𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗙𝗟𝗨𝗠𝗠𝗢𝗫 – 𝗦𝗢𝗨𝗧𝗛𝗘𝗥𝗡 𝗣𝗥𝗢𝗚𝗥𝗘𝗦𝗦
Originally slated to be my main Thing You Might Have Missed feature, Tennessee avant-garde metal quintet Flummox’s fifth LP Southern Progress caught me completely off guard. Attracted to the prompt “their most obnoxious album yet,” I wasn’t sure what to expect from my first exposure to Flummox’s work. I figured it might be weird, but it’s also distinctive, fun, and infectious. Fearlessly creative, deeply detailed, lyrically cutting, and stupidly intelligent, Southern Progress rapidly became my favorite record released so far this year. It doesn’t seem likely now that anything out of the metalverse this year will surpass it.
Southern Progress embodies a rhizomic system of inspirations and influences that, when harnessed by Flummox’s wacky brains, emerges from the soil as something wholly unique in style, sound, and intent. My best attempt to contextualize this material would involve names from the progsphere like Fair to Midland, Native Construct, Pink Floyd, early Queen, and Mike Patton; purveyors of the extreme such as Strapping Young Lad and Slugdge; avant-garde touchstones like Mr. Bungle, Igorrr, and Diablo Swing Orchestra; genre-jumpers such as King Gizzard and the Lizard Wizard; and even cinematic composers like Danny Elfman and Hans Zimmer.1 Ultimately, though, there is no comfortable comparison. Flummox are a singular entity of weird, wild, theatrical metal capable of nailing every bizarre idea they throw at me, such that in less than a week, I had a majority portion of Southern Progress’ 57-minute runtime pinned to my psyche. All the while, its candid exposition of the queer and genderfluid experience in the Bible Belt (“Southern Progress”) struck a chord so rarely plucked by music on this sphere, and its inspired exploration of the neurodivergent experience as one of its parallel plot lines (“Executive Dysfunction”) gave me an easy avenue to resonate even more deeply with its voice.
The tricky reality of Southern Progress is that 750 words is woefully insufficient to encompass all that Flummox achieves, but its primary triumph is in universal songwriting excellence. Music like this marks a once-in-a-blue-moon occasion—and an ambitious undertaking—but Flummox makes it look effortless as they balance the beauty of melodious, theatrical compositions with the livid, frothing rabidity of searing, off-kilter riffs, thunderous rhythms, and revolutionary attitude (“Southern Progress,” “Femto’s Theme,” “Long Pork,” “Executive Dysfunction”). While these elements are familiar to anyone with experience in the metalverse, their twisted forms instead leave a vivid impression of something altogether more eccentric and uncanny (“Southern Progress,” “Nesting Doll,” “Locust Eater,” “Coyote Gospel”). Well-defined structures and concrete themes play their part in making sure these warped representations stick. Presenting every unhinged idea, cynical line, and explosive outburst inside a digestible package makes Southern Progress somehow even stranger and more enthralling for its deceiving accessibility (“What We’re In For…,” “Always Something Going Down,” “Siren Shock,” “Flumlindalë”).
In spite of its unquestionable adoption of metallic methods, Southern Progress is an intensely theatrical affair unfit for the genrephobic, but is nonetheless something everyone should experience at least once. Challenging in a different way than Imperial Triumphant or other known creators of what certain pundits call “not music,” Flummox is similarly fearless in their exploration of style and technique, and equally meticulous in application and execution. To that end, Southern Progress’ music is mutated and maniacal, but grounded through several root elements: emotional depth, societal awareness, thoughtful critiques, and artistic integrity. More than just a vehicle for that cogent societal commentary, the potent passion that each member of Flummox hemorrhaged into Southern Progress is unmatched by all except the unfuckwithable technical quality of their writing and performances. The fact that this intangible factor boasts such strong presence inside of, and coalesces so harmoniously with, the tangible product proves that Flummox’s dedication, attention to detail, and intentional artistry contributes meaningful substance and significance not just to Southern Progress on its own, but also to the greater body of metal as we know it today.
It is for this reason that Flummox’s Southern Progress isn’t just an excellent album, but also an important one. Aside from its high artistic merit, Southern Progress is a timely and fierce challenge against the dehumanization of queer, gender-nonconforming, and even neurodivergent communities across the American South—and, by extension, the country—especially by organized religious (read: Christian) entities. But it’s also a celebration, a triumphant expression of pride and love and resilience that only comes from openly and unashamedly discovering, struggling with, and ultimately embodying all that you are in spirit, body, and mind. Everyone deserves to know this feeling without fear of stigmatization, fetishization, violence, or isolation. Southern Progress is an unorthodox and fun, but wildly effective, advocate for that cause.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/flummox-southern-progress-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Flummox/Southern_Progress/1329139
rateyourmusic.com/release/album/flummox/southern-progress/
www.ebay.com/itm/286325066983
www.ebay.com/itm/286325068015
www.hhv.de/en-LA/records/item/flummox-southern-progress-splatter-vinyl-edition-1202178
play.anghami.com/song/1193970045
open.spotify.com/album/25DszQv1MeW8gAGqz1wpnf
music.apple.com/gb/album/southern-progress/1788810242
flummoxed.bandcamp.com/album/southern-progress
———
#Colderra
#ColderraMusic
#MusicReview
#AvantGarde
#ProgressiveRock
#PsychedelicRock
#Flummox
#SouthernProgress11 track album
Colderra Social Media Feeds
1,329
COLDERRA
Characteristic, Onset, Location, Duration, Exacerbation, Relief, Radiation, Associated.
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗕𝗟𝗔𝗖𝗞 𝗥𝗔𝗕𝗕𝗜𝗧 – 𝗖𝗛𝗥𝗢𝗡𝗢𝗟𝗬𝗦𝗜𝗦
BLACK RABBIT is not as clean or organised as the Bay Area or Teutonic Thrash bands, but also not as disorganised as bands like early VENOM or MIDNIGHT. They hover somewhere in between, and by mixing Death and Thrash Metal in the way they do, it makes it all sound bloody impressive.
BLACK RABBIT is a concept-driven death metal band from Apeldoorn (The Netherlands), seamlessly blending raw power and aggression with deep thematic storytelling and an immersive visual experience. The band consists of five musicians with diverse influences, forging a dynamic, relentless yet refined sound. With energetic live shows featuring theatrical visuals and an intense lighting, BLACK RABBIT pulls their audience into a narrative world of darkness and mystery. That is the information that I got with this self-released EP. “Chronolysis” offers us 24 minutes of Thrash/Death Metal. This is not their first release, as they started with an EP in 2020 (“Warren Of Necrosis”), followed by their debut album “Hypnosomnia” in 2023. I regret to have to admit that I haven’t heard those releases up and until now, so “Chronolysis” is taking my BLACK RABBIT virginity.
And it is taken by force, as opener “Malevolent Glare” makes no mistake in showing us as listeners where BLACK RABBIT is coming from. Superfast Thrash metal with a Death Metal undertone, making it an introduction that can and will not be denied. The same goes for the following song, “Paracusia”, although the roles are reversed there. This is a Death Metal tune that is immersing itself in Thrash Metal surroundings. Bloody impressive. I especially like the ending, just after the break, it gives it all just that extra dimension. “Pity the Mind of the Frail and the Feeble” is a very dark 4:34 minutes long exercise in breaking down your walls of happiness. But I can tell you, that isn’t working, because what I have heard so far is making me very happy indeed. I just wish they could have avoided the fade out on this song.
