Album Review – SynlakrosS / Malice Murder (2018)

Get ready to be transported to a world of adventure with a good deal of rebellion in the brand new ass-kicking album by one of the most prominent names of the underground metal scene.

Formed in 2008 in the stunning city of Valencia, Spain by bassist Pablo “Roro” Fuentes and drummer Tiko Martínez, the unstoppable female-fronted Melodic Death Metal outfit that goes by the stylish name of SynlakrosS has just taken another amazing step in their (r)evolutionary career with the release of their third full-length installment, the creative, incendiary and utterly fun Malice Murder, cementing their name as one of the best bands in the Melodic Death Metal, Nu Metal and Metalcore scene all over the world, therefore being highly recommended for fans of bands such as In Flames, Slipknot, Butcher Babies, Arch Enemy and Lamb Of God, among several others. Injecting a considerable dosage of energy into our hearts and minds with their music and thematic lyrics, SynlakrosS will transport you to a world of adventure with a good deal of rebellion in Malice Murder, always moving forward but at the same time always loyal to their foundations and, of course, to their already huge fanbase.

In my humble opinion, what really stands out in Malice Murder, apart from its top-of-the-line production and endless electricity, are the insanely metallic and piercing sounds extracted by Pablo from his infernal bass, and especially all the experimentations and different vocalizations blasted by the band’s stunning frontwoman Patricia Pons. She sounds vile, demented, passionate and defiant with her wicked growls, roars and screams, taking her vocals to a whole new (and previously unexplored) level that will certainly please all fans of modern-day Melodic Death Metal. Add to that mix the crushing riffs and solos by the band’s axemen Iván Muñoz and Aarón Hidalgo, not to mention the sensational album artwork designed by Patricia herself, and there you have not only the perfect follow-up to their 2016 opus Death Bullets for a Forajido, but also a gargantuan avalanche of breathtaking metal sounds that will blow your senses mercilessly.

The opening track, titled Angel on Fire, sounds modern, electrified and vibrant right from the very first second, with its futuristic sounds and Patricia’s hypnotizing whispers kicking off a Melodic Death Metal party led by Pablo’s infuriated bass punches. Then in the fast-paced, heavy-as-hell extravaganza named Fatal Frame the band puts the pedal to the metal showcasing furious riffs and tones by the band’s stringed triumvirate, with Patricia growling and gnarling like a she-wolf while Tiko smashes his drums beautifully; followed by Dark Seed, not only the first single of the album but also the epitome of modern-day Metalcore, exhaling sheer madness and rage and with Patricia stealing the spotlight once again with her rabid growls and demented vociferations, as well as Aarón and Iván with their heavy and aggressive shredding. Put differently, this is the type of song that’s absolutely perfect for setting the crowd on fire during their live concerts. And let me remind you that the party is just starting, as in Alone in the Dark, spearheaded by Pablo and his thunderous, hammering bass, melodic guitar lines are flawlessly intertwined with moments of sheer lunacy, living up to the legacy of renowned Nu Metal acts like the iconic Korn.

Eternal Darkness showcases a classic song name for an explosive fusion of Metalcore, Melodic Death Metal and Groove Metal, breaking your neck in half to the precise beats by Tiko (which means it might become a fan-favorite if they add it to their setlists, of course), while Killing Diablos gets closer to their sonority from Death Bullets for a Forajido, but with a 2018 twist if I might say that. In addition, its background effects and tones nicely add an extra touch of madness to the music, while Patricia alternates between her rabid roars and demented clean vocals. Resurrection is another solid and well-crafted metal chant by SynlakrosS where the razor-edged guitars by Aarón and Iván shine brighter than the sun, also presenting a futuristic vibe and atmosphere and, as a consequence, being tailored for jumping up and down with the band; whereas in Morrígan it’s time for total devastation with this steampunk Spanish army, as the “Morrígan” is a figure from Irish mythology that represents a “great queen” or “phantom queen”, being mainly associated with war and fate, especially with foretelling doom, death or victory in battle. Does that remind you of someone? Anyway, I simply love how Patricia screams the song’s name from the bottom of her heart, making it impossible to stand still to this groovy and rumbling tune.

The last batch of songs from Malice Murder begins with Bloody Waltz, a dark an eerie “waltz” of contemporary Alternative Metal presenting elements from the wicked music by Rob Zombie and Marilyn Manson, such as its uncanny background keys, sounding and feeling very theatrical, which means it’s perfect for Patricia to showcase all her skills as the amazing singer and performer she is. Then the number of the beast, the famous 666, names another furious and ominous hymn by the quintet where Pablo slams his bass strings manically, extracting beyond lancinating sounds from it and, therefore, supporting Patricia’s screams flawlessly; whereas in Under the Ice there’s absolutely no sign of the band slowing down or getting any softer. Quite the contrary, it’s time for total anarchy with highlights to the perfect sync between Pablo’s bass and the guitar duo’s crisp riffage, sounding even more modernized than all previous songs. In the short and sweet semi-acoustic bridge Undying, we’re treated to some sort of futuristic western-like sonority, before SynlakrosS come crushing one last time in Siren’s Bloody Curse, the perfect conclusion to such powerful album, feeling more melancholic and obscure than all previous songs, transpiring melody and displaying an amazing performance by Pablo on bass and Iván with his fiery guitar solo. Needless to say, Patricia once again slays our senses with her potent growls and gripping clean vocals throughout the entire song.

In case you’re not a “curly wolf” yet, you should definitely start following SynlakrosS on Facebook, subscribe to their YouTube channel, and obviously purchase your copy of Malice Murder (available for a full listen on Spotify) from their own webstore in regular CD format or as a CD + T-shirt bundle (with the T-shirt also being designed by the unstoppable Patricia), as well as from iTunes, Amazon, or CD Baby. And if you’re already a diehard fan of SynlakrosS, you know the band is going places with their hard work, talent and extreme dedication, with the incendiary Malice Murder beautifully representing what their music is all about and pointing to an even brighter future for what’s in my humble opinion the best metal act hailing from Spain from the past decade and one of the best new names of the current metal scene worldwide.

