Tag Archives: progressive metal

Metal Chick of the Month – Mariia “Masha” Dementieva

Posted on by
Reply

Raise some hell, our true Lady Evil!

Are you ready to scream and roar together with our metal chick of the month of April in the name of darkness and evil, here on The Headbanging Moose webzine? If you’re a fan of the blasphemous, obscure and absolutely awesome music played by renowned acts like Behemoth, Septicflesh and Kaoteon, among many others, you’ll fall in love with the talent and beauty of Mariia “Masha” Dementieva, also known as simply Masha (or even  Mary Crematorium in a not-so-distant past, and if you prefer, Мария Дементьева in her mother tongue), the unrelenting frontwoman for Ukrainian Blackened Death Metal horde Nordwitch. That, of course, if you come from another galaxy or dimension and haven’t listened to Nordwitch’s sulfurous music yet, because if you’re from this planet I’m sure you’re already addicted to Masha’s demonic growling.

Although there’s isn’t much available online about Masha’s personal life (apart from many awesome photos from her career as a model, photo model and alternative tattoo model), you can still enjoy a good amount of information from her ass-kicking Kyiv-based band Nordwitch, formed in 2015. Singing about some very interesting topics such as satanism, occultism and ancient Scandinavian mythology, Nordwitch bring forth a flammable fusion of Black and Death Metal in their music, offering tons of melody amidst a brutal sonic devastation. The name Nordwitch, according to Masha herself, is the band’s representation of the mysticism and mystery of Scandinavian witches with a hint of female sexuality, which by the way matches perfectly with her diabolical vocal style. As a matter of fact, before becoming Nordwitch, Masha and the rest of the band, guitarists Max and Leo and bassist Max Senchilo, were all part of a Symphonic/Progressive Metal band named Crystalnight, where Masha was not their vocalist, but their keyboardist. If you’re curious to know how Masha and her bandmates used to sound before morphing into the dark beast known as Nordwitch, you can take a listen at some of their songs from their ReverbNation profile, such as Dark Angel and the original version of Nordwitch’s crushing tune Lady Evil.

In addition, not only Masha spearheads her horde of Blackened Death Metal in Nordwitch, but she was also one of the producers of their 2016 opus Mørk Profeti together with the other members of the band. You can listen to their pulverizing album in full on YouTube, and raise your horns to amazing songs like the aforementioned Lady Evil and Messiah of Death, or search for some live footage online like this one where the band is playing Lady Evil live at MHM – Metal Head’s Mission Festival in 2018. Furthermore, don’t forget to buy your copy of the album at the Satanath Records BandCamp, to subscribe to the band’s YouTube channel (where you can find for example a fun and raw version of the song No Regret live in Kyiv, Ukraine in 2016), follow them on VKontakte, and listen to more of their music through their ReverbNation and SoundCloud profiles. Who doesn’t enjoy listening to some brutal metal music like this remastered live version of Messiah of Death, right?

This slideshow requires JavaScript.

In regards to her idols and main influences in music and in life in general, Masha said in one of her interviews that not only herself but all of her bandmates are inspired by mysticism, occultism and several other eccentric topics when writing their music, always trying to make their sound as unique as possible. As the main founder and central figure of Nordwitch, a project that was originated inside her pagan mind, Masha is obviously influenced by all classic Black Metal bands, such as Mayhem, Watain and Bathory, which she’s been a fan since she was a teenager, and you can see how much she’s passionate about such controversial but fantastic subgenre of heavy music by visiting her official Instagram account and searching for her personal videos playing several Black Metal classics on the piano and keyboard. For instance, take a very good listen at her delicate but at the same time piercing piano versions for Burzum’s Dunkelheit and Han Som Reiste, Dark Funeral’s Stigmata, Dissection’s Where Dead Angels Lie and Thorns Of Crimson Death, and Shining’s Tillsammans Är Vi Allt, among others, as well as non-Black Metal hymns like Type O Negative’s Love You To Death. In addition, she mentioned in an interview that she’s also influenced by classical music and Scandinavian folk music, which kind of explains her passion for the piano, and that Runhild Gammelsæter, a Norwegian musician notable for being the vocalist for the American bands Thorr’s Hammer and Khlyst, is her favorite female metal singer of all time, complementing by saying that she cannot choose only one male singer as her favorite, though, as there are too many.

When asked about her hobbies outside of music, Masha listed a few very interesting and healthy activities, like working out and practicing sports, modeling and photography, also mentioning her interest in satanism, occultism and the mythology of ancient Scandinavia, which as aforementioned are the main topics covered in the music by Nordwitch. In addition, Masha said in one of her interviews she’s an apolitical person, as in her opinion true Black Metal has always been and will continue to be away from politics or anything related to it, being focused on religion and other more obscure topics. She also said that she had always dreamed about being in an Extreme Metal band like Nordwitch, but she wasn’t sure if that was going to actually happen one day, also saying she understands being a woman in a Black and Death Metal band from the underground scene is not easy at all, but that she won’t give up and keep on rockin’, always counting on the support form her family, friends and fans, aiming as high as possible with Nordwitch in the years to come. And we, true metalheads, will be ready to hail darkness and raise our horns together with the unstoppable Masha and her henchmen, no doubt about that.

Masha’s Official Instagram
NordWitch’s Official Facebook page
NordWitch’s Official VKontakte
NordWitch’s Official YouTube channel

Album Review – The Wandering Ascetic / Crimson (2019)

Posted on by
Reply

Drawing influences from the Hellenic Black Metal scene, here comes a Singaporean squad armed with their brand new album of dissonant and hypnotic sounds.

Formed in 2011 in Singapore by Kathir, vocalist and bassist for Rudra, an iconic Death and Black Metal act from the local scene, The Wandering Ascetic are making a name for themselves in the underground of heavy music by blasting a more exemplary black and thrash sonority without the Indian classical instruments seen in the music by Rudra, but still retaining their trademark spiritual fervor. Accompanied by guitarist Vinod (also from Rudra), bassist Jayakumar and drummer Kannan K, Kathir and his The Wandering Ascetic draw their influences from the Hellenic Black Metal scene (as well as obviously from Rudra), generating dissonant, hypnotic sound s infused with crushing riffs and grooves, elevating their music and art to a whole different level.

After the release of their debut EP titled Manifest Destiny, in 2013, it’s time for The Wandering Ascetic to smash our senses once again with their first full-length opus, the excellent Crimson, featuring a life-transforming artwork by Mark Riddick (Fetid Zombie) and layout by Turkka Rantanen (Demilich, Demigod). Comprised of 10 unrelenting songs ranging from pure old school Black Metal to modern-day Southern Rock and Groove Metal, Crimson is a solid and very entertaining statement by The Wandering Ascetic in a scene that seems stagnant at times, showing how powerful Singaporean metal can be and, as a consequence, opening several doors in the international market for the band.

