Tag Archives: thrash metal

Album Review – Matanza / Pior Cenário Possível (2015)

Posted on by
11

Death, misfortune, arrogance, serial killers, the end of the world and an immensurable amount of dark humor. This is not the worst-case scenario, but the best Countrycore you can find in the world.

Rating4

coverWhen I mentioned HERE, in one of our Classic Albums reviews, that the music by Brazilian Countrycore band Matanza is an excellent option for learning Brazilian Portuguese, I was not joking. All their lyrics are insanely poetic, it doesn’t matter which of their albums or songs you’re listening to. However, they’ve truly stepped their game up in Pior Cenário Possível (or “worst-case scenario” in English), the seventh studio album in their inebriate and bad-tempered career, evolving from the usual “women-drinking-partying” lyrics to more introspective and dark themes.

This subtle but important change was the perfect match for the mix of Hardcore, Punk Rock, Heavy Metal and Rock N’ Roll brought forth by this talented Rio de Janeiro-based band, refining their acidity and ill temper even more. Not only that, this is their first album ever to feature two guitarists, Marco Donida and Maurício Nogueira, another significant improvement to their musicality. Unfortunately the album also marks the departure of longtime bassist Jefferson “China” Cardim, replaced by Dony Escobar, but if you take into account all the positive changes the “worst-case scenario” proposed by Matanza is far from being bad after all.

Let’s ignite some serious mosh pits with the sick bass lines by China in the opening track A Sua Assinatura (“your signature”), where its solid instrumental gets impregnated by the band’s acid lyrics and attitude, always boosted by one of the strongest characteristics of their music, Jimmy London’s grumpy and rough vocals. O Que Está Feito, Está Feito (“what’s done, is done”) is pure Countrycore, with its rhythmic drumming and poetic lyrics tailored for enjoying a pint of a strong Irish beer while listening to it, while the hardcore riffs and beats in Matadouro 18 (“slaughterhouse 18”) showcase how brutal and fun Matanza can be at the same time. Moreover, I love how they manage to turn a horrifying story or situation into thrilling music, just like what they do with this song.

matanzaWhen they slow down and focus on a more Stoner Rock musicality they sound as awesome as their faster songs, which is exactly the case in A Casa em Frente ao Cemitério (“the house in front of the cemetery”), with highlights to its angry chorus and the heavy guitar riffs by Marco and Maurício. Sob a Mira (“under the gun”) sounds almost like Country Metal, with one of the best lyrics of the whole album about how some men are capable of defying death no matter what. Its exciting rhythm is enhanced by a nice slower break, including a good guitar solo, and of course by Jimmy wishing all of you good luck when you go down to hell. And the title-track Pior Cenário Possível (“worst-case scenario”), a slow and somber tune, is not happy at all. Quite the contrary, it’s about things getting worse and worse for a poor sailor at the sea even if that seems impossible, with only the bad-tempered vocals by Jimmy being able to translate all that misfortune into words (“Quando vê a tempestade se formando no horizonte / A nuvem carregada vindo em sua direção / Gira o botão, mas o rádio não responde / Água subindo de nível / Pior cenário possível / Casco na proa esta rachado / O barco já está adernado / Teria alguma sugestão? / Não!”).

The last part of the album keeps kicking ass, starting with O Pessimista (“the pessimist”), an authentic Countrycore track with great performances by drummer Jonas Cáffaro and bassist China, and yet another song where lyrics go beyond poetry so actual they are, followed by Chance pro Azar (“chance to bad luck”), the worst of all tracks where its bland instrumental and lackluster chorus do some serious harm to the final result. What about the awesome Orgulho e Cinismo  (“pride and cynism”), a very exciting tune that will undoubtedly generate some sick headbanging and circle pits during their live performances, where the bass lines by China keep rumbling inside your head while Jimmy flawlessly sings about the end of our arrogant society? Its riffs get a lot heavier and faster like what we usually find in Thrash Metal, just like the galloping hardcore sounding in Conversa de Assassino Serial (“serial killer conversation”), the perfect soundtrack for a pub fight with highlights to the powerful beats by Jonas and its climatic ending. In addition, this is how they depict two serial killers peacefully discussing about their demented actions (“Eu cometi o mesmo erro que você tempos atrás / Me colocaram na cadeia, mas eu consegui fugir / Me escondi numa cabana na montanha por um mês / E não é pra me gabar, mas eu matei bem mais de seis”). Do I need to say more?

You can purchase this ode to death, misfortune and arrogance at the official Deckdisc website or on iTunes, and don’t forget to check Matanza’s official Facebook page for their latest news and tour dates. The worst-case scenario in case you don’t acquire Pior Cenário Possível? Well, let’s say that not only you’ll be deprived of the best Countrycore you can find in the world, but you’ll also be taking one more step towards the inevitable end of the world together with the rest of our egotistic and devious society.

Best moments of the album: Matadouro 18, Sob a Mira, Orgulho e Cinismo and Conversa de Assassino Serial.

Worst moments of the album: Chance pro Azar.

Released in 2015 Deckdisc

Track listing
1. A Sua Assinatura 3:28
2. O Que Está Feito, Está Feito 2:40
3. Matadouro 18 2:47
4. A Casa em Frente ao Cemitério 3:49
5. Sob a Mira 4:01
6. Pior Cenário Possível 3:32
7. O Pessimista 3:08
8. Chance pro Azar 3:04
9. Orgulho e Cinismo 3:20
10. Conversa de Assassino Serial 5:27

Band members
Jimmy London – vocals
Marco Donida – guitar
Maurício Nogueira – guitar
Jefferson “China” Cardim – bass
Jonas Cáffaro – drums

Album Review – Shrapnel Storm / Mother War (2015)

Posted on by
1

Grab your bayonet, your hand grenades and your combat helmet, because it’s time to go to war to the music by this excellent Death Metal band from Finland.

Rating5

SHRAPNEL STORM - Mother War cover artThe term “shrapnel”, used to represent fragments of a bomb, shell or other object thrown out by an explosion, has its origin in the early 19th century, named after Major General Henry Shrapnel (1761–1842), a British artillery officer whose experiments culminated in the design and development of a new type of anti-personnel artillery shell used until World War II. However, since 2007 it can also be used to describe the straightforward war-themed Death Metal by Finnish quintet Shrapnel Storm, a band highly influenced by icons such as Bolt Thrower and Obituary who above all relies on brutality, respect for traditions and groove to shape their own sounding.

Founded in the city of Tampere, Finland and singing almost exclusively about war and fighting, “The Old School Death Metal Bulldozer” as the band itself likes to say has already released four demos since its inception, but it’s now in 2015 that they’re finally ready to strike and conquer the world of heavy music with their debut full-length album, the violent and elaborate Mother War. If you are a fan of visceral Death Metal supported by a meaningful and electrifying concept, you’ll have an amazing time going to war with Shrapnel Storm.

