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Metal Chick of the Month – Aleks Radmanovich

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Stygian – Abyss – Call – To me!

The month of November has always been cold, rainy and dark in the northern hemisphere, the perfect type of weather for some ass-kicking Extreme Metal. However, this time The Headbanging Moose will travel all the way to the stunning Australia not only to experience a much better weather, but also to enjoy the Black, Death and Thrash Metal attack by our metal lady of the month. She’s the lead guitarist for an amazing thrash squad from Down Under named Thraxas!, as well as for a ruthless Black Metal horde known as Pestilential Shadows. Her name is Aleks Radmanovich, and she will mercilessly shred you to pieces armed with her unstoppable axe. Having said that, do you think you have what it takes to face one of the most badass guitarists from the current Australian metal scene?

Born and raised in the charming city of Sydney, the dauntless Aleks began her career in Heavy Metal back in 2018 when she joined the four-piece thrashing machine named Thraxas!. The band was actually formed a few years prior to her becoming their axe lady, more specifically in 2011, by vocalist Chris “Bull” Woods and drummer Izak Easterbrook (of Divine Carnage), and the only release by the band before Aleks joined their ranks, as well as bassist Dan Andrews, was their 2018 debut demo Slave Wages. As their lead guitarist, she released with Thraxas! the single Cthulhu Rising, in 2019, the 2021 EP Planetary Terrorism (under the moniker Aleks Rad), the 2025 single Blast Shadows, and more recently their first full-length opus, titled Violent Vacation. Not only that, Aleks was also responsible for the layout and design of their debut EP Planetary Terrorism. All of those songs and albums are available on BandCamp and on Spotify, and you can also visit their official YouTube channel to enjoy their official videos including Concrete Cowboy and Ecophagy.

In addition, apart from Facebook and Instagram, you can also stay up to date with all things Thraxas! by clicking HERE, and if you want to know even more about the indomitable Aleks and her scorching axe you can find a few interesting videos and interviews on YouTube, including the highlights of her chat with The Horsemen Podcast earlier this year, her guitar playthrough for the song Exemplary Punishment, and a video named 5 Minute Series – Aleks Rad where she talks about her idols and influences like Alex Webster of Cannibal Corse, Iron Maiden, Candlemass, Slayer, Exodus (mentioning her favorite Thrash Metal album of all time is Tempo of the Damned, by the way), plus her own rig rundown. No idea why the video is named “5 Minute Series” as it’s only one minute and a half long, but that doesn’t really matter as Aleks kicks some ass even in such a short period of time.

In 2024, Aleks joined Sydney, Australia’s own Black Metal veterans Pestilential Shadows, spreading her dark wings over humanity under the Stygian moniker Drekavac. A Drekavac, also called drekalo, krekavac, zdrekavac or zrikavac, is a mythical, monstrous creature from South Slavic folklore, known as “the screamer” or “the screecher” from the verb “drečati” (“to screech”). It is often the spirit of an unbaptized child, though sometimes described as an undead man. Let’s say that’s exactly the sound emanating from her fiery riffs and solos in Pestilential Shadows, sounding as dark, menacing and evil as possible, therefore showcasing a more obscure side of our unstoppable Aleks.

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The band was formed way before Aleks joining them, though, more specifically in 2003 by vocalist and guitarist Balam, who had been playing in local Black Metal bands since 1997, with the goal of creating atmospheric and intense Black Metal and cement its reputation as one of the most innovative bands in the scene. Currently formed of Balam on vocals and guitar and Aleks (or Drekavac, as mentioned) also on the guitar, alongside Lithuz on bass and Basilysk on drums, the band had already released the albums Embrace After Death (The Fate of All That Lives II) (2005), Cursed (2006), In Memoriam, Ill Omen (2009), Depths (2011), Ephemeral (2014), Revenant (2021), and Devil’s Hammer (2024) before Aleks became part of the band, but she was still able to play some live shows in Australia with them before the recordings for their ruthless eighth studio album Wretch started.

Released by the uncanny German label Northern Silence Productions in conspiracy with Brilliant Emperor Records this past September, Wretch continues the band’s progression (or regression) toward uglier, gnarlier expanses, offering more of their trademark ruminations on death and the beyond. The album has already led Pestilential Shadows to tour Europe in late August through September, followed by an October tour in their homeland Australia and in New Zealand, allowing fans from different parts of the world to witness the power of the Stygian riffs by Aleks. The band can be found on Facebook and on Instagram, and you can purchase or stream Wretch (or any of their previous albums) from BandCamp or Spotify. You can also enjoy Wretch in all of its glory on YouTube, and also enjoy the official video for the song DeathKnell, with Aleks shredding her axe while displaying her badass Black Metal attire and corpse painting. She also played live back in 2022 with a Sydney, Australia-based Death Metal outfit named Deiformity, formed back in 2016, and although there’s nothing released by the band with Aleks on the guitar for obvious reasons, you can still enjoy their 2018 debut (and only released to date) titled Corpse Stomper on BandCamp.

It looks like Aleks has recently started her life as a digital influencer by launching her own YouTube channel; however, maybe due to her busy life on the road, there’s only one video online so far, a cover version for Joe Satriani’s A Celebration. Well, who knowns, maybe we’ll get more killer videos like that in the not-so-distant future. Anyway, switching topic a bit, Aleks is endorsed by Blackstar Amplification, Schecter Guitars, and D’addario Strings, currently touring with the Blackstar Amped 3, HT Stage MKIII and HT Metal 100, Schecter Evil Twin V and Hellraiser, and playing D’addario NYXL 10-46 and EXL 11-56, and if you’re able to catch her live with either Thraxas!, Pestilential Shadows, or Deiformity, you’ll see how her equipment makes her sound feel extremely powerful onstage, exactly what we all want in extreme music.

Aleks Radmanovich’s Official Facebook page
Aleks Radmanovich’s Official Instagram
Thraxas!’s Official Facebook page
Thraxas!’s Official Instagram
Thraxas!’s Official YouTube channel
Pestilential Shadows’ Official Facebook page
Pestilential Shadows’ Official Instagram

Album Review – Golgothan Remains / Bearer of Light, Matriarch of Death EP (2024)

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A concept EP of monumental Death Metal mastery made in Australia, recounting a journey across a mystical, barren world cloaked in darkness.

