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Album Review – Empress / Fateweaver (2022)

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This up-and-coming Symphonic Metal five-piece outfit from Philadelphia is well on their way to conquering the big stages and setting people’s minds ablaze to the sound of their striking debut album.

An up-and-coming five-piece act from Philadelphia, in the United States, centered around classically-trained singer Barbara Blackthorne and main songwriting, mastermind and guitarist Vlad Khavin, Symphonic Metal outfit Empress is well on their way to conquering the big stages and setting people’s minds ablaze with kaleidoscopic arrangements, and their brand new album Fateweaver is the perfect way to kick-off their path to success showcasing their unique take on Symphonic Metal while they effortlessly transition between a variety of powerful tunes. Mixed and mastered by Dan Swanö at Unisound Studios, produced and engineered by the aforementioned Vlad Khavin, and displaying a classy artwork by Nguyen Hieu, Fateweaver will fully captivate your senses thanks to the amazing job done by Barbara and Vlad alongside their bandmates Joseph Muir on the guitars, Nicholas Bonsanto on bass and Mark Stainthorpe on drums, asking you if you’re bound by fate or bound to control it, as they navigate the overarching theme of destiny through the tales of the individual characters on each song.

Whimsical keys ignite the symphonic, epic title-track entitled Legion, with Mark dictating the pace with his heavy beats before Barbara arrives like a Valkyrie from the sky and stuns us all with her operatic vocals, and the guitars by Vlad and Joseph reverberate in the air in the also imposing Beyond the Sleep, with all background elements adding an extra touch of magic to the overall result. Then a sinister, somber start evolves into a multi-layered feast of Symphonic Power Metal titled Chimera, also presenting tons of progressiveness and electricity while Barbara is flawless on vocals supported by the pounding drums by Mark; whereas they don’t waste a single second and continue their musical adventure in The Fall of Kingdoms, with Vlad and Joseph being on absolute fire with both their riffs and solos, followed by Black Arcana, very rhythmic, epic and dense from start to finish, with Barbara’s soaring vocals being a thing of beauty while Nicholas and Mark generate a rumbling atmosphere with their respective bass and drums.

Monarch is another dynamic and ethereal display of Symphonic Metal by those talented musicians where the riffage by the band’s guitar duo beautifully clashes with the song’s  background keys, while there are moments of sheer progressiveness that remind me of Opeth and Dream Theater. In the electrifying Into the Grey, the unstoppable Barbara gorgeously declaims the song’s words (“The coming storm brings a change / The eye of fate shifts its gaze / The sky will show the way to rend fear from my heart”) while her bandmates make sure we’re transported into a world of magic and epicness to the sound of their undisputed Symphonic and Melodic Metal; whereas Immortelle sounds clearly inspired by classic Nightwish and Epica, offering our ears another round of their piercing sounds albeit a bit generic if compared to the rest of the album. And last but not least, closing such powerful album we have the seven-minute symphony Eventide, where Barbara showcases all her vocal range and potency and where all elements are in the right place, elevating the song’s punch to a whole new level and resulting in a climatic ending for admirers of the genre.

You can get to know more about Empress, their music, plans for the future, tour dates and so on by following the band on Facebook and on Instagram, stay up to date with their new songs and videos by subscribing to their YouTube channel and by streaming their music on Spotify, and show your utmost support to those hard working American metallers by purchasing a copy of their new album from their own webstore or from their BandCamp page, or simply by clicking HERE or HERE to select your favorite version of the album or to stream it in full. What do you say? Are you bound by fate or bound to control it? If you don’t know the answer to that, let Empress help you to the sound of their striking debut album, allowing their stylish Symphonic Metal to penetrate deep inside your mind and soul.

Best moments of the album: Legion, Chimera and Into the Grey.

Worst moments of the album: Immortelle.

Released in 2022 Independent

Track listing
1. Legion 4:20
2. Beyond the Sleep 4:34
3. Chimera 7:11
4. The Fall of Kingdoms 5:40
5. Black Arcana 4:38
6. Monarch 5:35
7. Into the Grey 4:00
8. Immortelle 4:53
9. Eventide 6:54

Band members
Barbara Blackthorne – vocals
Vlad Khavin – guitars
Joseph Muir – guitars
Nicholas Bonsanto – bass
Mark Stainthorpe – drums

Album Review – Bleed Like Mylee / Nuk Soo Kow EP (2022)

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You will bleed like Mylee after listening to the hard-hitting Metalcore blasted by this talented and ruthless five-piece act hailing from the United States.

The drunken brainchild of vocalist Joseph Izayea (Seeking Sirens, From Under Concrete Kings, Sour Times) bassist Josh Previte (From Under Concrete Kings, Patient 0) and drummer Doug Waite (To Die This Night, Gamohra), United States-based  Metalcore act Bleed Like Mylee is a hard-hitting five-piece outfit comprised of the aforementioned musicians plus longtime friends Jeremy Litton (Patient 0) on the guitars and Armando Yambao (Galvanized) on additional vocals, delivering crushing breakdowns, epic choruses and gut-punching songwriting, all absurdly packaged in a tribute to the movie Kickboxer featuring Jean-Claude Van Damme. Fans of acts like Austrian Death Machine and Okilly Dokilly should easily find enjoyment in their debut EP Nuk Soo Kow, which stands to leave some bruises on 2022 due to its endless adrenaline and heaviness carefully brought into being by a band that’s more than ready to kick some ass in the name of heavy music and, of course, in honor of the unparalleled Van-Damme.

