It’s been a while since German doom rock overlords Kadavar toured in North America and their loyal fans gathered at Avondale Music Hall in Chicago for a super trippy live performance. Kadavar are currently supporting their latest critically acclaimed release “For The Dead Travel Fast”, available via Nuclear Blast Records, and they were able to fully channel the gothic horror mood of the album and showcase a mind blowing musicianship performing the new spellbinding tracks “The End”, “The Devil’s Master” and “Evil Forces”. Kadavar’s magical live show was truly an intense spiritual experience as the trio constantly created a powerful connection with the crowd and inevitably made us all space out with unrestrained psychedelic jams.
Psychedelic rockers Ruby The Hatchet embarked on an amazing North American tour with overlords Kadavar and showcased a full blown cosmic energy and the perfect dosage of trippy vibes during their concert at Avondale Music Hall in Chicago. Besides performing memorable songs from their latest release “Planetary Space Child” Ruby The Hatchet paid homage to legendary Uriah Heep with the entertaining cover of “Easy Livin’” and also played the brand new track “Death Lives Here”.
It seems obvious that a split album featuring doom experimentalists Völur and neo-classical ambient collective Amber Asylum will defy any given music boundaries in fact “Breaker Of Rings / Blood Witch” feels like a perilous exploration through a surreal sonic realm that demands your utmost attention.
inspired by the Niflung cycle from the Poetic Edda “Breaker Of Rings” is a fascinating opus divided in four parts where Völur truly showcase their enigmatic creative force blending ethereal violin melodies and atmospheric gloom. On ‘II” the funeral doom elements are mixed with the dramatic depth of vocals and the brooding beauty of the violin melodies while “IV” brings a darkly grandiose epic crescendo with monolithic rhythmic patterns and opulent harmonies.
Amber Asylum tell a story of beauty and anguish on “Blood Witch” as decadent melodies and hazy atmospheres surround magical poetic vocals, an avantgarde sonic ensemble that will make you feel dizzy, while “Largo” emphasizes the classical splendor with intricate cello melodies that evoke enigmatic nuances and darkly romantic vibes.
Both Völur and Amber Asylum share a darkened otherworldly music vision emphasized by the dominant presence of bewitching strings and since “Breaker Of Rings / Blood Witch” feels extremely distant from the average trends it will certainly satisfy your craving for sophisticated soundscapes.
German metallers Dawn Of Disease confidently follow the beloved pathway of melodic death metal on the latest full length “Procession of Ghosts” skillfully blending the perfect dosage of opulent harmonies and fierce darkened grooves.
Since the beginning, the title track unleashes all the key elements of melodic death metal with the somber tonalities of the crispy melodic licks and the absolute fury of the galloping rhythmic patterns accompanied by intense hellish growls and enriched by epic atmospheric accents.
On “May The Waves Take Me” the increasingly dramatic depth influences the memorable melodic guitar progressions and the sorrowful atmosphere while the relentless rhythmic section meticulously creates impactful grooves.
“Shrine” revolves around bold guitar driven grooves channeling a full blown primal death metal force yet through the fast hostile segments melodic guitars evoke grave feelings with sophisticated harmonies.
On “Where The Clouds Reach The Ground” luminous guitar melodies and understated atmospheric arrangements become essential amplifying the melancholic grandeur but there is also a solid mix of faster catchy moments and darker nuances.
It would be impossible to resist the immense melancholia of “Autumn Days” and once again the elaborate guitar work shines for the enthralling melodic phrases which steal the spotlight even if there are enough scattered powerful death metal style grooves to trigger a moshpit.
“Hypnosis” continues to maintain a grand gloomy melodic essence with loads of tasteful guitar progressions and dazzling darkened soloing in contrast with the savage death metal force fully expressed by the aggressive riffage & drumming as well as the cavernous growls.
Undoubtedly melodic death metal has become a favorite sub-genre and staying true to such thriving sonic formula on “Procession Of Ghosts” Dawn Of Disease successfully and passionately balance elegant melancholic melodies and furious rhythmic blasts.
We all know Lindsay Schoolcraft as talented member of the mighty Cradle Of Filth but she’s also been working on her solo materials for quite some time and finally released the debut album “Martyr” co-written by former Evanescence drummer Rocky Gray.
The gothic rock essence of “Saviour” is evident within the bittersweet melodic ensemble featuring lovely keyboards arrangements and soulful vocals while the guitar riffs steadily build a pleasant heavier rhythm.
“Dangerous Game” presents a similar formula as darkened atmospheric layers lead to an emotive approach spiced up by the groovy guitar work and enriched by Lindsay’s soothing vocal harmonies.
