Category: Album Reviews

Devilskin – RED

In the last few years New Zealand quartet Devilskin has been quite busy on the road and now  the time has come to release the fourth album “RED” which feels like a full blown manifestation of energy and passion. 

“Do You See Birds” focuses on a constant stomping rhythmic core confidently built by inflamed galloping guitar riffs and pummeling drums that clearly showcase the heavier aspects of the album and such frenetic approach is certainly amplified by the spiteful screams. 

“All Fall Down” definitely has a contemplative essence with calmer rhythmic patterns that tend to highlight the soulful vocal delivery yet there is still a fair dosage of raw energy running through the chunky guitar riffs and reaching the acme with a fiery solo. 

On “Corrode” guitars feel quite dominant delivering an overload of groovy riffs that successfully maintain a robust energetic momentum that will naturally lead to the memorable radio friendly chorus. 

The accessible slower rhythm of “Eyes Red Heavy” emphasizes the emotional vocal harmonies and the smooth melodic guitars that ultimately craft a quite captivating instrumental crescendo and a climactic chorus.  

The mood gets significantly darker on “Blood Bone” with Jennie Skulander’s moody vocal performance and guitars aim to grab your attention with spellbinding grim tonalities but will often evolve into enjoyable gritty rock riffs.  

“Endo” begins with a lovable melodic essence fueled by the mellow guitar melodies that introduce the rebellious rocker spirit embodied by the powerful & catchy rhythmic section and the harsh vocals while the chorus slows down again to amplify the inner emotional turmoil. 

“Be Like The River” stands out for the warm bluesy guitar work that will also impress you with a fancy solo and super groovy dynamics enhanced by the precise bass lines and the vibrant vocal delivery. 

Devilskin took their time to fully develop the thrilling music vision incarnated by “RED” and certainly they show a lot of enthusiasm and the necessary creative force to attract more listeners worldwide. 

Medico Peste – ב:The Black Bile


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Polish black metal act Medico Peste aims to impress the fervent underground scene with the nihilistic themes and the tormented soundscapes of the sophomore full length “ב:The Black Bile”. 

The misanthropic sonic realm of “All Too Human” revolves around agonizing vocals and gloomy guitar progressions that will lead to a mysterious atmospheric breakdown followed by an energetic blackened rhythmic burst.  

“Were Saviours Believers” holds a grave melodic essence that favors dramatic slower rhythmic patterns channeling a profound sense of desolation in contrast with the harsh dissonant elements of the heavier guitar work. 

“Holy Opium” continues to blend traditional blackened dynamics with experimental variations and definitely stands out for the brooding guitar phrases flourishing through enigmatic borderline trippy atmospheric tapestries and anguished rhythmic patterns.  

The title track features harrowing growls emerging from a world of madness and decay as the rhythmic section can sound utterly hostile while the guitar work maintains monochromatic tonalities with cascading mournful melodies that will ultimately evolve into a monumental darkened crescendo. 

Undoubtedly Medico Peste follows an obscure pathway on “ב:The Black Bile” mixing a strong traditional black metal inspiration with a contemporary songwriting approach that ultimately generates an intriguing twisted sonic vision. 

Testament – Titans Of Creation

Legendary Bay Area thrash veterans Testament continue to solidify their major influential status with consistent remarkable releases amplified by a magical band chemistry and the thirteenth studio album “Titans Of Creation” is bound to satisfy your thirst for authentic thrash metal while offering a complex progressive flair. 

The opening track “Children Of The Next Level” already manifests the insane energy that fuels the entire album as the guitar riffs unleash a hostile sonic onslaught following the impeccable frenetic drumming so the key elements of classic thrash metal are very much alive and further enriched by the massive charismatic soloing. 

With a monumental rhythmic section “Dream Deceiver” delivers the expected overdose of headbanging friendly dynamics and Chuck Billy adds extra power with his signature vocals while guitars certainly run the show with the elaborate sharp riffage and the eclectic progressions of the fiery solo. 

“Night Of The Witch” showcases a darkened aggressive pathway with a faster tempo that demands vicious guitar riffs and a devilish chorus emphasized by the addition of Eric Peterson’s blackened vocal style and the creepy tonalities of the majestic lead guitar work. 

On “City Of Angels” the main rhythmic core often slows down to emphasize the darkly hypnotic guitar melodies accompanied by a particularly somber vocal delivery yet the monolithic bass lines and the riffage can still sound wicked leading to diverse compelling solos.

“Symptoms” relies on a killer chorus and an explosive relentless rhythmic assault that once again conveys a familiar thrash metal formula and the guitar work demands your utmost attention with menacing riffs and a series of extra intricate progressions leading to a satisfying shredding overdose. 

