Wolves In The Throne Room, At The Gates, Behemoth
Pakkahuone, Tampere, Finland
30th January 2019
My first gig of 2019! I have been waiting for a long time for a chance to see Behemoth again. The last time I saw them live was Tuska Open Air 2012 on their first tour shortly after their front-man Nergal’s recovery from leukemia. I have kept up to date with all their releases and news and last year I could not believe my luck when I discovered that they are coming to my home town.
The venue was sold out on the night and the there was already a sizable crowd right from the start. I could not really get into the first band – Wolves In The Throne Room. Their sound can be described as a mixture of atmospheric black metal and dark ambient. Some of the songs they played were incredibly slow and more ambient than black metal. While this kind of music might be fine to listen to at home, it’s not really something that I want to hear live 2.5/5
I guess that most people who are into melodic death metal are familiar with At The Gates. They are after all one of the forefathers of the genre with some genre-defining releases to boot. This was not the first time that I have seen them live and I hope that it will not be my last. They had a few issues with their performances. First, their vocalist Tomas got the name of the city wrong, a minor mistake which he spent the rest of the night apologizing for. The other issue they had turned out to be more serious – a broken drum set.
It took some time to fix the problem but luckily they managed to sort it out in time to play a few more songs. A very good show overall despite the setbacks. 4/5
Finally came the moment I have been waiting seven years for. Behemoth started their set a little later than planned but it was definitely worth the extra time. They had an impressive amount of visuals and various props all contributing to a wonderful performance. They played some of the hits such as ‘Decade of Therion’(my personal favourite), ‘Chant For Eschaton 2000’, ‘Slaves Shall Serve’, ‘Lucifer’ along with lots of songs from the new album including ‘Bartzabel’ and ‘Wolves of Siberia. What a fantastic show! It was even better than the last time that I saw them live. 5/5
In summary, the only band I did not enjoy watching live was Wolves In The Throne Room. It was a little too slow for my liking. At The Gates managed to overcome their technical problem and put on a great show. Behemoth were everything that I hoped for and more. I absolutely loved their show. This was their first time in Tampere and I really hope that they came back again in the future.
Equaleft “We Defy” Groove metal Release: 1st February 2019 Via Raising Legends
Equaleft are labelled – even by themselves – as “groove metal”, but their sound has always been too exquisite to be defined by just two words; but since we had to go for something, given the intense throb of said sound, “groovy” is a good broad definition as any. Now “We Defy” lives up to its name and keeps pushing the envelope, but I still won’t dare coming up with a new label.
I will say, though, that the somberness has reached a new level. The very first song on the album, for instance. If prog-doom isn’t a thing yet, “Before Sunrise” could be its genesis. But then again, there’s a certain… glow in its musicality, making it sound sad but not depressing, so I guess not so doom-ish after all.
In “Once Upon A Failure” there’s this heaviness and rawness that mingle oh-so-well with the ominous echoes of its melodic chorus, while the enthralling solo, by the hands of Sullen guitar player, André Ribeiro, gives off such a vibrant darkness. The title-track’s is even more mesmerizing, as the heaviness in “Fragments” is bolder – they all have something in common and something unique which, in the end, makes us recognize it as Equaleft.
There are two other guests but none of them performing vocal parts, even though in songs such as “Endless” or “Strive” you may wonder if it’s really Miguel Inglês singing. Trust me, it is. Many people don’t know, and those who do often forget, that Miguel used to sing in a gothic/doom band (Mysterium) and that this lower, deeper pitch is very much his and fits perfectly in the darker direction some parts of this new album have taken.
It’s not even about maturity, as the previous “Adapt & Survive” was already a pretty seasoned work. It’s simply moving forward and achieving greatness once again.
[On an additional note, their former guitarist Nuno “Veggy” Cramês takes the lead on “Realign” while the third aforementioned guest is José Pedro Gonçalinho, who plays a killer sax on the revamped “Uncover The Masks” (originally featured on the 2010 EP “… The Truth Vnravels”).]
Bloody Times
On A Mission
Released 11th January 2019
Heavy Metal
Self-Released
‘On A Mission’ is the second album from the German heavy metal band Bloody Times. The band started as a solo project of bassist Simon Pfundstein back in 2014. He was later joined by two former members of Iced Earth, drummer Raphael Saini and vocalist John Greedy. This album also features guest performances from various heavy metal musicians including Ross Friedman aka Ross the Boss (ex-Manowar).
