An Israel-based one-man army continues to follow an eclectic direction with his new opus, mixing diverse musical genres with Black Metal vocals and Middle-Eastern melodies.
Formed in 2007 by vocalist and multi-instrumentalist Denis Tereschenko (known as Herr Entweiherr during the first years of the project) in the northern part of Israel, three years after moving to Haifa from his hometown Vitebsk, in Belarus, Melodic Dark/Black Metal entity Die Entweihung, which is German for “the desecration”, has just unleashed upon us all the project’s impressive tenth full-length opus, entitled Kings & Pawns, continuing the eclectic direction of some of his previous albums by mixing diverse musical genres the likes of Experimental, Doom and Thrash Metal with trademark Black Metal vocals, Middle-Eastern melodies and lyrics that, just like in the previous two albums, deal with “the confrontation of man and his surrounding world”. Not only that, Kings & Pawns also marks Die Entweihung’s first release in nine years to feature a couple of guest musicians, more specifically vocalists Alexander Ivanov (of Jinx) and Alena “Dark Zero” (of Nocturnal Pestilence), and bassist Anton Shirl (of Tales of Darknord), bringing additional layers of obscurity and mystery to the already idiosyncratic music crafted by Denis, all enfolded by a stylish artwork by Yulia “BooShweak” Asher.
A wicked intro quickly evolves into a metallic feast titled Away into the Night, where Denis delivers at the same time slashing riffs and whimsical keys, working as an expanded intro to The Moustached God, a grim fusion of Experimental Black Metal and contemporary Progressive Metal where Denis gnarls like a creature from the underworld while his beats and fills, as well as his Arabian guitar lines and solos, elevate the song’s epicness through the roof. And our talented and relentless lone wolf continues to pave his path of darkness and harmony in As The Hangover Starts, showcasing more of his classic Heavy Metal riffs intertwined with Symphonic Black Metal keys; whereas enhancing his progressiveness and experimentations we’re treated to the melodic instrumental tune Confrontation, once again displaying a fantastic job done by Denis on the guitars while he also crafts a dense kitchen with his drums and bass. Then guest Alexander Ivanov makes a demented vocal duo with Denis in Kings & Pawns, while our one-man army keeps hammering his drums and extracting sheer electricity form his riffage in a great depiction of his Melodic Dark Metal.
Featuring Alena “Dark Zero”, Iron Maiden-inspired guitars ignite the atmospheric The Nonsense Games, where Alena kicks some serious ass with her Doro-like clean vocals and devilish roars from start to finish; while sounding darker and more primeval than before, Denis and his Die Entweihung bring forward elements from an array of styles in the hypnotizing The Only Thing Worthy to Save, keeping the album at a high level of obscurity. Alena returns in full force in the cover song Working Class Hero, originally released by John Lennon under his solo project John Lennon/Plastic Ono Band in their 1970 self-titled album (check the original version HERE), showcasing all her talent and passion for heavy music and, therefore, resulting in a beautiful rendition for such distinct classic; and the albums closes with another cover song, this time Sons of Moon and Fire, from the 1999 demo Revelation by Russian Black Metal horde Der Gerwelt, a beyond amazing tribute by Die Entweihung featuring guest bassist Anton Shirl (of Tales of Darknord), dedicated to the memory of Dmitry Aarbreck Abramov (R.I.P.) from the original Der Gerwelt lineup (and you can take a listen at the original version HERE).
In the end, as you can see it’s quite difficult to label the music crafted by Denis and his Die Entweihung in Kings & Pawns, showcasing all the dexterity, creativity and dynamism by such talented musician. Hence, the best thing to do in order to try to understand all styles and nuances found throughout the album is to stream it in full on YouTube, and of course purchase the album (and show Denis your utmost support) from his own BandCamp page, from Wings of Destruction’s BandCamp page or webstore, or from Discogs. Also, don’t forget to give Denis a shout on Facebook, getting to know more about his career, his music and plans for the future, consequently inspiring him to always move forward armed with his epic music. In a world where each one of us is either a king or a pawn, and with the discrepancy between those two groups growing exponentially year after year, there’s nothing better than some diverse and epic metal music to help us endure our daily lives, and Denis and his Die Entweihung are among us exactly to help us with that.
Best moments of the album: The Moustached God, Kings & Pawns and The Nonsense Games.
Worst moments of the album:Confrontation.
Released in 2021 Wings of Destruction
Track listing 1. Away into the Night 2:47
2. The Moustached God 6:32
3. As The Hangover Starts 8:36
4. Confrontation 4:02
5. Kings & Pawns 4:53
6. The Nonsense Games 7:12
7. The Only Thing Worthy to Save 6:42
8. Working Class Hero (John Lennon cover) 4:02
9. Sons of Moon and Fire (Der Gerwelt cover) 7:02
Band members Denis Tereschenko – vocals, all instruments
Guest musicians
Alena “Dark Zero” – harsh and clean vocals & arrangements on “The Nonsense Games” and “Working Class Hero”
Alexander Ivanov – harsh and clean vocals & arrangements on “Kings & Pawns”
Anton Shirl – bass on “Sons of Moon and Fire”
Bang your heads in total isolation to the sound of the new EP by this Italian Sludge Metal entity, offering us all four austere songs born from the boredom and frustration of two lockdowns.
Wojtek is a basic, Polish male name. Wojtek is also a Syrian bear who fought in the Battle of Cassino, during World War II, carrying crates of ammunition and roaring at enemies. And Wojtek is also a Padua, Italy-based band born in May 2019, playing a heavy and raw fusion of Sludge and Doom Metal, and who have just released their third EP curiously titled Does This Dream Slow Down, Until It Stops?, offering fans of heavy music four austere songs born from the boredom and frustration of two lockdowns. Comprised of vocalist Mattia Zambon, guitarists Morgan Zambon and Riccardo Zulato, bassist Simone Carraro and drummer Enrico Babolin (who was also the producer of the album), Wojtek dig deeper into their favorite topic, that being human misery, in each of the four tracks of the EP, with the mixing and mastering by Mattia Bonafini, the cryptic artwork by the band’s own guitarist Riccardo Zulato and the logo by View From The Coffin adding an extra touch of darkness, rage and despair to the band’s venomous metal music, therefore living up to the legacy of the most primeval form of Sludge Metal.
In the opening track Catacomb we’re treated to wicked lyrics growled by Mattia (“Grow my fears / Is this town real? / Drill my ears / Endless pain I feel / Whenever you whisper I break / Every inch of my muscles will shake”) while his bandmates blast their instruments with tons of rage and aggressiveness from the very first second in an infernal display of contemporary Sludge Metal, and Enrico continues to add his share of animosity to their rebellious music through his Thrash and Death Metal beats in Desensitized, with Morgan and Riccardo slashing their strings mercilessly. Put differently, this is a neck-breaking, violent tune that reeks of progressiveness and obscurity. Then an instrumental and absolutely atmospheric horror movie-inspired interlude entitled Rednetrab (or “bartender” backwards) will send shivers down your spine before those Italian metallers come crushing one last time with their dirty and Stygian sounds in XX Years, a beyond disturbing creation where the bass punches by Simone will hit you right in the face while Mattia vociferates rabidly à la Mike Patton, bringing to our ears a flawless hybrid of Hardcore and modern-day Stoner and Sludge Metal tailored for admirers of the genre.
