The Headbanging Moose Show – Thursdays @ 20:00 UTC exclusively at Midnight Madness Metal e-Radio

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Attention, metalheads!

It’s time to rumble with THE HEADBANGING MOOSE SHOW every Thursday @ 20:00 UTC (with a reprise on Saturdays @ 19:00 UTC) exclusively at Midnight Madness Metal e-Radio, your London-based web radio blasting the best of heavy music nonstop 24/7!

Presented by Gustavo Scuderi, The Headbanging Moose Show will bring to you the cream of underground metal music, giving you a short and sweet background on every band played on the show. No silly jokes, no shenanigans… THIS IS PURE F****N’ METAL!

So remember, EVERY THURSDAY @ 20:00 UTC (with a reprise on Saturdays @ 19:00 UTC) tune into Midnight Madness Metal e-Radio to enjoy one hour of kick-ass underground metal from all over the world, courtesy of The Headbanging Moose!

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Don’t forget to follow The Headbanging Moose on Facebook to know beforehand which bands will be played on the show every week.

And if you want to have your new album reviewed at The Headbanging Moose AND played at Midnight Madness Metal e-Radio, simply get in touch with us through our CONTACT US page.

Album Review – Karkaos / Children Of The Void (2017)

As we’re all the children of the void, let’s raise our horns and bang our heads to the superb new album by one of the most reputable and celebrated metal acts hailing from the beautiful province of Quebec.

Founded by guitarist Vincent Harnois in the year of 2003 under the name Sinister Vengeance, Melodic Death Metal/Metalcore outfit Karkaos soon evolved into one of the most reputable and celebrated metal acts hailing from the stunning city of Montreal, located in the province of Quebec, in Canada. Melodic yet heavy, this unstoppable female-fronted band is unleashing upon the earth their brand new full-length installment, titled Children Of The Void, which features new frontwoman Viky Boyer, drummer Justine Ethier (Blackguard) and lead guitarist Samael Pelletier (Aeon’s Fall), and let me tell you that all these lineup changes were extremely positive to the band and to their sound, especially if you’re a fan of the music by bands such as Epica, In Flames, Children of Bodom, Arch Enemy and Amon Amarth.

Featuring an elegant artwork by the immensely talented Colombian artist and designer Marcela Bolívar, as well as collaborations with guest artists Lindsay Schoolcraft from Cradle of Filth and Morgan Lander from Kittie, Children Of The Void offers the listener a considerably different sonority from the band’s previous albums, the 2011 EP In Burning Skies and the 2014 full-length release Empire, sounding more symphonic, imposing and polished than before. “We have been working hard for a long time to be able to give you an album that combines beautiful melodies to our own symphonic signature, groovy and brutal riffs to intensity as well as catchy choruses”, comments the band’s mastermind Vincent about Children Of The Void, and let’s say his “summary” of the album was spot-on to depict all the beauty and aggressiveness found in its 12 amazing compositions.

The cinematic intro Babel leads us to the symphonic and metallic world of Karkaos before the explosive Skymaster hits us with heaviness and might from its very first second in a perfect fusion of the music played by Arch Enemy with Dimmu Borgir and Nightwish. Furthermore, pay attention to the precision of Justine behind her drums and to the song’s powerful chorus (“All hope is gone, I scream at heavens / This is not yet the end! / Brothers and sisters moan, I howl / Truth will prevail!”), as well as to the amazing Viky, who steals the show with her superb vocal performance. The following tune, Kolossòs, is a song tailored for breaking your neck in half due to the passionate vocals by Viky, its thunderous riffs and bass lines, and the infinite epicness that permeates the atmosphere. This is a newborn underground Melodic Death Metal classic showcasing mighty lyrics (“Kolossòs! The earth has spoken! / To the sun, you were reaching! / Kolossòs! The earth has shaken! / On the ground eternally, you’ll be laying!”) and the awesome guest vocals by Kittie’s Morgan Lander, as previously mentioned.

Let The Curtains Fall ventures through the realms of Symphonic Black Metal the likes of Dimmu Borgir, but with a more melodic twist thanks to the potent keys by Sébastien Belanger-Lapierre while Vincent and Samael add their share of heaviness to the overall musicality; whereas Pale, one of the fastest and heaviest of all songs, is a brutal composition by Karkaos where the colorful-haired Viky is absolutely on fire while the other band members deliver amazing metal music, in special Justine with her potent beats and once again Sébastien and his cinematic keyboards. And their onrush of epicness goes on in the title-track Children of the Void, which will inspire you for some intense headbanging due to its accelerated pace, with Vincent, Samael and bassist Eddy Levitsky (who recently left the band) blasting sheer electricity through their strings, all spearheaded by the unstoppable Justine.

Then it’s time for Rêverie, an epic bridge that rises in intensity and mystery until it reaches the form of the sensational Tyrants, a first-class Melodic Death Metal hymn with tons of symphonic elements to increase its obscurity and potency flawlessly delivered by all band members, with Viky beautifully growling like a she-demon, not to mention her also amazing clean vocals during the more melodic parts of the song.  And changing a bit their style and sonority, they offer a very interesting and gripping song named Where Mushrooms Grow, sounding very harmonious, melancholic and dense, perfect for singing along its catchy chorus with the band (“Fields of sorrow / Where mushrooms grow / All trees, all hollow / We reap what we sow / Fields of chaos / Where mushrooms grow / Fading as we cross / Forgetting what we know”). This is indeed a side of Karkaos I would love to see them exploring more in their future releases so captivating it sounds.

But the band obviously has more of their fast-paced metal to offer like what we see in Lightbearer, another solid composition showcasing beautiful vocal lines, thunderous riffs and bass lines and a rhythmic drumming. In my humble opinion, this song would sound simply superb with a full orchestra accompanying the band in the background, don’t you agree? Anyway, in The Beast, Vincent and Samael fire their cutting riffs while Sébastien is responsible for the epicness in the background, sounding highly inspired by contemporary Arch Enemy and The Agonist and also highlighting the excellent job done by Justine on drums, adding tons of intricacy to the musicality. Closing this amazing album of contemporary metal we have Bound by Stars, which sounds a bit generic and doesn’t keep up with the rest of the album, despite its purpose being to sound more complete and introspective than the other tracks. Nevertheless, there’s still a lot to enjoy in the song, such as the perfect vocal lines by Viky and the powerful performances by Justine and Sébastien with their instruments.

If you also consider yourself a “child of the void”, you can join Karkaos in their quest for Melodic Death Metal by following them on Facebook, listening to their fiery music on YouTube, and buy Children Of The Void at their BandCamp page, on Amazon or on CD Baby. Children Of The Void is undoubtedly going to be among the best releases of 2017 not only in Canada but also worldwide, and the band more than deserves that due to their commitment to their work and passion for melodic heavy music.

Best moments of the album: Kolossòs, Pale, Tyrants and Where Mushrooms Grow.

Worst moments of the album: Bound by Stars.

Released in 2017 Independent

Track listing
1. Babel 1:13
2. Skymaster 3:50
3. Kolossòs 4:32
4. Let The Curtains Fall 4:34
5. Pale 4:04
6. Children of the Void 4:45
7. Rêverie 0:59
8. Tyrants 4:26
9. Where Mushrooms Grow 4:19
10. Lightbearer 4:20
11. The Beast 4:20
12. Bound by Stars 6:49

Band members
Viky Boyer – lead vocals
Vincent Harnois – guitars, vocals
Samael Pelletier – lead guitars
Eddy Levitsky – bass
Sébastien Belanger-Lapierre – keyboards
Justine Ethier – drums

Guest musicians
Morgan Lander – additional vocals on “Kolossòs”
Lindsay Schoolcraft – backing vocals

Album Review – Eruption / Cloaks of Oblivion (2017)

Slam into the pit to the sound of the brand new album by five Slovenian thrash metallers who have always kept fast, guitar-based and infectiously melodic metal as their mission statement.

