Album Review – Kantica / Reborn in Aesthetics (2018)

Binding Heavy and Power Metal sounds to the orchestral parts of classical music, here comes a promising Italian act with their very melodic and symphonic debut full-length album.

Raised from the ashes of a band named Keeper of Time (which by the way was originally called Guardian of Time when it was created back in 2012), Italian Symphonic Metal act Kantica was born around 2014 from the idea of guitarist Matteo “Vevo” Venzano, who searched for musicians to start a band where they could bind Heavy and Power Metal sounds to the orchestral parts of classical music.  After many lineup changes and a shift from male to female vocals, this Savona, Ligury-based band finally changed its name into Kantica in April 2016, reaching a stable lineup the following year and consequently getting into gear for the release of their debut album in 2018, titled Reborn in Aesthetics.

After the recording of the album, Kantica suffered another lineup change with drummer Daniele Barbarossa leaving the band, being immediately replaced by the young and talented Tiziana “Titti” Cotella. Titti now joins frontwoman Chiara Manese on vocals, Andy “K” Cappellari and Vevo on the guitars, Fulvio De Castelli on bass and Enrico Borro on keyboards, aiming at spreading their heavy and symphonic music born from the fusion of different styles, backgrounds and experiences from the band’s current and former members. In Reborn in Aesthetics (which by the way features an array of guest musicians such as Fabio Rinaudo on bagpipes and Stefano Pellegrino on cello), not only the band successfully achieves their main goal, but they also put the charming port city of Savona on the map of Melodic and Symphonic Metal.

The cinematic intro (Re)Born Unto Aestheticism transports us to the epic world ruled by Kantica, with Fascination of the Elements bringing a fast and furious start that quickly morphs into pure Symphonic Metal led by the beautiful voice by Chiara and the flammable guitars by Andy and Vevo. Then, getting to an even more symphonic sonority led by the band’s former drummer Daniele Barbarossa and his precise beats, the band enhances their epicness and electricity in And Then There Was Pain, with Chiara stealing the spotlight with her potent vocals. And presenting hints of Folk and Epic Metal (which boosts the flavor of the band’s classic Symphonic Metal) we have Hellborn Lust, showcasing a great job done by both Andy and Vevo on the guitars as well as Enrico with his whimsical keys.

Enrico continues to mesmerize us with his keys in another powerful tune by Kantica, titled Albatross, where Chiara’s voice sounds fantastic once again, not to mention Daniele and his kick-ass fast-paced drums. In order to makes things even more flavorful, the band offers us a gentle break before returning with their full-bodied sonority, with Andy and Enrico delivering excellent solos until the song’s finale. In R.E.M. State, operatic elements in the background make the music even more epic and impactful than usual, with Enrico, Andy and Vevo, together with Fulvio on bass, creating a wall of sounds with their strings; followed by From Decay to Ascension, another song with a Folk Metal vibe without losing the band’s core symphonic essence. Put differently, this is a movie score-inspired creation by Kantica where Chiara embellishes the ambience with her passionate vocal performance once again.

Illegitimate Son brings a Nightwish-like sonority, presenting all elements fans of the genre enjoy such as rhythmic drums, melodious riffs and strong female vocals, with adrenaline and passion flowing throughout the entire song which, in the end, makes it one of the top moments of the album without a shadow of a doubt. And speeding up their pace, Kantica awes us all with Psychological Vampire, a full-bodied shredding feast-like song with Andy and Vevo being absolutely on fire with their axes, also with Chiara increasing her vocal reach, culminating in a truly inspiring performance by our Italian diva. The second to last song in Reborn in Aesthetics, named Lovecide, is an interesting power ballad by Kantica, displaying pounding drums and a dark and ethereal atmosphere, with the music flowing smoothly from start to finish thanks to the excellent guitar lines by both Andy and Vevo. And closing the album there’s more first-class Melodic and Symphonic Metal for our avid ears in the form of a song titled Mescaline, with its solid and steady musicality being complemented by eerie sounds and elements in the background, captivating our attention while Enrico and Andy have a short and sweet solo duel.

You can take a full, detailed listen at Reborn in Aesthetics on Spotify, keep up-to-date with everything Kantica on their Facebook page, and grab your copy of such excellent display of symphonic and melodic music on the Revalve Records Big Cartel, as wel as on iTunes or on Amazon. After listening to Reborn in Aesthetics, it seems that after all lineup changes Kantica have finally reached their desired shape and form, providing fans of Symphonic Metal a well-balanced and fun alternative hailing from the Italian underground scene, and let’s hope the magic crafted by Kantica goes on for years to come with more top-tier releases like their debut installment.

Best moments of the album: Hellborn Lust, Albatross, Illegitimate Son and Psychological Vampire.

Worst moments of the album: None.

Released in 2018 Revalve Records

Track listing
1. (Re)Born Unto Aestheticism (Instrumental) 1:14
2. Fascination of the Elements 5:55
3. And Then There Was Pain 4:23
4. Hellborn Lust 4:23
5. Albatross 4:59
6. R.E.M. State 4:42
7. From Decay to Ascension 3:10
8. Illegitimate Son 5:10
9. Psychological Vampire 5:00
10. Lovecide 5:11
11. Mescaline 5:13

Band members
Chiara Manese – vocals
Andy “K” Cappellari – lead guitars
Matteo “Vevo” Venzano – rhytm guitar
Fulvio De Castelli – bass
Enrico Borro – keyboards
Tiziana “Titti” Cotella – drums*

Guest musicians
Fabio Rinaudo – bagpipes
Michel Balatti – tin whistle, flute
Stefano Pellegrino – cello
Mattia Fenoglio – percussion

* Drums recorded by Daniele Barbarossa


Album Review – Mors Subita / Into the Pitch Black (2018)

Exploring a darker-than-usual path in their brand new album, this Finnish squad has all it takes to become a reference in modern and aggressive Melodic Death Metal.

Formed in 2000 in Oulu, a city located in central Finland, Mors Subita (Latin for “sudden death”) play what can be called “Aggressive Modern Melodic Death Metal”, having released since their inception two demos, two EP’s and two critically acclaimed full-length albums, the first titled Human Waste Compression, in 2011, and the second titled Degeneration, in 2015, which peaked at number 26 on the official Finnish album charts. Now after three years of touring and recording, the band comprised of Eemeli Bodde on vocals, Mika Lammassaari (Eternal Tears of Sorrow, Wolfheart) on guitars and backing vocals, Mika Junttila on bass, and Ville Miinala (Thyrane, Darker Grounds) on drums returns with a blistering new 11-track album titled Into the Pitch Black.

