Album Review – Voidnaut / Nadir (2019)

A thrilling and very detailed album of Melodic Groove Metal made in Greece, overflowing heaviness, punch and electricity.

Hailing from the always vibrant city of Athens, Greece, Heavy/Groove Metal act Voidnaut was formed in 2015 by guitarist Kostas Krikos and vocalist Stavros Benardo as a small project, gradually evolving into a much bolder and violent beast with the additions of drummer Kostas Alexakis (Acid Death) and bassist Kostas Tasakos (Double Square) not long after. With influences ranging from Disturbed to Pantera and the overall sound of American Heavy Metal, Voidnaut are unleashing upon us their debut full-length album, entitled Nadir, mixed and produced at Devasounds Studios by Fotis Benardo (SixforNine, Septic Flesh), mastered by Steve Lado (Tardive Dyskinesia), and featuring a modern artwork by Giannis Nakos (Remedy Art Design). And overflowing heaviness, punch and electricity, of course.

The acoustic guitar by Kostas Krikos in the intro Nadir works as the “calm before the storm”, warning us all there’s a demolishing feast of Groove Metal coming entitled Back from the Grave, a straightforward and catchy tune where Kostas Alexakis provides those traditional pounding beats we love in heavy music, while its lyrics remind me of some of the most interesting creations by bands like Dream Theater and Trivium (“I shut off the engine of light and in darkness I reigned / To another dimension,My redemption… / All I need is a sign-an unknown sacrifice I’m the keeper of light. / In my hour of pain wicked forces I gained for I’m back from…”). Then get ready to bang your head to a fusion of Southern and Groove Metal named Hunted, where Stavros does a great job with his raspy, angry vocals while Kostas Tasakos extracts pure metallic lines from his bass; and Stavros kicks off the flammable This Pain of Mine with a demented scream, while the rest of the band fires modern-day Alternative and Groove Metal lines, sounding perfect for jumping up and down during their live performances.

Control is another smashing tune by Voidnaut led by Kostas Alexakis’ thunderous beats and spiced up by Kostas Krikos’ electryfing riffs and solos, with all four band members being on fire from start to finish in an awesome display of modern metal music. Then more modernity and contemporary sounds invade our ears in Porcelain Lady, displaying a great sync between Kostas Tasakos and Kostas Alexakis with their rumbling bass punches and beats, respectively, while Stravos keeps roaring like a pro on vocals; and putting the pedal to the metal the band offers us Damage Done, blasting sheer rage and groove from their sharp instruments, with highlights to Kostas Alexakis’ incendiary performance on drums, not to mention the amazing guest vocals by Fotis Benardo and guest guitar solo by Bob Katsionis (Firewind, Outloud).

Kostas Krikos keeps cutting our skin deep with his razor-edged riffs in Scarred for Life, highly inspired by the music crafted by icons like Killswitch Engage, Light The Torch and other exponents of the Metalcore and Alternative Metal scene, with Stravos simply kicking some serious ass with his screams, followed by Road to Nowhere, probably the most commercial track of the album (which doesn’t mean it’s bad at all, though, just less electrifying), presenting solid instrumental pieces spearheaded by Kostas Krikos and his in-your-face riffs. Lastly, closing the album Voidnaut deliver tons of aggression in Savage World, drinking from the same fountain as bands like Trivium, sounding groovy, heavy-as-hell and vibrant, with Kostas Alexakis once again stealing the spotlight with his rhythmic and furious drumming. They’re definitely on beast mode in this great song, which obviously puts a climatic ending to the album, therefore leaving us eager for more of their modern-day Melodic Death and Groove Metal.

It’s quite easy to feel all of Voidnaut’s groove and punch from Nadir, as all you have to do is listen to the album in full on Spotify, or purchase it from iTunes or Amazon. You can also keep updated with all things Voidnaut such as tour dates and new releases by following the band on Facebook, and enjoy more of their music (and videos) by subscribing to their YouTube channel, showing your true support to another excellent Hellenic band that will surely keep fighting for metal music for years to come with their talent, passion and energy. Needless to say, we should all thank them for that by banging our heads nonstop to their powerful music.

Best moments of the album: This Pain of Mine, Control and Damage Done.

Worst moments of the album: Road to Nowhere.

Released in 2019 7hard/7us Records

Track listing
1. Nadir 1:17
2. Back from the Grave 4:16
3. Hunted 3:20
4. This Pain of Mine 4:15
5. Control 3:38
6. Porcelain Lady 4:26
7. Damage Done (feat. Fotis Benardo & Bob Katsionis) 4:36
8. Scarred for Life 4:26
9. Road to Nowhere 4:15
10. Savage World 3:52

Band members
Stavros Benardo – vocals
Kostas Krikos – guitars
Kostas Tasakos – bass
Kostas Alexakis – drums

Guest musicians
Fotis Benardo – vocals on “Damage Done”
Bob Katsionis – guitar solo on “Damage Done”

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Album Review – Death Tribe / Beyond Pain And Pleasure: A Desert Experiment (2019)

Inspired by the suffering of warfare, spirit breaking oppression and the refusal to submit to either, behold the debut album by Anthony Kaoteon’s newborn spawn of Extreme Metal.

“Come confess your mortal sins,
Sadistic violence, the trademark of kings”

Inspired by the suffering of warfare, spirit breaking oppression and the refusal to submit to either, Extreme Metal project Death Tribe is the sound of vociferous rebellion and defiant resistance spearheaded by Anthony Kaoteon, the mastermind behind Death/Black Metal band Kaoteon, who released in 2018 the excellent Damnatio Memoriae. And if you’re already familiar with Kaoteon’s insurgent music, you’ll certainly have a blast with Death Tribe’s first installment, entitled Beyond Pain And Pleasure: A Desert Experiment, Anthony’s personal monument to independence and his eternal tribute to every man, woman and child that refuses to bend the knee and submit.

Born into the chaos and conflict of Beirut, Lebanon, but currently residing in Utrecht, Netherlands, Anthony refuses to accept the strictures of others in his day-to-day life as well as in music, always determined to shape his own destiny. Conceived over a few years and drawing on sounds from different periods of metal’s development, Beyond Pain And Pleasure: A Desert Experiment features an array of guest vocalists such as Serge the Slave (Aramaic) and Youmni Abou el Zahab (Ascendant), who together with Anthony and his henchmen Linus Klausenitzer (Obscura, Alkaloid, Kaoteon) on bass and Mattias Landes (Dark Fortress, ReVamp) on drums generate a massive wall of violent and austere sounds recommended for fans of renowned acts like Revocation, Gojira and Skeletonwitch.  “I dedicate this album to those who keep chasing their dreams, to every person that was born with a tag on his forehead and defied the world to make his own statement heard – I will die soon but the music stays to remind those who listen of a man who didn’t obey,” said Anthony about his newborn spawn, inviting us all to join him in his musical rebellion.

