Album Review – The Prophet / Essence (2019)

A vibrant and demolishing fusion of classic Black and Death Metal with contemporary Melodic Death Metal by a Russian band that’s been on an exciting rise since their inception.

It’s time to return to Siberia, Russia, more specifically to the city of Tomsk, for another round of violence, speed and rage in the form of the Melodic Death and Black Metal blasted by a very talented group of musicians collectively known as The Prophet. After releasing the full-length albums Sunrise (2011), Across the Sphere (2013) and Dying (2015), which by the way I had the pleasure of reviewing here at The Headbanging Moose when it was released, as well as the EP’s Chronos (2013) and Another Damned World (2016), the band comprised of Theodor on bass and vocals, Doctor on the guitar and backing vocals, and Raziel on drums (also featuring now Deathbringer on the guitar) returns now in 2019 with another amazing opus, entitled Essence. Recorded, mixed and mastered at Project Studio Infernal Records, in Tomsk, and featuring a grim artwork by Mark Erskine, from Erskine Designs, Essence will undoubtedly please all fans of both old school Death Metal and contemporary Melodic Death Metal, proving once again why the band is on a constant and exciting rise since their inception in 2010.

Ethereal sounds permeate the air in the beautiful and melancholic intro Essence before the trio begins hammering our minds and hearts in From the Endless Vortex, a brutal Melodic Death Metal tune infused with classic Death Metal elements, with Raziel crushing his drums while Theodor growls and roars like a beast, kicking off the album on a sulfurous note. Then the talented Doctor shreds his chords manically, igniting the also frantic and pulverizing Defeated by the Demons, even more aggressive than its predecessor and showcasing deep and demented growls mixed with unstoppable blast beats and low-tuned bass jabs; and there’s no sign of the band slowing down, as Emerald Eyes is another great song for banging your head vigorously, presenting a solid instrumental with highlights to the perfect sync between Doctor and Raziel.

A lot more introspective and dark, Blackword sounds closer to traditional Swedish Melodic Death Metal, spearheaded by Doctor’s razor-edged riffs while Theodor exhales anger from his harsh gnarls, ending with a smooth piano that builds a classy connection with the instrumental bridge Dreamside Areas, a touch of delicacy added amidst all the havoc blasted by the trio, soothing our souls and preparing our minds for World of Pain, an obscure and absolutely visceral display of Death Metal by The Prophet. Featuring absolutely no shenanigans nor any artificial elements, we’re treated to pure old school Death Metal flowing from all instruments into our avid ears, with the bass lines by Theodor sounding truly violent and metallic, whereas Flying is another straightforward composition that keeps Essence at a very good level of quality and stamina (albeit not as exciting as the rest of the album), with its background orchestral elements bringing an extra dosage of eccentricity to the music.

Back to a full demolishing mode, Time is highly recommended for slamming like an animal into the circle pit while Theodor’s bass and Raziel’s drums smash your senses mercilessly, flowing into an inspiring acoustic finale before another instrumental bridge titled Grand Deliriozo Part I (Imago) brings more peace to our hearts to the sound of stylish piano notes, enfolding us all until The Prophet begins firing their most ambitious and boldest creation to date, the somber and heavy-as-hell In the Dying Sunset. This is undoubtedly an excellent option for breaking your neck headbanging, with all band members delivering sheer aggression from their respective weapons, in special Theodor with his deep guttural roars, putting a dark and at the same time gentle ending to the album.

As I know my simple words are not enough to actually describe the strength and heaviness of the music by The Prophet, I suggest you take a good listen at their new album Essence in full on on YouTube and on Spotify, and in case you’re a diehard fan of this more aggressive version of Swedish Melodic Death Metal you should definitely pay The Prophet a visit on Facebook and on VKontakte, and subscribe to their YouTube channel. Hence, you can purchase Essence from the Soundage Productions’ webstore, from Apple Music, from Google Play, from Amazon or from Discogs. Russian Melodic Death Metal has never been so good, and we have to thank the guys from The Prophet not only for leading that trend, but also for showing a healthy and interesting evolution in their sonority just the way we always like it in heavy music.

Best moments of the album: From the Endless Vortex, Defeated by the Demons and World of Pain.

Worst moments of the album: Flying.

Released in 2019 Soundage Productions

Track listing
1. Essence (Intro) 1:22
2. From the Endless Vortex 3:45
3. Defeated by the Demons 2:49
4. Emerald Eyes 3:44
5. Blackword 4:17
6. Dreamside Areas 1:56
7. World of Pain 2:50
8. Flying 3:23
9. Time 3:32
10. Grand Deliriozo Part I (Imago) 2:06
11. In the Dying Sunset 7:44

Band members
Theodor – bass, vocals
Doctor – guitar, backing vocals
Raziel – 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 – Grenouer / Ambition 999 (2019)

Over 55 minutes of classy and modern rock music showcasing a different side of this talented Russian band, but still keeping their amazing core Alternative Rock and Metal intact.

Offering over 55 minutes of modern and melodic Alternative Metal with several distinct rock elements, Ambition 999, the ninth album in the career of Saint Petersburg, Russia-based act Grenouer, turned out to be a long-term project due to all the re-recording needed until the band reached its desired sound. That resulted into one of the biggest gaps between albums in their career, with nothing more, nothing less than four years separating Ambition 999 from their previous album, Unwanted Today, released in 2015. However, all that wait was definitely worth it as their new album is indeed a fresh addition to their discography, with each one of its 15 songs offering a different approach when compared to the band’s two previous efforts in terms of riff intensity and rapid-fire solos, balancing between new and clichés, double density and marked vocal temperament.

Engineered and recorded by Al Bolo at RDS& Moscow Gates Apartment Studios, Anssi Kippo at Astia-Studio, and Luigi Del Missier at BlackMirror Studios, produced, mixed and mastered by Giuseppe “Dualized” Bassi from dysFUNCTION Productions, and featuring a futuristic artwork by Brazilian artist Jobert Mello (Sledgehammer Graphix) and Italian artist Zimon (New Breed Graphic Studio), Ambition 999 feels like a heavier version of bands such as Depeche Mode and Duran Duran, presenting a more than inspired and electrified band comprised of Andrey Ind on lead vocals, Dmitry Rubanovsky and Alexander Motor on the guitars, Al Bolo on bass and Danny D on drums, and bringing to our avid ears everything we need to have a good time on the road, at a pub, at home, or anywhere else where good rock music is properly appreciated.

Electric waves permeate the air before the band begins blasting their modernized blend of Alternative Rock and Metal in Burnt to the Ground, with highlights to the slashing guitar riffs and solos by Dmitry and Alexander; followed by Nevermind Tomorrow, a song perfect for banging our heads to their riffs and beats while Andrey gives life to its party-like lyrics (“Fast and tight / High heel party night / Tomorrow never knows and never dies / Drinks on me / Any chicks for free? / We’re born to make some noise, so sing with me / Or you’d better shout”), and One Day, another thrilling tune in the same vein as bands like Godsmack, Shinedown and Three Days Grace, sounding very melodic and showcasing a passionate performance by Andrey on vocals while Danny D dictates the rhythm with his spot-on beats. Then in Infinite Grace the band adds a good amount of heaviness to their music, getting closer to the musicality by bands like Rob Zombie and Marilyn Manson but still keeping their core Alternative Rock intact, also presenting some sick guitar solos for our total delectation, whereas in Medicine Treats No Lies the quintet continues their feast of modern-day rock and metal music, with Al together with Danny D bringing thunder to the music with their respective instruments.

