Album Review – Rexoria / Queen Of Light (2018)

Welcome to the amazing world of Melodic Metal ruled by an up-and-coming four-piece act from Sweden.

Hailing from Jönköping, is a city on the shores of Lake Vättern, located in southern Sweden, Melodic Metal quartet Rexoria have been on a fast and healthy rise since their inception in 2016, having already toured several countries with bands like Bloodbound and Crystal Viper, as well as supporting renowned acts such as Backyard Babies, Entombed A.D. and Battle Beast in their homeland Sweden. And the reason for that amazing upward trend is obviously the extreme talent of their band members, their devoted passion for Heavy Metal and, as the icing on the cake, the stunning performance by frontwoman Frida Ohlin, who by the way was one of the finalists in the Swedish competition Årets Rockröst in 2016 (which would translate as “The Rock Voice”).

Blending their core Melodic Metal with folk influences, Rexoria released their debut EP in 2016, entitled Moments Of Insanity, followed by another EP in 2017, The World Unknown, both presenting what this talented Swedish band is capable of. However, it’s now with their first full-length album, elegantly named Queen Of Light, that fans of the more melodious side of Heavy Metal will be able to experience a full-bodied, detailed blast of the classy music crafted by Rexoria, heavily inspired by the golden years of Heavy Metal and spiced up by nuances of contemporary Power and Folk Metal. Put differently, if you’re crazy for Scandinavian Metal the likes of Stratovarius and Nightwish, you might have found your next addiction in heavy music.

The movie-inspired intro The Land in Between transports the listener to the whimsical and unknown world of Rexoria, with the guitar duo comprised of Jonas Gustavsson and Cristofer Svensson opening the gates for the harmonious vocals by Frida to welcome us all to the first song of the album, titled Stranded, a precise fusion of Melodic and Symphonic Metal highly inspired by bands like Epica and Nightwish; followed by the title-track Queen of Light, feeling even more imposing and melodic and also bringing elements from the classic Heavy Metal played by Doro, or in other words, it’s 80’s metal with a catchy chorus and electrifying riffs and beats where you can sense the amazing smell of epicness and power that permeates the air throughout the whole song. And leaning towards modern Folk Metal we have Voice of Heaven, with the keyboards by Frida generating a gentle ambience while the rest of the band makes sure the sounding remains as metal as it can be.

Way to Die is another stylish tune that effectively combines the more trenchant elements of Heavy Metal with the elegance and delicacy of symphonic and operatic music, with Frida once again having a remarkable performance with her potent voice. After such high-end display of heavy music we’re treated to a passionate, melancholic and gripping ballad named Song by the Angels, again taking us back to 80’s Heavy Metal with pure romance flowing from all instruments, especially the guitars by both Jonas and Cristofer which add tons of feeling and electricity to the overall result, whereas in Next Generation old school guitar riffs are in perfect sync with the precise beats by drummer Martin Gustavsson, not to mention the song’s fiery guitar solos and the epic vibe that supports the band from start to finish. The next tune, entitled The Saviour, offers more of Rexoria’s traditional metal lines with hints of Folk Metal and 80’s Hard Rock, with Jonas and Cristofer displaying all their passion for Melodic Metal by delivering smooth lines with their instruments and building the stage for Frida’s vocals to shine once again.

Hurricane is perhaps the most Heavy and Power Metal of all songs of the album (and definitely the most inspiring one), which is something you can already expect taking into account its name, showcasing an accelerated rhythm led by the potent drumming by Martin while Frida steals the spotlight yet again with her resonant vocal lines. Now think about an epic tune with a serene background led by the stunning vocals of a female warrior? That’s exactly what you’ll get in My Spirit Will Run Free, a song that can’t get any more 80’s than that, before the closing act You’ll Be Alright brings more of the band’s traditional musicality, with Jonas, Cristofer and Martin providing a beyond solid support for Frida to mesmerize us one last time, and when the song is over you’ll simply realize there’s nothing bad or out of place in the entire album.

