Thrash revival keeps on going strong and in the midst of all this endless nostalgia another thrash legend Overkill returns with the new album “The Grinding Wheel” demonstrating that thrash metal is very much alive and relevant in the current music scene.

“Mean Green Killing Machine” features the expected dynamic thrash groove with a somber melodic breakdown and Bobby ‘Blitz’ Ellsworth proves to be in excellent shape effortlessly delivering his signature angry screams just like he did in the glorious 80s. Just like being stuck in a time warp  Overkill relentlessly unleash the most gritty range of guitar riffs supported by amazing thick bass lines that efficiently keep the groove going.

“Our Finest Hour” is all about crunchy guitar riffs that never fail to build a traditional catchy thrash rhythm and a shredding guitar solo adds the necessary dose of harmonies while Ellsworth delivers exquisitely vicious screams.

“Shine On” holds the unique energy of a healthy thrash rhythm with classic guitar riffs and another wild shredding solo while a super melodic breakdown channels pure melancholy with soothing arpeggios and calmer clean vocals.

“Let’s All Go To Hades” feels like fun bar song with its rebel irresistible guitar driven groove and despite the evident lack of incredibly creative special effects the crunchy guitar riffing is highly enjoyable.

The title track stands out for its unexpected style variety successfully blending an old school ensemble of thrash riffs and blasting drums with a more melodic progressive sound. The slowed down tempo enhances the darkened solemn atmosphere particularly enriched by sober choirs and charming moody guitar work.

Overall, “The Grinding Wheel” might not be the flawless masterpiece that Overkill’s long standing fans expected to hear but it is certainly an entertaining thrash album that showcases a remarkably sincere energy.

 

German thrash icons Kreator are back in great shape with the brand new full length “Gods Of Violence” which never fails to channel the band’s musical legacy with a strong collection of guitar driven thrash anthems and scattered classic metal influences.

“World War Now” relies on a fast bombastic ensemble of tight guitar riffs to deliver a thrash wall of sound. Beside some inspiring melodic breakdowns there might no be exceptionally creative elements but the lead guitar passages and solo are compelling enough to keep the listeners interested.

“Satan Is Real” maintains the expected thrash spirit with powerfully groovy guitar riffs. While the chorus tries to be as catchy as possible the highlight can be found in the crispy melodic guitar solo licks and shreds.

“Totalitarian Terror” has a more aggressive rhythmic backbone supported by Mille Petrozza’s raspy vocals. There is an intense thrash revival vibe but effortless full blown shredding lead guitars always bring an appealing dose of melodic classic metal.

The title track offers a soothing intro of melodic somber arpeggios and the main musical theme soon acquires a faster transcendent thrash mood that reaches its natural acme in the catchy old school chorus. Again, with tempo variations and highly enjoyable shredding, lead guitars gain a rather dominant role delivering super groovy melodic accents.

“Army Of Storms” relies on a no frills borderline brutal thrash rhythm that later tends to sacrifice its inner audacity with a generous dose of classic metal melodies. While Petrozza on vocals tries to channel some arcane fury the rhythm slows down as the guitar solo continues to enhance the melodic aspect and polish any rough edges.

“Death Becomes My Light” kicks off with a dramatic melancholic atmosphere and brief clean vocals but soon picks up a catchy mid paced rhythm that puts aside any expected thrash brutality. This track might sound almost mellow to a traditional thrash crowd but certainly holds a palpable inner energy constructed in classic metal fashion and the remarkable guitar work full of grandiose shredding will attract a wider audience.

Even if “Gods Of Violence” contains some average fillers it will be easily appreciated by Kreator’s faithful fanbase as after decades the band is not slowing down and mostly remains true to the infamous thrash style.

German symphonic metal act Xandria continues to gain worldwide interest and after intense touring is ready to unleash a majestic collection of songs that will definitely satisfy all fans with the brand new album “Theater Of Dimensions”.

“Where The Heart Is Home” focuses on dramatic atmospheres with elegant orchestral layers and operatic choirs while Dianne van Giersbergen delivers classical soprano vocals with extraordinary intensity. Thick guitar riffing offers a solid heavy rhythmic backbone further embellished by a polished melodic guitar solo.

The ballad “Forsaken Love” enhances the impressive emotive qualities of Dianne van Giersbergen’s voice which rightfully becomes the star of the show while melodic guitars and orchestration provide a luminous musical background.

