Album Review – Clawfinger / Use Your Brain (1995)

Use your brain and listen to the cult album by this distinct Swedish act, presenting an austere and impactful fusion of Rap and Heavy Metal.

Rating4

use-your-brainA few years before Limp Biskit, Slipknot or any other band considered part of the Nu Metal scene from the 90’s/2000’s started, there was already a Swedish band called Clawfinger playing a very original mix of Rap Metal, Hardcore, Rapcore, Funk Metal and even Industrial Metal in a very aggressive, politicized and anti-racist way. Although the band was formed back in 1989, it was just in 1993 that they launched their debut album called Deaf Dumb Blind (which included a very controversial song called “Nigger”, but again, in the most anti-racist way possible), and a couple of years later, in 1995, they launched their most interesting album in my humble opinion, titled Use Your Brain. If you hate Rap by all means and/or if you’re too narrow-minded to accept it mixed with Heavy Metal, don’t even bother listening to it. However, if you enjoy heavy music no matter what, then Use Your Brain might be an amazing addition to your day-to-day playlist.

Use Your Brain starts at a high note with my favorite song from the album, Power, which talks about exactly the opposite of most songs with the word “power” in their names: power can be really harmful to anyone who doesn’t know how to use it properly, which happens to the majority of the people that have it anyway. “Power to the one who doesn’t want it / Do you want it why do you want it”, screams lead singer Zak Tell, accompanied by some excellent heavy riffs by Erlend Ottem and Bård Torstensen and keyboards by Jocke Skog. The song is followed by Pay the Bill, which keeps the energy level up, and Pin Me Down, a more rhythmic track with strong lyrics that ended up becoming one of the band’s biggest classics.

ClawfingerThe next song is called Wipe My Ass, a good example of how the band was able to unite Rap and Metal in a very solid way. The only thing I don’t understand is why sometimes I find this song with a different name, “Waste My Time”. Well, it’s probably due to the “beautiful” expression used in the original name, but honestly, who cares about that? Anyway, the next two tracks, Die High and It, are just average songs, especially the second one which is quite bland compared to the rest of the album. Fortunately the next song, called Do What I Say, takes the album back on track with its simple but strong riffs and amazing lyrics about the emotional and sometimes physical (and endless) war between parents and their kids, acidly declaimed by Zak Tell and his hostile vocals. I normally don’t add a huge chunk of any lyrics in my reviews, but this one is so good that deserves to be appreciated almost in full. Besides, although this song might have been recorded over 20 years ago, it still sounds fresh and contemporary, just to show you how parenting will never, ever be an easy task to anyone.

“I‘ve paid to raise you good
Done everything I could so don’t you dare to say
That I ever cared about you anyway
I gave you good food to eat
I kept you on your feet
I gave you all my good advice
Not once did I hear you
thank me for all that I’ve done
You don’t know anything
About my suffering
I went through a lot of pain
Just to get you where you are today
If I ever hit you
It’s because I have to
You have done something wrong
And you deserve the punishment, you’ll have to pay”

The rest of the album doesn’t have anything too special: Undone is considerably tasteless, while What Are You Afraid Of doesn’t do any good but at the same time it doesn’t harm the album. Things get a lot better with Back to the Basics, especially the eerie sound the band created with the guitars and keyboards working together; Easy Way Out with its addictive chorus and the groovy drums by Ottar Vigerstøl; and Tomorrow, a very good Rap Metal track that powerfully ends this very original and catchy album, with highlights to the rumbling sounds generated by Ottar and bassist André Skaug. In addition, the front cover is absolutely precise in summarizing the content of the music in the album (despite being fairly simplistic), and that “less is more” type of art is most probably the reason why I love it so much.

Use Your Brain_remastered

Use Your Brain 2004 Remastered Edition

The 2004 remastered version of the album also includes 3 bonus tracks and 3 bonus videos, so if you’re interested in buying it I suggest you go after the remastered one (which by the way is a lot easier to find in any webstore). Clawfinger released a statement around August 2013 saying they split up, which was a bummer at that time based on the quality of their music, but fortunately it seems those Swedish metallers are back in action and ready to deliver us another blast of their venomous music, going against the sea of boredom that dominates the scene nowadays. Hence, Use Your Brain (which can be enjoyed in its entirety HERE) is far from being a true masterpiece, but it’s an extremely enjoyable album with meaningful lyrics crafted by talented musicians and, above all, an excellent option to expand your horizons in the world of heavy music and a lot better choice than most of the crap the media makes us swallow every single day. In other words, use your goddamn brain at least once and enjoy the austere music by this unique band hailing from Sweden, alright?

