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Album Review – Violent Life Violent Death / Break. Burn. End. (2023)

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The demonic new album by these North Carolina-based Metalcore and Deathcore heavyweights takes the band’s sound to a whole new level of intensity, resulting in their most assaultive effort yet.

Sometimes violence is the answer. That’s exactly what you’ll get in Break. Burn. End., the incendiary first full-length opus by Charlotte, North Carolina-based Metalcore/Deathcore heavyweights Violent Life Violent Death, following up on their critically acclaimed EPs The Color of Bone (2020), Sadness Rains (2019), Come, Heavy Breath (2018), and V-EP (2016). Mixed and mastered by Kyle Dameron at Rareform Recordings, and featuring a Stygian artwork by Mark De Gruchy, the new album by vocalist Scott Cowan, guitarists Joseph Benham and Daniel Knight, bassist Justin Campbell, and drummer David Holquin takes the band’s sound to a whole new level of intensity, resulting in their most assaultive release since their inception in 2016 and, therefore, placing the album as a must-listen for fans of the more metallic form of Hardcore blasted by Hatebreed, Every Time I Die, Zao, A Life Once Lost and Ringworm, among others.

A dark and cryptic intro ignites the visceral metal feast titled Weapon of Pain, with Scott already delivering his demonic gnarls while David crushes his drums in the name of old school Hardcore, not to mention how austere the riffs by Joseph and Daniel sound; and more of the band’s acid fusion of Metalcore with Hardcore and Death Metal is offered to us all in The Snapping of Teeth, a neck-breaking extravaganza by VLVD that will keep your blood boiling while Scott sounds utterly demonic on vocals. Then grim, devilish guitar sounds kick off the also obscure Deceit Welcomed by Blind Grace, exploding into the band’s trademark heavy music spearheaded by the unstoppable drums by David, supported by the always groovy bass by Justin; whereas the band shows no mercy for our damned souls in Devastation on the Tip of the Tongue, a pulverizing Metalcore and Deathcore onrush perfect for slamming like a beast inside the circle pit, with Scott once again delivering an inhumane performance on vocals. After such infernal tune, they keep the adrenaline flowing in The Light Behind, offering two minutes of pure savagery where Joseph and Daniel alternate between scorching riffs and more melodious lines.

The title-track Break. Burn. End. brings to our avid ears one minute of eerie noises and a wicked narration, working as a demonic interlude to the bestial Saying Your Name is to Choke on Ash, another circle pit feast that will explode your ears to the infernal growls by Scott and the classic blast beats by David, with Justin once again sounding thunderous armed with his bass. There’s no sign of slowing down for those ruthless metallers, with Maintain the Quiet being the perfect depiction of how technical yet brutal and vile their music can be, sounding absolutely pulverizing and thrilling from start to finish; followed by Heaven so Far Away, the second to last breath of evil by VLVD, starting in a more somber, phantasmagorical way before evolving into a rumbling feast of harsh roars, slashing riffs and pounding drums (albeit not as electrifying as its predecessors); and there’s time for one final dive into the mosh pit together with VLVD in Come Armageddon, with the Punk Rock and Hardcore-fueled beats by David speeding things up considerably, offering Scott all he needs to burst his lungs screaming before the song ends in a truly visceral note.

In a nutshell, the guys from VLVD did it again, bringing forward in Break. Burn. End. their undisputed amalgamation of Hardcore with more traditional metal styles in great fashion. Hence, you can get in touch with the band directly on Facebook and on Instagram for news, tour dates and so on, subscribe to their YouTube channel for more of their caustic music and videos, stream their venomous creations on Spotify, and of course grab a copy of Break. Burn. End. From the Innerstrength Records’ BandCamp page, from Apple Music, or from Amazon. This world is broken, burning, and soon coming to its inevitable end, and there’s nothing better than the music offered by VLVD in their newborn opus to guide us through our violent lives into our (most probably) violent deaths.

Best moments of the album: The Snapping of Teeth, Devastation on the Tip of the Tongue and Maintain the Quiet.

Worst moments of the album: Heaven so Far Away.

Released in 2023 Innerstrength Records

Track listing
1. Weapon of Pain 3:24
2. The Snapping of Teeth 2:58
3. Deceit Welcomed by Blind Grace 1:58
4. Devastation on the Tip of the Tongue 2:09
5. The Light Behind 2:25
6. Break. Burn. End. 1:07
7. Saying Your Name is to Choke on Ash 2:18
8. Maintain the Quiet 2:14
9. Heaven so Far Away 3:04
10. Come Armageddon 3:07

Band members
Scott Cowan – vocals
Joseph Benham – guitar
Daniel Knight – guitar
Justin Campbell – bass
David Holquin – drums

Album Review – GraveRipper / Seasons Dreaming Death (2023)

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The dead will rise and chaos will take over the entire world to the sound of the first full-length album by this venomous American Blackened Thrash Metal horde.

The dead will rise and chaos will take over the entire world to the sound of Seasons Dreaming Death, the newborn beast by Indianapolis, Indiana-based Blackened Thrash Metal horde GraveRipper. The first full-length album in their career, following up on their 2020 debut EP Complete Blinding Darkness and on their 2021 EP Radiated Remains, Seasons Dreaming Death showcases all the dexterity and passion for extreme music by Corey Parks on vocals and rhythm guitars, Keegan Hrybyk on lead guitars, Chris Pilotte on bass and Jacob Lett on drums, all spiced up by the top-notch engineering, mixing and mastering by Wesley Heaton at Postal Recording, and the sick artwork by one of the best illustrators of the current scene, Adam Burke of Nightjar Illustration, offering fans of bands like Skeletonwitch, Toxic Holocaust and Wraith everything they crave in heavy music and more.