BLACK RABBIT is not as clean or organised as the Bay Area or Teutonic Thrash bands, but also not as disorganised as bands like early VENOM or MIDNIGHT. They hover somewhere in between, and by mixing Death and Thrash Metal in the way they do, it makes it all sound bloody impressive. “To Be Alive, To Walk This Earth, That Is My Curse” is quite the statement. This one starts with a Melodic Death Metal vibe that you would expect to come from Scandinavia, and when the very gentile female vocals start, I am bracing myself. Unnecessarily so, as after a few seconds the usual aggressiveness and explosive nature of BLACK RABBIT emerges. Just so you know, the way this one starts is also how it finishes.
The closing song “Rancid Taste of Horror” is also the longest track of them all, and by starting the music slower than on any other track, it is setting expectations high. And BLACK RABBIT doesn’t disappoint. This will be a real live favourite, one that has a tempo you can really bang your head to. All my comments put together will give you an inkling that I feel that “Chronolysis” is a great EP. Not earth shattering, but still bloody good indeed. It is my hope that the BLACK RABBIT will keep on hopping the way is does here.
———
𝗙𝗿𝗼𝗺:
metal-temple.com/review/black-rabbit-chronolysis/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Black_Rabbit/Chronolysis/1330855
blackrabbitofficial.com/product/chronolysis-cd/
us.7digital.com/artist/black-rabbit/release/chronolysis-51589852
open.spotify.com/album/4oKm4dMw3PA7emzk4nNkvG
music.youtube.com/playlist?list=OLAK5uy_lK2LWtfUEmbO_cHwqXrqNxVlbVozQzue8
———
#Colderra
#ColderraMusic
#MusicReview
#ThrashMetal
#DeathMetal
#BlackRabbit
#Chronolysis
BLACK RABBIT is not as clean or organised as the Bay Area or Teutonic Thrash bands, but also not as disorganised as bands like early VENOM or MIDNIGHT. They hover somewhere in between, and by mixing Death and Thrash Metal in the way they do, it makes it all sound bloody impressive.
BLACK RABBIT is a concept-driven death metal band from Apeldoorn (The Netherlands), seamlessly blending raw power and aggression with deep thematic storytelling and an immersive visual experience. The band consists of five musicians with diverse influences, forging a dynamic, relentless yet refined sound. With energetic live shows featuring theatrical visuals and an intense lighting, BLACK RABBIT pulls their audience into a narrative world of darkness and mystery. That is the information that I got with this self-released EP. “Chronolysis” offers us 24 minutes of Thrash/Death Metal. This is not their first release, as they started with an EP in 2020 (“Warren Of Necrosis”), followed by their debut album “Hypnosomnia” in 2023. I regret to have to admit that I haven’t heard those releases up and until now, so “Chronolysis” is taking my BLACK RABBIT virginity.
And it is taken by force, as opener “Malevolent Glare” makes no mistake in showing us as listeners where BLACK RABBIT is coming from. Superfast Thrash metal with a Death Metal undertone, making it an introduction that can and will not be denied. The same goes for the following song, “Paracusia”, although the roles are reversed there. This is a Death Metal tune that is immersing itself in Thrash Metal surroundings. Bloody impressive. I especially like the ending, just after the break, it gives it all just that extra dimension. “Pity the Mind of the Frail and the Feeble” is a very dark 4:34 minutes long exercise in breaking down your walls of happiness. But I can tell you, that isn’t working, because what I have heard so far is making me very happy indeed. I just wish they could have avoided the fade out on this song.
BLACK RABBIT is not as clean or organised as the Bay Area or Teutonic Thrash bands, but also not as disorganised as bands like early VENOM or MIDNIGHT. They hover somewhere in between, and by mixing Death and Thrash Metal in the way they do, it makes it all sound bloody impressive. “To Be Alive, To Walk This Earth, That Is My Curse” is quite the statement. This one starts with a Melodic Death Metal vibe that you would expect to come from Scandinavia, and when the very gentile female vocals start, I am bracing myself. Unnecessarily so, as after a few seconds the usual aggressiveness and explosive nature of BLACK RABBIT emerges. Just so you know, the way this one starts is also how it finishes.
The closing song “Rancid Taste of Horror” is also the longest track of them all, and by starting the music slower than on any other track, it is setting expectations high. And BLACK RABBIT doesn’t disappoint. This will be a real live favourite, one that has a tempo you can really bang your head to. All my comments put together will give you an inkling that I feel that “Chronolysis” is a great EP. Not earth shattering, but still bloody good indeed. It is my hope that the BLACK RABBIT will keep on hopping the way is does here.
———
𝗙𝗿𝗼𝗺:
metal-temple.com/review/black-rabbit-chronolysis/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Black_Rabbit/Chronolysis/1330855
blackrabbitofficial.com/product/chronolysis-cd/
us.7digital.com/artist/black-rabbit/release/chronolysis-51589852
open.spotify.com/album/4oKm4dMw3PA7emzk4nNkvG
music.youtube.com/playlist?list=OLAK5uy_lK2LWtfUEmbO_cHwqXrqNxVlbVozQzue8
———
#Colderra
#ColderraMusic
#MusicReview
#ThrashMetal
#DeathMetal
#BlackRabbit
#Chronolysis
music.youtube.com
With the YouTube Music app, enjoy over 100 million songs at your fingertips, plus albums, playlists, remixes, music videos, live performances, covers, and hard-to-find music you can’t get anywhere else. 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗗𝗘𝗔𝗙𝗛𝗘𝗔𝗩𝗘𝗡 – 𝗟𝗢𝗡𝗘𝗟𝗬 𝗣𝗘𝗢𝗣𝗟𝗘 𝗪𝗜𝗧𝗛 𝗣𝗢𝗪𝗘𝗥
You never forget your first love. The sense of wonder and excitement, a world you had only heard and read about, opening up to you like a flower on a Summer’s day. Deafheaven was my first (in a metal sense). The combination of furious black metal, searing post metal, and fuzzy shoegaze, mixed with a dollop of genuine longing, totally rewired my brain. Which means that if you’re looking for a coldly analytical review of a band’s sixth album, you should probably go elsewhere. Deafheaven is part of my DNA, and a new album will always be a big deal, even if we’ve drifted apart over the years. You see, while I’ve enjoyed the band’s output since the wondrous Sunbather, it’s been clear that Deafheaven and I have been moving in different directions. And this was confirmed with Infinite Granite. I respected the band’s bravery in trying something new; I just didn’t like the result much. Shiny, pretty post-rock is nothing to be ashamed of. But the Deafheaven I loved were all about embracing the fury of black metal to highlight their emotional beats. Without that tension, Infinite Granite felt weightless. And my relationship with Deafheaven almost went from “It’s complicated” to “Splitsville”…
… Except, there was “Mombasa,” the final song on Infinite Granite. Specifically, the final 3 minutes of “Mombasa.” Deafheaven broke the shackles, George Clarke’s shrieks roared forth, and within was a reminder of what the band was capable of. Was that denouement a farewell to a style they were abandoning, or a promise that they had not forgotten their roots? Lonely People with Power answers, and boy does it answer.
After a brief intro, the band kicks off with “Magnolia,” which is one of the meaner cuts of Deafheaven’s oeuvre, and completely devoid of the shininess of anything on Infinite Granite, including the clean vocals. On first listen, I wondered if this was a repudiation of that album; an abandonment of that sound and an acknowledgement that “mistakes were made.” But as “Heathen” hits its chorus, you realize Lonely People with Power is a lot more interesting than that. You see, the post-rock sounds of Infinite Granite have not been abandoned; they’ve just been folded into Deafheaven’s existing aesthetic. Which means that not only is Lonely People with Power their most complete and harmonious record to date, but it also retroactively improves Infinite Granite.