Featuring Anthony himself on lead vocals, the opening track Hollow offers the listener an explosion of Groove Metal from the very first second, with Anthony barking like a beast while Mattias smashes his drums manically, or in other words, a straightforward, in-your-face tune tailored for admirers of rabid and pulverizing music. Following such demented start, Walid Wolflust (Kaoteon) lends his visceral roars to Beyond Pain and Pleasure, giving life (or I should say death) to its acid lyrics (“Are you delighted from others pain? / Are you distressed by another’s pleasure? / Come confess your mortal sins, / Sadistic violence, the trademark of kings”) in a brutal fusion of Black and Death Metal where Linus and Mattias are in an infernal sync; whereas in Implode Explode Anthony not only vociferates manically, but his scorching riffs add an extra touch of dementia to the overall musicality, inspiring us to slam into the circle pit to Death Tribe’s frantic fusion of Groove, Death and Thrash Metal.

It’s time for Death Tribe to go full Death Metal in Neurotic Breakdown, sounding gory, virulent and putrid from start to finish, with guest vocalist Serge the Slave (Aramaic) doing an amazing job by almost vomiting the song’s lyrics. Needless to say, the violence and hatred flowing from Anthony’s riffs and Mattias’ darkened beats is simply outstanding. Adnan Mryhij (Svengali) is the designated guest growler in Psychopathetic, a hybrid of Groove and Progressive Metal infused with the violence of Thrash Metal, sounding like a more demented version of Mastodon and also presenting a beyond infuriated Linus with his intricate bass punches; followed by Death Blues, where Youmni Abou el Zahab (Ascendant) brings a Hard Rock and Power Metal twist to the band’s crushing sonority with his high-pitched screams, with the overall result sounding as if classic 80’s metal has met the insanity and rage of modern-day extreme music.

Walid is back on vocals in the demolishing Narcissist Bastard Nation, where Linus and Mattias make the earth tremble with their respective instruments, sounding closer to Kaoteon’s sound from their 2018 album, also carrying obscure lyrics that are nothing but a sad reflection of our reality (“Money and Power is what they seek / Blinded by Hatred and their love of creed, / Sinners as saints covered by shame, / Killing each other’s and no justice to blame, / Narcissist Nation – Clueless bastard marionettes”). Then JM Elias (Damage Rite, Svengali) brings sheer hate and violence to the onrush of demented sounds titled Nuclear Hate, with Anthony slashing his strings in a very melodic but fierce manner while Linus keeps extracting thunderous tones from his bass nonstop. And Anthony and Serge bark and scream together in the closing tune named Face the Facts, a groovy extravaganza spiced up by elements from Southern Metal delivering lots of shredding and deranged growls for your avid ears, ending the album in an absolutely berserk way.

If you want to know more about this newborn beast known as Death Tribe, their music, their goals, principles and tour dates, simply go check what they’re up to on Facebook, and don’t forget to grab your copy of the flammable Beyond Pain And Pleasure: A Desert Experiment from the project’s own BandCamp page, from iTunes, from Amazon or from CD Baby. Because, in the end, it doesn’t really matter if Anthony incarnates his Kaoteon or his Death Tribe form, as he will keep being the voice of the voiceless until his final breath. Having said that, it’s time for all of us to join Anthony’s newly founded tribe of extreme music, always fighting for freedom of speech, and never kneeling to anyone.

Best moments of the album: Beyond Pain and Pleasure, Neurotic Breakdown and Nuclear Hate.

Worst moments of the album: Psychopathetic.

Released in 2019 Independent

Track listing
1. Hollow 4:10
2. Beyond Pain and Pleasure 3:41
3. Implode Explode 4:25
4. Neurotic Breakdown 5:25
5. Psychopathetic 3:09
6. Death Blues 3:41
7. Narcissist Bastard Nation 4:14
8. Nuclear Hate 3:52
9. Face the Facts 3:35

Band members
Anthony Kaoteon – guitars, lead vocals on “Hollow”, “Implode Explode” and “Face the Facts”
Linus Klausenitzer – bass
Mattias Landes – drums

Guest musicians
Walid Wolflust – vocals on “Beyond Pain and Pleasure” and “Narcissist Bastard Nation”
Serge the Slave – vocals on “Neurotic Breakdown” and “Face the Facts”
Adnan Mryhij – vocals on “Psychopathetic”
Youmni Abou el Zahab – vocals on “Death Blues”
JM Elias – vocals on “Nuclear Hate”

Album Review – The Wandering Ascetic / Crimson (2019)

Drawing influences from the Hellenic Black Metal scene, here comes a Singaporean squad armed with their brand new album of dissonant and hypnotic sounds.

Formed in 2011 in Singapore by Kathir, vocalist and bassist for Rudra, an iconic Death and Black Metal act from the local scene, The Wandering Ascetic are making a name for themselves in the underground of heavy music by blasting a more exemplary black and thrash sonority without the Indian classical instruments seen in the music by Rudra, but still retaining their trademark spiritual fervor. Accompanied by guitarist Vinod (also from Rudra), bassist Jayakumar and drummer Kannan K, Kathir and his The Wandering Ascetic draw their influences from the Hellenic Black Metal scene (as well as obviously from Rudra), generating dissonant, hypnotic sound s infused with crushing riffs and grooves, elevating their music and art to a whole different level.

After the release of their debut EP titled Manifest Destiny, in 2013, it’s time for The Wandering Ascetic to smash our senses once again with their first full-length opus, the excellent Crimson, featuring a life-transforming artwork by Mark Riddick (Fetid Zombie) and layout by Turkka Rantanen (Demilich, Demigod). Comprised of 10 unrelenting songs ranging from pure old school Black Metal to modern-day Southern Rock and Groove Metal, Crimson is a solid and very entertaining statement by The Wandering Ascetic in a scene that seems stagnant at times, showing how powerful Singaporean metal can be and, as a consequence, opening several doors in the international market for the band.

