Tag Archives: sludge metal

Metal Chick of the Month – Jeanne Sagan

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Am I the monster you created?

After such a difficult year for all of us, let’s start 2021 off with a bang to the sound of the rumbling, menacing bass by a woman that has been nothing but amazing to the metal community with her refined skills, her passion for heavy music and her immensurable contribution to the Heavy Metal, Hard Rock and Metalcore scene. Not only that, she’s also a very talented singer and pianist, showcasing all her versatility and allowing her to take part in any type of band from an array of styles. Born on January 11, 1979 in Springfield, Massachusetts, in the United States, Jeanne Sagan (also known as Jeanne Wawrzyniak) is the ass-kicking bassist and backing vocalist for American Heavy Metal band Crossing Rubicon, and also known as the former bassist and backing vocalist for American Heavy Metal/Metalcore band All That Remains from 2006 to 2015, having been embellishing the airwaves with her bass since 2001 and, more important than that, being ready to make this new year that has just been born a lot more fun with her music.

Having also played for a band called The Acacia Strain in 2003, Jeanne originally worked merchandise tables for Prosthetic Records before being called to join All That Remains in 2006 to replace their former bassist Matt Deis, which was by the way a funny story according to Jeanne herself as she had moved out to Arizona thinking she was done with Massachusetts, but after meeting someone at the record label and started helping out she ended up getting back to her birth state. In addition, if you think she comes from a family of musicians let me tell you that you’re absolutely wrong. When asked if she grew up in a musical household, Jeanne said that she only started in the world of music when she was in sixth grade, picking up the trumpet as her first instrument during high school, also mentioning her younger brother is also into music, DJ’ing and touring with bands, despite the fact their parents are not musicians. It was only when she was in college that she started playing bass and jamming with bands, and from that moment on the world of heavy music gained a new badass bass player.

Jeanne Sagan is also known as Jeanne Wawrzyniak due to the fact she’s married to American vocalist Scott Wawrzyniak, better known by his stage name of Scotty Anarchy, the frontman for metal bands Crossing Rubicon and Piercing Immortality. In one of their interviews together, Scott and Jeanne said they met through two mutual friends, Ian Jones and Rusty Kupier, sometime in 2011, with Scott saying he was instantly attracted to Jeanne’s passion and kindness, but as he was married at that time it wasn’t the right thing to do (and Jeanne said she used to run away from him because of that connection she felt with him). A few years later Scott was single and playing a Buckcherry show, and Jeanne approached her after the show to talk, asking for his number, and they have not stopped talking since, saying it’s easy to play in a band with his wife as he gets to look to his right every night and see his best friend, his soul mate and the love of his life sharing his passion with him. Jeanne complemented by saying their bond is greater and stronger than they could have ever dreamed, mentioning important milestones like their mutual fight for sobriety as one of the things that strengthen their relationship every single day.

Regarding her 10-year stint with American Metalcore band All That Remains, from 2006 to 2015, as aforementioned she joined the band while working on the merch table for Prosthetics Records, having recorded her first single with the band that same year, the excellent The Air That I Breathe, proving she was the perfect choice for handling the band’s bass duties. After that first single, Jeanne recorded an array of first-class albums with the band, those being The Fall of Ideals (2006), Overcome (2008), …for We Are Many (2010), A War You Cannot Win (2012) and The Order of Things (2015), as well as a live album and DVD in 2007 simply titled Live, and you can enjoy her rumbling bass smashing your senses in songs such as What If I Was Nothing, This Probably Won’t End Well, Two Weeks, The Last Time, Chiron and This Calling, or simply go to the band’s Spotify profile to stream each one of those albums in full.

However, in 2015 Jeanne announced her amicable departure from All That Remains in order to pursue personal interests (and by that I mean playing bass and backing vocals in Crossing Rubicon alongside her husband), being replaced by Aaron “Bubble” Patrick, formerly of the band Bury Your Dead. At the time of her departure form the band, Jeanne commented, “It is with heavy heart that I depart from All That Remains. I’ve decided to follow my heart and pursue other opportunities in life. I truly appreciate the amazing experiences and the great fans over the last decade. I wish ATR all the best going forward.” She said that just like in every band there are ups and downs to everything, and in that particular case the negatives started to outweigh the good, which drove her away eventually. She does take away growing as a person and as a musician, though, becoming more outgoing and overcoming insecurities, standing up for herself and getting the courage to follow her own path.

Now as the bass player and backing vocalist for American Heavy Metal/Hard Rock band Crossing Rubicon, Jeanne seems to be enjoying a lot more freedom in her bass playing style and in contributing to the band’s writing process, having already recorded with the band their two full-length albums so far, those being  No Less than Everything, in 2016, and more recently Seeing Red, in 2019. Formed in 2009 in Bristol, Connecticut, in the United States, and having their name inspired by the expression “Crossing (the) Rubicon”, which means to pass a point of no return after Julius Caesar’s crossing of the river Rubicon in Italy in 49 BC, the band offers a molten blend of 80’s hooks and musicianship with modern rock power and relevance, having already opened for renowned acts including Mötley Crüe, Queensrÿche, Pop Evil and many more. Hence, if you want to enjoy some of the creations by Crossing Rubicon, simply search for them on Spotify or watch their official videos on YouTube for songs like The Fallen, Who’s Gonna Save You, I Will Remain and Seeing Red.

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Apart from her career with All That Remains and Crossing Rubicon, Jeanne is also featured in several other bands and projects, all hailing form the United States. For instance, she has been the bass player for a Mathcore band called Blood Has Been Shed, known for having two members of Killswitch Engage (Howard Jones and Justin Foley) in the band, since 2012, but nothing official has been released with Jeanne on the band so far (and no one knows if that will ever happen). She’s also a member of a Heavy Metal band called Piercing Immortality under the moniker Jeanne Anarchy, also with her husband Scotty Anarchy on vocals as mentioned before, playing bass and backing vocals on their 2018 EP Systematic Global Poisoning and on their 2019 EP Risen from the Ashes, and in her years before All That Remains she was the bassist for Metalcore band Ligeia, for Technical Metalcore band Light Is the Language (having recorded with them the EP The Void Falls Silent, in 2001), and for Metalcore band The Acacia Strain in 2003. In addition, you can also find Jeanne as the guest bassist for Stoner/Sludge Metal band Oxen in their 2015 album The Vanishing.

