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Metal Chick of the Month – Adrienne Cowan

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

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

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

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

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

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

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

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

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

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

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

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

Album Review – Apolinara / Shadows & Signs (2022)

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It’s time for this multi-talented singer to fly solo and deliver a powerful message about facing the endless fight with inner demons in her striking debut album.

Creating Symphonic Gothic Metal with a mystical twist, United States-based but Ukraine-born multi-talented, independent singer and songwriter Apolinara is among us to light up the path where music evokes magic to the sound of her debut full-length opus, entitled Shadows & Signs. Drawing inspiration from her travels and delivering a powerful message about facing the endless fight with inner demons, Apolinara took destiny into her own hands creating the project to write music she loves, with Shadows and Signs being a thrilling odyssey venturing into the realms of dark emotions balanced with the light. Produced by Max Morton (Jinjer, Ignea, Bare Infinity, Morton, Nimea) at Morton Studio and featuring an array of special guests, those being Fabian Morales (Paralyzed Sun, Silent Poetry) on harsh vocals, Vyacheslav Khabarov on lead, rhythm and bass guitars, Alexander Kasiarum on drums, Tatyana Krasavina on cello, Julia Polishchuk on the violin, and Brien Engel on the glass harp, Shadows & Signs is a must-listen for admirers of the music by renowned acts such as Nightwish, Epica and Within Temptation, with each track bringing something different to the record while remaining faithful to the project’s symphonic, gothic roots.

The cinematic and enfolding Intro sets the stage for Apolinara and her guests to mesmerize us all in Wonderful, with Alexander dictating the pace with his classy beats accompanied by epic keys and strident guitars while Apolinara declaims the song’s words beautifully, reminding me of some of the trademark compositions by Nightwish and Epica. Then Vyacheslav adds tons of rage and fire to the music with his riffs and rumbling bass in You Can’t Get Away With This, an awesome display of European Symphonic Metal spearheaded by Apolinara’s stunning vocals; and it’s time to dance with Apolinara to the sound of the epic and symphonic Dragon Dance, with the metallic bass by Vyacheslav making a stylish paradox with the violin by Julia and the crisp vocal lines by Apolinara. Another round of embracing sounds and metallic riffs and bass lines comes in the form of Slowly, with Fabian playing “beauty and the beast” with Apolinara thanks to his hellish gnarls, whereas in The Smile of the Demon the name of the song matches flawlessly with its rhythm, heaviness and epicness, or in other words, it’s a lesson in Symphonic Gothic Metal that will please all fans of the genre, all spiced up by a superb performance by our beloved diva on vocals.

The melodic guitar lines by Vyacheslav kick off the mid-tempo, dark tune No More, feeling more modern than the rest of the album while maintaining Apolinara’s core essence, resulting in what’s perhaps the most commercial of all songs; and back to a more symphonic vibe it’s time for Shadows and Signs, presenting a catchy chorus by Apolinara and Fabian (“Once you learn how to fly / Nothing weights you down / Claim the right to decide / What your life is about / Who are we to deny / Universal Design? / Path of the Warrior of Light  / Lies in Shadows and Signs”) amidst the thunderous bass punches by Vyacheslav. Apolinara and her crew slow things down and bring love to the airwaves with the whimsical ballad Tears of Love, with the gentle sound of the piano complementing Apolinara’s vocals in great fashion, whereas featuring guest Brien Engel on the glass harp, the band delivers a gorgeous acoustic rendition of Slowly, with Apolinara bringing to our avid ears her most passionate vocals of the entire album. Lastly, putting a climatic ending to the album we have the delicate ballad We Had It All, with the ethereal cello by Tatyana adding a touch of melancholy to the music while Apolinara tells her “goodbye” to the listener.

If you want to know more about Apolinara, her career, her projects and plans for the future, you can follow her on Facebook and on Instagram, subscribe to her YouTube channel for more of her music and other videos, stream her stylish compositions on Spotify, and of course purchase your copy of Shadows & Signs from her BandCamp page, or click HERE for all locations where you can get in touch with Apolinara and enjoy all her musical voyages. As Apolinara herself commented about her debut solo album, “Shadows and Signs is my first full length musical baby. No wonder I feel very sentimental but fierce about it. I’m excited to share it with the world as my personal manifest of inspiration and inner fight with personal demons. Let’s Fire Up!” And that’s exactly what you’ll get in Shadows & Signs, an album overflowing with fire, passion and, of course, the first-class Symphonic Metal brought into being by our beyond talented, distinct musician.

Best moments of the album: Dragon Dance, The Smile of the Demon and Shadows and Signs.

Worst moments of the album: No More.

Released in 2022 Independent

Track listing
1. Intro 1:04
2. Wonderful 4:56
3. You Can’t Get Away With This 5:24
4. Dragon Dance 6:52
5. Slowly 5:12
6. The Smile of the Demon 4:37
7. No More 5:00
8. Shadows and Signs 5:11
9. Tears of Love 3:26
10. Slowly (acoustic) 5:10
11. We Had It All 2:16

Band members
Apolinara – lead and backing vocals, arrangements

Guest musicians
Fabian Morales – growls
Vyacheslav Khabarov – lead, rhythm and bass guitars
Alexander Kasiarum – drums
Tatyana Krasavina – cello
Julia Polishchuk – violin
Brien Engel – glass harp on “Slowly (acoustic)”

Album Review – Once Human / Scar Weaver (2022)

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One of the most distinctive and destructive metal bands of the modern era strikes again with a breathtaking new opus, showcasing their own mutation into an even more devastating beast.

