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

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

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

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

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

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

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

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

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

Worst moments of the album: Necromancy Cascade.

Released in 2018 Independent

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

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

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

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

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Concert Review – Slayer (Budweiser Stage, Toronto, ON, 05/29/2018)

And Slayer said goodbye to Toronto in the most pulverizing (and best) way you can imagine.

OPENING ACTS: Testament, Behemoth, Anthrax and Lamb Of God

I don’t know what to say about the absolute devastation that happened at the always perfect (and I dare you to name one place in this planet that’s better than that for a live concert) Budweiser Stage yesterday in Toronto. When it was announced that there was going to be a Slayer Farewell Tour, I guess they forgot to say it was going to be a farewell to their diehard fans, brave people who lost their lives while crushing their heads and spines into the nonstop, infernal mosh pits that took over the entire venue (and I believe I saw some smaller ones even in the seated areas) during the more than SIX HOURS of brutal Thrash and Death Metal blasted by some of the best bands in the history of heavy music. As a matter of fact, whoever had the initial idea of putting together on the same day/night the great Testament, Behemoth, Anthrax, Lamb Of God and Slayer deserves a huge prize and our utmost respect forever. It was totally and amazingly insane from start to finish, on a beyond beautiful and sunny day in the city. My neck hurts and I’m as tired as hell, so I’ll try to be brief in writing a little about what was supposed to be the last fulminating performance by the almighty Slayer in Toronto (and I really, really hope it was not the last time we saw those guys here).

It was past 4pm when the gates finally opened and the fans could enter the venue for some beer, for getting a little shade away from the scorching sun, and for a few curious ones to enjoy the official pre-show party with Canadian Black Metal horde Panzerfaust at the River Bar at 4:30pm. As I was dying for a beer and pumped up already for TESTAMENT at 5pm, I unfortunately couldn’t attend that mini-gig, but I guess the band won’t be mad at us for doing that, right? Anyway, at 5 o’clock high there they were Chuck Billy, Eric Peterson, Alex Skolnick, Steve Di Giorgio and the demonic stone crusher Gene Hoglan for a short and demolishing lecture in Thrash Metal, still promoting their latest installment, the flawless Brotherhood Of The Snake, from 2016. It was insanity in the form of seven faster-than-a-bullet songs (who doesn’t love the thrashing classic Into the Pit?), with the bestial drums by Gene sounding like he was hired by TTC to help with the excavations for a new subway station, making our chests and even hats tremble with his beats. Yes, as awesome as that.

Setlist
Brotherhood of the Snake
Rise Up
Practice What You Preach
The Pale King
Into the Pit
The New Order
Disciples of the Watch

Band members
Chuck Billy – vocals
Eric Peterson – guitar
Alex Skolnick – guitar
Steve Di Giorgio – bass
Gene Hoglan – drums

After a short bathroom break, it was time for Poland’s most iconic metal band of all time to darken the stage with their blasphemous and sulfuric music. Polish Blackened Death Metal institution BEHEMOTH lived up to the expectations even playing a shorter setlist than usual (and at daylight, something they might not be used to), mixing classics with kick-ass songs from their latest album, their 2014 opus The Satanist, plus a brand new song named Wolves ov Siberia. Mr. Adam “Nergal” Darski was on fire throughout the entire performance, proving why he’s one of the most respected metal artists of the past decade, leaving the fans eager for more of their obscure music in a not-so-distant future. One funny thing is that Behemoth were the only band to not throw to the fans any guitar picks or drumsticks, but instead they were spitting blood on the people at the front row. If that doesn’t tell you how dark their music is, I don’t know what would.

Setlist
Ov Fire and the Void
Demigod
Ora Pro Nobis Lucifer
Wolves ov Siberia
Chant for Eschaton 2000
O Father O Satan O Sun!

Band members
Adam “Nergal” Darski – lead vocals, guitars
Patryk Dominik “Seth” Sztyber – guitars
Tomasz “Orion” Wróblewski – bass guitar
Zbigniew Robert “Inferno” Promiński – drums and percussion

Another bathroom break, another beer, and at 6:55pm sharp (don’t you feel amazed with how punctual all events are in Toronto?) it was time for the old school, slamming, riff-oriented Thrash Metal by the one and only ANTHRAX, who (guess what?) delivered a sequence of seven ass-kicking, frantic songs, including Evil Twin, from their 2016 album For All Kings, and beautiful classics such as I Am the Law, Madhouse and Indians. Scott Ian and Frank Bello were in their usual “I’m playing on stage but I’m also moshing up here together with you guys in the pit” mode, while Joey Belladonna was beyond happy with the warm reaction of the fans to each one of their songs. The low point of the show was that unfortunately Charlie Benante couldn’t play with the band as a result of an ongoing battle with carpal tunnel in his wrists, but the good thing is that he was replaced by the monstrous Gene Hoglan. Do I need to say more? In addition, Mr. Belladonna said that the concert yesterday was Anthrax’s biggest crowd ever in Toronto, and I’m sure everyone who was there banging their heads to their music was more than happy to have been part of such important day to the band.

