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Album Review – Primeval Well / Talkin’ in Tongues with Mountain Spirits (2021)

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This uncanny metal entity is back with their sophomore album, overflowing with the fullness of the rivers, valleys and folk legends and mythology of the mountains of east Tennessee.

Hailing from Nashville, Tennessee, in the United States, commonly known as “Music City” for its vibrant country music scene, the uncanny Experimental Folk/Black Metal entity known as Primeval Well is ready to unleash upon humanity their sophomore effort, entitled Talkin’ in Tongues with Mountain Spirits, the follow-up to their 2019 self-titled album. Absolutely overflowing with the fullness of the rivers, valleys and folk legends and mythology of the mountains of east Tennessee, Talkin’ in Tongues with Mountain Spirits beautifully represents what the band itself likes to call “Experimental Southern Gothic Black Metal”, offering our ears haunting and unsettling sounds and atmospheres carefully brought forth by Ryan Clackner on vocals and guitars, Luke Lindell on bass, Edward Longo on keyboards and Zac Ormerod on drums, showing a healthy evolution from their debut album and, more important than that, showcasing a stunning fusion of experimental sounds with the aggressiveness of traditional extreme music.

Eerie and cryptic from the very first second, the extended intro Psilocybin Psychosis by the Mountain Top Cross brings forward background vocalizations and wicked noises that set the stage for the band to kill in Raising Up Antlers to Our Mountain Gods, where an experimental start explodes into visceral Black Metal to the sick growls by Ryan and the infernal blast beats by Zac, showcasing some interesting breaks and variations and, of course, endless darkness and acidity. After such powerful start, Ryan’s classy guitars are quickly accompanied by the groovy bass by Luke and the galloping drums by Zac in She Flies Undead, less violent at first while presenting a wicked fusion of Southern Rock and Black Metal, or in other words, the epitome of musical experimentation, whereas again exploring new sounds armed with their sonic weapons the quartet adds hints of Doom Metal to their core sonority in Ghost Fires Burn Light in Our Eyes, with Ryan kicking ass with both his demented roars and crisp riffage while Edward adds a touch of finesse to the music with his keys.

The title-track Talkin’ in Tongues with Mountain Spirits will penetrate deep inside your psyche and drag you to the wicked world ruled by Primeval Well, displaying hellish gnarls, razor-edged Black Metal riffs and classic beats by the quartet, while once again presenting elements from their local culture, it’s time for a stylish hybrid of Gothic, Folk and Black Metal titled Tales Carved in Stone on a Forbidden Road, with the guitars by Ryan and the rumbling bass by Luke stealing the spotlight. Then in Where All Things are Forgotten we face a somber, melancholic start to the deep vocals by Ryan, and that atmospheric vibe goes on for over four minutes when everything suddenly bursts into chaos, spearheaded by the massive beast by Zac and finally flowing into the phantasmagorical outro Sickening Laughter with the Grinning Trees, where the acoustic guitars by Ryan walk hand in hand with the song’s haunting background sounds.

The chaotic but at the same time harmonious sounds of the rivers and valleys of Tennessee are waiting for you in Talkin’ in Tongues with Mountain Spirits, an album that might not be an easy listen at first for newcomers to the world of Experimental Black Metal, but that will surely captivate your senses for all eternity once you complete its full musical voyage. Hence, don’t forget to give the guys from Primeval Well a shout on Facebook and on Instagram, and to purchase a copy of such dense and distinguished album from their own BandCamp page. In a nutshell, as aforementioned, Ryan, Luke, Edward and Zac did an amazing job in Talkin’ in Tongues with Mountain Spirits, delivering a majestic hybrid of several metal and non-metal styles that will undoubtedly place the album among the must-have releases of 2021 when the music in question is at the same time experimental and extreme.

Best moments of the album: Raising Up Antlers to Our Mountain Gods, Ghost Fires Burn Light in Our Eyes and Tales Carved in Stone on a Forbidden Road.

Worst moments of the album: Where All Things are Forgotten.

Released in 2021 Moonlight Cypress Archetypes

Track listing
1. Psilocybin Psychosis by the Mountain Top Cross 3:20
2. Raising Up Antlers to Our Mountain Gods 10:45
3. She Flies Undead 9:44
4. Ghost Fires Burn Light in Our Eyes 9:13
5. Talkin’ in Tongues with Mountain Spirits 8:38
6. Tales Carved in Stone on a Forbidden Road 9:21
7. Where All Things are Forgotten 8:01
8. Sickening Laughter with the Grinning Trees 2:22

Band members
Ryan Clackner – vocals, guitars
Luke Lindell – bass, vocals
Edward Longo – keyboards, vocals
Zac Ormerod – drums

Album Review – KK’s Priest / Sermons of the Sinner (2021)

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Are you ready to listen to the sermons of this classic Heavy Metal band of sinners?

Back in January 2020, when the COVID-19 pandemic was just about to hit us all really hard, Mr. Kenneth Downing, Jr., better known as Judas Priest’s former guitarist KK Downing, announced he would work on brand new music alongside former Judas Priest vocalist Tim “Ripper” Owens, guitarist A.J. Mills, bassist Tony Newton and drummer Les Binks (who also played with Judas Priest from 1977 to 1979), later replaced by Sean Elg due to a wrist injury, forming a classic metal band that goes by the name of KK’s Priest. Most probably due to the pandemic, the band’s debut effort Sermons of the Sinner, which was produced and mixed by KK himself together with Tony, and mastered by Ade Emsley (Iron Maiden, Blaze Bayley, Absolva) at Table of Tone Mastering, had to be delayed up until this month, but the wait was totally worth it despite the band’s cheesy name and the album’s even cheesier lyrics, as KK and his henchmen brought forth a solid, old school Heavy Metal album that will certainly please most admirers of KK’s undisputed career.

In the intro Incarnation, a heavy storm, the sound of thunder and an ominous background narration set the stage for the band to kick some serious ass in Hellfire Thunderbolt, where the metallic riffs by KK and A.J. provide Ripper all he needs to stun us all with his infernal roars while Sean dictates the song’s old school pace. This is what I call an pulverizing welcome card by KK’s Priest, whereas in Sermons of the Sinner, even more epic and demonic than its predecessor, Ripper steals the spotlight with a flawless vocal performance supported by the rumbling bass by Tony and the crushing drums by Sean, while KK delivers his trademark fiery solos in a newborn metal classic. Then it’s time for another pure Heavy Metal extravaganza titled Sacerdote y Diablo, with Ripper sounding awesome as usual on vocals while we’re also treated to some epic background elements as a complement to the band’s incendiary sound. And Raise Your Fists is a straightforward Heavy Metal hymn perfect for their upcoming live concerts, presenting a great sync between KK and A.J. supported by the spot-on bass by Tony.

