With outstanding passion and resiliency iconic New Jersey thrashers Overkill have accomplished so much during their long career and certainly consolidated their legendary status in the metal scene influencing and inspiring musicians worldwide. Now for Overkill it’s time to begin a new exciting chapter with the release of the 19th studio album “The Wings Of War” which once again showcases the band’s unstoppable creative force.
On “Last Man Standing” a suspenseful mood introduces a rather aggressive thrash ensemble where soaring guitars constantly unleash sharp riffs and savage soloing well supported by the infectious rhythmic section and the overall blistering energy is further amplified by Bobby Blitz’s charismatic vocal performance.
The classic and successful thrash formula is still alive on “Believe In The Fight” and Bobby’s vocals are on fire while the whole instrumentation never really slows down hitting you in the face with relentless guitar riffs and wild rhythmic patterns leading to a necessary headbanging galore.
“Head Of A Pin” is full of entertaining hooks as guitars effortlessly deliver endless rounds of groovy riffs with glorious traditional doom accents and a slightly dramatic yet extra fancy solo while the powerful rhythmic segments maintain a moody crushing core.
Everything slows down in the beginning of “Distortion” as the darkened guitar leads inevitably amplify a nostalgic mood but Overkill is still ready to pack massive old school thrash grooves with consistently heavy riffage and thrilling rhythmic dynamics enhanced by the wrathful vocal delivery.
“Where Few Dare To Walk” starts with a contemplative atmosphere and smooth melancholic guitar melodies that will recur throughout the song but there will always be a massive dosage of abrasive riffs to keep alive the raw energy of the faster anthemic thrash elements.
The frenetic rhythmic blasts of “Hole In My Soul” ensure memorable loud thrash grooves always enhanced by solid rounds of gritty guitar riffs & shredding and a super catchy chorus plus Bobby constantly provides remarkable fierce vocals.
Undoubtedly Overkill is in excellent shape and while the nostalgic vibes of the golden era of thrash metal emerge throughout “The Wings Of War” the songwriting feels absolutely relevant in the current scene and continues to consolidate the band’s influential status.
Blut Aus Nord mastermind Vindsval and long time partner W.D. Feld joined forces to create the new ambitious project Yerûšelem which blends cold wave and electronica nuances with a fiery industrial core on the debut release “The Sublime”.
The title track can sound absolutely mysterious with a generous dose of dreamlike electronic tapestries and distant chants yet there is a gentle melodic streak as crispy guitars leads generate contemplative vibes.
The desire to freely experiment with multifaceted music styles on “Autoimmunity” leads to electronic textures that convey darkened aesthetics dramatically enhanced by nightmarish rhythmic crescendos and gritty guitar riffs.
The electronic atmospheres of “Joyless” will make you space out while guitars probably deliver the heaviest riffs on the album as well as a steady series of gelid polished melodies with a palpable gothic metal inspiration.
Everything sounds extra dark on “Triiiunity” and the post apocalyptic spirit is fueled by cold industrial grooves with monochromatic guitar riffage, modern electronic pulses and suspenseful atmospheric arrangements,
“Reverso” aims to hypnotize the audience as spacey vocals simply float through trippy waves of danceable electro beats and somber melodic guitars that could go on forever stuck in a dreamy loop.
“The Sublime” dwells within a subterranean realm where the lines between reality and dream become blurry as Yerûšelem explores diverse music territories to create unique, often utterly surreal, soundscapes.
The successful career of In Flames started in the burgeoning metal scene of Gothenburg back in 1990 and while they will always be one of the forefathers of melodic death metal their music style has inevitably evolved through the years leading to the rather accessible sonic realm of the latest album “I, The Mask”.
The darkened atmosphere and modern synths of “Voices” create the right suspenseful mood to open the album and introduce consistent rounds of crunchy guitar riffs amplified by the ravenous vocal delivery channeling grim emotions yet there is also an inner positive energy courtesy of crispy melodic progressions.
There is a quite aggressive streak running through the title track with faster rhythmic dynamics and bouncy riffage marching confidently through futuristic atmospheric textures while the lead guitar work often focus on a more melodic approach that will naturally match the irresistible catchy vibes of the chorus.
The main rhythmic core of “Call My Name” has a classic heavy metal structure relying on plenty of energetic guitar riffs but there are many radio friendly moments such as the softer vivid chorus where the whole instrumentation embraces an easier melodic sound.
“I Am Above” continues to follow a familiar mixture of old school heavier rhythmic patterns rightfully filled with soaring guitar riffs and pleasant melodies that tend to put the spotlight on the vibrant clean vocals and the big chorus.
