Metal Chick of the Month – Lena Scissorhands

Walking in the night, I am trying to find you…

Before even starting this tribute to our metal chick of the month of July, let me just say her life is pretty much an open book. I mean, you can find pretty much anything about her online, and what you’re about to read might not be a surprise for you at all. However, that doesn’t mean she doesn’t deserve to be featured on our webzine, as she’s not only extremely talented and passionate for heavy music, but she’s also a hardworking metalhead that never stops creating top-of-the-line music and videos for the delight of hundreds of thousands of metalheads from all over the world. Not only that, apart from her life in Heavy Metal she’s also a model and a makeup artist, proving her success, respect and admiration from her fans are not in vain. I’m talking about the unstoppable Moldovan vocalist Lena Scissorhands, the ravishing frontwoman for an up-and-coming Alternative and Nu Metal act that goes by the classy name of Infected Rain. Having said that, are you ready to be “infected” by Lena’s charisma and electricity here on The Headbanging Moose?

Born on November 22, 1986 in Chișinău, also known as Kishinev, the capital and largest city of the Republic of Moldova, nestled between Ukraine and Romania in Eastern Europe, Lena Scissorhands, whose real name is Elena Kataraga, fell in love with alternative music when she was 13 years old, although her real “crush” for metal music happened when she was 14 as she got simply mesmerized by the energy flowing from the sound of heavy guitar riffs and the brutality from harsh, guttural vocals. Due to her poor beginnings in Moldova, life was quite challenging for Lena and her family, forcing her to start working at a very young age to support her parents (who were very young when they had Lena) and her two younger sisters, with whom she mentioned she used to share her clothes and eat whatever was available (as well as pretend to be the Powerpuff Girls with them to lighten things up a bit). Looking on the bright side of life, those tough early days turned Lena into a very strong woman, always eager to achieve more through her work and always ready to provide help to the ones in need.

Currently residing in Las Vegas, Nevada, in the United States, Lena mentioned in one of her interviews that the idea that the “Sin City” is a weird place bursting with people from all over the world only works if you’re a visitor, as living there is a complete different thing. She said if you live in Vegas you’re not really that much in contact with that lifestyle, unless of course that’s part of your job, but living there is pretty quiet due to the city’s remote location. Furthermore, apart from her current life in Vegas, Lena has also lived in different European countries, which kind of explains why she’s fluent in four languages, those being Russian, Romanian, English and Italian. “I’m very proud to speak all these four languages, and unfortunately I used to speak another language fluently. When I was a child, I used to live in Armenia, and I used to know Armenian like I know English – very, very well. I lived there for many years. But unfortunately, because of different life changing and living in different countries, and I was not in touch with my father because my parents separated and stuff like that, so I didn’t really use it. And a language, you lose it when you don’t use it. I do understand a little bit, and I can say a few things, but that’s it. So I don’t even consider that,” said Lena, who also explained she writes all her lyrics in English as the language became very natural to her, especially when she was attending university, although she actually started writing lyrics in Russian when she was a teenager at the age of 14.

It’s time to get down to business and start talking about Lena’s life with her awesome band Infected Rain, the band she started over ten years ago together with guitarist Vidick and Dj Kapa. At first, Lena said she didn’t know if she would be able to sing in a band in a professional way, but with the support from her bandmates and after starting taking vocal lessons with Tatiana Robertovna, with whom Lena learned how to breathe, how to feel the music and how to sing, Infected Rain became her number one priority and her reason to live. Formed in 2008 in her hometown Chișinău, Infected Rain combine a wide variety of styles such as Alternative, Death and Nu Metal with Metalcore and even elements from electronic music in an infectious sound, having already released a self-titled demo in 2008, the EP Judgemental Trap in 2009, and four full-length albums, those being Asylum (2011), Embrace Eternity (2014), 86 (2017) and more recently the excellent Endorphin (2019), showcasing all the power and versatility of the band currently comprised of our metal goddess Lena and her henchmen Vidick and Sergey on the guitars, Vladimir on bass and Eugene on drums. There are several official videos on YouTube for some of the best creations by Infected Rain, such as Me Against You, Mold, Stop Waiting, At The Bottom Of The Bottle, Serendipity, Enslaved By A Dream, a kick-ass cover version for Slayer’s Stain Of Mind, Judgemental Trap, Sweet, Sweet Lies, Fool The Gravity, Intoxicating, Orphan Soul, the absolutely stunning The Earth Mantra, Storm, Lure and Passerby, or you can also go to their official website or Big Cartel page to purchase their albums and some pretty cool merch.

Before signing with Napalm Records in 2019, Lena and the boys used to manage Infected Rain by themselves for around 10 years, booking their own concerts, taking care of all agreements and duties of a regular manager and so on, facing tons of challenges and hassles along the way. In one of her interviews, she mentioned that one of the biggest obstacles for Infected Rain during those years were promoters and booking agencies that didn’t want to work with them simply because they were independent, thinking they were a difficult band and that’s the reason why they were independent, when the only reason for that was the fact they came from a poor country with no possibilities at all. Having said that, why not enjoying a full performance by Infected Rain from their independent years, more specifically from their 2016 incendiary performance at Rockstadt Extreme Fest or from their 2017 concert at Club Thing in Germany? In addition, simply check this video titled “10 questions with Lena Scissorhands | Infected Rain” to know a little more about Lena and the band.

