Tag Archives: thrash metal

Concert Review – Trivium & Tremonti (Phoenix Concert Theatre, Toronto, ON, 09/22/2015)

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There might be silence in the snow during this coming winter, but there was surely a lot of good noise and blazing hearts on the last night of the summer in Toronto.

OPENING ACT: Wilson

harddriveradiotourupdated2015Unfortunately, due to traffic and working issues, I cannot say anything about the performance by American Hard Rock/Rock N’ Roll band WILSON, who were in charge of warming up the crowd for the main attractions of the night at the Phoenix Concert Theatre as part of the 2015 HardDrive Live Tour. All I can say is that if you’re curious to know how their music sounds, two very good songs are Give ‘Em Hell and College Gangbang, both part of their setlist. And, in addition, in case your first or last name is “Wilson” I suggest you go after their merchandise right away. Who wouldn’t love to have your own name on a cool T-shirt like this one? Maybe next time they’re around I’ll go check their live performances, but this time the Gardiner didn’t allow me to do so.

Setlist
Before I Burn
Give ‘Em Hell
College Gangbang
Waiting on the World to Cave In
Windows Down
All My Friends
Right to Rise
Susan Jane

Band members
Chad Nicefield – vocals
Jason Spencer – guitar
Kyle Landry – guitar
James Lascu – bass
Puhy – drums

TREMONTI

IMG_0675For those of you who don’t know this excellent guitarist, award-winning American musician MARK TREMONTI is the lead guitarist and founding member of the famous rock groups Creed and Alter Bridge, and since 2012 he’s been on the road with his solo project that takes his last name, being also responsible for the band’s lead vocals. And that’s probably the main reason why there were so many people eager to see Tremonti, I would say almost the same amount that were at the venue to see Trivium, because not only his music is clean and cohesive, but also fun.

Playing a mix of Hard Rock, Rock N’ Roll, Speed Metal and Alternative Metal, this Detroit-based band did a pretty good job during their relatively lengthy setlist, which ended up extending their concert to past 10pm and therefore “forcing” some people to go home before Trivium started due to different reasons, such as work or classes the next morning. I’ll be 100% honest and say that their music is not really my cup of tea, but I enjoyed their performance as much as I could while having a cold Rolling Rock. Perhaps the biggest issue with the concert was the huge amount of ballads, because when they played heavier stuff you could feel a much stronger reaction from everyone at the venue.

I’m not familiar with the names of the songs either, but if there were two that caught my attention were curiously the very first, Cauterize, and the very last, Decay, due to their strength and speed. In other words, if you’re more into old school metal music (including really heavy stuff like Death and Black Metal) like I am you might consider Tremonti a bit too light for your taste, but as a straightforward rock band they more than deliver it on stage.

Setlist
Cauterize
You Waste Your Time
All I Was
So You’re Afraid
Another Heart
Flying Monkeys
The Things I’ve Seen
Radical Change
Tie the Noose
Dark Trip
Arm Yourself
Brains
Wish You Well
Decay

Band members
Mark Tremonti – lead vocals, lead and rhythm guitar
Eric Friedman – lead and rhythm, backing vocals
Tanner Keegan – bass guitar, backing vocals
Garrett Whitlock – drums

TRIVIUM

IMG_0683After a short pause to the sound of the entire Ace Of Spades album, by Motörhead, lights went down and like many bands do, the speakers played a classic song TRIVIUM truly love to ignite the hearts of the fans waiting for their performance. Well, they chose the all-time battle hymn “Run to the Hills” by Iron Maiden for that. Do I need to say more? After that brilliant demonstration of passion for metal music and after their own intro Snøfall, our already iconic and influential Orlando-based metallers hit the stage between two giant skulls from their new album with one of their brand new songs, the good Silence in the Snow. Matt was electrified as usual, wearing a Dio T-shirt and an Emperor vest, again showing his respect and admiration for his idols in music and his loyalty to his roots, while Corey Beaulieu, Paolo Gregoletto and Mat Madiro interacted with the fans as much as possible during and between songs to make things even better.

I know some people are complaining Matt doesn’t want to scream anymore, but all three new songs (Silence in the Snow, Until the World Goes Cold and especially Blind Leading the Blind, which Matt dedicated to the unparalleled Ronnie James Dio while telling a story about food and friendship when they opened for Heaven & Hell in Japan in 2007) sounded truly powerful live, proving the harsh screams are not really necessary for them to work. However, as an old school metalhead I have to say it was when they played their classic assaults Throes of Perdition, Pull Harder on the Strings of Your Martyr and A Gunshot to the Head of Trepidation that things got really serious inside the mosh pits. Moreover, although Corey was incredible with his guitar, I think he seemed a little “lost” during the songs without the harsh screams. Let the guy scream, please!

IMG_0695And I was impressed (actually, the whole band was too) with the insane reaction of the crowd for each and every song of their setlist, in special their “newer” classics Strife (including a loud and awesome “Oh-oh-oh… Oooooh!” to its Iron Maiden-ish riffs, as demanded by Matt), Built to Fall (what a “built-to-fall” image seeing everybody singing the whole song at full force with Trivium!) and Black, showcasing how thrilling In Waves and Vengeance Falls are despite some diehard fans not digging those albums. Not to mention the amazing turmoil caused by the fans during the superb duo Capsizing the Sea/In Waves, which started with a decent wall of death just for you to have an idea of how crazy fans were. The band noticed that, enjoyed that and acknowledged that on their social media, saying Toronto was the best crowd of the entire tour. I have to agree with them, it was indeed a fantastic night, much better than their last concert back in 2013 at the same venue.

IMG_0687And in order to keep us all craving for more Trivium and more metallic tunes, the sound system played the masterpiece “Heaven & Hell” by Black Sabbath, which was sung by most fans so excited everybody got after Trivium finished their flawless performance. Now let’s wait and see how their entire new album sounds like, if there won’t be any screams at all or if they’ll still offer us some harsher moments like the ones we learned to love from their music. It might have been the last night of summer in Toronto, but it was more than enough to keep our hearts on fire through the fall and the winter, even if there’s total silence in the snow that’s about to come soon.

Setlist
Snøfall
Silence in the Snow
Down from the Sky
Becoming the Dragon
Strife
Pull Harder on the Strings of Your Martyr
Built to Fall
Until the World Goes Cold
Throes of Perdition
Anthem (We Are the Fire)
Black
A Gunshot to the Head of Trepidation
Blind Leading the Blind
Dying in Your Arms

Encore:
Capsizing The Sea
In Waves

Band members
Matt Heafy – guitar, lead vocals
Corey Beaulieu – guitar, vocals
Paolo Gregoletto – bass, vocals
Mat Madiro – drums

Album Review – Fear Factory / Genexus (2015)

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Once again, it’s time to enter the machine and surrender to the mechanized reign ruled by the undisputed masters of Industrial Metal.

