Metal Chick of the Month – Amanda Somerville

I hide you, I find you, I catch your fall…  I’ll be there when the lights go out…

She has already been involved with so many distinct bands and projects it feels like she’s a 100-year old veteran in heavy music, when in fact she’s just about to turn 39 years old. I’m talking about the unstoppable American vocalist Amanda Somerville, our metal chick of the month who’s not only a singer and songwriter, but also a vocal coach, being known primarily for her work with several renowned European Symphonic Metal bands such as Edguy, Avantasia, Epica, Kamelot and After Forever, and having also produced two solos albums and two solo EP’s so far, as well as a wide range of more underground acts like Aina, Trillium and Exit Eden. also, there are countless albums and songs from other artists in the world of heavy music where you can find the stunning Amanda delivering her beautiful vocal notes, only proving how professional she is and how much other musicians admire her talent and skills as a vocalist. Having said that, are you ready to get delightfully “lost” in the world of Amanda Somerville?

Born on March 7, 1979 in Flushing, a city in Genesee County in the U.S. state of Michigan, Amanda Somerville, whose full name is Amanda Somerville-Scharf, attended Flushing Senior High School, graduating a full year early and winning a scholarship for graduating with high honors to the University of Michigan in Flint, Michigan, where she majored in psychology. In 1999 she moved from the United States to Wolfsburg, Germany, working mainly in Germany and in the Netherlands. Her voice has a wide range, but she has said herself that her tessitura is in the alto range, and if you have no idea of what that means you can take a quick look at this short and sweet explanatory video HERE. On August 19, 2013, she announced that she was engaged to be married to After Forever’s former guitarist Sander Gommans, and the pair were married in July 2014; less than one year after their marriage, on January 8, 2015, the couple announced they were expecting their first child, who was born on July 17, 2015 and named Lana Elise Gommans, and now in January the couple and little Lana were joined by the identical twins Anya Jayne and Juliet Marlies (and you can expect to hear more from Amanda and her new babies through her official blog).

Amanda has started singing from a very early age in her life, having grown up in a very musical family where music was a very basic and essential part of life. Furthermore, not only she had that influence and inspiration at home, but she mentioned she also had very good music mentors at elementary school, learning how to read music and play the piano at a rather young age. In addition, she said she has always dreamed about becoming a musician, and that’s all she ever wanted to do. For instance, throughout her life she has always performed in talent shows, competitions and concerts, hosting karaoke, singing in cover bands and jazz combos to earn money while she was in university, and even doing some appearances as a DJ. However, albeit being famous worldwide for her participation in several metal bands and projects, Amanda said that when she started her career she was a solo artist directed to the Pop Rock genre with some American folk elements. It was only when she decided to record a single with her bass player and drummer years ago that she met German guitarist, bassist and musical producer Sascha Paeth, who at that time was related to her bass player and owned a recording studio. Both Sascha and German keyboard player and musical producer Michael “Miro” Rodenberg were at the spot, helped them set up everything and listened to them performing, until they asked Amanda if she wanted to do something together with them, opening the doors of heavy music for our stunning diva. And regarding her education in music and arts in general, she said she never really studied music in a formal way, nor was she classically trained in singing. Amanda mentioned that it was her grandmother who taught her how to read music and gave her the basic foundation that she still uses for composing until today. Furthermore, as a vocal coach she was able to work with several distinguished musicians, always being open to learn from her students and to face new challenges they might bring her, therefore growing as a musician and as a person.

Trying to list every single band and project Amanda was or is still involved in Heavy Metal might be one of the toughest tasks one can try to accomplish, as she has already written and recorded with several renowned acts like the ones mentioned in the beginning of this essay about our gorgeous American vocalist, as well as her solos releases (which by the way were primarily soft and elegant Pop Rock with some Hard Rock, folk and soul music influences) and a rock opera, among other distinct endeavors. Let’s start with her solo career, with the releases of the albums In the Beginning There Was… (2000) and Windows (2008), and the EP’s Blue Nothing (2000) and Never Alone (2003), with her upcoming album Conformity Challenged to be announced soon. You can have a listen at her softer and more graceful side in songs like I Miss America and Puzzling Rapunzel, from her debut album, and Inner Whore and Sometimes, from Windows, but that’s the lightest music you’ll find in this tribute to Amanda, as from now on it’s going to be pure heavy music flowing through her veins and vocals.

Her first venture in metal was her collaboration with German multi-instrumentalist Robert Hunecke-Rizzo (Heavens Gate, Luca Turilli, Kamelot, Rhapsody of Fire), co-writing the rock opera Aina, a Symphonic and Progressive Heavy/Power Metal project featuring a number of guest appearances including Glenn Hughes, Michael Kiske and Candice Night, where the concept and lyrics were written by Amanda herself. There was only one album released under the project, the 2003 opus Days of Rising Doom (which you can listen in its entirety HERE), and don’t expect to see anything new from Aina in the short or even long-term. After Aina, she made a similar collaboration with her husband-to-be Sander Gommans, providing vocals and lyrical concept for HDK (the acronym for Hate Death Kill), a Melodic Death/Gothic Metal project with whom she released the albums System Overload, in 2009, and Serenades of the Netherworld, in 2014. Do you want to bang your head to the music by HDK? Try the songs System Overload and Mortal Zombie, one from each release by the project, and see if you like this more ferocious side of Amanda.

Perhaps her most remarkable project to date is her partnership with the iconic German vocalist Michael Kiske (Helloween, Unisonic) on a musical project entitled Kiske/Somerville, also featuring Primal Fear’s own Mat Sinner on bass and Magnus Karlsson on guitars (who by the way are the two main songwriters of the project), and Czech drummer Veronika Lukešová. In 2010, the project released their debut self-titled album, followed by another full-length release named City of Heroes, in 2015. From their debut installment, you can enjoy on YouTube songs such as Silence and If I Had A Wish, and from City of Heroes you should take a listen at Walk on Water.

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Another very interesting project by Amanda goes by the name of Trillium, a Symphonic Metal band formed in 2011 in the Netherlands (where she currently resides), featuring some of her longtime fellow musicians Sander Gommans, Sascha Paeth and Michael “Miro” Rodenberg, having released in 2011 the full-length album Alloy. She described the music by Trillium as “more like an expedition with my musical family to explore and celebrate the metamorphosis I’ve gone through as an artist over the past several years”, while the name of the band “symbolizes a trinity because things are always showing up in 3s in my environment and there are a number of triads occurring in this project, as well”. And she went on saying that “the name of the album, Alloy, is symbolic and metaphorical. An alloy is a substance composed of two or more metals, or of a metal or metals combined with a non-metal, intimately mixed. It also means standard; quality; fineness and is an admixture, as of good with evil. I’m a Pisces, so I’m all about duality and combining known elements – sometimes opposing each other – to create something different. Though I’ve been working myself further and further into the metal scene, I still always feel the need to add an extra element to make it shine, bling, stand out”. From Alloy, you should check the song Coward, and if you like what you hear you can enjoy the full album HERE.

In 2017, Amanda joined a new project entitled Exit Eden, featuring four female singers from the rock and metal scene from four different countries, those being Clémentine Delauney (Visions of Atlantis, Serenity) from France, Marina La Torraca (Highlight Kenosis, Phantom Elite) from Brazil, newcomer Anna Brunner from Germany, and obviously Amanda Somerville. The band was conceived with the plan “to show the world that almost every classic song can be transformed into a solid metal-rock song”, a concept similar to Finland’s Northern Kings, releasing in 2017 the album Rhapsodies In Black, comprised of 11 metallic versions for some of the biggest pop and rock classics like Rihanna’s Unfaithful, Depeche Mode’s A Question Of Time, Shontelle’s Impossible, Lady Gaga’s Paparazzi, Backstreet Boys’ Incomplete, and Bonnie Tyler’s Total Eclipse Of The Heart, with the stunning Dutch goddess Simone Simons also appearing in two songs of the album, Madonna’s Frozen, Adele’s Skyfall.

