Always a band that has played things on the more modern and outside-the-box is that of Enemy Inside. If anything, they have grown more confident over their last two albums, Phoenix and Seven, and that leads us to Venom. Taking the usual rulebook and all but tossing it out the window, there’s a stunning display of diversity to the band’s songwriting. For those who have followed the band, Venom shows their tenacity to continue moving forward, and for those just getting the memo on Enemy Inside, they are bound to be impressed by their ability to toss a myriad of modern influences and make it all work.
The opening title track starts things off on a decidedly heavy slant with it’s grooves and screams from vocalist Nastassja Giulia, not to mention the rumbling industrial noise. But it leans into a soaring chorus that should feel quite welcome, contrasting the harsher vibes for some infectiously melodic ones. “Sayonara” blends some upbeat Japanese elements, rap verses, and playful pop melodies with an underbelly of groove to make it danceable yet heavy. “Fuck That Party” leans very heavily into the electronic elements in the most upbeat way and blurs it with a very strong dance party vibe. Some guest vocals from Zak Tell from Clawfinger make it stand out further, almost tapping into Electric Callboy sounds. “Dirt on My Name” acts as a more melodic, yet modern rock-esque cut that utilizes Mirza Radonjica of Siamese in a duet-like role, with a monster breakdown later on doing a good job of intensifying it at the right moment. To close the album, the electropop of “Let Me Go” serves as an upbeat yet melodic end to end things, giving some ethereal feelings to leave the listener on a high note.
That said, some tracks do more naturally continue on the pathway of modern metal that Enemy Inside have been putting forth. “What We Used to Be” is a catchy number that blurs the rock/metal lines with it’s soaring hooks and hyper melodic chorus. “Don’t Call Me an Angel” follows suit later in the album, meshing together some poppy Amaranthe-y melodies with a heavy bottom end that listeners will surely sink their teeth into. The bouncy grooves later in the track do a great job of pumping up the energy as well. “Unburn” rumbles along with groove and interwoven electronics, but also absolutely soars at the chorus with Giulia’s vocals elevating the mood significantly into something really special.
Enemy Inside have done a great job of continuing to expand their sonic palette and Venom is poised to bring them up to the next level. It carries a number of influences and really gives the tracks their own identity and space, but never feels at all incoherent because of it. Benefiting from the generous diversity, it’s got a lot of appeal to potential fans who are looking for either something modern and groovy, or those seeking something more melodic and hook-filled. Enemy Inside have proven themselves on both fronts, and show that they can make something magical when they put them together.
Pure heavy metal has spread over fifty plus years to worldwide appeal – with smaller countries staking claim in keeping the movement alive. Spain may not be one of those name territories – but it is home to this quintet Sinner Rage. They released their first two-song demo in early 2024, setting the stage the following year for their debut album Powerstrike to hit the scene. These musicians check off all the major boxes in terms of songwriting, arrangements, personal abilities to send consumers home with their fists held high, screaming along to a new set of anthems.
Major axe riffs that garner immediate appeal are not in short supply here. Check out the Judas Priest meets Stryper-esque title cut or the early US-metal semi-ballad nature to “Chained by Night” to understand the thoughtful energy flowing through the fingers of Artiz Yarza and Jara Solis in terms of clean lines or titanic, electric combinations. When the NWOBHM-like afterburners come through in drummer Javi Rinones’ killer fills plus standard hits on the double kick driven “Angel of Combustion”, it sets the stage for eagle-high screams a la Rob Halford or Geoff Tate courtesy of Artiz Martinez. Artiz in lower spots has a bit of an accented nature to his melodies, but there’s no deny his strength and character will mesmerize many into a lot of the classic 80’s powerhouse belters. The record ends on more of an Accept meets Dokken melodic hard rock note for “Dangerous Attraction”, lots of shredding lead breaks pop in and out next to a multi-part vocal harmony-fueled chorus that begs for audience participation. The shorter timeframe at eight songs in thirty-one minutes may be due to a question of quality control over quantity – this scribe was just hoping for another track or two to tide us over before the next release.
All the tools are in the woodshed to make a name for their craft. Sinner Rage establishes themselves as another authentic conveyor in a long line of melodic heavy metal bands that keep the traditional style kicking for the current generation. It may not necessarily set charts aflame, but Powerstrike will be a record cranked at loud volumes for many, a soundtrack to throw the horns and headbang to incessantly.
Starting over a decade ago at this point, Traitors has cultivated their downtuned, sludgy deathcore over the course of four full-length efforts leading up to Phobias. While it’s been six years since their last full-length, Repent, they’ve stayed busy with number singles since then. The long and short of Phobias is that if you’ve been a fan of the band’s decidedly brutal tactics and style, you will enjoy it quite a bit. But for those outside of that segment, it’s not going to do much to gravitate towards you.
