Album Review – +MROME+ / Leech Ghetto (2019)

Back from the very depths of the underworld, this unrelenting Polish entity is ready to crush our senses once again with their unique and scorching fusion of Black and Death Metal.

Poland’s own Black and Death Metal entity +MROME+ is back from the very depths of the underworld once again to crush our senses with the unique and scorching music found in their brand new album, curiously entitled Leech Ghetto. Furthermore, as already expected (or not), the new opus by +MROME+, who are now a trio with the addition of bassist LV’s, joining lead singer and guitarist Key V and drummer P in their quest for heavy music, is completely different from their 2016 album Noetic Collision on the Roof of Hell, yet still maintaining the band’s core essence and heaviness intact, working as a new start and keeping the band’s unpredictability as high as possible just the way we like it. Add to all that the wicked guest vocals by Ataman Tolovy (from Polish Experimental Black Metal band Túrin Turambar) in a couple of songs, and there you have an excellent DYI album highly recommended for anyone in pursuit of innovative and obscure metal music.

And Key V’s guitar ignites the engines of the opening track titled The Rogue, a mid-tempo, dark tune perfect for breaking your neck headbanging, also presenting a very welcome thrashing twist that makes it truly incendiary. Then ominous riffs and beats permeate the air in Born Old, which sounds like a hybrid of the music by Obituary, Exodus and Celtic Frost, just to name a few (and to show you how insane it sounds), with P being very precise with his drums, delivering aggressiveness and intricacy and, therefore, being tailored for fans of 80’s and 90’s heavy music; whereas in Anti-Ant Entante the band ventures through more rockin’ lands, with Key V’s raspy roars and razor-edged riffs piercing your soul mercilessly while LV’s and P keep the ambience thunderous with their respective bass and drums.

Led by LV’s metallic bass, The City of Opax offers our ears a significantly different start from all previous songs, sounding melancholic and grim and evolving into a very introspective tune, proving once again how wide the band’s range is when crafting their music. Featuring the aforementioned Ataman Tolovy on guest vocals, the stylish Coffin Nail is a feast of demented sounds as if Faith No More went Death or Thrash Metal, showcasing steady beats, wicked gnarls and a feeling of insanity as its main ingredients, and the trio continues to extract Stygian sounds form their instruments in Detroit Daze, especially LV’s with his groovy jabs, bringing elements from Progressive Metal to their already multi-layered music. Not only that, all of its changes and variations turn it into a very pleasant musical journey that will certainly smash your mind in the best way possible.

Ataman Tolovy returns in Twarz Niezawisła (“an independent face” from Polish), perhaps the most obscure and atmospheric of all songs, blending the thunder from Doom Metal with alternative and experimental music, followed by Bellies Grow, and let me tell you that the second to last blast of insanity by +MROME+ sounds and feels it was taken straight from the 80’s while having a futuristic touch at the same time, as if The Misfits and Motörhead had a bastard son. Do you understand now how multi-layered their music is? Anyway, Key V’s riffs dictate the rhythm in this distinguished tune, while P doesn’t stop pounding his drums for our total delight. And LV’s and his rumbling bass kick off the closing tune Primordial Soup, bringing forward slashing guitars, in-your-face, straightforward beats and aggressive vocals, flowing darkly until its venomous ending. Can this song be added to the official soundtrack of a Tarantino movie, please?

In a nutshell, +MROME+’s Leech Ghetto, which will really soon (aka later this week) be available on Spotify for a full listen and on the band’s own BandCamp page for purchase, continues to pave the band’s path of madness while sounding fresh and distinct from their previous releases as already mentioned, leaving us all disoriented and eager for more of their music in the coming years. We just can’t predict at all what Key V and his bandmates have in mind for their next album, but again that’s the beauty of their music and I truly hope they never change while they keep always changing (if that makes any sense to you).

Best moments of the album: The Rogue, Coffin Nail and Detroit Daze.

Worst moments of the album: None.

Released in 2019 NRA

Track listing
1. The Rogue 5:11
2. Born Old 4:22
3. Anti-Ant Entante 3:56
4. The City of Opax 4:30
5. Coffin Nail 3:47
6. Detroit Daze 3:31
7. Twarz Niezawisła 3:56
8. Bellies Grow 4:03
9. Primordial Soup 5:38

Band members
Key V – vocals, guitar
LV’s – bass
P – drums

Guest musician
Ataman Tolovy – guest vocals on “Coffin Nail” and “Twarz Niezawisła”

Album Review – Not My Master / Disobey EP (2018)

An aggressive mix of Thrash, Groove and Extreme Metal with Southern Rock blasted by a new four-piece act hailing from the always metallic U.S. state of Texas.

