Concert Review – Heavy Montréal 2019 Day 2 (Parc Jean-Drapeau, Montreal, QC, 07/28/2019)

The fans at Heavy Montreal will always be thankful to the almighty Slayer for their final and utterly devastating concert in Quebec.

INTRODUCTION: Alive and Kicking 10 Years On

The 10th anniversary of Canada’s biggest and most important metal festival, our beloved Heavy Montreal, couldn’t have been celebrated in greater fashion than what metalheads from all over Canada and from several other countries were able to enjoy at the always beautiful Parc Jean-Drapeau. Although this was just my second time at Heavy Montreal, not counting the two editions of Heavy T.O. in 2011 and 2012, I must say the overall organization this year was a lot better than in 2014 (check our reviews for both days of the 2014 edition HERE and HERE), with a better layout, better access and exit, better facilities, food trucks, washrooms and so on, which was reflected in the happiness and good vibes flowing from all fans that were literally burning under a merciless sun in a (finally) scorching hot Canadian summer. As I was only able to attend day 2 of the festival, I’m not going to talk about any of the Saturday attractions, so if you’re curious to know how that day was go check the festival’s official Facebook page. And if you’re a hungry metalhead visiting Montreal for Heavy Montreal next year or any other metal concert, I highly recommend Il Focolaio for a delicious pizza or calzone to recharge your batteries before slamming into the circle pits.

SKILLET

Let’s begin with the first band I saw on Sunday, American Christian Hard Rock act SKILLET, who began their fun but not-so-heavy performance at 4:05pm when the sun and the temperature were hotter than the fires of hell. John Cooper, Korey Cooper, Seth Morrison and Jen Ledger put on a pretty good concert during the 45 minutes they had, with songs like Legendary, Sick of It and Hero receiving a very warm feedback from the crowd. I honestly had no idea they were a Christian band, but who cares? They might not be as heavy as most attractions of the festival (or maybe they’re too heavy for less extreme festivals), but they play with a lot of passion and energy, and I guess everyone who was watching their performance noticed that and showed a lot of respect for the band. Not only John is a great frontman, but the two girls Korey (who’s John’s wife) and Jen kicked ass on the guitar, piano, drums and vocals, bringing an amazing feminine touch to the entire festival. In a nutshell, if a heavier-than-usual (but not too extreme) version of modern-day Rock N’ Roll is your cup of tea, I’m sure you’re going to have a very good time watching Skillet live.

GAMMA RAY

As soon as Skillet’s performance was over, it was time for German Power Metal masters GAMMA RAY to fill the airwaves of the festival with some true old school Heavy Metal, especially because the band comprised of the iconic vocalist and guitarist Kai Hansen, bassist Dirk Schlächter, guitarist Henjo Richter, drummer Michael Ehré and second (or first) vocalist Frank Beck was the only attraction of the entire festival who played that type of music. I’m a longtime fan of Mr. Hansen’s music and I was very happy I could witness them playing at Heavy Montreal instead of another Alternative Metal band, but I don’t think most of the attendees had the same reaction when the band hit the stage. I mean, there were still countless fans banging their heads and raising their fists to classics like Master of Confusion, Heavy Metal Universe and Send Me a Sign, but there was something missing to make the show memorable. And to be fair, I still don’t understand why the band needs Frank Beck; he’s a good vocalist, but he doesn’t bring any real value to Gamma Ray’s performance. His microphone was lower than Kai’s, he didn’t sing most of the songs, and the songs he did sing were just OK. I think putting that crazy dude that was all wet dancing samba (and several other rhythms) nonstop on the gray mud to dance on stage would have been a lot more fun than Frank’s performance, don’t you agree?

IN THIS MOMENT

There was no time to breathe as, the second Gamma Ray were over, we were all able to witness a fantastic and very theatrical performance by the stunning Maria Brink and her henchmen (and henchwomen), collectively known as American Alternative Metal/Metalcore band IN THIS MOMENT. The aforementioned Maria, who I dare to say looks and feels like an evil (and of course improved) version of Lady Gaga, together with Chris Howorth on lead guitar, Randy Weitzel on rhythm guitar, Travis Johnson on bass and Kent Diimmel on drums, plus the two sexy masked dancers who worked as some sort of “mirrors” to Maria, delivered a truly hypnotizing concert, with their music being a blend of the blasphemy and anti-religiousness of Marilyn Manson and Cradle of Filth with the insanity of Slipknot and Ghost. The final result was obviously fantastic, with my two favorite songs of their setlist being by far the demented Big Bad Wolf and the closing song Whore, where Maria’s dancers entered dressed up as characters from the excellent dystopian novel and TV series The Handmaid’s Tale, holding sings with the words “SHAME” and “WHORE”. In the end, In This Moment kicked some serious ass without a shadow of a doubt, leaving all fans at Heavy Montreal extremely satisfied and eager for more of the music by metal’s favorite “whore” in a not-so-distant future.

HEAVY MANIA

When the next attraction from the Apocalypse Stage started, American stoner metallers Clutch, I went for a walk as I needed a break and some water. Terror and Demolition Hammer were on fire on the Forest and Garden stages, respectively, but I decided to watch the last wrestling show of the festival in the area called HEAVY MANIA, featuring wrestlers of the International Wrestling Syndicate like The Green Phantom, Sexxxy Eddy and Tabarnak De Team. The name of the fatal-four battle I was able to watch was “Le Cauchemar D’Oppenheimer”, and it was so fun I even missed the beginning of Slash’s concert. Well, it was definitely worth it, with Sexxxy Eddy winning the match amidst some trash talk and a few destroyed tables, just the way we like it in underground wrestling.

SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS

Back to the Heavy Stage, it was time for the one and only SLASH, accompanied by Myles Kennedy on vocals, Frank Sidoris on the guitar, Todd Kerns on bass and Brent Fitz on drums to bring old school Rock N’ Roll and Hard Rock to our avid ears. It was still very hot in Montreal, but because the show started at 7:15pm the sun was already lower and we were able to enjoy the concert without sweating like pigs. Myles Kennedy, who looks like a rocker version of Kevin Bacon, is such a great singer to the point I even forgot it was Slash on the guitar at times, showcasing all his refined skills in excellent songs like Anastasia, World on Fire and, of course, their cover version for one of Guns N’ Roses biggest hits, Nightrain. Slash was precise as usual with his unmatched riffs and solos, not to mention how happy he looked on stage, making me wonder if he’s only playing with Guns N’ Roses nowadays to have enough money to fund his solo career. Well, I’m actually happy he’s in both bands, so I can’t complain about that at all. Anyway, at this point of the festival we had already had several subgenres of heavy music, as you can see, except for our good old Thrash Metal. Guess what happened next?

ANTHRAX

From 8:15pm on, Heavy Montreal became Thrash Montreal, with Anthrax and the almighty Slayer leading us all the way into the eye of the circle pit. First, it was American Thrash Metal institution ANTHRAX who revved up our engines with their punk/hardcore-infused thrash, blasting classic moshing hymns like Caught in a Mosh, Got the Time and Antisocial for our vulgar delectation, as well as their already classic tribute to the deceased Dio, Lemmy and Dimebag with the beautiful In The End. Joey Belladonna, Jon Donais, Scott Ian, Frank Bello and Charlie Benante were unstoppable during their short but extremely vibrant performance, inspiring all fans to raise their fists and horns in the air and mosh like there’s no tomorrow. Moreover, I don’t know why but the festival organization decided it was a good idea to throw more cold water on the crowd when it was already nighttime, making some people run away from the stage due to that. Maybe they were trying to calm down the more excited fans who were crushing their skulls into the circle pit, who knows. What I know for sure is that I love Thrash Metal, just like Scott Ian asked us all, and I was more than happy to be able to witness one of the bands of the Big Four once again in my life.

