Album Review – Grand Magus / Wolf God (2019)

It’s time to worship the almighty Wolf God together with one of the most talented and hardworking bands of the Swedish metal scene.

Hailing from the stunning city of Stockholm, Sweden, Heavy/Doom Metal three-piece act Grand Magus has been delivering a powerful and thrilling amalgamation of styles such as Blues, Hard Rock, Heavy and Doom Metal since their inception in the now distant year of 1999 (or even 1996 if you consider their years under the name Smack as part of their current career), gathering a respectable fanbase through the years around the entire world of heavy music. For instance, their self-titled debut album Grand Magus, released in 2001, stirred up the underground to the point it is now considered to be a cult favorite, and now in 2019 the band comprised of Janne “JB” Christoffersson on lead vocals and guitars, Mats “Fox” Skinner on bass and backing vocals, and Ludwig “Ludde” Witt on drums returns in full force with Wolf God, the ninth album in their solid career and undoubtedly one of the most interesting and epic albums of the year. Drawing influence from bands such as Motörhead, Black Sabbath, Judas Priest and Manowar, Grand Magus are absolutely focused, sharp and heavy-as-hell in Wolf God, blasting hymn after hymn for the delight of all lovers of the golden years of classic metal music.

With the majority of the songs being recorded on the first take at The Sweetspot Recording Studio in Sweden together with producer Staffan Karlsson (Arch Enemy, Firewind, Spiritual Beggars), Grand Magus achieved an honest, diverse and yet down-to-earth sound that envelops the trio’s true power, letting the music flow naturally throughout the album’s almost 40 minutes of undisputed Heavy Metal. “We decided to let go of the current philosophy to record drums first and then bass and then guitar etc. This time, we met up, jammed and created together during the last six months with the goal to record basic tracks live,” said the band about their newborn opus, and by enfolding it with the old school, aggressive artwork by American artist Anthony J. Roberts (Blackmindseye) the trio finally reached a new level of epicness that will certainly save a spot for them among the gods of metal.

Featuring orchestrations by Swedish musician Nico “Dyngwie” Elgstrand (guitarist for Entombed A.D.), who has already played acoustic guitars in a couple of tracks from their previous albums, Gold and Glory is a classy and epic intro to the howling title-track Wolf God, where Ludde pounds his drums in great Manowar-inspired fashion while JB delivers his trademark potent vocals, resulting in an old school metal song perfect for banging our heads while worshiping the Wolf God itself. And Fox’s thunderous bass take the lead in the also majestic A Hall Clad in Gold while Ludde continues to smash his drum set vigorously, not to mention all the passion and energy flowing from JB’s vocals, especially during the song’s absolutely catchy chorus.

Traditional, utterly metallic lyrics (“Ancient forces / Sleeping deep within my heart / Been searching / Through the ages in the dark / A secret / That will put me to the test / And guide me / So much stronger than the rest”) are the main ingredient in the headbanging tune Brother of the Storm, where JB fires pure electricity from his riffs while the beats by Ludde get more rhythmic and imposing, and you better keep banging your head like there’s no tomorrow in the incendiary Dawn of Fire, another classic, stylish Heavy and Doom Metal hymn led by JB’s crisp riffs and Fox’s rumbling bass. On a side note, I saw those guys playing this excellent tune live when they opened for Amon Amarth  here in Toronto, and it sounded beyond powerful and inspiring. Then putting the pedal to the metal the trio offers the circle pit-catalyst Spear Thrower, where we can enjoy Ludde’s berserk beats supporting the always pleasant vocals by JB, being tailored for fans of classic Heavy Metal while all is spiced up by JB’s piercing solos; whereas To Live and to Die in Solitude, one of the best songs in Wolf God with highlights to JB’s passionate performance and the unstoppable drums by Ludde, couldn’t be any more epic, vibrant and electrifying, or in other words, simply close your eyes and savor each and every note of such distinct ode to metal music.

A cryptic, semi-tribal intro evolves into another riff-fest titled Glory to the Brave, a beer-drinking, headbanging creation by the trio with Fox filling all spaces in the air with his bass jabs, perfect for raising your horns in the air together with Grand Magus, whereas in the thrilling He Sent Them All to Hel the skillful JB declaims the lyrics about a hero dealing with death and darkness in the aftermath (“First light in the morning – Foul smell of decay / He stands in silence – Nothing to say / Black ravens are calling / Flying high over head / Their wine is served by the dead / Once they rode together / Now he’s alone / Filling his soul with rage”), boosted by spot-on instrumental parts, endless stamina and the classic beats by Ludde, resulting in what’s in my humble opinion one of their best battle hymns of all time. And there’s nothing better than the pure Heavy Metal flowing from Untamed to close the album on a high note, showcasing a classic riffage and wild guitar solos by JB, while Fox and Ludde are on absolute fire on bass and drums, with the music flowing smoothly and powerfully until its epic finale.

It’s time for us all to praise the Wolf God, and we can do that by enjoying one of the best albums of 2019 in full on Spotify or by purchasing a copy of it from the Hamburg Records webstore or from the Nuclear Blast webstore. At this point of their career, we can all happily rest assured Grand Magus will never sell out, which means they’ll keep offering us all, lucky metalheads, precious gems of the underworld like Wolf God, bringing all their passion and respect for the gods of metal with each and every song of their albums and, more important than that, continuing to fight for Heavy Metal no matter what, always in the name of the almighty riff.

Best moments of the album: A Hall Clad in Gold, Brother of the Storm, To Live and to Die in Solitude and He Sent Them All to Hel.

Worst moments of the album: None.

Released in 2019 Nuclear Blast

Track listing
1. Gold and Glory 2:18
2. Wolf God 3:49
3. A Hall Clad in Gold 5:02
4. Brother of the Storm 3:16
5. Dawn of Fire 5:12
6. Spear Thrower 2:55
7. To Live and to Die in Solitude 3:41
8. Glory to the Brave 5:15
9. He Sent Them All to Hel 3:37
10. Untamed 3:46

Band members
Janne “JB” Christoffersson – lead vocals, guitars
Mats “Fox” Skinner – bass, backing vocals
Ludwig “Ludde” Witt – drums

Guest musician
Nico “Dyngwie” Elgstrand – orchestrations on “Gold and Glory”

Album Review – Ploughshare / Tellurian Insurgency EP (2019)

Feeding on sickness, unbearable oppression and blind violence, here comes a cryptic Australian entity armed with their new EP blending a multitude of influences and sounds.

