Friday, November 30, 2012

Review of "Industry" by Hyperial

Buy this album

1. Of Concrete and Ash Age
2. Rotted Society
3. Toxic Secretion of Being
4. Industry
6. The Eternal Paradise of the Illusion

Hyperial came into existence in 2006. It's a group of different people and each of them has various musical roots. The music of Hyperial may be named as an eclectic metal, by mixing diverse music styles. Most of all, there are futuristic keyboard sections emphasizing the remarkable sound.

It's a year 2007, when Hyperial records 2-tracked demo titled "The eternal paradise of the illusion". What turns out soon, the band starts thinking that it's high time they recorded something more professional, that could be shown to the wider audience. The creation of the new material it's what exactly Hyperial makes this time. This time material is based to the less extent on black metal music. Instead of this, there are more precise (elaborate- misterne) guitar riffs.

2010, the band releases debut album “Sceptical Vision” by the label Psycho Records. This vision has an enthusiastic reception. The band receives some positive opinions about the album. It comes via metal websites, as well from the metal magazines.

2011 is the year of personal struggle in Hyperial. Another drummer decides to leave the band. The four members, who remain, look for the new one for few weeks. In the meantime, they create the new material. After implementation of new personal order, Hyperial makes up for with recording the new EP. Currently, the band is looking for a label.

This album starts off with “Of Concrete and Ash Age,” which is quite the brutal track with great riffs and enjoyable technical diddles. The vocals are dirty with a mix of growls and screams and the keyboard also adds a lot to the band’s overall feel. The drummer is quite talented with the blast beats and beastly fills as well. “Rotted Society” brings a really in your face feel with the power of the drums and ear pounding riffs. The keyboard felt a little weird and took away from the death metal aspect but it isn’t too much of a bother, as some keyboard parts are epic, but one part just didn’t feel right. I really enjoyed the accompaniment of the bass riff, drums, and keyboard in “Toxic Secretion of Being”, those parts were really great. The slam bits were really heavy and groovy and the ear bleeding brutality bits were amazing. There is a really nice solo on this track as well.

The album title track, “Industry,” brings a great mix of pounding riffs as well as slower grooves, although it is mostly just a moshtastic heavy ride on the train to Brutal City. The keyboard really adds to this track and this is probably my favourite on the album. The next track, “MMXII-MMXXX” is an epic ambient instrumental to get you ready for the final track, “The Eternal Paradise of the Illusion,” which has a mix of groove and technicality that is incredible. This album concluding track brings the album in a full circle and showcases everything this band is good at, which is keeping it brutal but also having an epic feel.

Hyperial bring an interesting mix of death metal and keyboards, which makes for an awesome listen. There is only one time in which the keyboard trump over brutal riffs which takes away from the brutal feel, but other then that one occurrence the keyboard fit. I highly recommend picking this up and supporting these guys, especially if you like death metal with a side of epic.

Wednesday, November 28, 2012

Review of "We Choose to Walk This Path" by Quake the Earth

Buy this album

1. The Predator
2. We Own the Streets
3. The Unknown
4. Finger on the Trigger
5. We Choose to Walk This Path
6. From This Day to Last Day
7. We Are the Enemy
8. Brand New Day
9. There Mofos
10. No Man is Bigger Than a Bodybag
11. Crusader
12. Mark of Deception
13. Red And White
14. Punainen hevonen

Quake the Earth's debut album «We Choose to Walk This Path» hits you like a swing from a baseball bat. The group has joined forces with Inverse Records and the result of that collaboration is a strong hardcore metal record.

QtE was founded in Oulu, Finland in 2010 on the ruins of three groups which had either disbanded or were facing an uncertain future. The band therefore consists of experienced musicians who know how to handle their instruments. Add the brutal vocals of singer Aki Häkkinen and you have an idea of how solidly constructed their debut is.

«We Choose to Walk This Path» is definitely worth checking out if bands like Hatebreed, Pantera and Lamb of God please your ears.

This album starts off with “The Predator” and I really dig the guitars on this. With great chugs and old school heavy metal jams. The vocals are very impressive with a mix of new growls and old style screams. The next track, “We Own the Streets,” flowed great from track prior. It is a very thrashy but melodic feeling track and there are some hardcore aspects in this track but they are hardly noticeable. Bringing a great mix of heavy powerful riffs and laid back melodic pieces, is “The Unknown.” The vocals felt the same way and this track is a great one for bass riffs. “Finger on the Trigger” is a very moshtastic track and makes you want to dominate a pit. The riffs are really in your face and are really amazing, even the melodic parts are great. With an interesting switch in delivery, the album title track, “We Choose to Walk This Path,” was very technical death metal in some parts. The way Quake the Earth blend genres is extremely talented.

The guitars riffs on the track, “From This Day to Last Day,” are incredible and very catchy, even the bass has its moments. It is a very heavy track with no melodic break which was great, as well as an awesome breakdown at the end. “We Are the Enemy” is a short mellow track, with great lead guitars and an awesome inspirational spoken word piece. Another short track follows in the form of “Brand New Day.” It isn’t mellow though and is very in your face with ear pounding drums and riffs. It was a brutal track and is definitely one of the heaviest on the album. Bringing a really badass sound is the next track, “There Mofos.” The way the guitars flowed really well and the bass riffs alongside the rhythm guitar was great. I got a real heavy, in your face thrash feel from the drums and guitars on “No Man is Bigger Than a Bodybag.” The breakdown was brutal as well and this is a great track to punch people in the face to.

The double kicks and guitars sounded dirty together in “Crusader,” and the lead on top of the rhythm sounded nice as well. It seems Quake the Earth hid all their breakdowns for the last half of the album. “Mark of Deception” is another good track to mosh to with heavy riffs the whole way through, as well as groovy bass riffs. If “Red And White” is an anthem for Canada, I’d totally be cool with it. It is a mostly mellow track but it’s really great and has some heavy breaks. The last track is entitled “Punainen hevonen,” meaning Red Horse in Finnish. This is a mellow instrumental, with enjoyable and relaxing lead guitar pieces and the solo was great as well. This was an awesome way to end the album with great guitar playing.

Quake the Earth is a very great mix of heavy thrash and catchy melodic pieces. This being their debut album, the fact there is fourteen tracks is amazing. This fact makes me happy because all of the tracks are exceptional in their own right. Aki Häkkinen is very impressive on vocals and reminds me very much so of Phil Anselmo in his styling. Juhani Lahdenperä and Jani Kakko bring incredible guitars with great leads and even some technical riffs. Sami Knuutinen brings ever apparent bass riffs that are groovy and catchy and Aleksi Heiskanen is quite the beast on drums. These guy are really great and I recommend picking up this album and support them as they release their debut album.

