Album Review – Rage Of Light / Imploder (2019)

A contrast made of light and rage in the form of an action-packed album of trance music and Melodic Death Metal.

A contrast made of light and rage. That’s exactly what you’re going to get in Imploder, the debut full-length album by Swiss Electronic Groove Metal unity Rage Of Light, the brainchild of vocalist and keyboardist Jonathan Pellet, known for his past works with Symphonic Power Metal band Trophallaxy/Dysrider. Offering a hybrid of trance and Melodic Death Metal, a unique combination of sounds that can be labeled as “Trance Metal”, Rage Of Light will stimulate all your senses with their brand new opus, showing why the multi-talented Jonathan, together with the gorgeous Melissa Bonny (Evenmore, Warkings, Ad Infinitum) on lead vocals and the talented Noé Schüpbach on guitars and bass, are more than ready to conquer the world of heavy music with their creativity, electricity and, of course, a lot of rage.

Jonathan came up with the idea to create a fusion of trance and metal music in 2007, but due to being busy with other projects it took almost a decade for the idea to fully bear fruit. Finally, in 2015, he recruited Melissa and Noé to complete the band, releasing in 2016 their debut five-track EP Chasing a Reflection, followed by a few very interesting singles in 2017 and 2018 including cover versions for Amon Amarth’s battle hymn “Twilight Of The Thunder God” and Lady Gaga’s hit “Judas”. After receiving very positive feedback from fans and critics from all over the world through the years, it’s time now in 2019 for Rage Of Light to reach new heights with Imploder, featuring a modern artwork by Brazilian artist Gustavo Sazes, cellist Joëlle “Jo” Graz (Trophallaxy/Dysrider) as a very special guest musician and, above all, three superb musicians who perfectly represent the union of endless talent and a deep passion for music.

The very atmospheric and entrancing intro Light captivates our senses from the very first second, dragging us to Rage Of Light’s lair of heavy music in Enraged, where the trio begins distilling their refined techniques and ethereal sounds, with Melissa’s hypnotizing vocals matching flawlessly with the song’s epic ambience and crushing beats, not to mention Noé’s amazing guitar solo as the icing on the cake. Following such powerful start, keep banging your head to Melissa, Jonathan and Noé to the heavy-as-hell Fallen, a beautiful fusion of modern-day Melodic Death Metal with trance music, or in other words, a rebellious hymn by Rage Of Light led by Jonathan’s whimsical keys and synths, all complemented by his own rabid growls. And in their 2018 single I Can, I Will we’re treated to a more frantic and electrified version of their Trance Metal, with both Melissa and Jonathan kicking some serious ass with their powerful roars, giving life to the song’s poetic lyrics (“My eyes drag me down / When I look around and see what I’m not / Is there, anywhere, a stairway to the top? / Watch me, never again / Will I look down and feel this pain / Cause now, step by step I start to climb and leave these cries behind”).

Experimenting even more with electronic and eccentric sounds, the band offers our ears another dancing fusion of 90’s trance with Heavy Metal infused with Symphonic Metal nuances in Away With You, where it’s quite impossible to stand still to its enfolding rhythm, while In The Shadow is another solid composition featuring classic beats and riffs mixed with the band’s trademark modernity (it falls flat after a while, though), with Melissa stealing the spotlight once again with her unique voice. Then the gentle and potent cello by Jo brings a touch of finesse to the beyond fantastic and insurgent Battlefront, with Melissa alternating between her crisp clean vocals and her she-demon roars in what’s probably the most detailed and multi-layered song from the entire album; and get ready for a trance-meets-metal party in the instrumental title-track Imploder, courtesy of Jonathan and Noé, who together generate a dense, mechanized and metallic atmosphere for admirers of the genre. Furthermore, despite the fact the drums in the entire album are programmed, they still sounds very organic, therefore smashing your skull mercilessly.

With lyrics sounding like a blend of cult flicks such as Terminator and Night of the Living Dead (“Our lives, threatened by this viral disease / We thought we could handle this affliction / No cure will stop the infection to spread / Condemned by our evolution”), Mechanicals, also previously released as a single, is a movie score-inspired extravaganza showcasing intricate guitar lines, pounding drums,  tons of insanity and a futuristic vibe in over seven minutes of first-class modern metal music, leaving us completely disoriented before Nothingness closes the regular version of the album, with Jo returning with her somber cello to add her share of melancholy and serenity to Rage Of Light’s vibrant music while Noé brings rage to the overrall result with his riffs, flowing smoothly until its delicate grand finale. And please I beg you to go for the deluxe edition of Imploder, as you’ll be absolutely stunned by the bonus track Twilight Of The Thunder God, their cover version for Amon Amarth’s most powerful tune of all time in my opinion (you can check the original version HERE). I saw somewhere a guy saying this version should be called “Twilight of the Thunder Goddess”, and I agree one hundred percent as Melissa is on her more-than-perfect “beast mode”, resulting in a flawless performance by one of the most versatile singers of the new era of metal music.

If you still can’t imagine how the flammable fusion of such distinct styles like trance and Melodic Death Metal sounds like, you can take a full listen at Imploder on Spotify, but in case you’re already familiar with (and addicted to) Rage Of Light’s breathtaking music, don’t forget to follow Jonathan, Melissa and Noé on Facebook and to purchase your copy of their excellent new album from their own BandCamp page, from the Napalm Records’ webstore (in Europe or in the United States), or from your regular retailers like iTunes and Amazon. In the end, no one knows for sure if Rage Of Light play a heavier-than-usual version of trance music, or a modernized and electronic version of Heavy Metal, and that very interesting contrast is what makes their music so unique and vibrant. That’s the beauty of it, don’t you agree?

Best moments of the album: Fallen, Battlefront, Mechanicals and Twilight Of The Thunder God.

Worst moments of the album: In The Shadow.

Released in 2019 Napalm Records

Track listing
1. Light 1:48
2. Enraged 5:01
3. Fallen 4:32
4. I Can, I Will 4:36
5. Away With You 3:50
6. In The Shadow 6:47
7. Battlefront 4:30
8. Imploder (Instrumental) 5:58
9. Mechanicals 7:17
10. Nothingness 5:40

Digipak Edition/iTunes/Amazon bonus track
11.Twilight Of The Thunder God (Amon Amarth cover) 4:06

Band members
Melissa Bonny – lead vocals
Jonathan Pellet – vocals, keyboards, synth, drums programming
Noé Schüpbach – guitars, bass

Guest musician
Joëlle “Jo” Graz – cello

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Album Review – Dakhma / Hamkar Atonement (2018)

Do you dare to submerge thyself within the daeva’s very depths? Then let this peculiar Swiss duo offer you the perfect soundtrack to that with their brand new opus of Zoroastrian Death Music.

