Tag Archives: progressive death metal

Album Review – Unflesh / Savior (2018)

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A dark, aggressive and extremely technical opus of Blackened and Melodic Death Metal by a four-headed American beast, sounding as pulverizing as extreme music can be.

Forged in 2014 in the fires of Portsmouth, New Hampshire, in the United States as a solo project of vocalist and multi-instrumentalist Ryan Beevers (Solium Fatalis), who’s by the way a student at the highly prestigious Berklee College Of Music, but currently located in Boston, Massachusetts, Blackened Melodic Death Metal four-piece squad Unflesh has been on a roll since their inception, having already released an excellent EP in 2016 titled Transcendence to Eternal Obscurity (which featured the astounding German drummer Hannes Grossmann as a session musician), followed by their new and insanely heavy and entertaining album Savior. Featuring a beautiful and menacing artwork by Brazilian artist Junki Sakuraba, Savior will strongly appeal to fans of the unparalleled music by bands such as Dissection, Necrophagist, Emperor, Fleshgod Apocalypse and Dimmu Borgir, among others, placing the band comprised of the aforementioned Ryan Beevers on vocals and guitar,  Chris Gardino (Pathogenic, Wolfsmyth) on the guitar, Peter De Reyna (Seven Spires) on bass and Chris Dovas (Seven Spires) on drums as one of the most promising names of the current underground scene.

Ryan Beevers himself had a few words to say regarding Savior, giving more details on the direction he wanted to follow with his brainchild.  “I’ve always thought of the band as having a kind of mixed sound of 90’s black metal and more technical death metal bands. Since the band started I just called us “Extreme Metal” because it’s a broader label. I never thought the sound of the band would be described as just black metal or death metal. When the first EP “Transcendence to Eternal Obscurity” came out, most people seemed to identify the sound as technical death metal. This album is one more step forward in molding the sound of Unflesh, musically and lyrically the ‘Savior’ album is a lot darker and more aggressive than our previous EP,” said Ryan about his new opus, one that he definitely should be proud of, and one we should all thank him for providing to us, avid metalheads.

An eerie piano intro grows in intensity until progressiveness and sheer devastation invade our senses in the opening track Savior, thanks to the fulminating riffs by Ryan and Chris Gardino as well as the bestial drumming by Chris Dovas. In other words, it’s a dense and intricate depiction of modern-day Progressive and Melodic Death Metal, and a fantastic welcome card by the entire band. Following such breathtaking beginning we have Bestowal of Decay, bringing an avalanche of groove and complexity, being even more demonic than the opening tune with Ryan sounding hellish and demented on vocals, all complemented by some sick guitar solos and some ass-kicking, classic Death Metal lyrics (“The great fade of all life in the dawn / A blissful perception of the fathomless darkness obtained / Primeval scriptures deciphered before the mortal eyes / By forsaken powers of Unanimation / Unveiled”); and their destructive but very harmonious onrush of Black and Death Metal goes on in Final Writhe, an incendiary tune led by the mesmerizing riffs and solos by both Ryan and Chris Gardino, with Chris Dovas showing no mercy for his drum set while Peter brings density and darkness to the music with his unstoppable punches.

More rhythmic and presenting what’s perhaps the most intricate and thrilling beats of the entire album, always supported by Peter’s thunderous bass, Erosive Devotees presents an enraged Ryan growling and screaming nonstop, turning it into one of the top moments of the album, whereas in The Eradication Commenced the band fires more of their electrifying Blackened and Melodic Death Metal with no sign of slowing down at all. Quite the contrary, the band’s stringed trio is on fire from start to finish, slashing our ears beautifully while Chris Dovas adds hints of Doom and Black Metal to his beats and fills. And Caliginous is an even more progressive and melodic tune by Unflesh, with Ryan gnarling in perfect sync with the guitar lines and beats blasted by the rest of the band. Put differently, you can break your neck headbanging or simply close your eyes and enjoy the complex music waves of this multi-layered extravaganza. Either way, you’re going to have an awesome time.

Then a pulverizing display of dexterity and rage waits for us in Desecration of Light, a circle pit-catalyst with all ingredients we love in contemporary Extreme Metal where Chris Dovas will crush your skull with his demonic beats, while Ryan and Chris Gardino have an exciting guitar duel with their wicked riffs and solos, before a superb guitar solo introduces us to another scorching hot voyage through the realms of violence and progressiveness in Disintegration God, ending with another gorgeous guitar solo until everything fades into ethereal sounds, with its classic lyrics being the icing on the cake (“And the somber thrives as animation subsides / When all designed under a star descends into infinity / Predestined fall, all-encompassing fade of life / It corrodes away before the throne of Death / And into its sacred lore”).

In order to let Unflesh penetrate deep inside your mortal flesh with the top-tier metal music found in Savior, simply pay them a visit at their Facebook page and YouTube channel, and buy your copy of the album form their own BandCamp page or webstore, as well as from iTunes, Amazon and CD Baby. The monstrous beast known as Unflesh is more menacing, violent and cohesive than ever, and I’m sure not only the band’s talented originator is happy with the devastating potential of his infernal spawn, but also anyone else who loves the perfect fusion of aggressiveness, feeling and technique in extreme music.

Best moments of the album: Bestowal of Decay, Erosive Devotees and Desecration of Light.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Savior 5:04
2. Bestowal of Decay 5:23
3. Final Writhe 5:13
4. Erosive Devotees 5:22
5. The Eradication Commenced 5:13
6. Caliginous 5:17
7. Desecration of Light 4:26
8. Disintegration God 5:35

Band members
Ryan Beevers – vocals, guitars
Chris Gardino – guitars
Peter De Reyna – bass
Chris Dovas – drums

Guest musician
Anthony Lusk-Simone – additional orchestral elements

Album Review – Coiled Around Thy Spine / Shades (2018)

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An astonishing combination of brutal violence, shredding guitar solos, blasting drums and soaring vocals inspired by classic and melodic Death Metal.

If you consider yourself a diehard fan of modern-day Melodic Death Metal you have to take a very good and detailed listen at Shades, the debut album by Italian metallers Coiled Around Thy Spine. Formed in 2017 in the city of Turin by Italian guitarist Sergio Costa, when he met American drummer David Archie Weiss online, Coiled Around Thy Spine not only have their core essence deeply rooted in Melodic Death Metal, but it’s the classic Death Metal influences spiced up by symphonic elements that make their music so entertaining, electrifying and vibrant, with all songs in Shades being highly recommended for slamming into the pit, banging your head nonstop or simply enjoy their intricate and flammable waves.

