Album Review – Mastodon / Cold Dark Place EP (2017)

Fill your ears with more of the dark, classy and crisp music by one of the biggest names of contemporary metal as their anticipated Christmas gift for you.

Three songs recorded during the sessions for their 2014 album Once More ‘Round the Sun, and another song recorded during the Emperor of Sand sessions in 2017. That was the anticipated Christmas gift American Progressive/Sludge Metal act Mastodon gave us all metalheads by the end of September, when they released a gloomy (and somehow charming) EP titled Cold Dark Place. Displaying an obscure and totally fantastic artwork by British illustrator Richey Beckett, the EP comprised of the songs “North Side Star”, “Blue Walsh” and “Cold Dark Place” (from the Once More ‘Round the Sun sessions) and “Toe to Toes” (from the Emperor of Sand sessions) presents to the listener a more melancholic and introspective side of Mastodon, but still bringing all the dexterity and characteristic punch delivered by the talented Brent Hinds, Bill Kelliher, Troy Sanders and Brann Dailor.

In one of his interviews about the EP, Bill commented that “When we recorded ‘Once More ‘Round The Sun’, three of the four songs were songs that Brent had mostly written. We all kind of arrange everything together as a band, but they were very heavily Brent songs; he wrote the music for ’em and Brann wrote the lyrics, and the rest of us played on it. And I think with ‘Once More ‘Round The Sun’, we had, like, 15, 16 songs, and we’re, like… Anything over an hour or… 52 minutes is, like, our cutoff time with records; we don’t wanna make records any longer than that. So what we thought was these songs, they kind of sound like they belong together; they don’t exactly sound like they’d go on ‘Once More ‘Round The Sun’. ‘Why don’t we take those and put them out as an EP later on down the road?’ We didn’t feel like they were completely finished or mixed or whatever. We wanted to kind of… We didn’t wanna rush it. So, ‘Let’s just wait. And we’ll put those out at a later time.’ The song ‘Toe To Toes’ was from the ‘Emperor Of Sand’ sessions. And I’m glad we didn’t put it on that record, ’cause that record’s great — it’s great the way it is. I mean, it could have maybe been better with that song on it, but it’s cool to take that song and add it to the ‘Cold Dark Place’ EP.”

Peace and melancholy permeate the air in the first track of the EP, North Side Star, with beautiful guitar lines by both Bill and Brent leading the musicality, while Brann is precise with his smooth but impactful drumming. Moreover, its vocal lines also display a whimsical sense of sadness, with the music growing in intensity and speed halfway through it, showcasing amazing guitar solos and an electrifying vibe. Then we have Blue Walsh, a song that follows a similar dark pattern as the opening track, also bringing their trademark progressiveness and the multi-layered vocal wall built by all band members. In other words, this is an interesting and gentle journey through the realms of Progressive Metal where Mastodon once again captivate us all with their amazing lyrics (“As we hang from the vine, / we swam on the thin red line. / I’m asleep in the deep, / asleep in the dark black sea. / I call out your name, / all I hear is the pouring rain. / When you came into view, / I realize it’s not you.”).

The insanely good Toe to Toes has such a great feel and pace, with the claps added to the song turning it into something very special for us fans of modern heavy music, you’ll catch yourself clapping your hands together with the band without a shadow of a doubt, not to mention how fantastic what they all do with their vocal pieces is, in special Troy who has a beyond passionate vocal performance complemented by his own powerful bass lines and the song’s upbeat vibe. It’s by far my favorite of the EP, and I’m sure it will become a fan-favorite during their live concerts (if they play anything from the EP in their setlist, of course). And in the closing tune, the title-track Cold Dark Place, a semi-acoustic, introspective composition that presents a darker-than-ever Mastodon, you can feel sorrow and darkness flowing from its cryptic lyrics (“You left my heart, / in some cold dark place, / where your love grows on a vine, / and I see it all the time.”). This song might sound very light compared to their usual sound, but it exhales heaviness and depth, ending with a superb guitar solo as the icing on the cake.

In summary, 2017 was definitely the year of Mastodon. After the superb Emperor of Sand, they still had an ace in the hole with Cold Dark Place, making all their fans even happier than before because, as you know, when you like a band a lot there’s never enough of that band for your ears, right? Now just go complete your collection of Mastodon albums by purchasing Cold Dark Place through your favorite music service, stay tuned for their live concerts as they might pay a visit to your city real soon, and keep enjoying the stylish and crisp music by one of the biggest names of contemporary metal.

Best moments of the album: Toe to Toes.

Worst moments of the album: None.

Released in 2017 Reprise Records

Track listing
1. North Side Star 6:09
2. Blue Walsh 5:11
3. Toe to Toes 4:28
4. Cold Dark Place 5:58

Band members
Brent Hinds – lead guitar, lead and backing vocals, claps
Bill Kelliher – rhythm guitar, backing vocals, claps
Troy Sanders – bass guitar, lead and backing vocals, claps
Brann Dailor – drums, percussion, claps

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Album Review – Temptation’s Wings / Skulthor Ebonblade (2017)

Follow the epic adventures of the mighty warrior Skulthor, told by a relentless American power trio through their vibrant fusion of Stoner and Southern Metal.

Hailing from the mountains of North Carolina, in the United States, more specifically from the city of Asheville, here comes a bludgeoning power trio known as Temptation’s Wings, who since the band’s inception in 2005 has been blasting an old school fusion of Stoner and Southern Metal full of raw power, crushing riffs and epic vocals with influences ranging from Amon Amarth to ZZ Top, from Candlemass to Iced Earth, and so on. All that passion for heavy music culminated with the release of a demo titled Destruction of Another Dimension, in 2010, and the EP’s WarMallet: An EP of Brutality, in 2011, and Legends of the Tusk, in 2013, leading the band to play several concerts in support of their releases, including opening for metal legends Iced Earth in their hometown’s biggest venue, The Orange Peel. However, it’s now in 2017 that the trio aims at spreading their metallic wings over the entire world with the release of their debut full-length album, the rip-roaring Skulthor Ebonblade.

