Tag Archives: progressive metal

Interview – Victor Rosewrath (Vale of Amonition)

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Let’s embark on a fun interview with vocalist and guitarist Victor Rosewrath of Doom Metal outfit Vale of Amonition, where he talks about his band, their new album, the metal scene in Kenya and Uganda, and more.

Victor Rosewrath (Vale of Amonition)

The Headbanging Moose: Let’s kick off the interview with a very easy and direct question. Can you please introduce yourselves to our readers in case they have no idea of who you are, how you guys started, and what type of music you play?

Victor Rosewrath: We are Vale of Amonition, a doom metal band from Uganda in East Africa with myself, Victor Rosewrath on vocals, sharing guitar duties with Solomon Dust and new members Mordecai Ogayo on bass and Jude Bulinda on drums.

THM: In my opinion, Vale of Amonition seems to be the perfect name for a Doom Metal band. Can you please explain in more detail how you came up with that name, and what it means to you as a band?

VR: The name was supposed to evoke simultaneous moods of calm and dread. A “valley of ammunition”, a sanctuary but also a hub of violence – said violence can be historic or omnipresent; emotional/personal or actual and relevant, we explore all through our rather deliberate lyrics that sometimes read like prose because the band was formed by failed writers haha.

THM: You’ve recently released your new album Immortalizing the Lugubrious, or Those Of Evolving Despair, an amazing step forward in your career I might say. How do you feel about the album? Is it exactly what you guys wanted to accomplish with it? How does it compare to your previous efforts, and how has the feedback from your fans been so far?

VR: We are immensely proud of how the record sounds. It’s the best-produced we’ve ever been. There’s a conciseness to it that was lacking in our previous efforts. The songs are sharper and heavier while still maintaining the epic and bombastic character of the sort of dark metal we gravitate towards. Our fans were floored by how much we’ve developed and we seem to be gaining new fans which as far as we’re concerned, this is the best place to begin to get to know the band.

THM: In the amazing song Drink The Poetry Of The African Wretch, you guys had the support from vocalist Nelecc, of bands like Euphoric Decay, Nelecc, Krummholz and Void of Sorrow. How was it to work with him, and why did you decide to have him in the album?

VR: Nelecc, or rather Nelson, is a longtime friend with whom I’ve worked before in the Krummholz black metal project. I had him in mind once Solomon Dust sent me the music and thought his voice would suit some of the sections in that song. We speak fairly often so I proposed it to him and true to his nature, he was enthusiastic and quickly jumped on board. Since he was in the loop already with how the album was developing, he also came up with the guitar solo in Sons Of The Moribund and gave that song the right melodic-folky touch it needed. Nelson’s always such fun to collaborate with and we’ll be working together more in the future.

THM: What were the biggest issues you faced during the recording of the album? Is there anything you guys did that right after the album was finalized you thought “this could have been done differently”?

VR: In the past, we’ve always recorded together in person and this album required a lot of remote recording and sending files because we are in entirely different countries now. We were also working with producers we’ve never worked with before – it was all a bit too much to maneuver but we managed to make it happen. There isn’t anything we’d change about the album, it feels right the way it is.

Album Review – Vale Of Amonition / Immortalizing the Lugubrious, or Those Of Evolving Despair (2023)

THM: How’s the metal scene in your homeland Uganda and Kenya? Are there any new bands form those countries you would recommend to our readers, and how do you see the African metal scene in general?

VR: The East African metal scene is alive and well. A lot of those bands down there are friends of ours and we’ve shared stages. Mordecai used to play with The Seeds of Datura and Dead Skin Remedy so that’s already two names I’d recommend. Duma is doing exciting things at the moment. Irony Destroyed just released an album last year, Crystal Axis are these amazing punk rockers with their finger on the pulse of African issues. There’s the legendary Last Year’s Tragedy and Threatening, the extreme metal of Absence of Light, Chovu and of course Nelecc. Such a vibrant scene we’re proud to call our community.

THM: I believe you guys have relocated to Canada a while ago, or at least one of you, correct? Why did you decide to move here to Canada, and what are the main differences you see between the metal communities here and in your home countries?

VR: I’m the one who moved to Canada but I hadn’t called Uganda home for a long time so the move wasn’t particularly strange for me. I’ve been fortunate to have friends and community here that I’ve known for a long time and what I’ve noticed is that metal scenes tend to all be driven by that tribal, communal spirit. There’s that same giddy rush and palpable energy in the air when metalheads are gathered in a single space; it feels like anything could happen, like something otherworldly is available to all. Really the biggest difference is that the scene in East Africa is smaller but the same ethos prevail.

THM: Why do you think there are so few black people in heavy music? I’m seeing more and more black musicians, as well as black fans on the shows at least here in Toronto, but it’s still a very small percentage compared to your regular “white guys”. What needs to change in our culture to attract more black folks to metal?

VR: There’s gatekeeping in metal as in all subcultures and that needs to break down if you wanna attract groups of people that normally wouldn’t gravitate towards this music. I feel that is already happening to some degree. The African metal scenes started with similar stereotypes about this being “white folks’ music” and with bands being treated as novelty acts but the perseverance required to be taken seriously has won out for us in the end, I think.

THM: How about your touring plans? Do you already have some concerts scheduled in the coming months to promote your new album? And how difficult is it for you guys to book concerts?

VR: Nothing booked yet. We’re having a few conversations at the moment to figure all that out and in the event of something happening soon, all will be shared.

THM: Who are your biggest idols and influences not only in music, but in life in general, and how exactly have they helped Vale of Amonition shape your music and style?

VR: Solomon Dust likes William Blake while I like John Milton’s “Paradise Lost” above all. We like to read. These things will not always show up in our music of course but the more epic literary stuff still feeds how I approach lyrics for sure. As far as bands go; Black Sabbath was a foundational influence for our riffing styles and King Crimson was how we learned to be “prog” without belaboring the point. Then there’s Swans and Neurosis to thank for that incantatory tribal aesthetic, Solitude Aeturnus, Fates Warning and Candlemass for adding flourish and pizzaz but in a highly effective moody sense, Katatonia, Novembers Doom and Nevermore for being topical but in mournful fashion and Celtic Frost, Rotting Christ, My Dying Bride and Type O Negative for cultivating a dark presence. That about sums it up, I’d say.

THM: Let’s now play a fun game before the end of the interview called “The Time Capsule”. Please list 10 songs from 10 different bands or artists to be saved in a time capsule for all future generations, and let us know why you selected those.

