Album Review – Helevorn / Aamamata (2019)

Embrace darkness and melancholy to the sound of the breathtaking new opus by one of the most interesting names from the underground Spanish scene.

Hailing from Palma de Mallorca (which is becoming a recurrent source of first-class metal music at The Headbanging Moose), in the Balearic Islands, Spain, the melancholic, somber and utterly melodic Gothic/Doom Metal outfit that goes by the stylish name of Helevorn (a lake in Tolkien’s The Silmarillion) returns in 2019 with their fourth full-length album and what’s perhaps their boldest and most detailed opus since their inception in 1999, the multi-layered Aamamata, leaving us absolutely stunned with its almost one hour of the finest and most elegant heavy music you can think of. Comprised of lead singer Josep Brunet, guitarists Sandro Vizcaino and Samuel Morales, bassist Guillem Morey, pianist and keyboardist Enrique Sierra, and drummer Xavi Gil, Helevorn aim at reaching new heights with Aamamata, proving melancholic doom can be just as breathtaking as any style considered faster or heavier, being highly recommended for admirers of the gloomy music by renowned acts like Draconian, Swallow The Sun and Paradise Lost.

Featuring a classy logo by Irene Serrano, a mesmerizing artwork by Gonzalo Aeneas depicting Sibyl, and Ancient Greek prophetess, and several brilliant guest musicians such as Júlia Colom and Heike Langhans (from Draconian), Aamamata, the song that Death sings every day in the Mediterranean Sea (which has become a desolate pit for human lives), goes beyond the boundaries of traditional Doom Metal, bringing elements from countless metal and non-metal styles and, therefore, offering our avid ears a unique and captivating sonority from start to finish. “We know that we are not discovering something new, but it’s how it sounds the 90’s goth-doom metal in the present times. It should be received like a piece to reborn the scene and to relate music and the decadence of Humankind through the drama of the refugees, that constantly are dying trying to escape from the hell that Western Countries put to them. We think that fans will love the new album,” said the band about their newborn spawn, and they’re more than right in stating we, fans of underground heavy music, will simply love Aamamata in its entirety.

Sandro and Samuel begin slashing their strings in the sluggish and atmospheric opening track A Sail To Sanity, urging us all to bang our heads like there’s no tomorrow in a beautiful display of classic Doom Metal where Josep growls deeply and with a lot of anguish, whereas in Goodbye, Hope the piano and keys by Enrique bring a touch of delicacy and melancholy to the musicality, while Xavi pounds his drums in the most damned way possible, being tailored for fans of somber and heavy-as-hell doom. And in Blackened Waves, led by Gulliem’s metallic bass lines and Enrique’s ethereal keys, we’re treated to a dense and enfolding sound enhanced by cryptic lyrics that exhale poetry and arcane feelings (“Rolling by, weary, uneven planes / A darkness lurks / Slowly, I am given to the mystery / I am drawn into its depths / A wall of, formidable strength / The power is palpable”).

However, it’s in Aurora, a hypnotizing voyage through the most obscure realms of Doom Metal, that Helevorn position themselves as one of the most interesting names of the current Spanish scene, with the music starting in a compelling way with the gorgeous vocals by guest Júlia Colom together with the eccentric sounds of the bouzouki and bağlama by Jaume Compte, bringing an extra dosage of finesse to the music, not to mention its classic riffs and pleasant pace. Furthermore, this flawless aria is dedicated to all of those who have fallen by executions and political persecution during the fascist coup in Spain in 1936, and are still missing, buried in hundreds of unmarked mass graves, but is especially dedicated to Aurora Picornell, a freedom fighter who stood up for liberty and civil rights, and was executed on January 5, 1937 (more than 80 years after her death, her body has not yet been found). If that doesn’t touch your soul, I honestly don’t know what would. Anyway, drinking from the same fountain as Paradise Lost and Draconian, Helevorn deliver Forgotten Fields, a song that feels like it was written in the 90’s with Josep once again doing an amazing job with both his harsh growls and clean vocals, followed by the serene Nostrum Mare (Et deixo un pont de mar blava), featuring spoken parts by (in order of appearance) Vassilis Mazaris (Greek), Diane Camenzuli (Maltese), Joan Oliver (Spanish), Sara Husein El Ahmed (Arabic), Pablo Ferrarese (Italian), Isabelle Pereira (French), Élide Terrón and Felip Palou (Catalan), and Corin Solo Fogel (Hebraic), while the band makes sure the atmosphere remains vibrant and obscure throughout the entire song, in special the piano notes by Enrique and the metallic riffs by the band’s guitar duo.

Once Upon a War is another old school composition showcasing slow and steady drums, low-tuned bass punches intertwined with piano notes, and a very powerful vocal performance by Josep deeply vociferating the song’s acid lyrics (“A woman taken from home / To appease the warlords’ thirst / The children give themselves up / What must be done to save their own innocence? / Innocents!”), all embraced by Sandro’s and Samuel’s crisp riffs and solos, before the over 8 minutes of mesmerizing, doomed music found in the following tune, entitled The Path to Puya, majestically penetrates deep inside your mind, with the stunning guest vocalist Heike Langhans forming a fantastic dynamic duo with Josep, while guest Pedro Zubiri (from Blind Panic) fires a soulful guitar solo for our total delight, and that hypnotizing and breathtaking vibe goes on until the song’s obscure finale. And lastly, Helevorn bring forward the gentle La Sibil-la, a Catalan medieval song dated from the 10th century, with the band’s version being very delicate and dense, switching from purely acoustic passages to the traditional heaviness of Doom Metal, providing a superb ending for a grandiose album of dark and mournful metal music.

You can find Aamamata available for a full listen on YouTube, and purchase your copy of such awesome album from the band’s official BandCamp page or webstore, as well as from the Solitude Productions webstore (in regular CD or Digipak format), from iTunes, from Amazon or from Discogs. Furthermore, don’t forget to show your utmost support to those talented Spaniards by following them on Facebook, by subscribing to their YouTube channel and by listening to their music on Spotify. Helevorn elevated not only the quality and potency of their already refined Doom Metal in Aamamata, but the spirits of all of those who admire the fusion of good heavy music with a strong background message or meaning. And that, my dear metalheads, is the true essence of heavy music and everything we should always look for when in pursuit of new or unique names in the underground metal scene like Helevorn.

Best moments of the album: A Sail To Sanity, Blackened Waves, Aurora and The Path to Puya.

Worst moments of the album: Forgotten Fields.

Released in 2019 Solitude Productions/BadMoodMan Music

Track listing
1. A Sail To Sanity 5:25
2. Goodbye, Hope 5:58
3. Blackened Waves 5:26
4. Aurora 7:24
5. Forgotten Fields 5:44
6. Nostrum Mare (Et deixo un pont de mar blava) 7:28
7. Once Upon a War 5:55
8. The Path to Puya 8:38
9. La Sibil-la 5:05

Band members
Josep Brunet – vocals
Sandro Vizcaino – guitars
Samuel Morales – guitars
Guillem Morey – bass
Enrique Sierra – piano, keyboards
Xavi Gil – drums

Guest musicians
Júlia Colom – guest vocals on “Aurora” and “Nostrum Mare”
Heike Langhans – guest vocals on “The Path to Puya”
Jaume Compte – bouzouki and bağlama on “Aurora”
Pedro Zubiri – guitar solo on “The Path to Puya”
Batucada d’es Gremi – additional drums on “Aurora”
‘Are’are women (Malaita, Salomon Islands) – outro singing on “The Path to Puya”
Vassilis Mazaris, Diane Camenzuli, Joan Oliver, Sara Husein El Ahmed, Pablo Ferrarese, Isabelle Pereira, Élide Terrón, Felip Palou & Corin Solo Fogel – spoken parts on “Nostrum Mare”

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Album Review – Inferitvm / The Grimoires (2019)

Telling the story of the most important forbidden grimoires in European history, this unrelenting Spanish horde delivers an excellent album that lives up to the legacy of 90’s Black Metal.