A concept EP of monumental Death Metal mastery, recounting a journey across a mystical, barren world cloaked in darkness, Bearer of Light, Matriarch of Death is the brand new offering by Sydney, Australia-based entity Golgothan Remains, following up on their 2018 debut Perverse Offerings to the Void and their 2022 sophomore album Adorned in Ruin. Re-amped, mixed and mastered by Greg Chandler at Priory Recording Studios, and displaying a stunning artwork by Christian Kiesling of Misanthropic Art, capturing the journey through time and space, and the story’s setting, landscapes and aura which are relayed in the EP, Bearer of Light, Matriarch of Death brings forth the band’s distinct brand of relentless Death Metal, masterfully balancing blistering speeds, sinister Black Metal undertones, and crushing doom, all carefully crafted by Matthieu Van den Brande on vocals, Matt Hillman on the guitars, Adam Martin on bass, and Aled Powell on drums.

The dissonant, cryptic guitars by Matt set the tone in the opening track Methuselah, being gradually accompanied by his bandmates while Matthieu delivers his deepest roars with tons of anger, all boosted by the massive beats by Aled; whereas Tribulation presents an even more infernal and demolishing version of the band where Aled keeps hammering his drums nonstop supported by the rumbling bass by Adam. Put differently, it’s harsh, no shenanigans Death Metal that sounds like it’s coming from the deepest tomb, ending in a haunting manner before we’re treated to Necropoles, another pulverizing explosion of primeval Death Metal spearheaded by the visceral growling by Matthieu. Lastly, closing the EP we face the incendiary, somber Andromeda, where once again the blast beats by Aled match perfectly with the strident riffage by Matt in the best Death Metal vibe possible.

The final result in Bearer of Light, Matriarch of Death is a suffocating, trance-inducing atmosphere of unyielding intensity, with the story being told only making things even more hypnotizing. “It is a wrought, and evil love story about two centuries old creatures trying to find companionship but due to their strong evil spirit are unable to exist with another powerful figure by their side,” commented the band, and you can get in touch with them and find more information about their new EP on Facebook and on Instagram. Don’t forget to also stream their music on Spotify or on Apple Music, and of course to grab a copy of Bearer of Light, Matriarch of Death from their own BandCamp, as well as from the Dark Descent Records’ BandCamp or webstore in CD or vinyl format. The journey through the dark has begun to the sound of the new opus by Golgothan Remains, and you better get ready as once you start following the band on that sinister path, there’s no turning back.

Best moments of the album: Tribulation and Andromeda.

Worst moments of the album: None.

Released in 2024 Dark Descent Records

Track listing
1. Methuselah 6:13
2. Tribulation 5:22
3. Necropoles 4:24
4. Andromeda 5:04

Band members
Matthieu Van den Brande – vocals
Matt Hillman – guitars
Adam Martin – bass
Aled Powell – drums

Concert Review – Iron Maiden (Qudos Bank Arena, Sydney, NSW, Australia, 09/12/2024)

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How about another excellent show by the boys Down Under before heading back to Canada?

INTRO: IMFC Meetup

After skipping the concert in Brisbane to have more time to enjoy both Melbourne and Sydney, it was time for another explosion of heavy music by KILLSWITCH ENGAGE and IRON MAIDEN during the Australia & New Zealand leg of The Future Past Tour 2024, this time at Qudos Bank Arena in Sydney. By the way, I only did night one in Sydney, returning to Canada on Friday September 13 so I could make it in time to worship the Metal Gods (which will be published here in another concert review). However, due to the Iron Maiden Fan Club meetup at The Squires Landing on the night of September 11, it actually felt like more than just one show. It was fantastic seeing some old friends and putting faces to new ones while enjoying a few pints, and not even the British Lion concert happening at the same time stopped over 40 IMFC members to celebrate life and music together at the pub. I love those meetups, and I can’t wait for the Toronto one next month.

OPENING ACT: Killswitch Engage

I can say that I finished my Australian adventure with absolutely zero sight of KILLSWITCH ENGAGE. It was impossible to arrive early at the venue having so many attractions to see in the city like the Bondi to Coogee Walk, Manly Beach, the Sydney Opera House, the Royal Botanic Gardens Sydney, as well as some further sites like the Blue Mountains. I’m sorry if you’re a fan of the band, but with so much to do I didn’t even care about getting to the venue in time to see them at least once. Everyone I asked later how their concert was said “it was OK” without a lot of enthusiasm, so I guess I made the right decision to ignore the band and enjoy some time by the sea seeing some whales and dolphins in their natural habitat, right? By the way, everyone I spoke to that did the FTTB experience in any of the Australian dates said they were tired of Killswitch Engage, most probably because after a long wait outside the venue, when you finally get in you simply want to see Iron Maiden and nothing else, and that’s even worse when the opening band plays something most fans don’t listen to on a regular basis.

Setlist
My Curse
This Fire
Strength of the Mind
The Arms of Sorrow
A Bid Farewell
In Due Time
The Signal Fire
Unleashed
Hate by Design
Rose of Sharyn
This Is Absolution
The End of Heartache
My Last Serenade
Holy Diver

Band members
Jesse Leach – lead vocals
Adam Dutkiewicz – lead guitars, backing vocals
Joel Stroetzel – rhythm guitars, backing vocals
Mike D’Antonio – bass
Justin Foley – drums

IRON MAIDEN

Once again, there I was ready for a blast of The Future Past Tour 2024 in Australia by IRON MAIDEN, again blending the best of the albums Somewhere In Time and Senjutsu, as a “farewell” to my trip Down Under. As mentioned, I didn’t stay for night two in Sydney because the Metal Gods were calling me back to Canada, but according to my friends I got the best of the two shows in Sydney as both the band and the crowd were more electric and in sync on the first night. There isn’t a lot I can say about the show that hasn’t been said before, except for the fact that Bruce was absolutely out of tempo during the first part of Caught Somewhere in Time, and it was funny watching the rest of the band trying to “fix” the error. The same songs that were the top moments of the shows in Melbourne were also the best ones in Sydney, in special Hell on Earth with all of its pyro (the only real pyro of their entire setlist, by the way), and of course Wasted Years, the perfect closure for my vacation in the land of kangaroos, koalas and quokkas.

