Album Review – Xenos / Filthgrinder (2020)

No compromise, no fashion, no bullshit, just Thrash Metal. That’s what three unstoppable Italian metallers have to offer us all in their excellent debut album.

Are you ready to crush your skull into the circle pit to the sound of a 100% pure, no bullshit, no shenanigans Thrash Metal album born from the urge to go back to the roots of the genre and inspired by the more technical wing of 90’s Thrash Metal? That’s exactly what you’re going to get in Filthgrinder, the debut album by an Agrigento, Sicily-based Thrash Metal trio formed at the end of 2018 by vocalist and bassist Ignazio Nicastro (from post-thrashers Eversin) together with guitarist Giuseppe Taormina and drummer Danilo Ficicchia that goes by the sharp name of Xenos, clearly inspired by thrashing masters like Megadeth, Xentrix, Annihilator and Slayer, but of course without forgetting to add their own dosage of personality to each one of their compositions. Featuring a modern and aggressive album art that perfectly represents the band’s sound, as well as guest appearances by Jeff “Mantas” Dunn from Venom and Simon Cobb from Anihilated, Filthgrinder exalts the characteristics of the genre through fast and aggressive compositions, yet at the same time sounding technical and full of groove.

Soldados works like an acoustic and serene intro, or maybe I should say “the calm before the storm” by Xenos, as they begin their infuriated, berserk Thrash Metal attack in the title-track Filthgrinder, with Giuseppe shredding his axe in great fashion while Danilo pounds his drums mercilessly. Put differently, it’s pure old school Bay Area Thrash led by Ignazio’s raspy and demented screams, with no artificial elements added at all, followed by Post Apocalypse Breed, just as insane and frantic as its predecessor, reminding me of some of the creations by Exodus and Slayer. Furthermore, Danilo accelerates the song’s pace while Ignazio brings thunder and lightning to the musicality through his vocals and bass punches, resulting in a must-listen song for lovers of the genre.

And pounding our heads with their razor-edged riffs and venomous beats, the band offers us all Birth Of A Tyrant, a headbanging tune where Danilo is once again berserk on drums, also featuring a sick guitar solo by the aforementioned Jeff “Mantas” Dunn, whereas So Old, So Cold sounds and feels a lot more infuriated and faster, or in other words, a frantic display of classic Thrash Metal by the trio with Giuseppe kicking some serious ass on the guitar while Ignazio continues to bark manically, bursting his lungs with anger and rage. And leaning towards the Speed Metal played by Megadeth infused with the fury of Exodus we have Iconoclast, with violent beats and rumbling bass lines working as the driving force of this slamming feast.

There’s absolutely no sign of slowing down as the trio keeps blasting sheer violence and rebelliousness in Angel Of Silence, with its background speech adding a touch of insanity to the overall musicality while Ignazio and Giuseppe are on fire with their metallic bass lines and sick shredding, respectively. Then we have Xenos’ superb cover version for Megadeth’s all-time classic Peace Sells (check out the original one HERE), showcasing a fantastic job done by all band members who give their own raw and demented twist to this thrashing anthem, with Giuseppe stealing the spotlight with both his wicked riffs and crisp solos. And last but not least, featuring guest vocals by Simon Cobb, the closing song Of Magma And War is another ode to all things thrash where Ignazio and Simon make a demonic vocal duo while Danilo shows no mercy for his drum set, concluding the album on the highest and most visceral note possible.

In a nutshell, if thrashing is your business and business is good, you must give Xenos a try by following them on Facebook and by purchasing Filthgrinder directly from their own BandCamp page, from My Kingdom Music’s Big Cartel, or from other distinct locations by clicking HERE. Those Italian metallers definitely know what they’re doing and where they’re headed to, therefore paving a very interesting future in their up-and-coming career. As the band members themselves like to say, there’s “no compromise, no fashion, no bullshit, just Thrash Metal” in the music found in Filthgrinder, and to be fair that’s all we can ask for (and all we need) when the style in question is our beloved Thrash Metal.

Best moments of the album: Filthgrinder, Peace Sells and Of Magma And War.

Worst moments of the album: None.

Released in 2020 Club Inferno Ent.

Track listing
1. Soldados 2:34
2. Filthgrinder 3:28
3. Post Apocalypse Breed 5:02
4. Birth Of A Tyrant (feat. Jeff “Mantas” Dunn) 3:41
5. So Old, So Cold 4:16
6. Iconoclast 3:38
7. Angel Of Silence 5:26
8. Peace Sells (Megadeth cover) 3:52
9. Of Magma And War (feat. Simon Cobb) 5:37

Band members
Ignazio Nicastro – vocals, bass
Giuseppe Taormina – guitars
Danilo Ficicchia – drums

Guest musicians
Jeff “Mantas” Dunn – guitar solo on “Birth Of A Tyrant”
Simon Cobb – additional vocals on “Of Magma And War”

Album Review – Secret Rule / Against (2020)

A beautiful album of Symphonic Metal showcasing a collection of songs from romantic and intimate ones to dark and fast tunes, all of them about being overwhelmed in a hurricane of emotions.

Formed at the beginning of 2014 in Rome, Italy with the intention to create a special sound with powerful rhythms and catchy melodies, Symphonic Rock/Metal unity Secret Rule can be considered one of the most hardworking bands of the current Italian scene without a shadow of a doubt, having released nothing more, nothing less than four studio albums since their inception until 2019, or almost one album per year, with the year of 2018 being the only exception to that. After the released of the full-length installments Transposed Emotions, in 2015, Machination, in 2016, The Key to the World, in 2017, and more recently The 7 Endless, in 2019, it’s time for the band spearheaded by the stunning vocalist Angela Di Vincenzo (Kyla Moyl) together with guitarist and keyboardist Andy Menario (Martiria), bassist Michele Raspanti (S.O.S., Graal) and drummer Alex Beccati to take the world of heavy music by storm once again with their fifth album, entitled Against, exhaling endless energy, epicness and romance though the band’s feast of heavy riffs, soaring vocals and electronic elements. In other words, you will find all types of songs in Against, from the most romantic, intimate and mellow one to dark, fast and powerful tunes, all of them about being overwhelmed in a hurricane of emotions, exactly how we like it in Symphonic Metal.