The first thing that struck me when listening to this album was how much it reminded me of old Iced Earth. Luckily I happen to like old Iced Earth, so it’s good to hear John Greedy behind the mike again. The mid-paced opening track Alliance is one of the more melodic songs on here. I guess that this was meant to be some sort of classic metal ballad and as such it works reasonably well. I just wish that they would have omitted the progressive, ponderous and slow guitar parts mid-way through the song. It’s not the best start to the album but luckily what follows is the energetic, thrash metal style Fort Sumter– easily my favourite song on here due to excellent guitar work and powerful vocals. Now that’s more like it! If only this track was the first one….
Die In A Hole also has that thrash metal vibe to it; it is more varied in pace, not quite as fast ‘Fort Sumter’ but not too slow either. There is a good range of guitar riffs and Mr. Greedy manages to find the right balance between low pitched shouting and clean vocals to match the tone of the music. I also like the reworked version of Curse of Genevieve. What lets this album down is a short track called The Warning (Until Blood Boils pt.1) which falls under the category of what I commonly refer to as “filler”. I honestly do not know what I found more irritating, the strange vocal effects or the ultra dull-sounding, doom metal style guitar riffs plodding along in the background. Time to skip this. Next! Luckily the part 2 marks a return to the fast and aggressive heavy metal.
Overall, despite its flaws, ‘On A Mission’ is a good heavy metal album which I would recommend to fans of old Iced Earth.
It’s been a hot minute since took a listen to anything from the heavy metal community beyond the UK, so I feel it’s about time to rectify that. The Cyprus based progressive metal musician, Joakem has recently released his debut album Mind Matter and from the first moments of the album, I liked the sound. Musically the album is a blend of complex melodies and time signatures, heavy synth sounds, rough guitars, intricate and precise drum patterns and a blend of different vocal styles. It immediately leaves its impact on you and since the sound is so distinctive, you can quickly make up your own mind on whether it sticks with you or not. The album was recorded/mixed by Chris Charalambides at “Soundscape Studios” and mastered by 3x Latin Grammy-nominated, Alex Psaroudakis at “Alex Psaroudakis Mastering” in New York. So, you can bet the album packs that punch.
The album is certainly a gripping listen. The production is top-notch, with a great mix of all the instrumentation with Joakem’s vocals standing out. The complex and diverse rhythm patterns keep you hooked as you can never really guess where the song is going to go next. Also, the great balance of blasting synths and heavy guitars work well together. It comes together quite nicely and works for the range of styles that this album tries to tackle. Each song feels like a different sub-genre of rock and metal and no matter the style it still feels natural and the records keeps flowing. From all-out prog-metal to alt-rock and even some post-grunge elements work their way on to the album and it’s strange but all of the pieces work together and each song complement, as well as contrasts, with the previous.
Joakem’s vocals are indeed diverse as he manages to be competent in a variety of vocal techniques. I prefer his clean vocals over his guttural singing but that’s just me. I generally prefer clean vocals in music. It’s difficult to point at an element that lets the album down in a great way. I will say, that if you’re not into progressive music with changing time signatures and musical styles then this really isn’t the album for you. That’s sort of the let down for me, although it’s impressive, I prefer music to remain in a consistent style throughout. The high-points of the album are the more alt-rock and post-grunge style songs where he maintains more consistency, such as the opening track “A Peaceful Place” and the closing track “Departure”. However, I do think there is a happy medium for any fan of rock and metal.
Definitely an impressive and solid effort from an interesting artist. I would be more than happy to keep paying attention to him for future releases. Mind Matter is a decent record with a lot of positive aspects to it. It’s not something I would play all of the time, but if I’m in the right mood this is something I would consider putting on. If you’re interested in genre-mixing artists that break from normal convention, then Joakem might be up your alley.
Bring Me The Horizon amo Released January 2019 Hard Rock/ Electro-rock
Released via Sony Music/RCA Records
Hailing from God’s Own County of Yorkshire, Bring Me The Horizon return to the forefront with their latest album, amo. With an ever changing sound, Bring Me The Horizon have become one of the biggest acts to come from South Yorkshire, gaining themselves admirers and haters from all across the globe.