Formed in late 2004, Eruption are a Thrash Metal band from Ljubljana, Slovenia. Throughout the years, the band has always kept fast, guitar-based, and infectiously melodic metal as their mission statement, culminating in the releases of Lifeless Paradise in 2009 and Tenses Collide in 2012. These two full-lengths, accompanied by the 2014 EP Live Transmissions, saw the band explore classic machine-gun thrash riffing accompanied by the soaring melodic vocals and sci-fi musings of vocalist Klemen Kalin. The energetic blend of influences allowed the band to present its music in a dynamic, furious show that saw Eruption share the stage with names such as Nuclear Assault and D.R.I, perform on the main stage of festivals such as MetalDays and Underwall, as well as garner excellent live responses from Serbia to Germany.

Now in 2017 those Slovenian metallers return with their third full-length effort, titled Cloaks of Oblivion, aiming at expanding their musical range to include a darker edge the likes of Sanctuary, Helstar and Vicious Rumors, all the while never abandoning their original recipe for aggressive, precision-crafted Bay Area Thrash à la Forbidden and Testament. Displaying a kick-ass disquieting cover artwork by Romanian artist Alex Boca, the dynamic and electrifying Cloaks of Oblivion will certainly help Eruption reach new heights, which also means we can rest assured old school Trash Metal will keep shaking the foundations of our society for many years to come. In addition to that, just like other Slovenian bands such as Hellcats and ShadowIcon, Eruption are also helping carry the flag of their charming country everywhere they go, showing the world that although Slovenia is small in size, there’s an endless amount of hot heavy music flowing through its veins.

Many heavy bands like to provide us their version of a “calm before the storm”, like Eruption in the serene and melancholic intro Pharos, before sheer Thrash Metal hits us in Sanity Ascend, where guitarists Andrej Cuk and Grega Kamenšek begin their shredding attack while lead singer Klemen Kalin sounds like a thrashier version of Ripper Owens with hints of Joey Belladonna, nicely declaiming the song’s thoughtful lyrics (“Battling with the river of dreams / I’m lost in thought / Drowning in an intellectual stream / My mind adrift / The current carries me down to the sea of lunacy / By the waves of madness engulfed I can’t breathe / My lifeline’s been cut, no pharos in sight / I plunge into the darkness of my reflection”). In the title-track Cloaks of Oblivion a beautiful acoustic intro suddenly explodes into top-notch modern Thrash Metal, becoming a mid-tempo dark composition that reminds me of the great Forbidden. Once again, Klemen steals the spotlight with his vocal lines, with the gorgeous bassist Nika Krmelj and the talented drummer Ivan Cepanec bringing tons of groove to the overall musicality.

In Drones, the band puts the pedal to the metal in an ode to old school Bay Area Thrash, featuring slashing guitar riffs, spot-on backing vocals and infinite electricity. Hence, if they play this kick-ass tune live and you don’t crush your skull into the pit, I feel really sorry for your poor soul. Anyway, Reborn into Demise displays an imposing sonority crafted by Eruption bringing more flammable Thrash Metal for our avid ears, sounding like two songs in one due to the accelerated speed of its second half, and with the metallic bass by Nika together with the cutting sound of guitars by Andrej and Grega being beyond awesome. And the band has more devastating thrashing sounds to offer in the thrilling and very technical The Yearning, led by the band’s frantic guitar duo while Klemen keeps firing his demonic high-pitched screams.

A soulful solo ignites the obscure tune This Barren Existence, showcasing great lyrics (“Petrified I lost my speech / I can’t see my eyes are painted / Ruled by a voice that does not speak / I fear my mind is growing weak / Feel my spirit suffocating / The chords just keep coordinating”) despite the music itself never really taking off and going on for too long. The second to last thrashing hurricane engendered by Eruption, titled Seven Archons, brings more of their badass attitude and epic sonority featuring guest vocalist Simon Jovanović, with Ivan and Nika continuing to rumble in the background, therefore providing Klemen the exact ambience needed for his potent voice. Lastly we have The Prophet, which carries an old school name that matches perfectly with its  heavy, dark and straightforward sonority. Furthermore, its slashing riffs and headbanging rhythm are undoubtedly its main ingredients, with the music also exhaling epicness thanks to the poetic performance by Klemen on vocals.

You can take a nice shot at Cloaks of Oblivion in its entirety on YouTube or on Spotify, as well as follow Eruption on Facebook and purchase the album at their BandCamp page, at the Xtreem Music’s BandCamp or webstore, on iTunes or on Amazon. And may the force of old school Thrash Metal be with the Slovenian people forever and ever, thanks to the amazing music by Eruption.

Best moments of the album: Sanity Ascend, Drones and The Yearning.

Worst moments of the album: This Barren Existence.

Released in 2017 Xtreem Music

Track listing 
1. Pharos 1:25
2. Sanity Ascend 4:45
3. Cloaks of Oblivion 6:03
4. Drones 5:13
5. Reborn into Demise 6:14
6. The Yearning 5:23
7. This Barren Existence 6:00
8. Seven Archons 5:47
9. The Prophet 7:35

Band members
Klemen Kalin – vocals
Andrej Cuk – guitars
Grega Kamenšek – guitars
Nika Krmelj – bass
Ivan Cepanec – drums

Guest musicians
Simon Jovanović – additional vocals on “Seven Archons”
Anže Železnik, David Orehar, Matic Babič & Andrej Čuk – gang vocals

Album Review – Dö / Astral: Death/Birth EP (2017)

A cathartic 20-minute experience in the form of a concept EP inspired by things happening around us at this very moment, and the future that does not look that bright for mankind, brought forth by the Finnish propagators of “Dööm Metal”.

There’s a wicked phenomenon that has been happening once a year in the city of “Hellsinki”, Finland for the past few years, when a trio of ill-tempered creatures that goes by the uncanny name of  leaves their secret, somber den to unleash upon us mere mortals all their wrath and negativity in the form of raw Doom and Stoner Metal, or simply “Dööm Metal”, as christened by Dö themselves. It first happened in 2014 with the release of their self-titled EP, then again in 2015 with an EP titled Den, and once again in 2016 with the full-length Tuho. Now in 2017 it’s time for this eerie tradition (or perhaps I should call it an annual ritual) to strike us again with the release of their brand new scathing EP Astral: Death/Birth.

Featuring a minimalist but meaningful cover art by the band’s own guitarist Big Dog, Astral: Death/Birth brings all the traditional elements found in their previous albums without forgetting to move forward in their already solid career. “Over a year has passed since we released Tuho, and now we’re back with a brand new two song EP called Astral: Death/Birth. It’s a concept EP inspired by things happening around us at this very moment, and the future that does not look that bright for mankind. The songs were recorded live during one session at our rehearsal den, as we wanted to capture the intensive live feeling and maintain their roughness. The tracks are basically individual, but we highly recommend you to enjoy Astral: Death/Birth as one cathartic 20 minute experience”, said the band about the album. I guess I don’t need to say more, right? Just relax and join Dö in their doomed astral voyage of life and death, feeling every second of their coarse sounds penetrating deep into your mind.

