Phrenesy – Fears Apocalypse

Fears Apocalypse Album Cover Art

Phrenesy – Fears Apocalypse
Self- Released
Release Date: 05/08/2022
Running Time: 41:14
Review by Victor Augusto 

Once again, I must start my writing with an apology for being often repetitive with my words. The reason I am saying this is to enforce what makes me still try to do something to support Heavy Metal bands, especially in Brazil. Basically, I do it because I love them and it is a therapy that keeps my mind sane! Of course, there are many good retribution and gratitude as a consequence from the bands on the receiving end! When I talk about Brazilian Thrash Metal band Phrenesy, everything goes even further considering we became great friends much before I started to write reviews. 

I first met them when they were releasing their first and incredible album “The Power Comes From The Beer” in 2014. We immediately became friends and many concerts and hangovers have happened so far. For a fair few of their concerts, I can only remember the hangover, but it happens (a lot). I must say that these guys are so great, that our friendship extended to our families, wives and kids. Considering that few bands really do what they preach about friendship and about having the Heavy Metal community as a place to embrace all different tribes, Phrenesy is a rare example of a group of people that really put it in practice. To make everything even more perfect, their music is as great as their hearts, and it is exactly what I will try to talk about.

The second Phrenesy album carried the title of “Beer Apocalypse”. Although I still have difficulty singing the title track as ‘Fear Apocalypse correctly’, this title change came for a good reason, considering all the darkness we suffer as a South American citizena. Things like poor families becoming an easy prey to few famous priests from this country and also all the poverty in the cities forgotten by the politics. This kind of scum like the religious leaders, can easily manipulate these poor people to give their few bits of money to them, fooled by the promise that it is the path to leave all the suffering behind. As a consequence, Phrenesy decided to change the album’s name to mention this kind of absurdity that still happens in our country.

Musically they still play good Thrash Metal more oriented in the Kreator and Anthrax Style, even adding few Death and Traditional Heavy Metal elements to it. The arrival of Fabrício Rocha to the line-up has brought a new style for the solos, considering his experience of being part of Hell Bound, which is a Traditional Heavy Metal band. There are solos from different styles, not only played by Fabríco, like you can hear on ‘Bring It On’, when the guest musician Felipe Chendes (Alto Extermínio) played in a very Andreas Kisser way. The Classic Metal style appears at the second solo of ‘Lost Generation’, when there is a beautiful solo that brings a kind of hope for what the song talks about, played by Rodrigo Shakal (MOFO). Sara Abreu (Estamira) also made a contribution on ‘Mistakes, as well as Marco Mendes (Device) on ‘The Truth Is All There’. Overall, Fabrício could put his identity, despite joining the team very recently.

The main guitarist Tiago Teobaldo is a riff machine as always. It is even hard to separate his adrenaline on stage to the compositions after seeing him playing several times. The drummer Josefer Ayres chose a more live sound on the recording and he created drums fills that will sound like a grinder destroying everything, as you hear at the end of ‘The Truth Is All There’. Aluisio Lima has a very present bass sound that was dates back to when they had only one guitarist, before Fabrício was invited to the band. ‘My Hate Is Gonna Speak For Me’ intro is a good example of what I am saying.

Wendel Aires’ vocal style is a mix of anger with a bit of melody. For me, he really surprises on ‘Vultures’ where he really explores his vocal capability more extensively, using melodies and higher vocal ranges. As I said before, there is a lot of anger that inspires us to scream aloud and this album shows a sample of all the chaos we live in. 

We must highlight the cover art which shows a few details of Phrenesy hometown, like the tower with a clock, that is from a subway station from the band’s neighbourhood. Here, it is all destroyed after a world collapse. Still in this cover, there is a flyer glued on a wall that is also real. It is from a traditional festival that the band played in 2019, the “Headbangers Attack” festival, also with a few logos from the bands from Brazil. This cover was well thought through by Jacqueline Sales, wife of one of the members, which enforces that Phrenesy is a family where everyone helps in some way.

And where is the beer that they always worshipped? Look at the flowers on the cover art. They are hop flowers, used to brew beer. On the music, they play ‘The Party Won’t Stop’ and the closing song ‘War for Beer’. For me, this last one is like a new hymn for them. It is like the anthem that the song ‘The Power Comes from The Beer’ (from the previous album) became. I realised it a few days ago at a live concert, when they finished the show with this blend of the new and old ode to beer. There I could see many Metalheads going crazy, even dancing whilst Phrenesy was destroying everything on stage. 

“Fears Apocalypse” is a new chapter on the history of this amazing band. It is natural how they’ve conquered and captivated their fans with a good Thrash Metal, beer and a real friendship celebration after many years. If you have the opportunity, grab a beer and enjoy this brutal offering!