There’s not really a better or more descriptive adjective to describe Phobias other than heavy. It’s rather heavy and uncompromisingly so. The slow, down-tempo riffs crash and collide into the listener like a ton of bricks around every corner. The downtuned rumbles are the type that will inevitably hit you in the chest. “No Witness” is savage in it’s unadulterated chunky breakdowns and guttural vocal accompaniment. “Deprive (Not Enough)” kicks you in the teeth from the start with it’s downtuned grooves, inducing a rhythmic and hypnotic feeling. Closer “10DXM” also capitalizes on thick grooves and monster chug sessions, a slowburn breakdown, and some eerie atmosphere.
Of course, the inevitable problem that some will face with this album is something that still tends to plague the deathcore scene. The format becomes predictable over the course of the album. For all of it’s punishingly heavy moments, there’s not enough nuance to make it really stick around for the long term in the typical listener’s mind. There’s an intro and interlude to help break things up in terms of the flow, but the group could benefit from more moody injections like on the aforementioned “10DXM” or opener “SBC.” The middle tends to suffer more from having a structure that, while notably brutal and heavy, tends to have some repetition.
Your mileage on Phobias will vary. Deathcore fans will rightly eat it up with the emphasis on massive, downtuned grooves and visceral breakdown energy. But it’s also not going to draw in any outside the fanbase due to it’s dedication to the purity of their craft. It’s not a bad album by a long shot, but you do know what you are going to be getting into after a few tracks.
Returning with their ninth album, and a new label in Nuclear Blast in tow, power metal champs Dynazty continue to write energetic and passionate music with Game of Faces. Their catchy and fun elements are sure to have fans throwing their fists in the air and singing along at full volume. To that end, we spoke with vocalist Nils Molin about some of the sources of their songwriting, how Game of Faces is special to the band, writing lyrics, and what he has taken away from being on tours through the years.
Dead Rhetoric: Game of Faces is your ninth album and comes out Friday. How does it feel special to you?
Nils Molin: In many ways, I think it’s a natural follow-up to our previous album, Final Advent, but at the same time, I think it has a bit of a unique characteristic to it. One that makes it stand out in our discography. The aggressiveness level has been upped a few notches on this album. There’s a bit of an extra sense of urgency and cohesiveness to the songs. That was our game plan when writing the album. To me, it makes it stand out a bit more – it’s aggressive, straight to the point, and to me, it stands out in our discography.
Dead Rhetoric: What do you feel are the defining parts of Dynazty as a band? What makes a song a Dynazty song?
Molin: I think that primarily we focus on the core basics of what makes a good song. That’s what we try to do at least. We try to make sure that the core melody structure works. Basically, if you strip down any of our songs and have them played on acoustic guitar and piano, with someone singing, then it should still work. You shouldn’t have to add all of the extreme arrangements to make a chorus fly – it should work in a stripped down foundation. That’s the core element of our songwriting. We start with the core melody structure and make sure that it is really solid. Then you can add all of the nice, extra stuff on top of it.
In terms of our sound, I know that some people have some difficulties what Dynazty actually sounds like, and I take it as a bit of a compliment, because it means that we have a strong characteristic within our musical identity. You can’t say that ‘we sound like this band,’ or a ‘mix of those bands,’ so I do think that it’s a positive thing for a band to have a strong musical identity.
Dead Rhetoric: It’s funny that you mention the stripped down part. I know you are also in Amaranthe as well, and they have said the same thing.
Molin: I think it’s a very Scandinavian thing in general. Considering that Sweden is a small country, especially compared to the US, we have a lot of music coming from Sweden. We have had some huge musical exports coming out of Sweden, not only rock and metal, but in pop music too. I think it’s the Swedish motto of writing songs, that you actually have the core song working with an acoustic guitar and vocals. You should still hear that it’s a good song. If you have that, then you can continue to expand upon it, arrangement-wise. So it’s a good philosophy to start with, when writing songs.
Dead Rhetoric: You moved over to Nuclear Blast Records midway through the album process, was part of that due to your relationship with them with Amaranthe?
Molin: I mean sure, I know the Nuclear Blast people from Amaranthe, but also we were on AFM Records for many years, and those record labels are pretty close to each other. They are pretty much part of the same business structure. With that considered as well, it made even more sense for us to go to Nuclear Blast first. Of course, I knew the folks there as well.