Although Deafheaven have always been comfortable with what they are not – i.e., a “trve kvlt” black metal band, it has sometimes felt that they were less comfortable with what they are. After the stunning Sunbather, the band oscillated between “mean” (New Bermuda), “pretty” (Ordinary Corrupt Human Love), and “post rock” (Infinite Granite). Lonely People with Power somehow finds a way to incorporate all these elements in a cohesive, stunning whole. Its gnarly tracks (“Magnolia,” “Revelator”) are gnarly, it’s pretty tracks (“Heathen,” “Winona”) are downright gorgeous, and the hybrids (“The Garden Route”, “The Marvelous Orange Tree”) feel natural and complementary. What ties all of these together is the emotional core that Deafheaven bring. Among contemporaries, perhaps only Gaerea are anywhere near them in terms of the ability to achieve that ecstatic, cathartic release this music thrives on. Lonely People with Power is brimming with pain and longing and wonder and fury. For the first time, the band has the musical language to convey all of these and then some.
Performances across the board are top-notch. Dan Tracy’s exceptional drumming brings power and force to the harder tracks, and wisely cuts back during the gentler moments. George Clarke’s howls and shrieks have never been the strongest attribute of the band, but he brings a unique intensity and connection that anyone who has attended one of their live shows will attest to. But the real star of the show is lead guitarist Kerry McCoy. McCoy has battled his own demons and writer’s block to create these furious, gorgeous, compelling gems. His guitar soars and dives, and he is able to find beauty in even the ugliest, more twisted compositions.
Sunbather, for all the ridiculous accusations of being “hipster metal,” had that thing. That thing that is impossible to define but is sprinkled liberally on all the best albums. There’s a reason Sunbather remains iconic. It is too early to say whether Lonely People with Power is a match for that masterpiece, but it has that thing, too. It is Deafheaven’s most mature and complete work to date; a synthesis of everything that has come before without being derivative or overly reliant. It plays to the band’s strengths, and wears its unironic heart on its sleeve. If Deafheaven aren’t your vibe, this won’t change your mind – it is, above all, a defiantly Deafheaven album through and through. For everyone else, this is an essential and timeless collection of tracks. It reminds us of the power of metal music to connect and move. But it also fucking reminds us that Deafheaven are not just back; they never left.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/deafheaven-lonely-people-with-power-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Deafheaven/Lonely_People_with_Power/1309956
rateyourmusic.com/release/album/deafheaven/lonely-people-with-power/
www.amazon.com/Lonely-People-Power-Deafheaven/dp/B0DV6HMHRT
deafheavens.bandcamp.com/album/lonely-people-with-power
music.apple.com/us/album/lonely-people-with-power/1792077173
open.spotify.com/album/5Eh3xMVdGFAUiYwuoPOzXc
listen.tidal.com/album/415466666
soundcloud.com/deafheaven-official/sets/lonely-people-with-power
———
#Colderra
#ColderraMusic
#MusicReview
#PostBlackMetal
#Shoegaze
#Deafheaven
#LonelyPeoplewithPower
You never forget your first love. The sense of wonder and excitement, a world you had only heard and read about, opening up to you like a flower on a Summer’s day. Deafheaven was my first (in a metal sense). The combination of furious black metal, searing post metal, and fuzzy shoegaze, mixed with a dollop of genuine longing, totally rewired my brain. Which means that if you’re looking for a coldly analytical review of a band’s sixth album, you should probably go elsewhere. Deafheaven is part of my DNA, and a new album will always be a big deal, even if we’ve drifted apart over the years. You see, while I’ve enjoyed the band’s output since the wondrous Sunbather, it’s been clear that Deafheaven and I have been moving in different directions. And this was confirmed with Infinite Granite. I respected the band’s bravery in trying something new; I just didn’t like the result much. Shiny, pretty post-rock is nothing to be ashamed of. But the Deafheaven I loved were all about embracing the fury of black metal to highlight their emotional beats. Without that tension, Infinite Granite felt weightless. And my relationship with Deafheaven almost went from “It’s complicated” to “Splitsville”…
… Except, there was “Mombasa,” the final song on Infinite Granite. Specifically, the final 3 minutes of “Mombasa.” Deafheaven broke the shackles, George Clarke’s shrieks roared forth, and within was a reminder of what the band was capable of. Was that denouement a farewell to a style they were abandoning, or a promise that they had not forgotten their roots? Lonely People with Power answers, and boy does it answer.
After a brief intro, the band kicks off with “Magnolia,” which is one of the meaner cuts of Deafheaven’s oeuvre, and completely devoid of the shininess of anything on Infinite Granite, including the clean vocals. On first listen, I wondered if this was a repudiation of that album; an abandonment of that sound and an acknowledgement that “mistakes were made.” But as “Heathen” hits its chorus, you realize Lonely People with Power is a lot more interesting than that. You see, the post-rock sounds of Infinite Granite have not been abandoned; they’ve just been folded into Deafheaven’s existing aesthetic. Which means that not only is Lonely People with Power their most complete and harmonious record to date, but it also retroactively improves Infinite Granite.
Although Deafheaven have always been comfortable with what they are not – i.e., a “trve kvlt” black metal band, it has sometimes felt that they were less comfortable with what they are. After the stunning Sunbather, the band oscillated between “mean” (New Bermuda), “pretty” (Ordinary Corrupt Human Love), and “post rock” (Infinite Granite). Lonely People with Power somehow finds a way to incorporate all these elements in a cohesive, stunning whole. Its gnarly tracks (“Magnolia,” “Revelator”) are gnarly, it’s pretty tracks (“Heathen,” “Winona”) are downright gorgeous, and the hybrids (“The Garden Route”, “The Marvelous Orange Tree”) feel natural and complementary. What ties all of these together is the emotional core that Deafheaven bring. Among contemporaries, perhaps only Gaerea are anywhere near them in terms of the ability to achieve that ecstatic, cathartic release this music thrives on. Lonely People with Power is brimming with pain and longing and wonder and fury. For the first time, the band has the musical language to convey all of these and then some.
Performances across the board are top-notch. Dan Tracy’s exceptional drumming brings power and force to the harder tracks, and wisely cuts back during the gentler moments. George Clarke’s howls and shrieks have never been the strongest attribute of the band, but he brings a unique intensity and connection that anyone who has attended one of their live shows will attest to. But the real star of the show is lead guitarist Kerry McCoy. McCoy has battled his own demons and writer’s block to create these furious, gorgeous, compelling gems. His guitar soars and dives, and he is able to find beauty in even the ugliest, more twisted compositions.
Sunbather, for all the ridiculous accusations of being “hipster metal,” had that thing. That thing that is impossible to define but is sprinkled liberally on all the best albums. There’s a reason Sunbather remains iconic. It is too early to say whether Lonely People with Power is a match for that masterpiece, but it has that thing, too. It is Deafheaven’s most mature and complete work to date; a synthesis of everything that has come before without being derivative or overly reliant. It plays to the band’s strengths, and wears its unironic heart on its sleeve. If Deafheaven aren’t your vibe, this won’t change your mind – it is, above all, a defiantly Deafheaven album through and through. For everyone else, this is an essential and timeless collection of tracks. It reminds us of the power of metal music to connect and move. But it also fucking reminds us that Deafheaven are not just back; they never left.
———
𝗙𝗿𝗼𝗺:
www.angrymetalguy.com/deafheaven-lonely-people-with-power-review/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Deafheaven/Lonely_People_with_Power/1309956
rateyourmusic.com/release/album/deafheaven/lonely-people-with-power/
www.amazon.com/Lonely-People-Power-Deafheaven/dp/B0DV6HMHRT
deafheavens.bandcamp.com/album/lonely-people-with-power
music.apple.com/us/album/lonely-people-with-power/1792077173
open.spotify.com/album/5Eh3xMVdGFAUiYwuoPOzXc
listen.tidal.com/album/415466666
soundcloud.com/deafheaven-official/sets/lonely-people-with-power
———
#Colderra
#ColderraMusic
#MusicReview
#PostBlackMetal
#Shoegaze
#Deafheaven
#LonelyPeoplewithPower
soundcloud.com
Deafheaven’s new album ‘Ordinary Corrupt Human Love’, is out now via ANTI- Records. Purchase & Stream: ffm.to/deafheaven_ochl 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗠𝗔𝗨𝗗 𝗧𝗛𝗘 𝗠𝗢𝗧𝗛 – 𝗧𝗛𝗘 𝗗𝗜𝗦𝗧𝗔𝗙𝗙
Well, sometimes it is hard to find words about a record because you got so much to say about the sound, the songs, the structures. Sometimes it is even harder to stop talking about a record because the more you say, the less magic can be found by other people in it. Maud the moth’s new record The Distaff is a mix of both. In the best possible way!