While keeping a smooth melodic guitar driven core “Stranger” holds a darkly romantic aura that is especially expressed by the charismatic detailed keyboards arrangements naturally crafting haunting atmospheres.
Since the beginning “Into The Night” focuses on delightful piano melodies and luminous vocals that certainly enhance an emotional drive leading to a melancholic rhythmic crescendo surrounded by additional lavish atmospheric layers.
“Blood From A Stone” constantly evokes sheer nostalgia with the minimalist approach of the poignant piano melodies that emphasizes the emotional allure of the sincere vocal performance.
“See The Light” offers some intense heavier moments with faster crunchy rhythmic patterns surrounded by gothic tinged atmospheric nuances and the resulting darkened flair is further amplified by the massive ominous growls courtesy of Xenoyr of Ne Obliviscaris.
“Where I Fall” has some romantic ballad style elements such as the soft acoustic guitars and the melancholic vocal delivery while keyboards successfully create a wistful atmospheric depth.
“Martyr” is full of catchy gothic rock melodies and tasteful atmospheric accents so it’s definitely an accessible collection of songs that also allows Lindsay to fully showcase her skills and her personal musical taste.
Featuring renowned musicians Jake E (ex-Amaranthe), Jesper Strömblad (ex-In Flames), Euge Valovirta (ex-Shining) and Alex Landenburg (Kamelot) modern melodic metallers Cyhra return with the sophomore album “No Halos In Hell” showing great chemistry and passion that will certainly solidify their status in the current metal scene.
“Out Of My Life” offers loads of cool electro atmospheric arrangements yet the guitar work definitely holds a major role with smooth riffage and flamboyant leads while the highly melodic big chorus aims to get stuck in your head.
On the title track crunchy guitar riffs generate accessible & entertaining grooves even if the melodic essence here remains in the spotlight with a deeply emotive vocal delivery and shimmering multilayered atmospheres.
“I Am The One” can sound a bit more aggressive as the riffage gains extra gritty energy leading to intense grooves while synths amplify the pop metal approach just like the super catchy chorus that benefits from Jake’s impeccably passionate vocal performance.
“Dreams Gone Wrong” has some mellow ballad elements emphasized by the perfectly soothing vocals and the dreamy synths yet there are plenty of groovy rhythmic patterns featuring some sharp guitar riffs.
Instead “Lost In Time” is the authentic full blown ballad of the album focusing on the melancholic piano melodies and the sorrowful vocals that allow Jake to show the intensity of his vocal range and his ability to express a multitude of emotions.
“I Had Your Back” engage the listeners with memorable groovy dynamics as guitars once again provide constant bouncy riffs surrounded by wistful atmospheric layers and reach the acme with the striking melodic energy of the soloing.
“Man Of Eternal Rain” is a particularly interesting track offering an elaborate atmospheric background while guitars can sound heavier with galloping bold riffs and still add a satisfying dosage of refined melodies but the solo here is destined to grab your attention with vibrant shredding and dazzling prowess.
“No Halos In Hell” successfully aims to deliver bittersweet melodies and entertaining hooks resulting in a modern sonic blend that has the necessary catchy vibes to allow Cyhra to reach a wider audience.
Birmingham experimental sludge band Opium Lord returns with the sophomore record “Vore” which immediately showcases a massive darkened essence generating an interesting blend of venomous grooves and contemplative vibes.
Everything is bleak on “WWCD” as the melodic guitars express immense melancholia and even when the rhythm gets a heavier abrasive approach leading to chaotic noise moments all those somber feelings never really fade away.
“Suture” dwells within a realm of desolation focusing on the dramatically slow doom tonalities of the guitar work shifting from mournful melodies to aggressive noise riffage supported by a monumental rhythmic backbone and accompanied by desperate screams.
Featuring Mike Scheidt of the mighty YOB “Columbia” confidently unleashes a funereal doom ensemble amplified by the painful emotions of the vocals and the monolithic guitar riffs are able to build an ominous rhythmic crescendo marching through an oppressive atmosphere that makes you feel lost and hopeless.
In a world of uncompromising darkness “The Gift” conveys all kinds of dismal feelings through the shattering rhythmic dynamics and vicious vocals while guitars deliver murky sludge riffs and some more melodic and actually accessible sorrowful phrases. “Vore” has a quite gloomy perspective fueled by cohesive rounds of untamed doom and experimental noise elements as Opium Lord continue to make serious efforts to solidify their sonic identity.
Ukrainian progressive groove metal band Jinjer has already conquered a huge fanbase but now the time has come to impress even more the modern metal scene with the long awaited full length “Macro” which relies on an incredibly versatile sonic manifesto to showcase a refreshing creative force.