As any true rock and metal fan, Jeanne has a lot of different influences and idols regarding not only her playing style but also her looks. She said that apart from her past in the Hardcore scene, which has obviously had an impact on her style, she also considers both of Tool bass players (Paul D’Amour and Justin Chancellor) and Jason Newsted-era Metallica as her biggest influences in music. Furthermore, although she has always looked up to rock stars with larger than life personas like David Bowie, being a little envious of all his bright and vibrant hair colors, she said she’s never done anything too extreme with her appearance, considering herself more of a Janis Joplin than a Lady Gaga, and when asked about which bands or artists she enjoys listening to, she mentioned amazing options from the rock and metal scene including Hatebreed, Nine Inch Nails, The Cure, Smashing Pumpkins, The Smiths and so on. Her equipment is also a very important part of her career, and you can see her in different stages of her life using several ass-kicking pieces such as a black cherry Spector Legend 4 Classic four-string bass with EMG 35DC active pickups and Ampeg SVT bass amplifiers, a Soundgear 4-strings and an ARTB100 four-string (the latter of which can be seen in the music video for the song Hold On), Orange amplifiers and Omega speaker cabinets, Tiny Terror 1000 watt, Boss tuner, Darkglass B7K, and Shure wireless system.

Touring is obviously a crucial piece in the career of any rock and metal musician, and it couldn’t be any different than that with Jeanne. In one of her interviews, she talked about how important it is not only to put on a great show on stage, but also to hang out with the other bands, to meet new people, to do great interviews and to convince people who are seeing the band for the first time how great their music is. Apart from festivals like Graspop and Ozzfest, where not only she said she had an amazing time and was able to watch performances by bands she enjoys a lot like Dragonforce, Jeanne mentioned that she would like to return to festivals such as Download and Rock Am Ring, and to explore a little more countries like Japan. She also said that playing a lot of shows in a short span of time plus all the traveling can be a little exhausting, but that in the end she feels great after seeing so many happy fans attending the concerts. Moreover, in order to stay fit and put on a kick-ass show on stage, Jeanne and her bandmates said that they try to stay in shape by running a lot (around the parking lots), going to the gym and cooking on the bus (instead of eating junk food), usually having much healthier eating habits than if they were all at home.

Our dauntless bassist also has some interesting thoughts about the current state of metal in the digital age we’re all living in, saying that although metal is alive and kicking, a lot of people refused to change and got stuck in their old mentalities, fighting and ignoring downloading music instead of finding a way to use it as an advantage. However, if there’s one thing that annoys Jeanne is the fact that people keep taking pictures, recording everything and posting that online when her band is playing live instead of enjoying the show. “What does get annoying is people just staring at their phones when we’re playing and I wonder, are we doing our jobs right? What can we do to get their attention? We’re there to put on a show and that’s our focus,” complained our skillful bass player, and we must all agree with her that such behavior is indeed quite disturbing. Jeanne also talked about the fact she’s been doing a lot more vocals both in the studio and on stage, both clean and harsh ones, something that she used to be insecure about and learned how to overcome by practicing and preparing until making herself more confident.

Both Jeanne and her husband Scott have mentioned in several interviews about their fight against alcoholism, their struggles and how they managed to get clean and sober, something both are really proud of. Jeanne said that she used to drink to numb herself from things that were bothering her, and that after some time she talked to Scott about sobriety and they inspired each other to get sober and stay sober, having a reason to want to wake up every single day, open their eyes and live life together to the fullest. In addition, she mentioned their involvement with Road Recovery, an organization founded in 1998 that helps addiction through music, which is very inspiring and humbling from a sobriety standpoint, and we must all celebrate everything the couple has accomplished in their lives and career by getting clean and, therefore, having more energy, creativity and focus to apply to their music. Hence, if you want to know more about Jeanne, her career, her relationship with Scott, her adventures on the road and so on, go check some of her interviews on YouTube such as this one at Carolina Rebellion in 2013, this one at Rockstar Energy Mayhem Festival in 2008, and this one at Rockstar Energy Mayhem Festival in 2009, among several others, where you can see why Jeanne is not only a badass bass player, but also an awesome human being and a fantastic metalhead.

Crossing Rubicon’s Official Facebook page
Crossing Rubicon’s Official Twitter
Crossing Rubicon’s Official YouTube channel
Piercing Immortality’s Official Facebook page
Piercing Immortality’s Official Instagram
Piercing Immortality’s Official Twitter

“I think that Metal is alive. It seems that people are stuck in mentalities and refuse to change. The industry fought and ignored downloading rather than finding a way to make it work for them. Also because of the Internet, people think they are going to be overnight stars—that goes for TV also. No one wants to put their nose to grind, but we will. We believe in ourselves and we believe in the scene.” – Jeanne Sagan

Album Review – Subterraen / Rotten Human Kingdom (2020)

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Behold the debut opus by this Nantes, France-based Sludge and Doom Metal entity, narrating epic, anguish-ridden tales of the slow destruction of the planet and sowing seeds of the inexorable vengeance of mother nature.

Following the ponderous steps of giants like Eremit and Jupiterian while adding their own darkened grit and weighed down heaviness to the proceedings, Nantes, France-based Blackened Sludge/Doom Metal trio Subterraen has just released their debut opus entitled Rotten Human Kingdom, crafting 10+ minute songs narrating epic, anguish-ridden tales of the slow destruction of the planet and sowing seeds of the inexorable vengeance of mother nature. Formed in 2017, the band comprised of Clem Helvete on vocals and guitars, Chris KKP also on the guitar and Milvus on drums masterfully carries the torch of the style on their newborn spawn, with the crisp recording, mixing and mastering by the band’s own Chris KKP and the cryptic artwork by the talented illustrator Adam Burke (Nightjar Illustration) turning it into a must-listen for admirers of the somber creations by renowned acts such as Eyehategod, Neurosis, , Conan and Primitive Man.

