Album Review – Ice War / Defender, Destroyer (2020)

Spelling a shift in its musical direction with a faster and more aggressive sound, this Canadian one-man army will rock your world with his classic fusion of Speed and Heavy Metal.

After the dissolution of his previous band Iron Dogs in 2015, the unstoppable Ottawa, Canada-based metaller Jo “Steel” Capitalicide (also known for his contribution to some amazing underground bands such as Aphrodite, Dexezon and Expunged) has been on a roll with his solo project entitled Ice War, releasing a stream of demos, EP’s and full-length albums at full force, culminating with the release of his fourth full-length opus now in 2020, the fulminating Defender, Destroyer. Featuring a beyond classic artwork by Canadian artist Didier Normand, the album is Jo’s personal tribute to all things Speed, Heavy and Thrash Metal with a Punk-ish, Hardcore twist, being highly recommended for fans of the music by Savage Grace, S.D.I., Razor and Iron Angel, among others, to the very first Helloween EP from 1985, spelling a shift in the project’s musical direction with a faster and more aggressive sound.

Jo begins slashing his stringed ax in great fashion in the opening track Power from Within, an ode to 80’s Thrash and Speed Metal infused with Punk Rock elements, while at the same time he pounds his drums nonstop and fires his raspy, rebellious vocals with a lot of power, followed by the thrashing title-track Defender, Destroyer, where Jo sounds even more berserk and mental, showcasing flammable riffs and rumbling bass punches while inviting us all to slam into the circle pit to the sound of his unstoppable beats. And Soldiers of Frost is even faster and more electrifying than its predecessors, with Jo giving a lesson in feeling and passion for old school metal music, resulting in the perfect composition for singing along with our talented lone wolf, not to mention how incendiary his riffs and solos are.

And there’s no sign of slowing down at all, as Jo keeps hammering our heads with his high-octane fusion of Thrash and Speed Metal with Hardcore elements in Rising from the Tomb, where it’s impressive how he sounds like a full-bodied band even being absolutely by himself. Then it’s time for a mid-tempo, headbanging metal extravaganza titled Mountains of Skulls, where Jo keeps vociferating like a beast and shredding his strings beautifully, reminding me of the early days of bands like Exodus, Metallica and Megadeth, whereas in Crucified in Fire he ventures through more traditional Heavy Metal lands, bringing forward high-pitched screams amidst his always thrilling riffage and blast beats, never letting the level of adrenaline go down and, therefore, inspiring us to keep raising our fists to his ass-kicking music. After such high-speed exhibit we’re treated to another round of classic thrashing sounds and tones in Demonoid, where Jo focuses on his strident riffs and the song’s old school lyrics, resulting in pure Speed Metal made in Canada tailored for metalheads who enjoy having a cold beer while crushing their skulls into the circle pit.

It looks like Jo is never tired of delivering tons of electricity and rebelliousness through his music, which is also the case in the Punk Rock-infused tune Skull and Crossbones, presenting a rumbling atmosphere due to his metallic bass punches and reverberating drums, and in Running Out of Time, with his vocals getting more and more enraged and inebriate, sounding as one of his biggest personal tributes to metal from the 80’s, bringing to our ears vicious riffs and solos while the rhythm remains as insane as possible thanks to his hellish blast beats. Finally, there’s nothing better to properly close an album then with a groovy and insurgent hymn the likes of Breakaway, where Jo generates a rowdy ambience with his unstoppable guitars, bass and drums, building the perfect atmosphere for delivering his classic roars, ending Defender, Destroyer in a very melodic and epic way for our vulgar delectation.

You can show your support to this talented one-man army hailing from Canada by following Ice War on Facebook and on Instagram, by listening to more of his classic metal music on Spotify, and above all that, by purchasing your copy of Defender, Destroyer from the Fighter Records’ BandCamp page or from the Xtreem Music webstore sooner than you can say “Speed Metal”, keeping the unrelenting Jo “Steel” Capitalicide pumped up and ready to rock wherever he goes. Defender, Destroyer has no artificial elements, no special effects, nor any kind of innovation; it’s a straightforward, in-your-face album of classic Speed Metal deeply rooted in the 80’s, and that’s precisely what Jo needed to bring forth in his new album to truly shine. Well, let’s say that he more than succeeded in that, taking us all on a frantic and vibrant journey to the 80’s and, consequently, putting a huge smile on the faces of everyone who loves the music from that glorious decade from the bottom of their metal hearts.

Best moments of the album: Defender, Destroyer, Soldiers of Frost and Demonoid.

Worst moments of the album: None.

Released in 2020 Fighter Records

Track listing
1. Power from Within 3:00
2. Defender, Destroyer 3:31
3. Soldiers of Frost 4:09
4. Rising from the Tomb 4:02
5. Mountains of Skulls 4:23
6. Crucified in Fire 3:56
7. Demonoid 3:58
8. Skull and Crossbones 3:27
9. Running Out of Time 3:21
10. Breakaway 4:40

Band members
Jo “Steel” Capitalicide – vocals, all instruments

Album Review – Tøronto / Under Siege EP (2020)

Weird n’ wild Speed Metal from the 80’s heavily inspired by Hardcore and Punk Rock, condensed into 22 fast and filthy minutes made in Sweden.

Weird n’ wild Speed Metal from the 80’s heavily inspired by Hardcore and Punk Rock. That combustible mixture is exactly what you’re going to get in Under Siege, the striking debut mini-album by a Swedish metal horde that goes by the unique name of Tøronto (why a band from Sweden was named after the biggest Canadian city is beyond my comprehension), following up on their highly-acclaimed 2018 demo Nocturnal High. Comprised of vocalist and guitarist Edvin Aftonfalk and bassist Dag Landin, here under the stage names Eddie Flawless and 79-83, respectively, and also featuring drummer Leo Ekström Sollenmo (from Lethal Steel and Temisto), here under the name Lt. Oxtreme, as well as one Seb Cyborg on lead guitars, this vicious quartet formed in 2017 partly out of the ashes of the sorely missed Swedish Progressive Death Metal squad Morbus Chron is ready to kill armed with their newborn spawn, providing fans of bands such as Razor, Warfare, Inepsy, Discharge and Motörhead, among others, a fast and furious ode to the 80’s free of any artificial elements, sounding “unselfconsciously” minimalist and raw throughout its eight bangers which average only around two or three minutes each, just to give you an idea of how compact and precise Tøronto are in what they do.