Corey and Keegan begin their ruthless stringed attack in Into the Grave, a frantic fusion of Black, Thrash and Death Metal that will certainly inspire you to slam into the pit like a headbanging bastard, followed by Ripped and Torn Apart, a hard-hitting, no-shenanigans creation by the quartet where Jacob is relentless on drums adding his share of violence and heaviness to the overall result. Let’s keep hammering our skulls inside the circle pit to the sound of Divine Incantations, with Corey barking rabidly while his riffs together with the sounds generated by his bandmates will pierce your damned soul mercilessly; whereas Chris’ bass and Jacob’s drums will make the earth tremble in the Thrash Metal feast Seasons Dreaming Death, once again presenting the band’s animosity infused with intricate and dark sounds. And it’s nonstop action in the high-octane tune Premeditated, again blending the rebelliousness of Thrash Metal with the aggressiveness of Death Metal, spearheaded by the venomous roars by Corey.

The quartet adds hints of Hardcore, Grindcore and even Melodic Death Metal to their core sonority in An Influx of Fear, bringing forward the always caustic riffage by Corey and Keegan, and the complex but demented drumming by Jacob, and it’s then time to speed things up and generate a hurricane of thrashing sounds in Resist Against the Light, by far one of the most breathtaking songs of the album with the low-tuned bass by Chris brutally smashing your cranial skull. As you might have notice, it’s one demented tune after another, and the band keeps crushing our frail bodies in Red Skies, where their riffage sounds utterly acid and incendiary inspired by our good old Punk Rock. Back to a more traditional Thrash and Death Metal mode, Jacob takes the lead with his intricate beats in And I Curse Reality, simply perfect for some vigorous headbanging; and closing such pulverizing album we have Only Coldness, offering more of their gripping hybrid of extreme styles, with Jacob’s Black Metal drums matching perfectly with the riffage by the band’s guitar duo.

“The album title is my take on Halloween/Samhain,” commented Corey, “the day of the year where the veil between the world of the living and the world of the dead is the thinnest.” Well, let’s say the band truly captured the essence of such mysterious and adored day in Seasons Dreaming Death, which is already available for pre-order from their own BandCamp page and will be unleashed upon us before we can say “death”. Hence, don’t forget to also follow the band on Facebook and on Instagram for news, tour dates and all things GraveRipper, and to stream their sick creations on Spotify. As mentioned, the dead are about to rise when the excellent Seasons Dreaming Death is officially released, and you better be armed with GraveRipper’s demented new album in your hands if you want to join such deadly party.

Best moments of the album: Ripped and Torn Apart, Premeditated and Resist Against the Light.

Worst moments of the album: None.

Released in 2023 Wise Blood Records

Track listing
1. Into the Grave 4:11
2. Ripped and Torn Apart 3:58
3. Divine Incantations 2:19
4. Seasons Dreaming Death 3:05
5. Premeditated 4:08
6. An Influx of Fear 1:53
7. Resist Against the Light 3:43
8. Red Skies 3:28
9. And I Curse Reality 3:31
10. Only Coldness 3:31

Band members
Corey Parks – vocals, rhythm guitars
Keegan Hrybyk – lead guitars
Chris Pilotte – bass
Jacob Lett – drums

Metal Chick of the Month – Nova Twins

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Choose your fighter… Amy Love, or Georgia South?

Get ready for double the awesomeness here at The Headbanging Moose with our talented, charismatic and stunning rock and metal ladies of the month of July, turning up the heat even more this summer. Hailing from London, England, this amazing UK duo will rock your world with their fusion of Rock N’ Roll, Punk Rock and Heavy Metal with several other styles, always sounding vibrant, fresh and dynamic and, consequently, getting a bigger and bigger fanbase with each one of their releases. I’m talking about the electrifying English Hard Rock duo Nova Twins, formed of vocalist and guitarist Amy Love, and bassist, keyboardist and backing vocalist Georgia South, two unrelenting women who will kick your ass with their first-class music, wicked videos and incendiary live performances, and I’m sure you’ll become addicted to them after knowing more about their career.

Formed in 2014 in “The Big Smoke” (under the name BRAATS, when they released a song named Bad Bitches that can be seen being performed live HERE), Nova Twins are chaotic and hyperactive, charming and insane, describing their music as “Urban Punk”, and their perfect sync comes from years and years of friendship. Having been close friends since childhood, and having played in bands that were often booked on the same bill, the duo is the perfect example of how a DIY attitude can be extremely beneficial if you love what you do and if you keep working hard to achieve your goals. Sewing their stage outfits from scratch, and filming their music videos using smartphones with the help of Georgia South’s mother, the then teenagers Amy and Georgia quickly gained considerable recognition in the local Southeast London open-mic scene, playing at renowned venues including The Fox & Firkin and Ravensbourne Arms, and releasing their debut single titled Bassline Bitch online back in 2015, leading to the release of their self-titled debut EP in 2016.

