Album Review – OHHMS / The Fool (2017)

Spanning the course of 60 minutes and focusing on corporate and personal politics, the first full-length album by this British quintet is not only a huge step forward in their career, but also a lesson in Sludge and Progressive Metal.

Armed with the thickest riffs and fieriest will, Sludge/Progressive Metal act OHHMS was formed in 2014 in Kent, a county in South East England, aiming at blowing our minds with their monolithic, doomed music. After the release of their debut EP Bloom in 2014, followed by another EP title Cold in 2015, OHHMS started to build a strong reputation in their homeland’s underground scene, playing big festivals such as Desertfest and Temples, and also sharing the stage with acts like The Skull, Conan and Rolo Tomassi. Now, three years after their thunderous beginnings, the band is back with their debut full-length album, the heavy and sludgy The Fool, another step forward in their short but solid career.

Spanning the course of 60 minutes of hard-hitting, progressive music, The Fool delivers five thunderous songs that focus on corporate and personal politics, all wrapped up in an elegant tarot-inspired packaging designed by Black Sails Design. With two of its songs going over the barrier of 10 minutes (one of them having over 20 minutes in duration, by the way), something inconceivable for any regular radio station or TV show, The Fool won’t provide any sort of “music for the masses” to you, but an introspective and very peculiar journey through the minds of the five talented musicians behind OHHMS, and that’s in my opinion what makes this album so distinct and impactful.

The acoustic intro Shuffle, Cut and Reveal slowly introduces us to the sluggish and heavy The Magician,  which after a fast-paced beginning smoothly flows into traditional Stoner Metal, with Max Newton smashing his drum set while lead singer Paul Waller blasts sheer anguish through his vocals. The Hanged Man is a top-notch musical voyage, flowing from an ominous intro into 13 minutes of progressiveness, slow-paced passages and a somber ambience. Max adds endless intricacy to the music with his beats, while guitarists Daniel Sargent and Marc George alternate between heavier riffs and gentle lines, with the overall result being so compelling you won’t notice the length of the song at all. Even more progressive than its predecessor, The World is a song that combines in a potent way the heaviness of Stoner Metal with the experimentations of Progressive Metal, not to mention its hints of several other styles such as Industrial and Doom Metal, with Max and bassist Chainy Chainy building a more-than-thunderous atmosphere with their respective instruments.

The superb The Lovers is beautiful and thrilling from start to finish, with all instruments creating the perfect ambience for Paul and a mysterious (and wonderful) female voice to complement each other’s lines flawlessly. It’s a slow and serene ballad recommended for true lovers, or in other words, simply close your eyes and feel your significant other’s embrace while listening to this awesome composition. And as the icing on the cake OHHMS present to us The Hierophant, a bold, complex and mind-blowing 21-minute extravaganza, where the whole band is able to display all their skills as great musicians they are. After over two minutes of initial dissonant noises, Paul arrives with his somber vocals, and this eccentric atmosphere goes on until at around six minutes the rest of the band joins him, becoming a sonic experimentation through the realms of Sludge and Stoner Metal, with highlights to the bestial, crushing riffs by both Daniel and Marc (in special during the song’s final part).

One might say The Fool is not an album for the average listener, but in my humble opinion I think this album is a great opportunity for newcomers to the world of the lengthy and sluggish sounds of Stoner and Doom Metal to explore the uniqueness of this subgenre of heavy music. Well, newcomer or not, you should definitely go check what OHHMS are up to at their Facebook page and, if you’re already hooked on their music, purchase The Fool through their BandCamp page, at the Holy Roar Records’ webshop, on iTunes, on Amazon or at Discogs.

Best moments of the album: The World and The Lovers.

Worst moments of the album: None.

Released in 2017 Holy Roar Records

Track listing
1. Shuffle, Cut and Reveal 1:15
2. The Magician 8:10
3. The Hanged Man 13:24
4. The World 6:42
5. The Lovers 8:03
6. The Hierophant 21:49

Band members
Paul Waller – vocals
Daniel Sargent – guitars
Marc George – guitars
Chainy Chainy – bass
Max Newton – drums

The Headbanging Moose Show – Thursdays @ 20:00 UTC exclusively at Midnight Madness Metal e-Radio

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Attention, metalheads!

It’s time to rumble with THE HEADBANGING MOOSE SHOW every Thursday @ 20:00 UTC (with a reprise on Saturdays @ 19:00 UTC) exclusively at Midnight Madness Metal e-Radio, your London-based web radio blasting the best of heavy music nonstop 24/7!

Presented by Gustavo Scuderi, The Headbanging Moose Show will bring to you the cream of underground metal music, giving you a short and sweet background on every band played on the show. No silly jokes, no shenanigans… THIS IS PURE F****N’ METAL!

So remember, EVERY THURSDAY @ 20:00 UTC (with a reprise on Saturdays @ 19:00 UTC) tune into Midnight Madness Metal e-Radio to enjoy one hour of kick-ass underground metal from all over the world, courtesy of The Headbanging Moose!

Here are all the options where can blow your speakers with Midnight Madness:

Official website
Facebook
Twitter
Online Radio Box
Tunein
Streema
Listen2MyRadio
Radio Garden
Streamitter.com

Don’t forget to follow The Headbanging Moose on Facebook to know beforehand which bands will be played on the show every week.

And if you want to have your new album reviewed at The Headbanging Moose AND played at Midnight Madness Metal e-Radio, simply get in touch with us through our CONTACT US page.

Album Review – Ibyss / Hate Speech EP (2017)

A feast of modern and industrialized sounds by a dynamic duo of German metallers who are not afraid of expressing their rage against censorship and rising authoritarian tendencies.

