ππΉπ―ππΊ π₯π²ππΆπ²π: π§ππ π§ππ₯ππ§π – π€π¨ππππππ’ππ§π
Classic progressive rock was the best genre of music ever. Nothing can peak the mystical, wonderful mannerisms of experimental lengths, instruments, and time signatures. Keyword was, because any attempt to de-fossilize the sounds of 70s prog rock in the present day always falls unimaginatively flat, which is ironic, as the genre is wholly known to be one of the most thought-provoking. Progressive rock and metal aren’t dead styles, and they’ll virtually never die; they’re constantly reinventing and evolving. Unfortunately, bands like The Tirith can’t let the past go, and in QUETZALCOATL, with a visually abhorrent album cover, they aim to revive classic prog to the likes of King Crimson, Pink Floyd, and… Opeth? Well, looks like The Tirith has a metal edge, which could benefit their quest for traditional progressive rejuvenation.
If I may correct myself, The Tirith demonstrates a greater focus on the textures of symphonic prog, contrary to classic, shred-forward progressive rock. Hell, the first instance of the guitars actually emitting some grit arrives five songs in, during the introductory segment of Back to Space. Furthermore, the band needs to remove blessed Opeth from their inspirations, because not a hint of metal can be spotted on QUETZALCOATL. What The Tirith does best is on a full, over-an-hour-long display: sprawling ballads brimming with luscious keyboards and expansive soundscapes. Symphonic prog hasn’t been my favorite prog subgenre, though Yes, Camel, and a hundred thousand rock progressivo Italiano bands’ august playing styles shaped music permanently. The Tirith, like a shadow, follows the mannerisms of the aforementioned acts to a T, and while this results in a passable sound, it’s nothing that’s never sounded before. Minas Tirith was the group’s name back in the 1970s, but with the utter lack of releases at the time, The Tirith officially started recording in 2013. The instrumental crew certainly proves their abundance of instrumental experience, and aged vocalist Dick Corey has a perfect tone for this chosen style; this unfortunately can’t save QUETZALCOATL.
Sappy ballads like Moon King and Dancing With Vampires are crafted well, and never once do they feel elongated for the sake of progressiveness. It’s when they’re layered on like a mille crΓͺpe cake that they water themselves down. I’ve got one hell of an attention span when it comes to music, but situating two seven-minute pieces back-to-back, with longer ones on the way, fills me with a sense of dread, especially since I’m 100% certain that zero changes in atmosphere or lyrical topics will occur. I think of Quetzalcoatl as a pleasant nostalgia trip for those who lived through progressive rock’s heyday, not for the connoisseur searching for new and exciting projects (yours truly).
Overall, I can’t deny The Tirith’s proggy prowess. Cox, Corey, Hill, and Williams form a forceful quartet, yet are greatly hindered by a lack of innovation in a space where innovation is the utmost priority. Yes? More like No, amirite? Gosh, I am just a riot.
———
ππΏπΌπΊ:
metal-temple.com/review/the-tirith-quezalcoatl/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
thetirith.bandcamp.com/album/quetzalcoatl
———
#Colderra
#ColderraMusic
#musicreview
#thetirith
#quezalcoatl12 track album
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(opens in a new tab)Characteristic, Onset, Location, Duration, Exacerbation, Relief, Radiation, Associated.
ππΉπ―ππΊ π₯π²ππΆπ²π: πͺππ’ π’π‘ πππ₯π§π – ππ§ π§ππππ¦ π§ππ π©ππππππ
New Jersey heavy metal band, Who On Earth possesses a distinct brand of grit with their album "It Take the Village". Released in May of 2026, the album delivers a fiery blend of classic hard rock grooves, heavy metal riffs, and melodic sensibilities. Grounded by thunderous production, the album balances old school influences like Judas Priest, Black Sabbath, and Metallica with a modern punch.
Throughout the tracklist, the album explores themes of perseverance and resilience. The explosive opening statement, "Vigilance", skips any dramatic build up and hits loud through the speakers. Fueled by heavy southern tinged guitar riffs, the track creates an immediate rush. The track sets a demanding and high-energy tone for the rest of the album. "Any Other Way" shifts into a classic rock groove. This track echoes that of old-school grunge and hard rock legends like Soundgarden. The drumming is a tight, well calculated backbone to an anthemic, sing-along chorus. Wearing Iron Maiden and Judas Priest as proud influences, "Shadows" features sharp guitar harmonies, classic vocal melodies, and rich backing vocals. Slowly down the pace slightly, "Good Man Down" shifts to a mid-tempo rock anthem with heavy grooves. The massive bass line dictates the tempo, giving the song a pub-rock weight. "Too Close" follows the brief interlude of "Closer" and ignites the album’s midsection with aggressive urgency. It stands out as one of the hardest hitting tracks on the record. "Monster!" is punchy and lyrically potent. It leans into heavier riffing and dark atmospheric flourishes. The driving rhythm section gives the song a force that captures the band at their most heavy and aggressive. "We Don’t Belong Here" is another standout track in the second half. This track fuses soaring guitar leads with emotionally charged lyrics. The vocals carry a raw, defiant edge that reinforces the album’s themes of standing your ground. The album’s buildup to the climax, "Ascension" is a short instrumental piece that directly transitions into finale which is "The Unbeaten". It features dual vocal arrangements, grand orchestral touches, and sweeping melodic solos.
The production across "It Takes the Village" is bold, crisp, and up-front. Rather than over polishing, the mix retains raw energy. The band relies on that energy rather than pure tempo, allowing their songs to feel heavy without sounding cluttered or frantic. "It Take the Village" is a solid, passionate hard rock album that honors classic roots while delivering a modern twist. While a few brief transitional moments do little to alter the soundscape, the core songwriting, precision instrumentation, and honest grit make it a rewarding listen for fans of traditional rock and heavy metal.
———
ππΏπΌπΊ:
metal-temple.com/review/who-on-earth-it-takes-the-village/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
whoonearthus.bandcamp.com/album/it-takes-the-village
———
#Colderra
#ColderraMusic
#MusicReview
#WhoOnEarth
#ItTakestheVillage15 track album
New Jersey heavy metal band, Who On Earth possesses a distinct brand of grit with their album "It Take the Village". Released in May of 2026, the album delivers a fiery blend of classic hard rock grooves, heavy metal riffs, and melodic sensibilities. Grounded by thunderous production, the album balances old school influences like Judas Priest, Black Sabbath, and Metallica with a modern punch.
Throughout the tracklist, the album explores themes of perseverance and resilience. The explosive opening statement, "Vigilance", skips any dramatic build up and hits loud through the speakers. Fueled by heavy southern tinged guitar riffs, the track creates an immediate rush. The track sets a demanding and high-energy tone for the rest of the album. "Any Other Way" shifts into a classic rock groove. This track echoes that of old-school grunge and hard rock legends like Soundgarden. The drumming is a tight, well calculated backbone to an anthemic, sing-along chorus. Wearing Iron Maiden and Judas Priest as proud influences, "Shadows" features sharp guitar harmonies, classic vocal melodies, and rich backing vocals. Slowly down the pace slightly, "Good Man Down" shifts to a mid-tempo rock anthem with heavy grooves. The massive bass line dictates the tempo, giving the song a pub-rock weight. "Too Close" follows the brief interlude of "Closer" and ignites the album’s midsection with aggressive urgency. It stands out as one of the hardest hitting tracks on the record. "Monster!" is punchy and lyrically potent. It leans into heavier riffing and dark atmospheric flourishes. The driving rhythm section gives the song a force that captures the band at their most heavy and aggressive. "We Don’t Belong Here" is another standout track in the second half. This track fuses soaring guitar leads with emotionally charged lyrics. The vocals carry a raw, defiant edge that reinforces the album’s themes of standing your ground. The album’s buildup to the climax, "Ascension" is a short instrumental piece that directly transitions into finale which is "The Unbeaten". It features dual vocal arrangements, grand orchestral touches, and sweeping melodic solos.
