Featuring extraordinary musicians Gothenburg’s newest melo-death metal supergroup The Halo Effect proudly releases the highly anticipated debut album “Days Of The Lost”.
The golden days of melo-death metal are perfectly represented by the infectious riffage of “Shadowminds” which marks a memorable beginning combining an overdose of harsh guitar riffs, sweeping melodic phrases and modern atmospheric tapestries.
The title track picks up a faster energetic tempo enhanced by the hammering drum blasts and Mikael Stanne’s visceral growls while the crispy guitar leads and the excellent solo focus on a polished melodic essence.
During “Conditional” the slower moments clearly emphasize a gloomy mood through elegant guitar phrases but the precise rhythmic section certainly has the chance to provide proper death metal patterns.
“In Broken Trust” skillfully showcases an ideal balance between fiery guitar driven grooves and cathartic melodic passages within a refined atmospheric ensemble consequently the soulful clean vocals amplify a beloved Nordic melancholia.
The poetic strings intro of “Last Of Our Kind” swiftly leads to a quite aggressive rhythmic rampage highlighting the perfect combo of relentless riffage and gruesome growls featuring guest vocalist Matt Heafy of Trivium.
Staying true to an irresistible melo-death formula “The Most Alone” brings a contemplative closure with a captivating series of darkened melodic crescendos and soothing wintry guitar tonalities.
“Days Of The Lost” is bound to conquer all acolytes of the legendary Gothenburg melo-death scene with plenty of melodic hooks as The Halo Effect never fails to showcase true passion and brilliant musicianship.

Polish technical death metal veterans Decapitated aspire to expand their music vision combining devastating rhythmic dynamics and contemplative themes on the new long-awaited album “Cancer Culture”.
The title track clearly manifests pure ferocity through the relentless riffage and the breakneck speed yet the lead guitar work has a chance to craft refined harmonious progressions expressing grim emotions.
Featuring a striking clean vocal performance by Tatiana Shmayluk of Jinjer, “Hello Death” seamlessly blends absolute brutality and eloquent melodic aesthetics as guitars confidently shift from frantic technical riffs to sophisticated gloomy tonalities.
“Iconoclast” hits you in the face with massive grooves constantly fueled by the sharp riffage yet the darkly alluring melodic flair is destined to steal the spotlight as the immersive guitar phrases unfold around the fervent clean vocals courtesy of Robb Flynn of Machine Head.
“Suicidal Space Programme” begins with appealing melodic passages that gradually morph into a savage rhythmic assault executed in impeccable tech death metal fashion easily amplified by the hostile growls.
Showcasing a multifaceted composition “Hours As Battlegrounds” stands out for the harrowing atmospheric textures and the darkened tones of the evocative guitar melodies which skillfully enrich the abrasive rhythmic patterns.
Reflecting on human capabilities and lack of illusion throughout “Cancer Culture” Decapitated follow an intriguing sonic evolution delivering the expected dosage of harsh technical prowess adorned by a surprising and fascinating melodic essence.

Featuring mastermind Lars Are Nedland, renowned for his work in legendary Borknagar, Black Void symbolizes the flipside of his melodic hard rock band White Void and clearly manifests a visionary punk/black metal approach on the new album “Antithesis” inspired by the philosophical works of Friedrich Nietzsche.
The crust punk energy of “Void” leads to a belligerent rhythmic rampage yet a soulful melodic essence is destined to emerge through the melancholia infused guitar harmonies and the soothing clean vocal delivery.
On “Reject Everything” the harsh guitar riffs take the center stage generating impactful grooves enhanced by the ravenous growls but as the tempo slows down a bit the moody atmosphere reveals a dramatic depth.
“Death To Morality” focuses on an irresistible groovy blackened momentum constantly fueled by the soaring guitar riffs and the primal growls by guest vocalist Hoest of Taake in contrast with the calmer clean vocals and the cold melodic textures.
“No Right, No Wrong” skillfully combines savage rhythmic blasts evoking a perennial darkness and eloquent melodic accents that effortlessly emphasize catchy vibes and refined guitar tonalities.
Featuring spiteful growls courtesy of Sakis Tolis of Rotting Christ “Dadaist Disgust” channels an obscure blackened force through the unrestrained riffage and the breakneck speed building an intense rhythmic tension enriched by some smooth melodic guitar leads.
Dwelling within a metaphysical dimension Black Void never fails to unleash pure aggression and constantly demands your attention with the twisted rhythmic patterns of “Antithesis”.