‘Fears Apocalypse’ (Lyric Video) 

01. Fears Apocalypse
02. Bring It On
03. Fuck The Pain
04. Lost Generation
05. Mistakes
06. My Hate Is Gonna Speak For Me
07. Vultures
08. The Truth Is All There
09. The Party Won’t Stop
10. War For Beer

Wendel Aires – Vocals
Tiago Teobaldo – Guitars
Fabricio Rocha – Guitars
Josefer Ayres – Drums
Aluisio Lima – Bass


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.

Deathgeist – Procession of Souls

Procession Of Souls Album Cover Art

Deathgeist – Procession Of Souls
Punishment 18/Thrash Or Death Records
Release Date: 07/01/2022
Running Time: 33:21
Review by Victor Augusto

If you like to waste time in your life reading all my useless writings here, you’ll know how much I’ve mentioned what keeps the Brazilian Metalheads united despite all the problems we face in our musical scene. I won’t repeat all the bad things, but here we have another case of a good band that makes all the time we spend listening to hear their music worth it, and I am not only talking about the quality of it. 

If you are not familiar with the band (we have an amazing interview and EMQ’s with them on Ever Metal); a few members were part of a traditional Thrash band called Bywar, and they are carrying on with all their good work here. For this third album, the only change is the new guy on drums, Fernando Oster. He might be new to the band, but he is quite well known for his work with the incredible band Woslom, who did plenty of European tours in the last decade. And now we have in front of us another brilliant Brazilian thrash release from Deathgeist. 

The most mature album? It is hard to say how mature they are when you have musicians who have been on the road for so long. Since the first album they have shown maturity, but I guess they are playing in a very good synergy, even after the lack of concerts in the last 2 years. And yes, the sonority of the recording production is perfect – like an organic raw recording with a good quality, especially for the drums sound.

The bass of Mauricio Bertoni received amazing space in the mixing. He is very present on the entire album, but also has his own space on the amazing ‘Nightmare’s Chamber’. It feels like the main riff of this track was planned for Mauricio to play without the guitars, like it happens in the middle of the song, just with a few drum beats alongside. The solos right after this part make it even more beautiful.

By the way, the guitar work between Adriano Perfetto and Victor Regep is a highlight here through all the good, but not complicated riffs. The solos are more oriented to the structures and melodies. Don’t expect just that showing off ultra-speed pickings, that sometimes just offers tons of soulless notes. Here, they put the perfect blend of speed and feeling.  Adriano also offers good vocal lines, going from aggressiveness, to a few moments of melodies.

If you’ve read the band’s EMQ’s explanation of the band’s name, you know that the word ‘geist’ comes from Poltergeist. So, I believe the addition of a few keyboards, like on the title track, is to offer this atmosphere of some spiritual possession that can bring Death. Maybe it was intentional or maybe it is just one more nonsense though from myself. But what really matters are the beautiful solos from Adriano and Victor, in this track.

Personally, I really enjoyed songs like ‘Living Dead Melody’ and the title track as well, but the entire album is amazing. I like how linear the songs are. It made the album easy to digest. On ‘Far From Reality’ Fernando puts a faster element, like a double bass, to change the dynamics a bit. This worked really well.

Maybe the Old German Thrash Metal will be your first impression of a major influence to Deathgeist. At least it was mine when I heard them, 3 years ago, with the previous album “666”. It is a kind of a blend of the Destruction aggressiveness with a dark and cadenced atmosphere from Sodom.  For me it is exactly this not overwhelming speed or technique that makes them sound catchy. 

Aside from all the musical quality here, these four guys are good people and work a lot to promote good music, and in Brazil that counts for a lot. After all I’ve said, I hope you take the time to have fun listening to “Procession of Souls” as Much as I always do when listening to Deathgeist. See you later, folks!

‘Procession Of Souls’ Official Music Video

01. The Greed’s Inferno                                                                                                            02. 02. Morlocks
03. Living Dead Melody
04. Procession of Souls
05. Nightmare’s Chamber
06. Far From Reality
07. Depressive Thoughts
08. Fear

Adriano Perfetto – Guitars and Vocals
Victor Regep – Guitars
Mauricio Bertoni – Bass
Fernando Oster – Drums


Deathgeist Promo Pic

Macumbazilla – …At A Crossroads

...At A Crossroads Album Cover Art

Macumbazilla – …At A Crossroads
Release Date: 15/11/2021
Running Time: 56:00
Review by Victor Augusto

Very often I catch myself thinking about what make us get involved with Heavy Metal music, especially those of us who are part of a band or the press (both magazines and webzines). In Brazil, both activities demand a lot of time that we were supposed to be using to make money to live and if you are in a band, for sure you are losing time and money together constantly. Not to mention all the many idiots we have to face along the way sometimes. Of course, there are many good things which motivate us to be crazy enough to keep working at it and the friendship and loyal people we meet on this path are a big part of all many reasons that keep us going.