When it came to my attention that several German webzines and even leading print magazines refused to review or publish any news about Hate Speech, the brand new EP by German Industrial Metal duo Ibyss, because they think the album title is too “problematic” or “provocative”, I instantly thought there’s something wrong with the media and their “invisible” censorship. The duo even states in their material the specific topics their non-political EP deals with, such as third-wave feminism, trigger warnings and toxic masculinity, in an aggressive and unapologetic way against censorship and rising authoritarian tendencies in the midst of a battle of the sexes (which are already sweeping into the Heavy Metal subculture).

Formed in 2013 and highly influenced by the music by renowned acts like Nailbomb, Godflesh and Ministry, the duo comprised of Jens (vocals, guitars) and Nihil (guitars, bass, drum programming) hails from Düsseldorf, a city in North Rhine-Westphalia, Germany, known for its fashion industry and arts, having released in 2014 their very experimental debut album Obsidian, as well as a couple of singles in the coming years, carving their name in the German independent scene. Moreover, they nurture a deep passion for alternative and industrial music, they love to experiment with unusual and heavy sounds, and they’re not afraid of discussing about controversial topics through their creations. Put differently, they use their austere music as their form of expressing their view of our modern-day society, and Hate Speech deserves a shot for being such an honest and meaningful album. There’s nothing wrong with that, don’t you agree?

Anyway, opening the EP in a metallic and groovy way we have Bois Ton Sang (or “drink your blood” from French), where Jens begins screaming his acid words violently while Nihil’s bass sounds very old school, resulting in a German Industrial Metal extravaganza perfect for breaking your neck headbanging. Moving on with their industrialized attack, electronic elements permeate the air from the very first second in the excellent Face Off, an aggressive Industrial Metal chant the likes of Fear Factory where the razor-edged guitars by both Jens and Nihil dictate the rhythm, with the song’s thunderous and menacing bass lines bringing even more electricity to the already belligerent musicality presented. And making use of tons of industrial elements in the background and featuring German legend Rüdiger Schuster (Stumpff, U.L.A.A, Unlucky Childz) as a guest vocalist, Home Is Where The Graves Are also brings forward rumbling bass lines and piercing guitars to enhance the song’s potency and impact in a brutal way.

Like Drones feels like traditional Industrial Metal with hints of Sludge Metal, reminding me of some of the newest songs by Sepultura due to its grooviness and creativity, not to mention the great job done by Nihil with the drum programming by making it sound very organic and raw; whereas the ruthless Frontlines keeps up with the rest of the album in terms of electricity and punch. This time Jens presents not only his tormented growls, but also his gentle, clean voice, creating an interesting paradox of vocal lines throughout the whole song. Finally, when you reach the last song of Hate Speech, entitled Senseless Ordeal, you’ll be able to clearly acknowledge what the music by Ibyss is all about, their sonority and characteristic sounds, showing how cohesive the whole EP is. The duo keeps smashing their guitars unceasingly during the song’s seven minutes, sounding threatening and coarse (but always with a lot of harmony), building what can be considered a fusion of the music by Fear Factory, Marilyn Manson and Triptykon, or in other words, an Industrial-Doom-Gothic Metal feast.

Why the media is not supporting such riveting underground act is beyond my comprehension. If you think about it for one second, they come from the same country as Neue Deutsche Härte icons Rammstein, who gave the world extremely polemic creations such as “Pussy”, “Amerika”, and especially “Mann gegen Mann”. If you also think we all have the right to express our ideas, if you think freedom of speech is still important, and especially if you like modern and industrialized music, go check what Jens and Nihil are up to at their Facebook page, enjoy their music at their YouTube channel and SoundCloud, and buy your copy of Hate Speech at their BandCamp page. As mentioned before, this talented duo is not afraid of expressing their anger against censorship and their view of other controversial topics, and by doing that through their experimental compositions they ended up providing fans of heavy music an excellent and noteworthy option outside of the comfort zone of traditional metal.

Best moments of the album: Face Off and Senseless Ordeal.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Bois Ton Sang 4:50
2. Face Off 3:52
3. Home Is Where The Graves Are (feat. Rüdiger Schuster) 4:19
4. Like Drones 2:40
5. Frontlines 4:43
6. Senseless Ordeal 7:01

Band members
Jens – vocals, guitars
Nihil – guitars, bass, drum programming

Guest musician
Rüdiger Schuster – additional vocals on “Home Is Where The Graves Are”

Album Review – Madness Of Sorrow / N.W.O. The Beginning (2017)

Depicting the corrupt and sick system in which humanity is living, the new album by this Italian duo of Gothic and Horror Metal will certainly entertain you with its high dosage of acidness, energy and creativity.

Although the ceaseless danger of the emergence of a totalitarian world government (the conspiracy theory known as the New World Order) might incite fear in our hearts, it also fuels the creativity from artists all over the world, including Italian Gothic/Horror Metal band Madness Of Sorrow with their brand new release, titled N.W.O. The Beginning, the fourth studio album in their career. Depicting the corrupt and sick system in which humanity is living, focusing specifically on corporations, sex and serial killers, and featuring a dark and acid artwork by Italian artist Graziano Roccatani, N.W.O. The Beginning will take you on a journey through the shadows of our decaying world, showcasing how exciting heavy music can be when powered by controversial and disturbing topics.