Showcasing a comic-inspired artwork by Minneapolis-based artist David Paul Seymour (the “Artist of Doom”), Skulthor Ebonblade is a doom-thrashing sonic representation of battles, berserkers, bizarre beasts and bashing skulls by the trio comprised of Micah on vocals and guitars, Chad on bass and Jason on drums, who above all things love to tell us epic tales of bloodshed and conquest through their music. With each one of its songs being a crushing narrative of brutality from start to finish, Skulthor Ebonblade can be considered a concept album that keeps the level of epicness and adventure always at the highest possible level. Having said that, simply grab your sword, ax and shield and head into the battlefield together with Temptation’s Wings to the sound of the glorious anthems found in the album’s 48 minutes of unrelenting metal.

Blazing fires in the intro Burning of Hjalmar warn the listener a monumental war of Sludge and Stoner Metal is about to begin in I’ Destroyer, where Micah and Chad build a wall of sound with their strings, being powerfully joined by Jason and his smashing beats. In addition, Micah impersonates the main character of the story in a gripping manner, while Chad and his bass sound as thunderous as they can be throughout the entire song. And the rumbling tunes by Chad kick off another heavy and potent creation by Temptation’s Wings entitled Into the Maelstrom, presenting top-tier Southern Doom with an epic atmosphere in the background, together with faster passages interspersed with darker, slower moments that end up turning it into a full-bodied experience for the listener.

And it seems that the skies are getting darker and darker as the music in Skulthor Ebonblade evolves, which is the case in To Forge a Legend (Ulfbehrt). Micah fires spot-on enraged vocals in perfect sync with the pounding drums by Jason, exhibiting a more melodic side of Temptation’s Wings with highlights to its sustained epic vibe. Then we’re treated to one of the most thrilling, razor-edged chants of the whole album, Lair of the Gorgon Queen, where Micah not only slashes our ears with his riffs, but his vocal performance is beyond heroic and vibrant. Furthermore, this flammable chant is also full of breaks, variations and nuances of several different music styles, not to mention Micah’s fantastic guitar solos; followed by Treachery of the Blind Raven, which by the way has a superb name for a metal song, where they continue their quest for Southern Metal in great fashion, with guitar and bass sounding as metallic as they can be and with all spaces being filled with the dense sounds of all instruments.

Witches of Dredmoor offers our avid ears almost 10 minutes of melancholic passages, low-tuned bass punches and passionate performances by all band members (in special Micah with his gripping story-telling vocal lines). It’s by far the darkest of all songs, presenting more of their stunning guitar solos and rhythmic beats to make the whole composition even more exhilarating; before the closing tune of the album, titled My Name Was Skulthor, brings forward an anguished anti-hero Skulthor with his dark thoughts and evil feelings consuming his mind, with all that negativity flowing from the song’s low-tuned bass lines and obscure vocals. There’s no happiness in sight, only the melancholy and sadness of a fallen warrior beautifully turned into first-class Doom Metal by Temptation’s Wings, concluding the album majestically. Actually, if you buy the CD version of the album, you get as a nice bonus from the band a 2-minute acoustic instrumental track named Solitude (inserted between “Lair of the Gorgon Queen” and “Treachery of the Blind Raven”), a simple but very positive extra touch to the album in my opinion.

You can take a detailed listen at Skulthor Ebonblade on YouTube, follow the band on Facebook, and purchase the epic, rumbling adventures of Temptation’s Wings through their BandCamp page or official website, as well as on iTunes. Although no one truly knows what lies ahead for Skulthor, we all know for sure that, no matter what destiny brings to our fallen warrior, the skillful minstrels of Heavy Metal known as Temptation’s Wings will be there to tell us another gripping story of violence, death and revenge through their kick-ass music.

Best moments of the album: I’ Destroyer, Lair of the Gorgon Queen and My Name Was Skulthor.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Burning of Hjalmar 1:24
2. I’ Destroyer 7:03
3. Into the Maelstrom 6:25
4. To Forge a Legend (Ulfbehrt) 7:46
5. Lair of the Gorgon Queen 6:03
6. Treachery of the Blind Raven 4:40
7. Witches of Dredmoor 9:40
8. My Name Was Skulthor 6:44

CD bonus track
6. Solitude 2:18

Band members
Micah – vocals, guitars
Chad – bass
Jason – drums

Album Review – Mavradoxa / Lethean Lament (2017)

A whirlwind of emotions from raw carnal aggression, nature reverence, despair, longing and bliss in the form of stunning Laurentian Black Metal.

“And all that we are,
all that we are,
is silhouettes
in silent
rain 

And all that we are,
all that we are,
is a blackbird
with wings
aflame”

Recorded in the spring of 2017, Lethean Lament, the second full-length installment by American Atmospheric Black Metal duo Mavradoxa, is not only a contemplative and majestic album that is expansive, atmospheric and melancholic, but it’s perhaps the best depiction in modern underground music of what’s commonly referred to as “Laurentian Black Metal”, being highly recommended for dreary and rain-soaked days during solitary walks, or in any moment of introspection. Formed in 2015 in the city of Rochester, New York, in the United States, the duo comprised of Nival (Zachary Smith) on vocals, guitar and bass and Lux (Monica Finger) on vocals and drums is sharper than ever in Lethean Lament, delivering long, progressive songs that flow with purpose where the atmosphere dictates and paints vivid stories in its movement and direction throughout the entire album, encapsulating a whirlwind of emotions from raw carnal aggression, nature reverence, despair, longing and bliss. Featuring contributions by violinist Andy McGirr on the songs “Cicadan” and “Across the Nival Grove”, and vocalist Makr Welden on the song “Crimson Waves of Autumnal Flame”, as well as a darkly distinguished and impactful artwork, Lethean Lament is honest and genuine Atmospheric Black Metal that beautifully carries on the tradition of bands like Agalloch, Waldgeflüster, Falls of Rauros and Obsidian Tongue.

In the opening track, titled Cicadan, the acoustic guitars by Nival generate the perfect atmosphere for the beyond pleasant violin by Andy to soothe our souls in a comforting and melancholic way, setting the stage for the 11-minute extravaganza The Phantom Visages, showcasing an avalanche of sluggish, somber guitars and beats by the talented duo, spiced up by harsher and more aggressive moments and also bringing elements from Black and Doom Metal, resulting in devilish Blackened Doom tailored for admirers of the genre. Furthermore, its mournful lyrics are effectively gnarled by Mavradoxa (“And soon into the graveyard’s maw the lustrous glow shall fade / Their echoing laments no longer stain the past / Their fleeting memories are borne to midnight rot / My lifeless frame upon the black tombstone is cast”), giving the entire song and even darker and more hypnotizing feel. Crimson Waves of Autumnal Flame is the absolute soundtrack for wandering through cold landscapes by yourself with its almost 18 minutes of melancholic passages, introspective clean vocals by Mark Welden, gentle but piercing guitars by Nival and steady, mesmerizing beats by Lux. The music in this underground masterpiece of winter-like sounds keeps growing in intensity inside your mind, turning it into a one-way journey into darkness.