In Brothers of the Road, albeit the lyrics are cheesy as hell they do what they’re supposed to anyway, walking hand in hand with its direct sound that’s not as awesome as the rest of the album, but still very enjoyable. Then a melancholic start is gradually accompanied by the pounding beats by Sean in Metal Through and Through, bringing forward elements from the darkest creations by Black Sabbath with Dio on vocals (when they were called Heaven & Hell), or in other words, it showcases a beautiful Doom Metal vibe; and let’s put the pedal to the metal as KK is on absolute fire in Wild and Free, an in-your-face onrush of heavy and piercing sounds that will put you to bang your head nonstop, led by the visceral, soaring vocals by Ripper. In Hail for the Priest I’m not sure if KK’s trying to send a message to the guys from Judas Priest or simply saying he’s the real Judas Priest; either way, simply forget about their beef and enjoy another solid metal tune where KK once again slashes his axe in great fashion, followed by Return of the Sentinel, another direct mention to Judas Priest (more specifically to their classic song “The Sentinel”) showcasing a great job done on the guitars and bass while Ripper declaims the song’s words with tons of power, resulting in what’s by far the album’s most epic creation.

If you haven’t given Sermons of the Sinner a try yet, you can enjoy it in full on Spotify, and also get to know more about KK’s plans for the future with his new band on Facebook and on Instagram, enjoy all of their videos on YouTube, and grab your copy of the album by clicking HERE. When speaking to KNAC in June this year about Sermons of the Sinner, KK said that he was already working on material for the next album by KK’s Priest, which would be more of a collaboration effort than the first album, and if it’s half as good as Sermons of the Sinner we can rest assured there will be a lot of high-end metal music for us in the near future. I just wish he could change the name of the band to something more creative and unique, but let’s face it, in the end that doesn’t really matter as it’s always about the music, and the music found in Sermons of the Sinner is beyond awesome.

Best moments of the album: Hellfire Thunderbolt, Sermons of the Sinner, Metal Through and Through and Wild and Free.

Worst moments of the album: Brothers of the Road.

Released in 2021 EX1 Records

Track listing
1. Incarnation 0:58
2. Hellfire Thunderbolt 3:49
3. Sermons of the Sinner 5:25
4. Sacerdote y Diablo 5:35
5. Raise Your Fists 4:10
6. Brothers of the Road 3:22
7. Metal Through and Through 8:13
8. Wild and Free 4:15
9. Hail for the Priest 5:44
10. Return of the Sentinel 8:59

Band members
Tim “Ripper” Owens – vocals
KK Downing – guitars
A.J. Mills – guitars
Tony Newton – bass
Sean Elg – drums

Album Review – Lady Beast / Omens EP (2021)

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Bang your head nonstop to the straight-to-the-point new EP of pure Heavy Metal by this fantastic Pittsburgh-based band, sprinkling a dust on the poisoned path from which they summit.

The stunning Deborah Levine and her bandmates Andy Ramage and Chris Tritschler on the guitars, Amy Bianco on bass and Adam Ramage on drums, collective known as Pittsburgh, United States-based Heavy Metal outfit Lady Beast, are back in action now in 2021 with a short and sweet EP entitled Omens, the follow-up to their critically acclaimed 2020 album The Vulture’s Amulet, featuring four original tracks plus a very special cover song that transpire pure Heavy Metal throughout the EP’s almost 20 minutes of music. Sprinkling a dust on the poisoned path from which Lady Beast summit, Omens is highly recommended for admirers of the NWOBHM combined with the badass music and rockin’ attitude by Motörhead, Thin Lizzy and Mercyful Fate, among others, providing newcomers to their metallic realm a very good sample of what the band has been delivering to their fans since their inception in 2009, and of what we can expect from such talented crew in their future releases.

The Poisoned Path already brings pure Heavy Metal to our avid ears, with its old school lyrics declaimed by Deborah (“I go out in the dark, / I whisper to the night… / A voice, it soon replies… / Secure a candles flame, / and sharpen up your blade. / Follow me down the poisoned path I’ve made.”) making things even more exciting, while Amy kicks some ass with her low-tuned bass. Then it’s time for more of the band’s melodic sounds in Reaper, with Andy being on fire with his riffs and solos accompanied by his guitar comrade Chris, feeling utterly inspired by the classic music by Iron Maiden and Judas Priest; and they continue to travel through the golden years of rock and metal in Blood For Blood, with Adam smashing his drums in great fashion while Deborah mesmerizes us all once again with her sharp and captivating vocals. After such powerful tune, Lady Beast pay a high-octane tribute to the one and only Rainbow with their electrifying rendition for the undisputed classic Kill the King (you can check the original song HERE), with Deborah and the boys (and girl) being on fire from start to finish, specially Andy and Chris who deliver together sheer awesomeness through their guitars. Last but not least, let’s bang our heads once again to the pounding drums by Adam in the thrilling The Fool’s Journey, showcasing incendiary riffs and solos supported by the rumbling bass by Amy, therefore providing Deborah all she needs to shine on vocals.

If you want to give Omens a spin, you can find the EP in its entirety on YouTube, but of course in order to show your true support to underground Heavy Metal you should definitely purchase a copy of it from the band’s own BandCamp page, as well as from the Reaper Metal Productions’ webstore in regular CD format or as an ass-kicking 12″ LP on screen printed black/white splatter vinyl that comes with a 11×11 two sided insert with band photo and lyrics (and as side A is the only playable side, on side B is a screen printed image in metallic silver ink). Also, don’t forget to give the band a shout on Facebook and on Instagram, and to subscribe to their YouTube channel for more of their first-class music and stylish videos. I guess I don’t need to explain that the omens found in Lady Beast’s new EP are all beyond good, but just in case you don’t believe me, simply hit play and let this fantastic beast from Pittsburgh show you how heavy music should be played. I bet you’ll instantly fall in love for their music.

Best moments of the album: Kill the King and The Fool’s Journey.

Worst moments of the album: None.

Released in 2021 Reaper Metal Productions

Track listing
1. The Poisoned Path 3:26
2. Reaper 3:50
3. Blood For Blood 3:34
4. Kill the King (Rainbow cover) 4:17
5. The Fool’s Journey 4:25

Band members
Deborah Levine – vocals
Andy Ramage – lead guitar
Chris Tritschler – rhythm guitar
Amy Bianco – bass
Adam Ramage – drums

Album Review – Nunslaughter / Red is the Color of Ripping Death (2021)

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Cleveland, Ohio’s own infernal squad returns with another bestial display of their trademark “Devil Metal”, their first album in seven years.