Apart from all those bands and projects, Amanda has also been involved with several iconic acts either live or as a guest musician in some of their studio albums. For instance, in 2008, she toured America with Dutch Symphonic Metal icons Epica, while Simone Simons recovered from a staph infection; she was also one of the live guest vocalists for Tobias Sammet’s metal opera Avantasia world tours in 2008, 2010, 2013 and 2016, where she performed both backing vocals and lead vocals for a few songs; she was featured on Douglas R. Docker’s space metal opera Docker’s Guild in 2012 in a duet with Goran Edman on the debut album The Mystic Technocracy – Season 1: The Age of Ignorance, and again in 2016 in the Flash Gordon Suite on the album The Heisenberg Diaries – Book A: Sounds of Future Past; and also played the part of the “Queen of the Nile” in an album titled The Book of Gates, by a metal opera project from the Middle-East named EON, produced by Lebanese guitarist Amadeus Awad. And the list goes on and on with Amanda lending her beautiful voice to several interesting songs recorded by bands like After Forever, Edguy, Lunatica, Serenity, Wolfpakk, Shaman, DesDemon, Hollow Haze, Sebastien, Soulspell, and many, many others.

When asked about her experience working with several renowned artists such as Alice Cooper, Ian Gillan and Eric Martin due to her role in projects like Rock Meets Classic and Avantasia, Amanda answered that working with all those metal icons is always a pleasure for her, as she always enters a new situation or project with a very open mind and loves to be surprised by those artists, not to mention she also said most of them are amazing human beings. In addition, when asked which musician or artist she would love to work with in the future, Amanda mentioned some important names in music such as John Fogerty, the mastermind behind Creedence Clearwater Revival; Grace Slick, an American musician and former model, widely known in Rock N’ Roll history for her role in San Francisco’s burgeoning psychedelic music scene in the 60’s, being the voice of bands like Jefferson Airplane and Starship; and as a solo artist she would also love to work with Paul Simon and Tori Amos. As you can see although those musicians listed by Amanda are not your regular metal icons, they do have a huge influence on countless metal artists and bands from different styles, proving once again heavy music is not and can never be isolated from the rest of the world of music.

Regarding her inspirations for her music and lyrics and her full creative process, Amanda said she doesn’t really have a “normal process” as far as songwriting goes, with her songs beginning sometimes as a chorus or a verse, sometimes as just the lyrics with the body of the composition coming later, and sometimes the song will come to her from start to finish in its entirety. She complemented by saying that as a songwriter, the lyrics are of extreme importance to her, and that her songs are always very emotional because she doesn’t believe in writing or performing anything that can’t make people feel along with her. All her songs are personal-based, talking about human struggles and relationships, whether it was something she went through, a dream, or inspired by someone or something, and all being “little windows” into the innermost workings of Amanda Somerville.

Last but not least, apart from all her projects and adventures in music in general, Amanda still found some time in June 2014 to be part of a German television show named Keep Your Light Shining, which aired from the end of May to June 2014 by ProSieben, singing the song Addicted To You by Avicii (and you can also see her personal message about the show HERE). She said she accepted the challenge because she enjoys getting out of her comfort zone, pushing herself to her own limits. However, the show had to make some special arrangements for her due to her touring schedule and other details, as she was only able to join their third show. Many people asked her why she was doing that, because she didn’t need it, but she said she actually wanted to participate on the show as a new experience for her. Moreover, despite the final result not being very positive for her, she said she wasn’t sad or anything like that as in the end she was the only member with a career while some of the others went backstage and cried their hearts out. What’s next for Amanda Somerville? Now with the twins she will probably take some time off from all her endeavors in heavy music, but I’m sure it won’t take long for us metalheads to have the pleasure of listening to her beautiful voice once again accompanied by some flammable guitar riffs and headbanging beats in another ass-kicking song, band or project.

Amanda Somerville’s Official Facebook page
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Amanda Somerville’s Official YouTube channel

“I’ve never really been able to force a song. I don’t believe in doing anything contrived, especially when it comes to songwriting. I think it’s a blasphemy to one’s art. Music is my emotional outlet and I let it take me wherever it leads.” – Amanda Somerville


Album Review – Xenosis / Devour and Birth (2018)

Behold the next step in the remarkable musical evolution by one of the biggest new names of the Progressive Death Metal scene.

Hailing from New Haven, a coastal city on Long Island Sound, in Connecticut, American Progressive Death Metal legion Xenosis set out from their formation in 2010 with a precise goal in mind: To create Death Metal that blurs the lines, that draws from the past and present equally, and to continually evolve as a band from release to release. To date, they’ve lived up to that aim, and have continued to up the ante with each new musical effort put forth. After the releases of their self-titled debut EP in 2010, followed by the full-length albums Haunted Skies, in 2012, and Sowing the Seeds of Destruction, in 2015, it’s time for Xenosis to strike again with their third full-length opus, titled Devour and Birth.

On Devour and Birth, Xenosis offer the listener their characteristic Progressive Death Metal that blends old school-inspired Death Metal with a fair bit of more modern Technical Death Metal ideas, rounding out there sound with a lot of groove and some thrashy Melodic Death Metal influences as well. Given the eclectic style of Progressive Death Metal that Xenosis play, their list of influences, which includes names such as Death, Meshuggah, Morbid Angel, Suffocation, Testament, Gojira and Emperor, among others, serves as a guide of sorts that the music on Devour and Birth does not fit neatly inside one mold or style of Death Metal, and after taking a detailed listen at the entire album you’ll certainly get addicted to their intricate fusion of extreme sounds.

In the opening track, named Night Hag, a brutal wall of heavy and groovy sounds comes crushing our senses mercilessly, led by the demonic drumming by Gary Marotta and the gruesome roars by frontman Sal Bova, resulting in an extremely technical but at the same time crude sonority highly recommended for fans of the genre. Then in Army of Darkness we face total devastation with a demented level of complexity flowing from all instruments, with guitarists Kenny Bullard and Mark Lyon firing some Dream Theater-ish riffs and solos while Sal keeps growling deeper and deeper; and their onrush of Death and Groove Metal continues in full force in Delirium (Death of a God), where the bestial and utterly complex beats by Gary are flawlessly complemented by the wicked bass lines by Dave Legenhausen in a prefect representation of modern-day Progressive and Technical Death Metal.

I guess I don’t need to say Concave also sounds insanely aggressive and harmonious at the same time, with Dave and Gary making a dynamic duo from the underworld, therefore generating a fierce and vile background for Kenny and Mark to go mental with their riffs and solos. Then we have Oxidation, a mechanized bridge that reminds me of some of the weirdest tracks by Industrial Metal titans Fear Factory, revving up the engines for the heavy-as-hell Ominous Opus, full of breaks and variations to give its Death Metal core essence a demented twist, uniting the words “progressive” and “aggressive” in a fantastic manner. Put differently, simply go break your neck headbanging to the brutish riffs delivered by the band’s guitarists while Sal keeps growling like a beast.