Get in the ring to the sharp riffs by Jeremy and the infuriated beats by Doug in the opening tune Kiss Of Death, inspired by this classic scene from the movie, with Joseph roaring the song’s lyrics as if he was a true kickboxer ready for a fight, followed by Now Kiki Even Too, another iconic line of the movie turned into visceral Metalcore where Jeremy and Josh are in perfect sync with their stringed weapons, sounding melodic and heavy-as-hell at the same time. Then one more unforgettable movie moment has its own tribute in the form of Kick The Tree, bringing forward ass-kicking Metalcore perfect for slamming into the pit with Armando supporting Joseph’s rabid roars in great fashion; and the band alternates between pensive moments and sheer adrenaline in Stone City (inspired by the movie’s own stone city), with Joseph screaming from the bottom of his heart while Doug sounds like a machine gun behind his drums. Lastly, the screams of “Nok Su Kao! Nok Su Kao! Nok Su Kao!” taken from this fantastic movie scene ignite the closing song, the frantic, insane Nuk Soo Kow, showcasing an awesome job done by Jeremy on the guitars while Josh makes the earth tremble with his bass, resulting in a lesson in Metalcore violence.

In a nutshell, the high-octane Nuk Soo Kow, which by the way should become available in its entirety on Spotify soon, is indeed a fun and vibrant tribute to one of the best fight movies of all time throughout its 22 minutes of classic Metalcore blasted by those five talented American metallers, with all of them being on fire from start to finish and, therefore, leaving us eager for more of their kickboxing heavy music in a not-so-distant future. And as Bleed Like Mylee smashes your head with their furious Metalcore, you’ll be lying on the ground like Kurt Sloane in the movie Kickboxer while the band approaches you with a smile on their faces and simply pronounce Tong Po’s famous words, “You bleed like Mylee! Mylee… good fuck!”

Best moments of the album: Now Kiki Even Too and Nuk Soo Kow.

Worst moments of the album: None.

Released in 2022 Independent

Track listing
1. Kiss Of Death 4:12
2. Now Kiki Even Too 3:47
3. Kick The Tree 3:47
4. Stone City 4:28
5. Nuk Soo Kow 5:40

Band members
Joseph Izayea – vocals
Jeremy Litton – guitar
Josh Previte – bass
Doug Waite – drums
Armando Yambao – additional vocals

Album Review – Shuriken Cadaveric Entwinement / Constructing The Cataclysm (2022)

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A demonic American duo is back in action with eight songs of fiercely implacable Death Metal bristling with riffs like lethal weapons and devilish growls, inspired by the history and mythology of the samurai.

Drawing on the complex history and vibrant mythology of the samurai, the powerful warrior caste of feudal Japan, Gastonia, North Carolina-based outfit Shuriken Cadaveric Entwinement has carved out their own kingdom of intense and characterful Death Metal, and although the demonic duo formed of multi-instrumentalist Jordan Varela (Lust Of Decay) and vocalist Jay Barnes (Cesspool Of Vermin) unveiled their second album Resuscitating The Vile almost a decade ago and may have fallen on their swords, consigning the project to the dust of ages, their third full-length opus, entitled Constructing The Cataclysm, is about to see the light of day. Recorded by Mike Clevenger at Audio Helm Studios, and displaying a fantastic samurai-inspired artwork by Andreas Christanetoff of Armaada Art, the album features eight songs of fiercely implacable Death Metal bristling with riffs like lethal weapons and devilish growls and howls, taking the duo to new levels of intensity and sheer class.

Get ready to be transported to feudal Japan before Jordan begins decimating his drums in the hellish Insurrection of the Diabolic while Jay growls and roars like a rabid beast, offering us all unrelenting and extremely vile Death Metal that goes straight to your jugular. Then blasting old school Death Metal the likes of Morbid Angel and Deicide it’s time for the duo to crush us all in Breaching the Gates of Tranquility, where Jordan is not only an evil machine behind his drums but his riffage is also caustic just the way we like it; and there’s no time to breathe as Jay and Jordan continue to hammer our heads with their Brutal Death Metal in Insidious Spiritual Incarceration, a fantastic option to slam into the pit to the wicked, demented vociferations by Jay. And Awaiting the Infinity of Oblivion doesn’t have a single moment of peace or boredom; quite the contrary, it’s an endless Death Metal onrush that will leave you completely disoriented when it’s over.

Jordan once again gives a lecture in caustic riffs and blast beats in Irrevocable Siege of the Abominable, offering Jay exactly what he needs to infernally roar the song’s dark words nonstop, being therefore perfect for some good old headbanging, whereas in Fragmenting the Profane the duo adds some welcome elements from Thrash Metal to their core sonority, resulting in another riff-fueled devastation by the duo tailored for igniting some serious circle pits at a live concert or festival. The second to last explosion of intricacy and rage by Shuriken Cadaveric Entwinement, entitled Tribunal of the Oni, keeps the album scorching hot, with Jordan sounding fantastic with both his riffs and metallic bass, followed by the title-track Constructing the Cataclysm, putting a sick ending to the album by blending traditional Japanese sounds in the background with the fury of American Death Metal, while also leaving our corpses lying in the battlefield like deceased samurais after all is said and done.

The metal samurais Jay Barnes and Jordan Varela are waiting for you to join them in the battlefront by following them on Facebook, by streaming all of their wicked compositions on Spotify, and mainly by purchasing a copy of the excellent Constructing The Cataclysm from the Comatose Music’s BandCamp page or webstore (as a regular CD or a CD + shirt + sticker bundle), as well as from Apple Music and other retailers such as Barnes & Noble and Plastic Head Megastore. Having said all that, instead o committing a seppuku or hara-kiri, use your katana for something a lot more fun such as raising it in the air while banging your head to the music blasted by Shuriken Cadaveric Entwinement in their high-octane new album, honoring all metalheads that came before us.

Best moments of the album: Insidious Spiritual Incarceration, Fragmenting the Profane and Constructing the Cataclysm.

Worst moments of the album: None.

Released in 2022 Comatose Music

Track listing
1. Insurrection of the Diabolic 4:19
2. Breaching the Gates of Tranquility 4:10
3. Insidious Spiritual Incarceration 3:43
4. Awaiting the Infinity of Oblivion 4:46
5. Irrevocable Siege of the Abominable 3:13
6. Fragmenting the Profane 4:06
7. Tribunal of the Oni 3:47
8. Constructing the Cataclysm 4:55

Band members
Jay Barnes – vocals
Jordan Varela – guitar, bass, drums

Album Review – Flame Imperishable / Glory and Ruin (2022)

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This talented husband-and-wife duo is back in action with a new project of first-class Progressive Power Metal inspired by J.R.R. Tolkien, Brandon Sanderson, video games and more.

