The Great Metal Debate Podcast

The podcast is joined by frontman Shaughnessy McDaniel of power metal upstarts Siege Perilous to talk the band's new EP "Creation's Call" the evening before their performance at the inaugural Mile High Power Fest! Credits: excerpts from the Siege Perilous track "Brothers Of The Five" (Creation's Call, 2024) used with permission from the artist.

Welcome back metal heads to another album review here on The Great Metal Debate podcast. Today we will be talking about a German black metal band called Eisregen with their ... Holy dog shit! This is the band's 16th full-length studio album? What the fuck? How come I'm just now finding out about these guys. Ohhhh, that's why. Its because its their first album to be released through Napalm Records. Gotcha. But damn, these guys have been busier than a one armed machinist. According to Metal-Archives, they have consistently released new music roughly once or per year or once every two years since 1995. In 1998 they released both their debut AND their second album. I have heard from Gomthog that these guys are controversial in their home country. I'm not sure what for but their band bio says that they have been banned in their own country and aren't allowed to play certain songs live. People under the age of 16 aren't allowed to buy their physical media from entertainment stores. For now, lets focus on their newest full-length titled Abart. Not to do a completely half-assed job on this review but I've decided that I'm not going to try to pronounce any of the song titles or names of the band members. Sure, it might be lazy but I received the press release for this album a full week in advance and here we are a few days past the release date of August 16th, so I kinda need to hurry the fuck up. My cause for the delay? I was busy with another review. A review that will never see the light of day. I was gonna do one for the new Mushroomhead album before I realized that it was just me rambling on about my personal nostalgia for the old material only to give Call The Devil a 5/10. There, you got two reviews in one! Looks like y'all got more than you bargained for. Back to Eisregen, the only reason I got the promo from something on Napalm Records is because the distribution for the American copies were being released through Massacre Records. Lucky me. I have another extremely hot take so you might want to get your oven mitts on. Many people would call me a poser for being a Rammstein fanboy but ... I love the industrial metal phase that the black metal band Samael went through during the mid-2000s. I think it's Samael's best work. I know, I know, gather your torches and pitchforks to run me out of the metal community. I don't give a shit. What does that have to do with Eisregen? Eisregen sounds like Samael's 2004 masterpiece Reign of Light album raw dogged it with Rammstein's 2003 masterpiece Sehnsucht. Eisregen has that harsh flavor of German dialect. The band's native language spoils the listener with the continuous rolling tongue accent. Okay, I lied. I'll pronounce this one for you. The opening track "Am Abgrund" had a music video that was dropped a few weeks ago and its how I discovered this band in the first place. I thoroughly enjoyed the combination of the sandpaper voice over the calming piano keys. The entire album mixes the traditional black metal style with softer moments. The fusion of polar opposites give off the perfect blend of a musical Yen and Yang. That's what the overall structure provides, a balance that is easy listening. At least in my personal opinion, I find this 1 hour and 2 minute composition to be flawless. I have zero critiques which means only one thing. Eisregen - Abart is the only album I have reviewed all year that I award a 10/10 rating. It's fucking fantastic! What this band lacks in melodic guitar riffs, it more than compensates with plenty of symphonies. Eisregen's music is not on bandcamp and I have no clue where to obtain physical merch but their music is on all other streaming platforms. If you liked this review, be sure to like and subscribe to our platforms and share our links everywhere.

Xander checks in with extreme metal aficionados Dead Reckoning at their performance in Tampa FL as they tour the US in support of their newest album "Red". Excerpts from the Dead Reckoning track "Break Me" (Red, 2024) used with permission from the artist.

Welcome back to The Great Metal Debate podcast. Today we have another Metal Debate album review, looking at the new one from epic metallers All For Metal titled “Gods Of Metal.” Before we dive into specific tracks, I will highlight the aspect which really differentiates All For Metal, which is their use of two male vocalists who provide two different singing approaches. Antonio Calanna who gives traditional a power metal to hard rock vocal output along the lines of a David Bassin or Sozos Michael. Tim Schmidt gives us a baritone clean voice with false chord technique along the lines of what we’ve come to expect form Joakim from Sabaton. The album begins with an intro piece titled “Cry For Help” which has some building instrumentation and epic-sounding spoken words. The band ramps up the metal bluster to 1,000% on the second track and first full song, “Gods Of Metal.” The guitars are up front in the mix and provide some nice flourishes, although occasionally the keys push above them in the sonic spectrum. Track two is “Year Of The Dragon” and I freaking love this song! Maybe because I wasn’t expecting to hear this approach, it really resonated with me. As with the previous track the synths are a touch heavy throughout, but this helps dampen the effects that otherwise might have been too jarring It’s just a fun, upbeat track with verses that build and a singable chorus. “The Way Of The Samurai” didn’t work quite as well for me. Despite this Calanna’s voice is exceptional, and here he carries most of the vocal load with Schmidt coming in at points for emphasis. I especially liked Calanna’s brief falsetto accents in place. The guitars throughout are strong and display some good riffs, or perhaps they aren’t as diminished by keys as in the previous track. Everything builds to the chorus on “Temple Of Silence,” another strong guitar track. Schmidt’s voice is dominant for this song with Calanna giving brilliant accents. In contrast, on “When Monsters Roar” Calanna takes the first verse and Schmidt the second, with the two splitting duties including some fantastic harmonizing on the chorus. “Path Of The Brave” gives a classic power metal-ish ballad. Calanna’s singing is superb, but I wasn’t a fan of the orchestral melody. Just a touch too sugary for me. This was followed by “Like Thor And Loki,” which on first listen it struck that I hadn’t even notice we’d transitioned from an east Asian to a Norse aesthetic somewhere in the past few songs. The next one up is the synth-heavy “Valkyries In The Sky” featuring a strong vocal contribution from Laura Guldemond from Burning Witches. Guldemond is an insane singer and hell of a frontperson, and this song is constructed perfectly to highlight her voice. “Welcome To The Wasteland” returns to more standard All For Metal style with more trade-offs throughout by Schmidt and Calanna. But the chorus on this one is stellar – just a great melody and then with the double-bass kicking in a just the right time for extra emphasis and energy. Track 11 is “Who Wants To Live Forever” which features some great effort by both singers, outstanding orchestrations, and the twin guitars making it all work without overstepping their bounds. The album ends with “The Journey Will Not End” that matches the feel of the intro track. I really like how the band utilized Schmidt and Calanna’s voices in a variety of ways, mixing and matching them as was appropriate for each track. The songs were extremely well-written and every element of each track seemed to have some purpose to it. I have one critique: this album is way too overproduced and slick, at least for my taste. There’s no feel of rawness to the guitars, and even the sound of the orchestration is fat and soft. “Gods Of Metal” surprised me in a pleasant way, and the overproduction can be excused given the competent and engaging writing and performances. I’m giving “Gods Of Metal” an 8 out of 10 rating.

Welcome to another Great Metal Debate podcast review. Today we got a special one. Maybe you don't know this band but you've definitely seen the horrific album cover for their 2007 debut Uterovaginal Insertion of Extirpated Anomalies. This band is Cephalotripsy and this is their sophomore album titled Epigenetic Neurogenesis. Gee, if only we could get Vital Remains to finally release their first album in 17 years that has been allegedly completed for 8 years ... Here's a not so fun fact for you listeners. A cephalotripsy is a procedure that involves crushing the head of a stillborn fetus in the womb to facilitate delivery. Obviously this album cover is a lot more family friendly than the former. But let's get into the music. The first single that was released two months ago was the album title track which has Matti Way from Abominable Putridity/ex-Pathology as a guest feature. Speaking of Pathology, the first few seconds of this song reminded me of the same guitar chugs in the beginning of the song "Tyrannical Decay". But that album had Johnathan Huber from I Declare War on vocals. Matti on the other hand, usually has a very distinct vocal tone but I honestly could not tell when he was on the mic. Both Angel and Matti gurgle and pig squeal their way through this whole track and I can't tell you whose who. Despite this song being accompanied by a lyrical video, it does not sound like they're saying any of those words. But hey, who the fuck listens to brutal death metal and expects to hear words? I listen for the brutality and the more disgusting it sounds, the better. "Alpha Terrestrial Polymorph" and "Induced Primordial Regression" were the next two songs I heard and ... Geez, what's the deal with every band I've been reviewing lately having the word Primordial in their song titles? That's just a little phenomenon I've noticed over the past few months. But then I heard the song "Excision of Self" which has another guest feature, this time with Ivan Tyulkin from the Russian death metal bands Insect Inside and Nauseating. "Entrenched In Fluids Of Enigmatic Predation" was yet another heavy hitter along with "Ulcerated Mass Of Pestilent Engorgement" which features Clayton Meade from Condemned. I have been a long time fan of Condemned but I also couldn't tell when Clayton was on the mic either. All I know is that it sounded every bit as brutal as the rest of the record. There are no duds on this album and "Lo Tech Non Entity" continues to prove my point. Each track is guaranteed to stomp a mudhole in your eardrum's ass. Don't believe me? Then check out the track titled "Arcane Rites Of The Transdimensional Progeny". What do I think of this entire album as a whole? It's definitely sick as fuck! Was this album really worth the 17 year long wait. No it wasn't, and I'll tell you why. See, this album suffers from the same issue as the newest Torsofuck album that came out last year. The reason why Uterovaginal was so good was because it was some of the heaviest shit that money could buy back in 2007. There wasn't any over saturation in the genre at the time. Bands like this back then were hard to find. Sure, Guttural Engoregment existed but there wasn't 100 zillion Cephalotripsy copycats yet. if I'm being real, this album just sounds like everything else out there. Aside from it just being balls to the wall, there's nothing overly special about it now in the year 2024. The niche for this type of brutality seems to only be original if its old. I know, it sounds like a weird critique but I'm sure someone out there understands what I'm trying to say. Its still really good for what it is though. But, I can't really rate it higher than a 7/10. As I mentioned at the start of this review, you should be able buy Cephalotripsy's merch from the website Reality Fade. But they of course have some things on Brutal-Mind and their Bandcamp page.

The podcast is joined by Lucas, Brad, and Sarah from US symphonic power metal clan AfterTime prior to their performance at The Cobra in Nashville TN. Excerpts from the AfterTime track "Sons Of Fenrir" (Arcane Horizons, 2024) used with permission from the artist.

Welcome metal heads from around the world to another episode of The Great Metal Debate podcast. Its Xander with another back to back album review. Today we will be checking out the debut full-length album by Crown of Anguish from Preston, UK. The album is titled Stalker At The Midian Gate which was released July 9th through Brutal Cave Records. I first heard of this band about 3 weeks ago when I heard the single "Radiant Moon of Aphos". I instantly looked up the album name printed on the cover and found nothing anywhere. I looked up Metal-Archives, nothing. Bandcamp, nothing. Their Facebook, nothing. All I knew from the video description was that it was set to release in July but with no official date. So I had to keep periodically checking to see if it was out and I didn't know about it being dropped on the 9th until the 10th. Fuck me right? Anyway, I knew I wanted to talk about it. But first, its worth noting that they had released an untitled EP last year and that there's no repeats, remixes or remasters of old songs on the LP. The first track on the record "Gathering Stormfires of the Perilous Want" might sound like an ordinary death metal song, but give it time. After a minute there will be one of my favorite uniqides about the genre. The inclusion of acoustic guitar. This one however has an ancient oriental sound as if its meant to sound old. After this break in the song, another tempo change happens where both the music and vocals have a groove. "Radiant Moon of Aphos" as I mentioned earlier has a great sounding main riff which perfectly fits the rest of the overall instrumentation. The guitarist, Matt Gornall has provided us with mostly chugs although his brief melodic moments shine very bright. "Limbless In Rapture" continues the heaviness and its time to bring up the vocals. While he might sound like any other front man, what separates Ali Lauder from everyone else is that he has a lot more power in his delivery than most. Next we have a calming interlude track titled "Tribute To The Ashen King". It's a peacefully way to bridge the gap that leads to "From The Embers to the Catacombs". Straight away the drums blast your eardrums further into your skull. "Sidereal Rites" starts off with another quick ancient sounding instrument before exploding back into the same hard hitting death metal we've been getting pummeled with from the get-go. And then there's a track like "He Who Bears The Key". Now with this one, its obvious that the band intends on keeping us listening with the interesting middle eastern sounding beginnings. This one also has it infused towards the middle of the song. If you want some straight forward death metal without all the extra jazz to spice it up, "Graven Challengers to the Rift" is your song. Nothing but unyielding death metal. "Vengeful Eye of the Magi" obviously has to have a desert tune. If the word Magi is in the title, the first thing that will come to most minds of millennials like myself who grew up watching The Mummy. The final track is "Gates to Eternity" but it only serves as a conclusionary instrumental consisting of an ancient sounding drum beat as if an army is marching to war. Now is this a perfect death metal release? No. Is it entertaining and worth your time? Absolutely. Is it enough to keep listeners engaged? I'd sure say so. I feel like this band is for fans of Hour of Penance or Hate Eternal, minus the constant Erick Rutan shreds. I'm going to give this debut a 7/10 rating. I'm definitely going to keep my eye on this band over the next few years to see what they do next. I'm sure they'll find new ways to improve upon music that is already good. Show your support by buying their digital album and EP on bandcamp because this full-length debut is not currently on amazon music. I'm not sure if they're on Spotify yet but you can check for me.

The podcast joins up with Paul and Chelsea from US death metal predators Voraath following their performance at The End in Nashville TN as they tour North America with Gorgatron and Casket Robbery. Excerpts from the Voraath track "Sirenhead" (Volume 1: The Hymn Of The Hunters", 2024) used with permission from the artist.

Welcome metal freaks, to a new episode of the great metal debate podcast. Today, we will be talking about the new album from Cemetery Rapist - From My Puddle Phillic Drip. This calls for celebration as Clay, the one man menace has dropped his first new record in 10 years! Many of us underground metal fans have at least stumbled upon Clay's work through side-links on YouTube. I know that's how I personally discovered Cemetery Rapist way back in 2009. One minute your metalhead friend will tell you about a band like Devourment. Then a related video in the algorithm will pop up for a band like Putrid Pile. Then that video will lead you to Torsofuck, then that video will lead you to Sperm Swamp, then that video will lead you even further down the rabbit hole until you get to something like Cemetery Rapist. Its crazy how Clay has been making these tree frog noises for over 20 years. Its even crazier that we live in the United States of America where we have an essential freedom of speech, and yet ... in the 2020s, online censorship has been a major obstacle for Clay over the past few years. He has vented many times on Facebook about how frustrating it is that: bandcamp, soundcloud, amazon, spotify and other media platforms have given him too much trouble. In fact, the only reason its on bandcamp now is because it was released under the name of his own label Awful Goodness Records. Clay has also had many recent shows canceled over his band name alone. I truly feel bad for the guy. He's just trying to share his musical art with his cult following of fans who are deep into the underground scene. We praise him for his cricket sound abilities that were almost hindered about 5 years ago. I remember when he posted this scary picture of himself with a huge bulge in his neck. He said that he may never be able to do vocals again and many of us felt bad for him. Luckily he made a full recovery from whatever that was but I have definitely noticed the change in vocal pitch. His signature amphibious mating call now sounds like it has more bass to it and he honestly sounds better than ever! Also, the programmed poppy snare drums that remind us all of the band Echymosis hasn't changed a bit so that's good. I'll always love his classics such as: "Herpes Injection", "Death By RuRu", "Bent Over And Butt Dozered", "Wake Up to Bake Up", "Retarded Rectum Ripper" and "Midwest Cop Killer" to name a few. I even enjoyed the Putrid Pile cover he did for the song "Food For The Maggots". But this new record is my favorite. The tracks I enjoyed the most were: "Craving Cunt That Needs No Shaving", **laughing** sorry, it's hard to read these song titles without laughing. "Addicted To Poverty Pussy", "Pregnancy Taste Test" and "Face Raped On The First Date". That's not politically correct at all! Most bands in the pornogrind genre are only good in moderation but Cemetery Rapist is one of the few exceptions. I could listen to him any time. I can't wait to get lucky enough to see him live one day. Who knows, maybe Tampa Bay can host him at The Brass Mug. Too bad I didn't see him on the line-up for Florida Extreme Metal Fest. Anyway, if you're into this explicit type of music with riskay audio clip intros and you aren't easily offended by gruesome album cover art, then by all means check this out. I won't give this one a rating due to the lack of variety for the entire sub-genre. If you like pornogrind, you pretty much already know what you're getting yourself into. This type of music is definitely not for everyone but it might be an acquired taste for some. Anyway, check it out if you're interested. Just as a reminder, you can hear thia new album on bandcamp but just make sure you search for Awful Goodness Records to find it. The only places you can hear his old material is through YouTube but he also has his website onemanmenace.com which is where you can listen to full albums including his other projects and its where you can buy his merch.

Welcome to another episode of The Great Metal Debate podcast. Today we will be talking about the fourth full-length studio album from the German melodic death metal band Nyktophobia titled To The Stars. Lets dive into this album track by track. We're gonna do this slightly back asswards though because the first two singles they released for this new record happen to be the last two songs on the album. That's sort of a bold choice if you ask me. The first of which was "Millenium". I figured the song would eventually grow on me but after about 4 more listens, I still couldn't tell you what the song even sounded like. Nothing seemed to really stand out about it. It's not a bad song, it just wasn't memorable. I felt underwhelmed. But then I thought okay, not their best work but its alright. Let's hear that new song titled "Voyager 1". When I opened the file for the opening track, I had mixed feelings over the fact that I had to sit through a minute of obligatory intro track "The Gateway" but on the other hand, it was at least a peaceful sounding intro with the piano keys. I can forgive an intro track as long as its a good intro track. In fact, it fits seamlessly into the first real song which happens to be the album titled track "To The Stars". Now this song, got me nodding my head in approval! I love the soaring guitar winding up over the blast beats which continued throughout the rest of the track. Not a whole lot of variety but it still sounds okay. At least it had a short lived but calming break. Next we have "Farewell". Here instead of the Greek mythology that this band is known for, it appears that they've gone into the topic or interstellar travel. Which is cool, sometimes change is good and I'm a huge science fiction fan. This song in particular definitely has a good enough guitar riff to stick the landing. I would go as far to say that the song "Charon Gate" compliments the former as a great precursor. Not that these two tracks go hand in hand but I do get the feeling of a build-up to a superior musical composition. I quite enjoy this one, it really reminds me of their earlier work. Tomasz' layered vocals go great with that soothing main riff played by guitarists Michael and Phillip. I also like how this one brings back a chorus. "The Fall of Eden" lifts off with a slower tempo but kicks into high gear once Michiel's galloping drumming style picks up a speedy rythmn. The guitars once again wind up with the sharp long notes. The problem with this is that when you hear the first 30 seconds of the song, that's you begin to realize that this is how the rest of the song will play out. The same unchanging simplistic riff. "Progenitor" has the most relaxing intro to any song on the record by having us hear birds chirping over piano and cellos for 1:27. That time stamp of course brings us back to the world of good old fashioned melodic death metal and its probably my favorite track thus far. But then we come to "Behind The Stars Exists No Light" which honestly sounds pretty good. I like that moment when Tomasz says ... There is no light, behind the stars And I already talked about these last two songs but I need to revisit them. After listening to the whole album I can now provide a much better analysis. Starting with "Millenium", I'll say that it still doesn't fully grab my attention but its okay. In conclusion "Voyager 1" is a perfect closer to the album as the first half of the track is instrumental. A somber piano has keys being pressed down hard in a dramatic way but later on we get a very weird, almost alien-like sound. It's hard to describe so you'll just have to check it out for yourself. My final thoughts on this record is that I love this band but my go-to albums will always be Fallen Empire and Fate of Atlantis. So I'll give Nyktophobia - To The Stars a 8.5/10 rating. Show your support for Nyktophobia by streaming their music on all platforms and their merch is on their Bandcamp page.

Welcome back to The Great Metal Debate podcast. Today we’re reviewing the latest release from Indian heavy thrash veterans Kryptos titled Decimator, which is released on July 5th through AFM Records. Founded back in 1998, Decimator is their 7th full-length album. Let’s check out this new album Decimator and see how it stacks up. The tracklist begins with “Sirens Of Steel” which debuts in epic fashion before transitioning into galloping riffs. There’s a touch of thrashy-ness here, but is more like thrash-influenced true metal than a thrash band that wears its trad metal roots on its sleeve. The guitars are very forward in this one, with lots of lead accents throw in throughout, sometimes more and sometimes less successfully. The vocals are thrash-ish, with the lyrics rasped out in lightly goblinesque fashion by singer and guitarist Nolan Lewis. “Fall To The Spector’s Gave” sets a rollicking sonic core with strong riffing and a sing-songy verse. There’s some good stuff – I really enjoyed the guitar lead break as well as the vigorour climax. I just could’ve used a bit more variability in the vocal melody, which is extremely repetitive in its presentation. A small change up there could have improved the song immeasurably. A cheesy 80s metal intro transitioning into a generic 80s metal riff is what greets us for “Turn Up The Heat,” the next track in the listing. That comes across as harsher than I mean – in some ways I’ve giving a compliment. This is every bit as engaging and dynamic a track as one might routinely find on an Accept or Metal Church album back in the day when those bands were fresh and relevant. Similarly constructed albeit a bit different in the details of its execution is “Electricity.” This is perhaps a cautionary tale to artists that when you give a song such an energetic title you’d better be certain the music delivers in like manner. It is a fine song – a mid-paced rocker that has the nostalgic feel of some metal anthems of oldGood riffs, but an underwhelming chorus structure. Track 5 “Solaris” is a soft guitar piece that is only slightly past a minute and a half in length, segueing into the title track “Decimator.” I get some definite Painkiller-era Judas Priest vibes on “Decimator,” with the pulsating double bass and plunging sonic guitar dives. Unfortunately, the riffing is somewhat stale and repetitive. There’s no progression or twists here – a minute in and you basically can predict how the remainder of the song will sound. With “In The Shadow Of The Blade” we find one of the album’s most compelling melodies and some nice interplay between the rhythm and lead guitar lines. It’s somewhat paint-by-numbers in the song construction, but the simple approach works well here. Yet again I yearn for a bit more variability in the vocal presentation. If the singer could have gone up even half an octave on the final verse it would have truly made the track explode. Next up is “Pathfinder” which has a pleasant if predictable primary riff and some nice, timely tempo changes. However, I thought the composition missed opportunities in the transitions between verses, choruses, and breaks, with those changeovers seeming to happen somewhat ham-handedly. Another track that was fine for what it is, but could have been better. The album concludes with “We Are The Night,” a mid-paced track that almost has a 70s rock mood to it, or at least NWOBHM feel. The lead break is really tasty, and the riffing throughout is enjoyable. This might be my favorite track on the album, leading me to wish the band had given me more of this approach and, by inference, gone with less of what I’d heard earlier. Ultimately I’ll say that Decimator is worth checking out. You won’t hate what you hear, but I don’t know if many will love it either. I’m giving Decimator a 5 out of 10 rating. You can purchase Decimator from AFM Records. Follow them on social media and be sure to watch for the band going out on tour soon to support the release.

Welcome back to The Great Metal Debate podcast. Today we are talking about the fourth full-length studio album by the New York brutal tech death band Malignancy titled ...Discontinued, which was dropped on June 14th through Willowtip Records. This is the band's first album in 12 years so this certainly calls for celebration. For a band that has been around since 1992, you would think that they would have much more albums in their discography but, I guess some bands like to really take the time with their craft. Before diving into this new record track by track, I'm going point out a major similarity that I've always noticed about this band. Particularly with the vocalist Danny Nelson having a nearly identical sounding voice to Ross Dolan from Immolation. I had often wondered if Malignancy was a side project band, which would make a lot of sense seeing as how both bands are from Yonkers! The answer is no, Danny and Ross are two different people. However, Danny had done vocals for Mortal Decay's 2013 album The Blueprint For Blood Spatter. When I looked up the names of the band members, I had to do a double take when I saw the bass player. At first I thought it said Alex Webster from Cannibal Corpse, but nope, the new bass player is Alex Weber. Haha, not Webster. Coincidentally enough, guess where Cannibal Corpse originally started. You guessed it, New York. Except they formed in Buffalo. According to Metal-Archives, Alex Weber has played live for Defeated Sanity and Obscura. Guitarist Ron Kachnic has also been in Pyrexia, Demolition Hammer and Mortician! Mike Heller has been the drummer for multiple bands including System Divide which is Sven from Aborted's side project band. Despite not advertising as such, Malignancy IS a super group. Kicking things off we have the first track titled "Existential Dread". As you listen to this album, you can feel Danny's lips press against the microphone as he delivers his powerful vocals. You can tell he definitely uses his diaphragm to produce such a monstrous tone. Watch a few live videos of them and you can witness for yourself Danny's commanding stage presence too. "Purity of Purpose" was the first single released for this album about 2 months beforehand. I remembered as soon as I heard it, I immediately looked up the full-length release date and album title just to add it to my list. Judging from that track alone, I knew I had to review it. The second single "Biological Absurdity" was uploaded a month later and it of course blew me away. Both of these songs were aired on YouTube as official tracks but we haven't been treated to a music video yet. I have found myself jamming this album front to back since its release a little over a week ago and I gotta say, I'm impressed! I mean, Malignancy never disappoints. This album is absolutely killer and one of the finest examples of your standard death metal. Bad ass death metal albums without an overly unique pizazz quality about them are still more than capable of getting a good rating out of me. This is definitely one of the better straight forward death metal albums I've heard in 2024 so far. With that being said, I'm feeling a nice 8/10 rating. Malignancy has been kickin around in the underground scene since I was a 1-year-old. They've gone through a few line-up changes here and there but have held strong as a band for the past three decades. Their popularity may not be up on the same level as many other bands but they deserve a lot of credit, respect and most of all support. You can buy their merch ... at pretty much any online metal merch outlet. The most obvious choice would be bandcamp, but they also have merch at primitiverecordings.com, hellsheadbangers.com and indiemerch.com. Of course, if you get lucky enough to see them live; they definitely have a merch table and I hear that they are usually at their stand before and after a show. So don't be shy, go say hi and if nothing else, throw them a few bucks in their tip jar.

Review of "D'Muata" by Perchta (Prophecy Productions, 2024). Intro music by CONTRA; intro voice by Greg Kyle (RIP).

Xander checks in with Nashville black metal unit Lenax during a recent video shoot to get the low-down on the band's past and future! Excerpts from the Lenax track "Beneath The Chapel (Symphonic Version)" (2024) used with permission from the artist.

Welcome back to another metal album review. Today, we have an atmospheric/melodic black metal band from Murfreesboro, Tennessee called Oubliette and this is their third full-length studio album titled Eternity Whispers released through The Artisan Era. The album begins with the first single which had a music video two months ago. It is of course the song "Primordial Echo". It starts with some softly played guitar, calmly bringing you the short and sweet intro for 48 seconds before the rest of the band fires on all cylinders immediately kicking things into high gear. The whole song is a groovy cacophony of shred riffs, pinch harmonics, yelling and blast beats. At the 3:40 mark, there's a soothing middle riff that I quite enjoyed which mixes in a brief shred. All three guitarists: Mike Low, Andrew Wampler and Chris Austin have perfected the art of working together and sharing similar ideas when it comes to the overall tone of the genre. "With Death's Shadow" was the second single released for Eternity Whispers and it also happens to be the next track. How convenient. It's what I would consider to be that classic Oubliette style. Many things about the speed and pacing of this track remind me of the Apparitions debut. I'm proud of this band for not straying too far from what made me like them so much in the first place. On the other hand there's this ambient clean singing which can be heard after the halfway point during the track which is definitely a nice touch. It brought me back to the song "Elegy" from the previous album The Passage. Drummer Spencer Moore is a fucking machine gun on the kit. Especially throughout the song "Consumed By The Void". The entire track is an unrelenting orgy of blast beats. It all makes perfect sense because he's also the drummer for Inferi. Also, whoever mixed and mastered this album did some fantastic job by keeping the drums loud but not so much that it overpowers the other instrumentation. Oddly enough, there's this quiet little tune played at the end of the track which ties in with the beginning of the following track titled "Desolate Path". Now I'm not entirely sure which of the three guitarists is behind the acoustic sounding guitar but great work. Or maybe it could've simply been an electric just without the foot pedal. I'm not sure. Either way, I love that shit. That sweep picking moment at the 5:22 stamp really caught my attention but didn't last too long. A bonus credit for Spencer is that every beat of each drum has a resounding thud to it. Every whack of the snare packs a punch. This is proven once more in the next track "Dreams of Nevermore". But let's shift our focus for a moment to the vocalist Emily Low. She has so much power in her lungs to keep going on for long periods of time on the microphone. It truly sounds as though she's given all she's got into the recording of this record. But then the album slows down for a bit, we get a real treat for the ears. A lovely instrumental track called "Ember's Embrace". It's a beautiful track with keyboards, audible bass and drum cymbals. Of course the guitarists are a stand out and ... wait a minute, was that a violin I just heard or was that just a part of the synth work? Whatever that sound was, I want more. It is definitely my favorite track on the album due to the wonderful musicianship. "Vanish" serves as the perfect conclusionary track for the record. Everything you have heard throughout this album comes together in one masterfully crafted track with an impeccable structure. But what do I rate this? If I'm being real with my audience, I'd obviously recommend this album to anyone who is into this particular subgenre of metal. I will be as fair as I can by giving them a solid 8/10. So definitely don't sleep on this upcoming release. I can more than assure you it will be worth your while. All of their music and merch is available exclusively on Bandcamp.

Welcome The Great Metal Debate podcast, bringing you another release straight from the underground. Today, we will he talking about the debut album Ex Umbra In Lucem from the symphonic blackened death metal band Lamentari. This Denmark based band has released 3 EPs and 2 singles before dropping their first full-length record and I'm going to say straight from the get-go, this is exactly the type of metal I crave. It was a little over a month ago when I discovered this band on YouTube. The music video for the song "Dolorum Memoria". The album opens with an angelic choir in the intro track "Spiritus Noctus" before pummeling you with the song "Tenebrae". It's a bombastic track that will give you a small taste of what's to come. The choir continues throughout this track and returns during many moments throughout this whole album. "Tragoedia In Domo Dei" has thunderous opening double bass blastbeats which goes straight into the symphonic sound. The element of brass instrumentation, strings and choir make it a near perfect listening experience. Once it passes the 2:50 mark in the song, we get an acoustic guitar moment with a bass riff that sounds just like something straight out of technical death metal. It reminded me so much of Obscura and Beyond Creation that I checked to see if Jamie de la Sencerie had an 8 string fretless. But no, he is making that sound with a regular 4 string. The tempo picks back up again at around 4:30 stamp. The harmonizing choir is hypnotic and easily rivals what Septicflesh has been doing all these years but with a more melodic black metal style. At the same time, none of Lamentari's music sounds derivative. Instead it all feels fresh and original. I love how Thomas' drums sound both loud in the mix but at the same time it doesn't over power the rest of the music. "Intra Muros Mentis" immediately begins with some electric guitar sweeps for the first 30 seconds before exploding into that somewhat traditional black metal sound. Except the rhythm guitar remains audible without the obnoxious buzzsaw riff, all thanks to the shredding by guitarist Michael Møller. The lead guitarist Emil is also another standout member of this impressive band. Onto a very upbeat track we have "Appugno" which continues on that path to greatness. To me, Lamentari is a real treasure of band who knows how to be simultaneously fast but melodic in the most symphonic way possible. It's truly rare to get real talented musicians like this who are new to their craft but seem to be master composers. Then we get to the song "Dolorum Memoria" which is the music video I mentioned at the start of this review. This whole album is a very strong contender for Album of the Year but if for some reason it doesn't end up being #1, this song is definitely song of the year. I absolutely adore these acoustic guitars and whisper vocals. This 8 minute long masterpiece will make you close your eyes and really listen and relax. The calmness continues into this album's 2nd instrumental which serves as a soothing prelude to the final track. "Spiritus Diurnus" has the church-like choir once more but has the perfect classical music violin strings which turn into what can be best described as a Hans Zimmer score for a Christopher Nolan film. Too bad its only 1:27. the closer to this breathtaking album is a 7 in a half minute long track titled "Arcanum Ignis Animae". I will say as a very minor critique, I feel like Daniel Lønberg's vocals could use just a little bit of work. If he could maintain the deeper style more often like he did in the song "Dolorum Memoria", I could enjoy this record even more than I already am. I'm going to score Lamentari - Ex Umbra In Lucem with a glorious 9/10 rating. Be sure to follow Lamentari on Facebook. All of their music is on bandcamp but their t-shirt and vinyl record is available at merchcity.com

Welcome metal fans to The Great Metal Debate, its Xander bringing you all a new album review. Today, we will be discussing the brand new album from Canadian power metallers Unleash The Archers and their 6th full-length studio album Phantoma. I made a prediction that the next record would be their worst. Turns out that nearly 4 years later in 2024, I was correct. This new Phantoma album ... Sucks! Let's talk about the guitar work. Andrew Kingsley and Grant Truesdell are usually guitar gods! To me, they have had some of the best riffs, melodies, harmonics and solos. But this album in particular makes it sound like they weren't even trying. Every song has a generic sounding main riff that is bland and falls flat. Its almost like they were just trying to make mediocre background music just so Brittany had something to sing to. The only song on this album that actually had a solo that stood out to me was in their first single "Green & Glass". Everything else is boring. Compare the best solo on Phantoma with literally any other solo from any other album and the former will blow it out of the water. Want an incredible guitar solo from Unleash The Archers? Check out the album title track on Apex. While were on the subject of "Green & Glass", lets address the controversy. Remember last year when Cattle Decapitation put out an AI generated music video for "Scourge of the Offspring" and nobody cared? But now that Unleash The Archers decides to get permission from an actual artist that they paid to draw the band members but then only use AI for movement animations, they're the ones who get shit on. I will defend Unleash The Archers for this because they're taking all the heat for using AI correctly. The internet is attacking the wrong people here. Another thing to poke fun at is the album cover. When Unleash The Archers shared a close up picture of the new album art before showing the whole picture, we got an image that looked promising. Two people next to a tree which gave off the Adam & Eve vibes. But when you zoom way out, it's small compared to the futuristic city behind it. The city scape depiction is atrocious. Yeah, yeah, don't judge a book by its cover but damn. This could've been so much better. Moving onto the singing. Brittany is an amazing singer who can really belt out those high notes. But it truly feels like she's not even trying on this album at all. One day before the album dropped, the band released another single for a song called "Blood Empress" and I only made it a minute and 30 seconds before I turned it off. Like seriously Brittany? You have so much natural vocal range but you felt like you need electronic enhancers? It sounded almost as if she was using auto-tune. I forced myself to listen to the rest of the album and nothing truly stood out about it. Maybe in 10 years from now after they release 2 more lame albums they'll finally want to do that thing that a lot of other bands try to do. They'll try to re-catch lightening in a bottle by "returning to their roots" and old fans like me will get excited for a song that sounds ... Almost as good as their early days as a band. Will this album later grow on me too? I don't know. But what I do know, is that it hurts my heart to give this such a scathing review. As it currently stands, I'm only going to rate this album a 4/10. Its not the worst thing out there in the world of metal. I'd still rather listen to this than the new Six Feet Under album that was released on the same day. Maybe with the continued support of the band, they could potentially redeem themselves within the next few years. As usual, their music is available on all streaming platforms and the majority of their merchandise can be purchased either through indiemerch.com or at their live shows. They will be on tour opening for Powerwolf this September but get your tickets now. The Atlanta show has already sold out.

Welcome back to The Great Metal Debate podcast. Today we’re reviewing the new release from US symphonic/cinematic metal act AfterTime titled “Arcane Horizons.” To somewhat give my summary thoughts first, I truly love the original feel and overall aesthetic of this album and the band generally. AfterTime are somewhat unique in their clean and airy vibe, with great if not exceptionally catchy melodies, highlighted by the outstanding vocals of frontwoman Sarah Wolf. The presentation is actually somewhat minimalistic for a symphonic band, where one might expect every bit of the sonic spectrum to be filled with noise. But with AfterTime, less is often more, and I broadly applaud that philosophy. I’ll touch on a few of the songs to give some insight. “Lament D’Morgan” is a 6 ½ minute epic track that leans heavily on the strength of Wolf’s singing. “By The Tavern’s Light” brings a bouncy, folkish quality to the table with, in my opinion, the strongest melding of choruses with Wolf’s sweet vocals. I did think, though, that this one also showed some weakness in the guitar mix, with the trade-off lead break between folk-instrument and guitar evincing much dynamism and color in the former and a too muted sound in the later. “Under A Midnight Sun” is a brief instrumental/choral – choral-mental? – arrangement, which would be at home on a Nightwish album. One of my favorite songs on the album is “Armored Heart”, as I think this one best melds the power of Wolf’s voice and majesty of the orchestrations. Those symphonics aren’t cookie-cutter as with so many melodic metal bands; there seems to have been real thought put into their application within the context of each song. And this is good, because they are integral to every song on the album. The guitar lead breaks are often very understated in their execution – you won’t find yourself bombarded with a riptide of notes but rather a considered light mist elicited from the fredboard. And this approach works well on tracks like “Armored Heart” and “Amongst The Trees.” Other songs such as “Sons Of Fenrir” and the Epica-esque “Goddess Of Dark Horizons” in my opinion could have used a little more punch in this area. The track “Of Lust And Rust” has a beautiful vocal melody, and I really enjoy the structures as contrived within each verse. But the whole effect becomes a bit repetitive. Just a little additional change-up would have gone a long way here, including making the abrupt ending seem less so. In my estimation, the vocals are the highlight of the album, and I’d especially recommend this to fans of high-range clean singing. Wolf’s voice is crisp and fresh throughout. She is an incredible talent, and I’m frankly excited for what future years hold for this young artist who surely has not come close to the apex of her abilities. The compositions on Arcane Horizons allow her to shine – the production giving plenty of space for her vocals to be heard. You’ll never hear other instruments come close to overlapping her voice’s position in the mix. Did I mention the backing choirs? They are perfectly added in all the right places and alongside the orchestrations provide a foundation of melody that truly enhances the music on Arcane Horizons. Kudos to the composer for integrating these so well. Looking now at two full albums of material, to my mind AfterTime do a lot of things well. They have a beautiful, distinct sound overall that includes some amazing melodies, and that has translated into some excellent songs… even if they don’t always quite reach the heights they’re reaching for, it’s still worth the journey. I’m giving Arcane Horizons an 8 out of 10 rating. You can purchase Arcane Horizons as well as other music and merchandise from the band’s website Aftertimeofficial.com. And be sure to check them out live touring the US this July alongside Helion Prime.

James and Andrew from Canadian power metallers Lycanthro join the show from Madison WI following their first US performance the previous evening at Legions Of Metal Fest in Chicago IL! Excerpts from the Lycanthro track "Enchantress" (Mark Of The Wolf, 2021) used with permission from the artist.

Welcome back metalheads to The Great Metal Debate podcast. It's Xander back with another album review. Today we will be looking at the latest release from the French death metal band Scolopendra with their third album Citadel of Torment. This is the French death metal band and is not to be confused with the Italian death metal band of the same name. Some of you might go to Metal-Archives and point out that Citadel of Torment is actually an EP rather than a full-length album. Here is a quote from the Bandcamp page: "Citadel of Torment is about psychic suffering and a futuristic dystopian universe in which there is no hope. The frontman Thomas made this entire album after the band split in early 2023. The band starts with a new lineup in 2024." Citadel of Torment opens with the song "Panic Epidemic" which is a solid death metal song but has a little something extra that initially caught my attention. The use of sound effects. Within the first 30 seconds we hear industrial-like noises that sound like a rapid clicking as if someone is turning cogs in a machine. There's also the dissonant sound of a hammer hitting an anvil as if we are in some sort of steel fabricating foundry. These sounds continue throughout the remainder of this guitar chug fest and the next song "Neuro Dissection". "Neuro Dissection" has an almost djent style rhythm to both the guitars and drums while the bass and vocals work nicely to fit right into the groovy beat. A lot of bands have had songs in the past titled "Event Horizon" which is named after the 1997 science fiction horror flick. Scolopendra have taken their musical prowess to new heights by sticking to the simplistic head bobbing riffs provided by Maxime and Yves Pens. A skilled drummer like Leo Godart has impressed me with using every drum on his kit instead of being another one trick pony like most other death metal drummers who only do blast beats. Leo knows how to be both fast but precise with his patterns. An ominous choir-like backtrack haunts the intro for the following track "Foreign Soul". It definitely gives off those eerie vibes before going into electronic infused winding guitar sounds. Leo of course pounding away at the drums and abusing the multitude of cymbals with short machine gun-esq bursts of occasional gravy blasts. The cymbals are of course the perfect way to ease into "Mental Torture pt. 2" which is a sequel song to "Mental Torture" from the 2016 debut Cycles. I love the way this song concludes during its last minute with those whaaa sounds. I don't know what word to use to describe it so I'm sorry you had to hear me make irritating mouth noises. Finally we come to the album closer "Black Fortress" which almost kinda has a death-n-roll sound to the main riff. It'll make the listeners go into a slow nodding before the instruments collectively pick up speed for that thrash metal type of fast guitar chugging. This 7 minute long song fluctuates its pace from slow to fast so it'll keep you on your toes and it's like the band saved the best for last because this is one of my favorite songs of 2024 so far. It's a bone crushing tank of a death metal track. Over the past 2 weeks that I have been cranking this album up in my car, I have come to thoroughly enjoy this short album front to back. It's highly enjoyable, although I will say that the riffs are simple. It's not what I would consider a masterpiece but it's still great nonetheless. I'm going to give it a 7.5/10 rating. You can support these guys by purchasing their music and merch through their Bandcamp page and you can stream their music on all music streaming platforms.

Welcome back to The Great Metal Debate podcast. It’s Xander, and today I'm bringing you a review for the international brutal death metal band Maimed with their crushing debut titled Propagate Onslaught released on April 19th through Sewer Rot Records. Much like the newest Aborted record, nearly every song has either a special guest providing either additional vocals or a guitar solo. Speaking of the vocals, Kyle Messick is a ferocious monster on the microphone. His wet tunnel throat capabilities are absolutely disgusting sounding and I mean that in the best possible way. If you're into brutal death metal you'd love these type of low gutturals. The harsh growls are accompanied by the main guitarist Tom Hughes and bassist Ian Dygulski. But we also gotta mention the staple in very high octane adrenaline pumping type of music. What would brutal death metal even be with out a drummer who can provide machine gun fire esq gravity blast beats. Justin Wallisch does an incredible job behind the kit pounding the skins into oblivion. Apparently this record was mixed by Clinton Appelhanz who is also the bass player of Origin and Unmerciful. Before diving into this album track by track, I feel like its also worth mentioning the Torrential Gore (EP) is a great place to start when getting into the full-length. It serves as a brutal appetizer for the chaos that this album brings. Kicking things off, we have "Herald of the Maelstrom" which features the guitarist of Gridlink, Takafumi Matsubara who provides a solo. It's an all out in your face rager of a song much like the following track "The Slaughter of Lambs". This one features yet another guest who provides another solo. This time, it's Dan Ozcanli from the band Nucleus. Sometimes it takes a few listens before I can tell the difference in brutal death songs but I've heard the next track "Death that Obviates the Appellation of Graves" enough times to be able to tell when Eston Browne from Vulnificus steps in to lay down vocals. During my first couple of listens I didn't notice the slight shift vocal pitch. But after tuning my ears just right, I finally knew when Eston was on the mic. "Sewage Madness Folly" and "Armament & Brigandine" are the two back to back tracks that don't have guest features but "Arbalestier" has Andrew Lee, the guitarist of Ripped To Shreds shredding out two solos on this track. "Oppugnation" is the next track which features not just one but three guests vocalists. The first of them is Mike DiSalvo from Akurion and former Cryptopsy. The next vocalist is Batu Çetin of Cenotaph, particularly Cenotaph from Turkey. Not to be confused with the the other Cenotaph death metal band from Mexico. Batu was also formerly in the band Molested Divinity. Last but not least, we have Jake Shuker from Maysaloon. The album title track "Propagate Onslaught" has two guest guitar solos from Cody Knarr from Ascended Master. It also features guest vocalist Mallika from Emasculator. Most of you probably remember her being the vocalist for the band Abnormality. "Forging Providence (The Futility of the Cosmos)" is the last track on the album but does not feature any guests. What are my thoughts about this record as a whole? It has all the right ingredients to make a great brutal death metal album. Plenty of down tuned guitar chugs, bass drops, blast beats and gutturals. What more could you possibly add when it comes to this genre. The reason I don't typically rate brutal death metal records so high is because of the bare bones structure to this type of music. It's a simple recipe to get the mosh pits going and people's heads banging. The highest rating I ever give brutal death metal albums is 7/10. So if I give it that high of a rating, then it is what I would call high quality for that particular style. I love this Maimed record and I'm sure most extreme metalheads will. You can support these guys by following their social media and purchasing their music on their Bandcamp page.

In this interview recorded April 17, 2024, Vicious Rumors guitarist Geoff Thorpe talks about the band's current tour with Raven, duct tape and tour frustration, and future plans! Excerpts from the Vicious Rumors track "Soldiers Of The Night" (Shrapnel Records, 1985) used with permission from the artist.

Welcome back to The Great Metal Debate podcast, today looking at the new release from Italian symphonic metal act Nocturna, back with their sophomore album Of Sorcery And Darkness. Nocturna is fronted by the insanely talented vocal duo of Grace Darkling and Ren Stillnight. You can listen to my Metal Debate review of Nocturna’s 2022 debut to hear my explication for how these brilliant singers work so well together. The other band go by pseudonyms, but for our purposes we can dispense with the legerdemain - Nocturna is another in a line of projects associated with Italian guitar mastermind Federico Mondelli. Overall my take on this album is largely positive with a few criticisms. To see what I mean, let’s dig into the tracks individually… The band start in a blaze with the first song "Burn The Witch.” It’s a very nice offering including a solid guitar solo; one that has grown on my ear with successive listens. Track two is “Sapphire,” demonstrating all the things they do best – the choral vocal melody is amazing, and the riffing is smart and efficient. Darkling’s voice is like a fine red wine – with just the right mix of dark aroma and deliciously bitterness. The choral harmony is exquisite and at the end where the instrumentation drops out and you hear just to the two melded voices we find perfection. “Noctis Avern” brings a barrage of guitar and percussion, and a smart structure that keeps you guessing where the song is going next. I really like the bridge portion with its soft approach that sets up the cacophonous chorus. “Creatures Of Darkness” is similarly fast paced with Darkling coming in first on vocals followed by Stillnight, and then the two harmonizing on the chorus. I didn’t think the chorus quite lived up to the rest of the song – not bad at all but just failing to kick things up a notch as one might want. “Midnight Sun” begins with a beautifully harmony. I like the tasteful, harmonic-heavy solo by Mondelli, followed by some impassioned singing by Darkling, and then concluding with he same harmonizing of the singers from the beginning. Midway through finds an eerie if brief piece “First Disobedience.” We have the sound of crows in the background, whispered male vocals, and orchestral atmosphere. This is basically just an intro into the next track “Seven Sins,” and it works fairly well in that capacity. “Seven Sins” has a bouncy cadence to it overtop the pounding double bass drums. Mondelli’s solo incorporates a nice bit of the track’s melody. “Through The Maze” features gorgeous operatic highs by Stillnight. There’s a lot going on here with good variation in tempo and contrasting undistorted guitar followed by more aggressive ax-work. The melody throughout is one of the best on the album. Next up is “Strangers” which is up tempo and features an octave-change from our singers mid-chorus. The final track “Last Day On Earth” ends the album on a high note, with a good mix of softness and aggression, and another great through-melody. I’m often critical of abrupt song endings, but this one is done to perfection leaving a feeling of completion yet still wanting more. As a whole I’m impressed with the captivating melodies, uplifting symphonic scoring, strong guitarwork, and mostly the stellar singing of Stillnight and Darkling. I can’t sing the praises of these two enough. Overall, Of Sorcery And Darkness has an elegant, sometimes mysterious vibe which shows off the brilliance and charisma of the band. If I have an overarching criticism of this album, it is that Mondelli doesn’t fully unleash the potential he has at his hands with Darkling and Stillnight. Perhaps I’m just greedy, but I’m not sure the potential of their coupling has been reached yet. Of Sorcery And Darkness is a great amalgam of symphonic/gothic metal songs which features two of the strongest singers in the current metal scene. I’m giving it a rating of 9 out of 10. Of Sorcery And Darkness is released April 19th from Scarlet Records.

Welcome back to the Metal Debate podcast, breaking down the new release from British metallers Ingested titled The Tide Of Death And Fractured Dreams. The album begins with “Paragon Of Purity.” This song is exceptionally tight and focused, with the band unleashing a healthy helping of slam riffs, but also an outstanding reoccurring melodic guitar lead which, two-thirds of the way through, morphs into an intense solo. The song closes in violent fashion with a rolling breakdown and vocalist Evans exploding in a cascade of demonic spit-growling. Track two, “Endless Machine,” is a mid-tempo number in the classic slam vein, although it wanders toward tech death territory as it progresses. “Where No Light Shines” has an eerie synth overlay that creates a simple but effective basis for the song’s melody, with the guitar later replicating the synth. It’s a great example of how to seamlessly integrate the death and slam approach. I absolutely love the atmosphere that’s created - just smart, considered songwriting. Probably my fav track on the album. Next up we hear the brutal harmonization of “Starve The Fire.” Evans pulls out nearly every vocal tool in his arsenal, with growls, screams, vocal fry, pig squeals, and rock singing. Guitarist Sean Hynes stays in a support role on this one laying a heavy foundation on guitar with mostly slam riffs and eschewing any lead break. Unfortunately, and despite some memorable lyrics and melody, “Starve The Fire” didn’t seem to be building to anything as an overall composition, and then it just kind of ended awkwardly. On “Expect To Fail” we have plenty of brutality but also the addition of clean vocals performed by Josh Middleton of Sylosis. It’s another mid-paced track, with Jeffs occasionally revving the engine, but mostly the band taking a moderate, meandering approach throughout. Mid-way through this ten-track album comes a twist with an instrumental number called “Numinous.” This one is splendid with gorgeous melodic lead and outstanding backing orchestration. When I first heard this, I thought I had inadvertently started playing some Insomnium, because you get a lot of the same ambience here. In truth, there are hints of that melodic death vibe – albeit with different riffing style – throughout The Tide Of Death And Fractured Dreams. Track seven is “In Nothingness,” a fairly straight-ahead composition, mid-paced, with another guest vocal appearance, this time from Mark Hunter of northern Ohio groove-core act Chimaira. The pairing is an interesting one – not what I would have anticipated – and while there is some appeal to the versing structure, the differential created between singers didn't quite work for me. The energy gets kicked up a notch on “Pantheon” with more slam riffs and pig squeals if you are in the mood for ‘em, as well as classic breakdowns toward the end. Yet still, if you listen carefully, there’s some melodic elements below the surface, and even a bit of catchiness in the versing. Nothing commercial in any sense, but definitely catchy. Equal in brutality to any other track on the album, but also with a quasi-epic metal feel to it - is “Kingdoms Of Sand.” Somewhat tech-deathy in its precision, at this point you’ll have to have come to appreciate the sophistication of Hynes as a guitarist and composer. The album’s closer “A Path Once Lost” spends its first few stanzas with undistorted guitar and emotive, melancholic singing from Evans. Further in we get some overlapping cleans and growls. The contrast in sound was great, but the lyrical pacing seemed off. A decent track overall, but not among the strongest in my opinion. This album is excellent, although admittedly there were a few tracks that didn’t quite resonate for me. I’m giving The Tide Of Death And Fractured Dreams a strong 8 out of ten rating. You can purchase the album digitally and in a variety of physical formats through metalblade.com or wherever you buy music.