Exploring their more progressive and atmospheric vein, Mavradoxa hone their instruments to pierce our souls with their depressive sounds in Across the Nival Grove, where vocals couldn’t sound and feel more anguished, flowing through several layers of contrasting tunes and nuances until its climatic ending led by Andy’s ethereal violin. Then we have From Fog, a magnificent composition where you can sense the night and the cold embracing the desperate vociferations blasted by the duo (“Shivering, staring at haze from breath on a shattered mirror / Streaking through shadowy groves / Skeletal roots, an edifice… / but where am I?”) in an amazing display of modern Atmospheric Black Metal. In addition, the song offers the listener old school Black Metal blast beats by Lux and a metallic riffage by Nival in perfect sync with the dense ambience surrounding the music, flirting with Progressive Black Metal and, therefore, keeping the music always fresh, vibrant and gripping. And lastly, there’s nothing better than a serene acoustic outro, named Metanoia, to wrap up this voyage through the obscure and gelid kingdom of extreme music reigned by Mavradoxa.

All you need to do to brave the storm of idiosyncratic sounds found in Lethean Lament (which by the way is our album review number 500, and there couldn’t have been a better choice to celebrate that expressive milestone than this) is go to YouTube for a full listen at the album, follow Mavradoxa on Facebook, and buy your copy of the album at the Hypnotic Dirge Records’ BandCamp or webshop (as a regular CD or as a CD + shirt + sticker bundle), as well as at Discogs. And after facing such distinguished tempest of emotions, from sheer aggression to moments of hope and melancholy, you’ll certainly place Laurentian Black Metal, especially the one masterfully crafted by Mavradoxa, as one of your top choices for your most isolated and meditative moments in life.

Best moments of the album: Crimson Waves of Autumnal Flame and From Fog.

Worst moments of the album: None.

Released in 2017 Hypnotic Dirge Records

Track listing
1. Cicadan 3:52
2. The Phantom Visages 11:25
3. Crimson Waves of Autumnal Flame 17:50
4. Across the Nival Grove 15:32
5. From Fog 11:00
6. Metanoia 1:59

Band members
Nival – vocals, guitar, bass
Lux – vocals, drums

Guest musicians
Andy McGirr – violin on “Cicadan” and “Across the Nival Grove”
Mark Welden – vocals on “Crimson Waves of Autumnal Flame”

Album Review – Cannibal Corpse / Red Before Black (2017)

Always loyal to their foundations and sounding rawer and more aggressive than ever, here comes the most hardworking act in Death Metal with another first-class onslaught of sheer brutality.

If there’s a band in extreme music that not only remains loyal to their foundations, but that also keeps delivering excellence with each and every album release, that band are American death metallers Cannibal Corpse. This Buffalo-based Death Metal institution never disappoints, always providing us fans everything we crave in extreme music, playing their music almost to perfection while maintaining a high level of rawness and aggressiveness in their sonority at all times, which is exactly the case in Red Before Black, the fourteenth studio album in their vile, ruthless and gory career. Having said that, do you have what it takes to face another brutal installment by the Corpse?

Released three years after the good A Skeletal Domain and featuring a slashing artwork by American comic book artist Vince Locke, Red Before Black not only proves why Cannibal Corpse are still alive and kicking after almost 40 years on the road, fighting against all odds and always going against anything that can be considered mainstream, but it also shows that there’s no sign of the band slowing down or venturing through less violent fields. Quite the contrary, it seems that the Corpse is thirstier for guts, entrails and blood than ever.  “We always try to make our music aggressive, but where an album like ‘A Skeletal Domain’ was definitely aggressive, it has a targeted refinement that the new album doesn’t. ‘Red Before Black’ is as well executed as anything we’ve done, but it has a rawness to it that we haven’t had in a long time,” asserted bassist Alex Webster.

Raw and putrid sounds impregnate our ears from the very first second in Only One Will Die, with the guitars by Pat O’Brien and Rob Barrett sounding pulverizing while George “Corpsegrinder” Fisher barks manically as usual, showing why he’s one of the most respected and consistent growlers still in action. Furthermore, its lyrics reek of traditional Cannibal Corpse (“Both of us will throttle / Strangling with rage / Both consumed by madness, revenge has us enslaved / Both are badly wounded / And struggle to survive / Both are fighting to the death but only one will die”). Brutality keeps flowing from all instruments in the fantastic title-track Red Before Black, where the competent old school drummer Paul Mazurkiewicz maintains the pace at a frantic level while Corpsegrinder vociferates the song’s lancinating name ferociously. And those guys never get tired of blasting sheer Death Metal to our metallic ears, delivering violence and bloodshed from start to finish in this ominous circle pit-generator Code of the Slashers, with their always demonic guitar solos enhancing the song’s electricity to the limit; whereas Shedding My Human Skin is mid-tempo slashing tune where guitars penetrate deep inside our mind while Alex and Paul keep punching us in the head ruthlessly. The song loses its taste a bit after a while, though, but it’s still a decent creation by our beloved Corpse.

Get ready to be massacred by Corpsegrinder and his henchmen in Remaimed (let’s see if you can survive this hurricane of Death Metal), with all instruments played with extreme violence, in special the bass by Alex who once again proves why he’s in my humble opinion the best Extreme Metal bassist of all time; followed by Firestorm Vengeance, a heavy-as-hell metal tempest ignited by putrid, raw riffs that grow in intensity until all hell breaks loose, led by the unstoppable Paul on drums. Put differently, if you’re getting to know Cannibal Corpse at this point in your life, this is a very good sample of their more contemporary sound. Heads Shoveled Off is perfect for banging your head like Corpsegrinder himself, while Paul keeps demolishing his drums and the guitar duo Pat and Rob shows no mercy by cutting our ears with their sharp-edged strings, not to mention the song’s slashing words (“Back in Nam he killed a man / A shovel was used to cut his head off / Now forever changed lust to decapitate / Chop at the neck to keep the skull intact / Going insane / Come back deranged”), and displaying hints of progressiveness but still maintaining the band’s crude sonority, Corpus Delicti is another great job done by Rob and Pat with their axes, delivering amazing riffs and solos nonstop.

