Tag Archives: progressive rock

Metal Chick of the Month – Laura Guldemond

Posted on by
Reply

Lock, lock, lock her in the tower!

As the fires of summer continue to burn in the Northern Hemisphere, there’s nothing better than dedicating an entire article to one of our beloved Burning Witches, more specifically the one responsible for turning the band’s lyrics into sheer power and energy through her soaring, undisputed vocals. Not only a classy vocalist and frontwoman, she’s also a diehard metalhead, always ready to show her love for old school Heavy Metal, and always ready to rock our world with her incredible voice and charisma. Her name is Laura Guldemond, a crazy wild child and frontwoman for one of the must-see names of the current metallic scene, and once you know more about her career, her personal life, and her passion for heavy music, there’s certainly no turning back, as you’ll be under the spell of one of the most talented “witches” of the worldwide metal community. Having said all that, are you ready to be locked in the tower by the phenomenal Laura Guldemond here on The Headbanging Moose?

Born on July 31, 1988 in Zoetermeer, a city in the Western Netherlands, in the province of South Holland, Laura doesn’t exactly come from a family of musicians, but there was still a lot of music surrounding her in her early days. “It’s funny, because my parents weren’t into music, but my grandparents were musicians – they played the double bass and the violin. They travelled around playing music, and I guess the next generation was fed up with that, so it had to continue with me! My mum’s half-sister still plays the flute, too.” Although she could sing a little bit and was comfortable with some notes, she had to learn the high notes by taking singing lessons, and at one point she decided she wanted to become a professional singer. Then she went to a conservatory in Eindhoven called The Metal Factory to continue with her studies. “When I was about twenty years old, I decided to take things a little more seriously, and that’s when I started taking singing lessons. Later on, I decided that I had to study music somehow. I auditioned for the Haarlem conservatory and ended up in the preparatory course for it, but then I came across the Metal Factory, and I was part of the first batch of students there.”

Laura has been immersing herself in Heavy Metal and Hard Rock for most of her life, saying it was a big discovery for her when she was younger. “My parents never really went any heavier than Queen. Which I like, but then I discovered Within Temptation, and I loved it. That was probably mainly because it sounds a little mysterious. That’s what I liked about it, at least. When the time came that I had enough allowance to buy albums, I found W.A.S.P.’s Dying for the World right next to Within Temptation. I really like W.A.S.P. as well. From then on, I started listening to more and more different things. Quite quickly after that, I decided that I wanted to play guitar. And I did have a guitar, so I did try to play it, but I had no lessons, and I ended up giving up. I did already sing, and that’s what I kept doing,” she commented.

It was in 2019 when Laura joined the amazing Burning Witches, replacing the band’s original vocalist Seraina Telli, and she fit the blank spot perfectly with her undisputed vocal potency, being immediately embraced by the band’s diehard fanbase. That same year, she released her first song with the band, the excellent Wings of Steel, following by the EP Wings of Steel, also in 2019, and her first-ever full-length opus with the girls, Dance with the Devil, in 2020. That same year, the band released an EP titled Acoustic Sessions, followed by their full-length albums The Witch of the North (2021), The Dark Tower (2023), and more recently Inquisition (2025), all available on Spotify or any other streaming platform. Furthermore, you can also check Laura and the girls kicking ass on the official videos for songs like High Priestess of the Night, The Dark Tower, The Witch of the North, and Unleash the Beast, or check their official YouTube channel for those videos, full playlists and other content including interviews and live footage of all of their tours.

When Laura joined Burning Witches, she said they were all very welcoming, helping her overcome any initial challenges as she said she’s the type of person that needs a lot of time to get used to other people. There was of course a lot of rehearsal time required in the beginning until they all got used to Laura’s vocal style and vice-versa, but as expected there’s also a lot of fun involved in the overall process. “We go out to dinner sometimes, we hang out after rehearsals, so that is nice,” she commented, also having some nice words to say about the freedom she has while writing material for the band. “When it comes to writing my melodies and lyrics, I have a fairly large amount of freedom. Sometimes they come up with something they like, but even then, I am free to try something else, or we can discuss various ideas. It’s always fairly open. It kind of depends on how attached they are to the ideas they already have. There are plenty of times when there is no idea at all yet, and I can just make up whatever I like.”

Needless to say, the band’s diehard fans were all very welcoming when Laura became a member of Burning Witches, even when you take into account they already had two very solid albums released prior to her joining the band. Laura was actually more prepared for the feedback from the audiences than her bandmates in the end. “To be completely honest, I think it had been a much more emotional process for the rest of the band than it has for me. In a way, I had kind of already prepared myself for such reactions. The stories are out there. Like Tarja and Nightwish, for example. You still hear people complaining about that these days, which makes me think: guys, seriously, still? You know it is going to happen, and you know it is going to keep happening. So I was mentally prepared for that. Some of those people have returned, others haven’t. That’s just how things go.”

Before becoming the frontwoman for the indomitable Burning Witches, Laura was the vocalist for an array of very interesting bands and projects. It looks like her first Heavy Metal band was Utrecht, Netherlands-based Progressive Metal act Synergy Protocol, having played with them from 2013 until 2015, and having recorded their 2014 debut three-track demo. Around the same time, from 2014 to 2015, she was also the vocalist for Epic Rock Choir, a Netherlands-based group of singers specialized in major rock and metal opera projects like Arjen Anthony Lucassen’s The Theater Equation, and founded an Experimental and Electronic Rock and Metal project named Generation Lost together with Marco van der Hoorn, but nothing has ever been released under that flag.

The other two bands that Laura was a member of were Dordrecht, Netherlands-based Progressive Metal/Rock project Magoria, working as one of their vocalists between 2017 and 2018, and of course her main band before she joined Burning Witches, the excellent Eindhoven, Netherlands-based Symphonic Power Metal band Shadowrise, fronting the band from their inception back in 2009 until they split up in 2019 (one of the reasons being of course her full-time commitment with Burning Witches), having recorded with them the 2016 EP Escape from Shadow Island, and their 2018 self-titled full-length, both available on BandCamp and on Spotify.

Not only that, Laura can also be found as a guest musician in several different bands and projects, showcasing her absolute energy, dynamism and versatility, allowing her to sing basically any music genre you can think of. For instance, she was a guest vocalist on the song Valkyries in the Sky, from the 2024 album Gods of Metal (Year of the Dragon), by German/Italian Heavy Metal band All for Metal; choir vocals on the official video recording of the 2016 album The Theater Equation, by Dutch Progressive Metal/Rock icons Ayreon; vocals on the song Schwestern aus Stahl, from the 2025 Damokles, by German Heavy Metal/Hard Rock band Blindgänger; vocals on the song The Path That Never Ends, from the 2026 album Sons of the Abandoned, by Spanish Melodic Death Metal outfit Bloodhunter; vocals on the song Back on the Streets, from the 2022 album Back on the Streets, by UK Power Metal band Chrysalïd; and vocals on the 2025 single Fierce, by Swiss Symphonic Metal band Deep Sun.