3.5rating

nunslaughter-red-is-the-color-of-ripping-death-2021Cleveland’s own infernal squad Nunslaughter requires no introduction. Since their inception in the distant year of 1987, those Ohio natives have prolifically perfected their own brand of what they like to label as “Devil Metal”, an evil blend of classic Death and Thrash Metal with Hardcore Punk, and now in 2021, at long last, the band is back in action with Red is the Color of Ripping Death, their first album in seven years. Recorded, mixed and mastered by Noah Buchanan, the album is a lesson in savagery, speed and sulfur by vocalist Don of the Dead, guitarist Tormentor, bassist Detonate and drummer Wrath, proving Nunslaughter are far from calling it quits even after so many years on the road. Furthermore, many are still mourning the loss of legendary drummer Jim Sadist (RIP), and while Red is the Color of Ripping Death is their first full-length without him playing on it, some of the 14 songs contained herein are unfinished or unrealized music that Jim and founding frontman Don of the Dead wrote years ago, giving the whole album an even more special feel and taste.

Wrath begins hammering his drums manically in the opening tune Murmur, a lecture in fast and heavy Death and Thrash Metal by the band to properly kick things off, not to mention how vile Don’s growls sound, whereas in Broken and Alone they speed up their pace and add a good amount of Hardcore and Punk Rock to their core sonority, with Tormentor treating us with his incendiary, slashing riffage. Then it’s time for a darker and more venomous tune by the quartet named To a Whore, once again inviting us all to slam into the pit to the Stygian riffs and bass jabs by Tormentor and Detonate, respectively; followed by Banished, not as infuriated as its predecessors but still showcasing the band’s trademark heaviness and spearheaded by the deep roars by Don, and the title-track Red Is the Color of Ripping Death, a hurricane of Death and Thrash Metal tailored for admirers of that beautiful sound from the Bay Area, with Wrath once again hammering his drums nonstop. Tormentor continues to extract sheer violence from his guitar in Eat Your Heart, while Don vociferates rabidly amidst a very melodic but at the same time brutal sonority, and in Annihilate the Kingdom of God the unrelenting Don beautifully declaims the song’s austere words while his bandmates keep delivering endless aggression, with Detonate and Wrath sounding bestial with their evil kitchen.

Living up to the legacy of old school thrash the likes of Slayer and Overkill, the quartet fires the absolutely infernal Beware of God, with Don leading his demented horde with his sick growling and screams, whereas another round of deranged roars, classic blast beats and flammable riffs comes in the form of Black Cat Hanging, keeping the album at a high level of animosity for our total delight. And are you ready to be smashed like an insect? Because that’s what will happen to you in Dead in Ten, spearheaded by the fulminating drums by Wrath and the wicked riffage by Tormentor in a superb display of extreme music by Nunslaughter. Then let’s all “calm down” a bit and enjoy a headbanging extravaganza entitled The Devil Will Not Stray, where the band adds hints of Black and Doom Metal to make things even more devilish, while they get back to a more ferocious sonority in The Temptress, with Wrath kicking ass on drums once again supported by the metallic bass jabs by Detonate. Casket Lid Creaks is another slower-than-usual song that albeit displaying the band’s heaviness and obscurity, it doesn’t really take off. Detonate still showcases a great job with his low-tuned bass, though. Lastly, less than one minute is everything the band needs to crush anyone that’s still alive in Below the Cloven Hoof, putting a beyond demonic ending to such awesome album.

nunslaughter-2021In case you want to join Nunslaughter in their quest for metal, depravity and evil, you can start following the band on Facebook and on Instagram for news, tour dates and other nice-to-know details about them, stream more of their savage creations on Spotify, and above all that, purchase the awesome Red Is the Color of Ripping Death from their own BandCamp page or from the Hells Headbangers Records’ webstore in CD or cassette format. As Jim Sadist would say, “red is the color of ripping death,” and I’m sure he’s truly proud of his bandmates for their new album. Long live Jim Sadist, and long live Nunslaughter.

Best moments of the album: Broken and Alone, Red Is the Color of Ripping Death, Beware of God and Dead in Ten.

Worst moments of the album: Banished and Casket Lid Creaks.

Released in 2021 Hells Headbangers Records

Track listing 
1. Murmur 1:33
2. Broken and Alone 1:50
3. To a Whore 2:34
4. Banished 2:48
5. Red Is the Color of Ripping Death 3:34
6. Eat Your Heart 2:41
7. Annihilate the Kingdom of God 2:48
8. Beware of God 1:49
9. Black Cat Hanging 2:13
10. Dead in Ten 3:39
11. The Devil Will Not Stray 2:51
12. The Temptress 2:01
13. Casket Lid Creaks 3:04
14. Below the Cloven Hoof 0:52

Band members
Don of the Dead – vocals
Tormentor – guitars
Detonate – bass
Wrath – drums

Album Review – Arcane Marrow / The Elders Present To Me (2021)

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This uncanny Tennessee-based horde is ready to darken the skies with their debut opus of raw, primordial, cave-dwelling Black Metal, bringing to our ears six blistering songs harkening back to ancient times before the Old Gods were born.

3.5rating

arcane-marrow-the-elders-present-to-me-2021Labeling their own sound as “raw, primordial, cave-dwelling Black Metal”, the mysterious Tennessee, United States-based entity that goes by the straightforward name of Arcane Marrow has just unleashed upon humanity their debut opus, beautifully titled The Elders Present To Me. Featuring six blistering songs harkening back to ancient times before the Old Gods were born, The Elders Present To Me will please all fans of primeval Scandinavian extreme music the likes of Mayhem and Immortal, crushing our souls and minds mercilessly like insignificant insects and, consequently, dragging us all into a Black Metal void for all eternity.

Like a demonic creature arising from the underworld, Arcane Marrow begin their Stygian Black Metal attack in Nocturnal Neanderthal Mysticism, showcasing infernal, old school riffs boosted by those vicious blast beats only classic Black Metal can provide us, not to mention the hellish vociferations that will certainly disturb your peace of mind. Closing your eyes and sensing Arcane Marrow’s darkness and rawness is a thing of beauty, and that’s exactly what they offer us all in Glacial Tears Flood the Primeval Plains, with the strident, piercing sound of their guitars slashing our senses accompanied by their inhumane roars and gnarls, resulting in a lesson in old school Black Metal; and get ready for nine minutes of truly disturbing sounds not recommended for the lighthearted in the form of Before the First Notions of God, a bestial and extremely raw creation by this uncanny entity from Tennessee spiced up by a sick guitar solo and the endless screeches and screams flowing throughout the entire song.