“The Healers” offers some classic thrash metal elements as the abrasive guitar riffs and the merciless drums constantly channel a palpable raw energy naturally amplified by the ravenous vocals and such super groovy ensemble reaches the acme with another brilliant solo. 

“Curse Of Osiris” doesn’t waste any time with constant untamed guitar riffs and a heavier hostile rhythm showcasing impeccable skills while the mixture of solemn and diabolical vocals evokes a significantly darker mood. 

Testament proudly embrace a sonic evolution that highlights a crispy modern approach while staying true to their unforgettable thrash metal legacy with a tremendous musicianship and a tenacious creative force that spontaneously generate the mighty grooves of “Titans Of Creation”.

Lost Symphony – Chapter I

Founded by multi-instrumentalist and producer Benny Goodman, Lost Symphony is a collective of amazing heavy rock and metal artists that collaborated to create the exciting debut album “Chapter I” which offers a majestic blend of classical and metal. 

Featuring the late Oli Herbert of All That Remains, Bumblefoot of Sons Of Apollo and Ethan Brosh, “Singularity” opens the album with absolutely sumptuous symphonic arrangements that reminisce of a night at the opera and such elegant atmospheric ensemble is constantly enriched by a series of charismatic guitar solos offering lavish melodies and insane shredding.  

“Premeditated Destruction” is an intricate track that features the talent of Brock Richards of Starset, Richard Shaw of Cradle Of Filth, Jimi Bell of House of Lords & Matt LaPierre. This time the neoclassical aesthetics are emphasized by Siobhan’s soothing violins and all the unstoppable guitar progressions deliver an overdose of polished phrases and wicked shredding showcasing a distinct virtuoso style. 

On “This Life Moves Too Fast” David Ellefson of Megadeth, Jeff Loomis of Arch Enemy & Jimi Bell create energetic grooves with familiar symphonic & classic metal elements consequently the subtle atmospheric layers naturally embrace the mixture of chunky riffs and technical solos so you can expect another generous dosage of shredding.  

Featuring Oli Herbert & Satchel of Steel Panther “Cotard Delusion” continues to follow a grandiose neoclassical motif with dazzling elaborate orchestrations that surround the heavier approach of the guitar work which focuses on a compelling blend of sinuous melodies and extensive flamboyant solos. 

Featuring Marty Friedman, Oli Herbert, Matt LaPierre & Conrad Simon, the stunning opus “Requiem” has a melancholic cinematic essence that enhances the presence of the understated atmospheric arrangements while guitars create spellbinding melodic waves full of luminous tonalities that will evolve into complex dramatically heavier rhythmic crescendos enriched by breathtaking solos leading to a poignant finale with sophisticated piano melodies and baroque nuances. 

Obviously the first thing you will notice about Lost Symphony is the outstanding prowess of all the musicians involved in the creation of “Chapter I” and the resulting opulent composition is destined to attract a wide audience while we eagerly await the next releases. 

Me And That Man – New Man, New Songs, Same Shit, Vol 1

By now everybody knows that Nergal, frontman of black metal titans Behemoth, has started the dark folk/blues solo project Me And That Man and the sophomore release “New Man, New Songs, Same Shit, Vol.1” features some amazing collaborations with renowned talented artists. 

Featuring Jørgen Munkeby of Norwegian band Shining, “Run With The Devil” is an energetic track that relies on a catchy rhythmic rampage with pleasant bluesy guitars enriched by the playful tones of the saxophone. 

“Coming Home”  features guest Sivert Høyem of Madrugada delivering passionate and quite somber vocals that match the slower quasi dramatic instrumental ensemble carefully built by contemplative atmospheric layers and mournful guitar melodies. 

On “By The River” legendary Ihsahn of Emperor brings his theatrical vibrant vocal delivery to emphasize the diabolical essence of the warm guitar melodies that reach the acme with a thrilling intricate guitar solo.  

Featuring guests Johanna Sadonis and Nicke Anderson of Lucifer,  “Deep Down South” relies on Southern rock & country styles with vivid acoustic rhythmic patterns and the strong presence of harmonica and violin melodies.

“Man Of The Cross” stands out for the stunning baritone vocals performed by Jerome Reuter of Rome which emphasize the irresistible gothic nuances of the mysterious atmosphere and the seductive guitar melodies following a slow brooding rhythmic section.  

“How Come?” features the talent of Corey Taylor, Brent Hinds and Rob Caggiano and is probably one of the most powerful tracks confidently blending moody blues oriented guitar melodies leading to a flamboyant solo and soulful vocal harmonies that constantly evoke a compelling melancholia.  