A husband-and-wife duo comprised of multi-instrumentalist Jason Lee Greenberg and vocalist Jennifer Michelle Greenberg, known for the 2014 self-titled album by Orisonata, Houston, Texas-based Progressive Power Metal entity Flame Imperishable is ready to take the world of heavy music by storm with their debut opus entitled Glory and Ruin, inspired by J.R.R. Tolkien, Brandon Sanderson, video games and more. Produced and engineered by Gregg Rossetti of Suspyre, who also plays saxophone and keyboards, and is responsible for the orchestrations in the album, Glory and Ruin is highly recommended for fans of Blind Guardian, Opeth, Epica, Nightwish and Ghost, with each one of its songs presenting either a heroic literary figure or a very tragic soul destined for a path of ruin.

Acoustic guitars ignite the opening tune The Halls of Waiting (Oblivion), where Jennifer beautifully declaims the song’s lyrics (“Broken, treachery, a given promise kept / of changing and of shifting shape / Thereby the snare was set / Revealed the truth of where / his companions lay / and thus his kinsmen found / their final resting place”) amidst an imposing and progressive sonority, whereas investing in a more direct, metallic sound we have Frozen in Time, with Jason doing an awesome job with his riffs and beats accompanied by the classic keys by Gregg in a first-class fusion of Symphonic and Progressive Metal. And the couple keeps delivering epicness and intricacy in Slavebranded, showcasing their more Dream Theater-ish side with hints of Opeth while keeping a more direct, vibrant vibe, followed by Shrine of Resurrection, featuring bass lines by Gregg and sounding a lot less metal or intense than its predecessors, but still very melodic thanks to the great job done by Jennifer on vocals. Then the whimsical, melancholic sax by Gregg in the interlude Bregalad’s Lament sets the stage for The Herald’s Approach, with a guest guitar solo by Drew Creel (Masqued) and another round of their magical lyrics (“Surrender the light / In the midst of ruin, defy / The silent watchmen of lies / Broken promises shattered inside”) while Jason and Gregg make a dynamic duo with their respective riffs and sax.

Flammable riffs by Jason and the futuristic keys by Gregg ignite the Symphonic and Progressive Metal feast titled Reign of Fire, also presenting a sick guitar solo by Drew, where once again Jennifer fires her fusion of operatic and metallic vocals for our total delight; whereas The Scarlet Gale (Part 1: Darkness Falling) will prepare our souls to the sound of the acoustic guitars by Jason and Jennifer’s whimsical voice for the 12-minute aria The Scarlet Gale (Part 2: The Descent), featuring male vocals by John Yelland (Judicator, Dire Peril, Principium). It’s an exciting musical voyage alternating between ethereal passages, sheer heaviness and climatic moments where John and Jennifer make a fantastic vocal duet while Jason is a machine of progressiveness, also presenting elements from the music by early Nightwish, Dream Theater and Opeth with the band’s own twist, therefore resulting in a metal opera that will please all fans of the genre, flowing into the closing tune The Scarlet Gale (Part 3: Reflection), a delicate, melancholic outro featuring the stunning classical guitar by guest Valerie Hartzell that puts a beautiful ending to the album, mesmerizing us all until the very last second.

“I fully devoted myself to studying and pursuing classical guitar. In getting back to writing metal music, it was a blast incorporating newly learned classical composition techniques, approaches to counterpoint melody, as well as baroque and romantic styled themes into heavy metal,” commented Jason about his approach in crafting the music found in Glory and Ruin, and it’s indeed a fun experience noticing all those nuances in each and every track of the album. Hence, don’t forget to give Jason and Jennifer a shout on Facebook and on Instagram, subscribe to their YouTube channel, stream their creations on Spotify, and above all that, purchase a copy of their new album directly from their BandCamp page to keep the flames of Progressive Power Metal burning for all eternity.

Best moments of the album: The Halls of Waiting (Oblivion), Slavebranded and The Scarlet Gale (Part 2: The Descent).

Worst moments of the album: Shrine of Resurrection.

Released in 2022 Independent

Track listing
1. The Halls of Waiting (Oblivion) 9:12
2. Frozen in Time 4:39
3. Slavebranded 6:00
4. Shrine of Resurrection 5:13
5. Bregalad’s Lament 2:52
6. The Herald’s Approach 5:32
7. Reign of Fire 4:44
8. The Scarlet Gale (Part 1: Darkness Falling) 2:21
9. The Scarlet Gale (Part 2: The Descent) 12:53
10. The Scarlet Gale (Part 3: Reflection) 2:57

Band members
Jennifer Greenberg – vocals
Jason Lee Greenberg – guitar, bass, drums

Guest musicians
Gregg Rossetti (Suspyre) – saxophone, keyboards, orchestrations, bass on “Shrine of Resurrection”
Drew Creel (Masqued) – guitar solos on “Reign of Fire” and “The Herald’s Approach”
John Yelland (Judicator, Dire Peril, Principium) – male vocals on “The Scarlet Gale (Part 2: The Descent)”
Valerie Hartzell – classical guitar on “The Scarlet Gale (Part 3: Reflection)”

Album Review – Splintered Throne / The Greater Good of Man (2022)

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The reaper is calling us all to join this electrifying American squad in their quest for Heavy Metal to the sound of their awesome new album.