Best moments of the album: Power, Pin Me Down, Do What I Say and Back to the Basics.

Worst moments of the album: It and Undone.

Released in 1995 WEA/MVG (Warner Music Group)

Track listing
1. Power 3:14
2. Pay the Bill 4:20
3. Pin Me Down 4:10
4. Wipe My Ass 3:13
5. Die High 2:34
6. It 5:21
7. Do What I Say 4:25
8. Undone 4:11
9. What Are You Afraid Of 3:47
10. Back to the Basics 2:27
11. Easy Way Out 2:39
12. Tomorrow 4:09

2004 Remastered Edition bonus tracks & videos
13. Better Than This 3:36
14. Three Good Riffs 3:56
15. Armageddon Down 3:36
16. Pin Me Down (Video Clip) 4:10
17. Tomorrow (Video Clip) 4:09
18. Do What I Say (Video Clip) 4:25

Band members
Zak Tell – lead vocals
Jocke Skog – keyboards, vocals
Erlend Ottem – lead guitar
Bård Torstensen – rhythm guitar
André Skaug – bass
Ottar Vigerstøl – drums

Advertisements

Album Review – Graveyard Strippers / Crawling (2017)

This creepy Canadian quartet brings to you the perfect soundtrack to your next party, an experimental and never-ordinary crossbred of Industrial, Gothic and Punk Metal with elements from rock, pop and electronic music.

A phoenix reborn from its ashes. That’s how Canadian Industrial Metal critters Graveyard Strippers call themselves, being born in Montreal, Quebec in 2013 with guitarist Riff (Projekt F), vocalist Holy Decay (Gotherfall, Magnum Stallion) and bassist Carl Puzzle (Sade Slavey). Since their creation, Graveyard Strippers recorded three excellent EP’s, those being Burn My Soul in 2013, Free The Monsters in 2015, which was by the way when the band recruited Dany Burton (Projekt F) as their new permanent drummer, and Burn The Monsters in 2016, culminating with the release of their first ever full-length spawn, the idiosyncratic and rousing Crawling, now in 2017.

The music by Graveyard Strippers might be considered an experimental and never-ordinary crossbred of Industrial, Gothic and Punk Metal, spiced up by hints of Rock N’ Roll, Hard Rock and even electronic and pop music. And let me tell you that those four rockers do it almost to perfection, sounding at the same time sexy and gruesome, gentle and aggressive, straightforward and progressive. You’ll notice that each one of the twelve songs featured in Crawling, which by the way portrays a fantastic artwork by renowned Canadian illustrator Felix LaFlamme, are independent from each other, presenting a unique sonority, but that they need each other for the whole album to make sense to your ears. Well, as you can see it’s not an easy task to summarize the work by Graveyard Strippers in just a few lines, and that’s why I recommend you hit play and enjoy their industrialized and sensual sounds in your own way.

The eerie and dark intro Filth invites us to the demented world ruled by Graveyard Strippers, before an industrial and metallic feast begins in full force with Broken, a song highly recommended for fans of Rammstein and Ministry where Holy Decay bursts his lungs by screaming in an insane and rabid way. After that frantic hurricane of industrialized sounds the bands offers us a more melodic tune titled Pretty, blending Gothic and Industrial Rock with elements from Neue Deutsche Härte. Moreover, Riff lives up to his monicker by delivering truly catchy riffs, while Dany keeps the song’s pace and speed at a very pleasant level with his precise beats. And then we have the title-track Crawling, which begins in a dark 80’s Gothic Rock and Metal-inspired way, gradually evolving into an imposing musicality led by the deep and lunatic vocals by Holy Decay, remaining vibrant until its climatic ending.

