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Concert Review – Disturbed & Breaking Benjamin (Molson Canadian Amphitheatre, Toronto, ON, 08/08/2016)

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The city of Toronto got awesomely “infected” by David Draiman and his horde on a warm and beautiful night of alternative music.

OPENING ACTS: Saint Asonia and Alter Bridge

Disturbed_Breaking Benjamin_2016Due to my hectic working schedule yesterday and the distance from my place to the fantastic Molson Canadian Amphitheatre, I wasn’t able to see the performances by the two special guests of the night, Canadian Nu Metal/Hard Rock band SAINT ASONIA and American Rock N’ Roll/Hard Rock band ALTER BRIDGE. To be honest, I wasn’t very excited to watch Saint Asonia, despite the fact they’re portrayed as a “supergroup” based in Toronto formed by lead singer and guitarist  Adam Gontier (ex-Three Days Grace), lead guitarist Mike Mushok (ex-Staind), bassist Corey Lowery (ex-Stuck Mojo) and drummer Rich Beddoe (ex-Finger Eleven). I’m not sure how many people were actually able to watch their concert, nor if they were a good warm-up for the following bands. All I can say is that the music they play is not my cup of tea and I don’t really regret missing their performance.

What I do feel slightly sad about was missing the excellent singer Myles Kennedy and the talented guitarist Mark Tremonti (together with bassist Brian Marshall and drummer Scott Phillips) playing their straightforward and honest rock music with Alter Bridge. We all know Myles and Mark are awesome musicians, and even considering the music by this Orlando-based group a bit too soft for me I’m sure that might have been a kick-ass concert. Well, that’s the price to pay when there are too many bands in such a short period of time, fans end up missing a good chunk of what they paid for unless they arrive REALLY early to the venue, which was not the case for most fans last night.

BREAKING BENJAMIN

IMG_1585The Molson Canadian Amphitheatre got packed only a few minutes before American Rock N’ Roll/Hard Rock band BREAKING BENJAMIN began their show, with frontman and guitarist Benjamin Burnley leading his competent band from Wilkes-Barre, Pennsylvania formed by Jasen Rauch on lead guitars, Keith Wallen on rhythm guitar, Aaron Bruch on bass and Shaun Foist on drums. The band got back in action a couple of years ago after Benjamin was finally able to overcome his phobias and addictions, with all members being completely new to the band (except for Benjamin, of course), and based on the warm reaction from everyone at the venue I believe fans truly missed Benjamin’s melodious mix of Alternative Metal and Hard Rock during the band’s hiatus.

As a fan of the darkest side of music who’s always listening to the most visceral forms of Thrash, Death and Black Metal, I must admit their music didn’t excite me despite being extremely well-crafted and played to perfection by all band members. Except for the brief moments when they played an excerpt of the superb Walk, by one of my favorite bands of all time, Pantera, as well as another excerpt from the classic Smells Like Teen Spirit by Nirvana, I couldn’t really connect to the band’s music. One thing I enjoyed a lot though was the vocal range by Aaron, going from clean and melodic lines to furious growls whenever he was responsible for the vocal parts, and for me that was the best ingredient of their concert. Please don’t think I hate Breaking Benjamin with all my strength or that it was a horrible concert, let’s simply say it’s hard to pay some decent attention to a band you’re not a fan of their music or style when you’re anxious for the following act.

Setlist
So Cold
Angels Fall
Sooner or Later
Blow Me Away
The Imperial March / Schism / Smells Like Teen Spirit / Walk
Polyamorous
Ashes of Eden
Believe
Breath
Failure
Until the End
I Will Not Bow
The Diary of Jane

Band members
Benjamin Burnley – lead vocals, rhythm guitar
Jasen Rauch – lead guitar, electronic strings, programming
Keith Wallen – rhythm guitar, backing vocals
Aaron Bruch – bass, backing vocals
Shaun Foist – drums, electronic percussion, programming

DISTURBED

IMG_1592Only one day after playing at Heavy Montréal, Mr. David Draiman and his Alternative Metal horde DISTURBED hit the stage at the Molson Canadian Amphitheatre to do what they do best, which is playing electrifying razor-edged modern metal music. Still promoting their 2015 album Immortalized (which by the way was awarded gold in Canada as well as platinum to the single The Sound of Silence, as informed by Draiman during the show), this iconic band from Chicago, Illinois not only revolutionized music with their inception back in the 90’s, but they also keep bringing different generations to their live concerts like what happened yesterday, something only traditional bands like Iron Maiden and Metallica do nowadays.

Blending classics such as the opening song Ten Thousand Fists and the classy Stricken with new songs like the kick-ass The Vengeful One, Draiman and his crew conquered all from the very first notes of their powerful performance. Draiman might not be moving around like before, but it looks like that’s a task he’s leaving for guitarist Dan Donegan, drummer Mike Wengren and especially bassist John Moyer to do, with those three guys being unstoppable on stage while Draiman focused on his unparalleled vocals (including his classic “monkey screams”) and leading gestures. They even invited the guys from Saint Asonia and Breaking Benjamin to sing the classic Who Taught You How to Hate with them, although it felt a bit weird seeing two bass players on stage at the same time.

IMG_1602One of the most anticipated moments of the show was their beautiful version for Simon & Garfunkel’s The Sound of Silence, and I have to say that lived up to all expectations and beyond. The drumming by Mike was incredible, as if he was pounding our hearts, and the piano notes embellished the entire ambience, but of course the main ingredient in such a unique ballad were Draiman’s vocals. He sang each and every note to perfection together with the fans, a memorable moment in a warm Torontonian night that will stay fresh in our minds and hearts for many years to come. Another great example of how Draiman flawlessly captivated and commanded the audience throughout the whole gig occurred during their new song called The Light, where he asked everyone to raise their lighters and mobiles during the chorus of the song and every single person obviously attended his demand, creating a sensational view of brilliant dots all over the venue.

My only complaint is that their setlist was way too short, with only fourteen songs being played in total. They could have played a few more tunes like the title-track “Immortalized” or even their version for “Land of Confusion”, which has been part of their recent setlists. Anyway, the icing on the cake came in the form of their biggest hit Down With the Sickness, with all fans jumping up and down and screaming the lyrics together with Draiman, especially the ones in the floor section like myself. The heat of the fire coming from the stage might have been strong, but the heat coming from their music was even stronger, leaving all fans happier than usual on a Monday night on their way back home. When introducing Down With the Sickness, Draiman said Toronto was “infected” by their music. I can’t think of a better definition to their concert than that.