Whenever I listen to the voice of Amaya López-Carromero I am able to escape this world because of its otherworldly quality. It’s so much more than just a certain color in it or a specific phrasing of words. Some part of it surely has to do with her skills as a piano player, which again has benefited her timing which combined with the sometimes shy, sometimes powerful intonation really sets her apart and catapults her into the echelons of a Tori Amos, who of course is much more successful than Amaya; but hey, maybe the world will be a fair place and this amazing constant migrant will receive the attention, awards and acknowledgments she deserves.
The Distaff is a story about female empowerment and yet is not screamed at you, but presented in a mesmerizing delicate way. Even when being loud and harsh (yes, there are such moments on this record), it is never overpowering and comes from a spot deep inside. Nevertheless, she is not venting but clearly pointing out things that need be said. When some of the tracks, like ”Burial of the Patriarchs”we hear lines like ”To pour the oil that fuels the lantern. / To illuminate a path untrodden.” being delivered with fine-chiseled accusation not screaming but giving the listener enough time to realize their weight. ”Siphonophores” is a good example for a somewhat harsher track as the hits on the cymbals are executed to perfection elongating the reverb and sometimes underlining some ideas with a theremin-like echo on the voice so that we get a sense of a ghost vocal beneath Amaya’s main melody.
Sometimes I found myself in awe at the music which is really timeless – a track like ”Despeñaperros” is a good example for her abilities on the piano: She plays the lines in a way that I would describe as a kind of trickle-down style. At points it sounds like the notes are falling like dominoes from the shelf being kicked down by its also-falling neighbor. This track also shows her songwriting prowess as it is one of the “hardest” ones she has written for this solo project to date: The track not only features the cascading piano notes but also strings, guitars, hard drums all combined to create a near-Post-Metal kind of sound, with some tribal and less guitar driven Neurosis tracks as a good comparison. ”Fiat Lux” or ”Kwisatz Haderach”, on the other hand, would also not have been out of place in Berlin in the Roaring Twenties, when strong female vocalists performed in front of energetic orchestras blurring genders and arriving at the one thing that matters: humanity. Gender-less humanity.
Thematically the record gives you so much to discover it seems impossible to outline everything, so let’s just focus on one thing: The record, in parts, is connected to the distaff, an ancient sign of femininity and the sacred female side, but also to the oldest remaining piece of literature written by a woman. Thus, we come back full circle – the record seems older than it is. Would not be out of place 100 years ago or (probably) 100 years into the future. It connects antiquity with the present, it builds bridges, it is about the human condition. It leaves me speechless and wanting for more.
———
𝗙𝗿𝗼𝗺:
veilofsound.com/2025/02/20/Maud_the_moth-The_Distaff.html
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
rateyourmusic.com/release/album/maud-the-moth/the-distaff/
www.discogs.com/release/33302250-Maud-The-Moth-The-Distaff
www.normanrecords.com/records/206470-maud-the-moth-the-distaff
fomo-vinyl.com/vinyl/release/maud-the-moth/the-distaff
www.amazon.com/Distaff-VINYL-Maud-Moth/dp/B0DMTS58Q6
music.apple.com/nz/album/the-distaff/1789060661
open.spotify.com/album/3E2QYLE1CNIETpEmDQfP0P
maudthemoth.bandcamp.com/album/the-distaff
———
#Colderra
#ColderraMusic
#MusicReview
#NeoclassicalDarkwave
#AvantGardeMetal
#MaudtheMoth
#TheDistaff9 track album
Well, sometimes it is hard to find words about a record because you got so much to say about the sound, the songs, the structures. Sometimes it is even harder to stop talking about a record because the more you say, the less magic can be found by other people in it. Maud the moth’s new record The Distaff is a mix of both. In the best possible way!
Whenever I listen to the voice of Amaya López-Carromero I am able to escape this world because of its otherworldly quality. It’s so much more than just a certain color in it or a specific phrasing of words. Some part of it surely has to do with her skills as a piano player, which again has benefited her timing which combined with the sometimes shy, sometimes powerful intonation really sets her apart and catapults her into the echelons of a Tori Amos, who of course is much more successful than Amaya; but hey, maybe the world will be a fair place and this amazing constant migrant will receive the attention, awards and acknowledgments she deserves.
The Distaff is a story about female empowerment and yet is not screamed at you, but presented in a mesmerizing delicate way. Even when being loud and harsh (yes, there are such moments on this record), it is never overpowering and comes from a spot deep inside. Nevertheless, she is not venting but clearly pointing out things that need be said. When some of the tracks, like ”Burial of the Patriarchs”we hear lines like ”To pour the oil that fuels the lantern. / To illuminate a path untrodden.” being delivered with fine-chiseled accusation not screaming but giving the listener enough time to realize their weight. ”Siphonophores” is a good example for a somewhat harsher track as the hits on the cymbals are executed to perfection elongating the reverb and sometimes underlining some ideas with a theremin-like echo on the voice so that we get a sense of a ghost vocal beneath Amaya’s main melody.
Sometimes I found myself in awe at the music which is really timeless – a track like ”Despeñaperros” is a good example for her abilities on the piano: She plays the lines in a way that I would describe as a kind of trickle-down style. At points it sounds like the notes are falling like dominoes from the shelf being kicked down by its also-falling neighbor. This track also shows her songwriting prowess as it is one of the “hardest” ones she has written for this solo project to date: The track not only features the cascading piano notes but also strings, guitars, hard drums all combined to create a near-Post-Metal kind of sound, with some tribal and less guitar driven Neurosis tracks as a good comparison. ”Fiat Lux” or ”Kwisatz Haderach”, on the other hand, would also not have been out of place in Berlin in the Roaring Twenties, when strong female vocalists performed in front of energetic orchestras blurring genders and arriving at the one thing that matters: humanity. Gender-less humanity.
Thematically the record gives you so much to discover it seems impossible to outline everything, so let’s just focus on one thing: The record, in parts, is connected to the distaff, an ancient sign of femininity and the sacred female side, but also to the oldest remaining piece of literature written by a woman. Thus, we come back full circle – the record seems older than it is. Would not be out of place 100 years ago or (probably) 100 years into the future. It connects antiquity with the present, it builds bridges, it is about the human condition. It leaves me speechless and wanting for more.
———
𝗙𝗿𝗼𝗺:
veilofsound.com/2025/02/20/Maud_the_moth-The_Distaff.html
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
rateyourmusic.com/release/album/maud-the-moth/the-distaff/
www.discogs.com/release/33302250-Maud-The-Moth-The-Distaff
www.normanrecords.com/records/206470-maud-the-moth-the-distaff
fomo-vinyl.com/vinyl/release/maud-the-moth/the-distaff
www.amazon.com/Distaff-VINYL-Maud-Moth/dp/B0DMTS58Q6
music.apple.com/nz/album/the-distaff/1789060661
open.spotify.com/album/3E2QYLE1CNIETpEmDQfP0P
maudthemoth.bandcamp.com/album/the-distaff
———
#Colderra
#ColderraMusic
#MusicReview
#NeoclassicalDarkwave
#AvantGardeMetal
#MaudtheMoth
#TheDistaff9 track album
𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗦𝗜𝗖𝗞 𝗡’ 𝗕𝗘𝗔𝗨𝗧𝗜𝗙𝗨𝗟 – 𝗛𝗢𝗥𝗥𝗢𝗥 𝗩𝗔𝗖𝗨𝗜
I’ve been lucky enough to catch Sick N’ Beautiful on each of their three Glasgow appearances over the last few years, the most recent being genuinely by chance as I didn’t know they were supporting Lordi! Each time they’ve impressed, their live show is excellent, and each time they’ve definitely left with more fans than they arrived with. I know that both Luis and Angela (two of our photographers) were blown away with that more recent show.
