Album Review – Circa Arcana / Bridget Viginti EP (2022)

A short and sweet explosion of American Metalcore, ranging from personal struggles with addiction and personal demons to stories of occult legends and disassociated dreams.

Formed in the summer of 2020 in the city of El Paso, Texas, in the United States, the five-piece Metalcore act Circa Arcana is starting to come into the forefront of the local scene, with each of the band’s five musicians, those being Kevin Cangas on vocals, Johny Serna and Felipe Jasso on the guitars, Ben Reyes on bass, and Frank Loya on drums, already having experience playing in other bands. Produced by the band itself at JTS Studio Productions, mixed and mastered by Chris Hard at Resartus Productions, and displaying a dark artwork by Kavan the Kid, Bridget Viginti is the debut EP by Circa Arcana, with its lyrical themes ranging from personal struggles with addiction and personal demons to stories of occult legends and disassociated dreams.

Melancholic sounds permeate the air in the obscure opening tune Ten of Swords, until Kevin comes ripping with his anguished roars supported by the metallic bass by Ben and the infernal drums by Frank in a solid display of modern-day Metalcore, also presenting a spot-on balance between clean and harsh vocals. Then continuing their path of harmony and rage the quintet fires the headbanging The Tower, with Johny and Felipe delivering captivating, slashing riffs nonstop while Kevin once again has an amazing performance on vocals. It’s time to bang our heads like maniacs with Circa Arcana in The Chariot, with the band’s stringed trio being on absolute fire from start to finish and also showcasing traditional Metalcore growls and hammering beats, whereas Kevin focuses a lot more on his clean vocals in Luna, declaiming the song’s lyrics in a fusion of Metalcore and contemporary Punk Rock while Johny and Felipe keep extracting sheer melody from their sonic axes. Lastly, back to a more visceral mode the band brings forward Esoteric, with Ben and Frank dictating the song’s crushing pace while Kevin roars like a beast, ending the album on a potent and at the same time dark manner.

In a nutshell, although the guys from Circa Arcana might just be taking their first steps as a band with Bridget Viginti, the music found in their debut EP is not just solid and professional but it also paves a very promising path ahead of them, proving once again how strong the Metalcore scene is in the United States. Hence, in order to show your support to those American metallers, you can start following them on Facebook and on Instagram, subscribe to their YouTube channel for more of their music and videos, and of course stream their debut EP on Spotify and purchase it from Apple Music really soon. It’s tarot, it’s black magic, and it’s the occult in the form of heavy and groovy metal music. What else can we ask for, right?

Best moments of the album: The Tower and The Chariot.

Worst moments of the album: None.

Released in 2022 Independent

Track listing
1. Ten of Swords 5:42
2. The Tower 4:31
3. The Chariot 3:00
4. Luna 4:28
5. Esoteric 4:40

Band members
Kevin Cangas – vocals
Johny Serna – guitar
Felipe Jasso – guitar
Ben Reyes – bass
Frank Loya – drums

Metal Chick of the Month – Adrienne Cowan

So sin ‘til you win, let your demons out! Lady Lightbringer!

It’s time for a true metal opera this February on The Headbanging Moose, courtesy of our multi-talented metal lady of the month. A metal vocalist, poet, vocal coach and musician best known for being the frontwoman and composer for American Symphonic Metal band Seven Spires, among several other amazing metal bands and projects, Adrienne Elizabeth Catli Cowan, who goes by her stage name of Adrienne Cowan, will mesmerize you with her unique vocals, both extreme and classic Heavy Metal clean vocals. In other words, she can sing pretty much any type of metal and non-metal music, from the Symphonic Metal of Seven Spires to Death Metal, Deathcore and Dark Jazz, and I’m sure you’ll have an absolute blast with Adrienne after knowing more about the life and career of such skillful artist.

Born on January 28, 1995 in Houston, the most populous city in Texas and the fourth most populous city in the United States, Adrienne is formally trained in classical and most contemporary styles as a graduate of both Berklee College of Music (with a degree in Music Composition) in Boston, Massachusetts and the Academy of Contemporary Music in the UK, although she was also self-taught in both extreme clean vocals for many years before finally finding a perfect vocal coach in Swedish singer David Äkesson. Her connection with music started a lot earlier than that, though, as since she was a child she was already taking part in choirs and taking piano lessons, performing in musicals and then entering music school, and from there starting to compose her music and to expand her knowledge and skills, especially as a singer. For instance, Adrienne had her first performance as a vocalist at the age of three at an event at the church her family attended, beginning her piano lessons after that at the age of six and being mainly into choir and darker popular musicals such as Phantom of the Opera throughout elementary and middle school. Not only that, her parents pulled her out of high school so that she could attend a music school full-time, so through that show of support she already had a good feeling about her potential skills.

When she was still living in England, in 2012, Adrienne was making demos by herself for a dark and theatrical project she had yet to debut, and after moving back to the United States in 2013 she met Jack Kosto in a bookstore in her first week at Berklee and told him about her project and songs. From there Seven Spires were born, with all band members having extensive musical knowledge and studies, therefore drawing on their backgrounds to express themselves musically without limits of genre or technique. Seven Spires released their first album in 2014, the EP The Cabaret of Dreams, with all of its songs representing half of their 2017 full-length opus Solveig, where not only Adrienne was responsible for all vocals, keyboards, lyrics and songwriting, but also for the production and vocal engineering, showcasing all her talent and professionalism. After Solveig, the band released the full-length albums Emerald Seas, in 2020, and Gods of Debauchery, in 2021, and if you want to enjoy all of the band’s epic creations you can find Seven Spires on Spotify and on YouTube, where you can also have a visual orgasm with their official videos for the songs Lightbringer, Succumb, The Unforgotten Name, The Cabaret Of Dreams, Drowner Of Worlds, Bury You, The Paradox, This God Is Dead, Silvery Moon, The Cursed Muse, and Dare To Live, as well as some live footage, making of’s, behind the scenes and other awesome videos by Adrienne and her crew.

Apart from her career with Seven Spires, you can also find Adrienne and her powerful vocals in distinct bands and projects such as International Power Metal band Light & Shade, with whom she recorded the vocals for the 2016 album The Essence of Everything; International Power Metal/Hard Rock band Sascha Paeth’s Masters of Ceremony, with whom she recorded the vocals (and piano for one track) in the 2019 album Signs of Wings; and American Symphonic Deathcore band Winds of Plague, with whom she recorded the keyboards and backing vocals in the 2017 album Blood of My Enemy. In addition, Adrienne was also part of American Melodic Heavy Metal band FirstBourne from 2016 to 2018, having recorded the vocals and keyboards in their 2016 album Riot and in the 2017 acoustic single Home, and of Frontiers All Stars in 2020 and Riot Underground between 2012 and 2013.

