Album Review – Virulent Depravity / Fruit of the Poisoned Tree (2017)

Technical Death Metal cannot get more intense, complex and devastating than what Tennessee-based guitarist, bassist and vocalist Colin Butler and his henchmen have to offer in their debut full-length album.

If you’re an admirer of the most technical form of Death Metal, you’ll be excited to know that Virulent Depravity, the brainchild of Nashville, Tennessee-based guitarist, bassist and vocalist Colin Butler, have just released their debut full-length album, a lesson in dexterity and devastation named Fruit of the Poisoned Tree, and that the final result goes beyond the boundaries of awesomeness. Featuring a classic artwork by American designer Justin Abraham (Apotheosys, A Loathing Requiem, Engulfed in Blackness), the album will appeal to fans of Spawn Of Possession, First Fragment, Archspire, Origin, Necrophagist, Deeds of Flesh, Decrepit Birth and tons of other Death Metal acts who unite the words “finesse” and “ravage” in the most electrifying and precise way imaginable.

Formed In 2015, Virulent Depravity might be a new name to many in the world of Death Metal, but its band members are far from being rookies in the fields of extreme music. The impressive musical abilities by Colin attracted the attention of well-known guitarist Malcolm Pugh (Inferi, A Loathing Requiem), who joined the band in 2016 on rhythm guitar and additional solos. Furthermore, the line-up is rounded out by Svart Crown drummer Kévin Paradis, whose incredible playing is the perfect foil to Colin and Malcolm’s dazzling performances, resulting in additional layers of complexity, speed and energy added to the already flammable music by Virulent Depravity, as you’ll be able to thoroughly enjoy in Fruit of the Poisoned Tree due to the album’s fantastic mixing and production.

Colin and Malcolm begin their technical shredding attack in the brutish but still very harmonious Serpentine Messiah, a perfect sample of modern Technical Death Metal where the beastly Kévin provides intricate beats and fills that complement all guitar and bass lines flawlessly, not to mention the sick guitar solo by guest musician Mark Hawkins. After such amazing start, how about a modernized and more metallic version of Cannibal Corpse, titled Spineless Obedience, a demolishing anthem tailored for slamming into the pit? The violent and fast growls by Colin effectively follow the song’s frantic riffs and beats, and once again it’s impressive how demented Kévin sounds with his beats. And their insanity in the form of extreme music goes on with another belligerent creation named Your Demise, where Colin and his bandmates deliver a precise fusion of fury and complexity, sounding more demonic than ever.

Blasting sheer violence through their riffs and solos, Colin and Malcolm have an outstanding performance in Desecrating Eden, while Kévin continues his maniacal onrush behind his drums (not to mention the song’s beyond technical ending), followed by the title-track Fruit of the Poisoned Tree, which not only maintains the intricacy at an absurdly high level, but it brings even more aggressiveness due to the amazing job done by Colin with his deranged gnarls and Kévin with his sick drumming. Put differently, no one can survive such apocalyptic tornado of Technical Death Metal. And guess what? In the next tune, named Bad Drug, they don’t waste a single second with intros or other shenanigans, firing pure Death Metal played to perfection, with its visceral lyrics complementing the song’s already vile musicality (“You’re so sick / You’re infecting the weak / You’re making excuses for all your mistakes / You waste of skin / You remind us all / No matter how high we become / We crash to the ground / You’ve had the devil inside you / You’ve been carrying scars for most of your life / Until finally you found a way to push it down”), also featuring an awesome guitar solo by guest musician Nick Padovani.

Colin definitely knows how to canalize all his hatred and wrath into his unstoppable growling as we can witness in Beyond the Point of No Return, an uproarious chant with progressive elements added to its musicality, in special to its extremely elaborate bass lines and vicious drumming. Then we have Only Human, where we face a calmer intro not seen in any of the previous songs. Although it takes a while for the music to take off, it fairly succeeds in keeping the album at a high level of violence; however, it doesn’t sound as exciting as all previous songs, even with its interesting progressive break and the great guitar oslo by guest musician Craig Peters. Back to a more demonic and rabid mode, Colin once again leads his horde growling like a beast in Mechanized Defilement, while Kévin adds so much intricacy to the musicality with his beats and fills it’s hard to explain in words. The song also features another kick-ass solo by another guest guitarist, this time Elijah Whitehead, resulting in a song that is excellent for some sick headbanging, slamming into the pit or simply enjoying its complex lines. Lastly, in Crushed by Futuristic Filth, we’re treated to a short atmospheric intro before all hell breaks loose in a majestic display of extreme music featuring absolutely mighty lyrics (“Sitting atop my throne of flesh and bone / My power is absolute / My subjects are waiting idly / Their silence is deafening / Embalmed in trash and kerosene / At once triumphant and disgusting”), obscure Latin chants by guest vocalist Nathan “Sounds” Bounds, a soulful guitar solo by guest musician Sims Cashion, a moody Jazz-ish break thanks to the keys by Jimmy Pitts, and a wonderful climatic ending on the piano also provided by Jimmy.

Why don’t you go to YouTube and take a very good listen at Fruit of the Poisoned Tree in its entirety? I’m sure you’ll get stunned by the precision with which Colin, Malcolm and Kévin blend melodious lines with total chaos. Then simply go to Facebook to start following such amazing band, and purchase the album at their BandCamp page, at The Artisan Era Records’ BandCamp or webstore (where you can choose between the regular CD or the special CD + T-shirt combo), on iTunes or on Amazon. Trust me, Technical Death Metal cannot get more complete and intense than this.

Best moments of the album: Serpentine Messiah, Fruit of the Poisoned Tree and Crushed by Futuristic Filth.

Worst moments of the album: Only Human.

Released in 2017 The Artisan Era Records

Track listing   
1. Serpentine Messiah 4:38
2. Spineless Obedience 4:01
3. Your Demise 4:02
4. Desecrating Eden 6:13
5. Fruit of the Poisoned Tree 4:01
6. Bad Drug 3:42
7. Beyond the Point of No Return 3:33
8. Only Human 7:48
9. Mechanized Defilement 6:05
10. Crushed by Futuristic Filth 7:41

Band members
Colin Butler – vocals, guitar, bass
Malcolm Pugh – lead & rhythm guitar
Kévin Paradis – drums

Guest musicians
Jimmy Pitts – keyboards on “Desecrating Eden” and “Crushed by Futuristic Filth”
Mark Hawkins – guitar solo on “Serpentine Messiah”
Nick Padovani – guitar solo on “Bad Drug”
Craig Peters – guitar solo on “Only Human”
Elijah Whitehead – guitar solo on “Mechanized Defilement”
Sims Cashion – guitar solo on “Crushed by Futuristic Filth”
Nathan “Sounds” Bounds – guest vocals and Latin chants on “Crushed by Futuristic Filth”

Album Review – Ghost Horizon / The Erotics of Disgust EP (2017)

Four distinct compositions that will pierce into your mind and soul in a beautiful way, brought forth by a musician that definitely knows how to transform his deepest feelings into great music.