Best moments of the album: Fatal Frame, Dark Seed, Morrígan and 666.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Angel on Fire 4:24
2. Fatal Frame 3:26
3. Dark Seed 4:03
4. Alone in the Dark 3:46
5. Eternal Darkness 4:33
6. Killing Diablos 3:50
7. Resurrection 3:54
8. Morrígan 3:38
9. Bloody Waltz 3:56
10. 666 3:18
11. Under the Ice 4:05
12. Undying 2:24
13. Siren’s Bloody Curse 4:26

Band members
Patricia Pons – vocals
Iván Muñoz – guitar
Aarón Hidalgo – guitar
Pablo Fuentes – bass
Tiko Martínez – drums

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Album Review – Bouquet of Dead Crows / Motus Octo (2018)

Enjoy the “eight movements” of modern-day rock music presented by this talented Cambridge, England-based Alternative Rock and Metal squad.

If you’re not only a fan of all the aggressiveness and speed of more extreme forms of metal music, but also an admirer of the melodious and gentle waves of Alternative Rock and Metal, you’ll be extremely pleased to know that Cambridge, England-based alternative rockers Bouquet of Dead Crows are finally back after three long years with a brand new album  titled Motus Octo, the follow-up to their 2015 debut album Of The Night. The title, referring to the fact that there are eight tracks on the album, essentially means “eight movements”, or eight emotions, and that’s exactly what you’ll get throughout the entire album, with each of its tracks awakening different emotions and reactions from deep inside your heart and mind.

Featuring a beautiful packaging designed by Stewart Harris Designs, Motus Octo is a very different beast to the band’s previous work, moving into more of a progressive direction but still showcasing all the characteristics that made people enjoy their first album, such as the huge wall-of-sound guitar riffs by Neil Bruce, the pounding bass lines by Graeme Clarke and the bat-shit drumming by Andrew Coxall, all sitting beautifully underneath vocalist Antoinette Cooper’s soaring vocals. Furthermore, the quartet goes from the heavier waves of Alternative Metal to the charm of British Rock and the melancholy of Blues, extracting crisp and vibrant sounds from their instruments throughout the entire album, keeping us hooked on their music and always eager for more.

Distorted, whimsical waves ignite the fun Faultlines, before Graeme and Andrew come crushing with their bass lines and beats respectively in a modern display of British Rock infused with alternative elements from bands like Garbage and Hole, while Neil slams and slashes his guitar mercilessly. And their music gets even more piercing and rumbling in The Devil’s in the Detail, with the beautiful voice by Antoinette leading the band in this Alternative Rock feast while Neil fires his classic solos, presenting hints of Ska and traditional Rock N’ Roll; followed by No Tomorrow, a song perfect for enjoying a nice and relaxed road trip with your loved ones, once again showcasing an inspired Antoinette on vocals and a precise and groovy Andrew on drums. Then Bouquet of Dead Crows deliver an introspective and enfolding ballad titled Slow Motion Ghosts, where all band members provide Antoinette all she needs to thrive, exhaling passion and delicacy through her vocals until the music gently fades away.

Fragments (Black Hole Eyes) contains some very welcome elements from the music by AC/DC blended with contemporary Rock N’ Roll and even Stoner Rock, not to mention how inspired Neil is with his stylish riffs and solos, while Andrew pounds his drums with tons of precision, therefore turning it into one of the best songs of the album. In Cold Inside, the band slows things down a bit in another gentle rock ballad, with highlights to the solid synchronicity between Neil and Graeme with their strings, getting considerably heavier at times in special when Neil is firing his guitar solos; whereas in Incessant Desire things get groovier, faster and heavier, which obviously translates into awesomeness, being highly inspired by classic Ska and Rock N’ Roll music from the 90’s, spearheaded by Neil and Andrew while Antoinette sounds extremely sexy with her fiery vocal lines. And lastly we have Undone, bringing forward an eerie intro to the thunderous sounds of Graeme’s bass punches and the passionate vocals by Antoinette, evolving into a Stoner Rock extravaganza perfect for headbanging while enjoying a cold beer (or even a strip-tease, it’s up to you), until wicked noises put an end to the song and, obviously, to the entire album.

As you already know, all you need to do to keep in touch with Bouquet of Dead Crows and stay informed about their plans for the future, tour dates and other shenanigans is follow them on Facebook and subscribe to their YouTube channel, but of course if you want to show your true support to one of the most promising names from the current British Rock scene, you should definitely purchase your copy of Motus Octo from the German Shepherd Records’ BandCamp page, as well as from the band’s own webstore in CD or vinyl. In addition, in order to celebrate the release of Motus Octo, the band will be playing a special launch gig at The Blue Moon  in Cambridge on November 24, where they’ll play the full album live. If you’re going to be around the Cambridge area that day, why not joining Antoinette, Neil & Co. for a night of kick-ass rock music accompanied by good food, cold beer and nice people? You can buy your ticket HERE, get ready to rock, and show your “eight movements” on the dance floor, how about that? That’s the way our good old Rock N’ Roll should always be enjoyed, and Motus Octo is the perfect soundtrack for that.

Best moments of the album: The Devil’s in the Detail, Fragments (Black Hole Eyes) and Incessant Desire.

Worst moments of the album: Cold Inside.