Setlist
Caught in a Mosh
Got the Time (Joe Jackson cover)
I Am the Law
Madhouse
Evil Twin
Antisocial (Trust cover)
Indians

Band members
Joey Belladonna – lead vocals
Jon Donais – lead guitar
Scott Ian – rhythm guitar, backing vocals
Frank Bello – bass guitar, backing vocals
Gene Hoglan – drums*

*Replaced Charlie Benante due to illness.

After all the havoc generated by Testament, Behemoth and Anthrax, there was still more to come with Groove Metal titans LAMB OF GOD, still promoting their 2015 album VII: Sturm und Drang, and let me tell you the show was so heavy and insane I think some people went missing after the demented circle pits ignited by Mr. Randy Blythe and his henchmen. Playing a solid mix of songs from all of their albums, with all of them of course being as brutal as hell, Lamb Of God put a huge smile on the faces of their diehard fans, with Randy also praising all the bands of the “mini-festival”, requesting everyone to pay a humble tribute to the “Nature Boy” Ric Flair with a few WOOOOO’s, and jumping up and down like a maniac on stage nonstop. Well, everything a Redneck loves in life, right? And please correct me if I’m wrong, but was Randy wearing some sort of ankle monitor still due to the manslaughter case he was involved and arrested for a few years ago? If that’s the case, well, that’s what I call a badass frontman, ladies and gentlemen.

Setlist
Omerta
Ruin
Walk With Me in Hell
Now You’ve Got Something to Die For
512
Engage the Fear Machine
Blacken the Cursed Sun
Laid to Rest
Redneck

Band members
Randy Blythe – vocals
Willie Adler – guitar
Mark Morton – guitar
John Campbell – bass
Chris Adler – drums

SLAYER

“And the earth was without form, and void; and darkness was upon the face of the deep.” It’s with these classic words that I want to introduce you to the end of all days in the form of the Satanic Thrash Metal blasted by the heaviest, the most awesome and the most destructive band in the world, the all-powerful SLAYER. Actually, I should say FUCKIN’ SLAYER, or even SLAAAAAAAAAAAAYYYYYYYEEEEEEEEEEEEERRRRRRRRRR, as this is the right way to refer to the unrelenting Tom Araya, Kerry King, Gary Holt and the second stone crusher of the night, the barbaric Paul Bostaph (another guy that probably got some money from TTC to speed up the subway excavations yesterday). Playing at least one song from each one of their crushing albums, from their 1983 masterpiece Show No Mercy to their 2015 opus Repentless (with the exception of their 1998 controversial album Diabolus in Musica), Slayer put on a flammable performance (and I’m not using the word flammable in vain, as there was A LOT of fire during the whole concert), turning the entire floor section into one supreme, hot-as-hell, motherfuckin’ savage circle pit.

And that mix of classic Slayer with their more contemporary albums workd extremely well, creating a hellish balance of sounds for the total delectation of all admirers of their undisputed Thrash Metal. It was fantastic watching them performing faster, newer tunes like Repentless, Disciple, Hate Worldwide and Jihad, while at the same time delivering their classic infernal melodies in Mandatory Suicide, Postmortem and Black Magic. For instance, in my humble opinion the sequence comprised of Payback (one of the most pulverizing songs of the night), Seasons in the Abyss, Dittohead and Dead Skin Mask simply proves how timeless their music is, and how important they’ll always be to the world of heavy music. Then from Hell Awaits until the grand finale with the all-time classic Angel of Death it was an absolute chaos, with the circle pit getting bigger and bigger, people screaming at the top of their lungs and crowd surfing nonstop like if there was no tomorrow, and sweat and beer flowing everywhere. And I’m not going to say how cataclysmic the metal hymn Raining Blood was. If you were not there, you don’t deserve to know.

One thing I’ll never understand is how Mr. Paul Bostaph managed to play drums at that insane speed and intensity with all those blistering hot fires burning almost all the time all around his drum set. I think that proves he’s not human, as none of the guys from Slayer are. As a matter of fact, Slayer are a four-headed, rabid beast that would make even the “hound of Hades” Cerberus put his tail between his legs and run away, and if this was in fact their farewell tour, well, they’ll be beyond missed by all of us, diehard Slayer fans who consider Dead Skin Mask one of the best “ballads” ever composed by any band. Let’s wait and see if we’ll be treated to at least one more Slayer apocalypse in Toronto in the coming years as a second, third or whatever leg of their farewell tour, I don’t care, as long as they return. Now it’s time to take some rest from all madness from yesterday, do the body count (and maybe there are even some bodies floating in Lake Ontario near the venue), take a deep breath and keep doing what we all know how to at home, at school, at work or anywhere else where some good and reverberating screaming in required. And you know what word you need to burst your lungs screaming, right?