Apart from her life with Infected Rain, you can also find our multi-talented artist on a few other distinguished bands and projects, showcasing all her skills as a musician and her passion for music in general. For instance, she has been doing some singing during the live performances for a Moldovan Progressive Death Metal act called Neuromist since 2010 (although I couldn’t find any online video recording of her with the band), she has recorded a cover version for Russian duo t.A.T.u’s biggest hit All The Things She Said together with LA-based Alternative Rock act Chase The Comet, and also participated in some of the songs by Moldovan Progressive Metal/Rock band Seas on the Moon such as Promise and Hovering. As you can see, singing and playing became Lena’s own type of “drug”, her personal and healthy addiction, inspiring her to exercise and experiment a lot with her voice in different styles. All that work and experimentation would leave her voiceless for days in the beginning, but after starting her vocal lessons with renowned vocal coach Melissa Cross in 2013 everything changed for better in her life and career, allowing Lena to start delivering all the emotions, experiences, fears and disappointments in life from her very personal lyrics on stage without hurting her vocal cords.

As the amazing frontwoman that Lena is, she has obviously been asked a lot of times about how she views the current role and importance of women in heavy music, and what can be done to further enhance their relevance in the scene. However, although feminism and sisterhood in the metal scene are quite popular topics nowadays, she doesn’t consider herself a true feminist. “I know a lot of people expect me to be a little bit more feminist, or to talk more about how awesome it is to be a girl in metal. I really don’t do this big of a difference. I love seeing many girls in metal in general. It’s really cool because it takes dedication and women usually are very busy with their everyday life, with their families, with their kids, and it’s not that easy if you’re a woman, to give up everything. It’s a little bit easier for a man. Maybe. I don’t know,” said Lena, who also thinks that there isn’t a big difference between men and women in metal music, especially due to the fact she grew up in the company of boys in her neighborhood and considered herself very boyish until she was 15 or 16 years old. “I became more feminine later, but that’s it. That’s only the way I look. Inside I’m very fragile, I like being a woman, I like being fragile, I like being loved, I like being taking care of. But trust me, a man can say the same. Men also love to be loved, men also loved to be weak sometimes, and men also have weaknesses and emotions. We have blood, muscles, we are the same! Right? So, I really don’t see a big difference.”

This slideshow requires JavaScript.

Lena is unsurprisingly addicted to sports, to touring and to adrenaline, saying she’s disciplined enough to work out at home, backstage or in a hotel room before her concerts. “I love yoga a lot because I become stretched really well. I like building up my body and you know, doing some weights sometimes. I don’t do cardio, because I have very low blood pressure, but at the same time I love hiking, I tried climbing as well, and I like biking a lot,” said Lena, who also mentioned she has a ritual before hitting the stage every show and sometimes even during her days off, requiring between half and a full hour of exercising and a minimum half hour of vocal warm-up, plus another hour to do her makeup, allowing her to feel perfectly prepared, stretched and warmed up prior to each concert. Moreover, Lena’s creations with Infected Rain are all meant to be played live, as according to our talented growler they’re extremely close to reality, expressing exactly what Lena was feeling when writing them, with some songs becoming even stronger during the band’s live performances.

As a huge fan of cartoons and horror flicks, Lena seems to be really into Disney and vampire movies, two completely different things that ended up helping her shape up her own persona quite well. “I became a big Disney nerd at an older age. When I was a kid I grew up in a pretty poor family and we didn’t really watch Disney movies unless they were on TV. So, I would say I really love Lion King because this was my first Disney movie I’ve ever seen and it’s very emotional. I also absolutely love Snow White, because I think it’s just amazing how unique it is, and it was the first cartoon movie that was made so… I also love a lot Alice in Wonderland, because I’m a big fan of the book as well, and I really like how unique the movie is, but still – you know – having the lot from the book… I can go on and on like this forever and ever. There are so many good ones,” commented Lena, who also said in one of her interviews that as she grew up with the tales of Dracula, she loves every type of vampire movie ever made, even lower budget productions or comedies about vampires, complementing by saying that she has also been watching a lot of zombie movies, that she has already gone through all the Halloween and Friday the 13th franchises, and that now she wants to watch all the Resident Evil and A Nightmare on Elm Street movies as well.

As already mentioned, Lena also used to be a hair stylist and makeup artist, and as a proud vegan she usually tries to use vegan makeup instead of the regular brands you can find anywhere, saying one of her favorite brands is Kat Von D as she’s a vegan artist and all her makeup line is vegan as well. However, despite working with makeup, she truly believes charisma and kindness are what really attract her in people, saying that’s the true beauty in everyone. Furthermore, she also thinks there’s too much judgement or bias based on how a person looks nowadays, saying she doesn’t reply and she deletes all types of unnecessary comments such as “you’re too skinny”, “you have too many tattoos” and so on from her social media, complementing by saying we all punish ourselves too much already inside our minds to allow strangers to do the same for no reason.

Regarding veganism and her view of what’s happening to our environment, our skillful vocalist said she decided to become a vegan to see how she would feel, how much that would impact her health and her body, realizing she started to have a lot more energy on tour after adapting her eating habits around three years ago. Hence, you can notice the impact of her vegan lifestyle in the music by Infected Rain, with songs like the amazing The Earth Mantra beautifully (and darkly) representing everything that’s wrong with mankind in terms of all the wicked things we are doing to our planet. Despite not considering herself a true environmentalist, Lena is trying to be sensitive about nature, about animals and plants, and being more aware of her surroundings and how her actions impact everything and everyone in her life. Although a lot of people are trying hard to change their habits to have a minimal impact on our planet, Lena still thinks that’s not enough, that the current situation is extremely bad and that unfortunately it will take decades for the human race to change. If you’re also trying to make the world a better place you’ll certainly love the official video for The Earth Mantra, where Lena “interacts” with different bugs and other animals most people are not comfortable dealing with. “All the animals were real. I was very gentle with them. The owner of them was there, telling me how to hold those animals so no harm was done. I’m not scared of any bugs or anything. It’s actually a problem because I’m not afraid and I want to pet them and I want to touch them. So no, I’m not afraid,” commented the dauntless Lena.

