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Album Review – Baxaxaxa / Devoted to HIM EP (2020)

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A cult German Black Metal horde returns after almost two decades with an infernal new EP hailing from the most rotten and neglected graveyards.

Forged in the darkest pits of Germany in the already ancient year of 1992, Bavaria’s own Black Metal cult horde Baxaxaxa is back from the underworld after almost two decades to keep burning the flame that coursed through them in the very early 90’s with a new EP entitled Devoted to HIM, offering the listener two original ghoulish apparitions lurking in the most rotten and neglected graveyards. Recorded, mixed and mastered by Lord Noctifer at Black Bunker Sounds and featuring a grim cover art by German tattoo artist Slawa Pavlyguine (Black Venom Ink.), Devoted to HIM is a middle-fingered assertion of Baxaxaxa’s ancient values, being recommended to diehard fans of Mortuary Drape, Root, Hungary’s Tormentor, early Samael and very early Mayhem, showcasing all the talent and devotion to darkness by vocalist Traumatic, guitarist Cryptic Tormentor, bassist Sulphur Irae, drummer Condemptor and keyboardist Antitron Desecratum W2J1L8.

And this unrelenting five-piece horde form hell begins their raw and dirty Black Metal attack with the old school Revelation in Sin, with Cryptic Tormentor’s piercing guitar lines exhaling darkness and fire, while Sulphur Irae and Condemptor bring a touch of Doom Metal to their already devilish sonority and Antitron Desecratum W2J1L8 adds sheer dementia to the overall result with his wicked keys, all spearheaded by Traumatic’s infernal gnarls and screams. Put differently, this is one of those songs tailored for haunting the souls of the lighthearted. Then after such demented onrush of extreme music, cryptic sounds permeate the air in the Stygian and sulfurous title-track Devoted to HIM, suddenly exploding into ass-kicking Black Metal infused with the speed and fury of Slayer and the rebelliousness of classic Punk Rock. Moreover, all band members are on absolute fire from start to finish, in special Cryptic Tormentor armed with his hellish axe, and Condemptor, who doesn’t stop hammering his drums not even for a single second, providing Traumatic all he needs to blast his demented growls.

This short but utterly infernal display of the rawest form of Black Metal imaginable is available for a full listen on YouTube, but of course if you consider yourself a true servant of darkness and evil you should follow such insane Teutonic horde on Facebook and, above all, purchase your copy of Devoted to HIM from the band’s own BandCamp page, or from the Iron Bonehead Productions’ BandCamp page or webstore (in black or white vinyl). The demonic and ruthless Black Metal played by Baxaxaxa (which by the way was a name selected before the band’s first rehearsal and refers to a demon found in a now-lost-and-forgotten book) might not be an easy-listen at first for the regular metal fan, but you know what? That’s exactly how their music is supposed to be,  staying true to their roots and, obviously, forever and ever devoted to HIM.

Best moments of the album: Devoted to HIM.

Worst moments of the album: None.

Released in 2020 Iron Bonehead

Track listing
1. Revelation in Sin 6:43
2. Devoted to HIM 4:05

Band members
Traumatic – vocals
Cryptic Tormentor – guitar
Sulphur Irae – bass
Condemptor – drums
Antitron Desecratum W2J1L8 – keyboards

Album Review – Sepulchre by the Sea / Conqueror Worm (2020)

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Showcasing an equal passion for all things Post-Black Metal and American author Edgar Allen Poe, this UK-based one-man army is ready to stun you with his debut full-length album.

“Lo! ’t is a gala night
Within the lonesome latter years!
An angel throng, bewinged, bedight
In veils, and drowned in tears,
Sit in a theatre, to see
A play of hopes and fears,
While the orchestra breathes fitfully
The music of the spheres.” – Edgar Allan Poe – The Conqueror Worm (1843)

Formed in early 2019 by vocalist and multi-instrumentalist Ashley “Ash” Shannon with an equal passion for all things Post-Black Metal and American author Edgar Allen Poe, Bristol, UK-based Atmospheric Black Metal one-man army Sepulchre by the Sea has quickly grown from a single idea into a fully-fledged studio project, incorporating many different sounds from atmospheric soundscapes and traditional Black Metal riffing to more eclectic areas such as shoegaze and folk-based pieces. As a matter of fact, the project’s name was inspired by Annabel Lee, the last complete poem composed by Edgar Allan Poe, while another poem, The Conqueror Worm, which by the way is about human mortality and the inevitability of death, was the inspiration for Sepulchre by the Sea’s debut full-length, six-track opus Conqueror Worm, the follow-up to the 2019 demo …And So It Crumbles, creating something larger and more ambitious in scale, spanning nearly an hour and crossing multiple sub genres along the way.

And the project’s Edgar Allan Poe-inspired feast of melancholy and darkness begins in a truly atmospheric way in the opening track I Loved Alone, venturing through the realms of contemporary Post-Metal before Ash begins firing dirty, scorching riffs from his stringed axe and anguished gnarls in paradox with the song’s serene background piano notes. Then Ash hammers his guitar, bass and drums mercilessly in the furious title-track Conqueror Worm, blending the mystery of Atmospheric Black Metal with the violence and heaviness of Black Metal and even Punk Rock, not to mention his growls get even more demonic than before as the music progresses; and you better get ready for 12 minutes of fulminating blast beats, vicious riffs and an endless sense of despair and obscurity in And So It Crumbles, where Ash does an excellent job mixing classic Black Metal with Atmospheric Black Metal and Doom Metal nuances, also presenting Stygian, austere passages that perfectly represent his passion for the work by Edgar Allan Poe turned into extreme music.

Slices of Death is a pensive and enfolding composition by Ash where he focuses on the melody and all small details of the song instead of the usual harshness of extreme music; furthermore, it’s quite easy to sense how personal this harmonious ballad is to him, whereas our talented lone wolf and his Sepulchre by the Sea put the pedal to the metal in the visceral and austere Behind the Walls, enhancing his aggressiveness and rage through his hellish roars and fulminating Black Metal riffage, and ending in the most melancholic way imaginable. And last but (definitely) not least, you better be prepared as Ash will crush your senses for over 17 minutes with the closing tune Plutonian Shores, the icing on the cake in this multi-layered album of Atmospheric Metal where after four minutes of ritualistic sounds Ash comes ripping with his scorching riffage, also showcasing so many breaks, variations, changes in tempo and obscure passages it’s hard to describe the complexity of such grandiose tune in just a few words.