If you thought the first half of the album was infernal, be prepared for seven minutes of absolute obscurity to the sound of the title-track The Elders Present to Me, presenting hints of Blackened Doom to make things even more sinister while once again bringing forward all elements we love in raw Black Metal, in special its vicious growling. Then a beyond melancholic and grim start will embrace our damned souls in the nine-minute aria The Dismal Woods Receive Me, exploding into sheer madness and violence to the sound of their crushing drums and razor-edged riffage, and last but not least, closing such intense album we have All Enveloping Black Harmony, once again hammering our blackened hearts and souls with their fulminating, unrelenting Black Metal spearheaded by their venomous blast beats, flowing infernally like an arrow on fire in pitch black darkness until the very last second.

arcane-marrow-logoThe gods of Black Metal are summoning us all to join Arcane Marrow in their evil mass to the sound of The Elders Present To Me, and you can do that by streaming the album in its entirety on YouTube and on Spotify, by following Arcane Marrow on Facebook and on Instagram for news and other nice-to-know details about such distinct horde, and above all that, by grabbing a copy of their pulverizing album from their BandCamp page. However, as already mentioned, I must warn you that once you begin your journey through the raw and infernal lands or raw and primeval Black Metal ruled by Arcane Marrow, there’s absolutely no way back from eternal damnation.

Best moments of the album: Glacial Tears Flood the Primeval Plains and The Dismal Woods Receive Me.

Worst moments of the album: None.

Released in 2021 Moonlight Cypress Archetypes

Track listing   
1. Nocturnal Neanderthal Mysticism 7:49
2. Glacial Tears Flood the Primeval Plains 6:34
3. Before the First Notions of God 9:07
4. The Elders Present to Me 7:02
5. The Dismal Woods Receive Me 9:26
6. All Enveloping Black Harmony 7:51

Band members
*Information not available*

Interview – Jaume Antuñano (Eonian)

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It’s time for The Headbanging Moose to chat with guitarist, composer and lyricist Jaume Antuñano about his awesome solo project Eonian and his debut EP The Nomad, among other fun topics.

jaume-antunano-eonian

Jaume Antuñano (Eonian)

The Headbanging Moose: Hi, Jaume! Welcome to The Headbanging Moose, and thanks for joining us for this interview! Can you please begin by introducing yourself to our readers and talk a little about your new project Eonian? How would you label your music?

Jaume Antuñano: Hi Gus! Thank you so much for having me. Eonian is a symphonic black/death metal solo project that I started in early 2020. The pandemic had just hit NYC and we were stuck at home, so I began writing music to keep my mind busy. Originally, this was going to be an instrumental project, but as I started composing and recording, I decided to write lyrics and to incorporate vocals too.

THM: You have just released a fantastic debut EP entitled The Nomad, which I highly recommend for fans of bands like Cradle of Filth and Dimmu Borgir. What’s the main idea or concept behind the album, and how long did it take for you to finalize the entire process until the release of the album?

JA: The Nomad is a concept EP. All five songs tell the story of this mysterious, once powerful character who is condemned by the gods to wander for eternity after falling from grace. Trying to tie all the songs together both musically and through the lyrics made it a little harder, but overall it was a pretty quick process. It took about ten months for the EP to be completed.

THM: I personally enjoyed all five songs from the EP, especially Winter Wanderer and Cleansing Fire. What about you? What’s your favorite song of the EP and why? And you can’t say all five, of course! 😉

JA: This is like choosing between mom and dad! But okay, I’ll go ahead and say Cleansing Fire too.

THM: The main band that plays with you in The Nomad is formed by French vocalist DM, Italian bassist Francesco Loconte, Swedish drummer Freddy Ortscheid and Argentinian musician Diego Soldi. How difficult was it to put together such distinct international project, and how did you get to know each one of your band members?

JA: They all did such an amazing job and I’m so glad I got in touch with them. I can compose parts for different instruments, but I can only play the guitar, so I went on Fiverr and contacted these great musicians to record everything else. After I wrote the songs, I sent them a first demo and midi files, and we went from there. This was entirely done via the Internet and we actually never met in person, but despite all that, this was a very easy process and they knocked it out of the park.

THM: There are also seven other guest musicians on the album, as for example Russian violinist Margarita Chernova and Ukrainian pianist Polina Chornaya. Why did you decide to have so many guests on the album, how did you recruit each one of them, and how happy are you with the final result?

eonian-the-nomad-ep-2021 150px

Album Review – Eonian / The Nomad EP (2021)

JA: The reason behind having all these guest musicians is because I wanted to include musicians from different backgrounds. Some of them are used to playing metal, but some others are not, and I think that added some depth to my original ideas. Each one of them brought something to the table that I wouldn’t have been able to come up with myself, and I’m absolutely stoked with the results.

THM: What’s next for Eonian? Can we expect a full-length album from you in the near future? And as you’re basically a virtual band (at least for now), do you have any plans for a tour either with the same musicians featured on the album or with new local ones from the New York area?

JA:   I already have some ideas for new songs, but it is too early to know if the next release will be an EP or a full-length album. As for a future tour, I would really like it if Eonian became a band, so NYC folks, hit me up if you are interested.

THM: How has this never-ending pandemic impacted your work as a musician? And do you see a light at the end of the tunnel for metal bands now that the vaccination is picking up almost everywhere and concerts and festivals are starting to be scheduled again?

JA: Like many other musicians, new and consolidated, being stuck at home for so long really pushed me to start writing new stuff. Luckily, it looks like things are improving rapidly and that many bands are going to be presenting their new material live soon. I can’t wait and I already marked down a few concerts I don’t want to miss, including your fellow Canadians Unleash the Archers at Le Poisson Rouge here in NYC.

THM: When and why did you decide to move from Spain to the United States? Did it have anything to do with your career as a musician, or was it due to a completely different reason?

JA: I moved to the U.S. in 2011 to complete a Master’s degree in Literature. My plan was to stay for two years and go back to Spain, but I met my now-wife and… never left.

eonian-logoTHM: How different is the metal scene in your home country Spain compared to where you are now in The United States? Any local underground bands from both countries you would recommend to our readers?

JA: There is so many different styles and so much talent out there that I find it difficult to come up with major differences between the current metal scenes of Spain and the U.S. Maybe ten, fifteen years ago the difference was more defined, as European metalheads in general were very into the wave of Power Metal bands and also the Gothenburg sound was huge over there. The elitists will probably correct me, but I think that today there is quite an overlap regarding the genres that metalheads from both countries listen to. As for your second question, I’ll start by giving a shout-out to a couple of bands from my hometown of Valencia: In Mute (Melodic Death Metal) and Retribution (Symphonic Black/Death). And as for New York bands, I’m going to go with Valcata, which is another Internet-produced project that features many different musicians and vocalists from all over the world. Check them out!