If you’re curious to know more about Wojtek and their wicked creations, you can start following the band on Facebook and on Instagram right away, and grab your copy of Does This Dream Slow Down, Until It Stops?, which is by the way available for a full listen on YouTube and on Spotify, from several locations including the band’s own BandCamp page, the Ripcord Records’ BandCamp page, the Teschio Dischi’s BandCamp page, the Violence In The Veins’ BandCamp page, and Apple Music. In the end, it looks like this never-ending pandemic has been extremely fruitful for the guys from Wojtek, inspiring them to turn their inner darkness and frustrations into first-class doom and, consequently, offering us all another good reason to keep banging our heads while in total isolation from society.
Best moments of the album: Desensitized and XX Years.
Worst moments of the album: None.
Released in 2021 Ripcord Records/Shove Records/Teschio Dischi/Fresh Outbreak Records/Violence In The Veins
Track listing 1. Catacomb 4:37
2. Desensitized 5:02
3. Rednetrab 4:08
4. XX Years 5:31
Band members
Mattia Zambon – vocals
Morgan Zambon – guitars
Riccardo Zulato – guitars
Simone Carraro – bass
Enrico Babolin – drums
One of the most exciting forces of the Swedish Melodic Death Metal scene returns with their fifth full-length album, ready to kill once again with their visceral and aggressive music.
A familiar name in the Melodic Death Metal arena, Falkenberg, Halland-based outfit Ablaze My Sorrow came together in 1993 when Gothenburg, Sweden’s own brand of Death Metal had just begun to take shape, unfortunately splitting up in 2006. However, in 2013 their long-awaited reunion happened, and since this rebirth the quintet released their fourth album, Black, and played a slew of memorable gigs and fests. Now in 2021, after four years of incubation, Ablaze My Sorrow are ready to unleash upon us all their fifth full-length album, entitled Among Ashes and Monoliths, highly recommended for fans of the music by At The Gates, Dark Tranquility and In Flames, among others. Mixed and mastered by Ulf Blomberg at HoboRec/The End Studios, and featuring a classic cover artwork by Algerian artist Mustapha Haraoui (Mustapha Design DZ), Among Ashes and Monoliths is the band’s first-ever record with new vocalist Jonas Udd, whose aggressive rasp fits this passionate band to perfection, while the other members, those being Magnus Carlsson and Dennie Lindén on the guitars, Anders Brorsson on bass and Alex Kribensten on drums, return intact from their previous releases and are ready to kill once again with their visceral Melodic Death Metal.
In the atmospheric and dark opening track My Sorrow, Magnus and Dennie provide their welcome card from the very first second with their slashing riffs, exploding into Scandinavian Melodic Death Metal for diehard fans of the style, followed by the title-track Among Ashes and Monoliths, where Alex hammers his drum set mercilessly providing Jonas all he needs to shine with his enraged roars, also presenting elements from old school Black Metal in an amazing depiction of what the band is capable of. Then an introspective beginning showcasing clean, anguished vocals evolves into the obscure Black Waters, where the guitars by Magnus and Dennie cry in pain from start to finish while Anders and Alex add their share of heaviness to their core sonority; and more of their classic Melodic Death Metal is offered in Grit, with all band members extracting sheer adrenaline and violence from their sonic weapons, all spearheaded by the venomous growling by Jonas. After that, a melodious rhythm spiced up by Anders’ metallic bass punches will inspire you to bang your head with the band in Her Cold Embrace, where Jonas gets the sensational and stunning support of guest vocalist Jonna Enckell; whereas leaning towards old school Death Metal, the band puts the pedal to the metal and decimates our ears with At the Graves of Giants, with the demonic gnarls by Jonas walking hand in hand with the blast beats by Alex.
Dark Chasms brings forward another round of their vicious and aggressive Melodic Death Metal, with the band’s guitar duo extracting rage, pain and electricity form their strings accompanied by the rumbling bass by Anders, and an eerie, wicked intro ignites the In Flames-inspired tune titled The Cavernous Deep, presenting more of Jonas’ clean vocals while the instrumental pieces keep the ambience as dark and heavy as it can be. Then violence and obscurity continue to flow from their music in Nonexistence, exhibiting hints of Thrash Metal carefully added to their core sound and spearheaded by the sharp riffage by Magnus and Dennie, consequently inviting us all to slam into the pit together with the band, whereas somber sounds permeate the air in the instrumental interlude March of the Eldricht Spawn, setting the stage for Ablaze My Sorrow to come crushing once again in The Day I Die, a solid Melodic Death Metal tune showcasing all elements we learned to love in this type of music, including harsh growls intertwined with clean vocals, smashing drums and epic and frantic riffs and solos. Lastly, we have Frihet Framför Feghet, which is Swedish for “freedom over cowardice”, a bestial, hellish creation by the quintet with guest Ulf Blomberg bringing his share of dementia to the band’s sick music, sounding perfect for jumping up and down with those Swedish metallers and cracking our necks headbanging nonstop.
If Melodic Death Metal is your business, and business is good, you should definitely go check what the guys form Ablaze My Sorrow are up to on Facebook and on Instagram, stream their full catalog on Spotify, and purchase your favorite version of Among Ashes and Monoliths by clicking HERE. In the end, despite the ups and downs faced by the band through the years, and by that I mean the fact they ended up splitting up in 2006 and going on a hiatus for seven long years before reuniting in 2013, it doesn’t look and feel at all that the band didn’t “exist” during that period due to the high quality and energy found in their new album, proving those guys are back for good and hungrier than ever for more, strengthening their name as one of the driving forces of contemporary Swedish Melodic Death Metal and, therefore, providing us fans all we need to bang our heads and raise our horns in support of underground Swedish metal music.
Best moments of the album: Among Ashes and Monoliths, Her Cold Embrace, At the Graves of Giants and Frihet Framför Feghet.
Worst moments of the album:My Sorrow and The Cavernous Deep.
Released in 2021 Black Lion Records
Track listing 1. My Sorrow 4:30
2. Among Ashes and Monoliths 4:11
3. Black Waters 3:47
4. Grit 3:39
5. Her Cold Embrace 4:55
6. At the Graves of Giants 4:43
7. Dark Chasms 4:15
8. The Cavernous Deep 4:44
9. Nonexistence 3:45
10. March of the Eldricht Spawn 1:40
11. The Day I Die 3:17
12. Frihet Framför Feghet 3:41
Band members Jonas Udd – vocals
Magnus Carlsson – guitars
Dennie Lindén – guitars
Anders Brorsson – bass
Alex Kribensten – drums
Guest musicians Ulf Blomberg – additional vocals on “Frihet Framför Feghet”
Jonna Enckell – additional vocals on “Her Cold Embrace”
Forged in turmoil but full of the hope that only music can inspire, the new album by the Spanish angels of thrash is indeed the pulverizing metal record that the whole world needs right now.
