Coming off of two albums that saw the band evolve in more melodic senses, Kin and The Valley, Hymns of Dissonance is a jump back into pure adrenaline. But thankfully, one can’t simply use the term ‘return to form’ or ‘throwback’ with the release. Four years removed from Kin, this isn’t a ‘return to our old school ways’ type of album either, as it appears to have captured the band’s continued growth on the heavier end of the spectrum, and has taken it a few steps farther. In short, it’s pummeling but it’s never easily forgettable.
Released cuts “A Visceral Retch” and the title track showcase the brutal blend of extremity pretty well. There’s certainly nods to the band’s deathcore upraising and early work, but also incorporating more straight up death metal into the mix. From raging blastbeats to rumbling breakdowns to sinister melodic leads, there’s a good range of tempos and tactics to keep one’s interest. “A Visceral Retch” showcases some extra emphasis on groove along the way, and some admittedly brutal vocals. Those two tracks show quite a bit of the album’s range, but if there’s one track that stands out among the pack, it’s “Hate Cult Ritual.” It’s a visceral, blast-driven effort that charges ahead with unrelenting aggression. While there’s a nice melodic solo and repeated hook-y harsh vocal lines, it’s a real adrenaline rush.
For all of it’s primal fury, there’s some more subtle nods that help keep things exciting. “The Abysmal Gospel” succeeds in creating gritty mid-tempo stomping riffs and some blackened atmosphere when it speeds up. Toss in some slower, melody-driven moments and buzzing, almost grindcore assaults and there’s a number of different points you can drill down on. “Mammoth God” has the most melodic and brooding opening of the bunch, setting an eerie atmosphere before it unloads into blastbeats and later thunderous chugging. Final cut “Nothing is Coming for Any of Us” may have some absolutely crushing breakdowns to be found, but there’s also a really emotive melodic lead and solo that ends the album that is a striking way to exit.
Being in the camp that quite enjoyed the swerve the band did with the last two albums into more progressive territory at times, Hymns in Dissonance doesn’t feel like a step back. While that progressive side isn’t there in a literal sense, the music itself is full of visceral and subtle energy that keeps each track interesting, and the adrenaline rush the songs provide are bound to attract the attention of those seeking something abrasive. That said, what keeps the album afloat is that there’s more to it than the surface level attack, which is bound to bring fans back for repeat listens.
Literally a hotbed in the metal realm, Latin America has been producing some worthy domestic acts that deserve the attention bestowed upon them. Costa Rica is home to Chemicide, a thrash metal band with an EP and four albums to their credit (this scribe giving 2017’s The Act of Retaliation kudos in a Rapid Fire column on this very site), building things up in the old-fashioned, DIY way. Picking up interest through Listenable Records, Violence Prevails as the latest recording should be a momentum builder as the quartet looks to solidify a presence beyond known territories into the international landscape.
The eight original tracks keep things firmly sharp in that crossover/hardcore meets classic Teutonic/Bay Area thrash mold. Opener “Do As I Say, Not As I Do” may start off relatively slow in its riffs/tempo, but soon the aggression, gallops, and speed take over as neck strain becomes obvious, the vocals barked out in a Power Trip meets classic Sepultura matter of fact delivery. The guitar volleys in rhythms between Frankie and Sebastian sustain interest on first to subsequent playbacks – forceful with just the right amount of chaotic to melodic spirit one hopes for in this style. Experienced musicians know when to fluctuate the instrumental sections to shift tempos and atmosphere, setting the stage for the next whirlwind passage of heaviness. Destruction guitarist Martin Furia handles the mixing/mastering duties – ensuring a full sound where every instrument has its proper placement, the bass attacks equally as the guitars, and the additional narrative elements make sense next to the songs. Traversing classic crossover into contemporary output for “Systemic Decay”, you also will be blown away by the sheer intensity next to rabid word spew on “Chokehold” and be enthralled with the acoustic, classically laden touches that make “Scalped” a progressive, twisted outing when it kicks into high gear.
Digital and CD versions for Violence Prevails feature two extra covers – including the title track of Metallica’s last studio album 72 Seasons that works better to these ears thanks to Frankie’s impassioned vocal cries. Chemicide possesses the right balance of energetic thrash next to some solid hardcore/punk mechanics to elevate themselves across the globe based on their understanding of this genre, putting together a record that rocks.