The production across "It Takes the Village" is bold, crisp, and up-front. Rather than over polishing, the mix retains raw energy. The band relies on that energy rather than pure tempo, allowing their songs to feel heavy without sounding cluttered or frantic. "It Take the Village" is a solid, passionate hard rock album that honors classic roots while delivering a modern twist. While a few brief transitional moments do little to alter the soundscape, the core songwriting, precision instrumentation, and honest grit make it a rewarding listen for fans of traditional rock and heavy metal.
———
ππΏπΌπΊ:
metal-temple.com/review/who-on-earth-it-takes-the-village/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
whoonearthus.bandcamp.com/album/it-takes-the-village
———
#Colderra
#ColderraMusic
#MusicReview
#WhoOnEarth
#ItTakestheVillage15 track album
ππΉπ―ππΊ π₯π²ππΆπ²π: ππ«ππ§ππ¨π π¦π¨π – π¨π‘π₯ππ©πππππ‘π
From Bandcamp, "EXITIUM SUI breaks a two-year silence with ground shattering blackened doom record "Unravelling". Confronting the dark chasms of the human psyche, "Unravelling" negotiates liminal space between utter chaos, complete seclusion, and fathomless depravity. Equally as blackened as it is funeral doom, leaving no artistic stone unturned and no crevasse unexplored. They push the filth across the board while staying true to the doom moniker. The vocals are deeper, clearer, and more harrowing, the keyboards are less present, giving more room for snarling riffs and an unrelenting vocal performance. The result is a record that is less layered and more cut-throat, retaining the projects immense atmosphere but in a much more visceral approach."
The album has seven songs, and "Only Death Remembers" is first. It’s aptly titled, because the vocals sound like they come from the abyss. Guitars, bass, and drums crawl, as if hampered by the sheer force of the vocals. They come at you like a gale force of frigid air. "Draped in Black Flame" is another horrid offering, and the deep gutturals seem to echo from the sides of every mountain. The riff sounds absolutely hopeless. The feeling of utter dread seems to grow stronger as the song moves forward, and you sink deeper into the abyss. By the end, the black flame is extinguished. "Drowning Viracocha" begins with clean, solemn tones, but descends the staircase deep into the bowels of the earth. Stopping for a moment, you catch your break, but the air you breathe is sick, and the staircase opens once again for a final descent. I have a feeling there will be no return.
"Crippled by the God-Hand" is an 11-minute opus, and let the torture commence. Keyboards are prevalent this time, and they have a ghastly edge to them. It soon swells to a veritable maelstrom of sound, and this typhoon will rage until every last person is dead. "Sickness Flooding Nihil" is a diversion of sortsβ¦away from the rage and aggression of the previous songs. Still, it laments heavily, and with occasional thunder. "Septikinesis" is another beastly song, clocking in at over eight minutes. They seem to have saved some rage and despair for a rainy day, because this song overflows with both. Even when the sound drops, the utter desolation remains behind. "Until the End Hath Found Us" closes the album. It’s like the aftermath of a major storm. You look around, and everything is destroyed, and gone, including your hope.
This was a monstrously dreadful album, and I add that first adjective for emphasis. Dark chasms of the human psyche? Indeed. It uncovers things you thought were dead and buried for decadesβ¦vile thingsβ¦and throws them right in your face. Can you possibly withstand revisiting them? I think not. Purchase a casket, lie down in it, and close your eyes.
———
ππΏπΌπΊ:
metal-temple.com/review/exitium-sui-unravelling/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
exitiumsui.bandcamp.com/album/unravelling
———
#Colderra
#ColderraMusic
#MusicReview
#ExitiumSui
#Unravelling8 track album
From Bandcamp, "EXITIUM SUI breaks a two-year silence with ground shattering blackened doom record "Unravelling". Confronting the dark chasms of the human psyche, "Unravelling" negotiates liminal space between utter chaos, complete seclusion, and fathomless depravity. Equally as blackened as it is funeral doom, leaving no artistic stone unturned and no crevasse unexplored. They push the filth across the board while staying true to the doom moniker. The vocals are deeper, clearer, and more harrowing, the keyboards are less present, giving more room for snarling riffs and an unrelenting vocal performance. The result is a record that is less layered and more cut-throat, retaining the projects immense atmosphere but in a much more visceral approach."
The album has seven songs, and "Only Death Remembers" is first. It’s aptly titled, because the vocals sound like they come from the abyss. Guitars, bass, and drums crawl, as if hampered by the sheer force of the vocals. They come at you like a gale force of frigid air. "Draped in Black Flame" is another horrid offering, and the deep gutturals seem to echo from the sides of every mountain. The riff sounds absolutely hopeless. The feeling of utter dread seems to grow stronger as the song moves forward, and you sink deeper into the abyss. By the end, the black flame is extinguished. "Drowning Viracocha" begins with clean, solemn tones, but descends the staircase deep into the bowels of the earth. Stopping for a moment, you catch your break, but the air you breathe is sick, and the staircase opens once again for a final descent. I have a feeling there will be no return.
"Crippled by the God-Hand" is an 11-minute opus, and let the torture commence. Keyboards are prevalent this time, and they have a ghastly edge to them. It soon swells to a veritable maelstrom of sound, and this typhoon will rage until every last person is dead. "Sickness Flooding Nihil" is a diversion of sortsβ¦away from the rage and aggression of the previous songs. Still, it laments heavily, and with occasional thunder. "Septikinesis" is another beastly song, clocking in at over eight minutes. They seem to have saved some rage and despair for a rainy day, because this song overflows with both. Even when the sound drops, the utter desolation remains behind. "Until the End Hath Found Us" closes the album. It’s like the aftermath of a major storm. You look around, and everything is destroyed, and gone, including your hope.
This was a monstrously dreadful album, and I add that first adjective for emphasis. Dark chasms of the human psyche? Indeed. It uncovers things you thought were dead and buried for decadesβ¦vile thingsβ¦and throws them right in your face. Can you possibly withstand revisiting them? I think not. Purchase a casket, lie down in it, and close your eyes.
———
ππΏπΌπΊ:
metal-temple.com/review/exitium-sui-unravelling/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
exitiumsui.bandcamp.com/album/unravelling
———
#Colderra
#ColderraMusic
#MusicReview
#ExitiumSui
#Unravelling8 track album
ππΉπ―ππΊ π₯π²ππΆπ²π: ππ«π§π¬ β π§ππ π£πππ‘ π πππ π π πͺππ’ π ππ
Moving their way up through the underground with a penchant for blurring metalcore, deathcore, and nu metal, the Brazilian act AXTY have moved over to Napalm Records to release their fourth album, The Pain Made Me Who I Am. While mixing up the genres in metalcore isnβt exactly a new phenomena, what AXTY brings to the table is worth a listen for genre fans in how tremendously heavy they can feel at times, while bringing in a sound thatβs decidedly modern in tone.