SLAYER

Lastly, the moment everyone at Heavy Montreal was waiting for. The heaviest, most evil and most demonic band in the history of music, Thrash Metal titans SLAYER, took the province of Quebec by storm for one final time before calling it quits by the end of this year, which is something I still cannot believe but that makes total sense taking into account their age, everything that has happened to the band in the past decade, and the humongous amount of energy needed to play their music at the required (and insane) level. Although the opening acts might not have been as demolishing as their 2018 concerts in Canada, when Testament, Behemoth, Anthrax and Lamb Of God opened for them like their pulverizing concert at the Budweiser Stage in Toronto, Tom Araya, Kerry King, Gary Holt and Paul Bostaph were beyond possessed during their incendiary performance at Heavy Montreal, proving once and for all why you can play Black Metal, Death Metal or any other type of extreme music, but you’ll never be as badass as Slayer.

If their 2015 album Repentless was indeed their last studio album ever, let’s say they’re retiring in style, as the intro Delusions of Saviour plus the frantic thrashing hymn Repentless were everything they needed to set fire to Heavy Montreal. After that insane start it was pure Armageddon, with old school classics such as Evil Has No Boundaries and Mandatory Suicide being intertwined with newer songs like World Painted Blood and Payback (as Mr. Araya said, “payback is a bitch, motherfucker!”), and even songs they haven’t played in a while such as Gemini, Temptation and Born of Fire. By the way, Slayer played nothing more, nothing less than FIVE songs from Seasons in the Abyss, including of course the battle hymn War Ensemble (where Mr. Araya kindly asked us all to scream “WAAAAAAAAAR!” together with him), the serial killer-inspired classic Dead Skin Mask, and obviously the album’s flawless obscure title-track, or in other words, half of their 1990 masterpiece for our total delight. Furthermore, it was absolutely amazing witnessing all fans at the festival screaming “SLAAAAAYYYYEEEERRRR!”, “FUCKIN’ SLAYER!” and even “OLE OLE OLE OLE! SLAYER, SLAYER!” at the top of their lungs before, during and after the concert, showing a beautiful connection with the band as they masterfully played an avalanche of Thrash Metal classics amidst the flames burning on stage, ending with the all-time classic Angel of Death, including Mr. Araya’s famous demented roar at the beginning.

Gary Holt was once again fantastic on the guitar (needless to say, I can’t wait for the next Exodus album), Paul Bostaph couldn’t stop smashing his drums and our skulls, and Kerry King was the usual beast incarnate shredding his guitar chords manically from start to finish while all fans slammed their souls into the never-ending mosh pits. However, it was Tom Araya who stole the show with a perfect vocal performance, and after everything was said and done he didn’t leave the stage until he could thank each and every fan at the festival for our passionate support through the years. We could clearly see he was very emotional, very touched by our love for Slayer, and we were able to read his lips when he said “I’m gonna miss you, guys…” while tears fell from his eyes. Well, we’re going to miss his screams too, if that’s actually going to be the end of Slayer. Kerry King didn’t cry but he simply raised both fists in the air and roared like a wild beast, as the “demonic machine of Thrash Metal” he is. Maybe that’s his way of saying “thank you!” and crying tears of joy? At least that’s what all fans kept doing while returning from the festival on the subway, screaming SLAYER! SLAYER! SLAYER! nonstop. And that’s what we’ll keep doing forever and ever, even if Quebec, the rest of Canada and any other part of the world never see the band playing live again after this farewell tour is over. Thank you, SLAAAAAAAAAAAAYYYYYEEEERRRRR! Heavy Montreal loves you!

Setlist
Delusions of Saviour
Repentless
Evil Has No Boundaries
World Painted Blood
Postmortem
Hate Worldwide
War Ensemble
Gemini
Disciple
Mandatory Suicide
Chemical Warfare
Payback
Temptation
Born of Fire
Seasons in the Abyss
Hell Awaits
South of Heaven
Raining Blood
Black Magic
Dead Skin Mask
Angel of Death

Band members
Tom Araya – vocals, bass guitar
Kerry King – guitar
Gary Holt – guitar
Paul Bostaph – drums

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

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

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

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

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

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

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

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

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

Released in 2019 233 Records

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

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

Album Review – Be Under Arms / Red Wave Is Coming (2019)

A red wave of first-class Melodic Death Metal and Metalcore is coming to crush your senses, and there’s nothing you can do to stop it.

It’s time for the Melodic Death Metal/Metalcore squad known as Be Under Arms to take the world of heavy music by storm once again with their razor-edged and modern sonority in Red Wave Is Coming, their fourth full-length effort and an amazing follow-up to their previous releases, those being Let Shots Will Be Your Music (2014), Doomed to Life (2016), and more recently Evil Tales Of The Northern Country (2017). If you have never heard of Be Under Arms before, get ready to be stunned by the uniqueness of their music, instantly feeling the urge to join their army of unstoppable metal insurgents.

Combining Metalcore with Groove and Melodic Death Metal since their inception in 2013, this Moscow-based unity now comprised of the dynamic duo Anna “White Queen” Logacheva and Vladimir “Szandor” Nasonov on vocals, Stanislav Shtrih on the guitar, Dmitriy Kashirin on bass and Denis “John Doe” Vinitskiy on drums is on absolute fire in Red Wave Is Coming, always loyal to their foundations and still presenting their trademark military attire, dystopian atmosphere and austere lyrics about controversial social topics. Featuring a classic, rebellious album art by Estonian designer Darius Alas (Midiankai Arts), Red Wave Is Coming is not only a highly recommended album for admirers of modern metal music, but it also cements the band’s name as one of the biggest new exponents of the scene.

Bizarre, captivating sounds suddenly morph into a darkened intro entitled The Tsar, led by Stanislav’s metallic riffs, sounding not only slow and creepy, but also entirely sung in Russian by both Anna and Vladimir to give it a rawer taste, before all explodes into the band’s modernized Melodic Death and Groove Metal in the title-track Red Wave Is Coming, where Denis and Dmitriy smash their respective instruments nonstop. Furthermore, pay good attention to the song’s acid lyrics dealing with the most obscure side effects of having too much power (“I feel how darkness grows around me / This crown has become my burden, a sign that I’m not free / It presses like a crown of thorns / And blood pours from my eyes / All this gold and beauty / Such a good disguise”). And Rasstrel, another song fully sung in their mother tongue, is in my opinion one of the most fun tracks of the album showcasing amazing performances by all band members, in special Anna and Vladimir, not to mention it’s simply perfect for jumping up and down to the crushing and thunderous riffs and punches by both Stanislav and Dmitriy.

The Untouchables is another classic tune by Be Under Arms, alternating between faster and more aggressive passages and more melodic, headbanging moments, keeping the album at a high level of electricity, whereas Road to the Scaffold is a lot more introspective and obscure, almost sounding like a dark ballad, with Anna and Vladimir attacking us all with both their clean vocals and harsh roars while Denis add a touch of Doom Metal to the musicality with his beats. Then we have another one of my favorites, the violent No-Go Zone, bringing that classic Be Under Arms sounding closer to all of their previous releases, with Stanislav being ruthless with his scorching riffs while Dmitriy’s bass sounds as hammering as it can be. In other words, this is a top-notch warlike-inspired Groove Metal composition that will please all fans of the band without a shadow of a doubt, while New Crusader is a mid-tempo song that blends the heaviest elements from Metalcore and Melodic Death Metal, being perfect for slamming into the circle pit while Denis dictates its rebellious rhythm.