After Sergio and David started working on the music together, they decided to expand beyond the initial instrumental idea, recruiting Italian vocalist Daniele Rosso to complete the band’s lineup.  Unfortunately, David decided to quit the band for personal reasons before the release of Shades, but that doesn’t mean Coiled Around Thy Spine will call it quits and cease their quest for top-tier metal music. Quite the contrary, featuring a simple but very effective artwork by TheSmashedRabbit, Shades is an astonishing combination of brutal violence, shredding guitar solos, blasting drums and soaring vocals, inspired by classic and melodic Death Metal as well as contemporary metal masterpieces alike, proving this up-and-coming metal unity is here to stay, and after listening to the album you’ll certainly be eager for more of their music.

A movie-inspired intro named Candles builds the ambiance for the hard-hitting tune [God Mode: On], blending the most visceral and modern elements from Melodic Death Metal and Blackened Death Metal, sounding absolutely pulverizing form start to finish with Daniele blasting devilish gnarls and growls while Sergio Costa shreds his guitar in a demonic way. Put differently, this can be called an evil and bastard hybrid of Behemoth and Dimmu Borgir. Then we have Dissected, where David sounds beyond brutal on drums, elevating the impact of this hellish tune considerably, also presenting hints of the music by Arch Enemy on vocals and guitars and flowing demonically until the end; followed by How Freedom Dies, another crushing spawn by the power trio where the strident and sharp sound of guitars is simply outstanding, bringing a high dosage of malignancy to the music. Moreover, its background keyboards add a touch of delicacy to the ambience, bringing more balance to this well-crafted, full-bodied chant. And their Arch Enemy-like vein arises once again in the title-track Shades, a darker and more melodic metal extravaganza than its predecessors, with the only issue being that the music never reaches the same speed as the rest of the album (its level of heaviness and aggression is still quite gargantuan, though).

Their intricate and berserk feast of sounds and tones goes on in Subhumanized, led by the lancinating riffs and solos by Sergio while David keeps smashing his drums, sounding modern and vile from start to finish, whereas in The Sick Game, their most demonic song of all, guitars and keys complement each other flawlessly, supported by the pulverizing drumming by David. Furthermore, the song also displays interesting nuances of Progressive Death and Black Metal, resulting in a lesson in extreme music by the Italian trio where Daniele bursts his lungs screaming like a demon. The second to last spawn of dark sounds by Coiled Around Thy Spine, titled In Vain, showcases more of their high-octane, flammable music tailored for banging your head frantically, with all three members sounding demented with their instruments (in special David and his Stygian beats and fills), and  their final avalanche of extreme sounds, named Safe, is perhaps their most obscure one, leaning towards modern Black Metal in a true feast of rhythm, harmony, and darkness led by Daniele and his otherworldly growls, not to mention Sergio and his neck-breaking riffs, ending the album in a menacing and climatic manner.

You can listen to Shades in full on Spotify, and if you have what it takes to face the modern and absolutely threatening music by Coiled Around Thy Spine you should definitely visit their Facebook page for news, tour dates and everything else that’s related to the band, and purchase the album on iTunes or on Amazon. As aforementioned, Shades combines the brutality and heaviness of Death Metal with the finesse of modern-day Melodic Death Metal in a fantastic way, proving this now Italian duo (who will certainly find another sensational drummer to replace David soon) has all that’s needed to thrive in the world of heavy music. And we’ll all be eagerly waiting for more of their incendiary music in the near future, of course.

Best moments of the album: [God Mode: On], How Freedom Dies and The Sick Game.

Worst moments of the album: Shades.

Released in 2018 Independent

Track listing
1. Candles 1:54
2. [God Mode: On] 5:36
3. Dissected 6:17
4. How Freedom Dies 4:48
5. Shades 6:52
6. Subhumanized 5:54
7. The Sick Game 5:16
8. In Vain 5:59
9. Safe 7:50

Band members
Daniele Rosso – vocals
Sergio Costa – guitars, bass, synth
David Archie Weiss – drums, synth

Album Review – Augury / Illusive Golden Age (2018)

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Following the same path of extreme pounding riffing mixed to the sci-fi and historical concept of their first two albums, this Canadian four-piece act returns with a brand new (and crushing) opus.

Hailing from Montreal, “La Métropole du Québec”, Canadian Progressive Death Metal squad Augury began their journey in 2001 from the ashes of many local acts such as Foreshadow, Kralizec, Atheretic, Quo Vadis, Disembarkation and Neuraxis, with an intent from the start to deliver an extreme dose of Death-Black-Progressive Metal along with an intriguing scientific and esoteric lyrical concept. Comprised of lead singer and guitarist Patrick Loisel, guitarist Mathieu Marcotte (Humanoid), bassist Dominic “Forest” Lapointe (First Fragment, Teramobil, Beyond Creation), and newcomer Antoine Baril (Contemplator) on drums, Augury are back in action with their third full-length installment, titled Illusive Golden Age, following the same path of extreme pounding riffing mixed to the sci-fi and historical concept of their first two albums Concealed and Fragmentary Evidence.

Featuring a somber artwork by Canadian musician Filip Ivanović, from Flat Bathtub, Illusive Golden Age will please all fans of progressive and extreme music who are also in constant pursuit of a good background story or meaningful content, making the entire band really proud of the final result achieved. “It took us quite a long time to concretize so we’re eager to see people’s reaction to our new music. Illusive Golden Age is a poetic tale about the recurrence of downfall and a glance at some factors that bring down societies, influenced by lost civilizations and their enigmas”, said those talented Canadian metallers about their brand new spawn.

Thnigs can’t get any more progressive than the title-track Illusive Golden Age, an epitome of modern Progressive Death Metal where Patrick together with Mathieu and Dominic give a lesson in how to treat your strings with respect, delivering beautiful riffs and solos while Antoine demolishes his drums; and Antoine and Dominic ignite the furious The Living Vault in a groovy and captivating way, before Patrick vociferates deeply like an uncanny beast. Furthermore, the song evolves to a very intricate and exciting musicality, with its slashing riffs blending flawlessly with its insanely complex drums until its wicked grand finale. It’s certainly impressive how they blend Progressive and Death Metal so perfectly, which is exactly the case in another lesson in creativity and fury by the quartet titled Carrion Tide, presenting lyrics fans of the genre will definitely love (“They swarm the clouds / Seeded with the morgellon plague / Falling like manna / Tapeworms weave through your brains / Witness the parasite becoming a host / Witness the anthill getting boiled down / Setting to sail / The carrion tide”), whereas in Mater Dolorosa the band takes their ferocity and madness to a whole new level in a feast of crushing riffs, demented drums and deep, cavernous roars (not to mention how the bass punches by Dominic will make your skull tremble), resulting in one of the best and most pulverizing of all songs.

