Album Review – Torture Squad / Far Beyond Existence (2017)

Don’t cross the path of one of the most respectful bands from the Brazilian Thrash and Death Metal scene, or they will mercilessly crush you with the pulverizing music from their sensational new album.

If there’s a band that beautifully epitomizes what old school underground Thrash and Death Metal are all about, that band has to be the ruthless Brazilian four-piece outfit Torture Squad who, since their inception in the distant year of 1990 in the city of São Paulo, a metropolis with almost 20 million people located in the southeast region of Brazil, has been fighting for heavy music and remained loyal to their foundations, even with all the adversities in a country where metal is far from being a popular genre. Carrying a powerful name inspired by the song “Death Squad”, by American thrash metallers Sacred Reich, and having already released seven studio albums, two live albums and three EP’s, it’s time for Torture Squad to attack humanity once again with another sensational blast of traditional extreme music, titled Far Beyond Existence, the eight full-length release in their solid and exciting career.

Featuring a somber and ominous artwork by Brazilian artist Rafael Tavarez (who has already provided his brilliant art to several other bands all over the world such as Dark Ministry, Vulture and Moonkult), Far Beyond Existence is the first full-length opus by Torture Squad to feature the she-wolf Mayara “Undead” Puertas as their lead singer, as well as Rene Simionato on guitars. As a matter of fact, although the talented Mayara and Rene already released last year an EP with Torture Squad, the excellent Return of Evil, it’s now with the band’s new full-bodied installment that they have all the room needed to showcase their refined abilities as musicians and their utmost passion for all things extreme. And they more than succeed in their mission as you’ll see when you start listening to this incendiary album of Brazilian Extreme Metal.

In the fantastic opening track Don’t Cross My Path, Rene presents his welcome card in the form of cutting, flammable riffs, while the band’s wardogs Amílcar on drums and Castor on bass are simply thunderous with their respective instruments. And what to say about Mayara? She’s a true unstoppable she-demon, kicking some serious ass with both her deeper guttural and her more strident screams. As the name of the song says, don’t dare to cross her path under any circumstances, unless that’s what you really want deep down inside, right? Continuing with their sonic destruction, sirens warn the listener a tempest of old school Thrash and Death Metal is about to come in No Fate, another boisterous creation by this Brazilian quartet that exhales heaviness and aggression, with Amílcar giving a lesson in drumming by being rhythmic, violent and groovy at the same time. And connecting instantly with where the previous song ended, Blood Sacrifice presents a serene and somewhat esoteric intro, suddenly exploding into belligerent Thrash Metal. Amílcar once again demolishes his drums in a fantastic way, while Mayara keeps barking, gnarling and screaming like a beast, resulting in one of my favorite songs of the album by far; followed by Steady Hands, a mid-tempo tune perfect for some intense headbanging intercalated with some faster and more furious parts, with Rene once again blasting a metallic feast of heavy and raw riffs, not to mention the great job done by Castor with his demonic bass punches enhancing the song’s heaviness to the limit.

The also superb Hate, featuring British vocalist Dave Ingram (Benediction, Bolt Thrower, Just Before Dawn) on guest vocals, is more ferocious than most of the previous songs, where the pounding drums by Amílcar are in perfect sync with Castor’s bass lines and Mayara’s grunts, and with the song’s ending being a thing of beauty tailored for smashing your skull into the circle pit. In Hero for the Ages, slashing riffs and accelerated beats generate a warlike atmosphere perfect for Mayara to attack us with her devilish guttural vocals. Furthermore, it’s truly impressive how all songs sound extremely imposing and heavy, and of course this one couldn’t be an exception to that, with Castor hitting us hard in the last part of the song with his bass guitar. The title-track Far Beyond Existence is a lesson in traditional Thrash Metal, sounding simply excellent for the band’s live concerts, showcasing a neck-breaking, galloping pace that will certainly stimulate the spawn of some intense mosh pits, all boosted by the amazing guitar solo by Rene amidst all the rumbling sounds emanating from bass and drums. And leaning towards a more obscure form of Death Metal, mainly due to the deep and enraged gnarls by Mayara and the old school riffs by Rene, Cursed by Disease keeps the album’s momentum going, with the special narration by Brazilian drummer Edu Lane (Nervochaos) and its old school lyrics (“A rotting corpse remains preserved / Receptacle of the spirit of a king / Sarcophagus was sealed with all his treasure / And on the walls the paintings bore a curse / Death will attack / With its trident / for those who disturb / The pharaoh”) spicing up the final result.

You Must Proclaim, featuring Brazilian multi-instrumentalist Luiz Louzada (Chemical Disaster, Predatory, Vulcano) as a guest vocalist (making a demonic duo with Mayara on vocals), begins with Castor punching his bass mercilessly, emanating a violent and metallic sound that grows in intensity together with all other instruments until it becomes a thrilling Thrash Metal onrush; whereas Just Got Paid,  their pulverizing version for a ZZ Top classic (which original version can be enjoyed HERE), sounds as groovy and hellish as it can be, led by the harsh vocals by guest vocalist Alex Camargo (Krisiun) and the exciting riffage by Rene. Moreover, Castor’s bass sounds once again insanely deafening, which obviously translates into sheer awesomeness. Before all is said and done, Castor and his potent bass kick off the instrumental extravaganza titled Torture in Progress, featuring Brazilian keyboardist Marcelo Schevano, with those bass wallops being the main ingredient during the song’s first part, always accompanied by Amílcar’s intricate beats. In addition, the Deep Purple-inspired keys by Marcelo bring a fresh taste to the overall musicality, culminating in almost 10 minutes of top-notch Brazilian metal. Then closing the album we have Unknown Abyss, a cinematic intro (or outro, depending on how you listen to it, as I’m not really sure why it was added as the last track of the digital version of the album) where Mayara “presents” herself to the fans of the band like a demonic entity rising from the underworld. Needless to say, it will sound fantastic as the intro to their live performances.

In a nutshell, when Mayara had the arduous mission a couple of years ago to replace Torture Squad’s longtime iconic vocalist Vitor Rodrigues, she already proved the world she was the right choice for the band, but in Far Beyond Existence her performance reached such a stunning level she has emphatically carved her name as the band’s undisputed voice (hopefully) for many years to come. If you want to know more about Torture Squad, simply go to their Facebook page for news and tour dates (if you’re in Brazil, don’t miss their Far Beyond Existence Tour 2017, which is just about to start on August 17), and to Spotify to listen to Far Beyond Existence in its entirety. You can also buy the album through the Secret Service Records’ webstore, on iTunes or on Amazon, and show all your support to high-end underground metal from Brazil, more specifically to one of the most respectful, hard-working and thrilling bands in the history of Brazilian heavy music.

Best moments of the album: Don’t Cross My Path, Blood Sacrifice, Hate and Far Beyond Existence.

Worst moments of the album: None.

