Album Review – The Earth And I / The Candleman (2017)

Close your eyes and enjoy the first of two sister albums by this talented American band, introducing you to their unique fusion of groove-oriented sounds and captivating storytelling lyrics.

Playing a mix of groovy, moody, syncopated metal and more upbeat, accessible rock tunes inspired by bands like Periphery, Animals as Leaders and TesseracT, American Progressive Rock/Metal metallers The Earth And I (also known as TEAI, pronounced /tay/) are releasing their debut full-length album, titled The Candleman, the first of two sister albums (with the second one, named The Curtain, being scheduled for an early 2018 release). Featuring seven tracks through the course of 35 minutes, The Candleman will not only introduce you to the world of TEAI, but present to you in great fashion their unique music heavily focused on a fusion of groove-oriented sounds and captivating storytelling lyrics.

Formed in 2013 in the city of Warwick, New York, in the United States by guitarists Daniel Siew and Liam Zintz-Kunkel, drummer Suss Mackenzie and bassist Nick Petromilli, who were later joined by neo-soul vocalist Kendyle Wolven in 2017, TEAI aim at filling a serious need in the Progressive Metal world for non-operatic female vocals with The Candleman and The Curtain. Displaying a minimalist and classy artwork designed by the band’s own guitarist Daniel Siew, The Candleman definitely succeeds in bringing that vocal variation desired by TEAI to their metal music, effectively helping the band make a name for themselves in underground Progressive and Groove Metal.

The beautifully-titled atmospheric intro The Lake Under the Desert warms up the listener for the groovy and thunderous I. CGMTC (Life in the Sunset Zone), a powerful tune where Daniel, Liam and Nick create a wave of rumbling sounds with their strings, setting the stage for the mesmerizing vocals by Kendyle to shine brighter than the sun. Moreover, the song brings moments of hope flawlessly blended with passages full of anger, resulting in a full-bodied Progressive Metal experience for our senses enhanced by its poetic lyrics (“In the harbor, / the ship had turned to stone. / They watched from the Belfry, / long bones, and cold and unsound, / their skin drawn tight / over emaciated forms.”). Then in II. Little Frames, a more obscure, introspective creation by TEAI, the fiery Kendyle keeps blasting her potent vocals in a beautiful paradox with the harsh growls by Nick, with the musicality alternating between more technical Progressive Metal and rowdy Groove Metal. Put differently, simply close your eyes and let this feast of contrasting sounds penetrate deep inside your soul.

In the interesting And Now for a Slight Departure the band adds elements from Ska and Punk to their music, creating an upbeat vibe led by the high-pitched vocals by Kendyle and the rhythmic and precise beats by Adam, resulting in what can be considered a  more “radio-friendly” version of TEAI; while in Sugar High they get back to a darker sonority, with Daniel, Liam and Nick once again doing an amazing job with their axes, sounding like the bastard son of Dream Theater with Evanescence, but also presenting elements from Alternative Metal and Hard Rock to spice things up a bit.

Then as a break from all their groovy and wicked sounds TEAI offer us all a serene ballad named The Hollow Deluge, with Kendyle passionately (and effectively) declaiming its pensive words (“I stand before the most cloudy of waters. / I survey the scene with reserved apprehension. / There’s something not right here, like I’ve been here before. / It’s strangely familiar. / It’s almost uncomfortably comfortable.”), all boosted by the electricity that rises in the last part of the song, flowing into a climatic ending. And as the icing on the cake we have Skies Like Fences, bringing forward over 7 minutes of intricate drumming, metallic and extremely groovy bass lines, flammable guitar solos, deranged growls and endless energy, or in other words, an extravaganza of Progressive Metal once again led by Kendyle and her charming voice.

You can enjoy The Candleman in its entirety on YouTube or on Spotify, follow TEAI on Facebook, and buy your favorite version of the album through the band’s own BandCamp or webstore (in digipak or MP3 format, as well as on iTunes and on Amazon. In a nutshell, TEAI set the bar really high for themselves with The Candleman, but of course if they keep doing what they’re capable of in The Curtain next year, which is delivering high-end metal with a strong progressive vein, I’m sure all of us fans of Progressive Metal will be more than happy when their second album is released, just like how we are now with The Candleman.