Formed in March 2011 by multi-instrumentalist Murihell (aka Muriel Saracino) from the ashes of Italian Gothic Metal/Hard Rock group Filthy Teens in the region of Pisa and Livorno, in Tuscany (but currently located in Val d’Aosta, a region of northwest Italy bordered by France and Switzerland), Madness Of Sorrow are constantly delivering high-quality music for fans of Gothic and Horror Metal, starting with their debut album Signs in 2011, which by the way led them to play in 2012 in Milan with Italian Gothic Metal icons Cadaveria, followed by Take the Children Away from the Priest in 2013 and more recently III: The Beast in 2015. The project takes now one step further with N.W.O. The Beginning, their first album featuring new singer Prophet (aka Diego Carnazzola), widening their music horizons and venturing on new sounds unexplored by the band in their previous releases.

The intro N.W.O. welcomes the listener with an eerie voice talking about the aforementioned conspiracy theory, working as a warm-up for Salomon, where Prophet blasts powerful growls as well as dark, clean vocals while Murihell delivers a Gothic, industrial and obscure musicality, blending the styles by Mercyful Fate and Ministry (which translates into pure wickedness, of course), followed by the excellent Inside the Church, a song that should sound fantastic when played live, bringing elements from Thrash and Death Metal in its riffs and beats, not to mention its awesome accelerated pace and catchy lyrics and chorus. And despite almost sounding as a ballad, You’re Not Alone also presents the darkened elements commonly found in the music by Madness Of Sorrow, being a very good example of a song by an extreme band that could be played in any radio station, with highlights to the top-notch clean vocals by Prophet.

Speeding things up again, the duo offers a fast-paced and aggressive tune drinking from the fountains of Thrash and Gothic Metal entitled Necrophilia, with the slashing guitar lines by Murihell together with Prophet’s demented screams being all that’s needed to ignite some fun mosh pits during their live concerts. More modern and Gothic than all previous songs, Slut brings forward lyrics that are extremely porn and nasty, in line with what the music proposes, but that for obvious reasons cannot be played on any radio station; whereas R.I.P. is a song where Murihell showcases all his talent and passion for metal, sounding more melodic, rhythmic and leaning towards more traditional Heavy Metal, with even some hints of Symphonic Metal coming from its background keyboards. In Zombified, smooth but dark keys and low-tuned bass lines build a demonic ambience perfect for Prophet to darkly declaim the song’s wicked lyrics in a solid display of contemporary Gothic Metal for fans of the genre.

Keep Your Head Down, an interesting composition by this skillful duo from Italy, offers more of their Gothic and Symphonic Metal, albeit being slightly repetitive in my opinion (in special its chorus), whereas in DNA what feels like Gothic Metal at first becomes a vicious display of Dark and Industrial Metal with elements from Thrash Metal, proving how versatile the duo is. Moreover, Murihell does an amazing job on drums and guitars, paving the path for Prophet and his raging vocals to thrive. And with a Down with the Sickness-inspired beginning, but bringing forward elements from Melodic Death Metal in its guitars and beats, the awesome S.O.S displays a rockin’ rhythm and effective breaks throughout its three minutes to keep the sound always fresh and vibrant, therefore turning it into one of the best songs of the album (if not the best), flowing into a tribal Outro that also presents the band’s trademark obscure sounding.

In summary, the New World Order might fortunately be just a theory (at least for now), but Madness Of Sorrow are an exciting reality and the music you’ll find in their new album is highly recommended for facing our everyday issues and struggles due to its elevated amount of energy and creativity. You can find more information about them at their official Facebook page, and enjoy their music on YouTube as well as on Spotify. And in order to grab your copy of N.W.O. The Beginning, simply go to iTunes or to Amazon. But hurry up, before the New World Order is finally born and comes to destroy our freedom, our music and arts in general.

Best moments of the album: Inside the Church, You’re Not Alone and S.O.S.

Worst moments of the album: Keep Your Head Down.

Released in 2017 Independent

Track listing
1. N.W.O. 0:35
2. Salomon 3:26
3. Inside the Church 3:36
4. You’re Not Alone 3:21
5. Necrophilia 3:26
6. Slut 3:23
7. R.I.P. 3:26
8. Zombified 3:37
9. Keep Your Head Down 4:26
10. DNA 3:46
11. S.O.S 3:11
12. Outro 1:26

Band members
Prophet – vocals
Murihell – guitars, bass, drums

Live lineup
Prophet – vocals
Murihell – guitars
Hades – bass
Kronork – drums

Album Review – Nighon / The Somme (2017)

Inspired by cinematic music and all extreme forms of metal, this up-and-coming Finnish squad presents their new concept album with stories from World War I, World War II and the crisis we see in our world today.

Greatly inspired by cinematic music and all extreme forms of metal, blending darkness with light in a unique and aggressive sound, Finnish Symphonic Shock Metal troopers Nighon are releasing their second full-length opus, entitled The Somme, a concept album with stories from World War I, World War II, the similarities between those events and the crisis we see today in our world. Sounding much more extreme than Nighon’s 2014 debut album Cor Oblivionis, The Somme is supposed to be heard in its entirety without any pauses or breaks, in order to provide the listener an in-depth, detailed view of the whole concept behind the music.

Formed in 2008 in Pietarsaari, Finland, this up-and-coming sextet not only delivers high-end music to metalheads all over the world, but they also host their own podcast called Nighon Propaganda-cast, where the idea is to provide uncensored content and a free flow of information, discussing themes such as literature, politics, several different types of music, nature and arts in general, among others. The diversity of topics found in their podcast will give you an idea of how creative the band is, and how much they’re all willing to explore new ideas and transform everything into good heavy music. Furthermore, if you’re ready to war, The Somme might be the perfect soundtrack for you to rise up, bringing a precise balance between heavy, melodic sounds and a more-than-meaningful content.