Just like a creature form the abyss the band arises with their sluggish, eerie sounds in the 13-minute doomed feast titled Blood for the Blood Gods, where Clem roars and gnarls demonically while Milvus pounds his drums in the most devilish way possible. Furthermore, their guitar work is also amazing, exhaling darkness and evil, and with all atmospheric, melancholic passages enhancing the song’s taste and punch considerably. Then we have For a Fistful of Silver, an explosion of the most Stygian and darkest fusion of Sludge and Doom Metal, with Clem once again taking the lead with his enraged roaring while Milvus alternates between Black Metal-inspired drums and primeval doom beats. It’s impressive how the music evolves and progresses like if it was the soundtrack to a psychological horror movie, with the dirty and visceral riffs by both Clem and Chris penetrating deep inside your skin. After such avalanche of blackened sounds, it’s time for the trio to enfold us all with the delicate interlude Oceans are Rising, where minimalist guitar lines permeate the air for over two minutes until Clem, Chris and Milvus show no mercy for our souls with the demolishing Blackened Doom Metal aria Wrath of a Downtrodden Planet, a beastly creation by Subterraen where slow and steady beats and malignant ambience provide Clem exactly what he needs to darken our thoughts with his hellish screams, and the music remains as imposing, dense and vile as it can be, all spiced up by their trademark raw, piercing guitars.

Subterraen’s massive monolith of doom can be appreciated in full on YouTube and on Spotify, but of course in order to show those French metallers your support and admiration go grab your copy of Rotten Human Kingdom from countless locations such as their own BandCamp page, the official Transcending Obscurity Records’ webstore, where by the way you can find an amazing Coffin-Shaped Wooden CD Box Set with Laser Engraving including an 8-panel Digipak CD with metallic effect/UV embossing and sandalwood scent, an autographed certificate, a fridge magnet, a metallic sticker, a gold patch and a badge (also available through their US store), Apple Music, Amazon, Walmart and Strictly Discs, and don’t forget to also follow them on Facebook and on Instagram. As the band members themselves like to say, “from ashes to ashes, from dust to dust”, and in the case of their debut album Rotten Human Kingdom, we can also add to that “from doom to doom.”

Best moments of the album: For a Fistful of Silver and Wrath of a Downtrodden Planet.

Worst moments of the album: None.

Released in 2020 Transcending Obscurity Records

Track listing
1. Blood for the Blood Gods 13:28
2. For a Fistful of Silver 14:30
3. Oceans are Rising 2:33
4. Wrath of a Downtrodden Planet 18:20

Band members
Clem Helvete – vocals, guitars
Chris KKP – guitar
Milvus – drums

Album Review – Jupiterian / Protosapien (2020)

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Rising as a mythical creature, this Brazilian Atmospheric Sludge and Doom Metal outfit is ready to haunt our souls with the crushing, primeval music found in their brand new opus.

Formed in 2013 in the city of São Paulo, Brazil, the unyelding Atmospheric Sludge/Doom Metal outfit Jupiterian is back in action after releasing their groundbreaking album Terraforming in 2017, which was akin to the sound of tectonic plates shifting. In the aftermath of that event, a new revelation has been unearthed, their magnum opus Protosapien. Featuring a Stygian artwork by Polish artist Mariusz Lewandowski, it slices through the ominous atmospheric murk of the band’s previous effort and in an almost primitive yet strangely evolved manner, goes for the jugular. Comprised of Von  vocals, guitars and synths, A on the guitar, R on bass and G on drums, Jupiterian rise as a mythical creature, imbibing everything that transpired and distilling it all to create something highly potent, dense and sonically immeasurable, a form of harrowing, otherworldly Sludge and Doom Metal that lumbers on erratically, carving their own path, trampling on anything that dares stand in their way, and being therefore highly recommended for admirers of the music by  Eremit, Loss, Primitive Man, Gaerea and My Dying Bride, among others.

The phantasmagorical and cinematic intro Homecoming will crawl deep inside your skin and darken your heart until the gates to the underworld are open with the imposing Mere Humans, where the reverberating bass by R and the Stygian riffs by V and A will make your head tremble while G fires sluggish, doomed beats nonstop. V’s and A’s dirty and piercing guitar lines keep bringing darkness to us all in Voidborn, accompanied by G’s damned drums and the hellish vociferations by V, being perfect for cracking your neck headbanging in solitude. Put differently, this is the epitome of primeval Sludge and Doom Metal spiced up by the obscurity of Blackened Doom, whereas in the vile Capricorn we’re treated to a ritualistic doom aria spearheaded by G’s tribal beats, with the quartet bringing forward a sharp hybrid of American Sludge Metal and classic Doom Metal. Furthermore, the bass punches by R sound absolutely metallic, taking the song’s malignancy to a whole new level. And they offer more of their raw and unearthly sounds in the heavy-as-hell Starless, showcasing a great sync between R and G with their respective bass jabs and drums while the inhumane growls by V add an extra touch of evil to the overall result. Lastly, a gargantuan roar by V ignite the one hundred percent, unfiltered Atmospheric Doom Metal feast titled Earthling Bloodline, where G pounds his drums slowly and steadily while his bandmates generate a menacing ambience with their strings from hell.

There are numerous places where you can put your dirty hands on Protosapien, such as the band’s own BandCamp page, the official Transcending Obscurity Records webstore (where you can find precious gems such as the 8-panel digipak CD with metallic effect and sandalwood fragrance or an amazing boxset including an autographed LP), the Transcending Obscurity Records webstores for the US and Europe, Apple Music, Amazon and so on. Hence, you can also support those Brazilian doomers by following them on Facebook, Instagram and YouTube, and also by streaming all of their wicked creations on Spotify. As aforementioned, like a mythical creature Jupiterian are among us to haunt our souls and blacken our damned hearts, having in Protosapien the perfect weapon to attack us all with their crushing, antediluvian doom.

Best moments of the album: Capricorn and Earthling Bloodline.

Worst moments of the album: None.

Released in 2020 Transcending Obscurity Records

Track listing
1. Homecoming 2:09
2. Mere Humans 5:38
3. Voidborn 6:53
4. Capricorn 7:06
5. Starless 7:13
6. Earthling Bloodline 6:40

Band members
V – vocals, guitars, synths
A – guitar
R – bass
G – drums

Album Review – Guardian Of Lightning / Cosmos Tree (2020)

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Behold the mighty sound of the ultra-heavy electric bass by a Brazilian power trio who praises the gods of thunder and metal in their excellent debut opus.

