Scorpion Child’s brand new album “Acid Roulette” is a nostalgic invitation to join a wild trippy journey on which your only spiritual guide might be a dusty electric guitar. The psychedelic attitude and the acidic analog groove embedded in each song will inevitably attract numerous listeners who long for dreamy good vibes and old fashioned stoner rock.

“She Sings, I Kill” has an inspiring vintage sound with a genuine classic rock themed galloping guitar riffs and a pleasantly danceable rhythm. On vocals Aryn Jonathan Black channels some fancy rock icons such as Robert Plant but manages to add a personal soulful glamour.

“My Woman In Black” packs an overdose of groovy guitar riffs that feel like a sparkly rollercoaster in the middle of the desert and you just cannot sit still. The dirty hard rock core is filled with bluesy energy and healthy mid paced rhythm while the scratchy chorus is absolutely addictive.

The title track channels a trippy psychedelic mood as everything slows down with languid guitar phrases creating a melancholic feeling of lost hopes and emotional decadence. Yet, the true highlight is the outstanding full blown 70’s style organ momentum in perfect psychedelic fashion that makes you want to dance inside a hazy dream until dawn.

“Twilight Coven” features another highly addictive chorus but let’s not forget the incendiary guitar driven stoner rock fast paced rhythm that would drive wild any crowd at a show. The breakdown channels a lucid dream vibe while smoothly adding a proper dose of crispy bluesy mood to the increasingly catchy stoner rock mix.

“Survives” is a borderline romantic ballad with a daydreaming melody but its gritty guitar riffing still holds the acidic stoner rock attitude. On this song Aryn Jonathan Black rightfully takes the center stage to proudly show his prowess and to deliver a passionately astounding vocal performance.

“Moon Tension” is another exciting track that would sound quite loud and powerful live as it features a rampage of super catchy classic rock riffs with tasteful vintage accents in the midst of a energetic unrestrained rhythm.

“Acid Roulette” has what it takes to satisfy the perennial crave for sonic hallucinations that make you feel good even in daylight and shows that Scorpion Child has potential to become a major act in the stoner rock scene.

With the release of her sophomore album “Wistful” Norwegian multi-instrumentalist Sylvaine invites the listeners to join a fragile dreamy musical journey filled with darkened emotions and shattered hopes in ethereal shoegaze fashion. The strong influence of critically acclaimed French band Alcest is rather palpable at the very first listening, therefore it’s not surprising to see mastermind Neige’s participation as drummer on this album.

On “Delusions” Sylvaine takes the delicate role of an angelic storyteller in the midst of intensely ethereal atmospheres. The guitar riffs visibly recall the dismal strength of Scandinavian metal while the main melodic theme, filled with floating eerie ambient elements, evokes a sonic dreamland vaguely kissed by scattered sunlight shining through clouds.

“A Ghost Trapped In Limbo” embodies a familiar feeling of icy desolation with softly somber guitar riffs illuminated by Sylvaine’s crystal ethereal vocals. The typical post-rock/shoegaze tone is tinged by a gothic nurtured melancholy further enhanced by a cycle of dreamy arpeggios.

“Like A Moth To A Flame” is another highly emotional track with loads of ambient layers, catchy guitar riffs and surreal lullaby style chanting that instill the lovely feeling of a spiritual rendezvous in the middle of an enchanted forest.

The title track shines for its quietly inspiring introspective value veiled by a perennial sadness incarnated by clean minimalist guitar phrases that gently shimmer through atmospheric moodiness. Sylvaine’s vocals act as a guiding light for all the lost ones looking for fresh hopefulness while the haunting melody is graciously embellished by the elegantly classical violin and cello ensemble.

In the end, Neige’s personal music style has a deeply undeniable influence all over “Wistful” nevertheless Sylvaine has created a rather lovely soundtrack for a daily peaceful daydreaming.

With the release of “Semente” Portuguese band Sinistro tries to leave a mark in the chaotic and crowded music scene by delivering a collection of darkened songs that elegantly embrace multiple music styles such as doom and shoegaze.

The opening track “Partida” portrays some fundamental elements of Sinistro’s music vision. It is immediately noticeable that Patricia Andrade’s obscurely seductive voice and alluring lamentations are the star of the show. While the main guitar riffs display the somber heaviness of traditional doom the keyboard arrangements offer atmospheric layers that often recall trip hop style and maintain an everlasting feeling of painful melancholy.

“Corpo Presente” has the vibe of a smoky tiny room with an ominous moody thick fabric filled with eclectic almost dissonant jazzy style keyboards surrounded by melodic gloomy guitars. Andrade’s vocals always add a dreamy sorrowfulness that never loses its inner sensual intensity.

