Rarely do you find the kind of productivity in the current scene that this New York/ Pennsylvania band Severed Angel has issued in the past three years. Their debut self-titled album hit the market in May 2023 (reviewed by this scribe for this very site), followed a year later by the sophomore outing Skyward. Now ten months later, When Eternity Ends becomes the third full-length for the symphonic, melodic heavy metal band – taking their sound into further expansion as far as cinematic or catchier textures in one aspect, while being more refined and focused in others.
An immediate standout would be the emphasis on guitarist Alex Repetti’s higher register vocal melodies – which can be very similar to what you expect from acts like Styx or Blind Guardian. The layering of his harmonies makes “Cry Out to the World” an early favorite, the calmer, intro guitar lines next to the gothic-tinged keyboard parts of Marc Muchnik setting the stage for the upbeat, driving nature of subsequent musical elements. Aspects of extreme / modern metal come into play for “In My Skin”, the fusion of choirs, darker growls/screams, as well as a semi rap-oriented sequence that mirrors a quick hitting drum tempo certainly illustrates the band’s wider songwriting approach to prove risk taking measures could pay dividends to long-term appeal. The under three-minute “Shed” has a progressive twist as the riffs shift between natural power and higher BPM measures, the symphonic textures alluring next to Alex’s alternative melodies while the lead break from Lou Mavs checks all the boxes for shred-like arpeggio sweeps. Drummer Wayne Noon displays equal aspects of rhythm foundations next to some energetic, intricate transitions and fill work during another spotlight track “Like Lightning” – a bright, harmony-fueled chorus shimmers next to a killer, half-time monster riff transition where more aggressive vocals should galvanize the audiences in a live setting.
They often say by a third album you establish your benchmark traits instead of being influenced purely from your heroes. When Eternity Ends does this for Severed Angel – representing a melodic heavy metal quintet that is equally modern as it is progressive and symphonic, which should be very alluring to grab a wider fanbase.
Ardent historians of the metal landscape may remember this California heavy/speed metal act Predator. Probably best known for having one of the worst record covers in history for their debut album Easy Prey in 1986, the group would fade away into obscurity until recently. Now back with their second full-length for Unsafe Space, the duo of Frank Forray (guitars, bass) and Jeff Prentice (vocals, guitars, drum programming) aim to please with a decent cocktail of classic riffs that have more steps in the past while also advancing the production values / tones to possibly gain a modern audience.
Obvious lyrical / social commentary insights lean towards the fight for democracy on “N.L.M.” (“No Lives Matter”) where Jeff spits forth the key tag line ‘democracy is toast’, media manipulation through internet means on “A New Civil War”, as well expected war strife amongst political leaders within “Violent Objection”. The main hooks sit in a conventional mid-tempo groove to slightly speed/thrash-oriented riff parade, very easily digestible next to Jeff’s very potent, melodic vocal delivery. The crunchy opener “Saviors” next to the blitzkrieg barnburner “Raping the Population” serve a one-two combination that should get most listeners adequately warmed up, the two-piece injecting the instrumental sections with some tasty lead breaks and harmony tricks. A surprising power metal version of “California Dreaming” (from the Mamas and the Papas) contains plenty of the multi-part choir passages that made the song a hit, the layers of guitars adding a classical touch to really stand out as a killer reinterpretation of a non-metal track.
The finale “The Crow Upon the Cross” as the longest cut (almost 5 minutes) features a doom-oriented pacing, traversing old Candlemass and Black Sabbath in terms of the atmosphere, deliberately slower guitar chords and note bends, as well as Jeff’s soulful register that seems even stronger than his work almost 40 years ago before kicking into high gear two-thirds of the way through this arrangement. A minor disappointment lies in the drum programming. It’s not bad – you just wonder how a human drummer would have been able to add more vitality (and unpredictability) to the rhythm section parts. The fiery eagle on the cover may also seem similar to what one would expect from a Primal Fear album – but it definitely blows away the stalker-ish creep factor that made Easy Prey a tad cringeworthy.
When looking at the twelve tracks for Unsafe Space as a whole, Predator plays best to their power/speed metal strengths on this effort – creating an album that will appease the faithful and possibly bring some new recruits to the fold. One hopes that the third album won’t take until 2064 to hit our ears.
A new blacked death metal act in the upstate New York area is that of Fleshspoil, though it’d be remiss to not mention that these three players have been involved in the metal scene for a very long time. We have guitarist/vocalist Jeff Andrews and drummer Mike Van Dyne, both most recently of The Final Sleep (as well as numerous previous projects) as well as bassist Dan Saltzman (Illucinus). But to also leave the band in the ‘blackened death metal’ tag would be an extreme injustice considering the widely varied influences present on their debut, The Beginning of the End.