You can purchase Queen Of Light at several online stores such as Pride & Joy Music, Nuclear Blast, Ginza.se and Bengans, as well as on iTunes and on Amazon, and remember you can always keep track of all things Rexoria through their official Facebook page, and listen to their music on YouTube and on Spotify. Then after having Queen Of Light on your hands, you’ll finally be allowed to enter the fantastic world of Melodic Metal ruled by Rexoria and let those four Swedish metallers guide you on a journey through the waves of harmonious and elegant Heavy Metal.

Best moments of the album: Queen of Light, Song by the Angels and Hurricane.

Worst moments of the album: None.

Released in 2018 Pride & Joy Music

Track listing   
1. The Land in Between 1:40
2. Stranded 4:49
3. Queen of Light 4:18
4. Voice of Heaven 4:43
5. Way to Die 4:16
6. Song by the Angels 5:36
7. Next Generation 4:18
8. The Saviour 4:44
9. Hurricane 4:53
10. My Spirit Will Run Free 5:11
11. You’ll Be Alright 5:37

Band members
Frida Ohlin – vocals, keyboards
Jonas Gustavsson – guitar, bass
Cristofer Svensson – guitar
Martin Gustavsson – drums

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Album Review – Rise of Avernus / Eigengrau (2018)

Blending elements from progressive and symphonic music with the most obscure side of Extreme Metal, all enfolded by majestic orchestrations, here come Rise of Avernus with their heaviest and darkest opus thus far.

Eigengrau (German: “intrinsic gray”, lit. “own gray”; pronounced [ˈʔaɪ̯gn̩ˌgʁaʊ̯]), also called Eigenlicht (Dutch and German: “own light”), dark light, or brain gray, is the uniform dark gray background that many people report seeing in the absence of light.

Since their inception in 2011, Australian Dark Orchestral Death/Doom Metal horde Rise of Avernus has been making a name for themselves throughout the metal community with their unique style blending elements from progressive and symphonic music with the darkest side of Extreme Metal, all enfolded by majestic orchestrations. Within the short time since the release of their 2012 debut EP, they’ve followed a relentless touring schedule, supporting some major international acts such as Apocalyptica, Enslaved, Eluveitie, Prong, Septicflesh, Fleshgod Apocalypse, Rotting Christ and Sigh along the way. Now in 2018 it’s time for this Sydney-based blackened squad to spread their devilish wings all over the world once again with Eigengrau, their fourth studio release and, more important than that, their heaviest and darkest opus thus far.

Featuring a Stygian artwork by world renowned artist Seth Siro Anton (aka Spiros Antoniou from Septicflesh), Eigengrau is the experience of seeing a deep grey shade in the total absence of visible light, or what one may refer to as a “perfect darkness.” Upon this canvas, an individual can project their subconscious, their processes, their anxieties and their fears. Thematically, Eigengrau explores the fluidic nature of these self-created experiences, how they can be shaped and how they may change at the point of one’s own death. Other tracks go on to explore the intricacies of personal realities, influenced by external factors or via spiritual and religious indoctrination. The nature of self-realization and being forced to confront weakness to overcome it. The distinct sound of the album reflects these altered states, oscillating between delicate movements and nightmarish grandiosity.

And Rise of Avernus’ nightmare of tenebrous and imposing sounds begin in full force in the title-track Eigengrau, showcasing a movie-inspired start before becoming a majestic fusion of the extreme music by bands like Cradle of Filth, Dimmu Borgir, Behemoth and Necronomicon with a raw Death Metal twist. Furthermore, Ben VanVollenhoven, the (black) heart and soul of the band, sounds insanely infernal on vocals, as well as Andrew Craig and his thunderous drums. Following such fantastic beginning we have Ad Infinitum (or “to infinity”), a neck-breaking, symphonic tune led by the atmospheric keys by Mares Refalaeda where Ben once again brings sheer darkness to the musicality with his demonic voice, resulting in a flawless combination of Atmospheric and Symphonic Black Metal.

