Album Review – Sebastien / Act Of Creation (2018)

One of the biggest exponents of modern-day Czech metal returns with the next chapter in their always-evolving and exciting career.

One of the biggest exponents of modern-day Czech metal is back with a brand new album that will certainly please and entertain all fans of the most electrified form of Melodic Power Metal you can think of. After the releases of their debut album Tears Of White Roses, in 2010, and the critically acclaimed Dark Chambers Of Déjà-Vu, in 2015, it’s time for Brno-based metallers Sebastien to unleash their third full-length installment, titled Act Of Creation, continuing their evolution as a band and, as a consequence, cementing their name as the finest metal act you can find in the entire land of beer.

With its cover artwork designed by Hans Trasid (Dis-Art Design), and featuring an entourage of very special guests the likes of Swedish vocalist Apollo Papathanasio (Spiritual Beggars, Firewind) and Slovak vocalist Mayo Petranin (Signum Regis), Act Of Creation will bring to your avid ears fourteen exceptional compositions by skillful musicians who are at their prime, from passionate power ballads to those fast and crisp Melodic Metal anthems that will accelerate your heartbeat in an exciting and fun way. Furthermore, it’s very important to emphasize the fact that Sebastien maintained the same lineup from their previous album, which obviously translated into pure cohesiveness, precise timing and a powerful dynamism among all band members.

The title-track Act of Creation kicks off Sebastien’s metallic feast with a heavier-than-usual sonority, bringing elements from modern-day Groove Metal to their traditional Power Metal. Moreover, frontman George Rain has (as expected) an amazing performance showcasing a wide range of vocal styles in the same song, while Pavel Dvorak brings epicness to the overall sound with his keys. Then we have No Destination, a fast-paced, aggressive tune that will please even non-metal fans due to its thrilling rhythm, presenting the always flammable vocals by George supported by Czech guest vocalist Kristýna Dostálová and endless energy flowing from all instruments; and Wake Up, an imposing tune where Lucas R. leads the crew with his pounding drums, with all orchestral and choir-like elements in the background enhancing the song’s already potent vibe. But it obviously wouldn’t be a Sebastien album without a classic power ballad like Amy, displaying spot-on riffs by George and his bandmate Andy Mons while bassist Petri Kallio not only delivers some powerful bass punches, but his 80’s Hard Rock-inspired backing vocals also add a lot of feeling to the final result.

Venturing through the realms of Symphonic and Melodic Metal, the band delivers a futuristic metal chant titled Evermore, presenting a pleasant paradox between clean and harsh vocals, not to mention how determined Pavel is to arouse our senses with his fiery keyboards. My Empire reminds me of some of the latest creations by Sonata Arctica (which unfortunately is not a good thing these days), with an interesting work done with all background elements but nothing that truly connects in the end, whereas Queen from the Stars is a melancholic, serene ballad with passionate performances by George on vocals and Andy with his acoustic and electric guitars. Put differently, simply hold your lighter high and wave it together with Sebastien to this beautiful song. And featuring guest vocalist Mayo Petranin, Winner is a song where the sound of keyboards is considerably higher than the one of the guitars, therefore uniting in a pleasant way the classic sounding of the 80’s with Sebastien’s contemporary metal.

With Czech guest guitarist Djordje Erič (Citron) slashing us all with a gripping, flammable guitar solo, Heal My Soul goes back to a more traditional musicality, albeit still presenting hints of heavy music from the 80’s, and consequently pleasing both fans of the classic metal by Sebastien as well as the ones who prefer more modern Melodic Metal. In Promises, Kristýna Dostálová returns with her charming vocals in another symphonic ballad by Sebastien, with Andi and Pavel being in total sync with their respective riffs and keys, therefore boosting the electricity of the whole song; and featuring guest Apollo Papathanasio on vocals, it’s time for our Czech squad to put the pedal to the metal in the electrifying hymn Die in Me, where the whole band fires pure Melodic Power Metal for our total delight. Displaying a beyond catchy chorus and endless adrenaline, this metal hymn should sound absolutely fantastic during their live performances.

And Act Of Creation might be considered a long album with its over 60 minutes of music, but every song has its purpose just like Full Moon Child, portraying a classic name for a straightforward and very cohesive Power Metal sonority boosted by the precise beats by Lucas, with highlights to the spot-on riffs and solos extracted by Andy from his unstoppable guitar. The second to last metallic act by those Czech rockers comes in the form of a semi-acoustic ballad entitled Hero, with another powerful performance by George on vocals, before the bonus track V Síti Štěstí (or “in the network of happiness” from Czech) closes the album in sublime fashion. It’s not a secret to anyone that Sebastien never get tired of delivering soulful ballads to our ears; however, this is a fresh one, being fully sung in Czech, which seems to have provided George some additional room for adding never-before-seen nuances to his vocal lines.

It’s always a pleasure to see a talented and hardworking band like Sebastien evolving in their already solid career, and if you want to know more about the best metal band hailing from the enchanting Czech Republic you should definitely go check their Facebook page and YouTube channel for news, tour dates (and they do tour several other countries if you ) and, of course, more of their awesome Power Metal. Act Of Creation, which can be purchased from the Pride & Joy Music webstore, from the band’s own Facebook, from iTunes or from Amazon, is one of those albums that will put a smile on your face no matter how hard your day has been, proving once again Sebastien are here to stay and to keep bringing top-tier heavy music to our never-resting metal hearts.

Best moments of the album: No Destination, Evermore, Promises and Die in Me.

Worst moments of the album: My Empire.