Vinod begins his slashing attack accompanied by Jayakumar’s thunderous bass in Eva Braun, with Kathir roaring demonically for our total delight in a Black and Death Metal attack spiced up by hints of Progressive Metal, flowing darkly until its eerie end; then the tribal beats by Kannan K ignite another obscure composition named I Sing the Body Electric, showcasing an obscure rhythm inspired by old school Black and Doom Metal tailored for fans of the genre where the guitar lines by Vinod sound as flammable as they can be. Bringing elements form the music by Gojira, Mastodon and Tool we have the beautifully titled The Exorcism of Mrs. Doe, a very intricate and sulfurous tune where Jayakumar and Kannan K generate a dense and disturbing atmosphere with their weapons, followed by The Gods Bleed!, a song perfect for breaking your neck headbanging spearheaded by Vinod’s devilish riffs, while Kathir continues to vociferate like a demonic entity, not to mention how metallic and impactful Jayakumar’s bass punches sound and feel.

Beast of Burden presents more melody blended with sheer darkness in the form of modern-day Death and Black Metal, with Vinod being on absolute fire with his riffs and solos while the gnarls by Kathir only get more and more infernal, and The Wandering Ascetic keep hammering our heads with their crushing sonority in The Will to Live, where all four band members make sure we don’t stop banging our heads to their vicious music, with highlights to Kathir’s enraged growls and Vinod’s ass-kicking guitar solo. After such high level of devastation, it’s time to dive deep into the crypts of Hades with those Singaporean metallers in To Hell, Back and to Hell Again, a classic, straightforward metal extravaganza with elements from the dirty Rock N’ Roll played by bands like Motörhead and Chrome Division, which obviously means it kicks some serious ass.

Here for the Good Things keeps the album at a very good level of malignancy and hatred despite sounding a bit generic (or I should say less inspired than the other songs), with Vinod slashing his guitar in a very precise and aggressive manner; and the cutting sound of his guitar is once again the main ingredient in the visceral Assassins, displaying some hypnotizing instrumental parts, in special Vinod’s guitar solo, while Kannan K doesn’t let the energy go down by smashing his drums nonstop. Finally we have Orang Laut, an ominous and grim blast of extreme music highly inspired by classic Doom Metal, with Vinod and Jayakumar extracting the most Stygian sounds from their strings and with the music ending as dark as anyone can imagine.

It’s not always that we have the pleasure of facing high-end metal music from such distinct country, completely out of the North American and European markets, and we metalheads should not only thank The Wandering Ascetic for that by following them on Facebook, but mainly by purchasing their new album Crimson from their own BandCamp page, from the Transcending Obscurity webstore, or from other retailers like Target. Crimson might not be considered a true revolution in music, but the four guys from The Wandering Ascetic definitely put on a lot of energy, creativity and passion in the writing, composing and recording of the album to ensure they were not just playing “more of the same”. Quite the contrary, Crimson does sound very unique and compelling, elevating the name of Singapore in the world of heavy music and paving a very interesting future for the quartet.

Best moments of the album: I Sing the Body Electric, The Gods Bleed! and To Hell, Back and to Hell Again.

Worst moments of the album: Here for the Good Things.

Released in 2019 Transcending Obscurity Asia

Track listing
1. Eva Braun 5:18
2. I Sing the Body Electric 4:46
3. The Exorcism of Mrs. Doe 4:28
4. The Gods Bleed! 4:42
5. Beast of Burden 4:01
6. The Will to Live 3:15
7. To Hell, Back and to Hell Again 3:10
8. Here for the Good Things 4:10
9. Assassins 5:04
10. Orang Laut 3:12

Band members
Kathir – vocals
Vinod – lead & rhythm guitars
Jayakumar – bass
Kannan K – drums

Album Review – DeeVer / You Need This (2019)

Posted on by
Reply

If you also think Rock N’ Roll is not dead and you enjoy all modern shapes and forms of the genre, you definitely need this album made in the UK.

Hailing from Darlington, a large market town in County Durham, in North East England, Deever are a modern Hard Rock band with Heavy Metal influences who are making a name for themselves in their homeland, delivering an onslaught of aggressive riffs and captivating hooks with a distinct British edge highly recommended for fans of Foo Fighters, Muse, Shinedown and several other bands that play a heavier version of our good old Rock N’ Roll. Now in 2019 it’s time for vocalist and guitarist Wil ‘Billy’ Taylor (from Inglorious) together with his henchmen Stevie Stoker on the guitar, Phil Appleton on bass and Dan ‘Higgy’ Higgins on drums to show us what they got with their debut album, titled You Need This, all in the name of rock and metal music.

“I love the classics when it comes to rock music, and I’ll always appreciate my time with Inglorious. All of the guys are extremely talented musicians and we shared some things most people don’t get the opportunity to do. Things change though, and I knew I wanted to do something different that suited me, something more contemporary based musically. Now I’m in a band back home with some of my best mates, hammering out the hard stuff and having a great time doing so. It’s reminded me of all the reasons why I wanted to do music in the first place! We all love what we are doing and are very excited for where DeeVer is heading,” commented Billy about his new band and what to expect when you hit play and let the music found in You Need This invade your senses.

Rev up your engines to the sound of the dirty riffs by Billy and Stevie, who lead a Stoner Metal and Hard Rock onrush of sounds titled Fire At Will, a song perfect for sharing a beer with your friends at a rock n’ roll pub while Higgy pounds his drums like a beast. Then Phil shakes the foundations of the earth with his groovy bass, igniting another modern and vibrant rockin’ party entitled All Come Running, with its guitars and bass walking hand in hand, therefore generating a fun atmosphere for our total delight; and it’s Phil who once again kicks things off in the also thrilling Alright, a well-balanced and dense mix of Hard Rock and Rock N’ Roll infused with Southern Rock, Grunge and even Progressive Metal nuances, or in other words, a born-to-be-a-radio-hit beautifully crafted by the quartet.

Back Down presents hints of Glam and Hair Metal but without sounding cheesy at all; quite the contrary, it’s a vibrant feast of razor-edged riffs and rhythmic beats perfect for dancing the night away, with Billy kicking some ass with his spot-on vocals, whereas in Waves the band speeds things up a bit, even bringing elements from Punk Rock to their sound, with Billy, Stevie and Phil being on fire with their stringed weapons while Higgy keeps the energy level truly high through his precise beats. And the party goes on with Parachute, where a headbanging start gradually morphs into a more melodic musicality, alternating between heavier and more serene passages (which is also reflected in Billy’s vocals), getting too radio-friendly at times but still very enjoyable; and back to a more aggressive, rockin’ attitude, the band offers our avid ears the fast and punk-ish Only Enemy, where Billy’s vocals get an amazing support from the backing vocals by the rest of the band, while the song’s slashing riffs and thunderous bass punches will pierce you head, reaching deep inside your mind.

