Rising guitar prodigy and multi-instrumentalist Sarah Longfield is finally releasing the new album “Disparity” which features the expected generous dose of shredding but also plenty of intriguing cinematic soundscapes.

“Embracing Solace” begins with a remarkable dreamy atmospheric core carefully built by kaleidoscopic ambient layers and embellished by opulent glowing guitar melodies.

“Departure” continues to follow a relaxing music pathway as vocals channel uplifting emotions flowing through calm ambient waves and charismatic melodic guitar phrases while the song’s finale shines for the nostalgia infused piano piece.

Within the intricate sonic realm of “Cataclysm” technical prog becomes evident in the massive eclectic guitar work naturally shifting from enticing shredding & tapping with scattered heavier rhythmic accents to fluent melodic grandeur.

In the midst of birds chirping and tranquil feelings “Miro” returns to luminous tonalities embedded in the glossy atmospheric textures, jazzy saxophone soloing and obviously brilliant melodic guitar progressions.  

“The Fall” is another track that will immediately stand out for the darker ambient arrangements and the energetic technical guitar work featuring intense shredding, crispy melodies and striking prog inspired dynamics.

“Disparity” is not just about a constant virtuoso showcase as Sarah is eager to impress the audience also with a multifaceted creative force and unexpected sonic twists that are evident from beginning to end.

For Canadian progressive technical death metal band Beyond Creation the next step in their remarkable sonic evolution is embodied by the latest release “Algorythm” which promises an eclectic and absolutely crushing ensemble.

A furious instinct sets the mood of “Entre Suffrage Et Mirage” and consequently belligerent drums and fiery guitar riffs channel a rather extreme metal force that will be interrupted by contrasting soothing nuances and luminous melodic guitars.

The tranquil beginning of “Surface’s Echoes” features sophisticated prog oriented harmonies yet this track can sound simply brutal with a ravenous array of guitar riffs and powerful bass lines plus the terrific guitar solo and melodic whirlwind will instantly grab your attention.

The title track continues to offer an excellent blend of brighter melodic textures and harsh rhythmic segments featuring savage drum blasts and tight riffage while the poignant guitar solo here feels particularly compelling.

“In Adversity” will delight you with a series of bold rhythmic sections loaded with technical guitar work and death metal accents especially amplified by the relentless drumming and ruthless growls but the crispy melodic approach of the guitar solo can be considered the highlight of the song.

The instrumental track “Binomial Structures” begins with remarkable bass work and subtle atmospheric layers while guitars can fully showcase excellent technical expertise and create intricate melodic waves with vibrant & melancholic tonalities.

“The Afterlife” features loads of thrilling rhythmic segments where guitars can acquire insanely heavy tonalities due to the primal death metal elements but also craft extravagant melodic phrases and fancy solos characterized by an impeccable sound and execution.

Certainly Beyond Creation follows an intriguing and mature music pathway where extreme metal elements are very much alive yet the proggy & jazzy moments often feel more innovative and therefore tend to steal the spotlight throughout the intricate soundscapes of “Algorythm”.

So many have been anxiously waiting to hear new music from death metal legends Hate Eternal and now you can finally headbang to the massive brutal anthems of the full length “Upon Desolate Sands”.  

Just like the title suggests “The Violent Fury” is rather furious as relentless guitar riffs follow the insanely fast tempo dictated by thunderous drums and simply there is no escape until lead guitars offer brief melodic moments and utter desolation.

Since the beginning “What Lies Beyond” feels a bit different as the rhythmic section doesn’t speed up immediately allowing guitars to craft a diverse range of riffs and somber technical leads yet the classic death metal approach is still absolutely aggressive.

On “Nothingness of Being” the crushing impact of mighty rhythmic blasts cannot be ignored while the perennial fiery guitar riffs and cavernous growls definitely amplify the song’s sinister vibes but you can also perceive a melancholic depth in the lead guitar work.  

As soon as “Dark Age of Ruin” begins you realize that you simply cannot catch a break as guitars march violently through asphyxiating atmospheres delivering dense riffage with technical accents and deliberately following reckless tempo variations.

While the title track confidently maintains a hellish rhythmic core it also offers a generous dosage of arcane atmospheric arrangements that certainly don’t diminish the visceral death metal rage but provide intriguing variations.

Listening to “Upon Desolate Sands” it becomes evident that this is an album dedicated to faithful death metal acolytes and mastermind Erik Rutan has worked meticulously to achieve the heaviest sound for Hate Eternal’s new sonic endeavor.

Considering that mastermind Justin Greaves has previously gone public about his personal fight against depression the new Crippled Black Phoenix album entitled “Great Escape” is expected to revolve around dark themes and this definitely fits with the band’s alluring music direction.  

“To You I Give” is a cathartic ensemble of soulful guitar melodies, introspective vocals and somber atmospheric layers which instantly set a perennial darkened mood that will shape the several distorted progressive tinged rhythmic crescendos throughout the song.

“Madman” focuses majorly on a sinister cinematic spirit flowing through the visionary electro arrangements that effortlessly create a bewitching groovy momentum amplified by gritty rock tonalities.