Known as the the herald of a new wave of metal music, curiously labeled as “Thunder Metal”, Guardian Of Lightning are a three-piece band based in São Paulo, Brazil featuring lead bassist Iron King, his father Marco Fino on vocals and rhythm guitar, and Lord Drum on drums, with their unique sound being a fresh take on the metal genre, replacing the typical lead guitar role with that of an ultra-heavy thundering electric bass. Lead bassist Iron King (yes, that is his real name) grew up surrounded by music, inspiring him to follow in the footsteps of bass legends such as Cliff Burton, Joey DeMaio and Lemmy Kilmister and, therefore, leading him to form Guardian Of Lightning back in 2017. Produced by Eurico Tavares at Stage Record Power Audio Studio, the band’s debut opus Cosmos Tree makes it clear from the very first second that the electric bass is front and center throughout the entire album, but each individual song will also bring to you a wide variety of sounds, an undeniable sync and dynamism between the band members, and of course, the magic of our beloved Heavy Metal.

The album’s atmospheric Intro will certainly invite you to the heavy world of Guardian Of Lightning, setting the tone for the epic title-track Cosmos Tree, which reminds me of the mighty sound blasted by Grand Magus infused with the rockin’ elements from the music by Motörhead, with Lord Drum dictating the rhythm with his pounding beats while Iron King shreds his bass in great fashion.  In the superb Raise Your Sword, the Mark Tornillo-like vocals by Marco walk hand in hand with the thrilling Power Metal beats and bass punches fired by Lord Drum and Iron King, respectively, also bringing hints of 70’s Progressive Rock and Metal through their intricate and thunderous bass sounds, followed by the also epic Sound of Thunder, exactly what Iron King delivers from his rumbling bass, showcasing an accelerated pace and classic riffs and lyrics, therefore resulting in an ode to all things rock and metal tailored for fans of the music by Manowar and other bands that love to add endless epicness to their creations. And once again inviting us all to bang our heads in the name of metal, the trio masterfully smashes their instruments in Aligned With the Stars, where the riffage by Marco provides an amazing support to Iron King’s metallic bass.

Then adding elements from Blues to their core sonority, the trio brings forward the beautiful Follow Your Silver Shine, where Iron King is once again majestic with his visceral and electrifying bass jabs and solos, while his father Marco showcases a fun and vibrant vocal performance from start to finish, whereas Inside of Us presents another solid fusion of Stoner, Sludge and Southern Metal with more epic styles such as classic Heavy and Power Metal, not to mention that what Iron King does with his bass is truly impressive, making our heads tremble with awe. Lord Drum begins hitting his drums harder than usual in the also rockin’ Another Place, where it’s a pleasure to witness the sonic synchronicity of father and son crushing their strings with power and dexterity, and they keep jamming with passion until the very end. Lastly, slowing things down a bit the band offers the more serene and classic Be Like the Moon, where Iron King once again showcases all his skills armed with his bass, and albeit this song is not as creative or inspiring as its predecessors, it still provides the listener a very good reason for having a cold beer and headbanging nonstop.

After taking a few detailed listens at Cosmos Tree, you’ll see it’s easy to understand what Guardian Of Lightning mean with the expression “Thunder Metal”, because that’s exactly what you’ll get throughout the album’s over 30 minutes of music, pure and mighty thunder in the form of our good old Heavy Metal, consequently paving an interesting path ahead of Iron King and his loyal henchmen for the coming years. Hence, don’t forget to follow such promising band on Facebook and on Instagram, to listen to more of their music on Spotify, and above all, to purchase your desired version of Cosmos Tree by clicking HERE, proving to the gods of thunder and metal you deserve a place right by their side in Valhalla.

Best moments of the album: Raise Your Sword, Sound of Thunder and Follow Your Silver Shine.

Worst moments of the album: Be Like the Moon.

Released in 2020 Eclipse Records

Track listing
1. Intro 1:09
2. Cosmos Tree 5:00
3. Raise Your Sword 3:41
4. Sound of Thunder 4:17
5. Aligned With the Stars 3:29
6. Follow Your Silver Shine 3:58
7. Inside of Us 3:15
8. Another Place 4:55
9. Be Like the Moon 3:29

Band members
Marco Fino – lead vocals, rhythm guitar
Iron King – lead bass guitar
Lord Drum – drums

Album Review – Descend into Despair / Opium (2020)

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It’s time to get lost in the musical and lyrical universe developed around a pervasive feeling of “weltschmertz” by this distinguished Romanian Funeral Doom act.

Founded in 2010 in Rădăuți, Suceava County, in Romania, but currently located in Cluj-Napoca, Cluj County, also in Romania, an idiosyncratic Doom Metal/Funeral Doom entity known as Descend into Despair has been gradually rising from that point into one of the most noteworthy bands in the local scene, fusing together Death, Black and Sludge Metal with Electronica and Dark Ambient elements to further refine what they like to call “Introspective Doom Metal”, pushing creative boundaries and taking pride in experimenting as much as they can. The band currently comprised of Xander Coza on vocals, analogue synthesizer and guitars, Florentin Popa on clean and choir vocals, lap steel guitars and field recordings, Dragoș C. and Cosmin Farcău on the guitars, Alex Costin on bass, Flaviu Roșca on keyboards and piano, and Luca Breaz on drums developed a musical and lyrical universe around a pervasive feeling of “weltschmertz”, a brooding and ever-looming feeling that physical reality can never fully satisfy the demands of the mind. Now in 2020 the band returns with their third full-length opus, simply titled Opium, offering fans of Funeral Doom almost one hour of cryptic and melancholic passages split into three unique compositions, all embraced by a stunning cover artwork conceptualized by Xander himself, featuring model Melinda Nagy, painting by István Bába and bodypaint by Brigitta Adorjan. “Opium’s conceptual driving force is, we believe, fully grasped within this image, blurring the lines between painting and photography. Twisting classical beauty into modern obsession, weaving harmony of proportion into the disharmony of meaning that soaks through the fabric of existence, our Venus rises forth from horror and remembrance, drained by her rebirth, as murky as the sea that bore her,” commented the band about the connection between the concept of the art and the musical content of their newborn opus.