Vinod begins his slashing attack accompanied by Jayakumar’s thunderous bass in Eva Braun, with Kathir roaring demonically for our total delight in a Black and Death Metal attack spiced up by hints of Progressive Metal, flowing darkly until its eerie end; then the tribal beats by Kannan K ignite another obscure composition named I Sing the Body Electric, showcasing an obscure rhythm inspired by old school Black and Doom Metal tailored for fans of the genre where the guitar lines by Vinod sound as flammable as they can be. Bringing elements form the music by Gojira, Mastodon and Tool we have the beautifully titled The Exorcism of Mrs. Doe, a very intricate and sulfurous tune where Jayakumar and Kannan K generate a dense and disturbing atmosphere with their weapons, followed by The Gods Bleed!, a song perfect for breaking your neck headbanging spearheaded by Vinod’s devilish riffs, while Kathir continues to vociferate like a demonic entity, not to mention how metallic and impactful Jayakumar’s bass punches sound and feel.

Beast of Burden presents more melody blended with sheer darkness in the form of modern-day Death and Black Metal, with Vinod being on absolute fire with his riffs and solos while the gnarls by Kathir only get more and more infernal, and The Wandering Ascetic keep hammering our heads with their crushing sonority in The Will to Live, where all four band members make sure we don’t stop banging our heads to their vicious music, with highlights to Kathir’s enraged growls and Vinod’s ass-kicking guitar solo. After such high level of devastation, it’s time to dive deep into the crypts of Hades with those Singaporean metallers in To Hell, Back and to Hell Again, a classic, straightforward metal extravaganza with elements from the dirty Rock N’ Roll played by bands like Motörhead and Chrome Division, which obviously means it kicks some serious ass.

Here for the Good Things keeps the album at a very good level of malignancy and hatred despite sounding a bit generic (or I should say less inspired than the other songs), with Vinod slashing his guitar in a very precise and aggressive manner; and the cutting sound of his guitar is once again the main ingredient in the visceral Assassins, displaying some hypnotizing instrumental parts, in special Vinod’s guitar solo, while Kannan K doesn’t let the energy go down by smashing his drums nonstop. Finally we have Orang Laut, an ominous and grim blast of extreme music highly inspired by classic Doom Metal, with Vinod and Jayakumar extracting the most Stygian sounds from their strings and with the music ending as dark as anyone can imagine.

It’s not always that we have the pleasure of facing high-end metal music from such distinct country, completely out of the North American and European markets, and we metalheads should not only thank The Wandering Ascetic for that by following them on Facebook, but mainly by purchasing their new album Crimson from their own BandCamp page, from the Transcending Obscurity webstore, or from other retailers like Target. Crimson might not be considered a true revolution in music, but the four guys from The Wandering Ascetic definitely put on a lot of energy, creativity and passion in the writing, composing and recording of the album to ensure they were not just playing “more of the same”. Quite the contrary, Crimson does sound very unique and compelling, elevating the name of Singapore in the world of heavy music and paving a very interesting future for the quartet.

Best moments of the album: I Sing the Body Electric, The Gods Bleed! and To Hell, Back and to Hell Again.

Worst moments of the album: Here for the Good Things.

Released in 2019 Transcending Obscurity Asia

Track listing
1. Eva Braun 5:18
2. I Sing the Body Electric 4:46
3. The Exorcism of Mrs. Doe 4:28
4. The Gods Bleed! 4:42
5. Beast of Burden 4:01
6. The Will to Live 3:15
7. To Hell, Back and to Hell Again 3:10
8. Here for the Good Things 4:10
9. Assassins 5:04
10. Orang Laut 3:12

Band members
Kathir – vocals
Vinod – lead & rhythm guitars
Jayakumar – bass
Kannan K – drums

Album Review – Soilwork / Verkligheten (2019)

One of the biggest exponents of the Swedish Melodic Death Metal scene returns in full force with a fresh, groovy and addictive album of first-class heavy music.

Although most people consider Helsingborg-based metal masters Soilwork to play a fusion of Metalcore and Melodic Groove Metal nowadays instead of the Melodic Death Metal we got used to from their early albums, I personally still see them as one of the biggest exponents of the Swedish Melodic Death Metal scene, having influenced (and still inspiring) countless bands worldwide, like for example Trivium. And to prove how relevant and ass-kicking the band is after all these years on the road, frontman Björn “Speed” Strid and his henchmen David Andersson and Sylvain Coudret on the guitars, Sven Karlsson on the keyboards and newcomer Bastian Thusgaard on drums are releasing upon humanity the superb Verkligheten, the eleventh studio album in their undisputed career.

Verkligheten, which by the way is the Swedish word for “reality”, is not only the first Soilwork album to feature Bastian on drums as the replacement of longtime member Dirk Verbeuren (who left the band to join Megadeth a couple of years ago), but it also marks the longest gap between their studio albums to date, with their previous installment, The Ride Majestic, having been released nearly three and a half years earlier. Well, at least the wait was absolutely worth it, because if there’s one word that can be used to describe the music found in Verkligheten is “addictive”. You won’t skip any song from the album, and as soon as it’s over you’ll go back to the first track and listen to everything all over again, which in other words means we’re undoubtedly facing a very strong candidate to be elected one of the best albums of 2019.

The title-track Verkligheten, a Western movie-Tarantino-inspired instrumental intro, flows smoothly and serene, inviting us all to join Soilwork in the realm of Melodic Death Metal with the crushing Arrival, presenting some pulverizing elements from Black Metal added to their core musicality, in special the demonic blast beats by Bastian, all enhanced by its classic lyrics beautifully declaimed by Björn (“The sky reflects in my hands / You took my world ’cause you can / Is it just me or is the light / Oh read me, you dust ridden seer / And prepare for the night”). The album couldn’t have started in a more thrilling and vibrant way, I might say. Moving on with the music, speed and violence are replaced with heaviness and an enfolding melody in the headbanging Bleeder Despoiler, where both David and Sylvain are on absolute fire with their scorching riffs, not to mention how the background keys by Sven and Bastian’s rhythmic drums complement each other flawlessly, and the band keeps blowing our speakers with their very melodic and fierce music in Full Moon Shoals, where once again all instruments are thoroughly connected, resulting in a dense and visceral sound complemented by another shot of their pensive and poetic words (“Anyone would cure it with blindness / There were moments where I thought I could be / A man who’s aching for the hour of closure / Darkness clearly kept on covering my needs / But it’s not what it seems / It’s just an inner endless shriek”).