Drinking from the fountain of Alternative Rock and Metal, Phil and Higgy build a rumbling background for Billy and Stevie to attack with their stringed weapons in We Are, setting the tone for the next tune, simply titled Jim, a fast-paced, straightforward Rock N’ Roll composition tailored for fans of bands like foo Fighters and Breaking Benjamin where the sound of guitars nicely complements the precise vocals by Billy. Put differently, it could easily be part of the soundtrack of any teen or rock n’ roll movie in my humble opinion. Lastly, I Am The Cavalry, the closing song of the album, brings more of the band’s modern-day Hard Rock, being led by Higgy’s potent beats while the rest of the band continues to extract sheer electricity and thunder from their strings.

In a nutshell, if you’re a fan of both old school and contemporary rock music, as the title itself already says, “you need this” album in your collection, and in order to grab your copy of such electrifying display of modern-day heavy music simply go to the band’s Big Cartel, to iTunes or to Amazon, and show your support to DeeVer by following them on Facebook and by listening to their music on Spotify. Billy and the boys did an amazing job in You Need This, proving one more time that as long as there are people out there who love, live and breathe rock and meta; like the guys from DeeVer, Rock N’ Roll will never die.

Best moments of the album: All Come Running, Back Down and Only Enemy.

Worst moments of the album: Parachute.

Released in 2019 Independent

Track listing
1. Fire At Will 3:47
2. All Come Running 3:45
3. Alright 3:44
4. Back Down 3:44
5. Waves 3:24
6. Parachute 3:44
7. Only Enemy 3:30
8. We Are 3:26
9. Jim 3:33
10. I Am The Cavalry 3:50

Bonus track
11. Only Enemy (Radio Edit) 3:27

Band members
Wil ‘Billy’ Taylor – vocals, guitar
Stevie Stoker – guitar, vocals
Phil Appleton – bass, vocals
Dan ‘Higgy’ Higgins – drums

Album Review – Orchid / Miasma (2019)

Posted on by
Reply

Immerse yourself in the debut full-length opus by four Indian metallers who are not afraid to experiment with the new and the unknown, always ready to push their own boundaries in heavy music.

Formed in late 2011 in Bangalore (also known as Bengaluru), the capital of India’s southern Karnataka state, Avantgarde/Progressive Metal entity Orchid is a four-piece band comprised of Kaushal on vocals, Vinay on the guitar, Rahil on bass and Mayur on drums that plays a dense and very distinct blend of Heavy Metal with several other genres and styles such as Progressive Rock, Hardcore and Psychedelic Rock leanings (as well as Mathcore), pushing the boundaries of heavy music in the subcontinental underground and remaining one of the most original bands to emerge from the region.

In 2016, Orchid released their much-awaited self-titled debut EP to critical acclaim with Rolling Stone India calling it “one of the best cult classics of 2016” and “one of the most intriguing metal releases of the year”, inspiring the guys to keep moving forward and keep spreading their distinguished music to all four corners of the earth with their debut full-length opus Miasma, an album tailored for fans of bands like Dillinger Escape Plan, Gorguts and Frank Zappa, among others. Unlike their previous EP, which touched upon themes of techno-surrealism, Miasma is more straightforward with sociopolitical themes, with the artwork, done by the band’s own drummer through Copycat, containing elements from every song on the album.

An enraged scream by Kaushal kicks off the low-tuned, sluggish and heavy-as-hell opening track Obsolescence, with Vinay delivering lancinating riffs while Mayur brings tons of intricacy and dementia to the musicality with his beats, remaining crazy, vibrant and unique from start to finish, whereas in Solipsist we’re treated to two and a half minutes of top-notch Progressive Metal where Kaushal growls and roars manically while Vinay and Rahil give a lesson in progressiveness and heaviness with their stringed weapons. Then we have Master Supreme, a short and sweet headbanging tune led by the crushing drums by Mayur, bringing to our avid ears the most insane elements from Progressive and Groove Metal. “The song is about the pervasive influence and the growing epidemic of gurus/godmen and their cults in Indian society as well as abroad. Religion and spirituality is the biggest scam in the world; and because we live in India, we have a front-row seat to the circus,” commented the band about this austere and captivating song.

After the shortest song of the album, it’s time for the longest one, titled Dead End, offering seven minutes of insanity, rage and eccentricity. In other words, a full-bodied sonic extravaganza full of breaks and variations, not to mention the beautiful Jazz-inspired passage featuring guest Aadarsh Subramaniam and his old school keyboard solo, building an instant bridge to the also pulverizing Identoid, where Rahil extracts truly thunderous roars from his bass while Mayur and Kaushal “duel” to see who’s the most aggressive and demented one, maintaining the album at a high level of ferocity and intricacy. Following such fun tune we have Sugar Pill, showcasing the most progressive of all starts but quickly morphing into a sonic onrush of crisp guitar riffs, Hardcore-inspired drums and raspy growls, fading into a very alternative and sluggish outro, before Zero-Sum Game comes crushing like a thunderbolt, already beginning in full force and bringing a violent Kaushal on vocals, while Vinay keeps firing his classic and slashing guitar lines in a lesson in modern-day Progressive Metal with Avantgarde Metal and Mathcore nuances. Lastly the band offers us all Disassembly Line, not as vibrant and crushing as all previous songs but still a good sample of all the madness the quartet can blast through their music, with highlights to the once again amazing job done by Mayur on drums.

In a nutshell, the guys form Orchid were able to condense all their skills, influences and rage in a very intricate and solid way throughout Miasma, placing their brand new album as a fresh option for fans of heavy music who are always in pursuit of bands that think outside the box and that are not afraid to experiment with the most distinct music styles and genres. Having said that, what are you waiting for to show your support to those Bangalore-based metallers? Go check what they’re up to on Facebook, subscribe to their YouTube channel for more of their music, and purchase Miasma directly from their BandCamp page as well as from Instamojo. I bet you’ve never thought metal music made in India could sound so insane and eccentric like this, right?

Best moments of the album: Obsolescence, Dead End and Zero-Sum Game.

Worst moments of the album: Disassembly Line.

Released in 2019 Independent

Track listing
1. Obsolescence 5:54
2. Solipsist 2:34
3. Master Supreme 1:10
4. Dead End (feat. Aadarsh Subramaniam) 6:59
5. Identoid 2:47
6. Sugar Pill 4:22
7. Zero-Sum Game 4:32
8. Disassembly Line 3:48

Band members
Kaushal – vocals
Vinay – guitars
Rahil – bass
Mayur – drums, percussion

Guest musician
Aadarsh Subramaniam – keyboard solo on “Dead End”

Album Review – Tragacanth / The Journey of a Man (2018)

Posted on by
Reply

Follow the tale of a young man’s downward spiral into the abyss to the sound of the symphonic and progressive devastation blasted by this excellent Dutch quintet.

