Album Review – Kaos Reign / Epiphany (2018)

This American Groove Metal power trio returns with a brand new album showcasing more of their crushing guitars, gritty vocals and thrash and groove drumming.

Norwalk, Connecticut-based Groove Metal power trio Kaos Reign is here to assault your senses with their unique mix of Death, Doom, Groove And Thrash Metal, drawing influences from early Sepultura, Slayer, Death and Pantera. Formed in 2013 by lead singer and guitarist Bill Klopfer and drummer Chris Anderson, the band has been on a roll since their inception, having already released the full-length albums Embrace the Fire, in 2014, Screaming for Salvation, in 2016, and now in 2018 their brand new opus Epiphany, an album that continues to follow Kaos Reign’s path of crushing guitars, gritty vocals, and thrash and groove drumming, but at the same time showing an evolution in their music.

More refined and dynamic than its predecessors, and featuring a straightforward, dark artwork by the band’s own Bill Klopfer, Epiphany brings a band that’s in absolute sync, with Bill’s vocals sounding versatile while his riffs are memorable and captivating. Bassist Matt Duggan rounds out the sound with the execution of his distinctive bass lines, whereas Chris Anderson’s extreme drumming portrays confidence and style. With its lyrics touching on themes of inner struggle, determination to overcome, and societal issues, encouraging us to proceed with caution and understand the chaos that consumes us, Epiphany will certainly please fans of fast and extreme music who are also searching for gripping background stories that effectively spice up the music being played.

Wicked, dark sounds ignite a belligerent Groove Metal onslaught by Kaos Reign titled Selfish Backstabber, displaying a solid instrumental, endless electricity, and Bill screaming the song’s acid lyrics like there’s no tomorrow (“I watch your actions and learn / You preach your belief, you don’t believe / You taste so sour I yack / The aftertaste, post nasal burning”). Following such sharp start we have a hybrid of Thrash Metal and Hardcore named Dispatch the Threat, where Chris keeps smashing his drums, therefore inspiring us to slam into the pit, with the song’s cleaner vocals sounding like a metal version of Rage Against The Machine’s Zack de la Rocha; and Lethal Injection, bringing more rumbling and groovy sounds blasted by Bill and Matt while Chris continues to add intricacy to the band’s violent music. Put differently, this is an excellent choice for their live concerts and a fantastic addition to the playlist of anyone who loves modern Groove Metal. And the title-track Epiphany presents darker elements in its intro, suddenly morphing into another crushing metal attack and also displaying hints of Southern Metal, with all instruments together generating a hurricane of heavy sounds and tones.

The album loses its grip a little with the not-so-inspired tune The Criminal Inside, despite all aggressiveness showcased by the band and the always rhythmic beats by Chris, but fortunately in Parasite the band gets back on track with their flammable Groove Metal, with highlights to the thrilling guitar lines by Bill and to more of their austere and aggressive words (“Leeching off society / A parasite sucks the blood / Right from / the eye of the storm / The side effects / are visible”). Under the Knife is the most visceral and destructive of all songs, and therefore one of the top moments of the album, with all three band members extracting crushing sounds form their instruments, presenting a great sync between Bill’s riffs and Chris’ drums, not to mention the metallic bass lines by Matt, whereas in Everyone is Offended they slow down their dementia, but still sounding heavier than hell. In a nutshell, this is a mid-tempo, groovy creation by Kaos Reign where Bill keeps sending a not-so-happy message through his demented vocals.

And their slamming party goes on with another melodic and fierce song titled How Do You Sleep at Night?, where Chris doesn’t stop pounding his drums and Bill even brings forth some thrashier riffs the likes of Slayer and Testament. Punish Myself is perfect for headbanging like a maniac, blending the thunderous sounds of Groove Metal with the slashing insanity of Thrash Metal, with Bill smashing his strings mercilessly without forgetting to add harmony to the music; followed by Placebo, a lot less groovy and venturing through Southern Metal grounds, singing about the dangerous market of addictive legal drugs (“I am on a big dose / I feel so comforted and relaxed / Why live life sober? / When you can be prescribed happiness”). However, despite being a relatively good song, it definitely lacks the band’s characteristic speed. And Isolation Chamber, the most somber and wicked of all tracks, closes the album on a high (and obscure) note, even presenting elements from Doom Metal (especially on Chris’ beats and Bill’s vocals).

If you want to show your support to this talented and unrelenting American power trio, you can purchase Epiphany (which by the way is available for a full listen on Spotify) from the band’s own BandCamp page, from CD Baby or from Amazon, but as you already know the world of Kaos Reign is not limited to Epiphany only, which means you can get an overdose of their belligerent music by visiting them on Facebook, on YouTube, on ReverbNation and on SoundCloud. And I believe you might be asking yourself what will be the next step in the evolving path crafted by Kaos Reign, right? Well, let’s hope it doesn’t take too long for us all to have an answer to that and get more of their sharp metal music sooner than expected.

Best moments of the album: Selfish Backstabber, Lethal Injection, Parasite and Under the Knife.

Worst moments of the album: The Criminal Inside and Placebo.

Released in 2018 Independent

Track listing
1. Selfish Backstabber 5:12
2. Dispatch the Threat 4:11
3. Lethal Injection 4:45
4. Epiphany 4:09
5. The Criminal Inside 4:21
6. Parasite 4:54
7. Under the Knife 3:53
8. Everyone is Offended 4:39
9. How Do You Sleep at Night? 4:35
10. Punish Myself 5:26
11. Placebo 4:32
12. Isolation Chamber 4:53

Band members
Bill Klopfer – vocals, guitar
Matt Duggan – bass
Chris Anderson – drums

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Album Review – Suum / Buried Into The Grave (2018)

Enjoy this Stygian and occult album featuring seven tracks of pure gloomy Doom Metal, masterfully delivered by an Italian quartet that has already succumbed to the dark side of music.

Let’s dive deep into the sluggish and obscure realms of old school Doom Metal to the music by a Italian quartet that goes by the name of Summ, formed in 2017 in the Italian capital Rome. Comprised of Mark Wolf on vocals, Painkiller on the guitar, Marcas on bass and Rick on drums, Suum are releasing now in 2018 the full-length album Buried Into The Grave, featuring seven tracks of pure gloomy Doom Metal, bringing to your ears not only a Stygian sound tailored for the doomed, but also cryptic lyrics about darkness, doom and occultism, being highly recommended for fans of Black Sabbath, Danzig, Candlemass, My Dying Bride, Electric Wizard, and all other bands and artists that have beautifully succumbed to the darkest and most lugubrious side of music.