Sometimes, music by definition isn’t exactly metal but the feelings you get from it certainly are. Such is the case for the new Echos album, Quiet, In Your Service. The (mostly) gentle and darkwave-y sound doesn’t have too much in common with metal from a sonic standpoint. But the genuine melancholy and hard-hitting gloom should put it squarely in the sights of those seeking something more on the melodic end of things that carries a raw, emotional punch.
Vocalist Alexandra Norton sits at the center of this release, with some songs relying solely on her voice to carry the emotional weight, accompanied by some quiet electronic arrangements and listening to the album as a whole takes you on quite a journey. From the descending whispers of the intro track “Mariposa” it brings you into this dark and moody feeling, and “Carousel” adds murky electronics that ebb and flow, with Norton’s vocals all but floating in mysterious and enticing atmosphere. The title track acts as an emotional gutpunch with lyrics that address the push/pull of staying in a toxic relationship in raw sincerity. “Bruises” and “Over & Over” elevates the energy level into something more ‘heavy’ at times, offering more direct hooks, particularly “Over & Over,” where visceral riffs hit hard in the chorus, providing an almost hypnotic groove that amplifies the emotions of the poignant track.
“Papercuts” begins to showcase a change in mood from the despair and straight-up helplessness some of the earlier songs provide. There’s almost an angry side that starts to rise through to the surface as it progresses. But “Wires” takes that anger and melts it into yearning and self-reflection. It’s a very gentle track with minimal instrumentation outside of Norton’s vocals, and it’s a very powerful and haunting in tone. The album ends on a more upbeat and ethereal note with “Tolerance.” The vocal lines sound healing in tone and it leaves on a very strong, resilient note. Or you can let it loop and it gives a different meaning as to how easy it is to slip back into the darkness.
Beautiful, heart-wrenching, and powerful all describe how Quiet, In Your Service feels as you listen. Echos provides an emotional rawness that isn’t easy to portray, and the journey this album takes you on a hard-hitting trip. Norton’s vocals are a powerhouse, showcasing a range of emotions that well up from within, and will resonate with listeners for long past when the album ends.
Edge of Paradise has been working hard to make a name for themselves in the scene for over a decade now. They’ve toured with some big names, utilized unique strategies with art and merch, and recently made the jump to Napalm Records for their latest album Prophecy. Continuing their unique industrial/electronic approach to metal, it is poised to give them their next big push. We spoke with vocalist Margarita Monet, who discussed all of those topics above with us, as well as a look back at Immortal Waltz, creating art and graphic novels, and even some thoughts for her ideal headlining tour set designs.
Dead Rhetoric: What were your goals in writing Prophecy? Were there any ideas that you were eager to try or things you specifically wanted to avoid?
Margarita Monet: From the past albums, I actually had the story already going, so I was actually pretty excited to make this one because I released the graphic novel for the last album, Hologram. It ended on a cliffhanger so I had to continue it. What’s funny is that I have been thinking about this because I have been talking about the album a lot lately. I realized that with Universe, which we released in 2019, we started talking about artificial intelligence and putting the world into these futuristic settings. It was kind of there, but it’s not like how everyone is talking about AI now. It’s such a big part of our lives now and it’s just going to keep expanding.
So it’s kind of interesting to see how it mirrored what was going on in real life. We have Universe, and then The Unknown, we have the song “Digital Paradise,” where we brought up the idea of living forever through digital existence. I left it up to the listener to decide whether it’s good or bad. Then with Hologram, we painted all of these implications about what could go wrong, but still, the technology could be so cool. In Prophecy, I kind of take a stance that’s the ultimate standoff between consciousness and artificial intelligence, which is kind of where we are right now.
Dead Rhetoric: As you have seen your songwriting come to light, do you ever pull any ideas from where we are at now, as a society?
Monet: I think just living in the world and experiencing and going through stuff, it kind of seeps through the music. I think I’ve always been a bit removed from reality. I love to really just make songs and create my own world. But still, I’m here so I am experiencing. I’m creating another version of myself, for people to be a part of if they would like. I think naturally, I do draw inspiration from what is going on and how I feel about it, but in my head, I’m creating this thing. Consciously, I’m not talking about things because they are going on right now, I have my own storyline going.
Dead Rhetoric: This far into the band’s history, what do you feel are the elements that make up the sound of Edge of Paradise?