Released in 2018 Pride & Joy Music

Track listing
1. Act of Creation 4:27
2. No Destination (feat. Kristýna Dostálová) 3:02
3. Wake Up 4:11
4. Amy 5:38
5. Evermore 4:32
6. My Empire 3:48
7. Queen from the Stars 4:34
8. Winner (feat. Mayo Petranin) 4:01
9. Heal My Soul (feat. Djordje Erič) 3:47
10. Promises (feat. Kristýna Dostálová) 3:29
11. Die in Me (feat. Apollo Papathanasio) 4:54
12. Full Moon Child 4:52
13. Hero 5:25

Bonus track
14.V Síti Štěstí 4:34

Band members
George Rain – vocals, guitars
Andy Mons – guitars
Petri Kallio – bass, backing vocals
Pavel Dvorak – keyboards
Lucas R. – drums

Guest musicians
Apollo Papathanasio – vocals on “Die In Me”
Mayo Petranin – vocals on “Winner”
Kristýna Dostálová – female vocals on “No Destination” and “Promises”
Djordje Erič – lead guitar on “Heal My Soul”
Vendula Skalová – backing vocals


Album Review – Lebowskii / Liquidators EP (2018)

Presenting a fast, groovy and electrified fusion of 80’s and 90’s Thrash Metal with traditional Heavy and Death Metal sounding, please welcome a promising new act from the French underground scene.

It’s time for The Headbanging Moose to take a short and extremely fun and heavy trip to Nantes, a city on the Loire River in the Upper Brittany region of western France, to slam into the pit to the flammable Thrash Metal blasted by a brand new group in the French independent scene that goes by the name of Lebowskii. If you’re a diehard fan of bands such as Slayer, Death, Megadeth, Cannibal Corpse, Metallica and Tool, you’ll have a great time listening to the music by this four-piece act comprised of Damien on vocals and guitar, Jonathan on vocals and bass, Boris on the guitar and Laurent on drums. Together those four French horsemen are releasing their debut EP, titled Liquidators, presenting a high-octane, groovy and electrified fusion of 80’s and 90’s Thrash Metal with traditional Heavy and Death Metal sounding.

In the opening track, titled Why Are We Falling Down?, we already get to know who Lebowskii are, as we face four metallers crushing our heads with their fiery mix of Thrash and Groove Metal. Moreover, Laurent shows all his fury through his fierce beats in this great composition highly recommended for banging your head and cracking your spine, while Damien leads the battle with his enraged screams. Then we have Haunting A Shell Of Flesh, slightly slower but heavier than its predecessor due to the smashing drums by Laurent, also presenting hints of the Thrash Metal by Slayer and Testament, with Boris bringing a welcome balance to the song’s neck-breaking core rhythm with his precise guitar lines. And leaning towards modern Thrash Metal (without losing its old school vibe) the band offers us all the title-track Liquidators, bringing forward a great riffage by Boris while Damien effectively screams and shouts the song’s violent lyrics,supported by Jonathan and his backing vocals, who also delivers groovy, solid bass lines during the entire song.

Their feast of contemporary metal blended with traditional riffs and beats from Bay Area Thrash goes on in Your Brain Is Just Insane, another song tailored for headbanging nonstop with the band where Damien and Jonathan once again make a great duo on vocals, pumping up the listener to scream and shout together with them. Lastly, closing the EP the band blasts more aggression in the form of music in Narrow Minded, a song where you’ll be able to enjoy Lebowskii in their most Groove Metal mode, with the sound of bass and drums being truly thunderous. In addition, when you reach this point of the EP you’ll realize that although all five songs are longer than your usual Thrash Metal tune (mainly due to the progressiveness added by all band members with their refined techniques), that doesn’t mean they get tiresome or boring. Quite the contrary, Lebowskii are a band that knows how to captivate our attention for an extended period of time, no matter how long their compositions might be.

If you are a fan of straightforward heavy music with no shenanigans nor any artificial elements, then you should definitely give Lebowskii a try by liking their Facebook page, and obviously by buying your copy of the ass-kicking EP Liquidators through their BandCamp page or through the M.U.S.I.C. Records webstore. This is the type of music that once it gets into your day-to-day playlists, it will stay there forever, and you’ll find yourself banging your head to the flammable riffs and hardcore attitude by Lebowskii over and over again. As a matter of fact, remember we’re talking about a five-track EP only, which makes me wonder how insane a full-length album by such promising band shall sound like (and I hope Lebowskii deliver that sooner than later, for our total delight).

Best moments of the album: Why Are We Falling Down? and Liquidators.

Worst moments of the album: None.

Released in 2018 M.U.S.I.C. Records

Track listing
1. Why Are We Falling Down? 5:50
2. Haunting A Shell Of Flesh 5:58
3. Liquidators 5:12
4. Your Brain Is Just Insane 5:47
5. Narrow Minded 6:26

Band members
Damien – guitar, vocals
Jonathan – bass, vocals
Boris – guitar
Laurent – drums

Album Review – Xenosis / Devour and Birth (2018)

Behold the next step in the remarkable musical evolution by one of the biggest new names of the Progressive Death Metal scene.

Hailing from New Haven, a coastal city on Long Island Sound, in Connecticut, American Progressive Death Metal legion Xenosis set out from their formation in 2010 with a precise goal in mind: To create Death Metal that blurs the lines, that draws from the past and present equally, and to continually evolve as a band from release to release. To date, they’ve lived up to that aim, and have continued to up the ante with each new musical effort put forth. After the releases of their self-titled debut EP in 2010, followed by the full-length albums Haunted Skies, in 2012, and Sowing the Seeds of Destruction, in 2015, it’s time for Xenosis to strike again with their third full-length opus, titled Devour and Birth.

On Devour and Birth, Xenosis offer the listener their characteristic Progressive Death Metal that blends old school-inspired Death Metal with a fair bit of more modern Technical Death Metal ideas, rounding out there sound with a lot of groove and some thrashy Melodic Death Metal influences as well. Given the eclectic style of Progressive Death Metal that Xenosis play, their list of influences, which includes names such as Death, Meshuggah, Morbid Angel, Suffocation, Testament, Gojira and Emperor, among others, serves as a guide of sorts that the music on Devour and Birth does not fit neatly inside one mold or style of Death Metal, and after taking a detailed listen at the entire album you’ll certainly get addicted to their intricate fusion of extreme sounds.