The intro Casus Belli, which starts to the sound of that infamous siren from World War II, is the perfect example of how detailed their music and lyrics are. This is a term of war and politics, an expression that comes from Latin used to describe an act that justifies war. For instance, the Soviet Union staged the artillery shelling of the Russian village of Mainila and blamed Finland for the aggression, using it as a “casus belli” for the Winter War (1939-1940). Interesting, isn’t it? But let’s get down to business with the raw and gruesome Carpet Bombing, where lead singer Ville “Ykä” Yrjölä starts firing his growls while the rest of the band presents their sonic weapons. In addition, its guitar riffs are so dirty (in a good way) to the point they sound like a real war instrument.

The amazing tune Detracked will make you bang your fuckin’ head due to its modern and fresh rhythm, but keeping that inner ferocity needed in Death Metal. Drummer Mikko Orava leads the attack backed up by the sick guitar lines by Aki Laaksola and Tohtori Mäkitalo, turning it into one of the best tracks of the entire album. Following that raid we have the short and blustering Combat High, where hints of Thrash Metal make the final result even more enjoyable and the asperity of the musicality is perfect for the message sent. By the way, this song focuses a lot more on its lyrics than on the music itself, like if they were trying to convert the words of most soldiers in the world into sonorous rage (“Like many before me / I will go down eventually / But before the time is nigh / I will take as many as I can”).

SHRAPNEL STORM band photo 425wAnd this nonstop war machine from Finland delivers another solid track tailored for fans of the mid-tempo Death Metal by Obituary and Deicide, entitled Calling of the Void, with the bass lines by Petri Saarenma sounding clearer and more metallic, followed by Warfiend, with highlights to its badass intro and to its sharp riffs and bass lines. Moreover, the harsh growls by Ykä get closer to what Max Cavalera used to do with Sepultura in classic albums like Arise and Beneath the Remains. Darker and more melodic than its predecessors, the title-track Mother War provides the listener awesome lyrics about the passion mankind has for all things war (“Athena, guide us to victory / In assault led by the valkyries / Freyja, if we die in battle, welcome us to your halls / Mother war, we are your rising storm”), with the old school guitar riffs and solos by Aki and Tohtori boosting the song’s overall electricity.

The fast and rhythmic To Each Battle showcases a great cataclysmic vibe with interesting breaks and variations and absurdly angry vocal lines by Ykä, and I’m pretty sure its powerful atmosphere will generate some sick mosh pits if this song is played live. Then we have the high-quality combination of Death and Thrash Metal in Radars Down, where Mikko unleashes his inner beast on drums and with some of the riffs reminding me of the all-time classic “Seasons in the Abyss” by Slayer, giving the song a more melancholic touch; and finally themore introspective and progressive Rising Storm, where some sort of dark energy emanates from all instruments and vocal lines. Its lyrics might look harmless at first sight, but we all know how frightening they are (“Deserted streets, all the windows barred / On the borders the men stand in guard / Women and children hidden beneath the ground / Waiting in terror for that siren to sound”), not to mention its final piano passage full of sorrow, closing the album as if the war was over at last.

If you’re a true Death Metal soldier and enjoyed the impetuous music by Shrapnel Storm, go enlist yourself at their Facebook page, check their SoundCloud and ReverbNation pages, and purchase your copy of Mother War at Levykauppa Äx or at the Witches Brew webshop. As the peace treaty seems to be coming to an end, you better grab your bayonet, your hand grenades and your combat helmet, because it’s time to fight side by side with these talented Finnish death metallers.

Best moments of the album: Detracked, Combat High and To Each Battle.

Worst moments of the album: Calling of the Void.

Released in 2015 Witches Brew

Track listing
1. Casus Belli 1:20
2. Carpet Bombing 3:15
3. Detracked 4:22
4. Combat High 2:27
5. Calling of the Void 3:39
6. Warfiend 4:15
7. Mother War 5:09
8. To Each Battle 3:48
9. Radars Down 3:56
10. Rising Storm 6:08

Band members
Ville “Ykä” Yrjölä – vocals
Aki Laaksola – guitar, vocals
Tohtori Mäkitalo – guitar
Petri Saarenma – bass
Mikko Orava – drums 

Guest musicians
Zachary Hietala – guitar solo on “Radars Down”
Aadolf Virtanen – piano on “Rising Storm”

Album Review – Reanimator / Horns Up (2015)

Posted on by
2

Put your horns up and slam into the pit with one of the best and most entertaining Canadian Thrash Metal bands of all time.

zcoverWhat would happen if a hybrid of Anthrax and Testament was born inside a frantic circle pit during a Toxic Holocaust concert, and from that day on this deranged metallic creature had Exodus as its mentor to teach it a fuckin’ lesson in violence? That, my headbanging friends, is the most suitable depiction of Canadian Thrash N’ Roll band Reanimator and their brand new album, the badass mosh pit-generator Horns Up, a flammable parade of vintage Thrash Metal that will leave you completely disoriented so intense and fun it is. In other words, it’s like trying to take the bull by the horns, but having your ass kicked instead and feeling completely satisfied with that.

Since the creation of the band in Montreal, Canada in 2005, Reanimator dug an important place in the Quebec scene, offering an incendiary feast of old school Thrash Metal seasoned with modern elements. After some lineup changes and after releasing a demo, a couple of EP’s and their first full-length album entitled Ignorance Is No Excuse (2009), it was about time for our society to be smashed one more time with the thunderous music by these talented Québécois metallers. The only question I have in mind is if the band was named after the 1985 cult movie Re-Animator, which in case you don’t know it I suggest you go watch it right now. As this classic film is a gory and hilarious variation on the Frankenstein story, it makes sense for the band to use its name due to their undeniable ability of resuscitating that Thrash Metal from the 80’s we all love so much.

Arising from the hellish realms of Thrash Metal, the opening track Electric Circle Pit will throw you into an electric circle pit of awesomeness due to its Anthrax-inspired riffs, creating a cool and energetic vibe where the harsh and powerful vocals by Patrick Martin will get into your head in a very good way. And while some people wait to be caught in a mosh, others simply rush for it like what happens in Rush For The Mosh, an old school Thrash Metal anthem with a Hardcore/Punk Rock atitude, sounding like many classics from the 80’s. Moreover, drummer Francis Labelle doesn’t let the party slow down with his beats, while guitarists Ludovic Bastien and Joel Racine are two unstoppable machine guns of riffs and solos.