VR: Queen’s Bohemian Rhapsody because it still sounds grand, moving and celebratory – more time is not gonna wane the brilliance of that song and Queen in general have a pretty strong discography. Metallica’s The Four Horsemen still sounds like pure electricity and there’s something pure and youthful and eternal there. Black Sabbath’s eponymous 1970 dark thing of a song should be able to send shivers down the spines of the imaginative. Godflesh’s Locust Furnace sounds like worlds being laid to waste. It has a sort of languid insistence to it that I find both numbing and freeing. On a happier note, how about Stevie Wonder’s As. It is calm, spiritual and life-affirming. Scott Walker’s Rosemary is immaculate and easy to love and be moved by. Such wistful heft to it all. Kendrick Lamar’s Sing About Me, I’m Dying Of Thirst is a meditative dose of realistic storytelling that should be preserved for its uncomplicated brilliance. Lord Vicar’s Sulphur, Charcoal and Saltpetre is the doom song to end all doom songs. Tori Amos’ Precious Things is a slab of anger and redemption that still carries so get it into that time capsule. Last and greatest, Aretha Franklin’s Respect so future generations can “find out what it means to me!”

THM: Thank you very, very much again for the interview! Please feel free to send your final thoughts and considerations to your fanbase, and also to our readers who don’t know you yet, and to let everyone know where they can find your awesome music and more details about the band!

VR: Our music is now available to stream on all platforms and the new album can be purchased off Bandcamp. We are on Facebook at  Vale of Amonition | Facebook where we post the latest that’s happening with the band.

Links
Vale of Amonition Facebook | YouTube | Spotify | BandCamp

Album Review – Apollo / A Divine Comedy EP (2023)

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An up-and-coming Canadian Deathcore beast will embrace your soul with its debut metal opera, revolving around the classic story of Dante and his descent into hell.

The solo side project of Canadian guitarist and bassist Kyle Prusky, with the support of Canadian vocalist Adrian Parcioaga, the newborn Deathcore entity Apollo has just released its debut concept EP, titled A Divine Comedy, revolving around the classic story of Dante and his descent into hell split into five distinct acts. Produced by Kyle and Adrian themselves, mixed and mastered by Kyle, displaying a classy artwork by Adrian, and featuring guests Alex Rudinger on drum programming, Layne Murdoch on the guitars, and Lucas de la Rosa on keyboards, the album is according to the duo a Progressive Death Metal opera, unabashedly dynamic and ever-shifting, taking the listener on a cathartic journey through breakdowns, growls and aggressive riffs, therefore being recommended for fans of Slice the Cake, Between the Buried and Me and Rivers of Nihil.

The gentle keys by Lucas kick off the first act of the EP, I: Dark Woods, exploding into a dark and pensive Metalcore extravaganza where Adrian’s roars match perfectly with all of the song’s Stygian elements, morphing into a Deathcore attack titled II: Abandon All Hope, where Kyle is on fire with his piercing riffs and metallic bass, consequently resulting in a violent, headbanging tune tailored for admirers of the genre with over six minutes of adrenaline, fury and heaviness flowing nonstop. Following such epic tune we have the melodic III: Interlude, with the guitar solo by Layne creating a stunning paradox with Lucas’ piano, flowing into IV: Deeper, Darker, blending elements from Deathcore and Metalcore with Progressive Metal nuances. Furthermore, Kyle once again slashes his guitar in great fashion while the drums programmed by Alex couldn’t have sounded more organic, presenting several layers, passages and climatic moments. Lastly, closing the EP we face the imposing V: Ascendance, where Kyle kicks some ass armed with his guitar and bass in a lesson in Deathcore supported by the always venomous screams by Adrian, resulting in a neck-breaking conclusion to properly send Dante to hell.

“This EP has been in the works for a long time, and I could not be happier with the result. This EP is for those who have ever doubted themselves, have fallen apart to the demons in their head, felt like giving up, and needed guidance. Don’t give up. Keep fighting. Keep climbing. Trust the ones who stick by your side. Eventually, you’ll find your path. Every single choice, every note, and vocal take was absolutely deliberate and meant to evoke a specific response. Throughout the journey, the listener will be presented with soaring melodic solos, somber but beautiful keys that guide the self to introspection, crushingly heavy 8-string guitars, pounding drums, and vocals that dance with the music like a soliloquy to an audience of one,”​ commented a proud Kyle about his newborn beast, and if you want to show him all your support you can stream the EP in full on YouTube and on Spotify, grab a copy from Apple Music, and also follow the project on Facebook, on Instagram, and on YouTube. There’s nothing better than enjoying some first-class heavy music while witnessing Dante’s descent into the pits of the underworld, and Kyle and his Apollo more than succeeded in that with their striking debut effort.

Best moments of the album: II: Abandon All Hope and V: Ascendance.

Worst moments of the album: None.

Released in 2023 Independent

Track listing
1. I: Dark Woods 3:59
2. II: Abandon All Hope 6:19
3. III: Interlude 1:19
4. IV: Deeper, Darker 6:22
5. V: Ascendance 6:56

Band members
Adrian Parcioaga – vocals
Kyle Prusky – guitars, bass

Guest musicians
Alex Rudinger – drum programming
Layne Murdoch – guitar solo on “I: Dark Woods”, “II: Abandon All Hope”, “III: Interlude” and “IV: Deeper, Darker”
Lucas de la Rosa – keys on “I: Dark Woods”, “II: Abandon All Hope”, “III: Interlude” and “IV: Deeper, Darker”

Album Review – Vale Of Amonition / Immortalizing the Lugubrious, or Those Of Evolving Despair (2023)

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Feast on the most ambitious, detailed and thrilling album by one of the driving forces of the extreme music scene in the Mother Continent.

Formed in 2009 in the city of Kampala, Uganda, molded and shaped in Kenya, and drawing from traditional and extreme doom sources such as Black Sabbath, My Dying Bride, Katatonia and Type O Negative, to name a few, the unrelenting Doom Metal entity Vale Of Amonition, whose name by the way refers to a place, a “sanctuary for warmakers” of sorts, with most of the lyricism being centered around happenings in that place, has just released their third full-length opus, entitled Immortalizing the Lugubrious, or Those Of Evolving Despair, the follow-up to their 2017 album Those of Tartarean Ancestry and their 2019 EP Ancient, Evil & African. Recorded and engineered by Nick Wathi at Andromeda Music, mixed and mastered by Luc Chiasson, and displaying a cryptic artwork by Ben Dickey, the new album rounds out the band’s ambitions thus far and provides us all with their most complete record yet, showcasing the undeniable talent and passion for heavy music by Victor Rosewrath on vocals and guitars, Solomon Dust also on the guitars, Mordecai O. Ogayo on bass, and Jude Bulinda on drums.