I Apologise If You Feel Something starts up the album with a hypnotic electronic medley and soft, almost-choir like vocals that build up to the electro-rock vibes of Mantra. Mantra has plenty of hooks to keep the listener engaged, as well as energetic riffs and some very memorable vocal lines. Nihilist comes in strong with a dark pulsing rhythm, and catchy melodies. The softer vocal duet between Sykes and Grimes suit the track well, dancing elegantly with the lashing synths and shadowy beats.
In The Dark stands out with its laid back pace and notably fetching riffs. Wonderful Life is one of the singles from the album. The track itself is interesting but doesn’t sound as strong as the rest of the album. Sykes’ are admirable throughout the track and stand out more than the guest vocals of Dani Filth.Ouch acts as interlude between the last track and the next one, appearing more as a chaotic whirlpool of differing beats with the odd vocal section thrown in.
Medicine bounces back from the previous two tracks, with medleys and riffs that one can quite easily dance to. Sugar is a track that employs satisfying hooks and active vocals that meld almost perfectly with the rhythm section. Why You Gotta Kick me When I’m Down sounds almost like a hip hop track due to the mesmerising beats and whippings of electronic sections but the vocals show that it is very much a Bring Me The Horizon track.
Fresh Bruises has an emotive atmosphere radiating from its introduction before the spellbinding electro-like percussion kicks in, carrying the otherworldly vocal sections. The keyboard passages in Mother Tongue stand out valiantly, weaving all other parts of the song together into a majestic composition. Heavy Metal is an interesting song all on its own, turning heavy with synth-laden movements and vocal duets from Sykes and Rahzel.
amo finishes on a very orchestral orientated note with I Don’t Know What To Say, contrasting the grandoise sound of classical instruments with soothing vocals, acoustic guitar, and hints of electronic influences.
amo makes it clear that Bring Me The Horizon are still on top of their game, blending different styles into their music. While it might be as heavy or as aggressive as their older albums, it shows how far the band have come since their early days, and it clearly demonstrates the band’s versatility and talent.
It’s been six years since their previous effort ‘Valkyrja’… Now the Faroese progressive folk metal band TYR have announced that their new album will be called ‘Hel’ and it is scheduled to be released on 8th March 2019 via Metal Blade Records.
You can see the cover-art and tracklisting below:
1. Gates of Hel
2. All Heroes Fall
3. Ragnars Kvæði
4. Garmr
5. Sunset Shore
6. Downhill Drunk
7. Empire of the North
8. Far from the Worries of the World
9. King of Time
10. Fire and Flame
11. Against the Gods
12. Songs of War
13. Alvur Kongur
In the meantime here is a preview of one of the new tracks:
Belle Morte Game On Released 11th April 2018 Gothic Metal / Symphonic Metal Self-Released
‘Game On’ is the first EP from the Belorussian Gothic metal artist Belle Morte. This one-woman project was launched in 2015 and all her music is available for streaming and download from the Bandcamp page.
Female-fronted Gothic metal bands are a dime in a dozen these days. It almost seems that everyone wants to become the next Nightwish. Well, not quite everyone. If you’re looking for another Nightwish clone with over-the-top symphonic, Disney soundtrack -style tunes, operatic vocals under the guise of a metal band you have come to the wrong place… Belle Morte has a very melodic, ethereal voice but is not quite as powerful as that of Tarja Turunen or Floor Jansen. So forget the Nightwish comparisons. Her vocal style is more like that of Sharon den Adel (Within Temptation).
The one thing that I enjoyed most about this EP was the keyboards, the sombre sounds of the cello and violin sandwiched neatly between the guitars and drumming. It is impressive just how well all this works together. Devilish Deal is the most prominent example of this. The instrumental arrangements are absolutely beautiful as are the vocals.
Overall, the only issue I have with this EP is that it is too short. ‘Game On’ offers four tracks of beautifully arranged and skillfully executed Gothic/symphonic metal. I cannot wait to hear a full album.
As these end of year lists tend to go, a lot of those based on releases are quite similar. So, to side-step that, this one is going to be quite the personal account of various live experiences. Some may have been shared with tens of thousands. Others with barely one hundred. The one conjoining feature of each and every one is that they are embossed upon my own memory as something far beyond the average. So, without further ado, and in no strict order, here’s my top ten list of live performances from 2018.
1 – Virus at Smashed Fest, Perth, SCO
While this was an amazing show to be part of, for many reasons, one of the things which will stay vibrant and real in the memory is the performance of headliners Virus. Headed by self-proclaimed “geriatric thrasher” Coke Finlay, this was the first of a big set of shows celebrating the 30th anniversary of their Force Recon album. At around an hour and a half, it was a pretty demanding gig, but they laid down the riffs and showed the young uns how it’s done!