As I like to say, it’s always a pleasure to review the work by one-man bands like Sepulchre by the Sea, mainly because you can easily feel and enjoy all the hard work, all the passion for the music he plays, the musical evolution from song to song and, above all, all his respect and admiration for one of the greatest poets of all time (and the most beloved one by the metal community hands down). Hence, in order to show your support to Edgar Allan Poe’s right-hand man in extreme music, go check what Ash is up to on Facebook, and purchase your copy of Conqueror Worm from his own BandCamp page, from the Anthrazit Records’ BandCamp page, or from Amazon, and don’t forget you can also stream this fantastic display of Atmospheric Black Metal in full on Spotify anytime you want, savoring every single second of it like you would enjoy each word from Poe’s vast collection of amazing tales and poems.

Best moments of the album: Conqueror Worm and Plutonian Shores.

Worst moments of the album: None.

Released in 2020 Anthrazit Records

Track listing
1. I Loved Alone 6:40
2. Conqueror Worm 6:40
3. And So It Crumbles 12:07
4. Slices of Death 7:34
5. Behind the Walls 7:49
6. Plutonian Shores 17:14

Band members
Ashley Shannon – vocals, all instruments

Album Review – Lord Almighty / Wither (2020)

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Transcending genre norms, the new opus by this amazing Progressive Black Metal band from Boston showcases an epic world that will surely be loved by all types of metalheads.

Formed in the grimy artist spaces of Rugg Road in Boston, Massachusetts, in the United States in 2013 by vocalist and guitarist Keenan Carroll and guitarist Samuel “Goose” Willgoose, later enlisting bassist Phill Gelinas and drummer Christopher Narainen to complete the line up and hit the road, the unrelenting Progressive Black Metal unity Lord Almighty continues to play a crushing mix of Black Metal blasts and Rock N’ Roll melodics in their newborn opus entitled Wither, the follow-up to their 2015 full-length album Paths. Recorded by Goose himself at Murder Box Studios, mixed by Phillip Cope at Jam Room, mastered by Brad Boatright at Audiosiege, and featuring a Stygian cover Art by Adam O’Day, Wither transcends genre norms, showcasing an epic world that will surely be loved by all types of metalheads. “Wither is an album that really was written over a few years. There were plenty of experiences along the way that continued our descent into madness. It was a hazy time looking through smoke and double vision. Conceptually we had a lot of different emotions and life experiences that culminated to what you hear. If you listen hard enough, you might even hear the crackle of the fire in our building where we lived or the cops pounding on the doors. Or maybe even the dreams in which we envisioned when we found ourselves without homes,” commented the band about their new album.

Their sonic onrush of sounds begins in full force with the opening track Cry of the Earth, where Christopher already presents his heavy artillery while the guitars by both Keenan and Goose bring a thrilling fusion of Black Metal and Punk Rock to the music, building an instant connection with the also progressive, multi-layered Sundown, with their strident guitars and intricate beats providing Keenan all he needs to vociferate with tons of anger, alternating between more rhythmic moments and sheer brutality. After such exciting start to the album, the quartet invests into a classic Black Metal sonority, offering our ears Mercy, with Phill and his Marduk-inspired bass punches adding an extra touch of evil to the overall result, sounding imposing and grim from start to finish and suddenly morphing into a incendiary tune titled Rise, where the Jazz-ish guitars by Keenan and Goose grow in intensity until exploding in a bestial Progressive Black Metal feast led by the crushing beats by Christopher. Then we have V, an instrumental intermission spearheaded by Christopher’s tribalistic beats, setting the tone for the neck-breaking and utterly progressive Despite, showcasing devilish riffs and solos, low-tuned bass lines and the always hellish growls and snarls by Keenan, also bringing forward hints of classic Heavy Metal and Rock N’ Roll, therefore demonstrating all the band’s versatility and range.

Stifled is another one of their cryptic instrumental creations, this time offering our ears a somber atmosphere and background voices, keeping everything as dark and heavy as possible before they come crushing our spinal cords with the Doom Metal-infused aria titled Adrift, also adding a touch of Atmospheric Black Metal to the song’s already pulverizing sound. Moreover, all band members are on fire throughout the entire song, exhaling obscurity and hopelessness; and after some inspired jamming the quartet fires the demonic Black Metal extravaganza entitled Hour By Hour, where Keenan and Goose sound beyond infernal with their razor-edged riffs, not to mention Goose’s blazin’ guitar solo. Their second to last blast of malignancy comes in the form of the title-track Wither, bringing forward their core progressiveness with Phill’s bass jabs hammering our heads mercilessly in a vicious display of contemporary Melodic Black Metal, whereas closing the album the band brings forth the also strident and piercing Hooded Three. The song actually takes longer than expected to take off, but when it does it’s another display of brutality by Lord Almighty with the thrashing riffs by the band’s guitar duo inspiring us all to slam into the pit.

The beyond progressive and demolishing creations found in Wither can be better appreciated in full on YouTube, but of course as usual if you want to truly demonstrate your support to the guys from Lord Almighty and keep the fires of underground extreme music burning bright forever and ever, go check what the band is up to on Facebook and on Instagram, subscribe to their YouTube channel, stream more of their music on Spotify, and above all that, grab your copy of their sulfurous new album from their own BandCamp page or webstore. As already mentioned, Wither is not only a very cohesive and vibrant album of extreme music, but it also translates into Black Metal all obscure experiences from each band member in their own descend into madness, which means you should definitely use the entire album as the soundtrack to your own downward spiral into the pits of the underworld. I’m sure the band would love to be part of that unique experience in your damned life.

Best moments of the album: Sundown, Rise and Hour By Hour.

Worst moments of the album: Hooded Three.