Formed in 2014 in Los Angeles, California, in the United States by guitarist Logan Mader (Machine Head) and vocalist Lauren Hart, the ruthless Groove Metal act known as Once Human has steadily established themselves as one of the most distinctive and destructive metal bands of the modern era. Now in 2022, Logan and Lauren, together with guitarist Max Karon, bassist Damien Rainaud and drummer Dillon Trollope, are ready to kill once again with Scar Weaver, their third full-length album following up on the highly acclaimed releases The Life I Remember (2015) and Evolution (2017), showcasing the band’s own mutation into an even more devastating beast. “It was not an easy path to reach this point, I’ll tell you that,” says Logan Mader. “The original masterplan for the band was really passion-project driven. The first two albums, we were still finding our way. Where we’re at now is with a really strong posture and by far the best album we’ve done. Over the years we’ve done a lot of groundwork and some smaller tours, just grinding things out, sometimes even in a DIY fashion. But now we have legit team around us, the band is firing on all cylinders and everything seems to be lining up this time.”

Dillon begins smashing his drums mercilessly in Eidolon, with Logan and Max extracting sheer violence from their guitars, all of course spiced up by the venomous roars by our she-demon Lauren. Needless to say, it will be an awesome opener for their live concerts. Then we have the menacing Deadlock, featuring Robb Flynn of Machine Head, who makes a pulverizing duo with Lauren on vocals in a modern-day Melodic Death Metal feast with Metalcore nuances, or in other words, a true headbanger by Once Human; followed by the title-track Scar Weaver, which sounds more devilish and darker than its predecessors with Damien hammering his bass nonstop, adding endless groove to the band’s core sonority (not to mention how sharp the riffage by the band’s guitar duo feels). After that the band brings forward Bottom Feeder, sounding infernal and utterly heavy from the very first second while presenting another great job done by Logan and Max with their riffs and solos. Moreover, the metallic bass jabs by Damien will knock you out in the name of Groove Metal, and you better get ready to slam into the circle pit like a true metalmaniac in Where The Bones Lie, with Lauren stealing the show with her flammable growls and vociferations while Damien and Dillon make the earth tremble with their evil kitchen.

More introspective and somber than the rest of the album, Erasure showcases the band’s trademark sound with its first half feeling a little bland while the second half gets back to their usual sonic devastation. And the massive bass lines by Damien attack our senses once again in Deserted, accompanied by the sick, razor-edged riffs by Logan and Max. The high-octane We Ride is a brutal, hellish and absolutely aggressive display of Groove Metal by the band where Lauren is on fire from start to finish, supported by the demented drums by Dillon, whereas in Cold Arrival we’re treated to poetic lyrics growled by Lauren (“I ran so blind / Into the blades of your life / Gray and disguised / And peeled my eyes / As they unfurled”) amidst another thunderous display of Groove and Melodic Death Metal. Lastly, Lauren keeps vociferating wicked words (“No shoulder that won’t cut like a blade / When they’re cold / Turned their backs / I beg them to take your words / Off my chest, take them / Take your worth from my headache / In death”) in Only In Death, putting a beyond sinister ending to the album.

When Logan mentioned Scar Weaver is their strongest album to date he was not joking nor exaggerating at all. Scar Weaver is indeed a powerful and very detailed album of modernized metal music where all band members are in absolute sync until the very last second, providing us fans a very good reason to raise our fists and bang our heads in the name of Heavy Metal. Hence, don’t forget to give Once Human a shout on Facebook and on Instagram, to stream all of their awesome creations on Spotify, and to obviously purchase your copy of Scar Weaver by clicking HERE or HERE. Blessed (or perhaps cursed) with plenty of additional time during the last year’s lockdown situation, Once Human have been able to refine and redefine their sound in Scar Weaver, turning the band into one of the driving forces of modern-day heavy music and, consequently, inviting us all to rock like there’s no tomorrow with Logan, Lauren & Co. for many years to come.

Best moments of the album: Deadlock, Where The Bones Lie and We Ride.

Worst moments of the album: Erasure.

Released in 2022 earMUSIC

Track listing
1. Eidolon 4:06
2. Deadlock 3:39
3. Scar Weaver 4:36
4. Bottom Feeder 5:21
5. Where The Bones Lie 3:50
6. Erasure 5:01
7. Deserted 4:13
8. We Ride 2:50
9. Cold Arrival 4:20
10. Only In Death 5:14

Band members
Lauren Hart – vocals
Logan Mader – guitars
Max Karon – guitars
Damien Rainaud – bass
Dillon Trollope – drums

Guest musician
Robb Flynn – additional vocals on “Deadlock”

Album Review – Pyrrhic Salvation / Manifestum I EP (2022)

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This Internet-based, raw Technical Death and Black Metal-influenced trio is ready to disturb your peace with the pulverizing 30 minutes of music found in their debut EP.

Hailing from Burlington, a city in northwestern Vermont, in the United States, Internet-based, raw Technical Death/Black Metal-influenced trio Pyrrhic Salvation is ready to kill with their debut EP entitled Manifestum I, clocking in at just under 30 minutes in length across four highly ambitious and eclectic songs along with one shorter instrumental piece. Mixed and mastered by the band’s own drummer and bassist Sagar Nadgir, and featuring a fiery, crimson artwork by The Lung Swarm, Manifestum I will appeal to fans of bands the group cites as sources of inspiration such as Hate Eternal, Vital Remains and Immolation, among others, showcasing all the talent and fury of Chrisom Infernium (of Veilburner) on vocals, Michael Altobello on the guitars, and Sagar Nadgir (of Carcinomic) on drums and fretless bass.

Void Mass Revulsion is brutal and demented form the very first second, with Chrisom leading his crew with his infuriated roars while Michael slashes his stringed axe in great fashion, all of course boosted by the demented beats and sick bass lines by Sagar. Then the instrumental interlude A Martyr… will penetrate deep inside your psyche, darkening your thoughts before the trio comes crushing once again in …to Never Awaken, where Michael keeps extracting wrath and fury from his riffage while Sagar hammers his drums mercilessly in a vile display of Dissonant Death Metal. Needless to say, the gruesome guttural by Chrisom will haunt your damned soul for all eternity. In the infernal Revelations of Agonies to Come we face five and a half minutes of insanity and heaviness blasted by those unrelenting metallers, displaying another superb job done by Sagar on bass and drums and, therefore, resulting in a puissant fusion of Technical Death Metal with the rawness of old school Death Metal. Lastly, the trio offers us all seven minutes of darkness in the form of Those That Dwell, with Sagar once again showcasing all his dexterity and rage behind his drums while the music flows infernally until the very last second.

