Album Review – The Promise Of Plague / The Tomb Of Lost Lovers (2019)

The debut album by this American quartet is an obscure fusion of black, industrial, punk and electronic, and you’ll simply love this style known as “Electro Black”.

Featuring members and ex-members of bands like Abominant, Fatal Step, Astrum Empyrean Asunder, Absence of Faith, Märcoda and Assisting Sorrow, the Louisville, Kentucky-based four-piece Industrial Black Metal entity known as The Promise Of Plague is back in 2019 with their debut full-length opus entitled The Tomb Of Lost Lovers, a huge step forward for the band in terms of creativity, strength and overall sound production compared to their 2016 demo Sleepwalking Into Armageddon. Comprised of Jim Higgins and Ashley Vega on vocals, Jerry Barksdale on guitars, keys and programming, and Chris Dalton on bass, The Promise Of Plague play an obscure and piercing fusion of Black and Industrial Metal infused with Punk Rock and electronic elements, or as some people like to say, they play a fairly new style called “Electro Black”.

And their Electro Black becomes already crystal clear in the opening track You Became My Noose, ignited by cutting guitars and electronic beats intertwined with whimsical keys, with Jim alternating between demonic roars and clean, anguished vocals and also presenting symphonic nuances in the background as a welcome add-on. Tim keeps gnarling in great Black Metal fashion in The Quiet, while Jerry slashes his guitar and Ashley brings some finesse to the music with her vocals in a short and sweet display of modern Industrial Black Metal; followed by These Stones Were Meant To Be Thrown, where its imposing and rockin’ vibe reminds me of the primeval days of the unparalleled Cradle of Filth. Furthermore, Jerry and Chris are ruthless with their stringed weapons, while Jim and Ashley make an amazing duet once again exhaling anger, passion, melancholy and darkness from their vocal lines, sounding at the same time furious and doomed. And what can I say about their cover version for Venom’s Warhead? It’s just as raw and infernal as the original one released in 1984 (check it out HERE), showcasing a great job done by Jerry with his scorching hot riffs and the hints of Doom Metal added to the musicality to make it more demonic.

Then leaning towards the classic Doom Metal played by Black Sabbath and Celtic Frost we have Insolent, sounding and feeling considerably different from the previous songs of the album and presenting another spot-on performance by both Jim and Ashley on vocals. In other words, it’s dark, heavy and damned, ending in the most melancholic and beautiful manner you can think of. Chris’ low-tuned bass lines fill every empty space in the somber Mine Is A Place Called Hell, where Ashley’s clean vocals make a very interesting paradox with Jim’s hellish screeches in what’s perhaps the most electronic of all songs, perfectly depicting what Electro Black is all about. And lastly, the title-track Tomb Of Lost Lovers is a rumbling and dancing hybrid of classic Black Metal with electronic music, with Jerry bringing tons of epicness with his keys. Not only that, it should work really well at a dark electro party, with all band members delivering sheer aggression and electricity form their respective instruments.

I guess after reading this humble review of The Tomb Of Lost Lovers you got really curious about what Electro Black is, right? If your answer is yes, go check what The Promise Of Plague are up to on their official Facebook page, and grab your copy of the album directly from the band’s own BandCamp page. In a nutshell, The Promise Of Plague might not be reinventing the wheel with their fusion of metal and non-metal styles, but they have certainly unleashed an interesting and entertaining beast of heaviness, fury and darkness with their debut album, pointing to a very healthy future for the quartet and, who knows, inspiring more underground musicians who are starting their careers in heavy music to venture through the realms of Electro Black, a subgenre of metal that will never go mainstream without any doubt, and we’ll always love it that way.

Best moments of the album: These Stones Were Meant To Be Thrown and Insolent.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. You Became My Noose 3:54
2. The Quiet 1:53
3. These Stones Were Meant To Be Thrown 4:38
4. Warhead (Venom cover) 3:03
5. Insolent 5:44
6. Mine Is A Place Called Hell 3:18
7. Tomb Of Lost Lovers 3:50

Band members
Jim Higgins – vocals
Ashley Vega – vocals
Jerry Barksdale – guitar, keys, electronics
Chris Dalton – bass

Album Review – Of Blood and Mercury / Strangers EP (2019)

A mix of dark pop and ambient with a touch of synthetic nostalgia from the 80’s by a Belgian duo not afraid of experimenting in music, giving us a hint of the concepts and harmonies to be feature on their upcoming album.