In the opening track, named Night Hag, a brutal wall of heavy and groovy sounds comes crushing our senses mercilessly, led by the demonic drumming by Gary Marotta and the gruesome roars by frontman Sal Bova, resulting in an extremely technical but at the same time crude sonority highly recommended for fans of the genre. Then in Army of Darkness we face total devastation with a demented level of complexity flowing from all instruments, with guitarists Kenny Bullard and Mark Lyon firing some Dream Theater-ish riffs and solos while Sal keeps growling deeper and deeper; and their onrush of Death and Groove Metal continues in full force in Delirium (Death of a God), where the bestial and utterly complex beats by Gary are flawlessly complemented by the wicked bass lines by Dave Legenhausen in a prefect representation of modern-day Progressive and Technical Death Metal.

I guess I don’t need to say Concave also sounds insanely aggressive and harmonious at the same time, with Dave and Gary making a dynamic duo from the underworld, therefore generating a fierce and vile background for Kenny and Mark to go mental with their riffs and solos. Then we have Oxidation, a mechanized bridge that reminds me of some of the weirdest tracks by Industrial Metal titans Fear Factory, revving up the engines for the heavy-as-hell Ominous Opus, full of breaks and variations to give its Death Metal core essence a demented twist, uniting the words “progressive” and “aggressive” in a fantastic manner. Put differently, simply go break your neck headbanging to the brutish riffs delivered by the band’s guitarists while Sal keeps growling like a beast.

The amazing title-track Devour and Birth takes their ferocity to a whole new level, sounding exciting form start to finish with the whole band displaying all their skills, in special Gary, Kenny and Mark, blasting sheer havoc through their sick beats and very technical shredding respectively. And the last track of the album, titled The Projector, is another hurricane of Death Metal masterfully executed by Xenosis, a circle pit-catalyst that sounds and feels very complete and detailed, being absolutely perfect for slamming into the pit during the band’s live performances.

Featuring a futuristic and menacing artwork by Brazilian graphic designer Caio Caldas (CadiesArt), Devour and Birth, which can be purchased through the band’s own BandCamp page, as well as on iTunes or on Amazon, not only cements Xenosis as one of the most interesting exponents of the current independent Progressive Death Metal scene, but it is also an album of extreme music that’s utterly recommended for all metalheads who are searching for a monumental amount of intricacy and progressiveness amidst all the chaos and destruction usually delivered in Death Metal. You can find more details about Xenosis and their elaborate music at their Facebook page and YouTube channel, and keep witnessing (and of course supporting) for years to come the remarkable musical evolution this talented five-piece act has been enjoying since their beginnings.

Best moments of the album: Night Hag, Concave and Devour and Birth.

Worst moments of the album: None.

Released in 2018 Independent

Track listing   
1. Night Hag 6:45
2. Army of Darkness 5:14
3. Delirium (Death of a God) 5:51
4. Concave 5:15
5. Oxidation 0:54
6. Ominous Opus 5:59
7. Devour and Birth 4:28
8. The Projector 5:56

Band members
Sal Bova – vocals
Kenny Bullard – guitar
Mark Lyon – guitar
Dave Legenhausen – bass
Gary Marotta – drums


Album Review – Terror Universal / Make Them Bleed (2018)

Behold the rise of the masked fearsome foursome of modern American metal and their bloodthirsty, action-packed debut album.

Comprised of current and former members of rock and metal renowned acts such as Machine Head, Ill Niño, Soulfly and Upon A Burning Body, here comes American Horror Metal masked supergroup Terror Universal, who have been unstoppable since the band’s inception back in 2014, having released their debut EP Reign of Terror in 2015 and shared the stage alongside heavy hitters including Korn, Asking Alexandria, Papa Roach and Fear Factory, among others. Now in 2018 those masked marauders are set to release their debut full-length album Make Them Bleed via minus HEAD Records, an album that can undoubtedly be considered the musical equivalent of a slasher film due to its aggressiveness, tension, lunacy and obviously the distinctiveness and eccentricity of each of the band’s bizarre members.

Snapping from moments of intense sonic bloodletting into menacing melodic mayhem, before creeping back into the shadows to do it all over again, the fearsome foursome Plague on vocals, Thrax on the guitar, Diabolus on bass and Massacre on drums live up to the legacy of modern-day American Alternative and Groove Metal the likes of Slipknot, Mushroomhead, Five Finger Death Punch, Deftones, Disturbed and so on. Produced by the band’s own members and mixed by Eddie Wohl (Smile Empty Soul, Fuel, Ill Niño, 36Crazyfists), Make Them Bleed will become the soundtrack to your most wicked nightmares, blasting your senses with its avalanche of heavy and metallic sounds and noises.

And the monstrous quartet kicks off their freak show of metal with a ferocious tune titled Passage of Pain, where Diabolus and Massacre make sure the ambience remains as heavy, menacing and obscure as possible with their rumbling bass and drums, respectively, while Plague screams and shouts like a true beast. Then in Welcome to Hell (which you can also watch as a guitar playthrorugh and as a bass playthrough on YouTube) Plague sounds utterly enraged, while Thrax transforms his guitar into a bloodthirsty weapon, resulting in the perfect depiction of modern extreme and alternative music made in the USA; followed by Spines, where an electronic-ish intro quickly evolves into a very dark and melodic sonority that could easily be played on any radio station, but still feeling extremely heavy. Featuring guest musician John Moyer (Disturbed) on bass, this can be called “a love song crafted by monsters”, sounding somehow romantic and violent at the same time.