ReanimatorHeaderThe next track, Tempted By Deviance, is perfect for that most traditional form of circle pit, like the one fans “worship” during the unparalleled classic “Toxic Waltz” by Exodus. The whole band is kicking fuckin’ ass, with highlights to the vibrant bass lines by Fred Bizier and to the excellent chemistry between Patrick’s lead vocals and the backing vocals. To put it simply, if they don’t add this song to their setlist, we riot.  Anyway, Thieves Of Society presents to the listener a modernized version of Thrash Metal from the Bay Area, in special its metallic riffs and rhythm, with the guitar solos halfway through it being like a journey back to the golden age of Thrash Metal. Then it’s time to slam into the pit with the nonstop monster known as The Abominautor: this is one of those songs where you go crazy slamming, screaming and drinking together with the band, yet another mandatory tune to their live performances. In addition, its guitars and bass lines are beyond tough, beautifully complemented by its amusing lyrics (“Born and raised in outer space / Came down to earth to kill posers / Decontaminating the human race / Ain’t got no pity for those losers”).

and it’s not over yet, motherfuckers, as Reanimator keep dilacerating our souls with The Mosh Master, a Thrash Metal onslaught where the heavy artillery imposed by Francis behind his drum set and the Rob Dukes-like hardcore vocals by Patrick will hit you in the head like a fuming panzer; followed by Still Sick, a song where their passion for heavy music gets even clearer when you see there’s no sign of slowing down at all, and I can imagine the level of devastation its basic but solid as hell instrumental is capable of causing live. Sounding like a (superb) tribute to old school Anthrax, Off With Their Heads is the type of song that would put a huge smile on Scott Ian’s face, mainly due to its sing-along lyrics, catchy riffs and fist-pumping chorus, before Mock A Mockingbird, the most Rock N’ Roll of all tracks, closes this excellent album. The bass guitar by Fred sounds a lot more vibrant, and we have to admit its last part gets pretty interesting with the hints of progressiveness and feeling provided by all musicians.

If you want to go head to head with this raging thrashing bull, go check their official Facebook page, their awesome videos on their YouTube channel, and buy Horns Up at their Big Cartel or BandCamp pages. What are you waiting for, you piece of “thrash”? Put your horns up and slam into the pit to the music by Reanimator, undoubtedly one of the best and most entertaining Thrash Metal acts from the Canadian scene.

Best moments of the album: Electric Circle Pit, Tempted By Deviance, The Abominautor and The Mosh Master.

Worst moments of the album: Mock A Mockingbird.

Released in 2015 Independent

Track listing
1. Electric Circle Pit 4:16
2. Rush For The Mosh 2:45
3. Tempted By Deviance 4:56
4. Thieves Of Society 4:36
5. The Abominautor 3:24
6. The Mosh Master 2:48
7. Still Sick 4:27
8. Off With Their Heads 3:31
9. Mock A Mockingbird 4:38

Band members
Patrick Martin – vocals
Ludovic Bastien – guitar
Joel Racine – guitar
Fred Bizier – bass
Francis Labelle – drums

Album Review – Dissector / Grey Anguish (2015)

Posted on by
1

These Russian metallers are here to help you soothe your anguished yearning for high-quality Heavy Metal.

Rating4

DISSECTOR_frontAre you looking for some fresh heavy music that combines the melody from Power Metal with the anger and rebelliousness of Thrash Metal? You might then enjoy the music by Russian Power Thrash/Death Metal Dissector and their first full-length album, entitled Grey Anguish. As a matter of fact, this is not exactly the first release by this talented act from St. Petersburg, Russia, but a sort of resurrection from a very active band made famous in the northeast part of Russia between 1992 and 2002.

In this new phase of the band, which started in 2006, Dissector have already released three EP’s named Cry For Me (2007), Subhuman (2014) and An Angel with No Home (2015), as well as some compilations. However, it’s now with Grey Anguish that they aim at cementing their name in the modern era of Heavy Metal. Based on the creepy artwork created by Pablo Antonov one can say they’re on the right path, but it’s when the music starts that this keen instinct brought forth by the album imagery becomes even stronger.

After the ominous futuristic intro Catastrophe Point by keyboardist Max Delmar, it’s time for the title-track Grey Anguish to present to the listener a modern and dense musicality by Dissector. Besides, it’s interesting to observe how lead singer Yan can sound so aggressive but at the same time very melodic, and how drummer Andrey “Circle” is very precise with his beats, enhancing the song’s Thrash Metal vibe. And blending Death Metal, Hard Rock and Stoner Rock, we have the melancholic tune Deadline Pressure, where the dark taste of the lyrics ends up being its core element, followed by Sinking In Disgrace, a song inspired by old school Metallica and Megadeth where the band offers a fast and harmonious tune perfect for mosh pits and crowd surfing, with highlights to the guitar lines by Yan while Andrey pounds his drums nonstop.

Perhaps due to its name, Delicately Yours is a lot more melodic, boosted by hints of Doom and Gothic Metal. Recommended for fans of slower and more introspective metal music, it’s a dark song, of course, but it’s obvious that the message the band wanted to send required a smoother sounding. The next song, Subhuman, gets closer to what Trivium have been delivering in their most recent albums, focusing on catchy riffs while the other instruments (including vocals) make sure the level of energy remains high. And Hide Away is a compelling song that reminds me of some compositions by Paradise Lost due to its strong Doom-ish vein and thoughtful lyrics, which turn it into a gloomy anthem.

dissectorNow fasten your seatbelt because my favorite of all tracks, An Angel With No Home, is Thrash Metal at its best, as vicious and fierce as it’s supposed to be, with the vocals by Yan sounding awesome while Oleg and Andrey keep the atmosphere really violent. Right after that beauty, focusing on a musicality closer to modern Thrash Metal we have The World For the Few, where the smoothness of the melody gets more attention than its heaviness and where the pace is suited for fans of less violent metal; and the resonant bass lines and a Punk Rock/Thrash Metal attitude of Even Me, which is quite the opposite of the previous track where the band only cares about being vicious and merciless. Moreover, Yan gets more aggressive than usual, as nicely “requested” by the music.

Closing the regular set of songs, Keep My Trust sounds as if the band wanted to give us a break from so much violence. It’s a beautiful ballad featuring the delicate vocals by special guest Mirla, from Russian Gothic Metal band The Lust, and guitarist Alex Bolotov. By the way, the vocal duo between Yan and Mirla is incredible, giving an amazing balance between darkness and light to this reflective tune. As a bonus track, the band offers an instrumental demo version of “Deadline Pressure”, a special treat for us to admire their skills behind their instruments.