Just like a traditional rock ballad “Follow Me” begins with a profoundly melancholic and contemplative mood enhanced by mellow acoustic passages and as the warm clean vocals take the center stage the guitar work seems to leave behind any concrete sign of anger to deliver luminous melodies and fancy soloing.
On “Burn” pummeling guitar riffs return to embrace darker & heavier tonalities accompanied by a fair dosage of bitter growls and supported by a fiery rhythmic section while the straightforward melodic themes revolve around another catchy chorus.
On “Stay With Me” the rhythm drastically slows down and there are many accessible classic ballad elements, such as soft arpeggios and dreamy atmospheres, that amplify the emotional temper of the elegant melodic guitar phrases and the particularly ardent clean vocal delivery.
While you shouldn’t expect the melodic death metal anthems of the early acclaimed albums by In Flames it must be said that without any hesitation or noticeable regrets “I, The Mask” marks another major milestone in the sonic evolution of the band moving forward in order to fully embrace a different artistic vision that ultimately aims to attract a wider audience.
Fear Factory’s Dino Cazares, Die Krupps’ Jürgen Engler and Leæther Strip’s Claus Larsen joined forces to create the new industrial supergroup Die Klute and now they are ready to showcase their artistic vision with the energetic debut album “Planet Fear”.
Bouncy electro arrangements build the fiery darkened grooves of “If I die” while the furious vocals and unstoppable crunchy guitars in the background amplify the song’s heavier dynamics.
“Out Of Control” offers an explosive round of grooves that constantly channel the raw energy of industrial rock with the right dosage of extra distorted guitar riffs marching through the eclectic danceable electro layers.
“The Hangman” revolves around anthemic industrial vibes with throbbing electro grooves and an inner rebellious spirit that fully permeates the acidic guitar tonalities and the bold vocal delivery.
“It’s All In Vain” combines nightmarish vibes and a dancey rhythm as guitars provide some heavy riffage as well as brief melodic moments surrounded by intensely persistent electro beats.
Anger and horror continue to fuel the industrial groove of “Infectious” which has a catchy mood but can certainly sound aggressive with the pummeling electronic beats, the enraged guitar riffing and the fierce vocal delivery.
“Push The Limit” stands out for the futuristic accents of the rather frenetic electronic arrangements while the heavier ravenous industrial rhythm is naturally amplified by the belligerent combo of harsh vocals and relentless guitar riffs.
The cover of U2’s classic song “MOFO” is particularly entertaining with a major catchy industrial approach that matches the album’s post-apocalyptic vibes and would sound awesome on the dancefloor.
Often supergroups manage to release a couple of albums and then disappear but in the case of Die Klute it seems that we can expect more music from this unique collaboration in the future, meanwhile you can enjoy the massive industrial grooves of “Planet Fear”.
During their thirty years careers Greek metal masters Rotting Christ have worked relentlessly and passionately to establish the recognizable distinct music style that today on the brand new album “The Heretics” continues to naturally blend spellbinding melodic grandeur and primal extreme metal roots.
The ominous mood of the album is palpable on the opener “In The Name Of God” which is fueled by a savage blackened force leading to an obscure rhythmic march with galloping guitar riffs and intense drumming but the tempo often slows down to enhance a dramatic approach favoring the gothic beauty of the melodic guitar leads and mystical atmospheric arrangements.
The spiritual aura of “Vetry Zlye” comes to life through the ritualistic chants & narratives as the mysterious atmospheric waves are embellished by the bewitching vocals performed by Irina Zybina while the heavier instrumental ensemble focuses on the majestic rhythmic dynamics and the sharp guitar work.
As the fierce guitar riffs naturally lead to epic grooves, the darkened charisma of “Heaven And Hell And Fire” is constantly generated by esoteric chants and Sakis’s enraged growls while the song’s melodic splendor is meticulously crafted by the gloomy refined tonalities of the guitar phrases and the fancy energetic soloing.
“Hallowed Be Thy Name” feels even more mystical with massive solemn choirs and theatrical spoken words that acquire an essential role within the song’s extremely dramatic atmospheric realm while the heavier instrumental passages become sporadic but still capable of channeling immense darkness.
The cinematic intro of “Fire God And Fear” foreshadows another cryptic hymn to darkness and inevitably everything feels like an ancient ritual as soaring guitars confidently build understated blackened grooves that reach an arcane acme with the dazzling melodic opulence of the guitar solo.
