I used to be an avid fan of the newer genre, Symphonic Metal. I foamed over bands like Epica, Delain, Within Temptation, After Forever, Stream of Passion, and the older catalog of Visions of Atlantis and Amberian Dawn. I truly believed that this was the world’s best music. I thought that these bands contained the best musicians since Bach, Beethoven, and Tchaikovsky. I grew up listening to classical music, even taking classes and studying music theory. Symphonic Metal piqued these roots and moved me more than most music ever had before. I saw Epica live in 2012 and it led me to start this blog and explore Metal in depth. I’ve seen Nightwish, Delain, Xandria, Epica, and Within Temptation and it was an absolute blast to experience. Symphonic Metal didn’t keep my interest much longer, however. I became entranced by the sheer raw power, speeds, and lack of backing tracks of vocals of Power Metal.
I gave up on a lot of Symphonic Metal, finding that new bands were contrived and new releases formulaic or boring. I love the classics still, but my attention and admiration have gone to other genres. You can imagine my surprise when hearing the first single from “Pirates” by Visions of Atlantis. Legion of the Seas blew me away. I had written this band off originally due to vocalist changes that disheartened me, and I quickly learned I made a mistake. Visions of Atlantis bring Symphonic and Power Metal together with gooey cheesiness that I love. Pirates convinced me Symphonic Metal isn’t dead. This is the best record of the genre since Dark Sarah’s “Grim”.
Visions of Atlantis pulls out all the classic Symphonic aspects, mixing with Clémentine Delauney’s Classic Soprano vocals, and Michele Guaitoli’s Power Metal belts and perfect vibrato. “Pirates” is straight out of the realms of Nightwish and Blind Guardian. While not a groundbreaking or immensely innovative album (Pirates and Metal go together like green chili and burritos), is it a fresh new take on an inundated genre. It is epic and exciting beyond the usual keyboardist egoist-ridden records with long pointless interludes. “Pirates” melds rhythmic driving riffs and drums with all-consuming melodies. It flows effortlessly between power and airy piano. Catchiness is also a huge factor with tracks like Melancholy Angels, Legion of the Seas, Clocks, and Master of the Hurricane. Interesting Folk touches like flutes and horns come into play, breaking up the Power Metal instrumentation. But, it is not over-saturated with layers, leaving room for two brilliant vocalists to thrive. The harmonization is spectacular, some of the best I’ve heard. This album has everything the Symphonic Metal fan desires, but can also cross over into the Power Metal head’s realm of battle music. There’s something so reminiscent of Hans Zimmer, which is ironic because he wrote the soundtrack to the brilliant Pirates of the Caribbean. This album ticks so many boxes for good Metal.
“Pirates” surprised the hell out of me. It has restored my faith in the Symphonic Metal genre and even brought me back to listening to it again. It’s unpretentious, playable live, and brings a new dual vocal style that I haven’t heard since Floor Jansen first joined Nightwish. It’s a familiar sound, but so refreshing to me. I’ve liked newer Epica releases, Illumishade’s debut, Dark Sarah, and Ad Infinitum, but “Pirates” from VoA is a marriage of sound I’ve been dying for. They delivered on every aspect I critique albums on; Emotion, execution, instrumentation, repetitiveness, movement, lyrical themes, and notation. It deserves an even more positive reception.
Power Metal band from DeLand, Florida has been on fire since last fall and their successful tour with Unleash the Archers and Aether Realm, and this year’s Power Metal tour with Beast in Black and Striker. I knew once I witnessed Seven Kingdoms live in person, I was witnessing the greatest Power Metal band in America. We don’t get bands like this here. But to be frank, their quality and consistency are unmatched anywhere. With tracks like After the Fall, Empty Eyes, Monster, and epic ballad Valonqar this band knows how to deliver impactful songs. Every member is vastly talented and the chemistry is that of a band that’s been playing for two decades. I have never been more impressed with an opener (well, not since System Divide).
Now, the wait for the crowdfunded album “Zenith” has begun. With the debut original track, Universal Terrestrial, we got absolute speed, dynamic vocals, and amazing melodic solos. The track is simply addictive with unique qualities that I am not hearing anywhere else. The unique tonal quality of Sabrina Valentine Cruz’s voice is divine and surprising: I’ve never heard anything like it, and I can’t seem to get enough of it. I foresee a lot more Reaction videos coming their way soon. The first release from Zenith was insanely surprising: A Power Metal rendition of Joan Jett’s classic “I Hate Myself For Loving You” that screamed. It is one of the best covers I have ever heard, with musical and vocal perfection. It’s a huge upgrade to the original, which in my opinion long outlived its usefulness. The soaring screams and high notes elicit a jaw-dropping experience and “WOWs”. It’s one of those times when you think “why isn’t this going viral?” “Zenith” may be just what this band needs to skyrocket into a bigger fandom that they unequivocally deserve.
Today, Seven Kingdoms dropped the emotional powerhouse of a track “Diamond Handed”. I am forever impressed by this band, but this song brought it to a new level. I love every aspect of this track. It’s classic Power Metal mixed with modern touches in this beautiful emotionally heavy and inspiring track. I am a sucker for dueling guitar solos and Cam and Kevin delivered perfectly fast, technical, melodic solos over Keith’s pocket-perfect metronome double bass. It’s very different from any song they’ve done before, to me, but keeps within the typical Speedy-riffing soaring Power Metal that SK always delivers on. Sabrina’s range on this track is unbelievable, in that I believe she uses a lower section we haven’t heard before. And then, she roars into harmonic screams that seem to resonate forever. It’s vastly impressive. There’s nothing quite like this track, and you really have to play it multiple times to get every tidbit of deliciousness.
For fans of Blind Guardian, Beast In Black, Unleash the Archers, Halestorm, Nightwish, Sonata Arctica, Heart
Out of nowhere, successful Metalcore band Architects drop a new single “when we were young” yesterday. I missed the initial release, as I was dealing with having no power or Wifi for most of the day due to a quarter of my town being on fire. I’ve been awaiting something new from Architects but thought they’d ride the wave of the popular For Those Who Wish To Exist longer. I find the track to be interesting, but quite light and radio-friendly. I am hoping it is a soft release for an upcoming assault of a new record just to whet appetites. No other information was released with the track, but expect more from the band very soon. Listen to the new track below and see what you think.