The ominous strength of “Confession” comes from the deliciously malevolent vocal performance courtesy of the infamous Niklas Kvarforth of Shining so darkness is destined to prevail through the mellow acoustic passages that will suddenly evolve into a quite harsh blackened rhythmic momentum. 

On “New Man, New Songs, Same Shit, Vol.1” Me And That Man channel darkness and devilish vibes with a different state of mind that favors warm Americana-influenced soundscapes and the presence of diverse guest vocalists renders everything truly interesting and sometimes the  kaleidoscopic results will surprise you.  

Temple Of Void – The World That Was

In the realm of underground metal death/doom outfit Temple Of Void already garnered a lot of attention and now with the release of the third full length “The World That Was” the band is ready to embrace a sonic evolution that inevitably leads to diverse experimental patterns.   

The sense of impending doom is clear throughout “A Beast Among Us” as the mournful rhythmic variations and the obscure growls naturally channel darkness & despair in the midst of a murky atmosphere further emphasized by the lugubrious tonalities of the mighty guitar work. 

On “Self-Schism” the rhythmic rampage is characterized by a hostile death metal inspiration yet the experimental approach leads to multifaceted nuances and the doom elements are palpable within the monolithic guitar progressions that will eventually evolve into mysterious melodic waves. 

The atmosphere of “Leave The Light Behind” immediately conveys futuristic and post-metal vibes that introduce a darkened instrumental ensemble filled with memorable dreamy guitar melodies accompanied by melancholic clean vocals in contrast with the scattered energetic rhythmic patterns of the groovy riffs.  

The title track returns to a classic gloomy doom grandeur as guitars acquire massive gothic tinged nuances to diligently craft alluring crestfallen melodies that are bound to express poignant emotions and become the dominant motif yet there is still space to unleash some significantly heavier charismatic rhythmic segments. 

On “The World That Was” Temple Of Void focuses on an intricate audacious composition that tends to go beyond the traditional formula of death/doom metal in order to achieve a unique sonic identity. 

Huntsmen – Mandala Of Fear

The music style of Huntsmen has been described as Americana metal but the band seems to aim for a wide range of diversity on the new ambitious double LP “Mandala Of Fear” which also tells a harrowing tale of survival and resilience. 

“Ride Out” packs a groovy fuzzy rhythm as guitars channel classic rock dynamics with subtle stoner tonalities that can sound quite intense during the faster segments while there is also a strong melodic core amplified by calm phrases and soothing vocals. 

“Colossus” has some desert rock vibes as the guitar tones become extra fuzzy with loads of moody riffs that tend to steal the spotlight and eventually lead to a darker & heavier rhythmic rampage enriched by spaced out atmospheric waves. 

The instrumental track “Atomic Storms” focuses on elaborate soundscapes offering a generous dosage of monumental guitar riffs supported by a significantly heavier rhythmic backbone and this bold groovy approach is enhanced by dreamy guitar melodies and psychedelic elements. 

On “A Nameless Dread” guitars acquire acidic tonalities and psychedelic vibes to craft wild faster rhythmic variations which can sound rather harsh with the addition of gritty screams in contrast with the sorrowful melodic moments and the soulful vocal harmonies. 

“Awake At Time’s End” evokes a melancholic serenity amplifying some post-metal nuances with dazed melodic guitar progressions and intricate solos while the borderline aggressive guitar riffs generate a fierce sludge oriented rhythmic momentum.  

The strength of “The Swallow” comes from the detailed composition which features cohesive rounds of monolithic rhythmic grooves embellished by nostalgia infused melodies fueled by the extremely somber guitar tones that can easily make you space out during the slower hypnotic passages.  

“Clearing The Sand” offers massive distorted guitar riffs that maintain a prominent sludge influence yet there is a recurring moody melodic sentiment further emphasized by the comforting vocal harmonies emerging through the thick rhythmic maze.   

Huntsmen confidently follow a variegated songwriting approach and even step out of their comfort zone to keep things interesting throughout “Mandala Of Fear” often shifting from spacey instrumental ensemble to absolutely epic arrangements. 

Candlemass – The Pendulum

When we think of doom metal the name Candlemass immediately comes to mind and this time the band returns with the EP “The Pendulum” which includes unused tracks cut from the latest full length “The Door To Doom” recording sessions.

The title track features all the beloved elements of classic doom metal with a somber acoustic prelude that introduces monolithic guitar riffs marching fiercely through the ominous atmosphere enriched by bewitching licks so the whole instrumental ensemble and the mood naturally match the band’s timeless legacy. 

