Metal Chick of the Month – Tanza Speed

No kisses, no games, don’t think I want love… Do not complain, it’s the speed metal way!

It’s time to put the pedal to the metal here on The Headbanging Moose by presenting to you one of the meanest, fastest and most ferocious ladies in the world of heavy music, a woman that loves Heavy and Speed Metal from the bottom of her heart and who takes no prisoners in her quest for underground music. Not only a talented musician, she’s also a model, a designer and an artist, always fighting for her dreams and never giving up or slowing down no matter what. I’m talking about Constanza Godoy Díaz, better known by her fast and furious moniker of Tanza Speed (or simply Tanza), the vocalist and multi-instrumentalist behind American Heavy/Speed Metal band Outline and the project’s previous incarnation, Chilean Speed Metal band Demona. With that said, are you ready to accelerate and bang your heads together with Tanza?

Born on August 13, 1990 in Quilpué, a city and capital of the Marga Province in central Chile’s Valparaíso Region, and living her entire childhood in Villa Alemana near her family and friends, Tanza is the daughter of two 80’s metalheads and has always been linked to the metal scene (by the way, her father Mauricio “Jackie” Godoy played guitar in two bands from Valparaíso, those being Distorsion and D.O.D.), with her passion for metal music starting when she was around 12 years old while searching for her own identity and exploring different styles. In 2007, at the age of 17, she created her own band Demona (a project without major expectations that didn’t release anything until 2008), only days after moving to Santiago to study English in university. She didn’t finish her career, though, because she realized it was not what she wanted and decided to change her major and study what she really wanted, photojournalism. However, that only lasted for one year, as she couldn’t continue her studies due to her move to Canada in 2011. Tanza actually said being a photographer was pretty exciting, especially in her home country due to all violence and riots happening at that time, and she still takes photos at her home studio and publishes those on her own website.

Our dauntless musician considers herself a person that likes to learn and study by observing things, always trying to notice the differences between cultures as she’s already lived in Chile, Canada and the United States, and traveled to countries like Brazil and Japan, enjoying seeing the contrasts in people. For instance, when she was a kid she enjoyed observing her mother and grandmother sew, always trying to replicate what they were doing, which ended up helping her develop her skills as a fashion designer. Regarding the time when she moved to Canada, in 2011, Tanza said that was necessary as she was being bullied a lot in her homeland Chile. The local scene didn’t really love her, and due to her lack of experience things got out of control and she couldn’t continue in the band she was at that time anymore. It was thanks to her Canadian friends that she decided to save some money and try a new life in Canada, opening up a whole new world of possibilities for her not only as a musician, but as an artist and a businesswoman.

Before Demona, Tanza was part of a couple of bands with some friends, but nothing that could be considered a serious or professional project, those being Chilean Thrash Metal band Corrosion, where she played guitars and with whom she played a few live concerts and recorded only one demo, and another band named Poisoned, where she was also the guitarist, but that lasted only for a few months. In addition, you can also find Tanza collaborating with American Power/Thrash Metal band Destructor in their 2016 album Back in Bondage, not as a musician but as their cover model, giving a touch of delicacy and sexiness to their crushing music. However, as aforementioned, after forming Demona in 2007 Tanza really started to build a career in heavy music, with the band either working as her solo project, where she took care of vocals and played all instruments, or as a regular band with other musicians involved. Since 2008, Tanza and her Demona have released a promo EP in 2008, followed by the demo Metal Is Me in 2009, the EP Die in Violence in 2010, the demo Nightmare in 2011, the EP MIM / The Assassin in 2012, the full-length albums Metal Through the Time, in 2012, and Speaking with the Devil (which she was also responsible for the layout), in 2013, and finally the EP 2015, obviously launched in 2015. The idea behind Demona was quite simple, as Tanza started playing the guitar at home on a regular boring day during her teens, wrote an original song and voilà, the project was born, with the name Demona being inspired by the word “demon”, but with the additional “a” giving it a more feminine touch. You can visit the band’s YouTube channel to get a good taste of their vicious music, like this video of the band playing the song The Apocalypse live in Sherbrook, Quebec, Canada on August 12, 2011, or also go to Tanza’s personal channel to watch her kicking some ass live in Osaka, Japan in 2014 with the songs Demona and Dirty Speed Metal.

In addition, as briefly mentioned in the beginning of this tribute to Tanza, Demona recently morphed in 2017 to a new entity entitled Outline, having released in 2017 their first demo named Fire Whiplash and, more recently, an expanded and more professional version of that demo, with the addition of a few new songs to it and, of course, a better overall production. Outline is not just a continuation of Demona, but an enhanced project where Tanza, together with J. Hammer, the mastermind behind American Black/Speed Metal/Punk one-man army Hammr, reveal to the diehard fans of Demona a newer and more traditional side of Tanza, and you can take a good listen at that metamorphosis directly at Outline’s BandCamp page or YouTube channel, like the title-track to their debut album Fire Whiplash. Under this new name, Tanza is known as “The Speed”, while J. Hammer is simply “The Hammer”, just to give you an idea of how raw, direct and metallic their music sounds.

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Not only an up-and-coming metalhead, Tanza is also the founder of her own clothing store named Speed Clothes, an idea that was originated as soon as Tanza moved to Canada in 2011, when she was broke and didn’t speak the language, and therefore felt the need and desire to start her own business inspired as mentioned by her mother and grandmother. In 2012, she made her first printed swimsuit on spandex and things started to change, but it was in 2015 when she relocated to the United States after getting married that her business really took off, investing all she had at that time to create a product that would fulfill every girl’s demands when it comes to metal clothing, empowering them to dress as they please and “looking hot without sacrificing brutality”, as frontman Mauro Gonzales from American Thrash Metal act Bonded by Blood said once. Furthermore, as Tanza herself stated, she’s not just selling clothes, but also taking care of all other business areas such as marketing, promotion, photography, customer service and website development, for example. You can get more information about Speed Clothes from their official website or from their Facebook page, getting in touch with Tanza and, if you’re a girl who loves metal above all things, maybe even purchase new clothes or accessories for your devilish wardrobe.

Still regarding Speed Clothes and fashion in general, Tanza said in one of her interviews that freedom and creativity are the key points in metal fashion, allowing people to express themselves and to innovate, which is something Tanza believes is a crucial part of metal music. “Metal wouldn’t be what it is now without innovation, and innovation comes with trying new things. Whether you want it or not, it implies that you have to mix and try and invent things. Mainstream artists wear a lot of leather with studs and stuff and, if that’s what you mean then, I think that’s great,” said our multi-talented metaller, complementing by saying why innovation is essential in her line of business. “You cannot pretend you are still in the ‘80s when you are using the internet, you know? Even in metal, we can’t keep it squarely in the ‘80s. I understand the tendency, but the 17-year-old girls of today simply do not care about the ‘80s anymore. They want cool things. And why shouldn’t there be cool things for metal, as there are for everything else in life?”

Tanza’s inspirations and idols in music and arts in general are pretty much everything we metalheads love, with underground bands like Living Death, Wardance, Desaster and Sentinel Beast being among her favorite ones alongside metal titans such as Judas Priest and the early days of Metallica. However, she mentioned in one of her interviews that she also takes lots of inspiration from other kinds of music like classic rock, such as Queen and Led Zeppelin, and also from 80’s synth pop like Yazoo, Depeche Mode and Trans X. As a matter of fact, Tanza and her Demona were originally inspired by her own personal experiences plus a wide range of styles, from national classic folklore to the most remote and underground bands that may exist, which is basically why her music sounds so raw, vibrant and honest, working as a representation of her own true self.

When asked about the metal scene in her homeland Chile, Tanza said that Chilean metal fans are extremely passionate, loving metal from the bottom of their hearts and with their souls, but that also means they can be very hateful as well to anyone who doesn’t have the same beliefs and ideas or to who’s too different from them. She said that, while she was living in Chile, women were not very accepted in the metal scene, not being taken seriously as they should as the scene was too sexist and elitist at that time which, as already mentioned, was one of the main reasons why she left her country and moved to Canada. However, even with all those hassles, Tanza loves metal from her homeland, with bands like Force of Darkness, Atomic Aggressor, Pentagram, Insanity and Invocations Spells being among the ones she personally recommends to anyone who’s interested in knowing more about Heavy Metal made in Chile.

