Tag Archives: united states

Album Review – Construct Of Lethe / The Grand Machination EP (2016)

Posted on by
Reply

The letters from Lucifer to archangels Gabriel and Michael after his fall to Earth as reimagined by Mark Twain, all embraced by a dark and dense atmosphere crafted by an amazing project led by veteran musician Tony Petrocelly.

Rating5

tgm-album-cover“Man is a marvelous curiosity. When he is at his very, very best he is a sort of low grade nickel-plated angel; at his worst he is unspeakable, unimaginable; and first and last and all the time he is a sarcasm.” – Letters from the Earth, by Mark Twain

Taking inspiration from Letters from the Earth, a posthumously published work of American author Mark Twain (1835–1910) with the title story consisting of eleven letters written by the archangel Satan after the fall (as he views the rise and fall of Christ) to archangels Gabriel and Michael about his observations on the curious proceedings of earthly life and the nature of man’s religion, The Grand Machination, the brand new EP by American Death Metal band Construct Of Lethe, will fulfill your needs of well-written extreme music with a dense and meaningful storyline complementing all the reverberation and aggressiveness flowing from the instruments.

Although the band is based in the city of Woodbridge, located in Northern Virginia, in the United States, Construct of Lethe are an international musical collective representing both the simultaneous culmination and dissolution of numerous bands and projects such as Against the Gods, Bethledeign, Xaoc, Dead Syndicate and Pain Tank. Formed in 2010 by multi-instrumentalist Tony Petrocelly, the band released on the first day of 2016 their debut full-length album, entitled Corpsegod, but it seems Tony and his henchmen didn’t want to wait too long to provide their fans another blast of their technical and dark Death Metal, culminating with the release of The Grand Machination in the beginning of October. Featuring an obscure cover art by Paul Gerrard and with vocalist David Schmidt reinterpreting and perverting Mark Twain’s Letters from the Earth, The Grand Machination brings forward a fresh view of the story for the ones who have already read the book, and a fantastic introduction to anyone who’s in touch with it for the very first time.

In the opening track, titled Lux in Tenebris (“light in the darkness”), an ominous intro is joined by dark and heavy guitars before a demonic fusion of Death and Doom Metal impregnates the air, with Dave sounding like a poet from the underworld declaiming the song’s beautiful lyrics (“Embrace me Thanatos that I might fall / Seduce me Hypnos that I might lap the silver waters and forget / But lo, at his heel bone I stood shackled and forced to witness / My glass eyes were held open by another’s will”). In addition, veteran drummer Kevin Talley, who has already worked with renowned bands such as Suffocation, Six Feet Under and DevilDriver as well as underground bands reviewed by The Headbanging Moose like Omega Diatribe and ThrOes, makes sure his beats reach the perfect level of complexity and obscurity requested, enhancing the song’s impact on the listener.

construct-of-letheDeath and Doom Metal are then joined by hints of Black Metal mainly due to the blast beats by Kevin, consequently making the whole ambience even more frightful, in Ascendit Ex Inferos (“he ascended from hell”), with its lyrics reaching a whole new level of obscurity (“Hear uttered a child’s creation / Upon festering incantations carried with miasmic breath / Logic castration, a eunuch of natural order”). Furthermore, it’s Tony who steals the spotlight with his cutting riffs in this maleficent tune, supported by Patrick Bonvin and his excellent solos. Then it’s time for the entire band to increase their brutality and fire the most demonic of all songs, titled Apotheosis Calvarium, where Death and Black Metal are united in a putrid and menacing way and Patrick once again delivers his share of amazing guitar solos, while Dave is the devil incarnate on vocals just the way the concept of the album demands.

Expandentes Putrescat (“spreading rot”) is where Construct Of Lethe get truly blackened, an intricate composition showcasing bestial drums and flammable guitars, surrounded by a hellish atmosphere that goes on until the song’s eerie conclusion; followed by Bibere Venenum in Auro (“drink poison in gold”), a traditional Death Metal song with highlights to the grotesque growls by Dave and the barbaric aura crafted by Kevin behind his drums. Yet again, Patrick keeps firing his old school solos nonstop, adding more electricity to this dense and somber chant. Lastly, the title-track The Grand Machination brings more darkness to the listener with its melodious guitars and Doom Metal-inspired drumming. The second half of the song leans towards a crude mix of Black and Death Metal, with its neck-breaking riff accompanying Dave and his Stygian poetic growls as the proper conclusion to this disturbing album.

You can visit the band’s official Facebook for more details on their music, listen to their obscure Death Metal on their YouTube channel (where you can take a shot at the entire EP, by the way), and you can grab a digital copy of the album at their BandCamp page, which includes instrumental demo versions of two of the regular album songs with a Cannibal Corpse-inspired vibe as bonus tracks. In Letters from the Earth, there’s an excerpt about the Bible that says “it is full of interest. It has noble poetry in it; and some clever fables; and some blood-drenched history; and some good morals; and a wealth of obscenity; and upwards of a thousand lies.” Well, maybe we should say the same about The Grand Machination, adding to that the album’s excellent riff-writing and demonic ambience. I bet Mark Twain and Lucifer would both agree with us on that.

Best moments of the album: Apotheosis Calvarium and The Grand Machination.

Worst moments of the album: None.