If you think this is it, you’ve got another thing coming, as Laura was also a guest vocalist on the song Receptor, from the 2025 album Receptor, by American Progressive Metal act Dissona; vocals on the song Poison Tears, from the 2025 album Unbreakable, by the indomitable Heavy Metal/Hard Rock duo Ellefson-Soto; vocals on the song False Faced Demon, from the 2022 album Inquisition, by Dutch Symphonic Metal band Epinikion; female vocals on the song Blind Souls, from the 2017 album The Endless River, by Jordanian Melodic Death Metal band Eternal Insomnia; vocals on the 2022 album Malleus Maleficarum, and on the Avatarium cover The Fire I Long For, from the 2023 album Ventus Metallum, by German Heavy/Power/Progressive Metal project FB1964; and vocals on the song For Blood & Glory, from the 2021 album Serpent Chariot, by Austrian Blackened Thrash Metal band Golden Blood.

Do you want some more? Well, Laura was also featured as a guest vocalist on the song Stand United, from the 2022 album Dealer of Souls, by Swiss Heavy/Power Metal band Gomorra; on the song All Women in Me, from the 2023 self-titled album by Dutch Progressive/Symphonic Metal band Heavenqueen; on the song Sleeper, from the 2025 album Gilgamesh, by Ukrainian Progressive Metal/Rock act Korypheus; vocals on the song The Great Masquerade, from the 2025 album Remnants of Rapture, by Canadian Heavy Metal outfit Lycanthro; on the song Alone, from the 2024 album Shadow Empress, by Progressive Metal warrior Nino Helfrich; backing vocals on the 2015 album Wayward Sanctuary, by the now defunct Dutch Progressive Metal/Rock project ReSolve; vocals on the song Your Time Has Come, from the 2024 album Blood of the Witches, by German Heavy Metal/Hard Rock guitarist Stephan Georg; choirs on the 2015 album The Diary, by Dutch Symphonic/Progressive Metal/Rock duo The Gentle Storm; vocals on the song Neverealm, from the 2026 album Neverealm, by Greek Heavy Metal band Valiant Sentinel; and vocals as one of the “Pirate Queens” on the song The Pirate Queens, from the 2022 album Lost, by Dutch Symphonic Power Metal project Woods of Wonders.

This slideshow requires JavaScript.

As you can see, Laura is one of the best vocalist of the current Heavy Metal scene worldwide, with countless bands recruiting her as a special guest in their new albums, and of course with her career with the striking Burning Witches being the icing on the cake. However, it’s important to say that before being such an accomplished vocalist, she’s also a true metalhead, nurturing deep passion for the same rock and metal icons as any of us, as well as some of the most interesting names of the non-metal scene. “Lots of awesome metal bands have influenced me during the years. To name a few I listened to a lot as a teenager; Within Temptation, W.A.S.P., Judas Priest, Iron Maiden, Halestorm, Eluveitie, Death Angel and Kamelot. But also great contemporary singers like Sia, Christina Aguilera and Beyonce. This is reflected in the versatility of my voice,” she commented.

When asked which song she loves the most in her life, her answer was the purest, most incendiary form of Heavy Metal you can think of. “I love Painkiller by Judas Priest because the drums start playing and you immediately feel the energy.” Moreover, she considers the one and only Metal God Rob Halford as a role model, saying he’s one of the people who’ve inspired her the most in terms of how she sings with Burning Witches now, as well as the indomitable Bruce Dickinson. “What I love is that he has so many songs with a lot of vocal dynamics. So I would say both he and Bruce Dickinson inspired me. I’ve heard Bruce a few times when people are listening from a bit further away and it sounds hyper-laden. I think it’s because I have a bit of memorization there too.” Dio is also a huge influence in her life, and the fact Burning Witches recorded a cover version for the all-time classic Holy Diver also shows how much she loves his unique voice.

Speaking of cover songs, Laura also maintains a really entertaining YouTube channel as her “solo project” (which you can also find alongside all of her other links and social media by clicking HERE), recording multiple cover songs with very special guests the likes of Courtney Cox and Sara Jolís as her support band, among other interesting videos. For example, you can enjoy Laura’s soaring vocals in killer cover songs including W.A.S.P.’s Wild Child (which is by the way one of the bands she used to listen to the most when she began listening to metal music), Iron Maiden’s The Trooper, Cradle of Filth’s  Nymphetamine Fix, AC/DC’s Highway to Hell, Slayer’s Raining Blood, Pantera’s Walk, and Judas Priest’s Painkiller, among several other incredible videos where she will melt your faces with her scorching, sharp vocals.

Speaking of her vocal technique and how she prepares for the intense life on the road, Laura, who currently uses a Neumann U 87 Ai (a legendary large-diaphragm FET condenser microphone, featuring cardioid, omnidirectional, and figure-8 polar patterns), mentioned in one of her interviews how difficult it is to bring to stage what’s recorded in the studio. “Recording a song is one thing, but singing it at the same level every night is a different matter.” Owner of very versatile and dynamic vocals, as already mentioned, she said she always enjoys trying new things with her voice. “The others in Burning Witches like it when my voice sounds relatively deep, so we have been playing around with lower keys in recent years,” she commented. “These days, I have been trying to learn to use vocal fry better than I could before. So who knows? Maybe I will be doing something with that in the future. But it has to get better first. Singing clean with a bit of distortion on it is something I know I can do well at this point. If I add something that doesn’t sound quite as good, and you can actually hear that difference in quality, it will just end up sounding weird.”

She also commented about the importance of maintaining a good health, in special when your voice is your instrument of work. “I am often afraid of getting a sore throat, so my main priority is keeping nice and warm. During summers, I hardly ever have a sore throat, but once winter rears its head, I have to be careful. And to be fair, during spring and autumn as well. Also, when I work out too hard, and my body gets tired, I get a sore throat as well. That is something to watch out for.” She also mentioned it’s extremely important to build up her stamina before a headlining tour starts, alternating between singing and resting until she’s warm enough for the band’s longer-than-usual sets. “Especially if I have just been on vacation, and I haven’t sung for a while. Then it truly is important to build up my stamina, as I’m really going to feel the difference once I have to do a longer set.”

This might sound repetitive, but Laura is not only an extremely talented vocalist; she’s also a vocal coach ready to help any newcomers to the world of singing with her professional and dynamic approach. You can find more details about Laura’s services as a vocal coach (in Dutch, English or German) on her official website, including the subtypes of services available such as singing lessons, workshops, and growling. “I always try to find ways to make them practice things step by step. There are certain techniques that require you to use a little more power, which means they are potentially more dangerous, as more power is a bigger burden on your vocal cords if you do it wrong. That’s why I try to explain things step by step, so they can actually warm up to it step by step, allowing them to do things properly from the moment they start to add more power to it.”