It was in 2014 when Tanza had perhaps her biggest adventure in the world of heavy music, having visited and played in Japan, the “Land of the Rising Sun”, something not very common for several bands (especially if we’re talking about bands from Chile), with the story behind her trip to Japan being very curious to say the least. Before travelling to Japan, Tanza was going through a boring and depressed period in her life, almost ready not to play with Demona anymore. One day, out of nowhere, a Japanese label called Rock Stakk Records contacted her for playing her music in Japan alongside Japanese musicians, resulting in the first ever (and so far, the only) occasion Demona performed live in Japan. Furthermore, Tanza obviously has a strong connection now with the Japanese rock and metal scene, recommending countless local bands such as Sabbat, Metalucifer, Gastunk, X Japan and Loudness, among many, many others.

And last but not least, when asked about her hobbies and other activities, our alternative Chilean singer and model (or “trollmodel”, as her own uncle would say) answered that she actually doesn’t have much time for hobbies, although she loves doing some relaxing activities like taking pictures and recording videos once in a while. Overall, her time is divided between music, her clothing store and modeling (and of course her husband). There are several interesting interviews with Tanza Speed online, such as this one for The Noise Hour Radio Show on May 22, 2013, where she talks about the music by Demora and other nice-to-know details about her career. The only thing is that the full interview is in Spanish, her mother tongue, but as a true supporter of underground metal I guess it’s a very good opportunity for you to practice your Spanish, right? All in the name of our good, old, fast and furious Heavy Metal.

Tanza Speed’s Official Facebook page (Speed Clothes)
Tanza Speed’s Official Instagram (Speed Clothes)
Tanza Speed’s Official Twitter
Outline’s Official Facebook page
Outline’s Official Instagram
Outline’s Official YouTube channel

“Metal wouldn’t be what it is now without innovation, and innovation comes with trying new things. Whether you want it or not, it implies that you have to mix and try and invent things.” – Tanza Speed

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Album Review – Meathook / Crypts, Coffins, Corpses (2019)

Terror is coming in the form of an absolute ode to all things brutal by this ruthless and demented Death Metal squad from Arizona.

The very first album review of 2019 is an absolute ode to all things brutal, and I’m sure you’ll feel completely disoriented after listening to its 31 minutes of pulverizing and gruesome extreme music. I’m talking about Crypts, Coffins, Corpses, the third full-length installment by American Brutal Death Metal unity Meathook, released on January 1 via Unmatched Brutality Records. Formed in 2007 in Phoenix, Arizona by the Gonzales Brothers, Meathook are ready to strike again six years after the the cruel assault of their 2012 album, Facing Deformity, and their depraved inclinations have only become more sickening with the passage of time.

If the dreams of the deranged could be captured in music, if the tales of their sleeping journeys through kingdoms of the unspeakable and grotesque were vomited out from the mouths of demons, then you would have the sound found in Crypts, Coffins, Corpses, comprised of nine crushing hymns of old school, unrelenting Brutal Death Metal highly recommended for fans of Devourment, Skinless, Ingested and Terrordrome, among other utterly vicious and demolishing metal bands. As the new year begins, a new age of dark dreams and devastation will dawn with the new opus by Meathook, so simply say goodbye to quiet nights and untroubled sleep because terror is coming in the form of the most extreme type of music you can think of.

Wicked noises explode into sheer brutality led by the demented beats by drummer Johnny Gonzales in the opening track Awaiting Torment, while lead singer Mars Gonzales barks like a rabid demon in a feast of violent, gory and visceral sounds just the way we like it; and their onrush of crushing noises goes on in Cauldron of Dead Bodies, a lesson in Brutal Death Metal where guitarists Robin Mack and Aaron Gonzales decimate their strings beautifully, delivering classic Death Metal riffs while the roars by Mars get deeper and deeper. Then Mars once again leads his horde of sick bastards in Purification Through Pain, almost vomiting the lyrics (and therefore making it quite impossible to follow them) while Johnny pulverizes everything and everyone with his bestial drumming, followed by the fulminating title-track Crypts, Coffins, Corpses, perfect for braking your spinal cord in half headbanging, with Robin and Aaron being in total sync with their axes supported by the low-tuned punches by bassist Elliot Thomas in a lecture in gore and dementia. And in Placed Upon the Altar we’re treated to a high-octane devastation bringing the most disturbing and gruesome elements from Brutal Death Metal such as inhumane growls, incendiary guitars and nonstop blast beats, or in other words, another sensational creation by this devilish Death Metal squad.

Leaning towards old school Cannibal Corpse but at the same time presenting a more contemporary vibe, Temples Made From Flesh is a song perfect for slamming into the pit, with Mars sounding absolutely monstrous on vocals, whereas in Disseminated Remains an operatic intro morphs into an ass-kicking display of savagery led by Johnny’s potent and rhythmic beats, hammering our heads mercilessly from start to finish. If you’re still alive after such gargantuan level of havoc blasted by Meathook up until now, you better get ready because the album’s second to last bloodthirsty extravaganza, titled Awakened by the Stench, is just as perverse and vile as the rest of the album, with Mars and Johnny complementing each other’s demonic roars and beats respectively. And last but not least, closing their Death Metal coffin the band offers our avid ears the insanely heavy and brutal Coils of Entrails, presenting hints of the most devastating form of Grindcore, not to mention Mars’ spine-tingling screeches and gnarls as well as Robin’s and Aaron’s razor-edged riffs.

If you have what it takes to face the disturbing and thunderous Death Metal by Meathook, you can take a detailed listen at Crypts, Coffins, Corpses on YouTube and on Spotify, and of course if you’re already a longtime member of the Death Metal underworld you can purchase your copy of the album from the band’s own BandCamp page, from the Unmatched Brutality Records webstore, or from the Comatose Music webstore. As aforementioned, the first review of 2019 was going to be a total carnage, and we have to thank the guys from Meathook  for kicking off this new year on such a high, apocalyptic and barbaric mode for our total delight.

Best moments of the album: Cauldron of Dead Bodies, Crypts, Coffins, Corpses and Placed Upon the Altar.

Worst moments of the album: None.

Released in 2019 Unmatched Brutality Records

Track listing
1. Awaiting Torment 3:28
2. Cauldron of Dead Bodies 3:39
3. Purification Through Pain 3:09
4. Crypts, Coffins, Corpses 3:38
5. Placed Upon the Altar 3:19
6. Temples Made From Flesh 3:04
7. Disseminated Remains 3:56
8. Awakened by the Stench 3:32
9. Coils of Entrails 3:37

Band members
Mars Gonzales – vocals
Robin Mack – guitar
Aaron Gonzales – guitar
Elliot Thomas – bass
Johnny Gonzales – drums

Metal Chick of the Month – Wanda Ortiz

I’ve been looking so long for you now… You won’t get away from my grasp…

As 2019 promises to be another memorable year for Maidenmaniacs from all over the world, especially for the ones that reside in the United States, Canada, Mexico and South America who will have the utmost pleasure of seeing Steve, Bruce & Co. live during their upcoming Legacy of the Beast Tour 2019, there’s nothing better than kicking off our Metal Chick of the Month section with an amazing bass player that truly understands what it means to be part of the legacy (and also continuing our tradition of starting the year with a badass girl on bass guitar, of course). I’m talking about Wanda Ortiz (or Wanda A. Ortiz), the skillful bass player for the all-female tribute band The Iron Maidens (billed as the “World’s Only Female Tribute to Iron Maiden”) under the brilliant stage name of Steph Harris, who’s ready to crush your skull in half to the sound of her thunderous, galloping bass allied to her endless stamina when performing live.

Born on March 27, 1968 in Huntington Beach, a California city southeast of Los Angeles, Wanda first learned to play bass at the early age of nine years old, when the elementary school she attended had a music program that enabled students to sign up and choose an instrument. When she arrived late on the first day of music class, she wound up with a junior-sized double bass, and from that moment on we can say it was “love at first gallop”. In addition to that, while she took lessons on the double bass, also known as an upright bass, Wanda also taught herself how to play electric bass when she was 11 years old in order to play in the school jazz band, and she continued playing bass throughout her school years, eventually earning a Bachelor of Music in Performance (BMus) degree from UCI – University of California, Irvine. One funny thing about Wanda and her relationship with the bass guitar is that, according to Wanda herself, she felt a little sad about her instrument when in high school because she could rarely play the melody, which were the fun parts for her, as she got stuck with simpler lines meant to hold down the beat (in other words, a typical bass line), which despite being very important could get really boring at times. Luckily, she had a friend who told her about bands like Iron Maiden and Rush that really featured bass in their music and, after listening to them, she felt a lot better.