If Cure for the Lonely is even more futuristic and atmospheric, displaying a strong focus on Andrey’s vocals and feeling at times like a hybrid of modern rock music with the electronic and alternative sounds by old school bands like Depeche Mode, Uncommon Faith is a good song for hitting the highway, presenting great sync between the band’s stringed trio and Danny D’s beats, all infused with Hard Rock elements. On the other hand, Back on Track is slightly below the rest of the album in terms of electricity, albeit it does bring forward a considerable amount of progressiveness as well as Andrey’s smooth but potent vocals; while Universe of My Heaven sounds very modern and progressive, also bringing some symphonic elements in the background to give it an extra taste. Moreover, Al’s bass sounds as groovy as it can be, while Danny D pounds his drums just the way we like it in good modern Rock N’ Roll. After that, it’s time for Grenouer to take their musicality to even more eccentric lands with the weird, atmospheric and fun Crimson Lines, with highlights to its classy, poetic lyrics (“Read between the crimson lines / Sacred destination / Go behind the scenes of life / Steady irritation / Read between the crimson lines / Go behind the sonic nightmares / Black and white visions in the sky”).

It’s interesting how Grenouer manage to keep their essence while exploring new sounds, which is the case in the almost electronic-dancing tune Chase the Sun, and although the final result is quite entertaining the guitars by both Dmitry and Alexander needed an extra kick for the whole song to work even better. Then melancholic, acoustic guitars ignite the introspective Ingenious Care, showcasing smooth vocal lines, complex and serene drums, and featuring guests Chayka Chursina on vocals and Zimon on bass, sounding dark from start to finish and, therefore, sending the desired message by the band. Dangerous Girls takes the band back to a heavier, more pounding sonority, with their guitar duo being on fire as well as Al and his rumbling bass, or in other words, this is a well-balanced hybrid of Progressive and Alternative Metal for admirers of the genre. The second to last blast of Grenouer’s rockin’ sounds comes in the form of Paranormal Star, sounding as whimsical and piercing as its name, placing it as another serious candidate to be part of their live setlists, whereas the last tune from Ambition 999 is a superb acoustic ballad entitled Alone in the Dark, which not only presents beautiful guitars and vocals, but its official video is amazingly obscure and captivating. Put differently, it might not be the usual electrified Grenouer we’re used to, but this somber, pensive side of the band is just as enfolding as their more regular sonority.

What are you waiting for to put your hands on 15 extremely well-crafted and energizing rock songs made in Russia? Simply go to the band’s official BandCamp page to grab your copy of the album, as well as to the Sleaszy Rider Records’ BandCamp or webstore, to iTunes or to Amazon, and keep an eye on their Facebook page, VKontakte and YouTube channel for news, tour dates and more of their crisp rock music. As an already established and successful band in the world of heavy music, we can rest assured Grenouer are far from calling it quits, hoping that all of their future releases are just as good as the music found in Ambition 999 and that they proudly keep carrying the flag of Rock N’ Roll wherever they go.

Best moments of the album: Nevermind Tomorrow, Medicine Treats No Lies, Crimson Lines and Alone in the Dark.

Worst moments of the album: Back on Track and Chase the Sun.

Released in 2019 Sleaszy Rider Records

Track listing
1. Burnt to the Ground 3:30
2. Nevermind Tomorrow 3:32
3. One Day 4:15
4. Infinite Grace 4:07
5. Medicine Treats No Lies 3:25
6. Cure for the Lonely 2:37
7. Uncommon Faith 5:13
8. Back on Track 3:41
9. Universe of My Heaven 3:49
10. Crimson Lines 4:16
11. Chase the Sun 3:17
12. Ingenious Care 3:24
13. Dangerous Girls 4:08
14. Paranormal Star 3:10
15. Alone in the Dark 3:20

Band members
Andrey Ind – lead vocals
Dmitry Rubanovsky – guitars
Alexander Motor – guitars
Al Bolo – bass
Danny D – drums

Guest musicians
Chayka Chursina – female vocals on “Ingenious Care”
Zimon – bass on “Ingenious Care”

Metal Chick of the Month – Polina Psycheya

I’ll take you far away to another land…

Brothers and sisters of heavy music, let’s all travel this November to Chelyabinsk (or Челя́бинск in Russian), a city in west-central Russia located in the northeast of the oblast, around 210 kilometers south of Yekaterinburg, just to the east of the Ural Mountains on the border of Europe and Asia, to meet our stunning and unstoppable metal chick of the month. She considers herself a true Russian Viking, always ready for heading into the battlefield armed with her potent vocals and endless energy, and in case you haven’t heard of this amazing frontwoman yet, I bet you’re going to be surprised by how talented, hardworking and passionate about metal she is. I’m talking about Polina Psycheya, whose real name is Polina Sibrikova (or Полина Сибрикова), former lead singer for Russian Melodic Death Metal band All I Could Bleed and current main frontwoman for Portuguese Symphonic Progressive Metal band The Autist, an obstinate woman that takes no prisoners in her quest for heavy music.

Before starting her career as an Extreme Metal singer, Polina had what we can call a normal life in her hometown Chelyabinsk, graduating from МОУ СОШ № 41 (or “secondary school number 41 of Chelyabinsk”) in 2007, and advancing for a degree in Graphic Design from РБИУ (or RBIM – Russian-British Institute of Management) in 2010, a higher education international institute also located in Chelyabinsk. As a matter of fact, even after joining All I Could Bleed she kept working as an artist and clothing and apparel designer, as you can see on her official Facebook page titled “World of Polina Psycheya”, where she usually posts details about her works, tutorials and items for sale. However, it looks like heavy music is her true passion in life, with her skills as a designer becoming a complement to her role as a female growler. And if you think she took any special courses in singing, you’re absolutely wrong, as Polina simply learned how to scream and growl by herself, only training during the band’s rehearsals, always shaping up her own vocal style without copying anyone or anything from books.

As already mentioned, Polina was the frontwoman for Russian act All I Could Bleed starting 2009, but the band started a few years before that, more precisely in 2004 when two old friends, guitarists Alex Sibrikov and Max Melnikov, decided to form a Death Metal band together as an outlet of their aggression. When they released their first single Follow Me, in 2009, Polina was not yet part of the band, with Alex taking care of the vocal duties. However, after Polina joined All I Could Bleed, the band reached its desired shape and form and was ready to take the world of heavy music by storm, with the release of their 2011 debut full-length album Burying the Past (available for a full listen on YouTube) being the culmination of a lot of hard work and dedication of all band members to their music. As a matter of fact, Polina not only growled and screamed like a beast in the album, but she was also responsible for the lyrics, cover art and design, proving that although she might not be a founding member of All I Could Bleed, she had definitely become the band’s heart and soul during her time with them.