Featuring the seductive Natasha Nebula as guest vocalist, Freak Show sounds a lot more mechanized and sexier than its predecessors, presenting the darkest and most depraved form of Industrial Metal you can think of. In addition to that, Riff and Dany do a great job with their samples and electronic sounds, turning it into the perfect soundtrack for a real-life freak show. And if you think that after such amazing song you’ll be free from Natasha’s devilish voice, you’re absolutely wrong, as she’s back with the band in Deadsex, an ominous blast of Neue Deutsche Härte with Gothic Rock where the deranged screams by Holy Decay create a gripping paradox with the smoother but still diabolical moans by Natasha, not to mention the song’s first-class official video which perfectly epitomizes what Graveyard Strippers are all about. The “piercing assembly line from hell” titled Apocalypse Now brings forward another eccentric intro that morphs into a fantastic Industrial Metal extravaganza, showcasing rabid growls mixed with heavy-as-hell riffs and tons of wicked elements in the background in what sounds as a hybrid of Marilyn Manson and Ministry; whereas their electronic vein arises stronger than ever in Walking Dead thanks to the excellent job done by Riff and Dany once again, while Carl Puzzle adds his share of heaviness to the song with his sick bass lines, keeping the album at a high level of eccentricity.

Savior is another modern Industrial Metal composition led by the somber vocals by Holy Decay, despite not feeling as crushing and vibrant as the rest of the album, sounding a bit repetitive at times. On the other hand, Krash This Up is one of the weirdest and most fun creations by this talented quartet that should work really well if played live. Dany is simply amazing with his beats, being flawlessly accompanied by the rest of the band during the song’s two minutes of insanity. Then in King Me the band gives a lesson in how to blend Industrial Metal with Punk Rock, offering the listener a neck-breaking, electrified tune where Riff steals the show with his sensational guitar lines. Needless to say, this is another serious candidate to be part of their live performances. And lastly, madness takes control of the band in the closing tune of the album, named Serial Killer, where symphonic elements from Gothic Metal are added to create an even crazier atmosphere. Furthermore, Holy Decay sounds like a demonic entity with his Stygian gnarls, while Riff and Carl keep bringing thunder to the musicality in this top-notch ending to such electrified album.

The somber and bewitching realm of Graveyard Strippers can be further explored through their Facebook page and YouTube channel, and you can listen to and buy Crawling on Spotify, at their own BandCamp page, on iTunes, on Amazon or at the Onkyo Music webstore. Let’s say that, if you were desperately looking for the best and darkest soundtrack to your next Halloween, Gothic, Dark Electro or any other type of party not recommended for the ordinary person, I believe your hunt is finally over, as Graveyard Strippers are more than ready to put you and your guests into a lustful and mechanized trance with the high-end music found in Crawling.

Best moments of the album: Broken, Freak Show, Apocalypse Now and Serial Killer.

Worst moments of the album: Savior.

Released in 2017 Independent

Track listing
1. Filth 1:04
2. Broken 3:09
3. Pretty 3:40
4. Crawling 4:08
5. Freak Show (feat. Natasha Nebula) 3:29
6. Deadsex (feat. Natasha Nebula) 3:51
7. Apocalypse Now 4:07
8. Walking Dead 3:50
9. Savior 4:02
10. Krash This Up 2:07
11. King Me 2:46
12. Serial Killer 4:48

Band members
Holy Decay – vocals
Riff – guitars, programming, backing vocals
Carl Puzzle – bass, backing vocals
Dany Burton – drums, programming, backing vocals

Guest musician
Natasha Nebula – female vocals on “Freak Show” and “Deadsex”

Album Review – Project Renegade / Cerebra EP (2017)

Presenting a solid fusion of dark, modern and gothic elements in their compositions, this newborn Hellenic entity has all it takes to become one of the biggest exponents in European Alternative Metal.

Presenting in their music a solid and dynamic mix of Alternative, Nu, Industrial and Gothic Metal, with the addition of modern sounds, ambient, groove and electronic elements, here comes Greek Alternative Metal quartet Project Renegade, formed earlier this year in the Greek capital Athens by frontwoman Marianna and drummer Ody, who were later joined by Tasos on guitar and Makis on bass to complete the band’s lineup. After the band’s inception, those talented Greek metallers quickly put together an EP titled Cerebra, comprised of three original compositions that not only represent the essence of their music, but that are also a very good indication of what to expect from them in their soon-to-be-released debut full-length album.