If you’re familiar with the work by Dutch Symphonic/Progressive Black/Death Metal act Tragacanth, having already listened to their 2015 debut full-length album Anthology of the East, you know how those five skilled metallers love to blend their entrancing melodies and symphonic sections with lyrical themes ranging from spiritual wars to mythical creatures, telling the tales of ancient Babylonian times. Now in 2018 it’s time for the band comprised of Terry Stooker on vocals, Erik Brouwer and Adrian Neagoe on the guitars, Mark Oosterbaan on bass and Jasper van Minnen on drums to strike once again with their sophomore opus entitled The Journey of a Man, this time showcasing a lyrical mix between mythological and purely personal topics, being recommended for fans of cult acts such as Nile, Carach Angren, Dimmu Borgir and Behemoth.

Formed in 2014 in Utrecht, a city in the central Netherlands that has been a religious center for centuries, Tragacanth are one of those bands that do not just create music, spicing up their creations with a fantastic storytelling, and their new album is the perfect depiction of their highly-developed musical and lyrical skills. “From the mystical, enigmatic Far East covered in Anthology of the East, this time we travel to Ancient Greek times where a young man finds out he is to perish soon. Wandering the complex maze of emotions and disease running through his veins, The Journey of a Man tells the tale of his downward spiral into the abyss,” commented the band about their newborn spawn, inviting us all to join this young man in his personal and very obscure journey.

Enter the ominous realm of Tragacanth to the sound of the eerie opening track Survival: Stagnate Reality, a lot more progressive than symphonic I might say, with the band’s guitarists Erik and Adrian giving a lecture in Progressive Death Metal, sounding utterly insane, heavy and intricate. And their creepy guitars and bass lines dictate the rhythm in Denial: They are Mistaken, where Terry sounds diabolical with his gnarling in a brilliant fusion of the Symphonic Black Metal by Dimmu Borgir with the Progressive Death Metal by bands like Augury and Virulent Depravity; followed by Anger: Kitrine Chole, a beautiful devastation blasted by Tragacanth where its bass lines will tremble inside your head while Jasper smashes your skull with his complex and powerful beats, not to mention how demonically Terry vociferates the song’s insane lyrics (“A black haze thwarts / My vision’s blurred / Sever the chains / Composure can’t hold / This pent up energy / The rage breaking free / The walls imploding destroying all what once was”).

Their demented feast of Progressive Death Metal and Symphonic Black Metal goes on in the pulverizing Depression: Waning Light, featuring the angelical voice of Romanian vocalist Manuela Marchis, and where the drums by Jasper sound heavier than hell while Terry keeps growling and screaming rabidly, turning it into my favorite song of the album by far.  Then not ready to accept his fate, the man turns to the gods, with the path leading him to Hades, god of the underworld, Thanatos, the personification of death, and eventually to those cruel sisters of fate, the Moirai, resulting in the vibrant Bargaining: Will You Answer Me?, featuring guest vocalist Rik van Schaaik in the role of Hades and Thanatos, among other additional vocal lines, with the music being as infernal and complex as its predecessors thanks to the impressive job done by Erik, Adrian and Mark with their stringed weapons. And a cryptic, Middle-Eastern beginning evolves into a dense and impactful display of Progressive Metal in Nightmare: The Vision, with highlights to its mesmerizing bass punches and ass-kicking drums, ending in a very symphonic and captivating manner.

Once again drinking form the fountain of modern-day Progressive Death Metal, get ready to have your spinal cord broken in half to the brutal headbanging tune Acceptance: My Destiny Awaits, with the guitars by Erik and Adrian bringing a touch of delicacy to this sonic demolition, and their onrush of berserk and intricate sounds goes on in Suffering: The Essence Implodes, where Terry roars like a demon while Jasper shows no mercy for his drums (nor for our necks), also bringing the most pulverizing elements from Death and Black Metal thoroughly added to the musicality. Lastly, darker and more introspective than all previous songs we have Death: Journey’s End, closing the album on a Stygian note, with Erik and Adrian stealing the spotlight with their slashing riffs and soulful solos, not to mention all the poetry flowing form the song’s lyrics (“Let go / Enclaved by the river Styx / Lies a tomb for me / My celestial sanctuary / Let go / An eternal resting place / All alone and forgotten /The Asphodel Meadows”).

As already mentioned, Tragacanth are not your average metal band, being true masters in blending heavy music with a deep and detailed background story, always keeping in mind the band has only a couple of years of existence (which means they still have a lot to grow in the coming years). Hence, The Journey of a Man, available for a full listen on YouTube and on sale from several different locations such as their own BandCamp, the Pest Records’ BandCamp, the Loud Rage Music webstore, iTunes, Amazon and Discogs, is a fantastic materialization of that impressive ability by those four Dutch metallers, beautifully taking us down into the abyss together with the  album’s main character.

Best moments of the album: Anger: Kitrine Chole, Depression: Waning Light and Acceptance: My Destiny Awaits.

Worst moments of the album: Suffering: The Essence Implodes.

Released in 2018 Pest Records

Track listing  
1. Survival: Stagnate Reality 5:24
2. Denial: They are Mistaken 7:21
3. Anger: Kitrine Chole 4:25
4. Depression: Waning Light (feat. Manuela Marchis) 8:40
5. Bargaining: Will You Answer Me? (feat. Rik van Schaaik) 4:36
6. Nightmare: The Vision 4:54
7. Acceptance: My Destiny Awaits 5:18
8. Suffering: The Essence Implodes 4:55
9. Death: Journey’s End 6:34

Band members
Terry Stooker – vocals
Erik Brouwer – guitars
Adrian Neagoe – guitars
Mark Oosterbaan – bass
Jasper van Minnen – drums

Guest musicians
Manuela Marchis – vocals on “Depression: Waning Light”
Rik van Schaaik – vocals on “Bargaining: Will You Answer Me”

Album Review – Depths Above / Ex Nihilo (2018)

Posted on by
Reply

Crafting Black and Doom Metal “out of nothing”, this Brno-based band is here to introduce us all to their gloomy vision of underground metal with their debut album.

Ex nihilo is a Latin phrase meaning “out of nothing”, often appearing in conjunction with the concept of creation, as in creatio ex nihilo, meaning “creation out of nothing”, chiefly in philosophical or theological contexts, but also occurring in other fields. It’s with that concept in mind that Depths Above, a Czech Black/Doom Metal band formed in 2015 in the city of Brno by current and former members of the bands Bhagavat (Italy), Desert Witch (Slovakia) and Inferno (Czech Republic), are releasing their debut installment, the 32-minute 4-track album Ex Nihilo, introducing us all to their gloomy vision of underground metal in which genres like Black, Death and Doom Metal mix in various dosages and moods. The wicked album artwork, created by the band’s own vocalist and guitarist Vama Marga, is a very good indication of what to expect from Vama together with guitarist Dreamancer, bassist Ivan Teleranko Dvorsky and drummer Sarapis, but it’s when you hit play that you’ll actually be able to feel all the madness and fury flowing from their distinguished music.