Taking their animosity to a much higher level, Terror Universal bring forth the title-track Make Them Bleed, with the amazing low-tuned punches by Diabolus making the whole song more impactful. Moreover, its neck-breaking rhythm is effectively boosted by Plague’s demented growls, turning it into their personal hymn of sheer rage against everything and everyone, perfect for “spreading the violence” and “fucking the world” as Plague himself screams during the song. Then in Through the Mirrors they engage in their most Slipknot/Stone Sour-inspired mode, with the sick beats by Massacre guiding the musicality while Plague fires his crisp, acid vocals, not to mention Thrax and his cutting riffs; followed by the excellent Dig You A Hole with its gripping pace and vocal lines, enhanced by the fierce circus-like beats by Massacre and the song’s spot-on backing vocals. This is definitely one of the best new Alternative/Nu Metal songs you can find out there, making us bang our heads like maniacs without even noticing together with those four masked beasts.

Featuring the unstoppable Tony Campos (Fear Factory, Ministry, Soulfly, Static-X) on bass, who ends up giving the overall sound an Industrial Metal-like vibe with his crushing bass lines, Dead on Arrival is an excellent option for the band’s live performances to make everyone jump up and down together with them, whereas Into Darkness offers the listener another blast of their modern-day Horror Metal, albeit not as exciting as the rest of the album. Let’s say that it’s not a bad tune, but those freaks of nature sound way too “docile” in this case. On the other hand, their most savage and bestial mode arises in a great explosion of Groove and Thrash Metal named Your Time Has Come, with Thrax and Diabolus leading the carnage with their razor-edged strings, before Piece by Piece concludes the album like a bulldozer, with its metallic sounds penetrating deep inside our ears while Plague alternates between growling like a demon and firing his keen clean vocals.

In summary, if you enjoy modern American metal with an extra dosage of insanity and fury, all wrapped up by the grim and monstrous faces of Terror Universal, you’ll certainly have a good time listening to the music from Make Them Bleed. You can face those four creatures from hell anytime through their Facebook page and YouTube channel, and purchase your copy of the album through their BandCamp page, through their Pledge Music page, on iTunes or on Amazon. Just make sure you’re in good shape and ready to rock to the sound of Terror Universal because, you know, you won’t be dealing with regular people, but with rabid monsters of modern metal eager to taste your blood.

Best moments of the album: Welcome to Hell, Make Them Bleed and Dig You A Hole.

Worst moments of the album: Into Darkness.

Released in 2018 minus HEAD Records

Track listing    
1. Passage of Pain 3:57
2. Welcome to Hell 3:41
3. Spines (feat. John Moyer) 3:18
4. Make Them Bleed 3:32
5. Through the Mirrors 4:10
6. Dig You A Hole 4:35
7. Dead on Arrival (feat. Tony Campos) 3:34
8. Into Darkness 4:17
9. Your Time Has Come 3:21
10. Piece by Piece 3:06

Band members
Plague – vocals
Thrax – guitars
Diabolus – bass
Massacre – drums

Guest musicians
John Moyer – bass on “Spines”
Tony Campos – bass on “Dead on Arrival”


Album Review – Butcher Babies / Lilith (2017)

The most dangerous and relentless demons of heavy music return with another crisp, visceral and fun album of present-day Metalcore.

As I said in our Metal Chick of the Month dedicated to the Butcher Babies in October 2016 celebrating three years of The Headbanging Moose, frontwomen Heidi Shepherd and Carla Harvey definitely know how to properly rumble, and now with the release of Lilith, their third full-length album, this Los Angeles-based Metalcore act spearheaded by those two gorgeous growlers more than cements their name in modern metal music. And don’t get fooled by their stunning looks, as Heidi and Carla can rip your heart out in the blink of an eye, just to show you how visceral and vibrant their music is.

After the release of the excellent Take It Like A Man, in 2015, an album that’s utterly entertaining from start to finish, fans of the Butcher Babies kept wondering if Heidi and Carla, together with Jason Klein on bass, Henry Flury on guitars and newcomer Chase Brickenden on drums would be able to deliver the same amount of aggressiveness and electricity that led them to play alongside giants like Marilyn Manson, Danzig, Rob Zombie and Cradle of Filth since the band’s inception, and for our total delight Lilith not only kicks some serious ass, but it also brings a more melodic side of the Butcher Babies that add an extra layer of intricacy and quality to their always fun compositions.

Now simply hit play and feel the metallic riffs by Henry crushing your skull before the dynamic duo Heidei and Carla begin their growling feast in Burn the Straw Man, not only a circle pit-generator with a catchy chorus and pure rage flowing from all instruments, but also a fantastic choice for opening their live concerts in full force. Following that flawless start we have the title-track Lilith, bringing their trademark ferocity infused with more melodic lines (mainly found in their cleaner vocals), with Chase proving why he was chosen to be the band’s new drummer; and Headspin, an almost-radio-friendly tune presenting a heavy but extremely sexy rhythm that will put you to dance and sing along with the band. Moreover, as a “bonus” the song got a lustful official video that deals with virtual reality (aka virtual sex) that’s definitely worth a watch. And in Korova the band gets back to a more underground Metalcore sonority, with Henry, Jason and Chase doing a solid job by supporting the screams by Carla and Heidi, all boosted by the song’s absolutely addictive chorus.

The beyond electrified #Iwokeuplikethis offers pure madness blasted by the entire band, with Chase sounding beastly on drums while our charming screamers fire some demented gnarls and deep growls nonstop. Things slow down a bit in The Huntsman, a dark Metalcore semi-ballad with hints of Alternative and Groove Metal which never really takes off despite the awesome rumbling bass lines by Jason, but everything returns to normal (if the Butcher Babies can be called “normal”) in Controller, a song that can be considered “old school Butcher Babies” by presenting all elements that made them famous in heavy music. Furthermore, its groovy and metallic tones are tailored for jumping up and down and breaking our necks headbanging with the band. And Oceana is another shot of insanity by Heidi and Carla, with the first firing her more strident screeches while the latter keeps growling deeper and deeper. In addition, Henry nails it with his crisp riffs, increasing the impact of the song to our ears.