This new album from Mors Subita showcases just how far the band’s songwriting and musicianship has developed since the debut of their sophomore album, with these 11 new tracks being a testament to the work ethic employed within the band. With searing vocals, gut twisting melodies, fierce drumming and the fast yet always tasteful riffing the band has come to be known for, Into the Pitch Black builds on the identity Mors Subita has forged for themselves with their previous albums, and promises to not disappoint even the most hardened melodeath fan. These new compositions present a new dimension to the ever-evolving sound of the band, with even more emphasis being given to the melodies while also incorporating the use of industrial samples not heard on previous releases. The result has manifested in some of the heaviest and crushing tracks the band has ever written, while still encapsulating their signature sound which has set them apart from all others in the melodeath scene.

The short, futuristic intro Path to the Abyss revs up the engines for the melodic and aggressive As Humanity Weeps, with its lyrics about how vile the human soul can be (“How much more blood is there to shed before you realize, / That no one has the right to take another’s life. / Feed them pain, feed them fear. / Reduce yourself to human filth.”) and all the sonic devastation going on matching perfectly with the proposed theme. After such great start, the band fires another potent tune titled Dead Sun, where the guitar by Mika couldn’t sound more metallic and vibrant, while Eemeli delivers sheer rage through his screams in a solid display of modern Scandinavian Metal. And in Defeat we face contemporary sounds and tones in a very melodic and exciting atmosphere, again bringing Mika’s lancinating riffs and endless violence.

In the title-track Into the Pitch Black, they engage in their most Scandinavian Melodic Death Metal mode, with Mika doing a great job with his riffs while Ville keeps the rhythm at a nice headbanging pace with his beats. Then in Alas Ville puts the pedal to the metal with his accelerated beats and double bass, accompanied by the metallic bass by the band’s other Mika (Mika Junttila), generating a thrilling vibe for Eemeli and his visceral growls, therefore keeping the album at a high level of adrenaline and fury. And Mors Subita managed to get even more ferocious and angry in the belligerent tune I, God, with all band member being on fire (in special Ville with his Black Metal-inspired beats), resulting in a top-notch Melodic Death Metal extravaganza for our total delight.

Never slowing down or selling off, they keep blasting anti-mainstream compositions like Vultures, showcasing very melodic guitar lines by Mika while Ville increases the intricacy of his beats; followed by Fear is Just the Beginning, presenting three minutes of demolishing riffs and beats, with the screams by Eemeli getting to a truly rabid stage. Hence, this song will certainly incinerate the crowd and incite them to slam their skulls into the circle pit. Despite its promising beginning and the solid work done on guitars during the entire song, the music in Shadows falls flat after a while, proving Mors Subita should stick to their most furious sounding to thrive. Fortunately, those Finnish metallers get back on track for one final blast of enraged Melodic Death Metal titled The Void, ending the album on a high note with highlights to the bestial job done by Ville on drums and Eemeli’s demented vociferations.

If you want to feel all the rage and violence flowing from the music by Mors Subita in more detail, I suggest you check their official Facebook page for news and tour dates, their YouTube channel and Spotify for more of their incendiary Melodic Death Metal, and obviously purchase Into the Pitch Black from the Inverse Records webstore, from Record Shop X, or from other physical and online retailers such as The name Into the Pitch Black not only gives a sense of obscurity to the entire album, but it also points to a heavier (and consequently more interesting) future for Mors Subita, a band I’m sure will have a lot of fun exploring this new darker path in their future releases, which in the end will be extremely beneficial for themselves and, above all, for fans of their more austere form of melodeath music.

Best moments of the album: As Humanity Weeps, Into the Pitch Black and I, God.

Worst moments of the album: Shadows.

Released in 2018 Inverse Records

Track listing
1. Path to the Abyss 0:35
2. As Humanity Weeps 4:08
3. Dead Sun 3:49
4. Defeat 4:41
5. Into the Pitch Black 4:22
6. Alas 4:42
7. I, God 4:01
8. Vultures 3:01
9. Fear is Just the Beginning 3:20
10. Shadows 5:06
11. The Void 7:03

Band members
Eemeli Bodde – vocals
Mika Lammassaari – guitars, backing vocals
Mika Junttila – bass
Ville Miinala – drums

Album Review – Judas Priest / Firepower (2018)

The Metal Gods are firing on all cylinders with their majestic new album of pure and highly inspired Heavy Metal.

When British Heavy Metal legends Judas Priest announced they were just about to release their 18th studio record, the magnificent Firepower, I already knew it was going to be an epic album. Not only it’s the first studio album since their 1988 release Ram It Down to be produced by Tom Allom and the first ever with the always precise and competent Andy Sneap as co-producer, but the entire band (Rob Halford on vocals, Glenn Tipton and Richie Faulkner on the guitars, Ian Hill on bass and Scott Travis on drums) is absolutely on fire throughout the album’s almost one hour of the purest form of “British steel” that will beautifully and powerfully pierce your ears and control your mind, compelling you to bang your head nonstop and raise your horns to the iconic Metal Gods. By the way, the amazing album art, created by Chilean artist Claudio Bergamin, breathes scorching fire like an enraged dragon, fully in line with the unparalleled history of one of the most formidable bands in heavy music.

Although their 2014 opus Redeemer of Souls was already fantastic, showcasing a veteran band at the top of their form, the metallic extravaganza found in Firepower is so majestic and inspiring that not even the terrible news of Glenn Tipton being diagnosed with Parkinson’s disease, which unfortunately for all lovers of true metal music won’t allow him to tour as much as before with the band (being replaced by Andy Sneap during the upcoming Firepower 2018 World Tour), could ruin the magic crafted by the band in Firepower, and Glenn in his most humble “the show must go on” mode had a few nice words to say about his situation, encouraging the band to continue with the tour. “I want everyone to know that it’s vital that the Judas Priest tour go ahead and that I am not leaving the band – it’s simply that my role has changed. I don’t rule out the chance to go on stage as and when I feel able to blast out some Priest! So at some point in the not too distant future I’m really looking forward to seeing all of our wonderful metal maniacs once again”, said one of the greatest guitarists in the history of Heavy Metal.