Best moments of the album: I. CGMTC (Life in the Sunset Zone) and Skies Like Fences.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. The Lake Under the Desert 0:56
2. I. CGMTC (Life in the Sunset Zone) 4:34
3. II. Little Frames 8:35
4. And Now for a Slight Departure 4:05
5. Sugar High 4:06
6. The Hollow Deluge 5:01
7. Skies Like Fences 7:37

Band members
Kendyle Wolven – lead vocals
Daniel Siew – guitar, vocals
Liam Zintz-Kunkel – guitar
Nick Petromilli – bass, vocals
Adam Susskind – drums

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Album Review – Devilfire / Dark Manoeuvres (2017)

An electrifying lesson in how to set (devil) fire to a Rock N’ Roll party by five indomitable British musicians.

It’s said that some of the greatest bands of our time have been forged on the road, and British Melodic Hard Rock act Devilfire is no exception to that, brought into being in Birmingham, England during a studio session in 2013 when producer and singer Alex Cooper (Shy, Spike of the Quireboys, Ginger) was working with Uli Jon Roth drummer Lars Wickett, revealing to him his plan for a Birmingham-based Melodic Rock band. After 3 years of planning and writing, things finally fell into place in 2016, when the band (at that time known as Devilstar) was offered to open for Tarja Turunen during her Eastern European tour in the beginning of 2017, blasting their flammable music to rock and metal fans from places like Hungary, Romania, Greece and Turkey, as well as to a sold out festival crowd at Hard Rock Hell AOR 2017 in the UK as the icing on the cake.

And the year of 2017 couldn’t have been better for this five-piece act formed by Alex Cooper on vocals, Baz Blackett and Kieran Topp on the guitars, Dan Bate on bass and Lars Wickett on drums, as they’re ready to conquer the world with their debut album Dark Manoeuvres, released in the beginning of October. Mixed by acclaimed producer Romesh Dodangoda (Motörhead, Bring Me The Horizon, Bullet For My Valentine) and co-produced by Romesh and Devilfire frontman Alex Cooper at Long Wave Studios in Cardiff, Dark Manoeuvres is a mammoth 13-track album calling on several distinct influences with a darker melodic sound, pushing the boundaries of Rock N’ Roll while at the same time remaining loyal to their British roots.

Rock N’ Roll is in the air with the smooth sonic waves blasted by Devilfire in the opening tune Ready For War?, an excellent business card delivered by the band presenting an 80’s-inspired vibe led by the passionate, raspy vocals by Alex, followed by She’s Like Fire, a born-to-be-a-classic of underground Hard Rock where they speed up (and spice up) things considerably, perfect for dancing the night away with whoever you want to the sound of its catchy chorus and the precise beats by Lars. More melodic and romantic, (In and Out of Love) All of the Time is a potent display of classic 80’s Hard Rock,  a song for all rockin’ girls out there energized by the fiery guitars by Baz and Kieran; whereas Waiting For a Rockstar, a mid-tempo chant with a fun story told by Alex, brings hints of symphonic elements in the background to make it even more impactful, turning it into a serious candidate for becoming one of the band’s biggest hits.

In Lay It On the Line, a semi-ballad with the band’s characteristic approach, we’re treated to harmonious guitars and beats while Alex keeps firing his sharp vocal lines, reminding me of some of the old tunes by Motley Crüe, Bon Jovi and Poison, among other classics, while Kill Your Love is another awesome composition by this talented quintet, sounding faster and more violent than its predecessors (but still very melodic). Hence, this fantastic song could be played on any radio station all over the world, showcasing addictive vocals and soulful guitar solos and, therefore, being captivating form start to finish. Tear Me Apart is that kind of generic ballad that, despite having its good moments, is below the rest of the album in terms of creativity and complexity, albeit still displaying the band’s trademark guitar solos and overall solid melody. Fortunately, the band gets back on track in God Give Me Vengeance, a song to do the famous “air-drumming” together with Lars due to its catchy rhythm, presenting a fusion of modern Hard Rock with old school Rock N’ Roll boosted by touches of symphonic sounds.