One interesting fact about the EP is that the band itself has already provided their own “review” of each one of the two songs. According to Dö, the first track of the EP, titled Astral Death, is “a song that’s heavy as the burden we carry with us when scuffing towards the inevitable end”, and let’s say they’re spot-on with their description of this tune perfect for breaking your already damaged neck into pieces. The distorted guitar lines by Big Dog, together with the damned drums by Joe E. Deliverance, kick off this beyond obscure Doom Metal hymn, before reaching a sluggish, heavy feast of demonic riffs that flawlessly support the hellish raspy vocals by Deaf Hank. Moreover, Big Dog blasts one of his traditional guitar solos while Deaf Hank shakes the earth with his ominous bass, resulting in a thrilling thunderstorm of sounds.

“A cosmic rebirth in form of a song. Starts as calm, mantra-like levitation, until it transforms into vicious, unstoppable force of nature.” Those are their words to describe the metallic extravaganza titled Astral Birth, where their demented sounds intoxicate the air throughout the song’s 12 minutes of melodious Doom and Stoner Metal. Deaf Hank and Big Dog align their strings powerfully, while Joe fires his steady and rhythmic old school beats. The vocals never get too harsh in the beginning, sounding arcane and hypnotizing, but that lasts for only around four minutes. After a gripping display of dark music, the band’s demonic vein arises again with Deaf Hank gnarling in a bestial way, being effectively complemented by the song’s tribal beats, wicked distortions and pure psychedelia, with all those sounds and noises invading our ears until the song’s harrowing ending.

The full EP is already available for a detailed listen on YouTube and on Spotify, and you can always keep updated with all things Dö through their Facebook page as usual. And, of course, you can support the most villainous power trio of the entire Scandinavia by purchasing Astral: Death/Birth through their BandCamp page or on iTunes. Now that their yearly rite of “Dööm Metal” has been successfully consummated, it’s time for Dö to spread their damned sounds across the earth with their live performances before they get back to their lair and start working again on new material, for the delight of admirers of obscure, sluggish and low-tuned music.

Best moments of the album: Astral Death is my favorite of the two songs, but Astral Birth is also pretty amazing.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Astral Death 7:46
2. Astral Birth 12:16

Band members
Deaf Hank – vocals, bass
Big Dog – guitar, backing vocals
Joe E. Deliverance – drums, backing vocals

Concert Review – Iron Maiden (Budweiser Stage, Toronto, ON, 07/15/2017)

On a pleasant summer day in the city of Toronto, over 18,000 metalheads had a beautiful time screaming, singing, jumping up and down, raising their horns and “climbing like a monkey” to the flammable music by the unparalleled Iron Maiden.

OPENING ACT: Ghost

As opposed to last year’s Iron Maiden concert at the Air Canada Centre in Toronto, when it was freaking cold and a snow blizzard covered the city and made driving a true nightmare, this Saturday the weather couldn’t be more perfect, with a temperature close to 30 degrees in a sunny day, resulting in another memorable night for all Maidenmaniacs that attended the concert at the always amazing Budweiser Stage (which used to be called Molson Canadian Amphitheatre). You could see in the eyes of the fans that everyone was in a great mood, probably because they spent the whole day getting ready for the concert, drinking beer, enjoying a nice BBQ or simply listening to Iron Maiden while getting tanned by the nice afternoon sun. And besides, everyone would have the whole Sunday to recover before returning to work on Monday (unless you were also seeing Metallica on Sunday, but that’s a different story).

It was around 7:30pm when the opening act hit the stage, Heavy Metal blue-eyed boys GHOST, who for some reason are deeply loved by most musicians, but not as much by fans of metal music. Even Metallica’s James Hetfield himself was at the venue watching the performance by Papa Emeritus III (also known as Tobias Forge) and his nameless ghouls. Anyway, this was my second time seeing Ghost, once again opening for Iron Maiden as in 2014 in the Czech Republic, and this time was way better than the first, I must admit. Papa Emeritus III was more dynamic on stage, more communicative and less “stuck” to the pope gimmick. A considerable amount of fans that were at the venue enjoyed their performance, singing together with the band songs like Ritual, Year Zero and Absolution, and as their performance wasn’t too long I guess not even the most diehard fan of Iron Maiden got bored with Ghost.

Setlist
Masked Ball (Jocelyn Pook song)
Square Hammer
From the Pinnacle to the Pit
Ritual
Cirice
Year Zero
Absolution
Mummy Dust
Monstrance Clock

Band members
Papa Emeritus III (Tobias Forge) – vocals
Nameless Ghouls – all instrumentalists:

  • Fire – lead guitarist
  • Ether – rhythm guitarist
  • Water – bassist
  • Wind – keyboardist
  • Earth – drummer

IRON MAIDEN

Finally, after over one year (and another cold winter), it was time for Toronto to scream one more time for the one and only IRON MAIDEN, this time during their The Book Of Souls World Tour 2017, the second leg of their majestic tour promoting their 2015 masterpiece The Book Of Souls. The setlist was pretty much the same as last time, except for Tears of a Clown being replaced with The Great Unknown, and the saddest change of all time, Hallowed Be Thy Name being replaced with Wrathchild due to a legal dispute with retired rock band manager Barry McKay, who is taking Steve Harris and Dave Murray to court over the song. Barry claims Hallowed Be Thy Name reproduces major parts of a song titled “Lying in my Shadow”, written by musician Brian Quinn (under the name Brian Ingham), and because of that Iron Maiden couldn’t play one of their most beautiful and powerful classics during their 2017 tour.

That didn’t stop Bruce Dickinson, Steve Harris & Co. to kick ass one more time on stage for the delight of over 18,000 metalheads at the Budweiser Stage, blasting as usual a well-balanced mix of old school songs and newer compositions. Fans were already pumped up during the classic “Doctor Doctor” intro, exploding into sheer ecstasy when Bruce appeared at the top of the band’s Mayan-inspired stage to ignite their “ritual” with the initial spoken words of their new classic If Eternity Should Fail. After that it was an avalanche of hits played to perfection with Bruce interacting with the crowd all the time, while Steve was unstoppable with his galloping bass and Janick seemed as if he was high on something so electric his performance was. And I guess I don’t need to say how awesome Adrian, Dave and Nicko were with their instruments, right? There was only one minor issue with Bruceç mic, which kept failing a little once in a while, but nothing that could harm such sensational concert.

In my humble opinion, the best sequence of the night started with the classic Children of the Damned, where Bruce gave his already traditional speech about most of the fans not being born when the song was written and, for the ones born in 83 or 84, they might be the true “children of the damned”, conceived when the song was written in 82 (as Bruce mentioned, your parents had sex at least once in their lives!). After such stylish composition, the band invited all of us to fly with them and “fight” the Red Baron in the high-octane Death or Glory, with Bruce and his monkey mask enticing us to “climb like a monkey”, a fun move he started last year that became sort of mandatory every time they play this song. And the stunning sequel went on with the 13-minute hymn The Red and the Black, with all fans jumping up and down and singing the “Oh-oh oh-oh-oh! Oh-oh oh-oh-oh!” parts along with Bruce, followed by one of my top Maiden songs of all time, The Trooper, where guess what? It was time to burst our lungs again screaming the song’s famous “Oh oh oh oh oh oh oh oh oh!” together with the band. And closing their killer sequel, the imposing Powerslave, which almost made me blind with its initial flames as I was quite close to the stage.

