This week’s Heavy Music HQ reviews include releases from Bleeding Through, Crazy Lixx, Dawn Of Solace, Decline Of The I, Hangman’s Chair, Kosuke Hashida, Lacuna Coil, Löanshark, Mantar, Moon Fever, Rescüe Cat, Saor, Savage Lands and Scorpion Child.
The ratings are on a 5-star scale.
Bleeding Through – Nine (SharpTone)
Bleeding Through, one of the world’s most prominent metalcore bands, continue their successful journey with their ninth studio album, Nine. Following the footsteps of their 2018 album, Love Will Kill All, Nine repeats its success and their ability to evolve, marked by their bolder and more direct melodic death/extreme metal influences, a sound that has been a part of their career and one that they continue to master.
Despite Nine‘s unconventional and cheesy cover art, it’s the band’s unwavering commitment to their intense musical identity that truly sets them apart. The album’s exploration of diverse metal genres, from deathcore to symphonic metal to industrial metal, showcases Bleeding Through’s impressive versatility. This versatility not only solidifies their position at the forefront of metalcore but also impresses and intrigues listeners. That makes Nine a thrilling experience that keeps Bleeding Through’s flag flying high, even though there are not many groundbreaking fresh ideas in songwriting.
Rating: 3.5
(Arash Khosronejad)
Crazy Lixx – Thrill Of The Bite (Frontiers)
Back in 2021, when reviewing Crazy Lixx’s Street Lethal, their spot-on reproduction of big-hair, big-chorus ‘80s metal seemed endearing and tons of fun. Two albums on, though, and the spandex is wearing thin. On Thrill Of The Bite, expect more of vocalist Danny Rexon’s Joe Elliott-meets-Mike Tramp wail surrounded by slick riffs and layers of Def Leppard-style backing vocals.
The main riff on “Recipe for Revolution” recalls Motley Crue’s “Too Young to Fall In Love,” while the shout-along chorus on “Highway Hurricane” liberally references “Kickstart My Heart.” Though the band cites the aforementioned Crue, Leppard, and other first-tier glamsters as influences, the lack of originality recalls the end-of-an-era class of Firehouse and Steelheart. For all of about 10 seconds, “Run Run Wild” features swampy guitar that recalls Cinderella’s underrated Heartbreak Station. With the amount of talent in this band, it would be interesting to see how they might challenge the listener more.
Rating: 2.5
(Gino Sigismondi)
Dawn Of Solace – Affliction Vortex (Noble Demon)
Affliction Vortez, the latest album from the Finnish band Dawn Of Solace, is a solid attempt at melodic death metal that brings a mainstream vibe to the table. The music is melodic, but versatile, with a grand style that makes for a compelling listen. It has the right catchiness in the choruses to catch your attention. Fans of band like Amon Amarth will appreciate the somewhat epic tone the band takes.
The musicianship is good, with excellent guitar work and a solid foundation of drumming make up this disc. If there is a flaw to be found here it is in how the music lacks some complexity. This is pretty simplistic sounding melodeath and though powerful, could use more innovation. There is still enough solid material to make Affliction Vortex a fun listen.
Rating: 3.5
(Adam McAuley)
Decline Of The I – Wilhelm (Agonia)
The long-running French band Decline Of The I continue their philosophy-inspired post black metal on their fifth album Wilhelm. It’s the second record in a trilogy exploring the Danish philosopher Soren Kierkegaard.
There’s a lot going on with the arrangements on the album, as they delve into black metal, avant-garde, electro and industrial. Opener “L’Alliance Des Rats” sets the bar with a chaotic beginning, mellow middle section and majestic latter part. Those dynamics can be found throughout the album, as black metal riffs are augmented by samples and atmospherics. Decline Of The I close the album with the 13 plus minute “The Renouncer,” which unfolds slowly and at a moderate pace, with the ebbs and flows of the rest of the album. There’s never a dull moment on the unpredictable but engaging Wilhelm.
Rating: 3.5
(Chad Bowar)
Hangman’s Chair – Saddiction (Nuclear Blast)
France’s Hangman’s Chair create an impassioned storm on their seventh album Saddiction, which follows their critically acclaimed Nuclear Blast debut, A Loner. You get a mix of doom, goth and shoegaze all juxtaposed against a swath of emotions right from the opening riffs of “To Know The Night.” You are totally enveloped in the songs, and the bleak “The Worst Is Yet To Come” plays that role admirably; comforting at times but also forward thinking about the existential dread around the corner.