Brought into being in early 2018 in the city of Brussles, Belgium by vocalist Michelle Nocon (Bathsheba, Leviathan Speaks, Serpentcult) and multi-instrumentalist Olivier Lomer-Wilbers (Enthroned, Emptiness), Avantgarde Noir Rock project Of Blood and Mercury is not exactly what you would expect from the fusion of musicians from extreme bands such as Enthroned, Pro-Pain, Bathsheba and Luminance, but that doesn’t mean it’s bland or tiresome. Quite the contrary, Michele and Olivier united their creativity in a very vibrant and detailed musical style that could be described as a mix of dark pop and ambient, with a touch of synthetic nostalgia from the 80’s.

As their first adventure through the realms of avantgarde music, Of Blood and Mercury are offering us an enthralling three-track EP entitled Strangers, where Michelle and Olivier have the support of bassist David Alexandre Parquier (Soror Dolorosa) and drummer Jonas Sanders (Emptiness, Pro-Pain, Resistance) to help them give life to their very distinct project. Recorded in the caves of Brussels’ Blackout Studio, Strangers gives us a hint of the concepts and harmonies to be feature on their upcoming 10-track album to be released later this year, with the melancholic tones of Michelle’s voice beautifully depicting the shadows that drag the wonders of nature to their ghostly forms.

Ethereal sounds ignite the mesmerizing Strangers, where you’ll feel embraced by Michelle’s vocals while she recites the song’s delicate lyrics (“Dusty words remember a lost cause. A feeling of a half filled glass. / Half poison, half wine. Half bitter, half sweet. some steel, some rust, some victory.”), with an extra kick added to the musicality thanks to the precise drums by Jonas. Put differently, this is first-class heavier-than-usual Dark Wave penetrating deep inside our hearts and souls, which can also be said about the following tune, titled Walk the Void. Inspired by the music by Enya with a modern and melodic twist, Of Blood and Mercury generate an inebriating atmosphere throughout the entire song, with Olivier doing a great job with his precise synths, keys and guitar lines. Furthermore, it definitely feels like the band is focusing a lot more on the atmosphere rather than just the music itself, and the final result is absolutely amazing. And the last song of the EP, Estranged, continues to wander between the rock and electronic genres in a very gentle and serene way, inviting us to simply close our eyes and let the hypnotic waves crafted by Michelle, Oliver & Co. invade our senses. In addition, some people like to say that musicians are the poets of the modern era we’re living in, and based on the lyrics crafted by Michelle and Olivier that statement is more than valid (“Estranged one, / in oblivion. / The disease has sprung. / Wear the mask of Cain. / ‘Cause you still haven’t learned to exit the dream. / And I still feel numb. / Estranged one, / in oblivion. / Symmetry gone wrong, / infertile brain.”).

You can listen to the entire EP by clicking HERE, follow Of Blood and Mercury on Facebook, and obviously show your true support to this classy duo by purchasing their debut EP directly from their BandCamp page. Now it’s just a matter of waiting for a full-bodied release by Of Blood and Mercury in the coming months, and until then we can satisfy our craving by listening to Strangers again, again and again, letting our minds and souls wander through the vast and melancholic lands of the distinct Avantgarde Noir Rock presented to us all by two veterans of the extreme music scene who are not afraid of experimenting and trying new musical styles and nuances, consequently showing the world there is no such thing as boundaries for musicians who create music from the bottom of their hearts.

Best moments of the album: Strangers.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Strangers 4:54
2. Walk the Void 5:30
3. Estranged 4:58

Band members
Michelle Nocon – vocals, programming
Olivier Lomer-Wilbers – guitars, keyboards, programming

Guest musicians
David Alexandre Parquier – bass
Jonas Sanders – drums, percussion

Album Review – Rage Of Light / Imploder (2019)

A contrast made of light and rage in the form of an action-packed album of trance music and Melodic Death Metal.

