In this modern metal world, there’s a number of bands that aren’t afraid to move in directions that buck tradition. Germany’s Blacktoothed is exactly one of those bands. While their newest album, Headway, is full of heavy grooves and some metallic crunch, it’s far from it’s only device for each song. It’s a pleasantly diverse offering that sits as comfortably in it’s rock shoes as it does anything else, and the band isn’t above going outside of the norms to provide a track that’s heavy but also incredibly hook-based.
One of the first unifying factors that can be heard in Headway are the heavy modern grooves. Opening immediately with “Get Me Down,” they swing the doors open for the album, and it starts things off with an energetic bang. As the group moves into a more rock-based, melodic chorus it’s the piece that retains the harder edge. While it seems a natural fit to a heavier cut such as “Hell’s Paradise,” where it explores some darker and heavier moments, it’s just as effective in that track’s follow-up in “Walls,” a more melodic and slower paced track, and gives it some extra emotional weight.
Another highlight that Blacktoothed provides is the vocal dynamic between Hendrik Rathgeber and guitarist/vocalist Matti Keitel. While Rathgeber provides the main vocals, Keitel interjects some extra contrast at times. While “Time Bomb” nicely flips between melodic and heavy moments, the opening vocoder-enhanced vocal trade-off is a fun little bit to start, giving the explosive breakdown ending that much more impressive. Likewise, the work on “Antidote” adds to the hooks, and is never done in the traditional manner of ‘beauty and the beast’ styled employments common in the genre.
Blacktoothed provide an andrenaline-fueled mixture of rock, metalcore, and more with their latest effort. Headway is full of catchy moments that will have you moving around and singing along, but augmented by some moments of modern heaviness that feel seamless in their transition. It’s a formula that makes the band stand out, as well as allows them to really spread their wings and showcase a sound that should have massive appeal.
2021’s first full-length from Indiana’s Fleshbore, Embers Gathering, offered up a combination of technicality balanced by melody and grit. In comparison to the increasingly sterile sound of bands going too hard on the musicianship and less on the ‘deathly’ side, their sound was a welcome one. Painted Paradise is their follow-up, this time released through Transcending Obscurity Records, and it picks up where the debut left off. Those seeking a nice mixture of brutality and technical musicianship should be thrilled with this one.
Above all else, Painted Paradise is frantic. There’s an exhilarating rush you can grab when listening to the music that only death metal is meant to give, and instead of having the technicality get in the way, it enhances the experience. As mentioned before, some bands tend to overemphasize the tech aspect, which leaves the aggression factor lacking. As you can hear in “Laplace’s Game,” the riffing and brutality is upfront and center. The vocals are brutal and varied, and the speed runs thrive off of energy. Grooves offer some weight to them, while the drums batter away with intensity. It’s heavy. But also in the same track, there’s a melodic interlude that provides an atmospheric breather for a second. There’s a great use of balance between melody and steamrolling brutality that helps the tracks to feel less like different iterations of the same concept. “Target Fixation” opens with some Archspire-esque vocal acrobatics, but then the rest of the music accelerates to the same speed. Grooves eventually fall into line, as do some strong melodies within that same space, giving the music some extra gravitas.
If you enjoy your technical death metal with plenty of aggressive meat on its bones, Fleshbore should be on your get to know list. Painted Paradise can bring out just as much flash and flair as the next tech death act, but it still has the barbaric fury present to provide a pure adrenaline rush. Toss in just enough melodies and groove to keep it memorable, and it’s a formula that is bound to impress fans of the genre.
A consistent force in the rock/metal world, The Night Flight Orchestra made a name for themselves for creating a nostalgic ’70s/’80s AOR sound that was full of fun and bringing in other elements, such as prog and disco, as they saw fit. Two years ago, they suffered a heavy loss with guitarist David Andersson’s passing (who formed the band with vocalist Björn Strid), but they’ve returned with a new label [Napalm Records] and a seventh album in Give Us the Moon. An album that has maintained the high bar for adventurous rock, and sees them continue forward full-speed ahead. We spoke with Strid about continuing on without Andersson, the band’s slogan of ‘Death to False AOR,’ the space and sky themes, adapting to a life on the road with age, and much more.
Dead Rhetoric: You had announced that both Soilwork and The Night Flight Orchestra would continue after the loss of David [Andersson]. Do you feel there’s a certain bar you have to keep to in order to honor his time with the bands? Particularly since you two started Night Flight together?
Björn Strid: Yeah, I guess in a way. We started [The Night Flight Orchestra] together and it was our own little dream and it is surreal that he is no longer here. But having that talk with him, on his deathbed, it was quite dark but it was very beautiful in many ways. I feel like a lot of responsibility to carry on to carry on the legacy that we started. It was important for me, not that I needed to ask him to continue, but I think it was important for me and I think everybody else in the band too. I think the biggest challenge for us has been to sort of step into his world. He was composing in such a special way. He had a unique expression lyrically too. You can’t really copy that. But I have known the man for a very long time and we worked very close.
I feel like he is still very present, even though he is not physically here. We had to step into his world a little bit more and sort of broaden our palette as songwriters, and try to find that and take it with us somehow. I think we succeeded. It was quite a journey to go through this. There was a lot of grieving involved, but it later turned into a big celebration and a lot of joy, somehow. The last few years he was with us, it was quite dark. But now, you look back and you only see the good times. You feel good inside when you think about him, and you miss his laughter. I’m sad that he is no longer here, but I think with this album, we have definitely taken him with us.
It was really tough in the beginning, since we have been recording in the same studio, Nordic Sound Lab, and we have been there for over 10 years recording stuff. We were worried about how it was going to feel there. It felt sort of empty but then we sort of filled the room. He felt very present, and you could see him walking through the corridors, in his underwear drinking beer [laughs] like he used to. He always recorded his guitar solos in his underwear as well. He was very present and we had so much fun. It was a great thing. We made the most out of it and we managed to turn it around. It’s not easy to do that. We feel like we are giving life to his creation. We started the band, but he felt very present with the band in everything we were doing.
