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Concert Review – The Bay Strikes Back Tour (London Music Hall, London, ON, 10/01/2022)

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And the Bay struck back in the city of London, Ontario for the delight of all Thrash Metal lovers slamming into the pit on a completely sold-out night.

INTRO: The Bay Strikes Back Tour 2022

Featuring Bay Area Thrash Metal icons DEATH ANGEL, EXODUS and TESTAMENT, the fantastic party labeled The Bay Strikes Back Tour 2022 actually started back in Europe in February 2020, but only lasted for two months due to all COVID-19 restrictions at that time. However, in 2022 the three bands got back in action with the first leg of a North American tour in April and May, another European leg in the summer, and now a second North American leg this fall, including the sold out, majestic thrashing night on October 1 at the London Music Hall in London, Ontario, here in Canada. The place was jam packed from the very first second the doors opened at 6pm, and that was the landscape until Testament closed the night already past 11pm, requiring a lot of stamina, headbanging and moshing from the fans lucky enough to get a ticket for such unique night of pure Thrash Metal.

DEATH ANGEL

Precisely at 6:50pm, and with the merch lines still being huge (which caused several fans to miss part of the concert), San Francisco, California’s own Thrash Metal squad DEATH ANGEL kicked off the night on a high note, blending old school tunes the likes of Mistress of Pain and Voracious Souls with newest hits such as The Moth and Humanicide, from their latest effort Humanicide, released in 2019. Mark Osegueda was on fire throughout the entire concert, showcasing an amazing vocal performance while his bandmates made sure there was plenty of heaviness and speed for the fans at the London Music Hall to get into the circle pits. It was really cool to see bassist Damien Sisson sporting a Toronto Raptors jersey, and of course seeing how much Canadians love Death Angel. Right after they finished playing the closing tune, the excellent Thrown to the Wolves, it became obvious that their setlist was way too short, but I’m sure the band will be back for a full-bodied, ass-kicking performance sooner than we can say “Thrash Metal”.

Setlist
The Ultra-Violence / Mistress of Pain
Voracious Souls
Seemingly Endless Time
The Dream Calls for Blood
Caster of Shame
The Moth
Humanicide
Thrown to the Wolves

Band members
Mark Osegueda – vocals
Rob Cavestany – guitar
Ted Aguilar – guitar
Damien Sisson – bass
Will Carroll – drums

EXODUS

After a quick bathroom/beer/merch break, all fans at the venue got in their desired positions for the fulminating Thrash Metal attack by the one and only EXODUS, and it was indeed a killer lesson in violence. Steve “Zetro” Souza, Gary Holt, Lee Altus, Jack Gibson and Tom Hunting felt at home in London, crushing everything and everyone that crossed their path during their high-octane, heavy-as-hell performance, and consequently putting a huge smile on the faces of everyone at the venue. Promoting their sensational 2021 opus Persona Non Grata, the band delivered endless adrenaline in a setlist that beautifully mixed new songs like The Beatings Will Continue (Until Morale Improves) and The Years of Death and Dying with old school thrashing classics including A Lesson in Violence, Blacklist and Bonded by Blood. Zetro and Gary were insane on stage the whole time, while their fans were simply slamming into the pit like there’s no tomorrow. Close to the end of the show, before they played the electrifying The Toxic Waltz, Zetro thanked everyone at the venue for an amazing sold-out night and thanked security for the excellent job done in keeping everyone safe during the concerts, while a Canadian flag with the Exodus logo was shining bright behind the drums, and Gary made a tear of pure joy fall from everyone’s faces when he played a snippet from Slayer’s undisputed classic “Raining Blood”. We need Slayer back. Anyway, as usual they ended the concert with Strike of the Beast, or maybe I should say STRIKE OF THE FUCKIN’ BEAST, with a promise Exodus will soon return to Canadian lands for another lesson in violence.

