Album Review – Behind the Shadows / Demons (2017)

Offering fans of heavy music an amalgamation of diverse metal genres and subgenres, this very interesting project hailing from Greece is ready to rumble with their brand new full-length album.

Here’s a very interesting project hailing from the always prolific city of Alexandroúpoli, the capital of the Evros regional unit in East Macedonia and Thrace, in Greece, offering fans of heavy music a unique amalgamation of diverse metal genres and subgenres to the point each one of their songs sound very distinct when compared to their other creations. I’m talking about Symphonic/Power Metal act Behind the Shadows, who started as Mind Mirror in the year of 1997, but who since 2008 has been blasting metal music under their new name for admirers of both heavier sounds and more melodic lines, as you’ll be able to see in their brand new album, titled Demons.

Comprised of Gian, the band’s mastermind who takes care of guitars and bass, and Pasxalis Nikiphoridis on vocals and on lead and rhythm guitars, Behind the Shadows had some fantastic support from several musicians from the Greek scene to bring Demons into being. For instance, the album features guest vocalists Zion (Crossover, Hocus) and Christos Kaliatsas, and guest guitarists Dimitris Haidemenos (Lost in Neverland), Stratos Vrachiolias (Defision), Sotiris Pavlidis (Bacchanalia) and Kyriakos Mpouloumpasis, all providing their personal share of electricity and feeling to the music found in the album. As aforementioned, the final result in Demons is really good, with the music being cohesive, diverse and, above all, as metal as it can be.

And their heavy and epic symphony begins in full force in the opening track, the excellent Become The Apocalypse, where the dynamic duo Gian and Pasxalis do a great job with their potent vocals and riffs, specially during the song’s catchy chorus, not to mention the series of kick-ass solos by guest guitarists Dimitris, Stratos and Kyriakos. Coma To Hell, also featuring Kyriakos on lead guitar, presents a darker and more lancinating vibe, sounding like the early days of Metallica and Megadeth with a Death Metal twist, with the band relying on the song’s brutal drumming as their heavy artillery, therefore enhancing the impact of this hellish creation considerably; while in the vicious Power Metal hymn Piece Of Shadows, Gian and Pasxalis keep blasting pure metal from their guitars, with the harsh growls bringing more obscurity to the overall result. Moreover, pay good attention to the traditional Heavy Metal guitar duo the likes of Iron Maiden during the whole song as the icing on the cake. And featuring guest musician Zion on vocals adding an extra touch of “thrashiness” to the music with his hardcore attitude, The Beast Rises From The East brings to the listener a vibrant and heavy-as-hell sonority, with both Gian and Pasxalis delivering slashing riffs and bass lines nonstop.

Zombie Flesh Eaters, featuring Christos on vocals, is another kick-ass hybrid of Power Metal and more extreme forms of music such as Death Metal, sounding visceral from start to finish with some electrifying guitar lines by Gian and Pasxalis, keeping the momentum going for the title-track Demons, where cavernous growls bring ferocity to the music while the guitars bring melody and balance to the final result, feeling quite epic at times, not to mention the awesome contribution by Stratos and Sotiris on lead guitar. Then elements from Thrash Metal and Hardcore can be seen in the fast-paced tune Necrophilia, a devastating tune perfect for their live performances with a frantic flow, followed by Holy Lie, perhaps the song with the highest amount of extreme elements from Death and Black Metal, in special it’s demonic drumming and deep growling. Furthermore, their work on guitars is simply superb in this dark and melodic chant.

Crucified For The Innocences keeps the album’s quality at a good level through its flammable riffs, hellish growls and piercing rhythm, with once again the guitar solos stealing the spotlight so thrilling they sound. Moreover, there’s not even a single second of peace during the whole song, which is always a good thing in metal. Sweet Darkness, the second to last track in Demons, definitely lives up to its name, with its eerie intro morphing into a tempest of heaviness and aggressiveness led by its gruesome growls, culminating in an amazing Extreme Metal extravaganza; and lastly, Nightmare is as vile and demonic as its predecessors albeit not as creative, falling flat after a while but nothing that could truly harm the overall quality of the album.

In summary, it doesn’t really matter if you’re a fan of traditional Heavy Metal, dark and piercing Black Metal, modern Death Metal or Symphonic Metal, as Behind the Shadows will always have good music to offer you from their metallic arsenal. You can take a very detailed listen at their music at their BandCamp page, where by the way you can purchase Demons, as well as on ReverbNation, and continue to support bands like Behind the Shadows to keep underground Greek metal (and of course metal in general) alive and on fire.

Best moments of the album: Become The Apocalypse, Piece Of Shadows, Demons and Sweet Darkness.

Worst moments of the album: Nightmare.

Released in 2017 Independent

Track listing
1. Become The Apocalypse 5:18
2. Coma To Hell 4:34
3. Piece Of Shadows 4:51
4. The Beast Rises From The East 6:51
5. Zombie Flesh Eaters 4:13
6. Demons 4:54
7. Necrophilia 4:09
8. Holy Lie 4:29
9. Crucified For The Innocences 5:22
10. Sweet Darkness 3:48
11. Nightmare 4:04

Band members
Gian – rhythm guitars, bass
Pasxalis Nikiphoridis – lead & rhythm guitars, vocals

Guest musicians
Dimitris Haidemenos – lead guitar on “Become The Apocalypse”
Christos Kaliatsas – vocals on “Zombie Flesh Eaters”
Stratos Vrachiolias – lead guitar on “Become The Apocalypse” and “Demons”
Sotiris Pavlidis – lead guitar on “Zombie Flesh Eaters”
Kyriakos Mpouloumpasis – lead guitar on “Become The Apocalypse” and “Coma To Hell”
Zion – vocals on “The Beast Rises From The East”

Advertisements

Album Review – Cult of Erinyes / Tiberivs (2017)

Inspired by the Roman Emperor Tiberius, here comes a ruthless Belgian Ritualistic Black Metal horde with their brand new and utterly fantastic concept album.

One of the most talented and prominent bands of the Extreme Metal independent scene in Europe, Belgian Ritualistic Black Metal horde Cult of Erinyes, is back with their unsparing music in the form of a concept album titled Tiberivs, inspired by the Roman Emperor Tiberius, who ruled one of the greatest empires of mankind from 14 AD to 37 AD. It doesn’t matter if you’re a newcomer to the dark world of this Brussels-based band or if you’re already a fan of works such as A Place to Call My Unknown, Blessed Extinction and their latest EP Transcendence, the music found in Tiberivs will leave scathing scars on your skin and poison your blood, leaving you eager for more of the band’s mordant creations.

As commented by the band’s mastermind Corvus, “I always perceived Cult of Erinyes as a portal that allows my mind to connect with different universes. I had, from the very beginning of the creative process, to immerse myself in a definite time period – the Ancient Roman Empire, Tiberius era. Each song, melody, and riff had to refer to a variation of emotions forgotten by time itself. What sounded like a fantastic challenge ended as a nightmare where my subconscious got lost. Desperation, frustration, and madness raised dangerously. This third album is our most progressive effort so far, but also contains radical and intense parts sublimed by Mastema’s urges for ferocity. We both went as far as we could on this album and were lucky to be helped in our task by longtime devoted musicians Algol (bass, additional guitars), Baron (lead guitars, artwork), and Déhà, who handled the drums, some guitars/keys, and the the mix/mastering process. Last but not least, Alex (Kall, Hypothermia, Craft) offered us a five-star bass-line on the intro and Marc DeBacker, my brother in Wolvennest, added some crystal-clear guitar sounds on the end of the album. This album also marked the end of my longtime musical and spiritual journey with Mastema. I can only but respect his decision and salute the energy he shared on Tiberivs. This concept album was his idea, and I’m glad we end our collaboration on this high and digressive note. He will be replaced for future live and recording duties by the most extreme and mentally extreme singer I know, Déhà, who is known for his work with Yhdarl, Maladie, We All Die (Laughing), and shitloads of other good projects. For all those reasons, I will hate and cherish this album. For Centuries To Come.”

