There is so much amazing Metal out this week, it might’ve been hard to keep up. Don’t worry, I’ve got you covered with a comprehensive list of new Metal you should probably check out.
Eluveitie is back and with a deep searing passion that needs to be heard. With first single, Aidus, I felt like I was witnessing music history. This new single is no different. It’s aggressive, punchy, multi layered, and intense!
Lorna Shore
Lorna Shore’s highly anticipated full length album is out, and it is setting the Metal community ablaze. It is immensely dark, depressing, and incredibly deep. Who knew Deathcore could be so emotional? Lorna Shore is in a league of their own, and this new record is a testament to that. Pain Remains is out today and here is the bombastic new single to celebrate it. Full review is coming soon.
Epica
Epica’s new collaboration album is a new frontier for the band, and is proving to be just as brilliant as traditional albums. This single lights it up with Symphonic Death Metallers Fleshgod Apocalypse. This song sounds as monolithic as you would expect, The blast beats are superb as well as crystal clear vocals from Simone atop a massive choir. It is a must hear track of the week.
Amaranthe
Swedish Melodic Metal/Synth Pop band Amaranthe are on a new war path this year. I don’t have a lot of details on the new record yet, but I know it’ll be quite different without the presence of the incredible growler Henrik Englund. They said they’re not working on a new album yet, but they’re in the studio? I’m immensely confused by what’s happening with Amaranthe, and unfortunately the new single doesn’t help at all. I love this band and always will, but this is one of the most disappointing singles I’ve heard in a long time. It’s worth a listen to form your own opinion, but I just didn’t feel this one at all.
Borealis
If you like sad boi music and deep soulful tones, Borealis might be what you need in your life right now. These guys came out of nowhere for me and completely shocked me. This is some of the most emotional music I’ve heard in awhile, but also with great musicianship.
Beyond The Black
German Melodic Heavy Metal band BtB are coming back after the bombastic release “Horizons”, with a toned down self titled album with a recurring theme. The new record has themes signaling influences from fandoms like Game of Thrones and Star Wars. I’m anticipating an album of epic nerdom and deeply melodious music.
Ad Infinitum
Symphonic Power Metal Swisses are coming back in 2022 with a new but familiar sound after hit record Monarchy Chapter II. They’re bringing on chapter III with more Metal, more growls, more beats, and more solos. This single took awhile for me to warm up to, because it’s more sing-song and Poppy than I expected, but I grew to love it.
What new music are you listening to? Let me know below!
Danny is a powerhouse with a pretty impressive range used widely over Voyager’s 20+ year career. He uses an eclectic throwback sound to the New Wave days in the 1980’s and layers in Power Metal influences and occasional grunts. It’s an incredibly complex vocal that I don’t think anyone else could replicate. You hear him sing one note and you know it’s him immediately. No matter what style Danny may emulate, Voyager is an absolute party to listen to and a truly happy Metal band with sick riffs and catchy vocals.
Devin Townsend
My favorite singer of all time and one of the most technical on this list. Devin has a four octave range that he utilizes in over twenty styles of music and 25 years of creating. He is a vocal shapeshifter, switching from harmonic screams to tenor vocals in the smoothest transition. It is astounding to watch what he can do with his voice as he goes to the absolute limit in every performance, “Screaming until he tastes blood” doesn’t get any more brutal than that. I will definitely cover this astonishingly beautiful artist throughout my entire career as a Metal writer. He is one of the greatest singers, forget genres, forget tastes and subjectivity, he is supremely talented.
Phil Romeo- Countless Skies
One of the most surprising voices on this list, Phil Romeo is an operatic tenor Power singer and bassist in British Melodeth band Countless Skies. The first time I heard Phil sing was on the track Zephyr, and not knowing anything about this band, I thought it was a Devin Townsend feature. I was astounded to find out that it wasn’t Devin and that it was this unknown bassist laying down one of the most passionate vocal lines I have ever heard.
Tom Englund- Evergrey
I know, Evergrey is a well known Power Metal band with nearly 30 years of experience under their belt, but I have to say that Tom is a hugely underrated vocalist. I don’t see him come up on any vocalist list and I think he’s overlooked. He has such a unique and recognizable smooth tone. It’s almost a bluesy style, but with insane power. Nobody sounds like Tom.
