Mastermind Anton Kabanen continues his bombastic music endeavor with the band Beast In Black and is ready to deliver a brand new ‘80s melodic power metal galore on the sophomore album “From Hell With Love”.
On “Cry Out For A Hero” there is a lot of positive energy embedded in the anthemic power metal guitar riffs, the nostalgia infused melodies and the enjoyable upbeat rhythm that of course will reach the acme with the rather flamboyant shredding of the guitar solo.
The title track sounds more cheesy pushing on the danceable synth pop arrangements to embellish the main classic power metal core so often the rhythm is a bit slower and extra melodic leading to a triumphantly catchy chorus.
“Repentless” relies on a full blown symphonic grandeur with loads of solemn keyboards and the warrior metal attitude of the majestic choirs that emphasize the powerful blend of crunchy guitar riffs and polished melodic textures.
The expected mellow ballad “Oceandeep” focuses on folkish elements, profoundly melancholic melodies and subtle atmospheric arrangements creating a mellow dreamy soundscape to support the dramatic vocal delivery.
On “This Is War” there are slightly darkened accents running through the traditional power metal patterns while guitar riffs and drums become noticeably heavier accompanied by a bold vocal performance and the atmospheric breakdown will evoke intense nostalgia.
The spirit of ‘80s heavy metal becomes utterly dominant on “No Surrender” so such familiar winning formula dictates solid rounds of chugging guitar riffs marching through up-tempo rhythmic patterns and the must-have fancy melodic soloing with extra shredding power.
Beast In Black plays it safe and everything on “From Hell With Love” follows a similar ‘80s influenced power metal pathway that was at the center of the composition of the debut album “Berserker” therefore you won’t find any innovative surprises here but a solid collection of catchy songs.
Brooklyn-based band Kings Destroy has chosen a different approach to create the new album “Fantasma Nera” resulting in an intriguing sonic ensemble with an experimental edge and a stoner rock soul.
“The Nightbird” constantly maintains a smooth melodic core as the bluesy guitar work holds a dominant role following the subtle positive energy of the rhythmic section and delivering extra crunchy riffs as well as crispy harmonies.
The title track sometimes amplifies an atmospheric melancholia adding a darker depth to the rich melodic textures which benefit greatly from the dreamy nuances of the guitar work and the compelling solo destined to stand out through the groovy moments.
“Barbarossa” has a groovy rock spirit embodied by the cohesive guitar riffs naturally leading to an entertaining solo while the catchy melodic aspects are amplified by the soulful vocal delivery of the chorus.
“Unmake It” feels significantly darker and slightly heavier as guitars acquire doom tinged tonalities matched by the bittersweet vocals and the rhythmic patterns slow down to create a dramatic mood.
“Dead Before” favors an emotional approach as guitars follow a slower pace with contemplative serenity and carefully weave loads of melancholic melodies with warm bluesy tonalities accompanied by particularly heartfelt vocals.
The fascinating sound of “You’re The Puppet” is generated by the extra darkened doom nuances embedded in the skillful guitar work that effortlessly shift from trippy melodic progressions to bewitching heavier riffage.
With “Fantasma Nera” Kings Destroy deliberately leave behind their hardcore roots to focus mainly on fascinating melodies that render all the songs quite accessible and absolutely enjoyable.
For American death metal quartet Misery Index it’s time to unleash a ferocious uncompromising sonic assault conceptually revolving around dystopian themes with the sixth full-length “Rituals Of Power”.
“Universal Untruths” opens the album with ominous guitar riffs evidently inspired by classic death metal while the cohesive rhythm section gradually builds up asphyxiating grooves accompanied by massive angered growls.
“Decline And Fall” gets more chaotic demanding extra speed and instant headbanging as hellish growls guide you through belligerent grooves filled with sharp guitar riffs while the fiery shredding of the solo renders everything less hostile.
On “The Choir Invisible” guitars hold an essential role delivering solid technical progressions as well as subtle melodic accents in the solo while the relentless heavy riffs lead to darkly energetic rhythmic blasts deeply emphasized by the majestic drumming and the untamed growls.
The title track packs a series of ruthless guitar riffs once again well supported by the steady crushing rhythmic dynamics that generate loads of savage grooves bearing the mark of old school death metal spiced up by the less intimidating darkened vibes of the skillful guitar leads.