The amazing title-track Devour and Birth takes their ferocity to a whole new level, sounding exciting form start to finish with the whole band displaying all their skills, in special Gary, Kenny and Mark, blasting sheer havoc through their sick beats and very technical shredding respectively. And the last track of the album, titled The Projector, is another hurricane of Death Metal masterfully executed by Xenosis, a circle pit-catalyst that sounds and feels very complete and detailed, being absolutely perfect for slamming into the pit during the band’s live performances.

Featuring a futuristic and menacing artwork by Brazilian graphic designer Caio Caldas (CadiesArt), Devour and Birth, which can be purchased through the band’s own BandCamp page, as well as on iTunes or on Amazon, not only cements Xenosis as one of the most interesting exponents of the current independent Progressive Death Metal scene, but it is also an album of extreme music that’s utterly recommended for all metalheads who are searching for a monumental amount of intricacy and progressiveness amidst all the chaos and destruction usually delivered in Death Metal. You can find more details about Xenosis and their elaborate music at their Facebook page and YouTube channel, and keep witnessing (and of course supporting) for years to come the remarkable musical evolution this talented five-piece act has been enjoying since their beginnings.

Best moments of the album: Night Hag, Concave and Devour and Birth.

Worst moments of the album: None.

Released in 2018 Independent

Track listing   
1. Night Hag 6:45
2. Army of Darkness 5:14
3. Delirium (Death of a God) 5:51
4. Concave 5:15
5. Oxidation 0:54
6. Ominous Opus 5:59
7. Devour and Birth 4:28
8. The Projector 5:56

Band members
Sal Bova – vocals
Kenny Bullard – guitar
Mark Lyon – guitar
Dave Legenhausen – bass
Gary Marotta – drums

Album Review – 5 Star Grave / The Red Room (2017)

The six pricks from Hell are back in town, hic sunt the motherfuckers.

This is one of those bands that, as soon as you listen to their flammable music for the very first time, you become addicted to their electricity and rebellious attitude, especially if you’re already a huge fan of the sound by bands like the Misfits, Social Distortion, the Ramones, Minot Threat and so on, but with a heavier and more melodic approach. I’m talking about Italian Melodic Death Metal six-piece wolf pack 5 Star Grave, who have just released a Rock N’ Roll party-catalyst entitled The Red Room, an album that will surely put you to dance, bang your head, slam into the pit, drink a few beers and do everything else we love so much in heavy music. In other words, the six pricks from Hell are back in town, hic sunt the motherfuckers, and there’s nowhere to run, nowhere to hide from them.

Formed in 2005 in Cuneo, a city and comune in Piedmont, Northern Italy, under the name Ground Zero, changing to 5 Star Grave in 2007, the band already released in their decade of existence the full-length albums Corpse Breed Syndrome, in 2008, and Drugstore Hell, in 2012, as well as a single with a cover version for one of the biggest hits by the Ramones, the classic Pet Sematary, before releasing The Red Room now in 2017. Bringing forth a weird and fun combination of several styles like traditional Heavy Metal and Punk Rock with industrial atmospheres, the band comprised of frontman Claudio Ravinale (who’s also the lead singer for Death Metal act Disarmonia Mundi and Industrial Metal outfit The Silverblack), bassist Andrea Minolfi, guitarists Thierry Bertone and Alessandro Blengino, keyboardist Hervè De Zulian and drummer Domenico Fazzari aims at charging the listener with their relentless hardcore/horror punk-influenced metal highly inspired by the golden years of 80’s metal and shock rock, which they more than achieve with The Red Room.

Wicked noises are suddenly joined by the slashing riffs by Thierry and Alessandro in the opening track, beautifully titled Hic Sunt The Motherfuckers, with Hervè and his keys giving it a futuristic aura. Moreover, this amazing tune brings forward the two main characteristics of Melodic Death Metal, those being aggressiveness and harmony, helping the band in breaking down the walls in fantastic fashion. Following that superb start we have the also whimsical and modern Eat You Alive, where Claudio screams like a maniac supported by the potent backing vocals by Andrea, not to mention the song’s fiery guitar solos and catchy chorus; and Once Upon A Time, with Claudio sounding even more demented on vocals, enhancing the song’s impact while Domenico smashes his drums with tons of dexterity, being highly recommended for admirers of modern and alternative music.

The Ballad Of The Vampire is not a ballad at all, but an ode to the fusion of Heavy Metal, Punk Rock and Hardcore blasted by bands like the Misfits, a fast-paced and electrifying hymn showcasing great performances by Claudio and Domenico that will set their live concerts on fire without a shadow of a doubt, while in Alice the keys by Hervè make it sound more melodic and consequently less violent than the other tunes, but still a heavier-than-usual version of punk music perfect for an insane rockin’ party with its guitars burning our ears nonstop. And adding progressiveness to their high-octane Rock N’ Roll sonority, 5 Star Grave offer us Through The Eyes Of The Monster, where Thierry and Alessandro steal the spotlight with their sick riffs while Hervè brings a touch of lunacy with his synths. Put differently, it’s quite impossible to stand still to this explosion of modern metal music.

And those guys definitely know how to blend the music by the Misfits with modern Metalcore like what can be seen in He Never Died, which means you should start banging your head and screaming together with the band as the party doesn’t have a time to end. In Hell On Heels, a mid-tempo rockin’ tune with hints of Southern Rock, we have an acoustic intro as a variation to their trademark rowdy sounding, and at this point of the album you’ll realize 5 Star Grave cannot craft bad music; whereas For Better Or Worse sounds like the soundtrack to a demented circus act, again inspired by old school punk and metal. In addition, the strident sound of guitars increases the song’s temperature quite a bit, with Domenico taking the lead with his spot-on beats. And before all is said and done we have a semi-ballad entitled There Is No Heaven, which despite presenting their rumbling sounds and growls is slightly below the rest of the album in terms of creativity. Actually, to be fair I wouldn’t consider that a problem at all, as the other songs of the album are way too awesome.

In a nutshell, grab your leather jacket, your fighting boots, make sure the beer is crisp and cold, put on your warrior makeup or mask, and join the uncontrollable party held by 5 Star Grave in The Red Room by following them on Facebook, by listening to their music on YouTube, SoundCloud and Spotify, and by purchasing this excellent album of modern metal music on BandCamp, on iTunes or on Amazon. And after having The Red Room on your hands, simply hit play and get the party started, motherfuckers.

Best moments of the album: Hic Sunt The Motherfuckers, The Ballad Of The Vampire and Through The Eyes Of The Monster.

Worst moments of the album: There Is No Heaven.

Released in 2017 Sliptrick Records

Track listing
1. Hic Sunt The Motherfuckers 4:14
2. Eat You Alive 4:17
3. Once Upon A Time 3:58
4. The Ballad Of The Vampire 1:43
5. Alice 4:03
6. Through The Eyes Of The Monster 3:39
7. He Never Died 3:00
8. Hell On Heels 4:16
9. For Better Or Worse 4:36
10. There Is No Heaven 4:20

Band members
Claudio Ravinale – vocals
Andrea Minolfi – bass, vocals
Thierry Bertone – guitars
Alessandro Blengino – guitars
Hervè De Zulian – synth
Domenico Fazzari – drums


Album Review – Antipope / Denial/Survival (2017)

Bending the genre boundaries and creating a unique musical journey in the spirit of classic progressive albums of the 70’s, this Finnish act returns from a four-year hiatus to offer us all their music in its most uncompromising form.

As a nice Christmas gift to all readers of The Headbanging Moose, I have for you today Denial/Survival, the fourth full-length album by Finnish Progressive Black Metal trinity Antipope, whose music is according to the band itself a free expression of whatever styles, themes or moods might be needed to relate the particular message to the listener. Although the band is considered by many as Black Metal, the name Antipope stands for liberation from any and all dogmas and renouncement of intellectual and ideological authorities, being the soundtrack for self-discovery, death and rebirth.