Released in 2018 German Shepherd Records

Track listing
1. Faultlines 7:14
2. The Devil’s in the Detail 3:29
3. No Tomorrow 3:56
4. Slow Motion Ghosts 5:42
5. Fragments (Black Hole Eyes) 3:49
6. Cold Inside 8:37
7. Incessant Desire 3:40
8. Undone 6:14

Band members
Antoinette Cooper – vocals
Neil Bruce – guitars
Graeme Clarke – bass
Andrew Coxall – drums

Album Review – Meka Nism / The War Inside EP (2018)

One of the most promising new names of the Orlando metal scene strikes again with an electrifying EP of modern-day Alternative Rock and Metal.

Formed back in 2006 under the name of Meka Nism and Her Rusty Tears, Orlando-based Alternative Metal act Meka Nism strikes again with a brand new EP titled The War Inside, following the same pattern of modern and metallic sounds from their three previous releases, those being their 2016 live album Live From the Machine,  the 2015 EP The Shift, and their 2013 debut EP The Dance at the End of the World, not to mention the 2006 album Mad to Love (released under the band’s original name).  Having shared the stage with heavyweight bands like Mastodon, Gojira, Sevendust, Hellyeah and Otep, among others, along with festival appearances at Kink Festival (Orlando, Florida), SXSW (Austin, Texas) and Breeding Festival (Germany), and named Orlando’s #1 Metal Band by Orlando Weekly in 2016, Meka Nism continue to carve their name in the scene, solidifying the band as one of the most interesting new names in Alternative Rock and Metal.

Comprised of vocalist Ms. Meka Nism (or simply Meka), who by the way was the former guitar player for Orlando punk legends Dirty Barby and Angel Autopsy, guitarists Bobby Keller and Danny Arrieta, bassist Jarret Robinson, keyboardist Jay Adkisson and drummer Nick Colvin, Meka Nism offer in The War Inside five distinct songs of passion and hatred, war and peace, sanity and madness, all embraced by the band’s modern and captivating sonority and led by Meka’s powerful vocals. If you’re searching for a nice female-fronted alternative in modern metal music, Meka Nism have all it takes to captivate your senses, with the music found in The War Inside being the perfect depiction of what this American six-piece squad is capable of.

The smooth keys by Jay Adkisson ignite the melodic and fresh title-track The War Inside, where Bobby and Danny are in total sync with their electrified riffs while Meka beautifully declaims the song’s passionate words (“Fighting Through the War Inside / Reaching from the chaos / Wait for me, I’ll wait for you / Nothing can keep us apart / Wait for me, I will find you!”). Less modernized and alternative, These Years of Silent Screams leans towards more traditional Heavy Metal, a neck-breaking tune by Meka Nism with the band’s eccentric frontwoman showcasing an amazing vocal performance. Then it’s time to slam into the pit together with the band in Trailblazer, led by the potent and precise drums by Nick, alternating between heavier moments and lighter, inspiring parts. Moreover, both guitars come slashing our skin mercilessly, while Meka thrives with both her demented growls and her clean vocals; and the keys by Jay help build a soothing ambience in Arrows of Alchemy, accompanied by the rumbling bass by Jarret in a semi-ballad that will please fans of the genre and that could easily be played on any rock n’ roll radio show, ending in a classy and touching way. And lastly, Black Sky (It’s Not Over Yet) is another song that begins as a heavy ballad highlighting Meka’s smooth voice and Jay’s enfolding piano notes, evolving into a heavier but still melancholic sonority before its poetic ending to the voice of Meka.

You can take a detailed listen at The War Inside on Spotify, follow Meka Nism on Facebook, subscribe to their YouTube channel, and obviously purchase the EP from their own BandCamp page or webstore, as well as from iTunes, Amazon or CD Baby. After listening to The War Inside, it will become clear to you as to why Meka Nism were chosen the best metal band based in Orlando by Orlando Weekly a couple of years ago, pointing to a bright future ahead for the band’s red-haired shaman and her loyal bandmates and leaving us eager for more of their music (and perhaps their first full-length album) in a not-so-distant future.

Best moments of the album: Trailblazer.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. The War Inside 4:49
2. These Years of Silent Screams 3:32
3. Trailblazer 4:32
4. Arrows of Alchemy 5:22
5. Black Sky (It’s Not Over Yet) 4:03

Band members
Ms. Meka Nism (Meka) – vocals
Bobby Keller – lead guitar
Danny Arrieta – rhythm guitar
Jarret Robinson – bass
Jay Adkisson – keys
Nick Colvin – drums

Album Review – Godsmack / When Legends Rise (2018)

A rollercoaster of good and bad moments in the band’s first effort away from more traditional Heavy Metal into a softer and exaggeratedly radio-friendly Hard Rock sound.

Almost four years after the release of the incendiary 1000hp, American Alternative Rock/Metal icons Godsmack are back in action with When Legends Rise, the seventh studio album in their solid career, and their first effort away from more traditional Heavy Metal into a softer and exaggeratedly radio-friendly Hard Rock sound. And when I say “exaggeratedly radio-friendly” I’m not exaggerating (not sure if I’m allowed to use that word and its variations so many times in just a couple of lines), because not only When Legends Rise doesn’t bring the same horsepower, rage and heaviness of 1000hp, but it sounds and feels way too mellow and generic compared to everything they’ve already released since their inception.

As early as 2015, frontman and guitarist Sully Erna spoke of his will to create a new sound for Godsmack in their next album, later describing the album in 2017 as a “reinvention” for the band, as a “new chapter” juxtaposed against older albums, of which he described as “vintage classic Godsmack”. Let’s say he succeeded and failed miserably at the same time, because it doesn’t matter if you’re a longtime fan of the band or if you’ve never heard of them before, as soon as you finish listening to the 11 tracks in When Legends Rise you won’t be able to tell if it was a good or bad experience so many highs and lows the entire album has. As a matter of fact, I guess if you follow Godsmack from the very beginning, the lowest moments of the album will make you feel extremely disappointed with this “new direction” chosen by Sully and his henchmen.