Ominous and cavernous sounds ignite the Black and Doom Metal aria Here and Everywhere, morphing into a gargantuan feast of extreme sounds led by Sarapis’ frantic drums and Vama’s and Dreamancer’s choleric riffs, before Vama begins growling like a demonic entity. And the music remains menacing and austere until its Stygian finale, being flawlessly followed by the flammable The Descent, where Ivan and Sarapis make the ground rumble with their thunderous instruments, being perfect for breaking your neck headbanging. Furthermore, the music gets more atmospheric and eccentric as time goes by, also showcasing a beautiful and impactful work done by the band’s devilish guitar duo.

Almost tribal, but always hypnotizing and obscure, A Prayer presents Vama, Dreamancer and Ivan complementing Sarapis’ nocturnal beats flawlessly with their piercing and dense strings in an instrumental extravaganza of Blackened Doom and classic Doom Metal, infused with elements from Progressive Metal the likes of Tool and Mastodon; whereas the title-track Ex Nihilo closes the album as demented and vibrant as the other songs in the form of a massive wall of darkened sounds spearheaded by Vama and his enraged roars. Moreover, it’s by far the most Black Metal of all songs, spiced up by the utter melancholy and anguish of Doom Metal, without a single space being left empty, invading your ears mercilessly and therefore closing the album on a high, cryptic and malevolent note.

You can get in touch with the talented Vama and his henchmen through their Facebook page, and grab your copy of Ex Nihilo exclusively from their BandCamp page. As aforementioned, Ex nihilo means “creation out of nothing”, and Depths Above explored that concept to perfection when creating the music found in their new album, showing the world the band is here to stay, proudly carrying the flag of Black and Doom Metal as high as the sun, but of course with their hearts and minds being as blackened as extreme music demands.

Best moments of the album: The Descent and Ex Nihilo.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Here and Everywhere 7:30
2. The Descent 7:04
3. A Prayer (Instrumental) 7:31
4. Ex Nihilo 9:04

Band members
Vama Marga – vocals, guitars
Dreamancer – guitars
Ivan Teleranko Dvorsky – bass
Sarapis – drums

Album Review – Hesperian Death Horse / Živ (2018)

Posted on by
Reply

The Croatian avantgarde narrators of psychedelic, nihilistic poetry return with the second installment of their trilogy about the saga of birth, life and death of every being.

Since their inception in 2012 in the city of Zagreb, Croatia, the Avantgarde/Sludge/Post-Metal band known as Hesperian Death Horse has been a narrator of psychedelic, nihilistic poetry that sings the saga of birth, life and death of every being, each stage envisioned as a separate album forming a trilogy after which the band will have concluded the saga and will not create any further music. Death was the theme of their first album, entitled Mrtav (Croatian for “dead”), released in 2013, while now in 2018 the band has just released their second album Živ (Croatian for “alive”), having life as its central theme. Recorded at Kramasonik Studio in Zagreb during the summer of 2017 and featuring a beautiful and ominous artwork by Snjezana Mekic Delic, Živ will certainly stimulate your senses, reaching deep inside your mind and twisting your thoughts just the way we like it in experimental and avantgarde music.

Wicked, melancholic and distorted sounds and tones blasted by the guitar trio Dario Orac, Domagoj Zunic and Marko Galetic permeate the air in the opening track Saol (Part 1: Prizma), a somber and eerie Post-Metal tune where all vociferations blend flawlessly with the already creepy music, with drummer Ivan Kukuljevic going mental with his pounding beats. However, if you think the opening track wasn’t weird enough, get ready for an onrush of demented distortions in Elu (Part 2: Voda), where the entire band puts the pedal to the metal, making the music bolder and more progressive as time goes by. Moreover, bassist Slaven Jedvaj is absolutely on fire with his intricate punches, while Ivan adds his own dosage of complexity to the music, sounding like a fusion of the madness blasted by Faith No More with hints of Nirvana, Nine Inch Nails, Marilyn Manson and so on, showing how eccentric their music can be.

And their lunatic feast of tones and noises goes on in Hayot (Part 3: Mezanin), another solid creation showcasing nuances of the unparalleled Progressive Metal by Tool and Mastodon. One interesting fact about this song is that the vocal lines never get too heavy or piercing, remaining as dark as possible and consequently bringing even more insanity to the overall result, not to mention they’re not afraid at all to experiment with several distinguished elements from modern-day rock and metal music. Lastly it’s in Liv (Part 4: Horde) that they get to a whole new level of experimentations and craziness, bringing forth a multi-layered Sludge and Post-Metal extravaganza (spiced up by their characteristic cryptic vocalizations) where the band’s guitar triumvirate slashes their strings nonstop while Ivan showcases all his skills behind his drum set, with the music flowing in a very eccentric and fun manner until the end.

In summary, the unorthodox and freakish Živ (available for a detailed listen on YouTube) might not be an easy listen at first for the average rock and metal fan, but if you truly open your mind to the music by Hesperian Death Horse, especially if you listen to their debut opus and to Živ in a row without any interruptions, you’ll see how entertaining the whole experience can be. Don’t forget to check what they’re up to on Facebook and on YouTube, and also to purchase Živ from their own BandCamp page. Furthermore, the third and final installment of the trilogy, and also the band’s last album, will see the light of day in late 2020 and will be named Rodjen (Croatian for “born”), having obviously birth as its core theme, which means we don’t have a lot of time left to join this Croatian horde in their quest for avantgarde music. Well, at least we’ll have Mrtav, Živ and Rodjen to keep Hesperian Death Horse’s flame burning bright even after they become just a distant memory.

Best moments of the album: Liv (Part 4: Horde).

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Saol (Part 1: Prizma) 9:47
2. Elu (Part 2: Voda) 7:27
3. Hayot (Part 3: Mezanin) 6:31
4. Liv (Part 4: Horde) 6:19

Band members
Dario Orac – guitars, vocals
Domagoj Zunic – guitars, vocals
Marko Galetic – guitars, vocals
Slaven Jedvaj – bass
Ivan Kukuljevic – drums

Metal Chick of the Month – Brittney Slayes

Posted on by
2

There’s no hiding from her, she sees everything!

In order to properly celebrate nothing more, nothing less than FIVE years of The Headbanging Moose, there’s nothing better than paying a humble tribute to a true Warrior of the North as our metal chick of this month of October, a woman that perfectly represents all the passion, strength and perseverance from the people that make our beloved Canada one of the best places to live in the world. Born in 1985 in Vancouver, one of the most beautiful cities not only in the province of British Columbia but in the entire country, here comes the dauntless vocalist Brittney Slayes, whose real name is Brittney Hayes, frontwoman and founding member of Canadian Heavy Metal band Unleash The Archers, always ready to show you what metal music from the Great White North is all about.