Lastly, as also mentioned in the beginning of this tribute to Lena, her life is like an open book online, and let’s say she’s very proud of not being afraid of sharing all aspects of her life with her family, friends and fans worldwide. One of the main places where you can know everything about Lena is her official YouTube channel curiously titled BANANAS (as well as her own Patreon page), where you’ll find pretty much anything about her life, her hobbies, her career, her tattoos and other nice-to-know details, including also some interviews and chats with artists the likes of Melissa Cross and CJ McMahon (Thy Art Is Murder), and with all videos being edited by one of her bandmates, guitarist Vidick. For instance, there’s a very interesting video of Lena talking about the origins of Infected Rain which you might find very entertaining and informative, showing how much she’s not only a fantastic singer, but also that she was born to be in the spotlight so natural and smooth her onscreen performance is, and that’s exactly how she wants her YouTube channel to be for the foreseeable future. “When I decided to have my own YouTube channel and I saw that the band is becoming more known around the world and people are curious about me as a person, I made myself one promise, and I’m just trying to stick with that, and that’s it. It’s just I’m always going to be myself, and if people are not gonna like what they see or what they hear, it’s not in my power to change anybody’s mind, and I will never try to do that,” said Lena, inviting us all to join her in her world of heavy music, veganism, tattoos, and of course, bananas.

Lena Scissorhands’ Official Facebook page
Lena Scissorhands’ Official VKontakte
Lena Scissorhands’ Official Instagram
Lena Scissorhands’ Official Twitter
Lena Scissorhands’ Official YouTube channel
Infected Rain’s Official Facebook page
Infected Rain’s Official VKontakte
Infected Rain’s Official Instagram
Infected Rain’s Official Twitter
Infected Rain’s Official YouTube channel

“Reality is frustrating sometimes, music has become my escape. I want to help as many people as I can with my music. I want to touch people somewhere deep inside, try to end their fears and give them that escape that they always search for. Music saved my life, but when I started to sing is when my life acquired color.” – Lena Scissorhands

Album Review – Deified / Anthrobscene EP (2020)

Playing dark, angry, philosophical and downright nihilistic Groove Metal, this UK-based outfit is ready to discuss everything that’s wrong in our society with their brand new EP.

Playing a dark, angry, philosophical and downright nihilistic fusion of Groove Metal, Metalcore and Melodic Death Metal since their inception in 2013, reflecting on some of the worst parts of today’s status quo and always targeting key political figures, nuclear annihilation and conscious degradation, Merseyside, England-based outfit Deified is unleashing upon humanity their third EP and fourth official album (taking into account their 2015 full-length opus Ascension), entitled Anthrobscene, following up on their critically acclaimed 2018 EP Inhuman Manifesto. A time capsule discussing modern times, Anthrobscene doesn’t hold back with its commentary on social media, the digital revolution, mental health, climate change, politics and more, showcasing all the talent and rage from frontman Jamie Hughes, guitarists Matthew Pike (who also produced, mixed and mastered the album) and Alistair Blackhall, bassist Tom Simm and drummer Jordan Stanley-Jones and, therefore, being highly recommended for admirers of the caustic metal blasted by renowned bands like Lamb Of God and Sylosis.

The cinematic intro Prelude heightens our senses for the acid Dark Desires, a visceral Lamb Of God-inspired tune where Jamie roars demonically accompanied by the razor-edged riffs by Matthew and Alistair, resulting in a high-speed dirty extravaganza overflowing madness and wrath, not to mention how Tom and Jordan give a lesson in groove with their respective bass and drums. Then it’s  time to bang our heads to the strident and melodic Broken Matrix, a modern-day Melodic Death and Groove Metal for the masses showcasing an ass-kicking shredding and classic beats, providing Jamie all he needs to bark like a beast, whereas sounding like a stone crusher on drums Jordan dictates the rhythm in Enemies Within, while Jamie declaims the song’s austere lyrics and Matthew and Alistair once again demolish our minds with their unrelenting guitars, all spiced up by Tom’s rumbling bass lines.

Following such electrifying display of modern metal music, a brief, futuristic Intermission sets the stage for Deified to kill once again in the frantic and sharper-than-a-knife Apotheosis/Rebirth, where the entire band sounds furious and vile from start to finish, with Jamie taking the lead with his maniacal vocals while Tom and Jordan make the earth tremble with their avalanche of low-tuned and thunderous sounds. The second to last blast of Deified’s well-balanced music comes in the form of Blood Under the Bridge, where the band’s stringed trio is on absolute fire with their riffage and thunderous bass jabs, sounding absolutely perfect for headbanging nonstop or crushing your skull into the pit, consequently keeping the album at a high level of adrenaline, before the closing song An Ode to Armageddon comes ripping with its epic start and its explosion of fulminating Groove Metal, or in other words, it’s an instrumental outro showcasing crisp riffs, piercing solos and endless stamina flowing from its bass and drums for our total delight.