Inside this complex environment, it is not unusual to see bands spending years working towards releasing a new or a debut album. For Macumbazilla, it took between 6 or 7 years between their first EP to this album and despite not being commercially orientated, it’s awesome in terms of the maturity of the compositions on offer. By the way, this is material that doesn’t even feel like a first album for a band.

If you take a time to listen to them, maybe you will have a first impression that they are a Thrash Metal Band very Metallica oriented. OK, you are right about the Thrash masters’ influence, mainly due to the voice of André Nisgoski, who has a quite similar vocal timbre, but musically it goes way further. The band mix plenty of genres and all of them received an extra dose of heaviness for good measure. Imagine a group free to combine Stoner, Rock n’ roll, Heavy Metal and Blues influences, but they combined under some pretty heavy arrangements that keep the word Metal in first place. 

Let me exemplify. The song ‘Zombie’ has guitar work from André which reminds me a little of Black Sabbath; the song ‘Feeling’ brings an old Judas Priest style on its intro. The track ‘Blondie Phantom’ has an interesting arrangement from its very beginning and it easily can make you think you are hearing a Black Metal band just from the guitar sound. What’s most intriguing for me on this track is how André goes deep in a Danzig vocal style – a great change in style after that introduction piece. Now think about all the styles above and don’t forget about that extra layer of heaviness I’ve mentioned, and maybe it will give you a spotlight on what this band’s make up is.

If you thought that it there be a great Blues reference based on the album’s title, then you are right. Not only does the cover art connect to the history of Blues musician Robert Johnson and his historic devil pact at a crossroads. Every demon’s pact in the history of popular culture ends with hellhounds coming to drag your soul to hell, and guess what – we have this a track called ‘Hellhounds’ right here (complete with a great blues harmonica part by the way).

It is not the main subject on the album, but there is also an amazing song here that just talks about hang outing with your beer in the single ‘Leave My Beer Alone’. And if you are asking where the Thrash Metal influence is, like I’ve said before, just go to the ‘Slow’ song and there you have it. 

The bass work of Carlos “Piu” Schner helps with this versatility, considering there is only one guitar on the band, and you can hear what a great job he does on ‘Ladies from Mars’, using a few pedal effects on his bass. Let’s not forget of the good work on drums from Júlio Goss (in particular the interesting drum fills on ‘Blondie Phantom’), all of which made me positive about this band’s synergy.

Synergy and versatility are the key words that define “…at a Crossroads”. When I hear the beautiful closing track ‘Morningstar ‘, I just have to say congratulations for the persistence and all work needed to reach this level of delivery. Although I am sure that Macumbazilla haven’t make any pacts with the devil, because we already live in a hell called Brazil, so let’s us drink, party and bang our heads hearing to Macumbazilla, so we can forget all the pain! Cheers!

‘Leave My Beer Alone’ Official Music Video

01. Colossus
02. Leave My Beer Alone
03. Hellhounds
04. Ladies from Mars
05. Zombie
06. Feeling
07. Seize the Day
08. Blondie Phantom
09. The Enemy
10. Poor Devil
11. Dark Hordes
12. Slow
13. Lies
14. Morningstar

André Nisgoski – Vocals / Guitars
Carlos “Piu” Schner – Bass
Júlio Goss – Drums


Macumbazilla Promo Pic

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.

Endust – Cycle EP

Cycle EP Cover Art

Endust – Cycle EP
Release Date: 05/03/2021
Running Time: 18:51
Review by Victor Augusto

Life goes in cycles. Yes, I’m beginning my review with this cliché. By the way, in my new cycle of trying to be a very polite and human person, I often ask how you all are and wish you are all well and safe (and I am being honest). However, I have a good reason to mention cycles. Endust are not a new band to me. I first met them in São Paulo, a city far from mine, when I was travelling there to meet my friends (reviewers at that time) as well as Glauco Rezende (guitarist/new singer) and Fernando Arouche (drummer). What impressed me most, on this first meeting with them, was that they had travelled from their city Jundiaí, which is about one hour distant, on a Saturday morning, in person, to deliver their physical CD’s to one of the most important CD stores in Brazil.