Dead Rhetoric: You haven’t had a ton of line-up changes for a band that has been around for over 15 years. Anything that you accredit this to?
Molin: The funny thing, when I have been doing interviews for this album, almost everyone has been pointing this out! So it’s obviously something that people are noticing. I know it’s not very common for a band to have a stable line-up for 10+ years. I would accredit it to the fact that we have been great friends for a very long time now. We were, I think when we had the last line-up change, we were all friends. We spend holidays and weekends hanging out with each other and stuff like that. We have been friends for ages, and that just makes stuff very simple. Our goals are always aligned with one-another. We are all working towards the same destination, in the same direction.
Dead Rhetoric: For you, as the vocalist, what do you enjoy about writing lyrics?
Molin: I think it’s a great outlet for being creative in general. If you feel you have something to say, or that you want to say, you have the possibility to do that. I try to write something far away from me, it doesn’t have to be about me personally. In general, I like to create little mini-stories within a song. I did that for the previous album on a few songs. I make up a story in my head and just started writing about it. It’s a great creative outlet, and I always look forward into diving down into this process when writing new songs. Sometimes I feel a lot of pressure on myself as a lyricist as well, and it’s that dynamic where it’s not just me being excited. Sometimes I feel a bit of pressure with it as well.
Dead Rhetoric: Is that because you feel you have to hold yourself to the same standard or better than before?
Molin: At least as good, and hopefully even better. We in general, as Dynazty, try to up everything a bit from the last time around. I think I just put that kind of pressure on myself. I don’t know if it’s necessary or not, but it’s what I have always done. It comes from me, and maybe a bit that people are dissecting my lyrics and talking about them, and stuff like that. I just feel I have to come up with something that is still creative and not just rehashed. It’s something that is still inspired.
Dead Rhetoric: I can see that happening if people are interpreting what you are writing. I have seen in some other interviews that you like to leave them open to interpretation.
Molin: A little bit, yeah. It’s a good pressure though. It comes from a good thing, because people like it and want more of it. You don’t want to grow stale, creatively.
Dead Rhetoric: Getting back to that Swedish mentality, I spoke with Bjorn from Soilwork/Night Flight recently and he mentioned it was impossible for bands in Sweden to not have a bit of ABBA influence. What’s your take?
Molin: This is another topic that seems to come up when people are talking to me, or other Swedish bands, because people hear ABBA in Swedish bands. I think when you grow up in Sweden with this modern musical history that we have, it’s more or less impossible to not have ABBA influences. It’s embedded in our DNA at this point. I don’t consciously bring out a lot of ABBA influences, but subconsciously, I think it makes its way in. I think this is what musical tradition is, in its essence. It just kind of happens without you noticing it. I do think that ABBA were some of the most amazing songwriters of modern pop music, so I think you could have a lot worse of an influence than ABBA.
Dead Rhetoric: Do you feel that the chorus is something of importance for yourselves, in terms of the way that the song is structured?
Molin: It’s one of our core principles when writing songs. When the chorus hits, you should know it immediately. There shouldn’t be any doubt. It’s a cornerstone of our writing for sure. We feel that if the chorus is not there, or not hitting the way we want it to, then we start to rework it until we feel it does. It’s definitely one of the main things in our songwriting, making sure the chorus hits. And making sure there’s balance with the rest of the song. Sometimes, it’s even more important, the dynamic between chorus and verse – to make sure you really feel it. It’s another Scandinavian trick by the way, if you know the songwriter Max Martin. I think he has the most Billboard Number One hits of all time. One of his tricks was always to downplay the verses a little bit, so it would leave more space for the chorus. This is something we are trying to figure out all the time. If the verse is too intense and steals too much from the chorus, or is it vice versa?
Dead Rhetoric: So in general, do you think what you are saying about the chorus could be applied to all genres of music then? Not just your own?
Molin: Sure, there’s definitely other types of music where you have different focal points of what is important to the song or genre. But for what we are doing, I think it’s really important. That’s what we have been trying to specialize ourselves on. But there are other genres where the chorus is not the main thing. It should be there, but it’s not necessarily the most important thing. I think it varies from genre to genre. If you look at pop, then it is all about the chorus. Certainly a lot of different subgenres of metal, it’s equally important as well. But it’s what we do as Dynazty, to focus a lot on the chorus so it hits hard.
Dead Rhetoric: What have you learned from your time on the road, personally and professionally?
Molin: You learn a lot every time you go out. Professionally, you learn new stuff every tour that you do. Everything from how to handle situations where you get sick on the road, or getting enough food at the right times, and how to manage your sleep. You learn new tricks all the time. You learn on stage every night with how to interact with the audience and what works on stage.