Putting the pedal to the metal those Russian metallers deliver the frantic and visceral Breathe This, where Stanislav, Dmitriy and Denis generate a flawless atmosphere for Anna and Vladimir to growl and gnarl like two rabid beasts, followed by The Chosen One and its hypnotizing rhythm where Anna’s vocals truly represent her “White Queen” monicker, while Vladimir is responsible for bringing darkness to the music with his deep roars. Slightly different from their usual sound, which doesn’t mean it’s a bad song, this interesting tune would have worked better if a little shorter, I might say. Anyway, back to a more enraged sonority, the band offers us the insanely heavy The Death Instinct, presenting an amazing balance between melody and sheer aggression, and with its guitars and drums sounding bestial from start to finish for our total delight while Anna growls the song’s lyrics manically (“You are my brothers and I bear the burden for you / And every day I lift a Sisyphus stone / For prosperity but not for conviction / Hoping for the future without pain”), building an instant connection with the somber Bloody Shores, where acoustic guitars are intertwined with electrified and vile tones, resulting in a multi-layered creation by Be Under Arms that puts a melancholic and mesmerizing ending to the album.

In summary, as aforementioned Red Wave Is Coming (available for a full listen on Spotify) is undoubtedly a fantastic entrance door to the world of Be Under Arms if you know nothing about those Russian metalheads yet. Hence, don’t forget to follow them on Facebook and VKontakte, listen to more of their music on YouTube and on SoundCloud, and purchase your copy of such entertaining album from Be Under Arms’ own BandCamp page or webstore (in digibook format or digibook + “Helmet” shirt combo), as well as from iTunes or from Amazon. As the destructive red wave by Be Under Arms approaches, there’s nothing better than a good dosage of their ass-kicking Metalcore and Melodic Death Metal to serve as the soundtrack to the apocalypse, don’t you agree?

Best moments of the album: Rasstrel, No-Go Zone and The Death Instinct.

Worst moments of the album: The Chosen One.

Released in 2019 Independent

Track listing
1. The Tsar 2:45
2. Red Wave Is Coming 4:44
3. Rasstrel 3:55
4. The Untouchables 4:19
5. Road to the Scaffold 5:11
6. No-Go Zone 3:58
7. New Crusader 4:26
8. Breathe This 3:53
9. The Chosen One 4:04
10. The Death Instinct 3:56
11. Bloody Shores 3:24

Band members
Anna “White Queen” Logacheva – vocals
Vladimir “Szandor” Nasonov – vocals
Stanislav Shtrih – guitar
Dmitriy Kashirin – bass
Denis “John Doe” Vinitskiy – drums

Album Review – Sepsiss / Badd Blood EP (2019)

Bang your head to the debut EP by this emerging American outfit that plays uncompromising metal combining a more traditional sound with modern rhythms and urban hardcore.

Founded by vocalist Melissa Wolfe and guitarist William Savant in 2011 in Manchester, a city in the southern part of the U.S. state of New Hampshire, the incendiary female-fronted Hard Rock and Alternative Metal band that goes by the name of Sepsiss has been wowing crowds across their home state since their inception, playing uncompromising metal that combines a more traditional sound with modern rhythms, light synths and a blend of urban hardcore. Now in 2019 this five-piece outfit comprised of the aforementioned Melissa on clean vocals and William on harsh vocals and on the guitar, accompanied by Cam Loud also on the guitar, Mr Goodbarz on keyboards and Robbert Pann on drums is unleashing a very dynamic and fun EP entitled Badd Blood, offering fans of modern metal music eight unique tracks which prove that female-fronted metal bands can offer some of the most powerful, intriguing and diverse sounds in the genre, just like what bands such as their rock heroes Heart and more recently Evanescence have always done.

A cinematic intro evolves into a feast of modern-day Hardcore and Alternative Metal entitled Fair To Say led by Melissa’s classic vocal lines, giving life to the song’s lovesick lyrics (“You are my favorite vice, / The way you’re squeezing me tonight. / The way you’re screaming songs slice the sky for me… / I fell in love with your void, / I filled it up on my own accord. / And you’re bored with being broken… / SO I’LL BREAK US UP!!!!”), as if Green Day met Evanescence. Then with William making a flammable vocal duet with Melissa we have To Write Hate On His Arms, showcasing straightforward and precise beats by Robbert while Mr Goodbarz adds a touch of delicacy and madness to the background with his keys, resulting in what’s in my humble opinion the best track of the EP.

William and Cam bring tons of heaviness to the band’s modern Hard Rock in Sky Is Falling, a song that’s considerably faster and more dynamic than its predecessors, with the music remaining vibrant and fresh for over five minutes in an interesting fusion of different styles like Metalcore, Melodic Death Metal and contemporary Hard Rock; followed by The Swarm, where the band switches their gears to a more alternative sonority with Mr Goodbarz and Robbert keeping the atmosphere as modern as possible in perfect sync with the guitar riffs. Black Light Invasion follows a similar pattern, with Melissa’s vocals getting sexier as the music progresses, sounding groovy and catchy from the very first second and, therefore, being highly recommended for hitting the dance floor while both William and Cam kick some serious ass with their riffs and solos. And in Falling Unloved the band accelerates their pace to a frantic fusion of the music by Evanscence with Hardcore, Punk Rock and even Ska, crushing their instruments mercilessly and offering their fans a good reason to crack their necks headbanging.

And their Rock N’ Roll party goes on in Force You To Lay Down, where the vocals by Melissa sound inebriating and captivating, while her bandmates make sure the energy level doesn’t go down not even a bit by pounding their instruments nonstop. Last but not least, Eyes Of Empathy closes the album with five minutes of first-class Hard Rock, showcasing lyrics that are as catchy as they can be (“Eyes of empathy can never reason why… / It could never mend the things I’ve seen tonight… / Forever quell the screams of your denial… / I won’t ever wake.”). Not only that, Melissa is on absolute fire on vocals, with the amount of electricity and rage brought forth by William, Cam and Robbert being beyond outstanding.

Do you have what it takes to enter the alternative and metallic lands ruled by Melissa, William & Co.? You can certainly show your total support to such up-and-coming band by following them through their official Facebook page, by subscribing to their YouTube channel, by listening to their music on Spotify, and obviously by purchasing Badd Blood from the band’s own webstore as a regular physical version or as an autographed edition. And let’s hope Sepsiss keep on rocking and inspiring more and more women to follow a similar musical path not only in their home state, but anywhere else in the world where good music is appreciated, all in the name of Rock N’ Roll.

Best moments of the album: To Write Hate On His Arms and Eyes Of Empathy.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. Fair To Say 3:54
2. To Write Hate On His Arms 3:20
3. Sky Is Falling 5:17
4. The Swarm 2:27
5. Black Light Invasion 3:58
6. Falling Unloved 3:55
7. Force You To Lay Down 3:37
8. Eyes Of Empathy 5:03

Band members
Melissa Wolfe – vocals
William Savant – vocals, guitars
Cam Loud – guitars
Mr Goodbarz – keyboards
Robbert Pann – drums

Album Review – Voidnaut / Nadir (2019)

A thrilling and very detailed album of Melodic Groove Metal made in Greece, overflowing heaviness, punch and electricity.