Brought into being in 2000 in Albacete, a city and municipality in the Spanish autonomous community of Castilla–La Mancha, Spain’s leading Thrash Metal institutionAngelus Apatrida returns to the battlefield now in 2021 with their seventh full-length opus, self-titled Angelus Apatrida, celebrating 20 years as a band. Forged in turmoil but full of the hope that only music can inspire, the album is the pulverizing metal record that the world needs right now, showcasing all the dexterity of Guillermo Izquierdo on vocals and guitars, David G. Álvarez also on the guitars, José J. Izquierdo on bass and Víctor Valera on drums. Recorded by Juan Angel López at Baboon Records, mixed by Christopher “Zeuss” Harris at Planet Z Studios, and displaying an ass-kicking artwork by Hungarian artist Gyula Havancsák (Hjules Illustration and Design), Angelus Apatrida features ten original songs that sound more determined, versatile and ferocious than ever before, inviting us all to slam into the circle pit to the band’s undisputed thrashing music.
And five seconds is all those Spanish bastards need to kill with a Pantera’s “Fucking Hostile”-inspired hymn entitled Indoctrinate, a brutal thrashing anthem to kick off the album on a high note, penetrating deep inside our minds with their wicked sounds and catchy-as-hell lyrics (“Indoctrinate / through fear then / dominate / Indoctrinate / one true faith / inculcate / Predominate / strong voices will be heard / Intoxicate / snake tongues to / indoctrinate”), whereas in Bleed The Crown the stringed duo Guillermo and David is ruthless with their razor-edged riffs while Víctor keeps hammering his drums nonstop, resulting in another bestial fusion of Thrash and Groove Metal. Then we have The Age Of Disinformation, with Guillermo viciously singing about our addiction to new tech, about the spread of fake news and how we’re forgetting to enjoy reality (“Slaves, dependents, victims of technology / Exposed to a world of lies / Living through the age of disinformation”), while José and Víctor make the earth tremble with the heavy kitchen; followed by Rise Or Fall, another song inspired by the golden years of Pantera with the band’s own Spanish twist where the quartet doesn’t stop blasting sheer violence and heaviness through their sonic weapons of mass destruction, spearheaded by the austere screams by Guillermo. And there’s no sign of slowing down as Angelus Apatrida fire another round of their high-octane, incendiary Thrash Metal in the form of Childhood’s End, showcasing an amazing job done by Guillermo and David with their sick riffs and solos.
In Disposable Liberty we’re treated to a solid instrumental led by the groovy beats and fills by Víctor, albeit not as vibrant nor as dynamic as its predecessors but still presenting tons of good elements like the low-tuned, metallic bass jabs by José, and back to a more frantic and vicious sonority the quartet offers our avid ears the headbanging tune We Stand Alone, perfect for slamming into the circle pit like a maniac while blending Bay Area Thrash with European Thrash and Groove Metal. Following such infernal tune, Víctor sounds like a stone crusher on drums, pulverizing everything and everyone that crosses his path in Through The Glass, while his bandmates extract endless aggressiveness and rage from their respective instruments. And there’s no escape from the thrashing madness blasted by Angelus Apatrida, as they keep smashing their instruments in the classic Empire Of Shame, with Guillermo, David and José being on fire with their intricate and thunderous riffs and bass punches, whereas closing the album they bring forward the menacing, sharp-as-a-knife Into The Well, presenting an awesome sync between Víctor’s wicked beats and their electrifying riffage throughout almost six minutes of first-class, contemporary Thrash Metal for the masses.
In the end, it doesn’t matter if you’re a fan of Thrash Metal or not, you have to admit Angelus Apatrida have outdone themselves in their newborn spawn, providing the heavy community another sensational display of their skills and their passion for heavy music, therefore sending a sound statement to all mankind that those Spanish metallers are far from calling it quits, having the sky as their limit. Hence, don’t forget to give them a shout on Facebook and on Instagram, to subscribe to their YouTube channel for more of their music and videos, to stream all of their albums on Spotify, and of course to purchase their new album by clicking HERE, adding to your personal collection what’s by far one of the most exciting Thrash Metal albums hailing from Europe from the past decade. As already mentioned, this is the type of album our world needs right now, with the Spanish angels of thrash offering us fans a very good reason to slam into the pit and bang our heads like there’s no tomorrow while our rotten society crumbles into pieces.
Best moments of the album: Indoctrinate, Rise Or Fall, We Stand Alone and Empire Of Shame.
Worst moments of the album:Disposable Liberty.
Released in 2021 Century Media Records
Track listing 1. Indoctrinate 5:39
2. Bleed The Crown 4:26
3. The Age Of Disinformation 4:42
4. Rise Or Fall 3:36
5. Childhood’s End 3:49
6. Disposable Liberty 4:21
7. We Stand Alone 4:11
8. Through The Glass 5:41
9. Empire Of Shame 4:17
10. Into The Well 5:47
Band members Guillermo Izquierdo – vocals, guitars
David G. Álvarez – guitars
José J. Izquierdo – bass
Víctor Valera – drums
In times of turbulence, violence, uncertainty, hope and despair, perhaps the best subgenre of metal music to help us express all those feelings mixed together is our good old Death Metal, and in order to do that here at The Headbanging Moose let’s pay a humble tribute to a ferocious woman hailing from Germany that roars and growls with tons of passion when fronting her ass-kicking underground squads. Born on October 20, 1977 in Hannover, the capital and largest city of the German state of Lower Saxony, the unrelenting Extreme Metal vocalist, lyricist, songwriter and vocal coach Britta Görtz has been making a name for herself in the German and international scene with her potent guttural vocals since around 2005, standing out as the frontwoman for Thrash Metal act Cripper and more recently for Death Metal squads Critical Mess and Hiraes. Having said that, are you ready to bang your head and slam into the circle pit together with such talented growler?
Let’s kick off our tribute to Britta with her main band at the moment, the ruthless Death Metal horde known as Critical Mess, a Hannover-based act formed in 2012 that has already released two full-length albums so far in their career, those being Human Præy in 2018 and Man Made Machine Made Man in 2019, as well as the EP Zombie Apocoverlypse in 2020, all with Britta responsible for the vocal duties. After the band’s inception in 2012 they underwent many changes in lineup and writing styles until Britta replaced former vocalist Simon Körber in 2016, helping her bandmates Marco Schauff and Marco “Elmo” Evers on the guitars, Lommer Wiesener on bass and Benny Komatitsch on drums establish themselves and quickly finding their own, unique sound and style, always true to the familiar and beloved sound of old school Death Metal that they had all grown up with. Bringing forward crushing riffs, insane vocals, fierce harmonies and drum chops that put any industrial slaughterhouse soundscape to shame, Critical Mess have already shared the stage with insane acts the likes of Six Feet Under and Hatesphere, having also played in some of the most important festivals in the world like Wacken Open Air and Metaldays.