Red Before Black Collectors Bundle

In Scavenger Consuming Death we have the pleasure to witness Mr. Webster doing what he does best, shaking the foundations of the earth with his devilish bass lines, also presenting a fantastic chorus to follow along with Corpsegrinder, as well as visceral guitar solos and a thrilling pace. In other words, it can’t get any more Cannibal Corpse than this. The crude, primeval sonority found in In the Midst of Ruin, a beyond perfect tune for some carnage inside the circle pit, takes us back to the band’s early days, with Alex Webster firing bestial, rumbling tunes from his bass; while Destroyed Without a Trace, the second to last tune in Red Before Black, is filled with the band’s trademark harmony and aggressiveness (and a Corpsegrinder sounding more enraged than you can imagine), with all breaks and changes from slower, heavier moments to sheer devastation making it a great choice for their live concerts. Lastly, closing this crushing record we have more of the band’s old school Death Metal in Hideous Ichor, which despite being slightly below the rest of the album in terms of quality, it’s still very enjoyable if you’re a longtime fan of the band.

Metal Blade Records kind of surprised us all by uploading the full album on their YouTube channel, but of course in case you’re also a “Corpse addict” like myself you’re certainly going to buy your favorite version of the album at their webstore, like the Red Before Black Collectors Bundle, including among a ton of pretty cool stuff a bonus CD named “Blood Covered”, featuring Cannibal Corpse turning some metal classic by Accept, Metallica, Kreator, Possessed and other bands into their own infernal sound. Red Before Black exhales pure Cannibal Corpse, and it will surely maintain this fantastic Death Metal horde relevant in the minds of old school metal fans, it will show newcomers to the world of heavy music how Death Metal should always be played, and last but not least, it will keep haunting the souls of those who are not brave enough to face the most hardworking band in the history of extreme music.

Best moments of the album: Only One Will Die, Red Before Black, Heads Shoveled Off and Scavenger Consuming Death.

Worst moments of the album: Shedding My Human Skin and Hideous Ichor.

Released in 2017 Metal Blade Records

Track listing 
1. Only One Will Die 3:24
2. Red Before Black 3:12
3. Code of the Slashers 4:45
4. Shedding My Human Skin 3:28
5. Remaimed 4:13
6. Firestorm Vengeance 3:43
7. Heads Shoveled Off 3:37
8. Corpus Delicti 3:29
9. Scavenger Consuming Death 4:33
10. In the Midst of Ruin 3:25
11. Destroyed Without a Trace 4:01
12. Hideous Ichor 4:33

Limited edition bonus disc “Blood Covered”
13. Sacrifice (Sacrifice cover) 3:04
14. Confessions (Possessed cover) 2:58
15. No Remorse (Metallica cover) 6:16
16. Demon’s Night (Accept cover) 4:17
17. Bethany Home (A Place to Die) (The Accused cover) 3:20
18. Endless Pain (Kreator cover) 3:11
19. Behind Bars (Razor cover) 2:20

Band members
George “Corpsegrinder” Fisher – vocals
Pat O’Brien – guitar
Rob Barrett – guitar
Alex Webster – bass
Paul Mazurkiewicz – drums

Guest musician
Erik Rutan – backing vocals on “Only One Will Die”, lead guitar on “In the Midst of Ruin”

Album Review – Lascar / Saudade (2017)

Blending modern elements of extreme music with feelings of loss, fragility and desperation, this one-man band from Chile offers us a unique interpretation of the apparent conflict on the naturalistic experience.

Hailing from the alluring city of Santiago, the capital of the mighty Republic of Chile, here comes a Post-Black Metal one-man army that goes by the name of Lascar, who since 2014 has been delivering truly captivating music by blending modern elements of extreme music with feelings of loss, fragility and desperation, offering a unique interpretation of the apparent conflict on the naturalistic experience. After the releases of the demos Lascar (2014) and Depths (2015), followed by the band’s debut full-length album Absence (2016), it’s time for Lascar, the brainchild of Chilean multi-instrumentalist Gabriel Hugo, to mesmerize us once again with beautiful Atmospheric Black Metal in the full-length opus Saudade, a Spanish word that can be translated as “yearning” or “nostalgia” (albeit there’s no specific word for it in English), implying a sense of abandon and a nostalgic mourning manifested within an artistic environment.

The opening track, entitled Tender Glow, is Atmospheric Black Metal at its finest, bringing forward a bucolic start with the sound of the guitar thoroughly blended with the wind while the music remains gloomy, desperate and anguished at all times thanks to the demonic gnarls by Gabriel, who effectively vociferates the song’s poetry-like lyrics (“The sun expands through the morning air / with its astral constant energy. / Ornaments of ice melts / through the cracks of crystal moments in an hyperbole. / A heartbeat rumble through a fragile atmosphere. / Echoes of lost dreams trespassing the ethereal. / Seasons of purple blossoms falling through the hands of time. / Ornaments of ice melts / through the cracks of crystal moments in an hyperbole.”). Thin Air continues from where the first song ended, impregnating the air with visceral blast beats, old school Black Metal riffs and tons of agony and melancholy, resulting in a wall of dark sounds built up by several distinct layers that will crush your soul mercilessly. Furthermore, Gabriel keeps growling like an uncanny entity until a gentle break brings some peace to our minds, with this paradox of negative emotions and gentle sounds being absolutely fantastic.

The third track of the album, Uneven Alignment, couldn’t start in a more melancholic manner, with its smooth sounds and nuances mesmerizing our senses before Gabriel returns with his visceral roars and frantic drums. Put differently, this is a solid and beautiful depiction of modern Black Metal with Gabriel taking us all on a whimsical journey through the obscure realms of Lascar. And lastly, the acoustic guitar by Gabriel kicks off the final breath of Post-Black Metal in Saudade, a 14-minute aria named Bereavement, showcasing all elements from Atmospheric and Depressive Black Metal fused with traditional Doom and Black Metal, with devastation and despair flowing from all instruments from start to finish, therefore ending the album on the highest note imaginable.