The talented Brittney, who discovered her voice when she was five years old and began singing in her local community choir at the age of eight, traveled with several choirs during her school years, taking part in many musical theater productions and working with some of the best vocal coaches in Western Canada. In university, she attended the UVic School Of Music, but choosing instead to attain her undergraduate degree in History. Furthermore, during her time at the University of Victoria, she traveled the world as a member of the Juno Award-winning ensemble the Uvic Chamber Singers. As a UVic alumna and the lead singer of Victoria-born Unleash the Archers, Brittney gave a keynote talk on July 10, 2018 for UVic’s upcoming conference Boundaries and Ties: The Place of Metal Music in Communities, with her talk, entitled “View from the ‘Apex’: A Metal Musician’s Views on Metal and Community”, drawing on her firsthand experience with local, national, and international metal communities. And do you want to know what our metal warrior thinks about us, metalheads? “People are so open-minded. They’re not going to cast judgement and never give you a chance. From what I’ve seen, metalheads are very kind and caring and open-hearted. I just think that the metal community is uplifting, really,” said our wise vocalist.

Apart from her time singing with different choirs, our Canadian warrior had never been involved in any other bands or music projects before founding Unleash The Archers back in 2007 with her boyfriend and drummer Scott Buchanan, and according to Brittney herself starting the band was the best thing she could have ever done (and we all agree with that, of course), allowing her to use her background in classical music and her four octave range to provide a more dynamic approach to the band’s incendiary fusion of traditional Heavy Metal with Power and Melodic Metal. In late 2008, the band recorded a self-titled four-song demo, which featured two songs (Black Goat of the Woods and Destroyer) they would end up re-recording for their first studio album. In one of her interviews, Brittney explained a little more about the origins of the band, saying it all began when Scott, former guitarist Brayden Dyczkowski (who left the band in 2014) and herself were in university, when Scott and Brayden were playing in a Death Metal band together, and as the drummer’s girlfriend Brittney simply loved to go to their shows and rock out. When the band broke up, she called Brayden and asked him if he wanted to start a band with herself as the vocalist and Scott on drums, and from that day on Unleash The Archers became a reality, leading the band to grow and become a reference in Canadian metal music, winning the Best Metal Band and Best Vocalist awards during the 2015 Vancouver Whammy Awards, as well as being voted number 6 in Exclaim Magazine’s Readers Choice Awards for Best Metal Albums of 2009.

Apart from the aforementioned self-titled debut demo, Unleash The Archers have already released four full-length albums and one EP, those being their 2009 debut album Behold the Devastation (when she was still known as as B. Hayes), the 2011 album Demons of the AstroWaste, the 2012 EP Defy the Skies, the 2015 album Time Stands Still, and last year’s highly acclaimed opus Apex. Currently comprised of our Canadian Valkyrie of metal Brittney on vocals, Grant Truesdell and Andrew Kingsley on the guitars and harsh growls, and Scott Buchanan on drums, as well as Nick Miller taking care of the bass duties during their live performances, Unleash The Archers have a great selection of official videos, lyric videos and unofficial live footage for us to enjoy for hours on YouTube. For instance, you can join Unleash The Archers in their quest for metal with the songs Tonight We Ride, Ten Thousand Against One, Apex, General Of The Dark Army, Time Stands Still, Cleanse The Bloodlines, Awakening, The Matriarch and Dawn Of Ages. And if live concerts and performances are your cup of tea, you can enjoy Brittney and the guys kicking ass with the songs Dreamcrusher and Time Stands Still live in Montreal in 2015; General Of The Dark Army live at the Pont Rouge in Monthey, Switzerland  in 2016; an acoustic version of The Outlander recorded live at CHSR in New Brunswick with Matt Nightingale during the 2011 “Tour Through The AstroWaste”; and their full set during their 2015 appearance at ProgPower USA in 2015. When asked about her favorite Unleash The Archers songs, those she believes a newcomer to their metal world should definitely take a listen at, Brittney said she has always loved Battle In The Shadow (Of The Mountain), from their second album Demons of the AstroWaste, saying she has a strong emotional connection to that song, also including on the list Four In Hand, from their debut album Behold the Devastation, as it’s about sin becoming personified as a cloaked figure riding around in a chariot pulled by the four horsemen of the apocalypse. Interesting, isn’t it?

Brittney has also been featured in several other bands and projects as a guest musician, each one of them being very peculiar and showcasing all the talent and range of our metal warrior. For instance, she provided additional vocals to the song Leather Lord, featured on the 2013 EP Live at Mushroom: Vol. I, by Canadian Power/Heavy Metal band 3 Inches of Blood; guest vocals on the song Queen of the Galaxy, from the 2014 EP Queen of the Galaxy (and also featured on the 2018 album The Extraterrestrial Compendium), by American Power/Thrash Metal band Dire Peril (and you can also check a cool live version of it in 2016 at the Blue Lamp HERE); vocals on the song Lunar Sunrise, from the 2014 album The Age of Ether, by American Power/Progressive Metal band Disforia; vocals for the full 2018 album Terror of the Cybernetic Space Monster, by American Power Metal band Helion Prime, like in the song Spectrum; vocals for the excellent song Burn It Down (With Fire), from the 2018 album Shadows from the Past, by American Heavy Metal band Lords of the Trident; and last but not least, she was also a guest on the song Siren’s Song, from the 2016 album Lawful Evil, by The Dread Crew of Oddwood (an acoustic pirate band from San Diego, California).

This slideshow requires JavaScript.

Regarding her career and life on the road, Brittney said that living life through music is every musician’s dream, living and breathing music every second of every day while on tour, and she wants to keep playing with Unleash The Archers everywhere, every corner of the globe, every continent and every type of venue, from Japan to Scotland, from Brazil to Antarctica (if they can find metalheads there, of course). When asked about the main difference between festivals and regular shows, she said that in the end they’re not that different, only that there are a lot more bands hanging out backstage waiting for their turn and the atmosphere seems quite a bit more laid back. Having already played with Unleash The Archers all over the world, from North America to China and Japan, Brittney has been collecting a lot of good memories and moments from each and every concert, such as their performance at Hell & Heaven Fest in Mexico City in 2014, where they played a side stage but were able to see the concerts by some of their favorite bands like Angra and KISS. Furthermore, all that passion for heavy music and her family had a very positive impact on her performance on stage. For instance, her brother used to play in a punk band and her father worked as a musician for a long time in the 60’s and 70’s. She used to play with his music equipment when she was a little kid, and there are many pictures of Brittney rocking out with an old SM57 in her hand standing on a table or any other stage-like apparatus. Also, as aforementioned, she was always involved in musical theater, drama, choir or any other sort of performing art, making her feel very comfortable when facing the crowd, it doesn’t matter if at a small venue or at a big renowned festival.

