Sublind – The Cenosillicaphobic Sessions

I’ve said it before, and I’ll say it again: most Luxembourgish bands take way too much time between albums! It’s been nine whole years since Sublind‘s debut album came out and they’ve played a ton of shows and have grown as musicians and songwriters alike, which is the other, positive, side of the long wait: it usually allows bands here to develop and mature their sound before releasing new music. Such is the case with today’s beer-loving quintet, who are about to release their sophomore with one of the catchiest names in metal history: The Cenosillicaphobic Sessions. Rolls right off the tongue, eh? Now try saying it five times in a row. Let’s dive in, uh!

Over the course of the past almost-decade the band has gone through several line-up changes where everyone brought their own flavor and expertise to the mix, which has resulted in what I would call a solidified version of the sound you know from Thrashing Delirium. Thrash metal is still the main course being served, but there are some elements from other genres that make guest appearances every now and then. One of the stand-outs in that regard is a track that has a sludge vibe to it, which goes down a route that you definitely haven’t heard or expected Sublind in…and succeeds effortlessly.

Among the eleven tracks there are some songs that long-time fans and concert-goers know from the past, but they appear in a new shine here, especially the band’s best drinking anthem, other than the iconic Humpeknupper of course, Highspeed Hangover hits harder than ever and despite having listened to it countless times five years ago while working on the lyric video, it manages to still get me pumped in this new version. You also get (re-)recorded versions of the, dare I say, oldies Bommeleeër and Cenosillicaphobia, which all sound great in their new coat of aural paint.

In my opinion however, the firm core of TCS is the trilogy of songs that starts with False Existence and tells a condensed version of the story of Dante’s Inferno. Not only is it among the heaviest material the band has put out, but it also has compelling songwriting that flows well with the narrative. The two other new songs are just as solid neckbreakers, with the first single, For Those About To Riot, being another song with earworm potential. Last but not least, the opener and closer are what I would call joke songs…but they work great to get you pumped on your first listen and to re-listen for the umpteenth time respectively.

Vocally, the contrast is fairly stark when comparing the performance from ten years ago to today, because the amount of snotty screams is just perfect. The pressure that these forty-two minutes manage to convey is really remarkable…but I do have to mention that there is a slight dip in that at one point, however. And it annoys me to have to say it, because it’s at the same time one of the cooler aspects of the album but also one of the weaker ones: the guys managed to get a guest appearance by none other than Tankard‘s singer Gerre on the eponymous track and while it is quite a privilege, it takes away from the power of the song, since the two vocalists have such a different singing style. Then again, I never really got into Tankard, so maybe it’s just not for me.

This minor detail luckily doesn’t take away anything for me, and it definitely makes The Cenosillicaphobic Sessions my new bar to clear (no pun intended) when it comes to (not only) local thrash metal. Sublind will unleash their new album for public consumption on March 24th with a release show at KuFa the following day, so mark your calendars and prepare your liver. In the meantime, check out the band’s Facebook page and the hilarious music video below. Beers!

Hexeen – Hexeentanz

In Hollywood, there’s this old tradition that film studios dump their worst movies in January, because nobody will really notice them anyways. This approach has also been applied in other forms of media, but it seems that the Luxembourgish metal scene doesn’t apply it to their release philosophy, because I can’t really think of a bad January release. With today’s candidate being no exception. Hexeen is a fairly mysterious new band that chooses to remain anonymous and despite doing some detective work I haven’t really gotten any further than identifying one member. Either way, their debut EP Hexeentanz was released a few days ago and I want to tell you a bit about it!

The quintet plays black metal that I would put into the more modern part of the genre, without it being avant-garde or symphonic black metal, but there is enough grit to the sound that it never feels artificial at all. When I first listened to the five songs, the opener stood out to me immediately, especially when the first chorus ended with the lyrics “nothingness is my God!”, I had to smile…both because it was totally cliché, but also because it was so well executed. Coupled with the really, dare I say, catchy main riff, I knew I was in for a good time.