Born in 2014 in Palma de Mallorca, a resort city located in the Balearic Islands in Spain, with the task of putting the Black Metal genre back in the shadow of the glory it had in the 90’s, following the label from the most infamous bands from that period as a pure conceptual beginning (but excluding arsoning or murders, of course), the unstoppable horde that goes by the name of Inferitvm has just released their sophomore album The Grimoires, an epic story about black magic, esoteric rituals and all the different ingredients of true classical Black Metal. Having said that, do you accept the challenge of deciphering the forbidden texts that Inferitvm have brought back to life?

Comprised of lead singer and guitarist Sorcerer V., guitarist Lord Insekkton, bassist Aghanazzar and drummer Bârg, the sound of Inferitvm is fast, raw and full of details and reminiscences, with bands like Emperor and Immortal, as well as several other renowned groups from Norway, Sweden and Finland, serving as the main inspiration for their music. Telling the story of the most important forbidden grimoires in European history, delving into the miseries and stories behind them, The Grimoires is a manual for unraveling all the mysteries of black magic, with a symphonic twist that will undoubtedly surprise all who enjoy devilish and extreme music. Furthermore, the album brings some orchestral variations which end up helping to introduce your mind into the concept and imagery of an album that’s definitely “not for children”, with its lyrics being based on ancient spells and rituals of esoteric origin, and with the majority of recital refrains expressing the prayers and rituals in a solemn and profound way.

Phantasmagorical keys generate a menacing ambience in the intro Trithemius, before Inferitvm comes ripping with the sonic onrush titled Codex Gigas, where Sorcerer V. gnarls and vociferates like a demon to the imposing beast by Bârg. Moreover, Sorcerer v. and Lord Insekkton bring tons of melody to the musicality with their strings, flirting with contemporary Melodic Black Metal but still sounding loyal to the foundations of classic Black Metal. Then their devastation goes on in the sulfurous and pulverizing Clavicula Salomonis, a lecture in Black Metal bringing forward the most malevolent elements of the genre spearheaded by Sorcerer V.’s infernal roars; and there’s no time to breathe as the quartet keeps blasting sheer obscurity through their damned instruments in Malleus Maleficarum, with Sorcerer V. and Lord Insekkton being on fire with their riffs and solos throughout this marching mass of absolute evil.

In Goetia of Shadows, Bârg and Aghanazzar keep smashing their instruments nonstop, generating a reverberating sound that will please all fans of the genre, all balanced by some very harmonious guitar lines and hellish growls, whereas Galdabrök is another hammering, disturbing hymn of darkness by Inferitvm, with Bârg and his pounding drums dictating the rhythm while Sorcerer V. grasps the song’s obscure lyrics poetically and darkly. In Liber Lux Tenebris, the scorching hot guitars by Sorcerer V. and Lord Insekkton add a touch of Doom Metal to their already infernal music before all hell breaks loose in another feast of old school Black Metal perfect for banging your head in the name of evil. And De Occulta Philosophia is probably one of the most disturbing songs of the whole album (if not the most), where all band members make sure they extract the most Stygian sounds form their instruments, in special the band’s infernal guitar duo with their classic riffage, ending in the most unsettling way possible.

Fortunately for all fans of extreme music, the last batch of songs from The Grimoires is just as thrilling and vile as the rest of the album, starting with La Poule Noire, presenting a classic Scandinavian Black Metal sound with the band’s own twist, sounding as violent as it can be, with its guitar solos creating an interesting paradox with the blast beats delivered by Bârg; followed by De Praestigiis Daemonum, a truly infernal aria where Inferitvm crush our minds mercilessly with their brutality, darkness and rage, or in other words, a demolishing Black Metal tune with a few breaks and variations added to bring more taste and punch to the overall result. And last but not least, the cryptic vocalizations by Sorcerer V. ignite the closing tune titled De Umbrarum Regni, spiced up with nuances of Doom Metal and Blackened Doom, remaining creepy and atmospheric until its visceral ending.

In a nutshell, this unstoppable Spanish horde more than succeeds in telling stories of black magic and evil spells in the form of the pulverizing Black Metal found in The Grimoires (available for a full listen on Spotify), and in order to show your true support to those four horsemen of old school Black Metal simply follow them on Facebook, and grab your copy of such distinct album from their BandCamp page, from the Inverse Records webstore, from iTunes or from Amazon. Because, in the end, all you have to do is let the ancient spells and malignancy flowing from the music by Inferitvm consume your soul, keeping the flame of 90’s Black Metal burning bright for decades to come.

Best moments of the album: Clavicula Salomonis, Malleus Maleficarum and De Occulta Philosophia.

Worst moments of the album: None.

Released in 2019 Inverse Records

Track listing
1. Trithemius 1:23
2. Codex Gigas 5:46
3. Clavicula Salomonis 6:55
4. Malleus Maleficarum 6:23
5. Goetia of Shadows 6:04
6. Galdabrök 5:14
7. Liber Lux Tenebris 5:41
8. De Occulta Philosophia 7:01
9. La Poule Noire 5:30
10. De Praestigiis Daemonum 5:02
11. De Umbrarum Regni 5:26

Band members
Sorcerer V. – vocals, guitar
Lord Insekkton – guitar
Aghanazzar – bass
Bârg – drums

Album Review – Inferno / Basado En Hechos Reales (2019)

An up-and-coming thrashing beast from Spain returns with another sensational round of old school, unrelenting Thrash Metal, telling stories of violence, death and corruption from our rotten society.

Born in 2009 as a cover band from the ashes of several underground groups from the Spanish city of Ceuta, but writing their own original material since 2011 after some important lineup changes, the unstoppable Thrash Metal unity known as Inferno has been on a row in the past few years, having released their six-track debut EP Arrodíllate in 2014 and their first full-length album Genética Humana in 2017, both receiving very positive feedback from the press and from fans on heavy music in general. After such solid start, it was more than obvious that this thrashing beast from Spain would strike again in a not-so-distant future, which is exactly what’s happening now in 2019 with their sophomore release, the pulverizing Basado En Hechos Reales, which translates to English as “based on true events”.

Comprised of frontman Juan Manuel León, guitarists Ángel “Koto” Bermúdez and Antonio González, bassist Carlos Bermejo and drummer Miguel Osuna, Inferno take no prisoners in their quest for extreme music, playing as loudly, fast and aggressively as they can without giving us a single second to breathe. Recorded, mixed and mastered by their own guitarist Koto and featuring an old school cover artwork designed by Indonesian artist Wibowo Yudo Baskoro (Five Milligrams), who has already worked with bands like Napalm Death, Possessed, Morbid Saint and Massacre, Basado En Hechos Reales is an electrifying ode to all things thrash, perfectly representing all the band’s passion and commitment to such entertaining sub genre of heavy music.

An ominous Gregorian chant kicks off the blasphemous havoc entitled Ruega Por Nosotros (or “pray for us” in English), with Koto and Antonio cutting our skin deep with their riffs while frontman Juan Manuel vociferates the song’s harsh and anti-religious words rabidly, setting the tone for the also hammering Tu Sucio Dinero (“your dirty money”), with the rumbling bass punches by Carlos kicking us in the face mercilessly. Put differently, it’s raw, visceral and frantic Thrash Metal that lives up to the legacy of the genre, not to mention how potent the beats by Miguel sound throughout the entire song. And as aforementioned there’s no time to breathe with another kick-ass tune titled Como A Marionetas (“like puppets”), where we’re all invited to get smashed into the circle pit to more of their old school thrashing music, with highlights to the razor-edged guitar riffs and solos by Koto and Antonio.