Released in 2020 Independent

Track listing
1. Cry of the Earth 3:51
2. Sundown 4:05
3. Mercy 2:31
4. Rise 4:20
5. V 0:51
6. Despite 3:43
7. Stifled 1:34
8. Adrift 3:55
9. Hour By Hour 3:57
10. Wither 4:49
11. Hooded Three 5:11

Band members
Keenan Carroll – vocals, guitars
Samuel “Goose” Willgoose – lead guitars
Phill Gelinas – bass
Christopher Narainen – drums

Album Review – South of Salem / The Sinner Takes It All (2020)

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This excellent UK outfit is ready to take the entire world by storm with an album full of cult anthems that have a truly original (but recognizable) take on the rock and metal genres with a horror twist.

Having spent the best part of a decade working on various musical projects supporting the likes of Iced Earth, The Damned, Wednesday 13, and The Birthday Massacre, the up-and-coming Bournemouth, UK-based Hard Rock outfit South of Salem has just brought to life their debut effort The Sinner Takes It All, an album full of cult anthems that have a truly original (but recognizable) take on the rock and metal genres with a horror twist. Recorded at Grindstone Studio in Suffolk, UK and produced, mixed, and mastered by Scott Atkins (Cradle Of Filth, Amon Amarth, Sylosis, Behemoth), the title of the album, according to vocalist Joey, guitarists Kodi and Fish, bassist Dee and drummer Pip, “represents the corruption connected to wealth and power. How in dark times the rich become more affluent and the poor become more disconnected. During the current pandemic, small businesses are going under and people are more reliant on their government. Human beings abusing others, when they should be helping one another. The sinners are truly preparing to take it all. Enough is enough!”

A Rock N’ Roll storm is about to begin in Let Us Prey, with its lyrics inspired by The Purge film series (“They call us sick but we’re feeling fine / Just counting down to the killing time / Tonight, tonight was made for us / We know we’re sick but we hide it well / On a murder mile straight to hell / Tonight we’re armed and dangerous”) while Kodi and Fish sound beyond insane with their riffs, followed by The Hate In Me, a modernized hybrid of Motley Crüe and Godsmack with a heavier twist where Joey exhales rage through his vocals while Pip keeps pounding his drums in great fashion. Then it’s time for the band’s guitar duo to slash their axes nonstop in the Hard rock extravaganza No Plague Like Home, the perfect soundtrack for a pub brawl with Dee and Pip bringing the thunder to the overall result, not to mention its kick-ass guitar solos, whereas the rumbling bass punches by Dee provides Joey a dense base for his introspective vocals in Pretty Little Nightmare, a song about the darkest side of love, ready to be played on any Rock N’ Roll radio station thanks to the dynamic and classic beats by Pip. After such introspective composition, let’s all rev up our engines to the sound of Made To Be Mine, where the fiery riffs by Kodi and Fish will make your blood boil, evolving into a melodious and vibrant sonority showcasing spot-on backing vocals and another excellent performance by Joey.

Piercing guitars and an 80’s-inspired vibe are the main ingredients in the Melodic Rock tune titled Cold Day In Hell, with Joey leading his crew with his rockin’ vocals in another song about obscure relationships, whereas in Demons Are Forever, featuring Alex Avdis (aka The AvD) of Red Method and The Defiled, we face a grim, eerie atmosphere generated by all band members while Joey delivers a somber performance on vocals. Furthermore, don’t forget to check the stunning official video for this song as it is intended to raise suicide awareness. Back to a more berserk and vicious mode, the quintet blasts the Punk Rock-infused Another Nail In My Coffin, blending elements from the music by The Misfits and Social Distortion with their classic rock sound, all spiced up by the song’s enfolding riffs, and keeping the level of adrenaline high South of Salem offer us all Severely Yours, a song about temptation in long-term relationships presenting a great job done once again by Joey with his raspy vocals while Pipi delivers classic beats nonstop. Finally, closing such excellent album we have one more punk-ish tune entitled Dead Hearts Don’t Break, dealing with negative thoughts and the way one relationship can contaminate all future ones, with Kodi, Fish and Dee being on absolute fire with their stringed weapons.

In a nutshell, South of Salem more than nailed it with The Sinner Takes It All, an album that will undoubtedly entertain any type of rock and metal fan, from the ones who love a good melody to rockers who enjoy some action in the mosh pit. Hence, don’t forget to follow the band on Facebook and on Instagram, to subscribe to their YouTube channel, to stream more of their music on Spotify, and above all that, to support those talented UK musicians by purchasing their debut album from their own Big Cartel page (and sooner than later from other retailers such as Apple Music and Amazon). Relationships are always tough, it doesn’t matter where you come from, your religion, sexual orientation and so on, and as there’s not much we can do about that besides trying to be the best person to our significant other every single day, why not doing that while also enjoying the top-of-the-line rock and metal music provided by South of Salem in their new album? I’m more than certain that at least your ears, your mind and your soul will feel a lot stronger and happier to the sound of their awesome creations.

Best moments of the album: Let Us Prey, No Plague Like Home and Another Nail In My Coffin.

Worst moments of the album: Pretty Little Nightmare.

Released in 2020 Independent

Track listing
1. Let Us Prey 3:24
2. The Hate In Me 3:35
3. No Plague Like Home 4:06
4. Pretty Little Nightmare 3:53
5. Made To Be Mine 3:41
6. Cold Day In Hell 4:28
7. Demons Are Forever 4:41
8. Another Nail In My Coffin 3:53
9. Severely Yours 3:15
10. Dead Hearts Don’t Break 3:35

Band members
Joey – vocals
Kodi – guitar
Fish – guitar
Dee – bass
Pip – drums 

Guest musicians
The AvD – keyboards and samples on “Demons Are Forever”

Album Review – Thundermother / Heat Wave (2020)

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Let’s turn up the heat to the sound of the brand new album by a Swedish band that doesn’t just play Rock N’ Roll. They are Rock N’ Roll.