Joseph Michael-Witherfall
I only discovered this incredible Doomy Progressive Metal band last fall and I was utterly bombed by Joseph’s voice. His delivery of vocals in the cover of Foreplay/Long Time by the great Boston is absolutely spectacular and not what I expected in the slightest. Witherfall is one of the most musically talented bands out there today, and Joseph is the frontrunner of the dynamics.
Dan Cleary- Striker
Striker (not to be confused with 80’s Stryper) is a Epic Power Metal band from Alberta, Canada that is known for playing throwback traditional style Metal. They are a nostalgic cheesy Metal band part of a collective touring group NWONMB, that features Lords of The Trident, Unleash the Archers, Seven Kingdoms, and more. Dan has immense power and range that definitely reminds me of Dokken, Queensrhyche, and Whitesnake. It’s just good clean Metal with soaring vocals.
Daniel Helman- Lost Horizon
One of the more unknown names on this list, Dan Helman led the great Lost Horizons from Sweden and created a sound that would go on to influence some of the newest and most powerful singers today. I hadn’t heard of him until Brittney Slayes of Unleash the Archers mentioned LH as an influence. The song below is an absolute vocal masterpiece of shocking proportion.
Joacim Cans- Hammerfall
I can’t talk about male singers without talking about Joacim Cans. I don’t see this fantastic melodious Power singer on any list, and it’s an absolute crime. He is one of the best vocalists I have ever seen live. His control, consistency, and power belts are unreal. Hammerfall has been around for three decades and hasn’t received nearly enough credit.
Damian Wilson- Threshold, Ayreon, and more.
Damian is one of those singers nobody talks about, and yet has one of the most distinctive voices of all time. I was introduced to Damian Wilson on Arjen Lucassen’s Star One and was blown away by his tone. It’s unlike anything I’ve ever heard. He goes from singing soft ballad vocals to high powerful belting. No matter what he’s singing, his vocals are angelic and crystal clear.
Mike Mills- Toehider, Ayreon
Possibly possessing one of the biggest ranges on the list, Mike Mills has been Arjen Lucassen’s go-to singer for fifteen years. The Australian Singer, Guitarist, and Songwriter does vocal gymnastics in any song he’s ever done. He pushes the limit of male vocals, reminiscent of the great Freddie Mercury with his high Soprano operatic vocals and having easily a four octave range. I have honestly never heard another singer like Mike. The song below is just five percent of what this guy can do. I highly recommend checking out his entire discography.
Patrik Selleby- Bloodbound
There’s quite a lot of Power Metal vocalists on this list, not on purpose but by sheer will of talent. The subgenre of Metal just has a knack for using the best, most versatile vocalists. Patrik Selleby has that belting higher range vocal that just captivates crowds. He has so many different techniques he uses. He can do soffty tenor vocals, dipping into baritone. He can scream and wail with precise vibrato reminiscent of 80’s Heavy Metal. He can also use fry vocals to accentuate vowels. I absolutely love his style and Bloodbound’s overall sound.
Isahn- Emperor
Isahn has one of the most piercing and soul haunting screams I’ve ever heard, but his clean vocals are what truly astonished me. I hadn’t heard him sing until the release of the EP “Pharaohs” and I have craved his voice ever since. If you could ever describe a man’s voice as sultry, it would be Isahn’s.
Einar Solberg- Leprous
Out of all the singers on this list, Einar possibly has the most shocking and distinctive voice on the list. This man’s voice is breathtakingly beautiful. I don’t describe male vocals as “beautiful”, but it’s the word that comes to mind. It is light, airy, and angelic upon every note he sings. His range is just massive, reaching into the rafters with soprano operatic and epic falsetto that bring chills and tears alike. It is impossible not to listen to Leprous and not get emotional. Nobody sounds like Einar. He is absolutely sensational. He’s just a brilliant vocalist and songwriter. The song below says more than I can ever say.
Mathias Blad- Falconer
Falconer is a legendary Medieval Folk Power Metal band with quite the cult following. The band tried to hang it up in 2016, but due to a high demand, they keep returning for exclusive performances and one final album. They officially disbanded in 2020 sadly, but Mathias’ legacy lives on.
Kobi Farhi- Orphaned Land
I have always been enchanted by Middle Eastern vocals since Sting’s “Desert Rose”. It’s never been a style I thought “oh, that would work in Metal”, but it absolutely does. Kobi Farhi of the Israeli Heavy Metal band proves the unique technique fits the Western Heavy Metal instrumentation. This singing style, Mizahi or monotonic, requires a lot of control and technique to stay in pitch. His ability to switch into this and keep it perfectly within the music is spectacular. He is truly one of the most talented male singers out there.
