The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2019

“Those who can make you believe absurdities can make you commit atrocities.” – Voltaire

The year of 2019 might be reaching its inevitable end in the blink of an eye for most of us, but if there’s one thing we must admit is that it has been indeed a year of countless events, episodes and changes with a huge impact on how pretty much everything works in our Heavy Metal universe. For instance, 2019 was the year where we unfortunately witnessed the ultimate campaign by Thrash Metal titans Slayer, who at the same time left an undisputed and brilliant legacy to Heavy Metal and a giant hole in our hearts and in the global Thrash Metal scene. Do you think there’s any band that can fill that gap created by the end of Slayer? In my humble opinion, although I love bands like Exodus, Testament and Death Angel, I doubt anyone can claim Slayer’s throne as the meanest, most demonic and most pulverizing band of all time, but that doesn’t mean Thrash Metal is dead and gone. Quite the contrary, it’s still alive and kicking, with many of the underground bands reviewed at The Headbanging Moose contributing to keep the flame of such distinct subgenre of heavy music burning bright.

In addition, 2019 was also the year we lost many of our rock and metal icons, including André Matos (vocalist of Angra, Shaman and Viper), Larry Wallis (former guitarist of Motörhead), and Timi Hansen (former bassist of Mercyful Fate and King Diamond), as well as several talented musicians from non-metal styles like Marie Fredriksson (lead singer and keyboardist of Roxette), Keith Flint (frontman of The Prodigy), and the “King of the Surf Guitar”, Mr. Dick Dale. However, even with all those significant losses, we can say 2019 was a productive year for rock and metal music, with many iconic and underground bands delivering some fantastic albums for our total delectation, and that’s why here we are again with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2019, excluding EP’s, best of’s and live albums, to prove once and for all that heavy music will never, ever die. Having said that, enjoy our list of top metal albums for this year that’s coming to an end, and keep raising your horns high together with us in 2020!

1. Rammstein – Rammstein (REVIEW)
A magnificent lecture in Neue Deutsche Härte from the bottom of the flaming hearts of the pioneers of the genre.
Best song of the album: Deutschland

2. Necronomicon – UNUS (REVIEW)
Canadian powerhouses of Blackened Death Metal return with the heaviest, most obscure and most infernal opus of their career.
Best song of the album: Infinituum Continuum

3. Rotting Christ – The Heretics (REVIEW)
It’s time to burn in the fires of the dark and occult Black Metal crafted by the greatest Greek institution in the history of heavy music.
Best song of the album: Fire God and Fear

4. Soilwork – Verkligheten (REVIEW)
Swedish Melodic Death Metal masters return in full force with a fresh, groovy and addictive album of first-class heavy music.
Best song of the album: Stålfågel

5. The Agonist – Orphans (REVIEW)
Canadian juggernauts of Melodic Death Metal return with a brand new album that’s more extreme, more melodic and more exciting than ever.
Best song of the album: Blood as My Guide

6. Helevorn – Aamamata (REVIEW)
Embrace darkness and melancholy with the breathtaking new opus by one of the most interesting names from the current Spanish scene.
Best song of the album: Aurora

7. Slipknot – We Are Not Your Kind (REVIEW)
The world’s most famous masked metallers are back with a fantastic album that proves once again why Heavy Metal is our kind of music.
Best song of the album: Unsainted

8. Amon Amarth – Berserker (REVIEW)
Raise the shield wall, hold your hammers high, and unleash the berserker that lives inside you together with Amon Amarth.
Best song of the album: Shield Wall

9. Target – Deep Water Flames (REVIEW)
Let’s all dive into the incendiary deep waters of Technical and Progressive Death Metal ruled by this amazing band from Chile.
Best song of the album: Oceangrave

10. Singularity – Place of Chains (REVIEW)
The emotions of being wrongfully imprisoned turned into an ass-kicking hybrid of Technical Death Metal and Symphonic Black Metal.
Best song of the album: Ritual of Regret

And here we have the runner-ups, completing the top 20 for the year:

11. Grand Magus – Wolf God (REVIEW)
12. Hiss From The Moat – The Harrier (REVIEW)
13. Lucifera – La Caceria De Brujas (REVIEW)
14. Alunah – Violet Hour (REVIEW)
15. Dö – Astral Death Cult (REVIEW)
16. Rifftera – Across the Acheron (REVIEW)
17. Rage Of Light – Imploder (REVIEW)
18. Rexoria – Ice Breaker (REVIEW)
19. HerezA – Death Metal Drunks (REVIEW)
20. Aephanemer – Prokopton (REVIEW)

Also, let’s not forget about some of the best albums which, although might be short in duration, they did bring to our ears an endless amount of heaviness, speed and harmony this year, accrediting them to be part of our Top 10 EP’s of 2019. As you can see, those EP’s were recorded by the most diverse types of bands and artists from all over the world, becoming some sort of “tasting sample” of what we can expect from those metallers in a not-so-distant future.

1. Eleine – All Shall Burn (REVIEW)
2. Quilombo – Itankale (REVIEW)
3. Master’s Call – Morbid Black Trinity (REVIEW)
4. Violent Life Violent Death – Sadness Rains (REVIEW)
5. Angra Demana – Triptych Of Decay (REVIEW)
6. Vorga – Radiant Gloom (REVIEW)
7. Shuulak – Citrinitas (REVIEW)
8. Moanaa – Torches (REVIEW)
9. Exuviated – Déliquescence (REVIEW)
10. Sophist – Betrothal To The Stone: Conception of Mephisto (REVIEW)

Do you agree with our list? What are your top 10 albums of 2019? And, as usual, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show!

Metal Xmas and a Headbanging New Year! See you in 2020!

And before The Headbanging Moose takes a well-deserved break to recover our energies and return in full force in 2020, how about we enjoy what’s probably one of the best and most detailed “Christmas” songs of all time, the fantastic Valhalleluja, recently released by Italian Heavy/Power Metal outfit Nanowar of Steel? This is the perfect soundtrack for your Christmas night with your loved ones, especially if you give someone anything from IKEA as a Christmas gift. Well, simply watch the official video below and follow the lyrics to understand what I’m talking about. Having said that, let’s all pray to Odin, drink beer and sing Valhalleluja together with Nanowar of Steel, my friends!