The album starts with the ominous intro Marseille 1914, narrating the tragic event that happened on June 28, 1914, when Archduke Franz Ferdinand of Austria and his wife Sophie were shot to death by a Bosnian Serb nationalist during an official visit to the Bosnian capital of Sarajevo. The killings sparked a chain of events that led to the outbreak of World War I by early August that same year. After that history lesson, The Greatest Of Catastrophes (a blend of the outbreak of World War I and the Ukraine crisis) brings forward modern Symphonic Metal with hints of Industrial and Melodic Death Metal, exploding into a thrilling musicality led by the potent clean vocals by Alva Sandström and showcasing a great balance between mechanized sounds and more melodic, powerful lines, therefore enhancing the song’s impact. The Dirge goes straight to the point, being utterly ferocious through the growls by Nico Häggblom and the brutal riffs by Michael Mikander and Björn Johansson, not to mention how potently the bass by Mats Ödahl will hit you in the face, with Alva once again bringing  light to all darkness blasted by the rest of the band. And just as symphonic and rampant as its predecessor, Lest We Forget presents all instruments exhaling a truly metallic vibe, in special the bass lines by Mats and the nonstop beats by Mika Paananen. However, in my opinion the only problem is that the song never decides if it’s a power ballad or a traditional heavy tune, getting a bit confusing at times.

Medic works as an eerie bridge to the vicious Blow Them To Hell, an aggressive composition tailored for fans of Dimmu Borgir where Nico growls deeper than ever, while Mika continues to deliver his arsenal of blast beats, not to mention the elements from Black Metal added to the musicality which end up increasing the song’s overall darkness even more. During World War II, there was a German naval base along the Kåfjorden, which branches off the main Altafjord, another short, ominous bridge to Scharnhorst, inspired by a battleship from Nazi Germany and displaying a well-balanced fusion of modern metal music and old school Death and Black Metal. Michael, Björn and Mats make sure our necks break in half with the headbanging sounds coming from their strings, with the musicality also presenting a good amount of epicness to help the band tell the desired story during the song’s almost nine minutes.

Leaning towards traditional Melodic Death Metal with hints of Industrial Metal (which ends up giving it a more menacing aura), Reclaiming Ravenpoint presents an amazing vocal duo by Nico and Alva, with their harsh growls and clean vocals complementing each other’s performance beautifully. Even weirder than the other instrumental passages and bridges, You Do Not Know What The Night May Bring consists of a phantom voice repeating the song’s name like a mantra, before the neck-breaking chant Minor Secundus comes crushing with its amazing guitars, bass and drums. However, what seems to be pure heaviness evolves into a more melodic sonority thanks to the vocals by Alva and the song’s electrifying vibe, which only makes the whole experience of listening to such excellent tune even better.

Tragédie reminds me of some of the best songs by Lacuna Coil, being one of the fastest and most dynamic of all songs with Nico firing his hellish screams in contrast with Alva’s delicate but potent voice. This full-bodied creation by Nighon not only feels like a movie score, but Mika’s precise performance once again on drums deserves our humble appreciation. And their dark symphony of war goes on in I Fear For Tomorrow, featuring Mathias Lillmåns (Finntroll, Magenta Harvest, Chthonian), with the extremely aggressive vocal lines and heavier-than-hell riffs being the highlights of the song. Nevertheless, despite being a good composition with a decent pace, it lacks more creativity to ignite the spark inside us metalheads. Lastly, the title-track Somme, inspired by the Battle of the Somme, a battle of World War I fought by the armies of the British and French empires against the German Empire, showcases a touching beginning with the mournful sound of the bagpipes signing to the end of the conflict, morphing into a power ballad with Alva leading the music while Michael delivers the most beautiful solo of the entire album, with the music smoothly flowing into an impactful ending.

You can get more details on the music by Nighon at their Facebook page and SoundCloud, and purchase The Somme at the Inverse Records’ webstore, at Record Shop X or on Amazon. It seems that our leaders and rulers never learn the lesson, with the threat of a new war always haunting the innocent in our modern-day society, and if you want to learn a little more about the wars from the past and their outcomes, The Somme might be an interesting source of information for your studies, with the advantage of being loud, fast and heavy, of course.

Best moments of the album: The Greatest Of Catastrophes, The Dirge, Minor Secundus and Tragédie.

Worst moments of the album: Lest We Forget and I Fear For Tomorrow.

Released in 2017 Inverse Records

Track listing
1. Marseille 1914 1:24
2. The Greatest Of Catastrophes 4:01
3. The Dirge 4:43
4. Lest We Forget 5:11
5. Medic 0:52
6. Blow Them To Hell 6:03
7. Altafjord 0:44
8. Scharnhorst 8:36
9. Reclaiming Ravenpoint 5:32
10. You Do Not Know What The Night May Bring 2:09
11. Minor Secundus 4:47
12. Tragédie 4:29
13. I Fear For Tomorrow (feat. Mathias Lillmåns) 5:47
14. Somme 7:09

Band members
Nico Häggblom – harsh vocals
Alva Sandström – clean female vocals
Michael Mikander – lead guitar
Björn Johansson – guitar
Mats Ödahl – bass
Mika Paananen – drums

Guest musician
Mathias Lillmåns – additional vocals on “I Fear For Tomorrow”

Album Review – The Sun Through a Telescope / Black Hole Smile (2017)

Brave the psychedelic sludge waters of Doom and Drone Metal brought forth by this inventive one-man band from Canada, and have your musical boundaries pushed further in a unique way.