It’s quite difficult to express in just a few lines what the music by Lascar truly represents, which means that, if I were you, I would definitely go take a very detailed and focused listen at Saudade in its entirety on YouTube, as well as follow Lascar on Facebook. Hence, in case Saudade has all the elements you’re searching for in obscure extreme music, you can purchase a copy of the album at Lascar’s BandCamp page, at the ATMF’s BandCamp page or webstore (as a regular CD, a regular LP, or a collector’s edition translucid purple vinyl LP with white speckles), at the Throne Records’ webstore or at Discogs. The feeling of loss followed by a strong and deep sense of yearning might not be something easy to deal with inside ourselves, but with the lugubrious music by Lascar as the soundtrack at least we have a very good reason to let those feelings and thoughts consume our minds in the darkest way possible.

Best moments of the album: Thin Air and Bereavement.

Worst moments of the album: None.

Released in 2017 A Sad Sadness Song

Track listing
1. Tender Glow 10:25
2. Thin Air 8:49
3. Uneven Alignment 8:34
4. Bereavement 14:25

Band members
Gabriel Hugo – vocals, all instruments

Album Review – Atomçk / Every Room In Britain (2017)

A 17-minute nonstop head crusher of cacophonous chaos, furious, catchy riffs and inhumanly ape-like shrieking vocals. That’s how good primeval Grindcore should always sound.

When the total running time of an album with 21 songs is only around 17 minutes, you know those 17 minutes will be as intense as hell. Founded in 2006 in Bristol, a city and county in South West England, Grindcore/Hardcore Punk trio Atomçk has evolved from their primitive noise roots into a uniquely eccentric and offbeat brand of Grindcore, culminating now in 2017 with the release of the full-length album Every Room In Britain, a nonstop head crusher of cacophonous chaos, furious, catchy riffs and inhumanly ape-like shrieking vocals, as if Cornelius, the son of Caesar from Planet of the Apes, decided to rebel against his father in his teens to form a Hardcore band.

Most probably the shortest intro of all time, the quick sonic havoc Rot Induction wakes our inner monsters up for the boisterous one-minute tunes Full Of Sell and Fuck Off Back To London, both presenting a solid Grindcore devastation with brutality flowing from all instruments. Furthermore, just try to follow the lyrics of the latter with the band (“Graffiti tours / Fuck off back to London / Moustache barbers / Fuck off back to London / Bad film clubs / Fuck off back to London / Cultural erosion / Fuck off back to London now”). In Back Office Savings we have the ultimate shrieking and slamming feast, courtesy of the demented “apes” Linus, Luke and Carl, and then you might wonder how they could possibly sound more violent than this in less than a minute, right? Well, their answer comes in the form of the songs Preston Slayer Fans and Young Professionals. And when you least expect, you’ll begin to deeply enjoy their primate-inspired screeches.

Every Room sounds slightly more rhythmic than its predecessors, but still insanely brutal, with its demonic guitars going along really well with their demented gnarls; followed by the incomprehensible, anarchic chant titled Community Payback, the thunderous bass lines of the “bridge” Bare Minimum Customer Service, and the amazingly violent, fast-paced tempest named Robot Cannibal. What about those lyrics, can you follow them (“What to do / I’m not sure / Might as well / Kill something / Didn’t work / The last time / Never mind / We have to / Do something / Someone must / Be murdered / Blind idiot god / Demands meat”)? Or should I ask if you’re still alive after so much savagery?

Misery Trance presents menacing low-tuned sounds accompanied by their trademark monkey-frog-hybrid screams, while in Waiting For Junko they speed up their pace and offer more of their Grindcore dementia. And the slamming party goes on with Two Grand Bro and Glass Floor, showcasing Mike Patton/Barney Greenway-inspired vocals in a turbulent manner, which is also the case in the demented Pro Area 1. Then after four seconds of noises in Micro Aggressions we’re treated to Self Defeater, with its fun lyrics (“No tolerance / For dogma / But be careful / With the use / Of language / Or thou shalt / Be cast out”) and deranged drumming. In Purged the trio proves why they’re the masters of sick Grindcore, destroying everything and everyone that crosses their path in less than one minute, whereas Another Nails In The Coffins brings forward more of their insane Mike Patton-ish vocals. How can Linus screech like that during their live concerts? That should be an interesting event to watch. Anyway, there are still two more minutes of pure aggression and wicked growling in Every Room In Britain, starting with Fastard and followed by Anguish Champion, closing this berserk and totally crazed album on a high note.

Portraying an elegant artwork by Luke Oram, Every Room In Britain can be relished in full on Spotify and purchased at several different locations such as the SuperFi Records BandCamp or webstore, the WOOAAARGH! Records BandCamp or webstore, and the Rip Roaring Shit Storm Records BandCamp or Big Cartel, as well as on iTunes, on Amazon, at the Boomkat webstore or at Discogs. It definitely feels like there are more places where you can buy the album than minutes of music in it, don’t you agree? Now please get up from that couch, stretch your muscles and get ready to jump up and down and slam like an ape to the hurricane of extreme sounds blasted by Atomçk, because that’s what entertaining high-end Grindcore is all about.

Best moments of the album: Fuck Off Back To London, Preston Slayer Fans, Robot Cannibal and Waiting For Junko.

Worst moments of the album: Misery Trance and Bare Minimum Customer Service.

Released in 2017 SuperFi Records

Track listing
1. Rot Induction 0:04
2. Full Of Sell 0:54
3. Fuck Off Back To London 1:07
4. Back Office Savings 0:49
5. Preston Slayer Fans 0:46
6. Young Professionals 0:53
7. Every Room 0:51
8. Community Payback 0:34
9. Bare Minimum Customer Service 0:09
10. Robot Cannibal 1:48
11. Misery Trance 0:55
12. Waiting For Junko 0:55
13. Two Grand Bro 0:55
14. Glass Floor 0:38
15. Pro Area 1:01
16. Micro Aggressions 0:04
17. Self Defeater 0:38
18. Purged 0:56
19. Another Nails In The Coffins 0:53
20. Fastard 0:42
21. Anguish Champion 1:11

Band members
Linus – vocals, machines
Luke – guitars
Karl – drums

Album Review – Dzö-nga / The Sachem’s Tales (2017)

A demonic entity hailing from the United States gives life to the Algonquin folklore in a brand new concept album of vibrant and classy Atmospheric Black Metal.

In case you’re searching for the next name in Atmospheric and Epic Black Metal, you must take a listen at The Sachem’s Tales, the brand new concept album by an American Black Metal project that goes by the name of Dzö-nga (pronounced “zone-gah”), formed in 2016 in the city of Boston, Massachusetts, United States by multi-instrumentalist Cryvas. By the way, did you know Dzö-nga is the name of a cryptid or demon that is said to haunt the mountain Kangchenjunga, the third highest mountain in the world lying partly in Nepal and partly in Sikkim, India? Drawing inspiration from world mythologies, Dzö-nga is definitely the perfect name to represent the music by this heavy and eccentric monster of underground extreme music.