Having already captivated audiences on the West Coast for over a decade with their high energy performances, Portland, Oregon-based Heavy Metal powerhouse Splintered Throne is beginning the next chapter in their solid career by unleashing upon us their new album The Greater Good of Man, delivering bluesy influences with dynamic bass, groove rhythms and soaring vocals just the way we like it in metal music. Produced by Kevin Hahn and Splintered Throne, recorded at Primal Studio and Opal Studio, mixed and mastered by Kevin Hahn at Opal Studio, and with graphic design by Jen Taylor of VividPix & Design, The Greater Good of Man showcases all the talent and passion for heavy music by frontwoman Lisa Mann, guitarists Matt Dorado and Jason “JMo” Moser, bassist Brian Bailey and drummer Kris Holboke, resulting in a dynamic collection of energy, emotion and storytelling. “I still pinch myself that I’m even in this band – and now we’ve written and recorded a kick ass album? It’s as good a feeling as sex and chocolate,” commented Lisa about the album.

The slashing guitars by Matt and Jason will invite you to raise your horns in the name of metal in The Reaper is Calling, being quickly joined by the hammering drums by Kris and the soaring vocals by Lisa in a pure, unfiltered 80’s Heavy Metal feast for our total delight. Then drinking from the same fountain as some of our metal heroes the likes of Iron Maiden, Judas Priest, Saxon and Accept, Lisa continues to lead her henchmen in The Crossing, with Kris showing no mercy for his drums supported by the rumbling bass by Brian; followed by Morning Star Rising, a beautiful power ballad by the band where Lisa steals the spotlight with her passionate vocal performance, flowing powerfully to the pounding beast by Kris and the striking solos by Matt and Jason. And putting the pedal to the metal it’s time for the title-track The Greater Good of Man, where all band members are on absolute fire spearheaded by Lisa’s fiery vocals while we’re also treated to some thrilling, ass-kicking solos.

If you’re a fan of Warlock you’ll have a blast with the epic tune Let it Rain, again showcasing an amazing job done by the band’s guitar duo with their piercing riffs and solos, not to mention its galloping pace is perfect for banging your head together with the band. Inspired by those struggling with addiction and to those who made it into recovery, Underdogs is another touching ballad by the quintet where its backing vocals provide Lisa with all she needs to shine on vocals; whereas let’s all slam into the circle pit to the sound of Night of the Heathens, a song tailored for heading into the battlefield armed with ass-kicking Heavy Metal, with Brian and Kris bringing the heavy artillery to the music while the guitar solos by Matt and Jason will pierce your ears in great fashion. The second to last blast of awesomeness by Splintered Throne, titled Time Stands Still, brings forward their more Hard Rock vein, with Lisa once again showcasing all her vocal range and talent accompanied by the solid instrumental form her bandmates, and last but not least the band offers us the re-recording of their 2017 ballad Immortal 2020, already released in 2020 as you can see, this time with Lisa on vocals of course plus a few adjustments to the overall result, resulting in a great “bonus track” for us fans.

As aforementioned, Splintered Throne have just started a new era in their career with The Greater Good of Man, and in order to show them your utmost support you can start following the band on Facebook and on Instagram for news, tour dates and other cool stuff about them, stream more of their awesome music on Spotify and on YouTube, and obviously grab your copy of The Greater Good of Man from their own BandCamp page, from Apple Music or from Amazon sooner than you can say “splintered throne”. Heavy Metal made in Portland, Oregon has never been as fantastic as now thanks to the amazing job done by Splintered Throne in their newborn opus, and I can’t wait for more of their stunning music in the near future to raise my fists in the air and have a beer with the band while my heart is filled with pure metal and joy.

Best moments of the album: The Reaper is Calling, The Greater Good of Man and Night of the Heathens.

Worst moments of the album: None.

Released in 2022 Independent

Track listing
1. The Reaper is Calling 4:10
2. The Crossing 6:09
3. Morning Star Rising 5:50
4. The Greater Good of Man 3:55
5. Let it Rain 4:04
6. Underdogs 4:50
7. Night of the Heathens 3:23
8. Time Stands Still 4:03
9. Immortal 2020 4:34

Band members
Lisa Mann – vocals
Matt Dorado – guitar
Jason “JMo” Moser – guitar
Brian Bailey – bass
Kris Holboke – drums

Album Review – Municipal Waste / Electrified Brain (2022)

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Richmond, Virginia’s most insane thrashing squad is back in action with a new album of 14 balls-to-the-wall tracks of ripping Thrash Metal at its finest.

In case you’re not yet acquainted, Richmond, Virginia-based Thrash Metal/Crossover squad Municipal Waste was formed back in 2001 and has been considered by many as the torchbearers for Thrash Metal for the last two decades. Now in 2022 it’s time for Tony Foresta on vocals, Ryan Waste and Nick Poulos on the guitars, Landphil on bass and Dave Witte on drums to kick some ass once again with their newborn opus, entitled Electrified Brain, highly recommended for admirers of the music by Suicidal Tendencies, Nuclear Assault and Toxic Holocaust, among others. Produced by Arthur Rizk and featuring an old school artwork by James Bousema, Electrified Brain will offer your thrashing ears 14 balls-to-the-wall tracks of ripping Thrash Metal at its finest infused with Hardcore and Punk Metal, inviting you to slam into the circle pit like a true metalhead this summer.

Sit down on the electric chair and get ready for the thrashing title-track Electrified Brain, where Tony roars manically supported by the frantic riffs and beats by his bandmates, and Ryan and Nick keep slashing their stringed axes mercilessly in Demoralizer, another classic Thrash Metal tune where Landphil and Dave also make the earth shake with their straightforward kitchen. It’s time to bang your head nonstop to the sound of Last Crawl, a beer drinking, hard hitting Thrash Metal composition where Tony sounds even more demented on vocals, followed by Grave Dive, reminding me of “Toxic Waltz” by Exodus and, therefore, inspiring us to “dance like a money” to the old school riffage by the band’s guitar duo. There’s no time to breathe as the circle pit keeps moving fast in The Bite, spearheaded by Dave’s frantic drumming and with guest vocalist Blaine Cook of The Accüsed adding his touch of insanity to their music, whereas in High Speed Steel the lyrics couldn’t have been more metal (“Born from iron / Strong as steel / Faster than all hell on wheels / Reaching speeds from the unknown / Racing to the terror zone”) while the music is simply awesome and insane. Then more of their incendiary riffs and blast beats are offered to our ears in Thermonuclear Protection, with Tony roaring and barking like there’s no tomorrow.