The newer songs like The Great Unknown and the epic The Book of Souls (where Eddie had his heart “ripped out” by Bruce) kept their momentum going, making everyone even more excited for their final batch of unparalleled classics such as Iron Maiden, The Number of the Beast (with the stage fires making us literally burn), and Wasted Years. However, it was their 2000 creation Blood Brothers that really stole the show, with all fans signing its heartening lyrics together with the band, after Bruce’s inspiring intro where he spoke about how diverse and welcoming the city of Toronto is, and how there shouldn’t be no differences among us all, as we’re all blood brothers. What a brilliant performance of such amazing tune, I have to say! One of the best I’ve seen live together with the one from Rock In Rio III in 2001. As Bruce said close to the end of the show, Iron Maiden are far from being done, and they’ll return to Toronto with more of their unmatched metal music in a not-so-distant future. Needless to say, all 18,000 fans at the concert Saturday are more than eager for that without a shadow of a doubt. It doesn’t matter if it’s a hot and sunny day like this Saturday or if it’s in the middle of a cold winter, we all know that Iron Maiden’s gonna get us all.

Setlist
Doctor Doctor (UFO song)
If Eternity Should Fail
Speed of Light
Wrathchild
Children of the Damned
Death or Glory
The Red and the Black
The Trooper
Powerslave
The Great Unknown
The Book of Souls
Fear of the Dark
Iron Maiden

Encore:
The Number of the Beast
Blood Brothers
Wasted Years
Always Look on the Bright Side of Life (Monty Python song)

Band members
Bruce Dickinson – lead vocals
Steve Harris – bass
Dave Murray – guitar
Adrian Smith – guitar
Janick Gers – guitar
Nicko McBrain – drums

Album Review – Prometheus / Consumed In Flames (2017)

Let’s get consumed by the flames created by a fantastic Hellenic power trio who masterfully combined Black Metal with a more esoteric form of Death Metal, sounding at the same time devastating, provoking and true to the foundations of extreme music.

After a terrible motorcycle accident involving two members of the band, Hellenic black/death metallers Prometheus are finally reborn with their first full-length album, titled Consumed in Flames, a creation that is the result of discipline and persistence. Combining traditional Black Metal with a more esoteric form of Death Metal, the album is, according to the band, “characterized by its speed and the original way of changing forms inside the songs.” Highly influenced by Scandinavian Black Metal bands such as Emperor, Thorns and Limbonic Art, as well as the Death Metal by Morbid Angel, Consumed In Flames is a flaming example of high quality Black Metal art, being at the same time devastating, provoking and true to the foundations of extreme music.

Founded in 2004 by guitarist and bassist Esophis in the city of Thessaloniki, located in Central Macedonia, Greece, and having already released the demos Beyond the Cosmic Twilight in 2006, Cosmogenesis Inferno in 2007 and Upon the Promethean Throne in 2013, Prometheus not only blast fierce and dense Black Metal through their instruments, but their lyrics are also a very important piece of their compositions, being inspired by ancient Hellenic mysticism, history and religion, the philosophy of war, death and transcendentalism. While listening to Consumed In Flames, be prepared to be embraced by the band’s unrelenting, dark musicality, and when the album is over you’ll certainly realize you’ve just experienced one of the best Extreme Metal albums from the past few years (and you’ll go right back to the beginning of the album again and again, without a shadow of a doubt).

And this Hellenic horde begins their demonic feast of old school Black Metal with Death Metal vibes from the very first second of the opening track, The Disgusting Tongues, a full-bodied aria of darkness where the deep guttural by Aggelos is effectively complemented by the guitars by Esophis and the bestial drums by Nodens, also presenting an epic background due to the synths by Qsnc. With a classic name like Hand of War, the music in the following tune had to be extremely violent, dense and obscure, or in other words, a gripping Blackened Death Metal extravaganza the likes of Behemoth, with Esophis simply blasting pure hatred through his guitar and bass while Nodens sounds like a stone crusher on drums. There’s not a single second of peace found in the entire song, and that says a lot about how powerful the music by Prometheus can be.

Moving on with Prometheus’ astounding symphony of darkness we have Seth, a wicked instrumental bridge showcasing acoustic guitar lines and a truly menacing atmosphere, setting the tone for the epic aria Vulture All Black, one of the darkest and most exciting Black Metal compositions of the past couple of years. Aggelos, Esophis and Nodens are in their most demonic mode, delivering an intricate sounding highly recommended for lovers of the darkest side of extreme music, with its Dimmu Borgir-inspired keyboards being a thing of beauty. After such brilliant sonic torment, this Greek power trio gets faster, heavier and more menacing in Prometheus Rising, as if Behemoth went full Black Metal, with Nodens delivering his most insane performance of the album while Aggelos continues to vociferate like a demonic entity. Put differently, you can feel their devilish power growing inside you while listening to such blackened tune.

Prometheus are absolutely on fire in another spawn of furious Extreme Metal entitled Hatesworn, where Aggelos is the beast incarnate on vocals supported by Esophis with his old school Black Metal riffs and the classy, demolishing beats by Nodens. Furthermore, in the last two minutes of the song we’re treated to a devastating feast of Black and Death Metal, including an amazing solo by Esophis, just to make things even more epic. The title-track Consumed in Flames, a vicious onslaught led by the Stygian drumming by Nodens and the deeper-than-hell guttural by Aggelos, showcases a mid-tempo sonority with its Black Metal core essence rumbling stronger than ever, not to mention that its lancinating riffs and extremely aggressive ambience will crush you mercilessly. And lastly, closing the album in great fashion we have an instrumental version of Hand of War, where you can enjoy the thunderous and piercing sounds of each instrument in detail.

Let’s all get consumed by the Hellenic flames created by Prometheus in their superb new album by following them on Facebook and by purchasing Consumed In Flames through the Katoptron IX Records’ Big Cartel. Such masterpiece deserves to be admired by all of us metalheads who love extreme sounds with dense melodies and a grandiose background, and Prometheus simply nailed it in each one of the eight tracks found in Consumed In Flames, proving once again how fantastic the underground metal scene is in one of the most fascinating countries in the world.

Best moments of the album: The Disgusting Tongues, Vulture All Black, Prometheus Rising and Hatesworn.

Worst moments of the album: Absolutely none. This album is a lecture in extreme music.

Released in 2017 Katoptron IX Records

Track listing
1. The Disgusting Tongues 6:49
2. Hand of War 5:20
3. Seth (Instrumental) 2:23
4. Vulture All Black 9:18
5. Prometheus Rising 6:04
6. Hatesworn 6:57
7. Consumed in Flames 6:58
8. Hand of War (Instrumental) 5:20

Band members
Aggelos – vocals
Esophis – guitars, bass
Nodens – drums
Qsnc – synthesizers

Album Review – Virulent Depravity / Fruit of the Poisoned Tree (2017)

Technical Death Metal cannot get more intense, complex and devastating than what Tennessee-based guitarist, bassist and vocalist Colin Butler and his henchmen have to offer in their debut full-length album.

If you’re an admirer of the most technical form of Death Metal, you’ll be excited to know that Virulent Depravity, the brainchild of Nashville, Tennessee-based guitarist, bassist and vocalist Colin Butler, have just released their debut full-length album, a lesson in dexterity and devastation named Fruit of the Poisoned Tree, and that the final result goes beyond the boundaries of awesomeness. Featuring a classic artwork by American designer Justin Abraham (Apotheosys, A Loathing Requiem, Engulfed in Blackness), the album will appeal to fans of Spawn Of Possession, First Fragment, Archspire, Origin, Necrophagist, Deeds of Flesh, Decrepit Birth and tons of other Death Metal acts who unite the words “finesse” and “ravage” in the most electrifying and precise way imaginable.

