Tag Archives: progressive death metal

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

Album Review – Axxen Conners / Nowhere to Escape Sins EP (2016)

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And the calm and turquoise waters of Antalya will never be the same after the turmoil of extreme music generated by this up-and-coming masked duo from hell.

Rating5

album-coverThe Turkish city of Antalya, the country’s biggest international sea resort located on the Turkish Riviera and a gateway to Turkey’s southern Mediterranean region, known as the Turquoise Coast for its blue waters, is about to have its peaceful and breathtaking landscapes intensely disturbed by a wicked turmoil of extreme music crafted by a new dynamic duo known as Axxen Conners. If you’re planning on visiting the city anytime soon to enjoy its beaches and atmosphere, you better watch out because Axxen Conners might be hiding in the shadows just waiting to attack you when you least expect.

Formed in 2015 by the sinful outlaws Bilge Ozce (known as Serpent) and Serdar Evren (known as Croc), Axxen Conners somehow managed to turn all the usual inspiration that comes from a place like Antalya upside down. In other words, instead of playing any type of beach-like smooth music for teenage girls, they decided to join the dark side of music and fire a high-octane fusion of Progressive Black and Death Metal upon humanity. Hence, the result of their rebelliousness and passion for heavy music can be seen in Nowhere to Escape Sins, the technical and very enjoyable debut EP by this unstoppable masked duo of darkness.

And now, ladies and gentleman, get ready to dance with Serpent and Croc in the first of the three tracks of the EP, entitled Behind The Walls Of Primal Existence, where an atmospheric intro by guest keyboardist Brook gradually morphs into a metallic blend of Melodic Death, Black and Power Metal. While Serpent begins spilling his venomous gnarls, Croc focus on his harmonious and aggressive riffs and solos, bringing more balance to the overall result. The special musicality generated by Axxen Conners in this tune is what happens when progressiveness and obscurity meet in metal music, I should say.

_mg_9239Not only Serpent is Axxen Conners’ lead singer, but he’s also the drummer and bassist for the project, and as you’ll notice in the puissant and extremely belligerent Creator Became Absolute he simply loves to smash his drum set and his four-stringed low-tuned weapon. Flirting with contemporary Black Metal (especially its demonic aura and high-pitched demon growls), this devilish hymn showcases all the refined skills of the duo, sounding like an established full-bodied band even being two brand new guys from the independent scene. That alone deserves a lot of respect from us headbangers, no doubt about that.

In the third and last composition, beautifully named Cursed Messiah For Doomed Society, the guitar lines by Croc lean towards pure Melodic Death Metal the likes of Arch Enemy with hints of Amon Amarth, resulting in a musicality absolutely opposed to what we call “mainstream”, which by the way is always a good thing in Extreme Metal. Moreover, the right amount of progressiveness led by Croc’s ominous synths and the beats and fills by Serpent are exactly what Serpent needs to vociferate the song’s lyrics, which as excpeted do not point to a happy ending (“Fuelled by fear / All living things will perish / The lost from the world above / have nowhere to escape sins / Feel the Hellish dreams / Death to those who stray from the path / hear the voice of dark destruction / your body  will rot in pain”).

I personally consider Nowhere to Escape Sins a debut way beyond expectations for Axxen Conners taking into account the limited resources Serpent and Croc have available for generating music in their homeland, and I’m curious to know what those masked metallers could offer the world of heavy music with proper support. Well, I just saw that they became part of the Butcher Records family, which means we now should patiently wait to see what surprises that will bring to us all and the impact that will have on their musicality. In the meantime, don’t forget to like their Facebook page, enjoy their music through their YouTube channel and on Spotify, and if possible purchase Nowhere to Escape Sins through their BandCamp page.

Best moments of the album: Creator Became Absolute.

Worst moments of the album: None.

Released in 2016 Independent

Track listing  
1. Behind The Walls Of Primal Existence 4:03
2. Creator Became Absolute 3:24
3. Cursed Messiah For Doomed Society 4:58

Band members
Serpent – vocals, bass, drums
Croc – guitars, synths, backing vocals

Guest musician
Brook – keyboards on “Behind The Walls Of Primal Existence”

Live musicians
Brook – keyboards
Oni – guitars
Todd – drums

Album Review – Denominate / Those Who Beheld The End (2016)

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Behold the ascension of an awesome band from Finland that adds a lot of progressiveness to their Death Metal without losing the genre’s core viciousness.