The title track has a gloomy slower tempo that allows Andrade’s lustful voice to hypnotize and lure the audience into a highly atmospheric electronic maze crafted in Portishead style.

“Reliquia” evokes a shoegaze style dreamland where calm soothing melodies build an ethereal feeling of longing. Through the emotionally cinematic ensemble of bleak crunchy guitars, luminous arpeggios in crescendo and harmonious keyboard layers, Andrade’s graceful vocals hold a wistful power that effortlessly dominates the entire song.

Sinistro is showing a great potential to conquer a unique niche in the current scene and the understated sensually savage beauty of “Semente”, a loveable soundtrack for lonely rainy nights, will certainly attract a wide audience.

Swedish act Grand Magus comes back with a full blown Viking metal album entitled “Sword Songs” that definitely stays true to such title. If you’re in love with triumphant traditional epic metal full of powerful riffs and folk/pagan themes you will certainly be entertained by “Sword Songs”.

“Freja’s Choice” is on the heavier side with a delectable array of groovy guitar riffs surrounding a quite melodic core. The vocals hold a steady power metal vibe, especially on the super catchy chorus, and the majestically harmonious guitar solo is meant to steal the scene.

“Forged In Iron – Crowned In Steel” starts with a soft arpeggio that introduces a rampage of crunchy guitar riffs and faster drumming. While the breakdown displays some somber doom accent the whole song celebrates Viking metal, swords and steel in typical power metal fashion.

“Born For Battle (Black Dog Of Brocéliande)” is definitely a heavy metal warrior anthem filled with crispy dirty guitar riffing and raspy vocals but the melodic core is still quite dominant in the classic lead guitar work and monumental catchy chorus that recalls Manowar’s style.

“Every Day There’s A Battle To Fight” is another true warrior’s anthem, this time with a touch of melancholy, and is all about that classic metal charisma and inner strength naturally instilled by a collection of genuine guitar riffs. This song features a solid mid paced rhythm and victorious melodies that culminate in a proud memorable chorus.

In the end, “Sword Songs” might suffer from certain repetitive cliché that result in a lack of clever creativity but it remains an enjoyable collection of songs suitable for the average metal audience.

With the latest release entitled “King” Fleshgod Apocalypse delivers another ambitious concept album on which the band follows no rules and no restrains in order to achieve a personal intricate music style.

The opening intro “Marche Royale” sets a triumphant sense of high expectations that certainly attracts even the occasional listeners by instilling a genuine curiosity for what will happen next.

Without any abrupt interruption “In Aeternum” continues to deliver that same majestic mood that smoothly mixes a sumptuous operatic style with a heavy death metal core. While the guitar solo has a technical approach, it also brings a generous melodious vibe that perfectly fits the elegant classically inspire orchestration.

“Healing Through War” features an overload of crunchy tight guitar riffing that will please those who seek the cold embrace of death metal. Yet, the classic atmospheric orchestration, the melodic guitar solo and the overall eerie mood are the most entertaining elements on this track.

“The Fool” feels like a mischievous masquerade and is a rather enjoyable tune since the very beginning where neoclassical harpsichord and dissonant chords end up entwined in a frantic death metal rhythm. The clean passionate chorus and the polished technical guitar solo add a melodic vibe to the triumphant orchestration.

“Cold As Perfection” has a more dramatic atmosphere where the operatic style composition is further amplified by fierce choirs and sentimental female vocals. While the guitar riffs and drumming maintain a dynamic death metal approach the breakdown featuring spoken words and melodic piano smoothly prepares the scenery for a proper epic operetta featuring alluring soprano vocals.

“And The Vulture Beholds” is another grandiose symphonic track where operatic orchestration constantly embellish the crude and wild rhythmic ensemble. Once the frenetic tempo slows down melodic lead guitars take the center stage to deliver a whimsical sense of cold melancholy while the chorus adds a taste of disarming despair.

“Syphilis” has a tragically ominous atmosphere with doomish elements that repeatedly evoke an asphyxiating sense of perennial suffering or loss of sanity through an overdose of stylish melodies. Once again, the operatic and classical elements acquire a fundamental role in the complex orchestration and songwriting culminating with a marvelous soprano performance in perfect theatrical drama style.

“King” is an extremely cohesive album that flows easily with a brilliantly successful concoction of classical music and rough death metal that absolutely demands the listeners’ attention and genuine appreciation.

Fallujah has acquired a lot of appreciation for the signature progressive death metal style and the new album “Dreamless” certainly follows primarily and ambitiously this artistic direction.

“Face Of Death” feels like a triumphant march with borderline dissonant tempo changes but the main guitar melody flows as smooth as possible. The fierce growls might not match the inner atmosphere that holds a dreamlike sonic nature and even when the drums blast faster the melodic theme revolves around polished prog style guitars.