Released in 2017 Secret Service Records

Track listing
1. Don’t Cross My Path 5:48
2. No Fate 6:35
3. Blood Sacrifice 7:38
4. Steady Hands 5:23
5. Hate (feat. Dave Ingram) 4:11
6. Hero for the Ages 5:42
7. Far Beyond Existence 6:44
8. Cursed by Disease (feat. Edu Lane) 5:02
9. You Must Proclaim (feat. Luiz Louzada) 5:06
10. Just Got Paid (ZZ Top cover) (feat. Alex Camargo) 4:11
11. Torture in Progress (Instrumental) (feat. Marcelo Schevano) 9:37
12. Unknown Abyss (Intro) 3:01

Band members
Mayara “Undead” Puertas – vocals
Rene Simionato – guitars
Castor – bass, backing vocals
Amílcar Christófaro – drums

Guest musicians
Dave Ingram – additional vocals on “Hate”
Edu Lane – narration on “Cursed by Desease”
Luiz Louzada – additional vocals on “You Must Proclaim”
Alex Camargo – vocals on “Just got Paid”
Marcelo Schevano – Hammond organ on “Torture in Progress”

Album Review – Body Count / Bloodlust (2017)

Controversy, acidity and hatred are just some of the main ingredients in one of the heaviest and most complete albums in the career of the bloodthirsty Ice-T, Ernie C and Co.

We as human beings all got a deranged sickness deeply rooted inside our minds, a will to kill for sport and for revenge, an inner desire to make the ones who disagree with us or who hurt us suffer in pain, and that’s exactly what the iconic Ice-T and his henchmen, collectively known as American Thrash/Groove Metal band Body Count, have to offer us in their new installment, the excellent Bloodlust. Since their inception in 1990 in Los Angeles, the band has been delivering a high quality hybrid of Groove Metal and Hip Hop, but in Bloodlust they managed to increase the heaviness of their compositions significantly, resulting in what can be considered their most metal album of all time.

Not only Bloodlust is the sixth studio album in their solid career, but the controversy, acidity and hatred flowing from each one of the album’s 11 tracks puts it almost side by side with their cult self-titled debut album, from 1992. That only shows how passionate Ice-T and the other are about heavy music, always playing it with a lot of energy, trying to send a clear message to their fans and showing the bitter truth of the lives of the less fortunate people in the United States and all over the world. Besides, when you have guest musicians the likes of Dave Mustaine (Megadeth), Randy Blythe (Lamb of God) and Max Cavalera (Soulfly, Sepultura), you know the music will hit you in the face like an uncontrolled bulldozer.

Loud sirens and the more-than-special guest Mr. Dave Mustaine himself declare martial law, before Body Count begin delivering sheer heaviness, chaos and groove in the opening track, the awesome Civil War, with Ice-T having a fantastic performance with his hostile rap-like vocals, resulting in one of their darkest compositions to date; and keep banging your head to the always boisterous riffs by Ernie C and Juan of the Dead while Ill Will smashes his drums mercilessly in this Groove Metal anthem The Ski Mask Way. Needless to say, the song’s lyrics are as aggressive as hell (“I’m in your rear view, when you leave the club / How cold could I be, you look like food to me / All on instagram, showin’ that cash off / What you really hope, is I don’t take this mask off don’t make me punish you don’t want to hurt your wife / Come up off that watch, it ain’t worth your life / I gotta crew of wolves, life has no meaning / We roll late night and hunt human beings”). Slowing the pace down a bit and increasing the groove considerably, This Is Why We Ride is a song where Ice-T is nicely supported by the excellent job done by Vincent Price on bass and Ill Will on drums, not to mention that the sounds of the shots and the sirens of the cops together with the insane heaviness blasted by the band will crack your neck mercilessly.

If you’re already feeling that pain in your neck after such intense headbanging music, All Love Is Lost will terminate it for good. Featuring the unparalleled growls by guest Max Cavalera, the vocals in this song burst with acidity while the instrumental pieces are a work of anger. Moreover, Ernie C and Juan sound like two serial killers slitting throats with their bestial riffs. Then the band offers us a fantastic version of two all-time classics by Slayer, Raining In Blood / Postmortem 2017, with Ice-T kicking ass on “Raining Blood” while Vincent Price takes care of the vocal duties on “Postmortem”. Furthermore, the intro to the song is already a lot of fun, with Ice-T explaining the origins of Body Count saying he wanted to have a Heavy Metal and Hip-Hop band by blending the music by Black Sabbath, Suicidal Tendencies and, of course, Slayer. God, Please Believe Me works as a poetic bridge by Ice-T and his crew to the fulminating Walk With Me…, one of my favorite songs of the album where guest singer Randy Blythe vociferates like a beast, while Ill Will sounds insane on drums and Ice-T is just as rabid as Randy. This is a flawless hybrid of Thrash, Groove and Rap Metal, showcasing even hints of Death Metal, perfect for stage diving, mosh pitting and sick headbanging due to its beyond brutal rhythm.

Here I Go Again, a re-recording of a demo track from Ice T’s Return of the Real sessions, brings a somber ambience with Ice-T delivering some darker-than-usual vocals, with its instrumental being pretty solid which results in an effective support to the craziness flowing from the song’s lyrics and the demented screams in the background. Then we have the controversial No Lives Matter, another high-end explosion of Groove Metal by Body Count which blends their heavy music with an austere discussion about the issues surrounding the “Black Lives Matter” initiative. Put differently, it’s an extremely politicized tune with insane bass lines by Vincent and a great performance by Sean E Sean with his samplers, paving the track for the title-track Bloodlust, a song about our attraction for death and brutality, about the inner desire of mankind for killing, portraying it as a sickness inside our hearts and minds. While Ernie C and Juan fire fierce and melodious riffs, Ill Will continues his technical and groovy attack on drums, showing how amazing this song will sound when played live.

And if you think Ice-T and his henchmen would give you a break from all their sonic havoc, they come crushing one last time with the best song of the album as their closing act, the flammable Black Hoodie, an amalgamation of their past, present and future where poetry and violence are powerfully united (“Got on a black hoodie, its hood up on my head / I didn’t have a gun so why am I dead / You didn’t have to shoot me and that’s a known fact / And now I’m laying face down with bullets in my back”), with all instruments exhaling metallic and belligerent sounds while Ice-T keeps rapping nonstop.

It deosn’t matter if you are a metalhead that’s not very fond of rap or a rapper that doesn’t get too excited to the sound of a heavy riff, when you have an album like Bloodlust (which by the way you can find in different bundles at the Control Industry webstore) on your hands it’s almost mandatory that you start banging your head to Body Count, acknowledging they are indeed the biggest exponent in the history of Rap Metal and one of the most fun acts from the 90’s that’s still alive and kicking without sounding Jurassic. And I’m pretty sure the counting of bodies done by Ice-T, Ernie C and Co. is far from being over.

Best moments of the album: Civil War, Walk With Me…, Bloodlust and Black Hoodie.

Worst moments of the album: None.