With six tracks totaling 37 minutes, each of the songs takes their own journey through a mix of metal subgenres, truth be told. Opener “Bleed Through this Life” takes little time to showcase the band’s varied prowess at hand. Beginning with some eerie and blackened melodies and working up a slow build with ear-grabbing melodies, it eventually escalates into some blasts and more raging death metal. It provides some bludgeoning riffs as the tempo eases and they pelt the listener with them as the tempos swing back and forth, until a more macabre doomy downswing slows the band to a devastatingly, lumbering halt. It’s a fantastic transition that allows them to later bring back the eerie melodies from the opening in a cleaner fashion. It’s these big shifts, never jarring or ‘out of left field,’ that gives the album this spark of intrigue, and they take full use of their extended runtimes.
“Skies Turn to Graves” follows next and continues to paint a wide color palette within the extreme zone. Some nods to Andrews and Van Dyne’s The Final Sleep come in here with a clean vocal segment that feels like a bit of euphoria amongst the more brutal terrain. A fantastic melodic moment that does as much instrumentally as it does vocally. The contrast with the battering death metal makes for a frantic clash, particularly when the band builds up into more frenetic sections with blasting drums and bellowing growls. “Fleshspoil” thrives off of an addictive rush of militant drumwork and devastating riffs, even though it relents to some beautiful melodies around the midpoint. But if one track stands up as being all about the riff, it’s this one. “A Frail Demise” also works out some glorious high speed melodies and has them mix it up with more punishing mid-tempo crushing riffs, and even flirts with a small amount of power metal. To end things, “Born into Despair” puts it back into doomier and gloomier territory, putting the melodies at the forefront, and avoiding that steamrolling heaviness they achieve at times, giving the song a more pensive/reflective tone that allows you to take in where the album has come from.
Fleshspoil absolutely knock it out of the park for their first effort. This is far from run of the mill extreme death metal, but more of a thought-provoking effort that rewards listeners who are willing to take the time to indulge the band on their metallic journey. If you want a thrilling mixture of black, death, doom and beyond, The Beginning of the End thoroughly delivers. It’s devastating, but also keeps you on your toes in the best way.
Having been a part of the early death metal scene since the late 1980s, Benediction always had a way with keeping things brutal, yet varied. It’s an ethos that still reigns true even today in 2025, with their latest album, Ravage of Empires. Pure, glorious death metal that doesn’t rely on gimmicks or modern trimmings, just songwriting and energy. We caught up with vocalist Dave Ingram to get his thoughts on the album, following up 2020’s Scriptures, his work in podcasting, and what keeps him going in the genre this far into his life.
Dead Rhetoric: What’s the challenge of the follow-up to an album after not releasing an album in 12 years…22 years in your case?
Dave Ingram: The band gave me free reign, they had a lot of songs that were pre-recorded. They had the music to them [already]. I would sort of take them and there were about 30 songs. I chose ones that I felt comfortable with, lyrics that I had written that actually flowed into certain ones. I kept those in. Then I worked with Darren [Brookes], the guitarist, and we sort of changed some of the music around. I’d say, “maybe extend this part or that section, maybe make this section shorter or repeat this part.” That’s what we do when we work together now. I’m in Denmark and he’s in England. It’s all done with drum machines, so we can give the drummer Gio [Durst], who is in Italy, the music and say ‘now you can work on some drums.’
Also, with Scriptures, he had about three weeks to work on the drums. For this one he had 18 months, as long as we were writing it. So as soon as we finished a song, we handed it over to him as well, so he could really put more thought into the drums, and he has! You can totally tell! I don’t want to say we were rushing Scriptures, but we were definitely pushed for time. We still think it came out exceptionally well, and we are all very happy with it.
Dead Rhetoric: Was not having to rush somewhat due to COVID at the time?
Ingram: No, actually! We had written the album and recorded it in 2019. Then the pandemic hit, and we were stuck. We couldn’t do gigs and we couldn’t tour. Then there was the end of the first wave and I managed to fly to England, and Gio came from Italy, and we got the two videos made. So we managed to get all that. Then the second wave of COVID started and it was another two years. So we couldn’t do anything. That’s why it’s been a while. It’s been five years since Scriptures, and it’s really because of COVID. We are talking now about writing a new album already. We haven’t started. I want to talk to the guys. I was just with them last weekend, but we were rehearsing, and I didn’t want to cloud people’s minds with talking about new material. We have some gigs coming up pretty soon and we’ll get going with some ideas. It won’t be as long this time.
Dead Rhetoric: What do you feel makes Ravage of Empires special to you?
Ingram: I had one friend who heard it already, and they said the album is up and down. Not in quality, but in speed and tempo. There’s a lot of variety there. That is something we always try to put in. even back in the ‘90s when I was first in the band. We did try and do all that. I’m particularly proud of the lyrics. I got to spend so much more time on the lyrics. Some of the lyrics on Scriptures, I had already gotten them but hadn’t used them for any band. But I wanted to use them for Benediction. For example, “Stormcrow,” I had been planning to do with a band at some point, but I wasn’t sure which one. When Benediction came along, I decided that was the track to use it for. I am really proud of the lyrics because of the way they flow, and the content as well. It worked really well with the music that the guys wrote.
Dead Rhetoric: I know you are involved with a lot of bands. When you write something, do you delegate it to a specific band or do you keep them around and find a match for it, regardless of band?