After the release of Burying the Past, Polina and her bandmates got back in action in 2014 when they released a single titled Debris of Earth, a lot more melodic, more experimental and groovier than all songs form their debut installment. Furthermore, if there’s one thing Polina loves from the bottom of her heart is playing live, and she certainly translates that passion into sheer energy during the band’s live performances. When asked about the idea for their onstage outfits, she said she took the inspiration from dark, ancient and powerful warriors like the Riders of the Apocalypse, designing all the clothing herself, and when she was asked about her first ever concert as the frontwoman of All I Could Bleed, she mentioned it was indeed an unforgettable night for her in her hometown Chelyabinsk, in 2009. Due to the fact she wasn’t writing the lyrics for their songs at that time, her bandmates gave her the task of learning the classic Enemy Within, originally recorded by Arch Enemy, and singing it as part of their setlist. Well, Polina didn’t disappoint at all; quite the contrary, the reception of the crowd at the venue was amazing, inspiring her to keep growling in the name of metal. You won’t be able to find that concert online, but there’s no need for panicking, as you can at least enjoy All I Could Bleed’s full (and absolutely awesome) performance at the Tele-Club in Yekaterinburg, Russia on April 24, 2014, where Polina simply kicked some serious fuckin’ ass on stage.

Apart form her career with All I Could Bleed, Polina has also been involved since 2017 with Portuguese Symphonic Progressive Metal band The Autist, a female-fronted metal project with progressive and symphonic elements highly recommended for fans of truly melancholic, tragic and conceptual music that was inspired by deep emotions we all go through in our lives. The origin of the project dates back to 2014 and is the mind reflection of guitarist and composer Pedro Remiz, who decided to recreate his own musical world after the end of Darkside of Innocence. Also featuring Alina Lesnik (from German Symphonic metal band Once), Chiara Tricarico (from bands like RavenWord and Sound Storm) and several other guest musicians, besides of course Polina as the band’s main vocalist, The Autist have already released two EP’s and one full-length album so far, with Polina lending her slashing roars to the songs The Sanctuary, Ethereal and Pandora’s Curse, from their 2017 album The Coldest Sun, and to the songs The Idol, Anima and Bloodlust, from their 2018 EP Anima.

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Regarding Polina’s biggest idols and influences in heavy music, her list is beyond fantastic, including bands (and obviously their respective vocalists) such as Rammstein, Metallica, Death, Pantera, Children Of Bodom, Arkona, Kreator, Destruction and Motörhead, all of which she would love to play alongside at Wacken Open Air by the way, with Rammstein and Children Of Bodom being considered by Polina herself the two bands with the highest impact on her vocal style and musical direction. In addition, during one of her interviews she was also asked to list the top 5 albums anyone should have in their collection, and once again her choices didn’t disappoint, including Metallica’s Master of Puppets, Death’s Symbolic, Dimmu Borgir’s Puritanical Euphoric Misanthropia, Black Sabbath’s Paranoid, and Pantera’s Vulgar Display of Power. Hence, you can enjoy Polina paying a tribute to several of her idols on her official YouTube channel, recording her own versions to classics like Dimmu Borgir’s Progenies Of The Great Apocalypse (together with German multi-insturmentalist André “Agordas” Groschopp); Arch Enemy’s Nemesis; Pantera’s all-time hit Walk  (recorded with All I Could Bleed during one of their rehearsal sessions); and Death’s Symbolic (recorded during one of All I Could Bleed’s live performances). Furthermore, you can also enjoy other exclusive videos on her YouTube channel, such as Progressive/Melodic Power Metal masters Kamelot featuring not only Polina but also the amazing Kobra Paige live in Moscow in 2017; and Polina herself talking a little about her style, about Death Metal and about Arch Enemy,  and the reason for that is because in the past let’s say Polina wasn’t very happy when compared to Arch Enemy’s former vocalist Angela Gossow. She said in one of her interviews that she didn’t like the comparison because it was only based on sex, not on their vocal styles, as she believes her vocals are a lot closer to Death’s  iconic Chuck Schuldiner’s than to Angela’s. Now Polina is a fan of Arch Enemy, but again, if you meet her don’t waste her time asking about Angela Gossow, right?

When questioned about the current state of heavy music and the metal scene in her homeland, especially the Death Metal scene, our Russian warrior said that despite the huge amount of talented and hardworking bands found in the underground Russian scene, Heavy Metal is not respected and it’s extremely hard to make a living out of it, resulting in several musicians leaving their bands and entire bands calling it quits. In her opinion, the only Russian band that has truly conquered success in Russia and outside of the country is Pagan/Folk Metal institution Arkona, always keeping in mind they were one of the pioneers of the genre and started their career over 15 years ago. On the other hand, she doesn’t think that metal becoming mainstream would be the solution for that because albeit mainstream bands can make a considerable amount of money to support their careers, not to mention touring and recording videos become a lot easier, she believes you can lose or give up your honesty if you’re not underground anymore. In other words, she thinks somewhere in between mainstream and underground would be ideal, and seeing successful but still loyal-to-their-roots bands like Trivium, Primal Fear and the aforementioned Arkona only corroborates with her opinion. In addition, Polina actually thinks metal isn’t thriving anywhere in the world except for South America, and that she sometimes wishes she was reborn in the 70’s or 80’s as those where the decades when metal was the big thing. She also said she doesn’t really care about all metal classifications and labels, as long as it’s metal and an honest way to express yourself, complementing by saying that despite the heaviness and aggressiveness of the lyrics, metal is a lot more honest and inspiring than other styles like pop and rap, where musicians only promote negative things like debauchery, drugs, dullness and false moral values. As Polina herself said, it’s hard to make a living out of metal music in Russia, and that’s why she keeps working as a designer while her former bandmates from All I Could Bleed also have regular day-to-day jobs like working at a music school or on railroad construction, as well as playing in bars and pubs with other projects and cover bands. Not only that, but just like any other regular person she also has her hobbies, all related to her passion for music, for costume designing and for outdoor sports such as hiking and bike riding. Who knows, maybe one day if you’re just walking around Chelyabinsk you might be surprised by our Russian Viking staying healthy and in shape on her bike.

As expected, Polina was also asked to give her opinion on how she sees the increasing importance and participation of women in heavy music, especially regarding the growing number of female singers in extreme music bands, and her answer to that was quite curious. Our gorgeous growler said she has never actually felt like an “outsider” in a male-dominated world, saying she doesn’t “feel” like a woman but just like a Death Metal musician. Moreover, when asked if she’s ever had any issues with fans, Polina said that despite her stunning beauty, her fans have always been very respectful with her, understanding she has always worked hard, always true to the foundations of Death Metal and never backing down, getting full support from all of her followers. And last but not least, still regarding the support received from fans from all parts of the world, when questioned about illegal downloads and all types of websites posting her material without her official consent, she mentioned that in the end that’s not as bad as it looks, saying that exposure in the internet is actually a good thing for unknown underground bands because they end up receiving free PR, and several people who get in contact with the band through an illegal download will buy the album or any other type of official merch, and attend the band’s concert if possible, meaning more money than expected will go to the band’s pockets. Having said that, although Polina herself is not against illegal downloads, I’m pretty sure our metal diva would simply love if you purchased Burying the Past from the Darknagar Records’ BandCamp page or from Discogs, or any of the releases from The Autist from their BandCamp page, showing your true support and appreciation for these two extremely talented bands and their Viking frontwoman.

Polina Psycheya’s Official Facebook page
Polina Psycheya’s Official Instagram
Polina Psycheya’s Official Twitter
Polina Psycheya’s Official YouTube channel

Album Review – Gottwut / Konglomerat (2018)

Delivering first-class music as a modern reinterpretation of sound canons declared in the mid-90’s, this Russian quartet is ready to stimulate your senses with their thrilling Industrial Metal.