In the imposing opener Where They Gathered And Suffered, the band brings forward elements found in the crushing Doom Metal blasted by renowned acts the likes of Black Sabbath and Celtic Frost while Jude darkly smashes his drums accompanied by the Stygian riffs by Victor and Solomon; whereas their incendiary riffs keep penetrating deep inside our minds in Sons Of The Moribund, with Victor declaiming the song’s lyrics with tons of passion in this Progressive Doom Metal aria. My Firstborn Will Surely Be Blind is a beautiful song crafted by the quartet both musically and lyrically, with the sluggish, doomed beats by Jude and the rumbling bass by Mordecai adding an extra touch of obscurity to the overall result, and in Drink The Poetry Of The African Wretch we’re treated to the guest vocals by Nelecc (of Euphoric Decay, Nelecc, Krummholz and Void of Sorrow), bringing even more rage and anger to the music while Victor, Solomon and Mordecai offer our ears a thrilling stringed attack. Terminus is another dark and pensive tune by the band that reminds me of the Doom Metal played by My Dying Bride with Progressive Metal nuances, with Victor sounding utterly somber on vocals accompanied by the sinister, slow drums by Jude. Finally, closing the album we face eight minutes of first-class African metal titled At Evolution’s End, with the quartet blasting their visceral sound mercilessly spearheaded by another poetic vocal performance by Victor. Needless to say, there isn’t a single second left empty in this ode to darkness and doom.

The fantastic Immortalizing the Lugubrious, or Those Of Evolving Despair, which is by the way available in full on YouTube, is one of those must-have albums for anyone who’s a diehard fan of doom or African metal, or both, and if you consider yourself one of those fans you can purchase the album from the band’s own BandCamp page. Don’t forget to also follow Vale Of Amonition on Facebook for news, tour dates and other nice-to-know details about the band, and to subscribe to their YouTube channel for more of their music. Always forward-thinking and progressively inclined, Vale of Amonition have shifted into utterly bleak territory that is gloriously underscored with tribal menace since their inception, with their new album representing the coronation of this African quartet as one of the driving forces of the current metal scene in the Mother Continent.

Best moments of the album: My Firstborn Will Surely Be Blind and Drink The Poetry Of The African Wretch.

Worst moments of the album: None.

Released in 2023 Independent

Track listing
1. Where They Gathered And Suffered 9:16
2. Sons Of The Moribund 6:09
3. My Firstborn Will Surely Be Blind 7:35
4. Drink The Poetry Of The African Wretch 6:09
5. Terminus 6:58
6. At Evolution’s End 8:04

Band members
Victor Rosewrath – vocals, guitars
Solomon Dust – guitar
Mordecai O. Ogayo – bass
Jude Bulinda – drums

Guest musician
Nelecc – vocals on “Drink The Poetry Of The African Wretch”, guitar solo on “Sons Of The Moribund”

Album Review – Elusion / The Fundamental Paradox (2023)

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Let the music from the sophomore album by this Belgian Symphonic Metal trio embrace you, showcasing a continuous evolution of their sound.

Fans of Beyond the Black, Ad Infinitum, Epica and Within Temptation, among several other big names of the European symphonic and melodic scene, will have an amazing time listening to The Fundamental Paradox, the sophomore effort by a Belgian Symphonic Metal band that goes by the stylish name of Elusion. Currently formed of Evy Verbruggen on vocals, Domingo Smets on the guitars and backing vocals, and Frederik Van Mieghem on drums, the trio showcases a continuous evolution of the Elusion sound in their new installment compared to their debut album Singularity, released back in 2019, living up to the legacy of the genre while also carving their name in the underground Belgian scene by offering our avid ears nine solid songs throughout the album’s 42 minutes of music.

In the opening tune …In Love and War we already face a huge dosage of classic Heavy Metal added to their core Symphonic Metal thanks to the incendiary riffs by Domingo, with Evy kicking ass with both her strident clean vocals and her she-demon gnarls, whereas the sound of the rumbling bass will punch you in the head in the also electrifying Chiaroscuro, with Frederik dictating the song’s pace behind his drums, therefore offering Evy the perfect ambience for her soaring vocals. Acrimonious is even groovier and more metallic than the previous songs, with Domingo and Frederik being in absolute sync with their sonic weapons, once again sounding a lot more modern than classic Symphonic Metal mainly due to its Progressive and Groove Metal nuances. And there’s no sign of slowing down as the trio keeps embellishing the airwaves with their sharp music in Adversity, presenting another awesome performance by Evy on vocals supported by the crushing beats by Frederik and all of the song’s background elements.

The first single of the album, entitled Science|Fiction, brings to our avid ears more of the band’s incendiary Symphonic Metal spearheaded by the razor-edged riffage and solos by Domingo; and the tribalistic vocalizations by Evy ignite the next tune, titled From the Woods to the Water, a solid piece by Elusion despite lacking the same energy of the rest of the album. It’s then time to blast a purely European Symphonic Metal tune named In Balance, where Domingo keeps extracting endless electricity from his axe accompanied by the pounding drums by Frederik; whereas enhancing their epicness and emotion, the trio fires the symphonic extravaganza Isochronism, showcasing classic riffs, hammering drums, stunning orchestrations and the always enfolding vocals by Evy. Lastly, after such charming song the band closes the album on a high note with Deafening Silence, bringing forward another round of the metallic guitars by Domingo and the vicious but intricate beats by Frederik.

If you want to know more about Evy, Domingo and Frederik, listen to more of their their music, and stay up to date about their tour dates and plans for the future, you can find those Belgian metallers on Facebook, on Instagram, on YouTube, and on Spotify, and above all that, you can grab your copy of The Fundamental Paradox from the band’s own BandCamp page. After listening to each and every track from The Fundamental Paradox, we must all agree that Elusion are hands down one of the most interesting names of the Belgian Symphonic and Melodic Metal scene, with their newborn opus representing not only a big step in their career, but it’s also another must-listen album made in Belgium, leaving us eager for more of their refined music in a not-so-distant future.

Best moments of the album: Adversity, Science|Fiction and In Balance.