Their tour with Lordi was perhaps just a few weeks to early with Horror Vacui only just creeping out of the alien depths, and they did feature some material from it in their live set including opener (both live and album) “(Human Is) Overrated”.
The question is, how well does Sick N’ Beautiful’s music stand up without the glorious visuals that their live show provides? Short answer: very well indeed. Horror Vacui is one industrial/goth metal banger after another. “Death Police” is lovely and abrasive, while “Hate Manifesto” (which also got an airing on tour) is a catchy stadium number that Halestorm would be proud of.
Funnily enough I would also pick out “Raise The Dragon” as another highlight, and this is the third song they went with for their stage show. Mine you, it’s up against “Railride”. And the wonderful atmospheric intro to “God Save The Bride” which turns into one of the hardest hitting numbers on the album.
“The Rat King” is a fist pumper or foot stomper (your preference), though final song “Diggety Dig Dig” does seem out of place. It’s a decent number about burying someone where nobody will find them, but the title is simply too close to Windrose’s dwarven mining cover song that I want it to be more silly.
By now you can tell that I really like this album. I also really like the band. Their work ethic, attitude towards their fans, talent and quality of music really makes me want to see them do well. The production on the album is superb, and singer Herma has a wonderful vocal edge of Maria Brink about her in places.
If you’re at all into Lordi, Alice Cooper, Halestorm, In This Moment or anything of that ilk then you absolutely must check out Horror Vacui (and, indeed, the rest of Sick N’ Beautiful’s back catalogue).
“Horror Vacui” Tracklist:
1. (Human Is) Overrated
2. My Wounds
3. Death Police
4. Haunted
5. Hate Manifesto
6. Septem Maleficas
7. Raise The Dragon
8. Railride
9. God Save The Bride
10. The Rat King
11. Diggity Dig Dig
———
𝗙𝗿𝗼𝗺:
www.moshville.co.uk/reviews/album-review/2025/04/album-review-sick-n-beautiful-horror-vacui/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
frontiers.shop/products/sick-n-beautiful-horror-vacui-cd
frontiers-us.shop/collections/sick-n-beautiful
www.banquetrecords.com/sick-n%27-beautiful/horror-vacui/BBCD1483
www.juno.co.uk/products/sicknbeautiful-horror-vacui-cd/1074211-01/
www.plastichead.com/sick-n-beautiful-horror-vacui-compact-disc-bbcd1483
www.amazon.com/Horror-Vacui-Sick-n-Beautiful/dp/B0DW9FLDSV
music.youtube.com/playlist?list=OLAK5uy_n8BXxNItwcwbQGwFl0eUs-X41qdpIQ8Sc
———
#Colderra
#ColderraMusic
#MusicReview
#AlternativeMetal
#ModernMetal
#SickNBeautiful
#HorrorVacui
I’ve been lucky enough to catch Sick N’ Beautiful on each of their three Glasgow appearances over the last few years, the most recent being genuinely by chance as I didn’t know they were supporting Lordi! Each time they’ve impressed, their live show is excellent, and each time they’ve definitely left with more fans than they arrived with. I know that both Luis and Angela (two of our photographers) were blown away with that more recent show.
Their tour with Lordi was perhaps just a few weeks to early with Horror Vacui only just creeping out of the alien depths, and they did feature some material from it in their live set including opener (both live and album) “(Human Is) Overrated”.
The question is, how well does Sick N’ Beautiful’s music stand up without the glorious visuals that their live show provides? Short answer: very well indeed. Horror Vacui is one industrial/goth metal banger after another. “Death Police” is lovely and abrasive, while “Hate Manifesto” (which also got an airing on tour) is a catchy stadium number that Halestorm would be proud of.
Funnily enough I would also pick out “Raise The Dragon” as another highlight, and this is the third song they went with for their stage show. Mine you, it’s up against “Railride”. And the wonderful atmospheric intro to “God Save The Bride” which turns into one of the hardest hitting numbers on the album.
“The Rat King” is a fist pumper or foot stomper (your preference), though final song “Diggety Dig Dig” does seem out of place. It’s a decent number about burying someone where nobody will find them, but the title is simply too close to Windrose’s dwarven mining cover song that I want it to be more silly.
By now you can tell that I really like this album. I also really like the band. Their work ethic, attitude towards their fans, talent and quality of music really makes me want to see them do well. The production on the album is superb, and singer Herma has a wonderful vocal edge of Maria Brink about her in places.
If you’re at all into Lordi, Alice Cooper, Halestorm, In This Moment or anything of that ilk then you absolutely must check out Horror Vacui (and, indeed, the rest of Sick N’ Beautiful’s back catalogue).
“Horror Vacui” Tracklist:
1. (Human Is) Overrated
2. My Wounds
3. Death Police
4. Haunted
5. Hate Manifesto
6. Septem Maleficas
7. Raise The Dragon
8. Railride
9. God Save The Bride
10. The Rat King
11. Diggity Dig Dig
———
𝗙𝗿𝗼𝗺:
www.moshville.co.uk/reviews/album-review/2025/04/album-review-sick-n-beautiful-horror-vacui/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
frontiers.shop/products/sick-n-beautiful-horror-vacui-cd
frontiers-us.shop/collections/sick-n-beautiful
www.banquetrecords.com/sick-n%27-beautiful/horror-vacui/BBCD1483
www.juno.co.uk/products/sicknbeautiful-horror-vacui-cd/1074211-01/
www.plastichead.com/sick-n-beautiful-horror-vacui-compact-disc-bbcd1483
www.amazon.com/Horror-Vacui-Sick-n-Beautiful/dp/B0DW9FLDSV
music.youtube.com/playlist?list=OLAK5uy_n8BXxNItwcwbQGwFl0eUs-X41qdpIQ8Sc
———
#Colderra
#ColderraMusic
#MusicReview
#AlternativeMetal
#ModernMetal
#SickNBeautiful
#HorrorVacui
music.youtube.com
With the YouTube Music app, enjoy over 100 million songs at your fingertips, plus albums, playlists, remixes, music videos, live performances, covers, and hard-to-find music you can’t get anywhere else. 𝗦𝗶𝗻𝗴𝗹𝗲 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗕𝗥𝗔𝗩𝗘𝗥𝗜𝗗𝗘 – 𝗡𝗜𝗚𝗛𝗧𝗠𝗔𝗥𝗘𝗦 𝗔𝗥𝗘 𝗥𝗘𝗔𝗟
Today marks a major milestone in the journey of epic power metal band Braveride, as they proudly unveil their new full-length album “The Great Awakening” via Rockshots Records. To celebrate the release, the band has also revealed the official lyric video for “Nightmares Are Real”, a powerful and emotionally charged track from the record.
A standout song from the album’s more epic and atmospheric side, “Nightmares Are Real” features one of the strongest choruses on the record. With enchanted harmonies and grand orchestrations, the track delves into a haunted world in motion, one where evil thrives as people look the other way. Presented through a visually engaging lyric video, the song’s themes are brought to life, enhancing its narrative weight and emotional intensity.