Setlist
Delusions of Saviour
Repentless
Blood Red
Disciple
Mandatory Suicide
Hate Worldwide
War Ensemble
Jihad
When the Stillness Comes
Postmortem
Black Magic
Payback
Seasons in the Abyss
Dittohead
Dead Skin Mask
Hell Awaits
South of Heaven
Raining Blood
Chemical Warfare
Angel of Death

Band members
Tom Araya – vocals, bass guitar
Kerry King – guitar
Gary Holt – guitar
Paul Bostaph – drums

Album Review – Sahon / Chanting For The Fallen (2018)

Waging a war against stereotypes since the late 90’s, here comes a fast and furious power trio with their band new and electrifying opus, showcasing all their pride for their Korean heritage.

Although you might have never heard of South Korean Thrash Metal squad Sahon, those Asian metallers have been waging a war against stereotypes since the late 90’s, forging a sound that distills the best elements of Extreme Metal into a form of Thrash Metal that holds its own when pitted against the rest. Now in 2018 it’s time for vocalist and bassist Yong Ho Lee, guitarist Chang Myeong Lee and drummer Kyoung Hong Kim to unleash their latest opus, entitled Chanting For The Fallen, a lesson in Thrash Metal that showcases all the band’s pride for their Korean heritage and, as a consequence, makes them stand out in an overcrowded genre.

Formed in 1999 in the Korean capital Seoul, Sahon have always played austere and frantic Thrash Metal heavily influenced by both Death and Black Metal, singing about everyday topics such as politics, death, hate, Satanism and sex, being highly recommended for fans of renowned acts like Exodus, Destruction and Kreator. After the releases of a few full-length albums and one EP, Sahon are sharper than ever with their new installment Chanting For The Fallen, with the album’s stunning and peculiar artwork depicting their strong connection with their culture and country’s heritage, adding an extra touch of awesomeness to an album that has no weaknesses and shows no mercy for our spinal cords.

The pounding drums by Kyoung Hong Kim and the rumbling bass by Yong Ho Lee ignite the Slayer-inspired thrashing feast Faith of Savagery, bringing forward a demolishing sonority led by the demented vocals by Yong Ho Lee during the song’s four minutes of brutality highly recommended for simply getting smashed into the circle pit. And Chang Myeong Lee keeps firing old school Thrash Metal riffs through his flammable guitar in the insanely awesome At The Edge Of Cliff, while Yong Ho Lee vociferates like a maniac nonstop, living up to the legacy of Bay Area Thrash; followed by Survive, presenting a band that doesn’t know how to slow down or sound less violent than their music idols. Furthermore, not only this fun composition carries a name that’s beyond perfect to be the soundtrack to a brutal mosh pit, but Kyoung Hong Kim sounds truly infernal on drums from start to finish, keeping the song’s pace at a demented level. Less intense in terms of speed but extremely heavy and aggressive, Condemnation presents Yong Ho Lee not only barking like a beast, but his bass lines are also as thunderous as hell, with the music exploding into classic Thrash Metal in its final (and pulverizing) segment.

And there’s no time to breathe with another sonic havoc crafted by the Korean power trio of Thrash Metal, titled Charge Till The End, a song that shows all their passion for the boisterous music by iconic bands like Slayer and Exodus, spiced up by some classic guitar solos by Chang Myeong Lee. Then with its intro and initial riff inspired by Motörhead’s all-time classic “Overkill”, which ends up giving the song a more visceral and electrifying vibe, Born To Lose Live To Win brings forward amazing performances by all three band members, in special Kyoung Hong Kim with his ass-kicking beats, in what can be considered the ultimate fusion of old school Thrash Metal and badass Rock N’ Roll. In Joy Of Hatred the band delivers more Thrash Metal from the 80’s to your metallic years with a modern twist, with Chang Myeong Lee once again cutting our skin like a butcher with his razor-edged strings. In other words, it can’t get any thrashier than this. And lastly, their coup de grâce comes in the form of a one-and-a-half minute infernal hurricane of Thrash Metal with strong Black Metal influences and nuances titled You Shall Pay, where Yong Ho Lee has his most disturbing and demonic vocal performance of the whole album.

All the madness and devastation in the form of Thrash Metal blasted by Sahon can be better appreciated by following them on Facebook, and of course by purchasing Chanting For The Fallen from their own BandCamp page or from the Transcending Obscurity Records’ webstore. After listening to this sensational album of old school, unrelenting Thrash Metal, not only you’ll get addicted to the music by Sahon, but I bet you’ll start saving some money to travel to South Korea just to have the pleasure of witnessing at least one live performance of the trio, smashing everything and everyone that crosses their path with absolutely no mercy.

Best moments of the album: At The Edge Of Cliff, Survive and Born To Lose Live To Win.

Worst moments of the album: None.

Released in 2018 Transcending Obscurity Asia

Track listing
1. Faith of Savagery 4:27
2. At The Edge Of Cliff 3:15
3. Survive 3:52
4. Condemnation 3:56
5. Charge Till The End 3:44
6. Born To Lose Live To Win 4:16
7. Joy Of Hatred 4:57
8. You Shall Pay 1:38

Band members
Yong Ho Lee – vocals, bass
Chang Myeong Lee – guitar
Kyoung Hong Kim – drums

Album Review – Xenoblight / Procreation (2018)

A precious gem of Progressive Thrash and Death Metal made in Denmark, courtesy of an up-and-coming horde that’s more than ready to take the entire world of heavy music by storm.