Moving on to her career as a musician, our dauntless bassist, who plays a variety of styles such as Heavy Metal, Hard Rock, Blues and classical music armed with her glitter blue G&L SB-2 bass guitar and her black SB-2 bass guitar on select shows, started playing in a more professional way in 1997, when she joined a California-based Punk Rock/Rock N’ Roll band named Rotten Rod & The Warheads. She was their bassist from 1997 to 2002, having recorded with the band a demo in 1998 titled Practice Bomb (under the eccentric moniker of “Wanda Smart Bomb”), containing songs like Germs and Cruel World. I don’t know about you, but I would love to listen to the music by this fun and electrifying band on any rock n’ roll radio out there. Anyway, while still playing for Rotten Rod & The Warheads, she was also the bassist for Heartache City from 1999 to 2001, with whom she recorded the band’s self-titled album in 2001. I couldn’t find anything online form this band, but if Wanda was their bass player I’m sure their music was at least fun to listen to, right? Furthermore, Wanda was also the bassist for a Huntington Beach-based Rock/Blues band named Field of Vision in 2004, having recorded with them the six-track album FOV that same year, highly influenced by renowned acts such as David Bowie, The Rolling Stones and Velvet Underground. Once again, there’s nothing online about this specific album, but as aforementioned we know from the bottom of our hearts it’s good music we’re talking about. As a matter of fact, in 1998 and 2004, she won the Best Female Bassist award at the Rock City News Awards and, in 2003, she also won the best bassist award at The All Access Music Magazine Awards, proving how talented and focused she has always been as a musician.

In addition to those previous acts and to The Iron Maidens, our ass-kicking bassist also works as a freelance musician in various groups and orchestras in the Southern California area, including The South Coast Symphony as principal bassist since 1996. When asked about how different it is playing for The South Coast Symphony and for The Iron Maidens, if that’s the type of diversity she needs in her playing style, Wanda said that she likes to play classical music just as much as metal, and after playing an upright bass she thinks it keeps her chops up, also saying that it’s like someone who enjoys playing basketball and baseball, two different sports but both fun, which is the same with classical music and metal for her. Moreover, her talent is also recognized by several important brands and companies, being endorsed by BBE Sound, Digitech, Dunlop Manufacturing, G&L Musical Instruments, RotoSound Strings, Schroeder Superior Sound Cabinets, Coffin Case and Monster Energy Drink, and she’s also been in a couple of interesting documentaries recently, those being Hair I Go Again (2016) and the upcoming Rock Is Dead? (2019).

It was in September 2002 when Wanda finally joined The Iron Maidens, remaining with the band ever since and adopting her stage name “Steph Harris” as an obvious reference to Iron Maiden’s iconic bassist and founder Mr. Steve Harris. So far, she has recorded with the band the albums World’s Only Female Tribute to Iron Maiden (2005), Route 666 (2007), The Root of All Evil (2008) and the video Metal Gathering Tour Live in Japan (2010), trying to be as loyal as possible to Iron Maiden’s original sound. In one of her interviews, Wanda said that when she joined the band everyone was just looking for a fun and original side project (there were already several all-female tribute acts for bands like AC/DC in the area), as they all had their own bands and projects, with a goal of playing maybe once or twice a month at some local pubs. However, after the first few shows a lot of people started calling them, with things really kicking off after the band had been together for about a year despite the fact they never took themselves too seriously at that time. As a matter of fact, if there’s one thing they always took very seriously was the music, always trying to replicate the original tones from Iron Maiden the best possible way even with the different instruments they use like Wanda’s bass, which is technically a Fender bass but not the same one used by Steve. If you want to take a good listen at how amazing Wanda and the girls from The Iron Maidens are, simply search for them on YouTube, as there are countless fantastic videos of their live performances such as The Trooper and Die With Your Boots On in California in 2014, or these two full concerts recorded in New York in 2018 and in California in 2013. Also, how about a nice and relaxed interview with the entire band conducted by Grasser Production in 2017 called “15 questions with The Iron Maidens”?

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Regarding the songs she likes to play the most from the Iron Maiden vast and rich discography, she said her all-time favorite are Losfer Words (Big ‘Orra), Phantom of the Opera, Powerslave and Rime of the Ancient Mariner, and when questioned if it’s hard for The Iron Maidens to come up with a setlist to please all fans she said it’s not difficult at all because it’s drummer Linda McDonald who keeps track of all places the band plays and what songs they played before, also taking into account her own endurance and the timing for their lead singer to do a costume change, for example, and always focusing on old songs not usually played by Iron Maiden during their current concerts and tours. She was also questioned if she ever struggles with identity, wanting to do her own original material and showcasing it, and she said she doesn’t really have any issues with that, stating that she actually enjoys playing music written by a wide variety of different composers, either metal or orchestral music, and that it doesn’t stop her from writing her own music which she has done before in original bands. Also, when asked if the band has ever had to deal with any issues related to artwork, royalties, cease-and-desists from lawyers or anything like that, she said the band does everything they can to avoid that, but that they were asked to change their logo many years ago (and they did). She complemented by saying that wasn’t a big deal, and she doesn’t think the guys from Iron Maiden were even aware of it; they simply have a good team of people who help look after everything.

Of course, it’s impossible not to talk about her “relationship” with Mr. Steve Harris and his two-fingered galloping bass method. In one of her interviews, Wanda talked about how much Steve Harris and his bass have influenced her taste for music and her playing style, talking about the aforementioned story of her playing only the basic notes while her friends would play the melodies with their violins and violas in high school, but that after listening to the all-time classic Piece of Mind she fell in love with her bass guitar again and never stopped listening to the music by Iron Maiden ever since. Apart from Steve Harris, she also cites Geddy Lee, lead vocalist, bassist, and keyboardist for Canadian Rock titans Rush, and Chris Squire, bassist and founding member of English Progressive Rock band Yes, among her influences, once again showing how much she loves the most intricate, unique and vibrant sounds anyone can extract from a bass guitar. There’s also a price to pay for having Steve Harris as her major influence, and especially for playing Iron Maiden’s music, which comes in the form of fans who believe they can offer her advice on how to perform that material beyond her considerable talent. “Every once in a while, there will be a bass player in the audience. There’s a couple songs that I’ve gotten used to playing it a certain way or maybe a different position, but they’re the same notes, but it’s not the same position (Harris) plays it in. Sometimes I’ll get that, or sometimes I’ll get like, ‘Well, Steve uses two fingers’. Well, okay. Sometimes I’ll hear that. Very rarely though,” said our talented bassist.

Wanda’s first ever Iron Maiden concert happened many years ago during the World Slavery Tour, when according to Wanda herself she didn’t drink anything to avoid having to leave to use the bathroom, as she didn’t want to miss any part of the show (well, it’s the same for me). Years later, Wanda was even able to get to know Iron Maiden in person when Michael Kenney, Steve’s long-time bass tech and the band’s onstage keyboard player, introduced the whole band to them at a concert in Irvine, California. Wanda and the other girls were obviously nervous at first for meeting their idols, but the guys were really friendly to them and down to earth, making the whole experience very pleasant. The only thing that didn’t go as planned was that they weren’t able to give them cookies that they baked specially for them, as their singer left them in her car. I’m pretty sure those cookies were delicious, but you know what was even better than that? The fact that The Iron Maidens were not only able to meet their icons in person for the first time ever, but also that the band led by Mr. Steve Harris supports them, acknowledging their undisputed talent, their passion for metal and their hard work, and that they can rest assured “Steph Harris” and the girls will always represent this more “feminine” and “delicate” side of Eddie with a lot of energy, respect and admiration. Having said that, don’t forget to check Wanda and the girls live whenever they take your city by storm, and of course, as usual… UP THE IRONS!

The Iron Maiden’s Official Facebook page
The Iron Maiden’s Official Instagram
The Iron Maiden’s Official Twitter

“As a bass player, of course, you’re going to be drawn to music more challenging, interesting and fun. I’ve always been an Iron Maiden fan since I was very young. When the band first formed everybody wanted to do something different, something more challenging. Since we all wanted something unique that nobody else was really doing, we thought Iron Maiden would be a good fit. We are all coincidentally huge Iron Maiden fans, so that made it better.” – Wanda Ortiz

Metal Chick of the Month – Lilith Astaroth

Kneeling at my feet, encased in black sheaths of ecstasy… Fulfill your deepest desire to submit to me…

It’s time to set fire to The Headbanging Moose with a woman that’s perhaps the most eccentric, distinct and explosive of all metal chicks who have already embellished our pages through the years. She’s not only a professionally trained actress, dancer, singer, performer and an internationally recognized model in the Gothic and fetish genres, having been featured in several publications and websites, but also an activist and the frontwoman for an American metal act that blends the heaviest and most obscure elements from Gothic, Black and Death Metal. If you have absolutely no idea who that woman is, I bet you’ll be stunned by her talent, beauty and passion for music and arts in general. Having said that, let’s cut to the chase and begin our humble tribute to our last metal lady of 2018, the unstoppable and dauntless Lilith Astaroth (also known as Goddess Lilith), lead singer for Boston, Massachusetts-based metal entity Sorrowseed. In other words, are you ready for total chaos and anarchy with Lilith?