The tribal-like beats by Shannon Larkin kick off the best and most metal song of the entire album, the title-track When Legends Rise, which despite not being a masterpiece, it’s indeed a catchy and entertaining song led by the unique vocals by Sully, sounding as radio-friendly as the band wants but still bringing some of their old school aggressiveness. Then we have Bulletproof (if you’re a regular radio listener you might have heard it a billion times already), which is not that bad but with potential to be a lot better (and by that I mean heavier), with bassist Robbie Merrill doing a very good job in keeping the atmosphere dense and rumbling; followed by Unforgettable, probably the cheesiest song ever written by Godsmack, sounding way too happy for my taste and with the support choir by The Gilbert H. Hood and West Running Brook Choir being plain boring. Well, as I’ve mentioned a thousand times in this webzine, I hate generic choirs.

Every Part of Me presents hints of the sounding from their early days, especially through the melodious guitar lines by Tony Rombola, resulting in a very decent song that reminds us all of the potential Godsmack is throwing away by trying to sound more mainstream than they should, while Take It to the Edge sounds quite similar to its predecessor, but with heavier and more piercing guitar and bass lines. Furthermore, it’s good to hear Sully screaming and sounding a little angrier, and albeit this is not their classic Alternative Metal it can be considered something like a well-crafted version of modern-day Hard Rock. After that interesting sequence of heavy tunes the band offers us the ballad Under Your Scars, and although I’ve complained about almost every song so far I must admit this is indeed a good one, mainly due to the beautiful job done by guest violinist Zvezdelina Haltakova and guest cellist Irina Chirkova. And in Someday, after a not-so-exciting start the music evolves to a harder but still generic sonority that goes on for too long, ruining what could have been a good Hard Rock song. In addition, a weak song such as this would have benefited a lot from a guitar solo, something the whole album lacks by the way, and something that really started to bother me after a few listens.

And the “genericism” found in When Legends Rise goes on in Just One Time, even with Robbie and Shannon bringing some decent groove to the music, saving it from being a total failure. Then we have the excellent Say My Name, proving that when Sully and his crew speed up their pace and deliver stronger, more austere lyrics, they sound a billion times better. Hence, together with the opening track, this is by far one of the best songs of the album, presenting flammable Rock N’ Roll guitar riffs and rhythmic beats, which unfortunately cannot be said about Let It Out, another so-so creation alternating between heavier moments and very bland passages. It might once again sound good on the radio for the average listener, but definitely not for Rock N’ Roll fans, with the biggest issue for me being that the sound of both guitars is really low, or even worse, almost nonexistent. Furthermore, what’s also very irritating in the entire album is that there are moments like the closing song Eye of the Storm where a very promising start morphs into tasteless rock music; however, the more aggressive pieces of the song save it from total damnation, not to mention that we finally have a guitar solo added to it.

In the end, after When Legends Rise (available for a full listen on Spotify), we have to agree with this article from the online publication The Top Tens listing Godsmack as one of the top 10 bands that aren’t metal according to Encyclopaedia Metallum, together with names such as Avenged Sevelfold, Disturbed, Korn and Rage Against The Machine, but at least those bands still deliver a significant amount of rage and rebelliousness through their music, as opposed to what Godsmack (unfortunately) did in their new album. And if that toned-down version of Hard Rock is the direction Sully Erna really wants to take from now on with his band to reach a “broader audience”, well, good luck with that. I’ll personally stick to their more vibrant material from Godsmack, Awake and 1000hp.

Best moments of the album: When Legends Rise, Take It to the Edge and Say My Name.

Worst moments of the album: Bulletproof, Unforgettable, Someday and Let It Out.

Released in 2018 Universal Music

Track listing
1. When Legends Rise 2:52
2. Bulletproof 2:57
3. Unforgettable 3:28
4. Every Part of Me 3:20
5. Take It to the Edge 3:15
6. Under Your Scars 3:51
7. Someday 4:44
8. Just One Time 3:09
9. Say My Name 3:38
10. Let It Out 3:41
11. Eye of the Storm 3:21

Band members
Sully Erna – vocals, guitar
Tony Rombola – lead guitar
Robbie Merrill – bass
Shannon Larkin – drums

Guest musicians
Zvezdelina Haltakova – violin on “Under Your Scars”
Irina Chirkova – cello on “Under Your Scars”
The Gilbert H. Hood and West Running Brook Choir – additional vocals on “Unforgettable”

Album Review – Bolu2 Death / Spiral (2018)

Aiming at becoming a reference in the Spanish underground scene, this up-and-coming “Flamencore hate crew” returns with their most ambitious release to date.

Born in 2009 as a side project based on Heavy Metal and Hardcore with electronic music and flamenco influences, to the point their music can also be labeled as “Flamencore”, Spanish quartet Bolu2 Death has been making a name for themselves in their homeland since the release of their 2011 debut album, titled Aviate, becoming a reference in the Spanish underground scene. Following the success of Aviate, the band continued to pave their path with a series of steady releases, those being Mastica Tus Dientes in 2013, Dualitas in 2016 (which by the way was elected “Album Of The Year” by Metal Nacional, a Spanish written metal webzine), and their brand new album Spiral now in 2018, their most ambitious release to date which aims at establishing this “Flamencore hate crew” comprised of Mario Lérida on vocals, Jose Luis Corrales on the guitar, Juan Miguel Ramírez on bass and Francisco Llévenes on drums as one of the most important bands in modern-day Spanish Metal.