Released in 2017 Century Media

Track listing   
1. Civil War (feat. Dave Mustaine) 4:23
2. The Ski Mask Way 3:36
3. This Is Why We Ride 5:26
4. All Love Is Lost (feat. Max Cavalera) 3:36
5. Raining In Blood / Postmortem 2017 (Slayer cover) 4:31
6. God, Please Believe Me 1:23
7. Walk With Me… (feat. Randy Blythe) 3:07
8. Here I Go Again 3:32
9. No Lives Matter 4:23
10. Bloodlust 3:34
11. Black Hoodie 3:29

Band members
Ice-T – vocals
Ernie C – lead guitar, backing vocals
Juan of the Dead – rhythm guitar, backing vocals
Vincent Price – bass, backing vocals, lead vocals on “Postmortem”
Ill Will – drums
Sean E Sean – sampler, backing vocals
Little Ice – backing vocals

Guest musicians
Dave Mustaine – spoken word and lead guitar on “Civil War”
Max Cavalera – additional vocals on “All Love Is Lost”
Randy Blythe – additional vocals on “Walk With Me…”

Album Review – Eruption / Cloaks of Oblivion (2017)

Slam into the pit to the sound of the brand new album by five Slovenian thrash metallers who have always kept fast, guitar-based and infectiously melodic metal as their mission statement.

Formed in late 2004, Eruption are a Thrash Metal band from Ljubljana, Slovenia. Throughout the years, the band has always kept fast, guitar-based, and infectiously melodic metal as their mission statement, culminating in the releases of Lifeless Paradise in 2009 and Tenses Collide in 2012. These two full-lengths, accompanied by the 2014 EP Live Transmissions, saw the band explore classic machine-gun thrash riffing accompanied by the soaring melodic vocals and sci-fi musings of vocalist Klemen Kalin. The energetic blend of influences allowed the band to present its music in a dynamic, furious show that saw Eruption share the stage with names such as Nuclear Assault and D.R.I, perform on the main stage of festivals such as MetalDays and Underwall, as well as garner excellent live responses from Serbia to Germany.

Now in 2017 those Slovenian metallers return with their third full-length effort, titled Cloaks of Oblivion, aiming at expanding their musical range to include a darker edge the likes of Sanctuary, Helstar and Vicious Rumors, all the while never abandoning their original recipe for aggressive, precision-crafted Bay Area Thrash à la Forbidden and Testament. Displaying a kick-ass disquieting cover artwork by Romanian artist Alex Boca, the dynamic and electrifying Cloaks of Oblivion will certainly help Eruption reach new heights, which also means we can rest assured old school Trash Metal will keep shaking the foundations of our society for many years to come. In addition to that, just like other Slovenian bands such as Hellcats and ShadowIcon, Eruption are also helping carry the flag of their charming country everywhere they go, showing the world that although Slovenia is small in size, there’s an endless amount of hot heavy music flowing through its veins.

Many heavy bands like to provide us their version of a “calm before the storm”, like Eruption in the serene and melancholic intro Pharos, before sheer Thrash Metal hits us in Sanity Ascend, where guitarists Andrej Cuk and Grega Kamenšek begin their shredding attack while lead singer Klemen Kalin sounds like a thrashier version of Ripper Owens with hints of Joey Belladonna, nicely declaiming the song’s thoughtful lyrics (“Battling with the river of dreams / I’m lost in thought / Drowning in an intellectual stream / My mind adrift / The current carries me down to the sea of lunacy / By the waves of madness engulfed I can’t breathe / My lifeline’s been cut, no pharos in sight / I plunge into the darkness of my reflection”). In the title-track Cloaks of Oblivion a beautiful acoustic intro suddenly explodes into top-notch modern Thrash Metal, becoming a mid-tempo dark composition that reminds me of the great Forbidden. Once again, Klemen steals the spotlight with his vocal lines, with the gorgeous bassist Nika Krmelj and the talented drummer Ivan Cepanec bringing tons of groove to the overall musicality.

In Drones, the band puts the pedal to the metal in an ode to old school Bay Area Thrash, featuring slashing guitar riffs, spot-on backing vocals and infinite electricity. Hence, if they play this kick-ass tune live and you don’t crush your skull into the pit, I feel really sorry for your poor soul. Anyway, Reborn into Demise displays an imposing sonority crafted by Eruption bringing more flammable Thrash Metal for our avid ears, sounding like two songs in one due to the accelerated speed of its second half, and with the metallic bass by Nika together with the cutting sound of guitars by Andrej and Grega being beyond awesome. And the band has more devastating thrashing sounds to offer in the thrilling and very technical The Yearning, led by the band’s frantic guitar duo while Klemen keeps firing his demonic high-pitched screams.

A soulful solo ignites the obscure tune This Barren Existence, showcasing great lyrics (“Petrified I lost my speech / I can’t see my eyes are painted / Ruled by a voice that does not speak / I fear my mind is growing weak / Feel my spirit suffocating / The chords just keep coordinating”) despite the music itself never really taking off and going on for too long. The second to last thrashing hurricane engendered by Eruption, titled Seven Archons, brings more of their badass attitude and epic sonority featuring guest vocalist Simon Jovanović, with Ivan and Nika continuing to rumble in the background, therefore providing Klemen the exact ambience needed for his potent voice. Lastly we have The Prophet, which carries an old school name that matches perfectly with its  heavy, dark and straightforward sonority. Furthermore, its slashing riffs and headbanging rhythm are undoubtedly its main ingredients, with the music also exhaling epicness thanks to the poetic performance by Klemen on vocals.

You can take a nice shot at Cloaks of Oblivion in its entirety on YouTube or on Spotify, as well as follow Eruption on Facebook and purchase the album at their BandCamp page, at the Xtreem Music’s BandCamp or webstore, on iTunes or on Amazon. And may the force of old school Thrash Metal be with the Slovenian people forever and ever, thanks to the amazing music by Eruption.

Best moments of the album: Sanity Ascend, Drones and The Yearning.

Worst moments of the album: This Barren Existence.

Released in 2017 Xtreem Music

Track listing 
1. Pharos 1:25
2. Sanity Ascend 4:45
3. Cloaks of Oblivion 6:03
4. Drones 5:13
5. Reborn into Demise 6:14
6. The Yearning 5:23
7. This Barren Existence 6:00
8. Seven Archons 5:47
9. The Prophet 7:35

Band members
Klemen Kalin – vocals
Andrej Cuk – guitars
Grega Kamenšek – guitars
Nika Krmelj – bass
Ivan Cepanec – drums

Guest musicians
Simon Jovanović – additional vocals on “Seven Archons”
Anže Železnik, David Orehar, Matic Babič & Andrej Čuk – gang vocals

Album Review – Mutank / W.H.A.T.S.T.H.A.T. EP (2017)

They have a lot of thrashing songs that have abbreviated titles, and they kick some serious ass with their old school music and hardcore attitude.

They have a lot of thrashing songs that have abbreviated titles on their menu, and all those songs will certainly put you to slam into the circle pit with their endless electricity and catchy melodies. I’m talking about Canadian Crossover/Trash Metal act Mutank, who have just released a new EP titled W.H.A.T.S.T.H.A.T. (which according to the band means “We Have Alotta Thrash Songs That Have Abbreviated Titles”). Displaying a kick-ass old school cover art by Andrei Bouzikov (Holycide, Municipal Waste, Skeletonwitch), W.H.A.T.S.T.H.A.T. is not just a set of five amazing Crossover Thrash songs, but it’s also a follow-up to the band’s 2014 debut album M.E.C.H. METAL, which carved Mutank’s name in the Montreal Thrash scene and led them to play at Wacken Open Air that same year, as well as a taste of what’s to come as the band will have a full-length album to follow the EP later this year.