Born on October 31, 1997 in Cambridge, just outside of Boston, Massachusetts, in the United States, Lilith (whose real full name is Eve Lilith Cassidy) loves music from the bottom of her heart, having started her musical pursuits at the age of five when she learned to play the piano. At the age of fourteen, she began to teach herself how to play the guitar, and in the following year she started her first band, curiously named Satan’s Kids, a Grunge and Rock N’ Roll project inspired by the music from icons like Marilyn Manson, Nirvana and Pantera. And Lilith received a lot of criticism in her early days as a singer, as people kept saying she sounded “like a guy” and that she should start singing “like a normal person”. However, despite that continuous criticism, including being kicked out of a band for “screaming too much”, she refused to change her vocal style and kept working hard for several years, until Sorrowseed came along in 2009 after numerous failed band attempts.

Her style of singing combines low guttural growling and high-pitched shrieking, being often compared to famous extreme vocalists like Dani Filth and Angela Gossow, but also exploring after 2010 a more operatic style in the soprano range, like in her 2011 cover version for the classic Christian Woman, by Type O Negative (I guess all women who succumbed to the dark side of music are admirers of the deceased Peter Steele). A true lover of cybergoth, steampunk and latex fashions, Lilith explores her sexuality while creating music at the same time, offering her fans a full-bodied experience during her live performances and on her videos. Using a combination of inhalation and exhalation screams, she is able to produce a vast array of sounds with her voice, turning each live show into a ferocious display of intensity. Since the beginning of her career, she has released several solo works and has lent her voice and performed live with many different projects throughout New England including Sorrowseed, Mostri and Pandora’s Toybox, always loyal to the Doom, Death, Industrial and Gothic Metal styles. Her biggest inspirations when writing and composing music are quite straightforward and interesting. Lilith was very clear and honest when saying that hatred, or unbridled hatred for humanity and its ignorance, always inspire her to write music, as her day-to-day experiences with other human beings gave her plenty of reason to be angry much of the time. Obviously all that hatred and anger couldn’t be better represented than the flammable fusion of Extreme Metal styles from all her bands and projects.

In regards to her most famous project, American Melodic Doom Metal band Sorrowseed, Lilith formed the band in 2009 in Boston highly influenced by bands like Amorphis, Behemoth, Cradle of Filth, Dimmu Borgir, Emperor, Satyricon and Therion, singing about controversial topics like the Apocalypse and anything related to the total annihilation of mankind, as well as spreading stories of madness, death, destruction, dark mythology and horror to the masses, all embraced by the band’s obscure musicality.  As a matter of fact, the band started in 2008 by Josh Carrig, of Pandora’s Toybox, evolving to its desired shape and form only in 2010, with the concept behind the band being based on the story of two characters, the Reaping Willow and the Scarab Prophet. Lilith obviously portrays the Reaping Willow, who was once the nature Goddess, Demeter.  Over time, she watched humankind’s pollution, ignorant destruction and environmental abuse overcome the earth. She wept for the ignorance of mankind, becoming enraged with madness and, as a consequence, transforming into the Reaping Willow who, along with the Scarab Prophet, is set upon the destruction of mankind, unleashing apocalyptic terror onto humanity. The band has already released one EP titled Portents, in 2009, and four full-length albums since their inception, those being The Extinction Prophecies (2011), Descent of the Scarab Prophet (2012), Dread Sylvan Summonings (2012), and Nemesis Engine (2013), including incendiary songs like Ocean Scorn (and you can always listen to their albums and obviously purchase them from their own BandCamp page). Working as a way for Lilith to channel her powerful feelings into something creative and non-destructive, as she’s always been very much about vengeance, wrath, and destruction, Sorrowseed kick some serious ass live as you can see in their performance during the Damsels of Darkness Tour playing the song Arcana (of the Lich Queen), with their first ever concert happening at the launch party of 420Mass.com during the 2010 Boston Freedom Rally.

You can also find Lilith lending her beautiful and devilish voice to several distinct bands and projects in the world of heavy music, such as doing vocals for Chilean/American Thrash/Death Metal band Angor from 2014 to 2015, and for American Blackened Death Metal band Coffin Birth starting in 2016. She also worked as a guest vocalist in the song Bloodborne Penance, from the 2016 album The Bowels of Chaos, by Coffin Birth; in the song Halle Ravine, from the 2017 album The Sachem’s Tales, by American Atmospheric Black Metal band Dzö-nga; and in the song The Black Feathered Vixen, from the 2013 EP Unleash the Inferno, by American Death Metal one-man band Eric Pellegrini. There are other projects which are not as “clear” as the ones listed above, such as her involvement as the lead singer of Nemesis Engine, a hybrid of ex-Sorrowseed and ex-Theogonia members, as well as her participation with other bands including a Groove Metal act with former bandmate Chris Adamcek, and an electronic collaboration with digital songstress Amber Ladd.

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As aforementioned, Lilith is not only a regular vocalist and musician, but also an actress focused on the underground and independent scene. It was in 2009 when she began exploring the world of acting, starting with taking courses from Harvard University, doing extra work for major films, and landing minor roles in independent films such as God of Vampires, Nun of That, Heaven and Hell, Legless and Scrooge in the Hood. She has also appeared on NESN as a ring girl for Boston Boxing, has done several interviews in the cosplay documentary Cosplayer Nation, appeared on NBC’s The Dr. Keith Show to talk about safety as a public figure on the internet, and appeared several times in the reality-based web series Quiet Desperation. You’ll also find Lilith in many different music videos as an actress, such as When Steel and Bone Meet, by Goatwhore; Misbegotten Candy, Down in the Mire, and Slaves to the Sleigh, by Pandora’s Toybox; Runnin From Jesus, by Matalon; and Babylon Train, by Desar.

Furthermore, you can take a look at her her IMDb profile to see in detail all B-movies, shorts and TV series she’s been featured, like playing a character named Petunia Pete Sawyer in the 2017 comedy-horror movie Groundhog. In addition to that, Lilith has also attended a good amount of public events through the years, like doing public speaking in different editions of the annual Boston Freedom Rally and the Philadelphia Freedom Festival Benefit, as well as constantly improving her acting skills by taking several training sessions and courses like Introduction to Acting and Advanced Acting from Harvard University, in 2009, Acting Shakespeare and Introduction to Public Speaking also from Harvard University, in 2010, and private classes in C.O.R.E. Acting, in 2013. Do you think that’s already a lot for just one person? Well, you better be prepared, because there’s still a lot more to come.

If you haven’t noticed yet, Lilith is also an internationally recognized professional model, having shot in different exotic locations ranging from Iceland to Montreal, Ireland, Costa Rica, London, Germany and Italy, as well as all over the United States, with some of her favorite runway events being the Montreal Fetish Weekend Fashion Show, and the New Designer’s Fashion Show of New England. A versatile model with 8 years of experience and a wide variety of looks, ranging from classic pinup, swimsuit, Gothic, cosplay, fantasy, fetish, sci-fi, horror, among many others, Lilith has already done event hosting, art modeling, spokesmodeling, living art, bodypainting, being a Ring Girl, Go-Go dancing, and modeling for some of the edgiest latex designers emerging in the fetish fashion scene. However, when asked which career out of music, modeling, dancing and acting she would like to pursue the most, our devilish goddess said music is what she’s really focused on (as we all know, screaming is something that has always been very natural to her), but she also truly wants to pursue professional acting to the fullest. Acting is according to Lilith herself the most challenging of all activities because there’s always room for improvement with anyone, but finding appropriately paying work in modeling and dancing is the most challenging thing she’s been facing on a regular basis. In addition, maintaining a healthy balance of all those activities and responsibilities is not an easy task at all (by the way, she’s also a LMT – Licensed Massage Therapist, an activist for cannabis legalization, animal rights, and preservation of nature, and a reiki master), but as a great and very efficient multi-tasker she is, nothing stops Lilith from always moving forward in her life and career.

