Album Review – Inanimate Existence / Clockwork (2019)

A pulverizing album of Technical and Progressive Death Metal by a ruthless Bay Area triumvirate, dealing with the human tendency to struggle with the acceptance of mortality and our limited time on earth.

Formed in 2011 in the renowned Bay Area, in the state of California, United States, Progressive/Technical Death Metal trio Inanimate Existence returns in 2019 with a brand new opus entitled Clockwork, the follow-up to the group’s highly praised fourth album, Underneath a Melting Sky, released in 2017. Featuring a futuristic and whimsical cover art by by Justin Abraham (who has already worked with bands like Equipoise, Aepoch and Oubliette), with additional artwork by Mark Erskine (from Erskine Designs), recorded by Inanimate Existence and Zack Ohren, and mixed and mastered by Zack Ohren at Shark Bite Studios in Oakland, California, Clockwork delves deeper into cerebral Progressive Death Metal depths, while buoyed by the group’s established penchant for merciless full-throttle brutality and frenetic tech-death driven terrain.

And the band comprised of Cameron Porras on vocals and guitar, Scott Bradley on bass and backing vocals, and Ron Casey (Continuum, Brain Drill) on drums had a few nice words to say about their newborn spawn. “We’re thrilled to finally be able to share our 5th studio album with all of you! This is definitely the most work we have ever put into an album by a long shot. Sound wise I’d say that it’s a continuation of our last album but much more polished and mature,” commented the band, describing Clockwork’s thematic focus as “dealing with the human tendency to struggle with the acceptance of mortality and our limited time on earth. It explores the questions we torment ourselves with during life along with the irony of how small and insignificant we are in the grand scheme of the universe. The title refers to the mechanisms of a clock and how every tick brings you closer to your doom.”

The trio begins firing their fusion of insanity and progression mercilessly in the title-track Clockwork, with Ron dictating the rhythm with his furious beats while Cameron brings a touch of delicacy to the music with his guitar riffs and solos, sounding at the same time devastating and very melodic; whereas in Voyager we’re treated to lyrics that exhale insanity (“Isolated, trapped inside the capsule / I fear that I may now be on my own / My crew have perished, and I am alone / Orbiting beyond the atmosphere / My communications are down and the power is cut / I gaze back to the Earth / Wondering, will I be remembered?”), with the music bringing elements from smoother styles like Jazz while Scott extracts sheer thunder from his intricate bass lines. This talented American triumvirate keeps smashing our senses with their vicious Progressive Death Metal attack in Apophenia, as complex and pulverizing as possible, sounding as if the almighty Krisiun went full progressive at times, offering to the listener several neck-breaking moments led by Ron’s insane drumming; and their metal extravaganza goes on in Desert, with all three member firing wicked and intricate sounds and tones from their respective instruments. Put differently, it’s straightforward Progressive Death Metal with a vibrant atmosphere, not to mention Cameron’s sick solos adding some welcome lunacy to the overall result.

In Solitude the band offers us pensive and modern lyrics (“I return to solitude / Where once again I contemplate / What my purpose is inside this burdensome reality / I return to solitude / Where once again I contemplate / What is my purpose?”), while its instrumental parts are absolutely mental, with both Cameron and Ron crushing their weapons nonstop, followed by Diagnosis, where the band continues to slash our ears with the modernized and very complex version of Death Metal. Moreover, the bass lines by Scott sound insanely heavy and metallic, with the music also bringing interesting eerie passages and breaks (despite going on for a bit too long). Then back to a more demonic and infuriated mode we have Ocean, blending the most violent and thrilling elements from Progressive and Death Metal with Ron sounding infernal on drums, therefore providing Cameron the perfect ambience for gnarling deeply and rabidly, once again presenting spot-on melodic and ethereal passages. Lastly, Liberation closes the album with more of the dynamic, electrifying sounds from the depths of the human psyche by the trio, with Scott and Ron bringing thunder to the musicality while Cameron keeps delivering harmonious riffs and solos while growling like a beast until the song’s visceral ending.

You can have your brain shredded into pieces by listening to Clockwork in its entirety on YouTube and on Spotify, and after being stunned by Inanimate Existence simply go check what they’re up to on their official Facebook page, including their tour dates, and purchase your copy of their brand new opus from their BandCamp page, from The Artisan Era webstore (in several exclusive formats and bundles), from Apple Music or from Amazon. As aforementioned, the band itself said that we all struggle with the concept of mortality and our limited time on this planet, which means we should not waste too much time thinking but enjoying some good, destructive and complex Death Metal while we’re alive, with Clockwork being an excellent choice for that.

Best moments of the album: Voyager, Desert and Ocean.

Worst moments of the album: Diagnosis.

Released in 2019 The Artisan Era Records

Track listing
1. Clockwork 4:34
2. Voyager 5:40
3. Apophenia 4:37
4. Desert 4:06
5. Solitude 4:42
6. Diagnosis 5:34
7. Ocean 4:55
8. Liberation 6:43

Band members
Cameron Porras – vocals, guitar
Scott Bradley – bass, vocals
Ron Casey – drums

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Interview – Alcides Burn (Burn Artworks)

Let us all burn together with the talented Brazilian artist Alcides Burn, from Burn Artworks, in this exclusive interview where he talks about his work, his passion for drawing and heavy music, and more.

Alcides Burn (Burn Artworks)

The Headbanging Moose: Could you please start by telling our readers who Alcides Burn is? When and why did you decide to become a graphic designer, and when exactly did your passion for heavy music start impacting your work as a designer?

Alcides Burn (Burn Artworks): Hi, at first I would like to thank The Headbanging Moose for the opportunity to present my work.

Well, I’m Brazilian, from Belém-PA, but I’ve lived in Recife for many years, I always liked to draw and I’ve always been a fan of horror movies, giant monsters, and stuff like that. In the 1990s it was when I started listening to metal, I remember the first time I saw an Iron Maiden album cover, I was impressed with it and from that time on I decided to create arts.

I started drawing art for bands of friends until I’ve got a computer from an uncle and went digital.

THM:  Did you have any idea of what you were doing in your early days as a graphic designer for metal bands? How did things work in the beginning for you? What were your biggest challenges as a rookie in such competitive market?

AB: In the beginning there weren’t as many artists as nowadays, and I really wouldn’t have imagined that I’d become a well known artist as now. As I said, I was lucky to have a very good computer at a time that it was very expensive and difficult to get one, and I always studied a lot, I used to burn the midnight oil learning and studying hard, then I made an album cover for Queiron, a band from São Paulo. That opened doors, that was when I actually started this work, after that other bands came up.

THM: You were also (and still are) a vocalist for a few Brazilian Death Metal bands like Inner Demons Rise, Next Pain and Subinfected. How did you manage your duties as a musician and a designer at the same time with your previous bands, and what lessons did you learn that you can apply to your active band Inner Demons Rise nowadays?

QUEIRON (Brazil) CD Cover

AB: The bands were not my top priority, I’m also an advertising professional and a concert producer, so these projects came up during my spare time and they were getting harder to manage in my busy schedule. Due to that reason I’m not in a band anymore. I’ve spent 10 years in the band Inner Demons Rise, I had a lot of fun, I learned a lot, a lot of the production experience I’ve learned I used to apply to the band, but unfortunately my work as a designer started to grow and I had to leave the band, but I still talk every day to my bandmates that are also my personal friends.