Formed In 2015, Virulent Depravity might be a new name to many in the world of Death Metal, but its band members are far from being rookies in the fields of extreme music. The impressive musical abilities by Colin attracted the attention of well-known guitarist Malcolm Pugh (Inferi, A Loathing Requiem), who joined the band in 2016 on rhythm guitar and additional solos. Furthermore, the line-up is rounded out by Svart Crown drummer Kévin Paradis, whose incredible playing is the perfect foil to Colin and Malcolm’s dazzling performances, resulting in additional layers of complexity, speed and energy added to the already flammable music by Virulent Depravity, as you’ll be able to thoroughly enjoy in Fruit of the Poisoned Tree due to the album’s fantastic mixing and production.

Colin and Malcolm begin their technical shredding attack in the brutish but still very harmonious Serpentine Messiah, a perfect sample of modern Technical Death Metal where the beastly Kévin provides intricate beats and fills that complement all guitar and bass lines flawlessly, not to mention the sick guitar solo by guest musician Mark Hawkins. After such amazing start, how about a modernized and more metallic version of Cannibal Corpse, titled Spineless Obedience, a demolishing anthem tailored for slamming into the pit? The violent and fast growls by Colin effectively follow the song’s frantic riffs and beats, and once again it’s impressive how demented Kévin sounds with his beats. And their insanity in the form of extreme music goes on with another belligerent creation named Your Demise, where Colin and his bandmates deliver a precise fusion of fury and complexity, sounding more demonic than ever.

Blasting sheer violence through their riffs and solos, Colin and Malcolm have an outstanding performance in Desecrating Eden, while Kévin continues his maniacal onrush behind his drums (not to mention the song’s beyond technical ending), followed by the title-track Fruit of the Poisoned Tree, which not only maintains the intricacy at an absurdly high level, but it brings even more aggressiveness due to the amazing job done by Colin with his deranged gnarls and Kévin with his sick drumming. Put differently, no one can survive such apocalyptic tornado of Technical Death Metal. And guess what? In the next tune, named Bad Drug, they don’t waste a single second with intros or other shenanigans, firing pure Death Metal played to perfection, with its visceral lyrics complementing the song’s already vile musicality (“You’re so sick / You’re infecting the weak / You’re making excuses for all your mistakes / You waste of skin / You remind us all / No matter how high we become / We crash to the ground / You’ve had the devil inside you / You’ve been carrying scars for most of your life / Until finally you found a way to push it down”), also featuring an awesome guitar solo by guest musician Nick Padovani.

Colin definitely knows how to canalize all his hatred and wrath into his unstoppable growling as we can witness in Beyond the Point of No Return, an uproarious chant with progressive elements added to its musicality, in special to its extremely elaborate bass lines and vicious drumming. Then we have Only Human, where we face a calmer intro not seen in any of the previous songs. Although it takes a while for the music to take off, it fairly succeeds in keeping the album at a high level of violence; however, it doesn’t sound as exciting as all previous songs, even with its interesting progressive break and the great guitar oslo by guest musician Craig Peters. Back to a more demonic and rabid mode, Colin once again leads his horde growling like a beast in Mechanized Defilement, while Kévin adds so much intricacy to the musicality with his beats and fills it’s hard to explain in words. The song also features another kick-ass solo by another guest guitarist, this time Elijah Whitehead, resulting in a song that is excellent for some sick headbanging, slamming into the pit or simply enjoying its complex lines. Lastly, in Crushed by Futuristic Filth, we’re treated to a short atmospheric intro before all hell breaks loose in a majestic display of extreme music featuring absolutely mighty lyrics (“Sitting atop my throne of flesh and bone / My power is absolute / My subjects are waiting idly / Their silence is deafening / Embalmed in trash and kerosene / At once triumphant and disgusting”), obscure Latin chants by guest vocalist Nathan “Sounds” Bounds, a soulful guitar solo by guest musician Sims Cashion, a moody Jazz-ish break thanks to the keys by Jimmy Pitts, and a wonderful climatic ending on the piano also provided by Jimmy.

Why don’t you go to YouTube and take a very good listen at Fruit of the Poisoned Tree in its entirety? I’m sure you’ll get stunned by the precision with which Colin, Malcolm and Kévin blend melodious lines with total chaos. Then simply go to Facebook to start following such amazing band, and purchase the album at their BandCamp page, at The Artisan Era Records’ BandCamp or webstore (where you can choose between the regular CD or the special CD + T-shirt combo), on iTunes or on Amazon. Trust me, Technical Death Metal cannot get more complete and intense than this.

Best moments of the album: Serpentine Messiah, Fruit of the Poisoned Tree and Crushed by Futuristic Filth.

Worst moments of the album: Only Human.

Released in 2017 The Artisan Era Records

Track listing   
1. Serpentine Messiah 4:38
2. Spineless Obedience 4:01
3. Your Demise 4:02
4. Desecrating Eden 6:13
5. Fruit of the Poisoned Tree 4:01
6. Bad Drug 3:42
7. Beyond the Point of No Return 3:33
8. Only Human 7:48
9. Mechanized Defilement 6:05
10. Crushed by Futuristic Filth 7:41

Band members
Colin Butler – vocals, guitar, bass
Malcolm Pugh – lead & rhythm guitar
Kévin Paradis – drums

Guest musicians
Jimmy Pitts – keyboards on “Desecrating Eden” and “Crushed by Futuristic Filth”
Mark Hawkins – guitar solo on “Serpentine Messiah”
Nick Padovani – guitar solo on “Bad Drug”
Craig Peters – guitar solo on “Only Human”
Elijah Whitehead – guitar solo on “Mechanized Defilement”
Sims Cashion – guitar solo on “Crushed by Futuristic Filth”
Nathan “Sounds” Bounds – guest vocals and Latin chants on “Crushed by Futuristic Filth”

Album Review – Divine Element / Thaurachs Of Borsu (2017)

In the hostile lands of Borsu, witness the passage of a soldier through various levels of consciousness about the reality of war, human society and the fabric of the cosmos itself, all embraced by the fury and epicness of Melodic Death and Black Metal.

A comeback that has been slowly brewing since a few years now. Formed in 2002 in the city of Athens, Greece, Melodic Death/Black Metal act Divine Element was the first band of Spectral Lore’s multi-instrumentalist Ayloss and vocalist Antonis, releasing their self-titled debut album back in 2010. After a hiatus of almost seven years, Divine Element are finally back with the stunning Thaurachs of Borsu, the first chapter in many future ones to come under a new and ambitious conceptual undertaking, the combination of metal with fantasy literature and world-making. Featuring a classy artwork by Chilean artist Matias Trabold Rehren, Thaurachs of Borsu is based on the same-titled novel written by Ayloss, which will be unveiled not long after the album release (to be followed by short stories from Antonis), set on a medieval fantasy universe envisioned by the band.

Thaurachs of Borsu chronicles the passage of a soldier through various levels of consciousness about the reality of war, human society and the fabric of the cosmos itself, as the gritty and daring warriors of his nation, Borsu, fight to regain their ancestral homeland from a much more powerful enemy. Musically speaking, the album ties together several styles of metal to serve the higher purpose of epic storytelling, albeit taking notice to never fall into the typical clichés of “soundtrack metal”, keeping an old-school approach mostly centered around Death and Black Metal of the heavy, melodic variety. Put differently, after hitting play you’ll find yourself wandering through the lands of Borsu, ready for battle and eager for some blood, banging your head nonstop to the majestic heavy music played by Antonis and Ayloss, with the precise and masterful support of German drummer Hannes Grossman (Alkaloid, Hannes Grossman, Shapeshift) to make their sound even more enthralling.