Released in 2016 Edgewood Arsenal Records

Track listing
1. Lux in Tenebris 4:48
2. Ascendit Ex Inferos 2:42
3. Apotheosis Calvarium 5:26
4. Expandentes Putrescat 5:03
5. Bibere Venenum in Auro 3:16
6. The Grand Machination 4:13

Digital Edition bonus tracks
7. Apotheosis Calvarium (demo version) 2:12
8. Bibere Venenum in Auro (demo version) 2:15

Band members
Dave Schmidt – vocals
Tony Petrocelly – guitar, bass
Patrick Bonvin – lead guitars

Guest musician
Kevin Talley – drums

Album Review – Testament / Brotherhood Of The Snake (2016)

Posted on by
4

Join the Brotherhood of Thrash Metal spearheaded by one of the heaviest, most technical and most electrifying bands on the entire planet or die.

Rating1

testament_brotherhood-of-the-snakeRight after taking your first listen at Brotherhood Of The Snake, the eleventh studio album by American Thrash Metal servicemen Testament, you’ll realize what you have in your hands is a newborn metal classic. From start to finish, Brotherhood Of The Snake offers fans of both old school and modern Thrash Metal everything we love and crave in this type of music, from deep guttural vocals and supersonic blast beats to intricate and hellish guitar riffs and solos. And after Brotherhood Of The Snake, we can also say Testament brought into being a new first-class trilogy in heavy music, as all albums released after the band’s huge time off from studio in the early 2000’s, those being The Formation Of Damnation (2008), Dark Roots Of Earth (2012) and now Brotherhood Of The Snake, are beyond magnificent.

Featuring a menacing and classy artwork by Israeli artist Eliran Kantor, who has been working with Testament in all their releases since 2008, Brotherhood Of The Snake transpires pure Thrash Metal in all its 45 minutes of duration. Of course there are also their classic mid-tempo and slow, heavy tunes, but more than half of the album is comprised of high-speed thrashy material that will certainly ignite some demented mosh pits during their live concerts. Regarding the main concept of the album, Chuck has stated in one of his interviews that the album draws lyrical inspiration from the ancient astronaut hypothesis, namely through the Ancient Aliens television program. Furthermore, he said the title comes from the name of an ancient secret society (set up thousands of years ago by an alien named Ea or Enki, by the way).

The initial cavernous roar by Chuck in the title-track Brotherhood of the Snake is the epitome of the whole album, being barbaric, intimidating and thrilling at the same time. Moreover, the perfect riffs by both Eric Peterson and Alex Skolnick are mightily enhanced by the thunderous beats blasted by the juggernaut Gene Hoglan, making the lyrics sound even more meaningful in the end (“They’ve taken the tablets and hidden the scrolls / To deceive the ones they protect / The truth of creation, mutation of man / Entombed in the vatican walls”), with the song’s heavier-than-hell ending being just the icing on the cake. And it looks like their Thrash Metal onslaught has no time to end based on the amazing The Pale King, where it’s possible to savor the potent sound emanating from each instrument due to the crystal clear production of the album, in special the rumbling weapon carried by Steve Di Giorgio. In addition, Chuck treats us all with another of his flawless performances on vocals in this rhythmic and raw composition, something only a band like Testament can provide.

testament-2016Stronghold feels like a tribute to themselves and to the golden years of Bay Area Thrash, a fuckin’ kick-ass mosh pit-generator with bestial vocals and even more bestial backing vocals with the guitars by Eric and Alex penetrating our bones and lacerating our spinal cords mercilessly. In other words, this is a sonic orgasm for fans of fast and furious Thrash Metal from the 80’s, and I guess I don’t need to repeat myself and say it will sound absolutely perfect when played live. Following that thrashy storm, we have Seven Seals, showcasing beautiful guitar solos by Eric and Alex as well as intelligent and meaningful lyrics powerfully declaimed by Chuck, all embraced by heaviness to the second power, and it doesn’t matter if Gene is playing at full speed or if the song demands groovier and more rhythmic beats, he always delivers. And Born in a Rut, another groovy composition with fierce drums and a more serene (but also obscure) aura, concludes the first half of the album on a high note, perfect for enjoying a cold a beer while banging your head to another lesson in heavy music by Testament.

Another sensational hymn by Chuck and his unstoppable horde in undoubtedly Centuries of Suffering, where the dynamic duo Eric and Alex are once again on fire with their boisterous guitars, delivering riffs and solos that sound like if they were forged in the fires of the underworld. Not only that, what Gene does with his drum kit at around two minutes is truly impressive, increasing the song’s quality and ferocity to a whole new level. That guy is indeed a human wrecking machine. In Neptune’s Spear (a beautiful name for a first-class song), I can’t decide if the pounding drums by Gene or the blazing guitar riffs and solos by both Eric and Alex are the best elements of it, not to mention the aggressiveness brought forth by Steve and his unique bass sounds; whereas Black Jack is the ultimate soundtrack for an insane cards game “in the city of sin”, with its straightforward lyrics being boosted by its demolishing instrumental.

brotherhood-of-the-snake-boxset

Brotherhood Of The Snake Limited Edition Book Boxset

I’m neither pro nor against the theme explored in Canna-Business as I believe each one of us has the freedom to do whatever we want with our lives, and that’s why I want to focus on the music itself rather than on the discussion if that’s right or wrong. The whole song is evidently overpowering and electrifying, as expected in any composition by Testament, a high-octane chant with Chuck barking like a beast as well as providing some really deep vocals and vociferations. And lastly, The Number Game keeps the fire of Thrash Metal burning high and bright, with the performances by Chuck and Gene trespassing the frontiers of aggressiveness. No words can describe their awesomeness, especially the crazy beats and fills by Gene, therefore I suggest you simply go listen to it nonstop and don’t forget to break your fuckin’ neck headbanging to its brilliant hellish riffs.