Monet: I think the cinematic elements, the songs start with strings and keyboards, so they sound a lot more cinematic. Then we start adding guitars and bass and drums and the rock/metal elements. I think it’s the merger of the two. When we started the band and I met Dave [Bates], it took a number of years to figure out how we could merge our backgrounds. I am from a classical world, he’s from a metal world. It took a lot of time to really evolve our collaboration. Over the years, the music just evolved naturally. On this album, we have a new member, who played an 8-string guitar which added a lot of dimension to our sound. I would say that what it feels like is a mix of cinematic and the dynamic elements in the music. It takes you on a ride. It’s very epic, but then it’s soft, then it goes like crazy. It’s an experience!
Dead Rhetoric: That’s kind of what you want nowadays. You can’t just make music, you have to make it something more…
Monet: I have always liked that. I have always radiated to that. I didn’t really listen to much rock, as I wasn’t exposed to it. But I heard an orchestra do a rendition of Led Zeppelin’s “Kashmir,” and it was so epic. It was a huge orchestra doing all of those melodies and riffs, and I loved it. I love music that really makes you feel and experience something. One of my favorite soundtracks is from Requiem from a Dream. There’s such a simple melody but it just tears your heart out. That’s what I gravitate towards and the music that I would like to make.
Dead Rhetoric: You mentioned him already, but could you discuss your continued collaboration with Dave Bates over the years with the band?
Monet: I think it’s just making music. What I can say is that every time we have to make an album, we never say, “we need to make it sound like this.” I think we had to follow where the ideas were leading us, then I started exploring more sounds on the keyboard and going towards putting more of those cinematic, industrial, and electronic elements in just because it sounded cool. So I explored that aspect more, and the music naturally evolved. We have a really good system now. We know how to work together. Before, we would take it more personally. Like, “your guitar solo sucks,” and we would argue. But I think it comes from creating a lot together.
Dead Rhetoric: Your outfits for the videos have had a very futuristic vibe. What sort of considerations do you give to clothing when it comes to videos and stage. Does that aesthetic have an importance to you?
Monet: For me, yes, because first off I really love any chance I get to play dress up. I like that, and I have always wanted to not just be larger than life in anything, but just kind of step outside of reality in whatever I am doing. For me, it’s dressing up a bit extra for the stage that fits the music. It seems natural to me and it’s exciting to figure out what I can wear. Some outfits I create myself or customize them, or I find other really cool brands/designers that make unique clothes. To me, the band isn’t just music. It’s everything. The art, the videos, the live shows, the outfits, I think it all goes together and creates a whole world. For example, in Star Wars, you have to wear what those people wear on that planet, because what else are you going to do [laughs].
Dead Rhetoric: You’ve got journals this time around as a merch item, as well as a statue. Edge of Paradise has always had outside the box ideas when it comes to merch. What have you found to be some of your best ideas, in terms of fan-directed merch?
Monet: I really like to create with my hands. I think any chance I get to be creative, I try to take it. So it started with Universe, when we started to do limited edition packages. I made these boxes. Someone gave me…if you know Fabio, the model from the ‘80s, he was at a show and all of a sudden he was like, “I bought a bunch of gold coins, and I don’t need the cases anymore,” so he gave me a bunch of really cool wooden boxes. Of course without the gold coins. So I painted the top and then put the cd inside with some necklaces and whatever else I could stuff in there. People loved it because it was something unique. That’s how I started to incorporate more art. I started paintings for each song, I released an art book, and it started to go into that direction. I think anything with art, people really like. I tried to just evolve and incorporate art but also change it up a bit.
For me, lyrics are so important and I put so much thought into every word, so if I can make something that has lyrics in it, that will make people read into them a little more. That was the idea with the journal. Also, I want to inspire people to write more. We are so reliant on technology. It feels really good to just pick up a pen and write. I gravitate towards anything that looks ancient [shows journal]. The pages are so thick. It’s broken in half. The first half is all of the lyrics to the songs, and the second half is for the people to write their own stuff. I put different notes for people that might inspire them throughout. It’s interesting.
Dead Rhetoric: It’s a really cool idea, and I had no clue it was that big! You don’t see that level of connection to the music and merch everyday. It’s something that you have been able to really do a nice job with. Speaking of that connection, where did the idea come from to do the graphic novel?