Dead Rhetoric: I think it’s important too, like you were saying, you were having fun with it. As someone who has listened to the band since the start, it’s important that you have that fun element. It’s one of the first things I think of when I am going to describe The Night Flight Orchestra.
Strid: Yeah, it is. Even though it’s very multi-layered, I think it’s a good, simple word to describe the band. It’s fun listening to it. It takes you on a journey, and that’s what we want it to do. We managed to move between genres almost on the same album, and have it still sound like us. It’s really cool. You don’t hear that so much nowadays, but in the ‘70s and ‘80s it was sort of the norm. You could have different music styles on the same album. You could have a reggae song and then have a progressive, 7-minute song. It’s a lost tradition somehow.
Dead Rhetoric: Just looking at metal genres, everything has to go into that nice, neat box nowadays. There’s that aversion to risk, at least with a lot of the newer stuff.
Strid: That’s true, and I come from that world as well, and I kind of like being inside that box with Soilwork. I think we have evolved a lot, and we have managed to develop extreme metal in our own special way. But there are still limits. You are sort of contained, and that’s fine. I enjoy being in that little cage with Soilwork. Then with Night Flight, I just go absolutely mental. Which doesn’t always mean that it’s going to be good, but I think it’s a good thing for us. There are no limits. We are the ‘anything goes’ band. Like, ‘Can we really do that?’ Yes, of course. We are The Night Flight Orchestra, so we can do that. So in that sense, we are very over-the-top. It’s not about showing off, but it’s so much fun to have this open field to do whatever you want.
Dead Rhetoric: With Soilwork, you have the box and a limit, but there are ways to play around within it. With total freedom, is there ever the thought of getting stuck because of too much freedom?
Strid: So far, no [laughs]. I get what you are saying, because maybe it could be bad with too much freedom but we haven’t pulled a Brian Wilson and had goats in the studio yet [laughs]. That’s where things can go pretty wrong. I guess that’s mostly the drugs that are doing that. But since we are mostly drug-free and really high on being able to do whatever we want, I think it’s a beautiful thing. There are so many creations that can come out of this band. It’s so multi-layered. There’s an ABBA tradition as well, Swedish bands always have to mention ABBA, but so does everyone else I guess. Who is not inspired by ABBA? I think they had that real balance. On paper, they are ‘that disco band from Sweden,’ but they were so much more than that. They had quite melancholic stuff as well, even though it was uplifting at the same time, so there’s that tradition as well. It’s a guiding star in many ways.
Dead Rhetoric: What else do you think feels special about Give Us the Moon?
Strid: It’s very special. It’s very complete – we have been having our slogan ‘Death to False AOR,’ album oriented rock, [laughs] so we need to live up to that. I know it was never really AOR, it was always ‘airline oriented rock, so there’s always a plan B! But I feel like it is very complete as an album in a time where it’s all about singles. We are throwing out singles as well, and that’s also important to us, but we always want to create something where the songs are somehow connected even though we really want them to stand out from each other. That’s the biggest challenge. I think we had to dig really deep for this album and it was one of the toughest albums for us to make. On a personal level, to dig really deep to make ourselves proud and David proud and show all the doubters that we can still pull this off.
I feel like there is nothing we could have done to make a better album, and that’s a great feeling. We have done everything we could. It’s something to be proud of, and I think it’s turned out to be something really special. It’s an explosion of emotions. It’s so full of emotions, and I hope our listeners can hear that. There’s so much sincere emotion in there, and when you blend that up with a good old disco beat [laughs] there’s definitely some magic in that. There’s so much more than disco, but that was just an example.
Dead Rhetoric: To your point on ‘Death to False AOR,’ The Night Flight Orchestra started up before much of the current ‘retro rock’ movement started. Why do you think the sound has sort of picked up and become a revival so to speak?
Strid: It’s hard to say. Now there are so many bands calling themselves AOR. It’s enough to just have distorted guitars and ‘80s oriented keyboards on top of it. To me, AOR is so much more than that. It’s a way of composing, performing, and playing that has been lost for a long time. But there’s a lot coming out, and some of it is very synthwave influenced…not that there’s anything wrong with that, but I don’t know. Everything is becoming like a Miami Vice version of AOR [laughs]. I love Miami Vice and all that ‘80s nostalgia. But I feel that for us, it’s a really timeless thing that needs to stand the test of time.
We see a lot of bands with wrestling glasses on and big ‘80s keyboards and an ironic mustache, I can enjoy that too. I’m not being snobby about it, but I don’t know if it will stand the test of time. I feel like we stick out a bit and I feel we are a bit braver in that field. I believe we have a pretty unique expression. But then again, we wear our influences on our sleeves. But it’s very diverse. We aren’t afraid to do anything, really. I have been rehearsing the setlist a bit today for the upcoming tour. I can’t remember the song from the new album, but I was wondering if it was ‘too soft,’ and now I am listening back to “Domino” and if we can do that, we can do anything! Even back in those times, I was like, I love this song and wanted to throw it out there but wondered if people were going to think that it’s a step too far. But people loved it.
People really feel that we are doing it in a very sincere way. There’s a lot of nostalgia, but there’s so much more than that. I think that’s why we have so many metal fans. They like black metal, but somehow they like The Night Flight Orchestra as well, because they can feel the presence in the music that we are sincere. You can’t really fool a metalhead. Some of them might not like it, but they respect it because they know that it’s sincere.
Dead Rhetoric: I personally came into Night Flight by following Soilwork, but do you feel that there’s a significant portion of The Night Flight Orchestra fanbase that came to you independently of Soilwork or the metalhead route at this point?
Strid: Yes, you hear that a lot more. It’s pretty funny that now it’s quite often that people come up now and they say that they just found out that I’m a singer in a metal band as well. It’s really cool to hear that people go the other way, discovering Soilwork through Night Flight when metal might not be their thing. Maybe that is opening some doors to other metal bands, and that’s a beautiful thing. I think that the band has a unifying factor in that sense. At our shows too, it’s a very mixed crowd. There’s prog dads, hipster girls with braces in the front, guys with Behemoth patches to college kids. Everyone is looking at each other like, “what are you doing here? [laughs] but they are sort of dancing together at the end of the night.