Already the album opener “On The Top” demonstrates that Jinjer goes beyond standard metal categories unleashing utterly brutal rhythmic patterns amplified by spiteful growls while showcasing an excellent technical musicianship and creating a significative contrast with the soothing melodic moments.
“Pit Of Consciousness” is full of interesting technical twists demonstrating a great maturity within the aggressive rhythmic ensemble which combines eclectic prog flair and extreme metal dynamics while Tatiana Shmailyuk confidently shifts from malevolent growls to emotionally charged clean vocals.
“Judgement (& Punishment)” is a particularly intriguing track featuring a diverse songwriting approach that will surprise the audience with playful reggae melodies cutting through the thrilling faster prog oriented rhythmic segments.
“Home Back”can sound ferocious with extra heavy guitar riffs and striking technical bass lines generating solid rounds of ravenous grooves until softer luminous melodies and warm clean vocals take the center stage.
“The Prophecy” focuses on infectious grooves as the intricate rhythmic blasts demand breakneck speed and guitars constantly create intense progressions that enhance the experimental approach while a contemplative essence spontaneously emerges through the soulful vocal harmonies.
Jinjer have worked relentlessly to prove their remarkable abilities especially on the latest massive tours so they truly deserve all the attention and appreciation that “Macro” will definitely garner worldwide with the compelling blend of abrasive grooves and sophisticated melodies.
Romanian avant-garde devotee Costin Chioreanu and unearthly Greek singer Sofia Sarri have joined forces to create a new visionary project on the debut album “Afterlife Romance”.
“The Gardenian Night Shift” has the ability to take you far away with a charming kaleidoscopic atmospheric approach that blends relaxing harmonies and enigmatic arrangements always enriched by the bewitching vocal delivery.
At the center of “Sulphur Promenade” there are intriguing jazz incursions that lead to a versatile instrumental ensemble mixing soothing phrases and haunting atmospheres while Sofia’s vocals showcase a compelling emotional energy as well as a theatrical flair during the quasi chaotic finale.
“A Blooming Moonflower” feels like a daydream with mellow comforting melodies and ethereal vocals flourishing through blurry atmospheres yet there are also some intense rhythmic crescendos that emphasize the presence of bittersweet feelings and darker nuances.
“Thanatoguards” focuses on a cathartic cinematic approach with loads of darkly romantic atmospheric layers and the impeccable clarity of vocals that can express a multitude of emotions while later the instrumental progressions will acquire borderline dissonant tonalities adding dramatic depth.
“The Glow Made Us Go” features understated tranquil atmospheric tapestries feeling like a sophisticated soundtrack but also some interesting guitar tonalities and unexpected rhythmic variations that symbolize the eclectic direction of the whole album.
Disregarding completely any music trend or categorization Costin Chioreanu and Sofia Sarri aim to experiment with diverse tonalities and styles, as a result the dreamy & moody soundscapes on “Afterlife Romance” ensure a unique listening experience.
Arizona based death metallers Gatecreeper made a strong debut back in 2016 but now it’s time to raise the bar with the crushing dynamics and the insane energy of the sophomore album “Deserted”.
On the title track there is an irresistible mournful doom flair courtesy of slow monolithic guitar riffs that ultimately embrace the hostile death metal elements confidently channeled by the ravenous growls and the massive violent rhythmic blasts.
“Puncture Wounds” sounds more straightforward with an overdose of sharp guitar riffs diligently following a malevolent faster tempo that amplifies the mighty death metal grooves triggering a headbanging momentum.
On “From The Ashes” there are some darkened vibes and major doom influences that shape the prominent role of the lead guitars allowing some enjoyable gloomy melodic aspects to naturally flourish within the merciless rhythmic maze.
“Sweltering Madness” follows a similar belligerent framework as the growls seem to emerge from hellish depths yet everything becomes more interesting when guitars add an immense sense of despair with doom oriented licks.
On “Boiled Over” guitars acquire sinister tonalities leading to intense melodic textures and demanding a slightly slower yet quite venomous rhythmic force resulting in an anguished sonic realm enhanced by the sheer despair of the potent growls.
Without necessarily sacrificing the death metal essence “Absence Of Light” focuses on fervent doom laden patterns as guitars unleash monumental ominous riffs amplifying a dramatic depth and creating an extremely desolate atmosphere.
As you will immediately notice Gatecreeper have solid roots inspired by classic doom and the big names in the Floridian and Swedish death metal scene so faithful acolytes of such influential genres will be fatally attracted by the aggressive grooves of “Deserted”.