Engineered, recorded and mixed at Matrix Recording Studio Athens by Dimitris Misirlis, known for his collaborations with bands like Nightstalker, Agatus and Rosewood Brothers, and mastered at Grindhouse Studios Athens by George Bokos (Stone Cold Dead, Rotting Christ, Nightfall), who has worked with names such as George Kollias, Contrarian and Unearthly, Cerebra is a very promising start to this up-and-coming four-piece act from Greece, a land that has always provided amazing bands to the world of heavy music, and after listening to its three complex and catchy tracks you’ll be more than eager to see what the band has to offer in the future and, if you’re lucky, to check them out kicking ass live.

Futuristic notes kick off the first track of the EP, entitled Pressure, a modern and symphonic blend of Alternative and Gothic Metal led by the heavy, headbanging riffs by Tasos and the smooth but piercing vocals by Marianna, while Makis and Ody make sure the atmosphere remains dense and dark with their respective bass punches and potent beats. In other words, this is an excellent sample of the fire power by Project Renegade. Following a similar metallic and modernized pattern, Project Renegade enhance their aggressiveness and obscurity in the excellent tune Natural Born Killer, where Tasos once again does an amazing job with his riffs, as well as Makis with his thunderous bass. In addition to that, Marianna makes sure her vocals transpire passion and energy, in order to properly tell the desired story through the song’s lyrics. And lastly, a wicked narration ignites another impactful and upbeat Alternative Metal feast by this Greek quartet, named One of the Crowd, where Marianna turns up the heat with her high-pitched, rebel vocal lines while Ody smashes his drums mercilessly, with all madness and wild reverberation crafted by the band smoothly flowing into a whimsical and groovy ending.

In a nutshell, Project Renegade is such a promising band that they’re capable of composing 6-minute songs (which would be considered an “atrocity” for radio exposure in modern days) that sound as if they have only three minutes or even less in duration so cohesive they are, showing how melodic and captivating their music is. If you want to know more about the band and stay tuned for their upcoming full-length album, simply visit their Facebook page and keep an eye on their YouTube channel, ReverbNation and SoundCloud for new songs to come. And if you want to show your support to Alternative Metal made in Greece, purchase Cerebra (which is available for a full listen on Spotify) through the band’s own BandCamp page, on iTunes or on Amazon. This newborn Hellenic entity has all it takes to become one of the biggest exponents in Alternative Metal in Europe based on what they have to offer in Cerebra, and I can’t wait to see what’s next in their career when their debut full-length album is finally released.

Best moments of the album: Natural Born Killer.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Pressure 6:02
2. Natural Born Killer 6:11
3. One of the Crowd 6:27

Band members
Marianna – vocals
Tasos – guitar
Makis – bass
Ody – drums

Album Review – Eli van Pike / Welcome to My Dark Side (2017)

Welcome to the dark and melodic world of Gothic Metal, Neue Deutsche Härte and Industrial Metal ruled by three outstanding musicians who will certainly fuel your inner passion for industrialized sounds.

Combining the best elements of Gothic Metal, Neue Deutsche Härte and Industrial Metal, creating their own identity and remaining true to a tougher musical line, German-American Industrial Metal entity Eli van Pike is releasing its debut album Welcome to My Dark Side, comprised of ten unique compositions with its lyrics being in both German and English, often representing a mirror of the abysses of the human psyche. Not only is this new project highly recommended for admirers of the music played by renowned acts such as Rammstein, Eisbrecher, Oomph! and Lindemann, but it’s also a very interesting option for newcomers who are always seeking for darker sounds with a strong melodic vein.

Formed in 2016 by German musician Thorsten Eligehausen (Schandpfahl, Cradle Of Haze) together with German multi-instrumentalist Marc Vanderberg (Devil May Care) and American singer Ken Pike (Firesphere), therefore the name Eli van Pike, composed of parts of the names of the band members, the project debuted in 2016 with the singles Even Heros Fall and Tears of War, getting in the focus of the Gothic and Industrial Metal scene. In 2017, after releasing an EP titled Herzschlag, it’s time for Thorsten and his crew to reach new heights with their debut full-length album, and I’m sure you’ll find yourself singing, dancing or simply banging your head to most of the songs of the album due to its high level of electricity and feeling.