If you’re an admirer of the most obscure and melancholic forms of Melodic and Atmospheric Black Metal, I have some very good news for you. Critically acclaimed Post-Black Metal act Ghost Horizon is back with a brand new EP, titled The Erotics of Disgust, a follow-up (but with a considerably different sounding) to the band’s previous EP Astral Possessions, released in 2016.  This time around, this Phoenix-based project consists of founder Dan Stollings on vocals and all stringed instruments, and newcomer “Frog” Magus (Norse) on drums, who together brought into being four distinct compositions that will pierce into your soul and crush your feelings in a beautiful way.

Dan commented that the EP “has been waiting in the darkness for quite a while now – it’s been completed for months. It’s been hard to let this EP into the world, because in a lot of ways, I’m sharing some pretty deep emotions that I would never talk about otherwise. I’ve been through a lot of ups and downs in the process of its creation, and I think that’s reflected pretty heavily in the music. The decision to do the vocals myself was also a part of this realization that in order to portray exactly what I’m thinking, I need to use my own voice. Nothing on this album is perfect. I didn’t want it to be perfect. At first I went into writing with the mentality that this will be the best produced thing I’ve ever done, but after finishing the vocals, I realized this thing needs to be raw. And so it was.” After reading such powerful words by Dan, I’m sure you’re more than curious to listen to The Erotics of Disgust, but once again let me warn you that the music might be too dark for the average listener.

Radiant Eyes presents an introspective beginning for this new phase of Ghost Horizon, gradually morphing into a dark amalgamation of Blackened Doom and Post-Black Metal with hints of progressiveness enhancing the song’s depressive sonority. Moreover, “Frog” Magus does an amazing job on drums, maintaining the song’s dense rhythm flowing smoothly. In So Hollow, not only Dan surprises us with his clean vocals supported by a gentle ambience, but the song’s lyrics also prove that he’s definitely a skillful poet of darkness (“You can take it all / Everything we know / You can break it all / You chose a path I cannot follow / You left a heart in me so hollow / Changing skies above / Breaking hearts below / On again / True love / Off again / Bruised love”). This is modern and gripping Atmospheric Black Metal that brings at the same time peace and hopelessness to our hearts, making us eager for more of the music by Ghost Horizon.

Following a similar pattern to the previous song, This Forever Flow also presents delicate guitars and bass lines together with the Doom Metal-inspired beats by “Frog”, with its last piece getting heavier due to the harsh growls by Dan without losing its core subtlety. Besides, how not to get touched by its profound lyrics (“Fading from my heart is the will to be one / Fear in my words – last words to my love / Fire fading quickly, your lips have left me cold / The ending of a romance with the ending left untold”)? Lastly, featuring guitarist and composer Tyler Allen on guest vocals, Ghost Horizon deliver a full-bodied darkened composition bursting with anguish, despair and melancholy entitled Whispers, with its Black Metal riffs and blast beats bringing an extra dosage of obscurity to the overall musicality. In my humble opinion, it’s the best and most complete of the four songs of the EP, the type of music I would like to see Dan explore even more with his future releases.

In summary, although many people have a lot of difficulties to talk about their deepest feelings, it seems that Dan has simply mastered how to express his own feelings through the music by Ghost Horizon. However, you have to be very open-minded and absorb each second of The Erotics of Disgust in order to fully understand the whole message delivered by Dan this time, letting your mind and soul minutely merge with the music found on this fine album. And you can always get to know Ghost Horizon in more detail through their Facebook page and listen to their music on Spotify, as well as purchase your copy of The Erotics of Disgust on BandCamp, at the Tridroid Records’ webshop, on Cd Baby, on Amazon or on iTunes. The Erotics of Disgust is certainly not Dan’s last stint with his Ghost Horizon, which means there’s still a lot to come from such distinct act, and I can’t wait to see what’s next.

Best moments of the album: Whispers.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Radiant Eyes 4:11
2. So Hollow 4:05
3. This Forever Flow 5:01
4. Whispers 4:34

Band members
Dan Stollings – all stringed instruments, vocals
“Frog” Magus – drums

Guest musician
Tyler Allen – additional vocals on “Whispers”

Album Review – Dirty Machine / Discord (2017)

Enjoy the debut album by a tenacious Nu Metal outfit that has all it takes to successfully spread their metallic and groovy wings all over the world.

Hailing from the rockin’ Los Angeles, California, a city that never sleeps, Nu Metal outfit Dirty Machine has been proudly carrying the flag of Alternative and Nu Metal since their inception in 2012, pulling major influences from bands such as Korn, Limp Bizkit, Slipknot, Linkin Park and Sevendust, having already shared the stage with renowned acts like Ghost, Sixx AM, Disturbed and Trivium. The band has quickly built a rabid underground following, especially in the Kansas City area due to getting regular airtime on the leading Kansas City rock station 98.9 The Rock and headlining the Jägermeister Stage at the 2016 Kansas City Rockfest.

Now in 2017 the band has joined forces with Zombie Shark Records to release their debut album, entitled Discord, featuring eight uproarious composition (plus three bonus songs) blending the most electrifying elements from Groove and Rap Metal that will inspire you to jump up and down and have a very good time with your friends. Moreover, Dirty Machine’s music is so cohesive and catchy that you’ll find yourself singing the songs along with the band and tapping on your desk even if you’re not a fan of Nu Metal at all, and that says a lot about a band that has all it takes to successfully spread their metallic and groovy wings all over the world.

Their modern fusion of the Nu Metal by Limp Bizkit and the Rap Metal by Bodycount is crystal clear from the very first second in the exciting title-track Discord, showcasing great sync between the aggressive rapper lines by lead singer David Leach and the clean vocals by guitarist and vocalist Darren Davis, as well as endless heaviness boosted by the song’s solid melody. The next tune, titled Seeds, is ready to be played on any radio station, where not even the harsher vocals by David make it too aggressive for some air time, while the guitars by Darren and his bandmate Arnold Quezada bring the right amount of fire to their musicality. And taking their pugnacity to a whole new level, Self Made Hero feels like an alternate version of Slipknot led by the song’s blazing guitars thoroughly blended with the wicked samples by DJ Ecusa. Put differently, this is one of those songs to keep jumping up and down nonstop during their live concerts.