In a nutshell, it’s impressive how dynamic, versatile and meaningful Deified were able to sound in only 28 minutes of music in Anthrobscene, proving how skillful the band is and why they’ve been on a roll since they started back in 2013, having already being crowned the winners of Bloodstock M2TM in 2015 and having already toured with iconic bands the likes of Cattle Decapitation, Exodus, Incite and Krysthla. Hence, don’t forget to show the guys from Deified your support by following them on Facebook and on Instagram, to subscribe to their YouTube channel and, above all, to grab your copy of their brand new EP from their own BandCamp page or from Apple Music. Anthrobscene is about everything we fear the most, and at the same time about everything we can’t live without, showing how rotten our minds are and, of course, how heavy music is yet again one of the best ways to represent all that’s wrong with the society we live in, and we must thank the guys from Deified for offering us metalheads such high quality and honest music with each and every single one of their albums.

Best moments of the album: Dark Desires and Apotheosis/Rebirth.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Prelude 1:01
2. Dark Desires 4:33
3. Broken Matrix 4:05
4. Enemies Within 3:49
5. Intermission 0:48
6. Apotheosis/Rebirth 5:18
7. Blood Under the Bridge 5:40
8. An Ode to Armageddon 3:04

Band members
Jamie Hughes – vocals
Matthew Pike – guitars
Alistair Blackhall – guitars
Tom Simm – bass
Jordan Stanley-Jones – drums

Album Review – Klendathu / Ad Nauseam EP (2020)

Bang your head to the debut EP by an Australian one-man band with a huge focus on artistic expressionism, animal rights, veganism and the inevitability of the planet’s decline.

The name Klendathu, which means means “triangular” in the Zulu language, is the homeworld of the creatures known as the Arachnids from the 1997 cult movie Starship Troopers, while the expression “ad nauseam” is a Latin term for argument or other discussion that has continued to the point of nausea. However, when you put those two together the result is a Melbourne, Australia-based Blackened Death Metal/Dark Metal one-man project entitled Klendathu, formed in the beginning of 2020 by vocalist and multi-instrumentalist Scott Masson, the lead singer for Metalcore/Deathcore act He Who Seeks Vengeance and more recently for Death Metal band Apocalyptian, both already reviewed at The Headbanging Moose. With a huge focus on artistic expressionism and with its lyrical content inspired by our ecological footprint, environmental issues, animal rights, veganism and the inevitability of the planet’s decline, the project’s debut EP Ad Nauseam will surely please fans of the music by Behemoth, Gorgoroth, Cannibal Corpse, Sylosis, Six Feet Under and Sepultura, among many others, while at the same time sending a strong message to everyone who still thinks our decaying world is doing just fine.

Scott, who’s by the way a very proud vegan and animal rights activist and environmentalist, has already hinted at that theme in his previous records with He Who Seeks Vengeance (They Will Speak Of The Ghosts That We Became, released in 2019) and Apocalyptian (Citizens Of The Apocalypse, released earlier this year), but it’s with Klendathu that Scott finally has all the freedom to be himself and express how he feels about the current state of things. In addition, just to give you an idea of how personal the album is, everything in the album was recorded by Scott himself, with the exception of the mixing part which was done by an electronic producer named Kibosh, and the final result is indeed very personal, heavy and dark.

An ominous intro grows in intensity until dark and damned sounds invade our senses in Denying The Birth, where Scott fires Doom Metal-inspired riffs and infernal blast beats while screaming like a rabid beast, reminding me of old school Behemoth with some phantasmagorical background elements to add an extra kick to it. Then once again demolishing everything and everyone with his insane beats and riffage, Scott vociferates and barks nonstop in Anger Awakening, presenting hints of the Thrash and Groove Metal by Sepultura from their Roots-era while keeping Klendathu’s core obscurity intact, followed by Bargaining The New Revelation, the most vicious and devastating of all songs, with Scott doing a great job with his harsh roars and thunderous bass and drums, therefore  generating a reverberating sound that will crush your skull mercilessly, all spiced up by teen activist Greta Thunberg’s famous one-liner “How dare you!” and other parts of her speech during the UN climate summit in New York on September 23, 2019. After such bold and dense tune, Scott adds nuances of devilish Blackened Doom to his already scorching sonority in The Prelude Depression, where you can easily feel all the anguish and hatred flowing from his demented screams while the song’s keys and piano notes give the overall result a touch of finesse. And last but not least, more groovy and enraged sounds permeate the air in Accepting The End, with Scott going full Death Metal on vocals and firing crisp guitar riffs and solos. Moreover, its modern-day Black Metal-like drums are the ultimate proof that this incendiary song couldn’t have sounded more austere than what it already is.

You can follow Scoot and his very interesting Klendathu on Facebook, showing your appreciation not only for his music but also for his fight for animal rights and his efforts against all environmental issues we’ve been facing in the past few decades, and of course purchase his debut opus Ad Nauseam directly from his BandCamp page, as well as from Apple Music and from Amazon, or stream the EP in full on YouTube and on Spotify. In the end, as long as you bang your head to Klendathu’s flammable music while doing your part in trying to make this world a better place, I’m sure guys like Scott will feel utterly inspired to keep crafting meaningful heavy music for many years to come. That, of course, if the world as we know it doesn’t come to an end first.

Best moments of the album: Bargaining The New Revelation and Accepting The End.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. Denying The Birth 6:19
2. Anger Awakening 4:52
3. Bargaining The New Revelation 5:27
4. The Prelude Depression 5:52
5. Accepting The End 5:02

Band members
Scott Masson – vocals, all instruments

Album Review – Trivium / What The Dead Men Say (2020)

It’s time to listen to what these four (un)dead men from Orlando, Florida have to say in their thrilling new opus.