Setlist
The Beatings Will Continue (Until Morale Improves)
A Lesson in Violence
Blood In, Blood Out
The Years of Death and Dying
Deathamphetamine
Blacklist
Piranha
Prescribing Horror
Bonded by Blood
The Toxic Waltz
Strike of the Beast

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

TESTAMENT

It took a little longer for Oakland, California-based Thrash Metal titans TESTAMENT to hit the stage at the London Music Hall, more specifically at 9:30pm, but I must say the wait was totally worth it as Chuck Billy and his crew masterfully blasted our hearts and souls with their very technical, infernal and thrilling Thrash Metal. It didn’t matter if they played newer songs like Rise Up, The Pale King and WWIII, or thrashing classics the likes of Practice What You Preach and First Strike Is Deadly, the crowd went mental into the circle pit, inspiring the whole band to play even faster and heavier than usual. The new songs from their 2020 album Titans Of Creation sounded fantastic live, but it was the old school stuff that set endless fire to the pit. I have to say that D.N.R. (Do Not Resuscitate), Electric Crown and The Formation of Damnation might be three of the finest Thrash Metal anthems of all time, and if you add to that the sensational way Eric Peterson and Alex Skolnick slashed their axes, the rumbling bass by Steve Di Giorgio, and of course the unparalleled drums by Mr. Dave Lombardo, who received perhaps the most heartwarming ovation from the crowd from all bands, there you have the cream of thrash served on a plate of pure gold to their Canadian fans. Chuck Billy was having an amazing time, being extremely happy with the reaction of the crowd before Native Blood when he mentioned the importance of the day before the show, September 30, to all indigenous people due to the National Truth and Reconciliation Day in Canada, and pretending he was “brewing” pure Thrash Metal in the giant “casserole” known as the floor section while fans were in a devastating mode during Into the Pit, among a few nice stories he told in between songs. Everyone left the London Music Hall extremely satisfied with the whole night, in special with the ass-kicking performance by Testament, and it won’t take long for them to return to Canada to blast our ears once again as long as we always practice what we preach.

Setlist
Rise Up
The New Order
The Pale King
Children of the Next Level
Practice What You Preach
WWIII
D.N.R. (Do Not Resuscitate)
Native Blood
Night of the Witch
Electric Crown
The Formation of Damnation
First Strike Is Deadly
Into the Pit
Alone in the Dark

Band members
Chuck Billy – vocals
Eric Peterson – guitar
Alex Skolnick – guitar
Steve Di Giorgio – bass
Dave Lombardo – drums

Album Review – Megadeth / The Sick, the Dying… and the Dead! (2022)

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The sick, the dying… and the Megadeth!

Marking the longest gap between two studio albums in the band’s career since their 2016 release Dystopia, the excellent The Sick, the Dying… and the Dead! is not only the sixteenth studio album by American Thrash/Speed Metal icons Megadeth, but a bold statement that the unrelenting Mr. Dave Mustaine and his henchmen are far from calling it quits, offering us all a lecture in thrash, speed and technique split into 12 incendiary songs. Produced by Dave Mustaine and Chris Rakestraw, mastered by Ted Jensen at Sterling Sound, mixed by Josh Wilbur, displaying a classic cover art by Brent Elliott White, and with artwork, layout and design by Josh Graham at Suspended In Light, The Sick, the Dying… and the Dead! is the first Megadeth album to feature drummer Dirk Verbeuren and the second to feature guitarist Kiko Loureiro, with the bass parts originally recorded by founding bassist David Ellefson being re-recorded by Steve Di Giorgio of Testament (although the band’s current bassist is James LoMenzo) after David was dismissed from the band due to a sex scandal during the album’s recording.