Worst moments of the album: From the Woods to the Water.

Released in 2023 Independent

Track listing
1. …In Love and War 3:43
2. Chiaroscuro 3:49
3. Acrimonious 4:20
4. Adversity 4:24
5. Science|Fiction 4:05
6. From the Woods to the Water 5:48
7. In Balance 6:23
8. Isochronism 4:29
9. Deafening Silence 5:21

Band members
Evy Verbruggen – vocals
Domingo Smets – guitars, backing vocals
Frederik Van Mieghem – drums

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2022

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“Life is funny. If you don’t laugh, you’re in trouble.” – Taylor Hawkins

And just like that, after 880 days of nothing, I was finally able to attend a metal concert this year, just like countless other metalheads who patiently waited for the Canadian government to lift all restrictions due to the pandemic to get back to our normal lives. And it was a busy year concert-wise as you can see HERE, with Judas Priest, Lamb of God, Megadeth, Iron Maiden, Cannibal Corpse, Trivium, Amon Amarth, Arch Enemy, Behemoth and several others putting a smile back on our faces and the horns back in our hands, because in the end the beauty of heavy music is when it’s played live, right? On the other hand, we unfortunately saw some important names of the global metal scene disbanding such as Nuclear Assault, Tristania and Every Time I Die, plus of course the brave warriors who left us and are now sitting beside the metal gods in Valhalla. Just to name a few, we all mourned the losses of Fredrik Johansson (former guitarist of Dark Tranquillity), Jon Zazula (co-founder of Megaforce Records), Bruce Greig (former guitarist of Misery Index and Dying Fetus), Taylor Hawkins (drummer of Foo Fighters), Ronnie Deo (former bassist of Incantation), Trevor Strnad (vocalist of The Black Dahlia Murder), Alec John Such (former bassist of Bon Jovi), Bob Heathcote (former bassist of Suicidal Tendencies), Steve Grimmett (vocalist of Grim Reaper), Stuart Anstis (former guitarist of Cradle of Filth), David Andersson (guitarist of Soilwork), and Dan McCafferty (former vocalist of Nazareth).

However, one of the biggest losses in the world of heavy music happened right here in Toronto, Canada, as we lost the biggest metalhead of the entire Torontonian scene, Walter Froebrich.  Our super fan Walter, who was a staple in the local scene for over 20 years (and I remember seeing him in every single concert I’ve attended in the past 10 years or more at least), sadly died alone at home last month following three visits to a local hospital due to severe abdominal pain. This is extremely tragic and cannot happen again, as we all have the right to decent healthcare it doesn’t matter who we are. There will be a memorial show for Walter on January 7, 2023 at The Rockpile (details can be found HERE and tickets HERE) with several local independent bands, and we at The Headbanging Moose also want to honor the life of Walter and his undisputed passion for heavy music by dedicating to him The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2022, excluding EP’s, best of’s and live albums.

1. Kreator – Hate Über Alles (REVIEW)
Let the hate flow through you to the sound of the magnificent new opus by one of the trailblazers of the German Thrash Metal scene.
Best song of the album: Hate Über Alles

2. Lorna Shore – Pain Remains (REVIEW)
The most explosive name of the current Deathcore scene invites us all to dance like flames to the sound of their newborn masterpiece.
Best song of the album: The Pain Remains Trilogy

3. Megadeth – The Sick, the Dying… and the Dead! (REVIEW)
The unstoppable Mr. Dave Mustaine strikes again with the sick, the dying… and the Megadeth!
Best song of the album: Life in Hell

4. Rammstein – Zeit (REVIEW)
Germany’s own Neue Deutsche Härte institution wasted no time during the pandemic and is back in action with their fantastic eight opus.
Best song of the album: Angst

5. Behemoth – Opvs Contra Natvram (REVIEW)
A stunning work against religious oppression by Poland’s most important Extreme Metal institution of all time.
Best song of the album: Malaria Vvlgata

6. Arch Enemy – Deceivers (REVIEW)
One of the most important names in metal is back in action with their most solid and detailed album with Alissa White-Gluz on vocals.
Best song of the album: The Watcher

7. Lamb of God – Omens (REVIEW)
Ignore the omens and listen to the pulverizing new album by one of the best and most dynamic metal bands of the past two decades.
Best song of the album: Ditch

8. Amon Amarth – The Great Heathen Army (REVIEW)
Join the great heathen army spearheaded by one of the most respected bands of the current metal scene.
Best song of the album: Saxons and Vikings

9. Hiss From The Moat – The Way Out Of Hell (REVIEW)
There’s only one way out of hell, and that’s to the sound of the incendiary Blackened Death Metal by this Italian horde.
Best song of the album: Generation Of Cowardice

10. Diabolical Raw – Elegy of Fire Dusk (REVIEW)
Behold this grandiose album of Symphonic Black and Death Metal inspired by ancient Central Asian Turkish mythology.
Best song of the album: Face the Judgement

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

11. Abaddon Incarnate – The Wretched Sermon (REVIEW)
12. Cage Fight – Cage Fight (REVIEW)
13. Dark Funeral – We Are The Apocalypse (REVIEW)
14. Stratovarius – Survive (REVIEW)
15. Konvent – Call Down the Sun (REVIEW)
16. Scorpions – Rock Believer (REVIEW)
17. Disturbed – Divisive (REVIEW)
18. Thundermother – Black and Gold (REVIEW)
19. Blind Guardian – The God Machine (REVIEW)
20. Ferum – Asunder / Erode (REVIEW)

In addition to all that, let’s bang our heads with our Top 10 EP’s of 2022 to prove once and for all that not all great albums of the year have to be so long. The EP’s from this list are simply awesome, showcasing the band’s talent and their ability to sound epic even if the music lasts for only a few minutes.

1. Eskhaton – Horracle (REVIEW)
2. Headfist – This New World…. (REVIEW)
3. Sullen Guest – Phase (REVIEW)
4. Pyrrhic Salvation – Manifestum I (REVIEW)
5. Klendathu – Avarist: The Beginning & The End at Once (REVIEW)
6. Through The Noise – Tragedies (REVIEW)
7. Rotten Casket – First Nail in the Casket (REVIEW)
8. Circa Arcana – Bridget Viginti (REVIEW)
9. All Else Fails – The Incident at Black Lake (REVIEW)
10. Haunted By Silhouettes – No Man Isle (REVIEW)

Do you agree with our list? What are your top 10 albums of 2022? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show! And if you lost some or most of our special editions of The Headbanging Moose Show, including our Top 20 Underground Albums of 2022 – Parts I and II, go to our Mixcloud page and there you have hours and hours of the best of the independent scene, sounds good?

