Brazilian Metal

Semblant – Obscura

Semblant – Obscura
Frontiers Music srl
Release Date: 06/03/2020
Running Time: 48:44
Review by Victor Augusto
8/10

Before I start my review, I must apologize to fans of Gothic Metal if I make any mistakes during this review. I must confess that I had no idea what kind of music Semblant played when I picked this album for listening. I didn’t even realize they were Brazilian. I don’t want you to think I had a bad impression of this album, it’s just a matter of talking about a genre that I am not so familiar with. However, let me cut my smooth talk and continue to what really matters, the band’s third full-length album “Obscura”.

Semblant are not a new band, they have been together for almost 15 years. When I heard this album for the first time, I got the impression that this was an experienced band that knows exactly what they are doing, and I was correct. Considering that I’m not a follower of Gothic/Dark Metal, I will try to express my feelings as an ordinary listener.

Here is something inspired by the great Swedish Melodic Death metal bands from the nineties, but not so melancholic in style. The guitar work is excellent, but it explores riffs and solos in a more simplistic way, as you can hear in the track ‘Barely Breathing’, always having the bass to support the heaviness. The impression I get is that the keyboards of J. Augusto are a bit hidden in the music and it surprises me because, when I hear the term Gothic Metal, intense and loud keyboards are the first thing that come to my mind. Drummer Welyntom Sikora follows the rhythmical guitars and strongly explores double kicks throughout the album, but without many cadence changes.

I won’t say that the vocals are the highlight, but it feels, to me, that the compositions are built using them and the final mix sees both singers ahead of the other instruments, except the drums. The vocals consist of the powerful female voice of Mizuho Lin and the guttural male voice of Sergio Mazul. Mizuho explores her high range with great melody while Sergio uses different kinds of screams, but they complement each other excellently. Both have the perfect amount of time to use their voices. As I said before, my impression is that the creation of the music was built entirely around their voices.

The album has basically the same structure throughout with the duets of vocals, double kicks, fast guitars and bass, but there are a few segments which differ, for instance, on the track ‘Wallachia’ that uses a more operatic approach vocally and slightly Black Metal arrangements within the riffs, the ballad ‘Daydream Tragedy’ which surprised me with clean male vocals and slow cadence followed by guitars without distortion, while the opera style vocals return on final track ‘Insomnia’ where a few solos are reminiscent of Tom Morello in style.

Dark and Gothic Metal are styles far beyond my knowledge, but thinking impartially, Semblant come across as a professional and very consistent band that know exactly what they want from their music. They are Heavy, direct and don’t tire you with complex arrangements. This probably explains why “Obscura is such a good album and Semblant have conquered legions of fans around the world during their career.

TRACKLISTING:
01. Murder Of Crows
02. Left Behind
03. Dethrone The Gods, Control The Masters (Legacy Of Blood Pt. IV)
04. Mere Shadow
05. Porcelain
06. The Hunter, The Hunger (Legacy Of Blood Pt. V)
07. Wasteland
08. Barely Breathing
09. Wallachia
10. Daydream Tragedy
11. Insomnia (Bonus Track)

LINE-UP:
J. Augusto – Keyboards
Sergio Mazul – Vocals (male)
Mizuho Lin – Vocals (female)
Juliano Ribeiro – Guitars
Welyntom “Thor” Sikora – Drums
Johann Piper – Bass

LINKS:
www.semblant.com.br
www.facebook.com/semblantband
www.instagram.com/semblantofficial
www.youtube.com/OfficialSemblant
www.twitter.com/bandasemblant

Disclaimer: This review is solely the property of Victor Augusto and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

MOFO – Sick And Insane

MOFO – Sick And Insane
Self-Released
Date: 01/04/2020
Running Time: 41:50
Review by Victor Augusto
9/10

Now, ‘no one will stop them’! Yes, those are my last words of this review, but I decided to write them first. Let me talk about Mofo so you all understand my thinking during the writing process. Mofo are a Thrash Metal band of young members that have just one EP to their name: “Empire Of Self-Regard” (2017). Since this release, I have watched more than ten Mofo concerts and have followed many things from the whole composition process of this album. Every time I see them playing live, I think I am facing a new band, they are better than before. Maybe the fact that they’ve played almost every weekend for 2 years has helped them in this evolution. Of course, I expected a ‘sick and insane’ album (terrible joke), but what I could never imagine is how my expectations could completely under-estimate the result!