If you could have all of the sounds of Alice In Chains and Paradise Lost come through at once with a little of My Bloody Valentine, that’s what Saddicition sounds like for over 45 minutes. The mood created is incredibly consistent as each song slowly creeps out from behind the last, making for a truly cohesive record. It’s one that will have you buried in this eternal winter of onset depression, making Saddiction more poignant with each subsequent listen.
Rating: 4
(Tom Campagna)
Kosuke Hashida – Outrage (Horror Pain Gore Death)
Outrage is the second album from grindcore musician Kosuke Hashida, coming less than a year after Justifiable Homicide. With such a whirlwind schedule of releases, there isn’t much breaking away from the wild antics that were established on Justifiable Homicide. The cover art features the same decrepit soldier, and the 11 songs are bites of atomic fury clocking in at around 20 minutes.
Opener “Killed ‘Em All” does try something different in its introduction with rising guitar harmonies before an abrupt pause leads back to the trenches. The rest of the album is a blur that needs many plays to become recognizable. Outrage pairs well with Justifiable Homicide as a double feature of antsy grindcore.
Rating: 3
(Dan Marsicano)
Lacuna Coil – Sleepless Empire (Century Media)
Lacuna Coil revisiting 2002’s beloved Comalies album for its 20th anniversary was a deft career move. The reshaped versions of fan favorites proved a mixed bag, but enabled the Italian metallers to celebrate their past without merely being a nostalgia act. A few years on, they issue album number ten, Sleepless Empire, while enjoying greater momentum. The band hasn’t mellowed with age; if anything, their sound has overall become darker and heavier on recent records. But they’ve done so without neglecting the hooks that brought them to the dance (live sing-a-long favorite in waiting “I Wish You Were Dead”), nor the well-honed interplay between Cristina Scabbia’s pristine clean singing and Andrea Ferro’s harsh vocals.
It’s a sound that sits somewhere between goth-metal, alternative, metalcore (“Scarecrow”) and nu-metal (“Gravity”), with Lamb of God’s Randy Blythe injecting his distinctive energy into “Hosting the Shadow.” Meanwhile, the orchestral flourishes throughout offer a cinematic sheen; “Oxygen’s meshing of strings and heavy riffage is a successful marriage, and atmospheric-yet-crushing “Sleep Paralysis” resonates. “In Nomine Patris” boasts tasty use of choirs and symphonic touches, capped off by a memorable guitar solo. It’s encouraging that a group this far into their career isn’t merely phoning it in.
Rating: 3.5
(Brendan Crabb)
Löanshark – No Sins To Confess (Rock Of Angels)
The Spanish band Löanshark formed in 2017, but they would have fit right in during the heyday of ’80s metal. After issuing an EP several years ago, the band emerges with their full-length debut No Sins To Confess.
The songs are heavy and melodic, with Löanshark taking inspiration from a variety of ’80s acts ranging from legends like Priest and Maiden to lesser-known bands such as Malice, Gravestone and Muro. In addition to their original material, the band covers the obscure NWOBHM and Marseille’s song “Open Fire.” While not bringing anything new to the table, Löanshark take listeners on an enjoyable ride back to the glory days of hard rock and metal with No Sins To Confess.
Rating: 3
(Chad Bowar)
Mantar – Post Apocalyptic Depression (Metal Blade)
German duo Mantar deliver a hybrid of sludgy hardcore with a rock n roll vibe. Post Apocalyptic Depression is their fifth album of original material, and since 2016’s Ode To Flame their consistency is nearly unmatched. “Absolute Ghost” is a powerful opener with blasting drums and gargled vocals making for a dark atmosphere that certainly has a “rock first” mentality. The whole record is certainly of the mindset, get in, get out with only two tracks clocking in at over 4 minutes and a crisp 35 minute albumm run time.
“Rex Perverso,” “Morbid Vocation” and “Halsgericht” are some of the other highlights on this record, which exudes the right amount of heaviness but isn’t shy about being as accessible as music like this can be. Mantar are a raucous party at their best. Post Apocalyptic Depression is a jolt of energy, that crushes your problems with lightning-fast riffs, and the chaos that their rock n roll ethos brings.