Are you tired already? Because Inferno will hit you hard with their Spanish-spoken version of the early days of Testament and Exodus entitled Vuestra Ceguera (“your blindness”), where Miguel is an unstoppable stone crusher on drums while the guitars exhale harmony and brutality at the same time, whereas in Apriétate El Bozal (“squeeze the muzzle”) we face a high-octane fusion of sounds as if Metallica and Megadeth form the 80’s had a Spanish Chuck Billy as their vocalist (thanks to the great job done by Juan Miguel with his raspy, enraged vocals), with all destruction being boosted by the pulverizing drums by Miguel. There’s no sign of slowing down, as they continue their Thrash Metal party in Espiral De Mentiras (“spiral of lies”), where the guitar lines are in perfect sync with the vocals during the entire song, followed by Condenado A Vivir (“condemned to live”), an 80’s-inspired Bay Area Thrash hymn tailored for slamming into the circle pit, having a cold beer with your friends or simply banging your head nonstop like a beast. In addition, Juan Manuel sounds even more ferocious and demented on vocals than before, with the music flowing infernally until all is said and done.

Inferno’s source of energy seems to be endless as they add tons of horsepower to another piercing creation named Sin Domesticar (“without taming”), a sonic tribute to everyone that’s antisocial, rude and grim, with the Thrash Metal riffs and beats blasted by the band matching perfectly with the song’s sick lyrics, followed by Exterminio (“extermination”), where Juan Manuel roars and barks like a demonic entity in a fusion of Thrash and Death Metal highly recommended for diehard fans of extreme music. Lastly, in order to finish the extermination of the human race proposed in the previous song we have the fantastic Noches Sin Tregua (“nights without truce”) as the icing on the cake, with Miguel simply destroying his drum set while the band’s stringed trio provide Juan Manuel all he needs to thrive, vociferating violently like there’s no tomorrow without showing any mercy for our souls. Put differently, the album couldn’t have ended in a more fun and demolishing way, I might say.

Are you ready to slam into the pits of hell to the thunderous Thrash Metal made in Spain by Inferno? If the answer is yes, simply go check what those talented metallers are up to on Facebook, including their live concerts (the best thing in metal music, of course), and buy your copy of Basado En Hechos Reales from their own BandCamp page, as well as from the Necromance Records’ BandCamp page or webstore. Basado En Hechos Reales is, as its name already says, based on all sad but true stories of corruption, death and violence from our decaying society, and the guys from Inferno certainly deserve our utmost recognition for gathering all that evil and putting together such entertaining album of classic Thrash Metal for our total delectation.

Best moments of the album: Ruega Por Nosotros, Condenado A Vivir and Noches Sin Tregua.

Worst moments of the album: None.

Released in 2019 Necromance Records

Track listing
1. Ruega Por Nosotros 4:01
2. Tu Sucio Dinero 3:00
3. Como A Marionetas 3:10
4. Vuestra Ceguera 2:56
5. Apriétate El Bozal 3:41
6. Espiral De Mentiras 4:00
7. Condenado A Vivir 3:21
8. Sin Domesticar 3:20
9. Exterminio 3:05
10. Noches Sin Tregua 3:22

Band members
Juan Manuel León – vocals
Ángel “Koto” Bermúdez – guitar
Antonio González – guitar
Carlos Bermejo – bass
Miguel Osuna – drums

Album Review – SynlakrosS / Malice Murder (2018)

Get ready to be transported to a world of adventure with a good deal of rebellion in the brand new ass-kicking album by one of the most prominent names of the underground metal scene.

Formed in 2008 in the stunning city of Valencia, Spain by bassist Pablo “Roro” Fuentes and drummer Tiko Martínez, the unstoppable female-fronted Melodic Death Metal outfit that goes by the stylish name of SynlakrosS has just taken another amazing step in their (r)evolutionary career with the release of their third full-length installment, the creative, incendiary and utterly fun Malice Murder, cementing their name as one of the best bands in the Melodic Death Metal, Nu Metal and Metalcore scene all over the world, therefore being highly recommended for fans of bands such as In Flames, Slipknot, Butcher Babies, Arch Enemy and Lamb Of God, among several others. Injecting a considerable dosage of energy into our hearts and minds with their music and thematic lyrics, SynlakrosS will transport you to a world of adventure with a good deal of rebellion in Malice Murder, always moving forward but at the same time always loyal to their foundations and, of course, to their already huge fanbase.

In my humble opinion, what really stands out in Malice Murder, apart from its top-of-the-line production and endless electricity, are the insanely metallic and piercing sounds extracted by Pablo from his infernal bass, and especially all the experimentations and different vocalizations blasted by the band’s stunning frontwoman Patricia Pons. She sounds vile, demented, passionate and defiant with her wicked growls, roars and screams, taking her vocals to a whole new (and previously unexplored) level that will certainly please all fans of modern-day Melodic Death Metal. Add to that mix the crushing riffs and solos by the band’s axemen Iván Muñoz and Aarón Hidalgo, not to mention the sensational album artwork designed by Patricia herself, and there you have not only the perfect follow-up to their 2016 opus Death Bullets for a Forajido, but also a gargantuan avalanche of breathtaking metal sounds that will blow your senses mercilessly.

The opening track, titled Angel on Fire, sounds modern, electrified and vibrant right from the very first second, with its futuristic sounds and Patricia’s hypnotizing whispers kicking off a Melodic Death Metal party led by Pablo’s infuriated bass punches. Then in the fast-paced, heavy-as-hell extravaganza named Fatal Frame the band puts the pedal to the metal showcasing furious riffs and tones by the band’s stringed triumvirate, with Patricia growling and gnarling like a she-wolf while Tiko smashes his drums beautifully; followed by Dark Seed, not only the first single of the album but also the epitome of modern-day Metalcore, exhaling sheer madness and rage and with Patricia stealing the spotlight once again with her rabid growls and demented vociferations, as well as Aarón and Iván with their heavy and aggressive shredding. Put differently, this is the type of song that’s absolutely perfect for setting the crowd on fire during their live concerts. And let me remind you that the party is just starting, as in Alone in the Dark, spearheaded by Pablo and his thunderous, hammering bass, melodic guitar lines are flawlessly intertwined with moments of sheer lunacy, living up to the legacy of renowned Nu Metal acts like the iconic Korn.

Eternal Darkness showcases a classic song name for an explosive fusion of Metalcore, Melodic Death Metal and Groove Metal, breaking your neck in half to the precise beats by Tiko (which means it might become a fan-favorite if they add it to their setlists, of course), while Killing Diablos gets closer to their sonority from Death Bullets for a Forajido, but with a 2018 twist if I might say that. In addition, its background effects and tones nicely add an extra touch of madness to the music, while Patricia alternates between her rabid roars and demented clean vocals. Resurrection is another solid and well-crafted metal chant by SynlakrosS where the razor-edged guitars by Aarón and Iván shine brighter than the sun, also presenting a futuristic vibe and atmosphere and, as a consequence, being tailored for jumping up and down with the band; whereas in Morrígan it’s time for total devastation with this steampunk Spanish army, as the “Morrígan” is a figure from Irish mythology that represents a “great queen” or “phantom queen”, being mainly associated with war and fate, especially with foretelling doom, death or victory in battle. Does that remind you of someone? Anyway, I simply love how Patricia screams the song’s name from the bottom of her heart, making it impossible to stand still to this groovy and rumbling tune.

