Tag Archives: power metal

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2016

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“I don’t know where I’m going from here, but I promise it won’t be boring.” – David Bowie

The unexpected death of the most badass musician in history, Motörhead’s heart and soul Lemmy Kilmister, on December 28, 2015 was a harbinger of all the bad, shocking and revolting things that would turn the year of 2016 a true nightmare for mankind. That dark prophecy was confirmed less than two weeks later, more specifically on January 10 when we lost another true star in rock music to cancer, the unparalleled chameleon David Bowie, just two days after the release of his final masterpiece Blackstar. If that was not enough to make 2016 a miserable year, we also had to endure the passing of other icons who, despite not being metal, have always inspired countless bands and artists in heavy music. We lost Prince, Leonard Cohen and Keith Emerson (Emerson, Lake & Palmer), to name a few, all irreplaceable losses to music in general. In addition, important names in the history of Heavy Metal also left us in 2016, such as Nick Menza (Megadeth) and Jimmy Bain (Rainbow, Dio), not to mention the disbandment of amazing groups like Eths (who are by the way part of our top 10 this year), Crucified Barbara and Bolt Thrower. And I’m not even going to talk about all other types of disasters and tragedies that happened all over the world, as the list is too macabre and grievous to be remembered in full.

Fortunately, 2016 was considerably generous for us headbangers in terms of the quantity and quality of albums released throughout the entire year, especially for diehard fans of old school Thrash Metal. Except for Slayer and Exodus, all other prominent names in Thrash Metal blasted the world with their high-speed, thrilling music, led by another superb album by Testament. Even Metallica released a decent album this year, just to give you an idea of how fruitful 2016 was for this rebellious type of music. Having said that, it’s time for The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2016, excluding EP’s, best of’s and live albums. And even if 2017 is as hideous as 2016, let’s never forget the wise words by Bill S. Preston, Esquire and Ted “Theodore” Logan. Be excellent to each other, and party on, dudes!

testament_brotherhood-of-the-snake1. Testament – Brotherhood Of The Snake (REVIEW)
Join the Brotherhood of Thrash Metal spearheaded by one of the heaviest, most technical and most electrifying bands on the entire planet.
Best song of the album: The Number Game

cover2. Charred Walls Of The Damned – Creatures Watching Over the Dead (REVIEW)
A magnificent lecture in Heavy Metal by four electrified beasts.
Best song of the album: As I Catch My Breath

Cover3. Eths – Ankaa (REVIEW)
One of the most prominent and innovative French bands of all time returns with a true masterpiece of complexity, darkness and heaviness.
Best song of the album: Nefas

cover4. Primal Fear – Rulebreaker (REVIEW)
Who said rules must be broken for a metallic eagle to spread its wings and soar high in the skies of heavy music?
Best song of the album: Rulebreaker

megadeth_dystopia5. Megadeth – Dystopia (REVIEW)
And the dystopian world portrayed in the brand new album by the iconic Dave Mustaine and his Thrash Metal army is beyond awesome.
Best song of the album: Lying In State

abbathsoloface_6386. Abbath – Abbath (REVIEW)
The one and only Abbath takes a new step in his career with a brand new band an album.
Best song of the album: Fenrir Hunts

death angel_the evil divide7. Death Angel – The Evil Divide (REVIEW)
Fast and furious anthems, dark mid-tempo songs, austere lyrics and endless stamina. This is how Thrash Metal should always be done.
Best song of the album: Hell To Pay

anthrax_for all kings8. Anthrax – For All Kings (REVIEW)
A classy and electrifying Thrash Metal album especially crafted for all of us, the real kings of heavy music.
Best song of the album: Breathing Lightning

front9. Axel Rudi Pell – Game of Sins (REVIEW)
You might be a sinner, but don’t be a fool and go relish another magnificent album by Mr. Axel Rudi Pell and his loyal henchmen.
Best song of the album: Falling Star

nervosa-agony-201610. Nervosa – Agony (REVIEW)
Brazil’s meanest power trio returns with another marvelous blast of their kick-ass high-octane Thrash Metal.
Best song of the album: Theory of Conspiracy

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

11. Blaze Bayley – Infinite Entanglement (REVIEW)
12. The Silent Rage – The Deadliest Scourge (REVIEW)
13. Neverworld – Dremasnatcher (REVIEW)
14. Ancesttral – Web Of Lies (REVIEW)
15. Front – Iron Overkill (REVIEW)
16. Dö – Tuho (REVIEW)
17. Be Under Arms – Doomed To Life (REVIEW)
18. SystemHouse33 – Regression (REVIEW)
19. Gojira – Magma (REVIEW)
20. False Coda – Secrets and Sins (REVIEW)

As in Heavy Metal the artwork is just as important as the music itself, like what always happens with bands such as Iron Maiden, Megadeth, Metallica, KISS and tons of other metallic titans, we decided to list the Top 10 Cover Artworks of 2016. There are several reasons for an album art to be considered outstanding, such as its strong connection with the music like Iron Maiden’s Powerslave, its visual impact (usually associated with its controversial content) like Slayer’s God Hates Us All, or its perfect minimalism and finesse like Pink Floyd’s Dark Side Of The Moon. Do you agree with our list?

1. Anthrax – For All Kings [by Alex Ross]
2. Primeval Mass – To Empyrean Thrones [by Karmazid]
3. Witches Of Doom – Deadlights [by Carlo Muselli]
4. Ragehammer – The Hammer Doctrine [by Robert A. von Ritter]
5. Howls Of Ebb – Cursus Impasse: The Pendlomic Vows [by Agostino Arrivabene]
6. Testament – Brotherhood Of The Snake [by Eliran Kantor]
7. Henriette B – Tales of Reality (EP) [by Pierre-Alain D.]
8. Skáphe – Skáphe² [by H.V. Lyngdal]
9. Diabolizer – Apokalypse (MCD) [by Robert A. von Ritter]
10. Hostis – Hostis [by Zvonimir Grabić & Milena Nićić]

Rest assured in 2017 we at The Headbanging Moose will keep providing you the best of the underworld of Death, Thrash, Black, Symphonic, Epic, Power Metal and all other genres and subgenres of heavy music, as well as our view of the biggest names worldwide. There are already brand new albums confirmed for 2017 by Kreator, Sepultura, Grave Digger, Battle Beast and more, which means at least musically the new year promises to be really good. Thank you very much for your precious time, and keep on rockin’! Au revoir!

Metal Xmas and a Headbanging New Year! See you in 2017!

Well, before we go, here’s a special gift from Iron Maiden to all metalheads all over the world… A nice festive yule log fireplace to keep our hearts warm during the entire season!

Album Review – Rage / The Devil Strikes Again (2016)

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One of the biggest exponents of the German Power Metal scene strikes again with more of their enraged and metallic music.

Rating4

rage_the-devil-strikes-againFormed in 1984 by the iconic Peter “Peavy” Wagner, German Power Metal institution Rage are not even close to call it quits after over 30 years alive and kicking based on the energy flowing from their brand new album, titled The Devil Strikes Again, the 22nd studio installment in their monstrous career and another excellent sample of how exciting German Metal has always been despite all the changes in the world of music we’ve been witnessing. It might not be the best album of their career, but it still has that amazing vibe and punch that elevated Rage to the status of Power Metal icons in their homeland Germany as well as worldwide alongside bands such as Grave Digger, Running Wild and Blind Guardian.