Something that I don’t remember being on a Luxembourgish black metal record in the recent-ish past is a synthesizer that rounds off the few tracks that it’s on quite nicely, and manages to never be obtrusive, especially at the end of the second song. The third song on the other hand delivers a true drumming stampede with blast beats and double bass barrages to satisfy every headbanger, whereas on the other songs they’re a bit, really just a bit, calmer and with a bit more groove.

The instrumentals are overlaid by a terrific performance by the vocalist, who goes all out on all the songs but most noticeably on the closer where you can practically cut the despair with a knife.

At just under thirty minutes, the EP is perfect for a daily commute and it will put you in the right mood for these cold and wet weeks ahead of us. So be sure to check out Hexeentanz on Bandcamp and if you want to be among fellow black metal lovers, head to Rocas this Saturday where Hexeen will host a listening session along with a live concert by Inzest and Dreadnought!

Top 10 2022 by Yannick

Another trip around the sun and I am happy to say that for the majority of us things have returned to somewhat of a normal situation, at least in comparison to last year. I always check my post from the previous year when I write these and I’m relieved that my prediction that the vast majority of delayed shows and festivals have been finally played! I sure went to quite a few of them myself and even got myself to a four day festival which is something I haven’t done in almost eighteen years, but more on that a bit later. I also chose to change things up a bit this year: I did pick my usual ten albums but for some of them I want to list a runner-up, so to speak, because they’re either similar in genre or share a similar personal backstory.

#10 Moxy The Band – Dream Feeling

The band has formed around the ex-guitarist of A Lot Like Birds but chooses a very different genre to express itself. Away with the angsty post-hardcore, welcome to 80s-inspired pop! It certainly isn’t for everyone, but I’ve spent quite a fair share of hours with this record and I enjoyed every minute of it.

The runner-up is the sophomore record of Beabadoobee, who I discovered this year, called Beatopia. Very dreamy pop music and coming to Luxembourg next year!

#9 Ibaraki – Rashomon

When Trivium‘s Matt Heafy announced a black metal project I was intrigued, to say the least. And while the first single didn’t quite blow me away, I gave the record a thorough listen and fell in love almost instantly! But don’t expect truly frost-britten, grim, Norwegian black metal…it’s much more symphonic and also features some clean vocals. Also, a feature by Gerard Way of My Chemical Romance, doing…black metal vocals? Check the song Rōnin and guess when he’s singing, I dare you!

#8 Shadow Of Intent – Elegy

In last year’s top ten I praised a band for their most recent EP and I was anxiously awaiting their first full-length with the new vocalist. I even got to see them live this year and the entire metal media is going crazy about them, which makes me really happy because they certainly deserve it. But Lorna Shore‘s Pain Remains is only my runner-up.

In a very similar genre, I felt that Shadow Of Intent‘s newest record, Elegy, is the better end product. So be sure to check it out if you’re into melodic deathcore!

#7 Lost Society – If The Sky Came Down

I mentioned in the intro that I went to a festival after a lot of years of abstinence and the entire experience was fantastic! Wacken 2022 was a blast and it also introduced me to quite a few bands that I probably wouldn’t have checked out if I hadn’t seen them live. One such band is the charismatic Finnish quartet Lost Society, which has already released four records prior to me even hearing about them…but their newest one, If The Sky Came Down, has all the elements I am looking for in, dare I say, nu metal.

At the same festival, I also got to see one of the first shows of The Halo Effect, which is a superband of former In Flames members, who I actually never really got into, and their debut record Days Of The Lost is finest melodic death metal. Which makes them my runner-up!

#6 The Devil Wears Prada – Color Decay

I think I’ve been into TDWP for over a decade now and usually their albums take me a while to get into, because they tend to change their style a bit. But with Color Decay, it was like coming home to an old friend. While it does have more slower tunes than on previous records, it gives birth to some of the best (power) ballads the band, or dare I say the genre, has produced.

My runner-up is Motionless In White‘s Scoring The End Of The World, a band that I have a very similar history with, but which never really disappoints either, with their newest album being arguably the band’s strongest one in a while.

#5 Lights – PEP

This one needs no explanation, really. I just love Lights. One of the best pop artists in the game, hands down.