Social Recoil is another excellent display of fresh and thrilling Nu Metal, with Mike Weekley smashing his drums while Arnold and Darren follow him with their crushing riffs, not to mention the insane amount of groove coming from the low-tuned, metallic bass by Nathan Young. Now, are you ready for a “fight” with DJ Ecusa? That’s what you’ll get in Ecusa’s Nightmare, a three-minute whimsical party full of weird noises and voices, with the rest of the band effectively supporting this talented DJ and his “stunts”; and connecting instantly with the wicked feast led by DJ Ecusa we have Built, bringing more of Dirty Machine’s Limp Bizkit-Korn-Sevendust-inspired sounding, where the duo David and Darren keeps delivering amazing vocal lines, powerfully complementing each other, while Nathan and Mike sound as thunderous as possible with their bass punches and beats, respectively.

Although C4 is as heavy and groovy as the rest of the album, for some reason it doesn’t click to me, with its vocal lines being a bit disconnected from the instrumental pieces. Not only that, the guitars don’t sound as inspired as in the rest of the album, which makes me agree with the funny message sent by David at the end of the song saying not-so-nice things about the song itself. Fortunately, everything gets back on track with Wonka, where the band sounds faster, crazier and heavier than ever. This is what Dirty Machine need to do to really pump us up, providing a balanced mix of heavy riffs from Alternative Metal and witty vocals from Rap Metal and Hardcore. Not only this is a wise choice to close the album, but the demented screams by Darren add a lot of anger to the overall result, turning it into one of my favorite compositions in Discord.

If you want to know more details about the music and career of Dirty Machine, go to their Facebook page and YouTube channel for an overdose of high-end Nu Metal, and you can also support this dirty sextet by purchasing Discord at the Zombie Shark Records’ BandCamp, on iTunes or on Amazon. As Dirty Machine are a very active band, who knows, you might even get them in action in LA or any other city in the United States blasting their Nu Metal in one of your visits to their homeland, and I bet you’ll get addicted to their catchy and groovy music without even noticing.

Best moments of the album: Discord, Seeds, Self Made Hero and Wonka.

Worst moments of the album: C4.

Released in 2017 Zombie Shark Records

Track listing
1. Discord 3:18
2. Seeds 4:15
3. Self Made Hero 3:22
4. Social Recoil 3:42
5. Ecusa’s Nightmare 2:55
6. Built 3:32
7. C4 2:45
8. Wonka 3:47

Bonus tracks
9. Refuse To Follow 3:46
10. Victory 3:47
11. J-Dead 3:58

Band members
David Leach (Dirty Davo) – vocals
Arnold Quezada (Hedge) – guitar
Darren Davis – guitar, vocals
Nathan Young (Youngblood) – bass, backing vocals
Mike Weekley (Nightmare) – drums
DJ Ecusa – turntables & samples

Album Review – Steel Panther / Lower the Bar (2017)

The most depraved band in the world raises the bar once again with an ode to all the debauchery and joy of the golden age of Hard Rock, Glam and Heavy Metal.

After the considerable letdown that was All You Can Eat, released  by American Heavy Metal/Hard Rock band Steel Panther in 2014, I got a little worried about the future of one of the funniest metal acts in the history of music. Their jokes were not as good as before, their lyrics were way too repetitive, and there were no memorable anthems like in their previous albums. However, it seems that Michael Starr (vocals), Satchel (guitars), Lexxi Foxxx (bass) and Stix Zadinia (drums) have got their mojo back in Lower the Bar, their fourth major-label studio album and an ode to all the debauchery and joy of the golden age of Hair and Glam Metal.

Let’s be honest, after the first official video of the album was released exclusively on Pornhub, we knew Lower the Bar would bring back the good old Steel Panther we learned to love through the years. Musically speaking, the album kicks ass with its crisp production, enhancing even more the already potent impact of each instrument like a gigantic dildo would do to a young woman. Moreover, there’s a lot to enjoy in this album, from pure Hard Rock to a mellow ballad, from a Rock N’ Roll anthem to their personal tribute to a classic band from the 80’s, and so on. Put differently, it’s two in the pink, one in the stink, and Steel Panther blowing your speakers with the electricity flowing from Lower the Bar.

And Steel Panther blast great old school Glam Metal to kick off the party in Goin’ in the Backdoor, with Satchel delivering his always amazing riffs and solos while Michael Starr proves he’s by far one of the best singers in Hard Rock today, resulting in a solid musicality that lives up to the best songs of their career. The following song, Anything Goes, has all it takes to become a classic during their live concerts: its rhythm is perfect for headbanging, a beer and some tits at a rock n’ roll party, while its lyrics are absolutely mental (“Break out the tanks / Hand grenades / Minus Charlie Sheen / Cuz I don’t want AIDS”). Satchel, Lexxi and Stix definitely know how to generate pure Hard Rock, turning this into a fun rockin’ anthem for admirers of depraved music. In Poontang Boomerang, the song that had its official video debuted on Pornhub (which was in my opinion a fantastic idea), the music is pretty much a witty homage to Hard Rock icons Warrant, as it sounds a lot like their all-time hit “Cherry Pie”, but of course this one is nastier, sexier and more demented; whereas in That’s When You Came In we’re treated to an acoustic intro beautifully delivered by Michael and Satchel, slowly becoming one of those “romantic” and “touching” power ballads by Steel Panther, not to mention Satchel’s amazing solo before the song’s last piece.

My favorite song of the album, the fantastic Wrong Side of the Tracks (Out In Beverly Hills), is a blazin’ high-octane anthem highly recommended for your road trip playlist, with Michael kicking ass on vocals while Lexxi and Stix keep exhaling pure Rock N’ Roll with their bass lines and beats, which obviously means they have to play this awesome tune during their live concerts. Now the Fun Starts, a dark-ish low-tuned composition that kind of puts the listener in a trance, might be used to open their concerts, in special because there’s a lot going on in the lyrics that can be considered a warm-up for the show.  Getting back to their high voltage mode we have Pussy Ain’t Free, a modern and fresh Hard Rock tune with a Glam Metal twist and another top moment in Lower the Bar, with Satchel and Lexxi being on fire with their strings. And if you think the name of the song is already sexist, how about those lyrics (“Don’t need a certified public accountant / To run the numbers on my dick and balls / Don’t need to look at every Amex statement / Already know I’m getting charged for the booty calls”)? Anyway, Wasted Too Much Time might not be a bad song, musically speaking it’s quite fine and even reminds me of some Hard Rock classic ballads from the 80’s and 90’s, but it lacks that mighty punch from the rest of the album.