Let’s say that the pre and post show activities were just as fun as the show itself, with a quick trip to the Trooper Dive Bar & Fan Meet at The Locker Room, located only five minutes walking from the venue (as pretty much anything else inside the beautiful Sydney Olympic Park), chatting with a few people that were about to see Iron Maiden live for the first time ever, and obviously meeting with my friends from the IMFC one last time before heading back to Canada. I like to say that although the shows are usually the same, with the exact same setlist played night after night, there’s always something unique or different to enjoy, and even after seeing the boys three times Down Under I can’t wait to see them again in Toronto and Montreal next month, and meet again several familiar faces that love to follow the band all over the world, especially when the place is as stunning and fun as Australia.

Setlist
Doctor Doctor (UFO song)
Blade Runner (End Titles) (Vangelis song)
Caught Somewhere in Time
Stranger in a Strange Land
The Writing on the Wall
Days of Future Past
The Time Machine
The Prisoner
Death of the Celts
Can I Play With Madness
Heaven Can Wait
Alexander the Great
Fear of the Dark
Iron Maiden

Encore:
Hell on Earth
The Trooper
Wasted Years
Always Look on the Bright Side of Life (Monty Python song)

Band members
Bruce Dickinson – lead vocals
Steve Harris – bass
Dave Murray – guitar
Adrian Smith – guitar
Janick Gers – guitar
Nicko McBrain – drums

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Concert Review – Archspire (Factory Theatre, Sydney, NSW, Australia 10/13/2023)

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There’s nothing better than slamming into the circle pit Down Under on a Friday the 13th, courtesy of three of the best tech death bands of the current worldwide scene.

OPENING ACTS: Werewolves and Ingested

I honestly still can’t believe that in the middle of my business trip to Sydney, Australia, I was able to catch WEREWOLVES, INGESTED and ARCHSPIRE during their phenomenal Tech Trek Australia Tour 2023 at this really cool and well-located venue named Factory Theatre this Friday night. Not only that, if you’re not familiar with the public transportation system in Sydney, let me tell you that it makes it extremely easy to get anywhere you want, which allowed me to get to the venue as soon as the doors opened at 8pm without rushing or anything like that, giving me enough time to buy some merch from Werewolves, grab a beer, and even chat with some locals who were all truly surprised I came all the way from Toronto for the show.

Precisely at 8:30pm, with the venue being almost full already, Melbourne, Australia’s own Technical Black/Death Metal savages WEREWOLVES kicked off the night with a pulverizing and memorable performance for the delight of everyone who was already positioned inside the pit for some action. Vocalist and bassist Sam Bean, guitarist Matt Wilcock and drummer David Haley (that man is a beast on drums!) took no prisoners during their short and sweet set, blasting our ears with their uncompromised, venomous hybrid of Black and Death Metal with songs from all of their insane albums, including their latest beast My Enemies Look and Sound like Me. Those Aussie metallers know exactly what needs to be done on stage to inspire the crowd for some wild headbanging and circle pits, and songs like No More Heroes, Under the Ground, Crushgasm, and specially the closing one, the antisocial hymn I Don’t Like You, sound even better live than in the studio. There were even some wild howls coming from some (drunk) fans in the audience, just to prove how awesome the band was.

I’m extremely happy that I had the chance to see those guys live in Australia, and hopefully the metal community worldwide will give them the attention they deserve and we’ll finally see Werewolves assaulting the stages in North and South America, Europe, and anywhere else where violence and hatred are an intrinsic part of music. Furthermore, don’t forget to stream their visceral creations on BandCamp and on Spotify, and if you ever witness Werewolves live I highly recommend you go chat with the band after their show as they’re fantastic guys. Sam even joked by asking me if I had a suggestion for a name of their next album, which they’re already working on, but I missed the chance to say something like “Powerslave”, “Painkiller” or “Reign In Blood”. Well, maybe next time I’ll be quick enough to come up with something like that, right?

Setlist
Know Your Place
No More Heroes
Sublime Wartime Voyeurism
Under the Ground
Crushgasm
Crushing Heaven’s Mandate
Showering Teeth
I Don’t Like You

Band members
Sam Bean – vocals, bass
Matt Wilcock – guitars
David Haley – drums

After a short break, it was time for Manchester, England-based Slam/Brutal Death Metal/Deathcore outfit INGESTED to crush their fans in Sydney for the first time ever  with their infectious brutality and endless energy on stage. I must admit they sounded even tighter in Sydney than the last time I saw them in Toronto, just to prove how excited they were to finally blast their wicked music Down Under. Still promoting their 2022 album Ashes Lie Still, the band spearheaded by the charismatic and lunatic Jay Evans was on fire throughout their entire performance, with songs like I, Despoiler and Skinned and Fucked turning the circle pit at the Factory Theatre into pure madness and devastation.

Jay was by far the most excited for playing in Australia, and it was actually hard to take pictures of him on stage because the guy doesn’t stop moving not even for a single second, as if he was part of the crowd, like a fan who will slam into the pit until the very last second of the last song. By the way, when the band announced their last song, the bloodthirsty aria Echoes of Hate, all hell broke loose inside the pit for the pure delectation of Jay and his crew. It’s a real pleasure seeing a hardworking band like Ingested going places, and based on the rowdy reaction they got from their fans in Sydney I’m sure they’ll return to Australia sooner than you can say “slam”. Hence, don’t forget to also check the band’s furious fusion of extreme styles on BandCamp and on Spotify, and to keep an eye on their tour dates to avoid missing the opportunity to see them crushing your city to pieces live.

Setlist
Impending Dominance
Invidious
I, Despoiler
Shadows in Time
Skinned and Fucked
Echoes of Hate

Band members
Jay Evans – vocals
Sean Hynes – guitars, backing vocals
Thomas O’Malley – bass
Lyn Jeffs – drums

ARCHSPIRE

It was close to 10:30pm when the main attraction of such fun and entertaining night, Canadian Technical Death Metal masters ARCHSPIRE, kicked off their breathtaking, mesmerizing performance, generating a schizophrenic atmosphere with their flawless fusion of violence, wrath, dexterity and energy on stage. Their flammable frontman Oliver Rae Aleron is not only a superb growler (and I’ll never be able to fully understand how that guy can sing guttural so fast as if he was rapping in the name of evil), but his charisma allowed him to basically control everything the crowd was doing, with his requests for some insane mosh pits being promptly answered by an avid Australian crowd.