There’s a series of videos on Nuclear Blast’s YouTube channel where Testament discuss each song of the album, their inspiration to write Brotherhood Of The Snake and the ancient alien theme, among other topics, like you can see for example HERE. I personally recommend you go watch those videos to get more involved with such an epic album, and of course if you’re planning on buying this instant classic just go for the Limited Edition Book Boxset, which includes the CD, the complete album on five brown 7 inch EP’s, an oversized 7 inch booklet, a 40×60 inch poster flag and a metal pin. Join the Brotherhood of Thrash Metal spearheaded by Testament, one of the heaviest, most technical and most electrifying bands on the entire planet or die. As simple as that.

Best moments of the album: Brotherhood of the Snake, Stronghold, Centuries of Suffering and The Number Game.

Worst moments of the album: Obviously none.

Released in 2016 Nuclear Blast

Track listing
1. Brotherhood of the Snake 4:14
2. The Pale King 4:51
3. Stronghold 4:00
4. Seven Seals 5:38
5. Born in a Rut 4:57
6. Centuries of Suffering 3:34
7. Neptune’s Spear 5:27
8. Black Jack 4:21
9. Canna-Business 3:47
10. The Number Game 4:38

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

Metal Chick of the Month – Heidi Shepherd & Carla Harvey

Posted on by
1
heidi_carla

Ladies and Gentlemen, children of all ages… Step right up and get your tickets to the greatest show on earth!

Love them or hate them, we all must admit that the two female metallers chosen to celebrate the third anniversary of The Headbanging Moose have a strong influence on contemporary Heavy Metal due to their unique (and aggressive) attitude, which obviously includes their sexy looks and fiery and chaotic music. They deal with their sexuality more naturally than we prepare a simple orange juice, and although some people might consider their work futile or even too obscene, let’s not forget that heavy music is above all things a form of art where artists can freely express their thoughts, ideals and beliefs through their compositions and, in many cases like for example in Black Metal, through their image. Besides, their music is a billion times better than anything Lady Gaga does, a woman who calls herself a true metal fan but in reality keeps playing second-class meaningless pop stuff. With that said, let’s raise our horns to frontwomen Heidi Shepherd and Carla Harvey, the dynamic duo responsible for the amusing blend of violence and rebelliousness bred by American Metalcore/Groove Metal band Butcher Babies.

Before we talk about each “butcher baby” in more details, let me provide you a short and sweet overview of this Alternative Metal band from Los Angeles, California in case you have never heard of them in your life. Formed in 2010, Butcher Babies probably have one of the most solid lineups in the history of heavy music despite being just a few years old. Apart from Heidi and Carla, the band is also made up by guitarist Henry Flury, bassist Jason Klein and drummer Chris Warner, all still playing together since the band’s inception and, based on how healthy their relationship is, that’s the way things are going to be for many years to come. The name of the band came from the song Butcher Baby by American Punk Rock band Plasmatics, spearheaded by the iconic singer, songwriter and actress Wendy O. Williams. Both Heidi and Carla acknowledge how important Wendy O. Williams was (and still is) for the increasing acceptance of women in heavy music, which is one of the reasons why they wear such eccentric attire during their live performances including wearing nothing but black tape over their nipples (albeit they’ve ditched it in recent years).

Despite their short period of existence so far, the band has already released the single Blonde Girls All Look The Same in 2011, the EP Butcher Babies in 2012, their first full-length album Goliath in 2013, another EP entitled Uncovered in 2014 and finally their most recent full-length album, Take It Like a Man, in 2015. You can have lots of fun with their music and sexiness in songs such as They’re Coming To Take Me Away, Ha-Haaa!, Igniter, Magnolia Blvd, Mr. Slowdeath, Dead Man Walking, I Smell a Massacre, Gravemaker and The Butcher, or you can simply enjoy their entire 40-minute performance at the always superb Graspop Metal Meeting in Dessel, Belguim in 2015. There are also tons of cool interviews with Heidi and Carla on YouTube, such as backstage interviews at Knotfest in 2014 and at Rockstar Mayhem Tour in 2013; their explanation for abandoning the nipple tape and covering up; a nice interview for Metal Hammer at Soundwave 2015 where they talk about hugging koala bears, fighting kangaroos and their adventures in Australia; an interview to German channel BunchTV in 2011 still with the nipple tapes; and a very relaxed interview to FeMetalTV in 2015.

HEIDI SHEPHERD

heidi01

Enough said already, now it’s all about the girls. Let’s begin with the sometimes blonde, sometimes red-headed hurricane Heidi Shepherd, the woman accountable for the high-pitched screams and growls for Butcher Babies. Born on April 17, 1985 in Utah, United States, Heidi is more than “just” a metal singer, being also a radio DJ, actress and casting director best known for the 2008 thriller Animals and the TV series MANswers, as well as minor parts and uncredited appearances in different shows such as My Name Is Earl, Ghots Whisperer and CSI: NY.

Heidi, who by the way is the oldest of 6 kids, grew up in Provo, Utah, the third largest city in the state and located around 43 miles south of Salt Lake City, where she attended Provo High School, graduating in 2003. Still in high school, believe it or not Heidi was an accomplished track and field athlete, even traveling to Russia to participate in the Junior Olympics. She also graduated from Southern Utah University, where once again she showcased all her athleticism participating in competitions such as high jump and long jump. Also, as a girl raised in the Mormon religion, Heidi has a very interesting view of the concept of Heaven and Hell, stating those are things the human being made up to make ourselves feel comfortable about the afterlife, something to give people a purpose and life goals.