Thereβs a lot going on, and even the intro track βpain made meβ tosses a lot at you, sonically, in slightly under 1:30. Thereβs the aforementioned trio of sounds mentioned above that are bound to make an appearance in essentially every track moving forward, as well as some hip hop elements and sampled audio to grab your ear as well. The short intro then bursts into the nu-metal downtuned riffing of βwho I am,β accompanied by spinning turntables and Felipe Hervosoβs varied rasps and roars. An equally nu-metal chorus eventually flies in, utilizing some cleans as well and an almost Deftones-y atmosphere. But it bears some extreme roots later with a punchy breakdown and snarled vocals that is amusingly preceded by a small sample of Michael Scott from The Office. This one-two opening tends to embody what youβll get over the rest of the release, so if you dig it, thereβs plenty more to enjoy. But some other highlights include the more hip hop-influenced and groovy βcloser,β the thunderous riffing and darkened tones of βselfish,β and the driving yet soaring melodies of βwith me.β
Bringing together some genuinely heavy vibes along with massively groovy melodies, AXTY blend together much of the modern metalcore movement with The Pain Made Me Who I Am. The sample snippets are amusing and donβt overstay their welcome, instead generating some fun callbacks and set-ups, and their approach that digs deep in heaviness is appreciated for the musical style. Those seeking something on the heavier side of the metalcore spectrum, but still with some atmospheric moodiness should enjoy this one.
———
ππΏπΌπΊ:
deadrhetoric.com/reviews/axty-the-pain-made-me-who-i-am-napalm/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
music.apple.com/in/album/the-pain-made-me-who-i-am/1883994949
open.spotify.com/album/0Sr4ZIwShhFsWmsGE5yMj7
axtyofficial.bandcamp.com/album/the-pain-made-me-who-i-am
———
#Colderra
#ColderraMusic
#MusicReview
#AXTY
#ThePainMadeMeWhoIAm12 track album
Moving their way up through the underground with a penchant for blurring metalcore, deathcore, and nu metal, the Brazilian act AXTY have moved over to Napalm Records to release their fourth album, The Pain Made Me Who I Am. While mixing up the genres in metalcore isnβt exactly a new phenomena, what AXTY brings to the table is worth a listen for genre fans in how tremendously heavy they can feel at times, while bringing in a sound thatβs decidedly modern in tone.
Thereβs a lot going on, and even the intro track βpain made meβ tosses a lot at you, sonically, in slightly under 1:30. Thereβs the aforementioned trio of sounds mentioned above that are bound to make an appearance in essentially every track moving forward, as well as some hip hop elements and sampled audio to grab your ear as well. The short intro then bursts into the nu-metal downtuned riffing of βwho I am,β accompanied by spinning turntables and Felipe Hervosoβs varied rasps and roars. An equally nu-metal chorus eventually flies in, utilizing some cleans as well and an almost Deftones-y atmosphere. But it bears some extreme roots later with a punchy breakdown and snarled vocals that is amusingly preceded by a small sample of Michael Scott from The Office. This one-two opening tends to embody what youβll get over the rest of the release, so if you dig it, thereβs plenty more to enjoy. But some other highlights include the more hip hop-influenced and groovy βcloser,β the thunderous riffing and darkened tones of βselfish,β and the driving yet soaring melodies of βwith me.β
Bringing together some genuinely heavy vibes along with massively groovy melodies, AXTY blend together much of the modern metalcore movement with The Pain Made Me Who I Am. The sample snippets are amusing and donβt overstay their welcome, instead generating some fun callbacks and set-ups, and their approach that digs deep in heaviness is appreciated for the musical style. Those seeking something on the heavier side of the metalcore spectrum, but still with some atmospheric moodiness should enjoy this one.
———
ππΏπΌπΊ:
deadrhetoric.com/reviews/axty-the-pain-made-me-who-i-am-napalm/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
music.apple.com/in/album/the-pain-made-me-who-i-am/1883994949
open.spotify.com/album/0Sr4ZIwShhFsWmsGE5yMj7
axtyofficial.bandcamp.com/album/the-pain-made-me-who-i-am
———
#Colderra
#ColderraMusic
#MusicReview
#AXTY
#ThePainMadeMeWhoIAm12 track album
ππΉπ―ππΊ π₯π²ππΆπ²π: ππ¨π₯π‘ππ‘π π¦π¨π‘ β π£π’πͺππ₯ π§π’ π¦π¨π₯π©ππ©π
While other artists may take a few years to release new albums, productivity seems to be a strong suit for Hungarian power metal act Burning Sun. Arriving at the groupβs third album for Power to Survive, we have a couple of lineup changes in guitarist / vocalist Nicolas Peter taking over vocals for Pancho Ireland who will concentrate solely on his guitar duties, while drummer Edmond KulcsΓ‘r rounds out the quartet. Nicolas and bassist ZoltΓ‘n Papi handled the songwriting this time β delivering more uplifting power metal for those who love the timeless Teutonic-oriented trademarks on display.
Dual guitar harmonies, energetic melodies, powerhouse tempos full of savage double-kick oriented foundational work along with soaring vocals put together with joyous choir-like choruses are the main ingredients to the Burning Sun formula which keep the material chugging along in a focused fashion. These musicians smartly float between a variety of anthem templates β never forsaking a lot of Helloween-ish twin guitar parts to increase the catchy, positive nature to these tracks. βLight of the Worldβ is a clear example of the Peter/Ireland guitar dynamic which reaches the level of simultaneous infectiousness Keepers-era Helloween achieved through the Hansen/Weikath classic period. Beyond the expected faster material, the group also know how to execute a tender, acoustic-led ballad for βHoly Lightβ β showcasing Nicolasβ reflective, emotional voice similar to the best in the business like Timo Kotipelto and Michael Kiske.
A couple of special guests also inject their professional abilities into the mix β singer Herbie Langhans (ex-Firewind) performing in duet form through the stellar βEmalyβs Hymnβ where the sixteenth notes fly freely next to an infectious mix of power chords while Jennerβs Alexandra Lioness adds her gritty voice to another speedy, hard-hitting cut with βOver and Beyondβ. One of this scribeβs favorite songs is the mid-tempo βSpirit Aliveβ β its pulsating main riff supplemented by church-like keyboards a bit more traditional in its approach where the call and response chorus could be quite addictive long-term. Keeping the record under 40 minutes also serves well for long-term appeal β subscribing to the philosophy of leaving the listeners desiring more, versus burning out oneβs welcome. Peru artist Artem Astaroth illustrates the warrior theme still alive in the cover β ideal for those future t-shirt merchandise sales.
Striking while the iron is hot, Power to Survive should help Burning Sun climb up the ranks as a reliable force when it comes to positive, European-led power metal. If the band can take these records to another level on stage, who knows where their following will be β as the throwback homage to classic, early power metal reigns supreme here. If names like Edguy, Gamma Ray, Hammerfall, and Helloween mean anything to you, this needs to be on your radar.