Dead Rhetoric: There’s always been a consistent bit of imagery with the band with space and the moon, even with the band’s name. Is that something that you keep within the group at this point – a quick identification point?
Strid: I think that’s sort of symbolic for the escapism that runs through our music and all, as well as lyrically. But when David was alive he was reading so many books a week, like urban fantasies. He always wanted to escape somewhere else. Whereas I was sort of fine being in reality. He sort of introduced me to his escapism and took me away on his little journeys and I had to keep him grounded somehow [laughs]. But he made me discover space and escapism. Of course, I like to escape every once in a while as well. I’m a bit of a dreamer and always was as a kid. I loved where music could take me. That’s a beautiful thing to dream away with music. I remember coming home from school and taking a nap while listening to music. You were half-sleeping and listening to the music in this dreamstate and I love that.
But I would say that the space element is important to us and it was mostly David who introduced us to that. But we want to take it with us. The contrast between reality and escapism. On the new album, there are a lot of lyrics that are real life stories. You have that contrast with more spaced out stuff, and I like that contrast so we work a lot with that.
Dead Rhetoric: Personally, how do you adapt between a life on the road and a life at home? How do you prioritize getting older and having some sort of life outside of music?
Strid: It’s not getting easier with age. I have two bands, so I never really get to rest. We are trying to do album cycles so that we don’t do everything at the same time. It’s not as much of a party on the road as it used to be. Though Night Flight has a bit more of a tendency to become a party. I hide, basically [laughs]. I need to pick my battles a lot more. When the other guys come home, they get to rest and it’s the same situation for Rasmus [Ehrnborn] too. He is playing bass in Soilwork and guitar for The Night Flight Orchestra. But the switch is very easy, and somewhere in between, I try to do things that have nothing to do with music but it’s super hard. It is very hard. I try to stay in shape and work out.
I don’t know what I can do that has nothing to do with music. I like to go to flea markets and look at antiques. That’s something that has been there since I was a kid because my grandmother had an antiques store. It’s really therapeutic for me, to sort of shut off the music. I think that’s important. There’s so much music all the time. You need to shut it off in order to appreciate it. I’ve noticed that I think a lot of people can relate.
I’m not listening to as much music – it’s all podcasts and they can be brilliant. But it’s sad that I don’t listen to as much music anymore. Recently I started forcing myself to and say no to another podcast that would be on in the background. You aren’t even listening, there’s just someone talking in your ear. It’s weird how that works. But now I am listening to full albums and no playlists. I have been writing down entire discographies even, like Steely Dan or something. They are one of my absolute favorite bands. But music is always there, so it’s only natural to shut it off once in a while and listen to a podcast about sports or whatever.
Dead Rhetoric: What are your plans for this year? You are playing ProgPower, is there any possibility of more US dates?
Strid: Yes, there is a chance. We are definitely working on getting a few more shows or a tour. Visa costs have tripled! It’s insane. Plus the tour bus and all that, it’s really hard to pull off. We are eight people and we need at least some sort of crew. But this is the seventh album and we know we have a growing fanbase in North America and we need to get out there. We would love to and we are working hard so fingers crossed.
Continuing on from the two-piece iteration that Elyose formed for 2023’s Déviante, Évidence is the fifth full-length from the French act. The interesting combination of djent/nu-sounding mechanical riffing and vocalist Justine Daaé’s more melodic vocals makes the ground that Elyose tracks more unique and innovative than one might expect. Évidence continues in many of the same ways as it’s predecessor, but it still maintains a high bar for those seeking some chunky, futuristic riffing with industrial edges.
Given the shift of Elyose from something more symphonic and gothic (still with some industrial edges) to something more modern and djent-y last time around, the formatting doesn’t change much for Évidence. That’s not to say that the songs don’t continue to be compelling though. The futuristic approach of merging the djent grooves, industrial clattering, soaring melodic vocals, and putting it through an electronic yet cinematic flair, Elyose immediately grabs your attention and holds it firm for it’s 40 minute runtime. “Immuable” displays many of the aforementioned qualities, such proggy djent melodies, an urgent cinematic vibe, and Daaé’s playful vocals. As the song reaches a fever pitch later on, it’s quite a thrilling journey to sit in on. “Etoile Solitaire” packs a massive punch with it’s groovy riffs, with Daaé’s vocals providing a nice, comforting contrast to the steamrolling melodies.
It’s the weaving of the melodies and grooves that makes Elyose truly stand out. “Rise and Reclaim,” a rare song sung in English (as opposed to the usual French), ensnares the listener with it’s flowing melodies, with Daaé leading the way. “Ascension Tracée” operates in similar territory, with some glowing combinations of the electronics and vocal melodies operating in a spectacular fashion. It’s a welcome break, keeping the album from being too reliant on the djent riffs and moving it further into occasional esoteric territory.
While it does lose a little bit in sounding to be from the same mold as Déviante, Évidence is none the less a thrilling experience. Elyose continue to be quite the underrated act within the genre, somewhat likely due to their innovative approach to metal as opposed to continuing down the same path as many, and are worth seeking out for anyone who is interested in finding some music that blurs the line between cinematic, industrial, and djent.
The Halo Effect caught a ton of buzz given it’s Gothenburg pedigree and concept of delivering some of the ole ‘In Flames magic’ to a new generation. For long time fans of In Flames (and Dark Tranquillity for that matter), the promise was delivered upon with their debut, Days of the Lost, but for better or worse, it stuck to the old Gothenburg traditions. While it’s melodies swirled and twirled, much of it’s glimmer stemmed from nostalgia. March of the Unheard doesn’t suffer from the same feeling, despite being steeped in the glory of classic sounding material.
The Halo Effect’s second offering feels more atmospheric and moody, not to mention a little more urgent, than their debut. There’s a lot of vicious, high-tempo melodies that are all but dancing in their melodeath heyday, such as “Detonate” and “The Burning Point,” which should bring a shiver to longtime genre fans faces, but there’s more to it. “A Death That Becomes Us” carries more melancholic riffing to its arsenal, as does “Between Directions,” which goes the extra mile by tossing in some of Mikael Stanne’s one of a kind clean vocals to sweeten the pot further. “Forever Astray” does this as well, but sits more on the shreddier side of things before it dives into the clean vocal chorus that has some ear-noodling melodies behind it.