#4 Royal Coda – To Only A Few At First

Honestly, from here on out, most will not surprise you if you’ve been following my reviews, or top ten, for a while. Usually at least one thing that Kurt Travis touches lands in my best of and this year is no expection. Royal Coda‘s third album follows in the vein of its predecessor and delivers finest post-hardcore, as per usual. Personally, I got some definite At The Drive-In vibes here.

#3 SZA – SOS

This one might surprise some people, but SZA‘s debut album CTRL has been in my playlist frequently ever since I discovered it in early 2018 and I was very excited to see what she had been cooking up over the past five years. The first singles released as early as 2020, gave me quite a bit of hope and while SOS does not quite surpass its predecessor for me personally…I think it’s a very strong R&B record that isn’t afraid of exploring different sounds.

#2 Dance Gavin Dance – Jackpot Juicer

My two favorite bands released new albums this year and I loved both for very different reasons. But I think that DGD‘s tenth full-length (in fifteen years) the one I prefer, because it sticks to the formula that has proven effective and does so at the most distilled level. I can’t wait what the future holds.

The runner-up is, of course, Slipknot‘s The End So Far which is so experimental that at times it felt like I was listening to a different band, but for me personally it worked! Especially after having seen the guys at Wacken this year, I was quite pumped for the record to arrive and I applaud the Nine for changing the formular this much, this late in their career.


Emberthrone – Godless Wonder

Drogher – The Last Wave

Spiritbox – Rotoscope

Betraying The Martyrs – Silver Lining

Emberthrone are a rather unknown technical death metal/deathcore band from the US, but their debut EP does not have to hide behind the big names, at all.

The local flavor in my top ten comes from Drogher, who I’m very eager to see again because both times I saw them I had an absolute blast! More thoughts, if you want, can be found in my full review.

At only three songs, Rotoscope barely qualifies as an EP, but Spiritbox delivers bangers as expected.

Last but not least, Betraying The Martyrs got a new singer a while ago and I must say, as much as I adored the previous one, that it definitely revitalized them in the best way possible. A very strong EP that makes me impatient for more!

#1 Slomosa – Slomosa

By now you know that I sometimes like to do some out-of-the-box things for my top pick, and this year it’s even a bit more strange, because my record of the year was released two years ago, in 2020. However, there is, hands down, no record that brought me as much joy as Slomosa‘s debut album! I discovered them at this year’s Desertfest Antwerpen in mid-October and I must have listened to it around two-hundred times since then! Finest stoner rock from Norway, out of all the places in the world! Get on it!

I think it’s safe to say that we can look forward to a lot of cool moments in music next year, be it on stage or in recorded form, but if I had to pick a few it would be the Pantera tribute shows, a new Pierce The Veil album, a new Emarosa record and so many other cool shows that I can’t wait to experience. So, be sure to enjoy the rest of this year and I wish you all a splendid next one!

Scarred – p A t i E n C e

Quick headsup: today’s post isn’t going to be a review per se, because the new EP by Scarred is not really something you -can- review, and it’s also not going to be very long. But I had the chance to listen to pAtiEnCe for a whole week ahead of its release and I’d like to just share my quick thoughts with you.

The only thing I can tell you for certain is that you will either really enjoy the journey during this half hour or you will turn it off before even reaching the end of it. I don’t see anything in between.

The four songs’ theme and lyrical content are centered around a very special experience that will either work for you or not, that’s really it.

Personally, I like the result quite a bit, but I don’t think I’m ready to accept this as the main direction of the band…at least not yet.

But enough pointless words, just head to the band’s Bandcamp and give the EP a listen and make up your own mind. And be sure to check out the video down below if you want some visual representation of it.

Blanket Hill – The Courage Of Hopelessness

You know, I write these reviews just because I like supporting the local scene and because I enjoy writing down my thoughts in order to maybe get one person interested in the band I chose. Obviously, I am well aware that my reach isn’t huge and not many people in general read reviews anymore, with streaming being the norm…but every now and then I write one and I feel like the band has actually taken the critique seriously and improved in that domain, and, dare I say, I feel like today is one such example! Of course, I could just be talking out of my ass, which wouldn’t be a first, but the new Blanket Hill album fixed the one thing I disliked about its predecessor and improves on so many other levels. Continue reading if you want to get my impressions of The Courage Of Hopelessness!