Metal Xmas and a Headbanging New Year! See you in 2023!

And before I go, I’ll leave you with what’s in my humble opinion not only the best song of 2022, but it also carries a very inspiring message to us all… ROW! ROW! ROW!

Album Review – Imha Tarikat / Hearts Unchained – At War with a Passionless World (2022)

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Vicious and vitriolic, full of raw anger and burning hatred, the new album by this German Black Metal entity will pulverize your senses mercilessly.

Vicious and vitriolic, full of raw anger and burning hatred, yet at the same time bursting with live and lingering on moments of astonishing beauty, Hearts Unchained – At War with a Passionless World, the third full-length opus by German Black Metal entity Imha Tarikat (Turkish for “extermination sect”), announces its inherent contradictions and struggles already in the title. Recorded and produced by the band’s mastermind Kerem Yilmaz (aka Ruhsuz Cellât), mixed by Michael Zech, mastered by Victor Santura (of Triptykon) at Woodshed Studio, and displaying a sinister cover and illustration by Artem Grigoryev (with sigil and additional illustration by Next Gate Art, and additional illustration by Raul CJ Peña), Hearts Unchained – At War with a Passionless World is essentially a Black Metal album in the crackling dry and humorless German style that renounces all bombast and often folk-ish undertones of its Nordic counterparts, with Kerem Yilmaz creating new layers and expanding the dimensions of his unique compositions, supported by session drummer Melvin Cieslar (of Hexer).

Absolutely atmospheric and sinister, Intro – Deeper Within will drag your soul to the Stygian lair of Imha Tarikat before all hell breaks loose in Radical Righteousness, a song that deals with the detachment from addiction to emotional suffering, with Kerem screaming in anger nonstop accompanied by his own scorching riffs and the demented but very intricate drumming by Melvin. Touch Of Mercy starts in a serene, melodic manner to the beautiful guitar lines by Kerem, blending elements from the most primeval form of Black Metal with Progressive and Experimental Metal, whereas Brute Majesty is another song that exhales chaos, insanity and fury, with Melvin sounding bestial on drums while Kerem’s vocals get more and more rabid as the music evolves. And Flood Of Love (The Beast Trigger) will grab you by your throat and choke the life out of your body, sounding massive, sharp and caustic from start to finish, with Kerem stealing the show with his wicked riffs and vile roars.

The phantasmagorical (and a bit lengthy) Interlude – Birth Of Grandeur breaks the album in two, setting the tone for the second half starting with Dominator Proselytism Tactics, offering our ears a very dynamic, straightforward Black Metal sonority led by Melvin’s wicked beats. Put differently, it’s a truly infernal creation by Imha Tarikat, which can also be said about Streams Of Power – Canavar, presenting an incendiary Punk Rock/Hardcore vibe the likes of Misfits. It’s the less Black Metal of all songs, yet still acid and thrilling, not to mention the rumbling bass by Kerem is a thing of beauty; while Stardust Wisdom (Manifest Of The Deity To The Unkeen) is another strident, heavy-as-hell tune where Kerem’s anguished vocals walk hand in hand with the pounding drums by Melvin. And last but not least, it’s time for another obscure extravaganza entitled Beast Of Sovereignty, showcasing Kerem’s trademark vocals and riffs always supported by Melvin and his demented drums.

Kerem Yilmaz and his alter-ego Imha Tarikat are waiting for you on Facebook and on Instagram for news, tour dates, plans for the future and so on, and if you want to show your full support to such talented musician from Germany you can purchase Hearts Unchained – At War with a Passionless by clicking HERE and by streaming the album in its entirety on YouTube and on Spotify. In summary, Hearts Unchained – At War with a Passionless World is not an album for anyone, while at the same time it is for everyone, showing how dynamic and multi-layered the music crafted by Imha Tarikat is, turning Kerem’s anger and hatred into amazing music that will keep the fires of Black Metal burning for centuries to come.

Best moments of the album: Flood Of Love (The Beast Trigger), Dominator Proselytism Tactics and Streams Of Power – Canavar.

Worst moments of the album: Interlude – Birth Of Grandeur.

Released in 2022 Lupus Lounge/Prophecy Productions

Track listing
1. Intro – Deeper Within 1:27
2. Radical Righteousness 5:57
3. Touch Of Mercy 5:04
4. Brute Majesty 5:19
5. Flood Of Love (The Beast Trigger) 5:32
6. Interlude – Birth Of Grandeur 2:31
7. Dominator Proselytism Tactics 5:51
8. Streams Of Power – Canavar 4:50
9. Stardust Wisdom (Manifest Of The Deity To The Unkeen) 6:44
10. Beast Of Sovereignty 5:48

Band members
Kerem Yilmaz – vocals, guitars, bass

Guest musician
Melvin Cieslar – drums (session)

Album Review – Faustus / Memoriam (2022)

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One of the most interesting names of the current Swedish scene will crush your skull with their new album, blending their trademark Deathcore with tons of progressiveness and groove.

Hailing from Bollnäs, a Swedish locality and the seat of Bollnäs Municipality in Gävleborg County, Sweden, the up-and-coming Deathcore outfit known as Faustus plays what they like to call “a freight-train-full-of-sledgehammers-headed-straight-towards-your-whole-family” sound, adding elements from Death Metal, Progressive Metal and Djent, among others, to their vicious core sonority. Now in 2022 the band comprised of Ludvig Setterlind on vocals, Anton Pärlenskog and Mattias Lövhaga on the guitars, Nils Hedberg on bass and Oskar Pärlenskog on drums is ready to attack armed with their sophomore effort, entitled Memoriam, following up on their 2018 debut album Laments of an Obscure Mind. Produced, mixed and mastered by Robert Kukla at Obsidian Recording Studios, and displaying a classic artwork by Jani Stefanovic of Dreamdecipher Productions, “this album can be regarded as a tribute/homage to what has been. Both in regards to people from our past as well as things in life that have had a big impact on us. We felt that we needed an outlet for these feelings and took to our trade of choice to fulfil that need, and here we are. The music in itself is fuelled by these feelings and brings a sort of anger and sorrow. Not a gloomy one mind you, but more something that represents honour. With that said, we didn’t skimp out on the groove or heaviness of the music, no it’s quite the contrary. It’s our best and most complete album yet,” commented the band.