Dakhma (Avestan for “grave”) is a term for a ”Tower of Silence” (which is an English neologism), a circular, raised structure used by Zoroastrians for exposure of the dead, particularly to scavenging birds for the purposes of excarnation (although in the Avesta, the term is pejorative and does not signify a construction of any kind). In heavy music, the term is used to name the cryptic and hellish Blackened Death Metal entity Dakhma, who are releasing their first full-length opus, the enigmatic Hamkar Atonement. Formed in 2014 in Zürich, the largest city in Switzerland, the band comprised of Kerberos on “Howls of Druj and Rites of Purification” (vocals, guitar and bass) and H.A.T.T. on “Thunderstorm of Daeva” (drums) plays what they like to call “Zoroastrian Death Music”, with their new album being a work of towering immensity, of unorthodox ritualism and subverted bestiality, descending and ascending with seven hymns within a staggering 61 minutes in a total sensory overload, an immersion that begets annihilation that begets rebirth.

As Dakhma explain of the title, the Avestan word “Hamkar,” which literally translates to “co-worker” or “helper,” is used in reference to the daeva of Angra Mainyu (Ahriman in middle Persia), himself the omnimalevolent and most destructive spirit. In the collection of texts describing Zoroastrian cosmogony and creation, traditionally called Bundahishn, Angra Mainyu creates a horde of daeva to counter the creation of cosmos by Ahura Mazda (Ohrmazd or Ormuzd in middle Persian), with each daeva mirroring an opposite Amesha Spenta. In mirroring the tasks of the Amesha Spentas as servants of Ohrmazd, daeva are the instrument through which Ahriman creates all the horrors in the world. Following the interpretation laid out in texts such as the “Shayest ne shayest,” where the daeva are seen as being utterly real and not mere philosophical representations, the music contained on Hamkar Atonement describes creation through the ultimate destruction of Ohrmazd’s good deeds, good thoughts, and good work by the daeva. Hamkar Atonement begins with the demise of Ohrmazd and therefore the destruction of all that is holy on the earth, allowing the daeva to roam free and corrupt human existence, described in greater detail throughout the album. Each song serves a specific narrative purpose, be it the dedication to a specific daeva or describing the results of their exploits on earth.

An esoteric intro ignites an 11-minute feast of wicked and tribal sounds titled The Glorious Fall of Ohrmazd (Hail Death, Triumphant), with the vociferations by Kerberos crawling deep inside your mind, mesmerizing your senses and haunting your soul, until all hell breaks loose and sheer darkness is unleashed with H.A.T.T. crushing his drums manically. And their scorching hot riffs, thunderous bass lines and pounding beats keep shaking the foundations of the earth in Akhoman (Spill the Blood), another full-bodied display of their Zoroastrian Death Music where Kerberos delivers some deep, obscure roars, effectively blending old school Black Metal with the visceral sound of Death Metal, just as devastating as its predecessor. Following such distinguished tune we have Varun (Of Unnatural Lust), where tribal, ancient drums are gradually joined by eerie noises and tones, until the music explodes into rumbling and vile Black Metal for our total delight. Furthermore, the sound of the bass by Kerberos is amazingly thunderous and vibrant, adding an extra layer of dementia to the overall result.

In Nanghait (Born of Fire) the duo sounds even more tribal than before, generating a reverberating exhibit of Black and Death Metal led by the demonic roars by Kerberos while H.A.T.T. is simply bestial on drums, with their wicked extravaganza of sounds going on and on, leaving you disoriented and eager for more of their Blackened Death Metal, ending in an absolutely raw and cryptic manner. Then smooth and serene tones permeate the air in the atmospheric instrumental bridge Spendarmad (Holy Devotion), elevating your soul to new heights and preparing you for the Stygian and visceral Gannag Menog (Foul Death, Triumphant), where the duo takes their Black Metal to a more menacing level, with the guttural growls by Kerberos growing in intensity and getting as deep as hell. In addition, the piercing riffs and bass punches by Kerberos bring tons of electricity to the musicality, with the song’s ending being as crazy and imposing as possible,  building an instant connection with the closing hymn titled …Of Great Prophets, with Kerberos extracting a strident sound from his guitar; and just like what happened throughout the entire album, the music remains mysterious and austere from start to finish, taking you on a one-way trip to the band’s dissident world of Extreme Metal, also showcasing somber breaks intertwined with pure devastation that turn the experience of listening to this breathtaking song truly unique.

In summary, it’s not every day that we face something so peculiar and gripping as the music by Dakhma, with Hamkar Atonement representing to perfection the true meaning of Zoroastrian Death Music. In order to show your utmost support to this infernal Swiss duo,  go check what they’re up to on Facebook, and grab your copy of the whimsical Hamkar Atonement from the Iron Bonehead Productions’ BandCamp or webstore, as well as from the Hells Headbangers’ webstore, from Record Shop X or from the Shadow Kingdom Records’ webstore. In other words, do you dare to submerge thyself within the daeva’s very depths? Then let Dakhma offer you the perfect soundtrack to that with Hamkar Atonement.

Best moments of the album: Akhoman (Spill the Blood) and Nanghait (Born of Fire).

Worst moments of the album: None.

Released in 2018 Iron Bonehead

Track listing
1. The Glorious Fall of Ohrmazd (Hail Death, Triumphant) 11:08
2. Akhoman (Spill the Blood) 11:55
3. Varun (Of Unnatural Lust) 5:24
4. Nanghait (Born of Fire) 10:58
5. Spendarmad (Holy Devotion) 4:13
6. Gannag Menog (Foul Death, Triumphant) 10:33
7. …Of Great Prophets 16:01

Band members
Kerberos – vocals, guitars, bass
H.A.T.T. – drums

Guest musician
Menetekel – High Priest incantation on “Gannag Menog (Foul Death Triumphant)”

Album Review – Borgne / [∞] (2018)

A cold, mechanical and inhumane hybrid of Industrial and Black Metal, as martial as it is hypnotic, bred by a veteran Swiss entity celebrating twenty years of chaos in the underground scene.

The path of Swiss Industrial Metal entity Borgne has never been straight. Founded by veteran multi-instrumentalist Bornyhake in 1998 in Lausanne, a city on Lake Geneva, in the French-speaking region of Vaud, Switzerland, when Borgne (which is French for “one-eyed”) debuted with a demo, the project went off the radar for almost a decade, coming back at full throttle in 2007 with two full-length albums released almost simultaneously. Another ten years and four full-length albums after, this idiosyncratic Swiss band, which recently became a two-piece army with longtime live keyboardist Lady Kaos becoming a permanent member, returns with their eight and most enigmatic opus to date, titled [∞], a cold, mechanical and inhumane hybrid of Industrial and Black Metal, as martial as it is hypnotic, beautifully freezing your every feeling.

Darker, more industrial and much more personal, [∞] will offer your metallic ears blistering Black Metal done in a synthetic way with a dense, suffocating sound and some dark ambient passages, going towards everything Borgne did in the past. “8 / ∞” is not only a number but a symbol, symbol of infinity, infinity you close inside brackets. 8 is not only a number but a word, word of hatred to break all the brackets. After twenty years of chaos, [∞] is the 8th Borgne full-length album. Featuring 8 tracks of non-traditional Black Metal, written in French and English. Chaos, darkness, feelings, loneliness, anger, insanity, suffering and death… 8 words to describe it. The most electric and complicated, fragile and deep, industrial and cold, strange and tormented album Borgne ever did,” said Bornyhake about his newborn spawn.