Monday, November 26, 2012

Track-by-track commentary of "In Love & Silent Screams" with Luna Reign

This is a new segment in which we delve into the thought process of bands and musicians, finding out how they form their songs, what inspires them, and what their own music means to them. In this first look, we get a better understanding of the one-man band Luna Reign, a very gothic heavy metal project, and his album "In Love & Silent Screams." I also reviewed this album and you can read the review here. Go support this guy and what he does by liking the Luna Reign Facebook page and buying the albums at BandCamp, which are pay what you want.

Buy this album

1. Blood
2. Snow Blinded
3. Broken
4. Luna Eclipse II
5. Save You?
6. In Love And Silent Screams
7. As The World Falls
8. The Key
9. Kiss The Sky
10. Fallen Empire

Luna Reign: 'Blood' was actually supposed to be the opening track for album 3. But I didn’t like the fact that 'In love & Silent Screams' was an E.P., so I put 'Blood', 'Luna Eclipse II', 'Kiss the sky' and 'Fallen Empire' onto it, to form the album. 'Bloods' Lyric content seems to fall back on a subject I try to avoid due to stigma issues and misinterpretation. The Modern Horror and dark taboo of self harm to survive. I don’t indulge in such activities but have in the past. The song lyrics are a long dark echo from the past, but which still has baring on the songs main subject matter. The subject being 'one who has lost everything' what would you feel? It helped a lot actually going through that at the time of writing. The first verse depicts this sense of nothing mixed in with flash backs of promising never to self harm again to a frightened parent. As if to justify not falling back on old traits. The Chorus implies one trapped in a no escape situation, denying himself refuge in addiction only to face the bleakness of his reality head on. To breath is all that one has left. Verse 2 sees him trying to force his mind to not collapse in on itself by reliving the abuses suffered in the past. Flash back to seeing the abuser die in a dream and having the ability to save him, but choosing not too. Torn to pieces by the guilt and understanding of why.

Snow Blinded
Luna Reign: Snow Blinded was the original opening track for the 'In Love and Silent Screams' E.P. and is also the Luna Reign Christmas song :) A beautiful song encapsulating how not wonderful Christmas is when you have nothing. Verse 1 shows a person who is trapped by circumstance and wants to escape, but cant fall back on old addictions because of Love. Positive or negative is open to individual view. The Chorus shows the pretending to be jolly due to the seasonal bombardment by the retail world. Knowing full well that one day of poverty and misery follows the next regardless of its name. He puts on a fake smile to please others and to perhaps hopefully fool himself. Verse 2 shows a plea to the miracle man of the moment for help, whilst left scared by bleak reality. Then falls upon basic animal instincts to survive in order to unbrainwash himself from societies fake delusions. Then follows a simple request for the safety of other 'Goodwill to all, if you stay away from me'. The Guitar bridge shows a violent break down followed by dark light serenity of some one laying on their knees in the snow, eyes wide, full of terror and understanding. Verse 3 once again pleas to the man of the moment for release. The fact that I stayed alive to even record this album is a bloody miracle in itself. lol.

Luna Reign: 'Broken' is 3am, the booze has run out and everyone lays wasted, half naked and half unconscious after a night of debauchery. The TV shows scenes of horror and death flickering across the magnolia walls of a dingy council flat. A flash back to a dark yet loved past mixed with modern horrid realities. Not regret, just pure observation. Again positive or negative is for you to choose. The Chorus speaks a blatant lie towards the culprit of instigation, to release their guilt and crush ones self worth. Luna Reign is about facing your fears head on! 'Broken' is making no judgement, just an observation of reality.

Luna Eclipse II
Luna Reign: A sweet little song based on someone who wants to love and forgive a family member (who has abused and tried to murder them on numerous occasions) but can't due to sanity. The song builds up with a torrent of soul wrenching ambivalence, love, hate, regret and hope which is known to be only a fantasy, as the tiger can never changer its stripes.

Save You?
Luna Reign: A song based on the Journal entries of a friend on, who described a close family members true sufferings of cancer. She described all the pain from the dangerous chemicals needed for chemotherapy. Revealing all the information that is covered up to the world. The splitting fingers and burnt throat just from taking the pills. The family suffering as the victim chooses not to take the pills anymore and begins to heal, not the cancer but the unbearable debilitating chemo pains. Knowing full well that death was close, but would be less painful. I felt profoundly touched be her honesty and bravery in facing such a diabolical fear head on! and realised its something most of us may have to face. In which case, where is God? Can he stop this suffering? Did these people deserve it? Is God truly that vindictive? Would the prays of a desperate soul truly heal such an illness? or are we simply alone? 'Save you?' is a reflection of this. Much love to you all and hopefully an end to cancer will come soon.

In Love & Silent Screams
Luna Reign: 'In Love & Silent Screams' is based on a true story I read in the paper (sorry, not sure if TRUE story and paper can go in the same sentence) As I flicked through the pagers I saw a story which said that two young upstanding members of society 'a teacher and a doctor' were found dead in a car filled with exhaust fumes. A suicide letter was left, stating they had found each other on an online suicide site and hooked up to pass over. I think society must be failing somewhere for such model citizens to want this. I hope they found what they wanted. Peace to them both. This song is written from their point of view. WARNING! death is a hindrance to anyone who wishes to enjoy a preoccupation of the living physicality, regardless of metaphysical stance.

As The World Falls
Luna Reign: A powerful Rock song about the worlds end.........Stand tall! be who your are! without fear! this is your last chance! face it! face it head on! eye to eye! there is nothing to lose! watch those who degraded you with institutionalised power, cry on their knees. As you stand proud, watching the world fall.

The Key
Luna Reign: A beautiful love song written about a broken heart missing its first love. Knowing the relationship was bad, but holding onto select memories of joy, connection, and unison. A love addiction mixed with inner turmoil and longing, for that which was never truly there. They both saved each other from death, even if it was only for a short time. (true story)

Kiss The Sky
Luna Reign: In a small Local town, I went for a piss in a public bog and found a designated used needles bin, full, hanging of the wall. It made me wondered how many people have died because of this needle? How many people have chosen that path as the only way out? What happened to them to make that decision? Is it the ultimate escapism? with chance of permanence? 'Kiss the sky' is written from both perspectives, as user and outsider looking in. A drug induced song representing dark fatal euphoria. In the past I have been no stranger to this world. I judge no-one, I just observe and feel.

Fallen Empire
Luna Reign: This song was written around the time of the queens jubilee, a stark look at what the British Empire has become. A burnt out shell of unappreciated and badly treated people. England is an illusion of majesty. The divide becoming even more apparent between the rich and poor. An artist who is a reflection of that which surrounds him, tries desperately to create for a glimpse of hope.