Inspired by Megadeth, Overkill, Iron Maiden, Municipal Waste, Mike Patton and the golden age of Thrash Metal, this Montreal-based quartet describes their sound as a “T-Rex skateboarding down a volcano”, which is exactly what you’ll find in W.H.A.T.S.T.H.A.T. “Our upcoming EP W.H.A.T.S.T.H.A.T. sort of started as a joke. I just thought it would be funny to force an acronym for ‘what’s that?’ and I came up with ‘We Have Alottta Thrash Songs That Have Abbreviate Titles’. From there we came up with the concept of an EP with a bunch of forced acronym titles. The EP itself was written somewhat conceptually with the individual songs being very short thrash songs that come together to make one longer progressive thrash track, which harkens back to the title since we don’t even know what it is! We have a ton of new material in the works as well, people can expect new stuff sooner rather than later!”

In the opening track, titled  L.I.F.E. (“Lament Infinity, Forlorn Eternity”), we’re treated to the sharp, thrilling guitar riffs and solos by Costa Skoulikas and Lee Whiskey in one minute of old school Thrash Metal, warming up the listener for I.D.I.O.T. (“I’ll Do It Over Tomorrow”), with its sick lyrics being nicely declaimed by lead singer and bassist Stephen Reynolds (“My brain’s a backed-up toilet / Can’t function cuz’ somebody soiled it / The posterior of prosperity / Thoughts too inbred to decongest / They’re unrelated so it can’t be incest / As I plunge into depravity”), whose rumbling bass also adds an extra kick to the song. Slam into the pit, have a beer with your buddies or simply bang your head nonstop to this uncompromised and electrified tune, before Mutank brings forth more shredding and thunderous bass lines for our avid ears in the faster and more hardcore mosh pit-generator P.O.P.U.L.O.U.S. (“Price Of Progress: Ugly Little Organisms Undermining Society”). This awesome composition sounds like the Thrash Metal played by Anthrax with Mutank’s own touch, turning it into the best track of the EP in my opinion.

F.O.G. (“Frailty Of Genius”) can be summarized as a minute and a half of pure madness led by the groovy beast by drummer Ahmed Daas and the inebriate vocals by Stephen, who once again sings the song’s old school demented lyrics with all his strength (“I walk around saying “It’s too late” / I know it ain’t / I guess that’s why I hold my breath under the water / ’til I come back up and drown in air”). And D.E.A.T.H. (“Divine Evaluation Awaits Thee Human”), the longest of all tracks, is also the one with the highest amount of complexity, showcasing thrashing guitars and a badass attitude, with Stephen and Ahmed sounding simply bestial with their bass and drums, respectively.

In ten minutes, Mutank slam more than several bands in their entire careers, and that says a lot about the overall quality of the music found in W.H.A.T.S.T.H.A.T. You can get to know more about Mutank and their wicked acronyms and abbreviations at their Facebook page, listen to their high-voltage music on YouTube and on SoundCloud, and purchase W.H.A.T.S.T.H.A.T. through their BandCamp page. I was trying to come up with a fun abbreviation to conclude this review, but you know what? Leave those to Mutank, as they definitely know how to condense words and, more important than that, amazing music into their short but extremely fun compositions.

Best moments of the album: I.D.I.O.T. and P.O.P.U.L.O.U.S.

Worst moments of the album: None.

Released in 2017 Boonsdale Records

Track listing
1. L.I.F.E. (Instrumental) 1:01
2. I.D.I.O.T. 2:06
3. P.O.P.U.L.O.U.S. 1:40
4. F.O.G. 1:33
5. D.E.A.T.H. 3:50

Band members
Stephen Reynolds – vocals, bass
Costa Skoulikas – guitar
Lee Whiskey – guitar
Ahmed Daas – drums

Album Review – Hammerdrone / Dark Harvest (2017)

Mixing up intense aggression, a dark atmosphere and elegant melodies, this Canadian quintet brings forth a concept album inspired by the real life but obscure tale of the Scottish terrorist organization known as the Dark Harvest Commando.

Formed back in 2010 in the city of Calgary, known as the center of Canada’s oil industry, Melodic Death Metal act Hammerdrone mixes up intense aggression, a dark atmosphere and elegant melodies to deliver songs that are both epic and catchy, being highly recommended for admirers of the musical creations by bands such as Amon Amarth, Dark Tranquility and early Soilwork. After receiving an enthusiastic response from the metal press in countries across the world with the release of their debut EP A Demon Rising in 2012 and the full-length Clone of Europa in 2014, this Canadian quintet returns with their second full-length installment, entitled Dark Harvest, a concept album inspired by the real life but obscure tale of the Scottish terrorist organization the Dark Harvest Commando.

The Dark Harvest Commando of the Scottish Citizen Army was a militant group which in 1981 demanded that the British government decontaminate Gruinard Island, a site which had been used for anthrax weapon testing during World War II, by distributing potentially anthrax-laden soil on the mainland. Enfolded by a menacing artwork by Brazilian artist Caio Caldas of CadiesArt (DragonForce, Raven Lord, Soulspell), Dark Harvest has all the elements needed to effectively portray the ominous actions of such terrorist organization, including demented vocals, blazing riffs and frantic drumming, therefore enhancing the impact of the music (and also of the story being told) on the listener.

The atmospheric intro Echoes prepares the listener for the carnivorous but very melodic Karakoram, with its lyrics explain “who” the savage mountain Karakoram is (“I am the slate of lost emotion, I am the face of blank despair / That which crushes your spirit and body / In this cold and rarified air.”). Not only the lyrics are meaningful, but the amazing job done by both Rick Cardellini and Curtis Beardy on guitars provides lead singer Graham Harris the exact ambience needed for his deep guttural vocals to thrive. In Ancestral Weight, which begins with a soulful solo by Rick while drummer Vince Cardellini blasts pure heaviness through his beats (sounding like a machine gun), we’re treated to modern and versatile Melodic Death Metal the likes of Arch Enemy and Amon Amarth.

The title-track Dark Harvest takes you to the secret lair of the Dark Harvest Commando, with the band’s Melodic Death Metal presenting a warlike vibe. The overall violence emanating from their riffs and drums is insanely high, while Graham works as the “leader” of such vile terrorist organization with his deranged growls. And continuing his momentum, Graham canalizes the size and strength of a bison on his deep vocals in the excellent Black Bison, boosting the song’s hostile lyrics even more (“I see my God as he floods the plains of destiny / With the bile of intent. / I see my God and his hooves are stained with mortal men, / Malice hangs in the fog of his breath. / No lunar eclipse is half this dark – / It crushes your will and seeps into your heart.”). Showcasing elements from Thrash Metal, in special in its drums, this full-bodied, menacing and powerful composition is tailored for admirers of the heaviest form of Melodic Death Metal, being perfect for cracking your spine headbanging; whereas in The Wasting Throne, another pounding tune by Hammerdrone, both guitars dictate the rhythm together with the lowering bass by Teran Wyer, resulting in a robust song where all spaces are filled with heavy sounds and melodic touches, while its second part offers more of the band’s neck-breaking metal music.