Setlist
Ten Thousand Fists
The Game
The Vengeful One
Prayer
Liberate
Who Taught You How to Hate
Stupify
The Sound of Silence
Inside the Fire
The Light
Stricken
Indestructible
Voices
Down With the Sickness

Band members
David Draiman – vocals
Dan Donegan – guitar
John Moyer – bass
Mike Wengren – drums

Album Review – Winterhymn / Blood & Shadow (2016)

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If your fearless heart claims for top-notch Epic Folk Metal, you’ll definitely enjoy this excellent compilation of songs perfect for your mead-drinking and mud-fighting parties.

Rating4

Blood&Shadow_FrontAlthough I couldn’t see Pagan/Folk Metal squad Winterhymn kicking ass live during Paganfest America Part V here in Toronto in 2014 due to traffic issues (as you can read HERE), I went after their music to get to know more about this American sextet, and let me tell you I was impressed with the energy, passion and creativity flowing from their symphonic and progressive compositions. With that said, I guess I don’t need to mention how excited I got when I received their brand new album for review, the melodious Blood & Shadow, right?

Since their inception in 2009, these folk metallers from Cincinnati, Ohio have been bringing the epicness of Celtic and Scandinavian Folk sounds to the United States, starting with their 2011 debut album Songs for the Slain until this year’s Blood & Shadow, also sharing the stage with renowned names like Eluveitie, Turisas, Chthonic, Arkona and many others. Featuring a beautiful and sanguinary artwork by Irish artist Vasilis Zikos, reflecting a scene from Winterhymn’s personal mythos (which the album is entirely based upon), Blood & Shadow is the soundtrack for drinking lots of mead and getting in random fights in the mud around a bonfire, all embraced by the undeniable talent of four brave lads and two stunning maidens.

Blending elements from Folk and Black Metal with hints of Power Metal, the melodic battle chant Blood of the Moon kicks off the album on a high note by bringing forward a very epic rhythm with highlights to the mesmerizing sound by violinist Umbriel, followed by Dream of Might, which leans towards pure Folk Metal. Albeit slower than the opening track, it still offers a high dosage of epicness, with the vocals by lead singer and guitarist Draug being perfectly complemented by the pounding drums by Valthrun and the once again incredible violin sounds by Umbriel. And the outstanding Pagan Metal composition Blood Burner is one of those songs tailored for fans of vicious battle chants who love to slam into the circle pit with a pint of cold beer in hand, with Draug and Varrik providing some exciting riffs and solos while Valthrun doesn’t let the amazing energy in the music go down.

Less violent and with a more progressive flow (but still very impactful), Legacy in Flames offers lyrics about the everyday life of a warrior nicely declaimed by Draug and bassist Alvadar (“We hunt our prey / With our last breath / By the sanguine moon / Through realms of death / So curse our name / You’ll be slaughtered all the same / Your legacy in flames”), with its last part being highly recommended for prancing around a fire pit with a pint of mead; whereas The Summoning displays a higher focus on Death Metal guttural vocals while instrumental is purely Folk Metal, a good balance that works well for a while but that unfortunately falls flat close to the end of it. Seafarer, a “Middle Earth-inspired song”, is a semi-acoustic ballad where violin and acoustic guitars generate the perfect atmosphere for Draug and his clean vocals, a soulful break from the band’s traditional battle hymns before Silenced by the Northern Winds gets back to brutal folk music with Draug leading the band’s onrush with his imposing growls, boosted by an excellent guitar solo to properly conclude this thrilling tune.

zGroup (22)In Shadow We Ride, another classic Folk Metal tune by Winterhymn, offers the listener slower beats and a fighting vibe, with its second half getting slightly heavier and, consequently, adding some extra flavor to the overall result (especially the potent bass lines by Alvadar). And in Huntsman, a serene intro morphs into brutal Pagan Metal, with its lyrics being everything a fan of this type of music loves (“They marched across the Iron Jaw with sword and helm / Seeking fabled woodland doorways to the twilight realms / The proudest of their captains are now hunted like boars / Their banners lie in gory pools upon the forest floor”). Moreover, all instruments sound potent and sharp, accrediting it to be one of the best songs of the new album for their live performances.

The final triad of Folk Metal in Blood & Shadow begins with the electrifying The Wolf’s Head, where Death and Power Metal elements arise. The song’s riffs and solos, together with the precise drumming by Valthrun, set the music on fire, with both guttural and clean vocals and the background sonority crafted by Umbriel and Exura on violin and keyboards, respectively, being absolutely outstanding. Into the Depths shows the whole band still has enough fuel for more Epic Pagan Metal, which after a solid intro gets heavier than almost everything from the album, not to mention the heroic singing by Draug. And lastly, Umbriel dictates the rhythm through her fast and melodious violin in The Chosen End, where all band members unite to provide the listener a full-bodied composition overflowing courage, passion and pain, a climatic ending for such a professional album.

If your courageous heart claims for top-notch Epic Folk Metal, go check Winterhymn’s Facebook page, as well as their YouTube channel and ReverbNation page, and don’t forget to buy their new album at the SoundAge Productions’ webstore, at the band’s BandCamp page, on iTunes or on Amazon. As aforementioned, there’s no better way to get drunk with mead and engage into mud-fighting than to the sound of such an amazing band like Winterhymn.

Best moments of the album: Blood Burner, Silenced by the Northern Winds and The Wolf’s Head.

Worst moments of the album: The Summoning.

Released in 2016 SoundAge Productions

Track listing
1. Blood of the Moon 3:48
2. Dream of Might 3:59
3. Blood Burner 3:19
4. Legacy in Flames 4:51
5. The Summoning 4:12
6. Seafarer 3:20
7. Silenced by the Northern Winds 6:53
8. In Shadow We Ride 4:47
9. Huntsman 5:23
10. The Wolf’s Head 3:39
11. Into the Depths 6:25
12. The Chosen End 4:31

Band members
Draug – vocals, lead guitar
Varrik – guitar
Alvadar – bass, backing vocals
Exura – keyboards
Umbriel – violin
Valthrun – drums

Album Review – Gojira / Magma (2016)

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A rich and sophisticated album about death, overflowing anger, sadness and pain, beautifully crafted by one of France’s most prominent and innovative bands of all time.