2 – Arroganz at The Viper Room, Vienna, AT
While on a run to Vienna, we decided to take a chance on a local show. I had no idea who any of the bands were before buying tickets, but a quick advance scan of online videos quickly showed it was a full black metal event. While every band churned out a quality performance, it was Arroganz who really clinched it. Bringing their own sludgy death-groove riffs to a hard-hitting BM tradition, to sent me home with a big grin and a big handful of merch.
3 – Krysthla at Hordes Of Belial, Dundee, SCO
This Northamptonshire based tech-death outfit have got to be among the top five of British extreme metal bands at present. The never fail to blitz the audience at every show, from toilet gigs to big fests. Their first time at Hordes Of Belial saw them take on main support on stage one, and I have to say, they just blasted the place in half, leaving the Dundee crowd completely and utterly shell-shocked. The level of intensity delivered was simply unhinged.
4 – Power Trip at Bloodstock Open Air, ENG
Somehow, I hadn’t properly heard Power Trip before this show. A friend camping with us let me listen to a snippet or two, but the sound didn’t really let me know what I was in for. From start to finish their mid-afternoon onslaught was irresistible, and saw me inexorably drawn into the pit for a band with which I was previously unfamiliar. I didn’t remember having “my shit” with me when they kicked off, but I had sure as hell lost it by the time they were done.
5 – Vuur at The O2 ABC, Glasgow, SCO
Having been a fan of vocalist Anneke van Giersbergen’s previous band, The Gathering, for many years, I’d put my expectations on hold for this one. I was surprised to see the evening’s activities were to take place in a small-ish, cosy room of the (sadly now destroyed) venue. This only elevated the special charm of what turned out to be a beautifully intimate show, featuring emotional favourites, acoustic renditions, and sparkling new numbers.
6 – Annihilator at QMU, Glasgow SCO
It’s always great to see Testament, but I think I speak for everyone who was in attendance at this event, when I say Annihilator were truly the kings of the kill. Tighter than Scrooge McDuck’s bum, they smashed out hit after hit, Jeff Waters commanding the crowd with a maniacal grin. There was no huge stage spectacle. No special occasion. No tricks and traps. Just a phenomenal performance, at a great gig, from a band who nailed every aspect of being them.
7 – Watain at Wacken Open Air, DE
Have you seen Watain live? I’d only ever seen videos before. Witnessing their 2018 show live (twice, actually) was really something else. So much atmosphere. And so much fire! It’s no wonder they are gathering a mass fan-base with increasing pace, as being there could make you feel like you’re part of something bigger. Something empowering. Something dark. Looking close, one could even see rituals being muttered between lyrics. If the heat didn’t melt your eyeballs first.
8 – Suicidal Tendencies at Bloodstock Open Air, ENG
The odds were stacked against this legendary band making BOA, from the sound of things, mainly in the form of various ‘transport issues’. When they finally arrived, their set shifted from the RJD stage to the smaller Sophie tent, they rolled straight into high-energy mode. Seemingly powered up by the trials of the day, they went on to make their show all about the audience, getting a kid involved in the drumming, and one wheelchair bound crowdsurfer pushed up and down the stage by Mike Muir. Simply lovely and legendary.
9 – Heilung at Wacken Open Air, DE
“Ethereal” is probably the one and only single word which could begin to describe this experience. Taking to the medieval themed Wackinger outdoor stage, in the middle of the night, Heilung swamped the intoxicated masses. I didn’t manage to catch them on their subsequent tour, but it’s really hard to imagine indoor venues matching the character of this performance being cast out into the dark of Germany’s witching hour. It was simply one of those moments in time which I don’t believe it will be entirely possible to replicate. You were either there or you weren’t. I would love to watch them again, but I suspect I would be chasing the elusive “first hit”.
10 – Slayer at SSE Hydro, Glasgow, SCO
Well, at the start of this article, I did say these events were in no particular order, but you know what they say about rules. The live metal crown of this year absolutely has to go to original thrash titans, Slayer. Aside from hosting one of the best under-cards for a long time, the atmosphere when the headliners took to the stage – seemingly for the last time in Scotland – was insane. This was not only down to them playing at their best. Credit is also due to the production crew, because they transformed that venue into another world. One last time, we were taken into Slayer territory, deeper than we had ever dared before. It was one Hell of a farewell.
