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Delain – Brand New Dance

Katarina McGinn
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Delain – Brand New Dance

After a very prominent shake-up a few years ago, Delain came back last year with a fresh line-up with Dark Waters. Quickly returning with a new EP Dance with the Devil while the iron is still hot, there’s two new songs for fans to enjoy alongside a bounty of extra material. We spoke with one of the band’s newest members, bassist Ludovico ‘Ludo’ Cioffi to get to know him a bit better in terms of his prior experiences in extreme metal bands, playing a variety of instruments, and some of what drew him to Delain and some personal favorites to play live, amid some other topics.

Dead Rhetoric: What was your initial attraction to joining Delain, given your experiences in much more extreme metal surrounding it?

Ludovico Cioffi: First of all, I always played heavier music with my bands, but I always listened to softer music. I have always been a fan of symphonic metal and even pop music, I’m still a huge fan of pop. I’m totally into softer genres. So when I joined Delain, I was very happy to play some music that I had never played before. Some music where I didn’t need to focus 100% all the time on what I am playing, because it’s really hard to play. I can enjoy the live experience and give 100% to the audience. It’s easier to play bass in Delain, I don’t need to be a super virtuoso player. It’s more of a rock approach, at least with the bass. You need to be very big with your sound and fill all of the spaces and complete the guitar. It’s a very big sound, but concerning the playing it’s more enjoyable.

Dead Rhetoric: You moved to bass for this role in Delain and it being more fun to play live. What are some advantages for you in terms of the guitar knowledge in this move? 

Cioffi: To be super honest, I am playing bass like a guitarist would play bass. I didn’t learn a technique, like a finger style, for the bass. I am playing the bass like a guitarist would. I can say that my advantage, as a guitarist, is that I can use the pick very well on the bass. I can really make the bass sound aggressive with a lot of attack. That’s something that comes from my guitar background. That’s an advantage. But if you ask me to play bass like a bassist with my fingers and do the stuff that real bass players do, I’m not capable of that. I always say that I’m a guitarist on bass, not a bassist [laughs] but it’s okay. It’s what we need.

Dead Rhetoric: There was a huge shake-up in Delain before you joined the band. How has it been, in terms of fan interactions, since you have been out on the road?

Cioffi: Delain went through a big change and of course I was scared about the reaction of the people and seeing a new face there and playing – filling the shoes of someone who had been there for years. I was scared of that. But I have to say that the audience welcomed me pretty well. I was very happy to see that they like me and I am doing stuff like artwork and that helps people to know and accept me better. I have to say that meeting fans and how they welcomed me, it’s been really, really good.

Dead Rhetoric: How has Delain itself been, do you feel that the group has gelled with releasing an album last year and a new EP this fall?

Cioffi: Absolutely. I was really surprised at how it immediately felt super tight both in terms of how we sounded together, from the first shows, and in terms of the friendship. I felt ‘in the family’ from the first moment. We get a lot really well. Touring is always a challenge because you never know how you are going to deal with new people and living with them 24 hours for a month. We are a cool, very good group of people, not just the band but also the crew. It’s a fantastic crew, and we are all really good friends. The band has gelled together very well, absolutely.

Dead Rhetoric: What are your thoughts on “Dance with the Devil” and “The Reaping” as Delain’s newest songs?

Cioffi: Of course, Martijn [Westerholt] could tell you with greater detail about the songs since the creative process comes from him, but I contributed a little bit in the songs. I can tell you something that I really like about the new songs that they don’t have the classical, orchestral elements like the classic Delain stuff. This is more of a modern synth type of vibe, which has always been a part of Delain. If you listen to the old stuff, it’s there, but I like that there are no orchestral elements but you can still totally recognize Delain. I really enjoyed contributing some heavy riffs to “Dance with the Devil,” the middle part where the growls are, that riff is from me. I was super happy to contribute that. I think Delain is really capable of combining melodic, catchy stuff with heavy stuff. This is from Martijn’s brilliant mind, and the other cowriter of the songs, especially for the guitars. I have a very good feeling about this song.

“The Reaping” is coming out in a few weeks and I think people will really enjoy that song as well. It’s a bit more intense and serious in a way, people will enjoy it.