The Sachem’s Tales, Dzö-nga’s second full-length album and a concept album about the Algonquin folklore from creation mythos (“Against the Northern Wind”) to apocalyptic prophesies (“A Seventh Age of Fire”), is the project’s first release to feature Grushenka Ødegård on vocals, with Cryvas and Grushenka being joined by guest musicians Aaron Maloney (This or the Apocalypse) as their session drummer and Lilith Astaroth (Sorrowseed) lending an ethereal voice to “Halle Ravine”. Featuring a classy cover art titled “The Wendigo”, designed by British illustrator Frank Victoria, The Sachem’s Tales will certainly please all fans of the more atmospheric side of extreme music fused with folk elements, especially the ones who love the sound by bands like Agalloch, Falls of Rauros, Moonsorrow and Coldworld, among others.

Midewiwin Lodge, a serene instrumental intro led by the acoustic guitars by Cryvas and spiced up by elements from Mother Nature, sets up the ambience for the melancholic and gripping To the Great Salt Water, with the contrast between the piano and the blast beats perfectly supporting the gentle voice of Grushenka and the growls by Cryvas, enhancing the impact of its fairy tale-inspired lyrics (“What shall I tell our children? / Tell them our story / Tell them who they are / Far beyond the mountains / Where wild-men roam / Over the raging river’s foam / Follow the Whiteshell west”). Put differently, this is a beautiful rollercoaster of emotions crafted by Dzö-nga, going from deeply enraged moments to slower passages of pure tenderness. Then in The Wolves Fell Quiet what starts in a calm mode with the suave notes of the piano embracing our souls suddenly explodes into magnificent Atmospheric Black Metal, with Cryvas growling and gnarling like a hellish entity. Furthermore, multi-layered waves of blackened sounds mixed with ambient music turn listening to this tune into a distinct and dense journey through darkness.

In the acoustic ballad Halle Ravine, it’s time for Lilith Astaroth to give life to the song’s poetic lyrics, bringing hope and melancholy at the same time to our hearts, with the song’s smoother sonority also showcasing how versatile Cryvas is as a musician; followed by Against the Northern Wind, where blast beats ignite a flammable fusion of Atmospheric Black Metal with Folk and Dark Metal, once again presenting paradoxical elements that create a unique experience to the listener. Moreover, Cryvas’ demonic roars and Grushenka’s angelical voice complement each other in a superb way, making it impossible not to feel touched by all sounds blasted by the band, all reaching deep inside our hearts and souls. A Seventh Age of Fire brings forward almost 10 minutes of top-tier extreme music by Cryvas and his crew, where Aaron not only proves he’s a rabid beast behind his drums, but he also displays an extremely refined technique, therefore adding tons of intricacy to the musicality. And effectively complementing this stylish aria, Cryvas offers us all some epic church-inspired pipes, with all instruments converging to a climatic acoustic ending with the song’s lyrics yet again coming from a dark and thrilling fairy tale (“Be brave and you will be protected / Be wise and you will be rewarded / (Hear in our silence that we are at peace / Our mantle passed to you) / Light again the ancient flame / Lead our people back home”). And before all is said and done, we’re treated to the instrumental outro The Witching Meadow, a song that contains several elements found in Folk Metal, with its kick-ass piano notes generating a comforting atmosphere to end this fantastic album in great fashion.

You can enjoy this fairy tale of Extreme Metal in full on YouTube, follow Dzö-nga on Facebook, listen to their other creations on SoundCloud, and obviously purchase The Sachem’s Tales at the band’s own BandCamp page, at the Avantgard Music’s BandCamp, on Amazon or at Discogs. Having said that, let’s hope that this gargantuan, hazy creature named Dzö-nga keeps haunting not only mountain Kangchenjunga, but everywhere else in the world where high-quality metal music is appreciated for many years yet to come.

Best moments of the album: To the Great Salt Water and Against the Northern Wind.

Worst moments of the album: None.

Released in 2017 Avantgarde Music

Track listing
1. Midewiwin Lodge (Instrumental) 2:35
2. To the Great Salt Water 8:49
3. The Wolves Fell Quiet 7:23
4. Halle Ravine (feat. Lilith Astaroth) 4:04
5. Against the Northern Wind 7:16
6. A Seventh Age of Fire 9:23
7. The Witching Meadow (Instrumental) 3:26

Band members
Cryvas – vocals, all instruments
Grushenka Ødegård – vocals

Guest musicians
Aaron Maloney – drums (session)
Lilith Astaroth – vocals on “Halle Ravine”

Album Review – Ljosazabojstwa / Sychodžańnie EP (2017)

Prepare yourself for a 32-minute descent to the bottomless pits of hell while listening to the ancient thrashing Black and Death Metal brought forth by this arcane Belarusian horde.

Anti-Christianity, death, cruelty and other controversial topics, all vociferated in the darkest existing form of Belarusian. That’s what you’ll get in Sychodžańnie, the brand new and extremely occult EP by a Belarusian Death/Black Metal mysterious entity that goes by the name of Ljosazabojstwa, formed in 2013 in the capital city of Belarus, Minsk. If you have absolutely no idea how extreme music sounds when sung in “White Russian”, Sychodžańnie might be the perfect opportunity for you not only to feel the strength of this distinct East Slavic language in metal, but also to get to know more about Ljosazabojstwa, a fresh new name in underground music that will certainly disturb your peace of mind.

After releasing a demo titled Staražytnaje Licha, in 2016, Ljosazabojstwa are more than ready to haunt our minds with their demolishing, blackened sounds found in their new EP. With Sychodžańnie, which by the way was mixed and mastered by Ghostalgy Productions and features artwork and logo by VR, this arcane band takes their brand of ancient thrashing Black and Death Metal to a whole new level, balancing barbaric riffage with uncanny interludes and spoken word samples that make for a unique experience. In other words, prepare yourself for a 32-minute descent to the bottomless pits of hell while listening to the album’s six tracks of ruthless music, definitely not recommended for the faint of heart.