Feeding on sickness, unbearable oppression and blind violence, the brand new EP by Australian Black/Death Metal entity Ploughshare, entitled Tellurian Insurgency, is the perfect depiction of what this mysterious band hailing from Canberra, the capital city of Australia, stands for, always with open arms to a multitude of influences and sounds in order to serve a greater purpose, including Black, Death and Doom Metal mixed with Noise Rock, Post-Punk and even the darkest offshoots of Electronic Ambient. In the span of a little over 22 minutes, Ploughshare’s music flows impetuous and intense in Tellurian Insurgency, the natural follow-up to their 2018 full-length album In Offal, Salvation. Recorded and mixed by Elliot Johnson and Max Napier, mastered by MR and featuring a demonic artwork and layout by JR and RT, the new EP by this idiosyncratic Australian horde is not an easy listen at all for the average rock and metal fan, representing the band’s urge to reinvent themselves and bring something new to the listener with each and every album released, never sticking to a specific formula or style. “Ploughshare is what occurs when we come together as a band,” they explain. “We all bring material, but this will always undergo transformation once we’re together. The music emerges contingently, and in a manner that makes it impossible to inscribe our wills into it. We might all contribute, but we are equally all caught up in it.”

Ominous noises explode into sheer madness and chaos in the opening track Abreactive Trance, a demented voyage through the realms of Experimental Black Metal showcasing enraged vociferations, slashing guitar riffs and infernal blast beats, reeking of desperation and insanity while the music lives up to the legacy of modern-day extreme music. Then we have Indistinguishable Beast of Flight, even more experimental and progressive, with its vocal lines reaching a new level of dementia while the guitars sound utterly strident and piercing, or in other words, get ready for a multi-layered metal extravaganza that will please all fans of heaviness and noise, all spiced up by the gargantuan amount of intricacy flowing from the song’s beats and fills. In Offal, Salvation (Andrew Nolan Re-mix), a new and interesting version for the title-track of their 2018 full-length opus, the disturbing and roaring sounds blasted by the band are infused with electronic noises and tones, resulting in a fresh and futuristic musical experiment albeit a the same time maintaining the core violence of the original version, whereas Xeno-Chemical Insider is another eerie composition by the band that sounds a lot more electronic than metal, which I’m pretty sure was the band’s original goal with this song.  Simply close your eyes and let Ploughshare penetrate deep inside your skin with their deranged screams, rhythmic beats and endless obscurity until the song’s ethereal and somber finale.

Although Ploughshare might be considered an unknown creature by many, you can still get in touch with them on Facebook to let them know how crazy you think their music is, and in order to show your support to this eccentric squad hailing from Australia you can purchase Tellurian Insurgency directly from their own BandCamp or from several other locations in different formats, such as the I, Voidhanger Records’ BandCamp, the Brilliant Emperor Records’ BandCamp and Big Cartel, and the Metal Odyssey webstore. It’s almost impossible to predict what’s next for Ploughshare, but judging by the creativity and cohesiveness of the music found in the short but extremely diverse and thrilling Tellurian Insurgency, we can rest assured those metallers from Down Under won’t stop impressing us with their demented creations in the coming years.

Best moments of the album: Indistinguishable Beast of Flight.

Worst moments of the album: None.

Released in 2019 I, Voidhanger Records/Brilliant Emperor Records/Night Rhythms Recordings

Track listing
1. Abreactive Trance 6:16
2. Indistinguishable Beast of Flight 5:22
3. In Offal, Salvation (Andrew Nolan Re-mix) 6:01
4. Xeno-Chemical Insider 4:10

Band members
*Information not available*

Guest musician
VS – additional vocals on “Abreactive Trance”

Album Review – Cthonica / Typhomanteia: Sacred Triarchy of Spiritual Putrefaction (2019)

Witness the spiritual putrefaction of men in the form of raw extreme music, crafted by a cryptic Venezuelan duo that refuses to compromise or embrace standardized creation processes.

On their horrific debut opus entitled Typhomanteia: Sacred Triarchy of Spiritual Putrefaction, Venezuelan Black/Death Metal abominable duo Cthonica unravels almost an hour of blood-curling and slithering ritualistic aural terror the hideousness and repulsiveness of which has rarely been seen on this earth, being highly recommended for admirers of the extreme noise blasted by bands such as Immolation, Incantation, Beherit, Blasphemy and Portal. Adding hazy layers of purulent noise and sepulchral dark ambient murk to further disfigure their abhorrent creation, Cthonica have crossed a new threshold in Extreme Metal, setting an entirely new standard of sonic inversion with their raw and decaying sound, and taking the glorification and worship of death and perversion to an entire new realm of conceptual and audial atrocity.

Formed in the Venezuelan capital city of Caracas in 2016 by D.V. on guitars, bass and drums, and H.K. on vocals, noise, electronics, lyrics and concept, rising from the ashes of a previous incarnation of the project called Okkvlt, Cthonica are a proudly home-recorded project, both for necessity due to the precarious access to resources in the tumultuous Venezuelan society and general lack of most things out there, and for the complete refusal by the core duo behind the project to compromise or embrace standardized and commonly acceptable creation processes. Mixed and mastered at Necrosound Studio, and featuring an artwork of surreal visual horror by Venezuelan artist Bryan Maita (BMS Illustration), Typhomanteia: Sacred Triarchy of Spiritual Putrefaction deals with the Tehomic-Typhonian metamorphosis of every man’s reason through what they call “spiritual putrefaction”, or the progressive human corruption through the guidelines of opprobrious disciplines and their teachings, and even if you have no idea of what this means at all simply (try to) relax and enjoy over 50 minutes of first-class, utterly raw extreme music made in Venezuela.

Typhomanteia: Sacred Triarchy of Spiritual Putrefaction, which seems to be purposely split into two distinct parts, kicks off with the first act of the first part, Act I: The Chalice, sounding dissonant, disruptive and absolutely raw from the very first second. H.K. begins growling deeply and rabidly in great Death Metal fashion while D.V. does an amazing job with both his flammable riffs and demonic blast beats, generating a Stygian ambience that will crawl deep inside your skin like a putrid maggot, resulting in a very atmospheric experiment with phantasmagorical passages and creepy intermissions to make things even more mesmerizing. Act II: The Lantern begins in full force, with the duo smashing our souls with their crude Experimental Black Metal, and you can easily sense the dirtiness flowing from D.V.’s devilish riffage throughout the entire song. Furthermore, H.K. continues to fire gargantuan harsh gnarls like a beast in this brutal and disturbing ode to the void, followed by Act III: The Verb, just as gruesome and infernal as its predecessors, with D.V. unleashing pure obscurity from his Doom Metal beats. Put differently, it can’t get any more experimental than this, and it’s quite impressive how they captivate our senses no matter how lengthy and intricate their wicked creations might be. In addition, H.K. not only is a talented growler, but his background noises and tones also add an extra touch of lunacy to the music.