Getting back to the album, five seconds are all that the mighty Judas Priest need to explode our senses with their incomparable metal music in the title-track Firepower, where Glenn and Richie begin their flammable riff-fest before the Metal God Rob Halford comes crushing with his unique metallic vocals. Put differently, the band offers us a high-octane, electrifying and straightforward 80’s-style version of themselves for our absolute delectation. And without wasting a single second the Metal Gods fire another superb hymn titled Lightning Strike, a mid-tempo, rumbling composition led by the always precise Scott Travis, with the rip-roaring way Halford declaims the lyrics being beyond thrilling (“I’ll bring you the head of the demon / I’m peeling the skin from his face / The life that you lead is inhuman / Its cause and effects a disgrace / You’re sowing the seeds of a nightmare from hell / Your prayers and your demons are tolling the bell / Walking through fire, fate’s in my hands / Waiting for lightning to strike / Man on a wire, bearing the brand / Waiting for lightning to strike / Lightning to strike”). Then darker riffs by Glenn and Richie permeate the air while Halford tells a somber story in Evil Never Dies, a sonic masterpiece perfect for hitting the road that will urge you to bang your head and scream together with Halford every single time you listen to its flawless lines.

Slowing down the pace a bit, but still sounding vibrant and epic, Never the Heroes brings forward lyrics about the fortunes of war and all the darkness that fills the heart of a soldier (“We were fearless but so afraid / Though in our hearts we still felt pain / We’re on fire but on a leash / We only ever wanted peace”), with the solos by both Glenn and Richie being a thing of beauty. Needless to say, this battle hymn will sound stunningly powerful when played live. Following such touching song we have Necromancer, a solid display of Heavy Metal infused with Stygian elements and nuances (mainly due to the nature of the song), closer to the band’s  sonority from the albums Angel of Retribution and Redeemer of Souls; and Children of the Sun, another song to sing along with Halford & Co., presenting a headbanging rhythm led by Scott with his steady beats and the simple but effective bass lines by Ian Hill. As usual,  the band’s guitar duo does an amazing job with their crisp solos, enhancing the song’s punch considerably.

Their metal feast goes on with a gentle piano bridge named Guardians, warming our ears and minds up for the powerful Rising from Ruins, displaying an elegant sonority where Halford has a titanic performance, stealing the spotlight with his deep and passionate vocals, not to mention how Scott keeps the music flowing smoothly with his classic beats. And what to say about the next tune, aggressively titled Flame Thrower? When I first saw the name of the song I was more than sure it was going to be ass-kicking, and guess what? It is indeed a true rockin’ extravaganza ignited by the slashing guitars by Glenn and Richie, in a blend of their own music from albums like British Steel and Ram It Down mixed with Halford’s solo career. Also uniting old school and modern Judas Priest, the quintet delivers the gripping Spectre, where Richie adds a touch of modernity to the band’s trademark sound with his guitar while Halford once again impersonates a “dark poet of metal”. Then a melancholic intro quickly morphs into a flammable and adventurous metal hymn entitled Traitors Gate, showcasing all elements we learned to love from NWOBHM, and, as a consequence, being tailored for admirers of the more epic side of the band. Furthermore, the guitars by Glenn and Richie are in total sync with Scott’s beats and especially with Halford’s potent roars and high-pitched screams, making it a true exhibit of classic metal.

The last batch of songs in Firepower is quite interesting, as if the band decided not to release them as bonus tracks of a deluxe edition of the album despite their uniqueness, but instead they added them to the regular version of it as a gift to all metal maniacs who have been supporting the band since their inception. No Surrender is straightforward Rock N’ Roll infused with Heavy Metal nuances highly inspired by the band’s own 80’s musicality, or in other words, if this was part of British Steel, Defenders of the Faith or Screaming for Vengeance it would have been a metal classic today. Hence, can you feel their guitars penetrating deep inside your heart? Then the superb Lone Wolf feels like they wanted to pay a stylish tribute do Black Sabbath, Pantera and Down all at once in a fusion of top-notch Heavy Metal with the dementia and aggression of Stoner and Doom Metal. Even the usually quiet Ian Hill delivers some thunder through his bass, with Richie and Glenn stealing the spotlight with the heaviest riffs of the entire album while Halford is simply astounding on vocals. And last but not least, how about a touching and majestic ballad titled Sea of Red, closing this grandiose album in great fashion, with Halford’s voice sounding even more impactful together with the fiery guitars by Richie and Glenn? And don’t forget to pay very good attention to the lyrics as they’re simple but very potent.

In summary, Judas Priest are all fired up in Firepower, delivering everything we love and expect in their classic and always incendiary Heavy Metal, therefore proving once again they’re not called the Metal Gods in vain. There are several retailers where you can purchase this masterpiece of old school and contemporary metal perfectly united, such as iTunes, Amazon, Best Buy and Walmart, providing you the most exciting soundtrack for anything you need to do in life. After such brilliant job done in Firepower, let’s hope now that Glenn can somehow overcome Parkinson’s disease, and that we can see him sooner than anyone can expect on stage with the rest of the band, firing some of their biggest classic together with the new combustible songs from the new album, because that’s where a talented and hardworking guitar god like him should always be.

Best moments of the album: Firepower, Lightning Strike, Evil Never Dies, No Surrender and Lone Wolf.

Worst moments of the album: None.

Released in 2018 Epic Records

Track listing
1. Firepower 3:27
2. Lightning Strike 3:29
3. Evil Never Dies 4:23
4. Never the Heroes 4:23
5. Necromancer 3:33
6. Children of the Sun 4:00
7. Guardians 1:06
8. Rising from Ruins 5:23
9. Flame Thrower 4:34
10. Spectre 4:24
11. Traitors Gate 5:34
12. No Surrender 2:54
13. Lone Wolf 5:09
14. Sea of Red 5:51

Band members
Rob Halford – vocals
Glenn Tipton – guitar
Richie Faulkner – guitar
Ian Hill – bass guitar
Scott Travis – drums

Album Review – NovaReign / Legends (2018)

A fast, melodic and intricate album that perfectly represents the new age of Progressive Power Metal, telling stories in musical literature and speaking to a generation influenced by epic fantasy tales, comic books and video games.

Influenced by bands like Iron Maiden and Dream Theater, to Dragonforce and Angra, American metallers  NovaReign represent the new age of Progressive Power Metal, telling stories in musical literature and speaking to a generation influenced by epic fantasy tales, comic books and video games. Formed in 2010 in the city of Los Angeles, California, in the United States, NovaReign are not only inspired by the aforementioned classic metal acts, but they also incorporate elements from a multitude of non-metal styles such as Jazz, Funk and EDM (Electronic Dance Music) to their high-octane music, adding a little extra flavor to their already exciting compositions.

The band has been steadily and surely building a buzz and reputation for themselves in recent years, becoming a fixture with energy-abounding live shows filled with nonstop shredding guitar interplay and powerful traditional metal vocals, altogether culminating in the release of their debut full-length album this year, the nonstop metal attack titled Legends, an hour-plus of shred-tastic, over-the-top, epic power and progressive metal music. Not only that, the album art also transpires epicness, as explained by guitarist Danny Nobel. “The art was based off an idea I had pitched to have giant statues of god-like figures in an astral plain,” explains Danny. “Our bassist, Moises, took the idea and created the drawings you’ve seen so far. The characters are all based on warriors and mythical beings, which represent themes of courage, heroism, strength and virtue. These are characteristics and themes of the overall album. That along with a cosmic decor.”