Another exciting and surprise release from the day before was from We Came As Romans ft Brand of Sacrifice. It’s an Electronic and Metalcore mash-up reimagining of their breakout hit Darkbloom. I had never listened to either artist before and was immensely astounded by the quality of what I was hearing. the growls are stunning and deep to the point of Deathcore heaviness at the end. It is absolutely addictive. Check it Out below:
Metalcore is often a genre overlooked by the elitists. Often the genre is associated with more “Emo” themes. That is simply a misnomer. Metalcore is arguably the most diverse of all subgenres. It is a broad subgenre with millions of possibilities; some bands have a Metal version of Punk Hardcore, some Extreme Metal with Meshuggah-Esque breakdowns. I was originally a naysayer of the subgenre. I expected whiny, high-pitched, off-key screams, and generic guitar riffs stolen from Killswitch Engage and All That Remains. Those derivative instances may exist, but the juggernauts of the new wave of Metalcore are reinventing the wheel. I became educated in Metalcore really fast upon my first listen of “Circle With Me” by budding Vancouver Island Progressive Metalcore band, Spiritbox. From there, my glass house of elitism was shattered forever.
Spiritbox’s Eternal Blue is the album that changed Metalcore forever but seemingly came out of nowhere. Between lineup changes and the pandemic, Spiritbox didn’t necessarily start successfully. They were unable to tour, put the new album together in the studio on the original timeline, and were forced to find a drummer remotely. The strife this band faced was formidable, but they turned it into something immensely positive. Eternal Blue is a true example of “pain turned into art”. It is a masterful record. It is beautiful, angry, tragic, and devastatingly good. It’s not what I expected; Holy Roller was a track that threw me off. It’s dense, abrasive, and completely heavy. It took me months to appreciate it. Once I heard Circle With Me, however, I immediately understood why this band went viral. Now, I can’t stop listening to Eternal Blue. The dramatic, sometimes bipolar, djent down-tuned chugging riffs to beautiful intricate melodies grabs every fiber of my being. I crave their sound to the point of obsession, and I think this album did the same thing to everyone who’s heard it.
There’s a wide spectrum of sound in Spiritbox that I’ve never heard before. It’s an assault of layers upon layers. Mike Stringer is known for maxing out the session data in Protools with these layers: Specifically on the beautifully heart-wrenching Alzheimer’s inspired track, Constance. This is the emotionally heaviest song I’ve heard in nearly fifteen years (Devin’s Deadhead takes the crown for me there). His musical composition is the most interesting I’ve heard since Devin Townsend. The way he aligns heavy guitars or melodic shredding with Courtney’s vocals is nothing short of visionary. Many bands have attempted this sonic chemistry, but Mike and Courtney have a cornerstone on the chemistry that I don’t think will ever be matched. This is why Eternal Blue is one of the greatest Metal records of all time and has brought Metalcore back to the forefront.
Once I became obsessed with Spiritbox, I went on to find other bands that shared a pension for Progressive Metalcore. Below is a list of bands that add to why I think Metalcore is the best subgenre in 2021 and 2022.
This may seem like an obvious name drop, as Architects have been dropping some of the best records in modern Metal for the last ten years. They write relatable, coarse, heavy, and melodic tracks with excellent breakdowns. They sit at the more aggressive end of Metalcore, with screaming and down-tuned guitars while staying accessible. The band has been millions of fans’ entry into the extensive world of Metalcore. Tracks like Minesweeper, Day in Day Out, and Doomsday are blisteringly heavy and coarse with newer addition Sam Carter’s style. His screams and cleans are drastically different from each other, to an almost bipolar level. Their music is catchy, but not repetitive or derivative. It truly sticks in your mind; Whether it’s a riff or a vocal hook, Architects becomes addictive just as well as Spiritbox. Josh Middleton, another newer addition officially joining in 2017, is a driving force on lead guitars. Coming from Progressive Metalcore powerhouse Sylosis, Josh has made his imprint on Architects’ riffs. I think the band has gained success due to the innovation of Sam and Josh’s contribution and unique styles. At least, I’ve enjoyed the band more since Middleton began riffing for them.
For Those Who Wish To Exist is the latest from Architects. Released at the height of Covid on February 26th, 2021, this is one of the most poignant records of the decade. In my opinion, this record is a momentous record for all of music. The album is one of the heaviest records to climb the US Billboard charts in my lifetime. It got the recognition and credit it deserved for tracks like Black Lungs, Animals, and Dead Butterflies all frequenting successful Satellite radio. This record is not what I consider radio-friendly, but it is deeply relatable and tragically accurate for Covid-19’/s terrorist reign on the world. It captures the loss, the loneliness, the falling to addiction, and the rage for stupidity amongst the human race. I unequivocally love this record and find it to be the highlight of Architects’ career.
Talk about underrated bands that seemingly come out of nowhere; the Progressive Metalcore scientists Erra hit me like a god damned truck. These guys put out harsh rap vocal lines over smooth clean choruses, right before obliterating breakdowns. Jesse Cash on vocals and guitars has written some of my absolute favorite riffs of all time. Dancing between Killswitch, Tool, and Meshuggah’s off-beat chugging, it’s a savory ride of guitar flavors that I am always impressed by. It’s impossible to get bored of Erra’s irregular and entropic music. It switches between fast down-tuned riffs, atmospheric interludes, and catchy vocals over blast beats. There’s also melodic shredding underneath the chunky riffs; a contrast I absolutely love. Cash and company compose songs with such deliberation and care so it flows through you like a symphony. I appreciate the music, but the lyrics are even more of a reason to listen to Erra. They eloquently talk about death, astronomy, psychology, neurology, societal issues with technological advancement, mythology, and mental health. Their storytelling and emotional transparency are what sets this band apart from all other Metalcore bands for me.