And you better get ready to be smashed by the quartet in the dirty and rebellious opening tune Fast and Filthy, a thrilling fusion of Speed and Thrash Metal with classic Punk Rock where Seb and Eddie will cut your skin deep with their razor-edged shredding while Eddie distills his inebriate vocals in great fashion; and their berserk sounds invade our senses mercilessly in Fire in Sight, another old school metallic extravaganza where Lt. Oxtreme pounds and hammers his drums nonstop. Put differently, this is a Thrash Metal hurricane tailored for admirers of the genre who wish they could go back in time to the 80’s (and stay there forever, of course), whereas the rumbling bass jabs by 79-93 ignite the pulverizing ode to all things metal titled Frostbite Bitch, and such beautiful name couldn’t have had a sound that’s more acid and headbanging than what it already does, spearheaded by Lt. Oxtreme and his classic, smashing beats and fills. And inspired by the early days of titans like Slayer, Megadeth and Metallica we have Mud City Maze, with the incendiary riffs blasted by Eddie and Seb being effectively complemented by the band’s heavy-as-hell kitchen, all spiced up by Seb’s traditional and always exciting solos.

Then the band offers us all 23-11-0, and whatever those numbers mean the band translates them into 80’s Speed Metal for our total delight, with Eddie sounding absolutely mental with his raspy vocals while Lt. Oxtreme doesn’t let the level of adrenaline go down not even for a single second. Adding a welcome touch of Rock N’ Roll to their fulminating sonority, they offer our ears the rhythmic Ride the Rails, perfect for hitting the road with your buddies or to enjoy a cold beer while Tøronto kick some ass onstage, whereas  in Bunker (Under Siege) the music leans towards classic Punk Rock but with the band’s core Speed and Punk Metal essence intact, resulting in a song made for uniting all punks and metallers of the world in the name of good heavy music. Moreover, Eddie’s demented growls are nicely supported by his bandmates’ visceral backing vocals, while Seb keeps exhaling sheer electricity through his guitar solos. Finally, Eddie’s and Seb’s Megadeth-inspired riffs are the main ingredient in the closing song Lights Out at Bedlam, quickly morphing into another sonic assault by those Swedish rockers while 79-83 blasts thunder and rage from his bass.

If you want to join the 100% Swedish and (unfortunately) 0% Canadian unity known as Tøronto in their quest for Speed Metal, Punk Rock and lots of booze, go check what they’re up to on Facebook, listen to more of their music on Spotify, and obviously purchase your copy of the short and sweet Under Siege from the Dying Victims Productons’ BandCamp page or webstore in regular black vinyl format or as a special edition on colored vinyl, both containing a poster, a sticker, a post card, a download code and a patch, as well as from Apple Music. In a nutshell, our roten and decaying society is under siege by a fantastic four-piece squad hailing from Sweden, and they only need 22 minutes to decimate us all just the way we like it in uncompromising extreme music.

Best moments of the album: Fast and Filthy, Fire in Sight and Ride the Rails.

Worst moments of the album: None.

Released in 2020 Dying Victims Productions

Track listing
1. Fast and Filthy 3:24
2. Fire in Sight 3:33
3. Frostbite Bitch 2:59
4. Mud City Maze 1:29
5. 23-11-0 2:04
6. Ride the Rails 3:50
7. Bunker (Under Siege) 2:26
8. Lights Out at Bedlam 2:52

Band members
Eddie Flawless – vocals, guitars
Seb Cyborg – lead guitars
79-83 – bass
Lt. Oxtreme – drums

Album Review – Trivium / What The Dead Men Say (2020)

It’s time to listen to what these four (un)dead men from Orlando, Florida have to say in their thrilling new opus.

Three years after the release of the excellent The Sin and the Sentence, the unrelenting Matt Heafy on lead vocals and guitar, Corey Beaulieu on guitar and backing vocals, Paolo Gregoletto on bass guitar and backing vocals, and Alex Bent on drums and percussion, collectively known as Orlando, Florida-based Heavy Metal unity Trivium, return with another round of their always cohesive and breathtaking heavy music in What The Dead Men Say, the ninth studio album and another awesome addition to their undisputed career. Recorded at Studio 606 West in Northridge, Los Angeles, California, engineered, mixed and produced by Josh Wilbur, and mastered by Ted Jensen, What The Dead Men Say brings forward a myriad of styles and sounds that will please fans of all phases of the band, from Melodic Death Metal to Progressive Metal, Black Metal, Thrash Metal and Deathcore. “We’ve found a really great place to exist in this world. We love Melodic Death Metal, we love Death and Black Metal, and we love Hardcore. What the Dead Men Say is everything we do on one record,” commented Matt about their newborn spawn.

Furthermore, like The Sin and the Sentence, the lyrical content on What The Dead Men Say was inspired by modern aspects of life, with the album’s title being taken from a science fiction novella of the same name written by American writer Philip K. Dick, first published in Worlds of Tomorrow magazine in June 1964. For instance, “Catastrophist” deals with the theme of humanity in a crisis, “Amongst the Shadows & the Stones” is about the horrors of war, “The Defiant” was inspired by R. Kelly’s documentary and abuse-enabling, “Bending the Arc to Fear” talks about the surveillance aspect of modern society, and so on, with the closing song “The Ones We Leave Behind” being about “running over” people to succeed in life, delivering a powerful message and portraying a whole new meaning in the wake of the 2019–2020 COVID-19 pandemic. With that said, it was more than obvious that the fusion of a precise and powerful music with meaningful lyrics would result in another future classic by Trivium, leaving us eager for more of their always-evolving and never-repetitive music in the years yet to come.

As soon as you hit play, the cinematic instrumental intro IX (a clear reference to the fact that What The Dead Men Say is their ninth full-length album) sets the stage for Matt & Co. to kick some ass with the title-track What the Dead Men Say, where Alex begins crushing his drums with tons of precision and fury accompanied by the scorching riffs by Matt and Corey. Bringing elements from the Progressive and Groove Metal by bands like Lamb Of God added to their core musicality, this is indeed an excellent way to start their new opus, followed by Catastrophist, one of the previously released singles of the album, keeping the groove and electricity flowing from start to finish. Moreover, its razor-edged riffs remind me of some of their compositions from their 2013 album Vengeance Falls, while Paolo makes the earth tremble with his sick bass jabs.

Then it’s time to go absolutely mental to the sound of Amongst the Shadows & the Stones, by far my favorite of all songs, presenting their trademark riffage and solos, intricate beats, tons of breaks and variations and an endless amount of violence in a hybrid of Groove, Heavy and Thrash Metal, with Matt rabidly roaring the song’s lyrics (“Bloodied corpses, broken bones reveal / A throng of clashes crushed, our nightmare sealed / Amongst the shadows and the stones”), whereas the semi-ballad Bleed Into Me, despite the solidness of the instrumental pieces (in special Paolo’s somber bass lines), doesn’t really click and falls flat after a while, but there’s nothing to worry about as this is the only low (or maybe I should say less intense) point of the entire album. And back to their usual high-octane mode the quartet fires the also amazing The Defiant, showcasing Iron Maiden-inspired guitars walking hand in hand with the vicious beats by Alex while at the same time presenting a great balance between Matt’s clean vocals and harsh screams. As a matter of fact, could this be an “alternate” version or a sequel to their classic “The Deceived” due to the sonic similarity between both songs? That’s a question only Matt, Corey, Paolo and Alex can answer, of course.