Three years after the release of the excellent The Sin and the Sentence, the unrelenting Matt Heafy on lead vocals and guitar, Corey Beaulieu on guitar and backing vocals, Paolo Gregoletto on bass guitar and backing vocals, and Alex Bent on drums and percussion, collectively known as Orlando, Florida-based Heavy Metal unity Trivium, return with another round of their always cohesive and breathtaking heavy music in What The Dead Men Say, the ninth studio album and another awesome addition to their undisputed career. Recorded at Studio 606 West in Northridge, Los Angeles, California, engineered, mixed and produced by Josh Wilbur, and mastered by Ted Jensen, What The Dead Men Say brings forward a myriad of styles and sounds that will please fans of all phases of the band, from Melodic Death Metal to Progressive Metal, Black Metal, Thrash Metal and Deathcore. “We’ve found a really great place to exist in this world. We love Melodic Death Metal, we love Death and Black Metal, and we love Hardcore. What the Dead Men Say is everything we do on one record,” commented Matt about their newborn spawn.

Furthermore, like The Sin and the Sentence, the lyrical content on What The Dead Men Say was inspired by modern aspects of life, with the album’s title being taken from a science fiction novella of the same name written by American writer Philip K. Dick, first published in Worlds of Tomorrow magazine in June 1964. For instance, “Catastrophist” deals with the theme of humanity in a crisis, “Amongst the Shadows & the Stones” is about the horrors of war, “The Defiant” was inspired by R. Kelly’s documentary and abuse-enabling, “Bending the Arc to Fear” talks about the surveillance aspect of modern society, and so on, with the closing song “The Ones We Leave Behind” being about “running over” people to succeed in life, delivering a powerful message and portraying a whole new meaning in the wake of the 2019–2020 COVID-19 pandemic. With that said, it was more than obvious that the fusion of a precise and powerful music with meaningful lyrics would result in another future classic by Trivium, leaving us eager for more of their always-evolving and never-repetitive music in the years yet to come.

As soon as you hit play, the cinematic instrumental intro IX (a clear reference to the fact that What The Dead Men Say is their ninth full-length album) sets the stage for Matt & Co. to kick some ass with the title-track What the Dead Men Say, where Alex begins crushing his drums with tons of precision and fury accompanied by the scorching riffs by Matt and Corey. Bringing elements from the Progressive and Groove Metal by bands like Lamb Of God added to their core musicality, this is indeed an excellent way to start their new opus, followed by Catastrophist, one of the previously released singles of the album, keeping the groove and electricity flowing from start to finish. Moreover, its razor-edged riffs remind me of some of their compositions from their 2013 album Vengeance Falls, while Paolo makes the earth tremble with his sick bass jabs.

Then it’s time to go absolutely mental to the sound of Amongst the Shadows & the Stones, by far my favorite of all songs, presenting their trademark riffage and solos, intricate beats, tons of breaks and variations and an endless amount of violence in a hybrid of Groove, Heavy and Thrash Metal, with Matt rabidly roaring the song’s lyrics (“Bloodied corpses, broken bones reveal / A throng of clashes crushed, our nightmare sealed / Amongst the shadows and the stones”), whereas the semi-ballad Bleed Into Me, despite the solidness of the instrumental pieces (in special Paolo’s somber bass lines), doesn’t really click and falls flat after a while, but there’s nothing to worry about as this is the only low (or maybe I should say less intense) point of the entire album. And back to their usual high-octane mode the quartet fires the also amazing The Defiant, showcasing Iron Maiden-inspired guitars walking hand in hand with the vicious beats by Alex while at the same time presenting a great balance between Matt’s clean vocals and harsh screams. As a matter of fact, could this be an “alternate” version or a sequel to their classic “The Deceived” due to the sonic similarity between both songs? That’s a question only Matt, Corey, Paolo and Alex can answer, of course.

In the top-of-the-line Sickness Unto You a mellow and melancholic start gradually morphs into a violent metal feast by Trivium, with sheer rage flowing form Matt’s vocals while he and Corey demolish our ears with their razor-edged riffs, both supported by the always thunderous bass by Paolo, whereas Scattering the Ashes can be considered a good example of how diverse their new album is by blending the music from Silence In The Snow with In Waves, once again presenting a solid instrumental and spot-on backing vocals overflowing pure anguish. Then we’re treated to more of their always cryptic lyrics (“A strain of vigilance / Deep roots that all connect / We wait so diligent / Watching you / Watching you”) in Bending the Arc to Fear, starting in a Black and Thrash Metal-ish vibe and sounding perfect for slamming into the pit to the sound of the bestial drums by Alex. On a side note, I personally love the strident and metallic sound of their stringed axes throughout the entire album, enhanced by its crisp and polished overall production. Lastly, closing the album the quartet offers us all the melodic and vibrant The Ones We Left Behind, featuring the rumbling bass by Paolo accompanied by the stunning beats and fills by Alex while Matt and Corey give a lesson in riffs and feeling, concluding the album in a powerful and effective manner.

After listening to What The Dead Men Say in its entirety for a few times, you’ll quickly notice how not only the band’s technique and professionalism, but also their synchronicity, have been growing stronger and stronger through the years, pointing to an even brighter future for Matt and his bandmates in a near future and, therefore, positioning Trivium as one of the driving forces of modern-day metal music, never sounding tiresome nor predictable at all with each one of their releases. Hence, go check what the boys are up to on Facebook and on Instagram (especially because they’re all very active users of most social media platforms), subscribe to their YouTube channel, and above all that, grab your copy of such entertaining album from the Warner Music webstore or click HERE for all locations where you can buy or stream the album (and if you have some extra money go for the Japanese Edition of the album, as it contains two very special acoustic versions for the songs “Bleed Into Me” and “Scattering the Ashes”), raising your horns, banging your head and listening to what the (un)dead men from Trivium have to say through their unparalleled music.