Erra, the self-titled record, is an astounding mix in a plethora of titillating ways. It’s grinding, blue-collar chuggy, and then refined and technical, and then warm and heartfelt. It’s surprisingly heavy, but the dynamics and smooth changes are what make it an essential Metalcore album. Snowblood opens with speed and breakdown shreds, continuing into equally disjointed Gungrave with an absolutely devastating breakdown at the end, and then it breaks and surprises into Melodic Divisionary. House of Glass is where the Prog shines through and captures me more than the Metalcore aspects. There’s a blinding ode to Tool in this song that is mouthwatering and unexpected. There’s a break in the music and this perfect off-time riff pre-verse that blows my mind every time I hear it. I won’t spoil the rest of the easter eggs in this brilliant record, but it’s a must-listen all the way through.
Essential Tracks: Snowblood, Vanish Canvas ft. Courtney LaPlante, Monolith
I doubt there’s a Modern Metal fan in America that hasn’t heard of Periphery, but just in case you need an incentive to listen to Prog Metalcore juggernauts Periphery, I’ll spell it out for you. Washington D.C may not be progressive these days, but at least it has birthed one of the greats of Progressive Metalcore. I have yet to see a band in the genre with more lineup changes, which is off-putting for me. It can cause inconsistencies and identity confusion, making the music derivative. Not with these guys. They are a band who have only improved with changes and time. The current lineup is a perfect medley of styles, technical ability, and some of the best musical chemistry I’ve ever seen. Periphery IV: Hail Stan is an album for the ages that went nearly viral. It is one of the highest-ranking Progressive Metalcore albums of the century, and rightly so.
While Spencer Sotelo’s vocals took a while for me to warm up to, it was their live videos that grabbed my attention. While some male vocalists in the upper register lose tonal quality and pitch control in a live setting, Spencer is an absolute rock. I am baffled by the lack of reaction videos to Spencer’s live and in-studio performances. His range and steadiness in infinite style changes and emotional dynamics are unbelievable. This is demonstrated best in the song Reptile, one of the craziest songs I have ever heard. His ability to keep up with the virtuoso composition while staying very current is unprecedented. He makes me angry. He makes me smile. And, he even makes me teary. Lune is one of the most beautiful vocal performances I have heard and destroys me every time I hear it.
Are three guitarists too many? Ask yourself that, and then listen to Misha Mansoor, Mark Holcomb, and Jake Bowen. Three very distinctive and different guitarists that ebb and flow and layer over one another flawlessly. The guitar riffs dance over Matt Halpern’s metronomic and catchy beats. Halpern has a pension for creating a perfect and effortless pocket, most evident in songs like It’s Only Smiles, Marigold, and Flatline. This band is one of the most talented bands I’ve ever heard, without being cheesy and neoclassical. Three technical shredding and beautifully melodic, atop a hell of an inventive drummer, underneath one of the most diverse vocalists I’ve ever heard; it’s a recipe for brilliance. This recipe is profoundly shown in Satellites, a song of their career, in my opinion. Not a fan of Metalcore? Listen to these guys, and you’ll be hooked for life.
Essential Tracks: Marigold, Satellites, Reptile, It’s Only Smiles, Alpha
On the heavier side of Metalcore, Monuments brings it hard and groovy. These guys have a lot of similarities to Periphery, but a completely different feel to the music. As a drum nerd, Monuments fills a need that no other band on this list can; a flair for flam. The use of flam on the snare adds urgency and a unique flavor to the music. Mike Malyan has an unexampled take on Metalcore drumming; it’s more of a Punk or Post Rock style that shows exceptional technicality. He can also blast well. The whole band is a quartet of sleepers. You’d never expect the caliber of a technical ability underneath the catchiness and softness of some radio-friendly tracks. Monuments is an interesting mix of styles. I had never truly listened to them until researching for this article, but they have piqued my interest. While they can be blistering and grinding heavy, they can also be almost sweetly melodic. The mix is crazy, but it works on every song I’ve heard so far.
I’ve found that most singular vocalists in Metalcore have bipolar styles. Howard Jones from KSE days had his unique belt and soaring vocals to supreme gutturals and harmonic screams. M Shadows of Avenged Sevenfold is another upper-level example of the range in Metalcore. Andy Cizek, the new addition in 2019 after the sad and unexpected departure of Chris Barretto, is a powerhouse of melodic and rhythmic texture. Andy has a hell of an upper range. It may not be for everyone, as it leans towards a twangy side of cleans, but I appreciate his quick switch from high twang to almost gutturals.
Despite the heaviness and melodic twang vocals, I believe Monuments is a great introduction to Metalcore for people that usually listen to Punk or Rock, which is really what Metalcore is all about. It’s a transition between old hardcore and Modern Metal. Bands like Monuments could bring Metal back to the forefront where it belongs; Celebrated and appreciated. Their new album, In Stasis, drops tomorrow April 14th, and I highly recommend checking it out.
Essential Tracks: False Providence, Cardinal Red, Animus, Stygian Blue
A Deathcore band turned Metalcore, Chicago quartet Veil of Maya, have created their own style of Metal. If Periphery and Lorna Shore had an atmospheric baby, this band would be the maniacal product. Some tracks such as newer Viscera, Mikasa, and Members-Only remind me of European bands like The Unguided and Amaranthe. There are electronic and atmospheric aspects underneath yelling Punk vocals, and then full-on breakdowns with rhythmic screaming. The tracks are pretty chaotic and may be hard to follow at times. This is not your entry-level Metalcore band and is not necessarily my style, but there’s a lot to appreciate with Veil of Maya. Definitely check out Spanish beat-based Danger featuring legendary guitarist Jeff Loomis.
Wage War, the breakout band on Sirius XM Octane, is the quintessential mix of Hardcore and Melodic Metal band that illustrates Modern Metalcore at its height. They have a wide range of tracks that show what they’re capable of. Some songs echo A Day To Remember, some echo Killswitch Engage’s new era, and some echo the heavy breakdowns of Spiritbox. Where technicality may be forefront in the others on this list, Wage War is more brutal and Slipknot with their heaviness. They have no regard for song structure on songs like Stitch. It’s just all-out brutality and searingly slow breakdowns with strings flapping against fretboards, and I love it.