Rating4

fear factory_genexusI honestly don’t understand why the music by American Industrial Metal masters Fear Factory has never been part of any of the Terminator movies. I mean, ANY of their songs are powerful, metallic and atmospheric enough to provide the perfect background for all the destruction and chaos caused by the one and only Mr. Arnold Schwarzenegger, which is also the case with the music found in their brand new automaton entitled Genexus, the ninth studio album in their exceptional career and the first to feature drummer Mike Heller (Malignancy, System Divide).

However, it’s not only the density and strength of the music by this Los Angeles-based nonstop machine that amazes me every single time they release a new album, but also the whole futuristic concept surrounding their work. For instance, the new artwork, designed by American artist Anthony Clarkson, reminds me a lot of three iconic movie characters that have everything to do with what the music proposes: the unstoppable killing machine known as the Terminator; the brainy and rebel hero Iron Man; and the mesmerizing but extremely dangerous Ava (from the cult flick Ex Machina). Put differently, Fear Factory marvelously know how to give life and emotion to cold metal.

The opening track, Autonomous Combat System, is Industrial Metal at its finest from the very first second, a violent and harmonious tune just like we always expect from this amazing band, and when the sick riffs by the unparalleled Dino Cazares and the band’s famous industrial drums begin the energy level goes through the roof. And their futuristic awesomeness goes on in Anodized, another masterful lesson in shredding (who doesn’t love riffs like these?) supporting its meaningful lyrics from a not-so-impossible future for all of us (“A transhuman state / Will liberate man’s evolution / A singularity / Maintains the peace / Machined solution / Lacerate, eviscerate / My body to redefine / My design”). The performance by Mr. Burton C. Bell with both his harsh screams and clean vocals is superb, and if you’re a fan of Alternative Metal or Nu Metal let me tell you this is an awesome example of how everything started. In Dielectric, you can feel the electricity flowing nonstop, especially through its drums that sound like a machine gun, with its background effects being so important I cannot imagine this amazing tune without them.

Then it’s time to bang your fuckin’ head to the low-tuned bass lines by Tony Campos and the vicious riffs by Mr. Cazares in Soul Hacker, where its great chorus will stick inside your mind for sure, followed by the dynamic and thrilling rhythm of ProtoMech, enhanced by its excellent lyrics (“Take everything away from me / Replace my skin with circuitry / All that I have bleeding from me / To feed the machine”) and an amazing feeling provided by its mechanized atmosphere. In my humble opinion, this is the best song of the whole album, proving once again how skillfully Fear Factory are capable of feeding the Heavy Metal machine we all love so much.

fear factoryThe superb title-track, Genexus, is like a journey to a desolated world ruled by machines, exactly like what the future shows in the Terminator franchise, showcasing all the elements that took Fear Factory to stardom, with Burton sounding enraged and ready to confront the machine for his freedom. Church of Execution also provides that mechanic and industrialized sounding and an eerie ambience with lots of groove, despite not being as kick-ass as the others due to the lack of a more violent chorus; while Regenerate, with its weird robotic effects in the background, is perhaps one of the best examples of traditional Thrash Metal modernized by Industrial and Groove Metal. Moreover, I love the energy of its chorus, and how can we not bang our heads to it?

Battle for Utopia is intended to represent the march of the machines with its furious and imposing sonority, including lots of special effects to create the atmosphere desired by the band, before Expiration Date closes the album in a very traditional way, which in the case of Fear Factory means in the form of a melancholic music voyage. Pay good attention to the beauty of its lyrics, gently declaimed by Burton (“Under the surface we’re not machines / Under the surface we’re living dreams / Death lives just one breath away / Somewhere my heart beats in silence / I made my way through the violence / Nobody lives forever”), close your eyes and let yourself be absorbed by the music and its message, the final result is outstanding.

And finally, on a side note, the bonus tracks that come with the limited edition of Genexus keep up with the rest of the album in terms of complexity, violence and electricity, with highlights to the ominous atmosphere in the smooth Enhanced Reality. In summary, if you’re ready to enter the machine engendered  by Fear Factory for the first time, or if you already surrendered to their mechanized reign a long time ago, Genexus is definitely a must-have album to your collection of extreme and melodic music.

Best moments of the album: Autonomous Combat System, ProtoMech and Genexus.

Worst moments of the album: Church of Execution and Battle for Utopia.

Released in 2015 Nuclear Blast

Track listing
1. Autonomous Combat System 5:28
2. Anodized 4:47
3. Dielectric 4:19
4. Soul Hacker 3:12
5. ProtoMech 4:56
6. Genexus 4:48
7. Church of Execution 3:21
8. Regenerate 4:02
9. Battle for Utopia 4:14
10. Expiration Date 8:48

Limited Digipak bonus tracks
11. Mandatory Sacrifice (Genexus Remix) 5:43
12. Enhanced Reality 5:36

Band members
Burton C. Bell – vocals
Dino Cazares – guitar
Tony Campos – bass guitar
Mike Heller – drums

Guest musicians
Deen Castronovo – drums on “Soul Hacker”
Laurent Tardy – piano on “Autonomous Combat System” and “Protomech”
Mister Sam – spoken words on “Autonomous Combat System” and “Expiration Date”
Damien Rainuad – programming, keyboards
Giuseppe Bassi – samples, keyboards

Album Review – Slayer / Repentless (2015)

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Live fast, on high, repentless, and always listen to Slayer.

Rating3

Slayer_RepentlessGet the most blasphemous Black Metal band in the world, mix it with the goriest Death Metal act you can think of, and even after that you won’t get close to the wickedness that American Thrash Metal masters Slayer have been providing us all since their inception in 1981. They’re the meanest, the most badass and, above all, the most unrepentant band in the history of mankind. And it’s due to their obstinacy and devotion to their roots that this undisputed band has dauntlessly braved the darkest period of their lives, marked by the terrible loss of the one and only Jeff Hanneman (R.I.P.) in 2013, to finally release the eleventh studio album in their distinct career, the raging Repentless.

However, as the guys from Monty Python would say, “always look on the bright side of life”, which in the case of Slayer translates into Tom Araya and Kerry King recruiting Mr. Gary Holt to the band (the guitar behemoth and mastermind behind another of my favorite bands, American Thrash Metal warriors Exodus), and also the return of the beast Paul Bostaph behind the drums for the first time since their 2001 onslaught God Hates Us All. You can get a good sense of the entire process until Repentless was finalized by watching some amazing videos from their official YouTube channel, including the “enlistment” of Gary and the recording of drums, always noticing how Slayer never lost their core essence amidst such turbulence and grief in their recent past.

