German heavy metal veterans Primal Fear reach another major milestone with the release of the 13th album “Metal Commando” revolving around heavy guitar driven grooves and darkened melodies.
“I Am Alive” opens the album with great energy as the inflamed guitar riffs and the fancy shredding introduce a flawless groovy sonic realm channeling an overdose of classic heavy metal vibes and the bold rhythmic section will embrace a melodic pathway during the catchy chorus.
“Along Came The Devil” continues to unleash mighty guitar riffs supported by the precise rhythmic section that as expected will trigger instant headbanging while the vocals can effortlessly deliver devilish high pitch screams.
With a slightly slower tempo “Hear Me Calling” emphasizes the stellar melodic guitar work which naturally shifts from mellow harmonies to flamboyant soloing while the sing along chorus definitely amplifies the song’s emotive essence.
“My Name Is Fear” is another wild track with a significant old school approach fueled by the massive chunky guitar riffs that obviously generate a series of powerful rhythmic dynamics enriched by melodic elements and the excellent shredding galore of the solo.
Throughout “Howl Of The Banshee” guitars rightfully maintain the spotlight crafting a generous dosage of relentless riffage and melodic hooks especially evident during the charismatic solos and the memorable chorus.
The lengthy final track “Infinity” offers recurring darkened contemplative atmospheric arrangements which amplify the intense melancholia that characterizes the refined guitar melodies and the poignant vocal delivery yet the untamed rhythmic patterns and the impressive guitar solos will also showcase a strong epic flair within the faster & heavier segments.
Primal Fear have been around for 22 years and listening to “Metal Commando” you will quickly understand that they are still driven and inspired by a genuine passion for heavy metal that even today seems simply unstoppable.
Australian blackened deathcore outfit Aversions Crown begin a new sonic endeavor with a finalized line-up and a ferocious energy on the latest full length “Hell Will Come For Us All”.
The cold atmospheric intro on “The Soil” foreshadows the darkened vibes that surround the savage rhythmic section and the precise guitar riffs accompanied by belligerent growls constantly amplify the aggressive sonic pathway.
On “Paradigm” the lead guitar work immediately showcases a technical flair leading to vicious rhythmic blasts well supported by the breakneck speed of the drums while a gloomy atmosphere will trigger a contemplative melodic breakdown.
You simply cannot escape the darkness running through the title track as the mournful ambience introduces an unrestrained rhythmic assault filled with abrasive guitar riffs, ruthless drum blasts and spiteful growls yet the guitar leads add some fascinating melodic progressions.
“Sorrow Never Sleeps” dwells within a somber atmospheric realm where guitars naturally acquire dismal tonalities to create crestfallen melodic crescendos but certainly the band doesn’t sacrifice the inner anger as demonstrated by the moments of sheer brutality concocted by an explosive rhythmic section.
“The Final Judgement” brings closure with a dismal mood reminding us that the end is near so the dramatic atmospheric ensemble evokes grim feelings matched by the darkened guitar harmonies flourishing through the merciless rhythmic patterns.
The world of “Hell Will Come For Us All” is filled with fury and sorrows as Aversions Crown focus on a visceral technical songwriting approach embellished by a fair dosage of impeccable melodic twists.
Polish death metal icons Vader have been around for 37 years and are ready to begin a new chapter in their long successful history with the release of the 16th studio album “Solitude In Madness” which definitely proves that they have no intention to stop delivering merciless grooves.
“Shock And Awe” announces an imminent destruction with the fast unrestrained march of the rhythmic section and through these massive bursts of fury the lead guitars effortlessly add variety with some charismatic licks.
“Incineration Of The Gods” begins with precise drum blasts and the rhythm gradually acquires more speed and malevolent vibes amplified by the venomous screams and the sharp guitar riffs that will give way to a satisfying fancy solo.
The obscure mood of “Sanctification Denied” is fueled by a consistent series of visceral rhythmic dynamics and the ominous guitar tones are bound to make an impact delivering fiery riffage and skillful shredding.
“Emptiness” certainly maintains a robust rhythmic rampage with all the moshpit friendly riffs but the lead guitar work is destined to steal the spotlight crafting majestic shredding and alluring darkened melodic phrases.
“Final Declaration” goes straight to a ferocious rhythmic assault based on an old school death metal formula in fact guitars are always ready to induce instant headbanging with energetic riffs and masterful soloing.
The mid-tempo rhythm of “Bones” still favors crushing guitar driven grooves accompanied by the absolutely menacing vocal delivery but this is not just a chaotic sonic realm as the lead guitar work has the capacity to diversify the main patterns with sophisticated melodic progressions.
Those already familiar with Vader’s extensive discography will be pleased to see that “Solitude In Madness” stays true to the band’s legendary death metal legacy providing the expected generous dosage of ruthless dynamics.