“The Great Awakening” is a concept album built as a complete listening experience, where each track contributes to a vast fantasy universe crafted by band founder and songwriter Marios Christakis. With a deep love for fantasy lore, sword-and-sorcery imagery, and cinematic storytelling, Braveride blends symphonic arrangements, classical guitar passages, and powerful riffing into a cohesive and dynamic sound.
Driven by inspiration and passion, the album showcases Braveride’s evolution into one of the most compelling voices in modern epic power metal. From high-energy hymns like “Executioner” to haunting anthems like “Nightmares Are Real”, the record balances complexity and accessibility, offering something memorable in every track.
With “The Great Awakening”, Braveride delivers their most ambitious and fully realized work to date—an epic power metal journey destined to strike a chord with fans of Rhapsody of Fire, Blind Guardian, and Manowar.
ALBUM PRE-ORDER – rockshots.eu/products/braveride-the-great-awakening-cd
Track Listing:
1. Twilight
2. Executioner
3. Nightmares are Real
4. Souls are Marching
5. Temple of the Unholy Reign
6. The Gate
7. Delfekor
8. Gionis
9. Unspoken Terror
10. The Final Confrontation
Braveride:
Marios Christakis: Guitars, Orchestrations, Lyrics, and all music compositions
Marcello Vieira: Vocals and Vocal Additional Arrangements, Additional Lyrics
Antonis Gerogiorgos: Drums
Wolf De Iuliis: Bass
ABOUT BRAVERIDE
Founded in 2004 by Marios Christakis, Braveride was created with the vision of blending epic power metal with symphonic elements and a cinematic approach to storytelling. Over the years, the band has evolved, refining their sound from the raw energy of their debut “Heroic Deeds” (2006) to the grandeur, more complex compositions featured in “The Great Awakening” (2025).
Inspired by fantasy literature, sword-and-sorcery tales, and epic battles, Braveride’s music transports listeners into mythical worlds. With soaring vocals, galloping rhythms, intricate orchestrations, and classical guitar passages, their sound stands out as a powerful force within the epic power metal landscape. Their ability to balance complexity and melody, creating both immersive full-album experiences and standalone anthems, has earned them a dedicated following among fans of Rhapsody of Fire, Blind Guardian, and Manowar.
———
𝗙𝗿𝗼𝗺:
ashermediarelations.com/2025/04/18/rockshots-records-braveride-new-video-nightmares-are-real-off-…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=HBoeEunJmDI
———
#Colderra
#ColderraMusic
#MusicReview
#EpicHeavyMetal
#HeavyMetal
#Braveride
#NightmaresAreReal
Today marks a major milestone in the journey of epic power metal band Braveride, as they proudly unveil their new full-length album “The Great Awakening” via Rockshots Records. To celebrate the release, the band has also revealed the official lyric video for “Nightmares Are Real”, a powerful and emotionally charged track from the record.
A standout song from the album’s more epic and atmospheric side, “Nightmares Are Real” features one of the strongest choruses on the record. With enchanted harmonies and grand orchestrations, the track delves into a haunted world in motion, one where evil thrives as people look the other way. Presented through a visually engaging lyric video, the song’s themes are brought to life, enhancing its narrative weight and emotional intensity.
“The Great Awakening” is a concept album built as a complete listening experience, where each track contributes to a vast fantasy universe crafted by band founder and songwriter Marios Christakis. With a deep love for fantasy lore, sword-and-sorcery imagery, and cinematic storytelling, Braveride blends symphonic arrangements, classical guitar passages, and powerful riffing into a cohesive and dynamic sound.
Driven by inspiration and passion, the album showcases Braveride’s evolution into one of the most compelling voices in modern epic power metal. From high-energy hymns like “Executioner” to haunting anthems like “Nightmares Are Real”, the record balances complexity and accessibility, offering something memorable in every track.
With “The Great Awakening”, Braveride delivers their most ambitious and fully realized work to date—an epic power metal journey destined to strike a chord with fans of Rhapsody of Fire, Blind Guardian, and Manowar.
ALBUM PRE-ORDER – rockshots.eu/products/braveride-the-great-awakening-cd
Track Listing:
1. Twilight
2. Executioner
3. Nightmares are Real
4. Souls are Marching
5. Temple of the Unholy Reign
6. The Gate
7. Delfekor
8. Gionis
9. Unspoken Terror
10. The Final Confrontation
Braveride:
Marios Christakis: Guitars, Orchestrations, Lyrics, and all music compositions
Marcello Vieira: Vocals and Vocal Additional Arrangements, Additional Lyrics
Antonis Gerogiorgos: Drums
Wolf De Iuliis: Bass
ABOUT BRAVERIDE
Founded in 2004 by Marios Christakis, Braveride was created with the vision of blending epic power metal with symphonic elements and a cinematic approach to storytelling. Over the years, the band has evolved, refining their sound from the raw energy of their debut “Heroic Deeds” (2006) to the grandeur, more complex compositions featured in “The Great Awakening” (2025).
Inspired by fantasy literature, sword-and-sorcery tales, and epic battles, Braveride’s music transports listeners into mythical worlds. With soaring vocals, galloping rhythms, intricate orchestrations, and classical guitar passages, their sound stands out as a powerful force within the epic power metal landscape. Their ability to balance complexity and melody, creating both immersive full-album experiences and standalone anthems, has earned them a dedicated following among fans of Rhapsody of Fire, Blind Guardian, and Manowar.
———
𝗙𝗿𝗼𝗺:
ashermediarelations.com/2025/04/18/rockshots-records-braveride-new-video-nightmares-are-real-off-…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=HBoeEunJmDI
———
#Colderra
#ColderraMusic
#MusicReview
#EpicHeavyMetal
#HeavyMetal
#Braveride
#NightmaresAreReal
BRAVERIDE – Nightmares Are Real (OFFICIAL LYRIC VIDEO)
www.youtube.com
#metalFOLLOW ROCKSHOTS RECORDS:http://www.rockshots.euhttp://www.facebook.com/rockshotsrecordshttps://www.instagram.com/rockshotsrecords/https://www.twitter…. 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗧𝗥𝗜𝗩𝗜𝗨𝗠 – 𝗗𝗬𝗜𝗡𝗚 𝗜𝗡 𝗬𝗢𝗨𝗥 𝗔𝗥𝗠𝗦
Some 20 years after filming and subsequently shelving it, Trivium have dropped a previously unreleased music video for their song “Dying In Your Arms“. That track is taken from the band’s 2005 album “Ascendancy“, which they have been out on the road celebrating this year.
The band have also provided their own commentary on the clip, with vocalist/guitarist Matt Heafy stating of the video:
“We did a video for ‘Dying In Your Arms‘ about 20 years ago, and the video ended up so bad that our manager said, ‘we need to pull this video or your band…’ Someone said you should pull this video, because this video is not good. But now, 20 years later, we’re like, ‘We should watch this. We should show everyone what this is and see how we feel about it.’ Because I haven’t seen this video in 20 years.”