In the opening track, titled Archaea, 41 B.C., fires burn amidst some eerie voices and moans, being slowly joined by the band’s atmospheric instrumental and topped off with a narration about how Romans were raised by wolves and that wolves are born to hunt and kill, resulting in a beyond ominous intro to the devastating Nero (Divine Providence), offering the listener the band’s old school Black Metal with their traditional ritualistic twist in the form of a sensational tempest of slashing guitars and blast beats. Moreover, not only Mastema sounds more devilish and brutal than ever, but the song’s frantic sounds are effectively blended with its ambient passages, turning it into a full-bodied blackened experience that’s definitely worth a listen. And in Casvs Belli, which means “an act or situation provoking or justifying war”, we’re treated to an explosion of extreme music with the demonic riffs by Corvus together with Algol and Baron generating a truly belligerent atmosphere, all enhanced by the infernal growls by Mastema and the obscure keys by Corvus.

Bred for War connects instantly and perfectly with the previous song to the point they can even be considered one major composition split in two, with sheer bestiality flowing from the awesome drumming by Déhà. In other words, this is straightforward Black Metal perfect for Corvus and his horde to tell the story proposed in the album; followed by Loner, a song that kicks off like a raging bull, smashing everything through the blast beats by Déhà and the fast and cutting guitars by Corvus, with Algol strengthening the song’s melody with his bass lines. The final result couldn’t sound more amazing, a furious and occult creation by Cult of Erinyes with an excellent job done by Mastema giving life to the song’s dark lyrics. Germanicvs, with its almost 8 minutes of blackened sounds and a demonic aura, keeps up with the foundations of Black Metal, being one of the most obscure and dense of all songs of the album led by the sustained drums by Déhà and spiced up by dark vociferations by Mastema.

An eerie, dark intro ignites another menacing creation by this talented Belgian horde, titled First of Men, a hybrid of Atmospheric and Ritualistic Black Metal with hints of Blackened Doom. Moreover, although it doesn’t show the same fury that emanates from the rest of the album, it’s still essential for the storyline. In Damnatio Memoriae (or “damnation of memory” in English), the music grows in intensity and darkness until after one minute it becomes a feast of Blackened Doom sounds enfolding the demented gnarls by Mastema, remaining rhythmic and dynamic thanks to the excellent job done by Déhà on drums until its thrilling Stygian ending; whereas For Centuries to Come is an 11-minute aria where Corvus showcases all his abilities as a multi-instrumentalist, while Mastema elevates his evil growls and screams to a whole new infernal level. This is by far the most complete and detailed of all songs, with its second half being a work-of-art of extreme music, not to mention its atmospheric elements beautifully complementing the piercing guitar riffs and solos, flowing into a fantastic and climatic conclusion to the album.

In a nutshell, the implacable Cult of Erinyes sounds stronger and more menacing than ever in Tiberivs (which can be enjoyed in its entirety HERE) and, despite being their ultimate album with the demonic Mastema on vocals, I’m sure the band will still provide us a lot of amazing material like this in the future. Furthermore, this brilliant concept album can be purchased at the band’s own BandCamp page, at the Caverna Abismal Records’ BandCamp or webstore, and at the Aural Music Webstore, as well as on iTunes, Amazon and Discogs. The roots to the greatest empire in the history of mankind are deeply connected to the lives of wolves, and there’s nothing better than the austere extreme music by Cult of Erinyes to show you how harsh, ruthless and vicious wolves can be.

Best moments of the album: Nero (Divine Providence), Loner and For Centuries to Come.

Worst moments of the album: First of Men.

Released in 2017 Caverna Abismal Records

Track listing
1. Archaea, 41 B.C. 2:40
2. Nero (Divine Providence) 7:42
3. Casvs Belli 6:24
4. Bred for War 3:52
5. Loner 4:27
6. Germanicvs 7:40
7. First of Men 5:49
8. Damnatio Memoriae 6:04
9. For Centuries to Come 10:59

Band members
Mastema – vocals
Corvus – lead and rhythm guitar, bass, keyboards
Algol – bass, rhythm guitar
Baron – lead guitar
Déhà – drums, additional guitar & keyboards

Guest musicians
Alex – bass on “Archaea, 41 B.C.”
Marc DeBacker – additional guitar on “For Centuries to Come”

Album Review – Torture Squad / Far Beyond Existence (2017)

Don’t cross the path of one of the most respectful bands from the Brazilian Thrash and Death Metal scene, or they will mercilessly crush you with the pulverizing music from their sensational new album.

If there’s a band that beautifully epitomizes what old school underground Thrash and Death Metal are all about, that band has to be the ruthless Brazilian four-piece outfit Torture Squad who, since their inception in the distant year of 1990 in the city of São Paulo, a metropolis with almost 20 million people located in the southeast region of Brazil, has been fighting for heavy music and remained loyal to their foundations, even with all the adversities in a country where metal is far from being a popular genre. Carrying a powerful name inspired by the song “Death Squad”, by American thrash metallers Sacred Reich, and having already released seven studio albums, two live albums and three EP’s, it’s time for Torture Squad to attack humanity once again with another sensational blast of traditional extreme music, titled Far Beyond Existence, the eight full-length release in their solid and exciting career.

Featuring a somber and ominous artwork by Brazilian artist Rafael Tavarez (who has already provided his brilliant art to several other bands all over the world such as Dark Ministry, Vulture and Moonkult), Far Beyond Existence is the first full-length opus by Torture Squad to feature the she-wolf Mayara “Undead” Puertas as their lead singer, as well as Rene Simionato on guitars. As a matter of fact, although the talented Mayara and Rene already released last year an EP with Torture Squad, the excellent Return of Evil, it’s now with the band’s new full-bodied installment that they have all the room needed to showcase their refined abilities as musicians and their utmost passion for all things extreme. And they more than succeed in their mission as you’ll see when you start listening to this incendiary album of Brazilian Extreme Metal.

In the fantastic opening track Don’t Cross My Path, Rene presents his welcome card in the form of cutting, flammable riffs, while the band’s wardogs Amílcar on drums and Castor on bass are simply thunderous with their respective instruments. And what to say about Mayara? She’s a true unstoppable she-demon, kicking some serious ass with both her deeper guttural and her more strident screams. As the name of the song says, don’t dare to cross her path under any circumstances, unless that’s what you really want deep down inside, right? Continuing with their sonic destruction, sirens warn the listener a tempest of old school Thrash and Death Metal is about to come in No Fate, another boisterous creation by this Brazilian quartet that exhales heaviness and aggression, with Amílcar giving a lesson in drumming by being rhythmic, violent and groovy at the same time. And connecting instantly with where the previous song ended, Blood Sacrifice presents a serene and somewhat esoteric intro, suddenly exploding into belligerent Thrash Metal. Amílcar once again demolishes his drums in a fantastic way, while Mayara keeps barking, gnarling and screaming like a beast, resulting in one of my favorite songs of the album by far; followed by Steady Hands, a mid-tempo tune perfect for some intense headbanging intercalated with some faster and more furious parts, with Rene once again blasting a metallic feast of heavy and raw riffs, not to mention the great job done by Castor with his demonic bass punches enhancing the song’s heaviness to the limit.