It’s also pretty streamlined in it’s songwriting too. The songs get right in and to ‘the good stuff,’ such as the gleaming melodies and often frantic riffing. “Conspire to Deceive” hits this from the opening, diving right into a hook-y melody that acts like pure adrenaline until Stanne opens up the vocals. Jesper Strömblad and Niclas Engelin easily hold things up the high bar, even indulging in some heavy grooves as the album comes to a close with “A Death That Becomes Us.” If there’s one nit-pick to be had, the instrumental closer “Coda” doesn’t seem to cast the same vibe as much of the album and ends up being mostly forgettable.
March of the Unheard is a stronger album than it’s predecessor in every way. Those who were a little underwhelmed by The Halo Effect’s debut (like this scribe) should find this to be a fitting tribute to the Gothenburg sound, written by the masters, and given a vitality that helps to keep it running off of energy instead of sheer nostalgia.
It’s been over a year since I originally wrote a similar piece about the Eastern metal (and idol) scene, mostly focusing on Japan (An Introductory Guide to the Burgeoning Kawaii Metal and Alt Idol Scene) and with how quickly bands rise up (as well as disappear, looking to that original list), it seemed about time to circle back and highlight another round of impressive acts that are worth seeking out. Just like last time, we’ll separate out between musical groups and alt idol acts, and throw in a few anime references for fun at the bottom. [Pictured above: icontinew]
Let’s start with some bands…
Maximum the Hormone A long-time running, innovative Japanese act that is renown for their experimental sound that blurs lines between metal, punk, hip hop, funk, and much more as you travel through their discography. With songs that range from simply fun to deadly serious, they are always a bit eccentric but consistent in their ability to create captivating music. There’s a reason they are so revered in the Japanese metal community.
East of Eden With a stunning line-up lead by violinist Ayasa (Bang Dream‘s Morfonica), East of Eden bring forward a dazzling display of symphonic metal that stands out from the ‘traditional’ varieties. The group provides some bombastic and soaring sounds while at the same time providing a distinctive level of musical instrumentation that grabs the listener and gives the music some added depth.
Hagane Rebooted last year after a few members left (Uyu and Mayto went to Mana Diagram), Hagane has continued to bring out some first class power metal shredding with a healthy dosage of fun. Big choruses, big riffs, Hagane does nothing if not leave everything at it’s most memorable and epic, something that their most recent single “Start Our Journey” certainly exemplifies as it blisters its way with pure power metal glory.
Survive Said the Prophet For most people, probably most well-known for their Vinland Saga OPs, SSTP are another long-running act that tends to blend elements of metal, rock, and pop together into an infectious mix of sounds. Vocalist Yosh (also in Knosis) is bilingual and sings in English, which makes them a nice entry point, particularly for those seeking a group with some heaviness without moving too far into metalcore territory.
Fear, and Loathing in Las Vegas For some, a quick reference might be to namecheck the group as the ‘male version of PassCode’ but it doesn’t really work. For one, Fear, and Loathing in Las Vegas has been around longer and have distinctly different sounds and vibes (despite sharing a passion for electronics and vocoder-enhanced singing). But nonetheless, there’s a lot to like about one if you are a fan of the other. But Fear brings a definitive metalcore meets electronica feel that’s fun, frantic, and full of energy.
Gore-Girl Project
Recently covered here but worth a quick review to bring in some outside eyes, Gore-Girl Project is a brutal death metal meets metalcore meets jpop vision that’s unique and impressive. Bringing in a slew of big names to aid in particular tracks (including members from Fate Gear, Mana Diagram, and more), there’s a lot of heart put into this incredibly diverse offering that really does move between different extremities with ease.
Rolling Quartz A five member rock outfit from Korea, Rolling Quartz has a similar spirit to that of Band-Maid (sans the outfits of course). Meaning that they play some energetic hard rock that unloads plenty of fun vibes, while on a musical level they bring in more technical elements and prowess to give the songs an extra level of appeal. They’ll be returning to the US for a full tour in a few months.
Little Lilith Founded in 2018 and ‘renewed’ in 2021, Little Lilith is a djent act that features heavy grooves and an effective harsh/clean vocal hybrid. Their use of melodies within the heavier format gives them a great blend of hooks and headbanging energy that embeds them in the metal scene, while keeping a uniquely Japanese edge to their sound. Their third EP will be released next month on February 12.
MakeMake Recently covering their debut album, We Are One, Taiwanese MakeMake merge melody, metalcore, and electronic elements into a visceral yet catchy beast. There’s some really heavy stuff going on at times, but it is occasionally tempered by the electronics and melodies. They’ll be going to Europe this spring with Fate Gear, which should hopefully get more eyes and ears in their general direction.
Jiluka A visual kei act that has been around for over a decade, Jiluka seems to have finally grabbed a bit of a foothold overseas in more recent years. Their decidedly heavy, breakdown-friendly approach to modern metal also includes some occasional forays into hip hop and dance, providing an experience that is crushing, but never one-note. They’ll be back in the US this spring supporting Imminence.
Knosis Former Crystal Lake vocalist Ryo Kinoshita formed Knosis to represent his internal struggles over the past few years, and has recently signed to Sharptone Records. The experimental metalcore group merges some heavy hardcore breakdowns with metallic riffing, alongside Ryo’s identifiable vocals, should easily satisfy anyone looking for something on the heavier side of things with just enough melodic hooks to keep it memorable.
Gacharic Spin Driving hard rock/alt metal outfit Gacharic Spin provide bountiful hooks throughout their music. As with a number of jrock acts, there’s a high level of musicianship that is weaved into Gacharic Spin’s music, adding to the playful and occasionally aggressive tones that they provide. They also aren’t afraid of tossing in some outside of the genre influences either. While it’s been said they are going to slow down a bit (they’ve been at it over 15 years), there’s a hearty discography to be indulged for those interested.