“We wanted to bring the idea that technical death metal with a variety of influences can be done with a very raw, unfiltered voice to it, and the result was kind of unexpected with all of this. It was kind of what we all wanted to hear, being that a lot of studio process in death metal – while it sounds great and is purposed – is also very perfected. We aimed to take that away from what we were doing, so if you hear us mess up somehow, it’s because we are still just people trying to play this. We do our best and no less,” commented the trio about their debut effort, and let’s all agree they more than succeeded in bringing to us their version of Dissonant Death Metal. Hence, don’t forget to give them a shout on Facebook to tell them how much you enjoyed the music found in Manifestum I, and of course if their version of Death Metal is your cup of tea you can support the band by purchasing their EP from their own BandCamp page. And now let’s wait to see what type of dementia in the form of Death Metal those three metallers will provide us with in their future releases.

Best moments of the album: Void Mass Revulsion and Revelations of Agonies to Come.

Worst moments of the album: None.

Released in 2022 Independent

Track listing
1. Void Mass Revulsion 5:52
2. A Martyr… 1:17
3. …to Never Awaken 7:55
4. Revelations of Agonies to Come 5:30
5. Those That Dwell 7:08

Band members
Chrisom Infernium – vocals
Michael Altobello – guitars
Sagar Nadgir – drums, fretless bass

Album Review – Nocturnal Wanderer / Gift of the Night (2021)

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This unknown entity will crush your soul with its newborn beast, offering endless midnight mysticism and reverence for all that goes by night.

Formed in the Spring of 2021 in the Pacific Northwest region as a one-man anonymous project, Portland, Oregon-based Black Metal entity Nocturnal Wanderer has just released its debut full-length opus, entitled Gift of the Night. Recorded and produced at Sacred Atavism, and featuring illustrations by Thaumaturge Artworks and lettering by NW, the album showcases a traditional Black Metal sound and minimalist compositions, yet allowing the occasional Heavy Metal style solo to seep in. Ferocious while at the same time strangely serene and triumphant, Gift of the Night is a singular beast offering us all endless midnight mysticism and reverence for all that goes by night, being therefore highly recommended for admirers of the music by Havukruunu, Malokarpatan, Panphage and Arckanum, among others.

The opening track Twilight Befell is an infernal, raw Black Metal feast with darkly poetic lyrics (“Eventide arrive / Sunlight’s glow fading / Darkness creatures stirring / Bats flitter across the black sky / Aria of dusk / Air chill and sharp / Breathe the night into lungs”) to properly kick off the album, whereas our anonymous lone wolf continues to hammer his drums and extract sulfur from his stringed axe in Darkness in Rapture, another demented old school Black Metal tune presenting all elements we love in the genre. Then adding the most Stygian elements from Doom Metal to his core sonority it’s time for the sinister Sentient Shadows, where once again this one-man horde presents a visceral job on the guitars and drums until the very last second; and drinking from the blasphemous fountain of classic bands the likes of Mayhem, Immortal and Dark Funeral he brings forward By Moonlight, showcasing another round of sick riffs, incendiary blast beats and venomous roars. His second to last breath of darkness comes in the form of Distant Stars in Distant Skies, sounding absolutely haunting and vile, all spiced up of course by his grim, otherworldly gnarls, and there’s time for one final blast of obscurity by Nocturnal Wanderer entitled The Amberdawn, which takes too long to take off and lacks those traditional Black Metal words and growls, but nothing that would cause any harm to the album.

If you consider yourself a true servant of darkness, you can enjoy Gift of the Night in its entirety on YouTube, and of course purchase a copy of such raw and intense album from the project’s own BandCamp page, from the Nameless Grave Records’ webstore or from the Balor’s Eye Productions’ BandCamp page, diving even deeper into the void that consumes our souls. Although the entity behind  Nocturnal Wanderer doesn’t want to disclose his identity (at least not for now), that won’t stop fans of the darkest side of music, including myself, to thank him for bringing into being Gift of the Night, a precious gem of the underground that will help in keeping the flames of Black Metal burning for centuries to come, leaving us even more curious to know the real name of a creature so loyal to the dark.

Best moments of the album: Darkness in Rapture and By Moonlight.

Worst moments of the album: The Amberdawn.

Released in 2021 Nameless Grave Records/Balor’s Eye Productions/Altare Productions

Track listing
1. Twilight Befell 4:45
2. Darkness in Rapture 3:57
3. Sentient Shadows 5:39
4. By Moonlight 5:27
5. Distant Stars in Distant Skies 5:25
6. The Amberdawn 6:10

Band members
Anonymous – vocals, all instruments

Album Review – Vulnificus / Innomination EP (2021)

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Behold the debut effort by an unrelenting American duo attempting to push Death Metal back to its extreme limits.

Formed in the fall of 2021 in the United States by vocalist Eston Browne (Abolishing the Ignominious) and multi-instrumentalist Wilson Sherels (Urotherapy, Epidermolysis), the dynamic Brutal Death Metal duo known as Vulnificus is attempting to push Death Metal back to its extreme limits with their debut demo/EP, entitled Innomination, highly recommended for fans of bands the likes of Cenotaph, Defeated Sanity, Brodequin and Orchidectomy. Recorded, mixed and mastered at Demolition Studios by Wilson with additional recording and mixing of vocals by Eston at BWNTWN STN, and displaying a sick cover art by Pileworm Guttural Art and logo by Force Fed Graphics, Innomination will smash us like an insect with its 12 minutes of sheer brutality, leaving us all absolutely disoriented and eager for their first full-length opus in the near future.