Formed in 2004 in the city of Oulu, the band comprised of founder Mikko Myllykangas on vocals, electric and acoustic guitars, bass guitar and programming, Antti J. Karjalainen on guitars and Tuska E. on drums returns from a four-year hiatus with Denial/Survival, presenting their characteristic style of bending the genre boundaries and creating a unique musical journey in the spirit of classic progressive albums of the 70’s. Combining elements of Extreme Metal, Melodic Death Metal and even a bit of Flamenco, and featuring an imposing artwork by Finnish artist Tiina Kaakkuriniemi, Denial/Survival will offer you the music of Antipope in its most uncompromising form, and I’m sure you’ll have a good time while listening to such diverse album of extreme music.

In the opening track, titled Waters Below, we already face the multi-layered music by the trio, with an instrumental beginning that goes on for about two minutes before devastation arrives through the hellish growls by Mikko in a rhythmic and epic display of modern Black Metal; followed by Flat Circle, which presents hints of Atmospheric Black Metal infused in their more straightforward Scandinavian Extreme Metal. Moreover, Tuska does a solid job going from a more progressive style to visceral blast beats that live up to the legacy of Black Metal. And in the title-track Denial/Survival the band speeds up their pace and distills their venom through their austere words (“I woke up in the land of denial / It’s true the guilt is all you care for / Seeing you and the rest of your kind / Wallowing in self-pity and mutual rape”) in a true headbanging hymn perfect for cracking your spinal cord, which obviously translates into one of the top moments of the album.

The ominous, darkened instrumental bridge Der Sadist sets the tone for the even more obscure Black Metal chant Hunt, with the mid-tempo beats by Tuska being effectively blended with the crisp guitar lines by Antti, sounding more introspective and melancholic than the rest of the album. Then get ready to be smashed by the futuristic and melodic (but still very raw) onrush of extreme music named True Anarchist, sounding at times like Marilyn Manson, with Antti once again firing his captivating riffs, before the atmospheric and ominous creation Mindlessness Meditation brings forward cavernous bass lines by Mikko, who darkly declaims the song’s cryptic lyrics.

An Unconditional Ritual to Summon the Prince of Darkness, a slow-paced chant that could actually be used to summon an evil entity, presents words that sound and fell infernal (“This is how it begins, the last phase / A thousand step descent into the unknown / The words extend the rays of light / From the shadows a new mind”), whereas in Tragic Vision we can feel their music growing in intensity as time passes by, with Mikko and Antti making a great guitar duo by blasting some wicked riffs. Furthermore, the whole song has a touch of epicness that makes it very exciting to listen to, not to mention Tuska’s galloping beats in perfect sync with his bandmates’ stringed weapons. And as the closing song of the album Antipope deliver what is also the longest of all tunes, entitled Resolution, which could easily be used in the soundtrack for a slasher flick or a Tarantino-style movie, helping the album stand out among other extreme bands for its versatility and innovative approach.

I’m certain that, after listening to Denial/Survival, you’ll be more than curious to know more about Antipope and their distinct career, and in order to do that simply go check what Mikko & Co. are up to on Facebook, watch to their classy videos on YouTube and listen to their music on Spotify, and purchase the album through their BandCamp page or on iTunes. There’s nothing better than celebrating Christmas with some nice extreme music made in Finland, a country where Santa Claus is supposed to live (in the cold and charming Lapland, the largest and northernmost region of the country), so don’t waste your time and go show your support to this very interesting underground act. Well, if you don’t do so, I guess Santa will have to cross “somebody’s” name from his list next year.

Best moments of the album: Denial/Survival, Hunt and Tragic Vision.

Worst moments of the album: Flat Circle.

Released in 2017 Antipope/TCM Entertainment

Track listing
1. Waters Below 5:25
2. Flat Circle 5:40
3. Denial/Survival 5:06
4. Der Sadist 3:22
5. Hunt 7:08
6. True Anarchist 4:23
7. Mindlessness Meditation 4:34
8. An Unconditional Ritual to Summon the Prince of Darkness 5:29
9. Tragic Vision 4:25
10. Resolution 7:13

Band members
Mikko Myllykangas – vocals, electric and acoustic guitars, bass guitar, programming
Antti J. Karjalainen – guitars
Tuska E. – drums


Album Review – Eshtadur / Mother Gray (2017)

Overflowing rage, despair and electricity, the brand new album by this implacable Colombian act will certainly help the band cement their name in the Extreme Metal underground scene worldwide.

Formed in the fall of 2005 in Pereira, the capital city of the Colombian department of Risaralda, Melodic Death/Black Metal act Eshtadur has been on a roll since their inception, making a name for themselves in all four corners of the world with their unrelenting fusion of extreme sounds in the vein of bands such as At The Gates, Behemoth, Soilwork, Dimmu Borgir and Septicflesh, always adding imposing and symphonic elements to their music to make it even more impactful to our ears. For instance, the band has already toured Colombia, Peru and Mexico, they headlined a stage at Rock Al Parque (which is not only the largest rock festival in Colombia and one of the most important in Latin America, but also arguably the largest free rock festival in the continent) in 2016, and they’re getting ready for their first ever US dates and many other festival appearances in the coming months.

Having already released the full-length albums Dominated by Dummies, in 2011, and Stay Away from Evil and Get Close to Me, in 2013, as well as their debut demo Rebellion of Angels, in 2007, and the EP Oblivion, in 2015, the band comprised of Jorg August on vocals and guitars, Alejo Bet on guitars, Victor Valencia on bass and Mauro Marin on drums is effectively expanding their exposure to the metal scene worldwide with their third full-length installment, the excellent Mother Gray, featuring a classy artwork designed by French artist Sylvain (Razorimages), guest guitar solos by Christofer Malmström (Darkane), and an endless amount of electricity and rage flowing from all their instruments, all led by the desperate growls by Jorg.

The heavy and dark guitars by Jorg and Alejo ignite the aggressive opening track Belong To Nowhere, a high-end fusion of Symphonic Black Metal with Death and Melodic Death Metal where Mauro sounds possessed with his demonic blast beats while Jorg screams in a rabid and desperate manner throughout the entire song. Building an instant connection with the previous tune, Plaguemaker keeps the menacing aura crafted by the band even stronger, displaying a good balance of guitar lines, growls and potent drumming, while the keyboards in the background give it a Dimmu Borgir-inspired vibe; followed by the Melodic/Symphonic Metal aria Cornered At The Earth, where the band engages in their most sinister mode by deepening their growling and strengthening their beats, culminating in a violent and gripping rhythm boosted by its dark lyrics (“Gray the future and gray the earth / Dust in the soil, foil the religion / And the permanent conclusion of being the one who brings pest /Back to the world”). Whereas the Doom Metal-inspired Desolation brings forward a melancholic intro that slowly grows into an imposing sonority, as heavy and dense as it can be, with some faster moments to keep it fresh and vibrant. Moreover, the desperation flowing from the vocals is outstanding, going on and on until the song’s visceral ending to the sound of deep and putrid roars.

Getting back to a faster and more melodic sounding but still presenting the band’s characteristic symphonic elements, also showcasing fiery guitar riffs and solos as well as total havoc blasted by Mauro’s insane beats, the powerful Time Hole To Paris will certainly generate some sick mosh pits during their live concerts, while in March Of The Fallen we face an epic and somewhat funereal beginning to yet another ominous creation by Eshtadur, an eccentric “waltz” of Dark Metal with its keyboards and vocals taking the obscurity to a whole new level, again presenting more of those putrid gnarls before all is said and done. And as their “formula” seems to be one Stygian song followed by a sonic demolition, it’s time to speed things up again with the high-octane chant The Day After I Die, presenting slashing guitars blended with epic keys and rabid growls, without a single second of peace during its five minutes of sheer devastation.