———
ππΏπΌπΊ:
deadrhetoric.com/reviews/burning-sun-power-to-survive-pride-joy-music/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
www.metal-archives.com/albums/Burning_Sun/Power_to_Survive/1437974
burningsun.bandcamp.com/album/power-to-survive
music.youtube.com/playlist?list=OLAK5uy_lp_wS7bflS8PWVD_KnbGpGXQmTW8WDzsI
———
#Colderra
#ColderraMusic
#MusicReview
#BurningSun
#PowerToSurvive
While other artists may take a few years to release new albums, productivity seems to be a strong suit for Hungarian power metal act Burning Sun. Arriving at the groupβs third album for Power to Survive, we have a couple of lineup changes in guitarist / vocalist Nicolas Peter taking over vocals for Pancho Ireland who will concentrate solely on his guitar duties, while drummer Edmond KulcsΓ‘r rounds out the quartet. Nicolas and bassist ZoltΓ‘n Papi handled the songwriting this time β delivering more uplifting power metal for those who love the timeless Teutonic-oriented trademarks on display.
Dual guitar harmonies, energetic melodies, powerhouse tempos full of savage double-kick oriented foundational work along with soaring vocals put together with joyous choir-like choruses are the main ingredients to the Burning Sun formula which keep the material chugging along in a focused fashion. These musicians smartly float between a variety of anthem templates β never forsaking a lot of Helloween-ish twin guitar parts to increase the catchy, positive nature to these tracks. βLight of the Worldβ is a clear example of the Peter/Ireland guitar dynamic which reaches the level of simultaneous infectiousness Keepers-era Helloween achieved through the Hansen/Weikath classic period. Beyond the expected faster material, the group also know how to execute a tender, acoustic-led ballad for βHoly Lightβ β showcasing Nicolasβ reflective, emotional voice similar to the best in the business like Timo Kotipelto and Michael Kiske.
A couple of special guests also inject their professional abilities into the mix β singer Herbie Langhans (ex-Firewind) performing in duet form through the stellar βEmalyβs Hymnβ where the sixteenth notes fly freely next to an infectious mix of power chords while Jennerβs Alexandra Lioness adds her gritty voice to another speedy, hard-hitting cut with βOver and Beyondβ. One of this scribeβs favorite songs is the mid-tempo βSpirit Aliveβ β its pulsating main riff supplemented by church-like keyboards a bit more traditional in its approach where the call and response chorus could be quite addictive long-term. Keeping the record under 40 minutes also serves well for long-term appeal β subscribing to the philosophy of leaving the listeners desiring more, versus burning out oneβs welcome. Peru artist Artem Astaroth illustrates the warrior theme still alive in the cover β ideal for those future t-shirt merchandise sales.
Striking while the iron is hot, Power to Survive should help Burning Sun climb up the ranks as a reliable force when it comes to positive, European-led power metal. If the band can take these records to another level on stage, who knows where their following will be β as the throwback homage to classic, early power metal reigns supreme here. If names like Edguy, Gamma Ray, Hammerfall, and Helloween mean anything to you, this needs to be on your radar.
———
ππΏπΌπΊ:
deadrhetoric.com/reviews/burning-sun-power-to-survive-pride-joy-music/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
www.metal-archives.com/albums/Burning_Sun/Power_to_Survive/1437974
burningsun.bandcamp.com/album/power-to-survive
music.youtube.com/playlist?list=OLAK5uy_lp_wS7bflS8PWVD_KnbGpGXQmTW8WDzsI
———
#Colderra
#ColderraMusic
#MusicReview
#BurningSun
#PowerToSurvive
ππΉπ―ππΊ π₯π²ππΆπ²π: π¦πππ₯Γπππ‘πππ₯βπ¦ ππ’π β π£π₯ππ‘πππ£ππ
Having covered SchrΓΆdingerβs dog a few times on the site in the singles column, it was nice to see a more fleshed out release come through. The Japanese alt idol act has held a heavier position than many, centering their sound around modern metal and infusing it with EDM, dance, jpop, and more. Given their social media push as of late, it seems like with this release they are really trying to get their name out internationally. Something that PRINCIPIA should certainly aid with if you happen to come across it.
Those who have heard the act before should have a firm grasp on their explosive sound. Happily putting the metallic elements in the foreground and ready to mix it up with plenty of electronics and effects, itβs a chaotic yet immerse sound. With all this energy and wall of sound, thereβs a lot of bounce to it, and thereβs also a pleasant amount of bass (see βRESONANCEβ). The blend of melody and heaviness, alongside the βmetal meets EDMβ mashup, is the selling point of the group. Some songs move heavier, and some more melodic. One of the more relaxed cuts is βVORTEX,β which strips away some of the aggression in the music for a more jpop-oriented feel to it, leaning in more on the six vocalists to sell the melodies. On the other side, βreconstructionβ feels like an effective battering ram of heavy metalcore riffs, some more aggressive vocals, and a flurry of drumming with some punk-ish attitude, but knowing when to ease off of the heavy to let the idols take over the reins at the chorus. As the opener, βabsolute Γβ also wisely kicks things off with frantic, high-speed verses led by the six vocalists trading off lines and allows for some nice buildups in the chorus. A chunky electronically-enhanced breakdown offers a nice tempo switch and change for a melodic moment as the tempo accelerates.
While SchrΓΆdingerβs dog doesnβt sound too far removed from other similar groups in the alt idol area, their emphasis on some heavier rhythms and grooves makes for a more visceral listen. As the group aims to hit the international circuit, having a solid EP in PRINCIPIA should provide potential new fans with an enjoyable 5-song dose of alt idol madness to absorb. It would be great to catch more groups of this caliber coming outside of Japan, even if once in a while to spread the word of this unique style of music.
———
ππΏπΌπΊ:
deadrhetoric.com/reviews/schrodingers-dog-principia-self-released/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
open.spotify.com/album/1MoEt9GUNtNIgvPDrJroSI
music.youtube.com/playlist?list=OLAK5uy_mOXumgBYDUC2qBMqAO0N4pLbn5yvcjRYU
———
#Colderra
#ColderraMusic
#MusicReview
#SchrΓΆdingersdog
#PRINCIPIA
Having covered SchrΓΆdingerβs dog a few times on the site in the singles column, it was nice to see a more fleshed out release come through. The Japanese alt idol act has held a heavier position than many, centering their sound around modern metal and infusing it with EDM, dance, jpop, and more. Given their social media push as of late, it seems like with this release they are really trying to get their name out internationally. Something that PRINCIPIA should certainly aid with if you happen to come across it.
Those who have heard the act before should have a firm grasp on their explosive sound. Happily putting the metallic elements in the foreground and ready to mix it up with plenty of electronics and effects, itβs a chaotic yet immerse sound. With all this energy and wall of sound, thereβs a lot of bounce to it, and thereβs also a pleasant amount of bass (see βRESONANCEβ). The blend of melody and heaviness, alongside the βmetal meets EDMβ mashup, is the selling point of the group. Some songs move heavier, and some more melodic. One of the more relaxed cuts is βVORTEX,β which strips away some of the aggression in the music for a more jpop-oriented feel to it, leaning in more on the six vocalists to sell the melodies. On the other side, βreconstructionβ feels like an effective battering ram of heavy metalcore riffs, some more aggressive vocals, and a flurry of drumming with some punk-ish attitude, but knowing when to ease off of the heavy to let the idols take over the reins at the chorus. As the opener, βabsolute Γβ also wisely kicks things off with frantic, high-speed verses led by the six vocalists trading off lines and allows for some nice buildups in the chorus. A chunky electronically-enhanced breakdown offers a nice tempo switch and change for a melodic moment as the tempo accelerates.
