Devilment is mainly known for its charismatic infamous lead singer Dani Filth who introduced the once underground band to the glorious metal scene.  Dani must take Devilment seriously as confirmed by his commitment in the creation of the band’s second album “Devilment II: The Mephisto Waltzes” which is not an extreme metal music piece but definitely shines for its dark music roots.

“Judas Stein” kicks off with a proper horror flick atmosphere that allows Dani’s ominous growls to take the center stage. There is a persistent gothic influence in the crushing guitar riffs and the keyboards’ sound which come together to keep a particular dark mood.

“Hitchcock Blonde” is an immediate favorite with its rich versatile rock texture emphasized by dissonant keyboards and a dreadful catchy chorus. Dani adds the perfect dose of devilish vehemence soothed by inspiring atmospheric keyboard arrangements.

“Under The Thunder” has a modern metallic edge embedded in the guitar riffs that build a catchy rhythm while sinister keyboards provide a generous dose of dark melodies. Lauren Francis adds soft harmonious vocals while Dani’s signature growls deliver an endless darkness.

Soothing ballad style piano melodies create a sense of nostalgia on “Full Dark, No Stars”. Lauren’s vocals again deliver delicate harmonies that are destined to be eventually tainted by a dark shroud of raw guitar riffs and horrific growls.

“Dea Della Morte” features an alluring vocal duet that evokes a feverish love tragedy. Classical piano and ethereal keyboards provide a highly melodic musical core while the guitar riffs acquire nightmarish metal accents.

With “Devilment II: The Mephisto Waltzes” Dani Filth & co have successfully concocted a deliciously spectral collection of songs that always keep an edgy gothic/horror rock attitude that would certainly entertain a wide audience, especially those who like to believe that everyday it’s Halloween.

New Jersey metalcore band Ashes Of My Regrets has released a new EP entitled “Caricatures” which features a trendy metalcore style spiced up with creative electronic accents.

“Incorruptible” blends a strong metalcore rhythm with interesting modern electro moments and sincere clean vocals that break down the noisy guitar riffing.

“Fooled Me Twice, Now Pay The Price” again relies on a guitar driven metalcore theme but the most appealing elements reside in the somber atmospheric arrangements that keep an easy melodic flow.

“Daydreams” features a quite aggressive approach with chaotic heavy guitar riffing and unrestrained screams but it also delivers some pleasant melodic passages with atmospheric electro elements that make the whole song more entertaining.

Overall, with “Caricatures” Ashes Of My Regrets showcases a genuine passion for music and scattered bright ideas that one day could evolve into a solid work of music.

Dope’s “Blood Money, Part 1” is the first album released in seven years so it carries an enormous burden of expectations and promises. Certainly Dope manages to resurrect the old signature style and puts together a sweet collection of catchy songs.

“Blood Money” delivers a raw industrial mood with metallic guitar riffs and groovy drumming. The synths provide a dark noisy atmosphere amplified by dirty rock style vocals.

“Hold On” is a strange hybrid with smooth guitar leads in classic metal style with remarkable 90s accents and crushing guitar riffs that surround the recurring catchy chorus.

“1999” has a darker mood with heavy industrial influence and spooky synths. This track is particularly entertaining with an energetic moshpit friendly groove further embellished by borderline cacophonic synths.

“Razorblade Butterfly” has a playful vibe mixed with an understated sadness. The rough guitar riffs and the atmospheric synths build a sort of electro/industrial groove with dance floor vibes while the chorus will easily hook any listeners.

“A New Low” relies mainly on a trendy metalcore style with a heavy but catchy guitar riffing and the expected combo of clean melodic vocals and angrier screams.

“Selfish” has a horror style atmospheric theme but it’s also full of distorted guitar licks that successfully provide an immediate groove that feels like a crossover of nu metal and industrial.

Dope delivers a lovely cover of Hole’s hit song “Violet” adding loads of modern synths that provide darker layers over a heavier rhythmic core.

In the end, Blood Money, Part 1” demonstrates to be an entertaining album that would please party animals or a restricted alternative crowd but after seven years of silence some would have expected a more challenging/interesting work of music.