Having released the album Bleed the Future in 2021, the band put on a beyond extraordinary show, with songs like Bleed the Future, A Dark Horizontal and Involuntary Doppelgänger sounding perfect live thanks to the undeniable, superb musicianship by all band members, with guitarist Dean Lamb and bassist Jared Smith stealing the spotlight with a lecture in shredding. If you’re curious to know more about one of the fastest and most talented bands of the current Technical Death Metal scene worldwide, you can enjoy all of their wicked albums in full on BandCamp and on Spotify. However, I must warn you that the demented vocals by Oliver will haunt your damned soul for all eternity so insane they are.

And last but not least, I have to say the Canadian humor and jokes the band presented on stage were simply awesome, adding a very welcome touch to their irreprehensible performance. For instance, before playing one of their bestial songs, Oliver asked the crowd to split the pit in the middle, but this time it wasn’t for a traditional wall of death; he threw a Twister game mat to the crowd, and then out of nowhere several sweaty fans were playing Twister instead of doing their regular slamming and headbanging. Then after another couple of songs he invited two fans for a shoe drinking contest named “shoey”, a gross Australian drinking tradition that for some reason Archspire seem to love. Well, it was gross, no doubt about it, but seeing the winner receiving a custom shirt made by one of the guys form the band with some weird drawing of Wolverine and a dingo was a really cool moment of their show. I would never, ever drink beer directly from my shoes, but one thing I’ll certainly do is to attend all concerts I’m able to by Archspire in the future for more awesomeness in the form of Canadian tech death.

Setlist
Bleed the Future
Abandon the Linear
A Dark Horizontal
Remote Tumour Seeker
Golden Mouth of Ruin
Human Murmuration
Calamus Will Animate
Involuntary Doppelgänger
Drone Corpse Aviator

Band members
Oliver Rae Aleron – vocals
Dean Lamb – guitars
Tobi Morelli – guitars
Jared Smith – bass
Spencer Prewett – drums

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Album Review – Orphans of Dusk / Spleen (2023)

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Nine years after releasing their last offering, this New Zealand and Australia-based entity returns with their most mature album to date, one that should gather the world’s gothic-doom scene’s attention.

Ten years after the band’s inception, and nine since their last offering, the 2014 EP Revenant, New Zealander/Australian Gothic/Doom Metal entity Orphans of Dusk opens their goth-doom gasket again, coming back to life to present Spleen, their haunting new full-length album.  Mixed and mastered by Simon Cohen at Studios 301, and displaying a classy artwork by Moreno Matkovic (with additional artwork by Luciferium War Graphics, Irina Micic and the band’s own guitarist James Quested), the album picks up where Revenant left with a greater focus on dark hooks carried by excellent gothic vocals and guitar harmonies brought forth by Chris G on vocals, the aforementioned James Quested on the guitars and synths, and Mike Wilson on bass, supported by guest drummer Jonas Schütz (Cyclopean Walls, Sacrosanct, Diësis). The band’s most mature offering to date, and one that should gather the world’s gothic-doom scene’s attention, Spleen is highly recommended for fans of Type O Negative, Woods of Ypres and My Dying Bride, among others, offering the listener eight memorable songs with powerful riffs, weaving heaviness and beauty into a lush gothic atmosphere.

The vibrant and dense intro Welcome Black sets the tone for the rest of the album, darkening the skies and bringing sheer doom to our hearts before the band smashes our senses in Wasted Hero, with the sluggish, massive drums by Jonas dictating the song’s thunderous pace. Moreover, Chris’ deep vocals, most probably inspired by the unparalelled Peter Steele (RIP), match perfectly with the lugubrious riffs by James. In the somber I’m Going To Haunt You (When I Die) we’re treated to caustic lyrics growled by Chris (“Shadows grow over your own / A bitter chill descends, are you sure you are alone? / Such rage, it can defy the grave”) while Mike enhances the song’s density and darkness with his puissant bass lines; and it’s then time for a nine-minute aria exhaling melancholy and obscurity titled Aurora Australis, where the synths by James help the band generate an enfolding atmosphere. Needless to say, Chris is once again spot-on with both his enraged guttural and somber, clean vocals, sounding hypnotizing from start to finish.

The title-track Spleen keeps the atmosphere dense and muggy, blending the absolute heaviness of Doom Metal with the groovy feeling of Gothic Metal and Rock. It definitely feels like their personal “tribute” to Type O Negative, I might say, whereas Victim of a Vampire is even more touching and melancholic than its predecessors, a beautiful creation by Orphans of Dusk spearheaded by the minimalist but sharp guitars by James and the low-tuned bass by Mike. The instrumental interlude Magic Keys will then drag your soul to one final ride with Orphans of Dusk titled Falling Star, once again showcasing poetic words (“All alone but together we’re here at last / A violent zone, looking up to long black clouds / You wish upon a star”) embraced by a slow, heavy-as-hell goth-doom sonority. As a matter of fact, the CD version of the album comes with an exclusive bonus named A Spell of Bad Luck, definitely worth the investment in the physical copy, offering a nice hybrid of Gothic and Doom Metal where Chris’ deep vocals are nicely complemented by James’ keys and Jonas’ pounding drums.

Chris, James and Mike are eager to know what you think about their album, and you can easily get in touch with them via Facebook or Instagram and know more about the band, their plans for the future, tour dates and so on. Also, don’t forget to subscribe to their YouTube channel and to stream more of their music on Spotify, and above all that, to grab a copy of the excellent Spleen from their own BandCamp page, or from the Hypnotic Dirge Records’ BandCamp page or webstore (or click HERE for all things Orphans of Dusk). Gloomy, inspiring and extremely detailed, Spleen is a fantastic return to action by Orphans of Dusk, and may that represent just the first step as they restart their journey through the dark and grim lands of Gothic and Doom Metal.

Best moments of the album: I’m Going To Haunt You (When I Die), Aurora Australis and Victim of a Vampire.

Worst moments of the album: none.

Released in 2023 Hypnotic Dirge Records

Track listing
1. Welcome Black 1:44
2. Wasted Hero 8:18
3. I’m Going To Haunt You (When I Die) 6:37
4. Aurora Australis 9:07
5. Spleen 8:20
6. Victim of a Vampire 6:41
7. Magic Keys 2:22
8. Falling Star 6:52

CD Exclusive bonus track
9. A Spell of Bad Luck 5:29

Band members
Chris G – vocals
James Quested – guitars, synths
Mike Wilson – bass

Guest musician
Jonas Schütz – drums

Album Review – Gorotica / Morbid Menagerie (2022)

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This repulsive, perverted and cannibalistic Australian-based troupe of questionable French origins offers in their debut opus a fulminating 22-song platter of Death Metal and Grindcore.