In the opening tune Deprived of Liberty we’re treated to a groovy riff attack by Anton and Mattias accompanied by the thunderous bass by Nils, kicking off the album on a high note and flowing into the also visceral Psychogenic, with Ludvig roaring and screaming in anger nonstop while Oskar dictates the pace with his pounding drums, sounding as heavy as it is intricate and melodic. Let’s keep banging our heads to the sound of Anhedonia, where Nils and Oskar sound like an earthquake together, therefore providing Ludvig with all he needs to scream manically, whereas Existence, Death? begins in the most Progressive Metal way possible, morphing into another solid tune where all instruments sound sharp, caustic and detailed. And following such pulverizing tune, The Creation of What’s Called Hell is an infernal Deathcore and Death Metal creation spiced up by its sinister lyrics (“In utter darkness / Death is my only friend / Corrupting everything / Tearing the soul apart / In the silence I scream / Rots with the corpses / No incoming sources / Creating what’s called hell”).

Ludvig continues to growl like a beast in Architect of Ruin, more modern than its predecessors with the guitars by Anton and Mattias piercing our ears mercilessly; and blending elements from the Melodic Death Metal by bands such as Arch Enemy and Soilwork in their sonority Faustus offer us all Sleep, once again hammering our heads with their venomous drums and bass. Then leaning towards contemporary Groove Metal we have Tempus, sounding darker and more demonic than the rest of the album and with Ludvig stealing the spotlight with his devilish roars; while Obscurity is slightly generic compared to the other songs albeit still presenting the band’s core sonority, with the guitars by Anton and Mattias sounding incendiary. Back to a more obscure sound, it’s time for the band to blast the multi-layered From the Beginning to the End where Nils is as usual fantastic on bass while Oskar keeps the energy level truly high with his beats, morphing into the atmospheric outro XI, putting a serene and pensive ending to Memoriam.

If you want to enjoy all the fury and melody blasted by Faustus in Memoriam you can stream the album in full on YouTube and on Spotify, and of course purchase it by clicking HERE or HERE. Also, don’t forget to give the guys a shout on Facebook and on Instagram, and to subscribe to their YouTube channel for more of their visceral music. The Swedish metallers from Faustus did a very good job with Memoriam, blending a vast array of styles into their trademark Deathcore without losing their essence and without sounding confusing; as a matter of fact, I would love to see more of their experimentations and progressiveness in their upcoming albums as those elements brought a very welcome touch to their music, placing them among the most interesting names of the modern metal scene without a shadow of a doubt.

Best moments of the album: Psychogenic, The Creation of What’s Called Hell and Tempus.

Worst moments of the album: Obscurity.

Released in 2022 Independent

Track listing
1. Deprived of Liberty 3:56
2. Psychogenic 5:01
3. Anhedonia 3:29
4. Existence, Death? 4:41
5. The Creation of What’s Called Hell 5:58
6. Architect of Ruin 4:15
7. Sleep 3:57
8. Tempus 4:06
9. Obscurity 3:19
10. From the Beginning to the End 5:43
11. XI 2:44

Band members
Ludvig Setterlind – vocals
Anton Pärlenskog – guitar
Mattias Lövhaga – guitar
Nils Hedberg – bass
Oskar Pärlenskog – drums

Album Review – Lorna Shore / Pain Remains (2022)

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One of the most explosive names of the current Deathcore scene invites us all to dance like flames in a sea of fire to the sound of their newborn masterpiece.

Hailing from New Jersey, in the United States, the unrelenting Progressive/Symphonic Deathcore outfit Lorna Shore has been making a name for themselves since their inception back in 2009, but it’s now in 2022 with their newborn masterpiece Pain Remains that we can say without a shadow of a doubt they’ve reached a whole new level of awesomeness. Produced, mastered, mixed, and engineered by Josh Schroeder, Pain Remains is the fourth studio album in their career and the first to feature frontman Will Ramos, guitarist Andrew O’Connor and bassist Michael Yager, who together with guitarist Adam De Micco and drummer Austin Archey are simply setting new standards in the world of rock and metal music, sounding absolutely heavy, caustic and sinister while at the same time epic and beautiful throughout the album’s 60 minutes of top-of-the-line Deathcore infused with symphonic and old school death nuances. Put differently, you’re in for a treat with Pain Remains, an album that will certainly place Lorna Shore as one of the driving forces of modern-day metal music worldwide, and that will certainly feature among the best releases of the year.

A stunning opening tune, Welcome Back, O’ Sleeping Dreamer showcases poetic lyrics roared by Will (“Open your mind, let it consume / Your flesh dissolve within the infinite / The future belongs to those who believe in the beauty of all / Their nightmares”) while the music is a gripping fusion of progressiveness, epicness and rage; and Austin decimates his drums in the pulverizing Into the Earth, supported by the flammable riffs by Adam and Andrew in a bestial display of Symphonic Deathcore. Sun//Eater is another tune with a serene, introspective start before all hell breaks loose to the demonic gnarls by Will, sounding and feeling dense, technical and infernal from start to finish, with its guitar solos being a thing of beauty, making an instant bridge with the imposing Cursed to Die (a song about the creation of life, bringing upon the idea that maybe the figure we see as ‘god’ is no different than what we already are) where the band hammers our heads with their wall of sounds spearheaded by the blast beats by Austin and the rumbling bass by Michael. And less intense but just as heavy and obscure, Soulless Existence offers us all a lesson in Progressive Metal where Will keeps screaming manically from the bottom of his blackened heart, all spiced up by the song’s epic background keys.

In Apotheosis the background choir sounds marvelous, adding an extra touch of obscurity to the band’s venomous Deathcore while also presenting a great job done on the guitars and drums, offering Will exactly what he needs to growl nonstop; whereas in Wrath we’re treated to more of their wicked words barked by Will (“Behold displacement, cremation / Rising from devastation / From embers of creation unto death / All shall return”) masterfully embraced by an unstoppable sonic attack by his bandmates, or in other words, it’s Symphonic Deathcore played to perfection. Then get ready for a truly unique experience to the superb “Pain Remains Trilogy”, which begins with Pain Remains I: Dancing Like Flames, where the sound of the falling rain enfolds our souls before exploding into visceral, caustic Deathcore. Moreover, Austin is simply fantastic behind his drums, leading his bandmates until the music flows into Pain Remains II: After All I’ve Done, I’ll Disappear, even more violent and crushing than the first part, with Will being on absolute fire throughout the entire song as well as the band’s guitar duo with their razor-edged riffs and solos. Then closing the trilogy (and the album) we have Pain Remains III: In a Sea of Fire, another masterpiece by Lorna Shore where the energy emanating from the music is immensurable, and don’t forget to check the official videos for the trilogy in the correct order to be properly hypnotized by their depth, their emotions and, of course, by their incredible music.

