeller while drummer Alex Hooper is as heavy and precise as he can be behind his drum set.

VermentWings of Bone, which is perhaps the most Death Metal song of all, offers the listener two and a half minutes of brutal and technical devastation flawlessly led by Nick and Alex, with both deep guttural and sharper demonic growls by Eric being spot-on; while Vile Incisions leans towards more traditional Death Metal, especially due to its technical riffs and solos. In addition, Eric’s screams match perfectly with all instrumental pieces, with the last part of the song being a demented feast of blast beats commonly found in old school Black Metal. And get ready for the insane circle pits that will be generated by Obsolescence Reality, which has that constant metallic rhythm we all love in Death Metal, but with the addition of some nice breaks to add more flavor to it.

Before the album is over, their Thrash Metal vein returns in Chemical Indoctrination, without of course being less Death Metal than expected. It’s a faster and more straightforward tune where both Dustin and Nick have amazing performances with their riffs and solos, providing Eric all he needs to fire his hostile screams. And lastly, Parade of Filth closes the album in a solid way showcasing putrid lyrics that are the nightmare of every soccer mom (“It’s quite a sight to behold / All walks of life convening / It makes me sick to see this rotten malánge / Flesh folding over, repulsive odor / I am no better but I certainly do not reek of shit”), while Alex displays all his darkest abilities during the song’s almost four minutes. In other words, this is basically the opposite of mainstream, which means diehard fans of old school Death Metal will love it.

Whether you’re a hardcore Death Metal fan looking for a new addition to your collection of aggressive hymns, or a not-so-delicate soccer mom who felt significantly insulted when I said the music by Verment might be one of your worst nightmares, go check their Facebook, SoundCloud and ReverbNation for more of their venomous music. Death’s Domain, which can be purchased at the band’s BandCamp page, will show you once again why Death Metal is, and will forever be, the only type of extreme music that can easily embrace elements from all other genres and subgenres of heavy music without losing its essence, always remaining loyal to its roots.

Best moments of the album: Casket Fever and Wings of Bone.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. Casket Fever 3:18
2. Amon’s Wrath 3:26
3. Wings of Bone 2:31
4. Vile Incisions 3:27
5. Obsolescence Reality 3:41
6. Chemical Indoctrination 3:30
7. Parade of Filth 3:47

Band members
Eric Payne – vocals, bass
Dustin Stockhoff – lead guitar
Nick Moeller – rhythm guitar
Alex Hooper – drums, backing vocals

Album Review – Novallo / Novallo II EP (2015)

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A wicked fusion of metal, rock, pop, electronic, jazz and tons of other contrasting genres, crafted by a talented and promising American band.

Rating4

cover artRanging from the delightful turmoil brought forth by Progressive Metal to the catchy tunes from modern Pop/Rock, the vibrant experimentations by American Alternative/Experimental Metal band Novallo will definitely hit you like a bullet train at full speed and put you to dance, bang your head or simply move your body in any unconventional way you might enjoy. And let me tell you that such a weird sounding ends up making the task of putting a label to Novallo extremely hard. I personally can’t say if they’re a pop version of Dream Theater or a heavier version of Justin Timberlake, if not both at the same time.

Founded in the city of Columbus, Ohio (the 15th largest city in the United States) in 2006, Novallo released their self-titled debut EP in 2012, earning them some considerable recognition and appreciation by a growing fan base, as well as a spot on the 2015 edition of the Rock on the Range festival (as the only unsigned band on the bill, by the way), playing on May 16 alongside renowned acts such as  Saxon, Ministry, Babymetal, Godsmack, In Flames and Judas Priest. Now, after beginning to solidify their path to stardom, they’re back with a brand new EP entitled Novallo II, another wicked fusion of unlike music genres crafted by these talented and professional musicians.

How crazy, electronic and innovative can an intro be? Take a listen at Wake and you’ll see, right before Betty Phage Goes to Bronxton offers you a  unique mix of Alternative and Progressive Metal with hints of Jazz and electronic music. Put differently, it’s a very fun tune that’s appealing and complex all at once, something not so common in music nowadays. Drummer Nick Salvatore kicks ass behind his drum set hands down, which is also the case in the even more electronic I AM, a well-crafted rock-ish version of dance music where it’s pretty easy to notice their influences from the King of Pop Michael Jackson.

novalloA lot heavier than all other tracks from the EP, Sideways Bird nicely blends elements from Groove Metal with Alternative Rock. Besides, I dare you to try to make any sense out of the song’s loco lyrics (“First ride hitched on a glitch – am I coming or going? / Insanity photographed consciousness flowing. / Discount tricks shaped like bits from the back corner store man. / Liquid crime – amplified to extract and delete even more.”). In contrast, Give Gravity a Choice is significantly smoother and more progressive, with its calm passages and stronger soundings creating together a relaxing environment enhanced by the solid vocals by Sam Gitiban, who provides the song all the necessary energy and balance.

Showcasing freakish electronic effects that sound like something you would find in a Mario Bros. videogame, White Phoenix keeps the madness rolling thanks to the sick riffs by Gino Bambino and the precise breaks by Nick Salvatore, not to mention the brilliant work done by Brandon Johnson with his metallic bass lines. And although the movie-ish outro Sleep might put an end to the album, we all know the band is just starting their promising journey through the world of eccentric music.

To sum up, what Novallo has to offer in Novallo II, available at their BandCamp page (or you can take a peek at what the band can do at their YouTube channel, if you prefer), is indeed unique, or maybe I should say substantially distinct when compared to almost any other band or artist you can think of. Their music will most probably suit you no matter if you’re one of those orthodox fans of Progressive Metal that looks down on anything that doesn’t contain a billion intricate notes and riffs, or if you don’t give a shit about complexity as long as you can feed your inner dancer with the music. In other words, whilst you have a craving for a special type of music, Novallo definitely have the righteous tunes to fulfill all your needs.

Best moments of the album: Betty Phage Goes to Bronxton and Sideways Bird.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1. Wake 0:29
2. Betty Phage Goes to Bronxton 3:07
3. I AM 3:35
4. Sideways Bird 3:35
5. Give Gravity a Choice 5:18
6. White Phoenix 4:21
7. Sleep 1:05

Band members
Sam Gitiban – vocals
Gino Bambino – guitar
Brandon Johnson – bass
Nick Salvatore – drums, percussion