Hailing from Silkeborg, a small city located in the middle of the Jutlandic peninsula in Denmark, here comes a new Extreme Metal horde that goes by the powerful name of Xenoblight, playing a multi-layered fusion of Progressive Thrash and Death Metal characterized by an intense and blistering atmosphere, while at the same time maintaining an apathetic and melancholic lyrical universe. Although the band is relatively new to the scene, being founded in the beginning of 2017, Xenoblight spent the following year carefully crafting their first record while playing only a limited number of shows before entering the studio, unleashing now in 2018 their debut opus Procreation.

Featuring an obscure and stylish artwork by Fendie Art, Procreation not only brings forward in its ten unrelenting and totally demolishing tracks what the band comprised of the she-demon Marika Hyldmar on vocals, Rasmus Tobias Clemmensen and Mikkel Jepsen on the guitars, Steffen Hagelskjær on bass and Thomas Halborg Madsen on drums is capable of, but it’s also a lesson in how to blend the best elements from old school and modern extreme music with tons of progressiveness and feeling, turning it into a must-have for any diehard fan of the music by renowned bands such as Behemoth, Cattle Decapitation, Gojira, Kreator, Skeletonwitch and Fleshgod Apocalypse, among several others.

In the intro Procreation the band offers the usual “calm before the storm” until they come crushing like a bulldozer in Descension, a crisp and modern display of Progressive Death Metal with a lot of punch where Marika begins gnarling the song’s lyrics in a beyond devilish way (“Behold our entitled savior / Spreading knowledgeable fumes / Binding hands with a single glance / Beredied for a stance… / …Entering the mortal realm / With stricts holds of selfproclaimed victories free from shame”), also showcasing a fantastic job done by Thomas with his piercing beats and fills. And Steffen Hagelskjær kicks off the dark tune Shapeshifter with his menacing bass, with the music morphing into a flammable hybrid of Thrash and Death Metal where Rasmus and Mikkel slash our ears with their heavy and metallic riffs.

Obsidian Chromatism is a traditional Progressive Death Metal creation where the entire band fires sheer aggressiveness, building the perfect stage for Marika and her demonic growls; whereas in the song that carries the band’s name, Xenoblight, we’re treated to three minutes of piercing sounds and nonstop beats and fills in a demolishing instrumental voyage, with highlights to the scorching guitar riffs by Rasmus and Mikkel. Then without giving us a single second to breathe Xenoblight keep blasting pure evil through their instruments in Nocturnal Manifestations, a frantic, furious and superb display of modern-day Thrash and Death Metal led by the enraged screams by Marika, with Thomas once again sounding brutally amazing on drums while Rasmus and Mikkel are bestial with their solos, followed by Transcendence, where a whimsical start morphs into another explosion of contemporary and vibrant Thrash and Death Metal, sounding like a hybrid between Exodus and Death. Moreover, Marika takes her insanity to a whole new level, making it the perfect opportunity for cracking your spine in half into the circle pit.

Kill Yourself. brings less than a minute of pulverizing Blackened Thrash Metal by the band, and even with such restricted amount of time in their hands they were capable of delivering a fun and electrifying tune, setting the stage for the full-bodied Predominance, led by the classic shredding by the band’s guitar duo. Furthermore, in this bold and thrilling 6-minute ode to devastation, Thomas not only is a beast on drums but the complexity of his beats is outstanding and, needless to say, Marika once again kicks us in the head with her hellish roars. And an instrumental start warms up the listener for the rabid harsh growls by Marika in the closing song Virus, perhaps the most progressive of all tracks, showcasing thrashier-than-hell, austere lyrics (“Delusional pesticides / Stand asunder / Tributing their gods / Keepers of the luminescent humanoid pollution”) in a display of first-class European Extreme Metal, also bringing gripping guitar lines and an extremely crisp drumming.

You can take a very good and detailed listen at this precious gem of Danish extreme music on Spotify, and follow the band on Facebook and on YouTube to keep up to date with all things Xenoblight. And in order to show your proper support not only to the band but to underground metal in general, you can purchase Procreation directly from the band’s BandCamp page or Big Cartel (as a regular CD version or as a CD + shirt bundle), as well as from iTunes or from Amazon. Xenoblight are set to take the world by storm with their incendiary debut opus, and if you consider yourself a true fan of extreme music you must have such incredible album on your hands. Because in the end, if you don’t buy it, I guess Marika and her henchmen will have to pay you a not-very-pleasant visit, if you know what I’m saying.

Best moments of the album: Shapeshifter, Nocturnal Manifestations, Transcendence and Predominance.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Procreation (Instrumental) 1:01
2. Descension 4:37
3. Shapeshifter 5:35
4. Obsidian Chromatism 4:46
5. Xenoblight (Instrumental) 2:57
6. Nocturnal Manifestations 6:58
7. Transcendence 5:16
8. Kill Yourself. 0:52
9. Predominance 6:22
10. Virus 5:31

Band members
Marika Hyldmar – vocals
Rasmus Tobias Clemmensen – guitar
Mikkel Jepsen – guitar
Steffen Hagelskjær – bass
Thomas Halborg Madsen – drums

Album Review – Kaos Reign / Epiphany (2018)

This American Groove Metal power trio returns with a brand new album showcasing more of their crushing guitars, gritty vocals and thrash and groove drumming.