The alternative, futuristic intro (0) sets up the stage to the electrifying Nace, Crece y Muere (which would translate from Spanish as “all is born, grows and dies”), a high-end Alternative and Nu Metal tune made in Spain where the demented growls and distorted noises blasted by the band will darken your mind and inspire you to break your neck headbanging, with Francisco simply crushing his drums. We Bleed, We Fight is a rebellious anthem of Alternative Metal, showcasing rumbling and metallic sounds extracted by Juan Miguel from his bass while Mario delivers some truly enraged words (“No, I don´t wanna be like you, never / I don´t wanna be like you / We must look at the past but never look back / We bleed, we fight / Create the path of your life / We will try again, come on, come on”); whereas Smells Like 90´s Spirit is a tribute to all bands from the 90’s that helped shape up the band’s musicality (“It´s the time when we grew up / Music came into our lives / We will never forget the smell / Que nos hizo amar / Nothing will ever be the same / But it in my heart the world doesn’t change / I give thanks for all”) in the form of another feast of extreme and modernized sounds, this time led by the sharp guitar lines by Jose Luis.

Todo y Nada could easily be used as the soundtrack to a wicked underground movie, where the band turns their instruments into noise-making machines and with Mario shaping his vocals in an inhuman, eerie way, being perfect for fans of both modern Industrial Metal and the Nu Metal played by bands like Korn. Then we have Forgiveness, a slower and more introspective creation by Bolu2 Death that sounds too “30 Seconds to Mars” to me, lacking the band’s usual violence and speed, and the whimsical instrumental bridge (vortice), warming up our senses for  the low-tuned, thunderous Korn-inspired chant I Am Doomed, where the entire band brings forward a high level of aggressiveness, dementia and heaviness, especially Jose Luis and Juan Manuel with their strings, while Mario vociferates sheer insanity from start to finish.

I like how they mix English and Spanish throughout the entire album, and they do it in great fashion in what’s perhaps the best depiction of what they call “Flamencore”, the fun and fresh Los De Arriba, followed by Statues, less belligerent but still very melodic and modern, becoming a great choice for banging your head together with the band and displaying a strong performance by Mario with both his clean and harsh vocals. Bury Yourself is another introspective composition by the Spanish quartet led by the thunderous riffs and bass lines by their stringed duo, losing its grip after a while despite their solid job done to keep it heavy and vibrant; while A.R.R. is a melancholic, cinematic bridge with a dark narration guiding us to the obscurity and rage blasted in the title-track Spiral, featuring guest vocalist Juan A. Soler “Kantz” (Tenpel, De la Cuna a la Tumba, Delobos, The Holy), presenting a fantastic balance between clean vocals during the darkest parts and harsh gnarls during the heaviest and most visceral moments, offering the listener over six minutes of modern and thrilling metal music that flows into a wicked downward spiral ending.

In summary, Bolu2 Death, who can be found on Facebook and on YouTube, sounds more mature, modern and experimental than ever in Spiral, proving the band is not exaggerating when they say they want to become a reference in contemporary metal in their homeland. And if you want to show your true support to such distinct group, go buy your copy of Spiral from their own BandCamp or webstore, as well as from the Necromance Records’ BandCamp or webstore, and from iTunes. Bolu2 Death offer music that inspires us to bang our heads and dance at the same time in Spiral, and they do it in such great fashion they truly deserve the recognition they’ve been gaining in Spain and in the rest of the world.

Best moments of the album: Nace, Crece y Muere, We Bleed, We Fight, I Am Doomed and Spiral.

Worst moments of the album: Forgiveness and Bury Yourself.

Released in 2018 Necromance Records

Track listing
1. (0) 0:52
2. Nace, Crece y Muere 3:58
3. We Bleed, We Fight 3:57
4. Smells Like 90´s Spirit 4:34
5. Todo y Nada 4:41
6. Forgiveness 4:12
7. (vortice) 2:00
8. I Am Doomed 3:19
9. Los De Arriba 3:43
10. Statues 4:07
11. Bury Yourself 4:02
12. A.R.R. 2:10
13. Spiral (feat. Kantz) 6:21

Band members
Mario Lérida – vocals
Jose Luis Corrales – guitar
Juan Miguel Ramírez – bass
Francisco Llévenes – drums 

Guest musician
Juan A. Soler “Kantz” – vocals on “Spiral”

Album Review – Preludio Ancestral / Oblivion (2018)

A magnificent opus of epic-painted Power Metal with symphonic arrangements and amazing guitar work, where various guest musicians help give form to an album that will be a delight for any lover of the genre.

Formed back in 2005 by guitarist Leonardo Gatti in San Miguel, a city in the northwest region of Greater Buenos Aires located around 30km from the City of Buenos Aires, Argentina, Symphonic Power Metal band Preludio Ancestral has been making a name for themselves since their inception with a steady flow of high-quality releases, starting with the EP Silencio and the full-length album Hacia lo Inmortal, both in 2012, followed by the 2013 EP Putrefaction, the 2015 album Kybalion, and the 2016 album El Misterio de la Pasión Divina, gaining strong recognition not only in their native country, where they even opened for acts like Rhapsody of Fire and Stratovarius, but also everywhere where the epicness and electricity of Power Metal are admired.

Now in 2018 the band comprised of the aforementioned Leo Gatti on the guitars and keyboards, Ari Katajamäki on bass and Diego Camaño on drums are set to release a brand new album titled Oblivion, a magnificent opus of epic-painted Power Metal with symphonic arrangements and an awesome guitar work, where various guest musicians hailing from different parts of Argentina and Europe give form to an album that will be a delight for any lover of the genre. As a matter of fact, due to the fact that almost every song of the album has a different lead singer, Oblivion feels like three or four album in one, with the music always remaining fresh and captivating throughout its 10 distinct songs (or 12 if you purchase the special Japanese edition of the album).

Presagio is a cinematic intro that takes you to the world of Preludio Ancestral, where the flammable sound of the guitar by Leo and the unstoppable beats by Diego are joined by Alessio Perardi on vocals in King of Silence, a classic Melodic Power Metal tune the likes of Dragonforce and Stratovarius; followed by Storm, a Power Metal extravaganza led by the intricate drums by Diego with Enzo Donnarumma taking the vocal duties, while Leo and Ari bring tons of melody and feeling to the musicality. And Alessio is back on vocals for a fast and harmonious exhibit of modern-day Melodic Metal named Fear of Falling, showcasing all elements we love in this type of music. Furthermore, Ari is simply fantastic with his bass, smashing his strings mercilessly while guest keyboardist Gabliel Crisafulli embellishes the overall sound with his kick-ass solo.