Blending the most slashing elements from Rock N’ Roll, Melodic Death Metal and even Industrial Metal, Soilwork offer us an amazing composition titled The Nurturing Glance, perfect for banging your head, singing along with the band or simply enjoying Björn’s flawless vocal performance accompanied by the precise beats by Bastian, whereas in When the Universe Spoke  a serene intro explodes into top-notch Melodic Death Metal infused with Metalcore and Groove Metal nuances, with both Björn’s clean vocals and harsh growls being potentialized by the strident riffs by the band’s guitar duo (as well as the insane drumming by Bastian). Futuristic waves ignite what feels like a hybrid between contemporary Arch Enemy and Soilwork entitled Stålfågel (or “steel bird” from Swedish), featuring the stunning Alissa White-Gluz from Arch Enemy as a guest vocalist. Björn and Alissa vigorously kick some serious ass together, while David and Sylvain hypnotize us with their riffs and solos in one of the top songs of the album without a shadow of a doubt, and putting the pedal to the metal this Swedish institution fires more of their razor-edged metal music in The Wolves Are Back in Town, showcasing headbanging beats, extremely melodic and sharp guitar lines, and yet another demolishing performance by Björn, spearheading his skillful horde like the true frontman he is.

Verkligheten Digipak CD Cover

Witan also presents a nice balance between harmonious and aggressive sounds, with Björn focusing slightly more on his clean vocals, flowing like a fast arrow until The Ageless Whisper comes ripping our hearts and minds in a solid display of modern-day Melodic Death Metal. Moreover, Bastian pounds his drums like there’s no tomorrow, while the band’s guitar duo continue to grind their axes with a lot of precision and energy. Then featuring guest vocals by Tomi Joutsen (Amorphis), Needles and Kin is classic Melodic Death Metal presenting a vibrant fusion of rage, electricity and harmony with the intricate beats by Bastian dictating its rhythm and pace, all boosted by David’s superb guitar solo, before the closing tune You Aquiver, with guest Dave Sheldon (Exes for Eyes, Annihilator) on the guitar, brings to our ears a good mix of their more ferocious side with the whimsical and ethereal sound of the keys by Sven, with best metal (and even non-metal) albums of 2019. Furthermore, what Mr. Björn “Speed” Strid & Co. did in their new album might not be a revolution in music (as some very demanding fans always expect from their favorite bands), but it’s indeed a solid statement that Melodic Death Metal is still alive and kicking, and that Soilwork will continue to be a reference in the genre no matter what happens to the band. Fortunately for us fans of heavy music, the band is far from calling it quits, which means we’ll certainly have the pleasure of enjoying more of their crisp and vibrant metal with their future releases, and if they’re just half as good as Verkligheten we’ll have a very good reason to celebrate and to keep banging our heads together with those Swedish metal icons.

Best moments of the album: Arrival, The Nurturing Glance, Stålfågel and The Wolves Are Back in Town.

Worst moments of the album: None.

Released in 2019 Nuclear Blast

Track listing
1. Verkligheten (instrumental) 1:44
2. Arrival 3:47
3. Bleeder Despoiler 3:36
4. Full Moon Shoals 4:46
5. The Nurturing Glance 5:24
6. When the Universe Spoke 5:22
7. Stålfågel (feat. Alissa White-Gluz) 4:25
8. The Wolves Are Back in Town 3:24
9. Witan 3:48
10. The Ageless Whisper 5:01
11. Needles and Kin (feat. Tomi Joutsen) 4:57
12. You Aquiver (feat. Dave Sheldon) 4:03

Band members
Björn “Speed” Strid – vocals
David Andersson – lead guitar
Sylvain Coudret – rhythm guitar
Sven Karlsson – keyboards
Bastian Thusgaard – drums

Guest musicians
Alissa White-Gluz – guest vocals on “Stålfågel”
Tomi Joutsen – guest vocals on “Needles and Kin”
Dave Sheldon – guitars on “You Aquiver”
Taylor Nordberg – bass (live)

Album Review – Orchid / Miasma (2019)

Immerse yourself in the debut full-length opus by four Indian metallers who are not afraid to experiment with the new and the unknown, always ready to push their own boundaries in heavy music.

Formed in late 2011 in Bangalore (also known as Bengaluru), the capital of India’s southern Karnataka state, Avantgarde/Progressive Metal entity Orchid is a four-piece band comprised of Kaushal on vocals, Vinay on the guitar, Rahil on bass and Mayur on drums that plays a dense and very distinct blend of Heavy Metal with several other genres and styles such as Progressive Rock, Hardcore and Psychedelic Rock leanings (as well as Mathcore), pushing the boundaries of heavy music in the subcontinental underground and remaining one of the most original bands to emerge from the region.

In 2016, Orchid released their much-awaited self-titled debut EP to critical acclaim with Rolling Stone India calling it “one of the best cult classics of 2016” and “one of the most intriguing metal releases of the year”, inspiring the guys to keep moving forward and keep spreading their distinguished music to all four corners of the earth with their debut full-length opus Miasma, an album tailored for fans of bands like Dillinger Escape Plan, Gorguts and Frank Zappa, among others. Unlike their previous EP, which touched upon themes of techno-surrealism, Miasma is more straightforward with sociopolitical themes, with the artwork, done by the band’s own drummer through Copycat, containing elements from every song on the album.

An enraged scream by Kaushal kicks off the low-tuned, sluggish and heavy-as-hell opening track Obsolescence, with Vinay delivering lancinating riffs while Mayur brings tons of intricacy and dementia to the musicality with his beats, remaining crazy, vibrant and unique from start to finish, whereas in Solipsist we’re treated to two and a half minutes of top-notch Progressive Metal where Kaushal growls and roars manically while Vinay and Rahil give a lesson in progressiveness and heaviness with their stringed weapons. Then we have Master Supreme, a short and sweet headbanging tune led by the crushing drums by Mayur, bringing to our avid ears the most insane elements from Progressive and Groove Metal. “The song is about the pervasive influence and the growing epidemic of gurus/godmen and their cults in Indian society as well as abroad. Religion and spirituality is the biggest scam in the world; and because we live in India, we have a front-row seat to the circus,” commented the band about this austere and captivating song.

After the shortest song of the album, it’s time for the longest one, titled Dead End, offering seven minutes of insanity, rage and eccentricity. In other words, a full-bodied sonic extravaganza full of breaks and variations, not to mention the beautiful Jazz-inspired passage featuring guest Aadarsh Subramaniam and his old school keyboard solo, building an instant bridge to the also pulverizing Identoid, where Rahil extracts truly thunderous roars from his bass while Mayur and Kaushal “duel” to see who’s the most aggressive and demented one, maintaining the album at a high level of ferocity and intricacy. Following such fun tune we have Sugar Pill, showcasing the most progressive of all starts but quickly morphing into a sonic onrush of crisp guitar riffs, Hardcore-inspired drums and raspy growls, fading into a very alternative and sluggish outro, before Zero-Sum Game comes crushing like a thunderbolt, already beginning in full force and bringing a violent Kaushal on vocals, while Vinay keeps firing his classic and slashing guitar lines in a lesson in modern-day Progressive Metal with Avantgarde Metal and Mathcore nuances. Lastly the band offers us all Disassembly Line, not as vibrant and crushing as all previous songs but still a good sample of all the madness the quartet can blast through their music, with highlights to the once again amazing job done by Mayur on drums.