Showcasing an intro inspired by the classic scene “Bring Out Your Dead” from the 1975 cult movie Monty Python and the Holy Grail, the title-track The Sick, the Dying… and the Dead! Quickly morphs into pure Megadeth to the stunning riffs by Dave and Kiko, being also perfect for screaming “Die! Die! Die!” together with “MegaDave”. Then we have Life in Hell, sounding fast and furious just the way we like it in Speed Metal with its lyrics being acid and fun at the same time (“Busted, caught red-handed again / You can’t be trusted, born to lose, you’ll never win / You’re so corrupted, you stand before us condemned / So maladjusted to the world we’re living and dying in”), not to mention how thunderous Dirk sounds on drums; followed by Night Stalkers, another one of my favorites where the band puts the pedal to the metal with Dave and Kiko being on fire with their wicked riffs, accompanied by Steve’s rumbling bass and Dirk’s pulverizing beats, all of course spiced up by a spot-on guest appearance by the one and only Ice-T, the man behind Body Count. In Dogs of Chernobyl a heavy and dark start gradually evolves into another metallic feast by Dave & Co., with its second part setting fire to the atmosphere with its razor-edged riffs, solos and beats, whereas Sacrifice sounds very similar to some of the songs from Dystopia, being very melodic and sharp and with Dave’s raspy voice being nicely supported by all backing vocals. And more of their undisputed fusion of Thrash and Speed Metal is offered to us all in Junkie, with Dave kicking some serious ass as usual with both his unique vocals and trademark riffs and solos.

After the tribalistic interlude Psychopathy, it’s time for Dave to distill his venom in Killing Time, showcasing lyrics that seem to be directed to the band’s former bassist Dave Ellefson (“Some people look at you and feel sorry / They see your beady eyes and a soul that is black / It’s clear to see, you’re a pathological liar / And your alibi was a lie, it was all just an act, and that’s a fact”); followed by Soldier On!, a headbanging extravaganza that transpires Megadeth where Dave leads his horde flawlessly, with “The Marching Metal Bastards” part at the end being ridiculously funny. Célebutante is another old school, straightforward tune by the band where Dirk and Steve are in absolute sync from start to finish, albeit presenting some really weird lyrics, while in Mission to Mars the lyrics are even weirder but for a good reason (they’re meant to be cheesy), also displaying excellent instrumental parts including its striking guitar solos. Then the incendiary shredding by Dave and Kiko ignite the closing tune We’ll Be Back, which was curiously the first single released, sounding technical, violent, fast and acid just the way we love it, or in other words, it’s simply flawless until the very end. Moreover, depending on the version of the album you acquire, there are some amazing bonus tracks waiting for you, with the best one being by far This Planet’s on Fire (Burn in Hell), originally recorded by Sammy Hagar on his 1979 album Street Machine (listen to the original version HERE), and featuring Sammy Hagar himself on vocals together with MegaDave.

You can enjoy the album in its entirety on Spotify, where by the way you’ll find the best bonus tracks in my humble opinion, but if you’re a loyal member of Megadeth’s Cyber Army you should definitely purchase your favorite version of the album by clicking HERE or HERE, always keeping an eye on the band’s official Facebook and Instagram for news, tour dates and other fun stuff by Dave and his crew. In a nutshell, The Sick, the Dying… and the Dead! couldn’t have sounded more Megadeth than this, staying loyal to the band’s original Speed Metal infused with Thrash Metal, while at the same time containing elements from all phases of their undisputed career, putting a huge smile on the faces of their old school fans and of newcomers to their metal realm. It’s an album for all of us, for all diehard metalheads out there, inspiring us to raise our horns to the sick, the dying… and the Megadeth!

Best moments of the album: The Sick, the Dying… and the Dead!, Life in Hell, Night Stalkers, Mission to Mars and We’ll Be Back.

Worst moments of the album: Célebutante.

Released in 2022 Universal Music

Track listing
1. The Sick, the Dying… and the Dead! 5:04
2. Life in Hell 4:12
3. Night Stalkers 6:38
4. Dogs of Chernobyl 6:14
5. Sacrifice 4:08
6. Junkie 3:39
7. Psychopathy 1:20
8. Killing Time 5:13
9. Soldier On! 4:54
10. Célebutante 3:51
11. Mission to Mars 5:24
12. We’ll Be Back 4:29

Digital Edition bonus tracks
13. Police Truck (Dead Kennedys cover) 2:29
14. This Planet’s on Fire (Burn in Hell) (Sammy Hagar cover) 5:04

EMP Exclusive CD bonus tracks
13. This Planet’s on Fire (Burn in Hell) (Sammy Hagar cover) 5:04
14. Take No Prisoners (live) 3:29

Target Exclusive CD bonus tracks
13. This Planet’s on Fire (Burn in Hell) (Sammy Hagar cover) 5:04
14. The Conjuring (live)* 5:49

*Mislabeled as “Dystopia” on the album track listing.