Dexcore Tapping into a similar vein to Jiluka, Dexcore is a visual kei act that operates in deathcore/metalcore territory. Vicious riffing and breakdowns countered with moments of melody and soaring clean vocals seems to define much of their sound – arguably keeping things very heavy. That said, there’s a distinctive energy to their music that is hard to ignore, elevating them among many of their peers in the international scene.
Killt Melt Land With commanding dual vocals from Rie (from the anime Aikatsu!) and P-Sama (Shiina Hikari), the blend of incredible melodies and frantically heavy moments is one of the most appealing parts of Killt Melt Land’s sound. They only have a few songs out currently, but the intriguing dynamics make the group one to keep an eye on, as their hooks and energy seems primed to explode.
Bridear A noteable act for being able to merge elements of NWOBHM, jpop, and modern metalcore into a seamless and riotous package, Bridear have already made some notable international acclaim over their almost 15 year history. Their latest album, Born Again, saw them record in Sweden and really go all out in terms of making a worldwide splash. With urgent riffs and killer melodies, not to mention a 2025 world tour ahead, seems they will be making even more waves this year.
LUMiRiSE While they don’t have a ton of music under their belt, LUMiRiSE (who feature former members of Re_roll) have managed to consistently produce some quality hard rock, driven songs since surfacing in 2022. Their latest vocalist joined last year, and we’ve seen more frequent singles since. They tend to sit on the more melodic side of the fence, in comparison to some of the other groups listed here, but the hooks are quite breathtaking and worth taking a listen to.
Nek! Having a pretty impressive rise since debuting early last year, Nek! seem to be the pick of many to be the next ‘big rock band to come out of Japan.’ Listening to their particular brand of ‘catchy with a side of attitude’ hard rock playfulness, it seems a fairly accurate statement to make. In addition to very consistently releasing music (another EP is slated for March), there’s a really fun and upbeat energy that the group has that’s nothing if not infectious.
A brief intermission: Alt Idols – what are they and how is it different from metal/rock [reposted from the last article]? It’s all a marketing game really (particularly internationally), and do the labels matter? Not really in the long-run, unless you’re an elitist armchair warrior. But one big distinction is that the groups above are playing all of the instruments. With alt idols, the face of the group are the vocalist(s). The music being performed behind them (or even through the backing speakers) is important in terms of their sound, but an alt idol relies more on dance choreography and singing. Blasphemy for the pure metal warrior, but it’s all an acquired taste. It’s more akin to traditional Japanese idol music, which can be found in a slew of anime (Love Live, Idolm@ster, Idoly Pride) if you need a quick reference point. Traditional idol music is happy and cute/cheerful, whereas alt idols can bring in darker sounds as well as potentially less cheerful lyrics.
Some alt idol groups:
icontinew Taking massive doses of electronic elements and tossing them into a jpop meets metal blender, icontinew have an urgent and adrenaline-fueled approach to idol music that also takes some tender care of melodies. It’s a striking dynamic that they have found, offering a lot of modern diversity and some excellent vocal work to lay an impressive and unique foundation that’s bound to attract fans of groups like Passcode.
Ladybaby A seminal name in the alt idol scene who have gone through numerous iterations at this point, Ladybaby seems to chart territory that, while always grounded in idol sound, isn’t afraid to incorporate almost any sort of outside influence. They can play it heavy, they can bring in hip hop, they can go straight pop – it’s pleasantly unpredictable, and it’s always a fun time. They are an exciting group to watch.
Aina Suzuki A seiyuu probably most well known for her role as Mari in Love Live Sunshine, Aina Suzuki’s solo work, particularly recently, has been notably heavier. Her most recent EP, initium, shifts between ethereal melodies and frantic shredding as she beautifully sings atop it all. It’s an absolutely thrilling spectacle, and hopefully she will return quickly with more material.
Mad Jamie A punk rock solo idol effort for Akubi Kanjosen (after the four member version ended in 2023), Mad Jamie is full of riotous attitude and flair, with a certain amount melody lying beneath it all. Nonetheless, it’s an intense yet catchy experience that stands out among the usual idol crowd. She went on tour in Europe last year, so here’s to hoping she can get back out again internationally.
LustQueen One group I’ve been quick to latch onto is that of LustQueen, due to Yuina’s vocal work in Love Live Superstar!! as Wien Margarete. In a harder rock outlet, she can truly utilize her charismatic power front and center. There’s plenty of playful hooks to be found in her first EP, and the balance with some heavier, rock numbers ensures that she casts a wide net. Yuina’s voice is stunning, and LustQueen brings all the rightful attention she deserves.
Kolokol Much like last time, it seemed like a more melodic alt idol would call for inclusion, and Kolokol is the pick this time. Not to say that they haven’t had some heavier tracks (such as “After the Storm”), but overall there’s a stronger pop element to the group than most of the other acts in this article. That said, their brand of idol energy is just as infectious and there’s a lot of fun to be had with their ever-growing discography.
Schrodinger’s Dog Blending some harsh electronics and a video game-y chiptune sound together with a more hard rock and metal aesthetic, Schrodinger’s Dog keep things danceable yet decidedly heavy at times. There’s a lot of frantic energy in their tracks, and this balance of influences never feels jarring so much as almost futuristic and inviting. Perfect for those seeking something almost more industrial in tone.
Not Secured, Loose Ends Moody and atmospheric, Not Secured, Loose Ends is an interesting idol group that goes back all the way to 2015 (see yukueshirezutsurezure), they also merge in some pretty heavy riffing and more traditional idol elements that helps to give them a more quickly identifiable sound that bucks some trends (so does their emphasis on English lyrics). It’s chaotic, hook-driven, and satisfyingly hard to describe the exact feel without listening yourself.