Welcome back metal heads to a new episode of The Great Metal Debate podcast. Today will be looking at the third full-length studio release from the Tuscan, Arizona based thrash metal band known as Atrophy. The album Asylum has been long awaited by fans. Thanks to a side link on YouTube, the first song I heard was titled "High Anxiety" and it honestly blew me away with the same type of grooviness as Mezzrow. Not quite what you would call melodic thrash metal, but definitely had its standout riffs which ultimately made me want to review this. After finding out that it's another three decade long hiatus type of band, I thought, there's no way in hell I'm not reviewing this. Allow me to state that there are absolutely no skipable tracks on this album and "Punishment For All" is a punishing opening track to the album. I mean that in the way that it's every bit as badass as the album cover. When you see the giant skeleton like jester towering over the old abandoned asylum a with a graveyard out front, you know you can expect the headbang inducing thrash riffs. When you begin head banging, you'll suddenly want to shotgun a tall beer and dive straight into a mosh pit. Lets jump on over to the song "Seeds of Sorrow". The drums on this record sound amazing but the band didn't have a drummer who is in the band during the recording last year. Instead they had a personal friend of theirs by the name of Jonas Schultz who was hired for the recording gig. Either way, Jonas did an incredible job. On March 22nd, Atrophy announced the winner of their drumming auditions. So congratulations to Mr. Alex Bosson for winning your rightful place in the band. Mark Coglan and Nathan Montalvo continue to deliver those tasty guitar riffs which can be further analyzed in the entire runtime but for now we'll focus on them being the reason "Distortion" is among one of my favorites. Thrash metal has never been one of my go-to genres but I have a huge respect for it. As I've mentioned before in a previous review, I have my favorites, but I can always appreciate them taking traditional heavy metal and then making it 100x heavier. Most thrash metal doesn't even rely on as many blast beats as other bands because the main focus comes from the riffs. The song "American Dream" features Kragen Lum who is the guitarist of Heathen. "Close My Eyes" is a track that begins with a bit of a rock ballad that doesn't overstay its welcome. In fact, it reminds me of something you would've heard on the Allison Hell album by Annihilator but with a slight mimic of Milli's voice from Kreator. Despite its slow start, it quickly kicks into gear for yet another thrash metal banger. When I looked up the bass player for this record, I was happy to learn that it was none other than Josh Gibbs. He has previously worked with notable bands like Solstice and Malevolent Creation as well as many others. He showcases his talent on every song but in particular he's one of the reasons why a song like "The Apostle" is such a ripper. "Five Minutes 'Til Suicide" is an epic closing track which is the longest song on the album, surpassing the length of "Close My Eyes" by only 4 seconds. So how do I feel about a thrash metal record that is just under 2 weeks shy of 34 years apart from their previous record? I'd say its a whole hell of a lot better than a lot of bands who wait over a decade to finally drop new music.This is an outstanding thrash metal release for 2024 and I'm going to rate Asylum by Atrophy a solid 7.5/10.

Welcome back to The Great Metal Debate podcast. Today I’ll be exploring the twelfth full-length release from of Finland’s folk metal powerhouse Korpiklaani, titled Ramkarumpu. Despite not having a massed a whole assemblage of performers Eluveitie-style, Korpiklanni manage to split the metalwork evenly among the instrumentalists such that you’re never sure what sound will be leading the break. We’ll start with the accordion-work of Sammi Perttula. He’s classically trained and definitely knows what to do to derive the most out of his instrument. On “Tapa sen kun kerkeet” the accordion provides a heavy backing atmosphere in parts, and a smooth transition break between choruses, playing an effective foil between the guitar and violin. Similarly on “Nouse” Pertulla expertly sets the tempo and foundation for what the other instruments do. “Mettään” is a song where the guitar is in the driver’s seat, but the accordion is the glue that makes everything come together, and especially in the outro break briefly dueling with both violin and guitar. Working alongside Perttula as partner-in-crime is new violinist Olli Vänskä who also performs with bombastic symphonic Finnish metallers Turisas. Vänskä is amazingly adept with his instrument, able to create heavy passages that’ll have you banging your head as well as instigating blissful melodies that’ll leave your heart in your throat. The violin takes the lead on track number 11, “Oraakkelit,” splattering seething, writhing folky-flavored notes overtop as the accordion and guitar chug beneath in lock-step. I love the atmosphere the band builds with this song; that said, I didn’t think the chorus quite lived up to the rest of the composition, and the ending was a bit too abrupt for my liking. With “Viikatelintu” Perttula lays a brilliant foundation providing a beautiful intro melody and, later in the song giving a signature break counterbalancing Jonne’s singing to create a crescendious ending. Another highlight – and one of my favs from this recording – is “Kalmisto.” This is heavy violin – as aggressive as any metal guitar you’ll encounter. As expert as they are individually Vänskä and Perttula are at their best when they are working together. On “Saunaan” and “Mettään” the two split the main lead break, with accordion following the violin on each. The order is reversed on the break for “No perkele,” which has a primary melody that’s absolute fire. In a competition of which instrument is most dominant, Perttula and Vänskä are lock in a game that has gone into multiple overtimes. I have yet to discuss the title track, “Rankarumpu.” This is a brilliant composition and my favorite song on the album, sadly tucked right in the middle of the track listing which, in my opinion, is a mistake not to have featured it at the beginning or end. You’ve got a great building guitar riff, and killer swinging violin melody. I don’t know whether I like the versing or chorus better – both are equally awesome. High energy and some of the best vocal-work by singer Jonne Järvelä on the record, with the backing vocals kicking in a just the perfect time. Speaking of the vocals, Jonne’s unique vocal style is superbly consistent throughout. For the most part he does a great job of mixing up his approach, and it is very emotive. That said, on a few songs is his singing approach could sound a touch repetitive, although admittedly my total unfamiliarity with Finnish doesn’t allow me to do any lyrical analysis to truly understand the context. If you have enjoyed some number of Korpiklaani’s previous albums from their discography you likely won't be disappointed with Rankarumpu. I’m giving Rankarumpu an 8 ½ out of ten rating. Rankarumpu is released on April 5th from Nuclear Blast records. You can pre-order the album via the band’s website, and be sure to check out plenty of opportunities to catch the band live in 2024 both in North America and Europe.

Welcome back to the Metal Debate podcast. Today we’re reviewing the new album Myths Of Fate from powerhouse Leaves’ Eyes. I’ll touch briefly on each track in the listing, and then on some individual performances and notable elements of the sound. “Forged By Fire” is Myths Of Fate’s opening song, and the album’s first single. This one is dark and dramatic, with a dynamic vocal performance from Siirala and contrasting growled lyrics from Krull. A track like “Realm Of Dark Waves” is more straightforward while still giving heroic vibes with a very singable chorus. “Who Wants To Live Forever” has a slower tempo with well-crafted riffs and colorful keys, while “Hammer Of The Gods,” is a classic Leaves’ Eyes anthem along the lines of ”King Of Kings” or “Fires In The North” in terms pacing, energy, and execution. One of the more intriguing songs on the album is “Into Eternity,” an incredibly emotive track - a potent mix of grit and gloss. “Fear The Serpent” feels massive and epic without losing any personality its the delivery. The second half of Myths Of Fate doesn’t lose any momentum. “Goddess Of The Night” gives a folksy mood before moving to more vainglorious territory. “Sons of Triglav” brings power metal melodies and gothic metal atmosphere with brilliant juxtaposition of harsh and clean vocals. “Elder Spirit” is raucous and groovy, driven by potent riffs, and “Einherjar” (En-har-yar) has a pleasant, plucky sound along with some moments of intense metallic heaviness. The closer “Sail With The Dead” brings even more aggressive yet theatrical flavor, building to a dramatic peak in a superb finale. On Myths Of Fate each track seems painstakingly arranged with plenty of thought put in to creating dynamism and variety. Instrumentally, Myths Of Fate displays a lot of the hallmarks of past Leaves’ Eyes albums. I’d describe Guitarists Mikki Richter and Luc Gebhardt as restrained in their approach, but always competent when featured. I particularly like the way the guitars come out of hiding toward the end of “Goddess Of The Night” with an evocative lead break beneath the final chorus and then bringing the track to an epic close with crunching riffs. On “Hammer Of The Gods” the guitars nimbly jump between melody and crunch, making a song work that otherwise might have fallen apart under the care of less skilled instrumentalists. Composer Jonah Weingarten – who some might know from Pyramaze – has provided a killer score. He is great here in splicing ambient melodies and atmospheric tendrils together into a tight sonic expressions. The orchestrations don’t batter you over the head Nightwish-style, but are organic and fit seamlessly with the other musical elements. Elina Siirala has truly stepped up her game vocally on this one. Not that she didn’t hold her own before, but this is on another level from her previous efforts. The first time I heard the intro track “Forged By Fire” I wasn’t even sure it was Siirala singing. She evinces some real Tarja Turunen vibes on the verse here before moving back into her more accustomed timbre on the chorus. Another example of this change is “Into Eternity.” While I wouldn’t say the song itself is overtly commercial, she does give almost a pop sensibility with the texture of the delivery, crooning and oohing her way through the track. And all along the way Krull gives the perfect growling counterpoint… exactly as much as needed, when its needed, and never overstaying his welcome. While I have enjoyed Leaves’ Eyes last few albums, I have felt at times the band had bogged down with certain stylistic elements that deviated from the core of what they do best musically. Hats off to producer and mastermind Alexander Krull for delivering one of his best efforts. I’m giving Myths Of Fate a rating of 9/10. Myths Of Fate is released on March 22nd by AFM Records. You can purchase the new album plus other music and merchandise from the band via their official website and many other online outlets.

Welcome back to The Great Metal Debate podcast. Its Xander with another underground metal release. Today we will be looking at the Louisville based melodic black metal band Volcandra. This is their 2nd full-length studio album titled The Way of Ancients which comes out on March 1st through Prosthetic Records. For this review, I decided to go back and re-listen to their 2020 debut Into The Azure as a way to compare the band’s previous work with the current release. Is it a step up or step down? My answer is that The Way of Ancients is leagues superior than the debut. The opening track "Birth of the Nephalem" eases us in with a calming guitar riff for the first minute and 20 seconds before knocking us down with the sudden blast of heavy music. The winding guitar riff that follows is an earworm that will have you playing air guitar. Not to mention the noticeable fluctuations in the Dave Palenske's vocal pitch "Fouled Sanctity" is a fast very groovy head bobber that has a mellow riff in the middle of the song that reminds me of some older bands in the scene. This is because guitarists River Jordan and Jamie DeMar work very well together when it comes to sounding very lively. I love the creepy piano intro for the next track which is titled "Nemesis Confession". Once we hear the old bell, this song becomes a furious, straight forward black metal song. It is certainly one of, if not the fastest song on the album musically. Not the fastest vocally but we'll get to that one later, believe that! Drummer Mark Hargrave continues the heavy rain of blast beats in "Maiden of Anguish". He provides this only in moderation for an enjoyable black metal listening experience. Mark has the proper hand eye coordination to use each and every drum and cymbal on his kit for just the right amount of change up. "Seven Tombs" is another song with a soft and calming beginning but if you have been following the pattern so far, you know that won't last long. There's a lot of lyrics that are thrown at you at full speed followed by some group vocals. There was a part where a guitar solo would be in full swing but was interrupted by the vocals coming back too quickly. "The Blackened Temple" is the fastest and blackest black metal song on this album and also my favorite. It’s an unrelenting banger. The whole song is fast and even the slow down halfway through all the chaos is still every bit as amazing. Dave spits out entire paragraphs worth of lyrics with a hyper speed delivery. There is so much to say about the musical structure of the track "Not Even Death" as it can be all over the place in the best possible way. Its unpredictable with a lot of twists and turns in the guitar riffs. I believe its best not to spoil this one, as it should simply just be listened to. I can describe it but I'd rather you just hear it for yourself. Last we get the album title track "The Way of Ancients". Definitely the longest track but its among the best this fantastic album has to offer. And because I haven't credited him yet, Andrew Casciato has done a terrific job of tying the music together with his bass playing abilities throughout this entire record. My final thoughts about this kick ass underground metal band is that I hope they play a show in Nashville sometime soon. If not, I'll host a show with them this summer with plenty of supporting local black metal bands in the Tennessee scene. Believe it or not, Tennessee has a lot of underground black metal bands, many of which would welcome Volcandra and another great Kentucky band like Bihargam. I can't recommend this one enough. Mark your calendars for the 1st of March because you're going to want to purchase both the digital copy and CD. I believe they are currently accepting pre-orders for The Way Of Ancients on their Bandcamp page. These guys deserve your attention and I'm going to give them a score of 7.5/10.

Welcome back metalheads to a new episode of The Great Metal Debate podcast! In early 2020, I recorded my first album review for the previous album titled The Coven by this criminally underrated band from Finland - Torchia. 4 years later we are treated to yet another Torchia album titled Arcane Magicae. Torchia is still signed with Rockshot Records and I was unable to find the name of their sound engineer or producer. Whoever it was, they once again did a phenomenal job on the mix and mastering. Every instrument is audible without a single washed out note and is crystal clear. The first song is "There's a Witch Among Us" and it is a bop! A few weeks ago after I first heard it, I was at work with the chorus stuck in my head. One of my co-workers thought I was possessed because I kept screeching "There's A Witch, A Witch Among Us!" Hats off to Edward for improving his vocal range during lockdown. "My Dearest Fiend" is a groovy head bobber with some guitar riffs played by Ville Riitamaa. The particular style reminds me of Torchia's neighbors in Children of Bodom. I can really hear the windy harmonies that closely resemble what Alexi Liaho use to pull off. The influence is definitely there and it's certainly welcomed. "La Magra" is another track to get your foot tapping along to the beat. The drums sound very crisp in this recording just like with every song on the album. Ville Virtanen's precise skills do not go unnoticed. The fact that he keeps it up for the duration of the longer tracks is an impressive feat alone. His tribal moment opens the next song titled "Rat Shaman" which is another all out rager. Eetu Tingander, who is the new bass player, shines in the beginning of the track "Serpent Icon" with his 30 second riff. I love how both the guitarists never seem to drown out his bass with their continuous shredding all over the frets. Henri Heikkinen serves up the chuggy guitar moments that are guaranteed to get your head nodding. "The Messenger" kicks things off with a symphony before smacking you in the face with a tasty guitar solo and then sucking you right back into another calm moment before the vocals come in. This one is slightly unpredictable when it comes to the fluctuation of the myriad of tempo changes. And then we come to "Red Luna Ceremony" which unleashes a very old school, I'm talking Lunar Strain era In Flames sounding dual guitar riff. Don't get me started on the very techy sounding solo that is sure to melt your face off when you hear it. It's almost as if Torchia took my 10/10 rating for The Coven and said "Hold my beer" because they have really dialed this one up to 11. It undoubtedly surpasses the former record especially with a song like "Silver Horns" which is among one of my favorites. Lastly we have the title track "Arcane Magicae". When I say that this band runs like a well oiled machine, the engine purrs. Many people refer to Sweden as the melodic death metal capital of the world but Finland has been making waves in recent years with bands like Mors Principium Est and Omnium Gatherum. Arcane Magicae proves to be a formidable example of the Finnish scene being a sleeping giant. Not to mention, I have always been a fan of stopping the music in the middle of the song to make a specific lyric stand out. In this case we hear Edward shout "To make the world burn!" Which if you ask me is cool as fuck! I knew back 4 years ago that this band was special and deserve every bit of the praise. Finding a band like this in your YouTube recommendations will make you feel like Sisu who just struck a gold mine. However, we still have 10 more months of 2024 so maybe I'll hold back just a hair this time around. My final score for Arcane Magicae is an easy 8.5 out of 10. I strongly recommend checking out this album and you can show your support for them by buying their music and merch from their Bandcamp page.

Welcome back metalheads to another episode of The Great Metal Debate podcast. Its Xander back with a new album review. Today we will be briefly talking about my thoughts on the new album from Hulder titled Verses In Oath. Those of you not in the loop, Hulder is a one woman black metal band from Washington State. I had heard the name Hulder muttered a few times on the internet over the past few years and I mistakenly thought it was an old school black metal band. But sometime last spring, I decided to give her a listen and discovered that Godslastering: Hymns of a Forlorn Peasantry was the one and only album released by her on Iron Bonehead Productions back in 2020. I remember thinking the album was okay but before I began listening to Verses In Oath, I figured it would be a good idea to revisit the debut. In the past week, I have listened to the debut twice in a row because I ended up being kinda impressed when I really paid a lot more attention. For Verses In Oath, we see that she has now signed with 20 Buck Spin. And 3 weeks ago, black metal promotion uploaded the first new music video for "Hearken The End". I had listened to the single only a couple times before I got my hands on the promo and even after listening to Verses In Oath front to back 3 times, I can confidently say that ... Godslastering is better. Sorry. Don't get me wrong, Versus In Oath is a decent record but its a small step down. It all begins with the obligatory intro track where all you hear is the sound of crows cawing followed by some thunder. Its very generic and cliche compared to the first song on the debut which was "Upon Frigid Winds". That was a great way to kick off a first album, not some build-up to a forgettable track like "Boughs Ablaze". Going back to that single "Hearken The End". It don't mind the hypnotic chanting/choir esq clean vocals she does but it seems like the guitar throughout the majority of these songs are washed out in the mix with the other instruments. Its certainty a far cry from a song like "Creature of Demonic Majesty". The album title track didn't really do much for me either but one thing about this record that I thought was silly was the two interlude tracks. Why couldn't the operatic sirens of "Lamentation" just be combined into the same track as "An Offering"? "Cast Into The Well Of Remembrance" was a song that stood out to me because of the synth work and the acoustic guitar moment. Too bad it was faded out in the studio mix and was overpowered by the drum cymbals being too loud. Plus there was that mild tempo change where the electric guitar and the vocals both sped up together. The remaining three songs didn't stand out much to me as they all kinda sounded too similar. This type of black metal definitely appeals to a certain crowd being both avant-garde and a little on the raw side. Again, I must clarify that both of Hulder's records are decent but are not what I would rank as top tier. I applaud anyone who is a one person band because it shows both musicianship and dedication. I can also appreciate how her lyrics are more focused on medieval folklore instead of the tired satanic theme we're all used to seeing. So if you think you'd be into this, I'm sure you'll be able to buy her digital files and merchandise on her Bandcamp page. But in conclusion, I'll rate Versus In Oath with a 5/10.

Welcome back to The Great Metal Debate podcast with a new album review, talking about the Nashville based black metal act Obsidian Shrine. This is the band's 3rd full-length studio album titled Dereliction of Divinity. For some reason, my mind went to that Incantation song "A Once Holy Throne" when I saw the song title "A Vacant Throne" but the two tracks sound nothing alike. Obsidian Shrine is a band who is heavily influenced by Marduk. Marduk was never a stand out to me personally as I feel like other talents in the Norwegian trve kvlt black metal scene have overshadowed them in terms of quality song writing. However, Murmur and Nazgul seem to have a way of making their guitar riffs pop as if they just know exactly how to harness the best elements from 2nd wave black metal like Gorgoroth and Dark Throne but give it a clean studio mix. Since I just blabbed on and on for filler sake, I'll remind you that this first track is called "A Vacant Throne" and if the former album is anything to go by, this one is loud, aggressive and in your face with the screeching banshees for vocals. They keep the raspy screams coming throughout the duration of not just this nearly 6 minute opening but the remaining 5 tracks as well. "A Vacant Throne" begins with the sound of howling wind before the early era Naglfar-esq riff and opening scream rips your face off. The drum work is speedy and unrelenting and the vocals are angry. Not to mention there is a brief but very sweet face melting guitar solo loaded with sweep picking. Next we have the song "Licentious Procession" which brings more vocals that sound even more venomous and you can really feel the seething hatred within the very few words you can actually pick out on the first handful of listens. The main rhythm guitar has a more memorable riff this time around but it's here where I must point out my first critique. I don't hear the bass at all in this music. I'm unsure if the Inquisition approach was intentional but this music could certainly benefit from having the 4 string turned up a little. "Obsolete Ideology" is the third track where this issue continued and in all honesty, it's not a track that I particularly remembered after my first listen but it later grew on me just a little. Still not my favorite track on this new record but it's still a blistering banger nonetheless. "Evil Has Its Day" is my favorite song on this album. As someone who thoroughly enjoys the melodic subgenre the most, it was refreshing to finally hear an undistorted guitar moment where the blast beats finally take a break. The blissfully sinister part comes with the nasally ghoul-like vocal break. Key components like this are what makes me pay the most attention. I wish there were more breaks on this album where different vocal styles or musical compositions come into play. I love the calming guitar riff just after the goblin vocals finish rolling its R's. It's short lived but still a great moment. The 5th track serves as a simple instrumental with long notes and a metronome drumbeat. Its meant to be an intermission or rather a prelude to the final song. Throughout we hear a loud mouthed TVangelist preacher fear mongering to all of his gullible followers. It leads nicely into the final song which happens to be the album title track. "Dereliction of Divinity" kicks off with black metal sound but after the first minute, we get a tempo change that slows to a grinding riff but the vocals stay the same. I'm glad the riff stays like this before the very Kerry King style guitar solo shreds in a quick and chaotic way. It's unfortunate that seconds later, this short album concludes very abruptly. There's no winding down or fading out. It just kinda ... stops. Dereliction of Divinity is an album I strongly recommend to fans of bands like: 1349, Taake, Watain or Sargeist. I'll give my boys a fair score of 6.66/10 rating.

Welcome back to The Great Metal Debate podcast. Today we’re reviewing the new album Ultrapower from Canadian trad metal crew Striker. Packed into the 41 minute runtime comes an album that very much reminisces the 80s, albeit with a completely modern musicianship and production. The riffs are plentiful, the vocals high-pitched wailing, the drumming fast and clear, the bass guitar strong and snakelike, and the production puts everything right in the front where it should be. There are no ballads and no filler. Striker doesn’t deviate from the retro sensibility with any modern silliness like operatic vocals, massive orchestrations, or prog stylings. This comes straight from the era of metal's old days when Maiden and Priest were extreme metal. Ultrapower is loud, proud and completely fucking hair metal through-and-through, and the band exploit that nostalgia in every possible way. So, how good are the actual songs here? Well, to be honest, and as we would say back in the 80s - they all rule! To give a more detailed breakdown, let me have you close your eyes and picture yourself circa 1985 the standing in the hair metal arena as the house lights dim. As the pyro goes off Striker hits the stage with the blazing, straightforward "Circle Of Evil," which rips forth with killer Motley Crue-esque leads and riffs, and outstanding melody. Striker channels Y&T on "Best Of The Best,” an uptempo, hooky as hell track which capitalizes on a strong driving riff and furious drumming to create a sense of urgency. “Give It All” features guest instrumentalist Kenny G… okay, not really, but… really Striker? I love wind instruments in my folk metal, but this is a bit much and I have a playlist reputation to uphold. The next track "Blood Magic" is a high-octane blazer with so many different things going on at once that your head will spin. “Sucks To Suck” is a party-rocker with some killer vocal melodies and heavy guitars that sear and chill with a furious intimacy. "Ready For Anything" has great, trilling guitar-work and a catchy chorus that rivals anything Ratt or Dokken put out back in the day. "City Calling" is a jaunty power-disco anthem with a cool, commercial atmosphere that I’m uncomfortable with how much I enjoyed. Maybe my pick for best song on this thing. “Turn The Lights Out” and "Thunderdome" are more full-speed-ahead AOR, with the former giving hints of Riot V, and then as if straight off the Top Gun soundtrack we get "Live To Fight Another Day." The show and album closes on a high note with the aggressive and hilarious "Brawl At The Pub," leaving the listener at this point exhausted yet still wanting more. The band moves at a forceful rate throughout Ultrapower, pulsating with energy as a unit and just ripping forth walls of sound and having a damn good time while doing so. Dan Cleary’s soaring hard rock vocals are brilliant in every track, and he often dips into his bag of tricks to do something unexpected. The twin axe attack of Tim Brown and John Simon Fallon make no pretenses about showing off their skills, preferring to make the songs the thing and any display of their technique secondary. Striker exudes innocence here in the way that they seem to want nothing more than to create this music, have fun and make old school metal fans happy. I enjoyed Ultrapower, but for those like me who can be lactose intolerant of 80s metal cheese, this album can be a difficult one to digest. I mean, we’ve come a long way since the 80s with so many new metal subgenres and bands doing things that put that bygone era to shame. But I get there are many who will find Ultrapower to be written exactly to their musical tastes, whether they be grey hairs who recall the actual 80s or younger metal fans who just love the aesthetic. My own suggestion: sample this album in moderation to see whether it works for you, but proceed carefully if you feel any bloating. Ultrapower is released on February 2nd from Record Breaking Records.

Welcome to Metal Debate podcast. In March 2024 Canadian metal clan Lutharo returns with their sophomore full-length album “Chasing Euphoria.” Lutharo kick things off with “Reaper’s Call,” an agreeable track that keeps it pretty close-to-the-vest musically. Lutharo are excellent at creating an aesthetic of anger and aggression but also positivity and hope. This one sets a high bar for my expectations for the rest of the album. The next track is “Ruthless Bloodline,” a song front loaded with extreme and fast paced riff-craft and screams, but also with a choral melody that is incredibly catchy. I love the aggression displayed by vocalist Krista Shipperbottom. It’s a killer track and one that was a true headbanger when I saw them play live last year. “Time To Rise” is one of my favorite songs from the album and a true gem. Here Shipperbottom flips her standard gameplan with soft, melodic versing transitioning into a harsher – yet still pleasingly melodic – chorus. This one just flows wonderfully with each musical element fitting snuggly alongside the other. Next is “Born To Ride.” This is such a fun track, and one which has also been released as a tongue-in-cheek concept video. Musically, this is another uptempo melodic winner with great riffs, solid singing, and some 80s metal feels. Things go in a more classic heavy/thrash direction instrumentally on “Bonded To The Blade.” I’m not sure the vocal mix on the pre-break bridge exactly worked, but I do appreciate they did something different there and made the effort. Toward the end of the track I enjoyed the whispered lyrics and symphonic elements which further differentiated this one. More great melody and plenty of aggression on the chorus. #6 in the listing is the title track “Chasing Euphoria.” I like the overall song structure and especially the tasteful solo from Bucur makes it worth the cost of admission. Somewhat different than any other song they’ve released before, again representing that the band are continuing to evolve and push the boundaries of their sound. “Creating A King” sounds a bit like contemporary Flotsam And Jetsam to my ears in how it melds the thrash and power metal feel. It’s another example of some outstanding song construction by this band taking the listener through a number of tempos and colorations while still successfully maintaining tight song cohesion. The next song, “Strong Enough To Fall,” does a fine job delivering a divine guitar melody and one of Shipperbottom’s best vocal expressions on the album. The guitar, bass and drum work together at a groovy pace crafting a captivating energy. Super catchy and upbeat; there’s nothing not to like here. The tenth track “Paradise or Parasite” gives us another excellent lead break augmented by a helping of superb orchestral backing that really solidifies the overall sound. I love what Shippenbottom does toward the end giving kind of a falsetto prior to her more agonized screaming. The song’s orchestral outro is glorious! “Chasing Euphoria” closes out the tracklisting with “Freedom Of The Night” which starts softly and then evinces a grand feel. Coming in at 7 minutes it’s the longest song on the album. There’s plenty of time changes throughout and some gentle parts here and there, though still more than enough of aggression. There’s also more orchestral flourishes. Not a bad track, but not one of my favs. I’m giving this album a rating of 9 ½ out of ten. "Chasing Euphoria" is released March 15th through Atomic Fire Records. Preorder it now – it’ll put a smile on your face and then will proceed to rip your face off!

Xander and Gomthog are back to count down their top metal albums of 2023! Intro music by CONTRA; all tracks used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate https://www.facebook.com/thegreatmetaldebate

Welcome back metalheads to a brand new metal album review on The Great Metal Debate podcast. Originally I had planned to review the new album from the Netherlands black metal band Asagraum, but I found something at the last second that completely blew that away. Thanks to the website Angry Metal Guy, I spotted an album cover that intrigued me enough to check it out; especially since the artwork depicts a very weird moment in history. In 897AD, Pope Stephen VI dug up the 9 month old corpse of his predecessor Pope Formosus, dressed him up and brought him to a court trial. You can't always judge a CD by its album cover but to my delightful surprise, the band in question is a wonderful cross between melodic death metal and folk metal. Hey Gomthog, I am 100% certain that you would fall in love with this Denmark based band called Sylvatica and their new album titled Cadaver Synod. This amazing release was dropped on October 20th through Target Records. This is my introduction to the band but they have apparently been around since 2009 and I'm just now hearing of them. The opening track "Strife" starts off with a church sounding organ that sounds ominous in an upbeat sort of way. The guitars coming in behind it with those groovy melodies pretty much tell you exactly what you're getting into. While the vocal style isn't really my type, the music definitely makes up for it. The harsh vocals of the lead guitarist Jarden sounds like he would be in the dwarf themed folk metal band Windrose and the backing shout vocals of bassist Thomas Haxen give off that extra folky feel. Next we have the song "Papa Poltergeist" which has the higher ping notes on a keyboard and strange synths behind the riffs make it the perfect music for any Halloween party. Especially the beginning of the song "Scapegoat" which has the perfect spooky vibe and it reminds me of Scooby-Doo and the gang walking through a graveyard. I love how it has an almost 80s power metal guitar riff in it which sounds larger than life. My only critique is that the word "Scapegoat" gets shouted a little too much making it the most repetitious song on the album, but not enough to annoy me. It's still an easy listen that never really feels like a drag. I skipped over a few tracks to make that point but let's go back to the song "Pope Innocent VIII" as I believe it to be another highlight of this album. The very audible keyboards used throughout this album isn't credited by the metal-archives (my main source of information) so I don't know exactly who to praise. However I will say that it's my favorite part of this gorgeous album. Then we have a track titled "Song of the Leper" which is a beautiful folk metal song complete with a full choir. The first lyric of the song is "Spare a coin for your leper ..." which should remind most people of that viral song from the Netflix show The Witcher. If you don't immediately think of "Toss a coin to your witcher" when you hear it, then maybe you're not keeping up on modern pop culture references. The album concludes with an acoustic version of the song and I can't decide which one I enjoy more. But let's not forget the song before the bonus track. "In The Eyes Of God" has a lot of power metal influence musically but the vocals have more of the melodic death metal tone that I more than approve of. That acoustic part before the final guitar solo was very pleasing to my ears. Again, this band was a very pleasant surprise and I'm glad I stumbled upon them. I will be listening to their previous 2 records Evil Seeds and Ash And Snow for sure after recording this review because I might be missing out of some great material that I should be catching up on. I give this one a 8.5 out of 10. Make sure you buy this record on Bandcamp and show your support for these guys. They are a hidden gem that unfortunately many people might end up skipping over. If you're listening to this review, I can't recommend enough that you give these guys a chance.

Today we’re looking at the new release from US power metallers Immortal Guardian entitled Unite And Conquer. I’ll begin with the album’s first track, “Ozona.” This one is very representative of Immortal Guardian’s approach generally, and would be at home on any of their other releases, as it displays what the band does so well. The flurry of melded guitar and keys at the beginning is classic Gabriel Guardian! There are some good riffs to be found here, albeit not super hooky. The versing is kinda so-so, to be honest, but when the chorus hits you there’s some great syncopation and unity of sound and direction. And the time-change accompanying Zima’s plaintive “whoa-oahs” at the end is just icing on the cake – really drawing the listener in to the magic of this song. Like so many of their tracks, I can find imperfections when I break them down into their components, but the sum of the performance is typically greater than the parts. Jumping ahead to song three in the listing we find the energetic yet evocative “Roots Run Deep.” This one features guest vocals from the mighty Ralf Scheepers of Primal Fear. I love Scheepers as a singer, and think his is a nice contribution, but honestly Zima’s voice is the star here. The baritone intro he gives at the beginning is absolute gold – you won’t hear many genuinely metal songs that include that brand of vocal delivery, much less in a way that fits so seamlessly with the feel of this song. Uptempo with great kitwork by drummer Justin Piedimonte, I really can’t get enough of this one! Further in we find “Lost In The Darkness,” another track with guest vox, this time from the amazing Vicky Psarakis, formerly of The Agonist. Much like in the previously discussed song, Psarakis’ assist is solid but serves best as a foil to launch Zima’s own stellar crooning. I just love the trade off lead vocals, with each singer trying to out do the other. And Guardian’s solo is fire – the perfect length and tone. My final song to highlight is “Divided We Fall”, and if I had to choose one track on the album it would likely be this. The thing I most love about “Divided” is that, in a number of respects, the band kinda keeps it right on the edge musically. The bridge in particular is a very haphazard sonic skittering where I feel like the band is at any point about to take the song off the rails… but somehow they pull it off and transition into that moderate paced but beautiful verse. Zima really pushed himself to his limits on this one to great effect exuding killer voice control. Those are my favs, but the other six tracks each have something to offer as well. I’ll admit I’ve not given Carlos Zima his proper due as a singer, initially in my own mind lumping him in with a subgroup of singers having surface vocal similarities. But Zima is a hell of a singer, and he definitely proves it on this album with some of his best performances to date. We haven’t touched on “Un Dia A La Vez,” a song where he opens himself to some ranges he hasn’t on any previous Immortal Guardian track, so very beautiful and in some parts almost feminine in his delivery. And the album finale “Rise Of The Phoenix” has him able to convey emotional subtleties before exploding into a scream machine. Gabriel Guardian is truly remarkable in his approach utilizing both the guitars and keys as true twin lead instruments. Guardian has the keys in the foreground bringing loud, tight notes and driving that lead melody. There’s a lot of work Guardian puts into building these compositions such that the instruments complement and don’t clash. I’m giving Unite And Conquer a 8 ½ out of ten rating. It’s absolutely worth your time to check out. Support Immortal Guardian by purchasing Unite And Conquer from M-Theory Audio.

In this interview Xander checks in with the guys from Fires In the Distance during their Nashville TN tour stop opening for Dawn of Ouroboros! Excerpts from the Fires In The Distance track "Harbingers" (Air Not Meant For Us, 2023) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate https://www.facebook.com/thegreatmetaldebate

Phil ‘Landphil’ Hall of black metal upstarts Morbikon to discuss the band's recent debut live shows and much more! Excerpts from the Morbikon track "Consumed By Entropy" (Ov Mournful Twilight, 2023) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate https://www.facebook.com/thegreatmetaldebate

War Curse are releasing a new album “Confession” via Metal Blade Records. I’m going to briefly touch on each of the album’s 10 tracks, and then give a longer exposition of my thoughts. First up is “The Nothing (That Is Me)”, which begins with some light acoustic guitar transitioning into electric and then riffs generated at a stomping pace. It’s not very thrashy at all, just seeming to awkwardly build but not exactly going anywhere. Track 2, “Fortress Of Agony”, has an unwieldy bridge that transitions into a somewhat dull verse. The solo here is decent if brief. I’m not sure what they’re trying to accomplish with this song. Frankly it’s not very metal to my ears. Next is the title track, “Confession”. There’s some decent crunching guitars at the beginning, but then the lackluster verse transitions into a chorus that is absolutely horrific. Just terrible execution – this is a full-scale failure on every level. That abortion is followed by “Miracle Broker.” This song is kind of groove metal-ish and perhaps a little proggy at points. The lead break isn’t bad, either. Not great, but not terrible and probably my favorite track on the album. Next is “Power of the Powerless” which is upbeat in the versing but slows and devolves into an unenergetic chorus. There’s a nice interlude and I appreciate some of what of they do with the drumming. But those points aren’t enough to make up for the overall shortcomings. “The Convoy” starts with some interesting guitarwork and vocal melody. I was hoping those would continue and we’d get some full-blown black or folk metal elements introduced, but alas forthcoming was just mid-paced guitars, vocals with a pretense of anger, and another shit-show chorus. The seventh song is “Return To Dust.” We have an initial quasi-thrashy intro and a touch of a melodic riff before the song turns away from promise to an unappealing shouty sing-song. The sad thing is that I think there’s a decent set of riffs there, but the song construction is so poor that they aren’t allowed to breathe. “Return To Dust” is followed by “Sowing Division” which evinces more of the same poor songwriting featuring faux angst vocals comically assembled. There’s a few nice flourishes by the guitarists here, but putting a scoop of ice cream in a bucket of turds still doesn’t make it taste good. The penultimate track is a cover of a Grip, Inc. song, and finally we end with the upbeat “Illusion Of Choice” which does have a nice kinda proggy intro… and then back to another boring set of verses and a lame chorus. As I listened to this I just kept thinking to myself: what on earth were War Curse trying to accomplish with this album? This doesn’t seem to incorporate any appealing elements of metal music. Again, I’m not a huge thrash fan, but I think there are some outstanding thrash acts today doing some truly interesting things. I’m thinking about artists like Vektor, Havok, and Revocation. Not only has War Curse not moved in the direction of those bands, nor brought in engaging influences from other metal sub-genres like death, power, black, folk, symphonic, tech, etc., they seem to have eliminated what thrashy goodness they previously had. What metal band sounds like this? I can’t think of a single one, at least that I’m familiar with. In summary the musical aesthetic on “Confession” is unappealing and devoid of anything memorable or interesting. I’m shocked at how bad this is because War Curse’s previous two full-lengths were decent and I had no reason to think they couldn’t at least create another adequate album. Perhaps the most damning critique I can give – and one I don’t give lightly – is that musically this sounds as much or more hard rock than metal.

Welcome back to The Great Metal Debate podcast. Today we will be looking at the Finish black metal band Moonlight Sorcery. This is the band's first full length debut album titled Horned Lord of the Thorned Castle, released September 29th through Avant-garde Music. Last year's EP titled Piercing Through the Frozen Eternity, we got some noticeable guitar riffs that didn't quite break through that obvious power metal sound yet. Another EP that came out last year titled Nightwind: Conqueror from the Stars was a small improvement on the overall song writing. Earlier this year we got a single "In Coldest Embrace" which opened the door to much better studio production quality. They also did an amazing job on that Deep Purple cover for the song "Burn". For this debut we kick things off with "To Withhold The Day". Instantly we get an epic audible pummeling followed by the lower strings on the guitar fret making the listener close their eyes to take it all in. These sounds eventually lead you into an infectious melodic hook. Surprisingly there's even a wonderful guitar solo in this song as well which is much appreciated. Solos aren't the first thing you think of when you're talking about black metal so even if they're not reinventing the wheel, it's so refreshing. Next up is that aforementioned single from earlier this year. It's good but we're not going to dwell on it for too long. In fact, we'll skip ahead to "The Secret of Steaming Blood". Love that title by the way. That opening chug riff before vocalist Ruttomieli screams the name of the song "THE SECRET OF STEAMING BLOOD" before the rest of the lyrics definitely got my blood steaming. Maybe the secret is to play this song. Let me tell you, despite its intentionally raw sound, the riffs are still groovy! It's all thanks to the 2 guitarists. One of them who is labeled as the rhythm player goes by the name Haaska and the other who is the lead, also credited as the bassist. Speaking of not being able to pronounce things, we have the next track which starts with the letter Y. It looks like it says "Yonsilma". Those dots above the O and the A indicated that I did not say that correctly. But one thing I will say is that despite them being in the background behind the vocals, the shredding guitar work is face melting! "Vihan Verhon Takka" continues the trend of the guitar work knocking your socks off with those pinch harmonic style riffs. I didn't think I was going to be treated to such an imposing power metal presence in the overall tone but boy am I glad it's here to stay. Throughout the album we get so many symphonic elements sprinkled into the songs. There's so much variety here and I doubt that any fan of black metal would get bored. To further prove my point, we have "The Moonlit Dance of the Twisted Jester's Blood-soaked Rituals". It has a winding guitar riff and a few crazy yet maniacal laughs and there's no vocals. That's right, this one is a jaw dropping instrumental track. Most interludes like this are calm, but not this one. This one is relentless! "Fire Burns The Horizon" takes you straight back to the blistering cold black metal experience and casts a spell on you after its second half which causes the listener to become even more entranced. The echoey sounding voice that you hear feels like it's coming from deep within a dark cave. "Into the Silvery Shadows of Night" is a relaxing tune with haunting screeches. Dor the concluding song, "Suden Tie (Wolven Hour pt. 2)," "Wolven Hour" was a song title on the Piercing Through the Frozen Eternity - EP so it's cool that there's a follow-up to it. It's an amazing way to end a solid debut album. When I say that Horned Lord of the Thorned Castle is a solid debut, I genuinely mean that! This is hands down one of my favorite black metal albums of the year and gets a 9.5 out of 10 from me.

In this interview we check in with Iowa death metallers Pit Lord following their performance at Full Terror Assault Fest 2023! Cover photo courtesy Marisa Dion Art. Excepts from the Pit Lord track "Butchers From Beyond" (Gallery of Skewered Swine, 2022) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate https://www.facebook.com/thegreatmetaldebate

Welcome back to The Great Metal Debate. Today we’re bringing you another metal album review, featuring the latest from US metallers Theocracy titled Mosaic. Let’s take a dive into this release track-by-track… Mosaic goes right for the throat with the rapid-paced opener “Flicker” which is reminiscent of Dragonforce in its versing. Here we hear the first of many masterful lead breaks executed by new guitarist Taylor Washington, who some might know as frontman for the band Paladin. The next track, “Anonymous,” is classic Theocracy. The vocal melody in the chorus is just a tad sugary for my taste, but fits with the overall vibe of the song and I do love that final shout vocalist Matt Smith gives at the end. There’s also some sturdy riffs scattered throughout by guitarists Washington and Hinds. Third on the listing is the title track “Mosaic,” which was released in advance and in music video format. The song starts softly and then hits hard with Unleash The Arches worthy riffs and leads. I really enjoy the overall feel of that’s created by the band: killer from start to finish with galloping guitars and beautiful, subtle overtones. The next track on the docket is “Sinsidius (Gods Of War).” If found the song bit disjointed at points but it’s still kind of a banger, and definitely one of the heavier tracks on the album. I’m not sure everything works perfectly on this song, but I really appreciate that Theocracy tried a lot different things. Speaking for myself, sometimes the imperfect experiment is more appealing than the safe sure thing, and ultimately it works enough to makes it a fav of mine on the album. In contrast, “Turn To Dust” is much more traditionally structured – a very straightforward and incredibly catchy track. That main riff is a killer, and I am in love with Washington’s solo. I hear hints of “Breaking The Chains” era Dokken in this one. “Turn To Dust” is followed by “The 6th Great Extinction.” Another song where the chorus is slightly too sweet vocally for my taste, although the killer lead makes up for any shortcomings. The band channel Iron Maiden on the intro to “Deified,” which is another fast paced rocker. This song does a great job of creating some dramatic build-ups, with the guitars adding jubilant bursts of sound. The chorus brings it home for the most part, although the track loses some of its steam at the end. “The Greatest Hope” is a brief, ballady track. More than just an interlude, but light in delivery as a full song. Smith’s voice is beautiful but I wasn’t a fan of the melody or pacing used here. The acoustic guitar really didn’t do much for me – I probably would have preferred this one with more orchestrations supporting the vocals instead. Thereafter we find the somewhat schizophrenic “Liar, Fool, or Messiah.” For me there’s a bit of a disconnect between the verses and chorus – they just feel like they’re not quite on the same page. The vocals though are really strong on both counts. The album finale is “Red Sea” – a 19 minute monster that truly delivers. I won’t try to summarize this epic which contains more music than most Eps, but I will say it’s a cohesive song – not merely an amalgam of musical ideas that you sometimes get with such efforts. I love the production, particularly the amazing guitar tone and well-crafted, nuanced keys. Washington’s lead guitarwork is fantastic and longstanding drummer Ernie Topran executes quite well throughout keeping things interesting rhythmically. Smith hits all the notes just right and belts the lyrics with amazing passion. He’s a gem of a singer who sadly has been hidden under a bushel basket as far as popular recognition. This is great stuff, and more than competitive with more recent efforts by Blind Guardian, Beast In Black, or Gloryhammer. I think this is the best album Theocracy have ever put out – I’m giving Mosaic a 9 out of 10.

Welcome back metal heads to another episode of The Great Metal Debate podcast. It's Xander back with a brand new album review. Today, we will be looking at The Enduring Spirit by Canadian death metallers Tomb Mold. I was first introduced to Tomb Mold a few years ago when someone on my Facebook told me to check out their 2018 album Manor of Infinite Forms. I remember enjoying their brand of death metal but at the same time, I never became a huge fan. This new album however might change that for me. I have a friend in the UK who told me the other day that Tomb Mold was releasing a new album so I decided to give it a listen. Needless to say, this band has definitely improved upon their sound. There's obviously a lot more technical and groovy parts in the riffs instead of the dirty and grimey sound I'm used to hearing from these guys. This time around, things seem to be a lot more polished with even some calm moments. A perfect example of this would be at the beginning of the track titled "Will of Whispers''. In fact it reminded me a lot of Rivers Of Nihil's Where Owls Know My Name just a little but then again, there were many other times throughout this record where I got Hooded Menace vibes; so much so that I even went back and listened to one of my favorite 2021 albums The Tritonus Bell. Tomb Mold is a band that has evolved since the previous album which was released right before COVID. This means that the band most likely had a lot of time during lockdown to really brainstorm and write a perfect new album that stands out among the rest in the discography. In my opinion I think this is the best material they have ever created. Derek Vella and Payson Power are both absolute riff machines and provide a gorgeous guitar solo on the track "Fate's Tangled Thread" and of course Kevin Sia rips on the bass. I love how the bass cuts through the music like a knife through warm butter and to make it even more impressive is that the guy is only rocking a 4 string! Usually death metal bands with the techier sound need at least a 5 or 6 string. I mean hell, the band Obscura has a bassist who shreds on an 8 string fretless bass. As I was watching the making of this album I saw that Kevin's 4 string is also fretless. That's awesome! Especially hearing the bassline in "Servants of Possibility". I'm going to be doing a review for the new Autopsy album next month and it got me thinking about how rare it is for the vocalist of a band to also be the drummer. It takes a certain set of skills to be able to pull of those slow cavernous growls while also blasting away at the drums and Max Klebanoff can do exactly that! On the album title closing track which has the full name "The Enduring Spirit of Calamity", the guitar riffs remind me a lot of the middle era of a band like Decrepit Birth. As a fan of that particular style of tech death I can appreciate that. Now the metal-archives doesn't label them as tech death but I feel like it's the direction that this band is going and I can't wait to see what they put out in the future. This album was a breath of fresh air and I can see myself listening to this one a few more times before the end of the year. I have nothing but positive things to say about this one. Let's give it a nice little 8.5 out of 10. It's amazing but at the same time not really my go-to genre yet it deserves some much needed attention and support. You can support Tomb Mold's music by buying their music from either their Bandcamp page or from their record label website 20buckspin.com. Tomb Mold is also available on all streaming platforms.

Welcome back metal heads to a new episode of the great metal debate podcast. Did you honestly believe that I, Xander wouldn't talk about the new Dying Fetus album Make Them Beg For Death? Of course I'm going to review the shit out of this one. Those of you who don't know me personally, I am a humongous fan of Dying Fetus and have been since I was 16 years old. I'm 32 now so do the math. That's half of my life! The very first song I ever heard by them was "One Shot, One Kill" from their Stop At Nothing album. But the very first CD I ever bought by them was their 2007 record War Of Attrition. I still know every word to the song "Homicidal Retribution". But my favorite release of theirs was their 2011 compilation CD Infatuation With Malevolence which included both of their early 1993-1994 demos Infatuation With Malevolence and Bathe In Entrails along with some live tracks. I had also purchased their remastered re-release of their debut Purification Through Violence which has one of my top favorite songs by them "Raped On The Altar". 5 years ago, I had pre-ordered their previous album Wrong One To Fuck With and received the CD + T-shirt bundle in the mail a whole week before the release date. In case you're wondering, I chose the Die With Integrity shirt which has the crossed bloody axes on it. It is just one of my 3 Dying Fetus shirts and you bet your ass I scored the Grotesque Impalement hoodie from the merch table last time I saw them live 2 years ago. I'm going to be seeing them live for the 7th time next month when they play with Despised Icon. I'm fucking stoked! You know what, I can gush about this band literally all day long but I've been stalling so let's get into this review. A few months ago, I heard the singles put out for this album and the first one was "Compulsion For Cruelty" and then they put out "Unbridled Fury". Being completely honest here, when I first heard these songs I didn't care for them much. My theory as to why was because I was still working 2 full-time jobs and was running on less than 4 hours of sleep and I didn't listen to them on headphones to make the audio quality better. At the time, they were largely forgettable. In fact, I completely forgot about that song "Feast of Ashes". But listening to all 3 of those songs again in my brand new car that I just got last month on a great stereo system and clear speakers, it made me change my mind and now I think those songs kick serious ass! Trey Williams is just as fast and precise with each drum he blasts away at, Sean Beasley continues to shred on that bass, John Gallagher still bashes your head in with groovy chug riffs and assaults your eardrum with those signature bullfrog croaking style vocals. In fact, John Gallagher is my favorite death metal vocalist. Everything fans love about Dying Fetus is all here on this fucking crushing album! I have decided that I won't sit here and name off all the tracks like I usually do but I have 2 album reviews I'm recording today along with an additional busy day after this. But I will reveal my favorite song. It's called "Undulating Carnage". The whole song is peak Dying Fetus material and I will be just a little heartbroken they don't play this live next month. Despite all my praise, I will say that it's a fucking phenomenal record but at the same time, not my favorite. I say that because I have no real favorite Dying Fetus album. It's true, I don't have a favorite Dying Fetus album. I think they're all great. Yeah, yeah I said earlier in this review that the Infatuation With Malevolence compilation CD had their best content but it wasn't part of their main discography. If we're talking about official full-lengths here, I think it's a perfect fit for everything this band has put out over the last 20 years through Relapse Records. I'm going to rate this a spectacular 9.5/10. Definitely go support the hell out of this band, go see them live, buy their merch and crank their music as loud as you can!