Album Review – Hyperomm / Transcendence (2019)

Dealing with otherworldly, cultural ideas, thoughts and systematic overviews of postmortem life, the sophomore album by this one-man Russian army will teach you a lesson in Melodic Death Metal.

Founded in 2016 in Moscow, Russia by multi-instrumentalist, sound producer and designer Anton Trubin, Melodic Death Metal one-man project Hyperomm has just unleashed upon humanity his sophomore full-length album entitled Transcendence, a follow-up to his 2017 full-length opus From Nothing to Eternity and his 2016 debut EP …Death, once again highly influenced by iconic names of the scene such as Children Of Bodom, Kalmah, Omnium Gatherum and In Flames, but bringing to our avid ears Anton’s own fresh and more technical twist. Featuring a dark cover art created by Anton himself, and with lyrics written by Demether Grail (from bands like Arcanorum Astrum, Grailight, Skylord and Zmey Gorynich), Transcendence is about otherworldly, cultural ideas, thoughts and systematic overviews of postmortem life, thematically devoted to various forms of life after death and dealing with the eternal existence of the soul.

“Transcendence was recorded in my home studio. The process itself was different from traditional bands because I use MIDI drums. The sound of drums is the foundation of a good metal mix, so sampling drums is one of the most important parts of my work on the overall sound. I start by recording one track and mixing it at once. First I get a sound that suits me, after that, when I compose and record songs, I hear almost the final result at the same time. It helps me with the arrangements,” commented Trubin on his creative process, also adding a few comments about the overall sound of the album.  “I tried to achieve a more aggressive sound than on the first album. The sound of drums is leaning more towards a modern metal sound, but there is still a lot of classic melodic death metal in the guitars and melodies. Many use the drop tuning, but I’m playing in standard tuning. I’m trying to do the hard sound without using any low tuned guitars, but by composing good riffs.”

Portal is in fact an intro that’s not just an intro, but a short and sweet display of modern and melodic metal music by Anton presenting his piercing shredding and roars, setting the stage for Weighing of the Heart, where Anton definitely feels like a full-bodied band right from the start, with his scorching riffs and damned beats living up to the legacy of bands like In Flames and Soilwork, not to mention the whimsical keys in the background bringing more balance to the music. And an epic and symphonic intro explodes into sheer speed, rage and progressiveness in Metempsychosis, an amazing display of Anton’s dexterity as a multi-instrumentalist showcasing poetic lyrics darkly vociferated by our one-man army (“On dying the soul flies off / Into the original world / Into the aerial trough / And then reborn on the mold”).

Sounding closer to what In Flames are doing nowadays, but of course with Anton’s own personal touch, Patala is another feast of classic riffs and pounding beats perfect for breaking your neck headbanging, followed by the excellent Eternal Feast, where it’s interesting to witness how the keys make the whole song sound and feel very futuristic and experimental, while the other instruments bring forward traditional metal elements, resulting in what’s perhaps Anton’s closest creation to classic Progressive Metal. In Charnel Wraith, a shredding extravaganza supported by old school drums and ethereal keys, we face more of Anton’s wicked lyrics (“Without goodness your black life was dwelled / You die in torment, eaten by demons / And thrown into the grave without farewell / Tormented self-gnawing genie”), whereas Illusory State is very vibrant and groovy from start to finish thanks to the amazing job done by Anton on bass and drums, exhaling melody and intricacy and exploding into a sonic havoc at times, all spiced up by a beautiful keys solo by guest Sergey Shulzhenko (from Sunless Rise).

In Vortex of Hell, Anton shreds his stringed axe in great fashion while at the same time hammering his drums mercilessly in a fusion of old school and modern-day Melodic Death Metal that will certainly please all fans of the genre; then after the wicked instrumental bridge Transcendence, Anton returns for one final blast of his hybrid of modernity and rage in The Story, once again presenting a solid balance between heavy riffs and stylish keys, with the music flowing as smoothly and detailed as possible until the very end. In addition, some versions of the album will contain two sick bonus tracks, the first being Living in a Cage, offering the listener over five minutes of Hyperomm’s trademark sound, while in 3000 we’re treated to a pop song by Ukrainian singer and DJ Ivan Dorn, from the 2014 album Randorn (check out the original one HERE), turned into ass-kicking metal music.

It’s truly impressive how only one musician was capable of crafting a multi-layered and thrilling album like Transcendence, which is available for a full listen on YouTube and on Spotify, and on sale from the project’s own BandCamp page or from several other locations by clicking HERE, all by himself, and such humongous amount of hard work, focus, talent and tenacity must be praised by all of us metalheads by following Anton and his Hyperomm on Facebook and on VKontakte. Having already released two outstanding albums and one EP, there’s nothing but a brilliant path ahead of Anton armed with his multiple instruments, positioning him not only as an example of what DIY is really all about, but also as a role model for any musician from the underground metal scene, with Transcendence being the perfect depiction of how powerful the music by lone rangers like Anton can sound.

Best moments of the album: Metempsychosis, Eternal Feast and Vortex of Hell.

Worst moments of the album: The Story.

Released in 2019 Independent

Track listing
1. Portal 1:53
2. Weighing of the Heart 4:30
3. Metempsychosis 3:20
4. Patala 3:53
5. Eternal Feast 4:04
6. Charnel Wraith 3:49
7. Illusory State 5:01
8. Vortex of Hell 5:19
9. Transcendence 1:30
10. The Story 4:15

Bonus tracks
11. Living in a Cage 5:11
12. 3000 (Ivan Dorn cover) 2:56

Band members
Anton Trubin – vocals, guitars, sampling, drums

Guest musician
Sergey Shulzhenko – keys solo on “Illusory State”

Album Review – The Agonist / Orphans (2019)

Montreal, Quebec-based juggernauts of Melodic Death Metal return with a brand new album that’s more extreme, more melodic and more exciting than ever.

I guess one of the most important details in Orphans, the sixth full-length album in the career of Montreal, Quebec-based Melodic Death Metal/Metalcore juggernauts The Agonist, is the fact that the band took their time to write and record it without rushing things up, and the final result is truly breathtaking. Featuring a minimalist but captivating artwork by Canadian artist Mikio Murakami (Silent Q Design), Orphans is a huge step forward in the band’s musical path compared to their previous album Five, released in 2016, a bland and uninspired album that seemed to have been released way too fast as if their record label was trying to capitalize on the huge success of their 2015 opus Eye of Providence. Fortunately for all of us, the band comprised of the stunning Vicky Psarakis on vocals, Danny Marino and Pascal “Paco” Jobin on the guitars, Chris Kells on bass and Simon McKay on drums learned their lesson, putting a lot of effort, focus and time on the creation of the amazing Orphans and, consequently, getting back on track for our total delectation.