You learn a lot about the world as well. We have done a lot of European tours at this point, but you still see new stuff. You still see new places, new people, new things. You learn what is going on with people in general on the continent. It’s definitely a way of updating yourself constantly, to be out on the road.
Dead Rhetoric: Have you found that your fanbase has gotten larger due to your role in Amaranthe or vice versa?
Molin: A little bit of both I guess. It would have been impossible for it not to happen. I think most of the people who discovered Dynazty when I joined Amaranthe was a long time ago now. I do think that at this point, it has kind of separated. For example, if you look at Spotify statistics, Amaranthe and Dynazty are not even related artists. That caught me by surprise. I remember the first few years when I was in Amaranthe, I saw some Amaranthe regulars coming to Dynazty concerts. There will always be a bit of interflow between the bands. But I think for the past few years, both bands have grown but in a little bit of different ways.
Dead Rhetoric: What are your thoughts on the power metal genre, as a whole? What do you enjoy about it?
Molin: It depends, it’s always a philosophical question when it’s power metal. But for the heavy metal genre, I think it’s doing just as well as ever…if not better than ever before. I still enjoy a lot of the new albums and releases and bands popping up. There’s always something that pops up a little extra, and sometimes it’s some of these older acts that are releasing new music that is fantastic. I think, for me personally, I enjoy it so much.
I spent this week listening to the brand new Dream Theater album, for example. I’ve been a fan of them for a very long time, and to hear this classic line-up, with Mike Portnoy returning to the band, it’s been a fantastic experience for me, personally. To hear this creative atmosphere back together for the first time in 15 years or so, I’m just enjoying it. I don’t think I would be able to be creative myself, unless I had a lot of stuff that inspired me, and continued to inspire me through the years. I think everyone feeds each other in the circle of music, and that’s a very important thing. If you don’t have any influences left, it’s going to be very difficult to keep creating music.
Dead Rhetoric: Do you have any other outlets that you like to use to express creativity that is not through music?
Molin: I don’t think I have time for it [laughs], so no. At this point, I try to focus all my creative force on music, because I have to. I did, at some points earlier, write short stories and stuff like that. At some point, I might sit down and do more, because I would like to explore that part of myself. But right now, I’m just saving my creative powers for more music.
Dead Rhetoric: What are your plans for 2025? Any plans for a US tour given the label switch?
Molin: This has been something we have tried to make happen for a long time – a proper tour in the US. There were actually some pretty good ways in and offers for this year, but it’s probably not going to happen. But hopefully in 2026. For the rest of this year, we are heading out on a European tour in February and March in support of the album release. We are heading to Brazil in May for the very first time, then we will do some summer festivals and then another round in Europe in the fall. Then Scandinavia and possibly Japan towards the end of the year. That’s the full year. But we are definitely working hard on actually going stateside. It’s a question of sooner rather than later.
Years behind the scenes in the making, we have an Italian supergroup conceived by Skeletoon leader/singer Tomi Fooler in The 7th Guild. The trio of vocalists contains Giacomo Voli (Rhapsody of Fire) and Ivan Giannini (ex-Vision Divine, Derdian) – while the supporting cast of musicians includes members of Gamma Ray, DGM, Freedom Call, and Ancient Bards. Expect an operatic brand of power metal with symphonic to bombastic overtones through the nine tracks on this debut album Triumviro – soaring melodies along with uplifting musical components that align well with those into early Angra, Sonata Arctica as well as Avantasia.
The triad vocal approach allows for dynamic contrast in its multi-octave configuration – often serving up some exhilarating choir/harmony work in songs like their namesake “The 7th Guild” or the dramatic, Italian-language driven “La Promessa Cremisi”. All the acrobatics would be for naught if the music couldn’t rise to the occasion. Fortunately the guitar work of Simone Mularoni along with the impressive keyboard/orchestration output of Alessio Lucatti and Daniele Mazza creates this heightened atmosphere on the Rhapsody Of Fire-like “In Nomine Patris” all the way through to a more mid-tempo epic anthem such as “Guardians of Eternity” that entices deeper dives into the key hook components. A record of this nature wouldn’t be complete without the stirring ballad that leans on the theatrical side of things – that’s what you’ll get and more through “Fairy Tale”, between the softer, tranquil piano parts that evoke cultural/folk feelings and quieter opening vocals, all the way through to upper register melodies next to heroic guitar action as bells chime in the background. The Three Tenors-oriented approach transformed to a symphonic power metal platform pays huge dividends, as the songwriting conveys the right mix of speedier affairs and thoughtful anthems that captivate song to song, clocking in under 50 minutes.
