Album Review – Quilombo / Itankale EP (2019)

The history and evolution of Afro-descendants told by the black hands of a ruthless Death Metal and Grindcore unity from Brazil.

Formed in 2018 by drummer and vocalist Panda Reis (Oligarquia, Armagedom, Brigada do Ódio, Heresia 666), who’s also involved in several amazing endeavors such as an educational and cultural project named Coyote Vive, and guitarist and bassist Allan Kallid (Oligarquia) in São Paulo, the most populous city in Brazil and one of the biggest cities in the world, Death Metal/Grindcore unity Quilombo is among us to tell the evolution of Afro-descendants all over the world as well as the technological history from the African continent in their debut EP, entitled Itankale. Their main objective with Itankale is not political, though, but to unveil the truth about the African slaves taken from their homelands, from their people and from their culture to live a new reality in Brazil, the last country in the Western world to abolish slavery, using the most underground of all music styles, our relentless Heavy Metal, as the perfect soundtrack for their speech.

Featuring an impactful artwork by Brazilian artist Artur Fontenelle, showing some of the greatest icons in the African-American history, and recorded and mixed at O Beco Estudio, Itankale is the voice of the voiceless, telling the history of slavery from the standpoint of the slaves themselves, who were discriminated, persecuted, tortured, raped and killed, but that never gave up, surviving an endless period of pain in the hands of the white man. Furthermore, according to Panda and Allan themselves, Quilombo are not trying to generate any controversy, fights or turmoil with other people, but to provide the view of those who were not allowed to write or speak to anyone about their reality. Based on historical sources that have been ignored until now purely due to ideological and political issues to maintain the status quo, Quilombo will crush your senses with their visceral Death Metal in Itankale, writing with their own black hands about all the suffering and sorrow that haunted the souls of their African ancestors for centuries.

In the opening track, simply titled Melanina (or “melanin” in English), we already face an intro that’s completely different from everything you might have ever heard, showcasing intonations and vocalizations inspired by the African culture before exploding into a sonic devastation overflowing rebelliousness and rage, led by Panda’s demented drumming and sick growls while Allan cuts our skin deep with his riffs. Put differently, this is one of those songs that will leave a mark on your psyche, sounding very unique and raw like the music found in Sepultura’s masterpiece Roots. Ancestralidade (“ancestry”) is another song with an eccentric intro that morphs into a carnivorous feast of Death Metal where Panda smashes his drums like a beast, also vociferating the song’s austere lyrics deeply and rabidly and with guest Binho Gerônimo bringing an extra kick to the music with his tribal percussion, followed by Treze Nações (“thirteen nations”), showcasing a capoeira-inspired intro and of course sheer savagery in the form of Death Metal and Grindcore, sounding as fast and heavy as it can be. Needless to say, Panda shows no mercy for his drums while Allan is on fire with his riffs, with their already violent musicality being effectively spiced up by guest Guilherme Sorbello’s deranged vocals.

Once again paying a powerful tribute to their Africa roots and their music, Descendentes de Reis (“descendants of kings”) reminds me of some of the most brutal creations by their countrymen Ratos de Porão, which obviously translates into awesomeness, whereas in Semideusas (“demigods”) it’s time to talk (and growl) about the importance of women in the African culture, flirting with old school Punk Rock. In addition, the wicked guitar riffs and solos by Allan mixed with Panda’s infernal roars provide the listener all that’s needed for some brutal slamming into the circle pit. And closing the EP we have Diáspora D.C. (“diaspora A.D.”), bringing hints of classic Reggae music in its intro but again quickly morphing into one final blast of aggressive and frantic Death Metal, with Panda sounding truly enraged on vocals and with its primeval, tribal finale putting a glorious ending to the album.

If you want to put your hands on Itankale, which by the way is available for a full listen on SoundCloud, you can contact Quilombo directly through their Facebook page or by sending an email to Panda himself, with the cost of the physical copy of the album being only 10 Brazilian Reais (plus shipping costs). The band is also working on several partnerships to distribute their album all over the Brazilian territory, with stores like Paranoid Records and Die Hard Records, both located in the famous Galeria do Rock in São Paulo, already being confirmed as part of the band’s distribution list. It’s not everyday that we are able to enjoy such distinguished and meaningful album of extreme music, and let’s hope that Quilombo keep giving a (heavy and thunderous) voice to all Afro-descendants for many years to come, it doesn’t matter if they’re metalheads or not.

Best moments of the album: Melanina and Treze Nações.

Worst moments of the album: None.

Released in 2019 Poluição Sonora Records

Track listing
1. Melanina 6:44
2. Ancestralidade 4:33
3. Treze Nações 1:43
4. Descendentes de Reis 1:53
5. Semideusas 2:54
6. Diáspora D.C. 1:49

Band members
Panda Reis – vocals, drums
Allan Kalid – guitars, bass

Guest musicians
Bruno – bass (recording)
Binho Gerônimo – percussion
Guilherme Sorbello – vocals on “Treze Nações”

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

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

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

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

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

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

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

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

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

Worst moments of the album: Terrified as I Die.

Released in 2019 BMP Records Sweden

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

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

Album Review – Aphrodite / Lust and War (2019)

Bang your head to this uncompromising DIY tribute to the Greek gods, recommended for fans of that 80’s Speed Metal sound sparkled with heavy and punk influences.

Founded in the second half of 2018 in Ottawa, Canada’s capital located in the east of southern Ontario, Speed Metal power trio Aphrodite is the result of a collective effort between the creative minds of Canada’s own multi-instrumentalist Jo Steel (Ice War) and guitarist Yan Turbo (Colorsfade), and Chilean unrelenting vocalist Tanza Speed, a true metal nomad known for bands like Outline and Demona. Now in 2019, with the help from Heidi Stockdale, who developed the lyrical concept revolving around Greek Mythology, Aphrodite are unleashing upon us their debut full-length album entitled Lust and War, a DIY production recommended for fans of that 80’s Speed Metal sound sparkled with heavy and punk influences in the vein of Acid, Znöwhite, Agent Steel, S.D.I. and Vectom, among many others.