After this great first impression, I bought a copy and, to my surprise, I was in front of one of the best Thrash Metal bands from Brazil. At that time, they had Leandro Caçoilo as their singer and Leandro is very famous for being a part of important Power Metal bands in Brazil, but his vocal versatility fitted pretty well on Endust’s powerful music. Time passed and they decided to take different paths in a very friendly way, so we just have to say thanks to Leandro for what he left the band.

What changed? First, let’s understand Endust’s music. I clearly remember, in my first review about them, I mentioned how Glauco was the “spine” of the band. He is a master of riffs and he creates incredible arrangements. We (reviewers, musicians and myself) used to call him ‘the Jeff Loomis from Jundiaí’ and you just need to hear the opening, and title, track ‘Cycle’ to understand that. His new position as vocalist is something totally different from how Leandro approached the music. He sings very aggressively, but it is incredibly clear and different from the typical creepy guttural vocals, that many bands use, which are annoying and can often be hard to understand.

His partner in crime, Fernando Arouche, is even more killer on this EP. He is a machine gun; more about heavy punch than the speed, but the fast beats are amazing as well, with double kick suddenly appearing in the middle of the songs like a sonic blast. The synergy among them both is something that is very hard to describe, considering they have been working together since the embryonic age of the band, about ten years ago. If Glauco is the spine then Fernando is also something pretty important in this biological connection. However, I cannot think of a good reference/word to describe it, due to my lack of intelligence. (Absolutely not true Victor, it’s a language thing. Having listened to this fantastic EP, I will use the phrase ‘he adds muscle to the bones’ – Rick)

Musically, they still play strong Thrash Metal, full of groove and technicality, but for this EP, there is also a highly explicit Death Metal vein. It is not only in the vocals which have changed from melodic to guttural, but also in the heaviness of the guitars and drums. Maybe the track ‘Giving Up’ is the best option to understand and describe the new face of Endust. If you’ve already heard them on their “All Ends In Dust” album (2019) and want to compare that with this new release, then check out ‘Only One Will Stand’. which is a re-recorded song from their last album.

A new cycle? The EP title does represent what Endust is living through at the present time. They are almost the same band, but a restructured band. “Cycle” not only shows a new era for them, but it also represents the essence of what they have created throughout their career, but with a serious addition of aggression.

‘Cycle’ (Visualiser)

01. Cycle
02. Seller Of Illusions
03. Giving Up
04. You Made Your Choice
05. Only One Will Stand (Re-recorded)

Glauco Rezende – Vocals, Guitars, Bass
Fernando Arouche – Drums


Endust Promo Pic

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.

Motorhammer – Round 35 EP

Round 35 EP Cover Art

Motorhammer – Round 35 EP
Release Date: 03/06/2021
Running Time: 21:47
Review by Victor Augusto

“Greetings, metal maniacs”. Have you already heard these words in many radio shows? Maybe some of you that read my reviews have already heard it from the great DJ Dave Softee on his amazing show called Metal Meltdown. I remember when he interviewed the Brazilian Thrash Metal band Machinage and that day I discovered the awesome radio station called Metal Messiah Radio. This station has been promoting many Brazilian bands for years, also great metal bands from all around the world. I’ve lost count of how many bands I have introduced to them after that, also how many Brazilian bands I have discovered, just by their DJs promoting them.

Now, the radio has a special Brazilian member, the amazing Isaura La Cour. She joined forces with Matthew Szablewicz (DJ Szab), from the NYC Metal Scene show to offer a proper space for the Brazilian scene. As a result of this incredible work by Matthew, Isaura and their crew; I have been lucky to discover another amazing band who are the subject of this review! The Brazilian Thrash Metal band, with less than one year of existence, Motorhammer!

Ok! I am using my Charles Xavier telepathic powers to read your thoughts and I know you are thinking that a band who have been around for less than a year cannot offer anything, so astonishing, to justify the positive impression I have had. You would be wrong! Motorhammer are new but all the members involved are very experienced in the Brazilian scene. The vocalist/drummer/founder Edson Graseffi, for example, has more than 30 years experience and he has been a part of many important bands in Brazil, so this EP was born to celebrate Edson’s career with material that he composed or helped to compose throughout the decades. To make it possible, he invited guitarist (also producer) Renato Haboriny and bassist (a long-time friend of Edson as well) Daniel Corvo; two respected musicians in Brazil.

The album is a compilation of four old compositions that Edson was part of (plus a cover) that have been re-recorded, with better production values. By the way, this was the first thing that made me love the band on first listen. What a killer record production. It’s similar to what legendary bands like Destruction or Exodus can extract from the studio or what producers like Andy Sneap can offer. Maybe you think this isn’t relevant considering many big bands do it, but the prices to have the proper studio time and equipment in Brazil, to reach this level of production, are very high, so I must highlight it.