In a nutshell, the guys form Orchid were able to condense all their skills, influences and rage in a very intricate and solid way throughout Miasma, placing their brand new album as a fresh option for fans of heavy music who are always in pursuit of bands that think outside the box and that are not afraid to experiment with the most distinct music styles and genres. Having said that, what are you waiting for to show your support to those Bangalore-based metallers? Go check what they’re up to on Facebook, subscribe to their YouTube channel for more of their music, and purchase Miasma directly from their BandCamp page as well as from Instamojo. I bet you’ve never thought metal music made in India could sound so insane and eccentric like this, right?

Best moments of the album: Obsolescence, Dead End and Zero-Sum Game.

Worst moments of the album: Disassembly Line.

Released in 2019 Independent

Track listing
1. Obsolescence 5:54
2. Solipsist 2:34
3. Master Supreme 1:10
4. Dead End (feat. Aadarsh Subramaniam) 6:59
5. Identoid 2:47
6. Sugar Pill 4:22
7. Zero-Sum Game 4:32
8. Disassembly Line 3:48

Band members
Kaushal – vocals
Vinay – guitars
Rahil – bass
Mayur – drums, percussion

Guest musician
Aadarsh Subramaniam – keyboard solo on “Dead End”

Album Review – Godless / Swarm EP (2018)

Committed to pure, unadulterated, lightning-fast, ear-shredding, thrash-influenced Death Metal, this promising Indian act is ready to kill with their crushing and groovy sophomore EP.

From their inauspicious origins in 2015 in the city of Hyderabad, the capital of southern India’s Telangana state, within a very exotic metal music scene, Death/Thrash Metal squad Godless slowly rose to the very top of the country’s Death Metal class thanks to their unapologetic commitment to pure, unadulterated, lightning-fast, ear-shredding, thrash-influenced Death Metal. Comprised of Kaushal LS on vocals, Ravi Nidamarthy on the guitars, Abbas Razvi on bass and Aniketh Yadav on drums, Godless had an amazing year in 2018, having won the Wacken Metal Battle India, having played at the iconic Wacken Open Air as the great prize of the competition won, and having released their sophomore EP, a thrashing and groovy beast entitled Swarm.

Featuring a dark and devilish artwork by Khaos Diktator Design, Swarm deals with controversial themes such as zombification, cosmic horror, reanimation of the dead, occultism and religion. “We actually started to work on the Swarm EP right after our debut EP Centuries of Decadence. We didn’t really have any direction in mind but wrote the song Infected by the Black. Things naturally took on a more aggressive, thrashier and faster direction, and we just continued the flow from there on for the rest of the EP,” commented the band about their new album, inviting us all to slam into the pit and roar together with them on their quest for extreme music.

The soothing sound of water blended with cryptic, otherworldly noises in the intro Exordium set the stage for Godless to decimate our senses in Infected By The Black, blasting a more demonic version of the already heavy-as-hell Trash Metal by their countrymen SystemHouse33, and with Kaushal barking and roaring like a beast in a true Death Metal style while Aniketh pounds his drums frantically and with tons of groove. Following such pulverizing start we have From Beyond, another brutal tune blending the most electrifying elements from Thrash, Death and Groove Metal where Ravi’s riffs sound as metallic and piercing as possible, accompanied by Abbas and his menacing bass punches.

Then growling deeper and deeper like a rabid creature, Kaushal leads his henchmen in the fulminating Deathcult, presenting a crisp and thunderous sonority thanks to the fantastic sync between Abbas and Aniketh, not to mention Ravi’s incendiary guitar lines. Put differently, this is old school Thrash Metal infused with the most carnivorous elements from Death Metal, for the absolute delight of fans of extreme music. And last but not least, with the help of guest guitarist Tom “Fountainhead” Geldschlager (Obscura, Despotic, NYN), the quartet unleashes hell upon humanity with the thrashing and infernal tune Empty Graves, where Kaushal goes full Death Metal on vocals while Aniketh sounds like an unstoppable stone crusher on drums, bringing total chaos in the form of music to end the EP on a high and visceral note.

All the devastation and groove brought forth by Godless can be better appreciated by following them on Facebook, by subscribing to their YouTube channel, by listening to more of their music on Spotify, and obviously by purchasing Swarm from their BandCamp page or webstore,  as well as from iTunes or Amazon. Because you know, whenever you feel the urge to slam into the circle pit and scream like a beast to the sound of crushing Death and Thrash Metal, you can count on this promising Indian act to provide you the perfect soundtrack to that.

Best moments of the album: Infected By The Black.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Exordium 0:51
2. Infected By The Black 3:33
3. From Beyond 3:44
4. Deathcult 3:24
5. Empty Graves (feat. Tom “Fountainhead” Geldschlager) 3:50

Band members
Kaushal LS – vocals
Ravi Nidamarthy – guitars
Abbas Razvi – bass
Aniketh Yadav – drums

Guest musician
Tom “Fountainhead” Geldschlaeger – guitars on “Empty Graves”

Album Review – Brutal Order / Homo Homini Lupus EP (2018)

This unrelenting Thrash Metal quartet from Brazil will show you through their raw and groovy music why a man is a wolf to another man.

Born in early 2017 in the city of Recife, the capital of Brazil’s northeastern state of Pernambuco, from the ashes of a band named Firetomb, the ruthless Thrash Metal outfit known as Brutal Order wasted no time and entered Estúdio Palco, in Recife, to give birth to their debut installment, an EP of sheer aggressiveness and speed titled Homo Homini Lupus. The expression, or in its unabridged form “Homo homini lupus est”, is a Latin proverb meaning “A man is a wolf to another man” or “Man is wolf to man”, in reference to situations where people are known to have behaved in a way comparably in nature to a wolf as a creature that’s predatory, cruel and inhuman, or in other words, more like an animal than civilized. Featuring a visceral artwork that exhales rage and chaos designed by Círculo Pintado, and recorded by recording technician Daniel Farias, Homo Homini Lupus perfectly depicts our inhumanity and cruelty in the form of the thrashing hymns blasted by lead singer and guitarist Tiago Xaves, guitarist Randall Silva, bassist Risaldo Silva and drummer Lulu Batera, and I’m sure you’ll also unleash your wolf instincts to the vibrant sound of this Brazilian quartet.