The also superb Hate, featuring British vocalist Dave Ingram (Benediction, Bolt Thrower, Just Before Dawn) on guest vocals, is more ferocious than most of the previous songs, where the pounding drums by Amílcar are in perfect sync with Castor’s bass lines and Mayara’s grunts, and with the song’s ending being a thing of beauty tailored for smashing your skull into the circle pit. In Hero for the Ages, slashing riffs and accelerated beats generate a warlike atmosphere perfect for Mayara to attack us with her devilish guttural vocals. Furthermore, it’s truly impressive how all songs sound extremely imposing and heavy, and of course this one couldn’t be an exception to that, with Castor hitting us hard in the last part of the song with his bass guitar. The title-track Far Beyond Existence is a lesson in traditional Thrash Metal, sounding simply excellent for the band’s live concerts, showcasing a neck-breaking, galloping pace that will certainly stimulate the spawn of some intense mosh pits, all boosted by the amazing guitar solo by Rene amidst all the rumbling sounds emanating from bass and drums. And leaning towards a more obscure form of Death Metal, mainly due to the deep and enraged gnarls by Mayara and the old school riffs by Rene, Cursed by Disease keeps the album’s momentum going, with the special narration by Brazilian drummer Edu Lane (Nervochaos) and its old school lyrics (“A rotting corpse remains preserved / Receptacle of the spirit of a king / Sarcophagus was sealed with all his treasure / And on the walls the paintings bore a curse / Death will attack / With its trident / for those who disturb / The pharaoh”) spicing up the final result.

You Must Proclaim, featuring Brazilian multi-instrumentalist Luiz Louzada (Chemical Disaster, Predatory, Vulcano) as a guest vocalist (making a demonic duo with Mayara on vocals), begins with Castor punching his bass mercilessly, emanating a violent and metallic sound that grows in intensity together with all other instruments until it becomes a thrilling Thrash Metal onrush; whereas Just Got Paid,  their pulverizing version for a ZZ Top classic (which original version can be enjoyed HERE), sounds as groovy and hellish as it can be, led by the harsh vocals by guest vocalist Alex Camargo (Krisiun) and the exciting riffage by Rene. Moreover, Castor’s bass sounds once again insanely deafening, which obviously translates into sheer awesomeness. Before all is said and done, Castor and his potent bass kick off the instrumental extravaganza titled Torture in Progress, featuring Brazilian keyboardist Marcelo Schevano, with those bass wallops being the main ingredient during the song’s first part, always accompanied by Amílcar’s intricate beats. In addition, the Deep Purple-inspired keys by Marcelo bring a fresh taste to the overall musicality, culminating in almost 10 minutes of top-notch Brazilian metal. Then closing the album we have Unknown Abyss, a cinematic intro (or outro, depending on how you listen to it, as I’m not really sure why it was added as the last track of the digital version of the album) where Mayara “presents” herself to the fans of the band like a demonic entity rising from the underworld. Needless to say, it will sound fantastic as the intro to their live performances.

In a nutshell, when Mayara had the arduous mission a couple of years ago to replace Torture Squad’s longtime iconic vocalist Vitor Rodrigues, she already proved the world she was the right choice for the band, but in Far Beyond Existence her performance reached such a stunning level she has emphatically carved her name as the band’s undisputed voice (hopefully) for many years to come. If you want to know more about Torture Squad, simply go to their Facebook page for news and tour dates (if you’re in Brazil, don’t miss their Far Beyond Existence Tour 2017, which is just about to start on August 17), and to Spotify to listen to Far Beyond Existence in its entirety. You can also buy the album through the Secret Service Records’ webstore, on iTunes or on Amazon, and show all your support to high-end underground metal from Brazil, more specifically to one of the most respectful, hard-working and thrilling bands in the history of Brazilian heavy music.

Best moments of the album: Don’t Cross My Path, Blood Sacrifice, Hate and Far Beyond Existence.

Worst moments of the album: None.

Released in 2017 Secret Service Records

Track listing
1. Don’t Cross My Path 5:48
2. No Fate 6:35
3. Blood Sacrifice 7:38
4. Steady Hands 5:23
5. Hate (feat. Dave Ingram) 4:11
6. Hero for the Ages 5:42
7. Far Beyond Existence 6:44
8. Cursed by Disease (feat. Edu Lane) 5:02
9. You Must Proclaim (feat. Luiz Louzada) 5:06
10. Just Got Paid (ZZ Top cover) (feat. Alex Camargo) 4:11
11. Torture in Progress (Instrumental) (feat. Marcelo Schevano) 9:37
12. Unknown Abyss (Intro) 3:01

Band members
Mayara “Undead” Puertas – vocals
Rene Simionato – guitars
Castor – bass, backing vocals
Amílcar Christófaro – drums

Guest musicians
Dave Ingram – additional vocals on “Hate”
Edu Lane – narration on “Cursed by Desease”
Luiz Louzada – additional vocals on “You Must Proclaim”
Alex Camargo – vocals on “Just got Paid”
Marcelo Schevano – Hammond organ on “Torture in Progress”

Album Review – Prometheus / Consumed In Flames (2017)

Let’s get consumed by the flames created by a fantastic Hellenic power trio who masterfully combined Black Metal with a more esoteric form of Death Metal, sounding at the same time devastating, provoking and true to the foundations of extreme music.

After a terrible motorcycle accident involving two members of the band, Hellenic black/death metallers Prometheus are finally reborn with their first full-length album, titled Consumed in Flames, a creation that is the result of discipline and persistence. Combining traditional Black Metal with a more esoteric form of Death Metal, the album is, according to the band, “characterized by its speed and the original way of changing forms inside the songs.” Highly influenced by Scandinavian Black Metal bands such as Emperor, Thorns and Limbonic Art, as well as the Death Metal by Morbid Angel, Consumed In Flames is a flaming example of high quality Black Metal art, being at the same time devastating, provoking and true to the foundations of extreme music.

Founded in 2004 by guitarist and bassist Esophis in the city of Thessaloniki, located in Central Macedonia, Greece, and having already released the demos Beyond the Cosmic Twilight in 2006, Cosmogenesis Inferno in 2007 and Upon the Promethean Throne in 2013, Prometheus not only blast fierce and dense Black Metal through their instruments, but their lyrics are also a very important piece of their compositions, being inspired by ancient Hellenic mysticism, history and religion, the philosophy of war, death and transcendentalism. While listening to Consumed In Flames, be prepared to be embraced by the band’s unrelenting, dark musicality, and when the album is over you’ll certainly realize you’ve just experienced one of the best Extreme Metal albums from the past few years (and you’ll go right back to the beginning of the album again and again, without a shadow of a doubt).

And this Hellenic horde begins their demonic feast of old school Black Metal with Death Metal vibes from the very first second of the opening track, The Disgusting Tongues, a full-bodied aria of darkness where the deep guttural by Aggelos is effectively complemented by the guitars by Esophis and the bestial drums by Nodens, also presenting an epic background due to the synths by Qsnc. With a classic name like Hand of War, the music in the following tune had to be extremely violent, dense and obscure, or in other words, a gripping Blackened Death Metal extravaganza the likes of Behemoth, with Esophis simply blasting pure hatred through his guitar and bass while Nodens sounds like a stone crusher on drums. There’s not a single second of peace found in the entire song, and that says a lot about how powerful the music by Prometheus can be.