Wilson begins his demented sonic attack in Scraped and Scattered, providing Eston with all he needs to torment our souls with his gruesome vociferations. In other words, it’s the epitome of underground brutality, and I’m sure Wilson’s blast beats will inspire you to slam into the pit like a maniac in the name of Death Metal. The duo shows no mercy for our necks in Induced Rampage, as Wilson continues to hammer his guitar, bass and drums nonstop while Eston roars and growls like a creature from the abyss, resulting in an insane Death Metal extravaganza spiced up by the song’s closing eerie noises crafted by Eston. And their last Deathslam feast comes in the form of the title-track Innomination, another bestial creation by those infernal metallers showcasing their trademark growls and demolishing beats, not to mention how caustic the riffs by Wilson feel, ending the band’s welcome card on a high and putrid note.

After the 12 minutes of savagery blasted by Vulnificus are over, you’ll certainly go back to the start and listen to their undisputed Brutal Death Metal again and again, proving how sick, vile and honest their music is. Hence, let’s show our support to this up-and-coming American bludgeoning duo by following them on Facebook and on Instagram for all things Vulnificus, and by grabbing a copy of their demo from their own BandCamp page or by streaming it as many times as you want on Spotify. As already mentioned, Eston and Wilson are already working on their debut full-length album for sometime in 2022, and until then we can keep practicing our slamming skills to the sound of Innomination because when their full-bodied beast comes to life, it will be hell on earth in the name of Brutal Death Metal.

Best moments of the album: Induced Rampage.

Worst moments of the album: None.

Released in 2021 Independent

Track listing
1. Scraped and Scattered 4:37
2.Induced Rampage 4:19
3. Innomination 2:54

Band members
Eston Browne – vocals
Wilson Sherels – all instruments

Album Review – Exodus / Persona Non Grata (2021)

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Don’t be a “persona non grata” in the world of heavy music and get into the circle pit to the sound of the newborn beast by one of the driving forces of Thrash Metal worldwide.

Persona Non Grata, an unacceptable or unwelcome person, is also the name of the brand new Thrash Metal beast by Bay Area titans Exodus, their first studio album since Blood In, Blood Out in 2014 and their second to feature vocalist Steve “Zetro” Souza since he returned to the band that same year. Recorded at drummer Tom Hunting’s three home studios in Lake Almanor, California, mixed by Andy Sneap at Backstage Studios, engineered by Steve Lagudi, displaying an ass-kicking, venomous artwork by Pär Olofsson, and featuring guests Rick Hunolt, who had been an Exodus member on and off since replacing original guitarist Kirk Hammett in 1983, and Zetro’s own sons Nick Souza and Cody Souza on backing vocals, both from Zetro’s band Hatriot, Persona Non Grata is another lesson in violence by the aforementioned Zetro and Tom together with guitarists Gary Holt and Lee Altus and bassist Jack Gibson, and despite the delay in the release of the album due to Gary’s commitments with Slayer until 2019 and Tom’s diagnosis with squamous cell carcinoma of the stomach (and I’m sure Tom will beat the shit out of it), the wait was totally worth it as their new album is undoubtedly one of the best releases in the world of metal in 2021.

Gary and Lee waste no time and begin their axe attack in great fashion in the pulverizing title-track Persona Non Grata, a lecture in savagery by Exodus uniting their early days sound with their heavier and more demonic present, also showcasing a beyond bestial Tom on drums;  and they keep hammering our heads mercilessly in the circle pit-generator R.E.M.F., presenting another awesome guitar job by Gary and Lee supported by the metallic bass by Jack, while Zetro vociferates rabidly just the way we like it. Then an incendiary intro evolves into another Thrash Metal extravaganza titled Slipping into Madness, which will inspire you to slam into the pit in the name of heavy music. It’s very old school without sounding outdated, with Zetro once again being on fire with his raspy roars, whereas in Elitist the band sounds less intense but still violent and acid as usual, with Jack and Tom extracting earthshaking sounds from their respective bass and drums while the band’s guitar duo delivers their trademark sharp solos. Sinister sounds permeate the air in Prescribing Horror, a neck-breaking, vile creation by Exodus where Tom smashes his drums flawlessly, followed by The Beatings Will Continue (Until Morale Improves), a pure, unfiltered Bay Area Thrash hymn which will sound amazing when played live, with Zetro, Gary and Lee being in total sync from start to finish.

Exodus Persona Non Grata Box Set

The Years of Death and Dying is a lot more melodic than its predecessors, offering their trademark unfriendly lyrics (“I’m a force of nature pure and sure / I’ve killed through all of time / When a GALE force wind blows through you / You’ll know that you are mine / I am legend, I’m your end / You’ll wither when I’m near / I’m the years of death and dying / the sum of all your fears”), while in Clickbait the unstoppable Zetro gnarls the song’s austere words manically (“We take the clickbait / Follow as they lead / With every word they captivate / We blindly follow they trail like human sheep / Never awake always asleep”) accompanied by the brutality blasted by Tom on drums. After the short and sweet Southern Rock-inspired instrumental interlude Cosa del Pantano, the band comes crushing us all in Lunatic-Liar-Lord, featuring a sick guitar solo by Rick Hunolt while the band brings to our ears eight minutes of aggression, speed and adrenaline, all spearheaded by the undisputed riffage by the one and only Gary Holt. There’s no sign of slowing down and the quintet keeps delivering sheer electricity and rage in The Fires of Division, another Thrash Metal anthem perfect for hitting the “dance” floor while Zetro continues to fire his unique growls; and closing such dense and demolishing album of vicious thrash we have Antiseed, starting in a dark manner before exploding into a massive, evil creature led by the aggressive vocals by Zetro and the heavy-as-hell riffage by Gary and Lee.