Norwalk, Connecticut-based Groove Metal power trio Kaos Reign is here to assault your senses with their unique mix of Death, Doom, Groove And Thrash Metal, drawing influences from early Sepultura, Slayer, Death and Pantera. Formed in 2013 by lead singer and guitarist Bill Klopfer and drummer Chris Anderson, the band has been on a roll since their inception, having already released the full-length albums Embrace the Fire, in 2014, Screaming for Salvation, in 2016, and now in 2018 their brand new opus Epiphany, an album that continues to follow Kaos Reign’s path of crushing guitars, gritty vocals, and thrash and groove drumming, but at the same time showing an evolution in their music.

More refined and dynamic than its predecessors, and featuring a straightforward, dark artwork by the band’s own Bill Klopfer, Epiphany brings a band that’s in absolute sync, with Bill’s vocals sounding versatile while his riffs are memorable and captivating. Bassist Matt Duggan rounds out the sound with the execution of his distinctive bass lines, whereas Chris Anderson’s extreme drumming portrays confidence and style. With its lyrics touching on themes of inner struggle, determination to overcome, and societal issues, encouraging us to proceed with caution and understand the chaos that consumes us, Epiphany will certainly please fans of fast and extreme music who are also searching for gripping background stories that effectively spice up the music being played.

Wicked, dark sounds ignite a belligerent Groove Metal onslaught by Kaos Reign titled Selfish Backstabber, displaying a solid instrumental, endless electricity, and Bill screaming the song’s acid lyrics like there’s no tomorrow (“I watch your actions and learn / You preach your belief, you don’t believe / You taste so sour I yack / The aftertaste, post nasal burning”). Following such sharp start we have a hybrid of Thrash Metal and Hardcore named Dispatch the Threat, where Chris keeps smashing his drums, therefore inspiring us to slam into the pit, with the song’s cleaner vocals sounding like a metal version of Rage Against The Machine’s Zack de la Rocha; and Lethal Injection, bringing more rumbling and groovy sounds blasted by Bill and Matt while Chris continues to add intricacy to the band’s violent music. Put differently, this is an excellent choice for their live concerts and a fantastic addition to the playlist of anyone who loves modern Groove Metal. And the title-track Epiphany presents darker elements in its intro, suddenly morphing into another crushing metal attack and also displaying hints of Southern Metal, with all instruments together generating a hurricane of heavy sounds and tones.

The album loses its grip a little with the not-so-inspired tune The Criminal Inside, despite all aggressiveness showcased by the band and the always rhythmic beats by Chris, but fortunately in Parasite the band gets back on track with their flammable Groove Metal, with highlights to the thrilling guitar lines by Bill and to more of their austere and aggressive words (“Leeching off society / A parasite sucks the blood / Right from / the eye of the storm / The side effects / are visible”). Under the Knife is the most visceral and destructive of all songs, and therefore one of the top moments of the album, with all three band members extracting crushing sounds form their instruments, presenting a great sync between Bill’s riffs and Chris’ drums, not to mention the metallic bass lines by Matt, whereas in Everyone is Offended they slow down their dementia, but still sounding heavier than hell. In a nutshell, this is a mid-tempo, groovy creation by Kaos Reign where Bill keeps sending a not-so-happy message through his demented vocals.

And their slamming party goes on with another melodic and fierce song titled How Do You Sleep at Night?, where Chris doesn’t stop pounding his drums and Bill even brings forth some thrashier riffs the likes of Slayer and Testament. Punish Myself is perfect for headbanging like a maniac, blending the thunderous sounds of Groove Metal with the slashing insanity of Thrash Metal, with Bill smashing his strings mercilessly without forgetting to add harmony to the music; followed by Placebo, a lot less groovy and venturing through Southern Metal grounds, singing about the dangerous market of addictive legal drugs (“I am on a big dose / I feel so comforted and relaxed / Why live life sober? / When you can be prescribed happiness”). However, despite being a relatively good song, it definitely lacks the band’s characteristic speed. And Isolation Chamber, the most somber and wicked of all tracks, closes the album on a high (and obscure) note, even presenting elements from Doom Metal (especially on Chris’ beats and Bill’s vocals).

If you want to show your support to this talented and unrelenting American power trio, you can purchase Epiphany (which by the way is available for a full listen on Spotify) from the band’s own BandCamp page, from CD Baby or from Amazon, but as you already know the world of Kaos Reign is not limited to Epiphany only, which means you can get an overdose of their belligerent music by visiting them on Facebook, on YouTube, on ReverbNation and on SoundCloud. And I believe you might be asking yourself what will be the next step in the evolving path crafted by Kaos Reign, right? Well, let’s hope it doesn’t take too long for us all to have an answer to that and get more of their sharp metal music sooner than expected.