On “Times, They Are A Raging” a constant sense of melancholia dictates the painfully dramatic mood that surrounds the dreamy piano melodies and the fervent vocal delivery while the slow tempo simply allows the elegant guitar work to enhance the hypnotizing soundscape that will eventually acquire faster psychedelic dynamics and consequent enigmatic rhythmic variations.

“Slow Motion Breakdown” is an intense instrumental track that spontaneously blends psychedelic/stoner elements and poignant melodies through memorable guitar progressions that often feel like a wild jam in the middle of the desert and acidic tonalities are evident within the exceptionally engaging rhythmic patterns.

“Las Diabolicas” is almost creepy with its inner dystopian mood featuring fuzzy accents and the undiluted rock energy of the guitar riffs & melodies that successfully craft catchy climatic grooves in the midst of obscure spellbinding atmospheres.

While “Great Escape (pt I)” feels profoundly evocative with mystical vibes influencing the fragile atmospheric textures, the enchanting vocal duet and the super slow melancholia infused guitar phrases “Great Escape (pt II)” is instead an eclectic entity that adds progressive twists and intricate haunting melodic splendor with the absolutely stunning guitar work.  

Ultimately “Great Escape” might be considered a challenging album that audaciously explores an impressive array of diverse music subgenres while maintaining a rather unique vision that naturally leads to cinematic & emotional aesthetics as Crippled Black Phoenix craft each song with an outpouring charisma that cannot go unnoticed.

 

French veterans Vulcain return with the timeless hard rock style of the latest album “Vinyle” which, as you can imagine, is filled with no frills loud anthemic songs.

There are no surprises on the title track as the trio focuses on a solid series of gritty guitar riffs and consequent raw energy, a recipe that aims to keep old school hard rock alive.

Following a similar pathway “Héros” revolves around entertaining guitar riffs, wild rhythmic sections, roaring vocals and the inflamed guitar solo also bears the mark of classic hard rock.

The hard rock intensity of “Darling” ensures another bold round of killer guitar riffing and leads accompanied by aptly raucous vocals resulting in a highly energetic song.

“Décibels” slows down to deliver a borderline rock ballad melodic ensemble featuring acoustic phrases as guitars acquire calmer tonalities but still offer some groovy moments.

In proper seasoned rocker fashion the lead guitar work on “Contrôle” delights the listeners with fiery licks and shredding galore marching confidently throughout the song.

“Motör” is about having good time, partying with friends and headbanging to the traditional groovy rampage spontaneously built by tight galloping guitar riffs and powerful drumming.

Vulcain proudly carry the torch for ‘80s hard rock and “Vinyle” diligently follows the footsteps of legendary bands like Motorhead & AC/DC with genuine passion and an explosive instrumental work.

On the new Ken Mode album “Loved” mastermind brothers Jesse and Shane Matthewson audaciously continue to explore enigmatic tonalities and unexpected noise sonic patterns.

The opening track “Doesn’t Feel Pain Like He Should” is short and violent as guitar riffs embark on a noisy music journey deliberately abolishing rules yet this is not just random chaos and you can perceive a clear vision behind such bitter grooves.

“The Illusion Of Dignity” sounds super gritty with harsh guitar riffing and odd tempo variations that keep a tumultuous rhythmic section to support the angered disillusioned screams while the saxophone offers a borderline dissonant jazz inspired momentum.

“Learning To Be Too Cold” still offers chaotic noise action yet there are underlying somber guitar nuances flowing through the abrasive rhythmic patterns.

The mood changes on “This Is A Love Test” which features calmer yet absolutely eclectic rhythmic segments allowing the noir saxophone melodies to shine accompanied by spacey textures and bold bass lines but the undiluted anger will return with scattered heavier moments.

“No Gentle Art” becomes more atmospheric and mysterious before giving way to a dissonant darkened sonic realm where a brilliant trippy saxophone naturally collide with massive noise guitar riffs, dizzy rhythmic variations and enraged screams.

Certainly what you’re listening to is the product of absolute creative freedom as on “Loved” Ken Mode is not following any trend and rather deliver a unique sonic vision that tastes like desperation and passion.

Talented Norwegian multi-instrumentalist Sylvaine is finally back with a new kaleidoscopic opus entitled “Atoms Aligned, Coming Undone” where chaos and serenity spontaneously embrace.

The bittersweet melodies of the title track are inspired by shoegaze and post metal as dreamy guitar phrases surround soft spellbinding vocals flowing through tranquil atmospheres that will naturally evolve into darker and faster instrumental moments with recognizable blackened force.

Infused with daydreaming shoegaze splendor “Mørklagt” offers gorgeous layers of atmospheric arrangements and melodic guitars that evoke an emotive whirlwind combining slower introspective passages with barely whispered vocals in contrast with the audacious rounds of blackened rhythmic blasts amplified by utterly desperate screams.

Stripped of any fancy effects “Worlds Collide” is another mini dreamland that begins with crystalline guitar phrases softly depicting serene lush soundscapes enhanced by precious atmospheric accents and ethereal vocals.