Hailing from the always vibrant city of Athens, Greece, Heavy/Groove Metal act Voidnaut was formed in 2015 by guitarist Kostas Krikos and vocalist Stavros Benardo as a small project, gradually evolving into a much bolder and violent beast with the additions of drummer Kostas Alexakis (Acid Death) and bassist Kostas Tasakos (Double Square) not long after. With influences ranging from Disturbed to Pantera and the overall sound of American Heavy Metal, Voidnaut are unleashing upon us their debut full-length album, entitled Nadir, mixed and produced at Devasounds Studios by Fotis Benardo (SixforNine, Septic Flesh), mastered by Steve Lado (Tardive Dyskinesia), and featuring a modern artwork by Giannis Nakos (Remedy Art Design). And overflowing heaviness, punch and electricity, of course.

The acoustic guitar by Kostas Krikos in the intro Nadir works as the “calm before the storm”, warning us all there’s a demolishing feast of Groove Metal coming entitled Back from the Grave, a straightforward and catchy tune where Kostas Alexakis provides those traditional pounding beats we love in heavy music, while its lyrics remind me of some of the most interesting creations by bands like Dream Theater and Trivium (“I shut off the engine of light and in darkness I reigned / To another dimension,My redemption… / All I need is a sign-an unknown sacrifice I’m the keeper of light. / In my hour of pain wicked forces I gained for I’m back from…”). Then get ready to bang your head to a fusion of Southern and Groove Metal named Hunted, where Stavros does a great job with his raspy, angry vocals while Kostas Tasakos extracts pure metallic lines from his bass; and Stavros kicks off the flammable This Pain of Mine with a demented scream, while the rest of the band fires modern-day Alternative and Groove Metal lines, sounding perfect for jumping up and down during their live performances.

Control is another smashing tune by Voidnaut led by Kostas Alexakis’ thunderous beats and spiced up by Kostas Krikos’ electryfing riffs and solos, with all four band members being on fire from start to finish in an awesome display of modern metal music. Then more modernity and contemporary sounds invade our ears in Porcelain Lady, displaying a great sync between Kostas Tasakos and Kostas Alexakis with their rumbling bass punches and beats, respectively, while Stravos keeps roaring like a pro on vocals; and putting the pedal to the metal the band offers us Damage Done, blasting sheer rage and groove from their sharp instruments, with highlights to Kostas Alexakis’ incendiary performance on drums, not to mention the amazing guest vocals by Fotis Benardo and guest guitar solo by Bob Katsionis (Firewind, Outloud).

Kostas Krikos keeps cutting our skin deep with his razor-edged riffs in Scarred for Life, highly inspired by the music crafted by icons like Killswitch Engage, Light The Torch and other exponents of the Metalcore and Alternative Metal scene, with Stravos simply kicking some serious ass with his screams, followed by Road to Nowhere, probably the most commercial track of the album (which doesn’t mean it’s bad at all, though, just less electrifying), presenting solid instrumental pieces spearheaded by Kostas Krikos and his in-your-face riffs. Lastly, closing the album Voidnaut deliver tons of aggression in Savage World, drinking from the same fountain as bands like Trivium, sounding groovy, heavy-as-hell and vibrant, with Kostas Alexakis once again stealing the spotlight with his rhythmic and furious drumming. They’re definitely on beast mode in this great song, which obviously puts a climatic ending to the album, therefore leaving us eager for more of their modern-day Melodic Death and Groove Metal.

It’s quite easy to feel all of Voidnaut’s groove and punch from Nadir, as all you have to do is listen to the album in full on Spotify, or purchase it from iTunes or Amazon. You can also keep updated with all things Voidnaut such as tour dates and new releases by following the band on Facebook, and enjoy more of their music (and videos) by subscribing to their YouTube channel, showing your true support to another excellent Hellenic band that will surely keep fighting for metal music for years to come with their talent, passion and energy. Needless to say, we should all thank them for that by banging our heads nonstop to their powerful music.

Best moments of the album: This Pain of Mine, Control and Damage Done.

Worst moments of the album: Road to Nowhere.

Released in 2019 7hard/7us Records

Track listing
1. Nadir 1:17
2. Back from the Grave 4:16
3. Hunted 3:20
4. This Pain of Mine 4:15
5. Control 3:38
6. Porcelain Lady 4:26
7. Damage Done (feat. Fotis Benardo & Bob Katsionis) 4:36
8. Scarred for Life 4:26
9. Road to Nowhere 4:15
10. Savage World 3:52

Band members
Stavros Benardo – vocals
Kostas Krikos – guitars
Kostas Tasakos – bass
Kostas Alexakis – drums

Guest musicians
Fotis Benardo – vocals on “Damage Done”
Bob Katsionis – guitar solo on “Damage Done”

Interview – Through The Noise

It’s time for vocalist Jowl Nyberg and guitarist Marcus Skantz to make some noise in this fun interview where they talk about their excellent band Through The Noise and their brand new album Dualism .

Through The Noise

The Headbanging Moose: Could you please introduce yourselves to our readers? How would you define Through The Noise?

Jowl Nyberg: I’m Jowl and I’m the vocalist and one of the founders of the band. We’ve always struggled to define Through The Noise, at least genre-wise, since we’ve never tried to fit in to a specific genre. We’re just a couple of guys who enjoy heavy music and try our best to present our listeners with just that: heavy music. We play metal with a touch of hardcore, that’s as close as we can come when we try to define it.

Marcus Skantz: Marcus and one of the guitarist in the band. To me, Through The Noise is a high energetic with both a lot of aggression and big melodies.

THM: Your brand new album Dualism is a fun and electrifying feast of heavy and hardcore sounds, but also full of melody and very polished. How was the recording process of the album, and did everything go according to your original plan?

JN: We knew from the start that we wanted to work with Erik Wiss at Wiss Music Productions again, why change a winning concept, right!? He knows our sound and we love to work with him, he always pushes us towards perfection and has nice inputs on our work. Although this time around Marcus had joined the band and he have some recording skills and equipment that the rest of us don’t, so we decided to record only the vocals and drums at Wiss Music Productions. The guitars and bass tracks are recorded in Marcus bedroom and then mixed at Wiss Music Productions along with everything else.

We only had like two-three tracks to work with before we booked the studio, so the process to write the rest of the songs was pretty intense, but that’s the way we like it: we thrive under pressure! Marcus and I spent many late nights at his place during this period. This was a bit different than our last album ´Fall Of Gaia´ where we wrote all the songs together in our rehearsal space.

MS: We booked the studio to record our second album just a month after I joined the band by the end of the summer 2017. By then, we just had one finished song and two song ideas to work with but we really needed a sharp deadline to kick our selves in the butt and write some new music. Five months later we had nine songs pre prodded and ready to be recorded. Peter went to Erik at Wiss Music Production and tracked all drums by the end of February and then me, Victor and Martin had about a month to record all the guitars and bass in my home studio before we returned to Erik to finish with all the vocals. The whole recording process went great even though it resulted in many late nights in my home studio due to my day work plus me, Jowl and Peter participating in a short film project where I helped with all post editing of sound and effects.

Jowl Nyberg (Through The Noise)

THM: Which songs from Dualism do you think better represent the band, and do you think your fans get that message while listening to your music or while watching you guys play live?

JN: We’ve always strived for intense, energetic songs with catchy and melodic choruses and I’d say that we deliver on that with all the songs on ´Dualism´ but if I had to pick one, I’d go with Psychomachia. If one truly wants to experience Through The Noise though: live is the way to go!

THM: One of my favorite songs of the album, Maktbegär (which I believe means “lust for power” from Swedish), is the only one sung in your mother tongue. Why did you guys decide to record that specific song in Swedish? Is there a special reason behind that?

JN: You are quite right in your translation, it does indeed mean “lust for power”.