If you’re a fan of the mechanized and eccentric music by renowned acts such as Megaherz, Oomph!, Rammstein, Nine Inch Nails and Ministry, I highly recommend you turn your attention to the Russian capital Moscow, where since 2015 an Industrial Metal squad known as Gottwut has been delivering first-class music as a modern reinterpretation of industrial sound canons declared in the mid-90’s. After the release of the maxi-single Oil, in 2016, Gottwut are ready to stimulate your senses with their debut full-length album, the thrilling and melodic Konglomerat. By the way, the name of the band is made up of two German words, “gott” (god) and “wut” (rage), symbolizing the creative and destructive forces embodied in human nature, an essential part of the music found throughout the entire album.

Taking as a basis energy and rage, the band comprised of Pavel Chaban on vocals, Fedor Artemenkov on guitars and samples, Vyacheslav Dmitriev on bass and Dmitry Kahatkin on drums aims at developing the genre in their own manner, paying strong attention to the visual component by designing special costumes, additional props and theatrical performances, all with the main objective of creating a unique atmosphere for the audience. Featuring a wicked, avantgarde cover art by Russian artist Denis Shoomov, Konglomerat is a feast of Neue Deutsche Härte with a more melodic Russian twist, and I’m sure each song in the album will put you to bang your head and dance like there’s no tomorrow.

Modernized sounds blended with the heavy beats and riffs from Heavy Metal are the main ingredients in the opening track My Duty, sounding even symphonic at times. Moreover, Fedor does a pretty good job with his guitar lines and samples, while Pavel delivers a poetic mix of Rammstein and Marilyn Manson through his vocals. Then we have Sin, a 90’s-inspired Industrial Metal and Rock tune where Dmitry pounds his drums in a precise manner, generating a mechanized ambience where background keyboards once again add a touch of delicacy and modernity to the music; followed by the title-track Konglomerat, sounding and feeling as industrialized as it can be and highly inspired by the golden years of Neue Deutsche Härte, something latent in the vocals by Pavel and the slashing guitars by Fedor.

Fuck Machine brings forward one of the funniest lyrics of the entire album, and Pavel makes sure he sings them in the weirdest possible way together with the song’s crushing instrumental parts, making the final result quite entertaining. Snowman reminds me of some classic songs by Rammstein, being the perfect soundtrack for a Gothic and eccentric rock party with Fedor and Vyacheslav generating an enfolding atmosphere with their strings (and you’ll definitely feel the urge to dance in the dark to this song), whereas Cycle showcases a well-balanced mix of the modernity of Industrial Metal with symphonic elements and the catchy beats of pop music, with all band members being in total sync and with highlights to the smashing performance by Dmitry on drums. And heavy riffs and whimsical keys walk hand-in-hand in the upbeat Bi-Sides, an assembly line of Industrial Metal led by the pounding drums by Dmitry, keeping the level of electricity in the album truly high.

The band’s first single Oil brings more of their crazy sounds and the wicked vocalizations by Pavel, being tailored for fans of Neue Deutsche Härte searching for alternative bands from the independent scene, and with Fedor adding tons of adrenaline to the music with both his riffs and keys. In Angerlove we’re treated to another overdose of Industrial Metal made in Russia where Dmitry is an unstoppable crushing machine behind his drums while Pavel keeps roaring manically in our faces, therefore turning it into a mandatory song for any good Industrial Metal playlist, and closing the album we face more cutting guitars and rumbling bass lines infused with mechanized background elements in Heretic, where the band will keep hammering your head with their industrialized music until you’re completely wasted on the ground.

In a nutshell, the metallic party called Konglomerat (available for a full listen on Spotify) is a beyond awesome start for the Russian quartet, leaving a fantastic first impression for all fans of modern Industrial Metal. Hence, in order to show your support for Gottwut, go check all news and other shenanigans at their official Facebook page, VKontakte page and YouTube channel, and buy the album directly from their BandCamp page as well as from iTunes or Amazon. And now will you please excuse me, because I have a Industrial Metal party to enjoy, courtesy of four Russian metallers with genuine, mechanized German hearts.

Best moments of the album: Konglomerat, Cycle and Angerlove.

Worst moments of the album: Sin.

Released in 2018 Independent

Track listing
1. My Duty 4:12
2. Sin 3:34
3. Konglomerat 3:52
4. Fuck Machine 3:40
5. Snowman 4:25
6. Cycle 3:43
7. Bi-Sides 3:14
8. Oil 3:24
9. Angerlove 3:19
10. Heretic 4:04

Band members
Pavel Chaban – vocals
Fedor Artemenkov – guitar, samples
Vyacheslav Dmitriev – bass
Dmitry Kahatkin – drums

Album Review – Aborted Fetus / The Ancient Spirits Of Decay (2018)

Behold the pulverizing new album by one of the strongest names of the Russian underground Death Metal scene, turning each one of their compositions into instruments of torture, pain and gore.

For nearly two decades, Russian Death Metal force Aborted Fetus has been unflinching in their pursuit of ruthless savagery, delivering unstoppable aural punishment and standing triumphant like a warlord on the broken bodies of their defeated enemies. Now in 2018, this Perm-based squad founded in 2000 returns with another pulverizing opus titled The Ancient Spirits Of Decay, following the same ruthless path of devastation from their 2017 intimidating album The Art Of Violent Torture and being highly recommended for fans of Cannibal Corpse, Obituary and Devourment, among other crushing Death Metal giants.

In The Ancient Spirits Of Decay, which features a demonic, creepy artwork by Russian artist Andrey Khrisanenkov (from Armaada Art), the horde comprised of Igor Stafeev on vocals, Alexander ‘Meatgrinder’ Andreev on the guitar, Sergey Shchapov on bass and Sergey ‘Hammer’ Kulakov on drums lives up to the legacy of old school Death Metal, turning each one of the songs in the album into instruments of torture, pain and gore. Needless to say, you better prepare your ears and minds for over 48 minutes of brutal devastation not recommended for the lighthearted, showing why Aborted Fetus are one of the strongest names in the Russian independent extreme music scene.

Rising from the scorching pits of hell with the intro The Wind of Agonizing Spirits, here come Aborted Fetus and their crushing Death Metal in Eaten by Pigs in the Trough, the first “method of torture” from the album (that by the way reminds me of the 2001 movie Hannibal) and a gruesome welcome card by this filthy squad where Igor growls deeply like a devilish creature, while Hammer is bestial with his beats and fills; followed by Drenched Eyes in Boiling Oil, with the music sounding and feeling as destructive as the song’s name. Furthermore, Meatgrinder fires old school Death Metal riffs supported by the metallic bass by Sergey, keeping the atmosphere dense, menacing and gory. And they continue their path of sheer torture and pain with a classic Death Metal tune titled Nailed to the Cross, with Meatgrinder being unstoppable with his riffs and solos and Hammer pounding his drums like a stone crusher, and Beheaded on the Guillotine, where Igor keeps vociferating like a demon, also presenting some classic guitar solos to bring more balance to the utter devastation blasted by the quartet.

Cradle of Revulsion kicks off with a soulful guitar solo supported by a pulverizing background, evolving into a piercing and menacing sonority led by Igor and his cavernous roars in what’s their most detailed and thrilling tune (with a few good breaks and variations to make the overall result even more potent), whereas total anarchy and chaos arise in a classic Death Metal chant titled Cold Lake of the Sinner, with Meatgrinder delivering pure shredding and Hammer once again bringing aggressiveness to the music, getting extremely gory just the way we like it. Then we have Flame of Death, an instrumental bridge spearheaded by Sergey and his low-tuned bass, setting the stage for Rack of Torment, another traditional, straightforward and demolishing creation by Aborted Fetus (despite falling flat after a while), with Hammer and Meatgrinder being in total sync helping Igor thrive with his deep growls, and the insanely heavy Roasted Alive in the Copper Bull’s Stomach, a short and cataclysmic extravaganza where Hammer sounds as demolishing as he can be, reminding me of the early days of Cannibal Corpse due to its rawness, which means it will certainly ignite some serious mosh pits during their live concerts.