Spencer Sotelo- Periphery
I could write an entire article about this vocalist and his range. I didn’t expect to become obsessed with his voice as it is a lot higher than I am usually into. Spencer has insane control over his instrument, able to switch from screams to falsetto to a softer vocal. He also has a nu-metal style fry rap in “Marigold” which is just sublimely executed. He’s effortless in his delivery, as with most singers on this list. His range also frequently rises to harmonics, which is one of the highest sectors in music. He is an unbelievably skilled vocalist and truly doesn’t get enough credit.
Jeff Scott Soto- Sons of Apollo, Yngwie, Trans Siberian Orchestra.
I only see this guy talked about in Prog channels and not more globally honored for some reason. Soto has a unique style that blends 90’s Hard Rock, Power Metal, and Soul aspects into one powerhouse vocal. Sons of Apollo is an American supergroup of some of the most talented musicians of all time. Soto fits this bill and the resounding emotive Heavy Metal style. He brings the melody so smoothly on top of very rhythmic music, which is hard to do. He has a massive range from Baritone to high screams, and I don’t think there’s a limit to it.
Terje Haroy- Pyramaze
Now, I know 99% of Metal listeners have never heard of Terje, making him one of the most unknown on the list, but he is a MUST hear vocalist. The power, the emotion, the clarity, and the grit of this singer is monolithic. He produces so much sound from just one held note. I have no idea how he pushes it to the limit while staying in perfect pitch. His vocals range from deep drones, to power belting, screams, and sounds I cannot even begin to describe. Pyramaze has been around for two decades and has been led by some amazing vocalists, but this guy is on a whole other level. His vocal energy could probably power the entirety of North America. The song below is one of the best vocal performances I have ever heard in my twenty two years of listening to Metal.
Markus Vanhala- Insomnium, Omnium Gatherum
A backing vocalist normally known for his songwriting and guitar playing, doesn’t get much credit as a vocalist. But when Markus’s clean vocals come in, it sets the whole tone for any track. You know it’s going to be a deeply emotional track when Markus sings. His tonal quality and breath control is astounding to me. He can hold notes for two measures without any vibrato or notational deviation. I had to include him because he is just so distinctive and such an underrated musician. After hearing him sing live in person twice, I have been in love with his clean vocals ever since. He could honestly front a band all on his own instead of being in the background.
Yannis Papadopoulos- Beast in Black
One of the craziest voices I’ve ever heard (besides Mark Slaughter) Yannis has what is best described as a Soprano Male Vocal. He is only one of the only males I’ve mistaken as a female, and that definitely makes an interesting reaction. After hearing this guy do operatic soprano, fry vocals, and crazy high screams, I never thought I’d hear him use a more beautiful and emotive vocal. Once you hear Floor Jansen sing “Ghost Love Score”, you may say it is the only version, but I highly recommend Yannis’ beautiful cover of the Power Ballad. He has immense range and one of the highest technical abilities I have ever heard. I think he’s one of those singers that could sing just about anything. So, I really want a covers album from this incredible Norwegian Power Metal band.
Honorable Mentions
JB- Grand Magus
Dino Jelusick- Trans Siberian Orchestra/Whitesnake
PelleK
Andrew Kingsley- Unleash the Archers, Sleeper Ship
Fang VonWrathenstein- Lords of the Trident
Todd La Torre- Queensryche
Tommy Giles- Between the Buried and Me
Rou Reynolds- Enter Shikari
Who did I miss this time? Who are your favorite male vocalists?
Disclaimer: This article is written based on my opinions. It is not meant to be taken as a factual research paper.
August has been a fortuitous month for Metal music. There are so many clips coming from Metal festivals in Europe that keep us Americans daydreaming about Wacken and Hellfest. Here are some of the best new videos out now.
Infected Rain “Fighter” at Wacken
This is a fantastic showing of just how good IF is live.