I’ve always wanted to try and write something in Swedish and this is something that I’ve dabbled (and struggled) with at home for some time. ´Maktbegär´ actually started out as a translation and my own interpretation of a song called ´Mercy Me´ by one of my favourite punk-rock bands ´Alkaline Trio´ that I made for fun. The more I worked with it, it turned into something completely different that was too good not to use and the first time Marcus showed me this song I just knew that it would fit like a glove. I’ve also always felt like our regional dialect “skånska” fits well with hardcore-type vocals.

THM: How did you guys invite local Swedish punk vocalist Jahna Lund (from Death By Horse) to sing in three songs from Dualism? She has an amazing voice and matched perfectly your music. Can we expect more of that type of partnership in your future releases?

JN: Jahna and her band ´Death By Horse´ are close personal friends of mine: I love their music and Jahna’s characteristic voice! We’ve joined each other on stage plenty of times and I love collaborations and features on records, so it felt natural to invite her to add another level to our work. On our last record ´Fall Of Gaia´ I did a similar thing with a friend from work for the song ´The Accursed´ which turned out great so it might be a recurring theme on our albums!

MS: Jahna is a personal friend to us and we asked her to do some vocals on Psychomachia. While writing the song Secret Project we realized we needed a lot of choirs so we thought that she could be part of that song as well. The day she was in Erik’s studio she listened to some of the songs that was finished and when she heard the track Beyond Betrayal she got some ideas she wanted to test and that’s how she ended up in three songs of the record.

You just never know! If we write a piece where we think her voice would fit, we would not hesitate on asking her to do some more guest vocals.

Marcus Skantz (Through The Noise)

THM: Do you consider yourselves a metal band with punk and hardcore influences, or a punk and hardcore band with metal influences? How are the more diehard fans from both sides reacting to your music?

JN: This is interesting because we’ve always felt like we’re “in between”, so to speak. We’ve been considered “not hardcore enough” for hardcore festivals as well as “not heavy enough” for metal festivals. This is both a blessing and a burden in my opinion, it makes us somewhat unique but at the same time it alienates us from some gigs and crowds. Since I come from the punkrock/hardcore-scene originally and most of the other guys are more metalheads it’s only natural that our music sounds like something in between and that’s what makes us who we are.

MS: If you ask me we are a metal band with punk and hardcore influences, but that is me coming mainly from a thrash and melodic death background and I write songs in a certain way. If you ask Jowl I bet he thinks of it the other way around. I don’t think it really matters. We are a metal/hardcore band and we blend many different kind of styles into the mix with the outcome that we sound like Through The Noise.

THM: How’s the local metal and hardcore scene in your hometown Lund, in the city of Malmö and in Sweden in general? Can you recommend some bands from the underground scene that you think our readers should take a listen at?

JN: We have a lot of great local bands but not a lot of places for them (us) to play, unfortunately. Most bands around here head for Germany, eastern Europe, the Balkans and so on since there are more places to play and bigger audiences. It’s like the old saying “Big In Japan”, many bands are huge in other countries and almost unknown back home in Sweden.

Eastern High (Progressive-Metal), The Generations Army (Thrash-Metal), Wolves Within (Melodic-Hardcore), Mörbultad (Hardcore in Swedish), Chine (Death/Groove-Metal), Escaping Amenti (Theatrical/Apocalyptic Metalcore), Faithful Darkness (Melodic death-metal), Pandemonium (Symphonic Black Death-Metal) just to name a few!

MS: Both in general and locally, we have a thriving metal and hardcore scene in Sweden with a lot of great underground and up-and-coming bands. Kill The Kong, Imminence, Eleine and Eastern High just to name a few. We have a long tradition of great hard rock, metal and hardcore bands coming from Sweden which inspires us all.

Album Review – Through The Noise / Dualism (2019)

THM: Who are your biggest influences in music, and what inspires you to write heavy music?

JN: My biggest influences when it comes to lyricwriting are Matt Skiba of ´Alkaline Trio´ and Buddy Nielsen of Senses Fail. I tend to write deep, often melancholic, emotional and (at least to me) meaningful lyrics with a lot of metaphors that tells a story and I believe that I have these two gentlemen to thank for a lot of that! When it comes to my vocal style I guess Alexander Hagman of ´Raised Fist´, Andrew Neufeld of ´Comeback Kid´ and Tim McIlrath of ´Rise Against´ are some influences but also guys like Jake Luhrs of ´August Burns Red´. Other than that: playing and making heavy music is a great stress and anger release!

MS: My biggest influences comes from bands like Metallica, Pantera, Killswitch Engage and Machine Head in terms of how to build up a song, get the right groove and surprise or satisfy the listener. I often tries to write songs, riffs and so on that I myself would like to hear. I think it’s an honest way to treat the song and keep it real for both the listener and me as a composer.

THM: What about the future of the band? What can we expect from Through The Noise in the short and long term? And how are your tour plans going so far for the promotion of Dualism?

JN: We’re planning and hoping to take the band to the next level with this album! At the moment we are trying our best to book as many shows as possible for the rest of the year, at least, and after that we look forward to the process of making our next album! We’re here to stay and this is what we put all our effort into!

MS: In short term we are currently trying to book as many shows as possible with a fall of 2019 tour in the early planning stage. Of course we’re also planning for a follow up EP or full-length but since, while writing this, we have not released Dualism yet our focus right now is mainly on promoting the record and get out to play.

THM: Thanks you very much for your time! Please feel free to send your final considerations to our readers, to remind them where to buy your music, and anything else you would like to say.

JN: Thank you for taking an interest in our band! We would be very grateful if you visit and follow us on our social media pages and web shop (see links below), add our songs to your playlists and (of course) catch us live! This means the world to us and would really help us out!

Upcoming shows
May 4 @ Helltown Mini Festival at Jutan, Helsingborg, Sweden
June 7 @ Backstage Varberg, Varberg, Sweden

Links
Through The Noise Facebook | Intagram | Twitter | YouTube | Big Cartel | Spotify | iTunes | Amazon | Google Play | Deezer

Album Review – Through The Noise / Dualism (2019)

Let’s make some noise to this five-piece Swedish Hardcore and Nu Metal act and their melodious brand new album overflowing rage and rebelliousness.

Founded in 2013 in the city of Lund, located around 30km from Malmö, in southern Sweden, the unruly five-piece Post-Hardcore/Nu Metal act comprised of Jowl Nyberg on vocals, Victor Adonis and Marcus Skantz on the guitars, Martin Lingonblad on bass and Peter Liwgren on drums, collectively known as Through The Noise, is back in action now in 2019 for our total delight with their second full-length album, entitled Dualism, a natural follow-up to their 2013 demo Adorn The Silence and their 2015 debut album Fall of Gaia, showcasing all the band’s talent, energy and, above all that, their absolute passion for heavy music.

Mixed by Erik Wiss (Eleine, Creye, To Dust), engineered by Ermin Hamadovic (Periphery, Devin Townsend Project, Architects), and mastered by Thomas ‘Plec’ Johansson (Soilwork, Watain, Scar Symmetry) at The Panic Room in Skövde, Sweden, Dualism is a pummeling mix of Hardcore and Nu Metal, containing nine glorious songs that are guaranteed to please even the ficklest of critics. Not only that, Dualism also brings to our ears the amazing guest vocals by local Swedish punk vocalist Jahna Lund (from Death By Horse), adding an extra touch of finesse and rage all at once to three of the most electrifying songs from the album.