Best moments of the album: Amongst the Shadows & the Stones, The Defiant, Sickness Unto You and The Ones We Left Behind.

Worst moments of the album: Bleed Into Me.

Released in 2020 Roadrunner Records

Track listing
1. IX 1:59
2. What the Dead Men Say 4:45
3. Catastrophist 6:28
4. Amongst the Shadows & the Stones 5:40
5. Bleed Into Me 3:49
6. The Defiant 4:29
7. Sickness Unto You 6:14
8. Scattering the Ashes 3:25
9. Bending the Arc to Fear 4:46
10. The Ones We Left Behind 4:57

Japanese Edition bonus tracks
11. Bleed Into Me (Acoustic version) 3:45
12. Scattering the Ashes (Acoustic version) 3:04

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

Album Review – Prismeria / Requiem (2020)

Behold the rise of one of the most promising acts of the current French underground scene armed with their new album of undisputed Deathcore.

Forged in the fires of Lyon, France in 2017, Thrash/Deathcore outfit Prismeria is back in action with their first full-length album Requiem, following up on the very positive feedback received for their debut effort, the 2018 EP Lost Individual Thoughts. Bringing forth a fusion of the different influences of each one of its five members, ranging from Thrash and Death Metal to more modern sounds such as Deathcore, the band comprised of frontman Cyril Weinbrenner, guitarists Benjamin Lamy and Leny Garcia, bassist Alexandre Gros and drummer Nicolas Voydeville put a lot of effort and heart into the creation of Requiem, resulting in nine original and electrifying songs that perfectly represent all the modernity and rage proposed by the band. Produced by Convulsound Productions, Requiem also showcases a crystal clear sound quality which enhances the band’s punch considerably, again proving why they’ve been recruited for so many gigs throughout France since their inception, including opening for renowned acts like Nervosa and Nervecell.

The opening track North is frantic and furious form the very first second, or in other words, a thrashing Deathcore tune where Cyril begins his growling attack accompanied by the bestial beats by Nicolas, resulting in an amazing welcome card by the quintet to newcomers to their metal realm. Then we have Native Spirit and its rebellious lyrics (“Bang your fucking head / The battalion of mad / Crossing the swamp of the fetish / Bringing the cornerstone from the underground / The shrine of their incarnate God, was set… to become”), while Benjamin and Leny bring forward a mix of insanity, melody and industrialized sound through their wicked guitars, followed by The Ceremony, a headbanging, galloping tune by Prismeria where Alexandre adds thunder and groove to the musicality with his metallic bass while Cyril keeps barking and growling like a beast.

Blending their Deathcore essence with Progressive and Groove Metal the band fires the high-octane and violent Irkalla, with its razor-edged guitar riffs walking hand in hand with Nicolas’ blast beats and fills in a lesson in modern metal music; whereas Life is an instrumental extravaganza where the band accelerates the speed and invites us all to slam into the pit together with them, showcasing classic, incendiary riffs that live up to the legacy of Metalcore and also reminding me of the sonority blasted by Danish act Xenoblight. And Nicolas kicks things off in the high-speed Passenger with his insane drums before Benjamin and Leny come crushing our heads with their sick guitars, also presenting groovy passage where we have the pleasure of listening to the band uncompromisingly jamming, while Cyril darkly vociferates the song’s cryptic words (“Born in the nuclear explosion / Raised as nothing from the nothing / Your time here is just a perception / Stand up right now and act like a king”).

Deep Into Dementia sounds and feels like a ritualistic call to arms by Prismeria, displaying a scorching riffage by the band’s guitar duo and of course endless aggressiveness flowing from Cyril’s demented roars in an awesome feast of Metalcore infused with Thrash Metal nuances. After such demolishing song it’s time for Low Hopes of Men, a serene instrumental bridge featuring crisp acoustic guitars setting the stage for The Groovy Snake, even more progressive than its predecessors with both Benjamin and Leny firing sheer dementia through their riffs while Nicolas’ beats bring forward a huge amount of intricacy, ending the album on a dense and visceral way just the way we like it in Thrash, Death and Metalcore.

You can take a full and very detailed listen at Requiem on Spotify, but of course in order to show your support to those French metallers and to properly bang your head to their modern and vibrant Deathcore you should definitely purchase the album from their own BandCamp or Big Cartel, as well as from Amazon. In addition, keep up to date with all things Prismeria by following them on Facebook and on Instagram, and by subscribing to their official YouTube channel, witnessing the rise of one of the most promising acts of the current French underground scene, and with Requiem being another solid step forward in their musical journey.

Best moments of the album: North, Irkalla and Passenger.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. North 4:58
2. Native Spirit 3:19
3. The Ceremony 3:13
4. Irkalla 3:09
5. Life (Instrumental) 3:46
6. Passenger 4:38
7. Deep Into Dementia 3:32
8. Low Hopes of Men (Instrumental) 4:16
9. The Groovy Snake 4:12

Band members
Cyril Weinbrenner – vocals
Benjamin Lamy – guitars
Leny Garcia – guitars
Alexandre Gros – bass
Nicolas Voydeville – drums

Album Review – Apocalyptian / Citizens Of The Apocalypse EP (2020)

A short and pulverizing soundtrack to the apocalypse by a ruthless Death Metal unity from Down Under.