After the album’s intro, Harvest The Void is the first (and only) serene moment you’ll find in Dark Harvest, working as a gentle bridge to the deep and melodic Collapse Of Reality, with highlights to the dynamic guitars by Rick and Curtis and the intricate beats by Vince, while Graham keeps growling like a beast. It’s a good quality tune despite going on for too long, losing a bit of its punch after a while. However, in the last of all tracks, titled Lost In An Instant, the whole band is fuckin’ roaring, with Graham and his bandmates delivering high-end Melodic Death Metal through their beautiful guitar solos, solid beats and endless stamina.

You can listen to Dark Harvest in its entirety HERE, and also show your support to Hammerdrone (and consequently to independent metal in general) by grabbing your copy of this excellent concept album at their BandCamp page. Hammerdone, who can be found on Facebook, YouTube, SoundCloud and ReverbNation, not only bring us metalheads high-end underground heavy music made in Canada, as melodic and catchy as it can be, but they also tell a sinister and noteworthy story in Dark Harvest that will show you that many (if not all) terrorist attacks do not come out of nowhere, but that they’re always connected to classified actions taken by all governments worldwide. We obviously do not condone any of those actions and reactions by governments or terrorist groups, but it’s clear that when metal bands like Hammedrone are inspired by such controversial topics, the final result is always amazing musically speaking.

Best moments of the album: Ancestral Weight, Black Bison and The Wasting Throne.

Worst moments of the album: Collapse Of Reality.

Released in 2017 Independent

Track listing
1. Echoes (Intro) 1:09
2. Karakoram 4:37
3. Ancestral Weight 3:51
4. Dark Harvest 6:17
5. Black Bison 7:48
6. The Wasting Throne 6:07
7. Harvest The Void 3:32
8. Collapse Of Reality 5:34
9. Lost In An Instant 5:35

Band members
Graham Harris – vocals
Rick Cardellini – lead guitars
Curtis Beardy – rhythm guitars, backing vocals
Teran Wyer – bass, vocals
Vince Cardellini – drums

Metal Chick of the Month – Mayara “Undead” Puertas

Sanity… What about Insanity…

Can you hear those demonic gnarls coming from Brazil, sounding like the putrid screams of an undead woman rising from her grave? That’s the powerful and mesmerizing guttural voice by our metallic girl this month, the talented Brazilian growler Mayara “Undead” Puertas, born Mayara Puertas and also known as May “Undead” Puertas or even May Undead, frontwoman of the iconic old school Brazilian Thrash/Death Metal band Torture Squad, and a woman that loves heavy music from the bottom of her blackened heart above all things. If this is the first time you’re getting to know the work by Mayara, you better be ready as the “Undead” is more than ready to kick your ass with her devilish growls and fiery onstage attitude (and I’m sure you’ll get addicted to the music by Torture Squad after that).

Born on March 16, 1993 in a region known as ABC Paulista, an industrial region located in the Greater São Paulo, Brazil, Mayara Puertas has always been connected to some sort of musical art since she was little, singing popular songs and playing the piano, guitar and electric guitar, always encouraged by her family and by studying old music books owned by her father, covering songs from Creedence Clearwater Revival, Secos e Molhados (an innovative Brazilian band formed in the beginning of the 70’s) and Kansas, for example. She never took any formal lessons to learn how to sing and to play those instruments, as she preferred learning everything by herself as a good self-taught musician that she is, adding her passion for music and her personal touch to shape her own style.

When she was around 12 or 13 years old, she already nurtured a strong interest for rock music, until a good friend of hers introduced her to Heavy Metal, bringing all his albums to her home where she could make copies of all of them. She instantly fell in love for bands like Iron Maiden, Manowar, Iced Earth, Blind Guardian, Hammerfall and Brazilian Celtic Metal band Tuatha de Danann, which as you can see have little to do with her singing style. Her curiosity and connection to heavy music only grew stronger and stronger in the coming years when she began searching for different bands and genres, including more brutal types of metal, finally finding in Thrash and Death Metal her true passion. Mayara then started to dedicate herself to learn more aggressive vocal techniques inspired by Extreme Metal titans such as Cannibal Corpse, Morbid Angel, Hypocrisy and Overkill, with some of her biggest influences being David Vincent (Morbid Angel), George “Corpsegrinder” Fisher (Cannibal Corpse), Rachel Heyzer (Infinited Hate, Occult, Sinister), Peter Tägtgren (Hypocrisy, Pain), Sabina Classen (Holy Moses) and Bobby “Blitz” Ellsworth (Overkill), a distinct selection of unique voices.

It was in 2013 when Mayara joined her first official band, Brazilian Death Metal act Necromesis, not only as a singer but by also recording some piano and acoustic guitars. As the screaming frontwoman of Necromesis, the “Undead” recorded the EP Echoes of a Memory in 2014 (which you can listen to in its entirety HERE) and the full-length album The Poet’s Paradox in 2015. You can enjoy Mayara’s beastly growling with Necromesis penetrating your ears in crushing songs such as Indifferent Echoes of Sensitivity and Desocial Inclusion, as well as this live version of the song Unlives as Undeads at a special event called I Domingo Metal BR in 2014 in São Paulo, Brazil. Her time with Necromesis also allowed her to tour several Brazilian cities, including a tour with American bands Master and Vital Remains, and being named one of the greatest Extreme Metal singers of the year of 2014.

In October 2015, after talking with Fernanda Lira (lead singer and bassist of the badass Brazilian Thrash Metal power trio Nervosa), Mayara was told she had been referred to be the vocalist of an important Brazilian Death Metal band, but she didn’t know exactly which one then. After a few weeks, she was contacted by Amílcar Christófaro, longtime drummer of Torture Squad, to officially join the band. That was a big surprise for Mayara, as she had always admired the work by those guys, following their career and attending their live concerts, and she knew it was going to be a great honor and an even greater responsibility to replace the iconic Vitor Rodrigues on vocals, who left the band in April 2012 to pursue new musical experiences. The other band members provided her all the necessary support for her to thrive as their new singer, making her confident enough to accept the challenge and add her touch of aggressiveness, electricity and passion to their always high-octane music, showing how professional and dedicated Torture Squad are, and how loyal they’ve always been to heavy music. Of course it wasn’t easy for her to adapt to her new life at first, as she had to rehearse with the band almost everyday, she had to quit her job and move to a new city, but all that extra effort was worth it thanks to the amazing receptivity she always gets from the diehard fans of the band, enjoying her live performances of old school Torture Squad songs as well as their new tunes already with her on vocals.