While most of the hit songs are not my desired flavor of Metalcore, deeper cuts are insanely tasty. Yet another American band, hailing from Ocala, Florida, is bringing Metalcore back to the masses. Wage War has already scored a tour with Three Days Grace in July. It’s a huge billing for them and will hopefully gain them even more respect amongst American Metalheads.
Essential Tracks: Take The Fight, Circle the Drain, Relapse, Surrounded
One day whilst browsing Youtube for good covers, I stumbled upon a rugby-player-looking big-necked dude in a black suit beautifully singing Diamonds by Rihanna. I almost closed the browser, until that scream and riffing hit, and my jaw unhinged. German Hardcore/Melodic Metalcore band Any Given Day went viral with this shockingly beautiful but heavy cover, and I fell in love with Dennis Diehl’s smooth delivery. This huge man has the sweetest and smoothest clean vocal I’ve heard since Howard Jones but has wicked gutturals rarely heard in Metalcore. His voice is stunning, mesmerizing on songs like Apocalypse, Home is Where the Heart Is, and Farewell. While very heavy and containing many breakdowns, they are one of the more melodic bands along with Spiritbox on this list.
This band is not a one-trick pony or formulaic, no two songs sound similar to me. It’s a very diverse and emotionally ranged catalog. They have breakdowns, rapping grunting vocals, and down-tuned guitars that echo the Hardcore veins of the band. The Melodic parts are echoing Killswitch Engage, Trivium, and heartful songs from All That Remains. Any Given Day incorporates guitar layering instead of Electronic effects for atmosphere, and that is something I appreciate. I love their flavor of Metalcore and hope they gain more popularity in the states for a North American tour billing.
Essential Tracks; Arise Ft. Matt Heafy of Trivium, Home Is Where the Heart is, Savior
After Lorna Shore dropped To The Hellfire in 2021, the world was finally exposed to absolutely brutal Death Metal, finally finding out the talent in this genre is unbelievable. The virtuosos in this genre parallel the speed Classical music began showing when Verdi started making violinists cry in the 1800s. Yngwie Malmsteen might’ve brought that speed to Neoclassical Metal, but Metal brought the quintessential aspect of true brutal speed;: The Blast Beat. I love any band that effortlessly integrates that level of controlled speed in a song. Whether it was Black Sabbath, Emerson Lake and Palmer, Asocial, or Napalm Death, Blast Beats have become integral in showing speed and intensity in the infinite depths of the genre. My first introduction to the Blast Beat was on Fear Factory’s 1995 album Demanufacture. They made this technique mainstream without being necessarily Death Metal.
Raymond Herrera played that first Blast Beat on Demanufacture, and I think it shook people even more than Lorna Shore has. Critics and Metalheads accused Herrara of using a drum machine for the bass drums because the speed was so precise and blistering. Upon accusation, many critics attended live shows in LA and were shocked by the speed of the entire band. Herrara said the speed came from using two bass drum pedals. The preciseness came from his use of a click track to play through the entire record. Maybe this is just the first popularly known blast beat or the first professionally recorded one, but it’s my favorite of the decade.
Now that we know where the speed came from, let’s list the bands that not only have speed but insane intensity and brutality. Of course, you can be a genre elitist dick wad and argue that the bands below are Deathcore and not “trve kvlt” Death, but if you’re looking for four dudes in Scandinavia beating their instruments to absolute submission while recorded on a Sanyo voice recorder, this site isn’t for you anyway.
Carnifex
Carnifex has been around since 2005 and has released some of the greatest Death Metal Records of the century. The Diseased and the Poisoned was the San Diego band’s first release to Victory Records, and it gained quick success. The US has always had a pension for Death Metal, but Carnifex brought a new wave of it from their Myspace days, gaining a cult following. They mix Hardcore, Death Metal, and Progressive fluidly in with gory and brutal themes as you would expect from any band in the genre. The vocals may not range or vary too much, but the little nuances in pitch and multitracking are quality. The breakdowns are fluidly mixed in, not looking for dramatics or massive bass drops, but absolutely sonically pummel you. They also have sick “:thrashy” and shreddy arpeggio guitar solos which differ from the typical rhythmic-based guitar riffing. If you crave that classic sound like Dark Funeral, Mayhem, and Immortal, but want an updated sound with dueling solos and drop tuning, this band might interest you. Slow Death is a perfect record to delve into the depths of to discover Carnifex’s multitude of layers and is personally one of my favorite records of the genre. However, this band simply doesn’t have a bad record and avoids algorithmic writing and cheesy themes.
Essential Tracks: Die Without Hope, Slit Wrist Savior, Seven Souls, Dark Heart Ceremony
Pittsburgh, PA is one of the last places I would expect an animalistic Deathcore band to come from, but in 2014 Signs of the Swarm was born out of the Steel City. This is a band that makes you go “What the fuck am I listening to?” These guys are one of the most brutal and hair-raising bands I have ever heard. If you want Slamming Deathcore with gutturals that plummet lower than tectonic vibrations, these guys deliver. Breakdowns with pig squeals? Check. Brutally honest lyrics without horror or gore themes? Check. Blast beats with insane speed and well-tuned bass heads? Check. Signs of the Swarm have perfected every aspect I love about Deathcore, but added a crazy vocal range. David Simonich is simply maniacally brilliant in his delivery of gutturals, to screams, to harmonic squeals out of this world. The craziest sounds come out of this guy’s neck. It’s between animal-like and demonic aliens from a dark cold planet creating possessed clones. It is gloriously addictive and thought-provoking music. It’s shockingly good, much like Lorna Shore, but even more depressive and nihilistic. It’s amazing what these guys have achieved so far, and I really hope they continue despite so many lineup changes.