A contrast made of light and rage. That’s exactly what you’re going to get in Imploder, the debut full-length album by Swiss Electronic Groove Metal unity Rage Of Light, the brainchild of vocalist and keyboardist Jonathan Pellet, known for his past works with Symphonic Power Metal band Trophallaxy/Dysrider. Offering a hybrid of trance and Melodic Death Metal, a unique combination of sounds that can be labeled as “Trance Metal”, Rage Of Light will stimulate all your senses with their brand new opus, showing why the multi-talented Jonathan, together with the gorgeous Melissa Bonny (Evenmore, Warkings, Ad Infinitum) on lead vocals and the talented Noé Schüpbach on guitars and bass, are more than ready to conquer the world of heavy music with their creativity, electricity and, of course, a lot of rage.

Jonathan came up with the idea to create a fusion of trance and metal music in 2007, but due to being busy with other projects it took almost a decade for the idea to fully bear fruit. Finally, in 2015, he recruited Melissa and Noé to complete the band, releasing in 2016 their debut five-track EP Chasing a Reflection, followed by a few very interesting singles in 2017 and 2018 including cover versions for Amon Amarth’s battle hymn “Twilight Of The Thunder God” and Lady Gaga’s hit “Judas”. After receiving very positive feedback from fans and critics from all over the world through the years, it’s time now in 2019 for Rage Of Light to reach new heights with Imploder, featuring a modern artwork by Brazilian artist Gustavo Sazes, cellist Joëlle “Jo” Graz (Trophallaxy/Dysrider) as a very special guest musician and, above all, three superb musicians who perfectly represent the union of endless talent and a deep passion for music.

The very atmospheric and entrancing intro Light captivates our senses from the very first second, dragging us to Rage Of Light’s lair of heavy music in Enraged, where the trio begins distilling their refined techniques and ethereal sounds, with Melissa’s hypnotizing vocals matching flawlessly with the song’s epic ambience and crushing beats, not to mention Noé’s amazing guitar solo as the icing on the cake. Following such powerful start, keep banging your head to Melissa, Jonathan and Noé to the heavy-as-hell Fallen, a beautiful fusion of modern-day Melodic Death Metal with trance music, or in other words, a rebellious hymn by Rage Of Light led by Jonathan’s whimsical keys and synths, all complemented by his own rabid growls. And in their 2018 single I Can, I Will we’re treated to a more frantic and electrified version of their Trance Metal, with both Melissa and Jonathan kicking some serious ass with their powerful roars, giving life to the song’s poetic lyrics (“My eyes drag me down / When I look around and see what I’m not / Is there, anywhere, a stairway to the top? / Watch me, never again / Will I look down and feel this pain / Cause now, step by step I start to climb and leave these cries behind”).

Experimenting even more with electronic and eccentric sounds, the band offers our ears another dancing fusion of 90’s trance with Heavy Metal infused with Symphonic Metal nuances in Away With You, where it’s quite impossible to stand still to its enfolding rhythm, while In The Shadow is another solid composition featuring classic beats and riffs mixed with the band’s trademark modernity (it falls flat after a while, though), with Melissa stealing the spotlight once again with her unique voice. Then the gentle and potent cello by Jo brings a touch of finesse to the beyond fantastic and insurgent Battlefront, with Melissa alternating between her crisp clean vocals and her she-demon roars in what’s probably the most detailed and multi-layered song from the entire album; and get ready for a trance-meets-metal party in the instrumental title-track Imploder, courtesy of Jonathan and Noé, who together generate a dense, mechanized and metallic atmosphere for admirers of the genre. Furthermore, despite the fact the drums in the entire album are programmed, they still sounds very organic, therefore smashing your skull mercilessly.