Rating4

gojira_magmaLosing someone you love is never easy, it doesn’t matter how tough you think you are. You move on and try to live your life without that person, but you’ll always remember your (good and bad) days with him or her, and true sadness will fill your heart even if it’s just for a single moment. At the same time French brothers Joe and Mario Duplantier had to cope with the loss of their beloved mother, only a few months after relocating from Bayonne, France to New York City and building their own music studio in Queens, they were in the process of writing and composing the music for Magma, the sixth studio album from their Progressive/Groove Metal band Gojira. Hence, those negative feelings became an inner part of their compositions, and as there’s nothing better in the entire world to externalize grief, dismay and anger than heavy music, the final result in Magma is beautiful and intense.

“When you read Joe’s lyrics, for me, I cry right away. They’re very deep and to the point. No bullshit. We recycle our sadness and depression in the music”, stated Mario about the lyrical aspect of the album. In addition to that, the duration of the songs in Magma are designedly shorter than in From Mars to Sirius (2005) and L’Enfant Sauvage (2012), as explained by Joe. “We want a short album. Something less epic than what we usually do. People’s attentions are shorter now. So a lot of the songs are four minutes”, also mentioning their experimentations with some Pantera-inspired riffs, something new to them, to make their music even more impactful than usual. The freakish artwork by American artist Hibiki Miyazaki (you can check the process pics of the artwork HERE) simply complements all the darkness and pain found in Magma, adding an extra touch of desolation to the album.

The somber and heavy atmosphere in the opening track, the soulful The Shooting Star, gets even more profound due to the outstanding work done by Joe and his bandmates Christian Andreu and Jean-Michel Labadie with their stringed weapons, especially the menacing bass lines by Jean-Michel. Moreover, as aforementioned we can already witness the most sincere type of sorrow flowing through Joe’s vocals, something that only makes the whole song more captivating. Gojira’s trademark neck-breaking riffs are showcased in the sensational Silvera, obviously boosted by the precise and intricate beats by Mario. Joe invests into angrier vocals and deeper growls, with highlights to the mesmerizing riffs and the violent aura generated by all instruments, all complemented by a passionate solo before the song’s climatic ending.

Following that powerful chant we have another marvelous tune transpiring anguish and pain entitled The Cell, presenting an electrifying start (thanks to the wicked drumming by Mario) and the best elements of Groove and Progressive Metal put together. The bass guitar by Jean-Michel is always thunderous no matter the speed and heaviness of the song, which is not only the case in this exciting tune but also in Stranded, with its direct and imposing sonority led by the band’s strident riff, one of the core ingredients that make the music by Gojira so distinguished. Although this is one of those songs to destroy your neck by banging your head like a maniac, you should also pay good attention to its lyrics, which just prove how sad Joe was while writing them (“A growing sickness in the heart / Defective, lack of control / The cure is somewhere in the silence / But I’m crushed by the noise inside”).

gojira 2016Jean-Michel leads the short and eerie bridge Yellow Stone before the title-track Magma brings forward more of the band’s anguished lyrics (“The poison slowly spreads / Through the body and the mind / Close your eyes and drop your things / Be ready to fly”), flawless instrumental and atmospheric passages. Furthermore, it’s interesting how the music evolves to a darker sounding before getting back to its heavy but serene ambience. Despite beginning as heavy as hell, Pray is by far the saddest of all songs, a journey through Joe’s darkest thoughts and his personal view on what faith is while the rest of the band keeps blasting their complex, metallic and punchy lines. And if that can be considered the saddest track in Magma, Only Pain is the one emanating the highest amount of anger, with its bass and riffs piercing and blacknening your mind. Furthermore, Joe barks and screams “only pain, all in vain” in full force, providing the listener an extra taste of his pain.

The two final tracks in Magma are pure melancholy, starting with Low Lands. How not to start crying while listening to its lyrics (“While you drift away / From all the plagues of this world / You’re put out of misery, giant monster / You won’t have to face it again / Every step of the way gets you higher”)? This is a very introspective composition with some thrilling tempo changes, a song I’m sure Joe, Mario and the others are very proud of having created together. And the somber acoustic outro Liberation feels like a very personal goodbye from Joe and Mario to their deceased mother, with no words being necessary to send the desired message.

Honestly, I have no idea if Magma will please all fans of Gojira, mainly due to the small but significant changes applied to their musicality in comparison to their previous releases. Magma might not be the “evolution in music” most were expecting from such innovative and lionhearted musicians, but it’s indeed a sophisticated album written from the bottom of the hearts of each band member, overflowing anger, pain and distress from every note played. Similarly to what the chameleon David Bowie (R.I.P.) did with his masterpiece Blackstar, using it as his swan song when his inevitable death was getting near, Magma is the perfect example of how death and high-quality music always walk hand in hand.

Best moments of the album: Silvera, The Cell, Stranded and Only Pain.

Worst moments of the album: None.

Released in 2016 Roadrunner Records

Track listing
1. The Shooting Star 5:42
2. Silvera 3:33
3. The Cell 3:18
4. Stranded 4:29
5. Yellow Stone (Instrumental) 1:19
6. Magma 6:42
7. Pray 5:14
8. Only Pain 4:00
9. Low Lands 6:04
10. Liberation (Instrumental) 3:35

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

Album Review – DevilDriver / Trust No One (2016)

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If Dez Fafara and his crew say we must trust no one, who are we to go against the circle pit masters of California?

Rating5

coverWhen frontman Dez Fafara and his sick crew known as American Groove/Melodic Death Metal band DevilDriver say we must trust no one, we should definitely follow their trenchant and wise advice. Cursing the clouds over California for almost 15 years, Santa Barbara’s own circle pit masters are back with their seventh studio album, entitled Trust No One (also stylized as trust no one.), another solid release by a band that, above all things, knows how to craft exciting metal music for the masses. Longtime band member and guitarist Mike Spreitzer described the album as “the record (I’ve) been wanting to write for 12 years”, while Dez stated that the album is “a vicious record filled with huge grooves and big hooks, guitar bass assery and thundering drums”.

Although not as amazing as their 2007 classic The Last Kind Words, let’s say that the music found in Trust No One, the first album since their 2013 release Winter Kills (making it the longest time span between two albums in the band’s history due to Dez reuniting with his former band, American Nu Metal act Coal Chamber), matches considerably with the words by Mike and Dez, living up to the band’s history despite all the recent lineup changes. This is their first album without original members John Boecklin and Jeff Kendrick on drums and guitars, respectively, being replaced by drummer Austin D’Amond (formerly of Chimaira) and guitarist Neal Tiemann. Chris Towning, who played bass on Winter Kills, also left and got replaced by former Static-X bassist, Diego “Ashes” Ibarra.