Vicky’s mesmerizing vocalizations ignite the furious and wicked opening track In Vertigo, my favorite song in Orphans showcasing lyrics clearly inspired by Alice in Wonderland (“A little too big and a little too small / The thing is that life isn’t one size fits all / So take a sip and a couple of bites / And lay back to feast with your own eyes / Down down down the rabbit hole!”). Danny and Pascal are on fire with their riffs and solos, not to mention the brutal, guttural growls blasted by Vicky during the last part of the song, resulting in a full-bodied anthem that represents what The Agonist are all about to perfection. They continue their journey to the past without sounding outdated in As One We Survive, a modern and fresh version of their classic sonority where Melodic Death Metal meets Progressive Metal, with Simon crushing our heads mercilessly with his intricate beats; and get ready to slam into the pit with Vicky and the boys in The Gift of Silence, another frantic creation by the band overflowing rage and madness where Chris and Simon generate a rumbling ambience with their bass lines and beats, also presenting very melodic pieces led by Vicky and her piercing clean vocals.

Then it’s time for the band to head into the battlefield in Blood as My Guide, a fantastic composition showcasing thrilling vocal lines, powerful drums and an absolutely inspiring vibe, resulting in what’s by far one of the best creations of the Vicky era. Moreover, it’s impressive how Danny and Pascal can sound so violent and at the same time so harmonious on the guitars, with Vicky’s gorgeous Greek words bringing an extra touch of epicness to the overall result. After such imposing tune, let’s meet Mr. Cold together with The Agonist in another solid tune where all band members deliver some of the most progressive lines of the whole album, in special the stringed trio Danny, Pascal and Chris, whereas in Dust to Dust they venture through the lands of classic Rock N’ Roll and even Soul, but always loyal to their Metalcore essence, of course. Needless to say, Vicky is flawless with both her clean and harsh vocals, enhancing even more the song’s headbanging rhythm led by Simon’s beats. And back to a more aggressive and infuriated sonority we have A Devil Made Me Do It with its straightforward, in-your-face lyrics roared by our she-wolf Vicky (“Catch me if you can / I am faster than your mind can fathom / Armed with the element of surprise / I slither through the corners of your eyes”), while the band’s guitar duo keeps blasting flammable riffs and solos from start to finish.

The Agonist Orphans Limited Deluxe Box Set

Those talented metallers continue to hammer our heads in The Killing I, bringing to our ears groovy bass punches delivered by Chris while Simon goes berserk on drums, or in other words, this song should work beautifully if played live, and I have no words to describe Vicky’s demented performance on vocals where she proves once again she can easily and seeminglessly fluctuate between gorgeous clean vocals and deep, enraged roars. The title-track Orphans is perhaps the darkest of all songs, a voyage through the realms of Melodic Death Metal and Metalcore infused with Progressive Metal, with Vicky effectively telling the story behind the music with tons of emotion while the rest of the band offers an avalanche of groovy and thunderous sounds nonstop. Then closing the album The Agonist smashes our senses one final time in Burn It All Down, where Vicky sounds as insane and violent as she can be while Simon and Chris build a solid stage perfect for Danny and Pascal to slash their stringed axes, leaving us all disoriented and eager for more of this version of the band in a not-so-distant future.

As mentioned in the beginning of this review, I’m glad The Agonist took their time to compose Orphans, which is by the way available in full on Spotify, delivering a beyond dense and potent album of metal music that will certainly please all diehard fans of the band as well as newcomers to their metallic world. You can grab your desired copy of Orphans from several different locations by clicking HERE, like for instance the limited deluxe box set containing a jewel case CD, a flag, a logo pendant, a patch and an autographed card. The investment in this box set is definitely worth it, mainly because Orphans kicks some serious ass, of course, and also due to the fact it’s been three long (but productive) years since their last installment. Orphans is undoubtedly a serious contender to feature among the best metal albums of 2019, proving once and for all great bands like The Agonist don’t need to release album after album just because their labels think it’s a good idea. We, metalheads from all over the world, are more than happy to wait for a while for new material as long as it’s as extreme, melodic and exciting as Orphans.

Best moments of the album: In Vertigo, The Gift of Silence, Blood as My Guide and The Killing I.

Worst moments of the album: None.

Released in 2019 Napalm Records

Track listing
1. In Vertigo 5:04
2. As One We Survive 3:40
3. The Gift of Silence 4:38
4. Blood as My Guide 4:27
5. Mr. Cold 4:40
6. Dust to Dust 3:17
7. A Devil Made Me Do It 3:38
8. The Killing I 4:17
9. Orphans 5:39
10. Burn It All Down 3:36

Band members
Vicky Psarakis – vocals
Danny Marino – guitar
Pascal “Paco” Jobin – guitar
Chris Kells – bass
Simon McKay – drums

Guest musician
Lefteris Germenlis – electronic and string arrangements

Concert Review – Amon Amarth (Rebel, Toronto, ON, 10/09/2019)

A night of epic battles, endless circle pits and heavy-as-hell anthems offered by a horde of Swedish bands to all of us “Vikings” in Toronto, spearheaded by one of the biggest names of the current metal scene.

OPENING ACTS: Grand Magus, At The Gates and Arch Enemy

What a fun night, my fellow Vikings! The Swedish invasion that took the city of Toronto by storm last night at Rebel was beyond entertaining, and I can’t find the right words to describe the heaviness and power from all four bands of the night, Grand Magus, At The Gates, Arch Enemy and the almighty Amon Amarth (all hailing from Sweden, of course). There was a lot of beer drinking, endless mosh pits, lots of screaming, horns in the air, the encounter (although playing at different times with their respective bands) of the talented “Erlandsson Brothers” Adrian and Daniel, and a humongous dosage of our good old Heavy Metal.