Baz and Kieran are joined by Dan and his bass for an onrush of slashing strings and rumbling sounds in Devil In Your Eyes, tailored for fans of old school Hair Metal and Hard Rock, before the entire band comes crushing with the underground hit (You Gotta) Revolution, blending the classic sonority of bands like Van Halen with the rebelliousness of Motley Crüe, with Lex being flawlessly supported by the song’s elegant and potent backing vocals. Put differently, if Devilfire don’t play this song live, we riot. Anyway, She’s Always On the Run is another average ballad that doesn’t do any good nor any harm to the album, feeling like filler despite being one of their first ever songs recorded; however, for our total delight their upbeat musicality returns in great 80’s fashion in A Thousand Times, a song that made me think that if I didn’t know it was recorded now in 2017, I surely might have thought it was recorded back in 1980 something by a veteran Hard Rock band, mainly due to its beyond classic combination of vocals and backing vocals. And lastly we have the melancholic Somehow, which in my humble opinion is how the band should always sound when writing ballads, avoiding being cheesy or predictable. Quite the contrary, it’s very introspective, pleasant and deep, and consequently an interesting way to conclude the album without being literally electrified, but still feeling electrifying.

How can you put your hands on such top-tier album of Hard Rock, you might be asking yourself, right? Well, that’s easier than you can imagine, as Dark Manoeuvres is on sale at the band’s webstore, on iTunes or on Amazon. And in order to show your proper support to Alex, Lars and Co., simply go check the band’s Facebook page, YouTube channel and Spotify for news, tour dates and all other things Devilfire. Dark Manoeuvres is a lesson in how to set fire to any Rock N’ Roll party in the world, and if I were you I wouldn’t miss that celebration for anything.

Best moments of the album: She’s Like Fire, Waiting For a Rockstar, Kill Your Love and (You Gotta) Revolution.

Worst moments of the album: Tear Me Apart and She’s Always On the Run.

Released in 2017 Independent

Track listing
1. Ready For War? 3:07
2. She’s Like Fire 3:22
3. (In and Out of Love) All of the Time 3:33
4. Waiting For a Rockstar 4:10
5. Lay It On the Line 5:09
6. Kill Your Love 3:51
7. Tear Me Apart 4:00
8. God Give Me Vengeance 4:52
9. Devil In Your Eyes 3:10
10. (You Gotta) Revolution 4:58
11. She’s Always On the Run 3:49
12. A Thousand Times 4:31
13. Somehow 2:59

Band members
Alex Cooper – vocals
Baz Blackett – guitar
Kieran Topp – guitar
Dan Bate – bass
Lars Wickett – drums

Album Review – Amentia / Scourge (2017)

After six years of silence, this Belarusian Death Metal squad is finally back in action to dismantle our bodies and souls with 33 minutes of extreme dexterity and utter rage.

Initially created as a studio project in 2003 by Alex Goron, bass player for Belarusian band Posthumous Blasphemer, Minsk-based Technical Death Metal four-piece beast Amentia is finally awake from hibernation after six years of silence to dismantle our bodies and souls with their third full-length installment, the brutal Scourge. Comprised of seven relentless original compositions tailored for killing our brain cells with each second of their sound by bringing forward fast and furious riffs, machine gun bursts of drum fills and blast beats and demonic soul-destroying vocals, Scourge lives up to the band’s name, leaving you with a severe mental impairment after banging your head nonstop like a maniac to its 33 minutes of extreme dexterity and utter rage.

Featuring members of Posthumous Blasphemer, Deathbringer, Disloyal and Thy Disease, and being strongly recommended for fans of bands like Suffocation, The Faceless and Meshuggah, Amentia already released in their underground career the split EP Mind Degradation in 2006, and the full-length albums Burn to Hate, in 2007, and Incurable Disease, in 2011, but it’s now in 2017 with newcomers Valery “Vile” Toothgrinder and Zubov on vocals that the group has reached a whole new level of brutality with their music. Displaying an ominous cover artwork by Mayhem Project Art, Scourge is not only the epitome of modern and technical Death Metal, but a solid statement by Amentia telling the world the band is back in action and they’re thirstier for blood than ever.