I love when a band challenges our senses and pushes our musical boundaries further and further, which is exactly what you’ll face in Black Hole Smile, the brand new album by Canadian Drone/Doom Metal one-man project The Sun Through a Telescope, led by Ottawa-based multi-instrumentalist Leigh Newton (also known as Lee Neutron). In nothing less than 17 (yes, seventeen!) distinct tracks, Lee offers the listener an unconventional fusion of several styles and genres that will blow your mind, or as he likes to say, his music is where “Blackened Doom meets Ambient Drone, soaked in psychedelic sludge water.”

Lee has been very active with his The Sun Through a Telescope since 2011, having released a few EP’s that year before his first full-length album, titled I Die Smiling, came to light in 2013. The following year saw the birth of a new EP named Unnatural Cruciform on a Moss Covered Rock, paving the path for Lee to go even further with his creativity and bring forth Black Hole Smile. Each song will sound different than the others, each one being a distinct experiment by Lee, creating a parallel universe of music that might not make a lot of sense at first, but that will certainly get you entranced from start to finish.

In the very atmospheric, psychedelic and experimental Never Pray, Lee’s clean vocals sound as if he was in a different dimension, with the song’s background being only a distant, smooth noise, becoming an interesting warm-up for Living Every Single Hell, where alternative and distorted guitars are complemented by slow, sharp beats before an explosion of rage and anger with elements of Black and Death Metal invades our ears. Furthermore, Lee goes from maniac growls to desolated clean vocals and back to his demented mode à la Mike Patton, guiding us in a 10-minute voyage through the world of The Sun Through a Telescope. With such an impactful name, I couldn’t expect anything less visceral and experimental than Worm(hole)s, where Lee offers more of his hypnotic guitars and doomed beats, as well as his sick gnarls blending Drone and Doom Metal in a very gripping manner; followed by The Inverted Cross Of A Sunday Funday, a fun and solid instrumental piece by this one-man army displaying less than two minutes of demonic sounds inspired by the meanest forms of Industrial and Drone Metal.

“More Light” continues with Lee’s movie score-inspired extravaganza, being somehow epic and building an instant connection to Every Single Living Hell (note the word play with the second track of the album), with the crow in the background giving it a funereal vibe before becoming a hellish hybrid of Blackened Doom and Drone Metal, also presenting wicked sounds usually found in Alternative and Groove Metal. Focusing on its choir-like vocals and gentle guitar lines, the purely atmospheric composition Dead Dies, New Born gets to a more Alternative Rock and Metal sonority halfway through it, giving even a sense of hope to the whole song, whereas Something Witchy offers 40 seconds of a demented devastation full of distortions and wicked growls before peace returns in No Way Home. However, that peaceful ambience lasts only until half of the song, when Lee beings firing his blast beats and atmospheric vocals again.

Black Hole Bile and “Oh No, This Is Mine” are two similar but somehow unique one-minute deranged instrumental tunes, while A Prolonged Vegetative State presents a more violent side of The Sun Through a Telescope, showcasing deeper guttural and heavier sounds as if Faith No More was “poisoned” with the darkness of Drone and Doom Metal. And never tired of experimenting with different sounds, Lee delivers the Ambient Black Metal tunes Burn Everything and No More Light, with things only getting weirder and more experimental as the album progresses, so alternative it’s impossible to label what’s happening. If I try to explain the music in Caught, Drugged, Trial, Exile, one more atmospheric creation spawned by Lee, I would say there’s an inner fury in this song that never fully comes out, increasing its anxiousness and despair, while the melancholy and the sounds of birds in the background in Dead Tomorrow flow into the pleasant sonority with smooth vocals and the delicate instrumental from Whitehole / Brighthell, with moments of anger meticulously inserted at specific parts of the song, building a suffocating and climatic conclusion to this extravagant album.

If you want to know more about Lee and his The Sun Through a Telescope, simply visit his Facebook page for the most up-to-date news, with Black Hole Smile (which can be streamed in its entirety HERE) being available for purchase on BandCamp, CD Baby, iTunes and on Amazon. After swimming in the psychedelic sludge waters of Doom and Drone Metal proposed by The Sun Through a Telescope, I’m sure your view of the current state of heavy music will change considerably, proving how important independent artists like Lee are for music and arts in general.

Best moments of the album: Living Every Single Hell, Every Single Living Hell, A Prolonged Vegetative State and Whitehole / Brighthell.

Worst moments of the album: “Oh No, This Is Mine” and No More Light.

Released in 2017 Independent

Track listing
1. Never Pray 2:55
2. Living Every Single Hell 9:57
3. Worm(hole)s 6:20
4. The Inverted Cross Of A Sunday Funday 1:39
5. “More Light” 1:35
6. Every Single Living Hell 7:50
7. Dead Dies, New Born 4:06
8. Something Witchy 0:38
9. No Way Home 3:14
10. Black Hole Bile 1:06
11. “Oh No, This Is Mine” 1:17
12. A Prolonged Vegetative State 2:59
13. Burn Everything 1:04
14. No More Light 2:05
15. Caught, Drugged, Trial, Exile 5:38
16. Dead Tomorrow 0:51
17. Whitehole / Brighthell 7:08

Band members
Lee Neutron – vocals, guitars, bass, drums, programming, samples

Guest musician
Ava – additional vocals

Album Review – netra / Ingrats (2017)

The perfect soundtrack for late-night walks in the city, combining several different music genres into a coherent stream of melancholy, might be right in front of your eyes thanks to this exquisite Urban Black Metal one-man project.