After listening to over one hour of the ass-kicking, first-class, undisputed Thrash Metal blasted by Exodus in Persona Non Grata, we can rest assured thrash is very much alive, and will forever be, positioning not only the album as one of the best metal releases of the year, but also Exodus as one of the true driving forces of today’s Thrash Metal alongside Testament. Hence, don’t forget to follow Zetro, Gary & Co. on Facebook and on Instagram, and to buy or stream Persona Non Grata by clicking HERE, and if I were you I would definitely go for the beyond special boxset edition of the album (which you can purchase HERE or HERE), limited to 2,000 worldwide and including the album on CD and orange/red swirl with black splatter vinyl, a “Jam Camp!” Blu-ray, a 20-page booklet, a slip mat, a wall flag and a patch, all embraced by a custom packaging with 3D-vacuformed album art and clamshell box with die-cut window and gold foil stamping. And if after all that you still decide not to grab your copy of such insane album, I’m sorry but from now on you’re “persona non grata” at The Headbanging Moose.

Best moments of the album: Persona Non Grata, R.E.M.F., The Beatings Will Continue (Until Morale Improves) and Lunatic-Liar-Lord.

Worst moments of the album: The Years of Death and Dying.

Released in 2021 Nuclear Blast

Track listing
1. Persona Non Grata 7:30
2. R.E.M.F. 4:22
3. Slipping into Madness 5:33
4. Elitist 3:58
5. Prescribing Horror 5:09
6. The Beatings Will Continue (Until Morale Improves) 3:01
7. The Years of Death and Dying 5:22
8. Clickbait 4:31
9. Cosa del Pantano 1:13
10. Lunatic-Liar-Lord 7:59
11. The Fires of Division 5:23
12. Antiseed 6:17

Band members
Steve “Zetro” Souza – vocals
Gary Holt – lead and rhythm guitars
Lee Altus – lead and rhythm guitars
Jack Gibson – bass
Tom Hunting – drums, percussion

Guest musicians
Rick Hunolt – lead guitars on “Lunatic-Liar-Lord”, backing vocals
Cody Souza – backing vocals
Nick Souza – backing vocals

Album Review – Emerald Rage / High King (2021)

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Raise your horns to this triumphant and epic album of pure Heavy Metal crafted by three young American musicians, paying homage to the glorious medieval times, King Arthur and tales of pagan folklore.

After four intense years releasing a bunch of demos, EP’s and singles, Akron, Ohio-based Heavy/Power Metal unity Emerald Rage has finally unleashed upon humanity their debut full-length album, entitled High King, a fun and admirable sonic rollercoaster as the band successfully explores the melodic sense of the NWOBHM and all the explosive leads that come with the baggage, being highly recommended for admirers of the music by Skyclad, Falconer, Iron Maiden, and so on. Paying homage to the glorious medieval times, King Arthur and tales of pagan folklore, the album sounds and feels absolutely triumphant and epic, showcasing all the talent and passion for old school metal music by Jacob Wherley on vocals and guitars, Patrick Kern also on the guitars, and Erik Curry on bass, supported by session drummer David Hardesty.

Frantic riffs and beats ignite the metal extravaganza titled Into the Sky, a beautiful and electrifying tribute to the golden years of Heavy Metal with Jacob kicking ass on vocals accompanied by the galloping bass by Erik. In Wrathful Eyes the rumbling bass by Erik offers exactly what Jacob needs to declaim the song’s wicked lyrics (“You think the morning fog hides all the lies you’ve told / But I see through the dismal gloom straight to your blackened soul / Your forces they stand line by line grumbling to themselves / They know their leader is a thief, a craven and a fool”) in another high-octane display of classic metal music, whereas a more epic, thunderous vibe permeates the air in High King, spearheaded by the tribal beats by David while Jacob and Patrick extract sheer electricity from their guitars in the best Manowar style. Then telling a story of a pagan warrior, the band blasts the traditional Heavy and Power Metal tune Heart of a Pagan, showcasing an excellent guitar attack together with the unstoppable bass jabs by Erik.

In Dire Wolves the band delivers a solid hybrid of classic Heavy Metal with 80’s Hard Rock that reminds me of some of the most thrilling creations by Axel Rudi Pell, with their striking guitar riffs and solos penetrating deep inside your mind; and adding elements from Thrash Metal to their core sonority, Erik and David bring the groove to the music in White Stag while Jacob and Patrick keep slashing their stringed axes with tons of feeling and dexterity. Then inspired by the badass Rock N’ Roll by the unparalleled Motörhead, those young metallers will put you to bang your head and slam into the pit in Empress, with even Jacob’s voice displaying hints of the grumpy vocals by Lemmy, followed by Goddess Freya, which albeit not as exciting as the rest of the album still has its good moments, with Jacob doing another great job on vocals supported by his bandmates’ backing vocals. Last but not least, Emerald Rage bring forth the rumbling tune Wings of Solitude, sounding very stylish with its strident riffs in paradox with the low-tuned, metallic bass by Erik, also full of breaks, variations and endless stamina for our total delight.

You can join Emerald Rage in their metal voyage through the glory of the medieval times by streaming High King in its entirety on YouTube and on Spotify, by following the band on Facebook and on Instagram for news, tour dates and other nice-to-know details, and above all that, by grabbing your copy of their thrilling debut installment from their own BandCamp page, from the Stormspell Records’ Big Cartel, from Apple Music, from Amazon or from Discogs. Now that those young rockers have finally released their first full-length album, let’s wait and see what’s next in their career and to what period in time they’ll take us with their refined Heavy Metal, sounding like true veterans and, consequently, keeping the fires of old school heavy music burning bright wherever they go.

Best moments of the album: Into the Sky, Dire Wolves and Empress.

Worst moments of the album: Goddess Freya.