Opening their metallic ceremony, Testimony of Truth is as melodic and groovy as expected from DevilDriver, with the guitars by Mike and Neal sounding polished and brutal at the same time. Furthermore, when the opening track has lyrics like these, you know the band is on the right aggressive path (“The truth is I never liked you this / testimony is one of truth you’re just / a means to an end / With no redeeming thing about you / Walk in my shoes / This dead empty space / Walk in my shoes / This burdens on you!”). In Bad Deeds, the band’s traditional Groove Metal arises, crushing the listener to the sound of the harsh vociferations by Dez and the imposing beats by Austin, also sustaining a creepy atmosphere in the background no matter how violent the music gets; while My Night Sky is an old school DevilDriver composition where all instruments (including vocals) are in line with all their previous records, being therefore tailored for diehard fans of the band.

This Deception proves that when DevilDriver accelerate their music things get even more exciting, resulting in a potent circle pit generator thanks to the awesome job done by Austin on drums and the always piercing sound of their guitars, followed by Above It All, a song which we could call the epitome of American Groove Metal. Dez has another solid vocal performance leading the band’s attack, and although it’s far from being the most creative song in the world, it works quite well in the end. The first single of the album, called Daybreak, blends Melodic Death Metal with Groove Metal, with both Mike and Neal firing some blazing riffs while Dez keeps growling like a beast, whereas the title-track, Trust No One, might be one of the most intricate and harmonious compositions of the band from their past few albums. I love the vocal lines by Dez, transpiring absolute anger and hatred, as well as the song’s kick-ass guitar solo, not to mention the simple but effective message of the song, which makes total sense in modern society (“There’s always a need for violence / Slowly singing to the somber sun / Give my regards to the ones you call your angels / Dusted I’m the only one”).

devildriverThe last part of the album begins with more violence and groove in the form of Feeling Ungodly, a good composition that unfortunately falls flat after a while due to its very repetitive vocals and riffs, followed by the low-tuned bass lines and rhythmic drumming of the decent Retribution, with its second half getting more exciting and obviously adding more electricity to the final result. And finally, the band gets back to a more thrilling and raging state in the closing tune entitled For What It’s Worth, where its beautiful guitar lines and solos perfectly complement Dez’s unique barks and the always violent aura found in their music.

In summary, while many will consider this just another DevilDriver album, I personally think Trust No One is not only an important landmark in their career and an album that will keep the band alive and on fire for the next coming years, but also a solid statement that confirms Dez and Mike won’t be negatively impacted by all the changes that happened to the band recently. Quite the contrary, they were able to absorb all the negativity, go against all odds and turn adversity into high-quality heavy music. And, as already mentioned, when a band like DevilDriver tells us we should trust no one, who are we to go against them? Stay alert to every wolf in sheep’s clothing around you, keep listening to the sincere and hostile music by bands like DevilDriver, and everything else will be a lot easier in your life.

Best moments of the album: Bad Deeds, This Deception and Trust No One.

Worst moments of the album: Feeling Ungodly and Retribution.

Released in 2016 Napalm Records

Track listing
1. Testimony of Truth 4:43
2. Bad Deeds 3:46
3. My Night Sky 4:28
4. This Deception 3:47
5. Above It All 3:22
6. Daybreak 4:23
7. Trust No One 4:38
8. Feeling Ungodly 3:41
9. Retribution 4:01
10. For What It’s Worth 4:31

Digipak/Limited Edition/Japanese Edition bonus tracks
11. House Divided 4:56
12. Evil on Swift Wings 4:17

Band members
Dez Fafara – vocals
Mike Spreitzer – guitars
Neal Tiemann – guitars
Diego “Ashes” Ibarra – bass guitar (live)
Austin D’Amond – drums

Album Review – Death Angel / The Evil Divide (2016)

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Fast and furious anthems, dark mid-tempo songs, austere lyrics and endless stamina. This is how high-quality Thrash Metal should always be done.

Rating3

death angel_the evil dividethrash
/THraSH/

verb
1. beat (a person or animal) repeatedly and violently with a stick or whip.
“she thrashed him across the head and shoulders” 

noun
1. a violent or noisy movement, typically involving hitting something repeatedly.
“the thrash of the waves”
2. a style of fast, loud, harsh-sounding rock music, combining elements of punk and heavy metal.

In case you didn’t know the meaning of the word “thrash”, this is the official definition of both the verb and the noun for you to memorize anytime someone asks you why Thrash Metal has such a peculiar name. However, if this is too much for you to remember during a conversation (or if you’re too drunk to make long and complex sentences), simply keep two words in mind, those being Death Angel, and it will be extremely easy for you to explain exactly what Thrash Metal is all about. Those thrash metallers from Daly City, the largest city in San Mateo County, California, in the United States, might have gone through several line-up changes and a huge hiatus during the 90’s, but after their resurrection in 2001 they have been delivering nothing but top-notch heavy music to the world.

After the release of the excellent The Dream Calls for Blood, in 2013, one of the key bands in the Bay Area Thrash movement of the 80’s returns at full force in 2016 with their eighth studio album, the also amazing The Evil Divide. Featuring a distinct artwork by American tattoo artist Bob Tyrrell, The Evil Divide is a feast of fast and furious Thrash Metal anthems, dark mid-tempo songs, austere lyrics and, of course, flawless performances by all band members, especially frontman Mark Osegueda who displays a wider-than-usual vocal range throughout the entire album, providing a special taste to each one of the ten songs masterfully played by the band, turning The Evil Divide into one of the best albums of the year and a must-have for lovers of old school Thrash Metal.

Get yourself ready for a high-octane onslaught, because the opening track, named The Moth, offers those piercing riffs and overpowering drums we truly love in this type of music, being melodic and polished but keeping the overall violence at a high level. Moreover, as already mentioned, Mark Osegueda is getting more demonic (and consequently more awesome) through the years, bringing more dynamism to Death Angel’s musicality. Right after that solid start, the sick bass lines by Damien Sisson kick off the circle pit-generator Cause for Alarm, where guest guitarist Jason Suecof (Charred Walls of the Damned) fires an amazing solo while drummer Will Carroll paves a path of devastation behind his drum kit. Honestly, there’s no way a real metalhead can stand still to this hurricane of Thrash Metal.