In the end, after witnessing Laura kicking some serous ass live for the first time earlier this year in Toronto, I felt the urge to write this tribute to such a phenomenal vocalist, and after knowing more about her and her focus and hard work to keep delivering high-quality Heavy Metal for the masses, we must all agree she’s more than just another frontwoman. She’s the epitome of heavy music, a woman that puts her heart and soul into her music, delivering breathtaking vocals with endless charisma it doesn’t matter if she’s singing with Burning Witches, if it’s recording a cover song for her YouTube channel, or if it’s as a guest for another rock and metal band. Laura will most certainly hypnotize you with her stunning vocals and screams, lock you inside her tower of Heavy Metal, as I warned you in the beginning of this tribute, and throw the key away. Well, I bet you’ll be more than happy when that happens.

Laura Guldemond’s Official Facebook page
Laura Guldemond’s Official Instagram
Laura Guldemond’s Official YouTube channel
Burning Witches’ Official Facebook page
Burning Witches’ Official Instagram
Burning Witches’ Official YouTube channel

“Lots of awesome metal bands have influenced me during the years. To name a few I listened to a lot as a teenager; Within Temptation, W.A.S.P., Judas Priest, Iron Maiden, Halestorm, Eluveitie, Death Angel and Kamelot. But also great contemporary singers like Sia, Christina Aguilera and Beyonce. This is reflected in the versatility of my voice.” – Laura Guldemond

Album Review – Eternal Recurrence / Eternal Recurrence EP (2026)

Posted on by
Reply

Behold the debut EP by this striking new Symphonic Metal project, crafted around the belief that the human touch of live performance remains essential, especially in an era increasingly shaped by artificial intelligence.

Led by composer, vocalist and multi-instrumentalist Alex Luke, Chicago, Illinois-based Symphonic Metal project Eternal Recurrence offers an alternative take on the genre with orchestral arrangements that draw from chamber music. This deviation away from grand scale orchestration commonly associated with Symphonic Metal instead produces a more intimate take on the genre. That’s exactly what you’ll get in their forthcoming self-titled debut EP, prioritizing a focus on the sound of real musicians performing real orchestral instruments, preserving nuance, texture, and human imperfection in an increasingly digital landscape. Drawing influence from bands such as Opeth, Kamelot and Dream Theater, among others, and featuring guests Maciek Szczyciński on double bass, Steven Schumann on cello, German Dmitriev on violin, and Mordian and James Dorton on vocals alongside Alex, the music by Eternal Recurrence was crafted  around the belief that the human touch of live performance remains essential, especially in an era increasingly shaped by artificial intelligence.

Mordian of Diamorte and Shield of Wings delivers a powerful alto performance during the chorus and bridge in the opening track Precious Stones, while James Dorton of Ne Obliviscaris contributes with his trademark harsh vocals, resulting in a metal aria that is as inspiring as it is vibrant, with the piano by Alex clashing beautifully with all guitars and drums. Then we face 8 by 8 and its poetic lyrics (“His forces lined up rank and file / My tactics, strategy: futile / My understanding’s like a child / I know not how to play”), written from the perspective of AlphaZero, a neural-network based chess-playing computer program that taught itself to play chess by playing against itself, while the music leans towards Progressive Rock and Metal; followed by Amor Fati, directly based on Friedrich Nietzsche’s concept of “Eternal Recurrence,” the inspiration for the EP’s concept, where the dark yet delicate sounds of the bass, cello and violin bring a touch of finesse to the overall result.

The also breathtaking Relativity explores the perspective of one of the figures that inhabits Escher’s impossible, looping structures, questioning their motives and understanding of their unending path, while musically speaking the violin by German adds even more depth to Alex’s already powerful vocal lines. Then we have the title-track Eternal Recurrence, which features a reference to the credit music from “Star Wars: Ashoka” in the second part of its extended introduction. Moreover, Mordian returns in full force, bringing an ethereal quality as well as contributing to powerful harmonized duets, and an emotive lament in the song’s bridge, while Alex is on fire with his guitar and piano, resulting in a multi-layered, melancholic and touching composition that puts a stunning ending to the album.

Serving as both an introduction and a mission statement, presenting Symphonic Metal that values realism, restraint, and emotional detail without sacrificing heaviness or intensity, the EP looks to chamber music for inspiration rather than emulating 19th and 20th century symphonic traditions. This philosophy defines the sound of Eternal Recurrence, and if you’re curious to know more about such a unique endeavor in the world of heavy music you can find the project on Facebook and on Instagram, subscribe to their YouTube channel or stream their music on any platform like Spotify, and of course grab a copy of their excellent debut EP from BandCamp or by clicking HERE. Artificial intelligence might be useful for some specific things in life, but definitely not for heavy music, and Eternal Recurrence is among us armed with its debut EP to prove once and for all there’s nothing better than human emotions to make music excellent, and to give life to it.

Best moments of the album: Precious Stones and Eternal Recurrence.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Precious Stones 5:00
2. 8 by 8 6:50
3. Amor Fati 7:31
4. Relativity 4:40
5. Eternal Recurrence 8:16

Band members
Alex Luke – vocals, guitars, bass, piano

Guest musicians
Maciek Szczyciński – double bass (session)
Steven Schumann – cello (session)
German Dmitriev – violin (session)
Mordian – vocals on “Precious Atones” and “Eternal Recurrence”
James Dorton – vocals on “Precious Atones”

Album Review – Nuclear Tomb / Epoch Inhumane (2026)

Posted on by
Reply

These Progressive Thrash/Death Metal stalwarts are back with their sophomore full-length album, delivering faster speeds, deeper hooks, and even more dynamic twists than their fans have already come to expect.

Delivering a unique fusion of tight Thrash Metal riffing, noisy Punk Rock aggression, Progressive Rock ambition, and classic Heavy Metal grandeur, Baltimore, Maryland’s own Progressive Thrash/Death Metal stalwarts Nuclear Tomb are back as twisted and vicious as ever with their sophomore full-length album, titled Epoch Inhumane, following up on their 2024 opus Terror Labyrinthian. Engineered and mixed by Matt Michel at Viva Studio, mastered by Brad Boatright at Audiosiege, and showcasing a thrashing, apocalyptic artwork by Brad Moore, the new offering by Michael Brown on vocals and guitar, Matt Ibach also on the guitar, Amelia Morris on bass, and JD Lookabill on drums brings forward faster speeds, deeper hooks, and even more dynamic twists than their fans have already come to expect, being therefore perfect for fans of the music by Voivod, Pestilence, Coroner, and Atheist, just to name a few.

A cryptic warning sets the stage for the band’s maniacal thrashing feast titled Watch The Skies, with the harsh roars by Michael bringing even more adrenaline to their sound, followed by Falling Out The World Of Lies, a lesson in underground Progressive Thrash Metal by those American marauders with the rumbling bass and drums by Amelia and JD sounding absurdly heavy and vibrant. Unbowed / Averse is undoubtedly more experimental than its predecessors, led by the caustic and groovy riffs by Michael and Matt, whereas Faithless Continuum keeps the atmosphere as dark and visceral as possible, with JD once again sounding inhumane behind his drums. And they definitely know how to bring the intricacy of Progressive Metal to their core Thrash Metal insanity without slowing it down not even a bit, which is exactly the case in Broken Promise, Barren Essence.