One very important topic to Lilith is her utmost support to the legalization of marijuana, and she has a very strong opinion about what should be done in this case. In one of her interviews, she said that people need to focus the war on drugs against the real problems, like pills, which originate with drug companies, and crime which is funded in large part from marijuana. In her own words, Lillith said that “no one is making pills at home – they come from drug companies with bad policies, operating under bad laws with bad inventory and bad control, they have huge lobby groups that let them get away with this and pills have become one of the most major problems in America.” She complemented by saying that she personally would rather not put any chemicals in her body or take the risk of becoming addicted to a chemical, and she has found that she doesn’t need to take those risks, because marijuana helps alleviate her health issues. “We need to take ‘the money’ out of the illegal marijuana equation; by legalizing and regulating we would lower the prices by lowering the value (the price is artificially propped up by its illegal status), and this would take a big bite out of the pocketbook that funds guns and harder drugs, and open the door to affordable, safe and legal medical marijuana.”

When asked in one of her interviews about the current music scene in the United States and what has changed since she started her career in 2009, Lilith said that it actually hasn’t changed much, despite an increase in the number of metal bands in her area, New England, which according to Lilith herself is at the same time a good and a bad thing because some of those bands are very talented, but others are just terrible. She also said there are some bands she’s a good friend of, such as Faces of Bayon, Matalon, Abnormality, AbSynthe, Necrophiliac Meat Circus, Fever Vein and Voices of the Dead, among others, and that she loves to meet and work with bands that play a similar style to hers because those are not only easier to keep in touch, but to also play more shows together. And last but not least, when asked how important her fans are to her, she was pretty straightforward saying that without fans there would be no one to perform for. She does her best to treat her fans well and hook them up with good prices and merch, and communicate with them every day through her website and all her social media. That being said, I guess no one can complain at all that Lilith is a lazy or an arrogant person; quite the contrary, although we all know how unique she is, the world of metal music definitely needs more women with the same attitude, stamina and passion as the multi-talented Lilith Astaroth.

Lilith Astaroth’s Official Facebook page (music)
Lilith Astaroth’s Official Facebook page (acting & modeling)
Lilith Astaroth’s Official YouTube channel
Lilith Astaroth’s Official Twitter
Goddess Lilith’s Official Instagram
Goddess Lilith’s Official Twitter
Sorrowseed’s Official Facebook page
Sorrowseed’s Official YouTube channel
Sorrowseed’s Official Twitter

“Since I was young, I’ve always been the center of attention. My parents were always sticking a camera or video camera in my face, so I got used to it early. It wasn’t until I was 15, however, that I decided I wanted to front a band. Oddly enough, it was Nirvana that inspired me to find this path. I taught myself how to play guitar and formed my first band shortly thereafter.” – Lilith Astaroth

Album Review – Infuriate / Infuriate (2018)

Here comes a group of Texas all-stars armed with their debut album of fast and furious Death Metal, focusing on the brutal side of nature and unconscientious human behavior.

A group of Texas all-stars, Austin-based Death Metal/Grindcore unit Infuriate was founded in late 2015 by drummer Sterling Junkin (Widower, Laughing and Lying, Venereal Baptism) and guitarist Steven Watkins (Serpentian, Sect of Execration, Sarcolytic, Images of Violence), with vocalist and guitarist Jason Garza (Blast Perversion, Slow Grind) and bassist Alan Berryman (Whore of Bethlehem, Cathexis) completing the band’s pulverizing lineup. After about a year and a half of songwriting, nine demolishing tracks of unrelenting Death Metal and Grindcore had been arranged for the band’s debut self-titled album, released earlier this year, being highly recommended for fans of bands like Deeds Of Flesh, Severed Savior, Severe Torture and Disavowed.

Featuring an obscure artwork by the legendary artist Jon Zig, as well as special images for each song for a more vivid lyric booklet, the album contains a wide range of sinister topics that focus mainly on the brutal side of nature and unconscientious human behavior, with the music being deeply rooted in late 90’s Death Metal with a modern speed. Furthermore, although the album might not surpass the 30-minute barrier, it doesn’t feel incomplete or simplistic at all. Quite the contrary, just like several renowned acts like Slayer and Cannibal Corpse have mastered doing, Infuriate were capable of condensing a gargantuan amount of violence, hatred, heaviness and speed throughout the album’s relatively short time span, positioning the quartet as one of the most promising new names of the underground extreme music scene.

The opening track Juggernaut Of Pestilence is total savagery from the very first note, led by the razor-edged riffs by Jason and Steven while drummer Sterling pounds his drums mercilessly, and their devastation goes on in the sonic havoc titled Slaughter For Salvation, with Jason growling in a demonic and rabid way, being perfect for slamming into the circle pit with the sound of the guitars getting extremely acute and flammable for our total delight. Then Collective Suffering showcases a modern-day Cannibal Corpse vibe, mainly due to the amazing job done by the band’s stringed trio, with the bass punches by Alan sounding as heavy as hell; whereas in Engastration we’re treated to a violent and metallic sonority that gets quite progressive at times, therefore enhancing its taste considerably, also presenting lyrics that reek of old school Death Metal (“Creatures of ingenuity / With voracious appetites / Lacking conscience / They gather…”).

Only Pain Remains is another hurricane of Death Metal and Grindcore for your avid (and evil) ears, with both guitars exhaling rage and madness while Sterling continues to smash his drum set, not to mention Jason’s berserk growls and roars. And the band keeps smashing our heads with their visceral music in Matando, an unstoppable Grindcore tune infused with Death Metal elements spearheaded by an inspired guitar duo, with Jason once again vociferating contemporary and aggressive words (“False sense of security / Betrayed for all to see / Bleeding profusely / From the wounds of treachery / An altercation bred from deception / You must bleed with me”), followed by Mori Terrae, where their guitar shredding is effectively complemented by the fierce beats by Sterling while Jason barks like a beast nonstop in this full-bodied hymn of destruction, and Surrogate, a frantic and pulverizing display of crushing Grindcore with the bestial growls by Jason being supported by another excellent job done on the guitars, with the song’s fulminating pace being furiously led by Sterling’s beats. And lastly we have Cannibalistic Gluttony, portraying a beautiful name for another disturbing tune by Infuriate with the music remaining vile, demented and intricate from start to finish, with highlights to the groovy and complex beats by Sterling, closing the album on an absolutely brutal mode.

In a nutshell, what are you waiting for to slam your damn skull into the circle pit to the pulverizing Death Metal crafted by Infuriate? You can purchase their debut album (available for a full listen on YouTube) from the Everlasting Spew Records’ BandCamp or webstore (in regular CD format or as a CD + T-shirt bundle), as well as from your usual online retailers iTunes, Amazon, CD Baby and Discogs, and keep up to date to all things Infuriate by following them on Facebook, but that, of course, only if you think you’re brave enough to face an overdose of sheer aggression and rage in the form of extreme music made in Texas.

Best moments of the album: Slaughter For Salvation, Only Pain Remains and Matando.

Worst moments of the album: None.

Released in 2018 Everlasting Spew Records

Track listing
1. Juggernaut Of Pestilence 2:28
2. Slaughter For Salvation 2:56
3. Collective Suffering 2:41
4. Engastration 3:20
5. Only Pain Remains 4:10
6. Matando 3:35
7. Mori Terrae 3:46
8. Surrogate 3:18
9. Cannibalistic Gluttony 3:17

Band members
Jason Garza – vocals, guitar
Steven Watkins – guitar
Alan Berryman – bass
Sterling Junkin – drums

Concert Review – Behemoth (The Danforth Music Hall, Toronto, ON, 11/06/2018)

Toronto definitely loves Behemoth at their darkest.

OPENING ACTS: Wolves In The Throne Room and At The Gates

If there’s one thing we cannot complain at all in Toronto is the fact that the winter never really hits us hard before the end of December, which means whenever there’s a concert like this Tuesday’s fantastic triumvirate of extreme music with Wolves In The Throne Room, At The Gates and the masters of blasphemy Behemoth at The Danforth Music Hall during their “Ecclesia Diabolica America 2018 e.v.” tour, you can rest assured it will never be too cold nor snowing, allowing any fan to attend the show and have a great time. Well, I guess even if it was -20oC and snowing like hell the concert would have been absolutely SOLD OUT like it actually happened, with about 1,500 metalheads at the venue, and the reason for that is quite simple. All three bands kicked some serious ass with their austere, obscure and hammering music, especially Behemoth, who put up another memorable performance in the city.

I have to admit I didn’t know much about American Atmospheric Black Metal act WOLVES IN THE THRONE ROOM, formed in 2003 in the city of Olympia, Washington, in the United States, before their show opening for At The Gates and Behemoth this Tuesday, and I’m truly happy with them being chosen to do so. Still promoting their 2017 album Thrice Woven (available from their own BandCamp page), the  band comprised of Nathan Weaver on vocals and guitar, Kody Keyworth on the guitar and backing vocals, Peregrine Somerville also on the guitar, the stunning Brittany McConnell on keyboards and Aaron Weaver on drums (and no, they don’t have a bassist) delivered a solid, entertaining and mesmerizing show, playing only three songs but for around 30 minutes, just the way we love it in Atmospheric Black Metal. If you’re still going to see Behemoth during this North American tour, make sure you get to the venue on time for Wolves In The Throne Room, because watching them on stage is indeed a unique experience.