The opening tune, titled Call On The Storm, brings forward progressiveness flowing from the very first second from the melodic guitar lines by Danny and his bandmate Balmore Lemus, gradually becoming a Power Metal feast led by the high-pitched vocals by frontman David Marquez. And the action doesn’t stop at all, with gripping solos and faster-than-a-bullet beats keeping the electricity at a really high level. Then get ready for 10 minutes of pure Melodic Heavy Metal in Mace Of A Fist, where Danny and Balmore are on fire with their Dragonforce-inspired riffs and solos while drummer Paul Contreras keeps blasting furious and precise beats, not to mention the second half of the song which is that type of sonic “masturbation” fans of Melodic and Progressive Metal truly love. And let’s say their “metal masturbation” goes on in another classic Power Metal extravaganza titled Beyond The Cold, presenting a galloping rhythm crafted by bassist Moises Gavez together with Paul, perfect for David to blast sheer epicness through his vocals and to Danny and Balmore to deliver some insane guitar solos.

The following song in Legends, the excellent Heavy Heart, reminds me of the sound by some of the best metal bands from Japan such as Moi Dix Mois, Versailles, Anthem and especially Saber Tiger and Loudness, being fast, intricate, electrifying and an absolute orgasm for fans of the genre. And have I mentioned their guitar solos are simply fantastic? Anyway, moving on with their sonic onrush, Skyline feels a lot less intense than its predecessors, but still presenting the band’s characteristic sonority. All band members are precise with their instruments, providing David all he needs to powerfully declaim the song’s lyrics, with the only issue being that the song goes on for too long with its almost 9 minutes of music.

The sound of rain and an acoustic guitar set the tone in the bridge To Wander The Stars, before NovaRegin return with another metallic, melodic and inspiring tune entitled The Builder. Led by the rhythmic drums by Paul, the song presents the band’s guitar duo simply slashing their strings mercilessly, therefore generating a piercing but very enjoyable sound in the end. In Black As The Dead Of Night we’re treated to a 9-minute onslaught of Power Metal with Danny and Belmore being two shredding and soloing machines, with the work done by Paul on drums being outstanding. Moreover, despite being as long as “Skyline”, it has a lot more flavor and punch, maintaining the energy flowing until the end. And lastly, the title-track Legends brings tons of progressiveness through the band’s intricate riffs and beats, as well as the awesome bass punches by Moises. Put differently, it’s a heavier and more melodic version of Dream Theater with hints of Iron Maiden, which means that if you’re a musician and into Power Metal, this song has everything you crave in heavy music.

In case you think my words are not detailed enough to describe the music by NovaReign, you can enjoy the band doing a really nice track by track breakdown on YouTube, and after enjoying such interesting video you should definitely go check what NovaReign are up to on Facebook, and purchase Legends through their official BandCamp page, through the M-Theory Audio webshop, on iTunes, on Amazon, and in other retailers like Target, Adipocere Records and DeepDiscount. And there you have the perfect (and very intricate and melodic) soundtrack for your most epic adventures, how about that?

Best moments of the album: Call On The Storm, Beyond The Cold, Heavy Heart and Black As The Dead Of Night.

Worst moments of the album: Skyline.

Released in 2018 M-Theory Audio

Track listing
1. Call On The Storm 6:58
2. Mace Of A Fist 10:10
3. Beyond The Cold 5:58
4. Heavy Heart 5:09
5. Skyline 8:56
6. To Wander The Stars 2:24
7. The Builder 5:22
8. Black As The Dead Of Night 8:44
9. Legends 9:25

Band members
David Marquez – vocals
Danny Nobel – guitars
Balmore Lemus – guitars
Moises Gavez – bass
Paul Contreras – drums

Album Review – Kaoteon / Damnatio Memoriae (2018)

Blending a dark atmosphere with Middle-Eastern riffs and incendiary lyrics, here comes a fearless Lebanese horde armed with their brand new album of skull-crushing Black Metal.

Brought into being as a one-man project in 1998 by Anthony Kaoteon (Death Drive) in the scorching fires of Ashrafieh, one of the oldest districts of Beirut, the capital of Lebanon, under the name Chaotaeon (from the merger of Chaotic and Aeon), Black/Death Metal act Kaoteon is one of those bands that keep fighting for metal and for freedom of speech no matter how hideous the consequences might be for them. For instance, in 2001 the band was forced to change their name to Kaoteon after an incident with the authorities in which they got arrested, where the police though that Chaotaeon was the translation of “devils” from Arabic, leading to false accusations that the band is satanic. In addition, on December 20, 2003 while the band was playing live, a handful of undercover police entered the club with automatic rifles, took the band hostage, locked them in the trunks of unmarked cars, and interrogated them for days, shuttling them from one location to another.

Blending a brutally dark atmosphere with riffs that range from anthemic post-rock to Middle-Eastern folklore and incendiary lyrics driven by the band’s background in their turbulent homeland, Kaoteon (now based in Amsterdam, in the Netherlands) return once again to darken our souls with their brand new opus titled Damnatio Memoriae, the ancient Latin punishment of eradicating a person or figure from all memory and mention. Featuring a somber artwork by Mexican musician and artist Néstor Ávalos (Black Arts) as well as bass wizard Linus Klausenitzer of Obscura and drum master Fredrik Widigs of Marduk as session musicians, joining full-time members Anthony Kaoteon on guitar and Walid Wolflust (Ordum) on vocals, Damnatio Memoriae brings nine skull-crushing, unrelenting and explosive Black Metal hymns that will undoubtedly leave you feeling ravaged and raw after all is said and done.

The title-track Damnatio Memoriae is a modern and vibrant Black Metal composition that will fulminate your senses, bringing forward sheer aggression from the very first second. Furthermore, Fredrik as we all know is a demonic beast on drums, generating the perfect demolishing vibe for Walid to declaim the song’s controversial lyrics through his enraged roars (“My heaven differs from yours. / Where is the loving light? Where is the eternal peace? / Desolate, grey, tyrannic, lonesome / Lit with my passion to burn”). If that start wasn’t demented enough for you, Kaoteon keep burning our souls with their blackened music in Barren Lands, where Anthony is absolutely on fire with his guitar accompanied by Linus and his menacing bass, sounding devastating from start to finish, whereas in Raging HellFire they managed to sound even more visceral and disturbing, with Walid barking and screaming like a rabid beast in a flammable display of brutal (and therefore fantastic) Black Metal (and don’t forget to check the song’s guitar playthrough by Anthony HERE).