The last batch of songs from Malice Murder begins with Bloody Waltz, a dark an eerie “waltz” of contemporary Alternative Metal presenting elements from the wicked music by Rob Zombie and Marilyn Manson, such as its uncanny background keys, sounding and feeling very theatrical, which means it’s perfect for Patricia to showcase all her skills as the amazing singer and performer she is. Then the number of the beast, the famous 666, names another furious and ominous hymn by the quintet where Pablo slams his bass strings manically, extracting beyond lancinating sounds from it and, therefore, supporting Patricia’s screams flawlessly; whereas in Under the Ice there’s absolutely no sign of the band slowing down or getting any softer. Quite the contrary, it’s time for total anarchy with highlights to the perfect sync between Pablo’s bass and the guitar duo’s crisp riffage, sounding even more modernized than all previous songs. In the short and sweet semi-acoustic bridge Undying, we’re treated to some sort of futuristic western-like sonority, before SynlakrosS come crushing one last time in Siren’s Bloody Curse, the perfect conclusion to such powerful album, feeling more melancholic and obscure than all previous songs, transpiring melody and displaying an amazing performance by Pablo on bass and Iván with his fiery guitar solo. Needless to say, Patricia once again slays our senses with her potent growls and gripping clean vocals throughout the entire song.

In case you’re not a “curly wolf” yet, you should definitely start following SynlakrosS on Facebook, subscribe to their YouTube channel, and obviously purchase your copy of Malice Murder (available for a full listen on Spotify) from their own webstore in regular CD format or as a CD + T-shirt bundle (with the T-shirt also being designed by the unstoppable Patricia), as well as from iTunes, Amazon, or CD Baby. And if you’re already a diehard fan of SynlakrosS, you know the band is going places with their hard work, talent and extreme dedication, with the incendiary Malice Murder beautifully representing what their music is all about and pointing to an even brighter future for what’s in my humble opinion the best metal act hailing from Spain from the past decade and one of the best new names of the current metal scene worldwide.

Best moments of the album: Fatal Frame, Dark Seed, Morrígan and 666.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Angel on Fire 4:24
2. Fatal Frame 3:26
3. Dark Seed 4:03
4. Alone in the Dark 3:46
5. Eternal Darkness 4:33
6. Killing Diablos 3:50
7. Resurrection 3:54
8. Morrígan 3:38
9. Bloody Waltz 3:56
10. 666 3:18
11. Under the Ice 4:05
12. Undying 2:24
13. Siren’s Bloody Curse 4:26

Band members
Patricia Pons – vocals
Iván Muñoz – guitar
Aarón Hidalgo – guitar
Pablo Fuentes – bass
Tiko Martínez – drums

Album Review – Evil Hunter / Evil Hunter (2018)

A metallic warrior hailing from Spain is on the loose, ready to take the world of heavy music by storm with their debut album.

Spanish Heavy Metal band Evil Hunter, a newborn combo formed in 2017 by experienced musicians coming from renowned bands from the underground Spanish scene like WarCry, Lords of Black, Chicanos, Nova Era, Nightfear and Alien Rockin’ Explosion, among others, is more than ready to take the world by storm with their self-titled debut opus Evil Hunter, a stunning album of old school Heavy Metal spiced up by hints of Power Metal and Hard Rock, showcasing powerful vocal arrangements, an awesome guitar work and a catchy rhythm basis. In other words, not only Evil Hunter is going to be a total delight for any admirer of the genre, but it will also accredit the band to be one of the main flag bearers of Spanish metal in the coming years.

Vocalist Damián Chicano (Chicanos), guitarists José Rubio (WarCry, Nova Era) and Victor Durán (Lords of Black, Nightfear), bassist Alberto Garrido (Alien Rockin’ Explosion, Black Hat) and drummer Gustavo Segura (Nova Era, Vargas Blues Band) had been dreaming of forming a new band together for a while before forming Evil Hunter, all sharing the same passion for classic heavy music, and the top-tier quality of the music found throughout the entire album proves their efforts to concretize that dream were not in vain. Featuring a straightforward artwork by Bernat Masías (Brnix Art), where the listener has the pleasure to meet the metallic warrior that carries the name of the band (or maybe it should be the other way around, who knows), Evil Hunter will fill your ears with the purest form of metal music from start to finish, and I’m sure after the last track of the album ends you’ll go back to the start to listen to everything over and over again.

In the opening track, titled Surf the Waves, the band already fires frantic, electrifying metal music for our avid ears, with José and Victor together with Gustavo setting the stage for the Accept-inspired, flammable vocals by Damián. Put differently, this is 80’s classic Heavy Metal with no shenanigans nor any artificial elements, which can also be said about the headbanging tune Evil Hunter, where we’re all urged to raise our horns and bang our heads to a crushing fusion of Heavy Metal and Hard Rock by the quintet. Feeling like it was taken directly from the 80’s, the song showcases another precise performance by Gustavo on drums while the guitars keep spreading electricity and magic. Then leaning towards a galloping Iron Maiden/Helloween-like sonority, Evil Hunter keep mesmerizing us with their incendiary waves in Heartbeat, with Damián once again having a beyond awesome vocal performance, powerfully supported by the song’s effective backing vocals; followed by Hot Leather, a smooth and sexy rockin’ feast by Evil Hunter bringing lyrics à la AC/DC blended with Steel Panther (“I wanna feel you around / You shook me / You rode me like a horse / You made it slow and nice / Now tell me what you want / So nice / I’ll give you what you want”), therefore perfect for singing along with the band while Gustavo keeps kicking ass with his rhythmic beats.

In Hold Me Tight, the stringed trio José, Victor and Alberto fire spot-on melodious lines for Damián and his Saxon-inspired vocals, resulting in a modern-day depiction of NWOBHM with highlights to the precision which Gustavo delivers his beats and fills. Once again drinking from the fountain of classic Heavy Metal and Hard Rock the likes of Accept, Iron Maiden and Saxon, the band delivers the thrilling Go, with Alberto firing truly rumbling tones through his bass, while the album’s power ballad By Your Side offers us all cheesy but fun lyrics (“Would you find a reason / For falling in love with me again? / In my eyes, believe me / You’ll see all my halo of blame / I never thought that the night and the shadows / Could just even leave me so blind / Dreaming along with the times without sorrows / Can we please go back in time?”) and a classic pace, despite sounding too generic compared to the other songs. And lastly, closing the album we have an avalanche of modern and melodic Power Metal by Evil Hunter titled Open Up Your Eyes, a song recommended for breaking your neck headbanging inspired by German icons like Primal Fear, Gamma Ray and the early days of Helloween, with the music being led by Gustavo with his pounding beats and with a beyond electrified Damián on vocals.

The anti-hero, metalized warrior known as Evil Hunter is on the loose and ready to blow your ears with their undisputed metal music, and in order to keep track of what such dauntless powerhouse is up to you should check the band up on Facebook, and purchase your copy of the album from the Fighter Records’ BandCamp page or from the Xtreem Music webstore, as well as from iTunes, Amazon or Discogs. While Evil Hunter are on a crusade for Heavy Metal it’s our duty to show them all our support, proving once and for all while bands like them keep blasting sheer energy and passion through their instruments, heavy music will never cease to exist.

Best moments of the album: Evil Hunter, Heartbeat and Open Up Your Eyes.

Worst moments of the album: By Your Side.

Released in 2018 Fighter Records

Track listing 
1. Surf the Waves 4:31
2. Evil Hunter 4:05
3. Heartbeat 4:23
4. Hot Leather 5:17
5. Hold Me Tight 3:46
6. Go 4:37
7. By Your Side 4:16
8. Open Up Your Eyes 4:06

Band members
Damián Chicano – vocals
José Rubio – guitars
Victor Durán – guitars
Alberto Garrido – bass
Gustavo Segura – drums

Album Review – Bolu2 Death / Spiral (2018)

Aiming at becoming a reference in the Spanish underground scene, this up-and-coming “Flamencore hate crew” returns with their most ambitious release to date.