This cavernous album beings with Pozirk U Biezdań, an ominous intro where the mesmerizing sound of an organ opens the gates of the underworld to the dark and puissant Zhuba, where Blackened Doom, Black and Death Metal are united in the most aggressive way, with the deep growling by the band’s mysterious vocalist being supported by the cutting sound of guitars. In addition, its raw and vile beats, together with the song’s eccentric ending, will darken your thoughts without a shadow of a doubt. Then blackness keeps growing in intensity in the lesson in sluggish Blackened Death Metal entitled Piekła, with its guitar riffs feeling like a chainsaw hacking your limbs off. Moreover, its faster passages interspersed with slower Doom Metal-inspired moments add several layers of intricacy to the musicality, and it seems the band loves to include some wicked spoken excerpts (probably taken from underground movies) to their creations, just to give them an awesome slasher-flick soundtrack-like vibe.

Slow and steady beats ignite another feast of primeval, Stygian sounds by Ljosazabojstwa named Šliach Na Miehida, with their demonic lead singer vociferating the song’s cryptic lyrics in a truly threatening manner, also presenting a smooth acoustic break almost at the end before devastation returns in full force (and when you least expect, you’ll find yourself addicted to the band’s hellish music). The title-track Sychodžańnie is a horror movie-inspired instrumental bridge that will invade your senses before Zabojstwa Ljosu comes crushing your skull with a tempest of metallic, rip-roaring sounds, infernal vociferations and demented vocal samples. In addition, its guitars bring an acid hybrid of Death and Doom Metal riffs, while drums continue to smash us mercilessly until its devastating and climatic grand finale.

If you want to take a more detailed listen at Sychodžańnie, simply go to YouTube to fill your ears with Ljosazabojstwa’s dark Belarusian sounds, but if you’re already hooked on their vile music you can grab your copy of the EP at the band’s own BandCamp page, at the Hellthrasher Productions’ BandCamp or webstore, or at Discogs. And there you have the most demonic score you can imagine for some of those extremely somber, sorrowful and distressed moments you’ll face in life, how about that?

Best moments of the album: Piekła and Zabojstwa Ljosu.

Worst moments of the album: None.

Released in 2017 Hellthrasher Productions

Track listing
1. Pozirk U Biezdań (Instrumental) 2:06
2. Zhuba 7:37
3. Piekła 6:56
4. Šliach Na Miehida 7:00
5. Sychodžańnie 1:36
6. Zabojstwa Ljosu 6:48

Band members
*Information not available*

Album Review – Al-Namrood / Enkar (2017)

Unafraid of exercising their freedom of speech in their homeland, three dauntless Saudi black metallers keep fighting against tyranny, oppression and authoritarianism with their brand new, distinct and acid album.

Forged in 2008 in the fires of Dammam, the capital city of Saudi Arabia’s Eastern Province and the sixth largest city in Saudi Arabia after Riyadh, Jeddah, Mecca, Medina and Taif, Black/Folk Metal trinity Al-Namrood is another one of those cases where no matter how talented and bright the band members are, the religious and political leaders of their homeland will do whatever it takes to end their career (not to say something even harsher than that), restricting their reach and forcing them to remain anonymous to stay alive (as you can read in an excellent and very detailed article titled “Witch Hunts, Resurgence and Defiance: Heavy Metal In The Middle East”, published by an online publication named The Quietus). However, the only Black Metal band in Saudi Arabia doesn’t seem to be scared to exercise their freedom of speech with their brand new album Enkar, where once again Al-Namrood translates into first-class metal music their austere position against their own country’s authoritarian regime.

Al-Namrood (or (النمرود‎ in Arabic) means “Nimrod” (which translates to “the non believer”), a Babylonian king who ruled the world maliciously and stated “I am the God of all creation”, and the group chose the name as their form of defiance against religion. After the successful release of their 2010 album Estorat Taghoot, the band decided to shift their focus away from the ancient Babylon land to a hub with deeper Arabian aspect, pronouncing the utter darkness of the Arabian Peninsula and therefore playing what can be called “Arabian Occult Metal”. If you love Black Metal in the vein of bands like Marduk, Darkthrone and Bathory mixed with the most obscure and anti-religious aspects of the music by Candlemass, Black Sabbath and Kreator, all embraced by the unique tones and sounds from the Middle-Eastern culture, then you must take a listen at Enkar as soon as possible, as this album might change considerably your view of underground Extreme Metal.

And those sounds from the Middle-East are joined by metallic lines to form a unique musicality led by the enraged and sick vocals by Humbaba in the opening track, titled Nabth, a feast of eccentricity and sheer madness, with the guitars by Mephisto sounding truly mesmerizing. In addition, the song’s official video, with its images of protests, riots and police brutality from across the Middle-East, match perfectly with the music played by Al-Namrood. Enhancing the lunacy flowing from the guitars, the band offers us Halak, a great display of Orient Metal tailored for banging our heads and prancing together with the band, with highlights to the electrified beats by Ostron; followed by Xenophobia, another acid creation by Al-Namrood that deals with an extremely controversial topic, with Humbaba firing some truly demented vociferations from start to finish to make the final result even more impactful.

Estibdad brings forward a kick-ass hybrid of Folk and Orient Metal where all band members are on fire, in special Mephisto with his slashing riffs, not to mention you can feel the anger and rage flowing from Humbaba’s desperate growls. Efsad keeps the momentum going with its rhythmic drumming and Middle-Eastern-inspired riffs and bass lines effectively delivered by Mephisto, whereas Estinzaf, perhaps the most Heavy Metal (or I should say Black Metal) of all songs, presents more traditional guitar lines and drums, but of course still bringing the band’s own regional twist. Moreover, Humbaba sounds like a Saudi version of the iconic Mike Patton (Faith No More) during the whole song due to the level of lunacy and the weird noises he produces with his voice, which in the end is a very positive complement to the overall result. And in Ensaf we face a darker sonority that grows in intensity as time goes by, with even the vocal lines by Humbaba sounding more obscure and sharper than before, culminating in a mesmerizing pace with hints of progressiveness and Folk Metal elements to boost its taste.

In Egwaa we’re treated to what’s probably their most primeval mode, a hypnotizing and stylish break from all madness from the rest of the album deeply rooted in their own homeland’s traditions and sounds, with their smooth but at the same time extremely potent percussion stealing the spotlight. Then when it looks like that gentle break will still go on for a while, the band returns with an imposing, epic tune titled Ezdraa, transporting the listener to the darkest side of Saudi Arabia, with Ostron kicking some serious ass with his intricate drumming, before Entiqam, a nice ending to such distinct album, showcases a more-demented-than-ever Humbaba, leading the band’s ominous and classy musicality while the song’s Middle-Eastern elements sound heavier, crisper and more piercing than in all previous tracks.

