Album Review – Mettadone / Rotten Flattery (2019)

This talented Ukrainian entity returns after four long years with a much darker and rawer sound, bringing to our ears first-class European Death and Doom Metal.

Formed in 2014 as a Gothic-doom duo by vocalist and multi-instrumentalist Evgeniy Shamarin in Kharkiv, a city in northeast Ukraine which is considered the Black Metal capital of the country, Death/Doom Metal unity Mettadone are ready to crush with a brand new lineup and musical direction in their sophomore album Rotten Flattery, highly recommended for fans of bands with a classic 90’s European sound such as Hypocrisy, Edge of Sanity and Paradise Lost. Comprised of the aforementioned Evgeniy on vocals and lead guitar, Sergey Baskakov also on the guitar, Alexander Chernyakhovsky on bass and Alexey Silenko on drums, Mettadone decided to venture through much darker and devilish lands in Rotten Flattery than what we were able to witness in their debut album Invisible Disease, mainly thanks to Evgeniy moving from drums to vocals and guitar when their previous vocalist left the band, switching from their My Dying Bride-inspired sonority to a much rawer approach, consequently sounding closer to other amazing underground acts like Warcrab, Moss Upon The Skull, Refusal and their countrymen 1914.

The quartet begins hammering their instruments mercilessly in the opening track Mind’s Prisoner, showcasing a well-balanced fusion of classic Death Metal and old school Doom Metal (and even Blackened Doom), with Evgeniy growling like a demon while Alexey crushes his drums in great fashion; whereas in Obscurity of Hypocrisy they keep blasting hatred and rage in the form of extreme music, with the band’s guitar duo Evgeniy and Sergey being on absolute fire, adding a welcome touch of evil to the music with their raw, razor-edged riffs. Then Alexander and Alexey extract pure metallic and utterly menacing sounds form their respective instruments in Untrue Entity, generating a thunderous atmosphere perfect for Evgeniy’s demented roars, resulting in six minutes of darkened sounds perfect for banging your head like there’s no tomorrow. And in Pray for Help we’re treated to a more ferocious version of classic Sludge and Doom Metal, with symphonic elements bringing epicness and melancholy to the overall musicality. Furthermore, it’s a pleasure to listen to Alexey on drums, as he can be at the same time infernal and very technical, never letting the music get stale or tiresome.

Living up to the legacy of underground Doom Metal, the quartet delivers the Stygian tune On the Verge, showcasing a beautiful work done by Evgeniy, Sergey and Alexander with their stringed weapons, and also presenting some clean vocals and crisp guitar solos as “bonuses” for our avid ears. In a Funeral Home showcases creepy piano notes intertwined with cutting riffs and pounding drums in what’s the darkest of all songs of the album with its seven minutes of demonic sounds and a strong feeling of hopelessness, just the way we like it in old school doom, also sounding very progressive and intricate from start to finish. Act of Revenge is another song tailored for ripping your spinal chord headbanging where Evgeniy’s growls get deeper and deeper as the music progresses, with the band’s guitarists being in absolute sync, therefore delivering flammable riffs from their axes while Alexey dictates the rhythm with his hellish beats. The last track from the regular version of the album, entitled Orphan, will pierce your ears and minds with its classic Doom Metal sonority infused with Death Metal nuances, and you better be ready because the quartet won’t stop hitting you hard with their vicious music, with the song’s ending being an interesting mix of the Death Metal by Unleashed with the obscure music by Paradise Lost. And lastly, Mettadone offer us more of their dark and visceral music in the bonus track He’ll Not Be Alive, where Evgeniy keeps gnarling demonically while his bandmates fire insanity and violence from their instruments, with the strident sound of guitars being simply fantastic and extremely enjoyable.

After listening to Rotten Flattery, I’m more than sure this new version of Mettadone is here to stay, providing fans of obscure doom and death everything they can ask for in underground extreme music. Hence, don’t forget to give Mettadone a shout on Facebook and on VKontakte, to subscribe to their YouTube channel for more of their visceral music, and obviously to purchase a copy of Rotten Flattery from the Archaic Sound’s BandCamp page or from Discogs. After all is said and done, although Kharkiv might be considered the Black Metal capital of Ukraine, let’s say that the city also has its share of first-class Death and Doom Metal to offer us fans, thanks to the great job done by Mettadone in their brand new opus and hopefully in many more to come in their promising career.

Best moments of the album: Obscurity of Hypocrisy, Pray for Help and Act of Revenge.

Worst moments of the album: None.

Released in 2019 Archaic Sound

Track listing
1. Mind’s Prisoner 7:10
2. Obscurity of Hypocrisy 4:26
3. Untrue Entity 6:16
4. Pray for Help 5:31
5. On the Verge 6:41
6. In a Funeral Home 7:06
7. Act of Revenge 5:26
8. Orphan 7:34

Bonus track
9. He’ll Not Be Alive 3:49

Band members
Evgeniy Shamarin – lead vocals, guitars
Sergey Baskakov – guitars
Alexander Chernyakhovsky – bass
Alexey Silenko – drums

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Metal Chick of the Month – Mariia “Masha” Dementieva

Raise some hell, our true Lady Evil!

Are you ready to scream and roar together with our metal chick of the month of April in the name of darkness and evil, here on The Headbanging Moose webzine? If you’re a fan of the blasphemous, obscure and absolutely awesome music played by renowned acts like Behemoth, Septicflesh and Kaoteon, among many others, you’ll fall in love with the talent and beauty of Mariia “Masha” Dementieva, also known as simply Masha (or even  Mary Crematorium in a not-so-distant past, and if you prefer, Мария Дементьева in her mother tongue), the unrelenting frontwoman for Ukrainian Blackened Death Metal horde Nordwitch. That, of course, if you come from another galaxy or dimension and haven’t listened to Nordwitch’s sulfurous music yet, because if you’re from this planet I’m sure you’re already addicted to Masha’s demonic growling.

Although there’s isn’t much available online about Masha’s personal life (apart from many awesome photos from her career as a model, photo model and alternative tattoo model), you can still enjoy a good amount of information from her ass-kicking Kyiv-based band Nordwitch, formed in 2015. Singing about some very interesting topics such as satanism, occultism and ancient Scandinavian mythology, Nordwitch bring forth a flammable fusion of Black and Death Metal in their music, offering tons of melody amidst a brutal sonic devastation. The name Nordwitch, according to Masha herself, is the band’s representation of the mysticism and mystery of Scandinavian witches with a hint of female sexuality, which by the way matches perfectly with her diabolical vocal style. As a matter of fact, before becoming Nordwitch, Masha and the rest of the band, guitarists Max and Leo and bassist Max Senchilo, were all part of a Symphonic/Progressive Metal band named Crystalnight, where Masha was not their vocalist, but their keyboardist. If you’re curious to know how Masha and her bandmates used to sound before morphing into the dark beast known as Nordwitch, you can take a listen at some of their songs from their ReverbNation profile, such as Dark Angel and the original version of Nordwitch’s crushing tune Lady Evil.