THM: Thanks again for your time, and congratulations for your amazing debut EP! Please feel free to send your final message and considerations to our readers, and keep up with the excellent work with Eonian!

JA: Thank you for the interview and for your positive review of The Nomad! I would also like to thank all of the session musicians that recorded in this EP, and Fernán Nebiros, from Peruvian death metal legends Mortem, who was involved in the early stages of this project and whose valuable input helped me immensely. And to the readers, I encourage you to follow Eonian on Instagram and Facebook and to let me know what you think of the EP!

Links
Eonian Facebook | Instagram | Linktree | Spotify | BandCamp | DistroKid

Album Review – Eonian / The Nomad EP (2021)

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Raise your horns to the first-class fusion of furious riffs, drums, and vocals with epic choirs and orchestral arrangements carefully brought forth by this international Symphonic Extreme Metal project.

4.0rating

eonian-the-nomad-ep-2021Assembled in 2020 by Manhattan, New York City-based Spanish guitarist Jaume Antuñano, the amazing multinational Symphonic Extreme Metal project that goes by the name of Eonian is set to release their debut EP, entitled The Nomad, a must-have for fans of bands the likes of Cradle Of Filth, Dimmu Borgir and Septicflesh. Mixed and mastered by Simone Pietroforte at Divergent Studios, and displaying a classic cover art by Javier Barjollo and a stunning logo designed by Alice Malvisi from Hexibex Design, The Nomad was fully produced online and includes five songs that blend furious riffs, drums, and vocals with epic choirs and orchestral arrangements carefully brought forth by Jaume together with French vocalist DM (Helioss), Italian bassist Francesco Loconte (Koroth, Kormak), Swedish drummer Freddy Ortscheid (Entrails) and Argentinian musician Diego Soldi on all orchestrations, as well as seven other very special guest musicians from all over the world.

A metal storm is about to begin in Winter Wanderer, featuring guest solos by Indian musician Manish Kashyap (Deathknell) and Spanish musician Isaac “Whitefingers” Solanas (Frozen Shield), with Jaume’s riffage and Freddy’s blast beats generating a bold and visceral ambience, all boosted by DM’s infernal roars; whereas living up to the legacy of Symphonic Black Metal the band delivers the imposing Versus The Titan, where the orchestrations by Diego are superb, not to mention the stunning guest violin solo by Russian musician Margarita Chernova. Then a movie-inspired intro grows in intensity until all hell breaks loose in the Dimmu Borgir-like aria Cleansing Fire, featuring a keyboard solo and arrangements by Mexican musician Andrés Samboní (Desvirtual), once again showcasing all the fury of DM on vocals together with the piercing, scorching riffs by Jaume. It’s time for an epic journey with Jaume and his horde in Delirium, offering us all a keyboard solo by Argentinian musician Pablo Pallares (Utópica) and an electric violin solo by Spanish musician Néstor Català (Tales of Gaia), with Francesco, Freddy and Diego generating a beautiful wall of sounds in the background, before the piano solo by Ukrainian musician Polina Chornaya adds a touch of finesse to the thunderous tune Shores Of A Lost Sea, putting a fantastic and climatic ending to the EP with DM roaring and screaming rabidly amidst a top-of-the-line Extreme Metal sonority.

eonian-logoIn a nutshell, the debut EP by Eonian is without a shadow of a doubt a precious gem hailing from the underground of several countries that truly deserves our admiration, and you’ll soon be able to stream it or purchase it from different locations by clicking HERE. Hence, if you want to know more about the team led by Jaume you can start following Eonian on Facebook and on Instagram and click HERE to not only read more about the project, but to also hire each person involved in the creation of The Nomad in case you’re looking for some skillful musicians for your own metal or non-metal endeavor. In a world where we’re all becoming more and more involved with technology yet at the same time isolated from society, it’s always a pleasure to witness guys like Jaume bringing people together in the name of heavy music, providing us fans first-class Extreme Metal and, therefore, pointing to a bright future ahead of the project. And although the name of the EP somehow represents Jaume’s personal and musical life, as if he is the nomad depicted in the album art moving from one place to another, he’s far from being a solitary man in our Heavy Metal universe as you can see.

Best moments of the album: Winter Wanderer and Cleansing Fire.

Worst moments of the album: None.

Released in 2021 Independent

Track listing 
1. Winter Wanderer 4:17
2. Versus The Titan 4:32
3. Cleansing Fire 4:55
4. Delirium 3:37
5. Shores Of A Lost Sea 4:44

Band members
DM – vocals
Jaume Antuñano – guitar
Francesco Loconte – bass
Freddy Ortscheid – drums
Diego Soldi – orchestrations

Guest musicians
Manish Kashyap – guitar solo on “Winter Wanderer”
Isaac “Whitefingers” Solanas – guitar solo on “Winter Wanderer”
Margarita Chernova – violin solo on “Versus The Titan”
Andrés Samboní – keyboard solo and arrangements on “Cleansing Fire”
Pablo Pallares – keyboard solo on “Delirium”
Néstor Català – electric violin solo on  “Delirium”
Polina Chornaya – piano solo on “Shores Of A Lost Sea”

Album Review – Cannibal Corpse / Violence Unimagined (2021)

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State of the art Death Metal played with passion and breathless precision is what you’ll find in the superb fifteenth studio album by the most violent and unrelenting band of all time.

4.5rating

cannibal-corpse-violence-unimagined-2021Violence Unimagined. The title tells you everything you need to know about Buffalo, New York-based Death Metal titans Cannibal Corpse‘s fifteenth hellish opus. Comprised of eleven tracks, it is state of the art Death Metal played with passion and breathless precision by George “Corpsegrinder” Fisher on vocals, Rob Barrett and Erik Rutan on the guitars, Alex Webster on bass and Paul Mazurkiewicz on drums, making for another flawless addition to what is inarguably one of the premier catalogues the genre has thrown up. Produced, engineered and mixed by Erik Rutan at Mana Recording Studios, mastered by Alan Douches at West West Side Music, and featuring another terror-infused artwork by Vincent Locke, Violence Unimagined is the band’s first album in nearly four years since Red Before Black, the longest gap between two records in their career, and the first studio album to feature Erik Rutan on lead guitar replacing Pat O’Brien. Not only that, already well known for the level of extreme technicality they bring to every record, on Violence Unimagined they have further upped their game, with the album’s titled, created by Paul Mazurkiewicz, “summing up what the band is about in every facet, and taking violence to another level of extremity.”