THM: While checking some works you’ve done for several bands from different parts of the world, I noticed most of the time there’s a lot of chaos, fire, death, demons, darkness and other obscure or evil elements in your art. What attracts you in those elements, and do you think that can limit your reach, I mean, what if a Symphonic Metal band or a Hard Rock band approach you to hire your services?

AB: Well, my mind has always been a little devilish (LOL), I’m a Death Metal fan, mainly from the 1990s, and album covers like Monstrosity (Imperial Doom) and Dismember (Like an Ever Flowing Stream) have always impressed me, creatures, the scenarios, and like I said, horror movies, monsters, I think I couldn’t follow a different path. However I’ve already designed for Melodic Heavy Metal bands, like “The Black Knight” from the band Wizards here from Brazil among other artists, sometimes I feel even lacking in creating such works.

THM: What are your favorite bands, as well as favorite artists and designers? How much have they influenced your work since the beginning? And can you list your favorite album artworks of all time, telling why you like them so much?

AB: That’s a trick question, but let’s go:

Some of my favorite bands are: Paradise Lost, Moonspell, Monstrosity, Deicide, Gorefest, A-HA, Dream Theater, Angra, I think these are the ones I listen to most.

Favorite artists: Seth Siro Anton, Wes Benscoter, Dave Mckean, Travis Smith and Braisl I enjoy many works by several artists, Marcelo Vasco, Gustavo Sazes, Rafael Tavares, Carlos Fides among others.

About favorite albums: Paradise Lost – Gothic, Moonspell – Wolfheart, Deicide – Legion, Gorefest – False, Monstrosity – Imperial Doom, Dream Theater – Image and Words, Angra – Fireworks. There are many (LOL)

THM:  Apart from heavy music, what else serves as an inspiration for you? Any movies, books or other things that are worth mentioning that had a significant impact in the way you draw or paint?

AB: Movies, lots of movies, I’m a movie buff, I watch at least 2 or 3 movies a week and everything around me, if I step on the street and see something that I know can turn some art, I quickly snap a picture.

THM: If I have a band and I’m searching for an artist to design the cover art for my new album, what should I do to contact you? And how does the entire process work, from the very first contact until the final version of the artwork is ready?

AB: Well, you can contact me through my email: alcidesburn@gmail.com or by my Facebook and Instagram: @alcidesburn.

The process is very simple, I usually create the art based on the album title or from a song lyric or an idea that the band has in mind. I have a conversation with the band to understand the idea and then just go for it, I present a draft of the idea to the band and as soon as they approve I finish the artwork.

THM: Your list of clients is quite extensive, including underground bands from distinct parts of the world such as Neuroticos (Japan), Zerozonic (Norway) and Iconoclasm (Belgium), renowned international acts like Keep of Kalessin (Norway), Obituary (USA) and Tim “Ripper” Owens (USA), countless underground Brazilian bands and even some big names in the Brazilian scene like Krisiun, Nervochaos and Torture Squad. From all those bands and artists, which ones do you think were able to extract the best of your art?

AB: I think the one that has had the most repercussions so far was the Keep of Kalessin, that one people still talk about, this art will be part of the second edition of the book Arte Arcana – Lucifero, where I will be among the great artists of the world.

The book can be purchased at this link: https://heavymusicartwork.com/arte-arcana-lucifero. There is an art that I made for Rebaelliun band shirt that I also like it a lot. I recently created another art for them and I liked the result. The ones I made for Krisiun, total respect to the band, I like it a lot and the guys are very good people and Nervochaos that despite being something simple it was a very cool experience.

I have a special affection for all of them, they are important bands that I like so much.

REBAELLIUN (Brazil) T-Shirt Design

THM: There was no social media and the access to the internet was extremely limited when you started around 20 years ago. What are the advantages and disadvantages for you of the advent and unstoppable growth of social media in recent years? How do you keep up to date with everything that’s going on, new techniques, new software or anything else that you can apply to your work?

AB: I usually say that the internet is a necessary evil, and you have to know how to use it in your favor, I try to use it to show my work to the world, I try to forget other subjects, I open my Facebook to advertise my arts and talk about movies.

Other than that the internet made it very easy for people who work with arts. Today you have a multitude of images, plugins, textures and software that helps a lot, but as I said: the real world is there, and if you have a good point of view you can bring a lot for your art.

THM: You were born in the city of Belém, in a region of Brazil not very famous for its metal music (in the state of Pará), and you currently reside in the Northeast of Brazil, where although there are several metal bands the scene remains completely underground. How does that impact your work? And what bands can you recommend form those regions, especially the ones you’ve already worked with?

AB: I left Belém at the age of 1 and I do not know the city until nowadays, but I hope to do it so soon.

The coolest thing is that I have several friends there, I’ve done arts for bands there like Disgrace and Terror, Anubis and Eternal Darkness, the latter two I’m creating for their new work at the moment.

The Northeast is strong, there are lots of bands that I have worked with and I like them a lot like Decomposed God, Pandemmy (both from Recife), Headhunter D.C., Malefactor (from Salvador), Sanctifier (from Natal), there are a lot of fucking good bands here.

I think it’s a little bit hard for me to live in Recife, an example if you live in São Paulo, you have a lot more contact with this world because it’s a metropolis, there are a lot more shows, more producers and more bands, you see. But I love the Northeast and Recife.

THM: What does the future hold for you as a graphic designer and also as a metal vocalist? Do you see yourself working with more and more international bands, or do you prefer becoming a reference in the Brazilian scene?

AB: As a vocalist I only intend to have some projects, I need them, but nothing too serious, just recording, maybe going on stage a few times nothing more than that, nothing that takes my time.

As for the graphic designer, absolutely. I want to show my work to the world, to have more international bands in my portfolio, that would be great!

THM: Thanks a lot for your time, Alcides. It’s an honor for us to interview a metal artist like you for the first time on our webzine. Feel free to send your final message to our readers, including the best ways for bands and musicians to contact you if they’re interested in having your art representing their music.

AB: I’d like to thank you so much for the opportunity to talk about my work. Spaces like these are of extreme importance for the Metal world. Every zine, blog, website is a source of information that never must die.

To contact me, in addition to the social networks I’ve mentioned, my site is: www.burnartworks.com. In it you’ll find my works. Thank you!

Links
Burn Artworks Official Website | Facebook | Instagram

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Metal Chick of the Month – Romana Kalkuhl

I was born to burn! Maiden of steel!

After a short and sweet break, The Headbanging Moose returns in full force with our metal chick of the month of July, elevating the temperature in the always hot summer in the Northern Hemisphere. If you’re a diehard fan of old school Heavy and Power Metal the likes of Warlock, Judas Priest, Accept, Manowar and Grave Digger, I’m quite sure you already know our metal lady, but in case you’re still not familiar with her refined technique and deep passion for heavy music here’s a good chance for you to go after the music from her ass-kicking bands Burning Witches and Atlas & Axis. Hailing from the metallic lands of the charming and beautiful Switzerland, here comes the talented Swiss guitarist Romana Kalkuhl, ready to take the world of heavy music by storm armed with her inseparable stringed axe for our total delight.