Essential Tracks: Nightcrawler, Cesspool of Ignorance, Cowards Deathbed
The mix of Doom and Death Metal is not a new innovation in music. We’ve had bands like Paradise Lost, Draconian, Candlemass, and Celtic Frost for three decades. They’re some of the most successful bands in the American market for Metal and worldwide as well. It’s a mix I enjoy occasionally. But as with all music I always say, “This needs blast beats”. Worm Shepherd is a band that was shared with me on Twitter upon asking what everyone’s favorite Death Metal band is. And, I was truly shocked that this band was the first response I received. These guys from Massachusetts have truly set themselves apart in this saturated genre. Their music is an assault on the senses, hard to process at first listen, and definitely not a band for rookies. They pummel with desperation and frantic beats. It captures you as you break down what is happening, and hooks you with pure dirge emotion. Worm Shepherd is one of the heaviest bands I have ever heard without being derivative or repetitive. These are some of the lowest sustained growls I have ever heard, maybe the lowest. They might be the most cvlt band on the list, but still have a modern refined touch that all generations can appreciate.
Essential Tracks: Ov Sword and Nail, The River Ov Knives, Ritual Hymns
Full disclosure: I am a huge fan of Dean Lamb and his wife on their Youtube series “4 Levels of Death Metal”. I watch it religiously and they are the most realistic and hilarious Metal Youtubers. So, when I found out Dean played in Archspire, I was immensely excited because he is a sensational guitarist always trying to innovate and improve. Hailing from Vancouver Canada, the five-piece Technical Death Metal juggernauts have recently gained a huge cult following. They’ve become Youtube sensations with their latest track Golden Mouth of Ruin which combines Tech Death with Numetal squeals and rapping gutturals. This band has staggeringly fast, catchy, and grooving rhythmic tracks. They are hands down my favorite Tech Death band. Drummer Spencer Prowett really leads this band with his exquisite drumming. He is one of the most flawless live drummers I have ever heard playing blasts at breakneck speeds of 250 BPM. Spencer’s snare hits are unbelievably fast, playing quadruplets with one hand like it’s just another day at the office. They are a complete aural assault and it’s hard to stop listening once you start, because you have no idea where each track is headed next. Dean Lamb and Tobi Morelli are two of the most underrated guitarists in Metal and deserve much more credit. They are innovators of the genre, at least if not all of music. With neoclassic perfection, these two shred harmoniously unlike anything else in Death Metal. Archspire is my number one most recommended band on this list, even if just shock value alone.
Essential Tracks: Drone Corpse Ruin, Rapid Elemental Dissolve, Bleed the Future
One of my favorite Death bands has to be young Belgian bruisers, Carnation. Jens De Vos, mastermind of Off The Cross and videographer for Epica, exposed me to this excellent band. 2020 album Where Death Lies was my first listen, and it is a satanic indulgence for the ages. It’s dripping with speed and gutturals and good old hardcore breakdowns. Simon Durson delivers compelling gutturals and screams, ranging three octaves of absolute endurance. The sure stamina of his voice is shocking. He is unreal in every track with such a unique take on Death vocals. There are so many influences in each track, it’s impossible to get bored. While the drums and vocals are typically shocking, Carnation’s guitar work is equally mind-bending. It’s the most melodic playing in the genre but still keeps within the heavy themes. It’s melodic, yet absolutely aggressive and dark. Carnation also has gore and horror themes, if that is in your sweet spot. They’re a band who have immense chemistry and fit in a pocket together so well, which is an aspect I never look for in Death Metal. I truly think this is attributed to great bassist Yarne Haylen. Bassists are being phased out in Metal, but let’s hope Yarne makes a case for hiring one and keeping a tight rhythm section.
Essential Tracks: Sepulcher of Alteration, Plaguebreeder, Napalm Ascension
Yet another abhorrent Belgium Death Metal band; Aborted, has been tearing up the gore scene for over a decade now. I was blessed enough to see its two founding members live, guitarist Mendel and vocalist Sven. It was my very first exposure to Death Metal in 2012 when System Divide opened for Epica. Since that decadent evening, my hunger for Death Metal has grown every year. System has since disbanded, but Aborted has only gained success. Maniacult released in 2021 received 90% ratings from over forty different review sites. When I crave blue-collar gory and angry Death Metal, I always go back to Aborted. This band is utterly relentless from start to finish on every track. They are mechanical, almost robotic, but in a good way. Each song drives with every note and beats in perfect synchronicity. Death Metal is a cornucopia of virtuosity, and Aborted is in the upper echelon. While legend Mendel Bij de Leij is no longer in the band since 2019, the band is still active and hitting harder than ever. I personally will always prefer their material with Mendel, but that may be for nostalgic indulgence.
Essential Tracks; Dead Wreckoning, Divine Impediment, Termination Redux
I know most of everyone in the Death Metal scene has heard of Greek heretics Septicflesh, but I couldn’t resist mentioning them. While the band has Melodic and Symphonic overtones, they’re still one of the heaviest bands I’ve ever heard. Codex Omega, released in 2017, is one of my all-time favorite records in any genre. Their capturing of Dante’s Divine Comedy Inferno is exquisite. It’s a trip straight to the horrific images in Aligheri’s head. There is something bone-chilling about Spiros’ voice that enthralls me. It’s the sure steadiness in his depth of gutturals. He doesn’t deviate or drop out from a deep slow guttural that sounds like it comes from the depths of the Inferno. Mind you, he can also spit out fast raspy vocals right to the blast of Internet sensation drummer, Krimh. Drummer Kerim Lechner has lent blasts to Tech Death band Decapitated, Thorns of Ivy, a fill-in for Behemoth, and put in an application to join Slipknot with a brilliant cover of People=Shit and Eyeless. I have a pure passion for Symphonic Death Metal and I find these guys to be criminally underrated. While you might be looking for something more blast beat and riffy, don’t overlook the shockingly good Septicflesh.
Essential Tracks: Dante’s Inferno, Portrait of a Headless Man, Neuromancer
These are bands that didn’t quite make the list for me, and I wanted to keep it short and bittersweet. Here are ridiculously heavy and unintelligible bands if you just can’t get enough of demon sounds in blazingly fast Metal.
“This list is purely about lesser known Melodeath bands. Obviously, these bands are not necessarily an introduction to the genre. If you want to get into the genre check out the heavy hitters such as Arch Enemy, In Flames, Dark Tranquility, Before the Dawn, Insomnium, Swallow The Sun, Children of Bodom, Wintersun, Ensiferum, Amorphis, and At The Gates.