“Call Of Destiny” has a typical catchy power/symphonic groove that certainly reminds of earlier Nightwish’s style. There are plenty of enjoyable orchestral layers with baroque accents to spice up the popular music recipe and crispy guitar leads add a modern compelling touch.

“We Are Murderers (We All)” opens with a mysterious aura followed by the heaviest ensemble of guitar riffs on the album. Operatic choirs never fail to channel an epic tonality and guest vocalist Björn Strid of Soilwork delivers extra heavy vibes. In the chorus Xandria doesn’t forget to add a fair dose of emotional catchiness but the almost thrash chaotic raw groove represents a more memorable moment.

“When The Walls Came Down (Heartache Was Born)” features a somber atmosphere with heavy doom oriented guitar riffs and solemn operatic choirs. The overall decadent melodies are particularly palpable in the lead guitar work and classical orchestrations but also successfully portrayed by Dianne van Giersbergen technical and poignant vocals.

Featuring Ross Thompson of Van Canto as guest vocalist “Ship Of Doom” has an immediate theatrical mood with scattered folk accents but the symphonic theme fairly acquires additional strength with sober orchestrations and vivid choirs.

“A Theater Of Dimensions” is the most daring and diverse track as it feels like a proper metal operetta featuring a multifaceted songwriting that emphasizes a cinematic theatrical style without forgetting all the beloved elements of symphonic metal. Once again Dianne van Giersbergen proves to be the perfect singer for Xandria delivering a stellar vocal performance that smoothly embraces multiples styles while guest vocalist Henning Basse of Firewind provides additional powerful vocals. This song successfully blends dramatic tones, dazzling vocal harmonies reminiscent of “Chance” by legendary Savatage, artsy theatrical narratives and grandiose melodic guitar work in perfect symphonic metal fashion.

“Theater Of Dimensions” is a widely enjoyable album and Xandria takes another step forward managing to stay true to the chosen musical pathway but also showing more inspiring songwriting and impressively mature musicianship

 

 

 

Irish siblings Greywind dream big and aim to leave a powerful mark as the next alternative rock talent with the debut album “Afterthoughts”.

The title track is all about soothing arpeggios and dreamy themes all focused on Steph’s fragile vocals and while there are some charming arrangements the repetitive pop melodies are always more dominant.

On “Forest Ablaze” simple melodic guitars attempt to lead the game and the instrumental aspect of the song brings an interesting sonic balance while the chorus bears a forced overdose of pop catchiness with Steph’s loud vocals.

“The Lake” shines for a darker atmosphere and the minimalist dreamy arrangements feel more spontaneous and organic while the vocals fail to channel the same somber emotional quality.

On “Car Spin” there is a palpable attempt to sound more alternative with a modern sonic approach and dirtier rock style guitars but the radio friendly chorus seems to overshadow everything else.

“In Autumn” has an uplifting mood with delicate arpeggios, vocals are slightly toned down and the minimalist atmospheric layers take the center stage.

On “Afterthoughts” Greywind is trying really hard to deliver songs that can be played daily on the radio and reach the widest audience possible, nevertheless both songwriting and music style lack the unique creative force and style necessary to stand out in a crowded music scene.

Hailing from Louisiana Vermilion Whiskey is ready to release the new effort “Spirit Of Tradition” which promises to deliver an entertaining wild mix of stoner and southern rock.

“Road King” stays true to a familiar vintage rock sound that calls for long nights of booze and fun. With a massive dose of dirty rock guitar riffs and raspy rocker style vocals this songs carries the genuine rock roots of a golden era.

“Come Find Me” starts with somber tones that effortlessly gain melodic accents with slower doom attitude in the lead guitar work while tight guitar riffing keeps a catchy rock rhythm alive.

“Monolith” again channels a darkened doom atmosphere with slower and guitar solo harmonies while the traditional southern rock influence stays strong in the heavy rhythmic backbone.

With only six tracks Vermilion Whiskey successfully grabs the listener’s attention and raises curiosity for the band’s next venture as “Spirit Of Tradition” is filled with classic rock guitar riffs that never fail to deliver a healthy groove.

We all know and love iconic stoner rock vocalist John Garcia who, after successful years with many great bands such as legendary Kyuss and Slo-Burn, has decides to focus on his solo career. The newest effort is an acoustic album entitled “The Coyote Who Spoke In Tongues” where John Garcia steps out of the electrified groovy stoner rock realm to embrace a simple authentic musical approach.