I should preface this by mentioning that while the quintet remains true to its hardcore roots, there has been a line-up change in the guitar and drum department, which can definitely be felt. Since Scott and Miguel from Fusion Bomb bring a much more thrash-orientated sound to the table, which, at least for my own personal taste, makes this even more enjoyable. There are quite a few guitar parts that just catch your attention the first time you hear them and then take you on a headbanging ride.

Of course riffs aren’t the only thing you need, but don’t worry: the songwriting is also there to back them up. On my first listen there were quite a few surprises and even a few moments where I don’t exactly understand what the band was going for, but I also appreciate the diversity at the same time. The best example is the interlude Abu No Hana which is a two minute and a half drum and bass track without any vocals and no real connection to the other eleven songs. I don’t think the final product would have suffered without it, but I can safely say that I’ve never seen a hardcore album with something similar…so, unironically, kudos for innovation.

The other creative leap is a hardcore duet, dare I say ballad…which almost sounded perverse when I first heard about it, but the result is a wonderfully fresh song that features the powerful pipes of Parity‘s Sandra and also showcases the major improvement: the lead vocals! While I found them a bit too dull and monotonous previously, there is such a wide variety now that it’s almost hard to imagine it’s the same person. While there still is the Sprechgesang, it is now complimented by much more melodic singing and a much more dynamic speech cadence.

Also noteworthy is the pretty incredible production value of these forty-four minutes, where every note is crisp and even the bass is audible.

To sum things up, The Courage Of Hopelessness is a very strong sophomore record and I am already looking forward to what the future holds for Blanket Hill. But please, don’t let it be another video of the band lip-syncing in public places…much love, you guys. The album is being released this Friday, October 21st, at Schungfabrik where the band is hosting a release show, so head over to their Facebook page to get more info on that and make sure to list to the song below.

Cosmogon – Penumbra

Today’s review is a perfect example of how time flies when you’re having fun, because I’m having a hard time comprehending that it’s been more than TEN years since I saw Cosmogon play their first show at Kulturfabrik. It’s even wilder to think that today I’m writing about their first full-length, Penumbra, which is going to be released this Saturday, October 8th. As I said…fun and time, one hell of a combination.

I must admit: I mislead you a little here. While it is the band’s first album, it’s not their first release, since in 2014 we got the very powerful EP Chaos Magnum, followed by the second EP Devolution three years later. So let me address the connoisseurs first: this is still Cosmogon as you know and love them, but I feel like these eight songs are the logical evolution in the band’s sound.

I’d wager that it’s in part due to the fact that the guys went back to being a quartet after being a quintet for quite some time, since there is a palpable back to basics approach while still incorporating new ideas. It is needless to say that the groove is still strong but this time around there are quite a few Swedish death metal elements, most noticeably in the riffing and guitar tone.

The songs also seem much more bass-driven than before with several moments where the big boy strings really shine and steal the show. The bass is also very clearly audible almost all throughout the forty-three minutes, which I absolutely adore but it might be too much for some.

If there is one person in the Luxembourgish scene where I feel like I’m being repetitive, it is clearly the man on the throne, beater of the skins, destroyer of cymbals, first of his name, the man who needs no introduction, but just to be complete: shit’s tight as always. There is sort of a stand-out moment for me personally where I’m not entirely sure if it’s the first time that he does this, but on the song Temper there is a very tribal-sounding interlude where bongos are being played and it just elevates the entire song to the next level.

Last, but certainly not least, is the man behind the mic who still belts out a phenomenal performance despite screaming for almost a quarter of a century. There is even a little extra special surprise on the song Serpents Among Us, but I won’t spoil it. All I can say is that when I first heard it, my first reaction was ‘is that really him?’.

All in all, there is no doubt for me that Penumbra absolutely eclipses (been waiting a long time for that pun) the previous two releases and while it won’t win any awards for being the most diverse album of the year, it does what it has set out to do very well; and that is to rip its listener a new one. If you want to follow the band on social media, head over to their Facebook page, but most of all make sure to move your butt to Kulturfabrik this Saturday to experience the guys tear down the venue…not literally, I think.