Then it’s time to slow things down a bit in Lost, a powerful heavy ballad by Death Angel with Mark stealing the spotlight with his passionate performance on vocals, while guitarists Rob Cavestany and Ted Aguilar make sure the band’s aggression keeps burning nonstop through their riffs and solos; followed by Father of Lies, a belligerent Thrash Metal tune that reminds me of the golden years of Bay Area Thrash. All you have to do is grab a beer, slam into the pit and enjoy this excellent song, paying good attention to the outstanding job done on guitars and singing along with the band its catchy and vicious chorus.

death angelIn Hell to Pay, not only its lyrics and chorus couldn’t be any thrashier (“Lurid speaker, you toxic feeder / There’s no damage on the way / Selfish user, trust abuser / There will be hell to pay”), but the overall performance of the entire band is superb. Mark leads this sonic havoc with his sharp screams, while the rest of the band keeps “feeding the beast” with all their strength. Holy fuckin’ shit, what an amazing Thrash Metal anthem! And Death Angel keep blasting their fantastic music in It Can’t Be This, another tune to sing along with the band with highlights to the amazing riffs by Rob and Ted, as well as the rumbling bass lines by Damien, which increase the song’s impact on the listener. And there’s still a lot more to come, as Hatred United/United Hate is yet another song born to be a Thrash Metal classic of modern times. Guest guitarist Andreas Kisser (Sepultura) provides an excellent guitar solo that sounds like some of his classic creations from the early days of Sepultura, whereas Mark effectively follows the lines crafted by guitars and drums with his enraged screams.

In Breakaway, an intro keeps growing until the music explodes into cataclysmic Thrash Metal, with pure electricity flowing through all instruments in one of the best tracks of the album. This is an ode to everything we admire in the music by Exodus, Testament, Slayer and so many other icons, bringing forward the speed, melody and heaviness of most classic Thrash Metal anthems.  The Electric Cell, with its old school lyrics (“A cold deathly grip on the shovel of greed / You dig a mass unmarked grave / Just know your bones will be the first to lie / At the bottom of the masses betrayed”), is a good exhibit of the endless stamina present in all band members, especially Will who doesn’t seem to know the meaning of the word “soft” while playing drums, before the cutting tune Let the Pieces Fall closes this superb album. It’s heavy and thrilling just like the rest of the album, with the vocal lines by Mark transpiring hatred. Thus, when it’s over you’ll go back to the beginning of the album and start listening to it all over again, and probably repeat that a few (or even a lot) more times until your body collapses due to unstoppable moshing and slamming.

In a nutshell, what Death Angel (or maybe I should call them “Thrash Angel”) offer us in The Evil Divide might not be a revolution in music, but it is exactly how high-quality Thrash Metal should always be done. And that seems to be an easy task for them due to the refined skills of each band member, a good sign of the bright future that lies ahead for the band and also for traditional Thrash Metal without a shadow of a doubt. No one knows if they’ll be able to top what they have achieved with The Dream Calls for Blood and The Evil Divide in recent years, and while we wait for their next release there’s plenty of awe-inspiring metal music from this iconic band in The Evil Divide to keep us banging our heads and raising our horns to the unparalleled and unrelenting sound of Thrash Metal for a good while.

Best moments of the album: Cause for Alarm, Hell to Pay, Hatred United/United Hate and Breakaway.

Worst moments of the album: None.

Released in 2016 Nuclear Blast

Track listing
1. The Moth 4:38
2. Cause for Alarm (feat. Jason Succof) 3:22
3. Lost 4:57
4. Father of Lies 5:05
5. Hell to Pay 3:12
6. It Can’t Be This 4:16
7. Hatred United/United Hate (feat. Andreas Kisser) 5:17
8. Breakaway 4:01
9. The Electric Cell 4:38
10. Let the Pieces Fall 5:47

CD/DVD Digipak bonus track
11. Wasteland 5:18

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

Guest musicians
Jason Suecof – guitar solo on “Cause for Alarm”
Andreas Kisser – guitar solo on “Hatred United/United Hate”

Album Review – False Gods / Wasteland EP (2016)

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Doom Metal from Long Island has never been that sludgy, heavy and awesome.

Rating5

false gods_wastelandIf you’re a heavy music fan heading to the multicultural city of New York anytime soon, I recommend you check the agenda of Sludge/Doom Metal act False Gods, because if there’s one thing those metallers are capable of doing is delivering kick-ass music as heavy as hell. Inspired by the dark music crafted by bands such as Black Sabbath, Crowbar and Corrosion of Confomity, False Gods blend the traditional sounding of Sludge, Stoner and Doom Metal with hints of Hardcore injected into their musicality due to the humongous amount of excellent bands that play that type of music in their area, and as a result we have their debut EP entitled Wasteland.

Would the title of the EP be a reference to their hometown Patchogue, a village on the south shore of Long Island in Suffolk County, located about two hours from New York? Anyway, formed in 2015, this talented four-piece group aims at creating music with no boundaries, always adding to their compositions elements found in the music by distinct extreme bands like Eyehategod, Black Flag and Carnivore, as well as the aforementioned biggest influences of the band. And although Wasteland is comprised of only five tracks, there’s enough material, hatred and energy for you to bang your head nonstop and have a few pints while listening to the band’s unruly metal music.

Can you feel the drums pounding your brain in the opening track, named Despot? Well, when the guitars by Greg March and especially the angered grasps by Mike Stack join those beats by Paulie Stack, we’re treated to the darkest form of sludge Metal available, with highlights to the solid and exciting second half of this grim chant. Following that promising start, the title-track Wasteland brings forward a traditional doom-ish ambience where Mike has all he needs to sound visceral and crusty, with his barks getting to a point they sound like coming out of a Grindcore vocalist (or a dying pig, in a good way of course). And get ready for the song’s ending, with an angry Paulie pounding his drums pitifully for our total delight.

false godsMy favorite of the five songs is undoubtedly Grant Me Revenge, a dynamic and thrilling fusion of Sludge Metal with Thrash and Death Metal where Greg has an amazing performance firing his disturbing riffs, no matter if the speed of the song is as fast as a traditional thrashy tune or if it’s sludger than a classic Doom Metal hymn. I must say we should all give a lot of respect to False Gods for what they put together in this amazing song, and I really hope they provide us more of this modern and at the same time old school Sludge Metal in a not-so-distant future (most probably when they release their first full-length album).