As the first bonus track added by Eshtadur to Mother Gray, we have another symphonic extravaganza that will attack our senses named Heavens to The Ground (originally released in their 2015 EP Oblivion), with the guitars by Jorg and Alejo and the drumming by Mauro being in absolute sync, while the song’s keys make sure the atmosphere remains eerie for the otherworldly vociferations by Jorg.  The second bonus offered by the band is entitled Last Day Of The Condors, also from their EP Oblivion, sounding slightly similar to its predecessor (in special its guitar and vocal lines), not as tasty but still very enjoyable. And lastly we have a very cohesive, potent and fresh version they recorded in 2014 for Survivor’s hit Burning Heart (check out the original version HERE) featuring guest musicians Björn “Speed” Strid (Soilwork) and Christopher Clancy (Mutiny Within) on vocals, and Per Nilsson (Scar Symmetry) and Allan Marcus (Arecibo) on lead guitars. Survivor might be better known by the usual rocker for the all-time Rocky Balboa-classic “Eye of the Tiger”, but this song also represents all the passion Survivor had for rock music, not to mention this cover version is Eshtadur’s own tribute to Survivor’s longtime frontman Jimi Jamison (R.I.P.), who died of a heart attack in September 2014.

If you enjoyed all the fury blasted by Eshtadur in Mother Gray, I highly recommend you go check their Facebook page and YouTube channel for more of their kick-ass music, and if you want to purchase Mother Gray (which you can listen in its entirety on Spotify), you can grab your copy of the album at the Bleeding Music Records’ BandCamp, on iTunes, on Amazon, or at several other locations such as Barnes & Noble and ImportCDs. As mentioned in the beginning of this review, Mother Gray overflows rage, despair and energy, and as you’re more than aware of, those are some of the main elements which make us love Heavy Metal so much. In other words, Eshtadur nailed it with Mother Gray, surely making all metalheads in Colombia proud of their music.

Best moments of the album: Belong To Nowhere, Cornered At The Earth and Time Hole To Paris.

Worst moments of the album: None.

Released in 2017 Bleeding Music Records

Track listing
1. Belong To Nowhere 3:27
2. Plaguemaker 4:28
3. Cornered At The Earth 5:01
4. Desolation 6:50
5. Time Hole To Paris 5:21
6. March Of The Fallen 7:32
7. The Day After I Die 5:06

Oblivion/Burning Heart bonus tracks
8. Heavens to The Ground 3:26
9. Last Day Of The Condors 3:15
10. Burning Heart (Survivor cover) 4:33

Band members
Jorg August – vocals, guitars
Alejo Bet – guitars
Victor Valencia – bass
Mauro Marin – drums

Guest musician
Christofer Malmström – guitar solos


Concert Review – Trivium & Arch Enemy (The Danforth Music Hall, Toronto, ON, 11/07/2017)

Over 1,500 metalheads headed over to Toronto’s Greektown for a flammable night of modern and vibrant contemporary metal music, courtesy of the iconic Arch Enemy and the unstoppable Trivium.

OPENING ACTS: Fit For An Autopsy and While She Sleeps

Although it’s getting colder and colder as the month of November begins to switch from the colors of fall to the monochromatic look of winter, I guess no one can complain about the clear and not-so-chilly weather yesterday in Toronto, turning the night into the perfect occasion to head to The Danforth Music Hall, located at the easternmost side of what’s known as “Greektown”, to watch the fulminant performances by two of the most important bands in contemporary metal music, Swedish Melodic Death Metal masters Arch Enemy and American Heavy Metal troopers Trivium, both promoting their brand new kick-ass albums. Not only that, weeks before the concert all tickets were already sold out, which means we were going to experience around 1,500 metalmaniacs screaming, jumping up and down and slamming into the pit together with the bands. It can’t get any better than this, my friends.

The two bands chosen to warm up the crowd in a night of modern and aggressive heavy music were American Deathcore act Fit For An Autopsy and British Metalcore group While She Sleeps, with FIT FOR AN AUTOPSY being the first to hit the stage at 6:30pm. Formed in 2008 in Jersey City, in the state of New Jersey, United States, the band is supporting Arch Enemy and Trivium during their fall tour by promoting their latest album, titled The Great Collapse, released earlier this year. If Deathcore is your cup of tea, go check The Great Collapse in full on YouTube as their setlist was 2/3 formed of songs from that album, and also watch their official video for Black Mammoth, the closing song of their performance.

Heads Will Hang
Absolute Hope Absolute Hell
Still We Destroy
Iron Moon
Black Mammoth

Band members
Joe Badolato – vocals
Will Putney – guitar
Patrick Sheridan – guitar
Tim Howley – guitar
Peter Spinazola – bass
Josean Orta – drums

After that good start it was time for WHILE SHE SLEEPS to blast their Metalcore precisely at 7:15pm to all metalheads that were already at the venue (and the ones arriving a little late). Formed in 2006, this Sheffield-based squad is currently promoting their new album You Are We, with their setlist also being almost 100% based on it. New songs like the opening tune You Are We, Silence Speaks, and the closing one Hurricane kept the audience warm enough for the main attractions of the night, with lead singer Lawrence Taylor and bassist Aaran Mckenzie being absolutely on fire from start to finish.

You Are We
Civil Isolation
Silence Speaks

Band members
Lawrence Taylor – vocals
Sean Long – guitar
Mat Welsh – guitar, vocals
Aaran Mckenzie – bass
Adam Savage -drums


Finally, after over three long years (the last time the band was in town was in 2014 together with Kreator), Toronto had the pleasure of witnessing another bestial performance by ARCH ENEMY, precisely at 8:05pm (the punctuality of the concerts in Toronto always amazes me), and let me tell you that this time the whole band was even sharper and heavier than last time. Well, let’s say that is most probably due to the fact that in their new album, the excellent Will to Power, Arch Enemy put the pedal to the metal, sounding less melodic and more ruthless, and when their new songs were transferred to the stage the result couldn’t be different than some insane mosh pits, lots of growling and fists and horns in the air.

Frontwoman Alissa White-Gluz (with her always exotic and apocalyptic attire) seemed extremely happy and excited (as expected) to be with Arch Enemy once again in her homeland Canada, saying that it might be difficult for the band to cross the ocean to play in North America, but when they’re able to finally come to Canada and the US, it’s definitely worth it. She said that although she’s originally from Montreal, Quebec, she nurtures a deep passion and respect for Toronto, and the fans responded to that statement with a lot of enthusiasm, banging their heads nonstop to each and every song played by Arch Enemy. As mentioned, the new songs worked extremely well, in special the high-octane Slayer-ish tornado titled The Race, which by the way Alissa said is her favorite of the new album (and mine too), and the classy and groovy Blood in the Water.

Sharlee D’Angelo and Daniel Erlandsson were as precise and competent as usual with their bass and drums, respectively, but I must say it’s impressive how crystal clear, blazing and tuneful the guitars by Michael Amott and Jeff Loomis sounded during their entire performance. Those guys are true BEASTS with their cutting riffs and solos, sounding so perfect to the point you couldn’t tell if they were playing live or if it was the studio version of the songs. Whoever adjusts their instruments prior to the shows is a technical genius, no doubt about that, and if you get to see Arch Enemy live anywhere during this tour simply close your eyes and let each note played by Mr. Amott during the classic instrumental piece Snow Bound penetrate deep into your soul. The only “complaint” I have about their concert was the presence of not-so-exciting songs in their setlist, like Stolen Life, You Will Know My Name and Avalanche, which worked well, I have to admit that, but imagine if they played some of their more obscure and scathing classic tunes, like what happened with Ravenous, Dead Bury Their Dead and especially Nemesis? Well, we’ll have to wait for their next Canadian tour to see what they’ll do to their setlist (and I can’t wait for that).