Saturday, November 24, 2012

Review of "Songs of the Buried" by Dunderbeist

Buy this album

1. .:Y:.
2. Father serpent
3. Acheron
4. Enter exile
5. The hidden ones
6.  Songs of the buried
7.  Centuries
8.  Four of the seven
9.  Forcefed boar's head
10. Mongrel

Dunderbeist has been at it for 6 years with the same amount of releases together with extensive touring. The Norwegian six headed locomotive embarks on their sixth release, their second one outside of Norway that follows their first international effort this year, “Black Arts & Crooked Tails” , with an album of great depth and sharper edges.

“Songs of the buried” continues where "black arts.."  left off,  but this one is darker, heavier and more progressive, both musically and lyrically. Not all that end is buried. Death is a recurring theme on this album, with the end of something and the beginning of the new. And a focus on the transitional stages in life, those big events that make everything else become lucid and intangible. It is in the shadows of those big emotions that the test of man dwells.

The album was like the previous ones recorded in Dunderbeist's own pigsty studio in Hamar, Norway, mixed by guitarist Fredrik Ryberg.  The mastering by Alan Douches ( Mastodon, Converge, Kvelertak ++) really puts the final signature on the sound, and contributes to erecting "Songs of the Buried"  like a mighty beacon among  2012 metal releases.

This album starts off with “.:Y:.,” which is an interesting acoustic piece with some spoken word. “Father Serpent,” brings a really interesting take on black metal mixed with some technical death metal riffs. I was expecting straight up blackened riffs and got much more. The vocals were great as well, I was expecting black metal screams and got more understandable screams. The next track, “Acheron,” has very catchy riffs and nice bass bits. Dunderbeist make “row row row you’re boat” sound heavy. There is a great solo as well as lead parts on this track. Really in your face with the blast beats and fast shredding guitars comes with “Enter Exile,” which makes this track really chilling. I like the progressive break half way through, the vocalist’s style is really enjoyable. The flow of the guitars on “The Hidden Ones” is really amazing, with some really epic riffs and the solo is great as well.

The riffs on the album title track, “Songs of the Buried,” felt a tad more blackened than the rest which was what I assumed the whole album was going to be. “Centuries” starts off on a relaxing piano piece, which turn into more chilling riffs and great drums. This track feels way more black metal and is really great in its delivery. The mix between progressive and blackened styling of, “Four of the Seven,” made for a very interesting listen. There are some great bass riffs on this track and the lead guitar over them is really dark sounding. Brining more ear pounding is “Forcefed Boar's Head,” with chilling fast paced riffs and menacing drums. It is a really epic track with catchy riffs. The bass and guitar riffs on the last track, “Mongrel,” are really badass. The solo was nice as well and there is a great mix of heavy and mellow parts, making for a great conclusion to the album.

Dunderbeist really surprised me with this album. I went in assuming it would be straight up black metal, but what I found was most interesting. The mix of progressive, death, and black metal influenced riffs made for an odd mix. I also found the vocals to stand out as well, with the way they weren’t entirely forced and understandable. I recommend picking this up if you like progressive and black metal, but more so leaning to progressive.

Friday, November 23, 2012

Review of "Voyeur" by War From A Harlots Mouth

Buy this album

1. Origin
2. Vertigo
3. H(a)unted
4. Terrifier
5. Of Fear and Total Control
6. Temple
7. The Black Lodge
8. Beyond Life and Death
9. To the Villains
10. Krycek
11. Scopophobia
12. Catacombae
13. Epiphany
14. Dolph Lundgren (bonus Will Haven cover)
15. To the Villains (bonus demo version)

With their fourth full-length “Voyeur”, WAR FROM A HARLOTS MOUTH continue on their outrageous course charted on previous albums by pushing even further into the musical unknown. The Germans ride a maelstrom of sound fusing shattered pieces and fractions of Extreme Metal, Sludge, Core, Jazz and other elements into new shapes with ultimate complex drumming, grinding and booming bass-lines as well as intricately shredding guitars and hoarse vociferation. The result has been termed Math Core or Tech Metal, but these simplifying terms fail to convey the full picture. WAR FROM A HARLOTS MOUTH were founded in Berlin late 2005 by Simon, Paul and vocalist Steffen, who soon completed their line-up with Daniel and Filip in order to perform live. Since then WAR FROM A HARLOTS MOUTH have played over 400 shows including prestigious festivals such as With Full Force. Shortly after the release of their first album “Transmetropolitan” (2007), Steffen was replaced by former THE OCEAN frontman Nico. Their outstanding debut gained much critical acclaim, which was topped by each following release “In Shoals” (2009) and “MMX” (2010). With their exceptional musicianship the Germans were not just convincing the critics but also able to create a huge fan-base. Now “Voyeur” shows WAR FROM A HARLOTS MOUTH at their most mature so far and adding new dimension with the aid of classical strings played by composer John Strieder and a guest appearance from Arkadi Zaslawski (DIORAMIC). Let all conventions be broken!

This album starts off with a short violin intro in the form of the first track, “Origin.” It was pretty eerie the way the rest of the strings came in. I’ve heard of War From A Harlots Mouth but I don’t ever remember listening to them before amd I highly regret not listening to them as they are all sorts of interesting. “Vertigo” brings a mix of sludge, chug, and weird lead riffs that was highly enjoyable. The next track, “H(a)unted,” is a short forty second burst math metal fun. The guitars are really catchy on “Terrifier” and the fact they are hard to follow makes them great. The breakdown on this track is pretty good, as the chugs had a weird tempo to them. These guys are very talented in their ways of making listeners not know what to expect and it shows on “Of Fear and Total Control.” The guitars are all over the place, but with perfection, making for an entertaining listen.

Temple” brings chugs and double kicks which are undeniably epic. The lead bits on this track, accompanying the out of control rhythm is really awesome. Everything about “The Black Lodge” is amazing. Even the drums are hard to follow at times and there is a great mix of odd tempo riffs as well as great mellower lead riffs. Another great violin and other string instrument break, before heading back into the insanity of the next track in the form of “Beyond Life and Death.” The technical chugs on “To the Villains” are really impressive and the drum rolls on this track are nice. The lead guitar bits are really weird sounding the way they are laid out. “Krycek” is the longest track on the album at almost five minutes. The lead guitar on this track is great, especially when accompanied by the rest of the band. The riffs on this are laid out weird with chugs and lead parts throughout, making for a great mix of weird.

Sludgy chugs and technical bits make for a nice combination on the next track, “Scopophobia.” The vocals on this are more diverse as it is the first time I think I’ve heard some clean singing from these guys about half way through the track. Blast beats are plentiful on the first part of “Catacombae.” This track is more in your face than the rest and the mix between brutality, technical parts, and a mellow violin break make this track well rounded in its delivery. It is a great way to go out being the last actual track. “Epiphany,” is another short violin and strings track and the last not bonus track, so I’m led to believe it is the outro. I couldn’t find a decent version of the original “Dolph Lundgren” by Will Haven, but the one I did find was bad quality, so I haven’t much to compare. I am led to believe this is a good cover, but I may be lying to you, it sounds great nonetheless. The last track is the demo version of “To the Villains,” which you already know my opinion of, so you don’t need it again.

