I am quite the Grave Digger fan, believe it or not. Even though they’ve been together for almost 45 years, I first got into them roughly a decade ago. The thing that really got me was their rawness and intensity. Well, guess what? The newest album Bone Collector keeps that feel going and then some. Vocalist Chris Boltendahl also produced this disc and he sounds like a man possessed. Hell, as soon as “The Devils Serenade” kicks in you’ll find yourself taping the windows like a hurricane is coming.
Guitarist Tobias Kersting keeps the riffs hot and tasty like that aunt who makes killer mac and cheese, while “Killing Is My Pleasure” is a song that sprained and retaped ankles are ready to go back in the game for. “Mirror of Hate” is equal parts dark n’ moody, yet heavy as balls. Bassist Jens Becker and drummer Marcus Kniep complement each other very well here, and the track simply destroys. Meanwhile “Made of Madness” will bloody your nose like it’s nothing.
“Graveyard Kings” will mess you up, down, and sideways before “Forever Evil – Buried Alive” keeps that trend going. We get dark and moody at times on the closer “Whispers of the Damned” which I personally loved. Dunno, something about this one just hits. All told, Grave Digger have done it once again. A kickass metal record with great hooks and sexy riffs makes Bone Collector an album you’re gonna love. I’d recommend it!!
Standout Tracks: “Killing Is My Pleasure”, “Made of Madness”, “Whispers of the Damned”, “Graveyard Kings”.
Brutal death metal act Relics of Humanity’s last full-length record Ominously Reigning Upon the Intangible was released over a decade ago (2024 to be precise), though they did release an EP in 2018 as well as a sprinkling of singles in the time between. But they’ve officially returned with Absolute Dismal Domain, a nine-song concept album about the annihilation of light (both spiritually and physically, no less) with a new label in tow (Willowtip). Fans of old school brutal death should buckle up for this one.
The sonic rumblings of Absolute Dismal Domain match the bleak darkness showcased on its cover. While Relics of Humanity have some quickly identifiable characteristics of brutal death metal on display, it’s actually a bit harder to ‘nail’ them with a generic description. The riffing is chaotic and angular, offering a genuine bit of murkiness (as do that ominous low gutturals), and it’s such that it doesn’t keep a straight-forward and simple barbaric tone that brutal death bands aim for. Despite the ’90s-inspired tin can drum blasts, there’s an element of oozing, vile otherworldly-ness when they slow down. “In the Name of Ubiquitous Gloom” aims to drag out firmly out of the light with it’s slow, brooding riffs and dissonant flavors. The blend of technical and visceral makes for a deeper experience as well, with the title track nestling itself into an effective blur of both worlds, maintaining intensity but without causing it all to become an overly noisy and indistinguishable wall of sound. This is probably the album’s greatest strength. As a concept album, it flows but it never bleeds itself too far together. There’s a minimal amount of ‘brutal death blur’ as you move from one end of the album to the next.
Relics of Humanity have found a formula that’s built upon some of the foundations of brutal death metal, but it doesn’t limit itself to just that formula. Instead, bringing in some murky, modern dissonance and atmosphere proves to be a fine addition for added moodiness, without ruining the brutality at hand. Absolute Dismal Domain is sure to find favor with the extreme metal crowd with ease.
Germany as a country continues to offer a multitude of rich young artists willing to put their mark on the metal scene. Hailing from Stuttgart, Axetasy formed in 2020 – releasing their debut demo Slicing Dreams the following year, as well as two follow-up singles that set the stage with this debut full-length Withering Tides. The four-piece delivers a style that integrates aspects of speed, black, and old-school power into a traditional metal platform that is equally aggressive as it can be melodic in surprisingly nuanced ways. Between the twin guitar attack, forceful vocal delivery, and potent sense of bass/drum mainframe duties, it’s easy to ascertain the passion these musicians have for classic 80s bands from all across their European heritage as well as some distant across the pond influences.