Born in 2009 as a side project based on Heavy Metal and Hardcore with electronic music and flamenco influences, to the point their music can also be labeled as “Flamencore”, Spanish quartet Bolu2 Death has been making a name for themselves in their homeland since the release of their 2011 debut album, titled Aviate, becoming a reference in the Spanish underground scene. Following the success of Aviate, the band continued to pave their path with a series of steady releases, those being Mastica Tus Dientes in 2013, Dualitas in 2016 (which by the way was elected “Album Of The Year” by Metal Nacional, a Spanish written metal webzine), and their brand new album Spiral now in 2018, their most ambitious release to date which aims at establishing this “Flamencore hate crew” comprised of Mario Lérida on vocals, Jose Luis Corrales on the guitar, Juan Miguel Ramírez on bass and Francisco Llévenes on drums as one of the most important bands in modern-day Spanish Metal.

The alternative, futuristic intro (0) sets up the stage to the electrifying Nace, Crece y Muere (which would translate from Spanish as “all is born, grows and dies”), a high-end Alternative and Nu Metal tune made in Spain where the demented growls and distorted noises blasted by the band will darken your mind and inspire you to break your neck headbanging, with Francisco simply crushing his drums. We Bleed, We Fight is a rebellious anthem of Alternative Metal, showcasing rumbling and metallic sounds extracted by Juan Miguel from his bass while Mario delivers some truly enraged words (“No, I don´t wanna be like you, never / I don´t wanna be like you / We must look at the past but never look back / We bleed, we fight / Create the path of your life / We will try again, come on, come on”); whereas Smells Like 90´s Spirit is a tribute to all bands from the 90’s that helped shape up the band’s musicality (“It´s the time when we grew up / Music came into our lives / We will never forget the smell / Que nos hizo amar / Nothing will ever be the same / But it in my heart the world doesn’t change / I give thanks for all”) in the form of another feast of extreme and modernized sounds, this time led by the sharp guitar lines by Jose Luis.

Todo y Nada could easily be used as the soundtrack to a wicked underground movie, where the band turns their instruments into noise-making machines and with Mario shaping his vocals in an inhuman, eerie way, being perfect for fans of both modern Industrial Metal and the Nu Metal played by bands like Korn. Then we have Forgiveness, a slower and more introspective creation by Bolu2 Death that sounds too “30 Seconds to Mars” to me, lacking the band’s usual violence and speed, and the whimsical instrumental bridge (vortice), warming up our senses for  the low-tuned, thunderous Korn-inspired chant I Am Doomed, where the entire band brings forward a high level of aggressiveness, dementia and heaviness, especially Jose Luis and Juan Manuel with their strings, while Mario vociferates sheer insanity from start to finish.

I like how they mix English and Spanish throughout the entire album, and they do it in great fashion in what’s perhaps the best depiction of what they call “Flamencore”, the fun and fresh Los De Arriba, followed by Statues, less belligerent but still very melodic and modern, becoming a great choice for banging your head together with the band and displaying a strong performance by Mario with both his clean and harsh vocals. Bury Yourself is another introspective composition by the Spanish quartet led by the thunderous riffs and bass lines by their stringed duo, losing its grip after a while despite their solid job done to keep it heavy and vibrant; while A.R.R. is a melancholic, cinematic bridge with a dark narration guiding us to the obscurity and rage blasted in the title-track Spiral, featuring guest vocalist Juan A. Soler “Kantz” (Tenpel, De la Cuna a la Tumba, Delobos, The Holy), presenting a fantastic balance between clean vocals during the darkest parts and harsh gnarls during the heaviest and most visceral moments, offering the listener over six minutes of modern and thrilling metal music that flows into a wicked downward spiral ending.

In summary, Bolu2 Death, who can be found on Facebook and on YouTube, sounds more mature, modern and experimental than ever in Spiral, proving the band is not exaggerating when they say they want to become a reference in contemporary metal in their homeland. And if you want to show your true support to such distinct group, go buy your copy of Spiral from their own BandCamp or webstore, as well as from the Necromance Records’ BandCamp or webstore, and from iTunes. Bolu2 Death offer music that inspires us to bang our heads and dance at the same time in Spiral, and they do it in such great fashion they truly deserve the recognition they’ve been gaining in Spain and in the rest of the world.

Best moments of the album: Nace, Crece y Muere, We Bleed, We Fight, I Am Doomed and Spiral.

Worst moments of the album: Forgiveness and Bury Yourself.

Released in 2018 Necromance Records

Track listing
1. (0) 0:52
2. Nace, Crece y Muere 3:58
3. We Bleed, We Fight 3:57
4. Smells Like 90´s Spirit 4:34
5. Todo y Nada 4:41
6. Forgiveness 4:12
7. (vortice) 2:00
8. I Am Doomed 3:19
9. Los De Arriba 3:43
10. Statues 4:07
11. Bury Yourself 4:02
12. A.R.R. 2:10
13. Spiral (feat. Kantz) 6:21

Band members
Mario Lérida – vocals
Jose Luis Corrales – guitar
Juan Miguel Ramírez – bass
Francisco Llévenes – drums 

Guest musician
Juan A. Soler “Kantz” – vocals on “Spiral”

Album Review – Dormanth / IX Sins (2018)

Succumb to the dark side with the well-crafted and entertaining collection of crushing, riff-oriented Doom and Death Metal tunes by an old school act hailing from Spain.

Born in Bilbao, Spain in January 1993 after various experiences of its components in different bands, such as Nopresion, Beer Mosh and Elbereth, Melodic Doom/Death Metal act Dormanth went on an almost 20-year hibernation period in 1996 after releasing their debut album Valley of Dreams, in 1995, breaking the silence in 2015 with the release of the EP Voice of the Soul… Under the Tears of Sun, followed by the full-length album Winter Comes, in 2016. And it looks like Dormanth are on a roll on this second phase of the band, as their brand new album, titled IX Sins, is an extremely well-crafted and entertaining collection of crushing, riff-oriented metal tunes that will certainly drag your soul into pitch black darkness.

Comprised of founding member Oscar del Val on vocals and guitar, Javi Prieto on lead guitar, newcomer Miguel A. Richart on bass and Victor Franquelo on drums, Dormanth are an unstoppable Extreme Metal machine in IX Sins, delivering nine pestilent, heavier-than-hell compositions (or maybe we should call them “sins”) that will please most fans of the darker and more lugubrious vibe of the fusion between Doom and Death Metal. Furthermore, Spanish artist Igor “Mugi” Mugerza (Abigor Artwork) is again the artist chosen for the cover art concept, with the nine knights (clearly inspired by the Nazgûl, from J. R. R. Tolkien’s Lord of the Rings) representing all the heaviness and obscurity present in the music by Dormanth.

Oscar and Javi begin their Black Metal-riffage onrush in the opening track Human Claim, a pounding funeral march that tells us all darkness is about to take over our minds in a dense and potent hybrid of Doom and Death Metal with melodic influences. After such strong start, the strident sound of guitars keeps permeating the air in another atmospheric and melodic composition titled Lamb Or Wolf, with the band’s guitar duo accelerating their riffs until all hell breaks loose. Moreover, the vocals by Oscar get more putrid and devilish as the music progresses, while Victor becomes the band’s driving force with his potent beats. And in Let See The Wood, we’re treated to a frantic and furious Death Metal extravaganza with Thrash Metal and Hardcore influences where Victor and Miguel simply demolish their instruments. Hence, the nonstop violence contained in this gripping tune will certainly set the crowd on fire during their live performances.

Slowing things down considerably and venturing through the realms of modern Doom Metal, the band offers the listener Like Ice, keeping a solid pace and providing Oscar exactly what he needs to fire his deep, enraged growls; followed by Promised Land, where Dormanth get back to a more piercing mix of Death and Black Metal. During its almost five minutes, Victor delivers from blast beats to rhythmic, galloping moments, while the band’s guitarists keep the sound cohesive and gripping with their riffs and solos. And the sixth “sin” of the album, entitled Soul Shall Die, once again leans towards more old school, sluggish Doom Metal, with Oscar growls being in perfect sync with Victor’s steady beats.