In the top-of-the-line Sickness Unto You a mellow and melancholic start gradually morphs into a violent metal feast by Trivium, with sheer rage flowing form Matt’s vocals while he and Corey demolish our ears with their razor-edged riffs, both supported by the always thunderous bass by Paolo, whereas Scattering the Ashes can be considered a good example of how diverse their new album is by blending the music from Silence In The Snow with In Waves, once again presenting a solid instrumental and spot-on backing vocals overflowing pure anguish. Then we’re treated to more of their always cryptic lyrics (“A strain of vigilance / Deep roots that all connect / We wait so diligent / Watching you / Watching you”) in Bending the Arc to Fear, starting in a Black and Thrash Metal-ish vibe and sounding perfect for slamming into the pit to the sound of the bestial drums by Alex. On a side note, I personally love the strident and metallic sound of their stringed axes throughout the entire album, enhanced by its crisp and polished overall production. Lastly, closing the album the quartet offers us all the melodic and vibrant The Ones We Left Behind, featuring the rumbling bass by Paolo accompanied by the stunning beats and fills by Alex while Matt and Corey give a lesson in riffs and feeling, concluding the album in a powerful and effective manner.

After listening to What The Dead Men Say in its entirety for a few times, you’ll quickly notice how not only the band’s technique and professionalism, but also their synchronicity, have been growing stronger and stronger through the years, pointing to an even brighter future for Matt and his bandmates in a near future and, therefore, positioning Trivium as one of the driving forces of modern-day metal music, never sounding tiresome nor predictable at all with each one of their releases. Hence, go check what the boys are up to on Facebook and on Instagram (especially because they’re all very active users of most social media platforms), subscribe to their YouTube channel, and above all that, grab your copy of such entertaining album from the Warner Music webstore or click HERE for all locations where you can buy or stream the album (and if you have some extra money go for the Japanese Edition of the album, as it contains two very special acoustic versions for the songs “Bleed Into Me” and “Scattering the Ashes”), raising your horns, banging your head and listening to what the (un)dead men from Trivium have to say through their unparalleled music.

Best moments of the album: Amongst the Shadows & the Stones, The Defiant, Sickness Unto You and The Ones We Left Behind.

Worst moments of the album: Bleed Into Me.

Released in 2020 Roadrunner Records

Track listing
1. IX 1:59
2. What the Dead Men Say 4:45
3. Catastrophist 6:28
4. Amongst the Shadows & the Stones 5:40
5. Bleed Into Me 3:49
6. The Defiant 4:29
7. Sickness Unto You 6:14
8. Scattering the Ashes 3:25
9. Bending the Arc to Fear 4:46
10. The Ones We Left Behind 4:57

Japanese Edition bonus tracks
11. Bleed Into Me (Acoustic version) 3:45
12. Scattering the Ashes (Acoustic version) 3:04

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

Album Review – Chotzä / Tüüfuswärk (2020)

Succumb to the anti-social fusion of Black Metal and Black N’ Roll blasted by this infernal horde from Switzerland.

Formed as a side-project in 2011 in the city of Bern, on the German-speaking side of Switzerland, with the aim to create anti-social Black Metal and Black N’ Roll, the unstoppable and blasphemous unity known as Chotzä (which means “to vomit” in Swiss-German) is ready to take the world of heavy music by storm once again with their third full-length opus, entitled Tüüfuswärk, the follow-up to their previous installments Plump u Primitiv, released in 2014, and Bärner Bläck Metal Terror, released in 2017. Apart from their frantic and aggressive sonority, perhaps one of the main ingredients in the music by Chotzä is the fact that all of their songs are sung in “Bärndütsch”, which is one of many existing Swiss-German dialects, allowing the wicked music crafted by lead singer Szivilzs, guitarists Gruäbähung and Raven Dust, bassist Näbugring, pianist Leopold and drummer Cpt. Cunt to sound even more organic, visceral and austere than what they would ever sound in English, and as a fan of extreme music I must say their dialect blends extremely well with their vicious Black Metal.

Featuring guest vocalist Herr Morbid (also known as Ferdinando Marchisio) of Italian Black Metal band Forgotten Tomb, the opening track Dräck am Schtäckä (Vatikan Version) presents a wicked intro that quickly explodes into berserk, blasphemous extreme music led by the devilish roars by Szivilzs while Raven Dust and Gruäbähung cut our skin deep with their infernal riffage, followed by Schtächzähni, as fast and demonic as its predecessor, with Cpt. Cunt dictating the rhythm with his Punk Rock/Hardcore-infused beats while the guitars bring a welcome Thrash Metal twist to the overall result, not to mention how Näbugring keeps the atmosphere dense with his wicked bass lines. And blending old school Black Metal with the Rock N’ Roll blasted by bands like Motörhead, Misfits and Danzig we have Horrorotika, where the sound of guitars will pierce your mind mercilessly and the backing vocals provide an amazing support to Szivilzs in this ode to blasphemy, sex and horror.

In Sex, Suff & Satan, what starts in a sinister, introspective way morphs into a mid-tempo Symphonic Black Metal aria led by Leopold and his Stygian piano notes, also presenting slashing guitar solos and bringing some welcome elements from Gothic Rock and Doom Metal, whereas our beloved Swiss horde speeds things up and enhance their already insane level of rage in Fiesä, Fulä Fettsack, where Szivilizs barks the song’s cryptic lyrics manically while Cpt. Cunt keeps smashing his drums like a beast, resulting in another sensational fusion of the band’s core Black Metal with the most vicious form of Rock N’ Roll. And leaning towards a more classic version of Black Metal, especially due to Cpt. Cunt’s blast bats and fills, Süüchägott showcases the band’s dynamic guitar duo firing lancinating, hellish riffs for our total delight while Szivilzs continues with his demonic vociferations.

Abfau brings forward an onrush of darkened sounds, infernal screams and endless wrath, or in other words, it’s ruthless Black Metal infused with Doom Metal nuances, with Gruäbähung and Raven Dust once again crafting pulverizing riffs and solos; and Leopold comes ripping with his phantasmagorical keys in Ds Tanzgebei, a fun (and somewhat dancing) Black Metal extravaganza where all band members sound bestial and electrifying form start to finish, keeping the album at a high level of dementia. Then get ready for battle to the sound of Fotzä, smashing our heads with an avalanche of blackened sounds and sulfurous growls, while Cpt. Cunt gives a lesson in Black Metal drumming. And last but not least, we’re treated to the rebellious and dense title-track Tüüfuswärk with its eight minutes of extreme and vile sounds, where the band’s stringed trio keeps hammering their axes with tons of precision and violence, all spearheaded by Szivilzs and his trademark gnarls.