And the duo builds an enfolding and creepy atmosphere with their keys, beats and background effects in the opening track La Porte Du Chaos (or “the door of chaos” in English), with the music exploding into a modern and imposing hybrid of Industrial and Black Metal, an insane and mesmerizing amalgamation of sounds where Bornyhake desperately screams and gnarls from the bottom of his Stygian heart. Then there’s not a single empty space in the whimsical and modernized Peu Importe Si Elle M’Aura Aveuglé (which means something like “it doesn’t matter if she has blinded me”), with both Bornyhake and Lady Kaos kicking ass with their blast beats and ominous keys, respectively, with an epic and darkened aura permeating the air. Moreover, Bornyhake’s roars in French will certainly pierce your mind throughout this multi-layered Industrial Black Metal extravaganza. In the stunning Un Temps Périt (or “a time perishes”), a gentle intro led by Lady Kaos’ hypnotizing keys evolves into a mournful musicality, presenting hints of Blackened Doom and Doom Metal and, therefore, feeling ethereal and somber at the same time from start to finish. And in Comme Si Ça S’Arrêtera… / Stone (or “as if it will stop… / stone”), get ready for over 10 minutes of absolute madness, electricity and darkness, with Bornyhake generating a path of devastation with his modernized blast beats, while the second half of the song is an intricate musical journey of pulverizing drums, obscure keyboards and endless dementia.

Bornyhake and Lady Kaos don’t stop captivating our senses with their unique sonority in I Tear Apart My Blackened Wings pt.1, another slow and melancholic creation by the duo where they deliver obscurity and hope all at once, or in other words, simply close your eyes and get lost in this thrilling hymn of modern industrial music. I Tear Apart My Blackened Wings pt.2 / Sun, the second part of this grandiose aria by Borgne, will blow your senses with its demonic drumming and scorching riffage in a very detailed and complete blend of the violence of Black Metal with the innovative approach of Industrial Metal, changing its shape and form quite a few times before its stylish acoustic ending, followed by Mis À Mort, Mis À Nu (which means “put to death, exposed”), a blast of sonic experimentations and piercing tones and noises, with Lady Kaos once again bringing tons of epicness to the overall musicality with her distinguished keys while Bornyhake keeps haunting our souls with his gnarls and slashing riffs. If anyone asks you what Borgne is all about, you can use this song to show what the duo is capable of, flawlessly depicting all the band’s creativity, stamina and rage. Lastly, be prepared to be embraced by a whirlwind of soothing sounds in Chuter, an “extended” outro to a beautiful album of contemporary extreme music where both Bornyhake and Lady Kaos showcase their refined techniques by creating a captivating ambience and, as a consequence, dominating our minds.

You can take a detailed listen at the flammable [∞] on YouTube, and purchase the album directly from Borgne’s BandCamp or Big Cartel (in CD or tape format), as well as from the Avantgarde Music’s BandCamp or Big Cartel. Also, don’t forget to check their Facebook page for some nice-to-know details about the band including their tour dates, something that does happen a lot as Bornyhake and Lady Kaos have the help of bassist Tumulash and guitarist Onbra Oscoura during their live performances. To sum up, [∞] is not just the brand new album by Borgne, but a solid statement that modern and mechanized extreme music is stronger than ever (especially in places like Switzerland, where the scene has always been extremely fertile), and that Borgne is one of those bands any type of metalhead should try at least once in their lifetime to change their perception of dark and underground music.

Best moments of the album: La Porte Du Chaos, Un Temps Périt and Mis À Mort, Mis À Nu.

Worst moments of the album: None.

Released in 2018 Avantgarde Music

Track listing
1. La Porte Du Chaos 7:17
2. Peu Importe Si Elle M’Aura Aveuglé 7:12
3. Un Temps Périt 6:03
4. Comme Si Ça S’Arrêtera… / Stone 10:20
5. I Tear Apart My Blackened Wings pt.1 9:02
6. I Tear Apart My Blackened Wings pt.2 / Sun 8:04
7. Mis À Mort, Mis À Nu 6:59
8. Chuter 7:05

Band members
Bornyhake – vocals, guitars, drums
Lady Kaos – keyboards

Album Review – Geisterwald / Geisterwald EP (2018)

From the haunted woods of the Swiss city of Geneva, here comes an infernal masked duo armed with their mechanized and uproarious Industrial Metal.

Formed in 2017 in Geneva, a city in Switzerland that lies at the southern tip of Lac Léman, Industrial Metal masked duo Geisterwald is unleashing upon humanity this year their self-titled debut EP, channeling all their passion for heavy music and their musical backgrounds into their newborn spawn. Comprised of Harald Wolken on vocals, guitars and synths and Gaëlle Blumer on drums, and with all of the songs from the album being entirely sung in their mother tongue German, Geisterwald are ready to make an uproarious impact on the underground Industrial Metal scene, with the music found in their debut EP being a fantastic taste of what those two Swiss metallers are capable of when armed with their gas masks and their metallic instruments.

The EP kicks off with an ominous intro sounding as if a beast is rising from a dark and tenebrous pit in the mechanized Alte Körper (which should translate as “old body” if I’m not mistaken), where Gaëlle crushes her drums while Harald alternates between deep, primeval growls and eerie clean vocals, resulting in a heavier-than-hell display of Industrial Metal infused with Neue Deutsche Härte. Just as insane and piercing, Kreuz (or “cross”) presents the duo building an industrialized atmosphere with their menacing sounds, with Gaëlle delivering both traditional metal beats and more factory-like sounds while Harald brings a touch of delicacy and lunacy to the overall music with his synths.

Then get ready for a dark and demented Neue Deutsche Härte extravaganza titled Wolf, sounding and feeling intense, macabre and demented all at once, with its somber guitars and the howl of a wolf being the details that make it so compelling and vibrant. Furthermore, Harald’s vocals feel truly demonic amidst the thunderous sound of the drums by Gaëlle, showcasing the amazing synchronicity between them. And the last blast of modern metal music by this infernal duo of masked marauders comes in the form of old school Industrial Metal the likes of Ministry and Rammstein, titled Schlag Stärker (which means something like “hit harder”). Simply bang your head nonstop to such heavy tune, where we’re able to enjoy a merciless Gaëlle on drums while Harald does what he knows best, which is growling deeply and in the most enraged way possible.

Whatever comes next for this talented duo is probably going to be even more insane and destructive than their debut EP, and while we wait for more top-tier Industrial Metal made in Switzerland let’s all go check what Geisterwald (which by the way is a wordplay in German for “ghost forest” or “haunted woods”) are up to on Facebook, including the dates for their wicked live performances, listen to their music on SoundCloud, and purchase a copy of their debut EP from BandCamp, from Big Cartel or from Amazon. As a matter of fact, I guess you wouldn’t mind getting lost in the haunted woods of Geneva and face the industrialized roars by Geisterwald, would you?