Conveying images of a grey, boring and anxiogenic city life, Urban Black Metal one-man project netra is back with its third full-length album, titled Ingrats (which is French for “ungrateful”), the perfect soundtrack for late-night walks in the city, combining several different music genres such as as Ambient Black Metal, Trip-Hop and moody Jazz into a coherent stream of melancholy. Put differently, the music found in Ingrats is highly recommended if you like bands such as Manes, Katatonia or Burzum, and especially if you are not afraid of trying something truly new that will defy your senses and concepts in music.

Formed in 2003 by French multi-instrumentalist Steven Le Moan in Quimper, a citiy located in Brittany, in northwestern France, netra relased its first album Mélancolie Urbaine in 2010. Two years later, netra presented the highly claustrophobic Sørbyen, recorded after relocating to the city of Gjøcik, Norway over the course of a year. In addition to that, netra also collaborated with Californian rap duo We’rewolves in 2013 to create a true hybrid between Hip-Hop and Black Metal, the EP entitled Dreading Consciousness. Now in 2017, after moving to Auckland, a major urban city in the North Island of New Zealand, Steven and his netra found the right amount of inspiration to mesmerize us once again with the Depressive Black Metal and all other styles featured in Ingrats.

Gimme a Break, a Jazz-like intro with smooth piano and drums, introduces us to the universe of Ingrats before netra’s Black Metal strikes the listener like a lightning bolt in Everything’s Fine, a dark and aggressive composition where netra manically grasps the song’s lyrics, full of anguish and hatred. Furthermore, the song’s hints of Jazz and Experimental Metal, together with some clean vocals by the end of the song, make the whole experience of listening to this multilayered tune even more exciting. In Underneath My Words the Ruins of Yours, an atmospheric instrumental composition alternating between electronic music and sheer obscurity, simply close your eyes and savor its musicality, getting ready for the melancholic Live with It, continuing with netra’s wicked fusion of sounds and proving music doesn’t need to be heavy and fast all the time to be good. Its clean vocals are spot-on, not to mention the gentle balance between acoustic guitars and electronic elements, turning it into one of the top moments of the album in my opinion.

Infinite Boredom, an instrumental bridge displaying gentle piano notes under the rain, paves a gray and sorrowful path for Don’t Keep Me Waiting, a movie-inspired creation by netra where all instruments keep growing in intensity, transpiring melancholy and pain. It’s interesting to notice how the saxophone somehow “replaces” the vocal parts, with a dense background voice, as well as the song’s Atmospheric Black Metal beats, enhancing the overall darkness present in the music. And A Genuinely Benevolent Man, the most modern and electronic of all songs, blends Trip-Hop with Atmospheric Black Metal elements, with the music gradually increasing in intensity while netra delivers only a few sick growls throughout the whole song.

The hopelessness depicted by netra continues in the ambient Paris or Me, where subtle hints of Jazz and Black Metal coming from the piano and guitar lines add to this instrumental piece a delicate feeling of solitude; whereas in Could’ve, Should’ve, Would’ve I highly recommend you keep your eyes closed and follow netra in his walk through the dark and hazy urban streets where he lives. Bringing forward Industrial and Alternative Metal nuances, there’s no sign of happiness in the music, which can be felt through his clean but acid vocals, reminding me of some of the best creations by Nine Inch Nails and Marilyn Manson. And how about a sweet Jazz song as the closing act of this unusual album? In Jusqu’au-boutiste you’ll not only get that, but netra also offers trenchant riffs and blast beats in the best Atmospheric Black Metal style imaginable, like a sharp razor cutting our ears while the piano parts give peace to our souls, ending the album in a tempestuous fashion.

Only time will tell what’s next for the urban black metaller netra, but based on the amazing quality of the music found in Ingrats (which you can listen in its entirety HERE), I don’t think he’ll take too long to release more of his eccentric music. While we all wait for another blast of his multilayered creations, let’s keep in touch with him through his Facebook page, and purchase a copy of Ingrats through the Hypnotic Dirge Records’ BandCamp (where you can find some interesting bundles like the “ultimate netra listener pack”) or official webstore in a 4 panel sleeve with 8 page booklet format or as a fantastic package containing the CD, a 11cm x 7cm all-weather vinyl netra sticker and a beyond awesome “Urban Black Metal” shirt, as well as on Amazon and on CD Baby. Now please excuse, as I’m going for a lonely walk through the dark and cold shadows of Toronto, and I guess you know which album I’ll be listening to.

Best moments of the album: Everything’s Fine, Live with It and Could’ve, Should’ve, Would’ve.

Worst moments of the album: A Genuinely Benevolent Man.

Released in 2017 Hypnotic Dirge Records

Track listing
1. Gimme a Break 1:19
2. Everything’s Fine 5:24
3. Underneath My Words the Ruins of Yours 3:36
4. Live with It 4:30
5. Infinite Boredom 0:44
6. Don’t Keep Me Waiting 4:32
7. A Genuinely Benevolent Man 5:10
8. Paris or Me 3:32
9. Could’ve, Should’ve, Would’ve 5:00
10. Jusqu’au-boutiste 5:55

Band members
netra – vocals, all instruments

Midnight Madness Metal e-Radio Promo Hour Of The Day – From Monday To Friday @ 8pm GMT

http://midnight-madness.is-a-rockstar.com/Great news for all of you metalheads!

FROM MONDAY TO FRIDAY @ 8pm GMT, one of our kick-ass partners, Midnight Madness Metal e-Radio, broadcasting directly from London, England, will blast the best of underground metal music reviewed here at The Headbanging Moose during the PROMO HOUR OF THE DAY!