The last batch of torturing hymns by Aborted Fetus keep decimating our senses, starting with Genital Torture by the Alligator Tongs, which not only carries a “cute” name, but the music itself is also a blast of Brutal Death Metal with Igor’s growls getting deeper and deeper, while Meatgrinder continues with his feast of devilish riffs and solos. In Iron Petals of the Blasphemer’s Pear the band offers one final explosion of their devastating Death Metal for our avid ears, with Hammer leading their sonic havoc and Meatgrinder and Sergey slashing their strings mercilessly, ending in a melancholic instrumental outro titled Follow Into the Darkness, closing the album in a pleasant (but obviously obscure) manner.

You can get more details about the brutal music crafted by these Russian metallers through their Facebook page, VKontakte profile and YouTube channel, and grab your copy of The Ancient Spirits Of Decay from their own BandCamp page, or from the Comatose Records’ BandCamp or webstore (as a special package including the album, a shirt and a sticker), as well as from iTunes, Amazon or Discogs. And after you possess such destructive album on your hands, it’s just a matter of hitting play and letting the torture begin.

Best moments of the album: Eaten by Pigs in the Trough, Cradle of Revulsion and Roasted Alive in the Copper Bull’s Stomach.

Worst moments of the album: Rack of Torment.

Released in 2018 Comatose Music

Track listing
1. The Wind of Agonizing Spirits (Intro) 2:14
2. Eaten by Pigs in the Trough 3:53
3. Drenched Eyes in Boiling Oil 3:51
4. Nailed to the Cross 3:38
5. Beheaded on the Guillotine 2:43
6. Cradle of Revulsion 6:11
7. Cold Lake of the Sinner 3:43
8. Flame of Death (Instrumental) 0:54
9. Rack of Torment 5:19
10. Roasted Alive in the Copper Bull’s Stomach 3:21
11. Genital Torture by the Alligator Tongs 5:46
12. Iron Petals of the Blasphemer’s Pear 4:43
13. Follow Into the Darkness (Instrumental) 1:58

Band members
Igor Stafeev – vocals
Alexander ‘Meatgrinder’ Andreev – guitar
Sergey Shchapov – bass
Sergey ‘Hammer’ Kulakov – drums

Metal Chick of the Month – Margarita Monet

I wanna lose myself in you…

Attention, metalheads! It’s time for another metal chick of the month here on yours truly The Headbanging Moose, and this month let’s pay our humble tribute to an up-and-coming singer, pianist, composer and actress that truly knows how to blend the heaviness, madness and rage of Heavy Metal with the delicacy and feeling of classical music. Known for her powerful voice and incredible range, she’s the frontwoman and founder for American Hard Rock/Symphonic Metal band Edge Of Paradise. I’m talking about Margarita Monet, or Margarita Martirosyan if you prefer, born on February 15, 1990 in Yerevan, the capital and largest city of Armenia as well as one of the world’s oldest continuously inhabited cities, but who has been living in the United States since she was 11 years old.

Margarita moved from Armenia to Moscow, Russia at a very early age with her family, where she lived for about 10 years, starting music lessons at the age of four and quickly accelerating into a competitive and performance-ready pianist, competing and winning awards in numerous piano competitions. When she was 11 years old, her father (who is a scientist) got a job offer in Houston, Texas, in the United States, meaning her life was going to have a huge impact in regards to lifestyle and mindset. In Houston, she attended The High School For The Performing and Visual Arts, for musical theater, moving to New York shortly after where she got accepted into New York University’s Tisch School Of The Arts, majoring in Theater at the Meisner Studio and minoring in Music. While living in New York, she acted in off Broadway plays, independent short and feature films, and sang with local bands at the city’s clubs. In addition, as a teenager, Margarita used to go back to Russia during the summer seasons and did some performing and recording with concertos, being known within the community of people who follow classical mostly from competitions in the country.

It was in 2010 when our red-haired diva had another significant move in her life, heading to Los Angeles after getting interest from various acting agents in the city. Just a week after arriving in Hollywood, Margarita already joined a singing and dancing group and recorded on their album Angels De Amor, going solo after various live shows with that group. After going solo and starting working on original material for her first solo album, she met guitarist Dave Bates, who was in search of a singer who could replace Irish rock vocalist Robin McAuley (McAuley Schenker Group, Survivor) in their project named BLEED. Soon their music partnership created tremendous results and solidified the band that took up the new name, Edge Of Paradise.

With Edge Of Paradise, which by the way is the official band of Nashville Knights, a women’s American football team of the Legends Football League (LFL) based in Nashville, Tennessee, and part of Rockers Against Trafficking (a foundation created by Kevin Estrada to raise awareness about human trafficking), Margarita released their debut album Mask, in 2011, featuring a rhythm section consisting of Gregg Bissonette on drums and Tony Franklin on bass (coming in at #6 most added on national CMJ radio, right behind Machine Head and Five Finger Death Punch), the EP Perfect Shade Of Black, in 2013, the full-length Immortal Waltz, in 2015, co-produced by Bob Kulick (Kiss, Motörhead) and  Michael Wagener (and coming at #12 on national rock and metal radio charts), and the six-track EP ALIVE, in 2017. If you want to get a fun and pleasant overdose of the gorgeous vocals by Margarita, go to their official YouTube channel (or their VEVO channel as well) for songs such as Mistery, Dust To Dust, Shade Of Crazy, Rise For The Fallen, In A Dream, Break Away and Perfect Shade Of Black, or even for some treats such as their cover versions for Darlene Love’s 1963 song Christmas (Baby Please Come Home), The Nightmare Before Christmas’ Sally’s Song Black Sabbath’s masterpiece Children of the Sea, Margarita’s voice-and-piano version for Scorpion’s all-time classic ballad Still Loving You, or the band’s live performance of the song Ghost at the Soultone Cymbals Studio in 2016. Thus, after listening to her stunning voice in all those songs, you’ll quickly understand why she was featured in Metalholic’s “Top 25 Women in Hard Rock and Metal” in 2012.

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Furthermore, as aforementioned, apart for her music career Margarita also has an acting and screen background going back to her New York days, including a part as a dancer in the 2009 short drama Alicia, playing a character called Amy in the 2010 action movie No Leaf Clover, and portraying an illegal prostitute in the 2011 documentary Nefarious: Merchant of Souls, all under her birth name Margarita Martirosyan. Now with Margarita dedicating a huge share of her time to Edge Of Paradise, it’s uncertain if we’ll see her again on screen, but at least we can rest assured the band will keep shooting videos for their songs, which means more Margarita for our avid eyes and ears.

When asked about her biggest idols in beauty, fashion and music, Margarita provided some interesting and beyond awesome names in all fields. Her inspirations in the modelling and fashion business are first Audrey Hepburn, who she has admired since she was a kid due to her feminine, classy and effortless look and style, and also Doro Pesch and Joan Jett due to their edgier styles. When it comes to music, her list of icons is even more impressive, with unparalleled names such as Ronnie James Dio, Robert Plant, Bruce Dickinson, Rob Halford and Freddie Mercury being her favorite ones due to their distinct and timeless sound, as well as their emotion, attitude and conviction when singing and performing.