Drogher – The Last Wave

I believe that I’ve mentioned it in the past, but I absolutely love being part of the Luxembourgish metal scene! Throughout the ten years that I’ve been writing reviews on here I’ve met a lot of new people which I became friends with and with friendship often come, shall we say, benefits. Today’s band is the result of one such benefit, in the form of a scoop that I was told around, maybe, two years ago, back when concerts were still rare and meeting friends in person was a treasured event.

I remember being very curious and to my own surprise I actually managed to not be nosy when I learned who was part of the band. So it was a nice surprise when not that long ago the project’s name was revealed to the world: Drogher! The quartet’s first release is going to see the light of day in just three short days in the form of the EP The Last Wave and I’m very glad to say that I’ve taking this baby for quite a lot of spins these past few days, so let me tease you guys a bit with a short review.

First off: while the band chooses to remain anonymous for now, it can be said that none of the members are newcomers and that can be felt from the second you push play to the moment you push play again because you want to re-listen to the three songs.

Musically, Drogher combines a multitude of elements from several genres into a very homogeneous blend. I’m fairly confident in saying that even those annoying metal purists will find at least one aspect during these fifteen minutes, but everyone else can expect a fantastic mix of modern death metal with hints of black metal and a healthy dose of groove.

One thing that I just need to mention is that I’m especially glad to hear a local veteran on the mic again, because he’s definitely back with a vengeance. Bringing his new and improved A-game to the tracks, with the closing track absolutely taking the cake.

If I managed to hype you up, please make sure to head to your digital dealer of choice this coming Monday to listen to The Last Wave and in the meantime, head over to the band’s Facebook page to keep up with them. Last but not least, Drogher will play their first show on September 17th at the Metalfestival which takes place in Strassen this year!

Top 10 2021 by Yannick

Who would have thought that this situation would last yet another year? I remember back in March 2020 I was part of the optimists who thought we’d be back to normal in two weeks. Looking back now, I don’t know what I was thinking because the amount of stupidity that I’ve witnessed since then, when it comes to small and simple tasks like wearing a mask, has me convinced that my introduction to this same post in a year will not be much different. On the bright side, however, 2021 has been without a doubt the best musical year in a long time, with so many bands, new and old, bringing their A-game. Here’s a list of my personal top ten records of 2021!

#10 CHVRCHES – Screen Violence

This year I finally played a game that was on my to-do list for a while, called Death Stranding, and CHVRCHES contributed an eponymous song to it that played during the end credits and it made me get all the feels. Which is why I decided to look up what the band were up to and saw that they were about to release a new record, which I checked out and immediately fell in love with. If you’re into good pop, with a message, give Screen Violence a listen. (And play the game if you’re up for a really unconventional experience)

#9 Chevelle – Niratias

When I was eighteen years old I was really into playing an MMO called Final Fantasy XI and through that game I met some people from overseas, who in turn introduced me to Chevelle‘s record Wonder What’s Next, which is arguably one of the most important alternative metal records of the early 2000s, and at the time it was everything my teenage angst ridden soul needed. As I grew older I kind of lost track of the band’s evolution, until this year when I stumbled upon their newest record which completely blew me away and did to me what the other record had done almost two decades prior, minus the teenage angst.

#8 Whitechapel – Kin

Whitechapel were always just another deathcore band to me, which I neither liked nor disliked. I was simply indifferent to them…but their new record changed that after only hearing one song. While the addition of clean vocals is, apparently, not new to their sound, the execution, coupled with extremely diverse songwriting, on Kin really captured me and will have me backtracking through the band’s catalog throughout next year.

#7 Gold Necklace – Gold Necklace

In 2017, one of the EPs I recommended was by a band called Eternity Forever, who ended up disbanding shortly afterwards. But this year saw their comeback, under a different name and a slightly different line-up, with a record that is straight-up thirty minute good vibes.