So remember, FROM MONDAY TO FRIDAY @ 8PM GMT tune into Midnight Madness Metal e-Radio to get your daily shot of the cream of the underground metal music crop, from Hard Rock to Black Metal, from Folk Metal to Thrash Metal, from Doom Metal to Metalcore, and so on! You’ll have the unique pleasure of listening to the superb music by bands like Charm Designer, Neverworld, Majesty Of Revival, Nervosa, False Coda, Atonismen, Diabolizer, The Silent Rage, Terrifier, Gaerea, and tons of other amazing metal acts from all over the world!

Here are all the options where can blow your speakers with Midnight Madness:

Official website
Twitter
Online Radio Box
Tunein
Streema
Listen2MyRadio
Radio Garden

And if you want to have your new album reviewed at The Headbanging Moose AND played at Midnight Madness Metal e-Radio, simply get in touch with us through our CONTACT US page.

Album Review – Sunterra / Reborn EP (2017)

Under the sign of the ancient Egypt goddess Isis, one of the most important Industrial Metal bands from the underground Austrian scene is reborn with a new lineup and a reinvigorated attitude.

Rating5

coverUnder the sign of the ancient Egypt goddess Isis, Austrian Gothic/Industrial Metal act Sunterra are celebrating their reunion after a 10-year hiatus from the music scene with their brand new EP titled Reborn, which as you can imagine by its name marks the resurrection of the band, presenting a musical progression without forgetting their own roots. Combining Industrial and Gothic Metal with hints of Electro and Dubstep, Sunterra aim at creating their own, distinctive sound, oferring the listener fresh and thrilling music that will put you on a trance and certainly sharpen your senses while listening to it.

Formed in 1998 in the charming city of Vienna, Austria after the split of a band named Virgin Seed, and having chosen their new name Sunterra as a game of words standing for the gathering of fire and earth, the band led by bassist and lyricist Chris enjoyed almost a decade of considerable success in the independent Austrian scene, releasing the demo In Diebus Illis in 1999 and the full-length albums Lost Time, in 2002, and Graceful Tunes, in 2005, before calling it a day in 2006. In 2015, with a brand new lineup and a reinvigorated attitude, Sunterra were reborn from the ashes like a phoenix and are more than ready to rock again, with their brand new EP being the first and exciting installment in this second incarnation of the band.

Electronic and futuristic elements set the tone in the solid Industrial Metal composition Reign Supreme, with the harsh growls by Carlos and the clean, gentle voice of Slovakian singer Lilly reaching a great balance, complementing each other’s lines effectively. In addition, the song’s chorus is quite catchy and should work really well live. In Shadow in the Dark, the band “abandons” their heavy industrialized musicality a bit, focusing on their Gothic Metal vein, with gentle piano notes and the delicate vocals by Lilly guiding the listener in this eccentric voyage. This is a melancholic, alternative ballad that ends with Carlos and Ivan delivering some heavy gnarls and riffs respectively, generating an interesting contrast with the song’s initial smoothness. Then in Lord of Lies we face some obscure guitar and bass lines by Ivan and Chris, which together with the potent programmed beats will break your neck while Lilly keeps delivering her angelical vocals. Put differently, this is a high-end professional fusion of Industrial and Gothic Metal, with its background effects helping make the overall sonority truly menacing.

sunterra-1This is W.A.R. brings forward an eerie futuristic ambience with elements from electronic music, feeling like a dance hit from the 80’s or 90’s with a metallic approach and gentle breaks being thoroughly inserted amidst the fury emanating from Carlos’ guttural growls; whereas Ministry of Thoughts presents a strong Marilyn Manson-inspired atmosphere, sounding extremely alternative and mechanized. In this song highly recommended for lovers of the darkest side of Industrial Metal, Ivan showcases an excellent performance on both guitar and all programmed elements, turning it into one of the best tracks of the album. And concluding the EP, Shut Up!!! begins in an ominous way with a whimsical dialogue between Carlos and Lilly before becoming a feast of electronic Industrial Metal perfect for hitting the dance floor, a creepy track by Sunterra to end Reborn on a high note.

As one of the most important Industrial Metal bands from the underground Austrian scene is finally back in action, why not feed their newly reborn fire  with your passion for heavy music? You can watch a preview of the entire EP on YouTube to get a better sense of what the music by Sunterra is all about, or stream it in its entirety to be enchanted by their modern metal music, as well as follow them on Facebook to know more about the band and their future projects and live concerts. And if you want to show your true support for these Austrian industrialists of darkness, you can get your copy of Reborn at their BandCamp page, on iTunes, on Amazon, at Discogs and several other online retailers.

Best moments of the album: Lord of Lies and Ministry of Thoughts.

Worst moments of the album: None.

Released in 2017 NRT-Records

Track listing
1. Reign Supreme 4:28
2. Shadow in the Dark 5:15
3. Lord of Lies 5:05
4. This is W.A.R. 4:49
5. Ministry of Thoughts 4:47
6. Shut Up!!! 3:51

Band members
Carlos – male lead vocals
Lilly – female lead vocals
Ivan – lead guitars, programming
Chris – bass

Album Review – Sepultura / Machine Messiah (2017)

“Sepultura do Brasil” are back with an exciting, multilayered journey through countless music genres and styles, proving there’s still room for innovation in heavy music.

Rating4

sepultura_machine_messiahIf you’re one of those diehard fans of Brazilian Thrash/Groove Metal icons Sepultura that doesn’t accept anything the band has done after the departure of Max Cavalera, you can stop reading this review right now as that version of Sepultura is long gone. Machine Messiah, the fourteenth studio album by the most important band in the history of Brazilian Metal, is not only their best release since their 1998 album Against, but also (and more important than that) their most experimental album since their 1996 classic Roots, completely different from that basic Thrash Metal formula from their early days, therefore offering admirers of innovative music an exciting, multilayered journey through countless music genres and styles.