Delusions of Saviour, a profane intro the likes of the spine-chilling “Darkness of Christ” (by the way, Repentless has tons of similarities to what Slayer did in God Hates Us All), opens the gates of hell for the piercing riffs by Kerry and Gary in the title-track Repentless, where a deeply infuriated Paul proves why he deserved to be back to the place where he thrived the most in his career. This awesome tune mixes the musicality of their latest albums, with its Hardcore/Punk Rock vibe being perfect for its main objective which, according to the band, is working like a tribute to the deceased Jeff through its simple but effective lyrics (“My songs relive the atrocities of war / Can’t take society any fuckin’ more / Intensity, anarchy, hatred amplified / Playing this shit is all that keeps me alive / I leave it all on the road living on the stage / This is my life where I kill it everyday / So take your shot, bottom’s up, this is no lie / I’ll be beating this guitar ’til the day I die / Live fast, on high / Repentless, let it ride”). And the devastation goes on in Take Control, a high-speed tune where it’s interesting to notice that, although Tom Araya cannot bang his head like before due to his back issues he’s still a devil on vocals, leaving a message to all songsters in the world: no matter how deep your guttural is nor how hard you try, you’ll never reach the incredible level of violence, despair and hatred of Mr. Araya.

Then we have the excellent Vices, which truly sounds like a track from God Hates Us All, and by that I mean it has the same vibe, rhythm, beats, riffs and vocal lines. I love the fact that even when Slayer slow down a little they still sound brutal. In other words, let’s bang our fuckin’ heads and get high with Tom, Kerry & Co. before the next track, Cast the First Stone, offers us such raw and strong beats it feels like Paul wants to intimidate us all, also adding more obscurity to the music and therefore getting closer again to the sounding in God Hates Us All. Besides, I don’t need to say how thrilling the solos by the two demented guitar heroes of Slayer are, right? Anyway, When the Stillness Comes, one of the songs released a while ago in an early version, might push some people to say “this is not Slayer” as it’s not really fast or thrashy, but diehard fans will instantly link it to the sonority found in Divine Intervention, Diabolus In Musica and, again, God Hates Us All. It should sound a lot better when played live (which doesn’t mean it’s a bad studio song), with highlights to the outstanding drumming by Paul, to the desperate vocals and primeval bass lines by Tom, and obviously to its deranged lyrics (“This violence finally sets me free / Brings demons back to torture me / There’s no god pulling at my strings / I’m above all sorrow that fate can bring / Disengaged, I see your face / I turn and rush, I can’t replace”). I just wish the ending could have gone on for a little longer, but it’s still very entertaining the way it is.

Chasing Death is a good example of how the music by Slayer has evolved in the past 20 years, getting modernized but still vicious, with the aggressive vocals by Tom leading this somber tune while the other band members develop a solid ambience in the background; followed by Implode, which sounds a billion times better than the first version released. To be honest, that early version made me really skeptical about how the entire album would sound, but as we’re talking about Slayer, I somehow knew they wouldn’t let their fans down. And Piano Wire, the only song from the album written by Jeff, keeps the level of destruction really high in Repentless, showcasing Tom’s amazing harsh vocal lines blended with many top-notch rhythmic variations.

While listening to Atrocity Vendor, I couldn’t think of anything else but just how amazing the sound of the guitars is, and also that this electric tune has to be part of their live performances for the mosh pits to get seriously physical. Kerry and Gary are like metallic brothers, not to mention that Paul keeps nailing it with his sick beats and fills and that it’s yet another perfect example of how violent lyrics are always supposed to be (“You’re staring at the atrocity vendor / A mother fucking equal opportunity offender / I’ll introduce you to my own morbid charm / And fist fuck you with your own severed arms”). You Against You, another classic Thrash Metal tune where the guitar riffs and solos will please all fans of the genre, could have easily been a song from Christ Illusion or World Painted Blood, sounding as cohesive and precise as almost all Slayer songs, while Pride in Prejudice is not only the most different of all songs but also the worst by far. I’m not sure if the final result was exactly what the band wanted, but it’s in my opinion too slow and not as heavy or dark as it should have been. Of course, if Metallica had a song like this in one of their latest albums that would have been a blessing for their fans, but we know Slayer are capable of creating something infinitely better than that.

I was going to give it “only” a 3.5 after the first listen, but after a few more listens, all the issues faced by the band in the past couple of years (especially the passing of Jeff), the stunning artwork by Brazilian artist Marcelo Vasco (the fuckin’ booklet becomes a fuckin’ inverted cross!), the bonus DVD from the special edition with their killer performance at Wacken Open Air in 2014 and the making of Repentless, and particularly after watching one of the best and most sanguinary videos I’ve seen in my life shot for the title-track (watch it yourself at the end of this review) with some very special guests such as Danny Trejo (aka our beloved anti-hero “Machete”), it deserves a 4.0 or even more than that. In the end, they’re still FUCKIN’ SLAYER no matter what, a band that’s 100% repentless of everything they’ve accomplished through their undisputed career. With that said, always remember to live fast, on high and repentless, listening to Slayer until the inevitable end finally comes.

Best moments of the album: Repentless, Vices, Chasing Death and Atrocity Vendor.

Worst moments of the album: Pride in Prejudice.

Released in 2015 Nuclear Blast

Track listing
1. Delusions of Saviour 1:55
2. Repentless 3:19
3. Take Control 3:14
4. Vices 3:32
5. Cast the First Stone 3:43
6. When the Stillness Comes 4:21
7. Chasing Death 3:45
8. Implode 3:49
9. Piano Wire 2:49
10. Atrocity Vendor 2:55
11. You Against You 4:21
12. Pride in Prejudice 4:14

Band members
Tom Araya – vocals, bass guitar
Kerry King – guitar
Gary Holt – guitar
Paul Bostaph – drums

Album Review – Display of Decay / Dust of Existence (2015)

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After being infected by this deadly Death Metal virus from Canada, you’ll pleasantly suffer from brutal headbanging, deep growling and an impetuous urge to slam into the pit.

Rating5

display of decay artworkThere’s a deadly virus spreading from Edmonton, Canada to the rest of our rotting world since 2007, which major symptoms include brutal headbanging, deep growling and especially an urge to slam into some sick circle pits, similar to what happens when we listen to Death Metal icons such as Deicide, Cannibal Corpse and Cryptopsy, commonly known as Display of Decay. This five-piece infection truly knows how to bring forth pungent and coarse Death Metal tunes intensified by the addition of elements from Thrash and Doom Metal, making sure all songs from their brand new release, entitled  Dust of Existence, have something unique to offer to the listener.