You can also find her singing and playing live with German Symphonic Power Metal band Avantasia since 2018, with American Heavy Metal band Mike Kerr from 2015 until 2018, and with American Power/Thrash Metal band Sonic Pulse. Not only that, Adrienne was also a guest musician in an array of bands and projects, those being vocals for the song I Declare War from the 2020 album The Journey, by German Melodic Death Metal band Deliver the Galaxy; vocals for several songs from the 2021 album The Metal Opera by Magnus Karlsson, by Swedish Symphonic/Melodic/Power Metal band Heart Healer; vocals for the song My Guide My Hunger from the 2018 album As Above So Below, by Italian Melodic Death Metal band Hell’s Guardian; vocals for the song The End of Innocence from the 2017 album Reflections, by American Neoclassical Heavy Metal artist Jimi Mitchell; vocals for the song Mammoth from the 2017 album Pianometal, by American Symphonic/Progressive Metal artist Kyle Morrison; vocals for the song The Truth of the Lion from the 2015 album The Truth of the Lion, by Mike Kerr; harsh and clean vocals for the songs Conjunction of Souls and The Restitution from the 2020 album Pile of Priests, by American Progressive Death Metal band Pile of Priests; vocals for the song Let It Go from the 2018 album Re-Animated, by Italian Power Metal band Trick or Treat; and vocals and lyrics for the 2018 album Lights in the Murk, by Italian Symphonic Black Metal band Yass-Waddah. Do you want more? Because our she-wolf was also responsible for the songwriting for the song Hold Tight from the 2016 EP Dirty Lyxx, by American Heavy Metal/Hard Rock band Dirty Lyxx, and she also sung vocals in Black Science’s Freedom (Or Die Trying), featured in the outro of one Camp Camp episode, and sang both a duet with Casey Lee Williams in the RWBY Volume 6 credits song Nevermore, and in the song War of Volume 7. Adrienne has also been a part of the Freelance Orchestra in their RTX 2016 (where to her surprise she ended up in the RWBY music panel) and 2018 concerts, plus Anime Boston 2018, and you can always have a great time watching her own videos on her official YouTube channel.

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Adrienne got into the world of metal music around the age of 11 when her uncle showed her Metallica and Scorpions, but it wasn’t until she found out about musicians the likes of Alexi Laiho, Janne Wierman and Yngwie Malmsteen that she really started to feel at home listening to Heavy Metal. She mentioned it appealed in some way to her classical background, and watching live Children of Bodom videos was quite inspiring. However, she’s not only into metal, but showcases a wide variety of influences in her life. “I’m not a one-dimensional person – I’m a human – so I’m allowed to like other stuff”, she said in one of her interviews. “I’m not a huge K-pop fan or anything, but I really like good pop writing. From a technical standpoint, as a songwriter, I’m like: damn, good for you guys. And there’s a certain sassy energy – it just speaks to me in a way that a lot of metal doesn’t.” Another influence on our beloved diva as a writer are painters of the Romantic period, with German painter Caspar David Friedrich and Russian painter Ivan Aivazovsky being two of her main inspirations. “I’m also a big fan of (the English composer) Edward Elgar – he does this piece called ‘Sospiri Op. 70,’ which is the most beautiful thing, it sounds like the pain of falling in love. It was something I listened to a lot when we were writing this record. And of course, Chopin,” she said, also finding inspiration under night skies and in the darker depths of the human condition to write her lyrics. Adrienne also nurtures an amazing openness with her fans on social media, which she credits to her experience as a My Chemical Romance fan back when she was younger. “This one interview with them came out, and I remember one of the guys in the band saying basically, ‘We say these things in our music, we are a bunch of fucked up guys, and it helps our fans know… you’re not alone.’ That really made me feel less alone when I was a sad teenager, and then when I grew up into a sad adult, I thought, damn, I could be that for somebody else.”

Regarding her singing style, technique and how she maintains her vocal cords in great shape, Adrienne mentioned in one of her interviews that she likes to meditate before shows and uses her instincts to decide what she’ll sing or scream either high or low. “The low death metal style is more present and more grounded and more angry and earthier in a way. The higher black metal screams are more spiritually pitched or spiritually empty — when there’s black metal themes and nihilistic lyrics, of course I’m probably going to scream with that high tone”, said Adrienne. In addition, when she was enrolled at The Academy of Contemporary Music at the age of 16 she joined an after-school club where all metalhead students gathered to jam on a new song every week, opening her eyes to the rest of the metal world and challenging her to vocally try different styles of each subgenre of metal. She also mentioned that she has studied many techniques of singing including theatrical belting, Speech Level Singing, bel canto and even some throat singing, with the hardest part being unlearning things previous teachers had told her in order to properly approach whatever new technique she was learning, and with the very high Power Metal “scream” being one of the styles that took her the longest to develop. In order to maintain her vocal health, she mentioned that she basically has to just mind her sleep and hydration levels, trying to stay out of the direct blast of heaters or air conditioners, and trying not to get sick or allergic. However, at the end of the day, even dehydrated or sick the show must go on, which forced her to develop alternate techniques to sing through sickness.

A huge fan of Lord of the Rings, all forms of art, Gothic style, cheesy Sci-Fi, vampire shows, coffee and fantasy games, Adrienne enjoys mountain hikes, spending time by any shore, and playing JRPG’s (Japanese Role-Playing Games) and games with friends between her musical ventures. “After a long tour, I like to sit at home and sleep in my own bed, play video games, maybe think about going out… If I get to go on a little holiday or something, I love road trips and anywhere remote with alpine forests and quiet waters. Wyoming is great for this, as are many spots on the West Coast. Anything to get me away from people and out of my regular world,” commented Adrienne, who despite being very fond of animals cannot take care of a dog or cat due to her lack of space and time to do so. And when asked which hobbit from Lord of the Rings she would choose to be part of her band for the rest of their days, she provided a curious and fun answer to that. “Either Sam or Pippin, I think. Because I think I’m a Frodo, and I need a support system like Sam. But also I need a Pippin to just make me laugh all the time no matter what, and just help lighten the mood, and tell me to eat my carrots and mushrooms.”

Last but not least, our raven-haired vocalist also had a few interesting words to say about the whole pandemic and how it has been impacting her life on the road with Seven Spires. “All of this resulted in connecting more with our fans online. So although it’s super frustrating to not know exactly when we’re going to be able to play live again, we have found a way to do the online equivalent of hugging people at the merch table and listening to their stories,” said Adrienne, who also mentioned she keeps working hard to entertain and stay in touch with her fanbase, also teaching online, private vocal lessons and running a weekly workshop on everything from orchestration to arranging to songwriting techniques, all of which you can find on Linktree and on Patreon. “Mostly I teach tools for people to be able to express what they have in mind, and I teach from a really emotional standpoint.” And if you want to know more about Adrienne, her likes and dislikes, her inspirations and so on, there are countless interview online with her such as this one to Rock Titan or this one called RichardMetalFan Interviews! Ep. 33: Adrienne Cowan of Seven Spires/Winds of Plague/Avantasia, where she talks about her journey with music from where she started until now. Having said all that, what are you waiting for to let Adrienne reach deep inside your heart and take you on a breathtaking musical voyage to the sound of her stunning vocals?

Adrienne Cowan’s Official Facebook page
Adrienne Cowan’s Official Instagram
Adrienne Cowan’s Official YouTube channel
Adrienne Cowan’s Official Twitter
Seven Spires’ Official Facebook page
Seven Spires’ Official Instagram
Seven Spires’ Official YouTube channel
Seven Spires’ Official Twitter

“I know that if I’m just stagnant and sitting on my ass, I’m not going to be happy. So if I want to be happy, I have to do something about it.” – Adrienne Cowan

Album Review – Immortal Guardian / Psychosomatic (2021)

What’s the best thing to do during this never-ending pandemic? This talented American group has the answer to that armed with their brand new album of breathtaking Progressive Power Metal.