Band members
Dave Mustaine – lead vocals, lead and rhythm guitar, additional bass
Kiko Loureiro – lead guitar, backing vocals, flute on “Night Stalkers”
Dirk Verbeuren – drums

Guest musician
Steve Di Giorgio – bass (session)
Ice-T – vocals on “Night Stalkers”
Sammy Hagar – vocals on “This Planet’s on Fire (Burn in Hell)”
Brandon Ray – additional vocals
Eric Darken – percussion
Roger Lima – keyboards, effects
Luliia Tikhomirova – narration on “Dogs of Chernobyl”
Bill Elliot – voices on “Junkie”
John Clement – voices on “Soldier On!”
The Marching Metal Bastards – voices on “Soldier On!”
Maila Kaarina Rantanen – voices on “Mission to Mars”
Clint Underwood – voices on “Mission to Mars”

Album Review – Forlesen / Black Terrain (2022)

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This doomed entity hailing from Portland, Oregon brings forward four monolithic songs that will fully immerse the listener in a contrast of the serene and cacophonous in their new opus.

Formed in San Francisco, California at the end of 2016, but currently based in Portland, Oregon, Atmospheric Black/Doom Metal outfit Forlesen draws from Epic Doom, Black Metal, Slowcore and Dark Ambient to subvert traditional songwriting with their new full-length, entitled Black Terrain, which weaves heartbreak and hypnosis to show the band at their most vulnerable and vicious. Mixed by Jack Shirley at The Atomic Garden, mastered by Garrett Haines at Treelady Studios, and displaying a beautiful artwork by Benjamin A. Vierling, Black Terrain brings forward four monolithic songs, at times approaching twenty minutes in length, fully immersing the listener in a contrast of the serene and cacophonous, showcasing the evolution in the sound crafted by vocalist and multi-instrumentalist Ascalaphus (Botanist), vocalist and multi-instrumentalist Bezaelith (Lotus Thief), guitarist Petit Albert (Lotus Thief), and drummer Maleus (Kayo Dot, Maudlin Of The Well) from their debut effort Hierophant Violent,  being therefore highly recommended for fans of Candlemass, Dead Can Dance, Low and Neurosis, among several others.

An eerie, otherworldly start gradually evolves into an atmospheric and somber Doom Metal sonority led by the sluggish beats by Maleus in Strega, while Ascalaphus, Bezaelith and Petit Albert darken the skies with their minimalist but heavy-as-hell riffs and whimsical vocalizations, flowing smoothly while also offering us all a neck-breaking rhythm. Furthermore, its beautiful guitar work will penetrate deep inside our hearts, also showcasing a perfect balance between the delicate vocals by Bezaelith and the devilish roars from her bandmates, making an instant connection with the title-track Black Terrain, where the band continues to permeate the air with their melodic and grim sounds. The whole song is effectively energized by the tribalistic drums by Maleus while Bezaelith delivers introspective, ethereal vocal lines, suddenly morphing into the Black Metal-infused aria Harrowed Earth, bringing to our avid ears a multi-layered, enfolding and caustic explosion of sounds spearheaded by the blast beast by Maleus and the wicked, dirty riffage by Ascalaphus, Bezaelith and Petit Albert. Put differently, it’s Atmospheric Black Metal at its finest, evolving to a more obscure form of Doom Metal as time passes by. Lastly, in Saturnine the lyrics will put you in a doomed trance (“Come now and let it all go… / Time is a beast devouring it’s children / Wild eyed, the ever churning tide / He does suppress the cries of nascent sovereignty / Lest golden ages be undone / Time makes beasts of all its golden children / Wild eyed, the ever churning tide / As we egress through parodies of infancy / And we await being born / Go now and let it all come…”), while the music remains serene, infuriated, lugubrious and alive all at the same time, resulting in a spot-on fusion of Ambient and Doom Metal.