Jo and Yan’s frantic riffs and beats ignite the opening track Hades in the Night, before Tanza comes ripping with her old school-Japanese-inspired-punk-thrashing vocals, resulting in a fun, straightforward song perfect for enjoying a beer inside the pit, whereas in Pandora’s Box Unleashed the guitar duo keeps slashing their strings mercilessly, firing razor-edged riffs and solos inspired by classic Thrash Metal and Punk Rock, as well as rumbling, metallic bass punches. In other words, I can easily visualize them playing this at an underground, obscure rock pub. Then in Ares, God of War wicked guitars and frantic beats dictate the rhythm while its simple but effective lyrics tell the story of the one and only god of war (“Feeder of thieves / Master enslaver / World on its knees / Ransack the land, scepter in hand / Lord of greed, madness of man / Loathsome war leader / Lord of greed, madness of man / Loathsome war leader”), feeling like a North American version of the crushing music by Japanese masters Abigail but obviously with a more complex theme.

Aphrodite keep blasting their raw, dirty Speed Metal in Lightning Crashed, where Tanza seems slightly “inebriate” on vocals (or maybe that was the original plan, who knows) while Jo does a great job on drums once again, not to mention Yan’s piercing guitar solos. Slowing down their madness a bit, the trio offers the Megadeth-inspired tune Pentheselia, with Tanza delivering less strident and more tuneful vocals, and yet again presenting gripping guitar riffs and solos; followed by Gorgon Medusa, which sounds like a copy of one of the previous songs from the album, albeit not as thrilling neither as fast, but still bringing a good dosage of crudeness and rebelliousness to our ears. And Aphrodite, Queen of Lust, the song that carries the band’s name, is another punk-infused thrashing composition where the sharp sound of the guitars builds an interesting paradox with the song’s low-tuned bass lines.

Getting back to a more rockin’ sonority the trio offers us Orpheus Charms the Gods of Death, spiced up by another blast of interesting but never too complex lyrics (“Thracian Orpheus, blessed by the gods / None can resist enchanting song / His melody sways the mountains and trees / Melting the heart of the beast”), and let’s keep slamming into the pit with Thesus and the Minotaur, with the rhythmic beats and thunderous bass punches by Jo generating a dense background for Yan’s crisp solos. Their Rock N’ Roll party goes on in The Odyssey, where Tanza continues to fire her raspy, feminine vocals while Yan and Jo are ruthless with their cutting riffs and beats, before Gladiators (Gladiators), and I must say I have absolutely no idea why the song is called “Gladiators” twice nor if this is a cover song for a very old band called Gladiators, closes the album on an accelerated manner, with Tanza’s vocals walking hand in hand with the song’s main riff as if they were one.

Lust and War might not be a Speed Metal masterpiece (as a matter of fact, it’s not even close to that), but taking into account all the effort and limitations Jo, Yan and Tanza had during the production stages of the album we have to admit that in the end they did a pretty good job. Hence, don’t forget to show our support to Aphrodite by following them on Facebook, by listening to Lust and War in full on YouTube and on Spotify, and of course by purchasing the album from the band’s own BandCamp page, from the Fighter Records’ BandCamp page, from the  Xtreem Music webstore in CD or LP format, from Apple Music or from Amazon. As this is a DYI album, utterly uncompromising and free of any type of pressure, of course there are many flaws to be fixed and adjustments to be made, but after all is said and done I’m sure you’ll have a very good time listening to this 80’s Speed and Heavy Metal-inspired tribute to the Greek gods.

Best moments of the album: Hades in the Night, Ares, God of War and Orpheus Charms the Gods of Death.

Worst moments of the album: Gorgon Medusa.

Released in 2019 Fighter Records

Track listing
1. Hades in the Night 3:02
2. Pandora’s Box Unleashed 3:48
3. Ares, God of War 2:31
4. Lightning Crashed 3:21
5. Pentheselia 2:56
6. Gorgon Medusa 2:50
7. Aphrodite, Queen of Lust 3:22
8. Orpheus Charms the Gods of Death 3:10
9. Thesus and the Minotaur 3:26
10. The Odyssey 3:58
11. Gladiators (Gladiators) 3:52

Band members
Tanza Speed – vocals
Yan Turbo – lead guitar
Jo Steel – guitars, bass, drums

Album Review – HerezA / Death Metal Drunks (2019)

Join this horde of ruthless headbanging bastards in their quest for metal and booze, armed to the teeth with their brand new opus of straightforward Death N’ Roll.

Vodka, whiskey, gin, rakija, black tooth grin, tequila, Jägermeister and Jack Daniel’s, all mixed with humongous dosages of rebelliousness, depravity and violence. That’s the extremely combustible recipe found in Death Metal Drunks, the brand new album by Croatian/German Punk/Death Metal horde HerezA and a fantastic follow-up to their 2017 release I Become Death. As the band itself likes to say, there’s no “pre”, no “post”, no “tech”, no “prog” and not even any “swe” references or connotations in their new opus, but a straightforward Death N’ Roll attack highly recommended for fans of the demolishing music played by iconic acts like Cannibal Corpse, Napalm Death, The Exploited, Carcass, Kreator, Motörhead and several other relentless rock and metal entities.

Formed in 2014 in Beli Manastir, Croatia, but currently located in the beautiful Stuttgart, capital of southwest Germany’s Baden-Württemberg state, what used to be a duo comprised of vocalist Ivan Kovačević and guitarist Slobodan Stupar is now a full-bodied squad with the additions of bassit Holger and drummer Thomas Polder, which translates into not only a more dynamic musicality but also makes it possible for HerezA to tour a lot more, spreading their nihilistic, inebriate and boisterous creations to the four corners of our decaying world. Produced by Slobodan himself, recorded, mixed and mastered by Mario Marković, and featuring an absolutely superb cover art by Croatian artist Andrej Bartulović (All Things Rotten), perfectly representing what HerezA are all about, Death Metal Drunks is one of those albums that will put a huge smile on your face every single time you listen to it, inspiring you to join other metalheads into the sickest circle pits you can think of.