The artwork by German artist Karim König is already a good indication of what you’ll find in The Devil Strikes Again: raw, honest and furious Rage-style Power Metal, with no shenanigans or any other “artificial ingredients”. In addition, although this is the first album to feature the power trio formed by Peavy on bass and vocals, Venezuelan musician Marcos Rodríguez on guitars (who by the way met Peavy on Rage’s 30th anniversary tour, when his own band Soundchaser were the support band for part of the tour) and Greek sledgehammer Vassilios “Lucky” Maniatopoulos on drums , that doesn’t mean their instruments are disconnected at all. Quite the contrary, spearheaded by Peavy, The Devil Strikes Again gives the sensation they’ve been together for decades due to its cohesiveness and overall quality.

Kicking off this heavy album we have the title-track The Devil Strikes Again,  an enraged storm of Power Metal made in Germany, fast and berserk just the way we love, where Lucky starts blasting his drums before Peavy comes firing his unmistakable raspy screams. Well, with that devilish name I couldn’t expect anything less badass than this. My Way is another classic Rage tune with the grim guitar riffs by Marcos giving a touch of modernity to it, boosted by its addictive chorus flawlessly sung by Peavy, who also rumbles his bass like no one else; whereas Back on Track sounds taken from an old Rage album, being recommended for admirers of  old school German Power Metal due to its very traditional fast-paced rhythm, not to mention its melodic vocal lines that prove Peavy is just getting better with age.

The Final Curtain is slightly generic compared to the previous tracks but still a good listen, with the metallic guitar sound by Marcos (including his nice solos) being the main ingredient of the song, followed by War, one of the most thrilling of all songs of the album. Overflowing Heavy Metal and adrenaline, this sensational tune presents a brutal intro followed by a sinister break, with Peavy grasping the song’s acid lyrics powerfully (“In the eyes of the big global players everything’s alright, / It’s their god-given right to abuse us, / So thank you and good night. / In the world’s biggest money machine / They’re delivering the fuel. / Let there be some collateral damage, / That’s their pervert rule, / Yes, that’s their perfect rule.”).

rage-2016In Ocean Full of Tears we’re treated to a thunderous hymn for hitting the road that epitomizes the contemporary sonority by Rage, with Peavy and Marcos delivering sheer metal through their strings, in special the soulful solos by Marcos. They don’t lose a single second and continue their Power Metal extravaganza in Deaf, Dumb and Blind, which follows a similar structure as the previous tune (meaning more high-end metal for us fans). Besides, if you’re a guitar player no matter your style, you’ll simply love the job done by Marcos on this song. And living up to the legacy of the sharper and more visceral German Metal created by Rage and their countrymen Grave Digger and Running Wild, Spirits of the Night brings forward cutting riffs and an old school chorus, with Peavy’s vocals being effectively supported by the song’s potent backing vocals.

The obscure Times of Darkness offers the listener tons of heaviness, but it gets a bit repetitive as time goes by, falling flat after a while even with the potent Doom Metal beats provided by Lucky. On the other hand, the almost 6-minute song The Dark Side of the Sun is by far the most progressive and complex of all tracks, with its blackened lyrics (“In my nightmares, when I die, / I just see my long forgotten, breaking eyes. / I’m afraid I lived a lie, / My life’s challenges, I never did reply. / All so many doors I haven’t tried, / All those wasted chances, ’cause I was afraid. / All the people that I never reached a hand, / ‘Til it was too late, I’m on my final stand.”) matching perfectly with the aggressive musicality crafted by Peavy and his crew. And in case you purchase the Digibook Edition of the album, you’ll get an awesome bonus CD containing three brand new B-sides and three fantastic covers for classics by Skid Row, Rush and Y&T, with Slave to the Grind being the most gripping of them. It might not be as perfect as their versions for “The Trooper” and “Jawbreaker”, but it’s truly electrifying, with Peavy’s vocals fitting the music perfectly.

In summary, the unstoppable Rage, one of the biggest exponents of the German Power Metal scene (although we can say that today they’re only one third German, right?), strike again with more of their infuriated metal for our total delight, pointing to a bright future with this new band lineup without a shadow of a doubt. You can enjoy The Devil Strikes Again even if you’re not a fan of traditional heavy music from Germany, which proves once again that bands like Rage and musicians like Peavy don’t just generate music, they go far beyond that threshold, breathing more adrenaline and power into our everyday lives. And that’s what real metal is all about.

Best moments of the album: The Devil Strikes Again, My Way, War and Slave to the Grind.

Worst moments of the album: The Final Curtain and Times of Darkness.

Released in 2016 Nuclear Blast

Track listing
1. The Devil Strikes Again 4:25
2. My Way 4:23
3. Back on Track 4:23
4. The Final Curtain 4:13
5. War 4:24
6. Ocean Full of Tears 4:04
7. Deaf, Dumb and Blind 4:18
8. Spirits of the Night 4:52
9. Times of Darkness 5:21
10. The Dark Side of the Sun 5:56

Digibook Edition bonus CD
11. Bring Me Down 5:01
12. Requiem 3:55
13. Into the Fire 5:25
14. Slave to the Grind (Skid Row cover) 3:24
15. Bravado (Rush cover) 4:36
16. Open Fire (Y&T cover) 4:38

Band members
Peter “Peavy” Wagner – vocals, bass
Marcos Rodríguez – guitars, additional vocals
Vassilios “Lucky” Maniatopoulos – drums, additional vocals

Album Review – Titanium / Atomic Number 22 (2016)

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This prosperous five-piece act from Poland brings to us all the strongest element in the world in the form of beautiful Melodic Power Metal.

Rating4

titanium_atomic-number-22In case you didn’t already know, titanium is a chemical element with symbol Ti and atomic number 22, recognized mainly for its high strength. However, since 2010 this metallic element has also been a very important part of the Polish Metal scene, being represented by the skillful Melodic Heavy/Power Metal squad Titanium who released this September their second full-length album, cleverly entitled Atomic Number 22. After listening to this high-end album, you’ll realize titanium is not only very strong, but also extremely melodious, invigorating and brisk.

Formed in late 2010 by Pathfinder guitarist Karol Mania in Ostrów Wielkopolski, a city located in central Poland, Titanium have been on a constant rise since their inception, having released an EP entitled We Come to Rock! in 2012 and their self-titled full-length album the following year.  Now in 2016, Atomic Number 22 not only cements Titanium as one of the most promising bands from Poland, but also sets a new era for the band with Ukrainian singer Konstantin Naumenko (from Kiev’s Power Metal band Sunrise) taking the microphone and elevating the strength and epicness of the band’s already powerful musicality.

You better be ready for the Heavy Metal battle ignited by the title-track, Atomic Number 22, with the flawless connection between guitars and keyboards reminding me of Scandinavian Metal bands such as Stratovarius and Battle Beast, not to mention its superb backing vocals supporting Konstantin in this upbeat hymn. In addition, I have to admit I honestly can’t think of lyrics that sound more metal than this (“Atomic number 22 the father and the thunder / We’re coming right for you / Atomic number 22 no compromise just metal / Titanium comes for you”). And there’s no time to breathe as Titanium keep firing pure Melodic Power Metal for us in World of Contradictions, where drummer Filip Gruca dictates the rhythm with his fast beats and fills while the band’s guitar duo comprised of Karol Mania and Jaroslav Bona delivers those traditional riffs and solos we all love in Power Metal. Slower but more melodic and thrilling, Torn Reality brings forward heavy guitar riffs inspired by Hard Rock from the 80’s mixed with contemporary Melodic Metal, with another spot-on performance by Konstantin and an interesting ending with smooth piano notes and a melancholic vibe.