Most listeners will easily gravitate towards the exhilarating guitar action, spirited hero-oriented lead breaks, and dual harmony antics from vocalist Johnny ‘Amon’ Kröner and Nik ‘Fetch’ Mangold. Their energetic abilities galvanize those deep Iron Maiden / early Helloween feel good moments racing through time as “Voidcrawler” and “Withering Tides of Space” peel through your speakers. Add in Ben ‘Jaxxy’ Kruska as a third fluid piece through his progressive bass passages and it’s easy to understand that there’s high quality riffs, transitions, and hooks that mesmerize from initial exposure through successive, deeper playbacks. Choosing to subscribe to a clean yet raw enough production ensures that one foot in the past while not forsaking appeal to a younger, hungry audience who clamor for bands closer to their age bracket to champion. When the band choose to slow down to mid-tempo gallop mode in sections of “Deadly Witch”, it reaches this explosive impact when the harmony background vocals and double kick activities of drummer Chris Kröner take control in the chorus. Pulling double duty as the singer, Johnny’s delivery contains the requisite forceful bite to his verses, taking on occasional eagle screams to punctuate key passages on highlights like “Axetasy – Of Murder” and “Fatal Maze”.
40 minutes later, most ardent metalheads won’t have any problem returning for another round of Withering Tides. Axetasy has a great future ahead of them if they can continue to crank out infectious speed anthems with the right amount of guitar hook swagger that exists here.
We Are the Catalyst have been paving their own way for quite some time. Their latest release is just the most recent example, with them independently releasing a new song every couple of weeks for all of 2023 and into September 2024. Friction nicely bundles up these songs into one release for the average person who may not have had them on their radar within the modern metal realms.
Continuing to fit nicely into their alternative/modern metal description, We Are the Catalyst hit with a groovy, catchy, and energetic combination as you move your way through Friction. It’s an addictive mix that captures elements from metal, rock, industrial, and more, and continues to sit in a position that feels like their own. “Antihero” is a solid introduction, with it’s emphasis on grooves and swirling melodies, while vocalist Cat Fey sits in the front, offering a beautiful voice that feels powerful and confident. “Into Darkness” keeps up the heaviness, going so far as to include some brutal vocals in addition to the usual cleans, also blending some effective bits of electronics and elegance into a a potent, multifaceted track. It’s something that “Parasite” does again later, but with even greater intensity behind it. On the other side of the fence, “My Dreams are Killing Me” stands out as a more gentle and melodic cut, gradually swelling up and providing a soaring chorus. Likewise, “The Awakening” utilizes playful electronics and hook-y riffing to elevate the song to an ethereal quality. Something that the ballad-y closer “In a Vacuum” does to maximum impact, showcasing Fey at her most emotive as the electronics swirl around her.
We Are the Catalyst continue to move forward, doing their own thing. Friction is a celebration of what the band has continued to do, without needing to bend the knee to a label or particular sound. They are nothing if not hard at work, especially given that they have already continued to carry forward with new songs since this album, with “Boiling Point” already released in early 2025. If you like modern metal and haven’t yet discovered them, there’s no better point to tag along for the heavy and melodic ride than now.
January is usually a quieter time in the metal world, given the switch-over to the new year and bands laying plans for spring/summer touring. But some groups see fit to start the year off with new music, be it a preview of bigger things to come or just a simple one-off to keep them at the fore-front of listeners minds. This month, we cover As December Falls, Ave Mujica, Band-Maid, City of the Weak, Conquer Divide, Cyhra (pictured above), Diablevoix, Dimrays, East of Eden, Kakumei Meloic, Lilac & Lotus, LOT SPiRiTS, NiL, Scandal, and Ziyola.