The North American leg of their ongoing “Ascendancy” 20th anniversary touring with Bullet For My Valentine (celebrating 20 years of “The Poison“), August Burns Red & Bleed From Within will pick back up tomorrow, April 19th:
04/19 St. Louis, MO – The Factory
04/20 Omaha, NE – Steelhouse Omaha
04/22 Ashwaubenon, WI – EPIC Event Center
04/23 Grand Rapids, MI – GLC Live at 20 Monroe
04/25 Prior Lake, MN – Mystic Lake Casino Hotel- Showroom
04/26 Chicago, IL – Byline Bank Aragon Ballroom
04/27 Detroit, MI – The Fillmore Detroit
04/29 Pittsburgh, PA – Stage AE
04/30 Philadelphia, PA – The Fillmore Philadelphia
05/02 Boston, MA – MGM Music Hall at Fenway
05/03 Laval, QC – Place Bell
05/04 Toronto, ON – Great Canadian Resort Theatre
05/06 Washington, D.C. – The Anthem
05/07 New York, NY – The Rooftop at Pier 17
05/09 Bethlehem, PA – Wind Creek Bethlehem – Wind Creek Event Center
05/11 Nashville, TN – The Pinnacle
05/13 Corbin, KY – Corbin Arena
05/14 Atlanta, GA – Coca-Cola Roxy Theatre
05/17 Charlotte, NC – Skyla Credit Union Amphitheatre
05/18 Raleigh, NC – Red Hat Amphitheater
———
𝗙𝗿𝗼𝗺:
www.theprp.com/2025/04/18/news/after-20-years-trivium-have-unveiled-and-roasted-their-embarrassin…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=6Bgssaoe14g
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#Metalcore
#Trivium
#DyinginYourArms
Some 20 years after filming and subsequently shelving it, Trivium have dropped a previously unreleased music video for their song “Dying In Your Arms“. That track is taken from the band’s 2005 album “Ascendancy“, which they have been out on the road celebrating this year.
The band have also provided their own commentary on the clip, with vocalist/guitarist Matt Heafy stating of the video:
“We did a video for ‘Dying In Your Arms‘ about 20 years ago, and the video ended up so bad that our manager said, ‘we need to pull this video or your band…’ Someone said you should pull this video, because this video is not good. But now, 20 years later, we’re like, ‘We should watch this. We should show everyone what this is and see how we feel about it.’ Because I haven’t seen this video in 20 years.”
The North American leg of their ongoing “Ascendancy” 20th anniversary touring with Bullet For My Valentine (celebrating 20 years of “The Poison“), August Burns Red & Bleed From Within will pick back up tomorrow, April 19th:
04/19 St. Louis, MO – The Factory
04/20 Omaha, NE – Steelhouse Omaha
04/22 Ashwaubenon, WI – EPIC Event Center
04/23 Grand Rapids, MI – GLC Live at 20 Monroe
04/25 Prior Lake, MN – Mystic Lake Casino Hotel- Showroom
04/26 Chicago, IL – Byline Bank Aragon Ballroom
04/27 Detroit, MI – The Fillmore Detroit
04/29 Pittsburgh, PA – Stage AE
04/30 Philadelphia, PA – The Fillmore Philadelphia
05/02 Boston, MA – MGM Music Hall at Fenway
05/03 Laval, QC – Place Bell
05/04 Toronto, ON – Great Canadian Resort Theatre
05/06 Washington, D.C. – The Anthem
05/07 New York, NY – The Rooftop at Pier 17
05/09 Bethlehem, PA – Wind Creek Bethlehem – Wind Creek Event Center
05/11 Nashville, TN – The Pinnacle
05/13 Corbin, KY – Corbin Arena
05/14 Atlanta, GA – Coca-Cola Roxy Theatre
05/17 Charlotte, NC – Skyla Credit Union Amphitheatre
05/18 Raleigh, NC – Red Hat Amphitheater
———
𝗙𝗿𝗼𝗺:
www.theprp.com/2025/04/18/news/after-20-years-trivium-have-unveiled-and-roasted-their-embarrassin…
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=6Bgssaoe14g
———
#Colderra
#ColderraMusic
#MusicReview
#HeavyMetal
#Metalcore
#Trivium
#DyinginYourArms
Trivium – Dying in Your Arms (Music Video)
www.youtube.com
20 years later, here is the music video that was never released for Dying in Your Arms. Subscribe: bit.ly/TriviumYTSite: trivium.orgFanclub: ht… 𝗦𝗶𝗻𝗴𝗹𝗲 𝗮𝗻𝗱 𝗩𝗶𝗱𝗲𝗼 𝗥𝗲𝗹𝗲𝗮𝘀𝗲: 𝗗𝗘𝗩𝗜𝗟 𝗠𝗔𝗬 𝗖𝗥𝗬 | "𝗔𝗙𝗧𝗘𝗥𝗟𝗜𝗙𝗘" 𝗢𝗙𝗙𝗜𝗖𝗜𝗔𝗟 𝗠𝗨𝗦𝗜𝗖 𝗩𝗜𝗗𝗘𝗢 𝗙𝗘𝗔𝗧. 𝗘𝗩𝗔𝗡𝗘𝗦𝗖𝗘𝗡𝗖𝗘
Netflix recently posted the official music video for the Devil May Cry anime, “Afterlife” by Evanescence.
This music video, directed by Jason Lester, also features new clips from the show, seemingly teasing elements for the already-confirmed second season. Dante is briefly depicted with longer hair and wielding his iconic guns, Ebony and Ivory.
The Devil May Cry anime series is led by Adi Shankar and animated by Studio Mir.
DMC Games & Related News
Devil May Cry 5 returns players to the action as Dante, Nero, and V fight to keep the demonic threat at bay. The three characters each have their own flashy fighting style where they can juggle enemies and unleash extended combos for which the series is known.
Devil May Cry 5 Special Edition uses the proprietary RE Engine, which has been enhanced to take advantage of more powerful hardware. In addition, this game version features ray tracing, enhanced 3D audio, and new modes, such as Turbo Mode and Legendary Dark Knight Mode. With Vergil now playable, players will play through Red Grave City and utilize his unique skillset.
———
𝗙𝗿𝗼𝗺:
noisypixel.net/devil-may-cry-anime-afterlife-music-video/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=V0OvkwOJgi4
———
#Colderra
#ColderraMusic
#MusicReview
#AlternativeMetal
#NuMetal
#Evanescence
#Afterlife
#DevilMayCry
Netflix recently posted the official music video for the Devil May Cry anime, “Afterlife” by Evanescence.
This music video, directed by Jason Lester, also features new clips from the show, seemingly teasing elements for the already-confirmed second season. Dante is briefly depicted with longer hair and wielding his iconic guns, Ebony and Ivory.
The Devil May Cry anime series is led by Adi Shankar and animated by Studio Mir.
DMC Games & Related News
Devil May Cry 5 returns players to the action as Dante, Nero, and V fight to keep the demonic threat at bay. The three characters each have their own flashy fighting style where they can juggle enemies and unleash extended combos for which the series is known.
Devil May Cry 5 Special Edition uses the proprietary RE Engine, which has been enhanced to take advantage of more powerful hardware. In addition, this game version features ray tracing, enhanced 3D audio, and new modes, such as Turbo Mode and Legendary Dark Knight Mode. With Vergil now playable, players will play through Red Grave City and utilize his unique skillset.
———
𝗙𝗿𝗼𝗺:
noisypixel.net/devil-may-cry-anime-afterlife-music-video/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.youtube.com/watch?v=V0OvkwOJgi4
———
#Colderra
#ColderraMusic
#MusicReview
#AlternativeMetal
#NuMetal
#Evanescence
#Afterlife
#DevilMayCry
Devil May Cry | “Afterlife” Official Music Video feat. Evanescence | Netflix
www.youtube.com
Live performance music video of "Afterlife," Evanescence’s new single from Devil May Cry. Now streaming, only on Netflix.Music video directed by Jason Lester… 𝗔𝗹𝗯𝘂𝗺 𝗥𝗲𝘃𝗶𝗲𝘄: 𝗚𝗔𝗠𝗘 𝗢𝗩𝗘𝗥 – 𝗙𝗔𝗖𝗘 𝗧𝗛𝗘 𝗘𝗡𝗗
Major lineup changes to veteran acts can signal an altering of approach or tactics – especially in the metal realm. Italian thrash band Game Over faces this crossroads – losing vocalist/bassist Renato Chiccoli after releasing a killer album in 2023 Hellframes, expanding their lineup from a four-piece to five with the addition of vocalist Danny Schiavina and bassist Leonardo Molinari. Which means a higher level of inspection (or attention) will be placed on this material that comprises the sixth studio album Face the End – delivering ten tracks in a rather economical thirty-three minutes plus playback time. Have no fear headbangers, as these gentlemen keep their eyes on a melodic thrash montage equally engaging on sinister main vocal presence backed by potent gang-like support, catchy guitar riffs / lead breaks, as well as thoughtful rhythm section work pounding to bring everything home.