Welcome back metal heads to another episode of The Great Metal debate podcast. It's your man Xander yet again, back with another album review. Today, we'll be looking at the brand new record from Portland based melodic black metalers Uada with their 4th full-length titled Crepuscule Natura. I have been a fan since 2018 when I first heard their 2nd album Cult Of A Dying Sun. That album has become an all-time favorite. I have defended this band for years now against all the internet trolls who consistently bash this band over weird accusations about Uada supposedly copying other bands. Sure, some things might have similarity, but there has always been differences in both musical structures and stage presence. 2020's Djinn album was a fantastic follow-up to Cult and definitely outdid their Devoid of Light debut. Back in late 2019 I had the pleasure of seeing these guys at Zanzabar in Louisville, Kentucky. After the show I got my picture with the whole band but looking back now it's embarrassing. Maybe I can redeem myself one day when I see them live again. But for now, let's dissect Crepuscule Natura. Starting things long and strong, we got the album opener "The Abyss Gazing Back". It's worth pointing out in advance that this album only has 5 songs but each of them account for the nearly 42 minute runtime. Lead vocalist and rhythm guitarist Jake Superchi crushes it yet again with his beautifully written melodic riffs and harrowing bellows. One thing that I noticed immediately was a musical return to form as this new record reminds me so much of their Devoid of Light debut. The winding guitar tune in this one especially toward this track's conclusion is the good kind of earworm hook that you won't mind getting stuck in your head. Hearing this full album on repeat for a total of 5 times has made me appreciate the hard work each member of the current line-up has put into this breathtaking release. Two new members have stepped in as the secondary guitarist Kevin Bedra and Trevor McCain who is now pounding away at the skins. Both of which are seemingly a perfect fit for this band and I must compliment them for a job well done. Then we have the album title track "Crepuscule Natura" which takes you on another hypnotic journey. This is followed up with "The Dark (Winter)". The opening riffs alone are enough to make you enter a meditative state. This is precisely the kind of music I want to hear emanating from my ear buds when I take a nature walk. Just like the previous album Djinn, the bass is audible in most areas but throughout certain areas in the mixing I have noticed the absence. This is my minute gripe with this album. This of course is no shade being thrown toward Nate Verschoor as I think he does a phenomenal job. But again, I feel like his abilities could've stood out just a little more in the sound mixing. Maybe with future efforts, the volume can be turned up just a hair. Next is "Retraversing The Void" which had a lyric video released on YouTube. I won't spoil too much here as I believe fans should check it out for themselves. Closing things out we got the band's 12 minute long epic titled "Through The Wax and Through The Wane". I must criticize one thing about this track. It's too long and lacks variety as the same long windy riff seems to go on for a long time. It's still a good tune but certainly has some fat that could benefit from being trimmed just a little. Crepuscule Natura is yet another solid release from an incredible band but I must say this album is not really my favorite. It is definitely better than Devoid of Light despite my earlier comparison and praise. But I still love Djinn as 2nd best and I believe Cult Of A Dying Sun is their magnum opus. Sometimes when you catch lightning in a bottle; it's extremely difficult to top such an impressive feat. All things considered, I'm going to rate this album as 8/10.

US west coast metallers Greyhawk join the show following their performance at Mad With Power Fest in Madison WI to talk the band's past and future! Excerpts from the Greyhawk track "Steelbound" (Call Of The Hawk, 2023) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate https://www.facebook.com/thegreatmetaldebate

US melodic power metallers Graveshadow rejoin the show prior to their performance in Madison WI at Mad With Power Fest! Excerpts from the Graveshadow track "Damsel's Finesse" (The Uncertain Hour, 2022) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate https://www.facebook.com/thegreatmetaldebate

Welcome to another Metal Debate album review, checking out the debut full-length release from Indianapolis metallers Graveripper titled “Seasons Dreaming Death.” Graveripper fuse speed metal, thrash metal, and black metal elements into a consistent sound, such that fans of any of those genres will find their music familiar and welcome. Let’s go through track-by-track to give a full accounting of what we have… The intro track “Into The Grave” is a phenomenal song that goes straight for the throat with razor sharp intensity. Here we find an intense musical experience propelled by high-speed, dynamic and dexterous drumming. Overtop are crunchy guitar riffs that mesh nicely with the clanking, rolling bass-lines that rattle through their paces. The gruff, shrieking vocal rasps aren’t far from the gravelly-voiced air of black metal yet still bring more of an enunciated feel reminiscent of thrash. Graveripper keep the tempo at top speed on the album’s second sonic offering “Ripped And Torn Apart,” a song title that perfectly describes the track’s effect. I love hearing that bass kick in early on, adding the low end and filling out the aural assault spectrum. “Divine Incantations” is an economical track that still packs a punch per pound. Drummer Jacob Lett does a phenomenal job behind the kit here as he does throughout the album. This is pure mosh pit fodder. The album title track “Seasons Dreaming Death” opens angry with blessed dissonance, then devolves into more linear pacing but retaining the same combative attitude. It’s a well-structured song with a nice little interlude prior to the end that adds atmosphere and depth. The bass is again on full display. There’s plenty of aggression but also a lot of color and welcome variation. Graveripper come back with blazing speed on the intro to the next track, “Premeditated,” though it settles into a more moderated tempo as we move further forward. The hammering drum attacks continue throughout, as aggressive as ever. The graduated intro following the bellowed lyric “only my death can set me free” is apropos, although through the bulk of the song you will have been maniacally banging your skull. I really enjoy the way the band deliver this one, just a splendid blend of full-throttle speed melded with the thrash aesthetic. Coming in at under two minutes “Influx Of Fear” is an abbreviated tale to say the least, making the aforementioned “Divine Incantations” seem like an epic track. It is constructed similar to the previous song, but with an even catchier riff and killer ending lead break. “Resist Against The Light” maintains the uncompromising pace, but with a little different feel and melodic nuance. This is one of my favorite songs in the mix, somewhat reminiscent of Hell Awaits era Slayer. Track eight - “Red Skies” – has almost a power metal-esque feel to the intro and bridge, a change-up that I like a lot. Something like what I’d imagine I’d hear if one could arrange a Dragonforce – Toxic Holocaust collaboration. “And I Curse Reality” has a furious, well-written riff but also great melody - you can feel the guitarist’s fingers dancing across the fretboard. This song builds an atmosphere of malice, as welcome harmonics transition into a brief lead and then more fury. The finale is dissonant and chill, matching its title - “Only Coldness.” There’s some bone-snapping time changes thrown in that really add depth to the song and never allow the listener to grow comfortable with it. I love the hesitation in the vocal delivery on the chorus: “Only coldness… Awaits!” Ending the album with fantastic effort. Graveripper really rage throughout this one. There’s a lot of youthful energy on this record, which makes me excited to follow the band and see how they develop their sound in the coming years. For its genre this is a powerful album and one I think will be appreciated for many years. I’m giving “Seasons Dreaming Death” a 9 out of 10.

In this interview recorded July 15, 2023, Xander checks in with death metallers Vomit Forth at their tour stop in Nashville TN in support of Sanguisugabogg. Excerpts from the Vomit Forth track Seething Malevolence ("Seething Malevolence", 2022; Century Media Records) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate https://www.facebook.com/thegreatmetaldebate

In this interview we visit with metaller Traveler during their concert stop in Indianapolis IN during their East Coast tour with Savage Master! Excerpts from the Traveler track "Shaded Mirror" (Termination Shock, 2020) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate https://www.facebook.com/thegreatmetaldebate

Welcome back to The Great Metal Debate podcast. It's Xander back with another album review. Today we will be taking a look at the newest album from the band Evil Incarnate titled Lucifers Crown. Some of you might remember last summer when I did my interview with Michael Eisenhower, the guitarist from this band and the band Luna in Sanguinum. This band is still very underground despite being around since 1997 and having 3 previous full-length studio albums in their discography. Now they are back with a vengeance unleashing their 4th crushing new death metal record. Let's dive right into this hellish release to see what's in store for both old fans and new listeners alike. First up is the intro track that basically all metal albums must have by law. "Prophetic March of the Devil's Legion" is the title of the typical ominous sounds along with actual feet of soldiers marching before we are treated to the church organ. What you were hearing right now is the first official song titled "Not My Christ”. The church music has Michael's demonic chanting layered over top of it. A drum beat creeps its way in but the evil vocals continue. It's not a satanic band without mentioning the number of the beast. Let's put it this way, if there's no 666 in my evil music, it's not evil enough. This is followed up with a different kind of chant where we hear the words "I masturbate" which is a little funny until you realize how blasphemous it is. If I'm going to give any kind of constructive criticism, I will say that the song drags on for a little bit longer than needed. I don't see any reason why this song has to be almost 8 minutes long especially since there seems to be a slight bit of repetition in the lyrics. "Undisputed Outlaw" brings a little more satisfaction to my ears as the drums are certainly faster and the guitar riff has a little more groove to it. While we're on the subject of the drums, let's talk about Patt Maxwell's usage of cymbals. The sound mixing really makes those crash and high hat cymbals stand out without overpowering the punchy kick drums. Michael's gurgles and snarls still being very audible are also a nice touch. The opening riff to the next track "Great Dragon of Thunder" has a very Incantation vibe to it and it reminds me heavily of that old school Onward To Golgotha era of death metal where it has a slight hint of doom. As for the rest of the song, its a slow Morbid Angel esq grinding rhythm. The vocals continue on over the guitar shredding throughout the track. Next we get the album title track "Lucifers Crown" which has some great bass lines in the beginning played by Rick Garza. This song has more of those dragging vocals that are very gravely. "Crosses In Disgrace" is yet another slow, doomy style of death metal with a head bobbing inducing beat. "Penetrating Infest" is another chaos stricken track with its fast popping snare drums. The carnage proceeds with "Black Box of Fear" and its foreboding sense of dread. "The Corpse Born" is another unrelenting track full of pummeling percussion and unclean grimy guitar chugs. Everything I've described so far about this music can be said for the rest of the album. All the songs are good and sound diabolical which is exactly what you should come to expect from a band like Evil Incarnate. I'm going to be fair and give this album a nice little 8 out of 10 rating. There are so many death metal albums that have come out in the year 2023 already so it's difficult for me to choose the ones I like the most. If I were to compare this band's greatness, I would put them alongside the new Creeping Death album and the newest Conjureth album. It's too early for me to lump them in with the Incantation category, but I certainly feel like it has the potential to be a runner-up. As always, be sure to show your support for the underground and you can purchase their music through Bandcamp.

In this interview recorded July 1, 2023, Xander checks in with Through The Eyes Of The Dead frontman Danny Rodriguez on the band’s final tour stop in Nashville TN! Excerpts from the Through The Eyes Of The Dead track “Hate The Living” (Disomus, 2017) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate https://www.facebook.com/thegreatmetaldebate

Today we’re reviewing the new album “We Shall Remain” from Swedish metal outfit Eleine, who describe themselves as “dark symphonic metal.” Overall description, this album is generally pleasant to listen to and has no obvious filler tracks. The songwriting is on balance competent and the overall effort is well produced and executed. The vocalists and instrumentalists are consistent in their effort and professional in their performance. Nothing to dislike here… but also nothing that stands out to me as remarkably different or unique from what dozens of other equally capable metal bands have done. “We Are Legion,” is an infectious song that features harsh vocals and then cleans from singer Madeliene Liljestam. I like the chorus on this one a lot primarily because the backing orchestration is distinct from the vocals, whereas elsewhere on the album you have some overlapping in the levels that doesn’t do favors for either. The album’s intro is “Never Forget”, I’m struck by the contrast between the furiously precise drumming and thick backing orchestrations. The power chords kicking in on the verses are great! Guitarist Rikard Ekberg shows he is quite capable here and throughout the album in terms of songwriting and execution. “Promise Of Apocalypse” is slower but with some fast guitar strumming. One of those songs where the band is trying to create a sense of constant building and rising of the music. It’s a spicy number that boasts some pretty sweet guitar riffage. Drummer Jesper Sunnhagen sets a flawless pacing which makes it all work, especially by keeping things moving fast under the slower, soft vocals. The album’s final and title track “We Shall Remain” attempts to be bigger and more bombastic than others. There’s some nice backing orchestrations again hinting at choirs. I do like the main riff a lot, but the pacing isn’t always to my preference and the chorus leaves me a little underwhelmed. “Suffering” is a fairly linear song featuring some nice melodic guitarwork. I like the construction of the verses here more than the chorus, which seems a bit somber in delivery compared to the rest of the song. It also includes a tasty solo. Another track where the drummer displays his master of the kit while fitting within the overall structure of the song. The initial bouncy guitar approach at the beginning and end of “Blood In Their Eyes” isn’t really my thing, but I do like the big, bombastic chorus and the effective lead break that appears mid-track. The symphonic elements worked as well here as anywhere on the album. A brief song at only 3 minutes and change – I appreciated the band said what it had to and got out. “Through The Mist” presents itself as a straight up headbanger. It starts with some male spoken word lyrics, transitioning into harsh vocals, then finally sliding into Madeleine’s delivery. The chorus is more mid-paced with an outro crescendo of crunching guitar high in the mix, plus a bit of oriental feel. The track finishes with some big orchestration and faux choirs, then an abrupt conclusion. Madaleine’s voice is solid throughout, if never quite rising to overwhelm. She uses mostly a standard clean rock style, that fits fine and contrasts with the harsh vocals regularly offered. Guitarist and harsh vocalist Rikard Ekberg does a fine job in his performance. I’d want to call Eleine symphonic melodic metal with gothic elements. Perhaps the dark, symphonic metal label they use is helpful to some, but consider me agnostic. The music is certainly symphonic metal, but not especially dark either sonically or lyrically. I wouldn’t lump Eleine with symphonic metal acts like Fleshgod Apocalypse, Dimmu Borgir, or Carach Angren. I give We Shall Remain an 8 out of 10. If you enjoy different brands of melodic heavy metal featuring excellent mostly clean singing I expect you’ll find Eleine to be a welcome addition to your roster of enjoyable bands.

Welcome back metal heads to another episode of The Great Metal Debate podcast. It's Xander once again with another album review. Today I will be looking at the Gr1m and kvlt Norwegian black metal band called ... Tiss-juder? Nah, I'm just joking. The bands name is pronounced like "Shoo-der" And this is their 6th full-length studio album titled Helvegr. This kreig outing was released on June 23rd through Season of Mist records. I feel like the best way to describe this band would be like what would happen if a raw black metal band or to receive a good studio mixing from a professional sound engineer. I was first introduced to this band way back in 2015 when someone recommended that I check out their 2004 album Desert Northern Hell. Later on I got my hands on a copy of their 2002 record Demonic Possession. A few months ago while I was working one of the football games at my job, I wanted to tune out the fucking annoying college marching band so I started blaring the Kill For Satan album in my noise canceling ear buds. To be honest, I have never been fully blown away by this band musically but enjoyed the very raspy vocals. To me they are the closest to Pest era Gorgoroth that we're going to get despite the less desirable production. Tsjuder has always been a stand out among all the others in the genre because they don't sound like their music was recorded with a potato or an old Nokia phone that you can play Snake on. If you're new to this band, most of the black metal elitists would point you in the direction of their older material but I on the other hand would strongly suggest introducing potential new fans to this album. I feel like showing the younger generation the raw side of this band might be a turn off but this album manages to keep the raw feel while still having some standout guitar riffs. A great example of this would be the hit new track titled "Prestehammeren". Another one would be for their song "Gods of Black Blood" and it even has a nice corny music video to go with it. Sometimes cheesy black metal videos work and other times they don't, in this case it does. It has everything you could ever want in a black metal music video from: burning inverted crosses, to skulls to the band members carrying torches and screaming into the camera in full corpse paint. "Iron Beast" is a great way to begin this record but "Surtr" is one of my favorites. If we're being completely honest, this album is good at maintaining its prowess but at the same time it also lacks a lot of pizzazz. There isn't a whole lot of standout moments throughout this record but if you enjoy this particular style of black metal then I see their more loyal fans get a kick out of it. I could do more for this review like give shout outs to the band members or try to pronounce some of their foreign song titles, but I just don't see any real reason for me to put more effort into this. Again, this is a good album but at the same time it's not something that I want to rattle on and on about. In conclusion, I don't mean to be so lukewarm about a band that I like but I'm not going to give this a higher rating than a 7 out of 10. If you want to support them, you can get yourself a nice little patch for your battle vest like I did for mine, or you can buy their merch from their Bandcamp page.

Welcome back to The Great Metal Debate podcast. Today we are talking the new album from the Scottish power metal band Gloryhammer - Return To The Kingdom of Fife. Gloryhammer has created their own lore within their fantasy/science fiction themed lyrics. The basic premise is that there is a ruler of a type of people called the hootsman and his name is Angus McFife, the protector of an ancient powerful warhammer he must wield to slay goblins who are under the command of Lord Zargothrax. Oh yeah, and there are a lot of unicorns too. Gloryhammer is the only metal band who can confidently sing about unicorns and have it still be cool. First, we must address the elephant in the room. Thomas Winkler was the lead singer for the first 3 albums of this band's discography using the name Angus McFife XIII. But in the final 12-minute song on the previous album "In The Fires Of Ancient Cosmic Destiny" Angus McFife and Lord Zargothrax killed each other while battling in a fight to the death at the top of an erupting volcano. Now we have a new singer named Sozos Michael who is using the name Angus McFife V. "Incoming Transmission" might be a predictable and skipable intro but the first song "Holy Flaming Hammer of Unholy Cosmic Frost" is a triumphant start to a kick ass record. The new voice might be jarring at first to people who are used to the previous 3 albums but Sozos absolutely owns that microphone despite having major shoes to fill and the overall sound is still undeniably Gloryhammer at their finest. "Imperium Dundaxia" is heavy with the grinding low guitar fret work. The drumming is also noticably crisp is the mixing but keyboardist who plays the character of Lord Zargothrax shows off his maniacal villainous vocals. He's like a natural born voice actor for a Saturday morning cartoon but the synth work really enhances it. And now for one of my favorite songs on this blazing new album goes to the band's latest single "Wasteland Warrior Hoots Patrol". This song is a sing-along bop that will get stuck in your head for days! Even the opening tune will remind you of the corniest 80s fantasy movie soundtrack. Keep in mind that I personally am a big nerd so I mean that as a compliment. It's all the better when enhanced by Sozos kicking things off with an epic power metal belt. Next up we have the song "Brotherhood Of Crail". I love the folky singing style as it brings a very medieval element to the table. "Fife Eternal" continues this trend but in an alternate way especially since the electronic moments help it stand out even further. "Sword Lord of the Goblin Horde" sounds like the type of song that an ordinary person who isn't a Metalhead would get stuck in their head. I can just imagine a regular coworker or friend just randomly mumbling the course to the song to themselves. It is very radio friendly in that way. The next track titled "Vorpal Laserblaster of Pittenweem" is a perfect example of what you should show your peers who have never listened to a power metal song before. "Keeper of the Celestial Flame of Abernethy" was the first single released for this album and it was presented to us in the form of an animated lyrical video. It's yet another very catchy bop that will have you singing along even if the only part you're singing is ..."He's a sorcerer, nefarious" The epic conclusion that has an almost equally long song title "Maleficus Geminus (Colossus Matrix 38B - Ultimate Invocation of the Binary Thaumaturge)" It's way too much to unpack here but definitely worth the listen if and when you have the time to devote to it. One part that stood out was at the exact 5-minute mark because it’s a callback to the song "Gloryhammer" from the last album. Instead of the double voice chanting the words "Glory Hammer" he instead says "Double Wizards". But how would I rate this album? every member of the band is as good as they have ever been and Sozos really steals the show. Return To The Kingdom Of Fife deserves a 9/10.

Welcome back mental heads to another episode of The Great Metal Debate podcast. It's Xander once again and today we will be talking about the new album Black Flame Eternal from Atlanta, Georgia's gothic black metallers Cloak. I have enjoyed their music ever since 2019 when my friend and fellow YouTuber Richard Metal Fan introduced me to their 2nd full-length The Burning Dawn which had just come out at the time. I found myself enjoying the music so much that I ordered their tape, CD and long sleeve shirt. Though it has been a while, I even revisited their 2017 debut To Venomous Depths to refresh on their earlier work before diving into this new album. "Ethereal Fire" is a killer opening track that sets the overall tone for the remainder of the album. It puts the group vocals to great use as they are timed very well. The stand alone drum beats at the beginning and end were also a very nice touch. Whenever a black metal band makes the Eoh sound. Many metalheads have coined phrased them as the Blasphemy Eoh's. "With Fury And Allegiance" has a few of those throughout the track but the trashy guitar sound and the vocal speed together remind me a little bit of Goatwhore. But I also like the calm slowed down part halfway through. "Shadowlands" begins with a very smooth guitar riff and even a very nice solo early on after the one minute mark. It really fits in with that melodic sound that I'm used to hearing from the two guitarists Max Brigham and Scott Taysom. I also really enjoy the spoken word section just after with the lyrics "For I have shed the blood. I have walked beyond the gates. And I have sworn, to you I bow." The first single that Season Of Mist released for this album was the track called "Invictus" which definitely sounds like a classic thrash metal riff until you hear the blackened style of vocals. I love how the lyrics "In the cold of night I watch it fall. Tot he morning star my spirit calls" are said as a chant but at the same time doesn't repeat. Three weeks later, a lyrical video for the song "Seven Thunders" was dropped. I won't spoil the lyrics for this one, you'll just have to check it out for yourself. I will say that they rhythm has a very black-n-roll kind of feel to it which I enjoy very much. Next we get the song "Eye Of The Abyss" which has a winding sound to the guitars but later on in the track we get an audibly groovy bass line laid down by Billy Robinson. Last month the band put out their 3rd single for this record called "The Holy Dark" which kicks off with a drum intro performed by Sean Bruneau. The sound mixing really highlighted his capabilities in this one. As a lead-in to the concluding song we have sort of a prelude called "Heavenless". It sounds like an instrumental because the spoken word is purposely faded. You can still look up the lyrics but the calming music does overpower Scott's voice. And then for the closer we come to the album title track "Black Flame Eternal". I can't wait to see them for the first time during their album release show on Saturday June 10th!

Welcome back metal heads to another episode of The Great Metal Debate podcast. It's Xander again and today we are going to be talking about the new album titled All Heads Are Gonna Roll from Swedish death metallers vomitory. This is the band's 9th full length studio album that was a bit of a surprise comeback for the group. Vomitory had split up way back in the early 2010s and this is their first album in over 12 years. Now, I've decided that I'm not going to spend a whole lot of time discussing this album for a number of reasons. First of all, there are quite a few really good albums that came out on May 26th and this is one of many. Reason number two is because of this backhanded compliment I have to give to them. Vomitory has always been a great death metal band however; they've always been very formulaic in their approach to songwriting. Don't get me wrong, I love vomitory! There is a good reason why I have their patch on my battle vest. But they are among one of the best generic death metal bands out there. Are you looking for something that is just plain death metal with no flare or gimmick? Then look no further than the band vomitory. Vomitory is a band that is always a crowd pleaser because they never change their sound. Is the reason why people love every Black Dahlia Murder album that has ever come out. It all sounds the same but at the same time it is all really good. Vomitory is the death metal equivalent to a shark. They have no reason to adapt or evolve because they have always been the perfect musical specimen. If you are a die-hard fan of the band vomitory then there is no reason for me to mention the names of the band members because you already know who they are. All Heads Are Gonna Roll is yet another crushing album to add to their discography and hopefully we won't have to wait another 12 years to get another album. If we do have to wait another decade, then at least Tobias and Erik can put out a new album from their side project Cut Up to tie us over. My favorite songs on this new album are "Ode To The Meat Saw" and "The Deepest Tomb". Because this album is great but at the same time nothing groundbreaking, I will give it a solid 7.5 out of 10 rating. Not a favorite of this year but I will definitely keep it on a list for honorable mentions.

Welcome back to The Great Metal Debate podcast. Today we are looking at the album Terrasite released on May 12th via Metal Blade Records. A band's overall evolution can go in many directions but I feel Cattle have managed to outdo themselves with my personal favorite album Monolith of Inhumanity and they continued to kick ass with their 2015 banger The Anthropocene Extinction. 4 years we have become humanoid cockroaches trying to survive in a bleak uninhabitable world. The first track "Terrasitic Adaptation" is a decent openerbut doesn't really induce much head banging. Probably not a song I would choose to be on a live set list but it's okay. The next song "We Eat Our Young" has a very "Forced Gender Reassignment" feel to it but with a slowed chorus and even a slight soft spot moment when guitarist Josh Elmore clearly taps a foot pedal. Another thing to point out is how well the drums sound in the mix and I've noticed that David McGraw seems to really put those cymbals to great use. His capabilities are on full display in "Scourge of the Offspring" along with Travis showing off his full vocal range. "The Insignificants" begins with more blast beats and the traditional metal riff performed by the band's other guitarist Belisario Dimuzio. Traviscontinues to bludgeon us with his insane gutturals followed by a more haunting sounding spoken word section towards this song's conclusion. One of the heaviest songs on the albums is "The Storm Upstairs". I love how Josh and Belisario work together to bring us their chug riff and a guitar screech during the song's intro. Bassist Olivier Pinard helps to tie everyone's instruments together. The next song "... And The World Will Go On Without You" is a great song but despite the lyrics and vocals not being drastically different from a song from a popular hard rock band, Tell me it doesn't sound like the chorus from the song "Alone I Break" by Korn. The 3rd single and music video released for this album called "A Photic Doom". This song isn't quite as memorable as some of these other new tracks because the instruments have a cluster of noise structure as opposed to better riffs we've heard thus far. There's still no mistaking that this is indeed a Cattle Decapitation song but there's only one thing that seems to stand out about it. The classic stop and start moment during the halfway point followed by the first and only guitar solo on this entire album. I would like the spoken word section at the end of this song a lot more if it didn't sound so faded out. "Dead End Residents" is another track on this album that seems to be another filler track that lacks a lot of quality and disappointingly enough, the same can be said for the first half of the next track "Solastalgia" with the exception of Oliver's standout bass riff. However, there's a dark and gloomy redeeming point after that when the track suddenly emanates a sense of foreboding. The finale "Just Another Body" begins with an eerie vibe only to completely blow us all away with Cattle Decapitation giving us everything they got. Some of David's fastest drumming explodes on this one but obviously not for the entirety. There's a lot to unpack with this one with Travis further expanding his vocal prowess. From the mid-section to the conclusion, he manages to sound like a completely different person. Instead of giving this album a numerical score like I usually do, I have decided to go with a quick tier ranking list. Out of all ten of their studio albums, I would place this one at 7th place which beats out the previous album at 8th place. 9th and 10th place go to the first 2 grindcore albums. This isn't really a bad thing because the four albums I put before it are just my favorites that I have frequently revisited over the years. Terrasite is only worth a solid honorable mention.

Xander catches up with the guys in slamming death metal crew Devourment during their tour stop in Atlanta GA as they open for Ingested! Excerpts from the Devourment track "Cognitive Sedation Butchery" (Obscene Majesty, 2019) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate https://www.facebook.com/thegreatmetaldebate

In this interview recorded May 13, 2023, Xander talks with singer Chaney Crabb from deathcore tech-proggers Entheos during their tour stop in Nashville TN opening for Whitechapel! Excerpts from the Entheos track "Absolute Zero" (Time Will Take Us All, 2023) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Xander checks in with vocalist Alex Paul from New Zealand slamming brutal death metal outfit Organectomy during their tour stop in Atlanta GA as they traverse North America opening for Ingested! Excepts from the Organectomy track "The Third Mutation" (Nail Below Nail, 2022) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

In this interview Xander talks with metal upstarts Narthex during their recent performance at Springwater Supper Club in Nashville TN! Excepts from the Narthex track "Witch King" (Witch King EP, 2022) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Welcome back metalheads to another episode of the great metal debate podcast. It's your man Xander again and today the Swedish thrash metal band Mezzrow has finally released their second album titled Summon Thy Demons. This long awaited release on Fireflash Records has much better production quality and it is instantly noticeable during the first song "King of the Infinite Void". Gone are the days of the drumming sounding like someone slapping their hands on a countertop and in with the crisp audio of Jon Skare pounding the skins. It is worth noting that this band has zero original members as they have all come and gone over the years. This fresh line-up seems to truly capture lightning in a bottle. As someone who has never been crazy about the style of thrash metal, I'm glad that this new album seems to be one of the few I personally enjoy. Summon Thy Demons has a real modern Havok and Warbringer-esq vibe about them. They are fast, loud and aggressive while keeping that classic Sodom bravado especially with front man Uffe Pettersson's vocal delivery. Another thing that I like about his style is that I can hear every single word that he says in every song making the entire album one big sing-along. The second song "Through The Eyes of the Ancient Gods" is a thrashing good time with great overall musicianship and catchy lyrics. And then we have the album title track coming in softly with a faded out choir before annihilating your eardrums with the menacing words that feels like venom being spat in your face. The next song on the album "What Is Dead May Never Die" is a real headbanger thanks to guitarists Magnus Soderman and Ronnie Bjornstrum with their amazing riffs. The song is quite an earworm too. I had this song stuck in my head for a while after hearing it for the first time. The beginning of the song "De Mysteriis Inmortui" has an old school 1980s era Metallica sound to the violent heavy metal riff. Personally I refer to this song as "Summon The Dead" because of the gang vocals towards the end chanting these words. I love how before this next song fades in, we hear a sonar beeping from a submarine. It's very fitting since the song is titled "Beneath The Sea of Silence" which has yet another kick ass opening guitar riff. I can only imagine what the future mosh pits for this song would look like. Hopefully Mezzrow can do a U.S. tour with another big thrash metal act sometime next year. The guitar solo in this song makes me want to jump straight into a circle pit. When a song starts up with a nuclear test site siren, you know you're in for a hell of a ride. This is of course, is the song "On Earth As In Hell" which gives off all the negative energy that you'd expect from this song title. I love that bass guitar line in the middle of the track which eventually returns to the main guitar groove. I can always appreciate an acoustic guitar in heavy music especially when it serves as a calm way to ease listers into a very modern Kreator sound guitar riff. That's what I enjoy most about the song "Blackness Fell Upon The World". It's a killer song that only further compliments the already badass album. For some reason when the vocals and bass sections come up, "Dark Spirit Rising" and "The End of Everything" both are packed with enough adrenaline to close out this long awaited thrasher. Despite Mezzrow being a band for over 3 decades, I feel like they have been reborn from the ashes like a fiery Phoenix given their circumstances. I can't find any real flaws with Summon Thy Demons and it is certainly superior to most thrash metal that gets released these days. If you are a thrasher, there is a great chance you'll love these guys. I'm going to give this album a 7 out of 10. You can show your support by buying their merch from their website at fireflashrecords.com

Welcome back to another Metal Debate album review. Today we’re reviewing the new album “Dreams Of Lands Unseen” by Ignea. Ignea are a symphonic metal band from Ukraine. The material fits in the general mold of symphonic metal, but Ignea provide enough musical twists and tangents to keep things fresh and not be too derivative. Following the intro instrumental “Téoura”, Dreams of Lands Unseen opens with “Dunes.” The vocal and instrumental melodies are impressive, pulling the listener along and demanding attention. A good mix of power and softness in both the vocals and instrumental execution. We also get some snippets of Ukrainian language included among the otherwise English lyrics, to nice effect. The next song “Camera Obscura” has a synthy intro, will heavy riffs kicking in thereafter relegating the synths to a backing role. Singer Helle Bodenova’s voice is soft and flows well prior to the issuance of her growls. We already begin to see here hints of a moderately progressive approach with Ignea’s music. The majority of tracks on the album begin with a traditional verse, chorus, verse, chorus, sequence, but then branch out as the songs continue with a variety of conclusions including some abrupt endings. Track 4 - Далекі Обрії (Daleki Obriyi)- reverses the approach of “Camera Obscura” with an initial motor of crunching guitars segueing into keys. We get harsh vox on the verses, and cleans on the choruses, and there’s a satisfying if brief keyboard lead break. “To No One I Know” features some tasteful string instrument sounds – whether real or synth I’m not sure. But it brings to mind that Ignea is not the brand of symphonic metal that relies on overwhelming backing orchestrations as with acts such as Xandria or Visions Of Atlantis. Their approach is more measured. “Incurable Disease” has a lot of the old Delain feel to it. It’s very cinematic sounding, conjuring spectral images of light and darkeness narrated by beautiful vocals and a lot of ambient backing sound. Next comes “Nomad’s Luck” which is one of my top songs on the record. Immaculately crafted, this track ‘works’ from beginning to end. I really applaud Ignea for what seems to be the amount of thought they put into these songs. Helle’s voice is excellent here, highlighted by some slow but powerful singing toward the song’s incredible crescendo ending. “The Golden Shell” has a very east Asian feel to it, especially in the intro. This one casts aside the aggression for passion, eschewing harsh vocals entirely in favor or a soft voice and slow, sustained tempo throughout. This is a good song, just not one of my favs mostly because I don’t think it highlights what this band does best. The pentultimate track “Opiumist” is also the longest on the album clocking in at over 7 minutes. It’s another of my favorites – just the overall pacing and structure are great. “Opiumist” incorporates even more oriental flavoring in it’s execution, as well as an overall trippy feel from. It gets really trippy about 4 ½ minutes in, than following that interlude goes into about two minutes of straightforward death metal. Kind of a weird song, to be honest, but for me it definitely works. The album concludes with “Zénith.” This track didn’t work for me - the bouncey main guitar riff I just fine so cringeworthy as to be unlistenable. Give it a chance yourself and perhaps your aesthetic sensibilities will find it more acceptable than I do. What I have for this album is mostly praise. Dreams Of Lands Unseen is a solid metal album that I would recommend highly to anyone. I’m giving it a nine out of ten – and that’s something given I really didn’t like one of the tracks. Fans of symphonic metal, melodic death metal, and melodic metal generally should check out Ignea – you won’t be disappointed.

Welcome back metalheads to another episode of the great metal debate podcast. Today, I will be reviewing a new album from the one man dungeon synth project called Midnight Betrothed with his new album Death ... My Faithful Bride. This just might be the first album we have ever reviewed on this channel that most other metalheads probably wouldn't even consider to be metal. There is some guitar work but no heavy riffs or solos. There are some drums but blast beats are completely absent. It is mostly piano but with black metal vocals. The black metal style vocals just might be the most metal thing about this music. That could be the best explanation as to why this doesn't appear on metal-archives. But damn it, if it isn't some of the most beautiful music I have ever heard. I strongly feel the need to shine a spotlight on this music project because it has that impact on one's black soul. I was first introduced to this music a few months back when the weather outside was just starting to get cold for the winter. Perfect timing if you ask me. Hearing this now in the spring still has a way of making me feel cold upon listening. To me, this is every bit as good as that demo I checked out titled Bewitched By Destiny's Gaze. A musical release like this definitely raises way more questions than answers. The first obvious question, is it metal? In order to properly answer that question we should probably break it down. Imagine you are listening to a less famous symphony composed by either Beethoven or Bach. Now imagine that someone decided to layer their recorded black metal vocals over top of it. Would you consider that to be metal based on just vocals alone? What if you added in a modern drumbeat that is less than 50 BPM? What if you periodically had a couple of guitar riffs hidden in the mix? Now that we have asked all the questions, it is time to finally give an answer. If you were to ask me if Midnight Betrothed would qualify as a metal sub-genre, I would have to answer with another question. Is dungeon synth related to symphonic black metal? To answer my own question, I would say that it strongly depends on the presence of metal elements. Does Midnight Betrothed have enough black metal to fit in? I would say that it definitely passes the metal test by the skin of its teeth. It passes but I mean it barely passes. It's almost like receiving a D- on an exam. Anything above an F is considered a passing grade. But because this is such a controversial take, Gomthog Metallicus thinks that it is a worthy topic for a future metal debate. Make sure you leave a comment down below, like and share this video if you want us to do that. Due to the fact that many people would not agree that this music is considered metal, the most that I can do for this album is maybe give it an honorable mention during our annual end of the year list. I have decided that I am not going to list the six songs on this album and I'm also not going to give it a rating. However, I will say that this album and all other previous releases are definitely worth checking out. Personally I think that everything this guy has ever done is fantastic. In fact, I would go as far as to say that he is a total genius for creating this type of music. I might even purchase a t-shirt from his bandcamp page and if he ever gets cassette tapes for his demos, I will be the first to buy them.

Welcome back to another episode of The Great Metal Debate podcast. I'm Xander and today we are looking at the debut album from Haliphron titled Prey. This symphonic blackened death metal band from The Netherlands has given us a new modern art masterpiece. This band may have clearly been inspired by old school acts but I assure you that they have still managed to produce stellar content that doesn't sound like anything recycled with the exception of another pointless skipable intro track. The song structures are all completely original musical scores. Haliphron has keyboard work that gives off that old piano sound. Judging by the music video for the song "Human Inferno", David Rojas appears to be using an electronic keyboard so I'm sure he just has it on a particular setting to produce those haunting keys. As for that song I will say that the keyboard seems to have more of an echoing cathedral vibe as if it's tuned to an organ setting. There's even church bell rings scattered throughout the track and a choir background recording thrown into the mix. While we're still on the subject of my favorite things, let's go ahead and praise my favorite song on this album "The Resistance". If you're not yet convinced that this band is the lovechild of Septicflesh and Dimmu Borgir then you will be by the end of this song. It is the perfect blend of gothic classical music with traditional melodic black-n-roll style vocals performed by Marloes Voskuil. I knew there were other reasons to enjoy this band, especially since this is Frank Schilperoort's new side project band. You might know him as the drummer for God Dethroned. As a long time fan, this was an amazing discovery. His rhythm and speed are noticeable in the studio mixing throughout the entirety of this record. Notably the drums really stood out in the opening track "The Killing Spree". It begins with a drumroll and the guitar chugs are in sync with the keyboard towards the end of the song which makes the whole thing extraordinary. The last minute of that song sounds eerily reminiscent of new age Cradle of Filth, a band that I am also a huge fan of. "Mother of All Evil" might be a somewhat generic song title but the music is anything but cliche. Forgive me if I butcher the pronunciation of these guy's names but the two guitarists, Ramon Ploeg and Jeroen Wechgelaer make their basic riffs sound good. The whole band is a breath of fresh air and the keyboards do a great job of smoothly tying everything together. The beginning of the song "Perfect Existence" displays a sweet bass solo from Jessica Otten. It's just a shame we don't hear much else from her through the rest of the album. The keyboard is my favorite aspect about this group as I feel like it is a key component, full pun intended. This one just might be my 2nd favorite song as it is certainly one of the more symphonic tracks. We even get a nice guitar solo in this one. Then we get the album title song "Prey" which delivers impactful moments such as the evil choir and the guitar riff during the song's mid-point. Very calm and melodic and then leads into a nice groovy solo. Another thing that I really appreciate is the length of these songs. They all seem to surpass the 5 minute mark but never the 7th. I also enjoy the old middle eastern feel of the intro to "Schizophrenia" which is considered a bonus track. I also really like the creepy little girl voice in the middle of the song telling us that we're going to die. It's a nice touch that truly adds to the dark atmosphere that this band has crafted. It also does that thing where the whole band stops for a second then then comes back. The final track "Unidentified Mass" was actually the first single the band put out last year. It provides listeners with a very ominous tone that will stick with people for years to come. As I said earlier, this is my current favorite of the year. I'm giving Haliphron - Prey a rightfully earned and well deserved 9.5 out of 10.

In this interview Xander talks with Decrepit Birth frontman Bill Robinson at the band's tour stop in Atlanta opening for Vader. Excerpts from the Decrepit Birth track "Vortex of Infinity... Axis Mundi" (Axis Mundi, 2017) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Xander interviews Dan Ratanasit from Malformity at the band's performance in Atlanta GA opening for Suffocation! Excerpts from the Malformity track "Perverse Apotheosis" (Monumental Ruin, 2021) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Welcome to The Great Metal Debate podcast. Today we are talking about the Brazilian black metal band known as Outlaw with their new album Reaching Beyond Assiah. These guys have a slightly melodic sound to their guitar riffs but I guess not enough to be classified as such. According to the metal-archives, they are a three piece group that formed in 2015 with two other full-length studio albums. There have been a few line-up changes over the years with the only original member going by the initial D. who is the vocalist and lead guitarist. These guys deliver that grainy black metal sound with a hint of rawness along with some decent guitar hooks and melodies to keep the listening experience fresh. Most of these compliments are not centered around brand new or unique playing methods but rather an interesting way to incorporate atmospheric tones to an otherwise over-saturated genre. There are several moments during this album where you'll forget that there are Watain sounding vocals and you'll just close your eyes and soak in the "Bliss of Soul" which happens to be the name of the first track. I'm not going to say that it's very similar, although I caught some major Uada vibes within the main guitar riff. As for the second track "To Burn This World And Dissolve The Flesh" radiates that haunted cemetery feeling and will make a chill go up your spine with its very short lived but frequent guitar licks. If only they had stretched that hook out just a little longer by at least a few more seconds before returning to its main riff. The song also has a breaking point after almost three minutes where there is a tempo change that makes everything slower including the drum beat. This was a very neat change up to an already complex song structure and then we even get a sweet solo which isn't always a stand out moment for black metal though it is certainly welcomed. Track 3 which is titled "Beyond The Realms of God" is definitely my favorite song on the album as it has a calm melodic black metal sound. Musically, it's everything I could ever want from black metal as a whole. I would spoil it but instead I'm going to say to go listen to it yourself. You won't be disappointed. "The Unending Night" reminds me a lot of the late 90s/early 2000s melodic black metal acts with its main guitar riff and vocal delivery. Even the drum rhythm has those signature quiet blast beats that still fit just right and are audible enough to enjoy. To me it sounds like a callback to whomever influenced these guys. I also love how the music stops for a slit second in this one so we can hear the vocals alone before kicking back into gear. If you're looking for that classic melodic black metal sound with an absolutely beautiful guitar riff, look no further than the song "Everything That Becomes Nothing". My only complaint about this song is that it's the shortest one on the album. It definitely could've benefited from being just a few minutes longer but it's still another incredible track that I'll call my 2nd best. Moving on, we have "The Serpent's Chant" which doesn't have that much to bring to the table in terms of variety. To me, it's not really a moment of falling flat but it does seem to lack grooviness. Although I will say I enjoyed the acoustic guitar break at the track's halfway point. And finally we get the album titled track "Reaching Beyond Assiah". This isn't a redeeming moment for the trio as the melodies for this one are largely forgettable yet still enjoyable. Having enjoyed this record front to back, I will definitely go listen to their debut Path To Darkness and their second album The Fire In My Tomb. Something tells me that I'm going to experience goosebumps while listening to those the same way I did with the majority of this album. My score for album gets an 8 out of 10. There's room for improvement but overall this was still a worthy listen and I encourage any fan of black metal to give this one a spin.

In this interview recorded on March 11, 2023, Gomthog talks with guitarist Markus Vanhala of Omnium Gatherum on the band's stop in Joliet IL on their tour across North America supporting Eluveitie! Excerpts from the track "Slasher" (Omnium Gatherum, 2023) used with permission from Century Media. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Welcome back metalheads to another episode of The Great Metal Debate podcast. It's me Xander again and today I'm going to be talking about the Finnish goregrind band known as Torsofuck and their new album Postpartum Exstasy - the band's first album in 19 years! In the year 2004, I was between the ages of 12 and 13 years old. At this time in my life, the heaviest bands that I knew of were: Slipknot, Lamb of God, Hatebreed, Killswitch Engage, Shadows Fall and Atreyu. Little did young Xander know, one of the most brutal bands of all time had released their debut album titled Erotic Diarrhea Fantasies. It wouldn't be until many years later when I was 19 or 20 when I discovered the infamous song "Raped by Elephants". We all seem to have that sort of love/hate relationship with Torsofuck mainly due to the first half of most of their songs being sound clips from either real porn flicks or some B horror film. If the sound clips weren't so long, we would probably get into the music itself. This is evident in the new album title track "Postpartum Exstasy" in the way that it was way too much like their song "Pussy Mutilation" from the first album. Both tracks have the majority of it being movie clip filler. The only difference is that instead of the whole Blood Sucking Freaks intro, you instead hear someone screaming in anguish for the first 2 minutes of the 4 and a half minute runtime. I guess I'm just slightly annoyed that in almost 20 years, the band hasn't seemed to improve much. "Self Dismemberment" does the exact same thing. The band Mortician seems to have a similar issue especially with their older albums yet more people have heard of and are fans of Mortician and they are well respected in the scene. Torsofuck have their own form of street cred but it's probably not as well received by most metal fans. I will say the song "The Pig" is probably my favorite song on this new album mainly because it has one of the shorter intros at only 28 seconds out of the 5 minute track. It's good to have a song that is less bullshit and more business. "Animal Lover" only has an 18 second intro but it's a much shorter song. Despite the vocalist Mikko Friberg being an absolute monster when it comes to his capabilities of sounding like a creature, every live video I have seen doesn't seem to show him projecting his voice loud enough to stand out among the rest of the instruments. This reminds me of how Visceral Disgorge is live. The vocals are too quiet outside of studio mixing. Let's talk about the musicians. If you're looking for groovy guitar riffs or solos or any type of structure outside of downtuned chugs, you won't find it here. Torsofuck has always been the type of band that is very simplistic in their nature and they aren't about being musicians. They are about being heavy and gross. If you're looking for something loud, purposely offensive and obnoxious; you've found it. This has always been the main goal of the band. You know what the problem is with this record? It's 15 years too late. Maybe if this album had come out in 2008, they could've played some of the new tracks like "Necropervert" or "Retarded Anal Whore" during the band's final live show in 2009 before they split up for the 3rd time. Each song on this new album just sounds like the same structure that they used in every song on the previous album. That is both a good and bad thing. It's bad because it's repetitious but good because Mikko hasn't lost his vocal capabilities over the years unlike Antti Bowman from Demilich which is another brutal band from Finland who hasn't put out an album in 30 years. If you enjoy metal that is closely related to the noise genre, then this will be directly up your alley but if you want something with a little more heart and soul put into the music and lyrics then you could find it in the many other subgenres that metal has to offer.

Welcome to another episode of The Great Metal Debate podcast. It's your man Xander again back with another album review. Today we will be looking at the brand new album from the melodic funeral doom metal band from Athens, Greece called Ocean of Grief with their 2nd studio release titled Pale Existence. Some of my favorite melodic death metal bands include Agalloch and Be'lakor while my favorite funeral doom bands include Ahab (which I just recently talked about) and Shape of Despair. Ocean of Grief seems to take inspiration from all 4 of those bands to make ... dare I say, the perfect record. They have taken the best of all of those elements and combined their sounds to make an absolutely flawless music listening experience. There is an immediate sense of euphoria that you'll feel within the first minute of this record before it picks up with a calming electronic guitar melody. It briefly plunges into a soothing acoustic section and then the slow bellowing vocals creep in. This song is called "Poetry For The Dead" and the middle guitar riff only further compliments the band's playing style. The vocals have a monstrous sound that provide listeners with that tingly feeling under their skin in a relaxing sort of way. The drums toward the end of this song has a somewhat tribal vibe that is short lived but grants us a smooth transition into the next track which is titled "Dale of Haunted Shades". This one only puts listeners into a deeper meditative state as it has some pinch harmonic guitar notes which can be best described as hypnotic. Of course the vocals alone are deep and slow enough to make anyone laying down feel drowsy. But if you have your earbuds in and are walking alone on a nature trail early in the morning with heavy fog, you just might become one with mother earth or at the very least witness the ghost of a stag between the distant trees. "Unspoken Actions" will guide you through your own imagination of a cold winter stroll or even a misty one through the forest. There is even an audible bass guitar line in the middle of this song. Anyone who knows me, knows that I'm a sucker for sweet bass playing. But then we have a song titled "Imprisoned Between Worlds" which has some high note fingering tapping on the frets. It makes for a more upbeat moment in the depressing atmosphere of the album thus far. "Cryptic Constellations" is a song that only further reminds me of the band that I personally strive to be in one day. This one also has an incredibly groovy solo in it too. "Pale Wisdom" is no different from the rest of the songs on this album in terms of being very impactful. Its every bit as enjoyable as everything we have heard along the way. This entire album is a soul searching musical journey through the proverbial wilderness. Of course, just when I thought the bass solo from earlier couldn't get any better, I hear the one near this track's conclusion. Last but certainly not least, we get the final song of the record titled "Undeserving". It's winding guitar intro is a solid lead into more of those haunting harsh vocals that I enjoy so much. The riff in this one is melodic and catchy and it appears as though they have saved their best for last. This one is an epic conclusion to my favorite album of the year so far. While I do believe this piece of music is truly immaculate, most of the tracks just sort of tie themselves together in a way that makes the songs sound way too similar. Unless I were to spend the entire rest of the month analysing every single note played and memorized some of the lyrics, I wouldn't be able to tell you the name of the song if I walked in on it halfway. Also, the keys didn't quite stand out in the mix. Perhaps on the next album we can get some more audible symphonic elements. You can still bet your ass I will be supporting this band every way that I can and will definitely be buying their merch from their bandcamp. I'm giving Ocean of Grief's sophomore album an 8.5 out of 10.