Ingram: I get the question, but no. If I’m given an album of music I specifically write for them and I won’t write anything else. For example, when we were writing the Benediction album, I didn’t write for any of the other projects I’m in. I have a brand new one that I really want to work on called Sand Cadaver. I didn’t want to because I have been writing Benediction and I don’t want that overspill. I don’t want anything to come in.
When I write lyrics for Benediction, I’ll mention past songs or bring stuff in. Sometimes it will be little easter eggs you won’t get unless you know the material. That’s just fun and just for me. But no, when I am writing I keep it totally separate. I’m worried about spilling over. What I don’t want to do is spill Benediction into these other bands, because I think they should stand on their own. I don’t want Benediction to think that I am using their name to push another band either, because it’s not. I would never do that. I’m quite proud of keeping it separated.
Dead Rhetoric: You have been a staple in the death metal realm for decades. What keeps you passionate about it and be as involved as you are?
Ingram: Because I know I’m going to die soon [laughs]! No, but when you said I had been around for decades, I suddenly felt old [laughs]. To be honest, it’s a similar thing. It’s not about dying, it’s about being able to physically do this. I’ve got chronic arthritis, and doing things, not just tours, can be painful and take it’s toll. I have to be careful. I did my podcast, with my friend Pete, and we were just talking about this today. In the last couple of years, as long as he has known me, I have lost a lot of weight. It can be done over a period of time.
In the last three months, I have lost about 20 pounds…or 10 kilos for the Europeans. That’s 10 bags of sugar that I have been carrying around extra. It takes it’s toll! Just doing that has really helped me. I’ve been taking vitamins and things like that too, it all helps. Now I have extended my work life, not just my physical life, but the amount of time I am going to be able to do this. It’s fun, and I will be able to keep going, rather than just 3-4 years, maybe 13-14 years. It’s all good!
Dead Rhetoric: You were around in the early ‘90s when Benediction was taking off, along with much of the death metal scene. How do you view that time compared to today?
Ingram: To make the comparison to day, back in the ‘90s there was zero internet. We couldn’t chat like this to start [Zoom]. You’d have to do a phone interview and a tape recorder going. But there’s that. Also back in the ‘90s, if you wanted to get a sample to fans, it was a cd in a magazine. Promotion was more magazines and label-oriented. Now bands can do a lot themselves. Bands should, and you can use the internet as a tool. But I’m preaching to the choir.
That’s the big difference. The quality of the equipment has grown. In the ‘90s, it was good, but it’s digital now and it’s crystal clear. Sometimes that is good, sometimes it’s bad. Analog recordings can sound far superior. That was what we were doing with Benediction in the early days. The tape to tape and reel to reel thing. They were fantastic, but having to splice them and make sure everything was okay, it’s so much easier these days. Today, with Scriptures and Empires, it’s all digital. We are happy to have moved on with the tech.
Dead Rhetoric: You’ve done quite a bit of work with Rogga Johansson over the years. What’s your working relationship been like with him?
Ingram: I have had a lot going on in my personal life lately, and I spoke with him just the other day asking for a time out on things. But on a personal level, I think we have done about 11 albums together and a few guest spots together on other things. We have been working since 2012. That’s 13 years, and I have never met the guy! We have never been in the same room together. He has been in Sweden and I’ve been in Denmark. We do everything on the internet.
I don’t even think we have spoken, like you and I are doing now. We have just done it via email or messenger on Facebook. Stuff like that. He sends me music and I’ll put vocals on, and I always ask him if he is going to have a drummer or drum machine, which I prefer a drummer. Then I like to have the drums on first, so I can see where the fills are and fit the vocals along with them. It’s very easy to work with him. I loved the time that I could record at home, but I’ve moved since then. That’s the personal thing I was talking about, I got divorced. I’ll be recording by borrowing a studio from a friend of a friend, and getting stuff done that way.
Dead Rhetoric: Like you mentioned before, that’s the power of the internet right there!
Ingram: Exactly! That’s the way to look at it. During my down time, I’m doing my podcast, my Metal Breakfast Radio Show, there are still episodes available of that online. If you hunt them down you can find them. I have taken most of them down. Some of the comedy now would be inappropriate, so I got rid of them all. There are still a few up somewhere, but I’m trying to find them to get rid of them myself. But I’m going to bring the show back in the future. But it won’t be as coarse or obnoxious as it was. But yeah, when I was doing that, there were occasional times where someone would write and ask if I wanted to do some guest vocals. I’d do it. I get a lot of offers of that, still to this day. I’ve been so busy, so I haven’t been able to lately, as I have been focusing on Benediction and my personal stuff. But I’ll get back into it soon.
Dead Rhetoric: You’ve been involved in podcasting for quite some time, such as Metal Breakfast Radio, and the other you just mentioned [Old Men Howlin’ at the Moon], what do you like about doing it?