The opening track Spira Mirabilis sounds ominous and atmospheric like the soundtrack to a dark horror movie, suddenly exploding into captivating Symphonic Metal led by Angela’s potent vocals who’s always supported by the theatrical performance by her band members, with Andy kicking ass with his wicked keys. And Andy also slashes his strings in great fashion in Shades of Humanity, accompanied by the thunderous bass by Michele while Angela continues to shine on vocals, sounding heavier than its predecessor but at the same time very delicate and also presenting strident guitar solos and never-ending stamina. Then it’s time for Secret Rule to put the pedal to the metal and offer us all a feast of rock and metal sounds in Rise Again, showcasing a great balance between the pounding beats by Alex and the futuristic keys by Andy, while at the same time blending elements from the music by Evanescence, Epica and Lacuna Coil; followed by the more introspective and cryptic Going Nowhere, a song perfect for Angela to steal the spotlight with her dark and sexy vocals amidst the solid and dense musicality blasted by the whole band.

Adding a touch of modernity to their musicality, with hints of Rammstein’s Industrial Metal being thoroughly inserted into its core but still keeping the band’s classic Symphonic Metal intact, of course, Digital Revolution is beyond exciting and vibrant from start to finish, becoming one of the best moments of the album without any doubt. Endless Promises is a radio-friendly tune by Secret Rule spearheaded by Alex’s unstoppable drums while Angela takes her vocals up a notch, sounding and feeling very pleasant right from the very first second, whereas Purgatory is a lot groovier and more demonic thanks to its harsh vocals, building a great paradox with Angela’s angelical voice, not to mention Andy’s flammable solos. Put differently, it will certainly please all fans of the genre, which can also be said about the title-track Against, bringing forward a video game-inspired intro that’s quickly joined by the band’s characteristic riffs and beats, keeping the album at a high level of adrenaline.

Deep Solitude sounds a little generic if compared to the rest of the album despite the great job done by Angela on vocals; nothing that would harm the album though, as it can be quite entertaining for many fans, as a matter of fact. Fortunately, they get back on track with Outsiders, another fun composition uniting the electricity of Symphonic Metal with the modern and futuristic nuances of orchestral music, with Andy, Michele and Alex being on absolute fire with their thunderous instruments, while My Last Breath flirts with Alternative Rock and Metal, resulting in a semi-ballad that sounds at the same time very gentle and obscure, with Angela embellishing the airwaves with another passionate vocal performance. And lastly, the keys by Andy dictate the rhythm in the closing tune Don’t Let Me Fade, where Alex pounds his drums potently and Andy injects an extra dosage of electricity to the song’s pace through his always sharp guitar solos.

As already mentioned, Secret Rule are not only an unstoppable, hardworking band hailing form Italy, but their talent is also undeniable as we can all see in their brand new opus Against, and if you want to know more about Angela and the boys you can get in touch with them on Facebook, subscribe to their YouTube channel, and listen to more of their music on Spotify. Also, above all that, don’t forget to preorder your copy of Against from the band’s own webstore in a Special Limited Edition Boxset format, from Record Shop X or from Apple Music, and soon from other locations such as the Pride & Joy Music webstore. Let’s enjoy this fresh and exciting new endeavor by Secret Rule now in 2020, attending their live concerts and raising our horns for such distinct metal act from Italy, and when 20201 comes I’m sure Angela, Andy & Co. will present us with another round of their awesome Symphonic Metal. Because you know, Secret Rule never know when to stop, which in their case is always a very good thing.

Best moments of the album: Spira Mirabilis, Rise Again, Digital Revolution and Outsiders.

Worst moments of the album: Deep Solitude.

Released in 2020 Pride & Joy Music

Track listing
1. Spira Mirabilis 4:03
2. Shades of Humanity 3:29
3. Rise Again 4:37
4. Going Nowhere 4:56
5. Digital Revolution 3:56
6. Endless Promises 3:36
7. Purgatory 3:50
8. Against 4:34
9. Deep Solitude 3:47
10. Outsiders 4:30
11. My Last Breath 3:35
12. Don’t Let Me Fade 3:46

Band members
Angela Di Vincenzo – vocals
Andy Menario – guitars, keys
Michele Raspanti – bass
Alex Beccati – drums

Album Review – Arcana 13 / Black Death EP (2020)

A lethal mixture between the visual terror of Italian horror with the heavy and magical atmospheres of 70’s Occult Rock in the form of a short but extremely sharp and obscure EP.

“Emblems seen through the fog, it’s the end of it all. Look upon the blood-red moon and you’ll be facing the Black Death.”

Hailing from Italy, the birthplace of cult horror movie masters like Lucio Fulci, Dario Argento and Mario Bava, among many others, more specifically from Ravenna, a city in in the Emilia-Romagna region of Northern Italy, Doom/Heavy Metal entity Arcana 13 (which should be read as Arcana Tredici, as “tredici” is 13 in Italian) is unleashing upon humanity more of their “Horror Doom”, a lethal mixture between the visual terror of Italian horror with the heavy and magical atmospheres of 70’s Occult Rock, with their brand new EP entitled Black Death, the follow-up to their 2016 full-length opus Danza Macabra.

Comprised of Simone Bertozzi and Andrea Burdisso on vocals and guitars, Filippo Petrini on bass and Luigi Taroni on drums, Arcana 13’s latest gravestone is the collaboration with director Luca Canale Brucculeri on his new horror TV series Black Death, based on the eponymous comic book. He got enthralled by Arcana 13’s music and decided to commission the main theme’s songwriting for the series, resulting in this short but extremely effective display of horror and doom by Arcana 13, all complemented by a grim artwork designed by Spanish artist Pol Abran (Branca Studio). Having said that, are you ready to face darkness and horror together with this talented four-piece act of doom?

Like in a sinister horror movie the song Black Death starts in a truly phantasmagorical way, evolving into a feast of damned beats blasted by Luigi and cryptic guitar lines by both Simone and Andrea. Not only that, it has a beautiful Black Sabbath-inspired vibe that will certainly captivate all your senses, inviting you to feel the thunderous bass by Filippo smashing your skull mercilessly, while the last part of the song is faster, more dynamic and more flammable, bringing to our avid ears a wild guitar solo as the icing on the cake. Then Arcana 13 offer us all something I’d never thought I would see one day, a somber and atmospheric Doom Metal version of an Iron Maiden song, more specifically the old school Wrathchild (check out this amazing version from Iron Maiden’s latest live album The Book Of Souls: Live Chapter, released in 2018), where Filippo kicks ass on bass while the vocal lines sound and feel grim and introspective from start to finish, also showcasing a fantastic job done by Simone and Andrea with their damned riffage.

If Black Death is only the “teaser trailer” to what Arcana 13 are preparing for us in the near future in the form of a new horror movie-inspired full-length opus, then we can all rest assured great things are about to happen in the ominous world of such skillful and hardworking Italian group. Hence, keep an eye on their official Facebook page for news, tour dates and other nice-to-know details about the quartet, and grab your copy of Black Death from their official BandCamp page, from the Aural Music webstore, from FYE.com and soon from several other locations, showing your utmost support to a band that certainly knows how to transform a spine-chilling, psychological horror story into top-of-the-line heavy music.