On “L’appel Du Vide” you feel surrounded by a cosmic force where emotions and music entwine through polychromatic hazy atmospheres, fragile like fading memories, and minimalist soulful guitar melodies that fluently express a shoegaze dreamy essence even when they acquire slightly colder harsh tonalities.

Sylvaine demonstrates to be a charismatic composer as the sonic vision of “Atoms Aligned, Coming Undone” is made of personal struggles, wonders and a lingering emotional quality that renders each song a unique experience.  

 

Revolting against the mainstream metal scene The Lion’s Daughter knows no music boundaries and bravely follows a personal evolution which leads to the uneasy soundscapes of the latest release “Future Cult”.

A mysterious aura on “Call The Midnight Animal” creates a slightly futuristic suspenseful mood courtesy of loads of synths that constantly surrounds an impactful sonic assault featuring harsh guitar riffs and venomous growls.

On “Die Into Us” electronic segments continue to hold a dominant role embellishing the song’s rhythmic core with intriguing arrangements while guitars often become more melodic yet effortlessly maintain extremely darkened tonalities.

“The Gown” begins with profoundly somber tones as minimalist phrases and creepy atmospheric layers depict a post apocalyptic soundscape where you can perceive distant echoes of angered screams and monolithic guitars.

On “Tragedy” the band continues to experiment with diverse subgenres reaching a balanced blend of melodic despair and electronic twists while offering several heavier sludge oriented grooves in the midst of asphyxiating atmospheres.

A familiar blackened force on “In The Flesh” fuels a plummeting series of faster savage grooves yet majestic synths will always spice up such aggressive rhythm with variegated spooky sounds and unsettling atmospheric textures.

“Future Cult” cannot be categorized as music for the masses but it must be said that with this modern distinctive collection of songs The Lion’s Daughter will manage to reach the right audience.

The new full length “T.C.B.T.” marks a powerful return for Black Tusk as they fiercely unleash an interesting blend of punk rock anger and sludge sonic depth.

The roaring grooves of “Closed Eye” come with a straightforward music approach as guitars consistently offer enraged riffing following thunderous drumming and vocals become belligerent screams.

“Agali” might sound less predictable with a fair dosage of sludge quasi melodic guitar work nevertheless galloping riffs and desperate vocals tend to focus on a harsh hardcore mood.

“Scalped” surprises the listeners with a sophisticated atmospheric approach that will naturally embrace the heavier rhythmic assault efficiently built by a relentless combo of riffing and drumming.

With a recognizable rough hardcore attitude “Ill At Ease” is noisy & groovy consequently the screams become wilder and rebellious following a need for speed definitely satisfied by the tight merciless rhythmic section.

Without hesitation “Never Ending Daymare” delivers another round of ferocious grooves but this time the lead guitar work stands out particularly crafting fiery and less intimidating sludge passages.

In the midst of ravenous grooves “Burn The Stars” showcases hints of classic rock tonalities in the guitar work without sacrificing the savage hardcore momentum and the super energetic rhythmic blasts.

Overall the aggressive nature of “T.C.B.T.” will trigger headbanging & moshpit pretty much constantly and Black Tusk appear to be comfortable with such angered no frills music vision.

Rising from the ashes of sognametal pioneers Windir Norwegian band Vreid has worked hard since 2004 to rightfully conquer a seminal status in the underground metal scene and the latest full length “Lifehunger” marks another successful chapter in the band’s flourishing career.

Guitars can sound really venomous on “One Hundred Years” which immediately showcases a profound blackened approach allowing darkness to descend upon the listeners with moments of sheer rhythmic brutality without forgetting a fair dosage of Vreid’s renowned black ‘n roll temperament yet due to the multifaceted songwriting approach here you can also find extra melancholic guitar melodies and dreamy arpeggios.

There is a darkened catchy mood on the title track courtesy of gelid guitar riffs, tormented growls and fiery rhythmic segments plus you simply cannot miss the charismatic lead guitar work and the wicked impactful blackened momentum that dominates the song’s final passages.

With stomping rhythmic fury “The Dead White” features some memorable groovy segments where fierce bass lines and infectious guitar riffs seem unstoppable but suddenly this massive darkness is interrupted by nostalgic acoustic arpeggios soon embellished by soulful melodic guitar leads.

“Hello Darkness” takes a different route as Vreid experiments with bleak atmospheric tonalities and softer yet still very darkened melodic guitars that generate a highly dramatic mood and certainly the brilliant haunting guest vocals courtesy of Aðalbjörn ‘Addi’ Tryggvason from Solstafir are a marvelous surprise.

The final instrumental track “Heimatt” features remarkable sognametal motifs as the eerie atmospheres introduce a rather somber melodic ensemble where slower guitars channel immense cold melancholia and it’s impossible to shake such wistful feelings even during the scattered faster blackened progressions.

Vreid are still delivering many elements of their signature black ‘n roll music style yet they are also ready to step out of their comfort zone following instinct and passion which are the key ingredients of the new enthralling opus “Lifehunger”.