Founded by guitarist Filippa Nässil in 2009 in Växjö, a town in southern Sweden’s Kronoberg County, but currently based in the Swedish capital Stockholm, Hard Rock/Rock N’ Roll all-female squad Thundermother is back in action with a brand new album entitled Heat Wave, their fourth full-length opus and the follow-up to their 2018 self-titled release, offering the listeners another round of their fantastic fusion of Rock N’ Roll, Hard Rock, Blues, Punk Rock and Heavy Metal. Even groovier than its predecessors, Heat Wave presents 13 catchy compositions showcasing all the skills and passion for heavy music by Filippa and her bandmates Guernica Mancini on vocals, Majsan Lindberg on bass and Emlee Johansson on drums, with the fine tuning being provided at Medley Studios in Copenhagen, Denmark by Hard Rock hitmaker Søren Andersen, an experienced producer and gifted guitarist who has already worked with Glenn Hughes, Dave Mustaine and Tommy Aldrige, to name a few,  resulting in a sophisticated version of an “AC/DC meet Motörhead” sound with fresh modern rock elements and a rich 70’s groove.

An Airbourne-like vibe permeates the air in the electrifying opening tune Loud and Alive, with Emlee pounding her drums in great fashion while Guernica inspires us all to rock like there’s no tomorrow with her piercing vocals, all spiced up by Filippa’s slashing riffs and solos. Then rockin’ guitar lines are accompanied by the rumbling bass by Majsan in the Hard Rock extravaganza titled Dog from Hell, an ode to classic Rock N’ Roll highly recommended for hitting the road or enjoying a cold beer, followed by Back In ’76, another song perfect for a live concert inspiring us all to raise our fists to Thundermother’s undisputed rock music where Filippa and Majsan are once again on absolute fire with their stringed axes, offering Guernica all she needs to mesmerize us all with her amazing vocal performance. And it’s time for the girls to put the pedal to the metal and kick us all in the face with the frantic, breathtaking tune Into the Mud, with Emlee obviously dictating the pace with her unstoppable beats, therefore generating a fantastic ambience while Filippa’s shredding and Majsan’s metallic bass bring sheer thunder to the overall result.

The title-track Heat Wave is an AC/DC-inspired feast of classic riffs and beats, keeping the album at a high level of adrenaline (and heat, of course), and I would love to listen to this old school rock song played on any radio station worldwide, whereas despite Sleep might not be a bad composition, we must admit the girls sound a lot more cohesive and exciting when playing faster songs. I mean, it works well as a ballad, in special Guernica’s passionate vocals, but perhaps this was something asked by their record label as it feels a little out of place among the other songs from the album. Back to a more visceral and unrelenting mode, Filippa brings to our avid ears an Iron Maiden’s “Two Minutes to Midnight”-ish riff, setting fire to the excellent Driving In Style, supported by the heavy kitchen by Majsan and Emlee. Put differently, I dare you to stand still to such insane Rock N’ Roll hymn, and it looks like Thundermother never get tired of embellishing the airwaves with their vibrant Hard Rock as we can all witness in Free Ourselves, one more tune tailored for admirers of the music by AC/DC and Airbourne where Guernica and Emlee make a truly dynamic duo with their combination of soulful vocals and classic drums.

Venturing through the realms of Southern Rock mixed with tequila and endless electricity, the girls fire the riding tune Mexico, spearheaded by the groovy bass by Majsan and the always pounding beats by Emlee, definitely inspiring us all to rock in Mexican soil; and blending the groove by Lenny Kravitz with classic rock form the 70’s they offer us the radio-friendly Purple Sky, showcasing another spot-on performance by Filippa with her always strident and hypnotizing riffs and solos. Let’s keep clapping our hands and raising our glasses to the Rock N’ Roll by Thundermother in Ghosts, a straightforward and extremely catchy tune that could have easily been played on a TV show like Sons of Anarchy. Needless to say, Guernica has another flawless performance on vocals, and speeding things up once again they bring forward the high-octane, thrilling Somebody Love Me, one of those songs I bet Emlee loves to play due to its pace. Moreover, how can we not heed Guernica’s call to love her? The whole song presents a sensational job done by this talented Swedish quartet, no doubt about that, whereas Majsan’s rumbling bass sets the tone in the closing tune Bad Habits, where Thundermother yet again smash our senses with their hybrid of Hard Rock and Rock N’ Roll, ending the extremely fun ride that is Heat Wave on a high note.

As the band itself likes to say, Thundermother don’t just play Rock N’ Roll. Thundermother are Rock N’ Roll, and Heat Wave is undoubtedly the perfect depiction of all their love for the genre, their undeniable talent and all the hard work they put on crafting each and every song of the album. Hence, don’t forget to give the girls a shout on Facebook and on Instagram, and to purchase your desired version of Heat Wave, which is also available for a full listen on Spotify, by clicking HERE (or HERE if you’re a Swedish customer). After all is said and done, why don’t we just forget about our problems and get back into the mud together with Guernica, Filippa, Majsan and Emlee, turning up the heat and enjoying the fantastic music blasted by four girls who put the word “thunder” in our good old, dirty and rebellious Rock N’ Roll?

Best moments of the album: Loud and Alive, Into the Mud, Driving In Style and Somebody Love Me.

Worst moments of the album: Sleep.

Released in 2020 AFM Records

Track listing
1. Loud and Alive 3:56
2. Dog from Hell 3:37
3. Back In ’76 3:34
4. Into the Mud 3:15
5. Heat Wave 3:56
6. Sleep 3:57
7. Driving In Style 3:43
8. Free Ourselves 3:52
9. Mexico 3:38
10. Purple Sky 4:48
11. Ghosts 3:45
12. Somebody Love Me 3:43
13. Bad Habits 3:35

Band members
Guernica Mancini – vocals
Filippa Nässil – guitar
Majsan Lindberg – bass
Emlee Johansson – drums

Album Review – Pekla / Boogie With Satan (2020)

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It’s time to boogie with a rebellious Heavy N’ Roll squad from Lithuania, rocking until you drop to the sound of their electrifying new album.

Founded in 2010 in Šiauliai, a city in northern Lithuania, by members of the distinct local underground bands Stranger Aeons (Progressive Metal), Argharus (Black Metal) and Virus (Hard N’ Heavy), the unrelenting five-piece act known as Pekla, which by the way means “heck” in English, plays what can be described as a fusion of Heavy and Speed Metal with a Rock N’ Roll attitude, drawing inspiration from iconic bands like Motörhead, Tank and Venom with a touch of social critique to their lyrics. Now in 2020 the band currently formed by Mindaugas Jurkevičius on vocals, Marius and Rokas Girčius on the guitars, Gytis Šimkevičius on bass and Justinas Jakubauskas on drums is unleashing upon us Boogie With Satan, the fourth full-length effort in their up-and-coming career. Recorded, mixed and mastered at Lapės Records by Laurynas Baškys, and featuring a beyond direct artwork by Gintarė Narga and an array of guest musicians form the local scene, Boogie with Satan goes straight to the point, sounding fast, acid and fun from start to finish.