Best moments of the album: Schlag Stärker.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Intro 1:01
2. Alte Körper 3:20
3. Kreuz 3:33
4. Wolf 3:21
5. Schlag Stärker 4:20

Band members
Harald Wolken – vocals, synths
Gaëlle Blumer – drums

Metal Chick of the Month – Melissa Bonny

Feel the fire dancing with your soul, now you’re alive…

I honestly find impressive the huge amount of excellent metal bands hailing from the glamorous Switzerland, a country of only around 8 million inhabitants, but that has already provided the world remarkable acts such as Celtic Frost, Eluveitie, Gotthard, Hellhammer, Krokus, Sybreed and my favorite Swiss band of all time Triptykon, as well as tons of amazing underground groups already reviewed at The Headbanging Moose like Voice of Ruin, Henriette B, Way Of Changes and Black Diamonds. We already had a while ago the absolutely stunning Vanja Šlajh as our Metal Chick of the Month, and now it’s time to get back to the “Land of Milk and Honey” to pay a tribute to another fantastic Swiss metaller, a rising star named Melissa Bonny, lead singer of the up-and-coming Swiss bands Rage Of Light and Evenmore.

Born in Montreux, a traditional resort town on Lake Geneva in Switzerland, on January 23, 1993, Melissa started her life in music when she was only 6 years old by singing in a school choir for several years.  When she finished school, she spent most of her free time making music by herself or with some friends and took part in several events in her area, singing on stage, alone or accompanied. She also mentioned that one of her favorite pastimes was to make parodies of famous songs, and that the unexpected success of those parodies convinced her that she should move forward with her music career. That was when she started looking for a band, singing during a short time with a cover band from Valais, a canton in southern Switzerland, in 2012 before being recruited that same year by Symphonic Folk Metal band Evenmore as their lead vocalist, which gave her the opportunity to release her creativity while writing music and the chance to broaden her horizons and perform on great stages before well-known bands such as Lacuna Coil, Eluveitie and Xandria.

Owner of a potent and versatile voice, which allows her to sing as a mezzo-soprano or to do guttural growls the likes of Angela Gossow and Alissa White-Gluz, Melissa is highly influenced by several amazing metal acts, in special female-fronted groups like Delain, Eluveitie, Arch Enemy, Nightwish, Within Temptation, The Agonist, Amaranthe and Epica, as well as bands with a very epic and melodic sonority such as Kamelot and Sonata Arctica. For instance, among her favorite albums you’ll find several classic releases that perfectly represent her passion for dark and imposing metal music, including the albums The Black Halo by Kamelot, Origins and Helvetios by Eluveitie, and Shadows Of The Dying Sun by Insomnium. As you can see, Melissa nurtures a profound admiration for more contemporary Melodic Metal, where the music is joined by an exciting theatrical piece that became a trademark of almost all bands from her playlist.

Her list of favorite songs obviously includes many compositions found in her favorite albums, and you’ll notice that all of those songs have an epic vein, a potent punch and a detailed focus on the overall harmony. You can bang your head together with our dark-haired muse and feel the energy flowing from modern classics such as Kamelot’s March of Mephisto (featuring the one and only Shagrath, from Dimmu Borgir, as a guest vocalist) and The Haunting (featuring the stunning Simone Simmons, from Epica); Epica’s Storm the Sorrow; Arch Enemy’s You Will Know My Name; Sonata Arctica’s Only the Broken Hearts; Delain’s Get the Devil Out of Me; After Forever’s Energize Me; and my favorite from this list, The Agonist’s kick-ass hit Thank you Pain. We have to admit this is a damn good playlist of modern-day metal music, don’t you agree?

Although Melissa is already working on her own solo material, which had been left aside for several months, let’s focus on her two bands, Evenmore and Rage of Light, as those are already a reality in the world of heavy music and also where Melissa has been shining bright with her fantastic vocal range and mesmerizing looks. Let’s begin with Evenmore, a Symphonic Folk Metal band from Romont, a municipality and capital of the district of Glâne in the canton of Fribourg in Switzerland, formed in 2011 which, since its creation, has for ambition to offer its audience intense moments while listening to its musical creations. Apart from Melissa, the band is composed of guitarist Landry Pernet, bassist Frederic Jorand, drummer Florian Bard and pipes/whistles player Matthieu Bopp.

It was in June 2014 that Melissa and her bandmates from Evenmore relased their first EP, titled The Beginning, comprised of four distinct songs, including the excellent The Black Knight. Welcoming new instruments and aiming at creating a beautiful balance between metal and traditional music, Evenmore worked hard on developing their Celtic vein, culminating with the release of their first full-length album in 2016, named Last Ride, which received many positive feedback thanks to the versatility and the quality of its compositions, transporting the audience into a story that evolves song after song. From that album, you can enjoy Melissa’s unique vocals in the songs The Ride Begins, Eleana and Breaking The Silence. Furthermore, if you prefer watching the band live to actually confirm if they have what it takes to succeed in the world of metal, I recommend you go to YouTube to check some good quality footage from their live concerts, such as the songs Winter is Over at the Grande Salle de Cojonnex in Montreux in 2014, The Ride Begins at the famous Z7 in Pratteln in 2015, and also Last Breath at the Rocking Chair in Vevey in 2014. Hence, after listening to such powerful tunes, you’ll see why Evenmore already had the pleasure of sharing the stage with renowned acts like Lacuna Coil, Eluveitie and Xandria in their short but solid career.

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In regards to Swiss Trance Metal act Rage of Light, this hybrid project was actually conceived several years before our ebony growler joined the band in 2015. Rage Of Light was born in 2007 from the desire of its creator, multi-instrumentalist Jonathan Pellet, to combine two music styles that he loved for a long time, those being metal and trance, inspired by the Swiss trance scene of the early 2000’s and by the sound crafted by Melodic Death Metal bands. However, due to his duties with the bands Dysrider and Nodafreth, Jonathan had to put Rage of Light aside for a few years, until reigniting it again between 2011 and 2015 by writing new material and recruiting Melissa for the vocal duties and his bandmate from Nodafreth, Noé Schüpbach, for the guitars. The trio released in 2016 their debut EP, titled Chasing a Reflection (which can be enjoyed in its entirety HERE), comprised of four original songs, Beautiful Slave, Deception, Sick and Requiem, and a cover version for Lollipop (Candyman), a hit single from the 90’s originally recorded by Danish Dance-Pop group Aqua. You can compare Rage of Light’s version with the original one by clicking HERE, but I guess I don’t even need to point out that the new version by the Swiss power trio is a billion times better.

And it seems that Rage of Light truly enjoyed giving a new arrangement and taste to a classic hit, as earlier this year they released a stunning version for Amon Amarth’s unparalleled hymn Twilight of the Thunder God, which you can take a shot at the end of this tribute to Melissa. In my humble opinion, this is the perfect example of a cover song that’s already fantastic musically speaking, but that its official video makes it even more majestic thanks to the alluring solitude and passion exhaled by Melissa up in the Swiss Alps. If I were you, I would definitely keep an eye on Rage of Light’s BandCamp page, as I’m pretty sure this very entertaining project will soon publish more of their excellent material and maybe even another vibrant cover song for an old classic.