Of Iranian and Nigerian descent, vocalist and guitarist Amy Love has always had a love for the electric guitar despite not being able to play it when she first started to make music, always finding guitarists to accompany her on songs, considering very frustrating the fact she couldn’t play the guitar herself, which could cause some hurdles in her creative process; whereas Georgia South, who’s of Jamaican and Australian descent, and whose father is also a musician named William South, first started learning the bass guitar when she went to band school over a summer holiday at 13 years old. They met as teenagers through Georgia’s brother and felt a connection right away “I was introduced to Georgia’s family and we just got on like a house on fire,” said Amy in one of her interviews. “I went to her house one day and we clicked immediately.” They didn’t think about forming a band right away, though, due to Amy’s solo project and Georgia being involved in a local band, but of course, as you already know, it didn’t take long for the duo to get united in the name of Rock N’ Roll.

The duo has already released two full-length albums, those being Who Are the Girls? in 2020 and Supernova in 2022, plus their aforementioned self-titled EP in 2016, the EP Thelma and Louise in 2017, and another EP in 2017 titled Mood Swings, as well as several singles. All their wicked creations can be found on YouTube and on Spotify, including the official videos for Cleopatra, Taxi, Play Fair, K.M.B., and Wave, among others, not to mention all official and unofficial live footage such as Cleopatra live at Rock im Park in 2023, and Bassline Bitch live at Hellfest in 2019, and you can also click HERE for all things Nova Twins.

Having already toured with several amazing bands the likes of Prophets of Rage, Wolf Alice, Skunk Anansie, Bring Me The Horizon and Enter Shikari, Amy and Georgia have also collaborated with Bring Me The Horizon on the song 1×1, from their 2020 album Post Human: Survival Horror, with Koder on the song Vibrations – Remix, from the 2017 EP Vibrations, and with Tsar B on the song Flitch, found in the 2020 EP’s Unpaintable and Flitch. They’ve also performed with Fever 333 during their BBC Radio 1 Maida Vale session, won Best UK Breakthrough Band at the Heavy Music Awards, ranked in NME’s 20 best debut albums of 2020, became the face of Dr. Martens Alternative A/W campaign, and started their own custom clothing line called Bad Stitches.

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Highly vocal about the rock and metal scene, and about the musical roots that helped them craft their path to stardom, the duo is influenced by an array of artists and musicians it’s actually hard to list all or even to label them, showing how diverse their taste can be. “We’re influenced by so many different things that I don’t think we’d feel comfortable being stuck to one thing. We enjoy experiencing and being inspired by different genres, whether it’s hip-hop or jazz. Music’s music and it comes in different forms, but makes you feel different things at the right time,” commented the duo. Having Skin (of Skunk Anansie) and Tom Morello (of Rage Against The Machine) as their friends and mentors, Nova Twins strongly believe that having those mentors has been crucial for their growth as musicians, always receiving constructive feedback and technical advice from those seasoned musicians. In addition, the duo also loves to support new bands, mentioning Gully Boys, Pinkshift, Zaria, The OBGMs and HO99O9 as some of the artists they enjoy listening to and seeing live.

Regarding their live performances, Georgia mentioned in one of their interviews that she wants fans to leave their shows feeling “like they’ve released everything, and like they feel seen in the room.” They’ve been touring everywhere, taking their electrifying music to the stages in the UK, Europe and the United States, being the headliners in cities like Toronto, New York and Los Angeles, and even playing at famous European summer festivals the likes of Hellfest and Rock im Park, always taking good care of themselves to be able to perform in full force. “We’re quite disciplined. Drink fucks my vocals and if Georgia was drunk on stage there’s no way she’d be able to tap dance on her pedalboard. You have to go that step further to make sure you’re keeping alright. When we were first on tour we’d have sweets and crisps and shit on our rider, and always be hungry but forever eating and sitting in a van for eight hours all day. Now we’ve taken all the crap off, and on our day off our tour manager will try and find a cool, scenic place or a hot tub where you get a discount cos it’s winter.”

Always serious about representing their communities in the rock and punk scene, the duo believes visibility is a key part of opening the door for other black punk acts. However, in the beginning they felt alienated form the scene due to the fact that punk aesthetics are at the same time innovative but extremely strict, and despite the fact the movement is linked to anti-racism and leftist political ideologies, it’s still a white male-dominated scene. “People didn’t know where to put you on the playlist, or people wouldn’t have you play here because you didn’t ‘look rock’.” That’s one of the main reasons that led Amy and Georgia to start the Voices for the Unheard Instagram series in June 2020, as part of their efforts to further conversations around the Black Lives Matter movement, interviewing renowned artists including Big Joanie, Connie Constance and Oxymorrons, among others, about liberation, anti-racism, personal style and more, plus an exclusive Spotify playlist. Furthermore, the project culminated in a vinyl compilation and a live show on Dr. Martens’ Instagram. “We thought we were in a band just like any other band, but, as we went along, we slowly realized that when we were playing these festivals, we were looking at people that didn’t look like us backstage, and the people playing on stage didn’t look like us either. We would see people in the audience that looked like how we felt growing up, coming to shows like this. So then we were like, ‘We have to do it for them’. We are representing so much more that isn’t supported in the industry, in the mainstream, or anywhere at this point,” commented the duo.

They’ve also started seeing a lot more inclusivity in the alternative music scene, with lots of women, non-binary people and people of color being part of a new wave of rising talent, and having faced several hurdles as black women in rock music they’re more than fine as being role models to those up-and-coming artists. “We don’t shy away from being role models because, whether you like it or not, you are a role model if you have lots of people going to your Instagram every day and checking what you’re saying. We had so much difficulty at the beginning, and we don’t want that to be the case for new bands starting out now so we just like to boost people and make them feel confident and that they can strive to do anything.” And that’s why Amy and Georgia are so awesome, using their music not only to entertain us all, but also to make the whole world a more inclusive and, therefore, much better place to live.