Inspired by Edgar Allan Poe “The Raven” holds a darkly poetic soul and evokes extra dramatic depth with loads of fascinating theatrical narratives accompanied by impeccable haunting melodic guitars while the catchy yet gloomy rhythmic core still features a fair dosage of sinister aesthetics and bold guitar riffage.
Absolute devotion and an indissoluble connection with arcane myths are the fundamental elements behind the stylish composition of “The Heretics” and while Rotting Christ are still following a path of undiluted darkness all the songs on this album hold a surprisingly accessible melodic essence that can be appreciated by a wider audience worldwide.
Progressive extreme metal band Aenimus is ready to share with the world the crushing dynamics and the lavish melodic tapestries of the sophomore album “Dreamcatcher” which is conceptually inspired by horror novels and movies.
“Before The Eons” has its brutal moments channeling sheer technical death metal majesty with super tight riffage and precise drumming yet the song is full of enthralling melodic guitar leads characterized by luminous tonalities and graceful emotions that naturally match the dreamy moments.
“Eternal” offers audacious deathcore twists to the steady ferocious sonic assault featuring the expected progressive technical approach of the guitar riffs & fancy melodic soloing marching confidently through odd tempo variations while growls and clean vocals aim to convey contrasting feelings.
“The Ritual” begins with a darkened suspenseful atmosphere and will soon continue to deliver frenetic rhythmic patterns where the intense guitar work tends to stand out for the skillful technique and savage riffing that will eventually give way to gloomy melodic solos and a solemn symphonic grand finale.
Extreme speed and a fierce death metal core are fundamental on “The Dark Triad” yet the band often leaves behind such aggressive approach to craft arcane atmospheric textures that surround another round of brighter and stylish prog oriented guitar soloing .
“The Overlook” immediately unleashes loads of merciless grooves as fiery guitar riffs follow insane rhythmic variations supported by a wicked bass & drums combo until tempo slows down dramatically to put the spotlight on the major guitar shredding.
The instrumental title track holds a cinematic approach that tends to leave behind any sign of rage to allow the melodic guitar work to truly shine and deliver loads of tasteful crispy progressions through mysterious atmospheric waves without an exaggerated technical approach.
With the release of “Dreamcatcher” the future of Aenimus definitely looks bright as the band put a lot of effort in the creation of a solid collection of songs that stands out for the technical musicianship and the refined melodic aesthetics.
Back in 1999 mastermind Tobias Sammet created the critically acclaimed all-star rock opera Avantasia that certainly has garnered a great success worldwide and the new ambitious opus entitled “Moonglow” represents another fascinating milestone with conceptual themes inspired by dark romanticism and Victorian tales.
“Ghost In The Moon” marks a grandiose beginning effortlessly blending accessible melodic moments featuring the sheer elegance and melancholy of classical piano pieces, majestic orchestrations and an inner classic rock attitude that emerges through the polished guitar work. The whole composition and fancy execution here aim to constantly showcase the proper theatrical approach of a rock opera that will truly shine as a live performance.
The upbeat grooves of “Book Of Shallows” combine the bombastic energy of power metal and traditional heavy metal as guitars maintain a dominant role delivering tight & faster riffs as well as tasteful melodic progressions while the whole instrumental ensemble is definitely enriched by the multifaceted vocal performances which this time feature Hansi Kürsch of Blind Guardian, ex Masterplan Jørn Lande, Ronnie Atkins of Pretty Maids and Mille Petrozza of Kreator.
The dramatic nuances of “The Raven Child” lead to refined orchestrations that allow the poignant vocals of Hansi Kürsch and Jorn Lande to take the center stage. While this lengthy song always maintains an underlying mellow gloom, it features several compelling style variations with particularly opulent arrangements channeling classical & symphonic inspiration and wilder heavy moments with sharp guitar riffage and enthusiastic groovy rhythmic sections.
The unmistakable voice of Geoff Tate is a perfect fit for the nostalgia infused tonalities of “Invincible” which focuses mainly on the expression of passionate feelings with graceful atmospheric arrangements and ballad style soft piano melodies.
On “Alchemy” suspenseful atmospheric textures introduce a compelling blend of soulful melodies and memorable guitar driven grooves while Geoff Tate never disappoints with an incredible vocal performance that naturally enhances the progressive aspects of the elaborate instrumental passages.
On “The Piper At The Gates Of Dawn” the vocals performed by Ronnie Atkins, Jorn Lande, Eric Martin, Bob Catley and Geoff Tate certainly provide a high degree of diversity within the sophisticated composition where rich multi layered arrangements surround a widely accessible melodic ensemble while keeping a traditional power metal approach with triumphant guitar riffs and flamboyant soloing.