Shambling out from the dead blackened underbrush of Sydney, Australia’s backwoods comes a repulsive, perverted and cannibalistic troupe of questionable French origins, collectively known as Grindcore act Gorotica. Living as a reclusive hive for the past three years, the troglodytic trio formed of Jon Von Cannibale on vocals, Gaspard La Verge on the guitars and bass, and Raymonde Peste on drums have been honing their rusted blades and musical skills to now emerge under the Gorotica moniker and bring forth to the public their mission of death and cannibalism in auditory form, or in other words, their debut full-length album Morbid Menagerie. The album offers a 22-song platter of Death Metal and Grindcore with elements of Hardcore garnishing the meat and bones of the music, and with several guests lending their pipes to the chaos, most notably the talented Miller from Sydney grind stalwarts Black Rheno and Tobias from the well-known prog outfit Glass Ocean, presenting it as a highly recommended option for admirers of the goriest side of metal music.

Get ready for a pulverizing Grindcore feast titled At The Gates Of The Necropolis, the perfect welcome card by the band where Jon is bestial on vocals; whereas Gaspard’s metallic riffs and rumbling bass lines are accompanied by the classic drums by Raymonde in Fleshgrind, offering us all two minutes of savagery and heaviness. Born Unto Death is another brutal, venomous onrush by the trio, with Gaspard delivering sheer adrenaline through his Hardcore-infused riffs, not to mention the monstrous roars by Jon, while Teeth Removed With A Sledgehammer brings forward 33 seconds of pure dementia, speed and violence where Jon gets the help from Miller on vocals. Less aggressive and exhaling groove, it’s time for Raymonde to take the lead with his rhythmic beats and fills in The Necrophile, and back to their more infernal mode, Jon growls nonstop accompanied by the insane blast beats by Raymonde in Malevolent Insertion. Guest Tobias lends his demented, deep roars to the band in Corpsefucker, followed by Left To Bleed, starting with the low-tuned bass punches by Gaspard and evolving into a Grindcore extravaganza perfect for slamming into the circle pit. Things get even sharper and more thrilling in Knife Wound Gratification, with Gaspard stealing the spotlight with a maniacal string work while also presenting some welcome breaks and variations. In Graveyard Cannibal it becomes clear that they’re definitely a band that mastered the art of crafting sick tunes that last for less than a minute, and needless to say, Jon is insane on vocals, followed by Execution By Fire, slightly more melodic than its predecessors and sounding confusing at times.

One of the heaviest songs of the album, The Endless Urge, is Grindcore at its finest with all band members being on absolute fire until the very last second, while Ocular Impalement offers our ears one more round of dementia and gore in less than a minute; and their Doom Metal vein arises in Human Skin Drapery, a neck-breaking tune led by the sluggish and pounding drums by Raymonde. It’s time to slam into the pit one more time to the sound of Consuming The Flesh Of The Dead, with Jon bringing forth his trademark deep gnarls, followed by 12 seconds of pure insanity entitled Forced Cluster Headache, working as a “warmup” for Purging The Apocalypse, a fantastic, fast and furious Grindcore attack thanks to the superb job done by Raymonde on drums. The title-track Morbid Menagerie continues to smash everyone that crosses their path to pieces, not to mention guitars and bass by Gaspar couldn’t have sounded more metallic. Then guess what? We’re treated to 44 seconds of pure violence in Severed Head Pincushion, flowing into the dark and sinister Obsession With Mutilation, a good option to headbang in the name of Grindcore and Death Metal. And how about a minute of undisputed aggressiveness as their second to last breath of classic Grindcore? That’s what you’ll get in Desecrating The Remains Of A Virgin, before Bound To The Breaking Wheel closes the album exactly like it should, with no shenanigans, no artificial elements, just plain Grindcore by such skillful and enraged trio.

As already mentioned, Morbid Menagerie is indeed a demented platter of Death Metal and Grindcore by those three mysterious marauders that form the uncanny Gorotica, and you can already preorder such disturbing album from their own BandCamp page, and soon also stream it in full on Spotify. You can also start following Gorotica on Facebook and on Instagram for an overdose of gore and death on your daily routine, making your life a lot more fun to the sound of their bloodcurdling creations. In the end, it doesn’t really matter if the band members are French or Australian because the music found in Morbid Menagerie is awesome, showing the trio knows exactly what they’re doing and, consequently, offering us all another great option for enjoying some carnage inside the circle pit.

Best moments of the album: Fleshgrind, Born Unto Death, Knife Wound Gratification, The Endless Urge and Purging The Apocalypse.

Worst moments of the album: The Necrophile and Execution By Fire.

Released in 2022 Independent

Track listing
1. At The Gates Of The Necropolis 1:49
2. Fleshgrind 2:03
3. Born Unto Death 3:10
4. Teeth Removed With A Sledgehammer 0:33
5. The Necrophile 2:25
6. Malevolent Insertion 1:47
7. Corpsefucker 0:31
8. Left To Bleed 2:34
9. Knife Wound Gratification 2:08
10. Graveyard Cannibal 0:47
11. Execution By Fire 2:03
12. The Endless Urge 2:17
13. Ocular Impalement 0:44
14. Human Skin Drapery 3:09
15. Consuming The Flesh Of The Dead 1:39
16. Forced Cluster Headache 0:12
17. Purging The Apocalypse 1:11
18. Morbid Menagerie 2:13
19. Severed Head Pincushion 0:44
20. Obsession With Mutilation 1:55
21. Desecrating The Remains Of A Virgin 0:58
22. Bound To The Breaking Wheel 3:50

Band members
Jon Von Cannibale – vocals
Gaspard La Verge – guitars, bass
Raymonde Peste – drums

Guest musicians
Jean-Paul Lattouf – percussion
Miller – additional vocals on “Teeth Removed With A Sledgehammer” and “Severed Head Pincushion”
Tobias – additional vocals on “Corpsefucker”
Rasmus & Gaspard – additional vocals

Concert Review – Cannibal Corpse (The Opera House, Toronto, ON, 11/15/2019)

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Over 30 years of evisceration, torture, mutilation, killing, blood and cannibalism in an awesome night of first-class Death Metal in Toronto.