Featuring guest vocalist İanzél (Ancient Blood, Desesperanza, Precaria), IV:I: Nor The Deadliest Disease Shall Be Compared With His Gift of Salvation… (the first aria of the second part of the album) brings to your ears a humongous wall of blackened sounds that will crush you like an insect, with the guitars and bass by D.V. reaching a new level of malignancy and sulfur while H.K. darkly vociferates the song’s words from the very depths of the underworld. This is the perfect sample of what underground extreme music is all about, which can also be said about V:II: … for the Children of he Who Lurks Beyond Shall Not Witness This Showcase Of Glory…, showcasing a tribal and absolutely vile intro led by the scorching hot riffs by D.V. while H.K. fires his trademark enraged roars. Its strident riffs and solos, together with its crisp beats, generate a dense and furious sonority that flows smoothly until everything ends in the most aggressive and demented way possible. Then prepare your ears and minds for another onrush of obscurity and dementia in the form of raw Black Metal by the duo titled VI:III: … Not As Those Who Served and Preached in Obeisance., where visceral blast beats and riffs permeate the air, blackening your heart and thoughts while H.K.’s vocals get more and more deranged as the music progresses. And to properly conclude the album we have the cinematic outro VII: Ω De Derelictum Domum Sacrorum with its eerie noises, haunting screeches and demonic tones, putting a beyond devilish ending to such unique opus.

This precious and raw gem of underground extreme music made in South America can be appreciated in full on Spotify, but of course if I were you I would show my utmost support to H.K. and D.V. by purchasing Typhomanteia: Sacred Triarchy of Spiritual Putrefaction from one of the several locations where the album is on sale, such as the Sentient Ruin Laboratories’ BandCamp or webstore (if you fancy the vinyl format), the Cagliary Records’ BandCamp or webstore (for admirers of the cassette format), from the Clavis Secretorvm’s BandCamp or webstore in digipack format or as a black or white double LP, and Apple Music. The current state of Venezuela might be precarious and extremely delicate, but even facing all types of barriers and against all odds Cthonica managed to deliver an excellent debut album for our total delectation, proving once again that the underground is (and will always be) alive and kicking, and that the spiritual putrefaction of the human being can be useful at least as fuel when Black Metal is the music in question.

Best moments of the album: Act II: The Lantern and IV:I: Nor The Deadliest Disease Shall Be Compared With His Gift of Salvation….

Worst moments of the album: None.

Released in 2019 Clavis Secretorvm/Sentient Ruin/Caligari Records

Track listing
1.  Act I: The Chalice 11:19
2. Act II: The Lantern 7:49
3. Act III: The Verb 9:51
4. IV:I: Nor The Deadliest Disease Shall Be Compared With His Gift of Salvation… 6:34
5. V:II: … for the Children of he Who Lurks Beyond Shall Not Witness This Showcase Of Glory… 8:20
6. VI:III: … Not As Those Who Served and Preached in Obeisance. 5:30
7. VII: Ω De Derelictum Domum Sacrorum 2:57

Band members
H.K. – vocals, noise, electronics
D.V. – guitars, bass, drums

Guest musician
İanzél – additional vocals on “IV:I: Nor The Deadliest Disease Shall Be Compared With His Gift of Salvation…”

Album Review – Kaamos Warriors / Shadows Of Northern Chaos (2019)

All hail the Finnish warriors of the eternal night and their brand new album of Dark Metal, beautifully reflecting the coldness and melancholy of the North.

Formed as a duo by vocalist and guitarist Mikko Ojala (Crowned with Black, Dark the Suns, The Beauty of Darkened Hearts) and guitarist Jani Moilanen (R2JBros) in the beginning of 2018 in Kempele, a municipality just south of the city of Oulu in Northern Finland, the sinister Dark Metal unity known as Kaamos Warriors is unleashing upon humanity their second full-length opus entitled Shadows Of Northern Chaos, a follow-up to their debut album Ikuisen Talven Sarastus (or “the dawn of eternal winter” in English), released earlier this year. Now a three-piece band with the addition of bassist Jyri Moilanen to their lineup, Kaamos Warriors once again reflect the coldness and melancholy of the North in the eight dark and somber compositions found in  Shadows Of Northern Chaos, combining the bitterly cold elements from Atmospheric and Doom Metal to their core Black Metal essence. As a matter of fact, the word “kaamos” means “the polar night”, or the period of darkness north of the Arctic Circle and south of the Antarctic Circle when the sun does not rise over the horizon, perfectly summarizing what the music by those Finnish metallers is all about.

Mikko and Jani generate a frosty and raw ambience with their riffs in the opening track Wolves in Storm, an ode to the North blending classic Black Metal with contemporary Blackened Death Metal and with Mikko’s vocals sounding deep and obscure just like the music demands. Then we have Chaos Walks the Earth, even darker and more demonic than its predecessor, with its guitars bringing the most visceral tones from classic Death Metal while Jyri’s bass lines sound absolutely ominous, therefore adding an extra dosage of malignancy to the music, all spiced up by spot-on blast beats and strident guitar solos. And get ready to crack your neck headbanging to the boisterous Chaos & Mayhem, where the brutal sounds of guitars and bass fill every single space in the air, resulting in a dense and violent atmosphere that leans towards Melodic Black Metal; whereas Ruined by Plague is a mid-tempo hellish hymn blasted by the trio with a huge focus on the very detailed work done on the guitars, which complemented by Jyri’s thunderous bass turns it into a storm of heavy music.