The doomed beast known as Forlesen can be found on Facebook and on Instagram for news, tour dates and other details about their wicked music, and you can also stream all of their creations on Spotify. However, if you want to show your true support to the underground, you should purchase a copy of the eccentric Black Terrain from the I, Voidhanger Records’ BandCamp page, from Metal Odissey as a CD or double LP, or from Apple Music, showing all the passion you nurture in your blackened heart for contemporary doom. The songs in Black Terrain might be lengthy, sluggish, somber and pensive, but that’s exactly what makes the album so compelling, consequently  inspiring the band to keep spreading their wings over this black terrain we live called earth.

Best moments of the album: Strega and Harrowed Earth.

Worst moments of the album: None.

Released in 2022 I, Voidhanger Records

Track listing
1. Strega 19:10
2. Black Terrain 8:57
3. Harrowed Earth 12:29
4. Saturnine 18:07

Band members
Ascalaphus – vocals, guitars, synth, harmonium, bass
Bezaelith – vocals, bass, guitars, synth
Petit Albert – guitars, synth, Hammond B3 organ, backing vocals
Maleus – drums

Guest musician
Leila Abdul-Rauf – glockenspiel, trumpet

Metal Chick of the Month – Haley Roughton

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We are food for a predator… immobilized, we die this night!

Houston, we have Heavy Metal. And it’s not just Heavy Metal, but a bold and electrifying fusion of extreme music with symphonic elements and movie scores, and if you have absolutely no idea what I’m talking about I’m sure our metal lady of the month of September will help you with that. Not only an extremely talented vocalist capable of flowing from the most demonic growls to clean, groovy vocals, she also works as a spacesuit instructor and flight controller at NASA, which gives you an idea of her wide range of skills and level of intellect and energy. I’m talking about the multi-talented vocalist Haley Roughton, the frontwoman for Houston, Texas-based Symphonic/Melodic Death Metal horde The Xebellian Triangle. I bet you’re curious to know more about Haley, her work with The Xebellian Triangle and with NASA, her other music projects and so on, so get ready for a wild ride with such up-and-coming name of the current metal scene.

Before we head into her current adventure with The Xebellian Triangle, let’s take a step back and know more about her studies and career, just to give you a taste of how smart and focused Haley is and how she also applies those strengths into her music. As aforementioned, Haley has been very busy with projects and assignments at her workplace at NASA, having recently been certified as a flight controller and having already been an intern at the Avionic Systems Division (Command and Data Handling), working with MSP430 microcontroller, C language, QNAP API, HTTP protocol, general computer networks and programming microcontrollers in C in the development of software/drivers for a network-attached storage (NAS) device interfacing to the MPS430 microcontroller for the Modular Integrated Stackable Layers (MISL) project. Not only that, she was also an intern a few years ago for a company called Magaw Medical, in Texas, laying the foundations for a wireless, HD video laryngoscope, and also a student researcher at Texas Christian University, where by the way she graduated in Engineering with Electrical Emphasis. Moreover, she’s awesome in LTSpice/PSpice, MS Excel, C, MATLAB and Inventor/AutoCAD, among other technical skills needed in her career.

Do you think Haley is a nerd or geek after reading about her career? Well, yes, but of course she’s proud of that, and when you listen to her vocals with her bandmates from The Xebellian Triangle you’ll then realize she’s not just a nerd, but a badass nerd. Currently formed of Haley on vocals, who joined the band in the spring of 2021, alongside Ivy Jayne Lance (Suicide Pandemic, The Crypt Alive, The Isdal Cadaver, Remnants of Izanagi) on the guitars, Hakeem De Hoyos on bass, and Aron Hetsko (Aethereus, The Crypt Alive, Dorzia) on drums, The Xebellian Triangle were formed back in 2019 by Ivy and Aron, who had their initial band together in high school and after several years  met up to talk about how it would be great to finish their old songs, put them out and play them live, leading to the birth of The Xebellian Triangle, with their sound being inspired by renowned acts the likes of Amon Amarth, The Black Dahlia Murder, Epica, Dimmu Borgir and Fleshgod Apocalypse, among several others. After releasing a few singles starting in December 2021, The Xebellian Triangle (also referred to as TXT) released in the beginning of July their debut full-length opus, entitled At the Banks of the Rubicon (which is by the way available in full on Spotify), offering us all nine songs of first-class Melodic and Symphonic Death Metal with Haley kicking some serious ass on vocals, as you can witness in the songs Dracarys, with Haley being also responsible for its lyrics and arrangements (and which also has a very nice vocal playthrough by our metal diva on YouTube), and Confirmed.