Musically, the songs have a similar sonority in terms of composition, even though they come from different bands that Edson was a part of. The opening track ‘Fighting Against The Walls’ (originally from Edson’s band called Punch but that was used regularly by his band that came right after them, called Panzer) has pure Exodus heaviness & spirit where they opt for cadenced music, amazing drum fills and groove. ‘Warning Hell’ (originally from another of Edson’s band called Reviolence) is a bit faster and it reminded me of the brutal style from Germany’s Destruction. ‘Rage Over Rage’ (originally from the band Chasing Fear) also explores cadenced rhythms and leaves space open for great riff work. Edson also shows a different vocal style on this track, exploring parts with cleaner singing alongside good melodies. The last two songs have amazing dancing bass following excellent percussion on drums.

‘The Metal Church’ (Also from Reviolence) is like a heavy ballad. For this one, try to imagine a divine performance from Ronnie James Dio fronting a Thrash Metal band. Ironically, you could mention the band Metal Church as one of the influences here as well? It is an amazing song. The closing track ‘Allied Forces‘ is a cover song from Canadian band Triumph that showcases Classic Metal from the 1980’s but, once again, dressed in a Thrash Metal style.

“Round 35” is an amazing EP that shows the Thrash Metal veins within Edson, together with all the great musicians that were (or still are) partners of him on his path. Trust me; to make Heavy Metal for such a long time in Brazil is not an easy task. 35 years/rounds is an anniversary very much worth celebrating and I wish many new rounds for Motorhammer. For now, we have a show of riffs and solos from Renato Haboriny, strong bass from Daniel Corvo and amazing drum/vocal work from Edson. The three of them together are able to kick some serious ass.

‘Fighting Against The Walls’ (Audio)

01. Fighting Against The Walls
02. Warning Hell
03. Rage Over Rage
04. The Metal Church
05. Allied Forces (Triumph Cover)

Edson Graseffi – Vocals, Drums
Renato Haboriny – Guitars
Daniel Corvo – Bass


Motorhammer Promo Pic

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.

Raphael Olmos – Make Riff, Not War EP

Make Riff, Not War EP Cover Art

Raphael Olmos – Make Riff, Not War EP
Release Date: 06/05/2021
Running Time: 15:48
Review by Victor Augusto

Do you remember the first review I did for Ever Metal, when I became part of this beautiful team in 2019? No? It was a review of “The Beloved Bones: Hell” from the Brazilian band Dark Avenger, but wait…this album was released two years before I did the review. Why did I decide to do it? Considering that being part of Ever Metal was (and still is) the best thing that has happened to me in this world of reviews/interviews, I decided to make a tribute. It was a tribute for my dear friend Mario Linhares, who passed away in 2017. It is not just a tribute to a great musician; it was a tribute to a great friend who shared the same passion in music to me. Our friendship came from this passion.

During these four years reviewing and interviewing, I have made friends. Some of them became close friends, others not so much. However, the good ones really make all the work and passion for the music worthwhile, and Raphael Olmos is one of these examples. If you don’t know him, search for “Kamala” here, on Ever Metal, and you will find amazing material about the band. He is the founder member of this important Brazilian Thrash Metal band and we started to talk with each other after a review of the band’s EP in 2017. We became friends because I think we have some values in common. We are here for music. It is our passion and we work for it. No arrogance or competition, just mutual support to spread the word of Heavy Metal.

To talk about Raphael and his first solo release, I must mention everything he has conquered with Kamala. 18 years on the road, 5 studio albums, 1 EP, and 6 European tours that resulted in a live album, “Live In France”. Good, isn’t it? In addition, and more amazingly, the band has done this without any label to support them. As result, they have become well known in Europe as well as in Brazil, after almost two decades.

Of course, the pandemic that we have all been living through for over a year has hit all the band’s plans for now, including the new Kalama album, which is already completed. However, the good news is that Raphael decided to show off all of his musical creativity, whilst the band wait for the right moment to release the new offering. As a consequence, we can hear the instrumental EP “Make Riff, Not War”.

What is new on this EP? Well, it is 100% instrumental and Raphael recorded all instruments. Even the drums, despite them being programmed, sound great and that has helped a lot with the result. Musically, we can hear Raphael’s trademark Thrash style, but with the addition of melody, harmonics and well-structured elements on guitars.

The first song ‘Dealing With Pain’ starts slowly with several harmonies and ‘Jacaré’ keeps the sonority growing as the heaviness increases. It is Interesting how the drums and bass have a nice funky cadence that fits with the strong riffs and great solos. I feel the inspiration of guitarists such as Steve Vai and Joe Satriani, but with a good balance between virtuosity and the strong sonority that we are more used to hearing in heavy genres. It suddenly finishes, as swiftly as an alligator attack (Jacaré means alligator in Portuguese).