Monet: I wanted to expand more to the story. I’ve always been interested in science and the futuristic elements of things. I feel like these days we are on the brink of science fiction almost. With the story, I wanted to almost write a possible reality, years into the future and just dive deeper into each song. The way it’s structured in the graphic novel is that each chapter is a song from Hologram. When I make songs, I have such a deep storyline inside my head. With the lyrics, you can only say so much. So I wanted to write a story that really tells people what goes on and the concept behind it. The graphic novel story itself is sci fi, it’s not like I’m telling my personal life story. But within the chapters, it’s inspired…people could get hints about what I went through or what I think, all of that stuff. It has a lot of me in it.
Dead Rhetoric: So there is another graphic novel that has a pre-order for April. Are you going to continue along with graphic novels as you write music?
Monet: I really want to! I love the story I have in my head. I think on tour, I’m going to write, or hopefully try to. I want to keep the story going. I’m excited. This album, honestly, I still can’t believe that we finished it and it’s coming out. I’m still in the mindset that we have to finish the album [laughs]. We were so rushed with everything that was happening, we made the transition between labels and we are super happy to be on Napalm now. But we had the tours and we had to make a record, and then more tours and videos.
Dead Rhetoric: The last album just came out in 2023…
Monet: Yeah, that’s true. It’s partly due to the label switch. We have always tried to release albums consistently, but this time we nudged more by having a new home. But it’s good. I’m glad that we have a reason to keep pushing. I think we kind of thrive on that, honestly. The challenge and the obstacles.
Dead Rhetoric: So you have the graphic novels. Would it be a passion project or something to put it into another form of media, like anime or movies or something like that? To go to the next step with it?
Monet: I would love that! It would be really cool. I have a lot of vision and dreams. It’s really important to me that all of our videos have that cinematic element to them. I want to keep expanding and keep growing the band so that we could go into different media.
Dead Rhetoric: Discuss your creativity in terms of art. A lot of it is interconnected with the art. Do you find it to be an extension of songwriting/lyricwriting?
Monet: Definitely. I think it helps me write songs when I am working on them. I have always been more visual. I imagine these scenarios and worlds and colors and stories. It helps me to grow the song into what it becomes. For me, everything infects each other in the process. I get really excited when we make a song, and think about how we would make a video for it or the art for it. I get pretty wired about it!
Dead Rhetoric: Have you ever tried it the other way, where you make a drawing and write a song from it?
Monet: Not yet, but that’s a good idea. I’ll try that next.
Dead Rhetoric: You have been on a number of bigger tours in more recent years and will be back out on the road again soon with Delain and Xandria. What have you learned from continuing to tour at this level?
Monet: It’s been very inspiring to tour with bands like that. We toured with Amaranthe and Dragonforce. When we started Amaranthe was already on the forefront, sort of paving the way that it was possible for me to make the band into what I wanted it to. It’s very inspiring to now share stages with those bands.
Also, Symphony X. That was the first metal band that I heard, back when I was in college. I played piano, and Symphony X has those crazy keyboard solos. I’ve never heard anything like them. I was obsessed with that stuff! I remember taking walks and listening to Symphony X and wondering what it would be like to tour with them. It was a full circle moment to tour with them. I told them it was all their fault that we are doing this [laughs]. It is inspiring that we are in the same world now. Music makes me feel so good, because it’s a bridge between people. No matter where you are in the world, it connects us. I think it’s very important, music and art, it helps us evolve as humans. We express ourselves, and I think it should be nurtured more with kids, especially these days. Kids rely so much on technology.
Dead Rhetoric: Immortal Waltz turns 10 this year. What do you recall about that point in the band’s life?
Monet: That was the very beginning. We are such a different band now. We got to work with Michael Wagner on that album. He was so kind to us. We went to his studio in Nashville. He worked with Metallica and all of those big ‘80s bands. There was so much inspiration. I never really saw anyone love what they do as much as he does. Working with him and seeing him in that environment, where he was so excited about making noise. He would always say, “We are going to make noise today.” It was very inspiring and it really solidified with me that this was what I wanted to do.
I kind of fell into it meeting Dave, I never thought I would do a band at all. I was just trying to find my way at that point, but working with him and putting out a full album like that…with Mask, our very first album. I didn’t write any of the songs, I just sang on it. So Immortal Waltz was the first cd that Dave and I started working together on. It really solidified with me that I wanted to do this and inspired me to get on this journey. When I think back it just makes me smile. It was the very beginning.