If you love European power metal set to a more Avantasia-like landscape, The 7th Guild could check all those aural boxes you’ve wanted through Triumviro. It will be interesting to hear where these musicians take things as time allows due to commitments with their main bands – as there’s plenty of potential creative elements to explore in this exciting framework.
Although these Swedes have been a part of the scene since 2007, I haven’t been on the Dynazty train as long as some other fans, only discovering them about a decade ago. But once a friend turned me onto them it was love at first sigh- err, sound? 2016’s Titanic Mass has been my favorite disc since its release. Well, until now… Their new album Game of Faces has, in my anything but humble opinion, supplanted the 2016 disc in every way. I got it a few weeks ago and quite frankly it gets played damn near daily round these parts, sometimes more than once a day
Starting with my fave “Die to Survive”, there’s just this killer groove which can be heard throughout the arrangement. Love it! The title track sounds like something played at A.A. (Asskickers Anonymous), and simply demands repeat listens – that’s a fact! “Fire to Fight” also comes in on a thundering mass of guitars, courtesy of Rob Love Magnusson and Mike Lavér, and my second favorite was “Dark Angel”. The latter track features one of singer Nils Molin’s favorite vocal performances, at least to these ears.
We get another groove-alicious offering with “Fortune Favors the Brave”, thanks to the rhythm section of Georg Härnsten Egg on drums and Jonathan Olsson on bass, followed by the bouncy feel of “Sole Survivor”, which should get fingers snappin’ and toes a-tappin’! Meanwhile “Phoenix” comes in pretty hot, as does closer “Mystery”, which is yet another winner.
Honestly, I can’t find fault with any of these tunes, and at the risk of sounding like a broken record Game of Faces has become my favorite disc from Dynazty. I absolutely love this record!
Standout Tracks: “Mystery”, “Dark Angel”, “Die to Survive”, “Game of Faces”.
Austin, Texas has a vibrant music scene, the home of South by Southwest – an annual film and music festival that for decades has attracted worldwide buzz for its industry impact. It’s also home to this heavy metal quintet Mean Mistreater – who released their debut album Razor Wire independently in 2023 before being picked up by Dying Victims Productions for an international push. Attracting a decent buzz for the band’s penchant to take influences across the classic metal meets 80s retro hard rock sound that artists like Warlock, Chastain, and early W.A.S.P. garnered notice during 1983-1987, Do Or Die is the second album that strives to keep the train churning along smoothly.
On first glance, there’s nothing extraneous regarding an eight-song record that gets in attack mode to finish its mission in a scant twenty-six minutes and forty seconds. This is a case of passionate riffs, fierce vocal melodies, support from a locked and loaded rhythm section, all wrapped into a series of anthems or speedier affairs that will have you screaming in the aisles or losing your mind. The vocals of Janiece Gonzalez have a street-level toughness that works next to the twin guitar assault of Alex Wein and Quinten Lawson. She can hit those bird call notes a la Leather Leone in the early Maiden-esque march-oriented “Walk with Fire” yet twist that party charm on ten for follow-up title track. Combining influences across early US metal and the NWOBHM/European scenes, this is lean, mean stuff that revels in its live for the movement philosophies – forgetting about your job/personal worries of the day and joining in these celebratory festivities. Jeff Henson (Spirit Adrift) has that recording touch that Mean Mistreater deserves – authentic yet warm, where the snare crackles, cymbal hits reverberate, and the guitar tones pulsate as traditional metal should sound, beyond the classic fade out technique that makes “Three of Swords” a back half favorite.
Do or Die won’t reinvent the wheel (but what does these days)? As a record though it reminds people that for every experimental act who feel the need to create multiple styles smashed together for their sound, there’s something endearing about a pure heavy metal act like Mean Mistreater that just kick your teeth in song after song, hook after hook.
Initially starting up in the pop and EDM scene, Katerina Nicole took a turn towards heavier material and found her calling. The first evidence is her EP, Serene in Violent Oceans, an introductory piece that showcases her carefully balanced contrasts. It’s heavy yet melodic, melancholic yet uplifting, and graceful yet chaotic. It doesn’t simply pull from the metal world either, bringing in fresh outside influences and perspectives that give it an intriguing appeal that should bring in listeners from across the spectrum. We sat down and chatted with her about her beginnings, the ins and outs of her first EP, wishlist collaborations and touring options, and the future ahead.
Dead Rhetoric: You were involved in the pop and EDM world for a bit. What made you move into heavier directions?