Mixing up the gripping Hard Rock by Scorpions and Motley Crüe with 80’s Pop Rock (in special its synths), I Got What You Want presents a very pleasant sonority with Michael having an amazing performance, supported  by the song’s old school backing vocals; whereas Walk of Shame ventures through the fields of American Country Rock with hints of Blues and obviously their kick-ass Glam Metal core. Stix dictates the rhythm with his groovy beats, while Michael sends a thoughtful message to all women (“No wonder then, every weekend is the same / Your vagina’s still eighteen / Baby, stand up tall and walk that walk of shame / That walk of shame / Go on, girl!”). And lastly, She’s Tight is their top-notch cover version of a summer-like hit, being heavier and more metallic than the original version and even featuring Robin Zander, lead singer and rhythm guitarist for the Rock N’ Roll band Cheap Trick, the band that recorded the original song back in the 80’s. I’m sure Robin is really happy with what Michael and the guys did not only with the music, but with the official video for it (by the way, Michael’s “Cheap Slut” shirt was a great tribute to Robin and his band).

In a nutshell, if you never get tired of Steel Panther’s sexist and dirty jokes, I’m sure you’ll love Lower the Bar, and album that does exactly the opposite of what its name says, raising the band’s bar once again in heavy music. In addition, there’s always new entertaining material on their YouTube channel, such as the one-of-a-kind, once-in-a-lifetime Lower the Bar Awards, which at least for me is already more important and honest than the Grammy Awards, don’t you agree? Anyway, you can buy some interesting Lower the Bar bundles at their official webstore, including one with a beer stein and one with a shirt. And no, there are no bundles with dildos, inflatable whores or anything like that. At least not yet.

Best moments of the album: Anything Goes, Wrong Side of the Tracks (Out In Beverly Hills) and Pussy Ain’t Free.

Worst moments of the album: Wasted Too Much Time.

Released in 2017 Kobalt Label Services

Track listing
1. Goin’ in the Backdoor 3:10
2. Anything Goes 3:01
3. Poontang Boomerang 3:22
4. That’s When You Came In 3:46
5. Wrong Side of the Tracks (Out In Beverly Hills) 3:07
6. Now the Fun Starts 3:43
7. Pussy Ain’t Free 3:56
8. Wasted Too Much Time 3:50
9. I Got What You Want 4:13
10. Walk of Shame 4:11
11. She’s Tight (Cheap Trick cover feat. Robin Zander) 2:54

Band members
Michael Starr – lead vocals
Satchel – lead, rhythm and acoustic guitars, backing vocals
Lexxi Foxxx – bass guitar, backing vocals
Stix Zadinia – drums, percussion, backing vocals

Guest musicians
Robin Zander – additional vocals on “She’s Tight”
Rudy Sarzo – bass on “Wrong Side of the Tracks (Out In Beverly Hills)”
Michael Catton – background vocals on “I Got What You Want”
Chris Catton – background vocals on “I Got What You Want”

Album Review – NONE / NONE (2017)

Over 30 minutes of chilling and despondent Atmospheric Black Metal by an unknown entity from the Pacific Northwest that will darkly guide you on a one-way journey to emptiness.

“None are more hopelessly enslaved than those who falsely believe they are free.” – Johann Wolfgang Von Goethe

Chilling and despondent music from the Pacific Northwest is what you’ll hear on the impressive self-titled debut album by Atmospheric/Depressive Black Metal entity NONE, a dark, full-bodied album comprised of three freakish and distinct arias interconnected by the howling winds of winter that will certainly appeal to fans of the Atmospheric Black Metal and DSBM (Depressive Suicidal Black Metal) crafted by groups such as Shining, ColdWorld and Woods of Desolation. Misery, grief, negativity and hopelessness are just a few elements you’ll find in the music by NONE, darkly guiding you on a one-way journey to emptiness.

Formed in 2015 in the city of Portland, Oregon, in the United States, NONE doesn’t carry its simple but enigmatic name in vain. NONE is precisely that, as they have no faces and they are no one, being solely represented by the depressive and obscure sounds emanating from each one of the three multi-layered compositions of the album. Drawing influences from the most melancholic and austere forms of atmospheric extreme music, NONE can quickly become the soundtrack to your most obscure moments, showing you that solitude might not be a bad solution at all in our lives.

In the opening track, simply titled Cold, the atmosphere couldn’t feel more sinister and disheartened, with its background noises and smooth piano notes quickly exploding into a puissant sonority. This is beautiful Depressive Black Metal perfect for closing your eyes and letting darkness embrace you, showcasing not only demonic gnarls and Stygian Black Metal guitars, but also presenting acoustic elements to bring some sort of false peace and hope to our hearts, before its climatic ending gets back to a somber and heavy sonority.

Also phantasmagorical and doomed, Wither is a direct sequel to its predecessor, with its Black Metal sounds invading our ears and souls while its hellish growls transpire hatred and despair. Furthermore, it brings forward a distressing aura found in the most sluggish and evil form of Blackened Doom, resulting in a delicate and at the same time powerful creation by NONE. And in Suffer we finally reach the stage where all songs together become one, displaying anguished screams and slow-paced Doom Metal beats complemented by the song’s serene piano notes. It’s a strong conclusion to the story being told by this arcane creature known as NONE, morphing into a desolated ending where it’s clear that darkness has taken full control of our souls.

You can purchase a digital copy of NONE at the Hypnotic Dirge Records’ BandCamp, but if you prefer to actually put your hands on such bitterly cold and mordant Depressive Black Metal work-of-art, the album is available in a 6-panel digipack (limited to 300 copies) at the Hypnotic Dirge Records’ webstore, where you can also find it as a T-shirt + CD bundle, or at Discogs. You already know that after following the dark path crafted by this unknown entity there’s no way back, but I guess you really don’t care about the consequences. Quite the contrary, that’s exactly where you want to be.

Best moments of the album: Wither.

Worst moments of the album: None.

Released in 2017 Hypnotic Dirge Records

Track listing
1. Cold 11:57
2. Wither 8:45
3. Suffer 9:25

Band members
*Information not available*

Album Review – Mastodon / Emperor of Sand (2017)

Follow the inspirational story of a desert wanderer who has been handed a death sentence in the brand new excellent album by the trailblazers of Progressive and Sludge Metal.