‘A Fake Leader In A Real Chaos’ is even faster and carries a chaotic sonority that the song title suggests. Again, Raphael shows good soloing alongside all riffs that have a more Death Metal feel. I liked the fast double kicks and amazing drum fills for this one. ‘Riffle’ follows a similar structure as well but offers more space for interesting bass lines. This song has riffs with a strong guitar pick, solos still have good structure and technique, but this time they are faster with more wah wah and whammy pedals, which is more connected to Kamala’s sonority. The closing song ‘Hope’ is a combination of the four previous tracks mixing harmonies and heaviness.

Music is our weapon and the Riff is a shotgun! In my recent video interview with Raphael, he explained that this is the analogy behind the track ‘Riffle’. Actually, that analogy, pretty much represents the whole EP. This release is the result of all the hard work from someone who lives and breathes music and guitars. A person who delivers music every day, even those days without concerts. Congrats, Raphael for everything you have achieved. It is this work ethic that has seen him endorsed by international brands (Solar, Evertune, Bogren Digital and Skull Strings).

Overall, “Make Riff, Not War” is the perfect example of what a band/musician should do to continue spreading their music. It is an honour to see a good, professional musician in my country, Brazil. We have plenty of good musicians, but few that are professional or hardworking.

‘Riffle’ (Official Video)

Link to my interview with Raphael Olmos talking about “Make Riff, Not War”

01. Dealing With Pain
02. Jacaré
03. A Fake Leader In A Real Chaos
04. Riffle
05. Hope


Raphael Olmos – Guitars, Bass and Drum Programming


Raphael Olmos Promo Pic, photo credit Fernando Righetto
photo credit Fernando Righetto

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.

Video Interview with RAPHAEL OLMOS

Raphael Olmos Make Riff, Not War EP Cover Art

Video Interview with RAPHAEL OLMOS
By Victor Augusto

Hello Everyone, It’s Victor!

I’m incredibly pleased to share with you my recent interview with Raphael Olmos!

Raphael, the founder/guitarist of Brazilian Thrash Metal band Kamala, is about to release his first solo EP “Make Riff, Not War”. I talked to him about this new EP and how the constant tours by Kamala, in Europe, are helping him and the band reach new heights outside of Brazil.

I would like to take this opportunity to thank Raphael very much for his time!

I hope you all enjoy the interview.

RAPHAEL OLMOS Video Interview by Victor Augusto

Background songs by Kamala and Raphael Olmos. All Rights Reserved.

Kamala – Eyes of Creation
Kamala – My Religion
Kamala – Wake Up
Kamala – Believe
Raphael Olmos – Dealing With Pain
Raphael Olmos – Jacaré
Raphael Olmos – A Fake Leader In A Real Chaos
Raphael Olmos – Riffle
Raphael Olmos – Hope



Raphael Olmos – ‘Riffle’ (Official Video)

Kamala – ‘Internal Peace’ (Official Video)

Original Review of Kamala – “Live In France”

Previous Text Interview with Kamala’s Raphael Olmos and Isabela Moraes.

Previous EMQ’s Interview with Kamala

Raphael Olmos Promo Pic

Disclaimer: This interview 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.

Nervosa – Perpetual Chaos

Perpetual Chaos Album Cover Art

Nervosa – Perpetual Chaos
Napalm Records
Release Date: 22/01/2021
Running Time: 44:37
Review by Victor Augusto

Hello everyone. Here I am again to repeat something that all of us are completely tired of reading in my reviews, but today I must repeat it here… The lack of professionalism!!! Yes! This phrase is my biggest complaint about Brazilian bands. We have hundreds of killer bands releasing astonishing albums, but I can count on both hands how many are really working to be a professional. Nervosa are, for sure, one of the best examples of professionalism that have appeared here in the last decade. I won’t go deeply into details of what the bands should or should not do, but, if there is one thing that I have to mention, that summarizes Nervosa’s work ethic over the last 10 years, then it is their total immersion in living and breathing the band. Investing 100% of your time into a band is something that I admire greatly. Everything that the band have achieved is purely the result of this work. Ok, now I am feeling better!

The new Nervosa Age! I won’t enter into details of everything that happened last year. Nervosa was a Brazilian power trio, two members left and guitarist, Prika Amaral rebuilt the band very quickly to focus on this album with three more girls from different parts of the world. My honest congratulations go to Prika, the new members and also to the old ones. You haven’t made a soap opera of this split, as most bands do after a huge breakup, at least in Brazil. It is a new era for all sides and the focus is on the new material and the future. I have full respect for both sides! So, now I’ll cut my smooth talk and focus on what really matters, the music.