Greek extreme metal titans Septicflesh have carefully shaped a unique sonic vision that today thrives within the magnificent blend of striking symphonic tapestries and immense fury of the brand new full-length “Modern Primitive” featuring a continuous collaboration with the Philharmonic Orchestra of Prague.
The inflamed album opener “The Collector” shines for the warm Mediterranean nuances of arpeggios and strings but the ruthless combo of unrestrained guitar riffs and malevolent growls is often bound to prevail within a pitchblack dimension.
On “Hierophant” the breathtaking solemn orchestrations and the cinematic atmospheric moments naturally enrich the crushing rhythmic onslaught which relies on the colossal guitar work and the precise drumming.
“Neuromancer” meticulously crafts spellbinding acoustic harmonies before engaging in an aggressive approach constantly fueled by the memorable fiery guitar riffs yet there will be more peaceful moments emphasizing a stunning melodic flow accompanied by passionate clean vocals.
“Coming Storm” reveals an obscure flair through the feverish orchestrations and the soaring riffage following a brutally fast tempo until an impeccable cinematic breakdown conveys major epic vibes featuring majestic choirs.
“Modern Primitives” demands your attention unleashing an overdose of monumental grooves and complex guitar progressions skillfully adorned by the elevated symphonic arrangements and the luminous atmospheric accents.
“A Dreadful Muse” focuses on impressive harsh dynamics as the scorching guitar riffs and the insane drum blasts feel very dominant marching through a dramatic atmospheric ensemble while the guitar leads showcase a poignant melodic essence.
As Septicflesh manifest a thrilling creative force and a remarkable musical prowess through an intricate composition, “Modern Primitive” dwells within a sonic realm of contrasting feelings where the undiluted darkness of death metal and the gripping symphonic elegance magically become entwined.

The unholy ascension of Swedish black metal icons Watain continues through the darkest depths of the majestic seventh studio album “The Agony & Ecstasy of Watain”.
Within the oppressive darkened realm of “Ecstasies In Night Infinite” visceral riffage and feverish drum blasts begin an unstoppable wild hunt through a twisted rhythmic maze adorned by the charismatic guitar leads.
The perilous journey continues with “The Howling” revolving around a primordial blackened force that successfully acquires addictive groovy black ‘n roll dynamics through the frostbitten guitar riffs and the tormented melodic licks.
The slightly slower tempo and the atmospheric gloom of “Serimosa” emphasize an ancestral spiritual essence as guitars have the chance to meticulously craft hypnotizing lugubrious melodic tapestries within a malignant rhythmic ensemble.
A decadent melodic flair lingers throughout “Before The Cataclysm” as guitars effortlessly shift from sheer brutality to intricate bewitching harmonies inevitably conveying tumultuous feelings and amplifying a fascinating dramatic depth.
A mysterious aura surrounds “We Remain” as extraordinaire guest vocalist Farida Lemouchi (Ex The Devil’s Blood, now in Molasses) delivers a spellbinding performance emphasizing the arcane power of the refined melodic guitar work reaching the acme with a cathartic solo.
“Septentrion” triumphantly follows an ominous blackened pathway as the malevolent growls express immense fury and the relentless guitar riffs diligently create monolithic rhythmic patterns enriched by exquisite sinister melodic phrases.
With a 25 year long career Watain aim to reach the equilibrium between sublime melodies and endless darkness while conjuring an intense black metal magic that will leave you shattered wandering through the gelid grooves of “The Agony & Ecstasy of Watain”.

Swedish iconic rockers The Hellacopters make an explosive comeback delivering irresistible grooves on the first full-length in 14-years entitled “Eyes Of Oblivion”.
“Reap A Hurricane” fully showcases a timeless rocker style with an overload of big & loud guitar riffs and flamboyant soloing leading to a memorable chorus that makes you wanna party all night long.
“So Sorry I Could Die” instantly conveys pure nostalgia and romanticism with the charismatic bittersweet vocal performance surrounded by the warm bluesy guitar progressions and the dazzling piano melodies.
Without any hesitation the title track returns to an energetic rhythmic rampage focusing on a successful combo of edgy guitar riffs and wild leads naturally channeling a glorious retro rock style.
“Beguiled” easily provides another super catchy chorus and an ideal dosage of guitar driven grooves enriched by a fervent solo and bright piano tonalities.
The slower tempo of “The Pressure’s On” evokes somber feelings and puts the spotlight on the melancholia infused guitar melodies and the soulful vocal delivery.
The party is still on as “Try Me Tonight” emphasizes a rebellious spirit with the addictive passionate chorus and the slick guitar work well supported by the cheerful stomping rhythmic section.
Despite the long hiatus The Hellacopters will certainly please their faithful fanbase and confirm their influential status with the supercharged vintage rock vibes of “Eyes Of Oblivion”.