#6 Spiritbox – Eternal Blue

Out of all the records this year, I’m pretty confident in saying that there isn’t a record that the entire metalcore scene was more looking forward to than Spiritbox‘s debut album. After the single Holy Roller caused a massive stir in early 2020, and Constance showed a very different side of the band’s sound, everyone was hungry for more and boy did we get a feast. One of the strongest vocalists in the scene coupled with impressive instrumentals can do no wrong.

#5 Beartooth – Below

I discovered my love for Beartooth in 2020, after sleeping on them for the longest time, and was very excited when they announced a new album this year, because they have a certain type of sound that just works for me. Below is no different and might even be my favorite one from their catalogue.

#4 Eidola – The Architect

Another record that was very much anticipated by myself and the post-hardcore community was Eidola‘s follow-up to their 2017 masterpiece To Speak, To Listen, and yet again the expectations were not only met but exceeded. While the record is, I would say, a bit more difficult to digest than its predecessor, it is choke-full with musical brilliance on every level.

#3 Every Time I Die – Radical

With ETID’s 2012 record Ex Lives I suspected that I was going to forever love everything they put out and every record since then has proven me right. Radical, however, has me questioning how the band pulled this one off, because it is even better than its predecessor, which was already a solid ten out of ten for me. The sixteen songs go so hard even when they go slow, and it’s a true beauty from start to finish.

#2 Turnstile – Glow On

Honestly, at this point I could just copy-paste the previous paragraph, because Turnstile pulled off the same feat: they managed to improve upon a solid ten record that was the predecessor. Glow On is, in my humble opinion, the new gold standard when it comes to (modern) hardcore.


Lorna Shore – …And I Return To Nothingness

Knocked Loose – A Tear In The Fabric Of Life

The Devil Wears Prada – ZII

Feradur – Parakosm (review)

As every year, I want to shine a light one some EPs that stood up to me, for whenever you need a short fix of something new. All four of them are really heavy and actually of a fairly similar musical direction, with the exception of local Feradur‘s Parakosm which stands out as the death metal rebel. I’ve written a full review about it which should explain to you why you should check this one out, so feel free! As for the other three…there’s honestly not much to say. The Devil Wears Prada wrote a sequel to their heaviest musical outing and it rips just as much, with Nora being my favorite track. Knocked Loose are, once again, dragging us listeners naked across the tarmac while driving a truck and even added a really fascinating music video to it, which you can you check out here. And Lorna Shore definitely broke the internet with their new vocalist who has the craziest scream vocal range that I’ve seen in ages.

#1 Ice Nine Kills – Welcome To Horrorwood

I’m being repetitive, I know, but Ice Nine Kills‘ 2018 record The Silver Scream was a fantastic record that hit all the right buttons for me, with exceptionally well-written theatrical metalcore and a horror-themed setting. When its successor was announced I had fairly high expectations, but my body was not ready for the utter perfection that is Welcome To Horrorwood. Easily an eleven out of ten, with extremely diverse songwriting, fantastic guest vocalists and a brilliant selection of horror films as inspirations. I cannot wait to see my second gig of these guys!

Let’s see what 2022 brings…I’m fairly optimistic that we’ll finally get to experience all the gigs that have been delayed over and over again over the course of these past two years. And other than that…I’m really looking forward to whatever beautiful new music will grace my ears, as I am sure there will be plenty!

Dreadnought – Path To The Unknown

Changing band members is never an easy feat, and the Luxembourgish scene has had its fair share of new and old faces playing in different bands. However, I would argue that changing vocalists is always the riskiest move a band can make, since they tend to be the face of the band and be the most “accessible” part of the music. Today’s band has had to make just that transition a few years ago when they, amicably, parted ways with their singer…and in my humble opinion it was the best thing that could happen to them. So let’s take the Path To The Unknown together and see what Dreadnought holds in store for us on their upcoming record!

While following my usual routine before writing, which consists of re-reading my previous reviews in order to avoid repeating myself, I was shocked that it has already been seven years since their previous release and close to ten since their debut! Luckily, from the first riff you can tell that those years were not spent idly, because the increase in musicianship is very apparent and I dare you to not at least tap your fingers to the melody of the first song.