In addition, Dust of Existence is not just a new album, but a direct epilogue to their 2014 EP named Outbreak of Infection, telling what happened to mankind after the horrifying events caused by the devastating virus presented in the EP. That’s also portrayed in the artwork of the new album, showing how focused the band was during its writing and composing period, and therefore adding an extra layer of complexity to the final result. However, don’t expect to find any gentle passages or progressiveness in the music by Display of Decay as you would in most “concept” albums, but pure malevolence with a raw attitude that will get inside your brain and relentlessly crush it.

The opening track, Created to Kill, needs less than ten seconds to show how visceral the band’s musicality is, presenting crude riffs enhanced by rumbling and intricate bass lines. Not only that, the demonic vocals by Jessy Leduc, supported by the harsh backing vocals by Sean Watson, create a truly evil atmosphere that perseveres until the end of Dust of Existence, which in my opinion provides a good consistency to the entire album. Relentless Reprisal also offers an intense sounding where its belligerent lyrics (“Shadows in the night, New plight of terror / Seeking revenge, Silent abduction / Eye for an eye, I take your life / Revenge prolonged, calculated”) and the blustering bass guitar by Jacob Maisonneuve turn it into a delight for all types of death metallers, followed by the pulverizing High Voltage Castration and its “cute” lyrics, so morbid I’m not going to add them to this review. Regarding the music itself, it is catchy and intense, and I’m sure you’ll start banging your fuckin’ head to its kick-ass riffs while Jacob continues his “ode to Alex Webster” through his sick bass lines. Besides, the special sound effects halfway through the song are truly “electrifying”, giving life to its lyrics.

The next song, Maruta, has a very interesting name which I’m not quite sure if that was the inspiration for the band to compose it. Maruta is the name of a special program of experimentation on human beings at the Imperial Japanese Army’s Unit 731 (a covert biological and chemical warfare research and development unit), and it makes total sense taking into account the concepts and ideas of the album. Maybe the band can confirm that? Anyway, it showcases such a brutish rhythm as if giant trolls were playing the instruments instead of humans, presenting one of the sickest versions of Death Metal you can think of (but, of course, with the talent of the musicians involved elevating its overall quality). Cellar Goreatory is yet another solid display of traditional Death Metal, with highlights to its vile vociferations, headbanging riffs and nonstop violence, but it’s in Messiah Complex that the band takes bestiality to the next level. It’s that always interesting variation of Death Metal where speed gives place to gore and heaviness, with kudos to rhythm guitarist Jeremy Puffer for his amazing performance delivering tons of melody and violence through his unrelenting riffs. Moreover, Jessy sounds so inhuman with his growls it makes me wonder how his actual voice is, and how hard it’s for him to switch it to this extremely rough mode.

Display-of-Decay---2015---PNyctophilia means a love or preference for night or darkness, which is perfectly depicted in its lyrics (“Blinded by light, Darkness arise, / From the tomb, I revive! / Last of my kind, Ancient sacrifice, / Empty carcass , Cloak of darkness!”). It’s more of the band’s old school Death Metal for us, with its instrumental being as dark and heavy as the name of the song demands. And although one might say there’s no creativity in tunes like this, who said good Death Metal needs that? Closing this poisonous album, the title-track Dust of Existence, also the longest of all songs, showcases some interesting melancholic moments that end up supporting this excellent Death/Doom Metal chant of desolation and despair. The whole band proves they can also craft metallic compositions from other subgenres of Extreme Metal, with the rawer than usual production becoming essential for the music to work in this demonic tune.

What are you waiting for to get infected by this talented Death Metal act? Follow them on Facebook, check their YouTube channel and SoundCloud page for more of their music, and also purchase Dust of Existence at their BandCamp page. I’m sure you’ll pleasantly suffer from all the aforementioned symptoms after listening to this solid album.

Best moments of the album: Created to Kill, High Voltage Castration and Messiah Complex.

Worst moments of the album: Cellar Goreatory.

Released in 2015 Independent

Track listing
1.Created to Kill 3:41
2.Relentless Reprisal 2:53
3.High Voltage Castration 5:16
4.Maruta 4:21
5.Cellar Goreatory 3:26
6.Messiah Complex 4:30
7.Nyctophilia 3:23
8.Dust of Existence 7:10

Band members
Jessy Leduc – vocals
Sean Watson – lead guitars, vocals
Jeremy Puffer – rhythm guitars
Jacob Maisonneuve – bass
Avery Desmarais – drums

Album Review – Battalion / Tyrant of Evil EP (2015)

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The battlefield of true Heavy Metal is calling our names through the tunes of war by this talented old school Brazilian squad.

Rating5

Tyrant of evilIf you’re a diehard fan of the impactful Heavy/Speed Metal from the 80’s, when bands like Running Wild, Exciter, Grave Digger and Iron Angel redefined the underworld of metal with their blend of aggressiveness and harmony, I suggest you turn your attention to the city of Itajaí, located in the state of Santa Catarina, Brazil, around 100km from the state capital Florianópolis, because what Heavy Metal power trio Battalion are capable of doing with their musical weapons will fulfill your deepest needs for fast and furious battle chants.

Formed in the year of 2005, Battalion released as their official debut a highly-acclaimed self-titled demo in 2007, which opened many doors for the band not only in Brazil but everywhere in the world where good old school metal music still lives, followed by an EP in 2012 and a full-length album in 2013 both named Empire of Dead. Now in 2015, in order to keep kicking the asses of the unfaithful at full force, those Brazilian warriors launched a special EP entitled Tyrant of Evil, containing two new steadfast compositions as well as the five original combat songs from their 2007 demo.

As if they wanted to send their loyal metal soldiers to war, Battalion offer the listener the overpowering title-track Tyrant of Evil, with its exciting old school riffs making it feel like Grave Digger decided to play Metallica’s classic “Whiplash”.  In other words, it’s a straightforward tune tailored for connoisseurs of Speed and Thrash Metal from the 80’s, with highlights to guitarist Álvaro Santana Junior for not only knowing how to craft gripping riffs, but for also being pretty solid with his guitar solos. The second fresh song from the EP, Hell Razor, showcases a strong European influence boosted by hints of American Thrash Metal, with lead singer/bassist Marcelo Fagundes revving up the band’s engine with his awesome bass lines while the song’s riffs excoriate your skin mercilessly. In addition, based on his killer performance, it looks like drummer Fabiano Barbosa loves to play at the speed of light from the bottom of his heart.