While SchrΓΆdingerβs dog doesnβt sound too far removed from other similar groups in the alt idol area, their emphasis on some heavier rhythms and grooves makes for a more visceral listen. As the group aims to hit the international circuit, having a solid EP in PRINCIPIA should provide potential new fans with an enjoyable 5-song dose of alt idol madness to absorb. It would be great to catch more groups of this caliber coming outside of Japan, even if once in a while to spread the word of this unique style of music.
———
ππΏπΌπΊ:
deadrhetoric.com/reviews/schrodingers-dog-principia-self-released/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
open.spotify.com/album/1MoEt9GUNtNIgvPDrJroSI
music.youtube.com/playlist?list=OLAK5uy_mOXumgBYDUC2qBMqAO0N4pLbn5yvcjRYU
———
#Colderra
#ColderraMusic
#MusicReview
#SchrΓΆdingersdog
#PRINCIPIA
ππΉπ―ππΊ π₯π²ππΆπ²π: π‘π’π©ππ₯ππ β ππππ’π ππ‘π πππ§ππ₯
First appearing on these pages back in 2016 with sophomore record Forsaken, progressive power outfit Noveria have made a habit of getting in their own way. After Forsaken failed to match its Evergreyed ambition with clumsy execution, the quintet bounced back in a big way with Aequilibrium (2019), a record packed with heaviness, melody and virtuosity that hinted at huge things for these Italians. Then regression reared its ugly head with 2024βs The Gates of the Underworld. Although Noveria cleverly reframed their emotional themes through mythological imagery, the album once again collapsed under the weakness of its songwriting, disappointing GardensTale enough to question whether he would ever review them again. Indeed, consistency has been elusive for Noveria, making their on-again, off-again pattern of releases particularly frustrating. But fret not, dear reader. If history is any guide, the pendulum should swing back toward the positive with fifth LP Becoming After, assuming the metal gods smile on us.
And smile they have. Striking a sweet spot between Symphony X and Dream Theater, with touches of Paganβs Mind, Becoming After finds Noveria sounding like a band reborn. Talent has never been in short supply here, and their cup now runneth over, with drummer Paolo Conte and keyboardist Paolo Campitelli (ScreaMachine) replacing longtime members Davide Calabretta and Julien Spreutels, respectively, alongside the addition of vocalist Frank Marino (Dreamscape). These guys can flat-out play, and Becoming After reaps the benefits, delivering everything existing fans could hope for, only harder, faster and stronger. The aggressive riffs of Aequilibrium are pervasive, synched tightly with Conteβs kinetic rhythms and Campitelliβs synth embellishments, all bolstered by string arrangements by violinist Abigail Stahlschmidt and cellist Luca Basile on cuts like βThrough Your Lightβ1 and βConvicted to Rise.β Thereβs even a few surprises thrown in for good measure, including djent-focused tracks (βRadiance,β βHeavenfallβ) and serene ballads (βThrough Your Lightβ) that help keep things fresh. Although the stylistic departures of βHeavenfallβ and βRadianceβ seem somewhat out of place within the broader context, they are executed well enough to keep momentum while still feeling fun and adventurous.
Losing most of your roster can hamstring even the best bands, but in Noveriaβs case, the shakeup has proven transformative. Francesco Coriglianoβs departure left a massive void, but Frank Marino is quick to quell any fears he canβt fill those shoes. The downfall of Gates was its lack of hooks and Mariano ensures that problem doesnβt persist on Becoming After, stuffing Noveriaβs songs to the brim with hooks and towering choruses. Possessing James LaBrieβs (Dream Theater) buttery tone and multi-octave range, Marino tears through tracks like βCold Flames,β βConvicted to Rise,β βEchoes From the Abyss,β and βInfinite Horizonsβ with a command that is increasingly rare these days. While his voice occasionally loses a bit of power when venturing into higher registers, it still more than holds its own against the recordβs dense instrumentation.
As impressive as the vocal performance on Becoming After is, the rest of Noveria deserve equal recognition. Longtime guitarist Francesco Mattei drives the groupβs sound with a barrage of muscular riffs that span progressive, power, and djent, setting his fretboard ablaze with virtuosic solos and rapid-fire scales that form the recordβs ambitious foundation. When paired with Campitelliβs fleet-fingered keyboard solos, the two put on an absolute show that rivals the best in the business. Likewise, bassist Andrea Arcangeliβs (DGM) dynamic bass lines and Conteβs battering drum work provide a low-end backbone that underpins Noveriaβs grandiose arrangements, resulting in songwriting that remains interesting throughout the recordβs substantial 55-minute runtime. However, though not drastically overlong, Becoming After does periodically lose steam, most notably during the self-titled closing interlude, βHeavenfallβ and βViperβs Nest,β which are far from bad but feel overshadowed by the stronger material surrounding them.
Lineup changes be damned, Noveria have roared back with Becoming After, crafting an album with tremendous replay value and one that has beamed its way into my psyche with its memorable hooks and consistently strong songwriting. Progressive power metal can often veer into territory that is far too cheesy for my tastes, yet Becoming After strikes the ideal balance between over-the-top spectacle and tasteful restraint in a way that is both charming and difficult to stop listening to. Time will tell whether Becoming After finally breaks Noveriaβs streak of inconsistent releases, but they now have my full attention.
———
ππΏπΌπΊ:
www.angrymetalguy.com/noveria-becoming-after-review/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
scarletrecords.bandcamp.com/album/becoming-after
———
#Colderra
#ColderraMusic
#MusicReview
#Noveria
#BecomingAfter10 track album
First appearing on these pages back in 2016 with sophomore record Forsaken, progressive power outfit Noveria have made a habit of getting in their own way. After Forsaken failed to match its Evergreyed ambition with clumsy execution, the quintet bounced back in a big way with Aequilibrium (2019), a record packed with heaviness, melody and virtuosity that hinted at huge things for these Italians. Then regression reared its ugly head with 2024βs The Gates of the Underworld. Although Noveria cleverly reframed their emotional themes through mythological imagery, the album once again collapsed under the weakness of its songwriting, disappointing GardensTale enough to question whether he would ever review them again. Indeed, consistency has been elusive for Noveria, making their on-again, off-again pattern of releases particularly frustrating. But fret not, dear reader. If history is any guide, the pendulum should swing back toward the positive with fifth LP Becoming After, assuming the metal gods smile on us.
And smile they have. Striking a sweet spot between Symphony X and Dream Theater, with touches of Paganβs Mind, Becoming After finds Noveria sounding like a band reborn. Talent has never been in short supply here, and their cup now runneth over, with drummer Paolo Conte and keyboardist Paolo Campitelli (ScreaMachine) replacing longtime members Davide Calabretta and Julien Spreutels, respectively, alongside the addition of vocalist Frank Marino (Dreamscape). These guys can flat-out play, and Becoming After reaps the benefits, delivering everything existing fans could hope for, only harder, faster and stronger. The aggressive riffs of Aequilibrium are pervasive, synched tightly with Conteβs kinetic rhythms and Campitelliβs synth embellishments, all bolstered by string arrangements by violinist Abigail Stahlschmidt and cellist Luca Basile on cuts like βThrough Your Lightβ1 and βConvicted to Rise.β Thereβs even a few surprises thrown in for good measure, including djent-focused tracks (βRadiance,β βHeavenfallβ) and serene ballads (βThrough Your Lightβ) that help keep things fresh. Although the stylistic departures of βHeavenfallβ and βRadianceβ seem somewhat out of place within the broader context, they are executed well enough to keep momentum while still feeling fun and adventurous.