Wicked distortions and a menacing aura suddenly explode into sheer violence in the form of music in Back From The Grave, where Ivan’s roars sound even more enraged than in their previous album, while guest vocalist Adrie Kloosterwaard (Sinister) delivers deep, guttural Cannibal Corpse-inspired lines to make things even more brutal. Then Slobodan shows no mercy for our necks with his incendiary riffs in Genocid, where Thomas keeps hammering his drums frantically, therefore being recommended for fans of a thrashier and more hardcore version or our good old Death Metal; whereas Kopam Oči, Režem Jezik, Prste, Nos I Uši (“I dig my eyes, I cut my tongue, my fingers, my nose and my ears” from Croatian), featuring guest vocals by Igor Buljin (Gorthaur’s Wrath), follows a similar pattern as most songs in I Become Death, or in other words, it’s  an onrush of vicious sounds that will inspire you to slam into the pit like a maniac while Slobodan and Holger don’t stop slashing their stringed weapons mercilessly.

Blazing guitars and punk-infused drums dictate the rhythm in the boozy metal hymn Death Metal Drunks, by far my favorite song of the album showcasing utterly entertaining lyrics vociferated by Ivan (“We are back once again / To show you how it’s done / Pedal to the metal, full speed ahead / Breaks are for the weak / Head through the wall, we don’t care at all / Heading for selfdestruction / Give us booze, give us beer / We are ready for execution”), followed by Rak n’Roll, bringing forward less than two minutes of total sonic anarchy as if the Exploited and Napalm Death had a son (and if that son was trained by Cannibal Corpse), with highlights to Thomas’ crushing performance on drums. Horses bring the noise in Dullahan, a thunderous tune infused with badass Rock N’ Roll elements the likes of Motörhead, also presenting a great job done by Slobodan with his scorching riffs and featuring the third guest vocalist of the album, Aleister Kainulainen (King Satan), to give the whole song and extra kick. And if you think HerezA will slow down at any given point you’re absolutely wrong, as Do Kosti Bez Milosti (“to the bone without mercy”) is another overdose of violence, insanity and rage sung in their mother tongue Croatian, with Ivan’s demented growls and Thomas’ nonstop beats inspiring the listener to violently crack their spinal cords in half.

Beneath The Wheels Of Death is hell on wheels once again led by the berserk grunts by Ivan while Slobodan delivers spot-on riffs and solos, and there’s no time to breathe at all as after a weird semi-acoustic intro the quartet blasts their own version of what can be called “Country Metal” in Necrobitch, Cowgirl From The Morgue, with its lyrics seeming like they were taken from a Steel Panther song but embraced by the heaviness and speed of Punk Rock. In addition to that, pay good attention to how Holger’s groovy and rumbling bass lines add a lot of electricity to the overall result. In Stupid Spoiled Whore the quartet once again brings to our ears very “classy” lyrics (“Spoiled, rich, little girl / You have everything in the world / Mommy and daddy love you so / They can’t see you’re just a / Piece of shit / You make me sick / An ugly boar / Stupid spoiled whore / Shit for brains / You leave stains / Everywhere you go / You’re stupid spoiled whore”), with the music being a feast of raw, razor-edged noises and tones that couldn’t sound more violent. And lastly, Monstrum is a beyond thrilling and deranged way to close such excellent album of extreme music where Thomas steals the spotlight with his frantic drumming while Ivan, Slobodan and Holger fill out every empty space with their respective growls, riffs and bass punches.

After all is said and done, I have only one very simple question to you, and I’m pretty sure your answer will be positive. Do you consider yourself a Death Metal drunk? Well, if you’re reading this review to the very end I believe you are, which means you’re more than ready to join HerezA in their quest for metal and booze by following them on Facebook, and especially by purchasing your copy of Death Metal Drunks (available for a full listen on Spotify and on YouTube) from the Godz ov War Productions’ BandCamp or webstore, as well as from Apple Music and Discogs. And after putting your hands on the album and hitting play, you know what to do. It’s booze, slamming, more booze, headbanging while slamming, an extra dose of booze, and so on.

Best moments of the album: Kopam Oči, Režem Jezik, Prste, Nos I Uši, Death Metal Drunks and Do Kosti Bez Milosti.

Worst moments of the album: None.

Released in 2019 Godz ov War Productions

Track listing
1. Back From The Grave (feat. Adrie Kloosterwaard) 2:56
2. Genocid 1:58
3. Kopam Oči, Režem Jezik, Prste, Nos I Uši (feat. Igor Buljin) 2:53
4. Death Metal Drunks 3:10
5. Rak n’Roll 1:34
6. Dullahan (feat. Aleister Kainulainen) 2:42
7. Do Kosti Bez Milosti 3:15
8. Beneath The Wheels Of Death 2:10
9. Necrobitch, Cowgirl From The Morgue 3:23
10. Stupid Spoiled Whore 2:35
11. Monstrum 1:38

Band members
Ivan Kovacevic – vocals
Slobodan Stupar – guitar, vocals
Holger – bass
Thomas Polder – drums

Guest musicians
Adrie Kloosterwaard – vocals on “Back From the Grave”
Igor Buljin – vocals on “Kopam Oči, Režem Jezik, Prste, Nos I Uši”
Aleister Kainulainen – vocal on “Dullahan”

Album Review – The Promise Of Plague / The Tomb Of Lost Lovers (2019)

The debut album by this American quartet is an obscure fusion of black, industrial, punk and electronic, and you’ll simply love this style known as “Electro Black”.

Featuring members and ex-members of bands like Abominant, Fatal Step, Astrum Empyrean Asunder, Absence of Faith, Märcoda and Assisting Sorrow, the Louisville, Kentucky-based four-piece Industrial Black Metal entity known as The Promise Of Plague is back in 2019 with their debut full-length opus entitled The Tomb Of Lost Lovers, a huge step forward for the band in terms of creativity, strength and overall sound production compared to their 2016 demo Sleepwalking Into Armageddon. Comprised of Jim Higgins and Ashley Vega on vocals, Jerry Barksdale on guitars, keys and programming, and Chris Dalton on bass, The Promise Of Plague play an obscure and piercing fusion of Black and Industrial Metal infused with Punk Rock and electronic elements, or as some people like to say, they play a fairly new style called “Electro Black”.