Moving on with Prometheus’ astounding symphony of darkness we have Seth, a wicked instrumental bridge showcasing acoustic guitar lines and a truly menacing atmosphere, setting the tone for the epic aria Vulture All Black, one of the darkest and most exciting Black Metal compositions of the past couple of years. Aggelos, Esophis and Nodens are in their most demonic mode, delivering an intricate sounding highly recommended for lovers of the darkest side of extreme music, with its Dimmu Borgir-inspired keyboards being a thing of beauty. After such brilliant sonic torment, this Greek power trio gets faster, heavier and more menacing in Prometheus Rising, as if Behemoth went full Black Metal, with Nodens delivering his most insane performance of the album while Aggelos continues to vociferate like a demonic entity. Put differently, you can feel their devilish power growing inside you while listening to such blackened tune.

Prometheus are absolutely on fire in another spawn of furious Extreme Metal entitled Hatesworn, where Aggelos is the beast incarnate on vocals supported by Esophis with his old school Black Metal riffs and the classy, demolishing beats by Nodens. Furthermore, in the last two minutes of the song we’re treated to a devastating feast of Black and Death Metal, including an amazing solo by Esophis, just to make things even more epic. The title-track Consumed in Flames, a vicious onslaught led by the Stygian drumming by Nodens and the deeper-than-hell guttural by Aggelos, showcases a mid-tempo sonority with its Black Metal core essence rumbling stronger than ever, not to mention that its lancinating riffs and extremely aggressive ambience will crush you mercilessly. And lastly, closing the album in great fashion we have an instrumental version of Hand of War, where you can enjoy the thunderous and piercing sounds of each instrument in detail.

Let’s all get consumed by the Hellenic flames created by Prometheus in their superb new album by following them on Facebook and by purchasing Consumed In Flames through the Katoptron IX Records’ Big Cartel. Such masterpiece deserves to be admired by all of us metalheads who love extreme sounds with dense melodies and a grandiose background, and Prometheus simply nailed it in each one of the eight tracks found in Consumed In Flames, proving once again how fantastic the underground metal scene is in one of the most fascinating countries in the world.

Best moments of the album: The Disgusting Tongues, Vulture All Black, Prometheus Rising and Hatesworn.

Worst moments of the album: Absolutely none. This album is a lecture in extreme music.

Released in 2017 Katoptron IX Records

Track listing
1. The Disgusting Tongues 6:49
2. Hand of War 5:20
3. Seth (Instrumental) 2:23
4. Vulture All Black 9:18
5. Prometheus Rising 6:04
6. Hatesworn 6:57
7. Consumed in Flames 6:58
8. Hand of War (Instrumental) 5:20

Band members
Aggelos – vocals
Esophis – guitars, bass
Nodens – drums
Qsnc – synthesizers

Album Review – Loathfinder / The Great Tired Ones EP (2017)

A newborn Blackened Doom entity hailing from Poland will bring endless obscurity, fearfulness and anguish to your mind and soul with their menacing 28-minute debut opus.

We might not have the slightest idea of who they really are, but we know without a shadow of a doubt that their spine-chilling, perverse Blackened Doom lives up to the legacy of bands such as Forgotten Tomb, Woods of Ypres and the early days of Katatonia, also presenting an ominous vein inspired by the most funereal form of Atmospheric Black Metal. I’m talking about a newborn evil entity known as Loathfinder, who have just released their debut EP titled The Great Tired Ones, a 28-minute opus that, above all things, will bring endless obscurity, fearfulness and anguish to your mind and soul.

Founded somewhere back in time in the imposing city of Cracow, one of the most fertile cities not only in Poland but in the entire Europe in regards to arts and music, Loathfinder are a remorseless spawner of the most obscure elements found in Extreme Metal, with The Great Tired Ones being the amalgamation of all their evil. Displaying a visceral artwork by Polish illustrator Robert A. von Ritter (Diabolizer, Armagh, Ragehammer), with the design and colors originated by Polish illustrator and graphic designer Maciej Kamuda (HerezA, Misanthropic Rage, Virgin Snatch), this is an album that will certainly be part of your personal playlist for a long time if you love the rotten and grim sounds of old school Blackened Doom piercing your ears.

Flies buzzing and thunderous bass and guitar lines ignite the damned feast named Genetic Gloom, with the cavernous growls coming from an unknown creature impregnating the musicality through and through. Furthermore, a few moments of tranquility are meticulously inserted amidst the ominous Blackened Doom that reeks in the air, with steady beats dictating the song’s lugubrious rhythm. Darker and more aggressive due to its infernal gnarls and deep guttural growls, Feast on My Entrails presents lyrics that couldn’t be more putrescent (“My cradle is rotten / Black fingers ream my ribs from inside / As I gaze into sky with learned apathy / And miss places I’ve never been / When venom is dripping from every wall / Only thing you can do is spit, spit and spit”), which together with its mesmerizing riffs and rumbling ambience (led by the song’s Stygian bass lines) turn it into a macabre hymn of darkness.

Metallic and lancinating bass sounds kick off another vile creation by Loathfinder, the excellent Scents of Regression, bringing forward putrid growls and doomed beats in total sync, increasing the song’s obscurity even more. Not only that, this song also offers the listener a solid Doom Metal sonority with the band’s blackened vein pulsing inside it, enhanced by sharp guitar solos and riffs. And lastly we have the title-track The Great Tired Ones, where a truly macabre intro goes on for about a minute until all instruments rise from the pits of hell, also displaying acid lyrics perfect for the music played (“Through the black eyes / Of agonized priestess / We were allowed to see / The gathering / Of faceless / Of whipped / And lost in time / The Great Tired Ones / Black chain of greatest lies / The Great Tired Ones / One were all, all were One”). If you love Blackened Doom, get ready for almost ten minutes of mournful passages, cutting guitars and desperate growls, ending with rancid gnarls that will darken your mind instantly.

You can savor the 28 minutes of hatred and anguish found in The Great Tired Ones by clicking HERE, and also grab your copy of this devilish album at Loathfinder’s BandCamp, at the Godz ov War Productions’ BandCamp, or at Discogs. This is a beyond solid debut album by Loathfinder, with no fillers, no artificial sounds and no happy feelings, but only the deepest rooted form of our good old Blackened Doom, and if those enigmatic musicians were capable of delivering such high-quality music with their very first release, I’m sure Blackened Doom will remain strong and menacing for years with Loathfinder being one of the new remarkable names of the genre.

Best moments of the album: Feast on My Entrails.

Worst moments of the album: None.

Released in 2017 Godz ov War Productions

Track listing
1. Genetic Gloom 6:08
2. Feast on My Entrails 6:50
3. Scents of Regression 5:25
4. The Great Tired Ones 9:37

Band members
*Information not available*

Metal Chick of the Month – Mayara “Undead” Puertas

Sanity… What about Insanity…

Can you hear those demonic gnarls coming from Brazil, sounding like the putrid screams of an undead woman rising from her grave? That’s the powerful and mesmerizing guttural voice by our metallic girl this month, the talented Brazilian growler Mayara “Undead” Puertas, born Mayara Puertas and also known as May “Undead” Puertas or even May Undead, frontwoman of the iconic old school Brazilian Thrash/Death Metal band Torture Squad, and a woman that loves heavy music from the bottom of her blackened heart above all things. If this is the first time you’re getting to know the work by Mayara, you better be ready as the “Undead” is more than ready to kick your ass with her devilish growls and fiery onstage attitude (and I’m sure you’ll get addicted to the music by Torture Squad after that).

Born on March 16, 1993 in a region known as ABC Paulista, an industrial region located in the Greater São Paulo, Brazil, Mayara Puertas has always been connected to some sort of musical art since she was little, singing popular songs and playing the piano, guitar and electric guitar, always encouraged by her family and by studying old music books owned by her father, covering songs from Creedence Clearwater Revival, Secos e Molhados (an innovative Brazilian band formed in the beginning of the 70’s) and Kansas, for example. She never took any formal lessons to learn how to sing and to play those instruments, as she preferred learning everything by herself as a good self-taught musician that she is, adding her passion for music and her personal touch to shape her own style.