Their vile onslaught begins in full force in Murderous Rampage, with Corpsegrinder already barking like a rabid beast while Rob and Erik slash their axes furiously. Put differently, the album couldn’t have started in a better way, and the same can be said about Necrogenic Resurrection, a bestial creation by Cannibal Corpse where Paul hammers his drums while Alex extracts sheer insanity from his bass, and with its frantic vibe more than inspiring us all to crush our skulls into the circle pit. Then the title-track Inhumane Harvest (don’t forget to watch its sick official video below) showcases the band’s classic, visceral lyrics (“Twisted criminal underground / Subjugation of the victim / For complete control / Reaping vital body parts / Surgical precision taking / All that will be sold”) amidst a heavy-as-hell and extremely detailed sound; and it’s time to bang our heads nonstop to the demented riffage by Rob and Erik in another Death Metal extravaganza titled Condemnation Contagion, proving they don’t need to play at the speed of light to sound and feel absolutely insane. And their path of devastation and gore goes on in the superb Surround, Kill, Devour, with Paul dictating the pace with his trademark beats and fills, offering Corpsegrinder all he needs to thrive with his venomous guttural.

cannibal-corpse-2021There’s no time to breathe as our beloved Death Metal giants fire another massive tune entitled Ritual Annihilation, where the guitars, bass and drums make our heads tremble, overflowing sheer brutality and also showcasing wicked guitar solos, and you know it’s not a Cannibal Corpse album without a neck-breaking anthem the likes of Follow the Blood, where Alex proves once and for all why he’s by far the best extreme music bassist out there with his low-tuned, intricate and evil bass lines. Bound and Burned is another lecture in old school Death Metal where the band’s guitar duo is on fire with their riffs and solos, keeping the album at a high level of dementia and violence, whereas in Slowly Sawn the lyrics barked by Corpsegrinder seem as if they were taken from a slasher flick (“Bound tight to the table / Unable to scream / The blades of the sadist / Are all I see / Meticulous slaughter / A saw for each limb / Cuts through my flesh”) while the music will lacerate your ears just the way we like it in Death Metal. Then we have the fulminating Overtorture, and I must say I simply love this version of Cannibal Corpse, a straight-to-the-point, aggressive and infernal circle pit-catalyst tune where Paul is beyond ruthless behind his drums. Finally, the quintet darkens the sky once again with the hammering Cerements of the Flayed, spearheaded by the sick bass jabs by Alex and the always bestial roars by Corpsegrinder.

cannibal-corpse-violence-unimagined-artbook

Cannibal Corpse Violence Unimagined Limited Edition Artbook Set

Cannibal Corpse are by far the most violent and hardworking Death Metal band of all time, with Violence Unimagined not only representing another ass-kicking, top-of-the-line display of all their talent and passion for extreme music, but also showing a Death Metal band can indeed reinvent itself without selling out or sounding cheesy or tiresome at all. If you haven’t taken a listen at such masterpiece of extreme music yet, an album that will surely feature among the top metal albums of 2021, you can find it in full on YouTube and on Spotify, but of course I highly recommend you purchase it from the band’s official webstore in the United States or in Europe, or from Metal Blade Records, where you can find the link to the fantastic Limited Edition Artbook Set, containing a digipak CD, a 12” exclusive crimson red marbled vinyl, a patch, a sticker and a flag, and don’t forget to also follow the band on Facebook and on Instagram to get updated on all things Cannibal Corpse. Needless to say, if you don’t do all that, you can’t even imagine the level of violence you will suffer.

Best moments of the album: Murderous Rampage, Inhumane Harvest, Surround, Kill, Devour, Follow the Blood and Overtorture.

Worst moments of the album: None.

Released in 2021 Metal Blade Records

Track listing
1. Murderous Rampage 4:07
2. Necrogenic Resurrection 3:06
3. Inhumane Harvest 4:32
4. Condemnation Contagion 4:17
5. Surround, Kill, Devour 4:10
6. Ritual Annihilation 3:48
7. Follow the Blood 4:39
8. Bound and Burned 4:04
9. Slowly Sawn 3:30
10. Overtorture 2:28
11. Cerements of the Flayed 4:07

Band members
George “Corpsegrinder” Fisher – vocals
Rob Barrett – lead and rhythm guitar
Erik Rutan – lead guitar, backing vocals on “Murderous Rampage”
Alex Webster – bass guitar
Paul Mazurkiewicz – drums

Album Review – Unflesh / Inhumation (2021)

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A lecture in Blackened and Melodic Death Metal made in the United States, delving into the concept of desensitization and losing one’s soul or humanity.

4.0rating

unflesh-inhumation-2021Showcasing an incredible amount of new growth from a group already brimming with abundant talent as is, Inhumation, the brand new opus by Portsmouth, New Hampshire-based three-piece Blackened Melodic Death Metal entity Unflesh, is not only the perfect follow-up to their 2018 album Savior, but also a bold statement by the band confirming they’re among us to stay. Mixed and Mastered by V. Santura at Woodshed Studios and featuring a killer artwork by Junki Sakuraba, Inhumation will show you why vocalist and guitarist Ryan Beevers (Solium Fatalis), bassist Orin Hubbard (Excrecor) and drummer Jeff Saltzman (Aversed, Allegaeon, Continuum, Solium Fatalis) have everything it takes to conquer the world of extreme music with their wicked creations. “Inhumation delves into the concept of desensitization and losing one’s soul or losing one’s humanity so to speak. The title itself is used in a metaphorical sense, as the actual definition of the word ‘Inhumation’ is the action or practice of burying the dead. For album purposes, the title is used on a more spiritual and emotional level. Each track on the album is a bit of a meditation on different aspects of the primary concept. When the listener gets to the last song on the album, the totality of the album will have taken form,” commented Ryan about the band’s newborn spawn.

The acoustic guitars by Ryan ignite the intro Behold Nightfall, gradually growing in intensity until all hell breaks loose in the devastating Vast Forest of Impaled Cadavers, where Ryan vociferates the song’s devilish words manically (“Spawned from scales of iron / Demonic icon of fear / Bathing in the draining blood / From the steel / Emotionless / Orchestrating blasphemies / Of hundreds and thousands / Their putrefaction is my crest”) accompanied by the crushing drums by Jeff. To Renounce Flesh and Blood is another demonic and very technical creation by Unflesh blending the fury of Death Metal with the obscurity of Black Metal, not to mention Orin’s bass jabs will make your head tremble, followed by the title-track Inhumation, bringing to your ears over seven minutes of breathtaking riffs and bass punches, intricate beats and all of the elements that make Technical Death Metal so compelling. In addition, Jeff sounds truly bestial behind his drum set, while Ryan keeps roaring like a demonic entity from start to finish.