Born in 1990 in Switzerland, Romana, whose full name is Romana Eskić-Kalkuhl (as she’s married to Swiss guitarist Damir Eskić, from the bands Destruction and Gomorra), comes from a family of musicians who have always supported her decision to become a professional guitar player. For instance, her father Meinolf Kalkuhl is an opera singer in Zurich, Switzerland, while her mother is a piano teacher. All that support resulted in the formation of her first professional band in 2009 while she was still in university. That band is Aargau-based Heavy Metal act Atlas & Axis, with whom Romana has already recorded two full-length albums, those being March of the Night, in 2011, and Confrontation, in 2014, not to mention all concerts the band has already played live. You can enjoy the Iced Earth-inspired sound of Atlas & Axis and Romana’s incendiary shredding on YouTube by listening to songs like Power and Might, Elements, To Violence and These Words, among many others, as well as the song Winter played live at the Dynamo in Zurich in 2014. Unfortunately, due to her current commitment to Burning Witches, our blonde warrior doesn’t have the necessary time to focus on Atlas & Axis at the moment, which means the band is on hold until further notice.

It was in the spring of 2015 in the city of Brugg, a municipality in the Swiss canton of Aargau, when Romana founded Heavy/Power Metal unity Burning Witches, following her personal dream of performing on stage with an all-female metal band. Earlier that year she started looking for talented women for her new project, with her longtime friend, bassist Jeanine Grob, becoming the band’s first official member. Then during a party at a festival she met vocalist Seraina Telli, from bands like Dead Venus, Rizon and Surrilium, starting a very healthy and productive partnership between them, with Seraina’s ideas and experience from her studies at the Music Academy and her bands being exactly what Romana wanted for Burning Witches. Having the one and only Schmier, vocalist and bassist for German Thrash Metal institution Destruction, as their producer and consultant (and a personal friend of Romana, by the way), and with drummer Lala Frischknecht and guitarist Alea Wyss completing the lineup after an intensive search and several auditions, Romana and her Burning Witches were finally ready to crush with their classic metal music.

Since the band’s inception, Romana and the girls have already released two full-length albums (their self-titled debut album in 2017, and Hexenhammer in 2018), one four-track live album named Burning Alive, recorded on September 30, 2017 at Z7 in Pratteln, Switzerland, and now in 2019 they re-released Burning Witches / Burning Alive as a combo under Nuclear Blast. If you want to feel the power of their metal sword, simply go to Spotify or to YouTube and enjoy some flammable Heavy Metal anthems such as Wings Of Steel, Black Widow, and Executed, or many other live footage from Romana and the girls slaying everything and everyone that crosses their path like their flammable performance at Sweden Rock Festival in 2019; their concert in 2018 in Mannheim, a city in southwest Germany; and their powerful pocket show at Salzhaus Brugg in 2018.

Sadly for all fans of the band, lead singer Seraina Telli left the band earlier this year for personal reasons, being replaced by Dutch vocalist Laura Guldemond, from bands like Shadowrise and Synergy Protocol, and of course Romana had a few words to say about that change to her band. “This is, of course, a very sad moment for all of us. We have been very close for the last years and have reached a lot together. With great sadness we have to accept that Seriana wants to move on and we wish her the best of luck for that! Your time with the Witches will never be forgotten! For us as a band, it is important now to look into the new challenges and the new record — the show must go on!”, complementing her thoughts by saying that “we are super thrilled that we have found Laura so quick over our Dutch connection Sonia. We know it is impossible to replace a great voice in exact the same way; that is why Laura is the perfect choice for us. She will bring in her own strength and personality into the Witches! We will not change the identity of the band; we will continue playing the music we love! Laura is an experienced and crisp vocalist with a big range and a crazy enough personality to be one of us! Please give her a warm welcome — she has already won many metalhearts at our first show with her at the Sweden Rock Festival! We will continue to spread the magic of the witches — thanks for all the support over the years!”

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Regarding the fact that the band has become more international with the addition of Laura to their lineup, the second Dutchwoman in the band, Romana said that the collaboration between them is quite dynamic, with the Dutch girls flying to Switzerland over the weekend for rehearsals and concerts, while the rest of the time everyone practices their music from home. She also mentioned in one of her interviews that her main goal when she started Burning Witches was to have fun with the band, not because of success itself, complementing by saying that if one day that pleasure of playing with Burning Witches is over, then the band will also be over. In addition, when asked about how she keeps the band as independent and feminine as possible even with the influences of Damir and Schmier, she said that their help is based on their experience, something the girls from Burning Witches don’t have enough yet, and that Damir’s support was crucial to make everything happen, always keeping in mind the band was going to be (and will always be) an all-female metal band.

Romana’s list of idols and influences can easily be felt in the music by Burning Witches, with her favorite styles ranging from Heavy, Thrash, Death and Black Metal to Hard Rock and even Progressive Rock. According to Romana herself, the bands that have influenced her the most (and the entire band, of course) are Judas Priest, Iron Maiden, Manowar, Saxon, Accept, Dio and several other renowned acts from the NWOBHM. Also, in regards to her equipment, Romana has always played Charvel and Jackson USA guitars, since the beginning, saying those are the best ones in her opinion, and although she’s endorsed also by Fender (apart from Charvel and Jackson, of course) she doesn’t use it when playing live just because she has so many instruments of the other two manufacturers. And before I forget, did you know she also plays classical guitar? Our dauntless metalhead is not only a shredder, but as you can see she’s also a woman who adds a touch of finesse to her guitar lines.

When questioned about the differences and disparities between men and women not only in Heavy Metal, but in music in general, Romana said that it might look easier to be an all-female group at first, attracting a lot of attention form the media and the fans (especially when all band members are beautiful like the ladies from Burning Witches), but it only gets harder and harder as time goes by due to the systemic sexism found everywhere, complementing by saying that many people will see them as just “pretty faces” and think that it’s a man who’s doing all the job in the background. Romana also said that one of the very positive effects of her all-female band is serving as the inspiration for other women to attend their concerts and start their lives in metal, which in my opinion is indeed an amazing change to a music genre mostly dominated by men, whereas the more sexist metal fans ended up reacting very negatively to their music. Who on earth wouldn’t enjoy watching five talented women kicking some serious ass on stage, playing old school metal music? You have to be really stupid, and not just sexist, to think the Burning Witches are not a great metal band.

Anyway, as aforementioned, Romana is married to Damir Eskić, guitarist for Destruction and Gomorra (which was previously called Gonoreas), and it was actually during a Gonoreas’ concert that the couple met, with Damir having a huge influence on Romana’s playing style as he was the one who taught her a lot about the instrument (albeit she already knew how to play it from her school years). On a side note, Romana said she was impressed by Miriam Zehnder, who played the rhythm guitar at Gonoreas at that time, also saying her stage presence fascinated her a lot, showing how connected Burning Witches and Gomorra are not only because of Romana and Damir. In addition to that, Romana said her relationship with Damir is quite healthy, dynamic and fun, with Damir being for example the music collector while she’s more interested in clothes, and so on. Damir considers himself the coach, the moral preacher and the main supporter of the Burning Witches, keeping the girls happy and motivating them even in difficult situations, all confirmed by Romana who also said Damir also makes sure he gives them a motivating speech before every concert, getting them ready to rock on stage.