In regards to her passion for music and how it helped her become a better person, our unrestrained vocalist said music was basically the only thing she could relate to in her childhood, having as her personal heroes distinct names such as Slipknot, Wendy O. Williams, Gwen Stefani and Joan Jett, most of them being females that defy the male dominance in music as you can see. However, it’s Slipknot, a top to bottom male band, who had the strongest influence on her vocal style and stage performance, saying when she saw a picture of them for the first time (she was around 12 or 13 only) it really scared her but intrigued her at the same time. Once a girl who developed an intense fear of the dark, Heidi learned to embrace fear and use it in her creative process through the years, something we can definitely connect to what Slipknot aim with their unique approach.

This slideshow requires JavaScript.

If you think she’s a party girl who doesn’t sleep at all and drinks every alcoholic beverage in sight, you’re absolutely wrong. Well, of course she always has her share of fun, but Heidi mentioned already in different interviews that if she doesn’t get enough sleep every night her live performances suffer a truly negative impact. On top of that, Heidi said that despite loving whiskey she can’t drink it on the road anymore, as the effect of the alcohol hurts her vocal chords, so she saves it for when she gets back home. If you’re a singer I’m sure you can relate to that, because you can be tired and drunk and still play a guitar, for example, but the impact alcohol can have on your vocals can be devastating without any doubt.

Lastly, as a lover of horror flicks and a believer of supernatural and paranormal forces, which in my opinion is an excellent source of inspiration for the type of music played by Butcher Babies, Heidi mentioned that among her favorite recent movies we can find titles like the new Evil Dead, V/H/S and V/H/S/2, You’re Next and The Purge, all pretty decent films with interesting storylines, don’t you think? And who knows, maybe it’s time for a slasher movie with a main female character named “Heidi the Butcher”, who not only chops and dismembers her victims, but does that screaming like a maniac while listening to some vicious heavy music. Or maybe it should be a sanguinary duo of Heidi and Carla? Read the rest of this essay and take your own conclusions.

Heidi Shepherd’s Official Facebook page
Heidi Shepherd’s Official Twitter
Heidi Shepherd’s Official Instagram

“There’s no reason why girls can’t get up there and rock just as hard as, if not harder than, the boys. And I’m so happy to say that I’m seeing a movement.” – Heidi Shepherd

CARLA HARVEY

carla01Of course Butcher Babies wouldn’t be complete without the charisma of the daredevil vocalist, author and actress Carla Harvey. Born on October 4, 1976 in Detroit, Michigan, United States, Carla is what we can call a very successful “experiment” as she is of Ethiopian, Finnish, Irish and Italian background, and her contribution to Butcher Babies comes in the form of hellish growls deeper than the screams by Heidi, endless energy on stage and some of the weirdest faces you can think of. Put differently, when Carla is performing with the band, she becomes a true female demon like Lilith, for example.

Carla attended Glenn Levey Middle School in Southfield, Michigan, before going to Mercy High School (an all-girl private Catholic school) and Harrison High School, both in Farmington Hills, Michigan. Her first job in Hollywood was as an Entertainment Reporter for the Playboy Channel, also taking part in several movies such as Frankenstein vs. the Creature from Blood Cove (2005), Happy in the Valley (2009) and Dry Run (2010), and other TV shows like Root of All Evil, Sex Chronicles and, just like her partner Heidi, MANswers. In addition, she took a break from the entertainment world to earn a degree in Mortuary Science from Cypress College in California, and worked as an embalmer and funeral director before forming Butcher Babies.

Our raven-haired (with some blue nuances) brawler said she’s been into music since she was a little kid, playing instruments like guitar and bass but always knowing she was born to be a singer. Her first appearance in a band happened when she was around 17 years old, but it wasn’t until Butcher Babies were born that she reached true stardom. Among her main influences, we can find kick-ass names like Slayer and Slipknot, with Slash and Jimi Hendrix being her personal heroes especially due to their roots. As a biracial girl growing in Detroit, seeing musicians that were also of African-American descent playing the music she loved was essential for her to keep pursuing her dreams and overcoming the odds imposed by society on her. Another huge influence on her vocal style and onstage performance in the one and only Phil Anselmo, the iconic frontman from Pantera and Down, who she has admired since she was a kid, highlighting how humble and easy-going he is as a person after finally being able to meet him on the road.

This slideshow requires JavaScript.

Heavily influenced by horror movies such as The Texas Chain Saw Massacre, House of 1000 Corpses and The Devil’s Rejects (these two directed by another one of her idols, Rob Zombie), Carla is also passionate about writing, drawing and reading comic books since she was a kid, something that helped her cope with loneliness as an introverted child, and from that fusion of horror flicks, comics and Heavy Metal she became a “comic book mastermind” according to Hustler Magazine. Her first comic book, entitled Butcher Babies (illustrated by Anthony Winn from Deepcut Productions), was released at the San Diego Comic-Con in 2011, followed by her first full-length novel Death and Other Dances in 2014, and more recently the comic series Soul Sucka, the story about an African-American vampire, in 2015. Carla is always drawing “naked girls” and other stuff, and if you’re interested in taking a look at her work you can visit her Big Cartel page.