As aforementioned, Melissa is also working on a solo project which hasn’t taken its final shape and form yet, but that doesn’t mean you cannot have a good time watching her videos from her own YouTube channel, where she covers some of her favorite bands and artists, such as these versions for Kamelot’s March of Mephisto, Hozier’s Take Me To Church and Epica’s The Second Stone. If any of these cover songs are an indication of what’s her solo project is about to be, I guess we can be more than excited for her original material then, don’t you agree?

Melissa is obviously a very normal woman with more-than-usual habits, hobbies, likes and dislikes, just like any of us. In one of her interviews, she stated that among her favorite activities besides making music and her bands we’ll find travelling, hanging out with her friends, cooking, and watching several TV shows such as Vikings, The 100 and Game of Thrones. Well, let’s say those TV shows are indeed a great source of inspiration for Melissa when writing her music and obviously when performing live, as you can see in the official videos as well as all the unofficial footage of Evenmore playing live. Who knows, maybe one day the guys from Vikings or even Game of Thrones will get to watch her amazing performances with Evenmore and Rage of Light, and we can then enjoy our Swiss Valkyrie kicking ass on one of those shows with her stunning looks and magnificent voice.

Melissa Bonny’s Official Facebook page
Melissa Bonny’s Official Twitter
Melissa Bonny’s Official Instagram
Melissa Bonny’s Official YouTube channel
Evenmore’s Official Facebook page
Evenmore’s Official Twitter
Evenmore’s Official YouTube channel
Rage of Light’s Official Facebook page
Rage of Light’s Official BandCamp
Rage of Light’s Official YouTube channel

“Boredom follows me but I’m too fast!” – Melissa Bonny

Album Review – Black Diamonds / Once Upon A Time (2017)

Inspired by the golden years of Hard Rock and Hair Metal, these Swiss rockers are more than ready to shake the world with their brand new upbeat, electrified album.

Proudly waving the flag of 80’s Hard Rock since their inception in 2004, Swiss rockers Black Diamonds are more than ready to shake the world with an electrifying Rock N’ Roll extravaganza titled Once Upon A Time, their third full-length album and in my humble opinion their strongest and most cohesive release to date. If major bands such as Gotthard and Krokus helped put Switzerland on the map of Hard Rock with their flammable music, it’s time for this farily new talented quartet formed by Michael Kehl (vocals, guitar), Andreas Rohner (lead guitar), Andi Fässler (bass) and Manuel Peng (drums) to take the lead and keep the rock n’ roll party going on in the Land of Milk and Honey.

Based in the Rhine Valley in eastern Switzerland, Black Diamonds are not only musically inspired by the golden years of Hard Rock and Hair Metal, but their looks and attitude are also deeply rooted in that period, which translates into pure energy when their music is blasted through the speakers. After releasing their debut album First Strike in 2008, followed by Perfect Sin in 2013 and an extended tour through their home country and the adjacent countries named Perfect Swiss Tour that same year, the band aims at reaching new horizons with the excellence found in Once Upon A Time. For obvious reasons, don’t expect to find anything truly innovative in the whole album, but that doesn’t mean you’re not going to have tons of fun listening to its twelve catchy, melodic and upbeat songs.

The symphonic intro Tales Untold kicks off the album before Michael Kehl and Andreas Rohner begin firing their heavy riffs in The Ghost and the Shadow, a rockin’ song that can be summarized as a fusion of Manowar and Motley Crüe (or maybe “Hard Rockin’ Power Metal”), being very melodic and impactful with highlights to the great vocal lines by Michael. Love Stick Love brings more Hard Rock from the 80’s with a contemporary twist and the always beautiful European harmony, making me imagine how successful this song would be in the 80’s. Simply follow the beats by drummer Manuel Peng and enjoy the ride, with its catchy chorus, awesome backing vocals and a classy guitar solo embellishing the overall result even more. And presenting a Van Halen-inspired vibe (in special its main guitar riff), Romeo & Juliet is a song about the most famous romantic duo in history, with a solid background built by Manuel’s drumming and the bass lines by Andi Fässler. The narration halfway through it is a bit weird though, but nothing that harms the overall quality of the song.

Although Pieces of a Broken Dream feels like a ballad in the beginning, it quickly morphs into a stylish Rock N’ Roll tune perfect for any radio station mainly thanks to the rhythmic beats by Manuel, while Andreas continues to set fire to the musicality with his solos; whereas Love, Lies, Lonelines, a true ballad from start to finish, is a soulful and melancholic composition with a strong performance by Michael on vocals, with a gentle ambience and more of the band’s tuneful guitar solos and bass lines complementing the music. And get ready for a kick-ass Rock N’ Roll party by Black Diamonds titled Thrillride, showcasing guitars à la Scorpions and a classy, dancing rhythm, with Michael delivering raspier vocals and, consequently, sounding dirtier just like the music needs. Moreover, Manuel couldn’t sound more old school on drums than what he offers in this awesome tune, one of the best of the album in my opinion. When the night comes, it’s time for the Swiss vampires of Hard Rock to attack with their high-end metallic sounds in Vampires of the Night, a great song for their live performances bringing elements from the 80’s and 90’s with razor-edged guitars and a badass attitude.

These guys don’t seem to get tired of filling the air with upbeat rock music based on what they offer the listener in Not Going Home, a pub hymn with the electrified guitar lines by Michael and Andreas adding a high dosage of groove to the band’s already exciting Rock N’ Roll; followed by Hard to Let Go, another Scorpions-inspired classic tune that sounds heavy and very harmonious just the way we love, also presenting a perfect synchronicity among all instruments with highlights to the piercing metallic bass lines by Andi. Years, the second to last rockin’ missile in Once upon A Time, keeps up with the rest of the album in terms of quality and energy, being one more song that could be played on any rock n’ roll radio show, with an inspiring performance by Michael on vocals supported by the precise drumming by Manuel. And closing the album we have This Is a Love Story, presenting an interesting balance between more introspective moments and faster passages, despite being slightly repetitive and below the album’s amazing average.

In case you want to know more about Black Diamonds and their top-notch rock music, go check their Facebook page for news and tour dates, and go listen to their music on YouTube and SoundCloud. Once Upon A Time is available at several locations, such as the band’s official webstore, AOR Heaven, Nuclear Blast, Target, Amazon, NEH Records, and many more, most of them offering two awesome bonus tracks with the album. If you’re ready to dance, drink some beer and have fun to the sound of high-quality old school, uncompromised Rock N’ Roll, then this album is definitely what you’ve been searching for. Just don’t forget to put on your tight leather pants before heading to the party.

Best moments of the album: Love Stick Love, Thrillride and Hard to Let Go.

Worst moments of the album: This Is a Love Story.