Both Romana and Damir seem to be extremely busy professionals, and when asked about how they manage all their duties and their relationship, including their music lessons as both are teachers at different music schools (Romana works at three different schools while Damir works at two schools and at the conservatory in Winterthur), she said although they don’t actually have time for anything else, they still manage to have a normal life as a couple, as all those things have already become a part of their everyday life. Furthermore, the couple might not have real rings, but the dates tattooed on their fingers already say it all, showing a lot of mutual respect and admiration between them, with Romana saying that although they’ve already been together for over a decade seeing each other pretty much daily, they still miss each other when they’re on tour in different parts of the world, mentioning for example how difficult it was during the two week Damir was away with Destruction this year. She wasn’t really complaining about that because she understands how hard it is to be part of a band that tours a lot and how lucky both are for being in successful bands, but let’s face it, it’s indeed tough to be away from your loved one no matter what, even if it’s in the name of our good old Heavy Metal.

Romana Kalkuhl’s Official Facebook page
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Burning Witches’ Official Facebook page
Burning Witches’ Official Instagram
Burning Witches’ Official Twitter
Burning Witches’ Official YouTube channel

Album Review – Prion / Aberrant Calamity (2019)

Erupting from the warped heart of chaos, here comes a roaring Argentinian Death Metal horde armed with their brand new and extremely brutal album.

Erupting from the warped heart of chaos, here comes a roaring, screaming and slithering mass of nightmares named Prion, a Death Metal horde formed in the distant year of 1994 in the city of Buenos Aires, the capital of the always vibrant Argentina, tearing down the doors which guard your sanity, and letting loose every childhood fear kept locked away in darkness and drown your dreams in terror. Four years after the release of the excellent album Uncertain Process, from 2015, Prion are back even more enraged and vile than before, unleashing upon our damned souls their brand new, rip-roaring full-length album Aberrant Calamity, a lesson in sheer brutality highly recommended for diehard fans of Immolation, Krisiun, Hate Eternal and Morbid Angel.

Comprised of Gregorio Kochian on vocals and guitar, Walter Barrionuevo on bass and Flavio Coscarella on drums, Prion take no prisoners in their quest for old school Death Metal, adding absolutely zero artificial elements to their crushing sonority. Featuring a phantasmagorical and creepy cover art by Italian artist Marco Hasmann (Comatose Music), Aberrant Calamity is a precise and thunderous album of classic Death Metal where all three band members are in absolute fire and in total sync from start to finish, putting a huge smile on the faces of not only the fans of the band, but also to newcomers to the world of Prion who love when a band transforms their instruments into weapons of total annihilation.

It’s quite impressive how crisp, vibrant and raw the trio sounds from the very first second in the opening track Fictitious Form of Stability, with Flavio beginning his onrush of blast and furious beats à la Krisiun while Gregorio is a beast both with his demented riffs and his infernal growls; and as demolishing and intricate as the opening track, Irreversible Ways brings some Brutal Death Metal for the masses, with poetry and violence walking hand in hand in its lyrics (“So much real the time proceeds / without ask. Everything born and die, / we are not exempt from that. / Accelerating the natural course of the things. / Life disorders! / The malformed system now is out of control, / till our non existence.”). Following such smashing start, the rumbling bass punches by Walter will hammer your head mercilessly in I Remembered to Breathe, a sonic devastation that lives up to the legacy of old school Death Metal (and don’t forget to check their playthrough version HERE).

Apparently Flavio never gets tired of smashing his drums like a maniac, which is the case in Unable to Discern, an imposing Death Metal tune that feels at times like a “Death Metal Opera” (if that exists, of course), where Gregorio keeps vociferating rabidly and deeply in a true lesson in extreme music by this evil triumvirate from Argentina. Then get ready to slam into the circle pit to an avalanche of violent and technical sounds in Over the Asphalt of a New Era, with Gregorio and Walter extracting thunderous lines from their stringed weapons and, therefore, generating some unstoppable action for our avid ears and bodies. As you might have already noticed, there’s no time to breathe in Aberrant Calamity, with the dark, headbanging massacre entitled I’m Jonah, Sacrifice Me, led by Gregorio’s sharp riffs (and who also screeches like a demonic entity, by the way) sounding inspired by the greatest of the genre like Morbid Angel, Death and especially Prion’s neighbors Krisiun; whereas Pathological Self Destruction starts as obscure as possible, suddenly exploding into vile and infernal Death Metal where Flavio is once again precise and berserk on drums, generating a Stygian atmosphere perfect for Gregorio’s deep roars.

Are you tired already? Because there’s still more pulverizing Death Metal sounds made in Argentina for our total delight starting with Observed Relativity, showcasing a demented performance by Flavio on drums supported by Walter’s metallic bass, recommended for crushing your damned skull into the circle pit. The Hesse Paradox is another solid and demented display of extreme music brought forth by the trio, spearheaded by the scorching riffs by Gregorio while Walter and Flavio show no mercy for their instruments, sounding visceral and disturbing just the way we like it. And closing the album on a demolishing note to the detailed and potent beats by Flavio we have Slow Down, a song about our society’s cult of rush (“We live in the age of speed. / We strain to be more efficient, / to cram more into each minute, / each hour, each day of the existence.”) that will leave countless bodies on the floor after all is said and done.

If I were you, and especially if you’re an admirer of the pulverizing sounds of old school Death Metal, I would definitely take a good listen at Aberrant Calamity in full on YouTube or on Spotify, follow the band on Facebook, subscribe to their YouTube channel, and buy a copy of this fantastic album of Argentinian Death Metal from the band’s own BandCamp page or from Comatose Music’s BandCamp or webstore, as well as from Apple Music, Amazon or Discogs. There’s a very good reason why Prion have been proudly carrying the flag of classic Death Metal high for decades already, and that’s simply because those talented and obstinate Argentinian musicians breathe and live Death Metal, with Aberrant Calamity representing their boiling blood flowing through their metal hearts.

Best moments of the album: Irreversible Ways, Unable to Discern and Pathological Self Destruction.

Worst moments of the album: None.

Released in 2019 Comatose Music

Track listing
1. Fictitious Form of Stability 4:33
2. Irreversible Ways 4:33
3. I Remembered to Breathe 5:12
4. Unable to Discern 4:36
5. Over the Asphalt of a New Era 4:09
6. I’m Jonah, Sacrifice Me 4:47
7. Pathological Self Destruction 4:28
8. Observed Relativity 5:10
9. The Hesse Paradox 4:33
10. Slow Down 4:40

Band members
Gregorio Kochian – vocals, guitars
Walter Barrionuevo – bass
Flavio Coscarella – drums

Album Review – Target / Deep Water Flames (2019)

Let’s all dive into the incendiary deep waters of Technical and Progressive Death Metal ruled by one of the most talented and innovative names of the South American metal scene.

Ladies and gentlemen, get ready to be absolutely stunned by the music crafted by four extremely talented guys hailing from Santiago, the beautiful capital of Chile, who seem to have mastered the art of blending sheer aggression and tons of progressiveness infused with atmospheric and melancholic passages. I’m talking about a Technical/Progressive Death Metal four-piece unity that goes by the name of Target, who released earlier this year their sophomore full-length opus, the amazing Deep Water Flames, one of the best metal albums of 2019 so far without a shadow of a doubt, and I’m sure you’ll agree with that after listening to such imposing and dense album of extreme music.