If I missed any essentials, comment below or tweet me at @ebombmetal on Twitter.”
In Mourning
In Mourning is yet another Melodeath offering from Sweden. But, comparing them to the likes of Dark Tranquility, In Flames, and At the Gates would be criminal. The small town Swedish “sad bois” are not your typical flavor of Melodeath. Of my two decades as a Metal fan, I have never heard such a diverse band. Their layers are endlessly entangled with Doom, Black Sabbath, Power Metal, and Amorphis-like brutality. To say this band is stunning, is a vast understatement. From the saga based lyrics, to the classic riffs, to the depressive overtones of three different growlers, this band had me absolutely mesmerized. Their Weight of the Oceans record is a timeless Melodeath gem that deserves far more press than it has received over the decade. The opening track “Colossus” has the haunting beauty that I look for in Melodic Death Metal. The atmospheric aspect transcends you to the ancient oceans as you await a giant sea creature to swallow the earth.
In Mourning has the most interesting song structure, making every track unpredictable and interesting. Verses last half of songs, preceding three staggeringly good guitar solos, and harmonized brutal growls over unique driving leads.Some songs have so many changes it is hard for me to keep up with at times, but it truly makes the music more interesting. It’s surprising, because you never know what influence the band will throw in the ring next. This band is a permanent addition to my collection and I will long await a North American tour.
Essential Tracks: Colossus, Thornwalker, Black Storm
From the brain of Melodeath legend Markus Vanhala of Insomnium, comes a lighter hearted brother of Insomnium. Omnium Gatherum is Speed meets Melodeath with immensely beautiful atmospheric synths and meanings that make grown men cry in the pit. Omnium is an enigma of brutal growls from Jukka Peikonen and soft lead melodies from Markus with an occasional melancholic clean vocal. Omnium has a “battle ready” feel to it. I find them to be one of the most uplifting Melodeath bands. It’s a great diversion from the “my wife tragically died and came back to throw me in a well” feeling you get from Amorphis and Insomnium.
Seeing this band live twice, I can say they truly play to astound. They put one hundred percent of their passion and practice into each track and play with immense speed. It is shocking to watch the dueling guitars play perfectly together at neck break pace. Their drummer, albeit a different drummer every time I’ve seen them, is a machine of a metronome that keeps everything really tight. Jukka’s guttural growls for a whole set defy and blow me away. His vocal stamina is some of the highest for the difficulty of technique he displays. I also really enjoy the group cleans, as it gives an 80’s arena vibe. This band is fantastic on record but also one of the best live. I cannot recommend their catalog enough, specifically from Stuck Here on Snakes Way (2007) and on.
Essential Tracks: The Unknowing, Fortitude, New World Shadows
For something fresh and completely different in Melodeath, I recommend UK newcomers Countless Skies. If you dig the Progressive aspects of Amorphis and also Devin Townsend, this band is a brilliant bright mix of both. Not to be confused with Pop Atmospheric duo, Silent Skies, these guys are all heavy goodness. If you like bands with bassists that sing, this band is definitely for you. Phil Romeo has one of the greatest voices I have ever heard, effortlessly laying tenor operatic on top of Melodeath speed and epic ballads beyond anything I could have imagined. This band has music that moves; it goes from gloom and doom to heavenly optimistic and heartbreaking. This is a band that deserves an entire symphony behind it (maybe a show at the famous Plovdiv Amphitheater). The music composition is beautiful and flawlessly flowing from orchestration to synth to perfect blast beats. Ross King wails on guitar while executing perfectly dictioned gutturals and soaring screams. Every song builds into something heavier or something immensely melodic and breathtaking.
I may catch some slack from genre sticklers on this one, but I have to include Infected Rain on this list. The Moldovian Nu-Metal band displays a huge range of influences, I have trouble believing they’re among the likes of Korn and Slipknot. This heavy groove based band has a plethora of interesting sounds and progressive nuances. I wouldn’t compare them with any other band on the planet. Lena Scissorhands is one of the most unique vocalists of the past two decades. Her range from cleans to gutturals to harmonic screams. Her fluidity amazes me on every track. Vidick, the sole writer and mastermind, lays down addictive rhythm guitars ranging from Djent to Pantera. It grooves better than anything I’ve heard in twenty years. They’ve been around since 2008, but haven’t hit big time in the USA yet. I could see this band exploding very soon with the tours they’ve been on lately with Butcher Babies and Stitched Up Heart. This band deserves much more credit for quality and innovative Groove Melodeath. Part of me wishes Lena was the new addition to vocaless Fear Factory, but I would hate to see Infected Rain lose her. That’s how immensely good they are. She can scream, guttural growl, sing melodically, rap, and go into operatics occasionally. This band is just staggeringly good.
This doomy brutal Melodeath band from 1998 has been vastly underrated and lost under the radar. I didn’t hear of Kalmah until 2013, after discovering Insomnium live supporting Epica in 2012. Kalmah is a bit slower, more under-stated in its take on Melodeath. It’s not as in your face, but the quality is formidable. Their doomy death metal layered with catchy lead guitars and insane piano melodies sets them apart in the genre. They cover a huge range of emotions and themes throughout every album, but remain solid. Older Kalmah is purer Death Metal with Thrash guitars, atmospheric synth, and chaotic heart pounding blast beats. There’s truly something for every Death Metal fan within the Kalmah catalog. They’re a much heavier version Children of Bodom with Doom layers intertwined throughout. They also show some love for Power Metal with dueling guitar melodies. They’re an unexpected gem, but not surprising being from the most Death Metal country in the world, Finland.
Essential Tracks: For The Revolution, Seventh Swamphony, Blood Rain Cold
If you’re anything like me as a metal head, you’re constantly looking for underground epic bands to discover. I came across Deadtide on Bandcamp in a very saturated list of Death Metal bands. These guys stood out to me, because they offer a more approachable sound to Melodeath. They have the most clean vocals I’ve heard in the genre and some interesting Progressive Metalcore layers. I kno;w I am using a lot of genre jargon to describe sounds, but comparing them to anyone specific is not helpful. Every song i’;ve heard is totally different from the next with Deadtide. They have flavors of In Flames, Dark Tranquility, and Metalcore bands like Born of Osiris and All That Remains. The Ephemeral EP is a stunning sampler of what Deadtide has to offer. Check it out below. We don’t get a lot of quality Melodeath in the USA, so it was a wonderful surprise to discover these guys.