Nova Twins’ Official Facebook page
Nova Twins’ Official Instagram
Nova Twins’ Official YouTube channel
Nova Twins’ Official Twitter

“Own your power. Whether it’s owning who you are, where you’re from. Your power could be your culture, where you’ve come from, what you’ve been through. Own it.” – Amy Love

“The world is limitless to you. There are no limits or ceilings to what you can do. The world is Supernova – you can break through.” – Georgia South

Album Review – Man Must Die / The Pain Behind It All (2023)

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This Scottish Death Metal institution returns with their most aggressive album to date, once again bringing the fight but in a bigger way than ever.

Having already released four furious records and having toured with the likes of Kataklysm, Aborted, Misery Index, Machine Head, Hatebreed and Decapitated, to name a few, Glasgow, Scotland-based Technical Death Metal entity Man Must Die is back in action with their most aggressive album to date and their first full-length album in almost ten years, The Pain Behind It All, following up on their 2019 EP Gagging Order and their 2013 full-length opus Peace Was Never an Option. Known and praised for their highly energetic music style, with early releases containing elements of Technical Death Metal, Melodic Death Metal and even influences from old school Hardcore Punk, but currently showcasing much more melodic elements coupled with a Deathgrind-based sound, the band formed of vocalist Joe McGlynn, guitarists Alan McFarland and Mike Allan, bassist James Wright, and drummer Tony Corio is once again bringing the fight but in a bigger way than ever armed with their new album, always dealing with religion, murder, death, hate and warfare in their lyrics, usually written in a very violent fashion.

The sinister and short intro O.C.D sets the stage for Man Must Die to smash our cranial skulls with Patterns In The Chaos, a pulverizing display of Death Metal with Deathcore nuances with Tony going berserk behind his drums while Joe roars and gnarls nonstop for our vulgar delectation, whereas the title-track The Pain Behind It All brings forward sheer heaviness directly to our faces, with the band’s guitar duo Alan and Mike sounding visceral armed with their axes, not to mention the song’s eerie background ambience. It’s pedal to the metal with the band being on fire in In The Hour Before Your Death, a frantic, heavy-as-hell Death Metal extravaganza led by the always demolishing beats by Tony while their guitars keep exhaling absolute hatred, followed by Clickhate, another boisterous tune by those Scottish death metallers where the level of fury and animosity flowing from all instruments is gargantuan, with Joe bursting his lungs growling like a beast.

After such intense first half of the album, it’s time for a darker song entitled Enabler, a decent mid-tempo feast of Technical Death Metal spearheaded by the piercing riffage by Allan and Mike; and back to their most vicious mode, the band will pulverize our ears in Bring Me The Head Of The King, taking their violence to a whole new level while Joe vociferates the song’s catchy lyrics in great fashion. Get ready for six minutes of anguished passages, thrilling riffs and endless obscurity in War Is My Will, with James blasting his rumbling bass while Tony completes their evil kitchen with his pounding drums, followed by the instrumental interlude Alone In A Crowded Room, soothing our souls for a little less than two minutes before the band comes ripping with their final sonic attack entitled Who Goes There?/I.F.F, a lecture in Death Metal infused with elements from Deathcore, Hardcore, and even hints of Punk Rock. Put differently, it’s impossible to stand still to this venomous sonic hurricane, inspiring us all to slam our damned bodies into the circle pit.

The ruthless squad of Man Must Die is waiting for you on Facebook and on Instagram with news, tour dates and other great information about the band and their music, and of course you can stream all of their pulverizing creations on Spotify. The Pain Behind It All, available for purchase from the Distortion Music Group’s webstore as a CD or a vinyl, as well as from Apple Music or Amazon, is as aforementioned Man Must Die’s strongest and most obscure album to date, positioning the band as one of the torchbearers of the current Scottish metal scene and, therefore, leaving us eager for more and more of their flammable music in the coming years.

Best moments of the album: Patterns In The Chaos, In The Hour Before Your Death, Bring Me The Head Of The King and Who Goes There?/I.F.F.

Worst moments of the album: Enabler.

Released in 2023 Distortion Music Group

Track listing
1. O.C.D 0:33
2. Patterns In The Chaos 4:38
3. The Pain Behind It All 5:01
4. In The Hour Before Your Death 4:11
5. Clickhate 4:07
6. Enabler 5:57
7. Bring Me The Head Of The King 3:33
8. War Is My Will 5:57
9. Alone In A Crowded Room 1:45
10. Who Goes There?/I.F.F 4:13

Band members
Joe McGlynn – vocals
Alan McFarland – lead guitars
Mike Allan – guitars
James Wright – bass
Tony Corio – drums

Album Review – Motive Black / Auburn (2023)

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Rock on to the debut album by this promising Los Angeles-based band, peeling back the layers to reveal the dark and turbulent emotions that dwell in the heart of vocalist Elana Justin.

Peeling back the layers to reveal the dark and turbulent emotions that dwell in the heart of vocalist Elana Justin, Los Angeles, California-based Alternative Metal/Hard Rock group Motive Black is about to release their debut album, entitled Auburn. In collaboration with Grammy winning guitarist and producer Nick Rowe (Bloodsimple, Vampire Weekend), the duo have reworked songs from Elana’s former New York band, taking the music in a much heavier direction while also having guitarist Marcos Curiel (P.O.D.), drummer Ray Luzier (Korn), and vocalist Carla Harvey (Butcher Babies) as very special guests in the album. Produced by Nick at the legendary NRG Studios and mixed by Josh Wilbur, Auburn, which name was inspired by Elana’s sister’s auburn-colored hair (as losing her forced Elana to reexamine her life and make significant changes to it), will appeal to fans of Evanescence, The Pretty Reckless, Halestorm and In This Moment, among many others, representing a wild ride through that journey of anger, mania, deep love and self-discovery.