Then if you love demented metal music you’ll have a blast with Maritime, where the band’s guitar duo is not only in total sync, but they complement Antoine’s bestial drumming in a precise manner, setting the stage for Kevin and his berserk gnarls. Message Sonore leans towards more traditional Progressive Metal, with the metallic sounds emanating from their riffs being the core element in this intricate instrumental exhibit (and I should say it would be extremely nice to see them jamming like this live), while Parallel Biospheres carries a classy name for another frantic onrush of Progressive Death Metal led by Antoine and his phenomenal drumming. Put differently, this is a total delight for lovers of the most insane side of progressive music, with Kevin sounding beyond demonic on vocals. And last but not least, their most complex creation, entitled Anchorite, is also their longest one, presenting utterly melodious guitar lines, rhythmic drums and an enfolding atmosphere, with the brutish growls by Kevin effectively bringing an extra dosage of aggressiveness to the overall musicality, culminating in a true musical journey through the wicked universe ruled by Augury until everything comes to a tempestuous and awesome ending.

You can listen to Illusive Golden Age in full on YouTube, and follow Augury on Facebook for news, tour dates and all other updates by the band. And in case Progressive Death Metal is your cup of tea and you’re eager to put your hands on this thunderous and very progressive album, you can find it on sale at the band’s own BandCamp page, at The Artisan Era’s webstore, on iTunes or on Amazon. In a nutshell, the third full-length opus by Augury not only cements their name as one of the most exciting new groups of the underground extreme scene, but it also points to a bright future for a band that’s not afraid at all to experiment with sounds while at the same time being as aggressive and heavy as they can be.

Best moments of the album: The Living Vault, Mater Dolorosa and Maritime.

Worst moments of the album: None.

Released in 2018 The Artisan Era Records

Track listing
1. Illusive Golden Age 5:49
2. The Living Vault 6:07
3. Carrion Tide 5:03
4. Mater Dolorosa 6:50
5. Maritime 4:31
6. Message Sonore 3:22
7. Parallel Biospheres 4:31
8. Anchorite 8:07

Band members
Patrick Loisel – vocals, guitars
Mathieu Marcotte – guitars
Dominic “Forest” Lapointe – bass
Antoine Baril – drums

Concert Review – Boonsdale Fest 2018 & Wacken Metal Battle Canada Final (The Opera House, Toronto, ON, 06/09/2018)

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After a year of silence, Wacken Metal Battle Canada returned in full force in a unique partnership with Boonsdale Fest to decide which underground band would raise the flag of Canadian metal high on “The Holy Land” of heavy music.

INTRODUCTION: BOONSDALE FEST AND WACKEN METAL BATTLE CANADA UNITED

There’s nothing better than a night of ass-kicking heavy music in the always fun month of June in the city of Toronto, and to make things even better how about uniting at The Opera House the 2nd annual Boonsdale Fest, organized by Boonsdale Records and featuring the bands Mokomokai, Operus and Borealis, with the 2018 edition of Wacken Metal Battle Canada, where the Best from the West Hammerdrone battled the Best from the East Centuries of Decay for a place alongside the greatest names in the history heavy music at Wacken Open Air later this year. As there was no Wacken Metal Battle Canada in 2017 (each year Wacken allocates 28 slots at W.O.A. for the Metal Battle winners from 28 different countries, and due to the increasing number of countries some are asked to pause for a year to give the chance to others to participate, which was what happened to Canada last year), this year several Canadian independent and underground bands were more than eager to participate in the competition again, with qualifying rounds happening all over the country starting January 12,  until Calgary’s Hammerdrone and Toronto’s Centuries of Decay reached the desired final round in Toronto this Saturday.

In 2016, Wacken Metal Battle Canada crowned Death/Thrash Metal band Profaner as champions, who then by the way advanced to be 2nd place at the international Metal Battle at W.O.A. that same year, so who would be granted the chance to represent Canada at the biggest metal festival in the world in 2018? Well, it’s time to rumble to the heavy music by Centuries of Decay, Hammerdrone, Mokomokai, Operus and Borealis, and wait for guest judges Gustavo Valderrama (Navaja Music, Electric Flow), Tim Henderson (Bravewords.com), Andrew Epstein (Zombitrol Productions, Alan Cross’ A Journal of Musical Things), Chris Gonda (PureGrainAudio.com), Charlie Felix (Sound & Noise, Live Talent), Oscar Rangel (Operus, Ex-Annihilator), Wojtek Sokolowski (Operus) and Luc Lainé (CFLX 95,5 FM) to decide which band would rule them all!

CENTURIES OF DECAY

Centuries of Decay @ The Opera House, Toronto, ON, 06/09/2018

Precisely at 9pm Toronto’s own Progressive/Atmospheric Death Metal act Centuries of Decay hit the stage at The Opera House showing why they were chosen Eastern Canadian Metal Battle champions, led by the deep and very melodic growls by vocalist and guitarist Devin Doucette. Formed in 2014, the quartet released in 2017 their debut self-titled album, available for a listen (and obviously for purchase) at their own BandCamp page, and that album was basically what the metalheads at the venue had the pleasure to witness them playing live. With songs getting close to or even breaking the 10-minute mark, something unimaginable for any artist or band from most non-metal styles that are in pursuit of stardom, Centuries of Decay inspired everyone in the crowd to bang their heads nonstop and feel embraced by their atmospheric music, generating a very nice and interesting feeling in all of us. That’s how exciting progressive and atmospheric heavy music can be, and if these are just the initial steps in the promising career of Centuries of Decay, I can’t wait to see what those four metallers will bring next.

Band members
Devin Doucette – vocals, rhythm guitar
Rob McAllister – lead guitar, backing vocals
Matt Hems – bass
Derrick Doucette – drums

HAMMERDRONE

Hammerdrone @ The Opera House, Toronto, ON, 06/09/2018

After a quick bathroom/beer break, it was time for the winners of the West Hammerdrone to make a lot of noise and crush us with their unrelenting Melodic Death Metal, opening their performance with the violent Dark Harvest, the title-track from their 2017 opus Dark Harvest, which you can buy directly from their BandCamp page, a concept album inspired by the real life but obscure tale of the Scottish terrorist organization the Dark Harvest Commando. Frontman Grahma Harris was on fire during the entire concert, growling and roaring (and also making faces) like a beast, while his bandmates Rick Cardellini (lead guitars), Curtis Beardy (rhythm guitars), Teran Wyer (bass) and Vince Cardellini (drums) delivered a well-balanced fusion of the more harmonious lines from Melodic Death Metal with the sheer heaviness and aggressiveness of old school Death Metal. As a matter of fact, you can download for free a live EP by Hammerdrone titled Rituals of Battle from their BandCamp page, just to give you an idea of how awesome their music sounds live. And after Hammerdrone’s concert was over, I knew the judges were going to have a very difficult time deciding who should be crowned the 2018 champions. Well, at least they had a few more excellent concerts to go until then.