If there’s rain, thunder and wind, you know the music is going to be doomed, which is exactly what happens in the opening track Tower Of Oblivion. Marcas kicks off this damned feast with his low-tuned bass until the rest of the band joins him in darkness, with lead singer Mark Wolf haunting our souls with his Black Sabbath-inspired vocals while Painkiller fires sheer obscurity through his riffs, with all vileness increasing in intensity until its crisp ending. And their Doom Metal mass goes on in Black Mist, led by the steady beats by Rick while the phantasmagoric vocals by Mark and the heavier-than-hell riffs by Painkiller generate a truly somber atmosphere; followed by Buried Into The Grave, which in my humble opinion is the most Stygian of all tracks of the album (hence, it would definitely make Tony Iommi proud). Not only the vocal lines are deep and deranged, but the combined sound of guitar, bass and drums create this gloomy creature that will mercilessly enfold you just like pitch black darkness.

Last Sacrifice is another classic Doom Metal tune spearheaded by the slashing riffage by Painkiller and the slow but intricate beats by Rick, putting you on a trance and inspiring you to crack your neck headbanging, with the music flowing smoothly and darkly until the end. Then bringing the most acid and somber elements from Stoner Metal and Rock we have Seeds Of Decay, an atmospheric and sluggish creation by Suum with highlights to the rumbling sounds extracted by both Painkiller and Marcas from their hellish strings, whereas in the melancholic and introspective instrumental The Woods Are Waiting we face more rain and wind, going on for a bit too long though (albeit nothing that will make you skip it). And finally, rhythmic drums and scorching hot riffs ignite their last breath of old school Doom Metal, the somber extravaganza titled Shadows Haunt The Night, where Painkiller sounds absolutely on fire during the entire song, adding an extra touch of malignancy and obscurity to the final result.

You can succumb to total darkness by listening to Buried Into The Grave in its entirety on YouTube, by visiting Suum’s official Facebook page, and obviously by purchasing such dense and entertaining album from the band’s own BandCamp page, from the Endless Winter webstore, from the Hellas Records webstore, or from Discogs. Those four skillful Italian metallers not only live up to the legacy of traditional Doom Metal, but based on the high-quality of the music found in Buried Into The Grave, they’re also more than ready to carve their names in the history of such distinct music style.

Best moments of the album: Tower Of Oblivion, Buried Into The Grave and Shadows Haunt The Night.

Worst moments of the album: The Woods Are Waiting.

Released in 2018 Endless Winter/Hellas Records

Track listing
1. Tower Of Oblivion 6:25
2. Black Mist 4:40
3. Buried Into The Grave 4:55
4. Last Sacrifice 5:13
5. Seeds Of Decay 5:44
6. The Woods Are Waiting (Instrumental) 3:38
7. Shadows Haunt The Night 4:23

Band members
Mark Wolf – vocals
Painkiller – guitars
Marcas – bass
Rick – drums

Album Review – Ov Shadows / The Darkness Between Stars (2018)

Representing an exploration beyond the sane and mentally sound, this talented Swedish horde is ready to haunt our souls with seven unrelenting tracks of atmospheric and sinister Black Metal.

“Embrace your shadow self – your dark aspects. Don’t hide away. Let those harmless creatures, turn into raging monsters. Let chaos guide your consciousness. You are ov Shadows.”

Those few sentences frame the concept behind Swedish Black Metal horde Ov Shadows, representing an exploration beyond the sane and mentally sound. With their music and lyrics, Ov Shadows acknowledge the duality that divide a persona and the shadow self, continuing further into the dark, a portal into chaos without barriers and rules. And after crossing that portal, you’ll be ready to explore the sinister realms of Atmospheric Black Metal ruled by Ov Shadows in their brand new album, entitled The Darkness Between Stars.

Formed in the city of Gothenburg in 2016, the band comprised of RA (aka Ronny Attergran) on vocals and bass, AF (aka Andreas Frizell) and AA (aka Anders Ahlbäck) on the guitars, and JW (aka Jonas Wickstrand) on drums returns after their 2016 debut EP Monologues with more of their Stygian sound, delivering epic riffs that turn from mournful to triumphant in a way that is stirring and emotionally satisfying. In other words, The Darkness Between Stars has everything that one could possibly want out of a Black Metal album, those being a truly dark atmosphere, an epic feel, the right mix of melody and grimness, and an engaging song structure.

Ominous sounds emerge from the dark chambers of hell until the quartet begins their devilish mass in the title-track The Darkness Between Stars, blasting sheer brutality and blasphemy during its almost 7 minutes of music.  RA sounds like a possessed demon on vocals, while JW delivers the most classic form of blast beats, generating a straightforward musicality recommended for admirers of the genre. In Bellowing Shadows, darkness and rage keep flowing from the band’s instruments in an excellent display of Black Metal, with their evil guitar duo AF and AA cutting our skin with their old school riffage, whereas RA’s gnarls sound and feel even more disturbing. And displaying hints of Doom Metal and Blackened Doom (but still reeking of putrid Black Metal) we have The Hanged Man, where JW continues his pulverizing path while both guitars sound as sulfurous as they can be, all spiced up by a sinister atmospheric passage before all hell breaks loose again.

The acid Disguised As Altruism is another demolishing Black Metal feast by Ov Shadows, with its guitars getting more and more scorching as the music progresses while the overall malignancy is considerably boosted by JW’s unstoppable beats, living up to the legacy of Scandinavian Black Metal. The Ritual of the Natural Flame already begins in full force, with the four members of the band summoning total darkness with their Stygian instruments, in special RA and his high-pitched demonic roars (not to mention the song’s somber and absolutely menacing break). After such beautiful blast of Black Metal, strident riffs and gnarls set the tone in the dense metallic extravaganza named Hordes Abiding the Narrator, with all instruments generating a mesmerizing dark ambience perfect for RA and his vociferations. Lastly, their final onrush of blasphemy and obscurity comes in the form of a 7-minute devastating tune named A Sky In Vain, where AF and AA create a wall of darkness with their riffs while JW switches between classic Black Metal drumming and Doom Metal-inspired beats, flowing into a melancholic and obscure ending.

If you want to take a detailed listen at The Darkness Between Stars, click HERE and enjoy this very cohesive and professional album in its entirety. Also, in order to show your true support to this skillful Swedish horde, simply visit their Facebook page for news, tour dates and other nice-to-know details about the band, and their YouTube channel for more of their unrelenting Black Metal. And of course, purchase The Darkness Between Stars on BandCamp or on Big Cartel, letting the somber music by Ov Shadows penetrate deep inside your mind, blackening your thoughts until there’s no way back.

Best moments of the album: Disguised As Altruism and The Ritual of the Natural Flame.

Worst moments of the album: None.