Best moments of the album: Both songs are darkly amazing.

Worst moments of the album: None.

Released in 2020 Aural Music

Track listing
1. Black Death 6:48
2. Wrathchild (Iron Maiden cover) 3:52

Band members
Simone Bertozzi – vocals, guitar
Andrea Burdisso – vocals, guitar
Filippo Petrini – bass
Luigi Taroni – drums

Album Review – Danger Zone / Don’t Count On Heroes (2019)

Rest assured we can always count on this talented Italian squad to make our lives better to the sound of their first-class, 80’s-inspired Hard Rock.

As we’re quickly approaching the end of 2019, let’s enjoy a melodious and vibrant feast of Hard Rock infused with Heavy and Power Metal elements to properly warm us up for the year that’s about to begin, hosted by Bologna, Italy-based veteran rockers Danger Zone, who have just released their fourth full-length album Don’t Count On Heroes, the follow-up to their highly-acclaimed 2016 album Closer To Heaven. Featuring the same lineup as in their 2016 album, that being Giacomo Gigantelli on vocals, Roberto Priori and Danilo Faggiolino on the guitars, Matteo Minghetti on bass, Pier Mazzini on keyboards and Paolo Palmieri on drums, Don’t Count On Heroes is another ode to 80’s Hard Rock and Heavy Metal split into 11 classy compositions, reminding us all once again that although those golden years of rock and metal might be long gone, they’re still alive and kicking inside the hearts of us fans and of talented musicians like the ones from Danger Zone.

As soon as you hit play, futuristic sounds will ignite the Hard Rock party entitled Demon or Saint, led by Paolo’s steady beats and Pier’s classic keys, while Matteo brings thunder to the music with his metallic bass. Needless to say, it’s quite impossible to stand still to this electrifying display of rock music. After such amazing welcome card, the band delivers more melodic and pleasant notes in Faster Than Love, where Giacomo gives a lesson in 80’s Hard Rock on vocals, or in other words, it couldn’t sound more Sunset Strip than this; followed by Somewhere Out of Time, keeping the rhythm fast and upbeat, with Roberto and Danilo extracting sheer electricity form their guitars accompanied by the thunderous bass by Matteo, resulting in a beautiful composition that will please all fans of our good old Rock N’ Roll.

Firing a more melodic and radio-friendly sound, those Italian rockers offer to our ears the ballad Destiny, with the guitars by Danilo and Roberto filling our ears with joy and harmony, all boosted by Pier’s classic keys, whereas it’s time to speed things up again and increase the level of adrenaline in Down to Passion, led by Paolo’s spot-on beats and Matteo’s rumbling bass. Put differently, this is a dancing tune that lives up to the legacy of 80’s Hard Rock with the band’s own European twist, not to mention Pier and Roberto’s healthy “duel of solos”, adding even more energy to the overall result. In Rise Again we’re treated to an acoustic, serene intro where Giacomo showcases all his vocal potency flowing into a beautiful ballad with introspective lyrics and endless passion, while Hang on to Your Heart is another straightforward creation by Danger Zone showcasing classic guitar lines and beats. It’s nothing truly special, but its chorus is indeed catchy and should work really well if played at a rock n’ roll radio station.

And it seems Danger Zone are investing heavily on ballads this time, as Forever Now is one more display of how mellow and passionate they can sound, with Roberto bringing a sensational rockin’ touch to the song with his guitar solos while Giacomo beautifully declaims the song’s positive lyrics. Then rev up your engines for a mid-tempo Hard Rock extravaganza entitled Rolling Thunder, where Paolo doesn’t stop pounding his drums, therefore providing Giacomo all he needs to thrive on vocals and again presenting awesome guitar solos for our total delectation. The second to last tune in Don’t Count On Heroes, titled Breakaway, is faster and more furious than most songs of the album, with its guitars sounding utterly strident and sharp, not to mention Pier’s 80’s-inspired keys bringing even more adrenaline to the music, and that heaviness and fun goes on until the song’s very last second. Last but not least, a piano-based ballad named Eternity closes the album on a melancholic and gentle note, again focusing on Giacomo’s potent vocal lines but with Roberto obviously stealing the spotlight with his lean solos, resulting in a perfect song for listening together with your loved ones.

As aforementioned, Danger Zone have been putting a lot of effort and focus on the melody and harmony of their compositions, which is beyond clear in their new album Don’t Count On Heroes (available for a full listen on Spotify), and if you’re a fan of this very melodic side of 80’s Hard Rock and Glam Metal go check what the band is up to on Facebook, subscribe to their YouTube channel, and grab your copy of their pleasant new album from the Pride & Joy Music webstore, from the AOR Heaven webstore, from CDON.se, from Apple Music or from Amazon. We might not be able to count on heroes to save us in our dangerous society, but we can surely count on Danger Zone to make our lives easier and happier to the sound of their excellent and classic Hard Rock.

Best moments of the album: Demon or Saint, Down to Passion and Breakaway.

Worst moments of the album: Hang on to Your Heart.

Released in 2019 Pride & Joy Music

Track listing
1. Demon or Saint 4:55
2. Faster Than Love 4:40
3. Somewhere Out of Time 4:17
4. Destiny 4:12
5. Down to Passion 4:05
6. Rise Again 4:07
7. Hang on to Your Heart 4:07
8. Forever Now 4:36
9. Rolling Thunder 4:25
10. Breakaway 4:30
11. Eternity 4:58

Band members
Giacomo Gigantelli – vocals
Roberto Priori – lead guitar
Danilo Faggiolino – guitar
Matteo Minghetti – bass
Pier Mazzini – keyboards
Paolo Palmieri – drums

Album Review – ADE / Rise of the Empire (2019)

Armed with their furious and technical Death Metal, they came, they saw and they conquered, beautifully narrating the epic rise of the Roman Empire.

Focusing on the past and the origin of the customs of their homeland Italy, inspired by the ancient Greek music mainly used by Romans in war situations, fusing it with modern Death Metal with lyrics written in English and Latin, and also featuring traditional instruments which give their technical music a strong epic touch, Ancient Roman Death Metal army ADE is back in action with a brand new album entitled Rise of the Empire, aiming at educating the listeners a little more on the ancient history of Rome, more specifically on the age of Caesar. In case you have never heard of ADE before, I highly recommend you grab your sword and shield and get ready to head into the battlefield together with the band, because that’s the only way you can enjoy Rise of the Empire to the fullest.