The gates to the underworld are open in Switzerland thanks to the incendiary music blasted by Chotzä in their newborn spawn Tüüfuswärk, and if you want to show your support to such demented Black Metal horde you can follow them on Facebook to know more about their music, their concerts and other nice-to-know details about the band, and purchase your copy of the album from Northern Fog Records (CD), Sturmglanz (vinyl) or Worship Tapes (cassette). It’s truly impressive how those Swiss metallers are capable of blending the most hellish elements form a myriad of styles like Black Metal, Rock N’ Roll and Hardcore without sounding confusing or disorganized; quite the contrary, the music by Chotzä is absolutely furious, cohesive and thrilling, just like what we can see in Tüüfuswärk, showing us all this six-piece horde of darkness will still haunt our soul for years to come with their dark-as-the-night creations.

Best moments of the album: Dräck am Schtäckä (Vatikan Version), Horrorotika and Fiesä, Fulä Fettsack.

Worst moments of the album: Sex, Suff & Satan.

Released in 2020 Northern Fog Records/Sturmglanz/Worship Tapes

Track listing
1. Dräck am Schtäckä (Vatikan Version) 3:44
2. Schtächzähni 5:59
3. Horrorotika 4:28
4. Sex, Suff & Satan 6:15
5. Fiesä, Fulä Fettsack 4:47
6. Süüchägott 2:48
7. Abfau 7:11
8. Ds Tanzgebei 5:07
9. Fotzä 5:56
10. Tüüfuswärk 8:06

Band members
Szivilizs – vocals
Raven Dust – guitars
Gruäbähung – guitars
Näbugring – bass
Leopold – piano
Cpt. Cunt – drums

Guest musician
Herr Morbid – vocals on “Dräck am Schtäckä (Vatikan Version)”

Album Review – Scarlet Aura / Stormbreaker (2020)

Join the stunning Aura Dănciulescu and her henchmen in their quest for heavy music with the breathtaking second volume of their conceptual “The Book Of Scarlet” trilogy.

My fellow metalheads, it’s time to visit the charming and vibrant Romania, more specifically the country’s capital Bucharest, to have an absolute blast with Stormbreaker, the breathtaking fourth studio album by a Heavy and Power Metal unity that has been making a name for themselves since their inception in 2014 under the name Aura, but currently known by the stylish moniker of Scarlet Aura, marking the official release of the second fantasy book volume from the conceptual “The Book Of Scarlet” trilogy after their 2018 installment Hot’n’Heavy, and showing the entire world who they are through the album’s musical and lyrical parts. And let me tell you that Stormbreaker is even more powerful than its predecessor, putting the band comprised of the stunning frontwoman Aura Dănciulescu, guitarist Mihai Dănciulescu, bassist Rene Nistor and drummer Doru Florin Gheorghita in the spotlight of not only the Romanian metal scene, but anywhere else in the world where people live and breath our beloved Heavy Metal.

“As an artist I’m not afraid to dig into the unknown by approaching sensible subjects in our songs, subjects like the difficulty of being honest with others but also with yourself regarding your own feelings, the need of overcoming a huge sufferance that troubles you, the lack of courage when it’s about doing the right thing, the lack of love or the crying for it… Subjects that make ourselves human, subjects that are in each one of us and that make us who we are and maybe throughout our music, we get recovered, healed or better, we discover ourselves for who we really are because with any doubt music heals the spirit, metal heals the heart,” commented the band’s front lady Aura about their brand new opus, with Mihai adding that “Stormbreaker continues the heavy metal statement we started with Hail To You and although “The Book Of Scarlet” trilogy takes these albums into a fantasy world of discovering Scarlet, I think we’ll all realize after listening that actually Scarlet is in each one of us. Stormbreaker comes rough, it comes straightforward, it comes in your face with the powerful rhythms, edgy guitar riffs, almost psychedelic guitar solos, hard crunchy bass lines, modulations and surprises at every step not giving you the time to get bored but to want more after every song, all of us exceeding even our own expectations.”

The cinematic intro The World Is Not Enough (perhaps inspired by the James bond movie of the same name released in 1999) welcomes the listener to the magic world of Scarlet Aura, setting the stage for the infernally heavy Metal Hell, spearheaded by the soaring vocals by Aura and exhaling epicness and rage from start to finish. Furthermore, Mihai is bestial with his riffage while Rene and Doru keep the atmosphere as dense and thunderous as it can be. And the band keeps the momentum going by firing a high-octane, melodic and absolutely demolishing hymn title Battle Cry, where Mihai and Rene are superb with their stringed weapons, not to mention Aura’s enfolding vocals as usual. Needless to say, this metal anthem will work majestically when played live, which can also be said about the title-track Stormbreaker, where the band presents their more melodic side, leaning towards classic Hard Rock at times and with Rene kicking some serious ass with his rumbling bass while Doru keeps pounding his drums in great fashion.

Loose Cannon has a delicious vibe à la Iron Maiden’s classic “Stranger in a Strange Land” thanks to the thunderous job done by both Rene and Doru, but it’s Aura who steals the spotlight with her potent voice. Put differently, simply bang your head nonstop to the band’s classy and rebellious Heavy Metal. And Mihai ignites the also thrilling and vibrant I Am The One with his razor-edged riffs, again flirting with Hard Rock but keeping the band’s metallic core essence intact, therefore sounding and feeling like it was originally recorded in the 80’s; whereas it’s time to slow things down and enjoy a passionate and flammable performance by Aura in the ballad High In The Sky, showcasing an ethereal and serene ambience while Mihai blasts his precise riffs and solos throughout the entire song. Then incendiary guitar lines take the lead in the upbeat, insurgent anthem The Heretic, where Aura is yet again fantastic with her deep and potent roars, resulting in a lesson in Heavy Metal with a darker twist, all spiced up by Doru’s crushing beats.

Adding hints of Punk Rock and Hardcore to their classic Heavy Metal, the band brings forward the dancing tune Daddy’s Lil Monster, displaying an amazing sync between Rene and Doru in the background while Aura leads her henchmen with her enthralling voice. Back to a more classic sonority the band offers our ears the good (but not as exciting as the rest of the album) A Blast From The Past, presenting a decent job done by all band members despite losing its grip after a while, and closing the album Aura and the boys bring forth their own fast-and-furious metal hymn titled Scarlets United, blending elements from bands like Helloween, Judas Priest and Primal Fear into their already electrifying musicality, with Mihai putting the pedal to the metal with his wicked guitar solos and, consequently, leaving us eager for more of Scarlet Aura’s beautiful metal music as soon as the album is over.