Nick wastes no time and begin an incendiary riff attack in Lift Me Up, featuring the she-wolf Carla Harvey as a guest vocalist, with the screams by Carla beautifully complementing the striking vocals by Elana; and featuring Ray Luzier on drums and Marcos Curiel on the guitars, Broken is another onrush of Alternative Rock and Metal that will please all admirers of the music by In This Moment and Halestorm. It’s then time for a headbanging tune titled Let Down, with Elana’s vocals alternating between Nu Metal and modern-day Hard Rock, not to mention how awesome Nick’s bass punches sound, and if you enjoy Halestorm’s modern sound you’ll have a blast with the rockin’ tune Bloodsport, showcasing hints of Punk Rock while Elana keeps kicking ass on vocals. Ray crushes his drums in the heavy and thrilling Caged, supported by the incendiary strings by Nick and, therefore, resulting in one of the best moments of the album. Such groovy and dark atmosphere continues in the Nu Metal feast Purge, again spearheaded by Elana’s strident vocals while Nick extracts tons of electricity from his guitar.

Supported by the frantic beats by Ray, Elana screams and roars in the name of Rock N’ Roll in Cellophane, an electrifying song perfect for slamming into the circle pit, followed by Bad Decisions, one of the most modernized of all songs, blending elements from the music by Korn, Nine Inch Nails and other renowned acts from the 2000’s rock scene. After that, Elana sounds insane in Fake, speeding things up to the classic beats by Ray while Nick’s riffage sets fire to the song’s already flammable vibe in an ass-kicking Alternative Metal extravaganza; whereas despite the solid job done by Ray on drums and the heavy riffs by Nick, the song Fight Alone sounds a bit generic compared to the rest of the album. The title-track Auburn offers our ears a passionate performance by Elana on vocals declaiming its pensive lyrics (“Who are you / When you’re all alone / When there’s no one looking / Do you still feel whole / What’s been living inside your soul / Are you empty inside / Are you empty inside”) while Ray dictates the pace with his pounding beats in a powerful heavy ballad, and lastly as a bonus we’re treated to the radio edit version of Lift Me Up, keeping the same energy of the original version.

The stunning Elana and her Motive Black are waiting for you on Facebook and on Instagram with news, tour dates, more of their music and other nice-to-know details about the band, and don’t forget to also stream their classy creations on Spotify and to purchase your copy of auburn by clicking HERE. “I’m not an aggressive person,” Elana says. “But my music is very to the core; everything goes into it. I do most of my venting through music. It’s definitely a collaboration with Nick. We feed off each other and we’ve created some really cool music,” and we must all admit their partnership has been very productive and exciting so far, with Auburn becoming a must-listen album in the current American rock and metal landscape.

Best moments of the album: Lift Me Up, Cellophane and Fake.

Worst moments of the album: Fight Alone.

Released in 2023 AFM Records

Track listing
1. Lift Me Up 3:45
2. Broken 4:05
3. Let Down 3:36
4. Bloodsport 3:22
5. Caged  2:50
6. Purge 3:42
7. Cellophane 3:54
8. Bad Decisions 3:07
9. Fake 4:19
10. Fight Alone 3:40
11. Auburn 4:00
12. Lift Me Up (Single Edit) 3:34

Band members
Elana Justin – vocals
Nick Rowe – guitars, bass

Guest musicians
Carla Harvey – vocals on “Lift Me Up”
Ray Luzier – drums on “Broken”, “Caged”, “Cellophane”, “Fake”, “Fight Alone” and “Auburn”
Marcos Curiel – guitars on “Broken”

Album Review – Headfist / This New World…. EP (2022)

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A talented and hardworking musician from Chile channels all his anger in his debut EP, overflowing Thrash and Speed Metal for our total delight.

Formed by guitarist Cristóbal Perez in Chile’s capital Santiago earlier this year as a four-piece act, but currently having Cristóbal as its sole member (with the support of session vocalist Michel Hoogervorst of Dutch Heavy/Thrash Metal band KFFR), the newborn Thrash/Speed Metal entity Headfist has just released their debut EP This New World…., following up on their 2022 two-track self-titled demo. Comprised of six songs clocking at 20 minutes of pure speed and insanity, the EP is according to Cristóbal himself highly influenced by Motörhead, Overkill, Exodus, Anvil, Anthrax, Testament and Iron Maiden, among others, allowing him to channel all his anger while the lyrics deal with the adversities most musicians face in life when trying to create new music.

Uncertainty is a very melodic intro inspired by renowned acts such as Megadeth and Testament, exploding into the high-octane and rebellious This World, with Cristóbal slashing his guitar in great fashion, firing caustic riffs and solos while Michel roars manically in the name of 80’s Thrash Metal. Then pounding drums and endless heaviness are the main ingredients in What a Nice Way to Live…, another incendiary tune by Headfist with nuances of Hardcore and Punk Rock added to its already violent core; whereas the soaring vocals by Michel add an extra touch of insanity to the music in Instinct to Kill, where once again the Speed Metal riffage by Cristóbal lives up to the legacy of the genre. It’s time to put the pedal to the metal as Headfist invites us all to slam into the pit to the sound of Reign of Treason, sounding like a Chilean version of Anthrax with Cristóbal’s sharp riffs and solos bringing that welcome dirt to the overall result. Lastly, the song that carries the name of the band, Headfist, overflows electricity and rage, with Michel and Cristóbal being in perfect sync and, therefore, offering us all another hurricane of Thrash and Speed Metal.