Featuring lead guitar solos by Juozapas Bočkus (Alcotopia), #rapidez is a Motörhead-infused Punk-ish feast of demented beats and pulverizing riffs led by the inebriate vocals by Mindaugas, inviting us all to slam into the mosh pit like there’s no tomorrow, followed by Goddamn Suicide Zombies, bringing to our ears more of their frantic, visceral Rock N’ Roll blended with 80’s Speed Metal, with Marius and Rokas doing a great job with their incendiary riffage, resulting in a great option for breaking your neck headbanging while also enjoying a cold beer. Back to a more insane sonority, guests Lina Vaštakaitė and Paulius Navickas from Phrenetix lend their guitars skills to the band in Scrollers, while Mindaugas and Lina keep barking rabidly for our total delight, whereas in the rhythmic, dark and metallic The Game the unstoppable Gytis is kicking ass with his bass jabs, accompanied by the venomous beats by Justinas in a heavier-than-hell Rock N’ Roll extravaganza. And guests Matas Jančauskas and Minvydas Bindokas from Tručas are on fire with their respective deranged screams and sick guitar solos in The Tube Is Red, a frantic display of classic Heavy and Speed Metal by Pekla.

It’s definitely impossible to stand still to the adrenaline and fire flowing from the scorching title-track Boogie With Satan, where Marius and Rokas sound like two sharp swords slashing everything and everyone that crosses their path with their guitars, while the band puts the pedal to the metal in another high-octane metal hymn titled The Stuff, featuring guest solos by Jurgis Sakalauskas from Cunabula, sounding like Megadeth and Motörhead had a bastard son baptized in fire by Slayer and The Exploited, or in other words, it exhales pure heaviness and electricity. Then let’s all go to school and crush our skulls into the pit together with Pekla in School Of Rock’n’Roll, where Mindaugas’ roars are nicely supported by the song’s Punk Rock backing vocals while Justinas dictates the rhythm with both his fast and furious drums and more rhythmic, intricate beats; and guest Kostas Balčiūnas from Cunabula also fires a sick guitar solo in Swype Rite, while guest vocalist Domantas Žvinys from Orb brings a touch of rebelliousness to their music. In addition, Gytis is once again precise with his bass, showcasing all his dexterity with his low-tuned strings. Albeit not as electrifying as the rest of the album, it’s still a very enjoyable composition, flowing smoothly before the sinister outro …and Cut puts a sinister ending to such vibrant album of rock and metal music.

You can explode your ears with the inebriate and insurgent Boogie with Satan in full on Spotify, follow Pekla on Facebook, on Instagram and on YouTube, and of course purchase this precious gem of Lithuanian Heavy N’ Roll from the band’s own BandCamp page, from the Inferna Profundus Records’ webstore or from Discogs, supporting underground metal not only from Lithuania but from anywhere else in the world where the words “heavy” and “fast” always make a delicious combination. If you have what it takes to boogie with the guys from Pekla, then Boogie with Satan is a must-have album to be added to your collection, inspiring you to headbang, drink and rock until you drop and, consequently, making your life slightly better.

Best moments of the album: #rapidez, Scrollers and The Stuff.

Worst moments of the album: Swype Rite.

Released in 2020 Independent

Track listing
1. #rapidez 2:23
2. Goddamn Suicide Zombies 3:53
3. Scrollers 3:15
4. The Game 4:38
5. The Tube Is Red 3:20
6. Boogie With Satan 2:51
7. The Stuff 3:13
8. School Of Rock’n’Roll 3:22
9. Swype Rite 4:23
10. …and Cut 2:30

Band members
Mindaugas Jurkevičius – vocals
Marius Godelis – guitars
Rokas Girčius – guitars
Gytis Šimkevičius – bass
Justinas Jakubauskas – drums

Guest musicians
Juozapas Bočkus – lead guitars on “#rapidez”
Lina Vaštakaitė – lead guitars and vocals on “Scrollers”
Paulius Navickas – lead guitars on “Scrollers”
Matas Jančauskas – lead vocals on “The Tube Is Red”, backing vocals on “The Tube Is Red” and “Boogie With Satan”
Minvydas Bindokas – lead guitars on “The Tube Is Red”
Jurgis Sakalauskas – lead guitars on “The Stuff”
Kostas Balčiūnas – lead guitars on “Swype Rite”
Domantas Žvinys – lead vocals on “Swype Rite”, backing vocals on “#rapidez”, “Goddam Suicide Zombies”, “Scrollers”, “The Stuff”, “School Of Rock’n’Roll” and “Swype Rite”

Album Review – Ice War / Defender, Destroyer (2020)

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Spelling a shift in its musical direction with a faster and more aggressive sound, this Canadian one-man army will rock your world with his classic fusion of Speed and Heavy Metal.

After the dissolution of his previous band Iron Dogs in 2015, the unstoppable Ottawa, Canada-based metaller Jo “Steel” Capitalicide (also known for his contribution to some amazing underground bands such as Aphrodite, Dexezon and Expunged) has been on a roll with his solo project entitled Ice War, releasing a stream of demos, EP’s and full-length albums at full force, culminating with the release of his fourth full-length opus now in 2020, the fulminating Defender, Destroyer. Featuring a beyond classic artwork by Canadian artist Didier Normand, the album is Jo’s personal tribute to all things Speed, Heavy and Thrash Metal with a Punk-ish, Hardcore twist, being highly recommended for fans of the music by Savage Grace, S.D.I., Razor and Iron Angel, among others, to the very first Helloween EP from 1985, spelling a shift in the project’s musical direction with a faster and more aggressive sound.