If you thought the previous songs in Wasteland were sludgy, you’ll be surprised by the obscurity found in Worship As Intellectual Tyranny, thanks mainly to the magic Brian “Bro Town” Krasinkey does with his potent bass lines. This song proves that sometimes Sludge and Doom Metal can be heavier than the meanest form of Black Metal depending on how talented the members of a band are, which is the case with False Gods. And lastly, the longest of all five tracks, named I Can See You (For What You Truly Are), closes the EP on “doom mode” with its six minutes of shadows and grief, with Paulie providing spot-on beats while Greg and Bro Town smash their chords like there’s no tomorrow, culminating in a darkened and climatic ending.

I guess Doom Metal from Long Island has never been that good, and in order to know more about this promising quartet go check their Facebook and SoundCloud, and obviously go grab your copy of Wasteland at the band’s official BandCamp or at CD Baby. As I said before, despite this excellent EP being just a “sample” of what False Gods can do, it still has enough darkness and heaviness for you, diehard fan of Sludge Metal, and after listening to it you’ll be eager for more of their disquieting sounding.

Best moments of the album: Grant Me Revenge.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. Despot 4:51
2. Wasteland 5:15
3. Grant Me Revenge 4:11
4. Worship As Intellectual Tyranny 4:02
5. I Can See You (For What You Truly Are) 5:48

Band members
Mike Stack – vocals
Greg March – guitar
Brian “Bro Town” Krasinkey – bass
Paulie Stack – drums

Album Review – Howls Of Ebb / Cursus Impasse: The Pendlomic Vows (2016)

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Derranged howls, mesmerizing riffs, distorted screeches and hellish beats. These are the main ingredients for one of the most unique and interesting heavy albums from the past few years, brought forth by an eccentric duo from San Francisco, California.

Rating4

IVR058 - HOWLS OF EBB - Cursus ImpasseSometimes I think I overuse the words “weird”, “eerie” and “unnatural” in our reviews at The Headbanging Moose, but after taking a listen at Cursus Impasse: The Pendlomic Vows, the first full-length release by American Black/Death Metal act Howls Of Ebb, you’ll have to agree with me there are no better words to describe the distinct music crafted by this talented duo from San Francisco, California. This is not an album for the regular fan of heavy music, but a journey though the most distorted thoughts and horrifying visions created deep down the human mind.

After releasing their debut EP Vigils of the 3rd Eye in 2014 and the MLP The Marrow Veil in 2015, it’s time for Howls Of Ebb to expand their deranged horizons and offer another blast of the freakish drug they call music, forged in the pitch black darkness of their evil den in the United States. Simply look at the names of the songs and tell me if you’ve ever seen anything as crazy as that in your entire life as a metalhead, but when you hit play you’ll realize those names are even too “soft” for all the insanity and outcry coming out of the screams and strings by Zee-Luuuvft-Huund and the beats by Roteen’ Blisssss, not to mention the eccentric cover art named “Theoin II”, by Italian artist Agostino Arrivabene.

Zee-Luuuvft-HuundIn the opening track, curiously entitled The 6th Octopul’th Grin, distorted and piercing noises and growls attack the listener mercilessly, with its Doom Metal beats and wicked riffs creating a tempestuous ambience, therefore turning this amazing song in the perfect soundtrack to a soul-torturing horror flick. If you survive this demented tune, you’ll be smashed by a furious Progressive Black Metal turmoil named Cabals Of Molder, where the guitar sounds like anguished screams by an evil entity from hell, being perfectly complemented by its constantly-changing rhythm and the grim vocals by Zee-Luuuvft-Huund.

The slower and sinister tune Maat Mons’ Fume offers a creepy atmosphere enhanced by its somber lyrics (“Fetid foul upon Sullied Jowls / Endlessly propagate! / We send gifts from afar / Now, Giant Red Tomb Agitate!”), with both guitars and drums growing into a thunderous level of aggression that goes on until a purely Doom Metal ending (guided by the low-tune bass lines by Zee-Luuuvft-Huund) put an end to this hellish creation. There was only one thing that came to my mind while listening to 7 Ascetic Cinders, 8 Dowries of gA’nOm: this is the type of song that would never, ever play in any radio station so anti-mainstream it is, which in the end means it reached its main goal, right? This multi-song brings forward seven minutes of distortions, vociferations and demonic echoes not for the average listener, and it’s interesting how each instrument sounds “individualist” at first, but together they work extremely well.

Roteen' BlisssssGaunt Vertigo is a smooth but dark instrumental bridge that prepares the listener to The Subliminal Lock – A Precursor To Vengeance, an explosion of Black Metal and Blackened Doom showcasing lyrics as bizarre as possible (“Come Dark Morbid Zen! / Illusory sub-Gnosis takes deeper root / Fleshly cowls crawl deep in the soot / The wick is raised, eyes in pursuit / Come Dark Morbid Zen!”), with the instrumental pieces always “surprising” the listener with all tempo changes, distorted passages and mesmerizing riffs and screeches. And as one last raid we have The Apocryphalic Wick, where after its initial three minutes of wicked noises, an obscure feeling grows uncontrollably until demonic growls open the gates of the underworld. Moreover, the despair in the voice by Zee-Luuuvft-Huund is superb, as if he’s getting asphyxiated due to his soul being consumed by darkness.

This unusual and interesting opus can be found on sale at the I, Voidhanger Records’ BandCamp, or at the Cagliari Records’ BandCamp or webstore. And if you like the  weird effect caused by the noises from Cursus Impasse: The Pendlomic Vows penetrating your ears, go give Howls Of Ebb a shout at their Facebook page. Or maybe I should say you must give them a deranged howl instead, it all depends on how much your soul gets darkened by their music.

Best moments of the album: The 6th Octopul’th Grin and Maat Mons’ Fume.

Worst moments of the album: None.

Released in 2016 I, Voidhanger Records

Track listing
1. The 6th Octopul’th Grin 5:31
2. Cabals Of Molder 6:14
3. Maat Mons’ Fume 8:14
4. 7 Ascetic Cinders, 8 Dowries of gA’nOm 7:09
5. Gaunt Vertigo 1:20
6. The Subliminal Lock – A Precursor To Vengeance 6:23
7. The Apocryphalic Wick 7:21

Band members
Zee-Luuuvft-Huund – vibrations, low auras, polysyllabic morbid mysticisms (a.k.a. vocals, guitar, bass)
Roteen’ Blisssss – cadence of limp and duress, bronze aura (a.k.a. drums)

Album Review – Verment / Death’s Domain EP (2016)

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These up-and-coming metallers from Cincinnati, Ohio will show you how Death Metal can easily embrace elements from all other genres and subgenres of heavy music without losing its essence, always remaining loyal to its violent and gruesome roots.