Dead Rhetoric: You’ve done a lot of support tours, what’s your ideal visuals for an Edge of Paradise headline show? If no one was stopping you, financially, what would you want to do?
Monet: We recently got some LED screens so that a lot of the visuals that we have, so we can bring them on stage. But it’s nothing compared to what I want to do. I want to create an aesthetic on stage, creating the world I describe on stage.
For example, in the graphic novel we go through so many worlds, basically. Some are very volatile and there are a lot of colors like red crimson skies and jagged mountain horizons. I want to recreate that on stage. As the set progresses, going to this different planet where it’s like blue crystals and shifting sunsets. That could be accomplished with set designs and the LED screens. We actually use a lot of that in our music videos. It’s not that impossible to bring onto the stage, so it’s definitely in my vision. I would also love to put a grand piano on there, as it descends [laughs].
Dead Rhetoric: I know you sell a lot of your art. How long does it take you to come up with an idea, draw it, and go from there?
Monet: Each piece is different, sometimes I make it pretty fast. If I already have an idea in my head, I can make it in a day or two. If I am making something from scratch, maybe I start with the background, and then think about what might be the focal point. The next day I start doing details, which could take up to a week. Sometimes people commission something, they want me to draw something specific. I have more direction then.
I’ll show you my biggest canvas so far. We are actually doing a giveaway [shows canvas]. We are giving it away on March 6 [enter by PRE-ORDERING the album]. This was inspired by the whole album. It has a lot of elements from things I think about when I make the songs. This has a DNA strand and it kind of has this tree of life look, and the artificial intelligence elements, and AI cyberhumans.I have a lot things going on inside my head. It’s pretty heavy!
Dead Rhetoric: It looks really big! Do you find something like this helps with the album promotion? I know you’ve done things like this in the past too.
Monet: I think it does, maybe it encourages people to check it out if they want to win something. I think these days, it’s hard because there is so much going on at the same time. A lot of people rely on digital media. For me, it’s a way to bring people back to the physical. I find so much value in having something physical. Having a piece of that world in your house. For me, it’s a way to keep offering that physical aspect of art. That’s important for me, I really love it and want people to have it as well. Everyone can have it on your phone and look at it, but it’s a different experience to have a thing that’s physical.
Dead Rhetoric: What are your plans once you finish the Xandria/Delain tour?
Monet: I think we are going to go back to Europe in the summer or fall. I think we are going to Mexico for the first time in July. I really want to reach as many parts of the world as we can. I think this year will be a lot of touring, more videos, and then another graphic novel. It’s going to be a lot of expanding. A lot of playing music live and doing what we are doing!
Finnish modern power metal artists Arion took advantage of the time between studio records – even if a pandemic was in the mix. Their previous album Vultures Die Alone came out in 2021 – followed by touring opportunities in 2022 with Gloryhammer across the UK/Ireland and 2023 with Dream Theater and Bloodbound that covered many European countries. Setting into motion the fourth album The Light That Burns the Sky, a massive opportunity for the quintet to imprint themselves into higher spotlight terrain – and after numerous playbacks it appears that these musicians are up to the challenge.
A decidedly heavier crunchy guitar tone takes the riffs beyond power metal conventions and into territory that modern metalcore/groove-oriented listeners will also savor. Check out the riff barrage next to a crafty progressive rhythm section underpinning that pushes the title track into instant horns up approval – the subsequent addictive clean vocal melodies beyond the gang-like background support pillars that cement the status of this arrangement. The work of guitarist Iivo Kaipainen and keyboardist Arttu Vauhkonen compliments the desired sophistication with emotional resonance you hope to have in this style – a balance act between sterling hooks and virtuoso sequences. Ad Infinitum’s Melissa Bonny appears on the stunning mid-tempo anthem “Wings of Twilight”, her vocals glide seamlessly next to Lassi Vääränen in dramatic fashion, the chorus highly infectious in its pop/modern rock sensibilities.