Defusive Skies is pure Stratovarius and Sonata Arctica, overflowing harmony and being probably one of Filip’s favorite songs due to its speed, with Karol and Jaroslav sounding simply amazing with their intricate solos; followed by Time Is Out, where we’re treated to a feast of sheer Melodic Metal. Once again, Konstantin keeps amusing us with his potent high-pitched vocals while Karol and Jaroslav set fire to the music through their unstoppable guitars. One Single Night, another track highly inspired by Melodic Metal from Finland, showcases a pleasant melody with the heavier punch of Power Metal enhancing its electricity, whereas the headbanging tune Guardians of Might, featuring  guest singer Piet Sielck (kicking some serious ass as he always does with his marvelous band Iron Savior), is a very traditional composition that couldn’t sound more metallic, in special due to its inspiring chorus (“In our realm We are one / Like the blazing stars will shine forever / We’re the saviors, guardians of might / We deny the fate”).

titanium-2016Future of Mankind, the longest of all tracks, is a Melodic Power Metal extravaganza with a cheerful vibe and a great balance between the main vocals by Konstantin and all backing vocals. Moreover, the musicality never slows down, keeping the level of energy always at its peak in this lesson in melodious music for fans of the genre. The last song of the regular version of Atomic Number 22, titled The Way of the White Flag, is another explosion of Melodic Metal thanks to its fast-paced drumming and truly harmonious vocal lines. Furthermore, bassist Szymon Szydłowski delivers some rumbling uppercuts while both guitarists are absolutely on fire with their fantastic riffs and solos. In case you go for the Japanese edition of the album, you’ll be nicely rewarded with Titanium’s cover version for Eagleheart, one of the biggest classics by Melodic Metal heroes Stratovarius. Very different from the original version, the band managed to switch the original base of this metal hymn to their own musicality without losing the song’s uplifting essence.

Titanium are waiting for you at their Facebook page and YouTube channel, and you can put your hands on the strongest and most melodic element in the world of heavy music at Amazon (exclusively at their Japanese store) or also at Discogs. This beautiful display of Melodic Power Metal will enliven your toughest days without a shadow of a doubt, proving one more time the sensational effect high-quality heavy music always has on our hearts and souls.

Best moments of the album: Atomic Number 22, Torn Reality and Guardians of Might.

Worst moments of the album: None.

Released in 2016 Avalon/Marquee

Track listing
1. Atomic Number 22 5:50
2. World of Contradictions 4:45
3. Torn Reality 5:57
4. Defusive Skies 5:13
5. Time Is Out 4:00
6. One Single Night 5:37
7. Guardians of Might (feat. Piet Sielck) 4:50
8. Future of Mankind 8:52
9. The Way of the White Flag 4:01

Japanese Edition bonus track
10. Eagleheart (Stratovarius cover) 5:30

Band members
Konstantin Naumenko – vocals
Karol Mania – guitars
Jaroslav Bona – guitars
Szymon Szydłowski – bass
Filip Gruca – drums

Guest musician
Piet Sielck – additional vocals on “Guardians of Might”

Album Review – Malacoda / Ritualis Aeterna EP (2016)

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The fallen angel of Symphonic and Horror Metal returns with six dark, romantic compositions that will beautifully captivate your metallic mind and heart.

Rating4

final-ritualis-aeternaThe city of Oakville, a small suburban town located in Southern Ontario, Canada, might be the headquarters of The Headbanging Moose, but it’s far from being considered a metal city, and that has always bothered me a bit. Fortunately, for the total delectation of all metalheads in Oakville, things are starting to get more metallic in this peaceful and charming city thanks to the awe-inspiring fusion of Power, Symphonic and Horror Metal crafted by Malacoda, a very talented band that will truly impress fans of renowned acts like Kamelot, King Diamond and Dimmu Borgir. Taking their name from a demon from the Inferno of Dante’s Divine Comedy, Malacoda’s dark and romantic vision of the world will certainly captivate you through the epic musicality found in their brand new EP, titled Ritualis Aeterna, a fantastic follow-up to their self-titled debut album from 2014.

Lead singer and multi-instrumentalist Lucas Di Mascio, the mastermind behind Malacoda who studied Literature and Religion at university, explains the band’s concept. “Malacoda was the name of a very minor character in the book, a fallen angel who flies around with a small army of demons torturing helpless souls in Hell. From a literary perspective, I found it interesting that he wasn’t merely an evil creature being tortured for his sins, but was given free reign to do what he pleases and takes it upon himself to torture other wicked souls in the spiritual prison that is Dante’s Inferno. I wanted a powerful name that fit not only the sound of the band but also the lyrical themes I touch upon. I wanted something dark, but not something that would be blatantly devilish sounding. The name translates roughly in Italian to ‘Cruel Tail’ and most people don’t see it and think “this band is named after a demon” and see it as something more romantic sounding.”

malacoda-pressphoto-credit-garykuiperwebA theatrical intro sustained by a background choir warms up the listener for a Mercyful Fate-like aria named Penny Dreadful, inspired by the since canceled Showtime TV show by the same name, with the keyboards by Jonah Weingarten being a blend of Symphonic Metal with the ominous sounds of Dimmu Borgir, while the King Diamond-ish vocals by Lucas maintain an interesting level of mystery during the whole song. In the excellent I Got A Letter, ominous piano notes beautifully grow into a blend of passion and anger, especially in the vocals by Lucas alternating between clean, melancholic lines and harsh growls. This is a wonderful display of Gothic and Horror Metal that will enchant the minds of fans of dark music for sure, with the final guitar solo by Brad Casarin being absolutely perfect for the music and concept proposed.

You’ll have a very good time experiencing tons of epicness and mystery in the Symphonic Metal composition Pandemonium, where Jonah continues to impress with his somber keyboards while drummer Mike Harshaw is precise with his potent beats. The Wild Hunt is even more symphonic and theatrical than all previous tunes, with Jonah and Mike providing all the support for Lucas to once again fire his demented vocals inspired by Danish legend Kim Bendix Petersen (and I bet you know who this guys is), followed by Linger Here, a gentle piano ballad full of melancholy and agony. Focusing on the combination of the piano sounds with the emotional vocals by Lucas, this tune proves this talented band can also generate high-end love songs, expanding their musical range considerably. However, all that calmness doesn’t last long, as epic and somber elements are back in the modern There Will Always Be One, a contrast to the tenderness of the previous track, with its powerful backing vocals and the solo by Brad elevating its overall potency.

This dark theatre of heavy music can be better appreciated by visiting Malacoda’s Facebook page or YouTube channel, with Ritualis Aeterna being on sale at their BandCamp page or at their official webstore. The six dark and romantic songs in Ritualis Aeterna, thoroughly crafted by the fallen angel of Symphonic and Horror Metal called Malscoda, will undoubtedly enthrall you from start to finish, definitely putting our glorious city of Oakville on the map of Canadian Metal once and for all.