War From A Harlots Mouth bring a very interesting style of playing that is much akin to the likes of Meshuggah. Their technical chugs and weird tempo changing make for a very entertaining time. I definitely recommend picking this up if you if you enjoy that style of playing.

Wednesday, November 21, 2012

Review of "Jacob’s Ladder" by Hell Militia

Buy this album

1. Jacob's Ladder
2. Jonah
3. Sternenfall
4. Death Worship
5. The Black Projector
6. The Second Coming of the Pig
7. Deus Irae
8. Jericho

HELL MILITIA are back with a vengeance! Since its founding in the year 1999 by lead guitarist T. Persecutor, the band has been a rising dark star in the underground Black Metal scene. Now their third full-length “Jacob's Ladder” bursts unto the world like a black supernova. The French masterfully achieve a unification of old school values such as a harsh and fierce yet accessible songwriting with the new dissonant and ruptured sound which is especially explored in their homeland. After recruiting like minded spirits HELL MILITIA unveiled themselves first with the split “SPK Kommando” (2001) and a demo named “The Second Coming – Reh” (2003), which won them a record deal. The debut album “Canonisation of the Foul Spirit” (2005) gained the French international attention and critical acclaim. As members of HELL MILITIA were also active in bands such as ARKHON INFAUSTUS, SECRETS OF THE MOON or TEMPLE OF BAAL, their next output appeared after a hiatus of five years. “Last Station on the Road to Death” (2010) proved to be a success as well as their tours with the likes of ARCHGOAT, BEHEXEN, BLACKLODGE and AOSOTH. This fuelled the band’s vision both musically and visually as indicated by the inclusion of a VJ as a permanent member in their line-up. The universe of HELL MILITIA smells of urban filth, unshakable religious faith and an extremely bitter after taste. Recorded in Germany’s SOS studio (SECRETS OF THE MOON, ASCENSION), "Jacob's Ladder" delivers 8 stunning tracks of disturbing French Black Metal. Listen with care!

This album opens on a weird sound clip, goes straight into the grim sound that is black metal with the album titled track, “Jacob's Ladder.” The chilling riffs and heavy assault drums were highly enjoyable. I also liked the slower riff three quarters of the way through as it was menacing. The vocals sound great and not over the top like some black metal bands do. “Jonah” the next track, brings excellent guitars with the machine gun speed cold feeling riffs and the catchy yet evil slower groovy pieces. This track is everything you want from a black metal band and Hell Militia nail every aspect of the genre perfectly on this track and is one of my favourites. The first minute and some change of “Sternenfall” is a slow guitar piece with sound clips over top. The riff melds right into the actual track and the band comes in at full force. I like how this track flowed with the mix of faster and slower paced riffs. The guitars on “Death Worship” are really sludgy sounding and awesome. It’s a great track to listen to, to get in the mood for sacrificing goats to the slaughter and virgins to the cross.

“The Black Projector” brings another great mix of the quicker ear bleeding blackened riffs and slower relaxing yet terrorizing slower lead riffs. The riffs on the next track, “The Second Coming of the Pig” are extremely menacing the way they are laid out and the vocals are extremely gruelling. There are sound clips about LSD giving people religious experience on this track. It makes me want to go out and raise hell on churches while on LSD, don’t do drugs kids! The guitars on “Deus Irae” are very catchy in their delivery. This track is pretty much in your face with its powerful force of black metal and another favourite of mine. “Jericho” is the longest track coming in at nine minutes, a great length for a track to conclude an epic album. It’s a mostly mellow but chilling track, the riffs are a little repetitive but I find them very grim and trance inducing. Black metal is probably one of the only genres of metal in which you can get away with repetitive riffs. This track is a really great way to end the album

Hell Militia’s “Jacob’s Ladder” is a masterpiece in the grim genre of black metal. With their skill in both the menacing fast paced riffs and pounding blast beats as well as mellow yet very chilling riffs. I highly recommend picking this up if you enjoy black metal, as this is a must have for genre fans.

Tuesday, November 20, 2012

Review of "Aeons Black" by Aeon

Buy this album

1. Still They Pray
2. The Glowing Hate
3. The Voice of the Accuser
4. I Wish You Death
5. Garden of Sin
6. Neptune the Mystic
7. Nothing Left to Destroy
8.. Passage to Hell
9. Aeons Black
10. Dead Means Dead
11. Sacrificed
12. Aftermath
13. Blessed By the Priest
14. Maze of the Damned
15. Die By My Hands

Ready to take the underground death metal world by storm, Sweden’s AEON are back and ready to release their fourth full-length album, AEONS BLACK, on Metal Blade Records November 20, 2012. Regarded as one of the world's most noted blasphemous underground death metal bands, AEONS BLACK is the follow up to 2010’s Path of Fire, which called ”a juicy slab of prime-cut blasphemous death metal” and according to, ”doesn’t let up in terms of insanely fast tempos, chugging guitars, and demonic vocals,” calling the band ”a musical dynamo” and landing the album an 8 out of 10 score.

Tommy Dahlstöm(vocals), Zeb Nilsson (guitar), Daniel Dlimi (guitar), Arttu Mallki (Drums), and Marcus Edvardsson (Bass) entered Empire Studio in Östersund, Sweden 1 thru 20 of June 2012 to record AEONS BLACK, which was engineered, mixed and mastered by Ronnie Björnström (Garageland Studios). For AEONS BLACK cover, the band secured a piece from infamous artist Kristian “Necrolord” Wåhlin who’s known for creating cover art for bands like Bathory, At The Gates, Dissection, Emperor, and King Diamond just to name a few.

Guitarist and founding member Zeb Nilsson comments on the sound and artwork of AEONS BLACK:
“This is definitely our most varied album to date; it has more heavy songs yet it has lots of fast blastbeats and double bass drums.  It´s more groovy this time, which I think we lacked on our last album Path of Fire that was fast paced almost all the way through.

That and the amazing mix by Ronnie Björnström makes me feel pretty confident that this album will appeal to much more people than our previous albums. And no, we have not gone softer in any aspect; it´s just easier to catch with all this grooviness, it´s just metal right up your ass!!”

About the cover art work… “This time we wanted a hand painted cover since we have never had that, and who could be more suited for that task than Kristian ‘Necrolord’ Wåhlin?  The funny thing was that he already had a cover that he thought would suit us and after seeing it we really agreed as it really follows the lyrical theme for the title track Aeon´s Black. It´s all very dark and chaotic and about the unavoidable end of all life that sooner or later comes to all worlds.”