Released in 2018 Black Market Metal

Track listing
1. The Darkness Between Stars 6:58
2. Bellowing Shadows 5:40
3. The Hanged Man 6:26
4. Disguised As Altruism 5:56
5. The Ritual of the Natural Flame 7:19
6. Hordes Abiding the Narrator 5:58
7. A Sky In Vain 7:42

Band members
RA – vocals, bass
AF – guitars
AA – guitars
JW – drums

Album Review – The Rocket Dolls / DeadHead (2018)

A fresh, contemporary collection of music that combines the best bits of heavy rock, grunge, punk, and pop smart sensibilities, symbolizing a reflection on personal demons and modern day society.

Brighton, England-based Heavy Rock trio The Rocket Dolls are ready to set fire to the scene with their brand new studio album DeadHead, featuring just the right amount of melody with straight up hook laden driven riffs combined with curveballs when you least expect them, being highly recommended for fans of the music by Alice In Chains, Foo Fighters and Kings X, among many other renowned rock bands. Recorded at London’s award winning British Grove Studios (David Gilmour, Razorlight, Mark Knopfler), and featuring a stylish arwork by Sam Hayles at DOSEprod (Earthtone 9, Pitchshifter, Jayce Lewis), DeadHead offers the listener a fresh, contemporary collection of music that combines the best bits of heavy rock, grunge, punk, and pop smart sensibilities, all meticulously put together by the band’s unstoppable trio.

Lead singer and guitarist Nikki Smash had a few words to say about the album art and how it connects to the music. “Sam captured the essence of what our new album is about. It’s a reflection on personal demons and modern day society; the split in the wolf (half animal/half machine) symbolizes the transformation between good to bad and bad to good. It demonstrates not just the struggle of depression and anxiety that inflicts itself upon our society, but also the wolf in motion should be seen as a symbol of hope and the need to fight and overcome what’s wrong in our world.” And you better get ready to rock with this wolf pack hailing from the UK, as they’re not kidding when they say DeadHead is their strongest collection of music to date.

Crushing their instruments from the very first second as if they were the Incredible Hulk of Hard Rock the trio offers us None Of This Is Right, a song about recovering from being ill and being addicted to prescription painkillers presenting a solid instrumental with rumbling bass lines and potent beats, all led by the slashing riffs by Nikki. Then we have She’s Starting Something Now, where Nikki discusses about domestic violence against women and their sweet revenge, showcasing heavier-than-usual riffs and beats (and even with all that heaviness this song can still be played on any radio station), and the title-track DeadHead, narrating Nikki’s battles with depression, drugs and prescription painkillers. Furthermore, although the song does have a darker feel when compared to its predecessors, it’s still very vibrant, with drummer Benji Knopfler showing he’s not only precise with his drums, but he also knows how to properly pound them.

A lot smoother and more melodic, She Said is a radio-friendly composition where Nikki fires some interesting semi-acoustic guitar lines while bassist Joe Constable makes sure the atmosphere remains as dense as possible; whereas The Last Thing On My Mind is an introspective heavy ballad by the trio displaying a great vocal performance by Nikki, while the song’s background orchestral elements bring a sense of melancholy to the overall result. Nikki said that Stop The Dead Men Crying is the hardest song for him to sing and play due to its content and meaning, and the final result couldn’t sound more obscure, including even hints of old school Doom Metal, with his henchmen Joe and Benji providing him a fantastic support with their thunderous instruments. And in Drowning, a somber tune about suicidal thoughts (which explains its gentle but at the same time piercing sonority), you can sense that lancinating feeling flowing from both Nikki’s clean vocals and his enraged screams.

Putting the pedal to the metal The Rocket Dolls fire the thrilling and harmonious The Desperate, inspired by modern-day Punk Rock and led by the rhythmic beats by Benji, while Nikki fires what are probably his best riffs of the whole album. Following that explosive tune, his battle with mental health issues goes on in the also dark and pensive Strain, where Benji shows no mercy for his drum kit by smashing it like there’s no tomorrow (and the same can be said about Joe, who produces an ominous sound with his bass). In Rusty Bones, Nikki once again talks about taking painkillers for his osteoarthritis knee pain, and all the drinking and abusing that can sometimes make everything feel sluggish and slow, with the music being highly inspired by Stoner Rock and Metal, therefore bringing a neck-breaking riff and tons of agony and pain to our minds; and the band’s last blast of fury comes in the form of another thunderous Stoner Metal-like tune titled Trigger, where Joe doesn’t get tired of crushing his strings. It’s a very dense and bold composition, and needless to say a fantastic closing act for such personal album for the band’s talented frontman.

In a nutshell, I believe Nikki more than succeeded in turning all his personal demons and struggles with drug and alcohol abuse into high-quality rock music, pointing to a great direction for The Rocket Dolls wolf pack to keep following with their future albums. If you want to know more about the band and about how music has helped Nikki overcome all his fears and problems, go visit their Facebook page and YouTube channel, and don’t forget to grab your copy of DeadHead from the band’s own Big Cartel page, from iTunes, from Amazon or from Cargo Records. It’s always a pleasure to see how rock and heavy music can help a normal person like Nikki beat such delicate topics like drug and alcohol addiction and abuse, and an album like DeadHead only confirms that while Rock N’ Roll exists, nobody is alone in this world.

Best moments of the album: None Of This Is Right, The Desperate and Trigger.

Worst moments of the album: She Said.

Released in 2018 Independent

Track listing
1 .None Of This Is Right 3:54
2. She’s Starting Something Now 3:35
3. DeadHead 4:35
4. She Said 2:58
5. The Last Thing On My Mind 3:51
6. Stop The Dead Men Crying 4:29
7. Drowning 4:25
8. The Desperate 4:05
9. Strain 4:45
10. Rusty Bones 4:04
11. Trigger 3:43

Band members
Nikki Smash – vocals & guitar
Benji Knopfler – drums & backing vocals
Joe Constable – bass & backing vocals

Album Review – High Reeper / High Reeper (2018)

Reeper, deadly reeper, it’s time to rumble to the flammable fusion of Stoner Rock and Doom Metal by this up-and-coming five-piece act from Philadelphia.

Formed in 2016 in the city of Philadelphia, Pennsylvania’s largest city, in the United States by Zach Thomas on vocals, Pat Daly and Andrew Price on the guitars, Shane Trimble on bass and Napz Mosley on drums, Hard Rock/Doom Metal act High Reeper originally started as a studio band, but it rapidly became apparent that their music was meant to be heard live and loud, making their debut in the Philly stoner rock scene in early 2017 with success and, as a consequence, being followed up by the release of their self-titled debut album now in 2018. Deeply rooted in modern Stoner Rock but still giving a nod to the early days of Black Sabbath, the band’s first offering is driven by pounding rhythms, thick guitars and soaring, screeching vocals, meant to be played loud and to be played often.