Dead Rhetoric: I’m glad you mentioned the part with the growling and the heaviness. That part really caught my ear. I think that’s a nice path for Delain to work with. The dynamic has always been there, and if it’s something that gets more fleshed out it might be a cool way to move forward.

Cioffi: The direction, you never know what it will be for the band and I have to say when bands are not predictable. I like when I can recognize them, but I like it more when it’s unpredictable and a band renovates themselves. That’s the hardest part for every band. I have a feeling that it will happen with Delain. There will be something confirming was Delain was and is, but also innovation in there. I’m very confident that Martijn, us, and his new influences, will lead to something really cool.

Dead Rhetoric: You said before you played in heavier bands but listened to softer music. What, as a listener, do you like about symphonic metal and that sort of angle in the genre?

Cioffi: Probably the thing I love the most about symphonic bands in general is the combination of the sweetest, finest melodies with heavy riffs and massive orchestra. Probably the element that I love the most in symphonic metal bands is the orchestra. It has a lot of textures and sound. There’s a lot of layers that can enhance and give more value to what the singer does and riffs do. You can see that in bands like Within Temptation, and Delain as well, but even with heavier bands. Dimmu Borgir is my favorite band. When they play super heavy riffs with orchestra, the way it combines, it gives me goosebumps everytime.

Dead Rhetoric: Even with your band The Modern Age Slavery, you can hear that a bit in the black metal sense.

Cioffi: Yes, absolutely. We love that. Also the contrast stuff, having strings under super blastin heavy riffs and the most brutal vocals. I love that contrast.

Dead Rhetoric: Dance with the Devil has two new songs on it and a rerecording of “Sleepwalkers Dream.” Are you planning on more new material for 2025 for a full length? Or was it more to keep you out on the road, since I know you have the big US tour with Xandria next year.

Cioffi: I can tell you that our minds are already thinking about new material and releasing a new album soon. I cannot say too much, because we also don’t know too much about the future, but something new will come up soon. I think this EP was a good way to keep people’s attention high and still give out some material that we had in our minds to put out. It’s more of a transition. Who knows where it is going to lead to? Could be a more synth album or a more classic symphonic metal album. That’s the unpredictable factor I was talking about before.

Dead Rhetoric: So how familiar with Delain were you when you joined?

Cioffi: I knew them, and it’s funny because I got to know them in the April Rain era. In that moment I was very into symphonic metal bands. For a certain period I moved to other things and I lost them in my radar. I got back to them fully with Moonbathers and then Apocalypse & Chill. I thought those albums were really brilliant. I thought Delain had changed, but they have super cool new elements that make a difference between other symphonic metal bands. That was something that I really liked. Especially Apocalypse & Chill, that element really got me. But unfortunately after that, they split! It was so annoying since I wanted to see the band live with the new direction. But at the same time, then I joined them! So, sorry not sorry!

Dead Rhetoric: What’s a classic Delain song that you have been really enjoying playing live? Or one that hasn’t been played live that you would like to play?

Cioffi: I would like to play the songs that I recorded on the last album, and I can’t wait to play “Dance with the Devil” as it’s a song that’s near and dear to me. But the first time I played “April Rain” live I felt like, “wow, this is a song I really love to play” and I felt like I wrote it even though I didn’t. But I enjoy playing it so much that it feels like it’s mine. Concerning some songs that we haven’t played that I wish we would, probably something from Apocalypse & Chill. One of my all time favorite songs is “Chemical Redemption” and I would love to play it live on day. It’s super in my heart. Let’s see what the future brings us.

Dead Rhetoric: You’ve composed and done vocals, played guitar for bands, and now play bass with Delain. Do you have a preference for an instrument as well as your role within a group? Or is it more about adapting to what is needed?

Cioffi: I’m gonna tell you this, one time Martijn told me that if I ever thought I would enjoy playing guitar in Delain more than bass to tell him and we would figure it out. We could figure out adding a member to play bass. But I said, no, I want to play bass in Delain. I love my role in my  band. It’s really my place and I wouldn’t change it for anything in the world. But when I am back to my other bands, because I still play live with Sun of the Suns and The Modern Age Slavery, and I hope with Nightland.

But yeah, when I am on the guitar playing those riffs, I immediately see that I grew up with that. Being in front of a microphone and growling/screaming, that’s my stuff. That’s the stuff that built me to be at this level. Guitar and growling is my dimension, 100%. But I wouldn’t change my role in Delain with the bass for anything else, I enjoy it so much.