Epica “Illusive Consensus”
Epica is celebrating its 20th Anniversary in September. They have remastered their very first DVD which was created as a promo for Epica. This is truly a monumental in-studio performance. It is one of the most special sets I have ever watched. They are also celebrating the special occasion with a live stream on this Saturday. You can buy tickets and merch for this special stream at epicastream.com
Soen “Trials” Performance
Soen is an emotive mix of Doom, Progressive, and Orchestra that captivates upon listening. This video comes from their tenth anniversary DVD and includes an orchestra. I’m most interested to see their reimagined version of Slipknot’s “Snuff”. You can preorder the Dvd here https://lnk.to/SoenATLANTIS
The 2022 Return of Queensryche
Queensryche is a classic Progressive Metal band from Bellevue, Washington. The legends seem to evolve in every era, and this track is the height of modern Queensryche. I hated that Geoff Tate left, but this new sound contains everything I loved about the original band. Todd La Torre is everything we could’ve hoped for and has become a quintessential addition to the band. This guy has one of the best voices I’ve ever heard. Digital Noise Alliance is out October 7th
“Pale Tortured Blue” by Draconian at Hellfest 2022
This video is sadly the last performance of Heike Langhans with Draconian, making way for Lisa Johansson to make a surprising return to the band. This is an absolutely classic track for Draconian, being the perfect send-off for one of the most beloved replacement vocalists in Metal history.
While I’m not a fan of this new direction so far, Architects seem to keep evolving and changing their sound and not settling in one genre. It’s sounding much less epic and heavy than the previous album “For Those Who Wish To Exist”. But, I honestly don’t expect a redux of that album. That album is so monumentally good, it’s one that there can’t be a sequel.
“King of Nothing” Threshold
One of my favorite British bands of all time is coming back in 2022. It’s weird not to hear the great Damian Wilson leading the gorgeous vocals. But, Glynn Morgan returning has breathed new life into the band and huge sounds. His range is delectable as well as his guitar playing. I can’t wait to hear what they do with this record. It’s sounding heavy and even more Progressive than past releases. You can pre-order the new album and save it here https://bfan.link/dividing-lines.yde
“Pazuzu” Therion
The original Symphonic Metallers are back with catchy Pazuzu off of Leviathan II out October 28th. This album features the epic Israeli choral group Hellscore led by Noa Gruman of Progressive Metal band Scardust. Therion always stacks the deck, putting the most they can into every release. I am not a huge fan, but I actually really enjoyed this song.
Is There Anybody Out There? Beyond the Black
German Hard Rock band Beyond the Black always brings a powerful and catchy chorus with some absolutely sick riffs. This song is completely different from the other single, Reincarnation, and even more different than the previous album “Horizons”.
“Shadowminds” by The Halo Effect at Wacken
The Melodeth Supergroup has a legendary debut at Wacken, helping celebrate the might festival’s 31st Anniversary. This is their debut single live. The mix leaves little to be desired, but it’s always a pleasure watching Mikael Stanne perform.
What are you currently listening to? Let me know below!
Seven Kingdoms is an independently funded and run Metal band from Deland, Florida that has virtually come out of nowhere. Being a band for fifteen years, this band has fought and conquered its way through some hard times, working day jobs and trying to navigate record deals that seemed to be unfavorable. Napalm Records, a record company I often despise, dropped this brilliant fresh Power Metal band. Only just having been signed to small Distortion Music Group, this band has gained its success through an avid fan group, funding any releases by fan-backed Kickstarters. This has allowed the band to explore and shine through their immense creativity and stunning American Power Metal. Seven Kingdoms is not just a band or a business venture, it’s really a community supporting four great musicians and even better people. This band has worked their fingers and nerves to the very edge through blood, sweat, and tears to put out music that people need to hear; And “Zenith” is the pinnacle of that hard work.
The evolution of Seven Kingdoms, from changing singers and being a Fantasy-based band, to “Zenith” is a staggering advancement. Zenith is a Heavy Metal 80’s fusion record with modern Power Metal synths and dirty riffs and vocals so expertly and powerfully delivered by Sabrina Valentine Cruz. The riffs from Kevin and Camden echo those of Iron Maiden, Dokken, and Unleash The Archers with immense speed. I consider SK to be the more heartfelt and accessible sister of Unleash The Archers. Zenith is an emotional roller coaster, full of emotion and gratitude. They took their hardships and compressed them all into a diamond of a record. “Diamond Handed” is a soaring battle anthem with dreamy synths and vocals, mixed with unbelievable speed. When starting this track, my whole family thought they had Youtube on 2x speed. It’s a perfect jaw-dropping start to this record and is maybe one of my favorite songs of all time. And, it only gets better from there.