Released in 2021 Stormspell Records

Track listing
1. Into the Sky 5:30
2. Wrathful Eyes 4:26
3. High King 5:37
4. Heart of a Pagan 3:25
5. Dire Wolves 3:29
6. White Stag 3:54
7. Empress 3:21
8. Goddess Freya 3:56
9. Wings of Solitude 5:35

Band members
Jacob Wherley – lead vocals, guitars
Patrick Kern – guitar, backing vocals
Erik Curry – bass, backing vocals

Guest musician
David Hardesty – drums (session)

Metal Chick of the Month – Haydee Irizarry

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Blame the witch! Shame the witch! Hang the witch!

As the days are getting shorter and colder in the Northern Hemisphere, let’s warm things up here at The Headbanging Moose this November with the incendiary vocals and performance of our metal lady of the month, the multi-talented Haydee Irizarry, or Haydée Irizarry if you prefer. Vocalist for Melodic Groove/Death Metal act Carnivora, vocalist, multi-instrumentalist and composer for Alternative Rock/Metal project Zahra Lux, and vocalist and composer for her own solo project, not to mention her six years as the vocalist for Melodic Death Metal outfit Aversed, Haydee owns a very potent and dynamic voice, delivering a wide range of styles that go from smooth, clean vocals to deep and visceral growls, positioning her as one of the most interesting names of the current American underground scene. Having said that, are you ready to know a little more about Haydee, her bands and projects, her influences, and her passion for all types of music?

Born on February 28, 1995 in Chicago, Illinois, in the United States, but currently residing in Salem, Massachusetts, and of Mexican and Puerto Rican descent, Haydee graduated in 2013 from Lincoln Park High School in Chicago and then moved on to study jazz, classical and contemporary music writing and production at the Berklee College of Music in Boston, Massachusetts that same year, where she also became the lead singer for her classmates’ band Aversed. However, before we start talking about her professional career in music, let’s take a step back and go all the way to her childhood years, more specifically to when she was only four years old. At that age, Haydee received a keyboard that ignited her interest in studying and writing songs on the piano, while her grade school was a Lutheran school that introduced hymnals and sight reading to her and prompted her to join choirs at the age of eight, when she realized she had a natural talent and love for singing that was undeniable and she knew she wanted to be a vocalist. Not only a vocalist, but a metal vocalist, as while she remembers her family listened to everything from Redding’s soul to their Latin culture’s salsa when she was a kid in Chicago, she also became enchanted by Rock N’ Roll and Heavy Metal. When asked what attracted her to the harder stuff, she said metal offered release and salvation as she struggled with her parents’ divorce, an abusive brother and her mental health. “When I was getting started, I really connected to the aggression because of all the things I was feeling at the time,” she explained. “I was feeling a lot of dark, intense things that I didn’t really quite know how to express outside of music.” Then at the age of 16 she joined the Chicago School of Rock so she could perform and develop as a performing frontwoman, having also studied guitar, piano and bass through private teachers, and through that plus her choral experience she achieved many honors and had the ability to play Lollapalooza and many other local festivals in Chicago. She learned pop, rock, jazz, blues, metal and so on, all of which directed her to the Berklee College of Music, as already mentioned.

Since 2017, Haydee has been the voice of American Melodic Groove/Death Metal act Carnivora, with whom she has already recorded three singles, those being Bogdweller, in 2019, Witch City, in 2020, and more recently Hypnogenic, featuring guests Jon Donais (Anthrax, Shadows Fall) and Matt Bachand (Shadows Fall, Act Of Defiance). The band’s guitarist Cody Michaud believes Haydee is helping Carnivora evolve in a more sophisticated, more accessible, less testosterone-fueled direction, helping them transition their sound from Metalcore and Melodic Death Metal to a more groove-oriented Heavy Metal with Death Metal influences. “If you’re a fan of folk music, there’s folk metal, and there’s symphonic metal,” commented Haydee in one of her interviews. “It doesn’t have to be the Cookie Monster screams. It isn’t always aggressive. It can be very beautiful.” She also explained how she ended up becoming the band’s new vocalist a few years ago. “I had met the Carnivora members at an early Aversed gig and we had become friends and performed with each others bands’ many times. They were interested in transitioning their style and believed my vocal skills and personality was compatible and here we are!”

Speaking about Boston, Massachusetts-based Progressive/Melodic Death Metal act Aversed, Haydee was the band’s vocalist from 2015 until September 1, 2021, having recorded with the band their 2016 EP Renewal and the full-length opus Impermanent earlier in 2021, not to mention the live album Abandoned in Charlestown, released in August 2021. You can enjoy Haydee kicking some ass with Aversed in the official videos for the songs Laboratory, Impermanent, and Close My Eyes, or simply click HERE to enjoy the album in its entirety. When asked how she was invited to join Aversed, she said the band had been active since 2009, before she lived in Boston, and as she was attending Berklee College of Music she had met many local metal musicians and bands and had been referred to be their new vocalist and joined them in 2015. In addition, Haydee mentioned that she had studied gutturals before joining them and it proved to be a great transition to practice performing the new technique that she had been developing.

Apart from her time with Carnivora and Aversed, our beloved vocalist has also lent her beautiful voice to an array of distinct bands through the years, with the first ever metal band she was officially in, called Ephemeral Sunrise, being a huge learning experience as she was able to get a taste of where she needed to grow and what the local scene was like. Another amazing project she’s currently involved with is called Zahra Lux, which translates to “beautiful light” or “flower light”, combining classical, rock and blues music to form one heavy and delicate musical experience featuring gorgeous piano lines, soulful vocals and orchestral arrangements. “Before I went down the surprising road of melodic death metal and guttural vocals I had thought that I would strictly be a blues and heavy metal vocalist that would sound more like Evanescence, and other female fronted rock and metal bands,” said Haydee, having already released under her Zahra Lux project the EP’s The Deam (2018) and Rosewater (2020), and more recently the single Say No More, in August this year.