Dead Rhetoric: And if you are playing live with all these bands, you can kind of have it all.

Cioffi: I just need to remember what instrument I am playing in that moment because otherwise my mind is tricked. It’s easy to trick my mind, but it’s super enjoyable.

Dead Rhetoric: You have a tour planned for the US in 2025. What else is on the horizon?

Cioffi: We are working on new live activities for next year. We haven’t confirmed any other festivals or anything but we definitely want to be more active in that department. The next US tour is going to be the longest tour we have had with the new line-up so far. It’s 19 shows and it’s going to be very intense. We want to see how it goes with the new line-up. It’s going to be great, but also challenging since it’s the first time for so many days. But we totally want to intensify our live activities. Festivals will arise and be confirmed, as well as new tours. I can’t tell too much now but there’s stuff going on there.

Delain official website
Delain on Facebook

High Warden – Astral Iron (Dying Victims Productions)

Matt Coe
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High Warden – Astral Iron (Dying Victims Productions)

One subgenre dripping in classic elements of heavy metal is epic doom. Beyond the slower tempos the listener becomes enveloped in this grandiose weight of the riffs, while the vocal melodies often shimmer in a mountain-top presence that tie together the deep emotional context these musicians deliver. Entering the fold from Münster, Germany is High Warden – a three-piece started in 2022, releasing the Land of Stone demo shortly thereafter to be picked up by Dying Victims Productions. Pulling from the works of historical events, legends & myths including familiar J.R.R. Tolkien fare on the lyrical front, Astral Iron as a debut album continues the group’s barbaric, mammoth approach to slower epic doom, heavy metal – injecting a mix of classic influences plus thoughtful transitions that heighten eternal impact.

The tasty, meaty riffs plus subsequent melodic or traditional branches guitarist / vocalist Alastair van Morgue-Gul build off present plenty of crushing moments to savor. Be it in a more compact, straightforward context on the relatively tidy “Pale Hunter” or the naturally Candlemass meets Doomsword-ish unfurling that takes place over the almost nine-minute “Devil His Due / Whore of Yerusalism”, his natural nuances create this force of steel that’s hard to resist. “Burgfrieden” as a synth interlude gives the record a refreshing breather – the guitar feedback adding horror-like tension before the next proper track kicks in. Bassist Lord Parish and drummer Sadistic Hammer understand their roles in setting up the foundation while occasionally settling into a specific, morose mood next to slightly energetic transitions to keep the songs dynamically appealing – the title track a shining example in all facets of their professional abilities. Acoustic guitars and water flow filters into the massive finale “We Shall Burn at Foreign Shores (The Choice of Achilles)” – titanic in its epic riffs once kicked into distortion mode, conjuring up aspects of Grand Magus, Mercyful Fate all the way to early Trouble. Alastair layers specific parts in harmony to raise the intensity of the hooks while his vocals have this forceful magnificence, a la J.B. of Grand Magus – the speedier, almost thrash-like blitz that occurs in the last minute of the song a brilliant surprise.

Once again subscribing to a less is more philosophy in keeping the record at six tracks in under thirty-eight minutes, Astral Iron proves epic doom metal can still register quality releases in 2024. High Warden has plenty of experience and ability to churn out fist waving anthems that speak to the ardent followers of this genre – and this is an ideal way to get in on the ground running.

High Warden on Facebook

High Warden on Instagram

Conjonctive – Misère de Poussière

Katarina McGinn
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Conjonctive – Misère de Poussière

Swiss modern death metal/deathcore act Conjonctive was a group we featured seven years ago with their sophomore effort, In the Mouth of the Devil. It had lots of groove and ‘core-driven chugs, but it succeeded because it offered more than those to the listener. While the time lapse was long, due to a brief hiatus and some line-up changes, it seems that time has not tempered the band’s fury in the least. New album Misère de Poussière brings lots of heavy riffing and frantic energy to the table, offering fans of extreme music a well balanced release that never lacks for urgency.