Set Flame to the Night (Intro)
The World Is Yours
Stolen Life
War Eternal
My Apocalypse
Blood in the Water
You Will Know My Name
The Race
The Eagle Flies Alone
As the Pages Burn
Dead Bury Their Dead
We Will Rise
Snow Bound
Enter the Machine (Outro)

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


After a short break, where the house DJ played some all-time classics on the speakers such as Iron Maiden’s “The Prisoner” and Motörhead’s “Born to Raise Hell” to keep the momentum created by Arch Enemy going, Orlando-based metallers TRIVIUM took the stage by storm at 9:45pm sharp already with the opening track of their superb new opus, The Sin and the Sentence, the title-track The Sin and the Sentence, which made the crowd explode in awe and ignited some serious mosh pits all over the venue. Matt Heafy, Corey Beaulieu and Paolo Gregoletto were as electrified and in sync as usual, with Matt leading the fans with his “meme-generator” faces and gestures, but it was newcomer Alex Bent who stole the spotlight. Holy shit, that guy is a relentless killing machine on drums, elevating the band’s already heavy sonority to a whole new level. Needless to say, he played all songs to perfection, in special one of the best of the new album and a serious candidate to become a Trivium classic, the Black Metal-inspired tune Betrayer.

Surprisingly (at least for me), one of the songs with the strongest reaction from fans was Until the World Goes Cold, which is a pretty nice ballad but, let’s be realistic, it’s far from being as awesome as classics like Down From the Sky and Kirisute Gomen. Two of the other songs from The Sin and the Sentence, the radio-friendly The Heart From Your Hate and Thrown Into the Fire, also sounded and felt truly heavy and thrilling, proving once again that Trivium are one of the most effective bands in heavy music when composing both heavier and slower, more melodic songs. Just like what happened with Arch Enemy, I missed a few songs in their setlist, especially some of the more complex tunes from Shogun, but Matt & Co. know what they were doing when they put this setlist together, trying to encompass all of the band’s phases in a little less than one hour and a half.

Last but not least, when the intro Capsizing the Sea started playing we all knew the show was coming to an end, but not before Matt thanked Toronto for another fantastic night of metal, promising to always return to the city with another blast of Trivium music, and asking everyone present at the venue to get down or kneel before one of their biggest classics, if not the biggest of all, In Waves. If you enjoy Slipknot you’ve already seen Corey Taylor and his bandmates do the same during their concerts, and with In Waves that Slipknot-ish formula worked extremely well like a precise time bomb, with all fans jumping up and down like maniacs while bursting their lungs screaming the two words from the song’s name. I guess there wasn’t a single fan that wasn’t eager for more Trivium when the show was over, as both Arch Enemy and Trivium had shorter-than-usual time slots to play for co-headlining the tour, but again, we must learn to be patient and wait for Trivium to get back in town in a not-so-distant future, right? At least Matt promised to be back soon, and we must trust the man.

The Sin and the Sentence
Down From the Sky
Until the World Goes Cold
Like Light to the Flies
Dusk Dismantled
The Heart From Your Hate
Kirisute Gomen
Thrown Into the Fire

Capsizing the Sea (Intro)
In Waves

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


Album Review – Arch Enemy / Will to Power (2017)

A good balance between the classic days of the band with the more modern path they decided to venture after the arrival of frontwoman Alissa White-Gluz. But please, they need to stay away from clean vocals.

Will to Power, the tenth studio album by Swedish Melodic Death Metal icons Arch Enemy, might be far from being a masterpiece, but at least in my humble opinion it’s a considerable improvement from their previous installment, the uninspired War Eternal, released in 2014. The first Arch Enemy album to feature guitarist Jeff Loomis (Nevermore, Conquering Dystopia) as well as clean singing as lead vocals, Will to Power presents a good balance between the classic days of the band with Angela Gossow on vocals with the more modern path they decided to venture after the arrival of frontwoman Alissa White-Gluz, with each song having its own soul and purpose on the album.

Although Jeff definitely brought a new dynamism to the music by Arch Enemy after joining the band in 2014, I guess it was the departure of Nick Cordle that same year that had the most positive impact on the songwriting by Michael Amott, who seems to have gotten rid of the damaging “generic” virus that infested his music in War Eternal. Furthermore, another nice touch in Will to Power is the album’s stylish and meaningful cover art, designed by American artist Alex Reisfar. “The human skull as a central focal point, the flesh sort of falling off into the circular pattern. The snake ouroboros weaving in and out of the mouths and throats of the severed heads of a wolf, a goat and a vampire bat… All representing self-determination and a predatory, almost parasitic will to power”, explained Mr. Amott, and as the music progresses in the album you’ll realize how powerful the art is and how much it enhances the impact of the whole album.

Set Flame to the Night is a classy intro perfect for their live performances, warming up the listener for the high-octane anthem The Race, my favorite song of the album, where Alissa and drummer Daniel Erlandsson take the lead with their wicked growls and unstoppable beats, respectively, violently questioning the dangerous direction our society is taking (“I heard there was a race / Where we’re all one race / Color, gender, age never could dictate / I saw there was a time / When we valued all life / Nobody oppressed, everyone had rights / Suddenly, in an age where the distance between us is binary / All we see, is an internal war friendly fire in the sky and respect on the floor”). Less intense and more melodic, Blood in the Water, another fantastic choice for their live concerts, transpires old school Arch Enemy with a pinch of their contemporary creations, with the flawless guitar duo comprised of Michael and Jeff being absolutely on fire, blasting slashing riffs and solos throughout the whole song. And in The World Is Yours we face more insane riffs by Michael and Jeff, not to mention the always awesome keys by guest musician Jens Johansson (Stratovarius) and the song’s sing-along, catchy chorus (“If you want the world / Use your mind / Take control / Feel the strength / Rise from within / If you really want it the world is yours”).

One of the first tracks in Will to Power to be revealed, The Eagle Flies Alone, is not as gripping as the rest of the album despite its powerful lyrics, with Alissa showcasing a good vocal performance, though, as well as the good job done by Michael and Jeff on the guitars; followed by Reason to Believe, which really feels like if Arch Enemy meets The Agonist as it’s the first ever Arch Enemy song with lead clean vocals in almost its entirety (with some growls added to make it less cheesy). It’s indeed a power ballad that might make their newer fans happy, but it’s unfortunately too generic compared to what they’re capable of. Not even Michael’s own brother, ex-Arch Enemy guitarist Christopher Amott, is capable of saving it from being tiresome. On the other hand, bassist Sharlee D’Angelo kicks off the dark and belligerent tune Murder Scene, where Alissa sounds truly enraged adding even more electricity to the song’s already boisterous rhythm. Put differently, it’s top-notch Melodic Death Metal with hints of traditional Death Metal, with highlights to the superb job done by both Michael and Jeff with their fiery strings; whereas First Day in Hell, the most ominous of all songs, brings forward a neck-breaking main riff boosted by Alissa’s obscure, deep gnarls and screams, and as the story being told evolves you’ll feel your soul getting darker and darker.