Then we have a movie score-inspired beginning to yet another venomous feast by Rise of Avernus titled Gehenna, showcasing a beautiful but still obscure mid-tempo rhythm led by the guitars by Ben, who also provides a powerful performance with both his harsh and clean vocals (not to mention how awesome all orchestrations are); while Eigenlicht offers the listener almost eight minutes of a descent into the pitch black crypts of Hades, presenting smooth guitar lines by Ben and the always gripping keys by Mares. In addition, the whole song ends up feeling like the second part of the title-track at times, with the atmospheric break halfway through it being a thing of beauty. To sum up, this is Symphonic Black Metal at its finest, with the whole music ending in dense and ferocious fashion for our total delectation. And there’s’ still a lot more to go in Eigengrau, with tribal beats igniting another sonic extravaganza named Tempest, where Ben sounds more hellish and cavernous than before while Andrew and Mares fill all empty spaces with their burning instruments, resulting in a flawless mix of orchestral and heavy music.

Forged in Eidolon brings forward an ominous intro rising from the pits of hell directly into your mind, with the spectral orchestrations and keyboards by both Ben and Mares imprisoning your soul in the metallic realm of evil reigned by Rise of Avernus. Then serene sounds are joined by a wave of sublime orchestrations in Mimicry, creating the perfect ambience for the demonic growls by Ben and enhanced by the astounding keys by Mares. And as the closing act to this impressive album we have Into Aetherium, a wondrous composition that starts with almost three minutes of an instrumental blast of melancholic and obscure Symphonic Black Metal before all hell breaks loose, darkening our thoughts and hearts during its eight minutes of duration. Led by the bestial drums by Andrew, this fiendish hymn sets the perfect landscape for Ben to continue his path to the underworld, gnarling like an evil entity until the song’s mesmerizing and grandiose ending.

What are you waiting for to show your support for Rise of Avernus and purchase your copy of Eigengrau, one of the best extreme albums you can find out there, blending the aggressiveness of Death, Doom and Black Metal with the finesse and epicness of orchestral music? Eigengrau is available through Rise of Avernus’ own BandCamp page or Big Cartel (where by the way you can also find an album + patch + shirt bundle and an album + patch + pin + shirt + canvas/artwork bundle), as well as through the Aural Music webstore as a regular CD format or as a very special woodbox edition, if all of those versions of the album are still in stock, of course (which I doubt due to the insanely high quality of the music in question). Also, don’t forget to pay a visit to Rise of Avernus on Facebook for news, tour dates and other nice-to-know details about the band, and to listen to more of their classy music on YouTube. This is not only the band’s boldest, darkest and heaviest release to date, as aforementioned, but a lesson in extreme music that will certainly figure among the best metal albums of 2018 not only at The Headbanging Moose, but in several other publications all over the world where dark music always prevails.

Best moments of the album: Eigengrau, Eigenlicht, Tempest and Into Aetherium.

Worst moments of the album: None.

Released in 2018 Code666

Track listing 
1. Eigengrau 5:43
2. Ad Infinitum 4:54
3. Gehenna 5:59
4. Eigenlicht 7:33
5. Tempest 4:51
6. Forged in Eidolon 5:56
7. Mimicry 3:53
8. Into Aetherium 8:03

Band members
Ben VanVollenhoven – vocals, guitar, orchestrations
Mares Refalaeda – vocals, keyboards
Andrew Craig – drums, percussion

Album Review – Terror Universal / Make Them Bleed (2018)

Behold the rise of the masked fearsome foursome of modern American metal and their bloodthirsty, action-packed debut album.

Comprised of current and former members of rock and metal renowned acts such as Machine Head, Ill Niño, Soulfly and Upon A Burning Body, here comes American Horror Metal masked supergroup Terror Universal, who have been unstoppable since the band’s inception back in 2014, having released their debut EP Reign of Terror in 2015 and shared the stage alongside heavy hitters including Korn, Asking Alexandria, Papa Roach and Fear Factory, among others. Now in 2018 those masked marauders are set to release their debut full-length album Make Them Bleed via minus HEAD Records, an album that can undoubtedly be considered the musical equivalent of a slasher film due to its aggressiveness, tension, lunacy and obviously the distinctiveness and eccentricity of each of the band’s bizarre members.