Essential Tracks; The Rabbit Hole, Alteration, Begin the Dream
Power Metallers Seven Kingdoms have just come off of their high on the Unleash The Archers and Aether Realm NA tour. The band have been around since 2007 and have released four highly underrated records. They were signed to Napalm Records, but for some reason they haven’t received much support for a new release. The band mixes 80’s arena rock hooks, Game of Thrones lyrical themes, and modern speedy Power Metal for a truly unique experience. Seeing them in 2021 with UTA was the highlight of my year. I never expected such a high quality band from America that pull out speedy riffs and soaring vocals.
With a new found following and a lack of interest from bloated record companies, the four piece have decided to take matters into their own hands. The married couple, Camden and Sabrina, and brothers, Kevin and Keith launched a Kickstarter to fund the releasing and printing of their fifth studio album “Zenith”. They whetted our appetites with a bombastic cover of Joan Jett’s “I Hate Myself For Loving You”, which is a perfect subject for those ready-to-be-shocked reactor’s on Youtube. The Kickstarter already has $40k in backings and 20 days to go. Check out the project and this crazy fit cheeseburger loving band.
In 2019, it was revealed that Candian Power Metal Band Unleash the Archers were releasing a new EP. “Explorers” was a bombastic two-track EP featuring a totally different sound from the previous release “Apex”. With Awakening and Northwest Passage going almost viral on Youtube Reactors’ channels, it was no doubt this band is continually growing in more ways than one. Apex is arguably one of the best Metal Records of the past decade. The writing of this band and collective creativity seems to progress exponentially with every record. “Apex” was mountains ahead in quality of “Time Stands Still”. Northwest Passage showed immense composure and maturity. For a band with terrible luck in bassists and the tough road of being a vastly underrated opening band, these guys don’t seem to give up. It is no wonder why their ever-growing fan base is salivating at the anticipation of “Abyss”. I know I was.
“Abyss” is a heart-pounding journey from “Apex” through a mysterious path to outer space. It begins with the tame opener Waking Dream, again showing a different side to the band. There’s something more relaxed and comfortable about this entire record, making the slow builder intro Waking Dream a perfect opening to the wormhole. As we descend into the first single Abyss, we hear the effortless blend of Speedy Power Metal, 80’s synthesizers, and effortless soaring vocals from Brittney. This track is one of my top ten tracks of 2020, and maybe even of all time. Its catchiness is addictive in a rhythmic sense, but also lyrically. Power Metal is one of those genres that strives in sing-along choruses, and this album is packed with them. Abyss is a track deep with meaning and is reminiscent of the popular Awakening. I find the parallels between their records so fascinating and seamless. It’s not short of Brittney’s insane high notes and contrasted low Alto-centric epics, melodic guitars, and powerful driving drums from veteran Scott Buchanan. It’s just an absolutely solid track that I could put on repeat and drift into a dream.
Through Stars is a track I never expected from UTA, but one I desperately needed in their catalog. It is one of the slowest and smoothest tracks I have heard from the band. It builds, drives, breaks down and is overall super mellow. There is something about the emotion on this track that just hits me right in the gut. It’s reminiscent of Heart’s harmonies and melodies while keeping a rhythmic Queensryche feel. Brittney nails this song in her lower range and shows of nearly perfect diction. This song is a slow burner, and it’s just a perfect change of pace. The guitar solo enunciates the emotions in this one, a throwback to the 1970s and 1980s melodic guitar playing. I expect nothing less from Andrew and Grant, but this surpasses expectations and floats so smoothly. It’s a staggering contrast from the next track that you just have to hear to believe.
Onto Track Four; Legacy. I have witnessed brilliant tracks from Metal over twenty-seven years of existence. Tracks like Devin Townsend’s Deadhead and Kingdom, Iron Maiden’s Wasted Years, Dream Theater’s Pull Me Under, and many more come to mind that have just blown me away. I find epic masterpieces like this when I least expect it, Legacy is one of those songs that made every hair on my body pretty much rise in applause. The use of arpeggios and sweeps and general notation in this song is shockingly good. Drummer Scott Buchanan truly shines on this track from blast beats to swing beats and masterful fills. This song doesn’t build, it explodes. Dare I say it’s the most epic track of the year. Where it lacks in catchiness, it picks up in immense emotion as they search in the vastness of space for the Shadow Guide. However, upon first listen, this song strikes me as a power ballad in disguise, and god knows there’s nothing wrong with that. This song shows the dynamite of talent coming from every member of this dark horse Power Metal band. Andrew is shockingly fast and accurate on this track with dueling brother Grant. The guitars beat the hell out of anything I’ve heard since Devin Townsend’s “Empath”. As for the vocals, I am a complete vocal nerd, and this song is a requiem of multi-layering of vocals. Brittney mentioned exploring “the Brittney choir”, and you get a taste of it on this perfect song. The mastery of vocal lines and harmonies in Legacy beats any female vocalist of the decade. It is sure to encapsulate every fiber of your senses, sending complete chills through my body upon first listen. The use of notes picked from the arpeggios into a smooth behind-the-beat powerful vocal is one of the most virtuosic talents I have ever heard. I didn’t expect a Prog Metal track with blast beats from them, but it is everything I have ever wished for in a song.