Formed in the year of 2002, the band now comprised of lead singer Andrés Piña, guitarist Luis Soto, bassist Rodrigo Castro and drummer Rodrigo Arias put on a lot of hard work, passion for heavy music and talent into the making of Deep Water Flames. Recorded and mixed in Santiago by Erick Martínez at Orange Studio, mastered in Sweden by Jens Bogren at Fascination Street Recording Studios, and featuring dark and flammable artwork, design and graphics by Dehn Sora, from Paris, France, Deep Water Flames sounds and feels like a tribute to all things Progressive and Death Metal, captivating all your senses from its first notes until its climatic grand finale, therefore positioning Target as one of the best and most innovative names of the underground scene in South America.

The intro Immerse is absolutely eerie and atmospheric from the very first second, reaching deep inside your soul and warming up your mind for the bold and crushing Inverted Gloaming, featuring Juan Escobar (Aphonic Threnody, AstorVoltaires, Tetractys, Mar de Grises) on vocals. Sounding utterly wicked and experimental, this excellent tune is led by Rodrigo’s insane beats and fills, while Andrés screams in a deranged and visceral way, resulting in a lecture in contemporary Progressive Death Metal. Then once again offering madness in the form of music, the band brings forth No Solace Arises, where Luis is on fire with his razor-edged strings, or in other words, this is a neck-breaking tune where the band’s “Rodrigos” shake the foundations of the earth with their beats and bass punches, making it feel like we’re listening to three or four songs all at once.

As obscure and atmospheric as its predecessors, Oceangrave is a flawless fusion of intricacy and rage, sounding as if Lamb of god went full progressive, showcasing ominous passages blended with Luis’ evil guitar lines and Rodrigo Castro’s damned, thunderous bass roars; followed by Surge Drift Motion, which begins in full force with both Luis and Rodrigo Castro shredding their strings mercilessly. Put differently, it’s a heavier-than-hell version of classic Progressive Metal spiced up by Andrés’ roars, with the piercing guitar solos by the band’s stringed duo being the icing on the cake. Submerged is a futuristic and melancholic instrumental bridge that will mesmerize you and prepare you for the pulverizing Drowned in an Everlasting Mantra, starting in a purely experimental mode before Rodrigo Arias begins exterminating his drums beautifully. Furthermore, sheer violence emanates from every riff and beat, with the deep, bestial growls by Andrés seeming inspired by Deathcore while the instrumental pieces remind me of the gripping music by bands like Gojira and Opeth.

Target Deep Water Flames Digipak

The following song, entitled Blackwaters, couldn’t have started in a more demented way, with its eccentric notes morphing into another brutal feast of progressive sounds where Rodrigo Castro’s bass lines are more imposing than ever. Hence, it’s highly recommended for either slamming into the pit or simply witnessing the band playing it to perfection on stage; and get ready for over nine minutes of the most devastating and intricate form of Progressive Death Metal you can think of in Random Waves, featuring Jeronimo Ruiz (Entrefuego), who brings insanity to the music with his vocals, remaining completely wicked, vile and cinematic until the very end. And lastly, the band offers us the serene outro Emerge, where its piano notes and background elements will embrace you and make you feel comfortable in darkness.

You should definitely take a very good and detailed listen at this magnificent album of Technical and Progressive Death Metal made in Chile on YouTube and on Spotify, and after being hypnotized by Target’s heavy and complex sounds you can purchase Deep Water Flames directly from the band’s BandCamp page, from the Australis Records’ BandCamp page, from Apple Music, from Amazon or from CD Baby. Furthermore, if I were you I would go for the digipak version of the album as it’s simply fantastic. I got it from Australis Records, and let me tell you those guys did a beautiful job producing the physical CD format of such distinct album. Also, don’t forget to follow Target on Facebook and to subscribe to their YouTube channel, and let your body and mind dive into the incendiary deep waters of progressive and heavy music ruled by those extremely talented Chilean musicians.

Best moments of the album: Inverted Gloaming, Oceangrave and Drowned in an Everlasting Mantra.

Worst moments of the album: None.

Released in 2019 Australis Records

Track listing
1. Immerse 2:15
2. Inverted Gloaming 6:11
3. No Solace Arises 5:28
4. Oceangrave 5:21
5. Surge Drift Motion 5:42
6. Submerged 2:14
7. Drowned in an Everlasting Mantra 5:24
8. Blackwaters 6:31
9. Random Waves 9:13
10. Emerge 3:59

Band members
Andrés Piña – vocals
Luis Soto – guitars
Rodrigo Castro – bass
Rodrigo Arias – drums

Guest musicians
Jeronimo Ruiz – vocals on “Random Waves”
Juan Escobar – vocals & instrumental arrangements on “Immerse”, “Inverted Gloaming” and “Emerge”

Album Review – Exuviated / Déliquescence EP (2019)

Get ready to be smashed by 26 minutes of first-class Death Metal brought forth by a talented five-piece act hailing from “Hellgium”.

Forged in the fires of Marche-en-Famenne, a Walloon municipality located in the Belgian province of Luxembourg, in the year of 2009, when they released their debut EP entitled An Era’s Condemned, the unstoppable Death Metal squad comprised of Jean-Philippe Sonnet on vocals, Cédric Grandhenry and Renaut Van Oeyen on the guitars, Pierre Pish Minet on bass and Ahephaim on drums, collectively known as Exuviated, are ready to smash our heads once again with the ruthless music from their brand new EP Déliquescence. Featuring a beyond obscure artwork by the band’s own vocalist Jean-Philippe Sonnet (Threadbare Artwork), Déliquescence not only cements the name of the band in the underground extreme music scene, showing why they’ve already shared the stage with several renowned acts like Six Feet Under, Dark Tranquility, Suffocation and Cattle Decapitation (not to mention their concert at the always insane Wacken Open Air Festival), but it also paves a promising path for the band in the future, all in the name of our good old Death Metal.

Get ready for a heavy and demonic feast of Death Metal made in Belgium (or “Hellgium” as the band likes to call it) in the opening track Rupture, with Cédric and Renaut initiating the devastation with their flammable guitars while Jean-Philippe growls in a true Unleashed-inspired style before a somber break brings fear to our hearts, exploding once again into visceral extreme music until we’re treated to the instrumental piece Trouble, showcasing atmospheric guitar lines intertwined with heavier riffs and tribal beats. And this grim ambience sets the tone for the berserk Errance, where Jean-Philippe gnarls and shrieks demonically while Ahephaim sounds like a stone crusher on drums. In other words, this is ass-kicking Death Metal with a modern twist, offering over seven minutes of intricate and devilish sounds, ethereal passages and sheer violence and rage.

The next track, entitled Absence, is a more cinematic instrumental tune where the band seems like in a musical trance, and with Cédric and Renaut, together with Pierre, generating a vile atmosphere with their stringed weapons perfect for the absolute destruction that follows in Abîme, a classic Death Metal extravaganza infused with several modern extreme styles such as Deathcore and Grindcore, feeling and sounding dense throughout its entirety, with highlights to the amazing job done by the skillful Ahephaim with his brutality and refined technique on drums. Furthermore, it’s impressive how Exuviated are capable of composing Death Metal songs with over six minutes each and never sound boring or repetitive, proving how talented those Belgian metallers are.