Admittedly, the biting energy is the band’s finest weapon. Their modern sound is filled with heaviness, and the riffing has some massive weight to it. Regardless of if they are blasting at full-speed or chugging through a groove, the music grabs you. “Dying Melody” opens with some exemplary material in this regard. Thunderous riffs hit hard and don’t take long before they accelerate in tempo. Inserting just enough melody into it as the song progresses, it comes off as incredibly hooky for as visceral as it is. As they switch up tempos and riff patterns, they never relent for a second. Going along with this intensity is their vocal approach. Dual vocals from Sonia and Randy, such as those on “Summer Hunt,” offer a powerful variety and also keeps the listener guessing as they never go for a ‘set pattern’ as the pair face off throughout the tracks. It’s particularly refreshing to hear them avoid the cliched patterns that male/female vocal patterns usually fall prey to. Lastly, the aforementioned melodic aspect. While it’s all death metal from beginning to end, the way the melodies are woven in, such as “Nocturnal Terror” they try to bring in a number of extreme metal influences without watering down their sound, even providing some dips into blackened territory.

Conjonctive are back, and they’ve brought a heightened sense of urgency to their music. It’s as brutal and downright heavy as anything else you’d expect in the genre, but Misère de Poussière provides an impressive array of diversity without any compromise. Which gives it an edge to much of it’s competition. An act deserving of more attention for sure.

Conjonctive on Facebook
Conjonctive on Instagram

King Diamond / Overkill / Night Demon – October 26, 2024 – Mahaffey Theater, St. Petersburg, FL

Daniel Barkasi
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King Diamond / Overkill / Night Demon – October 26, 2024 – Mahaffey Theater, St. Petersburg, FL

Photos by: Brittany Barkasi

King Diamond surely requires no introduction. One of the most iconic acts in metal history, starting with the punk band Brat, then the legendary Mercyful Fate, and from the ashes of that band’s first split came King Diamond. The man himself is legendary for his glass-shattering falsettos and iconic corpse paint. He also owned Gene Simmons, which is a huge plus for yours truly. Moreover, the King’s live shows are that of theatrical legend. Having caught King Diamond twice over the years – 2013 at MetalDays and 2014 in Pittsburgh – the realization that it had been over a decade (that show was 10/19/14) set in while writing this. I’m truly surprised it had been that long, but alas, here we are for his latest North American romp. To be somewhat fair to myself, late 2019 was the last time the band toured anywhere near us, and a few months later, yadda yadda, the world shut down.

When the St. Lucifer’s Hospital 1920 tour was announced, we immediately marked off that date in the old Google calendar. Joined by thrash legends Overkill – who we also hadn’t seen for a hot minute – and the ascending old school heavy metal warriors in Night Demon, the full bill was a damn fine one. Furthermore, King Diamond was coming with a brand new stage show based on, according to the man himself: “Another timeline in 1920, where I experienced some hard times, and they have to come to our time to steal from us to survive.” Also boasting the band’s most intricate stage show yet, how could one go wrong?

This obviously opportunity wasn’t going to be missed, though there was a bit of a fear that this particular show would happen at all. You see, that bastard hurricane Milton had ravaged West Central Florida not too long prior, and St. Petersburg had been hit incredibly hard with wind damage and massive flooding. The Mahaffey Theater had a few cancellations and postponements due to the storm’s aftermath, but through it all, this thankfully wasn’t one of them. Also by this point, we hadn’t been able to live at home due to a combination of power and internet outages for over 2 weeks. It was a trying time for many, though thankfully our place was back to functionality just when the show was rolling around, and we’d be heading back the following day. So in a lot of ways, this show represented a bit more to the wife and myself than the usual.

Notably, the photo setup at the venue was literally the strangest we’ve ever seen in going to well over 1,200 shows in our lifetime. All photographers were positioned near the back of the venue, which is incredibly strange. Photographers also weren’t allowed to hold onto their cameras, and had to check them with security after each set. Can’t get a photographer’s camera in the way of hundreds of cell phones raised over everyone’s heads for entire sets, right? That said, the staff was friendly as can be, and we thank everyone for their professionalism and courtesy. However, the Mahaffey’s policy for photographers needs some serious changes, as it made capturing the show incredibly challenging.

With that out of the way, onward!

Night Demon
This way for visuals of a trio of heavy metal demons.

There are plenty of bands who have contributed to the revival of classic heavy/speed metal, and none so more than Night Demon. Having written some of the most engaging, shred-filled songs in the style for quite some time, they’ve been a band on my list to catch for some time. For one reason or another, the ripping three piece have been quite elusive. Avoid me no more, fellas! This was one of those instances where the wait was ever worth it.