And their Electro Black becomes already crystal clear in the opening track You Became My Noose, ignited by cutting guitars and electronic beats intertwined with whimsical keys, with Jim alternating between demonic roars and clean, anguished vocals and also presenting symphonic nuances in the background as a welcome add-on. Tim keeps gnarling in great Black Metal fashion in The Quiet, while Jerry slashes his guitar and Ashley brings some finesse to the music with her vocals in a short and sweet display of modern Industrial Black Metal; followed by These Stones Were Meant To Be Thrown, where its imposing and rockin’ vibe reminds me of the primeval days of the unparalleled Cradle of Filth. Furthermore, Jerry and Chris are ruthless with their stringed weapons, while Jim and Ashley make an amazing duet once again exhaling anger, passion, melancholy and darkness from their vocal lines, sounding at the same time furious and doomed. And what can I say about their cover version for Venom’s Warhead? It’s just as raw and infernal as the original one released in 1984 (check it out HERE), showcasing a great job done by Jerry with his scorching hot riffs and the hints of Doom Metal added to the musicality to make it more demonic.

Then leaning towards the classic Doom Metal played by Black Sabbath and Celtic Frost we have Insolent, sounding and feeling considerably different from the previous songs of the album and presenting another spot-on performance by both Jim and Ashley on vocals. In other words, it’s dark, heavy and damned, ending in the most melancholic and beautiful manner you can think of. Chris’ low-tuned bass lines fill every empty space in the somber Mine Is A Place Called Hell, where Ashley’s clean vocals make a very interesting paradox with Jim’s hellish screeches in what’s perhaps the most electronic of all songs, perfectly depicting what Electro Black is all about. And lastly, the title-track Tomb Of Lost Lovers is a rumbling and dancing hybrid of classic Black Metal with electronic music, with Jerry bringing tons of epicness with his keys. Not only that, it should work really well at a dark electro party, with all band members delivering sheer aggression and electricity form their respective instruments.

I guess after reading this humble review of The Tomb Of Lost Lovers you got really curious about what Electro Black is, right? If your answer is yes, go check what The Promise Of Plague are up to on their official Facebook page, and grab your copy of the album directly from the band’s own BandCamp page. In a nutshell, The Promise Of Plague might not be reinventing the wheel with their fusion of metal and non-metal styles, but they have certainly unleashed an interesting and entertaining beast of heaviness, fury and darkness with their debut album, pointing to a very healthy future for the quartet and, who knows, inspiring more underground musicians who are starting their careers in heavy music to venture through the realms of Electro Black, a subgenre of metal that will never go mainstream without any doubt, and we’ll always love it that way.

Best moments of the album: These Stones Were Meant To Be Thrown and Insolent.

Worst moments of the album: None.

Released in 2019 Independent

Track listing
1. You Became My Noose 3:54
2. The Quiet 1:53
3. These Stones Were Meant To Be Thrown 4:38
4. Warhead (Venom cover) 3:03
5. Insolent 5:44
6. Mine Is A Place Called Hell 3:18
7. Tomb Of Lost Lovers 3:50

Band members
Jim Higgins – vocals
Ashley Vega – vocals
Jerry Barksdale – guitar, keys, electronics
Chris Dalton – bass

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

Metal Chick of the Month – Wanda Ortiz

I’ve been looking so long for you now… You won’t get away from my grasp…

As 2019 promises to be another memorable year for Maidenmaniacs from all over the world, especially for the ones that reside in the United States, Canada, Mexico and South America who will have the utmost pleasure of seeing Steve, Bruce & Co. live during their upcoming Legacy of the Beast Tour 2019, there’s nothing better than kicking off our Metal Chick of the Month section with an amazing bass player that truly understands what it means to be part of the legacy (and also continuing our tradition of starting the year with a badass girl on bass guitar, of course). I’m talking about Wanda Ortiz (or Wanda A. Ortiz), the skillful bass player for the all-female tribute band The Iron Maidens (billed as the “World’s Only Female Tribute to Iron Maiden”) under the brilliant stage name of Steph Harris, who’s ready to crush your skull in half to the sound of her thunderous, galloping bass allied to her endless stamina when performing live.

Born on March 27, 1968 in Huntington Beach, a California city southeast of Los Angeles, Wanda first learned to play bass at the early age of nine years old, when the elementary school she attended had a music program that enabled students to sign up and choose an instrument. When she arrived late on the first day of music class, she wound up with a junior-sized double bass, and from that moment on we can say it was “love at first gallop”. In addition to that, while she took lessons on the double bass, also known as an upright bass, Wanda also taught herself how to play electric bass when she was 11 years old in order to play in the school jazz band, and she continued playing bass throughout her school years, eventually earning a Bachelor of Music in Performance (BMus) degree from UCI – University of California, Irvine. One funny thing about Wanda and her relationship with the bass guitar is that, according to Wanda herself, she felt a little sad about her instrument when in high school because she could rarely play the melody, which were the fun parts for her, as she got stuck with simpler lines meant to hold down the beat (in other words, a typical bass line), which despite being very important could get really boring at times. Luckily, she had a friend who told her about bands like Iron Maiden and Rush that really featured bass in their music and, after listening to them, she felt a lot better.