In the pulverizing Venom of Exalt, be prepared to be completely crushed by the nonstrop blast beats by Fredrik, while Anthony delivers more of his always insane riffs. In addition, Walid is in his most hellish mode, growling harsher and harsher as the music evolves in this tune highly recommended for lovers of true extreme music. Taking their sonority to the extreme, Kaoteon deliver another explosion of devilish growls, intricate beats and endless hatred flowing from Anthony’s stringed ax in The Will, with the desperate screams by Walid increasing the impact of this already boisterous song. And a soulful guitar solo by Anthony ignites a feast of darkened sounds entitled Non Serviam, blending old school Black Metal with contemporary Blackened Death Metal in a dense and menacing ambience. Needless to say, that powerful combination turns it into one of the top songs of the entire album.

In Light of Compassion their sounding keeps growing darker and darker, showcasing a fierce neck-breaking riff supported by the pounding drums by Fredrik, with Walid firing some deep enraged gnarls. Moreover, the last part of this chant is a thrilling Black Metal demolition with hints of old school Death Metal, piercing our minds mercilessly. The second to last tune in Damnatio Memoriae, the incredible sonic onrush of Black and Death Metal named Into the Mouth of Kaos, presents a high level of dementia bursting from Walid’s screams, with the riffs by Anthony exhaling pure Black Metal while Fredrik doesn’t stop detonating our ears with his crushing performance. And last but not least, it’s time for A Breath, a slightly different version of Kaoteon bringing forward more progressiveness than their usual destruction thanks to the intricate guitar lines by Anthony, and the final result couldn’t sound more compelling and vibrant, ending this sensational album of Extreme Metal in the best way possible.

While online, I suggest you go check out this interesting article about Kaoteon and their fascinating origin story via Revolver Magazine, giving you a much better idea of how hard it is to be a metal fan in the Middle-East. As a matter of fact, Kaoteon said in a group statement that “Lebanese metalheads are some of the friendliest and most amazing people to hang out with. It is sad to see great potential in this world gone to waste because someone somewhere decided to label people at birth and imprison them into their borders. The scene itself is thirsty for metal, so international bands should expect amazing interaction from the crowd. The Dutch scene – where we exist now – shows strong support for local talent, unlike the Lebanese scene. The Dutch scene loves their bands above all, while we feel that the Lebanese metal scene favors the international bands.” Hence, why not showing your support to true Lebanese metal by liking Kaoteon’s official Facebook page, subscribing to their YouTube channel and, above all that, purchasing the awesome Damnatio Memoriae from their BandCamp page, from CD Baby, from iTunes or from Amazon? Bands like Kaoteon are the reason why we all know from the bottom of our hearts that heavy music will never die, proving the passion for metal and for freedom of speech can beat any type of adversity, even if that means you’re putting your life at risk.

Best moments of the album: Damnatio Memoriae, Raging HellFire, Non Serviam and Into the Mouth of Kaos.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Damnatio Memoriae 4:33
2. Barren Lands 5:26
3. Raging HellFire 4:26
4. Venom of Exalt 4:35
5. The Will 5:41
6. Non Serviam 4:46
7. Light of Compassion 4:29
8. Into the Mouth of Kaos 4:18
9. A Breath 4:57

Band members
Walid WolfLust – vocals
Anthony Kaoteon – guitars

Guest musicians
Linus Klausenitzer – bass (session)
Fredrik Widigs – drums (session)

Album Review – Antichrist / Pax Moriendi (2018)

Get ready for 45 minutes of the most visceral form of old school Doom Metal made in Peru, dragging you to an eternal voyage into the most obscure side of your mind.

Formed in 2004 in Lima, the alluring capital of Peru, but not really kicking into recorded gear until a decade later, Doom/Death Metal act Antichrist soon released a steady stream of demos between 2014 and 2016, all harbingers of the colossal beast that was going to haunt our souls now in 2018, the brutally obscure album Pax Moriendi. Not only this is their highly anticipated debut album, but above that, it’s a piercing, funereal ode to the end of life as we know it. As a matter of fact, Pax Moriendi translates as “the peace of dying” from Latin, just to give you an idea of how lugubrious the whole album sounds and feels.

Across the 45 minutes of music split into five Stygian songs in Pax Moriendi, the listener is taken down into sewers a mile deep (or more), tweaking that immortal doom-death schematic into something righteously foul and filthy, but still well within the range of melancholic human experience. Led by the cavernous growls by lead singer and founder Agalariept, Antichirst are a true behemoth of darkness, blasting low-tuned, macabre sounds and tones that will reach deep inside your skin, bringing you venomous thoughts and, as a consequence, dragging you to an eternal voyage into the most obscure side of your mind.

Ominous, eerie sounds permeate the air in the opening track, darkly titled Forgotten in Nameless Suffering, where the duo Luis M. Guerra on drums and Manolo Zaren on keyboards create a truly phantasmagoric atmosphere, perfect for the deep, dark grunts by the band’s demonic frontman Agalariept. Furthermore, this song brings to you the most primeval form of Doom Metal you can think of, spiced up by orchestral elements in the background and, therefore, being highly recommended for your one-way descent into the pits of hell. Then their Death Metal side arises in brutal and somber fashion in Obscurantism, with Manolo slashing his guitar while bassist Gustavo Rodriguez makes sure our brains detach from our skulls with his low-tuned punches, with the whole musicality being nicely complemented by a whimsical, ethereal break. Also, in order to make things even more sepulchral, Agalariept fires intense, deep gnarls to the point he doesn’t sound human.

In the Dark and Mournful Corner is a flawless depiction of depressive, mournful and obscure Blackened Doom where Luis delivers those slow, sluggish and extremely evil beats, turning the song into some sort of evil mass, while Manolo not only burns our senses with his guitar but he also adds a touch of delicacy to the musicality with his keys. Moreover, it’s impressive how Antichrist alternate between old school Doom Metal and heavy-as-hell Death Metal so smoothly and effectively during the song’s gripping 10 minutes. After such demented aria, it’s time for a frantic display of aggression by Antichrist entitled Screams and Lamentations Drowned, with Luis smashing his drums while Agalariept barks and growls like a devilish beast, becoming a more visceral version of Doom Metal with its core essence reeking of putrid Death Metal. And You Will Never See Sun Light, the longest and murkiest of all songs, brings forward over 12 minutes of sluggish beats, hellish roars and uncanny sounds, with the ghoulish noises in the background making the whole song even more impactful and perturbing, flowing into a lugubrious ending led by the sinister piano by Manolo. Hence, if you survive this tenebrous aria, you’re indeed a true servant of darkness.