A Realignment With Destiny is a fantastic epic intro to the battle that’s about to come, the title-track Thaurachs Of Borsu, where Antonis and Ayloss begin their crushing onslaught in total sync with the Amon Amarth-inspired beats by Hannes. In other words, this is superb metal music, dense and profound, with all instruments filling all spaces with sheer aggression and might. In addition, how not to fall in love for those monumental lyrics (“The valley folk to the mountains’ slopes withdrew / Surrounded only by unwrought stone / The sea lords to the dry desert driven / Οswan roams frenzied in a soundless plain / Mestyr hangs discouraged with a rusting blade / And all hearts bellow in a silent wailing / A resignation to oblivion”)?

In Onto The Trail Of Betrayal, Antonis’ potent deep growls keep rumbling the earth while the instrumental pieces invest in a more Black Metal sonority. Moreover, the intricate beats by Hannes go along flawlessly with the cutting riffs by Ayloss, resulting in eight minutes of the best underground Melodic Death and Black Metal you can get anywhere, where they not only play superior music but the story being told is also a work-of-art. Then in Beyond This Sea we’re treated to a calm and melancholic start before the sound of the sea and the guitar lines blend in a beautiful manner, creating a potent atmosphere for the metallic sounds that are about to come. Adding elements of Blackened Doom and Folk Metal to their menacing Melodic Death Metal, the result couldn’t sound more imposing and appealing, with highlights to how vocals and guitar follow the exact same lines.

The movie-inspired bridge Interlude (The Point Of No Return) sounds even more majestic than the album’s intro, warming up your fighting soul for the crushing Call Of The Blade, a gripping fusion of the music played by Amon Amarth with traditional Folk Metal, with Antonis sounding like a beast on vocals, enhancing the impact of the song’s already powerful lyrics (“The land speaks to me in an alien tongue / Though my blood was born in these shores / What will I find, if I dig to unearth these roots / The echo of old thoughts faints quickly here / As the collective energy rises triumphant / Powered by the fiery will of a few”). Traitor’s Last Stand is another belligerent tune by Divine Element, showcasing almost eight minutes of heavier-than-hell riffs, electrifying passages and enlivening breaks. Furthermore, Hannes brings a high dosage of intricacy to the overall musicality with his drumming, while Antonis keeps telling the story with precision and passion through his anger-fueled growls. The last part of the song exhales epicness, gradually morphing into the cinematic outro Augury For A Shapeless Future, where the gorgeous sound of a rough ocean, together with the orchestrations in the background, make it the perfect climatic ending for the album.

No words can describe with the right amount of detail how amazing Thaurachs Of Borsu is, which is why I highly recommend you go take a listen at the album in its entirety HERE, and also visit the band’s official Facebook page for more information and their YouTube channel for more awesomeness in the form of heavy music. Also, there are several locations where you can purchase Thaurachs Of Borsu, such as Divine Element’s BandCamp, the I, Voidhanger Records’ BandCamp or webstore, and the Season of Mist’s webstore, as well as on Amazon and at Discogs. And while we wait for the next chapter in the career of Divine Element, we have plenty to enjoy and absorb in this superb album where heavy music and a thrilling story-telling couldn’t be more connected, impactful and vibrant.

Best moments of the album: Thaurachs Of Borsu, Beyond This Sea and Call Of The Blade.

Worst moments of the album: None.

Released in 2017 I, Voidhanger Records

Track listing   
1. A Realignment With Destiny 2:13
2. Thaurachs Of Borsu 4:52
3. Onto The Trail Of Betrayal 7:45
4. Beyond This Sea 4:54
5. Interlude (The Point Of No Return) 1:30
6. Call Of The Blade 6:34
7. Traitor’s Last Stand 7:36
8. Augury For A Shapeless Future 2:39

Band members
Antonis – vocals
Ayloss – guitars, bass, synths

Guest musician
Hannes Grossman – drums (session)

Album Review – Eli van Pike / Welcome to My Dark Side (2017)

Welcome to the dark and melodic world of Gothic Metal, Neue Deutsche Härte and Industrial Metal ruled by three outstanding musicians who will certainly fuel your inner passion for industrialized sounds.

Combining the best elements of Gothic Metal, Neue Deutsche Härte and Industrial Metal, creating their own identity and remaining true to a tougher musical line, German-American Industrial Metal entity Eli van Pike is releasing its debut album Welcome to My Dark Side, comprised of ten unique compositions with its lyrics being in both German and English, often representing a mirror of the abysses of the human psyche. Not only is this new project highly recommended for admirers of the music played by renowned acts such as Rammstein, Eisbrecher, Oomph! and Lindemann, but it’s also a very interesting option for newcomers who are always seeking for darker sounds with a strong melodic vein.

Formed in 2016 by German musician Thorsten Eligehausen (Schandpfahl, Cradle Of Haze) together with German multi-instrumentalist Marc Vanderberg (Devil May Care) and American singer Ken Pike (Firesphere), therefore the name Eli van Pike, composed of parts of the names of the band members, the project debuted in 2016 with the singles Even Heros Fall and Tears of War, getting in the focus of the Gothic and Industrial Metal scene. In 2017, after releasing an EP titled Herzschlag, it’s time for Thorsten and his crew to reach new heights with their debut full-length album, and I’m sure you’ll find yourself singing, dancing or simply banging your head to most of the songs of the album due to its high level of electricity and feeling.

And the eccentric Eli van Pike begin their industrialized attack on a high note with the Teutonic hymn Made in Germany, with the keys by Thorsten together with the brutal riffs by Marc forging a fierce and pleasant Industrial Metal sounding, also presenting a great balance between the clean vocals by Ken and the deeper growls by Thorsten. Herzschlag, or “heartbeat” in German, a powerful Neue Deutsche Härte hymn with the heaviness from guitars and drums being boosted by the song’s old school keyboards, transpires a Rammstein-inspired vibe, in special through the obscure vocals by Thorsten, but it’s in the next song that their metallic vein gets to a whole new level of insanity. Faster and crazier (but still very melodic), the thrilling 1-2-frei is pure Neue Deutsche Härte, with the addictive guitar lines by Marc being the icing on the cake of such industrialized hymn.

Although it’s hard to “accept” a ballad in an Industrial Metal album, World on Fire kind of works well: it might not the best ballad in the world, but its solid instrumental and decent lyrics make it a lot more enjoyable. Back to a much harder and more obscure sonority, Tears of War is exciting from start to finish, with the German words vocalized by Thorsten darkening the music even more while Marc keeps kicking ass with his riffs and Ken once again brings epicness to the overall result with his passionate vocals. Slowing down a bit, the band offers us One Last Rose, a fusion of Industrial Metal with 80’s Gothic Rock and Metal, hence presenting all the elements of a dark hit, with highlights to the song’s melodic vocals in sync with its piercing synths, followed by Peter, 41,  another industrialized composition that will rock the hell out of you. Moreover, Thorsten sounds simply amazing with his cryptic, deep voice, while Marc continues to add electricity and groove to the music with his strings.

The title-track Welcome to My Dark Side is a fantastic display of modern and fresh Neue Deutsche Härte, offering the listener heavy sounds mixed with gentle vocals and sharp keyboards, also showcasing a Dark Metal aura in the background the likes of Moonspell. After such amazing display of dark music, Eli van Pike’s blackened, mechanized attack goes on with a frantic creation entitled Amen, bringing forward three minutes of Stygian vocals by Thorsten supported by the slashing riffs by Marc. In other words, this is another one of their songs that will certainly put people to dance at an underground metal party. However, instead of closing the album with such magnificent tune, the trio ventures through the realms of acoustic ballads in Valentine’s Day, and let me be honest with you, in my humble opinion acoustic guitars should never be used in any Industrial Metal album under any circumstances. It’s not that the song is bad, but it’s completely disconnected from the rest of the album, sounding like filler in the end. Maybe with some electronic elements in the background this western-ish ballad could have been more enjoyable, or at least more in line with the concept behind Eli van Pike.