Welcome back metal heads to another episode of The Great Metal Debate podcast. I'm Xander and today we are going to be looking at the new album from Scottish death metalers Man Must Die titled The Pain Behind It All. This is the band's fifth studio album but it is their first album in 10 years! Their previous album Peace Was Never An Option came out all the way back in 2013. I think that Man Must Die is one of the most criminally underrated death metal bands ever. It is a shame that this group is not that well known among the more modern death metal scene. These guys have always been talented in the way that they structure songs musically and have always had interesting lyrical concepts. Let's dive right into this review as we explore these new songs track by track. It all begins with the 30 second intro track titled "OCD". Not much happens in this skipable intro but at the end of it, you hear someone say 'fuck it'. This leads us into our first song "Patterns In The Chaos". I have always enjoyed the djenty style of chug parts especially during the mid-point of this track. Then we get the album title track "The Pain Behind It All" which has a very different sound with its hypnotic approach. It gives us an off in the distance feel in its group vocal choruses. It sounds somewhat uncanny compared to what we're used to which makes it that much more unique. I also really enjoy the part where bassist James Wright lays down some bass lines while playing alone with the drummer. Another outstanding track is "In The Hour Before Your Death" followed by a fun little song titled "Clickhate". Something like that might sound cringey to certain people but drummer Tony Corio makes it fun with his standout blast beats. "Enabler" is one of my more favorite tracks on the album. I love how the song begins with a somber piano intro. It is followed up with a haunting spoken word which is very reminiscent of a song by the band Kreator, particularly "Death Becomes My Light". After that, Man Must Die as a whole just fires on all cylinders bringing their grooviest guitar work. Credit to Alan McFarland who has been with the band since 2002 and newcomer Michael Alan who joined in 2018. "Bring Me The Head of the King" was actually the name of a single that they put out 2 years ago and has since found its way onto this album. Its another balls against the wall, fast and aggressive song that is sure to get just about any mosh pit going. Speaking of live performances, I have never known Man Must Die to tour here in the United States. I hope they do one day. I would love to be in the crowd shouting "We Don't Need Him! Bring Me The Head of the King!" But my most favorite song is definitely "War Is My Will" as it is just a straight up banger. I must say that Joe McGlynn's vocals have always been a great fit for this band's overall approach to the musical structure of these death metal songs. There even seems to be a very slight breakdown that sounds like something The Red Chord would've done in their early years. This song even has an ending melodic guitar hook. It's simply amazing and I can't help but continue to bathe this underrated band with as many compliments as I can. Before the epic finally we have a very soft instrumental track called "Alone In A Crowded Room" before the chaos returns once more with a vengeance The Pain Behind It All concludes with the song "Who Goes There?/I.F.F." I.F.F. is an acronym that stands for Identify Friend or Foe. Its yet another kick ass song from a kick ass band! So how would I rate this new album? I enjoy every album these guys have ever made but I will say that this is easily their second best which is still a high honor. I have no real critiques about this absolutely stellar release but to keep it fair, I'm thinking about giving this record a solid 9.5 out of 10. Be sure to show your support for Man Must Die. You can listen to their music on most streaming services including: Bandcamp, Amazon Music and Spotify.

Kalevala have a new album released this year – the seventh full-length of their career – entitled “Пляска Святого Вита.” As is typical for releases that excite me, I can’t help but go through this one track by track to share my thoughts… The opening song “Гори по полной!” begins softly but quickly ramps up the pressure, especially when the accordion kicks in. All elements work together perfectly on this one – uptempo, aggressive, joyouse, and folky. Singer Ksenia Markevich is right in her comfort range here, thundering away with her clear, strong, beautiful voice. Well executed all around and with an awesome chorus that I can’t help but sing along with and bang my head to… Гори по полной! The pace comes down just a notch on the second song and title track, “Пляска святого Вита.” The keys set the mood on this one while the guitars and folk instruments provide a great building mountain of metal riffs atop. Ksenia’s vocals are a bit more tempered here, but even more mesmerizing. This is one I can see played live and the crowd jumping along in time to the jaunty beat. The main melody is incredibly catchy… two listens and you won’t be able to rid it from your head. “Ловец змей” – the first single and video from the album – is a mid-paced rocker that gets soft on the verse, and fairly light in the chorus. Probably the most AOR-friendly track on the album. Not a bad song by any stretch, but bit cutsie in the execution for my taste. Next up is “Проснись во мне, Зверь.” This is the best of Ksenia’s voice – slightly creepy/haunting in the verses and empassioned on the chorus. Great riffs from guitarist Nikita Andriyanov and another cool vocal melody from Ksenia. The violins pair perfectly with the guitar throughout this one – it might be my favorite track on the album! The keys come back strong in “Именем леса,” really raising the sonic floor and creating a quite uplifiting, mythic feel throughout. Kalevala are very skilled when it comes to songcraft, and I can’t give them enough respect for the effort they make in composing these songs. Track six – “Безбожники” - relies more heavily on blunt guitar riffs to drive the song, although there’s plenty of starts and stops to freshen things up along the way. I think one thing even Kalevala’s harshest critics would admit is that they are able to keep plenty of variety and freshness in their song composition, even while adhering to a fairly constrained stylistic approach. “Безбожники” is followed by the pristine rocker “Сто дней.” Ksenia does a great job changing the projection of her voice to perfectly emote alongside the guitar and garmin. Speaking of, the accordian solo is a real highlight on this one! “Так долго ждать,” does a fine job of building the energy – a very nuanced, considered approach to the instruments punctuated by energized bursts of guitar and featuring another brilliant accordion lead break. A bit more of an epic feel to this one as compared to the approach on most other tracks on the album. On “Бесхвостая лиса,” the strumming ukelele intro sets the stage for an upbeat, bouncy melody. This one alternates between some light touches and shading and more aggressive elements. The tenth and final track “Сёстры бога” brings those folk instruments – particularly the violin - back to front-and-center, allowing them to lead the way while the guitars churn beneath. An upbeat rocker that provides a worthy outro. In summary, I’m giving this album a rating of 9 ½ out of ten. This is absolutely my favorite metal release to date this year, and a near lock for a spot on my list of best albums of 2023. I urge fans of Finntroll, Ensiferum, and Eluveitie to give this album and band a listen. You can get “Пляска святого Вита” digitally via Apple Music and itunes, and most of Kalevala’s back discography is available from Bandcamp.com.

Welcome back metalheads to another episode of The Great Metal Debate Podcast. I'm Xander and today we are going to be talking about an underground metal band from Joplin, Missouri called Gravehuffer. I was granted early access to review this new album titled ... Depart from So Much Evil a full month before it's February 17th release date. According to metal-archives, the genre is a mix between thrash metal, crust and grindcore. All of those subgenres are styles that I will be the first to admit that I am unfamiliar with. However, I am willing to step outside my comfort zone and explore new avenues. This is the band's 4th full-length studio album and despite not listening to anything else in the band's discography, I gotta say that I am pleasantly surprised by what this group is capable of especially with only 6 songs. "Blueprint for an Early Grave" is the first track on this album that begins with a little noise for an intro. It all starts with air horns followed by an announcer giving a warning over some loudspeakers about evacuating an area. The heavy music picks up as we hear people shouting but once all that is over, the vocalist comes in to deliver his lyrics. The song alone is very short but it's just a taste of what is to come. The next track is called "Slayberry" and it is much faster and much more aggressive sounding. While researching this band, the online metal encyclopedia doesn't reveal the name of the current drummer but whoever they are, they seem to really know how to beat those skins at a rapid rate of speed. "The Cryptid and The Iron Bird" displays the full range of vocalist Travis McKenzie who seems to have many different voices. It's refreshing to hear someone who isn't stuck doing the exact same thing for every single song. But now we must acknowledge the stringed instrument players and how perfectly in sync they are. The bass playing of Mike Jilge is symmetrically in line with guitarist Ritchie Randall complimenting his overall rhythm. Both of them know when its their turn to shine back and forth on a track. A great example of it happens during the song "Brainstorm". "Go Murder Pray and Die" is probably my favorite song on this album due to the angry and fast pace of everything. I definitely hear the punk rock influences in this one. The album title track "Depart From So Much Evil" has a slow and ominous start. One thing you'll notice is that the track is over 22 minutes long but the actual song within it is only 7:30. There's a lot of filler sounds that stretch all the way to almost the 13th minute before another song within the track begins. However this hidden track is very incomplete. It will play for just under a minute before a glitch happens and the track stops before the 14th minute hits. Which means the track isn't actually a full 22 minutes. I'm not sure if the song ending abruptly was the band's intention but either way it is still very jarring. I'm not going to give this album a score because honestly, even though I know the band is good at what they do, I can't bring myself to give it a proper rating because I'm not an expert on this particular genre. If a cross between thrash, crust and grindcore sounds like it would interest you, definitely give these guys a listen. You can listen to Gravehuffer on most music streaming platforms. Make sure you show your support for the underground and keep it metal.

Welcome back metal heads to another episode of the great metal debate podcast. I'm Xander and today we are going to be talking about a local blackened death metal band from Nashville Tennessee called Act of Impalement. This is the band's sophomore album titled Infernal Ordinance. I was first introduced to this band a couple months ago when they played a live show when my friends in the band Storm Ritual opened up for them. I was blown away by their live performance and impressed with their overall sound. While I was there I purchased one of their t-shirts from their merch stand and little did I know, the artwork for the t-shirt design was the soon-to-be album cover. Even though I follow this band on Facebook nothing in my feed had popped up about an upcoming new album. I wasn't informed about it at all. In fact, the only reason I know that they put this new album out a few days ago is because Angry Metal Guy posted a review for it. As soon as I saw that, I nearly spit out my drink! Even though I was actually going to be recording another album review for a different underground band today, I had to once again postpone that so I could immediately work on this one. A few nights after I watched Act of Impalement play live, I listened to their debut album Perdition Cult. If you are a fan of bands such as Archgoat or Blasphemy you will love these guys. They take the best parts of their aesthetic and dial it up to 11. Their debut was incredible but this new album has truly kicked things up a notch especially since the line-up change. Ethan Rock is still the vocalist and guitarist but they introduce new bassist Jerry Garner and new drummer Aaron Hortman. The beginning of "Summoning the Final Conflagration" leads in with a doom sounding riff before the switch to a groovy blackened death metal riff. It's one that is sure to get your head nodding. The musical style definitely has similarities to the traditional OSDM sound but with some black metal riffs thrown into the mix like with "Specters of Unlight". On a positive note the entire album is like this. As for the vocals, they are oftentimes slow but also speed up in different areas. This vocal style aside from the aforementioned bands is also very reminiscent of early Incantation. The songs "Creeping Barrage" and "Atomic Hecatomb" are a perfect example of this and are definitely highlights on this record. If you don't bang your head to those, you are not a Metalhead. Despite its length, my favorite song is without a doubt "Blasphemies Rebirth". After the first 2 seconds of drum symbol tapping, you can anticipate a guitar riff that will cause involuntary headbanging. "Death Hex" was the song that got me growling the song title after a couple listens and the final track "Erased" is an epic finale. Because we are still very early in the year and I will be listening to at least 200 new albums in 2023 it's hard to give this album a score. It's subject to change during the month of December when I make my albums of the year list. But for now, I believe this is definitely good enough to earn a 7 out of 10 score. Be sure to show your support for Act of Impalement. You can listen to their music on bandcamp, Spotify and Amazon Music.

Welcome back to another episode of Metal Debate podcast with the new release by French technical deathcore band Solar Eruption with their debut The Demon's House. If you are a fan of a band like Shadow of Intent, this is definitely for you. "Red Room" is the name of the crushing first track on this album. Right away we are thrown into rapid fire blast beats and fast vocal delivery. There is a slight symphonic feel along with the very futuristic sounding guitar work. I enjoy those moments a lot when guitarists Jo Drgt and Flo Hoareau give us the finger tapping technique. They are fun to listen to and unique when compared to the monotonous chugs or regular deathcore bands. We have another heavy song titled "U.F.O." which features vocalist Dan Watson. The biggest highlight of this song is its breakdown where all the music stops, the vocals continue but the rest of the band comes back with a vengeance almost bringing us into slam territory. Moving onto the next two tracks, the band has treated their fans to a double music video for their songs "Bloody Mary" and "Suffocation". I can see why they did this as "Bloody Mary" is a full song but "Suffocation" is only a 30 second follow-up. "Bloody Mary" is even heavier than the last. The main vocalist gives it his all as well as Asmo Ctr who hits us with those nasty gutturals. For those 30 seconds of "Suffocation" we get pure musical chaos. Hell is unleashed through a blast of harsh vocals and the rest of the band giving our ears as much intensity as possible. The next track is "Smoke in my Head". It begins with a beautiful piano intro followed by some gnarly vocals which flow surprisingly well together. The high pitched screeching vocals never overstay their welcome and provide listeners with and extra hellish tone. "Fatal Abduction" taking things in a different direction with a more symphonic approach which will no doubt give you some Septicflesh vibes. This goes on for a while but will still give you that deathcore screaming and machine gun blast beats you came for. After the halfway point we get three separate breakdowns to keep us invested. "Price to Pay" was a song that was released as a single over a year ago but found its way to the full-length. I'm not going to spend too much time talking about this one, it definitely deserves to be here. "Kuchisake-Onna" is a song that gives us a nice guitar solo. On the subject of instruments, one band member I have not talked about is bassist Alex Mzy. The first few seconds of "Coincidence of the Matter" shows off his skills. 30 seconds in and we hear one of the two vocalists pig squealing as part of his harsh gutturals. The ending breakdown has a stop and start pattern where the music chugs in and out with vocals just another instrument and addition to the slams. Next on the list of extreme activities seems to be breaking out of a maximum security prison with "The Great Escape". The first minute + is the sound of a buzzer and jail bars sliding open followed by a man panting while freeing himself of chains along with loud footsteps. Once the intro is over, the remaining 6 minutes pummels your ear drums with a cacophony of blast beats, 7 string guitar riffs and vocals. Nothing but pure chaos for the duration. As we get closer to the end of this record we get more technical with the guitar playing for the song "Dust". Personally I enjoy the audible breaths before the breakdown in this one. The last track "We Are Enemies" wastes absolutely zero time before annihilating your ears. It's a short, crushing and symphonic conclusion. The Demon's House is a release that musically and vocally surpasses most of the generic deathcore the mainstream has to offer. Deathcore isn't my favorite genre but I can acknowledge the amount of effort that went into the making of this album. I'm going to give these guys a 7 - the symphonic elements make this an enjoyable listening experience.

Welcome back to The Great Metal Debate podcast. Today we’re reviewing the album from German metal act Atrocity - their newest release Okkult III. For my money, Okkult III is a solid metal album with a great mix of tracks. Short of perfection, but still pretty badass. As an overview, I’d categorize the songs on Okkult III as falling into three general camps – those that are more traditional death metal fare, a few more varied extreme metal songs, and a couple of tracks that are full-blown symphonic death metal. Let’s explore, starting with the more base-line death metal offerings… The second track – “Fire Ignites” – is one such song. Rapid-fire throughout, it is a furious beast of a track that thrashes the listener at every turn while remaining on the rails. A frenzied, calamitous feel to it, with the double bass drums putting the pressure at all the right points. Another song emblematic of this execution is “Cypka” – one of my favorite tracks on the album. Just a solid death metal song, with killer ambiance, screaming guitars, outstanding vocals, and tempo changes that drag the listener further toward the fray. Later on the album, “Lycanthropia” unleashes a machine gun blastfest of death metal bravado. Next let’s look at the tracks that deviate slightly from this template with a bit more complexity or nuance. “Bleeding For Blasphemy” has a warmer tone and some light background keys. I really like the chorus on this one. Not quite melodeath, but not far off either. “Teufelsmarsh” provides a marching intro and then moves right into furious drumming and evil riffs punctuated by spasmic lead breaks. The track “Priest Of Plague” alternates between melody and mayhem following a dark, brooding intro. Other songs are more extreme, or at least have some twists and turns that set them apart. “Faces From Beyond” is a straightahead burner reminiscent of Slayer. I like what they were trying to do with this track, but the structure of the guitar melody perhaps wasn’t as strong as it could’ve been. “Born To Kill” doesn’t suffer from such a weakness; it’s one of my favorite songs on the album. A tad groovier than the rest, and I just love the main riff here! Admittedly not the most sophisticated lyrical construction on this one but, ya know, it’s heavy metal, right? The final two tracks I’ve not mentioned – “Desecration Of God” and “Malicious Sukkubus” are both more in the symphonic death metal style, with the later being even more ‘symphonic-esque’. The vile chanting at the beginning “Desecration Of God” sets the stage, although the track evens out later into mostly a tidy headbanger. A quality song, albeit with an abrupt ending. And, finally, “Malicious Sukkubus” is my favorite track on the entire album. Majestic atmosphere, haunting voices crying from the shadows, and I really enjoyed the contrast between the verses and chorus. Vocally, you know what to expect from Alex Krull. A deep growl with plenty of grit but enough pitch you can generally hear the lyrics. Perhaps not the widest vocal range, but he sufficiently mixes his approach up throughout to keep it fresh. I think the vocal issue is partially why I so like “Malicious Sukkubus” which features guest vocals as well as “Cypka” which has eastern European-sounding spoken words – a bit more difference and well-executed distinction on those tracks. As I listened to the album I developed a love-hate relationship with the occasional backing keys. Sometimes – as in – “Desecration Of God” – I wasn’t always a huge fan of how they were utilized. Other places – such as in the background to the chorus and elsewhere in “Bleeding For Blasphemy” – I thought they were perfectly employed. In summary, I really like this release. This album might not make my ‘best of’ for the year, but there’s not a bad track on here and the whole thing is a ton of fun if you don’t take it too seriously. This is a solid offering that I see getting plenty of rotation in my earbuds.

Welcome metalheads to the first album review of 2023. I'm Xander and today we are talking about the brand new album from German funeral doom metal band Ahab titled The Coral Tombs which was released on January 13th via Napalm Records. The first single for this album was "Colossus of the Liquid Graves". Napalm Records uploaded that claymation music video that gives us a motion picture glance of the album cover. The song features its familiar clean singing heard in previous records and it continues to be refreshing especially since the band's 8 year hiatus since 2015's The Boats of Glen Carrig. The main guitar riff provides us with an earworm of a winding hook. This song also brilliantly showcases the vocal talent of Sir. Daniel Droste. His slow monstrous bellows complement the atmosphere of this incredibly haunting soundtrack. The first song on the album "Prof. Arronax' Descent Into Vast Oceans" begins with a bombastic crescendo of fast, heavy and aggressive death metal only to slow down drastically into the dragging funeral doom that we all know and love. But this song has another surprise up its sleeve. The song features the German black metal band Ultha although it's not exactly clear on when they show up. If Amazon music hadn't have told me that, I would have never known and thought that it was all just Ahab. Either way, I enjoyed the song regardless. The day this album was released, the band put out their second music video titled "Mobilis In Mobili". Beginning with earth rumbling vocal delivery but during the halfway mark the sound leads into a sudden tempo change as guitarist Chris Hector gives us some soft string picking while the rest of the band comes to a screeching halt. Daniel eventually adds to Chris' picking with some quiet pitch harmonics before the drums and bass returns to pick up where they left off. This time, Daniel and drummer Cornelius Althammer both beginning their chanting style of cleans. This is a not so surprisingly great mix with the slow death metal guitar chugging slams. It works so well as the last breakdown of the song which hits us hard with the harsh vocals triumphantly concluding the track. Next we have the song "The Sea As A Desert" which has a very bizarre opening. It's difficult to describe the tuning of the guitar aside from the fact that it sounds mysterious. But it is here where I must address my first and only critique with this album. There are a lot of times throughout this record where it feels like the clean singing tends to slightly overstay it's welcome. These types of baritone operatic singing voices are great for the depressing vibe but at the same time it is only good in moderation. Unfortunately this song in particular falls flat because the majority of the song is clean singing. However, the album quickly redeems itself with the following album title track "A Coral Tomb". Easily my favorite song on this record. It would fit like a glove on this album with its slow and simple riff and 50 BPM drum speed along with the occasional crash cymbal. It's a snare and kick drum pattern that can be played on the minimalist if kits but is still quite effective. "Aegri Somnia" treats us to an acoustic guitar sound in the most dark and gloomy way possible. It takes a while for the creature-esq harsh vocals to kick in but when they do, you feel that impact reverberate through your bones. Speaking of vibrations, there are definitely some audible bass lines played by Stephan Wandernoth. The final track "The Maelstrom" features the band Esoteric. Both guest features on this album don't really make their presence that noticeable all though I could tell when they showed up for the background vocals toward this song's dreary end. So how would I rate this album? I would tell you that it is almost a masterpiece. I say almost because of my minor issues with the amount of clean singing knocks this one down a couple points. I give Ahab - The Coral Tombs a solid and well deserved 9 out of 10.

Xander interviews the guys from atmospheric black metal act Storm Ritual following their performance in Nashville TN on December 10, 2022. Excerpts from the Storm Ritual track "Follow The Flies" (Follow The Flies demo, 2021) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

In this year-end episode, Xander and Gomthog count down their lists of top 15 metal albums 2022. Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The songs “Tormented By Atrocities” by Castrator (Defiled In Oblivion, 2022) and “Forgotten Iceburgs” by Depressive Witches (Distant Kingdoms, 2022) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

In this episode Xander Gomthog reviews recent concerts and talk what’s coming up in 2023! Intro/outro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The tracks “War Gnomes” by Adavant (The Mystic And The Mountain, 2023), “Silhouettes Of Horror” by Hyperia (Silhouettes Of Horror, 2022), and “Let Him Be Crucified” by Blasphemer (The Sixth Hour, 2020) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

In this episode Gomthog reviews recent concerts with Accept / Narcotic Wasteland in Nashville and Sabaton / Epica in Cincinnati! Intro/outro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The tracks “Forge Your Destiny” by Aftertime (Infinite Legacy, 2021), “Dragon Saga” by Dark Legion (God Of Harvest, 2022), and “The Oath” by Gloryful (Cult Of Sedna, 2019) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

I'm Xander and today we are going to be talking about a slamming Deathcore band called Nitheful with their crushing sophomore album The Creation Ov God. This band sounds like one long continuum of the breakdown from the song "Blasphemeon" by Infant Annihilator. Imagine if that one breakdown never ended and just kept going and going and going. I can't go any further into this review without mentioning the star of the show Derrek Connolly, one of the most talented vocalists going right now. It is clear his main influence must be Dickie Allen and he has taken that signature sound but dialed it up to 11. The first track we hear is titled "The Book Ov Divinity". It begins with some of the most raspy sounding high pitched screams. After the intro we are immediately blown away by the gravity blast beats by the drummer. The song as a whole slams with constant teases of the song ending but keeps coming back to hit you in the face with a barbed wire baseball bat. This is a reoccurring theme throughout the entirety Ov God's Creation. Next is "The Tyrant" which also guest features Kyler Cheek from the band Stygian Complex on vocals. It has a rather ominous opening with those warped and distorted voices saying something sinister before grossing the listener out with those wet gurgles that sound absolutely disgusting in the best possible way. "Drowned Creation" follows with yet another guest vocalist. This time we have Adam Warren from my personal favorite deathcore band Oceano, one of the most monstrous vocalists in the scene. Of course we are not disappointed with his fucking killer performance alongside this lesser known but devastatingly good band. "Incestual Infamy" is possibly my most favorite song on this new album as Derrek holds his own on the vocal delivery. I also enjoy the fact that this one has a pretty decent guitar solo played by Nick Saia. Nick is the main instrumentalist who writes all of the music for the band including bass and drums. That of course is supported with the nasally tunnel throat maneuver by Derrick which is further complimented with gnarly gutturals. "The Ten Pestilences Of Egypt" and "Jepthah The Devouted" both give us more of the hellish soundtrack that we all came here for. "Father Feticide" seems to have a slight symphonic feel to its intro with the demonic vocals layered over it. There's an operatic backtrack that plays throughout the song's duration which amplifies the listener's experience. Moving on we have the 7th track titled "Preptium Avarice II". I genuinely enjoy the sections of this album where the vocals sound like the almighty baphomet himself speaking. This one has yet another stand out guitar solo followed up with more bestial snarls which mocks the Bible. This ends with an evil laugh that merges with the next track which is written in Roman numerals. This apparently translates to a calendar date. I'm not sure what the date is. All I know is that "IIXXVIILxxv" is yet another banger that features another guest vocalist named James Cole. "The King Ov Sin" features 2 more guest vocalists - Fred Nylist from the band Nylist and Gui from Beyond Devastation. The song is just as brutal as you can expect it to be. I can't help but love how the song "Mother of Flesh" has a headbang worthy chug riff that has a element of grooviness to it."Sacrementum Ov Fillicide" is yet another deathcore delight complete with a 'bleeh' thrown into the mix for good measure. This one features guest vocalist Kyle Weeden from Cartosa who provides echoing gutturals and legitimate swine sounding pig squeals. And finally we come to "Sacriligious Suicide" another one that brings back the operatic choir to make a triumphing and epic finale. I recommend this one to anyone who desires to make people kill each other in a moshpit, and give it 8.5 out of 10.

Welcome back metal heads to another episode of The Great Metal Debate podcast. I'm Xander and today we will be talking about the brand new album by the old school death metal band Autopsy titled Morbidity Triumphant. I've been a fan of this band for a good 11 years now ever since an old friend of mine showed me their first two classic albums Severed Survival and Mental Funeral. I have always enjoyed the harrowing vocals of Chris Reifert and respected him for his ability to not only be the lead vocalist but the drummer at the same time! Its extremely rare for a drummer to be doing vocals in any genre of music. As for the band's later records, I found myself enjoying Macabre Eternal and Headless Ritual. Morbidity Triumphant is the band's first album in 8 years since the release of 2014's Tourniquets, Hacksaws and Graves. This band has made a name for itself over the last three decades and have achieved legendary status among all metalheads. It is a shame that I have never seen them in concert, especially since they managed to unintentionally create a brand new form of mosh pit during the last Maryland Death Fest. I have to keep it G-rated so I won't talk about that here, but if you know ... you know. Kicking things off we have the first track titled "Stabbed In The Brain". We are immediately blown away by the immense power of Chris' drums and not even a minute into the track we have our first of many chaotic guitar solos. It is everything that you can come to expect from a band like Autopsy. Next we have a song called "Final Frost". It is yet another solid track where the vocals continue to stand out as always. There is just something about the way Chris' vocal sound that give it that extra zombie horror vibe. I especially like the way the song ends with the vocals being dragged along as the music fades out. The guitar intro for "The Voracious One" has a very windy but rhythmic sound. Danny Coralles and Eric Cutler make the music for this track sound like rock music but with Chris's monstrous voice layered over it. It almost sounds a little groovy in a way. "Born In Blood" is another banger and so is "Flesh Strewn Temple". "Tapestry of Scars" and "Knife Slice, Axe Chop" had their incredible moments along with audible bass in the sound mix. Greg Wilkinson is the newest addition to the line-up and does an outstanding job filling in for bass. Moving on we have a song titled "Skin by Skin" where we hear more of the bass in the beginning accompanied by a cavernous bellow by the vocalist and his very slow drum beat. This one is honestly kind of a boring track and it serves as filler. Sure, the song picks up in speed a litte but only for one part. The guitar solo was also sorta mediocre. "Maggots in the Mirror" is a much faster track that I could see a crowd of people doing a circle pit. It definitely seems like this album can't make up its mind whether or not it wants to be fast or slow. There's a pattern. Slow songs then fast songs, slow songs then fast songs. "Slaughter of Souls" goes back to being slow again, almost as if this entire album is meant for High Intensity Interval Training. "Your Eyes Will Turn to Dust" is the final track on this album and its the same formulaic approach. Starting slow, then picking up the pase only to go into death doom territory. This is the type of thing that Autopsy has always done. Sure, it's great death metal but at the same time its really hard to get into it when there's no real twist or turns. Morbidity Triumphant is not a bad album. In fact this album is really good just like all of their other albums with the exception of Shit Fun. We don't talk about that album. Every great band has their magnum opus and every great band eventually has their St. Anger. I love Autopsy. Autopsy is a band that never strays from the path of brutality, which is why I highly respect them. So with all things considered, I'm going to give Morbidity Triumphant an 8 out of 10.

Welcome to another episode of The Great Metal Debate podcast. Today we are talking about one of my favorite symphonic black metal bands - Abhor - with their newest album Sex Sex Sex (Ceremonia Daemonis Anticristi), released on September 23rd through Iron Bonehead Productions. This group has been around since 1995 but did not released their first album until 1998. Since then, Abhor has built a rather impressive discography with a total of seven full-length studio records under their bullet belts. Which brings us to their new unholy 8th album. Starting things off we have "The Curse of the Twins". Right away I have to say that Leonardo is possibly the best organ player I have ever heard in any symphonic black metal band. There is so much talent within his fingers that produce so much beautiful music from the keyed instrument! This one is just a short intro track but it is beautiful and sounds like it is being played inside an actual Cathedral. And then we have the album title track "Ceremonia Daemonis Anticristi". Just the first few seconds of the song has a riff that sounds only just slightly similar to an 80s heavy metal song along with that signature opera-esq falsetto. The tempo quickly changes into a more aggressive and harsh black metal sound complimented by those ghoulish raspy vocals. I also couldn't help but notice that the symphony sounded a lot like early Cradle of Filth. It has sort of that blackened death doom sound that is very reminiscent of bands like Archgoat. Just after the 4:10 mark, you can hear chants from a hell priest and the other followers shouting "Hail Satan" throughout the remaining two minutes of the track. Moving on we go to "At The Edge Of The Circle". The opening notes have that slow doomy kind of riff which is immediately followed by more calming classical music style organ playing alongside those cavernous screeches echoing from the mouth of hell. The winding guitar riff towards the middle of the song stands out and further compliments the organ. Next we have a song called "Ode To The Snake". It is truly ominous and the voices you hear at the start are very difficult to make out which makes it that much more creepy. This next track might be a little on the nose as far as lyrical themes go but now we have "Ritual Satanism". It is yet another stellar track that is sure to penetrate your black soul upon listening to this. "Evil Mentor" is yet another stand out track on the album. The beginning of the song has an audio recording of a high priest in the LeVayan Satanic Church conjuring fourth the Leviathan from the depths of the abyss. What follows is a cavernous scream from Ulfhedhnir that will reverberate in your ears the second you hear them. The bass guitar really stands out in this intro. Kvasir does a great job of keeping pace with the slower drum beats and it goes along with the organ like peanut butter and jelly. There is even a short lived operatic part towards the middle of the song and a small single note guitar solo performed by Domine Saevum Graven. Those of you Mystifier fans out there will be pleased to learn that Abhor has done an absolutely wonderful job of covering their beloved song "Beezelbuth" with the new age of studio recording equipment and sound mastering by Lucas Demon. The title of this song is "October 31st 2010". A real life natural disaster is enough to help set and even more tragic and bleak tone to this already grim album. The bass lines help to give you that somber feeling. The vocals toward the end of this track give off major Dagon from Inquisition vibes that will give you chills running down your spine! "The Call" is a nice continuation to this album. It is yet another flawless song on a flawless album from a flawless band. And then we wrap things up with the final track "Violent Coven" which is just another short symphony that serves as the outro. I have nothing negative to say about this album - this gets a 10 out of 10!

Welcome back metal heads to another episode of the great metal debate podcast - today we're looking at a solo atmospheric black metal band called Blackbraid. According to the metal-archives and bandcamp, the music is described as "Indigenous black metal from the solitude of the Adirondack wilderness." Personally I really enjoy Native American themed black metal bands. Last summer, I watched a very interesting documentary called Metal From The Dirt; which talks about the underground black metal bands that come from a Navajo Indian Reservation in Arizona. Because of that documentary, I got into the band Mutilated Tyrant and just last week a friend of mine introduced to another fantastic band called Nechochwen. The YouTube channel known as Black Metal Promotion just streamed the full-length debut titled Blackbraid - I. I have known about this band for about 2 months now and have been waiting for this release ever since. The first song is titled "The River of Time Flows Through Me" and it begins with the sound of water in a creek which is definitely an appropriate way to kick things off. I have a major appreciation for black metal bands that have a soft spot for nature. The first 3 minutes of this track is fast and aggressive much like your standard black metal song structure, but what will get you is the soft and melodic Tempo change. It is a soothing guitar riff that will make you feel relaxed and further immerse you in the experience. The only other song out there that I can compare this to is "Djinn" by Uada. It's the only other song that I can't think of that follows this formula but sounds very different. "As The Creek Flows Softly By" is an instrumental track that is perfect for meditation. I love when instrumentals feel like they have a purpose on an album instead of being just another filler track. This instrumental track feels like it truly belongs here instead of completely going to waste. "Sacandaga" is the second song that was uploaded with an absolutely gorgeous music video complete with breathtaking visuals of the wilderness. It's also a great song that will keep you begging for more. The first single to be released was "Barefoot Ghost Dance on Bloodsoaked Soil". Though it is the most streamed by listeners, I find it to be the weakest among the other tracks due to a lack of distinction. This one seems to be a straight forward black metal song without the uniqueness of previous songs but it's still good. I do really like how the song ends with a gagging noise for the final scream. Then we fade into another instrumental masterpiece that doesn't waste anyone's time. It's a track called "Warm Wind Whispering Softly Through Hemlock at Dusk" which has plenty of acoustic guitar and chirping birds to lead us nicely into our concluding song "Prying Open The Jaws of Eternity" which is precisely 10 minutes long. There's a lot to love with this final song as it manages to pack in a large variety of black metal styles including soft and slow parts and sections that will be straight forward and in your face with minimum aggression. The first three minutes of this song has a very death/doom kind of vibe with its slow long and drawn out guitar notes and the dragging death vocals. The tempo then changes to a more upbeat and groovy black metal sound. Seven minutes in and we are yet again at another tempo change that brings us back to the death/doom sound again which continues for the rest of the track. Blackbraid - I is a phenomenal entry into the world of atmospheric black metal that could one day have the potential to become a classic. I’m rating this album 9 out of 10 just for the hard work and effort put into this record. You can support Sgah'gahsowáh's music by purchasing his digital album on bandcamp or if you're a fan of physical copies; he has: shirts, vinyls, CDs and cassettes available.

In this episode Gomthog reviews his experience at Heavy Hell III in Indianapolis IN! Intro/outro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The tracks “Dispossession” by Jesus Wept (Psychadelic Degeneracy, 2022), “Demon King” by Cursed Blade (demo, 2020), and “Hellfire & Steel” by Bastard (Rotten Blood, 2022) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Welcome back to The Great Metal Debate Podcast. Today we're looking at one of the most extreme bands - the Chinese slamming brutal death grind band The Dark Prison Massacre with their 3rd full-length studio record titled Triple Insanity. Let's just say that if you're a fan of bands like Torsofuck and Gutalax, you'll enjoy the sickness of this band. The vocals are among the nastiest I've ever heard. That churning sink garbage disposal sound is exactly the type of disgusting gutturals you're looking for in this subgenre. Triple Insanity unfortunately does not begin that way due to the first track being very skippable. All you're missing is the intro album title track which is just an old recording of some guy speaking Mandarin. I obviously have no clue what he is saying but it doesn't matter. "Stop Slut Humiliation" begins with a very long pig squeal followed by more pig squeals. There is a slow downtuned guitar chugging part accompanied by some very rhythmic gutturals. There is even a 3rd act of the song where the music has that stop and start djenty feel about it and you can clearly hear each drum beat. As for the song's conclusion it ends with some filthy yet groovy gurgling vocals over a slam riff which makes the perfect breakdown. "Watch Your Life" starts with a washed out chug riff but fades in with a more crisp and polished sound. Of course there is more 'barfing in the shitter with a microphone next to the toilet bowl' vocals where that came from. If you're into this sort of thing then The Dark Prison Massacre will certainly be up your alley. If it seems like I'm insulting this band then I must tell you that I'm actually praising it. The grosser this type of music sounds, the better. At the 0:38 mark, there is a sound that the vocalist makes that sounds just like it was processed with a synthesizer. "Ghost Island Dalitas" runs at a slower tempo musically but at least you still get the possessed crocodile type of vocals. "True Metal Bastards" gives us some more of those beloved demonic pig squeals that will remind you a lot of Despised Icon. Imagine the perfect blend of quality deathcore with a slight cyber porno grind infusion like Sperm Swamp. "Dead Hand System" and "Scam Pioneer are other fantastic examples of both Zeyu and Dongda's impressive guttural capabilities. "Ghost Island Dalits (Snow Sedim)" is a remix of the song you heard earlier that has a different sound mix instrumentally and some of the vocals are either rearranged or are recorded in a slightly different pitch. There's also an operatic backing track on this edition as well. "No School Violence" is one of the more pig squeal infused tracks on this record and uses quite a bit more distortion is some areas. The final track on this album “Cerebral Failure Projection” is another banger, and I have not complaints about it. All I can really say about it is that it’s the same kind of stuff you’d expect from this band. I do have some critiques. I’ve always disliked it when a band feels the need to put two versions of the same track on the same album, even if it is a slight remix. I personally believe that a band should choose one version of the song they like best to put on a new album, and then if they have a remix or another version of the song then they should release it later. I didn’t enjoy this one as much as the previous record, or the album before it, but I’m still giving it a rating of 7 ½ out of 10. This album is definitely not for everybody; this band is not for everyone. But if you are looking to scratch that itch as far as nasty vocals, gutterals, and pig squeals, then this is probably what you’re looking for. You can buy their digital albums on Bandcamp.com. And as for this newest release Triple Insanity, you can listen to it on Amazon Music. If you really want to support this band by buying their merch, be sure to check out Fat Tub Of Lard Records.

Welcome back everybody to another episode of the great metal debate podcast. My name is Xander and I am a Die Hard fan of the Swedish melodic death metal band called Amon Amarth. I have been a super fan since the Year 2006 when I first discovered them on their album with Odin On Our Side. I remember the very first song I ever heard from these guys, it was "Runes To My Memory". I was pretty much sold on these guys after I heard their second single from that album called "Cry of the Blackbirds". But today we will be talking about the brand new album called the Great Heathen Army. This is the band's 12th studio album and I have pretty much concluded with their previous record that this band gets better and better each time they release a new album. Having said that, Berserker is one of my favorite albums from them despite it being very recent. To me, this new album hasn't exactly dethroned Berserker but it still ranks very high to me. I am one of those rare type of metalheads who can learn to appreciate new material from a well-established band. Most people lose interest in bands after they release their third to fifth album. In fact, I have a friend on Facebook who told me a few days ago that he stopped listening to them after the versus The World album in 2004 which I find completely shocking. Several months ago Metal Blade Records treated us all to a new music video for a song called "Put Your Back Into The Ore". It was a fantastic song but I think that all of us Amon Amarth fans were disappointed to find out that the song was only released as a single and not a part of the brand new album. With that being said it is time for us to talk about each of the brand new songs track by track. Starting off strong we have a song called "Get in the Ring". This is a very unusual title for a song from a Viking metal band but once you read the lyrics you'll understand that it is indeed about Vikings and not about a modernized blood sport. Next up we have the album title track "The Great Heathen Army". This band continues to impress me with their guitar riffs that always sounds fresh and groovy. And then we have my personal favorite song on the album "Heidrun" which is definitely one of the catchier tracks and the main riff sounds very folky, almost Fintroll-ish. "Odin Owns You All" is another stand out followed by "Find A Way Or Make One". "Dawn of the Norsemen" makes you feel like you're riding on a horse Galloping into a battle ready to die in a fight to be granted passage into Valhalla. The song itself is a very typical formula for the band with its long-standing Viking theme. "Saxons And Vikings" is definitely one of my most favorite songs on the entire album with the opening chug riff in the rhythmic drumming to kick things off. This song features the lead singer of the power metal band known as Saxon. It is really neat to mix power metal vocals with death metal vocals. Surprisingly it is a fantastic combination with a super melodic riff and a face melting guitar solo. "Skagul Rides With Me" seems like a very forgettable fuller track and things really slow down both musically and vocally for the final song "The Serpent's Trail". Overall this is another great album but do I consider it the best? No I do not. But it is still definitely Worthy of the box set that I got for this album which includes a poster, a puzzle, trading cards, a bottle topper, a patch and the CD. It is a good collector's item to own if you are a die-hard fan of Amon Amarth! So how would I rate this album? It is really good but far from perfection, so with that being said I have to give this an 8.5 out of 10. Be sure to check out Amon Amarth's music videos on YouTube and you can listen to their music anywhere else. I'm on Amarth is signed with metal blade records so if you would like to support them by buying their merch you can do that website as well as indiemerch.com.

Today we are going to be talking a brand new Swedish melodic death metal band called The Halo Effect. This is their debut album titled Days of the Lost. For those who don't know, this band is made up of all the old members of In Flames and the vocalist of Dark Tranquility. I'm going to declare this as my favorite album of the year so far and give The Halo Effect - Days of the Lost a well-deserved 10 out of 10! The first track is called "Shadow Minds" which begins with a slight buildup with a pitch harmonic note being played in the opening riff which ends up also being the main riff. Any fan of the band Dark Tranquility will appreciate the volume level of Mikael Stanne's vocals. Every musician in the group gets to shine evenly throughout the entire duration. The main calming guitar riff preformed by both Jesper Strömblad and Nicles Engelin is second to none when it comes to creating something totally memorable. The third song is called "The Needless End" which is honestly more reminiscent of Lunar Strain or The Jester Race as far as the skipping fret notes seem to flow with the guitars. They fully managed to once again capture lightening in the bottle. I even enjoy the musical pauses in this particular song. The classic stop and start trick is used hear and only the most in-sync of musicians can pull that off without it sounding corny or generic. Next up we got a song titled "Conditional" which will almost certainly remind listeners of mid-era Dark Tranquility records such as: Character, Fiction and The Gallery. I'm sure many will even find a way to make connections with Skydancer as well. "In Broken Trust" gives us our first taste of clean singing from Mikael. It sounds as though it would be a hit song if this type of music was more accepted by the general public. If only rock radio stations would play this kind of music during graveyard shirt hours. It would be a much better world. The clean singing doesn't wear out it's welcome as it is very short-lived and only serves as a course. "Gateways" is yet another stellar tune due to its groovy guitar riff. Its another defining track and gives people the verbal opportunity to describe this album as "Riffs For Days". When people say that, this is what they mean. This one starts out slow with some undistorted guitar picking and Mikael's raspy voice followed by a lovely little tune. This structure repeats but it isn't repetitious at all; in fact, the guitar solo in this is very dream like and the song closes with sort of that Insomnium kind of vibe. Then we have a song called "A Truth Worth Lying For" which will get you nodding your head with those funky bass lines performed by bassist Peter Iwers. This song is also the second time were hear Mikael's very brief clean singing which never feels out of place. I haven't heard clean singing in melodic death metal sound this good since Christian Avelstam was in Scar Symmetry. And now, my favorite song on this whole album "Feel What I Believe". I am so tempted to buy this shirt for this song but dammit, I have to save my money. Everything from the riff, to the lyrics, to the drums to the vocals makes this one arguably the best ear worm on this absolutely incredible debut. "Last Kind Words" begins slow with a very soft classical music sample before diving head first into the most headbang inducing guitar chugs while a completely different riff is being played by the other guitarist. Mikael does this shouting style of clean singing with his raspy voice digitally placed over it. The final track is "The Most Alone". As a whole, this last song doesn't stand out quite as much as the others but it certainly has my favorite miniature solo which you will hear after the halfway mark. Be sure to show your support by following them on social media and purchasing their music from Nuclear Blast Records. You can listen to them pretty much anywhere whether it be: Amazon Music, Spotify or YouTube.

In this interview recorded August 13, 2022, singer and frontman Kyle Shaw of Indianapolis death metallers Obscene joins the show following the band’s performance at Heavy Hell III at Black Circle. Excerpts from the Obscene track “I Shall Drink The Earth’s Blood” (…From Dead Horizon To Dead Horizon, 2022) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Welcome back metal heads to another episode of The Great Metal Debate podcast. I'm Xander and today we are going to be talking about the brand new death metal band called Castrator from New York City. This is the band's debut album titled Defiled In Oblivion. Just like Introtyl from Mexico City, this is yet another all female band and they kick just as much ass! The bassist of this band – R.M. – is also the bassist of the band known as Derkéta, which is also another death metal band that features all females in the lineup. Personally, I think that women in metal fucking rule and there is no better example than the ladies in Castrator. They’ve released two demos – one in 2014 and one in 2015, and the band has been around since 2013. With a band name like Castrator, it’s no surprise that the lyrical themes involve feminism and non-rape – which is a good message. Now this band might be based in New York City, but the members are from Norway, Mexico, and Sweden, along with Columbia and the USA. . Castrator might be a great new death metal band with that old school sound but there isn't all that much more I can really say about this album other than it is enough to get people moshing and head banging. I'm not going to sit here and say that every song sounds the same but there are some very similar riffs and the vocals hardly change up. Which is common for most death metal bands so that isn't necessarily a bad thing or any kind of major critique. In fact, I think that the only reason they chose "Tormented by Atrosities" for their music video is because that particular song has a breakdown that sounds very much like "Liege of Inverasity" by Suffocation. And, of course, everyone knows what that breakdown is – that is the breakdown that started the subgenre called Slam. To help save a little time I'm not going to name every single song on this record but I will point out some of the other songs that I think are major highlights. Another really good track on this album was "Inquisition Sins". It had a nice riff with very audible lyrics. Directly after the song was another kick ass track titled "Voices of Evirato" that begins the same way an old Bloodtruth song would from the Obedience album. In other words, you hear chanting monks in a church choir. If this band decides to make any other music videos, they should for those songs I just mentioned, along with a few others. This album concludes with a cover of the song "Countess Bathory" by Venom which I actually think is pretty good. Although I don’t understand why a lot of modern death metal bands feel the need to make their own re-recording or cover of an old-school metal song. For those of you metal heads out there looking for something very unique and different, you’ll most likely be disappointed if you look for it here. With everything that I’ve said so far about this album, I’d rate this debut with a 7.5 out of 10. This has been yet another solid release from their record label Dark Descent Records, and it is where you can find their music.

Welcome metalheads to another episode of The Great Metal Debate podcast. Today I am here to tell you about the brand new album from Austrian blackend death metal tyrants Belphegor. When I found out that the name of the new album was called "The Devils" I couldn't help but laugh because it sounds just so generic compared to what they usually do. Normally, Belphegor likes to make their album names sound more dark by saying something in Latin. The Devils to me sounds like the name of a sports team or a clan of villains in a Saturday morning cartoon. But don't let the name fool you for this record is full of surprises. Many of the songs have a major change in pace to what you are used to hearing from this group. A few months ago when this band released their first 2 singles for the new record. First they released a re-record in of their 1997 song titled "Blackest Sabbath". I heard the original and the re-recording is far superior with better audio quality and sounds a lot more clear. The second single was a new track called "Virtus Asinaria - Prayer". When I first heard this I I couldn't help but think, did they go soft? The answer is yes but upon a second hearing of the song I realized that it was better than I remembered. According to the website metalshockfinland.com Helmuth stated the following. "... It stands for what BELPHEGOR has always stood: liberty and the everlasting spiritual & bodily manisfestation of carnal sin upon this rotten world!” The album opens with the title track and someone saying 'The wrath of Satan has no mercy. Repent!' Followed by a crushing blast beat from their drummer James Stewart along with heavily distorted guitars. Despite from generic "hail Satan" lyrics, this song still manages to keep you invested for the whole 5 minutes. I think it's hilarious how in the middle of the song you clearly hear Helmuth randomly say "Fuck". "Totentanz - Dance Macabre" has an audio clip beginning with a possessed woman screaming the word 'deliver us from evil' but the rest of the song is very reminiscent of the song "Bondage Goat Zombie" which is a classic Belphegor song. Long time fans would enjoy this tune for sure. "Glorifizierung des Teufels" is my favorite song on this new album due to all the acoustic guitar parts with the dead sounding voice of Helmuth overlapping it. The music fluctuates from calm too heavy. Something else that has a reoccurring theme on this new album is the chanting. There seems to be a lot of it but it never overstays it's welcome. "Damnation - Hollensturz" is yet another fantastic song that is sure to get your head bobbing with that rhythmic groove. This next song is the one I mentioned at the start of this review and its "Virtus Asinaria - Prayer". The song is about 90% chanting and its dark and truly haunting. Give it a chance if you like that slow and scary type of metal. "Kingdom of Cold Flesh" picks up the pace again and it sounds like it could've easily been on the Conjuring The Dead album. Here is that old school and fast classic sounding Belphegor with a Latin language song title. "Ritus Incendium Diabolus". There isn't a whole lot I can say about this one except this certainly has that mid-2000s feel about it with a touch of the new chanting. Its a near flawless mix that will leave you feeling satisfied once you've heard it. There seems to be a brief little intermission track that is boring but short lived. Its another slow chant with moderate electric guitar strumming and a woman singing in the background. The track is called "Creature of Fire". Where not gonna spend a whole lot of time on this one. In fact, I don't need to talk about this last track because its that re-recording I mentioned earlier. Overall I was impressed by this new release. There's nothing for me to complain about as it is yet another solid Belphegor album. It's not their best yet a ton of effort was put into this one. With all things considered, I'm going to give this one an 8.5 out of 10.

Today we have another glorious album review talking about the new release from German power metal group Victorius. Between the absolutely stellar lead singer David Bassin and their lead guitarist Dirk Scharsich, this band will keep you from skipping a single track on this record. Without further ado, let's talk pick this album apart track by track. As expected with 99% of all metal albums, there's an intro track called "Saurus Invictus Lazerus". This intro includes the sounds of: metallic blades clanging, laser guns, wooly mammoths, robotic hydraulics and snarling dinosaurs followed by a bombastic musical score. That pretty much sums up what you're in for when the first song begins. 'Dinos arise, stand up and fight!' is the first thing you hear in the song "Victorious Dinogods". If that immediately doesn't get you excited for the impending nerdgasm, you're probably not ready for the epic opening guitar solo. Those of you still with me, let us march on with this battle hymn of a sound track. If this song doesn't make you feel like you're listening to the theme song of a Saturday cartoon, then you might have missed out during childhood. The next song was the 2nd single that dropped prior to the album's release. The song is titled "Mighty Magic Mammoth" and its every bit as triumphant as it sounds. In fact, there is a lyric in the song that says "triumphant elephant lead us to the promise land". When I heard this song for the first time I found myself singing along before it was over due to the catchy-ness. The winding guitar riff will stay in your brain for a few days. The next track is hilariously titled "Jurassic Jetfighters". If you're not imagining a transformer from the 90s TV show Beast Wars, you might just lack the ability to vibe with this style of power metal. The song is literally about robot pterodactyls that shoot laser beams and it's FANTASTIC!!! The next song is yet another catchy earworm and was the first single put out for this album. It's called "Dinos and Dragons". You know, I could be wrong; but I'm almost certain that any of the guys in the band could whoop my ass in a Yu-Gi-Oh duel or a game of Magic The Gathering. "Dinos and Dragons" is yet another slapper that will have you singing along and saying "whoa-oh" after each chores. "Katana Kingdom Rising" focuses more on the perspective of the ninjas in the war against the Powersaurs. The guitar riff in this one is much more galloping and will entice the listener to bob their heads for the entire duration. "God of Roar" is an obvious parody but still an enjoyable listen, especially with the face melting solo. It's one of the shorter and more repetitious songs which creates a good balance. The 3rd single for this album is the next track called "Night of the Nuclear Ninja" which had a lyrical video. "Triceps Ceratops" is a comically written song with some funny and completely rediculous lyrics. It's about the strong and powerful tricep muscles on a triceratops that are capable of "running faster and faster until you reach the speed of light". "Tyrannosaurus Steel." Imagine if the monster card called 'Cyber Dinosaur' were to come to life and some how begin flying through outer space. This album is every geek's wet dream and is an all around nerdgasm. Onto the topic of ninjas, "Shadow of the Shinobi" is another brief cutaway from the Powersaurs but is still a kick ass song nonetheless. This glorious album concludes with "Powerzord". Its the only song that seems to describe a humanoid robot that is colossal in size. Its so cool how every song has its catchy choruses. Dinosaur Warfare pt. 2 is definitely my new favorite Victorius album and is also one of my top favorite albums of the year! So I'm going to give this one a well deserved 9.8 out of 10!

