Finnish winter metal quartet Wolfheart are rightfully conquering more acolytes worldwide with their signature blend of Nordic melancholy and vicious death metal that thrives on the fifth full length “Wolves of Karelia”. 

On “Hail Of Steel” the cold atmospheric arrangements and the guitars have the ability to express poignant feelings creating a captivating melodic grandeur in contrast with the audacious riffage that leads to the expected ferocious rhythmic assault enhanced by wolfpack leader Tuomas Saukkonen’s massive growls.

The atmospheric tapestries of “Horizon On Fire” add majestic vibes around the relentless rhythmic core fueled by hostile drum blasts and untamed guitar riffs while the melodic leads create a wonderful series of comforting gloomy progressions.  

“Reaper” goes straight to a powerful rhythmic ensemble with sharp guitar riffs and venomous growls yet such vicious dynamics will often slow down to highlight the darkened melodic essence and the epic keyboards layers. 

“The Hammer” continues to deliver a perfectly balanced mix of death metal inspired rhythmic segments amplified by the ruthless fast drumming and enthralling melodic guitar leads marching through the solemn atmospheric waves that will take the center stage in the final part accompanied by soulful acoustic phrases. 

“Ashes” features a significantly slower tempo to properly emphasize the extensive icy guitar harmonies and the intricate vivid atmospheric arrangements that create a stunning evocative sonic realm therefore the sorrowful emotions tend to linger even through the scattered heavier groovy moments. 

Wolfheart have perfected their winter metal style and successfully shaped a remarkable identity that today shines brighter with the detailed and irresistible gelid soundscapes of “Wolves Of Karelia”. 

By now everybody knows that Nergal, frontman of black metal titans Behemoth, has started the dark folk/blues solo project Me And That Man and the sophomore release “New Man, New Songs, Same Shit, Vol.1” features some amazing collaborations with renowned talented artists. 

Featuring Jørgen Munkeby of Norwegian band Shining, “Run With The Devil” is an energetic track that relies on a catchy rhythmic rampage with pleasant bluesy guitars enriched by the playful tones of the saxophone. 

“Coming Home”  features guest Sivert Høyem of Madrugada delivering passionate and quite somber vocals that match the slower quasi dramatic instrumental ensemble carefully built by contemplative atmospheric layers and mournful guitar melodies. 

On “By The River” legendary Ihsahn of Emperor brings his theatrical vibrant vocal delivery to emphasize the diabolical essence of the warm guitar melodies that reach the acme with a thrilling intricate guitar solo.  

Featuring guests Johanna Sadonis and Nicke Anderson of Lucifer,  “Deep Down South” relies on Southern rock & country styles with vivid acoustic rhythmic patterns and the strong presence of harmonica and violin melodies.

“Man Of The Cross” stands out for the stunning baritone vocals performed by Jerome Reuter of Rome which emphasize the irresistible gothic nuances of the mysterious atmosphere and the seductive guitar melodies following a slow brooding rhythmic section.  

“How Come?” features the talent of Corey Taylor, Brent Hinds and Rob Caggiano and is probably one of the most powerful tracks confidently blending moody blues oriented guitar melodies leading to a flamboyant solo and soulful vocal harmonies that constantly evoke a compelling melancholia.  

The ominous strength of “Confession” comes from the deliciously malevolent vocal performance courtesy of the infamous Niklas Kvarforth of Shining so darkness is destined to prevail through the mellow acoustic passages that will suddenly evolve into a quite harsh blackened rhythmic momentum. 

On “New Man, New Songs, Same Shit, Vol.1” Me And That Man channel darkness and devilish vibes with a different state of mind that favors warm Americana-influenced soundscapes and the presence of diverse guest vocalists renders everything truly interesting and sometimes the  kaleidoscopic results will surprise you.  

When we think of doom metal the name Candlemass immediately comes to mind and this time the band returns with the EP “The Pendulum” which includes unused tracks cut from the latest full length “The Door To Doom” recording sessions.

The title track features all the beloved elements of classic doom metal with a somber acoustic prelude that introduces monolithic guitar riffs marching fiercely through the ominous atmosphere enriched by bewitching licks so the whole instrumental ensemble and the mood naturally match the band’s timeless legacy. 

“Snakes Of Goliath” relies on addictive guitar riffs that stay true to the band’s infamous signature style and the extremely somber & solemn vocal delivery keeps on amplifying the obscure atmosphere while later a slightly vintage groovy momentum fuels more energetic rhythmic progressions. 