Ave Mujica
We covered Ave Mujica’s last EP, and now the group’s Bang Dream anime is currently airing. Ave Mujica is probably the most thoroughly metallic of the Bandori bands to date, with some songs blurring the lines between symphonic metal, visual kei, and elements of gothic metal. The riffs on “Symbol I” and anime OP “KiLLKiSS” are massive, and should quickly appeal to any fans of those genres. Ave Mujica officlal website Ave Mujica on X
LizNoir
The group within the Idoly Pride collective that tends to add in heavier riffing behind their idol songs, is also voiced by the real life members of of the idol group Sphere (who have also played many anime roles too). Much like Saint Snow below, it’s embedded in idol sound, but compared to straight-up idols, there’s a metallic underbelly shining beneath here. Idoly Pride official website
Diamond Dust
I’ve written at length about Togenashi Togeari, but Diamond Dust (also from Girls Band Cry), is also a gem of a group. Sadly with only two songs as of now, compared to TogeToge there is more of a metallic sheen to their sound, with soaring solos and a heavier instrumentation. Rounding things out are Reina Kondo’s vocals for some extra polish. Hopefully with the anime now aiming towards mobile game status, Diamond Dust will expand their discography. Girls Band Cry official website
Kessoku Band
For those in the anime space that somehow missed the explosively popular Bocchi the Rock, Kessoku Band was the anime’s (and Bocchi’s band), which tends to play an almost math-y at times version of harder rock. The songs hit more introspective themes that coincide with Bocchi’s character, and some like “Planet” playfully move between moments of soaring melodies and more mellow and intricate riff sections. Bocchi the Rock official website
Saint Snow
Aqours’ rivals from Love Live Sunshine, Saint Snow songs tend to lead towards a much heavier side than the bright sparkling of Aqours. “Self Control” and “Drop Out” essentially sound like melodic death metal if you replaced the vocals with kawaii singing (tell me “Self Control” doesn’t sound very similar to Soilwork’s “One With the Flies”). Sure, there’s some idol elements mixed in, but this was as heavy as Love Live got…until Wien Margarete showed up with her gothic flair. Love Live Sunshine official website
Laureley While the Whisper Me a Love Song anime was riddled with disappointing animation and delays, one huge bright spot was the handling of Shiho’s (Sui Mizukami) band Laureley. There’s a ton of intricate heavy rock riffing and standout bass work, to the point where one has to wish that Laureley would be given an extended life outside of the anime. The songs go from fierce and frantic to preciously melodic, with a lot of care done for these tracks.
Smiles abound when getting the chance to be on the ground floor of a newer act from Sweden with strong pedigree for classic heavy metal. Sacred is a quintet with musicians that have past plus present ties to acts like Vicious Rumors, Air Raid, Crystal Eyes, Katana, Lancer, and Seven Thorns among others. Fire to Ice as their debut album features nine originals beyond the cover song that will send people home appeased – an odyssey into the land of soaring vocals, twin guitar lines, thunderous bass/drum support, and anthems that bring decades of heroic traditional material hopefully to light to the current fanbase.
Certain elements need to be in place for modest appeal – specific requisites such as a strong guitar tandem bursting out of the gate that can handle all the thoughtful rhythms, exciting lead breaks, as well as unison twin harmony angles that elevate energy to peak levels in this genre. The axe play between Jonatan Hallberg and Christoffer Cederstrand melds together aspects of early US, UK, and European heritage – thoughts like Iron Maiden, Dio, Liege Lord, all the way to Hammerfall or Nocturnal Rites appear when taking in the speedier “Gateway to the Gods” or the more epic leaning “On the Verge of Becoming a Shadow”. Galloping nature starts in a varied drum foundation where every hit from the double kick and snare to toms and cymbals becomes that much more meaningful – Pontus Andrén checking off all the boxes on winning cuts like “Caught in a Snowstorm” or the uplifting Riot-esque “Nights of Madness”. Thunder / lightning strikes open the proceedings for the longest song “The Flying Dutchman”, an almost eight-minute arrangement that’s very Maiden-esque in its tempo gear shifts, multitude of cultural harmony instrumental spots, as well as thoughtful bass sequences from Robin Utbult that will get the hordes cheering or clapping to the key hooks.
When you have all of that in place, the last piece of the puzzle to push things into the stratosphere is an iron lunged-style vocalist – and that’s definitely here with Gustav Blide. His abilities to go from soothing lows to eagle highs convey a lot of the Halford/Dickinson-esque power in their prime – yet he is able to inject that extra level of personal nuance that may reflect what you hear in early Geoff Tate or current Todd Michael Hall. Highlights for what he can execute include his mountain top chorus ascension on the aforementioned “On the Verge of Becoming a Shadow”, the confident harmonization during “Tyrannical Warfare”, or the resolute determination to hit all those key upper register parts on Sacred’s take of the Queensrÿche staple “Queen of the Reich”.
You don’t hear many bands like Sacred in 2025 that encompass a confident heavy metal base to shine a spotlight on all the powerful, glorious themes which made this style an arena to major festival attraction for decades. Fire To Ice hopefully is just the tip of a flame to what we can expect for the duration of their discography – as they hit it out of the park with this one.
Previously impressed with the diverse approach to power/progressive metal along melodic death and atmospheric nuances on their last album AQVA, Beriedir returns ready to continue that great cross-section of influences in this third full-length Liminal Spaces. Exploring various forms of trauma to be understood as a human, the lyrical content tackles melancholia, nostalgia, longing, and seclusion – where we seek ways to handle weird dreams and experiences so they don’t cause us to relapse into the same old sorrows. Heady stuff that mirrors the alternative, power, melodic death, and progressive metal music that pulls from a wide array of North American / European influences to keep the tracks potent, propulsive, and on the edge of your seat as to what comes next.
Virtuosity appears in segmentation – the quintet choosing to emphasize a deeper dive into the needs or atmosphere of each track, leading to quite memorable shifts in dynamics. Swirling, bombastic keyboard sequences from Stefano Nusperli lead the charge on “F.I.V.E.”, supported by these driving power chords as well as a mixture of alternative, clean melodies plus aggressive, passionate screams when necessary to punctuate key phrases. Opener “Halo” emphasizes more of the band’s European melodic death and power angles, the tradeoff clean/extreme vocals tantalizing next to a steady mid-tempo groove as guitarists Simone Bacchi Mottin and Francesco Ideo fill the aural landscape in bouncy light to heavy textures. Everything from Sonata Arctica and Leprous to Dark Tranquillity and Trivium are obvious acts that influence the band’s approach to songwriting, style, and execution – leading to tracks such as “Burnout” and “In the Corner of My Eyes” that can be very introspective yet turn into a heavier, crushing sonic force for an arrangement very quickly, all in the course of compact songwriting that never reaches beyond five and a half minutes.