In addition, not only Masha spearheads her horde of Blackened Death Metal in Nordwitch, but she was also one of the producers of their 2016 opus Mørk Profeti together with the other members of the band. You can listen to their pulverizing album in full on YouTube, and raise your horns to amazing songs like the aforementioned Lady Evil and Messiah of Death, or search for some live footage online like this one where the band is playing Lady Evil live at MHM – Metal Head’s Mission Festival in 2018. Furthermore, don’t forget to buy your copy of the album at the Satanath Records BandCamp, to subscribe to the band’s YouTube channel (where you can find for example a fun and raw version of the song No Regret live in Kyiv, Ukraine in 2016), follow them on VKontakte, and listen to more of their music through their ReverbNation and SoundCloud profiles. Who doesn’t enjoy listening to some brutal metal music like this remastered live version of Messiah of Death, right?

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In regards to her idols and main influences in music and in life in general, Masha said in one of her interviews that not only herself but all of her bandmates are inspired by mysticism, occultism and several other eccentric topics when writing their music, always trying to make their sound as unique as possible. As the main founder and central figure of Nordwitch, a project that was originated inside her pagan mind, Masha is obviously influenced by all classic Black Metal bands, such as Mayhem, Watain and Bathory, which she’s been a fan since she was a teenager, and you can see how much she’s passionate about such controversial but fantastic subgenre of heavy music by visiting her official Instagram account and searching for her personal videos playing several Black Metal classics on the piano and keyboard. For instance, take a very good listen at her delicate but at the same time piercing piano versions for Burzum’s Dunkelheit and Han Som Reiste, Dark Funeral’s Stigmata, Dissection’s Where Dead Angels Lie and Thorns Of Crimson Death, and Shining’s Tillsammans Är Vi Allt, among others, as well as non-Black Metal hymns like Type O Negative’s Love You To Death. In addition, she mentioned in an interview that she’s also influenced by classical music and Scandinavian folk music, which kind of explains her passion for the piano, and that Runhild Gammelsæter, a Norwegian musician notable for being the vocalist for the American bands Thorr’s Hammer and Khlyst, is her favorite female metal singer of all time, complementing by saying that she cannot choose only one male singer as her favorite, though, as there are too many.

When asked about her hobbies outside of music, Masha listed a few very interesting and healthy activities, like working out and practicing sports, modeling and photography, also mentioning her interest in satanism, occultism and the mythology of ancient Scandinavia, which as aforementioned are the main topics covered in the music by Nordwitch. In addition, Masha said in one of her interviews she’s an apolitical person, as in her opinion true Black Metal has always been and will continue to be away from politics or anything related to it, being focused on religion and other more obscure topics. She also said that she had always dreamed about being in an Extreme Metal band like Nordwitch, but she wasn’t sure if that was going to actually happen one day, also saying she understands being a woman in a Black and Death Metal band from the underground scene is not easy at all, but that she won’t give up and keep on rockin’, always counting on the support form her family, friends and fans, aiming as high as possible with Nordwitch in the years to come. And we, true metalheads, will be ready to hail darkness and raise our horns together with the unstoppable Masha and her henchmen, no doubt about that.

Masha’s Official Instagram
NordWitch’s Official Facebook page
NordWitch’s Official VKontakte
NordWitch’s Official YouTube channel

Album Review – 1914 / The Blind Leading the Blind (2018)

It’s time to head into the battlefields of the Great War together with these talented and obstinate Blackened Death and Doom Metal infantrymen from Ukraine.

It’s time to head into the battlefields of World War I together with Ukranian Blackened Death/Doom Metal infantrymen 1914 and their brand new opus, the breathtaking The Blind Leading the Blind. World World I might not get explored as it should very often, as World War II typically overshadows it, but this Liviv-based squad, formed in 2014 at the 100th anniversary of World War I, makes a damn solid case for its historical significance (click HERE for an in-depth interview regarding the band’s ideology), with their unique and incendiary fusion of  Black, Death, Doom and even Sludge Metal being stomping, heavy-as-hell, therefore inspiring the strength and bravery within to march towards death.

Comprised of 2.Division, Infanterie-Regiment Nr.147, Oberleutnant – Ditmar Kumar on vocals, 37.Division, Feldartillerie-Regiment Nr.73, Wachtmiester – Liam Fessen and 5.Division, Ulanen-Regiment Nr.3, Sergeanten – Vitalis Winkelhock on the guitars, 9.Division, Grenadier-Regiment Nr.7, Unteroffiziere – Armin von Heinessen on bass and 33.Division, 7.Thueringisches Infanterie-Regiment Nr.96, Gefreite – Rusty Potoplacht on drums, 1914 pay homage to all that fell fighting the Great War, with their themes covering topics such as the Battle of Gallipoli (and the involvement of Ataturk), the Brusilovsky breakthrough, the Battle of Verdun and the gas attack at Ypres, not being political nor warmongers, but just telling the tales of war, injustice, fear, hopelessness and endless death as they happened. Featuring a deadly, lugubrious artwork by Czech artist Vladimir “Smerdulak” Chebakov, The Blind Leading the Blind is a precious gem of extreme music, positioning 1914 not only as one of the best underground metal bands of the current scene, but of the past decade without a shadow of a doubt.

War In is a beautiful, wicked and dark intro that takes us to the horrors of World War I, exploding into visceral Blackened Death Metal in Arrival. The Meuse-Argonne (inspired by the Meuse-Argonne Offensive, the greatest American battle of the First World War, where in six weeks the AEF lost 26,277 killed and 95,786 wounded), led by the pulverizing drums by Rusty, while Ditmar roars the song’s lyrics manically (“Arrival / The Meuse-Argonne offensive started like clockwork / We planned to break through the Hindenburg line / I know what we are fighting for / Hopefully to end the war”), also bringing the most Stygian elements from classic Doom Metal. Then we have A7V Mephisto, a World War I German tank masterfully translated into a brutal and heavy tune where the entire band showcases their heavy artillery by blasting sheer obscurity inspired by old school Black Sabbath and Celtic Frost, in special Liam and Vitalis with their lethal riffs, but with a more demonic twist; followed by High Wood. 75 Acres of Hell, an infernal display of Black and Death Metal spearheaded by Ditmar’s growls while Armin and Rusty keep the ambience as dense and grim as possible with their respective instruments, displaying the battle for High Wood’s 75 acres, which started on July 14 and raged nearly continuously for 64 days, coming to be known as “The hell of High Wood” or “The rottenest place on the Western Front.”