Margarita doesn’t see herself as a fashion and make-up junkie, but more like a “creative junkie”, meaning that because of her role with Edge Of Paradise she always strives to create something different and attractive for the fans, leading her to experiment with different looks, and having the freedom to express herself through music and while performing on stage. Having said that, Margarita’s typical makeup and style signature can be considered a mix of Rock N’ Roll with a bit of Gothic fashion, blending leather and lace with bold accessories such as belts and chains, always wearing black with accent colors like red, silver and gold. And, of course, her trademark blood-red lips. All those strong colors and accessories are complemented by Margarita’s endless energy when she hits the stage, being very expressive and putting her heart and soul into each song played, and by her creativity, as she simply loves experimenting with different chains, spikes, fabrics and other material when creating her stage outfit. When asked about how she prepares herself for a concert, Margarita said she tries to rest as much as possible and stay hydrated, and that she doesn’t take too long to get dressed and put on her makeup as she always knows what she’s going to wear. She also said being in a band is a lifestyle she truly loves, and although it’s not an easy one she has a lot of fun and pleasure while working on new material, creating new visual arts for the band and rehearsing, always aiming at moving forward with the band.

Regarding being an artist, our red-haired muse mentioned that she’s always been determined to become an artist since her childhood in Russia, where she was surrounded by art. Her mom used to take her to theaters, concerts and ballets, inspiring her to start performing at a very young age. So far, it has been a thrilling and rewarding ride to her (despite being a very demanding way of life), with honesty, hard work and creativity being some of the most important elements in her career, not to mention her life motto which is “do it because you love it and enjoy every part of the journey, it goes by fast!’’ In addition, singing metal music in front of a huge crowd and recording vocals for Edge Of Paradise were initially a brand new experience and a challenge for her, despite her previous experience as an artist and her passion for classic voices like Dio and Freddie Mercury. Furthermore, Margarita said that coming up with melody ideas and finding her own style were very rewarding steps for her, and of course she’s always interested in evolving as a singer and as an artist in general.

Last but not least, when asked about the importance of image in her life and career, and how social media has had an impact on those, she said that as we live in a digital world where everything is over saturated, social media ends up working as a double-edged sword because we have the tools to reach people, but if you don’t have the best content (both visually and musically) you won’t be able to attract people’s attention. She complemented by saying you really have to create a world that people will want to be part of, inspiring people to follow you, and therefore boosting your creative process. Well, I guess Margarita is absolutely right about that, because if you think about it, who doesn’t want to be part of the unique and whimsical world created by Edge Of Paradise?

Margarita Monet’s Official Facebook page
Margarita Monet’s Official Instagram
Edge Of Paradise’s Official Facebook page
Edge Of Paradise’s Official YouTube channel
Edge Of Paradise’s Official Instagram

“Your music has to speak for itself, invest in your content, in the quality of your sound, if you have a great product you will get your foot in the door! Of course it’s important to promote, and that takes a lot of money too. If you’re an independent band you gotta hire your own publicity, but if you don’t have great content to promote you won’t go very far, so I would say make the music that’s authentic and you’re really proud of and you’ll find your way!” – Margarita Monet

Metal Chick of the Month – Viktoria Viren

She’s armed… and she’s dangerous…

There isn’t a lot of personal details about our metal chick for this month, but I don’t think you’ll really care that much about it as our chosen one kicks some serious ass with her devilish growls, stunning looks and a badass attitude. Furthermore, if you’re a diehard fan of Swedish Melodic Death Metal titans Arch Enemy, nurturing a special admiration for their almost 15 years with the unparalleled screaming queen Angela Gossow on vocals, you’ll certainly have a blast listening to the ravishing singer Viktoria Viren, the frontwoman of Finnish Melodic Death Metal band Evil Drive, bursting her lungs and delivering high-voltage Heavy Metal with her bandmates, proving once again that the importance of women in extreme music is only growing more and more through the years. So keep your eyes and ears open, because whenever you see a “double V” in Melodic Death Metal, you know it’s going to be brutal, thrilling and, obviously, awesome.

Born on November 11, 1988 (I guess) somewhere in Russia (but also Finnish at heart), Viktoria started her career in heavy music at an early stage of her life, singing in various bands from when she was only 14 years old, with her first major festival happening a couple of years later, when she was 16, performing with a Death Metal band at the Vyborg Castle, a Swedish-built medieval fortress originally constructed in the 1290’s and one of the three major castles of Finland, around which the town of Viborg (today in Russia) evolved. You won’t find many videos of Viktoria from her early metal days, except for this 2012 footage of our diva (at that time part of a band named Alistaja, which I couldn’t find any information about) singing Megadeth’s neck-breaking all-time classic Symphony of Destruction, and this one with a band named Soulcrypt at the Vyborg Castle in 2010; however, based on this sole sample of what Viktoria can do with her voice, it’s easy to understand how she quickly progressed in music until reaching her status today with Evil Drive.

“It was 2004 and the only woman in a metal band that I knew of was Angela Gossow”, said Viktoria in one of her interviews, and that’s one of the main reasons why she decided to follow the path of guttural singing in heavy music. She mentioned that she really likes the growling and screaming, that it makes the music more powerful and energetic, and that she feels stronger when doing guttural. Viktoria also said that, although she could be doing some clean singing with Evil Drive, she doesn’t think that can properly transmit the power of their compositions to their fans. We saw something similar happening with Alissa White-Gluz when she left The Agonist and joined Arch Enemy, when she completely ditched her clean vocals and began doing only guttural for Michael Amott’s iconic band due to the nature of their songs and their musical direction. Maybe we’ll see Viktoria doing some clean singing one day, but for now let’s keep enjoying her beastly roars (as if that wasn’t awesome enough for us metalheads).

In regards to her band Evil Drive, I think we might say Viktoria and the band are one single entity. There’s no Viktoria Viren without Evil Drive, and vice-versa. Founded in 2013 in Kotka, a city located on the coast of the Gulf of Finland, by Viktoria, her husband and guitarist Ville Wiren (who by the way also plays for Finnish Symphonic Power/Gothic Metal band Domination Black), and drummer Juha Beck, the aim was to set up a band which has not been previously heard. All the musicians in the band have a history in a number of different bands and different genres, therefore incorporating many distinct musical styles into their compositions, sounding like a traditional Melodic Death Metal band with a twist of 80’s style Thrash Metal. When asked about the origin of the name “Evil Drive”, Viktoria mentioned the fusion of those two words has a strong influence on the band’s music, as everything they do and try to achieve is characterized by this name. The word “drive” connects to her love for motorcycles, energy and freedom, while “evil” was a wicked combination found by Viktoria, becoming a simple but powerful name in the end.

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In November 2013, Viktoria and her bandmates Ville Wiren (guitar), Niko Huusari (guitar), Marko Syrjala (bass) and Juha Beck (drums) released their debut self-titled EP, getting a lot of attention not only from the Finnish media, but from critics and fans all over the world. The EP consisted of four original songs that would later become part of their first full-length album, entitled The Land of the Dead, released in January 2016. In the official video for one of the tracks from the EP, the excellent Bullet, you can have a very good taste of what Evil Drive are capable of, providing a clear view of the musical direction the band was going to follow with their upcoming releases. The Land of the Dead, released in the beginning of 2016, contained the four songs from the Evil Drive EP plus six original belligerent tunes that helped cement the name of the band in the metallic scenario worldwide, in special in the world of Melodic Death Metal. You can check their two official videos recorded for the album, one for the song War, and the other for the title-track The Land of the Dead (which can be seen at the end of this essay), showcasing the evolution in their musicality and how their looks and the use of military imagery became a crucial part of the whole concept behind their music. Well, Viktoria and the rest of the band don’t need to worry too much about maintaining their warlike visual always fresh and renovated, as they have a healthy partnership with the highly acclaimed Finnish army supply store Varusteleka, making it easy for them to keep the war going.