The flow of the album aids the long-term appeal – listeners will be able to retain all the smaller aspects through successive playbacks, which could in turn integrate the themes even deeper into one’s soul. What seems simple can be slightly complex, through jagged time signature juggling against a fusion of thoughtful bass, keyboard, and guitar passages – making “Anemoia” a current favorite. Stefano’s trained multi-octave vocal register intriguing in its slithering verse to magnum chorus delivery – the death screams providing additional tension-filled earworms to send chills in all the right places.
Choosing to emphasize more of a progressive meets alt/pop side to their sound keeps their sound fresh for a modern audience who are clamoring for something unique in the scene. Liminal Spaces should elevate the profile of Beriedir even higher – especially for those who want carefully crafted material that doesn’t go too excessively overboard on the ‘showoff’ mechanics that can happen in this genre.
When it comes to pure Teutonic heavy metal, there’s been a consistency that’s hard to resist when looking at the history of Grave Digger. Although not always on the radar stateside due to a lack of label presence (especially in the early to mid-90s), their latest records plus touring excursions have revitalized their sound to a second (and possibly third) generation of metal followers. Their latest record Bone Collector may be a little harder and faster in certain songs, yet throwback and old school in nature as far as the hooks in others. We spoke to vocalist Christ Boltendahl regarding the work behind the new record, thoughts on the changing technology to develop studio albums in the hands of older artists, their legacy, the higher costs of touring which have limited their North American excursions, how Spotify hurts their revenue streams, plus the hopes for the band continuing on for at least another decade as a special anniversary is on the horizon.
Dead Rhetoric: Bone Collector is the latest album for Grave Digger. Beyond guitarist Tobias Kerstling joining the group between records as an obvious different starting point, where did you want to see the songwriting and performances take shape through this set of material to make this stand out next to the long history of the band?
Chris Boltendahl: At first, Tobias is a very old school guy. He’s a really good friend, a background in appreciating Running Wild, Rage, all the older bands – and he has an old school sound in his blood. With Axel (Ritt), our records sounded a bit more polished, and had a lot of bombastic stuff on there with these big choruses. Nowadays, we try to bring back a little bit of the 80s spirit. Don’t call it old school, but the essence of Grave Digger, we’ve tried to bring back to the band.
The new album is a really good bridge between the old Grave Digger and the new Grave Digger. It sounds harder, and we have faster songs again. Simple song structures, the Reaper stories are back. It’s a good way to start a new era of the band.
Dead Rhetoric: How does the process work in deciding what singles to premiere from the record? Do you work between the band members and record label to come to an agreement?
Boltendahl: (laughs). We never ask our record label about our songwriting. They trust us because Grave Digger is an old institution, so we don’t have to get any advice from any record company. The record company is run by business men, they are only looking to make money, there’s no reason to ask them about the music. Tobias and I wrote most of the songs – two of the songs we wrote with Jens Becker, the bass player, “Killing Is My Pleasure” and “The Devil’s Serenade”. We made a lot of the working process this time – we took a lot of time with the songs, with the lyrics, with the production. We said to ourselves, when we see that everything comes together brick by brick, in the end we had Bone Collector. Then we tell the record company that we are finished, now you can start thinking about the marketing and promotion.
Dead Rhetoric: When it comes to the lyrical content, is it more of a challenge this deep into the band’s career to come up with fresh ideas because you’ve been doing this for so long?
Boltendahl: Fresh ideas are a nice thought! (laughs). In this heavy metal business where we are, I don’t think there are so many fresh ideas about the lyrical concepts. We have these dark stories about the reaper, the bone collector as well. We have some true stories, “Killing Is My Pleasure” is about a mass murderer Richard Kuklinski. He worked for the mafia, he left in the morning killing people and would return at night to sit with his family, eating dinner and teaching the children. “Whispers of the Damned” is about the commander of the concentration camp in Auschwitz, he killed more people than Richard. We have typical horror stories, “Kingdom of Skulls”. “Bone Collector” is the signature song of this album though, key words full of cliches. We have the trust to do this, we are Grave Digger.
Dead Rhetoric: You’ve adapted to a lot of changing technology from the early days of professional recording studios to using a lot of personal, at home digital work stations to flesh out and complete these records. Do you see these tools as beneficial in the hands of seasoned musicians like yourselves – or do you prefer the older methods of working out ideas/material face to face in the rehearsal rooms to capture the right spark?
Boltendahl: As for the reason that I am so old now – Grave Digger is nearly 45 years old – I am really grateful that we have the new technology. In the 80s for Heavy Metal Breakdown, we bought lots of cans of beer, people would smoke weed in the rehearsal room, and somebody would come up with a riff. This is good, let’s kill another can – that was the songwriting (process) in the past. And nowadays we concentrate more, focused on the music then drinking beer. It’s a good way to work with the new gear and all the possibilities that we have now.
Dead Rhetoric: After decades of not touring North America, you’ve been able to come over a few times in the past 10 years. What was it like to finally play this territory – has it always been a difficult area to successfully break through, based on the trends or gravitation of metal towards modern / extreme styles versus the traditional, heavy/power metal niche you’ve developed?
Boltendahl: I think it was the opportunity to play with Blind Guardian that was really great. They have a solid fanbase, and Grave Digger added another fanbase to those shows. We went over there in 2015, and that tour was really successful. Then the second tour was a little bit smaller of an audience, but it was also good. To play in the US for a band like Grave Digger, I think we have a fanbase, but I don’t think we have more than 150-200 people at a show. It’s really expensive to come over now, especially with the high costs of visas, the night liner, the flights, the costs increased. It makes it nearly impossible to tour the country.