Katerina Nicole: I started that about 2.5 to 3 years ago, but I went in a heavier direction because I felt like it was something I needed to do. I wasn’t giving enough of myself. I wasn’t being completely honest with myself, and I think it was really showing in that type of music. Even though I love the tracks that I did, the last few ones I did, “Everwanted” and “Underwater,” became very melancholy. I didn’t want to be a downer to the EDM scene, so I decided to go in a different direction for now.
Dead Rhetoric: You did some screams on the EP. Was it the first time you had done them?
Katerina: Yes it was. I have been training for a while now. It’s been over a year and a half. I will say that I am leaps and bounds to where I was when writing the EP.
Dead Rhetoric: So is that something you’d like to explore further in the future?
Katerina: Absolutely. EP 2 is coming out [laughs]! We are eager to work on it, it’s already in the works and we have found lots of placements for screams. I did rough vocal takes already. I got back in there doing my lead vocals and I’m like, “I can do better! Let’s keep this going!”
Dead Rhetoric: Do you feel your time in the EDM/pop scene made any impact in the way that you approached the music on Serene in Violent Oceans?
Katerina: That’s a good question. It’s important that I talk about my team, because I have two co-writers on this EP and I think they influenced me a lot too. They taught me to not be so on the nose with my lyrics, coming from a pop background. They would write some things that would make me think in a completely different way with a different perspective, and I think that’s a really beautiful thing in a different way, that you can say things or express yourself, or have metaphors for something much deeper.
Dead Rhetoric: Talk about the contrasts within the music. How important are they, even with the title of the EP?
Katerina: I think what I want with this EP, when people are listening to it, that they do give it a full listen from track one to track five. There’s a reason I put it in that order, to take people on a journey with me into very turbulent waters and this big storm. It’s a lot of my life and a lot of my traumas. I believe it can be interpreted in many different ways for many different people. Staying true to who you are, staying centered, staying at peace, no matter what is going on around you or within you, that’s a powerful thing.
Dead Rhetoric: How important is the atmosphere in each track as well? You mentioned a distinct tracklist. Was it important that the atmosphere or feel was important too?
Katerina: Yeah, even taking my listeners into the depths of my despair, it’s important to feel the light at the end of the tunnel. To feel like you can reach up for air.
Dead Rhetoric: We are in a single-driven market, and you have three singles out with videos. When you are aiming for this atmosphere, how does that playlist/singles movement contrast with that?
Katerina: There was a thought put into which tracks were released first, because they were not released in [track] order. But I wanted to start with the heaviest one, “Catch My Breath.” It’s the most meaningful one to me, it’s like “whoa.” So I wanted to show it first. Finding such a great producer and director for the video for “What I Know Now,” I let them choose what track would make a great visual. I really wanted to have that cinematic visual to go with the story of these songs. So that meant a lot to me that they took it as seriously. Releasing it in order, after the fact, it gives it a different experience than just hearing the singles first.
Dead Rhetoric: With the cinematic piece in the videos, is that something you want to strive for in the future, when you are writing new material and thinking about how the material will be visualized – is that something you want to go further with?
Katerina: Absolutely. I want to have listeners on a journey with me, visually and musically. That’s really important to me that we have this starting point. But as I evolve and heal through this process with this EP, there is going to be new versions of me and new stories to tell. There will be new things that come up to share. I want each track to hold its own in that way.
Dead Rhetoric: What else can you say about the EP, as your first release? What do you hope people will take from the experience?
Katerina: The biggest thing I took away from this experience was to take a look at, because it was during the pandemic as I had pushed music away many times in my life. During the pandemic it came back to me really hard. I really needed to give this a good shot. For me, it’s about doing what I really love to do in life. I have had this conversation with many people, and some might say that my dream has passed, or that I didn’t follow my dream, or it’s too late. To a young person or an older person, depending on who is reading this, you don’t have to do exactly what you think you lost as a dream.
For example, maybe down the line a door will open up for me in the future where I can have a different place in the music industry. But I’m for sure going to keep music close to me, because it’s what my heart and soul wants. So for someone listening to this EP, I hope they pick up on following their heart and their path – whatever is in the back of their mind, whatever is nagging on them to do what is going to make them really happy.
Dead Rhetoric: Like we said before, you have a few songs out there already. How do you feel the reaction has been, as three of the songs are already available to listen to?
Katerina: It’s been amazing. Everytime someone says that they have listened to it, or taken the time to listen to it, or it resonated with them in some way, it means the world to me. I hope that they feel better or can find some sort of healing. Or I hope they enjoyed the music or the visuals, all of that stuff. It’s pretty awesome.
Dead Rhetoric: Given the musical landscape, are you attempting to get signed by a label or are you looking to stay independent?