Setlist
Angrboda
The Old Ones Are With Us
Born From the Serpent’s Eye

Band members
Nathan Weaver – vocals, guitar
Kody Keyworth – guitar, backing vocals
Peregrine Somerville – guitar
Brittany McConnell – keyboards
Aaron Weaver – drums

After a quick break it was time for Gothenburg’s own Melodic Death Metal institution AT THE GATES to prove us all why they’re still one of the most relevant bands from the 90’s unparalleled Swedish scene, slaying everything and everyone throughout their entire concert. All fans at the venue enjoyed a lot the flammable performance by frontman Tomas Lindberg and his henchmen, including the songs from their brand new album To Drink from the Night Itself, such as the title-track and A Stare Bound in Stone. Not only their full concert was a feast of first-class old school and modern-day Melodic Death Metal, but it was nice to watch Mr. Adrian Erlandsson smashing his drums once again after so many years, as the last time I saw him playing live was when he was still drumming for Cradle Of Filth. A great drummer, an amazing and charismatic lead singer, and a very entertaining setlist. What else can you ask for in Melodic Death Metal made in the beautiful Sweden, right?

Setlist
Der Widerstand
To Drink From the Night Itself
Slaughter of the Soul
At War With Reality
A Stare Bound in Stone
Cold
El Altar del Dios Desconocido
Death and the Labyrinth
Heroes and Tombs
Suicide Nation
The Book of Sand (The Abomination)
Blinded by Fear
The Night Eternal

Band members
Tomas Lindberg – vocals
Martin Larsson – guitars
Jonas Stålhammar – guitars
Jonas Björler – bass
Adrian Erlandsson – drums 

BEHEMOTH

Right after At The Gates ended their show, the speakers started playing the devilish children’s choir from the awesome intro Solve, from BEHEMOTH’s blasphemous and totally amazing new opus I Loved You At Your Darkest, putting us all in a trance and warming up our senses for the storm of Blackened Death Metal we were all eager to witness once again in Toronto. And when our favorite Polish horde started their fulminating performance with Wolves ov Siberia, spearheaded as usual by the iconic Nergal, it was hell on earth at The Danforth Music Hall for the total delectation of the 1,500 fans who took the venue by storm.

Blending new songs from their latest albums I Loved You At Your Darkest, which by the way worked extremely well live like the hypnotizing chant Bartzabel and the beyond blasphemous Ecclesia Diabolica Catholica, and The Satanist, with the ominous hymns Ora Pro Nobis Lucifer (my favorite of the setlist) and Blow Your Trumpets Gabriel being a true invocation of evil, with old school material like the pulverizing Ov Fire and the Void, Slaves Shall Serve and Chant for Eschaton 2000, Nergal and his horde comprised of the extremely sharp and talented Seth on the guitar and backing vocals, the bulldozer Orion on bass and backing vocals, and the stone crusher Inferno on drums were on absolute fire from start to finish, worshiping Satan while delivering the best and most intricate fusion of classic and contemporary Death and Black Metal you can think of, with their masks, costumes and props being the icing on the cake. My only “complaint” is that they didn’t end the show with the fantastic O Father O Satan O Sun!, including those menacing horns and masks, but the closing combo Lucifer, We Are the Next 1000 Years  and the outro Coagvla were awesome anyway.

Not only Nergal was extremely happy and excited with the warm reception he received here in Toronto (not to mention the endless, incendiary circle pits beautifully crafted by their, let’s say, “most physical” fans), but seeing such packed venue made him pretty much promise us all that Behemoth will strike us Torontonians once again with their infernal music in a not-so-distant future, and we obviously can’t wait for another bestial performance by one of the most important extreme bands of the current metal scene. Lastly, on a side note, it looks like Behemoth love Toronto even more than we can imagine, as the Polish quartet from hell also played a 7-song setlist at a house party of one of Nergal’s friends the night before as you can see HERE, with the same intensity and energy of their usual concerts at much bigger places. I don’t mind not being invited for those parties as long as Behemoth keep coming back to the city with their insanely heavy and hellish concerts, but if by any chance anyone has a spare “ticket” for that type of event, why not? Just kidding, as I’m not that social, only a metalhead who loves when a band like Behemoth keeps spreading their black wings and unleashing hell upon the earth, showing their love for the city of Toronto as much as we love them back at their darkest.

Setlist
Solve
Wolves ov Siberia
Daimonos
Ora Pro Nobis Lucifer
Bartzabel
Ov Fire and the Void
God = Dog
Conquer All
Ecclesia Diabolica Catholica
Decade of Therion
Blow Your Trumpets Gabriel
Slaves Shall Serve
Chant for Eschaton 2000
Lucifer
We Are the Next 1000 Years
Coagvla

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

Album Review – Elegiac / Pagan Storm (2018)

Forging the New Wave of American Black Metal, behold this talented one-man army from Portland, Oregon and his brand new melodic, aggressive and bestial full-length opus.

Forging the New Wave of USBM (or American Black Metal), Portland, Oregon-based one-man army Elegiac is into this creative and productive overwhelming attitude that all the most influential bands of the 90’s were in at their very beginning, dwelling with the most typical references of the early Scandinavian heritage influenced by the more pragmatic synthesis of the USBM roughness in the project’s brand new opus entitled Pagan Storm. Since its inception in 2014 in San Diego, California by vocalist and multi-instrumentalist Zane Young (from several underground acts such as Airengrav, Blitzgeist, Gormanudr, Lord Impotent and Tideless), Elegiac has released three EP’s and four full-length albums, as well as a demo and several split albums, but it’s with Pagan Storm, which features a classy and epic cover art by Joe McEvoy, that this Black Metal beast has reached its most melodic, aggressive and flammable shape and form.

Zane wastes no time and quickly darkens our minds with his sluggish Doom Metal-inspired beats and demonic gnarls in the opening track titled Rituals of War, evolving into a dissonant and Mephistophelian feast of Black Metal without a single empty space in its over eight minutes of obscurity. Then we have Allegiance and Honor, more brutal and piercing than its predecessor, presenting darkly poetic lyrics (“Calling to the gods of my blood / Deep within my memory / Return my mind to the patterns of old / And teach me the wisdom now tossed away / By the desert god of Abraham / A true plague of the mind and flesh / An empty shell… / An empty slave… / An empty shell… / An empty slave… / Molded for their every will…”) and leaning towards contemporary Melodic Black Metal, with Zane’s roars reaching a truly infernal level throughout the entire song; and dark clouds of Black and Doom Metal spread upon humanity in the 10-minute aria Somber Morning, where Zane delivers the most Stygian guitar lines and delicate but vile beats of the whole album in a demonic display of extreme music that will haunt the souls of the lighthearted. And strident guitar lines kick off the also blackened extravaganza named Through Ancient Eyes, where Zane keeps growling like a demonic entity while pounding his drums in a damned and somber manner. Put differently, if you love the rawest and most sulfurous form of underground Black and Doom Metal, this song is just perfect for you.

A lot more vibrant and electrified than its predecessors,  Purity of Winter brings forward a rumbling and dense sonority for our avid ears, or in other words, a lesson in visceral Black Metal with both guitar and bass lines sounding as crude as they can be, resulting in an enfolding fusion of melancholy, crushing sounds and tones, and the desolation of the winter. In Golden Fires of Victory we face the menacing, obscure gnarls by Zane accompanied by his blast beats and demented guitars, sending a sound message to the unbelievers that the gates of hell are open and darkness is upon us, feeling vile and crushing from start to finish; whereas in the title-track Pagan Storm the talented Zane takes his fury to a whole new level, growling and screaming in the most bestial way while unleashing demonic but at the same time very harmonious riffs from his guitar, once again adding a considerable dosage of modern-day Melodic Black Metal to his raw core sonority. And last but not least, how about 10 minutes of melodic and dynamic Black Metal to darken your metal heart even more? That’s what Zane offers in the closing tune Ancient Spirit, a fantastic “waltz of the damned” where his anguished lamentations add an extra layer of melancholy to the musicality, while his flammable riffs keep invading our ears until the music fades into pitch black darkness.