Rating5

Deathsdoamin COVER HiDischarging their fast and furious Death Metal directly from the city of Cincinnati, Ohio to the entire world since 2012, American metallers Verment are ready to attack once again with their brand new EP entitled Death’s Domain. If you’re a fan of bands like Morbid Angel, Deicide, The Black Dahlia Murder, Suffocation and Angelcorpse, let me tell you that you’ll definitely have a very good time during the 24 minutes of deep vociferations, crushing beats and blazing riffs found in this unrelenting 7-track album.

Although some of the band’s main influences are purely Death Metal, Verment do not stick only to that genre of heavy music in their compositions, blending elements from Thrash, Melodic Death and even Blackened Death Metal in their musicality, not to mention they also add a modern twist to their sounding in order to sound fresher and more impactful than other regular Death Metal bands. And if you’re good at “deciphering” what lead singer and bassist Eric Payne is vociferating throughout the entire EP, your experience listening to Verment will become even more interesting than expected.

And the band is not kidding when they say they’re not purely Death Metal, as the excellent opening track Casket Fever is actually a bit more Thrash than Death Metal per se. Moreover, the growling by Eric Payne is full of anger and perfectly represents the message in the lyrics (“Exhuming corpses in the darkness / Taking from the hand of death / All to please the inner demon / That is keeping me from rest”), with the clean and melodic solos by Dustin Stockhoff bringing a welcome harmony to the music. That blustering fusion of extreme music subgenres also work really well in Amon’s Wrath, where Black and Death Metal are put together in a neck-breaking tune made to listen at top volume, full of violent riffs by Nick Moeller while drummer Alex Hooper is as heavy and precise as he can be behind his drum set.

VermentWings of Bone, which is perhaps the most Death Metal song of all, offers the listener two and a half minutes of brutal and technical devastation flawlessly led by Nick and Alex, with both deep guttural and sharper demonic growls by Eric being spot-on; while Vile Incisions leans towards more traditional Death Metal, especially due to its technical riffs and solos. In addition, Eric’s screams match perfectly with all instrumental pieces, with the last part of the song being a demented feast of blast beats commonly found in old school Black Metal. And get ready for the insane circle pits that will be generated by Obsolescence Reality, which has that constant metallic rhythm we all love in Death Metal, but with the addition of some nice breaks to add more flavor to it.

Before the album is over, their Thrash Metal vein returns in Chemical Indoctrination, without of course being less Death Metal than expected. It’s a faster and more straightforward tune where both Dustin and Nick have amazing performances with their riffs and solos, providing Eric all he needs to fire his hostile screams. And lastly, Parade of Filth closes the album in a solid way showcasing putrid lyrics that are the nightmare of every soccer mom (“It’s quite a sight to behold / All walks of life convening / It makes me sick to see this rotten malánge / Flesh folding over, repulsive odor / I am no better but I certainly do not reek of shit”), while Alex displays all his darkest abilities during the song’s almost four minutes. In other words, this is basically the opposite of mainstream, which means diehard fans of old school Death Metal will love it.

Whether you’re a hardcore Death Metal fan looking for a new addition to your collection of aggressive hymns, or a not-so-delicate soccer mom who felt significantly insulted when I said the music by Verment might be one of your worst nightmares, go check their Facebook, SoundCloud and ReverbNation for more of their venomous music. Death’s Domain, which can be purchased at the band’s BandCamp page, will show you once again why Death Metal is, and will forever be, the only type of extreme music that can easily embrace elements from all other genres and subgenres of heavy music without losing its essence, always remaining loyal to its roots.

Best moments of the album: Casket Fever and Wings of Bone.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. Casket Fever 3:18
2. Amon’s Wrath 3:26
3. Wings of Bone 2:31
4. Vile Incisions 3:27
5. Obsolescence Reality 3:41
6. Chemical Indoctrination 3:30
7. Parade of Filth 3:47

Band members
Eric Payne – vocals, bass
Dustin Stockhoff – lead guitar
Nick Moeller – rhythm guitar
Alex Hooper – drums, backing vocals

Album Review – Rapheumets Well / The Exile (2016)

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Once you let your soul become part of the electrifying saga brought forth by this unstoppable Extreme Metal act from the United States, there’s no turning back.

Rating4

Rapheumets Well - The Exile 2016 - Album Cover- smallNot only the small city of Hickory, located in the state of North Carolina, United States has a Symphonic/Progressive Black Metal band, but the music played by this band is so complex and thrilling I wouldn’t be surprised if suddenly the city turned into a worldwide reference for this type of Extreme Metal. Thus, if you like the theatrical havoc generated by Fleshgod Apocalypse and Dimmu Borgir, for example, you’ll fall in love for the music found in The Exile, the brand new concept album by the symphonic horde known as Rapheumets Well. Formed in 2008 and having released their debut album Dimensions in 2014, which featured ten songs that progressively tell a larger story portrayed in a complex saga of Atai (ancient architects), who aid in the propagation of sentient life throughout the multi-verse, Rapheumets Well return with the second “chapter” of a narrative that will blow your mind while their music penetrates deep into your soul.

Taking place during the “Soyumoth’s War” in the plain of Sovael, The Exile is in fact a fictional journey that viciously represents the hardships of life in a weird and complex way, thoroughly engendered by drummer and lyricist Joshua “Nassaru” Ward. In order to get in touch with this alternative universe created by Joshua, you can take a look at Sovael – The Great Divergence, which is indeed the inspiration for both of the band’s albums, or maybe I should say the albums are the soundtrack for the saga. Either way, I recommend you take a deep breath before you dive into the world of Rapheumets Well, because things are about to get extremely serious, heavy, symphonic and epic.

The acoustic intro in the opening track, Resurrecting The Blood Gate, doesn’t last long as symphonic and blasting sounds quickly invade our ears in a majestic way, with lead singer Tripp King vociferating the lyrics like a lunatic beast. Moreover, the sonority crafted by Joshua on drums is nicely complemented by keyboardist Aaron Rogers, enhancing the complexity and punch of this tune. In The Blight of Sotath Shal, wicked keyboards explode into brutal Black Metal with guitarists Daniel Presnell and Hunter Ross delivering solid riffs while Joshua keeps firing his blast beats, whereas in The Epic of Darmak, even more imposing and dense, the beautiful female vocals by Annette Greene provide a gentle balance to all destruction led by Tripp, turning this into one of the best songs of the album for sure.