Losing most of your roster can hamstring even the best bands, but in Noveriaβs case, the shakeup has proven transformative. Francesco Coriglianoβs departure left a massive void, but Frank Marino is quick to quell any fears he canβt fill those shoes. The downfall of Gates was its lack of hooks and Mariano ensures that problem doesnβt persist on Becoming After, stuffing Noveriaβs songs to the brim with hooks and towering choruses. Possessing James LaBrieβs (Dream Theater) buttery tone and multi-octave range, Marino tears through tracks like βCold Flames,β βConvicted to Rise,β βEchoes From the Abyss,β and βInfinite Horizonsβ with a command that is increasingly rare these days. While his voice occasionally loses a bit of power when venturing into higher registers, it still more than holds its own against the recordβs dense instrumentation.
As impressive as the vocal performance on Becoming After is, the rest of Noveria deserve equal recognition. Longtime guitarist Francesco Mattei drives the groupβs sound with a barrage of muscular riffs that span progressive, power, and djent, setting his fretboard ablaze with virtuosic solos and rapid-fire scales that form the recordβs ambitious foundation. When paired with Campitelliβs fleet-fingered keyboard solos, the two put on an absolute show that rivals the best in the business. Likewise, bassist Andrea Arcangeliβs (DGM) dynamic bass lines and Conteβs battering drum work provide a low-end backbone that underpins Noveriaβs grandiose arrangements, resulting in songwriting that remains interesting throughout the recordβs substantial 55-minute runtime. However, though not drastically overlong, Becoming After does periodically lose steam, most notably during the self-titled closing interlude, βHeavenfallβ and βViperβs Nest,β which are far from bad but feel overshadowed by the stronger material surrounding them.
Lineup changes be damned, Noveria have roared back with Becoming After, crafting an album with tremendous replay value and one that has beamed its way into my psyche with its memorable hooks and consistently strong songwriting. Progressive power metal can often veer into territory that is far too cheesy for my tastes, yet Becoming After strikes the ideal balance between over-the-top spectacle and tasteful restraint in a way that is both charming and difficult to stop listening to. Time will tell whether Becoming After finally breaks Noveriaβs streak of inconsistent releases, but they now have my full attention.
———
ππΏπΌπΊ:
www.angrymetalguy.com/noveria-becoming-after-review/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
scarletrecords.bandcamp.com/album/becoming-after
———
#Colderra
#ColderraMusic
#MusicReview
#Noveria
#BecomingAfter10 track album
ππΉπ―ππΊ π₯π²ππΆπ²π: ππππ§π’π§π β πππ₯π‘ππ ππ¨π¦π§ π’π ππππ¦π£πππ π¬
Lord, bless this cess! Out of left field, from the old laundry-detergent sump behind the abandoned meatpacking emporium, come the horrible sounds of Finlandβs Azatoth. Lurking around the worst corners of the Finnish death scene since 2020, Azatoth finally unleashes their full-length debut on a not-so-innocent world. With a team of well-traveled vets involved, what does Carnal Lust of Blasphemy offer a death metal fan besides the most cut-and-paste title possible? In short, it serves up a nasty bit of retro, caveman death and grind with distasteful blacked edges. Moreover, it gives nothing back to the academic community and provides no public service of any kind. Itβs disgusting, repellent shit with reeking bits of Autopsy, Morbid Angel, and Undergang clinging to the unwashed carcASS of their musical abomination. Are you ready to disimpact? Here it comes!
Opener βFlooding Human Remainsβ is everything one could want from an excessive serving of greasy death biscuits. The speed is unsafe, the vocals belch from the deepest depths of the human pus center, and the drumming is berserk enough to shake your fillings out. In other words, itβs a fucking glorious rip-ride as it stumbles from early 90s death into grind and back again. The vocals are so damn moist and viscous, you can feel yourself slipping on them as you try to comprehend the insane guitar pyrotechnics destabilizing your brain. Oh, and there are whammy dives! βVeins of Rotten Bloodβ is more of the same unhealthy ear abuse with the right blend of aggression, insanity, and unpleasantness. The vocals are almost comical in their over-the-topitude, and goddamn, those riffs and solos are labyrinthine but so hooky, festooned with jagged pinch harmonics. Yeah, this shit is pinchy.
The first 18 minutes of Carnal Lust of Blasphemy offer some of the best death metal Iβve heard in a while, and I want 5 hours of the same shitfun. βAbomination of the Underworldβ lurches from face-blasting aggression to doomy digressions, and even teases with vague hints of Death right as they begin transitioning from caveman to prog circa Human. For bonus points, they toss in some classy James Murphy-esque solos, and they hit the nostalgia nerve hard. There are some minor stumbles along the blasphemy path, however. βSulfuric Paths to Agonyβ is a meaty hot pocket of death excess interwoven with doomy and ritualistic bits. Itβs good but doesnβt hit as hard as the early numbers, and at 6 minutes it feels like it overstays its welcome. That leads right into a short moody interlude, and the combination of the two tracks tends to bog the album down a notch or two. Luckily, βBlasphemous Fleshβ is a sick beast bent on regaining the momentum. It sounds like the bastard spawn of a sleazy hookup between Incantation and Morbid Angel after it was raised by honey badgers and meth heads till the age of 20. This is the shit I love, and boy howdy do they bring it good and hard. Alsoβ¦ whammy dives! The back third of the album is all killer and no filler, leaving you bruised, contused, and utterly amused. At a tight 39 minutes, there isnβt much fat on this rotten sack oβ guts. The production suits the material with a shock-and-awe sound that leaves room for slime and cave moss.
The vocals by Nuclear Lucifer are over-indulgent and grotesque. You can almost feel the throat coatings hit you in the face, and something in there is way more liquid than it should be. The croaking, grunting, and vomiting are all first-rate and convincing. The real stars of the show, though, are Chainsaw Gamache and Bogman Levo, who tear your entire skinsuit off with insane fretboard molestation. These boys can shred more than flesh, and at times their solos are jaw-droppingly insane. I hesitate to say they hit neo-classical levels, but they get close before returning to their murder riffs and brainsaw leads that slither and bite. I would be remiss not to mention the crazed drum performance by Godvomit HΓ€mΓ€lΓ€inen. The man has 6 arms, or else itβs all studio trickery. Either way, itβs a vulgar display of meat shower.
Azatoth may be an unknown name in death circles, but an album like Carnal Lust of Blasphemy is how one gets noticed fast. This is high-grade death metal with bells and whistles that never detract from the caveman and the cavern lifestyle. Itβs short, nasty, and brutish, and thatβs exactly what I need. Donβt let this one fly under your metal detector, people. This is the womit pile you want to fall in.