In Look What We’ve Done we have more of their more melodic and commercial version (which means it should receive some decent air play in several radio stations), with both girls kicking ass with their potent clean vocals. And although they’re also great when singing smoother songs, I personally prefer their more enraged mode like what happens in POMONA (Shit Happens), a song that will cause some serious bruises inside the circle pit. Both girls sound demented throughout the entire song led by the frantic riffs and beats by Henry and Chase, respectively, turning it into one of the best songs of the whole album. And Underground and Overrated, the closing tune in Lilith, will pierce your ears with Henry’s cutting guitar riffs and solos and Heidi and Carla’s hellish screams. This is what I would call a “festival song”, being more than perfect for those open air festivals that happen all over Europe and North America during the summer.

Lilith might be known as a dangerous demon of the night who is sexually wanton (and who steals babies in the darkness), but from now on she will also be known as the Butcher Babies’ bitch, because no woman in metal can top Heidi and Carla in terms of stamina, fury and passion for the more alternative side of Heavy Metal. If I were you, I would certainly keep an eye on their Facebook page for their tour dates to promote Lilith (which by the way can be purchased through several different platforms, and if you’re lucky enough you might be able to find the Japanese edition with five sick bonus tracks), because as a guy that has already seen Heidi, Carla & Co. live I can assure you their concerts are insanely enjoyable. And needless to say, the Butcher Babies will keep on rocking and showing their love for heavy music until the end as true metalheads that they are.

Best moments of the album: Burn the Straw Man, Headspin, #Iwokeuplikethis and POMONA (Shit Happens).

Worst moments of the album: The Huntsman.

Released in 2017 Century Media

Track listing
1. Burn the Straw Man 4:05
2. Lilith 3:27
3. Headspin 3:32
4. Korova 4:05
5. #Iwokeuplikethis 3:01
6. The Huntsman 3:06
7. Controller 3:04
8. Oceana 3:32
9. Look What We’ve Done 3:35
10. POMONA (Shit Happens) 3:13
11. Underground and Overrated 3:59

Japanese Edition bonus tracks
12. Beer Drinker & Hell Raisers 2:54
13. They’re Coming To Take Me Away 3:16
14. Don’t Give A Fuck 2:22
15. Crazy Horses 2:55
16. Pussy Whipped 2:32

Band members
Heidi Shepherd – vocals
Carla Harvey – vocals
Henry Flury – guitar
Jason Klein – bass
Chase Brickenden – drums


Album Review – The Earth And I / The Candleman (2017)

Close your eyes and enjoy the first of two sister albums by this talented American band, introducing you to their unique fusion of groove-oriented sounds and captivating storytelling lyrics.

Playing a mix of groovy, moody, syncopated metal and more upbeat, accessible rock tunes inspired by bands like Periphery, Animals as Leaders and TesseracT, American Progressive Rock/Metal metallers The Earth And I (also known as TEAI, pronounced /tay/) are releasing their debut full-length album, titled The Candleman, the first of two sister albums (with the second one, named The Curtain, being scheduled for an early 2018 release). Featuring seven tracks through the course of 35 minutes, The Candleman will not only introduce you to the world of TEAI, but present to you in great fashion their unique music heavily focused on a fusion of groove-oriented sounds and captivating storytelling lyrics.

Formed in 2013 in the city of Warwick, New York, in the United States by guitarists Daniel Siew and Liam Zintz-Kunkel, drummer Suss Mackenzie and bassist Nick Petromilli, who were later joined by neo-soul vocalist Kendyle Wolven in 2017, TEAI aim at filling a serious need in the Progressive Metal world for non-operatic female vocals with The Candleman and The Curtain. Displaying a minimalist and classy artwork designed by the band’s own guitarist Daniel Siew, The Candleman definitely succeeds in bringing that vocal variation desired by TEAI to their metal music, effectively helping the band make a name for themselves in underground Progressive and Groove Metal.

The beautifully-titled atmospheric intro The Lake Under the Desert warms up the listener for the groovy and thunderous I. CGMTC (Life in the Sunset Zone), a powerful tune where Daniel, Liam and Nick create a wave of rumbling sounds with their strings, setting the stage for the mesmerizing vocals by Kendyle to shine brighter than the sun. Moreover, the song brings moments of hope flawlessly blended with passages full of anger, resulting in a full-bodied Progressive Metal experience for our senses enhanced by its poetic lyrics (“In the harbor, / the ship had turned to stone. / They watched from the Belfry, / long bones, and cold and unsound, / their skin drawn tight / over emaciated forms.”). Then in II. Little Frames, a more obscure, introspective creation by TEAI, the fiery Kendyle keeps blasting her potent vocals in a beautiful paradox with the harsh growls by Nick, with the musicality alternating between more technical Progressive Metal and rowdy Groove Metal. Put differently, simply close your eyes and let this feast of contrasting sounds penetrate deep inside your soul.

In the interesting And Now for a Slight Departure the band adds elements from Ska and Punk to their music, creating an upbeat vibe led by the high-pitched vocals by Kendyle and the rhythmic and precise beats by Adam, resulting in what can be considered a  more “radio-friendly” version of TEAI; while in Sugar High they get back to a darker sonority, with Daniel, Liam and Nick once again doing an amazing job with their axes, sounding like the bastard son of Dream Theater with Evanescence, but also presenting elements from Alternative Metal and Hard Rock to spice things up a bit.