And the eccentric Eli van Pike begin their industrialized attack on a high note with the Teutonic hymn Made in Germany, with the keys by Thorsten together with the brutal riffs by Marc forging a fierce and pleasant Industrial Metal sounding, also presenting a great balance between the clean vocals by Ken and the deeper growls by Thorsten. Herzschlag, or “heartbeat” in German, a powerful Neue Deutsche Härte hymn with the heaviness from guitars and drums being boosted by the song’s old school keyboards, transpires a Rammstein-inspired vibe, in special through the obscure vocals by Thorsten, but it’s in the next song that their metallic vein gets to a whole new level of insanity. Faster and crazier (but still very melodic), the thrilling 1-2-frei is pure Neue Deutsche Härte, with the addictive guitar lines by Marc being the icing on the cake of such industrialized hymn.

Although it’s hard to “accept” a ballad in an Industrial Metal album, World on Fire kind of works well: it might not the best ballad in the world, but its solid instrumental and decent lyrics make it a lot more enjoyable. Back to a much harder and more obscure sonority, Tears of War is exciting from start to finish, with the German words vocalized by Thorsten darkening the music even more while Marc keeps kicking ass with his riffs and Ken once again brings epicness to the overall result with his passionate vocals. Slowing down a bit, the band offers us One Last Rose, a fusion of Industrial Metal with 80’s Gothic Rock and Metal, hence presenting all the elements of a dark hit, with highlights to the song’s melodic vocals in sync with its piercing synths, followed by Peter, 41,  another industrialized composition that will rock the hell out of you. Moreover, Thorsten sounds simply amazing with his cryptic, deep voice, while Marc continues to add electricity and groove to the music with his strings.

The title-track Welcome to My Dark Side is a fantastic display of modern and fresh Neue Deutsche Härte, offering the listener heavy sounds mixed with gentle vocals and sharp keyboards, also showcasing a Dark Metal aura in the background the likes of Moonspell. After such amazing display of dark music, Eli van Pike’s blackened, mechanized attack goes on with a frantic creation entitled Amen, bringing forward three minutes of Stygian vocals by Thorsten supported by the slashing riffs by Marc. In other words, this is another one of their songs that will certainly put people to dance at an underground metal party. However, instead of closing the album with such magnificent tune, the trio ventures through the realms of acoustic ballads in Valentine’s Day, and let me be honest with you, in my humble opinion acoustic guitars should never be used in any Industrial Metal album under any circumstances. It’s not that the song is bad, but it’s completely disconnected from the rest of the album, sounding like filler in the end. Maybe with some electronic elements in the background this western-ish ballad could have been more enjoyable, or at least more in line with the concept behind Eli van Pike.

Anyway, despite this slight lapse of electricity, overall Welcome to My Dark Side is a damn good album taking into account the fact that the band has been together for just a short period of time. In case you want to know more about the project, go check their Facebook page and listen to their music on YouTube or Spotify, and buy Welcome to My Dark Side on BandCamp, at the darkSIGN-Records’ webstore, on iTunes, on Amazon or on Qobuz. And always remember, you’re welcome to join the dark side of Industrial Metal created by Eli van Pike any time, a project so compelling it will definitely fuel your inner passion for industrialized sounds.

Best moments of the album: 1-2-frei, Tears of War, Welcome to my Dark Side and Amen.

Worst moments of the album: World on Fire and Valentine’s Day.

Released in 2017 darkSIGN-Records

Track listing 
1. Made in Germany 4:10
2. Herzschlag 3:45
3. 1-2-frei 2:54
4. World on Fire 4:02
5. Tears of War 4:57
6. One Last Rose 3:40
7. Peter, 41 3:34
8. Welcome to My Dark Side 3:17
9. Amen 2:59
10. Valentine’s Day 2:28

Band members
Thorsten Eligehausen – vocals, keyboards
Marc Vanderberg – guitars, drum & bass programming
Ken Pike – vocals

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

Featured

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