The opening track Shattered already provides the listener a heavier-than-usual version of Hardcore from the very first second, with Peter sounding like a machine gun on drums while Jowl begins screaming rabidly, also presenting an atmospheric background that makes an interesting paradox with the slashing riffs by Victor and Marcus. Then featuring the aforementioned Jahna Lund we have Psychomachia, a frantic and aggressive tune perfect for slamming into the circle pit like there’s no tomorrow, and where the sound of the guitars couldn’t be more metallic and vibrant than what it already is. Peter keeps smashing his drums in the also fast and furious House of Asterion, a well-balanced mix of Metalcore, classic Hardcore and Alternative Metal where Martin’s bass lines rumble beautifully while Jowl roars nonstop like a maniac, followed by Digital Playground, a rock n’ roll radio hit where the entire band kicks us in the head with their rebellious instruments, spearheaded by Peter’s violent beats and the guitar duo’s lancinating riffs. And featuring Jahna once again, lending her gorgeous voice to the band’s crisp musicality, we have Secret Project, not as berserk as its predecessors but still very heavy and melodic, with Peter and Martin bringing thunder to the overall result with their respective instruments.

Deceiver is another explosion of Metalcore and Alternative Metal by the quintet, being highly recommended for breaking your neck in half headbanging but obviously maintaining a pleasant harmony in its core, all boosted by Jowl’s visceral growls and screams; whereas in Maktbegär, which translates as “lust for power” from Swedish, the band delivers an aggressive feast of smashing beats, cutting riffs and endless rage,  or in other words, a mosh pit-catalyst Metalcore tune that will work amazingly when played live (and even if you don’t know a single word in Swedish you’ll starting singing the song’s chorus with the band). And there’s no time to breathe as Through The Noise don’t slow down not even a bit in Meaning Through Noise, hammering our skulls with more of their violent fusion of Hardcore and Nu Metal and also presenting those melodious clean vocals we got used to in first-class Metalcore, while the talented growler Jahna joins the band one more time for their last blast of ass-kicking heavy music in Beyond Betrayal, where the amazing job done by both Victor and Marcus with their razor-edged riffs provides Jowl all he needs to scream and shout, inviting us all to jump up and down with the band in a very fun and vibrant way and, therefore, closing the album on a high note.

All the insane and entertaining noise blasted by Through The Noise can be better appreciated by subscribing to their YouTube channel and by listening to their music on Spotify, and if you truly enjoyed the hybrid of Metalcore and Hardcore with a modern-day Nu Metal twist crafted by those Swedish guys in Dualism, don’t forget to purchase your copy of the album from iTunes or from Amazon, and to follow them on Facebook for news and tour dates. Through The Noise definitely know how to make a lot of noise, always loyal to the foundations of Hardcore, and if they keep generating such thrilling music in the years to come I’m beyond sure we’ll hear a lot more from them, a band that can already be considered one of the best bands of the Swedish Hardcore scene, and a band that deserves all our noise in their honor.

Best moments of the album: Psychomachia, Deceiver and Maktbegär.

Worst moments of the album: Shattered.

Released in 2019 Eclipse Records

Track listing
1. Shattered 4:10
2. Psychomachia (feat. Jahna Lund) 2:55
3. House of Asterion 3:47
4. Digital Playground 4:48
5. Secret Project (feat. Jahna Lund) 6:17
6. Deceiver 4:02
7. Maktbegär 4:54
8. Meaning Through Noise 4:48
9. Beyond Betrayal (feat. Jahna Lund) 5:19

Band members
Jowl Nyberg – vocals
Victor Adonis – guitar
Marcus Skantz – guitar
Martin Lingonblad – bass
Peter Liwgren – drums

Guest musician
Jahna Lund – additional vocals on “Psychomachia”, “Secret Project” and “Beyond Betrayal”

Album Review – Soilwork / Verkligheten (2019)

One of the biggest exponents of the Swedish Melodic Death Metal scene returns in full force with a fresh, groovy and addictive album of first-class heavy music.

Although most people consider Helsingborg-based metal masters Soilwork to play a fusion of Metalcore and Melodic Groove Metal nowadays instead of the Melodic Death Metal we got used to from their early albums, I personally still see them as one of the biggest exponents of the Swedish Melodic Death Metal scene, having influenced (and still inspiring) countless bands worldwide, like for example Trivium. And to prove how relevant and ass-kicking the band is after all these years on the road, frontman Björn “Speed” Strid and his henchmen David Andersson and Sylvain Coudret on the guitars, Sven Karlsson on the keyboards and newcomer Bastian Thusgaard on drums are releasing upon humanity the superb Verkligheten, the eleventh studio album in their undisputed career.

Verkligheten, which by the way is the Swedish word for “reality”, is not only the first Soilwork album to feature Bastian on drums as the replacement of longtime member Dirk Verbeuren (who left the band to join Megadeth a couple of years ago), but it also marks the longest gap between their studio albums to date, with their previous installment, The Ride Majestic, having been released nearly three and a half years earlier. Well, at least the wait was absolutely worth it, because if there’s one word that can be used to describe the music found in Verkligheten is “addictive”. You won’t skip any song from the album, and as soon as it’s over you’ll go back to the first track and listen to everything all over again, which in other words means we’re undoubtedly facing a very strong candidate to be elected one of the best albums of 2019.

The title-track Verkligheten, a Western movie-Tarantino-inspired instrumental intro, flows smoothly and serene, inviting us all to join Soilwork in the realm of Melodic Death Metal with the crushing Arrival, presenting some pulverizing elements from Black Metal added to their core musicality, in special the demonic blast beats by Bastian, all enhanced by its classic lyrics beautifully declaimed by Björn (“The sky reflects in my hands / You took my world ’cause you can / Is it just me or is the light / Oh read me, you dust ridden seer / And prepare for the night”). The album couldn’t have started in a more thrilling and vibrant way, I might say. Moving on with the music, speed and violence are replaced with heaviness and an enfolding melody in the headbanging Bleeder Despoiler, where both David and Sylvain are on absolute fire with their scorching riffs, not to mention how the background keys by Sven and Bastian’s rhythmic drums complement each other flawlessly, and the band keeps blowing our speakers with their very melodic and fierce music in Full Moon Shoals, where once again all instruments are thoroughly connected, resulting in a dense and visceral sound complemented by another shot of their pensive and poetic words (“Anyone would cure it with blindness / There were moments where I thought I could be / A man who’s aching for the hour of closure / Darkness clearly kept on covering my needs / But it’s not what it seems / It’s just an inner endless shriek”).

Blending the most slashing elements from Rock N’ Roll, Melodic Death Metal and even Industrial Metal, Soilwork offer us an amazing composition titled The Nurturing Glance, perfect for banging your head, singing along with the band or simply enjoying Björn’s flawless vocal performance accompanied by the precise beats by Bastian, whereas in When the Universe Spoke  a serene intro explodes into top-notch Melodic Death Metal infused with Metalcore and Groove Metal nuances, with both Björn’s clean vocals and harsh growls being potentialized by the strident riffs by the band’s guitar duo (as well as the insane drumming by Bastian). Futuristic waves ignite what feels like a hybrid between contemporary Arch Enemy and Soilwork entitled Stålfågel (or “steel bird” from Swedish), featuring the stunning Alissa White-Gluz from Arch Enemy as a guest vocalist. Björn and Alissa vigorously kick some serious ass together, while David and Sylvain hypnotize us with their riffs and solos in one of the top songs of the album without a shadow of a doubt, and putting the pedal to the metal this Swedish institution fires more of their razor-edged metal music in The Wolves Are Back in Town, showcasing headbanging beats, extremely melodic and sharp guitar lines, and yet another demolishing performance by Björn, spearheading his skillful horde like the true frontman he is.