Ingram: Metal Breakfast Radio, it was comedy basically. We would listen to music, and while we listened to this music we hadn’t heard before we would rate it. A bit like a gong show. Something like Mystery Science Theater. We were a little obnoxious and we could be downright nasty after we had a few beers as well. We also drank while we did it. It was all in jest, but I think nowadays, people can be a little too sensitive so we aren’t going to bring it back in the same way. Some of the very obnoxious humor and pop culture references won’t be there. But besides that, it was fun. It was self-indulgent. I could make a playlist of songs that I felt were really important for me. I’d just talk a bit about them, and the other guys would make fun of it. They could bring theirs in, and we’d dance around a bit and make fun of whatever we played. It was fun.
The other show I did was Lambert’s Basement, which was about big band jazz. But those are available online, if people want to hear them. It was just me and my co host, a zombie goldfish. Yeah, you heard that right. It was just a bit of fun. But it’s big band jazz and another love of mine. I had to stop that show because I was getting busy with other bands I was involved with, as well as Metal Breakfast Radio. I stopped that one because of Benediction. Now I’m doing a podcast called Old Men Howlin’ at the Moon. My friend Pete does all the recording and editing and posting online. I basically have to repost the links when the shows go out. As well as being on the show to chat. It’s the easy part of podcasting. But it’s self-indulgent. That’s what draws me towards it. I’m talking about things I like and have affected me. I’m talking about music that is in my heart and I have carried with me. That’s what I love about podcasting.
Dead Rhetoric: There’s been more tweaks with death metal to make it modern and do different things. But do you feel that death metal is kind of timeless?
Ingram: That’s difficult to answer, because I listen to Benediction and older death metal, but I don’t listen to modern death metal at all. Maybe some friends bands, like Entrails, but not much modern death metal. I listen to a lot of stoner and desert rock. Queens of the Stone Age, Kyuss, but I don’t listen to much death metal so it’s hard to make comparisons to the older and new stuff. There have been refinements and changes. I seem to see guys’ hair in bands getting shorter. What’s that all about? Then you go and lose your hair. I might be wearing a hat, but I’ve still got all mine.
But yeah, it’s hard for me to say since I don’t listen to it. Maybe I should [laughs]. But the best one to ask about that would be Gio. He’s 40 so he’s old but not that old. Of the three old guys, I’m the youngest at 56. The other two guys are close to 60. But also, Nik [Sampson], our bass player, he would know more about that. Since stopping Metal Breakfast Radio, I haven’t listened to any new music that isn’t stoner rock. I still listen to the old proto-metal like Sabbath and Jethro Tull, I’m an old fuddy duddy, I’m literally an old man howling at the moon believe me.
Dead Rhetoric: I think you reach a point where you know what you like and that’s what you want to hear. I’m 44 so I’m starting to get to that point. Because of writing, I’m exposed to everything but I have an idea of what I want to hear outside of that.
Ingram: The worst thing is that you get set in your ways. You don’t want to hear anything else. You have enough to listen to. There are occasions that I get new stuff, but it’s stoner/desert rock. Or I will listen to a band I have been listening to for years and find out they have another band and they have 6-7 albums and I chase them down and add them to the collection. It’s not new, but it’s old. It’s how I get through. I do use some modern technology. But it’s not that modern. It’s an old iPod. I use one of those, because the new ones are like a phone. But that’s as modern as I get. My laptop is like 21 years old. I really need a new one…
Dead Rhetoric: You are a priest in the Church of Satan. How long have you been involved and what led you to that calling?
Ingram: My sister committed suicide and I had a very bad break. I was seeing a psychologist. They told me to make a list of all the books I never read and to read them. The first book on that list was The Satanic Bible. The reason I sometimes refrain from saying some of this, is because when you say that ‘I became a Satanist because I was seeing a psychologist,’ people tend to just put two and two together and are assholes about it. But no, it was because of reading that list, because I needed structure. I was going through some serious mental health issues and I needed structure in my life. His idea was to read. You give yourself some time to sit down calmly and that was the first book I read. It really resonated with me. That was 2003. Then it was 2008 when I finally joined. I wanted to do a lot more. Part of it is, ‘study, not worship,’ that’s one essence of Satanism, and I actually wanted to study. So it was a bit before I applied to join. I have met a bunch of great friends, some real movers and shakers, and some outstanding individuals.
Dead Rhetoric: What are your plans for the rest of 2025?
Ingram: We have some festival shows in Europe. There’s also a European tour for about three weeks. We are playing with Jungle Rot and Master. We also have three shows in America, all being well with the visas. I need to get in touch with Gio to tell us what to do next. But yeah, we have a bunch of festival shows and we get offers in all the time. We got one today for Australia and East Asia. So we are discussing it all the time. Who knows what will come up in the next year or so. We are also writing for another new album and will definitely get it started.
An amalgamation of US and UK influences, German heavy metal really took off during the 1980s thanks to the work of artists like Accept, Helloween, and Running Wild. It’s where these younger musicians Defender come from, cutting their teeth in this style since arriving on the scene in 2016. Their debut EP Rising High in 2018 set the stage for a “Beyond Darkness” single follow-up the next year, before becoming silent like numerous others in those plague-like pandemic years. Metalapolis Records heard potential in the band’s speedy, power metal foundation, hence we have a proper first full-length in Dying to Live.