In the realm of occult rock Witchcraft holds an influential status but on the new acoustic album “Black Metal” founder and sole remaining member Magnus Pelander chooses a different direction focusing on a minimalist and deeply emotive approach.
“Elegantly Expressed Depression” perfectly represents the grim and probably depressing feelings of the whole album as the sheer beauty of the monochromatic acoustic passages surrounds Magnus’s solemn vocal delivery creating a quite intense emotional turmoil.
“Sad People” might in fact make you feel sad due to the slow & quiet mournful guitar phrases that highlight the essential role of the heart wrenching vocals.
“Grow” is a longer track that manages to channel some darkened vibes while maintaining a relaxed stripped back acoustic approach shifting from extra mellow arpeggios to understated rhythmic crescendos that match the contrasting emotions expressed by the vocals.
On the brief final track “Take Him Away” the acoustic phrases and the whispered vocals create a simply contemplative atmosphere.
From an album entitled “Black Metal” you might have expected some ominous heavy grooves instead Witchcraft focuses exclusively on a gloomy acoustic ensemble so in the end this new release turns out to be widely accessible.
Beloved pioneers of gothic/doom metal Paradise Lost have been creating unforgettable music for 32 years and now it’s time to reach another crucial milestone with the spellbinding gloom of the new full length “Obsidian”.
“Darker Thoughts” opens the album with the melodic splendor of melancholic arpeggios and eloquent strings before entering a majestic gothic metal realm where the ominous growls and the fascinating darkened tonalities of the guitar soloing enrich the memorable rhythmic ensemble.
“Fall From Grace” immediately grabs your attention with a monolithic doom metal formula offering an overdose of dismal groovy segments carefully built by the mix of crunchy riffs and captivating nostalgic guitar progressions that constantly convey a grim emotional turmoil.
The moody rhythm of “Ghosts” makes you want to dance under the moonlight and the absolutely catchy goth mood is deeply amplified by the gloomy chorus and the haunting beauty of the melodic guitar phrases.
While “The Devil Embraced” often features ethereal harmonies accompanied by heartfelt clean vocals the rhythmic section will soon embrace a mournful doom metal pathway with heavier monumental guitar riffs enhanced by the cathartic nature of the elaborate solo.
“Forsaken” is surrounded by the evocative darkened aura of the delicate atmospheric waves that always emphasize the gothic grandeur of the fiery guitar progressions and the groovy rhythmic blasts.
With a slower rhythm “Ending Days” takes the chance to highlight poignant feelings through the melancholic clean vocal delivery and the lavish melodic guitar work effortlessly increases the dramatic depth with wistful phrases and inflamed soloing.
The perennial eerie atmosphere of “Ravenghast” intensifies the mesmerizing obscure essence embedded in the lugubrious rhythmic crescendos and the solemn guitar work crafts an overload of ravishing dynamics that clearly follow a mighty doom metal inspiration.
“Obsidian” can easily conquer your broken soul as Paradise Lost perfectly keep a balanced blend of heavier doom patterns and bewitching melodic progressions conjuring their influential legacy but also confidently moving forward to embrace a natural evolution that ultimately proves that after so many years they are still essential within the current metal scene.
Khemmis have quickly become one of the most beloved and critically acclaimed bands in the current metal scene and the new EP “Doomed Heavy Metal” includes a brand new cover, two rare singles and three live recordings from 2018 which give you a taste of their compelling doom inspired manifesto.
The cover of Dio’s iconic hit “Rainbow In The Dark” is bound to trigger curiosity and the result is actually quite enthralling as Khemmis maintain their own sound with doom laden guitar progressions, charismatic soloing and genuinely passionate vocals but also stay true to the original classic heavy metal style.
The early 20th-century Appalachian dirge “A Conversation With Death” begins with solemn chorals and constantly channels a darkened mood that deeply influences the monolithic guitar riffs leading to mournful moments as well as some energetic rhythmic blasts.
Keeping a mighty doomed approach “Empty Throne” focuses on the fuzzy magic of the guitar work while the slower tempo certainly highlights the melodic grandeur fueled by the melancholia infused guitar tonalities.
The rest of the EP features the live versions of the powerful tracks “Bloodletting”, “Three Gates”
and “The Bereaved” which remind us how much we miss metal shows.
Even if “Doomed Heavy Metal” is a short EP it does feel like a refreshing listening experience and proves that In this dark world the music composed by Khemmis truly shines bright.
Finnish electro metal band Turmion Kätilöt has been around since many years but now they really have a chance to reach a wider audience with the new bombastic album “Global Warning”.
“Naitu” immediately showcases a wild blend of styles beginning with a mix of futuristic atmospheric layers and epic accents swiftly followed by an explosive rhythmic rampage full of gritty guitar riffs but also loads of positive energy due to the fun electro beats.