Unflesh keep decimating our senses in the hellish extravaganza titled Amongst Horrors Must I Dwell, displaying an amazing job done by Ryan with his visceral Black Metal riffage and growling, therefore adding an extra touch of malignancy to the overall result, whereas putting the pedal to the metal the trio brings forward the explosive Blackened Death Metal tune Holocaust of Stars, where Orin and Jeff are on fire with their thunderous kitchen generating a reverberating ambience that will ruthlessly smash your cranial skull; and featuring a sick guitar solo by guest Jim Gregory (Solium Fatalis), The Sepulchral Depths is just as violent and sulfurous as its predecessors, offering us fans an ass-kicking portrait of the band’s trademark hybrid of Blackened and Melodic Death Metal. Not only that, Jeff is once again a stone crusher on drums, taking the lead with his blast beats and fills for our total delight. And last but not least, Unflesh bring forth nine minutes of sonic savagery, acoustic and atmospheric passages, enraged roars and endless obscurity in the form of Dehumanized Legion, where the trio is unstoppable and vile throughout the entire song, putting a beyond demolishing end to this precious gem of Extreme Metal.

unflesh-2021After all is said and done, I’m sure you’re more than eager to put your hands on Inhumation, which is by the way available for a full listen on YouTube and on Spotify, and in order to do that simply go to the band’s own BandCamp page, to Apple Music or to Amazon, and don’t forget to also show your support to such promising act by following them on Facebook and on Instagram, and by subscribing to their YouTube channel. Ryan and his henchmen Orin and Jeff did a superb job in Inhumation, beautifully translating into eight multi-layered, dense Blackened and Melodic Death Metal compositions exactly what Ryan mentioned as “the concept of desensitization and losing one’s soul or losing one’s humanity.” This is exactly how dark and extreme music should always sound, with the band’s new album being a strong contender to feature among the best albums of the year, consequently pointing to a brilliant future ahead of those multi-talented musicians.

Best moments of the album: Vast Forest of Impaled Cadavers, Inhumation and Holocaust of Stars.

Worst moments of the album: None.

Released in 2021 Independent

Track listing
1. Behold Nightfall 2:21
2. Vast Forest of Impaled Cadavers 5:21
3. To Renounce Flesh and Blood 5:26
4. Inhumation 7:20
5. Amongst Horrors Must I Dwell 6:37
6. Holocaust of Stars 4:42
7. The Sepulchral Depths 5:27
8. Dehumanized Legion 9:01

Band members
Ryan Beevers – vocals, guitars, acoustic guitars, orchestrations
Orin Hubbard – bass
Jeff Saltzman – drums

Guest musician
Jim Gregory – guitar solo on “The Sepulchral Depths”

Metal Chick of the Month – Mary Zimmer

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It’s my time to soar… I am here to stay!

Born and raised in Madison, the capital city of Wisconsin, but currently residing in “Sin City” Las Vegas, Nevada, the multi-talented Mary Zimmer, our metal chick of the month of April, is ready to set the world of heavy music on fire with her unique vocal range, stunning looks and ass-kicking onstage performance, proving why she was chosen in 2019 to become the frontwoman for Sacramento, California-based Power Metal unity Helion Prime. Not only an accomplished vocalist who can do both clean vocals and harsh screams, known for her work with bands the likes of Luna Mortis and White Empress (not to mention her years as a touring member of Helion Prime from 2018 to 2019), Mary has also been a vocal coach and instructor for more than a decade, a session musician for some amazing underground bands, and a YouTuber who discusses about singing, screaming and music theory, as well as reviews and reaction videos. Put differently, Mary Zimmer is just awesome, and I bet you’ll have a very good time knowing a little more about such skillful musician here on The Headbanging Moose.

A classically trained singer who has a Bachelor of Music from the University of Wisconsin-Whitewater, Mary has also studied additional techniques to shout and sing with The Zen of Screaming creator, Melissa Cross, allowing her to showcase all her vocal skills in bands from different styles as aforementioned, as well as her studies in audio engineering. “I got my degree in classical music fairly young at the age of 22. Even after my music degree, I did an absolute ton of research on the anatomy of the voice and tried to absorb all of the information that’s available out there,” commented Mary on her passion for technical singing. Long before joining Helion Prime, Mary was the vocalist for a band named A Touch of Evil between 2001 and 2002; for an American Folk/Gothic Metal/Ambient group named Earthen; for American Progressive Metal act Luna Mortis (and its previous incarnation The Ottoman Empire); for a band called Santa Marta from 2016 to 2019; and for American Extreme Symphonic Metal outfit White Empress from 2013 until 2016.

Perhaps the two most interesting projects she was involved in her pre-Helion Prime days are Luna Mortis and White Empress, with whom she recorded some excellent material and official videos. Let’s begin talking about Luna Mortis, formed in 2002 in her hometown under the name The Ottoman Empire, and as the vocalist for The Ottoman Empire she recorded the album Way of the Blade, in 2006, and the EP The Answer: Does Not Exist, in 2008. Then after the change in the band’s name to Luna Mortis still in 2008, Mary recorded with the band the 2009 album The Absence, presenting a much stronger sound and polished production compared to the band’s two previous releases. You can enjoy online the official videos for the songs Forevermore and Anemic World, and if you think Luna Mortis will be back in action one day, well, after their reunion back in 2013, which was not as great as the band itself expected as they had several internal issues (shortening the reunion considerably), and as mentioned by Mary herself, it was a failed experiment and she can pretty much guarantee they won’t try to reunite again. After Luna Mortis, Mary said she’s a completely different person on many levels, having changed mentally, emotionally, physically, visually and vocally, as you’ll be able to notice in White Empress.

It was in 2013 under the moniker “White Empress” (and later as Mary Z) that our unstoppable diva helped to found the Minneapolis, Minnesota-based Extreme Symphonic Metal unity White Empress, having recorded a self-titled EP in 2014 and the full-length opus Rise of the Empress that same year (containing the four songs from the EP plus other original tracks). When asked about the concept of White Empress, Mary said that the band was band based around the character of the White Empress herself, an empowering and a feminine power in her own right, representing the individual inner strength and power we all have within, with the original concept being created by the band’s founder Paul Allender (better known for his superb work with Cradle of Filth for over two decades). If you want to have a quick and incendiary taste of their music, you can enjoy the official video for the awesome song Darkness Encroaching.