Then as a break from all their groovy and wicked sounds TEAI offer us all a serene ballad named The Hollow Deluge, with Kendyle passionately (and effectively) declaiming its pensive words (“I stand before the most cloudy of waters. / I survey the scene with reserved apprehension. / There’s something not right here, like I’ve been here before. / It’s strangely familiar. / It’s almost uncomfortably comfortable.”), all boosted by the electricity that rises in the last part of the song, flowing into a climatic ending. And as the icing on the cake we have Skies Like Fences, bringing forward over 7 minutes of intricate drumming, metallic and extremely groovy bass lines, flammable guitar solos, deranged growls and endless energy, or in other words, an extravaganza of Progressive Metal once again led by Kendyle and her charming voice.

You can enjoy The Candleman in its entirety on YouTube or on Spotify, follow TEAI on Facebook, and buy your favorite version of the album through the band’s own BandCamp or webstore (in digipak or MP3 format, as well as on iTunes and on Amazon. In a nutshell, TEAI set the bar really high for themselves with The Candleman, but of course if they keep doing what they’re capable of in The Curtain next year, which is delivering high-end metal with a strong progressive vein, I’m sure all of us fans of Progressive Metal will be more than happy when their second album is released, just like how we are now with The Candleman.

Best moments of the album: I. CGMTC (Life in the Sunset Zone) and Skies Like Fences.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. The Lake Under the Desert 0:56
2. I. CGMTC (Life in the Sunset Zone) 4:34
3. II. Little Frames 8:35
4. And Now for a Slight Departure 4:05
5. Sugar High 4:06
6. The Hollow Deluge 5:01
7. Skies Like Fences 7:37

Band members
Kendyle Wolven – lead vocals
Daniel Siew – guitar, vocals
Liam Zintz-Kunkel – guitar
Nick Petromilli – bass, vocals
Adam Susskind – drums


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

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

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

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

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

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

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

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

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

Worst moments of the album: Dangerous Excuses.

Released in 2017 Independent

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

Bonus track
13. Dead Ashore We Lay 8:49

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

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


Album Review – Trivium / The Sin and the Sentence (2017)

Fast and intricate riffs, poetic lyrics, a sensational new drummer and, above all, the return of Matt’s trademark screams. That’s the formula for best metal album of the year.

Finally, after two somewhat controversial albums (the technically excellent but not unanimous Vengeance Falls, from 2013, and the extremely tiresome Silence In The Snow, from 2015), Orlando-based Heavy Metal fighters Trivium are back on track with what’s probably going to be the best metal album for most critics and fans worldwide, the sharp, dynamic and vibrant The Sin and the Sentence. This amazing release (the eight studio album in their solid career) features everything you learned to love in the music by Trivium, such as fast and intricate riffs, poetic lyrics and, above all, the return of the band’s mastermind Matt Heafy’s screaming vocals, by far the most important element that makes The Sin and the Sentence a million light-years better than Silence In The Snow.

Not only Matt’s enraged growls are back, but it seems that the band has at long last found the perfect drummer for their music, the talented Alex Bent (Battlecross, Brain Drill, Dragonlord), who replaced drummer Paul Wandtke, and as soon as you hit play you’ll be able to clearly see the humongous difference Alex makes to their sound. In addition, another interesting thing in The Sin and the Sentence is that the album wasn’t going to be called this way if it wasn’t for the cover art and design done by Matt’s wife, Ashley Heafy, with whom he’s married since January 2010. In a recent interview, Matt stated that the working title for the album was The Revanchist and that the album was going to have gold and neon colors; however, those plans were changed once Ashley presented the band with symbols for each accompanying song, and from there The Sin and the Sentence was born.

The opening track, The Sin and the Sentence, kicks off in full force, with newcomer Alex showing us all the wonders a high-skilled drummer can do to a band. This born-to-be-a-classic tune is extremely addictive and as heavy as hell, with an inspired (and recovered) Matt simply kicking fuckin’ ass on vocals; and it seems that no matter how their music sounds, Matt & Co. definitely know how to craft beautiful lyrics (“I saw the dagger eyes staring back at me / I knew I’d never have a chance to bleed / Guilty, but in the sight of fallen men / They bury you before you speak / (The sin and the sentence)”). Then blending Death, Groove, Progressive and even Black Metal in an aggressive but very melodic manner, Beyond Oblivion, a technical tune that lives up to the band’s legacy, showcases fun, uprising backing vocals in sync with the rumbling sound of the bass by Paolo Gregoletto, not to mention their once again hypnotizing lyrics (“These shadows sleep so soundly / Appalled, he now averts his eyes / Disgraced, he felt so empty / Entrusting us with our demise”). And Other Worlds feels closer to what they did in the albums In Waves and Silence in the Snow by focusing on the clean vocals by Matt, while Corey Beaulieu and Matt deliver sharp and very harmonious guitar lines and solos, presenting hints of modern Hard Rock in its rhythm.

The second single of the album, The Heart from Your Hate, is another great example of how Trivium can adapt from being a truly heavy machine to a more radio-friendly band, presenting a catchy chorus that goes along really well with the song’s main riff; whereas Betrayer can be considered the most visceral and electrifying of all tracks in the album, a full-bodied, intricate composition that brings several elements from the band’s first (and more ferocious) albums. Furthermore, do you also think the guitars sound a lot like the classic riffage by Black Metal titans Emperor, one of Matt’s favorite bands of all time? Anyway, in The Wretchedness Inside, a song to bang your head like a maniac, Paolo sounds thunderous on bass, with the song’s overall rhythm reminding me of the most recent albums by Slipknot mixed with Trivium’s In Waves sounding. And, as usual, Matt provides us another blast of top-notch lyrics (“Submerged in dirt but it was never enough / To quell the fire in the back of my lungs / My bones are aching and my head is a mess / They said to run but I’m obsessed with the madness”). As a side note, this song was actually taken from a demo Matt ghostwrote for a different band in 2014; the song was never used though, so Trivium simply re-recorded it for The Sin and the Sentence. The following track, titled Endless Night, feels like some songs from Vengeance Falls, again with a higher focus on Matt’s clean vocals, also bringing hints of Hard Rock to their heavy sonority. Moreover, the sound of bass guitar, which by the way is simply fantastic the whole album, ends up boosting the impact of this specific tune considerably.