In a nutshell, Déliquescence, which is available in full on Spotify and on YouTube, will certainly please all fans of both classic and contemporary Death Metal, leaving us all eager for more of Exuviated’s music in a not-so-distant future. Hence, let’s show our utmost support to the band by following them on Facebook, by subscribing to their YouTube channel, and mainly by purchasing a copy of their brand new incendiary EP from BandCamp, from Apple Music or from Amazon. And may Exuviated keep turning Belgium into “Hellgium” for many years to come, filling our ears with the visceral and violent sounds of our beloved Death Metal.

Best moments of the album: Errance.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Rupture 7:33
2. Trouble (Instrumental) 2:21
3. Errance 7:09
4. Absence (Instrumental) 2:58
5. Abîme 6:27

Band members
Jean-Philippe Sonnet – vocals
Cédric Grandhenry – guitars
Renaut Van Oeyen – guitars
Pierre Pish Minet – bass
Ahephaim – drums

Album Review – The Prophet / Essence (2019)

A vibrant and demolishing fusion of classic Black and Death Metal with contemporary Melodic Death Metal by a Russian band that’s been on an exciting rise since their inception.

It’s time to return to Siberia, Russia, more specifically to the city of Tomsk, for another round of violence, speed and rage in the form of the Melodic Death and Black Metal blasted by a very talented group of musicians collectively known as The Prophet. After releasing the full-length albums Sunrise (2011), Across the Sphere (2013) and Dying (2015), which by the way I had the pleasure of reviewing here at The Headbanging Moose when it was released, as well as the EP’s Chronos (2013) and Another Damned World (2016), the band comprised of Theodor on bass and vocals, Doctor on the guitar and backing vocals, and Raziel on drums (also featuring now Deathbringer on the guitar) returns now in 2019 with another amazing opus, entitled Essence. Recorded, mixed and mastered at Project Studio Infernal Records, in Tomsk, and featuring a grim artwork by Mark Erskine, from Erskine Designs, Essence will undoubtedly please all fans of both old school Death Metal and contemporary Melodic Death Metal, proving once again why the band is on a constant and exciting rise since their inception in 2010.

Ethereal sounds permeate the air in the beautiful and melancholic intro Essence before the trio begins hammering our minds and hearts in From the Endless Vortex, a brutal Melodic Death Metal tune infused with classic Death Metal elements, with Raziel crushing his drums while Theodor growls and roars like a beast, kicking off the album on a sulfurous note. Then the talented Doctor shreds his chords manically, igniting the also frantic and pulverizing Defeated by the Demons, even more aggressive than its predecessor and showcasing deep and demented growls mixed with unstoppable blast beats and low-tuned bass jabs; and there’s no sign of the band slowing down, as Emerald Eyes is another great song for banging your head vigorously, presenting a solid instrumental with highlights to the perfect sync between Doctor and Raziel.

A lot more introspective and dark, Blackword sounds closer to traditional Swedish Melodic Death Metal, spearheaded by Doctor’s razor-edged riffs while Theodor exhales anger from his harsh gnarls, ending with a smooth piano that builds a classy connection with the instrumental bridge Dreamside Areas, a touch of delicacy added amidst all the havoc blasted by the trio, soothing our souls and preparing our minds for World of Pain, an obscure and absolutely visceral display of Death Metal by The Prophet. Featuring absolutely no shenanigans nor any artificial elements, we’re treated to pure old school Death Metal flowing from all instruments into our avid ears, with the bass lines by Theodor sounding truly violent and metallic, whereas Flying is another straightforward composition that keeps Essence at a very good level of quality and stamina (albeit not as exciting as the rest of the album), with its background orchestral elements bringing an extra dosage of eccentricity to the music.

Back to a full demolishing mode, Time is highly recommended for slamming like an animal into the circle pit while Theodor’s bass and Raziel’s drums smash your senses mercilessly, flowing into an inspiring acoustic finale before another instrumental bridge titled Grand Deliriozo Part I (Imago) brings more peace to our hearts to the sound of stylish piano notes, enfolding us all until The Prophet begins firing their most ambitious and boldest creation to date, the somber and heavy-as-hell In the Dying Sunset. This is undoubtedly an excellent option for breaking your neck headbanging, with all band members delivering sheer aggression from their respective weapons, in special Theodor with his deep guttural roars, putting a dark and at the same time gentle ending to the album.

As I know my simple words are not enough to actually describe the strength and heaviness of the music by The Prophet, I suggest you take a good listen at their new album Essence in full on on YouTube and on Spotify, and in case you’re a diehard fan of this more aggressive version of Swedish Melodic Death Metal you should definitely pay The Prophet a visit on Facebook and on VKontakte, and subscribe to their YouTube channel. Hence, you can purchase Essence from the Soundage Productions’ webstore, from Apple Music, from Google Play, from Amazon or from Discogs. Russian Melodic Death Metal has never been so good, and we have to thank the guys from The Prophet not only for leading that trend, but also for showing a healthy and interesting evolution in their sonority just the way we always like it in heavy music.

Best moments of the album: From the Endless Vortex, Defeated by the Demons and World of Pain.

Worst moments of the album: Flying.

Released in 2019 Soundage Productions

Track listing
1. Essence (Intro) 1:22
2. From the Endless Vortex 3:45
3. Defeated by the Demons 2:49
4. Emerald Eyes 3:44
5. Blackword 4:17
6. Dreamside Areas 1:56
7. World of Pain 2:50
8. Flying 3:23
9. Time 3:32
10. Grand Deliriozo Part I (Imago) 2:06
11. In the Dying Sunset 7:44

Band members
Theodor – bass, vocals
Doctor – guitar, backing vocals
Raziel – drums

Album Review – Funeral Hearse / In Devotion of… (2019)

A fantastic album of 80’s Hardcore and Crust Punk-infused Black Metal by a one-man army from Singapore, paying homage to the terrifying Aghori sadhus.

Hailing from Kovan, a neighborhood located within the town of Hougang, in the northeast region of Singapore, Black/Death Metal one-man army Funeral Hearse plays a diverse mix of 80’s Hardcore/Crust Punk-infused Black Metal with themes ranging from religion, politics, nuclear annihilation and society. Formed in 2016 as a two-piece outfit comprised of multi-instrumentalist Azrael (also known as Imran Manaff) and vocalist and lyricist Deadwax, who decided to leave the band in early 2018 leaving Azrael as the sole member, Funeral Hearse returns in full force with its first full-length album, entitled In Devotion of…, fresh off its 2017 successful double EP Heralding the Death Winds and The Fist, The Spit, The Sword, paying homage to the Aghori sadhus, a sect of Hinduism with left-hand path rituals, practices and philosophy towards life and death, bringing their attributes to life through a series of musical onslaught accompanied by sounds of nature interwoven to create a surreal journey.

Written, recorded and produced by Azrael himself, and featuring a dark, straightforward artwork by Czech artist Vojtech Doubek (Moonroot), In Devotion of… follows a similar pattern as the band’s 2017 releases by exploring a recurring theme of religion, this time focusing on the aforementioned Aghori sadhus. “The Aghori Sadhus theme was actually suggested by Deadwax, who was intrigued by this religious sect. He brought the idea to me and after reading more about them we became captivated and enthralled by these Aghoris who would display their devotion through indulging in left-hand practices such as residing on cremation grounds, acts of cannibalism and the list goes on,” explains Azrael on the theme of the album. Musically speaking, In Devotion of… is an ode to all things extreme music, inspired by iconic names such as Marduk, Immortal, Celtic Frost and Darkthrone, among others, leaving you completely disoriented after its infernal 37 minutes of music are over.