Anything I say about the music by American Progressive/Sludge Metal trailblazers Mastodon won’t be enough to describe the amount of madness, intricacy and feeling flowing from the instruments from this unique Atlanta-based quartet. Now with the fantastic Emperor of Sand, the seventh studio album in their remarkable career, Troy Sanders (bass), Brent Hinds (guitar), Bill Kelliher (guitar) and Brann Dailor (drums) add an extra layer of complexity to their music by revolving the entire album around the concepts of death and survival, inspired by experiences they had when members of their families and friends were recently diagnosed with cancer.

Featuring a beautiful artwork by Alan Brown (Medusawolf), the concept and story in Emperor of Sand follows a desert wanderer who has been handed a death sentence. “At the end of the story, the person simultaneously dies and is saved,” said Brann. “It’s about going through cancer, going through chemotherapy and all the things associated with that. I didn’t want to be literal about it. But it’s all in there. You can read between the lines.” Troy also had a few words to share about the whole concept behind Emperor of Sand. “We’re reflecting on mortality,” mentioned Troy. “To that end, the album ties into our entire discography. It’s 17 years in the making, but it’s also a direct reaction to the last two years. We tend to draw inspiration from very real things in our lives.”

Percussion sounds ignite pure heaviness in the form of music, titled Sultan’s Curse, where it’s impressive to see how those four guys can sound so polished and raw at the same time in a perfect fusion of Progressive and Sludge Metal. Furthermore, not only Brann has a superb performance on drums, but their already famous rotation of vocals only makes things even more entertaining. Despite sounding a bit too commercial at first, Show Yourself is a damn good song, being electrified and upbeat with the awesome vocals by Brann leading the musicality, while Brent and Bill deliver classic, sharp riffs and solos. In addition, if you want to see how awesome this tune sounds live, simply watch this excellent video of the band performing it at Jimmy Kimmel Live. Precious Stones is the type of song fans will love to see them playing live, offering another high-speed metallic voyage and showcasing more of their beautiful guitar lines and a rumbling performance by the unstoppable Troy on bass; whereas Steambreather starts with a dark, low-tuned sonority thanks to the guitars and bass sounds, keeping a blackened aura throughout the whole song but with faster passages to maintain the overall result very interesting (not to mention the once again excellent vocals from start to finish).

The next track, named Roots Remain, sounds heavier than all previous songs, with Brann smashing his drums while Troy fires his more aggressive vocals, also providing tons of progressiveness flowing from all instruments in a display of classy and modern Sludge Metal with hints of Groove Metal. In my humble opinion, Word to the Wise is the best of all songs in Emperor of Sand, with the poetic lyrics emanating from the harsh vocals by Troy matching the music flawlessly (“Diamond in the wishing well / Fallen underneath its spell / Save me from the wicked ways / Pulling me with all its weight”). Moreover, I love when they speed up their music without losing their progressive touch, maintaining a beautiful pace while at the same time firing some flammable guitar solos. Ancient Kingdom is another composition with a solid and intricate instrumental supporting the amazing vocal work done by all band members, and what Brann does with his beats is like a lecture in drum playing; followed by Clandestiny, which to my ears sounds like a less commercial and consequently heavier version of “Show Yourself”. It’s one of the songs with the strongest Progressive Metal base of all, and it’s impossible not to feel its energy flowing inside your mind.

With guest musician Kevin Sharp of Brutal Truth on vocals, Andromeda, a great tune to break your neck headbanging, also presents a darker side of Mastodon. Brann is absolutely on fire throughout the whole album and it couldn’t be different in this amazing chant, which makes me wonder how powerful it should sound during their live concerts. And featuring another guest vocalist, this time Scott Kelly of Neurosis, we have Scorpion Breath, the second to last track of the album, being very rhythmic with the bass lines by Troy bringing thunder to the musicality, while the guitars by Brent and Bill will cut your skin like a razor-edged blade. Last but not least, if someone asked me to summarize the music by Mastodon in two words, those would definitely be Jaguar God. This is a complex, detailed and very creative creation by the band, presenting amazing guitar riffs and solos, an intricate and groovy drumming, smoother passages, and beyond whimsical lyrics (“Terrestial fire, ascending from underground / Godspeed divine, so we control our mound / Shape shifter, spirits whisper / Guide me through this black sorcery”), not to mention that when the music gets really heavy, it becomes the best Progressive Metal you can think of.

I personally recommend that before (or maybe after) listening to the album in its entirety you go check the band’s outstanding series of videos on YouTube titled The Making of Emperor of Sand, as those will make a lot of difference to your own view of the music found in Emperor of Sand, giving additional details and even new meanings to what you think you know about Mastodon. You can also check what the band is up to at their official Facebook page, and get ready for their always fun visit to your city in a not-so-distant future. Some will say Emperor of Sand is their strongest work to date, and some that the band lost their touch, just like what happens with every renowned band nowadays. All I know is that Emperor of Sand is a bold, cohesive and inspirational metal album, and that it will hit you hard no matter what, proving Mastodon are not among the biggest and most influential names in contemporary heavy music in vain.

Best moments of the album: Sultan’s Curse, Precious Stones, Word to the Wise and Jaguar God.

Worst moments of the album: None.

Released in 2017 Reprise Records

Track listing
1. Sultan’s Curse 4:09
2. Show Yourself 3:03
3. Precious Stones 3:46
4. Steambreather 5:03
5. Roots Remain 6:28
6. Word to the Wise 4:00
7. Ancient Kingdom 4:54
8. Clandestiny 4:28
9. Andromeda (feat. Kevin Sharp) 4:05
10. Scorpion Breath (feat. Scott Kelly) 3:19
11. Jaguar God 7:56

Band members
Brent Hinds – lead guitar, lead and backing vocals
Bill Kelliher – rhythm guitar, backing vocals
Troy Sanders – bass guitar, lead and backing vocals
Brann Dailor – drums, percussion, lead and backing vocals, bass on “Jaguar God” intro 

Guest musicians
Kevin Sharp – additional vocals on “Andromeda”
Scott Kelly – additional vocals on “Scorpion Breath”
Mike Keneally – keyboards

Album Review – Cloud Catcher / Trails Of Kozmic Dust (2017)

Blasting top-of-the-line music since their genesis in 2013, this cosmic power trio is inviting you for an electrified journey through the realms of Rock N’ Roll, Experimental Metal and Acid Rock with their brand new album.

There’s a cosmic power trio hailing from Denver, the capital of Colorado, in the United States, that has been forging their own path in music by blasting top-of-the-line Heavy Rock since their genesis in 2013, described by the band members themselves as “heavy-boogie rock on acid”. The trio, known as Cloud Catcher and consisting of Rory Rummings on guitar and vocals, Kam Wentworth on bass and Jared Soloman Handman on drums, has spent considerable time crafting their own style of heavy cosmic rock, taking deep inspiration from the music by Black Sabbath, Grand Funk Railroad, Spirit Caravan, Led Zeppelin and tons of other classic groups, resulting in their brand new amazing album titled Trails Of Kozmic Dust.