“Abandon” shines for the jazz oriented tempo changes and melodious clean guitar phrases perfectly executed in charming prog fashion. This track has an inspiring atmospheric theme rendered more interesting by the rich embroidery of sonic contrasts featuring angelic female vocals versus raging growls.

“Scar Queen” has a straight technical approach with a cohesive death metal rhythm yet the brutal primitive roots don’t always prevail as the remarkable guitar work brings a taste of dreamy melodies.

The title track represents a strong music declaration with a remarkable attention for details that transpires immediately in the atmospheric and melodic arrangement. The guitar work relies on a sparkly clean sound full of prog style twists and pirouettes easy to love. Yet it’s not all about being relentlessly technical and the daydream mood is quite palpable with the aid of gentle female vocals and surreal keyboards.

“The Prodigal Son” features a harsher rhythm and full blown angry growls but the polished, yet powerful, lead guitar and the ethereal atmosphere smooth the rough death metal edges to create an uplifting vibe.

“Les Silences” showcases a mesmerizing and highly atmospheric soul filled with futuristic elements embedded in a skilled electro arrangement. The band momentarily leaves behind the death metal anger and delivers an ambiance track borderline lounge music style that invites the listeners to take a break and just chill.

Overall, “Dreamless” is a highly enjoyable full length that might lack an overdose of spectacular ideas but successfully portrays Fallujah’s passionate music approach and compelling musicianship.

The most beloved Helsinki vampires The 69 Eyes are finally back with their 11^th full length album entitled “Universal Monsters” full of irresistible catchy tunes that will not disappoint their fanbase.

It’s love at first bite with the opening track “Dolce Vita” which runs on a delectable ensemble of dirty coated guitar riffs. Jyrki channels his gothic heritage with deep decadent baritone vocals that carry an overload of dark energy on the super catchy chorus. The music theme here totally recalls the golden era of “Paris Kills” with all the elements smoothly set up in the right place at the right time including a lovely melodic guitar solo.

“Jet Fighter Plane” might sound less romantic with a rather dark pop mood but it still delivers loads of widely accessible catchy guitar riffs with a sticky chorus embellished by melodic keyboards.

On “Blackbird Pie” Jyrki’s performance mixing retro and gothic vibes take the center stage. Despite the groovy gospel style choirs this song might not become an instant hit, yet it pleasantly embraces multiple music styles interpreted with a remarkable vintage rock sound that holds a dirty energetic soul.

“Miss Pastis” has a guitar driven dancey groove full of proper punk raw edges surprisingly adorned by a charming retro organ. Overall, the smooth guitar solos, the trippy breakdown and Jyrki’s semi evil laughter will conquer the heart of every listener.

“Shallow Graves” stays true to the band’s musical legacy, so while the music style feels safe there is that graceful goth ‘n’ roll groove that still lures easily the listeners. Once again Jyrki successfully delivers that cold and gloomy gothic touch that scales down the positive pop style embedded in the riffs.

“Blue” is a slow paced goth ballad with an appropriate icy melancholy emphasized by borderline romantic vocals and surreal orchestration filled with an intrinsic atmospheric daydream mood that favors relaxation.

With “Universal Monsters” The 69 Eyes show that they’re still undeniably good at what they do with a transcendent passion for music and in the end it’s only goth ‘n’ roll but we like it.

With the newest album “Moonlover”, American act Ghost Bath fully embraces the black metal and shoegazing fusion that is becoming a buzzing trend either loved or simply hated. While we all deeply love Alcest, the French pioneers of this genre, it might get some time to get used to the newer bands that are bound to appear in the metal scene.

“Golden Number” is all about sharp guitar riffs that cannot hide an uplifting tone and the lead guitar is almost full of positive energy and hopes for a better tomorrow. The melodies, at times on the mellow side, flow smoothly and there is still an oppressive feeling that we cannot leave behind but the final classically elegant piano piece brings everything in place like it was always supposed to be.

“The Silver Flower Pt. 1” calls for a deep state of relaxation as it has a more decadent approach with a sentimental melancholy vibe graciously enhanced by dreamy arpeggios surrounded by peaceful sounds of nature.

“The Silver Flower Pt. 2” still holds that same mystical atmosphere and a faded sense of hopefulness but the additional distortion and relentless guitar riffing delivers a heavier style with some identifiable black metal roots.

“Ascension” has a more dramatic spirit that hides behind a fast black metal asphyxiating style rhythmic session but becomes more alluring and spontaneous when everything slows down to allow the crystalline luminous guitar work the right moment to shine.

“Moonlover” might be considered an interesting, at times captivating, anthem of the modern blackgaze trend and it will certainly bring Ghost Bath the desired dose of fame & glory.