Enough said already, get ready to slam into the circle pit to the classic Thrash Metal brought forth by Brutal Order in the title-track track Homo Homini Lupus, blending the more hardcore attitude by Anthrax with the heavier sonority by Exodus (which obviously translates into a total sonic awesomeness), led by the roaring guitars by both Tiago and Randall. And there’s no time to breathe, as the band sets fire to the ambience with their flammable music in Burn, where the enraged screams by Tiago and the nonstop beats and fills by Lulu will smash you like an insect, being highly recommended for fans of the frantic thrashing music by bands like Forbidden, Overkill, Death Angel and Nuclear Assault, all spiced up by Tiago’s and Randall’s wicked guitar solos. And bringing elements from 80’s Hard Rock and Rock N’ Roll to their brutal Thrash Metal, the band offers us all Working Till Death, a mid-tempo tune showcasing classic riffs effectively accompanied by Risaldo’s solid bass punches.

Brutal Order, the song that carries the band’s name, begins in an eerie way before exploding into old school Thrash Metal taken directly from the 80’s, with the unstoppable guitars by Tiago and Randall being in absolute sync (and therefore providing and extra kick to the sonority), while Risaldo and Lulu generate a thunderous atmosphere with their respective bass lines and crushing beats. If you think that their thrashing show is over, you’re absolutely wrong, as Brutal Order still has one final blast of Thrash and Groove Metal named Revolution Or Self Destruction, a song that will inspire you to bang your head like a maniac while Tiago growls rabidly, once again drinking form the classic fountain of bands like Anthrax. Put differently, it’s furious, violent and raw, but still very melodic, ending the EP in a pulverizing and thrilling manner.

If you’re already a fan of underground Brazilian metal, or if you’re a newcomer to this vast but unexplored world, Brutal Order might be one of the best options for you to get to know more about heavy music from a country where metalmaniacs go against all odds and keep showing the rest of society they will never surrender and keep on fighting no matter what. If you want to take a more detailed listen at Homo Homini Lupus, you can find the full EP on YouTube and on Spotify, but of course if you want to support such promising band you can grab your copy of the album from their own BandCamp page. You will find more details about Brutal Order on their Facebook page and YouTube channel, and be prepared to be slammed by a New World Order that, according to this talented horde from Brazil, is going to be beyond brutal.

Best moments of the album: Burn and Brutal Order.

Worst moments of the album: None.

Released in 2018 Independent

Track listing  
1. Homo Homini Lupus 2:45
2. Burn 4:20
3. Working Till Death 3:49
4. Brutal Order 4:10
5. Revolution Or Self Destruction 4:59

Band members
Tiago Xaves – vocals, guitar
Randall Silva – guitar
Risaldo Silva – bass
Lulu Batera – drums

Album Review – Vistery / Death Is Dead (2018)

The new album by this ruthless squad hailing from the Belarusian capital Minsk has everything you crave in old school, crushing Death Metal.

Hailing from the Belarusian capital Minsk, here comes a ruthless Death Metal squad comprised of Ivan “Paranoid” on vocals, Aleksey “Wicked” on the guitars, Alexander “Soulless” on bass and Sergiy “Def” on drums, collectively known as Vistery, ready to crush our heads with their third full-length installment, titled Death Is Dead. Featuring a nocturnal artwork by Mosaeye, Death Is Dead is highly recommended for fans of the violent music by bands like Unleashed, Vader, Entombed and Grave, exhaling hatred and sounding as heavy as hell, which translates into the perfect soundtrack for your anti-social and anti-religious activities.

Vistery started by the end of 2010 as a solo project of Alexey “Wicked” Kizillo, who performed as a guitar player, drummer and vocalist with a number of bands in Minsk for several years, finally reaching the shape and form of a classic Death Metal band in the beginning of 2011. The following two years were very productive for Vistery with the release of two full-length albums, those being Procreation of the Wicked, in 2011, and Sinister Prophecy, in 2012. However, due to unforeseen issues such as several changes in the band’s lineup, Vistery went on a performing hiatus until 2017, when they returned to stage in Vitebsk, followed by the 7th anniversary celebration gig in Minsk. That renewed lineup inspired the band to record a new album, culminating with the pulverizing Death Is Dead now in 2018.

Ominous background noises and the groovy bass by Soulless kick off the vicious intro Winds Of Devastation, where Paranoid manically roars its cryptic lyrics (“Can you see the trees bowing helplessly / In the wake of a devastating power / Can you hear this howl / Rupture your eardrums / Unrelenting pressure / No relief to come”) before all hell breaks loose in Tormentor, a crushing and thunderous Death Metal hymn with tons of progressiveness flowing from Def’s beats and Wicked’s damned riffs, resulting in a dense feast of aggressive sounds perfect for breaking your neck headbanging. Then featuring guest guitarist Anton Smirnov (Goose Enough, Like a Gossamer) we have Rotting Earth, a mid-tempo Death Metal extravaganza spiced up by Progressive Death Metal elements where Soulless keeps smashing our brains with his visceral punches. And are you ready for the most violent and gruesome picnic ever? That’s what the quartet offers you in Picnic Party, with highlights to the deep and brutal work done by both Soulless and Def with their vile instruments.

In Omniphobic, the lyrics reek of old school Death Metal (“I can see your fear of death / Poisoning your every breath / Flight would be your primal instinct / If only your legs weren’t so rigid”) while the music remains as brutish as possible, with Soulless extracting low-tuned, hellish tones form his bass (not to mention the nonstop  smashing beats by Def); followed by Swamp, where the entire band delivers a more rockin’ sonority, even flirting with Melodic Death Metal, spearheaded by the demonic guttural vocals by Paranoid. Moreover, all instruments feel like they were “blessed” by Satan himself, including Paranoid’s vocals, sounding as dark and deep as Death Metal can be. Then it’s time to “die” together with this talented Belarusian act in Die From Within, showcasing great performances by Wicked with his flammable riffs and Soulless with his thunderous bass, while Paranoid roars and gnarls like a true demon, whereas in Black Magic an uncanny intro evolves into brutal devastation led by Def’s frantic beats and fills, getting heavier and more menacing as the music progresses and, therefore, being recommended for admirers of old school, putrid Death Metal, all embraced by a rumbling and obscure vibe.

Guest musician Anton Smirnov returns with his fiery guitar in Mortal Fear, a mid-tempo creation where the whole band is on fire, blasting a thrilling fusion of violence, groove and progressiveness, with Wicked’s guitar reminding me of the always amazing riffs by Cannibal Corpse, and Vistery will make sure your head is smashed with a hammer in Butchery, the perfect depiction of what their music is all about, sounding and feeling heavy, groovy and exciting form start to finish. Furthermore, Paranoid steals the spotlight with his deep roars, helping it become the best song of the album in my humble opinion. And the title-track Death Is Dead is just as thunderous and vibrant as the rest of the album, with the bass punches by Soulless getting more menacing than before. Put differently, there was no better way to end the album than with this ode to classic Death Metal.