When she was around 12 or 13 years old, she already nurtured a strong interest for rock music, until a good friend of hers introduced her to Heavy Metal, bringing all his albums to her home where she could make copies of all of them. She instantly fell in love for bands like Iron Maiden, Manowar, Iced Earth, Blind Guardian, Hammerfall and Brazilian Celtic Metal band Tuatha de Danann, which as you can see have little to do with her singing style. Her curiosity and connection to heavy music only grew stronger and stronger in the coming years when she began searching for different bands and genres, including more brutal types of metal, finally finding in Thrash and Death Metal her true passion. Mayara then started to dedicate herself to learn more aggressive vocal techniques inspired by Extreme Metal titans such as Cannibal Corpse, Morbid Angel, Hypocrisy and Overkill, with some of her biggest influences being David Vincent (Morbid Angel), George “Corpsegrinder” Fisher (Cannibal Corpse), Rachel Heyzer (Infinited Hate, Occult, Sinister), Peter Tägtgren (Hypocrisy, Pain), Sabina Classen (Holy Moses) and Bobby “Blitz” Ellsworth (Overkill), a distinct selection of unique voices.

It was in 2013 when Mayara joined her first official band, Brazilian Death Metal act Necromesis, not only as a singer but by also recording some piano and acoustic guitars. As the screaming frontwoman of Necromesis, the “Undead” recorded the EP Echoes of a Memory in 2014 (which you can listen to in its entirety HERE) and the full-length album The Poet’s Paradox in 2015. You can enjoy Mayara’s beastly growling with Necromesis penetrating your ears in crushing songs such as Indifferent Echoes of Sensitivity and Desocial Inclusion, as well as this live version of the song Unlives as Undeads at a special event called I Domingo Metal BR in 2014 in São Paulo, Brazil. Her time with Necromesis also allowed her to tour several Brazilian cities, including a tour with American bands Master and Vital Remains, and being named one of the greatest Extreme Metal singers of the year of 2014.

In October 2015, after talking with Fernanda Lira (lead singer and bassist of the badass Brazilian Thrash Metal power trio Nervosa), Mayara was told she had been referred to be the vocalist of an important Brazilian Death Metal band, but she didn’t know exactly which one then. After a few weeks, she was contacted by Amílcar Christófaro, longtime drummer of Torture Squad, to officially join the band. That was a big surprise for Mayara, as she had always admired the work by those guys, following their career and attending their live concerts, and she knew it was going to be a great honor and an even greater responsibility to replace the iconic Vitor Rodrigues on vocals, who left the band in April 2012 to pursue new musical experiences. The other band members provided her all the necessary support for her to thrive as their new singer, making her confident enough to accept the challenge and add her touch of aggressiveness, electricity and passion to their always high-octane music, showing how professional and dedicated Torture Squad are, and how loyal they’ve always been to heavy music. Of course it wasn’t easy for her to adapt to her new life at first, as she had to rehearse with the band almost everyday, she had to quit her job and move to a new city, but all that extra effort was worth it thanks to the amazing receptivity she always gets from the diehard fans of the band, enjoying her live performances of old school Torture Squad songs as well as their new tunes already with her on vocals.

Mayara recorded her first official release with torture Squad in 2016, the EP titled Return of Evil, comprised of four unrelenting, original tracks (Return of Evil, Swallow Your Reality, Dreadful Lies and Iron Squad). If you want to know more about how the first Torture Squad album with Mayara on vocals came to life, I highly recommend you watch the online documentary named Behind the Evil, filmed in December 2015 during the recordings of Return of Evil at Na Cena Studios. Another amazing video online showcasing all the vocal potency by Mayara with the band, singing some of the band’s classics like Pull The Trigger and Mad Illusions, as well as an interview piece, can be seen HERE. After watching such powerful performance by Mayara, you’ll understand why her nickname is “Undead”, given to her by Amilcar during their first rehearsals due to the fact her growls sounded like the screams of an undead woman rising from her grave. She even said that became her “alter ego”, which she lets dominate her body and soul when she’s on stage performing.

In regards to touring with Torture Squad, a band that’s always doing extensive tours all over Brazil and also in Europe, Mayara said that when you’re on the road you have to get used to the fact that your house will be a van. There’s very little time to sleep, eat and take care of yourself, which means the band as a whole has to learn how to live in a harmonious way to make things work during the tours. She also said that her biggest concern is with her voice as there are many shows to do each tour, and she takes care of it by drinking lots of water and having fun with moderation. Also, our screaming metaller said that, despite the lack of time, she enjoys knowing a little more about the places where she plays with the band, most of which she would never have been able to visit if she wasn’t with torture Squad. Mayara is also the youngest member of the band; for instance, she wasn’t even born when the band started, but that doesn’t mean the difference in age is a barrier to her relationship with the other members of the band. She said their passion for metal unites them, helping them become a big metallic family, as well as the fact that she’s using her time with them to learn as much as possible from their expertise in the world of heavy music.

This slideshow requires JavaScript.

If you prefer some action instead of all these never-ending words, you can find online a lot of high-quality footage of Mayara growling like a rabid beast as the frontwoman of Torture Squad, as you can see in the songs Inner Strength, and Black Sabbath’s classic Symptom of the Universe (with changed instruments); this series of videos recorded at the traditional Clash Club in São Paulo, Brazil, on February 27, 2016, where the band played, among others, the songs Living for the Kill/ Chaos Corporation, The Unholy Spell, and Horror and Torture/Pandemonium; or this amazingly done footage of Torture Squad kicking ass at De Verlichte Geest, in Roeselare, Belgium. You can also enjoy some online interviews with Mayara (if, of course, you understand Portuguese), as for example when they played at Tocandira Ritual Fest II in Macapá, a province located in the North of Brazil, in 2016; and her chat with the YouTube channel For headS for their Metal Live Drops programme, where she talks a little about how she became the lead singer for Torture Squad.

There’s already a brand new song online with Mayara on vocals, which is actually Torture Squad’s cover version of Motörhead’s high-octane classic Overkill that will be feature on a Brazilian tribute named “Going To Brazil… The Brazilian Tribute To Motörhead”, featuring several renowned Brazilian bands such as Nervochaos, Voodoopriest, Genocídio, Ratos de Porão, Claustrofobia and Hatefulmurder, among others, to be released later this year by British label Secret Service Records. And the wait for more Torture Squad with Mayara on vocals won’t be long, as the band has already announced they’ll release in July this year their eight studio album, titled Far Beyond Existence, containing ten ruthless songs with the “Undead” gnarling manically as their frontwoman. As the band has been updating their official Facebook page with videos and other details about the recordings of the new album, I highly recommend you like and follow them HERE to avoid missing anything.

As any modern musician, Mayara already lent her potent voice to some interesting bands and projects away from the Torture Squad world. For instance, she recorded additional vocals for the 2015 album Afterlife in Darkness, by Brazilian Death Metal band Depressed, and guest vocals for the song Time Enough at Last from the 2017 album Red Eyes, by Brazilian Thrash/Death Metal band Hatefulmurder. In addition to that, Mayara also recorded in 2015 a cover version of Bathory’s Man of Iron with Bathory Brazilian Tribute, and began working with bassist Patricia Schlithler (Hellarise, Harppia) in an Extreme Metal project named Gorgona (which I couldn’t find any additional details about online).