Featuring guest female vocals by Tara Vanflower, an atmospheric and peaceful start slowly and gradually evolves into a lugubrious feast of doom in ensh[r]ine, with the band’s guitarists Dragos and Cosmin meticulously smashing their stringed axes while Luca brings the thunder with his potent beats. Furthermore, Xander sounds like a beast from the pits of hell with his deep guttural gnarls, with the crisp and crystalline background keys and synths by Flaviu adding a touch of finesse to their mournful musicality. In other words, it’s truly impressive how they fill every single space in the air with tons of heaviness but sounding melodic and ethereal at the same time, ending such massive composition in a beyond enfolding way. Then sinister, atmospheric sounds and tones permeate the air in the also extensive, multi-layered and utterly doomed antumbra, where Xander’s gruesome roars get even more introspective and grim accompanied by the sluggish and melancholic beats by Luca, while the raw sounds of the guitars generate a beautiful paradox with all background keys and synths, also presenting several breaks and variations throughout its 17 lugubrious minutes, and once again bringing an orchestral, cinematic vibe until the very end. Lastly, an array of guests doing choir vocals and spoken pieces are one of the main ingredients in the pensive and obscure closing tune dis[re]member, where the delicate piano notes by Flaviu and the slow and steady beats by Luca walk hand in hand in a hypnotizing Doom Metal voyage. It’s by far the most intricate and the darkest of all three songs, with Dragos, Cosmin and Alex bringing an otherworldly vibe to the music with their sonic weapons, not to mention the breathtaking final act showcasing grim spoken words, crisp guitars and infernal roars amidst a perturbing sense of hopelessness.

In summary, if you can’t live without your daily dosage of Funeral Doom, then this excellent album made in Romania is exactly what you need to fulfill your darkest needs. Hence, don’t forget to show your true support to the guys from Descend into Despair by following them on Facebook and on Instagram, and above all that, by purchasing Opium (which is also available in full on YouTube and on Spotify) from Funere’s Bandcamp page, or go to DistroKid for all options where you can buy or stream the album. Mixed by Indee Rehal Sagoo in London, UK, and mastered by Greg Chandler at Priory Recording Studios in Birmingham, UK, Opium will certainly please all admirers of the most introspective and funereal side of Doom Metal, leaving a scathing mark in the hearts of those who dare to venture through the album’s 59 minutes of sheer obscurity, solitude and sorrow.

Best moments of the album: dis[re]member.

Worst moments of the album: None.

Released in 2020 Funere

Track listing
1. ensh[r]ine 22:27
2. antumbra 17:08
3. dis[re]member 19:54

Band members
Xander Coza – vocals, analogue synthesizer, guitars
Florentin Popa – clean and choir vocals, lap steel guitars, field recordings
Dragoș C. – guitars
Cosmin Farcău – guitars
Alex Costin – bass
Flaviu Roșca – keyboards, piano
Luca Breaz – drums, choir vocals on “dis[re]member”

Guest musicians
Tara Vanflower  – female vocals on “ensh[r]ine”
Irina Movileanu & Eva Breaz – choir vocals on “dis[re]member”
Bogdan Neciu & Răzvan Târnovan – spoken words on “dis[re]member”

Album Review – Escape Is Not Freedom / Surrounded By The Great Nothing (2020)

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A raw, multi-layered fusion of noise, sludge and grunge by three old men from Chicago who still like to play rock music.

Describing themselves as “three old men who still like to play rock music“, Chicago, Illinois-based three-piece outfit Escape Is Not Freedom definitely knows how to combine elements of rock, noise, sludge and grunge in their creations, resulting is a feast of catchy and melodic sounds reminiscent of Nirvana, Soundgarden and The Melvins, to name a few. After the releases of their debut EP The Truants, in 2015, and their first full-length albums Goldsmith, in 2017, it’s time for Mike Gussis on vocals and guitar, Josh Parlette (from Soul Attrition, whose album Vashon Rain was reviewed at The Headbanging Moose not a long time ago) also on vocals and on bass and Darrin Wolf on drums to blast more of their first-class Sludge and Noise with their sophomore full-length effort, titled Surrounded By The Great Nothing. Produced by Shane Hochstetler at Howl Street Recordings and mastered by Carl Saff at Saff Mastering, Surrounded By The Great Nothing continues to blend the band’s personal experiences with their dark humor and, of course, with an endless amount of distortions and noise, cementing the trio as one of the most interesting names of the genre not only in their hometown but also in the international scene.

And eerie, distorted noises already permeate the air in the opening track Brick, a modern-day Sludge and Stoner Metal tune with Mike kicking ass with his enraged riffs and deranged vocals while Josh and Darrin keep the atmosphere as thunderous as possible with their rumbling instruments, resulting in a thrilling welcome card by the band for newcomers to their musical world. Their powerful exhibit of madness and distortions goes on in Boomslang, with Darrin dictating the pace with his classic beats, alternating between more obscure, heavier moments and serene and melancholic passages; followed by Freezer Burn, where the band ventures through more contemporary styles such as Post-Metal and Indie Rock. Moreover, Mike continues to bark and roar rabidly while Josh blasts sheer heaviness through his bass punches, getting darker and more piercing as the music progresses.

Portraying a truly austere name, Drinking Bleach is a slashing and crisp song where the insanity flowing from Mike’s screams is effectively complemented by his dirty riffs and Darrin’s crushing beats, turning it into one of the most incendiary songs of the album, whereas Leonard is another solid display of Sludge and Post-Metal featuring the scorching guitars by Mike and the ominous bass punches by Josh, recommended for fans of the most aggressive side of Nirvana and going on for over eight minutes with all band members putting us on some sort of grim trance. Then, as opposed to its predecessor, Ruined Ground brings a more serene and introspective vibe, with Josh darkly declaiming its lyrics while Darrin smashes his drums slowly and steadily, bringing a good amount of distress to our hearts.

Back to a more vicious sonority, the trio offers the melodic and mesmerizing Underwater Birth, where Mike and Josh are in absolute sync with their metallic strings, resulting in an amazing option for banging your head alone in the dark and letting their Sludge Metal penetrate deep inside your mind, while in Slowly Falling off a Cliff it’s time to slam into the circle pit to the crushing metal music blasted by those three rockers, again fluctuating between demented sounds and ethereal moments and, consequently, elevating the album’s aggressiveness and wickedness to a whole new level, all spiced up by Mike’s flammable riffs. The second to last song from the album, Acid Blood, sounds like a more obscure version of Alice In Chains infused with Sludge Metal nuances, with Josh adding tons of groove to the music with his bass, not to mention this is perhaps the song where he delivers his most personal vocal performance. And lastly acoustic guitars ignite the closing tune entitled Rhea, evolving into a dense and melancholic extravaganza where Josh and Darrin bring forward a precise balance between heaviness and finesse.