Band members
Graham Harris – vocals
Rick Cardellini – lead guitars
Curtis Beardy – rhythm guitars, backing vocals
Teran Wyer – bass, vocals
Vince Cardellini – drums

MOKOMOKAI

Mokomokai @ The Opera House, Toronto, ON, 06/09/2018

When Peterborough-based four-piece band Mokomokai began blasting their electrifying blend of old school Heavy Metal and Hard Rock, I guess we could say it was the “official” start of Boonsdale Fest, and let me tell you it looked like their Rock N’ Roll party had no time to end. Formed in 2011, and having a distinct name inspired by the preserved heads of Māori, the indigenous people of New Zealand, the quartet formed by John Ellis on vocals and guitar, Bobby Deuce on the guitar, Jeremy Pastic on bass and J J Tartaglia on drums put everyone at the venue to dance with their flammable music, playing songs from their 2017 album The Poison Whiptail, like the excellent Heavy Metal Sky, as well as a cover version for the classic The Wizard, by Black Sabbath (check out the original version HERE), taken from their 1970 masterpiece Black Sabbath, with John even playing the song’s traditional harmonica. After such high level of adrenaline, I have only one thing to say about Mokomokai: if they visit your hometown, don’t miss the chance to see them kicking some serious ass live.

Band members
John Ellis – vocals, guitar
Bobby Deuce – lead & rhythm guitar
Jeremy Pastic – bass
J.J. Tartaglia – drums 

OPERUS

Operus @ The Opera House, Toronto, ON, 06/09/2018

Perhaps the performance by the following band of the night, Toronto-based Epic Symphonic Metal squad Operus, was the most peculiar of the entire event due to all the unique elements found during their concert (and one of them was definitely not on purpose). Formed in 2005, this six-piece act put on an extremely entertaining and atmospheric show still promoting their 2017 album Cenotaph, featuring Oscar Rangel (ex-Annihilator) on the guitar, cellist Robin Howe adding an extra touch of epicness to the band’s music, masked-frontman David Michael Moote with his passionate and theatrical performance, J.J. Tartaglia back on drums to play a completely different style from Mokomokai, and an injured bassist Wojtek Sokolowski who twisted his ankle right at the beginning of the show, but who refused to stop and managed to play their full set before going to ER (and that’s what I call a true metalhead!). That’s another band I highly recommend you go watch live if they’re scheduled to play at a venue near you, and you can find their latest album available on different platforms such as iTunes if epic and symphonic music is your cup of tea.

Band members
David Michael Moote – lead vocals
Rob Holden – guitar
Oscar Rangel – guitar, backing vocals, growls
Robin Howe – cello, backing vocals
Wojtek Sokolowski – bass, backing vocals
J.J. Tartaglia – drums 

BOREALIS

Borealis @ The Opera House, Toronto, ON, 06/09/2018

Last but not least, the festival ended with another very progressive and melodic band named Borealis, formed in 2005 in the Ontarian city of Orangeville, who also delivered a solid and delightful performance playing songs from all of their five full-length albums, such as Revelation, from their 2015 album Purgatory, and The Awakening, from their brand new opus The Offering, released earlier this year. Comprised of lead singer and guitarist Matt Marinelli (who had his bottle of water wisely placed on his mic stand looking like he was going to deliver some “wah wah’s” with his guitar when he was actually just thirsty as hell), guitarist Ken Fobert, bassist Trevor McBride, keyboardist Sean Werlick and drummer Sean Dowell, Borealis did not disappoint their fans, filling all empty spaces in the air with their classy Melodic and Power Metal and keeping everyone pumped up even with the clock getting close to 2am. That’s another band I highly recommend you go check them live as well as go after their discography, because it’s not only top-tier metal music, but the overall production of their albums is also outstanding.

Band members
Matt Marinelli – vocals, guitars
Ken Fobert – guitars
Trevor McBride – bass
Sean Werlick – keyboards
Sean Dowell – drums

AND THE WINNER IS…

Centuries of Decay – 2018 Wacken Metal Battle Canada Winner

…Toronto’s own Progressive/Atmospheric Death Metal squad CENTURIES OF DECAY! It was indeed an amazing concert, and I’m sure they will proudly carry the flag of Canadian metal high during their journey through the holy land of Wacken. Actually, I really wish Wacken Metal Battle Canada could send two bands to the festival, because Hammerdrone were just as demolishing and professional as the Metal Battle winners. At least now more people will get to know Hammerdrone and all other bands of the night, which in the end is the ultimate goal of the Metal Battle and of festivals like Boonsdale Fest, keeping the fire of metal alive by always presenting to us fans new incredible bands from the underground scene. For instance, there was this old school, diehard metalhead (drinking beer at an insane speed of “two tall boys every five minutes”, but who was still able to walk, talk and headbang as if he was having just water) who asked me right after Operus if there was still more to come, and when I said there was still one more band he showed a huge and honest smile and said “this is great, eh?”, and if independent bands can still extract that type of reaction from a veteran like that guy, well, that’s another proof that metal music will never die. Now let’s wait until next year to see which new name will represent Canada at W.O.A. 2019, and if you already have your tickets for the festival this year, don’t forget to go say “hi” and raise your horns to the guys from Centuries of Decay.

Album Review – Xenoblight / Procreation (2018)

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A precious gem of Progressive Thrash and Death Metal made in Denmark, courtesy of an up-and-coming horde that’s more than ready to take the entire world of heavy music by storm.

Hailing from Silkeborg, a small city located in the middle of the Jutlandic peninsula in Denmark, here comes a new Extreme Metal horde that goes by the powerful name of Xenoblight, playing a multi-layered fusion of Progressive Thrash and Death Metal characterized by an intense and blistering atmosphere, while at the same time maintaining an apathetic and melancholic lyrical universe. Although the band is relatively new to the scene, being founded in the beginning of 2017, Xenoblight spent the following year carefully crafting their first record while playing only a limited number of shows before entering the studio, unleashing now in 2018 their debut opus Procreation.

Featuring an obscure and stylish artwork by Fendie Art, Procreation not only brings forward in its ten unrelenting and totally demolishing tracks what the band comprised of the she-demon Marika Hyldmar on vocals, Rasmus Tobias Clemmensen and Mikkel Jepsen on the guitars, Steffen Hagelskjær on bass and Thomas Halborg Madsen on drums is capable of, but it’s also a lesson in how to blend the best elements from old school and modern extreme music with tons of progressiveness and feeling, turning it into a must-have for any diehard fan of the music by renowned bands such as Behemoth, Cattle Decapitation, Gojira, Kreator, Skeletonwitch and Fleshgod Apocalypse, among several others.