And finally, just like what was written about Heidi in terms of drinking and partying while on tour, Carla also said drinking lots of water and hot tea is what truly helps keep her vocal chords moist, together with the obvious and necessary amount of sleep per night. However, she mentioned she also enjoys drinking Jägermeister as it coats her throat rather than drying it out. Although I’m a beer guy, I’m an admirer of Jäger too and I understand perfectly what she’s trying to say about the effect of this exquisite German digestif on your throat. If your job requires you to cut off alcohol, all you have to do is improvise and find other alternatives. And it looks like being creative and always trying new stuff doesn’t scare our roaring metal babe at all.

Carla Harvey’s Official Facebook page
Carla Harvey’s Official Twitter
Carla Harvey’s Official Instagram

“I wish, some day people stop using the female fronted this, female fronted that, because it always takes the focus away from the band itself, because you know, we are all just Heavy Metal bands, we are all doing the same thing.” – Carla Harvey

Butcher Babies’ Official Facebook page
Butcher Babies’ Official Twitter
Butcher Babies’ Official Instagram

Album Review – Charred Walls Of The Damned / Creatures Watching Over the Dead (2016)

Posted on by
1

A magnificent lecture in Heavy Metal by four high-skilled electrified beasts who need absolutely no introduction.

Rating2

coverSome people call American Heavy Metal band Charred Walls Of The Damned a “supergroup”, but in my opinion they’re a lot more than that. Formed in 2009 by the immensely talented drummer Richard Christy (Death, Control Denied, Iced Earth) after a five-year absence from the metal scene since leaving Iced Earth and joining The Howard Stern Show in 2004, and having the one and only Tim “Ripper” Owens (Judas Priest, Iced Earth, Beyond Fear, Winter’s Bane, Dio Disciples) on vocals, Jason Suecof (special guest musician and producer for Death Angel, Trivium, Kataklysm, Chimaira, DevilDriver and tons of other amazing bands) on guitar, and Steve Digiorgio (Testament, Control Denied, Death, Iced Earth, Sebastian Bach) on bass, Charred Walls Of The Damned go beyond the boundaries of almost all known “supergroups”, being an already established named in the world of heavy music and always delivering first-class material to metalheads all over the world.

If you have never heard their first two releases (their self-titled masterpiece Charred Walls of the Damned, from 2010, and Cold Winds on Timeless Days, from 2011), don’t waste any more time and go after them because those albums are definitely worth a shot, especially for fans of a high level intricacy together with sheer heaviness in music. And now, after almost five years waiting for more of the vigorous music by Charred Walls Of The Damned, Mr. Christy and his henchmen are finally back with another lecture in Heavy Metal entitled Creatures Watching Over the Dead, the third installment (all of them with beautiful names, by the way) by this band that’s a synonym to classy Heavy Metal and, unarguably, one of the best supergroups of all time, if not the best as they are for this guy that writes to you right now.

As soon as the serene intro in the opening track My Eyes explodes into pure Heavy Metal, Ripper’s voice starts penetrating deep inside your mind while the flawless beats by Richard crush your soul, proving how incredible this duo always sounds. We’re treated to the right amount of complexity and progressiveness in this outstanding composition, and don’t forget to check Richard’s drum demonstration for this song as it’s simply awesome. The Soulless, the first single of the album, has everything we love in traditional Heavy Metal. Fast and blazing guitars, a perfect drumming, rumbling bass lines and Ripper’s screams soaring as high as the sun make this demolishing fusion of Death, Thrash and modern Heavy Metal a newborn metallic classic, with its acid lyrics criticizing what’s happening with many of us in our modern but extremely toxic society (“I see you tripping into this electric world / As your brain melts into glass / Thoughts focusing upon a dark screen of deceit / A life that’s paid in full and wallowing in grief / Stepping through the mindless threshold / Now amongst the soulless”). Moreover, I have no words to say how good the guitar solo by Mr. Suecof is, it really gives me goosebumps every single time I listen to it.

It’s time to enjoy the acoustic lines by Jason and the smoother-than-usual vocals by Ripper before their demonic side arises in the dark power ballad Afterlife, presenting a dense musicality where the thunderous bass by Steve perfectly complements the crisp beats by Richard; followed by the best song of the album in my humble opinion, As I Catch My Breath. Gripping, groovy, atmospheric, powerful and inspiring are only a few adjectives we can use to describe it, with all four band members having outstanding performances showcasing all their skills in this classy hymn. Furthermore, it’s quite impossible not to sing the chorus along with Ripper and the guys, unless you’re absolutely not into metal music, of course. Slightly similar to the musicality from “Afterlife”, Lies brings forward a solid and potent sounding with hints of Power Metal, enhancing the epic vibe of the song. It’s another tune tailored for Ripper to shine with his enraged vocals, also presenting a soulful guitar solo by Jason that puts a beautiful end to such an awesome composition.

cwotd-2016Do you like what Ripper did with Judas Priest and Beyond Fear? If your answer is yes, Reach into the Light will put a humongous smile on your face. Its rhythmic drumming and cutting riffs provide Ripper exactly what he needs to fire his old school high-pitched screams, with all breaks and variations adding more flavor to this bestial composition by this incredible quartet. It truly amuses me how they can sound extremely aggressive and very harmonious at the same time, which is the case in another one of my favorites, Tear Me Down, displaying some electrifying vocals and guitar lines while Richard continues to impress on drums. Put differently, they get the best elements from their musical backgrounds and careers, and easily transform that interesting mixture into high-end metal music.