Jo begins slashing his stringed ax in great fashion in the opening track Power from Within, an ode to 80’s Thrash and Speed Metal infused with Punk Rock elements, while at the same time he pounds his drums nonstop and fires his raspy, rebellious vocals with a lot of power, followed by the thrashing title-track Defender, Destroyer, where Jo sounds even more berserk and mental, showcasing flammable riffs and rumbling bass punches while inviting us all to slam into the circle pit to the sound of his unstoppable beats. And Soldiers of Frost is even faster and more electrifying than its predecessors, with Jo giving a lesson in feeling and passion for old school metal music, resulting in the perfect composition for singing along with our talented lone wolf, not to mention how incendiary his riffs and solos are.

And there’s no sign of slowing down at all, as Jo keeps hammering our heads with his high-octane fusion of Thrash and Speed Metal with Hardcore elements in Rising from the Tomb, where it’s impressive how he sounds like a full-bodied band even being absolutely by himself. Then it’s time for a mid-tempo, headbanging metal extravaganza titled Mountains of Skulls, where Jo keeps vociferating like a beast and shredding his strings beautifully, reminding me of the early days of bands like Exodus, Metallica and Megadeth, whereas in Crucified in Fire he ventures through more traditional Heavy Metal lands, bringing forward high-pitched screams amidst his always thrilling riffage and blast beats, never letting the level of adrenaline go down and, therefore, inspiring us to keep raising our fists to his ass-kicking music. After such high-speed exhibit we’re treated to another round of classic thrashing sounds and tones in Demonoid, where Jo focuses on his strident riffs and the song’s old school lyrics, resulting in pure Speed Metal made in Canada tailored for metalheads who enjoy having a cold beer while crushing their skulls into the circle pit.

It looks like Jo is never tired of delivering tons of electricity and rebelliousness through his music, which is also the case in the Punk Rock-infused tune Skull and Crossbones, presenting a rumbling atmosphere due to his metallic bass punches and reverberating drums, and in Running Out of Time, with his vocals getting more and more enraged and inebriate, sounding as one of his biggest personal tributes to metal from the 80’s, bringing to our ears vicious riffs and solos while the rhythm remains as insane as possible thanks to his hellish blast beats. Finally, there’s nothing better to properly close an album then with a groovy and insurgent hymn the likes of Breakaway, where Jo generates a rowdy ambience with his unstoppable guitars, bass and drums, building the perfect atmosphere for delivering his classic roars, ending Defender, Destroyer in a very melodic and epic way for our vulgar delectation.

You can show your support to this talented one-man army hailing from Canada by following Ice War on Facebook and on Instagram, by listening to more of his classic metal music on Spotify, and above all that, by purchasing your copy of Defender, Destroyer from the Fighter Records’ BandCamp page or from the Xtreem Music webstore sooner than you can say “Speed Metal”, keeping the unrelenting Jo “Steel” Capitalicide pumped up and ready to rock wherever he goes. Defender, Destroyer has no artificial elements, no special effects, nor any kind of innovation; it’s a straightforward, in-your-face album of classic Speed Metal deeply rooted in the 80’s, and that’s precisely what Jo needed to bring forth in his new album to truly shine. Well, let’s say that he more than succeeded in that, taking us all on a frantic and vibrant journey to the 80’s and, consequently, putting a huge smile on the faces of everyone who loves the music from that glorious decade from the bottom of their metal hearts.

Best moments of the album: Defender, Destroyer, Soldiers of Frost and Demonoid.

Worst moments of the album: None.

Released in 2020 Fighter Records

Track listing
1. Power from Within 3:00
2. Defender, Destroyer 3:31
3. Soldiers of Frost 4:09
4. Rising from the Tomb 4:02
5. Mountains of Skulls 4:23
6. Crucified in Fire 3:56
7. Demonoid 3:58
8. Skull and Crossbones 3:27
9. Running Out of Time 3:21
10. Breakaway 4:40

Band members
Jo “Steel” Capitalicide – vocals, all instruments

Album Review – Zebadiah Crowe / Host Rider (2020)

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An infernal British duo returns after almost eight excruciating years of silence with the utmost sound of violence, horror, darkness, filth and savagery in their brand new opus.

Almost eight years after the release of their sophomore album Omak K’aah, a beyond infernal British duo that goes by the curious name of Zebadiah Crowe returns from the pits of the underworld with more of their incendiary hybrid of Black, Thrash and Industrial Metal with Grindcore nuances in their brand new opus entitled Host Rider, a new tome of foulness and fractured sanity featuring seven new psalms of wild abandon and dangerous delirium. Formed in 2006 in London, UK, the duo comprised of The Horrid on vocals, bass and drum programming and Forrrthen on the guitars sounds sharper and more caustic than ever in their newborn spawn, bringing forth the sound of violent punk attitude, suffocating black horror, gothic darkness, mechanistic filth and the savagery of the most vicious outliers of thrash, being highly recommended for admirers of the distinguished terror blasted by renowned acts such as Venom, Ministry, Mantar and Babylon Whores, leaving you broken and destroying your senses without a single drop of mercy.

Imposing, epic sounds explode into a venomous fusion of Black and Industrial Metal in the amazing opening track Knucklebones, where the dirty, scorching riffs by Forrrthen provide The Horrid exactly what he needs to thrive with his wicked gnarls, whereas the thunderous and metallic bass by The Horrid takes the lead in the pulverizing A Tincture of Malic, a song that will undoubtedly inspire you to slam into the circle pit together with this talented unity from hell. Moreover, although the drums might be programmed, they actually sound very organic and evil, giving the whole album an extra touch of rawness. And there’s no time to breathe at all as they keep hammering our heads with their frantic and industrialized sounds in Mantel of Nails and Orphan Skin, reminding me of some of the most vicious creations by Ministry, with The Horrid going full Black Metal with his vile screams while Forrrthen keeps slashing his stringed ax manically.