Best moments of the album: Penny Dreadful and I Got A Letter.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. Penny Dreadful 5:34
2. I Got A Letter 4:37
3. Pandemonium 3:39
4. The Wild Hunt 4:20
5. Linger Here 2:23
6. There Will Always Be One 3:47

Band members
Lucas Di Mascio – vocals, bass, rhythm guitar
Brad Casarin – lead guitar
Jonah Weingarten – keyboards
Mike Harshaw – drums

Guest musicians
Jessy Oppenheimer – guitar solo on “Penny Dreadful”
Joe Waller – guitar solo on “Penny Dreadful”

Live musician
Cooper Seldon – bass

Album Review – False Coda / Secrets and Sins (2016)

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A lesson in progressiveness and feeling by a five-piece Greek band that brings forth a classy fusion of different musical styles, highly recommended for fans of top-of-the-line Heavy Metal.

Rating4

album-coverI think I’ve never faced a boring band from Greece to review here at The Headbanging Moose, and Greek Progressive Metal act False Coda is no exception to that. Formed in 2009 in Athens by brothers Andreas Milios (drums) and Vasilis “Bill” Milios (guitars), this five-piece band brings forth a marvelous fusion of genres and subgenres of heavy music, including Progressive Rock, Heavy Metal, Power Metal and Doom Metal, among many others, as well as other styles such as classical music, never getting tiresome or repetitive even playing songs that go on for over eight or nine minutes. Quite the opposite, it looks like the longer their compositions are, the more exciting they get.

However, it was only in 2014, after considerable lineup changes, that False Coda were able to release their debut album, entitled Closer to the Edge, which received excellent reviews from magazines and webzines from around the globe. And that positive feedback fueled those Greek metallers with confidence for more, culminating with the release this year of their brand new album Secrets and Sins, a lesson in progressiveness and feeling featuring Stefanos Zafeiropoulos as their new lead singer, a classy artwork by French artist Nihil, world-famous guitarist Jeff Loomis (Arch Enemy, Nevermore) with a special solo for one of the album songs, and of course an infinite amount of first-class heavy music.

An exotic and pleasant intro with elements from the East ignite the excellent Throne Of Blood, an upbeat heavy music composition with cutting guitar lines and a high dosage of complexity the likes of Dream Theater, with the keyboards by Lefteris Kapetanios sounding sharp and exciting throughout the whole song (and as you’ll see, throughout the whole album as well). Moral Compass brings forward more intricacy and metallic sounds to us fans of Progressive Metal, where Bill showcases all his abilities with his stringed weapon while the vocals by Stefanos remind me of both Matt Barlow and Stu Block (Iced Earth), adding an extra touch of violence to the overall result; whereas in New Paradigm a gentle intro flows into pure progressiveness, morphing into a song that could easily be played on any rock n’ roll station with highlights to the spot-on performances by Stefanos on vocals and Nick Pogkas with his groovy bass lines.

false-codaThe title-track Secrets and Sins couldn’t be more imposing and symphonic, a feast of tempo changes, beautiful solos and tons of heaviness flowing from all instruments, sounding as if Dream Theater merged with Iced Earth in the most effective way. Needless to say, it’s one of the best songs of the album, highly recommended for some good headbanging. Flickering Lights, despite having an amazing intro and some interesting moments (in special the solid riffs by Bill), is not as captivating as the rest of the album, sounding a bit generic compared to the other songs. And Monolith, perhaps the darkest of all songs, is also one of the most thrilling, with its dense ambience and the theatrical vocals by Stefanos, together with the powerful Doom Metal-ish beats by Andreas and the sensational solo by guest guitarist Jeff Loomis, making listening to it simply mandatory to any fan of modern and organic Heavy Metal.

The multilayered Moment, with its rumbling bass lines and eerie atmosphere, is the longest of all tracks and, thanks to that, it’s also the song where the band had the highest amount of freedom to showcase all their creativity and passion for heavy music, with highlights to the final guitar solo by Bill, while The Truth Lies, a passionate power ballad by these talented Greek metallers, presents another sensational job done by the guitar/keyboard duo comprised of Bill and Lefteris, enhancing the song’s appeal. Furthermore, I simply love the smooth break with the piano notes, bringing a good balance to the heaviness of the rest of the song. And lastly, California is a very innovative way to finish such powerful album, a beautiful ballad with elements from Blues added to the musicality, tailored for listening to it together with your significant other as he or she will surely enjoy the moment a lot.

You can get more details on False Coda through their Facebook page, YouTube channel and SoundCloud, with the sophisticated Secrets and Sins being available at their BandCamp page, on iTunes or on Amazon. As aforementioned, several distinct Greek bands from different genres and styles have already been reviewed by The Headbanging Moose, and none of those were even close to being boring. Now we can definitely add False Coda to this select Hellenic team, hoping that their music can travel the seven seas and reach the ears of headbangers avid for high-quality Heavy Metal all over the world for many years to come.

Best moments of the album: Secrets and Sins, Monolith and The Truth Lies.

Worst moments of the album: Flickering Lights.

Released in 2016 Freia Music

Track listing
1. Throne Of Blood 6:06
2. Moral Compass 6:11
3. New Paradigm 5:37
4. Secrets and Sins 8:25
5. Flickering Lights 4:09
6. Monolith (feat. Jeff Loomis) 5:29
7. Moment 9:20
8. The Truth Lies 6:03
9. California 3:36

Band members
Stefanos Zafeiropoulos – vocals
Vasilis “Bill” Milios – guitars
Nick Pogkas – bass
Lefteris Kapetanios – keyboards
Andreas Milios – drums

Guest musician
Jeff Loomis – guitar solo on “Monolith”

Album Review – Majesty Of Revival / Dualism (2016)

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One of the most important bands from the contemporary Ukrainian Metal scene returns with a full-bodied album that will definitely put you to dance, love, drink a beer and bang your head, if not all at the same time.

Rating4

full var 5If there’s one very special band that proudly raises the flag of Ukrainian Metal as high as the sun, always delivering amazing music to our ears with a high level of professionalism, commitment and dexterity, it’s Symphonic/Progressive Power Metal Majesty Of Revival, and in case you know nothing about them, I highly recommend you go after all their discography as it’s definitely worth a shot. And if you need more than just these few words to convince you of how good this band is, simply take a listen at their brand new album, entitled Dualism, and you’ll certainly get hooked on their melodious and electrifying music.

Formed in the fall of 2009 by lead singer and guitarist Dimitriy Pavlovskiy in Uzghorod, a city located in western Ukraine, at the border with Slovakia and near the border with Hungary, Majesty Of Revival have already built a respectable career not only in their home country but also in important markets such as Japan, despite all the lineup changes since their inception. After releasing their debut EP Meaning of Life (2011), the full-length albums Through Reality (2012) and Iron Gods (2012) and another EP named Netherworld (2014), the band took a break from the outside world to focus on the studio work to give birth to Dualism, experimenting with different sounds and styles in order to provide their fans a unique experience in heavy music.

An avalanche of groove and heaviness will hit you from the very first thunderous notes by bassist Tom Penzel in the opening track, titled Deadlock, where it’s interesting to note how Dimitriy can easily go from deep harsh growls to very melodic vocal lines, not to mention how progressive guitars and drums sound, helping to keep this 6-minute composition exciting in its entirety. More metallic and aggressive in spite of the smooth keyboards by Vladimir Yakubovskiy, Awaken brings forward a good balance between guttural vocals and piercing riffs with serene and progressive passages, an amazing tune that will certainly pump up the fans when played live; followed by the sensational and classy Van Halen-inspired Hard Rock chant Alive, with highlights to the precise drumming by Vasiliy Irzhak and to its lyrics about our struggles in life (“All the changes occur when you least expect / And you never know who’s in charge / They come after you, if you fight, then you shoot / Or then you escape – take the last parachute”).