In the title-track Shadows of Northern Chaos this talented Finnish triumvirate goes full Black Metal, blasting our ears with an infernal sonority led by Mikko’s Stygian, guttural roars while its riffs add hints of melancholy and hopelessness to the overall result, and they keep slashing their strings in Where Shadows Grow, another classic Black and Death Metal composition showcasing spot-on beats, harsh gnarls and a perturbing, winter-like vibe, offering the listener a fusion of sheer aggressiveness and obscurity with a very pleasant melody. Ruins of Hope sounds as if Unleashed met Marduk and Behemoth for a jam session, with Mikko and Jani firing incendiary riffs from their axes while Jyri keeps delivering rumbling bass punches nonstop, and lastly the band fires Moon and Stars, one of the most melancholic and darkest of all tracks where you can feel the bitterly cold epicness of the North flowing from its riffs and beats, flirting with Doom Metal and remaining truly grim and dark until the very end.

If you enjoy this fusion of extreme music with the chilling, melancholic landscapes from the North crafted by Kaamos Warriors, you should definitely follow the band on Facebook, listen to more of their music on Spotify, and purchase their music from different locations such as Apple Music and Amazon. Shadows Of Northern Chaos might not be a masterpiece nor a revolution in Black and Death Metal, but it’s definitely a very good, cohesive and well-balanced album by those warriors of the never-ending northern night highly recommended for fans of the genre, and if in their first year of existence they were already capable of delivering two really entertaining full-length albums, I can’t wait to see what’s next in their promising (and wintry) career.

Best moments of the album: Chaos Walks the Earth, Chaos & Mayhem and Shadows of Northern Chaos.

Worst moments of the album: None.

Released in 2019 Inverse Records

Track listing
1. Wolves in Storm 2:28
2. Chaos Walks the Earth 2:28
3. Chaos & Mayhem 2:06
4. Ruined by Plague 2:35
5. Shadows of Northern Chaos 3:06
6. Where Shadows Grow 3:28
7. Ruins of Hope 2:28
8. Moon and Stars 4:00

Band members
Mikko Ojala – vocals, guitars
Jani Moilanen – guitars (lead/acoustic)
Jyri Moilanen – bass

Album Review – Forlet Sires / Holy (2019)

The “abandoned forefathers” of Switzerland continue their explorations of uneasy, heavy music with their excellent sophomore opus of Atmospheric Black and Doom Metal.

Brought into being in late 2013 in Winterthur, a Swiss city northeast of Zurich, near the German border, Atmospheric Black/Doom Metal unity Forlet Sires might have started out as a conventional Atmospheric Black Metal project, but soon the band started to incorporate influences from several distinct styles such as classic Black Metal, Doom Metal and even Progressive Metal, consolidating a new approach on the genre without any boundaries while keeping a grief aspect in every tone. Now in 2019 the band comprised of Kilian Schmid on vocals, Tobias Kalt and Sebastian Vogt on the guitars, Matthias Menzi on bass and Daniele Brumana on drums returns in full force with Holy, the follow-up to their 2016 debut album Journey Towards Ruin and a lesson in atmospheric and utterly dark music.

Recorded by Forlet Sires at Gaswerk Winterthur with assistance from Pascal Pendl and George Necola, mixed by Billy Anderson, mastered by Justin Weis and featuring a stylish artwork by Adam Burke that perfectly depicts the album’s sense of death, abandonment and hopelessness, Holy presents an evolved version of Forlet Sires (by the way, an old English expression that roughly translates to “abandoned forefathers”, expressing how mankind has lost its way in various aspects) continuing their explorations of uneasy, heavy music, creating an elusive net of insecurity and surpassing music barriers while following the band into their sonic abyss. These words might sound a bit too poetic for some of you, but as soon as you start listening to Holy I’m sure you’ll realize no words can effectively describe the dark and atmospheric poetry flowing from Forlet Sires’ music.

Melancholy permeates the air from the very first second in the opening track Carnage and Candor, with Tobias and Sebastian taking the lead with their somber guitar lines, suddenly exploding into visceral Atmospheric Doom Metal for our total delight with Kilian roaring like an infernal beast. Moreover, this multi-layered aria brings forward tons of progressiveness and obscurity, getting more and more infuriated as the music progresses with Daniele adding a touch of evil with his Black Metal blast beats, ending in a truly grim and vile manner just the way we like it in Doom Metal. Then in Where Nothing Shall Thrive we’re treated to a classic display of Atmospheric Black and Doom Metal that leans towards the most vicious form of Blackened Doom you can think of, all enhanced by the physiological and somber lyrics vociferated by Kilian (“You’re alive, alone. You’re afraid, you tried. Devils are in your mind, lining you up to die. Fade away, longing for more. Feel the void, mourn the waste of life. Youth was lost, faster than you thought. Midlife has passed, all you did was dreaming. Gently conditioned, ambition repressed by degrees.”). And to make things even better, the stringed trio Tobias, Sebastian and Matthias exhale heaviness and evil from their axes throughout the entire song, not to mention the lesson in intricacy and darkness given by Daniele on drums.

Dead Skin, a demonic hybrid of Progressive Metal and Blackened Doom by the quintet, sounds and feels as wicked as it can be,  with Kilian leading his horde with his demented growls and gnarls while the sound of guitars penetrates deep inside your skin and Matthias delivers tons of groove from his bass, resulting in a full-bodied composition that will please all fans of the genre without a shadow of a doubt. And lastly, the thunderous bass by Matthias together with Daniele’s drums generate a beyond aggressive atmosphere in We Roam This World Alone, the epitome of Atmospheric Doom Metal showcasing Stygian words that carry a message of anguish and grief growled by Kilian (“Cold sorrow claims all hope. Live on, for reasons unknown. Falling. Fallen. While I’m bleeding unappealing strands of purulence, I am feeding off a cyst on this dry cunt.”). Hence, keep banging your head nonstop to Tobias’ and Sebastian’s crushing riffage until the song’s climatic finale, overflowing desperation and evil.

It’s quite impressive how Forlet Sires are capable of crafting lengthy, complex and sorrowful compositions without sounding tiresome or repetitive; quite the contrary, each one of the four songs found in Holy, available in full on Spotify, will keep you mesmerized, dragging you into a downward spiral of darkness together with the band, which in the end means they were more than successful in their aforementioned duty of generating fresh and at the same time mournful music. If you want to show your true support to this talented Swiss army of doom, go check what they’re up to on Facebook and grab your copy of Holy from their BandCamp page, from Apple Music or from Amazon, preparing your blackened mind and soul for the most desolating and melancholic moments in life.

Best moments of the album: Where Nothing Shall Thrive and We Roam This World Alone.

Worst moments of the album: None.