Those who live for the unison, choir/gang-like choruses, uplifting vocal melodies, culturally enhanced guitar lines/riffs, as well as double kick-driven tempos should revel in the performances and atmosphere portrayed in these ten tracks. Dennis Bauer and Christoph Ott weave magical unison harmony axe parts while filling their main riff duties with the right aspects of power, speed, and finesse – taking songs like “Time For Freedom” (with its cooler Maiden-esque serene bass instrumental sequence from Fabian Bartl) and “Running Out of Time” into those heroic salvos fans clamor to savor. Certain sonic embellishments create that next level of supreme honor and valor – be it through triumphant keyboard spots, bells, or similar textures, but never deviating from the true traditional electricity pulsating in the main compositions. The energetic fill combinations next to the sheer tenacity on display for drummer Hannes Stengel pushes the opening title cut to mandatory set list staple status as well as the galloping passages throughout “Living Runaway” – while his restraint in the ballad “Neverland” proves he can maintain adequate, serviceable work mechanics when called for.
Dennis also doubles his role for Defender in the vocal capacity. He would not be considered an upper, eagle-high voice in that Dickinson, Dio, or Halford elite class – his delivery and abilities more in a Teutonic-oriented, working-class mid-range template similar to the work of Running Wild or early Helloween. Knowing the strengths to emphasize bigger than life choruses keep songs like “Survivor” and “Restless Power” chugging along in speed-like glory, where once again the fiery leads and musical foundations carry the workload for fist-waving glorious times. Clocking in at a more than satisfactory 43 minutes and change, the tones and production values also possess this natural 80s-like charm – allowing organic aspects to trump digital, glued to the grid final outcomes.
For this scribe’s first foray into Defender, Dying to Live is another high impact release that should keep the NWOTHM movement kicking to higher degrees – as well as fuel the desire for older artists to elevate their game on new studio records down the line.
The statistics tell a significant story for Swiss melodic hard rock force Gotthard. Over the course of their lengthy career, they’ve had 16 number one albums and sold 3.5 million records – yet remain a relatively obscure act across the US until the 2000’s when signed with Nuclear Blast. Tragically losing original vocalist Steve Lee in a motorcycle accident in 2010, they’ve moved along admirably through Nic Maeder as their lead singer – while latest drummer Flavio Mezzodi came into the fold in 2021. Stereo Crush as the 14th studio record comes off 2020’s #13, released just before the global pandemic shutdown – ideally giving the quintet plenty of time to sink their creative teeth into a solid set of songs.
Listeners can expect a solid, blues-based hard rock foundation with extra groove or shimmering melodic elements – especially in terms of easy-to-handle choruses or solid musical hooks that capture your attention like a lot of the heroes from the 70s/80s that are influential to this style. The competent teamwork in the guitar play of Leo Leoni and Freddy Scherer contains everything one could expect: driving chords, flashy lead breaks, plus supplemental elements from talk box action to pedal effects that raise hands beyond putting smiles on people’s faces. Check out the infectious “Boom Boom” or sleazy “Devil In the Moonlight” for two solid efforts that stand up because of the axe duo’s complementary styles (the latter bolstered by a shake your bass foundation outing from Marc Lynn). Opener “AI & I” hints at the modern advances in technology for the lyrics, allowing Nic’s lower register to seep through in the verses, rising higher to the occasion in an arena-like chorus for the ages, especially the ‘oh, oh, oh…’ style background voices.
Occasional organ use takes on Deep Purple-ish hues on the grittier “Rusty Rose”, while psychedelic components sit side by side to uplifting hooks and melodies for “Liverpool” – very American-ized in its structure/ transitions. Beyond the eleven main originals, Gotthard once again decides to put their own spin on a standard they treasure. This time around, “Drive My Car” by the Beatles is given a modern, swanky take – the guitars a bit more aggressive, while the undeniable catchy chorus continues as a mainstay. You’ll also get some distinctive ballads – of which “These Are the Days” hits home the tenderness and charm the band delivers, taking a harmonica-like start into a weighty effort, injecting a bit of Southern rock measures next to a smooth vocal melody.
Co-produced by Charlie Bauerfeind (Helloween, Blind Guardian), Stereo Crush continues Gotthard’s natural proclivities to write and perform blues-based melodic hard rock that proves this style may not necessarily be mainstream in today’s scene, but deserves attention for its quality output. Could a festival appearance or cruise performance be in the offing to elevate the band’s profile stateside – only time will tell.
Formed in 2023 by violinist Ayasa (notably of Bang Dream‘s Morfonica), East of Eden have been building up their base with two Forbidden Fruit EPs, one in 2023 and 2024, and are now releasing their first full-length album. The ‘supergroup,’ so to speak, due to Ayasa along with some members who have been/are involved with D_Drive and Lonesome_Blue, and have recently been joined by new bassist Mina (ex-GIRLFRIEND). What makes East of Eden appealing is how they can swing between more metallic, rock, and classical elements, and the way that Ayasa’s stringwork is implemented into the act.