Moving on to her career as a musician, our dauntless bassist, who plays a variety of styles such as Heavy Metal, Hard Rock, Blues and classical music armed with her glitter blue G&L SB-2 bass guitar and her black SB-2 bass guitar on select shows, started playing in a more professional way in 1997, when she joined a California-based Punk Rock/Rock N’ Roll band named Rotten Rod & The Warheads. She was their bassist from 1997 to 2002, having recorded with the band a demo in 1998 titled Practice Bomb (under the eccentric moniker of “Wanda Smart Bomb”), containing songs like Germs and Cruel World. I don’t know about you, but I would love to listen to the music by this fun and electrifying band on any rock n’ roll radio out there. Anyway, while still playing for Rotten Rod & The Warheads, she was also the bassist for Heartache City from 1999 to 2001, with whom she recorded the band’s self-titled album in 2001. I couldn’t find anything online form this band, but if Wanda was their bass player I’m sure their music was at least fun to listen to, right? Furthermore, Wanda was also the bassist for a Huntington Beach-based Rock/Blues band named Field of Vision in 2004, having recorded with them the six-track album FOV that same year, highly influenced by renowned acts such as David Bowie, The Rolling Stones and Velvet Underground. Once again, there’s nothing online about this specific album, but as aforementioned we know from the bottom of our hearts it’s good music we’re talking about. As a matter of fact, in 1998 and 2004, she won the Best Female Bassist award at the Rock City News Awards and, in 2003, she also won the best bassist award at The All Access Music Magazine Awards, proving how talented and focused she has always been as a musician.

In addition to those previous acts and to The Iron Maidens, our ass-kicking bassist also works as a freelance musician in various groups and orchestras in the Southern California area, including The South Coast Symphony as principal bassist since 1996. When asked about how different it is playing for The South Coast Symphony and for The Iron Maidens, if that’s the type of diversity she needs in her playing style, Wanda said that she likes to play classical music just as much as metal, and after playing an upright bass she thinks it keeps her chops up, also saying that it’s like someone who enjoys playing basketball and baseball, two different sports but both fun, which is the same with classical music and metal for her. Moreover, her talent is also recognized by several important brands and companies, being endorsed by BBE Sound, Digitech, Dunlop Manufacturing, G&L Musical Instruments, RotoSound Strings, Schroeder Superior Sound Cabinets, Coffin Case and Monster Energy Drink, and she’s also been in a couple of interesting documentaries recently, those being Hair I Go Again (2016) and the upcoming Rock Is Dead? (2019).

It was in September 2002 when Wanda finally joined The Iron Maidens, remaining with the band ever since and adopting her stage name “Steph Harris” as an obvious reference to Iron Maiden’s iconic bassist and founder Mr. Steve Harris. So far, she has recorded with the band the albums World’s Only Female Tribute to Iron Maiden (2005), Route 666 (2007), The Root of All Evil (2008) and the video Metal Gathering Tour Live in Japan (2010), trying to be as loyal as possible to Iron Maiden’s original sound. In one of her interviews, Wanda said that when she joined the band everyone was just looking for a fun and original side project (there were already several all-female tribute acts for bands like AC/DC in the area), as they all had their own bands and projects, with a goal of playing maybe once or twice a month at some local pubs. However, after the first few shows a lot of people started calling them, with things really kicking off after the band had been together for about a year despite the fact they never took themselves too seriously at that time. As a matter of fact, if there’s one thing they always took very seriously was the music, always trying to replicate the original tones from Iron Maiden the best possible way even with the different instruments they use like Wanda’s bass, which is technically a Fender bass but not the same one used by Steve. If you want to take a good listen at how amazing Wanda and the girls from The Iron Maidens are, simply search for them on YouTube, as there are countless fantastic videos of their live performances such as The Trooper and Die With Your Boots On in California in 2014, or these two full concerts recorded in New York in 2018 and in California in 2013. Also, how about a nice and relaxed interview with the entire band conducted by Grasser Production in 2017 called “15 questions with The Iron Maidens”?

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Regarding the songs she likes to play the most from the Iron Maiden vast and rich discography, she said her all-time favorite are Losfer Words (Big ‘Orra), Phantom of the Opera, Powerslave and Rime of the Ancient Mariner, and when questioned if it’s hard for The Iron Maidens to come up with a setlist to please all fans she said it’s not difficult at all because it’s drummer Linda McDonald who keeps track of all places the band plays and what songs they played before, also taking into account her own endurance and the timing for their lead singer to do a costume change, for example, and always focusing on old songs not usually played by Iron Maiden during their current concerts and tours. She was also questioned if she ever struggles with identity, wanting to do her own original material and showcasing it, and she said she doesn’t really have any issues with that, stating that she actually enjoys playing music written by a wide variety of different composers, either metal or orchestral music, and that it doesn’t stop her from writing her own music which she has done before in original bands. Also, when asked if the band has ever had to deal with any issues related to artwork, royalties, cease-and-desists from lawyers or anything like that, she said the band does everything they can to avoid that, but that they were asked to change their logo many years ago (and they did). She complemented by saying that wasn’t a big deal, and she doesn’t think the guys from Iron Maiden were even aware of it; they simply have a good team of people who help look after everything.

Of course, it’s impossible not to talk about her “relationship” with Mr. Steve Harris and his two-fingered galloping bass method. In one of her interviews, Wanda talked about how much Steve Harris and his bass have influenced her taste for music and her playing style, talking about the aforementioned story of her playing only the basic notes while her friends would play the melodies with their violins and violas in high school, but that after listening to the all-time classic Piece of Mind she fell in love with her bass guitar again and never stopped listening to the music by Iron Maiden ever since. Apart from Steve Harris, she also cites Geddy Lee, lead vocalist, bassist, and keyboardist for Canadian Rock titans Rush, and Chris Squire, bassist and founding member of English Progressive Rock band Yes, among her influences, once again showing how much she loves the most intricate, unique and vibrant sounds anyone can extract from a bass guitar. There’s also a price to pay for having Steve Harris as her major influence, and especially for playing Iron Maiden’s music, which comes in the form of fans who believe they can offer her advice on how to perform that material beyond her considerable talent. “Every once in a while, there will be a bass player in the audience. There’s a couple songs that I’ve gotten used to playing it a certain way or maybe a different position, but they’re the same notes, but it’s not the same position (Harris) plays it in. Sometimes I’ll get that, or sometimes I’ll get like, ‘Well, Steve uses two fingers’. Well, okay. Sometimes I’ll hear that. Very rarely though,” said our talented bassist.