If you need to listen to Death Is Dead in full before making the decision of purchasing it and supporting underground Death Metal made in Belarus, you can enjoy the album in its entirety on the band’s own website, on YouTube and on Spotify, but if you’re already familiar with the band’s music and can’t wait to add such demented album to your personal collection, you can get it from the band’s BandCamp page, from iTunes or from Amazon. In addition, don’t forget to follow Vistery on Facebook and VKontakte, and subscribe to their YouTube channel, showing the entire world Death Metal is still alive and kicking, with bands like Vistery leading the underworld hordes of devastation with their old school music like what they offer in Death Is Dead.

Best moments of the album: Picnic Party, Black Magic and Butchery.

Worst moments of the album: Rotting Earth.

Released in 2018 Independent

Track listing
1. Winds Of Devastation 1:50
2. Tormentor 2:56
3. Rotting Earth 3:27
4. Picnic Party 3:09
5. Omniphobic 3:39
6. Swamp 4:00
7. Die From Within 2:49
8. Black Magic 3:08
9. Mortal Fear 3:23
10. Butchery 3:02
11. Death Is Dead 3:01

Band members
Ivan “Paranoid” – vocals
Aleksey “Wicked” – guitars
Alexander “Soulless” – bass
Sergiy “Def” – drums

Guest musician
Anton Smirnov – guitar solos on “Rotting Earth” and “Mortal Fear”

Album Review – SynlakrosS / Malice Murder (2018)

Get ready to be transported to a world of adventure with a good deal of rebellion in the brand new ass-kicking album by one of the most prominent names of the underground metal scene.

Formed in 2008 in the stunning city of Valencia, Spain by bassist Pablo “Roro” Fuentes and drummer Tiko Martínez, the unstoppable female-fronted Melodic Death Metal outfit that goes by the stylish name of SynlakrosS has just taken another amazing step in their (r)evolutionary career with the release of their third full-length installment, the creative, incendiary and utterly fun Malice Murder, cementing their name as one of the best bands in the Melodic Death Metal, Nu Metal and Metalcore scene all over the world, therefore being highly recommended for fans of bands such as In Flames, Slipknot, Butcher Babies, Arch Enemy and Lamb Of God, among several others. Injecting a considerable dosage of energy into our hearts and minds with their music and thematic lyrics, SynlakrosS will transport you to a world of adventure with a good deal of rebellion in Malice Murder, always moving forward but at the same time always loyal to their foundations and, of course, to their already huge fanbase.

In my humble opinion, what really stands out in Malice Murder, apart from its top-of-the-line production and endless electricity, are the insanely metallic and piercing sounds extracted by Pablo from his infernal bass, and especially all the experimentations and different vocalizations blasted by the band’s stunning frontwoman Patricia Pons. She sounds vile, demented, passionate and defiant with her wicked growls, roars and screams, taking her vocals to a whole new (and previously unexplored) level that will certainly please all fans of modern-day Melodic Death Metal. Add to that mix the crushing riffs and solos by the band’s axemen Iván Muñoz and Aarón Hidalgo, not to mention the sensational album artwork designed by Patricia herself, and there you have not only the perfect follow-up to their 2016 opus Death Bullets for a Forajido, but also a gargantuan avalanche of breathtaking metal sounds that will blow your senses mercilessly.

The opening track, titled Angel on Fire, sounds modern, electrified and vibrant right from the very first second, with its futuristic sounds and Patricia’s hypnotizing whispers kicking off a Melodic Death Metal party led by Pablo’s infuriated bass punches. Then in the fast-paced, heavy-as-hell extravaganza named Fatal Frame the band puts the pedal to the metal showcasing furious riffs and tones by the band’s stringed triumvirate, with Patricia growling and gnarling like a she-wolf while Tiko smashes his drums beautifully; followed by Dark Seed, not only the first single of the album but also the epitome of modern-day Metalcore, exhaling sheer madness and rage and with Patricia stealing the spotlight once again with her rabid growls and demented vociferations, as well as Aarón and Iván with their heavy and aggressive shredding. Put differently, this is the type of song that’s absolutely perfect for setting the crowd on fire during their live concerts. And let me remind you that the party is just starting, as in Alone in the Dark, spearheaded by Pablo and his thunderous, hammering bass, melodic guitar lines are flawlessly intertwined with moments of sheer lunacy, living up to the legacy of renowned Nu Metal acts like the iconic Korn.

Eternal Darkness showcases a classic song name for an explosive fusion of Metalcore, Melodic Death Metal and Groove Metal, breaking your neck in half to the precise beats by Tiko (which means it might become a fan-favorite if they add it to their setlists, of course), while Killing Diablos gets closer to their sonority from Death Bullets for a Forajido, but with a 2018 twist if I might say that. In addition, its background effects and tones nicely add an extra touch of madness to the music, while Patricia alternates between her rabid roars and demented clean vocals. Resurrection is another solid and well-crafted metal chant by SynlakrosS where the razor-edged guitars by Aarón and Iván shine brighter than the sun, also presenting a futuristic vibe and atmosphere and, as a consequence, being tailored for jumping up and down with the band; whereas in Morrígan it’s time for total devastation with this steampunk Spanish army, as the “Morrígan” is a figure from Irish mythology that represents a “great queen” or “phantom queen”, being mainly associated with war and fate, especially with foretelling doom, death or victory in battle. Does that remind you of someone? Anyway, I simply love how Patricia screams the song’s name from the bottom of her heart, making it impossible to stand still to this groovy and rumbling tune.

The last batch of songs from Malice Murder begins with Bloody Waltz, a dark an eerie “waltz” of contemporary Alternative Metal presenting elements from the wicked music by Rob Zombie and Marilyn Manson, such as its uncanny background keys, sounding and feeling very theatrical, which means it’s perfect for Patricia to showcase all her skills as the amazing singer and performer she is. Then the number of the beast, the famous 666, names another furious and ominous hymn by the quintet where Pablo slams his bass strings manically, extracting beyond lancinating sounds from it and, therefore, supporting Patricia’s screams flawlessly; whereas in Under the Ice there’s absolutely no sign of the band slowing down or getting any softer. Quite the contrary, it’s time for total anarchy with highlights to the perfect sync between Pablo’s bass and the guitar duo’s crisp riffage, sounding even more modernized than all previous songs. In the short and sweet semi-acoustic bridge Undying, we’re treated to some sort of futuristic western-like sonority, before SynlakrosS come crushing one last time in Siren’s Bloody Curse, the perfect conclusion to such powerful album, feeling more melancholic and obscure than all previous songs, transpiring melody and displaying an amazing performance by Pablo on bass and Iván with his fiery guitar solo. Needless to say, Patricia once again slays our senses with her potent growls and gripping clean vocals throughout the entire song.