“Porcelain Skull” is a memorable track that continues to follow a catchy grim doom approach focusing on mighty guitar riffs and a darkened chorus that unleash a generous dosage of raw energy and all kinds of gloomy feelings leading to the climatic guitar solo. 

While “The Pendulum” includes only few tracks it serves the purpose of reminding the audience that Candlemass continue to write monumental doom songs driven by a consistent creative force. 

After almost thirty years and an extensive discography Crematory continue to carry the torch for European gothic metal and show their unstoppable creative force once again on the new massive release “Unbroken”.

The title track features belligerent growls and constantly delivers inflamed stomping grooves with a strong Neue Deutsche Härte influence so the industrial gritty sound of the guitars feels very dominant. 

“Rise And Fall” offers somber keyboards arrangements and a generous dosage of classic gothic tinged guitar melodies diligently following a darkened softer rhythm and the presence of emotive clean vocals clearly emphasizes the melancholic mood. 

On “The Kingdom” the guitar work focuses on the creation of sorrowful melodies amplified by the nostalgic vocal delivery and the crestfallen vibes of the subtle atmospheric layers but there is also a slightly heavier rhythmic momentum accompanied by fierce growls. 

“Inside My Heart” is the must have ballad full of nostalgia and passionate melodies so guitars deliver soothing arpeggios and the ethereal atmospheric arrangements surround the heartfelt vocals particularly captivating during the catchy chorus. 

On “The Downfall” the industrial flair triggers some heavy guitar driven grooves following an energetic rhythmic section but there is still space for melancholia as the guitar soloing brings darkened polished harmonies. 

The prominent electro vibes of “My Dreams Have Died” lead to an entertaining dark & dancey rhythm and consequently enhance the industrial aspects of the song while the smooth clean vocals easily emphasize the inner melodic sentiment. 

“Voices” has some memorable electro beats that add an edgy industrial verve to the main instrumental progressions that once again skillfully blend melodic phrases and tight riffs accompanied by fiery growls and harmonious clean vocals. 

“As Darkness Calls” relies on catchy gothic metal nuances consequently guitars are focused on the expression of a familiar melodic melancholia balanced by the groovy riffage just like the vocal duet continues to manifest contrasting feelings with clean delivery and growls. 

As the lyrics suggest, Crematory have no intention to stop fighting and “Unbroken” is a straightforward sonic manifesto full of darkened grooves, industrial dynamics and sincere passion. 

Spanish symphonic metal band Diabulus In Musica have been around for a while and through the years they have perfected a catchy & majestic sonic formula that fully comes to life with the theatrical new full length “Euphonic Entropy”.

The symphonic wonderland embodied by “Race To Equilibrium” features sumptuous orchestrations and a fiery rhythmic rampage as guitars deliver solid catchy riffs to accompany the scattered darker moments amplified by a faster tempo and aggressive growls nevertheless the lavish operatic vocals & choirs are always in the spotlight. 

“The Misfit’s Swing” stands out for the playful swing style rhythm that leads to diverse melodic nuances yet the symphonic essence is still present with impeccable operatic vocals and elegant multilayered arrangements. 

On “In Quest Of Sense” the mood gets quite dramatic with somber choral parts, melancholic lead vocals and refined orchestrations while the rhythmic section still focuses on heavier guitar driven grooves.  

The understated atmospheric layers on “Otoi” feel like a soothing soundtrack for a folk fairytale while the polished guitar melodies and the flawless emotive vocal delivery evoke the harmonious aspects of symphonic metal. 

“Our Last Gloomy Dance” sounds like a masquerade ball with a waltz style rhythm surrounded by the darker yet grandiose tonalities of the detailed orchestrations and the inner gloom is certainly matched by the mysterious aura of the choir and the dramatic operatic delivery. 

On “Blind Muse” thunderous drums and bold guitar riffs often take the center stage keeping a strong heavy momentum even if the song’s melodic soul is constantly enhanced by the orchestral splendor and the heartfelt vocal harmonies. 

Creating the right mood for a night at the opera “In The Vortex” relies exclusively on rich multi layered atmospheric arrangements that evoke sheer melancholy as well as triumphant vibes and emphasize the classical style of the dazzling operatic vocals.

Diabulus In Musica stay true to the signature elements that have rendered symphonic metal an exceptionally successful genre worldwide so if you’re a fan you will find plenty to love on the latest offering “Euphonic Entropy”. 

 

Danish death/doom metal quartet Konvent is ready to spread undiluted darkness and impress the underground metal scene with the malevolent debut album “Puritan Masochism”. 