In case you’ve never heard any of the wicked creations by Critical Mess until today, you can stream all of their albums and songs on Spotify and enjoy their official videos on their YouTube channel, including the awesome videos for the songs Feasting, Into Oblivion, Cut The Cord, Pansperm; the song Echo live at Wacken Open Air 2019; live-recordings of the songs Gluttony (for the Apes Enraged Re-Live Online Festival) and Preacher of Lies (for Godslaves “Access All Areas” Online Festival), both recorded in their band practice room in Hannover; and a special video dedicated to their fans for the song Demise, from conception to stage. However, if you think Critical Mess are only brutality and rage, you must check their insane cover versions for the songs Everybody (Backstreet’s Back), by the infamous Backstreet Boys, Remmidemmi (Yippie Yippie Yeah), by Hamburg’s own Hip-Hop/Electro band Deichkind, and my favorite one Blinding Lights, by The Weeknd, all as seen on the German television show Halloween Gamenight with Luke Mockridge, which aired during last year’s Halloween. Britta is flawless on all three songs, but what she does in “Blinding Lights” is beyond awesome I must say.
Our skillful growler is also involved in a brand new project named Hiraes, a Melodic Death Metal band formed in 2020 that combines the full force of all four instrumentalists from Dawn Of Disease, those being Lukas Kerk, Oliver Kirchner, Christian Wösten and Mathias Blässe, with the powerful vocals by Britta in order to create an exciting new melodic death emergence. Currently, Hiraes are working on their debut album, which will certainly be highly recommended for fans of the Scandinavian madness brought forth by renowned acts the likes of Insomnium, At The Gates, Arch Enemy and Amon Amarth, pointing to a very interesting path ahead of Britta, therefore allowing her to showcase all her vocal range and potency outside of the purely Death Metal style she’s used to with Critical Mess. I honestly can’t wait to see what she’ll be able to do when venturing through more melodic realms, and let’s hope this never-ending pandemic doesn’t stop Britta and her henchmen from releasing new, vibrant music for all of us metalheads in a not-so-distant future.
Of course, we cannot talk about Britta and her pulverizing vocals without talking about the band that launched her to stardom in the metal community. I’m talking about German Death and Thrash Metal platoon Cripper, formed in 2005 in Hannover, with whom she recorded the EP Killer Escort Service in 2006, followed by the full-length albums Freak Inside (2007), Devil Reveals (2009), Antagonist (2012), Hyëna (2014) and Follow Me: Kill! (2017), with the last two being available on their BandCamp page, and all of them on Spotify. Hence, you can also visit their YouTube channel for official videos, interviews, unboxing of their albums and tons of other amazing footage from this hard-hitting band that unfortunately split up in 2018. Having toured with renowned acts like Overkill and Onslaught, in addition to repeat performances at major European festivals the likes of Summer Breeze, Wacken Rocks, Metalfest and Rockharz Open Air, Cripper effectively converted fans to their cause with their riveting mix of old school and modern thrash, as you can see in the official videos for the songs Animal Of Prey, Mother, Into the Fire, Tourniquet, Pressure, Totmann, A Dime For The Establishment, Shortcut, God Spoken Prayer/Cocoon and Damocles, as well as in their infernal live performances at Rock Im Betonwerk in 2012, at Metaldays in 2014 and at Wacken Open Air in 2016. As you might have noticed, when Critical Mess were formed, Britta was still singing for Cripper, but according to Britta herself it wasn’t difficult at all to manage both bands at the same time. “The two bands feel completely different,” she commented at that time, complementing by saying that “lyrically, Cripper is more expressive, while Critical Mess has so far been more storytelling.”
You can also find Britta screaming and roaring like a true she-wolf in several distinct bands and projects, where she was able to add her own share of violence and creativity to their music. For instance, you can enjoy Britta’s unique guttural vocals in the song My Abomination, from the album ED, released in 2020 by German Death Metal act Corrosive; in the song Into Darkness, from the 2014 album Drone, by German Groove Metal/Metalcore unity Drone; in the song Children of the Pit, from the 2016 album Welcome to the Green Zone, by German Thrash Metal squad Godslave; and doing backing vocals in the 2009 album Marauders, by German Death/Thrash Metal act Lost World Order. Not only that, Britta also showcased her skills as a photographer in the 2007 album Hate Is the Law, by German Death Metal band Ancient Existence.
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Regarding her influences, idols and first experiences in music, Britta has a very eclectic and wide range of musicians and bands that she admires. For instance, she said the first-ever concert in her life was back in 1990 in the small town of Seelze, where she grew up, of German Pop Rock band Die Prinzen; her first record was one containing the hit Bruttosozialprodukt, released in the 80’s by Neue Deutsche Welle group Geier Sturzflug; the first CD she bought herself was a live album by Guns N’ Roses (at the same time she bought her first CD player); and she would love to share the stage with the one and only Mike Patton, especially if it’s with his insane cult band Fantômas, which is quite easy to understand why as Mr. Patton is indeed one of the most talented, one of the wildest and one of the most creative vocalists ever. Also, on a side note, if you think Britta makes any distinction between male and female vocalists, or if she cares about the term “female-fronted metal”, she thinks that’s a stupid and very sexist concept, saying that she got tired of it right after her first interview where questions about her being a girl in a Death Metal band started to come up. Having said that, let’s simply stop asking that type of question when interviewing Britta, sounds good?
As mentioned, Britta has already been in several different festivals with all of her bands like the unparalleled holy land of metal music Wacken Open Air, having toured extensively across the entire European continent as well as being part of renowned and innovative events such as being aboard 70,000 Tons of Metal, saying the vibe in each one of those unique events might be different due to the number of people that attend each one, the ticket prices, the age of the fans and so on, but that in the end it’s always a pleasure for her to show her music and art to all types of metalheads. She also said that whenever someone can’t believe how powerful and aggressive her guttural vocals are when seeing he live for the first time, that doesn’t really amuse her as she thinks if you’re a true metal fan you’re already used to women growling for ages. In addition, she mentioned in one of her interviews that she dreams of touring around South America, as (unfortunately) she’s never been there and she would love to experience all South American countries as a touring band, immersing herself in each local youth and music culture.