You can also enjoy Heydee’s powerful vocals in other bands and projects, such as Symphonic/Progressive Power Metal band Widows Rite, with whom she recorded the album Volume 1 back in 2018, and Queen Boudicca Metal Opera. Haydee has also been a guest in distinct albums by excellent underground bands, those being vocals on the song Shutter, from the 2020 EP Eulogy by American Gothic/Death/Doom Metal band Autumn’s Ashes; vocals on Per Erebus, from the 2018 album Per Erebus ad Astra by American Blackened Thrash Metal band Graviton; vocals as “The Soldier” on Terror of the Cybernetic Space Monster, from the 2018 album Terror of the Cybernetic Space Monster by American Power Metal band Helion Prime; and vocals on A Gathering of Storms, from the 2018 album Genetically Engineered to Enslave, by American Death Metal band Solium Fatalis.

As aforementioned, Haydee grew up listening to all kinds of music such as blues, classic rock, classical, and Latin music, but when the music in question is our beloved Heavy Metal her main influences range from Joe Duplantier of Gojira and Alissa White-Gluz of Arch Enemy to all classic metal vocalists such as Dio, Ozzy and Rob Halford. Her first ever record which introduced her to heavy music was Fallen, by Evanescence, when she was eight years old, taking her down the rabbit hole that would eventually lead her to find Judas Priest, Black Sabbath and all of the icons of early metal, also delving into the early punk scene. Nowadays you can find pretty much anything on her playlist including Chelsea Wolfe, Bjork, Black Sabbath and At The Gates, as well as “guilty pleasures” such as Katy Perry, Sia and Lady Gaga, as long as it’s well-written pop music, of course. When asked which three songs would be perfect for someone listening to her for the first time, Haydee mentioned her cover versions for Sia’s Everyday is Christmas and Arch Enemy’s As The Pages Burn, plus Aversed’s Renewal, because they are diverse and represent her as she is now, still growing but slowly establishing a strong voice within the music industry. By the way, if you want to see how wide Haydee’s range can be and how eclectic her taste for music is, you can take a shot at her cover versions for Iron Maiden’s Hallowed Be Thy Name, Alanis Morissette’s Uninvited, Leonard Cohen’s Chelsea Hotel, and Prince’s Purple Rain, among several others on her personal YouTube channel.

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Absolutely engaged in the music no matter which band she’s in, Haydee not only has an incendiary voice, but her onstage performance is just as flammable and electrifying, earning her a few unique nicknames including Haydee the Hyena, Metal J.Lo and Metal Selena. “I love the Metal Selena and Metal J.Lo because I like to embrace my culture,” she said, “like wearing my hoops.” Furthermore, she mentioned in one of her interviews the importance of understanding R&B and classical music to become a better metal vocalist. “Both styles have extreme soul and depth that is definitely important in metal music in both style and vocal delivery. Having experienced performing many different songs with different stories and intentions I have a large understanding of what level of emotions, strength, and movements to deliver to any song to make it as effective as it can be. I couldn’t do that if those many styles had not molded my range to be the way it is now as well. Every life and musical experience finds itself in each new performance that you share and it’s really wonderful.”

Regarding touring, Haydee said that she dreams of touring the world with Carnivora and of being able to make a living from her art without having to work a day job. having already played in many small to large stages in a wide variety of local bars and clubs, she would also love to play some major festivals the likes of Maryland Death Fest, NAMM and SWSW, and return to Chicago Open Air, a festival that holds a spot in her heart. “At Chicago Open Air 2017 Aversed and I had performed on the last day alongside acts such as Slayer, Behemoth, and Ozzy Osbourne to name a few. Nearing the end of Ozzy’s set our tour bus crew was giving the band a last call to get on the bus or else it was leaving without us! My phone has been dead and I didn’t know. By the grace of the metal gods I ran into my band mates while I was getting a pretzel and ran back with them. Everyone was there besides our guitarist Sungwoo Jeong. After an awful 10 minutes of frantic calling, searching, and figuring out a way for him to fly back to Boston on his own, we searched the bus one last time and found he’d been asleep the whole time. I had immense luck and Sungwoo cracked us all up and it made one hell of a story.” In addition, her first metal experience as a vocalist was the Iron Maiden vs. Judas Priest show at the Chicago School of Rock in 2011, a huge moment for her because it had really transitioned her from a bedroom performer to a real one, pushing her to keep doing it.

As Carnivora is now a female-fronted metal band, Haydee was asked her opinion about the role of women in the current metal scene. She said that the face of metal is shifting a lot towards women, but the metal community still has a lot to learn and that can be frustrating, mainly because bands with female lead singers often get lumped together even if they’re creating radically different sub-styles, although she’s fine with the label “female-fronted metal”. In addition, she said that as a growing force, women get a lot of attention that may not be given as frequently to an all-male group because there is something different brought to the table that is intriguing. Women have the same depth and aggression as men, and to have an artistic platform to display that (as well as their delicate nature) is a new and amazing thing. The only disadvantage that she sees is the play on sexism and creating sex appeal that purposefully overshadows or interferes with the platform for ones natural talent. “Women work hard to do what they do and they do not need to hide behind sex appeal to be respected for their time, talent, and work. Knowing that and showing that is important,” commented Haydee.

Last but not least, Haydee also provided her comments about things that she learned recording new music during the COVID-19 pandemic, starting by saying how important it was for her to put a strong focus on songwriting, something that we all know cannot be done properly when the musician is on the road most of the time, saying the simplicity of “one-on-one” writing with guitarist Cody Michaud allowed them to present something more refined to the rest of the team. Secondly, she mentioned how hard the entire band worked on the recording process of their demos, saying she pushed herself to knock out vocal takes and stacked harmonies. Then Haydee moved on to talking about their jam sessions, how important it was for them to get back to practicing together as soon as it was safe to meet up, and how tighter their playing got after that, followed by how important it was to release new music during the pandemic even without being able to tour during that time. And last but not least, she mentioned a fun game Carnivora had during the video shoot for Hypnogenic, the first time they had to load in and get together since everything shut down, where each band member had to wear their newest Vans shoes acquired during quarantine and compare them. Let’s say this is indeed a very healthy competition for a group of metalheads eager to get back on the road, and those shoes are beyond awesome for any trip or for a demanding activity like kicking ass on stage, and we cannot wait to see Haydee and Carnivora eating our flesh alive during their upcoming concerts.