Best moments of the album: Selfish Backstabber, Lethal Injection, Parasite and Under the Knife.

Worst moments of the album: The Criminal Inside and Placebo.

Released in 2018 Independent

Track listing
1. Selfish Backstabber 5:12
2. Dispatch the Threat 4:11
3. Lethal Injection 4:45
4. Epiphany 4:09
5. The Criminal Inside 4:21
6. Parasite 4:54
7. Under the Knife 3:53
8. Everyone is Offended 4:39
9. How Do You Sleep at Night? 4:35
10. Punish Myself 5:26
11. Placebo 4:32
12. Isolation Chamber 4:53

Band members
Bill Klopfer – vocals, guitar
Matt Duggan – bass
Chris Anderson – drums

Album Review – Strangle Wire / The Dark Triad EP (2018)

Enjoy this short and sweet lesson in Death Metal made in Northern Ireland, taking you into the dark heart of the human condition.

Behind the locked doors that lie in the shadows, at the end of forgotten passageways, in the depths of every human mind, madness waits, scratching at the splintered wood with bleeding fingers. However, sometimes those locks fail, or the keys are purposefully turned, unleashing the monsters from within. The Dark Triad, the brand new EP by Northern Irish Death Metal quartet Strangle Wire, is the sound of the monsters set free, the sound of broken minds and twisted personalities, and the sound of an insidious assault on the light that keeps the night at bay.

Formed in 2017 in Belfast, Northern Ireland’s capital, the band comprised of I (Pete Clarke) on vocals, II (Greg “Daff” Diffin) on bass, III (Ross Duffy) on the guitar, and IV (John Curlett) on drums plays what can be called “Psychological Death Metal”, being highly recommended for fans of Dying Fetus, Cannibal Corpse and Sinister, among several other Death Metal icons. Featuring a classic artwork by British musician and designer Tom Bradfield, The Dark Triad is divided into three sections, entitled Narcissism, Psychopathy and Machiavellianism, taking the listener into the dark heart of the human condition, propelling them ever onward with a musical force of savage intensity, Death Metal possessed of speed, groove and supreme heaviness.

III (or Ross, if you prefer) kicks off the Death Metal hurricane titled The Games They Play with his metallic riffs before pure anarchy and devastation take over the world, with I (Pete) firing his deep, enraged and bestial growls nonstop. Put differently, this is one of those songs tailored for fans of extreme music who simply love to slam into the pit more than they love anything else in life. Then tribal sounds start another heavier-than-hell, putrid Death Metal feast named The Narcissist, a slow and steady tune from the pits of hell led by the rhythmic beats by IV (John), while II (Greg) and III keep slashing our skin with their demonic strings. Then we have Psychopathic Blue, showcasing guitar lines that remind me of the work done by Thrash Metal acts like Slayer and Testament, but still being pulverizing and demonic as good old Death Metal should be. The quartet is on fire and in total sync throughout the entire song, delivering belligerent and rabid sounds for our total delight, with I’s hellish roars getting even deeper and more primeval.

And their metallic demolition goes on with more furious blast beats, infernal vociferations and crushing riffs in The Failure Exhibit, where the band practically demands that we all get into the circle pit and slam to the total havoc they generate by their instruments; whereas if you’re a diehard fan of old school Death Metal the likes of Cannibal Corpse you’ll have a blast with Through a Black Lens, where IV sounds like a machine gun on drums while I is a demonic bulldozer on vocals. Furthermore, there isn’t a single second of peace during the entire song, it’s nonstop action boosted by the excellent riffage by III and a beyond violent atmosphere. And last but not least, as the final onrush of extreme music by Strangle Wire we’re treated to a headbanging, menacing chant titled Den of Iniquity, sounding insanely heavy from the very first second until its neck-breaking end, while I keeps barking like a creature from a deep and dark cave.

The Dark Triad, which is available for purchase from the Grindscene Records’ webstore, from Code 7, or from Amazon, is not only a very promising and vibrant start for Strangle Wire, but also a “mini-lesson” in how to properly unite technique, feeling and rage in Death Metal and in extreme music in general. And if that’s just a mini-lesson as I said, can you imagine how pulverizing Strangle Wire will sound when they come back with their first full-length lecture?

Best moments of the album: The Games They Play and Through a Black Lens.

Worst moments of the album: None.

Released in 2018 Grindscene Records

Track listing  
1. The Games They Play 3:33
2. The Narcissist 4:26
3. Psychopathic Blue 3:21
4. The Failure Exhibit 3:39
5. Through a Black Lens 3:56
6. Den of Iniquity 4:50

Band members
I – vocals
II – bass
III – guitar
IV – drums

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 – Lebowskii / Liquidators EP (2018)

Presenting a fast, groovy and electrified fusion of 80’s and 90’s Thrash Metal with traditional Heavy and Death Metal sounding, please welcome a promising new act from the French underground scene.