Sever the Hand is a first-class composition that can be divided in two distinct pieces, the first presenting a more melodic, smoother musicality, while the second brings all Trivium’s fury, in special the precise beats by Alex, the demonic riffage by Matt and Corey, and Matt’s sick growling. More obscure but still heavy and metallic, Beauty in the Sorrow displays gripping guitars by Matt and Corey (as well as one of the best guitar solos of the whole album), again bringing hints of traditional Black Metal in its riffs; whereas The Revanchist, one of Trivium’s most progressive songs of their past few albums and the longest in The Sin and the Sentence, brings forward powerful, metallic bass lines that will punch you in the head while Matt tells the story in a solid and entertaining manner, not to mention how Alex yet again steals the spotlight with his bestial, rhythmic drumming. Lastly, Thrown into the Fire is a song that showcases all elements from most of Trivium’s phases, not to mention how superb Matt’s screams sound. With the insane beats by Alex dictating the song’s rhythm, the final result is furious and harmonious just the way we love it, ending this awesome album in a brutal, vile and piercing way.

After listening to The Sin and the Sentence, do you also agree with me it will most probably be the best metal album of 2017? Let’s face it, there are tons of amazing albums launched this year, like the new ones from Kreator, Mastodon and Accept, but the new installment by Trivium is by far the most complete, creative and exciting of all (at least for me). Well, even if you think another album (or maybe albums) is better than The Sin and the Sentence, it’s still worth the investment, so go grab your favorite version of it at the Warner Music webstore, and don’t miss Matt & Co. when they take your city by storm in the coming months. And, obviously, let’s hope the band keeps the momentum going for years to come in the same awesome vein as they just delivered us all with The Sin and the Sentence.

Best moments of the album: The Sin and the Sentence, Betrayer, Sever the Hand and Thrown into the Fire.

Worst moments of the album: None.

Released in 2017 Roadrunner Records

Track listing
1. The Sin and the Sentence 6:23
2. Beyond Oblivion 5:17
3. Other Worlds 4:50
4. The Heart from Your Hate 4:04
5. Betrayer 5:27
6. The Wretchedness Inside 5:32
7. Endless Night 3:38
8. Sever the Hand 5:26
9. Beauty in the Sorrow 4:31
10. The Revanchist 7:17
11. Thrown into the Fire 5:29

Japanese Edition bonus track
12. Pillars of Serpents ’17 (re-recorded version) 5:03

Band members
Matt Heafy – lead vocals, guitar
Corey Beaulieu – guitar, backing vocals
Paolo Gregoletto – bass guitar, backing vocals
Alex Bent – drums, percussion


Album Review – BloodBlind / BloodBlind EP (2017)

Mixing a punk attitude with metal music, a group of four Finnish musicians are ready to rock the world with the flammable amalgamation of different styles and ideas found in their debut album.

Mixing a punk attitude with metal music, a group of four musicians from Helsinki and Joensuu (a city and municipality in North Karelia in the province of Eastern Finland), has been working together for the past two years to give life to Melodic Thrash/Punk Metal entity BloodBlind, bringing their own influences to the mix and therefore creating a very unique sound. The result of that amalgamation of styles and ideas can be better appreciated in their debut self-titled EP, comprised of three electrified compositions that will help spread the word of BloodBlind throughout the world of independent heavy music.

The young and restless BloodBlind, formed by Tommi Kokko on vocals, Antti Kalliomäki on guitars, Janne Saksola on bass and Frank Fagerström on drums, were responsible for all of the production, visuals and themes found in the EP, with only some external help used in the mixing process. With their first release out, the band is gearing up to take to the stages and setting up to record their first full-length in a proper studio, but before that happens I highly recommend you open up some space in your room to bang your head and jump up and down to the invigorating and acid music offered in the EP by those four metallers who certainly know how to put the words “punk” and “metal” together in a compelling way.

Janne ignites the opening track Fuel for Fury with his heavy-as-hell, low-tuned bass punches, with the sound evolving to a blend of Thrash, Groove and Punk Metal led by the enraged growls by Tommi, while Antti makes sure the music remains as sharp and hostile as possssible with his riffs and solos. In the following tune, Will to Fight (featuring gang vocals on chorus by Finnish Thrash Metal band Maniac Abductor), BloodBlind deliver an anti-bullying message (“never give up, never give in”, says the band), joining in on the campaign against online bullying. With a stronger Rock N’ Roll vibe and endless electricity, Tommi’s screams sound even angrier than before (for a good reason), leaning towards Melodic Death Metal and Metalcore-like vocals, while Antti and Frank dictate the rhythm in this obscure anthem destined to be their biggest hit without a shadow of a doubt. And last but not least, we have another blast of Thrash and Punk Metal united with hints of Metalcore in Cancer of Society, a mid-tempo aggressive tune with highlights to the once again pounding beats by Frank and the menacing bass lines by Janne, not to mention the soulful solos by Antti and the flammable sounds emanating from both guitar and bass during the whole song.

In a nutshell, BloodBlind definitely succeeded in delivering exciting metal music through their short and sweet self-titled EP (which can be listened in its entirety on on YouTube or on Spotify), and if you want to show your support to this promising band go check their Facebook page and YouTube channel, and buy a copy of the album on BandCamp, on iTunes or on Amazon. There’s no doubt that those Finnish metallers are ready to rock the world with their thrilling music, proving one more time that talent and hard work, when properly put together, always result in something good.