If the previous record was more like Thrash Metal with Slayer and Exodus influences, their sound has progressed to an extreme kind of Thrash, with much more Death Metal inspiration and sometimes similar to what Exodus were doing, musically, after the year 2000. The short acoustic intro ‘Cynic’ is an apocalyptic announcement of what’s coming. ‘Adrenaline’ opens with isolated riffs and blows your speakers with fast and extreme Thrash Metal and the speed of all riffs from guitarists Rodrigo ‘Shakal’ Loreto and Arthur Colonna are very impressive. They alternate between fast solos and bass regularly and the guitar sound is perfectly clear and heavy. All their technique and aggressiveness can be felt when they change from the extreme parts to the small melodies which are dispersed amongst the complex riffs. Don’t expect repetitive music.

You’re probably thinking that with two great guitar players, the bass sound might disappear as happens in many band’s, but you would be wrong! Pedro Dinis has created beautiful bass lines that flow independently of the main riff. I find myself paying close attention to his bass parts, even with the great wall of heaviness around it. On the title track, ‘Sick And Insane’, he shows his technique with an isolated bass intro followed by the drums. He plays his own lines sometimes and doesn’t leave the drums alone, both combining their arrangements which increases the groove.

Talking of drums, João Paulo “Mancha” joined the band right after the last release, and he has an incredible ability to change from Thrash to Death Metal in the blink of an eye on this album, showing wonderful creativity. He does this to perfection on ‘Brothers Of Death’. Double kicks, blast beats plus everything you would expect from a great Thrash Metal drummer are present here. It is like a blend of Tom Hunting (Exodus) and Pete Sandoval (Morbid Angel) with an all Brazilian way of playing percussion. His work with the hi hat and crash, ride, splash and china cymbals is very well composed. Sadly, the mix leaves it a little bit hidden. As for vocalist Emiliano Gomes, well, he has totally changed with his voice alternating between his typical screams, but now also adding many guttural parts. He sounds stronger than ever before.

For the most part, the songs are fast and heavy, but there are also a few more cadenced moments, like ‘Purgatory’ that mixes its rhythmical side without losing speed. I also absolutely love the guitar intro of ‘Time For War’ (killer riff) and the way this song passes its energy to the listener. The album finishes with another fast song ‘Hate And Disgrace’, again, in an Exodus style.

I am sure that all the members of Mofo have worked incredibly hard to reach this high level of musicianship and I can also tell how they struggle and fight in the Brazilian music scene. They have no egos and they’re always opened minded to receive opinions. “Sick and Insane” is an album that could easily perform in any list of the best albums of the year. Many old and big Thrash Metal bands could, and will, envy this record. If they receive the attention that they deserve, for sure, the band will reach the status that they have been working for. If it really happens, no one will stop them!

TRACKLISTING:
01. Cynic
02. Adrenaline
03. Brothers Of Death
04. Time For War
05. Sick And Insane
06. Let Them Fall
07. Final Experiment
08. Frank
09. Purgatory
10. Hate And Disgrace

LINE-UP:
Emiliano Gomes – Vocals
Rodrigo “Shakal” Loreto – Guitar
Arthur Colonna – Guitar
Pedro Dinis – Bass
João Paulo “Mancha” – Drums