A jammin’ first half morphs into sheer adrenaline and violence in Blood Vessel / Boat Jail, where their Crossover vein pulses stronger than ever, whereas Crank the Heat is the perfect example of how Thrash Metal should be, which is fast, furious and absolutely fun, with Tony’s raspy screams being flawlessly supported by his bandmates’ backing vocals. Then putting the pedal to the metal it’s time to crush our skulls into the circle pit in Restless and Wicked, showcasing another amazing job done by Ryan and Nick on the guitars, while Ten Cent Beer Night makes me wonder where I could find beer that cheap. Anyway, musically speaking it’s more of their ass-kicking Thrash Metal with all backing vocals adding a Punk Rock-ish vibe to the overall result; and enhancing their animosity and speed the quintet offers us all Barreled Rage, with Landphil’s rumbling bass punching us hard in the head. In Putting on Errors the band needs less than two minutes to demolish everything and everyone that crosses their path, sounding bestial and infernal from start to finish in the name of Thrash Metal, and last but not least, be prepared for one final thrashing attack by Municipal Waste titled Paranormal Janitor, with Ryan and Nick being on fire with their wicked riffs and solos.

Having said all that, what are you waiting for to join Municipal Waste in their quest for Thrash Metal? You can start following them on Facebook and on Instagram for news, tour dates and other nice-to-know details about the band, subscribe to their YouTube channel for more of their rebellious music, and of course purchase your copy of the excellent Electrified Brain (which is by the way available for a full listen anytime you want on Spotify) by visiting the band’s own webstore or by clicking HERE. Your  metallic brain will certainly melt to the sound of the new album by those American rebels, and I’m saying that in the best way possible because, as you know, we’re all born to thrash until we drop dead, and the music by Municipal Waste is an awesome, more-than recommended soundtrack for that.

Best moments of the album: The Bite, High Speed Steel, Crank the Heat and Restless and Wicked.

Worst moments of the album: Blood Vessel / Boat Jail.

Released in 2022 Nuclear Blast

Track listing
1. Electrified Brain 2:45
2. Demoralizer 2:55
3. Last Crawl 2:28
4. Grave Dive 2:31
5. The Bite 1:37
6. High Speed Steel 2:31
7. Thermonuclear Protection 3:02
8. Blood Vessel / Boat Jail 1:55
9. Crank the Heat 2:42
10. Restless and Wicked 2:24
11. Ten Cent Beer Night 2:15
12. Barreled Rage 2:22
13. Putting on Errors 1:30
14. Paranormal Janitor 2:55

Band members
Tony Foresta – vocals
Ryan Waste – guitars, backing vocals
Nick Poulos – guitars
Landphil – bass, backing vocals
Dave Witte – drums

Guest musician
Blaine Cook – additional vocals on “The Bite”

Album Review – Anachronistic / 700 And 19 Ways Of Decay (2022)

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Have fun with the Blackened Hardcore blasted by two ex-pats, centering around the vocalist’s life experiences and incorporating elements from his job into their sonic madness.

The product of two ex-pats, those being American vocalist and lyricist Matt Ramarge (currently living in South Korea) and Ukrainian multi-instrumentalist Umarlak (currently residing in Poland), joining forces to create something truly unique, a heavy Black Metal sound overlaid with Hardcore vocals, or Blackened Hardcore if you prefer, Anachronistic have just unleashed upon humanity their debut effort, entitled 700 And 19 Ways Of Decay, the first installment of a metal trilogy in the works by the duo. Produced by Anachronistic themselves, mixed by Umarlak, mastered by Andreas “Jonsson” Westholm at Dark Prod Studios, and displaying a gory artwork by Indonesian artist Adi Dechristianize, the album centers a lot around Matt’s life experiences and incorporates elements from his job (by the way, 700-19 is the actual contract paperwork for working in Korea as a US contractor), being recommended for fans of Blood For Blood, Hatebreed and Behemoth, just to name a few.

Thunders cracking work as an intro to Recall, a metallic Black Metal storm led by the violent beats by Umarlak who also delivers sheer hatred from his riffage while Matt growls and barks in the name of Hardcore; whereas Time To Drink is more rhythmic and deranged than the opening tune, with Umarlak doing a great job armed with his unstoppable guitar and low-tuned bass, therefore living up to the legacy of Black Metal and Hardcore and inviting us all to slam into the pit manically. The duo is on fire from the very first second in the massive, extreme music feast entitled Late Night Fundraising, where Matt’s inebriate, deep vocals add an extra layer of insanity to the overall result, and if you think they will slow down or soften their sound at a given point in the album you’re absolutely wrong, as Matt’s raw screams and the Black Metal avalanche crafted by Umarlak will decimate you in Festering Stench.

Let’s slam into the circle pit like there’s no tomorrow with Going To The Ball, a beyond truculent Black Metal tune infused with the most electrifying elements from Hardcore where Umarlak’s instrumental feels like a nuclear bomb so heavy and sharp it sounds, while in Eruption Of A Hork Filled Gut we face another round of their unfriendly sounds presenting hints of the Rock N’ Roll played by Motörhead, with Umarlak creating a puissant wall of sounds with his riffs and beats, supporting Matt and his enraged roars. Follow The Rules Or Die is just as noisy and dense as its predecessors with Matt doing a great job once again with his deep roars; the song loses its grip after a while, but it’s still very enjoyable if Blackened Hardcore is your cup of tea. And it’s time for one final Extreme Metal explosion in the form of Hatred For Work Causes Gout, with both Matt and Umarlak sounding possessed by a demonic entity, consequently enhancing the song’s impact and putting a visceral conclusion to the album.