Bagpipes ignite a sinister and pulverizing cover version for The Exploited’s all-time hit Beat The Bastards, sounding as rebellious and fun as the original version, but of course with a more metallic and crushing vibe, with highlights to the beautiful job done by both Liam and Vitalis with their hellish guitars. In the interesting bridge Hanging On The Barbed Wire, the infantry sings while marching under a heavy storm (“If you want to find the General, / I know where he is, / If you want to find the General, / I know where he is / He’s pinning another medal on his chest / I saw him, I saw him / Pinning another medal on his chest.”), setting the tone for the superb Passchenhell, a wordplay with The Battle of Passchendaele, also known as the Third Battle of Ypres, a campaign of World War I fought by the Allies against the German Empire. Musically speaking, it’s another flawless display of Blackened Death Metal infused with Doom Metal nuances, also featuring the beyond special guest vocalist David Ingram (Benediction, Bolt Thrower, Just Before Dawn). Furthermore, Rusty is once again bestial on drums, whereas Ditmar together with David will haunt your soul with their demonic growling.

“Hello there, soldier! Ready to kill more Germans?” Those warlike words ignite a fantastic sonic havoc by 1914 titled C’est Mon Dernier Pigeon, leaning towards pure old school Black Metal, feeling and sounding as thunderous and menacing as possible and ending in the most demolishing way you can think of; followed by Stoßtrupp, the German word used to describe shock troops or assault troops created to lead an attack, where another eerie, obscure narration suddenly explodes into a darkened feast of Black and Death Metal tailored for cracking your neck headbanging, with Armin sounding vicious with his rumbling bass punches. Lastly, we have The Hundred Days Offensive, an Allied offensive that lasted from August 8 to November 11, 1918, ending World War I, and 1914 turned that battle into 10 minutes of first-class Blackened Death and Doom Metal where you can feel the horrors of the battlefield in the music, remaining very introspective, melancholic, and flowing infernally until the music morphs into the sensational and creepy outro War Out, the perfect ending to such brilliant album.

In summary, The Blind Leading the Blind, which by the way had as its official release date the 11th hour on the 11th day of the 11th month (Central European Time), marking the 100th anniversary of the end of World War I, is a must-have not only for admirers of Extreme Metal, but also for anyone who wants to learn more about World War I in a very unorthodox and exciting way. Available for purchase from the band’s own BandCamp page, as well as from the Archaic Sounds’ BandCamp page, from the Redifining Darkness Records’ BandCamp page, from iTunes and from Discogs, The Blind Leading the Blind definitely redefines the career of 1914, propelling them into a more-than-promising future. Having said that, don’t forget to follow them on Facebook, subscribe to their YouTube channel, grab your weapons and be prepared to face death in the battlegrounds of the Great War.

Best moments of the album: Arrival. The Meuse-Argonne, Beat The Bastards, Passchenhell and C’est Mon Dernier Pigeon.

Worst moments of the album: None.

Released in 2018 Archaic Sound/Redefining Darkness Records

Track listing
1. War In 1:14
2. Arrival. The Meuse-Argonne 6:20
3. A7V Mephisto 8:13
4. High Wood. 75 Acres of Hell 5:27
5. Beat The Bastards (The Exploited cover) 5:02
6. Hanging On The Barbed Wire 2:28
7. Passchenhell (feat. David Ingram) 7:01
8. C’est Mon Dernier Pigeon 5:22
9. Stoßtrupp 6:13
10. The Hundred Days Offensive 10:01
11. War Out 1:55

Band members
2.Division, Infanterie-Regiment Nr.147, Oberleutnant – Ditmar Kumar – vocals
37.Division, Feldartillerie-Regiment Nr.73, Wachtmiester – Liam Fessen – guitar
5.Division, Ulanen-Regiment Nr.3, Sergeanten – Vitalis Winkelhock – guitar
9.Division, Grenadier-Regiment Nr.7, Unteroffiziere – Armin von Heinessen – bass
33.Division, 7.Thueringisches Infanterie-Regiment Nr.96, Gefreite – Rusty Potoplacht – drums

Guest musician
David Ingram – vocals on “Passchenhell”

Album Review – Barkasth / Decaying (2018)

A new formation on the landscape of the Ukrainian Black Metal scene reveals the dark side of idolatry on human life and demonstrates the result of this pernicious influence in their debut full-length opus.

It’s time to get devilish, heavy and blasphemous with the interesting fusion of classic Black Metal with Melodic Black Metal and Blackened Doom blasted by a four-piece act hailing from Ukraine comprised of Arkhonth on guitars and vocals, Goreon also on guitars and vocals, Hagalth on bass and Malet on drums, collectively known as Barkasth. Formed in 2015 in Kharkiv, the second largest city in Ukraine located in the northeast part of the country, Barkasth are spreading darkness not only in their homeland but everywhere else in the world with their debut full-length album, simply titled Decaying.

A new formation on the landscape of the Ukrainian Black Metal scene, Barkasth’s source of inspiration is a radically negative attitude towards religion, in any of its manifestations, as the main cause of obscurantism and distorted perception of reality – the main indicator for the level of ignorance of a contemporary man. Throughout the seven unrelenting tracks in Decaying, this Stygian horde reveals the dark side of idolatry on human life and demonstrates the result of this pernicious influence. In other words, the music by Barkasth presents no artificial elements nor any other type of shenanigans added to it, going straight to the point and showing the world Black Metal is still one of the most effective weapons against all forms of religion.

And the opening track Begging By Freaks comes crushing with a classic and epic beginning that beautifully evolves into a mid-tempo, blackened sonority where harsh and demonic growls are supported by the scorching riffs by  Arkhonth and Goreon. Put differently, this is a sulfurous and austere display of Melodic Black Metal infused with elements from Blackened Doom and traditional Doom Metal that will please all fans of the genre, whereas an even darker atmosphere serves as the background for the hellish Alone, with Malet delivering rhythmic but at the same time fierce beats while the harsh vocals by Arkhonth exhale blasphemy and hatred, all enfolded by a mesmerizing vibe. And in Blood & Flesh the band accelerates their pace, therefore reaching a more traditional Black Metal sonority with Malet delivering sheer darkness through his blast beast while Arkhonth growls like a true Black Metal veteran, turning it into one of the top moments of the album without any doubt, also showcasing cutting riffs that will pierce through your ears in a violent manner.

Soul Away gets back to a more introspective and obscure hybrid of Black Metal and Blackened Doom, with Arkhonth and Goreon, together with bassist Hagalth, shredding their strings mercilessly, while all the growling and roaring gets as deep, reverberating and demonic as possible; but it’s when they focus on their darkest and most aggressive Black Metal side that they truly thrive, and the title-track Decaying is the perfect depiction of that, with the entire band sounding flammable and infernal, in special Malet with his always demolishing and melodic beats. Then their disturbing and demonic vein arises once again in the visceral hymn Shepherd, with the sound of guitars penetrating deep inside your flesh amidst a feast of desperate and deep roars, not to mention how vile the whole ambience feels. Lastly, as the icing on the cake we have another cryptic, low-tuned aria of darkness entitled …Where Was The Son Of God, where the Doom Metal-inspired beats by Malet are flawlessly complemented by the guitar duo’s anguished lines, resulting in a captivating and very harmonious ending to the album.