Verkligheten Digipak CD Cover

Witan also presents a nice balance between harmonious and aggressive sounds, with Björn focusing slightly more on his clean vocals, flowing like a fast arrow until The Ageless Whisper comes ripping our hearts and minds in a solid display of modern-day Melodic Death Metal. Moreover, Bastian pounds his drums like there’s no tomorrow, while the band’s guitar duo continue to grind their axes with a lot of precision and energy. Then featuring guest vocals by Tomi Joutsen (Amorphis), Needles and Kin is classic Melodic Death Metal presenting a vibrant fusion of rage, electricity and harmony with the intricate beats by Bastian dictating its rhythm and pace, all boosted by David’s superb guitar solo, before the closing tune You Aquiver, with guest Dave Sheldon (Exes for Eyes, Annihilator) on the guitar, brings to our ears a good mix of their more ferocious side with the whimsical and ethereal sound of the keys by Sven, with best metal (and even non-metal) albums of 2019. Furthermore, what Mr. Björn “Speed” Strid & Co. did in their new album might not be a revolution in music (as some very demanding fans always expect from their favorite bands), but it’s indeed a solid statement that Melodic Death Metal is still alive and kicking, and that Soilwork will continue to be a reference in the genre no matter what happens to the band. Fortunately for us fans of heavy music, the band is far from calling it quits, which means we’ll certainly have the pleasure of enjoying more of their crisp and vibrant metal with their future releases, and if they’re just half as good as Verkligheten we’ll have a very good reason to celebrate and to keep banging our heads together with those Swedish metal icons.

Best moments of the album: Arrival, The Nurturing Glance, Stålfågel and The Wolves Are Back in Town.

Worst moments of the album: None.

Released in 2019 Nuclear Blast

Track listing
1. Verkligheten (instrumental) 1:44
2. Arrival 3:47
3. Bleeder Despoiler 3:36
4. Full Moon Shoals 4:46
5. The Nurturing Glance 5:24
6. When the Universe Spoke 5:22
7. Stålfågel (feat. Alissa White-Gluz) 4:25
8. The Wolves Are Back in Town 3:24
9. Witan 3:48
10. The Ageless Whisper 5:01
11. Needles and Kin (feat. Tomi Joutsen) 4:57
12. You Aquiver (feat. Dave Sheldon) 4:03

Band members
Björn “Speed” Strid – vocals
David Andersson – lead guitar
Sylvain Coudret – rhythm guitar
Sven Karlsson – keyboards
Bastian Thusgaard – drums

Guest musicians
Alissa White-Gluz – guest vocals on “Stålfågel”
Tomi Joutsen – guest vocals on “Needles and Kin”
Dave Sheldon – guitars on “You Aquiver”
Taylor Nordberg – bass (live)

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2018

“Chasing a dream as I go higher
Playing it mean, my heart’s on fire
Living my life, ain’t no pretender
Ready to fight with no surrender.” – No Surrender, by Judas Priest

Another year goes by and, as usual, we lost a lot of good people, including family and friends. In heavy music, 2018 was the year several amazing musicians passed away, such as Dave Holland (former drummer of Judas Priest), Ralph Santolla (former guitarist of Iced Earth, Deicide, Death and Obituary), Vinnie Paul (the talented drummer of Hellyeah, Pantera and Damageplan), Jill Janus (the stunning vocalist of Huntress), and “Fast” Eddie Clarke, one of the meanest guitarists in history and the last of Motörhead’s “Three Amigos”, signaling the definitive end of Motörhead’s classic lineup. Not only that, we also saw the one and only Glenn Tipton, the iconic lead guitarist for Heavy Metal giants Judas Priest and one of the most influential guitar players in the history of metal, opening up about his ongoing fight against Parkinson’s disease and, as a consequence, having to pull out of the 2018 tour due to his health issues. However, as the Metal Gods themselves sing in their new ass-kicking song No Surrender, we can’t surrender and should keep on fighting with our heads high, always listening to our good old Heavy Metal to inspire us to face our daily struggles.

Enough said already, how about we show the world that we metalheads are still here, always ready for a fight, and that metal music is alive and kicking with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2018, excluding EP’s, best of’s and live albums? From classic bands like Judas Priest, Behemoth and Immortal, to underground bands from all four corners of the earth like Ukraine’s 1914, Australia’s Rise of Avernus and Canada’s Altars of Grief, we can say that 2018 was a damn good year for our beloved Heavy Metal, pointing to a promising future for all its genres and subgenres and proving once again that metal unites us all it doesn’t matter where we live, our culture, language, race or religion. So, get ready to raise your horns and bang your heads nonstop to our selection of best metal albums of the year, and always remember… NO SURRENDER!

1. Judas Priest – Firepower (REVIEW)
The Metal Gods are firing on all cylinders with their majestic new album of pure and highly inspired Heavy Metal.
Best song of the album: Firepower

2. Blaze Bayley – The Redemption of William Black (REVIEW)
What does the future hold for Mr. William Christopher Black? Enjoy the dramatic conclusion to Blaze’s stunning Infinite Entanglement Trilogy.
Best song of the album: The Dark Side of Black

3. Behemoth – I Loved You at Your Darkest (REVIEW)
Poland’s most blasphemous metal institution returns after four years with a much more melodic and dynamic approach than before.
Best song of the album: Ecclesia Diabolica Catholica

4. Dragonlord – Dominion (REVIEW)
Exploring themes of darkness, here comes Eric Peterson’s Symphonic Black and Thrash Metal project with their first album in 13 years.
Best song of the album: Northlanders

5. Primal Fear – Apocalypse (REVIEW)
The Teutonic eagles of Power Metal return with another sensational opus showcasing the perfect amount of creativity and melody.
Best song of the album: The Ritual

6. Immortal – Northern Chaos Gods (REVIEW)
The Gates of Blashyrkh have finally opened again to the sound of the pulverizing new album by the Northern Chaos Gods of Black Metal.
Best song of the album: Mighty Ravendark

7. 1914 – The Blind Leading the Blind (REVIEW)
It’s time to head into the battlefields of the Great War together with these Ukrainian Blackened Death and Doom Metal infantrymen.
Best song of the album: Passchenhell

8. Rise of Avernus – Eigengrau (REVIEW)
Here come Australia’s own Rise of Avernus with their most symphonic, heaviest and darkest opus thus far.
Best song of the album: Eigenlicht

9. Altars of Grief – Iris (REVIEW)
A superb album of Canadian Blackened Doom narrating a tragic story of a deeply flawed man and his dying daughter.
Best song of the album: Broken Hymns

10. Marduk – Viktoria (REVIEW)
A furious and aggressive fusion of Marduk’s classic Black Metal with their more contemporary warlike sound.
Best song of the album: Viktoria

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

11. Stormzone – Lucifer’s Factory (REVIEW)
12. Motorjesus – Race to Resurrection (REVIEW)
13. Borgne – [∞] (REVIEW)
14. SynlakrosS – Malice Murder (REVIEW)
15. Xenoblight – Procreation (REVIEW)
16. Kaoteon – Damnatio Memoriae (REVIEW)
17. Tamerlan Empire – Age of Ascendancy (REVIEW)
18. Coiled Around Thy Spine – Shades (REVIEW)
19. Chthonic – Battlefields of Asura (REVIEW)
20. NovaReign – Legends (REVIEW)

In addition, how about another round of awesome albums released this year, this time presenting to you our Top 10 EP’s of 2018? Those shorter-than-a-regular-album but still heavier-than-hell releases are like going to a fancy restaurant, where you might not get a humongous amount of food, but what’s served on your plate is more than enough to please your palate (or your ears, in this case). And, of course, you leave the place eager for more of that tasty and exquisite metal music.