It’s time for The Headbanging Moose to head to Texas, the second-largest state in the United States by both area and population where several amazing heavy bands were born such as D.R.I., Devourment, Pissing Razors, Galactic Cowboys and, above all, the mighty Pantera, to slam into the pit to the aggressive mix of Thrash, Groove and Extreme Metal with Southern Rock blasted by a four-piece act that goes by the name of Not My Master. Playing what the band members themselves call Texas Metal, or in their own words, “dirty nasty satanic devil music you would find on Pornhub, if Pornhub played dirty nasty satanic devil music”, Not My Master are releasing their straightforward, vicious and extremely aggressive debut EP, titled Disobey.

Formed in 2016 in the city of El Paso, situated in the far western corner of Texas, the band comprised of Chris Kidwell on vocals, Chelo Styles on the guitar, Rudy Barajas on bass and Charlie Gonzalez on drums has been spreading their “Texas Fuckin’ Metal” throughout the whole state for a while, having already shared the stage with bands like Soulfly, Death Angel, Puddle Of Mudd and Rotting Christ, and also played in festivals such as Zia Music Fest, KILL This Festival, MUDD Fest and HaloHeavy Fest. With Disobey, the band not only aims at solidifying their name in the local Texan scene, but also to spread their ruthless music all over the world, effectively summarizing in its seven distinct tracks what the band is capable of offering to fans of heavy music.

The marching beats by Charlie are gradually joined by the slashing riffs by Chelo and the menacing bass punches by Rudy in the opening track, entitled Acadence, before Chris begins firing some enraged growls in a solid display of Extreme Groove Metal, perfect for fans of bands like Lamb Of God. Then the band keeps pounding our heads with their visceral music in Revenge, with lots of groove flowing from both guitar and bass while Chris switches back and forth from deep, rabid growls to clean, dark vocals, reminding me of the most obscure songs by Pantera (which obviously translates into sheer awesomeness); followed by the acid Where’s God Now, with the guitar lines by Chelo inspiring you to break your neck headbanging, not to mention how the metallic sounds blasted by all instruments increase the impact of Chris’ screams.

Then we have an eerie start to what’s the darkest composition in the EP, titled Morning Star, suddenly exploding into a heavy and aggressive hybrid of Groove and Southern Metal with hints of modern Doom Metal, led by Chris and his demented gnarls, whereas in Lies the raw and dirty guitar lines by Chelo build a demonic atmosphere for the rest of the band to blast hatred and evil in a fantastic display of Sludge Metal. Moreover, the low-tuned bass punches by Rudy sound insanely heavy, bringing even more ferocity to the overall result. And as a “bonus” don’t forget to listen to the two creepy alternative versions of this song on YouTube by clicking HERE and HERE.

Not My Master then treat us with an excellent cover version for How the Gods Kill, by Danzig (check the original version HERE), and on a side note, this classic was also covered by Polish Death/Black Metal project +MROME+ in their 2016 album Noetic Collision on the Roof of Hell (as you can see HERE). With that said, which version do you prefer? In my humble opinion, both kick some serious ass, with Not My Master sounding more melancholic in its first half before becoming a beautiful storm of Southern Metal throughout the rest of the song. And lastly, closing this obscure and very enjoyable EP we have another wicked tune named Consume, a vicious sample of what they call Texas Metal with Chelo burning our skin with his scorching hot riffs while Chris and Rudy sound like an earthquake with their growls and bass lines, respectively.

Are you curious to know more about Not My Master? I surely am, and I can’t wait to see when those Texan metallers will release their first full-length album, kicking everyone in the head with their relentless fusion of Southern and Groove Metal. You can follow Not My Master on Facebook and get to know more about the band members, their tour dates and other details, as well as listen to their music and watch their videos on ReverbNation. High-quality heavy music made in El Paso, Texas is furiously knocking at your door, but be careful because once you open it, there’s no escape from Not My Master’s vicious attack.

Best moments of the album: Revenge and Lies.

Worst moments of the album: None.

Released in 2018 Independent

Track listing  
1. Acadence 4:18
2. Revenge 3:08
3. Where’s God Now 3:49
4. Morning Star 5:15
5. Lies 4:38
6. How the Gods Kill (Danzig cover) 5:55
7. Consume 4:41

Band members
Chris Kidwell – vocals
Chelo Styles – guitar
Rudy Barajas – bass
Charlie Gonzalez – drums

Album Review – +MROME+ / Noetic Collision on the Roof of Hell (2016)

If you’re eagerly looking for truly independent music in the world of Heavy Metal, this idiosyncratic Polish project will satisfy your craving with their fresh and unorthodox experimentations.