OPENING ACTS: Perdition Temple and Thy Art Is Murder

I can’t describe in words how happy I am whenever a metal concert is scheduled for a Friday or Saturday night in Toronto, especially when the music in question is old school Death Metal. I mean, we need at least one full day to recover from all the insanity going on in the circle pits, right? And that’s probably why all fans at The Opera House this Friday, November 15 went the extra mile in terms of energy, rage and madness, slamming like it was their last night on earth to the sound of Perdition Temple, Thy Art Is Murder and my favorite Death Metal band of all time, the almighty Cannibal Corpse, pulverizing everything and everyone that crossed their path on a cold but fantastic night in Toronto.

It took forever for the concerts to start, probably because of the huge line that was formed at the door, with security even doing the checks while people were still in line and not right at the entrance. That was an indication that The Opera House was going to be jam packed (and it actually was), and after tons of non-metal songs played by the house DJ for a reason beyond my understanding (well, at least when he played Toto’s classic Africa some metalheads had a good time singing it), the first attraction of the night, Tampa, Florida-based Black/Death Metal horde PERDITION TEMPLE, finally hit the stage and began their short but solid setlist. Formed in 2009 by guitarist Gene Palubicki (from old school cult act Angelcorpse), the trio comprised of Gene together with bassist and vocalist Alex Blume and drummer Ronnie Parmer played a well-balanced setlist including songs from all of their releases, with songs like To Bleed at War, The Tempter’s Victorious and Goddess in Death already igniting some decent circle pits in the floor section. I personally enjoyed their performance a lot, and if you’re curious to know how the music by those Ameircan metallers sounds, simply check their official BandCamp page and, who knows, you might end up adding one of their albums to your devilish collection.

Setlist
The Tempter’s Victorious
Plague Camp
Testament to Annihilation
To Bleed at War
Goddess In Death

Band members
Alex Blume – vocals, bass
Gene Palubicki – guitars, vocals
Ronnie Parmer – drums

After a short break where most fans went either to the bar to grab some cold beer or to the bathroom to make room for more beer,  it was time for Sydney, Australia-based Deathcore outfit THY ART IS MURDER to show Toronto what they got, giving a lesson in slamming with their heavy-as-hell and politicized compositions. Comprised of vocalist Chris “CJ” McMahon, guitarists Sean Delander and Andy Marsh, bassist Kevin Butler and drummer Jesse Beahler, this excellent Deathcore unity from Down Under blasted a demolishing setlist including songs from their newest album Human Target, such as Make America Hate Again and New Gods, which by the way I thought sounded amazing live, with older hits like Reign of Darkness, Fur and Claw and Puppet Master, driving the fans nuts while crushing their skulls inside the humongous mosh pit that dominated the entire floor section as soon as the band began their show. I must say CJ McMahon is not only an extremely talented vocalist, delivering his trademark deep, guttural growls and his inhuman screeches, but he’s also a very charismatic and humble guy, making it visible to everyone at the venue how happy and impressed he was with the reception by his Torontonians fans. After all was said and done, I was able to confirm Thy Art Is Murder is indeed one of the best bands hailing from the current metal scene in Australia, both in studio and when on stage, and after witnessing them live for the first time ever I can’t wait to see when those guys will get back to Toronto for another round of their unrelenting Deathcore.

Setlist
Death Squad Anthem
Make America Hate Again
Fur and Claw
Slaves Beyond Death
Holy War
No Absolution
Human Target
The Son of Misery
New Gods
Reign of Darkness
Puppet Master

Band members
Chris “CJ” McMahon – vocals
Andy Marsh – lead guitar
Sean Delander – rhythm guitar
Kevin Butler – bass
Jesse Beahler – drums

CANNIBAL CORPSE

The wait for the one and only Death Metal institution CANNIBAL CORPSE was finally over when it was getting close to 9:30pm, and from the very first note of the opening track Code of the Slashers, from their latest opus Red Before Black, released in 2017, until the closing moments from their gruesome all-time classic Hammer Smashed Face, it was pure Armageddon in the form of ass-kicking Death Metal. The unstoppable vocalist George “Corpsegrinder” Fisher (I still don’t know how he can headbang like a beast for so long), guitarists Rob Barret and Erik Rutan (the lead singer and guitarist for Hate Eternal who is filling in on guitar during this tour due to the arrest of guitarist Pat O’Brien), the phenomenal bassist Alex Webster, and the precise drummer Paul Mazurkiewicz set The Opera House on fire with their visceral and absolutely perfect Death Metal, playing “horror classics” from almost all of their albums (which you can find on sale from their own BandCamp page), including my favorite Cannibal Corpse song of all time, Devoured by Vermin, from their 1996 album Vile, and the sensational Kill or Become, from their 2014 album A Skeletal Domain, where you could see several fans “firing up their chainsaws” together with Corpsegrinder. It was so insane I could barely take my phone out for some decent pictures.

Every single time I watch Alex Webster live I get more and more impressed with his technique, feeling and groove, proving why he’s in my opinion the best extreme music bassist of all time. As a matter of fact, how many Death, Thrash and Black Metal bands have bassists that you can actually listen to in detail while performing live? Not only that, but the band’s setlist was also impressive as already mentioned, and that’s probably one of the reasons why Alex and the guys were so brutal and awesome on stage this Friday. Songs like Red Before Black, Gutted, Make Them Suffer and Stripped, Raped and Strangled were the catalyst of some of the most demented circle pits you can imagine, while Scourge of Iron and the demonic Evisceration Plague were perfect for breaking our necks headbanging like maniacs. Another thing that was really entertaining during the band’s flawless performance were all the jokes by Corpsegrinder, showing that behind that brutal headbanging beast there’s a very kind and fun guy. When he offered “NOTHING” from the bottom of his heart to the fans we could see how excited he was with the warm and violent reception from the crowd. And what to say about his personal intro in I Cum Blood, where he dared the fans to try to headbang like him (and, of course, we would all fail miserably in his own words)? That’s what I call a frontman, my friends, never letting the energy go down and always reminding us why the band has been on the road alive and kicking since 1988. When the show was over, you could see many, many fans dripping wet of their own (and others’) sweat and beer leaving the venue without a jacket when the temperature was around -5oC, mostly due to the adrenaline still flowing through their veins, and you know what? That’s when you know there was a damn good Death Metal night in Toronto, obviously spearheaded by our beloved Cannibal Fuckin’ Corpse.