In the opening track, an amazing display of Technical Death Metal perfect for breaking our spine in half headbanging titled Kill Me, the quartet begins firing sheer brutality through their razor-edged instruments, in special Alex with his demented beats and Artyom with his lancinating guitar solos, whereas in I Don’t Believe their violent and rhythmic sounds keep invading our ears mercilessly, with the level of intricacy found in this sea of savagery in the form of music being astounding. In addition, the deep growling by Vile sounds beyond cavernous, which together with the also menacing guitar and bass turn this song into a must-listen for fans of the genre. And then we have the infernal tune Anorexia, with its first part being an instrumental feast of contemporary Death Metal led by Alex and his amazing drums, supported by the always cutting guitars by Artyom, before Vile returns with his bestial roars in another lesson in violence by Amentia.

Vile and Zubov sound like two enraged monsters in the visceral chant named Slow Decay, with its frantic beats and riffs being in total sync with their devilish gnarls (not to mention Alex’s pounding bass punches), followed by Noble Death, a song that brings more up-to-date elements of extreme music and tons of progressiveness where the sound of guitars strenuously slashes our senses so heavy and metallic it sounds, while Vile keeps barking and growling like a rabid gorilla for the delight of us fans of old school Death Metal. And if you think their slaughterhouse of Death Metal is over you’re absolutely wrong, as you’ll have to face Amentia once again in the high-octane ode to bestiality titled Sentence Executioner, ignited by the cutting riffs by Artyom and a furious growl by Vile, feeling like a hellish version of Dream Theater with a demon on vocals, with highlights to the fantastic job done once again by Alex on both bass and drums. And without a single second of peace, this Belorusian squad delivers another explosion of Technical Death Metal named Paranoia, showcasing crisp guitar solos and nonstop savagery, as well as a duel of gargantuan harsh growls by Vile and Zubov.  The band keeps punching us in the head throughout the entire song with their blackened sounding, resulting in the perfect conclusion for such ruthless album of extreme music.

If you have the guts to confront this boisterous joint of Belarusian metallers and their demolishing Death Metal, you can take a full listen at Scourge on YouTube, follow them on Facebook and on VKontakte, and buy your copy of the album at Amentia’s BandCamp page, at the Satanath Records’ BandCamp page, or at Discogs. I just hope Amentia do not take another six years to release a new album, and that they keep blasting our ears with their action-packed Death Metal over and over again for many years yet to come.

Best moments of the album: I Don’t Believe, Anorexia and Sentence Executioner.

Worst moments of the album: None.

Released in 2017 Satanath Records/Amputated Vein Records

Track listing
1. Kill Me 4:50
2. I Don’t Believe 4:28
3. Anorexia 4:35
4. Slow Decay 4:27
5. Noble Death 4:05
6. Sentence Executioner 5:09
7. Paranoia 5:48

Band members
Vile – scream
Zubov – esophagus
Artyom – guitars
Alex – bass, drums

Album Review – At Dawn’s Edge / Through Glass Eyes (2017)

An excellent debut album by a Canadian trinity that loves to experiment with several aspects from distinct music styles, incorporating all those nuances and vibes into their core Melodic Metal.

Hailing from Mississauga, a city of around 800,000 people that’s part of the culturally diverse Greater Toronto Area in Ontario, Canada, here comes Melodic Metal trinity At Dawn’s Edge, a band that, albeit being rooted in the more aggressive qualities of metal, especially the core elements found in Melodic, Symphonic and Groove Metal, loves to explore new grounds and experiment with several aspects from distinct styles such as Flamenco, Electronic and Middle-Eastern sounds, incorporating all those nuances and vibes into one cohesive piece of music. That amalgamation of metal and non-metal genres culminated now in 2017 with the release of their debut full-length album, entitled Through Glass Eyes, highly recommended for fans of the music by bands like Epica, Evanescence and Nightwish, among many others.

The trio comprised of newcomer Tamara Filipovic as the band’s frontwoman and founding members Alexandru Oprea and Matt Ozzy on guitars were joined in Through Glass Eyes by a respectful group of guest musicians, with Spencer Creaghan taking care of the orchestral arrangements found throughout the entire album, Chris McConnell making a passionate vocal duo with Tamara on “Amorina”, and James Hayes adding an extra touch of delicacy to the songs “Cálida Brisa”, “Utter” and “Forgotten Isle” with his incredible violin solos, not to mention the talented drummer Marcus Sisk, who has been supporting the band during their live performances. In addition, three tracks in Through Glass Eyes (those being “Venus’s Rapture,” “Utter” and “From the Ashes”) were part of the band’s 2015 EP named First Contact, still with vocalist Ashavari Anna Joshi, but completely re-recorded with Tamara on vocals and boosted by a sharper and more thunderous production.