The somber and eccentric world of extreme music crafted by Zane and his Elegiac can be better explored by visiting the project’s official Facebook page, and of course if you have what it takes to dive deep into the crypts of Hades together with Zane you can purchase Pagan Storm from the ATMF’s BandCamp page or webstore. Hence, after listening to this potent and hellish opus by Elegiac, I bet USBM, our beloved American Black Metal, will be one of your favorite genres whenever straightforward and devilish extreme music is needed in your everyday life, with Pagan Storm becoming your personal reference in the underworld of heavy music.

Best moments of the album: Purity of Winter, Pagan Storm and Ancient Spirit.

Worst moments of the album: None.

Released in 2018 De Tenebrarum Principio

Track listing
1. Rituals of War 8:17
2. Allegiance and Honor 5:07
3. Somber Morning 10:20
4. Through Ancient Eyes 7:33
5. Purity of Winter 7:03
6. Golden Fires of Victory 6:49
7. Pagan Storm 7:16
8. Ancient Spirit 9:41

Band members
Zane Young – vocals, all instruments

Album Review – Dragonlord / Dominion (2018)

Exploring themes of darkness owning and influencing these times we now live in, here comes Eric Peterson’s fantastic Symphonic Black and Thrash Metal project with their first album in 13 years.

After long and excruciating 13 years, San Francisco, California-based Symphonic Black/Thrash Metal horde Dragonlord, the brainchild of Testament’s own Eric Peterson where he’s able to showcase his darkened side, is finally back with a brand new opus, titled Dominion. Serving as the long-awaited follow-up to their 2005 release Black Wings of Destiny, but taking the fantasy and storytelling to a whole new level, Dominion explores themes of darkness owning and influencing these times we now live in, and things that have come to pass. In addition to Eric Peterson on vocals, guitar and bass, Dominion features the musical talents of Lyle Livingston (Psypheria) on orchestrated keys and pianos, Alex Bent (Trivium) on drums, and notable fantasy metal singer Leah McHenry (Leah) on female vocals and choirs, who has performed and recorded with members of renowned acts like Blind Guardian, Nightwish and Delain, among others.

Featuring a stunning artwork painted by Berlin-based Israeli artist and designer Eliran Kantor (Testament, Iced Earth, Sodom), Dominion is a dark fantasy fan’s musical dream, exploring everything from Nordic history to Lord of the Rings, with its eight songs creating a deep and heady musical journey rife with meaning and menace, from the blackest and loudest recesses of Eric Peterson’s mind. If you’re a fan of the superb work done by Mr. Peterson with Thrash Metal titans Testament, you might be surprised by how visceral, epic and imposing his guitar sounds with Dragonlord, not to mention his devilish gnarls, turning Dominion into a must-have for fans not only of the Symphonic Black Metal genre, but also for anyone else who admires high-quality and vibrant extreme music.

The always mesmerizing sounds of thunder and rain open the gates of the underworld in the intro titled Entrance, before Eric comes ripping with his ass-kicking guitar, all embraced by an epic atmosphere and suddenly exploding into the fantastic title-track Dominion, presenting insane keys and an imposing background choir, while Alex proves why he’s one of the most talented drummers of the current metal scene and Eric sounds bestial with his enraged roars. Put differently, this full-bodied and very detailed lesson in Symphonic Black Metal is what Dimmu Borgir should be doing, and their sonic onslaught of piercing and Stygian metal music goes on in Ominous Premonition, getting faster, more demonic and absolutely amazing, with the keys by Lyle being a thing of beauty while Eric not only growls like a demon, but his riffs and solos are also majestic as usual.

In Lamia it’s quite impressive how Eric’s riffs and Lyle’s keys and orchestrations blend so perfectly, with guest vocalist Leha providing a touch of delicacy and passion amidst all devastation blasted by the rest of the band; whereas epicness and lust beautifully flow from all instruments in the stunning Love of the Damned, a Symphonic Black Metal ballad where Eric’s vocals get more introspective and deep (and I would simply love to see them performing this song live). Then it’s time for a journey to the mighty North in Northlanders, with the bitterly cold riffs by Eric and the gripping keys by Lyle being enhanced by Alex’s precise and potent beats, while the ambience remains as epic as possible in a flawless hybrid between Black Metal and Symphonic Metal.

Dragonlord Dominion Ultimate Dragonlair Merch Bundle

Then featuring Tilen Hudrap (Vicious Rumors, Wartune, Thraw) on bass, The Discord of Melkor is perhaps the most Black Metal of all tracks, a dark symphony of classic and vibrant metal music that sounds very dense thanks to the brutality blasted by Alex on drums, whereas Serpents of Fire, the last song in Dominion, is just as fantastic as the rest of this very detailed and thrilling album, with Eric growling and gnarling demonically while Alex and Lyle generate a massive wall of symphonic and violent sounds, resulting in over eight minutes of a captivating and bold sonority for our total delectation, not to mention how its climatic ending gets closer to the Thrash Metal by Testament, therefore adding an extra pinch of adrenaline to the overall result.

If you think that my words are not enough to describe the music in Dominion, I highly recommend you go watch “The Making of Dominion” video series on YouTube (split into parts one, two and three), and in order to get more details about Dragonlord simply go visit their official Facebook page. In addition, from all album versions and bundles available in the market, apart from the digital options you should definitely take a look at the physical combos available from the Spinefarm Records’ webstore, especially the beyond superb “Ultimate Dragonlair” merch bundle, featuring the LP gatefold version with a large-size 20-page lyric booklet, the CD digipack, a copy of the unparalleled “The Burner” comic book, and a stylish T-shirt. But be aware that, once you enter the dangerous dominion of Symphonic Black and Thrash Metal ruled by Eric Peterson and his Dragonlord, there’s no turning back.

Best moments of the album: Dominion, Love of the Damned, Northlanders and The Discord of Melkor.

Worst moments of the album: None.

Released in 2018 Spinefarm Records

Track listing
1. Entrance 2:34
2. Dominion 5:36
3. Ominous Premonition 4:40
4. Lamia 4:15
5. Love of the Damned 5:21
6. Northlanders 6:45
7. The Discord of Melkor (feat. Tilen Hudrap) 7:09
8. Serpents of Fire 8:09

Band members
Eric Peterson – vocals, guitars, bass
Lyle Livingston – keyboards, piano, orchestrations
Alex Bent – drums, percussion

Guest musicians
Leah McHenry – female vocals, choirs
Tilen Hudrap – bass “on Discord of Melkor”

Album Review – Akhenaten / Golden Serpent God (2018)

Steeped in the mythology and mysticism of ancient Egypt and Mesopotamia while exploring forgotten paths of history, here comes an infernal duo armed with their brand new opus of crushing Blackened Death Metal.

Forged in 2012 in the fires of Manitou Springs, a resort city in Colorado, in the United States by the “Houseman Brothers” Wyatt Houseman on vocals and Jerred Houseman on all other instruments, here comes a unique and vibrant Black/Death Metal studio project infused with Middle Eastern Folk Influences (even called “Blackened Mesopotamian Folk/Death Metal”) known as Akhenaten with their brand new album Golden Serpent God, steeped in the mythology and mysticism of ancient Egypt and Mesopotamia while exploring forgotten paths of history, extracting unknown lore and threads of truth. For instance, Akhenaten, known before the fifth year of his reign as Amenhotep IV, was a pharaoh of Egypt especially noted for abandoning traditional Egyptian polytheism and introducing worship centered on the Aten, giving you a very good idea of how distinct and aggressive the music by the duo sounds.

With parallel themes to what’s found in the brother’s Symphonic Black Metal band Helleborus, and featuring an imposing cover artwork by Tony Koehl of Sketch The Soul and a title page artwork by Dennis Lee Hughes of Cythraul Art, Golden Serpent God will appeal to fans of the music by bands such as Al-Namrood, Narjahanam, Melechesh and Kartikeya just like what happened in their previous release Incantations Through the Gates of Irkalla, from 2015, whispering to the most remote regions of primal memory to the sound of their Blackened Death Metal, filled with exotic instruments and rhythmic structures of the ancient Near and Middle East. “The album is a mural of epics from Egypt and Mesopotamia. It tells stories of belief, warfare, men and Gods,” said Jerred about their newborn opus, inviting the listener to an idiosyncratic and extreme music journey together with the duo.

In the excellent opening track, titled Amulets of Smoke and Fire, ominous sounds take us to the Mesopotamian world of Akhenaten, with Jerred generating a dark and embracing atmosphere with his scorching riffs, whimsical keyboards and demonic beats, while Wyatt growls like an Egyptian beast; followed by the also imposing and devastating Dragon of the Primordial Sea, where the guitar and bass lines create a beautiful paradox with the epicness flowing from keyboards, while Wyatt declaims the song’s lyrics with his deep, visceral growls, enhancing the song’s taste and impact even more, creating an instant link with the crushing chant Throne of Shamash, where the drums by Jerred get more and more demolishing as the music progresses in an excellent display of classic Blackened Death Metal, feeling like a battle hymn due to its thunderous vibe.