Setlist
Code of the Slashers
Only One Will Die
Red Before Black
Scourge of Iron
Staring Through the Eyes of the Dead
The Wretched Spawn
Devoured by Vermin
Unleashing the Bloodthirsty
Gutted
Kill or Become
A Skull Full of Maggots
Evisceration Plague
Firestorm Vengeance
Death Walking Terror
I Cum Blood
Make Them Suffer
Stripped, Raped and Strangled
Hammer Smashed Face

Band members
George “Corpsegrinder” Fisher – vocals
Erik Rutan – lead guitar
Rob Barrett – rhythm guitar
Alex Webster – bass
Paul Mazurkiewicz – drums

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 –Tamerlan Empire / Age of Ascendancy (2018)

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Behold the rise of a metal empire and their marvelous fusion of Symphonic Black Metal with Central-Asian and Middle-Eastern melodies and rhythms.

It’s time to travel once again to Sydney, Australia to behold the rise of a metal empire that will leave you speechless after listening to its marvelous fusion of Symphonic Black Metal with Central-Asian and Middle-Eastern melodies and rhythms. I’m talking about Tamerlan Empire, a savage horde formed in 2011 by drummer Khan, with the band’s name and lyrical content being inspired by Tamerlan (also known as Timurlan, Amir Temur, Timurleng or Timur Khan), a powerful Mongol/Turkish emperor from the 14th century. Not only their songs are about the emperor’s battles and conquests, but they have also drawn a much deeper influence from his dark brutal side and strategic mind, with his detailed forward-thinking always being many steps ahead of the enemies and allies.

Playing what can be called “Turkic/Uzbek Middle-Eastern Symphonic Black Metal”, an aggressive and very unique atmospheric style of Black Metal, Tamerlan Empire are releasing their highly anticipated debut album entitled Age of Ascendancy, perfectly describing the overlord’s meteoric rise and his great interest and contribution to science, politics, architecture, astronomy and literature during his reign, as well as the era in general where empires strove for dominance through war, bloodshed and destruction. And this distinct band, comprised of Ghorr on vocals and guitar, Ferus on the guitar, Vezir on keyboards and orchestrations, and Khan on drums and percussion, more than succeeded in translating the grandiosity of the empire ruled by the aforementioned warlord, creating an unparalleled, multi-layered sound that will certainly please all fans of the orchestral vein of extreme music.

The title-track Age Of Ascendancy is an epic, cinematic intro that effectively sets the stage for the symphonic onslaught titled Battle Of Tyrants, a song that begins in full force with the orchestrations by Vezir enhancing the overall impact on your ears and mind. Put differently, this grandiose, intricate hymn will make you feel you’re in the middle of the battlefield, with Khan sounding impressive behind his drums. Even more atmospheric and imposing, Vengeance In Blood presents Ghorr and Ferus delivering melodious and aggressive riffs nonstop, while Khan keeps smashing his drums mercilessly. Furthermore, Ghorr’s enraged growls live up to the legacy of Symphonic Black Metal, sounding vile and piercing, and therefore making me think if we can call Tamerlan Empire the “Dimmu Borgir from the East”. And be prepared for another feast of blackened sounds entitled Ottoman’s Demise, a headbanging tune led by the blazing guitars by Ghorr and Ferus, spiced up by the uniqueness of Middle-Eastern music and sounding utterly dense and bold from start to finish.

Slightly less epic and a lot more devastating, Ascension of Iron showcases all band members in their fastest and most furious mode, with the musicality being led by the classic blast beats by Khan while Ghorr keeps barking like a demon; whereas in Behest Of The Chosen we’re treated to a whimsical intro where classic Middle-Eastern elements and percussion are suddenly joined by a gripping and dark sonority, feeling very rhythmic, mesmerizing and detailed until its atmospheric grand finale. Tribal beats ignite another superb metal extravaganza by Tamerlan Empire named Winter March, the perfect soundtrack to an epic adventure presenting what’s perhaps the strongest balance between Black Metal and Middle-Eastern music, with Vezir sounding absolutely fantastic with his keys and orchestrations, followed by Dominion Of Ashes, leaning towards modern Symphonic Black Metal and also presenting elements from traditional Norwegian Black Metal, but with its core essence still bringing the band’s unique Middle-Eastern Black Metal. In addition, the deranged vocals by Ghorr remind me of Marduk’s Mortuus, which of course translates into sheer violence and awesomeness.

Then phantasmagoric keys kick off the demolishing Marauder’s Mark, taking the band’s onrush of blackened sounds to a whole new level and also presenting some interesting breaks and variations to add a few extra layers to the overall result; and Of Dust Returned, which sounds similar to its predecessor but bringing even heavier and darker nuances. In other words, this is contemporary Black Metal blended with Symphonic and Atmospheric Black Metal, with its in-sync keys and guitars generating a truly Stygian ambience. And there’s time for one last blast of their unparalleled Black Metal with the magnificent Scattered Sands, a climatic conclusion to such incredible album of extreme music showcasing an interesting paradox between Ghorr’s devilish gnarls and the ethereal sounds emanating from Vezir’s keys. Furthermore, what I’m about to say might sound weird for some of you, but I can easily visualize a lustful woman doing a heavier-than-usual belly dance to this amazing metal tune.

If you have what it takes to join the empire of flammable and epic Black Metal ruled by this up-and-coming Australian horde, simply go check what they’re up to on Facebook, listen to their music on Spotify and on ReverbNation, and grab your copy of Age of Ascendancy (which by the way is available for a full listen on YouTube) from the Metal Hell Records’ BandCamp or webstore (as a regular CD version or as a special bundle that includes the CD plus a metallic gold embroidered logo patch, a 1.25″ pin back button, a vinyl logo sticker, and a download code for the digital version of the album), as well as from CD Baby, iTunes or Amazon. And after putting your hands on such distinct album, I dare you to not get completely addicted to the band’s vibrant and bold Middle-Eastern Symphonic Black Metal.

Best moments of the album: Vengeance In Blood, Ascension of Iron, Winter March and Scattered Sands.

Worst moments of the album: None.