Snapping from moments of intense sonic bloodletting into menacing melodic mayhem, before creeping back into the shadows to do it all over again, the fearsome foursome Plague on vocals, Thrax on the guitar, Diabolus on bass and Massacre on drums live up to the legacy of modern-day American Alternative and Groove Metal the likes of Slipknot, Mushroomhead, Five Finger Death Punch, Deftones, Disturbed and so on. Produced by the band’s own members and mixed by Eddie Wohl (Smile Empty Soul, Fuel, Ill Niño, 36Crazyfists), Make Them Bleed will become the soundtrack to your most wicked nightmares, blasting your senses with its avalanche of heavy and metallic sounds and noises.

And the monstrous quartet kicks off their freak show of metal with a ferocious tune titled Passage of Pain, where Diabolus and Massacre make sure the ambience remains as heavy, menacing and obscure as possible with their rumbling bass and drums, respectively, while Plague screams and shouts like a true beast. Then in Welcome to Hell (which you can also watch as a guitar playthrorugh and as a bass playthrough on YouTube) Plague sounds utterly enraged, while Thrax transforms his guitar into a bloodthirsty weapon, resulting in the perfect depiction of modern extreme and alternative music made in the USA; followed by Spines, where an electronic-ish intro quickly evolves into a very dark and melodic sonority that could easily be played on any radio station, but still feeling extremely heavy. Featuring guest musician John Moyer (Disturbed) on bass, this can be called “a love song crafted by monsters”, sounding somehow romantic and violent at the same time.

Taking their animosity to a much higher level, Terror Universal bring forth the title-track Make Them Bleed, with the amazing low-tuned punches by Diabolus making the whole song more impactful. Moreover, its neck-breaking rhythm is effectively boosted by Plague’s demented growls, turning it into their personal hymn of sheer rage against everything and everyone, perfect for “spreading the violence” and “fucking the world” as Plague himself screams during the song. Then in Through the Mirrors they engage in their most Slipknot/Stone Sour-inspired mode, with the sick beats by Massacre guiding the musicality while Plague fires his crisp, acid vocals, not to mention Thrax and his cutting riffs; followed by the excellent Dig You A Hole with its gripping pace and vocal lines, enhanced by the fierce circus-like beats by Massacre and the song’s spot-on backing vocals. This is definitely one of the best new Alternative/Nu Metal songs you can find out there, making us bang our heads like maniacs without even noticing together with those four masked beasts.

Featuring the unstoppable Tony Campos (Fear Factory, Ministry, Soulfly, Static-X) on bass, who ends up giving the overall sound an Industrial Metal-like vibe with his crushing bass lines, Dead on Arrival is an excellent option for the band’s live performances to make everyone jump up and down together with them, whereas Into Darkness offers the listener another blast of their modern-day Horror Metal, albeit not as exciting as the rest of the album. Let’s say that it’s not a bad tune, but those freaks of nature sound way too “docile” in this case. On the other hand, their most savage and bestial mode arises in a great explosion of Groove and Thrash Metal named Your Time Has Come, with Thrax and Diabolus leading the carnage with their razor-edged strings, before Piece by Piece concludes the album like a bulldozer, with its metallic sounds penetrating deep inside our ears while Plague alternates between growling like a demon and firing his keen clean vocals.

In summary, if you enjoy modern American metal with an extra dosage of insanity and fury, all wrapped up by the grim and monstrous faces of Terror Universal, you’ll certainly have a good time listening to the music from Make Them Bleed. You can face those four creatures from hell anytime through their Facebook page and YouTube channel, and purchase your copy of the album through their BandCamp page, through their Pledge Music page, on iTunes or on Amazon. Just make sure you’re in good shape and ready to rock to the sound of Terror Universal because, you know, you won’t be dealing with regular people, but with rabid monsters of modern metal eager to taste your blood.