In other words, High Reeper is an unapologetic punch in the face for fans of early 70’s proto-metal, with the sound and smell of leather, weed, boozing, gambling and death permeating the record from start to finish. Produced, engineered and mixed by bass player Shane Trimble at TTR studios in Philadelphia as well as his home studio Delwood Sound in Delaware, the sound is laced with old school elements while still maintaining the focus of a modern-sounding release, being highly recommended for fans of the aforementioned Black Sabbath, as well as other noisy and obscure bands like Saint Vitus and Orchid. Throughout its 42 minutes of music split into nine unique tracks, each one with its own purpose and soul, High Reeper will take you on a psychedelic and stoner musical journey, running from up-tempo straight-ahead rock, to slowed down, heavy, early doom.

Otherworldly riffs kick off the flammable Doom Metal feast titled Die Slow, a fun tune that will certainly put you into a trance where Shane with his rumbling bass and Napz with his rhythmic beats set the stage for the Ozzy-inspired vocals by Zach; and enhancing their electricity and stamina to a whole new level, the quintet delivers a rockin’ hymn titled Chrome Hammer, showcasing a great riffage by the guitar duo comprised of Pat and Andrew in what’s in my humble opinion the best song of the entire album. Keep in mind the party is just starting, as in Soul Taker we’re treated to another excellent Black Sabbath-like anthem by High Reeper, with Napz smashing his drums and Pat and Andrew delivering pure feeling with their strings.

The title-track High Reeper is sluggish and somber as expected in good old Doom Metal, ignited by the low-tuned bass by Shane before it becomes a drum feast by Napz, flowing into a thrilling, metallic ending; whereas in Reeper Deadly Reeper a dark and menacing intro evolves into a hard rockin’ Stoner and Doom Metal mass, with Zach putting his heart and soul into his performance, therefore enhancing the song’s already powerful vibe considerably. Then we have Weed & Speed, where the name says it all, with the weed part coming in the form pure Stoner Metal flowing from their instruments, while the speed appears every now and then amidst the most sluggish and soulful riffs you can think of. However, the final result doesn’t feel as cohesive as the other songs, falling flat after a while.

In the fantastic Double Down And Let It Ride, simply let their doomed sounds and noises invade your senses, led by the always thrilling guitars by Pat and Andrew. This is what I would call the perfect depiction of a hybrid between old school Doom Metal with modern Stoner Metal and Southern Rock, and a path High Reeper should definitely keep exploring in their future releases. Black Leather (Chose Us) is an ode to the 70’s lifestyle where heavy rockers used to wear black no matter what, translated into top-tier Stoner Rock full of crisp riffs and solos, rhythmic beats and the inebriate vocals by Zach. And last but not least, closing this feast of witchcraft and psychedelia we have another solid tune titled Friend Of Death, where we’re able to enjoy all the dexterity by the band’s guitar duo as well as the precision and feeling of Napz on drums for over six minutes, not to mention Shane with his blackened low-tuned punches, with its last part being a thing of beauty for fans of the genre.

You can easily enter the psychedelic world ruled by High Reeper by visiting their Facebook page and by purchasing their incendiary album through the Heavy Psych Sounds BandCamp or webstore (as a regular version or as a bundle that includes the album plus a T-shirt and a patch), as well as on iTunes, on Amazon, and on other retailers like Saturn and Best Buy. Because, you know, it’s time to rumble to the flammable fusion of Stoner Rock and Doom Metal by this excellent band from Philadelphia, and once you get into their vibe there’s no way out.

Best moments of the album: Chrome Hammer, Reeper Deadly Reeper and Double Down And Let It Ride.

Worst moments of the album: Weed & Speed.

Released in 2018 Heavy Psych Sounds Records

Track listing
1. Die Slow 5:28
2. Chrome Hammer 2:53
3. Soul Taker 3:27
4. High Reeper 4:37
5. Reeper Deadly Reeper 6:09
6. Weed & Speed 5:37
7. Double Down And Let It Ride 4:40
8. Black Leather (Chose Us) 3:28
9. Friend Of Death 6:07

Band members
Zach Thomas – vocals
Pat Daly – guitar
Andrew Price – guitar
Shane Trimble – bass
Napz Mosley – drums

Album Review – Judas Priest / Firepower (2018)

The Metal Gods are firing on all cylinders with their majestic new album of pure and highly inspired Heavy Metal.

When British Heavy Metal legends Judas Priest announced they were just about to release their 18th studio record, the magnificent Firepower, I already knew it was going to be an epic album. Not only it’s the first studio album since their 1988 release Ram It Down to be produced by Tom Allom and the first ever with the always precise and competent Andy Sneap as co-producer, but the entire band (Rob Halford on vocals, Glenn Tipton and Richie Faulkner on the guitars, Ian Hill on bass and Scott Travis on drums) is absolutely on fire throughout the album’s almost one hour of the purest form of “British steel” that will beautifully and powerfully pierce your ears and control your mind, compelling you to bang your head nonstop and raise your horns to the iconic Metal Gods. By the way, the amazing album art, created by Chilean artist Claudio Bergamin, breathes scorching fire like an enraged dragon, fully in line with the unparalleled history of one of the most formidable bands in heavy music.

Although their 2014 opus Redeemer of Souls was already fantastic, showcasing a veteran band at the top of their form, the metallic extravaganza found in Firepower is so majestic and inspiring that not even the terrible news of Glenn Tipton being diagnosed with Parkinson’s disease, which unfortunately for all lovers of true metal music won’t allow him to tour as much as before with the band (being replaced by Andy Sneap during the upcoming Firepower 2018 World Tour), could ruin the magic crafted by the band in Firepower, and Glenn in his most humble “the show must go on” mode had a few nice words to say about his situation, encouraging the band to continue with the tour. “I want everyone to know that it’s vital that the Judas Priest tour go ahead and that I am not leaving the band – it’s simply that my role has changed. I don’t rule out the chance to go on stage as and when I feel able to blast out some Priest! So at some point in the not too distant future I’m really looking forward to seeing all of our wonderful metal maniacs once again”, said one of the greatest guitarists in the history of Heavy Metal.