After winning over new audiences with their acclaimed 2018 debut full-length album Age of Revolution and touring relentlessly alongside fellow shredders such as Marty Friedman, Powerglove and Exmortus, Austin, Texas’ own Progressive Power Metal entity Immortal Guardian is back in action in 2021 with their sophomore effort, entitled Psychosomatic, offering their fans more of what they like to call “Super Metal”. As a matter of fact, as the spread of COVID-19 and the subsequent pandemic began to ensue, each member of the band retreated to their respective hometowns; guitarist and keyboardist Gabriel Guardian (also known as Gabriel Guardiola) remained in Las Vegas, Nevada, in the United States, vocalist Carlos Zema (of bands like Outworld and Heaven’s Guardian) recorded his vocals from his home in Brazil, new drummer Justin Piedimonte stayed in Montreal, Canada, and new bassist Josh Lopez remained in the band’s native Texas. With shutdowns around the world being enforced, the band completely scrapped the originally planned record that they had been working on and were heavily inspired to write and create a new thematic record about their emotions surrounding current events, with the final result being at the same time epic, bold and of course very personal to each one of those four talented musicians.

The title-track Psychosomatic beings in an imposing manner led by the whimsical keys by Gabriel, gradually evolving into a feast of Progressive Metal showcasing the high-pitched screams by Carlos (and somewhat working as an extended intro to the rest of the album), and they put the pedal to the metal in the heavy and groovy Power Metal tune Read Between the Lines, with the bass jabs by Josh adding sheer heaviness to the overall result while Carlos continues to shine on vocals. Then it’s time to enjoy this eternal lockdown together with the guys form Immortal Guardian in the multi-layered, electrifying Lockdown, with Justin dictating the pace with his intricate beats while Gabriel kicks some serious ass with both his riffs and keys, whereas featuring guest guitars by Marcelo Barbosa (of Almah and Angra), Phobia is another thunderous dosage of their fusion of Progressive and Power Metal where Gabriel, Josh and Justin are in absolute sync with their sonic weapons. And more of their intricate sounds and magical passages are offered in the epic extravaganza titled Clocks, with the keys by Gabriel generating a beautiful ambience perfect for his own piercing guitar solos.

After the short atmospheric interlude Self-isolation, let’s keep banging our heads to the sound of the Heavy Metal hurricane titled Goodbye to Farewells, featuring guest vocals by Mary Zimmer (of Helion Prime), with all band members extracting tons of adrenaline from their instruments while Mary sounds utterly bestial with her harsh roars, showcasing a different side from her work with her main band. Then in Candlelight we’re treated to a pensive, melancholic intro where Josh adds his share of darkness through his bass, evolving into a more traditional hybrid of Heavy Metal and Hard Rock (albeit not as entertaining nor dynamic as the rest of the album, though, going on for too long), and more of their refined piano notes permeate the air in Find a Reason, a more gripping ballad than the previous song, sounding dense from start to finish and with Carlos passionately declaiming the song’s words while Justin pounds his drums flawlessly. Finally, Gabriel once again brings forward his deep passion for shredding in New Day Rising, a spot-on depiction of their Progressive Power Metal, offering many breaks, variations, complex passages and the usual speed and energy of Power Metal for the delight of admirers of the genre.

It’s quite easy to join the army of immortals spearheaded by Gabriel, Carlos, Josh and Justin, as their newborn spawn is available from an array of locations including the band’s own BandCamp and webstore, the M-Theory Audio webstore (in CD and limited purple LP format), the Plastic Head webstore (also in CD and limited purple LP format), or simply click HERE for all places where you can buy or stream the album. Also, let’s show our support to those talented metallers by following them on Facebook and on Instagram, by subscribing to their YouTube channel and by streaming more of their music on Spotify. Psychosomatic is undoubtedly the perfect example of how we should face the COVID-19 pandemic, turning our fears, anxiety and hopelessness into ass-kicking metal music like what Immortal Guardian were capable of doing (perhaps not in such majestic way, of course), showcasing once again the positive energy Heavy Metal can bring to us all even during the most difficult times of our lives. Stay home, stay safe, and rock on!

Best moments of the album: Lockdown, Phobia and Goodbye to Farewells.

Worst moments of the album: Candlelight.

Released in 2021 M-Theory Audio

Track listing
1. Psychosomatic 5:33
2. Read Between the Lines 6:01
3. Lockdown 4:12
4. Phobia 6:13
5. Clocks 5:12
6. Self-isolation 0:39
7. Goodbye to Farewells 5:50
8. Candlelight 5:24
9. Find a Reason 7:00
10. New Day Rising 5:56

Band members
Carlos Zema – vocals
Gabriel Guardian – guitars, keyboards
Josh Lopez – bass
Justin Piedimonte – drums

Guest musician
Mary Zimmer – harsh vocals on “Goodbye to Farewells”
Marcelo Barbosa – guitars on “Phobia”

Metal Chick of the Month – Cammie Gilbert

Holding on to everything you say… Cause’ your words they paint a picture of me…

In a very difficult year where the world sadly witnessed an increase in violence and racism against black people, and of course the more-than-necessary rise of the Black Lives Matter movement in their fight for freedom, liberation and justice, we at The Headbanging Moose want to share with all of you our humble tribute to another black woman who has been brilliantly fighting all that racism and showing to the world black women have their place in heavy music, just like other rock and metal divas who have already been honored here on our webzine like Melissa Bonny, Militia Vox, Alexis Brown, Thalìa Bellazecca and Kayla Dixon. I’m talking about the multi-talented and gorgeous vocalist and songwriter Cammie Gilbert, the stunning frontwoman for American Progressive Rock and Metal act Oceans of Slumber, a band that has already been labeled by many as “Opeth or Katatonia with female vocals”, but that in my opinion managed to craft their own sound and style, embellishing the airwaves with their delicate but at the same time scorching creations.

Born on October 8, 1987 in Shepherd, a city located in San Jacinto County, Texas, in the United States, Cammie joined Houston, Texas-based Oceans of Slumber at the age of 27, more specifically in the year of 2014 after the departure of the band’s former vocalist Ronnie Allen, who had been with the band since their inception in 2011. Cammie, who’s by the way on a solid and healthy relationship with the band’s founder, drummer and pianist Dobber Beverly, the sole reminiscent of their original lineup, became the primary songwriter for the group after joining, having already released with Oceans of Slumber the EP Blue, in 2015, followed by the full-length albums Winter (2016), The Banished Heart (2018) and more recently Oceans of Slumber (2020), all available for a full listen on Spotify. You can enjoy tons of amazing official videos of Cammie and Oceans of Slumber kicking some serious ass on their YouTube channel, including the songs The Decay Of Disregard, Pray for Fire, The Colors of Grace, The Adorned Fathomless Creation, Winter, To the Sea (A Tolling of the Bells), The Banished Heart, Strange Fruit, Suffer The Last Bridge, a cover version for Candlemass’ Solitude, an acoustic version for Turpentine, and a live in the studio version for the song This Road.