While the EP can be heard in full on YouTube and on Spotify, the talented Cristóbal is currently looking for musicians who nurture the same passion as he does for heavy music, and who are also willing to embark on the hard and difficult (but exciting) path to create high-quality metal music. Hence, if you think you have what it takes to be part of Headfist, or if you just love Speed Metal and want to show Cristóbal all your support, go check what he’s up to on Facebook and purchase a copy of This New World…. from Apple Music. Hopefully, Cristóbal will quickly find some skillful metallers to join Headfist and become once again a full-bodied band, because the music found in his debut EP is excellent, it perfectly represents what the underground is all about, and above all that, it exhales Heavy Metal. We need more of the music by Headfist, no doubt about that.

Best moments of the album: This World and Reign of Treason.

Worst moments of the album: None.

Released in 2022 Independent

Track listing
1. Uncertainty 1:06
2. This World 2:38
3. What a Nice Way to Live… 3:28
4. Instinct to Kill 4:10
5. Reign of Treason 5:02
6. Headfist 3:54

Band members
Cristóbal Perez – guitars, bass, drums

Guest musician
Michel Hoogervorst – vocals (session)

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

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

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

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

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

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

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

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

Released in 2022 Lupus Lounge/Prophecy Productions

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

Band members
Kerem Yilmaz – vocals, guitars, bass

Guest musician
Melvin Cieslar – drums (session)

Album Review – Culto Negro / La Noche Oscura del Alma (2022)

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This Costa Rican horde will crush your senses with their debut opus, transforming the dark night of the soul into a first-class fusion of Black and Speed Metal.

Forged back in 2015 in the dark pits of Heredia, one of Costa Rica’s most historical cities, Black/Speed Metal horde Culto Negro (which by the way means “black cult” in English) has just unleashed upon humanity their debut full-length opus, beautifully titled La Noche Oscura del Alma, or “the dark night of the soul”, a sulfurous album of old school extreme music that exhales rage and adrenaline. Recorded by the band’s own guitarist Isak Arroyo at Orion Studios, mixed and mastered by Colin Marston at Menegroth Studios, and displaying a sick artwork by Nuno Zuki of Belial NecroArts (with additional artworks by Alan Corpse at Leprous Hands Arts), La Noche Oscura del Alma doesn’t have a single second of peace, offering our avid ears 39 minutes of a sonic Armageddon masterfully crafted by vocalist D.N., guitarists Esteban Sancho and Isak Arroyo, bassist AntiChristopher and drummer Vörago.

More than just a simple intro, Espectro Lunar (“lunar spectrum”) is already a bestial attack by Culto Negro where the riffage by Esteban and Isak is truly infernal, setting the stage for D.N. to kill in Desdoble (“unfold”), a fast and furious hybrid of Black and Thrash Metal that will please all fans of the genre bringing forward an amazing job done by Vörago on drums, keeping the music vibrant and evil from start to finish. Then it’s pedal to the metal as this Costa Rican party has no time to end to the sound of El Quinto Ángulo (“the fifth angle”), where D.N. makes his personal tribute to Hardcore and Punk Rock on vocals while the band’s guitar duo delivers sheer awesomeness through their riffs and solos, followed by Verso Adivinado (“guessed verse”), another frantic, demonic creation by the quintet where AntiChristopher’s bass punches add a touch of dementia to their scorching guitars, while Vörago hammers his drums in a true demented way. And Navajas, Cadenas y Espejos (“knives, chains and mirrors”) sounds like a hellish fusion of the music by Slayer, Motörhead and The Exploited, being therefore a fantastic option for slamming into the pit like there’s no tomorrow.

Get ready to be smashed like a bug by Culto Negro in the venomous Rojo Siniestro (“sinister red”), with D.N.’s vocals sounding more deranged than ever while Vörago keeps dictating the pace with his Punk Rock-infused beats; whereas in Caos o Cosmos (“chaos or cosmos”) the name of the song says it all, offering us all a chaotic sonority from the very first second with Esteban and Isak delivering pure thrashing riffs for our total delight. And such dynamic guitar duo revs up Culto Negro’s engines once again in Salvajes Destructores (“savage destroyers”), highly recommended for some nonstop headbanging and slamming into the pit; while Violencia Psicoactiva (“psychoactive violence”) is Black, Thrash and Speed Metal straight to your jugular, showcasing more of AntiChristopher and Vörago’s infernal kitchen. La Larga Marcha (“the long march”) can be considered the most infernal, brutal and caustic of all tracks where D.N. continues to vociferate like a rabid creature. Put differently, let’s all raise our horns to Culto Negro and their anti-religious extreme music. Last but not least, we have their cover version for Hermética’s Desterrando a los Oscurantistas (“banishing the obscurantists”), which original version can be enjoyed HERE, from Hermética’s 1989 self-titled debut album. It’s indeed an amazing rendition by those Costa Rican metallers, with AntiChristopher hammering his bass in great fashion until the very end.