Get ready to be caught in a nuclear mosh by Nuclear Tomb to the sound of Lifeless Transformation, where they speed things up and offer our avid ears their passion for the 80’s and 90’s infused with their progressive vein; followed by Butcher’s Lament, not their best effort to date, as it sounds a bit dissonant and out of place when compared to all other songs of the album. They get back on track with the razor-edged Terminally Emboldened, where their riffs and solos are effectively supported by the gigantic kitchen sounds crafted by Amelia and JD. The Coward’s Curse is another tune where they experiment with different sounds and tones while keeping blasting their killer thrashing core nonstop, whereas finally we face the multi-layered, rockin’ title-track Epoch Inhumane, showcasing the band’s undisputed dexterity until its eerie, grim finale.

Presenting songs that fearlessly rip and tear through warped tales of real world society’s impending collapse, Epoch Inhumane is a must-listen for fans of the weirdest side of Thrash Metal without forgetting the genre’s core aggression and speed, and if you want to know more about those American thrashers you can find them on Facebook and on Instagram, stream their caustic music on any platform like Spotify, and of course put your hands on such a striking album by purchasing it from the band’s own BandCamp or from Rotted Life Records. In other words, be prepared for the horror of the mind thrashing sonic nightmares blasted by Nuclear Tomb. You’ll never be able to sleep again after such a wild ride.

Best moments of the album: Falling Out The World Of Lies, Lifeless Transformation and Terminally Emboldened.

Worst moments of the album: Butcher’s Lament.

Released in 2026 Rotted Life Records

Track listing
1. Watch The Skies 3:17
2. Falling Out The World Of Lies 3:47
3. Unbowed / Averse 3:35
4. Faithless Continuum 3:56
5. Broken Promise, Barren Essence 3:58
6. Lifeless Transformation 3:02
7. Butcher’s Lament 3:30
8. Terminally Emboldened 2:25
9. The Coward’s Curse 3:53
10. Epoch Inhumane 5:02

Band members
Michael Brown – vocals, guitar
Matt Ibach – guitar
Amelia Morris – bass
JD Lookabill – drums

Guest musician
Demir Soyer – additional lead guitars

Album Review – Elder / Through Zero (2026)

Posted on by
1

The leaders of Heavy Psychedelic Rock take their years of experience and form their most engaging record to date, allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework.

Consisting of frontman and lead guitarist Nick DiSalvo, bassist Jack Donovan, guitarist and keyboardist Michael Risberg, and drummer Georg Edert, formed in Massachusetts, in the United States, but currently located in Berlin, Germany, Heavy Psychedelic Rock band Elder is back with their seventh studio album, titled Through Zero, the follow-up to their 2022 opus Innate Passage. Two decades into their existence, Elder remain an anomaly in the underground rock scene, a rare band with the ability to absorb and shed influences from a myriad of genres without falling into pastiche or losing their own identity, and their new record is a strong reaffirmation of a commitment to pushing boundaries in the world of Heavy Rock and cements the group’s status as leaders of the pack in Heavy Psychedelic Rock. Recorded in Berlin across several months between tours in 2025, and the first album which the band not only produced but also co-mixed together with longtime collaborator Richard Behrens, Through Zero sounds more like a full extension of the band’s creative intentions than ever before.

It’s always a bold move to kick off an album with a ten-minute song like Sigil To Ruin, I mean, will the listener stay hooked? Well, in this case I can guarantee you won’t get bored at all, with the bass by Jack hammering your heads mercilessly while Nick delivers delicate yet piercing vocals nonstop. Capture & Release is another very detailed and enfolding aria by those guys, with its whimsical start morphing into a feast of Progressive Rock and Metal led by the intricate beats and fills by Georg; while the title-track Through Zero brings to our avid ears an overdose of psychedelia flowing from the riffs by Nick and Mike, alternating between atmospheric passages and sheer progressive madness. Strata, the longest song of the album, kicks off to the classy bass by Jack while also presenting multiple layers and nuances, with Nick’s vocals overflowing energy and passion; and it’s time for the most psychedelic of all songs, titled Sight Unseen, while still presenting their Heavy Metal vein. Furthermore, Jack and Georg are relentless with their respective bass and drums. And lastly, we’re treated to the introspective outro Blighted Age, turning the ambience into fields of serenity thanks to the song’s soothing guitars and minimalist beats.

In their new album, Elder takes their years of experience and forms possibly their most immediate and engaging record to date, while allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework, being therefore highly recommended for fans of Earthless, Truckfighters, Electric Wizard, The Sword, Sleep, Kylesa, Pallbearer, Monolord, and YOB, among several others. If you want to join them in their unique journey through the lands of psychedelia and progressiveness, you can find them on Facebook and on Instagram, stream their music on Spotify, and put your hands on their new album via BandCamp or by clicking HERE. Rock N’ Roll has never been heavier and crazier, and we must thank bands like Elder for releasing albums like Through Zero and, therefore, for making our world a much more pleasant place.

Best moments of the album: Sigil To Ruin and Strata.

Worst moments of the album: None.

Released in 2026 Blues Funeral Recordings

Track listing
1. Sigil To Ruin 10:34
2. Capture & Release 8:48
3. Through Zero 9:06
4. Strata 10:48
5. Sight Unseen 8:51
6. Blighted Age 5:49

Band members
Nick DiSalvo – vocals, guitars
Mike Risberg – guitars, keyboards
Jack Donovan – bass
Georg Edert – drums

Album Review – Thunderor / Bleed For It (2026)

Posted on by
1

Toronto’s own arena-rock Heavy Metal trio returns with their ambitious sophomore album, igniting the next chapter of their high‑flying saga.

Hailing from Toronto, Canada, Heavy Meta/Hard Rock power trio Thunderor ignites the next chapter of their high‑flying saga with the release of their sophomore opus, entitled Bleed For It, following up on their critically acclaimed 2022 debut Fire It Up. Produced by the band’s own JJ Tartaglia, mixed by Chris Snow, mastered by Kristian Montano, and featuring guest musicians Oscar Anesetti on bass, Anthony Pannozzo on keyboards, and Colin Grant on the fiddler, the new album by the aforementioned JJ Tartaglia on vocals, drums and keyboards alongside Jonny Nesta on the guitars, and Brycen Gunn on bass serves as the official soundtrack to “Thunderor The Musical”, the band’s ambitious rock opera production that debuted at the Toronto Fringe Festival in 2025. Its artwork captures scenes from the stage show, setting the mood for a sweeping tale of adventure, danger, and heart. Set in an alternate 1992, the story follows Bowen, a washed‑up musician and biker, who finds renewed purpose through romance and one last grasp at glory.