It’s time for The Headbanging Moose to take a short and extremely fun and heavy trip to Nantes, a city on the Loire River in the Upper Brittany region of western France, to slam into the pit to the flammable Thrash Metal blasted by a brand new group in the French independent scene that goes by the name of Lebowskii. If you’re a diehard fan of bands such as Slayer, Death, Megadeth, Cannibal Corpse, Metallica and Tool, you’ll have a great time listening to the music by this four-piece act comprised of Damien on vocals and guitar, Jonathan on vocals and bass, Boris on the guitar and Laurent on drums. Together those four French horsemen are releasing their debut EP, titled Liquidators, presenting a high-octane, groovy and electrified fusion of 80’s and 90’s Thrash Metal with traditional Heavy and Death Metal sounding.

In the opening track, titled Why Are We Falling Down?, we already get to know who Lebowskii are, as we face four metallers crushing our heads with their fiery mix of Thrash and Groove Metal. Moreover, Laurent shows all his fury through his fierce beats in this great composition highly recommended for banging your head and cracking your spine, while Damien leads the battle with his enraged screams. Then we have Haunting A Shell Of Flesh, slightly slower but heavier than its predecessor due to the smashing drums by Laurent, also presenting hints of the Thrash Metal by Slayer and Testament, with Boris bringing a welcome balance to the song’s neck-breaking core rhythm with his precise guitar lines. And leaning towards modern Thrash Metal (without losing its old school vibe) the band offers us all the title-track Liquidators, bringing forward a great riffage by Boris while Damien effectively screams and shouts the song’s violent lyrics,supported by Jonathan and his backing vocals, who also delivers groovy, solid bass lines during the entire song.

Their feast of contemporary metal blended with traditional riffs and beats from Bay Area Thrash goes on in Your Brain Is Just Insane, another song tailored for headbanging nonstop with the band where Damien and Jonathan once again make a great duo on vocals, pumping up the listener to scream and shout together with them. Lastly, closing the EP the band blasts more aggression in the form of music in Narrow Minded, a song where you’ll be able to enjoy Lebowskii in their most Groove Metal mode, with the sound of bass and drums being truly thunderous. In addition, when you reach this point of the EP you’ll realize that although all five songs are longer than your usual Thrash Metal tune (mainly due to the progressiveness added by all band members with their refined techniques), that doesn’t mean they get tiresome or boring. Quite the contrary, Lebowskii are a band that knows how to captivate our attention for an extended period of time, no matter how long their compositions might be.

If you are a fan of straightforward heavy music with no shenanigans nor any artificial elements, then you should definitely give Lebowskii a try by liking their Facebook page, and obviously by buying your copy of the ass-kicking EP Liquidators through their BandCamp page or through the M.U.S.I.C. Records webstore. This is the type of music that once it gets into your day-to-day playlists, it will stay there forever, and you’ll find yourself banging your head to the flammable riffs and hardcore attitude by Lebowskii over and over again. As a matter of fact, remember we’re talking about a five-track EP only, which makes me wonder how insane a full-length album by such promising band shall sound like (and I hope Lebowskii deliver that sooner than later, for our total delight).

Best moments of the album: Why Are We Falling Down? and Liquidators.

Worst moments of the album: None.

Released in 2018 M.U.S.I.C. Records

Track listing
1. Why Are We Falling Down? 5:50
2. Haunting A Shell Of Flesh 5:58
3. Liquidators 5:12
4. Your Brain Is Just Insane 5:47
5. Narrow Minded 6:26

Band members
Damien – guitar, vocals
Jonathan – bass, vocals
Boris – guitar
Laurent – drums

Beverage Review – Megadeth’s À Tout Le Monde Beer

A superb beer that tastes smooth and fresh without losing the core punch and energy of a good brew, just like its beyond-classic eponymous Heavy Metal ballad.

“À tout le monde, à tous mes amis
Je vous aime, je dois partir
These are the last words I’ll ever speak
And they’ll set me free”

À Tout Le Monde, which gained a revamped version titled À Tout Le Monde (Set Me Free) in 2007 featuring Cristina Scabbia, is not only one of the biggest hits by Thrash/Speed Metal titans Megadeth, but also one of the most touching, most recognizable and most powerful metal ballads of all time without a shadow of doubt. However, in 2016 À Tout Le Monde also became a synonym to a new beer by Unibroue, a brewery located in Chambly, Quebec, Canada that was started by Serge Racine and Quebec native André Dion in 1990, and known for some of the most admired craft beers in Quebec and in the rest of Canada such as Blanche de Chambly (Witbier), Don de Dieu (Tripel Wheat Ale), Maudite (Strong Red Ale), and Unibroue’s flagship beer La Fin du Monde (Tripel).