1500After that amazing start, Battalion take us back in time to the year of 2007, starting with their “tribute” to German legends Grave Digger entitled Battalion of Metal. Raise your swords and let’s go to battle with Battalion, as I’m pretty sure their fans go crazy when they play this tune live. The next tune, Valley of the Dead, presents riffs a la Judas Priest and Iron Maiden, and it’s important to mention it doesn’t sound like a demo so cohesive it is. Another interesting detail in their music is that most of the time the vocals in the old songs are a lot more inclined to Thrash Metal than to traditional Heavy Metal, which also happens in Fighting for the Glory, another battle anthem with an epic vibe. Fabiano doesn’t let the energy level go down with his rhythmic beats, letting Marcelo lead the band in their fight for glory with his warrior vocals and old school attitude.

You’ll be headbanging nonstop to the excellent Final Battle in less than five seconds so rapturous it is. This is by far my favorite from the old demo songs mainly due to its great riffs and chorus, the type the world learned to scream together with tons of bands while raising their fists in the 80’s, an era when we can say Heavy Metal became “mainstream”. And the last tune, Soldiers from the Shadows, takes you to the battlefield for one last fight. This great display of their passion for old school metal music is perfect for some air guitar and obviously for headbanging, closing the EP at the same speed it started.

You can get your copy of Tyrant of Evil (and of the band’s previous releases, as well as albums from many other amazing metal bands) at the Kill Again Records website, sign up for the band’s metallic army at their official Facebook page, and get more information on the band and their upcoming concerts at the Sangue Frio Produções website. The battlefield of true Heavy Metal is calling our names, and it’s through the tunes of war by this talented old school Brazilian squad.

Best moments of the album: Tyrant of Evil.

Worst moments of the album: None.

Released in 2015 Kill Again Records

Track listing
1. Tyrant of Evil 2:59
2. Hell Razor 3:42
3. Battalion of Metal 4:43
4. Valley of the Dead 4:06
5. Fighting for the Glory 4:29
6. Final Battle 3:48
7. Soldiers from the Shadows 3:27

Band members
Marcelo Fagundes – vocals, bass
Álvaro Santana Junior – guitars
Fabiano Barbosa – drums

Album Review – Hateful Warfare / Scenarios Of Execution EP (2015)

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It’s time to be executed in a heartless and gruesome way through the music by this vicious Death Metal band from Brazil.

Rating5

11329653_839212942837134_1148590419_nFounded in the beginning of 2015 in the city of Joinville, located in the state of Santa Catarina, Brazil, Death/Thrash Metal band Hateful Warfare are set to crush your souls and show you how good Brazilian extreme music is with their debut EP entitled Scenarios Of Execution. Discussing controversial themes such as religion and war through their lyrics, this talented power trio knows how to mix harmony and aggressiveness to make their message sharper and more scathing, characteristics that always add significant value to Extreme Metal.

Not only Scenarios Of Execution represents total devastation in a little less than 25 minutes of music, but the band’s cohesiveness becomes even more outstanding if we keep in mind the band members have been together in this project for less than one year. Perhaps their main influences, which range from old school Death and Thrash Metal the likes of Kreator, Exodus and Death, to the traditional Heavy Metal by Iron Maiden, to the Punk Rock/Hardcore attitude by Misfits, to the fierce sonority crafted by their fellow countrymen Sepultura, Krisiun, Korzus and Ratos de Porão, is what makes the music found in Scenarios Of Execution sound so strong, and therefore a delight for fans of the genre.

An eerie and devilish voice in the diabolical intro Ready for Disaster introduces the listener to the band’s nightmare-ish and raw musicality in Welcome to My Nightmare, which starts in an epic and imposing way before all hell breaks loose and the band begins firing their nonstop metallic aggression mercilessly. In addition, the vocals by lead singer/bassist Andrei sound truly inspired by the early days of Max Cavalera with an extra touch of despair added; and how can their riffs be so dirty, dark and melodic at the same time?

Put the words “infernal” and “war” together and you’ll obviously get a feast of blast beats, tons of shredding and violent growls, which is exactly what you’ll find in the excellent Infernal War. Drummer Denis showcases his technique by adding some interesting breaks amidst his sick beats, and kudos to guitarist Norba for another excellent job done on guitar, enhancing the song’s ferocity. Blending the acid music by icons such as Exodus, Slayer and Dark Angel, Slaves of Christ offers four minutes of brutality and blasphemy the way only good old Death Metal can: it’s simply perfect for a destructive circle pit, and you gotta love how Andrei screams the chorus with so much anger and hate. Moreover, although they’re (still) an underground band, you’ll notice how professional they sound in this song, keeping up with the music by well-established names in the global metal scene.

1500 (2)Following that blasphemous tune, prepare your neck for another headbanging massacre, this time inspired by Cannibal Corpse and Morbid Angel, named Addiction to Kill. Its riffs and drums will undoubtedly put you to “dance” and slam into the pit together with Hateful Warfare, but save your energies because the havoc is not over yet, as the heavy and technical tune Bloody Night will provide you some catchy riffs and a thunderous atmosphere, also flirting with raw Black Metal and Doom Metal to give it an even darker taste, keeping you electrified from start to finish. And lastly, making sure they smash everyone that crosses their path, Hateful Warfare close this visceral EP with another old school song named Fuel for Infernal Disgrace, discharging riffs that are even heavier than before, therefore guiding the musicality to a higher level of carnage. An awesome ending that leaves the listener eager for more of their hellish music, if you ask me.

Hateful Warfare are waiting to pulverize you on their Facebook page and YouTube channel, or if you prefer you can find all details about the band, their debut EP and their concerts at the official Sangue Frio Produções website. If you want to be “executed” in a heartless and gruesome way through the music by a vicious Death Metal band, these Brazilian guys definitely have what it takes to satisfy your inner desire for brutality.

Best moments of the album: Welcome to My Nightmare and Bloody Night.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1.Ready for Disaster (Intro) 1:43
2.Welcome to My Nightmare 3:34
3.Infernal War 4:23
4.Slaves of Christ 4:07
5.Addiction to Kill 3:42
6.Bloody Night 3:21
7.Fuel for Infernal Disgrace 3:55

Band members
Andrei – vocals, bass
Norba – guitars
Denis – drums

Album Review – Lamb of God / VII: Sturm und Drang (2015)

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Braving all the storms and stress in their lives, Mr. Randy Blythe and his squad boldly externalize their deepest fears through their aggressive new album.