In Inner Dimension the band gets back to brutal and complex Power Metal, with the song’s background keyboards creating an amazing aura nicely complemented by the blazing riffs by Dimitriy, reminding me of old school Dream Theater (especially the guitar solos and all tempo changes). Then we have one of the heaviest of all tracks and consequently one of my favorites, the powerful Darkest, showcasing hints of Pantera in its riffs, an epic vibe led by the nonstop beats by Vasiliy, and lyrics as dark as the music demands (“Darkest fears disappearing with fading dreams / Full of griefs, thru the field of blackhearts / Forgotten truth has been replaced by lies / That destroyed belief for us all”); and Failure, where Rock N’ Roll and Heavy Metal are beautifully united once again. The bass guitar by Tom Penzel sounds like a hammer so heavy it is, adding tons of groove to the musicality and, therefore, turning it into a recommended choice for some good headbanging.

mor2016The intro for the power ballad Days seems slightly inspired by Metallica’s classic “One”, suddenly turning into contemporary and progressive Heavy Metal with the symphonic elements in the background increasing the song’s liveliness as well as its soulful guitar solos, whereas Wolfheart feels like listening to Sonata Arctica, including the song’s name and lyrics (“You have the wolfheart / You should free it once / Through the whole pain you have to believe / Release your hopes from the darkest fears / Don’t deny thy destiny / You are the knight of your own life / Cherish thy braveness, honor and love / With the obeisance you have to fight – sword in your hands, high above / You have the wolfheart”). It’s a good composition with beautiful guitar lines and solos, but too smooth at times compared to the overall potency of the album. Tongue gets back to a Symphonic Power Metal vibe with modern elements of Alternative Metal added to it, all without losing its core essence and boosted the the harsh vocals by Dimitriy. In addition, pay good attention to the interesting battle between Dimitriy and Vladimir with their guitar and keyboard solos. And presenting a sonority similar to classic bands like Stratovarius and Sonata Arctica, the very traditional tune Perfection offers nonstop drums and epic vocal lines that will surely accelerate the beat of your heart.

When the band slows down the crazy rhythm of ther music, we’re treated to a medieval power ballad named When the Night Embrace, with the passionate vocal performance by Dimitriy being flawlessly supported by the song’s inspiring atmosphere, becoming a perfect choice for singing along with the band during their live performances. The Hard Rock riffs by Dimitriy and the epic keyboards by Vladimir complement each other in the kick-ass metal tune Serenity, tailored for banging our heads nonstop while Vasiliy keeps hitting his drums as heavy as possible, not to mention the spot-on hints of Industrial Metal added to the vocal lines. As we get close to the end of Dualism, Majesty Of Revival fire the title-track Dualism, more progressive than most tracks of the album due to all its tempo changes and intricate beats and riffs. However, heaviness is still present in the musicality thanks to the deep growls by Dimitriy, feeling almost like a Metal Opera so imposing it is. And the Dream Theater-inspired ballad Same Blood closes the album on a high note, in special due to the superb keyboards by Vladimir and the song’s melancholic and gentle rhythm.

The progressive and symphonic universe crafted by Majesty Of Revival can be better appreciated through their Facebook, VKontakte and YouTube, and the excellency of Dualism can be purchased through their BandCamp page (where you will find some interesting options including bonus tracks and combos with T-shirts), as well as on iTunes and on Amazon. Featuring a modern and fresh artwork by Tomi Fanta, which was probably inspired by the duality found in poker cards, Dualism will instantly put you to dance, love, drink a beer and bang your head, if not all at the same time. In other words, everything we search for in high-quality Heavy Metal music.

Best moments of the album: Awaken, Alive, Darkest, When the Night Embrace and Serenity.

Worst moments of the album: Wolfheart.

Released in 2016 Massive Sound Recordings

Track listing  
1. Deadlock 6:56
2. Awaken 6:14
3. Alive 4:13
4. Inner Dimension 6:14
5. Darkest 4:04
6. Failure 4:33
7. Days 6:00
8. Wolfheart 4:37
9. Tongue 5:26
10. Perfection 3:26
11. When the Night Embrace 4:56
12. Serenity 4:53
13. Dualism 5:06
14. Same Blood 4:50

Band members
Dimitriy Pavlovskiy – vocals, guitars
Tom Penzel – bass
Vladimir Yakubovskiy – keyboards
Vasiliy Irzhak – drums

Guest musicians
Marat Adiev – keyboards
Nelly Hanael – backing vocals
Ivan Kraynyay – bass
David Sánchez – harp, strings

Album Review – Charred Walls Of The Damned / Creatures Watching Over the Dead (2016)

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A magnificent lecture in Heavy Metal by four high-skilled electrified beasts who need absolutely no introduction.

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coverSome people call American Heavy Metal band Charred Walls Of The Damned a “supergroup”, but in my opinion they’re a lot more than that. Formed in 2009 by the immensely talented drummer Richard Christy (Death, Control Denied, Iced Earth) after a five-year absence from the metal scene since leaving Iced Earth and joining The Howard Stern Show in 2004, and having the one and only Tim “Ripper” Owens (Judas Priest, Iced Earth, Beyond Fear, Winter’s Bane, Dio Disciples) on vocals, Jason Suecof (special guest musician and producer for Death Angel, Trivium, Kataklysm, Chimaira, DevilDriver and tons of other amazing bands) on guitar, and Steve Digiorgio (Testament, Control Denied, Death, Iced Earth, Sebastian Bach) on bass, Charred Walls Of The Damned go beyond the boundaries of almost all known “supergroups”, being an already established named in the world of heavy music and always delivering first-class material to metalheads all over the world.

If you have never heard their first two releases (their self-titled masterpiece Charred Walls of the Damned, from 2010, and Cold Winds on Timeless Days, from 2011), don’t waste any more time and go after them because those albums are definitely worth a shot, especially for fans of a high level intricacy together with sheer heaviness in music. And now, after almost five years waiting for more of the vigorous music by Charred Walls Of The Damned, Mr. Christy and his henchmen are finally back with another lecture in Heavy Metal entitled Creatures Watching Over the Dead, the third installment (all of them with beautiful names, by the way) by this band that’s a synonym to classy Heavy Metal and, unarguably, one of the best supergroups of all time, if not the best as they are for this guy that writes to you right now.

As soon as the serene intro in the opening track My Eyes explodes into pure Heavy Metal, Ripper’s voice starts penetrating deep inside your mind while the flawless beats by Richard crush your soul, proving how incredible this duo always sounds. We’re treated to the right amount of complexity and progressiveness in this outstanding composition, and don’t forget to check Richard’s drum demonstration for this song as it’s simply awesome. The Soulless, the first single of the album, has everything we love in traditional Heavy Metal. Fast and blazing guitars, a perfect drumming, rumbling bass lines and Ripper’s screams soaring as high as the sun make this demolishing fusion of Death, Thrash and modern Heavy Metal a newborn metallic classic, with its acid lyrics criticizing what’s happening with many of us in our modern but extremely toxic society (“I see you tripping into this electric world / As your brain melts into glass / Thoughts focusing upon a dark screen of deceit / A life that’s paid in full and wallowing in grief / Stepping through the mindless threshold / Now amongst the soulless”). Moreover, I have no words to say how good the guitar solo by Mr. Suecof is, it really gives me goosebumps every single time I listen to it.