Crafted from a mutual love for Death Metal from the late 90’s and early 2000’s by members of the underground Australian bands He Who Seeks Vengeance, Maleficium, Death Masque and Conscious Control, Melbourne-based three-piece horde Apocalyptian has been working hard since their inception to bring some first-class Old School Death Metal to our avid ear, culminating with the release of their debut EP entitled Citizens Of The Apocalypse now in 2020. Comprised of Scott Masson on vocals (who’s also the lead singer for Metalcore act He Who Seeks Vengeance, whose album They Will Speak Of The Ghosts That We Became was reviewed at The Headbanging Moose in 2019), Allan Butt on the guitars and Jacob Capper on bass, Apocalyptian are ready to pulverize your senses with the 18 minutes of classic Death Metal found in their newborn spawn, being therefore highly recommended for fans of bands such as Cannibal Corpse, Deicide, The Black Dahlia Murder, Monstrosity and Suffocation, among countless others.

The Wretchedness Within is raw, vile and berserk from the very first second, with Scott welcoming us all to the world of Apocalyptian with a demented roar before his bandmates start smashing their instruments just the way we like it in classic Death Metal, with nuances of Deathcore added to make it even more electrifying. Then we have Wage War On A Dying Planet, as sick and violent as the opening track, where Allan and Jacob are on absolute fire with their stringed weapons while Scott gets more and more demented on vocals as the music progresses, living up to the legacy of giants like Cannibal Corpse and Six Feet Under, and let’s keep slamming into the circle pit to the sound of Scorched Wasteland, with Allan delivering razor-edged riffs for our total delight while Jacob’s bass punches are in total sync with the song’s insane beats. Needless to say, Scott is once again venomous with his deep guttural barks, which is also the case in the title-track Citizens Of The Apocalypse, as devastating as its predecessors, bringing forward infernal riffs and beats and inspiring us to bang our heads to the vicious riffage by Allan, with Jacob adding an extra touch of heaviness to the music with his low-tuned bass.

If you’re searching for a good (and extremely heavy) soundtrack for the end of days that seem to be approaching us all faster than we could have ever imagined, you should definitely check what Apocalyptian are up to on Facebook and purchase your copy of Citizens Of The Apocalypse (available for a full listen on Spotify, by the way) from the band’s own BandCamp page or from Amazon. Citizens Of The Apocalypse might be short in duration, but it’s indeed a solid and pulverizing album of classic Death Metal thoroughly crafted by three talented musicians from Down Under that points to a great future ahead of them. As long as the apocalypse doesn’t happen in the coming months or years, of course.

Best moments of the album: The Wretchedness Within.

Worst moments of the album: None.

Released in 2020 Independent

Track listing
1. The Wretchedness Within 4:40
2. Wage War On A Dying Planet 4:07
3. Scorched Wasteland 5:58
4. Citizens Of The Apocalypse 3:41

Band members
Scott Masson – vocals
Allan Butt – guitars
Jacob Capper – bass

Album Review – Mindead / Mindead (2019)

Playing a gritty kind of Melodic Groove Metal, this German squad is ready to put Stuttgart on the world map of modern metal music with their brand new album.

Hailing from the beautiful city of Stuttgart, capital of southwest Germany’s Baden-Württemberg state, Thrash/Groove Metal five-piece act Mindead plays a gritty kind of modern metal music with lots of passion and a unique flavor, having quickly established themselves in the local scene surrounding Ludwigsburg and Stuttgart since their inception in 2001. After the release of their debut EP Still Empty in 2004, followed by their first full-length album Abandon All Hope in 2008 (re-released in 2016, by the way) and more recently their sophomore opus Controlling The Tides in 2015, it’s time for Mindead to strike once again with their third installment, self-titled Mindead, a solid statement showing the band has become aware of their own self and that they are proud of what they currently stand for.

And the band comprised of frontman Timo Fielker, guitarists Pablo Mateo and Chris Lohrmann, bassist Benedikt Wagner and drummer Benjamin Hölle had a strong and clear idea of what they wanted to do in their new album, translating that into nine solid and vibrant compositions where the quintet never repeats themselves. “Let’s do something different, deeper, more intense, heavier. We’ll still sound like us, no matter what others may say,” commented Mindead about what the listener can expect to find in the album, an amalgamation of heavy and melodic styles highly recommended for fans of bands like Slipknot, Lamb Of God, Killswitch Engage, Tool, Machine Head and Deftones, just to name a few.

An atmospheric intro is gradually “invaded” by the classic beats by Benjamin and the crushing riffs by Pablo and Chris in The Edge, evolving into a modern-day Melodic Groove Metal feast and sounding neck-breaking and very harmonious from start to finish; whereas Killing The Flame is as groovy as it can be thanks to the rumbling bass by Benedikt, while frontman Timo alternates between deranged screams and darker, more serene vocals, also bringing elements from more contemporary styles like Metalcore and Deathcore. The band’s electrifying party goes on in One Last Time, presenting a similar sound as the current American metal scene and feeling a lot more introspective and melodic than its predecessors. Moreover, pay attention to the amazing job done by Benedikt with his metallic bass lines, adding more stamina to the overall result.

And the dark clouds from the previous song keep blocking any sunlight in At The Borderline while the band blasts minimalist sounds and a female voice sends an obscure message, before Timo begins roaring with a lot of anguish and rage. In the even more modern and melodic Every Second, Timo sounds absolutely enraged on vocals while the rest of the band keeps the ambience grim and pensive with their razor-edged riffs and rhythmic beats, generating a catchy musicality full of interesting breaks and variations. Then drinking from the same ravenous fountain as Lamb Of God the quintet fires the excellent The Narcissist King, an ass-kicking Groove Metal tune with Timo stealing the spotlight with his growls while Pablo and Chris continue to slash our ears with their riffage.