The trio wastes no time and kicks off their rockin’ adventure with Pump Up the Volume, bringing forward JJ’s trademark soaring vocals and classic beats and fills, followed by the title-track Bleed For It, another round of their striking fusion of 70’s and 80’s Hard Rock, with Jonny stealing the spotlight with his electrifying riffs and solos. As a huge fan of live concerts I simply love the title of the song Take Me to the Show, offering us all more of their killer Rock N’ Roll sounds. The band then fires a Thrash and Speed Metal-infused tune titled Get ‘Em Counted, inspiring us to start a nice mosh pit to the nonstop beats by JJ, and get ready to prance around the fire pit together with Thunderor in Cape Breton Home, featuring guest Colin Grant on the fiddler, also presenting pure Hard Rock flowing from Jonny’s axe.

In Streets of Fire we see Thunderor again deliver a high-octane amalgamation of rock and metal, setting fire to the atmosphere to the crushing drums by JJ and Oscar’s rumbling bass, sounding as upbeat as it is heavy. One Chance is another song that sounds as if was taken from a classic album from the 80’s, showcasing those awesome soulful riffs we all love so much; and we then face the cinematic interlude DreamQuest, which also feels it’s from a movie or TV show from the 80’s, before their quest comes to an end with In the Fire O’ the Heat, where they also bring to our avid ears elements from Progressive Rock and Metal (exactly what a Rock Opera needs to become truly fun). Not only that, JJ’s vocals and Jonny’s guitars are in total sync, keeping the energy flowing majestically until the song’s horns raising finale.

With improved vocals, bigger choruses, and a cinematic concept, Bleed For It promises to be the band’s most ambitious and emotionally charged release yet, recommended for fans of The Darkness, Skull Fist, Ghost, and Night Flight Orchestra. If you crave escape, adventure, romance, and danger, the band invites you to ride with them into the storm, and you can do so by following them on Facebook and on Instagram, sby streaming their music on Spotify, and of course by purchasing the album from BandCamp, from Boonsdale Records (Canada and worldwide), from Cruz del Sur Music (Europe), or simply by clicking HERE. Having said all that, what are you waiting for to bleed together with Thunderor to the sound of their newborn electrifying album?

Best moments of the album: Bleed For It, Get ‘Em Counted and Streets of Fire.

Worst moments of the album: None.

Released in 2026 Boonsdale Records

Track listing
1. Pump Up the Volume 3:42
2. Bleed For It 4:04
3. Take Me to the Show 4:09
4. Get ‘Em Counted 3:19
5. Cape Breton Home 3:33
6. Streets of Fire 4:16
7. One Chance 3:40
8. DreamQuest 1:29
9. In the Fire O’ the Heat 4:19

Band members
JJ Tartaglia – vocals, drums, keyboards
Jonny Nesta – guitars
Brycen Gunn – bass

Guest musicians
Oscar Anesetti – bass on “Take Me to the Show”, “Get ‘Em Counted”, “Cape Breton Home”, “Streets of Fire” and “One Chance”
Anthony Pannozzo – additional keyboards on “Take Me to the Show”, “Get ‘Em Counted” and “One Chance”
Colin Grant – fiddler on “Cape Breton Home”

Album Review – Tardigrade Inferno / Hush (2026)

Posted on by
Reply

Russia’s own Dark Cabaret Metal outfit returns with their third studio offering, blending their thoughtful songwriting, ironic lyricism, and aesthetic visuals with an authentic sound delivered with studio precision.

Formed in 2016 in Saint Petersburg, Russia (but apparently now located in Melbourne, Australia), the charming Avantgarde/Progressive Dark Metal/Rock known as Tardigrade Inferno, named after the resilient “slow walkers” (tardigrades) and the concept of a fiery hell (inferno), returns with another overdose of their “Dark Cabaret Metal” in their third full-length album, titled Hush. Produced by Vladimir Lehtinen at Blastbear Sound, and with a darkly delicate artwork by Milena Kress, the follow-up to their 2023 sophomore Burn the Circus is a compelling result of the evolving signature style by vocalist Darya Rorria, guitarist Alexander Pavlovich, bassist Maxim Belekhov, and drummer Andrew Drew, and the sheer power of their live performances, blending their thoughtful songwriting, ironic lyricism, and striking, highly aesthetic visuals with an authentic sound delivered with studio precision.

The album kicks off with the circus-like intro The Final Show, a work of madness by the band, hitting us hard in the head before we face Hide’n’Seek, starting in a tribalistic way to the hammering drums by Andrew and, therefore, inspiring us all to headbang like true maniacs while Darya delivers a Stygian vocal performance for our total delight. Deadly Fairytales is kinda like the epitome of “Dark Cabaret Metal”, as if Slipknot decided to hit the dance floor or start their own musical, with Alexander’s riffs adding an extra kick to the music; whereas All In Your Head is a song that should sound incredible live, leaning towards the Alternative Metal played by bands like Butcher Babies and Wednesday 13, followed by Dead Fish Smile, and I’m not sure if it’s a dark ballad or just a slower-than-usual song, but in the end it gets a bit generic.

They get back on track and put the pedal to the metal in the high-octane Subatomic Heist, with the guitars by Alexander walking hand in hand with Maxim’s thunderous bass lines; and their avantgarde and experimental vein pulses harder in I.C.D., while Darya screams the song’s wicked words like a mad queen. Goor keeps the energy flowing with its futuristic background elements and the always heavy artillery crafted by Maxim and Andrew, while the title-track Hush brings to our avid ears a striking fusion of Dark Metal with Metalcore and Alternative Rock and Metal, with Darya’s vocals and Alexander’s eerie guitar lines being in absolute sync. Finally, after the piano interlude Hypograph, we’re treated to six minutes of total metal madness titled I Am Eternal, focusing on Darya’s introspective, deep vocals while her bandmates make sure every single space in the air is filled with their heavy sounds.

Having always paid special attention to the visual side of their art, from stage costumes and characters to their album covers, Tardigrade Inferno are on absolute fire from start to finish in Hush, inviting us all for a wild and whimsical journey together with the band. You can find more information about Tardigrade Inferno, their music, tour dates, and plans for the future on Facebook, on Instagram, and on VKontakte, subscribe to their YouTube channel, stream their discography on any platform such as Spotify, and above all that, grab a copy of the striking Hush from BandCamp. With the release of Hush, it’s also the first time the band’s mascot, the Tardigrade, is absent from the artwork, symbolizing a kind of coming-of-age. The toys have been left behind in the nursery, and you better get ready as the band’s lunatic music found in Hush will mercilessly drag you to hell.

Best moments of the album: Hide’n’Seek, Subatomic Heist and Hush.

Worst moments of the album: Dead Fish Smile.

Released in 2026 Independent

Track listing
1. The Final Show 2:29
2. Hide’n’Seek 3:40
3. Deadly Fairytales 4:16
4. All In Your Head 4:12
5. Dead Fish Smile 5:01
6. Subatomic Heist 2:53
7. I.C.D. 5:29
8. Goor 5:55
9. Hush 3:38
10. Hypograph 0:44
11. I Am Eternal 6:28

Band members
Darya Rorria – vocals
Alexander Pavlovich – guitars
Maxim Belekhov – bass
Andrew Drew – drums

Album Review – Primaluce / Way of Perfection (2026)

Posted on by
Reply

Behold the new opus by this talented French project, inviting us into an immersive process where imperfection isn’t a failure to be corrected, but the engine that drives growth and strives to be better.