In the intro Procreation the band offers the usual “calm before the storm” until they come crushing like a bulldozer in Descension, a crisp and modern display of Progressive Death Metal with a lot of punch where Marika begins gnarling the song’s lyrics in a beyond devilish way (“Behold our entitled savior / Spreading knowledgeable fumes / Binding hands with a single glance / Beredied for a stance… / …Entering the mortal realm / With stricts holds of selfproclaimed victories free from shame”), also showcasing a fantastic job done by Thomas with his piercing beats and fills. And Steffen Hagelskjær kicks off the dark tune Shapeshifter with his menacing bass, with the music morphing into a flammable hybrid of Thrash and Death Metal where Rasmus and Mikkel slash our ears with their heavy and metallic riffs.

Obsidian Chromatism is a traditional Progressive Death Metal creation where the entire band fires sheer aggressiveness, building the perfect stage for Marika and her demonic growls; whereas in the song that carries the band’s name, Xenoblight, we’re treated to three minutes of piercing sounds and nonstop beats and fills in a demolishing instrumental voyage, with highlights to the scorching guitar riffs by Rasmus and Mikkel. Then without giving us a single second to breathe Xenoblight keep blasting pure evil through their instruments in Nocturnal Manifestations, a frantic, furious and superb display of modern-day Thrash and Death Metal led by the enraged screams by Marika, with Thomas once again sounding brutally amazing on drums while Rasmus and Mikkel are bestial with their solos, followed by Transcendence, where a whimsical start morphs into another explosion of contemporary and vibrant Thrash and Death Metal, sounding like a hybrid between Exodus and Death. Moreover, Marika takes her insanity to a whole new level, making it the perfect opportunity for cracking your spine in half into the circle pit.

Kill Yourself. brings less than a minute of pulverizing Blackened Thrash Metal by the band, and even with such restricted amount of time in their hands they were capable of delivering a fun and electrifying tune, setting the stage for the full-bodied Predominance, led by the classic shredding by the band’s guitar duo. Furthermore, in this bold and thrilling 6-minute ode to devastation, Thomas not only is a beast on drums but the complexity of his beats is outstanding and, needless to say, Marika once again kicks us in the head with her hellish roars. And an instrumental start warms up the listener for the rabid harsh growls by Marika in the closing song Virus, perhaps the most progressive of all tracks, showcasing thrashier-than-hell, austere lyrics (“Delusional pesticides / Stand asunder / Tributing their gods / Keepers of the luminescent humanoid pollution”) in a display of first-class European Extreme Metal, also bringing gripping guitar lines and an extremely crisp drumming.

You can take a very good and detailed listen at this precious gem of Danish extreme music on Spotify, and follow the band on Facebook and on YouTube to keep up to date with all things Xenoblight. And in order to show your proper support not only to the band but to underground metal in general, you can purchase Procreation directly from the band’s BandCamp page or Big Cartel (as a regular CD version or as a CD + shirt bundle), as well as from iTunes or from Amazon. Xenoblight are set to take the world by storm with their incendiary debut opus, and if you consider yourself a true fan of extreme music you must have such incredible album on your hands. Because in the end, if you don’t buy it, I guess Marika and her henchmen will have to pay you a not-very-pleasant visit, if you know what I’m saying.

Best moments of the album: Shapeshifter, Nocturnal Manifestations, Transcendence and Predominance.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Procreation (Instrumental) 1:01
2. Descension 4:37
3. Shapeshifter 5:35
4. Obsidian Chromatism 4:46
5. Xenoblight (Instrumental) 2:57
6. Nocturnal Manifestations 6:58
7. Transcendence 5:16
8. Kill Yourself. 0:52
9. Predominance 6:22
10. Virus 5:31

Band members
Marika Hyldmar – vocals
Rasmus Tobias Clemmensen – guitar
Mikkel Jepsen – guitar
Steffen Hagelskjær – bass
Thomas Halborg Madsen – drums

Album Review – Pestilent Reign / Pyres (2018)

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Get ready for a feast of modern Death Metal blasted by a hardworking German act with their debut full-length opus, singing about the constant anger borne from injustice, human stupidity and religious bigotry.

It’s time to be absolutely pulverized by the frantic, modern and very technical Death Metal played by a German four-piece act known as Pestilent Reign, who are releasing their debut full-length album this year, entitled Pyres. Formed in 2013 by guitarist Lars Hägele and vocalist Christoph Sauner in the city of Sttutgart, in Southern Germany, Pestilent Reign released two EP’s after their inception, those being Shivering Chaos, in 2015, and The Zealot, in 2016, leading the band to play from local to international shows at festivals like Monthly Assault in Switzerland and Nice To Eat You in the Czech Republic, and sharing the stage with well-known bands like Benighted, Wormed, Unfathomable Ruination, Implore, Pighead, Analepsy, Omophagia, Spasm, Gutalax, Serrabulho, Deserted Fear, Rottenness, Warfuck and Abysmal Torment.

Across 39 minutes split in eight fulminating tracks, Pyres draws strength from a multitude of influences such as Psycroptic, Dying Fetus, Aborted and Revocation in a multi-faceted manner that’s as rewarding to listen to as it is fun. On Pyres, Pestilent Reign strikes the perfect balance between straightforward modern Death Metal, sledgehammer-like brutality, thrashy hooks, technically adept flourishes, and monstrous grooves. Featuring an obscure cover artwork by Bahrull Marta (Abomination Imagery) from Indonesia, and with lyrical themes based on the constant anger borne from injustice, human stupidity and religious bigotry, Pyres is the result of the band’s dedication and hard work, powerfully representing their passion and devotion to extreme music.

A song that starts with a crazy voice barking the sentence “PEOPLE ARE CANCER!” has to be violent and austere, and Martyr is all that, igniting the intricate and piercing devastation by the quartet with Sebastian Unić showcasing all his skills behind his drum kit, before Christoph starts firing his Barney Grimway-inspired growls in an entertaining exhibit of modern and aggressive Progressive Death Metal. And their sonic demolition goes on in You Will Kneel in Piss and Blood, a Death Metal tune with some Black Metal nuances where Lars sounds pulverizing with his metallic riffs. Moreover, it’s impossible not to love the breaks and variations presented by the band throughout the song, while Christoph keeps blasting furious gnarls and screeches nonstop. And the band offers another explosion of their scorching Death Metal in Saviour, which also sounds melodic and extremely vile at the same time, showcasing a beastly Sebastian on drums while Lars and his flammable guitar add an extra touch of dementia to the musicality. And in Ouroboros, it’s impressive how they master the art of blending the aggressiveness and rage from Death Metal with the intricacy of Progressive Metal, with Christoph sounding like a vile creature on vocals while the rest of the band will inspire you to crush your head into the circle pit.