With lyrics sounding like a blend of cult flicks such as Terminator and Night of the Living Dead (“Our lives, threatened by this viral disease / We thought we could handle this affliction / No cure will stop the infection to spread / Condemned by our evolution”), Mechanicals, also previously released as a single, is a movie score-inspired extravaganza showcasing intricate guitar lines, pounding drums,  tons of insanity and a futuristic vibe in over seven minutes of first-class modern metal music, leaving us completely disoriented before Nothingness closes the regular version of the album, with Jo returning with her somber cello to add her share of melancholy and serenity to Rage Of Light’s vibrant music while Noé brings rage to the overrall result with his riffs, flowing smoothly until its delicate grand finale. And please I beg you to go for the deluxe edition of Imploder, as you’ll be absolutely stunned by the bonus track Twilight Of The Thunder God, their cover version for Amon Amarth’s most powerful tune of all time in my opinion (you can check the original version HERE). I saw somewhere a guy saying this version should be called “Twilight of the Thunder Goddess”, and I agree one hundred percent as Melissa is on her more-than-perfect “beast mode”, resulting in a flawless performance by one of the most versatile singers of the new era of metal music.

If you still can’t imagine how the flammable fusion of such distinct styles like trance and Melodic Death Metal sounds like, you can take a full listen at Imploder on Spotify, but in case you’re already familiar with (and addicted to) Rage Of Light’s breathtaking music, don’t forget to follow Jonathan, Melissa and Noé on Facebook and to purchase your copy of their excellent new album from their own BandCamp page, from the Napalm Records’ webstore (in Europe or in the United States), or from your regular retailers like iTunes and Amazon. In the end, no one knows for sure if Rage Of Light play a heavier-than-usual version of trance music, or a modernized and electronic version of Heavy Metal, and that very interesting contrast is what makes their music so unique and vibrant. That’s the beauty of it, don’t you agree?

Best moments of the album: Fallen, Battlefront, Mechanicals and Twilight Of The Thunder God.

Worst moments of the album: In The Shadow.

Released in 2019 Napalm Records

Track listing
1. Light 1:48
2. Enraged 5:01
3. Fallen 4:32
4. I Can, I Will 4:36
5. Away With You 3:50
6. In The Shadow 6:47
7. Battlefront 4:30
8. Imploder (Instrumental) 5:58
9. Mechanicals 7:17
10. Nothingness 5:40

Digipak Edition/iTunes/Amazon bonus track
11.Twilight Of The Thunder God (Amon Amarth cover) 4:06

Band members
Melissa Bonny – lead vocals
Jonathan Pellet – vocals, keyboards, synth, drums programming
Noé Schüpbach – guitars, bass

Guest musician
Joëlle “Jo” Graz – cello

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

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

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

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

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

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

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

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

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

Worst moments of the album: Dangerous Excuses.

Released in 2017 Independent

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

Bonus track
13. Dead Ashore We Lay 8:49

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

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

Album Review – Graveyard Strippers / Crawling (2017)

This creepy Canadian quartet brings to you the perfect soundtrack to your next party, an experimental and never-ordinary crossbred of Industrial, Gothic and Punk Metal with elements from rock, pop and electronic music.

A phoenix reborn from its ashes. That’s how Canadian Industrial Metal critters Graveyard Strippers call themselves, being born in Montreal, Quebec in 2013 with guitarist Riff (Projekt F), vocalist Holy Decay (Gotherfall, Magnum Stallion) and bassist Carl Puzzle (Sade Slavey). Since their creation, Graveyard Strippers recorded three excellent EP’s, those being Burn My Soul in 2013, Free The Monsters in 2015, which was by the way when the band recruited Dany Burton (Projekt F) as their new permanent drummer, and Burn The Monsters in 2016, culminating with the release of their first ever full-length spawn, the idiosyncratic and rousing Crawling, now in 2017.

The music by Graveyard Strippers might be considered an experimental and never-ordinary crossbred of Industrial, Gothic and Punk Metal, spiced up by hints of Rock N’ Roll, Hard Rock and even electronic and pop music. And let me tell you that those four rockers do it almost to perfection, sounding at the same time sexy and gruesome, gentle and aggressive, straightforward and progressive. You’ll notice that each one of the twelve songs featured in Crawling, which by the way portrays a fantastic artwork by renowned Canadian illustrator Felix LaFlamme, are independent from each other, presenting a unique sonority, but that they need each other for the whole album to make sense to your ears. Well, as you can see it’s not an easy task to summarize the work by Graveyard Strippers in just a few lines, and that’s why I recommend you hit play and enjoy their industrialized and sensual sounds in your own way.