Best moments of the album: Welcome to Hell, Make Them Bleed and Dig You A Hole.

Worst moments of the album: Into Darkness.

Released in 2018 minus HEAD Records

Track listing    
1. Passage of Pain 3:57
2. Welcome to Hell 3:41
3. Spines (feat. John Moyer) 3:18
4. Make Them Bleed 3:32
5. Through the Mirrors 4:10
6. Dig You A Hole 4:35
7. Dead on Arrival (feat. Tony Campos) 3:34
8. Into Darkness 4:17
9. Your Time Has Come 3:21
10. Piece by Piece 3:06

Band members
Plague – vocals
Thrax – guitars
Diabolus – bass
Massacre – drums

Guest musicians
John Moyer – bass on “Spines”
Tony Campos – bass on “Dead on Arrival”

Album Review – Magick Touch / Blades, Chains, Whips & Fire (2018)

A “magickal” music journey to the golden years of rock and metal, reminding us all why we love those electrifying sounds so much.

In these times where trends seem to come and go on an almost monthly basis, sometimes it’s never more satisfying than to simply sit back and rock out. And that’s exactly what Norwegian Hard Rock/Rock N’ Roll power trio Magick Touch will make you do with their highly anticipated second full-length album, entitled Blades, Chains, Whips & Fire, a beyond exciting follow-up to their critically acclaimed debut endeavor Electrick Sorcery, released in 2015. In other words, there are no tricks, no special effects nor any other type of shenanigans in Blades, Chains, Whips & Fire, just three skillful musicians declaring all their passion for classic rock and metal through their music.

Formed in 2014 in Bergen, a southwestern coastal town in Norway, Magick Touch are HK Rein on guitar and vocals, Christer Ottesen on bass and vocals, and Bård Nordvik on drums, blending in their music several elements from the most classic forms of Heavy Metal and Rock N’ Roll with a strong focus on the synchronicity between their vocal lines and the slashing power of their guitar riffs. This Norwegian trinity of rock will take you on a journey to the golden years of rock music through the 10 electrifying tunes featured in Blades, Chains, Whips & Fire, always reminding you why you love the gripping sounds of rock so much in your life.

And the Rock N’ Roll running through their veins becomes latent in the opening track, the upbeat Under The Gun, bringing the purest form of rockin’ riffs and the high-pitched, electrified vocals by HK, with the bass punches by Christer knocking us out within seconds, and keep banging your freakin’ heads nonstop and raising your beers to the soulful guitar lines by HK in The Great Escape, while Bård keeps pounding his drum kit mercilessly. Following such electrified start to the album we have Midnite Sadusa and its Cat Scratch Fever-inspired main riff, an ode to 70’s and 80’s Rock N’ Roll where Christer and Bård are responsible for creating a massive wave of rumbling tones perfect for the classic vocals by HK. Put differently, this is one of those songs that would have been an all-time classic if written 30 years ago.

Leaning towards more contemporary Hard Rock with hints of the sonority by bands like Nickelback and Breaking Benjamin (but also showcasing the band’s old school core essence), Believe In Magick is a song tailored for dancing together with your boyfriend or girlfriend at a rock n’ roll party; whereas the roaring bass by Christer takes the lead in this potent fusion of Southern Rock, Stoner Metal and Hard Rock titled Polonium Blues, which will certainly please all fans of the golden years of Southern Rock. In Siren Song we’re treated to a thrilling intro that keeps growing in intensity until groovy Rock N’ Roll fills our ears, presenting sharp guitar lines with psychedelic elements while the vocal lines sound hard and heavy just the way we all love in rock music. And speeding up their pace, Magick Touch deliver a flammable rockin’ chant named Lost With All Hands, with its guitar and bass slashing our brains while the beats by Bård don’t let us stop dancing for a single second.