With Fran Vázquez on vocals, Preludio Ancestral offer a mid-tempo, melodic tune titled Ready to Rock, leaning towards the darker and deeper metal crafted by icons such as Dio and Saxon. Moreover, can you feel those beats pounding inside your mind? Moving on with the album, the title-track Oblivion, featuring Juan Pablo Kilberg on vocals, could be part of a concept album due to its initial narration and pace, morphing into straightforward Power Metal the likes of Helloween and the early days of Sonata Arctica, with Juan Pablo also delivering a crisp guitar solo to make things even more epic. Then it’s time to slow things down a bit with a power ballad titled Universal Love, presenting more of the voice of Alessio Perardi, passionate solos by Leo and a dense background, but unfortunately with the overall result falling flat after a while.

In Reflection in the Wind they get back to a faster and more slashing musicality, presenting a solid instrumental base by Leo, Ari and Diego that sets the perfect stage for Kimmo Perämäki to thrive on vocals. This is one of those songs to sing along with the band wherever you are, not to mention another spectacular keyboard solo by Gabliel Crisafulli. In Dust World, a classic mid-tempo tune led by the powerful riffs by Leo, Alessio Perardi returns for one last breath of his potent vocals, while Ari and Diego keep the atmosphere as thunderous as it can be, before the closing act in Oblivion, titled Metal Walls, brings Daniel García on vocals in what can be considered the most modernized of all tracks, displaying elements from distinguished styles such as Alternative, Industrial, Dark Metal and Hard Rock, and let me tall you that the final result is above all expectations, in special due to the amazing job done by Leo on keyboards.

In summary, Oblivion (available for a full listen on Spotify) will not only cement the name of Preludio Ancestral as one of the best and most professional bands from this new wave of Symphonic and Power Metal in their homeland, but it will also help the band spread their wings and reach higher grounds in the world of heavy music. And if you wan to show your honest support to such up-and-coming act, simply go check their Facebook page and YouTube channel for news and other shenanigans, and purchase Oblivion through the band’s own BandCamp page, through the Xtreem Music webstore, through the Spiritual Beast webstore, or on Amazon. May the power of Heavy Metal be with Preludio Ancestral anywhere they go, and may other bands from Argentina and South America follow their steps and deliver more metal music to fans tired of having bad and fake music shoveled down their throats by their local TV shows, radio stations, and websites.

Best moments of the album: King of Silence, Fear of Falling and Reflection in the Wind.

Worst moments of the album: Universal Love.

Released in 2018 Fighter Records/Spiritual Beast

Track listing
1. Presagio 1:04
2. King of Silence 3:49
3. Storm 4:02
4. Fear of Falling 4:30
5. Ready to Rock 3:45
6. Oblivion 5:07
7. Universal Love 4:24
8. Reflection in the Wind 3:31
9. Dust World 4:49
10. Metal Walls 5:35 

Japanese Edition bonus tracks
11. Like A Star (New Version) 3:31
12. No Man’s Land 3:27

Band members
Leonardo Gatti – guitars, keyboards
Ari Katajamäki – bass
Diego Camaño – drums

Guest musicians
Alessio Perardi – vocals on “King of Silence”, “Dust World”, “Fear of Falling” and “Universal Love”
Fran Vázquez – vocals on “Ready to Rock”
Daniel García – vocals on “Metal Walls”
Juan Pablo Kilberg – vocals on “Oblivion”
Raffaele Raffo Albanese – vocals on “No Man’s Land”
Kimmo Perämäki – vocals on “Reflection in the Wind”
Enzo Donnarumma – vocals on “Storm”
Gabliel Crisafulli – keyboards solos on “Oblivion”, “Reflection in the Wind” and “Fear of Falling”
Juan Pablo Kilberg – guitar solos on “Oblivion”
José Paz – keyboards on “Presagio”

Album Review – Forte Ruin / Rebuilding the Machinery EP (2018)

A talented six-piece Melodic Death Metal act from Finland returns with a brand new EP where they step up their game in terms of quality, intricacy and professionalism.

If you’ve been following The Headbanging Moose for a few years already, you might remember a Finnish Melodic Death Metal band from the city of Lahti named Forte Ruin, who released in 2015 their debut self-titled EP comprised of three original compositions filled with memorable melodies, powerful riffs and catchy choruses. Now in 2018 that talented six-piece metal act returns with a brand new EP entitled Rebuilding the Machinery, where not only they step up their game in terms of quality and intricacy, but the band formed by Arttu Ruusunen on lead vocals, Saku and Samu Aaltonen on guitars and backing vocals, Arto Viitanen on bass and backing vocals, Veli-Matti Kyllönen on keyboards, and Jere Aaltonen on drums sounds a lot more professional and ready to spread their music throughout the four corner of the earth.

And the EP kick off in full force with Down in Perdition, a very melodic and pounding creation by the sextet showcasing clean and rumbling sounds, spiced up by the futuristic keys by Veli-Matti while Arttu growls the song’s poetic lyrics rabidly (“All these revelations and present / Are finally align so that we’ll understand / Our time here has come to an end / In perdition we could meet again perchance”). Furthermore, Saku and Samu not only deliver excellent riffs during the whole song, but their solos are also beyond thrilling. Then deeply rooted in classic Scandinavian Melodic Death Metal we have the title-track Rebuilding the Machinery, faster than its predecessor and presenting a great balance between visceral growls and clean vocals, as well as a great job done by all band members with their instruments, in special Jere with his fierce and rhythmic beats.