Released in 2019 Cruel Bones

Track listing
1. Carnage and Candor 12:37
2. Where Nothing Shall Thrive 7:45
3. Dead Skin 8:59
4. We Roam This World Alone 11:23

Band members
Kilian Schmid – vocals
Tobias Kalt – guitars
Sebastian Vogt – guitars
Matthias Menzi – bass
Daniele Brumana – drums

Album Review – Halcyon Reign / The Voyage (2019)

Dealing with the metaphoric beasts we all hide from, the debut album by this Australian trio will take you on a theatrical journey through the realms of prog.

Formed in 2016 in the city of Sydney, Australia, a Progressive Metal three-piece act that goes by the name of Halcyon Reign has just released their debut opus entitled The Voyage, offering the listener a prog feast recommended for fans of iconic bands such as Mastodon, Twelve Foot Ninja and Karnivool. Recorded and mixed by Adam Jordan at Main Street Studios, mastered by Don Bartley  at Benchmark Mastering, and featuring an interesting album art by Edi Udo at Edi Udo Illustrations, which seems to be a tribute to Mastodon’s Leviathan and Gojira’s From Mars to Sirius (and I’m pretty sure those are two of the band’s main influences), The Voyage deals with the metaphoric beasts we all hide from, with those theatrical beastly metaphors being embraced by an atmospheric, intricate and groovy sound blasted by lead singer and guitarist Lachlan Arvidson, bassist Luke Delbridge and drummer Simon Bowles, resulting in a fresh, full-bodied experience for any type of metalhead in search for a good balance between heaviness and creativity.

Emerging from the underworld of prog, the band comes ripping in the opening track ‘Welcome Reality’, a multi-layered musical journey through the realms of Progressive Metal where Lachlan’s classic metal vocals match the music perfectly, not to mention the great job done by Luke with his thunderous bass lines, feeling like a hybrid of Mastodon and Tool. Then a serene intro evolves into an even more progressive and intricate creation by the trio titled The Kraken, with Simon bringing a blend of Progressive, Doom and Heavy Metal with his beats while Lachlan fires his slashing riffs and potent vocals nonstop. Moreover, this great tune is full of breaks and variations, with its mesmerizing instrumental ending being tailored for admirers of the genre. And Peleliu is another classy composition by Halcyon Reign, showcasing the duo Lachlan and Luke in absolute sync with their stringed weapons, supported by Simon’s spot-on beats. Alternating between heavier and more complex moments and gentle, melancholic passages, the final result gets close to that sonic extravaganza the one and only Dream Theather enjoy doing all the time.

If you think The Voyage has been beyond amazing so far, get ready for almost ten minutes of dense, top-of-the-line metal music in Beyond The Cape, where Lachlan sounds at the same time delicate and infuriated on vocals. Furthermore, Luke and Simon make the earth tremble with their respective beats and bass punches, and they keep pounding their weapons with tons of precision and feeling until the song’s epic and enthralling finale. After such lecture in Progressive Metal, an atmospheric, futuristic bridge named Last Horizon sets the stage for the trio to shine once again in the title-track The Voyage, bringing to our ears and minds more of their beautifully crafted music, uniting progressiveness and heaviness in great fashion. Not only the sound of guitars and bass will pierce your ears mercilessly, but the music also brings hints of Sludge Metal to the band’s core essence, and that healthy amalgamation of styles makes the song feel like two or three songs in one, with the three band member jamming freely and stunningly until all fades into a space void.

The past decade has been more than just great for heavy music from Down Under, with countless excellent groups like Halcyon Reign showing the world everything they got, and if you want to show your support to this up-and-coming Australian triumvirate of Progressive Metal you can purchase The Voyage from their own BandCamp page, from Apple Music, from Amazon or from CD Baby, as well as listen to the album in full on Spotify. Also, don’t forget to give them a shout on Facebook, therefore joining Lachlan, Luke and Simon on their theatrical trek through space and progressive lands and, of course, inspiring them to keep delivering first-class metal music for all of us lovers of the underground scene.

Best moments of the album: The Kraken and Beyond The Cape.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. ‘Welcome Reality’ 6:14
2. The Kraken 8:18
3. Peleliu 5:09
4. Beyond The Cape 9:15
5. Last Horizon 1:27
6. The Voyage 7:28

Band members
Lachlan Arvidson – vocals, guitars
Luke Delbridge – bass
Simon Bowles – drums, vocals

Concert Review – Amon Amarth (Rebel, Toronto, ON, 10/09/2019)

A night of epic battles, endless circle pits and heavy-as-hell anthems offered by a horde of Swedish bands to all of us “Vikings” in Toronto, spearheaded by one of the biggest names of the current metal scene.

OPENING ACTS: Grand Magus, At The Gates and Arch Enemy

What a fun night, my fellow Vikings! The Swedish invasion that took the city of Toronto by storm last night at Rebel was beyond entertaining, and I can’t find the right words to describe the heaviness and power from all four bands of the night, Grand Magus, At The Gates, Arch Enemy and the almighty Amon Amarth (all hailing from Sweden, of course). There was a lot of beer drinking, endless mosh pits, lots of screaming, horns in the air, the encounter (although playing at different times with their respective bands) of the talented “Erlandsson Brothers” Adrian and Daniel, and a humongous dosage of our good old Heavy Metal.

The first band of the night was Stockholm-based Heavy/Doom Metal power trio GRAND MAGUS, which I confess I didn’t know much before last night. And let me tell you they kick some serious ass with their fusion of classic doom with Nordic themes, setting the stage on fire with their crisp and thunderous performance. Currently promoting their new album Wolf God, the band comprised of vocalist and guitarist JB Christoffersson, bassist Fox Skinner and drummer Ludwig Witt thanked all fans that were able to arrive early at Rebel to witness their fantastic concert, with their closing song, the battle hymn entitled Hammer of the North, being the icing on the cake to their flawless performance. I hope they return to Toronto soon for another killer concert, and if I were you I would search for their music right now on Spotify or on YouTube as it’s definitely worth it.