Rating4

CoverSeveral bands and artists all over the world would love to benefit from the type of exposure frontman Randy Blythe got on the media after his manslaughter case, focusing on the external situation rather than on the music itself to sell more and consequently make more money. Fortunately for fans of high-quality heavy music that’s not the case with his own band, American groove metallers Lamb of God, who put together instead their talent and personal experiences to generate another excellent and violent studio album, this time entitled VII: Sturm und Drang.

Of course there are many references to Randy’s period in prison, but this is not a “prison record” according to him.  The whole album is in fact about the psychology of humans reacting under extreme conditions, which also explains its subtitle “Sturm und Drang” (a German term that means “Storm and Stress”), how we deal with our personal demons and what to expect for our future. And when the music supporting such emotional concept is as thrilling as what Lamb of God can craft, you know the album is already more than halfway to success.

Longtime fans of Lamb of God will connect instantly to the new album as soon as the brutal and vicious Still Echoes begins, led by an enraged Randy Blythe and with Chris Adler, who will drum on the new Megadeth album, proving here why he was chosen by Mustaine for the duty. And the battle rages on in the awesome Erase This, a violent but still very melodic tune where the band will break your neck mercilessly, with highlights to the great job on guitars by Willie Adler and Mark Morton, especially their solos. Then in the dark and heavy tune 512 you will be able to feel in details the time Randy spent in prison. He actually wrote the lyrics to the song in Pankrác Prison, in the Czech Republic, cell number 512 (most of his time was spent in a basement dungeon), while he was contemplating how the experience was changing him, and you can feel his desolation and pain flowing through his words (“Six bars laid across the sky / Four empty walls to fill the time / One careless word, you lose your life / A grave new world awaits inside”).

Embers, featuring lead singer Chino Moreno of Deftones, whose clean vocals sound good but nothing truly remarkable, is a rhythmic and melodic devastation perfect for their live performances to ignite some circle pits, while Footprints showcases a modern version of the band’s Groove/Thrash Metal with an amazing dark atmosphere, with Chris kicking ass on drums and Randy vociferating all his anger and frustrations. Randy is definitely not in a good mood in this song, no doubt about that. Following that bestial massacre, Overlord cools down the animosity a bit, reminding me of some of the old classics by Stone Temple Pilots but obviously heavier. It’s a good “break” from all the havoc the band has delivered so far, but that’s just until its melancholic and introspective instrumental suddenly becomes another demonic metal feast.

lamb of godThe magnificent Anthropoid is the perfect depiction of contemporary extreme metal, where although violence is the most important element present in the music, its level of complexity is still extremely high and astonishing. It’s a nonstop headbanging tune fueled by huge doses of madness and electricity, and knowing this song hasn’t been included in their most recent setlists makes me deeply sad. In Engage the Fear Machine, they slow down the rhythm once again without losing their ferocious vibe thanks to the growling vocals by Randy, to its groovier than usual riffs and to its frantic drums, which sound like bullets hitting solid metal to be more precise.

Closing the regular version of the album, it’s time for war with Lamb of God in Delusion Pandemic, where the cohesiveness among band members beautifully enhances the song’s obscurity. In addition, the metallic guitar lines by Willie and Mark provide Randy all he needs to keep kicking ass and delivering aggressive words (“Allocate your future to the delegates / Relegate your muses to the surrogates / Long green apron stings that end in hooks / Sunk deep, written off, and on the books”). And finally, Torches, featuring lead singer Greg Puciato of The Dillinger Escape Plan, is in my opinion the weakest of all tracks, very bland and generic compared to the rest of the album with nothing special to offer to the listener like most of the other songs of the album. Moreover, if you acquire the limited digipak edition of VII: Sturm und Drang, you’ll be treated to two bonus tracks, Wine & Piss and Nightmare Seeker (The Little Red House), both as good and exciting as the regular album tracks.

To sum up, it’s good to see Lamb of God are leaving their comfort zone by exploring new approaches and heights and facing their inner demons, which in the end translates into more meaningful music for the total delight of their loyal fans as we can enjoy in VII: Sturm und Drang. That is to say, if there’s a band that truly learned how to externalize all their weaknesses and fears through their music, braving all the storms and stress in their lives without showing any signs of backing off or giving up at any moment, that’s undoubtedly the ruthless squad led by the one and only Randy Blythe.

Best moments of the album: Footprints, Anthropoid and Delusion Pandemic.

Worst moments of the album: Embers and Torches.

Released in 2015 Epic Records/Nuclear Blast

Track listing
1. Still Echoes 4:22
2. Erase This 5:08
3. 512 4:44
4. Embers (feat. Chino Moreno) 4:56
5. Footprints 4:24
6. Overlord 6:28
7. Anthropoid 3:38
8. Engage the Fear Machine 4:48
9. Delusion Pandemic 4:22
10. Torches (feat. Greg Puciato) 5:17

Limited Digipak Edition bonus tracks
11.Wine & Piss 3:33
12.Nightmare Seeker (The Little Red House) 4:56

Band members
Randy Blythe – vocals
Willie Adler – guitar
Mark Morton – guitar
John Campbell – bass
Chris Adler – drums

Guest musicians
Chino Moreno – additional vocals on “Embers”
Greg Puciato – additional vocals on “Torches”

Album Review – Goat Torment / Sermons to Death (2015)

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1

A consecration of extreme music and the occult, not in the name of the Father, nor of the Son, nor of the Holy Spirit.

GT_sermons_to_death_HDForged in the fires of hell in the accursed year of 2008, with the intention to create music as a weapon of mass destruction and to annihilate everything which our so-called society stands for, Belgian Occult Black/Death Metal beasts Goat Torment are back and ready to haunt our souls with their brand new full-length album, the rapturous Sermons to Death. In other words, get ready to have your body and soul crushed by 40 minutes of the most deviant form of extreme music you can think of.

After the release of their debut album Dominande Tenebrae in 2013, and after touring with wicked names such as Enthroned and Black Crucifixion, including their first ever live appearance on American soil at Maryland Deathfest in 2014, this Ghent-based horde is following the steps of their fellow countrymen Enthroned in regards to the savagery stemming from their music and the profanity advocated through their lyrics. All that blasphemy might be an issue for people who are not really into Black Metal, but it’s indeed a dark delectation for diehard connoisseur of the genre.