The band will be touring in support of AEONS BLACK with the first run set to take place in the UK January 2013. More tour dates, including dates in North America, are in the works giving metal fans across the world the chance to see the band perform this new and utterly devastating material live.

A History of Aeon:
During the summer of 1999 the four members: Tommy Dahlström, Zeb Nilsson, Johan Hjelm and Arttu Malkki of the newly broken up band Defaced Creation decided to form a new death-metal band that would try to create a more pioneering and interesting style, instead of doing the usual “old-school” death-metal, (even though the roots was in the “old-school” death-metal). Morgan Nordbakk  joins as fill in guitarist and during the Fall of that year, Aeon recorded their first demo, which included the songs “Return of Apolluon”, “Eternal Hate”, “With Blood they Pay”, “The Awakening”, “Bloodlust” and “Hell Unleashed”. In May of 2001, the 6-track demo was released as a MCD – entitled Dark Order – thru Necropolis Records. Dark Order sold out very quickly and is still in high demand.

Later in 2001, Morgan Nordbakk leaves Aeon, to be replaced by Daniel Dlimi (ex-Equinox ov the Gods). Daniel is an experienced song-writer in Aeon’s style of death metal, so the transition was smooth and easy. In the summer of 2002, drummer Arttu Malkki leaves the band to be replaced by Nils Fjellström followed by work on their first album.

In the fall of 2003, Aeon began recording Bleeding the False, which was released on September 20th, 2005 through Unique Leader. The album was received well in the metal underground with both fans and press.

In April 2006, Aeon hit the road in Europe with Cannibal Corpse and were met with an overwhelming response by the fans. Later that summer, Aeon parted ways with longtime bass player Johan Hjelm (replaced by Max Carlberg), and in July, they signed a deal with Metal Blade Records.

In April 2007 the band recorded the album Rise to Dominate and in September it was released by Metal Blade Records. Much like the previous album, this one received very good response from both media and fans and demand for the band to tour in the North America continued to grow.

In January 2009, the band hits the European roads with Hate Eternal, Misery Index and See You Next Tuesday and after that they continued working on the new album. In September, Aeon parted ways with bass player Max Carlberg, who was replaced by former Satyricon bass player Victor Brandt, and the band recorded the album Path of Fire. In November, Aeon supported Mayhem on their Swedish dates on their “25 Years of Chaos” tour. In January 2010, bass player Victor leaves Aeon and was replaced by Marcus Edvardsson.

In May 2010, Aeon released their third full-lenght album, Path Of Fire thru Metal Blade Records, which was mixed by multi-talent Erik Rutan at Mana Studio in Florida and mastered by Alan Douches for West West Side Music.Once more the band was met with high praise from the death metal community and press alike with Metal Review saying the album ”excels in every department required for a stellar death metal record” and calling the album ”a juicy slab of prime-cut blasphemous death metal.” In September of the same year, drummer Nils Fjellström left Aeon and by November the band re-recruits original / founding member, Arttu Mallki, to once again be the force behind the drums. In April 2011 Aeon headlined a shorter UK / EU tour with Cerebral Bore and Flyed Disciple

Enter 2012: By the 1st of June Aeon began recording their 4th full-length album and third release for Metal Blade, Aeons Black, with engineer/producer Ronnie Björnström (Garageland Studios). During this recording a 20 minutes documentary was also made, which will be premiered to the masses before the album drops on November 20, 2012. Aeon is already confirmed for a UK tour which will take place in January 2013 with more dates for Europe and North America in the works..

Bringing brutality, to my otherwise calm reviewing day, is Aeon. Starting off the album is the very in your face “Still They Pray” with the powerful riffs and catchy grooves. The solos are plentiful and very impressive. The next track, “The Glowing Hate” brings extremely dirty riffs and chugs and the vocals are gnarly as well. The guitars are slower in how they are played out, but slower death metal is sometimes grimier than the faster stuff. “The Voice of the Accuser” is a short track with piano and ambient break. The album goes right back into the brutality with “I Wish You Death.” The pinch harmonics and lead guitar were very entertaining. The riffs on this track are very catchy in their delivery. There’s another amazing solo on this track and some very sludgy chugs following.

The tempo changes felt weird on “Garden of Sin” but kept it interesting. The guitars seemed a little Meshuggah inspired which is awesome and made for a great listen the way they flowed. “Neptune the Mystic” is another short track, bringing a minute of menacing chug riffs and leads. It’s not as calm a break as prior but is heavy nonetheless. I really liked the short drum solo to start “Nothing Left to Destroy” off right and goes straight into the brutality. The higher backing vocal screams are really gruelling and go well with the deeper main growls on this track. The solo or harmonization half way through was awesome. Another short track is “Passage to Hell” with a very eerie feel to it, which makes you feel as if you’re walking through the halls of Hell while hearing painful moans, and then you’re greeted by marching drums and a choir. “Aeons Black” is another slow brutal track, with catchy but dirty riffs. The vocals are really menacing on this as well.

Bringing a great mix of moshable riffs and slow chug bits is the next track “Dead Means Dead.” The combination of growls and screams is nailed perfectly on this track. There is a great solo near the end, these guys do solos perfectly and always impress. Aeon has shown that they are brutal and know their craft well and “Sacrificed” is really dirty and the riffs are executed amazingly, the vocals follow suit. “Aftermath” is another short break with eerie ambience and demonic laughter. The next track, “Blessed By the Priest,” is extremely slammy in its delivery but I love it. It is heavy and makes me want to burn down churches, so they’re doing it right. “Maze of the Damned” starts up right away and is filled with fast gnarly riffs the whole way through. The drums don’t let up once and there is also a great solo on this track. It is definitely a good song to go around punching the elderly too. This album ends in a great way with the last track “Die By My Hands.” It has a good mix of growls and evil backing screams, the ambient choir chants added to it as well. The guitars on this track are the most technical on the whole album in my opinion.

Being a first time listener I was not sure what to expect, but I knew it was going to be heavy. I’m not sure if Tommy Dahlstöm takes care of both the growls and the screams, but if he does that is quite impressive. Zeb Nilsson and Daniel Dlimi both terrorize your ears with their ear melting shreds and also highly impressive solos as well. Arttu Mallki brings you machine gun style drumming and Marcus Edvardsson brings some ear bleeding bass riffs. I definitely recommend picking this album up if you like bands like Cannibal Corpse and Beneath the Massacre.

Review of "The Second Mechanism" by Diagonal

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1. Voyage / Paralysis
2. These Yellow Sands
3. Mitochondria
4. Hulks
5. Capsizing

If any band can claim to have kick-started the current UK Prog revival, it is Diagonal. The band's self-titled 2008 debut album threw open the gates for a wave of like-minded bands to follow, attracting a heap of critical praise and picking up a nomination for Best New Band in the 2009 Classic Rock awards for good measure.