It is hard to follow up such a table-turning bombastic song like Legacy, in my opinion. But, the band continues to awe with Return to Me, aptly named. It returns, ironically to their Extreme days with always amazing multi-harmonic growls from Grant, in contrast with ever-soaring vocals. This track is epic, even by Power Metal standards. The speed of this band is ungodly. It’s a huge departure from the rest of the album in a big way as it lacks synths. It’s just so raw and angry and driving as they face the “Space Matriarch?”. Then, there’s the jaw-dropping single of Soulbound. This track, in my opinion, is unlike anything we’ve heard from this band yet. It is eloquent and so floaty, almost painting a dreamscape with the brilliant vocals alone. The high note, in the shocking harmonic range, just proves Brittney has absolutely no limits with her voice. I have never heard anything like this. It’s just such a powerful Single with some of the catchiest lines from the band. The tightness of this band is always staggering, but Soulbound is a whole new level. Scott’s fills on this song cemented him as one of my top three drummers. This track is just effortless, passionate, and mesmerizing. I cannot get enough of the melodic guitar lines on this one.
Faster Than Light awes with more pounding and driving speed with Dragonforce riffs, the classic opening scream, and composition that proves Malmsteen was always overrated. This song is going to be a favorite of the fans, with a catchy “escapist” chorus, and absolutely epic verses. In typical Unleash the Archers fashion, it breaks down and showcases the neoclassical brilliance of this band. It’s just heart pounding and so solid. The Wind That Shapes the Land signals an ending of the battle between the Brothers and the Matriarch, signaling a victory is imminent. It’s a back and forth battle, a true throwback to the epic thriller General of the Dark Army. Again, the range of this vocalist is just head-shakingly large. The classification of Alto is hardly appropriate. They should make a new class for Slayes. This song uses so many voices and octaves. The changes, the timing, the building into a less catchy but epic chorus is so well composed. The bridge is one of my favorite parts of this record as well, almost a breathing section into insane guitar solos. It’s a song that feels as though it could go on forever, but also ends much too soon. This is one of the most interesting and unique songs I have ever heard.
I am all in for a damn good sing-along, especially in Power Metal, and Carry The Flame, is such an 80’s jam in the best way. It starts out super catchy and slow-building, maybe even modestly holding back. The soothing voice of Brittney is jolted away as Andrew comes in with immense power and tone on the second verse. His vocals are a nice edition, but I desperately hope this is just a single feature track. The harmonizing is brilliant on this track, but I find the live harmonization of Brittney and Andrew to be lacking live. As it should be, she is an impossible act to follow. This is the most fun track on the album, and pretty sentimental, but it’s not my favorite UTA track. I feel like it’s more of a bonus track than a final product number. But, I am sure those who were lucky enough to score the Earbook find out how this song ties into the concept.
The worst part of the album is that it inevitably ends. But, it ends perfectly with the closing track Afterlife. The track begins uncharacteristically with an orchestral suite done by one of Slayes’ favorite composers. It moves beautifully into a typical Archers sing along with epic booming drums. It’s a sad track but also uplifting, knowing that the Immortal is finally put to rest after centuries. I really like this track overall and find it such a soothing Fantastical track, touching on the Fantasy themes so wonderfully. It’s a closing track, but we are still left with so many questions and wondering if this is truly the end of the story. According to the band, it is. But, where will we go next?
There is no ego on this record. There is nothing pretentious or overreaching. It’s just amazing, clean, heavy, balanced, Power Metal with nostalgia. However, to some long time fans and listeners Abyss is a very world spinning change, but it’s a change we needed for one of the worst years this planet has ever seen. The light and positivity as well as the themes of togetherness and joining to conquer something are very appreciated. I feel like this is a Legacy of a record to be passed on from generation to generation. It is a quintessential Power Metal album. It signifies the stamp of uniquity Unleash the Archers has imprinted upon this century of metal. I can’t wait to hear more.
It has been quite a long time since this blog has been updated! It is coming back in full force this week with new reviews and music articles. Until there is more to read, here is my Youtube Compilation channel showcasing the ever growing talent in Metal!
Triosphere, a band that has toured with some of the best Metal bands around, has released a brand new album in 2015. Triosphere is a Norwegian Melodic Heavy Metal band with killer power vocals and excellent low bass lines from Ida Haukland and speedy melodic guitar riffs and solos from Marius “Silver” Bergesen and Tor Ole Byberg. They also enlisted new drummer Kenneth Tarneby from Course of Fate. The band began in 2004 as a trio of musicians, but toured with another guitarist for awhile until making him an official member. All music and lyrics are written by Ida, who has a very unique sound to her voice and bass playing. All these members combined with sublime writing is surprisingly grabbing and catching, pulling you in from the intro immediately. One of the most unique aspects of this band is the guitar work and the gritty but epicly powerful vocals. These aspects sound drastically refined and matured, making their new album “The Heart of the Matter” pretty excellent.
I hadn’t heard this band before their new release and went into the album blindly, not sure what to expect from their listed styles. I didn’t expect a band this amazing or such an addictive mix of sounds that are familiar to Power Metal, but so different from the music I’m used to coming from Norway. The Melodic nuances in Triosphere’s brand of Heavy Metal is unlike anything I’ve heard. The vocals are all over the place with power, technique, and style on “The Heart of the Matter”. There’s so many different vocal styles used from Ida, it is almost like having two different lead singers on nearly every song. The guitars are very mixed bag as well, ranging from speedy technical tapping solos, to shredding, to slow and droning melodic solos. The bass is pretty audible throughout every track and is definitely one of the best aspects to the range of music. I also like how loud the drums are on this album. Normally, loud drums become cheesy and overused, but Triosphere really balances it well. These high quality and remarkable aspects are constant throughout the album and make it very noteworthy in 2015.
Tracks like Steal Away the Light, The Sphere, and The Heart’s Dominion off of the album really stand out because there’s really nothing out there quite like them. Remedy is also a killer melodic track, showing some different styles and breaks in Ida’s voice as well as a different take on guitars. Overall, “The Heart of the Matter” is incredibly solid and really catchy all the way through. There is nothing overused or redundant about the album, which is becoming a limited trait in Heavy Metal these days. As for the power vocals, it is a matter of taste on whether or not you think their cheesy or over dramatic, and I definitely do not have this opinion. The vocals on this album blew me away and I found them spectacular. Triosphere absolutely captivated with this new album and captured everything you could ever want in the melodic side of Metal and Rock.
Overall Album Rating 9/10
Also Check out: Serenity, Nemesea, Kobra and the Lotus, Crucified Barbara, Unleash the Archers
Metal Valkyrie 