Misery is a potent, galloping tune with tons of shredding and demented beats and fills, showcasing an almost-Black Metal sound mixed with old school Death Metal and, as a consequence, reminding me of some of the creations by Swedish masters Unleashed; whereas The Skin, the second to last display of blackened sounds by Dormanth, begins with an old school guitar solo before all instruments explode, generating a menacing atmosphere, while its second half is a feast of shredding and blast beats intertwined with an eerie female voice. And closing this obscure album we have another threatening tune named Sands Of Frozen Tears, yet again displaying the band’s solid instrumental and Oscar’s deep growls, albeit not as vibrant as the rest of the album.

The dark and sinister realm of Dormanth can be better explored by visiting their Facebook page, and if you want to put your hands on IX Sins simply go to the band’s BandCamp page, to the Necromance Records’ Big Cartel or webshop, to the Dead Sheep Productions’ webshop, or to Discogs. Dormanth are also beyond ready to hit the road and bring to the stage the same energy and darkness flowing from their music, with the only difference being that their live lineup has studio bassist Miguel on the lead guitar (instead of bass), Isma Fernandez on bass, and original member Javi Martinez on drums, but of course still spearheaded by Oscar on vocals and guitar. As a matter of fact, it doesn’t really matter if you prefer staying home to listen to their studio version of the songs or if seeing them live is what really excites you, as long as you succumb to their captivating fusion of Death and Doom Metal.

Best moments of the album: Lamb Or Wolf, Let See The Wood and Misery.

Worst moments of the album: Sands Of Frozen Tears.

Released in 2018 Necromance Records/Base Record Production/Dead Sheep Productions

Track listing  
1. Human Claim 4:02
2. Lamb Or Wolf 4:29
3. Let See The Wood 4:46
4. Like Ice 4:38
5. Promised Land 4:55
6. Soul Shall Die 4:08
7. Misery 4:26
8. The Skin 4:32
9. Sands Of Frozen Tears 5:02

Band members
Oscar del Val – vocals, guitar
Javi Prieto – lead guitar
Miguel A. Richart – bass
Victor Franquelo – drums

Live members
Oscar del Val – vocals, guitar
Miguel A. Richart – lead guitar
Isma Fernandez – bass
Javi Martinez – drums

Album Review – Death Keepers / Rock This World (2018)

A fresh, catchy and incredibly addicting blend of classic Power Metal with Hard Rock and Rock N’ Roll influences that will rock your world like there’s no tomorrow.

Born in the fires of Barcelona, the cosmopolitan capital of Spain’s Catalonia region, in late 2011 by the fusion of the experience and talent of an array of musicians who were driven into gathering the best of Heavy Metal of yesterday and today, five-piece squad Death Keepers sticks to the all-time Heavy Metal style, that quintessential sound and energy that so many fans fell in love with back in the 80’s, spiced up by the technological developments of our era, thus, bringing to life an experience of epic proportions like what you’ll find in their debut album, entitled Rock This World, a fresh and fulfilling Heavy Metal extravaganza pushed into the next wave of Heavy Metal evolution.

Death Keepers released their debut EP On the Sacred Way in 2013, and since then they’ve been working on their debut album, developing their own sound by adding more and more Hard Rock influences to their previous Power Metal sound. Including both revamped songs from their EP as well as brand new tunes, Rock This World brings to the listener a fresh, catchy and incredibly addicting blend of classic Power Metal the likes of of Helloween and Judas Priest with Hard Rock and Rock N’ Roll influences that give the whole album an unusual and tremendously infectious feel. With that said, simply put on your old school leather jacket and get ready to rock like there’s no tomorrow with those five Spanish metallers.

Ladies and gentlemen, start up your engines and join Death Keepers in their frantic race for Rock N’ Roll in the opening track straightforwardly titled Rock & Roll City, where frontman Dey Rus fires those classic metallic vocals we all love so much in heavy music, complemented by the fantastic guitars by both Eddy Gary and Antonio Maties. Fire Angel sounds and feels more melodic and epic with pure Heavy Metal flowing from all instruments, reminding me of the music by icons such as Edguy, Avantasia and Sebastien, being perfect for singing along with the band with your fists in the air; whereas in Death Keepers the band tells the world who they are by delivering an ass-kicking Heavy Metal sonority led by the fast and rhythmic beats by Miki Hunter (who’s by the way flawlessly supported by the rumbling bass by Gorka Alegre), being clearly inspired by old school Helloween. And the band’s guitar duo sounds even more Helloween-ish than before in Haven’s Heaven, showcasing great pace and dynamism among all band members in another ode to classic metal.

In the title-track Rock This World, not only the sound of the guitars by Eddy and Antonio keeps burning our skin, but their solos are also a thing of beauty, not to mention another solid performance by Dey on vocals. Put differently, Death Keepers definitely know how to rock our world in a beyond fun way, right? And it’s time to add a pinch of their Spanish musical heritage to the album through the melancholic acoustic guitars in Thriving Forcast, before all their electricity returns in this instrumental power ballad featuring some excellent guitar solos and tons of feeling; followed by Love’s Within (Yourself), where it’s quite interesting to see how the vocals by Dey feel like a fusion of Andi Deris and Tobias Sammet, while Miki keeps the sonority at full speed with his beats and Eddy, Antonio and Gorka create a thrilling onrush of metal with their strings.

If you consider yourself a diehard metalhead with true Heavy Metal flowing through your veins you’ll love Wildfire, with Dey being flawlessly supported by the song’s backing vocals. Hence, you’ll start playing some air guitar with Death Keepers without even noticing so compelling the entire song is. Then the bridge Invention IV presents one minute of pure dexterity on guitars before Metallia comes ripping our metal hearts in superb fashion, with the entire band firing the purest form of Heavy Metal you can think of with their scorching instruments. Furthermore, Gorka is a beast with his galloping bass lines, while Dey provides some excellent high-pitched vocals in this top-tier tribute to all things metal. And in the closing tune, named Smooth Hit Love, a Hard Rock-like acoustic start evolves into a passionate power ballad led by the touching riffs and solos by Eddy and Antonio, while Dey puts his heart and soul into declaiming the song’s love words until the sound of the ocean comes to end it beautifully.

You can take a full listen at Rock This World on Spotify, but if you love traditional Heavy Metal more than you love your own life and family I highly recommend you go purchase the album right now without even blinking through the Fighter Records BandCamp, through the Xtreem Music webstore, on iTunes or on Amazon, and add each one of its hard rockin’ songs to the playlist of your most electrifying moments in life. Because, you know, they are Death Keepers, and they’re among us with one single purpose in mind, to keep rocking our world like there’s no tomorrow.

Best moments of the album: Rock & Roll City, Death Keepers, Wildfire and Metallia.

Worst moments of the album: None.

Released in 2018 Fighter Records

Track listing   
1. Rock & Roll City 3:24
2. Fire Angel 4:40
3. Death Keepers 5:08
4. Haven’s Heaven 5:21
5. Rock This World 4:25
6. Thriving Forcast (Instrumental) 4:54
7. Love’s Within (Yourself) 5:04
8. Wildfire 6:38
9. Invention IV (Instrumental) 0:56
10. Metallia 4:37
11. Smooth Hit Love 8:50

Band members
Dey Rus – lead vocals
Eddy Gary – lead & rhythm guitar
Antonio Maties – lead & rhythm guitar
Gorka Alegre – bass
Miki Hunter – drums

Album Review – Aversio Humanitatis / Longing for the Untold EP (2017)

Expanding upon their Black Metal roots by embracing the ferocity of the most mutated and cursed Death Metal, this Spanish horde brings forth a violent and ferocious one-way journey into darkness with their brand new release.