The best way to know more about this excellent Russian group is by visiting their Facebook or VKontakte pages, by listening to their music at their SoundCloud page, and by purchasing Grey Anguish at their BandCamp page. In other words, go soothe your anguished yearning for high-quality Heavy Metal with Dissector, a band with an enormous potential who is evidently looking into the future with their modern and exciting music.

Best moments of the album: Sinking In Disgrace, An Angel With No Home and Keep My Trust.

Worst moments of the album: The World For the Few.

Released in 2015 Worldlessness Records

Track listing
1. Catastrophe Point (intro) 0:45
2. Grey Anguish 4:02
3. Deadline Pressure 3:22
4. Sinking In Disgrace 3:35
5. Delicately Yours 5:27
6. Subhuman 4:10
7. Hide Away 4:23
8. An Angel With No Home 3:47
9. The World For the Few 4:34
10. Even Me 3:30
11. Keep My Trust (feat.The Lust) 5:23

Bonus track
12. Deadline Pressure (No Voice Mix) 3:21

Band members
Yan – guitars, vocals
Oleg – bass
Max Delmar – keyboards
Andrey “Circle” – drums

Additional musicians
Mirla – female vocals on “Keep My Trust”
Alex Bolotov – guitar on “Keep My Trust”

Album Review – Nex Carnis / Obscure Visions of Dark (2015)

Posted on by
1

The flesh might be dead already, but the rise of Death Metal in Iran has just begun.

Rating4

ArtworkLet’s be honest and acknowledge that none of us know much about the Heavy Metal scene in Iran due to many well-known reasons, mostly related to the country’s religious and cultural barriers. In fact, if you check the list of Iranian metal bands on the Encyclopaedia Metallum: The Metal Archives website, I’m sure you won’t recognize most of the names on the (extremely short) list. Fortunately, it seems that the tide is turning, Iranian metallers are now enjoying a higher level of liberty and, therefore, providing the world their share of heavy music, which is the case with old school Death Metal Nex Carnis.

After releasing their first demo in 2012 entitled Death of the Flesh, which by the way is the translation of the name of the band from Latin, and after some hurdles such as not being able to find a fitting drummer in the local scene, this talented Tehran-based group wants to show the world they’re ready to spread their evil wings and reach new heights with their debut ful-length album, the thunderous Obscure Visions of Dark. And if you’re a fan of that raw old school Death Metal perfect for having your brain melted after headbanging like crazy, you should definitely give these guys a shot.

The fuckin’ brutal opening track Darkened Rites of Existence, which is composed of two parts named “Part 1: Visions” and “Part 2: Labyrinth”, is very similar to what Brazilian Death Metal masters Krisiun do, just to give you an idea of how destructive the music by Nex Carnis is. Vocalist Asto Vidatu sounds like a wild beast with his growls, and it’s impressive how progressive the music is to an old school Death Metal band. In addition to that, what can I say about the infernal devastation caused by drummer Jirka “Jurgen” Zajíc during the last part of the song and the wicked guitar solo by guest musician Disguster? Anyway, with a macabre intro, Cryptic Depths of Unlight mixes the best elements from Death and Thrash Metal in a sick performance by all band members, with highlights to Incruent for leading all the breaks and variations with his morbid guitar riffs and solos.

3540353203_logoDissolution in Vortex of Sanity, which intro has that metallic guitar shredding we enjoy so much, offers the listener pure old school Death Metal where downright violence is its core factor. Not only that, Incruent and Jurgen provide all the necessary support for Asto Vidatu to keep roaring the song’s interesting lyrics, turning it into one of the top moments of the album. Following all that insanity we have Descent into Ethereal Realms, another song split in two parts (“Part 1: Entrance” and “Part 2: Transmigration”) where you can sense the influences of Morbid Angel, Slayer, Cannibal Corpse and other Thrash/Death Metal icons, but with an aerial atmosphere due to the content of its lyrics. And pay attention to the song after around four minutes, varying between a sonic blast perfect for a wild circle pit and a slower and more obscure rhythm that aims at being truly unearthly, consequently making the entire song even more entertaining.

Nex Carnis need only five seconds to begin pulverizing every living creature that crosses their path in Abolishing Rancid Thrones of Deceit, probably the most traditional of all tunes in terms of rhythm and heaviness. However, Incruent and Jurgen get a lot progressive and innovative in some instances, adding a lot of value to the final result, as well as the guitar solo by guest musician Rafael Barros. Besides, due to the maximum speed imposed by Jurgen on drums, the second half of the song flirts with Black Metal, yet another interesting variant present in their music. And lastly, these skilled Iranian death metallers don’t seem to get tired at all, firing huge doses of morbidity in Murky Pits of Time. This might sound stupid, but does anyone have some lozenges for Asto Vidatu? He will need those after snarling so deeply and intensely for almost seven minutes. Also, kudos to guest musician Jacek Hiro for providing the music some “tranquility” with his excellent guitar solo, just before the song reaches its apocalyptic ending.

In summary, Obscure Visions of Dark is a very solid Death Metal album that goes a little beyond the traditional boundaries of that specific type of metal, giving the listener not only another excellent option in the world of extreme music but also a unique opportunity to know more about the Heavy Metal scene in Iran. You can check the band’s official Facebook page for more updates on their releases and tour dates, and purchase their debut album at the Nightbreaker Productions webstore. The flesh might be dead as the name of the band states, but the rise of Death Metal in Iran seems to be in good hands if Nex Carnis keep delivering such high-end music throughout the years.

Best moments of the album: Darkened Rites of Existence and Dissolution in Vortex of Sanity.

Worst moments of the album: None.

Released in 2015 Nightbreaker Productions

Track listing
1. Darkened Rites of Existence 5:21
2. Cryptic Depths of Unlight 5:56
3. Dissolution in Vortex of Sanity 4:39
4. Descent into Ethereal Realms 6:39
5. Abolishing Rancid Thrones of Deceit 4:21
6. Murky Pits of Time 6:55

Band members
Asto Vidatu – vocals
Incruent – guitars, bass
Jirka “Jurgen” Zajíc – drums

Guest musicians
Jacek Hiro – guitar solo on “Murky Pits of Time”
Rafael Barros – guitar solo on “Abolishing Rancid Thrones of Deceit”
Disguster – guitar solo on “Darkened Rites of Existence”

Album Review – Omega Diatribe / Abstract Ritual EP (2015)

Posted on by
3

Open your mind to the groovy and heavy music by this Hungarian act and you might survive the transmission.