The Book Of Scarlet is open and Scarlet Aura are more than ready to take the world of heavy music by storm with its sensational second chapter Stormbreaker, and if you want to know more about this up-and-coming Romanian squad, listen to more of their music and keep an eye on their tour dates, simply follow them on Facebook, on VKontakte and on Instagram, listen to more of their music on Spotify and, above all that, purchase your copy of Stormbreaker from the band’s official webstore in CD or LP format, as well as from other locations like Apple Music and Amazon. Aura and the boys are united in their quest for metal, ready to head into the battlefield and armed with their newborn spawn Stormbreaker, positioning the band as one of the most promising new names of the scene. Having said that, what are you waiting for to officially become a “Scarlet” in the name of Heavy Metal?

Best moments of the album: Metal Hell, Battle Cry, Loose Cannon and The Heretic.

Worst moments of the album: A Blast From The Past.

Released in 2020 Silver City Records

Track listing
1. The World Is Not Enough 1:56
2. Metal Hell 6:03
3. Battle Cry 4:33
4. Stormbreaker 4:27
5. Loose Cannon 6:06
6. I Am The One 3:55
7. High In The Sky 6:15
8. The Heretic 5:46
9. Daddy’s Lil Monster 4:48
10. A Blast From The Past 5:29
11. Scarlets United 5:09

Band members
Aura Dănciulescu – lead vocals
Mihai Dănciulescu – guitars, backing vocals
Rene Nistor – bass, backing vocals
Doru Florin Gheorghita – drums

Album Review – Hellsodomy / Morbid Cult (2019)

Unleashing their most lethal form of sonic detonation, this Turkish squad is ready to crush with their unrelenting new album of Blackened Deathrash.

Formed in 2011 in Kadıköy, a neighborhood on Istanbul’s Asian shore, in Turkey, the unrelenting Death Metal squad known as Hellsodomy can be considered a study in patience and perseverance, having taken around three years after the band’s inception before the release of their first demo, Masochistic Molestation, in 2014. However, after that demo things started to happen for the band, with the release of the EP Sodomy Is Nigh, in 2015, and their debut full-length opus, titled Chaostorm, in 2016, retaining the rawness of their earlier work with a more finessed expression of such and, therefore, positioning the band as one of the most promising names of the Turkish scene. Now three years later it’s time for the horde comprised of Nekro Kasil on the guitar and vocals, Destroyer D also on the guitar, Necrolepsy on bass and A.D.B on drums to explode our ears once again with their sophomore opus, entitled Morbid Cult, unleashing their most lethal sonic detonation yet in the form of what the band likes to call “Blackened Deathrash”.

An onrush of violent and berserk sounds led by Nekro and Destroyer’s demonic riffs in the instrumental intro Into Perversion warms up our senses for Endless Demise, offering the listener total devastation in the form of Death Metal and bringing a Hardcore feeling that makes it even more aggressive, with the infernal blast beast by A.D.B and the harsh vociferations by Nekro turning it into a must-listen for fans of the genre. Then hitting us hard with their riffage and rhythmic beats, the quartet blasts sheer insanity the likes of Krisiun and Deicide in Pestilence of Black Blood, showcasing a beyond visceral name and the always putrid growls by Nekro, followed by Charged to Kill, where they add elements from our good old Thrash Metal to their core sonority, resulting in a wicked circle pit-generator. Furthermore, while the band’s guitarists slash their strings manically, A.D.B brings groove and devastation at the same time with his unstoppable, visceral drums.

And there’s no time to rest or breathe in From the Seed to the Grave, a classic Death Metal extravaganza that will disturb your peace of mind, with Necrolepsy not only providing great backing vocals, but his bass lines are as metallic and evil as they can be; whereas in Hateclan, perhaps the most devastating of all songs, A.D.B sounds absolutely pulverizing on drums, providing Nekro all he needs to darkly shine with his enraged harsh vocals, being therefore highly recommended for slamming into the pit like a beast. And Divided Souls is another crushing creation by Hellsodomy displaying all elements we love in Death Metal, feeling like Nekro is getting more and more rabid as the album progresses while A.D.B adds endless stamina to the music with his thrashing beats.

Continuing their path of gruesome devastation, Mortem in Comfort presents a well-balanced fusion of sheer aggressiveness with more melodic sounds where Nekro, Destroyer and Necrolepsy can’t stop mutilating their stringed weapons in great fashion, and get ready to headbang like there’s no tomorrow to the frantic hybrid of Death and Thrash Metal by Hellsodomy entitled Dazed Victims, inspired by some of the sickest creations by Death Metal titans Cannibal Corpse. Their second to last breath of ruthless aggression, named Furious Chants, reminds me of the demented sound by Croatian act HerezA, with A.D.B blasting sheer rage through his drums while Nekro keeps growling like a demonic entity and shredding his guitar fiercely. In addition, its ending couldn’t have been more violent and ravenous, building an instant connection with the closing tune Souls Devoured, where all band members generate a thunderous and vile atmosphere with their hellish instruments, smashing our heads and cutting our skin deep until the song’s classic finale, all embraced by a sick guitar solo to make things even more tasteful.

The gates to the underworld have just opened in Turkey thanks to the flammable Morbid Cult, the brand new album of old school Death Metal crafted by the talented musicians from Hellsodomy featuring a Stygian cover art by Turkish artist Zezeah (Big Baboli Print House), and in order to join them in their path of pure devastation and rage go check what they’re up to on Facebook, listen to more of their music from their own BandCamp page, and grab your copy of such sulfurous album from the Saturnal Records’ webstore. Nejro Kasil, Destroyer D, Necrolepsy and A.D.B are eager to welcome you to their blasphemous cult of Death and Thrash Metal, with their new opus perfectly representing all the energy and fire coming from the underworld of their homeland.

Best moments of the album: Endless Demise, Charged to Kill and Hateclan.

Worst moments of the album: None.

Released in 2019 Saturnal Records

Track listing
1. Into Perversion 1:26
2. Endless Demise 3:18
3. Pestilence of Black Blood 4:51
4. Charged to Kill 2:58
5. From the Seed to the Grave 3:23
6. Hateclan 3:54
7. Divided Souls 2:57
8. Mortem in Comfort 3:15
9. Dazed Victims 2:49
10. Furious Chants 4:08
11. Souls Devoured 5:41

Band members
Nekro Kasil – guitars, vocals
Destroyer D – guitars
Necrolepsy – bass, backing vocals
A.D.B – drums

Album Review – Gorebringer / A Craving For Flesh (2019)

A gory fusion of Melodic Death Metal with more extreme styles blasted by a bloodthirsty trio from the UK, eviscerating your ears and minds ruthlessly.