Currently comprised of the aforementioned Cammie and Dobber together with keyboardist Mat V. Aleman and newcomers Jessie Santos and Alexander Lucian on the guitars and Semir Ozerkan on bass, Cammie said that the band’s former guitarists Sean Gary and Anthony Contreras and bassist Keegan Kelly wanted to explore different influences and styles which never fit with what Oceans of Slumber were doing at that time, the kind of tension that’s absolutely normal, but she also said there were tensions as soon as she got into the band, resulting in a split between the former members not wanting to be “female fronted”. “There is a certain metal crowd that thinks its a gimmick. I’m not growling, I just sing clean and am emotional, but a lot of male singers have that emotion too. There’s just stigmas that make anything a woman does, the wrong thing for metal. We had a couple of those old school attitudes and transition wasn’t their strong suite,” mentioned Cammie in one of her interviews.

Apart from her years with Oceans of Slumber, Cammie is also the lead singer for a Houston, Texas-based project called Genoa Band together with Dobber and guitarist Christian Larson, another branch from Oceans of Slumber’s musical tree drawing upon the lyrical and atmospheric production of bands and artists like Nick Cave, Portishead and This Mortal Coil while still sounding heavy but more intimate, playing a fusion of styles such as Southern, Gothic and Dark Rock. However, there’s nothing officially released by the band and no news since mid-2019 when they announced their first single Paraffin was almost ready to be released, making me think if they gave up the idea of moving forward with the project due to everything that has been going on with Oceans of Slumber, including the recording and release of their 2020 self-titled album. You can also find Cammie as a very special guest in the 2020 album Transitus, by Dutch Progressive Metal/Rock project Ayreon, playing the part of Abby throughout the entire album. “We met a friend of Arjen Lucassen over in the UK and he was interviewing us and asked if there was anything that we wanted to tell Arjen. And so Dobber is like, ‘Yeah, if he could get any of us on an album, we’re big fans, and if you could have him listen to The Banished Heart, that’d be great.’ And so he followed through with that request. Shortly after that Arjen wrote that he loved The Banished Heart and he would love to work with me someday. And we were like, ‘Yeah, of course that’d be great.’ And then maybe a couple more months after that, it was, ‘You want to be on the album?’ And I peed my pants,” commented Cammie about her collaboration with one of her idols in heavy music.

When asked to make a list of the top 10 albums that changed her life, Cammie listed a collection of albums that usually occupy a dark corner of her mind where often emotions outweigh the heaviness of the music, including 40 Watt Sun’s 2011 EP The Inside Room, Agnes Obel’s 2013 album Aventine, Alice In Chains’ 1992 album Dirt (which by the way reminds her why she loves the kind of music that she makes), Anathema’s 2012 album Weather Systems, Eivør’s 2015 album Slør, Evergrey’s 2016 album The Storm Within, Katatonia’s 2016 album The Fall Of Hearts, Swallow The Sun’s 2015 triple album Songs From The North I, II & III, Agents Of Oblivion’s 2000 self-titled album, and last but not least, Type O Negative’s 1996 masterpiece October Rust. “I love Peter Steele. We love Type O Negative, there’s  just nothing like it. We go through a lot of his albums but that’s the main one for me. I love Cinnamon Girl, Be My Druidess and also Wolf Moon. Dobber saw them live once. Super jealous. I’ve just had to make up for it by reading the autobiography, and he buys everything he can as far as media regarding the band. It’s an experience to go through their songs. He [Peter Steele] is such a clever lyricist. It’s the funniest kind of music I feel like I listen to. It brings up my energy and makes me happy,” commented our talented vocalist about the unparalleled work by Mr. Peter Steele (R.I.P.).

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In one of her interviews, when questioned about the lack of more black women in heavy music, Cammie said that it’s due to a multitude of reasons, including sexist comments saying that her voice would fit pop or hip hop music much better than metal, and that clean singing that isn’t symphonic is connotated to sounding pop, which might influence the decision of a black woman to move towards a soul, gospel, R&B or blues direction. Cammie herself was basically told to sing in hip hop or pop and to never go anywhere near rock and metal, but no one ever told her why except for the preconceptions already mentioned. “And what Dobber heard in my voice and what he heard from me… I’m a very melancholy person. I’m in and out of bouts of depression and what I identify with metal and metal-adjacent music is, what I identify with the music that I find, if it makes me, if I’m already sad and it makes me sadder then I’m like, “This is going on a playlist.” And I like things that give me these, not give me these dark feelings, but validate my dark feelings, because I feel like that helps me release them,” said Cammie, also saying that she feels that’s changing as there are more and more alternative black and black metalhead females out there. For instance, her own parents were extremely religious, not allowing her to listen to extreme styles like Death Metal or Grindcore, but that’s different now as younger black kids and people in general can have access to all types of metal music through their phones, for example.

When questioned about the Black Lives Matter movement, racism and if metal has a problem with racism, she said that racism is everywhere, and that it’s something more people have to unlearn than they realize, especially in America. Despite being fortunate enough to not experience too many issues related to racism since joining Oceans of Slumber, she stated that she can no longer approach this subject without a multitude of emotions overtaking her resolve, nor keep the angry tears from welling up and pouring out of her eyes when black senators, mayors, celebrities and brave people online share their frustrations over America’s shortcomings. She feels like her history and the entire country are broken, with George Floyd’s death being a tipping point or a catalyst for a new generation to finally say enough is enough due to the undeniable ruthlessness in which his life was taken. “When you think about the history of America, there’s very little that’s good for anyone who isn’t white. That’s just the truth. It leaves a hollow feeling in your chest taking this information in from so many different outlets. You realize this country isn’t fixing something, it’s letting something go,” complemented Cammie about such delicate matter, also saying that in the days ahead we face the challenge of putting these emotions into goal-focused actions.

Lastly, always evolving as a vocalist and always ready to experiment with her music, Cammie is more than sure Oceans of Slumber are already starting to break out of the Progressive Rock and Metal scene, letting her inspirations guide her music and warning people who already like the band that they’ll have to let go of any expectations for what comes next, leaving us curious to see what the future holds for her and for Oceans of Slumber. Furthermore, as the fantastic vocalist  that she is, Cammie surely misses the stage and performing live to the band’s fans and to newcomers to their progressive world, and they’re already thinking of ways of getting back onstage in Houston obeying all recommended protocols of social distancing to keep everyone safe, including obviously all band members. And, of course, all of us fans of a good fusion of progressiveness, emotions and heavy music can’t wait to see Cammie back to where she belongs, mesmerizing us all with her powerful voice and showing us all black girls can and will forever rock no matter what.

Cammie Gilbert’s Official Instagram
Oceans of Slumber’s Official Facebook page
Oceans of Slumber’s Official Instagram
Oceans of Slumber’s Official Twitter
Oceans of Slumber’s Official YouTube channel

“I am a black woman in America and I am the great, great granddaughter of slaves. Memories upheld only in photographs; as a little girl I would try to imagine what their lives were like. But as it goes, reality unravelled the mystery behind my childish imagination. Now when I see old photos in civil war documentaries, I see their faces. When I watch the grainy black and white footage depicting the Jim Crow era, I see their faces. When I watch the films of the marches inspired by Martin Luther King Jr., I see their faces. And now when I sign into social media and see protestors getting tear-gassed, I see their faces, only now mine is there too.” – Cammie Gilbert

Album Review – Texas Murder Crew / Everyone’s Last Breath EP (2020)

Capturing the music of the flies buzzing to the sight and stench of inhuman cruelty, this Dallas, Texas-based act will pulverize your senses with the boiling, filthy sound of their debut opus.