The eerie and dark intro Filth invites us to the demented world ruled by Graveyard Strippers, before an industrial and metallic feast begins in full force with Broken, a song highly recommended for fans of Rammstein and Ministry where Holy Decay bursts his lungs by screaming in an insane and rabid way. After that frantic hurricane of industrialized sounds the bands offers us a more melodic tune titled Pretty, blending Gothic and Industrial Rock with elements from Neue Deutsche Härte. Moreover, Riff lives up to his monicker by delivering truly catchy riffs, while Dany keeps the song’s pace and speed at a very pleasant level with his precise beats. And then we have the title-track Crawling, which begins in a dark 80’s Gothic Rock and Metal-inspired way, gradually evolving into an imposing musicality led by the deep and lunatic vocals by Holy Decay, remaining vibrant until its climatic ending.

Featuring the seductive Natasha Nebula as guest vocalist, Freak Show sounds a lot more mechanized and sexier than its predecessors, presenting the darkest and most depraved form of Industrial Metal you can think of. In addition to that, Riff and Dany do a great job with their samples and electronic sounds, turning it into the perfect soundtrack for a real-life freak show. And if you think that after such amazing song you’ll be free from Natasha’s devilish voice, you’re absolutely wrong, as she’s back with the band in Deadsex, an ominous blast of Neue Deutsche Härte with Gothic Rock where the deranged screams by Holy Decay create a gripping paradox with the smoother but still diabolical moans by Natasha, not to mention the song’s first-class official video which perfectly epitomizes what Graveyard Strippers are all about. The “piercing assembly line from hell” titled Apocalypse Now brings forward another eccentric intro that morphs into a fantastic Industrial Metal extravaganza, showcasing rabid growls mixed with heavy-as-hell riffs and tons of wicked elements in the background in what sounds as a hybrid of Marilyn Manson and Ministry; whereas their electronic vein arises stronger than ever in Walking Dead thanks to the excellent job done by Riff and Dany once again, while Carl Puzzle adds his share of heaviness to the song with his sick bass lines, keeping the album at a high level of eccentricity.

Savior is another modern Industrial Metal composition led by the somber vocals by Holy Decay, despite not feeling as crushing and vibrant as the rest of the album, sounding a bit repetitive at times. On the other hand, Krash This Up is one of the weirdest and most fun creations by this talented quartet that should work really well if played live. Dany is simply amazing with his beats, being flawlessly accompanied by the rest of the band during the song’s two minutes of insanity. Then in King Me the band gives a lesson in how to blend Industrial Metal with Punk Rock, offering the listener a neck-breaking, electrified tune where Riff steals the show with his sensational guitar lines. Needless to say, this is another serious candidate to be part of their live performances. And lastly, madness takes control of the band in the closing tune of the album, named Serial Killer, where symphonic elements from Gothic Metal are added to create an even crazier atmosphere. Furthermore, Holy Decay sounds like a demonic entity with his Stygian gnarls, while Riff and Carl keep bringing thunder to the musicality in this top-notch ending to such electrified album.

The somber and bewitching realm of Graveyard Strippers can be further explored through their Facebook page and YouTube channel, and you can listen to and buy Crawling on Spotify, at their own BandCamp page, on iTunes, on Amazon or at the Onkyo Music webstore. Let’s say that, if you were desperately looking for the best and darkest soundtrack to your next Halloween, Gothic, Dark Electro or any other type of party not recommended for the ordinary person, I believe your hunt is finally over, as Graveyard Strippers are more than ready to put you and your guests into a lustful and mechanized trance with the high-end music found in Crawling.

Best moments of the album: Broken, Freak Show, Apocalypse Now and Serial Killer.

Worst moments of the album: Savior.

Released in 2017 Independent

Track listing
1. Filth 1:04
2. Broken 3:09
3. Pretty 3:40
4. Crawling 4:08
5. Freak Show (feat. Natasha Nebula) 3:29
6. Deadsex (feat. Natasha Nebula) 3:51
7. Apocalypse Now 4:07
8. Walking Dead 3:50
9. Savior 4:02
10. Krash This Up 2:07
11. King Me 2:46
12. Serial Killer 4:48

Band members
Holy Decay – vocals
Riff – guitars, programming, backing vocals
Carl Puzzle – bass, backing vocals
Dany Burton – drums, programming, backing vocals

Guest musician
Natasha Nebula – female vocals on “Freak Show” and “Deadsex”

Album Review – Novallo / Novallo II EP (2015)

A wicked fusion of metal, rock, pop, electronic, jazz and tons of other contrasting genres, crafted by a talented and promising American band.