“A Silent Remedy” is a perfect mix of old SK sound and the refinement they’ve achieved. The sheer melodic sense of this track is impressive; layers upon layers of technically perfect vocal lines contrast the heaviness. This song has some insanely high notes that you’ve just got to hear to believe. This song has a darker feel to it, and it’s a welcome contrast. It’s interesting and takes time to indulge upon. Oh man, but “Love Dagger” is a highlight of epic throwback 70s/80s sound that I can’t get enough of. This song’s quality, rhythmic sense, vocals, and tone just screams 38 Special to me, which is one of my favorite bands of all time. I love every aspect of this song and could see it hitting the radio. It sounds old, but there’s nothing like Sabrina’s voice in any decade. This song is so accessible and relatable, but so high quality and not derivative radio-friendly trash. “Chasing the Mirage” turns up the speed again with a more Thrash riff and dueling stereo guitar melodies. The range Sabrina shows on this record is a span I rarely hear in modern music. Her lower range ins strength and tonal quality remind me of Noa Gruman from Scardust, who is arguably one of the greatest singers of all time. This track is guitar-heavy compared to the others, letting the two guitarists, Byrd and Cruz, do their thing by killing it. The chugging riff is grabbing and crunchy, gets your attention, and then the song just goes off. It’s so progressive and all over the place. It’s such a different track for them, and I love this new sound.
The band pays homage to their infinitely dedicated fan base by including newly mastered favorites. “Valonqar” is an epic Game of Thrones ballad that has impressively long notes and epic thematics. The melodic dueling guitars pull you in, on top of booming bass, and stunning vocals that float over this melancholy feel. The long notes held by Mrs. Valentine Cruz are seemingly endless and pitch-perfect on record and also live. The power of this vocalist is awe-inspiring. “Empty Eyes” is yet another radio-friendly bombastic riff-heavy track that I admittedly have listened to on repeat for hours. The lead riff is a perfect hook into this Heavy Metal throwback. I cannot get enough of this band’s riff sense. These guitarists are some of the best I’ve heard in a long time, without committing musical masturbation. The drums on this track feel so forward and heavy, like a march into battle or just down the street to kick someone’s ass.
“Magic in the Mist” is a cool melodic power track that throwbacks to SK’s fantasy-based days. It’s dreamy, thematic, complex, and strong. Zenith doesn’t seem to quit with the epic soaring solos and perfectly executed rhythmic drums. It bangs right into the Progressive Metal track “Universal Terrestrial” which defines the spacy theme of the album. This song is staggeringly fast and epic, introducing choirs and a melodic. This is not my favorite SK song but has a lot of good things going for it. The backing vocals and vocal runs on some of the outros feel unrefined, almost like an afterthought, which is not up to par with the quality of the song. I feel like a remaster on the vocals would do wonders for this track. The Water Dance is a throwback track and another fan favorite. This is a very strong track with a great groove to it and more juicy Game of Thrones lore. This song is more Thrash based, reminding me of old Blind Guardian or Man O War in the best of ways. The breakdown is cool on this song with some delicious solo work. Life Signs is another brand new track that is full-on Power Metal. It’s a surprising new sound, building on the evolution of Universal Terrestrial. I enjoy Sabrina’s lower range on the verses. This song is well written and epic, the choirs hint at some Devin Townsend influence as well as the guitar work. It’s one of the more musically diverse songs on the record with a fast chord progression. I feel like they pulled out all the stops on this record with progression and using their diverse range of influences and writing techniques.
“I Hate Myself For Loving You” is a song with a long history. Originally written by Desmond Child and Runaways guitarist Joan Jett, it was released in 1988 and became the biggest anti-love song of all time. It was also rewritten for NFL’s Sunday Night Football anthem and covered by Carrie Underwood. Regardless of this song’s history and prowess, I have always had a strong dislike for this song. The key it’s in plus the original vocals make me want to drill any part of my auditory senses right out of my head. When Seven Kingdoms announced they were covering this song, I cringed. However, upon listening to it the first time, I was hooked. The band refreshed this dirty old track and turned it into a complete jam. I love the cover and find it to be the biggest improvement of a song I’ve ever heard.
The only two issues I have with this album are mix and length. I would’ve liked a double album: The first disc should have all-new tracks focusing on the Zenith extraterrestrial theme and the new SK sound. The second disc could be remasters of old SK fan-favorite songs and maybe a couple live versions. I understand budgeting would limit this greatly and probably why it’s reduced to a single album. I just find it jarring and disjointed, because I expected an overall alien theme, and it was GoT references thrown in with older songs. I understand the purpose of the album is to sate fans’ appetites and put out new music to put themselves on the map in US-born Power Metal, but I find it confusing for the direction it’s supposed to go in. Maybe I’m missing information in promotion packets or missed something in the Kickstarter information, but it’s just a strange album to me as far as wondering what it’s supposed to be. Maybe I misunderstood the purpose of the record because I thought it was some kind of concept album, but I would’ve liked a more succinct record. Each individual track is good on its own, but none of them go together perse.
The other problem I have with the record is in the mix. On streaming and Disc format through studio speakers and headphones, I find the mix to be boomingly bass-heavy. Normally, I love a lot of bass in the mix, but there are some parts in the record where the bass is overpowering. It’s as if someone’s using a super low-frequency bass drop sample and randomly placing them in songs like Diamond Handed and Chasing the Mirage. It’s an odd phenomenon, but not uncommon in modern mixes with compression where inconsistencies like this happen when a 5.1 mix is transferred to CD MP3s. I like dynamics, but I don’t think the weird low bass drops are purposeful. The mix on Universal Terrestrial is not my favorite; It sounds rushed and there are some really high frequencies that I would’ve leveled out, but maybe this only appears on certain formats. These issues are easily looked over, however and I am able to enjoy the record regardless.
Zenith is a hell of a unique record, and I hope it skyrockets Seven Kingdoms in popularity. There’s nothing quite like them in America right now, and I feel lucky to have them in my home country.
Highlights: A Silent Remedy, Love Dagger, Diamond Handed
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:
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.
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.
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
After an almost six year long wait without new Slipknot, they emerge from the darkness with new album .5 The Gray Chapter in 2014. The band was put up to a difficult task, to go on without two original brethren. Paul Gray passed in April of 2010 suddenly and tragically, leaving Slipknot grieving. During this time, the band was in shambles. The eight were determining if they could go on in music without Paul and Slipknot seemed to be doomed at the time. But, they prevailed and continued playing festivals They did a small stint of touring in Europe in 2011 and vocalist Corey Taylor said “If this tour doesn’t work, this band might be over, straight up. And I’m not gonna lie; I’m not the guy that’s going to lie to the fans.” Luckily, Slipknot weren’t without hope as they began writing new songs for a new album just as DVD Antennas to Hell was released. Then, they disbanded with drummer Joey Jordison because of his “lack of commitment to the band”. The band has been through a lot for the past four years, but .5 The Gray Chapter turns the news into a positive bombardment of brilliant new songs.
The new album is a mix of Iowa’s intensity and aggression and Vol. 3: The Subliminal Verses melodic and artistic processes. .5 The Gray Chapter is everything Slipknot has to offer all in one album. The drums are heavier than ever. The guitars are tight, technical, fast, and absolutely shredding. The vocals are raw, melodic, powerful, and chest rattling. The bass is technical and fast, played as a definite tribute to Paul. The album is everything the fans love about Slipknot and so much more.
Each member of the band put everything they had into this album. Whether it’s grief, rage, discontent, or relief, you’re going to hear it on this album. Slipknot have tracked back to their roots to create a brilliantly well written and heavy new album in 2014.
The sixteen track album begins with XIX, a chilling and haunting intro track that brings images of walking down the aisle with a casket in hand. It leads into Sarcastrophe, a song straight out of the hell that Iowa created. This song is brilliantly heavy and fast, keeping the raging sounds that they’ve always had. The dynamics on this song prove that time away brought Slipknot together, combining their best qualities into one album. AOV has a Thrash edge to it with blazingly fast rhythmic guitars and perfectly executed drums. The chorus is full of beautiful and powerful melodic vocals. The bass solo on the bridge sounds like a soulful and skilled tribute to Paul. Then you have The Devil In I, the perfect single for a perfect album. This track really represents the band’s aura in such a darkened way. It is tightly percussed and pocketed with flawless powerful vocals. This is absolutely one of the best tracks ever released by Slipknot. The album continues with the dark and chilling, Killpop, a track very reminiscent of the sound created in Vermillion Part 1. The melody on this track is extremely catchy and is written out of beauty. It drives with passion and quality that I’ve never heard on a Slipknot album. .5 The Gray Chapter might qualify as the best Slipknot album of all time.
Keeping true to the tribute album to late bassist and writer Paul Gray, Slipknot keeps the passion alive in track Skeptic.Skeptic proves to be everything Paul would’ve wanted in another Slipknot album. It is shredding, angry, dark, and as scary as Slipknot ever was. It touches on the subject of loss in such a brilliant way. I almost feel like this track is one to be smiled upon, even by Paul himself. They couldn’t write a more fitting and personal tribute than Skeptic.Lech is an angry and aggressive track, filled with industrial drums and raging guitar solos. The new drummer absolutely shreds on this track in particular. Goodbye is another track to deal with the grievances of Paul Gray and tales how the band came back together for this album. It is such an incredible dark, atmospheric track that could easily be a soundtrack to a horror movie, entailing a glimmer of hope. The guitar work is on Goodbye is absolutely my favorite work Mick and Jim have ever put out. Nomadic is a faster more rhythmic track, definitely pulling a page straight from the chaos of Iowa’s sound, mixed with the melody that Corey Taylor achieves so dynamically. The One That Kills the Least is one of the most melodic tracks on the new album, containing similar sounds to Till We Die. It is one of the least impressive songs from the album, but contains one of the longest guitar solos from Jim Root. It is a true Slipknot album.
The album continues with the last six tracks that contain more haunting melodies, faster tempos, more dark and disturbing atmospheres, and powerful smashing drums. Custer screams and squeals like Eyeless, containing the blazingly fast and raging tempo that we’ve been waiting to hear again from Slipknot. It has a frustrating edge to it that will send fans into a tantrum of anger and release. Be Prepared for Hell is an interlude that screams the brilliance and darkness of Clown (Shawn M. Crahan). It is a disturbing track as any, taking Slipknot back to their horror themed roots. The interlude leads into more disturbing and haunting thrash track, The Negative One, a jam reminiscent of the energy and strength of Duality. The Negative One is powerful and heavy, capturing the heart of Slipknot in a very visual and strong way. If Rain is What You Want has a darker, more ethereal sound than I’ve really heard from Slipknot. It is unlike anything the band has ever put out, in the best way possible. It has a Doom Metal sound to it, unexpected from such an energetic Death Metal band. It adds a new tone to the album, standing out as a gem much like Skeptic does. There is nothing like this track on any Slipknot album.
The last two tracks on .5 The Gray Chapter close the album out perfectly, showing the true epicness of everything Slipknot strives to create. Override let’s each musician shine and shred in their perfect form, proving to be an anthem on the album. The build up to a shouty chorus from Corey Taylor and the contrast of melodic vocals is spectacular. The stripped down style of the verses give you break from the constant onslaught of pounding guitars from JIm and Mick and effects that Chris and Craig provide. Slipknot have really grown and shaped their music to a personal memoir made of sound. This album is definitely the deepest, most meaningful album they’ve created. Paul Gray and the departure of Joey Jordison inspire this album to greatness. The Burden is the send off track of the album, leaving you with a sense that the saga of Slipknot may continue on past this album. It is an unsuspecting ending track, but brings the album to a conclusion of melancholy and pain that Slipknot had to share one last time on .5 The Gray Chapter.
Overall there are a million good things and qualities and layers of this album that make it my favorite Slipknot album. All my favorite things about the band are highlighted insanely well. I think the band wore their lost brethren on their sleeves and took every ounce of pain and anguish, stuffing it all into this cornucopia of brilliant metal tracks. Every instrumental piece is well executed and performed with urgency. All vocals and lyrics on the album are unparalleled to any album released this year. I really think this is the best album Corey Taylor has ever sang on. Slipknot are fighting their way back into the hearts of their fans and into the spotlight. To me, this is the most meaningful album they’ve ever put out and it has overall bettered the band. They sound like they’re at their peak, which is something bands hardly ever achieve in America after losses and drama. Slipknot is America’s best metal band, and I think .5 The Gray Chapter proves it.
Rating 10/10
“It was the rebirth of Slipknot, […] it was like us coming back together, pushing out the vibe that had gotten in there and kinda started pulling people away. But we figured out that you know, we do have to get space you know, we do need to let people be sometimes.”- Paul Gray
Metal Valkyrie 