Capturing the music of the flies buzzing to the sight and stench of inhuman cruelty in their wicked creations, Dallas, Texas-based Brutal Death Metal/Deathslam six-piece act Texas Murder Crew will pulverize your senses with the boiling, filthy sound of their debut EP entitled Everyone’s Last Breath, drowning you as you reach in agonized desperation for a hand held out in pity. Featuring the dual guttural vocals of Logan Ross and Brent Wells, offering differing shades of sickening brutality, a thick wave of riffs by guitarist Kevin Clark (Devourment, Kill Everything), crushing foundations by bassist Timothy Dewayne Ratcliff and drummer Benjie Quezada, and hallucinatory shadows and the buzzing of the flies by Terry Burleson and his samplers, Everyone’s Last Breath is a must-have album for fans of underground brutality and rage, sounding absolutely verminous and gruesome, and having your body twitching, hungry for violence throughout its 17 minutes of unrelenting extreme music.

As soon as you hit play, a truly cinematic, somber intro grows in intensity until all hell breaks loose, preparing the listener for the pulverizing Curse of Humanity, with Brent and Logan making a bestial vocal duo with their sick gnarls and screeches while Kevin and Timothy decimate their stringed weapons mercilessly, resulting in a Brutal Slamming Death Metal avalanche infused with tons of groove and infinite aggressiveness. Destroy the Witness is another devastating lesson in Death Metal where Logan fires his Cannibal Corpse-inspired riffs while Timothy and Benjie shake the foundations of the earth with their thunderous instruments, not to mention how inhumane the vocals by both Brent and Logan sound, and if you thought they were going to slow down their savagery you’re utterly wrong, as the band keeps smashing our skulls in Beneath My Feet, offering us all three minutes of putrid, wicked Death Metal where Kevin once again takes the lead with his sick riffage. The band’s demented vocal duo continues to bark and vomit their gruesome words in the title-track Everyone’s Last Breath, with Benjie sounding like a stone crusher on drums, or in other words, this is a dense and cohesive Death Metal feast that perfectly represents the band’s dexterity and passion for brutality. Finally, Terry kicks off the closing tune Stronghold with his sinister samplers, being gradually joined by the violent sounds blasted by his bandmates, requiring only a little less than two minutes to annihilate us all.

There are multiple locations where you can put your dirty and blood-soaked hands on Everyone’s Last Breath, such as the band’s own webstore, Comatose Music’s BandCamp and webstore, Amazon, and other alternative options such as Randy’s Record Shop and Saturn. Also, let’s show the guys from Texas murder Crew our total support by following them on Facebook and on Instagram to know more about their music, tour dates and plans for the future, keeping the fires of Brutal Death Metal alive for many years to come and, of course, making sure those talented death metallers will keep delivering their wicked and brutal creations until their very last breath.

Best moments of the album: Curse of Humanity and Everyone’s Last Breath.

Worst moments of the album: None.

Released in 2020 Comatose Music

Track listing
1. Intro 1:39
2. Curse of Humanity 3:31
3. Destroy the Witness 4:00
4. Beneath My Feet 2:50
5. Everyone’s Last Breath 4:19
6. Stronghold 1:29

Band members
Brent Wells – vocals
Logan Ross – vocals
Kevin Clark – guitars
Timothy Dewayne Ratcliff – bass
Terry Burleson – samplers, backing vocals
Benjie Quezada – drums

Album Review – Architectural Genocide / Cordyceptic Anthropomorph (2020)

A sickening, slamming and brutal album of Death Metal from the always fertile breeding ground of Texas, courtesy of an up-and-coming band ready to unleash hell upon humanity.

Texas has always been a fertile breeding ground for the most brutal extremes of Death Metal, and Houston’s own Architectural Genocide have been proving themselves a match for all the illustrious, gore-soaked names who have gone before them since their inception in 2017, unleashing hell upon humanity with their debut full-length opus entitled Cordyceptic Anthropomorph, the sound of sheer brute force within a maelstrom of violence and pulverized flesh. Mixed and mastered by renowned Italian drummer Davide “BrutalDave” Billia (Beheaded, Antropofagus, Hour Of Penance), and featuring a brutal and Stygian artwork by American musician and designer Jon Zig (Images of Violence, Deeds of Flesh, Relics of Humanity, Viral Load), Cordyceptic Anthropomorph is highly recommended for fans of the absolute chaos blasted by bands like Disentomb, Gorgasm and Visceral Disgorge, showcasing all the undeniable talented of lead singer Daniel Brockway, guitarist Jonathan Blake, bassist Matt Day and drummer Nat Conner, and of course their deep passion for what people like to call “Brutal Texan Death Metal”.

It’s time to slam into the circle pit like there’s no tomorrow to the sound of the opening track Spires of Mangled Tissue, bringing to our ears brutal devastation from the very first second, with Nat sounding infernal with his blast beats and fills while Daniel barks like a rabid beast, resulting in a freaking heavy extravaganza from start to finish. Then in Hallucinogenic Demise an ominous intro led by Jonathan’s wicked guitar lines and Matt’s low-tuned bass evolves into modern and furious Death Metal with Daniel’s inhuman screeches adding a touch of dementia to the overall result, with Nat once again crushing his drums manically; and they continue their onrush of dark and hellish sounds in Dominate and Proliferate, where Jonathan extracts sheer violence from his stringed axe in great Brutal Slamming Death Metal fashion. And the title-track Cordydeptic Anthropomorph lives up to the legacy of both old school and modern-day Death Metal, sounding and feeling as brutal and technical as it can be thanks to the amazing job done by the band’s stringed duo, not to mention Nat’s demented and intricate beats.

And the boys from Architectural Genocide keep smashing our skulls and spinal cords with the visceral and infuriated Gorge on Deceased, the perfect depiction of how vile but at the same time melodic and technical the quartet can be, offering a few interesting breaks and variations while Daniel’s deep guttural roars continue to reverberate in the air. Then Nat takes the lead once again in the berserk Pleasure Induced by Agony, sounding like a stone crusher on drums in what’s perhaps the heavier and most vicious of all songs from the album, with Jonathan and Matt showing no mercy for their strings (nor for our necks, of course). The second to last blast of malevolent Death Metal by this skillful four-piece horde comes in the form of Abolishment of Human Existence, where Matt and Nat are in absolute sync with their respective bass punches and demonic beats and fills, providing Daniel all he needs to shine with his deep vociferations, whereas Burgeoning Necrosis is a fantastic and pulverizing closing tune, or in other words, the epitome of everything the band stands for, showcasing the classic, hammering drums by Nat and the always brutal shredding by Jonathan.

If you have what it takes to face the Brutal Texan Death Metal assault fired by Architectural Genocide in their debut installment, all you have to do is go to Comatose Music’s BandCamp or webstore, as well as to Discogs, to put your hands on such ruthless album of extreme music. Hence, don’t forget to show your true support to the guys from Architectural Genocide by following them on Facebook and on Instagram, and by listening to their music on Spotify. The architect of genocide is among us to bring us all a whole new level of sickening, slamming and brutality with Cordyceptic Anthropomorph, proving once again why the underground is and will always be the dark lair (and consequently our endless source) for ass-kicking Death Metal, and if you’re in Texas then the awesomeness coming from that is even higher, no doubt about that.

Best moments of the album: Hallucinogenic Demise, Cordydeptic Anthropomorph and Pleasure Induced by Agony.

Worst moments of the album: None.