Rating4

cover_HDThere’s a secret ancient writing stem from an unknown alien civilization, a contract between Humans and Aliens about the use of the planet Earth that states Humans could only use the Earth in a limited time, and when our time is over they’ll come back and take us to a higher level planet. However, only the open-minded people could survive the transmission. The government calls it Omega Diatribe, which is also the name of an amazing Hungarian Extreme Groove Metal band formed in Budapest in 2008 by guitarist Gergő Hájer and bassist Ákos Szathmáry.

After the release of their first promo track Forty Minutes, in 2012, and their debut full-length album entitled IAPETVS, in 2013, those Hungarian metallers return stronger than ever with a brand new EP called Abstract Ritual, where they not only keep delivering groovy polyrhythmic metal music, but they also continue their persevering trek through the limitless potential of the human mind. In other words, it’s another auspicious case of elaborate Heavy Metal permeated by an enthralling concept, and if you are a habitual reader of The Headbanging Moose you know how much we value that type of work.

That futuristic view of the world, as well as the power of the human psyche, are already explicit in the modern Thrash/Groove Metal of the opening track Subsequent Phase, with the resonant bass lines by Ákos adding a lot of power to the music. In addition, lead singer Gergely Komáromi translates the message of the lyrics into sheer aggression with his growls, enhanced by the clean and professional production of the album. Right after that promising start, it’s time to get even more barbaric and bang your fuckin’ head to the dark throbbing tune Extrinsic, which offers the listener very thoughtful lyrics despite all the violence found in it (“Don’t push me / Let me decide the fate of body / Questions remain unanswered / Leave vigor for my time / That included doubts / And eternal uncertainty”). Moreover, guitarists Gergő Hájer and Attila Császár deliver those eerie riffs perfect for this type of contemporary metal music, building a much stronger atmosphere that ends up elevating the overall quality of the song.

In Hydrozoan Periods, the band continues the upbuilding of their high-end metal music, with progressiveness and heaviness walking hand in hand. The last part of the song showcases all the anger and skills of the musicians, with highlights to Ákos and drummer Kevin Talley for the cohesive sonority they put up together. The title-track Abstract Ritual is another groovy and heavy feast, showcasing once again the aptitude those guys have for delivering an interesting concept through their lyrics (“How could it be absorbed in the mind when I’d concealed my senses? / And it returns. / It’s me sitting around the sun with these beings / I’d sunk the key for my projections into a cube and swallowed / To attach the new molecules / To be the eye”), not to mention the great performance by Gergely, who puts his heart and soul into singing and screaming those beautiful lyrics.

omega diatribeAnd in order to provide the EP a fresh ending, Omega Diatribe present the instrumental track The Quantum, where the main ingredient is a very interesting speech by the illustrious American esoteric philosopher Terence McKenna, and an alternate version for Unshadowed Days, from their 2013 debut album IAPETVS, which sounds like a completely brand new song to my ears. I personally prefer this new version especially in terms of sound quality and the extra layers of complexity added to it, but you can listen to the original one HERE and take your own conclusions.

There are countless ways to know more about Omega Diatribe and keep in touch with the band, either through their Facebook page, YouTube channel, SoundCloud and, of course, by buying their music at their BandCamp page or at the 515 Studio website. Open your mind to the music in Abstract Ritual, listen and absorb, and you might become part of the selected ones who survive the transmission.

Best moments of the album: Extrinsic and Abstract Ritual.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1. Subsequent Phase 4:48
2. Extrinsic 4:16
3. Hydrozoan Periods 3:17
4. Abstract Ritual 4:46
5. The Quantum 3:27
6. Unshadowed Days (Perception Remix) 6:44

Band members
Gergely Komáromi – vocals
Gergő Hájer – lead guitar
Attila Császár – guitar
Ákos Szathmáry – bass
Tommy Kiss* – drums

Additional musician
Kevin Talley – drums (studio recording)

* Drummer Tommy Kiss joined Omega Diatribe at the beginning of 2015.

Concert Review – Volbeat (General Motors Centre, Oshawa, ON, 05/12/2015)

Posted on by
Reply

Awesome bands playing awesome music don’t always translate into an awesome experience.

OPENING ACTS: Crobot and Anthrax

volbeat_na2015I have to start this review by grunting some really unpleasant words about the whole organization of what was supposed to be a great event at the General Motors Centre in Oshawa, Ontario on the night of May 12. First of all, whoever thought Oshawa was a better city for Volbeat and Anthrax to play instead of Toronto made a huge mistake, and I’m not complaining about the distance to Oshawa, as a 1 or 2-hour drive is nothing to worry about. The huge issue was the lack of information and the complete nonsense regarding the sales of the general admission (floor) tickets. I swear to Ronnie James Dio that I tried to purchase those tickets a hundred times online and all I could get were some stupid seats far from the stage. I thought it was going to be a sold out event because of that, but guess what? The floor was not even half full, nor were the seats closer to the stage, which makes me wonder if scalpers had all the remaining tickets for the floor area, or if the venue system is a lame piece of garbage worse than Windows Millenium Edition.

Not only that, the price for the floor or the seats was the exact same shit, so why couldn’t they allow some people that wanted to access the floor area (who most probably had the same issue I had buying their tickets) to actually change their seats for the floor if the price was not a single penny off? That also caused lots of minor incidents between fans and the organization, some even involving physical interactions. Well, that’s what happens when amateurs avid for some easy money try to organize a mini-festival that shouldn’t be held at a venue like that. Shame on you, whoever had the “brilliant” idea of taking such awesome bands as Volbeat and Anthrax to a shithole like that, weakening the performance of the bands to the point it looked like a lackluster and uninspired concert.

The guys in charge of opening the night were American Rock band CROBOT, from Pottsville, Pennsylvania. I’ll be honest with you, this is definitely not my type of music, but the band tried as much as they could to stimulate a very passive crowd, especially the nonstop frontman Brandon Yeagley and the “crazy-frog-legs” bassist Jake Figueroa. If you love Psychedelic Rock, go after their music: they’re very talented musicians who have the energy of the 70’s ingrown inside their spirit and are more than capable of delivering that energy through each of their songs.

Setlist
1. The Legend of the Spaceborne Killer
2. Skull of Geronimo
3. Night of the Sacrifice
4. La Mano de Lucifer
5. Nowhere To Hide
6. The Necromancer
7. Chupacabra
8. Fly on the Wall

Band members
Brandon Yeagley – lead vocals, harmonica
|Bishop – guitar, vocals
Jake Figueroa – bass
Paul Figueroa – drums

IMG_0280When you see a guy with a huge Anthax tattoo on his arm AND wearing an Anthrax T-shirt watching an ANTHRAX concert so passively, barely moving to the point I almost called the paramedics to check if he was still breathing, you know there’s something very wrong going on. The “humongous” space between my seat and the front one was killing me, as well as the somnolence of one of the worst crowds I’ve ever seen in my life. However, even with all those issues, Anthrax kicked ass once again, of course, thanks to their flawlessly executed frantic Thrash Metal. I just wish I could be together with some real fans who were having a good time when they were caught in the rare but exciting mosh pits on the floor area. Well, if people are capable of standing still while Joey, Scott & Co. play masterpieces like Caught in a Mosh, Fight ‘Em ‘Til You Can’t and the best song of the night in my opinion, the heavy and furious I Am the Law, they should rethink paying 50 bucks for a ticket and almost 9 bucks for a beer. Damn, and people keep complaining they do not have money. Stay home and watch a DVD, right?