And then, just as suddenly as they had arrived, Diagonal disappeared. The departure of founder members Alex Crispin (Vocals/Keyboards) and bassist Dan Pomlett forced Diagonal into an unexpected hiatus. Diagonal needed time to regroup, to re-build. Original guitarist Nicholas Richards switched to bass and the band slightly stripped down their sound.

The Second Mechanism is the sound of that band reborn, ready once more to propel listeners on a journey to the outer reaches of rock music. But this is a more focused, more intense, more powerful Diagonal; a gleaming amalgam of Passport, Jaga Jazzist, T2, Dungen, Magma, Bo Hansson and Black Sabbath, forged in the crucible of experimentation.

The normal rules do not apply here; there is only the obsessive, unashamed spirit of eclecticism and no-holds-barred musical excess. Thunderous and hypnotic; euphoric and brutal, Diagonal is uncompromising in its approach and fearless in the creation of music which combines Prog, Jazz, Psych, Krautrock and Metal into an intense and explosive mixture which seems to belong to neither past, present nor future, yet somehow sounds like all three.

The album starts off with “Voyage / Paralysis,” bringing a great mix of guitar leads and harmonization with the wind instruments, along with a very laid back bass line and groovy drums which made for a very mellow time. The bass quickens pace half way through and is met by some synthesizer which made for an interesting feel. An epic saxophone solo is near the end of the track. “These Yellow Sands” has more harmonizing of the saxophone and guitar and I don’t know what it is about that combination but it is just too amazing sounding and also relaxing. The faster harmony parts of the two instruments is really amazing and the heavier progressive bit a little over half way through is really awesome with the chugs and saxophone creating a really beastly sound.

The groove from the bass, guitar and drums with the accompanying saxophone is very trance inducing on the next track, “Mitochondria.” The bass riffs are very catchy and there is more incredible harmony from the guitar and saxophone. I especially liked the faster technical diddle the two did. “”Hulks” is the first track with vocals, which were really well done. This is a very gloomy feeling track with the backing vocals and the way the saxophone flowed. The bass lines and lead guitar, as well as keys also add to the overall eeriness this track brings. The last track is “Capsizing” with a soothing intro of bass with a catchy drum beat and accompanying saxophone. Some interesting spastic sax bit follows which made for a good time. This may be one of my favourite tracks just because how each of the instruments plays with the other and makes for a very catchy nine minutes of progressive jazz perfection.

Diagonal has brought me something I have not heard from since Trioscapes released their album. With a mix of guitars, bass, and drums and jazz instruments harmonium, saxophone, and clarinet, Diagonal create a very interesting yet epic concoction of jazz-infused progressive metal. I highly recommend this album if you want something more easy to listen to as this is more jazz like than metal like. Although I say this they are still heavy in their style, but I mean that this album can be enjoyed by all!

Review of "Step Inside" by Troubled Horse

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1. Tainted Water
2. Bring My Horses Home
3. Sleep in Your Head
4. Another Mans Name
5. All Your Fears
6. One Step Closer to My Grave
7. Shirleen
8. As You Sow
9. Don't Lie
10. I've Been Losing

Troubled Horse is a hotly-tipped heavy garage rock band from Orebro, Sweden. A town that brought us a second wave of vitally cool hard rock bands such as Witchcraft and Graveyard. Coincidentally, Troubled Horse features three members of the original Witchraft line-up, one of which (bassist Ola Henriksson) is still a current member. Lead guitarist John Hoyles parted ways from Witchcraft a few years ago to concentrate on his other band, Spiders and these frantic rockers, of course.

Despite the collective members association with the aforementioned band and origins, Troubled Horse is most definitely an institution in its own right. The raw and melodic song writing skills of singer/guitarist Martin Heppich combines the hard edged spirit of 70's US bands such as Dust and Pentagram, with an altogether more soulful 60's MC5 vibe, making them very unique and fresh. Just what the rock and metal scene needs right now!

Troubled Horse has built a cult following over the past few years and Step Inside is hugely anticipated by fans. Crammed full of instantly memorable hard rocking, foot-stomping anthems such as Shirleen, One Step Closer to my Grave, and Fear, Troubled Horse are ready for action and ready to be heard!

The album starts with the very old school blues oriented heavy metal in its styling, “Tainted Water.” Bringing you great lead diddles, extremely catchy riffs, and well done solos. These guys definitely belong in the 70s the way they sound. The vocals are great on the next track, “Bring My Horses Home,” and kind of remind of bands like Depeche Mode and the like. This track flowed in a really groovy way, the bass really adds to the awesome, and the solo is really jazztastic. Continuing with great vocals is the softer ballad “Sleep in Your Head.” The bass riffs are amazing, as well as the guitar. This is one of my favourites on the album. The southern soulful vibe I got off of “Another Mans Name” is intense. The guitar riffs are really catchy in their ways and the drums fit the vibe as well. This is another great track and another favourite. “All Your Fears” is a great one to sway side to side with. The organ really added to the overall feel. It’s a really mellow, chilled out, groovy masterpiece, but about half way it gets heavier with catchy riffs and nice lead bits, as well as a solo.

A great mix of soft vocals and screams comes with the next track, “One Step Closer to My Grave.” The lead riffs are undeniably incredible and the mix of heavy and blues inspirations Troubled Horse combines is too good. “Shirleen” brings riffs that are very catchy in their nostalgic feel. I kind of wish this track was longer so the epic riffs would stay for a while longer. There is also an impressive solo near the end. The vocals kind of reminded me of Ozzy Osbourne a little bit on the next track, “As You Sow.” The riffs and solo were filled with blues and old school heavy metal which sounded good. “Don't Lie” had a wild west feel the way the guitars were laid out.. It made me feel like going out to an old style country town and challenging their best shooter to a quick draw gun fight. The vocals and backing on this are really great on the last track, “I've Been Losing.” The organ and guitars complimented each other, especially half way through with the harmonization of the two. The organ and guitar solos near the end were badass.

Being three quarters of the original line-up of Witchcraft, one automatically assumes that Troubled Horse have a tight sound which is filled with perfection. One’s assumption would be correct as Martin Heppich’s vocals are impressive, along with his and John Hoyles’ lead guitar, Ola Henriksson lays down some epic bass lines, and Jens Henriksson keeps the groove going on the drums. I highly recommend picking this album up as it is one of the best old school heavy metal albums of the year.