Setlist
I, the Jury
Dawn of Fire
Like the Oar Strikes the Water
Iron Will
Hammer of the North

Band members
JB Christoffersson – vocals, guitar
Fox Skinner – bass
Ludwig Witt – drums 

After a very short break it was time for Gothenburg’s own Melodic Death Metal institution AT THE GATES to bring to Toronto all their rage and darkness, inspiring the fans that were already filling up all the spaces at the venue to ignite some serious circle pits. Also, although the band has recently released two EP’s named The Mirror Black and With the Pantheons Blind, it felt like they “ignored” that and kept playing the same setlist used during their tour to promote their 2018 album To Drink from the Night Itself, with songs such as To Drink From the Night Itself and The Colours of the Beast being among my favorite ones of their solid performance. Needless to say, Tomas Lindberg was amazing with his harsh, desperate vocals throughout the entire concert, as well as Adrian Erlandsson, who was perhaps trying to “set the tone” for his brother Daniel with Arch Enemy right after that. A great warm-up concert as usual, and a great band for anyone who loves violence and mosh pits from the bottom of their blackened hearts.

Setlist
Der Widerstand
To Drink From the Night Itself
Slaughter of the Soul
At War With Reality
The Colours of the Beast
Cold
Heroes and Tombs
El Altar del Dios Desconocido
Death and the Labyrinth
Blinded by Fear
The Night Eternal

Band members
Tomas Lindberg – vocals
Martin Larsson – guitars
Jonas Stålhammar – guitars
Jonas Björler – bass
Adrian Erlandsson – drums

The venue was already packed when the one and only ARCH ENEMY hit the stage and began their high-octane, incendiary concert, and within a few seconds the entire floor section was already turned into a massive circle pit for our total delight. The multi-talented frontwoman Alissa White-Gluz was absolutely brutal and unstoppable, reminding us all she was the only Canadian in this tour and, consequently, asking us all to show those Swedish guys how awesome Canadian metallers are. Their setlist was quite solid for the time they had available, mixing a few songs from their latest album Will to Power, released in 2017, with some of their older classics. Also, I guess I don’t need to say how brilliant both Michael Amott and Jeff Loomis were with their axes, right? And if you were there last night, I bet you know what the words Ravenous and Nemesis mean to your neck, elbows and throat.

Setlist
Set Flame to the Night
The World Is Yours
War Eternal
My Apocalypse
Ravenous
The Eagle Flies Alone
First Day in Hell
Saturnine
As the Pages Burn
Nemesis
Enter the Machine

Band members
Alissa White-Gluz – vocals
Michael Amott – lead guitars, backing vocals
Jeff Loomis – lead guitars, backing vocals
Sharlee D’Angelo – bass
Daniel Erlandsson – drums

AMON AMARTH

After all those insanely heavy and electrifying bands warmed us up really well on a not-so-cold Torontonian night, we were more than ready to join the berserkers from AMON AMARTH on their musical journey to Valhalla, and that journey was perfect from start to finish, no doubt about that. Playing a good chunk of songs form their 2019 opus Berserker, which by the way worked really well live as the whole album kicks ass, such as Raven’s Flight, Crack the Sky, Fafner’s Gold and one of my favorites of the night, the battle hymn Shield Wall, the Swedish horde spearheaded by Johan Hegg showed us everything they got, including a Viking ship, a Viking battle, a demonic entity that looked like a skeleton version of Loki, and their traditional beer drinking horn during the party anthem Raise Your Horns.

Not sure if you noticed what I’m about to say, but all my photos of the concert are really bad, and that’s solely because it was impossible to stand still and try to take any decent pictures in the floor section due to the never-ending, gigantic and brutal circle pits happening. There was a bit of everything into the pit, from giant Viking guys to tiny (but still violent) Chinese girls, proving how big Amon Amarth are getting and how their theatrical performance combined with their powerful music is attracting more and more people to their concerts. And what can I say about what the fans did during a good part of their all-time classic Twilight of the Thunder God? I would say more than half of the floor section simply sat down on the floor and started rowing all together, as if they were true Vikings on a Viking ship sailing towards battle! That was a memorable and extremely fun moment of the night (and I don’t recall seeing that happen anywhere else, unless it’s a new thing during Amon Amarth concerts that I’m not aware of), and something that only proves how strong the band has become since their inception.

The entire band was more than happy with the reception they got from us here in Toronto, smiling back to us and banging their heads nonstop, and only stopping all that devastation to say THANK YOU, TORONTO! a thousand times. If that wasn’t a statement that they’re coming back to our city again and again, and every single time with a bigger and better concert, I don’t know what would be. Would Amon Amarth be the next “metal giant” after dinosaurs like Iron Maiden, Judas Priest, Metallica and Slayer call it quits? Will those classic bands pass the torch to our beloved Swedish Vikings? Well, only time will tell, but based on the quality of their discography and, above all, the high energy and epicness of their live performances, they more than deserve that place among the metal gods. All hail Amon Amarth, and may Toronto witness their epic, heavy-as-hell metal hymns and onstage battles countless more times in the coming decades!

Setlist
Raven’s Flight
Runes to My Memory
Deceiver of the Gods
First Kill
Fafner’s Gold
Crack the Sky
The Way of Vikings
Shield Wall
Guardians of Asgaard
Raise Your Horns
The Pursuit of Vikings
Twilight of the Thunder God

Band members
Johan Hegg – vocals
Olavi Mikkonen – guitar
Johan Söderberg – guitar
Ted Lundström – bass guitar
Jocke Wallgren – drums

Album Review – Dö / Astral Death Cult (2019)

Saluting the great forces of nature and the void that surrounds us, Finland’s own riff-praising, cosmos-worshiping metal unity returns with another round of their raw northern “döömer”.

Hail Cosmos! We’re all döömed!

Helsinki’s own riff-praising, cosmos-worshiping trio of doom, the infamous and heavy-as-hell unity known as , is ready to stimulate and distort our senses once again with what they like to call “döömer” in their brand new opus entitled Astral Death Cult. And if you have absolutely no idea of what “döömer” means, let’s say it’s simply dark astral energy masterfully compressed by our beloved sonic triumvirate comprised of Deaf Hank on vocals and bass, Big Dog on the guitar and Joe E. Deliverance on drums into a unique northern mix of stoner, doom, sludge and psychedelic elements with hints of Death and Black Metal. Or is this still too complicated for your terrestrial mind?

Astral Death Cult is the second full-length album released by Dö and their fifth release since the band’s inception in 2013 in “Hellsinki”, following the path of reverberating sounds and distortions paved in their previous releases, those being their debut self-tiled EP from 2014, the EP Den from 2015, their first full-length installment Tuho from 2016, and the EP Astral: Death/Birth from 2017. However, while their core essence remained intact through the years, with all albums being recorded live to get the genuine dynamics of the trio on each track, the lyrical themes have evolved from mysticism, misanthropy and anti-religiousness towards saluting the great forces of nature and the void that surrounds us, matching their musical direction flawlessly and, consequently, providing the listener a truly unique experience while listening to the album’s 36 minutes of pure “dööm”.