Produced by Stefano Morabito at 16th Cellar Studios and featuring a stylish artwork by Italian artist Fabio Timpanaro (Storm.Studio), Rise of the Empire is still entrenched in traditional old school Death Metal, however presenting a more mature yet aggressive sound suitable for old and new generations of fans interested in the Ancient Rome and Epic and Technical Death Metal. Now comprised of guitarist and only remaining founding member Fabivs, together with newcomers Diocletianvs on vocals, Nerva on the guitar, Cornelivs on bass and Decivs on drums, this talented band formed in 2007 in Rome is on fire in the follow-up to their 2016 album Carthago Delenda Est, sounding a lot more refined, more pulverizing and, consequently, more exciting than ever.

The cinematic intro Forge the Myth warms us up for the war that’s about to begin in Empire, bringing forward tons of heaviness with epic elements in the background and poetic lyrics based on historical facts (“Pieces of the world were born in Rome / Seeping into memories like water in the loam / From the mind of Caesar, seed of the empire / Far from the senate and its opulent liars”). Decivs sounds utterly furious on drums, while Diocletianvs roars and growls like a beast, resulting in a beyond fantastic way to kick off the album. In The Gallic Hourglass the band continues to march into the battlefield led by Fabivs’ and Nerva’s slashing riffs, with all folk elements adding an extra touch of mystery to their pulverizing Death Metal while at the same time sounding very cohesive and dense from start to finish; whereas Diocletianvs’ roars get deeper and darker in Chains of Alesia, a mid-tempo, utterly heavy chant by ADE showcasing razor-edged riffs and intricate beats, not to mention the flammable solos by Fabivs and Nerva.

Even more imposing and obscure, Once the Die Is Cast presents a gargantuan amount of progressiveness added to the band’s core Death Metal, where Cornelivs and Decivs, armed with their respective bass and drums, couldn’t sound more thunderous and incendiary, or in other words, simply bang your heads nonstop to this lesson in extreme music infused with pure epicness. And ADE keep blasting their whimsical sounds in Gold Roots of War, a neck-breaking tune where Fabivs and Nerva decimate their strings in great fashion, followed by Ptolemy Has to Fall, where the band gets back to a rawer and more direct sonority while still presenting all of their trademark background elements, pulverizing beats and crisp guitar solos, all embraced by the warrior-like vociferations by Diocletianvs. ADE never get tired of smashing their instruments, always with a lot of harmony, precision and feeling, resulting in enfolding extreme creations like Suppress the Riot, where Decivs is absolutely ruthless with his venomous drums.

Veni Vidi Vici, by far one of the most electrifying of all songs in Rise of the Empire and my favorite moment of the album, brings forward the enraged growls by Diocletianvs while the rest of the band delivers a stunning fusion of demolishing Death Metal with folk and percussion sounds, and following a similar pattern tribal beats ignite the enigmatic The Blithe Ignorance, alternating between semi-acoustic and introspective moments and the traditional rage from Death Metal, with its guitar riffs cutting your skin deep mercilessly. Lastly, in Imperator we’re treated to an amalgamation of heavy styles such as Progressive and Epic Metal spearheaded by Decivs’ fulminating drums, while Fabivs, Nerva and Cornelivs are in absolute sync with their stringed weapons, putting a beautiful and climatic ending to the album.

In a nutshell, Rise of the Empire, available for a full listen on Spotify and on sale from several locations such as ADE’s own BandCamp and Big Cartel (in digipack format or as a special pack containing the digipack CD plus an exclusive T-shirt), the Rockshots Records’ webstore, Apple Music and Amazon, is an excellent choice for fans of extreme music that also enjoy a good story behind all the devastation being blasted from the guitars, bass and drums, positioning ADE as one of the most interesting names of the current underground scene in Italy (needless to say, you should start following them on Facebook for news, tour dates and other awesome shenanigans) and, more important than that, keeping the flames of the always grandiose Roman Empire alive through their thrilling and technical music. They came, they saw, and they conquered, no doubt about that.

Best moments of the album: Empire, Once the Die Is Cast and Veni Vidi Vici.

Worst moments of the album: Gold Roots of War.

Released in 2019 Extreme Metal Music/Rockshots Records

Track listing
1. Forge the Myth 1:28
2. Empire 4:25
3. The Gallic Hourglass 3:42
4. Chains of Alesia 3:33
5. Once the Die Is Cast 4:48
6. Gold Roots of War 3:14
7. Ptolemy Has to Fall 5:07
8. Suppress the Riot 4:22
9. Veni Vidi Vici 4:31
10. The Blithe Ignorance 5:14
11. Imperator 3:28

Band members
Diocletianvs – vocals
Fabivs – guitars
Nerva – guitars
Cornelivs – bass
Decivs – drums

Album Review – Sharks In Your Mouth / Sacrilegious (2019)

A travel to the year of 1799 in Italy, where an elite group of rich and evil people founded a secret society called “The First Order”, in the form of incendiary Post-Hardcore and Djent.

From Post-Hardcore to Djent, including elements from Melodic Metalcore, Alternative Metal and Deathcore, to name a few, the Ancona, Italy-based band comprised of Andrea Pali on vocals, Valerio Quirini on lead guitar, Daniele Monaldi on the guitar, Diego Nardelli on bass and Enrico Rivetti on drums, collectively known as Sharks In Your Mouth, has never stopped improving their sound and style since their inception in 2010, always in pursuit of the “ultimate sound”. Now in 2019 the band returns with another round of heavy and melodic sounds with their sophomore album Sacrilegious, a follow-up to their 2016 debut opus Promises. Not only that, the album also narrates what the band calls “The Covenant” saga, bringing additional layers to their already dense and aggressive music.

Engineered by Federico Ascari and Sharks In Your Mouth, reamped, mixed and mastered by Federico Ascari at Wavemotion Recordings, and featuring a stylish artwork by Mattia Castiglia, Sacrilegious takes us to the year of 1799 in Italy,  where an elite group of rich and evil people founded a secret society called “The First Order”, possessing an ancient magical book that must be burned to avoid letting them dictate the social and moral laws of the future. A young boy gets caught up in one of their rituals and “The Order” kills him, but not before painting some “black tears” on his face as their tradition. From that you can already have a very good idea of how obscure their lyrics are, which together with the thunderous sounds blasted by their guitars, bass and drums generate a dark and enfolding atmosphere that will please all fans of the genre.