I personally recommend Living in the Shadow of Yesterday for your road trip playlist due to its pleasant rhythm, not to mention how good the crystal clear sound of drums is, as well as the song’s mighty bass lines. In addition, despite minimal, the song’s backing vocals end up working extremely well, and I guess I don’t need to say how tuneful all riffs and solos by Jason sound. Finally, the last sonic strike by Charred Walls Of The Damned, Time Has Passed, is a lesson in bass guitar by Steve. His instrument sounds insanely heavy, slapping the listener in the face pretty hard with each note played, which only gets better when accompanied by Richard’s groovy and furious beats and fills. When the song was over after my first listen to the album, it left me craving more Charred Walls Of The Damned. Well, it’s just a matter of going back to the beginning of the album and savor all songs again and again (something I’ve been doing nonstop since the album’s official launch).

Although there are no live dates scheduled yet for Charred Walls Of The Damned, I’m certain a tour to promote Creatures Watching Over the Dead will happen soon, and I truly hope they add a few Canadian dates to that. When that happens, you might notice Jason and Steve won’t probably join Richard and Ripper due to their other duties, but that’s not a big deal as the live musicians for the band include the also awesome Dennis Hayes (bass) and John Comprix (guitar) from Beyond Fear, as well as Matt Sorg (guitar) from Shed the Skin (check the review for their kick-ass debut album Harrowing Faith by clicking HERE). While we wait for a Creatures Watching Over the Dead tour, you can enjoy the entire album at the Howard Stern’s official website, and obviously purchase your favorite version of it at the Metal Blade Records’ website. More than just a metal album, Creatures Watching Over the Dead is a magnificent lecture in Heavy Metal by four high-skilled electrified musicians who need absolutely no introduction if you live and breathe heavy music.

Best moments of the album: The Soulless, As I Catch My Breath, Reach into the Light and Tear Me Down.

Worst moments of the album: None.

Released in 2016 Metal Blade Records

Track listing
1. My Eyes 4:30
2. The Soulless 4:03
3. Afterlife 2:53
4. As I Catch My Breath 5:03
5. Lies 3:31
6. Reach into the Light 2:39
7. Tear Me Down 3:50
8. Living in the Shadow of Yesterday 3:36
9. Time Has Passed 3:16

Band members
Tim “Ripper” Owens – vocals
Jason Suecof – guitar
Steve Digiorgio – bass
Richard Christy – drums

Album Review – Shed the Skin / Harrowing Faith (2016)

Posted on by
1

Not only an amazing tribute to the life of American musician Tom Rojack (R.I.P.), but also a lesson in old school Death Metal by five skillful veterans.

Rating4

shed-the-skin-album-coverFormed in 2011 in the city of Cleveland, Ohio, in the United States by longtime friends Kyle Severn (drummer from Death Metal legends Incantation) and Matt Sorg (guitarist for Ringworm, Charred Walls of the Damned, Blood of Christ and Beyond Fear, among others) after playing together in a tribute to old school band Blood of Christ at a memorial show for their friend Tom Rojack, who passed away in 1997, Death Metal quintet Shed the Skin are unleashing upon the earth their highly anticipated debut full-length beast entitled Harrowing Faith, following their 2014 7” EP Rebirth Through Brimstone. More than just an album, Harrowing Faith is a statement that proves the fire of traditional and brutal Death Metal is far from being extinguished.

And let me tell you that the name of the band, inspired by the track also named “Shed the Skin” from Blood of Christ’s 1993 four-song promo cassette simply titled Promo ’93, perfectly illustrates what the music by this old school Satanic Death Metal horde will inflict in you. Featuring a gory artwork by James “Human Furnace” Bulloch (Ringworm), Harrowing Faith transpires violence and bloodshed, with each one of its 12 compositions offering the listener the talent and aggressiveness of the band’s five Death Metal veterans in a little less than 40 intense minutes.

The obscure and atmospheric intro Plasmic Flames can be considered the calm before the storm in Harrowing Faith, because when the metallic riffs by Matt ignite the mosh pit-generator Daimonic Adytum all hell breaks loose. Moreover, lead singer and guitarist Ash Thomas (FaithXtractor, Vladimirs, Acheron) vomits his deep guttural like a maniac beast, enhancing even more the impact of this excellent Death Metal devastation. Then we have the title-track Harrowing Faith, a brutal havoc played at full speed where Kyle is absolutely on fire, providing more fuel for Ash to thrive with his demonic gnarls. Albeit very technical, it’s still absolutely raw and dark just the way we love in Death Metal, especially the demented sound of guitars the likes of Cannibal Corpse.

shed-the-skin-bandBlackened bells tow in a sensational demonic intro for the next tune, Putrid and Pious, as fast and aggressive as the previous tunes. The growls by Ash get deeper and deeper, with the album’s outstanding production and hints of Doom Metal taking the song’s pugnacity to a whole new level. A somber ambience grows in obscurity in Unbound Revenant, once again venturing through the realms of Doom Metal, in special the slow and steady drumming by Kyle, being perfect for fans of extremely Stygian music. Right after that doomed exhibit, a sick guitar solo kicks off a two-minute feast of sheer Death Metal entitled Warband Under the Baphomet, with highlights to its amazing vibe, fierce beats and a superb job done by both guitarists Ash and Matt as well as bassist Ed Stephens (Ringworn, Vindicator, Charred Walls of the Damned) with their lacerating strings. And the band keeps the album at a very high level of quality with the deranged composition CSUM, where not only guitars and drums are in total sync, but the hints of progressiveness added amidst all savagery also increase the overall quality of such hostile chant.