The First Eden: Seeds of Hope provides a varied and enjoyable trip into symphonic rock/metal waters. The first available cut, “Shooting Star,” sees the band in more of a metallic role. Playful basswork, occasionally militant drumming, and urgent riffs provide a vibrant backdrop for Ayasa’s violin to add more texture to. Add in a powerhouse chorus with strong vocal presence from Akane Minato and it all but soars. Not to be outdone, “”Breaker” keeps the momentum going for an even more urgent chorus. The driving force of Ayasa’s strings in the forefront mingling with the riffs make for an utterly thrilling experience, and having more of a brash rocking tone gives it plenty of energy to feed off. Minato shines in the chorus, alongside the drum barrage of MIZUKI. While “Darkside Lotus” slows down it’s tempo a tad, it adds to it in sweeping melodies and a more epic tone, while keeping a swirling of metallic tendencies at it’s heart, as well as a mind-bogglingly explosive violin solo and electronic infiltrations as it progresses.
Things slow down a bit more as the band leans into more of their rock side, so to speak. “I don’t say goodbye” in particular gives some massive ballad tones, allowing Minato to truly take the forefront of the group, with Ayasa’s strings acting as direct support. It’s a beautiful song, and is a true stand out. “Don’t Look Back” brings an almost pop element into it’s swirl of influences, as does “Noise-Canceling,” though in different ways and moving into some electronics at times as well. It’s great to see them really push in different directions because every song on Seed of Hope finds a way to make itself stand out. Whether it’s the anthemic rock approach of “Unapologetic Freedom,” the playful yet furious tempo of “Red Line,” with it’s cinematic vibes in the chorus, or the way that “Ikizama” wraps it all up as the closer and dabbles in all of the areas they’ve explored since “Shooting Star,” concluding with a potent chorus, there’s something for anyone seeking a unique take on symphonic rock/metal to enjoy.
East of Eden have done nothing but progress with their two previous EPs, and The First Eden: Seed of Hope sees them once again raise their own bar. The way that they can craft symphonic rock/metal with Ayasa’s violin at the helm is something that just feels special. There’s an energy that sweeps you off your feet, whether it’s with intense strings, playful instrumentation, or pure rock spirit means that you never know what you are going to get around the next corner. East of Eden are ready to spread their wings in the international world, and this album positions them as being poised and able to do so. It’s fun, catchy, unique, and bound to capture your imagination as they take you to swirling symphonic heights.
Using a wide array of influences and sounds is relative newcomers Luna Kills, who are about to mark their international debut with full-length Deathmatch. Incorporating electronics, heavy grooves, big pop-influenced choruses, and designing a sound that recalls the early ’00s nu scene while updating it to 2025 sensibilities and sonic power, its a unique feeling that allows them to set themselves up for a wide audience while retaining a sound that is both powerful and melodic. We spoke with vocalist Lotta Ruutiainen to get a first hand perspective on the band’s sound and approach, love of video games, and the band’s goals down the road, among other things.
Dead Rhetoric: The band formed in 2019, how do you view the growth of Luna Kills over the last 6 years?
Lotta Ruutiainen: It’s a pretty steep curve of learning new things and becoming better songwriters. I think we have taken our time to search for who we are as musicians and what kind of music we want to write. Now is the best time to share it with the world on a bigger scale than before.
Dead Rhetoric: In taking that time, I know there’s a lot of pressure nowadays to push everything out, do you feel that you do have some sort of coherent vision of what you want the band to sound like?
Ruutiainen: I don’t think we ever will have one thing that we are sure of, but we know of who we are as musicians and people, and what the visuals should be, as well what the music should sound like. We have a certain type of music we really like and want to make, but I think we are so experimental as songwriters that we will always be doing something just for the fun of it. We do have some outline, but we also want to have fun with our music as well. You never know what we are going to put out [laughs].
Dead Rhetoric: That’s the sort of thing, if you wait it out a bit, you can sort of define. Some bands start out in one way then switch and then people get upset about the sound change.
Ruutiainen: Yeah, we have that covered! We are constantly doing weird stuff [laughs], so no one knows what to expect from us.
Dead Rhetoric: What makes Deathmatch stand out as your new album?
Ruutiainen: It’s sort of has this nostalgic sound to it, but it’s also super modern with it’s production. I think it’s an interesting mash up. Also, the songs are all sort of mash-ups between genres, which I find interesting. We made it work, so that’s great. I would say that it sounds like it could have come out in the ‘00s, but it also sounds like it came out in 2025.
Dead Rhetoric: When you say genre mash-ups, is there anything done with them that is deliberate, or is it more on the fly and figuring out a good idea?
Ruutiainen: It’s probably because of our experimental nature. We really like different sounds and genres and we rarely think about mashing up something. It comes together almost by accident. If we like something, we write it.
Dead Rhetoric: So do you feel there is a defining characteristic of Luna Kill’s music?
Ruutiainen: I would say the electronic stuff we do is something we really enjoy doing. It carries all throughout our music. We love huge riffs and big choruses. That’s something we always tend to do as well. We rarely write anything that doesn’t have a good chorus, in our opinion. A good, big, and poppy chorus. That’s something that always carries into the songs.