Where Do I Begin? Well, that’s the question proposed by the band in this instrumental intro led by potent bass sounds blended with electronic elements, building the stage for the groovy and melodic riffs by Alex and Matt in If Ghosts Were Men, with Tamara bringing epicness to the music with her mesmerizing voice, inviting the listener to the world of passion, adventure and high-end Heavy Metal brought forth by At Dawn’s Edge. In Sightless, rumbling sounds keep flowing from guitars and bass while Tamara keeps thriving on vocals, with the song’s pounding drums fusing perfectly with all orchestrations and electronic vibes. Moreover, it’s quite impressive how At Dawn’s Edge can sound extremely metallic but also commercially approachable at the same time, which is also the case in Venus’s Rapture, where the band speeds up their pace considerably, reminding me of the melodic sonority by Epica and Nightwish but presenting the band’s own twist and groove. In other words, this is a perfect choice for their live setlists, setting the crowd on fire with the exciting contrast between Alex and Matt’s slashing riffs with Tamara’s gentle voice.

Dangerous Excuses brings a hybrid of Progressive and Melodic Metal, as if Epica went Dream Theater, a more traditional approach to modern music by At Dawn’s Edge (despite losing its grip after a while) where guitars and orchestral elements take turns in leading the musicality; followed by Cálida Brisa (Interlude), an interesting instrumental bridge featuring elements from Mother Nature blended with hints of Flamenco, topped off with a beautiful violin solo by James, and Amorina, a song that presents elements from Folk Metal blended with Middle-Eastern nuances, flowing smoothly form start to finish while Tamara and Chris have their “beauty and the beast” moments. Then showcasing their most metallic vein we have Nightmare Reality, one of the heaviest and most intricate of all songs, bringing elements from Alternative Metal the likes of Evanescence fused together with the more symphonic sounds from Epica, with the strings by both Alex and Matt sounding sharper than ever.

Utter is another elegant display of modern and vibrant Symphonic Metal infused with hints of several other metal and non-metal styles as well as some orchestrations, also offering more of the band’s solid guitar solos and again featuring a classy violin solo by James, whereas in From The Ashes we’re treated to an epic vibe with tons of modernity and progressiveness thanks to the amazing job done by Matt and Alex on guitars, setting the tone for Tamara to steal the spotlight with her stunning vocals once again. And there’s still a lot more to go in Through Glass Eyes, starting with Evil Flamingo, one of the darkest compositions of the album where Tamara sets fire to the musicality with her powerful performance, enhanced by the crisp solos by Matt and Alex and a puissant wall of sounds created by both bass and drums. In Forgotten Isle, James’ violin strikes again in another feast of symphonic, progressive and groovy tones and reverberations, before the bonus track Dead Ashore We Lay concludes the album by offering the listener almost 9 minutes of the band’s sophisticated music, exhaling inventiveness, romance and electricity.

In a nutshell, as previously mentioned it’s simply amazing how At Dawn’s Edge were capable of drawing influences from so many distinct types of music, putting all of them together and creating fresh and captivating metal in Through Glass Eyes without sounding cheesy, convoluted or over the top. Hence, you can get more details on the band, their music and why and how their creative process works so well by following them on Facebook, listening to their music on YouTube and on Spotify, and obviously by purchasing Through Glass Eyes through their BandCamp page, on iTunes or on Amazon. I believe the band’s next steps will be to spread their music all over the world, touring as much as possible not only in the Greater Toronto Area but also in the rest of Canada, in the US and even overseas, and Through Glass Eyes is certainly the right type of fuel they need to reach all those places and succeed in their career, having what it takes to please all types of fans of heavy music.

Best moments of the album: If Ghosts Were Men, Venus’s Rapture, Nightmare Reality and Evil Flamingo.

Worst moments of the album: Dangerous Excuses.