In Alpha and Omega, guitar noises grow in intensity and are violently joined by all instruments, generating total madness in the form of high-end Death Metal for the delight of diehard fans of the genre; followed by Cambion, where Ash sounds like a demonic ogre on vocals. Furthermore, this song shows that Death Metal doesn’t need to be played at the speed of light to be awesome, being as heavy as hell due to its amazing riffs and bass lines. There’s still more destruction to come, starting with Inhuman Accretion, a solid composition with demented guitar solos and endless savagery where Kyle is a stone crusher on drums as usual. The last regular song of the album, named Innermost Sanctuary, is very melodic and keeps up with the rest of the album in heaviness, but sounding slightly generic compared to the other songs, with the piercing guitars by Ash and Matt being its best element, whereas the hellish outro Execration Divine, showcasing the Phantom of the Opera-inspired organ by Brian Boston and the demonic guitar lines by Ash and Matt, puts an end to this lesson in Death Metal.

If you’re not yet familiar with the works and projects by each of the five Death Metal war dogs behind Shed the Skin, I suggest you go check their Facebook page, and in case you want to purchase this scorching gem of extreme music called Harrowing Faith simply visit the band’s BandCamp page or the Hells Headbangers Records’ BandCamp page. Wherever Mr. Tom Rojack is, I’m certain he’s truly honored with the final result that Kyle, Matt & Co. achieved with Shed the Skin, a tribute to his life and to all things Death Metal.

Best moments of the album: Harrowing Faith, Putrid and Pious and Warband Under the Baphomet.

Worst moments of the album: Innermost Sanctuary.

Released in 2016 Hells Headbangers Records

Track listing
1. Plasmic Flames 2:06
2. Daimonic Adytum 1:55
3. Harrowing Faith 3:10
4. Putrid and Pious 3:39
5. Unbound Revenant 4:05
6. Warband Under the Baphomet 2:01
7. CSUM 3:28
8. Alpha and Omega 4:44
9. Cambion 4:21
10. Inhuman Accretion 2:42
11. Innermost Sanctuary 4:04
12. Execration Divine 2:38

Band members
Ash Thomas – vocals, guitars
Matt Sorg – guitars
Ed Stephens – bass
Brian Boston – keyboards
Kyle Severn – drums

Album Review – Dystehist / Ad Divinvs Malvm Caro Factvm Est EP (2016)

Posted on by
Reply

And divine evil was made excellent music thanks to an up-and-coming Blackened Death Metal project hailing from the United States of America.

Rating5

dystehist-ad-divinvs-malvm-caro-factvm-est-coverFormed as a nameless experiment in 2011 by vocalist and writer Tzel (Tyranny Enthroned, Reject Christ), and after a few years of fluctuations, periodic hiatus, dissections and modifications, American Blackened Death Metal project Dystehist has finally reached its desired shape and form, culminating with the spawn of its debut EP this year entitled Ad Divinvs Malvm Caro Factvm Est, which would translate into English as “to divine evil made flesh”. Based on that name alone (and every time a band uses Latin to name their albums and songs) I guess you can have a very good idea of how devilish and heavy the music by Dystehist sounds, and if you’re a longtime fan of Extreme Metal you’ll surely have a good time enjoying the four visceral tracks found in this excellent album.

Hailing from the famous city of St. Louis, located in the state of Missouri, United States, Dystehist play what can be called “Luciferian Metal”, an artistic definition for their piercing blend of old school Black Metal with more contemporary Blackened Death Metal, or an evolution of extreme music that takes no prisoners and spreads vileness and blasphemy through each note played. Fans of Emperor, Behemoth and several other bands that are always pushing the boundaries of extreme music will instantly connect with Dystehist’s heaviness and thematic, not to mention the huge and auspicious room the band has for advancement taking into account this is just their first release ever despite already sounding like veterans.

The frist of the four songs, Avra Devolvat (or “aura unleashed”), brings forward the aggressiveness of Death Metal, in special the deep growls by Tzel, with the demonic approach of Black Metal, resulting in a well-balanced devastation perfect for slamming into the pit. In addition, its bestial but very technical drumming, together with the powerful performance by Cin with his guitar riffs and solos, ends up boosting the overall malignancy of the song. In Extasim Metv (“in the ecstasy of fear”) builds an instant bridge from the previous tune, with their blackened music growing in malice and profanity while Tzel gets extremely hostile, taking his growls to a deeper hellish level. Yet again, we witness a precise combination of technical Death Metal with the obscure sounding of Black Metal.

dystehist_logoAn ominous intro grows into an assault of Death Metal in Latria Vesani (“worship madness”), where it’s interesting to see the progressive elements added to the music, especially to drums, and when all instruments accelerate and get heavier the band reaches their most impactful sonority. Put differently, this is an amazing ode to darkness, or an excellent Extreme Metal composition full of breaks and variations for the delectation of all types of death and black metallers. Their last blast of Blackened Death Metal comes in the form of Mortvis Pax Ere (Avte Conqviescit), or “the peace of the dead (has been silenced)”, showcasing Tzel and Cin in total demonic sync, with Tzel’s desperate gnarls being effectively complemented by Cin’s demented guitar lines and the sharp bass lines by Ethom. Throughout the song’s almost nine minutes of hatred and despair, drums are played at times at the speed of light, alternating with more rhythmic beats and, consequently, generating an amazing and demolishing result in the end.