In case you’re not a “curly wolf” yet, you should definitely start following SynlakrosS on Facebook, subscribe to their YouTube channel, and obviously purchase your copy of Malice Murder (available for a full listen on Spotify) from their own webstore in regular CD format or as a CD + T-shirt bundle (with the T-shirt also being designed by the unstoppable Patricia), as well as from iTunes, Amazon, or CD Baby. And if you’re already a diehard fan of SynlakrosS, you know the band is going places with their hard work, talent and extreme dedication, with the incendiary Malice Murder beautifully representing what their music is all about and pointing to an even brighter future for what’s in my humble opinion the best metal act hailing from Spain from the past decade and one of the best new names of the current metal scene worldwide.

Best moments of the album: Fatal Frame, Dark Seed, Morrígan and 666.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Angel on Fire 4:24
2. Fatal Frame 3:26
3. Dark Seed 4:03
4. Alone in the Dark 3:46
5. Eternal Darkness 4:33
6. Killing Diablos 3:50
7. Resurrection 3:54
8. Morrígan 3:38
9. Bloody Waltz 3:56
10. 666 3:18
11. Under the Ice 4:05
12. Undying 2:24
13. Siren’s Bloody Curse 4:26

Band members
Patricia Pons – vocals
Iván Muñoz – guitar
Aarón Hidalgo – guitar
Pablo Fuentes – bass
Tiko Martínez – drums

Album Review – Zarraza / Necroshiva (2018)

These Kazakh corpse gods of Thrash Metal take no prisoners in their quest for extreme music, infecting us all and spilling our blood into the circle pit to the sound of their new pulverizing album.

Formed in 2010 in the city of Almaty, Kazakhstan’s largest metropolis set in the foothills of the Trans-Ili Alatau mountains, Kazakhstan Thrash Metal maniacs Zarraza have just released their long-awaited debut album Necroshiva, following up to the band’s 2013 EP Cutting Meat. Fast & Loud. And one of the hardest working metal bands in Central Asia, having already played in Uzbekistan, Kyrgyzstan and Kazakhstan, takes no prisoners in their quest for extreme music, with each of the eight groovy and pulverizing songs in Necroshiva crushing your minds mercilessly like a runaway train of evil.

Comprised of Nick Khalabuzar on vocals and guitar, Alex Filatoff on bass and Ruslan Konon on drums, Zarraza’s only concern in Necroshiva is how their lyrics would be translated into Kazakh or Russian. “Anti-religious songs full of sarcasm and quotes from Giordano Bruno and Pierre-Simon de Laplace are not welcomed in a country where there is a significant Muslim population,” said the band, but that seems to be only a minor issue for them in the end. Displaying a beyond devilish and somber cover artwork by Russian artist V. Smerdulak (Katalepsy, Melancholy, Semargl, Arkona), Necroshiva is everything we love in Thrash and Groove Metal, being highly recommended for all mandatory thrashing activities such as slamming into the pit, headbanging like a beast and raising your horns to the band’s infuriated music.

Abyss Above Me kicks off the album with an explosion of brutal and austere Thrash Metal, a fantastic welcome card by this Kazakh squad led by the demented drumming by Ruslan and the raspy, choleric vocals by Nick, bringing elements from Groove, Death and Black Metal, and their furious onrush of extreme music goes on in the also belligerent Shadows, with Nick sounding bestial with both his growls and riffs, while Alex adds tons of groove to the musicality with his rumbling bass. Then we have the title-track Necroshiva, an insanely demolishing display of Thrash Metal with a strong progressive vein, where Ruslan is even more impressive with his intricate beats and fills and its modern-day lyrics go along extremely well with the music (“War’s for gods… Slaughter of lambs / It’s hecatomb we made for thousand years / Immortal rites of human sacrifice / Transformed into modern way of life”); followed by another complex and infuriated tune titled More Than Hate, an almost-Death Metal creation by the quartet led by Nick’s spot-on riffs and solos, with the level of adrenaline being exactly what you need to crush your skull into the circle pit.

Dark waves permeate the air in the melancholic and apocalyptic bridge Echo Of The Future, setting the stage for the modernized thrashing feast named Dead Star, displaying hints of Scandinavian Melodic Death Metal the likes of Arch Enemy and the early days of In Flames. Furthermore, Nick managed to sound even more boisterous on vocals, as well as the metallic bass lines by Alex which will punch you in the head mercilessly. After such beautiful exhibit of extreme music, get ready for a Progressive Thrash Metal voyage in Voice Of The Forgotten, with the music flowing in some sort of demonic Dream Theater-ish mode, but of course with Nick bringing rage to the sound with his roars, all spiced up by some electrifying guitar solos. And ending the album on a high and violent note we have 150 Words, with its lyrics reeking of malignancy (“Serpent – you crawled inside my world / To steal – affections of my soul / To brew your bile words of hate / And sting me in back to weaken / Your only way to live is betrayal / Soaking dirt to digest”). Musically speaking, it’s a frantic, violent Thrash and Death Metal attack by Zarraza, leaving us eager for more of their devastating music.

I’m not sure if you have already realized you’re in front of a metal band from the distant land of Kazakhstan playing top-notch Thrash and Groove Metal that only the finest bands from the United States, the land of thrash, are capable of reproducing, which means you should definitely show your total support to Zarraza by buying Necroshiva (available for a full listen on Spotify) from their own BandCamp page, CD Baby, iTunes or Amazon, and by following them on Facebook, VKontakte and YouTube. The corpse gods from Kazakhstan are among us to stay, and you better be prepared to spill your blood into the pit in the name of Thrash Metal.

Best moments of the album: Abyss Above Me, Necroshiva and Dead Star.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Abyss Above Me 5:00
2. Shadows 3:48
3. Necroshiva 3:13
4. More Than Hate 3:28
5. Echo Of The Future (instrumental) 1:29
6. Dead Star 5:38
7. Voice Of The Forgotten 4:39
8. 150 Words 3:27

Band members
Nick Khalabuzar – vocals, guitar
Alex Filatoff – bass
Ruslan Konon – drums

Guest musician
Evgen Hablack – bass on “Necroshiva”