Formed back in 1995 German innovative band Die Apokalyptischen Reiter continues to fearlessly evolve on the latest thrilling full-length “Wilde Kinder”.
The explosive album opener “Von Freiheit will ich singen” relies on an elaborate groovy mix of crunchy guitar riffs and triumphant keyboards arrangements to create a truly energetic rhythmic rampage amplified by the harsh vocal delivery.
A bewitching gothic industrial mood feels quite dominant on “Volle Kraft” as the relentless gritty riffage ensures a stomping rhythm while the darkened atmospheric tapestries lead to cathartic slower passages.
The title track can easily unleash aggressive rhythmic blasts due to the wild heavy metal approach of the unrestrained riffage in contrast with the luminous keyboards and guitar harmonies during the atmospheric breakdown.
“Leinen los” conveys somber emotions through the soothing arpeggios and the delightful polished melodic guitar leads yet the occasional powerful rhythmic crescendos accompanied by vicious growls generate darker vibes.
Surrounded by a mysterious atmosphere “Euer Gott ist der Tod” reveals a faster ferocious rhythmic assault channeling a primal extreme metal inspiration and even the calmer guitar progressions acquire intense obscure tonalities enhanced by the theatrical vocal performance featuring guest vocalist Sabine Scherer.
“Der Eisenhans” maintains a robust series of vitriolic guitar driven grooves leading to a memorable solemn chorus but an enchanting nostalgia emerges through the dreamy atmospheric textures and the cold nuances of the fancy guitar solo.
Manifesting an aptly apocalyptic sonic vision throughout “Wilde Kinder”, Die Apokalyptischen Reiter skillfully deliver a balanced blend of inflamed grooves and profound melancholy that will certainly please all the “Reitermania” fans.

Death metal veterans Immolation triumphantly channel a timeless & beloved old school style on the 11th studio album “Acts Of God” and you better be ready for an absolutely ferocious sonic assault.
“An Act Of God” consistently unleashes merciless dynamics through the monumental drumming and the relentless riffage yet within this frantic realm the stellar lead guitar work increases diversity with tasteful quasi melodic progressions.
The world of “The Age Of No Light” is aptly pitchblack as the cavernous growls guide you through an oppressive rhythmic maze skillfully embellished by pale melodic accents and flamboyant soloing.
“Noose Of Thorns” initially follows a slower tempo to emphasize the obscure guitar nuances destined to linger even when the impeccable rhythmic section gains the expected ravenous energy to build colossal grooves.
“Blooded” runs on a mighty rage that inevitably generates monolithic rhythmic patterns fueled by the abrasive combo of harsh guitar riffs and intriguing leads that once again manifests creativity and complexity.
“Overtures Of The Wicked” creates a chaotic sonic realm in proper death metal fashion with unrestrained drumming and visceral riffage but there are some interesting rhythmic twists leading to a glorious guitar solo.
On “Let the Darkness In” the fierce rhythmic section can naturally maintain a memorable groovy momentum but guitars will have a chance to deliver refined dismal melodic progressions emphasizing a perennial darkness.
There is a lot going on throughout “Apostle” as the blazing technical approach becomes dominant focusing on an overload of convoluted hostile rhythmic blasts amplified by the menacing growls.
Undoubtedly Immolation choose to stay true to their signature New York death metal sound consequently the strength of “Acts Of God” relies on the untamed rhythmic fury and the charismatic guitar work.

French doom rock band Hangman’s Chair takes you on a dystopian trip through the decadent outskirts of Paris and the gloomy world of the latest full-length “A Loner”.
Focusing on a compelling emotional depth “An Ode To Breakdown” relies on the darkened guitar tonalities to craft harrowing melodic crescendos within a hazy atmospheric maze while the bold riffs & drumming can easily build a memorable groovy momentum.
Channeling grave emotions “Who Wants To Die Old” begins with hypnotic minimalist melodies accompanied by soulful vocals but the rhythm gradually acquires a darker energy through the irresistible fuzzy guitar riffs.
“Supreme” can easily convey an overwhelming melancholia as the dreamy post-metal influences feel stronger leading to slow-burning melodic progressions and murky atmospheric layers spiced up by scattered fiery grooves.
“Loner” feels hopeless and beautiful as we enter a subtle atmospheric daydream filled with wistful harmonies yet the rhythmic section will eventually engage in catchy goth inspired dynamics.
“A Thousand Miles Away” certainly embodies the album’s immense tristesse through the recurring monochromatic melodies and the consequent desolate soundscapes that will evolve into robust guitar driven grooves fueled by the significantly heavier riffage.
Throughout “A Loner” Hangman’s Chair inevitably evoke solitude and despair, shaping an honest sonic vision that naturally shifts from mournful doom elements to shimmering atmospheric splendor.