In this interview recorded June 18, 2022, Xander talks with vocalist Fredrik Söderberg of Soreption prior to their performance in Louisville KY on the band’s tour of North America opening for Suffocation! Excerpts from the Sorpetion track “Död Jord” (Unique Leader Records, 2022) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Sacramento symphonic power metal band Graveshadow emerged in 2014 with their debut, self-titled EP. Fast-forward to 2022, and we find Graveshadow releasing a new album – The Uncertain Hour – with a revamped lineup. Let’s take a peek at the new incarnation and tease out what changes and similarities are evident in the new music. The album opens with “Soldier of 34” – a song that starts subtly then moves into strong riffing supported by furious drumming. The verses have alternations with one line in clean singing followed by another using harsh vocals in a call-and-response fashion. The chorus is a more mid-paced. It’s not a bad track, but personally one didn’t really do it for me. Track two is “Gwynnbleidd,” the first song released featuring the band’s new line-up well over a year ago. The guitars have a nice sound to them on this song, and while the chorus is again a bit restrained for my taste, overall the song is well-executed. New singer Rachl ‘Raxx’ Quinn sounds strong and capable here as she does throughout the album – she’s more than a capable replacement who brings her own style while still delivering the classic Graveshadow sound. You get even more of a feel for new vocalist Quinn’s vocal approach and prowess on the next one - “Sea of Apparitions.” This is a nice, rollicking track – uptempo, strong and bouncey. There’s some great riffs hidden in there. And I really like the pre-chorus section that builds the song’s energy into the crescendous chorus. An excellent track. “The Swordsman” – which is also one of the pre-release singles from the album – has a pleasant, cohesive feel. The vocal melody doesn’t always quite do it for me on this one, but the instrument-work and overall composition more than make up for that. This one also features a guest harsh vocal assist by Chelesea Murphy of Prosthetic Record’s Dawn of Ouroboros. Back to the tracks: “Vengeance of Envy” is an energetic, mid-paced rocker with an amazing chorus. Quinn’s voice really shines here, successfully selling out on her high notes and melding perfectly with the guitars. This one gives me mid-80s era Judas Priest vibes. The next song, “A Beautiful End,” really harkens back to the older Graveshadow sound in its riffing and pacing, so much so I wonder if Walker and Robitsch developed it from ideas unused from a previous album. Regardless, it evokes some nostalgia for me. The kitwork of new drummer ‘bones’ really pulls this track together. Working through the later tracks: “The Betrayer” has some nice flourishes, including letting the keys show themselves at a bit higher level in the mix. It’s another solid rocker. “Shadow Battles” is another song that for me evokes memories of previous Graveshadow songs. In fact, this track would have been right at home on their debut record. I really like the ability here for the guitars to create some brief fits of sonic frenzy while still keeping a consistent melody rolling. Perhaps the biggest surprise on the album is the pentultimate track “The Two Lived,” which has a very different feel to it, albeit still recognizably Graveshadow. It’s a bit slower tempo, and the clean singing plays more of a support role to the growls which do most of the heavy lifting. There are hints of Insomnium on this one. A nice change of pace and approach; I hope they do more of this in the future. The finale is “Damsel’s Finesse,” which at seven minutes is the longest track on the album and one of my favorites. The keys are fresh and visible, the guitars crisp in their attack, and the singing colorful. I really, really love the vocal melody on the verses and the build-up to the glorious chorus. An absolute gem of a song and one I’d love to hear the band play live! Given their significant lineup changes, I’m impressed and happy that The Uncertain Hour has retained so much of the magic that makes Graveshadow one of my favorite bands. This album met my own high expectations, and so I can only recommend it highly to others.

The Greek gods of symphonic death metal Septicflesh have blessed us mortals with a triumphant new album titled Modern Primitive. The 11th studio album in the band's discography and they continue to perfect their sound with each release. For 32 years these guys have been crushing the metal scene! Two months ago, the band released their first single for the new CD called "Heirophant". It begins with the most bombastic mix of symphony orchestra with metal that the band can muster. The chorus of the song which features the very nasally singing of Sotiris Vayenas. Spiros Antoniou, the harsh vocalist and bassist, is still every bit as monstrous as he has ever been. The next music video that Nuclear Blast Records uploaded was the song called "Nueromancer". Sotiris isn't just the clean singer, he is also the acoustic guitar player. The first thing we see in that music video is him playing the instrument for a calm and soothing intro to yet another powerful song. After a few weeks, a lyrical video was added to the record label's channel. It was for their new song "A Desert Throne". The song starts out with the sound of a lovely choir before diving straight into pure metal madness. After a few seconds the symphony orchestra works its way into the groovy guitar riff becoming one angelic sound; the demonic vocals make it an unholy fusion. This would be a great opportunity to point out how audible the bass is throughout the entirety of this album and the albums before it. If any album from these guys can hold a candle to 2017's Codex Omega its this one. On the day of this album's release which was on May 20th, Septicflesh had put out a 2nd lyrical video for their final single "Coming Storm". After the one minute mark the music abruptly stops so we can hear the eerie yet beautiful singing of what sounds like a siren. This goes on for a few seconds before plunging back into the chaos. Drummer Kerim Lechner delivers another outstanding performance in this track; he is nothing short of fantastic. I also love the use of brass and wood instruments in this song. You can really hear those horns braying alongside the violins in some parts. The choir building up Sotiris appearance towards the end. It is truly difficult to pick a favorite song on this new album but this song is definitely one of my favorites. I'm going to shine some light on the addition to the group. Psychon is the newest guitarist who has been added as a member of Septicflesh since 2018. He is doing very well from what I can hear. He plays perfectly in sync with the main guitarist/keyboard player Christos Antoniou. Yes, Christos and Spiros are brothers and are the two founding members of the band. Now let's talk about the other songs on the record. Let's start with "The Collector". If you had your eyes closed during the song's intro, you could probably mentally teleport yourself to the most desolate sands on the sandy outskirts of ancient Egypt. That type of middle Eastern oriental music will take you to cultured civilizations along the country. It reminds me a lot of what Karl Sanders from Nile does. "Self-Eater" is an angry song but it maintains a steady balance of aggression with a small choir of children singing. The ending of the song will give you chills. "Modern Primitives" is guaranteed to get stuck in your head. You will find yourself singing the words "modern primitive" while at work. "Psychohistory" is another catchy one but only because the 2nd half of the song is only slightly repetitive but not enough to drive you crazy. And finally, we have the last song titled "A Dreadful Muse". The last song happens to be my least favorite song of this otherwise spectacular album as there seemed to be no real memorable qualities about the music. Septicflesh are one of my all-time favorite bands. Modern Primitives isn't my favorite album but it's at least in my top 5 of their releases. With that being said, I'm going to rate this near masterpiece as a fair 9.9 out of 10.

Welcome back metalheads - it's your guy Xander dissecting another black metal corpse on the autopsy table. Ttoday we have a band called Tableau Mort with their newest album Visio In Somniis which was released on May 6th. Tableau Mort hails from the UK, and again prove when it comes down to any style of black metal the medieval countries always kick our Yankee asses. The album begins with the spooky atmospheric sounds along with the sound of a baby crying. Sure, that might be slightly generic but the rest of the album more than makes up for it. The first track is of course called "Metamorphosis". One thing I noticed right away was the vocals. James Andrews has the same higher pitch screams as someone in a new age down tuned deathcore band but still has enough raspyness to qualify as a quality black metal vocalist. The winding guitar riff of "Idolatry" is a clever way of making sure people remember the song's intro. There is an odd sound that occurs in this song that sounds like a distant choir. You can slightly hear it in the background as it changes to what sounds like Mongolian throat singing or chanting monks. Next we have the album title track "Visio in Somniis". It begins with a calm and soothing musical start before a black metal screech rips your eardrum. It's a warm welcome that is accompanied by yet another fantastic guitar riff played by George Topor. He continues to bring in a solid rhythmic style as the album progresses. The drum work on this is absolutely stellar - NOT another disappointing cluster of blast beats like you get with other generic black metal bands. George Bratosin keeps a steady pace on his kit and makes it all come together in a wonderful tune. "Blood Echoes" follows after and I must point out how I noticed the bass guitar supporting the main riff. Marek Basista does a phenomenal job of making sure that the lead guitarist Cristian Giurgiu has that crisp reverb. The first minute of the song "Hope Ablaze" sounds like a cross between the beginning of "Sworn To The Dark" by Watain and the beginning of "Vortex of Negativity" by Naglfar. However it uniquely blends into its very own song that could be a great choice for a future music video. That is something I would definitely want to see! "Their Throats Are Open Graves" kicks things off with some kick drums and some other drums for a very small 10 second solo. By the 10 second mark, the rest of the band joins in to give us a fucking powerhouse of a song and its one of my favorites on this record. Every member of the band doesn't pull any punches when it came to this particular track. Everyone was on point and totally nailed this masterpiece into oblivion. Between the vocalist screaming his lungs out, the drummer going as fast as he can and the guitarist providing us with a nice little solo, it's not hard to see why I get so much enjoyment out of it. The track ends with a haunting fiddle conclusion. "The Fire, The Star" is what I would call the best example of modern black metal song. It has an old sound but with a clean studio recording. If you're looking for that less grimy Emperor esq feel, look no further than this track ... unless you want to finish listening to this incredible album. Of course you do. "Candle in the Darkness" is the grand finally. The sweep picking of the guitars in this song is what grabs my attention along with the rhythmic sounding chugs from the other guitarist. The drum speed on this track fluctuates from a moderate pace to blast beats and continues back and forth. This song also has the brief finger tapping guitar solo that mashes well with this great song. The perfect song to close an album of this scale. If I were to score this album I would rate it no lower than an 8/10. Feel free to show this band some love by buying their music from their Bandcamp page.

Xander interviews guitarist Mike Eisenhauer of Luna In Sanguinem at the band's show in Clarksville TN opening for Malevolent Creation. Excerpts from the Luna In Sanguinem track "Hunter Killer" (Global Bloodbath, 2020). https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Welcome metalheads to another Great Metal Debate Review. Its Xander again, and today I will be talking about the new album by Introtyl called Adfectus. Those of you not familiar, Introtyl is an all female brutal death metal band from Mexico City, Mexico. Their debut album titled Creation of Insanity came out in 2018. Now, the kick ass metal maidens are back with a sick new record which was released on April 29th. "Abyss" begins with about 5 seconds worth of ominous sounding whispering before dive bombing straight into a headbang inducing chug riff. On guitars we have a lady who seems to have 3 different names according to The Metal-Archives. For the sake of me not butchering her full name, I'll just refer to her as her nickname Sara. Her work on the entirety of this record might be somewhat formulaic for the particular playing style yet it's simple and effective. I'm going to go ahead and get my slight critiques out of the way before giving this album it's well deserved praise. Many metalheads out there often times complain about the bass not being audible enough. Be careful what you wish for because you just might get an overabundance of it. Its not really the fault of bassist Rose Contreras, its more the simple mistake of whoever the studio engineer is for turning the bass up too high. It's somewhat overpowering but at the same time not so much that it washes out the guitars, drums or vocals. The song "Under My Skin" gives us an earworm catchy guitar riff that will get stuck in your head for sure. If you're not slowly nodding your head to the slow grinding guitar riff, then you're probably not even a real metalhead. The next song titled "Fear" picks up a little in speed as the drums are noticeably faster. Annie Ramirez shows off her skills on the entire drum kit. Sure, she can play the double bass kicks and snare very quickly but she isn't exclusive to those like most other brutal death drummers. However, Annie does seem to shy away from her cymbals though. She does use them occasionally but they're not very audible in the sound mixing when they are heard. Other than that, she has more than displayed her percussion capabilities. "Inner War" was the first single that the band put out for this new album but the music video was uploaded over a year ago. Maybe it was originally just a single but then decided to put it on the next full-length. When you first start this song, it feels like you're just immediately thrown into the middle of the song. There is no soft build-up or calm beginning. It's a relentless track front to back! The next song is called "Anger". It begins with a steady drum beat before picking up the pace and making all who listen to it alone mosh with the wind. I haven't even mentioned vocalist Kary Ramos yet. She deserves an award for her vocals that definitely rival those of Mallika from the band Abnormality. Something about the sound mix makes the drums seem louder on the song called "The Flame" and it's very clear from the start. The opening snare drum roll really stands out because of it but it continues throughout the rest of the song. "Redemption" is the next song and the sound mixing seems to return to normal. At the very end of the song you hear someone taking one deep breath followed by breathing normally to conclude the track. But the album has just one more song up it's sleeve and its called "Zombiefied". "Zombiefied" is the finally and its also the one and only track where you can actually hear Kary Ramos pronounce a word clearly. Any guess as to which word that is? Haha. The song isn't repetitious or anything but you can clearly hear her say the word "Zombiefied" a couple times from the middle to the end of the song. For me, the biggest issue with this album was definitely the sound mixing. Had it been tweeked a little more I would rate the album higher. I'm gonna have to give it a 7.5 out of 10. Be sure to support these ladies by purchasing their music on bandcamp.

Welcome back metalheads to another episode of The Great Metal Debate podcast. I'm Xander and today we will be talking about the Finnish death metalers known as Corpsessed. This is their 3rd full-length studio album Succumb To Rot which was released on April 22nd through Dark Descent Records. Anyone who is fan of slow grinding or that sludgy style of death metal will most likely enjoy this band. As with most metal bands, this band begins their album with an ominous instrumental intro track that sounds like what someone would hear playing in their minds just before dying. That foreboding sense of gloom but with heavily distorted guitars thrown into the mix. The name of this track is the album title but after about 2 minutes or so, the album dives right on into the next song "Relentless Entropy". Jussi-Pekka Manner kicks things off on drums to start the mayhem. Next up we have another song that opens with the sound of flies buzzing followed by an extremely heavy rhythmic guitar chug. Jyri Lustig and Matti Mäkelä's dual playing style are guaranteed to get your head banging in this song called "Death-Stench Effluvium". This was the first single released for this album in the form of a black and white music video full of grotesque imagery which is fitting for this track. "Spiritual Malevolence" contains a strong build up for most of the track until Niko Matilainen comes in and delivers his harsh growls for us on a silver platter. Following this we have the song "Calling Void" which begins with the fastest drumming on this entire record. The double kick drums will rattle you to the core! Later on in the track we get to hear a brief bass riff played by Tuomas Kulmala. However, it is very short lived yet still memorable. "Sublime Indignation" is exactly what you can come to expect from a band of this caliber. In recent years, Dark Descent Records has signed quite a few interesting bands in the sludgy death/doom subgenre; most of which have been hits with the underground metal scene. The last two songs "Profane Phlegm" and "Pneuma Akathartos" have not strayed at all from the musical formula in the way that it keeps people invested. To me, Corpsessed is one of those bands who can be crowd pleasers for many Outer Heaven or Drawn And Quartered fans. I would say that this band is definitely a cut above most bands in this genre in the way that they can be a crushing death metal band while not just playing the same songs over and over. Sure, there might be similarities on the notes but they're never fully the same. For the untrained ear, it would be hard for mainstream listeners to distinguish between certain tracks. Corpsessed also isn't so obscure that it's not for everyone but it's also not Mozart of Metal either. This is a band I can recommend to only specific types of metalheads out there. With that being said, I'm going to keep it fair and give these guys a 7.5 out of 10. You can listen to Corpsessed's music pretty much everywhere including: Amazon Music, their bandcamp page or even by hard copies that you can purchase on the Dark Descent Records website.

Welcome back metalheads to another episode of The Great Metal Debate podcast. I’m Xander, and today we’re gonna talk about the surprise new album from Abated Mass Of Flesh called The Existence Of Human Suffering. Abated Mass of Flesh is a slamming brutal death metal band with Christian lyrical content. This band hails from Murfreesboro Tennessee, which means their about two and a half hours from my neck of the woods. In my opinion, besides the guitarist Zack Plunkett’s side project band Flayed Alive, these guys are without a doubt the heaviest local act in the entire state. Dare I say that any given album within this band’s discography is far superior than a classic album from my high school days – Impending Doom’s Nailed. Dead. Risen. It’s easy to make the comparison, even though the musical and vocal styles are slightly different. However, Abated Mass of Flesh can blow nearly any other Christian metal band completely out of the holy water. Groups such as In the Midst of Lions, I Built The Cross, and Crimson Thorn don’t stand a chance against these guys. The only other Christian brual death metal bands I can think of that could possibly hold a candle to them are Mortification and Encryptor. The first track on this record begins with the sound of flies buzzing around, along with distant screams of people in distress. This track is titled “Realm of Contorted Perceptions.” And once the intro is complete, we hear a ferocious roar from vocalist Matt Plunckett. His terrifying tunnel-throat technique is backed up by the rest of the band coming in to unleash total eardrum annihilation. “In The Absence of Time” is the next powerful track that serves up a holy ass-whoopin’ to any sinner who dares listen to it. In the beginning we hear the two guitarists trade guitar chugs briefly as a way to brace you for the full musical impact. “Endlessly Carving” continues the carnage by destroying your remaining four senses once your hearing is gone. Drummer Riley Wingate isn’t the type of brutal death metal drummer your used to hearing. He changes up the way he uses blast beats by actually using all the drums and cymbals on his kit. Most other slam drummers will just sit there and abuse the snare drum and double base throughout the band’s entire discography. Riley makes sure to use all of his toms. “Throes of Deprivation” is the band’s fourth attempt on this album to crush you with their metal. If you’ve made it this far, there’s a good chance you’ll survive the remainder of the mayhem. The bassist, Amber McKenzie, doesn’t go unnoticed either. Her bass riffs are definitely audible at many spots throughout this release, but this song is the first time we hear it as a stand-alone instrument. “Chambered In Endlessly Decay” will quake the very earth beneath your feet with the thunderous percussion and reverb. Just because a band is made up of mostly Christian members, and the majority of the lyrical topic is about Christianity, it does not mean that every song must be about God. What a lot of regular, especially non-religious people won’t understand, is that there is a dark side to all things. What a lot of Christian metal bands tend to do is threaten all non-believing fans of their music with eternal damnation, instead of it all being about praising Jesus. This is not what the next track, “Into Hell, Into Shadows,” is about; just like all the other songs on this album, it sounds incredibly hellish. “Esoteric Mutilation” will keep you on this new-found brutal path to enlightenment. The album closes with the final send-off titled “Maze of Detestible Afflications.” There isn’t much else I can say about this song that I haven’t already praised other songs for. These guys are very energetic on stage and very entertaining to watch. But when it comes to their studio recording alone, I have to give this album a solid 8 out of 10. You can support Abated Mass of Flesh by liking their Facebook page, and you can buy their music on their Bandcamp.

Welcome Metalheads to The Great Metal Debate podcast. I'm Xander and today we will be reviewing the brand new album from the blackened heavy metal band called Nite. That is Nite spelled N-I-T-E. This is their sophomore release titled Voices of the Kronian Moon which was released on March 25th. Nite hails from right here in the United States, located in around the San Francisco Bay Area. Imagine if black metal was catchy both musically and lyrically. I'm talking about some good ol Black-n-Roll. Something about this band has a somewhat happy feel about it. Despite not being anything of the sort, this band is by far the grooviest non-grove metal band out there. When I listen to Nite, I feel like I'm driving a convertible down Sunset boulevard in California back in the 80s. The 80s was before my time but I can sure imagine what it would be like if Dead from Mayhem tried singing old Dio songs. Special shout-out to the YouTuber named ClassyLonnieMetal for introducing me to this band 2 years ago with their debut album titled “Darkness Silence Mirror Flame.” Allow me to get down on my knees and worship this band followed by endless praise. Nite is truly a breath of fresh air. Its the perfect blend of two completely different musical styles that when put together make a glorious sound. Imagine of Iron Maiden and Satyricon had a baby. "Archeron" is the first of many stellar tracks on this album. "Kronian Moon" has an opening guitar riff played by Scott Hoffman that will get stuck in your head. After listening to this one a couple times you will learn the lyrics very quickly. Over the past week I've been singing along to this song while driving in my car. "Last Scorpion" is yet another stand out on this CD. Vocalist Van Labrakis has a very echo sound to his voice when he speaks. Sure, that could be studio effects but either way it sounds cool. Almost as if dreadfulness could sound hip. The next song "Liber ex Doctrina" has a somewhat slower tempo but is still a great track nonetheless. The reduced speed lets you hear every single drum being hit by Patrick Crawford. I especially love how crystal clear it sounds too. Most of the time when I hear drums in metal, its hard to tell what is being played due to the cluster of noise. Patrick has a musical gift when it comes to the percussion instruments. Patrick continues to impress on the next song "Heliopolis" as you hear the steady kick drum in the beginning. "Edge of the Night" has a continuing musical rhythm throughout the entire track that never seems to get old. Everyone in this band seems to be doing their part including bassist Avinash Mittur who was a newcomer replacing Bryan Coons. The song has an impressive guitar solo, and right after we have the song "Thorns" that starts with a simple but catchy bass line. It starts off as a normal paced song but slows down again towards the middle while picking back up again. It's not really formulaic but its a good strategy to keep the listener guessing what tempo the band will switch to next. This new album slaps in that way because it's full of surprises. "The Trident" is the final track on this record and it pulls absolutely no punches when Scott continues his ghoulish vocals. Nearly everything about this album is extremely memorable. In fact, I see Voices of the Kronian Moon being labeled as a classic here in the next 25 years. I'm no fortune teller, but I am certain that they just might be the next big thing in metal. Before you know it, we'll have a multitude of those sad copycat type of bands who will try to ride on their success… Let's hope that doesn't happen. In my opinion, I think its damn near a masterpiece. Having said that, I'm going to give Nite - Voices of the Kronian Moon a solid 9.5 out of 10! Be sure to show your support. You can buy music by Nite from their bandcamp page or from their record label store Season of Mist.

Greatings metalheads – welcome back to another episode of The Great Metal Debate Podcast - today we’re talking about Kvaen and their newest album The Great Below, which came out on March 25th. Let’s begin dissecting each new song track by track. The first song is called “Cauldron of Plagues.” I love how the first 1 second of this song is silent; then, 2 seconds in, we hear Jakob breath in through his mouth before unleashing a long black metal scream by the 3rd second. It really lets the listener know that he is once again pouring maximum effort into vocal delivery. The rest of the song is exactly what you’d expect from Jakob – a specific tone to his raspy vocals that should be very recognizeable to true fans. The next song on the album is the title track “The Great Below.” It starts of with some finger tapping on the low end of the guitar neck that proceeds with some palm-muted rapid single-string plucking. This all takes place before the main, galloping riff that makes up the majority of the song. ‘Majority’ being the key word, as we have a guest appearance from none other than Jeff Loomis to perform a guitar solo. Directly after the solo, the tempo changes slightly in a way that it’s near impossible not to bang your head. While Jakob previously made nearly an entire album completely by himself, this time around he has quite a few people from the metal scene giving him a helping hand that he truly deserves. In this track titled “In Silence,” it’s anything but silent. It is a loud and extremely fast paced black metal track that really gets in your face. It begins with an eerie, horror-esque soundtrack complete with heavy footsteps, distant chanting, followed by the human heartbeat. This is when the song picks up with the crystal-clean snare drum that has perfect pitch. The song features Nephente, who is the founding member of the Swedish melodic black metal act known as Netherbird. After seven minutes of chaos, you can prepare for total annihilation by track number four which is called “Damnations Jaw.” The opening riff is an unmistakable black metal riff played in a narrow scale with fast strumming and heavy distortion which can only be found in this subgenre. If it wasn’t clear enough, a hellish screech fades in with it. This song features yet another legendary guitarist for the solo, Mike Weed from King Diamond. “Sulphur Fire” is the fifth track, that introduces the drums slowly but develops into a steady drumroll before double bass blastbeats. This time around Jakob plays his own solo, but the same can’t be said for the sixth track which is entitled “Ensamvarg.” “Ensamvarg” is definitely my favorite new Kvaen song. Something about Jakob’s vocals on this one reminds me a lot of the song “Black Dragon” by Dissection. Though the musical structure is absolutely nothing alike, I can’t help but notice the way the vocals sound spaced apart in small bursts. “Your Mighty Has Fallen” is next - one of the few songs on this album where it’s Jakob doing everything. It seems as though everything this band touches becomes a masterpiece. The eighth and final song on this record is “The Fire Within Him Burns.” This one features guest vocalist Mathias Lillmåns from the band Finntroll. It’s a great way to conclude a highly anticipated release from a single talented musician who can hold his own beside bands with full lineups. I very much enjoyed everything in The Great Below, and would have to give it an 8.5 out of 10. Be sure to show your support by purchasing Jakob’s music through the Kvaen bandcamp page or through his label, Black Lion Records.

Welcome to another album review on The Great Metal Debate podcast. I’m Xander, and today I’ll be talking about the upcoming album from the Nashville-based black metal duo Obsidian Shrine. I’ve been a fan of Obsidian Shrine for nearly three years, since I discovered them in mid-2019. I never go the opportunity to see them live, but I have heard from many people that they always put on a good show for a local act. The band’s debut album – Anno Domini Satanas – is vastly overlooked and is a true hidden gem for any black metal fan. If the band Inquisition wasn’t already proof that you can make quality black metal with just two people, then let these two guys proove it witht their new album Bloodshed Under The Black Star. The first song is the album title track, and immediately we are greeted with a cacophany of crystal clear yet rhythmic sound. It begins like any other well-produced modern black metal; but after 30 seconds, there is a sudden tempo change. It’s a pleasantly triumphant battle hymn, made up of a marching band-style drum roll for a small build-up. Then… hell is unleashed! When the raspy vocals of Murmur kick in, you pretty much know what you’re in for. This song’s surprises don’t end there. At the half-way mark we hear a guitar solo from none other than Sebastian Ramstedt from the old-school blackened death metal band Necrophobic. It’s a nice treat and fore-shadowing what’s to come later on in the album. “Kingdom Of Sheep” is another standout track, as it begins with the ominous sound of sheep baaing. The last time I heard a song start off this way it was the song “Satan Spawn, The Caco-Daemon” by Deicide. However, the baaing doesn’t last near as long, as it is cut short by the snarls of a Baphomet. Plus, this song is absolutely nothing like the beginning of “Legion” as it is a very different musical style. The song itself is a dark-to-light. “Only War Remains” is a track that truly showcases how good guitarist Nazgûl is at shredding. As for the song “Luciferian Wrath,” it’s every bit as diabolical as it sounds. “Angelus Mortem” is without a doubt the most evil song on the entire record – especially since most of the vocals are Murmur and Nazgûl at the same time. Which makes the song sound every bit as satanic as when Glen Benton and Dave Suzuki did on the last two Vital Remains albums. Track 6 is called “Indoctrintoxin” and it’s probably the fastest song on the album due to the continuous blast-beats and the fast guitar strumming with plenty of distortion. Just like with all great modern metal releases, it just isn’t complete without a cover song from the most influential musicians to the band. I told you Necrophobic was coming back: track 7 is a near-identical re-recording of the song “Nailing The Holy One.” Obsidian Shrine has done an incredible job of honoring the metal gods! “At The Gates” isn’t just the name of a Swedish metal band; it is also the name of the next song. Yet another standout track for the band. But the album concludes with a wonderful song about good old demonic possession. The final track is called “They Who Dwell Within,” which opens with an audio clip from the movie Exorcism Of Emily Rose. Once you hear the voice of actress Jennifer Carpenter say the name of the track, you are hit in the face with an unrelenting hellfire of a song. It’s an epic and hellish finale, which ends with the haunting message of Emily saying: “And I am Lucifer – the devil in the flesh.” You can tell that Murmur and Nazgûl both poured their blackened hearts and souls into the production of this album. It was made for their small cult following of fans and their die-hard supporters. Do not sleep on this amazing black metal album – it’ll be worth every penny! I’m giving it a 9.5 out of 10. Obsidian Shrine’s Bloodshed Under the Black Star will be available on April 15th through Negative Earth Recordings. You can pre-order your copy of the CD and order their t-shirt on Bandcamp.com.

For those Generation Z kids out there, Dark Funeral is an old-school black metal band hailing from Stockholm Sweden. I first got into this band way back in 2009 with their album Angelus Exuro pro Eternus. Most hardcore elitists out there would verbally crucify me upside down for this blasphemy, but I honestly enjoy newer Dark Funeral albums more. I like my black metal to be clean and well mixed in a professional studio, instead of on a static-y tape recorder. You old farts can keep your raw The Secrets Of The Black Arts, and I’ll continue enjoying the previous 2016 album Where Shadows Forever Reign. The first song on this album opens with the supersonic blast beats from the band’s new drummer Jalomaah in the song “Nightfall”. It’s a solid opening track for a fantastic black metal record. Next we have the first single released for the album, which is a catchy song called “Let The Devil In.” The beginning sets us up with a slow drum roll followed by a screeching guitar riff and Heljarmadr’s raspy vocals. (I’m going to go ahead and apologize once more if I screw up pronouncing any of their names.) What I like best about this song is it’s easy to hear every spoken word in this track. After enough listens, you won’t even have to read the lyrics to perform a vocal cover. “When Our Vengeance Is Done” starts off with a strong and unholy scream. The song may not have a lot of other outstanding moments, but it’s a fine tune nonetheless. Fans of classic horror movies rejoice – track 4 is named after the 1922 German silent film “Nosferatu.” I swear if Hollywood director Robert Eggers doesn’t keep this song in mind for the ending credits of his remakes this year it would literally be a missed opportunity of the century. Now we come to my favorite song on the album titled “When I’m Gone.” I can best describe this track as a black metal ballad. Even if you are a firm non-believer in ghosts, the lyrics are enough to give me chills. It’ll make everyone question the possibility of the supernatural. It is eerie to say the least, because the song is about dying but your soul is left behind to haunt the living with your sinister presence. It’s also the longest song on the album clocking in at 5 min 45 sec. You’ll be delighted to know that all songs exceed the four minute mark, so with nine songs and a total run time of 43 min 44 sec it’s worth your money. This band might be pure evil, but at the same time its easy to get lost in the songs as the album goes on. While I was half way through writing this review, I watched someone else review this album on YouTube. Specifically, it was Blane Smith from Overkill Reviews on BangerTV. He stated that many of the songs sounded exactly the same, which leads me to believe that he only must have listened to this album once or twice. I, however, have had this album on repeat all day, meaning I’ll listened to the entirely of it at least five times in a row. Now, I will admit that the next two songs – “Beyond The Grave” and “A Beast To Praise” – could be forgettable; but when you start picking out certain lyrics you can begin to tell the songs apart. “Leviathon” may be another cliché name for a black metal track, but it’s still capable of growing on you after a few listens. This is also the third single put out by this band before the release date. The conclusion of this record ends with the album title track “We Are The Apocalypse.” It’s another decent song, but the words ‘We Are The Apocalypse’ do get slightly repetitious – but not enough to drive you crazy. All things considered, I’m going to give Dark Funeral’s “We Are The Apocalypse” a nice 8.5 out of 10. You can find Dark Funeral’s music through Century Media Records; their main merchandise website for American shoppers is through kingsroadmerch.com. Make sure you continue to support the metal scene, especially the Swedish. After all, Lord Ahriman has his very own new bars of soap to sell you.

Attention all metal fans - stick around for a bit because today we have a very different kind of band for you here on this episode of The Great Metal Debate pod cast. I’m Xander, and today we’re gonna take a look at some newcomers in the scene. Hailing all the way from the Netherlands, we have yet again another black metal duo called Walg. Despite only being around for two years - and releasing their self-titled debut last year - the brothers Yorick and Robert K. have already kicked out a sophomore record, simply titled II. II was released on 02-22-22. I’m a fan of this new modern wave of black metal. Bands such as Groza, Grima, Garia, Eos, and Bauska are a big part of this movement, and it looks as though we have a new addition to the family. A special shout-out to the Youtuber known as Black Metal Promotions for introducing me to this wonderful music. Forgive me if I butcher any of the following song titles because all of them, including the lyrics, are in German. But I’ll do my very best to pronounce the names of these songs, so just bear with me. As cliché as it sounds, this band doesn’t shy away from an intro or outro track, but we are rewarded with a killer first song called “Misgeboorte.” I think that I must immediately point out is the symphonic style that they use to complement the blast beats. In the next song, “Devolutie,” we get a taste of the operatic singing as backing vocals. As for the main vocalist, we hear him constantly deliver them is a raspy tone. This is evident in the next song “Help ons niet.” I can only describe them as being ‘ugly’ in the best possible way. We hear the combination of the two brothers’ vocals united together to perfection in my personal favorite song “Verlossing.” There is a music video for this song, and it is the first single put out for the album. The greatest thing about this song is the use of bagpipes; just when you think that bagpipes can only be good in folk metal subgenres, Walg proves you wrong. “Zondvloed” comes in as a stong support for the previous track, but there is still more where that came from. “Ik haat” is probably the song with the fastest tempo, and is very upbeat as a whole. “Wie niet weg is” my second favorite track on the album because of the way the main guitar riff sounds. The next song title, “Kakkerlakken,” is another one definitely worth turning the volume up on. ‘What’s kakkerlakkne, homie.’ Sorry, I couldn’t resist that silly joke. In all seriousness, I like how the music slows down a little so that you can hear the dreadfulness in the vocals. Lastly we have a song called “Terug naar de aarde,” which begins with the sound of an old crank and mechanical gears turning, followed by a mournful-esque choir singing. It’s all build-up to a classic-sounding black metal guitar riff. The song exceeds six minutes, but it’s a fantastic way to end the record. Aside from the outro track, of course. All in all, I’m going to have to give this album a solid 8.5 out of 10. I feel like these brothers have a lot more up their sleeves, and I can’t wait to see what else they have to put out for future releases. I feel like the best is yet to come. In the meantime, make sure you go support these guys. Walg are an unsigned, independent band, and both their albums (including this one) are available now. You can buy their music and merch on their Bandcamp page.

Today we review the new album from Finland’s Battle Beast entitled Circus Of Doom. I both love and hate reviewing albums of bands I’ve been able to see perform as well as meet in person. I had the pleasure to interview their vocalist Noora Louihmo a few years back and she couldn’t have been a kinder, more gracious person to speak with. All their members are super nice folks. And live Battle Beast are absolutely incredible - bringing so much energy and charisma to the stage. So up front I’ll fully admit that background experience strongly influences this review. Let’s get to it… While their body-double colleagues in Beast In Black continue to churn out pure cheesy 80s nostalgia, Battle Beast has moved in a direction that, while not necessarily as musically challenging as I‘d like, is a unique niche in the power metal market. They remain a step away from the heavier Euro power metal vibe of bands like Primal Fear and Iron Savior while not quite moving into the symphonic realm like an Arion or Firewing. Indeed, I would want to assign for Battle Beast the moniker many bands of late wish to adopt - soundtrack metal, albeit Battle Beast’s version is more aligned with a television theme song than a big-screen, cinematic score. Generally, a listen to this album Circus Of Doom tends toward an exercise in consistency. Much of what is found here are mid-tempo melodic metal; arena-leaning, easy-to-digest rockers with a lot of keyboard bombast. The opening, title track is a good example of this. Later in the album comes “Freedom” which ups the tempo but keeps the guitar edge on the soft side. The band does itself favors where they give room for Noora’s voice to work and generate equal parts energy and emotion, such as on the track "Where Angels Fear To Fly" which has a soft, building verse and epic chorus. Another a truck song, “Armageddon,” carries a heightened sense of pomp and largess that is very European power metal and, again, provides space to show off the singer‘s crooning. As was the case with their last album, Circus Of Doom is often a touch too pop-influenced for my taste. And that’s fine when used more economically, but occasionally that element dominates. A track like “Russian Roulette” just has too much ’80s-style synth work and oversaturated choruses. A fun romp that has a lot of rock and pop sensibilities but not more than a thimble-full of metal. Just not my cup of tea, but I get that some folks will lap that up. In my opinion, Battle Beast are at their best when they embrace and embellish their hallmark sound as on “Wings Of Light” with meaty keyboard tones driving a lot of the action. Love or hate this style, it is something Battle Beast does that is fairly unique and indisputably THEM. Similarly “Eye Of The Storm,” perhaps my favorite track on the album, melds some of the old-school Battle Beast punch from the days of their eponymous album with the new vibe unleashed on Bringer of Pain. Battle Beast are on the forefront of the ongoing rage of merging older 80s heavy metal with a more modernized and keyboard-infused sound. Personally, I like and appreciate what Battle Beast does, even when I might quibble with their execution here and there. But I get that for some metal fans the sound may be too far outside their comfort level. So while I can’t say all metal fans will necessarily enjoy Circus of Doom, I will definitely recommend it and especially for those who enjoy the varieties of melodic metal and power metal and even more modern metal bands like Amaranthe. Circus Of Doom is released January 21, 2022, from Nuclear Blast. Get a copy, and North American fans be sure to check out Battle Beast on tour this spring alongside Dragonforce, Visions Of Atlantis, and Seven Spires!

In Daughters of the Night, Nocturna may be redefining symphonic power metal with a grand new innovation. The intreguing aspect to Nocturna is how they utilize two two lead vocalists - the the formidable Grace Darkling and Rehn Stillnight. Both have unique voices; in the context of Noctura, they use similar vocal approaches and roles; and neither is eclipsed by the other. Much like Judas Priest’s guitarists Tipton and Downing in the 70s and 80s used to fuse their guitar attack while still maintianing their own personalities in playing, so Darkling and Stillnight in an amazing fashion both merge and separate singing duties within Nocturna. The album Daughters of the Night contains ten tracks, but two are brief atmospheric instrumentals, so really just eight proper songs. Following the short intro atmospheric “Spectral Ruins”, the album immidiately goes for the jugular with “New Evil”. Both fast and subtly sinister – this is an characteristically power metal track reminiscent of Gamma Ray or Stratovarious in the execution, but with otherworldly singing. The main riff is very catchy without being too slick or commercial. Stillnight and Darkling trade off vocal duties at a high level, like a pair of NBA guards on a fast break. An early metal song-of-the year candidate! “New Evil” is followed by the title track “Daughters of the Night.” This one ramps up the pace and energy even more with the guitarist showing off his chops yet still maintaining restraint in his shred. There’s a great melody line you will definitely remember, and both the bridge and chorus have the singers hitting some high notes. Lyrically this pretty standard vampire stuff, but the music and singing are eternally evil! Things slow down a bit following with “The Sorrow Path,” a song which provides maybe the best harmony of Grace and Rehn’s voices in the chorus. The quality of the vocal delivery makes all the difference here – in the larynxes of lesser talents the effort wouldn’t hit. The chorus is restrained but still uplifting and quite beautiful. “Sea of Fire” is bouncy and fun, with a gently rising sound, but the melody line never really landed for me and the ending is a bit anticlimactic. Yet again the singers swap verse lines effortlessly, coming together for another nice vocal harmony in the chorus. This one was a bit weak relative to some of the other tracks in my opinion, albeit still very enjoyable. Things turn up again with “Blood of Heaven,” a track with strong anthemic quality, especially the effect provided by the intro chorus. The guitar is strummed fast and and the backing synths give proper atmophere. “In This Tragedy” is another epic song - beautifully structured and again serving as an ideal platform for the singers to display their respective gifts. Big and bombastic without too much going on. The keys seem a bit higher in the mix here and they really do the trick. This one could be cut from a Nightwish album! Toward album end is “Darkest Days” which was one of my favorite tracks. Light and enchanting; a real iron hand in a velvet glove. The chorus could use a little work, but the verses are supurb. The guitars are heavy with the perfect balance of grit and tone – just like you’d like them. After a brief interlude instrumental the final stanza has the album ending with a bang on “The Trickster”. A potent, epic finale, this song takes the two singers’ vocal harmony to perhaps its grandest level. The singing is big, pompous, and pitch perfect! It is a true joy to hear the reciprocation as Darkling and Stillnight work together to achieve something greater than either could achieve alone. Overall Daughters of the Night is a spectacular record with solid production and good balance of well-crafted instrumentals and orchestration but, most importantly, music that sets up the singers to execute their twin vocal attack. This album stands as a cut above most efforts in the metal genre, and one I would strongly recommend to any metal fan.

In the final episode of the year, Gomthog counts down the best metal albums of 2021! Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The Xhamain track "Eternal Soedad" (Na Alma, 2021) used with permission from the artist; the Everdawn track "Heart of a Lion" (Cleopatra, 2021) used with permission via Earsplit PR. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

The Metal Debate journeys to Knoxville TN to talk with Gog and Blind from epic black metallers Summoner's Circle, discussing their latest album "Chaos Vector" and upcoming European tour! Excerpts from the Summoner's Circle track "Chaos Vector" (Blood Blast Distribution, 2021) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Tucker Thomasson from Throne of Iron joins the show to talk about the band's history, the metal scene, and future plans prior to a performance at Black Circle Brewing in Indianapolis IN. Excerpts from the Throne of Iron track "Crypt Of Blades" (2019) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

The Great Metal Debate podcast is back with the debut self-titled album from Catalyst Crime. Catalyst Crime describe themselves as cinematic symphonic metal; however, I’m not a huge fan of the ‘cinematic’ descriptor, as I’m not clear on what that word is trying to communicate. Maybe epic metal, orchestral metal, even soundscape metal, but the term cinematic is literally about the visual scope, so it’s a head scratcher for me. I digress. Catalyst Crime has assembled an impressive group of musicians for the recording of this album composed of vocalist Zoe Marie Federoff formerly of Insatia, Jonah Weingarten from Pyramaze on keys, drummer Gerit Lamm of Xandria, guitarists Christopher Zoupa and Kaelen Sarakinis, as well as bassist Matt Federoff. The project is produced by Alex Krull of Leaves’ Eyes and the underrated death metal band Atrocity. The album begins with a lengthy instrumental/orchestral intro track, and which segues into the first proper song “Projection Of My Mind.” Sandwhiched between a soft intro and outro the band delivers plenty of snappy power metal vibe on this one. Plenty of color and tempo here giving the listener a real feel for what is to come. The second track, and first single off the album, is “Condemn Me To Chaos”. While I would nit-pick with some elements of this song, the melody line is so incredibly strong as to overwhelm any shortcomings that might be present. Very memorable and ear-wormy, but not in a lame, pop-sensibility way. You‘ll definitely find yourself singing along to this one! Catalyst Crime’s brand of symphonic metal is very heavy on keyboards, much more so than the background orchestration, and includes even some key lead breaks of which I am a huge fan. More of this metal bands, please! I’m also a fan of Zoe Marie Federoff’s vocals, which I was familiar with from her previous band Insatia. She has her own unique sound that admittedly may take some listeners a while to acclimate to. There‘s a touch of dissonant pitch to her voice that is different but strangely compelling. In addition to an array of clean classical and rock singing styles she employs, Zoe forrays into harsh vocals on a number of songs, at times evincing almost a black metal shriek. Moving in no real order through the rest of the tracklist, “Congitive Dissonance“ has a spooky, Tim-Burtonesque feel (and okay - I realize here maybe there is something to the cinematic metal tag) as well as a beautiful trade-off between the complementary male and female vocals. Toward the album end “Not Even Once“ is definitely a winning track with moderate pacing and a bit different sound a vocal delivery. I could see this one being even better live than on record. There‘s plenty of good tracks and I‘m definitely not going to do them all justice here. “Break Even” is a solid, uptempo song featuring an epic chorus and really cool guitar riffs. As or more aggressive is “Without Anesthesia” - perhaps my favorite track on the entire album. The chorus presents a cacophony of sounds; it’s kinda sonically cluttered and maybe not even that well-composed, but perhaps the imperfection makes it beautiful to me. I loved it. There’s just one real ballad in the mix - “Chasing the Ghost” - which I found enthralling with a beautiful interplay between the guitar and piano. The song “Twice Upon A Time” is also somewhat ballad-ish, having a slower tempo but also really well developed building of sound and contrast between the instruments. The debut self-titled album from Catalyst Crime is available from October 22 from Massacre Records in CD Digipak as well as digital formats.

Mike Bell and Nina Laderote of Alberta symphonic power metal project Hyloxalus join the show to talk the band's origins, current vision, and future plans! Cover photo used courtesy Dana Zuk Photography; excerpts from the Hyloxalus track "Voices from the Septic Hollow" (Aposematic, 2021) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Recently Summoner’s Circle released their third full-length album titled Chaos Vector. I’m really impressed with this release… there’s a lot of elements to like here and I’m excited about the direction the band is going with their music. I’m not certain how best to categorize the music of Summoner’s Circle, and definitely don’t want to pigeonhole them into some genre designation that might limit the listener from hearing the true extent of their reach. But I’ll say that it is music that creates heavy atmospheres instrumentally and vocally, primarily uses harsh vocals. Appealingly, in my opinion, Summoner’s Circle has a very European metal feel. If I didn’t know they were from the shadows of the Appalachian mountains, I might assume this band hailed from the of icy hills of Norway. Let’s dive in. The album begins with “The Message” – a minute long intro instrumental with ghostly spoken words that gives a quick hint of what is ahead. This segues into the first proper track, “Of Black Horizons”, which assaults the listener with dissonant chords presented in up-tempo fashion. As throughout the album, the vocalist varies his vocal style here providing a range of death growls, black metal shrieks, and moans. Too often in the darker metal genres vocalists trade aggression for range; not so with Summoner’s Circle, and it is a huge constituent of what distinguishes their sound. Both the vocals and instrumentals contribute to the album’s ubiquitously eerie feel, especially evidenced on tracks like “The Beyond” and “Vessel.” The later song starts and ends softly, between engaging in solid crunching guitars and blast beats. I appreciated how this track develops, including the tasteful, melodic lead break. On “The Beyond,” the album finale and one of the longer tracks at more than 7 minutes, the bassist keeps the low end thumping bringing forth perhaps the doomiest feel to the record. The short track “Chrysalis” also has a cool, spooky texture to it. There’s really not a bad track on Chaos Vector, with each song providing some variety yet still a cohesive feel. The title track has an angry, almost metalcore execution in parts, and I really like how the time-change mid-way through that gave the song more room to breathe. “The Heirophants” has almost a NWOBHM feel with the pacing and guitar melody, albeit delivered with a bit more brutality and black metal atmosphere. The apex of the album, in my opinion, is the song “Terminus Egress”. Clocking in at over nine minutes, this one is a real musical masterpiece and incorporates a lot of great components that, frankly, took me by surprise. Of particular note are operatic vocals, plus violin and viola, contributed by Julie from Canadian metallers Gone In April. While not inconsistent with the other tracks, the shift in tone and approach was something of a slap-in-the-face in a good way. The composition of “Terminus Egress” is magisterial; a beautiful melody with plenty of wicked riffs and anger for contrast. This one’s on my short list for metal songs of the year. If I had to characterize or label this, I’d call it epic symphonic black metal, although I think there are ingredients of many other styles which aficionados of doom and even classic metal would appreciate. As I hinted before, despite incorporating a number of more modern elements, I definitely hear some older school influences in the music. And that to me is always the best formula – artists looking forward musically, utilizing the best of the past in the mix without veering into the cringe of nostalgia. Summoner’s Circle’s Chaos Vector is available from Blood Blast Distribution. Check it out – you won’t be disappointed!

Floridian power metal band Seven Kingdoms joins the show following their sold-out set at Mad With Power Fest, to talk what they've been up to during COVID as well as their upcoming tour supporting Unleash The Archers! Excerpts from the Seven Kingdoms track "Monster" (Empty Eyes, 2020) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Gabriel Guardian and Carlos Zema from US power metal crew Immortal Guardian join the show in this interview recorded prior to the band's performance at Mad With Power Fest! Excerpts from the Immortal Guardian track "New Day Rising" (Psychosomatic, 2021) used with permission from Asher Media Relations. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Matt and Jason from mid-west blackened speed metallers Wraith join the show prior to their performance on day two of Transplant Productions Tri-State Terror Fest! Excerpts from the Wraith track "Cloaked In Black" (Undo The Chains, 2021) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

In the latest episode Xander and Gomthog talk attending recent concerts in South Dakota, Cincinnati, and Atlanta, including their experiences getting beaten up in the mosh pit. The songs “Spectral Procession” by Graveslave (No Center, 2021), “Scarlet Queen” by Ethereal Exile (Soul Beyond Time, 2020), and “Atoms Divide” by Graveripper (Radiated Remains, 2021) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

This time around we have a review of French metallers Álfheim and their debut album Viking Soul. This is Álfheim’s first album, so I don’t have access to a back catalogue to use in centering this band musically. Their social media profile describes the music as intense melodic death metal, so for time being we’ll use that as the starting context. Álfheim hails from France which, while not quite rivaling Sweden or Finland in quantity and quality of melodeath bands, in recent years has generated some exciting new artists you including Yyrkoon and Akiavel. “Born To Betray” is the first full song on the album – a nice banger featuring singer Morganne Herbreteau providing some strong harsh vocals alongside. However, I was somewhat unclear about the song’s arrangement. In particular, I found the transition to the first chorus to be a bit confusing… like, I wasn’t sure whether that was a chorus, bridge, interlude, or did we just get much more proggy than I was expecting. Still, some nice riffage and overall a good aggressive track I can bang my head and scream to. The next track “Runes” is even more uptempo. All harsh vocals here, along with a pleasant melody that gave me a bit of an Arch Enemy feel. I really liked the structure and feel of this song. The pace gets pulled back for the song “Get Out”, featuring some soft singing with light supporting guitar on the verses. This one is really well-composed, and the moderated tempo allows the guitars to shine not just on the lead break but throughout the track. This would be a great one to hear live in concert. The title track “Viking Soul” is also the video single for the album. I thought this song most effectively contrasted singer‘s clean and harsh vocals, and I’d like to hear more of exactly this contrast in the future. However, the gallopy guitar sound isn’t really my thing, so this track didn’t appeal to me like some of the others. The final two song are “Until Dawn” and “Release’. Both are solid and worth the wait until the end. “Until Dawn” starts with a slow burn that I really enjoyed - nice pacing that sets the stage for the mid-tempo metal that is to come. This one probably had the most enticing clean vocals of the entire album in the chorus. I honestly wasn’t expecting that approach, and Morganne’s singing was a pleasant surprise which I wish they’d continued to employ through the finale. “Release” is a 7+ minute song that has a haunting intro and then transitions into another light verse reminiscent of what we heard earlier on “Get Out”. All in all I enjoyed Viking Soul. However, even understanding this album is constructed as something of a demo effort, I do feel it is somewhat unfocused and lacking of thematic consistency. After many listenings, I’m not sure I can say explicitly what Álfheim is trying to accomplish musically. But there are some hints at sounds and ideas that are exciting to me and I see a lot of potential in the band. You can access Álfheim’s Viking Soul on all major digital platforms – Apple Music, Deezer, Spotify, and YouTube. Give ‘em a listen and see what you think, especially if you are a melodeath fan. I generally enjoyed it, and am really looking forward to hearing more from this band in the future.