As December Falls “Therapy”
Coming off of the band’s fourth album Everything’s On Fire But I’m Fine (due all the way in August of this year), “Therapy” is an uptempo rocker with some elements of punk, pop, emo, and even a thunderous breakdown all coming together in a very catchy combination. If you like what you hear, they have also released “AngryCry,” which hits some groovy pop/punk notes, with some hook-y melodies that instantly grab hold. (As December Falls official website)(As December Falls on Instagram)
Ave Mujica “KiLLKiSS”
The opening to Ave Mujica’s anime hits massive symphonic metal beats, with a side helping of gothic and even thrash. Arguably one of the band’s strongest songs to date, it offers up a massive chorus that soars with rumbling drums, powerful orchestrations, and Sasaki Rico’s elegant vocals. The sense of urgency never fades, with the song ending on some of it’s most frantic notes. Hopefully the rest of the music here will stick to the same high bar set by this first cut. (Ave Mujica officlal website)(Ave Mujica on X)
Band-Maid “Zen”
The first song in 2025 from the ever-rocking Band-Maid also serves as the opening to the currently airing anime Zenshu. It’s got all of the classic Maid elements at play in their most shining form. The energy is upbeat and catchy, the instrumentation is playful but ever intricate (including a killer solo), and Saiki’s vocals are beaming at the front of it all. Just an all-around fun track! (Band-Maid Official website)(Band-Maid on Facebook)
Cyhra “Superman”
Cyhra finally returns with a new song to celebrate the band’s signing with new label Reigning Phoenix Music. Kicking off instantly with the chorus provides a solid opening salvo, grabbing you and keeping the momentum going with their catchy melodic metal grooves and Jake E’s always excellent vocal work. Keep our eyes out for their third full-length album, but this is a great teaser to get excited about. (Cyhra official website)(Cyhra on Instagram)
City of the Weak “STFAFM”
While it’s been a while since 2018’s Pulling Teeth, City of the Weak have continued to put out singles in the years since, with “STFAFM” harkening fully back to that groovy, attitude-fueled hard rock that made that album standout. This is a hook-y, heavy cut that is bound to get into your head, and hopefully more new songs are incoming. (City of the Weak official website)(City of the Weak on Instagram)
Dimrays “Bad Taste”
The first new song from Dimrays since 2023’s “Everlasting,” “Bad Taste” does anything but leave a bad taste in listeners mouths. A combination of massive grooves, frantic riffs and a fiery solo, a soaring chorus, some hip hop and electronic elements, as well as a pulverizing breakdown to finish the song on – it’s a fun and energetic trip that fans shouldn’t miss out on. (Dimrays on X)(Dimrays on Facebook)
Lilac & Lotus “Above the Noise”
Continuing to release a number of singles through 2023 and 2024, Lilac & Lotus fit comfortably in the modern metal field. “Above the Noise” offers plenty of catchy melodies and metallic riffs as it escalates to a dabbling in screams before returning to a moving chorus and more playful melodic instrumentation. Consider this group one to watch as they continue to release new material. (Lilac & Lotus on Facebook)(Lilac & Lotus on Instagram)
Diablevoix “Daze”
One woman idol act Diablevoix returns with a brutal yet catchy track that is sure to get fans excited. Strong groovy elements merge with darkly melodic/melancholic tones, all led by Haluka’s vocals, which switch up between more elegant clean vocals and harsh screams. The aesthetic of the video also nicely captures this dynamic and lends to the visual kei appeal factor. (Diablevoix on X)(Diablevoix on Instagram)
LOT SPiRiTS “Outside Story”
An upbeat, rock-friendly number from 3-piece LOT SPiRiTS, a group that has been around since 2020. “Outside Story” maintains soaring hooks from both the vocal end as well as the guitar melodies, both of which keep the track on the catchier side of the spectrum and ground the track with ‘down to Earth’ appeal. While the hard rock formula has been done, LOT SPiRiTS capture all of it’s glory. (LOT SPiRiTS on Instagram)(LOT SPiRiTS on X)
Scandal “Terra Boy”
Speaking of rock, the long-standing Japanese act Scandal have returned with “Terra Boy” as a precursor to their upcoming Love, Spark, Joy EP due in early March. It’s an incredibly infectious song that digs into some funky riffs and bass, offering a very dance-friendly opportunity with it’s merger of some traditional Japanese elements and pure, joyous rock appeal. Long story short, it’s just a really fun track. (Scandal on Instagram)(Scandal official website)