With the crowd still filing in from the lengthy merch line and other shenanigans, the initial number of folks there was disappointingly low – much less than Night Demon deserved. As any concert going veteran knows, don’t skip on opening acts if you don’t know them, folks! You may be missing your new favorite band. Undeterred, the band launched forth with “Outsider” from their latest LP Curse of the Damned. Brimming with energy, vocalist/bassist Jarvis Leatherby and crew exploded out of the gate with fury and a point to prove. Leatherby’s delightfully melodic croon, Armand John Anthony’s crunchy riffs, and Brian Wilson’s pace-setting percussive wizardry enthralled the now tuned in onlookers with an assertive grip.

“Screams in the Night” followed, keeping the undeniable energy escalating while the crowd filled their seats. Yup, this was a fully seated venue. An obvious rarity that reminded me of the Megadeth/Testament/Exodus tour back in 2010 for the Rust in Peace 20th anniversary tour that was also set at a seated venue in Greensburg, PA. This crowd was a bit less rambunctious and out for violence than that evening, but it still felt a little strange. Undeterred, the galloping guitars and rhythms of “Hallowed Ground” kept Night Demon’s momentum with a deft touch and top-notch skill.

To date having released an EP, three full-lengths and a compilation of singles and covers, the band have a solid number of tracks to choose from to fill their all too brief 30 minute set. Wisely drawing from all over the spectrum of their career, the latter half consisted of rippers such as “Ritual” and “The Chalice” from their self-titled debut 2012 EP, as well as the delectable “Escape from Beyond” from their latest.

The band did acknowledge the seated elephant in the room, proclaiming that this is a metal show and everyone should stand up, blasting into their namesake track “Night Demon.” During which, Letatherby and Anthony charged into the crowd at near sprint speed, while continuing to shred away to everyone’s delight. Absolutely one of the highlight moments of the evening, to which left an impression on the now filled crowd.

For those who had seen Night Demon previously, we’re willing to bet that they were unsurprised and elated with the performance put forth. To anyone unfamiliar with the band until then, they sure as hell were now aware of what Night Demon is all about. No doubt making new fans and having a good time doing it. We’ll hopefully take in a Night Demon show again in the future, as they surpassed my lofty expectations and then some.

Overkill
Check out more images from the gutter.

If you know thrash metal, you know Overkill. The brazen New Jersey natives have been a major part of the scene for over 40 years. To be exact, 44. How is that possible? Time is cruel, but it hasn’t been to Overkill’s output. Having to date released 20 albums, they’ve been consistently churning out material at an impressive clip. Even more impressive, their later material can be counted amongst Overkill’s strongest, further cementing their longevity and workhorse mentality. Having seen them headline many times, it was somewhat unfamiliar to not see them at the top of the bill.

The Wrecking Crew began with a heavy helping of fiery vitality with the title track of their most recent album Scorched, and what a choice of starters. Their latest has received many plaudits – including from our own Matt Coe – and represents all of the major elements of the band fused together. Hearing “Scorched” and “The Surgeon” live in this 45 minute set showcased that their new stuff fits together seamlessly with the old, and it’s all very much Overkill. It’s hard to ask for more than that.

Naturally, classic cuts such as “Rotten to the Core” and “Hello from the Gutter” made their way into the evening, coming off as exuberant and vital as they always have. The band still has that presence in the live arena that’s impossible to teach. Frontman Bobby Blitz wields his distinct, sharp snarl as well as ever – orchestrating the frenetic crowd with ease. He’s truly a one-of-a-kind performer and human who connects with the audience in a special way. In several interactions over the years, he’s always been a real human who is as authentic as can be, and that personality helps make the performer that he is. This night, he was “on” as one can be.

Bassist and original member D.D. Verni really drives the rhythm section, and his importance can never be understated. He looked as energetic and dialed in as he did when I first saw the band well over 20 years ago. It’s definitely good to see him back and healthy after a shoulder surgery that sidelined him for a few tours, and hopefully he’s feeling as good as he played. Drummer Jeramie Kling did a fine job blasting away on the skins, with big shoes to fill after Jason Bittner’s departure earlier in the year. He fit in nicely with the group, with Blitz giving him due plaudits between songs.