“Kylie” is addictive at the very first listening as it holds a refreshing interpretation of the beloved desert rock energy. Charismatic acoustic guitar riffs relentlessly build an assertive groove further enriched by vintage atmospheric keyboards layers and effortlessly amplified by Garcia’s wild rock delivery while a mellow blues oriented breakdown evokes an intricate palette of sincere emotions.

Among the covers of Kyuss’s classic hits included on this album “Green Machine” stands out as the original powerful stoner rock groove is smoothly translated into a chilled acoustic piece that holds great introspective energy and Garcia delivers an impeccably soothing vocal performance.

Another famous Kyuss song “Gardenia” becomes the ideal soundtrack for a campfire in the middle of the desert as it shines for the graceful purity of the acoustic arpeggios, the bluesy attitude and Garcia’s emotional serene vocals.

“Give Me 250ML” is a catchy dynamic ensemble of minimalist acoustic melodies that do not need additional layers or bombastic sound effects to grab the listener’s attention and Garcia steals the scene with his signature stoner rock delivery

“The Hollingsworth Session” features another round of catchy acoustic guitar passages that towards the end of the song even acquire a heavier rhythm while decadent piano harmonies add a deep sense of melancholy.

“Argleben II” is the new acoustic version of the song “Argleben” which was part of John Garcia’s debut solo album back in 2014. This track features a contemplative melancholic atmosphere naturally embodied by Garcia’s inspired vocal performance that genuinely shifts between a soft and a wilder delivery while acoustic guitars keep a strong melodic groove with vintage tones.

Movin’ ‘n’ groovin’ John Garcia is simply creating the music he wants with a sincere ensemble of stripped down acoustic melodies and emotionally charged vocals and “The Coyote Who Spoke In Tongues” feels like a relaxing music experience that any listener could truly enjoy.

American black metal act Empyrean Throne will soon self-release the debut full length “Chaosborne”, meticulously crafted with epic symphonic accents and highly influenced by successful bands such as Dimmu Borgir and Cradle Of Filth.
“The Twilight Order” shines for the elegant classical orchestrations with evident gothic accents while the rest of the song effortlessly blends cold traditional black metal fury and solemn symphonic themes.
“Sed Nomini Tuo Da Gloriam” features arcane atmospheres that, bringing to mind ancient rituals in the middle of the woods, offer a solid background orchestration to support the variegated vocal styles and the enraging ensemble of guitar riffs further embellished by a rather melodic baroque guitar solo.
On “Stormrite Ascension” sinister screams create a mysterious aura, ominously triumphant choirs and symphonic orchestrations add dramatic theatrical depth while smooth guitar riffs create an enjoyable groove.
The title track showcases more dramatic and cinematic atmospheres all around with tormented vocals and a brutal chaotic rhythmic backbone while polished guitar leads and theatrical choirs convey gracefully luminous melodies.
“Haereticus Stellarum pt I” stands out for the untainted melancholy portrayed by minimal arpeggios, tragically poetic orchestrations and somber guitar riffs while fierce growls and screams evoke a realm of endless darkness.
“Haereticus Stellarum pt II” unleashes a majestic mixture of savagely raw black metal guitar riffs with the addition of sober symphonic orchestration and solemn chants in the midst of a gloomy gothic atmosphere
“Chaosborne” does feel like a debut album with some rough edges and occasional repetitive songwriting themes but it is certainly a well executed cohesive effort filled with that deliciously decadent darkness we all long for.

Australian deathcore metallers Aversions Crown are ready to release their sophomore album entitled “Xenocide” which, even if lately deathcore is not exactly the most popular or appreciated metal subgenre, attempts to offer a cohesive work of music.

“Prismatic Abyss” relies on a particularly heavy ensemble of blasting drums and shattering guitar riffs but despite the dominant brutal groove there is space for loads of exotic guitar melodies.

“The Soulless Acolyte” keeps a similar fast enraged rhythm with loads of intricate guitar riffing but also delivers decadent atmospheric tones with compelling melodic guitar leads.

“Erebus” showcases again a contrast between a heavy rhythmic backbone supported by furiously guttural vocals and an inspired melancholic atmosphere embodied by smooth polished guitar melodies.

“Ophiophagy” has an eerie atmospheric approach followed by stylish groovy riffs while lead guitars and brief gloomy arpeggios add luminous melodies that tend to feel more genuine and interesting.