The title track depicts a pitchblack sonic realm with the crushing weight of the guitar riffs surrounded by a nightmarish atmosphere naturally emphasized by the cavernous growls and the monochromatic melodic passages. 

On “World Of Gone” vocalist Rikke Emilie List continues to deliver terrific growls that seem to emerge from hellish depths and the dismal guitar tonalities successfully channel a primal doom force through the imposing riffage and the forlorn melodies. 

The funereal slow motion of “Bridge” favors mournful guitar melodies that inevitably create a sense of desolation that will always linger through the constant monolithic rhythmic segments and the diabolical growls. 

“Waste” begins another dark journey with ominous bass lines swiftly followed by aggressive rhythmic grooves that confidently combine the primordial elements of doom and death metal and the consequent tormented vibes are definitely amplified by obscure screams. 

“Ropes pt. II” reminds you that there is no escape from darkness as the familiar combo of super heavy rhythmic blasts and guttural vocal delivery clearly channels the band’s extreme metal influences while guitars can also focus on dramatically slow burning melodies channeling a sense of despair further emphasized by the enigmatic atmospheric finale. 

Undoubtedly each and every song on “Puritan Masochism” is drenched in darkness as the murky nuances of classic doom are extremely dominant and Konvent are still at the beginning of their career but already seem sincerely devoted to such timeless subgenre. 

Since many years swedish vocalist Mats Leven has worked with several amazing bands such as Therion and Candlemass and now he is ready to begin a new exciting music endeavor as a solo artist under the moniker Skyblood.

“The Not Forgotten” has a catchy melodic essence inspired by classic metal dynamics with the right dosage of steady guitar riffage and bright soloing surrounded by subtle symphonic accents while Mats engages the listeners with a mix of high-pitched screams and soothing vocal harmonies. 

On “Wake Up To The Truth” the atmosphere becomes darker and the symphonic tapestries are more present with variegated opulent layers while guitars deliver a fancy shredding solo and maintain a heavier rhythmic approach around the theatrical vocal delivery. 

“Once Invisible” shines for the elegant melancholia infused piano melodies and charming atmospheric arrangements that lead to a sumptuous dramatic depth further emphasized by the gloomy guitar driven crescendos and the darkly fervent vocal performance. 

“One Eye For An Eye” balances warm melodic textures and powerful rhythmic patterns generating widely accessible soundscapes that are definitely spiced up by Mats’s shapeshifting vocals confidently delivering massive harsh screams and somber harmonies.

The elaborate composition behind the final opus “Le Venimeux” focuses on majestic symphonic orchestrations, poignant classical piano melodies and refined melodic guitar work to create a lavish theatrical experience where Mats can truly express his music identity through a quite compelling and diverse vocal performance. 

Mats worked several years on this new project bravely expressing his personal music taste and exploring different styles that allow him to fully showcase his versatile vocal abilities, as a result Skyblood debut album is certainly destined to surprise the audience. 

Hailing from Moldova Infected Rain are steadily gaining attention within the modern metal scene and they are ready to raise the bar with the unpredictable groovy & melodic dynamics of the latest offering “Endorphin”.

“The Earth Mantra” relies on extra heavy grooves fueled by the intense djent elements of the guitar work yet there is a soothing introspective momentum generated by ambiance arrangements and enriched by the passionate vocal delivery. 

Following a similar pathway “Black Gold” mixes enraged crunchy rhythmic blasts with bright multilayered atmospheric & electro arrangements that seems to be a successful combo emphasizing the band’s ability to create diverse soundscapes. 

“Symphony Of Trust” amplifies a melodic approach with softer vocal harmonies that aim to evoke sincere emotions especially during the memorable chorus yet the djent/metalcore force is still quite dominant within the cohesive heavier rhythmic ensemble accompanied by ravenous screams. 

“Walking Dead” begins with dreamy atmospheric layers swiftly followed by a massive series of savage guitar riffs but once again comforting melodies keep on flourishing throughout the song with the palpable emotional drive embodied by Lena’s vocals. 

The aggressive grooves of “Taphephobia” are filled with frantic guitar riffs,  feverish screams and darkened tonalities following a faster borderline brutal rhythm yet there is space for uplifting feelings that come to life through calmer atmospheres and delicate vocals. 

“Storm” deviates from the album’s main direction to focus exclusively on shimmering electro waves and subtle atmospheric splendor that also put the spotlight on Lena’s poignant vocals and the consequent emotive themes.

Since the very first listening you can perceive the raw energy and the dramatic depth that constantly express contrasting emotions throughout “Endorphin” and obviously Lena’s versatile vocal performance is destined to attract more listeners. 

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.

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.