Released in 2017 Independent

Track listing
1. Where Do I Begin? (Intro) 0:51
2. If Ghosts Were Men 4:43
3. Sightless 3:36
4. Venus’s Rapture 3:35
5. Dangerous Excuses 6:17
6. Cálida Brisa (Interlude) 2:37
7. Amorina 4:17
8. Nightmare Reality 3:51
9. Utter 5:55
10. From The Ashes 6:25
11. Evil Flamingo 5:13
12. Forgotten Isle 6:25

Bonus track
13. Dead Ashore We Lay 8:49

Band members
Tamara Filipovic – vocals
Alexandru Oprea – guitars
Matt Ozzy – guitars

Guest musicians
Spencer Creaghan – orchestral arrangements
Chris McConnell – male vocals on “Amorina”
James Hayes – violin solo on “Cálida Brisa”, “Utter” and “Forgotten Isle”
Marcus Sisk – drums (live)

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

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”

Accessories Review – Iron Maiden 2018 Calendar

Get ready for the upcoming Legacy of the Beast Tour 2018 with the newest,  kick-ass edition of the already famous and always fun Iron Maiden official calendar.

It’s that wonderful time of the year we all start to get anxious for several days of happiness and fun that are about to begin, and I’m obviously not talking about Christmas and the holiday season, but about the new fantastic tour Iron Maiden will start in May 2018 in the beautiful Tallin, the capital of Estonia (unless they add any new dates before that, of course), named Legacy of the Beast Tour 2018, inspired by their own game Legacy of the Beast. Well, there’s nothing better than a classy calendar for the countdown, right? And that’s exactly what Iron Maiden together with Danilo Promotions Limited are providing us once again this year with the brand new version of their already traditional official calendar.

Featuring some of the most memorable versions of Eddie that appeared in different event shirts during The Book Of Souls 2016 World Tour and The Book Of Souls 2017 World Tour, such as London, California, Chicago, Texas, Canada, Japan and South Africa, among others, the Iron Maiden 2018 Calendar kicks some serious ass when compared to most of its previous editions. Simply check the 2017 edition of the calendar and you’ll see what I’m talking about. If someone by any chance forced me to make any negative comments about this new calendar, let’s say it would be the fact they didn’t use any of the Eddies from the Legacy of the Beast game in it, but the special event Eddies displayed in each month are so cool I’m sure on one will complain about that either, don’t you agree?

With its front cover being a fusion of the already iconic “Eddie Sapiens” inside a ring of fire and the aforementioned Eddies from several event shirts used during the band’s The Book Of Souls tours, and having very similar dimensions (42 x 29.2 x 0.5 cm) and weight (325 g) to all past editions, the Iron Maiden 2018 Calendar is the perfect gift for that Maidenmaniac friend of yours who knows each and every date Iron Maiden are playing on their forthcoming tour, but that at the same time can only remember the birthday of his or her significant other if he or she writes it on the calendar and sets up an alarm as a reminder. There are as usual several places where you can grab your copy of the calendar, such as at  Danilo.com, on Amazon.com (where you can also find special bundles such as  calendar + keyring or calendar + fridge magnet), on Amazon.ca, or on any other local Amazon website, at Calendar Club, or at your nearest physical calendar store.

Iron Maiden 2018 Square Global (Multilingual Edition)

And just like I mentioned last year, there’s also a 12 x 12 inch square version of the calendar that can be found online under the name Iron Maiden 2018 Square Global (Multilingual Edition), bringing the same Eddies used in the A3 version of the calendar but obviously in a square format, if you fancy that variation of the regular version of it. Actually, as long as you purchase the Iron Maiden 2018 Calendar, no matter if it’s A3 or square, you’ll be more than ready to initiate your personal countdown for the first gig of the upcoming tour in May, when you’ll finally know the setlist they’ll be playing until the last show of the tour (which is right now booked for August 11, 2018 in London, at the O2 Arena), how their new stage will look like, how the new stage Eddies will be, among other things only a band like Iron Maiden can provide us metalheads. If you’re lucky enough to live in a city where they’ll play in 2018, or if you’ve already booked your trip to one of those places, then the calendar will be of the utmost importance for your planning stages, using it to mark the dates when you’ll receive your tickets, book your accommodation, receive your brand new Iron Maiden shirt to get properly dressed for the concert, and so on. And that’s the fun of being a Maidenmaniac, as Steve, Bruce and Co. never get tired of amazing us all with their unparalleled Heavy Metal, while we of course never get tired of following those guys.

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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