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”.

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. 

Swiss rockers Gotthard have been around for 28 years selling millions of records worldwide and now with the new album “#13” they proudly show an undiluted passion for rock ‘n’ roll. 

“Bad News” has an entertaining sleazy rock mood fueled by the gritty energy of the rhythmic rampage built by bold guitar riffs and obviously the wild rock spirit is perfectly embodied by the vibrant vocal delivery. 

“Every Time I Die” is another catchy track that delivers a generous dosage of fervent rhythmic progressions and the guitar riffs keep alive a classic hard rock sound with solid riffage and fancy shredding.  

“10.000 Faces”maintains a traditional rock approach full of groovy guitar riffs that naturally generate engaging rhythmic patterns emphasized by the memorable big chorus and the perfect rocker style vocals. 

“Better Than Love” has a nostalgic atmosphere so the tempo slows down a bit to match this softer emotive mood emphasized by the catchy chorus yet guitars can still concoct fiery riffs and a rather wild solo. 

“Man On A Mission” will become a favorite immediately as guitars this time focus on warm bluesy tonalities and glowing melodic passages to enrich the classic rock formula leading to a slow burning rhythm accompanied by soulful vocal harmonies. 

“No Time To Cry” begins with a heartfelt ballad style evoking a sheer melancholia that will linger through the subtle atmospheric arrangements while guitars eventually pick up speed with loads of bouncy riffs and flamboyant leads.

The final track “Rescue Me” features lovely acoustic passages that enhance a sentimental motif while the captivating vocal delivery and the dazzling lead guitar work convey a thrilling hard rock flair. 

“#13” is everything you would expect from veteran rockers Gotthard demonstrating that they have no intention to stop creating super catchy hard rock anthems and still hold an influential status within the current music scene. 

We are all familiar with the work of Martin Mendez as bassist of Opeth but now he is embarking on a different music endeavor with the new project White Stones which reveals an intriguing death metal oriented manifesto on the debut album “Kuarahy”. 

While on “Rusty Shell” the primal energy of death metal is naturally embedded in the wicked guitar riff and the cavernous vocal delivery the lead guitar work tends to stand out crafting exquisite melodies with a dazzling prog flair. 

On “Drowned In Time” the arcane atmosphere and the spacey melodic textures take you far away while later the eclectic heavier rhythmic section becomes enriched by enigmatic tonalities and sharp guitar phrases. 

“The One” features another round of prog oriented rhythmic variations and the consequent interesting instrumental patterns highlight the multifaceted tonalities of the excellent guitar work while the venomous growls constantly keep alive the death metal roots.  

“Guyra” continues to focus on the development of unique sounds within an obscure tribal atmosphere that makes you feel closer to ancestral legends and matches the mystical nature of the guitar melodies and the shapeshifting rhythmic patterns which showcase a compelling creative force. 

With a slower pace “Infected Soul” offers darkened otherworldly melodic tapestries that emphasize the dominant role of the cathartic guitar work that will also deliver sharp riffage and remarkable proggy style soloing when the rhythmic section acquires a faster ominous energy. 

The shorter final track “Jasy” definitely emphasizes the connection with Martin’s birthplace in Uruguay as the arcane vibes grow stronger due to the magical atmospheric arrangements and the glowing ethereal guitar melodies.  

Even if White Stones embodies a return to death metal for Martin the intricate soundscapes of “Kuarahy” go beyond the classic approach of this genre exploring diverse tonalities and styles that thrive within a spiritual darkened realm. 

Back in 2016 Sylosis embarked on an indefinite hiatus so the brand new full length “Cycle Of Suffering” feels particularly important for the band as it celebrates a triumphant comeback and marks the beginning of an exciting chapter. 

Undoubtedly “Empty Prophets” is a spiteful album opener that deliberately channels a primal anger through abrasive guitar riffs and precise drumming yet there’s always an evident introspective depth fully expressed by the understated atmospheric arrangements and the darkened guitar melodies. 

In the beginning the pale atmosphere of “I Sever” evokes a sheer melancholia that will ultimately take the spotlight during the final part with passionate guitar melodies while the belligerent approach of the main rhythmic core focuses on frenetic guitar progressions. 

The title track offers a cohesive series of infectious thrash grooves full of sharp guitar riffs & leads and the rage is still palpable within the fierce rhythmic patterns and the hostile screams while the melodic guitars deliver some compelling smooth phrases. 

Even if “Invidia” has a quite somber mood recurring through the subtle atmospheric layers and the glowing guitar leads the rhythmic segments can sound fast and vicious keeping an explosive thrash momentum.  

“Idle Hands” offers grandiose grim melodies fueled by the extremely melancholic guitar tonalities and the excellent musicianship while the intense rhythmic blasts can naturally lead to terrific grooves without the need for breakneck speed. 

“Apex Of Disdain” once again is ready to hit you in the face with a skillful heavy rhythmic section and the consequent fury is evidently matched by the fiery screams while lead guitars add memorable opulent melodies with an impressive technical prog approach. 

“Abandon” embodies a dramatic grand finale as the whole instrumentation focuses on slower contemplative moments enhanced by a bittersweet clean vocal delivery and graceful atmospheric arrangements while the guitar work acquires luminous nuances crafting impeccable melodies.

You will find plenty of majestic & ferocious guitar driven grooves throughout “Cycle Of Suffering” but Sylosis also manage to balance such chaotic sonic realm with a fair dosage of detailed refined melodic tapestries.  

The long awaited return of legendary doom titans My Dying Bride is embodied by the soulful gloomy realm of the fourteenth album “The Ghost Of Orion” which proves that despite the many challenges the band’s unstoppable creative force is destined to prevail. 

“Your Broken Shore” immediately channels the immense misery that only My Dying Bride can truly express. The doom laden guitar riffs hold a unique raw energy perfectly matched by the vicious growls while an overwhelming melancholia emerges through the refined melodic phrases accompanied by the somber clean delivery. 

“To Outlive The Gods” maintains a heavy doom rhythm but definitely focuses more on enchanting and even quite accessible melodic textures emphasized by the graceful beauty of violins and the sorrowful guitar tonalities. 

“The Solace” has a minimalist structure stripped of the expected heavy rhythmic section in order to focus exclusively on the poignant guitar work and to enhance the captivating nature of the eloquent vocals performed by Lindy-Fay Hella of Wardruna.  

On “The Long Black Land” the classic dreadful doom nuances are prominent within the heavier venomous rhythmic patterns characterized by grave tonalities and mighty guitar riffs while the ethereal violin melodies add bittersweet romantic vibes and the painfully slower contemplative momentum is pure heart wrenching poetry. 

In the beginning “The Old Earth” conveys a peaceful nostalgia through the desolate guitar melodies and the dramatic depth of the clean vocals. Later the whole instrumentation will shift the focus to visceral doom laden dynamics and guitars will acquire major obscure tonalities shaping a lugubrious & hopeless sonic realm further amplified by the wretched growls. 

Listening to “The Ghost Of Orion” feels like a cathartic experience as you can perceive the harrowing emotional turmoil behind each song and My Dying Bride once again rightfully deserve to sit on the doom/death metal throne to celebrate the 30th anniversary of their magnificent career.