Following the release of Dark Mirrors, which was featured by Aardschok Magazine as one of the best rock and metal albums of 2025, Paris, France-based Progressive Rock/Metal project Primaluce returns with their most focused and fully realized work to date, the excellent Way Of Perfection. Written by the band’s mastermind Stefano Primaluce and recorded at Colosseum Sound Factory, the album captures a long-form artistic vision finally stepping into focus, a forward thinking human record in a time of digital overload and excess carefully brought into being by Stefano Primaluce on rhythm guitars, keyboards, backing vocals and programming alongside vocalist Falco, guitarist Andrea Rocchi, bassist Marco Adami, and drummer Michele Avella, inviting the listener into the immersive process itself, where imperfection isn’t a failure to be corrected, but the engine that drives growth and strives to be better.

Their Dream Theater vein pulses hard in The Wind Remains, with Stefano and Andrea giving a lecture in progressiveness with their refined guitar work, and the whimsical, intricate keys by Stefano match perfectly with Falco’s soaring, passionate vocals in Back Into the Blue, a fantastic aria of progressiveness. The Turning of the Circle also presents striking solos by Andrea while Michele delivers the most complex yet visceral drumming you can imagine, supported by Marco’s ruthless bass lines, followed by Countdown at Dawn, a more straightforward Progressive Rock tune with AOR elements led by Falco’s rockin’ vocals. Running Out of Yesterday showcases beautiful lyrics (“I’ve been chasing shadows on a borrowed day / Trying to outrun the words I couldn’t say / The clock keeps warning me with every turn / There’s only so much time we get to burn / But something in the night still calls my name / A spark that won’t surrender to the blame / And though the weight keeps pulling me behind / I feel a fire rising in my mind”) amidst the perfect blend of Progressive Rock and Metal, whereas in Heart of the Moment we see Stefano and Andrea deliver another entertaining “duel” of guitar and keyboard solos.

The second part of the album kicks off with the magical When the Light Returns, sounding like the score for an epic adventure movie while alternating between more progressive moments and sheer Melodic Rock; and Stefano’s Dream Theater-ish keys set the tone in Standing in My Name, while Marco and Michele keep the groove flowing in great fashion armed with their respective bass and drums. Black Static Halo is one of the most melodic of all songs. It could be played on any Rock N’ Roll station around the world, and I bet all listeners would be stunned by its quality and energy. The band continues to shine like diamonds in Echoes of Tomorrow, with Falco delivering one of his strongest vocals performances of the album for our total delight; and it’s impressive how they manage to add so many layers and nuances to their core sound without sounding too busy like in In the Tides of Time, keeping the energy flowing to the classy riffs by Stefano and Andrea. Last but certainly not least, Primaluce offer our ears one of the most electrifying songs in Way of Perfection, titled Where the Water Meets the Stone, with Falco stealing the show with his powerful vocals once again.

Balancing high-level musicianship with clarity and restraint, Way of Perfection is deliberately structured as a continuous journey, moving from heavier, more complex arrangements into quieter, introspective and emotionally open moments, with melody acting as the magnet that holds everything together. If you’re a fan of the music crafted by iconic bands the likes of Dream Theater, Rush, Toto, and Enchant, among others, you should definitely give the guys from Primaluce a shout on Facebook, and of course grab a copy of Way of Perfection from BandCamp. Primaluce are on an absolute roll with the releases of Dark Mirros last year and Way of Perfection now in 2026, and as long as they keep that momentum going in the near future, we can rest assured Progressive Rock and Metal will remain strong for our total delight.

Best moments of the album: Back Into the Blue, Running Out of Yesterday and Where the Water Meets the Stone.

Worst moments of the album: Heart of the Moment.

Released in 2026 Independent

Track listing
1. The Wind Remains 7:36
2. Back Into the Blue 7:48
3. The Turning of the Circle 7:12
4. Countdown at Dawn 5:53
5. Running Out of Yesterday 5:08
6. Heart of the Moment 4:42
7. When the Light Returns 5:02
8. Standing in My Name 6:03
9. Black Static Halo 5:18
10. Echoes of Tomorrow 4:00
11. In the Tides of Time 7:15
12. Where the Water Meets the Stone 5:50

Band members
Falco – vocals
Stefano Primaluce – rhythm guitars, keyboards, backing vocals, programming
Andrea Rocchi – lead & acoustic guitars
Marco Adami – bass
Michele Avella – drums

Album Review – Helloween / Giants & Monsters (2025)

Posted on by
2

Confident and bursting with vigor, these German giants of Heavy Metal and monsters of Rock N’ Roll are back with their breathtaking seventeenth studio album.

With 15 gold awards, six platinum awards and over ten million records sold, German Heavy Metal masters Helloween are celebrating the band’s 40th anniversary with the successor to their critically acclaimed 2021 self-titled masterpiece. Confident and bursting with vigor, the septet formed of frontmen Michael Kiske and Andi Deris, guitarists Kai Hansen, Michael Weikath and Sascha Gerstner, bassist Markus Grosskopf, and drummer Dani Löble presents one of their most versatile albums to date, titled Giants & Monsters, the seventeenth studio album in their undisputed career. Recorded and mixed by Charlie Bauerfeind and Dennis Ward at Mi Sueno Studio, mastered by Sascha “Busy” Bühren and Emil Pohjalainen at Wisseloord Studios, and once again displaying a stunning artwork by Eliran Kantor, Giants & Monsters showcases a band that keeps reinventing themselves while staying true to the foundations of Heavy Metal, continuing to challenge seven brimming careers even after four decades.

Mr. Andi Deris begins embellishing the airwaves with his striking vocals in Giants on the Run, a classic Helloween tune sounding fast, electrifying and epic from start to finish, and I must say I love the fact Kai also delivers some vocal lines during the song. Then it’s time for Mr. Michael Kiske to take us back to the glory of the 80’s in Savior of the World, a flawless Power Metal song striking us hard like fire and thunder, with Dani kicking some ass behind his drums; whereas venturing through the realms of Progressive Rock but always rooted in their classic Heavy Metal sonority we have A Little Is a Little Too Much, one of those songs perfect for dancing with your loved ones. The visceral riffs by Kai, Michael Weikath and Sascha set the tone in the Primal Fear-like attack titled We Can Be Gods, flowing majestically until the very end. And Into the Sun, which was originally recorded for their 2021 self-titled album, but scrapped after being altered during production (as the final result wasn’t to their liking), is a charming ballad led by the hypnotizing vocals by Kiske and Andi.