And as a servant of all things hellbound it’s your duty to follow Antichrist on Facebook and to buy your copy of the perilous and reverberating Pax Moriendi from Record Shop X, from the NWN! Productions webshop, from the Dark Descent Records webshop, or from the Invictus Productions webshop. Peru might not be known worldwide for its metal scene, but when you dig deep into the Peruvian underworld and find an amazing band like Antichrist, you know it’s time to surrender to the dark side of the “Land of the Incas” and crack your neck headbanging to such powerful display of old school Doom Metal.

Best moments of the album: Obscurantism and In the Dark and Mournful Corner.

Worst moments of the album: None.

Released in 2018 Iron Bonehead

Track listing
1. Forgotten in Nameless Suffering 8:54
2. Obscurantism 7:44
3. In the Dark and Mournful Corner 10:53
4. Screams and Lamentations Drowned 4:47
5. You Will Never See Sun Light 12:16

Band members
Agalariept – vocals
Manolo Zaren – guitars, keyboards
Gustavo Rodriguez – bass
Luis M. Guerra – drums

Album Review – Sebastien / Act Of Creation (2018)

One of the biggest exponents of modern-day Czech metal returns with the next chapter in their always-evolving and exciting career.

One of the biggest exponents of modern-day Czech metal is back with a brand new album that will certainly please and entertain all fans of the most electrified form of Melodic Power Metal you can think of. After the releases of their debut album Tears Of White Roses, in 2010, and the critically acclaimed Dark Chambers Of Déjà-Vu, in 2015, it’s time for Brno-based metallers Sebastien to unleash their third full-length installment, titled Act Of Creation, continuing their evolution as a band and, as a consequence, cementing their name as the finest metal act you can find in the entire land of beer.

With its cover artwork designed by Hans Trasid (Dis-Art Design), and featuring an entourage of very special guests the likes of Swedish vocalist Apollo Papathanasio (Spiritual Beggars, Firewind) and Slovak vocalist Mayo Petranin (Signum Regis), Act Of Creation will bring to your avid ears fourteen exceptional compositions by skillful musicians who are at their prime, from passionate power ballads to those fast and crisp Melodic Metal anthems that will accelerate your heartbeat in an exciting and fun way. Furthermore, it’s very important to emphasize the fact that Sebastien maintained the same lineup from their previous album, which obviously translated into pure cohesiveness, precise timing and a powerful dynamism among all band members.

The title-track Act of Creation kicks off Sebastien’s metallic feast with a heavier-than-usual sonority, bringing elements from modern-day Groove Metal to their traditional Power Metal. Moreover, frontman George Rain has (as expected) an amazing performance showcasing a wide range of vocal styles in the same song, while Pavel Dvorak brings epicness to the overall sound with his keys. Then we have No Destination, a fast-paced, aggressive tune that will please even non-metal fans due to its thrilling rhythm, presenting the always flammable vocals by George supported by Czech guest vocalist Kristýna Dostálová and endless energy flowing from all instruments; and Wake Up, an imposing tune where Lucas R. leads the crew with his pounding drums, with all orchestral and choir-like elements in the background enhancing the song’s already potent vibe. But it obviously wouldn’t be a Sebastien album without a classic power ballad like Amy, displaying spot-on riffs by George and his bandmate Andy Mons while bassist Petri Kallio not only delivers some powerful bass punches, but his 80’s Hard Rock-inspired backing vocals also add a lot of feeling to the final result.

Venturing through the realms of Symphonic and Melodic Metal, the band delivers a futuristic metal chant titled Evermore, presenting a pleasant paradox between clean and harsh vocals, not to mention how determined Pavel is to arouse our senses with his fiery keyboards. My Empire reminds me of some of the latest creations by Sonata Arctica (which unfortunately is not a good thing these days), with an interesting work done with all background elements but nothing that truly connects in the end, whereas Queen from the Stars is a melancholic, serene ballad with passionate performances by George on vocals and Andy with his acoustic and electric guitars. Put differently, simply hold your lighter high and wave it together with Sebastien to this beautiful song. And featuring guest vocalist Mayo Petranin, Winner is a song where the sound of keyboards is considerably higher than the one of the guitars, therefore uniting in a pleasant way the classic sounding of the 80’s with Sebastien’s contemporary metal.

With Czech guest guitarist Djordje Erič (Citron) slashing us all with a gripping, flammable guitar solo, Heal My Soul goes back to a more traditional musicality, albeit still presenting hints of heavy music from the 80’s, and consequently pleasing both fans of the classic metal by Sebastien as well as the ones who prefer more modern Melodic Metal. In Promises, Kristýna Dostálová returns with her charming vocals in another symphonic ballad by Sebastien, with Andi and Pavel being in total sync with their respective riffs and keys, therefore boosting the electricity of the whole song; and featuring guest Apollo Papathanasio on vocals, it’s time for our Czech squad to put the pedal to the metal in the electrifying hymn Die in Me, where the whole band fires pure Melodic Power Metal for our total delight. Displaying a beyond catchy chorus and endless adrenaline, this metal hymn should sound absolutely fantastic during their live performances.

And Act Of Creation might be considered a long album with its over 60 minutes of music, but every song has its purpose just like Full Moon Child, portraying a classic name for a straightforward and very cohesive Power Metal sonority boosted by the precise beats by Lucas, with highlights to the spot-on riffs and solos extracted by Andy from his unstoppable guitar. The second to last metallic act by those Czech rockers comes in the form of a semi-acoustic ballad entitled Hero, with another powerful performance by George on vocals, before the bonus track V Síti Štěstí (or “in the network of happiness” from Czech) closes the album in sublime fashion. It’s not a secret to anyone that Sebastien never get tired of delivering soulful ballads to our ears; however, this is a fresh one, being fully sung in Czech, which seems to have provided George some additional room for adding never-before-seen nuances to his vocal lines.

It’s always a pleasure to see a talented and hardworking band like Sebastien evolving in their already solid career, and if you want to know more about the best metal band hailing from the enchanting Czech Republic you should definitely go check their Facebook page and YouTube channel for news, tour dates (and they do tour several other countries if you ) and, of course, more of their awesome Power Metal. Act Of Creation, which can be purchased from the Pride & Joy Music webstore, from the band’s own Facebook, from iTunes or from Amazon, is one of those albums that will put a smile on your face no matter how hard your day has been, proving once again Sebastien are here to stay and to keep bringing top-tier heavy music to our never-resting metal hearts.

Best moments of the album: No Destination, Evermore, Promises and Die in Me.

Worst moments of the album: My Empire.