In a nutshell, although Escape Is Not Freedom might not be considered a pure metal band, I personally believe they have what it takes to conquer the hearts of most metalheads from all over the world with their heavier-than-usual rock and grunge, with Surrounded By The Great Nothing being the perfect depiction of what they’re capable of and what we can expect in their future releases. Hence, don’t forget to follow Mike, Josh and Darrin on Facebook, and to buy Surrounded By The Great Nothing from their own BandCamp page, where you can by the way find all of their previous albums for sale as well. As the name of the band states, escaping from someone or something doesn’t necessarily mean freedom, but at least the music found in Surrounded By The Great Nothing can provide you a very entertaining escape from your daily struggles.

Best moments of the album: Drinking Bleach, Underwater Birth and Slowly Falling off a Cliff.

Worst moments of the album: Boomslang.

Released in 2020 Independent

Track listing
1. Brick 4:46
2. Boomslang 5:22
3. Freezer Burn 4:07
4. Drinking Bleach 4:03
5. Leonard 8:14
6. Ruined Ground 6:09
7. Underwater Birth 5:33
8. Slowly Falling off a Cliff 5:25
9. Acid Blood 6:14
10. Rhea 5:45

Band members
Mike Gussis – vocals on “Brick”, “Freezer Burn”, “Drinking Bleach”, “Leonard” and “Underwater Birth”, guitar
Josh Parlette – vocals on “Boomslang”, “Ruined Ground”, “Slowly Falling off a Cliff”, “Acid Blood” and “Rhea”, bass
Darrin Wolf – drums

Album Review – Moanaa / Torches EP (2019)

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Revolving around a diverse range of styles such as Post-Metal, Post-Rock, Atmospheric, Sludge and Doom Metal, the new EP by this Polish entity overflows sorrow, grief and heaviness.

Founded in the already distant year of 2008 in Bielsko-Biala, a city in southern Poland in the Cieszyn Silesia region, Post-Metal outfit Moanaa has been making a name for themselves in the underground scene with a consistent stream of high-quality albums, revolving around a diverse range of styles such as Post-Metal, Post-Rock, Atmospheric, Sludge and Doom Metal, always with a melancholic and psychedelic approach to obscure topics like personal struggles and depression, leading them to share the stage with renowned acts of the scene such as Blindead, Tides From Nebula, Jarboe, Nachtmystium and At The Soundawn. After the releases of their debut self-titled EP in 2010, followed by the full-length albums Descent, in 2014, and Passage, in 2016, it’s time for lead singer K-vass, guitarists Łukasz ‘cHooDy’ Kursa and Maciej Kosarz, bassist Łukasz Tomiczek and drummer Kamil Gębala to heighten our senses once again with their brand new EP Torches. Mixed and mastered by Haldor Grunberg (Satanic Audio) and featuring a somber artwork by Przemysław Duda (Pastor Graphics), Torches is a short and sweet display of what this Polish band is capable of, leaving you eager for more of their music after its 25 minutes of sorrow and grief are over.

Prepare you neck for a headbanging beast entitled Inflexion, with Kamil blasting sheer adrenaline and intricacy form his beats while K-vass exhales endless anguish and hatred from his raspy roars and the band’s stringed trio brings electricity and groove to their already dense musicality. Put differently, this is a beautiful and melancholic lesson in Post-Metal that will certainly please all fans of the genre. Then it’s time for their cover version for Placebo’s Without You I’m Nothing (take a listen at the original version HERE), featuring guest vocals by Polish singer and keyboardist Jakub Radomski, and let me tell you that Moanaa’s “extended” version of the song (around two minutes longer than the original one) begins in a charming and serene manner before it gradually evolves into a dark, more sinister sound led by the incendiary guitars by Łukasz ‘cHooDy’ Kursa and Maciej. And lastly, a tribal start warms up our senses for over 12 minutes of somber passages and Stygian notes in Red, with K-vass growling and screaming in a truly desperate and obscure way. Moreover, Kamil dictates the song’s lugubrious but fierce rhythm, exhaling progressiveness, obscurity and modernity, all united in sheer harmony, while Łukasz Tomiczek is vicious with his low-tuned bass, with the music flowing into an enfolding finale where K-vass’ clean vocals bring even more melancholy to the overall result.

The guys from Moanaa are eager to know your thoughts about their brand new EP Torches, and in order to do that simply go to their Facebook page and leave them a comment, like their page, check their tour dates and stay up-to-date about all things revolving around such interesting band hailing form Poland. Also, if Post-Metal is your cup of tea and you want to show your utmost support to the band, you can grab your copy of Torches from their BandCamp page or from Apple Music (without their cover for the song by Placebo, for a reason beyond my understanding). Post-Metal might not be among the easiest subgenres of heavy music to be listened to, but in the end that’s the beauty of it, and thanks to talented bands like Moanaa it’s a music style that’s growing and developing year after year, with Torches being indeed a very welcome addition to your collection of obscure and dense albums.

Best moments of the album: Inflexion.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Inflexion 7:00
2. Without You I’m Nothing (Placebo cover) 6:04
3. Red 12:39

Band members
K-vass – vocals
Łukasz ‘cHooDy’ Kursa – guitar
Maciej Kosarz – guitar
Łukasz Tomiczek – bass
Kamil Gębala – drums

Gueat musician
Jakub Radomski – vocals on “Without You I’m Nothing”

Album Review – Halcyon Reign / The Voyage (2019)

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Dealing with the metaphoric beasts we all hide from, the debut album by this Australian trio will take you on a theatrical journey through the realms of prog.

Formed in 2016 in the city of Sydney, Australia, a Progressive Metal three-piece act that goes by the name of Halcyon Reign has just released their debut opus entitled The Voyage, offering the listener a prog feast recommended for fans of iconic bands such as Mastodon, Twelve Foot Ninja and Karnivool. Recorded and mixed by Adam Jordan at Main Street Studios, mastered by Don Bartley  at Benchmark Mastering, and featuring an interesting album art by Edi Udo at Edi Udo Illustrations, which seems to be a tribute to Mastodon’s Leviathan and Gojira’s From Mars to Sirius (and I’m pretty sure those are two of the band’s main influences), The Voyage deals with the metaphoric beasts we all hide from, with those theatrical beastly metaphors being embraced by an atmospheric, intricate and groovy sound blasted by lead singer and guitarist Lachlan Arvidson, bassist Luke Delbridge and drummer Simon Bowles, resulting in a fresh, full-bodied experience for any type of metalhead in search for a good balance between heaviness and creativity.