Smart pacing maintains longer dynamic interest – as bands of this ilk need to know when to press the accelerator full force, then lay back into a bit more of a mid-tempo, anthem-like arrangement to allow people to catch their collective breaths going into the next crunchy/speed track. It’s why a song like “Lost in Disgrace” stands out for its late 80s Metallica meets early 90s Death Angel/Heathen-like elements – the volley hits between clean passages, tight as a whip gallop-induced riffs and subsequent cultural, circular lead break build ups worth the price of admission alone between guitarists Luca Zironi and Alessandro Sansone. Early on the double salvo from “Lust for Blood” and “Neck Breaking Dance” roars in that traditional Exodus, Metallica, and Testament mold, yet the chorus work in both screams from a more skateboard, crossover culture that put Suicidal Tendencies on the map.
The biggest difference of course comes from the vocal approach that Danny possesses that drastically differs from Renato. Danny delivers his words from a deeper resonance that is still catchy, yet contains a depth of emotion that has a bit more of an Eric AK / John Bush presence to take “Gateway to Infinity” into an almost commercial landscape through his note choices and harmony abilities. “Tempesta” is one of two short instrumentals designed to calm the proceedings, setting the stage for the longest track “Crimson Waves” at just over five-minutes a dynamic ballad fueled by moody, muscular twists, a song that could be a future setlist favorite.
Returning producer Simone Mularoni at Domination Studio retains the proper fist to face sound we want from thrash metal – elevating the key hooks to the best positions possible. Face the End will be a turning point in the career for Game Over – hopefully allowing the group to gain better festival slotting, stronger touring opportunities, and the chance to appeal to a multi-generational audience.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/game-over-face-the-end-scarlet-records/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Game_Over/Face_the_End/1312329
www.hrrecords.de/GAME-OVER-Face-the-End-LP-RED-MARBLED_1
mvdshop.com/products/game-over-face-the-end-cd
scarletrecords.com/releases/game-over-face-the-end/
music.apple.com/us/album/face-the-end/1792876645
gameoverofficial.bandcamp.com/album/face-the-end
———
#Colderra
#ColderraMusic
#MusicReview
#ThrashMetal
#GameOver
#FacetheEnd10 track album
Major lineup changes to veteran acts can signal an altering of approach or tactics – especially in the metal realm. Italian thrash band Game Over faces this crossroads – losing vocalist/bassist Renato Chiccoli after releasing a killer album in 2023 Hellframes, expanding their lineup from a four-piece to five with the addition of vocalist Danny Schiavina and bassist Leonardo Molinari. Which means a higher level of inspection (or attention) will be placed on this material that comprises the sixth studio album Face the End – delivering ten tracks in a rather economical thirty-three minutes plus playback time. Have no fear headbangers, as these gentlemen keep their eyes on a melodic thrash montage equally engaging on sinister main vocal presence backed by potent gang-like support, catchy guitar riffs / lead breaks, as well as thoughtful rhythm section work pounding to bring everything home.
Smart pacing maintains longer dynamic interest – as bands of this ilk need to know when to press the accelerator full force, then lay back into a bit more of a mid-tempo, anthem-like arrangement to allow people to catch their collective breaths going into the next crunchy/speed track. It’s why a song like “Lost in Disgrace” stands out for its late 80s Metallica meets early 90s Death Angel/Heathen-like elements – the volley hits between clean passages, tight as a whip gallop-induced riffs and subsequent cultural, circular lead break build ups worth the price of admission alone between guitarists Luca Zironi and Alessandro Sansone. Early on the double salvo from “Lust for Blood” and “Neck Breaking Dance” roars in that traditional Exodus, Metallica, and Testament mold, yet the chorus work in both screams from a more skateboard, crossover culture that put Suicidal Tendencies on the map.
The biggest difference of course comes from the vocal approach that Danny possesses that drastically differs from Renato. Danny delivers his words from a deeper resonance that is still catchy, yet contains a depth of emotion that has a bit more of an Eric AK / John Bush presence to take “Gateway to Infinity” into an almost commercial landscape through his note choices and harmony abilities. “Tempesta” is one of two short instrumentals designed to calm the proceedings, setting the stage for the longest track “Crimson Waves” at just over five-minutes a dynamic ballad fueled by moody, muscular twists, a song that could be a future setlist favorite.
Returning producer Simone Mularoni at Domination Studio retains the proper fist to face sound we want from thrash metal – elevating the key hooks to the best positions possible. Face the End will be a turning point in the career for Game Over – hopefully allowing the group to gain better festival slotting, stronger touring opportunities, and the chance to appeal to a multi-generational audience.
———
𝗙𝗿𝗼𝗺:
deadrhetoric.com/reviews/game-over-face-the-end-scarlet-records/
𝗖𝗵𝗲𝗰𝗸 𝘁𝗵𝗶𝘀 𝗼𝘂𝘁:
www.metal-archives.com/albums/Game_Over/Face_the_End/1312329
www.hrrecords.de/GAME-OVER-Face-the-End-LP-RED-MARBLED_1
mvdshop.com/products/game-over-face-the-end-cd
scarletrecords.com/releases/game-over-face-the-end/
music.apple.com/us/album/face-the-end/1792876645
gameoverofficial.bandcamp.com/album/face-the-end
———
#Colderra
#ColderraMusic
#MusicReview
#ThrashMetal
#GameOver
#FacetheEnd10 track album
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
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
METAL OPERA Chapter 1: The Melodic Metallers [T-Shirt]
For ordering or purchasing & more information, contact us through various channels available on our website! You can also contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/RFzYE
#Update
METAL OPERA Chapter 1: The Melodic Metallers
Details: Compilation | CD | Jewel Case
Label: Gerbang Sembilan
Country: Indonesia
Released: 2023
Classification: First Press | 500 copies
#GIX
#GerbangIX
#GerbangSembilan
#RecordLabel
#MusicPublisher
#Website #Page #Release #Update
METAL OPERA Chapter 1: The Melodic Metallers
Type: Compilation
Format: CD
Model: Jewel Case
Release Date: November 27, 2023
Catalog ID: GIX-MO.CD-001
#GIX
#GerbangIX
#GerbangSembilan
#RecordLabel
#MusicPublisher
METAL OPERA Chapter 1: The Melodic Metallers [CD Album]
For ordering or purchasing & more information, contact us through various channels available on our website! You can also contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/mgKdIr
METAL OPERA Chapter 1: The Melodic Metallers [CD Album]
For ordering or purchasing & more information, contact us through various channels available on our website! You can also contact the following accounts:
@metaloperamedia
@oridistromedia
@sembranix
https://goo.su/hthjjd
#Post3
METAL OPERA & GERBANG IX, collaborated to release a compilation album, with the title “METAL OPERA Chapter 1: The Melodic Metallers”
https://gerbangsembilan.com
https://goo.su/i4yl
#MetalOpera
#MetalOperaWebzine
#GIX
#GerbangIX
#GerbangSembilan
#Discography #Update
METAL OPERA Chapter 1: The Melodic Metallers
Compilation Album
Released on November 27, 2023
Distributed & Published by Gerbang Sembilan
https://www.colderra.com/discography/
#Colderra
#ColderraMusic
#PowerMetal
#SpeedMetal
#HeavyMetal
#MetalOpera
#GerbangSembilan