“Time is an ever open wound, that never hurts the same twice.”

Since their inception in 2010 in the city of Madrid by a core and unchanged trio of mysterious locals, Spanish Black/Death Metal horde Aversio Humanitatis (Latin for “the loathing humanity”) has been slowly morphing into a beast of implausible proportions and of ungraspable intents, as they began to expand upon their Black Metal roots by embracing the ferocity of the most mutated and cursed Death Metal. This transcendental and abhorrent metamorphosis into otherworldly sonic tyrant fully sublimated in their 2017 EP Longing for the Untold, in which Aversio Humanitatis went from being a purely methodical and vaguely technical Black Metal band in the vein of Emperor, Satyricon and Abigor, to becoming something completely undefinable, shaped by the ever so apparent lineaments of an unquenchable black hole, a beast capable of harnessing the power of collapsing stars and of the very depths of Hades.

Originally released on CD in Spain only in early 2017, Longing for the Untold is by far the boldest and most Stygian opus by this idiosyncratic Spanish entity, surpassing their 2011 debut full-length album Abandonment Ritual in terms of heaviness, obscurity, chaos and aggressiveness. Now re-packaged with three bonus tracks from their 2013 split Three Ways of Consciousness (with Venezuelan/Chilean Black Metal act Selbst and Spanish Black Metal act Nihil) and with a new incredible artwork, Longing for the Untold brings forward a colossal behemoth of technically intimidating and sonically imposing Progressive Black Metal that lunges forth toward the listener with crushing force, levitating out of solid darkness. More than just an album, Longing for the Untold represents a place and time where the power of sound literally devours the senses, turning perception into a smoldering and swarming void of sensorial awe and of transcendental sonic disintegration.

The sensational title-track Longing for the Untold presents the fury of old school Black Metal mixed with atmospheric and menacing sounds, with vocalist and bassist A.M.’s dark guttural growls being spot-on, therefore enhancing the song’s obscurity and its wicked lyrics (“Time is an ever open wound / that never hurts the same twice / Twisted shards created by our will / shall open the flesh / in ways that may be poetry, or may be mundane / Since the shadow of our self is always / longer than our height / Since the pride of our self is always / shorter than our pain”), also showcasing truly infernal blast beast by drummer J.H. Prison of Shattered Glass feels a lot more doom-ish than the opening track, with A.M. and guitarist S.D. delivering pure evil through their strings. In other words, this is a lesson in Blackened Doom by this excellent Spanish entity, where the devilish background sounds, the ominous growls by A.M. and the sluggish beats by J.H. end up generating a sulfuric and disturbing ambience altogether, ending in a beautiful, Stygian way; whereas The Ever Shifting Path gets back to a more perturbing and belligerent sonority, with the Black Metal-inspired drumming by J.H. together with the hellish vociferations by A.M. being the main elements in this fantastic Extreme Metal aria, becoming even more impactful halfway through it.

Longing for the Untold BlackSeed Productions Edition

Closing this top-tier feast of obscure and extreme music we have the eerie Advent of the Inescapable, starting with an atmospheric, creepy intro before exploding into absolute hatred in the form of Black Metal, and that perturbing feeling goes on until the music fades into sheer darkness. Moreover, pay good attention to its lyrics, which are beyond perfect for the music played (“Transcend a fraudulent reality – / let fear and pain penetrate and go through / Deconstruct your being – / resign all perishable aspirations / Dissociation from all that surrounds you – / become an impassive entity / Accept your purpose in this world – / you are here to destroy and suffer”). As aforementioned, this new version of Longing for the Untold also contains three bonus tracks, all from their 2013 split Three Ways of Consciousness (Spears of Unlight, Psalms of the Wandering and Shrine of Involution), which add a 0.5 to the album’s overall score by offering more of Aversio Humanitatis’ undisputed fusion of Atmospheric Black Metal with Doom Metal.

After paying a visit to Aversio Humanitatis’ Facebook page and YouTube channel to know more about this distinct act hailing from Spain and to get a better taste of their music, I’m sure you’ll promptly search the web for a copy of Longing for the Untold  (which by the way can be enjoyed in its entirety HERE, including all bonus tracks). Well, let me tell you that your hunt will be an extremely easy task, as the album is available for purchase at the Sentient Ruin Laboratories’ BandCamp or webstore, at the BlackSeed Productions’ webstore in black vinyl, white vinyl or cassette, on Amazon or at Discogs; as well as at the band’s own BandCamp and at the BlackSeed Productions’ BandCamp or webstore (with or without the bonus tracks). And when you finally have this fantastic album on your hands, get ready for a violent , never-ending and ferocious one-way journey into darkness.

Best moments of the album: Longing for the Untold and The Ever Shifting Path.

Worst moments of the album: None.

Released in 2017 Sentient Ruin Laboratories

Track listing
1. Longing for the Untold 5:04
2. Prison of Shattered Glass 6:06
3. The Ever Shifting Path 5:36
4. Advent of the Inescapable 4:41

Vynil & Tape B-Side bonus tracks
5. Spears of Unlight 4:38
6. Psalms of the Wandering 5:34
7. Shrine of Involution 6:15

Band members
A.M. – vocals, bass
S.D. – guitars
J.H. – drums

Live musicians
N.H.T. – guitar, vocals
J.C. – bass

Metal Chick of the Month – Patricia Pons

I am a mecha, eternal live. Everything dies while I’m still alive.

The summer might be almost over on the Northern Hemisphere, but here at The Headbanging Moose we’ll help you keep things warm with the fiery and multi-talented Spanish singer Patricia Pons, the frontwoman of Valencia-based Melodic Death Metal squad SynlakrosS, and obviously the chosen metaller to be our Metal Chick of the Month. Owner of a powerful voice and displaying a wild and flammable look by blending several styles such as Gothic and cyberpunk in her attire, Patricia is ready to conquer the world of Heavy Metal together with her bandmates through the uniqueness of their music, and I’m sure you’ll love to read about how she does that, how she prepares for the band’s live performances, among other fun topics. Are you ready to enter the cyberworld of Patricia and her SynlakrosS?

Born on December 10, 1984 in Valencia, a port city located on Spain’s southeastern coast and the third-largest Spanish city after Madrid and Barcelona, Patricia loves metal music, anime and arts from the bottom of her heart, and if possible she wants to have them all at the same time, just to give you an idea of how creative and talented our multi-colored hair growler is. Also a proud vegan, Patricia makes sure she spreads the word of veganism and its benefits anywhere she goes, again connecting that philosophy to her music and arts whenever possible. First, let’s talk about her career as the frontwoman of Spanish act Synlakross, which basically represents her life in heavy music since she entered the band in 2010. Actually, before SynlakrosS, she was part of a band named Kakuseisha, a project that didn’t last long (due to the departure of its Italian guitar player) where she played keyboards and was also responsible for the melodic and guttural backing vocals.

According to the band itself, SynlakrosS (stylishly spelled with capital S at the end) is a “storytelling” Melodic Death Metal band formed in 2008 in Valencia, Spain “whose proposal seeks to inject a good dose of energy through songs that transport your mind to a world of adventure with a good deal of rebellion.” Although the band was conceived in 2008 by bassist Pablo “Roro” and drummer Tiko Martinez (who by the way played together with Patricia in Kakuseisha), it was only after 2010 when the band reached its desired shape and form that things started to take off for those Spanish metallers, having already released a self-titled demo in 2011, their first full-length album Melodichrome in 2013 and more recently the full-length Death Bullets for a Forajido, in 2016. In 2015, SynlakrosS won the metal award at the Granitorock Festival, receiving national recognition and opening the doors for the band to share the stage in 2016 with Canadian metallers The Agonist. Patricia herself describes the music by SynlakrosS as “Passionate Metal”, or even “Killer Metal Music”, because they simply love what they do. If you want to see and listen to Patricia kicking ass with SynlakrosS, there are several official videos and fan-filmed footage from their live performances. For instance, you can enjoy the official videos for the songs Billy The Kid and Paper In A History, the audio for their excellent cover version for Nightwish’s classic Wish I Had An Angel, the playthrough video of the song Beauty From The Deep, as well as excerpts from their amazing live performance at Granitorock Festival in 2015 with the songs On The Bridge TV and Dragon Egg.