Released in 2018 Metal Hell Records

Track listing
1. Age Of Ascendancy 1:57
2. Battle Of Tyrants 4:49
3. Vengeance In Blood 5:02
4. Ottoman’s Demise 5:44
5. Ascension of Iron 4:54
6. Behest Of The Chosen 7:39
7. Winter March 7:00
8. Dominion Of Ashes 4:54
9. Marauder’s Mark 5:32
10. Of Dust Returned 5:13
11. Scattered Sands 7:10

Band members
Ghorr – vocals, guitars
Ferus – guitars
Vezir – keyboards, orchestration
Khan – drums, percussion

Live musicians
Yassa – vocals
Ramz – bass

https://youtu.be/EUrT-bxqORU

Album Review – Rise of Avernus / Eigengrau (2018)

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Blending elements from progressive and symphonic music with the most obscure side of Extreme Metal, all enfolded by majestic orchestrations, here come Rise of Avernus with their heaviest and darkest opus thus far.

Eigengrau (German: “intrinsic gray”, lit. “own gray”; pronounced [ˈʔaɪ̯gn̩ˌgʁaʊ̯]), also called Eigenlicht (Dutch and German: “own light”), dark light, or brain gray, is the uniform dark gray background that many people report seeing in the absence of light.

Since their inception in 2011, Australian Dark Orchestral Death/Doom Metal horde Rise of Avernus has been making a name for themselves throughout the metal community with their unique style blending elements from progressive and symphonic music with the darkest side of Extreme Metal, all enfolded by majestic orchestrations. Within the short time since the release of their 2012 debut EP, they’ve followed a relentless touring schedule, supporting some major international acts such as Apocalyptica, Enslaved, Eluveitie, Prong, Septicflesh, Fleshgod Apocalypse, Rotting Christ and Sigh along the way. Now in 2018 it’s time for this Sydney-based blackened squad to spread their devilish wings all over the world once again with Eigengrau, their fourth studio release and, more important than that, their heaviest and darkest opus thus far.

Featuring a Stygian artwork by world renowned artist Seth Siro Anton (aka Spiros Antoniou from Septicflesh), Eigengrau is the experience of seeing a deep grey shade in the total absence of visible light, or what one may refer to as a “perfect darkness.” Upon this canvas, an individual can project their subconscious, their processes, their anxieties and their fears. Thematically, Eigengrau explores the fluidic nature of these self-created experiences, how they can be shaped and how they may change at the point of one’s own death. Other tracks go on to explore the intricacies of personal realities, influenced by external factors or via spiritual and religious indoctrination. The nature of self-realization and being forced to confront weakness to overcome it. The distinct sound of the album reflects these altered states, oscillating between delicate movements and nightmarish grandiosity.

And Rise of Avernus’ nightmare of tenebrous and imposing sounds begin in full force in the opening track Terminus, showcasing a movie-inspired start before becoming a majestic fusion of the extreme music by bands like Cradle of Filth, Dimmu Borgir, Behemoth and Necronomicon with a raw Death Metal twist. Furthermore, Ben VanVollenhoven, the (black) heart and soul of the band, sounds insanely infernal on vocals, as well as Andrew Craig and his thunderous drums. Following such fantastic beginning we have Ad Infinitum (or “to infinity”), a neck-breaking, symphonic tune led by the atmospheric keys by Mares Refalaeda where Ben once again brings sheer darkness to the musicality with his demonic voice, resulting in a flawless combination of Atmospheric and Symphonic Black Metal.

Then we have a movie score-inspired beginning to yet another venomous feast by Rise of Avernus titled Gehenna, showcasing a beautiful but still obscure mid-tempo rhythm led by the guitars by Ben, who also provides a powerful performance with both his harsh and clean vocals (not to mention how awesome all orchestrations are); while Eigenlicht offers the listener almost eight minutes of a descent into the pitch black crypts of Hades, presenting smooth guitar lines by Ben and the always gripping keys by Mares, with the atmospheric break halfway through it being a thing of beauty. To sum up, this is Symphonic Black Metal at its finest, with the whole music ending in dense and ferocious fashion for our total delectation. And there’s’ still a lot more to go in Eigengrau, with tribal beats igniting another sonic extravaganza named Tempest, where Ben sounds more hellish and cavernous than before while Andrew and Mares fill all empty spaces with their burning instruments, resulting in a flawless mix of orchestral and heavy music.

Forged in Eidolon brings forward an ominous intro rising from the pits of hell directly into your mind, with the spectral orchestrations and keyboards by both Ben and Mares imprisoning your soul in the metallic realm of evil reigned by Rise of Avernus. Then serene sounds are joined by a wave of sublime orchestrations in Mimicry, creating the perfect ambience for the demonic growls by Ben and enhanced by the astounding keys by Mares. And as the closing act to this impressive album we have Into Aetherium, a wondrous composition that starts with almost three minutes of an instrumental blast of melancholic and obscure Symphonic Black Metal before all hell breaks loose, darkening our thoughts and hearts during its eight minutes of duration. Led by the bestial drums by Andrew, this fiendish hymn sets the perfect landscape for Ben to continue his path to the underworld, gnarling like an evil entity until the song’s mesmerizing and grandiose ending.

What are you waiting for to show your support for Rise of Avernus and purchase your copy of Eigengrau, one of the best extreme albums you can find out there, blending the aggressiveness of Death, Doom and Black Metal with the finesse and epicness of orchestral music? Eigengrau is available through Rise of Avernus’ own BandCamp page or Big Cartel (where by the way you can also find an album + patch + shirt bundle and an album + patch + pin + shirt + canvas/artwork bundle), as well as through the Aural Music webstore as a regular CD format or as a very special woodbox edition, if all of those versions of the album are still in stock, of course (which I doubt due to the insanely high quality of the music in question). Also, don’t forget to pay a visit to Rise of Avernus on Facebook for news, tour dates and other nice-to-know details about the band, and to listen to more of their classy music on YouTube. This is not only the band’s boldest, darkest and heaviest release to date, as aforementioned, but a lesson in extreme music that will certainly figure among the best metal albums of 2018 not only at The Headbanging Moose, but in several other publications all over the world where dark music always prevails.

Best moments of the album: Terminus, Eigenlicht, Tempest and Into Aetherium.

Worst moments of the album: None.

Released in 2018 Code666

Track listing 
1. Terminus 5:43
2. Ad Infinitum 4:54
3. Gehenna 5:59
4. Eigenlicht 7:33
5. Tempest 4:51
6. Forged in Eidolon 5:56
7. Mimicry 3:53
8. Into Aetherium 8:03

Band members
Ben VanVollenhoven – vocals, guitar, orchestrations
Mares Refalaeda – vocals, keyboards
Andrew Craig – drums, percussion