In this interview recorded July 16, 2021, Xander checks in with the guys from North Dakota death metal act Gorgatron prior to their performance at Slamdakota Death Fest 2021. Excerpts from the Gorgatron track "Usurpation" (Pathogenic Automation, 2020) used with permission from Andrea Roberts. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Singer and bassist Lutachrist Dupre of Industrial Metal act Fractured Fairytales joins the show to talk his musical history, current projects, and what's coming up next! Excerpts from the Fractured Fairytales track "Nether Man" (Egregore, 2014) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Singer Bruna Rocha of Brazilian symphonic power metal band Revengin joins the show in this interview recorded May 28, 2021, to talk about their new as yet untitled album! Excerpts from the Revengin track "Dance Around The Flames" used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

I’ll admit I’d not heard of Bloodbound until I saw them a few years back on the bill at ProgPower USA. I came away very impressed with their live performance, and subsequently devoured their back catalogue of material which is, in all honesty, is a mixed bag. Bloodbound have had some great albums – and then some so-so albums. Their newest release is entitled “Creatures of the Dark Realm”, and follows on their two previous offerings – “War of Dragons” from 2017 and “Rise of the Dragon Empire” in 2019. The band’s infatuation with dragon imagery apparently sated, “Creatures of the Dark Realm” features lyrical themes spanning the gamut of the demonic, fallen, and ostracized. To back up and give more context for this review, especially for those like me who weren’t familiar with the band: Bloodbound are a Swedish heavy/power metal act. They employ a standard twin guitar attack melded with keyboards that aren’t at all hidden in the mix. The vocals are in a clean rock style augmented by the high end wails that are a hallmark of the power metal genre. While certainly not clones of these bands, if you’re familiar with the sound of artists such as Iron Savior, Hammerfall, or Battle Beast you’ll have a good general idea of what Bloodbound are trying to accomplish musically. Their new album “Creatures of the Dark Realm” is well worth a listen, although I have a few faults to address. We’ll start with the good stuff: the title track is a total banger and very memorable! Tight, fast-paced riffs and keyboard-drenched melodies. If you don’t like this one, you just don’t appreciate power metal and I cannot be your friend. “When Fate Is Glory” opens up pretty well with a powerful and catchy riff that transitions into a solid mid-tempo anthem. “March Into War” is a particularly strong, anthemic track - varied in the vocal approach that leads to a big, booming chorus that delivers. Shades of Sabaton on this one. “Eyes Come Alive” has a very dynamic intro with singer Patrick Selleby ratcheting his vocal attach up a notch before falling back into a choral approach on the choruses. Still probably the most aggressive track, catchy, and one I really enjoyed. The lead breaks are all spot on, helping lead the song to culmination while never detracting from the pace or feel. There are some areas on the album where the clean vocals could have used a bit more harshness, particularly on “The Gargoyles Gate” which was for me a bit too airy in the verse and sing-songy in the chorus. This was probably my least fav track on the album. Similarly, while the song “Face of Evil” had a very good melody it never seemed to deliver any punches. A general critique I would have of this album is that Bloodbound rely too much on the choruses to carry the songs without putting as much effort into building creative structures and tempos to fill the space between. It’s not that there’s anything wrong here: there are no skippable tracks on the album, which is saying something. I just wish among the memorable choruses and decent riffs there were more surprises and perhaps some elements that were challenging or even threatening. A lot of Bloodbound’s sound is cliché metal, but they execute it in a good, positive way. And perhaps that’s my ultimate appraisal – that Bloodbound adhere exceptionally well to their chosen genre without taking many risks musically. But, ultimately these critiques are mere nitpicking on my part. Bloodbound’s music is heads-and-shoulders more metal than 90% of the vapid, fluff marketed as ‘metal’ in the USA. I give this album a solid 8 ½ out of ten… It is good – it is metal – buy this! Listen to Bloodbound’s whole back discography and prepare to be entertained by a band that is good at writing and recording power metal. It is my hope that Bloodbound and other European bands in their vein may contribute to bringing the power metal genre to a new generation of prospective fans.

Singer and guitarist James Delbridge of Ottawa heavy/power act Lycanthro joins the show to talk about the history of the band as well as their debut full-length release, Mark Of The Wolf! Excerpts from the Lycanthro track "Crucible" (Alone Records, 2021) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Gomthog is joined by Xander to debate the merits of American groove metal band Lamb Of God. Along the way the guys play play killer tracks by Annihilate The Hero, Into Chaos, and Burn The Gates! Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The tracks "Double Agent” (Burn The Gates, 2019), “Wrong Constellations” (Into Chaos, 2017), and “Dissonance” (Annihilate The Hero, 2018) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

In this interview recorded April 29, 2021, frontman Dallas Toler-Wade of Narcotic Wasteland talks about the band and their upcoming shows in northern Kentucky and Indianapolis! Credits: Intro music by CONTRA. Photo of Dallas used courtesy of Omar JC/ OJCPICS. Excepts from the Narcotic Wasteland track “Return To The Underground” (Delirium Tremens, 2017) used with permission from the artist. Thanks to Andrea Roberts of Ashley Talent International for facilitating this interview. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

In this episode Gomthog is joined by metal fan Erik to talk expectations for the coming year in metal. Plus, the guys play great tracks by MaelstroM, Zero Degree, MaelstroM, and Sorceress Of Sin! Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The songs “Briar Patch” by Zero Degree (Black Hole Illumination, 2020), “Empyre of Stones” by Sorceress Of Sin (Mirrored Revenge, 2020), “Bad Blood” by Kill City Kills (Badlands I, 2020), and “Predestined” by MaelstroM (Of Gods And Men, 2020) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Ten strong metal tracks. That’s what we have with the new release titled Future Shock by American west coast thrash act and former Wacken Metal Battle US champions Monarch. This is their second full-length release, the sequel to 2017’s Go Forth… Slaughter. We’ve been talking thrash recently on the podcast, and so I wanted to highlight another promising release in that genre. Plus, I got to see one of their guitarists play with another band a couple of years ago and was impressed with his performance. Overall, with Future Shock Monarch delivers a quality album – ten strong metal tracks - that will be welcomed by fans of thrash, speed, and power. First a word of caution – according to our friends at Metal Archives there are ten different metal bands that go by the name Monarch – and amazingly three of them are US thrash acts. This particular variety of Monarch is from southern California, and stylistically they dole out a variety of thrash metal that is more in line with speed and power approach rather than a cross-over, groove type. Put another way – Monarch’s approach owes everything to the metal that arose pre-Pantera and the multitude of terrible bands that later poorly emulated a single good one. The musicianship is impressive, but if you are looking for a highly technical or progressive output along the lines of Vektor, or maybe early Cynic, this might not be for you. Getting any the album, many songs are firmly rooted in the standard bay-area template. The most traditional numbers are tracks like “Fatal Vector,” “Future Shock,” and “Shred Or Die.” All these songs have their moments of rabid velocity and snappy, galloping vibe. Exactly what you’d expect and want. “Blast The Seed” is also in that vein, with its bawdy intro and immediate creshendo of guitar notes. Other tracks continue with the breakneck thrashing while also splashing in additional variety and color. “Swarm of the Whorenet” (yes, that is really the song title!) has echoes of John Bush era Anthrax; great riffing and effective tempo changes. “Khaos Warrior” pushes the thrash back a bit providing more of a solid power metal number. I love the guitar melody in this one – nuanced and flows well into the bridge. That track is followed by another of my choice highlights, the aforementioned and adrenaline-fueled title track “Future Shock”. “Collision of Bones” starts with expected fenzy and shouting, but then somewhere midway transitions to a more mid-range tempo and harsh vocals. I didn’t see that coming, and it was a welcome twist! Did I mention all the songs? There’s ten strong metal track here! “Multiverse” is a bit different track as an instrumental that gives a generally slower cadence and includes some very melodic and touching guitarwork. A pleasant change-up and atmosphere. Album closer “Metal Soul” alternates between power-metal banger and thrash ripper, with singer Matt Smith continuing with a superb feral voice. If you are a fan of uptempo metal that isn’t overly melody reliant, this album will scratch the itch. I’m not even a big fan of thrash, but I find myself really enjoying Future Shock and going back for more. It’s sneaky good! For those familiar with the debut Go Forth… Slaughter, Future Shock in my opinion is a clear improvement and exhibits real songwriting growth. The songs just are a lot more varied and developed, and have additional space to breath within. The compositions provide just enough room for the guitarists to celebrate their skills and they do so without showing any signs of repetition. The tempos are fast, and the riffs thoughout are very reminiscent of vintage metal without sounding overly dated. Also - the production is a huge improvement. Really the production quality on this album is superb. Everything is mixed well and quite simply crushing in its delivery! I’m giving Future Shock an 8 1/2 out of ten rating. Ten strong metal tracks – I’ll take that every day!

In this special Thrashcast episode Gomthog plays a number of sick thrash metal tracks and is joined for debate by Randy Thrashover! Credits: intro music by CONTRA; intro voice by Vernoica Ortiz Rodriguez. The songs “Dirty And Mean” by Act Of God (Dirty And Mean, 2019), “World Domination” by Thrashwall (Thrashwall, 2020), “Ad Astra” by Kobold (Masterpace, 2019), “Alien Spring” by Decimator (Alienist, 2020), and “Manic Rapture” by Sarcator (Sarcator, 2020) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Sindre Johnsen from Norwegian melodic death metal act Deception joins the show in this interview recorded Feb. 14, 2021, to talk about the band and their new album "The Mire". Credits: photo of Sindre used courtesy of Helge Knutsen. Excerpts from the Deception track "Return Of The Baphomet" from the album The Mire (2021, Rob Mules Records) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Today on The Great Metal Debate Podcast – our review of Angelus Apatrida’s new self-titled album. Angelus Apatrida is a thrash metal band hailing from Spain. I’d heard the name before, as well as some of their music, but prior to this honestly hadn’t made myself familiar with their entire catalogue which includes six previous full-length albums dating back to the mid-2000s. Stylistically, Angelus Apatrida gives you standard thrash content, one might even characterize it as ‘old school’. Their sound reminds me a lot of the kinds of thrash metal I heard back in the late 1980s and early 1990s – bands like Annihilator, Kreator, and Testament. If you are looking for deep technical dives along the lines of Black Fast or Vektor their brand of throwback thrashiness might leave you wanting. Overall, Angelus Apatrida – the album – is a good representation of the band. If you are a fan of them, or of thrash generally, this checks all the boxes you are looking for in an album. Everything is well done – good music, songwriting, and production. I have a few critiques, but they are minor quibbles that don’t diminish the overall endorsement. As an aside, I’m not a huge fan of bands having eponymous album titles after so many years, and it especially seems odd in this instance given there are no radical changes in line-ups or sound at this stage with Angelus Apatrida. It’s not a deviation at all – making it almost random this is the album they chose to mark with the band’s own name. Jumping into the mix, the album begins with “Indoctrinate” – a sturdy, galloping track that is well-greeted, getting right to the aggressive stuff. The guitars are big and fast, if not especially complex, and they churn relentlessly. Traversing the album there are some definite other stars to highlight. “We Stand Alone” provides dynamic rhythm that transitions into a nice atmosphere through the chorus. Maybe the best solo on the album in this track. “Rise Or Fall” is one of my personal favs, with a fat guitar sound and killer chorus that will be well-received and echoed back in the live setting. “Childhood’s End” (not sure whether this is a reference to the classic science fiction novel – I’d like to hope it is) finds the guitars providing a bit more subtle, layered sound and a quick lead break that evades distinction. Another good one is “Empire of Shame”, which inexorably inflicts its blunt force-trauma riffing. Not every song is on-point, and there are a few generic thrash riffs that might just pass in the night. “Through The Gates” tries to set up for a big chorus but falls a bit flat in the delivery. And while I like “The Age Of Disinformation” I thought it a bit herky-jerky as far as song structure… points for effort, but I was never too sure exactly where that one was going. But in total the songs are good, falling a somewhat short of greatness. Coming out of the COVID ‘lockdown’ year of 2020, the themes of disinformation, indoctrination, and epistemological uncertainty are certainly appropriate. Singer Guillermo Izquierdo provides all the grit you’d want and more in his vocal delivery, and wisely doesn’t wander far from his comfort zone. With regard to production, all the instruments are placed up front in the sound, and you can hear everything well. The guitars have a pleasing crunch. The sound is just a hair over-compressed for my liking; it would have been nice for the mix to have given a little more space for the listener to breathe it all in. This album won’t make by ‘best of 2021’ but it is still one I can see staying in my listening rotation for a while and is well worth any metal fan checking out. The new album Angelus Apatrida is available beginning February 5th from Century Media Records and all the regular on-line sources of music.

Today on The Great Metal Debate podcast we’re reviewing Jylhä from Finnish folk metallers Korpiklaani, I’ll confess this review may be somewhat biased by my own, very strong love for folk metal. Along with sex and pizza, folk metal is something that even when it’s not great, it’s still pretty damn good! In that sense, for me the bar is set quite low for Korpiklaani to present at least a competent album. Thankfully - and to their credit - Korpiklaani do this and more on Jylhä; perhaps not a genre-defining album, but a solid output of folk metal music that is well-worth the listener’s time and attention. Without going track-by-track, I’ll hit the highlights, and they are plenty. The album begins with “Verikoria,” maybe the closest thing to an all-out arena rocker on the album; this one is a slam-dunk to be a fan favorite live! The song begins and ends with a compelling march, adding more tempo and angst in between. The drums do a solid job throughout, building up a good combination of solid rhythms, flourishes and occasional blasts of double bass power. The diversity of sound and upbeat tempo of this track really sets the stage for all that is to come. Several other songs continue with or include the anthemic vibe. “Mylly” gives us a pounding aggressive feel, with the accordion serving as a capable foil for the lead guitar riff throughout the controlled march. “Miero” slows the pace a bit, with the violin coming in for a short, tasteful solo. Album closer “Juuret” has some nice moments but perhaps tries a bit too hard resulting in a scattershot result. If you are looking for songs with a fun, bouncy vibe, there’s a ton to pick from here. “Leväluhta” – which I think was the first track released as a video single for the album – has a full, dyanamic sound blending syncopated rhythm and colorful countermelody. The song “Neimi” introduces a frenzied waltz timing and super-catchy chorus. This one really lets the violin and accordion control the melody. Quite the firecracker. “Kiuru” has a also killer melody line – that riff is a true earworm – and rollicking chorus following a somewhat shaky bridge section. A few mellower songs make their way onto the tracklist as well, with “Tuuleton” starting softy and building in energy until exploding in an epic chorus. Another good one is “Anolan Aukeat” which rolls and swells gently with vocal passages that transition gently into beautiful violin refrains. Overall, the folk instrumentation is well integrated into the sound of this album, and there's rarely a moment where the metal vibe of the song isn't being intensified by accordions and violin. Again, there’s variety aplenty such that after only a couple of listenings it’s easy to distinguish one song from the next. While frontman Jonne Järvelä’s vocal range is somewhat limited, his distinctive rough and ready singing is perfect for the songs Korpiklaani write. Kudos to Korpiklaani for bringing so much to the table on this one. There’s no recycled riffs or ideas – all the music sounds fresh and that sense is reinforced by the sheer quantity of melodies rotated before the listener. In conclusion: I’m giving Jylhä an 8 out of 10 score. There’s nothing lacking here, albeit no song that takes it over the top into legend status either. But the tracks that do stand out will find you grinning, headbanging and raising your pint toward the heavens. If you’re a fan of the likes of Ensiferum or Finntroll this should be right in your wheelhouse. One of their better albums by Korpiklaani, and a solid banger that I can see putting on to play on a long car drive and listening all the way through. Jylhä will be released on February 5th via Nuclear Blast Records, coming out as a digital album, CD, and a variety of other formats. Check it out!

The podcast is joined by Belen and Mars of blackened thrash act Ritual Moon to talk about the band and their debut full-length release, Ritual Moon I. Credits: excerpts from the Ritual Moon track "Uncontrollable Death" (Ritual Moon I, 2021) used with permission from the artist. Pic of Belen and Mars by @jnmfotos. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Psychosomatic is the impressive new full-length album from North American power metal act Immortal Guardian. Every song is listenable on its own, and over the course of the entire album there’s a good track-to-track ebb and flow. I strongly recommend ‘Psychosomatic’ and would like to rate it highly overall. However, I do have one caveat that makes the album somewhat difficult to evaluate. Musically, Immortal Guardian is fairly progressive, albeit adhering to mostly traditional song structures. They use a lot of keyboard, at least for power metal this side of the Atlantic, both to provide backing soundscape as well as melody lines and leads. Vocally, their singer Carlos Zema is a quintessential power metal vocalist – bringing to the table solid clean singing, vocal rasp, and excellent high pitched screams – I would compare him favorably to Tim “Ripper” Owens although Zema has his own voice and style. The album Psychosomatic starts off very fast and heavy, with the first three tracks probably being three of the best out of the ten on the album. The anthemic album opener and title track has an intro that gives off a very cool, Arabesque vibe transitioning into powerful riffs, and a bridge that beautifully builds the tension in the song. I feel myself banging my head and singing along to this one. “Read Between The Lines” and “Lockdown” both embody a winning formula of uptempo power and melody with memorable choruses as well as some tricky nuances lurking below the surface for those listening closely. Another noteworthy track is “Phobia” which features a manic keyboard intro and another killer, catchy chorus. The album grows a little less vigorous and more introspective as you go through the tracklist, with the later songs “Candlelight” bringing a slower tempo and soft, tasteful solo, “Self-Isolation” giving Zema a break for a completely instrumental track, and “Find A Reason” perhaps the most commercially accessible song. The album concludes perfectly with the uplifting “A New Day Rising” featuring a punchy melody with epic, emotional lyrics. Again, the entirety of Psychosomatic is so very well done and, two full-length albums into Immortal Guardian, I certainly want to sing the praises of guitarist and keyboardist Gabriel Guardian who is the primary songwriter behind this band. Power metal is such a hard subgenre to innovate within – the line between masturbatory prog and super cheese is super difficult to walk. Gabriel’s song construction is so solid, nothing too crazy but also never predictable and his guitar work is great – skillfully considered leads that never noodle and always leave you wanting a bit more. Overall these guys do everything well, and Psychosomatic is a gem of heavy metal musicianship. Now for my single caveat. Far be it for me to question the artistic inspiration of musicians; ultimately they should follow wherever the creative flow leads them to express themselves. That said, I do wonder whether these songs – all of them about the experience of the COVID pandemic and lockdown – will translate to the world, hopefully beginning later this year, where our lives aren’t dominated by it and maybe everybody just wants to move on. Am I really going to want to put this album on in two years for a listening experience where I relive the pandemic? I genuinely can’t say. And am I going to want to pump my fists and bellow the chorus to “Lockdown” or “Psychosomatic” live ? I honestly don’t know the answer. Immortal Guardian are super talented musicians who have put out a fantastic second album in Psychosomatic - the music here is consistently first rate and that will never change. Whether the subjective experience of listening to this album will be the same five or ten years removed, we’ll have to wait to see.

A review of the debut album from North American symphonic metal act Everdawn entitled ‘Cleopatra’. Everdawn isn’t an entirely new band, but a reconstituted version of a previous act Midnight Eternal. The musician you’re most likely to recognize from Everdawn – and a key additional in the changed lineup from Midnight Eternal – is bassist Mike LePond who many might know from Symphony X, also Ross The Boss band, Death Dealer, and many other projects. He brings a steady, veteran presence to this new incarnation of the band. Another fresh face in the lineup is vocalist Alina Gavrilenko, who also goes by the moniker Alina Snowmaiden, taking the vocal duties in place of Midnight Eternal singer Raine Hilai. To my ears, and one of the big differences with this new Everdawn release for those who heard Midnight Eternal’s album, is that Raine’s voice was a bit more Liv Kristine-esque, while Alina’s vocals bring a bit less sweetness and more muscle. Now, in terms of what Everdawn offers on ‘Cleopatra’, the listener can expect fairly straightforward European-style symphonic power metal. There’s more emphasis on the power here than the symphonic style, and you won’t find any massive backing orchestrations along the lines of Xandria or Sirenia. As far as the singing, its mostly operatic soprano female vocals occasionally bonded with clean male singing. No growls in this one. Listening through this album about a half dozen times, I come away generally impressed. There is something different and interesting in each song. While they don’t get very progressive stylistically – mostly adherering to clear verse-chorus structure – they still mix it up and surprise on occasion. I’ll say I found the second half of the album was somewhat stronger than the first. Looking at that first half: the rocking, up tempo intro “Ghost Shadow Requium” was decent but let off the gas too much and might have been better placed mid-track list. Both the title track “Cleopatra” and “Your Majesty Sadness” had the band going for a big sound. I do give points for effort here, and truly did enjoy both songs – but I’m not sure they quite nailed it with the choruses on each being a bit of a let down. “Stranded In Baglore” – which I believe is the first single released off the album, is a decent, catchy track. I could see this being one I’d enjoy more live than on record. But as I moved further into the album I found more to appreciate, or maybe their approach just grew on me. “Infinity Divine” has maybe the best vocal melody on the record building to a great crecendo – echos of Tarja Turunan – really excellently done. “Rider Of The Storm” and “Lucid Dream” both show the guitars attacking with even heavier riffage and more solid operatic highs from Alina, plus some nice keyboard work. The song “Heart Of A Lion” is the most anthemic track and could be right off a Leaves’ Eyes album. And then there’s Toledo 712 AD, which is entirely instrumental! Easily the heaviest song and a sterling headbanger. Looking back over the entire tracklist I’m not knocking the earlier album songs, but those later on the agenda seem to come with an overall more ‘metal’ feel. The party really develops the further you listen in to this one. So, how do I rate this album ‘Cleopatra’. Well, as far as debuts go, this is pretty strong; give em three points for that. Delivering solid symphonic power metal based out of North America – where the genre needs more representation - earns them five more points. The first half of the album wasn’t as strong as it could’ve been – minus a point, but the second half more than made up for it – plus two points. Total it up and that’s 9 out of ten for Cleopatra. It’s early so far, but so far ‘Cleopatra’ is my fav album of 2021! Listening to this release really I’m very much looking forward to hearing more from the Everdawn and perhaps the opportunity to see them live in the future.

In the final episode of the year, Gomthog counts down the top 20 metal albums of 2020. Credits: intro/outro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The tracks “Круговерть” by Woodscream (Варево, 2020) and “Into The Azure” by Volcandra (Into The Azure, 2020) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Vocalist Anna Holtz from Italian symphonic power metal act Desdaemona joins the show in this interview to discuss the band's history, their latest video for the track "Everdare", as well as what they have planned for the future! Excerpts from the track "Everdare (Memento Audere Semper)" (Desdaemona, 2019) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Falconer is a Swedish folk/power metal band that I have always had mixed feelings about. Some of their albums seem very good to me while other albums have fell short of any expectations I may of had. In other words they are very hit or miss in my opinion. Before listening to this new album my favorite Falconer album was their 2008 CD titled Among Beggars and Thieves. Once I finished listening to this new album three times in a row, I decided that From A Dying Ember would dethrone my now 2nd favorite. Right from the start we are introduced with a burst of sound as the first song begins. "Kings and Queens" is the bait around the hook for any listener as it will reel you in and keep you listening. I have always admired Falconer's style of folk metal blended with power metal. It is the perfect combination of music that will make you bang your head while thinking of medieval times. The next track is "Desert Dreams" which was the first single from this record. After a strong lead guitar riff by Jimmy Hedlend, vocalist Mathias Blad shows off his unique singing talent. His voice is both calm but with a fast paced rhythm that fits seamlessly with the tempo change. My personal favorite song on this album is the third song called "Redeem and Repent". It begins with a groovy riff by Stefan Weinerhall followed by a bombardment of very catch lyrics. By your 2nd listen you will know most of the song by heart and your favorite part of the song will be after the 30 second mark. You know the part. The part where most of the music stops except for the slow plucking of an acoustic guitar and Mathias says the following ... "The scepter is stolen by a jester and the king's called beware of his temper beware of his pride. Wise men bang their heads against the wall, hear the sinister call". I also loved the deeper lyrics "... As the children play chess with the world". This song also has a guitar solo that has a sound that will get stuck in your head. Next we have the album's only song sang in the band's Swedish tongue. This is the only issue I have with the album as that there wasn't enough songs like this. In previous albums they would often have a few songs sang in a foreign language. The song is called "Bland Sump Och Dy". This song also starts off with a bass line played by Magnus Linhardt. "A Fool's Crusade" is the 5th track and this is when the album gets softer in tone but still hits you in the soul. "Garnets and a Gilded Rose" is a brief instrumental before continuing with another groovy tune titled "In Regal Attire". It begins with some flutes before chugging guitars and another catchy course. "Rejoice the Adorned" is the slowest and most calm song on the entire album as it only features Mathias' voice and a piano. Its still a good song despite drummer Karsten Larsson and the rest of the band being absent on this one. The whole band returns for the 9th track that is the most upbeat and my 2nd favorite song on the album "Testify". It is by far the most lyrically catchy song and you'll be trying to singing along before the song is over. Its songs like this that make me with this amazing power metal act would continue. Unfortunately that isn't the case. The band split up for good after recording From A Dying Ember. Track 10 is "Thrust The Dagger Deep" and its another sing along that midway through the song has an unusual instrument for this genre. There is a part with a steel guitar that gives it a slight country element to the overall sound. The final song is "Rapture" and it is a great way to end the last record of a 21 year musical career since 1999. With that being said, I rate Falconer - From A Dying Ember as their best work and I will award it with a well deserved 9.5/10 score.

Hey everyone this is Red Iron here for The Great Metal Debate to share with you our review of We Are One - the new collaboration between U.D.O. and the Musikkorps der Bundeswehr, the official concert band of the German armed forces. The U.D.O. lineup is mostly intact since their most recent studio album, Steel Factory. 68 year old Udo Dirkschneider is on vocals bringing a refined touch and instinct he has developed over the course of 26 studio albums worth of experience. You of course know his gritty voice from Accept classics such as “Balls to the Wall” and “Fast as a Shark”. The band has Andrey Smirnoff and Fabian Dee Dammers on guitars, Tilen Hudrap constantly standing out on bass, and Sven Dirkschneider, the son of Udo, behind the drum kit. But that's not all: this time they have around 60 friends along for the ride. The Concert Band of the German Armed Forces is the same orchestra that supported U.D.O. at Naval Metal Night, and the joint effort of We Are One is the logical continuation. The album contains rock, metal, prog, ballads, and even some funkiness, all the while keeping a consistent tone and quality. There are 15 songs arranged by U.D.O. together with Christoph Scheibling with songwriting contributions from two former Accept members - Stephan Kaufman and Peter Baltes. Composers Guido Rennert and Alexander Reuber help this to be one of the most energetic fusions of rock an orchestra I've heard. We Are One has more life flowing through the most contemporary performances like the Scorpions playing with the Berlin Philharmonic and at no point will you feel like the rock band is being restrained to stay in time with the orchestral elements. When you tell me I'm gonna listen to a rock/metal album with orchestration I kind of assume I've heard it before, but We Are One was filled with new sounds. During my first journey through the album I found lots of fun material well put together from all angles. We Are One is filled with strong moments and a variety of sounds. It's much better than most orchestra rock fusions and the production of the recording is solid and clear. My two favorite tracks are numbers 4 and 14. “The Future Is The Reason Why” is about climate change, but I'm all about the music here: this is the military vibe I was expecting. It's a march of sorts with groovy riffage over drummer boy snares and flutes. Sabaton has some competition. The orchestra and choirs are highlighted here instead of simply supplementing Udo vocals, and it would be awesome live chanting ‘Hey Hey Hey!’ The other song you can't miss is “We Strike Back” near the end of the album. It's the shortest of the songs that isn't an instrumental and is undeniably ‘metal’ metal. The growling intro and a tempo that is thrashier than the preceding songs; it almost has “Aces High” moments but with strings and horns. I'm a sucker for a fast rocker and will probably overplay this upbeat song in the car. The guitar solos are spectacular, fantastic in tone and how they fit into each song. The bass lines frequently have my attention, not just there to round out the sound but to motivate the music. Every single song has something unique to offer. The orchestra isn't just mimicking the music of a rock band; they're utilized as our own element, another tool and another layer to convey feelings. There's a ton of energy to this album and they pack the whole disk with maximum music. Power metal fans and arena rock fans need to hear this album. If you don't want to have politics in your music, steer clear. When the songs come up on shuffle I'm not going to skip they're all solid though they may raise the eyebrows of an unsuspecting passenger. These tracks don't drain me like some military power metal tends to do so if you've got an hour drive ahead of you throw We Are One on in the car.

Drummer Chris Dovas joins the show to talk his new death metal project Dovas as well as the debut album "Everlasting Lake of Fire"! Excerpts from the track "Satan's Command" (Everlasting Lake of Fire, 2020) used with permission from the artist.

With a few drinks (or more) under their belts, the guys count down their respective top 5 disbanded metal bands; things get heated as Brian leaves some obvious picks off his list followed by Gomthog making controversial claims about Dio! Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The tracks "Open Eyes" (Beyonduplication, 2015) and "Love Through A Mailbox" (Dirt Cheap, 1988) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Naglfar fans would be more than pleased with this highly anticipated and very long awaited new album. This band hasn't put out a record since Téras back in 2012. Naglfar has been my all time favorite black metal band since the late 2000s when I first discovered them in high school. For those of you who don't know, Naglfar is a melodic black metal band hailing from Umeå, Sweden. Here is a fun and gross fact about the band's name. Naglfar in Norse Mythology was a giant ship made entirely from finger and toe nails of the dead. As soon as I heard a few months ago that new material would be released from this band through Century Media Records, I quickly put the hard copy CD on pre-order. Unfortunately due to the current global pandemic I didn't get the CD in the mail a week before the album's release date, so I had to listen through my Amazon Music app. The first song is the album titled track "Cerecloth". One thing I noticed right away was how the guitar riff sounded very similar to the riff from the song "A Swarm of Plagues" from my personal favorite album Pariah. Though the riffs sounded alike, any real Naglfar fan would tell you that the songs are completely different. This is a good thing because it shows their fans that they know how to keep the old sound in the new record. The next song "Horns" is a crushing and straight forward black metal song that makes the listener beg for more. It is also a song that lets first time listeners get a real taste for Kristoffer "Wrath" Olivius' raspy and hellish vocals. "Like Poison for the Soul" begins with a surprisingly groovy bass line performed by Alex Impaler before continuing to rape your ears with more ghoulish black metal. It's a work of art that warms you up for what the rest of the album has in store for you. For the 4th track, we have the song "Vortex of Negativity". It starts off with the ominous sounds of a black electric guitar being quickly consistently plucked to make an eerie tune. When the beat picks up after 10 seconds we can visualize the simple yet beautifully shot music video for this song in our heads. If you could hear colors, it would be yellow lights illuminating fog in a dark forest as a man in a plague masks holds an old lantern. Skipping ahead a couple tracks we come across a gem of a song called "The Dagger in Creation". Musically the most diverse song on this new record. It has its main riff and a calming melody for a miniature solo that really stands out before blasting you in the face with aggressiveness. The drummer Efraim Juntunen (who is also the drummer for the power metal band Persuader is pretty much guaranteed to relentlessly kick your ass with is inhumanly fast double bass blast beat skills for the remainder of this album. Hats off to the guitarists Andreas Nilsson and Marcus E. Norman aka Vargher for writing such a soothing intro for the song "Necronaut" and pretty much giving us nothing but noticeably great riffs through the entirety of your careers with Naglfar. With all this praise I am giving to this band and all their musical accomplishments over the last 28 years, I can't not give this release anything less than a solid 9.5/10. The only reason I don't give it a full 10/10 is because it still just isn't as musically or lyrically catchy as their best 2005 album Pariah. To me, this Cerecloth album is the band's equivalent to: Sheol, Harvest and Téras.

Vincent “Jake” Jones of Aether Realm joins the show to talk about the band’s history, altered plans due to the COVID-19 pandemic, and new album “Redneck Vikings From Hell”. Credits: excerpts from the Aether Realm track “Goodbye” (Napalm Records, 2020) used with permission from Napalm Records. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Axuruk from Orc clan Blodiga Skald joins the show to discuss the new album "The Undrunken Curse". Credits; excerpts from the Blodiga Skald track "The Curse" (Soundage Productions, 2020) used with permission from the artist. Promo photo by Arianna Ceccarelli Photography. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Red Iron’s review of The Broad And Beaten Way by Sinisthra (Rockshots Records, 2020). Credits: intro music by CONTRA; intro voice by Veronica Oritz Rodriguez; background track “Chasing Shadows” by Alex Lee. “Hey everyone - this is Red Iron for The Great Metal Debate, to give you a taste of the new Sinisthra album, titled The Broad And Beaten Way, that will be out on May 15th from Rockshots Records. Rockshots has given us about a hundred rock and metal albums since 2016, and this is the first album we’ve heard from Sinisthra since 2005. All of the same players are back at it including Tomi Joutson, who has been the voice of Amorphis in that intervening 15 years, and guitarist Markku Makinen whose once again the primary songwriter. If you heard 2005s Last Of The Stories Of Long Past Glories you won’t be too surprised by the band’s recent effort. This album starts off rockin’ and then remains fairly mellow, punctuated by some big moments. The introspective and reflective lyrics are delivered by clean vocals and, as the album title suggests, find their roots in the epic poem Paradise Lost. Eve sins, Adam sins, they bind themselves together, there’s a party with the Devil… you know the drill. My thoughts on the album overall: the drums keep everything moving, generally behind heavy and mellow guitars, and the vocals are solid - mostly melodic storytelling. The production is well-layered, with the cleans clean and the crunches gritty. Nothing is too brutal throughout, and the vocals surprisingly clean with no growls or gutturals. I wish I was more of a lyric listener because it seems like some cool imagery being set up throughout. My favorite track is at the beginning of the album, “Eterne”, mostly just because it is the most direct of the songs. Other tracks commit to the process of making music, and the storytelling in this song just suits my wish to rock out a little bit and have fun. It’s short, sweet, and heavy; the tone is touched on a bit more on the album, but here the mellow is the centerpiece. I’m honest glad this isn’t the single because it’s not very representative of the album, while the second track is. There’s some rock that metalheads and prog fans can surely get behind. It’s well-produced and well-planned music and storytelling. At 45 minutes you can loose yourself in this easily. There’s never a low point. The vocals are real; there’s no faking emotion here, and Tomi’s voice never suffers from trying to replicate any certain style. They are a very honest delivery. Probably best to listen to as an album start-to-finish. If one of the five of six tracks came up as I was driving around town and had music on ‘random’, I’d probably skip ‘em to move on to something more upbeat and fun. Still, prog metal fans will definitely dig this. But if you’re looking to thrash, this ain’t it. Live, I’d probably already be pretty bored if I wasn’t already familiar with the songs, but it would be a good vibe to soak up for a while. It would definitely get me ready for a headliner of a different style. I would most enjoy seeing the first two tracks live. Anyone who listens to modern radio rock can usually access this more complex style as there’s not much off putting in the delivery. If you‘re just looking to vibe for a while throw this on. Fans of the first album will dig it, so if you liked that one 15 years ago you’re safe to check this out. The Broad And Beaten Way is a solid addition to the prog rock/metal genres, with most of its uniqueness likely in its lyrics and production. Glad these guys came back together to treat us with another album. That’s it for me - Red Iron - on this one for The Great Metal Debate. Be seeing you.”

Zero Degree is one of my favorite melodic death metal bands coming out of Gerrmany. Last Friday, they released their sophomore album entitled Black Hole Illumination. I first discovered this band in early 2011 on YouTube after clicking down the rabbit-hole of sidelinks, Sometimes when you do that, you find some hidden gems! Their debut record, Surreal World, is nothing short of immaculate. Now that nearly a full decade has passed, the wait is finally over for new material from Zero Degree. Black Hole Illumination is a treasure for any fan of melodic death metal, especially if you’re a fan of the early works of bands such as In Flames or Dark Tranquillity. Despite major line-up changes - including the vocalist - you’d never be able to tell of the changes after hearing this new album. Every guitar riff is a catchy and groovy masterpiece, just like with the previous record. In fact, Black Hole Illumination comes very close to being Surreal World’s equal. I love how even the intro instrumental track “Gravity” is very reminiscent of “Where Angel’s Die” from the debut album. “Gravity” fuses seamlessly into the first full-song “Purified”, which is one of my favorite songs off the new album, along with other absolute bangers like “Resurrection”, “Ghost Ship Ride”, “Dust”, and my favorite “A Fading Siren Sound”. To me, “A Fading Siren Sound” is this album’s “The Storm And the Silence.” Definitely do not miss out on what just might be my favorite album of 2020 so far. I can’t recommend it enough, and I am rating Black Hole Illumination a solid 1,000 out of 10! I just hope I don’t have to wait until 2030 for the third album release from Zero Degree.

In this episode Gomthog is joined by co-host Jared Compton to talk pagan/folk metal as well as the ongoing effect of the coronavirus pandemic on music and concerts. Amidst the discussion the guys play incredible tracks by Velesar, Winterhymn, and Adavant! Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The songs "Gallows Pass" by Adavant (The Unyielding, 2018), "Karczmiany troll" by Velesar (Dziwadła, 2019), and "Blood Burner" by Winterhymn (Blood & Shadow, 2016) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Well shit! I missed it again. I’m starting to think my love of nostalgia and focus on only certain bands and songs is NOT a good thing. Why what do you mean Brian? I missed another great band that’s been out for years, that’s what I fu*kin mean! High Roller Record’s, Swedish Power Metal Band, Ambush has apparently been around since 2013 and I’m just now finding out about it. I blame my (slow)podcast co-host Gomthog. How am I ever supposed to find out about these bands if you don’t speak up. I think he does this shit on purpose because he knows with great music like Ambush’s third full album Infidel, I’ll wipe the floor with his ass in The Great Metal Debate. Ten amazing songs that present more like an album with 15 songs of music, Infidel is the third offering for Ambush and what an offering it is. Many times I listen to new music and it has that 80s metal feel but just lacks that special thing which puts it over the top for me. I often describe the songs as Old School style in and New School manner, or Old metal with a twist. Well 80s Power Metal fans welcome to Heaven… or Hell as it might be. Ambush with Infidel has created Old School 80s Metal with Old School 80s Metal style! It’s fucking amazing! Power vocals by Oskar Jacobsson that would be labeled as normal but could scarcely be truly called normal permeate every song. He has his own powerful sound that has elements of so many great vocalists. There’s even one point on the title track Infidel where he belts out a Steve Grimmet, Grim Reaperesque scream! He has great pitch and volume and has that metal vocal quality I often label as gargling with rocks and glass! As a matter of a fact if I have a vocal criticism I want more of the screaming and try a growl or two. But then again that would take away from the 80s Metal authenticity…damn you artistic integrity. Why couldn’t you just leave 80s Metal alone. But when it comes to the music of my youth and the songs that take me away from this world to a place of sweet chaos, jean or spandex pants, and lots and lots of hair, it’s always the guitars that bring me to the table. Adam Hagelin & Olof Engqvist without a doubt grew up sucking on the teat of all the guitar greats I did. Super high range riffs meted with power chords and blazing solos. Songs like Yperite (which is apparently a type of WW1 mustard gas), Leave Them to Die, A Silent Killer, Lust For Blood, and their most popular video off this offering… Hellbiter… are laced with staccato scale runs, diving and screaming tremolo, and are prominent on every song. I said it once I’ve said it a thousand times, the solos of metal, regardless of the instrument are the spices that season the stew of a great metal offering. As a matter of fact Hellbiter could be a Motley Crue tribute song with its quick strum rhythm and enticing solos that are reminiscent of great days of my youth. Music should challenge us, but the songs that take us to the best of times are crucial in any connoisseur’s arsenal, and with Infidel I am taken there. Ludwig Sjöholm pounding out the bass and, Linus Fritzson committing assault and battery on the drums round out the musical vortex that is Ambush. Together they provide a backbone for the band that cannot move forward at the required speed without them. Oft overlooked the bass and drums are the heart of a band, the rue of that metal stew I referred to earlier. And with these two performing exceptionally I have tasted your stew of Ambush, and it was good. Ambushes Infidel rings my bell for an enthusiastic 5 of 5 stars.

We have a beautiful melodic death metal band from Finland called Torchia. Now, I'm going to be completely honest. I never heard of this band until yesterday when this album came out, which means I am unfamiliar with their 2017 debut Of Curses and Greif. But ever since 24 hours ago I have had their new album titled The Coven on repeat! This record slaps! I absolutely love the pitch harmonic style guitar riffs and the solos are very well constructed. You can tell when bands take their time writing music because you can notice all the hard work these guys put in. Each song has more than one riff and you can hear every single note being played. This band's overall theme and tones sets an audible stage for any first time listener. In the beginning of the first track "Sky", we are greeted by the haunting call of a siren's song coming from what we imagine are witches belting in the woods. It is eerie but only for a few seconds as the music immediately picks up with the first of many riffs to come. That first melody pulls you in and keeps you listening until the second and main riff comes in and really hooks you. It is a tremendous opening that gives you a taste of something you want more of, and more is what you will get! A song that peaked my interest was the following song "Gallows". Later in the album we are treated with my personal favorites back to back "Memoirs" and "Astral Planes". Those two stood out the most to me because of the musical structure. Everything just seem to flow evenly and that producer needs a raise for his mixing skills. The Coven was a delight to my ears especially since when I saw the album cover, my first thought was "Okay, so we got the levitating naked witches with tree roots erupting from the mouths and a grey wolf. Yep, this is black metal." How wrong of me to judge a book by it's cover? Instead I was treated to my most favorite subgenre which is the glorious music known as melodic death metal. I am more than grateful that Robert introduced me to this amazing band. I will definitely check out their debut and I certainly look forward to a future album in the next few years.  Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. Thanks to Asher Media Relations for providing a promo copy for review.

The Order Of Chaos founder John Simon Fallon joins the show in this interview recorded March 11, 2020, to discuss the band's history, his recent decision to step away from the group, and their new full-length album "Maniacal." Excerpts from the track "Believe In The Demon" (The Order Of Chaos, 2020) used with permission from Asher Media Relations. Photo of John Simon courtesy of Kevin Eisenlord Photography. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

With concerts and tours being cancelled, the guys come together to vent about the situation. Later, they debate the whether 80s metal is still relevant in the year 2020. Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The tracks “Hellbiter” by Ambush (Infidel, 2020), “Wings Of Agony” by Lutharo (Wings Of Agony, 2020), and “Corrupted Flesh” by Hemotoxin (Restructure The Molded Mind, 2020) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Vocalist Ylva Basak from Turkish/German symphonic metal act Dream Ocean joins the show in this interview to discuss the band, her personal music journey, as well as their latest album “Lost Love Symphony”. Photo by Anil Demir. Excerpts from the Dream Ocean track “Everstorm” (Lost Love Symphony, 2018) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

The podcast closes out 2019 with our annual countdown of the top 20 heavy metal albums of the year! Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The Dialith track “The Sound Of Your Voice” (Extinction Six, 2019) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Dave Palenske and River Jordan from black metal upstarts Volcandra are on the show to talk about the origin of their project prior to a show at Mag Bar in Louisville! Excerpts from the track "Plains of Despair" (Volcandra, 2019) used with permission from the artist.

“Shame on you, you big sinner.” That’s what I was saying to myself after my introduction to the band Sinner. I can’t believe I haven’t heard about Mat Sinner’s original band Sinner before now. With their 12 track, 18th studio album “Santa Muerte” on AFM Records being released Friday, September 13th, you’d think I’d have listened to them at least once. Hell, Sinner already had 8 amazing studio albums released by the time Mat started as one of the original members of Primal Fear in 1997. It just goes to show you how a myopic musical focus can sometimes cost you years of great music. Well with Sinner I have quickly made up for lost time. Im currently going over Sinner’s entire discography. I want to express to you how much I enjoyed the new Sinner album, Santa Muerte, but I didn’t know how to quite do it. With most new music I hear I will listen to it a little at a time,reviewing over and over again only those songs, or even parts of songs that grab my attention. I will eventually get around to all the music of albums I get, but it often happens in spurts or blocks. But with Santa Muerte I listened to the first song and liked it so much that I decided to listen to the second song, and then the third, and then the fourth. So what was it that was so good about Mat Sinner’s latest offering . . . I’ll use a word my podcast partner hates . . . Nostalgia! Holy shit did this album take me back. Back to a time when we would head bang in the church parking lot at midnight on a Saturday night with the music blaring, and not a care in the world. From the first song “Shine On”, Santa Muerte meets the Trunnell Boy Good Metal Standard of grabbing you by the balls and hauling your ass along for the ride. Fast, hard, and loud, which happens to be the title to one of Sinner’s first album songs . . . that’s how I would describe this music. With an incredible musical component to the band led by:Mat Sinner on bass/vocals, and Tom Naumann & Alex Scholpp on guitars Sinner brings the ear piercing sound that penetrates to a place not just where music is listened to . . . but symbiotically interacted with. The sound itself conjures up such vivid images and situations that it can easily be described as a multi-media experience. After those qualities the next thing you notice about this album is the variety of vocals from song to song. Now Mat Sinner sings a lot of the songs himself, and he’s got a great metal voice, but new to Sinner on this album is the amazing musings of Giorgia Colleluori; with songs like the aforementioned Shine On, as well as Last Exit Hell, Lucky 13, The Wolf, Misty Mountain, or the crazy good remake of the old blues classic Death Letter . . . one cannot help but be lulled into a metal mood by the inherent sense of POWER that emanates from her voice. There are also guest vocalists on this album, Rick Warwick (Thin Lizzy & Black Star Riders) and Ronnie Romero (Ritchie Blackmore’s Rainbow) lend their amazing voices to What Went Wrong & Fiesta y Copas respectively. Every song on this album has it’s own unique flair and even though the music makes me nostalgic, it also prompts a new response to each track. There are seriously guitar pounding songs like Shine On, The Wolf, & Fiesta y Copas. There are melodic power metal licks in such songs as What Went Wrong & the title track Santa Muerte. Plus the aforementioned re-imaginative blues classic Death Letter. So what’s my final take on Sinner’s Santa Muerte? FIVE TIMES folks, I listened to this album five times all the way through. . . without stopping , , , FIVE TIMES. Shit if that doesn’t tell you something . . . solid A- for Sinner & Santa Muerte.

In this interview guitarist Alasdair Wallace Mackie and vocalist Krista Sion from US symphonic power metal upstarts Dialith discuss the band, their musical backgrounds, as well as the new album "Extinction Six". Excerpts from the Dialith track "The Sound of Your Voice" (Extinction Six, 2019) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

I have the pleasure of doing the review for Exmortus’ new EP, “Legions of the Undead,” and this is pretty exciting. I am so happy that I got to listen to this before anybody else! I think this EP is pretty sick. I really liked the theme that they're going with this time, just because I am a horror fan and I enjoy all things spooky and dark and undead. I listened to this EP about six times, and I have to say it reminded me a lot of their albums “Ride Forth” and “Slave to the Sword“. And those two are two of my favorite Exmortus albums. “Ride Forth” is an album that I hold a dear to me because that's actually the first album that I listened to by them and how I got to know of Exmortus. At that time they were touring with Havoc and Extinction AD. But, anyway, back to the review! Yeah, I think this EP is pretty sick. One favorite song of mine on the EP was the Beetlejuice cover. I think that they definitely did that track justice and I think it's great - I absolutely loved it! They also did a cover of “Psycho“, and that track was really, really good too. I'm a little more favorable to the Beetlejuice theme, but I do like “Psycho“. I really like that movie and I thought the song it was pretty good. I'm very glad they did those covers cause it's… I guess I wasn't expecting those songs to sound as brutal as they did. They were both really good. And then they also did a cover of “Night on Bald Mountain“, which is a classical, instrumental piece by Mussorgsky. (Not sure how you pronounce his name. Conan's probably gonna give me shit about this!) You kind of grow up listening to that song in school, like if you had any type of musical or art appreciation classes. I'm pretty sure almost all instructors or teachers played that instrumental piece. At least I remembered it, and listening to Exmortus play that piece just blew it out of the water for me. Just super exciting! I can't express how excited I am a about this EP. I think the band did a really good job. Conan, Adrian, Chase, and Cody all perform very well on the release, and I think they really, really brought the theme of the undead to life, especially with the album artwork too. It all just flows very well together. For fans, I think this a EP is going to be everything that you expect from Exmortus and more. It's so, so good! If I were to rate this EP: because of how much I enjoy the theme and the music, and how much it reminds me of “Slave to the Sword” and “Ride Forth“ (and it's even better than those), I would give it a 10 out of 10. And I'm not just saying that just because I‘m friends with the band, but because I truly enjoyed listening to this EP. It was really good. I hope that all you Exmortus fans are just as excited as I am for it to be released because it's amazing. The new Exmortus EP “Legions of the Undead” will be released on October 25th, which is by the way, very close to Halloween. So you guys can get spooky with it!

Batu Cetin, frontman for Turkish brutal death metal squad Molested Divinity, comes on the podcast for an interview recorded prior to the band's appearance at Chicago Domination Fest 2019! Credits: excerpts from the Molested Divinity track "Depths Of Chaotic Existence" from the album Desolated Realms Through Iniquity (New Standard Elite, 2019) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Power metal evangelist Matt Smith from Theocracy joins the show in this interview recorded prior to the band’s performance at Mad With Power Fest 2019! Credits: excerpts from the Theocracy track “Ghost Ship” (Ghost Ship, 2019) used with permission from Ulterium Records. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

The latest episode finds the guys quarreling over whether Blind Guardian is power metal, and then discussing if you can be a fan of a band if you don’t like their music. Later, the debate turns to the controversial topic of the use of the confederate flag in metal. Along the way they play amazing songs by Hollowstone, Eltharia, and Dreamborn! Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The songs “Innocent” Eltharia (Innocent, 2014), “The Dreaming City” Hollowstone (Walking Between Worlds, 2016), and “Seven Deadly Sins” Dreamborn (Seven Deadly Sins, 2017) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Of Serpents frontman Travis Wood joins the podcast in this interview for an update on the band including work on their upcoming album, An Invitation To Ashes. Credits: excerpts from the Of Serpents track "Ether Clouds" (Mortuary Sessions, 2018) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

The guys are back with a throwback to their earliest podcast episodes listening to and feuding over metal songs! Gomthog returns to his argument that black metal is the most innovative subgenre, while Brian makes the radical claim Blind Guardian is not power metal. Intro music by CONTRA; intro voice by Veronica Ortiz Rodrigez. The tracks “The Deathbringer” by Iron Hunter (Mankind Resistance, 2018), “The Final Solution” by Vile Child (Stalking The Streets, 2019), “Devil’s Feast” by Carmilla (Deflector, 2019), “Drawing New Worlds” by Neperia (Drawing New Worlds, 2018), “Traitors of the Night” by Lucifer’s Hammer (Time Is Death, 2018), “Free Leonard Peltier” by Stormbat (Decolonization, 2015), “I’m Death” by Thallium (Act I: The Beginning, 2015), and “Luna i grosh” by KalEvala (Луна и грош, 2013) each used with permission from the artist.