Then we have the instrumental bridge Saturnine, shaping up the sonority for the multi-layered and gripping Dreams of Retribution, a Melodic Death Metal feast that brings together the past, present and future of the band, with its guitars and bass being in total sync while Daniel adds progressiveness to the musicality and Jens once again kicks ass with his spot-on keyboard notes. The second to last song of the regular version of the album, titled My Shadow and I, is another violent creation by Arch Enemy, sounding slightly less inspired than some of the previous songs but still above average, mainly due to the intricacy found in drums and bass lines. Finally, A Fight I Must Win might be slower than most songs, but that doesn’t mean it’s not cohesive, piercing and metallic, representing almost to perfection the path Arch Enemy has been following with their latest albums, closing Will to Power in a strong way. Actually, if you go for the limited edition digipak, you’ll be treated to their cover for English Street Punk band Charged GBH’s 1982 song City Baby Attacked by Rats (you can listen to the original version HERE), an amazing version by Michael, Alissa & Co. that’s definitely worth the investment in the special edition of the album.

Overall, Will to Power is a pretty decent album by Michael and his crew, being recommended for all fans of modern Melodic Death Metal. After listening to the album for the very first time, I had some mixed feelings about some of the songs, while others (the ones where clean vocals where pretty much nonexistent) hit me in a very positive manner right from the first second, proving that, at least to my ears and my heart, Arch Enemy still got it and can deliver high-end metal music if they want to. I honestly believe the best thing the band can do right now is to stay away from the idea that clean vocals are a good addition or variation to their music, because in the end that’s certainly not what made this band so relevant and admired in Heavy Metal. I’m not saying Alissa is not a good singer when using her clean voice; quite the contrary, she’s an incredible vocalist, but Arch Enemy are a synonym to rebelliousness and anger, things that can only be represented by some high dosages of rabid screams and deep guttural growls.

Best moments of the album: The Race, Blood in the Water, Murder Scene and Dreams of Retribution.

Worst moments of the album: The Eagle Flies Alone and Reason to Believe.

Released in 2017 Century Media

Track listing
1. Set Flame to the Night (instrumental) 1:18
2. The Race 3:15
3. Blood in the Water 3:55
4. The World Is Yours 4:53
5. The Eagle Flies Alone 5:15
6. Reason to Believe 4:47
7. Murder Scene 3:50
8. First Day in Hell 4:48
9. Saturnine (instrumental) 1:09
10. Dreams of Retribution 6:40
11. My Shadow and I 4:05
12. A Fight I Must Win 6:37

Limited Edition Digipak bonus track
13. City Baby Attacked by Rats (Charged GBH cover) 2:48

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

Guest musicians
Jens Johansson – keyboards on “The World Is Yours”, “Saturnine” and “Dreams of Retribution”
Christopher Amott – guitars & keyboards on “Reason to Believe”


Album Review – BloodBlind / BloodBlind EP (2017)

Mixing a punk attitude with metal music, a group of four Finnish musicians are ready to rock the world with the flammable amalgamation of different styles and ideas found in their debut album.

Mixing a punk attitude with metal music, a group of four musicians from Helsinki and Joensuu (a city and municipality in North Karelia in the province of Eastern Finland), has been working together for the past two years to give life to Melodic Thrash/Punk Metal entity BloodBlind, bringing their own influences to the mix and therefore creating a very unique sound. The result of that amalgamation of styles and ideas can be better appreciated in their debut self-titled EP, comprised of three electrified compositions that will help spread the word of BloodBlind throughout the world of independent heavy music.

The young and restless BloodBlind, formed by Tommi Kokko on vocals, Antti Kalliomäki on guitars, Janne Saksola on bass and Frank Fagerström on drums, were responsible for all of the production, visuals and themes found in the EP, with only some external help used in the mixing process. With their first release out, the band is gearing up to take to the stages and setting up to record their first full-length in a proper studio, but before that happens I highly recommend you open up some space in your room to bang your head and jump up and down to the invigorating and acid music offered in the EP by those four metallers who certainly know how to put the words “punk” and “metal” together in a compelling way.

Janne ignites the opening track Fuel for Fury with his heavy-as-hell, low-tuned bass punches, with the sound evolving to a blend of Thrash, Groove and Punk Metal led by the enraged growls by Tommi, while Antti makes sure the music remains as sharp and hostile as possssible with his riffs and solos. In the following tune, Will to Fight (featuring gang vocals on chorus by Finnish Thrash Metal band Maniac Abductor), BloodBlind deliver an anti-bullying message (“never give up, never give in”, says the band), joining in on the campaign against online bullying. With a stronger Rock N’ Roll vibe and endless electricity, Tommi’s screams sound even angrier than before (for a good reason), leaning towards Melodic Death Metal and Metalcore-like vocals, while Antti and Frank dictate the rhythm in this obscure anthem destined to be their biggest hit without a shadow of a doubt. And last but not least, we have another blast of Thrash and Punk Metal united with hints of Metalcore in Cancer of Society, a mid-tempo aggressive tune with highlights to the once again pounding beats by Frank and the menacing bass lines by Janne, not to mention the soulful solos by Antti and the flammable sounds emanating from both guitar and bass during the whole song.

In a nutshell, BloodBlind definitely succeeded in delivering exciting metal music through their short and sweet self-titled EP (which can be listened in its entirety on on YouTube or on Spotify), and if you want to show your support to this promising band go check their Facebook page and YouTube channel, and buy a copy of the album on BandCamp, on iTunes or on Amazon. There’s no doubt that those Finnish metallers are ready to rock the world with their thrilling music, proving one more time that talent and hard work, when properly put together, always result in something good.

Best moments of the album: Will to Fight.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Fuel for Fury 3:59
2. Will to Fight 4:53
3. Cancer of Society 4:21

Band members
Tommi Kokko – vocals
Antti Kalliomäki – guitars
Janne Saksola – bass
Frank Fagerström – drums

Guest musician
Maniac Abductor (band) – gang vocals on “Will to Fight”


Album Review – Carcass / Heartwork (1993)

Wake up and listen to this Melodic Death Metal wonder.


carcass_heartworkWhen a band or artist changes their musical direction towards something more commercial or mainstream, in order to become more famous and consequently make more money without worrying about their morality or principles, their old diehard fans start calling them a sellout. We have seen this type of thing happening hundreds of times with different bands from a wide range of musical styles, especially in Heavy Metal which always tends to be a more conservative genre than any other. Who doesn’t remember all the negative reaction of the fans and the specialized media to Metallica’s Load or Judas Priest’s Turbo? However, sometimes this change is for better, and that’s exactly what happened to Liverpool’s Extreme Metal masters Carcass when they “abandoned” their old Splatter/Grindcore to show the world a more polished material with the album Heartwork, released in 1993, becoming the pioneers of what we call today as Melodic Death Metal.

Although Heartwork was considered a radical change by lots of their old fans, and as I mentioned before a sellout by many, the album is far from sounding commercial or any shit like that. This is a milestone in the world of extreme music, quickly becoming the source of inspiration for hundreds of bands all over the world due to the quality and complexity of its music. The first track, Buried Dreams, already shows a much “cleaner” Carcass than ever before, but it’s still very extreme and violent. That new Carcass, a lot more melodic, offer us then Carnal Forge, which is pure Melodic Death Metal with amazing vocals, especially the initial scream, and beautiful solos by both Bill Steer and Michael Amott.