Setlist
1. Worship
2. Caught in a Mosh
3. Got the Time (Joe Jackson cover)
4. Madhouse
5. Antisocial (Trust cover)
6. Fight ‘Em ‘Til You Can’t
7. Soror Irrumator
8. Hymn 1
9. In the End

Encore:
10. I Am the Law
11. Indians

Band members
Joey Belladonna – lead vocals
Jonathan Donais – lead guitar
Scott Ian – rhythm guitar, backing vocals
Frank Bello – bass guitar, backing vocals
Charlie Benante – drums, percussion

VOLBEAT

IMG_0300Every single word used above for describing the Anthrax concert can be replicated to Danish Heavy/Hard Rock band VOLBEAT. I cannot believe I witnessed one of the best heavy bands of the modern era playing tons of awesome songs to a crowd that looked like they were at the funeral of their grandmothers. Except for random groups and couples that were truly enjoying the electrifying music by Volbeat, the rest of the “fans” were falling asleep and some even left the venue BEFORE the band played half of their setlist. Again, I don’t care it was on a Tuesday night and you had to work on the next morning, why don’t you just save some money and stay home watching a DVD if you thought it was getting late? At least I was able to move to a better location, as more than half of the seats were empty just like the floor area, and could stand up and dance with my lady to classic such as A New Day, Danny & Lucy (11 pm), Guitar Gangsters & Cadillac Blood and The Mirror and the Ripper.

IMG_0304The badass kids that went on stage during 16 Dollars and banged their heads like most adults at the venue couldn’t do were a breath of fresh air amidst the audience’s stagnant attitude, but the incidents during one of my top Volbeat songs, The Garden’s Tale, with a woman having to be carried out of the arena due to her stupid behaviour (including hitting the poor security guys many times), could pretty much summarized my feeling during the entire night. Not even when Volbeat played part of a brand new still-nameless song of their upcoming new album, which by the way sounded superb, the fans reacted properly. I guess even the band felt the same way, with Michael Poulsen and Rob Caggiano making a lot of mistakes during many songs like if they were “who cares, this audience is shit anyway.”

When Volbeat returns to Canada, let’s pray to the Metal Gods that they come to Toronto instead of Oshawa, and to a much better venue with a professional organization, so that I can purchase my floor tickets and really feel the heat of the music by those rockers. Sorry, Oshawa people, nothing against you. The problem is that you had your chance to show those amazing bands you’re worth their visit, but you screw it up pretty bad. Next time, come to Toronto and you’ll see how you should behave when Anthrax and Volbeat are kicking ass on stage.

Setlist
1. Hallelujah Goat
2. A New Day
3. Dead but Rising
4. Lola Montez
5. Danny & Lucy (11 pm)
6. Sad Man’s Tongue
7. The Nameless One
8. Guitar Gangsters & Cadillac Blood
9. Ecotone
10. The Human Instrument
11. The Garden’s Tale
12. Heaven nor Hell / A Warrior’s Call
13. Doc Holliday
14. The Mirror and the Ripper
15. 16 Dollars

Encore:
16. Pool of Booze, Booze, Booza
17. The Hangman’s Body Count
18. The Lonesome Rider
19. Fallen
20. Still Counting

Band members
Michael Poulsen – vocals, guitar
Rob Caggiano – guitar
Anders Kjølholm – bass
Jon Larsen – drums

Album Review – Acrassicauda / Gilgamesh (2015)

Posted on by
1

A modern, visceral and compelling album by the Arabian black scorpions of Thrash Metal.

Rating3

CoverThe story I’m about to tell you is not only inspiring, but also shows the strong and positive influence music can have on any of us, helping us face our deepest fears and overcome the hardest challenges in our path. Acrassicauda (or أكراسكودا in Arabic), the latin name of a black scorpion species known as the Arabian fat-tailed scorpion (Androctonus crassicauda), is also the name of an incredible Iraqi Thrash Metal band formed in 2000, made famous by the award-winning documentary Heavy Metal in Baghdad and often credited as being the first Heavy Metal group to emerge from Iraq, who unfortunately had to undergo all the agonies and pain of witnessing their homeland being devastated by politics and war.

After being granted refugee status in the United States in 2009 and after releasing a couple of demos and one EP, the band now based in New York brings forth their first full-length album, the unique Gilgamesh, a tribute to the ancient Mesopotamian civilization using the Epic of Gilgamesh, an ancient poem written in the Acadian language in the 3rd millennium BC, originally inscribed on 12 tablets in cuneiform script. With a fascinating theme like that turned into solid and heartfelt music by skillful musicians, you’ll rapidly be absorbed by the story told in Gilgamesh, going back to the start once the album is over and listening to it in its entirety again and again.

Right after the ominous and introspective intro Cedar Forest, where hints of the Middle-Eastern culture are already present, we are offered a blasting mix of modern heavy music and uprising Thrash Metal entitled Rise: the harsh vocals by frontman Faisal Mustafa have the necessary fierceness to transmit the desired message (and you’ll be tempted to scream the chorus together with him and the rest of the band), while guitarist Moe Al Hamawandi helps shape the band’s soul with his riffs and solos. In the potent and very progressive Quest for Eternity, thanks to the job done by Marwan Hussein on drums, they continue their journey through Middle-East by perfectly adding elements of their own culture to the music just like Sepultura did in Chaos A.D. and especially in Roots, while Amongst Kings and Men has a more modern sonority with great vocal lines and a progressive rhythm. In addition, its clean and backing vocals are also amazing and make the whole song even more powerful.