Released in 2020 Comatose Music

Track listing
1. Spires of Mangled Tissue 4:51
2. Hallucinogenic Demise 5:48
3. Dominate and Proliferate 4:21
4. Cordydeptic Anthropomorph 5:06
5. Gorge on Deceased 3:56
6. Pleasure Induced by Agony 5:42
7. Abolishment of Human Existence 5:19
8. Burgeoning Necrosis 5:03

Band members
Daniel Brockway – vocals
Jonathan Blake – guitar
Matt Day – bass
Nat Conner – drums

Album Review – Infuriate / Infuriate (2018)

Here comes a group of Texas all-stars armed with their debut album of fast and furious Death Metal, focusing on the brutal side of nature and unconscientious human behavior.

A group of Texas all-stars, Austin-based Death Metal/Grindcore unit Infuriate was founded in late 2015 by drummer Sterling Junkin (Widower, Laughing and Lying, Venereal Baptism) and guitarist Steven Watkins (Serpentian, Sect of Execration, Sarcolytic, Images of Violence), with vocalist and guitarist Jason Garza (Blast Perversion, Slow Grind) and bassist Alan Berryman (Whore of Bethlehem, Cathexis) completing the band’s pulverizing lineup. After about a year and a half of songwriting, nine demolishing tracks of unrelenting Death Metal and Grindcore had been arranged for the band’s debut self-titled album, released earlier this year, being highly recommended for fans of bands like Deeds Of Flesh, Severed Savior, Severe Torture and Disavowed.

Featuring an obscure artwork by the legendary artist Jon Zig, as well as special images for each song for a more vivid lyric booklet, the album contains a wide range of sinister topics that focus mainly on the brutal side of nature and unconscientious human behavior, with the music being deeply rooted in late 90’s Death Metal with a modern speed. Furthermore, although the album might not surpass the 30-minute barrier, it doesn’t feel incomplete or simplistic at all. Quite the contrary, just like several renowned acts like Slayer and Cannibal Corpse have mastered doing, Infuriate were capable of condensing a gargantuan amount of violence, hatred, heaviness and speed throughout the album’s relatively short time span, positioning the quartet as one of the most promising new names of the underground extreme music scene.

The opening track Juggernaut Of Pestilence is total savagery from the very first note, led by the razor-edged riffs by Jason and Steven while drummer Sterling pounds his drums mercilessly, and their devastation goes on in the sonic havoc titled Slaughter For Salvation, with Jason growling in a demonic and rabid way, being perfect for slamming into the circle pit with the sound of the guitars getting extremely acute and flammable for our total delight. Then Collective Suffering showcases a modern-day Cannibal Corpse vibe, mainly due to the amazing job done by the band’s stringed trio, with the bass punches by Alan sounding as heavy as hell; whereas in Engastration we’re treated to a violent and metallic sonority that gets quite progressive at times, therefore enhancing its taste considerably, also presenting lyrics that reek of old school Death Metal (“Creatures of ingenuity / With voracious appetites / Lacking conscience / They gather…”).

Only Pain Remains is another hurricane of Death Metal and Grindcore for your avid (and evil) ears, with both guitars exhaling rage and madness while Sterling continues to smash his drum set, not to mention Jason’s berserk growls and roars. And the band keeps smashing our heads with their visceral music in Matando, an unstoppable Grindcore tune infused with Death Metal elements spearheaded by an inspired guitar duo, with Jason once again vociferating contemporary and aggressive words (“False sense of security / Betrayed for all to see / Bleeding profusely / From the wounds of treachery / An altercation bred from deception / You must bleed with me”), followed by Mori Terrae, where their guitar shredding is effectively complemented by the fierce beats by Sterling while Jason barks like a beast nonstop in this full-bodied hymn of destruction, and Surrogate, a frantic and pulverizing display of crushing Grindcore with the bestial growls by Jason being supported by another excellent job done on the guitars, with the song’s fulminating pace being furiously led by Sterling’s beats. And lastly we have Cannibalistic Gluttony, portraying a beautiful name for another disturbing tune by Infuriate with the music remaining vile, demented and intricate from start to finish, with highlights to the groovy and complex beats by Sterling, closing the album on an absolutely brutal mode.

In a nutshell, what are you waiting for to slam your damn skull into the circle pit to the pulverizing Death Metal crafted by Infuriate? You can purchase their debut album (available for a full listen on YouTube) from the Everlasting Spew Records’ BandCamp or webstore (in regular CD format or as a CD + T-shirt bundle), as well as from your usual online retailers iTunes, Amazon, CD Baby and Discogs, and keep up to date to all things Infuriate by following them on Facebook, but that, of course, only if you think you’re brave enough to face an overdose of sheer aggression and rage in the form of extreme music made in Texas.

Best moments of the album: Slaughter For Salvation, Only Pain Remains and Matando.

Worst moments of the album: None.

Released in 2018 Everlasting Spew Records

Track listing
1. Juggernaut Of Pestilence 2:28
2. Slaughter For Salvation 2:56
3. Collective Suffering 2:41
4. Engastration 3:20
5. Only Pain Remains 4:10
6. Matando 3:35
7. Mori Terrae 3:46
8. Surrogate 3:18
9. Cannibalistic Gluttony 3:17

Band members
Jason Garza – vocals, guitar
Steven Watkins – guitar
Alan Berryman – bass
Sterling Junkin – drums

Metal Chick of the Month – Margarita Monet

I wanna lose myself in you…

Attention, metalheads! It’s time for another metal chick of the month here on yours truly The Headbanging Moose, and this month let’s pay our humble tribute to an up-and-coming singer, pianist, composer and actress that truly knows how to blend the heaviness, madness and rage of Heavy Metal with the delicacy and feeling of classical music. Known for her powerful voice and incredible range, she’s the frontwoman and founder for American Hard Rock/Symphonic Metal band Edge Of Paradise. I’m talking about Margarita Monet, or Margarita Martirosyan if you prefer, born on February 15, 1990 in Yerevan, the capital and largest city of Armenia as well as one of the world’s oldest continuously inhabited cities, but who has been living in the United States since she was 11 years old.

Margarita moved from Armenia to Moscow, Russia at a very early age with her family, where she lived for about 10 years, starting music lessons at the age of four and quickly accelerating into a competitive and performance-ready pianist, competing and winning awards in numerous piano competitions. When she was 11 years old, her father (who is a scientist) got a job offer in Houston, Texas, in the United States, meaning her life was going to have a huge impact in regards to lifestyle and mindset. In Houston, she attended The High School For The Performing and Visual Arts, for musical theater, moving to New York shortly after where she got accepted into New York University’s Tisch School Of The Arts, majoring in Theater at the Meisner Studio and minoring in Music. While living in New York, she acted in off Broadway plays, independent short and feature films, and sang with local bands at the city’s clubs. In addition, as a teenager, Margarita used to go back to Russia during the summer seasons and did some performing and recording with concertos, being known within the community of people who follow classical mostly from competitions in the country.

It was in 2010 when our red-haired diva had another significant move in her life, heading to Los Angeles after getting interest from various acting agents in the city. Just a week after arriving in Hollywood, Margarita already joined a singing and dancing group and recorded on their album Angels De Amor, going solo after various live shows with that group. After going solo and starting working on original material for her first solo album, she met guitarist Dave Bates, who was in search of a singer who could replace Irish rock vocalist Robin McAuley (McAuley Schenker Group, Survivor) in their project named BLEED. Soon their music partnership created tremendous results and solidified the band that took up the new name, Edge Of Paradise.