Cleanse the Flesh presents razor-edged riffs and nonstop annihilation flowing from start to finish, with bassist Matthias “Mick” Figura together with Sebastian creating a dense background perfect for the rabid screams by Christoph; whereas in Zealot a brutal and electrifying intro morphs into ass-kicking Progressive Death Metal, with Sebastian and his blast beats adding a touch of darkness to the music. In addition, pay good attention to the interesting narration about going to a Death Metal concert and its connection with Satan, as it brings a pinch of comedic relief to their crushing music. A demonic screech ignites another circle pit-catalyst titled I.M.T.R.M., a great tune by this demented German squad with both Lars and Matthias grinding their axes like there’s no tomorrow. And last but not least we have Gutter´s Filth, perhaps the most intricate and wicked of all songs in Pyres, where all four band members are smashing and pounding their instruments mercilessly. Moreover, the level of complexity flowing from the guitar lines by Lars is outstanding, not to mention the demented performance by Christoph on vocals.

The fury spawned by Pestilent Reign can be better appreciated by following them on Facebook, and if you want to carry all the rottenness of old school Death Metal fused with the complexity of progressive music from Pyres (which by the way is available for a full listen on YouTube) with you wherever you go, you can buy a copy of the album at the Rising Nemesis Records BandCamp or Big Cartel, at the Rebirth the Metal Productions BandCamp or Big Cartel, as well as on iTunes, Amazon or City Disc, and keep supporting the always fun and always exhilarating underground Extreme Metal scene.

Best moments of the album: You Will Kneel in Piss and Blood, Ouroboros and Gutter´s Filth.

Worst moments of the album: Saviour.

Released in 2018 Rising Nemesis Records/Rebirth the Metal Productions

Track listing
1. Martyr 4:20
2. You Will Kneel in Piss and Blood 3:34
3. Saviour 5:28
4. Ouroboros 4:02
5. Cleanse the Flesh 3:08
6. Zealot 6:59
7. I.M.T.R.M. 4:58
8. Gutter´s Filth 6:07

Band members
Christoph Sauner – vocals
Lars Hägele – guitar
Matthias “Mick” Figura – bass
Sebastian Unić – drums

Album Review – Xenosis / Devour and Birth (2018)

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Behold the next step in the remarkable musical evolution by one of the biggest new names of the Progressive Death Metal scene.

Hailing from New Haven, a coastal city on Long Island Sound, in Connecticut, American Progressive Death Metal legion Xenosis set out from their formation in 2010 with a precise goal in mind: To create Death Metal that blurs the lines, that draws from the past and present equally, and to continually evolve as a band from release to release. To date, they’ve lived up to that aim, and have continued to up the ante with each new musical effort put forth. After the releases of their self-titled debut EP in 2010, followed by the full-length albums Haunted Skies, in 2012, and Sowing the Seeds of Destruction, in 2015, it’s time for Xenosis to strike again with their third full-length opus, titled Devour and Birth.

On Devour and Birth, Xenosis offer the listener their characteristic Progressive Death Metal that blends old school-inspired Death Metal with a fair bit of more modern Technical Death Metal ideas, rounding out there sound with a lot of groove and some thrashy Melodic Death Metal influences as well. Given the eclectic style of Progressive Death Metal that Xenosis play, their list of influences, which includes names such as Death, Meshuggah, Morbid Angel, Suffocation, Testament, Gojira and Emperor, among others, serves as a guide of sorts that the music on Devour and Birth does not fit neatly inside one mold or style of Death Metal, and after taking a detailed listen at the entire album you’ll certainly get addicted to their intricate fusion of extreme sounds.

In the opening track, named Night Hag, a brutal wall of heavy and groovy sounds comes crushing our senses mercilessly, led by the demonic drumming by Gary Marotta and the gruesome roars by frontman Sal Bova, resulting in an extremely technical but at the same time crude sonority highly recommended for fans of the genre. Then in Army of Darkness we face total devastation with a demented level of complexity flowing from all instruments, with guitarists Kenny Bullard and Mark Lyon firing some Dream Theater-ish riffs and solos while Sal keeps growling deeper and deeper; and their onrush of Death and Groove Metal continues in full force in Delirium (Death of a God), where the bestial and utterly complex beats by Gary are flawlessly complemented by the wicked bass lines by Dave Legenhausen in a prefect representation of modern-day Progressive and Technical Death Metal.

I guess I don’t need to say Concave also sounds insanely aggressive and harmonious at the same time, with Dave and Gary making a dynamic duo from the underworld, therefore generating a fierce and vile background for Kenny and Mark to go mental with their riffs and solos. Then we have Oxidation, a mechanized bridge that reminds me of some of the weirdest tracks by Industrial Metal titans Fear Factory, revving up the engines for the heavy-as-hell Ominous Opus, full of breaks and variations to give its Death Metal core essence a demented twist, uniting the words “progressive” and “aggressive” in a fantastic manner. Put differently, simply go break your neck headbanging to the brutish riffs delivered by the band’s guitarists while Sal keeps growling like a beast.

The amazing title-track Devour and Birth takes their ferocity to a whole new level, sounding exciting form start to finish with the whole band displaying all their skills, in special Gary, Kenny and Mark, blasting sheer havoc through their sick beats and very technical shredding respectively. And the last track of the album, titled The Projector, is another hurricane of Death Metal masterfully executed by Xenosis, a circle pit-catalyst that sounds and feels very complete and detailed, being absolutely perfect for slamming into the pit during the band’s live performances.

Featuring a futuristic and menacing artwork by Brazilian graphic designer Caio Caldas (CadiesArt), Devour and Birth, which can be purchased through the band’s own BandCamp page, as well as on iTunes or on Amazon, not only cements Xenosis as one of the most interesting exponents of the current independent Progressive Death Metal scene, but it is also an album of extreme music that’s utterly recommended for all metalheads who are searching for a monumental amount of intricacy and progressiveness amidst all the chaos and destruction usually delivered in Death Metal. You can find more details about Xenosis and their elaborate music at their Facebook page and YouTube channel, and keep witnessing (and of course supporting) for years to come the remarkable musical evolution this talented five-piece act has been enjoying since their beginnings.

Best moments of the album: Night Hag, Concave and Devour and Birth.

Worst moments of the album: None.

Released in 2018 Independent

Track listing   
1. Night Hag 6:45
2. Army of Darkness 5:14
3. Delirium (Death of a God) 5:51
4. Concave 5:15
5. Oxidation 0:54
6. Ominous Opus 5:59
7. Devour and Birth 4:28
8. The Projector 5:56

Band members
Sal Bova – vocals
Kenny Bullard – guitar
Mark Lyon – guitar
Dave Legenhausen – bass
Gary Marotta – drums

Album Review – Ezerath / Overture: The Heir Apparent (2017)

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In the vast land known as Ezerath, the impending death of a king becomes first-class Progressive Death Metal through the hands of a talented Canadian multi-instrumentalist.