Haydee Irizarry’s Official Facebook page
Haydee Irizarry’s Official Instagram
Haydee Irizarry’s Official Twitter
Haydee Irizarry’s Official YouTube channel
Carnivora’s Official Facebook page
Carnivora’s Official Instagram
Carnivora’s Official Twitter
Carnivora’s Official YouTube channel

“The face of metal is shifting a lot towards women and women from all different countries that look so different. It’s awesome to be a part of that change.” – Haydee Irizarry

Album Review – Trivium / In the Court of the Dragon (2021)

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It’s time to join Trivium in the court of the dragon to the sound of their magnificent new opus.

“In the court of the dragon
Death of gods and world
In the court of the dragon
You will know your worth”

After getting back on track with their two previous albums, those being the excellent The Sin and the Sentence, released in 2017, and What The Dead Men Say, released in the beginning of 2020, Orlando, Florida-based Heavy Metal unity Trivium continues to deliver their trademark fusion of violence, speed and intricacy with their newborn spawn, beautifully titled In the Court of the Dragon, the tenth studio album in their beyond solid career. Produced by Josh Wilbur and mastered by Ted Jensen at Sterling Sound, In the Court of the Dragon sounds and feels even better than its predecessors, proving the isolation during the pandemic was extremely productive for vocalist and guitarist Matt Heafy, guitarist Corey Beaulieu, bassist Paolo Gregoletto, and drummer Alex Bent, who as I always like to say elevated Trivium’s sound to a whole new level after joining the band in 2017, and in their new album he sounds even more awesome than usual.

Composed and arranged by Emperor’s own Ihsahn, X is an epic, dark and cinematic intro that warms up our senses for the fulminating In the Court of the Dragon, where Matt begins screaming the song’s powerful lyrics (“In the court of the dragon / Death of gods and world / In the court of the dragon / You will know your worth”) accompanied by the headbanging riffs and beats by Corey and Alex, whereas an imposing start morphs into sheer adrenaline in Like a Sword Over Damocles, with Matt and Corey kicking ass on the guitars while Paolo makes the earth tremble with his bass jabs. Needless to say, Alex adds tons of intricacy and feeling to this already fantastic composition, turning it into my favorite of the entire album. Then we have Feast of Fire, the second single of the album and a solid, traditional Trivium song, albeit not as powerful as the rest of the album. Then it’s time for another frantic, high-octane creation by the quartet named A Crisis of Revelation, providing an excellent balance between their heaviest side and their more melodious, clean sounds, and if played live it will surely ignite some fun mosh pits during their live concerts.

In The Shadow of the Abattoir we’re treated to a gentle beginning to the deep, clean vocals by Matt, evolving into another complex Melodic Death and Heavy Metal feast spearheaded by Alex and his unstoppable drums and spiced up by their sick guitar solos; and more of their groovy sounds are offered to us all in the neck-breaking No Way Back Just Through, with Matt once again thriving with both his clean singing and enraged roars. A massive wall of sounds will hammer your head mercilessly in Fall Into Your Hands, even heavier and more detailed than its predecessors, where Matt screams nonstop from the bottom of his heart while his bandmates add elements from Progressive, Death and even Symphonic Metal to their core sonority. It looks like the guys form Trivium wanted to offer endless heaviness in their new album, and they more than succeeded in that as From Dawn to Decadence is another bestial Metalcore tune where Matt, Corey and Paolo are in absolute sync from start to finish with their infernal riffage and bass. Lastly, closing the album we face one final round of their trademark wicked lyrics in The Phalanx (“Within the thrill, amidst the kill / One against all, soon blood will spill / We cannot wait to make your pain / We are the burn inside your brain”) amidst a hurricane of heavy sounds that lasts for stunning seven minutes.

Trivium are a band that at the same respects their past while always looking towards the future, and In the Court of the Dragon (available for a full listen on YouTube and on Spotify) is the perfect depiction of that, pointing to an even brighter future ahead of those four talented metallers who are becoming one of the most important bands of the current scene worldwide. Hence, don’t forget to follow them on Facebook, on Instagram and on YouTube for news, tour dates, and more of their sick music and videos, and if you want to add the majestic In the Court of the Dragon to your personal collection, you can purchase it from their official webstore, or click HERE for several other places where you can buy the physical or digital copy of the album. As the lyrics to the title-track say, “in the court of the dragon you will know your worth”, and if you’re there to the sound of Trivium’s new album, you can rest assured the “dragon” will provide you with exactly what you deserve.

Best moments of the album: In the Court of the Dragon, Like a Sword Over Damocles, A Crisis of Revelation and Fall Into Your Hands.

Worst moments of the album: Feast of Fire.

Released in 2021 Roadrunner Records

Track listing
1. X 1:26
2. In the Court of the Dragon 5:09
3. Like a Sword Over Damocles 5:30
4. Feast of Fire 4:18
5. A Crisis of Revelation 5:35
6. The Shadow of the Abattoir 7:11
7. No Way Back Just Through 3:53
8. Fall Into Your Hands 7:45
9. From Dawn to Decadence 4:08
10. The Phalanx 7:15

Band members
Matt Heafy – lead vocals, guitar
Corey Beaulieu – guitar, backing vocals
Paolo Gregoletto – bass guitar, backing vocals
Alex Bent – drums, percussion

Guest musician
Ihsahn – orchestration and synths on “X”