Mary can also be seen lending her powerful voice to different bands and projects as a guest vocalist, on top of her years as a live member of Helion Prime as mentioned before. For instance, she recorded the harsh vocals for the song Goodbye to Farewells, from the 2021 album Psychosomatic by Austin, Texas-based Progressive/Power Metal band Immortal Guardian; and vocals as “President Fox” on the 2019 self-titled album by Brooklyn, New York-based Symphonic/Progressive Metal project Valcata. Not only that, Mary was also involved in the recordings of the 2018 eight-track demo The Remains of Judgment, by Madison, Wisconsin-based Death Metal act Burial of an Era, showing another side of our multi-talented musician (and we’ll talk more about her technical skills shortly). When asked about how she became a session musician, Mary said that the fact she already had the skills necessary to record her own vocals, plus her business professionalism, made it easier for people to trust and hire her, complementing by saying that it’s important to choose if you want to be an in-person guest musician or if you want to learn how to record yourself at home and work worldwide, which of course demands some investments that can be a bit expensive for beginners.

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Regarding her career with Helion Prime, after joining the band as their full-time frontwoman Mary recorded the album Question Everything in 2020 with the band, currently comprised of our electrifying diva on vocals together with guitarists Jason Ashcraft and Chad Anderson, bassist Jeremy Steinhouse and drummer Alex Bosson. When asked what attracted her to Helion Prime in first place, she said she learned to love the guys from the band during her two years as their touring singer, enjoying singing their material, and finally deciding to join forces with them after it became logistically difficult for their previous singer Sozos Michael to be involved as needed. As Question Everything contains several songs that work as tributes to influential names in the history of science, Mary was asked which one of those people was her favorite one to sing about. “I think my favorite is Katherine Johnson. She’s the subject of the song Madame Mercury. Her story really speaks to the successes people can have against daunting odds, and she’s certainly an inspiration to folks all over the world,” said Mary, providing some inspirational words to us fans.

As already mentioned, Mary is a famous YouTuber who runs her own channel called VoiceHacks, providing singing and screaming tutorials for beginner to advanced vocalists, teaching private lessons, and training people in a variety of techniques. “I kind of became a YouTuber by accident. I’m a vocal coach and vocalist first and foremost who kind of ‘fell’ into YouTube as a result of using it as a hosting place for my tutorials and other resources for the people I teach,” commented Mary in one of her interviews, also saying that “I’ve been doing all lessons online since 2013 because physical in-person lessons are out of date and relatively impractical. Most people prefer not having to leave home for their lessons.” If you explore her YouTube channel, you’ll find several videos with important tips on how to preserve your voice while doing harsh vocals, how to reach the right key, how to fix “easy-to-correct” mistakes a lot of singers and producers make in the studio, and so on. For example, did you know that getting vocalists to aim upwards into the microphone while recording is not a good idea? “It’s way easier for a singer to sing a high note while looking DOWN! This being the case, I want all engineers to stop putting the microphone above the singer, and instead to place it straight in-front, or slightly below their mouth at a 45-degree angle,” said our talented vocal coach.

As usual, such important woman to the world of heavy music was asked several times about her view of women in metal, and her answer to that question focuses on the respect she gets as a musician instead of hearing things like “you’re a chick in a band, you’re a novelty”, also saying you don’t have to be a super model to be a great vocalist, although she truly enjoys all types of singers in the end. “I think there are a lot of particularly glamorous metal singers, I think… Simone Simons (Epica), Tarja Turunen (ex-Nightwish), there is a lot of glamorous metal singers but then you also have your ones that just came in their t-shirt and jeans like Anneke (van Giersbergen) from The Gathering you know?” She also mentioned in one of her interviews when asked about the fact the recording industry is a heavily male-dominated business that it still astonishes her that all these years later she’s still one of the only women who knows anything about recording, albeit she doesn’t see it as a masculine or physically challenging task.

There were also three other interesting topics where Mary was asked to provide her insights on, those being the evolution in the music industry, what a manager can offer a band that’s proactive aside from contacts, and all environmental issues the world is facing. Mary said that what has changed most is the evolution from physical product to monetized music listening streaming and that has been a very positive change for all musicians everywhere, and she personally vastly prefers living in the digital era of music now. “It’s an utterly fantastic time to be a musician. There are so many resources at our fingertips. The only limit is our attitude, willingness to educate ourselves about the new music industry landscape and tools, and writing good music. That hasn’t changed, even with all the abundant opportunities for musicians, the songs still have to be good.” Regarding the need for a band manager or not, Mary said that there are good managers out there that have a good business sense, that are rooted in the genre that the band is playing and they have contacts and connections they can work on the band’s behalf to deal with publicists, tour planners, other things and just sort of be the mouth for the musician, and of course, that can be the a neutral face when dealing with people, avoiding exposing the band to negative feedback and opinions (in a good way, of course). And lastly, in regards to the way mankind is treating the environment, she said that she has three degrees in varying areas of Renewable Energy and from that education she has learned that sustainability is necessary for human survival. “The earth is a finite sphere with a finite amount of resources – a finite amount of matter and energy.  If we seek to live on a habitable planet, we must find totally 100% sustainable ways to live.  Unsustainable practices shouldn’t even exist.  I am a huge renewable energy advocate, as it is the most logical, safe, sustainable, abundant means of powering humanity,” suggesting we all watch the video or read the book Cradle to Cradle and learn about sustainability and how it changes the world and the environment.

If you want to have fun together with Mary, you can find several excellent interviews online with her as for example this one for Musican’s HQ podcast, episode 23; the one she did together with Helion Prime’s own guitarist Jason Ashcraft for Rustyn Rose from Metalnation where they discussed their new album Question Everything, Ronnie James Dio, special guests and the impact of Covid-19 on the music industry, among other topics; and this one for Audible.com where she discusses about her YouTube channel VoiceHacks. Having said all that, what are you waiting for to let Mary Zimmer and her powerful voice penetrate deep inside your soul in the name of Heavy Metal? I’m sure Mary will love to hear from you and to get your feedback on her undisputed work as the great vocalist she is.

Mary Zimmer’s Official Facebook page
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Mary Zimmer’s Official YouTube channel
Mary Zimmer’s Official Twitter
Mary Zimmer’s LinkTree
Helion Prime’s Official Facebook page
Helion Prime’s Official Instagram
Helion Prime’s Official YouTube channel

“I don’t think that metal is an intentionally sexist genre, I think metalheads are pretty broad thinking people and I think that most of them will give you a shot. If you can play you can play if you can sing you can sing. And it doesn’t really matter to a lot of them if you’re a woman or a man.” – Mary Zimmer