Displaying hints of American Alternative and Nu Metal (and once again with the keys by Veli-Matti bringing a whimsical aura to the musicality), Colony Collapse Disorder exhales sheer electricity, with Arto delivering thunder through his menacing bass lines while the guitar solos elevate the song’s impact and taste considerably. In Electric Frames, just like what they did in their previous EP, Forte Ruin add nuances of Jazz and electronic music to their Scandinavian Metal, and the the final result couldn’t sound more fantastic, all boosted by the song’s lyrics which seem taken from a song from the 70’s (“Great illusion within’ electric frames / We can see the integration / While we process all the traveling light / Of electric frames”). And Saturation Point, featuring guest vocals by Jules Näveri from Profane Omen, is tailored for banging your head nonstop or playing some ass-kicking air guitar, with the bass lines by Arto bringing tons of groove to the musicality while the keys by Veli-Matti keep adding a touch of delicacy to the overall result.

Featuring a modern and sinister artwork by Finnish artist Marianna Maaninka, Rebuilding the Machinery not only has all the elements we search for in Melodic Death Metal, but it also brings additional layers of intricacy and feeling thanks to all other music styles Forte Ruin incorporate in their music, and in order to show your proper support to this Finnish squad go check their Facebook page, YouTube channel and Spotify for news and more of their music. You can purchase Rebuilding the Machinery from their own BandCamp page, as well as from Record Shop X or CD Baby, and add such distinct collection of Scandinavian Metal songs to your personal playlist, courtesy of a band that might be taking their initial steps in the world of heavy music, but that at the same time already sounds like veterans due to the high quality of their compositions and their utter professionalism.

Best moments of the album: Rebuilding the Machinery and Electric Frames.

Worst moments of the album: None.

Released in 2018 Independent

Track listing  
1. Down in Perdition 4:18
2. Rebuilding the Machinery 3:57
3. Colony Collapse Disorder 4:29
4. Electric Frames 4:24
5. Saturation Point (feat. Jules Näveri) 6:27

Band members
Arttu Ruusunen – lead vocals
Saku Aaltonen – guitars & backing vocals
Samu Aaltonen – guitars & backing vocals
Arto Viitanen – bass & backing vocals
Veli-Matti Kyllönen – keyboards
Jere Aaltonen – drums

Guest musician
Jules Näveri – guest vocals on “Saturation Point”

Album Review – Ways. / Aftermath EP (2018)

One of the most promising alternative bands from France returns with another powerful, dynamic and melodic display of modern-day rock and metal music.

After a promising career start with the release of their debut EP Watching From Afar, in 2016, Paris-based Alternative Rock/Metal act Ways. is back with the second installment of their always-evolving musical path, entitled Aftermath, an 8-track EP that brings all the band’s characteristic elements from their previous release, sounding powerful, dynamic and melodic throughout its almost 27 minutes of music.

Featuring a minimalistic and stylish artwork by Maxime Larrouturou, Aftermath once again presents an inspired band mixing several influences and styles in their music, from Alternative Rock and Metal to Post-Hardcore, while at the same time maintaining a very cohesive and solid core essence. Comprised of Clément on vocals, Bruno and Nico on the guitars, newcomer Niko on bass, and Tony on drums, Ways. are ready to strike once again with their uncompromising, unrelenting and modern music, and I’m sure you’ll have a good time listening to their unique creations in Aftermath.

Sheer melancholy flows from the guitars by Bruno and Nico in the introspective intro Twilight Until Dawn, before the band begins firing an acid message together with their aggressive, adrenaline-fueled instrumental in the modern-day Alternative Metal tune Death Row, with Clément growling the song’s lyrics in a desperate and anguished mode (“But the people around me / Don’t seem to want to play with me. / My neighbors, day after day, / Are caught, / The cages emptied and filled, / The door is closed behind me, / I believe in a game full of life and joy”). In However…, Rock N’ Roll riffs are blended with the more aggressive lines of Alternative Metal, with Tony smashing his drums and, consequently, giving the song a stronger vibe, while Clément presents some cleaner vocals amidst his furious screams; whereas in And Nobody Cares, Ways. accelerate their speed and increase their electricity, bringing hints of Melodic Death Metal and Metalcore to their characteristic sonority. In a nutshell, this is the song tailored for banging your heads nonstop, thanks to the crushing riffs by Bruno and Nico and the violent beats by Tony.

So Far So Good brings forward a belligerent sound led by the razor-edged riffs by the band’s guitar duo, while bassist Niko joins Tony to create a beyond dense background. Then we have a somber, pensive instrumental bridge titled Thirteen, setting the tone for the also fierce With Love, the most alternative of all songs from the EP, ignited by the metallic bass by Niko and with Clément delivering his piercing clean vocals as well as his deranged growls while the rest of the band fires melodious and heavy sounds from start to finish. And lastly, as a bonus track the band offers us all I See No Beauty, showcasing more of their slashing Alternative Metal and Rock and presenting austere lyrics about ecology, global warming, poaching and animals mistreatment (“Dropped in the jungle, / Still so young, / I try using violence, / I test, / I experience, / I grow up and feed myself / I see no beauty in the species that made me”).

To sum up, the second step in the career of Ways. is beyond solid and promising, showcasing a band that’s even sharper and more focused than before, and if you want to show your support to this French quintet go check what they’re up to on Facebook and on YouTube, and purchase Aftermath (which is available for a full listen on Spotify or on YouTube) from the band’s own BandCamp page. I’m certain that the next step for this talented Post-Hardcore/Metal act will be the release of their first full-length album, which will represent the combination of a lot of hard work, dedication and energy, and it doesn’t matter how long it takes for that to happen, if it’s as half as good as the music found in Aftermath it will certainly be worth the wait.