Slowing down again and bringing elements from Blues Rock to their sonority, the band offers us After The Fire, a radio-friendly composition with a solid drumming and a catchy rhythm, despite losing its grip after a while, followed by Electrick Sorcery, the second to last Hard Rock comet by Magick Touch and, more important than that, their personal tribute to 70’s and 80’s Rock N’ Roll and Heavy Metal, showcasing amazing performances by all band members (especially HK with his passionate vocals and spot-on riffs), and with its backing vocals adding an extra touch of awesomeness to the overall result. Furthermore, the last part of the song is absolutely fantastic, with the band paying homage to KISS, Judas Priest, AC/DC, Dio, Motörhead and other rock and metal idols through the song’s clever lyrics. At long last we have a song which name could have been easily used by Manowar in one of their songs, the title-track Blades, Chains, Whips & Fire, a mid-tempo heavy-as-hell hybrid of pure Rock N’ Roll with the most rumbling form of Southern Rock and Metal, also displaying an amazing chorus accompanied by the lowering bass by Christer and the slow, steady and fierce beast by Bård, even presenting some Iron Maiden-ish moments effectively inserted throughout its faster and more complex passages.

I guess I don’t need to say you should definitely let your rockin’ heart be touched by the electrifying and magical waves crafted by Magick Touch in Blades, Chains, Whips & Fire, and in order to do that simply go visit their Facebook page, YouTube channel, Spotify and SoundCloud for news, tour dates, videos and, above all that, first-class Rock N’ Roll. Blades, Chains, Whips & Fire, which is already on sale through several online stores such as the band’s own BandCamp page, the Edged Circle Productions’ webstore (in CD or LP format) and the Season of Mist’s webstore, as well as on Amazon, on iTunes or at Discogs, doesn’t aim at revolutionizing rock and metal music. Quite the contrary, Magick Touch’s main goal with their new album is simply to remind the whole world how awesome our good old Rock N’ Roll is and will always be, and the band not only nailed it, but they also provided us all a “magick” soundtrack to our days and moments on the road, at work, at school or anywhere else good music is needed.

Best moments of the album: Under The Gun, Midnite Sadusa and Electrick Sorcery.

Worst moments of the album: After The Fire.

Released in 2018 Edged Circle Productions

Track listing
1. Under The Gun 2:53
2. The Great Escape 2:56
3. Midnite Sadusa 3:39
4. Believe In Magick 3:36
5. Polonium Blues 4:17
6. Siren Song 4:30
7. Lost With All Hands 3:13
8. After The Fire 4:10
9. Electrick Sorcery 4:26
10. Blades, Chains, Whips & Fire 6:18

Band members
HK Rein – guitar, vocals
Christer Ottesen – bass, vocals
Bård Nordvik – drums, vocals

Album Review – Hellish God / The Evil Emanations (2018)

An excellent album of brutal and technical Death Metal conceptually focused on Qlipoth, metaphorical shells which represent evil spiritual forces in the Jewish mysticism.

As the first review of 2018 from The Headbanging Moose to you, our dear metalheads, here comes Italian Death Metal four-piece beast Hellish God armed with their pulverizing debut full-length album titled The Evil Emanations, showcasing 10 tracks of top-notch unrelenting Death Metal, following their 2016 EP Impure Spiritual Forces. Featuring current and former members of Antropofagus, Imposer and Mindful Of Pripyat, this excellent Italian squad was formed in 2015 in Campobasso, a city and commune in southern Italy,  with the intent to play savage and satanic Death Metal influenced by the classic late 90’s sound, and I should say they more than succeed in their mission with The Evil Emanations.

Displaying a classic artwork by Indonesian artist Adi Dechristianize, The Evil Emanation is conceptually focused on Qlipoth, metaphorical shells which represent evil spiritual forces in the Jewish mysticism, with its instrumental parts being influenced by bands like Krisiun, Azarath and Abhorrence. “It has many facets, both compositional and conceptual but the composition process was totally spontaneous and homogeneous. Of course, I can say I am very proud of the final result! It sounds compact and extremely true, authentic…”, said frontman Tya about the album, with drummer Luigi Contenti complementing that idea by saying that “this album is the natural evolution of Impure Spiritual Forces, it sounds very natural, effective and damn old school! If compared to the previous work its most obscure component is totally exalted!”