Is “Perpetual Chaos” the best Nervosa album? Maybe…it is hard to say, considering that every fan of Heavy Metal could have a different taste for music and I respect that. At least for me, I always saw Nervosa as a band full of energy. Great energy on stage, great energy to spread Heavy Metal, great energy to spread their name all around the world, also to spread the Brazilian scene (Have I already said the word professionalism?). Despite my huge admiration for the band, I must confess that I wasn’t a huge fan of their music before. I felt that something was missing; even though they released three incredible albums before this. When I pushed the play button for this one, I immediately heard something mind-blowing, and the word technique was the first thing that popped into my head.

Please, don’t misunderstand me, the previous albums were still amazing, but there is a natural evolution and the new line-up has brought what I think was the missing piece of the band’s sonority. Starting with the only original member remaining, Prika Amaral. Her playing is insane here ! So many incredible guitar riffs! Maybe she had a greater liberty to explore different lines, being the only guitarist in the band for such a long time. She has explored the Thrash Metal style that even incorporates a few aspects of Death Metal, like in ‘Kings Of Domination’. Her solos are short in a very precise Andreas Kisser (Sepultura) way of playing, as you can hear on ‘Pursued By Judgement’.

Of course, she has the incredible Mia Wallace on bass who amazingly fills the absence of a second guitarist. Mia’s bass is not as loud as on previous Nervosa recordings, but it is still clearly heard and she is more present on the groove. Different arrangements, but with new purpose! Moreover, Mia sounds very aggressive in her role.

Vocalist Diva Satanica has an incredible range in her screams, from the low guttural up to the ripped vocals. Her versatility has offered more interpretation and more options to create new ideas for this album. Her singing on the chorus of ‘People Of Abyss In Hell’, alongside the amazing rhythm guitar and bass is incredible. You can hear many guest singers, including Schmier from Destruction (who is also the godfather of Nervosa from the early days of the band) on ‘Genocidal Command’. Erik Ak on ‘Rebel Soul’ makes the vocals even more enjoyable by his totally different kind of voice in Nervosa music. This track also shows a more melodic side to Nervosa.

Now here is the highlight of this new Nervosa era. Eleni Nota! What a killer drummer! If you consider that Nervosa have had many incredible drummers in their line-up, it could have been the hardest job ever to find someone to fill this seat. Eleni has not only filled it, but she has exceeded all expectations. Thrash Metal beats, blast beats or double kicks like in ‘Blood Eagle’. Even Hardcore beats like ‘Time To Fight’ are present here. Everything is played with a lot of aggression and technique. Everything is even better with the organic drum sound that even reminded me of Igor Cavalera on “Chaos A.D.”. I have listened to this album more than 10 times and am sure that Eleni could easily perform amongst the best Heavy Metal drummers if the world. Congrats Eleni Nota 10*

The versatility of the band is well defined by all the styles they are able to perform in an astonishing way. “Perpetual Chaos” is a show of aggressiveness and technique. From the fast, opening track ‘Venomous’, with a killer intro riff, passing by the cadenced ‘Godless Prisoner’ through to the obscure riffs of ‘Under Ruins’ that ends the album, you will hear incredible compositions. The Hardcore/Metal ‘Time to Fight’ made me imagine the band destroying the entire venue of an open-air festival, whilst closing an insane concert.

An Experienced band? Yes, it is the main impression here; even though the team is brand new. There is such a killer chemistry between them all. I am glad that Nervosa have showed that they are still a band that makes all Brazilians proud to see a new worldwide famous group after all the great names that have come from here. Respect and admiration define this. Respect for everything the band has been working for and admiration that they stay strong and look to the future, not the past. I cannot imagine what they will achieve when they tour this album (as soon as it is possible).

Parabéns Nervosa!

*It is just a silly joke from a silly reviewer because the word Nota means grade in Portuguese.

‘Under Ruins’ (Official Video)

01. Venomous
02. Guided By Evil
03. People Of The Abyss
04. Perpetual Chaos
05. Until The Very End (feat. Guilherme Miranda)
06. Genocidal Command (feat. Schmier)
07. Kings Of Domination
08. Time To Fight
09. Godless Prisoner
10. Blood Eagle
11. Rebel Soul (feat. Erik Ak)
12. Pursued By Judgement
13. Under Ruins

Diva Satanica – Vocals
Prika Amaral – Guitar
Mia Wallace – Bass
Eleni Nota – Drums


Nervosa Promo Pic

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.