Other times the cyber/electronic-like chord progressions take shape against some more melodic power heaviness as in “Blasphemous Paradise”, where some lower register vocals carry the verses as the staccato-oriented guitar riffs give chase to an electrifying axe shred break that mesmerizes. Progressive overtures appear in the tempo shifts during “Black Swan”, while the longest track “Into the Hands of Fate” contains almost seven minutes of dynamic intrigue between its softer keyboard overtures, extreme metal guitar/double kick maneuvers, stunted / gothic instrumental sequences all the way through to a bombastic conclusion. The eleven tracks contain the right mixture of diverse atmosphere and drive next to interesting riffs, distinction song by song that will cause many repeat listens.
Fourteen years together as a group, Arion seems ready to grab at the brass ring in their footprint on the modern power symphonic metal landscape for The Light That Burns the Sky. There aren’t many records that could grab followers into Evergrey, Kamelot, Orden Ogan, and Sonata Arctica while leaning into some current metalcore and extreme overtones when necessary – that’s what you’ll get (and so much more) here.
It’s kinda cool to have been doing this long enough to be a part of a band’s discography, at least from a standpoint of reviews. Such is the case with a band like Brainstorm and their newest offering Plague of Rats. Starting with 2014’s Firesoul I’ve reviewed each record since then. I am particularly fond of their 2018 offering Midnight Ghost. That’s not to say other works haven’t delivered, because they have. I just was entranced by that one. So I’m back and ready to rock with this one, let’s go!
Right away “False Memories” shot to #1 with a bullet. I love it! The cool tempo of “The Shepherd Girl (Gitavoginda)” easily makes this a winner for yours truly, while “Beyond Enemy Lines” is an absolute clinic in how you open a damn record, man alive! Meanwhile “Your Soul That Lingers in Me” has a big and meaty chorus any fan should love. Vocalist Andy B. Franck sounds better than ever and the guitar tandem of Torsten Ihlenfeld and Milan Loncaric is on fire, most notably on “Masquerade Conspiracy”. And as I say that the rhythm section of Dieter Bernert (drums) and Jim Ramses (bass) will surely thump your chest real quick two-time!
“From Hell” shows these guys doing what they do best: anthemic tunes that will have horns in the air from Germany to the U.S. (I should be so lucky!). Seriously this track is simply hellacious. “The Dark of Night” manages to be sinister while keeping things full of hooks. Wow. On an album chock full o’great tunes, the closing duo of “Crawling” and “Curtains Fall” delivers a great ending to the proceedings, the latter being a case study in soaring choruses and hooky guitars. Bottom line is this: Brainstorm have done it again and with Plague of Rats you’ll see they’ve continued to deliver excellent metal tunes to the masses.
Buzzing, swirling straight-up death metal clashing with a chugging hardcore side with tough guy swagger is something that’s been on the rise within the genre. While one could be lazy and just literally label it under ‘metalcore,’ that’s definitely not the vibe that Open Kasket is hitting with their debut, Trials of Failure. More in line with what Dying Fetus or Dyscarnate have done with death metal, there’s a distinctly deathly feeling to the music, permeated by more of a pure hardcore ethos in it’s street-level brutality.
The songs, if the above description didn’t spell it out, are the type that shoot straight and ask questions later. There’s an immediate level of abrasion, brought about from the HM2-esque buzzing of the riffs and midtempo rumblings and the urgency of the barked vocals and in-your-face hardcore energy that goes for the beatdown style. “Should” is a good indicator of what Open Kasket is all about. Crunchy riffs and aggressive barks mark the opening of the song, using just enough hooks to them to grab the listeners ear while simultaneously scraping them with the abrasion. As the music swirls to a flat-out crawl and knuckledragging level chug, things get even more aggressive. An almost hypnotic feeling permeates just as some eerie melodies take centerstage and walk the group back into more death metal inspired elements as the track fades out. “Chain Whip” doles out barbaric riffing for almost all of it’s very short runtime, and the follow-up in “Chemical Death” takes that same energy and gives it more of a deathly spin in terms of it’s sheer heaviness. It’s the play between the hardcore and death metal elements that keep the album fun, and the momentum going.
Trials of Failure is punishing and belligerent in the best of ways. It’s a fun trip through rumbling, caveman-y riffing and frantic chaos, and while the pattern shows itself a bit as the album progresses, there’s no denying the energy and heart are in the right place for this material. It’s full of breakneck grooves and unrelenting brutality, and that’s all you need to enjoy it.