Rapheumets WellCrucible of Titans (an awesome name for a song, by the way) couldn’t sound less violent and transcendent, with its polished production enhancing the reach of each instrument and therefore making us feel them inside our minds during this powerful blend of Atmospheric and Symphonic Black Metal; followed by Resurgence, a chant full of melancholy and anger where all three vocalists have amazing performances and, once again, the keyboards by Aaron generate a wicked atmosphere. In addition, this is the best song to enjoy the intricate bass lines by Jon Finney, especially if you’re a lover of the rumbling sound generated by this distinct instrument.

In Witch of Dark Spire, a lot more direct but as powerful as all previous tracks, the guitars by Daniel and Hunter are absolutely on fire, turning this into the most metallic of all tunes. However, in order to add some romance to this sonic havoc, we have Annette sounding like an angelic spirit with her smooth vocals. The title-track The Exile elevates even more the overall quality of the album, showcasing an astral intro that gently flows into potent and visceral music. Joshua is insanely amazing on drums with his fills and unstoppable beats, not to mention the yet again elaborate guitar riffs by both Daniel and Hunter and the demonic growls by Tripp. And as a formidable conclusion to this epic saga, Planetary Cenotaph brings forward more Symphonic Metal and huge doses of brutality meticulously tailored for all types of metalheads, with highlights to the entrancing ambience crafted by both Aaron and Annette.

While the aforementioned “Soyumoth’s War” goes on at the plain of Sovael, you can join Rapheumets Well on Facebook, YouTube, ReverbNation and SoundCloud, and grab your copy of this intense and multilayered soundtrack named The Exile at the band’s BandCamp page or at the Test You Metal Records’ Big Cartel page. But let me warn you that once you let your soul become part of the electrifying saga brought forth by Rapheumets Well, there’s no turning back.

Best moments of the album: Resurrecting The Blood Gate, The Epic of Darmak and The Exile.

Worst moments of the album: The Blight of Sotath Shal.

Released in 2016 Test Your Metal Records

Track listing
1. Resurrecting The Blood Gate 4:44
2. The Blight of Sotath Shal 3:53
3. The Epic of Darmak 4:59
4. Crucible of Titans 4:14
5. Resurgence 6:07
6. Witch of Dark Spire 5:17
7. The Exile 6:13
8. Planetary Cenotaph 5:05

Band members
Tripp King – harsh vocals
Annette Greene – choir, female clean vocals
Daniel Presnell – guitar
Hunter Ross – guitar
Jon Finney – bass
Aaron Rogers – keyboards
Joshua “Nassaru” Ward – drums, clean vocals

Album Review – Sleep Signals / Transitions EP (2016)

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High-quality and organic Heavy Metal perfect for enlivening us up anytime, anywhere, delivered by an extremely promising band from the United States who are just starting to pave their path to success.

Rating4

sleep signals_transitionsBlending elements of the most traditional form of Hard Rock from the 80’s and 90’s and the modern Heavy Metal played by bands such as Avenged Sevenfold, here comes the skillful American Alternative Rock/Post-Hardcore quintet Sleep Signals and their brand new EP, entitled Transitions, bringing you huge doses of electricity emanating from catchy choruses, powerful riffs and a true passion for music. Hailing for the city of Minneapolis, Minnesota, this five-piece act is here to stay, aiming at disseminating their high-octane music all over the world for many years to come.

After the release of their debut album Open Your Eyes in 2015, many doors opened to the band in terms of touring and radio exposure, and based on what you’ll be able to hear in Transitions this positive trend is going to continue without a shadow of a doubt. Either by singing about deep and thoughtful themes or by simply offering you a nice soundtrack for a Rock N’ Roll party at your place, you can rest assured the music by Sleep Signals will never let you feel bored or tired at all, always driving the level of energy (and the music volume) up, no matter what the occasion is.

The opening track, Means, quickly grows into contemporary Heavy Metal/Metalcore the likes of Avenged Sevenfold, but with noticeable Power Metal influences.  In addition, lead singer Kyle Hanson has a very potent voice and makes use of it to boost the level of adrenaline in this exciting tune, with the backing vocals providing him an incredible support. Then we have The Harbinger, where the riffs by guitarists Robert Cosgrove and Colin Smith sound heavily inspired by that fantastic movement from the 80’s called NWOBHM (New Wave Of British Heavy Metal), while drummer Taylor Madden dictates the rhythm with his complex and fast beats. And in order to make this song even more memorable, Sleep Signals managed to craft an extremely catchy chorus that will put you to sing along with them instantly.

sleep signalsIn the next tune, Digital Sleep, it’s easy to notice how much they love the music they play, offering the listener a modernized version of Hard Rock with a more aggressive attitude. Besides, it’s amazing how clear and tuneful Kyle’s vocals are and, although any of the songs in Transitions can be played on the radio and become an instant hit, I believe this one is the catchier of all five and a serious contender to become a Rock N’ Roll underground anthem.

Oceanus Borealis brings forward a Power Metal-ish intro that morphs into pure Metalcore in a vibrant semi-ballad, with Taylor and bassist Logan Rieger crafting an uplifting atmosphere for Kyle to deliver an emotional message through his vocal lines. And lastly, the title-track Transitions closes the EP in a more introspective and melancholic way. It’s undisputedly a lot more progressive than all previous tracks thanks to the job done by Robert and Colin on the guitars and Taylor on drums, not to mention its effective backing vocals. And when the song accelerates, it becomes a solid mix of old school British Heavy Metal and modern American Alternative Metal, something quite common nowadays in the world of heavy music, but usually not as good as what Sleep Signals are offering in this case.

In summary, what Sleep Signals deliver in a little less than 20 minutes sounds so solid and thrilling it’s hard to believe this band is just starting their career. Anyway, if you want to know more about them (and also take a listen at their previous material), go check them on Facebook, YouTube and ReverbNation, and don’t forget to show your support for the new by purchasing Transitions at the band’s official webstore or on iTunes. If I had to pick just a few of the several new bands I receive every week as the most promising ones or the ones with the highest potential to succeed in heavy music, Sleep Signals would definitely be among my choices. It’s good, organic and honest Heavy Metal that can be played anywhere, anytime, and that’s all we always look for in music, right?

Best moments of the album: The Harbinger and Digital Sleep.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. Means 3:58
2. The Harbinger 3:39
3. Digital Sleep 4:02
4. Oceanus Borealis 3:51
5. Transitions 5:21

Band members
Kyle Hanson – vocals
Robert Cosgrove – guitar
Colin Smith – guitar
Logan Rieger – bass
Taylor Madden – drums