Monday, November 19, 2012

Review of "Blood Lust" by Uncle Acid & the Deadbeats

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(links available tomorrow)

1. I'll Cut You Down
2. Death's Door
3. Over and Over Again
4. Curse in the Trees
5. I'm Here to Kill You
6. 13 Candles
7. Ritual Knife
8. Withered Hand of Evil
9. Down to the Fire (Bonus)

Who are this mysterious cult phenomenon known as Uncle Acid & the Deadbeats? We are not able to shed much light on the identity of this drug-crazed coven of freaks but their addictive blend of heavy, melodic and garage horror-rock sounds have already taken the underground by storm. The popularity of this anonymous bunch initially stemmed from people discovering tracks uploaded by them to Youtube (, without any other hype. Two extremely limited self-financed mail order only Cd-r only albums were released (Vol 1 & Blood Lust) and interest in the band grew rapidly.

A vinyl edition of Blood Lust was released by Rise Above Records in 2011, which sold out instantly. Demand for this vinyl edition set the record collecting market on fire, with first pressing copies fetching up to £700 on eBay. It was re-pressed on vinyl a second time earlier in 2012 and again sold out in minutes with the Rise Above Records website crashing under the strain of a staggering amount of hits.

All of this has happened without any live performances or clear photographs of the band ever being published. Whilst the electrifying quality of their music is unquestionable, their true identity still remains a mystery. All of this is about to change when they are finally unveiled for their hugely anticipated debut live performance in London, UK on March 22nd and 23rd. A second date has had to be added due to the high demand and the first night selling out in a very short space of time.

Having recently signed to Rise Above Records, they are due to enter the studio on Halloween 2012 to record their first full-length album for the label, which is due for a March 2013 release. In the meantime we are delighted to be giving the already legendary Blood Lust it’s first officially licensed release.

Blood Lust is music brings back the dark spirit of true rock and roll as conjured up by this anonymous cult of horror worshipping fiends. Uncle Acid has come to kill!

The way the guitar riff, bass riff, and drums start this album and first track, “I'll Cut You Down,” off after the opening sound clip is excellent. I got a really old groove feeling from this track and the style of vocals was kind of surprising, because I wasn’t sure what to expect, but it gives this band a perfect mix. Another great mix of instruments to start “Death's Door” off and the harmonization of the guitars were enjoyable. The riffs on this track are really catchy with the way they flow. Half way through there is a great solo, lead, and some more harmonized riffs. This track is pretty slow and chilled out. “Over and Over Again” brings heavier feeling guitars, but the riffs are a little repetitive but since it’s a shorter track it’s not too bothersome as they have tendencies to be catchy. A nice solo to plays this track out.

The next track “Curse in the Trees,” was quite a doom inspired track. It brought nice and eerie vocals, as well as a good mix of slower doom bits and a faster old school heavy metal grooves. The drumming really takes the spotlight of the track “I'm Here to Kill You,” with its spastic ride cymbal, snare beats and fills that stand out great. I liked the guitar solo and then a keyboard solo came out of no where, or at least I think I heard one, which was interesting. I’m not sure where it was hiding for most of the album, it must not have been too apparent. The drumming is a little less hyper on “13 Candles” and creates a great groove with the guitar riffs. The lead diddles and the bass along with them is perfect. It is definitely a catchy track, as you get lost in the amazing vocals and the accompanying groove from the rest of the band.

“Ritual Knife” sounds just as the title entitles, bringing a tribal like drumming and a nice riff to play along. When the guitars go off on a little effect bit it makes a nice mix of riffs. A great solo plays out the track. Really atmospheric violin sounds and mellow riff to start, “Withered Hand of Evil,” the next track off. The vocals and guitar on this track are really chilling and the mixes of violin and guitar bits are really eerie the way they meld together. This track really is a darker track which is always nice to have once in a while. The last track on the album, “Down to the Fire,” is a bonus track and leaves you on a more up beat note with amazing acoustic guitar and a softer spoken vocal style. I don’t think I’ve ever heard such an amazing combination of acoustic riffs and tribal like drumming before. This may just be the best bonus track I have heard in a while.

Going into this album not knowing who Uncle Acid or the Deadbeats are, I wasn’t sure what to expect. Finding out this album has been out for a year and I am just hearing about these guys, makes me sad. Uncle Acid & the Deadbeats are incredible and weird. With Uncle Acid taking care of the estranged vocal styling, incredible guitar and nice ambient keyboard/organ, Kat ripping the bass with catchy lines, and Red bringing interesting drumming to the mix, they are amazing at what they do. As this is being rereleased on Metal Blade, this album is and will be a nice way to get ready for their upcoming release and I recommend picking this and the upcoming up!

Saturday, November 17, 2012

Review of "Men of Honour" by 2 Wolves

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1. Bygones
2. Unreal Conversations
3. Warm Touch of Forthcoming Tragedy
4. Of Painful Days
5. Stars
6. The Path of Misery
7. Same Different Burden
8. The Battle of Two Wolves
9. Enemy Inside

2 Wolves' second album uses a formula familiar from their debut - it mixes metal with symphonic and industrial elements. This time clean vocals have been added to the mix. On ”Men of Honour” the band does not intend to break speed limits - in fact, after a brisk start the tempo comes close to that of doom metal a few times.

The album is the soundtrack to a temptation-prone youth struggling with himself. The songs are about looking back in the past and having regrets, but also about getting back on one's feet and even higher. The record's finale demonstrates what may happen if you are not in control of your own life.

This album starts off with the epic track “Bygones.” The ambience and horns leading in is really epic and continues to be epic throughout. I enjoyed the dirty screams and the clean vocals aren’t even bad and give a little bit of a power metal vibe. “Unreal Conversations” brings some great chug style riffs and the vocals are really great, with a mix of death metal growls and industrial styled clean. The combination of genres is done well and one doesn’t override the other which is always good. Bringing a more mellow sound is the next track “Warm Touch of Forthcoming Tragedy,” with the keys and mellow guitar being really relaxed and the vocals are very calmed as well. This track may even a ballad the way it’s laid out, although there is some growls near the end. Even the heavier guitars aren’t too pace changing, it is definitely a chilled out masterpiece.

The guitars in “Of Painful Days” have a very catchy flow going, especially with the addition of the ambience. The faster screams near the end was really creepy and felt like he was jumping around my head with the left and right balancing. More relaxing vocals and mellow guitars and keyboard on the next track, “Stars.” The layering of clean singing and growls sounds amazing, bringing a great mix of emotions to the table. The keys are really epic on “The Path of Misery” and it even feels a little extreme/black metal the way it flowed. This is probably my favourite track, bringing grim riffs and menacing vocals that toss you to the wolves.