Extreme Mexican metallers Brujeria return triumphantly after 16 years with a bombastic full length release entitled “Pocho Aztlán” which features the band’s signature deathgrind style and renowned musicians such as “El Cynico” Jeff Walker of Carcass and “Hongo Jr” Nick Barker (ex Cradle Of Filth).

The title track kicks off with a heavy guitar driven rhythm that keeps on gaining speed and strength while Brujo’s unique growls deliver some raw anger.

“No Aceptan Imitaciones” is all about an immediate brutal impact as it has a rather chaotic groove with relentless drumming and blistering guitar riffs that would certainly generate a wild moshpit at live shows.

“Angel De La Frontera” might reduce the speed but certainly maintains a fierce rhythmic backbone that ensures a constant groove while a more melodic and slower breakdown channels a solemn atmosphere.

Lyrically “Plata O Plomo” features tales of narco trafficking related to Pablo Escobar. In terms of music style this is another track that relies on furious deathgrind guitar riffing but also some modern borderline industrial elements.

“Bruja-” doesn’t compromise its extreme metal nature even with a slower tempo conveying a somber mood and there’s still a chance to enjoy loads of groovy guitar riffs.

“Culpan la Mujer” offers an intense no frills old school death metal core where all instruments come together to build a brutally fast rhythm enhanced by particularly sharp screams.

Overall “Pocho Aztlán” turns out to be a quite entertaining crazy album focusing on a high impact tight deathgrind music core that would delight any serious headbanger.

Many might be familiar with Crippled Black Phoenix and its visionary music style because of multi-instrumentalist founder Justin Greaves, renowned drummer of Iron Monkey and Electric Wizard.  The latest EP “New Dark Age” includes two original songs and a two parts Pink Floyd cover and is a dark piece of music that effortlessly embraces a wide variety of influences including stoner rock and doom.

“Spider Island” channels a relaxed, yet rich, stoner rock vibe with catchy guitar riffs filled of dense reverb and intergalactic doom accents that could easily cause dizziness in the occasional listener.

The lengthy complex title track never ceases to impress with multichromatic style variations skillfully mixed in a deeply atmospheric soundscape.  Dreamy minimalist vocals are surrounded by bluesy guitar phrases and vintage organ but soon guitars acquire a moody yet spontaneous progressive attitude while a psychedelic enigmatic vibe delivers an immense melancholy.

“New Dark Age” might be just an EP but it holds a particularly tasteful musical strength that is destined to cross any standard boundaries.

Acclaimed Swedish act Soilwork has released a compilation entitled “Death Resonance” which feels like a deserved celebration of the band’s successful career as it includes rarely released songs as well as two brand new ones.

“Helsinki” is a new song that seems to be a good representation of Soilwork’s signature melodic death metal style. The band skillfully and elegantly switches from relentless heavy guitar riffs and enraged screams to the most melodic ensemble of fascinating prog influenced guitar solos and passionate clean vocals.

The title track is the other new song included in this album and it seems to follow the same melo-death theme in terms of songwriting and structure. The melodic aspect is quite emphasized in the captivating guitar work while there is always plenty of space to build an intense groove with blasting drums and faster riffs.

“When Sound Collides” features a dynamic series of crunchy guitar riffs that easily build an energetic groove embellished by a delightfully intense guitar solo impeccably performed in progressive metal fashion.

“Forever Lost In Vain” is another track that summarizes all the classic elements of melodic death metal. Smooth guitar leads deliver polished melodies with prog accents further amplified by crispy clean vocals in contrast with the heavier rhythmic backbone.

“Sweet Demise” has a dominant melodic theme featuring a dreamy breakdown but maintains a good dose of raw death metal attitude in the tight combo of guitar riffs and drumbeats.

“Martyr” is an easy, almost minimalist, track that conveys a dramatic atmosphere where melodic guitar leads take the center stage in a laid back tempo.

“Killed By Ignition” seems to often rely on the strength of crunchy guitar riffs but the main musical core is all about accessible melodies and catchy chorus.

While waiting for a new album “Death Resonance” will certainly become a must have for Soilwork’s devoted fans since it captures so many facets of the band’s music catalog.