Apart from SynlakrosS, Patricia has already lent her powerful voice to a song named The Great Heresy, featured on the 2015 album Fuck Your God by Canadian Black Metal one-man army Episcopal Holocaust, sounding very different from her regular work with SynlakrosS, as Melodic Death Metal and Black Metal, despite being both part of the overall concept of extreme music, are not usually associated and have very little in common musically speaking. And, by the way, it’s amazing for The Headbanging Moose to see she has some sort of connection with Canada. In addition to that, she’s also more-than-ready to join Spanish Melodic Thrash Metal band Keldark as a guest vocalist on the song Fear the Fear, which will be part of their upcoming album The Brotherhood, to be released later this year.

Patricia’s main influences in music might sound very different from one another, but if you pay good attention to the details of each one of her favorite artists you’ll see her own voice is some sort of amalgamation of all their styles with her own personal twist. Among her biggest influences, we’ll find names such as Floor Jansen (After Forever, Nightwish), Dani Filth (Cradle of Filth), Kate Bush, Tori Amos, Anders Friden (In Flames), Dez Fafara (DevilDriver, Coal Chamber), Jonathan Davis (Korn), Sandra Nasic (Guano Apes), Cristina Scabbia (Lacuna Coil) and Liv Kristine (Theatre of Tragedy, Leaves’ Eyes), and their respective bands, as well as other bands like Nobuo Uematsu, Koji Kondo and Dream Theater. For instance, the first album she bought with her own money was the classic Fallen, by Evanescence, and the first concert she’s ever attended as a fan was In Flames. In one of her interviews, Patricia made sure she explained a little about her main influences, saying she never listened to them singing just as men or women, she focused on the voice itself and enjoyed every part from their performances.

She’s also influenced and inspired by a ton of other non-music stuff, including books, videogames, films, anime and manga, with her favorite movie being The Matrix, her favorite book being Clive Barker’s 1988 horror novel Cabal, and her favorite writers being Edgar Allan Poe, E. T. A. Hoffmann, H. P. Lovecraft and Mary Shelley, among others, all present not only in her music but also in her stunning looks. In addition, Patricia mentioned in one of her interviews that her personal visual trademark is also highly influenced by the fact that she’s a woman proud of being in Heavy Metal (and proud of being a woman, of course), and she wants people to see that when looking at her. That’s also visible in her hair style, always showcasing unique, vibrant colors by Manic Panic España, the iconic hair coloring company that works with 100% vegan dyes with zero ammonia, such as Siren’s Song and Psychedelic Sunset, two of her favorite colors.

Regarding her live performances with SynlakrosS, as aforementioned they had the pleasure of opening for Canadian metallers The Agonist during their Spanish dates in Sevilla, Madrid and Bilbao in 2016, but they’ve also played in several other locations in Spain like Avilés, Barcelona, Valencia, A Coruña, and so on. However, Patricia wants the music by SynlakrosS to reach new heights, allowing them to play all over Europe as well as in many other parts of the world. In order to provide the audience the best experience possible with the music by SynlakrosS, Patricia said she not only does a series of vocals warm-ups, just like any other vocalist, but she also works on all types of physical warm-ups and stretching, as she’s a very dynamic musician with a flammable stage performance.

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When asked about the metal scene in Spain, Patricia believes that, although Spanish Metal is underrated, the only thing musicians and bands like SynlakrosS can do to change this situation is to work hard, creating high-quality music and touring as much as possible until people see the true value of their music, as well as understand the importance of learning English, as in Spain that’s their pending subject. In addition, she mentioned that the support underground bands have from the media is almost nonexistent, as big magazines and radio stations only talk about international (and sometimes national) big old bands, also saying that unfortunately if you’re a small band and you want promotion, you have to pay for it no matter how amazing and well-done your music is. When specifically asked about the Valencian Metal scene, Patricia said that although they have some amazing bands in the region, the scene is not a popular one. In her opinion, bands and metalheads in Valencia aren’t united and there’s some sort of competition between them. Lastly, when asked where the music style by SynlakrosS is more accepted, if it’s in the north or south of Spain, she said the reception from metal fans has always been great in both regions, mentioning cities like Bilbao and the whole region of Galicia as good examples of places where their experience was very positive in the north, and Seville in the south as having a very warmth and welcome attitude from the fans towards the band.

One topic that’s always discussed in heavy music is the growing presence and importance of women in heavy music, and of course Patricia has been doing her part in opening more space for women in a style usually dominated by men. She thinks that, although most women in metal are vocalists, there are more and more excellent female guitarists, bassists, drummers and other instrumentalists appearing in the scene every single day, all linked to the increasing interest of the society for metal music. However, one of the biggest problems for her is that, no matter how talented a female musician might be, there’s always an unsuitable question or comment from a sexist male fan directed to that female artist, such as “take off your shirt!” or “do you have a boyfriend?”, things that are completely off topic and add nothing to the music being presented. Even when she’s facing that type of situation, she keeps the atmosphere light by saying that when a man screams she’s beautiful, it’s because he hasn’t seen her at 8am with no makeup. That’s a very polite way to say “fuck off” to those inconvenient guys, don’t you think?

Patricia also said that instead of pointless questions like that, she would love to be asked why she became a vegan and why she doesn’t drink or smoke. She said that becoming a vegan was a spiritual change for her, while stopping drinking, smoking and using drugs started when she decided to focus on her voice and on being more professional as a musician. She said there was a case in her family where a person had issues with drugs, and that made her think about it, that it wasn’t what she wanted for her life. Regarding alcohol, she said no one in the band drinks before going out or playing live, being an example to other metalheads that you can still be crazy and have a great time without being drunk or high.

If you’re already a fan of SynlakrosS, what I’m about to say won’t be a surprise to you, but if you’re a newcomer to their world of Alternative Metal I’m sure you’ll be impressed by the fact that Patricia is a professional illustrator and designer, having graduated from EASD Valencia (or Escola d’Art i Superior de Disseny de València) in 2009 in Fashion Design, and doing merch for different metal bands and her own art with manga style with macabre, Gothic and fantastic inspiration. She’s, for instance, the designer responsible for all the graphic art found in SynlakrosS’ 2016 album Death Bullets for a Forajido, including the cover art, inspired by the Wild West concept mixed with the band’s metal essence. You can check a few pieces designed by Patricia on her own DeviantArt page, such as this amazing “Demon Girl”, and who knows, maybe if you have a band she can be the next artist to provide her lines and colors to represent your music.

Last but not least, it doesn’t matter if you understand Spanish or not, there are several interviews on YouTube with Patricia and the other guys from SynlakrosS where they talk about the band’s current status and future plans, their inspirations in music, the metal scene in Valencia and in Spain in general, the evolution of women in metal, among other topics. You can check for example the videos Keep Calm And Listen Synlakross con Entrevista!, 2 Rockeros Entrevista con SynlakrosS, and Tertulia con Synlakross, all showing a very relaxed and uncompromised side of the band, and all a good inspiration for lovers of rebellious and electrifying metal to learn one of the most important languages worldwide. In other words, wouldn’t you love to understand what the charming and skillful Patricia has to say about all kinds of topics?

Patricia Pons’ Official Facebook page
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SynlakrosS’ Official Facebook page
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SynlakrosS’ Official SoundCloud page

“In Spain, if you want promotion, in general, you have to pay, no matter how amazing and well done is your music.” – Patricia Pons