When a Black Metal intro starts as dark as Opening the Gates, going on for over three minutes, you know there will be blood and torment through the rest of the album, which is confirmed as soon as the blackened storm entitled Bones Aligned comes ripping. The music is so intense and legitimate it doesn’t sound that only two musicians are generating it, with highlights to Kwel, the mastermind behind Goat Torment, for vociferating his vocal lines in a flammable way, and to the tempo changes that end up making the whole song even more memorable. Rising Dominion mixes the hardcore attitude from Slayer to the vileness of Black Metal, with the resonant bass lines and blast beats turning up the heat in this sonic devastation, while Hierarchy of Negligence, the first of their two epic songs, offers seven minutes of a Black, Death and Doom Metal extravaganza boosted by an astounding level of malignancy. Drummer Torturer (Mor Dagor, ex-Bethlehem, ex-Belphegor) lives up to his name and “tortures” the listener with his furious beats, supporting Kwel and his dark and blasphemous riffs and words.

goat tormentWhile some people hate short instrumental tracks like Within the Realm of Darkness, I think they’re essential for telling a good story in a Black Metal album, preparing the listener to what’s next, which in the case of Sermons to Death is the morbid Defloration of the Holy Cunt, one of the “cutest” names I’ve ever seen in my life for a song. You can imagine how nasty and grotesque this anthem is, full of growls, sick riffs and unstoppable drumming that will dilacerate your mortal soul. Do I need to say I loved it? Anyway, Death is Crowned makes it hard to believe Goat Torment are almost a one-man army so complex it is: Kwel is extremely talented, and just like most European musicians he can easily add tons of melody to extreme music, it doesn’t matter if it’s old school Black Metal or if it’s a blend of Blackened Doom and Thrash Metal like what happens in this song.

Showing absolutely no mercy for our souls, The Domineering Profane emanates despair through Kwel’s demonic vocals, perfect for some hellish headbanging, before their second epic song, Of Fire and Brimstone, closes this excellent album. This ode to hell starts as visceral as possible, and as the name of the song suggests, fire and sulphur impregnate the atmosphere, with highlights to the anger Kwel shows during its entirety, making your blood boil until the ominous last part of this sick tune drags us down to hell together with Kwel and Torturer. Or maybe you want to take another listen to the whole album, and another one after that, before joining them in the underworld?

Either way, whenever you’re ready to join the dark side with Goat Torment, simply visit their Facebook page, YouTube channel or SoundCloud page. And don’t forget to buy your copy of Sermons to Death at the Amor Fati Productions webshop or at their BandCamp page, an album that can be considered a consecration of Extreme Metal, not in the name of the Father, nor of the Son, nor of the Holy Spirit.

Best moments of the album: Bones Aligned, Hierarchy of Negligence and Defloration of the Holy Cunt.

Worst moments of the album: The Domineering Profane.

Released in 2015 Amor Fati Productions

Track listing
1. Opening the Gates 3:41
2. Bones Aligned 3:21
3. Rising Dominion 5:46
4. Hierarchy of Negligence 6:49
5. Within the Realm of Darkness 1:28
6. Defloration of the Holy Cunt 2:11
7. Death is Crowned 4:27
8. The Domineering Profane 3:58
9. Of Fire and Brimstone 7:12

Band members
Kwel – vocals, guitars, bass
Torturer – drums

Album Review – Inkvisitor / Doctrine of Damnation (2015)

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1

If you want to be indoctrinated into frenzied and rousing heavy music, the brand new album by this talented platoon of thrash metallers is exactly what you need.

Rating4

coverStrongly inspired by the blazing musicality generated by the most prominent bands from the Bay Area Thrash movement, especially names such as Anthrax and Testament, Finnish thrash metallers Inkvisitor (the Swedish word for “inquisitor”) are set to release their debut full-length album Doctrine of Damnation, aiming at indoctrinating all of us into their high-quality frenetic music. And what they do in this album, joining the strength of American Thrash Metal with the Scandinavian proficiency in crafting harmonious and melodic music, will help them achieve their purpose without a shadow of a doubt.

Formed in 2012, this Jyväskylä-based band has really improved as a whole if you listen to their previous release, their 2014 EP entitled Delirious Tales, in terms of cohesion and aggressiveness of their music and content of their lyrics. They’re still a Thrash Metal band who loves to have fun with their music above all, of course, but now with a stronger focus on all aspects of the album production, such as the amazing old school artwork by Mad Matt Design and the deluxe sound quality, the final result is a lot more robust and pleasant to listen to.

Can you guess what comes after the intro MMXV A.D.? If your answer is “pure old school Thrash Metal” you’re absolutely right, as the epic and devastating Damnation already pumps the listener up with its strong Anthrax-inspired vibe, especially the deranged vocals by Aapo Vuori and the sick riffs by Lauri Huttunen and Jesse Kämäräinen. And why slow down if you can accelerate the savagery like they do in nataS ageM (or “Mega Satan” if you read it backwards)? Its lyrics are an ode to old school Thrash Metal, in special its chorus (“The power of nature, pure anarchy / The regin of eternity and absolute / Lord of destruction, original chaos / He is the one true MEGA SATAN”), and I don’t know if you agree with me but I can easily visualize the iconic Joey Belladonna manically singing those words. I would even say that if the band was called “Pernarutto” instead that would make total sense (Google it and you will understand why).

promo1pFocusing on a heavier sonority, the band tells a fun and creepy story of abduction that seems to be part of a B-horror flick in Abduction at Night, where drummer Petteri Milan has a good time switching from his rhythmic drumming to brutal blast beats, while Three Phases of Disembodiment showcases another interesting (but this time gory) story told by Inkvisitor. Moreover, its guitar lines keep the energy level high, with Aapo screaming and yelling his vocal lines to provide even more adrenaline to the music. And J-Town Anthem, their tribute to their hometown Jyväskylä, works as an intro to Eine Box (Mobile Shredding Unit), a song with a similar musicality from “Abduction at Night” where Inkvisitor once again deliver solid riffs, wicked vocals and huge doses of electricity through their music.

Mixing the speed from Megadeth and Testament with the attitude from Anthrax, fans of old school metal music will love the organic shredding and solos offered by Inkvisitor in Nothing to Live For. However, it’s in Hellbound For Carnal Knowledge that they reach another level of destruction in a little more than two minutes of pure headbanging, mosh pits and screaming. Its lyrics pay an awesome tribute to one of the best horror movies of all time, the disturbing 1987 classic Hellraiser (“Woke up with this / Puzzle in my hand / A tune so pretty lured me to open it / Carnal knowledge from another dimension / What have I done / I’m torn to pieces”), and I don’t need to say that if they don’t play this song live, we riot. Lastly, closing the album in an exciting way, Inkvisitor sing about the power of the gods in Claim What is Yours, with highlights to its fuming guitars flawlessly supported by the solid bass lines by Pekka Hölönen and the precise beats by Petteri.