Getting back to the album, five seconds are all that the mighty Judas Priest need to explode our senses with their incomparable metal music in the title-track Firepower, where Glenn and Richie begin their flammable riff-fest before the Metal God Rob Halford comes crushing with his unique metallic vocals. Put differently, the band offers us a high-octane, electrifying and straightforward 80’s-style version of themselves for our absolute delectation. And without wasting a single second the Metal Gods fire another superb hymn titled Lightning Strike, a mid-tempo, rumbling composition led by the always precise Scott Travis, with the rip-roaring way Halford declaims the lyrics being beyond thrilling (“I’ll bring you the head of the demon / I’m peeling the skin from his face / The life that you lead is inhuman / Its cause and effects a disgrace / You’re sowing the seeds of a nightmare from hell / Your prayers and your demons are tolling the bell / Walking through fire, fate’s in my hands / Waiting for lightning to strike / Man on a wire, bearing the brand / Waiting for lightning to strike / Lightning to strike”). Then darker riffs by Glenn and Richie permeate the air while Halford tells a somber story in Evil Never Dies, a sonic masterpiece perfect for hitting the road that will urge you to bang your head and scream together with Halford every single time you listen to its flawless lines.

Slowing down the pace a bit, but still sounding vibrant and epic, Never the Heroes brings forward lyrics about the fortunes of war and all the darkness that fills the heart of a soldier (“We were fearless but so afraid / Though in our hearts we still felt pain / We’re on fire but on a leash / We only ever wanted peace”), with the solos by both Glenn and Richie being a thing of beauty. Needless to say, this battle hymn will sound stunningly powerful when played live. Following such touching song we have Necromancer, a solid display of Heavy Metal infused with Stygian elements and nuances (mainly due to the nature of the song), closer to the band’s  sonority from the albums Angel of Retribution and Redeemer of Souls; and Children of the Sun, another song to sing along with Halford & Co., presenting a headbanging rhythm led by Scott with his steady beats and the simple but effective bass lines by Ian Hill. As usual,  the band’s guitar duo does an amazing job with their crisp solos, enhancing the song’s punch considerably.

Their metal feast goes on with a gentle piano bridge named Guardians, warming our ears and minds up for the powerful Rising from Ruins, displaying an elegant sonority where Halford has a titanic performance, stealing the spotlight with his deep and passionate vocals, not to mention how Scott keeps the music flowing smoothly with his classic beats. And what to say about the next tune, aggressively titled Flame Thrower? When I first saw the name of the song I was more than sure it was going to be ass-kicking, and guess what? It is indeed a true rockin’ extravaganza ignited by the slashing guitars by Glenn and Richie, in a blend of their own music from albums like British Steel and Ram It Down mixed with Halford’s solo career. Also uniting old school and modern Judas Priest, the quintet delivers the gripping Spectre, where Richie adds a touch of modernity to the band’s trademark sound with his guitar while Halford once again impersonates a “dark poet of metal”. Then a melancholic intro quickly morphs into a flammable and adventurous metal hymn entitled Traitors Gate, showcasing all elements we learned to love from NWOBHM, and, as a consequence, being tailored for admirers of the more epic side of the band. Furthermore, the guitars by Glenn and Richie are in total sync with Scott’s beats and especially with Halford’s potent roars and high-pitched screams, making it a true exhibit of classic metal.

The last batch of songs in Firepower is quite interesting, as if the band decided not to release them as bonus tracks of a deluxe edition of the album despite their uniqueness, but instead they added them to the regular version of it as a gift to all metal maniacs who have been supporting the band since their inception. No Surrender is straightforward Rock N’ Roll infused with Heavy Metal nuances highly inspired by the band’s own 80’s musicality, or in other words, if this was part of British Steel, Defenders of the Faith or Screaming for Vengeance it would have been a metal classic today. Hence, can you feel their guitars penetrating deep inside your heart? Then the superb Lone Wolf feels like they wanted to pay a stylish tribute do Black Sabbath, Pantera and Down all at once in a fusion of top-notch Heavy Metal with the dementia and aggression of Stoner and Doom Metal. Even the usually quiet Ian Hill delivers some thunder through his bass, with Richie and Glenn stealing the spotlight with the heaviest riffs of the entire album while Halford is simply astounding on vocals. And last but not least, how about a touching and majestic ballad titled Sea of Red, closing this grandiose album in great fashion, with Halford’s voice sounding even more impactful together with the fiery guitars by Richie and Glenn? And don’t forget to pay very good attention to the lyrics as they’re simple but very potent.

In summary, Judas Priest are all fired up in Firepower, delivering everything we love and expect in their classic and always incendiary Heavy Metal, therefore proving once again they’re not called the Metal Gods in vain. There are several retailers where you can purchase this masterpiece of old school and contemporary metal perfectly united, such as iTunes, Amazon, Best Buy and Walmart, providing you the most exciting soundtrack for anything you need to do in life. After such brilliant job done in Firepower, let’s hope now that Glenn can somehow overcome Parkinson’s disease, and that we can see him sooner than anyone can expect on stage with the rest of the band, firing some of their biggest classic together with the new combustible songs from the new album, because that’s where a talented and hardworking guitar god like him should always be.

Best moments of the album: Firepower, Lightning Strike, Evil Never Dies, No Surrender and Lone Wolf.

Worst moments of the album: None.

Released in 2018 Epic Records

Track listing
1. Firepower 3:27
2. Lightning Strike 3:29
3. Evil Never Dies 4:23
4. Never the Heroes 4:23
5. Necromancer 3:33
6. Children of the Sun 4:00
7. Guardians 1:06
8. Rising from Ruins 5:23
9. Flame Thrower 4:34
10. Spectre 4:24
11. Traitors Gate 5:34
12. No Surrender 2:54
13. Lone Wolf 5:09
14. Sea of Red 5:51

Band members
Rob Halford – vocals
Glenn Tipton – guitar
Richie Faulkner – guitar
Ian Hill – bass guitar
Scott Travis – drums

Album Review – Antichrist / Pax Moriendi (2018)

Get ready for 45 minutes of the most visceral form of old school Doom Metal made in Peru, dragging you to an eternal voyage into the most obscure side of your mind.

Formed in 2004 in Lima, the alluring capital of Peru, but not really kicking into recorded gear until a decade later, Doom/Death Metal act Antichrist soon released a steady stream of demos between 2014 and 2016, all harbingers of the colossal beast that was going to haunt our souls now in 2018, the brutally obscure album Pax Moriendi. Not only this is their highly anticipated debut album, but above that, it’s a piercing, funereal ode to the end of life as we know it. As a matter of fact, Pax Moriendi translates as “the peace of dying” from Latin, just to give you an idea of how lugubrious the whole album sounds and feels.

Across the 45 minutes of music split into five Stygian songs in Pax Moriendi, the listener is taken down into sewers a mile deep (or more), tweaking that immortal doom-death schematic into something righteously foul and filthy, but still well within the range of melancholic human experience. Led by the cavernous growls by lead singer and founder Agalariept, Antichirst are a true behemoth of darkness, blasting low-tuned, macabre sounds and tones that will reach deep inside your skin, bringing you venomous thoughts and, as a consequence, dragging you to an eternal voyage into the most obscure side of your mind.