NiL “Brand NiL World”
An idol act that took some digging to find more information on, NiL blend some moments of harsh metallic aggression, punk energy, and some modern electronics and idol flair into a rollicking song that will definitely grab you and nestle itself inside your head. There’s a lot of elements involved in the sound, but it makes for a more intriguing listen. Hopefully we will hear more soon from them. (NiL on X)
Kakumei Meloic “Oh! Mikuji” A new video from a song from last year’s Hanate Super Energie seems to be the embodiment of that particular album title. “Oh! Mikuji” is a rousing, uptempo track that all but begs for the listener to start moving along with it. The frantic clashing of rock and a more traditional Japanese feel makes for a fun, ear-worming time that’s easy to listen to over and over again without fail. A real ‘pick-me-up’ of a song. (Kakumei Meloic on X)(Kakumei Meloic on Instagram)
Ziyola “RE:bellion”
A three-member visual kei act active since 2021, “RE:bellion” is the first new song from Ziyola since 2023’s No Fate album. Strong, mid-tempo grooves and an added emphasis on atmosphere, in addition to an effective melodic front with both guitars and keys, makes for a driving force of a track. (Ziyola on X)(Ziyola on Instagram)
Conquer Divide “Bad Dreams”
Conquer Divide return with their first new material since the excellent Slow Burn (and the loss of Janel Duarte). Enlisting two vocalists from Of Virtue to add to Kia Castillo’s vocals for this track makes it a real treat. The song swings from more melodic moments to gradually bring up to a heavy groove towards the song’s end, and the interplay between vocalists is incredibly fun. A great start to the band’s next era. (Conquer Divide official website)(Conquer Divide on Instagram)
East of Eden “Shooting Star”
The first East of Eden since Mina took over for Wakazaemon on bass, the violin-led metal act continues to impress with their unique sense of style. Ayasa’s violin work stands as a fantastic foundation to give them a different approach to symphonic elements compared to many, and when they are able to showcase the violin in contrast with heavier instrumentation like on “Shooting Star,” it has a very powerful and lasting impact. (East of Eden official website)(East of Eden on Instagram)
In this modern metal world, there’s a number of bands that aren’t afraid to move in directions that buck tradition. Germany’s Blacktoothed is exactly one of those bands. While their newest album, Headway, is full of heavy grooves and some metallic crunch, it’s far from it’s only device for each song. It’s a pleasantly diverse offering that sits as comfortably in it’s rock shoes as it does anything else, and the band isn’t above going outside of the norms to provide a track that’s heavy but also incredibly hook-based.
One of the first unifying factors that can be heard in Headway are the heavy modern grooves. Opening immediately with “Get Me Down,” they swing the doors open for the album, and it starts things off with an energetic bang. As the group moves into a more rock-based, melodic chorus it’s the piece that retains the harder edge. While it seems a natural fit to a heavier cut such as “Hell’s Paradise,” where it explores some darker and heavier moments, it’s just as effective in that track’s follow-up in “Walls,” a more melodic and slower paced track, and gives it some extra emotional weight.
Another highlight that Blacktoothed provides is the vocal dynamic between Hendrik Rathgeber and guitarist/vocalist Matti Keitel. While Rathgeber provides the main vocals, Keitel interjects some extra contrast at times. While “Time Bomb” nicely flips between melodic and heavy moments, the opening vocoder-enhanced vocal trade-off is a fun little bit to start, giving the explosive breakdown ending that much more impressive. Likewise, the work on “Antidote” adds to the hooks, and is never done in the traditional manner of ‘beauty and the beast’ styled employments common in the genre.
Blacktoothed provide an andrenaline-fueled mixture of rock, metalcore, and more with their latest effort. Headway is full of catchy moments that will have you moving around and singing along, but augmented by some moments of modern heaviness that feel seamless in their transition. It’s a formula that makes the band stand out, as well as allows them to really spread their wings and showcase a sound that should have massive appeal.