Those_Who_Beheld_the_End_Cover640It’s not a secret to anyone that Finland always delivers when the music in question is Melodic Death Metal. However, the Land of a Thousand Lakes now offers a more brutal and old school version of the genre the likes of Death and Carcass thanks to Progressive/Technical Death Metal band Denominte. This powerful five-piece act has just released their debut full-length album entitled Those Who Beheld The End, experimenting with melody and progressiveness while at the same time keeping the heaviness and aggression of Death Metal flowing from each of the album’s seven demolishing compositions.

Formed in 2009 in the city of Oulu under the name Encrypted and having released their debut EP named Realms of Confusion in 2014, the band decided to change their name to Denominate in 2015 (with no changes to their lineup, though) as well as to increase their focus on the harmonious parts of their music instead of just pounding their instruments manically. As a result, in Those Who Beheld The End, recorded and mixed at a private studio in Oulu in two separate sessions due to their studio engineer’s personal projects (which ended up delaying the release date for some time), Denominate bring forward a strong balance of violence and melody that will please both fans of old school Death Metal and admirers of the more modern sounding of Melodic Death Metal.

As soon as you start listening to the opening track, In A Chasm Of Stone, you’ll be able to notice those core ingredients in their music due to the high level of intricacy found in their guitar lines. As aforementioned, they play a very technical version of Death Metal without losing the genre’s inner havoc, with the exceptional drummer Joni Määttä sounding like a machine gun and, consequently, bringing an additional layer of brutality to their music. Degradation is an old school chant led by the vicious growling by Ville Männikkö, and even with all the devastation going on you can still savor the progressiveness of the riffs and solos by guitarists Kimmo Raappana and Eetu Pylkkänen; whereas the heavier-than-hell bass lines by Tuomas Pesälä kick off the obscure song Penumbra, enhanced by the low-tuned gnarls by Ville and the unstoppable beast by Joni, guiding the listener to darkness. In other words, this is definitely the type of composition that will pave Denominate’s path to stardom in extreme music.

Promokuva_3The Demented Scholar of Abatos not only has an awesome name, but it’s also an extremely well-crafted composition where bass guitar and riffs generate the requested obscurity for Ville to keep growling and screaming. Moreover, this progressive song, less bestial and presenting more melodious lines, perfectly depicts the new concept proposed by the band, and as you’ll be able to notice while listening to it the final result is quite interesting. And following that stampede of progressiveness we have the 11-minute visceral hymn Torments of Silence, starting with a somber acoustic intro before darkness takes over the sonority and the band’s crushing Death Metal dominates your mind. Not only the sharp riffs by Kimmo and Eetu take the spotlight, but add to that the song’s precise tempo changes and the sonic impact of this excellent full-bodied composition increases considerably.

A very technical riffage together with blasting drums can only result in good music, which is the case in Apeirophobia (the fear of eternity), highly recommended for guitarists that love extreme music thanks to the job done by both Kimmo and Eetu, not to mention the song’s thoughtful and hellish lyrics (“Arising from a need, to achieve and repeat / tainted by fear to be doomed to predict / every action from here to eternity / linked to the past, past to the future / the ageless serpent ever devouring itself / the Styx ever-flowing, towards the source”). And lastly, walking through the realms of Melodic Death Metal we have Terrestrial Funeral, one final shot of progressiveness blended with endless pugnacity where the bass lines by Tuomas get even more complex than before, while Ville keeps screaming with anger in his heart until an excellent guitar solo concludes the song and the album.

In summary, the music found in Those Who Beheld The End might not be that very traditional form of Death Metal that stormed the world decades ago, but it maintains the vicious essence of those golden years without sounding outdated or repetitive, pointing to a very promising future of the genre. With that said, behold the ascension of this awesomely heavy band by visiting their Facebook page, YouTube channel and SoundCloud, and grab your copy of Those Who Beheld The End (you can listen to the entire album HERE) at Record Shop X, at the Inverse Records’ webstore, at Denominate’s BandCamp page, on iTunes and several other locations.