“We tried to encapsulate a dark and raw merging of genres with this band. The vison behind Anachronistic initial trilogy LP release is to get people hooked on the concept and leave fans waiting for the next chapter to come out. Sonically and emotionally this album is really fun to listen to from a ‘bird’s eye viewpoint’. Once fans dig deeper into the song lyrics and album cover they will realize this is a true, hilarious story that will continue through two more releases, getting darker, heavier, nastier with each release. Even as a standalone release, 700 and 19 Ways of Decay will stand strong amongst fans of Black Metal and Hardcore,” commented the band about their newborn beast, which is by the way available for a full listen on YouTube and on Spotify. In addition, don’t forget to give the duo a shout on Instagram, and of course to purchase 700 And 19 Ways Of Decay from the band’s own BandCamp page, banging your head nonstop until the second chapter of the adventures of Matt Ramarge see the light of day in a not-so-distant future.

Best moments of the album: Time To Drink, Going To The Ball and Eruption Of A Hork Filled Gut.

Worst moments of the album: Follow The Rules Or Die.

Released in 2022 Independent

Track listing
1. Recall 4:48
2. Time To Drink 3:59
3. Late Night Fundraising 3:11
4. Festering Stench 4:20
5. Going To The Ball 3:33
6. Eruption Of A Hork Filled Gut 3:02
7. Follow The Rules Or Die 4:55
8. Hatred For Work Causes Gout 3:38

Band members
Matt Ramarge – vocals
Umarlak – all instruments

Concert Review – Cradle of Filth (The Opera House, Toronto, ON, 06/04/2022)

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Existence might be futile, but witnessing Cradle of Filth live in Toronto every single time they come to the city is more than essential.

OPENING ACTS: Phantom High and Frayle

I always find it truly impressive how the traffic to get in and out of Toronto during the spring and summer seasons, mainly when the weather is clear and the temperatures are above +20oC, is multiplied by a thousand or more, making it impossible to arrive wherever you have planned on time. That’s the main reason why it took me hours to get to The Opera House this Saturday for the Existence Is Futile Tour with the bands PHANTOM HIGH, FRAYLE and the almighty CRADLE OF FILTH (not to mention American Thrash Metal act Misfire, who are missing part of the tour due to Covid-19 related issues), and because of that I sadly missed most of the awesome concert by Toronto’s own Glamcore/Death Pop/Alternative Metal outfit PHANTOM HIGH. Anyway, the few minutes of their performance I was able to witness were excellent, with their frontwoman Peril Erinyes showcasing all her talent, charisma and passion for what she does. I hope I can see them again in a not-so-distant future as their music and onstage performance are outstanding, and next time I promise I’ll beat traffic (even if that’s humanly impossible).

Band members
Peril Erinyes – vocals
Seven Six – guitars
Greg Shier – guitars
Faraz Jabbari – bass
Joey Prolx – drums

After a (very) quick break it was time for Cleveland, Ohio-based Doom Metal/Occult Rock band FRAYLE to kick some ass onstage with their massive, low-tuned, sluggish sounds, spearheaded by the angelic vocals by their stunning frontwoman Gwyn Strang, who by the way grew up on the east coast of Canada in the province of New Brunswick (which is why she said “I’m home” to the crowd several times during their performance). Playing a mix of songs from their awesome 2020 album 1692 plus a brand new song entitled Treacle & Revenge, from their upcoming album Skin & Sorrow (to be released on July 7), Gwyn and the boys put on a mesmerizing show, with Sean Bilovecky extracting sheer electricity from his guitar while bassist Eric Mzik and drummer Pat Ginley added endless heaviness and groove to the music. Nobody was capable of taking their eyes off Gwyn during their entire set, as not only she was at the same time the personification of good and evil, but her minimalist, delicate vocals and moves were a thing of beauty. There weren’t any mosh pits for obvious reasons, but everyone at The Opera House loved what Frayle had to show us, and Toronto is waiting for Gwyn to “return home” whenever she wants with her whimsical music.

Band members
Gwyn Strang – vocals
Sean Bilovecky – lead guitar
Eric Mzik – bass
Pat Ginley – drums

CRADLE OF FILTH

The last time I saw the unparalleled CRADLE OF FILTH was at the same venue back in 2019, before all this Covid-19 madness hit the world and still with Lindsay Schoolcraft on keyboards, and as you can see from their 2019 setlist only two songs were the same this Saturday, those being Nymphetamine (Fix) and Her Ghost in the Fog, with everything else being either based on their 2021 ass-kicking opus Existence Is Futile, such as Existential Terror, How Many Tears to Nurture a Rose? and Necromantic Fantasies, or some welcome surprises the likes of Nocturnal Supremacy, I Am the Thorn, A Gothic Romance (Red Roses for the Devil’s Whore) and Lustmord and Wargasm (The Lick of Carnivorous Winds). Was it better, the same or worse than their 2019 performance? Well, I don’t like to compare concerts, as I strongly believe each performance has its own taste, its own details and its own energy, but what I can say is that Dani and his horde were as electrifying as expected, inspiring the fans at the venue to slam into the nonstop circle pits (even if you’re on a power mobility scooter) while screaming together with the band in the name of evil.

Most fans of course had an absolute blast with classics such as the aforementioned Nymphetamine (Fix) and the closing song Her Ghost in the Fog, but I might say their new songs Crawling King Chaos and Us, Dark, Invincible sounded simply superb live, proving once again how alive the band is and that we can expect at least a few more decades of pure filth from those devilish metallers. Dani, Ashok, Daniel Firth and Marthus were on fire as usual, but I must mention how powerful the performances by guest guitarist Donny Burbage (of Melodic Death/Folk Metal act Æther Realm) and the gorgeous keyboardist Zoë Marie Federoff (of Symphonic Metal act Catalyst Crime) were as well, translating into an even more incendiary concert by one of the trailblazers of Symphonic Extreme Metal. As a Cradle of Filth fanboy I think they should return to Toronto next week already, but of course I think all fans who attended another memorable concert by Dani and his crew will be more than happy to wait another year or so for the band to come to our beloved city again. The traffic back home was just as bad as when I was going to the concert, but who cares? It’s CRADLE OF FUCKIN’ FILTH, a metal institution that deserves all our admiration, and if next time they come to Toronto I have to walk 40km to get there, so be it.