Back with another round of interesting singles while we have the chance, before the spring releases start to pile up! This month we cover Electric Callboy, End Eve, Ghostkill, Jiluka, LustQueen, Mazari, Not Enough Space, Not Secured Loose Ends, Revocation, Schrodinger’s Dog, Season of Ghosts (pictured above), Stellvris, and Wraithstorm.
Electric Callboy “Elevator Operator”
Electric Callboy returns with another fun, energetic track that’s bound to stick in your head for weeks on end. A nice combination, one merges upbeat electronic and dance influences along with their metalcore-inspired riffing and moments of aggression, generates all of the band’s best qualities and pushes them right to the forefront. They continue to sit in their own musical space. (Electric Callboy official website)(Electric Callboy on Facebook)
End Eve “Taste It” Val Gallo, the voice of End Eve, is an independent artist from Los Angeles, and “Taste It” is only her second single to date. It’s an intriguing mixture of a multitude of elements from metal to rock to pop, laced with industrial and electronic touches. A modern, genre-bending sound for sure, and “Taste It” feels raw and emotionally charged, elevating melodic hooks in the chorus, and a visceral breakdown later that’s pulsating as much with electronics as it is metallic power. (End Eve on Facebook)(End Eve on Instagram)
Ghost Kill “Breakaway”
A single to follow-up their 2024 self-titled EP, “Breakaway” sees Ghost Kill continuing to provide an ear-catching dynamic that swerves between haunting melodies and infectious aggression. Some plodding, mid-tempo riffs and screams give the track the backbone to move into more melodic territory, which doesn’t go for the easy route. Instead the melodies feel more eerie yet ethereal, providing an almost melancholic edge to the song to capitalize on. (Ghost Kill on Facebook)(Ghost Kill on Instagram)
Jiluka “Kvlt”
Harsh electronics, rapped vocals, gothic atmosphere, and frantic blastbeats all mix together in Jiluka’s latest song. The track never lacks for urgency as the abrasive tones and bombastic synths fight for attention against the heavy riff backdrop. Toss in an astonishing breakdown later in the track, and you can see how it’s consistently moving around from one thing to the next, though never loosing any coherence to it. (Jiluka official website)
LustQueen “Flag”
Another upbeat, rock-forward track from LustQueen. Yuina’s vocals absolutely soar in the chorus, and the driving rthyms behind her provide an added urgency to the music, and the moments of piano are a nice touch, without slowing down the song’s energy. The bass stands out nicely too, with a playful tone that works off of the guitarwork. Hopefully we continue to get LustQueen tracks frequently. (LustQueen official website)(LustQueen on X)
Mazari “Ushi no Koku Mairi”
マザリ, or Mazari, is a new 7-member alt idol group that is “cursed.” The song’s unique blend of traditional sounding Japanese instrumentation, heavy riffing, soaring melodies, and lots of addictive vocal melodies. They don’t shy away from some brutal screams either, making for a shocking and enticing performance. This is only their third single since their announcment back in October of last year, but it seems they’re already onto big things. (Mazari official website)(Mazari on X)
Not Enough Space “Solace in Silence”
An up-and-coming Florida-based metalcore act, Not Enough Space finds balance in providing some rather heavy moments and pairing them with more melodic ones. The two vocal approach gives them some layers to tie into the music, and the ‘get to the point’ runtime makes for a real ripper of a track. Lots of frantic riffing swirled into some standout melodic moments, even finding time for a breakdown and fiery guitar solo all in less than 3-minutes. (Not Enough Space on Instagram)(Not Enough Space on Facebook)
Not Secured, Loose Ends “VanilLament”
Alt idol act Not Secured, Loose Ends are back with their heavy yet melancholic sound for “VanilLament.” Some vicious moments with harsh riffing and screams trades blows with more somber and almost gloomy sounding sections that really stand out in the alt idol scene (which is still mostly geared in the ‘heavy yet upbeat’). It’s an intriguing cut that could offer some metal fans a nice entryway into the genre. (Not Secured, Loose Ends on X)
Revocation “Confines of Infinity”
A new stand-alone track from Revocation is brutal enough as is, but they went ahead and brought in Cattle Decapitation’s Travis Ryan to give it an even heavier touch. The track twists and turns through labyrinthine riffs and unrelenting energy, with just the right touch of an eerie atmosphere on top, particularly when the track slows down. It’s a riff monster, something Revocation always manages to produce to their best efforts. (Revocation official website)(Revocation on Instagram)
Schrodinger’s Dog “System Breaker”