Best moments of the album: In A Chasm Of Stone and Penumbra.

Worst moments of the album: None.

Released in 2016 Inverse Records

Track listing
1. In A Chasm Of Stone 5:08
2. Degradation 4:05
3. Penumbra 5:07
4. The Demented Scholar of Abatos 5:40
5. Torments of Silence 11:16
6. Apeirophobia 6:04
7. Terrestrial Funeral 5:49

Band members
Ville Männikkö – vocals
Kimmo Raappana – guitars
Eetu Pylkkänen – guitars
Tuomas Pesälä – bass
Joni Määttä – drums

Concert Review – Primal Fear & Luca Turilli’s Rhapsody (The Mod Club, Toronto, ON, 06/01/2016)

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In metal we trust, for metal we live. And last night in Toronto was just another beautiful attestation of all that passion for heavy music, courtesy of the indomitable Primal Fear and the epic Luca Turilli’s Rhapsody.

OPENING ACT: Vesperia

NorthAmerica-PFLTR-TourLet me start this review by thanking Mother Nature for being so amazing to all Torontonians since the end of winter, providing us some beautiful sunny days, warmer-than-usual temperatures and almost no precipitation. And when the weather is as good as now, there’s nothing better than going out with your friends and loved ones for a beer and some good old Heavy Metal, right? If you’re a true metalhead, a true lover of old school Power Metal, last night was the perfect occasion for that to the sound of three excellent heavy bands at the cozy The Mod Club, starting with Canadian Epic/Progressive Death Metal band VESPERIA.

IMG_1344Promoting their latest installment, their 2015 EP entitled The Iron Tempests, which by the way helped them win the 2015 edition of Wacken Metal Battle Canada (and consequently play at the biggest metal festival on earth the same year), this talented quartet showcased all their refined abilities with their instruments during their entire performance, with this demolishing and intricate uproar made in Canada being masterfully led by lead singer and bassist Morgan Rider. Unfortunately I do not have the setlist for their presentation (I know they played songs like Iron Saga and In the Hall of the Mountain King), but I can assure you each and every song sounded just amazing on stage. If you’re searching for a new band that offers complex passages, blazing riffs and an endless amount of stamina in their music, Vesperia might be exactly what you’ve been craving for.

Band members
Morgan Rider – vocals, bass
Frankie Caracci – lead guitars
Casey Elliott – guitars
Dylan Gowan – drums

PRIMAL FEAR

IMG_1353After Vesperia was over, all the metalheads at the venue had a short break to have another beer or quickly go to the washroom before German power metallers PRIMAL FEAR came crushing our ears with their thunderous and metallic music. When you’re a band like Primal Fear, all you have to do to hypnotize the audience right away is kicking off the concert with one of your best compositions to date, and last night not only they did that, but they chose my favorite tune of all to start their setlist, the flammable and thrilling Final Embrace. After that masterpiece, the unstoppable Ralf Scheepers, Mat Sinner & Co. kept firing some of their biggest classics blended with brand new songs from the awesome Rulebreaker, and the reaction of the fans to the new songs couldn’t have been better. Well, you know an album is goddamn amazing when fans really want to listen to new songs on the show, right?

IMG_1370From all new songs played, the ones that drew the most excited screams from the fans and made everyone at the venue raise their fists in the air were Rulebreaker and The End Is Near, not to mention their beautiful performance during the power ballad The Sky Is Burning. In regards to their top-notch metal classics, as a huge fan of the band I must say Angel in Black, Sign of Fear and Metal Is Forever drove the audience crazy while they were being played. Who doesn’t love to scream the words “There is blood there is pain / But my agony is not in vain / Cause there’s life after death / And I’m sure coming back to attack / As an angel in black” together with Ralf and the rest of the band?