Setlist
The Fate of the World on Our Shoulders
Existential Terror
Nocturnal Supremacy
Lilith Immaculate
I Am the Thorn
Crawling King Chaos
Nymphetamine (Fix)
A Gothic Romance (Red Roses for the Devil’s Whore)
How Many Tears to Nurture a Rose?
Scorched Earth Erotica
Us, Dark, Invincible
Portrait of the Dead Countess
Lustmord and Wargasm (The Lick of Carnivorous Winds)
Necromantic Fantasies
Her Ghost in the Fog

Band members
Dani Filth – lead vocals
Marek “Ashok” Šmerda – guitars
Donny Burbage – guitars
Daniel Firth – bass
Zoë Marie Federoff – female vocals, keyboards
Martin “Marthus” Škaroupka – drums

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Concert Review – Gojira & Deftones (Budweiser Stage, Toronto, ON, 05/22/2022)

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A great night of Progressive, Groove and Alternative Metal in Toronto almost ruined by the total lack of organization and respect for customers by Live Nation.

INTRODUCTION: No VOWWS, and a massive headache caused by Live Nation

The only word I can use to start this review is “nightmare”. All the happiness from the moment I knew Australian Death Pop duo VOWWS was not opening for GOJIRA and DEFTONES at the Budweiser Stage, which meant more Gojira for me, simply vanished when I arrived at the venue and saw the massive line formed for what the so-called organization decided to do to reassign seats based on a “first come first serve” basis that absolutely NO ONE was informed beforehand. I bought floor tickets because I hate seats, and to my surprise I was assigned to seats at the 200 level. It’s like ordering a pizza but receiving a burger instead because “the pizza is over”, right? Not only that, seats at the Budweiser Stage are AT LEAST 40-50% cheaper than floor tickets, so not only I got a burger, but it was one 50% cheaper than the pizza I paid for. Live Nation is the sole responsible for such mess when they decided to move the concert from the RBC Echo Beach (which is basically a huge floor section with no seats) to the Budweiser Stage, and if you’re pissed off just like I am, I highly recommend you submit a huge complaint about the whole situation by EMAIL to Live Nation including your order details, screenshots of your tickets and anything else you might want to send them. This is absolutely ridiculous, and we should receive some sort of refund for their total lack of organization and respect for their customers.

GOJIRA

Moving on to the concerts, although I was completely disappointed and pissed off with our stupid seats, at least France’s own Progressive/Groove Metal masters GOJIRA were capable of reducing my stress considerably with another flawless performance in the city. Mixing some of their classics such as Backbone, Stranded, Flying Whales and Silvera with songs from their latest album Fortitude, including the fantastic Born for One Thing and Amazonia, the quartet comprised of the Duplantier brothers Joe and Mario, plus bassist Jean-Michel Labadie and guest guitarist Aldrick Guadagnino  of KLONE (as Christian Andreu returned home to be present with his first newborn child), inspired the fans in the floor section (not in the seats, of course, which made me even more furious) to jump up and down and slam into the circle pit nonstop during their longer set as VOWWS wasn’t there, as mentioned. Mario is a beast behind his drums, proving why he’s a reference to any rock and metal drummer these days, while also interacting with the audience all the time and throwing lots of drumsticks to the fans during the entire concert. To the floor section fans, of course.

Setlist
Born for One Thing
Backbone
Stranded
Flying Whales
The Cell
Love / Remembrance
Hold On
Grind
Silvera
L’enfant Sauvage
Amazonia
The Gift of Guilt

Band members
Joe Duplantier – vocals, guitar
Christian Andreu – guitar
Jean-Michel Labadie – bass
Mario Duplantier – drums

DEFTONES

After a somewhat lengthy break, it was time for Sacramento, California-based Alternative Metal trailblazers DEFTONES to mesmerize their loyal and supportive fans with a long and very dynamic setlist that traveled through all of their albums until their most recent opus Ohms, released in 2020. Songs like Be Quiet and Drive (Far Away), Swerve City, Change (In the House of Flies) and my favorite of the night, My Own Summer (Shove It), drove the crowd crazy and, for the ones who could make it to the floor section (and sorry for repeating this a thousand times, but I’m really pissed off with what Live Nation did to me and to so many others), the whole concert turned into a massive rock and metal party spearheaded by the band’s charismatic frontman Chino Moreno. And what to say about their lighting? It was a thing of beauty, adding an extra touch of insanity and passion to their solid performance. I’m beyond certain Deftones will return to Toronto several times due to the standing ovation they received from the fans when the concert was over at the Budweiser Stage this Sunday, and hopefully next time EVERYONE who bought GENERAL ADMISSION tickets can actually be in the floor section to jump and enter the circle pits freely without being stuck in a tiny, very uncomfortable and, above all that, unsolicited chair.

Setlist
Pompeji (outro)
Genesis
Rocket Skates
Prayers/Triangles
Royal
Be Quiet and Drive (Far Away)
My Own Summer (Shove It)
Tempest
Swerve City
Digital Bath
Knife Prty
Beware
Sextape
Diamond Eyes
Rosemary
Bloody Cape
Change (In the House of Flies)
Ohms

Encore:
Lotion
7 Words

Band members
Chino Moreno – lead vocals, rhythm guitar
Stephen Carpenter – lead guitar
Lance Jackman – rhythm guitar, backing vocals
Fred Sablan – bass, backing vocals
Frank Delgado – keyboards, turntables, samples
Abe Cunningham – drums

Album Review – Ibaraki / Rashumon (2022)

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Trivium’s own Matt Heafy turns his inner demon into first-class Black Metal in his new solo project, the end-result of a journey to find his own voice.