2021’s first full-length from Indiana’s Fleshbore, Embers Gathering, offered up a combination of technicality balanced by melody and grit. In comparison to the increasingly sterile sound of bands going too hard on the musicianship and less on the ‘deathly’ side, their sound was a welcome one. Painted Paradise is their follow-up, this time released through Transcending Obscurity Records, and it picks up where the debut left off. Those seeking a nice mixture of brutality and technical musicianship should be thrilled with this one.
Above all else, Painted Paradise is frantic. There’s an exhilarating rush you can grab when listening to the music that only death metal is meant to give, and instead of having the technicality get in the way, it enhances the experience. As mentioned before, some bands tend to overemphasize the tech aspect, which leaves the aggression factor lacking. As you can hear in “Laplace’s Game,” the riffing and brutality is upfront and center. The vocals are brutal and varied, and the speed runs thrive off of energy. Grooves offer some weight to them, while the drums batter away with intensity. It’s heavy. But also in the same track, there’s a melodic interlude that provides an atmospheric breather for a second. There’s a great use of balance between melody and steamrolling brutality that helps the tracks to feel less like different iterations of the same concept. “Target Fixation” opens with some Archspire-esque vocal acrobatics, but then the rest of the music accelerates to the same speed. Grooves eventually fall into line, as do some strong melodies within that same space, giving the music some extra gravitas.
If you enjoy your technical death metal with plenty of aggressive meat on its bones, Fleshbore should be on your get to know list. Painted Paradise can bring out just as much flash and flair as the next tech death act, but it still has the barbaric fury present to provide a pure adrenaline rush. Toss in just enough melodies and groove to keep it memorable, and it’s a formula that is bound to impress fans of the genre.
A consistent force in the rock/metal world, The Night Flight Orchestra made a name for themselves for creating a nostalgic ’70s/’80s AOR sound that was full of fun and bringing in other elements, such as prog and disco, as they saw fit. Two years ago, they suffered a heavy loss with guitarist David Andersson’s passing (who formed the band with vocalist Björn Strid), but they’ve returned with a new label [Napalm Records] and a seventh album in Give Us the Moon. An album that has maintained the high bar for adventurous rock, and sees them continue forward full-speed ahead. We spoke with Strid about continuing on without Andersson, the band’s slogan of ‘Death to False AOR,’ the space and sky themes, adapting to a life on the road with age, and much more.
Dead Rhetoric: You had announced that both Soilwork and The Night Flight Orchestra would continue after the loss of David [Andersson]. Do you feel there’s a certain bar you have to keep to in order to honor his time with the bands? Particularly since you two started Night Flight together?
Björn Strid: Yeah, I guess in a way. We started [The Night Flight Orchestra] together and it was our own little dream and it is surreal that he is no longer here. But having that talk with him, on his deathbed, it was quite dark but it was very beautiful in many ways. I feel like a lot of responsibility to carry on to carry on the legacy that we started. It was important for me, not that I needed to ask him to continue, but I think it was important for me and I think everybody else in the band too. I think the biggest challenge for us has been to sort of step into his world. He was composing in such a special way. He had a unique expression lyrically too. You can’t really copy that. But I have known the man for a very long time and we worked very close.
I feel like he is still very present, even though he is not physically here. We had to step into his world a little bit more and sort of broaden our palette as songwriters, and try to find that and take it with us somehow. I think we succeeded. It was quite a journey to go through this. There was a lot of grieving involved, but it later turned into a big celebration and a lot of joy, somehow. The last few years he was with us, it was quite dark. But now, you look back and you only see the good times. You feel good inside when you think about him, and you miss his laughter. I’m sad that he is no longer here, but I think with this album, we have definitely taken him with us.