Dead Rhetoric: Was there anything in particular you learned while making the album that you’d like to explore more in the future?
Ruutiainen: You always learn something new. I can’t pinpoint if we learned something super new that we are excited to get back on, like a skill or something. But you always learn something. Every time we make music, we figure out some sort of vibe. You want to carry though, so that’s probably something that we did while writing and recording this album. There are tones we haven’t explored before and we want to take them further.
Dead Rhetoric: This kind of goes into what we have been talking about, but what do you feel helps Luna Kills stand out as a band?
Ruutiainen: That’s tough, because I think the world is filled with so much great music, as well as great bands and artists. I’m so grateful that we are in a situation where we can be on a label and have our music heard by so many people. I am instantly thinking of other great bands/artists [laughs]. But I do think we have an interesting take on heavy music, I think that is one thing we are not fearful of – like the experimentation and the electronic aspects, as well as my melodies and vocal lines. We love to do some easy going stuff too. We love to do things that are not typically incorporated with heavier music. We are also a really good live band. We started the band because we wanted to play live. So I think that’s something that sets us apart as well. We hold the live shows in a great value and want to be the best.
Dead Rhetoric: Could you discuss some of the lyrical topics of the album and where you get your biggest inspirations?
Ruutiainen: I tend to write about super heavy things. I write about mental health things such as depression and anxiety. My main inspiration is my own life. I tend to write about experiences I have had, and I think it’s super important. Almost all of the tracks on the album are related to those sort of topics. We don’t write any happy things [laughs] I’m afraid. But I think writing from your own experience is really therapeutic in a way. I always tend to write about horrible things or feelings I have experienced but it has made me feel better. It’s also a bit difficult to talk about, not because of the topics, but I feel like it’s a little cringe for me to reminisce about things.
Dead Rhetoric: You mentioned the emphasis on playing live. When you take a song with really personal lyrics, do you ever feel like you are reliving it when you are on stage?
Ruutiainen: Sometimes, yes. But I’m glad that most of the time it feels more empowering. Like I was mentioning, sometimes it feels a little cringe, but thankfully never on stage. It’s so much easier to put your emotions into the songs when you feel them so deeply. It’s a good thing when it happens.
Dead Rhetoric: I saw you didn’t do screams for a while. What were some of the challenges in learning that particular vocal style?
Ruutiainen: It’s always difficult to take on a completely new technique as a singer. The first struggles for me were to find the technique and the placement. Also, because I do belt when I sing cleanly, I was struggling to understand that the screams, and fry screams in particular, aren’t as loud as belting. It’s really hard to understand, since it’s called ‘screaming’ [laughs]. It’s quieter than belting, so I struggled with it so that I wasn’t pushing too much.
Dead Rhetoric: Was there a drive to learn how to scream? Was it to diversify the music?
Ruutiainen: Yes, and I think because the topics in our music are a little heavier, I do feel the emotions in the lyrics are pretty intense. I felt that screaming would elevate the music and the feelings, and that emphasis on feelings. I think the music benefits from the aggressive and extreme techniques that involve those as well. There’s the drive to learn more too, and diversify my vocals in the extreme realm too, so I’m really interested in that.
Dead Rhetoric: With the mix of electronics and musical styles, Luna Kills feels a bit hard to pigeonhole with a sound. Do you feel like it’s a positive in terms of getting your name out there, or do you feel it adds challenges as well?
Ruutiainen: It goes both ways. Its positive that our music is so different, but there is a struggle in that there are people that like their music to be a certain way. They aren’t probably fans of everything we are going to put out. If you are a fan of the nu metal screaming kind of music, there will probably be some songs that are not your cup of tea, but we are making music more for people who listen to music the same way that we do. We tend to listen to a lot of genres and bands, and that is one thing: we are making music as diverse as that in our own way. There are ups and downs with that.
Dead Rhetoric: Could you talk about how you were able to get a song, “Deep Cuts” on Beatstar last year.
Ruutiainen: That was actually pretty easy on our part. They reached out to us and it was amazing. That never happens! They reached out and wanted a song from our catalog in the game, so we all agreed that it would be “Deep Cuts.” It’s like guitar hero, but on the phone. I still play the game and think it’s amazing.
Dead Rhetoric: Do you have a love of video games and things like that?
Ruutiainen: Yeah, I’m a huge gamer and half of the band is. Anything to do with games, we are all in. It’s actually one of our dreams to be in a video game or something like that.
Dead Rhetoric: Do you have any prospects or games that you would like to get your foot in the door with?
Ruutiainen: Anything goes [laughs]. It would be awesome to do a live show for E-sports events. We do watch CS2 and the tournaments on a regular basis, so if they ever have musical guests…they don’t usually, but if they did we would be up for it. League of Legends had Linkin Park last spring, so I think CS2 should do the same.
Dead Rhetoric: Is there anything lately that you have been playing that you have really enjoyed?