Then Middle-Eastern and folk elements permeate the air in the captivating instrumental bridge Through the Stargate, setting the stage for Akhenaten to smash our senses in Erishkigal: Kingdom of Death, a full-bodied, metallic feast of darkened sounds and nuances where the Houseman Bothers are absolutely on fire and in total sync, with highlights to the rumbling sounds extracted from guitars and bass. And things get even more thrilling as the strident and piercing sound of keyboards take the lead in the melodic aria titled Pazuzu: Harbinger of Darkness, the perfect union of history, myths and metal music, with the vociferations by Wyatt matching the musicality flawlessly, whereas in Akashic Field: Enter Arcana Catacombs get ready for over seven minutes of tribal beats and Middle-Eastern tones and nuances in another fresh instrumental extravaganza by this talented band, with Jerred blasting hypnotizing beats while the atmosphere remains as cryptic as it can be.

Featuring Brian Palmer (Circaic) on the guitar, God of Creation is the most devastating and modern composition by Akhenaten, with Wyatt growling like a demonic entity while Jerred makes sure the ambience remains as violent as possible in a multi-layered, intricate feast of Black and Death Metal for our avid ears. After such furious explosion of extreme music we have another interesting display of Middle-Eastern music infused with Extreme Metal and even futuristic elements entitled Sweat of the Sun, sounding a bit too weird at times (not to mention it could have been slightly shorter and more metallic), while in Apophis: The Serpent of Rebirth the duo gets back to their more incendiary mode, blasting a potent fusion of Progressive and Blackened Death Metal, being therefore tailored for fans of bands like Behemoth. Furthermore, the intricacy flowing from guitars and bass are the exact background Wyatt needs to thrive with his gnarls, flowing like a firestorm until the music fades into the atmospheric and vibrant outro Golden Serpent God, with all its hypnotizing sounds generating an enfolding and obscure finale for such heavy and captivating album.

In case you want to explore in more detail the vast and eccentric realm of Akhenaten, simply pay them a visit on Facebook for news and other nice-to-know details, and grab your copy of Golden Serpent God (available for a full listen on YouTube, on Spotify and on SoundCloud) from their BandCamp page, from the Satanath Records’ BandCamp page, from the Cimmerian Shade Recordings’ webstore, from iTunes, from Amazon or from Discogs. Akhenaten offer you a one-way ticket into the blackened and mysterious lands of ancient Egypt and Mesopotamia in Golden Serpent God, and I’m sure such distinguished experience will deeply encourage you to stay there and not come back of your own free will.

Best moments of the album: Dragon of the Primordial Sea, Pazuzu: Harbinger of Darkness and God of Creation.

Worst moments of the album: Sweat of the Sun.

Released in 2018 Satanath Records/Cimmerian Shade Recordings/Murdher Records

Track listing
1. Amulets of Smoke and Fire 3:42
2. Dragon of the Primordial Sea 3:22
3. Throne of Shamash 2:50
4. Through the Stargate 2:35
5. Erishkigal: Kingdom of Death 4:03
6. Pazuzu: Harbinger of Darkness 4:09
7. Akashic Field: Enter Arcana Catacombs 7:05
8. God of Creation (feat. Brian Palmer) 3:22
9. Sweat of the Sun 5:59
10. Apophis: The Serpent of Rebirth 5:49
11. Golden Serpent God 2:44

Band members
Wyatt Houseman – vocals
Jerred Houseman – all instruments

Guest musicians
Brian Palmer – guitars on “God of Creation”
Rose White – female vocals

Album Review – Ritual Aesthetic / Wound Garden (2018)

One of Denver’s most promising metal outfits returns with a hard-hitting album of terrifying digital aggression, blending melodic dance rhythms, harsh metal guitars and dark experimental noise atmospheres.

Formed in 2013 in Denver, Colorado, in the United States by Sean Ragan (also known as Sean Von Helvete), who was drumming for Los Angeles-based Industrial/Melodic Black Metal band Dawn of Ashes at that time, Industrial Metal outfit Ritual Aesthetic returns in 2018 with their second full-length installment titled Wound Garden, not only a follow-up to their 2014 debut release Decollect, but more important than that, a highly recommended album of terrifying digital aggression for fans of the most demented form of industrial music, blending melodic dance rhythms, harsh metal guitars, aggressive EBM styled vocals and dark experimental noise atmospheres.

What was born as a solo project by Sean quickly evolved into a full-bodied mechanized beast, now featuring the aforementioned Sean on vocals, Grant Nachbur on the guitar, Daniel Combs on bass and Jeremy Portz on drums, delivering high-quality, berserk Industrial Metal through their sharp instruments. Written by Sean and Jeremy together with Alex Crescioni and Ron Hutchinson, engineered by Sean in Denver, and mixed and mastered by Alex Crescioni at Stygian Sound in Los Angeles, Wound Garden is a step forward in the career of Ritual Aesthetic, showcasing a focused and talented band that definitely knows how to effectively travel between the worlds of electronic and metal music, always sounding fresh, vibrant and insane for our total delectation.

An ominous and mechanized intro named Stasis kicks off the album by setting the stage for the sonic onrush entitled Life Amnesia, where the quartet gives a lesson in lunacy, blasting piercing, industrialized sounds spearheaded by Sean and his eccentric roars. Furthermore, the song’s background electronic effects help boost its impact even more, not to mention Jeremy’s assembly line-like pounding beats. And The Analog Flesh feels almost like an ode to the thunderous music by giants like Ministry, Nine Inch Nails and Fear Factory, blending the most powerful elements from Industrial Metal and Neue Deutsche Härte, with the guitar lines by Grant being at the same time very subtle but as venomous as hell.

And it looks like their wicked party has no time to end, as they blast another dense and disruptive Industrial Metal tune titled Divided, where the guitars and background keys create an interesting paradox of sounds while Sean continues his ode to madness through his raspy growls; followed by the slower, darker and more demonic Dread, showcasing creepy guitar lines and vocalizations, as well as a heavy as hell atmosphere, cutting our skin deep from the very first second just like what happens in Malefaktor, a modernized wall of industrial and robotic sounds and noises. Throughout this insane tune, Daniel and Jeremy beautifully generate a rumbling and Stygian base for Sean and his demented vocals.

If you think their regular music is not weird enough for your twisted mind, you’ll have a sonic orgasm with the rest of the album, where Ritual Aesthetic offer the best of the metal and electronic worlds combined. The first remixed tune of this wicked combo is called Mechanism Of Desire (Electronic Substance Abuse Remix), being highly recommended for lovers of pure industrial and electronic music, sounding as crazy and eccentric as it can be with the help of their friends from British Industrial Noise project Electronic Substance Abuse. Then it’s time for American Industrial Metal act Seraphim System to experiment with Ritual Aesthetic’s music in Chemical Weapons (Seraphim System Remix), also bringing forth a metallic, industrialized extravaganza of sounds, almost like the soundtrack to a horror movie. And last but not least, it’s American Dark Electro entity Xentrifuge who adds huge dosages of electricity to the song Amnesiac (Xentrifuge Remix), with Sean’s vocals matching perfectly the music proposed.

In a nutshell, if you’re searching for a crisp and heavy alternative in the world of Industrial Metal, Ritual Aesthetic are among us to offer you exactly what you’re craving in the form of Wound Garden, which by the way is available for a full listen on YouTube. Hence, don’t forget to show your support to such distinct entity from the always fruitful underground Industrial Metal scene by paying a visit to their official Facebook page, and grab your copy of the album from the band’s own BandCamp page, from the Cleopatra Records webstore, from iTunes or from Amazon. And then, as soon as you have Wound Garden on your hands, let your soul be embraced by its hard-hitting mechanized sounds. You won’t regret having that wicked experience at all.

Best moments of the album: The Analog Flesh and Divided.

Worst moments of the album: Dread.

Released in 2018 Cleopatra Records

Track listing 
1. Stasis 1:29
2. Life Amnesia 4:27
3. The Analog Flesh 3:32
4. Divided 4:33
5. Dread 3:12
6. Malefaktor 4:33
7. Mechanism Of Desire (Electronic Substance Abuse Remix) 6:58
8. Chemical Weapons (Seraphim System Remix) 3:23
9. Amnesiac (Xentrifuge Remix) 5:11

Band members
Sean Ragan – vocals
Grant Nachbur – guitar
Daniel Combs – bass
Jeremy Portz – drums