Originally formed in 2012 under the name Mrityu by Trivium’s own vocalist and guitarist Matt Heafy with the goal of generating Norwegian-style Black Metal (while also presenting elements from Extreme Progressive Metal and Metalcore in its sound), United States-based Black Metal project Ibaraki (which is by the way the name for a terrifying Japanese demon taken from feudal legend) has finally unleashed upon humanity its debut effort, entitled Rashomon, which according to Matt himself is the end-result of a journey to find his voice. Mixed and mastered by Jens Bogren at Fascination Street Recording Studios, and produced and engineered by Emperor’s one and only Ihsahn, Rashomon is more than just an expression of Matt and Ihsahn’s deep creative resonance, with his bandmates from Trivium, those being guitarist Corey Beaulieu, bassist Paolo Gregoletto and drummer Alex Bent, contributing to the album as session musicians. “The violence in America towards Asians, the murders of Asians because of people’s small-mindedness – we can see what’s happening. It’s like I never quite felt like I was Asian enough because I’m half and I never felt white enough because I’m half, but I feel like it’s important for me to talk about this now. Everything has a rich, amazing, beautiful culture behind it – every single civilization, every culture, every walk of life. So I hope that it can make Asian metalheads or Asian fans of music feel a little bit more represented. It’s great to be able to say, ‘this is where I’m from,’ and, ‘this is who I am.’,” commented Matt about the album.

Hakanaki Hitsuzen (which translates as something like “inevitably ephemeral”) is a whimsical intro that will transport you to the world of Ibaraki before Matt and his crew come ripping in Kagutsuchi, where Matt is on fire with both his enraged screams and unstoppable riffs accompanied by the always pulverizing drums by Alex. Furthermore, everything from the breaks and variations to its ethereal passages, clean vocals and the ass-kicking bass solo by Paolo is stunning, resulting in a lesson in Experimental Black Metal. Then continuing his path of experimentations and progressiveness, we’re treated to another explosion of majestic Black Metal entitled Ibaraki-Dōji, with Matt and Corey slashing their stringed axes while Alex sounds infernal on drums, all enhanced by the song’s background orchestrations. In Jigoku Dayu, an acoustic start evolves into a gentle sonority to the calm, clean vocals by Matt, sounding enfolding until the very end, whereas in Tamashii no Houkai (or “collapse of the soul”), featuring Ihsahn on lead guitars, the band blasts a vicious fusion of classic Black Metal with progressiveness, rage and groove, also showcasing another great vocal performance by Matt.

The skies get darker and darker as the music progresses in Akumu (which means “nightmare”), where you can sense all the anguish and despair in Matt’s roars supported by Alex’s massive beats and the beastly gnarls by guest vocalist Nergal of Behemoth; followed by Komorebi (or “sunbeams”), a very melodic tune presenting different layers plus lead guitars by Corey, despite lacking the same energy of its predecessors. Then alternating between smooth passages and the hellish heaviness of Black Metal we have one of the most detailed of all songs, Rōnin, featuring backing vocals by Norwegian vocalist Heidi Solberg Tveitan of Starofash, who’s by the way married to Ihsahn and has a son, Angell Solberg Tveitan, and a daughter, Ariadne Solberg Tveitan, with him, both also doing backing vocals on the song, plus additional screams by Gerard Way of My Chemical Romance and lead guitars by Ihsahn. Susanoo no Mikoto is as experimental and groovy as it can be, with Paolo and Alex generating a rumbling atmosphere perfect for Matt’s screams while the song’s second half is a wicked sonic experiment conducted by Matt and featuring additional vocals by Ihsahn. And lastly, it’s time for a little less than three minutes of pure eccentricity entitled Kaizoku (or “pirate”), with Matt declaiming the song’s lyrics like a true bard.

The breathtaking, multi-layered Rashomon can be better  appreciated in its full glory on YouTube and on Spotify, but of course you can add it to your private collection of Extreme Metal albums by grabbing your favorite version of it from Ibaraki’s official homepage or by clicking HERE, and don’t forget to also follow the project on Facebook and on Instagram for news and, who knows, some tour dates in the upcoming months, and to subscribe to its YouTube channel for more wicked videos. It might have taken almost 10 years for Matt and his inner demon Ibaraki to finally see the light of day, but the wait was definitely worth it as the music found in Rashomon is outstanding to say the least, and hopefully Matt will continue his path of self-discovery with Ibaraki in the coming years, bringing to us fans more of his experimental fusion of extreme music with progressive elements and Japanese legends.

Best moments of the album: Kagutsuchi, Ibaraki-Dōji, Akumu and Rōnin.

Worst moments of the album: Komorebi.

Released in 2022 Nuclear Blast

Track listing
1. Hakanaki Hitsuzen (儚き必然) 1:28
2. Kagutsuchi (迦具土) 7:34
3. Ibaraki-Dōji (茨木童子) 7:51
4. Jigoku Dayu (地獄太夫) 7:40
5. Tamashii no Houkai (魂の崩壊) 5:58
6. Akumu (悪夢) 5:53
7. Komorebi (木漏れ日) 6:06
8. Rōnin (浪人) 9:13
9. Susanoo no Mikoto (須佐之男命) 7:12
10. Kaizoku (海賊) 2:53

Band members
Matt Heafy – vocals, guitars

Guest musicians
Corey Beaulieu – guitars, lead guitars on “Komorebi”
Paolo Gregoletto – bass, bass solo on “Kagutsuchi”
Alex Bent – drums
Ihsahn – lead guitars on “Tamashii no Houkai” and “Rōnin”, additional vocals on “Susanoo no Mikoto”
Nergal – additional vocals on “Akumu”
Heidi Solberg Tveitan – backing vocals on “Rōnin”, samples on “Susanoo no Mikoto”
Gerard Way – additional vocals on “Rōnin”
Angell Solberg Tveitan – backing vocals on “Rōnin”
Ariadne Solberg Tveitan – backing vocals on “Rōnin”