After reforming in 2017 for the album Defcon Zero, an album that was created due to their frustrations with label executives. Swedish heavy-metallers, Corroded decided to keep the music coming out of this revitalised passion. Which leads us to this years album, Bitter. I have to say, I’m really liking this band ever since they’ve come back from hiatus. There’s really something so honest in their music since the 5-year break. Bitter continues this with everything here being presented with passion whilst also being really accessible to new listeners. I always say “every new album is a new chance to inspire new fans” and yeah it seems Corroded are going out of their way to entice a new following without betraying the older fans. It’s a delicate balance but I think they’ve nailed it.
This album starts with an atmospheric intro piece before kicking right into the riffs, which are awesome. The riffs are filled with bass and feel so weighty. The grooves they create on this record are fresh and you can tell how much time and effort went into the writing and recording. Every song just leaps out of the speakers and keeps you listening sense intoxicated until the very end. The precision guitar and excellent drum work are awesome on their own but coupled with the vocal performance it really is a treat for the ears. Vocalist, Jens Westin sings everything with such conviction you can’t help but try to relate to the lyrics and sing along with him.
There are just some excellent tunes that stick in your head long after the record is over. One of my favourite songs here is “Testament”. With its excellent groove, the anthemic chorus, blistering guitar solo and just overall fun appeal. It’s a song that really stuck with me. Another song that I really like is “Black” a wonderfully sombre tune but still injected with life thanks in part to the wonderfully arranged production. This album does just really run the gambit of emotional tone and all of it well paced. Seriously, I still think there is an art to putting an album together, this album is so well paced that 12 songs and 52 minutes long, it flies by like a breeze. Making you want to listen to it all over again, immediately.
Corroded are quickly becoming one of my favourite metal bands and I am so happy they came back off of that hiatus. Even better they came back stronger and filled with ideas. This album is such a blast and now a frequent companion on my car journeys. If you like your pure heavy metal, do yourself a favour and get this one as soon as you can!
2019 will be a busy year for the British groove metal band The Raven Age. They are currently putting the finishing touches on their second album ‘The Conspiracy’ which is scheduled hit the shops on 8th March 2019 via their own record label Corvid Records.
You can check out the cover art and track-listing below:
1. Bloom of the Poison Seed
2. Betrayal of the Mind
3. Fleur De Lis
4. The Day the World Stood Still
5. Stigmata
6. Surrogate
7. Seventh Heaven
8. Forgotten World
9. The Face that Launched a Thousand Ships
10. Tomb of the Unknown Soldier
11. Scimitar
12. Grave of the Fireflies
The album release will be followed by a European and UK tour this spring starting in Bristol on 20th March.
Here is the full schedule:
MARCH
Wed 20th – Bristol, The Fleece
Thu 21st – Manchester, Rebellion
Sat 23rd – Newcastle, Think Tank
Sun 24th – Glasgow, Attic
Tue 26th – Leeds, Key Club
Wed 27th – Stoke, Sugarmill
Thu 28th – London, Underworld
Fri 29th – Southampton, Joiners
Sun 31st – Biebob, Vosselaar, BELGIUM
APRIL
Mon 1st – La Boule Noire, Paris, FRANCE
Wed 3rd – Backstage Halle, Munich, GERMANY
Thu 4th – Colossaal, Aschaffenburg, GERMANY
Sat 6th – Luxor, Cologne, GERMANY
Sun 7th – Cassiopeia, Berlin, GERMANY
Tue 9th – Headcrash, Hamburg, GERMANY
Wed 10th – Poppodium W2, Den Bosch, HOLLAND
In the meantime you listen to one of the new songs here:
Soilwork “Verkligheten” Melodic death metal Released: 11th January 2019 Via Nuclear Blast Records
When I reviewed “The Ride Majestic”, about three and a half years ago (damn, feels like yesterday!), I said something about being surprised with how Soilwork could still impress me. Well this time they didn’t catch me off guard: I’m still impressed but I was counting on it.