Katerina: I haven’t decided. I’m not going to be the one to shut it down 100% on signing with a label. I will be very careful and will negotiate something that is beneficial for me, and protect my art for sure. But I wouldn’t be here if I didn’t have a team that I have created and built. I definitely am looking to expand my team in different ways to help me out and make it easier to expand and grow. A manager would be great. An agent. My PR right now is fabulous because Tori and Amy brought me to you and I’m doing this because of them. All of these opportunities are because you have a team. It’s not easy to do things alone.
Dead Rhetoric: What are some of the challenges you face trying to make a name for yourself?
Katerina: Marketing is definitely not an easy game. It’s one that I think has to do with a lot of luck. If the right person hears you…networking is very important for me at this time. Being patient and being okay with the slow build.
Dead Rhetoric: Your songs don’t match a traditional ‘genre’ per say. What are some of the positives and negatives that are involved in that?
Katerina: I have found in this space that it is not easy to pinpoint an artist’s genre. A lot of us are trying to trailblaze and bend and not get put into a box. We aren’t as simple as country artists. The sound of country is really well known. You know it when you hear it, same with pop and a lot of other genres. This one is kind of unique in that it’s up to other people what they think it is, depending on the category. Even with playlisting, I have been added to some interesting playlists that I wouldn’t think that I would fit into, but they did so that’s where I’m put.
Dead Rhetoric: What are your hopes then, if you look forward with the music industry? What would you like to see, given these branching pathways? Personally or professionally.
Katerina: I hope that I can continue to build up my team that truly believes in me, and is trustworthy. To grow in that sense. That’s really important for me. I really want to just be performing. I want to put myself out there, I want to be in person. I want to meet people and have them get to know me, and see that my music is really who I am.
Dead Rhetoric: Have you played much live yet?
Katerina: I have been performing live since I was a kid, but I took a break for a while. It wasn’t until the pandemic that I started jumping on creating deep house tracks. That was all done online. I have been practicing with my band and we will be doing an EP release show February 22nd. That will be my first time live to showcase this EP and I hope it just continues from there.
Dead Rhetoric: If you could choose groups to open up for, since it’s easier to build yourself up more with someone headlining above you, who would you see as ideal picks with the music of this EP to go with?
Katerina: I have had a lot of inspiration, especially during the month and a half that I was in the studio creating, I was trying to pull as much inspiration as I could while finding what suits me. Who I would enjoy opening up for would be groups like Dayseeker, I really love Gore., I enjoy Cane Hill. Lamb of God would be a dream come true. My younger self would love to open up for a band like Rise Against, and they just came out with new music so that makes me really happy.
Dead Rhetoric: Do you feel too that your music can appeal to a broader audience than just the heavy music scene?
Katerina: Yeah, and I’m really okay with that. The broader music scene hasn’t had so many opportunities to get to know a lot of the metal world. If they aren’t born into that, or not actively seeking it, it’s hard. It’s not so mainstream. I hope that I do have enough of a soft side to find a place that is able to go mainstream and maybe help guide or take some fans by the hand to some deeper areas and explore it together. To help them ease into it. I think that’s okay.
Dead Rhetoric: Everyone looks at the term gateway band and a lot of people have a negative stereotype, but someone has to be the one to do it too. Otherwise you don’t get new blood into a scene.
Katerina: It’s a risky move [laughs], and probably some backlash on that, but I would be doing it for the benefit of everybody. I hope that it is received well if that’s the way things go.
Dead Rhetoric: I think too, with your first EP you are setting that tone from the start. It’s not like you are starting from a different spot and changing styles completely. You have set this open space to begin with, and the people who are going to find it are probably going to be more willing to take that trip with you, so to speak.
Katerina: It’s interesting how many metalheads I have talked to that really enjoy electronic music, or country or folk. As artists, we are diverse.
Dead Rhetoric: I saw you are into cooking/baking dishes. How would you compare the processes to songwriting in terms of creativity?
Katerina: I have always been the person to wing it [laughs]! That’s always been my motto. Sometimes it has bitten me in the butt [laughs] but I like to take risks, I like to be creative and just let things unfold as they may. I do the same thing with cooking. If I am having a bad day, I’ll just go and bake something. It might not turn out [well], but I’m going to do it anyway just for the process. That’s the same mindset I go into the studio with. I’m open to what sonic sounds I am going to hear today, and what I’m going to feel, and what I’m going to write down, and all that stuff.
Dead Rhetoric: When we started talking, you mentioned that EP 2 is coming. How much thought on the process have you done so far in terms of sound and what you are aiming for with it?