The mood of “Kyntövuohi” definitely feels darker as the guitars engage in a faster hostile rhythm borrowing the dystopian themes of industrial metal emphasized by the imposing harsh vocals while the synths always add dancey vibes.
The synths acquire some ‘80s influences throughout “Kuoleman juuret” generating a full blown party mood with uplifting rhythmic bursts yet there is a nostalgic flair leading to some slower sentimental moments.
On “Syvissä vesissä” the role of the multilayered electro arrangements increases and the synths acquire a pulsating robotic sound while guitars tend to stand in the background maintaining a steady groove.
“Sano kun riittää” feels calmer with lullaby sounds and soft choirs that introduce some elegant atmospheric textures before entering a more savage rhythmic rampage with heavier elements and crunchy guitar riffs.
“Syntisten laulu” offers a stomping galore blending bold guitar riffs and moody electro layers yet the consequent fiery rhythm can evolve into smooth quasi melancholic moments amplified by the softer atmospheric tapestries.
“Mosquito A la Carte (To Be Continued 5)” sounds quite different as the experimental approach mixes unexpected exotic dance styles with a belligerent industrial groove resulting in a quite playful track.
Undoubtedly “Global Warning” would be best enjoyed in a party metal environment with very loud speakers as Turmion Kätilöt successfully created a collection of catchy tunes fueled by a massive industrial raw energy.
Critically acclaimed Finnish psychedelic black metal wizards Oranssi Pazuzu open the doors of perception on the fifth full length “Mestarin Kynsi” which goes beyond standard music categories feeling more like an insane trip full of colorful surprises and enigmatic nightmares.
“Ilmestys” immediately conjures an unsettling atmosphere with the obscure experimental approach of the synths creating an apocalyptic slow burning ensemble emphasized by the creepy growls and the murky rhythmic crescendos.
There is an apparent calm on “Tyhjyyden Sakramentti” due to the psychedelia infused synths and the melodic guitars yet a chaotic rhythmic rampage is destined to take over combining blackened gritty riffs and frenetic industrial style arrangements.
“Uusi Teknokratia” has a cold groovy essence with a blend of abrasive guitar riffs and opulent mystifying electronic layers that ensure a series of artsy and even dissonant rhythmic variations while the malevolent growls seem to emerge from a distant hellish abyss.
The experimental composition thrives within the eclectic soundscape of “Kuulen Ääniä Maan Alta” that revolves around moody borderline futuristic electro beats that will acquire tumultuous industrial elements leading to claustrophobic rhythmic segments embellished by the psychedelic nuances of the synths.
Oranssi Pazuzu basically reminds you that it’s the right time to jump through the rabbit hole but who knows if you’ll ever manage to get out because it just seems really easy to get lost within the mysterious twisted sonic maze of “Mestarin Kynsi”.
Finnish symphonic metal masters Nightwish are undoubtedly considered as one of the most successful metal bands worldwide and the long awaited new dazzling release “Human. :II: Nature.” is certainly an ambitious work of music destined to impress the audience.
The haunting atmosphere of “Music”creates a suspenseful mood especially enhanced by the tribal percussion and the solemn orchestral crescendo that introduce Floor Jansen’s magical voice and a soothing melodic essence that will gradually pick up an energetic momentum as the rhythmic section acquires familiar symphonic metal dynamics.
“Noise” reminisces of the band’s acclaimed early albums therefore is bound to become a hit song as the flamboyant symphonic flair becomes stronger with refined multilayered orchestrations that highlight Floor’s charismatic vocal performance and the catchy guitar riffs carefully build up heavier grooves.
“Pan” feels like an ode to imagination as the enchanting piano harmonies embrace a refined orchestral climax following a detailed composition that will ultimately evolve into a grandiose symphonic metal oeuvre enriched by the sharp guitar riffs and the lush operatic choirs.
“How’s The Heart” holds a glowing melodic soul so the rhythm slows down to enhance the flawless vocal harmonies and the emotional motif while the folk elements shine brighter with the exceptional Uilleann pipes played by Troy Donockley.
Just like the title suggests “Tribal” revolves around an ancestral tribal rhythm so guitars naturally acquire darker tonalities leading to significantly heavier inflamed groovy patterns fueled by an ex novo primal energy particularly evident in the monumental drumming.
On “Endlessness” guitars have the chance to craft polished melancholic melodies expressing poignant feelings while the lavish atmospheric layers definitely amplify the epic vibes and this time Marko Hietala takes the leading vocal role delivering a fiery performance.
The second part of the album offers the complex opus “All The Works Which Adorn The World” divided in eight movements that showcase a remarkable opulent artistic vision relying on otherworldly classical arrangements and majestic orchestral arrangements.
On “Human. :II: Nature.” Nightwish choose to focus on an elaborate sumptuous composition that still shows all the beloved characteristic traits of their signature music style yet they audaciously explore luminous neoclassical nuances and traditional folk flavors to create a captivating sonic journey.
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”.