As it happens with any up-and-coming artist in metal music, Brittney has been asked several times through the years about who her biggest idols and influences are in music and in life in general, and her answers couldn’t be more classic, more inspiring and, of course, more metal. She said in one of her interviews that as a vocalist she has always been highly influenced by the one and only Bruce Dickinson, the metal god Rob Halford, Geoff Tate, Kai Hansen (Gamma Ray), Björn “Speed” Strid (Soilwork), Daniel Heiman (Lost Horizon), and Jonas Heidgert (Dragonland), among many others, with bands such as Iron Maiden, As I Lay Dying, All That Remains, Helloween and Septicflesh playing an important role in the development of her taste for music and her singing style. Furthermore, Brittney mentioned that the unparalleled Countdown To Extinction, released by Megadeth in 1992, was the first metal record she’s ever heard in her life, and that was basically the moment that would define her musical preferences for the rest of her life, but she also complemented her thought by saying Best Of The Beast, Iron Maiden’s first “best of” album, released in 1996, was the album that inspired her to use her vocal talents as a singer in a metal band. In addition, when questioned which bands she would choose if she could create her own festival, Brittney simply listed Iron Maiden, Lost Horizon, Iced Earth, Sabaton and Dragonland, all beyond formidable acts, also saying that she would love to tour with Iced Earth, one of her favorite bands of all time, as their music speaks to her on a whole other level.

And last but not least, When Brittney was asked how it feels to be in a Power Metal band from a country like Canada where the Power Metal scene is not as developed as in other places like Scandinavia and Japan, she admitted it’s a bit tough for bands that play metal the likes of Unleash The Archers due to the music culture in Canada being a lot more inclined to Death Metal and other more extreme styles, with Canadian metalheads growing up with bands like Kataklysm and Voivod,  even saying a Power Metal band can feel very “lonely” in the country. However, she also mentioned that even in that not-so-inspiring scenario there are still lots of traditional Power Metal acts all over the country, proving that as long as Power Metal bands keep playing music from their hearts and stay united and strong, the genre has all it takes to grow in popularity among Canadian fans. And there’s no one better than the warrior princess Brittney to lead that metal army and “unleash the archers” upon all of us.

Brittney Slayes’ Official Facebook page
Brittney Slayes’ Official Instagram
Brittney Slayes’ Official Twitter
Unleash The Archers’ Official Facebook page
Unleash The Archers’ Official Instagram
Unleash The Archers’ Official Twitter

“There’s always going to be those faces in the crowd that you have known since the beginning, and that you know will always be there for you; they were fans, and they’ve become friends. I think that there’s very much this foundation of fans that keep you standing. That will never change. The only thing that happens is that it just grows.” – Brittney Slayes

Album Review – Derdian / DNA (2018)

Posted on by
Reply

Get ready for over one hour of top-of-the-line Symphonic Power Metal, courtesy of one of the most prominent and skillful bands from the Italian scene.

Hailing from the always fun and vibrant Italian city of Milan, a global capital of fashion and design, here comes one of the most important and most consistent metal acts from the European scene, Symphonic Power Metal squad Derdian, back with another vibrant and well-balanced album titled DNA, the seventh full-length release in their beyond prolific and interesting career. In an era where most renowned bands tend to release only a handful of songs per album, Derdian go against the tide by offering fans of their fusion of symphonic elements and Heavy Metal nothing more, nothing less than over one hour of first-class music split into 13 original songs, proving once again how much they love what they do.

Comprised of Ivan Giannini on vocals, Enrico Pistolese and Dario Radaelli on the guitars, Marco Banfi on bass, Marco Garau on keyboards and Salvatore Giordano on drums, which is the same extremely talented and focused lineup from their previous releases such as their 2014 album Human Reset and their 2016 release Revolution Era, Derdian keep blasting their usual sonic extravaganza full of symphonic layers, epic passages and endless electricity in DNA, all embraced by a crystal clear overall production that enhances the impact of their music even more, turning the experience of listening to DNA a musical orgasm for admirers of the genre.

Abduction, a symphonic-cinematic intro that sounds and feels very serene, sets the stage for Derdian to kick some serious ass with the title-track DNA, a fast and very melodic Power Metal feast inspired by the golden days of Sonata Arctica and Stratovarius, with Ivan showcasing a superb performance on vocals while Marco Garau and Salvatore have a healthy “duel” of delicacy versus stamina with their instruments. After such powerful start the band offers a top-notch Melodic Metal tune for the masses titled False Flag Operation, with its conspiracy theories-inspired lyrics (“It flies along the blue skies / No one knows what’s gonna happen / New York city will have / The right punishment to be / A nest of worms without a faith / Greedy hawks vultures and jackals / Soon the west will got a / Nice surprise to share with me!”) and sheer epicness flowing from the guitars by Enrico and Dario, followed by Never Born, where a smooth start evolves to a feast of harmonious and delicate sounds, but still bringing the traditional electricity of Melodic Power Metal. In addition, this is a great song to sing along with Ivan and the guys, with Enrico, Dario and Marco Banfi giving a lesson in intricacy, melody and feeling with their stringed weapons.

The next track in DNA, called Hail to the Masters, presents a fun fusion of Symphonic Power Metal with Epic and Folk Metal, considerably different from their traditional sonority, with Ivan singing like a true minstrel and with Marco Garau dictating the rhythm with his whimsical keys; while in Red and White, a perfect example of what Melodic Metal is all about, the band gets back to their old school musicality, which means fast and melodic riffs, nonstop drums and another great vocal exhibit by Ivan, flowing smoothly form start to finish. Then we’re treated to a prancing mid-tempo composition entitled Elohim, led by the rhythmic beats by Salvatore and feeling almost a hundred percent Folk Metal at times, before morphing into a Jazz-infused feast of bass punches, keyboard solos and an upbeat vibe. It’s indeed a fantastic and unique side of Derdian, but if that is not entertaining enough for you, we have another powerful tune named Nothing Will Remain for your avid ears, blending elements from classic and symphonic music with modern Progressive Metal, with highlights to the spot-on guitar solos by both Enrico and Dario.

While Fire from the Dust brings what’s perhaps their most aggressive lyrics (“Like a snake crawls out from the rocks / We go out from …this fucking hole / Let the hate becomes a fire / Fire from the dust! / Take the weapons, annihilate them / They are not machines! / Like a snake crawls out from the rocks  / Fire from the dust!”), musically speaking it’s a Symphonic Metal extravaganza tailored for diehard fans of the genre, with the solos by the band’s guitar duo and especially by Marco Garau adding even more electricity to the overall result. Then in Destiny Never Awaits a gentle piano intro evolves into a decent power ballad by this Italian six-piece squad, presenting pleasant guitar lines and potent vocals, but unfortunately never reaching the same electrifying vibe of the rest of the album; whereas in Frame of the End the band delivers a heavier version of their Symphonic Power Metal (it can even be considered a more symphonic and metallic version of the music by Dream Theater in my opinion) spearheaded by Ivan and his passionate and flammable vocal lines, with Stefano also having a precise and groovy performance on drums, not to mention all of the song’s nice breaks and variations. Marco Garau once again kicks things off in a vibrant feast of Melodic Metal titled Part of This World, where not only Enrico and Dario are in total sync with their riffs, but you should also pay attention to how they meticulously add several elements from classical music to their Power Metal. And lastly, as a “bonus” the band offers us a Spanish version for “Nothing Will Remain”, translated to Ya Nada Cambiara, bringing an extra dosage of epicness and an fresh kick to their Symphonic Power Metal.