To me the quintet has definitely solidified their overall sound with these seven songs, whereas previously I would have called it blackened death metal, this time around it’s pure black metal that does, however, not shy away from melodic guitars. The drums also choose a very varied approach, thus avoiding endless monotonous blast beats, and serve as a perfect foundation for the strings.

I also have to add that the production of the instrumentals is, to me, flawless and finds the perfect mixture between being clearly audible and yet sounding raw enough to not sound artificial. This also goes for the vocals, by the way, but more on that in just a second.

The elephant, or should I say evil priest, in the room Is definitely the new singer. So let’s talk about him and why I believe he’s a better fit for Dreadnought than their previous vocalist. By now it is no secret that I am huge admirer of Boerdi’s performance, but I believe that his vocal focus was, and still is, death metal and he excels at it, hands down. However, for this band he tried a different route at first, which was a good initial idea but especially listening back to Vanitas today, it’s apparent that he felt more at home in the death metal domain.

Bob, however, feels right at home and his vocals during these thirty-three minutes range from the typical black metal screams, to a handful of well-placed growls and the occasional really haunting and atmospheric cries. Coupled with, dare I say, sing-along worthy lyrics that are not afraid of having a slightly humorful undertone at times, Sister Fornicata comes to mind, the package is well rounded.

All in all, Path To The Unknown is a definite step forward for Dreadnought and I, for my part, am super excited to see what they’ve come up with for their release on October 30th. If you want to keep up with the band and get more information about their release show, head over to their Facebook page and make sure to listen to the opening track of the record below!

Mindpatrol – Ikaria

One might not always think of it that way, but getting into music has a cost of entry: time. While it might not be as apparent with your typical pop song, it becomes increasingly obvious the more technical the music is. Because, unlike the former, the latter usually aims to challenge the listener with hidden intricacies and complex, often nontraditional, song structures. In their eight years of existence, Mindpatrol have without a doubt proven that they don’t shy away from the unconventional and their new record Ikaria is no exception. I’ve had the privilege of getting my hands on it early and I want to talk about it, because it made me think about something.

First off, despite going through an almost complete line-up change, the quintet has stuck to their tried and tested formula of writing concept albums that don’t really stay inside the boundaries of a single metal genre and continue expanding the idea with a couple of new elements.

The most notable addition is a flamenco guitar that constitutes the main body of the instrumental title-track, which serves as a nice breather in the middle of the record. Instrumentally speaking, I would consider this to be Mindpatrol‘s heaviest record with the influence of the new members definitely being noticeable.

In the vocal department, we have what I think might be my favorite chorus of the band thus far in the form of super fast, almost rapped, lines on Trial Of A Simple Man that are interspersed with anthem-like screams. The clean vocals have, yet again, improved and the last forty seconds of the single Stainless White, found below, are a true testimony to their evolution. For my personal taste, the ratio between cleans and screams was just a bit off, and I would have loved more growls, screeches and angry shouts into my ear canals, but that’s just me.

I mentioned cost of entry earlier, and Ikaria is not a record that I’d call easily accessible, at all. After my third listening, the twelve songs started making sense to me and I was appreciating them more. But that was where I ended my exploring, because I noticed that I simply couldn’t devote enough time to it, in order to do it justice.

The main thing that kept me from going forward, was the run-time, which made me think about the age-old discussion of what the perfect length of a music release should be. At sixty-four minutes, Ikaria is not something I can put on during my daily commute and finish in one sitting, which is my main way of consuming music in general. And with traveling not really being a thing, at least for me, these days, that takes another big chunk from my usual musical routine. I want to make it clear though that I don’t mean that any artist should ever, EVER, EVER make a song or album shorter just for the sake of it being shorter and instead should always go with their vision.

All in all, Ikaria has the potential of being a very enjoyable album if you give it the proper time to unfold but the album as a whole didn’t speak to me personally, call it wrong place, wrong time, so I had to call it quits too early to savor it fully. However, if you are into progressive metal and are willing to invest the time, I can guarantee that Mindpatrol‘s newest release will not disappoint. You can find more info on the band’s Facebook page ahead of the release on June 4th and be sure to check out the video below!