Anyway, despite this slight lapse of electricity, overall Welcome to My Dark Side is a damn good album taking into account the fact that the band has been together for just a short period of time. In case you want to know more about the project, go check their Facebook page and listen to their music on YouTube or Spotify, and buy Welcome to My Dark Side on BandCamp, at the darkSIGN-Records’ webstore, on iTunes, on Amazon or on Qobuz. And always remember, you’re welcome to join the dark side of Industrial Metal created by Eli van Pike any time, a project so compelling it will definitely fuel your inner passion for industrialized sounds.

Best moments of the album: 1-2-frei, Tears of War, Welcome to my Dark Side and Amen.

Worst moments of the album: World on Fire and Valentine’s Day.

Released in 2017 darkSIGN-Records

Track listing 
1. Made in Germany 4:10
2. Herzschlag 3:45
3. 1-2-frei 2:54
4. World on Fire 4:02
5. Tears of War 4:57
6. One Last Rose 3:40
7. Peter, 41 3:34
8. Welcome to My Dark Side 3:17
9. Amen 2:59
10. Valentine’s Day 2:28

Band members
Thorsten Eligehausen – vocals, keyboards
Marc Vanderberg – guitars, drum & bass programming
Ken Pike – vocals

Album Review – In a Testube / Immigration Anthems (2017)

Embark on the alternative voyage proposed by four skillful musicians from Greece, full of contrasting and groovy sounds, modern day-inspired lyrics and an energetic attitude.

With live appearances in a multitude of festivals and cities across Greece, Greek Alternative Metal act In a Testube has already shared the stage in their career with influential artists of the local and international scene such as Devil Wears Prada, Rotting Christ, Jane Doe and Need. Fans have described the band’s music as an amalgam of different styles, approaching the soundscape of Korn, Nine Inch Nails, System Of a Down, A Perfect Circle, Alice in Chains and Gojira, with the occasional inclusion of experimental touches which fuse American alternative styles to the more melodic approach of European artists.

Hailing from the city of Thessaloníki, In a Testube were conceived as a group in 1999 by friends and producers Dennis Konstantinidis and Theo Arabatzis, who together recorded a demo during the summer of that same year. The band even built a studio for the recording and production of their debut album Eleven, which took place between May 2005 and January 2006. Now in 2017, with a solid lineup comprised of Dennis Konstantinidis on vocals and guitar, Panos Papadopoulos on guitar, Petros Kabanis on bass and Konstantinos Mentesidis on drums, In a Testube are releasing an entertaining album of fresh metal and rock music entitled Immigration Anthems, featuring a clever artwork designed by guitarist Panos himself (who’s also known as “PeeAy”) and nothing less than thirteen compositions full of alternative and groovy sounds, modern day-inspired lyrics and an energetic attitude by all band members.

“God made man in his own image.” It’s with these words that the band kicks off the opening track, entitled Believe, slowly building the music by adding element after element until it reaches its final rockin’ rhythm and electrified vibe, with Dennis bringing some rebelliousness to the musicality with his raspy vocals. Sounding more contemporary and alternative, In the End is a mid-tempo Rock N’ Roll composition where the bass lines by Petros and the steady beats by Konstantinos dictate the rhythm; followed by C.I.C.O., the acronym for “Change Is Coming On”, a song about the need to change the way we do everything (“Tell me one thing / what could get worse? / It feels like we are cursed / with this darkness in you / the more, the worse is for you / No one showed us the line / and we are screwed big time / with the things that we do / I feel I have to change”). It’s definitely darker and heavier than the previous tunes thanks to the metallic riffs by Dennis and his bandmate Panos, as well as the always sick low-tuned bass by Petros. And blending modern Hard Rock with alternative elements in the background like what bands such as Dommin usually do, Hey Lilly showcases a great job done by Dennis in his personal “talk” with a woman called Lilly.

In Cloc, one of the heaviest of all songs, we face metallic riffs spiced up with hints of progressiveness, sounding at times like Gojira and Mastodon, with Petros and Konstantinos kicking ass in the band’s “kitchen” while Dennis enhances his aggressiveness on vocals. The radio-friendly tune Limitless begins with an eerie narration before getting truly alternative and electrified, drawing influences from bands like Korn and Linkin Park, with highlights to the precise performance by Dennis on vocals; whereas in Together as Two a promising start suddenly flows into a generic formula that doesn’t know if it’s a ballad or an Alternative Rock song. In other words, its instrumental parts are relatively well-engendered, but the song never really takes off. However, in Lucky Thirteen we’re treated to an eccentric atmosphere and tons of alternative elements added to the musicality, and just like “Limitless” this is a song perfect for some radio exposure, with Konstantinos leading the rhythm with his groovy and potent beats.

This talented Greek quartet keeps delivering top-tier Alternative Rock and Metal through their precise beats and heavy but melodic guitars in Many Things (and after listening to it you’ll have to agree they’re a “hit machine”), but it’s when they get more metal like in Flying Away that they thrive even more. It’s another tune with hints of Progressive Metal, presenting amazing guitar and bass lines, as well as the once again kick-ass beats by Konstantinos. Digital Eyes is a slow-paced, dark creation by In a Testube with the bass by Petros sounding menacing, reminding me a little of some contemporary songs by Metallica in regards to its rhythm, therefore bringing a fresh taste to the album in special due to its beautiful ending. In Slipping Away, the longest and most progressive of all tracks, the band blends elements from Groove Metal and Alternative Rock in a solid way, going from smooth and modern passages to hardcore growls and potent riffs, not to mention Petros’ awesome bass punches and the song’s crazy and innovative last part, morphing into the outro Mythu, which nicely wraps up the musical journey offered by the band.

You can embark on the modern and alternative voyage proposed by In a Testube by following them on Facebook and listening to their music on YouTube or ReverbNation, and purchase Immigration Anthems (which can be enjoyed in full HERE) through the New Dream Records’ webshop, on iTunes or on Amazon. These guys love what they do, they love good music, and it’s just a matter of time until several radio stations not only in Greece but all over the world begin blasting their solid creations through our speakers, no doubt about that.

Best moments of the album: C.I.C.O., Cloc, Flying Away and Digital Eyes.

Worst moments of the album: Together as Two.

Released in 2017 New Dream Records

Track listing
1. Believe 3:30
2. In the End 3:31
3. C.I.C.O. 4:28
4. Hey Lilly 4:14
5. Cloc 5:52
6. Limitless 5:33
7. Together as Two 5:11
8. Lucky Thirteen 4:13
9. Many Things 4:02
10. Flying Away 4:30
11. Digital Eyes 5:48
12. Slipping Away 6:52
13. Mythu 3:30

Band members
Dennis Konstantinidis – vocals, guitar
Panos Papadopoulos – guitar
Petros Kabanis – bass
Konstantinos Mentesidis – drums 

Guest musician
Nikos Magnisalis – Kavali solo on “Digital Eyes”

Metal Chick of the Month – Marjolaine Bernard

Behind shivering drops of my soul… Dancing under a dry sky the void’s pouring inside…

Let’s take a flight to Paris, the capital and most populous city of France, where among several activities and attractions you can visit the Eiffel Tower, the Louvre Museum and the Notre Dame Cathedral, or simply find a traditional French café on the famous Avenue des Champs-Élysées to enjoy a nice, traditional croissant. If you’re a metalhead, there are also some excellent metal pubs and venues for you to go, such as Le Black Dog, James Hetfeeld’s and Le Cavern, and if you’re lucky enough you might enjoy a live concert by Wildpath, a female-fronted Symphonic Power Metal band formed in Paris in 2001 where, since 2008, our metal chick of the month has been giving life to their lyrics. I’m talking about French vocalist Marjolaine Bernard, a very talented and young musician who will certainly attract the attention of fans of melodic female voices like Floor Jansen and Tarja Turunen.