“Snakes Of Goliath” relies on addictive guitar riffs that stay true to the band’s infamous signature style and the extremely somber & solemn vocal delivery keeps on amplifying the obscure atmosphere while later a slightly vintage groovy momentum fuels more energetic rhythmic progressions. 

“Porcelain Skull” is a memorable track that continues to follow a catchy grim doom approach focusing on mighty guitar riffs and a darkened chorus that unleash a generous dosage of raw energy and all kinds of gloomy feelings leading to the climatic guitar solo. 

While “The Pendulum” includes only few tracks it serves the purpose of reminding the audience that Candlemass continue to write monumental doom songs driven by a consistent creative force. 

Dool – Summerland

Dutch dark rockers Dool continue their inspiring spiritual and musical journey on the sophomore full length “Summerland” which is the result of a beautiful evolution destined to conquer a wider audience. 

“Wolf Moon” has an accessible melodic essence that shines under the moonlight for the darkened guitar tonalities expressing grim emotions constantly emphasized by Ryanne van Dorst’s mesmerizing vocal performance and naturally the chorus becomes highly addictive with the catchy heavier guitar phrases. 

Following a moody rhythmic rampage “God Particle” offers elaborate multilayered guitar harmonies filled with exotic tonalities and a subtle surf rock inspiration yet a spellbinding darkness lingers throughout the fascinating instrumental progressions emphasized by the intense soloing and the opulent vocals featuring backing vocalist Farida Lemouchi of The Devil’s Blood & Molasses. 

The title track acquires shimmering dreamy post-rock nuances with a bewitching guitar work that shifts from slow ethereal passages to intoxicating melodies that make you feel like you’re wandering freely within another dimension and Ryanne’s hypnotic voice becomes your ideal spiritual guide. 

“The Well’s Run Dry” is a memorable track that stands out for the seductive darkened aesthetics carefully crafted by the delightful melodic progressions enriched by passionate guitar leads and audacious rhythmic variations while the ominous spoken words courtesy of Okoi Jones from Bölzer certainly intensify the mysterious flair. 

On “Be Your Sins” a thrilling psychedelic quintessence deeply influences the guitar tones leading to soaring grooves and mystifying melodies that will reach the acme with the fervent chorus while the vibrant psychedelic Hammond organ solo performed by renowned keyboardist Per Wiberg adds an overdose of trippy rock vibes.  

“Dust & Shadow” marks a sublime grand finale as lavish atmospheric arrangements and alluring vocals conjure an otherworldly sonic realm where enchanting guitars evoke sheer melancholia with darkly soothing melodies and enthralling soloing that will ultimately evolve into an unforgettable ravishing rhythmic crescendo.  

If you enjoyed the magical soundscapes of the debut album “Here Now, There Then” you will inevitably fall madly in love with “Summerland” as Dool fully embrace their darkened charismatic identity through stellar songwriting and fascinating introspective motifs. 

Irist – Order Of The Mind

As the modern metal scene continues to flourish worldwide, emerging band Irist aims to impress the audience with the groovy debut full length “Order Of The Mind”. 

“Eons” begins with an overdose of belligerent rhythmic blasts full of abrasive guitar riffs and harsh growls that definitely express a profound anger yet a dramatic essence is bound to emerge with sophisticated melodic phrases. 

“Burning Sage” can sound quite hostile as the heavy approach is fueled by a precise punishing rhythmic section nevertheless the band confidently adds intriguing technical variations and calmer contemplative guitar melodies. 

“Severed” is another interesting track that revolves around diverse tonalities and styles and the guitar work seems to amplify a progressive approach in order to craft a balanced mixture of aggressive riffage and introspective melodic depth. 

“Dead Prayers” immediately unleashes brutal guitar driven grooves with hints of traditional death metal consequently the rhythmic segments sound absolutely vicious also due to the fast drums marching fiercely through the darkened atmosphere while guitars will eventually add some grim melodic accents. 

The title track has a straightforward approach that focuses on venomous hardcore elements leading to a series of particularly merciless rhythmic patterns that create a chaotic sonic realm further amplified by the enraged vocal delivery. 

With a slower enigmatic mood “Nerve” offers a poignant melodic ensemble that feels quite dominant as the elegantly sorrowful guitar phrases and the resulting gloomy emotions linger even through the heavier monumental rhythmic passages.  

Keeping a solid modern metal approach with various recognizable influences, Irist constantly showcase a refreshing enthusiasm about creating music and “Order Of The Mind” naturally becomes a quite pleasant sonic journey.