Released in 2017 AOR Heaven

Track listing
1. Tales Untold 1:08
2. The Ghost and the Shadow 4:13
3. Love Stick Love 5:03
4. Romeo & Juliet 4:20
5. Pieces of a Broken Dream 3:51
6. Love, Lies, Loneliness 5:37
7. Thrillride 4:52
8. Vampires of the Night 4:46
9. Not Going Home 4:42
10. Hard to Let Go 4:38
11. Years 5:21
12. This Is a Love Story 6:40

Bonus tracks
13. Rock’n’roll Music 4:02
14. Vampires of the Night (Piano Version) 3:50

Band members
Michael Kehl – vocals, guitar
Andreas Rohner – lead guitar
Andi Fässler – bass
Manuel Peng – drums

Metal Chick of the Month – Nicole Ansperger

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One last silver kiss before the last string decays…

We’ve already had some incredible vocalists, guitarists, bassists, keyboardists, drummers and even a saxophonist here at The Headbanging Moose among our metal chicks to properly celebrate the power and importance of women in heavy music, but never a musician like the one selected to conclude the year of 2016. Can you think of anything more unconventional (and charming) than a stunning female fiddler playing kick-ass Heavy Metal? That’s exactly the case with German bombshell Nicole Ansperger, a high-skilled mistress of Celtic Folk fiddling known for her contributions to different groups and projects such as Swiss Folk Metal band Eluveitie, German Folk Rock group Paddy Goes To Holyhead, German Folk Punk band Across the Border and German Neo-Classical Metal orchestra Haggard.

Born in 1981 in the beautiful city of Stuttgart, Germany, our talented fiddler said her strong passion for playing music came to light after listening to the music by Italian composer and virtuoso violinist Antonio Vivaldi, famous for his highly-acclaimed series of violin concertos known as The Four Seasons. At the age of 6, she became a student of violinist George Moradian, who knew exactly how to help her develop her style and utilize all her natural potential, always by practicing famous pieces by masters such as Vivaldi and Bach and adding her own style to those. Then, at the age of nineteen, instead of becoming part of an orchestra she ended up joining her first Folk Rock band, learning then how to do improvisations, her true passion in music. Nicole never really thought about following a career playing the violin, it was just a hobby for her at first, but since 2005 she has been involved in so many bands, projects and concerts that she was able to turn music into her main profession.

Due to a guest visit with the famous band The Hooters, she was discovered by German Folk Rock band Paddy Goes To Holyhead in 2005, later joining Folk Punk band Across the Border in 2008 and recording two albums with them, named Loyalty (2009) and Folkpunk Air-Raid (2011). In addition to that, she played several concerts with German Symphonic Metal band Haggard in 2013, such as the one and only Wacken Open Air. You can have a good time listening to her solid performances with those bands on many YouTube videos, such as Across The Border’s Loyalty, Fucked Up World and Übers Meer / Rio Reiser, as well as Paddy Goes To Holyhead’s Far Away and Great Song of Whiskey. Apart from those bands, she also played violin in the 2006 album Fairy and the Dragon (a project of Jo Naumann from Paddy Goes To Holyhead), she was a guest violinist in the 2014 album Wegweiser, by Swiss Melodic Death/Folk Metal band Abinchova as you can witness in the excellent tune Flaschengeistand she also played violin on Winter’s Judgement, by Italian band Misteyes, from their 2016 album Creeping Time.

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However, it was in 2013 when she became a member of Eluveitie that she finally conquered the world of heavy music, replacing Meri Tadić on the violin and cello on December 11 of that year, having recorded with those Swiss metallers the singles King (her solo on this tune is simply superb) and The Call of the Mountains, and the full-length album Origins, all in 2014. And in case you want to see one of her violin solos with Eluveitie, I suggest you take a listen at this soulful one announcing her first full gig with Eluveitie. When asked about how she was invited to join Eluveitie, Nicole said she was at a concert and met a guy who knew the band, who then asked her if she would be interested in playing with them. Obviously, her answer was positive, and the guy got her in contact with Swiss multi-instrumentalist Chrigel Glanzmann, the mastermind behind Eluveitie, to whom she provided some of her demos. I guess I don’t need to say how good those demos were and what resulted out of that, right? Sadly, due to her family situation, our talented fiddler had to leave Eluveitie on August 3, 2015, as it became impossible for her to be on the road with the band constantly. The departure was very harmonious, though. “Unfortunately, it can be extremely difficult to manage personal obligations and take care of a family alongside a life of constant touring, and Nicole’s priorities are with her family – where they should be. We are parting amicably and would like to thank Nicole for the good times and her musical contribution. It’s been an honour to share stage and studio with such a talented musician!”, commented Eluveitie, while Nicole complemented saying that “this certainly doesn‘t mean an end to my musical career. Music will always be a very important part of my life and who knows – maybe we‘ll see each other again one day.” And guess what? It didn’t take too long for Nicole and Eluveitie to meet again. For our total delight, she rejoined the band in the middle of 2016, already playing several summer festivals with the band, including the always fantastic Wacken Open Air.

When asked about her biggest challenge from all bands she has already played in her career, she mentioned the time she played with Haggard, mainly the first few gigs like the very first one in Mexico, when she had only one week to practice the entire set and hadn’t met anyone from the band before. And although she has played most of her career in Germany, she said she still wants to visit lots of different countries, naming Australia as one of her desired destinations. Finally, before you complain that I haven’t mentioned her biggest idols in heavy music, here they are to conclude this tribute to the talented Nicole! When she was a teenager, she mentioned she used to listen a lot to old school bands such as Iron Maiden and Black Sabbath, switching to more contemporary and intricate groups like Opeth and Dream Theater in recent years. Well, no matter what, we have to admit our gracious Nicole has indeed an amazing taste for music.

Equipment
Diamo Carbon Violin
Viper 7 String Wood Violin
Acoustic Violin with Magnetic Pickup
Accoustic Cello Rouen 2008
Audioprotect/Vision Inear

Nicole Ansperger’s Official Facebook page

Album Review – Henriette B / Tales Of Reality EP (2016)

This flourishing band from Switzerland is back with more of their top-of-the-line Metalcore to tell you some of their harshest tales of reality.

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FolderIn case you’ve been following The Headbanging Moose for a considerable period of time, you might remember our review for the 2014 EP Red Dawn Of Humanity, by Swiss Metalcore/Hardcore act Henriette B (and if you’re new to the band you’ll find out why they have such a distinct band name by reading that review HERE). Now, almost two years after Red Dawn Of Humanity became a reality in the world of Metalcore, this five-piece band from Tavannes, Switzerland returns with yet another solid and impactful EP, this time entitled Tales Of Reality.

After playing many shows across Switzerland in 2015 thanks to the very positive reaction of Metalcore fans to Red Dawn Of Humanity, with Henriette B sharing the stage with bands such as Texas In July, Walking With Strangers and Benighted, it’s noticeable how the quality of the music delivered by the band improved in Tales Of Reality. Albeit always keeping loyal to their foundations and style, there are many new elements and nuances added to the new EP that end up differentiating it from its predecessor, and that in my opinion will definitely open even more doors for Henriette B to cross the boundaries of their homeland and go further in their promising career.