Proudly carrying the flag of Melodic Death Metal everywhere they go, but always venturing through more aggressive and gory lands, London, England-based triumvirate Gorebringer has just unleashed upon us their debut full-length opus entitled A Craving For Flesh, highly recommended for admirers of the fusion of speed, violence and melody blasted by bands like The Black Dahlia Murder and At The Gates. Formed in 2017 by vocalist Blööd Wörm (also known as Gorebringer himself), guitarist and bassist Stench, and drummer Carrion, Gorebringer offer in A Craving For Flesh everything we love in traditional Swedish Melodic Death Metal, but of course with their own British (and utterly putrid) twist. Mixed and mastered by TsunTsun Productions, and featuring a demonic, parasite-inspired artwork by Kumislizer Design, A Craving For Flesh will eviscerate your ears and mind ruthlessly, showing Gorebringer are not among us to make new friends, but instead to pulverize us with their bloodthirsty onrush of sounds.

An ominous intro featuring the dark keys by guest B.ulugüney ignites the demolishing The Fog, where Carrion showcases all his technique and fury from the very first beat while Blööd Wörm’s hellish gnarls sound a lot more Black Metal than Melodic Death Metal, therefore bringing a humongous amount of obscurity to the music. Then deep guttural growls and nonstop blast beats permeate the air in Meatporn, showcasing classic Death Metal-like lyrics (“Rotten breath fills the air / As the eyes rolling back, / Sweat drops on smelly-sexy / Corpse of your beloved one.”), as well as some sick Carcass-inspired riffs and solos and demented bass punches powerfully delivered by Stench; and it’s time to slam into the circle pit to the high-octane and extremely vile Rivers Of Blood, with its strident, metallic guitars adding more balance to the overall devastation brought forth by the trio, resulting in a lesson in modern Melodic Death Metal with a truly devilish vibe.

In My Sweet Knife, a crisp and austere fusion of Melodic and Blackened Death Metal tailored for admirers of the darkest forms of metal music, we’re treated to over four minutes of nonstop action where the vocals by Blööd Wörm overflow adrenaline and rage, whereas in The Cabin a movie-inspired beginning evolves into a to a dark, raw and neck-breaking sonic extravaganza where Carrion is absolutely precise and violent on drums, with the overall musicality flirting with classic Black Metal at times. And back to a more Arch Enemy/Carcass-inspired mode, the trio fires sheer hatred and madness in Shattered Sanity, with Stench continuing to slash his strings mercilessly while the infernal roars by Blööd Wörm get even more piercing and menacing than before.

Bloodsoaked Chapel is a sonic havoc blending the most visceral elements from Melodic Death Metal and modern-day Hardcore where its bass couldn’t sound more metallic, also presenting demented, controversial lyrics (“Oh sodomized slaves of my mine / Stop whining, surrender and have fun / My rage will grow faster, darker / Digging your holes is my absolute pleasure / Your flesh is my most precious toy / Your skin decorates my den perfectly”). After such high level of aggressiveness, the trio slows things down a bit and offers us a darker, more introspective composition titled The Hollow, clearly inspired by the music by Arch Enemy. It’s not that this is a bad song, but in my humble opinion Gorebringer sound a lot more cohesive and vibrant when they play at the speed of light. Lastly, Carrion accelerates the band’s wicked pace in the closing tune, the instrumental beast named The Restless Forest, once again flirting with Melodic Black Metal, while Stench gives a lecture in electricity and groove with his guitar shredding and bass jabs.

I’m pretty sure the guys from Gorebringer are beyond satisfied with the outcome of their collective efforts in A Craving For Flesh (available for a full listen on YouTube), and they definitely should be, as their debut album is indeed an amazing work of contemporary Melodic Death Metal infused with the goriest elements from traditional Death Metal the likes of Cannibal Corpse. Hence, if you want to show your true support to this talented trio from the UK, go check what they’re up to on Facebook, and don’t forget to purchase your copy of A Craving For Flesh from the Gate Of The Silver Key Records’ BandCamp page or from Discogs, helping Gorebringer spread their visceral, acid and absolutely sanguinary creations to the four corner of our rotten and evil world.

Best moments of the album: Meatporn, Rivers Of Blood and Bloodsoaked Chapel.

Worst moments of the album: The Hollow.

Released in 2019 Gate Of The Silver Key Records

Track listing
1. The Fog 5:54
2. Meatporn 3:17
3. Rivers Of Blood 3:46
4. My Sweet Knife 4:34
5. The Cabin 6:29
6. Shattered Sanity 4:42
7. Bloodsoaked Chapel 3:30
8. The Hollow 4:30
9. The Restless Forest 4:41

Band members
Blööd Wörm – vocals
Stench – guitars, bass
Carrion – drums

Guest musician
B.ulugüney – keyboards

Album Review – He Who Seeks Vengeance / They Will Speak Of The Ghosts That We Became (2019)

A high-octane fusion of classic Metalcore with Hardcore, Deathcore, Death and Thrash Metal made in Australia, inspired by the biggest names of the current rock and metal scene.

Highly inspired by some of the biggest names of the modern rock and metal scene such as As I Lay Dying, Of Mice & Men, Parkway Drive, Bring Me The Horizon, Thy Art Murder and Trivium, Australian Metalcore outfit He Who Seeks Vengeance is unleashing upon humanity their debut full-length album beautifully entitled They Will Speak Of The Ghosts That We Became, blasting a high-octane fusion of classic Metalcore with Hardcore, Deathcore, Death and Thrash Metal for the masses. Formed in 2016 in Frankston, a suburb of Melbourne in Victoria, Australia, the band comprised of lead singer Scott Masson, guitarist Kye Bradbury-Flint, bassist Joel Petry and drummer Adam Vousden sounds a lot more cohesive, polished and focused in their new album than in their 2017 debut EP The Kid’s Got Alligator Blood, proving the quartet is on the right path in their promising career and explaining why they’ve already become a reference in the underground scene in their homeland.

Distorted sounds and crushing beats invade our ears in Death Mountain before Scott begins roaring deeply for our total delight in a feast of fast, furious and vicious Metalcore infused with classic Death Metal elements, or in other words, an ass-kicking welcome card by the quartet. And keep banging your heads to the band’s demolishing sound in I Know You’re out There, Demon, where we’re able to enjoy the first stint of clean vocals of the album while Kye showcases his refined guitar skills, adding a lot of groove and electricity to their musicality; whereas Screw Feet presents a rumbling sonority led by Joel’s bass jabs and Adam’s vile beats. Furthermore, this is the type of modern metal music I enjoy a lot, being violent, melodic and progressive all at once, not to mention the incendiary riffs fired by Kye from start to finish. Slowing down and getting more obscure, Ghosts brings forward a solid instrumental that lacks the same energy and impact from the previous songs, despite the great job done by Scott with both his growls and clean vocals, followed by Nothing Lasts Forever, where an enraged intro explodes into a fusion of Metalcore with Groove Metal and Deathcore and with Joel’s thunderous bass powerfully complementing the song’s crisp, razor-edged guitar riffs.