Muppet and Raven from dark carnival metal troupe Raven Black join the show in this podcast recorded in Clarksville TN prior to the band's performance at The Warehouse. Excerpts from the track "Risen From The Ashes" (Raven Black, 2019) used with permission from WURMgroup record label. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

In this interview recorded June 1, 2019, at the Tiger Room in Louisville KY, Flotsam and Jetsam's Eric A.K. and Michael Gilbert join the show to talk about the band's history, current tour, as well as their latest album "The End Of Chaos". Excerpts from the track "Prisoner Of Time" (The End Of Chaos, 2019) used with permission from AFM Records. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Full disclosure up front: I fancy myself a fan mostly of European metal, or at least bands that SOUND like they are from Europe stylistically. So, when I review a modern metal band from the US, I do bring some biases to the table. With that admitted, where does New York’s Monochromatic Black and their debut album Pneuma fit into the metal landscape in 2019? Well – after over a dozen times listens to this album from beginning to end – I find myself really appreciative of what Monochromatic Black is trying to accomplish musically, and am impressed with the nuts-and-bolts execution of their debut album. For stylistic reasons this one probably won’t make my list of best albums of the year, but I would still strongly recommend it as quality listening it for any metal head, and especially for fans of the range of extreme metal genres. I’ll touch briefly on a few tracks… The album opener “Degradation” starts off with chugging, dissonant aggression. Brutal breakdowns, screaming, and the band generally bashing the hell out of their instruments. Predictable rhythms be damned, this track will bulldoze you. The song “Dream Catcher” alternately bombards you with a slow, heavy attack and a dark, hauntingly melodic, clean vocal line. There’s some great atmosphere on this one, and a bit of a change-of-pace that I really enjoyed. Perhaps the most prog-metalish track on the album. The vocal work on “Phosphenes” was excellent; killer growls and cool singing augmented by suspenseful, hard-hitting breakdowns. The music really builds on this track in a way I found exciting and compelling. And there’s some really solid guitar-work going on here – not just your run-of-the-mill deathcore noodling. The album finale – “The Herd” – finishes things off with hints of melodic death metal style. Up tempo, progressive, and frenzied. This was my favorite track on the album – and the kind of song I would definitely want to hear live. One critique I had about this album is simply its length: at only 24 minutes of material in 6 tracks, it isn’t much more than an EP. Also, there didn’t seem to be much flow from one song to the next on this album, leaving the listener feeling that you could swap out the placement of any track with any other and have essentially the same album. That said, every song has some riff, vocal line, or element that impressed me and I found memorable. The instruments are mixed well, with a solid guitar tone. There’s a definite hardcore influence to this album – which at times takes it outside my zone of comfort and familiarity – while others will find this very appealing. What Pneuma was trying to deliver in terms of the music, I think it did successfully, but at times I wanted to hear MORE from these songs. There were some interesting progressive elements that showed up here, and I would really like to have heard Monochromatic Black expand on those. I can appreciate quick hitters, but would’ve liked a few songs to have had more length and room for the music to breath. Ultimately I give this album an 8 out of 10 rating, which is probably undervaluing it. If you enjoy extreme metal styles – and particularly music that doesn’t hold closely to any defined metal subgenre – I anticipate you’ll find it to be a winner. You can purchase Pneuma from Monochromatic Black – and I encourage listeners to do so – via BigCartel.com as well as the Bandcamp app. And the band will be touring the northeast US this summer – be sure to check them out delivering the brutality live in your city soon.

A review of the Judas Priest / Uriah Heep concert segues in to a debate about concert venue size. Later, Gomthog and Brian have different takes on the Dio hologram tour. Throughout, the guys play tracks by metal bands Karkosa, Heavy Justice, and Wolftooth. The tracks “Demon Seed” by Heavy Justice (And So We Fall…, 2017), “Sword Of My Father” by Wolftooth (Wolftooth, 2018), and “Archfiend” by Karkosa (Harvest of the Adept, 2018) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

The guys are together again to talk about The Three Tremors Show as well as what they think metal will sound like in 2030. Later, they address feedback from a listener who thinks Gomthog doesn’t give Slayer and Pantera their due. Throughout, the guys play tracks by Tigersclaw, Ohen, and Blood Wolf. Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The tracks “1680” Blood Wolf (Blood Wolf, 2019), “The Fallen Queen” Tigersclaw (Force Of Destiny, 2019), and “Valley Of Dry Bones” Ohen (Mortal Man, 2014) each used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

The latest episode features two concert reviews. First, Metal Mark talks his experience seeing The Iron Maidens in Louisville KY; later, 80s nostalgia warrior Brian returns to the show, with Gomthog taking him to task over attending the Metallica show in Nashville TN. Along the way, the guys play metal tracks from Realm Of Glass, Altair, and Tomestone! Intro music by CONTRA. The tracks “A Lesson Before Ascending“ by Altair (Descending: A Devilish Comedy, 2017), “You Can’t Kill Metal” by Tomestone (Shadows Of Fear, 2019), and “Reveries From The Haunted“ by Realm Of Glass (Forsaken, 2018) each used with permission from the artist.

Kataklysm frontman Maurizio Iacono is interviewed in this podcast recorded live at Manchester Music Hall in Lexington KY on February 17, 2019, as the band tours North America with Soulfly. Credits: excerpts from the Kataklysm track "Outsider" (Meditations, 2018) used with permission from Nuclear Blast Records. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

The nineties were often thought of as a decade when metal died and grunge took over. Well, someone forgot to tell Piet Sielck the famed guitarist and producer, because in 1996 he said “screw grunge” and founded one of the most enduring power mental band's ever in Iron Savior. With twelve albums currently under their belt, the tour du metal force will release it's their thirteenth album on March 8th, 2019, titled Kill Or Get Killed. Now, here a quick side note. There are very few bands in metal that can consistently do the same thing album after album and still have fans continuing to stay on the bandwagon. Iron Savior, much like Slayer, AC/DC, Amon Amarth, and every black metal band ever, have their own particular sound. And on this album - like all their albums - they had what I can only described as a true power metal sound. And with this first song, “Kill Or Get Killed”, Piet and the boys establish a fact that they have not lost the right to be in that niche and label their music thusly. A quick side note number two here: I come to the part of any review where the writer dazzels you with a barrage of verbage that at it's best is pontification and at its worst is just bad writing. I’ll try not to insult your intelligence with cliche and remain as true as I can to what I really thought. Whether it was the lyrics, or the intense timing signature, or the chord progression, or the background artillery of the bass and drums, or especially the accurate and technical solos. there was one phrase that i kept thinking while I heard this album. “Its us against the world, man!“ Now I know that doesn't really described the music, but i know there are many fans who judge and reactive music this way and in fact you then you know what I meant by that phrase. This album inspired the ‘brotherhood of metal’ response in me. Like a baby fans it's toes with the Babinski relex, I heard this music and it fanned the metal attitude response in me. I'll tell you the first afternoon I heard “From Dust And Rubble” which is my personal favorite off this album, I was at the gym, and the welling of aggression and mob-like unity i felt with Iron savior at that moment, inspired me to mount an assault on the hot yoga class which happened to be in session in the next room. And the look on those old ladies’ faces as I stormed in screaming “you'll never stop us you bastards”… well, let’s just say it was awkward. And though I scored a win for true heavy metal that day, I also scored a restraining order and 120 hours of community service. I did try to think of clever ways and adjectives to adjectives to divide the songs from this album into categories for you, but in the end there's only one category for the songs on this album - it’s what I call the aforementioned hard and fast true power metal sound. With titles like “Roaring Thunder”, “Stand Up And Fight”, “Heroes Ascending”, “Eternal Quest”, “Legends Of Glory”, “Never Stop Believing”, “Kill Or Get Killed”, and the personal favorite of mine, “From Dust And Rubble”, Iron Savior delivers a photonic barrage of sound, expertly mixed, and technically proficient, all the while using balls-to-the-wall metal riffs and solos. And Sielck delivers his vocals in a consistent torrent of amped up Dio and Kiskiesk sound. Kill Or Get Killed what I’m fond of calling an old sound with a new format. It’s music that keeps my attention, and allows me to satisfy my overly inflated sense of nostalgia, and yet fit’s the mold of new metal that pushes me out of my comfort zone and forces me to listen to things that attract fans from all walks of metal. Well done Iron Savior - I’m giving the new album a rating of 8 out of 10. To obtain the new Iron Savior album, go to www.iron-savior.com or www.afm-records.de.

Welcome to another Metal Debate album review. This time we take on Battle Beast’s new banger – No More Hollywood Endings. This is the band’s fifth full-length album, and their second release since the exodus of co-founder Anton Kabanen, Clocking in at over 53 minutes, the album gives thirteen tracks that largely keep it simple, solid and enjoyable. That’s not to label the newest album a regurgitation of past efforts, just that Battle Beast have continued to evolve with this release while remaining true to the what has worked for them in the past. As hinted at by the title – No More Hollywood Endings – the band flirts with heavy metal film score on this one as they take their classic power metal sound into more of an overtly cinematic direction. Battle Beast kick off the proceedings with “Unbroken” - a classic up-tempo power metal track with a pleasantly punchy groove. Frontwoman Noora Louhimo keeps her singing fairly clean here, and the guitars have a pleasing crunch. The title track and first single released, “No More Hollywood Endings”, has Noora evincing a bit more of her trademark vocal rasp, and showing more of her complete range. A mid-paced arena-rock anthem, the track is catchy, but without bringing too much saccarhine to the mix. The many hints of 80s nostalgia are sufficiently counterbalanced to give the album a modern metal feel. The songwriting overall is strong on this album, and there are number of outstanding tracks to highlight across the record. “Hero” begins with a sexy synth intro, seguing into a classic power metal scream that unveils a solid track with memorable hooks, vibrant riffs, and a killer verse. “The Golden Horde” is an epic-sounding melodic ripper with pleasing speedy guitar riffs. “World On Fire” is one of my favorite tracks – Battle Beast doing what they do best – distilling European power metal with a distinctly fun-loving, 80s flavor. One that will find you banging your head and pumping your fist! “Eden” delivers a great ear-friendly sound and beautiful vocal melody. Again, throughout the keyboard elements create more of a cinematic metal than symphonic experience for the listener. A few tracks were a bit harder to hold my attention – I found “Endless Summer” sleepy and lacking the potency of most other songs, and the rock-tastic album-closer “My Last Dream” seemed an oddly dissonant note to finish on. I am sure some will find the production for this album a bit too polished and AOR-friendly, and I would have preferred the drums a little crisper in the mix. But these are all minor quibbles. I definitely recommend this album, especially to rank-and-file fans of catchy power metal who will find themselves drawn inexorably to the big screen flash. Battle Beast executes this musical vision successfully, and sans the over-the-top cheese displayed by their metal rivals, Beast In Black. In the end, Battle Beast manage to create a big, fun album, that I can’t get enough of. They know both their strengths and limits, providing a strong offering that won’t often surprise but definitely pleases. No More Hollywood Endings is distributed by Nuclear Blast Record

Let’s talk about Flotsam and Jetsam’s 13th full length studio album from AFM Records, The End of Chaos. This 12 track assault from the current metal quintet is comprised of: Eric “AK” Knutson – vocals; Michael Gilbert – guitars; Steve Conley- guitars; Michael Spencer – bass; Ken Mary – drums. I review with my feelings which I often get ridiculed for, but like I give a shit. I’ll feel what I want to feel and if you don’t like it stick around those feelings will change. Your well thoughtout gems of intricate wisdom; fads or fickle; puhtato, potato… The 80s metal man in me feels 3 things about this album right off the bat… 1. This album fucking rocks! Its headbanging from start to finish. I don’t detect a lot of pussy ballad music on it, which means the bullshit is left behind. The closest the album comes to a “power ballad” is their haunting rendition set upon the altar of the metal gods of personal pain, “Recover”. A serious misnomer, this song hits you in the good parts about an injury to the heart and mind so deep we may never recover…all done at about 120 beats a minute! (Hell yeah - take that Nightwish!) 2. Friends, if I heard this album in the 1983, when real metal was played and not artistically not artistically emoted swill (pause and vomit), I would have considered it, quote ”experimental”. Songs such as “Prepare For Chaos“, “Good Or Bad“, and my personal favorite “Demolition Man” were played so immensely and intensely that I’m sure “rajasthani folk musical instruments” all over the world were blowing up like a Samsung Smartphone roasting the ears of whoever had it next to their head. 3. The 3rd thing I noticed on this album is that the lyrics on this album are badass. They are dark and deep: addressing pain, heartache, insanity, disaster, despair, fantastical realms and general dark-heartedness. The point is, Flotsam and Jetsam on The End Of Chaos addresses the issues all good metalheads deal with in life. And yet, none of that mattered. The kick-ass lyrics are secondary to the kick-ass music that caused me to bang my head from start to finish. I experienced metal on a primal, neck traumatizing level, and this album meets all the criteria for such an album. One thing that surprisingly stood out on The End of Chaos, were the vocals of AK Nut-buster. (OK, if that’s not his name, it oughta be!) Regardless of his name, dude can fucking wail. I kept thinking he sounds like some vocalist I love, which can be a very complimentary thing. He has a style you can’t pin him down to, a rare thing in the industry. At times it sounded a little like Dio, at times Jeff Tate, and at other times it was a little like Dickenson. AK Knutout and the boys from Flotsam and Jetsam can kick ass. Gilbert and Conley grasp the concept of highly distorted, focused, bellicosic need that lies with true metal. Then, while Knutson and the guitar boys provide the spice of this meaty dish, Spencer and Mary lay down a basic rue of hard driving, hardwired metal that keeps The End Of Chaos righted on the perilous sea of Metal! If I’m pressed, the biggest recommendation I could find for The End Of Chaos is to encourage Flotsam and Jetsam to add some diversity to their general tone. They’ve mastered the “art” of Heavy Metal and it shows in every song, at times giving them an air of similitude in many of their songs. Don’t be afraid to dumb it down; trust in the simplicity of the music and the brotherhood of the musicians and the audience. Branch out and branch down. Then lets swing on the vines as we headbang into unconsciousness. In conclusion, Flotsam and Jetsam’s The End Of Chaos is a grab-you-by-the-balls and come along with them wherever they’re going to take you endeavor. It’s a gravel gargling, high distortion, speed…no thrash, metal riff and solos album, backed by an incredibly heart-pounding bass and drum hardline. I highly recommend Flotsam and Jetsam‘s The End Of Chaos through AFM Records with a rating of 8.5/10.

The podcast’s year-end episode counting down the best metal albums of 2018! Credits: intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. Use of the Windfaerer track “Journey” (Alma, 2018) with permission from the artist; Grave shadow’s “Ambition’s Price” (Ambition’s Price, 2018) used with permission from M-Theory Audio. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

This episode features a pair of concert reviews. First, metal fan Xander tells his tale attending the Unleash The Archers / Striker / Helion Prime show in South Carolina. Later, Gomthog shares his experience from the 2018 ProgPower USA festival in Atlanta GA. Credits: intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The songs “Perish The Elements” by Promethian Horde (Ashes Of The Empyrean, 2014), “JFK Blown Away” by Executive Disorder (Hail To The Chief, 2016), and “Broken” by Realm Of Glass (Reveries From The Haunted, 2018) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Legendary metal singer Matt Barlow of Ashes Of Ares joins the podcast in this interview recorded November 12, 2018, to discuss the band's sophomore release, "Well Of Souls". Cover photo courtesy Heather Barlow; excerpts from the Ashes Of Ares track "Let All Despair" (Rock Of Angels Records, 2018) used with permission from Dustin Hardman Press Relations. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

New Jersey blackened folk metal horde Windfaerer join the show in this podcast recorded at Mag Bar in Louisville KY during the band's Alma Northeast 2018 Tour with Ancalagon! Credits: excerpts from the Windfaerer track "Dawn Of Phantom Light" from the album Alma (Avantgarde, 2018) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Arion’s newest album Life Is Not Beautiful which released on October 19, 2018 is for fans of Sonata Arctica, Stratovarius, Rhapsody of Fire, and even the early days of Kamelot - the Fourth Legacy, Karma, those albums. It’s an album I’ve been looking forward to since their last album, The Last Of Us, came out, as that album crushed. These guys are in their early twenties, doing it big - they started the band out when they were in high school. And they just kill it if you haven’t heard them yet. Most notably of late, their singles - this album has five singles on a nine track album. I really like what they’ve done with this - they wanted to keep the fans entertained, to let them no this band hasn’t pulled a Necrophagist and gone off the grid for no reason whatsoever. Some of my favorite songs off this new album include the title track “Life Is Not Beautiful” and the final song on the album “Last One Falls“, as well as the singles “Unforgivable“, “At the Break of Dawn“, and “No One Stands In My Way“, and the latest single they’ve recently put out called “Punish You“, which is probably the heaviest song on the album (if not that, then the title track). Also of note is the very melodic, melancholy ballad called “Through Your Falling Tears” which is a very moving song for those that do like power metal ballads. That’s another thing about this band: bands like Sonata Arctica and Stratovarius and Kamelot were champs at putting out some of the most catchy, soulful ballads of any band out there. So, kudos to Arion for bringing that bacl. I’m not much of a ballad person; for me that was more the output of the hair bands of previous times. But they’ve added a new flair, so kudos to Arion from bringing that back and making me love ballads again! Getting back to the album - the album cover is very interesting. Fans of this band would know the previous album, “The Last Of Us”, actually had the same character on the cover: this guy with a pole or stick with a lantern hanging on it, looking lost and distraught as if on a journey to find new civilization. I don’t know… I like to depict certain stories from album covers wondering what does this mean? Is this album a concept album; is there a story behind this? So we find this same character walking up what appears to be a hillside carrying the same lantern that he or she had on the previous album cover. That’s pretty cool that they’re bringing this same character back in on the new album - it’s almost like this character is going through what the songs are portraying in the background. Speaking of the songs and what they mean - whether they form a concept album or can be interpreted into our daily life: songs like “Punish You” which talk about being betrayed, the hardships of live, and how life comes back to punish you - like karma working her magic. This is contrasted by the positive vibes of “At The Break Of Dawn” and “Unforgivable”, focusing on how we are treating the planet earth as our home. A song like “No One Stands In My Way”; you’re getting off from a bad day of work, you’ve gotta come back the next day and you just don’t want to be fucked with. When this song came out I was having a bad day at work, turned this song on to listen to, and everything seemed better - it seemed like I was invincible. That is the anthemia song on this album. So, for those who are into power metal, especially bands like Stratovarius, Sonata Arctica, Rhapsody of Fire, Kamelot… even going into underground territory such as Nocturnal Rites and Heavenly, this is the band for you. This band is bringing power metal back from the catacombs with the keyboard solos, off-beat fast-paced melodies, crazy neo-classical riffs, and the thematic concepts of power metal. Please: do yourself a favor and pick this album up. Don’t be a cheapskate and just stream it on Spotify because this band deserves more than just three cents per play.

Metal Debate podcast contributor Mark "the Fuzz Man" Doss talks with Jukka Koskinen and Asim Searah of Finnish metal warriors Wintersun in this interview recorded in Chicago IL during the band's North American Forest Tour 2018! Credits: excerpts from the Wintersun track "Awaken From The Dark Slumber" (The Forest Seasons, 2017) used with permission from Nuclear Blast records. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

MANIMAL frontman Samuel Nyman is on the podcast mic in this interview recorded in Atlanta GA following the band's US debut ProgPower USA, in support of their new album "Purgatorio". Excerpts from the MANIMAL track "Purgatorio" (Purgatorio, 2018) used with permission from AFM Records. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

There is nothing on Udo Dirkschneider’s 16th studio album Steelfactory, from his namesake band UDO that I can't get from the first 15 UDO albums . . . and I freaking love it! I have to appreciate a man who at the age of 66 can peel the skin off your scrotal sac with one of his patented screams, or is it a growl or a howl or a groan or just your everyday gargling of sand and glass. Whatever it is, it works. His ever present pseudo-sexual growl / moan is prevalent throughout Steelfactory, and it reminds us to have some freaking respect. There are songs that lash out with the proverbial guitar assault so often associated with UDO as well as Accept. And if you a fan of song like London Leatherboys or Losers and Winners, then you’re going to love the cuts Like Eraser or the opening salvo Tongue Reaper. Smirnov is hitting on all cylinders with both riffage and ripage. Dude can play some classic power metal and we love being along for the ride, with wave after wave of super speed chords spiced with crest after crest of over the top solos. Don’t worry - there’s also the classic power ballads. For those of you who loved Warrior, Bound To Fail or I Give As Good As I Get, you’re going to love some of the Steel Factory cuts which carry on that Udo-ish tradition. Keeper Of My Soul and One Heart One Soul make me want to stand and march around the bedroom while slashing everything I own in the name of some Teutonic cause that requires the virtue of a knight and the violence of a bull seeing red. There variances in the nuance of the album and the newness of the music carries it a ways for me, but it is a LOT like much of Udo’s repertoire. I spend a few brief moments wondering what the germanic maniac metal god might sound like if he sang a Xandria song, adding Operatic and Symphonic elements to his sound, then I wake up from that nightmare and appreciate what this music nostalgia buff loves about power metal. This album is metal as metal is meant to be, which is the line I seem to want to vomit up every time I hear good metal. As I watch the new Steel factory video for Rising High I see all the youthful exuberance that surrounds Udo Dirkschneider, particularly his son Sven on the drums. And then compare it Udo who spends the entire video Standing in the middle of the staircase one foot on the stair above the other and it occurs to me that I don't want him to move because I'm afraid he'll break a hip. And then I remember Udo doesn't give a shit what I'm worried about, and if he wants to he will jump down those stairs and break his hip. He's a metal cock-knockin’ head-banging fist fighting son of a bitch who brings his particular flare of metal to everything he's done since Accept in 1979. Steel factory is simple and straight forward with a classic style seen with UDO since the 80s. So I end with the same sentence I used when I began, with Steelfactory Udo gives me not much different than I can find on his first release… and I freaking love it!

US extreme melodic death metal warriors Obelisk are on the podcast mic in this interview recorded at the 2018 Shred Fest in Murfreesboro TN! Excerpts from the Obelisk track "Monster, Am I" (Omens, 2017) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Welcome back metal fans - this time we’re checking out US west coast power metal act Helion Prime, with their new release “Terror Of The Cybernetic Space Monster”, due out from AFM Records on August 31, 2018. I’d heard the 2016 self-titled debut from Helion Prime, and thought it was an impressive effort, albeit something of a diamond-in-the-rough. The concept of a “science metal” band was one I found intriguing, and that amalgam of nerdy lyrical themes meshed well with the catchy, uplifting power metal Helion Prime offered up. Helion Prime’s new album “Terror Of The Cybernetic Space Monster” builds on that foundation and advances it significantly. I’ll touch on a few highlights. After the spooky opening atmospheric “Failed Hypothesis”, the album segues into the dynamic crusher “A King Is Born”. This track is a brilliant intro, giving fans the origin-story of band mascot Saibot in dramatic and colorful fashion. New singer Sozos Michael exudes strength and passion on this one, giving the fantastic storyline a punch of emotion. There are plenty of great tracks here, including the melodic “Spectrum” and charging “Bury The Sun”. Perhaps my favorite song is “Atlas Obscura” which delivers a killer verse and a catchy, flavorful chorus. Not all tracks are favs, but even those that don’t register top marks are well-crafted, and there’s certainly no filler to be found here. The final song and album title track is the longest of the effort. A segmented, epic affair, this power metal tour-du-force provides the listener great pacing and storyline in the closing act. As much of a fan as I am of former Helion Prime singer Heather Michelle – and I consider her one of the top up-and-coming singers in North American metal – after multiple listens I have come to the conclusion Sozo’s voice may be better suited to Helion Prime’s music. Mostly because his vocals so drip that European metal texture; you can hear that this guy fits comfortably in the tradition of power metal crooners like Michael Kiske and Roy Khan. I continued to be blown away by the musicianship of Helion Prime guitarist Jason Ashcraft. In an era where too much is often viewed as mpt enough, Jason doesn’t have to overwhelm us with a barrage of riffs to display his axe prowess. It’s clear a lot of time and thought went into devising these tracks. This is considered composition and songwriting! In summary, I’m very impressed with the quality of this new material from Helion Prime. This band is developing their sound, and seeming to be finding their niche. Two big thumbs up to Jason and the Helion Prime crew for an outstanding sophomore effort. One of the better metal albums so far this year and a must-purchase for power metal fans. Helion Prime’s “Terror Of The Cybernetic Space Monster” is available from AFM Records, via all the normal online outlets.

Jeff and Sarah from US power metal mavericks Mindmaze join the show in this interview recorded in Murfreesboro during the band's 2018 No Rest In The Midwest tour. Excerpts from the Mindmaze track "Abandon" (Inner Wound Records, 2018) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

The Great Metal Debate review of Into Eternity’s long-awaited album “Sirens”, releasing out on October 26, 2018. I’m going to be unapologetic about this - there is only one word that can truly describe this album… that word is intense. This album is unforgiving, it is relentless, it is intense. It is almost flawless, but, still leaves you at the front of your seat wanting more. The album “The Sirens” begins with the opening title track where you get this haunting, ghostly, eerie, piano intro, followed by the guitar melody that takes the same shape. This is followed by this intense, death metal styled riff, paired with blast beats and death metal vocals, shrieking high black metal vocals, and then some of the best clean vocals I’ve ever heard from anyone! Now, before listening to this, for the people who have never heard Into Eternity, and may be interested in giving the album a listen when it comes out, they are one of those bands that are really hard to pinpoint within one genre. That being said, they throw in classic heavy metal, classical elements, progressive metal time signatures, black metal vocals, death metal, and even power metal in the guitars and vocals. Not a lot of bands can pull off this style. Often when bands try to do something completely different and try and switch things up so radically they fail at it. But, thankfully, some bands do know how to concoct that formula appropriately end up leaving with happy fans. And, that‘s what you get with “The Sirens“. With the opening track you get black metal, death metal, power metal, classical, and heavy metal. And progressive metal, with the out-of-left-field transitions, death metal gutturals, melodic guitar solos, blast beats - you name it. All in one song! This album has so many memorable moments in it, such as Fukushima. It‘s obvious what the song is about - the tragic events that happened at Fukushima - at the power plant following the earth quake and tsunami, that claimed almost 18,000 lives unfortunately. That is probably my favorite song on the album. Of course, you can find a single of it that was released in 2012 with Stu Block on it. It doesn‘t sound much different than on the album, other than having Amanda Kiernan on vocals. But, she doesn‘t leave you missing Stu Block. Even though he was an awesome member of the band, left an awesome legacy of two albums. But, honestly, she sounds just like him. When she brings out the chorus it sounds like she‘s going Kobra Paige at one moment and then she brings out Chuck Billy (Testament) and Bobby “Blitz“ Ellsworth (Overkill). Wow! So many styles in one person; lots of diversity. Why not!?! Not to mention, the chorus is catchy… you‘ve get this awesome, guttural, slam-metal vocal that comes out of nowhere in the song. It gives me goose bumps just to talk about it! Another song I‘d like to mention on this album. Probably one of the more notable Into Eternity songs in their catalogue, it starts out with this finger-picked nylon acoustic melody that‘s played about four minutes into the song, with Amanda Kiernan singing doing all these dual harmonies. It gives you an Egyptian feel… a melancholic feel of being alone, of being nowhere near you want to be. And, suddenly, four minutes into it you‘re hit like a fucking freight train with these awesome, tremolo-picked riffs, solo, and then an awesome black metal blast-beat section at the end. You’re left crushed and decimated. So, I give this album four out of five stars, just because I wanted more of this. Eight songs, fifty minutes long. A well-balanced progressive metal album. They don’t go overboard, they don’t go over the top, they don’t jump the shark like some progressive metal bands do. They have balanced this album out and they have come out swinging on this come-back album. So, on October 26 check out Into Eternity’s “The Sirens”.

Begat The Nephilim's Tyler Smith (vocals) and Cam Dupere (guitars) join the show in this interview recorded July 15, 2018, prior to the band's performance in Nashville TN. Excerpts from the track "Cardboard Casket" (The Surreptitious Prophecy, 2018) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Tony Cordisco and John Yelland from western US power metal clan outfit Judicator join the podcast for this interview recorded July 6, 2018, to talk about the band's history as well as their new album, "The Last Emperor." Credits: Excerpts from the Judicator track "Spiritual Healing" (The Last Emperor, 2018) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

The new show finds the guys reminiscing about their trip to Birmingham Alabama to see Seven Spires, Hate Storm Annihilation, and Inviolate. Later, Gomthog has a controversial take on the legacy of Vinnie Paul and Pantera. Along the way songs from Burning Shadows, Inviolate, and Granshaw are played. Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguea. The songs “Broken Cycle” Inviolate (The Insomniac’s Dream, 2017), “The Reckoning” Granshaw (Bloody Hands Clear Conscience, 2018), and “Southwind“ Burning Shadows (Truth In Legend, 2017) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Members of Chicago extreme death metal act Hate Storm Annihilation join the podcast in this interview recorded on June 13, 2018, in Birmingham AL. Excerpts from the track "Lucifer Rising" (Storm Of Flames, 2014) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Episode 54 finds Gomthog joined by guest contributor Randy Thrashover. The two talk about the intersection of metal and hardcore, as well as talking about recent metal shows. In between, the guys plays songs by Lethal Night and Abysmalia! Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. Tracks “Against The Absolute” by Abysmalia (Polarization, 2015) and “On The Prowl” Lethal Night (Visions In The Night, 2017) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Dirt metal trio Aboleth join the show for an interview recorded May 24, 2018, during their tour of North America in support of Raven Black. Collyn, Brigitte, and Boll3t talk about the band's history, as well as their new album "Benthos"! Excerpt from "Wovenloaf" (Benthos, 2018) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Hey guys - this is Mark “The Fuzz-Man” Doss coming at you with a review of Kamelot’s newest album, “The Shadow Theory, here on The Great Metal Debate podcast. Now guys, before I go into any detail on this album, I want to let you know something personal about myself. I just became a parent about two months ago, and I’ve got to say it’s one of the best things ever… it might be the greatest thing ever to happen to me. And this album was actually the album I was listening to on the way to the hospital, considering it came out the day before she was born. So, I was on my way to the hospital to be with my fiance during her labor, and this was also the album I was listening to taking them both home. Anytime I listen to this album it always brings me back to that time… it was a feel-good moment for me. You know, I believe music is a very healing factor in life, and it’s just a natural high that we all have in common. “The Shadow Theory” came out on April 6, 2018, and, you know, I’ve heard a lot of people saying “It’s Kamelot… it‘s still Kamelot, blah, blah blah.” Well, of course it is, and I’ll tell you why. Well, if you think about it, a lot of the great bands like Pantera, Van Halen - even modern bands such as Revocation - have their own style that they have imprinted into the world of music. And when you listen to something on the radio and you can immediately pinpoint it, then you know that they have their own style, and Kamelot do that exact thing and have been doing so for the last twenty or so years - since they’ve been a band. I’m just going to warn you guys: yes, this is a Kamelot album. It is no different than any other Kamelot album from, say, the Epica era. Epica, The Black Halo, Ghost Opera, Poetry For The Poisoned; even the Tommy Karevik albums; Silverthorn, and of course their last album, Haven. That doesn’t mean this is a bad album - at all. I thoroughly enjoyed it. Now, there is one thing I do have to say: I’m not a big fan of the song Static because it kind of reminds me of a very poppy, soft… it’s not Kamelot. It sounds like something that might be played on a ‘light’ radio station or a pop music, top-40 billboard hits. It’s not Kamelot to me. It might be Kamelot so some people; some people might like that - it’s all opinion. To me that was the only flaw on this album. Now, another thing about this album that is interesting is that Kamelot has two new female vocalists. That’s a Kamelot staple - having a female vocalist as a guest, featured artist on their albums. This time we have Lauren Hart, vocalist from the band Once Human, and Jennifer Haven from Beyond The Black. Lauren appears on the second single on the album, which was Phantom Divine, and also on mind-fall remedy, and I’ve gotta tell you she kills it. Me personally, I prefer her over Alissa White-Gluz any day, and they’ve released some great music with her too. Now Jennifer Haven, I haven’t really listened to her band much, but listening to the ballad on the album - In Twilight Hours - it’s beautiful. It is amazing. This album also doesn’t include Casey Grillo on it. Casey Grillo was the original Kamelot drummer, and he announced his departure back in February. So, he’s doing his own thing now and best of luck to him and his future endeavors. Now they have Johan Nunez from Firewind on drums. I’m a big Firewind fan, and you can definitely hear that he has put his own spin on the album. A little bit of Casey, a little bit of Johan Nunez - I think it’s the best of both worlds, in my opinion. For those who are looking for a unique, different approach to a Kamelot album; hold your breath and just listen to the music. “The Shadow Theory” - I would give this album a 7 out of 10 rating. Nothing crazy; it’s just Kamelot doing their thing, and then the Static song that I’m not really that into. But yes, give this thing a listen and form your own opinion on it.

Classic metal vocalist Leather Leone joins the podcast in this interview recorded April 15, 2018, to talk about her new album, musical history, as well as plans for 2018! Cover photo provided courtesy Luciana Pereira dos Santos; excerpts from the track "Juggernaut" (Leather II, 2018) used with permission from Divebomb Records. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

USA death metal band Cannibal Corpse have made their name a staple in death metal. Since forming in 1988 with vocalist Chris Barnes, to going through numerous lineup changes and joining of current vocalist, George “Corpsegrinder” Fisher, this band has given it their all in the death metal scene and haven’t shown any signs of their huge career ending. In their newest album, Red Before Black, we are treated a mix of the classic Cannibal Corpse sound that they have been known for, and a newer, devastating, bone crushing sound. The opening track “Only one will die” instantly gets us hooked with Corpsegrinders’ powerful growls and Paul Mazurkiewicz’s thunderous drums, which gets your heart beating and energy flowing through you fast. We can also hear Pat O’Brien playing squealing and high pitched guitar solos along with insanely heavy riffs. Old school cannibal corpse sounding riffs are also heard in the track “Shedding my human skin”, which reminds Cannibal Corpse fans of the classic album “Tomb of the mutilated”, which will be a treat for both old and newer cannibal corpse fans,’ We are also treated to the modern age Cannibal Corpse sound that many fans have come to enjoy after the departure of vocalist Chris Barnes in the title track “Red Before Black”, which yet again shows the talent and skill that the band has despite getting older and older as time goes on. With an album full of evil gory tracks, what better way to promote that than with a just as evil and gory album cover. The album cover depicts a maniacal red eyed killer, stabbing away at someone with a horrifying knife. The concept of the album cover was inspired by a dream the drummer Paul Mazurkiewicz had in which there was a man stabbing him to death, who is the killer we see on the album cover. With this combo of gory album visuals and extremely aggressive music, this album definitely is an eye and ear catcher for death metal fans and will not disappoint any fans of the brutality of death metal, because there is much of that to find in this album. I give this album an 8/10 for its awesome brutal sound that Cannibal Corpse has made a staple in death metal. The album can be purchased at the metal section at a local music store or purchased online.

2018 finds Graveshadow with their second full-length release entitled Ambition’s Price. I’m always nervous when confronted with the successor to an album I love, wondering whether the band will make stylistic changes that don’t appeal to me or, perhaps worse, just go conservative with an effort that’s same and lame. Whoa - Ambition’s Price is more than a worthy heir to their debut! The album contains plenty of powerful riffing, killer vocals, well-conceived compositions, as well as some potent ideas that suggest an exciting future for this band. The album opens with the stunning song “Doorway To Heaven," where we find not a route to paradise but a doorway straight to heavy metal hell. Delivered in Graveshadow’s trademark aggressive and angry fashion, the track is an appropriate entry to this amazing album. “Widow and the Raven” is even more uptempo, and features a killer riff and solid chorus. Singer Heather Michele stays mostly in the clean register, dipping into her growls only toward the end. This song is as melodic as it is powerful. The title track “Ambition’s Price” slows things down significantly but remains compelling. A haunting, yet super-catchy pounder played with conviction and brilliance! “Hero Of Time” - one of my personal favs - is a fast-paced gem, and one of only two songs on the album without any harsh vocals. The Zelda-inspired lyrics are well-crafted, with a memorable chorus that will have metal heads pumping their fists and singing along. “Gates” is a great track with a sinister intro, classy riffs, and the vocals exuding sheer emotion. Guitarists William Walker and Aaron Robitch are sneaky-good with their execution here and throughout, never stealing the spotlight entirely but expertly controlling the tempo and tone with their subtle fretwork. “The Unspoken” ratchets things up a notch with more intensity, brilliant melodies, and superb guitar-work that culminates in an utterly brutal ending. A rocking cut consistent with the quality of the others. The ballad “Return To Me” opens in a Dark Tranquillity-esque fashion. Another slightly slower-paced track but no less gripping. Tracks 8-10 form a min-story arc with imagery and storyline culled from the World of Warcraft universe. Straight-forward "Slave" kicks things off with a mid-tempo metal burner, leading into the balls-out speed metal tune "Liberator," featuring solid contributions from bassist Benjamin Armstrong and drummer Roman Anderson. Headbangers, get ready for this one! Rounding out the trilogy is "Warchief," an energetic piece that wraps up the narrative in style. The album closer, “Eden Ablaze”, concludes Graveshadow’s conquest of the listener in the same sick vein as the prior ten tracks. The chorus is magnificent and the guitar playing and vocals typically amazing! This album hits every mark I could want for a heavy metal record and, honestly, I don’t know why more American bands don’t follow Graveshadow’s lead in mixing some of the best of power, doom, and symphonic elements. What America needs, badly, is more metal like this! I give this album 100% rating, 5 stars, 10-out-of-10… whatever accolades I could heap on this record are manifestly deserved! This is an absolute lock on my list of best metal albums of the year, and easily my pick for album of the year so far. If you love metal, I beg you to listen to this album – you will not be disappointed. Ambition’s Price is released by M-Theory Audio. You can purchase the album through the M-Theory audio store as well as via Graveshadow.com.

In the latest episode the Gomthog reviews his experiences at the recent Nightwish and Iced Earth shows. Later, the guys talk through the recent beef between Judas Priest and former guitarist KK Downing, and then Brian asks if all heavy music is metal. Intro music by CONTRA; intro voice by Veronica Ortiz Rodriguez. The tracks “Walk” by Brightstorm (Through The Gates, 2017), “Old Wolf” by Old Wolf (Faustian Mass, 2018), and “Solze” by Brezno (Kri, 2014) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Today we’re reviewing the 4th studio album from Tampa death metal assemblage The Absence, entitled “A Gift For The Obsessed. I’ll be honest that, before receiving this promo, I was not familiar with The Absence, and was surprised to see their substantive back catalogue. There’s just so much good music coming out these days, despire their best efforts even the most passionate metal fan is going to miss quality bands. So it was for me and The Absence. The album opens with the title track, “A Gift For The Obsessed”. A ‘clunky’ start - in a good way - with the tempo and stylistic changes catching this listener off-guard. Maybe not so much obsessed as schizophrenic: you could hear one 10 second except and think you’re getting straightforward power metal, while another excerpt sounds like brutal death metal. I really enjoy the discord sown in this song! The track “The Forging” hits the listener initally with a welcome banshee scream. The main melody riff on this song is very well-crafted - this song would fit well on an Arch Enemy album. It gets really slow and ‘deathy’ – as in the classic death metal band Death – both crunchy and melodic with a superb lead break construct. The song “Misery Trophies” is a highlight on this album. Killer guitar harmonies are on full display, and if you love axe duos working together to combine their sounds these guys are definitely able to pull off the feat. “Septic Testament” – released a couple of years ago as a single as fresh material from the latest incarnation of the band’s line-up – could be from a Testament album. I really like the chord progressions in this one and the way the guitars sing the melody beneath the growls. Without going through every track, I can say that The Absence provide a great variety of sounds amid the songs on this album. There’s no filler tracks, and you’ll have no problem listening straight through. While I have some favorite songs, the band gives consistent effort and every track has something positive and unique. The guitar sound on this album is very accessible. Guitars are high in the mix – very power-metally production-wise – even though one would not mistake this for a power metal album. And you can actually hear the bass track as a distinct instrument – not always a given in the extreme metal genres. I found Jamie Stewart’s vocals to be powerful and passionate, if at times I did yearn for a touch more variety in tone. This is what I would call solid melodic death metal with definite influence from the classic Gothenburg melodeath bands, although The Absence certainly doesn’t limit themselves to that subgenre. Fans of thrash, classic death metal, and even power metal will find much to like here. I do have a slight concern with this album. While for some listeners the variety of sounds can be refreshing – and I generally share that sentiment – it is also fair to question whether that will be percieved as artistic vision or the lack of a more specific vision. Which makes me wonder for The Absence: you’ve written a metal album I think almost every metal fan would like (except those who require some clean singing), but I’m not sure many will love. And maybe that’s not a bad thing… you could definitely do worse, and I certainly recommend “A Gift For The Obsessed” to any music fan who enjoys melodic death metal tinged with thrash, and power. A Gift For The Obsessed is released by the M-Theory Audio. You can purchase the album through the M-Theory audio store as well as the usual outlets – itunes, Amazon, bandcamp.com, etc. or find out more details on the band’s facebook page TheAbsenceOfficial. Thanks to Austin at Secret Service Publicity for sending up this promo!

Automaton exploded on the mid-western US metal scene in 2015 with the amazing debut concept album “A Bold New Horizon”. In addition to their great amalgam of songs, Automaton brought the unique visual aesthetic of steampunk costumes to their metal presentation – a smart and provocative look which fit well with their musical style. I had the opportunity to see Automaton live in Covington KY last summer – and to interview co-conspirators Duncan Batchworth III and Markus Wolverhampton - and I was thoroughly impressed with both the band’s persons and performance. March 2018 finds Automaton returning with new music in the form of their sophomore release – the self-titled full-length album ‘Automaton’. Also a concept album, the story picks up where “A Bold New Horizon” left off with the heroes – or villains, depending on your perspective – engaged in their ongoing dispute with the despicable Ionians. Now: Automaton – the album – represents a significant change for Automaton – the band – in terms of sound from their last album. Whereas “A Bold New Horizon” featured a fairly straightforward European power metal sound with a generally modern production feel, stylistically “Automaton” (the album) represents music unmistakably cut from the NWOBHM mold, and engineered with a very live and raw production. At this point – full disclosure – I count myself an unapologetic fan of modern metal; someone believes most of the best heavy metal music has been created since the year 2000. I don’t typically listen to music that sounds like what I hear on this album, and, in fact, would normally disregard album promos with descriptors like ‘heavy rock’, ‘NWOBHM’, or ‘bluesy guitar’ – all fair representations of music in this release. That said, there will be many fans of metal and rock – particularly ones who adore music from the 70s and 80s – who will lap up this album like spilled wine. And there is much to enjoy here. The songs on ‘Automaton’ are well-devised and very accessible. Tracks like ‘Verdict Be Damned’ and ‘The Cull’ provide solid melodies and uptempo swing that are quite engaging. ‘Automata’ is perhaps the heaviest and most modern-sounding song, with intense riffing that mirrors its mechanistic lyrics. And the final two tracks ‘The Imprisonment Of Duncan Batchworth III’ followed by ‘The Trial Of Duncan Batchworth III’ deliver a climax and cliffhanger that are in many ways superior to the ending found on “A Bold New Horizon”. I give full credit to Automaton for their gumption and taking the risk to create such a radically different sounding album. How many bands have we as fans crushed for taking the easy route and, after a successful debut, essentially recreating their first album all over again? That said, there will be the possibility that metalheads with preference for a more modern style might not give this new album a fair listen. That would be unfortunate, as Automaton are gifted musicians who, whether or not one appreciates their NWOBHM sound, have crafted solid songs in the context of a compelling narrative. In summary, Automaton has gotten even bolder with their new album, venturing in interesting directions that may catch some fans offguard. Definitely finding the azimuth - if not quite the zenith - of their metal potential.

Russian symphonic metal troupe Imperial Age is back in January 2018 with a new album – The Legacy Of Atlantis. The current incarnation of Imperial Age boasts an impressive line-up of gifted musicians with a solid metal look. This, their third full-length release, was quickly followed by the band embarking on an extensive tour of Europe with metal legends Therion. The album The Legacy Of Atlantis is devised as a metal opera. The story set in an alternative history of planet earth - somewhat akin to Jon Schaffer’s ‘Something Wicked’ mythos - featuring ancient advanced civilizations, hyper-evolved superhuman biologies, and global cataclysms. The cover art depicts the protagonist in all his glory with the fantasy world setting framed behind. This is great metal fare, especially for fans of concept albums! The album opens with “The Awakening” followed by the title track “The Legacy of Atlantis” – two of the strongest tracks on the album. “The Awakening” is a solid march that a barrels over the listener with a display of power and poise. The song “The Legacy Of Atlantis” employs a deft, engaging countermelody on the guitar, gives a killer catchy verse, and great melody throughout. Another album highlight, the track “Domini Canes” is a lofty anthem that features guest vocals from Therion’s Thomas Vikstrom. While the album meanders a little toward the end, there are no bad tracks on this release, and the fantastic story carries the listener through any rough patches. Imperial Age may be at their best with mid-tempo rockers such as “Island’s Of Time”, a song featuring solid riffing that allows space for their triple-vocal attack to do its damage. And the singers on this album are impressive, with Alexander "Aor" Osipov giving the male operatic vocals with power befitting a warrior race. Anna Moiseeva’s classic highs are inspiring, aided by Jane Odintsova’s mezzo soprano, providing a range of emotion and color to the lyrics. The vocal mix is superb here – even in the chorus and choral portions, you can still hear each distinct voice lending itself to the total sound. Those looking for virtuoso metal guitar might be disappointed with The Legacy Of Atlantis, as the musicians in Imperial Age keep it simple, with tasteful solos that do their work and then get out of the way. The music as a whole – never a single instrumentalist – is always the focus. Imperial Age are able to create a big, epic sound without the orchestral/symphonic elements ever overwhelming the listener. Indeed, while this is a must-have for symphonic metal enthusiasts, certainly fans of more straightforward European power metal will find much to like here as well. I give this album a rating of 8 ½ out of ten. The Legacy Of Atlantis is solid, modern metal – heavy and melodic with capable musicianship, talented singers, and excellent composition.

Vocalist David Reed Watson from melodic metal act Kill Ritual is on the podcast mic as the band tours North America opening for Iced Earth and Sanctuary! Credits: excerpts from the track "Megalomaniac" (All Men Shall Fall, 2018) used with permission from the artist via Extreme Management Group. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

It’s another steel cage match as the guys square off over US vs. European metal and classic vs. modern metal, plus cover topics including last year’s Louisville Deathfest. Intro music by CONTRA. “Her Spell” by Blood Curse (2017), “Serpents Beneath The Shrine” by Aetheric (Serpents Beneath The Shrine, 2017), “Old World” by Oknos (Old World, and “Queen Of The Damned” by Astarte (Queen Of The Damned, 2007) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

Lead guitarist and primary songwriter Merel Bechtold of Dutch melodic death metal act Purest Of Pain is on the podcast in this interview recorded February 14, 2018, to discuss the band's debut full-length album “Solipsis”. Credits: excerpts from the track "Terra Nil" (Solipsis, 2018) used with permission from the artist. Use of the images of Merel Bechtold and the band courtesy of Sacha Wolf Fotografie. Thanks to Jon of Asher Media Relations for facilitating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

Arizona metallers Adavant return after nearly 5 years with their latest epic folk metal adventure entitled the “The Unyielding” (release date Jan. 27, 2018). One of the reasons I’m a fan of folk metal is that, perhaps along with black metal, it provides as much room for creativity and innovation as any metal subgenre. The spectrum of “folk metal” ranges from acts that are essentially power metal with a dash of pipework, to others oozing in Renfair culture. Adavant takes full advantage of this artistic liberty, while still hewing close enough to traditional orchestrations to not scare off old-school metalheads. The Unyielding is a concept album with a clear and riveting story, successfully communicated through both lyrics and sound. The album opens with the Dimsician Overture, an instrumental/orchestral track that effectively previews the entire opus. As well-crafted as that track is, I actually encourage the first-time listener to bypass it and dive right into the second song. It will be on the third or fourth time playing the album – when the audience has familiarity with all the song melodies – that this track will find its fullest appreciation. Without spoiling the plot, Advant have crafted a tale that doesn’t go where you think it will, deftly surprising with alliances crossed and anti-hero morphing to hero and vis versa. The choruses in the songs Stumbling Huntsman and Renegade Ridge find this contrast played out perfectly, with each drunken gang singing to laud their cause as right and just. Story aside, most of the tracks are strong enough to stand on their own, with highlights such as Overgaard and Gallows Pass providing plenty of uptempo kick for the casual headbanger. And the song Fairhaven is a rowdy stomper, with the chorus giving an effective interplay between Charlotte the Alluring’s operatic highs and the growls of Nathan the Ravenous. The band works the narrative arc perfectly, with the lyrics at times delivered in the first person of specific characters, othertimes on behalf of the crowd, and elsewhere simply narrating the tale through its myriad twists and turns. In whatever voice, the audience find themselves fully is immersed in the vividly unfolding story. And when we reach the final scene and the chorus from Gallows Pass comes back around, repurposed and with layers of meaning unforeseen… I honestly get goosebumps! I would be remiss if I didn’t also mention the hidden, “bonus” track – Rise of the Splinterbeasts. Different in feel and execution from the rest of the album. This is an unexpected gem – clever and fun – well done Adavant! One other positive from this album that simply cannot be ignored is the detail and craftsmanship that went into the CD booklet. In this age when, too often, “less is more”, the band has taken the time, effort, and expense to make an album you want in physical copy. I don’t know which member or members of Adavant are the gamers, but the story is straight out of a dungeons and dragons adventure, and the band appropriately includes a middle-earth style map to help the listener envision the fantasy world created thru the music. It is not to disparage their previous efforts that I can honestly say Adavant have made a huge leap in their songwriting and overall production quality on The Unyielding. I give it a rating of 9 out of ten, and for me this is a strong contender as one of the top metal albums of 2018.