Machine Messiah, which features a stylish artwork designed by visual artist Camille Della Rosa that feels like a play with the cover art from their 1991 cult album Arise, is also the band’s first studio album in over three years since The Mediator Between Head and Hands Must Be the Heart, from 2013, marking the longest gap between two studio albums in their career. In addition, this is the second album with Eloy Casagrande on drums, who’s definitely a lot more comfortable now with the band and, consequently, he ends up adding a lot more intricacy, electricity and groove to the music by Sepultura. And regarding Mr. Andreas Kisser, well, nothing I write in this review will be enough to describe what he did in Machine Messiah with his superb technique.

Venturing on new lands never before explored by Sepultura, the title-track Machine Messiah is a dark, slow and atmospheric tune where we have Derrick’s clean and somber vocals complemented by Andreas’ unique riffs and soulful solos, showcasing elements from Doom and Stoner Metal that increase the song’s obscurity; whereas I Am the Enemy, with its rebellious lyrics (“Powered by thoughts of revolution / Building all bridges of error / Search and destroy my sick innerself / To realize I’m not a fraud”), gets closer to the brutal Hardcore found in albums like Against, with Eloy smashing his drums while Andreas and Derrick emanate sheer violence in this excellent high-octane hymn. And in Phantom Self, an experimental Groove Metal composition with hints of Alternative Metal, regional elements from the Brazilian and Middle-Eastern cultures are nicely added to the musicality, enhanced by the song’s thoughtful lyrics (“The crash. Flash backs. Carnage the blood keeps on flowing / Killing me. Trapped inside this tragedy / Can’t see the road in front of me / Replay this nightmare over and over”).

Alethea is another distinct composition in such diverse album, albeit not as crisp and exciting as the previous songs despite its progressiveness and experimentations. Once again, it’s Andreas who delivers the best pieces of the song with his flammable guitar, which also happens in Iceberg Dances, a kick-ass instrumental extravaganza where Andreas, Paulo and Eloy are in perfect sync, firing powerful riffs, thunderous bass lines and groovy beats. It reminds me a lot of the music by Mastodon, which means it’s at the same time insane and harmonious, with its Deep Purple-inspired keyboards and Flamenco acoustic guitar lines bringing even more awesomeness to the overall result. The symphonic and sometimes epic Sworn Oath, the longest of all songs, is not just another good surprise in Machine Messiah, but also in my humble opinion the best sonority for Derrick’s voice when he’s not singing fast-paced Hardcore. Moreover, if played live with a proper orchestra, it should sound simply astounding.

sepultura_2017In the dark Resistant Parasites, Paulo delivers sheer heaviness with his bass lines, taking the song’s modern Groove Metal to the extreme, exhibiting a powerful and innovative vibe without losing the band’s characteristic aggressiveness, followed by Silent Violence, another track that reminds me of the craziness blasted by Mastodon. It’s fuckin’ heavy and complex at the same time, a tune to break your neck where Derrick fires madness and anger with his growls while Andreas continues to deliver pure creativity and feeling through his riffs and solos. Eloy and Andreas speed things up in the thrilling mosh pit-generator hymn Vandals Nest, bringing forward tons of creativity, complexity and groove (needless to say, I can’t wait to feel this song played live), before Cyber God gets back to the doomed sonority found in many parts of the album. This is a beautiful, somber ending to the regular version of the album, displaying low-tuned bass punches and piercing guitars, and blending elements from several styles such as Industrial, Groove, Gothic and Doom Metal, among many others, being extremely hard to define its style. And of course, if you go for the special edition of Machine Messiah, you’ll be treated to two top-notch bonus tracks, in special their cover version for Ultraseven no Uta from the cult tokusatsu science fiction TV series Ultra Seven, originally recorded by The Echoes & Misuzu Children’s Choral Group, not to mention the version that comes with a DVD with the making of Machine Messiah available at the Nuclear Blast webstore.

After Machine Messiah, I wonder where Andreas, Paulo, Derrick and Eloy will go next with their music. It’s such an experimental, intense and elaborate album it’s hard to imagine those four guys will be able to top it in terms of complexity with their future releases. But who am I to doubt what the iconic Sepultura will offer the world in the future? Andreas keeps getting better and better in what he does, putting his heart and soul into his music and uniting with his guitar in the most perfect way imaginable, with the other band members supporting him with precision and stamina. Sepultura are and will always be Brazil’s most prominent metal band no matter what, and with Machine Messiah they’re sending a solid message to the world there’s still room for innovation in heavy music, always keeping their core essence heavy and electrifying.

Best moments of the album: I Am the Enemy, Iceberg Dances and Vandals Nest.

Worst moments of the album: Alethea.

Released in 2017 Nuclear Blast

Track listing
1. Machine Messiah 5:54
2. I Am the Enemy 2:27
3. Phantom Self 5:30
4. Alethea 4:31
5. Iceberg Dances 4:41
6. Sworn Oath 6:09
7. Resistant Parasites 4:58
8. Silent Violence 3:46
9. Vandals Nest 2:47
10. Cyber God 5:22

Special Edition bonus tracks
11. Chosen Skin 3:17
12. Ultraseven no Uta (The Echoes & Misuzu Children’s Choral Group cover) 1:18

Band members
Derrick Green – lead vocals
Andreas Kisser – guitars
Paulo Jr. – bass
Eloy Casagrande – drums, percussion