A fellow reviewer said they’ve gone more melodic but I don’t think that’s quite it; I mean, sure, “Verkligheten” is a more melodic record, but I don’t think it was intentional. I believe they’ve just focused more on being intense than actually heavy, and such deeper sound enhanced the melodies which have always been a part of Soilwork. Take the latest single, “Stålfågel”, for instance; those initial synths bearing an Alan Parsons whiff, the growls of someone who Wikipedia claims to be Alissa White-Gluz (but it’s not) a mere shadow in the background of the chorus and the so straightforward solo result in an enthralling combination that’s way more than just “melodic”. it’s still my favorite song, by the way, even if I stood a bit disappointed when the lyrics didn’t match the title’s tongue. In fact, despite the Swedish album title, all songs are sung in English. Shame. At least one should be pretty interesting.
Tomi Joutsen was also invited to snarl over “Needles And Kin” but his presence is much more highlighted – the own nature of the song enabling it. I dare saying this is the heaviest song (“Arrival” right behind it), the riffing and drumming even reminding some black metal refined act, but the chorus always featuring some harmony to go along with the rest of the album.
I really hope “The Ageless Whisper” makes it to the live shows as it’s a very anthem-like track which I already imagine everybody clapping their hands to, in sync with the drums in its intro and later on, right before the solo. But several others, and for several reasons, are prone to turn the crowd into a bunch of happy campers ‘cause I’m pretty sure I’m not the only one loving “Verkligheten” as a whole.
Inferitvm
The Grimoires
Released 25th January 2019
Atmospheric Black Metal
Released via Inverse Records
The Grimoires’ is the second album from the Spanish black metal band Inferitvm. The group was formed in 2014 and they are based in the Balearic island of Mallorca. It’s been a long while since I last heard any Spanish black metal. The main band of the genre I knew from there was Asgaroth, who called it a day back in 2007. So I guess it’s about time that I check out some of the current black metal scene in that region.
One quick glance at the cover and the song titles gives you a good clue about the themes of this album. This is very much centered around the occult, witchcraft and mysticism. As for the music, what we have here are eleven tracks of atmospheric black metal which appears to draw inspiration from the Nordic black metal scene, most notably Emperor, Satyricon and to a lesser extent Immortal. The vocalist has a similar style to that of Abbath. There are a fair few melodic elements on here such as the guitar passages and the keyboards on Malleus Maleficarum. They even included a short keyboard solo at the end of the track.
Another song that caught my attention is Goetia of Shadows. The pace is a bit more varied on here, ranging from slow and atmospheric to mid-paced and aggressive. The melodic guitar and keyboard parts at the start and mid-way through the track really reminded me of early Emperor. This song also marks a turning point in the album moving towards a faster, more guitar focused black metal sound enhanced by Vltra’s grim croaking and less keyboards.
In summary, ‘The Grimoires’ is a good example of modern atmospheric black metal that is heavily influenced by Northern European black metal from the 1990s. I reckon that fans of Emperor and early Satyricon would enjoy this album. I certainly do.
And here’s that time of the year again. It was tricky to choose among so many great gigs I’ve attended in 2018 but here they are:
Infraktor at Origens Caffé (Ponte de Vagos)
Dark Tranquillity at Laurus Nobilis Music Famalicão (Louro)
Primordial at Hard Club (Porto)
Web at Hard Club (Porto)
Helloween at Pavillón Multiusos Fontes do Sar (Santiago de Compostela)
Out of the recording studios come these:
“Exhaust” by Infraktor
“I Loved You At Your Darkest” by Behemoth
“You Can’t Kill My Rock’N’Roll” by Hardcore Superstar
“Eonian” by Dimmu Borgir
“Decadence” by The Ransack
Most bands go for lyric videos nowadays, or just film themselves performing somewhere. I really appreciate when there’s more than that: like these:
“Bring The House Down” by Hardcore Superstar
“Stålfågel” by Soilwork
“When The Seasons Change” by Five Finger Death Punch
“Burn” by Corroded
“Give Me Leather” by Gama Bomb
As for my expectations for this new year, here’s what I’m most eager about right now:
Equaleft‘s “We Defy” is going to be released in 2019 after all; already have my ticket – number one! – to the release party.
Hills Have Eyes new album should see the light of day as well. Stoked like you can’t imagine (or maybe you can, ha ha).
Have Soilwork’s “Verkligheten” to review – can already advance that I loved it! Looking forward to see them live with this.
The Godiva have been announced to play at Vagos Metal Fest… with an orchestra! Pretty sure it’s going to be mind-blowing!
I’m still waiting for news from the Breaking Today camp, but since half of the band plays in Hills Have Eyes as well, I guess they won’t find the time to do both… So I’ll replace them with In Flames on this list, as their new album is set to be released in February.
Valkyrian Music 