Rating5

mrome_ncotrohThe last review of the year is the epitome of independent metal, something we at The Headbanging Moose truly love to support, being absolutely raw, anti-mainstream, not interested in promoting band members and not interested in touring at all. Founded in the now far, far away year of 1995 by a group of teenage friends in the city of Andrychów, located in Southern Poland,  Death/Black Metal project +MROME+ was reborn in 2009 after almost a decade of silence, finally releasing as a duo now in 2016 the idiosyncratic album Noetic Collision on the Roof of Hell.

+MROME+ produce their music in their own primitive studio in complete isolation from the local scene, with their only principle being that every new recording is a new start for the band, a new stage, keeping things as different and interesting as possible, and they do that by not labeling their music nor sticking to a predetermined formula. If you take a listen at their collection of demos from 1997 to 1999 baptized as The Basement Sophisma, you’ll see how versatile +MROME+ are, ranging from devilish extreme music to unique cover version for non-metal classics such as Faith No More’s “The Gentle Art of Making Enemies”, and in Noetic Collision on the Roof of Hell the band continues with their heavy experimentations, always pushing their creative boundaries further and further.

When the opening track Colors begins, you’ll be facing a crossover of Death, Sludge and Progressive Metal, with its bass lines rumbling in your face, while Key V transpires aggressiveness through his harsh vocals and P provides the right amount of heaviness and intricacy behind his drums. Then +MROME+ turn up the heat and blast a dark and vile Death Metal composition titled Crush the Moon, sounding amazingly underground and powerful. It has an old school punch thanks to its catchy chorus and melodious, angry guitars, being in my opinion one of the best songs of the whole album. And in Migration Cult we have a great fusion of Death Metal and Rock N’ Roll, with its flammable Thrash Metal riffs complementing Key V’s deranged representation of the song’s wicked lyrics (“Marching far south from Eden / There is still something what push us on / Missing primal fixations / Will we abandon the code / The Holy Fuck”).

How the Gods Kill is an awesome tribute to one of the most eccentric musicians of all time, the one and only Danzig, keeping up with the obscurity of the original version with the low-tuned and menacing sound of bass guitar paving the path for an explosion of evil Heavy Metal. Following that superb cover song, Trust brings forward more of the band’s uproarious Death Metal with Key V and P delivering straightforward heavy music to our ears in a compelling way, whereas Generation Anthem is heavy and distorted music from the pits of Hell. Furthermore, the duo seems to love those menacing mid-tempo songs, firing blazing riffs and fierce beats nonstop. But just when you think the band is going to stick to some sort of formula they fire Piss & Laugh, showcasing a somber rhythm inspired by Dark Metal with the Blackened Doom guitars and the deep gnarls by Key V enhancing its damned atmosphere. At this point of the album, you’ll realize that calling +MROME+ just as Death or Black Metal is an understatement of their musical range and capabilities.

mromeOnce again bursting poetry and madness through the lyrics (“Monstrous iron worms / Feeding on fire / And flash / Choke the ground / March against the dawn / East from nest of crow / Days of hunger / Lions hunt”), Locust Follows Word presents a berserk intro followed by more thunderous bass lines and a grumpy attitude, with all additional elements in the background helping in strengthening the musicality considerably. The second to last blast of underground metal by this interesting project, titled Magister Figurae Morte, will kick you in the face with its pounding drums and energetic riffs in this solid display of ruthless metal from darkness, before The Arsonist closes the album majestically, with Key V impersonating the arsonist himself by setting fire to the musicality with his growls and riffs. In addition, P accelerates his beats to a traditional Black Metal style, generating a high-end feast of hellish music with a climatic ending.

+MROME+ do not have a Facebook page, a Twitter account or any other type of social media. As previously mentioned, it’s all about their music and the concept behind it, which means all things +MROME+ are summarized to their BandCamp page in the form of heavy music, with Noetic Collision on the Roof of Hell being their newest sonic experiment, but not their ultimate one at all. Fans of truly underground metal will hear more about +MROME+ in a not-so-distant future for sure, as they’re already recording Roi-de-Rats, their next full-length opus. Well, I’m already eager to see what Key V, P and the band’s original bassist (who has just rejoined the project after all these years) will offer from their arsenal of extreme and primeval music.

Best moments of the album: Crush the Moon, How the Gods Kill and The Arsonist.

Worst moments of the album: Generation Anthem.

Released in 2016 Independent

Track listing
1. Colors 4:03
2. Crush the Moon 4:33
3. Migration Cult 3:31
4. How the Gods Kill (Danzig cover) 5:46
5. Trust 4:09
6. Generation Anthem 3:45
7. Piss & Laugh 4:24
8. Locust Follows Word 3:48
9. Magister Figurae Morte 4:32
10. The Arsonist 6:18

Band members
Key V – vocals, guitars
P – drums