LINKS:
www.facebook.com/mofothrash/
www.instagram.com/mofothrash/
www.soundcloud.com/mofothrash
www.twitter.com/mofothrash
www.spotify.com/artist/5b0lBSsVnWjnxqL3bfTwEE
www.youtube.com/channel/UCDD9ksiF5PXKqnpHPT-ORlA

Kamala – Live In France

Live In France Cover

Kamala – Live In France
Self-released
Release Date: 27/11/2019
Running Time: 32:53
Review by Victor Augusto
9.0/10

Keeping a Heavy Metal band alive in Brazil could be considered honorable for so many reasons that I should write a book to talk about it! Heavy Metal is not even close to being popular in this country, but despite that, and many other issues, there are a great number of impressive records being released every year. Against all the odds, Kamala appeared and gave a great example of what a professional band must do to stay alive. They’ve been on the road since 2007 and started to play in Europe in 2013, where the band grew an incredible fan base, especially in France.
Kamala became a trio after the great album “Mantra” (2015), and the mantras and oriental music that once complemented the band’s sound, is not as obvious now, but it is still there. The work on a straighter guitar and bass made them sound more Thrash Metal than before. The last line-up change was new drummer, Isabela Moraes, who has been with the band since the recording of the acclaimed “Eyes of Creation” (2018). This album opened many doors for the band, especially overseas, where they have concentrated their recent shows.
The studio sound in the last two albums focused on Raphael Olmos’ riffs and on the great support of Allan Malavasi’s excellent bass work, which masked the absence of a second guitar, even during the solos. Of course, this “live” studio spirit increased their performance on stage, and here they’ve created a live album to explore this new path. Another good reason for a live album is the fact they have been more in Europe than their own country. The city of Lembras saw their last show on their 6^th European tour, and the synergy between them was on its prime after an entire tour, playing every day.
Different from many live albums, all the instruments sound strong and clear. The guitar is like a punch straight in the face, with killer tones throughout, even during the wah-wah on solos. Allan Malavasi’s bass remains impactful all the time, with really good solos. Another interesting point, which I already observed at the shows that I was saw in person, is how the sharing of vocal duties between Olmos and Malavasi made the band seems to have not only one frontman, but two.
My biggest surprise is Isabela Moraes’ killer sounds on this album. Where she seemed to value groove and cadence on the studio record, here she sounds thirsty for Thrash, with a much greater speed. There is no way you can listen to the intro of “Suicidal Attack” only once, the way she smashes her drum kit. Another song that she put in her way of playing is “My Religion”, making the snare louder than the original version.
The set list for this live work focuses on the last two albums, and songs like “Stay With Me”, as well as the excellent “Believe”, are a great sample of what Kamala are. I must give a special mention to the amazing song “Mantra”, which is the last track of the album. In my opinion this is the best of Kamala’s songs, and I dare to say, even one of the best Thrash Metal songs I’ve ever heard in my life. It’s total destruction, with several nuances and rhythmical changes enhancing its great moments, the chorus being the best moment in my opinion.
Since their early days, Kamala wasn’t just one more awesome band among all other great Brazilian bands. From all countries that they have played, France was the one that really embraced this trio with the same passion that the band put on stage when they play. “Live in France” is one more brick in this great career in Europe, and a great way to show that Kamala continue to get bigger.
TRACKLISTING:

Internal Peace
Open Door
Believe
Stay With Me
Take Away
My Religion
Suicidal Attack
Mantra

LINE-UP:
Raphael Olmos – Vocals and Guitar
Allan Malavasi – Vocals and bass
Isabela Moraes – Drums
LINKS:
https://www.facebook.com/kamalaofficial
https://www.youtube.com/user/kamalaofficial
https://www.instagram.com/kamalaofficial/
https://open.spotify.com/artist/5mbUdP134DvKlRFr4AhsHO
Promo Pic 2019
Disclaimer: This review is solely the property of Victor Augusto and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

DarkTower – Obedientia

Obedientia Cover

DarkTower – Obedientia
Electric Funeral Records
Release Date: 06/11/2019
Running time: 41:38
Review by Victor Augusto
10/10