All that recording, touring and screaming can be extremely strenuous on one’s vocal chords, demanding a lot from the singer, and of course it couldn’t be any different with Britta. She mentioned that there are some warmup exercises she does prior to each show, such as humming and singing some scales, saying that those aren’t only important for her vocal cords, but they also serve as a ritual to prepare herself mentally for hitting the stage, working at the same time as physical and mental warmups. In addition, our talented growler also listed lots of sleep and lots of water as necessary methods for anyone’s vocals to stay in shape, balancing her partying and avoiding drinking too much alcohol, working out regularly and eating healthy, fresh food (without stressing too much about that). If you want to have a one-hour online lesson (or even a face-to-face one after this pandemic is finally over) in growling, shouting and screaming with Britta, you can visit the LCHQ Online Shop and purchase a vocal coaching voucher, hiring her services to provide you some useful tips, teach you new techniques and warmups, and anything else related to guttural singing, and coming from such talented singer like Britta that’s definitely worth the investment.
Last but not least, Britta has a very strong opinion on populism and the tensions we’ve been experiencing worldwide, saying that it doesn’t matter which perspective you take, be it the way the media reports it or how the reporting is perceived, the desire for security paired with the abandonment of freedom, or the contribution that the so-called “western world” makes to all of this, in the end the situation is pretty tricky, leading people to think they have simple solutions to complex problems. There are countless interviews online with Britta where you can know more about her as a person, as an artist, her opinions, her likes and dislikes and so on, such as this one to Mama Goes Wacken where she talks about her passion for chocolate (among other topics, of course), this one to The Metal Gods Meltdown where she discusses the decision of Cripper to call it quits, this one to Rock Titan and this one to DJ Vampire talking about Cripper, and this one to Metal & High Heels when they played at FEMME (Female Metal Event). As you can see, Britta is an extremely talented musician with an open heart and an open mind, always willing to share her ideas, experiences and opinions with her fans and, more important than that, always ready to scream and roar in the name of our good old Death Metal.
“I never thought ‘oh look at what she is doing, a girl in a heavy metal, that’s what I wanna do, too’. What got me to wanting to play in a band was probably that I thought it was a good way for me to express myself and at the same time channel my energy. Energetic live shows no matter of which genre attract me. Shows where you can feel the electricity in the air, where it kicks your butt and really grabs you. I am trying to find a certain kind of flow on stage and to share my energy with the fans. That’s not easy, cause it is nothing that you can create every time, but that’s what I am aiming for.” – Britta Görtz
What happens when you put together four metalheads hailing from Brazil, Italy, Spain and Greece? A deadly and thrashing lesson in perpetual chaos, of course.
Staying true to their roots while exploring new terrains with a revitalized international line-up now comprised of Brazilian founding guitarist Prika Amaral, Spanish growler Diva Satanica (of Bloodhunter), Italian bassist Mia Wallace (of bands such as Abbath, Triumph of Death and The True Endless) and Greek drummer Eleni Nota (of Lightfold and Mask of Prospero), the ruthless all-female Death and Thrash Metal powerhouse Nervosa is ready to attack with inexorable fury, pungently sharp riffs and aggressive vocals on the 13 massive tracks from their newborn spawn, entitled Perpetual Chaos, the follow-up to their critically acclaimed 2018 opus Downfall Of Mankind. Recorded at Artesonao Casa de Grabación Studio in Málaga, Spain, produced by Prika Amaral and Martin Furia at Studio Porino, and mastered by Yarne Heylen, Perpetual Chaos builds upon the turbulence, adding diverse musical elements to create an infallible new standout that will strike the listener in a way only Nervosa could, therefore placing the album as one of the best releases of 2021 hands down.
The unstoppable Prika ignites their thrashing machine with her flammable riffs in the brutal Venomous, sounding pulverizing from the very first second with Diva Satanica being a true she-demon on vocals while Eleni showcases all her skills and rage on drums, whereas in Guided by Evil the rumbling, obscure sounds blasted by Mia and Eleni are everything Diva Satanica needs to growl the song’s vile words (“Desire consumes you, blinds you, takes you off the line / But you go slowly cause all you do is lie / Every step taken, misfortune is your delight / Tormented by feelings, swallowed by quicksand”) in another ass-kicking fusion of Death, Thrash and Black Metal. Following such frantic start, People of the Abyss is perhaps one of the most infuriated and heaviest of all songs in the history of Nervosa where Prika will pierce your ears mercilessly with her classy riffs and solos accompanied by the devilish bass by Mia, therefore inflicting some serious pain in your neck due to the intense headbanging needed. And more of their demented and grim sounds is offered in the title-track Perpetual Chaos, with Eleni and Prika making a hellish duo and, consequently, providing Diva Satanica a solid base for her to haunt our souls with her otherworldly screeches and gnarls.
Featuring guest guitarist Guilherme Miranda (of Entombed A.D.), Until the Very End is a high-octane fusion of Death and Thrash Metal brought forth by those unrelenting women where Prika is once again phenomenal armed with her killer strings; and it’s time for Nervosa to smash our skulls mercilessly in Genocidal Command, with German thrash legend Schmier, from the one and only Destruction, making a demented vocal duo with Diva Satanica, always supported by the thunderous kitchen by Mia and Eleni. Slower but heavy-as-hell, Kings of Domination presents hints of Groove Metal added to the guitar lines by Prika and the bass jabs by Mia, resulting in the perfect sound for headbanging like there’s no tomorrow, while Time to Fight is another short and sweet display of their thrashing savagery, inviting us all to slam into the pit while Eleni pounds her drums in great fashion. If you think the girls from Nervosa are tired already of so much violence, you better get ready for more of their Stygian sounds in Godless Prisoner, showcasing a straightforward sonority led by Prika while Eleni dictates the pace with her solid beats, albeit not as powerful as the other songs from the album.
Blood Eagle gets back to a more ferocious and somber musicality, with Prika and Mia being in total sync with their stringed weapons while Diva Satanica adds her personal dosage of Death Metal to the band’s core Thrash Metal through her devilish gnarls; and Eric A.K. (of Flotsam and Jetsam) lends his trademark vocals to Rebel Soul, a Motörhead-inspired metal extravaganza that will invite you to raise your horns and bang your head like a beast, bringing forward Diva Satanica and Eric on absolute fire from start to finish. Never slowing down nor selling out, and always loyal to the foundations of Thrash Metal, the band offers us all Pursued by Judgement, with Mia hammering her evil bass accompanied by the crushing drums by Eleni, keeping the album at a high level of animosity before we’re treated to the closing tune Under Ruins, presenting disruptive words viciously barked by Diva Satanica (“I feel death coming / Getting lonelier everyday / In the cravings that consume me / Self destruction without limits”) while her bandmates make sure the electricity keeps flowing nonstop through their wicked instrumental.
To be fair, I was a little worried about the future of Nervosa after the departures of vocalist and bassist Fernanda Lira and drummer Luana Dametto last year, but the moment Prika announced Diva Satanica, Mia Wallace and Eleni Nota as the new members of her thrashing squad I was more than sure their new album would sound phenomenal to say the least based on their unique talent and background in heavy music. Well, let’s say those four metal ladies exceeded all expectations in Perpetual Chaos, delivering an album that’s at the same time brutal, melodic, thrilling and detailed. Hence, don’t forget to give the girls a shout on Facebook and on Instagram to let them know how much you enjoyed their newest creations, to subscribe to their YouTube channel for more of their distinguished music and videos, to stream all of their catalogue on Spotify, and above all that, to purchase Perpetual Chaos from their own BandCamp page or webstore (America or Europe), or simply click HERE for all locations where you can buy or stream what’s by far one of the most exciting metal albums of the year. And before I forget… VIVA PERPETUAL CHAOS!