On “Odium” the band continues to unleash the must have dose of furious guitar riffing but once again the decadent melodies exhibit additional musical depth with a less forced approach.

Aversions Crown have yet to achieve a personal original music style but “Xenocide” manages to deliver an exuberant dose of heavy guitar driven songs and also showcases a somber melodic side that renders everything more intriguing.

Florida power metal act Seven Kingdoms is releasing the successfully crowdfunded new full length “Decennium” which clearly showcases the band’s power metal musical pathway highly influenced by many popular and successful European bands.

With “Stargazer” Seven Kingdoms aims for an epic sound embedded in loads of classic power metal riffs. Melodic female vocals and fancy smooth guitar solos channel many famous power metal bands and render this track widely accessible.

“In The Walls” kicks off with a faster guitar driven rhythm that tries to build a catchy groove but there are no additional surprising elements in the typical power metal themes and structure.

“The Tale Of Deathface Ginny” follows the same predictable music themes but delivers some interesting darkened guitar work that immediately gains the deserved spotlight.

“The Faceless Hero” maintains all the power metal triumphant elements but adds a slight melancholic atmosphere. Throughout the song Seven Kingdoms plays it safe keeping a similar catchy melodic rhythm with no palpable divergence.

“Awakened From Nothing” begins with somber guitar tones and slightly different instrumental dynamics but soon re-acquires the classic power metal “happier” rhythm particularly evident in the chorus.

Overall, “Decennium” is definitely a cohesive effort that would attract fans of the female fronted bands trend but unfortunately it tends to showcase common music patterns and weak creative force.

Iconic Swedish progressive metal band Pain Of Salvation returns with the long awaited new full length “In The Passing Light Of Day” which, as you will notice at the very first listening, owns a mesmerizing unique strength that makes any comparison to the band’s previous glorious discography rather futile. “In The Passing Light Of Day” feels like a cathartic emotional journey, as its genesis and concept are deeply connected with mastermind Daniel Gildenlöw’s recent illness, and shines for its exceptionally genuine artistic desire to cross any given musical boundaries.

“On A Tuesday” is a complex piece of music that gracefully blends a darker heavy mood and a lighter melodic driven melancholy. Lyrically this song is flooded with pure passion and sincere emotions which are all vividly represented in the heavy guitar driven rhythmic backbone and the gloomy slower melodies embellished by dreamy keyboards arrangements. Throughout the song Gildenlöw proves to be a passionate brave vocalist/musician and Ragnar Zolberg delivers a nostalgically fascinating vocal performance.

“Tongue Of God” begins with highly melancholic piano melodies that effortlessly give way to a groovy ensemble of crunchy guitar riffs and an absolutely addictive chorus. The overall decadent atmosphere evokes feelings of desperation and anger while the catchy rhythmic crescendo is creatively refreshing with modern heavy elements.

It’s easy to fall in love with “Meaningless” as its haunting melancholic moody melodies are absolutely unforgettable. Zolberg and Gildenlöw deliver enchanting kaleidoscopic vocals that properly incarnate a dark inner turmoil further enhanced by vibrant guitar riffs and a chaotic rock groove.

“Reasons” will instantly capture any audience with its irresistible savage syncopated rhythm in impeccable prog fashion. Gildenlöw delivers particularly enraged vocals, amplified by almost dissonant tempo changes and heavy monolithic guitar riffs, but also softer vocal harmonies that convey darkened introvert feelings.

“The Taming Of A Beast” offers another excellent catchy rhythm with loads of frantic dark accents amplified by bold heavy guitar riffing and fervent vocals but also shines for the intense moody struggle portrayed by contrasting calmer fragile melodies and rich orchestrations.

On the lengthy title track elegantly minimalist melodies embody an inevitable dramatic emotional storm that demands the listeners’ attention while Gildenlöw literally pours his heart out with painfully passionate vocals. When guitars acquire ex novo energetic dynamics the overall atmosphere still holds a pure sense of distraught melancholy but a delicate feeling of hopefulness seems to appear in the distance with luminous atmospheric keyboards.

With experimental talented musicianship and darkly poetic impetus “In The Passing Light Of Day” will be remembered as a magnificent comeback that, once again, confirms Pain Of Salvation’s seminal status as one of the most enthralling and unpredictable bands in the metal scene.