If you believe you have what it takes to join the black cult ruled by such talented horde form Costa Rica, you can stream  La Noche Oscura del Alma in its entirety on YouTube and on Spotify, and of course purchase it from the Godz ov War Productions’ BandCamp page or webstore, as well as from the Violence Records’ BandCamp page. Culto Negro are also waiting for you on Facebook and on Instagram armed with the austere chants found in La Noche Oscura del Alma, showing us all Costa Rica is a metallic country as opposed to what most people think about it. They managed to transform the dark night of the soul into top-tier Extreme Metal in their debut effort, and may their music continue to darken the skies for many years to come.

Best moments of the album: El Quinto Ángulo, Navajas, Cadenas y Espejos and Salvajes Destructores.

Worst moments of the album: None.

Released in 2022 Godz ov War Productions/Mythrone Promotion/Violence Records

Track listing
1. Espectro Lunar (Intro) 1:53
2. Desdoble 2:51
3. El Quinto Ángulo 2:52
4. Verso Adivinado 3:29
5. Navajas, Cadenas y Espejos 3:38
6. Rojo Siniestro 3:57
7. Caos o Cosmos 4:02
8. Salvajes Destructores 3:43
9. Violencia Psicoactiva 4:29
10. La Larga Marcha 5:29
11. Desterrando a los Oscurantistas (Hermetica cover) 2:15

Band members
D.N. – vocals
Esteban Sancho – guitars
Isak Arroyo – guitars
AntiChristopher – bass
Vörago – drums

Album Review – Ratos de Porão / Necropolítica (2022)

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The iconic João Gordo and his crew show no mercy for the absolute disaster that’s the current Brazilian government, bringing to us all a true masterpiece of Punk Rock and Hardcore.

If you take a quick look at the current political, economic and environmental situation in Brazil, you’ll notice things are not going well. Quite the contrary, the whole situation is Brazil is beyond delicate and catastrophic, and that’s the main reason as to why São Paulo, Brazil-based Hardcore/Punk Rock veterans Ratos de Porão have just released the fantastic Necropolítica, or “necropolitics” in English, their thirteenth studio album and their first since the 2014 album Século Sinistro. Known for their rebelliousness and acid lyrics since their inception in the distant year of 1981, vocalist João Gordo, guitarist Jão, bassist Juninho and drummer Boka show absolutely no mercy for the nasty, disastrous government of Brazilian president Jair Bolsonaro throughout the entire album, dealing with topics such as the rising far-right movement in the country, the countless deaths during the Covid-19 pandemic, and the strong negative impact of the influence of the country’s evangelical church in all of the decisions taken by Bolsonaro and his horde of ignorants, all wrapped up by a sinister artwork designed by Rafael Gabrio, who intentionally made it very similar to Black Sabbath’s cult cover for Sabbath Bloody Sabbath, as personally requested by João Gordo himself.

The sound of a dying patient using a mechanical ventilator kick off the absolutely vicious Alerta Antifascista (“anti-fascist alert”), where Boka smashes his drums ruthlessly offering João Gordo exactly what he needs to vociferate the song’s austere lyrics, whereas Aglomeração (“agglomeration”) is a freakin’ awesome Punk Rock and Hardcore creation by the quartet where Jão is on absolute fire with his demented riffs, or in other words, simply slam into the circle pit and “pray for Jesus” to protect you in there (without a mask, of course). More melodic and dancing than its predecessors, Passa Pano Pra Elite (“cover up for the elite”) is an excellent option for their live performances where the bass jabs by Juninho complement Jão’s solos flawlessly, followed by the title-track Necropolítica (“necropolitics”), a fast and furious extravaganza that matches perfectly with the current actions of the Brazilian government, with João Gordo blasting his trademark roars nonstop. It’s almost like a new “national anthem” for the country, which can also be said about Guilhotinado em Cristo (“guillotined in Christ”), offering us all another round of their old school Punk Rock and Hardcore with Thrash and Death Metal elements while Boka once again hammers his drums like a beast.

The band once again adds hints of Rockabilly to their core sonority (and the final result is brilliant) in O Vira-Lata (“the mutt”), with Jão and Juninho being yet again in absolute sync with their stringed weapons while João Gordo sends all his “love” to Bolsonaro and his hideous family. G.D.O. actually means “gado”, the Portuguese word for “cattle” which is how the followers of Bolsonaro are called, and the music gets back to a more frantic, demented sonority while João Gordo talks about how harmful all fake news spread by those idiots can be to the society; followed by Bostanágua, or “bosta na água” (“shit in the water”), a play word with Bolsonaro’s name, a straightforward, in-your-face Hardcore tune where João Gordo keeps barking rabidly while Boka dictates the song’s electrifying pace. Entubado (“intubated”) is a song about the horrible situation that happened in the city of Manaus, in the middle of the Amazon, where due to a total lack of support from the government several people sadly died without oxygen during the peak of the Covid-19 pandemic, and the music is not only brutal but perfectly depicts all that despair; and lastly, Neonazi Gratiluz, with “gratiluz” being the combination of the words “gratitude” and “luz”, or “gratitude” and “light”, is a way to refer to the Brazilian white supremacist elite who believes they’re better than everyone else and who keep sending “good vibes” to everyone (when in fact they’re not). Needless to say, Jão slashes his guitar in great fashion accompanied by the classic beats by Boka throughout the entire song, culminating in the perfect conclusion to such meaningful album.