For some it is important the way a band classifies themselves, so we’ll stick with that for now and say Heretic is a heavy or classic metal band. Whatever they label themselves, Heretic tends to make me headbang! This Los Angeles based band that’s been around since the Early 80s has released their most recent album entitled A Game You Cannot Win.This 12 track, 10 song album is their 3rd full length album following Breaking Point in 1988 and A Time of Crisis in 2012. Heretic is a band that does a certain style of music and they do it well. You won’t see neo-maxi zoom dweebies liking this album as it’s way too primal. There’s musicianship and instrumental talent, but A Game You Cannot Win is more attrition and melee than artistry, which means I am giving it an enthusiastic two thumbs up! This album is chalk full of what I would agreeably call classic power/thrash metal. Julian Mendez, the original singer, returns again after fronting on their 2012 release and continues to bring a guttural energy to his vocals that allows any respectable metal head to get a slipped disc with proper head-banging. Original guitarist Brian Korban and new addition Stuart Fujinami bring the riffs. A steady stew of hard, driven rhythms, laced with fast and furious leads, the songs display what this reviewer would call vintage metal. Angelo Espino provides the steady bass soul that is often required, but more often unnoticed by many fans of metal. He matches the guitarists lick for lick when required and then loudly takes a back seat when the Peppery solos come into play. Then returning drummer Ignazio Iggy Coppola sets the tone and speed for all to enjoy. Having recently started learning the drums, I listen to this aspect of the music more and more and I enjoy the power with which Coppola guides the band. At times on display, and again at other times often overlooked as an integral part of the music. There are 10 tracks on this album with an intro and outro. As is often the case, the tone is set right from the start with the first musical track “This World Called Hell.” Fast and furious I call this a “grab your balls and hold on track”. Much of this album fits that description with tracks like “Demonized” and “Relentless“. And then there are other songs not so speedy where they tend to pound out the rhythm in slow pulsating marches like “Broken Hero“, “Annihilate“, and “Before The Fall“. There are also songs that appear to be Heretic’s version of some sort of ballad on steroids, and I use that term dangerously loosely, like “Master At Her Game“. Many of the songs off A Game You Cannot Win run the gamut of all three styles I notice on this album. Which is okay with me, as long as they bring that classic head-bangin, ball-grabbin metal that drives “intelligencia metal” crazy! If there’s one thing I would change about the Heretic album, it would be a vague thing I noticed in the vocals. It’s not that the vocals are bad, it’s just that I didn’t feel they utilized Mendez’s strengths the way they could. At times his “normal singing” seems forced and possibly too passionate. Mendez has a voice that could rake the skin off a buffalo’s butt, but he spends perhaps a quarter of the album trying to sound like a male version of a female symphonic metal singer; and really what he is, is a ball grabbing, jack hammering, heavy metal, hardcore, scream until your skin starts to burn, power metal singer. So don’t get me wrong - Mendez is great - but sometimes he seems out of character with his voice. It would be like Floor Jansen trying to sing AC/DC. Here’s hoping on the next Heretic album it’s a “let Julian be Julian” situation, because when he’s doing what his voice was born to do, there is mandatory head-banging! Heretic’s latest release A Game You Cannot Win is a moshing contest you can win, if you employ it like the weapon it is. I give it 8.5 out of 10 and say, buy it, listen to it, and then get the necessary neck surgery following.

Justin and Nathan from epic folk metal act Adavant join the show in this interview recorded January 2, 2018, to talk about their latest album - The Unyielding. Excerpts from "Renegade Ridge" (The Unyielding, 2018) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

The guys countdown their respective lists of 20 best metal albums of 2017, clashing over some harsh points of disagreement! Intro music by CONTRA. “Born To Lose” by Striker (Striker, 2017) used with permission from the artist via Asher Media Relations; “Stay” by Seven Spires (Solveig, 2017) used with permission from the artist via Freeman Promotions. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram/metaldebate https://www.twitter.com/metaldebate

The warrior longboats are coming back ashore with Leaves’ Eyes 7th full-length studio album, "Sign Of The Dragonhead." Produced through Germany’s Mastersound Entertainment by Leaves’ Eyes’ own Alex Krull and Thorsten Bauer, this is the band’s first full release featuring new singer Elina Siirala. Fans got a taste of her work via the 2016 EP Fires In The North, but this album gives a much fuller sampling of her skills and a better sense of what fans can expect from this new incarnation of Leaves’ Eyes. In brief: if you are an admirer of Leaves’ Eyes previous catalogue, you’ll relish "Sign Of The Dragonhead." The album picks up musically where 2015's “King Of Kings” left off, with a similar production style and lyrical themes. The mixture of styles and pacing from track to track makes this an eminently listenable album, with haunting ballads such as “Fairer Than The Sun” seguing seamlessly into headbanging anthems like “Shadows In The Night." Clocking in at just over 45 minutes, it’s a balanced and well-conceived album from beginning to end. As a big fan of symphonic metal, I am aware of the potential pitfalls this genre holds. Bands who are able to avoid recreating Nightwish's sound still can move so far into melodic territory that the music becomes indistinguishable from commercial hard rock. No worries here on either front. With their new album, Leaves’ Eyes maintains their own distinct sound, navigating the treacherous shoals of “beauty vs. beast” vocals, folkish elements, Viking lyrical imagery, and big orchestrations. The band utilizes all these tools effectively, in ways that never come off as derivative. Vocalist Elina Siirala’s singing is quite impressive throughout "Sign Of The Dragonhead," her voice expressed with variety and heart. Elina’s delivery is distinct from predecessor Liv Kristine, but not so much that fans will see her addition as a radical retooling of the band’s sound. Her voice gives extra punch to the Celtic-inspired pace of standout tracks “Across The Sea” and “Völva." As usual with Leaves’ Eyes, Alex Krull’s harsh vocals are used judiciously and in just the right places to give extra aggression and “oomph." Like previous Leaves' Eyes releases, folk sounds play a key role, but the band wisely meters them out, with fiddles, pipes, choirs and acoustic guitar nurturing rather than overwhelming the songs on which they appear. “Riders On The Wind” is a great example of this balance, providing the perfect meshing of sonic metal and folk kick. Krull and Bauer did an impressive job in producing this album: the mix is clean and lively, making the music that much more exciting. This is a solid metal album, and one I won’t forget when considering the best for 2018 at the end of the year. This album is very consistent, and the only negative I might mention is that there’s not any single track that leaps out as a ‘must-hear’ classic like the songs “My Destiny” or “Hell To The Heavens” from previous albums. However, with zero filler – no weak submissions here – and so much good material, Leaves’ Eyes will have a tough time determining which songs will represent this album on setlists. With "Sign of the Dragonhead," Leaves’ Eyes further solidify their niche as one of the strongest symphonic metal bands going.

Drummer Lille Gruber of death metal stalwarts Defeated Sanity is interviewed in Nashville TN during the band’s run on the 2017 Bloodletting Tour! Credits: excerpts from “The Mesmerizing Light” (Disposal Of The Dead / Dharmata) used with permission from Willowtip Records. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

In this landmark 50th episode, the guys discuss the controversy surrounding the Decapitated allegations, and revisit some of their most memorial debates over the first fifty shows! Credits: intro music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. “Beneath The Gates Of Splendor” Armor Of God (Dark Face Of Greed, 2015), “Hordes Of The Abyss” Fornicus (Hymns of Dominion, 2016), and “Destroyer II” Succumb (Succumb, 2017) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

Travis Werner from brutal death metal stalwarts Visceral Disgorge joins the show in this interview recorded prior to their show on the Bloodletting Tour 2017 in Nashville TN. Credits: excerpts from the track "Scullfucking Neonatal Necrosis" (Ingesting Putridity, 2011) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

James Benson and Alec Rozsa of melodic death metal sect Amiensus joins the podcast in this interview recorded October 17, 2017. The guys cover a variety of topics including the band’s history, their experience at the 2017 Louisville Deathfest, recent EP “All Paths Lead To Death”, as well as what’s next on the horizon from Amiensus! Credits: excerpts from the track "Desolating Sacrilege" (All Paths Lead To Death, 2017) used with permission from Amiensus. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

Vocalists Som Pluijmers and Missi Avila from technical death metal act Your Chance To Die join the show in this interview recorded prior to the band’s performance at Louisville Deathfest 2017! Credits: Excerpts from “Skinwalker” from the album Ex Nihilo (EMP Label Group, 2017) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

Vocalist and composer Adrienne Cowan of symphonic power metallers Seven Spires joins the podcast in this interview recorded September 12, 2017, just days after the band’s surprise performance at ProgPower USA in Atlanta! Credits: excerpts from the track "Serenity" (Solvieg, 2017) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

The gloves are off in this bash-fest with the guys trading barbs over their bucket list bands, including the epic debate of Black Metal vs. Christian Metal, plus Gomthog talks his birthday concerts. Along the way the guys play great tracks from some amazing metal bands! Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. “Dragons, Thunder, Wizards, & Sh#t” by Scarangella (2017), “Embittered Destroyer” by Ahzidal (Where The Shadows Lie, 2017), and “Symphony Of Light” by The Rinn (Stories Of The Green Fairy, 2017) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.instagram.com/metaldebate www.twitter.com/metaldebate Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Singer Lariyah Hayes of melodic occult metal sect Khaotika joins the podcast in this interview recorded August 9, 2017, prior to the band's show at Fubar in St. Louis MO on the first night of their summer tour with Wormreich. Lariyah covers a variety of topics including the band’s history, debut album “The Flame Unleashed”, relationship with Watain, side projects and personal hobbies, as well as what to expect next from Khaotika! Credits: excerpts from the track "In The Shade Ov Night" (The Flame Unleashed, 2015) used with permission from Khaotika. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

Order Of Leviathan ringleaders Dustin Rawlings and Levi Crandall are on the show in this interview recorded prior to the band’s performance at Mag Bar in Louisville on August 6, 2017, opening for southern U.S. black metal outfits Led By Serpents and Lustravi. Excerpts from the Order Of Leviathan track “Constant Perdition” (Death Worship, 2016) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

Duncan Batchworth III and Markus Wolverhampton from steam punk themed band Automaton are on the interview mic in this recording made prior to their performance on July 19, 2017, along with Winterhymn and Dreadnought as part of the Armageddon Over Covington show at Madison Live!. Excerpts from the track “Hot Off The Press” (Automaton, 2015) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

EPISODE 48 The guys talk recent and upcoming concerts in the latest show, with Brian recounting his experience at the Obituary / Gruesome concert and Gomthog praising his show with Sabaton, Leaves’ Eyes, and Battle Beast. Along the way the guys play great metal songs from a range of genres! Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. “Skies Of Hell” by Theosis (The Plague And The Heretic, 2017), “The Witness” by Fatal Step (Procession Of Souls, 2017), and “Gehenna” by Amiensus (All Paths Lead To Death, 2017) each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.instagram.com/metaldebate Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Amos Rifkin and Matt Matson from Atlanta-based outfit Death Of Kings join the pod cast in this interview recorded prior to their performance on June 10, 2017, along with Cryptic Hymn and Mouth To Mouth at the Haymarket Whiskey Bar in Louisville. Excerpts from the Death Of Kings track “Regicidal” (Kneel Before None, 2017) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate

Matt Harvey from Death disciples Gruesome is on the podcast in this interview recorded May 14, 2017, prior to their show in Nashville TN opening for Obituary. Matt gives the scoop on Gruesome's history, as well as the band's current exploits. Excerpts from the track "Fragments Of Psyche" (Gruesome, 2017) used with permission from Relapse Records. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate

Trevor Perez of Floridian death metal originators Obituary joins the podcast in this interview recorded May 14, 2017, prior to the band's performance at Exit In in Nashville TN, on their “East Coast Redneck Run“ tour. Credits: excerpts from the track "Turned To Stone" (Obituary, 2017) used with permission from Relapse Records. Thanks to Jon with Freeman Promotions for facilitating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

Ben Falgoust of New Orleans blackened death metal warriors Goatwhore returns to the podcast in this interview recorded May 20, 2017, prior to the band's performance at Mercury Ballroom in Louisville KY opening for Amon Amarth. Ben discusses the band's new album - Vengeful Ascension - as well as touring plans for 2017. Credits: excerpts from the track "Vengeful Ascension" (Vengeful Ascension, 2017) used with permission from Metal Blade Records. Thanks to Liz with EarsplitPR for facilitating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate

Vincent Harnois from Montreal melodic death metal upstarts Karkaos is on the podcast mic in this new interview! Vincent talks about the changes in the band over the past two years, plus gives insight into Karkaos' latest album - Children Of The Void. Excerpts from the track "Kolossos" (Children Of The Void, 2017) used with permission from Karkaos via Asher Media Relations. Cover photo by Vincent Lamoureux with edit by Viky Boyer. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate

Alex Krull and Thorsten Bauer from symphonic power metal legends Leaves’ Eyes join the podcast in this interview recorded in Louisville KY on April 30, 2017. The guys talk about their current North American tour with Sabaton, as well as the band’s latest release - Fires In The North. Credits: excerpts from the Leaves’ Eyes track “Fires In The North” (Fires In The North, 2016) used with permission from AFM Records. Photo by Amanda (Ishtarja Miloš). Thanks to Dana Calamia for her assistance in facilitating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate https://www.instagram.com/metaldebate https://www.twitter.com/metaldebate

Singer Noora Louhimo from Finnish power metallers Battle Beast is featured in this interview recorded prior to the band’s performance in Louisville KY on April 30, 2017. Credits: excerpts from the Battle Beast track “King For A Day” (Bringer Of Pain, 2017) used with permission from Nuclear Blast Records. Thanks to Nuclear Blast, Adrenaline PR, and Dana Calamia for their assistance in facilitating this interview! itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate www.twitter.com/metaldebate

In this show Gomthog recounts his trip to a show in Atlanta, including his debate with a fan about being “open minded” about music. Later, Brian has a controversial take on fans safety at concerts. Along the way, the guys play metal tracks by Caducus, Ritual Of Odds, and Hellbent! Credits: intro music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. “Infinite” by Hellbent (The American Demise, 2016), “Safeword” by Caducus (Fallen, 2016), and “Ritual Of 9” by Ritual Of Odds (Ritual Of IX, 2017) each used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.facebook.com/thegreatmetaldebate www.instagram.com/metaldebate Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Defier of light Scott Briggs from blackened death metal apostates Fornicus joins the show in this interview recorded March 31, 2017, in Bowling Green KY, to talk about the band, their latest album, and challenges of playing in the Bible belt. Credits: excerpts from the track “Woeful Oppressor” from the Fornicus album Hymns Of Dominion(2017) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.twitter.com/metaldebate www.instagram.com/metaldebate Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Blake Bailey and Travis Wood of Nashville black/death metal act Of Serpents are on the mic in this interview recorded March 31, 2017, following the band’s performance at Spillway Bar & Grill in Bowling Green KY. Credits: excerpts from the track “Dead In The Sanctuary” off the Of Serpents EP Agonistes (2017) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected].

Vocalist Heather Michele from Sacramento symphonic metallers Graveshadow joins the podcast in this interview recorded at The Masquerade in Atlanta GA during the band's Spring 2017 tour of the eastern US with Anvil and Night Demon. Excerpts from the track "Exhumed" from the Graveshadow album Nocturnal Resurrection (Masoleum Records, 2016). Thanks to Jeff Keller from The Artery Foundation for facilitating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate

Singer and bassist Jarvis Leatherby from classic metal warriors Night Demon is on the mic in this interview recorded backstage at The Masquerade in Atlanta prior to the band's performance opening for Anvil! Excerpts from the track "Welcome To The Night" (Night Demon, 2017) used with permission from Century Media.

The guys cover a range of topics in the latest show, including the Steve Grimmett situation, 70K tons of metal, Grindmother, and concert passes… plus Gomthog challenges Brian why any metal fan would go to see Iron Maiden! Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. “Haereticus Stellarum II” by Empyrean Throne (Chaosborne, 2017), “Curly Wolves” by Synlakross (Death Bullets For A Forajido, 2016), and “Premonition” by Scytherium (The Midnight Cadenza, 2013) each used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Thrash shredder Reece Scruggs from Havok joins the show in this podcast recorded in Clarksville TN as the band tours to promote their latest album “Conformicide”! Credits: excerpts from the track “Ingsoc” from the album Conformicide (2017) used with permission from Century Media. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected] or by tweeting @metaldbate.

Guitarist and singer Dan aka Graz’zt from Montreal viking metal warriors Valfreya visits the podcast in this new interview to talk about the band’s history and new album “Promised Land”. Credits: excerpts from the track “Odin’s Fury” from the album Promised Land (2017) used with permission from the artist. Thanks to Asher Media Relations for facilitating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

This fancast finds members of Knoxville metal act Inquiry With God waxing philosophical on all manner of topics! Intro music by CONTRA; track “Perception Of Life” by Inquiry With God used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 http://feeds.soundcloud.com/users/soundcloud:users:66031413/sounds.rss https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://www.facebook.com/thegreatmetaldebate

Long island technical death metal overlords Will Smith and Sam Smith from Artificial Brain are on the mic in this interview recorded January 21, 2017, prior to the band’s performance at The End in Nashville TN. Credits: excerpts from the track “Butchering Cosmic Giants” off the EP Butchering Cosmic Giants (2013) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected].

EPISODE 45 The guys are back for another year of metal debate! In this episode Gomthog shares his beef about a photographer at a recent show, and then the discussion turns to ‘gimmick’ metal groups. Later, the co-hosts clash over the new Metallica album and worth of thrash as a sub-genre! Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. “The Majestic Fall” by Mysteriarch (The Majestic Fall, 2006), “Day Of Days” by Control The Storm (Beast Inside, 2015), and “The Shroud” by Curse The Flesh (Black Majesty, 2015) each used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Cognitive bassist Ian Bainbridge and guitarist Harry Lannon talk with Gomthog in this interview recorded January 21, 2017, prior to the band’s performance at The End in Nashville TN on their eastern US tour with Artificial Brain. Credits: excerpts from the track “Birthing The Deformity” off the album Deformity (Unique Leader, 2016) used with permission from the artist via EarsplitPR. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected].

American power metal advocate Camden Cruz of Seven Kingdoms joins the podcast in this interview recorded Jan. 11, 2017. Camden talks about the history of the band, the state of power metal in America, as well as the band’s latest effort – Decennium. Credits: excerpts from the song ‘Stargazer’ (Decennium, 2017) used with permission from the artist. itunes.apple.com/us/podcast/great…ast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Guitarist Dale Sauve from symphonic blackened death metal warriors Endemise is on the show in this interview recorded December 15, 2016. Dale talks about the history of Endemise as well as giving the low-down on their most recent album Anathema. Credits: Excerpts from the track “Anathema” from the Endemise album Anathema (2016) used with permission from the artist. Thanks to Asher Media Relations for facilitating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Brian's interview with Christian metal icon Michael Sweet of Stryper prior to the band's performance at Marathon Music Works in Nashville TN on November 9, 2016. Music by CONTRA. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @Metaldebate or e-mail [email protected]

The podcast is back with our annual countdown of top metal albums of the year! Early in the show, Mark ‘the Wolven King’ joins the episode to highlight several albums not on the podcast’s list. Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. The Winterhymn track “Blood Of The Moon” (Blood & Shadow, 2016) used with permission from the artist. itunes.apple.com/us/podcast/great…ast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @Metaldebate or e-mail [email protected]

Vicar of the wicked Necrol from Floridian black metal masters Secrets She Kept talks with Gomthog in this interview recorded December 8, 2016, prior to the band’s performance at Daisy Dukes in Nashville TN on their Eastern Damnation 2016 tour with Lustravi. Credits: excerpts from the track “Messiah Of Pus And Bleeding Excrement” off the album La fin absolue du monde (2010) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected].

Hunter Correll and Stephen Casciato from wild west heavy metal troubadours Stagecoach Inferno are on the podcast in this interview recorded December 2, 2016, prior to the CD release show for the band’s debut album ‘A Town Called Atonement’. Credits: excerpts from the track “Ol’ Soulbender” from the album A Town Called Atonement (2016) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected].

Brian’s twin experiences at the Chris Leone benefit and Slayer/Anthrax/Death Angel show take center stage in this podcast. Later, the guys debate what it means to for a metal band to “make it”. In between, the guys play great songs by WarClown, Ossonor, and Endemise! Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. “10 Below” by WarClown (Devastation With A Smile, 2013), “The Shattered Clock” by Ossonor (Dreadful, 2014), and “Anathema” by Endemise (Anathema, 2016) each used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Dynamic vocalist Matthew Dee Edmondson from Nashville hard rockers Killing Grace joins Brian in this interview recorded at the benefit for Chris Leone at Brewskees in Louisville KY on Oct. 15, 2016. Credits: excerpts from the track “Revolution” from the album ‘Killing Grace’ (Red Arrow Records, 2015) used with permission from Red Arrow Entertainment. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.soundcloud.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected] or tweet us at @metaldebate.

Keyboardist Sam Hartman from atmospheric black metal shredders Anagnorisis visits the podcast in this interview recorded prior to the band’s performance at The End in Nashville. Sam talks in depth about the band’s origin, the creation of their latest album Peripeteia, and current tour. Credits: excerpts from the track “Metamorphosis” from the album Peripeteia (2016) used with permission from the artist via EarsplitPR. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Drummer Dusan Djeric and vocalist Giulia Morgana from the melodic metal band Overcrown join the podcast in this interview recorded October 30, 2016. Guilia and Dusan talk about the band’s beginnings, their soon-to-be-released album ‘Higher’, as well as future plans for the band. Credits: excerpts from the track “Yggdrasil” from the album Higher (Overcrown, 2016) used with permission from the artist. www.soundcloud.com/thegreatmetaldebate https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected].

In this special interview recorded at the massive benefit concert – featuring nine rock and metal bands - playing to support Kingslayer singer Chris Leone who was recently diagnosed with multiple sclerosis, Brian talks with all the members of Kingslayer prior to that show at Brewskees. The band members talk candidly about their love for music and their brother in crisis. Credits: excerpts from the track “Pirates Of Metal” used with permission from the artist. Support Chris Leone by donating here: https://www.crowdrise.com/chris-leone-will-kick-mss-ass/fundraiser/lucascummins https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Death Angel's Will Carroll joins the podcast in this interview recorded in Atlanta GA on October 5, 2016. Credits: excerpts from the track "Lost" (The Evil Divide, 2016) used with permission from Nuclear Blast Records. Thanks to EarsplitPR for facilitating this interview! itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Black metal takes center stage this episode with Gomthog recounting his experience at the Belphegor show in Nashville. Later, the guys discuss whether musicians should control the rights to their own music, and Brian ends the show with a classic 80s metal rant! Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. “Let The Curtain Fall” by Karkaos (2016) used with permission from the artist; “Into Oblivion” by Chariots Of The Gods (Ages Unsung, 2016) used with permission from the artist via Asher Media Relations. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Abigail Williams mastermind Ken Sorceron joins the podcast in this interview recorded following the band's performance in Nashville TN opening for Belphegor! Credits: music by CONTRA. Thanks to EarsplitPR for facilitating this interview! itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Singer and mosh pit inciter Jason Keyser from Origin returns to the podcast in this interview recorded Sept. 2, 2016, prior to a show in Nashville TN. Jason reflects on the current tour and life on the road, discusses the recent squabble with tour-mates Shining, as well as what’s coming up for Origin in the future! Credits: excerpts from the song ‘All Things Dead’ (Omnipresent, 2016) used with permission from Nuclear Blast Records. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

The guys return to debate following the recent show at The Warehouse in Clarksville TN. After talking about the show, they struggle with the question of whether metal is being killed by clichés. Later, Brian hits Gomthog with the claim that music is all about feeling. Along the way, the guys play great songs by Overcrown, Of Serpents, and Lost In Silence! Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. “Lord Of Illusions” by Of Serpents (2016), “To The Wolves” by Lost In Silence (2016), and “Phoenix” by Overcrown (Monochrome, 2014) each used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Guitarist Joshua Murphy of mid-western old-school thrashers War Curse is on the podcast in this interview recorded August 1, 2016. Gomthog gets up to speed with ‘Murphy’ on War Curse's recent mini-tour of the US supporting Solstice, how the band developed the material for their debut EP “Final Days”, as well as what’s coming up for War Curse. Credits: excerpts from the track “Final Days” from the album Final Days (Static Tension Records, 2016) used with permission from War Curse. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Brian is back on this episode, where he weighs in all a multitude of topics! After sharing his experience at the Stryper/Lynch Mob show, Gomthog gets Brian’s take on the topics of bands using alcohol and whether fans should tip bands. Amid the debate, the guys listen in to molten metal tracks by Valyria and Lustravi! Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. “O Sanctifier” by Lustravi (Cult Of The Blackened Veil, 2016) and “Steel Inquisition” by Valyria (Steel Inquisition, 201) each used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Morgan Weller, frontwoman for disciples of darkness Lustravi, joins the podcast in this interview recorded July 25, 2016, to talk about the band's history and new album 'Cult of the Blackened Veil'. Excerpts from the track "O Sanctifier" from the album Cult Of The Blackened Veil (Obscure Musick, 2016) used with permission from Lustravi. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Crepuscle singer/guitarist Eligio Tapia is on the call in this metal artist interview recorded on July 11, 2016. Eligio talks about the band’s history, the Bay-area metal scene, the album ‘Draconian Winter’, as well as the group’s most recent project. Credits: excerpts from the track “Draconian Winter” from the Crepuscle album Draconian Winter (2014) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Metal Mark invades the podcast in the latest show to talk Pantera! Mark gives his perspective on the band, and makes the case for Pantera being among the most influential metal acts of all time. Later, Gomthog introduces Mark to the concept of “Heavy Mandolin”! Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. “The Wild” by Black Absinthe (Early Signs Of Denial, 2016) played with permission from the band via Asher Media Relations; “For Sekengard” by Sekengard (Sekengard, 2013) used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

North American pagan metal is on tap in this interview with Winterhymn recorded May 27, 2016, following the band’s performance at The New Vintage in Louisville KY. Draug, Umbriel, Alvadar, and Valthrun talk with Gomthog about the new album and upcoming east coast tour! Credits: excerpts from the song “Blood of the Moon” from the Winterhymn album Blood & Fire (Soundage Productions, 2016) used with permission from FullBlast!PR. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at [email protected] or tweet @Metaldebate

The guys throwdown in the latest episode! Brian talks his recent travels to see Lamb Of God and DevilDriver, while Gomthog asks whether the pairing of AC/DC and Axl Rose is a match made in commercial music heaven. In addition, the guys play songs from Adversary and Deviance! Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. “Bereft Of Life” by Deviance (A New Planetary Perspective, 2015) and “Into The Maelstrom” by Adversary (Ruination, 2014) each used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

DevilDriver guitarist Mike Spreitzer is on the mic in this interview recorded May 10, 2016, as the band begins their latest North American headlining tour in support of their new album ‘Trust No One’. Credits: excerpts from the track “My Night Sky” from the DevilDriver album Trust No One (2016) used with permission from Napalm Records; Photo by Achim Raschka (talk) - Own work, CC BY-SA 3.0. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at [email protected] or tweet @Metaldebate

Caducus vocalist Michala Bouska and drummer Chuck Hedrick join the podcast in this May 14, 2016 interview recorded in Nashville TN outside Daisy Dukes. Chuck and Michala talk about the band’s history, new album ‘Fallen’, and future plans! Excerpts from the track "Sanctuary" (Fallen, 2016) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Tweet us @Metaldebate or e-mail [email protected].

Holy Grail guitar duo Alex Lee and Eli Santana join the podcast in this interview recorded on May 10, 2016, as the band prepares to take the stage at Exit In in Nashville TN. Excerpts from the Holy Grail track "No More Heroes" (Times Of Pride And Peril, 2016) used with permission from Prosthetic Records. Thanks to Paula at Prosthetic Records for facilitating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Tweet us @Metaldebate or e-mail [email protected].

Reed Mullin of Corrosion of Conformity chats with Brian in this interview recorded May 4, 2016, prior the band’s performance in Memphis TN. Excerpts from the track "On Your Way" from the album IX(Candlelight Records, 2014) used with permission from the artist and Spineform Records via Earsplit PR. Thanks to Liz at Earsplit PR for facilitating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Tweet us @Metaldebate or e-mail [email protected].

Oscar Rangel joins the podcast to talk about his Toronto-based symphonic metal band Operus in this interview recorded April 8, 2016. Excerpts from the track "Maya & the Wolf" (Opus I, 2016) used with permission from the artist. Thanks to Asher Media Relations for facilitating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Tweet us @Metaldebate or e-mail [email protected].

This time the guys are counting down their personal ‘bucket lists’ of metal bands they’ve yet to see perform live – including some surprises! Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. Song “Fukushima” (Into Eternity, 2012) used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Occult metal queen Stacey Savage of Savage Master talks with Brian in this podcast interview recorded April 7, 2016. Stacey gives a history of the band as well as the frightening details of their new album - With Whips And Chains. Excerpts from the Savage Master song "Ready To Sin" (With Whips And Chains, 2016) used with permission from High Roller / Skol Records via Gabriel Management. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Tweet us @Metaldebate or e-mail [email protected].

Aline Happ, lead vocalist for the symphonic alternative metal band Lyria, is featured in this interview recorded March 21, 2016. Aline talks about the band’s 2014 album 'Catharsis' and upcoming live on-line concert. Excerpts from the Lyria track "The True War" (Catharsis, 2014) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Tweet us @Metaldebate or e-mail [email protected].

Epic debates reign in this episode where the guys argue what distinguishes a fan from a fanatic, album anniversary tours, plus play a review of Delain’s ‘Lunar Prelude’ EP by Elena Erokina! In addition, the guys spin tracks from Rhenium, Your Chance To Die, and Demise Of The Crown! Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. “Nobody Can Hear Me” by Rhenium (Rise Above The Sea, 2016), “We Are Invincible” by Demise Of The Crown (Demise Of The Crown, 2016), and “Kolotajem” by Your Chance To Die (The American Dream, 2013) each used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Heavy metal icon Ralf Scheepers joins Brian in this interview to talk about Primal Fear’s latest album “Rulebreaker” and upcoming US tour! Excerpts from the track “Angels Of Mercy” from the Primal Fear album Rulebreaker (2016) used with permission from Frontiers Music srl. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Power metal master Tony Kakko from Finnish legends Sonata Arctica is on the podcast in this interview recorded live backstage at ExpressLIVE! in Columbus OH. Tony gets Gomthog up-to-speed on the lastest tour, talks about the challenges of life on the road, as well as hinting about the next album. Credits: excerpts from the track “The Wolves Die Youn” (Pariah’s Child, 2014) used with permission from Nuclear Blast. Photo by Carlos Delgado; CC-BY-SA. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Charlotte Wessels from the gothic/symphonic metal band Delain joins the podcast again in this interview recorded in Columbus OH on February 25, 2016, while on tour opening for Nighwish and Sonata Arctica. Charlotte talks about the band’s new ‘Lunar Prelude’ EP, as well as her Phantasma project, plus what the future holds for Delain! Credits: excerpts from the song “Suckerpunch” from the Delain EP Lunar Prelude (2016) used with permission from Napalm Records. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Tweet us @Metaldebate or e-mail [email protected].

Rob the Witch – singer and guitarist for Montreal, QC blackened death metal stalwarts NecronomicoN – joins the podcast in this interview recorded in advance of the release of their upcoming album 'Advent of The Human God' (Season of Mist, 2016). Credits: excerpts from the track “Unification of Four Pillars” from the Necronomicon album Advent of The Human God (2016) used with permission from Season of Mist Records and Asher Media Relations. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Tweet us @Metaldebate or e-mail [email protected].

The podcast heats up with Gomthog basking in the glow of the recent Epica show. Later, Brian works into a lather over the lack of thrash metal on the 70K Tons of Metal cruise, and takes his co-host to task over skipping Slayer for Nightwish. Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. "Unification Of The Four Pillars” by Necronomicon (Advent Of The Human God, 2016) used with permission from Asher Media Relations and Season Of Mist Records; songs “Metal And Lace” by EXM (2015) and “When You Love” by BeyonDuplication (Open Eyes, 2015) each used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Gothic singer Fernando Ribeiro of the Portuguese metal band Moonspell joins The Great Metal Debate in this interview recorded January 26, 2016, in Louisville KY. Credits: excerpts from the track “Extinct” from the Moonspell album Extinct (2015) used with permission from Napalm Records. Cover photo by Bridgette Jones Photography. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.soundcloud.com/thegreatmetaldebate www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at @Metaldebate or [email protected].

Publicly intoxicated fans engage in a slurred conversation waiting in line to see a metal show in Paducah Kentucky. Credits: intro music by CONTRA. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

Vocalist and guitarist Dave Palenske of aggressive death metal purveyors Cryptic Hymn joins the podcast in this interview recorded prior to their performance at The Riff in Paducah Kentucky on January 2, 2016. Brian talks with Dave about the band’s history and style, his own musical roots, as well as plans for the future. Credits: Excerpts from the track “Revel In Disgust” from the Cryptic Hymn EP Gateways (2015) used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.soundcloud.com/thegreatmetaldebate www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

The guys debate and play metal in this episode, including the world-premiere of a song by melodic metallers Wold Clan. Then the debate rages with the guys arguing over the importance of thrash as a sub-genre. Adding fuel to the fire, Gomthog suggests Lemmy was not a metal icon. Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. Wolf Clan track “Witch Hunt” (Pagan Preachers, 2016) and Winter Nights song “The Pleasures Of War” (An Endless Apocalypse, 2014) each used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @metaldebate or e-mail [email protected].

The guys close out 2015 reflecting on their adventures – concerts, interviews, and epic debates – from the past year. Brian doubles-down over his attacks on folk metal, while Gomthog recounts getting spanked at a concert plus the story of one female vocalist who thought he was a stalker. Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. Hibria song “Pain” (Hibria, 2015) played courtesy of Test Your Metal Records, and Witchhelm track “Jötunn” (Jötunn, 2015) used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw

The latest episode finds Gomthog and Brian counting down their lists of best metal albums of 2015, but things get testy when Brian asks if symphonic metal is an oxymoron. Later, the guys clash over whether an album on both their lists is actually a throwback to 80s metal. Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. Tracks “The Anthem Of Pain” (Apocalypse Moon, 2015) by The Order Of Chaos and “I Am The Revolution” (Hallowed Ground, 2015) by Death Dealer each used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @Metaldebate or e-mail [email protected]

Striker bassist Bill Wallace talks metal with Brian in this interview recorded December 5, 2015. Bill gives a history of the group, discusses the state of the industry for independent bands, details their latest album "Stand In The Fire", and hints at what's next for Striker! Credits: excerpts from the song "Too Late" used with permission from the artist via Asher Media; photo of Mr. Wallace by Dana Zuk via Asher Media. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Tweet us at @Metaldebate or e-mail [email protected]

Guitarist and singer Zak Paul from BeyonDuplication is featured in this interview recorded Nov. 27, 2015, at Spillway Bar and Grill in Bowling Green KY prior to the CD release show for the band’s new album “Open Eyes”. Credits: excerpts from the song ‘Words I Speak’ (Open Eyes, 2015) used with permission from BeyonDuplication. Thanks to Ryan with Take A Stand Music for coordinating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback on Twitter @Metaldebate or e-mail [email protected]

The debate gets heated in this show when Brian clashes with Gomthog over their differing definitions of a ‘fan’. Plus, Gomthog dishes on his artist interviews prior to the Kamelot concert in Louisville. Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. Crespuscle track “Shattered Sanctum” (Draconian Winter, 2014) and Framework song “The Delusionist” (A World Distorted, 2014) each used with permission from the artist. itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback @Metaldebate on Twitter or e-mail [email protected].

Marc Hudson, front man and vocalist for fantasy speedsters Dragonforce, is interviewed on Nov. 15, 2015, before their performance at Expo 5 in Louisville KY opening for Kamelot! Credits: excerpts from the song ‘The Game’ (Maximum Overload, 2014) used with permission from Metal Blade Records. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at @metaldebate on Twitter or e-mail [email protected]

Guitar master and symphonic metal icon Thomas Youngblood of Kamelot joins the podcast in this interview recorded Nov. 15, 2015, prior to a show in Louisville KY. Thomas talks gearing up for their month-long return to North American tour with support act Dragonforce, reflects on the most recent album Haven, discusses guest musicians both live and on-record, as well as hinting at what’s coming up for Kamelot in the future! Credits: excerpts from the song ‘Insomnia’ (Haven, 2015) used with permission from Napalm Records. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Members of the technical death metal band Animality talk with Brian prior to their performance opening for Cannibal Corpse at The Warehouse in Clarksville TN on October 20, 2015. Credits: excerpts from the Animality track ‘Blood Splattered Brain Matter’ used with permission from the artist. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Cannibal Corpse drummer Paul Mazurkiewicz takes a few minutes to talk with Brian in Clarksville TN in this interview recorded October 20, 2015. Paul shares about the band’s current tour with Cattle Decapitation and Soreption, gives his take on the music scene, and much more. Credits: excerpts from the song 'Sadistic Embodiment' by Cannibal Corpse (A Skeletal Domain, 2014) used with permission from Metal Blade Records. Thanks to Earsplit PR for facilitating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Rowdy metal fans are out in force talking with Brian prior to the Cannibal Corpse show at The Warehouse in Clarksville TN on October 20, 2015. Credits: music by CONTRA; thanks to the folks at Earsplit PR for facilitating our presence at this concert. itunes.apple.com/us/podcast/great…ast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Operatic vocalist and unearthly growler Heather Michele of Sacramento symphonic metallers Graveshadow joins the podcast in this special interview. Heather talks about the band’s past and the Sacramento scene, plus gives insight into Graveshadow’s new album ‘Nocturnal Resurrection”! Credits: Excerpts from the track “Blood And Fire” from the Graveshadow album Nocturnal Resurrection (2015) used with permission from Mausoleum Records. Thanks to Jeff Keller of The Artery Foundation and Axel Wiesenauer of Rock n' Growl Promotions for facilitating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Stories abound and controversy erupts in this latest podcast episode! Gomthog tells about his experiences at the Unleash The Archers and Eluveitie concerts, and causes Brian’s blood to boil with a stunning new claim about metal. Credits: intro music by CONTRA, intro voice provided by Veronica Ortiz Rodriguez. Caducus song “Evolve & Obey” (String Me Up, 2014) and Gomorrah track “To The Depths” (To The Depths, 2013) each used with permission from the artist. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Drummer Cory Hofing and guitarist Greg Rounding from the boundary-crushing and genre-defying modern death and power metal band Crimson Shadows join the podcast in this interview recorded October 9, 2015, in Covington KY. Greg and Cory talk with Gomthog about the band’s last-minute tour with Unleash The Archers, as well as sharing stories and talking about future shredding plans! Credits: Excerpts from the track “Beyond The Mountain Wasteland” from the Crimson Shadows album Glory On The Battlefield (2012) used with permission from the artist. Thanks to the folks at Napalm Records for facilitating this interview! https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Netherlands melodic metallers La Ventura join the podcast for this artist interview recorded October 2, 2015. Gomthog talks with vocalist Carla van Huizen and bassist/song-writer Mike Saffrie about the band’s history, plus news about their upcoming EP. Credits: excerpts from the song “White Crow” (White Crow, 2012) used with permission from La Ventura. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this interview recorded Sept. 11, 2015, classic metal screamer and Cage vocalist Sean Peck gives Brian an update on his band Cage and the upcoming release of their 7th studio album, Ancient Evil. Credits: excerpts from the track “Ancient Evil” from the album Ancient Evil (2015) used with permission from Cage. Photo by Scott Clift. itunes.apple.com/us/podcast/great…ast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

With Gomthog away, Brain takes the mic to talk about his experience at the Superjoint / King Parrot / Child Bite / Cryptic Hymn concert on July 23, 2015 at The Warehouse in Clarksville TN. Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez; the song "Revel In Disgust" (Gateways, 2015) used with permission from Cryptic Hymn. Thanks to Liz at Earsplit PR for providing access to this incredible show! www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Zoe Marie from the southwest US symphonic power metal outfit Insatia checks in with the podcast in this interview recorded September 15, 2015. Zoe reviews with Gomthog the band’s history, her personal musical influences, as well as plans for the soon-to-be-released sophomore album, ‘Phoenix Aflame’. Credits: excerpts from the track “Bleeding You” from the album Asylum Denied (2013) used with permission from Insatia. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Classic rock legend Biff Byford checks in from the road with Brian in this interview recorded September 13, 2015. Biff talks about his personal music background, the effects of new media on music, as well as the upcoming release of the band’s 21st album, “Battering Ram”. Credits: Excerpts from the song ‘Battering Ram' (Battering Ram, 2015) from fan-filmed footage performed live by Saxon. itunes.apple.com/us/podcast/great…ast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Vocal behemoth Sean Peck and living legend guitarist Ross Friedman from international power metal masters Death Dealer join the podcast in this impressive interview. Ross and Sean catch up with Brian about everything including recent tours as well as Death Dealer’s soon-to-be-released album ‘Hallowed Ground’. Credits: Excerpts from the track “Break The Silence” from the Death Dealer album Hallowed Ground (2015) used with permission from Sweden Music Group. https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this interview recorded September 3, 2015, Brian talks members of the melodic death metal band Your Chance To Die. Coca, Chase, Thomas, and Stephen update Brian on their current tour, open up about the realities of life on the road, as well as sharing their plans for the future. Credits: Excerpts from the song "Kolotajem (Religious Salvation) from the album The American Dream (Red Cord Records, 2012) used with permission from Your Chance To Die. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw https://itunes.apple.com/us/podcast/great-metal-debate-podcast/id1037874814 Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this episode the guys discuss the many tours they're excited to see in Fall 2015; later, Gomthog challenges Brian on his recollection of a concert from 1984. Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Brian caught up with Ari White (aka "Mr. White") from Australian grindmasters King Parrot on July 23, 2015, at The Warehouse in Clarksville TN, prior to the band performing their set on the opening bill for Superjoint. Thanks to the great folks at Earsplit PR for coordinating this interview! www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

On July 10, 2015, Gomthog spoke with Eric Wallace, guitarist for Black Breath, prior to their performance in Nashville TN. Credits: Excerpts from the song "Feast Of The Damned" from the 2012 album Sentenced To Life by Black Breath used with permission from Southern Lord. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this interview recorded in Nashville TN on July 10, 2015, we talk with L. Ben Falgoust from the American blackened death metal band Goatwhore. Ben gives insight into what the band has been up to since the 2014 release of 'Constricting Rage Of The Merciless', their current tour with Ringworm, Black Breath, and Theories, as well as their plans for the future. Credits: Excerpts from the song 'In Deathless Tradition'(Blood For The Master, 2012) from fan-filmed footage performed live by Goatwhore. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this interview recorded June 18, 2015, Brian talks with singer Brittney Slayes of the Canadian metal band Unleash The Archers. Brittney gets us caught up on some changes in the band as well as an update on their new album, 'Time Stands Still'. Credits: Excerpts from the song 'General Of The Dark Army'(Demons Of The Astrowaste, 2011) from fan-filmed footage performed live by Unleash The Archers. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

This time around the guys count down their lists of top 10 concerts they've attended. Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this artist interview Gomthog talks with singer and bassist Ida Haukland from the Norwegian heavy metal band Triosphere. Ida shares the band's history and influences, talks about their latest album 'The Heart Of The Matter', and what the future holds for Triosphere. Credits: Excerpts from the Triosphere song 'Steal Away The Light' (The Heart Of The Matter, 2014) used with permission from AFM Records. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this episode the guys talk nice for about the first 10 minutes with Gomthog recounting some experiences at the Nightwish concerts in Nashville and Louisville. Then Brian goes off on Gomthog’s comparison of singers Floor Jansen and Rob Halford, and the debate really gets going. Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this interview Brian talks with artist Michael Uhlig about his one-man progressive/technical death metal project Deviance, including details about Deviance's debut album - A New Planetary Perspective. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

The Great Metal Debate catches up with vocalist Charlotte Wessels of the Dutch symphonic metal band Delain in Nashville TN on the closing week of their 2015 tour in support of Nightwish. Charlotte talks about the most recent tour, how she has added growling to her repertoire, her guest vocals on the new Kamelot album, and hints at what is coming next for Delain! www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In Episode 25 Brian and Gomthog begin talking about the recent The Agonist concert and other upcoming shows, but the discussion quickly slides into personal attacks and with the guys throwing haymakers at each other. Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this artist interview, Gomthog talks with Danny Marino and Vicky Psarakis of Century Recording artist The Agonist prior to their performance on April 12, 2015, in Nashville TN. Vicky and Danny talk about their current tour, answer fan questions, and discuss the future of the band. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this interview Brian chats with members of the Louisville-based melodic death metal band Dysphorium, consisting of guitarist Greg Moore, singer/guitarist Josh Holmes, bassist Blake Weeks, and drummer Jon Stillman. The guys talk about the history of their band, and their upcoming tour with Poltergeist promoting their new CD “Conduit of Darkness”. Music credits: song “Vessels of Dyonysis” used with permission from Dysphorium. Photo credit: Viral Veil Productions. www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw www.facebook.com/thegreatmetaldebate Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

The podcast returns with Gomthog talking with drummer and songwriter Sean Lang about his latest project Seven Year Storm on February 28, 2015. Sean discusses his past and present, including his new album Aion I. Music credits: excerpt from "Morphogenesis" by Seven Year Storm (Aion I, 2015) used with permission from the artist. Photo credit: Sean Lang promo photo provided by Asher Media. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Brian is joined in this February 20, 2015, interview by metal legend Tim “Ripper” Owens. Tim talks about his time in Judas Priest, Iced Earth, and Yngwie Malmsteen, as well as what is going on with his current projects such as Beyond Fear and Charred Walls Of The Damned. Music credits: intro ‘Mob Rules’ performed by The Extreme Guitar Tour, recorded live on January 22, 2015 by K. Dunn; outro by CONTRA. Photo credit: "Tim -Ripper- Owens" by MrPanyGoff - Own work. Licensed under CC BY-SA 3.0 via Wikimedia Commons - http://commons.wikimedia.org/wiki/File:Tim_-Ripper-_Owens.jpg#mediaviewer/File:Tim_-Ripper-_Owens.jpg www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this interview Gomthog talks with bassist Dan Gargiulo and guitarist Brett Bamberger from the technical death metal band Revocation prior to their set opening for The Contortionist at The End in Nashville Tennessee on February 10, 2015. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Jeff Martin and Stu Hammer Marshall, the driving forces behind the new band Blasted To Static, join Brian on the podcast on January 30, 2015, to talk about how the band came together, their own musical histories, their plans for 2015, and more! Credits: Music by CONTRA. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Gomthog and Brian kick off the new year with a podcast where the topics range from commercialism in metal, Mac Sabbath, and the frightening injury to Delain bassist Otto Schimmelpenninck van der Oije. Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this artist interview recorded January 19, 2015, Gomthog talks with singer and guitarist Parker Jameson from the band Starkill. The discussion includes the band’s history, latest album ‘Virus of the Mind’, recent US tour supporting Arch Enemy, and plans for 2015. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Gomthog visits with guitarist Kostas Salomidis from the Greek metal band Sorrows Path to talk about their latest album Doom Philosophy. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Brian and Gomthog close out 2014 with a look back at the past year, revisiting some of their best concerts, interviews, and debates. Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Brian and Gomthog count down their lists of best albums of the year, but the debate goes off the rails when the guys can't agree which year it actually is - 2014... or 1984? Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. https://www.facebook.com/thegreatmetaldebate https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In dem interview Brian gespräche mit Ralf Scheepers, sängerin der Deutschen Power Metal Band Primal Fear. https://www.facebook.com/thegreatmetaldebate https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

This fancast has three metalheads (Alden, Dakotah, and Stephen) giving their reviews of three metal albums from three different eras – Black Sabbath’s “Paranoid”, Into Eternity’s “Buried In Oblivion”, and Metallica’s “Death Magnetic”. Credits: Music by CONTRA. https://www.facebook.com/thegreatmetaldebate https://www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In our latest artist interview, Gomthog talks with Dianne van Giersbergen, vocalist for Xandria. Dianne addresses the band’s latest album, their North American tour, as well as future plans. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this artist interview, the podcast is joined by Charlotte Wessels of Delain before their show in Louisville KY to talk about their Fall 2014 tour with Sonata Arctica, recent album, and plans for the future. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this episode, the guys discuss whether metal can be too technical. Later, Brian talks about the Kataklysm song “Kill The Elite”, and Gomthog makes the claim metal must be dark. Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this fancast, metal fan Jonathon Stillman reviews the new Opeth album "Pale Communion". www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this special pre-concert interview, Brian talks with guitarist and singer Simon Girard from the Montreal progressive death metal band Beyond Creation. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

The Great Metal Debate host Brian interviews Origin frontman Jason Keyser before their September 2014 show in Louisville KY. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this late summer episode, the guys talk about how metal bands stay healthy and together through tough times. Later, Gomthog and Brian spar over the Metallica song 'Jump In The Fire' and debate whether demons are real ontological beings. Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Brian and Gomthog are at it again in podcast episode 19. This time Gomthog talks about his experience at the Goatwhore show in Nashville, and Brian defends 'catchy' metal from the 80s. Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this special podcast, metal fan Owen talks with Brian about one of his favorite bands - Defiler. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Hailing from a satellite studio in Texas, Brian pulls up the mic for an interview with vocalist Kobra Paige of Kobra and the Lotus. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this episode the guys hit on a number of topics: Jill Janus' Facebook post, the return of King Diamond to touring, and whether production videos are an important part of experiencing music. Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

In this fancast episode, Brian and Gomthog reconnect with Dirt Cheap bassist and local metal legend Greg Kyle. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

This episode finds Brian and Gomthog continuing their discussion on whether cross-genre music festivals are a good idea, and addressing other topics: what should fans expect from bands, and do metal bands need to have a certain image. Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

The Great Metal Debate welcomes metal legend Ross The Boss Friedman to the podcast. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

Episode 16 finds the guys sparing over whether metal must have an "epic" sound, and Brian makes the claim punk is part of metal. Credits: Music by CONTRA; intro voice provided by Veronica Ortiz Rodriguez. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]

WARNING: NSFW/Explicit Content. In this second installment of The Great Metal Debate "Fancast", Brian engages metal fans Parrish and Noah in a review of the Black Label Society album 'Catacombs of the Black Vatican'. www.facebook.com/thegreatmetaldebate www.youtube.com/channel/UCLC0ED1Ri2oNwBQW9All3Yw Have a question for the podcast, or a suggestion for an artist you’d like us to interview? Give us your feedback at: [email protected]