Shamhat, the name of a sacred prostitute who plays an important role on the Epic of Gilgamesh, is a sharp and rumbling intro that flows nicely into the following track, the superb multi-layered clash The Cost of Everything & the Value of Nothing, a groovy and metallic tune with an outstanding percussion, a strong message and a violent atmosphere. The entire band is kicking ass, with highlights to Faisal and Marwan who are truly electrified and end up elevating the inner beauty of this song. Nonetheless, as even warriors have love in their hearts, Acrassicauda provide the listener an awe-inspiring and touching ballad named Requiem for a Reverie, where its thoughtful lyrics and a passionate performance by Faisal turn it into one of the best moments of the whole album. Their special Middle-Eastern touch is used once again to add rage and balance to House of Dust, a Thrash Metal song that feels really fresh and modern due to the welcome addition of clean vocals, with highlights to its lyrics, which in my opinion should work perfectly when played live (“As I walk through the valley of the shadow of death I take my last oath / As I take my first step in your house of dust I should have known from the start / Where will it all ends? / Right here right now / Where it began / What went wrong? / And what have we done”).

acrassicaudaI can see the fans jumping up and down to the thrilling Unity, which direct and impetuous instrumental together with some eerie passages make the final result truly interesting, followed by Elements, where the band keeps delivering high-end metal embraced by their country’s culture. Needless to say, Moe and Marwan effectively take this song to the next level so good their performances are. Uruk, an ancient city of Sumer and later Babylonia ruled by Gilgamesh in the 27th century BC, is the second instrumental track of the album, where Acrassicauda showcase their well-developed skills as Iraqi musicians one more time, enhancing your senses for the last track of the album, the startling Rebirth, a song about revolution and the fight for freedom. With its Terminator-inspired riffs and Slayer-ish vibe (especially the one found in the all-time classic “Seasons in the Abyss”), it’s absolutely impossible not to bang you fuckin’ head to it, just before everything converges to a melancholic ending.

According to the band, Gilgamesh is an ode to modern Iraq, a home from which they are sadly exiled today. As bitter as it may sound, darkness seems to be a necessary evil in the conceptualization of superior music, and if you want to come into contact with that intense synthesis of passion and sorrow you can visit Acrassicauda’s Facebook, BandCamp page and YouTube channel, and also buy Gigalmesh at their official website as a digital download or physical copy. Lastly, in order to properly finish off this review, I leave you with drummer Marwan Hussein’s own words about what Gilgamesh represents to the band and, inevitably, to everyone else that might have the pleasure of listening to it.

“The whole album’s concept is about journeys, life and death, love, the divine, success and failure, and the eternal struggle for immortality. Acrassicauda immortalizes the legacy of this character and his struggles through music, thousands of years later…” – Marwan Hussein

Best moments of the album: Rise, The Cost of Everything & the Value of Nothing, Requiem for a Reverie and Rebirth.

Worst moments of the album: Absolutely none. The whole album kicks ass.

Released in 2015 Independent

Track listing
1. Cedar Forest 1:29
2. Rise 5:04
3. Quest for Eternity 3:47
4. Amongst Kings and Men 5:11
5. Shamhat 0:25
6. The Cost of Everything & the Value of Nothing 3:09
7. Requiem for a Reverie 4:04
8. House of Dust 4:06
9. Unity 4:01
10. Elements 2:56
11. Uruk 2:02
12. Rebirth 4:32

Band members
Faisal Mustafa – vocals
Moe Al Hamawandi – guitar
Firas Abdul Razaq – bass
Marwan Hussein – drums

Album Review – Unleashed / Dawn Of The Nine (2015)

Posted on by
Reply

Let the mighty God of Thunder bang his head to the sound of old school Death Metal while he mercilessly smashes his foes with his hammer.

Rating5

unleashed_dawn of the nineFormed in the “distant” year of 1989 in the beautiful city of Stockholm, Sweden, and still alive and kicking after almost three decades, the iconic Death Metal band Unleashed can credit their longevity and glory to their unique music concept, being the pioneers in implementing completely different themes from most Death Metal bands, such as Viking culture, Norse folklore and even references to the work by the renowned English writer and poet J. R. R. Tolkien, to their furious and coarse sounding.

In order to keep the almighty God of Thunder grinning and banging his head to the brutal sound of Death Metal while he smashes hordes of infidels with Mjölnir, Unleashed are releasing in 2015 their twelfth studio album, the good Dawn Of The Nine. Although the album does not flirt with Black Metal as much as its predecessor, the excellent Odalheim (2012), which means it lacks a little more darkness, it’s still a celebration of extreme music, war, vengeance and sacrilege that will satisfy the hunger of death metallers all over the world for more of the band’s Viking Death Metal.

Shifting between Viking Metal and more traditional Death Metal, the opening track A New Day Will Rise relies upon a strong atmospheric background and the aggressive vocals by Johnny Hedlund, while the other band members make sure the music stays visceral. It’s not the most creative songwriting in the world, but it’s still very cohesive, which is also valid for They Came to Die and its elements of Thrash Metal and Symphonic Black Metal, offering a more exciting headbanging tune. The guitar lines by Fredrik Folkare and Tomas Måsgard enrich the melody found in the music, and of course drummer Anders Schultz doesn’t seem “happy” and crushes whoever is in his path. The ominous intro already summarizes the darkness in Defenders of Midgard, a song about the will to keep fighting for our beliefs and our beloved ones (“But we will rise again / And fight, fight to defend / Our Midgard ’til the very end / Fight to defend / Our Midgard ’til the very end”). However, the music itself is boring, getting really repetitive after a while and consequently falling flat, despite the good guitar solo by Fredrik.

Fortunately, they finally unleash their infamous Death Metal in Where Is Your God Now?: its direct lyrics about being a true godless warrior (“Here we are alive again / In a battle without end / So we rise from the caves / And march until sol descends”) are very effective and the growls by Johnny are a lot more cutting. In other words, get ready for some sick circle pits to the sound of this evil mix of Death and Black Metal. And although Johnny sounds a little tired in The Bolt Thrower, it’s another good old school Death Metal tune, where the most curious detail is that I don’t know if they’re talking about the ancient missile weapon named “ballista” or if it’s a tribute to British Death Metal band Bolt Thrower. Well, Johnny sings “a master of war that feels no pain”, which makes me think it’s about the band. Or maybe it’s the weapon? What a tricky question.

unleashed_2015Let the Hammer Fly is a straightforward fast tune that might not be innovative but works pretty well, where its instrumental appropriately sticks to the basics of extreme music and its second half feels a lot darker, with highlights to another good guitar solo by Fredrik Folkare; while Where Churches Once Burned, with a stronger atmospheric background and Black Metal-ish riffs, sounds a lot more extreme and blasphemous thanks to the melodic guitar lines by Fredrik and the blast beats fired by Anders until the song evolves to a mournful ending. In Land of the Thousand Lakes, Johnny begins with some low-tuned bass lines before the song becomes barbaric, which translates into a fast and brutal assault of riffs and beats that will break your fuckin’ neck.