Wanda’s first ever Iron Maiden concert happened many years ago during the World Slavery Tour, when according to Wanda herself she didn’t drink anything to avoid having to leave to use the bathroom, as she didn’t want to miss any part of the show (well, it’s the same for me). Years later, Wanda was even able to get to know Iron Maiden in person when Michael Kenney, Steve’s long-time bass tech and the band’s onstage keyboard player, introduced the whole band to them at a concert in Irvine, California. Wanda and the other girls were obviously nervous at first for meeting their idols, but the guys were really friendly to them and down to earth, making the whole experience very pleasant. The only thing that didn’t go as planned was that they weren’t able to give them cookies that they baked specially for them, as their singer left them in her car. I’m pretty sure those cookies were delicious, but you know what was even better than that? The fact that The Iron Maidens were not only able to meet their icons in person for the first time ever, but also that the band led by Mr. Steve Harris supports them, acknowledging their undisputed talent, their passion for metal and their hard work, and that they can rest assured “Steph Harris” and the girls will always represent this more “feminine” and “delicate” side of Eddie with a lot of energy, respect and admiration. Having said that, don’t forget to check Wanda and the girls live whenever they take your city by storm, and of course, as usual… UP THE IRONS!

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“As a bass player, of course, you’re going to be drawn to music more challenging, interesting and fun. I’ve always been an Iron Maiden fan since I was very young. When the band first formed everybody wanted to do something different, something more challenging. Since we all wanted something unique that nobody else was really doing, we thought Iron Maiden would be a good fit. We are all coincidentally huge Iron Maiden fans, so that made it better.” – Wanda Ortiz

Album Review – Where’s My Bible / M’N’R (2018)

Blending rock and punk influences with the violence of Death, Thrash and Black Metal, this Finnish squad is more-than-ready to mosh and roll in their first full-length release.

Blending rock and punk influences with the more violent and austere Death, Thrash and Black Metal sounds, Finnish Mosh N’ Roll squad Where’s My Bible (and yes, that’s the actual name of the band) was formed in 2014 in the city of Heinola with the intention to just have fun and play, although the thought of being taken seriously quickly kicked in, culminating with the release of their debut EP named The Beginning in early 2016. A major milestone for the band, which is reflected in the title itself, the EP led the band to participate in several concerts and festivals in the following months, including a spot in the main stage of the renowned Tuska Open Air in 2017, secured after winning the Tuska-Torstai competition hosted by the festival.

The band kicked off 2018 by starting the recording of their debut album, simply titled M’N’R (the acronym for Mosh N’ Roll), an energetic and upbeat representation of the band’s sound, being released in the fall this year. In other words, if you enjoy slamming into the circle pit and enjoying a cold beer while listening to our good old Rock N’ Roll, but with a more venomous metal twist, get ready to rock together with frontman Jussi Matilainen, guitarists Toni Hinkkala and Pasi Löfgren, bassist Jarno Laakkonen and drummer Antti Jokinen, and enjoy all those fun bruises that high-octane feast of sounds will leave on your body.

A wicked intro kicks things off, setting the tone for the thrashing party titled Speedload, led by the rip-roaring riffs by Toni and Pasi, while Antti hammers his drums like a good thrasher that he is. Also presenting elements from Hardcore and Metalcore, this is not only a true headbanger but a fantastic welcome card by the band, with highlights to the sick growling by Jussi. If you love hitting the dance floor and crushing your skull, well, the time is now, as Where’s My Bible deliver a neck-breaking and vibrant tune named Dancefloor, with Toni and Pasi getting the support of Jarno and his thunderous bass to generate a dense and electrifying ambience, living up to the legacy of 80’s Thrash Metal with a modern vibe; and Jarno ignites another classy exhibit of Mosh N’ Roll titled Absinthe, bringing elements from Punk Rock and Hardcore to their already incendiary sonority. In addition, Jussi sounds even more demented on vocals, helping to keep the music violent and melodic from start to finish.

Then the acoustic and somewhat atmospheric bridge Interlude gives us time to recover our energies before Jussi comes growling as deep as a knife would go in Meatholder, a demolishing display of Melodic Death Metal and Metalcore where the guitars by Toni and Pasi exhale heaviness, rage and harmony in an amazing sample of what the band is capable of. Faster than a bullet and as heavy as hell, Me Myself and I is a sonic extravaganza where Antti doesn’t stop pounding his drums in over six minutes of unrelenting Finnish Thrash Metal, getting considerably progressive and atmospheric towards its ending. Transcendence is another song that surpasses the six-minute barrier, something not very common for Thrash Metal bands, but that keeps the energy level high until its last second, which means there’s plenty of time for you to break your neck headbanging to the vicious riffs by Toni and Pasi while Jussi continues to bark and gnarl manically. And lastly as a bonus track we have Failure, originally recorded back in 2016 and featuring Leevi Luoto (responsible for guitars and clean vocals for Finnish Metalcore act One Morning Left), remaining aggressive, raw and frantic throughout its entirety.

In the end, I guess the best way to summarize M’N’R is by taking a few interesting steps. First of all, simply follow Where’s My Bible on Facebook and listen to M’N’R on Spotify or, even better, show your support to those Finnish metallers by purchasing the album from the Inverse Records webstore, from Record Shop X, from metalmailorder.com, from iTunes or from Amazon, then fill your refrigerator up with some good quality beer, invite your friends for the night, and there you have a true Rock N’ Roll party with a beyond special Finnish Mosh N’ Roll touch. What else can you ask for in good Scandinavian music, right?

Best moments of the album: Speedload, Absinthe and Meatholder.

Worst moments of the album: None.