Decaying, which is available for a full (and darkened) listen on YouTube and for purchase from the band’s own BandCamp page or from the Svarga Music mailorder, might be far from being a masterpiece or a reference in Black Metal, but that doesn’t mean it’s not an extremely well-crafted and solid album by this hardworking quartet, positioning Barkasth as one of the most promising new acts from the Ukrainian scene and definitely a band to keep an eye on in the coming years. Especially if, just like Barkasth’s band members, you also believe religion is one of the main factors in the imminent and inevitable downfall of our rotten society.

Best moments of the album: Blood & Flesh and Decaying.

Worst moments of the album: None.

Released in 2018 Svarga Music

Track listing
1. Begging By Freaks 6:15
2. Alone 7:16
3. Blood & Flesh 5:53
4. Soul Away 5:17
5. Decaying 5:08
6. Shepherd 6:02
7. …Where Was The Son Of God 6:36

Band members
Arkhonth – guitars, vocals
Goreon – guitars, vocals
Hagalth – bass
Malet – drums

Concert Review – Cradle of Filth (The Opera House, Toronto, ON, 04/11/2018)

Four American boys, four Ukrainian metallers, a multi-cultural Extreme Metal institution and endless mosh pits. That’s what Toronto got in another memorable night of heavy music.

OPENING ACTS: Uncured and Jinjer

My neck and back still hurt today, and I don’t think it’s (just) because of my age, but because the three bands that hit the stage at the small but flammable The Opera House this Wednesday night in Toronto kicked some serious ass from start to finish, igniting nonstop circle pits during the whole night and, as a consequence, making every single fan at the venue more than happy to have spent a few good bucks on their concert tickets. It might be taking a while for the weather in Toronto to warm up in this beginning of spring, but the temperature inside The Opera House on Wednesday was definitely as hot as the fires from the depths of hell for another night of the CRYPTORIANA WORLD TOUR NORTH AMERICA 2018 with the bands Uncured, Jinjer and, above all, the majestic Cradle of Filth.

Photos by Laura Springall – https://www.instagram.com/lspringallphoto/

After having two slices of pizza in order to properly face the hurricane of metal music that was about to come, I headed to The Opera House (which by the way seemed to be sold out) to enjoy the first band of the night, the technical and heavy American Progressive Death/Groove Metal UNCURED. Formed in 2014 in New York City, the quartet comprised of brothers Rex and Zak Cox sharing the vocals and guitar duties (and before you ask, they’re not twins), Jon Kita on bass, and Liam Manley on drums delivered a very solid performance on stage, still promoting their latest album Medusa, released in 2017 (which you can listen in its entirety HERE). Those boys didn’t stop headbanging and shredding not even for a single second, receiving a very positive feedback from the crowd already jammed in the floor section. This is the second time I saw Uncured live and they’re just getting better and better, pointing to a bright future ahead of them. From their setlist I highly recommend the songs Stygian Valley and Myopic (both from Medusa), and their brand new song Terminal, the best of their concert in my opinion. And lastly, I just want to send a quick message to the guy from the crowd that called them “Backstreet Boys”: they might be boys, but they’re talented metalheads, so shut up and try doing something useful for society like what Uncured are doing with their first-class metal music, right?

Setlist
Stygian Valley
Petrified
Myopic
Dilate
Persia (Spontaneous Regeneration alternative version)
Terminal

Band members
Rex Cox – vocals, guitars
Zak Cox – vocals, guitars
Jon Kita – bass
Liam Manley – drums 

Photos by Laura Springall – https://www.instagram.com/lspringallphoto/

After a short break it was time for an explosion of Metalcore made in Ukraine, courtesy of the sexy frontwoman Tatiana Shmaylyuk and her interesting band JINJER. If you’ve never heard of Jinjer, the band was brought into being in 2009 in the city of Horlivka, having already released a few interesting studio albums, like their 2014 opus Cloud Factory (reissued now in 2018, only a couple of years after its original release for reasons beyond my comprehension). Their concert was energetic and straight to the point, with Tatiana leading her henchmen and having a very good interaction with the fans. The only issue for me was the quality of the sound coming from the drums, which sounded during most of their set like the annoying “frying pan beating” sound from Lars’ drums in Metallica’s hideous St. Anger, but nothing that could stop the band and their fans from having a very good time. As I enjoy Tatiana’s deep, enraged growls a lot more than her clean vocals, my top moments of their concert were for sure Who Is Gonna Be the One (from their 2014 album Cloud Factory) and Captain Clock (from their 2016 album King Of Everything), not only warming up the fans at the venue for the main attraction of the night, but also urging everyone to jump up and down and break their necks just like what we always expect from a good Metalcore band.

Setlist
Prologue
Who Is Gonna Be the One
Words of Wisdom
Sit Stay Roll Over
I Speak Astronomy
Just Another
Pisces
Captain Clock
Outlander
No Hoard of Value
Bad Water
Beggars’ Dance

Band members
Tatiana Shmaylyuk – vocals
Roman Ibramhalilov – guitar
Eugene Kostyuk – bass
Vlad Ulasevich – drums 

CRADLE OF FILTH

Photos by Laura Springall – https://www.instagram.com/lspringallphoto/

One thing that always impresses me at The Opera House is the insane speed and very little amount of time the bands and their crew take to switch the whole equipment from one band to another, which is why we didn’t have to wait for too long for another superb, violent and blackened performance by British Extreme Metal institution CRADLE OF FILTH. Spearheaded by the iconic Dani Filth and promoting their latest opus, the excellent Cryptoriana – The Seductiveness of Decay, released in 2017, the band didn’t show any mercy on our souls, blasting some of their most visceral, complex and beautiful compositions from their unparalleled career that already lasts for impressive 27 years (and please don’t ask me how Dani can still growl and scream flawlessly like a demon after almost three decades). Well, when you open the show with songs like the aggressive Gilded Cunt and one of my favorite songs of all time, the masterpiece Beneath the Howling Stars, you know the whole concert will be brutal.

The rest of the band was also on fire, providing the perfect instrumental for Dani to thrive on vocals, in special the bestial drummer Martin “Marthus” Škaroupka behind his glass cage (not sure if that cage is for sound or security purposes), and Oshawa-own beauty Lindsay Schoolcraft, who once again could not hide her happiness for playing with Cradle of Filth in front of her very own people. She was fantastic throughout the entire concert, and didn’t even know how to thank the fans for such warm reception. Actually, it’s us fans who have to thank her for such awesome performance, embellishing classic tunes like The Death of Love, Nymphetamine and Her Ghost in the Fog with her powerful voice.