In addition to that, the band even had some extra fuel to release the single Anti-Genocide on October 12, 2016, to be featured on their upcoming album which is scheduled to be released sometime this year. The new single, which features the band’s new guitarist Juha-Pekka Pusa (replacing Niko Huusari), offers the listener a different theme and feeling compared to The Land of the Dead, which was all about the current world politics and war, according to Viktoria herself. “The new track is about the history of the American Indians and about the fate they had to face when the white men came and took over their land”, said our gorgeous screamer, and as per the official video for the song you’ll be able to see the band truly immersed themselves in the topic, especially Viktoria with her awesome Indian attire.

As every metal band in the world, it’s when the musicians are performing live on stage that we finally know if the band is worth a place in Valhalla among the metal gods, right? Well, there’s a lot of good quality footage on YouTube where you can check Viktoria kicking fuckin’ ass with her Evil Drive, such as two videos from their first year as a band playing in St. Petersburg, Russia on November 22, 2013 (just click HERE and HERE); playing the song Screaming Soul at the now closed PRKL Club in Helsinki, Finland  on July 17, 2015; paying an awesome tribute to the iconic Lemmy and his Motörhead by playing a cover version of the classic Killed By Death at the traditional pub On The Rocks, also in Helsinki, on January 23, 2016; performing at the Finnish winter festival known as Metal Bath on March 4, 2016 in Hämeenlinna, Finland, as you can see in the songs War and again the Motörhead cover Killed By Death; and more recently playing their newest hymn Anti-Genocide live at Bar Bäkkäri in Helsinki on December 10, 2016.

When questioned if the presence of a frontwoman affects the career of a band, Viktoria said that in the past having a female band member attracted more attention because it was a world dominated predominantly by men, but today that’s not the case anymore. We see more and more talented women taking the stage on par with any male musician, and not only on vocals but in any other instrument. Viktoria also mentioned that over the years women have mastered the art of guttural singing, becoming more prominent in metal and, as a consequence, being more accepted in extreme music than before. She said the combination of factors such as the beauty, the strength and the unpredictability turn a female guttural singer into something mesmerizing, and we must agree with her it’s always astonishing to see a woman that looks delicate at first sight start screaming like a beast and headbanging like a maniac on stage, just like we got used to see with Angela Gossow, Alissa White-Gluz and many other exceptional growlers, don’t you agree?

Lastly, there couldn’t be a better place for Viktoria to live than Finland, a land that breathes Heavy Metal. When asked about how hard it is to find the right musicians in her homeland, our red-haired metaller said it’s actually quite easy to put a band together in Finland, as every other person is a guitarist, a bass player or a drummer, but that’s also extremely challenging to keep the band members working side by side in a productive and friendly way, as everyone has different ideas and visions on writing and making music. As long as Viktoria and her band members are able to keep working as a single powerful unity like what we’ve been witnessing with Evil Drive, the world of heavy music will remain happy and energized for more of her impactful demonic growls, no doubt about that.

Viktoria Viren’s Official Facebook page
Evil Drive’s Official Facebook page
Evil Drive’s Official Twitter
Evil Drive’s Official YouTube channel
Evil Drive’s Official Instagram

“Over the recent years females have shown to master the throat singing just as well as men. I think the interest in us is caused by many different factors: the beautiful, strong and the unpredictable – this is mesmerizing.” – Viktoria Viren

Metal Chick of the Month – Elena Vladi

elena01

I’m coming down to feel you, to touch you, to be you, to kill…

Ladies and gentlemen, the heavy music scene in Hollywood, one of the most famous neighborhoods in the world located in the central region of Los Angeles, California in the United States, has recently crowned a new queen, and we all shall bow to her beauty, to her loveliness, and in special to her kick-ass music. Hailing from Mother Russia, here comes the multi-talented artist Elena Vladimirova, better known as Elena Vladi, the lead singer of Nu-Metal act Red Queen and a woman that knows better than anyone else how to provide a fiery fusion of stunning looks and electrifying music, making the work from such distinguished woman even more delectable. The Russian Red Queen is among us, and your life will never be the same again after being infected by her scrumptious venom.

Like any true queen of darkness and lust, there’s little to none information available online about the personal life of Elena, which makes perfect sense for a woman that wants to keep mystery as one of the main ingredients in her promising career. All we know is that she relocated from Russia to the United States in a not-so-distant past and joined her partner in crime Patrick Crisci in order to form what used to be known as Experimental Hybrid Black Metal project Demona Mortiss, but that gradually morphed to Nu-Metal band Red Queen. Let’s say that the band, which used to play a dark fusion containing elements from Gothic, Doom and Death Metal the likes of Tristania and Dimmu Borgir, is now highly recommended for fans of Slipknot, Korn, Deftones and Lacuna Coil, just to give you a better idea of the remarkable change in their sonority through time.

Before we talk about Elena Vladi in more detail, let’s take a quick look at the history of Red Queen. Previously known as Demona Mortiss, the project was created by Elena in 2009 as an Experimental Hybrid Black Metal project as already mentioned, obtaining a significant amount of followers in a short span of time, especially in Europe, before officially changing the name in 2013 to Red Queen. Demona Mortiis were Elena on vocals and synths, Patrick on guitars and Trent Gouveia on drums, and although there are no official albums under the name Demona Mortiis you can still enjoy some of their blackened compositions on YouTube like Lost, Inverted Heaven and Phasmophobia, this one live at the Viper Room in Los Angeles in January 2013.

Not only the name of the project and music direction changed in Red Queen, but the lineup also suffered a few changes. Red Queen are now only Elena on vocals synths and lyrics, and Patrick on guitars, synths, bass and drums, also being responsible for the overall production of the band, with guest musician Grey Soto playing some guitar parts in a couple of songs. This dynamic duo released back in April 2016 their debut EP entitled Star Blood, containing five classy and sexy songs (Asyphyx, Naked, Star Ruby, Insidious and Alchemy), as well as an amazing cover version for Hold Me, Thrill Me, Kiss Me, Kill Me, the classic 1995 single by Irish Rock icons U2 from the Batman Forever soundtrack album. If you want to take a better listen to Star Blood and purchase it, you can go to Red Queen’s official webstore or BandCamp page, and also find it on iTunes. When asked about what inspired her to write the music found in Star Blood, Elena said she gets her inspiration from movies and books, from the cosmos and a variety of “conspiracy theories”, and from her own emotions, always aiming at intriguing people. Well, let’s say she succeeded in that hands down, and if you want to know more details about Red Queen you can check this short and sweet 2015 Q&A interview with Elena Vladi and Patrick Crisci, and also listen to their music at their YouTube channel and ReverbNation page.