Best moments of the album: People of the Abyss, Genocidal Command, Time to Fight and Rebel Soul.
Worst moments of the album:Godless Prisoner.
Released in 2021 Napalm Records
Track listing 1. Venomous 3:46
2. Guided by Evil 3:30
3. People of the Abyss 3:27
4. Perpetual Chaos 3:39
5. Until the Very End 3:18
6. Genocidal Command 2:56
7. Kings of Domination 3:41
8. Time to Fight 2:32
9. Godless Prisoner 3:19
10. Blood Eagle 3:41
11. Rebel Soul 3:17
12. Pursued by Judgement 3:27
13. Under Ruins 3:57
Band members Diva Satanica – lead vocals
Prika Amaral – guitar, backing vocals
Mia Wallace – bass
Eleni Nota – drums
Guest musicians Guilherme Miranda – additional guitars on “Until the Very End”
Schmier – additional vocals on “Genocidal Command”
Eric A.K. – additional vocals on “Rebel Soul”
Turkey’s own Death Metal one-man army is ready to strike his venom once again through his first full-length opus, featuring nine original tracks of sick, alcohol-fueled terror.
Hailing from the dark pits of Antalya, a gateway to Turkey’s southern Mediterranean region, Death Metal one-man army Booze Serpent was formed back in 2019 by vocalist and multi-instrumentalist Serpent as an ode to 1980’s horror B-movies and H.P. Lovecraft novels, having already released in 2020 the project’s five-track debut EP Drünkard. After less than one year, Serpent returns in full force with his first full-length effort, the sick, alcohol-fueled terror party entitled Slices Of Death, offering us fans a high dosage of old school Death Metal with no shenanigans nor any artificial elements. Mixed and mastered by Polish musician Mikołaj Krzaczek (Thamnos Records), displaying a classic artwork by Death Rattle, and featuring an array of guest musicians such as Cezary Borawski on drums and Burak Ulugüney (of Minus Life) on keys, Slices Of Death was recorded entirely live, with no drum machines nor midi used in the recordings, giving it a more organic, honest and, therefore, violent feel throughout its nine inebriate and visceral tracks of groovy death.
An ominous, atmospheric intro ignites Booze Serpent’s evil brewing machine, morphing into the venomous Dead Fak, where Serpent blends a high dosage of Black, Death and Thrash Metal in his infernal riffs and screams; whereas Turkey’s own one-man horde gets the support of guitarist Gavin Brooks with a sick solo in Man-Eating Plant, while Cezary keeps hammering his drums nonstop, leaning towards contemporary Blackened Death Metal. Then guest drummer Jeremiasz Baum (of The Materia) lends his violence to Booze Serpent in Motel Hell, another short and sweet homage to darkness and drinking where the deep gnarls by Serpent will haunt your soul during your sleep, also presenting the trademark futuristic keys by Burak. And Serpent keeps slashing his guitar and bass in the straight-to-the-point, headbanging tune They Live We Drink!, another heavy and unfriendly creation showcasing the most visceral elements from Black and Death Metal, featuring a guest guitar solo by Gavin Brooks.
Venturing through the realms of Deathslam and Brutal Death Metal, Serpent fires the sick and vile The Beast (Pumpkinhead), blasting sheer rage through his demented riffs and growls, and all spiced up of course by the pounding beats by Cezary. Then uniting the obscurity of Black Metal with the bloodthirsty sounds of Death Metal we’re treated to The Animal, showcasing a bestial guest guitar solo by Croc (of Axxen Conners), resulting in the perfect tune for cracking our necks headbanging to the sound of Serpent’s hellish roars, while guest drummer Charlie Nicholson (of Psychosexual) brings his share of dementia to the short and pulverizing Live Brains!, a tribute to zombie flicks from the 80’s where Serpent sounds even more demonic than before on vocals, not to mention his infernal bass jabs and cutting riffs. The epic and imposing keys by Burak make the final result even more Stygian in Resurrected In Chapman Labs, where the cryptic lyrics barked by Serpent are complemented by his own razor-edged guitars and low-tuned bass, flowing into the atmospheric outro Slices Of Death, where grim piano notes permeate the air in the best Cradle of Filth and Dimmu Borgir-inspired style.
Dedicated to Serpent’s dearest friend Onur Soyulmaz, who sadly passed away in 2018, Slices Of Death is indeed a fantastic display of underground extreme music made in Turkey, bringing to our ears endless amounts of fury, electricity, heaviness and acidity, which obviously translates into awesomeness after all is sad and done. Hence, don’t forget to show your utmost support to such skillful Turkish metaller by following his project on Facebook and on Instagram, and of course by grabbing your sulfurous, alcohol-infused copy of Slices Of Death directly from Booze Serpent’s own BandCamp page, raising your glass high in the sky in the name of horror movies and Death Metal, and getting absolutely drunk to the sound of Serpent’s venomous compositions on a dark and bitterly cold winter night.
Best moments of the album: Man-Eating Plant, The Beast (Pumpkinhead) and Live Brains!
Worst moments of the album: None.
Released in 2021 Plague Demon Records
Track listing 1. Intro/Dead Fak 4:19
2. Man-Eating Plant 3:04
3. Motel Hell 2:58
4. They Live We Drink! 2:50
5. The Beast (Pumpkinhead) 2:16
6. The Animal 3:18
7. Live Brains! 2:14
8. Resurrected In Chapman Labs 3:00
9. Slices Of Death 2:28
Band members
Serpent – vocals, guitar, bass
Guest musicians Burak Ulugüney – intro, keys
Gavin Brooks – lead guitar on “Man-Eating Plant” and “They Live We Drink!”
Croc – lead guitar on “The Animal”
Cezary Borawski – drums on “Intro/Dead Fak”, “Man-Eating Plant”, “They Live We Drink!”, “The Beast (Pumpkinhead)”, “The Animal” and “Resurrected In Chapman Labs”
Jeremiasz Baum – drums on “Motel Hell”
Charlie Nicholson – drums on “Live Brains!”
A newborn French entity brings out their dead in their debut EP of pulverizing Industrial Metal and Blackened Crust.