Rating: 4
(Tom Campagna)
Moon Fever – Forever Sleep (Astro)
Seattle hard rockers Moon Fever released their debut EP Payphone Blues in 2022. It generated some attention and tours with bands like Godsmack and Otherwise. They try to keep the momentum going with their first full-length, Forever Sleep.
While they fit in perfectly on rock radio with a modern style that features big hooks and singalong choruses, they incorporate other influences as well. The swagger of bands like Buckcherry is evident, while grunge and classic rock also make an appearance on the album as well. There’s not a bit of filler on the record, but some of the highlights are the anthemic title track, the heavy “I’m Gone” and the raucous “Scars.” They’re in a crowded genre, but Moon Fever have the talent and the songs to make an impact.
Rating: 3.5
(Chad Bowar)
Rescüe Cat – Flesh & Weapon (Time To Kill)
Formed from a group of friends from the local Italian scene, Rescüe Cat burst onto the stage with their debut album Flesh & Weapon. Short, sweet and to the point, the album comes in quick and brutal and leaves the same.
Despite Flesh & Weapon’s overall short run time, some more time could have been added to some of the songs to beef them up. “My own demise” has a wicked guitar solo toward the end that feels like it cuts off too soon but still delivers on the brutality Rescüe Cat are aiming for. In terms of debuts, Rescüe Cat could benefit from a couple more album releases to hone in on their style.
Rating: 3
(Dalton Husher)
Saor – Amidst The Ruins (Season Of Mist)
Despite being album number six from Saor, Amidst The Ruins still possesses the vitality and candor of the band’s early releases. I say band, but Saor has been a project of Scottish dude Andy Marshall, who plays most of the instruments and writes and composes all the songs. Having said that, this album also contains contributions of various musicians from around Europe. Amidst The Ruins can loosely be categorized as folk metal but has elements of black metal and prog (Saor also uses the epithet Caledonian metal).
The five songs collectively clocking at almost an hour provide a steady stream of emotional experiences. “The Sylvan Embrace” is a foray into psychedelic rock, the title track touches on doom death territory (amongst other things) while “Echoes Of The Ancient Land” is notable for its musical aggression. But whatever musical ideas Saor happen to be exploring, there’s always a strong sense of melody that underpins the music, even in the more aggressive excerpts. Whistles and other wind instruments, cellos and violins only further enrich the music. Amidst The Ruins is well produced, a creative work and boasts superlative songwriting. Saor’s magnum opus? Perhaps.
Rating: 4.5
(Chris Galea)
Savage Lands – Army Of The Trees (Season Of Mist)
Savage Lands was formed by guitarist Sylvain Demercastel and drummer Dirk Verbeuren as a non-profit organization for the reforestation of Costa Rica. Their admirable initiative has the attention of many metal musicians who contribute to the group’s debut album, Army Of The Trees. From Obituary’s John Tardy to Arch Enemy’s Alissa White-Gluz, there are recognizable names all over this album.
The first half of the record is heavy on the guest spots, while the back half has more of the core members. The genre lines are blurred, as melodic death metal, heavy metal, death metal, and black metal are all represented in some form. Savage Lands’ message of environmentalism and nature preservation is reflected in Army Of The Trees.
Rating: 3.5
(Dan Marsicano)
Scorpion Child – I Saw The End As It Passed Right Through Me (Noize In The Attic)
It has been nearly a decade since the last album from Austin, Texas hard rockers Scorpion Child. Original members Aryn Jonathan Black (vocals) and Asa Savage (guitar) are joined by a trio of more recent additions for I Saw The End As It Passed Right Through Me.
There are uptempo, melodic songs like “Actress” and “Outliers” that are contrasted by more moderately paced numbers such as “See The Shine” and “The Starker.” Their brand of hard rock has a classic sound, with bluesy and psychedelic sections adding variety to the proceedings. You can also hear moments of influence of ’80s bands like Sisters Of Mercy and The Cult. The album closes with the acoustic “Hanging Sun.” I Saw The End As It Passed Right Through Me encompasses a broad palette of influences, but Scorpion Child are able to harness them into a cohesive album.
Rating: 3.5
(Chad Bowar)