The special effects by guest Mario Seaone set the tone for the whole album in the phantasmagoric intro Kelim Shattering Illumination, before a violent onslaught of Death Metal led by the demonic growler Tya begins, the very technical and impactful Qlipoth, with the low-tuned bass by Stefano Malgaretti sounding infernal while Luigi delivers sheer brutality through his blast beats. After such amazing start, the band keeps bringing chaos and devastation to our minds with a fantastic display of extreme music titled Anti-Cosmic Decree, with the sick guitar riffs by Michele Di Ioia living up to the legacy of old school brutal Death Metal, not to mention the pulverizing job done by Luigi on drums; followed by The Hindering Ones, a full-bodied tempest of gruesome sounds and beats where Tya distills more of his deep guttural gnarls, reminding me of the classic sonority by Brazilian metal masters Krisiun, therefore becoming an excellent choice for crushing your spine into the circle pit.

Hellish God truly know how to create total havoc and at the same time sound harmonious and technical, as we’re able to witness in Tagimron Is Summoned, with Michele and Stefano providing some Cannibal Corpse-inspired lines with their strings while Tya growls deeper and deeper as the music evolves. And if your brain is still somehow attached to your skull after such insane headbanging tunes, it’s time to be completely demolished by those Italian metallers in Burning The Infidel, offering our avid ears three minutes of old school Death Metal with the band’s contemporary twist, boosted by a sick guitar solo by guest musician Rangel Arroyo. In the instrumental bridge Choronzonic Hellfire, wicked noises open the gates of hell for the berserk Agitator Shall Be Triumphant!, with Luigi spearheading the band’s sonic onrush while Tya continues to bark like a rabid beast. Furthermore, Michele fires some old school riffs and solos to make this solid exhibit of Technical Death Metal even more thrilling.

Before all is said and done in The Evil Emanations, Hellish God still have a couple of tormenting hymns to slash our ears, starting with I Am Belial, a short and extremely heavy tune with its demented rhythm being effectively boosted by Tya’s infernal growls and the crushing sound of Luigi’s drums. In other words, this is exactly what extreme metalheads like us are always searching for in Death Metal. And lastly, their final blast of insanity comes in the form of a five-minute Death Metal extravaganza titled Marching With The Accuser, where Michele’s guitar and Stefano’s bass are in total sync, consequently building a menacing wall of cutting sounds until the music flows to a climatic grand finale. Needless to say, when the song is over you’ll feel absolutely disoriented and eager for more of the music by Hellish God.

It’s time to face the evil spiritual forces featured in The Evil Emanations by paying a visit to Hellish God on Facebook, and by purchasing the album (which by the way can be enjoyed in its entirety on YouTube) through their own BandCamp page, as well as through the Everlasting Spew Records’ BandCamp page or webstore in regular CD format or as a CD + shirt bundle. If Hellish God were capable of delivering such high level of professionalism and brutality already with their first full-length release, can you imagine how sensational and cataclysmic they will sound in their future albums? Yes, my friends, Death Metal is doing more than fine in Italy, no doubt about that.

Best moments of the album: Anti-Cosmic Decree, The Hindering Ones and I Am Belial.

Worst moments of the album: None.

Released in 2018 Everlasting Spew Records

Track listing
1. Kelim Shattering Illumination 1:04
2. Qlipoth 4:33
3. Anti-Cosmic Decree 3:11
4. The Hindering Ones 4:03
5. Tagimron Is Summoned 4:02
6. Burning The Infidel 2:59
7. Choronzonic Hellfire 0:27
8. Agitator Shall Be Triumphant! 2:36
9. I Am Belial 2:15
10. Marching With The Accuser 5:24

Band members
Tya – lead vocals
Michele Di Ioia – rhythm & lead guitars, backing vocals
Stefano Malgaretti – bass guitar, backing vocals
Luigi Contenti – drums

Guest musicians
Rangel Arroyo – lead guitars on “Burning The Infidel”
Mario Seaone – effects on “Kelim Shattering Illumination”