Joe’s funereal beats kick off the three-minute invitation to emptiness and obscurity titled Intergalacticlude, where the bass by Deaf Hank sounds as dirty and raw as it can be, also bringing to our ears and minds somber vociferations and a menacing aura. After such killer start we have the superb Atmosfear, which kicks off in a truly Stygian, atmospheric way before Deaf Hank begins exhaling evil and fear through his bass and raspy vocals, exploding into ass-kicking Doom and Sludge Metal for our total delight. Just break your damned neck headbanging to this visceral hymn, while Big Dog’s Black Sabbath-inspired demonic riffs add an extra touch of evil to the music. And the pounding drums by Joe together with Deaf Hank’s malevolent bass take the lead in Drifting (In a Methane Ocean), showcasing over nine minutes of sluggish passages, a grey ambience, endless heaviness, and desperate vocalizations amidst embracing, minimalist guitar lines, smashing our heads ruthlessly. Put differently, this is exactly what happens when distortion, harmony and heaviness unite in the name of doom.

Their astral journey goes on in the also pulverizing Cosmic Communion, bringing elements from Experimental and Progressive Metal to their already multi-layered sound. I simply love the rumbling sounds Deaf Hank blasts from his bass while Big Dog keeps shredding his strings beautifully, turning it into the perfect soundtrack to a futuristic slasher flick as they keep jamming like there’s no tomorrow. Planet Eater couldn’t have started in a more menacing way, representing the epitome of old school Doom and Stoner Metal. Big Dog is on fire with his riffs and solos, while Deaf Hank barks and roars nonstop, and let me tell you their synchronicity with their stringed weapons is amazing, complemented by Joe’s slow and potent beats. And lastly, never letting the level of energy, rage and distortions go down they offer us the groovy and dark Beyond the Cosmic Horizon, where its bass and drums will make your brain tremble. Deaf Hank’s anguish gnarls get darker and darker as the music progresses, with the soulful solo by Big Dog being the icing on the cake in this excellent closing tune.

This precious gem of doom, or maybe I should just start writing “dööm” all the time from now on, can be relished in full on YouTube and on Spotify, but of course if you want to show your absolute support to Finland’s meanest and most demented trio you can purchase the album from their official BandCamp, from the Dust & Bones Records webstore, from the Lay Bare Recordings webstore, form Apple Music or from Amazon. Also, don’t forget to give them a shout on Facebook and to subscribe to their YouTube channel for more of their raw and classy music, because as you’re all already aware of, we’re all “döömed” in this rotten and decaying world, and there’s nothing we can do about that apart from banging our heads and raising our horns together with Deaf Hank, Big Dog and Joe E. Deliverance until our inevitable end.

Best moments of the album: Atmosfear and Cosmic Communion.

Worst moments of the album: None.

Released in 2019 Lay Bare Recordings/Mercyful Tapes

Track listing
1. Intergalacticlude 3:11
2. Atmosfear 5:50
3. Drifting (In a Methane Ocean) 9:18
4. Cosmic Communion 6:11
5. Planet Eater 5:43
6. Beyond the Cosmic Horizon 5:55

Band members
Deaf Hank – vocals, bass
Big Dog – guitar, backing vocals
Joe E. Deliverance – drums, backing vocals

Album Review – +MROME+ / Leech Ghetto (2019)

Back from the very depths of the underworld, this unrelenting Polish entity is ready to crush our senses once again with their unique and scorching fusion of Black and Death Metal.

Poland’s own Black and Death Metal entity +MROME+ is back from the very depths of the underworld once again to crush our senses with the unique and scorching music found in their brand new album, curiously entitled Leech Ghetto. Furthermore, as already expected (or not), the new opus by +MROME+, who are now a trio with the addition of bassist LV’s, joining lead singer and guitarist Key V and drummer P in their quest for heavy music, is completely different from their 2016 album Noetic Collision on the Roof of Hell, yet still maintaining the band’s core essence and heaviness intact, working as a new start and keeping the band’s unpredictability as high as possible just the way we like it. Add to all that the wicked guest vocals by Ataman Tolovy (from Polish Experimental Black Metal band Túrin Turambar) in a couple of songs, and there you have an excellent DYI album highly recommended for anyone in pursuit of innovative and obscure metal music.

And Key V’s guitar ignites the engines of the opening track titled The Rogue, a mid-tempo, dark tune perfect for breaking your neck headbanging, also presenting a very welcome thrashing twist that makes it truly incendiary. Then ominous riffs and beats permeate the air in Born Old, which sounds like a hybrid of the music by Obituary, Exodus and Celtic Frost, just to name a few (and to show you how insane it sounds), with P being very precise with his drums, delivering aggressiveness and intricacy and, therefore, being tailored for fans of 80’s and 90’s heavy music; whereas in Anti-Ant Entante the band ventures through more rockin’ lands, with Key V’s raspy roars and razor-edged riffs piercing your soul mercilessly while LV’s and P keep the ambience thunderous with their respective bass and drums.

Led by LV’s metallic bass, The City of Opax offers our ears a significantly different start from all previous songs, sounding melancholic and grim and evolving into a very introspective tune, proving once again how wide the band’s range is when crafting their music. Featuring the aforementioned Ataman Tolovy on guest vocals, the stylish Coffin Nail is a feast of demented sounds as if Faith No More went Death or Thrash Metal, showcasing steady beats, wicked gnarls and a feeling of insanity as its main ingredients, and the trio continues to extract Stygian sounds form their instruments in Detroit Daze, especially LV’s with his groovy jabs, bringing elements from Progressive Metal to their already multi-layered music. Not only that, all of its changes and variations turn it into a very pleasant musical journey that will certainly smash your mind in the best way possible.

Ataman Tolovy returns in Twarz Niezawisła (“an independent face” from Polish), perhaps the most obscure and atmospheric of all songs, blending the thunder from Doom Metal with alternative and experimental music, followed by Bellies Grow, and let me tell you that the second to last blast of insanity by +MROME+ sounds and feels it was taken straight from the 80’s while having a futuristic touch at the same time, as if The Misfits and Motörhead had a bastard son. Do you understand now how multi-layered their music is? Anyway, Key V’s riffs dictate the rhythm in this distinguished tune, while P doesn’t stop pounding his drums for our total delight. And LV’s and his rumbling bass kick off the closing tune Primordial Soup, bringing forward slashing guitars, in-your-face, straightforward beats and aggressive vocals, flowing darkly until its venomous ending. Can this song be added to the official soundtrack of a Tarantino movie, please?