Released in 2018 Pride & Joy Music

Track listing
1. Act of Creation 4:27
2. No Destination (feat. Kristýna Dostálová) 3:02
3. Wake Up 4:11
4. Amy 5:38
5. Evermore 4:32
6. My Empire 3:48
7. Queen from the Stars 4:34
8. Winner (feat. Mayo Petranin) 4:01
9. Heal My Soul (feat. Djordje Erič) 3:47
10. Promises (feat. Kristýna Dostálová) 3:29
11. Die in Me (feat. Apollo Papathanasio) 4:54
12. Full Moon Child 4:52
13. Hero 5:25

Bonus track
14.V Síti Štěstí 4:34

Band members
George Rain – vocals, guitars
Andy Mons – guitars
Petri Kallio – bass, backing vocals
Pavel Dvorak – keyboards
Lucas R. – drums

Guest musicians
Apollo Papathanasio – vocals on “Die In Me”
Mayo Petranin – vocals on “Winner”
Kristýna Dostálová – female vocals on “No Destination” and “Promises”
Djordje Erič – lead guitar on “Heal My Soul”
Vendula Skalová – backing vocals

Album Review – Unshine / Astrala (2018)

Druids are coming directly from Finland, bringing with them songs from the invisible side of the Earth that aim at reuniting the old bonds between the dolmen gods and digitised mankind.

Hailing from the Finnish capital Helsinki, here comes a band that transcended their own influences to create their own unique sound, inspired by artists as diverse as Enslaved, Led Zeppelin, Jethro Tull, Tangerine Dream and Iron Maiden. That band is called Unshine, who since their inception in 2001 have been delivering a distinct fusion of styles described by themselves as “Druid Metal”. As a matter of fact, Mother Nature is the true influence on Unshine’s music, as all five members of Unshine, friends for many years, were all raised in the countryside villages of Western Finland. “The songs try to reunite the old bonds between the dolmen gods and digitised mankind. Nature is not our enemy, it’s our physical and especially spiritual home”, said the band’s guitarist, keyboardist and mastermind Harri Hautala.

With a long history of recording and playing behind them, Unshine are beyond excited with the release of their new full-length album Astrala, the fourth in their auspicious career, inspired by the “invisible side of the Earth”, as mentioned by Harri, who also complemented his though by saying that “the first five album songs address the manifestations of Astrala and the last five songs describe travels to Astrala. The album has a touch of Nordic melancholy written all over it, also in the lyrics, and it includes music meant to create landscapes and themes from folk stories, mythology and nature religions, but also to present personal views describing the spiritual meaning of a forest as a cultural concept. The binding theme here is forest, although this is not a theme album.” After such distinct explanation, are you ready to venture through the invisible side of the Earth with Unshine?

Birch of Fornjotr is one of those cinematic intros exhaling epicness, telling the listener a metallic adventure is about to begin in Kainuun Kuningas (or “king of Kainuu” from Finnish, with Kainuu being one of the 19 regions of Finland with its geography and landscape consisting of lakes, hills and vast uninhabited forest areas), a Scandinavian feast of Folk and Epic Metal led by the charming and potent vocals by frontwoman Susanna Vesilahti, with the song’s Finnish words giving it an extra touch of eccentricity. Furthermore, the band’s guitar tag team Harri and Jari Hautala provides a solid balance between rhythmic riffs and melodious solos to the overall musicality, which is also the case in Jack’s Feast, as melodic as its predecessor with drummer Jukka Hantula bringing heavier and tribal sounds to the music. The only problem is that despite having a lot of potential to be more thunderous, the song never really takes off, remaining too “folky” and for way too long.

The following tune, titled The Masks of Enchantment, is indeed a very interesting depiction of Druid Metal, with some orchestral elements in the background provided by Harri and his keys enhancing the taste of this semi-power ballad, also showcasing a beautiful performance by Susanna with her ethereal voice; whereas in Pan the One get ready to prance around the fire pit to the sound of the minstrel-like vocals by Susanna, accompanied by the whimsical sounds blasted by the rest of the band (especially the exciting keys by Harri). And if Irish singer Enya suddenly went full metal, the fun Druids Are A-Coming would probably be how she would sound like, being faster and more piercing than any of the previous tunes thanks to the cutting guitars by Harri and Jari, not to mention the galloping bass by Teemu Vähäkangas.

Their Epic Metal vein arises once again in the mid-tempo, heavy chant Slow Moving Creatures, with its guitars inciting you to bang your head together with the band, while in Visionary’s Last Breath it’s time for Unshine to invite us all to dance to a fanciful “druid waltz”, presenting very traditional elements from Folk Metal blended with the heaviness brought forth by Jukka’s beats. Then we have the touching ballad Suo (Kantaa Ruumiit), which should translate as “swamp (carry the bodies)”, also sung in the band’s mother tongue with Susanna stealing the spotlight with her passionate vocals. Moreover, there’s a lot of dark elements in this imposing composition, making it extremely catchy and somber from start to finish. And finally we’re treated to 10 minutes of epic and ethereal passages in The Forest, where the stringed trio Harri, Jari and Teemu keep the music flowing at a pleasant pace, allowing Susanna to shine once again with her vocals amidst the song’s symphonic elements and dense atmosphere, ending the album on a climatic and melancholic note.

You can take a full listen at Astrala on Spotify, follow the band on Facebook, nad purchase a copy of the album from the Rockshots Records webstore, from Record Shop X, on iTunes or on Amazon, and let your soul roam free through the forests of the invisible side of the Earth ruled by Unshine. And who knows, you might not only meet some druids during your visit to Astrala, but also decide to stay there permanently, dancing to the music by this talented Finnish squad forever and ever.

Best moments of the album: Pan the One, Druids Are A-Coming and Suo (Kantaa Ruumiit).

Worst moments of the album: Jack’s Feast.

Released in 2018 Rockshots Records

Track listing
1. Birch of Fornjotr (Instrumental) 1:35
2. Kainuun Kuningas 5:13
3. Jack’s Feast 6:38
4. The Masks of Enchantment 4:54
5. Pan the One 4:44
6. Druids Are A-Coming 4:11
7. Slow Moving Creatures 5:19
8. Visionary’s Last Breath 5:32
9. Suo (Kantaa Ruumiit) 6:06
10. The Forest 10:28

Band members
Susanna Vesilahti – vocals
Harri Hautala – guitar and keyboards
Jari Hautala – guitar
Teemu Vähäkangas – bass
Jukka Hantula – drums and percussions

Album Review – Blaze Bayley / The Redemption of William Black (Infinite Entanglement Part III) (2018)

What does the future hold for Mr. William Christopher Black? Here he is, the indomitable Heavy Metal icon Blaze Bayley, to tell us the dramatic conclusion to his stunning Infinite Entanglement Trilogy.