IMG_1360The entire band was incredible as usual, with highlights to the explosive performances by Mat and the new drummer Francesco Jovino. Obviously, I don’t need to describe the perfection which Ralf sang all songs of the setlist, nor how guitarists Alex Beyrodt and Tom Naumann blasted some potent riffs and solos throughout the whole concert. The only issue during this entire North American tour was the absence of their third guitarist, Magnus Karlsson, despite having recorded the new album. Three guitarists live would have been awesome, but anyway, it was another exceptional performance by one of the best Power Metal acts in the world (just as good as their 2014 concert in Toronto), and after the encore was over with two more classics, Rollercoaster (another one of their songs I truly love) and Running In The Dust, the German troopers were gone and it was time to set the stage for the last concert of the night. I was expecting Primal Fear to headline the night, but that’s fine, we all got our share of their brilliant Power Metal. There was absolutely nothing to complain about that.

Setlist
Countdown to Insanity/Jaws of Death
Final Embrace
In Metal We Trust
Angel in Black
Rulebreaker
Sign of Fear
The Sky Is Burning
Nuclear Fire
Angels of Mercy
The End Is Near
When Death Comes Knocking
Chainbreaker
Metal Is Forever

Encore:
Rollercoaster
Running In The Dust

Band members
Ralf Scheepers – vocals
Mat Sinner – bass, backing vocals
Alex Beyrodt – guitars
Tom Naumann – guitars, backing vocals
Francesco Jovino – drums

LUCA TURILLI’S RHAPSODY

IMG_1388It was indeed a huge surprise for me that Italian Epic/Cinematic Metal band LUCA TURILLI’S RHAPSODY was the main attraction of the night. Nothing against them, but I believe Primal Fear are a lot more relevant to the world of heavy music than Luca and his crew, especially after all the countless changes the band has suffered through the years. Honestly, I lost count of how many times the band switched from one name to another, all the band members coming and going, and so on. I don’t know anymore if a song was originally recorded by Rhapsody, by Rhapsody of Fire, by Luca Turilli’s Rhapsody or by any other of those weird ramifications. If you’re a fan of any of those bands (or just a fan of one of them, who knows), please forgive me for my ignorance.

IMG_1386Anyway, what can I say about a band that claims to play “Cinematic Metal”? All fans were able to actually witness the soundtrack to an epic battle movie, one of those fantasy blockbusters full of dragons, knights, princesses and so on. The band itself looks very theatrical (and sometimes even cartoon-ish), and their performance was a lot better than what I was expecting, especially the idiosyncratic moves and facial expressions by the band’s leader, Mr. Luca Turilli. It was fun watching him firing his complex riffs while prancing around the stage with his stylish hair and a Guess T-shirt. Truly unique, I should say.

Although I got lost in time with all the changes that affected the original Rhapsody, it was a pleasure to see the band playing old classics like Unholy Warcry (my favorite of their setlist) and Emerald Sword, whereas at the same time their Game Of Thrones-themed drum solo was a very welcome surprise for all fans. My only complaint about their concert was the excessive usage of pre-recorded sounds used for all orchestrations and choir. I bet when they play at any European festivals that shouldn’t be a problem, but for smaller venues it sometimes sounds like a metal karaoke. That’s not the band’s fault, though, just a minor annoying detail in their decent performance. Now please excuse me, as I have to grab my sword, my shield and get ready for battle.

Setlist
Nova Genesis (Ad Splendorem Angeli Triumphantis)
Knightrider of Doom
Rosenkreuz (The Rose and the Cross)
Land of Immortals
Unholy Warcry
Son of Pain
Prometheus
Drum Solo (Game Of Thrones Theme)
Il Cigno Nero
Guitar Solo
The Pride of the Tyrant
Demonheart
Bass Solo
Dawn of Victory

Encore:
Quantum X
Emerald Sword
Outro

Band members
Alessandro Conti – vocals
Luca Turilli – guitars
Dominique Leurquin – guitars
Patrice Guers – bass
Alex Landenburg – drums

Album Review – Gomorrah / The Haruspex (2016)

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Enter the gates of Gomorrah and be prepared for an insane feast of first-class Canadian Death Metal that will crush your body and mind.