Katerina: I’m coming in with two feet now, because I have made it to the other side of this first EP, and I’m here, and here to stay. It’s a totally different feeling getting back into the studio and writing down different stories and feelings. I already knew I wanted to go in with more high energy, so that’s a bit of a teaser. I want more energy, I want more screams, I want my listeners and fans to be on that journey of growth, because it’s coming.
Dead Rhetoric: You have a release show planned, what else is coming up this year?
Katerina: I’m happy to say that I’m a free bird. I’m actively networking these opportunities, like talking to you and getting to know more people in the scene. Collaborations would be great, I’m dying to do a duet with any artist, male or female. I don’t have any requirements for that. If anyone is interested, I would absolutely love that. You don’t see that nearly enough I feel. When you see live performances and you see those duets happening, it’s magical. I’d love to create that in the studio and to perform. It’s standard for people to book early for festivals, so if I can get on anything this year, if anyone can hook me up with an opening slot, I’m ready and available.
I’m putting together a band as well. The band I have now is amazing! The guys are local and they have families. My producer is my bassist, so he’s full. My drummer is a full time studio musician now. So I can’t exactly take them across the world with me. I want to put together a band that wants to learn my songs and I can take them around…that would be great.
Dead Rhetoric: So who would be some names to do a duet? What’s the wishlist look like?
Katerina: Courtney LaPlante is going to be at the top of my list, because she was very inspiring to know that being heavy and screaming is possible. She’s been in the industry for so long. She has been making music forever. She was in iwrestledabearonce, which was crazy and hardcore. She’d be number one for sure. I love her melodies as well, as she portrays some very soft sides in her music too. I would also say Rory Rodriguez from Dayseeker, he also has a softer side and I think we would match very well. Bad Omens too, not just because they are so relevant and hot right now, but their song “Just Pretend,” I related to it so much. Palisades, those guys too! I’d love to collaborate with Sleep Token as well, they are so great! It’s really all about the right song, the right opportunity, and timing.
One of the more unique acts to emerge from the metalcore scene, Bleeding Through stood the test of time due to their ability to write songs that didn’t rely upon what was then ‘the metalcore mold.’ While their breakdowns and vicious hardcore influences placed them in the scene, their use of death, black, and gothic influences made them a more versatile force to be reckoned with. They also weren’t afraid of playing around with those elements over time. While we don’t get too much, album-wise from them at this point, with 2018’s Love Will Kill All being their last entry (and it was the first in six years before that), Nine continues to showcase all of Bleeding Through’s strong points with plenty of aggression and flair.
Nine, due to the fact that it’s their ninth album, doesn’t go too far outside of the band’s usual territory and nor does it need to. Given their varied influences and inspirations, it’s a case where more of something that’s familiar is going to be a good thing. But that doesn’t mean they just churned out some more of the same. There’s some enjoyable tweaks to the formula that long-time fans should notice and appreciate. Most obvious would be that of utilizing keyboardist Marta Demmel more in a vocal role. “Path of Our Disease” further flirts with gothic atmosphere because of this tweak, though it’s not without it’s usual brutal BT moments with riotous groove. “Lost in Isolation” is given a more soaring chorus due to Demmel’s vocals and keys, not to mention a guest spot from God Forbid’s Doc Coyle for some added hooks. “I Am Resistance” all but gallops and blasts with energy at full throttle, and a collaboration with Comeback Kid’s Andrew Neufeld gives it potent wings.
On the heavier end of the spectrum, the build up to “Hail Destruction” is dark and ominous. The slow burn approach builds to an effective payoff due to the cinematic keys and punishing chugs that do nothing if they don’t invoke headbanging. “Our Brand is Chaos” carries with it some of the more traditional staples of Bleeding Through, such as the keyboard enhancements and blackened atmosphere, rumbling mid-tempo riffs, and moments of explosive chaos in both speed and breakdown form. As an opener, “Gallows” gives just the frenetic introduction that one would expect, delivering a whirlwind of riffing, blastbeats, and Brandon Schieppati’s visceral roars. If one was to choose a favorite though, the well-chosen single of “Dead But So Alive” fits the bill, with it’s raging riffs and blast intensity, menacing grooves, and for it’s ability to stop on a dime and provide one of the album’s most potent and catchy choruses.
Yet again, Bleeding Through have proven that they are worth the wait in terms of delivering the brutal goods. Nine is another start to finish winner from the group, having lost none of the intensity of their previous material, but able to continue to polish the more melodic side and tweak the formula just enough to keep things interesting. Fans of metalcore should rightly eat this one up. Another fine showing from one of the genre’s more underrated but deserving acts.