A ritualistic, tribal intro morphs into pulverizing sounds and tones in the opening track Into the Eye of the Serpent, where Azrael begins roaring like a demonic entity while at the same time he shreds his guitar chords in a dark and vile manner, not to mention how organic the programmed drums sound, with chaos reigning supreme from start to finish. And a classic Black Metal riffage dictates the rhythm in Burning Embers from a Funeral Pyre, an ominous and dense creation by Azrael that grows in intensity and rage as the music progresses, all enhanced by his visceral growling attack, and with the guitar sounds slashing our ears and minds mercilessly until the song’s cryptic finale; followed by In Worship of the Divine, which already begins at full speed with Azrael smashing his ax in great fashion, adding a touch of Atmospheric Black Metal to his already visceral sound. In summary, this is that type of storm of heavier-than-hell sounds we all love to hear in Extreme Metal.

Then delicate sounds kick off the also demolishing Under the Eclipse of a Pale Moon, where Azrael is on absolute fire delivering aggressive riffs and bass punches inspired by the greatest bands of the genre such as Immortal and Marduk, sounding at times like a dark waltz of extreme music. All that sonic havoc gives place to serene notes in Cleansing a Damned Soul, but that peace doesn’t last long as Azrael fires sheer violence and rage from his guitar lines and screams, with the music remaining obscure and sharp until the very end, proving our talented lone ranger loves extreme music from the bottom of his (blackened) heart. And last but not least, simply inhale and exhale deeply for a few seconds before Alternate State of Consciousness puts a ferocious ending to the album, with its old school Black Metal-inspired riffs being flawlessly accompanied by gruesome Death Metal vocal lines, flowing like an arrow in flames through the night, and with an acoustic passage giving us a chance to breathe before Azrael’s final onrush of crushing Black Metal.

I’m a huge fan of one-man bands, not only because it’s impressive how some people are capable of generating a full-bodied sonority all by themselves, especially in the Black Metal scene, but also because those lone wolves (and lone she-wolves, of course) are usually extremely creative when composing their music and writing their lyrics. Who else on earth would be able to bring forth an album of extreme music based on the practices and uniqueness of the Aghori sadhus if not a black metaller like Azrael? Having said that, please don’t forget to show your support to such talented musician by following Funeral Hearse on Facebook and, above all, by purchasing In Devotion of… from the band’s own BandCamp page or from the Spy Satellite Records’ BandCamp page, as well as from iTunes or from Amazon. It’s a world of cannibalism, religion, devotion, life and death in the form of top-of-the-line Black Metal. What else can you ask for in underground extreme music?

Best moments of the album: Burning Embers from a Funeral Pyre and Under the Eclipse of a Pale Moon.

Worst moments of the album: None.

Released in 2019 Spy Satellite Records

Track listing
1. Into the Eye of the Serpent 6:46
2. Burning Embers from a Funeral Pyre 7:01
3. In Worship of the Divine 4:39
4. Under the Eclipse of a Pale Moon 7:08
5. Cleansing a Damned Soul 4:57
6. Alternate State of Consciousness 6:20

Band members
Azrael – vocals, guitars, bass, drum programming

Album Review – Uncured / Epidemic (2019)

Witness the evolution of the music crafted by the Cox Brothers with their pulverizing new album of Progressive Death and Groove Metal.

Founded in New York City by brothers Rex Cox and Zak Cox, who share the band’s vocal and guitar duties, American Progressive Death/Groove Metal unity Uncured has been making a name for themselves since their inception in 2016 when they released their debut EP Spontaneous Generation, followed by their first full-length opus Medusa, released in 2017, which attracted international attention for its combination of technical musicianship, brutal riffs and melodic interludes. After witnessing Uncured opening for renowned acts like Soulfly and the almighty Cradle of Filth last year while promoting their 2017 album Medusa, I’m happy to say those guys stepped up their game considerably with their brand new album, the powerful Epidemic, proving that although they might still be young faces in the scene, they already play and sound like veterans.

Recorded, mixed and mastered by their father Mitch Cox at Conclave Studios, in New York, Epidemic has everything a fan of modern and technical extreme music can ask for, with its crystal clear production enhancing the impact of each song thoroughly played by the aforementioned Zak and Rex on vocals, guitars and bass (as their current bassist Spencer Metela only joined the band after the recording of the album) and Liam Manley on drums.​ The only thing I don’t understand is why they left the excellent 2018 single Terminal out of the album, but that’s just me. And besides, who said Epidemic needed that song to be brutal? I’m pretty sure the boys know what they’re doing, and based on the feedback provided by their fans so far they’re undoubtedly on the right path to stardom with Epidemic.

The opening track Desecration is fast, furious and heavy from the very first second, with the Cox Brothers showcasing all their refined skills with their sick riffs and solos while Liam smashes his drums beautifully in a powerful display of modern Progressive Death Metal, sounding at the same time very technical and visceral. If that was not crazy enough for you, in Choke they take their progressiveness to the next level, and let me say both Zak and Rex are growling and screaming a lot better than in their previous releases, adding tons of rage and insanity to the song’s lyrics (“Tear your throat out / Reject everything from within / This is imperative, all will go black / The problem lies in the silence / There will be nothing that remains, only desolation / As our civilization reverts to dust / This will surely desecrate honor”), whereas in Conquistador the band drinks from the same fountain as modern-day bands like Trivium, delivering flammable riffs and intricate beats and also exploring new grounds by adding acoustic passages and distinct nuances from other metal and even non-metal genres to their music.

Eradicate is another feast of incendiary riffs and solos by Uncured highly recommended for slamming into the pit during their live performances, blending Melodic Death Metal with Groove Metal and an endless amount of progressiveness; followed by Death Valley, where after a serene intro the band comes crushing once again with their groovy and heavy-as-hell sounds, sounding perfect for cracking your neck headbanging and remaining as complex and vibrant as it can be until the very end. And in Resist The Infection all instruments sound absolutely pulverizing and metallic, with Zak and Rex screaming and roaring together like maniacs while Liam keeps the rhythm flowing smoothly with his beats. Put differently, although it might be the shortest of all songs, it still brings tons of stamina, feeling and rage to our avid ears.

The last batch of songs from Epidemic will crush you mercilessly, starting with Sacrifice, a classic Groove Metal tune infused with Death Metal nuances where its guitars and bass penetrate deep inside our minds, making our heads tremble. Furthermore, it feels like a hybrid of the music by Meshuggah, Tool, Dream Theater and other iconic bands, showing once again how talented those guys are. Albeit not as exciting as its predecessors, Stone Fortress is still a very good song, overflowing progressiveness, heaviness and groove, not to mention the usual crisp and piercing guitar lines by the band’s frontmen, while in Blinded By Demise the level of aggressiveness goes through the roof in another metal feast full of breaks and variations where all three band members display their refined skills in great fashion. And last but not least, after a somber, almost tribal intro Uncured attack us all one last time with more of their Progressive Death Metal in Nothing But Disease, with the music alternating between dark passages and extreme rage like the soundtrack to a psychological horror movie, ending in a creepy and captivating way.