Ominous, eerie sounds permeate the air in the opening track, darkly titled Forgotten in Nameless Suffering, where the duo Luis M. Guerra on drums and Manolo Zaren on keyboards create a truly phantasmagoric atmosphere, perfect for the deep, dark grunts by the band’s demonic frontman Agalariept. Furthermore, this song brings to you the most primeval form of Doom Metal you can think of, spiced up by orchestral elements in the background and, therefore, being highly recommended for your one-way descent into the pits of hell. Then their Death Metal side arises in brutal and somber fashion in Obscurantism, with Manolo slashing his guitar while bassist Gustavo Rodriguez makes sure our brains detach from our skulls with his low-tuned punches, with the whole musicality being nicely complemented by a whimsical, ethereal break. Also, in order to make things even more sepulchral, Agalariept fires intense, deep gnarls to the point he doesn’t sound human.

In the Dark and Mournful Corner is a flawless depiction of depressive, mournful and obscure Blackened Doom where Luis delivers those slow, sluggish and extremely evil beats, turning the song into some sort of evil mass, while Manolo not only burns our senses with his guitar but he also adds a touch of delicacy to the musicality with his keys. Moreover, it’s impressive how Antichrist alternate between old school Doom Metal and heavy-as-hell Death Metal so smoothly and effectively during the song’s gripping 10 minutes. After such demented aria, it’s time for a frantic display of aggression by Antichrist entitled Screams and Lamentations Drowned, with Luis smashing his drums while Agalariept barks and growls like a devilish beast, becoming a more visceral version of Doom Metal with its core essence reeking of putrid Death Metal. And You Will Never See Sun Light, the longest and murkiest of all songs, brings forward over 12 minutes of sluggish beats, hellish roars and uncanny sounds, with the ghoulish noises in the background making the whole song even more impactful and perturbing, flowing into a lugubrious ending led by the sinister piano by Manolo. Hence, if you survive this tenebrous aria, you’re indeed a true servant of darkness.

And as a servant of all things hellbound it’s your duty to follow Antichrist on Facebook and to buy your copy of the perilous and reverberating Pax Moriendi from Record Shop X, from the NWN! Productions webshop, from the Dark Descent Records webshop, or from the Invictus Productions webshop. Peru might not be known worldwide for its metal scene, but when you dig deep into the Peruvian underworld and find an amazing band like Antichrist, you know it’s time to surrender to the dark side of the “Land of the Incas” and crack your neck headbanging to such powerful display of old school Doom Metal.

Best moments of the album: Obscurantism and In the Dark and Mournful Corner.

Worst moments of the album: None.

Released in 2018 Iron Bonehead

Track listing
1. Forgotten in Nameless Suffering 8:54
2. Obscurantism 7:44
3. In the Dark and Mournful Corner 10:53
4. Screams and Lamentations Drowned 4:47
5. You Will Never See Sun Light 12:16

Band members
Agalariept – vocals
Manolo Zaren – guitars, keyboards
Gustavo Rodriguez – bass
Luis M. Guerra – drums

Album Review – Vanguard X Mortem / Amberosia (2018)

A blend of atmospheric and symphonic extreme music known as “Vampyric Metal”, highly recommended for all admirers of the underworld with an insatiable lust for fresh blood.

There are several amazing bands out there who play what fans like to call “Vampire Metal”, or that at least add a few strong elements of this idiosyncratic subgenre of heavy music to their sound, such as Powerwolf, Theatres Des Vampires, Lord Vampyr, Cain’s Dynasty, Draconian, Lacrimosa, Mandragora Scream, Type O Negative, and perhaps the biggest exponent of the genre, British titans Cradle Of Filth, just to name a few. Hailing from the French capital Paris, here comes a very interesting project named Vanguard X Mortem, also venturing through the realms of Vampyric and Baroque Metal and, consequently, joining all the aforementioned bands in the comfortable darkness where vampires reign supreme.

Formed in 2011 by guitarist and songwriter Christophe Florian (also known as L.C.F), from bands like Comédie Macabre and Lords of the Cemetery, Vanguard X Mortem birthed in stylistic blending of Atmospheric and Symphonic Extreme Metal to create their debut album titled [vanguardismortem], in 2012, followed by the full-length album Neptune Fragrance, in 2014, and the EP Anthropomorphism, in 2016. And Christophe returns now in 2018 with a brand new opus entitled Amberosia, a powerful and somber album of extreme music featuring a fiendish artwork by RectopusArt, highly recommended for all admirers of the underworld with an insatiable lust for fresh blood.

The phantasmagoric keys in the horror movie-inspired intro Séraphin set the stage for Christophe and his Vanguard X Mortem to darken our minds in Amberosia, where blazing riffs and an ominous aura permeate the air before Christophe begins firing his vampyric gnarls, accompanied by the ethereal voice by Alix Rousselet. Furthermore, its headbanging, heavy and somber pace is spiced up by elements from old school Cradle of Filth, therefore enhancing its impact on the listener. La Morte Amoureuse, which is French for “the dead woman”, is top-notch Gothic Metal bringing all elements we love in the genre such as theatrical keyboards, slashing riffs, sexy female vocals and huge doses of melancholy, with a fantastic job done by the band’s skillful trio with their instruments, in special Chrisophe with his devilish guitar; whereas Automn Orchard feels and sounds more romantic and melodic, but with the demonic vocals by Christophe giving it a harsher twist in a solid fusion of Gothic Rock and Metal with Atmospheric Extreme Metal. Alix once again embellishes the music with her delicate vocals, while drummer Marco De Barros keeps the pace as mournful and obscure as possible with his Doom Metal-ish beats.

In the excellent Parish of Disillusionment the band offers us orchestral and symphonic music thoroughly fused with Extreme Metal, resulting in a song perfect for breaking your neck headanging while its fiery keys penetrate deep inside your mind, feeling absolutely macabre from start to finish. Then we have L’Emperesse (or “the empress” in English) beautifully impersonated by Alix, who effectively tells us who the empress is and how evil and mischievous she can be, all embraced by nuances of epicness and mystery flowing from the band’s impactful Symphonic Gothic Metal, followed by Nocturne in the Moonlight, carrying a classic song name for a flammable hybrid of Gothic Metal and Symphonic Black Metal. In addition, the paradox between the hellish gnarls by Christophe and the operatic vocals by Alix brings a very interesting taste to the music, not to mention the song’s amazing guitar riffs and solos.