The cinematic intro Black Tears opens the gates of the underworld to the violent The Covenant, where Andrea begins roaring rabidly just the way we like it in Metalcore and Deathcore while Enrico makes sure our heads don’t stop trembling with his beats, resulting in a beyond amazing start to the album. Then Valerio and Daniele shred their axes mercilessly while Diego exhales rage from his metallic bass in the title-track Sacrilegious, presenting acid lyrics that match perfectly with the music (“What we did is sacrilegious / We’ve been fighting against the odds / What we did is sacrilegious / But we had to burn that book / They will give to this world their idols and the illusion of choice / Illusion of choice / Impostors, who will rise and who will fall?  / The Order is born”); and featuring guest musician Daniele Gottardo, who adds his personal touch of evil to the song with a sick guitar solo, we have another bestial Deathcore tune named Dethroned. Furthermore, it’s impressive how somber those guys can sound while at the same time being extremely melodic, with Diego and Enrico never stopping extracting low-tuned, thunderous roars from their instruments while Andrea alternates between clean vocals and demented screams.

In Sinner, an acoustic intro morphs into a crushing Symphonic Metalcore hymn led by Andrea while Diego smashes his bass chords manically, with all symphonic background elements adding a good amount of finesse to the sonority and also sounding very progressive at times, whereas R.I.P., one of the darkest songs of the album, showcases a focused and demonic duo on the guitars, supported by Enrico’s intricate drums and a berserk Andrea on vocals, and also presenting some creepy, obscure passages to give the whole song an extra infernal kick. Keep banging your head and slamming into the pit to the pulverizing As Above So Below, where you will feel Diego’s bass rumbling at the back of your head, providing the listener a fresh and vibrant fusion of more melodic lines and sheer aggression, and venturing through more modernized and radio-friendly lands, the band offers us the fast-paced This Is Gonna Hurt, incorporating elements from Alternative Metal and Rock to their more vicious style.

If Limp Bizkit suddenly turned into a heavier band, Fear Me, Feed Me is how they would sound, with its instrumental pieces being pretty solid as well as Andrea’s growls, bringing tons of rage and progressiveness for our avid ears, although his rap-like vocals don’t work as expected. Keeping their aggressiveness and dementia at a high level, the quintet fires the Melodic Metalcore tune Marked, bringing forward sick, distorted riffs by Valerio and Daniele, not to mention Enrico’s bestial drumming, while Curtain is a short and sweet piano bridge to the epic and visceral Fall (The Covenant Part II), an imposing tune where all rage flowing from drums is complemented by flammable riffs and bass punches while Andrea darkly declaims the song’s poetic lyrics (“I still hear their cry for help / While I paint my black tears on my face / Shadows in the night, trying to resist / Hunted from the ancient creed / All is lost, erased from reality / Paint your black tears / Paint your black tears”).

If you nurture a deep passion for Hardcore, Metalcore and Djent, and if you are constantly searching for new names in the market that can offer you something more than just well-crafted heavy music, you must give Sharks In Your Mouth a chance without a shadow of a doubt. Not only those guys master their instruments, but as already mentioned the theme found in Sacrilegious (available in full on Spotify) is way more flavorful and interesting than your average bands out there. Hence, don’t forget to show your support to those Italian metallers by following them on Facebook, by subscribing to their YouTube channel, and of course by purchasing Sacrilegious from their official webstore or from several other locations like Apple Music and Amazon by clicking HERE, consequently joining the band’s army known as “Covenants” and banging your head like a beast to some high-end Djent made in Italy.

Best moments of the album: The Covenant, Sacrilegious and R.I.P.

Worst moments of the album: Fear Me, Feed Me.

Released in 2019 Independent

Track listing
1. Black Tears 1:04
2. The Covenant 4:39
3. Sacrilegious 4:12
4. Dethroned (feat. Daniele Gottardo) 4:03
5. Sinner 3:29
6. R.I.P. 3:23
7. As Above So Below 4:08
8. This Is Gonna Hurt 3:43
9. Fear Me, Feed Me 3:43
10. Marked 4:36
11. Curtain 0:23
12. Fall (The Covenant Part II) 4:40

Band members
Andrea Pali – vocals
Valerio Quirini – lead guitar
Daniele Monaldi – guitar
Diego Nardelli – bass
Enrico Rivetti – drums

Guest musician
Daniele Gottardo – guitar solo on “Dethroned”

Album Review – Hiss From The Moat / The Harrier (2019)

A first-class album of Black and Death Metal made in Italy, inspired by the true harriers of our society such as politics, religion and dictatorship.

In case you’re not familiar with the brutality and rage of Italian Black/Death Metal horde Hiss From The Moat, the band was founded in 2006 by drummer James Payne (Vital Remains, Hour of Penance) with two Italian friends, bassist Carlo Cremascoli and guitarist Giacomo Poli, delivering a stream of very interesting releases since their inception, starting with their debut EP The Carved Flesh Message, in 2009, followed by their first full-length album Misanthropy, in 2013, eventually adding vocalist and guitarist Massimilano Cirelli to their lineup, and now their sophomore full-length opus The Harrier, in 2019. Regarding the album’s title, Mr. Payne says, “The Harrier refers to he who devastates. It’s not intended as someone whom we created to destroy, but rather to indicate everything that has devastated our history, like politics, religion and dictatorship etc. That’s why we used extracts of religious and political scripts in the lyrics.”

Based in the cities of Los Angeles (United States), London (England) and Milan (Italy), this multinational entity has recently issued a series of videos through their YouTube channel showing the band working on the recording of The Harrier in the city of Milan, therefore demonstrating their passion for what they do and a desire to be as honest and transparent as possible with their fans. Furthermore, regarding the album’s artwork designed by Stefano Bonora, Mr. Payne said that “the artwork of the album is defined by three elements: a head of a statue that represents the blind and apathetic attitude of mankind; the mechanical mask on top of the head that represents the institutions that oppress people (similar to the belt on the statue’s mouth and the crosses as blinders); and the alchemical circles that have the meaning of improving mankind through the mind and the body, to promote self-improvement without looking for external help,” just to give you an idea of how obscure and austere their music is.

The cryptic and serene intro The Badial Despondency suddenly explodes into the bestial title-track The Harrier, where the quartet begins pulverizing everything and everyone that crosses their path. Furthermore, James is unstoppable on drums, while Massimiliano roars the song’s dark lyrics manically from start to finish, and brutality and rage keep flowing from all instruments in I Will Rise, a beyond electrifying Melodic Black Metal tune where the guitars by both Massimiliano and Giacomo sound infernal, not to mention how fast, precise and ruthless James is on drums. Then some sort of “dark poem” is recited by Massimiliano before all hell breaks loose in The Passage To Hell, bringing not even a single second of peace for us to breathe, only sheer devastation in the form of classic Black Metal, with James once again hammering our heads with his hellish and intricate drumming.