One of the highlights of the night was undoubtedly the execution of the 11-minute extravaganza Bathory Aria, a marvelous and intricate song I honestly never thought I would be able to witness them playing live. Dani explained they’re playing it as the start of the celebrations of 20 years of what’s in my opinion the best Cradle of Filth album of all time, their 1998 concept opus Cruelty And The Beast (and get ready, because Dani mentioned already they’re planning to release a very special 20th anniversary edition of the album). The brand new songs from Cryptoriana also worked really well, with Heartbreak and Séance sounding simply astounding live, proving once again that Cradle of Filth are a band that don’t just defy time, they kick it in the ass and keep delivering awesomeness album after album, year after year, for our total delectation.

Photos by Laura Springall – https://www.instagram.com/lspringallphoto/

One thing I really enjoy about Dani is how fun and somehow cryptic he always sounds when interacting with the crowd (and he knows we love that). When he’s in town, he always makes sure he praises his Canadian fans, he shows his respect for his supporting acts (demanding a huge ovation for Uncured and Jinjer for their excellent performances), and always finds time to make a peculiar joke about something very Canadian. I remember a few years ago when he said he loved getting to Canada during winter, as our Canadian winter is truly unique, and this time he mentioned a lot of times his admiration for Canadian professional tennis player Eugenie Bouchard. I have absolutely no idea why he mentioned “Genie” Bouchard and dedicated so many songs to her, as she has pretty much no connection to heavy music as far as I know. Apart from being a bombshell and for having lots of serious issues in her tennis career, I don’t see why Dani loves her so much. Well, maybe those are the two reasons why, right?

Anyway, after the classic From the Cradle to Enslave, and after almost two hours of nonstop, electrifying mosh pits (even during a dark ballad like Nymphetamine there were people crushing their skulls inside the pit like wild beats), the concert was over and fans could head home, have another beer, take pictures with the guys from Uncured and Jinjer, and start thinking how they would be able to work the following day after a true avalanche of high-quality extreme music, courtesy of four American boys, four Ukrainian metallers, and a multi-cultural outfit that knows better than anyone else in the world how to perfectly blend Extreme Metal with a theatrical performance, fantastic lyrics and endless energy and pleasure for being able to be on stage for all of us fans.

Setlist
ACT I
Ave Satani (Intro)
Gilded Cunt
Beneath the Howling Stars
Blackest Magick in Practice
Heartbreak and Séance
Bathory Aria: Benighted Like Usher / A Murder of Ravens in Fugue / Eyes That
Witnessed Madness
Dusk and Her Embrace
The Death of Love
You Will Know the Lion by His Claw
Creatures That Kissed in Cold Mirrors (Interlude)

ACT II
A Bruise Upon the Silent Moon (Intro)
The Promise of Fever
Nymphetamine (Fix)
Her Ghost in the Fog
Born in a Burial Gown
From the Cradle to Enslave
Blooding the Hounds of Hell (Outro)

Band members
Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums

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Album Review – Hellfire / Goat Revenge EP (2017)

From the ominous pits of the Ukrainian underworld, comes a triad of black metallers ready to crush your soul with their demolishing debut album.

Are you ready for a demonic storm of Black Metal made in Ukraine, with strong influences from old school Thrash and Death Metal? If instead of simply answering yes you began banging your head and raised your devilish horns, then the darkened, blasphemous music crafted by the vicious power trio known as Hellfire in their debut EP titled Goat Revenge might be exactly what you’re looking for in extreme music. In a little less than 25 minutes, Hellfire unleash sheer fury and hatred upon humanity in Goat Revenge (which by the way features a beyond traditional and macabre artwork by artist Oleg Satanyugin), showcasing all their loyalty and passion for underground Black Metal.

Forged in 2014 in the hellish fires of Kremenchuk, an important industrial city in the Poltava Oblast, in central Ukraine, by lead singer and guitarist Karagh and bassist Necrobaphomet (former members of Ukrainian Black Metal band Paranomia), Hellfire have been gaining a lot of positive feedback wherever they play in their homeland, inspiring the trio to keep moving forward and never turning their backs to traditional Black Metal. If you check their biography online, you’ll see they don’t assign “regular instruments” to themselves, but they use more obscure words to describe their roles in the band. Karagh is responsible for “all guitar holocaust, screams and bulldozer”, Necrobaphomet takes care of the “four strings fornication and obscurant propaganda”, and their third element, drummer Skullcrusher, provides the “drums of doom and coffins”. After reading that, how putrid and aggressive do you think Hellfire might sound?

Goat Revenge starts with an Intro comprised of a minute of flies buzzing, gun shots and ominous sounds, directly followed by the cutting tune Hellmass Attack, where the band delivers devilish Black Metal with huge influences from Death Metal and hints of the badass Rock N’ Roll by Motörhead. Moreover, Karagh blasts pure evilness through his demonic growls and metallic riffs, boosting the song’s already visceral sonority. Following a similar pattern from its predecessor, the title-track Goat Revenge is led by the infernal and rhythmic beats by Skullcrusher, while its main riff will incite you to bang your head nonstop. In addition to that, Karagh sounds filthier on vocals than before, with Necrobaphomet maintaining a high level of obscurity in the music with his roaring bass guitar.

War Apocalypse Battery, another thunderous, badass composition by Hellfire and a mandatory choice for their live performances, presents a solid melody without abandoning the band’s old school sonority thanks to the amazing job done by all band members, in special Karagh with his fiery guitar; whereas investing in a darker and more visceral Black Metal sounding, the power trio fires pure hatred and evil through their music in Field of Screams, with Skullcrusher doing justice to his nickname by pounding his drums manically. And adding some groove to their musicality, Unholy Cult presents a more rhythmic display of their blasphemous Black Metal, with Karagh and Necrobaphomet slashing their strings in a powerful way while Skullcrusher takes care of the intricacy in the music through his beats.

Unleash the Beast is the closest the band gets to the most primeval form of Black Metal, with the song’s fiendish gnarls and blast beats impregnating the air and disturbing our minds. Not only that, Karagh once again offers the listener trenchant riffs during the whole song, and maybe because it’s the longest of all tracks it’s also the one presenting the highest amount of progressiveness and variations, resulting in an amazing full-flavored Extreme Metal chant. Lastly, the band hits us ruthlessly with their most vile fusion of Black and Death Metal titled Lord of the Mighty Horns, one more great option for their live concerts. The drumming by Skullcrusher reminds me of old school Cannibal Corpse, while Necrobaphomet leads the song’s pugnacious ending with his rumbling bass lines, concluding the album on an extremely savage note.