In The Neon Goat of Crimson Grief we’re treated to more of their blackened music, with the programmed drums working really well once again while the duo smashes their guitar and bass mercilessly, even bringing hints of Punk Rock to its core mechanized essence. Slightly groovier and more visceral than its predecessors, A Horror to the Eyes of Saintly Men is an underground lesson in savagery and dementia where Forrrthen’s riffage sounds bestial from start to finish, not to mention the trademark enraged roars by The Horrid, while in Godblind and Destitute they once again blend the heaviness of Black Metal with the violence of Thrash Metal and the metallic noises of industrial music, keeping the album’s electricity flowing at an insane speed. Lastly, closing such short but utterly extreme and malignant album we have Wormhavens Dance, where Zebadiah Crowe fire tons of rage and darkness through their razor-edged instruments, all spearheaded by The Horrid’s demonic screams and at the same time spiced up by futuristic background elements.

If you think you have what it takes to face Zebadiah Crowe and the anthems of horror and perversion found in their new album Host Rider, you should definitely follow them on Facebook to know more about this distinct entity hailing from the UK, including their tour dates and upcoming releases, but of course in order to show them you’re a creature of the dark just like The Horrid and Forrrthen themselves, you should purchase your copy of Host Rider from their own BandCamp page. No one knows if Zebadiah Crowe will take another long and excruciating eight years to bring to our ears a new sonic beast the likes of Host Rider, but for now let’s not worry about that, as we do have their new album to enjoy, letting their piercing, austere sounds penetrate deep inside our psyche, therefore dragging us to the world of horrors and dementia ruled by one of the most talented duos of the underground British scene.

Best moments of the album: Knucklebones, Mantel of Nails and Orphan Skin and A Horror to the Eyes of Saintly Men.

Worst moments of the album: A Tincture of Malic.

Released in 2020 Lore Breaker Records

Track listing
1. Knucklebones 4:17
2. A Tincture of Malic 2:58
3. Mantel of Nails and Orphan Skin 3:13
4. The Neon Goat of Crimson Grief 3:44
5. A Horror to the Eyes of Saintly Men 3:40
6. Godblind and Destitute 3:50
7. Wormhavens Dance 3:45

Band members
The Horrid – vocals, bass, drum programming
Forrrthen – guitars

Album Review – Tøronto / Under Siege EP (2020)

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Weird n’ wild Speed Metal from the 80’s heavily inspired by Hardcore and Punk Rock, condensed into 22 fast and filthy minutes made in Sweden.

Weird n’ wild Speed Metal from the 80’s heavily inspired by Hardcore and Punk Rock. That combustible mixture is exactly what you’re going to get in Under Siege, the striking debut mini-album by a Swedish metal horde that goes by the unique name of Tøronto (why a band from Sweden was named after the biggest Canadian city is beyond my comprehension), following up on their highly-acclaimed 2018 demo Nocturnal High. Comprised of vocalist and guitarist Edvin Aftonfalk and bassist Dag Landin, here under the stage names Eddie Flawless and 79-83, respectively, and also featuring drummer Leo Ekström Sollenmo (from Lethal Steel and Temisto), here under the name Lt. Oxtreme, as well as one Seb Cyborg on lead guitars, this vicious quartet formed in 2017 partly out of the ashes of the sorely missed Swedish Progressive Death Metal squad Morbus Chron is ready to kill armed with their newborn spawn, providing fans of bands such as Razor, Warfare, Inepsy, Discharge and Motörhead, among others, a fast and furious ode to the 80’s free of any artificial elements, sounding “unselfconsciously” minimalist and raw throughout its eight bangers which average only around two or three minutes each, just to give you an idea of how compact and precise Tøronto are in what they do.

And you better get ready to be smashed by the quartet in the dirty and rebellious opening tune Fast and Filthy, a thrilling fusion of Speed and Thrash Metal with classic Punk Rock where Seb and Eddie will cut your skin deep with their razor-edged shredding while Eddie distills his inebriate vocals in great fashion; and their berserk sounds invade our senses mercilessly in Fire in Sight, another old school metallic extravaganza where Lt. Oxtreme pounds and hammers his drums nonstop. Put differently, this is a Thrash Metal hurricane tailored for admirers of the genre who wish they could go back in time to the 80’s (and stay there forever, of course), whereas the rumbling bass jabs by 79-93 ignite the pulverizing ode to all things metal titled Frostbite Bitch, and such beautiful name couldn’t have had a sound that’s more acid and headbanging than what it already does, spearheaded by Lt. Oxtreme and his classic, smashing beats and fills. And inspired by the early days of titans like Slayer, Megadeth and Metallica we have Mud City Maze, with the incendiary riffs blasted by Eddie and Seb being effectively complemented by the band’s heavy-as-hell kitchen, all spiced up by Seb’s traditional and always exciting solos.

Then the band offers us all 23-11-0, and whatever those numbers mean the band translates them into 80’s Speed Metal for our total delight, with Eddie sounding absolutely mental with his raspy vocals while Lt. Oxtreme doesn’t let the level of adrenaline go down not even for a single second. Adding a welcome touch of Rock N’ Roll to their fulminating sonority, they offer our ears the rhythmic Ride the Rails, perfect for hitting the road with your buddies or to enjoy a cold beer while Tøronto kick some ass onstage, whereas  in Bunker (Under Siege) the music leans towards classic Punk Rock but with the band’s core Speed and Punk Metal essence intact, resulting in a song made for uniting all punks and metallers of the world in the name of good heavy music. Moreover, Eddie’s demented growls are nicely supported by his bandmates’ visceral backing vocals, while Seb keeps exhaling sheer electricity through his guitar solos. Finally, Eddie’s and Seb’s Megadeth-inspired riffs are the main ingredient in the closing song Lights Out at Bedlam, quickly morphing into another sonic assault by those Swedish rockers while 79-83 blasts thunder and rage from his bass.

If you want to join the 100% Swedish and (unfortunately) 0% Canadian unity known as Tøronto in their quest for Speed Metal, Punk Rock and lots of booze, go check what they’re up to on Facebook, listen to more of their music on Spotify, and obviously purchase your copy of the short and sweet Under Siege from the Dying Victims Productons’ BandCamp page or webstore in regular black vinyl format or as a special edition on colored vinyl, both containing a poster, a sticker, a post card, a download code and a patch, as well as from Apple Music. In a nutshell, our roten and decaying society is under siege by a fantastic four-piece squad hailing from Sweden, and they only need 22 minutes to decimate us all just the way we like it in uncompromising extreme music.

Best moments of the album: Fast and Filthy, Fire in Sight and Ride the Rails.