Slaves To War is just as demonic as its predecessor, showcasing sick guitar riffs, endless violence and a sulfurous atmosphere only modern Black Metal can offer you, keeping the album on fire before the band comes ripping our hearts out with the magnificent Sine Animvs, a lecture in modern-day Melodic Black Metal infused with Death Metal nuances, close to the Blackened Death Metal blasted by the iconic Behemoth. Hence, it’s absolutely impossible to stand still to the incendiary riffs by the band’s guitar duo. In the interlude titled The Abandonment, acoustic guitars work as the “calm before the storm”, warming up our senses for The Allegory of Upheaval, another straightforward creation by those Italian metallers alternating between very complex and interesting moments and less inspired passages. It’s still a very good song though, proving how powerful the band always sounds.

Then we have another one of my favorite tracks, God Nephasto, and James himself had a few nice words to say about it. “The song is one of the most intense of the album as far as rhythm and atmosphere,” explained our talented drummer. “It has several parts of blast beats and breakdowns that combined with the dark atmosphere of the notes keep the song pretty nervous. This is to support the lyrics that have been taken from parts of the Enuma Elish and the Old Testament that talk about when the Gods mentioned in these scripts, ordered sacrifices in their honor.” Musically speaking, it’s a visceral sonic havoc that will please all fans of the genre, sounding crisp, thunderous and menacing, with highlights to Massimilano’s infernal growls and obviously to James’ demolishing beats. Their second to last Black Metal extravaganza, entitled Unperishing, is just as demonic and violent as the rest of the album, with its classic riffs and beats bringing endless heaviness to the overall musicality, while Carlo not only extracts thunder from his bass, but he also supports Massimiliano’s vociferations flawlessly with his backing vocals. And there’s still time for one final onrush of blackened sounds for our total delight, named The Decay of Lies, less frantic but as heavy as hell, working at times as a marching outro to such vile album. Needless to say, Massimiliano and Giacomo are absolutely demonic with their guitars from start to finish, ending the album on a high and obscure note.

There are several places where you can get your copy of such amazing album of Black and Death Metal, like the band’s own BandCamp page or Big Cartel, the M-Theory Audio’s webstore in regular CD or limited edition vinyl format, the Napalm Records’ webstore, iTunes, Amazon, and so on. Don’t forget to also follow Hiss From The Moat on Facebook, and to worship darkness to the sound of their crushing extreme music, always keeping a very good distance from all types of religion and from politics, the true destroyers of our decaying society. and that’s how you craft first-class extreme music, my friends. Music that not only makes you bang your head and raise your horns, but that above all that also makes you think.

Best moments of the album: I Will Rise, Sine Animvs and God Nephasto.

Worst moments of the album: The Allegory of Upheaval.

Released in 2019 M-Theory Audio

Track listing
1. The Badial Despondency 1:24
2. The Harrier 4:00
3. I Will Rise 3:56
4. The Passage To Hell 3:44
5. Slaves To War 4:35
6. Sine Animvs 3:48
7. The Abandonment (Interlude) 3:26
8. The Allegory of Upheaval 4:33
9. God Nephasto 4:12
10. Unperishing 4:46
11. The Decay of Lies 4:48

Band members
Massimilano Cirelli – vocals, guitar
Giacomo Poli – guitar
Carlo Cremascoli – bass, backing vocals
James Payne – drums

Metal Chick of the Month – Federica Lanna

While angels are turning into grace… Demons languish because of their pains…

It’s time to be embraced by the beautiful voice of the stunning Italian singer Federica Lanna, frontwoman for Modena-based Symphonic Metal act Sleeping Romance, here on The Headbanging Moose, and let me tell you that once you are touched by the mesmerizing, delicate and passionate vocals by our metal chick of the month of March, you’ll become addicted to her voice and music. That’s what first-class Symphonic Metal with female vocals is all about, and Federica is here to show us all the metallic scene in Italy is alive and on fire and that her band is one of the most interesting names we should be paying attention to when it comes to symphonic music.

Born on April 26, 1986 in Modena, a city in Italy’s Emilia-Romagna region known for its balsamic vinegar, opera heritage, Ferrari and Lamborghini sports cars, Federica lives up to the legacy and culture of her hometown, having studied opera singing for around three or four years in her career. She had to stop her course, though, due to the high cost for her at that time, but that doesn’t mean she hasn’t resumed her studies in recent years, when she began studying with a speech therapist as well as started working with Italian singer, keyboardist, producer, bassist and vocal coach Michele Luppi (Vision Divine, Secret Sphere, Whitesnake). Federica said in one of her interviews that unfortunately she doesn’t play any other instruments like guitar or keyboards, but who said she needs more than her voice to embellish the airwaves, right?

In regards to her career with Sleeping Romance, when she joined the crew in 2012 the band was at that time still called Hybrid Resolution, playing a style closer to Gothic Metal instead of their current Symphonic Metal. Federica didn’t release anything under the name Hybrid Resolution, though, with the band’s only release since their inception in 2009 being their 2011 five-track self-titled debut EP. The original idea of the band’s mastermind, guitarist Federico Truzzi, was about combining orchestral and symphonic music to rock and metal, which is why it was originally named Hybrid Resolution, but they decided to change the name to Sleeping Romance in 2013, already with Federica as their lead singer, to give the band a darker, more evocative and more romantic touch. Owner of a delicate but at the same time very powerful voice, Federica’s approach when developing her vocals for the music by Sleeping Romance is quite straightforward, as she works together with Federico in order to create vocal lines that not only value her voice, but the entire song. The duo tries different solutions and ranges together until they reach a desired shape and form, with Federico always providing her keyboard drafts to help her with the vocal melodies.

Drawing influences from movie soundtracks and classical music, and playing what can be labeled as “Mediterranean Symphonic Metal”, the band currently comprised of our diva Federica Lanna on vocals, the aforementioned Federico Truzzi on the guitar and orchestrations, Fabrizio Incao also on the guitar, Lorenzo Costi on bass and Francesco Zanarelli on drums have already released two full-length albums, those being Enlighten, in 2013, and Alba, in 2017, as well as a few singles through the years. Since the release of their debut opus, the band has toured quite extensively in Europe, playing mini-tours and one-off festival shows around the continent, including Brainstorm Festival and FemME in the Netherlands, Christmas Rock Night in Germany and many others. There are several videos on YouTube where you can enjoy Federica’s voice (and obviously her beauty), such as Lost In My Eyes, Where The Light Is Bleeding, My Temptation, December Flower, The Promise Inside, and an acoustic version of Finding My Way.