Despite the fact that our society is still extremely sexist, when asked about the increasing influence of women in heavy music Mayara said that although she has already experienced a few awkward situations in her life she still believes Heavy Metal and Rock N’ Roll are the two types of music that foster creativity and freedom of speech, therefore providing more room for women to grow and to be more and more respected by everyone. She mentioned she always receives a lot of positive feedback from both men and women, even inspiring fathers to take their daughters to Torture Squad concerts to show them they can be whatever they want in life, which is obviously a great thing not only for Mayara but for heavy music in general.

She was also asked about the feeling of being on stage with the band, singing in front of hundreds or thousands of crazy fans everywhere they go, and if there’s a big difference between fans in Brazil and in Europe. Mayara said the main difference is that, in Europe, you can see several distinct tribes mixed in the crowd, such as diehard fans of Punk Rock and Death Metal together, which in the end was excellent for her as she could connect to people with complete different tastes and opinions than hers, and that she wished that could also be a reality in Brazil, where the heavy music tribes are a lot more distant from each other. However, in terms of receptivity and electricity, she said both Brazilian and European headbangers are absolutely amazing and have a very good time during their shows.

Mayara is not only an extremely talented growler, but she’s also an entrepreneur, being the owner of an online store named Bloodline, specialized in custom clothing and accessories. She said she opened the store during a very difficult time of her life, when she was unemployed and needed to find an alternative source of income. If you want to know more about Bloodline, check their official website or Facebook page and, who knows, you might find something fancy that suits your style. In addition, she also works as a costume consultant for a company called Loud Factory, an audio and video producer focused on Heavy Metal and Rock N’ Roll. And that’s all about the talented Mayara, a woman that never gets tired of her “eat, sleep, scream like a beast, repeat” routine.

Mayara “Undead” Puertas’ Official Facebook page
Mayara “Undead” Puertas’ Official YouTube channel
Mayara “Undead” Puertas’ Official Instagram
Torture Squad’s Official Facebook page
Torture Squad’s Official YouTube channel
Torture Squad’s Official Twitter

Album Review – Lunatic Hooker / Embracing The Filth (2017)

Be embraced by the filthy and crushing Grindcore with a Sludge Metal twist crafted by five British musicians who got together to reignite their inner fire and passion for extreme music.

The music business can be spirit crushing and soul destroying, where bands that start as groups of friends with a passion for music can end up disillusioned, with the flames of their passion near extinguished. This happened to British musicians George (vocals), Ross (guitar), Tim (guitar), Duncan (bass, vocals) and Rafael (drums) in their respective bands, but rather than let those last flickering embers burn out for good, they got together to reignite the fire, forging in 2014 a new evil entity that goes by the name of Lunatic Hooker, blasting a roaring fusion of Grindcore and Sludge Metal perfect for nonstop slamming and headbanging.

After the release of a two-track demo in 2015 and a single with their cover version for Motörhead’s all-time classic (We Are) The Road Crew in 2016, this London-based squad is unleashing upon humanity their debut full-length opus, titled Embracing The Filth. Featuring twelve tracks of unrelenting, punishing and pulverizing Extreme Metal, all enfolded by a captivating artwork by Dan Capp (Winterfylleth) and crackling with that irresistible rediscovered electricity, Embracing The Filth is one of those albums you might not know what you’re dealing with at first, but that you’ll get addicted to as soon as you hit play and let its piercing sounds invade your ears.

Rafael and his doomed beats ignite the sludgy party named My God Is Bigger than Yours (what a clever name for a song), before chaos reigns through the putrid gnarls by George and the dirty and fast riffage by Ross and Tim. Once again uniting Grindcore with Sludge Metal, demonic sounds emanate from all instruments in Beard Feared, in special the blast beats by Rafael and the devilish growling by George, with its brutal slamming rhythm drawing influences from Slayer, Napalm Death and other devastating groups; followed by The Pen Is Mightier than the Sword, another song with a very intelligent name that also presents crushing riffs and beats while George sounds more demonic than ever (and let me say that, if you survive the intense circle pit this song can generate, you’re pretty much immortal), and Unearthed Dead Children, a sonic onslaught of Grindcore bursting heaviness through the cavernous growls by George and Rafael’s ruthless drumming.

The title-track Embracing the Filth lives up to its name, being a dirty, crude and absolutely vile composition of darkness. Moreover, it feels like the guitars by Ross and Tim are an extension of George’s sick vocals, consequently enhancing the song’s overall impact, with Rafael once again showing no mercy for his drum set. In Blood Eagle we face an eerie start that lasts for almost half of the song before the band gets back to their sick high-speed musicality, with its guitars and drums exhaling sheer Grindcore, whereas Fucks All brings elements from Hardcore and Thrash Metal to their already aggressive sonority. Tim and Ross keep firing some sick dirty riffs to make the whole song more demonic, also presenting Black and Death Metal blast beats thanks to the unwearying Rafael. And the excellent Cult Chaos begins at full speed, reminding me of some of the most visceral creations by Cannibal Corpse, with all instruments sounding extremely sharp from start to finish. Hence, this slamming composition should work really well during their live performances.

In Transformation Walrus, a song inspired by and featuring footage in its official video from Kevin Smith’s 2014 film Tusk, darkness takes control of the band from the very first second, with George leading his crew with his deranged growls, before See the Light, perhaps the most violent of all tracks, showcases deeper guttural vocals by George and the merciless drums by Rafael highly influenced by old school Death Metal. In other words, Lunatic Hooker offer us two and a half minutes of pure brutality, with some harmonious guitar lines and solos to give more balance to the overall result. There are two more songs to go in this demonic opus, starting with Spain in the Neck, another recommended soundtrack for a sick mosh pit where Ross and Tim sound like two beasts with their flammable strings, while Rafael keeps the adrenaline high with his unstoppable beats. And finally, the closing of their awesome casket comes in the form of a 6-minute demented extravaganza named Sarlac, where George reaches the deepest and most obscure growls of the entire album. Slow and steady, almost sounding like Funeral Doom, this composition is very different from all previous tracks, showing the band’s crisp versatility in Extreme Metal.

If you feel more than ready to be embraced by Lunatic Hooker’s filthy and crushing Grindcore with the sluggish twist coming from their Sludge Metal vein, go join their demented crew at their official Facebook page and enjoy more of their cutting music at their YouTube channel. In Embracing The Filth, available at the band’s Big Cartel, at the Black Bow Records’ BandCamp and on Amazon, Lunatic Hooker were extremely successful in concentrating all their passion for extreme music and transform that metallic amalgam into reality, leaving all doors open for another blast of their vicious music anytime soon, and hopefully for many years to come as well.

Best moments of the album: My God Is Bigger than Yours, Embracing the Filth and Cult Chaos.

Worst moments of the album: Blood Eagle.

Released in 2017 Black Bow Records

Track listing
1. My God Is Bigger than Yours 3:16
2. Beard Feared 2:32
3. The Pen Is Mightier than the Sword 3:08
4. Unearthed Dead Children 2:48
5. Embracing the Filth 3:07
6. Blood Eagle 4:13
7. Fucks All 2:46
8. Cult Chaos 3:24
9. Transformation Walrus 3:32
10. See the Light 2:35
11. Spain in the Neck 2:46
12. Sarlac 6:24

Bonus track
13. (We Are) The Road Crew (Motörhead cover) 2:44

Band members
George – vocals
Ross – guitar
Tim – guitar
Duncan – bass, vocals
Rafael – drums

Album Review – Hellfire / Goat Revenge EP (2017)

From the ominous pits of the Ukrainian underworld, comes a triad of black metallers ready to crush your soul with their demolishing debut album.