The first band of the night was Stockholm-based Heavy/Doom Metal power trio GRAND MAGUS, which I confess I didn’t know much before last night. And let me tell you they kick some serious ass with their fusion of classic doom with Nordic themes, setting the stage on fire with their crisp and thunderous performance. Currently promoting their new album Wolf God, the band comprised of vocalist and guitarist JB Christoffersson, bassist Fox Skinner and drummer Ludwig Witt thanked all fans that were able to arrive early at Rebel to witness their fantastic concert, with their closing song, the battle hymn entitled Hammer of the North, being the icing on the cake to their flawless performance. I hope they return to Toronto soon for another killer concert, and if I were you I would search for their music right now on Spotify or on YouTube as it’s definitely worth it.

Setlist
I, the Jury
Dawn of Fire
Like the Oar Strikes the Water
Iron Will
Hammer of the North

Band members
JB Christoffersson – vocals, guitar
Fox Skinner – bass
Ludwig Witt – drums 

After a very short break it was time for Gothenburg’s own Melodic Death Metal institution AT THE GATES to bring to Toronto all their rage and darkness, inspiring the fans that were already filling up all the spaces at the venue to ignite some serious circle pits. Also, although the band has recently released two EP’s named The Mirror Black and With the Pantheons Blind, it felt like they “ignored” that and kept playing the same setlist used during their tour to promote their 2018 album To Drink from the Night Itself, with songs such as To Drink From the Night Itself and The Colours of the Beast being among my favorite ones of their solid performance. Needless to say, Tomas Lindberg was amazing with his harsh, desperate vocals throughout the entire concert, as well as Adrian Erlandsson, who was perhaps trying to “set the tone” for his brother Daniel with Arch Enemy right after that. A great warm-up concert as usual, and a great band for anyone who loves violence and mosh pits from the bottom of their blackened hearts.

Setlist
Der Widerstand
To Drink From the Night Itself
Slaughter of the Soul
At War With Reality
The Colours of the Beast
Cold
Heroes and Tombs
El Altar del Dios Desconocido
Death and the Labyrinth
Blinded by Fear
The Night Eternal

Band members
Tomas Lindberg – vocals
Martin Larsson – guitars
Jonas Stålhammar – guitars
Jonas Björler – bass
Adrian Erlandsson – drums

The venue was already packed when the one and only ARCH ENEMY hit the stage and began their high-octane, incendiary concert, and within a few seconds the entire floor section was already turned into a massive circle pit for our total delight. The multi-talented frontwoman Alissa White-Gluz was absolutely brutal and unstoppable, reminding us all she was the only Canadian in this tour and, consequently, asking us all to show those Swedish guys how awesome Canadian metallers are. Their setlist was quite solid for the time they had available, mixing a few songs from their latest album Will to Power, released in 2017, with some of their older classics. Also, I guess I don’t need to say how brilliant both Michael Amott and Jeff Loomis were with their axes, right? And if you were there last night, I bet you know what the words Ravenous and Nemesis mean to your neck, elbows and throat.

Setlist
Set Flame to the Night
The World Is Yours
War Eternal
My Apocalypse
Ravenous
The Eagle Flies Alone
First Day in Hell
Saturnine
As the Pages Burn
Nemesis
Enter the Machine

Band members
Alissa White-Gluz – vocals
Michael Amott – lead guitars, backing vocals
Jeff Loomis – lead guitars, backing vocals
Sharlee D’Angelo – bass
Daniel Erlandsson – drums

AMON AMARTH

After all those insanely heavy and electrifying bands warmed us up really well on a not-so-cold Torontonian night, we were more than ready to join the berserkers from AMON AMARTH on their musical journey to Valhalla, and that journey was perfect from start to finish, no doubt about that. Playing a good chunk of songs form their 2019 opus Berserker, which by the way worked really well live as the whole album kicks ass, such as Raven’s Flight, Crack the Sky, Fafner’s Gold and one of my favorites of the night, the battle hymn Shield Wall, the Swedish horde spearheaded by Johan Hegg showed us everything they got, including a Viking ship, a Viking battle, a demonic entity that looked like a skeleton version of Loki, and their traditional beer drinking horn during the party anthem Raise Your Horns.

Not sure if you noticed what I’m about to say, but all my photos of the concert are really bad, and that’s solely because it was impossible to stand still and try to take any decent pictures in the floor section due to the never-ending, gigantic and brutal circle pits happening. There was a bit of everything into the pit, from giant Viking guys to tiny (but still violent) Chinese girls, proving how big Amon Amarth are getting and how their theatrical performance combined with their powerful music is attracting more and more people to their concerts. And what can I say about what the fans did during a good part of their all-time classic Twilight of the Thunder God? I would say more than half of the floor section simply sat down on the floor and started rowing all together, as if they were true Vikings on a Viking ship sailing towards battle! That was a memorable and extremely fun moment of the night (and I don’t recall seeing that happen anywhere else, unless it’s a new thing during Amon Amarth concerts that I’m not aware of), and something that only proves how strong the band has become since their inception.

The entire band was more than happy with the reception they got from us here in Toronto, smiling back to us and banging their heads nonstop, and only stopping all that devastation to say THANK YOU, TORONTO! a thousand times. If that wasn’t a statement that they’re coming back to our city again and again, and every single time with a bigger and better concert, I don’t know what would be. Would Amon Amarth be the next “metal giant” after dinosaurs like Iron Maiden, Judas Priest, Metallica and Slayer call it quits? Will those classic bands pass the torch to our beloved Swedish Vikings? Well, only time will tell, but based on the quality of their discography and, above all, the high energy and epicness of their live performances, they more than deserve that place among the metal gods. All hail Amon Amarth, and may Toronto witness their epic, heavy-as-hell metal hymns and onstage battles countless more times in the coming decades!

Setlist
Raven’s Flight
Runes to My Memory
Deceiver of the Gods
First Kill
Fafner’s Gold
Crack the Sky
The Way of Vikings
Shield Wall
Guardians of Asgaard
Raise Your Horns
The Pursuit of Vikings
Twilight of the Thunder God

Band members
Johan Hegg – vocals
Olavi Mikkonen – guitar
Johan Söderberg – guitar
Ted Lundström – bass guitar
Jocke Wallgren – drums

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

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

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

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

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

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

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

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

Worst moments of the album: The Hollow.

Released in 2019 Gate Of The Silver Key Records

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

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

Guest musician
B.ulugüney – keyboards

Album Review – Corrosive Sweden / Blood and Panic (2019)

An electrifying fusion of an old school feeling twisted and coated perfectly with a modern sound, hailing from the beautiful (and corrosive) Sweden.