Emerging from the underworld of prog, the band comes ripping in the opening track ‘Welcome Reality’, a multi-layered musical journey through the realms of Progressive Metal where Lachlan’s classic metal vocals match the music perfectly, not to mention the great job done by Luke with his thunderous bass lines, feeling like a hybrid of Mastodon and Tool. Then a serene intro evolves into an even more progressive and intricate creation by the trio titled The Kraken, with Simon bringing a blend of Progressive, Doom and Heavy Metal with his beats while Lachlan fires his slashing riffs and potent vocals nonstop. Moreover, this great tune is full of breaks and variations, with its mesmerizing instrumental ending being tailored for admirers of the genre. And Peleliu is another classy composition by Halcyon Reign, showcasing the duo Lachlan and Luke in absolute sync with their stringed weapons, supported by Simon’s spot-on beats. Alternating between heavier and more complex moments and gentle, melancholic passages, the final result gets close to that sonic extravaganza the one and only Dream Theather enjoy doing all the time.

If you think The Voyage has been beyond amazing so far, get ready for almost ten minutes of dense, top-of-the-line metal music in Beyond The Cape, where Lachlan sounds at the same time delicate and infuriated on vocals. Furthermore, Luke and Simon make the earth tremble with their respective beats and bass punches, and they keep pounding their weapons with tons of precision and feeling until the song’s epic and enthralling finale. After such lecture in Progressive Metal, an atmospheric, futuristic bridge named Last Horizon sets the stage for the trio to shine once again in the title-track The Voyage, bringing to our ears and minds more of their beautifully crafted music, uniting progressiveness and heaviness in great fashion. Not only the sound of guitars and bass will pierce your ears mercilessly, but the music also brings hints of Sludge Metal to the band’s core essence, and that healthy amalgamation of styles makes the song feel like two or three songs in one, with the three band member jamming freely and stunningly until all fades into a space void.

The past decade has been more than just great for heavy music from Down Under, with countless excellent groups like Halcyon Reign showing the world everything they got, and if you want to show your support to this up-and-coming Australian triumvirate of Progressive Metal you can purchase The Voyage from their own BandCamp page, from Apple Music, from Amazon or from CD Baby, as well as listen to the album in full on Spotify. Also, don’t forget to give them a shout on Facebook, therefore joining Lachlan, Luke and Simon on their theatrical trek through space and progressive lands and, of course, inspiring them to keep delivering first-class metal music for all of us lovers of the underground scene.

Best moments of the album: The Kraken and Beyond The Cape.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. ‘Welcome Reality’ 6:14
2. The Kraken 8:18
3. Peleliu 5:09
4. Beyond The Cape 9:15
5. Last Horizon 1:27
6. The Voyage 7:28

Band members
Lachlan Arvidson – vocals, guitars
Luke Delbridge – bass
Simon Bowles – drums, vocals

Album Review – Dö / Astral Death Cult (2019)

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Saluting the great forces of nature and the void that surrounds us, Finland’s own riff-praising, cosmos-worshiping metal unity returns with another round of their raw northern “döömer”.

Hail Cosmos! We’re all döömed!

Helsinki’s own riff-praising, cosmos-worshiping trio of doom, the infamous and heavy-as-hell unity known as Dö, is ready to stimulate and distort our senses once again with what they like to call “döömer” in their brand new opus entitled Astral Death Cult. And if you have absolutely no idea of what “döömer” means, let’s say it’s simply dark astral energy masterfully compressed by our beloved sonic triumvirate comprised of Deaf Hank on vocals and bass, Big Dog on the guitar and Joe E. Deliverance on drums into a unique northern mix of stoner, doom, sludge and psychedelic elements with hints of Death and Black Metal. Or is this still too complicated for your terrestrial mind?

Astral Death Cult is the second full-length album released by Dö and their fifth release since the band’s inception in 2013 in “Hellsinki”, following the path of reverberating sounds and distortions paved in their previous releases, those being their debut self-tiled EP from 2014, the EP Den from 2015, their first full-length installment Tuho from 2016, and the EP Astral: Death/Birth from 2017. However, while their core essence remained intact through the years, with all albums being recorded live to get the genuine dynamics of the trio on each track, the lyrical themes have evolved from mysticism, misanthropy and anti-religiousness towards saluting the great forces of nature and the void that surrounds us, matching their musical direction flawlessly and, consequently, providing the listener a truly unique experience while listening to the album’s 36 minutes of pure “dööm”.

Joe’s funereal beats kick off the three-minute invitation to emptiness and obscurity titled Intergalacticlude, where the bass by Deaf Hank sounds as dirty and raw as it can be, also bringing to our ears and minds somber vociferations and a menacing aura. After such killer start we have the superb Atmosfear, which kicks off in a truly Stygian, atmospheric way before Deaf Hank begins exhaling evil and fear through his bass and raspy vocals, exploding into ass-kicking Doom and Sludge Metal for our total delight. Just break your damned neck headbanging to this visceral hymn, while Big Dog’s Black Sabbath-inspired demonic riffs add an extra touch of evil to the music. And the pounding drums by Joe together with Deaf Hank’s malevolent bass take the lead in Drifting (In a Methane Ocean), showcasing over nine minutes of sluggish passages, a grey ambience, endless heaviness, and desperate vocalizations amidst embracing, minimalist guitar lines, smashing our heads ruthlessly. Put differently, this is exactly what happens when distortion, harmony and heaviness unite in the name of doom.

Their astral journey goes on in the also pulverizing Cosmic Communion, bringing elements from Experimental and Progressive Metal to their already multi-layered sound. I simply love the rumbling sounds Deaf Hank blasts from his bass while Big Dog keeps shredding his strings beautifully, turning it into the perfect soundtrack to a futuristic slasher flick as they keep jamming like there’s no tomorrow. Planet Eater couldn’t have started in a more menacing way, representing the epitome of old school Doom and Stoner Metal. Big Dog is on fire with his riffs and solos, while Deaf Hank barks and roars nonstop, and let me tell you their synchronicity with their stringed weapons is amazing, complemented by Joe’s slow and potent beats. And lastly, never letting the level of energy, rage and distortions go down they offer us the groovy and dark Beyond the Cosmic Horizon, where its bass and drums will make your brain tremble. Deaf Hank’s anguish gnarls get darker and darker as the music progresses, with the soulful solo by Big Dog being the icing on the cake in this excellent closing tune.