Although the opening track Utopia has a very similar sonority to the music found in their 2014 EP, it’s a lot more polished and professional, showcasing the evolution in the music by Henriette B. In addition, while Ian Girod is back with his bestial growls, newcomer Fabio Duro proves through his refined technique why he was selected by the band to be responsible for their beats, adding an extra layer of intricacy to their music. And in Face Or Flee, Ian and his desperate vocals follow the lead of guitarists Vincent Simonin and Thierry Grundbacher, who bring the musicality closer to Death Metal, but who also at the same time present hints of Alternative Metal through their riffs and solos.

HB-HIRES_3As mentioned in the review for their previous EP, there’s always a lot of melody amidst all the brutality blasted by the band, which is also the case in The Other Side, a typical song to break your fuckin’ neck by headbanging like a maniac anytime you listen to it, not to mention its deranged ending. And following that bestial tune we have Visions, where Fabio continues to pound his drums with a lot of precision and feeling. It’s high-quality Metalcore with a strong atmosphere supporting the band’s “noise”, once again exhibiting a good fusion of heavy riffs and harmonious solos and passages.

Now it’s time for bassist Fabien Voumard to fire his thunderous and groovy bass lines in the awesome The Mistake We Made, providing the other band members everything they need to sound even more violent. Besides, this song makes it clear that it’s when Henriette B accelerate their music that they truly thrive. And The Hidden Kingdom closes the EP by offering us more of the excellent riffs by Vincent and Thierry in a violent Melodic Death Metal vibe, not to mention the great performances by Ian and Fabio with their sonic weapons.

Henriette B want to keep telling you their own tales of reality and showing you their vision of the world, and in order to do that they need you to visit their Facebook page, YouTube channel and SoundCloud. And, obivously, if you’re a fan of European Metalcore you should also go purchase their brand new EP at their BandCamp page, at CD Baby, on Amazon and other locations. Thus, after two strong EP’s, I guess the next step for those Swiss metallers is to continue their hot streak by delivering us their first full-length album, how about that? If they keep their music as potent as it is now when that time comes, I’m pretty sure they will engrave their name deeply in the world of Metalcore and heavy music in general.

Best moments of the album: The Other Side and The Mistake We Made.

Worst moments of the album: None.

Released in 2016 Independent

Track listing
1. Utopia 3:25
2. Face Or Flee 3:10
3. The Other Side 3:56
4. Visions 3:02
5. The Mistake We Made 3:55
6. The Hidden Kingdom 3:02

Band members
Ian Girod – vocals
Vincent Simonin – guitar
Thierry Grundbacher – guitar
Fabien Voumard – bass
Fabio Duro – drums

Album Review – Mastication Of Brutality Uncontrolled / Preemptive Space Warfare (2015)

Do you have what it takes to survive a flesh ripping Brutal Death Metal Slam Alien Apocalypse attack?

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MOBU -Preemptive Space WarfareAre you ready for a flesh ripping Brutal Death Metal Slam Alien Apocalypse attack? Well, at least that’s how German/Swiss Technical Slamming Death Metal band Mastication Of Brutality Uncontrolled, also known as M.O.B.U., define the sonic dementia found in their debut full-length album, entitled Preemptive Space Warfare, and they’re not kidding when they say their music will rip your flesh off so bestial it is.

Formed in 2007 as a side project by members of other brutal slamming bands from Germany such as Incesticide and Provocation, this Death Metal steamroller became a full-bodied band by the end of 2009, reaching their apex of devastation now in 2015 with Preemptive Space Warfare, curiously and properly released this Halloween to haunt the souls of those who don’t have the required dexterity or competence to see beauty behind all the cruelty disgorged through the band’s merciless instruments.

Preemptive Space Warfare is probably one of the coolest intros I’ve ever heard in my life, where M.O.B.U. courteously give us around two minutes for stretching our muscles before their psychotic slamming extravaganza takes off, starting with the visceral Mother Earth Abortion, an extremely technical and noisy tune. I truly love how poetic the lyrics in Brutal Death Metal are and how easy it is to follow them, especially when they sound just like “beeh beeh beeh beeh beeeeeh” almost all the time. Of course, that wouldn’t be possible without the deep growls by lead singer Manuel, one of the main catalysts of their musical holocaust.

MOBU Bandpic_300dpiIn the also calamitous Brutal Laser Devastation, drummer Basti M. sounds like a machine gun while Manuel keeps grunting like a wild boar being dissected alive, not to mention how cool the riffs by guitarist Flo are. Then we have Milkstreet Mass Collision, a brutal Death Metal onslaught with some amazing riffs that remind me of old school Cannibal Corpse, and Life-Form Adoption, which confirms this is kind of a “concept” album as all songs are about alien invasions and the outer space (although I don’t think you will care about that as soon as you start being smashed inside the sick circle-pits generated by this song). And Human Resources keeps slamming nonstop, with highlights to its killer drums guiding the seismic activity caused by the band.

Manuel takes a quick break to recharge his snarling while the rest of the band displays their skills in the instrumental Prophecy Of The Apocalypse (Interlude), and as soon as the demolishing chant Orbital Corpses begins, showcasing great synchronicity between its heavy riffs and brutal beats, you can have a pretty good idea of all the bruises you might get all over your body during one of their concerts if this song is played live. Infrastructure Destruction, a high-octane tribute to Death Metal, offers the listener the band’s unique vomiting growls and harmful beats, turning this sick chant into a nightmare for the faint-hearted, but it’s in New Space Order that M.O.B.U. go above and beyond. How can a brutal slamming band like this have a 7-minute song in their repertoire? The only thing I can say about this song is that it’s the end of the world in the form of music.

Now that you have a better understanding of what a “flesh ripping Brutal Death Metal Slam Alien Apocalypse attack” is, go show your support for M.O.B.U. at their Facebook page, and of course purchase the unrelenting Preemptive Space Warfare at the Rotten Roll Rex BandCamp page or webstore, as well as on eBay. And if you’re not convinced yet of the disturbing firepower spawned by the music by M.O.B.U., or if you think you can easily survive their slamming assault, simply take a quick listen at the album teaser and be prepared to have your mind brutally swarmed with alien swine fluids.

Best moments of the album: Mother Earth Abortion, Brutal Laser Devastation and Infrastructure Destruction.

Worst moments of the album: Milkstreet Mass Collision.

Released in 2015 Rotten Roll Rex

Track listing
1. Preemptive Space Warfare 2:10
2. Mother Earth Abortion 3:36
3. Brutal Laser Devastation 3:04
4. Milkstreet Mass Collision 2:04
5. Life-Form Adoption 3:48
6. Human Resources 4:16
7. Prophecy Of The Apocalypse (Interlude) 1:45
8. Orbital Corpses 2:22
9. Infrastructure Destruction 3:32
10. New Space Order 7:42

Band members
Manuel – vocals
Flo – guitars
Basti S. – bass
Basti M. – drums

Metal Chick of the Month – Lahannya

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Justice ravaged by pain… I surrended my innocence in vain.