All That’s Left is a touching and gripping ballad by Mindead where Benjamin adds some punch to the acoustic guitars with his precise beats, while Timo delivers his most passionate vocal performance of the whole album, and distorted lines permeate the air in To Fight A Demon, igniting the most Slipknot-inspired song of the album and presenting classic and heavy-as-hell riffs by the band’s dynamic guitar duo, which provide Timo all he needs to thrive with his Black Metal-ish vocals. Lastly, closing the alum we have the obscure and groovy Tired, where Pablo, Chris and Benedikt sound at the same time aggressive and gentle with their stringed weapons. In my humble opinion, the only issues with this song is that it goes on for a little too long, albeit still dense and entertaining. Moreover, in most versions of the album you’ll also be treated to an acoustic version of All That’s Left, a beautiful rendition of what’s already a damn good song, enhancing the reach and all  other details of Timo’s vocals considerably.

In summary, the talented Mindead are more than ready to put their hometown Stuttgart and the entire Germany on the map of modern metal music with their new album, breaking free from the confines of local stardom by effectively blending classic and modern-day elements in their inspiring creations and pointing to a bright future ahead of them. Hence, don’t forget to follow the band on Facebook, to subscribe to their YouTube channel, to listen to more of their music on Spotify and, of course, to purchase their self-titled opus from your favorite location by clicking HERE. In case modern and very melodic Groove Metal is your cup of tea, simply give Mindead a chance and you won’t regret at all; quite the contrary, I bet you’ll end up at a concert venue in Stuttgart having a beer and raising your horns to such up-and-coming Teutonic squad.

Best moments of the album: The Edge, The Narcissist King and All That’s Left.

Worst moments of the album: Tired.

Released in 2019 Metalapolis Records

Track listing
1. The Edge 4:30
2. Killing The Flame 3:48
3. One Last Time 5:25
4. At The Borderline 4:37
5. Every Second 3:53
6. The Narcissist King 3:44
7. All That’s Left 3:13
8. To Fight A Demon 5:26
9. Tired 6:07
10. All That’s Left (Acoustic) (Hidden track) 3:06

Band members
Timo Fielker – vocals
Pablo Mateo – guitar
Chris Lohrmann – guitar
Benedikt Wagner – bass
Benjamin Hölle – drums

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

Album Review – Violent Life Violent Death / Sadness Rains EP (2019)

Charlotte, North Carolina’s own Metalcore institution returns with a venomous new EP, sounding as heavy, acid and violent as usual.

Owners of the best EP of 2018 as per our humble Top 10 Hard Rock/Heavy Metal Albums of 2018 with their amazing release Come, Heavy Breath, Charlotte, North Carolina-based Metalcore unity Violent Life Violent Death is back in action this year with another heavy-as-hell EP entitled Sadness Rains, highly recommended for admirers of the music by Every Time I Die, Zao and The Dillinger Escape Plan. Furthermore, if there’s one thing that really helps Violent Life Violent Death sound so cohesive from one release to another is their immaculate lineup, still formed by Scott Cowan on vocals, Joseph Benham and Joey Park on the guitars, Justin Campbell on bass and David Holquin on drums, building a solid and interesting connection between albums.

A cinematic intro morphs into the band’s characteristic austere sonority in Choke, with Scott firing his infernal gnarls manically while the rest of the band blasts sheer obscurity and hatred through their instruments, not to mention how Joseph and Joey will pierce your skin deep with their riffs. And it looks like Violent Life Violent Death decided to venture through much darker paths in their new EP, as Love In Violet begins in a mournful, somber way before exploding into high-octane Metalcore led by David’s frantic beats and fills, sounding as sharp and visceral as it can be; followed by the title-track Sadness Rains, another bestial display of modern-day Metalcore and Deathcore that will inspire you to slam into the pit, with Justin’s bass and David’s drums generating a rumbling ambience perfect for Scott to roar like a demonic entity. In Hissing Tongue the band sounds even faster and more demented, with the stringed trio Joseph, Joey and Justin being on absolute fire throughout the entire song, providing Scott all he needs to thrive with his evil vociferations and, therefore, resulting in what’s my favorite of the five songs. And last but not least, Pray concludes the EP with huge dosages of brutality, rage and darkness, with Justin extracting tons of groove form his bass while Joseph and joey fire crystalline but utterly venomous riffs from their axes.

In a nutshell, Sadness Rains, available for a full listen on Spotify, might not be as impactful as Come, Heavy Breath, but it’s just as heavy, vile and aggressive, keeping the band’s core essence burning bright and pointing to a healthy future for this American band that’s already more than just a promise. Having said that, what are you waiting for to follow them on Facebook, subscribe to their YouTube channel and grab your copy of Sadness Rains from their Big Cartel page or from the Innerstrength Records’ BandCamp page, as well as from Apple Music or from Amazon (or simply click HERE for a list of all places where Sadness Rains is available)? Now after a trilogy of ass-kicking EP’s by Violent Life Violent Death it’s time for those talented metallers to release a full-length opus to blow our minds with their rage and electricity, don’t you agree?

Best moments of the album: Love In Violet and Hissing Tongue.

Worst moments of the album: None.

Released in 2019 Innerstrength Records

Track listing
1. Choke 3:56
2. Love In Violet 4:25
3. Sadness Rains 2:40
4. Hissing Tongue 2:13
5. Pray 3:38

Band members
Scott Cowan – vocals
Joseph Benham – guitar
Joey Park – guitar
Justin Campbell – bass
David Holquin – drums