Before you start listening to Overture: The Heir Apparent, the debut full-length album by Canadian Progressive Death Metal act Ezerath, let me tell you that not only this is a one-man project where multi-instrumentalist Jeremy Vocino-Montpetit was responsible for recording all vocal parts (except of course for the female vocals by guest singer Felicia Weinmann) as well as all other instruments and programming, but the album also took three full years to be released between writing, learning how to sing, and learning how to mix and master. In other words, what Jeremy is offering the world of heavy music with his Ezerath is the perfect example of how talent, hard work and a good dosage of creativity, when properly combined, always result in sheer amusement for our ears and minds.

Formed in 2016 in the city of Montreal, Quebec, Ezerath is a project highly recommended for fans of the music by Behemoth, Opeth, Nile, Edge of Sanity, Bloodbath and several other bands that know how to unite extreme music with a gripping concept. Yes, Overture: The Heir Apparent is not just another regular metal album, bringing a full-bodied storyline in the background to support the music. The entire album, which by the way features an elegant artwork by Caelan Stokkermans (from Caelan Stokkermans Arts), is a first person narrative, depicting the thoughts of several main characters immediately before the death of Alton Nayan, the King of Gnara residing in Stonegate Castle, located in the vast land known as Ezerath.

The intro to the opening track, the flammable Temple of the Forsaken, feels like we’re watching a movie or reading a novel, which in the end is Jeremy’s main goal with the album, before he begins blasting a very intricate and melodic form of Death Metal. Furthermore, the destruction crafted by Jeremy is boosted by the song’s atmospheric background, not to mention how he effectively tells the story through his evil gnarls. A Heart, an Eye, and a Womb, an instant sequel to the opening track, begins in an ominous way with a dark narrative by Jeremy, with the demonic guitars and beats giving it a more menacing pace, but of course always bringing a lot of progressiveness (one of the main characteristics found in the music by Ezerath).

And the tale goes on with another blast of Progressive Death Metal titled Whispers of Ruin, where the intricacy found in the guitars and drums matches perfectly the eerie ambient sounds, feeling more epic and obscure than its predecessors and smoothly flowing into a complex and beautiful ending. Then we have In a Gale of Inferno, presenting an acoustic intro accompanied by choir-like sounds and the pleasant vocals by Felicia, evolving into another bold composition that nicely blends the aggressiveness of Death Metal with the storytelling and melodic elements of Progressive Metal, consequently becoming one of the top moments of the album; followed by Hand of a Serth, showcasing a much heavier and darker start as well as a great combination of slashing riffs, blast beats and deep guttural vocals, flirting with Black Metal at times due to its ferocity and speed. Moreover, even amidst so much carnage you’ll find very harmonious and gentle guitar lines and the pleasant clean vocals by Felicia, enhancing the song’s overall taste even more.

The story is almost coming to its end to the sound of acoustic guitars, wicked sounds and the demonic growls by Jeremy in The Sound of Knell, this time offering a more symphonic form of Death Metal by bringing elements from the music by Dimmu Borgir and Emperor, definitely feeling like the soundtrack to an epic movie, before we face Eternally Mine, the climatic conclusion to Overture. Its intro sounds even more movie-inspired than what we can find in all previous songs, also presenting an eccentric sonority boosted by Jeremy’s obscure guitar riffs and solos, as well as his rhythmic beats and whimsical keys, gradually moving towards a melancholic ending to the gentle sound of the piano.

The land of Ezerath, conceptualized and brought into being by Jeremy through his music, can be better appreciated on his Facebook page and YouTube channel, where you can by the way listen to the album in its entirety. Overture: The Heir Apparent, available for purchase on Createspace, BandCamp, iTunes or Amazon, is not only a fantastic album of Progressive Death Metal with a solid concept supporting the music, as aforementioned, but also a small sample of what Jeremy is capable of providing to the world of heavy music if he receives proper support from fans like us, the media and record labels, or in other words, it’s up to us to help Jeremy keep Ezerath alive and prosper for many years to come. If you’re an admirer of technical and flammable Death Metal, I’m more than sure you’ll show your support and respect for Ezerath, getting lost in those lands where the imminent death of a king was amazingly transformed into first-class metal music.

Best moments of the album: Temple of the Forsaken, In a Gale of Inferno and Hand of a Serth.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Temple of the Forsaken 7:12
2. A Heart, an Eye, and a Womb 6:12
3. Whispers of Ruin 5:44
4. In a Gale of Inferno 5:46
5. Hand of a Serth 7:54
6. The Sound of Knell 7:03
7. Eternally Mine 6:49

Band members
Jeremy Vocino-Montpetit – vocals, guitar, programming

Guest musician
Felicia Weinmann – female vocals

Album Review – Maze Of Sothoth / Soul Demise (2017)

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Inspired by the stunning creations of American writer H. P. Lovecraft, behold the debut hammering opus spawned from one of the newest underground Death Metal acts from Italy.

Rating4

cover-art-2000xThe debut full-length album by Italian Technical Death Metal horde Maze Of Sothoth, titled Soul Demise, is not only the first brutal, hammering opus spawned from one of the newest underground acts from Italy, but also a sensational tribute to the stunning creations of the unparalleled American writer H. P. Lovecraft. For instance, the band’s own name was inspired by Yog-Sothoth, a cosmic entity in the fictional Cthulhu Mythos and Dream Cycle of Mr. H. P. Lovecraft, giving you an idea of how strong the admiration of this up-and-coming band from Bergamo, a city northeast of Milan in the Lombardy region in Italy, is for one of the most influential writers in the history of horror fiction.

Founded by guitarist Fabio Marasco in January 2009, the initial sound fused massive influences from Morbid Angel, Behemoth, Dying Fetus, Nile and Slayer, with the band recording their first demo Guardian of the Gate in 2011. Five years after the demo was brought into being, Maze Of Sothoth are more than ready to storm the world with Soul Demise, an album that transpires brutality and harmony, with the cover art by Italian artist Ivory Crux perfectly translating into a hellish image the band’s obscure music. Furthermore, there isn’t a single song in Soul Demise that sounds soft or gentle, and that in Death Metal is unquestionably a synonym of excellence.

Ominous and devilish, the intro Cthulhu’s Calling opens the gates to the netherworld, setting the tone for drummer Matteo Moioli to begin his sonic demolition in the pulverizing Lies, with the metallic riffs blasted by Fabio and Riccardo Rubini complementing the band’s evil sonority, being highly recommended for fans of old school Cannibal Corpse and Morbid Angel. Their putrid and technical havoc continues with more visceral riffs and demented beats in Seed of Hatred, where I recommend you try to follow the song’s demonic lyrics together with lead singer and bassist Cristiano Marchesi and his guttural growls (“Our union will create a new form of evil / Put in your womb the seed of hatred / Your sacrifice won’t be vain / Errant demons populate the earth”). And smashing every living creature in their path, Maze Of Sothoth fire another bestial composition full of classic Death Metal riffs named Multiple Eyes, with highlights to the unstoppable drums by Matteo and the grisly vociferations by Cristiano, while the guitar solos by Fabio and Riccardo bring more balance to the song’s melody.

mosbandpicEven heavier than its predecessors, The Outsider is pure aggressiveness and darkness in the form of music, with Matteo displaying an outstanding performance on drums by being brutal and progressive at the same time. Put differently, this is top-notch Death Metal for lovers of the genre with a supernatural ending. The Dark Passenger brings forward elements of Progressive and Blackened Death Metal in its beginning, suddenly exploding into an extreme music carnage where Fabio and Riccardo once again pulverize our ears with their riffs and solos, whereas in At the Mountain of Madness the whole band showcases their refined techniques while Cristiano growls the song’s traditional Death Metal lyrics in a hellish way (“The awakening of the ancient ones is arrived / From their everlasting slumber / Cryptic creatures never seen before”). It could have been a bit shorter, though, but nothing that harms the overall quality of the album.