Are you ready for a demonic storm of Black Metal made in Ukraine, with strong influences from old school Thrash and Death Metal? If instead of simply answering yes you began banging your head and raised your devilish horns, then the darkened, blasphemous music crafted by the vicious power trio known as Hellfire in their debut EP titled Goat Revenge might be exactly what you’re looking for in extreme music. In a little less than 25 minutes, Hellfire unleash sheer fury and hatred upon humanity in Goat Revenge (which by the way features a beyond traditional and macabre artwork by artist Oleg Satanyugin), showcasing all their loyalty and passion for underground Black Metal.

Forged in 2014 in the hellish fires of Kremenchuk, an important industrial city in the Poltava Oblast, in central Ukraine, by lead singer and guitarist Karagh and bassist Necrobaphomet (former members of Ukrainian Black Metal band Paranomia), Hellfire have been gaining a lot of positive feedback wherever they play in their homeland, inspiring the trio to keep moving forward and never turning their backs to traditional Black Metal. If you check their biography online, you’ll see they don’t assign “regular instruments” to themselves, but they use more obscure words to describe their roles in the band. Karagh is responsible for “all guitar holocaust, screams and bulldozer”, Necrobaphomet takes care of the “four strings fornication and obscurant propaganda”, and their third element, drummer Skullcrusher, provides the “drums of doom and coffins”. After reading that, how putrid and aggressive do you think Hellfire might sound?

Goat Revenge starts with an Intro comprised of a minute of flies buzzing, gun shots and ominous sounds, directly followed by the cutting tune Hellmass Attack, where the band delivers devilish Black Metal with huge influences from Death Metal and hints of the badass Rock N’ Roll by Motörhead. Moreover, Karagh blasts pure evilness through his demonic growls and metallic riffs, boosting the song’s already visceral sonority. Following a similar pattern from its predecessor, the title-track Goat Revenge is led by the infernal and rhythmic beats by Skullcrusher, while its main riff will incite you to bang your head nonstop. In addition to that, Karagh sounds filthier on vocals than before, with Necrobaphomet maintaining a high level of obscurity in the music with his roaring bass guitar.

War Apocalypse Battery, another thunderous, badass composition by Hellfire and a mandatory choice for their live performances, presents a solid melody without abandoning the band’s old school sonority thanks to the amazing job done by all band members, in special Karagh with his fiery guitar; whereas investing in a darker and more visceral Black Metal sounding, the power trio fires pure hatred and evil through their music in Field of Screams, with Skullcrusher doing justice to his nickname by pounding his drums manically. And adding some groove to their musicality, Unholy Cult presents a more rhythmic display of their blasphemous Black Metal, with Karagh and Necrobaphomet slashing their strings in a powerful way while Skullcrusher takes care of the intricacy in the music through his beats.

Unleash the Beast is the closest the band gets to the most primeval form of Black Metal, with the song’s fiendish gnarls and blast beats impregnating the air and disturbing our minds. Not only that, Karagh once again offers the listener trenchant riffs during the whole song, and maybe because it’s the longest of all tracks it’s also the one presenting the highest amount of progressiveness and variations, resulting in an amazing full-flavored Extreme Metal chant. Lastly, the band hits us ruthlessly with their most vile fusion of Black and Death Metal titled Lord of the Mighty Horns, one more great option for their live concerts. The drumming by Skullcrusher reminds me of old school Cannibal Corpse, while Necrobaphomet leads the song’s pugnacious ending with his rumbling bass lines, concluding the album on an extremely savage note.

If you have the guts to brave the ominous pits of the Ukrainian underworld to the sound of Hellfire, simply visit their Facebook or VKontakte for news about the band (including their tour dates if you live in Ukraine or if you’re planning on visiting the country anytime soon), listen to Goat Revenge on Spotify, and purchase your copy of the album at the Witches Brew’s BandCamp or webshop, on iTunes or on Amazon. Hellfire will certainly crush your soul with their unrelenting Black Metal, which in the end is everything you crave when listening to good extreme music, right?

Best moments of the album: Hellmass Attack, War Apocalypse Battery and Unleash the Beast.

Worst moments of the album: None.

Released in 2017 Witches Brew/Iron County Records

Track listing
1. Intro 0:53
2. Hellmass Attack 2:43
3. Goat Revenge 3:37
4. War Apocalypse Battery 3:44
5. Field of Screams 2:29
6. Unholy Cult 2:53
7. Unleash the Beast 4:39
8. Lord of the Mighty Horns 3:24

Band members
Karagh – guitars, vocals
Necrobaphomet – bass
Skullcrusher – drums

Album Review – Infernäl Mäjesty / No God (2017)

A powerful album of Canadian Thrash and Death Metal that confirms there’s no god in our decaying world, but only an infernal majesty of extreme music reigning supreme among us.

Formed in the distant year of 1986 in the city of Toronto, Canada, but currently located on the opposite side of the country, in the beautiful city of Vancouver, Thrash/Death Metal squad Infernäl Mäjesty has been unleashing complex and exciting metal tunes upon humanity since their inception, starting with their 24-track demo recorded at the renowned Metalworks Studios in Toronto (owned by members of Canadian Hard Rock band Triumph) and their 1987 debut album None Shall Defy, and culminating with the release of their brand new opus now in 2017 titled No God.

Featuring an elegant cover art by Safir & Rifas (based on their 2014 oil on canvas art named “Death Angel”), No God offers the listener 11 imposing thrash tunes for the delight of fans of the heaviness and aggressiveness of giants such as Slayer, Behemoth and Testament, masterfully played by  founding members Chris Bailey (vocals), Steve Terror (guitar) and Kenny Hallman (guitar), together with newcomers Daniel Nargang on bass and Kiel T. Wilson on drums. “We put a lot into it physically and mentally and feel it has a classic Infernäl Mäjesty undertone while artfully expanding into episodes of melodic cacophony. Recorded at our studio in Vancouver, Canada and produced by Steve Terror, Chris Bailey and Ken Hallman, we enrolled the masterful mixing skills of Chris ”Hollywood” Holmes and believe this to be our best works since None Shall Defy”, says the band about their brand new spawn.

Chris and his horde begin their ominous attack from the very first second of the belligerent tune Enter The World Of The Undead, where we’re furiously invited to enter their world of Thrash and Death Metal to the sound of the cutting riffs by Steve and Kenny, while Kiel keeps up with the legacy of iconic drummers such as Dave Lombardo, Gene Hoglan and Tom Hunting. Dark and acrid words flow from Chris’ visceral growls in the rhythmic onslaught of extreme music called In God You Trust, also presenting a hellish aura in the background which ends up enhancing the song’s obscurity; followed by a very aggressive and infernal composition named Signs Of Evil, displaying a similar pattern than both previous songs, with highlights to the unstoppable Kiel behind his drums and to the once again sharp guitar riffs and solos by Steve and Kenny. And in Another Day in Hell the music feels like it’s rising from the pits of the underworld, with the initial roar by Chris being a sign of how heavy this tune will be. Not only it brings an old school sonority the likes of Unleashed, but its calmer but blackened breaks make the whole composition even more menacing.

Kingdom Of Heaven, a mid-tempo straightforward Death Metal chant with thrashing elements added to it, presents a neck-breaking start with lots of groove emanating from Kiel’s drumming, while Steve, Kenny and Daniel slash our skin with their razor-edged strings, whereas the title-track No God is a blasphemous feast of Death and Thrash Metal perfect for their live performances, with Chris vociferating the song’s wicked lyrics manically (“Born of fire from the starless depths of hell / The red cross turns black so many dead sent up the stacks / Spill the blood of virtue for the empire of gold / Satan laughing defecating into open mouths below”), therefore being one of the strongest compositions of the whole album. Then we have an eerie instrumental track about the 9/11 attacks titled False Flag for Europe, paving the path for the rhythmic Nation of Assassins, starting in a darker and heavier pace before exploding into a thrilling hurricane of metal, with Chris darkly screaming the song’s name while the rest of the band blasts a very cohesive fusion of Thrash and Death Metal.