Also, although Federica hadn’t been in any band of certain significance before joining Sleeping Romance, you can still enjoy her gorgeous voice as a guest singer in the song The Final Crusade, released in 2017 by Austrian Symphonic/Progressive Power Metal band Serenity in the album Lionheart. Besides that special appearance, Federica also updates her own YouTube channel on a regular basis with her personal versions for metal and even non-metal songs from an array of bands and musicians, such as Within Temptation’s Somewhere (in partnership with Angela Di Vincenzo, from Secret Rule), Epica’s Storm the Sorrow (together with Alex Lady Owl), and Tesseract’s Tourniquet.

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As Federica started singing when she was still a child, growing up among Disney soundtracks and her father’s albums (which included classics like Pink Floyd, Queen, Enigma and Enya), her range of influences in music can be considered quite wide. For instance, she loved singing both Bohemian Rhapsody and The Sleeping Beauty, two very distinct but obviously very impactful and multi-layered songs. Apart from Freddie Mercury, Disney movies like The Little Mermaid and her father’s influence, Federica said in one of her interviews that it was when she discovered the music by Within Temptation that she began developing her taste for Symphonic Metal, falling in love with the genre. Among her favorite bands, she always mentions Within Temptation, Nightwish, Evanescence, Rhapsody and so on, also including other bands and styles on her list in recent years, such as Shoegaze, Djent and Progressive Metal.

When asked about the metal environment in her homeland Italy, specially the Symphonic Metal scene, Federica said that, due to the increasing number of amazing bands, the biggest challenge not only for Sleeping Romance but for any band is to be unique, to stand out and not be just a copy of a band which already exists like Nightwish and Within Temptation. She complemented by saying that despite the fact Sleeping Romance is a fairly young band and that it’s an honor for them to be compared to renowned names in the scene, they’re always trying to create something unique and recognizable, always aiming at generating their own sound. Federica also said that metal in Italy is undervalued in spite of all those excellent new bands appearing in the scene, and that’s one of the reasons why she doesn’t usually have a lot of chances to meet other musicians and play with other metal bands in her homeland.

Federica is obviously passionate about touring with Sleeping Romance and playing live, saying that during her first ever tour with the band she hadn’t eaten anything for two days before their first gig in Holland so excited she was then, also saying that tour was one of the best experiences of their lives. When asked about the most important aspects while preparing for a live show, our talented metalhead said that it’s essential for all band members to work, move and look on stage as one single entity, focusing on the songs instead of on their individual performances, complementing her thought by saying that they truly enjoy involving the audience by stimulating their senses and imagination during their concerts. In addition, as a tip to anyone who’s going on a tour with a band, she said touring is not always easy despite all the satisfaction it might give you, and that it’s really important to take care of yourself, bringing with you things like medicine and blankets, as well as being very patient with everyone and everything and be ready for whatever comes during the tour.

Last but not least, Federica said in one of her interviews that finding the perfect lineup before getting into the studio to record a new album is more than essential (which is why by the way she ended up playing with Sleeping Romance, as they changed singers), and that recording an album that truly represents the musicians involved and show the listener the band in their very nature is something Sleeping Romance is always in pursuit of. Furthermore, as the only woman in Sleeping Romance, Federica said she feels like “the princess among the ogres”, saying that the guys can be quite rude sometimes, but that doesn’t mean she doesn’t like spending time with them; quite the contrary, that’s one of the main reasons why she enjoys being with them so much as it’s never boring or tiresome. Personally, I believe it’s Federico, Lorenzo, Francesco and Fabrizio who truly benefit from having such talented, beautiful and fun metal woman among them all the time, don’t you agree? That certainly brings a very welcome balance to their lives in the studio and on the road with Sleeping Romance.

Federica Lanna’s Official Facebook page
Federica Lanna’s Official Instagram
Federica Lanna’s Official YouTube channel
Sleeping Romance’s Official Facebook page
Sleeping Romance’s Official Instagram

“I have never thought to be so good to deserve a musical career and then Sleeping Romance came into my life and I experienced a constancy and a love that I ‘ve never felt for anything, and a couple of years ago I also started to teach singing; music gave me my place in the world when I didn’t know what to do with myself.” – Federica Lanna

Album Review – Karmian / Surgere et Cadere (2018)

Enjoy this flammable concept album of Swedish Death Metal made in Italy, taking us on a journey through forgotten times on which thousands of men died for freedom.

Born in 2005 in the Italian city of Modena under the name When the Storm Broke, a destructive Melodic Death Metal force currently known as Karmian is among us to spread violence and fury with a good amount of melody, playing what we fans of heavy music usually call Swedish Death Metal (or in the case of Karmian, we can call it “Swedish Death Metal from Italy”), culminating now in 2018 with the release of their first full-length opus, titled Surgere et Cadere (Latin for “rise and fall”), a concept album on the history of the Boii, a proud Celtic tribe who invaded northern Italy in 390 BC, conquering the city of Bologna. All the story told in the lyrics, even if they are dramatized, are based on true accounts of Romans historian, taking us on a journey through forgotten times on which thousands of men died for freedom.

Comprised of Andrea Bertolazzi on vocals, Andrea Baraldi on lead guitar (and who also played bass on the album), Mauro Leone on the guitar, Claudio Nasi on bass (although he didn’t record the album) and Nicholas Badiali on drums, Karmian are one of those bands who go straight to the point with their austere and visceral music, without adding any artificial elements nor other shenanigans to their sonority. Featuring a flammable artwork by Italian artist Lorenzo Paltrinieri, Surgere et Cadere narrates the rise and fall of the Boii in the best Melodic Death Metal style you can think of, translating all of the happenings to that given time in history into crushing metal music and, therefore, enhancing all aspects (especially the violent ones) of such distinct tribe.

In the amazing opening track titled They Burn the quartet wastes no time and begin blasting metallic and strident lines that penetrate deep inside our ears, before Andrea Bertolazzi begins growling like an enraged beast, making it impossible not to scream the chorus together with the band, followed by Conquering The Plain, a crushing tune led by the unstoppable Nicholas behind his drum kit that sounds a lot more Death Metal than Melodic Death Metal, with its lyrics perfectly telling the proposed story (“Bononia was the start / There’s a plain ahead to loot / Etruscans are divided / The league is weak / Belonos blesses our raid / In this land of the sun / The cities fear the tribe / They fall one by one”). And Shadow of the Eagles is a true headbanging chant by Karmian where the band’s guitar duo slashes their strings ferociously, inviting us to break our necks and slam into the circle pit like true metal maniacs.