It was really tough in the beginning, since we have been recording in the same studio, Nordic Sound Lab, and we have been there for over 10 years recording stuff. We were worried about how it was going to feel there. It felt sort of empty but then we sort of filled the room. He felt very present, and you could see him walking through the corridors, in his underwear drinking beer [laughs] like he used to. He always recorded his guitar solos in his underwear as well. He was very present and we had so much fun. It was a great thing. We made the most out of it and we managed to turn it around. It’s not easy to do that. We feel like we are giving life to his creation. We started the band, but he felt very present with the band in everything we were doing.
Dead Rhetoric: I think it’s important too, like you were saying, you were having fun with it. As someone who has listened to the band since the start, it’s important that you have that fun element. It’s one of the first things I think of when I am going to describe The Night Flight Orchestra.
Strid: Yeah, it is. Even though it’s very multi-layered, I think it’s a good, simple word to describe the band. It’s fun listening to it. It takes you on a journey, and that’s what we want it to do. We managed to move between genres almost on the same album, and have it still sound like us. It’s really cool. You don’t hear that so much nowadays, but in the ‘70s and ‘80s it was sort of the norm. You could have different music styles on the same album. You could have a reggae song and then have a progressive, 7-minute song. It’s a lost tradition somehow.
Dead Rhetoric: Just looking at metal genres, everything has to go into that nice, neat box nowadays. There’s that aversion to risk, at least with a lot of the newer stuff.
Strid: That’s true, and I come from that world as well, and I kind of like being inside that box with Soilwork. I think we have evolved a lot, and we have managed to develop extreme metal in our own special way. But there are still limits. You are sort of contained, and that’s fine. I enjoy being in that little cage with Soilwork. Then with Night Flight, I just go absolutely mental. Which doesn’t always mean that it’s going to be good, but I think it’s a good thing for us. There are no limits. We are the ‘anything goes’ band. Like, ‘Can we really do that?’ Yes, of course. We are The Night Flight Orchestra, so we can do that. So in that sense, we are very over-the-top. It’s not about showing off, but it’s so much fun to have this open field to do whatever you want.
Dead Rhetoric: With Soilwork, you have the box and a limit, but there are ways to play around within it. With total freedom, is there ever the thought of getting stuck because of too much freedom?
Strid: So far, no [laughs]. I get what you are saying, because maybe it could be bad with too much freedom but we haven’t pulled a Brian Wilson and had goats in the studio yet [laughs]. That’s where things can go pretty wrong. I guess that’s mostly the drugs that are doing that. But since we are mostly drug-free and really high on being able to do whatever we want, I think it’s a beautiful thing. There are so many creations that can come out of this band. It’s so multi-layered. There’s an ABBA tradition as well, Swedish bands always have to mention ABBA, but so does everyone else I guess. Who is not inspired by ABBA? I think they had that real balance. On paper, they are ‘that disco band from Sweden,’ but they were so much more than that. They had quite melancholic stuff as well, even though it was uplifting at the same time, so there’s that tradition as well. It’s a guiding star in many ways.
Dead Rhetoric: What else do you think feels special about Give Us the Moon?
Strid: It’s very special. It’s very complete – we have been having our slogan ‘Death to False AOR,’ album oriented rock, [laughs] so we need to live up to that. I know it was never really AOR, it was always ‘airline oriented rock, so there’s always a plan B! But I feel like it is very complete as an album in a time where it’s all about singles. We are throwing out singles as well, and that’s also important to us, but we always want to create something where the songs are somehow connected even though we really want them to stand out from each other. That’s the biggest challenge. I think we had to dig really deep for this album and it was one of the toughest albums for us to make. On a personal level, to dig really deep to make ourselves proud and David proud and show all the doubters that we can still pull this off.
I feel like there is nothing we could have done to make a better album, and that’s a great feeling. We have done everything we could. It’s something to be proud of, and I think it’s turned out to be something really special. It’s an explosion of emotions. It’s so full of emotions, and I hope our listeners can hear that. There’s so much sincere emotion in there, and when you blend that up with a good old disco beat [laughs] there’s definitely some magic in that. There’s so much more than disco, but that was just an example.