Mayara recorded her first official release with torture Squad in 2016, the EP titled Return of Evil, comprised of four unrelenting, original tracks (Return of Evil, Swallow Your Reality, Dreadful Lies and Iron Squad). If you want to know more about how the first Torture Squad album with Mayara on vocals came to life, I highly recommend you watch the online documentary named Behind the Evil, filmed in December 2015 during the recordings of Return of Evil at Na Cena Studios. Another amazing video online showcasing all the vocal potency by Mayara with the band, singing some of the band’s classics like Pull The Trigger and Mad Illusions, as well as an interview piece, can be seen HERE. After watching such powerful performance by Mayara, you’ll understand why her nickname is “Undead”, given to her by Amilcar during their first rehearsals due to the fact her growls sounded like the screams of an undead woman rising from her grave. She even said that became her “alter ego”, which she lets dominate her body and soul when she’s on stage performing.

In regards to touring with Torture Squad, a band that’s always doing extensive tours all over Brazil and also in Europe, Mayara said that when you’re on the road you have to get used to the fact that your house will be a van. There’s very little time to sleep, eat and take care of yourself, which means the band as a whole has to learn how to live in a harmonious way to make things work during the tours. She also said that her biggest concern is with her voice as there are many shows to do each tour, and she takes care of it by drinking lots of water and having fun with moderation. Also, our screaming metaller said that, despite the lack of time, she enjoys knowing a little more about the places where she plays with the band, most of which she would never have been able to visit if she wasn’t with torture Squad. Mayara is also the youngest member of the band; for instance, she wasn’t even born when the band started, but that doesn’t mean the difference in age is a barrier to her relationship with the other members of the band. She said their passion for metal unites them, helping them become a big metallic family, as well as the fact that she’s using her time with them to learn as much as possible from their expertise in the world of heavy music.

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If you prefer some action instead of all these never-ending words, you can find online a lot of high-quality footage of Mayara growling like a rabid beast as the frontwoman of Torture Squad, as you can see in the songs Inner Strength, and Black Sabbath’s classic Symptom of the Universe (with changed instruments); this series of videos recorded at the traditional Clash Club in São Paulo, Brazil, on February 27, 2016, where the band played, among others, the songs Living for the Kill/ Chaos Corporation, The Unholy Spell, and Horror and Torture/Pandemonium; or this amazingly done footage of Torture Squad kicking ass at De Verlichte Geest, in Roeselare, Belgium. You can also enjoy some online interviews with Mayara (if, of course, you understand Portuguese), as for example when they played at Tocandira Ritual Fest II in Macapá, a province located in the North of Brazil, in 2016; and her chat with the YouTube channel For headS for their Metal Live Drops programme, where she talks a little about how she became the lead singer for Torture Squad.

There’s already a brand new song online with Mayara on vocals, which is actually Torture Squad’s cover version of Motörhead’s high-octane classic Overkill that will be feature on a Brazilian tribute named “Going To Brazil… The Brazilian Tribute To Motörhead”, featuring several renowned Brazilian bands such as Nervochaos, Voodoopriest, Genocídio, Ratos de Porão, Claustrofobia and Hatefulmurder, among others, to be released later this year by British label Secret Service Records. And the wait for more Torture Squad with Mayara on vocals won’t be long, as the band has already announced they’ll release in July this year their eight studio album, titled Far Beyond Existence, containing ten ruthless songs with the “Undead” gnarling manically as their frontwoman. As the band has been updating their official Facebook page with videos and other details about the recordings of the new album, I highly recommend you like and follow them HERE to avoid missing anything.

As any modern musician, Mayara already lent her potent voice to some interesting bands and projects away from the Torture Squad world. For instance, she recorded additional vocals for the 2015 album Afterlife in Darkness, by Brazilian Death Metal band Depressed, and guest vocals for the song Time Enough at Last from the 2017 album Red Eyes, by Brazilian Thrash/Death Metal band Hatefulmurder. In addition to that, Mayara also recorded in 2015 a cover version of Bathory’s Man of Iron with Bathory Brazilian Tribute, and began working with bassist Patricia Schlithler (Hellarise, Harppia) in an Extreme Metal project named Gorgona (which I couldn’t find any additional details about online).

Despite the fact that our society is still extremely sexist, when asked about the increasing influence of women in heavy music Mayara said that although she has already experienced a few awkward situations in her life she still believes Heavy Metal and Rock N’ Roll are the two types of music that foster creativity and freedom of speech, therefore providing more room for women to grow and to be more and more respected by everyone. She mentioned she always receives a lot of positive feedback from both men and women, even inspiring fathers to take their daughters to Torture Squad concerts to show them they can be whatever they want in life, which is obviously a great thing not only for Mayara but for heavy music in general.

She was also asked about the feeling of being on stage with the band, singing in front of hundreds or thousands of crazy fans everywhere they go, and if there’s a big difference between fans in Brazil and in Europe. Mayara said the main difference is that, in Europe, you can see several distinct tribes mixed in the crowd, such as diehard fans of Punk Rock and Death Metal together, which in the end was excellent for her as she could connect to people with complete different tastes and opinions than hers, and that she wished that could also be a reality in Brazil, where the heavy music tribes are a lot more distant from each other. However, in terms of receptivity and electricity, she said both Brazilian and European headbangers are absolutely amazing and have a very good time during their shows.

Mayara is not only an extremely talented growler, but she’s also an entrepreneur, being the owner of an online store named Bloodline, specialized in custom clothing and accessories. She said she opened the store during a very difficult time of her life, when she was unemployed and needed to find an alternative source of income. If you want to know more about Bloodline, check their official website or Facebook page and, who knows, you might find something fancy that suits your style. In addition, she also works as a costume consultant for a company called Loud Factory, an audio and video producer focused on Heavy Metal and Rock N’ Roll. And that’s all about the talented Mayara, a woman that never gets tired of her “eat, sleep, scream like a beast, repeat” routine.

Mayara “Undead” Puertas’ Official Facebook page
Mayara “Undead” Puertas’ Official YouTube channel
Mayara “Undead” Puertas’ Official Instagram
Torture Squad’s Official Facebook page
Torture Squad’s Official YouTube channel
Torture Squad’s Official Twitter

The Headbanging Moose Show – Thursdays @ 20:00 UTC exclusively at Midnight Madness Metal e-Radio

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Attention, metalheads!

It’s time to rumble with THE HEADBANGING MOOSE SHOW every Thursday @ 20:00 UTC (with a reprise on Saturdays @ 19:00 UTC) exclusively at Midnight Madness Metal e-Radio, your London-based web radio blasting the best of heavy music nonstop 24/7!

Presented by Gustavo Scuderi, The Headbanging Moose Show will bring to you the cream of underground metal music, giving you a short and sweet background on every band played on the show. No silly jokes, no shenanigans… THIS IS PURE F****N’ METAL!

So remember, EVERY THURSDAY @ 20:00 UTC (with a reprise on Saturdays @ 19:00 UTC) tune into Midnight Madness Metal e-Radio to enjoy one hour of kick-ass underground metal from all over the world, courtesy of The Headbanging Moose!