“Same Different Burden,” the next track, flowed right into from the track prior with slow riffs and mellow keys. The clean vocals feel really gothic and spooky and the growls are very dirty. This track brings a great mix of calm and relaxing bits and heavy and grim bits. The next track is a short one, but I highly enjoyed it. The acoustic strumming, nice lead guitar, tribal feeling drumming, and chants in the background make “The Battle of Two Wolves” feel like an epic battle commencing. The vocals are great as well most likely a battles of words between the two wolves, a softer spoken and a more furious one. Men of Honour concludes with “Enemy Inside,” bringing a mix of screams and growls as well as very eerie ambient noises. This was an epic finale to the album with heavy riffs and catchy leads

This album was very interesting as I went in on the assumption of it being a mix of industrial and doom. Although that statement is true, I came out feel more of a black metal vibe as well. 2 Wolves know how to make an epic masterpiece. I highly recommend picking this album up and supporting these dudes!

Friday, November 16, 2012

Enthrone the Unborn's debut album releases February 1st, 2013!

57Records works as the record company and Supersounds as the distributor.

The first single called "Saviours" was released 15.6.2012 as a digital release to iTunes, Amazon etc.

Second single will be released halfway of January 2013 also as a digital release but this time with a music video.

Musically Enthrone The Unborn's debut album is melodic death metal, where can be heard the winds of the day's metal core.

There is a visiting star, Inka Halme, singer of one of the moment's hottest rock band's in Finland called Nimetön.

The record has been produced by Pasi Kauppinen who has been producing bands like Sonata Arctica,  Sturm und Drang and many famous Finnish artists. Recordings of "And The Sky Is Ours" has been played on tape in the Studio57 in Alaveteli, Ostrobothnia, Finland.

You can listen "Saviours" here :

Enthrone the Unborn was founded in Kerava (a small town on the outskirts of the greater-Helsinki area), sometime around november and december of year 2011.

Their biggest musical influences can be traced back to the Scandinavian melodic metal scene of pre-y2k, but the band has also spiced up its music with the atmosphere of the American metal scene of today.

Enthrone the Unborn consist of four members:
Eero Harsunen plays guitar and is the man behind the growled vocals.
The second guitarist of the band is Juhamatti Kauppinen who is also the guy responsible for the clean vocal parts found on few tracks.
Joel Vakkila plays the bass while the drums are handled by Arttu Anttila.
The quartet had played together before founding of ETU, between 2007-2010. Since then, the band's music has evolved a lot and the old songs are no longer played.

You can go recieve updates on the band, as well as like their page and show support at

Monday, November 5, 2012

Review of "Malicious Mind" by Godlike

Buy this album


1. Showdown
2. Reason for My Rage
3. Sickness
4. Meth
5. Original Rebels
6. Confrontation
7. Shi No Negai
8. Behind the Gates
9. Artificial Eminence
10. Greed
11. The Story of Sandra Jones

Godlike is an alternative metal band from Finland. They`ve been subscribed to be a unique band that has a lot of skills in writing versatile songs. In band contests they`ve had comments like: "the fluent rapping and growling is phenomenal", "your playing was superb" and even the A&R representative of Emi Music Finland praised their stage presence.

This year they will record their debut album. The album will be distributed by Inverse Records. The band will also release a music video (or two) to promote the upcoming release. You can purchase your own cd (worldwide) from amazon,, spotify etc. or download it digitally. The album will be published in October 2012.

Godlike was formed in 2008. They all had been playing for years in different groups (in some cases they had 65% of the current members playing in those same bands) and when all the other projects didn`t work out…well: Godlike was born. Ilkka and Jussi had an idea to form a metal band. They needed a bass player so they asked Ilkka`s brother Ismo to join the band. At this point it wasn`t very clear what kind of metal music the band should compose. They needed a vocalist but could`t think of one. One day it hit them: they asked Jarkko to join the band as a lead guitarist and Jussi switched the guitar into singing. Now they needed a drummer and Jussi decided to ask Rami if he was willing to play drums. It had been nearly 6 years since Rami had played in a band (in which Jussi was playing bass guitar back then) but he was very anxious on returning behind the drumset again.

After the very first rehearsals it was obvious they`ve found their "power group".
Many reviews have ended in a phrase: "I hope these guys get a record deal". Well, now the album is on it`s way and there is a lot of electricity in the air. The band itself wishes to get more live shows and tours with the album and the fans seem to be holding their breath to hear how the new songs will sound like…

Starting this album off on a high note is “Showdown,” bringing a combination of old school thrash flows with newer melodic death metal riffs and screams. It’s a shorter track but had me excited to hear the rest of the album. It is very hard not to head bob to “Reason for My Rage” with the faster thrash and the groove-tastic riffs. The drums give off a bit of a punk/post-hardcore style. It is definitely a catchy track and the mix of clean vocals and screams is great. Bringing guitars that are incredible and hard to get out of your head is the next track, “Sickness.” The vocals felt a little like rap-metal or some nu-metal, but the way it flowed along with the guitars is too catchy to hate on.

The chugging on the riffs and bass lines make “Meth” have a groove that is undeniably amazing. The fast paced vocals are great, accompanying those parts and the riff near the end of the track is nice as well. “Original Rebels” gave me a southern hardcore feel to it, which was interesting in my opinion. The guitars on the this track were badass. The vocals on “Confrontation” really shows off the quicker style vocals and the whole feel reminds me of Drowning Pool a little bit. Also, I am pretty sure they rhymed bible with pie-hole, in which case they have sold me on that alone. The next track, “Shi No Negai, ” starts with really interesting ambient electronic that goes into with a stellar bass riff. When the guitars accompany it sounds perfect. Some of the guitar bits had an old heavy metal feel to them.

“Behind the Gates” has nice mellow guitar and relaxing vocals to start, it really makes you feel as if it is a ballad but then it gets into the heavier stuff again. At least you can hear he has the vocal talent to do such though. A nice drum intro and effected guitar starts off the next track, “Artificial Eminence.” Godlike really have the whole rap metal thing down, and know how to make it catchy. The guitars on “Greed” are really groovy and the solo is nice as well. The mix of clean and scream vocals on this track is great as well. Ending the album is an interesting change of vocal styling on “The Story of Sandra Jones”, they’re clean but were different than the faster paced vocals which was a nice. It was a little more of a mellow track and the guitars were good as well.

This album brings in a lot of great talent and it is great to see that they have been picked up by a record label. Jussi Lahtinen’s vocals have a great mix and a talent fast pace feel at some points. My only problem is that, in my opinion, they need more screams. Ilkka Nieminen and Jarkko Nyman bring very catchy riffs and along with Ismo Nieminen on bass created some groovy pieces. Rami Alanko also brings drumming which add to the perfect flow. Now, as much I praised them, I do believe they could use a little more screaming. Instead of using a clean rap style like Disturbed, Korn, and Slipknot, why not give more force behind it and make it more akin to Pantera? It may benefit the band, it may not, that is just my thought and I may have liked it a little more it was more Pantera like, seeming how the southern feel is already there.