The devilish music by Dystheist can be better appreciated at their official Facebook page, and Ad Divinvs Malvm Caro Factvm Est can be purchased at their BandCamp page or at the Sepulchral Silence Records’ BandCamp page. It looks like the divine evil proposed by Dystehist was not only made flesh, but also excellent Blackened Death Metal music, and I can’t wait to see what Tzel and his horde will unleash upon humanity when their first full-length opus becomes a demonic reality.

Best moments of the album: Latria Vesani.

Worst moments of the album: None.

Released in 2016 Sepulchral Silence Records

Track listing 
1. Avra Devolvat 5:42
2. In Extasim Metv 5:47
3. Latria Vesani 7:15
4. Mortvis Pax Ere (Avte Conqviescit) 8:45

Band members
Tzel – vocals
Cin – lead and rhythm guitars, vocals
Ethom – bass (session)

Album Review – The Sound That Ends Creation / We Are The Burden (2016)

Posted on by
Reply

Get ready for 21 minutes of brutal and technical Grindcore that will crush your spinal cord mercilessly.

Rating5

the sound that ends creation - we are the burdenIf someone asks you to mention a good one-man or one-woman band in Heavy Metal, the first names that will come to your mind probably play raw and obscure Black Metal. I would say that’s the case in nine out of ten projects, but obviously there are also many excellent multi-instrumentalists generating interesting material in other ramifications of heavy music such as Death and Doom Metal, for example. However, I believe this will be the first time you’ll be facing a one-man army blasting a trenchant fusion of Grindcore and Metalcore, two subgenres of heavy music where you’ll usually find regular bands comprised of at least three members. I’m talking about The Sound That Ends Creation, the indomitable creature generated inside the mind of American musician Chris Dearing in which he plays all of guitar and bass, as well as performing vocals and programming drums.

Formed in early 2016 in the city of Allen, Texas, in the United States, The Sound That Ends Creation blends all main styles found in extreme music, those being Death Metal, Black Metal, Mathcore and even Sludge and Stoner Metal, together with the project’s core essence formed of unrelenting Grindcore. The result of that brutal fusion can be seen in We Are The Burden, the debut album by The Sound That Ends Creation that will crush your spinal cord mercilessly in its 21 minutes of uncompromised devastation. Do not expect any sign of happiness or positivity emanating from the music, but only sheer savagery perfect for slamming into the pit as expected from any good Grindcore band.

Chris comes barking like a rabid dog in the opening track, a two-minute technical Grindcore tune named The Complex, also blasting the first wave of heavy riffs and violent beats in We Are The Burden. Moreover, drums sound amazingly organic despite being programmed, which is also the case in Burn the Trees, Burn the Bark, a diabolical mix of Grindcore and Black Metal, with its guitar lines being as sharp as the Death Metal-inspired growls by Chris. It doesn’t matter if the music gets faster than a bullet or as sluggish and somber as traditional Doom Metal, the entire song kicks fuckin’ ass. And the distorted mind of Chris provides the listener another two-minute havoc overflowing anger and hatred entitled A Cyclical Dawn, with highlights to all its tempo changes, which in my opinion means a lot considering the fact this is a relatively short composition.

TSTECLOGOThe Fires Are Growing trespasses the boundaries of heaviness, almost feeling like pure old school Death Metal at times while also sounding extremely progressive, flowing to a lancinating ending before the most intricate composition of the album, Machinations Of Progress, brings forth chaos and harmony at the same time. Highly recommended for fans of complexity and fury in music the likes of old school Carcass, this is the perfect example of how our lone wolf is capable of sounding like many well-established Technical Death Metal bands even being by himself and having no support from any record label. And how about an atmospheric break titled Interlude before Chris’ onslaught returns? You better take that time off to breathe, because what he delivers in A Hollow Pine Box is simply awesome. Not only guitars are superb (as well as all rhythmic beats and breaks), but there’s also room for hints of Pantera and the low-tuned sonority of Stoner Metal, enhancing the song’s impact on the listener.

If you’re still alive after such level of devastation, there’s still more madness in the form of music for you. Pounding his guitar and bass, Chris offers more high-quality Death Metal and Grindcore in less than two minutes titled Bottom Feeders, followed by The Open Eye, where the high-pitched growling by Chris together with his deeper guttural brings more flavor to the overall result. And closing the album with a beautiful message about how cruel and heartless we can all be, Chris presents the extremely technical A Portrait Of Inhumanity, a brutal Death Metal assault with progressive notes where Chris has another visceral performance on vocals.

After listening to such an inspiring album, I suggest you all go get in touch with Chris and his electrified The Sound That Ends Creation at the project’s Facebook page, Twitter and YouTube channel, and if you love the demolishing sound of raw and technical Grindcore you can purchase We Are The Burden at The Sound That Ends Creation’s BandCamp page. Chris’ 21 minutes of ruthless and virulent music are definitely worth the investment, and by buying the album you will also help this talented artist in perpetrating the awesomeness and energy of the independent scene of extreme music.

Best moments of the album: Burn the Trees, Burn the Bark, The Fires Are Growing and A Hollow Pine Box.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. The Complex 2:06
2. Burn the Trees, Burn the Bark 2:18
3. A Cyclical Dawn 2:24
4. The Fires Are Growing 2:08
5. Machinations Of Progress 2:10
6. Interlude 1:13
7. A Hollow Pine Box 2:07
8. Bottom Feeders 1:38
9. The Open Eye 1:59
10. A Portrait Of Inhumanity 3:14

Band members
Chris Dearing – vocals, all instruments

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

Posted on by
2

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)

Posted on by
Reply

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)

Posted on by
3

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