Described as a hybrid between old school Thrash Metal and Melodic Death Metal, Swedish five-piece unity Corrosive Sweden has recently released a brand new opus entitled Blood and Panic, dealing with personal issues and changes faced by all band members. “The album has really been worked through and is a pure reflection of our personal lives. It is probably the best material we have done so far,” said the band in an interview, with the music found in Blood and Panic, recorded over a few years by the members themselves in their own studio Dark City Sounds, being a well-balanced mix of an old school feeling twisted and coated perfectly with a modern sound, being highly recommended for fans of bands like Metallica, In Flames and Soilwork, among others.

Formed in the distant year of 1997 in Hudiksvall, Sweden, the band comprised of Johan Bengtsson on vocals, Christer Ulander on the guitar and keyboards, Peter Forss also on the guitar, Magnus Nordin on bass and Daniel Hedin on drums has already released a number of recordings and played at several clubs and festival in Sweden through the years, bringing their Heavy Metal infused with a wide range of elements from classic Hard Rock to Punk Rock and Power Metal to the ears of metalheads from all over the world. Now with Blood and Panic the band continues to pave their metallic path, sounding unique but at the same time offering recognizable fragments from their musical influences in each of the nine songs from the album.

The riffs by Christer and Peter will pierce your skin until Daniel comes crushing with his beats in Fire from a Gun, a fusion of modern-day Heavy Metal with Groove Metal showcasing an amazing balance between clean vocals and harsh roars, followed by the title-track Blood and Panic, just as electrifying as the opening track. Both guitars are on absolute fire, providing Johan all he needs to vociferate manically in a hard-hitting, straightforward display of Melodic Death Metal by the quintet, also delivering some sick guitar solos to our avid ears. And it seems like they want to slash our faces in half with their vicious riffs in Speed, even more modern and melodic, and with its backing vocals providing a powerful support to Johan while Daniel pounds his drums just the way we like it in heavy music.

Venturing through more aggressive and darker lands, Christer and Peter kick some ass with their Iron Maiden-inspired riffs and solos in Angry Me, whereas Angel or a Beast sounds like a bastard hybrid of Pantera, Rob Zombie and Godsmack, which obviously translates into awesomeness. Once again the band’s dynamic guitar duo shreds their axes nonstop, extracting sheer rage and groove from their stringed weapons while Johan delivers one of his best vocal lines of the entire album; and bringing forward elements from more alternative styles of heavy music, Terrified as I Die showcases Magnus’ thunderous bass and Daniel’s hammering beats adding a lot of stamina to the overall result (despite not being as exciting as the rest of the album).

Dirtier-than-usual vocals and riffs are the main ingredients in Parasite, a great option for hitting the road or slamming into the mosh pit, as long as you don’t stop banging your head to their neck-breaking riffs and beats, of course. At the Top is another high-octane extravaganza by Corrosive Sweden, bringing forward a solid instrumental led by Daniel’s classic drums while Johan keeps screaming and shouting with a lot of energy and precision, before more rage and despair flow from Johan’s vocal lines in the closing tune Black Paint, with the music remaining absolutely heavy and groovy from start to finish, putting a vibrant ending to Blood and Panic.

After the album is over, just keep raising your horns for Corrosive Sweden as those guys deserve it for their hard work and deep passion for heavy music, and of course don’t forget to give them a shout on Facebook and to subscribe to their YouTube channel. As mentioned in the beginning of the review, Blood and Panic, available for a full listen on YouTube and on Spotify and on sale from several locations like Apple Music and Amazon, is a solid and thrilling amalgamation of styles and subgenres of heavy music, beautifully celebrating the band’s devotion to all things metal and showing the world once again why (corrosive) Sweden has always been one of the most important and prolific countries in the history of heavy music.

Best moments of the album: Fire from a Gun, Angry Me and Angel or a Beast.

Worst moments of the album: Terrified as I Die.

Released in 2019 BMP Records Sweden

Track listing
1. Fire from a Gun 3:31
2. Blood and Panic 3:13
3. Speed 3:39
4. Angry Me 5:24
5. Angel or a Beast 3:40
6. Terrified as I Die 5:04
7. Parasite 4:21
8. At the Top 3:57
9. Black Paint 3:37

Band members
Johan Bengtsson – vocals
Christer Ulander – guitar, keyboards, backing vocals
Peter Forss – guitar, backing vocals
Magnus Nordin – bass
Daniel Hedin – drums

Album Review – Amon Amarth / Berserker (2019)

Raise the shield wall, hold your hammers high, and unleash the berserker that lives inside you together with the Swedish Vikings of Heavy Metal.

My fellow Vikings, it’s time to grab your swords, axes, spears and shields and head into the battlefield once again to the sound of Berserker, the eleventh studio album by Swedish Melodic Death Metal horde Amon Amarth and a huge step forward in terms of energy and creativity if compared to their previous album Jomsviking, released in 2016. Not only that, Berserker is also the band’s first album to feature Jocke Wallgren on drums, who joined the band in 2016, bringing thunder to the compositions by frontman Johan Hegg and his loyal henchmen Olavi Mikkonen and Johan Söderberg on the guitars and Ted Lundström on bass.

Featuring another epic artwork by American artist Brent Elliott White, Berserker brings to our ears pure, straightforward Amon Amarth with no artificial elements, sounding very dense, cohesive and, above all, extremely entertaining from start to finish. Furthermore, while saying that Berserker is not a concept album, Johan Hegg also stated that “it’s also about sticking together in the face of adversity. Then there’s more introverted stuff, as well – songs that relate to my private life, and I got the ideas for those songs from my wife.” In the end, all song work really well, sounding connected albeit each one on its own when you listen to the album in full, therefore providing you a smooth and powerful experience only hardworking bands like Amon Amarth can offer.

The acoustic guitar by guest Javier Reyes (from Animals as Leaders) ignite the heavy and vibrant Fafner’s Gold, with Jocke showing why he became a permanent member of the band. In a nutshell, it’s classic Amon Amarth with an extra kick coming from the flammable riffs by Olavi and Johan Söderberg, while in Crack the Sky it’s time to bang our heads together with the band while Johan Hegg leads the horde with his raspy roars in a mid-tempo extravaganza tailored for enjoying a cold pint of mead. Then slashing guitar sounds kick off another hard-hitting tune named Mjölner, Hammer of Thor, which can’t get any more Viking than what it already is with its pounding beats, crisp guitar solos and Johan’s deep growls, turning it into a must-listen for all fans of the genre; followed by Shield Wall, a true battle hymn spearheaded by the band’s most fearful Viking, Mr. Johan Hegg, vociferating the song’s catchy and inspiring chorus powerfully (“War / Here to conquer, battle ready, no retreat / Vikings / Raise the shield wall / Hold the front line / Fight till death”). Needless to say, this can easily become a fan-favorite during their live concerts.