With Edge Of Paradise, which by the way is the official band of Nashville Knights, a women’s American football team of the Legends Football League (LFL) based in Nashville, Tennessee, and part of Rockers Against Trafficking (a foundation created by Kevin Estrada to raise awareness about human trafficking), Margarita released their debut album Mask, in 2011, featuring a rhythm section consisting of Gregg Bissonette on drums and Tony Franklin on bass (coming in at #6 most added on national CMJ radio, right behind Machine Head and Five Finger Death Punch), the EP Perfect Shade Of Black, in 2013, the full-length Immortal Waltz, in 2015, co-produced by Bob Kulick (Kiss, Motörhead) and  Michael Wagener (and coming at #12 on national rock and metal radio charts), and the six-track EP ALIVE, in 2017. If you want to get a fun and pleasant overdose of the gorgeous vocals by Margarita, go to their official YouTube channel (or their VEVO channel as well) for songs such as Mistery, Dust To Dust, Shade Of Crazy, Rise For The Fallen, In A Dream, Break Away and Perfect Shade Of Black, or even for some treats such as their cover versions for Darlene Love’s 1963 song Christmas (Baby Please Come Home), The Nightmare Before Christmas’ Sally’s Song Black Sabbath’s masterpiece Children of the Sea, Margarita’s voice-and-piano version for Scorpion’s all-time classic ballad Still Loving You, or the band’s live performance of the song Ghost at the Soultone Cymbals Studio in 2016. Thus, after listening to her stunning voice in all those songs, you’ll quickly understand why she was featured in Metalholic’s “Top 25 Women in Hard Rock and Metal” in 2012.

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Furthermore, as aforementioned, apart for her music career Margarita also has an acting and screen background going back to her New York days, including a part as a dancer in the 2009 short drama Alicia, playing a character called Amy in the 2010 action movie No Leaf Clover, and portraying an illegal prostitute in the 2011 documentary Nefarious: Merchant of Souls, all under her birth name Margarita Martirosyan. Now with Margarita dedicating a huge share of her time to Edge Of Paradise, it’s uncertain if we’ll see her again on screen, but at least we can rest assured the band will keep shooting videos for their songs, which means more Margarita for our avid eyes and ears.

When asked about her biggest idols in beauty, fashion and music, Margarita provided some interesting and beyond awesome names in all fields. Her inspirations in the modelling and fashion business are first Audrey Hepburn, who she has admired since she was a kid due to her feminine, classy and effortless look and style, and also Doro Pesch and Joan Jett due to their edgier styles. When it comes to music, her list of icons is even more impressive, with unparalleled names such as Ronnie James Dio, Robert Plant, Bruce Dickinson, Rob Halford and Freddie Mercury being her favorite ones due to their distinct and timeless sound, as well as their emotion, attitude and conviction when singing and performing.

Margarita doesn’t see herself as a fashion and make-up junkie, but more like a “creative junkie”, meaning that because of her role with Edge Of Paradise she always strives to create something different and attractive for the fans, leading her to experiment with different looks, and having the freedom to express herself through music and while performing on stage. Having said that, Margarita’s typical makeup and style signature can be considered a mix of Rock N’ Roll with a bit of Gothic fashion, blending leather and lace with bold accessories such as belts and chains, always wearing black with accent colors like red, silver and gold. And, of course, her trademark blood-red lips. All those strong colors and accessories are complemented by Margarita’s endless energy when she hits the stage, being very expressive and putting her heart and soul into each song played, and by her creativity, as she simply loves experimenting with different chains, spikes, fabrics and other material when creating her stage outfit. When asked about how she prepares herself for a concert, Margarita said she tries to rest as much as possible and stay hydrated, and that she doesn’t take too long to get dressed and put on her makeup as she always knows what she’s going to wear. She also said being in a band is a lifestyle she truly loves, and although it’s not an easy one she has a lot of fun and pleasure while working on new material, creating new visual arts for the band and rehearsing, always aiming at moving forward with the band.

Regarding being an artist, our red-haired muse mentioned that she’s always been determined to become an artist since her childhood in Russia, where she was surrounded by art. Her mom used to take her to theaters, concerts and ballets, inspiring her to start performing at a very young age. So far, it has been a thrilling and rewarding ride to her (despite being a very demanding way of life), with honesty, hard work and creativity being some of the most important elements in her career, not to mention her life motto which is “do it because you love it and enjoy every part of the journey, it goes by fast!’’ In addition, singing metal music in front of a huge crowd and recording vocals for Edge Of Paradise were initially a brand new experience and a challenge for her, despite her previous experience as an artist and her passion for classic voices like Dio and Freddie Mercury. Furthermore, Margarita said that coming up with melody ideas and finding her own style were very rewarding steps for her, and of course she’s always interested in evolving as a singer and as an artist in general.

Last but not least, when asked about the importance of image in her life and career, and how social media has had an impact on those, she said that as we live in a digital world where everything is over saturated, social media ends up working as a double-edged sword because we have the tools to reach people, but if you don’t have the best content (both visually and musically) you won’t be able to attract people’s attention. She complemented by saying you really have to create a world that people will want to be part of, inspiring people to follow you, and therefore boosting your creative process. Well, I guess Margarita is absolutely right about that, because if you think about it, who doesn’t want to be part of the unique and whimsical world created by Edge Of Paradise?

Margarita Monet’s Official Facebook page
Margarita Monet’s Official Instagram
Edge Of Paradise’s Official Facebook page
Edge Of Paradise’s Official YouTube channel
Edge Of Paradise’s Official Instagram

“Your music has to speak for itself, invest in your content, in the quality of your sound, if you have a great product you will get your foot in the door! Of course it’s important to promote, and that takes a lot of money too. If you’re an independent band you gotta hire your own publicity, but if you don’t have great content to promote you won’t go very far, so I would say make the music that’s authentic and you’re really proud of and you’ll find your way!” – Margarita Monet

Album Review – Of the Sun / Before a Human Path EP (2017)

Exploring the extremes of human emotion and imagination and finding balance within while embracing chaos, this high-skilled power trio is ready to show you what “Southern Progressive Metal” is all about with their brand new album.

Self-describing their wicked music as “Southern Progressive Metal”, American power trio Of the Sun are releasing their new EP titled Before A Human Path, a highly recommended album for fans of Gojira, Pantera, Mastodon and Between The Buried And Me, among other iconic groups, exploring the extremes of human emotion and imagination, finding balance within while embracing chaos in each of its five unique compositions. While Of the Sun’s sound is firmly rooted in Groove and Thrash Metal, it also contains elements of Progressive Metal, creating a distinct atmosphere exactly like what you’ll be able to experience in Before a Human Path.

Hailing from Austin, the state capital of Texas, in the United States, the band formed by Patrick Duvall (lead vocals, guitar), David Duvall (bass, vocals) and Johnny Reed (drums) released their debut album AM Radio in August 2009, taking some good years for them to finally come back with new material. Fortunately, the wait is finally over for the delight of admirers of innovative and groovy music, and the final result will definitely bring a positive outcome for the band’s career. “With Before a Human Path, we pulled from personal extremes to convey a more colorful and varied storyline within the span of each song. Ultimately shunning conventional songwriting formula, we really dug in to unearth something we felt isn’t currently being done”, the band commented about the album.