Can we call the unique No Love Lost a Melodic Death Metal ballad? This song is a classic with its perfect riffs and lyrics (“Without emotion you heartstring’s played / Strummed and severed to the tune of a tragic serenade”), and as one of the album’s singles it got a pretty cool video too. Then comes the best song of all, the title-track Heartwork,  a heavy music masterpiece with incredibly fast riffs, awesome solos, an addictive chorus (“A canvas to paint, to degenerate / Dark reflections – degeneration / A canvas to paint, to denigrate / Dark reflections, of dark foul light”), and Jeff Walker being absolutely fantastic on vocals, sounding like an (extremely) evil version of Dave Mustaine. This is a Death Metal anthem with flawless synchronicity of all band members, and a mandatory track in any music selection for a heavy workout at the gym.

carcassAfter an impeccable start, the album loses a little momentum with Embodiment, which is not as amazing as all previous tracks. Moreover, this song reminds me a lot of what Arch Enemy do today, clearly due to Michael Amott’s influence, but not as cohesive. This Mortal Coil is an excellent song with awesome guitars, making it one of the best in the album and a great song for any live performances. The next song is fantastic too, albeit it has a very weird name: Arbeit Macht Fleisch is a derivation of “arbeit macht frei”, the famous German phrase found over the main gates of many Nazi concentration camps during World War II (including Auschwitz I) that means “work makes (you) free”. In this case, the meaning would be “work makes (you) meat”, a more suitable expression for the gruesome heavy music played by Carcass.

The last part of Heartwork begins with Blind Bleeding the Blind, a very technical song with lots of groove and electricity, followed by Doctrinal Expletives, which is a more straightforward, traditional metal song. The last track of the album, Death Certificate, has an amazing start and very interesting lyrics, but in my opinion it’s its fast and heavy rhythm what makes it so great. This is the end of an outstanding album, with Bill Steer and Michael Amott kickin’ ass from start to finish (what those two guys did with their guitars together in Heartwork was glorious) and Jeff Walker adding a creepy touch to it with his guttural, raspy voice. In addition, we can see here one of the most extraordinary front covers in the history of heavy music, called “Life Support 1993”, designed by the deceased Swiss artist H. R. Giger.

The band released Swansong in 1996, and 17 years later they got back with the amazing Surgical Steel, in 2013, but Heartwork is still their biggest work so far and something quite impossible to be beaten (and if I were you, I would definitely go for the Full Dynamic Range Edition with its four amazing bonus tracks). Carcass might have changed their musicality, with an almost complete shift in their vocal style and more diversity in their music and lyrics, but instead of a sellout they became a reference in Melodic Extreme Metal. If you love truly heavy, violent music with a solid melody in the background and insanely gory words, well, let’s just say that you must “wake up and smell the carcass”.

Best moments of the album: No Love Lost, Heartwork, This Mortal Coil and Arbeit Macht Fleisch.

Worst moments of the album: Embodiment.

Released in 1993 Earache Records

Track listing
1. Buried Dreams 3:58
2. Carnal Forge 3:54
3. No Love Lost 3:22
4. Heartwork 4:33
5. Embodiment 5:36
6. This Mortal Coil 3:49
7. Arbeit Macht Fleisch 4:21
8. Blind Bleeding the Blind 4:57
9. Doctrinal Expletives 3:39
10. Death Certificate 3:38

Full Dynamic Range Edition bonus tracks
11. This Is Your Life 4:09
12. Rot ‘n’ Roll 3:51
13. Carnal Forge (live in Tokyo) 4:25
14. Heartwork (live in Tokyo) 5:01

Band members
Jeff Walker – vocals, bass guitar
Bill Steer – lead guitar
Michael Amott – lead guitar
Ken Owen – drums


Album Review – Helslave / Divination EP (2017)

Prepare yourself for a grim and murky fusion of old school and modern Swedish-inspired Death Metal by five Italian troopers in their path of destruction and killing.

Formed in 2009 by guitarist Jari, Italian Death Metal act Helslave is a Rome-based band taking its influences from the 90’s Death Metal and Melodic Death Metal Swedish scene, adding their personal twist to generate a mix of old and modern school metal music. After releasing a self-titled demo in 2010, followed by the EP Ethereal Decay in 2013 and their first full-length album An Endless Path in 2015, the band started playing shows all over Italy and Europe, sharing the stage with acts such as Grave, Asphyx, Havok, Hideous Divinity and Destroyer 666, also appearing at Metaldays in 2014, keeping themselves busy and always charged up to continue their path of destruction wherever they go.

In the beginning of the year, Helslave entered the studio to record a brand new EP titled Divination, comprised of four brand new tracks leaning towards darker and heavier sounds, playing their already traditional Swedish-inspired Death Metal in the vein of Grave, Entombed and Desultor, all embraced by the devilish artwork designed by Misanthropic Art. Prepare yourself for grim and murky old school Death Metal, the kind of stuff that doesn’t rely on triggered blast beats, light-in-the-loafers warbling, or anything but the crudest building blocks to construct its killing art. Hence, although Divination lasts for only around 16 minutes, that’s more than enough for Helslave to crush your spine mercilessly.

In the opening track, beautifully titled Summoning The Eternal Eclipse, an ominous intro morphs into sheer devastation by Jari and his henchmen, with drummer Francesco Comerci dictating the song’s demented rhythm in a solid display of Swedish Death Metal. In addition, newcomer Diego Laino and his Unleashed-inspired vocals keep the song’s ferocity at an extremely high level, perfect for declaiming the song’s menacing lyrics (“Silence falls, it freezes all around / the arrival of divine / ancestral ritual summon
/ Blinding lights, no human eye can see
/ let the plague fall on the weak”). And there’s no time to breathe, as the band rises from the pits of hell with another brutal carnage named Lord Of Lies, presenting old school, visceral Death Metal with hints of other extreme genres such as Black and Thrash Metal to add more dynamism to the musicality. The guitar duo Jari and Lorenzo Fabiani are simply fantastic, blasting scorching, darkened riffs through their instruments, not to mention the intricate beats by Francesco in this ode to obscurity.

In The Spawn Of Astaroth, the band slows things down a bit, but that doesn’t mean they don’t fire truly dismembering riffs and beats, with Diego growling like a beast while Francesco and bassist Luca Riccardelli maintain a dense ambience in the background. Moreover, the final guitar lines exhale pure Black Metal, not to mention the song’s insurgent lyrics (“The fate of a great battle / has to be faced / an indomitable army has to be defeated / We are the ones who walk the left hand path / As written in the blood of the prophecy / The only way to conquer this land”). And Desecration, their last spawn of vicious Death Metal, is fast, demonic and amazingly neck-breaking, again presenting traditional piercing riffs and solos by Jari and Lorenzo as well as the complex and vibrant drumming by Francesco, being highly recommended for fans of Unleashed and Obituary.

You can take a full listen at Divination on YouTube, and follow Helslave through their Facebook page, YouTube channel, ReverbNation and SoundCloud. And if you want to show your true support to high-end underground Death Metal, you can purchase the EP at Helslave’s BandCamp or Big Cartel, at the Black Market Metal’s Big Cartel, or at Discogs. The only “issue” with Divination is that it’s only 15 minutes long, but as aforementioned that doesn’t stop Helslave from shining and destroying with their unrelenting Death Metal, leaving us eager for more kick-ass extreme music by this hardworking Italian squad.

Best moments of the album: Summoning The Eternal Eclipse.

Worst moments of the album: None.

Released in 2017 Black Market Metal

Track listing
1. Summoning The Eternal Eclipse 4:08
2. Lord Of Lies 3:32
3. The Spawn Of Astaroth 3:43
4. Desecration 4:35

Band members
Diego Laino – vocals
Jari – lead guitars
Lorenzo Fabiani – guitars
Luca Riccardelli – bass
Francesco Comerci – drums