Released in 2018 Inverse Records

Track listing 
1. Intro 1:04
2. Speedload 4:54
3. Dancefloor 3:35
4. Absinthe 3:48
5. Interlude 1:21
6. Meatholder 5:10
7. Me Myself and I 6:14
8. Transcendence 6:06

Bonus track
9. Failure (feat. Leevi Luoto) 5:00

Band members
Jussi Matilainen – vocals
Toni Hinkkala – guitar
Pasi Löfgren – guitar
Jarno Laakkonen – bass
Antti Jokinen – drums

Guest musician
Leevi Luoto – additional guitars and vocals on “Failure”

Album Review – Inkvisitor / Dark Arts of Sanguine Rituals (2018)

After suffering major lineup changes, this underground Finnish thrashing machine is back with a concept album following a neo-noir murder mystery story laced with black magic and necromancy elements.

After going through major lineup changes in the past couple of years, Jyväskylä-based Thrash Metal squad Inkvisitor is finally back with their second full-length installment, titled Dark Arts of Sanguine Rituals, following up their fun and frantic full-length debut album Doctrine of Damnation, released in 2015. Part new Inkvisitor, part swansong of the old Inkvisitor, the album introduces the band’s new lead singer Markus Martinmäki and new drummer Tino Jäntti, while at the same time it also farewells their second guitarist Lauri Huttunen (not to mention their old friend and bassist Pekka Hölönen played bass on the album as a session musician).

Featuring an old school cover art by Petteri Ylitalo (Dear Death Designs), Dark Arts of Sanguine Rituals is a concept album following a neo-noir murder mystery story laced with black magic and necromancy elements, with a single storyline progressing through the songs, and that’s one of the most remarkable changes from the band’s previous album, where lyrics revolved around the usual topics most Thrash Metal bands sing about such as nuclear warfare and beer. Another major change are the vocals by Markus, sounding a lot raspier than the Joey Belladonna-inspired style from their previous vocalist, adding an extra touch of aggressiveness to the entire album. In the end, although Inkvisitor are playing a different type of Thrash Metal in the new album, as aforementioned their core essence remains intact, resulting in a more-than-healthy and fun clash between their past and present musicality.

Starting in an Anthrax-like way, with both guitars exhaling metallic sounds while Tino pounds his drums mercilessly, the title-track Dark Arts of Sanguine Rituals feels a lot more hardcore and pugnacious than their previous album (mainly thanks to the visceral screams by Markus, as already mentioned), and their hostile Thrash Metal extravaganza goes on in another circle pit-catalyst named Second Sacrament, with both guitarists Mikko Saviranta and Jesse Kämäräinen (as well as the departing Lauri) sounding infernal with their riffs, not to mention how bestial Tino is once again behind his drums. More modern and heavier than its predecessors and featuring the only  guest  musicians of the album  on  lead  guitars  (Sebastian Frigren and Kasper Koutonen, of  Nuclear  Omnicide  and  Devenial  Verdict), A Shadow Suspended by Dust brings massive, rumbling bass sounds which set the perfect stage for Markus and his demented growls, inspiring us to crack our necks in half headbanging.

Then speeding up their pace and mixing elements from traditional Hard Rock, Punk Rock and Rock N’  Roll with their frantic Thrash Metal, Inkvisitor deliver a full-bodied thrashing extravaganza named The Confession, with highlights to the incendiary performances by Markus and Tino. Moreover, it’s quite impossible to stand still to such high level of electricity and insanity, which can also be said about Mindslaver, another Anthrax-inspired tune with classic guitar riffs and headbanging beats, presenting lyrics about how our society has failed and how we need to start everything over (“Mankind has failed, brotherhood has been lost / The prison of the mind / And the cancer of your soul / Complete the ritual, sacrifice your family / Through death you ́ll be born again / Reclaim your throne”). In Necromancy Cascade, a slower but still very heavy and impactful composition, Markus delivers deeper, more introspective vocals while the energy in the music remains at a decent level (it never really takes off, though, falling flat after a while); whereas Paradigm Shift is a berserk, demented and totally awesome hymn by Inkvisitor showcasing all elements we love in old school Thrash Metal, with the demolishing drumming by Tino dictating the rhythm while the stringed trio Mikko, Jesse and Pekka sounds absolutely thunderous with their riffs, solos and punches.

Violence keeps flowing from all instruments in the belligerent War is Path to Victory, a song tailored for slamming into the pit with your friends while Markus screams its lyrics right in your face (“What do I think I know ́bout war? / Spare a life hand over your own / Violence consists of certainty / That war is a path to victory”), before the imposing and ruthless The Revenant (Redeemer) closes the regular version of the album, bringing to our avid ears menacing drums and bass lines, soulful riffs and solos, and the most demonic vocal lines of the entire album. And last but not least, as a bonus track for the ones who buy the album either in CD or digital (and you also get an instrumental version of the whole album and a 12-page booklet with liner notes) we have Quagmire Twilight (Deleted Scene), Inkvisitor’s darkest creation, a doom-ish tune with obscure vocal lines and piercing bass lines, with that dark and heavy aura going on until the song’s devilish ending.

As aforementioned, this new version of Inkvisitor is just as electrifying and heavy as their previous release, sounding more unfriendly (in a good way) due to their new vocal approach, and if you like what the band has to offer in this new phase you can purchase Dark Arts of Sanguine Rituals (available for a full listen on Spotify) from the band’s own BandCamp page, from Record Shop X, or from iTunes, and don’t forget to follow them on Facebook and on YouTube for more of their music, news, tour dates and all things Inkvisitor. Let’s hope that Inkvisitor’s days of major lineup changes are over and that they can now focus on touring and writing more Thrash Metal, because based on what they’re offering us all in Dark Arts of Sanguine Rituals the band is on a beyond promising (and thrashing) path to success.

Best moments of the album: The Confession, Mindslaver and Paradigm Shift.

Worst moments of the album: Necromancy Cascade.