Let’s keep the fires of Viking Metal burning bright in Valkyria, showcasing a beautiful job done by the band’s guitar duo while Jocke nicely dictates the rhythm with his potent beats, ending with melancholic piano notes, whereas Raven’s Flight contains all elements we love in their music, those being of course heavy and electrifying riffs, nonstop beats and enraged roars. Not only that, it’s at the same time fast and neck-breaking just the way classic Melodic Death Metal demands, while Ted’s bass keeps rumbling in the background majestically. In Ironside we’re treated to accelerated beats intertwined with headbanging moments, exhaling epicness and power in a crushing display of Swedish Melodic Death Metal, setting the tone for The Berserker at Stamford Bridge, bringing forward a pensive and dark aura while the instrumental pieces represent all the obscurity that’s embracing the main character to perfection. Moreover, get ready for battle to the sound of Olavi’s and Johan Söderberg’s guitars, who shred their strings with a lot of passion and feeling.

When Once Again We Can Set Our Sails is another one of those creations by Johan Hegg and his crew overflowing epicness where all instruments are in perfect sync, therefore enhancing the song’s taste and impact (especially Jocke with his rhythmic and groovy beats); and putting the pedal to the metal Amon Amarth smash our heads in Skoll and Hati, a song about the two wolves from Norse mythology (“From the iron moors of Jotunheim / Arose two beasts of wrath innate / Skoll and Hati were their names / Born of Fenris, born of hate”), represented by the speed and fury flowing from drums and guitars, which are all Johan Hegg needs to deliver a beyond powerful vocal performance. There’s no sign of slowing down as Wings of Eagles is just as frantic and vibrant as its predecessor, sounding perfect for heading into the battlefield (also known as the circle pit) to the crushing beats by Jocke and the thunderous bass lines by Ted. And last but not least, Into the Dark is another good song by the band which, albeit sounding as epic as expected, goes on for a little too long (maybe it would have worked better with a few extra variations). Johan Hegg’s deep guttural vocals are amazing, though, as well as the song’s final moments.

Are your spears and swords sharp enough to join the most beloved and dauntless Vikings of Melodic Death Metal in their quest for metal music? Well, I bet after listening to Berserker, available in full on YouTube and on Spotify, and on sale HERE (or HERE if you fancy some exclusive, ass-kicking bundles), you’ll be more than ready to head into the battlefield and give your life and blood together with Amon Amarth. Put differently, simply raise the shield wall, hold your hammers high, and unleash the berserker that lives inside you in the name of Heavy Metal.

Best moments of the album: Mjölner, Hammer of Thor, Shield Wall, Raven’s Flight and Skoll and Hati.

Worst moments of the album: Into the Dark.

Released in 2019 Metal Blade Records

Track listing
1. Fafner’s Gold 5:00
2. Crack the Sky 3:49
3. Mjölner, Hammer of Thor 4:42
4. Shield Wall 3:46
5. Valkyria 4:43
6. Raven’s Flight 5:20
7. Ironside 4:30
8. The Berserker at Stamford Bridge 5:13
9. When Once Again We Can Set Our Sails 4:24
10. Skoll and Hati 4:27
11. Wings of Eagles 4:03
12. Into the Dark 6:48

Band members
Johan Hegg – vocals
Olavi Mikkonen – guitar
Johan Söderberg – guitar
Ted Lundström – bass guitar
Jocke Wallgren – drums

Guest musician
Javier Reyes – acoustic guitars on “Fafner’s Gold”

Metal Chick of the Month – Māra Lisenko

Label me insane… My madness is not my enemy!

Get ready to be absolutely stunned by the sick growling, screaming and roaring blasted by our metal lady of the month of September, a true metalhead who loves all types of extreme music from the bottom of her Latvian heart, with her music being highly recommended for diehard fans of renowned acts like Aborted, Cryptopsy, Cattle Decapitation, Decapitated, Bloodbath and Hideous Divinity, among several others, who are always in pursuit of new names in the scene and who also love a feminine touch amidst such level of devastation. Hailing from Riga, Latvia’s capital, set on the Baltic Sea at the mouth of the River Daugava, but currently residing in the metal heaven known as the Federal Republic of Germany, here comes the ferocious she-wolf Māra Lisenko, the indomitable growler for some of the best bands of the past few years coming from the Baltics, those being Ocularis Infernum and MĀRA.

Having studied vocals at Vocaltech – Thames Valley University (currently known as University of West London) in 2007 in the UK, as well as with some of the most prestigious vocal coaches worldwide such as rock and metal vocal coach Melissa Cross, rockstar vocal coach Mark Baxter, and “Death Metal Phoniatrician” Dr. Enrico H Di Lorenzo (Hideous Divinity), Māra is an extremely versatile vocalist, being able to sing from the most brutal and gory growls to fragile, emotional clean vocals. In addition, although she started to sing in bands and tour around Europe in 2003, her singing career started way earlier than that, when she was still a three-year old girl, mainly because her own mother was a choir leader and inspired her to follow a similar path. A self-starter and an autodidact, our dauntless growler is also a vocal coach, having taught several aggressive as well as melodic vocal techniques and training since 2011, and also offering studio session work for bands who need professional sounding vocals for their recordings (and you can get more details about her services by clicking HERE or HERE). In one of her interviews, she said all the energy in her singing and screaming is driven by her real-life experiences and emotions, never about fictional topics, which in her opinion makes it a lot easier for her to transform those feelings into ass-kicking vocals.