Cloud Catcher have been on a roll since day one, delivering year after year high-quality material, starting with their debut EP Colossus in 2013, followed by some rehearsal demos in 2014, the full-length album Enlightened Beyond Existence in 2015, and the single Righteous Ruler in 2016, before returning with the full-bodied Trails Of Kozmic Dust now in 2017. Displaying an enthralling cover art designed by Adam Burke of Nightjar Illustration, this is an album that will expand your music horizons and put you on a trance from start to finish, and you won’t even need to take any acid to feel the band’s chaotic, groovy and intricate music flowing through your veins and especially through your mind.

Psychedelic sounds warm up the listener for a journey back to the 60’s and 70’s entitled Astral Warlord, a vibrant and electrified tune full of breaks and variations where albeit all musicians sound incredibly creative and focused, it’s Jared who steals the spotlight with his refined technique, setting the perfect tone for the song’s crazy, poetic lyrics (“Winds of dawn are howlin’ / Calling your name in the dark of the night / Winter comes for your life / Cold is the steel that ends your strife”). Celestial Empress brings more top-tier Heavy Rock smoothly flowing from the band’s sharp instruments, with Rory delivering an inspired performance on vocals. Moreover, the instrumental pieces sound like a hybrid of the early days of Black Sabbath, Led Zeppelin and Deep Purple, in special the excellent bass lines by Kam and the fiery guitar solos by Rory. And without allowing the listener to breathe, the power trio keeps blasting rumbling bass lines and distorted riffs in the groovy Beyond The Electric Sun, a song that contains all elements fans of the genre are always searching for, those being heaviness, progressiveness, craziness and  tons of feeling, with its final instrumental sequence being beyond astounding.

Then we have quick Jazz-inspired break from all insanity going on, named Dimensional Interlude, followed by Visions, a psychedelic composition tailored for lovers of Grand Funk Railroad and Captain Beyond (with a metallic twist à la Iron Maiden), with sheer acidity emanating from the guitar lines and vocals by Rory while Kam and Jared keep the reverberation at a maximum level with their pounding bass and drums. After listening to such powerful song, you’ll certainly ask yourself how far into space this talented band can go with their music. Anyway, the title-track Trails Of Kozmic Dust is yet another a complex, soulful creation by Rory, Kam and Jared, quickly transporting you to another dimension, not to mention the song’s eccentric lyrics (“Trails of kozmic dust connect my soul / Tellin’ me secrets that should not be told / Time is iridescent in black holes / Trails of kozmic dust will guide you home”).

Before the final curtains fall in Trails Of Kozmic Dust, the low-tuned, menacing bass guitar by Kam slowly drags us to the world of Cloud Catcher in the  Blues-ish Heavy Rock instrumental trip Super Acid Magick, with its last minute being a demolishing display of how intricate Experimental Rock can be; whereas Righteous Ruler, which builds an instant connection with its predecessor, sounds as if the band is returning to planet earth after such otherworldly voyage through the realms of rock music, again showcasing potent riffs by Rory and the always roaring bass by Kam, while Jared continues to do magic behind his drums. In addition, if you want to know how good this power trio sounds when they convey all their music madness to the stage, you can enjoy an amazing live performance by Cloud Catcher at the Marquis Theater in Denver, on December 19, 2015 playing several songs from Trails Of Kozmic Dust by clicking HERE, HERE and HERE.

If you enjoyed becoming part of the hallucinatory sonic expedition led by Cloud Catcher, go check their Facebook page for more news, and purchase Trails Of Kozmic Dust at the band’s own BandCamp page, at the Totem Cat Records’ Big Cartel in CD or LP format, at the Stickman Records’ webstore, at Discogs or on Amazon. The never-failing fusion of Rock N’ Roll, Experimental Metal and Acid Rock has always had an enormous potential to blow our minds under any circumstances, but when the band in question has an undisputed, full-blown talent like Cloud Catcher as we can see in Trails Of Kozmic Dust, we know that mental explosion will be even stronger and more potent than anyone could expect.

Best moments of the album: Astral Warlord, Beyond The Electric Sun and Visions.

Worst moments of the album: Righteous Ruler.

Released in 2017 Totem Cat Records

Track listing
1. Astral Warlord 5:31
2. Celestial Empress 5:41
3. Beyond The Electric Sun 7:06
4. Dimensional Interlude 1:03
5. Visions 4:28
6. Trails Of Kozmic Dust 6:21
7. Super Acid Magick 3:34
8. Righteous Ruler 5:42

Band members
Rory Rummings – guitar, vocals
Kam Wentworth – bass, backing vocals
Jared Soloman Handman – drums

Album Review – Of the Sun / Before a Human Path EP (2017)

Exploring the extremes of human emotion and imagination and finding balance within while embracing chaos, this high-skilled power trio is ready to show you what “Southern Progressive Metal” is all about with their brand new album.

Self-describing their wicked music as “Southern Progressive Metal”, American power trio Of the Sun are releasing their new EP titled Before A Human Path, a highly recommended album for fans of Gojira, Pantera, Mastodon and Between The Buried And Me, among other iconic groups, exploring the extremes of human emotion and imagination, finding balance within while embracing chaos in each of its five unique compositions. While Of the Sun’s sound is firmly rooted in Groove and Thrash Metal, it also contains elements of Progressive Metal, creating a distinct atmosphere exactly like what you’ll be able to experience in Before a Human Path.

Hailing from Austin, the state capital of Texas, in the United States, the band formed by Patrick Duvall (lead vocals, guitar), David Duvall (bass, vocals) and Johnny Reed (drums) released their debut album AM Radio in August 2009, taking some good years for them to finally come back with new material. Fortunately, the wait is finally over for the delight of admirers of innovative and groovy music, and the final result will definitely bring a positive outcome for the band’s career. “With Before a Human Path, we pulled from personal extremes to convey a more colorful and varied storyline within the span of each song. Ultimately shunning conventional songwriting formula, we really dug in to unearth something we felt isn’t currently being done”, the band commented about the album.