This precious gem of doom, or maybe I should just start writing “dööm” all the time from now on, can be relished in full on YouTube and on Spotify, but of course if you want to show your absolute support to Finland’s meanest and most demented trio you can purchase the album from their official BandCamp, from the Dust & Bones Records webstore, from the Lay Bare Recordings webstore, form Apple Music or from Amazon. Also, don’t forget to give them a shout on Facebook and to subscribe to their YouTube channel for more of their raw and classy music, because as you’re all already aware of, we’re all “döömed” in this rotten and decaying world, and there’s nothing we can do about that apart from banging our heads and raising our horns together with Deaf Hank, Big Dog and Joe E. Deliverance until our inevitable end.

Best moments of the album: Atmosfear and Cosmic Communion.

Worst moments of the album: None.

Released in 2019 Lay Bare Recordings/Mercyful Tapes

Track listing
1. Intergalacticlude 3:11
2. Atmosfear 5:50
3. Drifting (In a Methane Ocean) 9:18
4. Cosmic Communion 6:11
5. Planet Eater 5:43
6. Beyond the Cosmic Horizon 5:55

Band members
Deaf Hank – vocals, bass
Big Dog – guitar, backing vocals
Joe E. Deliverance – drums, backing vocals

Album Review – Alunah / Violet Hour (2019)

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The Stygian clouds of doom are coming to darken the skies to the sound of the newborn spawn by a fantastic UK-based Hard Rock and Doom Metal unity.

Brace yourselves, my dear metalheads, as the Stygian clouds of doom are coming to darken the skies to the sound of Violet Hour, the brand new album by UK-based Hard Rock/Doom Metal frontrunners Alunah, one of the best albums of 2019 from the underground and independent scene without a shadow of a doubt. Founded in 2006 in “Sabbath City”, usually referred to as Birmingham, the band comprised of the enchantress Siân Greenaway on vocals, the talented Dean Ashton (bassist for UK’s Hard Rock institution Diamond Head) on the guitar, the unstoppable Daniel Burchmore on bass and founding member Jake Mason on drums is ready to strike once again harder than ever, bringing more riffs, more swagger and more groove to our avid ears with their newborn opus.

Recorded at Wales’ historic Foel Studio, produced by Chris Fielding (Skyhammer Studio), and featuring a beyond obscure and captivating artwork by Brazilian artist Felipe Froeder (Arcano XV), Violent Hour offers the listener a searing combination of intoxicating melodies and riffs on top of a high-class songwriting. “Alunah are very happy and excited to release Violet Hour to the world. It has been so enjoyable to write and record this album during an energetic and focused period for the band. Having it released on Heavy Psych Sounds is a great feeling and we cannot wait for people to hear it. The time to fear is now!”, commented the band about the album, inviting all of us to join them in their quest for old school doom.

Siân and the boys don’t give us a single second to breathe in the amazing opening track Trapped & Bound, spearheaded by Dean’s heavy-as-hell riffs and Jake’s pounding drums. I dare you to not bang your head to the song’s hypnotizing rhythm, a perfect fusion of the doomed music by Black Sabbath with the badass Sludge Metal played by Crowbar, and to show you how awesome this song is, it’s also featured on the 2019 compilation Doomed & Stoned in England, just like another crushing song by their countrymen Warcrab. And the somber, deep and addictive vocals by Siân add an extra touch of evil to the dark and sluggish Dance of Deceit, where Dean and Daniel are merciless with their stringed weapons, not to mention Dean’s amazing solo as the icing on the cake.

Then we’re treated to Hunt, a lesson in Doom Metal by Alunah sounding slow and enthralling form start to finish, with Jake’s beats bringing nuances of melancholy to the music while Siân beautifully declaims the song’s devilish lyrics. Put differently, it reminds me of some of the best tracks from Heaven & Hell’s classic The Devil You Know, and if you like that album you know what I’m talking about. In Hypnotised the name of the song says it all, with Dean being on fire with his demonic riffage and solos while Daniel couldn’t sound more thunderous on bass. Hence, it keeps the album at a high level of heaviness and darkness, being therefore recommended for all your beer-drinking, headbanging moments in life, whereas the title-track Violet Hour is just as mesmerizing and delicious as its predecessors, with Siân’s vocals sounding so powerful it’s hard to describe them in just a few words, and with Dean slashing our ears and minds with his grim guitar lines.

Jake smashes his drums fiercely in the also obscure and sexy Unholy Disease, one of those Doom Metal songs that will put you in a trance, or in other words, your soul belongs solely to Siân during the song’s five minutes of razor-edged riffs, low-tuned bass punches and an endless amount of electricity. Velvet sounds as delicate but at the same time as hot and striking as velvet itself, being the perfect soundtrack for a movie scene at an obscure pub somewhere in the middle of England, while Jake keeps hammering his drums slowly and steady just the way we like it, nicely boosted by Daniel’s metallic, rumbling bass. And crisp guitar lines and an enfolding atmosphere are the main ingredients in Lake of Fire, a dark and serene composition showcasing another flawless vocal performance by Siân supported by the thunderous sounds blasted by her bandmates, making you want to walk into a real lake of fire with her until the song’s ethereal finale.

This precious gem of classic Doom Metal made in the UK is already on pre-sale on the Heavy Psych Sounds Records’ BandCamp and webstore, as well as on several other locations such as the All That Is Heavy webstore, the Season of Mist webstore, the Shiny Beast music mailorder, and Amazon. Having said that, simply let your mind be enfolded by the spellbinding Doom Metal delivered by Alunah in Violet Hour, and may your damned soul forever be comfortable in darkness, exactly how we expect it to be in first-class Doom Metal from the always somber and charming United Kingdom.

Best moments of the album: Trapped & Bound, Hunt and Unholy Disease.

Worst moments of the album: None.

Released in 2019 Heavy Psych Sounds Records

Track listing
1. Trapped & Bound 4:58
2. Dance of Deceit 3:54
3. Hunt 5:38
4. Hypnotised 6:11
5. Violet Hour 4:24
6. Unholy Disease 4:55
7. Velvet 6:22
8. Lake of Fire 6:33

Band members
Siân Greenaway – vocals
Dean Ashton – guitar
Daniel Burchmore – bass
Jake Mason – drums