It’s time to enjoy the acoustic lines by Jason and the smoother-than-usual vocals by Ripper before their demonic side arises in the dark power ballad Afterlife, presenting a dense musicality where the thunderous bass by Steve perfectly complements the crisp beats by Richard; followed by the best song of the album in my humble opinion, As I Catch My Breath. Gripping, groovy, atmospheric, powerful and inspiring are only a few adjectives we can use to describe it, with all four band members having outstanding performances showcasing all their skills in this classy hymn. Furthermore, it’s quite impossible not to sing the chorus along with Ripper and the guys, unless you’re absolutely not into metal music, of course. Slightly similar to the musicality from “Afterlife”, Lies brings forward a solid and potent sounding with hints of Power Metal, enhancing the epic vibe of the song. It’s another tune tailored for Ripper to shine with his enraged vocals, also presenting a soulful guitar solo by Jason that puts a beautiful end to such an awesome composition.

cwotd-2016Do you like what Ripper did with Judas Priest and Beyond Fear? If your answer is yes, Reach into the Light will put a humongous smile on your face. Its rhythmic drumming and cutting riffs provide Ripper exactly what he needs to fire his old school high-pitched screams, with all breaks and variations adding more flavor to this bestial composition by this incredible quartet. It truly amuses me how they can sound extremely aggressive and very harmonious at the same time, which is the case in another one of my favorites, Tear Me Down, displaying some electrifying vocals and guitar lines while Richard continues to impress on drums. Put differently, they get the best elements from their musical backgrounds and careers, and easily transform that interesting mixture into high-end metal music.

I personally recommend Living in the Shadow of Yesterday for your road trip playlist due to its pleasant rhythm, not to mention how good the crystal clear sound of drums is, as well as the song’s mighty bass lines. In addition, despite minimal, the song’s backing vocals end up working extremely well, and I guess I don’t need to say how tuneful all riffs and solos by Jason sound. Finally, the last sonic strike by Charred Walls Of The Damned, Time Has Passed, is a lesson in bass guitar by Steve. His instrument sounds insanely heavy, slapping the listener in the face pretty hard with each note played, which only gets better when accompanied by Richard’s groovy and furious beats and fills. When the song was over after my first listen to the album, it left me craving more Charred Walls Of The Damned. Well, it’s just a matter of going back to the beginning of the album and savor all songs again and again (something I’ve been doing nonstop since the album’s official launch).

Although there are no live dates scheduled yet for Charred Walls Of The Damned, I’m certain a tour to promote Creatures Watching Over the Dead will happen soon, and I truly hope they add a few Canadian dates to that. When that happens, you might notice Jason and Steve won’t probably join Richard and Ripper due to their other duties, but that’s not a big deal as the live musicians for the band include the also awesome Dennis Hayes (bass) and John Comprix (guitar) from Beyond Fear, as well as Matt Sorg (guitar) from Shed the Skin (check the review for their kick-ass debut album Harrowing Faith by clicking HERE). While we wait for a Creatures Watching Over the Dead tour, you can enjoy the entire album at the Howard Stern’s official website, and obviously purchase your favorite version of it at the Metal Blade Records’ website. More than just a metal album, Creatures Watching Over the Dead is a magnificent lecture in Heavy Metal by four high-skilled electrified musicians who need absolutely no introduction if you live and breathe heavy music.

Best moments of the album: The Soulless, As I Catch My Breath, Reach into the Light and Tear Me Down.

Worst moments of the album: None.

Released in 2016 Metal Blade Records

Track listing
1. My Eyes 4:30
2. The Soulless 4:03
3. Afterlife 2:53
4. As I Catch My Breath 5:03
5. Lies 3:31
6. Reach into the Light 2:39
7. Tear Me Down 3:50
8. Living in the Shadow of Yesterday 3:36
9. Time Has Passed 3:16

Band members
Tim “Ripper” Owens – vocals
Jason Suecof – guitar
Steve Digiorgio – bass
Richard Christy – drums

Metal Chick of the Month – Morgan Lacroix

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In your nightmares you will find me… In this twilight you will taste my embrace…

Whenever a female performer is selected to be the Metal Chick of the Month here at The Headbanging Moose, she’s not chosen only because of her skills as a musician, but mainly due to her significant contribution to the development of women in the world of heavy music. Having said that, it couldn’t be different this month with our metallic diva, the darkling Italian succubus Morgan Lacroix (or MorgaN LacroiX), the sexy frontwoman, lyricist, composer, producer and (why not?) lady vampire of Italian Gothic/Dark/Industrial Metal band Mandragora Scream (also spelled MandragorA ScreaM). Are you ready for a journey through the dark realms of vampirism with our enigmatic modern-day medusa?

It was more than obvious that I wouldn’t be able to find anything about Morgan’s age, place of birth or music background. We’re talking about a vampire, creatures that, above all things, must remain in the shadows and keep their lives as secret as possible. Well, as Mandragora Scream is a band from the comune of Lucca, located on the Serchio river in Italy’s Tuscany region and famous for its intact Renaissance-era city walls, let’s assume she was also born in that same city. Whatever she did between being born and founding Mandragora Scream is something yet to be revealed by Morgan Lacroix herself, which means the focus will be solely on her career with the band.

Although Mandragora Scream were formed back in 1997 by Morgan, it was only in 1999 that the band released its debut self-titled demo containing four songs. Then in 2000 Morgan was introduced to Italian singer, guitarist and composer Terry Horn, and that artistic union resulted in their first full-length album, entitled Fairy Tales from Hell’s Caves, released in the year of 2001. According to the band, “Fairy Tales is definitely a concept album: a trip throughout the Dantean Hell, tormented by passion, anguish and insanity, where the character of Virgil is surprisingly replaced by an unusual bewitching vampire fairy.”

After that amazing debut, the band released the albums A Whisper of Dew (2003), Madhouse (2006), Volturna (2009) and Luciferland (2012), as well as the singles Jeanne d’Arc (2007) and From the Heart (2010), and a DVD named Dragonfly (2008), always providing us the lustful voice of our diva of darkness and also her own devilish touch to all lyrics, cover artwork, mixing, mastering, production and booklets. In addition, from those releases, A Whisper of Dew is also a concept album, centered on a vampire story purposely written for the band by Julio Angel Olivares Merino, horror-gothic literature writer and teacher of English Philosophy at the Spanish University of Jaén. Drawing inspiration from this tale, Lacroix composed the entire album lyrics. Also, in regards to their latest album Luciferland, there’s an interesting and extensive three-part interview on YouTube where both Morgan and Terry discuss about the album with Metal Hammer, which can be seen HERE, HERE and HERE.

Mandragora Scream are also featured on the international compilations Beauty in the Darkness Vol. 5 (2001), Mystic Art (2001), Nuclear Blast Vol. 6 (2001), Off Road Tracks Vol. 45 (2003) and Beautiful Voices (2005), toured with renowned dark bands Christian Death and The 69 Eyes in 2010 and with British Extreme Metal masters Cradle of Filth in 2011, and were the special guests in the 2010 edition of the Fantasy Horror Award. There are numerous videos on YouTube (and other platforms) where you can relish Morgan’s alluring vocals, sensuous moves and bewitching performance, as for instance in the songs A Vision They Shared, Blight Thrills, Medusa, Blindness, Breaking Dawn, Silent Lullabies, Bloody Ballade, the whimsical The Chant of Furies, and her awesome cover version for Cher’s Bang Bang, among others. Besides her work with Mandragora Scream, you can find Madame Lacroix lending her voice to the bonus song Watch Me Crawl Behind, from the 2012 album Happy Deathday by Greek Gothic Metal band SadDolls, and to the song The Promise, from the 2004 album Follow Me by Italian Power Metal band Wonderland.