Dead Rhetoric: To your point on ‘Death to False AOR,’ The Night Flight Orchestra started up before much of the current ‘retro rock’ movement started. Why do you think the sound has sort of picked up and become a revival so to speak?
Strid: It’s hard to say. Now there are so many bands calling themselves AOR. It’s enough to just have distorted guitars and ‘80s oriented keyboards on top of it. To me, AOR is so much more than that. It’s a way of composing, performing, and playing that has been lost for a long time. But there’s a lot coming out, and some of it is very synthwave influenced…not that there’s anything wrong with that, but I don’t know. Everything is becoming like a Miami Vice version of AOR [laughs]. I love Miami Vice and all that ‘80s nostalgia. But I feel that for us, it’s a really timeless thing that needs to stand the test of time.
We see a lot of bands with wrestling glasses on and big ‘80s keyboards and an ironic mustache, I can enjoy that too. I’m not being snobby about it, but I don’t know if it will stand the test of time. I feel like we stick out a bit and I feel we are a bit braver in that field. I believe we have a pretty unique expression. But then again, we wear our influences on our sleeves. But it’s very diverse. We aren’t afraid to do anything, really. I have been rehearsing the setlist a bit today for the upcoming tour. I can’t remember the song from the new album, but I was wondering if it was ‘too soft,’ and now I am listening back to “Domino” and if we can do that, we can do anything! Even back in those times, I was like, I love this song and wanted to throw it out there but wondered if people were going to think that it’s a step too far. But people loved it.
People really feel that we are doing it in a very sincere way. There’s a lot of nostalgia, but there’s so much more than that. I think that’s why we have so many metal fans. They like black metal, but somehow they like The Night Flight Orchestra as well, because they can feel the presence in the music that we are sincere. You can’t really fool a metalhead. Some of them might not like it, but they respect it because they know that it’s sincere.
Dead Rhetoric: I personally came into Night Flight by following Soilwork, but do you feel that there’s a significant portion of The Night Flight Orchestra fanbase that came to you independently of Soilwork or the metalhead route at this point?
Strid: Yes, you hear that a lot more. It’s pretty funny that now it’s quite often that people come up now and they say that they just found out that I’m a singer in a metal band as well. It’s really cool to hear that people go the other way, discovering Soilwork through Night Flight when metal might not be their thing. Maybe that is opening some doors to other metal bands, and that’s a beautiful thing. I think that the band has a unifying factor in that sense. At our shows too, it’s a very mixed crowd. There’s prog dads, hipster girls with braces in the front, guys with Behemoth patches to college kids. Everyone is looking at each other like, “what are you doing here? [laughs] but they are sort of dancing together at the end of the night.
Dead Rhetoric: There’s always been a consistent bit of imagery with the band with space and the moon, even with the band’s name. Is that something that you keep within the group at this point – a quick identification point?
Strid: I think that’s sort of symbolic for the escapism that runs through our music and all, as well as lyrically. But when David was alive he was reading so many books a week, like urban fantasies. He always wanted to escape somewhere else. Whereas I was sort of fine being in reality. He sort of introduced me to his escapism and took me away on his little journeys and I had to keep him grounded somehow [laughs]. But he made me discover space and escapism. Of course, I like to escape every once in a while as well. I’m a bit of a dreamer and always was as a kid. I loved where music could take me. That’s a beautiful thing to dream away with music. I remember coming home from school and taking a nap while listening to music. You were half-sleeping and listening to the music in this dreamstate and I love that.
But I would say that the space element is important to us and it was mostly David who introduced us to that. But we want to take it with us. The contrast between reality and escapism. On the new album, there are a lot of lyrics that are real life stories. You have that contrast with more spaced out stuff, and I like that contrast so we work a lot with that.
Dead Rhetoric: Personally, how do you adapt between a life on the road and a life at home? How do you prioritize getting older and having some sort of life outside of music?