Worst moments of the album: None.

Released in 2020 Dying Victims Productions

Track listing
1. Fast and Filthy 3:24
2. Fire in Sight 3:33
3. Frostbite Bitch 2:59
4. Mud City Maze 1:29
5. 23-11-0 2:04
6. Ride the Rails 3:50
7. Bunker (Under Siege) 2:26
8. Lights Out at Bedlam 2:52

Band members
Eddie Flawless – vocals, guitars
Seb Cyborg – lead guitars
79-83 – bass
Lt. Oxtreme – drums

Album Review – Chotzä / Tüüfuswärk (2020)

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Succumb to the anti-social fusion of Black Metal and Black N’ Roll blasted by this infernal horde from Switzerland.

Formed as a side-project in 2011 in the city of Bern, on the German-speaking side of Switzerland, with the aim to create anti-social Black Metal and Black N’ Roll, the unstoppable and blasphemous unity known as Chotzä (which means “to vomit” in Swiss-German) is ready to take the world of heavy music by storm once again with their third full-length opus, entitled Tüüfuswärk, the follow-up to their previous installments Plump u Primitiv, released in 2014, and Bärner Bläck Metal Terror, released in 2017. Apart from their frantic and aggressive sonority, perhaps one of the main ingredients in the music by Chotzä is the fact that all of their songs are sung in “Bärndütsch”, which is one of many existing Swiss-German dialects, allowing the wicked music crafted by lead singer Szivilzs, guitarists Gruäbähung and Raven Dust, bassist Näbugring, pianist Leopold and drummer Cpt. Cunt to sound even more organic, visceral and austere than what they would ever sound in English, and as a fan of extreme music I must say their dialect blends extremely well with their vicious Black Metal.

Featuring guest vocalist Herr Morbid (also known as Ferdinando Marchisio) of Italian Black Metal band Forgotten Tomb, the opening track Dräck am Schtäckä (Vatikan Version) presents a wicked intro that quickly explodes into berserk, blasphemous extreme music led by the devilish roars by Szivilzs while Raven Dust and Gruäbähung cut our skin deep with their infernal riffage, followed by Schtächzähni, as fast and demonic as its predecessor, with Cpt. Cunt dictating the rhythm with his Punk Rock/Hardcore-infused beats while the guitars bring a welcome Thrash Metal twist to the overall result, not to mention how Näbugring keeps the atmosphere dense with his wicked bass lines. And blending old school Black Metal with the Rock N’ Roll blasted by bands like Motörhead, Misfits and Danzig we have Horrorotika, where the sound of guitars will pierce your mind mercilessly and the backing vocals provide an amazing support to Szivilzs in this ode to blasphemy, sex and horror.

In Sex, Suff & Satan, what starts in a sinister, introspective way morphs into a mid-tempo Symphonic Black Metal aria led by Leopold and his Stygian piano notes, also presenting slashing guitar solos and bringing some welcome elements from Gothic Rock and Doom Metal, whereas our beloved Swiss horde speeds things up and enhance their already insane level of rage in Fiesä, Fulä Fettsack, where Szivilizs barks the song’s cryptic lyrics manically while Cpt. Cunt keeps smashing his drums like a beast, resulting in another sensational fusion of the band’s core Black Metal with the most vicious form of Rock N’ Roll. And leaning towards a more classic version of Black Metal, especially due to Cpt. Cunt’s blast bats and fills, Süüchägott showcases the band’s dynamic guitar duo firing lancinating, hellish riffs for our total delight while Szivilzs continues with his demonic vociferations.

Abfau brings forward an onrush of darkened sounds, infernal screams and endless wrath, or in other words, it’s ruthless Black Metal infused with Doom Metal nuances, with Gruäbähung and Raven Dust once again crafting pulverizing riffs and solos; and Leopold comes ripping with his phantasmagorical keys in Ds Tanzgebei, a fun (and somewhat dancing) Black Metal extravaganza where all band members sound bestial and electrifying form start to finish, keeping the album at a high level of dementia. Then get ready for battle to the sound of Fotzä, smashing our heads with an avalanche of blackened sounds and sulfurous growls, while Cpt. Cunt gives a lesson in Black Metal drumming. And last but not least, we’re treated to the rebellious and dense title-track Tüüfuswärk with its eight minutes of extreme and vile sounds, where the band’s stringed trio keeps hammering their axes with tons of precision and violence, all spearheaded by Szivilzs and his trademark gnarls.

The gates to the underworld are open in Switzerland thanks to the incendiary music blasted by Chotzä in their newborn spawn Tüüfuswärk, and if you want to show your support to such demented Black Metal horde you can follow them on Facebook to know more about their music, their concerts and other nice-to-know details about the band, and purchase your copy of the album from Northern Fog Records (CD), Sturmglanz (vinyl) or Worship Tapes (cassette). It’s truly impressive how those Swiss metallers are capable of blending the most hellish elements form a myriad of styles like Black Metal, Rock N’ Roll and Hardcore without sounding confusing or disorganized; quite the contrary, the music by Chotzä is absolutely furious, cohesive and thrilling, just like what we can see in Tüüfuswärk, showing us all this six-piece horde of darkness will still haunt our soul for years to come with their dark-as-the-night creations.

Best moments of the album: Dräck am Schtäckä (Vatikan Version), Horrorotika and Fiesä, Fulä Fettsack.

Worst moments of the album: Sex, Suff & Satan.

Released in 2020 Northern Fog Records/Sturmglanz/Worship Tapes

Track listing
1. Dräck am Schtäckä (Vatikan Version) 3:44
2. Schtächzähni 5:59
3. Horrorotika 4:28
4. Sex, Suff & Satan 6:15
5. Fiesä, Fulä Fettsack 4:47
6. Süüchägott 2:48
7. Abfau 7:11
8. Ds Tanzgebei 5:07
9. Fotzä 5:56
10. Tüüfuswärk 8:06

Band members
Szivilizs – vocals
Raven Dust – guitars
Gruäbähung – guitars
Näbugring – bass
Leopold – piano
Cpt. Cunt – drums

Guest musician
Herr Morbid – vocals on “Dräck am Schtäckä (Vatikan Version)”