The Flower’s Blood is another song that puts together in a compelling way the more brutish sounds emanated by Christophe and Marco with the angelic voice of Alix, all boosted by its background symphonic elements; while Solstice, the second to last ode to vampirism by Vanguard X Mortem, sounds as dark as expected, but not as exciting as the rest of the album, falling flat after a while despite still bringing some interesting guitars and keys. And in the eerie outro If the End…, gracious and smooth lines make the perfect ambience for Alix to mesmerize us once again with her lecherous vocals, concluding the album on a high note.

If you’re one of those creatures who only come out at night and enjoy a good blend of atmospheric, symphonic and heavy music as the soundtrack of your never-ending nocturnal quest for blood, I highly recommend you go check what Vanguard X Mortem are up to on Facebook, YouTube, ReverbNation and SoundCloud, and of course purchase Amberosia through the Noir Carrousel Records Big Cartel as a regular CD or as a special CD + T-shirt bundle, as well as at other online retailers like Cultura and Fnac. And then you’ll become addicted not only to fresh human blood, but also to French Vampire Metal.

Best moments of the album: La Morte Amoureuse, Parish of Disillusionment and Nocturne in the Moonlight.

Worst moments of the album: Solstice.

Released in 2018 Noir Carrousel/Socadisc

Track listing     
1. Séraphin 1:51
2. Amberosia 6:45
3. La Morte Amoureuse 5:16
4. Automn Orchard 4:41
5. Parish of Disillusionment 4:34
6. L’Emperesse 4:32
7. Nocturne in the Moonlight 3:46
8. The Flower’s Blood 5:17
9. Solstice 4:48
10. If the End… 3:14

Band members
Christophe Florian – vocals, guitars, programming
Alix Rousselet – female vocals, violin
Marco De Barros – drums

Album Review – Funeral Winds / Sinister Creed (2018)

A blasphemous and extremely austere album of old school Black Metal by a cult Dutch entity, offering us all endless fury, hate, rage and scorn, all spiced up by a bit of good old black magic.

Twenty seven years after their foundation, Dutch Black Metal horde Funeral Winds are more than ready to spread darkness upon the earth with the release of their fourth full-length album, titled Sinister Creed. Definitely not a prolific band, the Rotterdam-based offspring of multi-instrumentalist Hellchrist XUL won’t offer you anything that hasn’t been there since their beginning back in 1991, those being fury, hate, rage and scorn, all spiced up by a bit of good old black magic, allowing you to summon demons while listening to this blasphemous and extremely austere album of old school Black Metal. Written and recorded between 2014 and 2017 at Necromanteion Studio, in Belgium, Sinister Creed will please all fans of the darkest forms of extreme music without a shadow of a doubt, making your hearts and souls even darker than they already are.

Do not look for any fine music craftsmanship, as Funeral Winds are devoted to master the black arts, not some hip fine tune; therefore, there is only one thing you can expect from this infernal Dutch duo, and that’s total devastation. If you are into music evolutions, new genres and refined, subtle post-production gimmicks you are very welcome to look elsewhere, as Sinister Creed is an album for those whose thirst for blood was never satisfied, whose love for the early 90’s is still alive and kicking, and whose black flame never extinguished. It might have taken over 10 years for Funeral Winds to return with new material, with their previous installment, named Nexion Xul – The Cursed Bloodline, being released in the already distant year of 2007, but the duo is back in full force to destroy the silence that took place during their hiatus with endless dosages of hellspawn Black Metal.

Sinister noises ignite the ode to darkness entitled The Road to Perdition, before Hellchrist XUL comes crushing our souls mercilessly with his demented gnarls and pulverizing riffs, giving life (or I should say death) to the song’s darkly poetic lyrics (“The angles slowly align themselves / With every step I take / on this unpaved road to perdition / A path full of rocks with sharp edges / That cut strips of flesh / with each incautious step taken”). In Cursed is this Pantheon of Flesh we’re treated to absolute chaos and devastation in the form of Black Metal, with session drummer M.Z. Inversus sounding like an unstoppable bulldozer. Furthermore, the song has a hardcore feel that only makes it more flammable and therefore more enjoyable, setting the tone for another onslaught of aggressive, old school Black Metal named The Arrival, showcasing the always demented screams by Hellchrist XUL, powerfully boosted by the song’s sick drumming, insane guitar lines and endless obscurity.

The title-track Sinister Creed maintains the album’s acidity and rage at an extremely high level, With pure sulphur flowing from all instruments, in special from its blast beats and flammable guitars which will rip your heart out in a gruesome way. Then featuring Amon XUL on guest vocals, Funeral Winds manage to get even more frantic and demented than before in Blood, a fantastic display of visceral Black Metal that’s utterly loyal to the foundations of the genre; followed by Black Moon over Saturn: featuring Hekte Zaren on guest vocals, this insane tune presents an operatic, choir-like intro to a feast of blackened sounds and roars, resulting in a beautiful blend of raw Black Metal with Doom Metal and symphonic elements.

Never slowing down, never softening their music, Funeral Winds continue their path to the underworld by offering the listener an explosion of metallic riffs and bestial drums named Seven Arrows, Knife and Flame (Sekhmet), where Hellchrist XUL sounds truly possessed on vocals (which in Black Metal is always a very positive addition to the musicality, of course). And as the closing act of such demonic album we have Nunc et in Hora Mortis Nostrae, which means “now and at the hour of our death” in English, with its over seven minutes of first-class Black Metal that will disturb your peace and exterminate your mind, also presenting some insanely dark words vociferated by Hellchrist XUL (“I have crawled from the womb of eternal darkness / Out of the void into the light I abhor / I have crawled from the womb of emptiness / Out of the abyss into this world / I am here not to please, I am here not to bring joy”), with the music flowing flawlessly until its ungodly, transcendental ending.

You can take a full, detailed listen at Sinister Creed on YouTube or on Spotify, and in case you’re already a loyal member of the dark side you can purchase the album at the Funeral Winds’ BandCamp, at the Avantgarde Music’s BandCamp or Big Cartel, at the Season of Mist webshop, at Record Shop X, on iTunes or on Amazon. Also, don’t forget to follow Funeral Winds on Facebook and to keep an eye on their YouTube channel for more music and videos by such distinct Black Metal act, and may the pitch black darkness bred by Funeral Winds in their Mephistophelian career keep haunting our souls for decades to come.

Best moments of the album: Cursed is this Pantheon of Flesh, Blood and Nunc et in Hora Mortis Nostrae.

Worst moments of the album: None.