The killer drumming by Kiel and the straightforward guitars by both Steve and Kenny are all Chris needs to fire his infuriated growls in the fantastic House Of War, with the aggressiveness of the entire song being way above average. All band members are absolutely on fire, delivering an intricate but always crude and primeval hymn for admirers of traditional Death Metal that has all it takes to become an underground classic. Systematical Extermination keeps the quality of the album at a very good level, albeit being less creative than the others (it might have been more effective if it was a little shorter, though), while in Extinction Level Event a truly macabre intro morphs into a pounding sonic devastation. Steve and Kenny continue with their merciless slashing, also blasting melodious lines to give more balance to all the havoc going on, with Kiel helping Chris to poetically scream about the end of mankind until the song’s somber ending.

Infernäl Mäjesty is another one of those amazing bands that makes us proud of being Canadian, and if I were you I would certainly like their Facebook page, listen to more of their demonic Thrash Metal at their YouTube channel and at their BandCamp page (where No God will be available soon), and grab your copy of No God at the High Roller Records’ webstore in different formats (CD digipak, LP black, LP splatter and LP royal blue), at the Napalm Records’ webstore, at the Season of Mist’s webstore, at Target, at Record Shop X, on Amazon and several other locations (please note that “False Flag for Europe” and “House Of War” are on the CD and digital download, but not on the vinyl edition because they are already on a custom House Of War 7”). After listening to this raging lecture of Extreme Metal, I’m more than inclined to believe there’s no god, but only an infernal majesty of metal music reigning supreme among us.

Best moments of the album: Enter The World Of The Undead, No God and House Of War.

Worst moments of the album: Systematical Extermination.

Released in 2017 High Roller Records

Track listing
1. Enter The World Of The Undead 5:44
2. In God You Trust 5:14
3. Signs Of Evil 4:53
4. Another Day in Hell 6:37
5. Kingdom Of Heaven 6:46
6. No God 5:58
7. False Flag for Europe 2:05
8. Nation of Assassins 6:24
9. House Of War 4:47
10. Systematical Extermination 6:28
11. Extinction Level Event 6:08

Band members
Chris Bailey – vocals
Steve Terror – guitar
Kenny Hallman – guitar
Daniel Nargang – bass
Kiel T. Wilson – drums

Album Review – Mustan Kuun Lapset / Saatto (2017)

A fresh new start for an amazing Dark Metal band from Finland, with their renovated attitude and passion for heavy music translated into nine excellent compositions blending different styles and emotions.

Rating4

mkl_saatto_coverart2500pisLegendary Finnish Dark Metal group Mustan Kuun Lapset, which is Finnish for “Children of the Black Moon”, have finally resurrected from the depths of abyss since ending their career in 2007, setting to release in 2017 their first official full-length album since their 2011 compilation 14 Talvea and their 2007 album Viimeinen Laulu Kuolemasta. And their brand new album, entitled Saatto (the Finnish word for “procession” or “follow-through”), not only brings forward MKL’s new lineup, but it’s also a fresh new beginning for this talented band, with their renovated attitude and passion for heavy music translated into nine excellent compositions blending different styles of Extreme Metal.

Founded in the city of Hollola under the name Häiriö (or “disorder” in Finnish) in the distant year of 1993, MKL recorded a few garage tapes during their first couple of years, never releasing them to the public. In 1996, after changing the name to Mustan Kuun Lapset, the band released their first demo titled Kunnes Loppuu Yö, being on a roll for the next decade before it was time to close the coffin in December 2007 due to lack of time and commitment. Fortunately for fans of their dark music, in 2015 MKL decided to start all over again, now hailing from the city of Lahti and as already mentioned with a reformulated lineup, culminating with the release of their brand new diverse, many-sided record Saatto, and I’m sure even if you have absolutely zero knowledge of the Finnish language you’ll have a blast listening to it.

Right after the atmospheric intro Ja Toinen Yötä Rakastaa, or “and another night love”, we have the melodious Peikonmieli (“the troll’s mind”), with the soulful guitar lines by Pete Lehtinen and Heikki Piipari dictating the song’s very pleasant pace and sonority, whereas the harsh vocals by Pete sound like a blend of Symphonic Black Metal and Melodic Death Metal. And the aura generated by the first song goes on in Kuolemanvirta (“death power”), where drummer Mikko Hautala showcases his abilities by being fierce and melodic at the same time with his darkened Doom Metal beats.

An obscure start announces another epic and powerful composition by MKL, Amor Vincit Omnia, which is Latin for “love conquers all”, with Pete doing an amazing job not only on vocals and guitars but also with his synths, delivering a rousing musicality with hints of Scandinavian Folk Metal full of variations and tempo changes. Cilice brings forward more folk elements, gently morphing into Dark Metal with Pete firing some deeper guttural growls amidst his harsh gnarls, all embraced by the band’s solid instrumental, while Sudenilma (“wolf’s air”) offers the listener heavier, headbanging riffs that lean towards pure Melodic Death Metal from Scandinavia. In addition, Mikko delivers faster beats nicely complemented by the bass lines by Ville Pelkonen, not to mention the song’s outstanding guitar solo as the icing on the cake.

mkl_promokuvaValkoinen Satama – Haaksi (“white haven – the ship”) is the first part of a two-piece story, epic and metallic from the very first second thanks to the awesome job done by both guitarists with Pete getting a lot darker on vocals. The second part of this journey, titled Valkoinen Satama – Tyven (“white haven – calm”), is a smooth, melancholic acoustic ballad wtih female vocals that end up providing a good balance to all the obscurity from the first part, an interesting variation to the MKL we’re used to. And closing the album we have the title-track Saatto, also the longest of all tracks, which begins in an introspective way, as calm and serene as the previous track, suddenly exploding into kick-ass modern Melodic Death Metal. In this multilayered composition, MKL bring forth cleaner vocals and plenty of epicness flowing from all instruments, in special the precise beats by Mikko, until the song’s thrilling conclusion.

You can witness the rebirth of the Finnish children of the black moon, appreciate their music and get updates about their upcoming projects and concerts at their Facebook page, and you can also put your metal hands on Saatto at the Inverse Records webstore or at Record Shop X. Mustan Kuun Lapset have not arisen from the ashes in vain, they’re back from the netherworld with an invigorated passion for metal to deliver their diehard fans more of their high-end music and to show the new generation how good Scandinavian Metal should always be done, and by supporting them you’ll not only help to keep that metallic fire burning, but also become part of their inspirational career.

Best moments of the album: Peikonmieli, Amor Vincit Omnia and Saatto.

Worst moments of the album: Cilice.

Released in 2017 Inverse Records

Track listing
1. Ja Toinen Yötä Rakastaa 2:06
2. Peikonmieli 5:19
3. Kuolemanvirta 5:47
4. Amor Vincit Omnia 4:59
5. Cilice 5:12
6. Sudenilma 5:17
7. Valkoinen Satama – Haaksi 5:29
8. Valkoinen Satama – Tyven 5:08
9. Saatto 8:45

Band members
Pete Lehtinen – vocals, guitar, synths
Heikki Piipari – guitar
Ville Pelkonen – bass
Mikko Hautala – drums