If you have the guts to brave the ominous pits of the Ukrainian underworld to the sound of Hellfire, simply visit their Facebook or VKontakte for news about the band (including their tour dates if you live in Ukraine or if you’re planning on visiting the country anytime soon), listen to Goat Revenge on Spotify, and purchase your copy of the album at the Witches Brew’s BandCamp or webshop, on iTunes or on Amazon. Hellfire will certainly crush your soul with their unrelenting Black Metal, which in the end is everything you crave when listening to good extreme music, right?

Best moments of the album: Hellmass Attack, War Apocalypse Battery and Unleash the Beast.

Worst moments of the album: None.

Released in 2017 Witches Brew/Iron County Records

Track listing
1. Intro 0:53
2. Hellmass Attack 2:43
3. Goat Revenge 3:37
4. War Apocalypse Battery 3:44
5. Field of Screams 2:29
6. Unholy Cult 2:53
7. Unleash the Beast 4:39
8. Lord of the Mighty Horns 3:24

Band members
Karagh – guitars, vocals
Necrobaphomet – bass
Skullcrusher – drums

Album Review –NordWitch / Mørk Profeti (2016)

Behold the rise of a brand new Blackened Death Metal horde hailing from Ukraine, taking the entire world by storm with their high-voltage fusion of epicness and blasphemy.

Rating4

nordwitch-coverWatching the rise of Ukrainian Metal is a thing of beauty. Despite not having any major names yet in the world of heavy music, Ukraine has been growing in importance for all types of metalheads, with names such as Apostate, Sad Alice Said, Majesty Of Revival, Morkesagn and Gasoline Guns, among many others, blasting their powerful music to the four corners of the earth. Having said that, we might be witnessing the birth of a Ukrainian act that has all it takes to take the entire world by storm with their high-voltage fusion of epicness and blasphemy. That band is Blackened Death Metal horde NordWitch, who have just released their extremely heavy debut album entitled Mørk Profeti (or “dark prophecy” from Norwegian).

Formed in February 2015 in the capital city of Kiev, NordWitch are highly inspired by interesting (and usually controversial) topics like Satanism, Occultism and Norse mythology, all embraced by their mighty riffs, their intricate and crisp drumming, and the deep guttural by their stunning frontwoman Masha. The only difference from the band’s inception until today is Ukrainian drummer Eugene Hrulev, who has recently replaced the amazing Hungarian stone crusher Donets Stepan, but apart from that the band has been a solid institution ready to conquer the world with their scathing fusion of Black and Death Metal and a strong passion for extreme music.

As a great example of how powerful and melodious the music by NordWitch is, let me start by saying that they managed to make the three-minute instrumental intro Mørk Profeti truly interesting and exciting even without the vocals by Masha, with Donets smashing his drums flawlessly while Max and Leo kick some serious ass with their guitar lines a la Arch Enemy. As a matter of fact, if you love Arch Enemy you’ll find a lot of them in each song by NordWitch, obviously considerably darker and more blasphemous. Then we have Dominion, a fuckin’ devastating, robust tune (it can’t get any better than this!) tailored for lovers of modern Blackened Death Metal, where Masha and Donets are true beasts on vocals and drums, respectively; followed by Walker From The Shade,  with Masha growling deeper and deeper while Max and Leo continue their guitar onslaught, supported by the metallic lines by bassist Max Senchilo. Furthermore, the “evil Arch Enemy” offer us more of their melodious riffs and solos, not to mention the epic and menacing vibe crafted by all instruments.

nordwitchIn the top-tier chant Lady Evil, the fast and cataclysmic beats by Donets, together with the song’s great riffage and another infernal performance by Masha on vocals, turn it into one the most flammable moments of the album. Moreover, Max delivers an awesome guitar solo at the end just to make the song even more thrilling than what it already is. The Call To An Ancient Evil brings forward a brutal beginning to another sensational creation by NordWitch, where Masha seems to declaim the words in a guttural way instead of screaming them, whereas the musicality sounds very technical and progressive at times mainly thanks to the high level of intricacy found in the song’s guitars and drums. And highly influenced by Scandinavian Extreme Metal, the most epic composition by NordWitch and also one of the best of the album, the rip-roaring To Nord Gods, contains all elements we love in this type of music, including a Viking Metal acoustic intro perfect for the theme proposed by the band, a beautiful pace led by the guitar lines and solos by Max and Leo, and Masha telling a compelling story through her powerful guttural vocals.

In the last two songs of Mørk Profeti, the band’s Blackened Death Metal arises like the burning fires of the underworld similar to what the iconic Behemoth usually do, starting with No Regret, with elements of Thrash and Death Metal added to its already explosive formula, always making sure there’s a huge amount of harmony and cohesiveness amidst the sonic chaos generated by the entire band. And lastly, more Nordic sounds penetrate our ears and minds in the furious chant Messiah Of Death, where Donets is impressive with his precision and rage on drums while Masha gnarls like a female demon, closing such potent opus magnificently.

In my humble opinion, we should all follow the ascension of NordWitch through their Facebook page and VKontakte, and of course blast our ears with their demonic music through their YouTube channel and ReverbNation, because this band is definitely going places and if you love metal like I do you’ll also be very curious to know how high they can go. Mørk Profeti, which can be purchased at the Satanath Records’ BandCamp or webstore, is not only the first stone in their rising castle of darkness, but an album that will put you to bang your head and raise your horns nonstop, which is pretty much everything we want in good heavy music.

Best moments of the album: Dominion, Lady Evil and To Nord Gods.

Worst moments of the album: None.

Released in 2016 Satanath Records/Darzamadicus Records

Track listing
1. Mørk Profeti (Intro) 2:53
2. Dominion 5:27
3. Walker From The Shade 4:33
4. Lady Evil 4:44
5. The Call To An Ancient Evil 5:22
6. To Nord Gods 4:53
7. No Regret 5:15
8. Messiah Of Death 5:08

Band members
Masha – vocals
Max – lead guitar
Leo – rhythm guitar
Max Senchilo – bass
Donets Stepan – drums

Album Review – Majesty Of Revival / Dualism (2016)

One of the most important bands from the contemporary Ukrainian Metal scene returns with a full-bodied album that will definitely put you to dance, love, drink a beer and bang your head, if not all at the same time.

Rating4

full var 5If there’s one very special band that proudly raises the flag of Ukrainian Metal as high as the sun, always delivering amazing music to our ears with a high level of professionalism, commitment and dexterity, it’s Symphonic/Progressive Power Metal Majesty Of Revival, and in case you know nothing about them, I highly recommend you go after all their discography as it’s definitely worth a shot. And if you need more than just these few words to convince you of how good this band is, simply take a listen at their brand new album, entitled Dualism, and you’ll certainly get hooked on their melodious and electrifying music.