Released in 2018 Independent

Track listing
1. Dark Arts of Sanguine Rituals 3:31
2. Second Sacrament 3:24
3. A Shadow Suspended by Dust 5:14
4. The Confession 3:39
5. Mindslaver 3:42
6. Necromancy Cascade 5:49
7. Paradigm Shift 4:38
8. War is Path to Victory 4:46
9. The Revenant (Redeemer) 5:45

Bonus track
10. Quagmire Twilight (Deleted Scene) 5:29

Band members
Markus Martinmäki – vocals
Mikko Saviranta – guitar
Jesse Kämäräinen – guitar
Sakari Soisalo – bass
Tino Jäntti – drums

Guest musicians
Lauri Huttunen – second rhythm guitar & lead guitar on “Second Sacrament”
Sebastian Frigren & Kappe Koutonen – lead guitars on “A Shadow Suspended by Dust”
Pekka Hölönen – bass (recording)
Kalle Raijonkari & Sampo Riikkilä – additional gang vocals

Album Review – The Rocket Dolls / DeadHead (2018)

A fresh, contemporary collection of music that combines the best bits of heavy rock, grunge, punk, and pop smart sensibilities, symbolizing a reflection on personal demons and modern day society.

Brighton, England-based Heavy Rock trio The Rocket Dolls are ready to set fire to the scene with their brand new studio album DeadHead, featuring just the right amount of melody with straight up hook laden driven riffs combined with curveballs when you least expect them, being highly recommended for fans of the music by Alice In Chains, Foo Fighters and Kings X, among many other renowned rock bands. Recorded at London’s award winning British Grove Studios (David Gilmour, Razorlight, Mark Knopfler), and featuring a stylish arwork by Sam Hayles at DOSEprod (Earthtone 9, Pitchshifter, Jayce Lewis), DeadHead offers the listener a fresh, contemporary collection of music that combines the best bits of heavy rock, grunge, punk, and pop smart sensibilities, all meticulously put together by the band’s unstoppable trio.

Lead singer and guitarist Nikki Smash had a few words to say about the album art and how it connects to the music. “Sam captured the essence of what our new album is about. It’s a reflection on personal demons and modern day society; the split in the wolf (half animal/half machine) symbolizes the transformation between good to bad and bad to good. It demonstrates not just the struggle of depression and anxiety that inflicts itself upon our society, but also the wolf in motion should be seen as a symbol of hope and the need to fight and overcome what’s wrong in our world.” And you better get ready to rock with this wolf pack hailing from the UK, as they’re not kidding when they say DeadHead is their strongest collection of music to date.

Crushing their instruments from the very first second as if they were the Incredible Hulk of Hard Rock the trio offers us None Of This Is Right, a song about recovering from being ill and being addicted to prescription painkillers presenting a solid instrumental with rumbling bass lines and potent beats, all led by the slashing riffs by Nikki. Then we have She’s Starting Something Now, where Nikki discusses about domestic violence against women and their sweet revenge, showcasing heavier-than-usual riffs and beats (and even with all that heaviness this song can still be played on any radio station), and the title-track DeadHead, narrating Nikki’s battles with depression, drugs and prescription painkillers. Furthermore, although the song does have a darker feel when compared to its predecessors, it’s still very vibrant, with drummer Benji Knopfler showing he’s not only precise with his drums, but he also knows how to properly pound them.

A lot smoother and more melodic, She Said is a radio-friendly composition where Nikki fires some interesting semi-acoustic guitar lines while bassist Joe Constable makes sure the atmosphere remains as dense as possible; whereas The Last Thing On My Mind is an introspective heavy ballad by the trio displaying a great vocal performance by Nikki, while the song’s background orchestral elements bring a sense of melancholy to the overall result. Nikki said that Stop The Dead Men Crying is the hardest song for him to sing and play due to its content and meaning, and the final result couldn’t sound more obscure, including even hints of old school Doom Metal, with his henchmen Joe and Benji providing him a fantastic support with their thunderous instruments. And in Drowning, a somber tune about suicidal thoughts (which explains its gentle but at the same time piercing sonority), you can sense that lancinating feeling flowing from both Nikki’s clean vocals and his enraged screams.

Putting the pedal to the metal The Rocket Dolls fire the thrilling and harmonious The Desperate, inspired by modern-day Punk Rock and led by the rhythmic beats by Benji, while Nikki fires what are probably his best riffs of the whole album. Following that explosive tune, his battle with mental health issues goes on in the also dark and pensive Strain, where Benji shows no mercy for his drum kit by smashing it like there’s no tomorrow (and the same can be said about Joe, who produces an ominous sound with his bass). In Rusty Bones, Nikki once again talks about taking painkillers for his osteoarthritis knee pain, and all the drinking and abusing that can sometimes make everything feel sluggish and slow, with the music being highly inspired by Stoner Rock and Metal, therefore bringing a neck-breaking riff and tons of agony and pain to our minds; and the band’s last blast of fury comes in the form of another thunderous Stoner Metal-like tune titled Trigger, where Joe doesn’t get tired of crushing his strings. It’s a very dense and bold composition, and needless to say a fantastic closing act for such personal album for the band’s talented frontman.

In a nutshell, I believe Nikki more than succeeded in turning all his personal demons and struggles with drug and alcohol abuse into high-quality rock music, pointing to a great direction for The Rocket Dolls wolf pack to keep following with their future albums. If you want to know more about the band and about how music has helped Nikki overcome all his fears and problems, go visit their Facebook page and YouTube channel, and don’t forget to grab your copy of DeadHead from the band’s own Big Cartel page, from iTunes, from Amazon or from Cargo Records. It’s always a pleasure to see how rock and heavy music can help a normal person like Nikki beat such delicate topics like drug and alcohol addiction and abuse, and an album like DeadHead only confirms that while Rock N’ Roll exists, nobody is alone in this world.

Best moments of the album: None Of This Is Right, The Desperate and Trigger.

Worst moments of the album: She Said.

Released in 2018 Independent

Track listing
1 .None Of This Is Right 3:54
2. She’s Starting Something Now 3:35
3. DeadHead 4:35
4. She Said 2:58
5. The Last Thing On My Mind 3:51
6. Stop The Dead Men Crying 4:29
7. Drowning 4:25
8. The Desperate 4:05
9. Strain 4:45
10. Rusty Bones 4:04
11. Trigger 3:43

Band members
Nikki Smash – vocals & guitar
Benji Knopfler – drums & backing vocals
Joe Constable – bass & backing vocals