During hear early years as a professional vocalist, she was part of two distinct Latvian bands named Defame (which I couldn’t find any information online) and Karmafree, with whom she won a couple of awards, those being Best Vocalist in a band contest named “Rīgas Dzintars” with Karmafree in 2011, and a Grand Prix with Defame at Sinepes Un Medus in 2005. Karmafree, which is still active by the way, is an alternative bass and vocal duo comprised of Māra on vocals and her husband Dmitry Lisenko on bass formed in 2010 in London, England, playing many festivals and releasing a self-titled demo and video entitled Fresh Millionaire before the duo returned to their homeland Latvia. In 2012 they released their first EP, named Illusions, along with a music video for the song Fragile; after their debut album, Karmafree released a series of singles, with songs like InvisibleValidate Me and #SSDD beautifully representing the evolution of the project, their social and political fights, and of course Māra’s fantastic vocal range. You can listen to a lot more of the music by Karmafree on their official YouTube channel, as well as on their BandCamp page.

It was back in 2015 when Māra was able to present herself to a much broader audience after joining a Riga-based Melodic/Symphonic Death/Black Metal band named Ocularis Infernum, who have been on the road since 2002 but who had released only one demo and one EP before she became their frontwoman. Under the stage name of Māra Sekhmet, she released in 2017 together with the band’s founders Andris and Magnuss the excellent Expired Utopia (which you can purchase from their own BandCamp page or listen in full on Spotify), exploring themes like darkness, occultism and paganism, always embraced by a symphonic and Stygian aura inspired by renowned acts such as Dimmu Borgir and Cradle Of Filth. I personally loved listening to every single second of Expired Utopia, and if you’re also a fan of this fusion of extreme and symphonic music you can have a taste of the band’s darkness and of Māra’s refined gnarls and powerful clean vocals by listening to the songs A Confession Of Defeat and Lost Forest. There’s nothing on the band’s official Facebook page about an upcoming album, concerts nor anything like that since the end of 2018, but let’s hope they’re just taking a break and that the world can enjoy more of the music by Ocularis Infernum in a not-so-distant future.

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Right now, Māra’s main project is her own solo band named MĀRA, a Latvian/German four-piece outfit established in 2018 that plays a modern and sharp amalgamation of Death, Thrash, Alternative and Groove Metal. Currently based in two countries – Germany and Latvia – MĀRA have already played tours and summer festivals all across Europe since their inception, visiting countries like Italy, Belgium, Switzerland, United Kingdom, Germany, France and obviously Latvia, and opening for some of the biggest exponents of Extreme Metal such as Sepultura, Krisiun and Satyricon. So far Māra and her henchmen, including her aforementioned husband Dmitry on bass, released in 2018 their debut EP entitled Therapy For An Empath, which you can purchase from their BandCamp page or listen to in full on YouTube, and three music videos for the songs Sell Your Soul, Label Me Insane and Blameshifter, having already won Album Of The Year (with Therapy For An Empath, of course) and Best Vocalist at the  Latvian Metal Music Awards 2018. Moreover, you can enjoy MĀRA’s incendiary performance at the Latvian Metal Music Awards 2018,  which was held at an underground extreme music club in Riga named Melnā Piektdiena, playing the song Label Me Insane live during the event. As you might have already noticed, the name of the band was taken directly from her own name Māra, a very traditional Latvian girl name and, according to Māra herself, in Latvian folklore it’s also the name of a goddess, carrying a lot of strength rooted very deep in where the band comes from, also using Māra’s cross as their logo, a powerful Latvian magic sign.

Regarding her main idols in music, you just need to think of most classic Death, Thrash, Black and Groove Metal bands like Sepultura, Morbid Angel, Slayer, Carcass, Aborted, Cryptopsy and so on, with Max Cavalera (Sepultura, Soulfly, Cavalera Conspiracy) being perhaps her biggest idol as a vocalist. Māra even mentioned during an interview that one of her dreams as a musician would be to sing either Territory or Roots Bloody Roots together with Max as a very distinct and powerful duet, showing her total admiration and respect for a man that has undoubtedly revolutionized the way extreme vocalists sing all over the world. Not only that, you can also check all her passion for extreme music and vocalists on her official YouTube channel, where she uploads her own vocal covers for some of the heaviest and most awesome songs of all time, as for example Slipknot’s Psychosocial and The Heretic Anthem, Lamb Of God’s Laid To Rest and Sepultura’s Territory, with Slipknot having a huge influence on her vocal style and taste for music according to Māra herself, in special their 2001 masterpiece Iowa. As a matter of fact, she released her cover version for The Herectic Anthem on the same day Slipkont launched their brand new album We Are Not Your Kind this year, proving how much she loves and follows the band led by Corey Taylor. On a side note, our skillful vocalist also said that all metalheads from Latvia who dedicate a lot of their time to keep the local metal scene going, doing it just for their love for metal with basically no financial reward, also inspire her a lot in life, once again showing Māra has and will always have a beautiful connection with her homeland.

Māra also seems to be crazy four touring and performing live, as she mentioned in an interview that she could simply live out of touring. She enjoys visiting different countries, meeting and playing for different people, and learning about metal scenes everywhere she goes. She has already played in several European countries, and I’m pretty sure she can’t wait to expand her horizons to places like North and South America, Japan and Australia. As aforementioned, Māra and her husband Dmitry are currently residing in Germany (while the other band members, guitarist Denis Melnik and drummer Alberts Mednis, still live in Riga), and the reason why they decided to do that was purely due to music. She said that while metal in Latvia is considered underground and the opportunities for metal bands and artists there are very limited (albeit the internet can be very helpful in terms of worldwide exposure), even taking into account the metal scene in Latvia is healthy and friendly, Germany is the place to be for any type of metal band, complementing by saying that the fact her band is located in two different countries ended up helping them book gigs in more than one country. In addition to that, she said there are no metal radio stations in Latvia, and there are only 4 or 5 metal-oriented pubs in the entire country where local and touring bands can play. Well, let’s say that Māra is one of the most hardworking metal musicians (if not the most) hailing from Latvia that’s trying to change that, putting her beloved homeland on the global metal map even living in Germany.

Last but not least, when asked if she also sings and writes in her mother tongue Latvian and in any other language rather than English, she said although English is her preferred language because she wants her lyrics and messages to be understood by as many people as possible, she also sings and writes lyrics in Latvian and Russian depending on the project she’s working on, as sometimes she feels she wants to communicate only with Latvian and Russian speaking people. In case you want to enjoy about one hour of Māra talking about her career, her goals, her personal life and many other topics in English, I highly recommend you take a shot at an interview she gave to Dani Zed Extreme Music Reviews & Liveshows via Skype a couple of months ago. How lucky is Dani Zed for having the utmost pleasure of talking to such nice and talented metal woman for an extended period of time like that? We need to thank him for uploading the interview on YouTube, and obviously keep supporting Māra on her quest for extreme music in Lativa, in Germany, and anywhere else in the world where powerful and visceral female roars like hers are truly appreciated.