Avantasia confidently deliver another passionate music experience and the majestic detailed composition behind “Moonglow” leads to an intricate work of music that has the ability to take you far away with its compelling melodic splendor and so many charismatic vocal performances.
For Danish atmospheric black metal quintet Morild the time has come to enter a world of cold darkness with the debut album “Så kom mørket…”.
“En sort sky af minder” is ready to showcase untamed brutality with intense guitar riffing and super fast drums that certainly are inspired by traditional ominous black metal but this track also holds an inner contemplative nature that feels like a pale distant light as guitars craft emotionally charged melancholic melodies.
“I afgørende stunder” evokes a mournful mood through monochromatic atmospheric nuances while an intense nostalgia will deeply influence the whole instrumentation as the band temporarily leaves behind the previous blackened fury to focus mainly on gelid melodic soundscapes.
“Frosset fast til mit indre” can sound utterly aggressive with the overwhelming blackened crescendo built by a fiery rhythmic section yet a melodic gloom will eventually take over with fragile guitar harmonies flowing through dreamy atmospheres and desperate feelings.
The composition of “At dø eller blive fri” definitely favors a cascadian black metal approach as guitar riffs gallop relentlessly within a murky atmospheric realm while later intriguing keyboards arrangements will spice up such frantic rhythm.
With its primordial blackened force “Så kom mørket…” could not sound more enigmatic as Morild is still a young band but emerges from the darkest & coldest depths of metal with confidence and passion.
Portland’s death/doom outfit Ossuarium proudly welcome you to the asphyxiating sonic realm of the debut full length “Living Tomb” that aims to make a monstrous impact in the underground metal scene with a truly nightmarish sonic assault.
An overwhelming darkness dominates “Blaze Of Bodies” as cavernous growls and belligerent guitar riffs lead the way to a doom laden ensemble that besides the aggressive rhythmic momentum features painfully slow and arcane instrumental patterns.
“Vomiting Black Death” holds a funereal mood starting with an absolute desolate doom formula as the slower tempo amplify the weight of the enigmatic guitar melodies and soloing yet the palpable death metal roots will generate some primal guitar driven grooves.
“Corrosive Hallucinations” can easily unleash pure fury with tight guitar riffs and fast drumming but often shifts to less hostile moments with a generous dosage of grave melodic guitar leads that emphasize the profound darkened doom influences following a slower dramatic rhythm.
A primordial extreme metal force becomes immediately palpable on “End Of Life Dreams And Visions Pt 1” leading to ferocious rhythmic blasts accompanied by ferocious low growls while the guitar melodies still evoke sheer despair.
“End Of Life Dreams And Visions Pt 2” belongs to the darkest depths of metal as guitars seem to focus more on a doom worshipping galore with a rather intense melodic gloom and even fragile harmonies that aim to hypnotize the listeners but never really leave behind the brutal dynamics that characterize the entire album.
Ossuarium confidently begin their music journey following a familiar obscure pathway and you will immediately realize that the ominous creative force behind “Living Tomb” is definitely fueled by a perennial darkness.
Spanish metal extremists Altarage seem to have no interest in fame and continue to keep their anonymity as well as a rather nihilist approach that feels very dominant throughout the latest effort “The Approaching Roar”.
Listening to “Sighting” you can rest assured that this is not music for the masses as the initial somber dissonant tonalities introduce a monstrous heavy rhythmic section that could not feel darker with cavernous growls and belligerent guitar riffs that simply seem unstoppable.
The beginning of “Urn” deliberately feels unnerving with warped bass tones and a suspenseful mood while massive rhythmic patterns will soon create an impenetrable wall of sound interrupted only by some ominous guitar leads.
With a dramatic rhythmic core “Cyclopean Clash” belongs to an obscure abyss as the monolithic guitar work emerges with dissonant tonalities and extra darkened aesthetics following enigmatic tempo variations.
“Inhabitant” is full of abrasive guitar riffs that diligently maintain arcane vibes fueled by the primal extreme metal elements while the rhythmic segments effortlessly shift from a fast gruesome assault to atmospheric mournful moments.
“Chaworos Sephelln” continues to channel undiluted obscurity but this time the infectious death metal patterns are suddenly interrupted by a mystical atmospheric crescendo followed by an increasing sense of desperation fully expressed by the doom tonalities of guitars and the utterly dramatic rhythm.
Without any hesitation Altarage dwell comfortably within a brutal chaotic sonic realm on “The Approaching Roar” leading to an uncompromising heavy work of music that could certainly sound too hostile to the faint of heart.