1. Violent Life Violent Death – Come, Heavy Breath (REVIEW)
2. Strangle Wire – The Dark Triad (REVIEW)
3. Godless – Swarm (REVIEW)
4. The Black Swamp – Witches (REVIEW)
5. Progenie Terrestre Pura – starCross (REVIEW)
6. Lebowskii – Liquidators (REVIEW)
7. Geisterwald – Geisterwald (REVIEW)
8. Soul Dissolution – Nowhere (REVIEW)
9. Dark Archive – Cultivate Our Blood in Aeon (REVIEW)
10. Forte Ruin – Rebuilding the Machinery (REVIEW)

Do you agree with our list? What are your top 10 albums of 2018? Once again don’t forget to check Antichrst Magazine’s Top 10 Albums of 2018 (Editorial Staff), tune in to Timão Metal every Tuesday on Rádio Coringão for a sensational fusion of metal and soccer, and to The Headbanging Moose Show every Thursday on Midnight Madness Metal e-Radio for the best of the underground and independent metal scene!

Metal Xmas and a Headbanging New Year! See you in 2019!

And last but not least, if you want to support Glenn Tipton and everyone else on their personal battles against Parkinson’s, you can purchase the official Glenn Tipton Parkinson’s Foundation Charity T-shirt by clicking HERE or make a direct donation following the instructions found HERE. You can always help your family, friends and fellow metalheads, as simple as that, and who knows, maybe we can make this world a better place to live.

Album Review – When Plagues Collide / Tutor of the Dying (2018)

A superb amalgamation of melodic riffs and sweeping solos embraced by the beauty and finesse of symphonic music, blasted by a Belgian outfit that’s among us to dictate violence and spread the plague.

As total strangers, but sharing the same passion for heavy music, five friends met in June 2016 with the same goal in mind, which was translating their vision of life and musical ideas into a genre that’s not well known or developed among headbangers yet, but that has tons of potential to become your next favorite thing in metal. I’m talking about Symphonic Deathcore, an amalgamation of sounds and styles that encompasses melodic riffs and sweeping solos embraced by the beauty and finesse of symphonic music, and there’s no better band to introduce you to this thrilling new genre than Belgian metallers When Plagues Collide (a name standing for the reflection of our modern-day society and, therefore, allowing a critical view on social issues) and their debut full-length opus, titled Tutor of the Dying.

Believe me when I say you’ll be absolutely stunned by the complex and brutal creations by this Aarschot-based squad, comprised of Wouter Dergez on vocals, Joris Dergez and Santy Van der Mieren on the guitars, Bastiaan Barbieux on bass and Siebe Hermans on drums. Featuring an old school Death Metal-inspired artwork by Hans Trasid of Disart Design, as well as the very special guest musicians Ben Duerr (Shadow of Intent, Hollow Prophet), Luke Griffin (Acrania, Human Error) and Tim De Ridder (The Seventh, Before He Shot her), Tutor of the Dying is highly recommended for fans of bands like Fleshgod Apocalypse, Make them Suffer, Martyr Defiled and Molotov Solution, with each one of the album’s 11 tracks “dictating violence and spreading the plague”, like the band itself would say.

If you’re curious to know what Symphonic Deathcroe is all about, simply hit play and let cryptic sounds and noises from the underworld kick off the six-minute aria Messengers of the Holy Falsehood, being gradually accompanied by a choir and background symphonic elements until all hell breaks loose to the demented beats by Siebe and the lunatic vociferations by Wouter, with both Joris and Santy firing truly incendiary riffs from their axes. Fertilization with the Body of Men is a lot more metallic and closer to traditional Metalcore, with Bastiaan and Siebe shaking the foundations of the earth with their rumbling instruments, not to mention how the background piano and other symphonic elements bring an ethereal touch to the band’s sonic havoc, whereas Legion is another ass-kicking, demolishing tune by the quintet where Wouter sounds even more enraged and demented than before, with the strident sound of the guitars beautifully penetrating deep inside our minds.

And their level of destruction and rage only grows in Dictating Violence, a Deathcore tune perfect for slamming into the pit featuring the first guest of the album, vocalist Ben Duerr, blasting sheer brutality and wrath. Then an eerie and somber semi-acoustic bridge titled Als Imperatieve Grootmacht (which means “as an imperative superpower”, from Dutch) showcases devilish vocalizations and enigmatic words, setting the tone for the fulminating title-track Tutor of the Dying, bringing the most demonic, high-pitched screeches by Wouter, while Siebe shows no mercy for his drums nor for our necks. In other words, this is top-notch Deathcore to the masses with a phantasmagorical and amazing atmosphere, which can also be said about Fleshmould, where guest vocalist Luke Griffin growls and barks like a beast together with Wouter while the band’s guitar duo continues their insane shredding feast for our total delight.

An imposing intro evolves into a bold and introspective creation named Belials Archetype, led by the visceral riffs by both Joris and Santy and also presenting truly wicked lyrics (“Malevolent thoughts slither through the mind of this broken man / The weeping eyes of his unborn child reflecting on the name of his murdered wife / The ever cold breeze carries her scent as reminder of the elegance of life / In her fragile existence she achieves in maintaining the breath of belief in the essence of his being / Still death and reunification offer solace and liberation”); and When Plagues Collide continue their deranged feast of sounds and noises in Marked for Destruction, featuring guest vocalist Tim De Ridder, all embraced by spot-on symphonic elements and without showing any signs of the band slowing down. Quite the contrary, they keep taking their violent Deathcore to new heights, obviously making us fans of extreme music happy. Lastly, presenting a sonority slightly different from the previous songs we have Corpus Maleficus, more symphonic and less barbaric than its predecessors but of course still keeping intact their Deathcore roots, with highlights to the great sync between Siebe’s beats and the flammable guitars by Joris and Santy, before the orchestral, Stygian outro Vows captivates our senses and depressurizes our souls from all the devastation brought forth by the band throughout the entire album.

As already mentioned, I’m certain that after taking a more detailed listen at Tutor of the Dying in its entirety on YouTube or on Spotify you’ll get addicted to Symphonic Deathcore, and in order to show your appreciation for the music by When Plagues Collide don’t forget to follow them on Facebook and to subscribe to their YouTube channel. In a nutshell, the excellent Tutor of the Dying, available from the band’s BandCamp page or webstore, as well as from Chugcore’s BandCamp page, from iTunes and from Amazon, is the utmost depiction of what high-end Symphonic Deathcore is all about, always dictating violence, always spreading the plague and, above all that, showing us all When Plagues Collide are among us to stay (and slay).

Best moments of the album: Messengers of the Holy Falsehood, Dictating Violence and Tutor of the Dying.

Worst moments of the album: Corpus Maleficus.

Released in 2018 Chugcore

Track listing
1. Messengers of the Holy Falsehood 6:27
2. Fertilization with the Body of Men 4:25
3. Legion 4:16
4. Dictating Violence (feat. Ben Duerr) 3:42
5. Als Imperatieve Grootmacht 2:41
6. Tutor of the Dying 4:49
7. Fleshmould (feat. Luke Griffin) 3:28
8. Belials Archetype 3:25
9. Marked for Destruction (feat. Tim De Ridder) 4:00
10. Corpus Maleficus 4:18
11. Vows 2:54

Band members
Wouter Dergez – vocals
Joris Dergez – guitar
Santy Van der Mieren – guitar
Bastiaan Barbieux – bass
Siebe Hermans – drums

Guest musicians
Ben Duerr – vocals on “Dictating Violence”
Luke Griffin – vocals on “Fleshmould”
Tim De Ridder – vocals on “Marked for Destruction”