The Tightrope Mile already begins in full force, sounding like a more progressive and groovier version of Pantera where Patrick has an amazing performance on vocals, reminding me of the old days of Phil Anselmo, while David blasts pure metallic lines through his bass guitar. Moreover, all its psychedelic and heavy passages make it sound like three or four songs in one, an always positive attribute in progressive music. In the kick-ass Nebulamorphous we have the perfect example of what the band calls Southern Progressive Metal, bringing the most electrifying elements from Southern Rock and Progressive Metal together while Johnny is responsible for the intricacy found in the music with his sick drumming. At the same time, Patrick takes care of the song’s deranged side with his sick growls, effectively complementing all this sonic feast of craziness and rumbling sounds.

Featuring guest musicians Phil Davidson on violin and viola, and Kullen Fuchs on vibraphone, Cantos offers the listener an exciting doomed sonority, with its clean vocals being exactly what the music demands. Furthermore, this dark and introspective creation by Of The Sun gets even better as time passes by due to the amazing guitar lines by Richard together with the low-tuned bass by David. The intricate and aggressive tune A Soliloquy brings forward Groove Metal with a lot of progressiveness and hatred flowing from its vocals and bass lines, reaching a whole new level of insanity (and don’t forget to pay attention to the excellent drumming by Johnny throughout the entire song); whereas in the sharp Southern Metal chant The Limbless God we face more demented metal music to pierce our ears mercilessly. Their fusion of anger and creativity couldn’t sound more thrilling, with highlights to the great sync once again between Richard and David, not to mention all tempo changes and endless heaviness which end up adding an extra dosage of adrenaline to the final result.

To sum up, despite being only an EP technically speaking, Before a Human Path brings to the listener a full-flavored adventure in experimental heavy music thanks to the refined skills of each one of the three musicians from Of the Sun. If you want to show your support for Patrick, David and Johnny, go check what they’re up to at their Facebook page, listen to their music at ReverbNation, and don’t forget to buy your copy of Before a Human Path at their official BandCamp page. This creative and energetic trio of musicians is ready to show you what “Southern Progressive Metal” is all about, and you’ll be more than pleased with what they can do to your ears with their music.

Best moments of the album: Nebulamorphous and A Soliloquy.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. The Tightrope Mile 7:09
2. Nebulamorphous 5:34
3. Cantos 7:22
4. A Soliloquy 7:22
5. The Limbless God 5:31

Band members
Patrick Duvall – lead vocals, guitar
David Duvall – bass, vocals
Johnny Reed – drums

Guest musicians
Phil Davidson – violin and viola on “Cantos”
Kullen Fuchs – vibraphone on “Cantos”

Metal Chick of the Month – Elizabeth Schall

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So follow me now, you’re falling behind… Have the will to set free…

It’s time to get really heavy at The Headbanging Moose with a woman that not only kicks some serious ass on guitar, but she manages to channel all her passion for Heavy Metal into her music flawlessly, creating some sick tunes that will definitely put you to bang your head and raise your horns like crazy. Of Chilean descent, here comes the incredible metal shredder Elizabeth Schall, an American singer, songwriter and guitarist mainly known for her work with Winterthrall, Dreaming Dead and The Iron Maidens, among several other bands and projects. If you want to know how badass Elizabeth is, let me tell you that some of her biggest influences in music are Iron Maiden, Slayer and Megadeth. Do I need to say more?

Daughter of Federico and Amanda Renee Schall, Elizabeth had to relocate to Chile after living in California, which despite not being easy for her and her family in the beginning it helped them learn to appreciate what they left behind in the United States, not to mention the enormous benefit for Elizabeth as she became fully bilingual then. In regards to music, our kick-ass guitarist started taking accordion lessons at an early stage of her life, switching to guitar later, saying that if it wasn’t for the accordion lessons maybe she wouldn’t be playing guitar today. Due to her exceptional skills as a guitar player, her commitment to learning the instrument and her passion for Heavy Metal, Elizabeth has become a role model for many young women who want to play guitar and play extreme music.

In regards to her career in metal music, she first came into the scene when she was recruited to join Death Metal band Winterthrall in 2003 as their guitarist and also doing backing vocals, leaving the band two years later. It was in September 2005 that she finally joined The Iron Maidens, right after the departure of guitarist and co-founder Josephine Draven, becoming the female version of Adrian Smith named “Adrianne Smith”. Despite leaving the band one year later, in October 2006, Elizabeth rejoined them in June 2010 in a guest appearance as “Deena Murray”. There’s a full concert of The Iron Maidens with Elizabeth on the guitar on YouTube, recorded on August 25, 2006 at Vinnie’s Bar & Grill in Concord, California, which might not be a high-quality footage but at least you can have a pretty good idea of how awesome she sounds playing all the mighty classics from Iron Maiden.

It was in 2006 when Elizabeth formed the band Manslaughter together with drummer Mike Caffell, recording that same year the EP Through the Eyes of Insanity. Following a brief tour, our raven-haired bombshell and Mike renamed the band to Dreaming Dead, recording the albums Within One in 2009, Midnightmares in 2012, and Funeral Twilight (which will soon be reviewed here at The Headbanging Moose) now in 2017. In all three records she was responsible for vocals and guitar, but in Within One our daredevil musician also recorded bass guitar and wrote all lyrics, proving how talented she is and how destined she was to heavy music. If you want to have a good taste of the havoc Elizabeth and Dreaming Dead are capable of generating, you should take a good listen at potent compositions like Midnightmares (you can check the official video for it at the end of this essay), Overlord and Buried.

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There are several other bands and projects where we can find Elizabeth shredding her axe, most of them related to Death Metal with hints of other extreme (and even not-so-extreme) subgenres of heavy music. Since 2013 she has been part of American Death Metal/Grindcore band Cretin, blasting her vicious riffs and solos in songs such as It from their 2014 album Stranger, and since 2014 she’s also been the guitarist for American Death/Thrash/Groove Metal project Dia de los Muertos.  In addition, you can also enjoy Elizabeth on lead guitar on  the song My Secret Things, from the 2012 album Horny Beast by American Heavy Metal/Deathrock band Lover of Sin; her backing vocals on the Cacophony cover Burn the Ground, from the 2008 album Future Addict, by the Progressive Rock/Metal solo project led by renowned guitarist Marty Friedman; and on piano on the 2012 album Results, by American Death Metal/Grindcore band Murder Construct (a side-project of members from Exhumed and Cattle Decapitation). If playing the guitar, the piano and singing is not enough for you, how about her work as a photographer in the 2013 album The Dead Still Dead Remain (a completely re-recorded version of the 2000 full-length The Dead Shall Dead Remain featuring the return of Leon del Muerte), by American Death Metal band Impaled? That’s how skillful our badass Elizabeth is.