It doesn’t matter if you get in touch with Inkvisitor through their Facebook page, YouTube or SoundCloud, and if you buy their album at their BandCamp page  or at their official webstore, as long as you show your sincere support for these amazing newcomers of thrash I’m sure they will keep delivering awesome metal music to all of us. As previously mentioned, Inkvisitor are trying to indoctrinate us into their nonstop Thrash Metal music, summoning us all to go crazy into the pit, so why not give these guys a chance? They surely deserve it.

Best moments of the album: Damnation, nataS ageM and Hellbound For Carnal Knowledge.

Worst moments of the album: Eine Box (Mobile Shredding Unit).

Released in 2015 Haje Records

Track listing
1. MMXV A.D. 1:15
2. Damnation 3:43
3. nataS ageM 4:06
4. Abduction at Night 4:24
5. Three Phases of Disembodiment 4:06
6. J-Town Anthem 0:56
7. Eine Box (Mobile Shredding Unit) 4:47
8. Nothing to Live For 4:27
9. Hellbound For Carnal Knowledge 2:03
10. Claim What is Yours 5:24

Band members
Aapo Vuori – vocals
Lauri Huttunen – guitar
Jesse Kämäräinen – guitar
Petteri Milan – drums

Guest musicians
Pekka Hölönen – bass
Kalle Raijonkari – additional vocals
JC Halttunen – additional vocals

Album Review – Rifftera / Pitch Black (2015)

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3

Don’t be afraid of the dark and let this high-end futuristic Melodic Death Metal album satisfy your metallic desires.

Rating4

rifftera-coverAfter releasing a couple of demos in the past few years, it’s time for Finnish Melodic Death Metal band Rifftera to strike the world of heavy music with their debut studio album Pitch Black, a slashing feast of metallic and melodic tunes tailored for fans of Soilwork, In Flames, Arch Enemy, Megadeth, Trivium, among many other amazing heavy bands. In other words, if you’re one of those people who believe harmony and violence should always walk hand in hand to generate good music, Pitch Black will satisfy you in every sense, keeping you entertained from start to finish.

In my humble opinion, what really makes this promising band formed in 2010 in Vaasa, Finland stand out from other similar bands is the harmonious complexity of their compositions, which ends up helping the band tell the different stories within each song of the album, their evolution and consequences. For instance, although Pitch Black has only eight songs it goes on for over 54 minutes, an average of almost seven minutes per song. Not only that, I believe they wouldn’t have been able to produce an album so unique and complete without the futuristic sounding of the synths by keyboardist Antti Pöntinen, who is capable of leading the musicality even with all the heaviness of guitars, drums and harsh screams surrounding him.

And it’s those electronic effects generated by Antti that start the party in Back To Life, a violent Melodic Death Metal song that blends the Gothenburg sound with a more modern Finnish touch. In addition, singer/guitarist Janne Hietala does an awesome job delivering sheer rage through his vocal lines, enhanced by the song’s strong riffs and catchy chorus. Then we have One Step Closer,  where its synths remind me of some sounds from the classic album Turbo by Judas Priest, adding a lot of energy to the savagery brought forth by the other members of the band. However, in the faster and more brutal tune Lightbringer, synths remain in the background while the songs vicious riffs by Janne and Mikko and the nonstop drums by session drummer Thomas Tunkkari take the spotlight. It seems they love the “harsh screams during most parts of the song/clean vocals on chorus” formula, and they prove they have a very good reason for that, as this song is a pure delight for fans of Melodic Death Metal from Scandinavia.

Rifftera-PromoAshes Fall is another track full of melody and anger where a solid instrumental perfect for headbanging takes over the ambience, with its second half being truly melancholic, in special its guitar riffs and solos. The only negative comment in this song is that this time the chorus is not so powerful, harming the final result a bit. On the other hand, their Thrash Metal vein arises in the superb Rotten To The Core, featuring Swedish singer Björn “Speed” Strid from Soilwork, a flawless exhibit of melodic riffs, solos and drumming with spot-on lyrics about how all politicians are always deceiving us with their greedy lies and false promises (“How would this time be any different? / Haven’t we learned before? / How would this one make any difference? / You know one / You know ’em all”). It’s impossible not to love this whirlwind of ruthless Melodic Death Metal, one of the best contemporary compositions you can find anywhere, and I believe this is the path Rifftera should take in their future releases. Fans will surely have a good time inside the circle pits when this song is played, with kudos to Janne for sounding as choleric on vocals as the musicality demands.

They keep their music at a high level in Open Wounds, with Thomas contributing to its progressiveness and rage behind his drums, and pay attention to how the keyboards remain sharp and enhance the eerie atmosphere amidst the nonstop metal sounding. In the also wonderful The Ruins Of The Empire, the initial riff is so thrilling it’s hard not to play some air guitar and bang your head to it, with the sick growls by Janne during the chorus taking it to a deeper level of fury. Furthermore, there’s even time for a keyboard solo in this excellent tune, and it’s also remarkable how the professionalism and quality of the sound elevate the final result considerably. And finally, it looks like the last part of the album is dedicated to the heavier and darker side of Rifftera, which is confirmed in the title-track Pitch Black.  Its acoustic intro sets the tone for their most epic creation, flirting with Symphonic Black Metal so obscure and heavy it gets, with some moments reminding me a little of the guitar duos from the epic songs by Iron Maiden. It’s a sonic exhibit of wickedness and despair, almost a metal opera with imposing synths and orchestrations leading the music to a climatic ending.

In summary, if Melodic Death Metal is what you love the most in life, don’t be afraid of the dark and go check Rifftera’s Facebook page and YouTube channel, and buy your copy of Pitch Black at Record Shop X or Inverse Store, you won’t regret that at all. These talented Finnish metallers put their hearts and souls into the making of this high-end futuristic album, something you can feel in each and every song, turning it into a must-have item in your collection of melodic and angry tunes.

Best moments of the album: Lightbringer, Rotten To The Core and The Ruins Of The Empire.

Worst moments of the album: Ashes Fall.

Released in 2015 Inverse Records

Track listing
1. Back To Life 5:22
2. One Step Closer 5:53
3. Lightbringer 5:27
4. Ashes Fall 7:03
5. Rotten To The Core (feat. Björn “Speed” Strid) 6:20
6. Open Wounds 5:24
7. The Ruins Of The Empire 6:40
8. Pitch Black 11:48

Band members
Janne Hietala – guitar, harsh vocals
Mikko Kuoppamaa – guitar, clean vocals
Antti Pöntinen – keyboards
Jupe Karhu – bass

Guest musicians
Björn “Speed” Strid – additional vocals on “Rotten To The Core”
Thomas Tunkkari – session drummer