“I Disavow” immediately aims to destroy as the rhythm becomes perilously faster with galloping infectious guitar riffs and monumental drums until the lead guitar takes over to craft some grave melodic phrases.
Listening attentively to “Rituals Of Power” it becomes clear how the whole album is mainly fueled by pure wrath and primal force as Misery Index seem simply unstoppable consistently showcasing a taste for insane speed and brutality.
Formed by Drudkh mastermind Roman Sayenko Ukrainian black metal project Windswept is set to spread absolute darkness with the sophomore album “The Onlooker”.
“Stargazer” tends to sound utterly ferocious with super tight guitar riffs and savage drums bearing the ominous mark of traditional black metal and such primal force inevitably leads to an asphyxiating sonic realm.
While the sonic assault of “A Gift To Feel Nostalgia” arises from the darkest abyss of metal there are hints of moody melodic melancholy emerging through the uneasy and frenetic rhythmic patterns.
From beginning to end the bleak mood of “Insomnia of the Old Men” relies on hellish growls and fast rhythmic blasts which will eventually slow down a bit to emphasize the bitter guitar tonalities.
On “Times of No Dreams & No Poets” extremely tormented growls, relentless guitar riffs and scattered melodic accents build up a constant sense of desperation as the whole instrumental ensemble diligently unleash all the fury of classic black metal.
“Bookworm, Loser, Pauper” is another hymn to darkness faithful to the black metal legacy with particularly obscure guitar tonalities and a frantic no frills rhythmic core that demands extra speed and nightmarish vibes.
“The Onlooker” aims to constantly channel an uncompromising raw energy to efficiently depict the darkest soundscapes and the sonic pathway chosen for this album probably is not too far from Drudkh’s discography as Windswept are also devoted to traditional black metal.
Formed by Jeff Wilson (ex-Nachtmystium, ex-Wolvhammer, ex-Abigail Williams) post/alt-metal band Chrome Waves is now a full time music endeavor with a revamped lineup so this is the right time to release the debut album “A Grief Observed”.
“Burdened” belongs to a gloomy realm where subtle atmospheric arrangements naturally embrace the harsher momentum brought by blackened guitar riffs, faster drumming and furious growls but the heartfelt melodic progressions and the perennial melancholia represent the highlight of this lengthy album opener.
“Past The Lights” often conveys monochromatic emotions with calmer catchy rhythmic patterns and hazy atmospheres that convey an accessible dark metal mood and enhance the intense melodic gloom of the smooth guitar work.
The title track stands out for the enthralling cello arrangements that gracefully adorn the dreamy shoegaze style atmospheric ensemble and the deeply melancholic guitar phrases while fragile clean vocals and enraged growls channel contrasting feelings.
Tormented vocals and extremely sorrowful guitar melodies are the key elements in the composition of “Take Another Sip” and a dramatic slower tempo consistently amplifies the nostalgia infused harmonies elegantly crafted by the charismatic cello performance.
“A Grief Observed” constantly dwells within a dark gelid sonic realm where a primal blackened force is always ready to emerge yet Chrome Waves passionately weave lovely melodic textures and cinematic soundscapes that deserve your attention.
New York hardcore band Brick By Brick put together a quite angered and relentless new album entitled “Hive Mentality” so you should expect a massive dose of guitar driven grooves.
The title track features a rant by Jessica Pimentel, Alekhine’s Gun vocalist and actress on Orange is the New Black, and basically maintains a furious rhythmic core from beginning to end courtesy of the aggressive combo of guitar riffs and drums.
“Bad Sign” doesn’t slow down as vocals always feel extremely enraged well supported by the heavy rhythmic approach and the belligerent guitar work.
On “Battleground” the brutal vocal delivery certainly amplifies all the instrumental angst which once again relies on the savage rhythmic patterns spiced up by the fiery shredding guitar solo.
Guest vocalist Vincent Bennet of The Acacia Strain’s contributes to channel raw energy on “In The Ruins” which confidently continues to unleash blistering guitar riffs to build up moshpit friendly rhythmic dynamics.
The entertaining cover of Skid Row beloved classic “Slave To The Grind” gets a super hardcore style makeover so vocals become cavernous while the rebellious rhythmic core of Motörhead’s “Iron Fist” cover might fit better the general mood of the album.
There are no frills or fancy special effects on “Hive Mentality” as Brick By Brick diligently follow a straightforward music formula to generate consistent rounds of crushing grooves throughout the album.
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”.