I often ask myself if it is possible that a band will offer anything new nowadays, after everything we know, and have heard, in Heavy Metal. Maybe I am being skeptical, but I don’t think we will ever hear innovation or something revolutionary inside music again. Despite that, I do believe it is possible to find ways to flee from “more of the same”. Following this path, I can mention Brazilian Melodic Black/Death Metal band DarkTower who have been conquering South America for more than 10 years touring regularly and releasing two great albums “…of Chaos and Ascension” (2013) and “Eight Spears” (2016). If these two albums showed to fans their huge technical ability, “Obedientia” comes with a new purpose.
Always inspired in chaos that rules the world, this time DarkTower have got their specific scenario from where they live in Brazil. An unstable country in terms of economy, governments and now, a nation split by political worship that makes them ready to kill each other, blinded by angry and foolish attitudes. No, you won’t hear any political statements like you do with Thrash Metal bands or the antichrist screams associated with Black Metal bands but you will hear all the darkness from their daily anger and suffering, which is very well elucidated by complex and heavy compositions. It is like you are hearing a soundtrack of the apocalypse. A non-fictional apocalypse; A real apocalypse!
The acoustic intro of ‘Punishment’ becomes heavier and epical until ‘Downfall’ devastates all of us with killer riffs, blast beats and screams about the mental maze of a lunatic who cannot think or act for himself due to religious dogma. Next track ‘God Above Nothing’ is the most aggressive song and it represents the church leaders, allied with politics, using the people’s faith to control and manipulate them. This religious theme actually represents exactly what is happening in the band’s country, where the slogan “God Above Everything” was used massively during the most recent political campaign. As I said before, do not expect specific names to be mentioned here, as the idea of “Obedientia” is to make clear how dangerous a nation that worships snakes and lunatics can be, no matter which side they represent.
The instrumental prelude of ‘Highland Ceremony’ explains the story behind ‘Winged Snake’s Communion’. It is about an old South American tribe called Cañari, who, in the mountains of South Ecuador, still keep their old traditions alive even after all the wars and changes in civilization. This song reflects an idea of the traditions Brazil has lost throughout the years. More songs make clear what the band wants to warn you about, like the chorus “I Won’t Kneel For You” in the title track ‘Obedientia’ and the metaphoric references of sculpted leaders when they say “Man of Clay” in the lyrics of ‘Praxis Against Ignorance’.
The main theme is brilliant and very well interpreted by vocalist Flávio Gonçalves with a Black Metal vocal inspiration but also with Death Metal power and the band follow him with the fabulous guitar work of Raphael Casotto and Rafael Morais who alternate insane riffs and solos and create a dense atmosphere. This is highlighted by the great and, sometimes, independent bass lines of Rodolfo Ferreira and drummer Rômulo Grilo increases the heaviness with numerous tempo changes, from slow cadences and percussion to extreme blast beats.
After ‘The Carnal Splendour’ which is the last act of musical violence, the calm and beautiful ‘…As the Obedient Marches to the Abyss’ closes the album! Epic, Powerful, Dark and, at the same time, realistic about the human living chaos!
Maybe “Obedientia” doesn’t bring anything new to listeners, but it is undeniable we are in front of a masterpiece. All the darkness and emotion in the music make the listener enter into this experience angrily. It feels like every detail, every single note and lyric has been studied to create a perfect match between all band members. Listen and appreciate while the obedient march to the abyss.
TRACKLISTING:
01. Punishment
02. Downfall
03. God Above Nothing
04. Highland Ceremony
05. Winged Snake’s Communion
06. Praxis Against Ignorance
07. Obedientia
08. Rites of Conscience
09. The Carnal Splendour
10. …As The Obedient Marches to the Abyss…
LINE-UP:
Flávio Gonçalves – Vocals
Raphael Casotto – Guitars
Rafael Morais – Guitars
Rodolfo Ferreira – Bass and Vocals
Rômulo Grilo – Drums
LINKS:
https://www.darktowerofficial.com/
https://www.facebook.com/darktowermetal/
https://www.youtube.com/user/darktowertv
https://www.instagram.com/darktowerofficial/

https://www.youtube.com/user/darktowertv

Promo Pic1

Disclaimer: This review is solely the property of Victor Augusto and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Legacy of Kain – Paralelo XI