Our Heavy Metal diva this month is a tribute to Gothic Rock & Metal, a “love it or hate it” type of music that always divides the opinion of the more traditional metalheads. Fans of Iron Maiden, Slayer, Judas Priest and Metallica, for example, usually tend to despise almost everything from bands such as Rammstein, The Prodigy or Disturbed, mainly because “those bands are not true Heavy Metal”. However, they all have a lot of very interesting, creative and especially heavy material, which is also the case for the dark alternative music by our blue-haired gothic goddess Lahannya.

Lahannya was born in the United Kingdom, and although I’m not 100% sure, I believe her birthday is on January 20. Don’t ask me her full name or the year and city she was born (which by the way might be London), though, as it seems she’s one of those girls that doesn’t enjoy sharing her age nor many other details about her personal life with the rest of the world. Well, that doesn’t affect the quality of her work by any means, as what really matters here are her music, vocal performance and, of course, her stunning dark alternative looks.

Let’s say that Lahannya is not a regular singer, songwriter and performer: she’s a lot more than that, we should say a one-of-a-kind frontwoman, and her talent and skills can be enjoyed not only in the music from her own band, Lahannya, but also in the compositions from many other different bands and artists. Although she’s never made it to the mainstream, it’s in the underground world of heavy music where she has established her pillars and it’s also where she keeps influencing the newest generations of gothic and heavy musicians with her unique approach.

To begin with, it was back in 2004 when she met bassist Lutz Demmler, from German Gothic Metal band Umbra et Imago, at the M’Era Luna Festival where things really started to happen for Lahannya. After several projects since the beginning of her career in 1998, including the song Drowning for the compilation album Amduscias (1998) and her first EP entitled Drowning (2000), she finally formed the band Lahannya together with her then (and still) good friend Lutz in 2005, which is nowadays complemented live by German guitarist Christopher Milden and Italian drummer Luca Mazzucconi.

Lahannya’s Gothic Metal music is a complex and rich blend of the sonority from bands and artists such as The Prodigy, Disturbed, Loreena McKennitt, among many others. Actually, it’s kind of hard to truly define their music or compare it to other artists, although their lyrical themes are similar to what some of those artists also sing about, like darkness, pain, agony and relationships. The band has already released a good amount of material besides the EP Drowning: three full-length albums entitled Shotgun Reality (2007), Defiance (2009) and Dystopia ( 2011); another EP named Welcome to the Underground (2008); the live album Scavenger (2010); and the live DVD Sojourn (2013). You can take a listen at her mesmerizing voice in songs like Cocoon and Save Me, both from the album Dystopia.

The band has been touring a lot since its inception, especially in the UK and Germany, as for example in the Wave Gotik Treffen music festival, in Leipzig, in 2009, as well as many other dates in countries such as Austria, Netherlands, Poland and Switzerland, among others, with highlights to their exceptional performance during the Metal Female Voices Fest VII that happened in Wieze, Belgium, in 2009. There are some high quality videos on YouTube with Lahannya’s concert at that festival, like the ones for the songs Open Your Eyes and Burn, where it’s quite impossible to take your eyes out of her moves while her voice “invades” our ears with greatness. Another excellent live moments are the heavy and modern Inside the Machine, filmed at the X-Tra Club in Switzerland in 2008, and  the metallic Never Enough, during the band’s performance at the the M’Era Luna Festival 2012. There’s also a really nice interview with her during that same festival, which can be seen HERE, where she talks about her career and other stuff. It’s totally worth the time spent, especially because she’s a fun and humble woman, and her British accent is beyond beautiful.

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Among her infinite number of partnerships, projects and special guest appearances, the most important or famous ones are certainly her collaborations with English Electronic band Greenhaus, German Power Noise/Techno act Soman, Norwegian Aggrotech band Combichrist, German Industrial project Xotox, German Goth Rock band ASP, and German Gothic Electro band Dracul. None of these are close to Heavy or even Gothic Metal, but that doesn’t make the final results less enjoyable.

With Greenhaus, she was part of the songwriting and the vocalist for almost all tracks of their album Another life, from 2003, while with Soman she was the co-songwriter and vocalist for the following tracks: Tears, from the album Revenge (2004); Antique, from a compilation album with various artists entitled Machineries of Joy (2004); Mask and Eye to Eye, from the album Mask (2007); and Skin Deep, from the album Soman Noistyle (2010).

Our goth diva’s collaboration with Combichrist happened in the form of a spoken sample for the Soman remix of the title-track from their second EP Sex, Drogen Und Industrial (2004), while with Xotox she recorded a spoken intro for the video of the track [psi], from the album [psi] (2005), and was the vocalist on the song Habitat, from the album In Den Zehn Morgen (2008). Finally, she was featured in the remix of the song Nie Mehr, from the album Nie Mehr (2007) by ASP, and was the co-songwriter and vocalist for the tracks Vampiras Dream and Deathwish, from the album Like an Animal (2006) by Dracul.

There are a few other projects she’s involved which unfortunately I cannot list here, otherwise I would never be able finish this document. However, there’s one more interesting detail about Lahannya in regards to her career that you should know: if you’re in London and you are that type of person that likes to party, you might have a chance to see our blue-haired beauty in person doing something very different from singing with her band, which is being a DJ at the London alternative club Slimelight once in a while. Do you want to know where Lahannya finds all that energy to do everything she does? “I think it’s my purpose for living. I don’t really want to find a family or whatever. For me it’s my passion, it’s the legacy I want to leave behind, it’s how I express myself. If I didn’t do it, I would feel like I’m not actually living or breathing.”, she said. That explains a lot.

In regards to her idols in music, the pretty Lahannya mentioned she enjoys listening to and is constantly inspired by many distinct and excellent artists such as Kidneythieves, Dimmu Borgir, The Prodigy, Tori Amos, Celldweller, Bush, Disturbed, Mankind Is Obsolete, Loreena McKennitt, The Cranes etc. However, her inspiration in terms of lyrics comes from what is happening around her life and from her own emotions. Moreover, Lahannya mentioned a couple of times her “dream tour” would be with Industrial Metal icons Rammstein or English Electronic group The Prodigy, which in my opinion are outsdaning options for a full professional and exciting tour, don’t you agree?

Lastly, this nonstop frontwoman said she hasn’t had any free time for hobbies, but when she did she used to go scuba diving and climbing, which in my opinion are “not-so-common” activities for people who live in the gothic world, but each person does what they feel like doing, right? And in order to chill out, Lahannya’s choices often include a good DVD and a glass of wine, especially after a long day of hard work. That’s something even people like us, mere mortals who are not famous masterminds behind a successful band, can relate to, and maybe one of us is lucky enough to enjoy those rare free moments Lahannya has together with her. In the meantime, let’s keep on appreciating her dark and beautiful music.

Lahannya’s Official Facebook page
Lahannya’s Official YouTube channel
Lahannya’s Official Twitter

“The best piece of advice I can give is, don’t waste your time waiting for a manager, booking agent or record label to make things happen for you. If you are prepared to work hard, not just on the music but also on the business side, and you don’t give up, you can achieve an awful lot. No one will work as hard for you as you do yourself and no one will invest more money into your band than you are prepared to do yourself. If you don’t put the work in, why should anyone else?” – Lahannya