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When asked in 2001 to provide more details about the history of Mandragora Scream, her explanation was beyond eccentric. In her own words, “The history of the name Mandragora Scream goes back to the medieval period. At that time witches used a root to make love and death potions called ‘Mandragora’.This root with man-shape was generated by the ejaculations of a hanged man and it needed to be pulled out from the earth with particular magic rites during full moon nights. When extracting the root from earth, witches had to be very careful not to break the arms or legs of the root, otherwise it would have screamed so loud to bring witches to death.” Interesting, isn’t it?

In regards to her unique style, our vampire queen mentioned her lyrics and the atmosphere found in her music reflect her soul, her life and her personality, preserving that way her own musical identity. Furthermore, Morgan grew up with fairy tales, in which she truly believes, feeling and living her own life like a fairy tale. In one of her old interviews, Morgan mentioned she wrote a book (probably in 2000) that is a fairy tale for her angels in the form of decadent poetry called “The Ballad Of The Angels”, but yet again I couldn’t find anything online about that book. It should be a very interesting and unusual reading, if that has ever been published, of course.

Another remarkable fact about her personal life is that she doesn’t actually feel Italian as her ancient blood is Transylvanian, and because of that she is fascinated with Dante’s La Divina Comedia (The Divine Comedy), considering it a masterpiece (who doesn’t?) as it deals with the dead and eternal pain.  And to make things even more complex, Morgan also loves the Scandinavian culture and is attracted to Vikings. Add to that her lovely obsession for fairy tales, and there you have one of the most distinctive and diverse fusion of topics you can think of.

Her favorite albums of all time are a classy mix of progressiveness, passion and liveliness, and do not expect to find anything too Gothic, modern or ghoulish on her list, as it includes Blackmore’s Night’s best album to date Shadow of the Moon, Dream Theater’s classic album Metropolis, Pink Floyd’s masterpiece The Dark Side of the Moon, King Crimson’s In the Wake of Poseidon, Yes’ Close to the Edge and Genesis’ Nursery Crime. In addition to that, she’s also a huge admirer of Queensrÿche and obviously of the vocals by Geoff Tate, especially the song Someone Else?, which she used to listen to when she started singing.

At long last, are you curious to know what the meaning of life and death is to our goddess of Dark Metal? Morgan firmly believes in reincarnation, which means life for her is a long path we are following and while we walk along this path we have to learn lessons, sometimes highly spiritual lessons. She completes her train of thought by saying that we always have to give our souls a chance to fly a little higher, closer to the divine, and that we could probably say that death is a little like “changing skin”. In my opinion, this is a stunning concept by an even more stunning diva of heavy music.

Morgan Lacroix’s Official Facebook page
Morgan Lacroix’s Official Twitter
Mandragora Scream’s Official Facebook page
Mandragora Scream’s Official Twitter

“Try and wake up the valiant warrior sleeping within you, he may have fallen asleep in one of your previous lives. And, first and foremost, don’t let your flesh be just food for worms.  Let there be someone with your blood after you, in this way you’ll be able to prove you did not live in vain and your image will be reflected by your heirs as if in a mirror.” – Morgan Lacroix

Album Review – Thrawsunblat / Metachthonia (2016)

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Welcome to Metachthonia, the electric and modern world crafted by an amazing Folk and Melodic Black Metal band from Canada.

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CDI101_1P_insert.epsMetachthonia:
(meh-tah-KTHOH-nee-ah) n. [< A.Grk meta- ‘after’ + chthoni- (stem of chthon ‘earth’ + -ios adj. suffix) + -a;]
1. the epoch after the age of the earth; this current electric age.

Dear metalheads from all over the world, welcome to Metachthonia, the brand new concept album by Canadian Folk/Melodic Black Metal act Thrawsunblat. Metachthonia is ancient Greek for “the age after that of the Earth”, referring to today’s modern world where we find ourselves under fluorescent light more often than sunlight, and so yearn for the natural world. Firing a unique blend of Folk and Black Metal inspired by bands such as Amon Amarth, Borknagar and Ensiferum, being even labeled as “Folkened Black Metal”, this extremely talented band from the city of Fredericton, the capital of the province of New Brunswick, puts no limits to their creations, offering the listener an eccentric and fresh version of extreme music that will captivate you from start to finish.

Formed in 2009 by multi-instrumentalist Joel Violette (ex-guitarist for Woods of Ypres) as a side project together with David Gold, the lead singer and drummer for Woods of Ypres, and having released their debut album named Canada 2010 that same year, Thrawsunblat became Joel’s main band following David’s tragic death in December 2011 as a result of an automobile accident. In 2013, the band released their second album, entitled Thrawsunblat II: Wanderer on the Continent of Saplings, already featuring Brendan Hayter on bass and Rae Amitay on drums, as well as fiddler Jeff Mott (and obviously Joel), presenting a more complex side of their music. Now in Metachthonia (which by the way has each one of its songs divided in three parts as you can see HERE), not only Jeff and his fiddle were replaced by cellist Raphael Weinroth-Browne, but the band also decided to venture through darker paths, sounding more blackened than before and, therefore, more intense and thrilling.

The 11-minute hymn Fires That Light the Earth is a beautiful start to the album. Although the strong sound of the cello is very captivating, it’s when the music explodes into the “Folkened Black Metal” proposed by the band, with Rae setting fire to the music with his bestial beats while Joel is anger incarnate, that the journey truly takes off. In addition, the clean vocals add epicness to the musicality, with the guitar lines by Joel and the bass lines by Brendan creating an ocean of sounds and vibrations. When the smoother and more melodic She Who Names the Stars begins, Joel and his crew are waiting for the listener at Metachtonia with arms wide open (“All you, welcome to Metachthonia. / It’s like the rustle of leaf to ground against the industrial sound. / All you, welcome to Metachthonia. / It’s like the sun on your skin while the diodes draw you in.”), with the cello by Raphael providing a good balance with Rae’s furious drumming. The music flows flawlessly throughout the almost ten minutes of the song, arising all types of emotions until its harmonious ending.

thrawsunblat logoIn Dead of Winter, a short choir-like intro morphs into sheer madness, a Blackened Folk Metal feast where Joel and Rae steal the spotlight with their awesome harsh growls/clean vocals alternation and infernal beats, respectively. It’s interesting how they prepare the listener for the sudden eruptions of Extreme Metal, with acoustic folk sounds bursting into an avalanche of blackened music. Hypochthonic Remnants is more violent and visceral than all previous tracks, mainly due to the thunderous guitar lines by Joel, enhanced by the song’s endless progressiveness and the hints of traditional Heavy Metal and even Power Metal added to its main riff. Furthermore, its second part is a solid blend of the Folk Metal by Ensiferum with the darkened sonority of Borknagar and Old Man’s Child, which then flows into an melancholic acoustic ending.