This Is Tokyo, the first single released a couple of months ago, was a very good sign of the classic, old school approach by Helloween with a Melodic Rock/AOR twist, boosting their vocal lines even more while the chorus couldn’t have sounded catchier; and it’s pedal to the metal in the Heavy and Power Metal attack entitled Universe (Gravity for Hearts), with Dani’s fast and furious beats providing Kiske with exactly what he needs to make his vocals soar high like an eagle, resulting in eight minutes of pure metal magic by our beloved German pumpkins. The septet then offers two three-minute songs, the first being Hand of God, showcasing a more experimental sounds mixed with their core essence. Not their best effort, to be honest, while back to a more electrifying sound we have Under the Moonlight, with the guitars by Kai, Weikath and Sascha adding an overdose of Rock N’ Roll to their core sound. There’s still time for one more epic tune by Helloween, the phenomenal Majestic, and the music perfectly reflects the song title, with Kiske taking the lead with his unparalleled vocals while the band’s guitar triumvirate penetrates deep inside our souls with their superb, classic riffs and solos, or in other words, it’s an epic conclusion to such a metallic celebration by Helloween.

After all is said and done, Giants & Monsters presents the experience and musical enthusiasm of a band that can do anything and everything blazes its way, with all creative limits being set aside once and for all. “What keeps motivating us is the fact that we’re extremely different. That generates suspense and creative energy,” explained Michael Weikath, “and if problems do occur, we connect through our passion and our sense of humor. We try not to take ourselves and everything around us too seriously,” added Kai Hansen, before Andi Deris concluded with a bang. “In the end, we’re just seven guys who want to make music and enjoy the incomparable force that arises when we’re together. Helloween is way more powerful than the sum of its parts.” Hence, if you also want to be part of the Pumpkins United army, you can follow the band on Facebook and on Instagram, stream their classy music on YouTube and on Spotify, and of course add their superb new album to your private collection by clicking HERE. Because Helloween are giants of Heavy Metal, they’re monsters of Rock N’ Roll, and while they’re among us we can all rest assured heavy music will remain alive and kicking.

Best moments of the album: Savior of the World, A Little Is a Little Too Much, This Is Tokyo, Universe (Gravity for Hearts) and Majestic.

Worst moments of the album: Hand of God.

Released in 2025 Reigning Phoenix Music

Track listing
1. Giants on the Run 6:20
2. Savior of the World 4:15
3. A Little Is a Little Too Much 3:30
4. We Can Be Gods 5:24
5. Into the Sun 3:39
6. This Is Tokyo 4:16
7. Universe (Gravity for Hearts) 8:22
8. Hand of God 3:44
9. Under the Moonlight 3:07
10. Majestic 8:10

Band members
Michael Kiske – vocals
Andi Deris – vocals
Kai Hansen – guitars, vocals
Michael Weikath – guitars
Sascha Gerstner – guitars
Markus Grosskopf – bass
Dani Löble – drums

Album Review – Baest / Colossal (2025)

Posted on by
1

Back from the fires of Denmark with a fresh sound and a badass attitude, this unstoppable creature will crush you with their fourth studio album, a thrilling celebration of Heavy Metal played with Extreme Metal intensity.

Back once again from the fires of Aarhus, Denmark with a fresh sound and a badass attitude, the ruthless Death Metal creature known as Baest will crush our damned minds and souls with their fourth full-length opus, entitled Colossal, following up on their fantastic albums Danse Macabre (2018), Venenum (2019) and Necro Sapiens (2021) while also cementing their reputation as Extreme Metal mavericks with an ear for lethal hooks. Produced, recorded, mixed and mastered by Tue Madsen at Antfarm Studio, and featuring a demonic artwork by Solo Macello, the new offering by frontman Simon Olsen, axemen Lasse Revsbech and Svend Karlsson, bassist Mattias “Muddi” Melchiorsen, and drummer Sebastian Abildsten is an absolute monster, bursting at the seams with catchy riffs and classy melodies, with stylistic salutes to everyone from Ozzy Osbourne and Dokken, through to Iron Maiden and Whitesnake, while still rooted in the belligerent Death Metal that informed previous records, resulting in a magnificent Rock N’ Roll rebirth of such a prominent beast from the Danish metal scene.

The AC/DC-infused riffs by Lasse and Svend ignite the opening tune Stormbringer before the music turns into a wild fusion of Death Metal with Progressive Rock and Metal elements, followed by the indomitable Colossus, showcasing heavy-as-hell, Doom Metal-infused lyrics growled by Simon (“Colossus / Breath the air of the deceit / Colossus / Feel the weight of your defeat / Colossus / Never stray from the common line / Colossus / Crushed under the weight of the colossus”) while the sounds blasted by his bandmates are absolutely dark and menacing. The band keeps delivering sheer adrenaline spearheaded by the venomous vocals by Simon in In Loathe and Love, a lesson in modern-day Death Metal, whereas in King of the Sun, featuring Jesper Binzer of Danish rock band D-A-D on guest vocals, we’re treated to a rockin’ sonority led by the classic beats and fills by Sebastian.

Then blending the fury of Death Metal with the heaviness of Doom and Sludge Metal we have Imp of the Perverse, with Mattias and Sebastian hammering their thunderous weapons mercilessly; and featuring additional vocals by Danish black metal band ORM, the band offers another blast of insanity, heaviness and classy Death Metal in Misfortunate Son, with the riffage by Lasse and Svend exhaling pure adrenaline. Then get ready to be crushed into tiny pieces to the sound of Mouth of the River, where Simon’s deranged growls walk hand in hand with Sebastian’s pounding drums; and a guitar-driven instrumental tune titled Light the Beacons, which feels like an ode to all of their idols and influences, sets the stage for Depraved World, a multi-layered, groovy and vibrant composition where the deep roars by Simon match perfectly with all riffs, bass lines and beats, putting a climatic ending to the album.

Colossal never bends to current trends; instead, it is a thrilling celebration of Heavy Metal played with Extreme Metal intensity, representing a wholesale transformation. Inspired by and infused with old school, classic metal riffs, Colossal is an album that delights in the glory of Heavy Metal and the fine art of rocking out, inviting us all to bang our heads and raise our horns together with those beyond talented Danes, and they’re waiting for you on Facebook, Instagram, YouTube and Spotify with more of their ass-kicking music, undisputed attitude, and deep passion for all types of rock and metal music. Hence, you can purchase a copy of Colossal by clicking HERE, or you can also click HERE for all things Baest, getting to know more about one of the best bands of the current scene worldwide. As you might have noticed, something colossal is coming, and you better brace for impact as those boys are armed to the teeth with the pulverizing sounds of their incendiary newborn beast.

Best moments of the album: Colossus, In Loathe and Love, Mouth of the River and Depraved World.

Worst moments of the album: None.