The Tightrope Mile already begins in full force, sounding like a more progressive and groovier version of Pantera where Patrick has an amazing performance on vocals, reminding me of the old days of Phil Anselmo, while David blasts pure metallic lines through his bass guitar. Moreover, all its psychedelic and heavy passages make it sound like three or four songs in one, an always positive attribute in progressive music. In the kick-ass Nebulamorphous we have the perfect example of what the band calls Southern Progressive Metal, bringing the most electrifying elements from Southern Rock and Progressive Metal together while Johnny is responsible for the intricacy found in the music with his sick drumming. At the same time, Patrick takes care of the song’s deranged side with his sick growls, effectively complementing all this sonic feast of craziness and rumbling sounds.

Featuring guest musicians Phil Davidson on violin and viola, and Kullen Fuchs on vibraphone, Cantos offers the listener an exciting doomed sonority, with its clean vocals being exactly what the music demands. Furthermore, this dark and introspective creation by Of The Sun gets even better as time passes by due to the amazing guitar lines by Richard together with the low-tuned bass by David. The intricate and aggressive tune A Soliloquy brings forward Groove Metal with a lot of progressiveness and hatred flowing from its vocals and bass lines, reaching a whole new level of insanity (and don’t forget to pay attention to the excellent drumming by Johnny throughout the entire song); whereas in the sharp Southern Metal chant The Limbless God we face more demented metal music to pierce our ears mercilessly. Their fusion of anger and creativity couldn’t sound more thrilling, with highlights to the great sync once again between Richard and David, not to mention all tempo changes and endless heaviness which end up adding an extra dosage of adrenaline to the final result.

To sum up, despite being only an EP technically speaking, Before a Human Path brings to the listener a full-flavored adventure in experimental heavy music thanks to the refined skills of each one of the three musicians from Of the Sun. If you want to show your support for Patrick, David and Johnny, go check what they’re up to at their Facebook page, listen to their music at ReverbNation, and don’t forget to buy your copy of Before a Human Path at their official BandCamp page. This creative and energetic trio of musicians is ready to show you what “Southern Progressive Metal” is all about, and you’ll be more than pleased with what they can do to your ears with their music.

Best moments of the album: Nebulamorphous and A Soliloquy.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. The Tightrope Mile 7:09
2. Nebulamorphous 5:34
3. Cantos 7:22
4. A Soliloquy 7:22
5. The Limbless God 5:31

Band members
Patrick Duvall – lead vocals, guitar
David Duvall – bass, vocals
Johnny Reed – drums

Guest musicians
Phil Davidson – violin and viola on “Cantos”
Kullen Fuchs – vibraphone on “Cantos”

Album Review – The Sound That Ends Creation / We Are The Burden (2016)

Get ready for 21 minutes of brutal and technical Grindcore that will crush your spinal cord mercilessly.

Rating5

the sound that ends creation - we are the burdenIf someone asks you to mention a good one-man or one-woman band in Heavy Metal, the first names that will come to your mind probably play raw and obscure Black Metal. I would say that’s the case in nine out of ten projects, but obviously there are also many excellent multi-instrumentalists generating interesting material in other ramifications of heavy music such as Death and Doom Metal, for example. However, I believe this will be the first time you’ll be facing a one-man army blasting a trenchant fusion of Grindcore and Metalcore, two subgenres of heavy music where you’ll usually find regular bands comprised of at least three members. I’m talking about The Sound That Ends Creation, the indomitable creature generated inside the mind of American musician Chris Dearing in which he plays all of guitar and bass, as well as performing vocals and programming drums.

Formed in early 2016 in the city of Allen, Texas, in the United States, The Sound That Ends Creation blends all main styles found in extreme music, those being Death Metal, Black Metal, Mathcore and even Sludge and Stoner Metal, together with the project’s core essence formed of unrelenting Grindcore. The result of that brutal fusion can be seen in We Are The Burden, the debut album by The Sound That Ends Creation that will crush your spinal cord mercilessly in its 21 minutes of uncompromised devastation. Do not expect any sign of happiness or positivity emanating from the music, but only sheer savagery perfect for slamming into the pit as expected from any good Grindcore band.

Chris comes barking like a rabid dog in the opening track, a two-minute technical Grindcore tune named The Complex, also blasting the first wave of heavy riffs and violent beats in We Are The Burden. Moreover, drums sound amazingly organic despite being programmed, which is also the case in Burn the Trees, Burn the Bark, a diabolical mix of Grindcore and Black Metal, with its guitar lines being as sharp as the Death Metal-inspired growls by Chris. It doesn’t matter if the music gets faster than a bullet or as sluggish and somber as traditional Doom Metal, the entire song kicks fuckin’ ass. And the distorted mind of Chris provides the listener another two-minute havoc overflowing anger and hatred entitled A Cyclical Dawn, with highlights to all its tempo changes, which in my opinion means a lot considering the fact this is a relatively short composition.

TSTECLOGOThe Fires Are Growing trespasses the boundaries of heaviness, almost feeling like pure old school Death Metal at times while also sounding extremely progressive, flowing to a lancinating ending before the most intricate composition of the album, Machinations Of Progress, brings forth chaos and harmony at the same time. Highly recommended for fans of complexity and fury in music the likes of old school Carcass, this is the perfect example of how our lone wolf is capable of sounding like many well-established Technical Death Metal bands even being by himself and having no support from any record label. And how about an atmospheric break titled Interlude before Chris’ onslaught returns? You better take that time off to breathe, because what he delivers in A Hollow Pine Box is simply awesome. Not only guitars are superb (as well as all rhythmic beats and breaks), but there’s also room for hints of Pantera and the low-tuned sonority of Stoner Metal, enhancing the song’s impact on the listener.

If you’re still alive after such level of devastation, there’s still more madness in the form of music for you. Pounding his guitar and bass, Chris offers more high-quality Death Metal and Grindcore in less than two minutes titled Bottom Feeders, followed by The Open Eye, where the high-pitched growling by Chris together with his deeper guttural brings more flavor to the overall result. And closing the album with a beautiful message about how cruel and heartless we can all be, Chris presents the extremely technical A Portrait Of Inhumanity, a brutal Death Metal assault with progressive notes where Chris has another visceral performance on vocals.

After listening to such an inspiring album, I suggest you all go get in touch with Chris and his electrified The Sound That Ends Creation at the project’s Facebook page, Twitter and YouTube channel, and if you love the demolishing sound of raw and technical Grindcore you can purchase We Are The Burden at The Sound That Ends Creation’s BandCamp page. Chris’ 21 minutes of ruthless and virulent music are definitely worth the investment, and by buying the album you will also help this talented artist in perpetrating the awesomeness and energy of the independent scene of extreme music.

Best moments of the album: Burn the Trees, Burn the Bark, The Fires Are Growing and A Hollow Pine Box.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. The Complex 2:06
2. Burn the Trees, Burn the Bark 2:18
3. A Cyclical Dawn 2:24
4. The Fires Are Growing 2:08
5. Machinations Of Progress 2:10
6. Interlude 1:13
7. A Hollow Pine Box 2:07
8. Bottom Feeders 1:38
9. The Open Eye 1:59
10. A Portrait Of Inhumanity 3:14

Band members
Chris Dearing – vocals, all instruments