Always quick to bring forth another track, Schrodinger’s Dog quickly returns with a buzzing, electronic song to sink your teeth into. The bouncing, futuristic electronics are given a rumbling metal-meets-industrial rhythm to them, bolstering the music into a catchy, pulsating hybrid. The chorus hits the most upbeat and energetic vibes, and is bound to stick into the head of anyone who encounters it. (Schrodinger’s Dog official website)(Schrodinger’s Dog on X)
Season of Ghosts “Lifeline”
Season of Ghosts return with their first new track since the pair they offered up in 2022. The futuristic electrometal band storm back with a vengeance, keeping their East-meets-West sound intact while increasing the visceral edge (including some solid growls from Sophia Aslanides). That said, there’s plenty of beauty doled out, with a potent chorus and lots of melodies, with propel the bursts of aggression with even more force. Ethereal with an explosive side, here’s hoping for more material soon from this unique group. (Season of Ghosts official website)(Season of Ghosts on Instagram)
Stellvris “Starships”
Yes, it’s a metal cover of a Nicki Minaj song. While some might be initially taken aback, Stellvris has been a consistently potent force in the modern metal world, and “Starships” is a fun and admittedly heavy take on the early ’10s track. The grooves are danceable and it does a good job of preserving the original while twisting it into heavy territory, it also goes into full on chaos as goes on with a massively aggressive breakdown. (Stellvris on Facebook)(Stellvris on Instagram)
Wraithstorm “Uniformity”
The first single from Wraithstorm to come from their upcoming album Revenant is the frantic melodeath cut “Uniformity.” The song manages to take that old school, urgent feeling that’s full of memorable riffs and hook-y melodies and recapture it quite effectively. An effective slowdown and build up later on really brings the melodies to the forefront. An album to watch for if you dig melodic death metal done right. (Wraithstorm on Facebook)(Wraithstorm on Bandcamp)
Dissonant death metal, outside of the old school variety, is one of the most dominant forms of death metal these days. Within that stylization, there’s a plethora of variety if one digs deep enough. To the tight and focused to the absolutely unhinged, the range is ever gaping. A new entry onto the scene is Hierarchies, who opt for the chaotic, to say the very least. When one investigates exactly who is involved, that concept becomes less of a surprise.
Guitarist Nicholas Turner and vocalist/drummer Jared Moran are also the tandem behind the wild tech death project Acasual Intrusion, and if you include bassist Anthony Wheeler, the Hierarchies trio also makes up the off the rails insanity that is Dwelling Below. These are all projects that are highly unique, offbeat, and at times bizarre in the best of ways. When these fellows announce another team up, don’t even attempt to come up with an expectation, because it likely won’t match what’s delivered.
Immediately, it’s evident that Hierarchies are divergent from any assumptions. They’re labeled as technical death metal, but slapping on a finer categorization proves elusive. Yes, this is very technical death metal, and although similarities to Acasual Intrusion are present, this is a different monster entirely. Front-to-back, their self-titled debut album will make the head spin by way of caustic dances via fretboard and no time signature or tempo that remains consistent. Take the mad opener “Entity” for example – it stops, starts, flies off the rails, and somehow lands right back on the track like an old Warner Brothers cartoon short. Pieces such as “Dimension” add slick soloing and a dip into the melodic, all while tearing the listener apart in disturbing fashion. “Twilight Tradition” feels more restrained in parts while leaving shrapnel in your temple when it pops off. “Complexity Parallels” lives up to its name in maddening tonality, offering up one of the most blistering compositions on offer, whereas “Subtraction” emits a jazzy doom vibe.
With all of that in mind, you may conclude that this roller coaster of a debut leans towards being disjointed, and on the surface, it could come across as something to that nature to the casual listener who wants their death metal mind-numbingly boring and predictable. There’s a thousand bands out there to drift you off to sleep, and Hierarchies isn’t one of them. Though certainly not perfect, what’s conjured is an arrangement of enticing organized chaos, which often mirrors my day-to-day life.
Hierarchies offers an odd focus within their vastly differing song structures and bleak, horrifying soundscapes, amounting to a punishing, violent, and challenging listen for whomever dares to join them. We have a record by three individuals who know what they’re after, providing us a release of cerebral, peculiar, and bewildering death metal that doubtlessly rewards repeat listens with a further descent into hysteria.