Strid: It’s not getting easier with age. I have two bands, so I never really get to rest. We are trying to do album cycles so that we don’t do everything at the same time. It’s not as much of a party on the road as it used to be. Though Night Flight has a bit more of a tendency to become a party. I hide, basically [laughs]. I need to pick my battles a lot more. When the other guys come home, they get to rest and it’s the same situation for Rasmus [Ehrnborn] too. He is playing bass in Soilwork and guitar for The Night Flight Orchestra. But the switch is very easy, and somewhere in between, I try to do things that have nothing to do with music but it’s super hard. It is very hard. I try to stay in shape and work out.
I don’t know what I can do that has nothing to do with music. I like to go to flea markets and look at antiques. That’s something that has been there since I was a kid because my grandmother had an antiques store. It’s really therapeutic for me, to sort of shut off the music. I think that’s important. There’s so much music all the time. You need to shut it off in order to appreciate it. I’ve noticed that I think a lot of people can relate.
I’m not listening to as much music – it’s all podcasts and they can be brilliant. But it’s sad that I don’t listen to as much music anymore. Recently I started forcing myself to and say no to another podcast that would be on in the background. You aren’t even listening, there’s just someone talking in your ear. It’s weird how that works. But now I am listening to full albums and no playlists. I have been writing down entire discographies even, like Steely Dan or something. They are one of my absolute favorite bands. But music is always there, so it’s only natural to shut it off once in a while and listen to a podcast about sports or whatever.
Dead Rhetoric: What are your plans for this year? You are playing ProgPower, is there any possibility of more US dates?
Strid: Yes, there is a chance. We are definitely working on getting a few more shows or a tour. Visa costs have tripled! It’s insane. Plus the tour bus and all that, it’s really hard to pull off. We are eight people and we need at least some sort of crew. But this is the seventh album and we know we have a growing fanbase in North America and we need to get out there. We would love to and we are working hard so fingers crossed.
Continuing on from the two-piece iteration that Elyose formed for 2023’s Déviante, Évidence is the fifth full-length from the French act. The interesting combination of djent/nu-sounding mechanical riffing and vocalist Justine Daaé’s more melodic vocals makes the ground that Elyose tracks more unique and innovative than one might expect. Évidence continues in many of the same ways as it’s predecessor, but it still maintains a high bar for those seeking some chunky, futuristic riffing with industrial edges.
Given the shift of Elyose from something more symphonic and gothic (still with some industrial edges) to something more modern and djent-y last time around, the formatting doesn’t change much for Évidence. That’s not to say that the songs don’t continue to be compelling though. The futuristic approach of merging the djent grooves, industrial clattering, soaring melodic vocals, and putting it through an electronic yet cinematic flair, Elyose immediately grabs your attention and holds it firm for it’s 40 minute runtime. “Immuable” displays many of the aforementioned qualities, such proggy djent melodies, an urgent cinematic vibe, and Daaé’s playful vocals. As the song reaches a fever pitch later on, it’s quite a thrilling journey to sit in on. “Etoile Solitaire” packs a massive punch with it’s groovy riffs, with Daaé’s vocals providing a nice, comforting contrast to the steamrolling melodies.
It’s the weaving of the melodies and grooves that makes Elyose truly stand out. “Rise and Reclaim,” a rare song sung in English (as opposed to the usual French), ensnares the listener with it’s flowing melodies, with Daaé leading the way. “Ascension Tracée” operates in similar territory, with some glowing combinations of the electronics and vocal melodies operating in a spectacular fashion. It’s a welcome break, keeping the album from being too reliant on the djent riffs and moving it further into occasional esoteric territory.
While it does lose a little bit in sounding to be from the same mold as Déviante, Évidence is none the less a thrilling experience. Elyose continue to be quite the underrated act within the genre, somewhat likely due to their innovative approach to metal as opposed to continuing down the same path as many, and are worth seeking out for anyone who is interested in finding some music that blurs the line between cinematic, industrial, and djent.