Released in 2018 Avantgarde Music

Track listing  
1. The Road to Perdition 4:47
2. Cursed is this Pantheon of Flesh 3:59
3. The Arrival 3:30
4. Sinister Creed 2:44
5. Blood 3:05
6. Black Moon over Saturn 5:26
7. Seven Arrows, Knife and Flame (Sekhmet) 4:27
8. Nunc et in Hora Mortis Nostrae 7:37

Band members
Hellchrist XUL – vocals, all instruments
M.Z. Inversus – drums (session)

Guest musicians
Amon XUL – additional vocals on “Blood”
Hekte Zaren – additional vocals on ‘Black Moon over Saturn”

Album Review – Minneriket / Anima Sola (2018)

A scorching extravaganza of Norwegian Black Metal that will consume your soul, thoroughly put together by a one-man army of darkness.

Norwegian Romantic Black Metal one-man army Minneriket is the work of vocalist and multi-instrumentalist Stein Akslen, who created the project back in 2014 for as much a philosophical and spiritual channeling as a musical outlet. Drawing on influences as various as punk and goth yet steeped in the intensity of the early Norwegian Black Metal scene, Minneriket, which translates as “the kingdom of memories”, is honest and real, reflecting both self and society, knocking down barriers and ignoring taboos, breathing new life into the genre in a completely uncompromising manner. After the releases of the albums Vargtimen in 2015, Stjerner, speil og svartebøker… in 2016, and more recently the Burzum tribute From the Veins of a Nearly Dead Boy in 2017 (which officially received inclusion on the Vikernes Burzum website), Minneriket returns in full force, unleashing upon humanity the project’s latest opus Anima Sola.

The title of the album, which means “lonely soul” in English, and the artwork, designed by Czech artist Anna Marine, are based on the catholic imagery of the lonely spirit burning in purgatory. The soul which is burning forever, but is never entirely consumed by the flames. It’s the war between spirits and matter, and fire as both a destructive force of nature and the kindle in your heart. Musically speaking, Anima Sola is a scorching extravaganza of Norwegian Black Metal that will consume your soul, with Stein doing a fantastic job on vocals, guitars, bass and keyboards throughout the whole album, leaving you completely disoriented after each of its ten piercing compositions is over, it doesn’t matter if sung in English or in his mother tongue Norwegian.

Tro, håp og kjærlighet (Norwegian for “faith, hope and love”) brings a somber, melancholic intro that keeps growing darker and darker, until Stein arises from the crypts of hades with his hellish gnarls, with his Stygian guitars generating a mesmerizing rhythm. In other words, this is Atmospheric Black Metal at its finest. And things get even better in An All Too Human Heart, featuring guest musician Fredrik Rex  (Blodsgard) on guitars and bass. Offering the listener that strident Black Metal riffage we all love so much, Stein attacks our souls with an infernal storm of old school Norwegian Black Metal, sounding absolutely bestial on vocals and, consequently, more obscure than anything or anyone you can imagine. Furthermore, it’s impressive how he masterfully blends the sheer obscurity of Black Metal with the smoothness and delicacy of ambient music, which is exactly the case in When Life Gets Sick, the Dead Grow Strong, always sounding and feeling pugnacious and chthonic, with the song’s riffs and beats being in full diabolical sync, effectively boosting its overall impact.

Then disturbing sounds permeate the air in I am the Serpent Son, a song tailored for lovers of the darkest form of Norwegian Extreme Metal where Stein uses his voice in an otherworldly way to distill its stylish lyrics (“I submit to your beauty and wisdom / I will learn all your black arts / Mother Lilith! / See to all my needs / so that I may grow and conquer this world”). And there’s not a single second of peace or hope in over seven minutes of extreme music in Between Infinity and Melancholy, where Stein keeps firing his blistering guitar lines and enraged vociferations, with the musicality feeling extremely raw and primeval, but still very polished due to the above average production of the album. Then in Det lyset jeg ikke kan se (or “the light I cannot see”), also featuring Fredrik Rex, we face over 13 minutes of a descent into the pits of hell full where thunderous bass punches and steady beats steal the spotlight for the first three minutes, before a sonic onrush of traditional Black Metal lacerates our minds mercilessly. In addition, Stein and his Minneriket don’t let our souls rest not even during the atmospheric break in this full-bodied blackened aria, proving how precise he is with his instruments.

Stein then treats us with a wicked beginning and his disturbing, Satanic vocal lines in Sorger er tyngst i solskinn (“sorrow is the heaviest in sunshine”), all effectively supported by the song’s somber instrumental pieces, feeling extremely metallic, inhuman and bizarre from start to finish; while Alle hjerter banker ei (or “all hearts beat one” in English) leans towards vile Blackened Doom, where once again Stein delivers hypnotizing riffs and beats that will drag your soul to the underworld, with endless grief and despair flowing from all instruments. And his most damned and depressive side keeps dominating his mind in the desperate hymn Smerte, skjønnhet og Satan (“pain, beauty and Satan”), being slow and steady as good Doom Metal should be without forgetting the project’s old school Black Metal core, before a sonic havoc of putrid sounds entitled Time for Suicide comes crushing our hearts, with its lyrics being as perturbing as they can be, especially through Stein’s evil gnarls (“Headaches taunt me with flashbacks of the past / Call it fear, but I think it runs deeper / an infection that eats away at my soul / furthering my suffering and doubling my agony”).

In summary, Anima Sola, which can be enjoyed in its entirety on Spotify, might be considered by many Minneriket’s strongest work to date, proving how focused, professional and passionate about extreme music Mr. Akslen is, always moving forward and never sounding outdated or bland. You should definitely check his other albums, news and future plans on Facebook and on YouTube, and grab your copy of Anima Sola through the project’s own BandCamp page, on iTunes or on Amazon. Stein himself commented that the album was created because “we need to talk about the darkness”, also saying that the album “speaks of solitude and ineptitude, loss and yearning; humorless Black Metal with music and lyrics equally painful and raw.” Well, let’s face it, the man behind Minneriket more than succeeded in sending his dark message to the world with Anima Sola.

Best moments of the album: An All Too Human Heart, I am the Serpent Son and Det lyset jeg ikke kan se.

Worst moments of the album: Smerte, skjønnhet og Satan.

Released in 2018 Akslen Black Art Records

Track listing  
1. Tro, håp og kjærlighet 5:40
2. An All Too Human Heart 3:33
3. When Life Gets Sick, the Dead Grow Strong 3:59
4. I am the Serpent Son 4:34
5. Between Infinity and Melancholy 7:35
6. Det lyset jeg ikke kan se 13:25
7. Sorger er tyngst i solskinn 6:10
8. Alle hjerter banker ei 4:52
9. Smerte, skjønnhet og Satan 3:30
10. Time for Suicide 2:27

Band members
Stein Akslen – vocals, guitars, bass, keyboards

Guest musician
Fredrik Rex – guitars and bass on “An All Too Human Heart” and “Det lyset jeg ikke kan se”