Ruutiainen: I have been playing Fallout 4 again. I have probably played it 10 times already, but it’s my comfort game so I am playing that. I am also playing Last of Us 2, because the next season of Last of Us is coming to HBO, so I have to recap the game again.
Dead Rhetoric: As an up and coming band, what are your hopes for the music scene as it continues to grow and change?
Ruutiainen: It’s a great time to be a musician now, but it’s not. Because of streaming, it has changed the world so much, and touring is so expensive. We would love to tour as much as possible and it’s really costly and with streaming, it’s more difficult to be a musician. I don’t know how to change the scene or how I would hope it to change. I’m hoping that music and supporting musicians is still a thing, so that people can enjoy the music. I hope for more inclusivity as well. I see more women in the metal scene and I would like that trend to continue.
Dead Rhetoric: What are some of your goals, what would you like to see Luna Kills achieve in, say, the next five years?
Ruutiainen: I would probably want to see more touring and have us put out more music, definitely another album. It’s probably the most boring answer but I just want to see our band grow and play bigger festivals and that sort of thing. I’m really ambitious about wanting us to grow as a band.
Dead Rhetoric: Given the sound of the band, who do you feel would be the best possible options to grow the band? What types of groups would you like to tour with?
Ruutiainen: One is definitely Don Broco. They are from the UK, they are super fun and I’m a huge fan of them. I think we would do great with them. That’s one of my personal dreams. I would say that bands like Linkin Park or Spiritbox or Bring Me the Horizon would be fun, or even Make Them Suffer.
Dead Rhetoric: What are your plans for the rest of 2025?
Ruutiainen: We are going to be touring a little bit when the album comes out. We have a tour in Finland and a tour in Europe. So we will be doing that this spring. This summer we have festivals abroad and in Finland too. We want to make more music. We have had a bit of a break since we finished the album so we are probably going to start when we are not playing music live. That’s pretty much the plan for the whole rest of the year.
Back in 2015, it seemed like an eternity over the course of six years waiting for a new release from Disarmonia Mundi, the frantic 2-man melodic death metal act from Italy. Their explosive mix of raging melodeath riffing, beautiful high-speed melodies, and even some regular guest sections from Bjorn Strid (Soilwork/The Night Flight Orchestra) always delivered a product that stood out among the denizens of genre. That said, Cold Inferno delivered, and we all hoped at the time for a quicker turn around for their sixth album. Well, it’s now 2025, a full decade later, and Disarmonia Mundi has finally returned with a proper follow-up with The Dormant Stranger.
Much like their last, long-awaited effort, The Dormant Stranger delivers the goods. Having hit upon their sweet spot within the genre, it’s more of a continued evolution than reinvention but that’s a great thing. No one really does melodeath in the same way as Disarmonia Mundi. You can look to the bands (including Soilwork) who clearly left a mark on the act and their evolution away from that adrenaline-pumping version of melodic death metal, but Disarmonia Mundi still sits here and revels in it. There’s a sheer thrill factor involved when opener “Adrift Among Insignificant Strangers” kicks into full gear, thrusting ahead with vicious riffs while being laced with shining melodies and not just because it’s been a decade but because their particular sound elicits an immediate sense of euphoria. The speed rush coupled with hook-filled melodies and a killer chorus is the best way to launch this album. The merger of Claudio Ravinale and Bjorn Strid’s harsh and clean vocals also gives an equality pleasing feel to the standout melodies of instrumental mastermind Ettore Rigott.
Crunchy, stomp-worthy riffs, flashy guitar melodies and leads, and plenty of vocal dynamics hold up to the same high standard of previous releases, and it’s clear that Disarmonia Mundi has not lost a step over the years. The smile-inducing leadwork of “Oathbreaker” is bound to send your mind racing to the glory days of melodeath, as are the heartpounding grooves merging with Ravinale’s barked vocals. The slower, chuggier approach to “Illusion of Control” really let’s the melodies take the lead, from the mellow clean guitar moments to the extended solo, to a downright groovy mid-tempo riff later on, the band doesn’t have to just simply thunder ahead at full speed to provide a rush. That said, the ‘bolt out of the gates’ energy of “Warhound” thrives off of it’s blastbeat-ridden opening and keeps an urgent pace even when the tempo slows for a dazzling chorus. It’s a jackhammer of a track that provides a rush that other melodeath acts just haven’t hit in the same way recently. “Architects of Negativity” hits some similar aggressive notes, which really opens up the chorus to provide that sweet feeling of contrast as it goes into soaring levels of melody.
While Disarmonia Mundi may be a name that has vanished for a bit, they’ve again stormed back with a melodic vengeance. The Dormant Stranger scratches an itch within the melodeath community that only they are capable of filling. Other groups may have mellowed a bit over the years, but Disarmonia Mundi return once more to showcase that it’s still possible to have all of that flashy melodic sensibility while delivering a thoroughly energetic and heavy product. Those in the know already are awaiting this one, but for anyone who has missed their releases in the past, there’s never been a better time to dig into their incredibly solid discography. The Dormant Stranger should be next on your list of melodic death metal to check out.