In a nutshell, +MROME+’s Leech Ghetto, which will really soon (aka later this week) be available on Spotify for a full listen and on the band’s own BandCamp page for purchase, continues to pave the band’s path of madness while sounding fresh and distinct from their previous releases as already mentioned, leaving us all disoriented and eager for more of their music in the coming years. We just can’t predict at all what Key V and his bandmates have in mind for their next album, but again that’s the beauty of their music and I truly hope they never change while they keep always changing (if that makes any sense to you).

Best moments of the album: The Rogue, Coffin Nail and Detroit Daze.

Worst moments of the album: None.

Released in 2019 NRA

Track listing
1. The Rogue 5:11
2. Born Old 4:22
3. Anti-Ant Entante 3:56
4. The City of Opax 4:30
5. Coffin Nail 3:47
6. Detroit Daze 3:31
7. Twarz Niezawisła 3:56
8. Bellies Grow 4:03
9. Primordial Soup 5:38

Band members
Key V – vocals, guitar
LV’s – bass
P – drums

Guest musician
Ataman Tolovy – guest vocals on “Coffin Nail” and “Twarz Niezawisła”

Album Review – Tableau Mort / Veil of Stigma. Book I: Mark of Delusion (2019)

A spiritual journey exploring humanity’s fixation with knowledge, sacrifice and perfection in the form of atmospheric and emotional Black Metal.

Drawing on symbolic and thematic influences from Romanian Orthodox Christianity, Veil of Stigma. Book I: Mark of Delusion, the debut album by British Black Metal horde Tableau Mort, is a spiritual journey exploring humanity’s fixation with knowledge, sacrifice and perfection, which is often a path to madness. Recorded and produced by Jerry Sadowski and George Topor, mixed and mastered by Neil Haynes at Parlour Studios, and featuring a beyond obscure artwork by Alex Shadrin (Nether Temple Design), Veil of Stigma. Book I: Mark of Delusion will bring to your ears a truly atmospheric and emotional sound that is both melodic and melancholic, also mixing Orthodox chanting with frenzied screams to expand on the band’s macabre foundations.

Formed in 2017 in London, the band comprised of veteran musicians of the underground scene (all of Romanian origin), those being James Andrews on lead vocals, George Topor on the guitar, keys and backing vocals, Cristian Giurgiu also on the guitar, Marek Basista on bass and George Bratosin on drums and backing vocals, might describe themselves as a Black Metal band, but there are in fact a lot more aspects and layers to their sound, resulting in the modern and powerful music found in Veil of Stigma. Book I: Mark of Delusion. Not only that, the band also invests heavily on their onstage performance and attire, proving those servants of the dark are more than prepared to spread their blasphemous message all over the world no matter who their enemies are.

Darkness is already upon us in the melodic and boisterous opening track Impending Corruption, where atmospheric keys complement the slashing riffs by George Topor and Cristian while James leads the horde with his fiendish gnarls and screeches. After such ominous start it’s time for Fall of Man and its darkly poetic lyrics (“And I find in your face, a most unfamiliar maze / I gaze at the sky as the colour bleeds out of space / In this moment of grief I light myself ablaze”), a Black Metal mass with hints of classic Blackened Doom (which obviously makes it even more menacing) where George Bratosin sounds extremely precise and brutal at the same time on drums. And it seems Tableau Mort want to get darker and darker as the album progresses, just like what we’re able to witness in Carpenter Of Sorrow, with Marek’s low-tune, devilish bass lines building a thunderous base for James to thrive with his unearthly roars; whereas Broken On The Wheel is a sonic mass of Stygian and venomous sounds where George Topor and Cristian are absolutely infernal with their guitars, while George Bratosin alternates between blast beats and doomed, intricate passages for our vulgar delectation.

Leaning towards classic Norwegian Black Metal, the band offers us an explosion of the most aggressive and obscure sounds you can think of in Tapestry Sewn, where James and George Bratosin sound utterly demonic on vocals and drums, respectively, and also bringing the most obscure elements from old school Doom Metal, therefore being prohibited for the lighthearted.  The band’s guitar duo keep crushing their sulfurous strings in Mother’s Promise while Marek and George Bratosin make the earth tremble with their weapons, inspiring us all to bang our heads and raise our horns to this ode to all things evil. Last but not least, a gargantuan amount of heaviness flows from all instruments in Beyond His Gaze, reeking of despair and insanity and showcasing captivating, poetic lyrics (“In Every blade of grass that shoots from the ground / The animals that graze, the parasites that feed / The rays of the sun that penetrate the darkness / The breeze that carries the rain”). Furthermore, the beyond demonic growling by James adds an extra touch of malignancy to this devilish aria, putting a climatic ending to such astounding album.

Tableau Mort’s lecture in Romanian Orthodox Christianity in the form of somber and disturbing Black Metal can be appreciated in its entirety on YouTube and on Spotify, but of course if you want to show your true support to those UK metallers simply follow them on Facebook and purchase your copy of Veil of Stigma. Book I: Mark of Delusion from Loud Rage Music’s BandCamp or webstore, as well as from Apple Music, Amazon or Discogs. Tableau Mort are definitely pinning the entire UK on the worldwide map of Black Metal with their music, and based on their skills, passion for heavy music and creativity, they have the potential to become one of the references of the genre in the coming years, leaving their mark already upon humanity with Veil of Stigma. Book I: Mark of Delusion, and leaving us eager for more of their cryptic creations.

Best moments of the album: Fall of Man and Tapestry Sewn.

Worst moments of the album: None.

Released in 2019 Loud Rage Music

Track listing
1. Impending Corruption 4:32
2. Fall of Man 6:17
3. Carpenter Of Sorrow 4:37
4. Broken On The Wheel 4:55
5. Tapestry Sewn 5:02
6. Mother’s Promise 4:41
7. Beyond His Gaze 6:18

Band members
James Andrews – lead vocals
George Topor – guitar, keys, backing vocals
Cristian Giurgiu – guitar
Marek Basista – bass
George Bratosin – drums, backing vocals