Here are all the options where can blow your speakers with Midnight Madness:

Official website
Facebook
Twitter
Online Radio Box
Tunein
Streema
Listen2MyRadio
Radio Garden
Streamitter.com

Don’t forget to follow The Headbanging Moose on Facebook to know beforehand which bands will be played on the show every week.

And if you want to have your new album reviewed at The Headbanging Moose AND played at Midnight Madness Metal e-Radio, simply get in touch with us through our CONTACT US page.

Album Review – Bellator / I EP (2017)

In a bold and trenchant move, three dauntless ligériens decided to save humanity from boredom with their exciting and raw mix of Power and Thrash Metal.

As the end of 2012 was drawing near, the fear that the world was coming to an inexorable and grievous finale started to grow stronger in the hearts of men. However, three dauntless ligériens (Aymeric “Tørick” Plaëtevoet on vocals and guitars, Simon “Nomis” Bonnet on bass and backing vocals, and Thibault “Wilk” Roger on drums) decided to save humanity from utter boredom by forming together a new band named Bellator (which means “warrior” in Latin, just like the famous MMA promotion company), delivering an exciting, raw mix of Power and Thrash Metal recommended for fans of bands like Metallica, Grip Inc., Megadeth and Sepultura.

Hailing from Angers, a city located in Pays de la Loire in western France, about 300 km southwest of Paris, Bellator aim at hitting us hard with the aggressiveness of the music found in their brand new EP titled I, comprised of six straightforward metallic compositions with no shenanigans or artificial elements. Having already conquered several different territories in France such as Nantes, Angers and Rennes with their music, Bellator want to expand their kingdom even more with the release of I, with circle pits and walls of death being mere formalities for these metal warriors.

The initial guitar lines by Tørick in the opening track, Fromlor Agard, already show the listener what Bellator are all about, and when he starts screaming the song’s lyrics accompanied by the metallic bass by Nomis (who also provides some sick backing vocals throughout the entire EP), the music gets even more vibrant and potent. Thrashier and therefore more violent, Petit Orc sounds like a hybrid of Megadeth, Down and Body Count, blending several elements from Thrash, Groove and Speed Metal, with highlights to the amazing job done by Tørick on both vocals and guitar while Wilk maintains the song at a great speed with his precise beats; followed by Padnom, where Nomis increases the heaviness of his bass lines, adding tons of punch to the musicality. After listening to this old school Thrash Metal chant with belligerent vocals and a headbanging rhythm, I believe you will be able to notice they sing all their songs in their mother tongue French, which ends up working extremely well for their music style.

Closer to traditional Power Metal with hints of Thrash and Death Metal, Epic is an instrumental extravaganza showcasing blazing riffs and solos by Tørick and groovy beats by Wilk, with its second half being an ode to Speed Metal the likes of Megadeth. Then we have the song that carries the name of the band, Bellator, an awesome depiction of their core essence displaying enraged growls, fiery guitars and crushing beats, with Tørick inviting us to bang our heads and scream the name of the band manically together with him. And Blood Eagle, the last track of the EP, keeps bursting the band’s trademark aggression, with Tørick and Nomis making an awesome stringed duo (not to mention the bestial deep growls by Tørick), leaning towards modern Groove Metal.

After such solid debut, all metalheads will surely be looking forward for more of Bellator’s antagonistic music in the form of a new EP or, even better, a full-length album. While we wait for their next stride, let’s keep updated with all things Bellator through their Facebook page, YouTube channel, SoundCloud and ReverbNation, and buy a copy of their new EP at their BandCamp page, at the M.U.S.I.C. Records’ webshop or on iTunes. They might not be able to actually save the entire human race only with their music due to the endless amount of shit going on in the world right now, but I’m sure that at least they’ll be able to provide a lot of fun to metalheads worldwide with their high-octane unswerving compositions.

Best moments of the album: Petit Orc and Bellator.

Worst moments of the album: None.

Released in 2017 M.U.S.I.C. Records

Track listing
1. Fromlor Agard 5:33
2. Petit Orc 4:22
3. Padnom 5:38
4. Epic 4:42
5. Bellator 4:07
6. Blood Eagle 4:53

Band members
Tørick – lead vocals, guitars
Nomis – bass, backing vocals
Wilk – drums

Album Review – Lunatic Hooker / Embracing The Filth (2017)

Be embraced by the filthy and crushing Grindcore with a Sludge Metal twist crafted by five British musicians who got together to reignite their inner fire and passion for extreme music.

The music business can be spirit crushing and soul destroying, where bands that start as groups of friends with a passion for music can end up disillusioned, with the flames of their passion near extinguished. This happened to British musicians George (vocals), Ross (guitar), Tim (guitar), Duncan (bass, vocals) and Rafael (drums) in their respective bands, but rather than let those last flickering embers burn out for good, they got together to reignite the fire, forging in 2014 a new evil entity that goes by the name of Lunatic Hooker, blasting a roaring fusion of Grindcore and Sludge Metal perfect for nonstop slamming and headbanging.

After the release of a two-track demo in 2015 and a single with their cover version for Motörhead’s all-time classic (We Are) The Road Crew in 2016, this London-based squad is unleashing upon humanity their debut full-length opus, titled Embracing The Filth. Featuring twelve tracks of unrelenting, punishing and pulverizing Extreme Metal, all enfolded by a captivating artwork by Dan Capp (Winterfylleth) and crackling with that irresistible rediscovered electricity, Embracing The Filth is one of those albums you might not know what you’re dealing with at first, but that you’ll get addicted to as soon as you hit play and let its piercing sounds invade your ears.

Rafael and his doomed beats ignite the sludgy party named My God Is Bigger than Yours (what a clever name for a song), before chaos reigns through the putrid gnarls by George and the dirty and fast riffage by Ross and Tim. Once again uniting Grindcore with Sludge Metal, demonic sounds emanate from all instruments in Beard Feared, in special the blast beats by Rafael and the devilish growling by George, with its brutal slamming rhythm drawing influences from Slayer, Napalm Death and other devastating groups; followed by The Pen Is Mightier than the Sword, another song with a very intelligent name that also presents crushing riffs and beats while George sounds more demonic than ever (and let me say that, if you survive the intense circle pit this song can generate, you’re pretty much immortal), and Unearthed Dead Children, a sonic onslaught of Grindcore bursting heaviness through the cavernous growls by George and Rafael’s ruthless drumming.

The title-track Embracing the Filth lives up to its name, being a dirty, crude and absolutely vile composition of darkness. Moreover, it feels like the guitars by Ross and Tim are an extension of George’s sick vocals, consequently enhancing the song’s overall impact, with Rafael once again showing no mercy for his drum set. In Blood Eagle we face an eerie start that lasts for almost half of the song before the band gets back to their sick high-speed musicality, with its guitars and drums exhaling sheer Grindcore, whereas Fucks All brings elements from Hardcore and Thrash Metal to their already aggressive sonority. Tim and Ross keep firing some sick dirty riffs to make the whole song more demonic, also presenting Black and Death Metal blast beats thanks to the unwearying Rafael. And the excellent Cult Chaos begins at full speed, reminding me of some of the most visceral creations by Cannibal Corpse, with all instruments sounding extremely sharp from start to finish. Hence, this slamming composition should work really well during their live performances.