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Apart from her career with Demona Mortiis and Red Queen, our Russian bombshell can be seen as a guest musician in distinct projects that have almost nothing to do with the musicality bred by Red Queen, showcasing her versatility as an artist and her will to go beyond any boundaries that she might face in terms of creativity and experimentation. For instance, her stunning voice embellishes the chaos found in the song You Can’t Save Me, So Stop Fucking Trying, from the 2012 album Vanitas by British Industrial Black Metal/Grindcore band Anaal Nathrakh, as well as in two composition from the 2012 albums Evolution and (R)Evolution, by American Electronic duo Blood on the Dance Floor, those being Love Conquers All and La Petite Morte (The Little Death), respectively.

Albeit music might be the primary focus in her life, our Gothic diva also extends all her talent to fashion modeling and graphic and web designing for living, also being proficient at tarot, rune and aura reading, as well as other forms of divination, chakra balancing and necromancy. In addition to all that, Elena lets her geek side flourish through her admiration for Astronomy, String Theory and Quantum Physics, not to mention she also excels in guidance to Spiritual Ascension. And as many other female metallers such as Angela Gossow and Alissa White-Gluz, our voluptuous queen doesn’t eat meat and considers veganism a part of human evolution. In case you’re curious to see Elena modeling instead of singing, click HERE to watch a short clip of when Elena was invited to participate in a cover shoot for volume 34, issue #33 of LA Weekly (released on July 5, 2012), for a special article entitled “Everything You Wanted to Know About Metal” (which is obviously not true, but as that’s not our main goal in this essay let’s simply ignore that). Pay attention to the music in this video, as it’s Elena and her Demona Mortiis playing a beautiful cover version for Confide in Me, by Australian singer Kylie Minogue. The great success achieved by the cover with Elena translated into this specific issue being the best-selling one of 2012. You can enjoy the read by clicking HERE and going directly to page 55, titled ALL HAIL “Metal subgenres explained, from thrash to pornogrind”.

Her passion for modeling can also be seen in the underground publication Gothic Beauty, as for example in their issue #42 when Elena was the cover girl of the magazine, and in tons of pictures modeling for Heavy Red, a Los Angeles-based fashion company established in 1999 by lead designer Tyler Ondine specialized in Gothic fashion and sexually sophisticated clothing, always aiming at being the cutting edge of Gothic clothing including corsets, dresses, gowns, shirts, skirts, coats, hoodies, club wear, lingerie and jewelry. Elena has been one of the faces of the company since relocating to the United States, helping Heavy Red achieve a new level of elegance and darkness in line with the company’s vision of Couture Noir.

The “Russian Queen of Nu-Metal” also focuses her efforts in improving the merch store at the official Red Queen website, working on getting more skirt and other clothing designs for the fans of the band. Furthermore, Elena is also planning on opening her own jewelry shop, named Vladi Fashion Jewelry, where she’ll sell her trial collection of royal necklaces and will expand into rings and more jewelry options later. She thinks every woman (including herself) loves jewelry, and therefore she wants to share her vision of beautiful designs with other women through her new store. And if you think that’s already a lot coming from only one woman, let me tell you that she is also trying to find time for her side project under her name, which according to Elena would be quite mellow and electronic, and fully written and produced by herself. I guess we can never get enough of our stunning queen, don’t you agree? And sorry to say that, Elena, but it looks like the less free time you have for yourself, the better it is for us fans.

Elena Vladi’s Official Facebook page
Elena Vladi’s Official Twitter
Elena Vladi’s Official Instagram
Red Queen’s Official Facebook page
Red Queen’s Official Twitter
Red Queen’s Official VKontakte page

“I am a full blooded Russian… Russians are crazy, we all know that, I expect respect and you shall receive the same in return…” – Elena Vladi

Album Review – Big Guns / Six Shooter EP (2016)

After the six shots of visceral Death N’ Roll fired by these dynamic duo of Russian outlaws, you’ll be pretty much dead.

Rating5

coverSome people might agree that whenever you face a really big trouble, all you need is a really big gun to solve that once and for all. With that insurgent idea in mind, two experienced Russian metallers from Moscow teamed up earlier this year to fight stagnancy in music and decided to shoot some traditional Rock N’ Roll music spiced up by the brutality of Death Metal, giving birth to the quick-draw, high-speed Death N’ Roll project Big Guns and releasing their debut EP entitled Six Shooter for the delight of all headbanging gunslingers all around the world.

Big Guns are comprised of multi-instrumentalists Postie (Conflict) on guitars, bass, drum programming, backing vocals and mixing, and Vaarwel (Frozen Ocean, Goatpsalm, Smothered Bowels) on vocals, lyrics and mastering, and based on the music found in Six Shooter, featuring a gory Wild West-inspired cover art by Anton Baskin (Contrast Arts), the synergy between these two outlaws of heavy music is beyond amazing. Postie and Vaarwel fire together six short, violent tunes perfect for getting piss drunk at an old saloon and have a pistol duel with that gunman that wants to steal your sexy lady from your arms.

Although Postie and Vaarwel have only six bullets locked and loaded in their first stint as Big Guns, the final result is truly devastating. Hard as Tin brings forward a minute and a half of madness, with the blast beats blending Death and Thrash Metal by Postie together with the deep guttural by Vaarwel turning this demolishing tune into the epitome of badassness. In Nightmares of Tomorrow, a pub-fighting Rock N’ Roll tune the likes of Chrome Division tailored for drinking a beer or slamming into the pit, simply enjoy its gentle lyrics (“I sang about entrails and gore / I extolled splattered women / I praised mutilation and deeply adored / Dead bodies choking on semen / Hate! Exsanguinate! / Hate! Eviscerate!”) while bass and drums burst sheer electricity into your ears. And in the metallic Natural Attraction, another brutal Rock N’ Roll creation by this explosive Russian duo, Vaarwel sounds like if the Devil went full Western.

big-gunsOur Moscow outlaws add a lot of gunpowder to their instruments and fire a high-octane tune perfect for some sick mosh pits titled Grammar Guerillas, with highlights to the amazing riffs by Postie and its berserk rhythm; whereas in Pearl Jammed an eerie love story is narrated in a very obscure way (“I met her at the Bon Jovi gig, she was pretty delightful / Long leather boots, violet wig, talking so happily sprightful / Word by word we felt this, chemistry burst like a blast / Pelvis dreamt of pelvis, lust language was unsurpassed”), leaning towards sheer Death Metal with hints of Sludge and Doom Metal just to make things more tasteful. Their last shot of aggressiveness, Dragon Hedge, gets back to their Death N’ Roll core essence, offering the listener deep, enraged growls enhanced by sharp guitar lines and heavy beats. When it’s over, I’m sure you’ll be eager for more of Big Guns’ immoral fusion of Death Metal and Rock N’ Roll.

Are you ready to face the most wanted duo of Russian bandits in the world of heavy music? If you have the guts to challenge them for a duel, all you have to do is visit their Facebook page and purchase Six Shooter through their BandCamp page. Six Shooter might be extremely short in duration, but that doesn’t mean this cool EP doesn’t have the devastating effect of a bazooka, all thanks to the intensity and dexterity of two musicians that have an insane amount of lead and gunpowder flowing inside their veins.

Best moments of the album: Nightmares of Tomorrow and Grammar Guerillas.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. Hard as Tin 1:37
2. Nightmares of Tomorrow 1:55
3. Natural Attraction 1:43
4. Grammar Guerillas 1:48
5. Pearl Jammed 2:10
6. Dragon Hedge 1:53

Band members
Vaarwel – vocals
Postie – guitars, bass, drum programming, backing vocals