Best moments of the album: Death Row and And Nobody Cares.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Twilight Until Dawn 2:01
2. Death Row 3:14
3. However… 3:13
4. And Nobody Cares 3:32
5. So Far So Good 3:44
6. Thirteen 2:20
7. With Love 6:02

Bonus track
8. I See No Beauty 2:41

Band members
Clément – vocals
Bruno – guitar
Nico – guitar
Niko – bass
Tony – drums

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 – Butcher Babies / Lilith (2017)

The most dangerous and relentless demons of heavy music return with another crisp, visceral and fun album of present-day Metalcore.

As I said in our Metal Chick of the Month dedicated to the Butcher Babies in October 2016 celebrating three years of The Headbanging Moose, frontwomen Heidi Shepherd and Carla Harvey definitely know how to properly rumble, and now with the release of Lilith, their third full-length album, this Los Angeles-based Metalcore act spearheaded by those two gorgeous growlers more than cements their name in modern metal music. And don’t get fooled by their stunning looks, as Heidi and Carla can rip your heart out in the blink of an eye, just to show you how visceral and vibrant their music is.

After the release of the excellent Take It Like A Man, in 2015, an album that’s utterly entertaining from start to finish, fans of the Butcher Babies kept wondering if Heidi and Carla, together with Jason Klein on bass, Henry Flury on guitars and newcomer Chase Brickenden on drums would be able to deliver the same amount of aggressiveness and electricity that led them to play alongside giants like Marilyn Manson, Danzig, Rob Zombie and Cradle of Filth since the band’s inception, and for our total delight Lilith not only kicks some serious ass, but it also brings a more melodic side of the Butcher Babies that add an extra layer of intricacy and quality to their always fun compositions.

Now simply hit play and feel the metallic riffs by Henry crushing your skull before the dynamic duo Heidei and Carla begin their growling feast in Burn the Straw Man, not only a circle pit-generator with a catchy chorus and pure rage flowing from all instruments, but also a fantastic choice for opening their live concerts in full force. Following that flawless start we have the title-track Lilith, bringing their trademark ferocity infused with more melodic lines (mainly found in their cleaner vocals), with Chase proving why he was chosen to be the band’s new drummer; and Headspin, an almost-radio-friendly tune presenting a heavy but extremely sexy rhythm that will put you to dance and sing along with the band. Moreover, as a “bonus” the song got a lustful official video that deals with virtual reality (aka virtual sex) that’s definitely worth a watch. And in Korova the band gets back to a more underground Metalcore sonority, with Henry, Jason and Chase doing a solid job by supporting the screams by Carla and Heidi, all boosted by the song’s absolutely addictive chorus.

The beyond electrified #Iwokeuplikethis offers pure madness blasted by the entire band, with Chase sounding beastly on drums while our charming screamers fire some demented gnarls and deep growls nonstop. Things slow down a bit in The Huntsman, a dark Metalcore semi-ballad with hints of Alternative and Groove Metal which never really takes off despite the awesome rumbling bass lines by Jason, but everything returns to normal (if the Butcher Babies can be called “normal”) in Controller, a song that can be considered “old school Butcher Babies” by presenting all elements that made them famous in heavy music. Furthermore, its groovy and metallic tones are tailored for jumping up and down and breaking our necks headbanging with the band. And Oceana is another shot of insanity by Heidi and Carla, with the first firing her more strident screeches while the latter keeps growling deeper and deeper. In addition, Henry nails it with his crisp riffs, increasing the impact of the song to our ears.

In Look What We’ve Done we have more of their more melodic and commercial version (which means it should receive some decent air play in several radio stations), with both girls kicking ass with their potent clean vocals. And although they’re also great when singing smoother songs, I personally prefer their more enraged mode like what happens in POMONA (Shit Happens), a song that will cause some serious bruises inside the circle pit. Both girls sound demented throughout the entire song led by the frantic riffs and beats by Henry and Chase, respectively, turning it into one of the best songs of the whole album. And Underground and Overrated, the closing tune in Lilith, will pierce your ears with Henry’s cutting guitar riffs and solos and Heidi and Carla’s hellish screams. This is what I would call a “festival song”, being more than perfect for those open air festivals that happen all over Europe and North America during the summer.

Lilith might be known as a dangerous demon of the night who is sexually wanton (and who steals babies in the darkness), but from now on she will also be known as the Butcher Babies’ bitch, because no woman in metal can top Heidi and Carla in terms of stamina, fury and passion for the more alternative side of Heavy Metal. If I were you, I would certainly keep an eye on their Facebook page for their tour dates to promote Lilith (which by the way can be purchased through several different platforms, and if you’re lucky enough you might be able to find the Japanese edition with five sick bonus tracks), because as a guy that has already seen Heidi, Carla & Co. live I can assure you their concerts are insanely enjoyable. And needless to say, the Butcher Babies will keep on rocking and showing their love for heavy music until the end as true metalheads that they are.

Best moments of the album: Burn the Straw Man, Headspin, #Iwokeuplikethis and POMONA (Shit Happens).

Worst moments of the album: The Huntsman.

Released in 2017 Century Media

Track listing
1. Burn the Straw Man 4:05
2. Lilith 3:27
3. Headspin 3:32
4. Korova 4:05
5. #Iwokeuplikethis 3:01
6. The Huntsman 3:06
7. Controller 3:04
8. Oceana 3:32
9. Look What We’ve Done 3:35
10. POMONA (Shit Happens) 3:13
11. Underground and Overrated 3:59

Japanese Edition bonus tracks
12. Beer Drinker & Hell Raisers 2:54
13. They’re Coming To Take Me Away 3:16
14. Don’t Give A Fuck 2:22
15. Crazy Horses 2:55
16. Pussy Whipped 2:32

Band members
Heidi Shepherd – vocals
Carla Harvey – vocals
Henry Flury – guitar
Jason Klein – bass
Chase Brickenden – drums