You can enjoy all the madness, violence and hatred from Enkar by listening to the full album on Spotify, and of course purchase this Saudi gem at the Shaytan Productions’ BandCamp, on iTunes, on Amazon, on CD Baby or at Discogs. Al-Namrood, who can be found on Facebook despite the fact the band members have to remain anonymous, not only continue to pave a fantastic path in underground heavy music with this idiosyncratic album, spreading their music all over the world and always moving forward against all odds, but they also serve as some sort of inspiration for other musicians in Saudi Arabia and from any other countries with very strict laws to keep pursuing their dreams and to keep fighting against tyranny, oppression and authoritarianism, all in the name of freedom and metal.

Best moments of the album: Nabth, Estibdad and Ensaf.

Worst moments of the album: Estinzaf.

Released in 2017 Shaytan Productions

Track listing
1. Nabth 3:55
2. Halak 3:17
3. Xenophobia 4:24
4. Estibdad 3:23
5. Efsad 3:03
6. Estinzaf 3:17
7. Ensaf 4:28
8. Egwaa 4:02
9. Ezdraa 4:24
10. Entiqam 5:18

Band members
Humbaba – vocals
Mephisto – guitars, bass, percussion
Ostron – keyboards, percussion

Album Review – Heterochrome / Melancholia (2017)

Embark on a journey through the aggressive peaks and heavenly calm moments of life and death, crafted by a five-piece Iranian act that’s willing to face all adversities in their homeland to spread their music all over the world.

Every single time we at The Headbanging Moose do a review of an album by a band hailing from the Middle-East, we never know exactly how hard and dangerous it was (and is) for that specific band to record that album due to all restrictions imposed by religious and political parties in those countries. If you have no idea of what I’m talking about, take a quick read at this short and sweet article titled “How playing heavy metal in Iran can put your life in danger”, posted online at the Huck Maganize website. Formed in 2014 in Tehran, the capital of Iran located in the north of the country, female-fronted five-piece Progressive Metal act Heterochrome have just released their debut effort entitled Melancholia, a journey through the aggressive peaks and heavenly calm moments of life and death, and it seems that they are willing to face all perils and adversities in their homeland to spread their music all over the world.

The band was brought into being when guitarist Mohammadreza Rezaei and vocalist Mida met each other in 2014 and started writing music together, with the rest of the band members joining the duo in the coming years. Displaying a delicate but powerful artwork designed by Caelan Stokkermans, from Caelan Stokkermans Arts (who already worked with another band recently reviewed at The Headbanging Moose, called Ezerath), Melancholia is an amalgamation of sounds and styles, from the darkest and heaviest screams and thoughts to moments of tenderness, love and hope, all meticulously embraced by the band’s progressive and intricate passages. Furthermore, Mida ends up stealing the spotlight with her passionate vocal performance throughout the entire album, and if what people say is true about how women are completely discouraged to create music (in special Heavy Metal) in Iran, putting even their lives in danger for doing that, then she’s not only a highly skilled singer, but also a daredevil metalhead.

The opening track Cage displays tons of progressiveness flowing from all instruments from its very first second, being led by the sharp guitars by Mohammadreza and his bandmate Khashayar Oveisi, with Mohammadreza and the angelical voice of Mida bringing a classy and melancholic vibe to the music. Then leaning towards Progressive Rock blended with contemporary Hard Rock we have Hang, where Mida enchants us all to the precise beats by drummer Mohammad Mirboland and the metallic bass by Armin Afzali, with the songs harsh growls adding  an extra dosage of heaviness and electricity to the song’s introspective lyrics (“Every breath I take, brings me closer / Every second wasted, counts past the border / Every bridge falls broken, burning over  / As I sprint through the myst, the night is over”).

The following track, named Regret, is a smooth instrumental Progressive Metal tune with hints of Acid Rock, generating a dark and soulful “waltz” perfect for closing your eyes and banging your head together with the band. Moreover, Mohammad becomes the “captain” of the ship with both his fast-paced beats and more rhythmic drumming, with the song ending with a kick-ass guitar solo by Mohammadreza. And the band keeps the momentum going with Purgatory, a song highly recommended for fans of all types of heavy music that can be broken down into several distinct pieces, from the hypnotizing, gentle parts led by Mida to a pure metallic extravaganza and more progressive passages, therefore showcasing all the band’s versatility and also experimenting with darker sounds and nuances of Rock N’ Roll.

Their most experimental vein rises in Paradise, with the guitar duo comprised of Mohammadreza and Khashayar spearheading this feast of whimsical tunes and notes, boosted by the intricate bass lines by Armin. Furthermore, this pleasant composition proves Heterochrome definitely know how to use the fusion of male and female vocals in all their creations in a beyond compelling way. And last but not least, let the fires burn to the sound of the thrilling chant Inferno, a multi-layered mid-tempo tune that will pierce your mind and hypnotize you, while the bass lines by Armin embrace Mida’s stunning voice. Once again presenting a gripping guitar solo by Mohammadreza and beautiful, poetic lyrics as the icing on the cake (“Let me bleed / Naked by the fire / I’m drowning deep / Drowning in denial / Burning in / The inferno I made for myself”), the song remains flawless from start to finish, flowing to a gentle ending full of melancholy bursting from both Mida’s and Mohammadreza’s voices.

As aforementioned, I don’t know for sure how dangerous it is for a band like Heterochrome to craft their music in Iran, but it seems that they’re more than ready to take all possible risks in the name of Heavy Metal. With that said, we should all show our utmost support to those Iranian metallers (and to their freedom of speech) by liking their Facebook page, listening to their music on YouTube or on Spotify, and especially by purchasing Melancholia on BandCamp, iTunes, Amazon or CD Baby, always hoping that they succeed in their arduous journey and that they keep delivering good metal music to our ears, therefore inspiring others in Iran to do the same.

Best moments of the album: Hang and Inferno.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Cage 3:36
2. Hang 3:59
3. Regret 4:54
4. Purgatory 5:55
5. Paradise 3:55
6. Inferno 7:53

Band members
Mida – vocals
Mohammadreza Rezaei – guitars, backing vocals
Khashayar Oveisi – guitars
Armin Afzali – bass
Mohammad Mirboland – drums