Guitarists Dave Links and Derek Tailer have been here for quite a time, and their contributions are obvious – the duo’s work in the band is amongst the best they’ve had, and it shows. They especially showed their collective chops on the effusive monster “Ironbound” and the riffy “Elimination.” With such a vast catalog, one can only imagine how difficult it is to put together a set list – especially in a shorter set than Overkill is used to. However, they were up to the task, pulling together a tight mixture that showcases the band’s wide array of accomplishments.

Naturally, Overkill signed off not caring what you say. You should know the rest, and if you don’t, well “Fuck You.” The crowd joined in kind to the defiant chorus, and it was a fitting conclusion to the thrashers’ part of the evening. These veterans may not sprint around running stage marathons like they used to, but that bright green fire burns ever brightly for these thrash legends. It’s always fun to take in a show from the Wrecking Crew, and I’ll gladly be dragged into the proverbial gutter when these dudes come around.

King Diamond
Let us go inside and see what’s on “Their” mind. “They” are still alive…

King Diamond really thrives on stage. Their visuals and elaborate production is an integral piece to the band’s ethos that needs to be experienced in person to get the full experience. “It’s good to be the King,” as Mel Brooks as King Louis XVI in History of the World, Part 1. For us, it’s good to see and experience the King, who has been on top of his live game ever since his return years ago. This time, for the first time in over 20 years, his wife and the band’s backing vocalist and organist Livia Zita would not be joining the band on tour, instead focusing on her quickly growing voice acting career. Definitely good luck to her! Joining for this live trek is the hugely talented Myrkur, who has made quite the name for herself in recent years with her solo black/folk metal project.

When the set was revealed, it indeed was huge and ornate, with large staircases, an ice-laden balcony, and other pieces. The mood was indeed set substantially as “Funeral” echoed throughout the theater. Soon after, the band made their “Arrival” with gusto. See what we did there? Tearing into the set immediately with a trio of tracks from their legendary Abigail album was a wise decision, with “A Mansion in Darkness” making up the latter part of the first section of their performance. King’s voice was in top form, from his forceful barks and shouts to his falsetto screams, while displaying that commanding presence in a style that only he can.

Guitarist (as well as a damn fine producer) Andy LaRocque riffed and shredded along with intense precision, showing that he still has the chops and then some. LaRocque is one of the reasons I picked up a guitar, and seeing him perform is such a treat that isn’t taken lightly. His singular playing style rang through the high ceilings of the Mahaffey Theater, with onlookers dazzled by his prowess. The seasonally fitting “Halloween” from the incredible Fatal Portrait record was one of his many top moments, as was the following “Voodoo.”

Briefly moving into Them territory is the haunting self-titled interlude track, which was utilized as a set up for a new cut in “Spider Lilly” that will be part of the band’s upcoming new album. King stated that a music video was being shot in a few days at the famed Pennhurst Asylum, and is about a little girl that he protected at St. Lucifer’s Hospital in a 1920s timeline. The song itself is an energetic, melodic piece that is pure classic King Diamond.

“Two Little Girls” – during which an actress interacted with two little girl dolls in a wonderfully creepy fashion – was used to set up the speedy “Sleepless Nights.” The middle part of the set contained a lot of theatrical bits with the usage of these interlude tracks, which was done to maximum effect. The stage show is integral for King Diamond, and those elements were excellently choreographed and executed.

“Out from the Asylum” kicked off a section of classic Them songs, to which the crowd was all anticipating eagerly. “Welcome Home” came complete with King donning a creepy geriatric mask while wheeling about our collective, delightful Grandma about the stage. The mesmerizing guitar leads and licks of “Invisible Guests” was next, with guitarist Mike Wead giving the crowd a lead guitar masterclass while LaRocque ripped away with rhythmic bliss. These two have a chemistry that simply works, with this song being a runaway example of their combined dexterity.

The ghostly keys and organs of “The Candle” kept the momentum flame stoked; burn, burn, burn. A personal favorite that was an obvious inclusion, but one that we were overly excited to hear nonetheless. Myrkur helmed the organ with presence and skill, adding her stamp to the proceedings on this song as well as the show as a whole. We do miss Zita being here, but Myrkur was as fine of a choice as one could hope for. The 2019 single “Masquerade of Madness” fit into the set nicely to keep the show going, giving the fans another cut from more recent King Diamond output, no doubt whetting the appetite for the future new album.