Interminable displays a more melodic and less aggressive side of the band led by the metallic, low-tuned bass by Joel, while Scott declaims the song’s lyrics in a Punk-ish/Hardcore-inspired way, sounding perfect for fans of this less bestial side of Metalcore. Then the flammable guitar lines by Kye ignite the also groovy and rhythmic Money Is God, where Scott sounds truly deranged and insane and with Adam pounding his drums just the way we like it in modern-day metal, before the band blasts a rebellious circle pit-generator spearheaded by Adam and Kye titled Mark Me with an X, with both being armed to the teeth with their respective instruments. Needless to say, it should work really well if played live, with the deep guttural roars by Scott being the icing on the cake. In Strychnine the band sounds as modern and metallic as they can be, especially Adam with his crushing beats and fills, also showcasing the band’s trademark neck-breaking rhythm and pace in a solid display of what contemporary Metalcore truly means, while in 80-20, a song tailored for being played live at rock and metal festivals, we’re all invited to jump up and down with He Who Seeks Vengeance, presenting a blazing main riff that will rip your spinal cord out, unstoppable drums and endless stamina.

Once again bringing hints of classic Death Metal and even some Thrash Metal influences to their core sonority, the band offers us Shrapnel, alternating between groovier, more melodic moments and sheer insanity. Moreover, Scott doesn’t stop screaming and roaring, bursting his lungs with his deep guttural lines. Into the Shape of a Heart keeps the album at a high level of adrenaline (which by the way is kind of a tough job as we’re talking about fifteen songs in total), bringing to our ears a great riffage delivered by Kye while Joel continues to hammer his bass mercilessly, followed by Defeatist, offering the listener a more rumbling, dense sonority infused with Djent and Hardcore nuances while its guitar riffs are in total sync with the sound of drums, generating a vibrant atmosphere perfect for Scott’s sick vociferations. Lastly, closing the album we have two very distinct songs, starting with This Is My Day, which despite not being a bad song is slightly generic if compared to the rest of the album, albeit still presenting the band’s characteristic style and vibe and with Adam delivering another great performance on drums, while Blackwater is a very unique, dark and pensive ballad, not as devastating as their usual sound but, in the end, it works extremely well, closing the album on a somber note as if it is some sort of “aftermath”.

What are you waiting for to show your support to this talented four-piece act from Down Under? Go check what they’re up to on Facebook, subscribe to their YouTube channel, and purchase your copy of They Will Speak Of The Ghosts That We Became (available for a full listen on Spotify) by clicking HERE or from CD Baby. Those guys definitely want to put Australia on the map of contemporary Metalcore and Hardcore, and based on the high quality of the music found in their brand new album there’s no doubt they will succeed, which means we can expect to hear more from He Who Seeks Vengeance in a not-so-distant future.

Best moments of the album: Death Mountain, Screw Feet, 80-20 and Shrapnel.

Worst moments of the album: Ghosts and This Is My Day.

Released in 2019 Independent

Track listing
1. Death Mountain 3:33
2. I Know You’re out There, Demon 4:08
3. Screw Feet 4:36
4. Ghosts 5:12
5. Nothing Lasts Forever 4:30
6. Interminable 5:43
7. Money Is God 3:30
8. Mark Me with an X 4:24
9. Strychnine 4:51
10. 80-20 4:40
11. Shrapnel 3:51
12. Into the Shape of a Heart 3:50
13. Defeatist 3:31
14. This Is My Day 4:04
15. Blackwater 4:27

Band members
Scott Masson – vocals
Kye Bradbury-Flint – guitar
Joel Petry – bass
Adam Vousden – drums

Album Review – Funeral Hearse / In Devotion of… (2019)

A fantastic album of 80’s Hardcore and Crust Punk-infused Black Metal by a one-man army from Singapore, paying homage to the terrifying Aghori sadhus.

Hailing from Kovan, a neighborhood located within the town of Hougang, in the northeast region of Singapore, Black/Death Metal one-man army Funeral Hearse plays a diverse mix of 80’s Hardcore/Crust Punk-infused Black Metal with themes ranging from religion, politics, nuclear annihilation and society. Formed in 2016 as a two-piece outfit comprised of multi-instrumentalist Azrael (also known as Imran Manaff) and vocalist and lyricist Deadwax, who decided to leave the band in early 2018 leaving Azrael as the sole member, Funeral Hearse returns in full force with its first full-length album, entitled In Devotion of…, fresh off its 2017 successful double EP Heralding the Death Winds and The Fist, The Spit, The Sword, paying homage to the Aghori sadhus, a sect of Hinduism with left-hand path rituals, practices and philosophy towards life and death, bringing their attributes to life through a series of musical onslaught accompanied by sounds of nature interwoven to create a surreal journey.

Written, recorded and produced by Azrael himself, and featuring a dark, straightforward artwork by Czech artist Vojtech Doubek (Moonroot), In Devotion of… follows a similar pattern as the band’s 2017 releases by exploring a recurring theme of religion, this time focusing on the aforementioned Aghori sadhus. “The Aghori Sadhus theme was actually suggested by Deadwax, who was intrigued by this religious sect. He brought the idea to me and after reading more about them we became captivated and enthralled by these Aghoris who would display their devotion through indulging in left-hand practices such as residing on cremation grounds, acts of cannibalism and the list goes on,” explains Azrael on the theme of the album. Musically speaking, In Devotion of… is an ode to all things extreme music, inspired by iconic names such as Marduk, Immortal, Celtic Frost and Darkthrone, among others, leaving you completely disoriented after its infernal 37 minutes of music are over.

A ritualistic, tribal intro morphs into pulverizing sounds and tones in the opening track Into the Eye of the Serpent, where Azrael begins roaring like a demonic entity while at the same time he shreds his guitar chords in a dark and vile manner, not to mention how organic the programmed drums sound, with chaos reigning supreme from start to finish. And a classic Black Metal riffage dictates the rhythm in Burning Embers from a Funeral Pyre, an ominous and dense creation by Azrael that grows in intensity and rage as the music progresses, all enhanced by his visceral growling attack, and with the guitar sounds slashing our ears and minds mercilessly until the song’s cryptic finale; followed by In Worship of the Divine, which already begins at full speed with Azrael smashing his ax in great fashion, adding a touch of Atmospheric Black Metal to his already visceral sound. In summary, this is that type of storm of heavier-than-hell sounds we all love to hear in Extreme Metal.