Labeling their own music as “Blackened Crust Industrial As Fuck”, Cherbourg-en-Cotentin, France-based Industrial/Blackened Crust outfit Salò is unleashing upon humanity their debut EP entitled Sortez vos Morts, or “bring out your dead” in English, which as the band itself says, “tells you, without telling you everything either, poor little ones, how it generally goes – after all the lights at the end of the tunnel have closed.” Recorded and mixed by Manu Laffeach at Studio Chaudelande, mastered by Cyrille Gachet at Dick Doom Studio, and featuring an apocalyptic artwork by CLLK Artwork and logo by Dehn Sora, Sortez vos Morts is highly recommended for fans of the darkest and most desperate form of Industrial Metal you can think of, showcasing all the rage and versatility of this up-and-coming quartet formed by HCT on vocals and bass, AVS on the guitars, DLE onkeyboards and samples, and NGH on drums.
There’s nothing better than kicking of an Industrial Metal album than with a wicked, cinematic intro the likes of La Morale C’est Ça… (or “the moral is that…” in English), setting the stage for the band to crush in the visceral Sans Gêne Ni Haine, or “without embarrassment or hatred”, sounding sick and demented from the very first second with AVS and NGH making an infernal duo with their respective riffs and beats, while HCT barks and roars like a rabid beast. Then the phantasmagorical keys by DLE add an extra touch of dementia to the furious fusion of Industrial Metal and Blackened Crust by Salò in Sans Toit Ni Loi (“no roof or law”), with AVS firing his Thrash Metal-inspired riffage, followed by Tant D’interdits (“so many prohibitions”), where another eerie, alternative intro morphs into a neck-breaking sonority showcasing the rhythmic drums by NGH spiced up by the sick keys and samples by DLE, not to mention how HCT effectively takes the lead with his deranged screams. Their second to last blast of industrialized sounds, titled Sonnez La Curée (“ring the quarry”), is an insane and demonic creation by the French quartet where its thrashing, Punk Rock-infused riffs, together with its rebellious attitude and Hardcore growling by HCT, turn it into the most detailed and thrilling of all songs; whereas the ruthless and hellish Contagion closes the album in the most aggressive way possible, bringing to our ears venomous screams and riffs, menacing keys and Doom Metal-inspired beats.
Sortez vos Morts is available for a full stream on YouTube, but of course if you want to truly show your support for those French metallers you should start following them on Facebook and on Instagram, and even more important than that, purchase the EP from their BandCamp page, from the Cold Dark Matter Records’ BandCamp page or Big Cartel, from the Coups de Couteau’s BandCamp page, and soon also from the Duality Records’ Big Cartel. We must all admit Sortez vos Morts is indeed an amazing start for Salò, therefore already positioning them as a driving force of the genre in their homeland, and if that’s the music we’ll all hear “after all the lights at the end of the tunnel have closed”, then we can rest assured that the other side is at least heavy, furious and frantic, just the way we like it.
Best moments of the album: Sans Gêne Ni Haine and Sonnez La Curée.
Worst moments of the album: None.
Released in 2021 Cold Dark Matter Records/Coups de Couteau/Duality Records
Track listing 1. La Morale C’est Ça… 1:04
2. Sans Gêne Ni Haine 6:53
3. Sans Toit Ni Loi 4:28
4. Tant D’interdits 4:02
5. Sonnez La Curée 6:29
6. Contagion 3:53
Band members
HCT – vocals, bass
AVS – guitars
DLE – keyboards, samples
NGH – drums
Rousing guitar lines, pummeling drums, clever compositions and gritty vocals, all in one short and sweet EP recommended for anyone who thinks life is a disease, and the only cure is Rock N’ Roll.
With the drive of Motörhead, the hooks of Judas Priest and the thrash acrobatics of Toxic Holocaust, Wausau, Wisconsin-based duo Tantivy is chomping at the bit of traditional Heavy Metal. Named for an archaic word meaning a rapid gallop or ride, Tantivy are formed by vocalist, guitarist and bassist Adam Geurink (from crust-influenced outfit Wardehns) and drummer Jon Zimick in a musical match made in hell, culminating now in 2021 with the release of their debut EP titled Eyes in the Night. Recorded by Elliot Lozier, mixed and mastered by Trevor William Church at Church Recordings, and featuring a dark and rabid artwork by The Pit Forge, Eyes in the Night is everything a fan of the music by NWOBHM and Thrash Metal titans like Iron Maiden, Metallica, Judas Priest, Dio, Toxic Holocaust, Motörhead and Anthrax, among others, can ask for, with its rousing guitar lines, pummeling drums, clever compositions and gritty vocals inspiring us all to raise our fists high in the sky in the name of our beloved heavy music.
Jon’s crushing beats and Adam’s Motörhead-inspired, dirty bass lines ignite the frantic Rock N’ Roll and Heavy Metal feast titled I Am The Wolf, an amazing option for banging your head nonstop while enjoying a cold beer, with Adam’s raspy vocals adding an extra touch of rebelliousness to such vibrant sound. Then the 70’s and 80’s are united in the form of classic Hard Rock in Cut ‘Em Loose, exploding into a visceral and raw sonority led by Adam’s razor-edged riffs while Jon makes sure the level of adrenaline goes through the roof with his sick drumming, and the duo keeps smashing their instruments like there’s no tomorrow in Daggers, bringing forward a great fusion of classic Rock N’ Roll with Punk Rock. Moreover, Adam continues to vociferate manically while slashing his stringed axes mercilessly, driving the song’s fury through the roof. Then it’s time for guest Mason Kurth to kick some ass with his bass punches in Houndin’ Ya, another fast and electrifying display of Tantivy’s passion for Heavy Metal and Rock N’ Roll where Adam’s guitar roars like a true beast, always accompanied by Jon’s solid beats and fills; and the tribal drumming by Jon kicks off the 80’s-inspired extravaganza titled Nowhere, with Adam and Jon being in absolute sync during the entire song, therefore setting fire to the atmosphere and putting a beyond thrilling conclusion to the EP. Put differently, the one and only Lemmy Kilmister (R.I.P.) would certainly be very proud of those talented rockers.
It’s extremely easy to join Adam and Jon on their frantic quest for Heavy Metal. All you need to do is follow them on Facebook and on Instagram for news, tour dates and more of their insane music, and even more important than that, purchase your copy of their amazing debut EP from their own BandCamp page to prove those unrelenting rockers you’re a worthy metalhead. Eyes in the Night is the perfect example of everything Heavy Metal has always been and will forever be, never slowing down, never giving up and never selling out, always remaining loyal to the roots of the genre and, above all, loyal to diehard fans of old school rock and heavy music. The EP might be short in duration, with only 19 minutes of music, but it’s so intense and well-crafted it sounds like a full-bodied album in the end, pointing to a very promising future for the duo in the American scene and anywhere else in the world where, as many people like to say, life is a disease and the only cure is Rock N’ Roll.
Best moments of the album: I Am The Wolf and Daggers.
Worst moments of the album: None.
Released in 2021 Independent
Track listing 1. I Am The Wolf 3:08
2. Cut ‘Em Loose 4:36
3. Daggers 4:19
4. Houndin’ Ya 3:29
5. Nowhere 4:02
Band members Adam Geurink – vocals, guitars, bass
Jon Zimick – drums
Guest musician Mason Kurth – bass on “Houndin’ Ya”
These Teutonic bringers of Death and Thrash Metal are ready to smash us all to the sound of their third full-length album, translating into extreme music the thirteenth sign of the zodiac.