It doesn’t matter if you don’t understand a single word in Portuguese, Necropolítica is a must-listen for any fan of heavy music, and you can enjoy the album in full on Spotify, as well as show your total support to Ratos de Porão by following them on Facebook and on Instagram, and by purchasing their newborn beast from their own webstore or by clicking HERE. To be honest, based on the endless crimes committed by Bolsonaro and his henchmen and all the garbage he vomits everyday to the press, I think Ratos de Porão might need to record parts II, III, IV, and so on of Necropolítica, which despite being really sad news for Brazil as a country, it’s a good thing for the world of Punk Rock, Hardcore and Heavy Metal. Hopefully the evil Bolsonaro won’t be re-elected this year and Ratos de Porão can get back to their less obscure lyrics in their future albums, but we must all admit Necropolítica is a masterpiece of Brazilian rock music that will always remind us of the dark times Brazil is living right now.

Best moments of the album: Aglomeração, Necropolítica, O Vira-Lata and Neonazi Gratiluz.

Worst moments of the album: Absolutely none.

Released in 2022 Shinigami Records

Track listing
1. Alerta Antifascista 3:31
2. Aglomeração 2:29
3. Passa Pano Pra Elite 3:42
4. Necropolítica 2:32
5. Guilhotinado em Cristo 3:09
6. O Vira-Lata 3:39
7. G.D.O. 2:08
8. Bostanágua 2:08
9. Entubado 4:10
10. Neonazi Gratiluz 4:06

Band members
João Gordo – vocals
Jão – guitars
Juninho – bass
Boka – drums

Album Review – VVORSE / Kurjien Elegia (2022)

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This demented Finnish Neo-Crust and Hardcore quartet will smash your skull mercilessly to the sound of their sophomore album, diving deep into dystopian and existential levels.

Forged in 2014 in the bitterly cold fires of Jyväskylä, a city and municipality in Finland in the western part of the Finnish Lakeland, the venomous Neo-Crust/Hardcore four-piece outfit that goes by the stylish name of VVORSE will smash your cranial skull to the sound of their sophomore album, entitled Kurjien Elegia, or “evil elegy” from Finnish. Comprised of Jussi and Lauris on vocals and guitars, Jaakko on bass and Topi on drums, the quartet is on absolute fire throughout their newborn beast, blasting a high-octane fusion of metal and punk while diving into dystopian and existential levels. In other words, if you’re craving some dissonant, infernal music made in Scandinavia you must take a shot at Kurjien Elegia, with the additional fact that all songs are in Finnish and not in English making the whole experience of listening to the album even more unique.

A wicked intro explodes into a metallic Hardcore feast titled Kenen valta? (“whose power?”), where Jussi and Lauris bark manically accompanied by the vicious drums by Topi, not to mention their incendiary, Slayer-ish riffage as the icing on the cake. Then drinking from the same Punk Rock fountain as renowned acts the likes of The Exploited it’s time for the quartet to hammer our heads with Käännyn hiljaa pois (“I turn quietly”), showcasing piercing riffs and a headbanging rhythm while alternating with somber, sluggish passages to the evil bass by Jaakko, followed by Varjoaine (“contrast agent”), another frantic, demolishing creation by VVORSE where their demented screams walk hand in hand with their own Neo-Crust riffage, always supported by the thunderous kitchen by Jaakko and Topi. I have absolutely no idea why the title for Nevar tā blakus līdzi just (“you can’t feel it next door” from Latvian) is not in Finnish; anyway, musically speaking it’s another onrush of Hardcore sounds blasted by the quartet played with tons of rage, therefore keeping the album at a high level of acidity.

Get ready for a sonic attack blending the dementia of Punk Rock with Hardcore elements in the title-track Kurjien elegia, all of course spiced up by their wicked vocalizations in Finnish and with their guitars once again penetrating deep inside our minds, making an instant bridge with the demolishing Luovuta (“surrender”), where the quartet needs less than three minutes to decimate our senses, spearheaded by the razor-edged riffs by Jussi and Lauris. It can’t get any more Hardcore than this, whereas in Haluan kuolla rauhassa (“I want to die in peace”) the band carefully adds hints of Black Metal to their core sonority, resulting in what’s perhaps the darkest and heaviest of all songs with Jussi and Lauris roaring nonstop, while Jaakko keeps punching us in the face with his bass jabs. Finally, ending such infernal album of Hardcore we have 1990, which starts in a much more melodic way thanks to the guitars by Jussi and Lauris; however, it’s not as electrifying as the rest of the album despite its more atmospheric vibe.

Kurjien Elegia can be enjoyed in its entirety on YouTube and on Spotify, but if I were you I would certainly purchase a copy of the album from the band’s own BandCamp page, from Record Shop X, from Apple Music, or from Amazon, to properly show all your support to those Finnish rockers. In addition, don’t forget to follow them on Facebook and on Instagram for news, tour dates and so on. The band might be called VVORSE, but they’re in fact getting better as time goes by, with Kurjien Elegia representing a huge step forward in their sound and, therefore, leaving all doors wide open for another round of their demented music in a not-so-distant future.

Best moments of the album: Kenen valta?, Varjoaine and Luovuta.

Worst moments of the album: 1990.

Released in 2022 Off Records

Track listing
1. Kenen valta? 4:05
2. Käännyn hiljaa pois 6:32
3. Varjoaine 3:29
4. Nevar tā blakus līdzi just 4:00
5. Kurjien elegia 5:07
6. Luovuta 2:34
7. Haluan kuolla rauhassa 4:01
8. 1990 4:44

Band members
Jussi – guitar, vocals
Lauris – guitar, vocals
Jaakko – bass
Topi – drums