Then delicate sounds kick off the also demolishing Under the Eclipse of a Pale Moon, where Azrael is on absolute fire delivering aggressive riffs and bass punches inspired by the greatest bands of the genre such as Immortal and Marduk, sounding at times like a dark waltz of extreme music. All that sonic havoc gives place to serene notes in Cleansing a Damned Soul, but that peace doesn’t last long as Azrael fires sheer violence and rage from his guitar lines and screams, with the music remaining obscure and sharp until the very end, proving our talented lone ranger loves extreme music from the bottom of his (blackened) heart. And last but not least, simply inhale and exhale deeply for a few seconds before Alternate State of Consciousness puts a ferocious ending to the album, with its old school Black Metal-inspired riffs being flawlessly accompanied by gruesome Death Metal vocal lines, flowing like an arrow in flames through the night, and with an acoustic passage giving us a chance to breathe before Azrael’s final onrush of crushing Black Metal.

I’m a huge fan of one-man bands, not only because it’s impressive how some people are capable of generating a full-bodied sonority all by themselves, especially in the Black Metal scene, but also because those lone wolves (and lone she-wolves, of course) are usually extremely creative when composing their music and writing their lyrics. Who else on earth would be able to bring forth an album of extreme music based on the practices and uniqueness of the Aghori sadhus if not a black metaller like Azrael? Having said that, please don’t forget to show your support to such talented musician by following Funeral Hearse on Facebook and, above all, by purchasing In Devotion of… from the band’s own BandCamp page or from the Spy Satellite Records’ BandCamp page, as well as from iTunes or from Amazon. It’s a world of cannibalism, religion, devotion, life and death in the form of top-of-the-line Black Metal. What else can you ask for in underground extreme music?

Best moments of the album: Burning Embers from a Funeral Pyre and Under the Eclipse of a Pale Moon.

Worst moments of the album: None.

Released in 2019 Spy Satellite Records

Track listing
1. Into the Eye of the Serpent 6:46
2. Burning Embers from a Funeral Pyre 7:01
3. In Worship of the Divine 4:39
4. Under the Eclipse of a Pale Moon 7:08
5. Cleansing a Damned Soul 4:57
6. Alternate State of Consciousness 6:20

Band members
Azrael – vocals, guitars, bass, drum programming

Album Review – Sepsiss / Badd Blood EP (2019)

Bang your head to the debut EP by this emerging American outfit that plays uncompromising metal combining a more traditional sound with modern rhythms and urban hardcore.

Founded by vocalist Melissa Wolfe and guitarist William Savant in 2011 in Manchester, a city in the southern part of the U.S. state of New Hampshire, the incendiary female-fronted Hard Rock and Alternative Metal band that goes by the name of Sepsiss has been wowing crowds across their home state since their inception, playing uncompromising metal that combines a more traditional sound with modern rhythms, light synths and a blend of urban hardcore. Now in 2019 this five-piece outfit comprised of the aforementioned Melissa on clean vocals and William on harsh vocals and on the guitar, accompanied by Cam Loud also on the guitar, Mr Goodbarz on keyboards and Robbert Pann on drums is unleashing a very dynamic and fun EP entitled Badd Blood, offering fans of modern metal music eight unique tracks which prove that female-fronted metal bands can offer some of the most powerful, intriguing and diverse sounds in the genre, just like what bands such as their rock heroes Heart and more recently Evanescence have always done.

A cinematic intro evolves into a feast of modern-day Hardcore and Alternative Metal entitled Fair To Say led by Melissa’s classic vocal lines, giving life to the song’s lovesick lyrics (“You are my favorite vice, / The way you’re squeezing me tonight. / The way you’re screaming songs slice the sky for me… / I fell in love with your void, / I filled it up on my own accord. / And you’re bored with being broken… / SO I’LL BREAK US UP!!!!”), as if Green Day met Evanescence. Then with William making a flammable vocal duet with Melissa we have To Write Hate On His Arms, showcasing straightforward and precise beats by Robbert while Mr Goodbarz adds a touch of delicacy and madness to the background with his keys, resulting in what’s in my humble opinion the best track of the EP.

William and Cam bring tons of heaviness to the band’s modern Hard Rock in Sky Is Falling, a song that’s considerably faster and more dynamic than its predecessors, with the music remaining vibrant and fresh for over five minutes in an interesting fusion of different styles like Metalcore, Melodic Death Metal and contemporary Hard Rock; followed by The Swarm, where the band switches their gears to a more alternative sonority with Mr Goodbarz and Robbert keeping the atmosphere as modern as possible in perfect sync with the guitar riffs. Black Light Invasion follows a similar pattern, with Melissa’s vocals getting sexier as the music progresses, sounding groovy and catchy from the very first second and, therefore, being highly recommended for hitting the dance floor while both William and Cam kick some serious ass with their riffs and solos. And in Falling Unloved the band accelerates their pace to a frantic fusion of the music by Evanscence with Hardcore, Punk Rock and even Ska, crushing their instruments mercilessly and offering their fans a good reason to crack their necks headbanging.

And their Rock N’ Roll party goes on in Force You To Lay Down, where the vocals by Melissa sound inebriating and captivating, while her bandmates make sure the energy level doesn’t go down not even a bit by pounding their instruments nonstop. Last but not least, Eyes Of Empathy closes the album with five minutes of first-class Hard Rock, showcasing lyrics that are as catchy as they can be (“Eyes of empathy can never reason why… / It could never mend the things I’ve seen tonight… / Forever quell the screams of your denial… / I won’t ever wake.”). Not only that, Melissa is on absolute fire on vocals, with the amount of electricity and rage brought forth by William, Cam and Robbert being beyond outstanding.

Do you have what it takes to enter the alternative and metallic lands ruled by Melissa, William & Co.? You can certainly show your total support to such up-and-coming band by following them through their official Facebook page, by subscribing to their YouTube channel, by listening to their music on Spotify, and obviously by purchasing Badd Blood from the band’s own webstore as a regular physical version or as an autographed edition. And let’s hope Sepsiss keep on rocking and inspiring more and more women to follow a similar musical path not only in their home state, but anywhere else in the world where good music is appreciated, all in the name of Rock N’ Roll.

Best moments of the album: To Write Hate On His Arms and Eyes Of Empathy.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Fair To Say 3:54
2. To Write Hate On His Arms 3:20
3. Sky Is Falling 5:17
4. The Swarm 2:27
5. Black Light Invasion 3:58
6. Falling Unloved 3:55
7. Force You To Lay Down 3:37
8. Eyes Of Empathy 5:03

Band members
Melissa Wolfe – vocals
William Savant – vocals, guitars
Cam Loud – guitars
Mr Goodbarz – keyboards
Robbert Pann – drums