Released in 2025 Century Media Records

Track listing
1. Stormbringer 4:32
2. Colossus 4:23
3. In Loathe and Love 5:09
4. King of the Sun 4:09
5. Imp of the Perverse 5:56
6. Misfortunate Son 4:02
7. Mouth of the River 4:24
8. Light the Beacons 3:42
9. Depraved World 6:03

Band members
Simon Olsen – vocals
Lasse Revsbech – guitars
Svend Karlsson – guitars
Mattias “Muddi” Melchiorsen – bass
Sebastian Abildsten – drums, percussion

Guest musicians
Jesper Binzer – vocals on “King of the Sun”
ORM – vocals on “Misfortunate Son”

Metal Chick of the Month – Sofia Bortoluzzi

Posted on by
1

I feel, I live… I breathe, I’ve grown…

In this month of August, let’s all travel through the realms of cinematic heavy music, blending the aggressiveness of Progressive Metal and Rock with elements from Jazz, Soul, Hip-Hop, and Rap, courtesy of our multi-talented metal lady of the month. Better known as the striking frontwoman for French Cinematic Metal band No Terror In The Bang, her vocal range allows her to sing pretty much any music style you can think of, and I’m sure after listening to her incredible voice you’ll get simply addicted to any project she’s involved with. Not only that, she complements her phenomenal voice with a lot of charisma, stunning looks, and an amazing attitude onstage, giving her music a lot of depth thanks to her theatrical vibe and moves. Her name is Sofia Bortoluzzi, an extremely talented and promising singer, author, composer and performer, and you better get ready as once you get to know more about such a fantastic musician from the current rock and metal scene worldwide, there’s no turning back as you’ll be forever trapped under her spell.

Born and raised in Le Havre, a major port city in the Seine-Maritime department in the Normandy region of northern France, but currently residing in Rouen, capital of that same region, due to her studies and due to her work as a professional musician, Sofia  has been into music at a very early age. “My mother often tells me that I used to sing to sleep. I’ve always been encouraged to pursue a musical education. I started playing the piano at the age of 8 in a small music school.” Having been introduced to jazz, which she particularly loved, she said that it was at the age of 13 that she started taking singing lessons with singer, composer, actor and vocal coach Baptiste Famery, who was her mentor and literally immersed her in the world of music. Having started her studies at Conservatoire Arthur Honegger in Le Havre, and currently in a Professional Orientation Cycle in contemporary music singing at the Conservatoire à Rayonnement Départemental Max Pinchard in Grand-Couronne, France, Sofia is aiming to obtain the Diploma of Musical Studies (DEM), while at the same time she’s also pursuing further training at the Conservatoire de Rouen.

Since 2019, Sofia has been collaborating with drummer and composer Alexis Damien (Pin-up Went Down, Void Paradigm) on alternative metal music with cinematic atmospheres, founding then in Rouen the stunning Cinematic Metal beast No Terror In The Bang. By the way, the name of the band comes from a famous quote from world renowned filmmaker Alfred Hitchcock, who said “there’s no terror in the bang, only the anticipation of it,” comparing an impending thunderstorm to his vast body of work (as he directed over 50 films), and the band thought this described their style of music perfectly. Currently formed of Sofia Bortoluzzi on vocals, Clément Bernard and Etienne Cochin on the guitars, Brice Bouchard on bass, and Alexis Damien on drums, and Romain Greffe on keyboards, No Terror In The Bang play a majestic fusion of Progressive Metal with cinematic and alternative nuances, crafting a chiaroscuro world that balances fragility and fury.

It was back in 2021 when the band released their debut opus, entitled Eclosion, offering fans of heavy music a strong blend of primal energy and sophisticated cinematic orchestration. Three years later, it was time for their sophomore opus to see the light of day. Simply titled Heal, it’s a conceptual album pushing their dynamics further with tracks that are by turns turbulent, touching, and powerful, embracing diverse influences that amplify the album’s intensity. Sounding more brutal and progressive, yet still cinematic, resolutely modern and original, Heal engulfs the listener in the depths of tortuous worlds. You can enjoy several amazing official videos from both albums on their YouTube channel, including Lulled by the Waves, Retch, Another Kind of Violence, a live version of Warrior recorded at Café de la Danse in Paris in 2023, their full set recorded live at La Gare aux Musiques in 2022, as well as stream both albums in all of their glory on BandCamp or on Spotify.

This slideshow requires JavaScript.

In 2023, No Terror In The Bang won an award in the emerging category of a French music competition, leading them to perform at several festivals and venues such as Le Normandy, Chien à Plumes, Chauffer Dans la Noirceur, and many others. And as their Cinematic Metal began taking them places, Sofia was asked in one of her interviews how she would define such a unique subgenre of heavy usic. “It’s an alternative genre that combines both metal and film music ambiances. It aims to immerse the listener in a chiaroscuro universe with this contrast between a dark, violent world and another dreamlike one that borders on dreams,” commented our phenomenal diva.

Part of a collective of local artists named La Charbonnerie, Sofia is also involved in other very interesting projects apart form her career with No Terror In The Bang. For instance, she’s a member of a duo with French beatmaker and rapper Mine Sale with influences from Jazz, Soul, Hip-Hop, and Rap. Their first EP, titled Diseases, was released in December 2020, including songs like I Can Fly. “This project, which I started a year ago, is a 7-track EP composed primarily in English. Its influences include Jazz, Soul, Hip-Hop, and Rap. Mine Sale is the beatmaker and initiator of this project. He’s a Rouen-based artist who is a rapper and heads a collective called La Charbonnerie, of which I’m an active member,” said Sofia. “Vocally, I come from a jazz background. It’s a great experience for me, allowing me to broaden my musical palette.” Furthermore, you can also find her making another duo with Pierre-Louis Le Port in a project called Gin Bee, as you can see in this acoustic version for Judas, by Lady Gaga.

Having won the second place in 2020 in the Les Etoiles de nos Régions competition, where she represented Normandy, Sofia had an interesting answer when asked about her vocal range. “People usually say I’m more of an alto, but I’d rather say I’m a mezzo, because I can sing very low as well as high. Recently, I’ve been able to master distorted singing, such as growls and screams.” Furthermore, as a writer and composer of all of her lyrics and melodies, she mentioned she usually starts her creative process with instrumental pieces, playing them on repeat until finding inspiration and the right flow, while also sometimes writing lyrics without music.

Having given vocal technique classes at Ecole de Musique de Quincampoix in addition to her professional training, saying by the way she had never progressed as much regarding her vocals before she started teaching, Sofia grew up with the internet and YouTube, as well as the first streaming platforms, having the opportunity to discover many artists such as the great divas of R&B like Beyoncé and Rihanna, American rappers including Lil Wayne and Eminem, Bob Marley and so on. Also, when asked to name a few artists from the Le Havre region that she would recommend, Sofia mentioned Brav, Tiers Monde (formerly known as Bouchées Doubles), and Médine, all from the French rap scene, showing how much the style has influenced her in her life and career.

There are also some very interesting interviews, most of the time in her mother tongue French, available online if you want to know more about Sofia and her No Terror in The Bang, including this one to France 3 Normandie where the band talks about the release of their second album Heal, and this 30-minute one to Loud TV to also talk about Heal. Sofia and of course her bandmates are going places with the uniqueness and energy of their music, and may her R&B soul keep getting intertwined with her metal heart for many decades to come, bringing to our avid ears an overdose of first-class, emotional heavy music, always enfolded by her unique vocals.

Sofia Bortoluzzi’s Official Facebook page
Sofia Bortoluzzi’s Official Instagram
No Terror In The Bang’s Official Facebook page
No Terror In The Bang’s Official Instagram
No Terror In The Bang’s Official YouTube channel