———
ππΏπΌπΊ:
www.angrymetalguy.com/azatoth-carnal-lust-of-blasphemy-review/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
azatoth-fin.bandcamp.com/album/carnal-lust-of-blasphemy
———
#Colderra
#ColderraMusic
#MusicReview
#Azatoth
#CarnalLustofBlasphemy9 track album
Lord, bless this cess! Out of left field, from the old laundry-detergent sump behind the abandoned meatpacking emporium, come the horrible sounds of Finlandβs Azatoth. Lurking around the worst corners of the Finnish death scene since 2020, Azatoth finally unleashes their full-length debut on a not-so-innocent world. With a team of well-traveled vets involved, what does Carnal Lust of Blasphemy offer a death metal fan besides the most cut-and-paste title possible? In short, it serves up a nasty bit of retro, caveman death and grind with distasteful blacked edges. Moreover, it gives nothing back to the academic community and provides no public service of any kind. Itβs disgusting, repellent shit with reeking bits of Autopsy, Morbid Angel, and Undergang clinging to the unwashed carcASS of their musical abomination. Are you ready to disimpact? Here it comes!
Opener βFlooding Human Remainsβ is everything one could want from an excessive serving of greasy death biscuits. The speed is unsafe, the vocals belch from the deepest depths of the human pus center, and the drumming is berserk enough to shake your fillings out. In other words, itβs a fucking glorious rip-ride as it stumbles from early 90s death into grind and back again. The vocals are so damn moist and viscous, you can feel yourself slipping on them as you try to comprehend the insane guitar pyrotechnics destabilizing your brain. Oh, and there are whammy dives! βVeins of Rotten Bloodβ is more of the same unhealthy ear abuse with the right blend of aggression, insanity, and unpleasantness. The vocals are almost comical in their over-the-topitude, and goddamn, those riffs and solos are labyrinthine but so hooky, festooned with jagged pinch harmonics. Yeah, this shit is pinchy.
The first 18 minutes of Carnal Lust of Blasphemy offer some of the best death metal Iβve heard in a while, and I want 5 hours of the same shitfun. βAbomination of the Underworldβ lurches from face-blasting aggression to doomy digressions, and even teases with vague hints of Death right as they begin transitioning from caveman to prog circa Human. For bonus points, they toss in some classy James Murphy-esque solos, and they hit the nostalgia nerve hard. There are some minor stumbles along the blasphemy path, however. βSulfuric Paths to Agonyβ is a meaty hot pocket of death excess interwoven with doomy and ritualistic bits. Itβs good but doesnβt hit as hard as the early numbers, and at 6 minutes it feels like it overstays its welcome. That leads right into a short moody interlude, and the combination of the two tracks tends to bog the album down a notch or two. Luckily, βBlasphemous Fleshβ is a sick beast bent on regaining the momentum. It sounds like the bastard spawn of a sleazy hookup between Incantation and Morbid Angel after it was raised by honey badgers and meth heads till the age of 20. This is the shit I love, and boy howdy do they bring it good and hard. Alsoβ¦ whammy dives! The back third of the album is all killer and no filler, leaving you bruised, contused, and utterly amused. At a tight 39 minutes, there isnβt much fat on this rotten sack oβ guts. The production suits the material with a shock-and-awe sound that leaves room for slime and cave moss.
The vocals by Nuclear Lucifer are over-indulgent and grotesque. You can almost feel the throat coatings hit you in the face, and something in there is way more liquid than it should be. The croaking, grunting, and vomiting are all first-rate and convincing. The real stars of the show, though, are Chainsaw Gamache and Bogman Levo, who tear your entire skinsuit off with insane fretboard molestation. These boys can shred more than flesh, and at times their solos are jaw-droppingly insane. I hesitate to say they hit neo-classical levels, but they get close before returning to their murder riffs and brainsaw leads that slither and bite. I would be remiss not to mention the crazed drum performance by Godvomit HΓ€mΓ€lΓ€inen. The man has 6 arms, or else itβs all studio trickery. Either way, itβs a vulgar display of meat shower.
Azatoth may be an unknown name in death circles, but an album like Carnal Lust of Blasphemy is how one gets noticed fast. This is high-grade death metal with bells and whistles that never detract from the caveman and the cavern lifestyle. Itβs short, nasty, and brutish, and thatβs exactly what I need. Donβt let this one fly under your metal detector, people. This is the womit pile you want to fall in.
———
ππΏπΌπΊ:
www.angrymetalguy.com/azatoth-carnal-lust-of-blasphemy-review/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
azatoth-fin.bandcamp.com/album/carnal-lust-of-blasphemy
———
#Colderra
#ColderraMusic
#MusicReview
#Azatoth
#CarnalLustofBlasphemy9 track album
ππΉπ―ππΊ π₯π²ππΆπ²π: πππππ£π§π’π₯ β π₯ππππ‘ π’π π§ππ₯π₯π’π₯
Storming out of Raleigh, North Carolina, Deceptor rebukes every vestige of modernity on debut Reign of Terror, firmly planting their flag in the glorious days of yore. According to their promotional literature, those days span between 1988 and 1992, and damned if these tunes donβt sound like theyβve been unearthed and freed from the clutches of a class of β91 time capsule. Bolt Thrower and Sodom Reign supreme in defining Deceptorβs bygone blend of death and thrash, although several others creep in as well. Itβs a compelling concoction, and one that slugs βnβ chugs with a fat-free runtime and thunderous moments. Given their remorseless allegiance to the olde school, does Deceptor coronate a Reign of Terror, or leave listeners asking for a Reign check?
Throughout Reign of Terror, Deceptor channels the blood βnβ guts of decades past to chisel out an uncompromising slab of deathrash. βRed Dawnβ inaugurates the album with a beefy build that reminds me of S.O.D.βs βMarch of the S.O.D.β before βHuman Cavityβ starts the party proper. Its mid-paced chugs recall relative newcomers Power Trip and Enforced, although the vocals sit somewhere between Karl Willetts and Tom Angelripper. The solo from βHuman Cavityβ is classic thrash, though, like if Anthrax stripped a Megadeth lead to its core and discarded the flamboyance for maximum killdozing efficiency. And speaking of βThrax, βWhammerβ showcases the bouncy, chaotic riffs I associate with their best 80s material. Meanwhile, βFiring Squadβ elicits early Kreator and Dismember, βStreet Generalβ wields primitive Sepultura vibes, and throughout Reign of Terror Bolt Thrower, Sodom, and Entombed2 provide bases for ample comparisons. As you might expect from a sound so rooted in the past, touchstones abound.
Considering the calls to so many legendary bands, Deceptor acquits themselves well with their performances. The one that stands out the most to me is drummer Andrew Harperβs relentless battery, which adds a wicked charge to Reign of Terrorβs brutal regime. From βFog of Warββs sinister double bass rolls to βJoin or Dieββs tireless bombardment, Harper supplies a fantastic and invigorating outing. Preston Lanierβs guitars likewise impress, from the recklessly unrestrained Slayer shredding on βJoin or Dieβ to the 80s Razor and Destruction riffage of βWhammer.β Itβs not all thrash, though, as Lanier also conjures early Entombed on βFog of Warβ and even Grave with βCombat Patrolβ and βStreet General.β Vocalist/bassist Gabe Earley rounds out the trio, unleashing a subtle bass performance as he rips and barks with effective command. And emphasis on subtle here, as no moment stands out where the bass is front and center. I can pick it out more often than not when I listen for it, but fortifying the bass tone with a deeper, richer presence would add a welcome depth and help the performance stand apart.