Thrilling live shows, a crushing sound, direct interaction with the crowd and an incendiary fusion of Thrash and Death Metal forged from whipping riffs, vicious drums and thunderous female growls. That’s exactly what Eggingen, Germany-based squad Dark Zodiak stands for, leading the band to rock all over Germany and Europe and to share the stage with renowned acts such as Tankard, Debauchery and Eluveitie, among many others, since their inception in 2011. After the releases of their 2011 debut demo Throwing Stones, followed by the full-length albums See You in Hell, from 2014, and Landscapes of Our Soul, from 2017, it’s time for frontwoman Simone Schwarz, guitarists Charly Gak and Benni Poeck, bassist Steffi Bergmann and drummer Dieter Schwarz to smash our skulls once again with their third installment, the heavy and furious Ophiuchus, the thirteenth sign of the zodiac. A large constellation straddling the celestial equator, having its name taken from the Greek Ὀφιοῦχος (Ophioukhos, or “serpent-bearer”), Ophiuchus is a lesson in underground extreme music, showcasing a band that’s not only extremely talented, but that also nurtures a deep passion for Death and Thrash Metal presented as 48 minutes of music split into the ten unrelenting, organic and honest tracks.
A sinister intro evolves into the thrashing beast Do More Say Less, with Simone providing her welcome card through her guttural, she-demon vocals, while Charly and Benni fire razor-edge Death Metal riffs nonstop, and it’s time for Dieter to smash his drums rabidly in the fast and furious Heaven, Earth And Beneath, showcasing a perfect combination of the instrumental madness from Thrash Metal with the vile growling from Death Metal, consequently inspiring us all to smash our skulls into the circle pit. Their sick and violent display of Death and Thrash Metal goes on in Invisible Apocalypse, where Simone invests in some demented Deathslam-inspired screeches while Steffi and Dieter make sure the ambience remains as dense as possible with their infernal kitchen; whereas the obscure vociferations by Simone kick off the infernal Ophiuchus, sounding as if Exodus went full Death Metal and presenting a great job done once again by the band’s guitar duo with their dirty riffs and solos, resulting in over seven minutes of ass-kicking metal with atmospheric passages and endless rage. Then another round of their unstoppable beats, crushing riffage and devilish roars is offered to our ears in the form of Destroy Destruction, a classic Death Metal tune with Dieter showcasing all his dexterity and insanity behind his drums.
The band’s blazing guitars will slash your ears in the also violent, headbanging tune Humor, where Simone’s deep growls walk hand in hand with the classic beats by Dieter, resulting in a solid and entertaining display of old school Death Metal, followed by From Thrash Till Death, once again bringing to our avid ears a pulverizing fusion of Thrash and Death Metal spearheaded by the scorching riffs by Charly and Benni during its three minutes of music tailored for banging our heads like true maniacs. The lyrics in 2020 A.D. couldn’t have represented better the current (and shitty) state of our world, while musically speaking it’s a mid-tempo, hammering extravaganza where Steffi’s bass (together with Dieter’s drums) will make your head tremble in great Death Metal fashion; and after a quick intro, Total Freedom explodes into pure Death Metal in their second to last breath of violence, and you better get ready to growl and gnarl together with Simone during the entire song, not to mention the heaviness of the pounding beats by Dieter. Lastly, blending the gory sound of Cannibal Corpse with the thrashing madness of Exodus and Nuclear Assault the band offers us all Ignorance, a great choice to close the album showcasing Simone’s vicious and demonic growling and the always thrilling drums by Dieter from start to finish, leaving us disoriented but absolutely eager for more of their music in the future.
After all is said and done, we must all admit Dark Zodiak did a damn good job throughout the entire album, offering our ears humongous dosages of savagery, dexterity and passion for extreme music. Hence, we should all hail those Teutonic bringers of Death and Thrash Metal by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming more of their music on Spotify, and by grabbing a copy of Ophiuchus from their own website, from their BandCamp page, and soon enough from other retailers like Apple Music and Amazon. And may the stars of our beloved Death and Thrash Metal keep guiding Dark Zodiak in their quest for total annihilation, celebrating heavy music with more ass-kicking releases like Ophiuchus.
Best moments of the album: Heaven, Earth And Beneath, Ophiuchus and Ignorance.
Worst moments of the album:Total Freedom.
Released in 2021 Independent
Track listing 1. Do More Say Less 5:49
2. Heaven, Earth And Beneath 4:04
3. Invisible Apocalypse 3:45
4. Ophiuchus 7:18
5. Destroy Destruction 4:40
6. Humor 5:16
7. From Thrash Till Death 3:03
8. 2020 A.D. 4:52
9. Total Freedom 5:27
10. Ignorance 3:57
Formed in 2007 by vocalist and multi-instrumentalist Denis Tereschenko (known as Herr Entweiherr during the first years of the project) in the northern part of Israel, three years after moving to Haifa from his hometown Vitebsk, in Belarus, Melodic Dark/Black Metal entity Die Entweihung, which is German for “the desecration”, has just unleashed upon us all the project’s impressive tenth full-length opus, entitled Kings & Pawns, continuing the eclectic direction of some of his previous albums by mixing diverse musical genres the likes of Experimental, Doom and Thrash Metal with trademark Black Metal vocals, Middle-Eastern melodies and lyrics that, just like in the previous two albums, deal with “the confrontation of man and his surrounding world”. Not only that, Kings & Pawns also marks Die Entweihung’s first release in nine years to feature a couple of guest musicians, more specifically vocalists Alexander Ivanov (of Jinx) and Alena “Dark Zero” (of Nocturnal Pestilence), and bassist Anton Shirl (of Tales of Darknord), bringing additional layers of obscurity and mystery to the already idiosyncratic music crafted by Denis, all enfolded by a stylish artwork by Yulia “BooShweak” Asher.
In the end, as you can see it’s quite difficult to label the music crafted by Denis and his Die Entweihung in Kings & Pawns, showcasing all the dexterity, creativity and dynamism by such talented musician. Hence, the best thing to do in order to try to understand all styles and nuances found throughout the album is to stream it in full on YouTube, and of course purchase the album (and show Denis your utmost support) from his own BandCamp page, from Wings of Destruction’s BandCamp page or webstore, or from Discogs. Also, don’t forget to give Denis a shout on Facebook, getting to know more about his career, his music and plans for the future, consequently inspiring him to always move forward armed with his epic music. In a world where each one of us is either a king or a pawn, and with the discrepancy between those two groups growing exponentially year after year, there’s nothing better than some diverse and epic metal music to help us endure our daily lives, and Denis and his Die Entweihung are among us exactly to help us with that.
THE HEADBANGING MOOSE 