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Sometimes labeled by the band itself as “The Black Dahlia Murder meets Hans Zimmer”, the music by The Xebellian Triangle is highly influenced by fantasy books, movies and series the likes of The Lord of the Rings, Game of Thrones and The Witcher, among several others, as well as games such as World of Warcraft, which Haley plays (or at least used to play) on her free time, and sci-fi and horror films including John Carpenter’s The Thing, one of Haley’s favorite horror movies of all time. As already mentioned, Haley was involved in the development of some of the album lyrics and arranging patterns during the recording process by offering different perspectives, and if you click HERE you’ll have access not only to the band’s top-of-the-line creations, but also to their tour dates, merch, social media links and so on, seeing how focused and hardworking the entire band is and how they added all of those influences into their music. As you can see in Haley’s influences as well as in the rest of The Xebellian Triangle’s, they are all kind of nerds with their own varying preferences, including the aforementioned books, movies, shows, games and other things like anime, but Hailey also brings to the band elements from R&B thanks to her vocal training, adding more clean singing spots where they fit in the music by The Xebellian Triangle. Moreover, the band also tries to speak on things that are important to them such as feminism, the fight for racial equality, gay rights, trans rights, and supporting methods that build a greener, cleaner, safer, fairer world.

Always developing a portfolio of covers to show off her vocal ranges both clean and harsh on her YouTube channel, including Take This Lonely Heart, by Nothing But Thieves, Out of Time, by Skyharbor, and Holy Roller, by Spiritbox, Haley has also been part of a Death Metal band named Dorzia since 2021, having already recorded with them the singles  Blood Portrait, Looking In and Deity’s Grasp, with all three songs demonstrating Haley’s flexibility in her extreme vocals from gutturals to piercing high screams. Calling themselves “sonic brutality from Houston, Texas”, this six-piece act fronted by Haley has a lot of potential to grow in the coming years, and I can’t wait to see if their first ever EP or full-length album will become a reality in a not-so-distant future. In addition, just like what was mentioned about The Xebellian Triangle, you can find all details, important links and other shenanigans about Dorzia by clicking HERE. Furthermore, in addition to her recent work with The Xebellian Triangle and Dorzia, Haley was also featured as a guest vocalist in the song Oubliette, released in November 2021 as a single by an Austin, Texas-based Deathcore outfit named Snake Father, and let me tell you that Haley simply stole the show with her infernal she-wolf growls.

Regarding their live performance, The Xebellian Triangle always bring a lot of energy to the stage, with Haley loving to run and jump around, therefore engaging with the crowd whenever possible, not to mention Haley and Ivy both have stage clothes they wear to keep a recurring image. The band mentioned in one of their interviews that they plan to expand further in this and always want to bring new and exciting things to the live show, and we all know that usually translates into some extra awesomeness to the performance of any band. There are no current dates scheduled for The Xebellian Triangle for the rest of 2022 due to personal reasons, though, such as Haley doing some travelling on her own, but I’m sure it won’t take long for The Xebellian Triangle to take your city by storm. Hence, I wouldn’t miss the chance to see them live if I were you simply because you’ll be able to see one of the most exciting new names of the current American metal scene, fronted by a multi-talented woman who’s eager to scream and roar in your face and show you that no matter what happens, the stage is hers.

Haley Roughton’s Official Instagram
The Xebellian Triangle’s Official Facebook page
The Xebellian Triangle’s Official Instagram
The Xebellian Triangle’s Official YouTube channel
The Xebellian Triangle’s Official Twitter

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”