Māra Lisenko’s Official Facebook page
Māra Lisenko’s Official Instagram
Māra Lisenko’s Official YouTube channel
MĀRA’s Official Facebook page
MĀRA’s Official Instagram
MĀRA’s Official YouTube channel
MĀRA’s Official BandCamp page

“I love touring, I could live like that. I love visiting different countries, meeting and playing for different people, learning about metal scenes everywhere I go. It’s very exciting.” – Māra Lisenko

Album Review – Centrilia / In The Name Of Nothing (2019)

An amazing album of modern-day metal music by four unstoppable Scotsmen, focusing on the meditation of modern humanity, morality and our existence in challenging times of uncertainty.

Following the release of their debut EP You Are in Error in 2013 (the same year the band was born) and Memento Mori in 2015, and after a rabid response from fans of heavy music to their live shows while sharing the stage with renowned acts like Rob Zombie, Soulfy, Behemoth and Arch Enemy, among others, Glasgow, Scotland-based Melodic Death Metal/Metalcore unity Centrilia is ready to crush your skull with their debut full-length album entitled In The Name Of Nothing, showcasing eight tracks of unadulterated crushing heaviness, galvanized with intense veracity, courtesy of Gavin Marshall on vocals, David Sandford on the guitar, Gareth Ellis on bass and Andy Brown on drums. Mixed by Terry Date (Pantera, Deftones, Slayer), recorded by Steven Jones (Bleed from Within, From Sorrow to Serenity) and mastered by Pelle Henricsson (Meshuggah, Refused, Cult of Luna), In The Name Of Nothing focuses on the meditation of modern humanity, morality and our existence in challenging times of uncertainty, with the Glaswegian quartet demonstrating a lot of creativity, groove and aggressiveness throughout the album’s 40 minutes of ferocious metal music.

The opening track Symptoms Of Betrayal is modern and piercing from the very first second, with the music growing in intensity until it becomes a headbanging feast led by David’s metallic riffs and Andy’s unstoppable beats, being tailored for fans of Pantera and Lamb of God. Furthermore, Gavin doesn’t stop growling like a maniac not even for a brief moment, getting us all pumped for the following song, named Splitting Hairs / Spitting Teeth, uniting the most thunderous and visceral elements from the music by Gojira and Lamb of God in a hurricane of contemporary metal music where Gareth is bestial with his bass punches. Needless to say, get ready to have your skull completely smashed into the circle pit to this ode to violence. Then dealing with our modern-day society issues (“t’s just a matter of time / Neck deep but you keep digging / Guilty by association / Lost yourself from the beginning / Don’t think, don’t talk, don’t fucking speak / Suspicion haunts you / And you tell yourself”), the excellent Imposters brings forward first-class Groove and Melodic Death Metal spiced up by tons of progressiveness and rage, with once again the bass by Gareth sounding absolutely menacing.

The Fool On The Hill is more melodic than its predecessors but still violent and neck-breaking, being spearheaded by Gavin’s deep, enraged roars and with David and Gareth being in total sync, while Andy can’t stop hammering his drums in the most Metalcore of all songs. The title-track In The Name Of Nothing leans towards classic Metalcore, offering the listener those high-pitched, desperate screams amidst a chaotic but very harmonious atmosphere, and albeit I prefer their more violent side shown in the previous songs, this is still very enjoyable and heavy, of course; whereas once again bringing austere words (“Hail to the parasite / Holding court with the sycophants / Snared by the antagonist / The unified are ripped asunder”) and the rumbling bass lines by Gareth, the band offers us Those Possessed By Devils, a devastating Groove Metal tune more-than-perfect for banging your head like there’s no tomorrow together with this skillful four-piece act from Scotland.

The second to last explosion of their pulverizing metal music comes in the form of Let The Fire Burn, sounding very dense and cohesive and being perfect for jumping up and down with the band at metal festivals. Moreover, the band’s stringed duo boosts Gavin’s screams in great fashion with their incendiary axes, not to mention how brutal Andy sounds on drums. Last but not least, Centrilia offer our avid ears the multi-layered Tamám Shud, a very introspective creation by the quartet which starts in an Alice In Chains-inspired vibe, with Gavin delivering his most anguished vocals of the entire album while David keeps the ambience as eerie as possible with his riffs, turning the mystery and sadness of the Tamám Shud case (also known as the Mystery of the Somerton Man), an unsolved case of an unidentified man found dead at 6:30am on December 1, 1948 on the Somerton Park beach (just south of Adelaide, South Australia), into first-class metal music. By the way, the case is named after the Persian phrase “tamám shud”, meaning “ended” or “finished,” which was written on a scrap of paper found months later in the fob pocket of the man’s trousers. Isn’t this a sensational topic for a dark and melodic metal song?

In The Name Of Nothing, available for a full listen on Spotify, definitely positions Centrilia as one of the most interesting new names not only of the Scottish metal scene, but of the entire Melodic Death Metal and Metalcore universe, sounding intense, violent and thunderous from start to finish, just the way we like it. Hence, in order to show your support to those four talented Scotsmen, go check what they’re up to on Facebook, subscribe to their YouTube channel, and purchase your copy of their excellent new album from their BandCamp page, where you can by the way find several top-of-the-line, exclusive bundles and merch, as well as from your usual Apple Music, Amazon or Google Play. This is an amazing album of straightforward and aggressive music made in the beautiful Scotland, my friends, not in the name of “nothing” as the album name itself states, but in the name of our good old Heavy Metal.

Best moments of the album: Splitting Hairs / Spitting Teeth, Imposters and Those Possessed By Devils.

Worst moments of the album: In The Name Of Nothing.

Released in 2019 233 Records

Track listing
1. Symptoms Of Betrayal 5:27
2. Splitting Hairs / Spitting Teeth 3:23
3. Imposters 4:42
4. The Fool On The Hill 5:02
5. In The Name Of Nothing 6:03
6. Those Possessed By Devils 4:01
7. Let The Fire Burn 4:48
8. Tamám Shud 7:19

Band members
Gavin Marshall – vocals
David Sandford – guitars, backing vocals
Gareth Ellis – bass, backing vocals
Andy Brown – drums