All good things must come to an end, including the beyond fantastic Infinite Entanglement Trilogy by the indomitable British Heavy Metal icon Blaze Bayley. After the stunning two first parts Infinite Entanglement and Endure And Survive (Infinite Entanglement Part II), it’s time for Blaze and his amazing band to tell us the conclusion to this thrilling sci-fi story in the third and final installment The Redemption of William Black (Infinite Entanglement Part III), the tenth solo album in Blaze’s unique career, and believe me, the story of Mr. William Christopher Black couldn’t have ended in a more dramatic, exciting and electrifying way.

Featuring guest vocal performances from Fozzy singer and WWE superstar Chris Jericho and from Luke Appleton, bassist from American powerhouse Iced Earth and rhythm guitarist with British metallers Absolva, as well as several other guest vocalists and narrators such as Liz Owen and Harry Webster Appleton II, The Redemption of William Black continues where the earlier albums left off, with Blaze’s trademark infectious choruses, blistering lead guitar work from Chris Appleton and a bedrock rhythm section from Karl Schramm on bass and Martin McNee on drums, all three also members of Absolva. Co-written by Blaze and Chris Appleton, everything in the album is perfectly aligned with the previous two albums in the trilogy, including its rip-roaring artwork and layout designed by Akirant Illustration. Hence, get ready for another lecture in traditional Heavy Metal by Blaze and his henchmen, and to finally know what the future holds for the dauntless William Black.

The album starts with our anti-hero seeking for redemption, saying he will “save the best of this world”, and Blaze Bayley & Co. make it quite clear with the high-octane, heavy and thrilling opening track Redeemer, with the guitar by Chris sounding extremely acute like a sharpened axe, also bringing one of those electrifying choruses tailored for singing along with Blaze. Then without giving us any time to breathe Blaze and his bandmates fire another metallic hymn titled Are You Here, where Chris and Karl sound thunderous with their strings while Martin never lets the energy level go down with his pounding beats; followed by Immortal One, a powerful song about immortality showcasing a fantastic guitar solo by Chris and an imposing rhythm, increasing in intensity until its crushing finale. Put differently, it can’t get any more Heavy Metal than this, my friends.

In the outstanding The First True Sign the band doesn’t get tired of smashing our ears with pure Heavy Metal, with its initial tribal sounds being suddenly joined by Chris’ most awesome, lancinating riffs of the whole album, turning it into a terrific choice for their live performances. Moreover, Blaze as usual passionately declaims the song’s poetic lyrics, captivating our attention from start to finish. After such metallic extravaganza, it’s time for one of those stunning ballads by Blaze, entitled Human Eyes, where acoustic guitars are accompanied by a pensive Blaze reciting the song’s extremely touching words, and all that dedication and focus by Blaze goes on until the song’s melancholic ending; whereas in Prayers of Light, the aforementioned guest Chris Jericho delivers some cryptic words before the flammable riffs by Chris ignite another explosion of traditional metal music. It’s indeed an upbeat tune perfect for cheering up your day, with both Jericho and Luke Appleton doing an amazing job on backing vocals. And Blaze’s minstrel side strikes again in 18 Days, where he poetically sings the song’s potent lines amidst a feast of mid-tempo heavy riffs and beats, making a sensational vocal duo with guest Liz Owen who delivers beautiful, ethereal vocals together with the Messiah.

With elements from Hard Rock added to the band’s classic Heavy Metal, we’re treated to the very precise and exciting work done on strings by Chris and Karl in Already Won, providing Blaze all he needs to thrive on vocals. And Blaze definitely knows how to reach deep inside our hearts with his introspective vocals like what happens in Life Goes On, being powerfully accompanied by lighter, acoustic parts intertwined with heavier moments crafted by his band members. The second to last act in the epic and futuristic tale of William Black comes in the form of The Dark Side of Black, a thrilling tune bringing forward all we love in the music by Blaze Bayley, that being fast-paced beats, melodic and cutting riffs, and obviously his resonant, potent vocals. Furthermore, Chris once again fires a superb guitar solo as the icing on the cake of the most obscure side of our protagonist translated into first-class metal. Last but not least we have Eagle Spirit, ignited by a special narration by a British war hero, Leading Aircraftman (LAC) Harry Webster Appleton II, before the band offers us all over nine minutes of gripping passages and flammable riffs, with Martin delivering rhythmic, puissant beats to make the whole song even more impactful. And after all is said and done, William finally finds his redemption as the story comes to a climatic and absolutely beautiful ending.

You can buy your copy of The Redemption of William Black (Infinite Entanglement Part III) directly from Blaze Bayley’s official webstore, as well as from other retail outlets such as iTunes, Amazon, Heartland Music, Collectors’ Choice Music and, among others. At the same time, a special deluxe box will be available exclusively from Blaze’s website, specially made to house all three albums from the Infinite Entanglement Trilogy (needless to say, I highly recommend you listen to all three albums in a row without breaks to properly experience the full saga), and later this year the new album will also be made available as a vinyl LP, again in a specially-made deluxe box to house all 3 LP’s. Now that the astonishing tale of Mr. William Christopher Black is over, let’s all keep an eye on Blaze’s official Facebook page for news and tour dates, as he’s certainly going to kick some ass live in a city near you pretty soon (just like he did last year in Toronto). I have absolutely no idea if we’ll ever see William Black again, but if there’s one thing that’s certain, it’s that the daredevil Blaze Bayley is in the best shape of his life and will therefore keep blowing our minds with his unmatched fusion of old school Heavy Metal and top-tier sci-fi storytelling.

Best moments of the album: Redeemer, The First True Sign, 18 Days and The Dark Side of Black.

Worst moments of the album: None.

Released in 2018 Blaze Bayley Recordings

Track listing 
1. Redeemer 4:11
2. Are You Here 2:32
3. Immortal One 2:56
4. The First True Sign 4:04
5. Human Eyes 5:36
6. Prayers of Light 3:25
7. 18 Days 4:03
8. Already Won 2:58
9. Life Goes On 5:00
10. The Dark Side of Black 3:25
11. Eagle Spirit 8:50

Band members
Blaze Bayley – vocals
Chris Appleton – guitars, backing vocals
Karl Schramm – bass, backing vocals
Martin McNee – drums

Guest musicians
Chris Jericho – narration, backing vocals on “Prayes of Light”
Luke Appleton – backing vocals on “Prayes of Light”
Liz Owen – female vocals on “18 Days”
Melissa Adams & Joanne Kay Robinson – backing vocals, choir
Aine Brewer, Rob Toogood, Michelle Sciarrotta & Harry Webster Appleton II – narration