Increasing their heaviness and being as cavernous as usual, the band offers us Blind, a fast-paced infernal hymn perfect for getting completely crushed into the circle pit, with its guitars sounding angry and demented just the way we like in Death Metal. After that hurricane of extreme music we have Azzaihg’nimehc, a dark instrumental bridge to the last song of the album, the berserk Divine Sacrifice, where Matteo blasts his most furious beats and fills while Cristiano sounds like an ogre on vocals. If you survive this diabolical composition, I’m sure you’ll hit play again and go back to the beginning of such excellent album as any old school death metaller would do.

You can get more details on Maze Of Sothoth at their Facebook page, YouTube channel and ReverbNation, as well as purchase Soul Demise (which by the way can be streamed in its entirety HERE) through their BandCamp page, or at the Everlasting Spew Records’ BandCamp page and webstore. Maze Of Sothoth are technical, ruthless and ready to conquer the world of extreme music, and Soul Demise will certainly help them spread their brutality all over the world in the most effective way possible.

Best moments of the album: Lies, The Outsider and The Dark Passenger.

Worst moments of the album: At the Mountain of Madness.

Released in 2017 Everlasting Spew Records

Track listing
1. Cthulhu’s Calling 1:50
2. Lies 5:16
3. Seed of Hatred 3:19
4. Multiple Eyes 4:36
5. The Outsider 5:35
6. The Dark Passenger 4:41
7. At the Mountain of Madness 5:03
8. Blind 3:55
9. Azzaihg’nimehc 1:53
10. Divine Sacrifice 3:45

Band members
Cristiano Marchesi – vocals, bass
Fabio Marasco – guitars, synth
Riccardo Rubini – guitars
Matteo Moioli – drums

Album Review – Cryptic Shift / Beyond the Celestial Realms EP (2016)

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An action-packed voyage through space and time, led by a Sci-Fi Death Metal Assault Squad from the UK eager to conquer the entire universe with their progressive and technical brutality.

Rating5

btcr-coverAre you ready for a voyage through space and time, a daredevil journey to a parallel universe where you’ll face technology a million light-years beyond our knowledge and where unknown forms of extraterrestrial life coexist, all to the sound of a very progressive and technical fusion of Death and Thrash Metal? This is what you’ll get in Beyond the Celestial Realms, the brand new EP by British Progressive Death/Thrash Metal act Cryptic Shift. If you’re a fan of the hard-hitting and intricate sound of iconic bands such as Death, Obituary and Voivod, lasers will blast from your eyes with excitement while listening to Cryptic Shift.

Formed in 2010 under the name Crÿptic Shift, this Leeds-based group calls itself a “Sci-Fi Death Metal Assault Squad”, a distinct designation that makes total sense as soon as you start listening to their high-quality material. And this blend of extreme music and Sci-Fi led the band to share the stage with renowned acts like Exodus, Hirax and Lost Society, also playing at some up-and-coming festivals in the UK such as Thrashersaurus, Full Thrash Assault and Thrashoholic Fest, all between 2014 and 2015. Beyond the Celestial Realms, which features a “futuristic old school” (if that expression exists) artwork by Nemesis Design, can be considered the “encapsulation” of the band’s short but very active career,  containing revamped versions of some of their original demos mixed with brand new compositions and, of course, a high level of brutality and stamina.

In the cinematic/alien-inspired intro Beyond the Celestial Realms, ominous acoustic lines and a phantom voice inform the listener a dangerous journey is about to begin, entitled Voyage Through Dimensions.  This feast of old school Death and Thrash Metal with a futuristic concept brings forward sheer dexterity and aggressiveness through the guitar riffs by Xander Bradley and Henry Parker, which precisely follow the potent rhythm imposed by drummer Ryan Sheperson. The second half of the song gets groovier thanks to the rumbling sound of the bass guitar by John Riley, adding layers to a song that has all it takes to become the band’s biggest classic in the future.

cryptic-shiftWhen a song is named Deathcrusher, we all know it’s going to be a demonic onrush perfect for breaking your neck headbanging until its apocalyptic ending, with its Slayer-ish riffs being nicely complemented by some traditional Death Metal beats.  In addition to that, Xander and Ryan not only have their kick-ass riffs to provide us, but their solos are also amazing. The following song, Spore, showcases a traditional fast-paced Death Metal rhythm boosted by the piercing guitars by Xander and Ryan, sounding like a fusion of Anthrax and Death, in special the vocal lines by Xander. And after the song’s calm and harmonious break halfway through it, we’re treated to a storm of groovy high-end guitar solos and endless progressiveness. Lastly, the initial peace found in Glacial Reclamation suddenly gives place to an outstanding Thrash Metal extravaganza, with Xander blasting his growls while John keeps delivering his low-tuned punches. All band members display a high level of adroitness with their instruments in this solid and thrilling composition, getting even more progressive than all previous tracks.

The gates to the parallel universe of Death Metal crafted by Cryptic Shift can be found at the band’s Facebook page, YouTube channel, SoundCloud and ReverbNation, and the key to open those gates can be purchased at their official website or BandCamp page, at the Fractured Mind Records’ BandCamp, at the Nightbreaker Productions’ webstore, at the Tictail’s webstore, or at the Blood Harvest’s webstore. Cryptic Shift aim at conquering this universe (and any other existing ones) with their fusion of progressiveness and brutality, and based on the high quality of the music found in Beyond the Celestial Realms, we can say their spaceship of Death Metal is on course without a shadow of a doubt.

Best moments of the album: Voyage Through Dimensions.

Worst moments of the album: None.

Released in 2016 Fractured Mind Records/Nightbreaker Productions

Track listing    
1. Beyond the Celestial Realms 1:12
2. Voyage Through Dimensions 5:29
3. Deathcrusher 6:04
4. Spore 5:40
5. Glacial Reclamation 4:40

Band members
Xander Bradley – vocals, guitars
Henry Parker – guitars
John Riley – bass
Ryan Sheperson – drums