Elizabeth, who by the way used to be married to Charles Elliott, lead singer and guitarist for American Death Metal band Abysmal Dawn, cites Swedish musician Peter Tägtgren (Hipocrisy, Pain) and American guitar hero Jeff Loomis (Arch Enemy, Nevermore) among her main influences, as well as renowned acts like Cryptopsy, Metallica, and the aforementioned Megadeth and Slayer. If you want to take a look at how our stunning guitar player deals with her beloved instrument, you can watch this high quality video of Elizabeth setting up and tuning her guitar, where she reviews tools, changing strings, tuning (from B to E standard), action and intonation, or also this other video where she talks about and demos her favorite Fernandes guitar and the Fernandes Sustainer.

Perhaps the most interesting part of this short but humble tribute to the amazing Elizabeth is the list of her favorite guitar riffs published on Decibel Magazine in July 2012, where she commented on the most impactful and meaningful riffs in her life, the ones that helped shape up her style and enhanced her relationship with her instrument. In the article you’ll be able to see exactly which riffs from specific songs she loves the most, blending metal and non-metal acts on her list. Obviously, as this is a Heavy Metal webzine, we need to highlight the presence of unmatched classics like Megadeth’s Tornado of Souls (by the way, she said she’s crazy about all the riffs in this masterpiece), Emperor’s The Tongue Of Fire, Type O Negative’s Love You To Death, and my favorite of all by far, Iron Maiden’s all-time classic Aces High. However, you’ll also find other interesting riffs from non-metal acts on her list, such as Los Prisioneros’ Estrechez de Corazon (80’s Chilean alternative pop) and Soundgarden’s Jesus Christ Pose. Well, there’s of course one of her own riffs on the list, the one from the chorus of the song Overlord by Dreaming Dead, but that’s more than expected when the musician in question is extremely talented and her music kicks some serious ass.

Elizabeth Schall’s Official Facebook page
Elizabeth Schall’s Official Twitter
Elizabeth Schall’s Official YouTube channel
Elizabeth Schall’s Official ReverbNation
Dreaming Dead’s Official Facebook page
Dreaming Dead’s Official Twitter
Dreaming Dead’s Official ReverbNation

“I like to think I live in a world where my gender has nothing to do with what I am capable of doing. You go onto YouTube and see 13-year old girls shredding out on metal songs.” – Elizabeth Schall

Album Review – Falls of Rauros / Vigilance Perennial (2017)

Feel embraced by the Black and Folk Metal thoroughly crafted by this American quartet, ranging from a multilayered bout of aggression to beautiful moments of music that twist with a powerful and honest emotion.

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nvp055-coverTheir name comes from one of my favorite books of all time, J.R.R. Tolkien’s The Lord of the Rings, inspired by the great falls of River Anduin beneath Nen Hithoel, where the river fell from Emyn Muil to the wetland of Nindalf. Their music, a fusion of Black and Folk Metal with several other elements from distinct genres of music, ranges from a multilayered bout of aggression to beautiful moments of music that twist with a powerful and honest emotion. I’m talking about Falls of Rauros, an extremely talented quartet hailing from the city of Portland, Maine, in the United States, who are releasing their fourth full-length album titled Vigilance Perennial, for the delight of fans of complex and atmospheric music.

Since their inception in 2005 the band has been in a constant state of evolution in their career, with their music flowing organically and increasing in intensity with each of their releases. Featuring an impactful artwork by Sólfjall Design, Vigilance Perennial offers the listener five unique compositions that not only represent the core essence of Falls of Rauros, but that will also take you on a journey of creativity and discovery together with the four members of this idiosyncratic band. If you truly open your mind to the music found in Vigilance Perennial, the entire album will probably become a constant part of your daily music playlist without a shadow of a doubt.

Smooth guitar lines by Jordan and Aaron kick off the opening track, White Granite, being gradually accompanied by Evan on bass and Ray on drums, before Jordan begins firing some hellish gnarls completing the band’s aforementioned fusion of Folk and Black Metal, in this case nicely complemented by subtle hints of Doom Metal. You’ll be travelling through serene fields and harsher landscapes with the band in this full-bodied composition, elevating your emotions and senses before the second aria of the album, Labyrinth Unfolding Echoes, continues to guide you through Falls of Rauros’ whimsical journey. Slow beats and soulful guitars dictate the rhythm in the song’s gentle beginning, but it’s after around three minutes that things get more flammable with their dark and melodic Folk Metal exploding once again, with Jordan growling in a very somber way while Evan and Ray add a lot of progressiveness and epicness to the sonority.

The instrumental piece Warm Quiet Centuries of Rains showcases two minutes of tranquil guitar lines and a pleasant atmosphere, preparing our ears and souls for the dense and multilayered composition that will certainly blast the minds of fans of the genre entitled Arrow & Kiln, where the band fires heavy and aggressive sounds from the very beginning, with Jordan sounding more menacing and demonic than before. Moreover, Ray has an amazing performance on drums with both his Black Metal blast beats and his more rhythmic and progressive beats, helping the other members to constantly alternate between calm instrumental passages and piercing folk sounds powerfully. And closing the album Falls of Rauros offer us all another extreme music extravaganza named Impermanence Streakt Through Marble, a very harmonious and exciting tune where all band members deliver top-notch Folk and Black Metal through their sharp instruments. The song gets remarkably heavy at times, especially halfway through it, with the riffs by Jordan and Aaron and the precise drumming by Ray creating a darkened ambience perfect for the harsh growls by Jordan to sound even stronger.

If you’re ready to tame the unrestrained waters of Falls of Rauros, simply go check their Facebook page for more details on their career, tour dates and future plans. And there are so many different places where you can grab your copy of Vigilance Perennial I might have missed one or two from my list, as you can buy the album at the Falls of Rauros’ BandCamp page, at the Nordvis Produktion’s BandCamp page or webstore (in CD or LP format), at the Bindrune Recordings’ webstore also in CD or LP format, as well as on iTunes or Amazon. Feel embraced by the beautiful extreme music crafted by Falls of Rauros, and let your emotions flow to the sound of their distinguished creations.

Best moments of the album: Labyrinth Unfolding Echoes and Arrow & Kiln.

Worst moments of the album: None.

Released in 2017 Bindrune Recordings/Nordvis Produktion

Track listing
1. White Granite 10:11
2. Labyrinth Unfolding Echoes 9:30
3. Warm Quiet Centuries of Rains 2:17
4. Arrow & Kiln 12:02
5. Impermanence Streakt Through Marble 10:17

Band members
Jordan – vocals, guitar
Aaron – guitar, vocals
Evan – bass
Ray – drums