Best moments of the album: Will to Fight.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Fuel for Fury 3:59
2. Will to Fight 4:53
3. Cancer of Society 4:21

Band members
Tommi Kokko – vocals
Antti Kalliomäki – guitars
Janne Saksola – bass
Frank Fagerström – drums

Guest musician
Maniac Abductor (band) – gang vocals on “Will to Fight”


Album Review – Droid / Terrestrial Mutations (2017)

An extraterrestrial three-pronged sonic organism has just landed in Canada, bringing new sounds of degradation and alienation to all admirers of the more technical and progressive versions of Thrash Metal.

In the city of Brampton, located in the peripheral suburbs of Toronto, Ontario, resides a three-pronged sonic organism known as Droid. Though conceived in 2012, it has been the amalgamation of years of shows, rehearsing and writing that has led to the fully realized aural representation of their efforts in their 2017 debut album, titled Terrestrial Mutations. And this Canadian Sci-Fi Thrash Metal entity is more than ready to present to fans of renowned acts such as Voivod, Megadeth, Annihilator and Anthrax, among many other bands known for blending aggressiveness and dexterity in a compelling way, an amazing alternative in the world of underground thrash.

Since their inception, Droid already released the demo Malfunction, in 2013, and an untitled promo in 2014, followed by the six-track EP Disconnected, in 2015, but it’s with Terrestrial Mutations that the power trio comprised of Jacob Montgomery on vocals and guitar, Chris Riley on bass and Sebastian Alcamo on drums reached a much higher level of speed and harmony, bringing new sounds of degradation and alienation to all admirers of the more technical and progressive versions of Thrash Metal. However, if you’re a fan of old school thrash, don’t think that they’ll sound too modern for your ears, as they always keep their sonority deeply inspired by the foundations of the genre.

For instance, the piercing guitar sounds by Jacob welcome the listener to the Sci-Fi world of Droid in the opening track Amorphous Forms (Shapeless Shadows), where the band delivers old school Thrash Metal with Sebastian pounding his drums mercilessly throughout the entire song. In Suspended Animation, we face lots of groove flowing from the guitar by Jacob and the bass by Chris, bringing those “dancing and slamming” elements from the music by Suicidal Tendencies as well as lyrics that couldn’t sound more thrashier than this (“Cold saline injected / straight through the heart / drained of blood given / hours to restart”); whereas in Abandoned Celestial State we’re treated to a fast and groovy start with a Blues-ish vibe led by Sebastian with his beats, generating a fun and interesting ambience for Jacob to declaim the song’s lyrics in a rabid manner. In a nutshell, this excellent tune offers the listener a well-balanced mix of Thrash and Groove Metal, and just like a Sci-Fi movie it follows a “script”, ending in a dark and somewhat apocalyptic way.

The title-track Terrestrial Mutation brings forward almost 10 minutes of 80’s-inspired Thrash Metal, starting with a somber, eerie intro before Jacob comes ripping with his riffs until the musicality reaches a very melodic shape. However, the song loses its grip mainly due to its length, but that doesn’t mean there isn’t a lot of good stuff to enjoy such as the low-tuned metallic bass lines by Chris and the song’s more progressive pieces. Fortunately, a piano intro presents to the listener another harmonious and visceral creation by Droid, titled Pain Of Reincarnation, where Jacob, Chirs and Sebastian put all the potency of their instruments together to generate a truly exciting sounding, feeling like Thrash Metal with Rock N’ Roll and Hard Rock elements, which turns it into one of the top moments of the album for sure. And in Temptations Of Terminal Progress the band fires an electrified feast of riffs, harsh and demented growls and pounding beats, also presenting interesting breaks and traditional thrashing lyrics (“The soothsayers learning / it’s best not to reveal what / he knew / the bones they are burning / for the means for the many / not the few”), morphing into a display of progressiveness mixed with elements from Blues and Jazz at times.

The rumbling bass lines by Chris and the fierce beats by Sebastian dictate the rhythm in the high-octane and electrifying tune Cosmic Debt, an old school Thrash Metal chant that will certainly ignite some good circle pits with highlights to the deranged vocals by Jacob à la Paul Baloff; followed by Excommunicated, a lot slower than its predecessors but still heavy and groovy, with Jacob delivering some cutting guitar riffs while Sebastian keeps smashing his drums effectively. The song never really takes off though, falling flat after a while, but at least the closing song, Mission Drift, with its over 10 minutes of music, showcases all the band’s passion for progressive and heavy sounds, with the bass punches by Chris sounding truly awesome. This is the perfect depiction of Progressive Thrash Metal, bringing intricate guitars and drums, and obviously keeping the stamina and complexity at a very high level until it fades into a somber, wicked conclusion.

The extraterrestrial thrashers from Droid can be better examined at their Facebook page, while Terrestrial Mutations can be purchased at their own BandCamp page, at the Nightbreaker Productions webshop, at the Hells Headbangers webshop, at the Temple of Mistery Records webshop, or at Discogs. As you can see, the music by Droid truly exists and is easy to find (as opposed to ETs), so if I were you I would support such promising power trio by buying their album, in order to ensure their future endeavors become a reality and keep their Sci-Fi soundings as thunderous as possible, piercing our metallic minds.

Best moments of the album: Amorphous Forms (Shapeless Shadows), Abandoned Celestial State, Pain Of Reincarnation and Cosmic Debt.

Worst moments of the album: Terrestrial Mutation and Excommunicated.

Released in 2017 Nightbreaker Productions

Track listing
1. Amorphous Forms (Shapeless Shadows) 4:58
2. Suspended Animation 3:26
3. Abandoned Celestial State 7:30
4. Terrestrial Mutation 9:56
5. Pain Of Reincarnation 6:36
6. Temptations Of Terminal Progress 8:00
7. Cosmic Debt 4:10
8. Excommunicated 6:45
9. Mission Drift 10:43

Band members
Jacob Montgomery – vocals, guitar
Chris Riley – bass
Sebastian Alcamo – drums