In Transformation Walrus, a song inspired by and featuring footage in its official video from Kevin Smith’s 2014 film Tusk, darkness takes control of the band from the very first second, with George leading his crew with his deranged growls, before See the Light, perhaps the most violent of all tracks, showcases deeper guttural vocals by George and the merciless drums by Rafael highly influenced by old school Death Metal. In other words, Lunatic Hooker offer us two and a half minutes of pure brutality, with some harmonious guitar lines and solos to give more balance to the overall result. There are two more songs to go in this demonic opus, starting with Spain in the Neck, another recommended soundtrack for a sick mosh pit where Ross and Tim sound like two beasts with their flammable strings, while Rafael keeps the adrenaline high with his unstoppable beats. And finally, the closing of their awesome casket comes in the form of a 6-minute demented extravaganza named Sarlac, where George reaches the deepest and most obscure growls of the entire album. Slow and steady, almost sounding like Funeral Doom, this composition is very different from all previous tracks, showing the band’s crisp versatility in Extreme Metal.

If you feel more than ready to be embraced by Lunatic Hooker’s filthy and crushing Grindcore with the sluggish twist coming from their Sludge Metal vein, go join their demented crew at their official Facebook page and enjoy more of their cutting music at their YouTube channel. In Embracing The Filth, available at the band’s Big Cartel, at the Black Bow Records’ BandCamp and on Amazon, Lunatic Hooker were extremely successful in concentrating all their passion for extreme music and transform that metallic amalgam into reality, leaving all doors open for another blast of their vicious music anytime soon, and hopefully for many years to come as well.

Best moments of the album: My God Is Bigger than Yours, Embracing the Filth and Cult Chaos.

Worst moments of the album: Blood Eagle.

Released in 2017 Black Bow Records

Track listing
1. My God Is Bigger than Yours 3:16
2. Beard Feared 2:32
3. The Pen Is Mightier than the Sword 3:08
4. Unearthed Dead Children 2:48
5. Embracing the Filth 3:07
6. Blood Eagle 4:13
7. Fucks All 2:46
8. Cult Chaos 3:24
9. Transformation Walrus 3:32
10. See the Light 2:35
11. Spain in the Neck 2:46
12. Sarlac 6:24

Bonus track
13. (We Are) The Road Crew (Motörhead cover) 2:44

Band members
George – vocals
Ross – guitar
Tim – guitar
Duncan – bass, vocals
Rafael – drums

Album Review – Next Bullet / Zero (2017)

Are you ready to thrash to the debut album by a trio of Italian insurgents who take no prisoners in their quest for heavy music?

In case you don’t know what Thrashcore means, let me do a quick introduction to you of this electrifying style of heavy music. Thrashcore, also known as Fastcore, is a fast-tempo subgenre of Hardcore Punk that emerged in the early 1980’s, being often less dissonant and metallic than Grindcore, but still making good usage of blast beats. Thrashcore songs are usually short in duration, with the lyrics typically emphasizing youthful uprising or anti-militarism, being aligned with the skateboarder subculture in many ways. Having said that, are you ready to thrash to Zero, the debut album by a trio of Italian Thrashcore insurgents who together go by the name of Next Bullet?

Formed in 2016 in northeast Italy by members of Groove Metal act Overblood and Deathcore group Awake The Secrets, the trio comprised of Marc1 on vocals, Paske on guitar and bass, and Tom KT on drums takes no prisoners in their quest for heavy music, delivering ten ruthless compositions that exhale rebelliousness with the hardcore attitude of Grindcore, but also presenting the more melodious lines of Metalcore. Zero is already a pretty good album by itself, but if you take into account the fact that it’s just their debut release, I wonder how far those Italian metallers can go in the world of underground heavy music with this new endeavor.

Next Bullet, the track that carries the name of the band, is a precise depiction of what this power trio stands for, locked and loaded with pure heaviness and a hardcore attitude, where Marc1 begins explaining their “mission” through his deep growls while Tom KT sounds like a machine gun on drums. Following that intense start, we have All I Have Earned, a faster and more melodic Thrashcore song with elements from traditional Thrash Metal and Punk Rock, with Marc1 continuing his vocal attack and Paske delivering metallic, sharp riffs perfect for banging our heads nonstop; and Not Allow Them, where the trio keeps hitting us with their hardcore sounds. Moreover, pay attention to the drumming by Tom KT as it’s an interesting blend of the traditional Thrash Metal played by Exodus with the demented beats by old school Punk Rock drummers.

In Antiparasitic they once again unite the aggressiveness of American Hardcore with the melody found in European metal music, resulting in one of my favorite tracks of the album due to its high level of electricity, with all three members being in total sync generating a truly belligerent sonority; whereas in Unrelenting Will, another solid composition that showcases all the band’s anger and defiance, the musicality is led by the guitar lines by Paske while Marc1 bursts his lungs with his sick screams. After an eerie bridge named 2015: Mission Accomplished, we face more of the destructive music by Next Bullet titled Born On The Wrong Side, a mid-tempo, dark composition showing a more visceral side of the band. Not only that, Paske and Tom KT make a great duo with their heavy-as-hell riffs and demonic beats, therefore increasing the song’s punch and taste.

As I hate hashtags from the bottom of my heart, I have to say the furious The New Hashtag puts a smile on my face with its less than two minutes of sheer craziness, in a well-balanced fusion of Thrash Metal, Hardcore and Punk Rock. And bringing a lot of groove to their sonority, Kill The Maniac Pedophile is another short and sweet creation by Next Bullet that overflows rage despite being a bit bland, with its the last part getting a lot more dynamic (which unfortunately doesn’t last as long as it should), before the supersonic Remember! concludes the album in great fashion. The sound of the guitar by Paske is truly exciting, as if he is cutting our flesh with his riffs mercilessly, while Tom KT continues to pound his drums manically and Marc1 gets more and more insane on vocals.

Now that you have a pretty good understanding of what Thrashcore stands for and its purpose in heavy music, you should definitely give a try to Next Bullet and their berserk music by visiting their Facebook page and purchasing your copy of Zero at their BandCamp page. As mentioned before, Zero is a beyond solid debut by this angry power trio, having all the necessary qualities to become a reference in underground Thrashcore and a great source of energy for the band to keep moving forward in their career.

Best moments of the album: Next Bullet, All I Have Earned and Antiparasitic.

Worst moments of the album: Kill The Maniac Pedophile.

Released in 2017 KT Records

Track listing
1. Next Bullet 3:20
2. All I Have Earned 3:20
3. Not Allow Them 2:00
4. Antiparasitic 2:18
5. Unrelenting Will 3:04
6. 2015: Mission Accomplished 0:38
7. Born On The Wrong Side 2:38
8. The New Hashtag 1:30
9. Kill The Maniac Pedophile 1:34
10. Remember! 2:40

Band members
Marc1 – vocals
Paske – guitar, bass
Tom KT – drums