If you’re not familiar yet with the symphonic and electrifying world of Derdian, you can get more details about the band, their tour dates and their music on Facebook and on YouTube, and purchase a copy of DNA directly from their webstore, from iTunes or from Amazon. In a nutshell, DNA is more than just another ass-kicking, thrilling album by this Italian squad that lives and breathes Melodic and Symphonic Power Metal, but a beyond recommended option for anyone who admires some good old Heavy Metal with a precise amount of symphonic elements and an epic aura. Some bands are comprised of talented musicians while others work their asses off to provide good music to the listener, but in the case of Derdian we can say they combine the best of both worlds, with DNA being the perfect depiction of the beautiful thing that happens when you put undisputed talent together with endless amounts of hard work.

Best moments of the album: DNA, Never Born, Elohim and Frame of the End.

Worst moments of the album: Destiny Never Awaits.

Released in 2018 Independent

Track listing
1. Abduction 1:12
2. DNA 5:27
3. False Flag Operation 5:00
4. Never Born 5:43
5. Hail to the Masters 4:27
6. Red and White 5:04
7. Elohim 5:26
8. Nothing Will Remain 5:31
9. Fire from the Dust 6:21
10. Destiny Never Awaits 5:41
11. Frame of the End 5:00
12. Part of This World 6:05
13. Ya Nada Cambiara 5:31

King Records Edition bonus track
14. Never Born (Japanese version) 5:41

Band members
Ivan Giannini – vocals
Enrico Pistolese – guitars
Dario Radaelli – guitars
Marco Banfi – bass
Marco Garau – keyboards
Salvatore Giordano – drums

Album Review – Jollymon / Void Walker (2018)

Posted on by
Reply

A lesson in groove, electricity and punch by an American Stoner Metal power trio reborn from the ashes in the name of Rock N’ Roll.

Hailing from the Pacific Northwest, more specifically from Vancouver, a city on the north bank of the Columbia River in the U.S. state of Washington, Stoner Metal outfit Jollymon has just released their fifth full-length album titled Void Walker, their first in eighteen years and a lesson in groove, electricity and punch. Comprised of frontman and songwriter Carey Rich on vocals and bass, John Colgate on guitar and vocals, and Mark Blackburn on drums, Jollymon were originally formed in Eugene, Oregon, releasing their debut full-length album, Sailing, in 1995, followed by a stream of high-quality albums until the band exploded in 2000 with no plans to return, until the power trio began to talk, jam and work on a batch of songs that would become their newborn child. “Whereas the previous four records were more grungy rock songs, the material on Void Walker is more on the metal side. But, we managed to keep the space-rock element, and even turned it up,” comments Carey on the band’s shift of direction with Void Walker.

Another thing Carey notices about Void Walker compared to the band’s previous releases is that the album is clearer and better produced. “We’ve come full circle with our recording approach. The first and second albums had great studio gear with Grammy-nominated producer Drew Canulette running the show. However, the third was a lesser studio done on more of a budget. And, the fourth album, our self-titled one, was a home studio recording. Sure, it sounds good, but you can definitely hear the quality difference between it and Void Walker – or even our first two records, for that matter.” He also explained that the album is entitled Void Walker because it is what Jollymon’s name should be. “Void Walker is a kind of symbol of what our sound is. It’s hard to describe, because it’s really left up to the imagination, which has been more of what we are: less wordy, forced lyrics, but simple imaginative shorelines with an epic soundtrack to back whatever is said.”

Old school ass-kicking Rock N’ Roll permeates the atmosphere in the psychedelic and catchy opening track Tsunami, led by the deep vocals by Carey while John mesmerizes us all with his wicked riffs and solos, followed by Monkeyhawk, where an eccentric intro turns into a very progressive tune, with John’s guitar lines being flawlessly complemented by Mark’s groovy beats, not to mention the song’s wicked lyrics, something you can only find in Sludge Metal (“Monkeyhawks not black or white, makin love giving life to fire, Monkeyhawk baby sings a song, its gonna make me cry, its gonna make me cry…”). And inspired by the potent and unique music by Mastodon, the trio fires a dancing-headbanging-beer-drinking extravaganza titled A Good Day, with Corey showcasing an awesome vocal performance while Mark’s precise drumming keeps the rhythm vibrant and entertaining from start to finish.

Less piercing and more rhythmic, Be Nice presents the band’s “softer” side in a 70’s-inspired Rock N’ Roll vibe, perfect for warming up the night at a rock pub anywhere in the world (and you’ll definitely feel compelled to sing the chorus along with them). After that classic rock tune we have Slice of Life, perhaps the most psychedelic of all songs, where the trio extracts pure groove form their instruments, in special John with his hypnotizing guitar while Mark is responsible for bringing heat to the musicality; followed by Forecast, where all you need to do is simply close your eyes and let Jollymon guide you on a whimsical music journey. John is simply superb with his sick guitar solos, and the music remains ethereal and captivating until its gentle ending for our total delight.

The metallic bass lines by Corey ignite the rockin’ feast Missile Commander, another solid composition by the band with John and Mark being in absolute sync, therefore providing Corey all he needs to thrive on vocals, whereas the title-track Void Walker is a flawless fusion of Stoner and Progressive Metal, proudly representing the high quality of the music found in the entire album with an electrifying vibe morphing into Progressive Rock beautifully, all in line with the song’s enthralling lyrics (“Here we go away through the sky, / here we go wade through the fields, / wondering where are lives, are drifting / away through the wheel. / With wings so wide and no room to soar, / before you can fly, you must find the floor. / A picture of the rain, when it falls it won’t feel the same.”). And last but not least, the closing song of the album, entitled Sky Burial, is just as pleasant and soulful as its predecessors, with John kicking some serious ass with his fiery guitar solos.

Do you want to surf the rockin’ waves blasted by Jollymon and show your appreciation for such distinct underground band? You can follow them on Facebook, listen to more of their music on YouTube, and grab your copy of Void Walker (which by the way you can listen in full on Spotify) from their own BandCamp page, as well as from Amazon or from CD Baby. Let’s hope Jollymon don not explode again after the release of Void Walker, but based on the awesomeness found in the album and the way the band is facing this new phase in their career I’m pretty sure we don’t have to worry about that at all. Quite the contrary, those three dauntless musicians will surely keep on rockin’ in our free world and keep marveling us all with their sensational music.

Best moments of the album: Monkeyhawk, A Good Day and Void Walker.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Tsunami 3:48
2. Monkeyhawk 4:43
3. A Good Day 3:56
4. Be Nice 3:46
5. Slice of Life 3:50
6. Forecast 4:07
7. Missile Commander 2:35
8. Void Walker 4:50
9. Sky Burial 5:02

Band members
Carey Rich – vocals, bass
John Colgate – guitar, vocals
Mark Blackburn – drums