A duo of cuts from The Eye began counting down the set in a grandiose fashion; “Eye of the Witch” being a more mid-paced, subdued and haunting piece while “Burn” echoed forth with power and emotive moments. Another new track titled “Electro Therapy” was the conclusion, with a coffin-like apparatus with a woman enclosed was subjected to electrical shocks via our King throughout. This song has a dark, brooding undertone that shows a bit of a different side of the band. It works, and it’ll be interesting to see how this song contextually fits into the new album. King stated after the song wrapped up, “I’m not even a doctor, but I’m just a priest. I think this was a success, huh?” before thanking the crowd and making his exit via a door under in the stage setup.

As we all know, this wasn’t the actual end of the set. In kind, the band returned quickly to play the famed “Abigail” to the audience’s delight. Predictable? Maybe. The right decision? Undeniably. The crowd ate it up, erupting in approving screams and fists in the air, giving the band the loud sendoff they truly deserved.

Conclusion

My personal journey into heavy metal music involves King Diamond’s music in the early discovery of the genre, and being able to see them now makes one realize the indelible impact they’ve had on my musical leanings ever since I came across a used copy of Them and a late 90s reissue of Mercyful Fate’s Melissa at a now defunct shop in Pittsburgh. It’s been a long and fruitful journey, and the King’s music is a huge part of it.

There certainly isn’t anything that King Diamond needs to prove at this point in their illustrious career. Yet, when they come out on the road, you’re guaranteed a show that will dazzle and entrance you audibly, visually, and psychologically. The fact remains that there isn’t anything quite like a King Diamond show (unless it’s Mercyful Fate, of course), and on this evening, we got what was hoped for and then some.

It was really cool to see a diverse crowd in attendance; both grizzled scene veterans, legendary musicians (Cannibal Corpse’s Rob Barrett was near us for part of the show, having an absolute blast), and younger fans who may have been experiencing these bands in person for the first time. The entire package put forth their best – Night Demon keeping classic sounds alive with their effective and fresh perspectives, Overkill showing that thrash is stick defiantly kicking, and King Diamond humbly producing a live experience that is difficult to match.

Be grateful that acts like this are touring and making music in our current time, and be sure to not pass up an opportunity to take in a performance. This tour runs through early December, so if it’s coming anywhere close, you know what to do. Until then, we’ll wait with anticipation of when more details of this new album will be revealed. No doubt, it’ll be a release fit for a King. It’s good to be the King, indeed.

King Diamond on Facebook

Overkill on Facebook

Night Demon on Facebook

Night Demon – October 26, 2024 – Mahaffey Theater, St. Petersburg, FL

Brittany Barkasi
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Night Demon – October 26, 2024 – Mahaffey Theater, St. Petersburg, FL

Overkill – October 26, 2024 – Mahaffey Theater, St. Petersburg, FL

Brittany Barkasi
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Overkill – October 26, 2024 – Mahaffey Theater, St. Petersburg, FL

King Diamond – October 26, 2024 – Mahaffey Theater, St. Petersburg, FL

Daniel Barkasi
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King Diamond – October 26, 2024 – Mahaffey Theater, St. Petersburg, FL

Poppy – Negative Spaces (Sumerian)

Katarina McGinn
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Poppy – Negative Spaces (Sumerian)

Poppy undoubtedly flew under the radar of the heavy crowd for much of her early career. The YouTuber seemed quite far removed with her android shtick and early material. Then 2020’s I Disagree came in with it’s eclectic and chaotic approach with songs like “Concrete” and “Bite Your Teeth,” entering the heavy music space with no concern for musical boundaries. It was an impressive and unpredictable album that ping-ponged between modern metal, industrial, and pop with a unique flavor. While her follow-ups in Flux and Zig saw her move into alt rock and electro-pop, recent collaborations with Knocked Loose and Bad Omens seemed to hint at her moving back into heavier waters. With Negative Spaces, that turned out to be mostly true.