The pure Doom Metal title-track Dawn of the Nine doesn’t live up to its goal, proving Unleashed sound a lot more powerful when they play at high speed and more violently. The song gets slightly more interesting in some parts, sounding like old school Black Sabbath, but that’s not enough to salvage it. And last but not least, Welcome the Son of Thor! is another decent Viking Death Metal tune despite its uninspired lyrics, where the primeval bass lines by Johnny are really potent and therefore add more balance to the drumming by Anders.

Long story short, if this is your type of music and you are interested in Scandinavian culture and floklore, there are different versions of the album available at the Nuclear Blast webstore, Amazon, iTunes and other retailers. As aforementioned, Dawn Of The Nine will surely keep the Norse gods and demons well pleased and ready for more Unleashed in a near future.

Best moments of the album: They Came to Die, Where Is Your God Now? and Where Churches Once Burned.

Worst moments of the album: Defenders of Midgard and Dawn of the Nine.

Released in 2015 Nuclear Blast

Track listing
1. A New Day Will Rise 3:51
2. They Came to Die 3:13
3. Defenders of Midgard 4:37
4. Where Is Your God Now? 4:24
5. The Bolt Thrower 3:49
6. Let the Hammer Fly 4:10
7. Where Churches Once Burned 5:18
8. Land of the Thousand Lakes 4:15
9. Dawn of the Nine 6:41
10. Welcome the Son of Thor! 4:34

Band members
Johnny Hedlund – vocals, bass
Fredrik Folkare – lead guitar
Tomas Måsgard – rhythm guitar
Anders Schultz – drums

Album Review – 4ARM / Survivalist (2015)

Posted on by
3

A phenomenal heavy music album full of groove, fury and energy by an extremely talented Thrash Metal band from Down Under.

Rating3

Survivalist Album CoverWhen I saw Australian thrash metallers 4ARM here in Toronto opening for Slayer in 2013 I knew there was something special about those guys, as I was able to truly enjoy their performance even knowing nothing about their music. That’s what high-quality music does to people, and that’s what will happen to you when you take a listen at Survivalist, the magnificent new album by this Melbourne-based Groove/Thrash Metal band.

Put together the speed and violence of Testament with the modernity and groove of Trivium, adding to that beautiful mixture the talent and refined technique of this band from Down Under, and the final result is an album (or should I say a concept album, as each song is a different “chapter”?) that will become an intrinsic part of your day-to-day playlist so awesome it is. Not only that, the album art by Colin Marks at Rain Song Design, who have already worked with bands such as Exodus, Whitechapel and Suicide Silence, wraps up the musical content perfectly. With that said, let me stop typing for a few seconds while I hit play to listen to Survivalist for the 100th time.

Opening this beautiful album we have Eyes of the Slain, and it’s such a great start it’s hard to explain what it represents in just a few words. Its intro reminds me of some excerpts from the biggest classics by Trivium, before turning into fast and technical metal music perfect for circle pits with the vocals by Markus Johansson being more melodic than the average in Thrash Metal. Besides, there’s an awesome dose of melancholy and anger in this song that only makes it more remarkable. In the following tune, Fragment of a Dream, the riffs are so amazing I dare you to not enjoy them. The level of professionalism is outstanding, and I’m sure you’ll be singing its catchy chorus for days in a row (“HUMAN nature is to kill / NEW WORLD disturbing of the beast / ODER chaos / Reality is hardly what it seems / HUMAN nature is to will / NEW WORLD survive in the extreme / ORDER chaos / Belief is just a fragment of a dream”). In addition, what lead guitarist Evan K and drummer Michael Vafiotis do with their instruments is beyond amazing.

Poisoned Mind is not just another kick-ass tune: it’s an extremely dense and complex composition with the whole band demanding we bang our heads nonstop during its execution, with highlights to the beastly and harmonic drumming by Michael and to the sick bass lines by Andy Hinterreiter. This is in my humble opinion the best song of the album and a lesson in Heavy Metal that truly deserves our recognition. Slowing down a bit (but as heavy as hell), 4ARM deliver the groovy Poverty of Flesh, where its lyrics blend perfectly with its instrumental parts. Markus and Evan offer us a feast of riffs and solos only bands like Trivium and Exodus can do, and if you’re a longtime fan of Testament you’ll go crazy with the last part of the song for sure.

4armSounding like the good times of Metallica mixed with the latest works by Trivium (and 4ARM’s own personality, of course), Lights Out presents great lyrics once again (“It’s in the darkest times / We reveal who we are / Those that can endure / And live beyond the scar / Scars are but a darkness of the soul / Revelation of might, silent control”), and it’s amazing how in just seven minutes they were capable of fusing three or four different “songs” in a very progressive and melodic way. In the next song, In Living Decay, they come blasting a powerful blend of 80’s Thrash Metal with modern extreme music right in our faces. I can imagine the smile on Michael’s and Evan’s faces while playing this song, and in the case of us metal fans, the question is: how not to get into the mosh pit with this song?

Now try to imagine if Dream Theater were a Thrash Metal band. Well, the song Ignitor would probably be the result in your mind. It’s nonstop violence with a strong melody and guitar solos tailored for any guitarist in the world to admire, with highlights to the vocals by Markus for giving genuine life to the lyrics. Last but not least, if 4ARM started the album on a high note, why not closing it with another brilliant tune, right? And for that they chose the title-track, Survivalist, the longest and most introspective of all tracks. This is a stunning semi-ballad where the music follows its sorrowful lyrics flawlessly (“And so it’s come to this / As the days cease to exist / Life in decline / Stare at the abyss / Count down the days yet still insist / There’s always time”), with the final guitar solo by Evan being so awesome it really makes me feel sad the album is over.

I’m not only going to say Survivalist is one of the best albums of 2015 so far,  but that its level of professionalism is absolutely unbelievable for a 100% independent band. How come 4ARM do not have a record label yet playing this first-class metal music? Anyway, you can give them a shout at their official Facebook page, and also purchase Survivalist on iTunes or on their BandCamp page. I really don’t know how we all survived until today without this album on our hands, but that’s how life is. At least we have it now to be listened over and over again, which reminds me what I’m going to do next.

Best moments of the album: Eyes of the Slain, Poisoned Mind and Survivalist.

Worst moments of the album: Honestly, there’s absolutely nothing bad or weak on this album.

Released in 2015 Independent

Track listing
1. Eyes of the Slain 7:30
2. Fragment of a Dream 4:47
3. Poisoned Mind 5:11
4. Poverty of Flesh 7:37
5. Lights Out 6:59
6. In Living Decay 4:45
7. Ignitor 5:22
8. Survivalist 8:31

Band members
Markus Johansson – vocals, guitars
Evan K – lead guitars
Andy Hinterreiter – bass
Michael Vafiotis – drums