Rating4

cover artRanging from the delightful turmoil brought forth by Progressive Metal to the catchy tunes from modern Pop/Rock, the vibrant experimentations by American Alternative/Experimental Metal band Novallo will definitely hit you like a bullet train at full speed and put you to dance, bang your head or simply move your body in any unconventional way you might enjoy. And let me tell you that such a weird sounding ends up making the task of putting a label to Novallo extremely hard. I personally can’t say if they’re a pop version of Dream Theater or a heavier version of Justin Timberlake, if not both at the same time.

Founded in the city of Columbus, Ohio (the 15th largest city in the United States) in 2006, Novallo released their self-titled debut EP in 2012, earning them some considerable recognition and appreciation by a growing fan base, as well as a spot on the 2015 edition of the Rock on the Range festival (as the only unsigned band on the bill, by the way), playing on May 16 alongside renowned acts such as  Saxon, Ministry, Babymetal, Godsmack, In Flames and Judas Priest. Now, after beginning to solidify their path to stardom, they’re back with a brand new EP entitled Novallo II, another wicked fusion of unlike music genres crafted by these talented and professional musicians.

How crazy, electronic and innovative can an intro be? Take a listen at Wake and you’ll see, right before Betty Phage Goes to Bronxton offers you a  unique mix of Alternative and Progressive Metal with hints of Jazz and electronic music. Put differently, it’s a very fun tune that’s appealing and complex all at once, something not so common in music nowadays. Drummer Nick Salvatore kicks ass behind his drum set hands down, which is also the case in the even more electronic I AM, a well-crafted rock-ish version of dance music where it’s pretty easy to notice their influences from the King of Pop Michael Jackson.

novalloA lot heavier than all other tracks from the EP, Sideways Bird nicely blends elements from Groove Metal with Alternative Rock. Besides, I dare you to try to make any sense out of the song’s loco lyrics (“First ride hitched on a glitch – am I coming or going? / Insanity photographed consciousness flowing. / Discount tricks shaped like bits from the back corner store man. / Liquid crime – amplified to extract and delete even more.”). In contrast, Give Gravity a Choice is significantly smoother and more progressive, with its calm passages and stronger soundings creating together a relaxing environment enhanced by the solid vocals by Sam Gitiban, who provides the song all the necessary energy and balance.

Showcasing freakish electronic effects that sound like something you would find in a Mario Bros. videogame, White Phoenix keeps the madness rolling thanks to the sick riffs by Gino Bambino and the precise breaks by Nick Salvatore, not to mention the brilliant work done by Brandon Johnson with his metallic bass lines. And although the movie-ish outro Sleep might put an end to the album, we all know the band is just starting their promising journey through the world of eccentric music.

To sum up, what Novallo has to offer in Novallo II, available at their BandCamp page (or you can take a peek at what the band can do at their YouTube channel, if you prefer), is indeed unique, or maybe I should say substantially distinct when compared to almost any other band or artist you can think of. Their music will most probably suit you no matter if you’re one of those orthodox fans of Progressive Metal that looks down on anything that doesn’t contain a billion intricate notes and riffs, or if you don’t give a shit about complexity as long as you can feed your inner dancer with the music. In other words, whilst you have a craving for a special type of music, Novallo definitely have the righteous tunes to fulfill all your needs.

Best moments of the album: Betty Phage Goes to Bronxton and Sideways Bird.

Worst moments of the album: None.

Released in 2015 Independent

Track listing
1. Wake 0:29
2. Betty Phage Goes to Bronxton 3:07
3. I AM 3:35
4. Sideways Bird 3:35
5. Give Gravity a Choice 5:18
6. White Phoenix 4:21
7. Sleep 1:05

Band members
Sam Gitiban – vocals
Gino Bambino – guitar
Brandon Johnson – bass
Nick Salvatore – drums, percussion