You can dive deep into the ocean of first-class Deathcore blasted by Lorna Shore in Pain Remains by listening to the album in its entirety on YouTube and on Spotify, and also by following such skillful band on Facebook and on Instagram for news, tour dates and so on. In addition, above all that, you should definitely grab your favorite version of Pain Remains by clicking HERE, adding to your personal collection one of the deepest and most dynamic albums of the past few years. Having said all that, let’s simply dance like flames in a sea of fire to the sound of Pain Remains, resting assured that as long as Lorna Shore keep delivering first-class music like what’s found in their new album, Deathcore will forever remain strong.

Best moments of the album: Welcome Back, O’ Sleeping Dreamer, Wrath, and obviously the “Pain Remains Trilogy” comprised of Pain Remains I: Dancing Like Flames, Pain Remains II: After All I’ve Done, I’ll Disappear and Pain Remains III: In a Sea of Fire.

Worst moments of the album: None.

Released in 2022 Century Media

Track listing
1. Welcome Back, O’ Sleeping Dreamer 7:21
2. Into the Earth 5:12
3. Sun//Eater 6:10
4. Cursed to Die 4:40
5. Soulless Existence 7:12
6. Apotheosis 4:54
7. Wrath 4:57
8. Pain Remains I: Dancing Like Flames 5:52
9. Pain Remains II: After All I’ve Done, I’ll Disappear 5:36
10. Pain Remains III: In a Sea of Fire 9:12

Band members
Will Ramos – vocals
Adam De Micco – guitar
Andrew O’Connor – guitar
Michael Yager – bass
Austin Archey – drums

Concert Review – Trivium (Rebel, Toronto, ON, 10/25/2022)

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The awesome night where Trivium switched from being an Orlando band to a Toronto band. 

OPENING ACT: Khemmis, Whitechapel and Between The Buried And Me

My last concert of such intense month of October couldn’t have been any better, as the city of Toronto hosted a fantastic night of modern-day metal with the Deadmen And Dragons Tour at Rebel, with the bands KHEMMIS, WHITECHAPEL, BETWEEN THE BURIED AND ME and the al-freakin’-mighty TRIVIUM proving that heavy music is still alive and kicking as opposed to what several “experts” say about it. It was a very comfortable night temperature-wise and the venue is awesome for concerts like that, with the only problem being as always their parking lot, which made several fans wait for over one hour to be able to get out of it as soon as the concert was over. Well, it is what it is, so let’s focus on the music which is what really matters in the end.

The first band to hit the stage at around 6:55pm was Denver, Colorado-based Doom Metal act KHEMMIS, which also opened for Mastodon and Opeth a few months ago, still promoting their 2021 album Deceivers. Their setlist might have been short but it was very cohesive and electrifying, inspiring an already big crowd to slam into the pit to their doomed and heavy creations. It was my second time seeing Khemmis, this time from the very beginning, and not only I must say I was impressed with their energy throughout their entire set last night, but I also think everyone at the venue felt the same chemistry with the band. If that’s not an invitation for Khemmy to keep coming back to Toronto, I don’t know what would be.

Setlist
Avernal Gate
Three Gates
Sigil
Isolation
A Conversation with Death

Band members
Ben – vocals, guitars
Phil – vocals, guitars
David Small – bass
Zach – drums

After a quick bathroom/beer break, Knoxville, Tennessee’s own Deathcore outfit WHITECHAPEL began their sonic attack for the delight of several diehard fans of the band at Rebel, and it was indeed a ferocious performance by frontman Phil Bozeman and his horde. From the opening tune I Will Find You, from their 2021 album Kin, to the closing moments of Doom Woods, Whitechapel drove the fans insane into the pit, with the whole band sounding on absolute fire specially during newer songs the likes of Lost Boy and A Bloodsoaked Symphony. Excellent performance by a band that I’ve never been into that much, but that I will surely give a few more listens in more detail in the near future.

Setlist
I Will Find You
Anticure
Lost Boy
Orphan
This Is Exile
A Bloodsoaked Symphony
Doom Woods

Band members
Phil Bozeman – vocals
Ben Savage – lead guitars
Alex Wade – guitars
Zach Householder – guitars
Gabe Crisp – bass
Ernie Iniguez – drums

The most “meh” moment for me of the entire night was the performance by Raleigh, North Carolina-based Progressive Metal band BETWEEN THE BURIED AND ME, which despite being very technical and precise in what they do, their setlist sounded a bit confusing and tiresome. The songs Revolution in Limbo and Never Seen/Future Shock, from their latest album Colors II, were played to perfection, but at least for me they lack that spark or special element that would make them truly entertaining live. There were a lot of BTBAM fans at the venue enjoying the show, though, maybe due to a different type of connection they have with the band, but as I said several people at the venue didn’t enjoy the band as much as they had fun with Whitechapel.

Setlist
Sun of Nothing
Revolution in Limbo
Extremophile Elite
Never Seen/Future Shock
The Future Is Behind Us

Band members
Tommy Giles Rogers – lead vocals, keyboards
Paul Waggoner – lead guitar, backing vocals, additional lead vocals
Dustie Waring – rhythm guitar, additional lead guitar
Dan Briggs – bass, keyboards
Blake Richardson – drums, backing vocals, additional lead vocals

TRIVIUM

Finally, at around 9:50pm, the lights went out and the DJ played Iron Maiden’s hit Run to the Hills through the speakers, inspiring everyone at Rebel to sing its iconic lyrics as a cool warmup for Orlando, Florida’s own Heavy Metal institution TRIVIUM. It was a nice moment for me personally as I had just seen Iron Maiden live in Newark last Friday, so that “bridge” from one band to another sounded really awesome to my ears. Then after the intro IX, Matt Heafy, Corey Beaulieu, Paolo Gregoletto and Alex Bent began kicking some serious ass with the excellent What the Dead Men Say, winning the hearts of everyone at the venue instantly.