Rating4

CDDIGI-2.1BWhen most people see the name “Gomorrah”, they automatically associate it with to the city mentioned in the Book of Genesis, the Qur’an and Hadith, the Torah, and the New Testament. But such interpretation has been shifting considerably since 2006 in the world of heavy music, when Canadian Death Metal act Gomorrah was born in the Okanagan Valley of British Columbia as a Black Metal outfit, storming the world with their refined and brutal music. Growing to a bolder form of Death Metal through the years, this talented band is releasing their second full-length album, entitled The Haruspex, an excellent option for fans of the devastating music by Cannibal Corpse, Decapitated and Bloodbath.

Their short but substantial existence, which includes the unique experience of sharing the stage with renowned acts like Suffocation, Cryptopsy and The Agonist, together with the thorough production of the album, allowed this Kelowna-based band to step up their game in The Haruspex, therefore cementing their path in extreme music. Featuring a sinister artwork by artist Kevin Ellis Moore, The Haruspex will promptly assault you and leave you lying on the floor covered in blood, eager for more of the band’s unyielding compositions.

The intro Imperial kicks off the album in a more than ferocious way, giving you a good idea of what’s coming next, the bestial Nine Kings of Sulphur, where its eerie ambience gets stronger with each instrument growing until the song reaches a pulverizing rhythm. Moreover, the technical riffs by guitarist Bowen Matheson magnificently support the deep growling by frontman Jeff Bryan during the entire song. And following that strong start, get ready to be smashed by Gomorrah in Carcosa, a song that will make fans of Deicide and Cannibal Corpse truly happy. The vociferations by Jeff are insanely powerful in this sick tune, not to mention its unstoppable beats (reproduced live by drummer Casey Long-Read).

GOMORRAH press photo as Nov 17Are you tired already? Because those guys still have a lot more of their demonic music to disturb our minds, beginning with Dismantling The Throne, an extremely poisonous version of Progressive Death Metal where its bass lines (reproduced live by bassist Clayton Harder) add tons of groove to the musicality; followed by Sitra Achra, the epitome of modern Death Metal, being ruthless and harmonious at the same time. Blast beats multiply in the air, while the bass guitar keeps rumbling thunderously, making this one of the best tunes of the entire album. And in Crowns of Flesh, an eerie intro deceives the listener as it takes a few seconds for the band’s nuclear assault to reignite, with its potent riffs and beats alongside the song’s resonant bass lines aiming at dislocating your brain due to the intense headbanging they might cause.

Cerulean is not only an amazing display of Death and Groove Metal where Jeff continues his ode to dementia through his pungent growls, but I personally love when extreme music can be so violent without being played at the speed of light, proving how talented the musicians involved in this band are. Then we have the brutal and melodic Venom and Rapture, where you’ll be instigated to bang your head up and down violently, and Architects, a short instrumental break before one last shot of insanity begins in the form of The Mark of Veritas, a derranged chant where the band’s growls and blast beats come crushing from the very first second. In addition, the fusion of Jeff’s howls and the song’s flammable drumming is outstanding, closing the album on a high note.

If you got psyched up with the music by Gomorrah, go check their Facebook page for more details on the band, including their future tour dates, as well as their YouTube channel and SoundCloud page. And lastly, you can purchase The Haruspex at their BandCamp page or at the Test Your Metal Records’ Big Cartel page. If you dare to enter the gates of Gomorrah, I can guarantee you won’t get disappointed at all with the insane level of destruction this awesome Canadian band can offer you.

Best moments of the album: Carcosa, Sitra Achra and The Mark of Veritas.

Worst moments of the album: Venom and Rapture.

Released in 2016 Test Your Metal Records

Track listing
1. Imperial 1:55
2. Nine Kings of Sulphur 3:17
3. Carcosa 2:31
4. Dismantling The Throne 2:59
5. Sitra Achra 3:51
6. Crowns of Flesh 3:50
7. Cerulean 3:05
8. Venom and Rapture 4:14
9. Architects 1:33
10. The Mark of Veritas 3:40

Band members
Jeff Bryan – vocals
Bowen Matheson – guitars

Band live lineup
Jeff Bryan – vocals
Bowen Matheson – guitars
Clayton Harder – bass
Casey Long-Read – drums