Tribal drums ignite another obscure voyage of progressive folk music named Rivers of Underthought, the least violent of all songs where the unique sound of the cello by Raphael yet again adds a lot of beauty to the overall result. It’s a lot more inclined to the harmony of Folk and Pagan Metal than to the savagery of Extreme Metal, all embraced by a strong progressive ambience during the song’s almost nine minutes. And finally, In Mist We Walk kicks off in devastation mode, with the sound of the guitar by Joel together with the galloping bass lines by Brendan not leaving a single space empty in the music. Its second piece is pure high-octane Pagan Metal with atmospheric and acoustic passages, whereas its third part is made for enjoying the excellence of its lyrics (“I walk the banks of the stream of electric thought. / I cross to the warmth of where I once was. / I look down to see a sixfold flame in hand. / Sing me the dark songs of Chthonia. / Sing life immense in passion and pulse.”).

The fantastic concept of Metachthonia can be explored in more detail at the band’s official Facebook page, and if you want to provide your full support to such a distinct band you can purchase the album (which can be relished in its entirety HERE) at their BandCamp page. The electric and modern world of Metachthonia presented by Thrawsunblat might seem really dangerous at times, but we must admit it’s a lot easier to face any type of challenge or fear when the music behind it is as awesome as what’s found in this classy  and multilayered album.

Best moments of the album: Fires That Light the Earth and Dead of Winter.

Worst moments of the album: None.

Released in 2016 Ignifera Records/Broken Limbs

Track listing
1. Fires That Light the Earth 11:01
2. She Who Names the Stars 9:33
3. Dead of Winter 9:50
4. Hypochthonic Remnants 8:32
5. Rivers of Underthought 8:56
6. In Mist We Walk 11:56

Band members
Joel Violette – vocals, guitars
Brendan Hayter – bass
Raphael Weinroth-Browne – cello
Rae Amitay – drums, additional vocals on “Dead of Winter”

Album Review – Iron Savior / Titancraft (2016)

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One of the most underrated bands from the heavy music scene in Germany returns with another solid lesson in Power Metal, perfect for banging our heads nonstop and raising our fists in the air.

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CoverMeine Damen und Herren, it’s my pleasure to inform you German Power Metal warriors Iron Savior have just released a brand new album, entitled Titancraft, the ninth in their underrated career and another extremely well-crafted collection of old school Heavy Metal hymns. Spearheaded by the skillful Piet Sielck on vocals and guitar, Iron Savior have managed to maintain the same lineup from their 2011 album The Landing and their 2014 kick-ass album Rise of the Hero, and we all know how good and productive it is to music whenever a band doesn’t suffer too many changes in regards to its members.

Instead of changes in their lineup, Iron Savior invested into increasing the reach of their music by simply adding the abilities of several guest musicians to the album. In Titancraft, fans will be able to enjoy the contributions by guitarist Jan Bertram (Paragon), singer Frank Beck (Gamma Ray), keyboardist and pianist Daniel “Danny Danger” Galmarini (Mercury Falling), and Philippa “Pippa” Sielck  on backing vocals. Add to that the once again classic cover art by Colombian musician and illustrator Felipe Machado Franco, the same artist responsible for the artwork in The Landing and Rise of the Hero, and there you have an album that transpires Heavy Metal in all possible senses.

Rumbling bass lines, electronic effects and an eerie voice constitute the futuristic intro Under Siege, setting the tone for the title-track, Titancraft, an explosion of the purest form of Power Metal similar to what their countrymen from Gamma Ray usually do. I love when a band like Iron Savior can craft honest and exciting music even after so many years on the road, and although the vocals by Piet sound less aggressive than in their previous albums, that doesn’t mean they’re not awesome. After that solid start, we have the even more powerful Way of the Blade, a superb composition that lives up to the history of true Power Metal showcasing piercing guitar lines by Piet and Joachim “Piesel” Küstner and the thunderous bass by Jan-Sören Eckert, as well as Piet getting back to his beastly mode on vocals.

Seize the Day sounds happier than usual, which doesn’t mean the music is soft or bland despite being slightly below the rest of the album in terms of quality (let’s say that excessive happiness is also a bit tiring after a while); whereas Gunsmoke, with its lyrics inspired by the dangerous lives of gunmen in the Wild West (“And when all hope was gone / Judgement came to town / Seven guns / To shoot the outlaws down / Shoot ‘em down”), has that headbanging rhythm perfect for some air guitar. Furthermore, Thomas Nack is not only a fast drummer, but in this song he also shows his skills in a groovier form closer to classic Hard Rock. And in Beyond the Horizon, a classic Power Metal composition where backing vocals help Piet sound more powerful and epic, Danny Danger embellishes the musicality with his keyboard notes, working really well together with all guitar solos by Piet and Piesel.

BandThe fantastic The Sun Won’t Rise in Hell is an ode to Heavy and Power Metal, blending the best elements from Gamma Ray, Manowar, Judas Priest and so on, with Piet and his crew delivering a potent and metallic hymn where all guitar riffs and solos sound cutting, which is always a good thing in heavy music; and if you love high-octane Power Metal, Strike Down the Tyranny is perfect for you. It’s quite similar to many old classics by Iron Savior, with highlights to the always competent Thomas behind his drums.

Although the average Brother in Arms brings the adrenaline down a bit due to its not-so-exciting rhythm, despite its decent lyrics (“Alone on the journey / Like so often before / My circuits are gleaming / In overload / And now I’m coming ashore”) and good guitar solo, everything gets back on track in I Surrender, an outstanding power ballad where you’ll start singing its catchy lyrics instantly, all enhanced by a beautiful guitar solo and the passionate vocal performance by Piet, making the overall result even more touching. In other words, this is an amazing example of how a band can sound mighty even when not playing at full speed. Finally, if you were born to be rebellious, you’ll have a good time listening to the straightforward Power Metal tune Rebellious and its electrified guitar passages and classic beats.

In summary, Iron Savior never disappoint, always displaying their profound passion for Power Metal through their classic tunes, and it couldn’t be different in Titancraft. By the way, If you’re a diehard fan of the band, you certainly need to purchase the limited edition of the album, containing a stamped tinplate (20×30 cm) with cover artwork, an Iron Savior metalpin, a personal sketch and notes from Piet Sielck himself, a handsigned autograph card and a certificate of authenticity. As you already know, this is true Power Metal crafted by another brilliant band from Germany, a country that has metal music running through its veins, and that’s all we need to bang our heads and raise our fists with a huge smile on our faces.

Best moments of the album: Titancraft, Way of the Blade, The Sun Won’t Rise in Hell and I Surrender.

Worst moments of the album: Seize the Day and Brother in Arms.

Released in 2016 AFM Records

Track listing
1. Under Siege (Intro) 0:58
2. Titancraft 5:21
3. Way of the Blade 3:57
4. Seize the Day 4:57
5. Gunsmoke 5:07
6. Beyond the Horizon 5:58
7. The Sun Won’t Rise in Hell 5:02
8. Strike Down the Tyranny 5:10
9. Brother in Arms 5:23
11. I Surrender 4:04
12. Rebellious 4:49

Limited/Japanese Edition bonus tracks
10. R&R Addiction 5:10
13. Protector 2016 4:36

Japanese Edition bonus track
14. Assailant 2016 4:20

Band members
Piet Sielck – vocals, guitar
Joachim “Piesel” Küstner – guitar
Jan-Sören Eckert – bass guitar
Thomas Nack – drums

Guest musicians
Jan Bertram – lead guitars on “R&R Addiction”
Philippa “Pippa” Sielck – backing vocals
Frank Beck – backing vocals, additional lead vocals on “Assailant 2016”
Daniel “Danny Danger” Galmarini – keyboards on “Beyond The Horizon”, “I Surrender” and “Brother In Arms”, piano on “I Surrender”