Paralelo XI Cover

Legacy of Kain – Paralelo XI
Self-Released
Release Date: 16/05/2019
Running Time: 45:23
Review by Victor Augusto
9/10

One of the memories I want to keep in my mind while I still have my sanity is the day I heard this album for the first time. How I felt that day? First, let me tell you some things about the band. I reviewed their previous album “I.N.V.E.R.S.O.” (2017) when the band was relatively new, and they used Portuguese lyrics and sung about political and human issues. The music itself was more oriented to Metalcore although they already had the Groove and Thrash, but now things have changed for the Brazilian Band Legacy of Kain.
The album title is a reference to a massacre that slaughtered a Brazilian Indian tribe (“Cinta Larga” tribe), in 1963, by people who were interested in their territory. As usual in Brazil, they were strongly motivated by political greed and money. This chapter in their history is so shameful that is hard to find details about the days of killing even with the few survivors from this tribe. The band didn’t record a concept album, but the main idea is get the feeling and hate from this genocide and put it inside the music.
The sound of happy kids playing in the intro song ‘The Nightmare’ comes with calm and clean notes that open the great track ‘This Pain Is For Me And You’. It all turns into a dense vibe when guitarist Karim Serri strikes your speakers with visceral and killer riffs followed by the strong drum beats of Tiago Rodrigues. Markos Franzmann deep voice completes the team and he makes heavy vocals parts with different tempos.
The furious Thrash comes with fast songs like ‘Worse Days Will Come’ and ‘The Throne’ showing the idea of what is coming. Tracks like ‘Indigenous Pride’ start to enter deep into the bloodshed that the tribe suffered, same as in ‘Split In Half’, but this one begins with a short depressive intro and also has Fernanda Lira (Nervosa) as a special guest.
Fernanda’s screams are like Chuck Schuldiner in style and it is a good contrast with Markos. She increases the anger of the lyrical theme. ‘The Genocide’ is a kind of intro of typical Indigenous music that suddenly changes to a sound of airplanes, shotguns and terror screams. Of course there are many others killer songs like ‘The Promises You Made’ and ‘Disease’ that don’t flee from the main subject, but talk about it in a different way.
The answer to the question I made before is: Amazed!!! Yes, amazed is how I felt when I heard this album for the first time. This album is like a multi chaptered movie where the soundtrack is enough to bring the feeling of anger and sadness from those who survived this tragic episode. Somehow the band made a political protest about problems that still happen nowadays. It shows how the battle between politics and people can bring pain for us all. “Paralelo XI” shows a more powerful and experienced band that is going to amaze all of you.
TRACKLISTING:
01. The Nightmare
02. This Pain Is For Me And You
03. Worse Days Will Come
04. The Throne
05. Indigenous Pride
06. Split in Half (Feat. Fernanda Lira)
07. Beneath The Mud
08. The Genocide
09. Paralelo XI
10. Silent Ground
11. The Promises You Made
12. This Means War
13. Disease
LINE-UP:
Markos Franzmann- Vocals
Karim Serri – Guitars
Tiago Rodrigues – Drums
João Lavinas – Bass
LINKS:
https://www.facebook.com/legacyofkainbrazil/
https://www.instagram.com/legacyofkainbrazil/

https://www.youtube.com/channel/UC0wep2AOJt5YzM41toDCiqg

Promo Pic1

Disclaimer: This review is solely the property of Victor Augusto and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.