As you might expect given the framework for Deceptorβs mission, Reign of Terror stays trve through its entirety. Appreciators of the style will no doubt find it a nostalgic romp through time as Deceptor brings the past to life, yet being steadfast in the commitment to recreating metalβs salad days limits their ability to carve out an original voice. The track sequencing also turns awkward, with the three shortest tracks slotted into the three-four-five spots. Although the songs flow well enough, this compresses the front half of the album and, by comparison, the back half drags artificially despite Reign of Terrorβs lean runtime. Pulling some of the latter tracks earlier into the album would alleviate this accordion effect and offer a more balanced experience.
All told, Deceptorβs Reign of Terror invokes an adrenaline-fueled, bare-knuckled era of thrash and death metal that proves potent all these years later. In particular, the albumβs production whisks me away to the late 80s with its retro grit and considered mix, allowing drums, guitars, and vocals to share the spotlight at the right times. Deceptor harbors tons of talent and possesses a clear vision for the Reign of Terror theyβre destined to unleash. If these ruffians can find a way to harmonize their inspirations with their own voice, Deceptorβs next outing could be an unholy smash. Until then, Iβm content to revisit this debut and let Terror reign oβer me.
———
ππΏπΌπΊ:
www.angrymetalguy.com/deceptor-reign-of-terror-review/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
dyingvictimsproductions.bandcamp.com/album/reign-of-terror
———
#Colderra
#ColderraMusic
#MusicReview
#Deceptor
#ReignofTerror10 track album
Storming out of Raleigh, North Carolina, Deceptor rebukes every vestige of modernity on debut Reign of Terror, firmly planting their flag in the glorious days of yore. According to their promotional literature, those days span between 1988 and 1992, and damned if these tunes donβt sound like theyβve been unearthed and freed from the clutches of a class of β91 time capsule. Bolt Thrower and Sodom Reign supreme in defining Deceptorβs bygone blend of death and thrash, although several others creep in as well. Itβs a compelling concoction, and one that slugs βnβ chugs with a fat-free runtime and thunderous moments. Given their remorseless allegiance to the olde school, does Deceptor coronate a Reign of Terror, or leave listeners asking for a Reign check?
Throughout Reign of Terror, Deceptor channels the blood βnβ guts of decades past to chisel out an uncompromising slab of deathrash. βRed Dawnβ inaugurates the album with a beefy build that reminds me of S.O.D.βs βMarch of the S.O.D.β before βHuman Cavityβ starts the party proper. Its mid-paced chugs recall relative newcomers Power Trip and Enforced, although the vocals sit somewhere between Karl Willetts and Tom Angelripper. The solo from βHuman Cavityβ is classic thrash, though, like if Anthrax stripped a Megadeth lead to its core and discarded the flamboyance for maximum killdozing efficiency. And speaking of βThrax, βWhammerβ showcases the bouncy, chaotic riffs I associate with their best 80s material. Meanwhile, βFiring Squadβ elicits early Kreator and Dismember, βStreet Generalβ wields primitive Sepultura vibes, and throughout Reign of Terror Bolt Thrower, Sodom, and Entombed2 provide bases for ample comparisons. As you might expect from a sound so rooted in the past, touchstones abound.
Considering the calls to so many legendary bands, Deceptor acquits themselves well with their performances. The one that stands out the most to me is drummer Andrew Harperβs relentless battery, which adds a wicked charge to Reign of Terrorβs brutal regime. From βFog of Warββs sinister double bass rolls to βJoin or Dieββs tireless bombardment, Harper supplies a fantastic and invigorating outing. Preston Lanierβs guitars likewise impress, from the recklessly unrestrained Slayer shredding on βJoin or Dieβ to the 80s Razor and Destruction riffage of βWhammer.β Itβs not all thrash, though, as Lanier also conjures early Entombed on βFog of Warβ and even Grave with βCombat Patrolβ and βStreet General.β Vocalist/bassist Gabe Earley rounds out the trio, unleashing a subtle bass performance as he rips and barks with effective command. And emphasis on subtle here, as no moment stands out where the bass is front and center. I can pick it out more often than not when I listen for it, but fortifying the bass tone with a deeper, richer presence would add a welcome depth and help the performance stand apart.
As you might expect given the framework for Deceptorβs mission, Reign of Terror stays trve through its entirety. Appreciators of the style will no doubt find it a nostalgic romp through time as Deceptor brings the past to life, yet being steadfast in the commitment to recreating metalβs salad days limits their ability to carve out an original voice. The track sequencing also turns awkward, with the three shortest tracks slotted into the three-four-five spots. Although the songs flow well enough, this compresses the front half of the album and, by comparison, the back half drags artificially despite Reign of Terrorβs lean runtime. Pulling some of the latter tracks earlier into the album would alleviate this accordion effect and offer a more balanced experience.
All told, Deceptorβs Reign of Terror invokes an adrenaline-fueled, bare-knuckled era of thrash and death metal that proves potent all these years later. In particular, the albumβs production whisks me away to the late 80s with its retro grit and considered mix, allowing drums, guitars, and vocals to share the spotlight at the right times. Deceptor harbors tons of talent and possesses a clear vision for the Reign of Terror theyβre destined to unleash. If these ruffians can find a way to harmonize their inspirations with their own voice, Deceptorβs next outing could be an unholy smash. Until then, Iβm content to revisit this debut and let Terror reign oβer me.
———
ππΏπΌπΊ:
www.angrymetalguy.com/deceptor-reign-of-terror-review/
ππ΅π²π°πΈ ππ΅πΆπ πΌππ:
dyingvictimsproductions.bandcamp.com/album/reign-of-terror
———
#Colderra
#ColderraMusic
#MusicReview
#Deceptor
#ReignofTerror10 track album
Amidst a past full of pain and lies, finding each other brought light into the darkness. Together, they promised to protect each other's hearts with love forever.
Hold this night and stay with me, share this intimate moment without tears. Let our burning hearts and souls unite, flying away together into our deepest desires.
I am deeply sorry for the pain and tears I caused you. Without your smile, everything is gone. Please forgive me, and give me one more chance.
Never dismiss depression and anxiety. Pain in the dark is real; be gentle, stay strong, and always look out for each other.
Though demons storm the heavens, let not thy courage wane. Within thy soul lies an eternal kingdom; rise, valiant knight, and conquer the night.
Stop acting like a fool waiting for a sign in the dark. If you're truly 'Colderra,' quit running like a coward. Burn your spirit, show some real power and catch the futureβunless you want to die!
Greetings, dear friends. It's been a long time since we last spoke. We hope the last few seasons have been good for you all. We're back, and we can't wait to reconnect!
Happy metal weekend.. for all of you who still exist in this mortal world!
METAL OPERA Chapter 1: The Melodic Metallers
Mow available on @audiomack
For more information you can contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/wBUAKQ
METAL OPERA Chapter 1: The Melodic Metallers
Sudah tersedia & mengudara di @Bandcamp
Info lanjut mengenai kompilasi ini dan jika ada hal lain yang ditanyakan atau disampaikan bisa menghubungi akun berikut:
@metaloperamedia
@oridistromedia
@sembranix
https://s.id/1YRzA