Born on June 4, 1983, Marjolaine started in the world of music at a very young age, first with the piano, then by joining a choir after watching a children’s concert, and since then she has never stopped singing. Furthermore, our French girl has been singing metal for a long time, being part of different small independent bands as a teenager and being clearly inspired by names like Floor and Tarja. However, Marjolaine stated that, despite Floor and Tarja (among other renowned vocalists) still being a reference to her, they’re not necessarily what she listens to nowadays and she doesn’t see herself as a Symphonic Metal singer, but just as a musician among other musicians trying to work with her voice in the best way possible, always in line with the music being played.

Marjolaine and her bandmates from Wildpath draw inspiration to create their music from several distinct sources, from electro to reggae, from metal to ambient music, like a giant melting pot. Furthermore, she mentioned she loves movie scores and soundtracks, being highly influenced by amazing composers such as Hans Zimmer and Danny Elfman, also getting ideas from music from video games. She said that metal is a style where you’re allowed to let go with musical expressions and experimentations, and that’s the path that’s being constantly explored by the band in recent years. Forging elements from rock, metal, electro, folk, symphonic and traditional music, always caring for harmony and energy, Wildpath are a band in continuous evolution, and Marjolaine’s voice is exactly what the music needs to become more lively and appealing, as you’ll see below when we talk about her career with the band.

However, before Wildpath, there was Ad Vitam Aeternam, which is Latin for “To (or Towards) Eternal Life”, a Melodic Gothic Metal band formed in 1999 in Paris with whom Marjolaine played until 2005. She recorded the album Abstract Senses with Ad Vitam Aeternam in 2004, that being the only official release by the band since their inception. You can take a listen at the entire album HERE, or also enjoy individual songs from the album such as Dementia and In The Throes of Apocalypse, always paying attention to how different the music style by Ad Vitam Aeternam was from Wildpath, which only shows how versatile Marjolaine is as a vocalist.

It was in the year of 2008 that she finally joined Wildpath, which as already mentioned was formed back in 2001 by keyboardist Alexis Garsault and guitarist Olivier Caron in Paris, having released their debut album Nyx Secrets in 2005 (without Marjolaine on vocals, obviously). After Marjolaine became the lead singer for Wildpath, the band released three full-length albums, Non Omnis Moriar in 2009 (which by the way had its name inspired by the Odes by Roman lyric poet Horace and means “I shall not all die” or “not all of me will die”), Underneath in 2011 and Disclosure in 2015, as well as a very special release featuring acoustic versions of tracks from previous albums in 2016, titled Still – Acoustic Live Experience. You can get a very good taste of how smooth and tuneful Marjolaine’s vocals are in songs such as Petrichor, The Raven, Absentia, Confined and Excinere, listen to the entire albums Disclosure and Underneath, enjoy the acoustic versions from Still for the songs Everlasting Wish and Unborn, or also have fun with Marjolaine and the others with two live “studio” versions for the songs Buried Moon and Secret’s Case.

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If you prefer Wildpath live in front of a bunch of metalheads, I recommend this 2012 version of Buried Moon and Dive live at Le Grand Rex in Paris during the IronSquid StarCraft 2 World Championship Finals, as well as Non Omnis Moriar live in Eloyes, France in 2010; Unborn and Ghost Memories live at Le Divan Du Monde in Paris in 2015; or even this full concert  in 2012 during a mini-festival named Metal Symphonic Quest II in Tours, a city located in the centre-west of France. The festival also had the bands Adrana, Lost Opera, Roman Rouzine The Tria and Eidon, but it was Wildpath who headlined the night. And if you think you need to go all the way to France to watch Wildpath live, you’re wrong, as in 2016 the band played their first gig in the UK at The Quinphonic Festival 2 at The Roadhouse Birmingham. How far do you think Marjolaine and Wildpath can go?

As a guest musician, Marjolaine was part of the only album released by French Melodic Heavy/Power Metal band Silent Fall, entitled Otherwise, from 2010, doing choir vocals in the whole album and main female vocals on the song This Could Have Been. If you’re curious to know how she was invited to be part of the album, the answer is quite simple. Olivier Caron, Wildpath’s own guitarist, was also the lead guitarist for Silent Fall, making it a lot easier for Marjolaine to add her vocals to their music in an effective and exciting way.

When asked about her favorite song of all time, including all types of music and eras, her answer was quite unique, citing the classic Sanvean: I Am Your Shadow (or simply Sanvean) by the iconic Australian musical project Dead Can Dance, featured on their first official live album Toward the Within, released in 1994, an album that contains 15 songs, of which only four appeared on their previous albums. Sanvean was later re-recorded by one of the masterminds behind Dead Can Dance, Lisa Gerrard, on her 1995 solo album The Mirror Pool. In regards to heavy music, her first rock album was the classic Angels Fall First, the debut studio album by Finnish Symphonic Metal band Nightwish. With cult songs such as Elvenpath, Beauty and the Beast and Astral Romance, it’s easy to understand why Marjolaine fell in love for Symphonic Metal, right?

Marjolaine was also questioned about her favorite or best moments as an artist, and albeit she said there have been already lots of amazing memories with Wildpath, one of her favorite experiences was a concert with a “quatour” (a special form of string quartet that developed in Paris around 1775 and became one of the leading genres of Parisian music until the French Revolution) and a choir at La Scène Bastille, saying that seeing a symphony coming alive was truly fantastic. In addition, she also listed as one of her favorite moments when the band played with French progressive guitarist Patrick Rondat, and lastly the band’s famous performance in 2015 at Le Divan du Monde.

As previously mentioned, among her main influences we’ll find names such as Floor and Tarja, with Floor in particular being a huge inspiration for Marjolaine as she’s one of the few contemporary female singers who can combine lyrical songs with very dynamic rock vocals in a precise manner. However, out of the metal and rock scene, her favorite singer is Lisa Gerrard, who apart from her work with Dead Can Dance was also responsible for several other renowned projects, including a Golden Globe Award for the music score to the film Gladiator, on which she collaborated with Hans Zimmer.

Another interesting fact about Marjolaine is that her stage outfit is created by one of her students, who proposed to create special clothes tailored for their live performances, working with the band’s colors and adding her own personal touch to the creations. That stylist is from a company called Le Paon, a new brand from the independent French scene. Marjolaine and the stylist collaborate with each other in the creation of the outfits, first discussing new ideas orally and then working together on drawings and other details, until the stylist begins working on the whole realization of the clothes. One of her first new looks debuted at the concert at Le Divan du Monde in 2015, and in her opinion it was already a great evolution from her previous costumes.

Lastly, when asked about places or regions she would like to play with Wildpath, Marjolaine answered she would love to go to Brittany (a cultural region in the north-west of France) because she has family there, or also other French cities such as Lyon. Outside of France, she mentioned Belgium, Switzerland and Luxemburg as countries she would love to visit with her band, as well as other more distant places like Japan and South America, but that the high cost of playing in those places make the trip almost impossible, at least for now. It’s interesting that she didn’t mention the United States or Canada on her list, two major markets for heavy music, in special our French-speaking province of Quebec here in Canada. Well, let’s hope she just “forgot” to mention Canada, and that one day we have the pleasure of seeing Wildpath kicking ass live in our home and native land.

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