Born of the friendship between Unibroue’s brewmaster Jerry Vietz and the one and only Dave Mustaine, À Tout Le Monde is a flavorful Belgian-style, dry-hopped saison with hoppy and spicy notes, a clean, fresh taste and a crisp dry finish, dedicated to all fans of Heavy Metal and Belgian-style ales from around the world, using a dry hopping technique and, to date, having the lowest alcohol content of any Unibroue beer at 4.5%. Furthermore, À Tout Le Monde is not the first strike into the business of alcoholic beverages by “Megadave”, as back in 2014 he teamed up with Fallbrook Winery winemaker Vernon Kindred to create the Mustaine Vineyards. Although I haven’t tried any of the wines by the Mustaine Vineyards yet (and I do enjoy a good wine), as a beer guy I’m absolutely certain none of their wines can beat À Tout Le Monde, nor any of the several beers brewed by any other band in the world. And don’t worry, as I won’t be cheesy by jesting with you guys saying À Tout Le Monde is a beer “for everyone”. Or will I?

If you access the official Unibroue page for À Tout Le Monde, you’ll see their beer and food pairings list includes very distinct options such as  grilled steak, charcuteries, nachos, mussels and comté-style cooked pressed cheese, but to be honest I think you can pair this outstanding beer even with marshmallows, a peanut butter and jelly sandwich or a slice of watermelon so good and fresh it tastes. Displaying a yellow color, slightly golden with hazy appearance, and tasting slightly spicy and astringent with notes of tropical fruits and citrus like mango and litchi, À Tout Le Monde can usually be found in Canada as 341 ml or 750 ml bottles, as a 30,000 ml keg, or as draft beer, being sold at The Beer Store or at LCBO with prices going from CAD$ 14.95 for a pack of 6 bottles of 341 ml to CAD$ 222.15 for the keg. As a matter of fact, it actually took a long time for the closet The Beer Store to where I live to start selling À Tout Le Monde, which means if you do not live in Quebec your pursuit for À Tout Le Monde can get a little tedious, frustrating and time-consuming (unless you have some extra money to buy it directly online and deal with the delivery fees, of course).

The idea for the beer came about when Megadeth headlined the Festival d’été de Québec, playing their kick-ass Thrash and Speed Metal in front of eighty thousand people in 2015. “We had pulled up in the middle of the day and went to the hotel with this guy named Jerry Vietz from Unibroue. And we both had a lot of stuff in common and we hit it off right away. I was kind of sampling some of the different beverages that he had. And I told him, ‘I like this. I like this about this one. I like this about that one.’ And we made a second round, brought the liquid down to Nashville and tried it again. And I said, ‘Okay, so it’s getting really close. I like this about this, and I like this about that.’ And then I got to taste the final product for the first time in Orlando”, said Mustaine, who also had a few interesting words to say about the boom of music-inspired beers from other bands. “It’s funny, because I’ve spoken with a couple of beer magazines now — I didn’t know they had beer magazines, but evidently they do — and they said, ‘Have you tried the Iron Maiden beer?’ ‘Oh, yeah, of course.’ ‘Have you tried the AC/DC beer?’ ‘No. How is it?’ ‘Oh, it’s terrible.’ ‘Have you tried the Motörhead beer?’ ‘No. How is it?’ ‘Well, it’s okay.’ And they told me that Mastodon has a beer, I think, and then New Order has a beer too”, Mustaine said. “And it’s, like, okay, well, maybe these dudes got into it just to kind of slap their name on a can of beer or something like that. I did this because when we did the wine… In April of 2014, we made wine [to coincide with Mustaine’s performance with the San Diego Symphony], so that there was something really cool that would be like a social lubricant with everybody, but also be like an adhesive where everybody would come together with the two worlds colliding.”

Of course, as any other beer inspired or crafted by a Heavy Metal band, there are a lot of “extras” available for diehard fans of Megadeth who loved the beer like myself, some of those being free like the YouTube videos with Bernard Johnson, a Regional Sales Manager from Unibroue, talking about À Tout Le Monde, and Dave Mustaine himself talking about making his own beer and wishing us all Happy Holidays (in 2016, when the beer was launched); and if you have some spare cash to invest on some À Tout Le Monde merch you can go to the official Megadeth webstore and select whatever suits you best from the options available. I’ll personally save my money for the beer itself, buying at least the pack with 6 bottles whenever I find it here in Ontario or when I visit Quebec, and not only because I’m a longtime fan of the music by Dave Mustaine & Co., but because À Tout Le Monde is indeed a superb beer, tasting smooth and fresh without losing the core punch and energy of a good brew, just like its beyond-classic eponymous Heavy Metal ballad.

Beer details
Country: Canada
Brewer: Unibroue
Fermentation: Top
Style: Belgian Style Dry, Hopped Saison
Alcohol Content (ABV): 4.5%
Color: Yellow, slightly golden with hazy appearance
SRM: 5,5
Clarity: Slightly cloudy
Head: Egg whites
Bubbles: Fine
Effervescence: Medium and sustained
IBU: 22
Body: Medium
Aftertaste: Medium
Price: CAD$ 14.95 (6 × Bottle 341 ml), CAD$ 26.95 (12 × Bottle 341 ml), CAD$ 50.95 (24 × Bottle 341 ml), CAD$ 222.15 (1 × Keg 30000 ml)

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

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

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

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

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

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

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

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

Best moments of the album: Revenge and Lies.

Worst moments of the album: None.

Released in 2018 Independent

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

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