Formed in the fall of 2009 by lead singer and guitarist Dimitriy Pavlovskiy in Uzghorod, a city located in western Ukraine, at the border with Slovakia and near the border with Hungary, Majesty Of Revival have already built a respectable career not only in their home country but also in important markets such as Japan, despite all the lineup changes since their inception. After releasing their debut EP Meaning of Life (2011), the full-length albums Through Reality (2012) and Iron Gods (2012) and another EP named Netherworld (2014), the band took a break from the outside world to focus on the studio work to give birth to Dualism, experimenting with different sounds and styles in order to provide their fans a unique experience in heavy music.

An avalanche of groove and heaviness will hit you from the very first thunderous notes by bassist Tom Penzel in the opening track, titled Deadlock, where it’s interesting to note how Dimitriy can easily go from deep harsh growls to very melodic vocal lines, not to mention how progressive guitars and drums sound, helping to keep this 6-minute composition exciting in its entirety. More metallic and aggressive in spite of the smooth keyboards by Vladimir Yakubovskiy, Awaken brings forward a good balance between guttural vocals and piercing riffs with serene and progressive passages, an amazing tune that will certainly pump up the fans when played live; followed by the sensational and classy Van Halen-inspired Hard Rock chant Alive, with highlights to the precise drumming by Vasiliy Irzhak and to its lyrics about our struggles in life (“All the changes occur when you least expect / And you never know who’s in charge / They come after you, if you fight, then you shoot / Or then you escape – take the last parachute”).

In Inner Dimension the band gets back to brutal and complex Power Metal, with the song’s background keyboards creating an amazing aura nicely complemented by the blazing riffs by Dimitriy, reminding me of old school Dream Theater (especially the guitar solos and all tempo changes). Then we have one of the heaviest of all tracks and consequently one of my favorites, the powerful Darkest, showcasing hints of Pantera in its riffs, an epic vibe led by the nonstop beats by Vasiliy, and lyrics as dark as the music demands (“Darkest fears disappearing with fading dreams / Full of griefs, thru the field of blackhearts / Forgotten truth has been replaced by lies / That destroyed belief for us all”); and Failure, where Rock N’ Roll and Heavy Metal are beautifully united once again. The bass guitar by Tom Penzel sounds like a hammer so heavy it is, adding tons of groove to the musicality and, therefore, turning it into a recommended choice for some good headbanging.

mor2016The intro for the power ballad Days seems slightly inspired by Metallica’s classic “One”, suddenly turning into contemporary and progressive Heavy Metal with the symphonic elements in the background increasing the song’s liveliness as well as its soulful guitar solos, whereas Wolfheart feels like listening to Sonata Arctica, including the song’s name and lyrics (“You have the wolfheart / You should free it once / Through the whole pain you have to believe / Release your hopes from the darkest fears / Don’t deny thy destiny / You are the knight of your own life / Cherish thy braveness, honor and love / With the obeisance you have to fight – sword in your hands, high above / You have the wolfheart”). It’s a good composition with beautiful guitar lines and solos, but too smooth at times compared to the overall potency of the album. Tongue gets back to a Symphonic Power Metal vibe with modern elements of Alternative Metal added to it, all without losing its core essence and boosted the the harsh vocals by Dimitriy. In addition, pay good attention to the interesting battle between Dimitriy and Vladimir with their guitar and keyboard solos. And presenting a sonority similar to classic bands like Stratovarius and Sonata Arctica, the very traditional tune Perfection offers nonstop drums and epic vocal lines that will surely accelerate the beat of your heart.

When the band slows down the crazy rhythm of ther music, we’re treated to a medieval power ballad named When the Night Embrace, with the passionate vocal performance by Dimitriy being flawlessly supported by the song’s inspiring atmosphere, becoming a perfect choice for singing along with the band during their live performances. The Hard Rock riffs by Dimitriy and the epic keyboards by Vladimir complement each other in the kick-ass metal tune Serenity, tailored for banging our heads nonstop while Vasiliy keeps hitting his drums as heavy as possible, not to mention the spot-on hints of Industrial Metal added to the vocal lines. As we get close to the end of Dualism, Majesty Of Revival fire the title-track Dualism, more progressive than most tracks of the album due to all its tempo changes and intricate beats and riffs. However, heaviness is still present in the musicality thanks to the deep growls by Dimitriy, feeling almost like a Metal Opera so imposing it is. And the Dream Theater-inspired ballad Same Blood closes the album on a high note, in special due to the superb keyboards by Vladimir and the song’s melancholic and gentle rhythm.

The progressive and symphonic universe crafted by Majesty Of Revival can be better appreciated through their Facebook, VKontakte and YouTube, and the excellency of Dualism can be purchased through their BandCamp page (where you will find some interesting options including bonus tracks and combos with T-shirts), as well as on iTunes and on Amazon. Featuring a modern and fresh artwork by Tomi Fanta, which was probably inspired by the duality found in poker cards, Dualism will instantly put you to dance, love, drink a beer and bang your head, if not all at the same time. In other words, everything we search for in high-quality Heavy Metal music.

Best moments of the album: Awaken, Alive, Darkest, When the Night Embrace and Serenity.

Worst moments of the album: Wolfheart.

Released in 2016 Massive Sound Recordings

Track listing  
1. Deadlock 6:56
2. Awaken 6:14
3. Alive 4:13
4. Inner Dimension 6:14
5. Darkest 4:04
6. Failure 4:33
7. Days 6:00
8. Wolfheart 4:37
9. Tongue 5:26
10. Perfection 3:26
11. When the Night Embrace 4:56
12. Serenity 4:53
13. Dualism 5:06
14. Same Blood 4:50

Band members
Dimitriy Pavlovskiy – vocals, guitars
Tom Penzel – bass
Vladimir Yakubovskiy – keyboards
Vasiliy Irzhak – drums

Guest musicians
Marat Adiev – keyboards
Nelly Hanael – backing vocals
Ivan Kraynyay – bass
David Sánchez – harp, strings

Album Review – Morkesagn / Where The Darkness Never Ends (2015)

These ruthless Ukrainian metallers will take you where the darkness never ends to the sound of their raw and aggressive Black Metal.

Rating4

frontDo you want to know where the darkness never ends? Based on the cataclysmic music brought forth by Ukrainian Black Metal act Morkesagn in their debut full-length release Where The Darkness Never Ends, I should say it’s definitely the city of Kiev, the capital of Ukraine. Those corpse-painted metallers are capable of blending the most refined techniques found in heavy music with the infernal aggressiveness of raw Black Metal, resulting in a must-have album for fans of Emperor, Dissection, Satyricon and early Norwegian Black Metal.

Morkesagn, whose name was taken from the Norwegian language and means “Dark Legends”, was formed in the year of 2013 in Kiev by lead vocalist, guitarist, composer and songwriter Ekvil, and although there have been significant changes to the band’s lineup since then, their music surely evolved to a much more robust and lancinating form. Add to that the content of their lyrics, based mostly on the mythology of Greece and partly on Scandinavian mythology, and there you have one of the most promising bands hailing from Eastern Europe in recent years.