In case you might be asking yourself why the tour is called Deadmen And Dragons Tour, that’s because when What The Dead Men Say was released back in 2020 we were in the middle of the pandemic, so there wasn’t a proper tour to promote that album before they released in 2021 the brilliant In the Court of the Dragon. That being said, their setlist was a fusion of both albums with a few old school hits the likes of Like Light to the Flies and To the Rats, resulting in a much better and obviously longer setlist than the one they played in Toronto opening for Lamb of God and Megadeth back in May.

Matt was really, really excited with the amount of people that went to see them last night and of course with the warm reception they had, reminding us all about their early days when no one knew what Trivium were in Canada. He kept saying in between songs he’s amazed with what the band and their Torontonian fans have built together, saying the crowd was so rowdy and vibrant to the point Trivium could switch from being an Orlando band to a Toronto band. I have no idea how loud their fans were in Calgary and other Canadian cities, nor how loud they’ll be tonight in Montreal, but yesterday was indeed a very special night for the band based on all mosh pits, screams and horns raised while they played pulverizing songs such as Amongst the Shadows & the Stones, In the Court of the Dragon and A Gunshot to the Head of Trepidation, which by the way wasn’t played in most (or any) of their dates this tour.

By the way, Matt asked the band to stop playing In the Court of the Dragon right in the middle of it due to two stupid idiots that were about to start a fight in the circle pit. He asked them to split and stop with the fighting just like what he tells his four year-old twins, which was a funny moment that I’m sure no one at the venue will ever forget, in special those two idiots. Another thing that I find impressive is that their fans love their newest songs just as much as their old ones, with The Heart From Your Hate being one of the most special moments of the night alongside Shogun and In Waves. So now as promised, Matt, as Trivium “became” a Toronto band we want to see you guys playing ten or more concerts only in Ontario on the next tour, alright? We will be waiting for you with open arms, no doubt about that.

Setlist
Run to the Hills
IX
What the Dead Men Say
Into the Mouth of Hell We March
The Sin and the Sentence
Like Light to the Flies
Amongst the Shadows & the Stones
Chaos Reigns
The Shadow of the Abattoir
X
In the Court of the Dragon
To the Rats
The Heart From Your Hate
Shogun
A Gunshot to the Head of Trepidation
Capsizing The Sea
In Waves

Band members
Matt Heafy – lead vocals, guitar
Corey Beaulieu – guitar, backing vocals
Paolo Gregoletto – bass guitar, backing vocals
Alex Bent – drums, percussion

Album Review – Heiden / Andzjel (2022)

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Wandering across different genres and inspirations, this Czech Progressive Black Metal entity offer in their ninth studio album a stunning view of the inhospitable beauty of the White Carpathians.

Having started up in 2003 as a Pagan Black Metal band, Brno, Czech Republic-based Progressive Black Metal entity Heiden wanders across different genres and inspirations, returning now in 2022 to a Dark Metal sound with their newborn opus entitled Andzjel, or “angel” in English, their ninth studio album expanding the perspectives of their audience base through dark, elegant and atmospherically authentic music. Mixed and mastered by Karl Daniel Lidén at Tri-Lamb Studio, and displaying a classy artwork taken from the personal collection of inhabitants of the Žítková village and repainted by Luděk Řezáč, Andzjel presents seven songs thematically set in the inhospitable beauty of the White Carpathians, offering an insight into the souls of the local people, sharing the soil, blood, healing and knowledge passed down through generations, showcasing not only the talent but also the deep connection the band comprised of vocalist, guitarist and bassist Kverd, guitarist Tom, keyboardist Werlinga and drummer Einsk have with their homeland.

The strident guitars by Kverd and Tom ignite the imposing opening tune Nevěřím těm očím (“I can’t believe those eyes” from Czech), blending elements from Progressive and Symphonic Black Metal and, consequently, generating a Stygian atmosphere perfect for the cryptic gnarls by Kverd; and switching gears to a more melodic and melancholic vibe we’re treated to V hodině vlka (“in the hour of the wolf”), getting closer to modern-day Post-Metal while Einsk does a beautiful job with his minimalist beats and Werlinga’s keys embellish the airwaves in great fashion. Continuing to showcase their more Jazz-ish side, Musím ti tolik říct (“I have so much to tell you”) brings to our ears another ass-kicking round of keys by Werlinga accompanied by the classy guitars by Kverd and Tom, followed by Září (“September”), as wicked and obscure as its predecessors, sounding very detailed and enfolding from the very first second with Eisnk alternating between shee violence and more intimate, rhythmic beats, resulting in a lecture in Post-Metal infused with tons of progressiveness.

Sviť, měsíčku, jasno, an adaptation of a Moravian folklore song from the Kopanice region that means “shine, moon, clear”, brings forward two and a half minutes of experimentations and eerie sounds, which could have been extended to something more complete instead of working as just an interlude, though, whereas Běsů se nezbavíš, or “you can’t get rid of demons”, is another solid hybrid of Progressive Metal and Post-Rock and Metal, at the same time soothing your soul before smashing you with a visceral sonic attack led by the devilish vocals by Kverd. Lastly, the quartet will captivate our senses once again in Patřím sem (“I belong here”), with Werlinga and Eisnk being  in absolute sync with their respective keys and beats, not to mention how caustic the guitars by Kverd and Tom sound, consequently putting a dark and climatic ending to the album.

If you want to know more about Heiden, get in touch with the band and show them all your support, you can start following them on Facebook and on Instagram, subscribe to their YouTube channel and stream their unique creations on Spotify, and above all that, purchase a copy of Andzjel from their own BandCamp page or webstore, or simply click HERE to get fully immersed in the obscure realm of Heiden. The phenomenon of the Žítková goddesses, which the postwar totalitarian regime permanently eradicated, is still present in Andzjel, inviting us all to learn more about the history of the Czech Republic while enjoying the first-class experimentations by those four skillful musicians, proving the Czech underground scene is and will always be a fantastic source of great music.

Best moments of the album: V hodině vlka, Září and Běsů se nezbavíš.

Worst moments of the album: Sviť, měsíčku, jasno.

Released in 2022 Magick Disk Musick

Track listing
1. Nevěřím těm očím 5:57
2. V hodině vlka 5:37
3. Musím ti tolik říct 4:18
4. Září 5:34
5. Sviť, měsíčku, jasno 2:25
6. Běsů se nezbavíš 3:51
7. Patřím sem 5:07

Band members
Kverd – vocals, guitars, bass
Tom – guitars
Werlinga – keyboards
Einsk – drums