Interview with Victor Regep of Deathgeist

Interview with Victor Regep of Deathgeist
By William Ribas

Hello everyone. It is Victor here. I hope you are safe and ready to have a good 2021, considering all the issues from the last year. Well, as you can imagine, the Ever Metal team works to spread Heavy Metal and Rock Music around the world and we share the passion that is music. Along this path, I make new friends that I can even call them as brothers and sisters. During my previous work with Brazilian websites and magazines, I made friends and we still work together, no matter if we are in different places.

My brother William Ribas (Master William as I like to call him), is one of these people and he is very well known for his incredible interviews with great bands from all around the world. He has already interviewed bands from the Brazilian underground up to names like Accept and Saxon. During his short hiatus off work as reviewer/interviewer, he was open to collaborate with Ever Metal and he had the idea to interview the Brazilian Thrash Metal band Deathgeist, who he has been a fan for a long time.

We have already done an EMQ’s with them, if you want to know more of their history, but, for this interview, William asked questions more related to their albums and composition.

Thanks a lot William for your amazing work and Victor Regep for his time answering. Enjoy…

William Ribas: Deathgeist was formed in 2016, and immediately caught the attention of the most nostalgic fans, especially from the audience that loves a crazy mosh pit. Have you ever imagined you would have such a good reception around the world?

Victor Regep: I honestly did not imagine. But it was very gratifying for Deathgeist’s first album, to be considered one of the best albums released in 2017. This gave extra motivation for us to give continuity and inspiration to develop new works.

William Ribas: In 2017, the band released their self-titled album. It is a raw and direct album, with a drier production, that hits our faces straight ahead. For many fans, this album is a protest from the underground against all the “robotic” music that increasingly takes over the heavy metal scene. In your perception, how do you analyze this debut? Is there anything that you would change in it?

Victor Regep: We were immensely proud and satisfied with the result of our first album. I think the moment was the same, and we were just getting started. When I joined Adriano Perfetto to set up the band, we wanted to do something direct and “raw”, without many frills. We wanted Just a heavy album that could reach Thrash Metal fans. And I think we did it.

William Ribas: Still talking about the first record. Several tracks deserve to be highlighted such as ‘Day Of No Tomorrow’, ‘Thrash Metal Fire’, ‘Ghost Of Torture’ and ‘Mass Holocaust’, for example. All these songs bring a set of factors that are the great riffs, a very well worked instrumental and finally are “chewing gum” in the choruses, that is, a banquet for the shows. When you are composing, is there a concern about how the music will sound live in front of fans?

Victor Regep: Oh yeahhh, thanks for the compliments. In a way, we really thought about leaving a certain riff or some chorus more striking, always thinking about how it would sound live at shows. It is a very interesting way and, not escaping the purpose, to compose the songs.

William Ribas: The second album “666” came out in 2019. It was a necessary evolution for the band to keep growing. Before we talk about the songs, it is inevitable not to ask. The album’s title is simple and impactful, but I am curious about what the message was behind this title?

Victor Regep: “666” basically talks about, the moment when the church occupies a nation and puts fear in people. In fact, they are the antichrists. They use religion to oppress, to implant a culture of fear in people, and to say that all that they preach is “in the name of God”. Many things in the world have been delayed because of religion. And as if that were not enough, they still implant a religious fascism without respecting an opposite opinion.

‘666’ (Official Lyric Video)

William Ribas: “666” is a continuation of what was showed in “Deathgeist”. The sound follows 80’s thrash metal, but I could feel that you risked more, adding more melodies with a record sounding not so old school. How was the composition process for this album?

Victor Regep: Yes, this album made it possible for us to explore as much as possible with rhythmic varieties and more worked melodies. It generated a fascinating result at the end of that album. We are very proud of that.

William Ribas: Another positive aspect in “666” is the instigating cover art, which rescues that thing from you to just go to a store, look at the design of the art and you immediately want to buy to check how the sound is. Can I say that the band definitely created their own “Eddie” to stamp the t-shirts and future albums?

Victor Regep: Yes of course!! All of us in the band are big fans of established bands like Iron Maiden, Megadeth and Kreator and they all have a mascot that. In the past, we used to go to record stores and we were fascinated just to see the album covers of these bands. It also made us create our own mascot.

William Ribas: When you created Deathgeist, your main idea was rescuing a most direct thrash metal, something that Bywar did too. I believe that all the steps so far in these two releases have been very well thought out. How is the dynamic behind the scenes with promotion and all the work the band has to do when it is not playing or recording?

Victor Regep: Yes, at first, Adriano and I were trying to get back to the “magic” that we had in the days of Bywar. Of course, with the new members that are Fernando Oster and Mauricio Bertoni, it opened up many paths for us not to be just a band that plays at shows and records in the studio. