quarta-feira, 26 de março de 2025

ALBUM REVIEW: Aether – Forlorn






Folk horror is thriving in the 21st century, with even those who usually avoid scary stories showing up for the Wicker Man-indebted Midsommar in their millions. It’s no surprise this renaissance is inspiring a new generation of rockers: Ben Wheatley’s A Field In England has influenced modern riff masters GREEN LUNG, for example, who sing of rituals and pagan gods. Now, FORLORN pay tribute to the elements on Aether, blending the old ways of the world with the metallic intensity of the new.



What’s most surprising is just how far Aether strays from preconceived notions of folk influenced metal. Coming hot on the heels of SPIRITBOX’s Tsunami Sea, both bands could easily trade riffs on a song like Funeral Pyre, FORLORN’s ode to fire. It is groovy and downtuned, sounds that are in vogue rather than eternal. The band lean on this juxtaposition to find their voice, describing themselves as fusing paganism with crushing soundscapes. Folk rock purists might turn their noses up at musicians taking influence from the present, but in doing so, the band find ways of preserving tradition by presenting it in a fresh way. More of the same this ain’t.



For the record’s more contemporary passages, singer Megan Jenkins puts on a ferocious performance. Her screams bring Angela Gossow of ARCH ENEMY fame to mind, infused with the depth and agony so few of her peers were capable of. Jenkins has a monstrous growl, but she’s as comfortable in Aether’s more ethereal moments, when the dense fog clears and her voice acts as an anchor among the maelstrom. She is our guide over the metalcore breakdowns and through gothic choruses.


Just like the elements, the vibe here is changeable. Creatress has a progressive structure, on which thick power chords give way to symphonic black metal style blast beats, fusing unpredictable ingredients that mimic the untameable organic – and the spiritual – world. This is a record that begins with an incantation, ‘praise Hecate of the underworld’, keeping a foot in the mythical even when, say, Keeper Of The Well’s hellishly low riffs sound very 2025.

Fans who have followed FORLORN up till now may be a little disappointed with how little is new on Aether. Of its eight tracks, three are interludes, and four of the others are available on streaming ahead of the record’s release. The Wailing, the most substantial new track here, is a highlight, finding creepiness both in atmospheric dread and in just how horrifying distorted instrumentation can sound. But as it is, Aether could have benefitted from keeping a few more tricks up its sleeve.



Still, Aether is a heck of a debut, and a proper introduction to a band who appear to have found their voice among both folk and metalcore acts in quick fashion. Already, a FORLORN song stands out on any playlist thanks to the way they command everything at their disposal to cast their unique spell. It’s another win for Church Road Records with FORLORN, who on the strength of what’s offered up on Aether, will have so much more to say, and all of it worth hearing.

Rating: 8/10

Ocean Grove: It’s An Oddworld







In November last year, Oddworld, the fourth album from OCEAN GROVE was released for the masses, making 2024 the Aussie band’s 14th year in the scene. We caught up with vocalist Dale Tanner to chat about how the development of the album came about, the importance of returning to one’s roots and the realities of going non-stop in the industry for the last few years.



Oddworld marks a return to OCEAN GROVE’s heavier roots, and has already garnered a strong, positive reception from fans. According to Dale, Oddworld was born from a “foundation” of stability, something that their previous albums, shaped by the global lockdown and “quite heavily affected by the circumstances of the world around us”, had lacked. “…this game in the music industry, a lot of it is about momentum, and it just sucks having to constantly be in a position of clawing back momentum, rather than just being stable and being like ‘okay, here’s an album, like, let’s go’.” The band – consisting of vocalists Luke Holmes and Dale Tanner, guitarist Matt Henley, bassist Twiggy Hunter, and drummer Sam Bassal– have spent the last handful of the year in the studio writing it, but conceptually they have been working towards this sound for almost four-five years. “Finally, to release an album where [continuing momentum] isn’t playing a major factor… is a really nice feeling,” Dale shares, adding that the band was finally able to focus all their energy on creating and delivering the best product possible, taking the best of old and new Ocean Grove.



When discussing the album’s unique sound, Dale highlights that the return to a “heavier, darker record” with “down tuned guitars” was intentional, drawing from the band’s early influences of “nu-metal, early 2000s/late 90s” rock and “taking a departure from how far [they] adventured and explored and experimented outside of that original sound with [their] last two records”. Throughout the album’s creation, the band’s evolution was evident, with Dale emphasising that their years of experience on the road had contributed to refining their sound and live performance.

The concept of Oddworld is an idea that the band had “toyed with back in The Rhapsody Tapes era”, where they had released the Rhapsody Manifesto (still up on their website) outlining the band’s doctrines and what they stand by, etcetera. “At the very end, one of the last lines has got ‘C:╲genre:<odd world music???>’ and that’s sort of the very first time that we had mentioned that, as well as in the lyrics in that album once or twice. [The Oddworld has] been this concept and idea that we have flirted with and included in lyrics and in merch and in music videos and all these things.., even on our last album cover, it was there, you know, smack bang on the album cover.”

With the self-defined world now fully realised on this new album, Dale explains it feels like “…coming home and kind of relaunching again” in that it harmoniously sits above a sound that was with them at the beginning.

Although OCEAN GROVE embraces elements of nu-metal in ODDWORLD, they’ve long avoided “being pigeon holed into any particular genre or world”, even choosing their band name with the intention of “not letting [it] give away too much as to what sort of sound to expect”. Dale admits while they now more comfortably embrace the terminology of nu-metal and things like that for the clarity of festival bookers, they continue to resist being tied down to one scene. “The trouble with putting labels on things is that – whether it’s consciously or subconsciously – you are setting someone up to have an expectation for better or worse, and I think that’s something that we’ve always tried to avoid with our music and with our art and the way we present ourselves. We never like to give too much away, never want to be sort of too obvious with anything, always want to leave someone asking a few questions and wanting to dig a little deeper.”


That attitude rather perfectly enmeshes with the Oddworld universe. “We like being the odd one out”, as often when they get placed on a lineup that seems off-centre, it works to their advantage in appreciating the band’s unique position in the musical landscape and they fully lean into it as a result. This, Dale believes, sets OCEAN GROVE apart from the “homogenised and… quite vanilla” trends in music today.

For OCEAN GROVE, it’s all about presenting an energy that transcends genres, allowing listeners to engage with the music on a deeper level. When discussing their sonic influences, Tanner emphasises OCEAN GROVE‘s commitment to staying true to their roots and “not try and sort of be copycats to the BRING ME THE HORIZON‘s of the world”. Dale reflects on the band’s influences and how they draw inspiration from a range of artists, blending influences from bands like LINKIN PARK, LIMP BIZKIT, and KORN, while still carving out their own path to create a sound that’s uniquely their own. “We’ve always liked to actually stray from what the current trends are in order to stay left of centre,” he says, emphasising that “there might be one song that might sound like LIMP BIZKIT, there’s another that sounds like LINKIN PARK, but as long as there’s that variety, no one can be sort of too hard pressed in terms of being pigeonholed.” This balance between honouring their influences and forging their own path is a defining characteristic of Oddworld.



As OCEAN GROVE prepares to spread the gospel of the Oddworld across the global music scene, their journey seems to be just beginning. With this album, the band has re-forged a distinct identity, and it marks a powerful new chapter, one that is sure to leave a lasting impact on both their fans and the audiences they rock out with.

Oddworld is out now via ODDWORLD Records/SharpTone Records.

Like OCEAN GROVE on Facebook.

Arte Grotesca: The Brutal and Obscure Sound of Brazilian Death Metal









Founded in early 2024, Arte Grotesca is a band that emerges with the goal of exploring the darkest and most intense limits of Death Metal. With a brutal and visceral sound, the band combines sharp riffs, deep guttural vocals, and a solid rhythmic foundation, creating an uncompromising sonic experience. Their lyrics delve into the grotesque and tragic aspects of humanity, offering a raw and intense reflection on the human condition and the abyss of existence. The band's first official release, the single "Grotesque Works of Art", was recorded and released in November 2024. The track immediately drew attention for its fury and complexity, reflecting the fusion between the tradition of classic Death Metal and a quest for new frontiers within the genre. The reception was warm, establishing Arte Grotesca as a promising name in the underground metal scene. In December 2024, the band took another important step by completing the recordings of their first EP, "The Grotesque Gift of Human Games". The EP's release, on February 20, 2025, was met with positive reviews from both national and international zines and webzines. The EP showcased a significant sonic evolution, reinforcing the band's proposal to unite technique, brutality, and innovation. In 2024, Arte Grotesca had the honor of opening for the renowned Norwegian band Blood Red Throne in Rio de Janeiro, marking an important milestone in their journey and reflecting the growing recognition within the Death Metal scene. This event also marked the entrance of Igor Stuart as the band's new vocalist, bringing a new dimension to their live and studio performances. With a growing fanbase and positive recognition from specialized critics, Arte Grotesca is beginning to establish itself as one of the most promising new forces in Brazilian Death Metal.











































Line Up : Igor Stuart (vocals) | Márcio Williams (guitar) | Wagner Carvalho (bass) Oman Oado (drums) Links & Contatos: Email: wagner.karvalho@gmail.com Bandcamp: https://artegrotesca.bandcamp.com/ Instagram: https://www.instagram.com/arte_grotesca/ Facebook: https://www.facebook.com/arsmagnabr Spotify: https://open.spotify.com/intl-pt/artist/2Q6kPph0HuyVqoPVmX3pk9 YouTube: https://www.youtube.com/@ArteGrotesca-r

terça-feira, 25 de março de 2025

ERIK GRÖNWALL Releases Eriksplanations Vol. 2 Covers Album Featuring JUDAS PRIEST, HELLOWEEN, WHITESNAKE, JOURNEY Classics And More










HARD ROCK, HEAVY METAL, NEWS
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Former Skid Row frontman, Erik Grönwall, has released his second covers album, Eriksplanations Vol. 2, via Spotify. It features cover songs he has uploaded to his official YouTube channel over the past two years.

Eriksplanations Vol. 1 was released in 2023.



Tracklist:


“Painkiller” (Judas Priest)
“Kickstart My Heart” (Mötley Crüe)
“Girls Got Rhythm” (AC/DC)
“Livin’ On A Prayer” (Bon Jovi)
“Faithfully” (Journey)
“Still Of The Night” (Whitesnake)
“Eagle Fly Free” (Helloween – featuring Kai and Tim Hansen)
“Neon Knights” (Black Sabbath)
“Alone” (Heart)
“Without You” (Mariah Carey)

“Painkiller”




“Girl’s Got Rhythm”

ONATA ARCTICA Wrap Up Nordic Power Metal Titans 2025 Tour In Helsinki;










Sonata Arctica and Stratovarius teamed up for a very unique Finnish tour through February and March. The Nordic Power Metal Titans 2025 tour kicked off on Valentine’s Day, February 14 in Kajaani and wrapped up at Kulttuuritalo in Helsinki on March 8.

Front row fan-filmed video of the entire Helsinki show courtesy of Kremer Records Concerts can be viewed below.

Setlist:

“First In Line”
“Dark Empath”
“Flag In The Ground”
“I Have A Right”
“Angel Defiled”
“Tallulah”
“The Last Amazing Grays”
“San Sebastian”
“My Land”
“FullMoon”
“Wolf & Raven”
“Don’t Say A Word”
“Vodka”

Lacuna Coil: Movings In Metal






LACUNA COIL, are a world-class band with a discography spanning almost three decades. Distorted Sound caught up with Andrea Ferro to chat about the changes he’s seen within the scene, Grammy nominees and of course, their upcoming album, Sleepless Empire.



It cannot be denied that seasoned gig-goers have noticed a shift in concert etiquette. Particularly since live music returned post-pandemic. It’s hard to say whether the lockdowns are completely to blame. In the last four years, the ‘importance’ of social media and camera quality on phones has skyrocketed. People are dying to capture live moments in 4k to share with their friends, family and most importantly, followers. Perhaps this is just the natural trajectory of things, with or without lockdown’s influence. It’s one thing to experience these changes from the crowd, but hearing what it’s like from a band’s point of view adds a different perspective. Turns out it’s not all bad. There’s also been an increase in age diversity and higher energy coming from the crowd!



LACUNA COIL vocalist Andrea Ferro highlights. “We see more circle pits and crowd surfing at shows now!” Since live shows resumed “There is also an older generation that has been coming on board after the pandemic. Maybe they’re 60, 65, or even 70. These people weren’t coming to the show before. But they’ve started to listen to Spotify or Amazon music.” There is a valid discourse around the negatives of streaming and how we as a society are conjoint to smartphones. However, to hear there is also a livelier energy at shows is a refreshing new take. It is also encouraging to learn how a band with such a long-standing career can reach older generations through the power of an algorithm. “It’s absolutely great. People can enjoy music without the problem of their age”. It’s not just those raised in the digital age who are reaping its benefits.

In today’s world, these algorithms are often how people find music in the alternative scene. Sometimes it’s an older sibling or family member who passes on the good word but it’s hard to stumble across a heavy metal song by accident. Ferro reminisces on when LACUNA COIL graced the same stage as KNOCKED LOOSE and POPPY did on Jimmy Kimmel back in 2006. “I think it’s really needed that metal or alternative music scratches the surface of the mainstream. It doesn’t have to be there all the time. It’s important to keep the scene alive, to get the attention of the new kids. You need to expose bands to the public. I think it’s great that we get some exposure like that for our genre and our community.”

2024 was quite a year for metal scratching the surface of mainstream media. As well as the killer performance from KNOCKED LOOSE, GOJIRA performed with alternative opera singer Marina Viotti at the Olympics. “I think that the most special thing has been from GOJIRA. The fact that they got to open the Olympics is just such a big thing for metal music.” GOJIRA‘s performance at the Olympics demonstrates the complexities of metal music that can be overlooked. The inclusion of an operatic voice paired with the theatrics made it a spectacle for the ages! Both of these performances are nominees for Best Metal Performance at the Grammys, as well as SPIRITBOX. It is such a special moment that two performances occurred on such an impactful stage but also having three out of the five nominees have women in these metal nominations.


The metal music scene can be a bit of a boy’s club. Although it still is to an extent, seeing the genuine talents of women’s voices in metal get recognition on world stages is always wonderful to see. LACUNA COIL are no strangers, of course, to the value female vocals can bring to the metal genre. For Ferro, his prediction for who will take the Grammy is split between two nominees. “I think that GOJIRA is so big that it’s hard to match, you know because it’s such a unique event that if it’s going to be celebrated with the Grammy, I can’t say it wasn’t deserved. I also think if Courtney (SPIRITBOX vocalist) is gonna win it, it’s great; I think they’re a very interesting band, very fresh, they deserve it.”

LACUNA COIL has their first studio album in five years coming out this February. Sleepless Empire has some top-tier features on board, like Ash Costello from NEW YEARS DAY and Randy Blythe from LAMB OF GOD. The album takes a look at life in a post-pandemic world and how many things have changed, for better and for worse. “There’s been a lot of helping people so they don’t feel alone. A lot of trying to stay united even when there is distance. But on the other hand, there’s been a lot of confusion and separation.” It also looks at the impact of this digital age and the attachment to our screens in search of any form of connection. “We were locked in our houses and we became algorithms in a way. We’re influenced heavily by the digital world.”



Randy Blythe from LAMB OF GOD features on the track Hosting The Shadows. Ferro mentions how naturally this collaboration came about. Knowing each other for over twenty years, he refers to it as “a long-term friendship that is beyond music”. It is a melancholic number, where the listener follows a journey of getting to know one’s own shadow in the battle of light vs dark. The track is full of raw emotion, with the beautifully contrasting vocals of Blythe and Cristina Scabbia to propel it.

The second feature comes from Ash Costello, vocalist of NEW YEARS DAY. “We wanted somebody powerful, somebody with a little bit of a raspy voice, not so clean and not so operatic.” They knew Costello was the perfect candidate for the track In The Mean Time. It is a play on the term ‘meantime’, taking a look at the meanness that floods today’s society. Being one of the harder and heavier songs on the album, it feels like a cathartic therapy session. There’s also a bewitching vulnerability to it, convincing listeners of its message: be defiant, stay true to who you are.

The album is available in the usual formats, such as varying collectable Vinyls and CDs. However, again LACUNA COIL are offering something a bit special for avid fans. This time, in the form of an oracle dice game. The alchemic symbols on the dice match with an oracle table and artwork on the album. “When you throw the two dice, you can combine the two symbols with two phrases. And it’s sort of like an oracle. I think it’s a cool idea to combine the music with the graphics and the theme of the record.” It seems collectable additions to music releases have become more common in recent years. Streaming and digital are the most popular formats of music consumption, but there is still a craving for tangible aspects of music.

The music industry is, in some ways, an ever-changing, ever-evolving creature. Shifting from CDs to downloads and single sales to streams all seemed formidable during the transition. From the chat with Andrea Ferro, looking at the changes that are happening in the scene, it’s not all bad. Not only does there seem to be a future for alternative music, but it’s also a bright one.



Sleepless Empire is out now via Century Media Records. View this interview, alongside dozens of other killer bands, in glorious print magazine fashion in DS117 here:

£3.00 – Buy DS117!

For more information on LACUNA COIL like their official page on Facebook.

sábado, 22 de março de 2025

HIRAX – Faster Than Death







(Armageddon Label)
Rating: 9.0

All it took was a minute and five seconds and a “Drill Into the Brain” to know what was to come. Cali crossover thrash legends sixth album Faster Than Death sure is that, but I think you already knew that. Lone original member Katon W. De Pena (the voice) is joined by Neil Metcalf handling lead & rhythm guitar & bass guitar (also credited for the music), and Danny Walker on drums in the studio. Emilio Marquez (drums), bassist Jose Gonzalez and Allan Chan on guitar for the live shows.

Produced/mixed/mastered by Max Norman; (Grim Reaper, Loudness, Savatage) it is the best sounding Hirax album to date. Well-balanced, crunchy riffs, tight rhythm section, big crisp drums and clear vocals.

After the drill into the brain, Hirax brings three minutes of “Armagedón” and “Drowned Bodies” at 2:44, three songs in, it’s a barn burner. Plus a tasty solo, rhythm change in each. Title track a punchy mid-tempo headbanger, or is it? Love the double-up leads. “Psychiatric Ward” might be my favorite riff on the album and it’s so retro ‘80s in this mid pace crossover groove, then switching into high gears, back to the skater pacing.

More well-placed leads guitars during “Relentless” and “the politicians are power hungry, the corporations are filthy rich”, Katon using a little of his singing voice. “Revenant” opening dramatic guitar melody fades in, De Pena again singing. “Warlord’s Command” (re-recorded from the 1985 album Raging Violence) gets a new coat of paint.


“World’s End” maintains the album’s aggression closing out nine songs at 20 minutes that are unrelenting, not without attention to good construction, moments of melody. Everything you want from Hirax. Great album and single artwork too.