Dead Rhetoric: Is this why you’ve set your sights more on mainland Europe, South America, and other territories?
Boltendahl: South America is a really strong fanbase between 500 to 1,000 people at each show, so it makes sense to tour there. The promoter gets some money, the band gets some money, we can pay the costs. If there is 150 people in a small club in Seattle or San Francisco or New York, it makes no sense. Before you put one foot over the border in the US you have to pay nearly $15,000 or more. If you aren’t allowed at the border, you may have a visa but it is not a guarantee you will be allowed in. Then you will get fucked watching that $15,000 fly into the wind. It’s hard, but it is the reality.
Dead Rhetoric: How do you see the state of heavy metal on a global scale? Are there specific elements or aspects you enjoy currently – and if you had the power, resources, and energy to change anything for the better, what do you think needs to be worked on the most?
Boltendahl: I think there are a lot of countries in the world where you can play heavy metal. Even in the US, you could get the chance if you jump on a tour with a bigger band, it makes sense – but on our own, it’s not possible. What would we change? People should start listening to music while it is music, and not where it is on Spotify. With Spotify, the artists have no income. The income from Spotify is nearly zero. Except you have two billion streams like Ed Sheeran or Taylor Swift. Is there an artist who is famous that gets big money, they get more money with Spotify. If you are an artist like Grave Digger or smaller, the money from Spotify is nothing. The only thing we have is the possibility to play live and to sell some merchandise. Nothing else.
Dead Rhetoric: You are now a part of the Reigning Phoenix Music umbrella, as Rock of Angels Records joined up with RPM recently. How do you feel about this collaboration, and the benefits that will help Grave Digger in terms of promotion and reach on a worldwide basis?
Boltendahl: I can’t tell you, ask me in February when the album is out! (laughs). What I can tell you is, directly with Rock of Angels Records it was more directed, because there were only two people at the label – the owner and the label manager. Now we have more people involved, the waits are a little bit longer, the answers take longer if you have questions. I haven’t had any experience with Reigning Phoenix, so the earliest I would be able to tell you is in February.
Dead Rhetoric: Now approaching the 45th anniversary of Grave Digger, what would you consider some of the special highlights in the career of the group? Either specific albums, tours, festival appearances, or other events where you knew you were making a significant impact with your work/craft?
Boltendahl: At the end, we have had an impact on a lot of bands all over the world. They have us as idols for smaller bands, they try to repeat our sound a bit. In the end, we have a signature sound, that’s the reason why we are in the business nowadays, and how we can celebrate the 45th anniversary next year. The only thing I can tell the smaller bands is to live your dream. My son is now 18 years old, a very good guitar player and singer. He told me he wants to be a rock star in 10 years – I said okay, live your dream. Perhaps he will reach it like me. I am not a rock star like Bruce Dickinson or Rob Halford, but if in 20 years people will say there is a band like Grave Digger people will remember me.
Dead Rhetoric: Running your own studio, you often help younger bands also get the chance to record material and help shape their recordings. What sort of aspects do you like to work with them on to make the final product much better in the end? Are you more hands on or hands off depending on what the artist is seeking to achieve based on the project/band on hand?
Boltendahl: I always try to help younger bands. To give one or two of my experiences to these bands. And if they are open (to it), they can learn. My goal through the studio process is to explain what I am doing, and think about this. It’s very good the communication with younger bands. There are also bands that don’t want to listen to your advice or experience, and I can’t help them. I can make a lot of things better, because I’ve been in the business for so long, I have my experience and I can help them, no problem.
Dead Rhetoric: Do you believe a lot of the younger musicians are better prepared than you were- or the fact that older bands had to put in a lot of hard work and energy and effort into things before the internet, where younger musicians have things a little easier due to the tools of the internet?
Boltendahl: For sure, the internet makes things a lot easier for the younger musicians. When we started in Germany, there was only Accept and The Scorpions. I never had the possibility to call Rudolf Schenker and ask him to help me with advice. Nowadays, people are so connected, it’s a global internet. There are so many possibilities to reach each other, people ask for advice, and I can help them. I get a lot of requests from bands to sing on their records – but if I do that for every band, I would do this for 24 hours a day on different records. I have to feed my family, so you have to pay me for that. Sometimes they say okay, sometimes they say no. It’s a small world.
Dead Rhetoric: What’s left on the bucket list that you’d like to achieve either with Grave Digger or any other musical projects/endeavors?
Boltendahl: That is a nice question. I would like to play Madison Square Garden, because it’s the one and only big venue for rock music that is a temple of the world. I don’t know if I can reach that goal – but I have a lot of dreams, and a lot of them came true. There could be the possibility before the coffin is open, I jump in and played in Madison Square Garden, before it closes.
Dead Rhetoric: When it comes to playing live with Grave Digger, do you have a preference on club shows versus theaters or festivals?
Boltendahl: The energy in smaller clubs or smaller festivals is much higher than the bigger ones on the open-air festival stages. At Wacken, you have a crowd of people, you can’t see them all, but if you are playing in a club of 500 people, the heat and interaction are higher, the energy you can feel that, and the people can feel your energy directly. In the end, both are very nice. Big festivals are a cool thing to do, but I prefer the smaller clubs a little more.
Dead Rhetoric: How do you handle stress, anxiety, or negative energy when it comes to the business side of things for Grave Digger? Are there specific tools or tricks you’ve used along the way to reframe things and come out more positive and stronger in the end?
Boltendahl: I go back to my golf course. Playing an 18-hole round of golf, then I think nothing is so important!
Dead Rhetoric: What’s on the agenda for Grave Digger for the upcoming year or so as far as touring, festivals, and other promotional activities?
Boltendahl: I hope that we are able to stay healthy, because I want to entertain people for the next decade. If we don’t have another World War, the possibilities are high because of having another Russian dictator or other people in the world, trying to bring all their interests in through war. We should keep this in mind in freedom and peace. We hope to do it for the people with shows and albums, to take them out of this shit and fill their energy again with a Grave Digger show and an excellent Grave Digger album.