Dungeons, with its smooth and sinister intro suddenly exploding into over 8 minutes of darkness and sulfur in the form of brutal Black Metal led by the demonic growls by Ekvil, presents lots of melodic elements and a somber atmosphere which end up preventing it from being too crude; whereas primeval drums set the tone for the infernal opus Heart of Darkness, the first of their three “hearts”, where Ekvil and Farn burst undistilled Black Metal riffs and solos while Lev Kurgansky (the session drummer for the album) is an unstoppable demon behind his drums.

IMG_5457-Edit_newThe following “heart”, entitled Heart of Poison, starts as very obscure and heavy Doom Metal before becoming a venomous blast of the blackest form of Extreme Metal you can think of. In addition, the devilish way Ekvil declaims the lyrics is at the same time threatening and captivating, enhancing the song’s morbidity. Heart of Flame, the third and last “heart”, will lacerate your soul with its burning Black Metal inflamed by the traditional blast beats and fills by Lev, as well as the piercing riffs by Ekvil and Farn, solidifying this complex tune full of variations as if there were three or four songs in one.

And there’s no place to hide from their blasphemous metal music, as you’ll notice in the solid and vile tune Temple, where beautiful guitar lines flourish amidst sheer carnage, and the rumbling bass lines by Heydvald simply confirm darkness will prevail after all is said and done. Finally, as hazardous as a frostbite we have Frost, an amazing “tribute” to Norwegian Black Metal that lives up to the tradition of Scandinavian extreme music, from its cold name to its hypnotizing rhythm, darkening our minds before the ominous instrumental outro Throne of Doom brings this enraged album to an end.

In conclusion, Morkesagn can undoubtedly take you on a tenebrous journey through the forbidding world of Black Metal aboard the skeleton ship portrayed in the album art of Where The Darkness Never Ends, which can be purchased at the band’s official BandCamp page. It’s just a matter of knowing if you’re brave enough to face the band’s grim musicality and, above all things, if you’re willing to accept infinite darkness into your heart.

Best moments of the album: Heart of Darkness and Heart of Flame.

Worst moments of the album: None.

Released in 2015 Farn Black Productions

Track listing
1. Dungeons 8:20
2. Heart Of Darkness 7:19
3. Heart Of Poison 7:07
4. Heart Of Flame 7:15
5. Temple 7:31
6. Frost 4:43
7. Throne Of Doom 2:57

Band members
Ekvil – vocals, guitars
Farn – guitars
Heydvald – bass
Heisenbeard – drums

Guest musician
Lev Kurgansky – drums (session musician)

Album Review – Gasoline Guns / Metal ‘N’ Roll EP (2015)

Let these Ukrainian rockers show you what real badass Rock N’ Roll is all about with their inebriate and flaming attitude.

Rating5

GG_demo_frontPraising whiskey, fighting, burning gasoline and, of course, our beloved Rock N’ Roll, Ukrainian Metal N’ Roll wolfpack Gasoline Guns might sound as just a tribute to the badass rock music by Motörhead at first, but pay close attention to their music and you’ll see those guys have a lot more to offer to all fans of raspy vocals and dirty riffs. And if you take into consideration the fact that their brand new release “entitled” Metal ‘N’ Roll is actually a demo, even with the overall quality of the songs and the production being significantly better than lots of renowned bands who have been on the road for many years, you’ll get all the more impressed by those Ukrainian rockers.

As aforementioned, Metal ‘N’ Roll is considered by Gasoline Guns themselves as just a demo version of what they can generate, but let’s give this Chernihiv-based band some credit for the awesome work done and call it an EP for reviewing purposes. Although the band has been rocking around since 2013, it’s now in 2015 that they seem ready for hitting the entire world with their uncompromising attitude and boozy musicality, and this demo carries all the elements they need to show everyone that crosses their path what they’re capable of.

The opening track, Jokers 666, sounds indeed like they’re paying homage to the iconic Ian Fraser “Lemmy” Kilmister and his road crew, with its catchy riffs and accelerated rhythm guaranteeing the fun for the listener and the vocals by Dmytro being slightly more demonic than usual Rock N’ Roll. If someone asked me to label this type of music, I would suggest something like “Beer N’ Roll” for sure, and yet again I have to mention the outstanding level of professionalism for what’s supposed to be just a demo. Putting the pedal to the metal like no one else, they were able to get even thrashier in the excellent This Hook Got Caught Up You, where the sick low-tuned bass lines by Andriy combined to the exciting drums by Volodymyr will inspire you for a nasty pub fight. I dare you to stand still during this killer tune, and if you do, I’m sorry but I’ll have to ask you to stop reading this review and go listen to some shitty songs from the always awful Top 40.

gasoline gunsHowever, Gasoline Guns are not just pure Rock N’ Roll, but they can also bring forth some dirty and crude Hard Rock such as Blaze Up, which straightforward musicality is exactly what’s needed to electrify whoever is listening to it. Dmytro leads the party with his inebriate vocals, while the rest of the band adds their rockin’ gasoline to the music to blaze up the house. And next time I want to see more cowbell, please! Well, if you didn’t get this joke, simply grab your bottle of Jack Daniel’s, chug it and hit the floor for some crazy headbanging in Whiskey Funeral Spell, where the riffs by Volodymyr couldn’t sound grimier (in the best way possible, of course), strengthening the quality of the music considerably. As they scream during the song, they’re “drunk as hell”, and we all have to agree that this ethylic element adds a lot of power to their musicality, right?

Anyway, closing this amazing demo we have Panzer Rock ‘N’ Roll, one of the coolest Rock N’ Roll tunes I’ve heard recently. It’s extremely simple, but so effective you’ll start moshing even if you’re all alone thanks to the thrilling riffs by Volodymyr and another great performance by Dmytro, turning it into a heavy rock anthem of the modern era. Put differently, if you truly have Rock N’ Roll flowing inside your veins, I’m sure you’ll listen to this newborn classic nonstop for days in a row.

And not only you can get in touch with this awesome band from Ukraine through their Facebook page, VKontakte, YouTube channel and BandCamp page, but especially if you’re an underground record label you should be aware Gasoline Guns are currently searching for somebody like YOU to release their very first full-length album, which is already recorded and just waiting for your external help to reach complete combustion. If I were you, I would definitely give this promising Ukrainian road crew a chance, and let them show the entire world what real badass Rock N’ Roll is all about.

Best moments of the album: Panzer Rock ‘N’ Roll.

Worst moments of the album: None, of course.

Released in 2015 Independent

Track listing
1. Jokers 666 2:36
2. This Hook Got Caught Up You 2:18
3. Blaze Up 3:33
4. Whiskey Funeral Spell 3:43
5. Panzer Rock ‘N’ Roll 3:37

Band members
Dmytro – vocals
Volodymyr – guitar
Andriy – bass
Volodymyr – drums