The Gaul is another demolishing creation with highlights to the lancinating shredding and guitar solos by Andrea Baraldi and Mauro, sounding very technical and gripping while Andrea Bertolazzi goes on with his growling attack, and the band continues to hammer our heads with another Melodic Death Metal onrush named The Alliance, showcasing austere, harsh vocals, smashing drums and cutting riffs, keeping the album at a high level of violence. Then flirting with Black Metal thanks to the demonic riffs by both guitarists and the blast beats by Nicholas we have Total War, another visceral tune proving how amazing their lyrics are (“Placentia attacked for carthago / Padania freed again / Rebellion / Taranis on our hearts / Beside the blessed river / We have no fear of death / Rome bleeds, rome suffers / Entangled in total war”).

Be ready to snap your neck headbanging once again to their berserk music in the mid-tempo, hellish tune named Druids in the Forest, where all band members are on absolute fire, led by the visceral guitars by Andrea Baraldi and Mauro, once again presenting a demented but very precise Nicholas on drums, whereas their second to last explosion of Melodic Death Metal infused with old school Death and Black Metal comes in the form of Sacred Selva, a solid and violent tune where Andrea Bertolazzi fires some deep, enraged gnarls in sync with the song’s razor-edged riffs. Lastly, the gentle piano by guest Enrico Dolcetto kicks off the somber and introspective Mutina Capta Est (or “Modena is captured” from Latin), a dark power-ballad very distinct from the rest of the album, closing Surgere et Cadere as if it was the aftermath narrated in an anguished way by Andrea Bertolazzi.

In order to join Karmian in their quest for metal and learn more about the Boii as narrated in Surgere et Cadere, simply follow the band on Facebook, subscribe to their YouTube channel, listen to more of their music on Spotify, and grab your copy of the album from their own BandCamp page, from iTunes, from Amazon or from CD Baby. Now, after all is said and done, it’s just a matter of waiting for the next chapter in the career of such promising band, making us all eager to see if they’ll keep drawing inspiration from the rich and vibrant historical facts of their homeland, therefore adding an extra touch of epicness to their already potent Melodic Death Metal.

Best moments of the album: They Burn, Shadow of the Eagles and Total War.

Worst moments of the album: None.

Released in 2018 Independent

Track listing 
1. They Burn 3:24
2. Conquering The Plain 4:05
3. Shadow of the Eagles 3:53
4. The Gaul 4:09
5. The Alliance 4:30
6. Total War 4:31
7. Druids in the Forest 5:13
8. Sacred Selva 5:29
9. Mutina Capta Est 6:04

Band members
Andrea Bertolazzi – vocals
Andrea Baraldi – lead guitar, bass
Mauro Leone – guitar
Nicholas Badiali – drums

Guest musicians
Marco Bocchi – bass
Enrico Dolcetto – piano

Album Review – Tannoiser / Alamut EP (2018)

An excellent album of crushing, distorted and obscure sounds, courtesy of an Italian power trio ready to spread darkness in the name of old school Sludge and Doom Metal.

Forged during the summer of 2015 in Salò, a town and comune in the Province of Brescia in the region of Lombardy on the banks of Lake Garda, in Italy, Stoner/Doom Metal power trio Tannoiser is a reality among us with their slow and obscure music inspired by cult acts such as Celtic Frost, Electric Wizard and Cathedral, also inserting some stylistic elements dear to the primordial Black Metal into the mix. Comprised of Bruno Almici on vocals and bass, Francesco Bellucci on the guitar and Davide Serpelloni on drums, Tannoiser are unleashing upon humanity their brand new EP, entitled Alamut, aiming at spreading darkness through their low-tuned, rumbling instruments and screams, all in the name of old school Doom Metal.

The name of the album is a clear reference to the mountain fortress, whose remains are located in the current Iran and which served as the basis for the sect of the Nizarites, better known as Hashashin, a story distinguished by mysteries that weave reality and legend. The dark, also understood as a lack of certainties, is another underlying macroscopic theme, starting from the subject chosen for the cover itself, the cannabis plant, whose history in the last century has been characterized by obscurantism and demonization, and which is linked to the history of the stronghold of Alamut. Musically speaking, as aforementioned Alamut brings to the listener doomed and distorted heavy music that lives up to the legacy of the genre, turning the album into a must-listen for diehard Doom Metal fans in pursuit of fresh alternatives in the market.

In the opening track, curiously named Baba Vanga after a blind Bulgarian mystic, clairvoyant, and herbalist, a beyond weird intro quickly explodes into piercing and rumbling Stoner Metal led by the low-tuned bass and the anguished roars by Bruno, while Francesco slashes his strings in a vibrant fusion of old school Doom Metal and modern Rock N’ Roll. And the trio wastes no time and keep firing their fun and vibrant Stoner Metal in Paradacsa, with the bass punches being nicely supported by Davide’s steady and fierce beats. Moreover, the song presents an even more menacing vibe than its predecessor, being highly recommended for banging your head really hard in pitch black darkness; whereas the scorching hot buzzing blasted by Bruno from his bass ignites a somber Doom Metal feast titled Necrophage, where he also growls in a perturbing way while Davide keeps pounding our heads with his drums, with the music flowing demonically until its crushing finale.

March of Wrecks continues to pave the power trio’s path of obscurity, anger and pain, even bringing more aggressive nuances from Black Metal to their dense musicality, with Francesco doing an awesome job with his razor-edged riffs, while The Void showcases the most serene start of all songs from the EP, sounding melancholic and eerie with Bruno’s Stygian bass lines taking the lead while Francesco’s guitar lines once again bring electricity to the music. Then it’s Davide who takes care of kicking off their last breath of top-of-the-line Doom and Stoner Metal, titled Mekkano, remaining as dark as doomed music can be, with all band members adding their touch of malignancy to the sonority, especially Francesco with his mesmerizing riffs.

Entering the dark and sluggish world of Tannoiser is quite easy, as all you need to do is follow them on Facebook, subscribe to their YouTube channel, and of course purchase your copy of Alamut (available for a full listen on YouTube and on SoundCloud) directly from their BandCamp page or from Amazon. Tannoiser were spot on with their thrilling fusion of Stoner and Doom Metal in Alamut, and apparently the band will only grow stronger and stronger as time goes by, pointing to a bright future not only for the band but for the entire genre as well.

Best moments of the album: Baba Vanga and March of Wrecks.

Worst moments of the album: None.

Released in 2018 Leynir Booking & Prod

Track listing
1. Baba Vanga 4:11
2. Paradacsa 5:33
3. Necrophage 5:20
4. March of Wrecks 3:59
5. The Void 5:52
6. Mekkano 4:38

Band members
Bruno Almici – vocals, bass
Francesco Bellucci – guitar
Davide Serpelloni – drums