In typical Poppy fashion, there’s genre-blurring all over the place. It’s undoubtedly heavy, unified by the Jordan Fish production, but it’s rarely straight-forward. Opener “have you had enough?” begins with murky electronic elements and explodes into almost NIN-inspired industrial rhythms and grooves. It ultimately culminates with speaker-filling chugs and Poppy switching into full-on screams. In contrast, it’s followed up by early single “the cost of giving up,” with it’s melodic riffing and hook-filled chorus, leading up to another corrosive bout of downtuned riffing and scathing screams, sounding very much akin to what’s going around in modern metal and rock. That said, “they’re all around us” wastes no time getting right to the more brutal moments. Industrial-laced guitar riffing and screams get the blood pumping before a more serene chorus offers an excellent contrast. The first of three short transition tracks moves us into “crystallize,” a foray into more electronic and less heavy waters. More electropop than anything else, the pounding synths will drill their way into your skull upon first listen. “vidal” keeps up the pop elements and fuses it with more of a rock base, at times almost sounding like something from the early Avril Lavigne catalog.

With the middle of the album pushing a more electronic, pop-driven tone, “push go” bridges the gap sonically to swerve back towards heavier ground with more industrial buzzing, leading into the nu-metal grooving of “nothing” which swells with more dark electro elements bubbling below the surface until the screams pick back up. An absolutely soaring chorus offers a real bright spot for the entire album. Those familiar with her work on Knocked Loose’s “Suffocate” will be thrilled by “the center’s falling out,” which almost feels like the spiritual successor to that visceral, unrelenting track which features a crushing breakdown towards its finale. After the second transition cut, the title track flirts more with grunge than anything else, while “surviving on defiance” utilizes more melancholic notes and dark pulsating grooves, allowing for a sense of dreary resolution before “new way out” brings back more immediately catchy riffing and electronics to the forefront while the lyrics cling to more darker thoughts. The album ends on a brighter note though with “halo” offering a more positive outlook, with it’s catchy ballad-esque approach and gentle electronic beats that build up to culminate into arguably the album’s prettiest moment.

Negative Spaces is an album that likes to flirt with boundaries when it’s not smashing through them. Far from a ‘traditional’ metal release, but one that’s remarkably heavy in both it’s sound and intent. Poppy has always had a unique vision with her sound, and this album seems to culminate much of her expression and experimentation. Given her trajectory, it’s better not to guess where she’s heading in the future as she’s completely unattached to genre, but open-minded fans of heavy music are bound to find something worth celebrating with Negative Spaces.

Poppy on Instagram
Poppy on Facebook

Iniquitous Savagery – Edifice of Vicissitudes (Willowtip)

Katarina McGinn
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Iniquitous Savagery – Edifice of Vicissitudes (Willowtip)

It’s been almost 10 years since Iniquitous Savagery released their first assault of brutal death metal done in the purest of forms. While it didn’t pretend to change the game, one could attest to the fact that it very much followed the uncompromising rules of brutality. Ten years later, this sounds very much like it could be the logical follow-up. The difference is the idea that fewer and fewer acts are now going for this particular sound.

Being in the realm of those brutal death metal bands that make you want to curse yourself for having to type up a title like Edifice of Vicissitudes (or even look up the term vicissitudes for that matter), its easy to mark comparisons to older acts like Deeds of Flesh, Devourment, or Disgorge. You know, the most brutal of brutal. Ultra low gurgled vocals, a torrent of blastbeats that only relent to the dropping of massive breakdowns and grooves, and some absolutely brain-melting riffage. It’s a sound that’s almost like a time capsule of when it was most popular, and to their credit, Iniquitous Savagery very much nail it. At least a track like “Omnipotence Negates Self-Affliction” does its best to break away from the formula, even if it does rely on crushing grooves and frenetic high-speed blasts – it feels like there are some dynamic shifts here that keep it from getting too ‘same sound-y’ at the middle of the record. But regardless of that, unless you absolutely live for the most brutal of death metal, it’s going to weigh on you by the end of the record. That said, their dedication to the craft of the most devastating of brutal death metal is a testament to its authenticity.

Edifice of Vicissitudes is exactly what you’ve come to expect from brutal death metal. Punishing, uncompromising, visceral, and with just the slightest amount of technical stuff sprinkled in. Take it or leave it, but Iniquitous Savagery know exactly how to play to the strengths of the formula and squeeze out every ounce of heaviness.

Iniquitous Savagery on Facebook
Iniquitous Savagery on Instagram

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