There’s no excuse to not listen to Epidemic, as the album is available in full on YouTube, on Spotify and on the band’s official website, and after taking a good listen at it you can purchase your copy from their own BandCamp page or from their webstore in CD or vinyl format, as well as from iTunes or from Amazon. In summary, the Cox Brothers, together with Liam and Spencer, are definitely going places based on the high quality of the music found in Epidemic, presenting a huge step forward in terms of creativity, feeling and overall production after the also good Medusa. Having said that, don’t forget to follow them on Facebook and to subscribe to their YouTube channel, as we might be in front of the next big name from the modern extreme music scene with a long (and prosperous) way to go yet in their promising career.

Best moments of the album: Desecration, Eradicate and Resist The Infection.

Worst moments of the album: Stone Fortress.

Released in 2019 Seek & Strike

Track listing
1. Desecration 4:12
2. Choke 4:19
3. Conquistador 4:45
4. Eradicate 5:07
5. Death Valley 4:47
6. Resist The Infection 2:51
7. Sacrifice 4:04
8. Stone Fortress 4:07
9. Blinded By Demise 4:45
10. Nothing But Disease 4:26

Band members
Zak Cox – vocals, guitars, bass
Rex Cox – vocals, guitars, bass
Liam Manley – drums

Guest musician
Spencer Metala – bass (live)

Album Review – Hiss From The Moat / The Harrier (2019)

A first-class album of Black and Death Metal made in Italy, inspired by the true harriers of our society such as politics, religion and dictatorship.

In case you’re not familiar with the brutality and rage of Italian Black/Death Metal horde Hiss From The Moat, the band was founded in 2006 by drummer James Payne (Vital Remains, Hour of Penance) with two Italian friends, bassist Carlo Cremascoli and guitarist Giacomo Poli, delivering a stream of very interesting releases since their inception, starting with their debut EP The Carved Flesh Message, in 2009, followed by their first full-length album Misanthropy, in 2013, eventually adding vocalist and guitarist Massimilano Cirelli to their lineup, and now their sophomore full-length opus The Harrier, in 2019. Regarding the album’s title, Mr. Payne says, “The Harrier refers to he who devastates. It’s not intended as someone whom we created to destroy, but rather to indicate everything that has devastated our history, like politics, religion and dictatorship etc. That’s why we used extracts of religious and political scripts in the lyrics.”

Based in the cities of Los Angeles (United States), London (England) and Milan (Italy), this multinational entity has recently issued a series of videos through their YouTube channel showing the band working on the recording of The Harrier in the city of Milan, therefore demonstrating their passion for what they do and a desire to be as honest and transparent as possible with their fans. Furthermore, regarding the album’s artwork designed by Stefano Bonora, Mr. Payne said that “the artwork of the album is defined by three elements: a head of a statue that represents the blind and apathetic attitude of mankind; the mechanical mask on top of the head that represents the institutions that oppress people (similar to the belt on the statue’s mouth and the crosses as blinders); and the alchemical circles that have the meaning of improving mankind through the mind and the body, to promote self-improvement without looking for external help,” just to give you an idea of how obscure and austere their music is.

The cryptic and serene intro The Badial Despondency suddenly explodes into the bestial title-track The Harrier, where the quartet begins pulverizing everything and everyone that crosses their path. Furthermore, James is unstoppable on drums, while Massimiliano roars the song’s dark lyrics manically from start to finish, and brutality and rage keep flowing from all instruments in I Will Rise, a beyond electrifying Melodic Black Metal tune where the guitars by both Massimiliano and Giacomo sound infernal, not to mention how fast, precise and ruthless James is on drums. Then some sort of “dark poem” is recited by Massimiliano before all hell breaks loose in The Passage To Hell, bringing not even a single second of peace for us to breathe, only sheer devastation in the form of classic Black Metal, with James once again hammering our heads with his hellish and intricate drumming.

Slaves To War is just as demonic as its predecessor, showcasing sick guitar riffs, endless violence and a sulfurous atmosphere only modern Black Metal can offer you, keeping the album on fire before the band comes ripping our hearts out with the magnificent Sine Animvs, a lecture in modern-day Melodic Black Metal infused with Death Metal nuances, close to the Blackened Death Metal blasted by the iconic Behemoth. Hence, it’s absolutely impossible to stand still to the incendiary riffs by the band’s guitar duo. In the interlude titled The Abandonment, acoustic guitars work as the “calm before the storm”, warming up our senses for The Allegory of Upheaval, another straightforward creation by those Italian metallers alternating between very complex and interesting moments and less inspired passages. It’s still a very good song though, proving how powerful the band always sounds.

Then we have another one of my favorite tracks, God Nephasto, and James himself had a few nice words to say about it. “The song is one of the most intense of the album as far as rhythm and atmosphere,” explained our talented drummer. “It has several parts of blast beats and breakdowns that combined with the dark atmosphere of the notes keep the song pretty nervous. This is to support the lyrics that have been taken from parts of the Enuma Elish and the Old Testament that talk about when the Gods mentioned in these scripts, ordered sacrifices in their honor.” Musically speaking, it’s a visceral sonic havoc that will please all fans of the genre, sounding crisp, thunderous and menacing, with highlights to Massimilano’s infernal growls and obviously to James’ demolishing beats. Their second to last Black Metal extravaganza, entitled Unperishing, is just as demonic and violent as the rest of the album, with its classic riffs and beats bringing endless heaviness to the overall musicality, while Carlo not only extracts thunder from his bass, but he also supports Massimiliano’s vociferations flawlessly with his backing vocals. And there’s still time for one final onrush of blackened sounds for our total delight, named The Decay of Lies, less frantic but as heavy as hell, working at times as a marching outro to such vile album. Needless to say, Massimiliano and Giacomo are absolutely demonic with their guitars from start to finish, ending the album on a high and obscure note.

There are several places where you can get your copy of such amazing album of Black and Death Metal, like the band’s own BandCamp page or Big Cartel, the M-Theory Audio’s webstore in regular CD or limited edition vinyl format, the Napalm Records’ webstore, iTunes, Amazon, and so on. Don’t forget to also follow Hiss From The Moat on Facebook, and to worship darkness to the sound of their crushing extreme music, always keeping a very good distance from all types of religion and from politics, the true destroyers of our decaying society. and that’s how you craft first-class extreme music, my friends. Music that not only makes you bang your head and raise your horns, but that above all that also makes you think.

Best moments of the album: I Will Rise, Sine Animvs and God Nephasto.

Worst moments of the album: The Allegory of Upheaval.

Released in 2019 M-Theory Audio

Track listing
1. The Badial Despondency 1:24
2. The Harrier 4:00
3. I Will Rise 3:56
4. The Passage To Hell 3:44
5. Slaves To War 4:35
6. Sine Animvs 3:48
7. The Abandonment (Interlude) 3:26
8. The Allegory of Upheaval 4:33
9. God Nephasto 4:12
10. Unperishing 4:46
11. The Decay of Lies 4:48

Band members
Massimilano Cirelli – vocals, guitar
Giacomo Poli – guitar
Carlo Cremascoli – bass, backing vocals
James Payne – drums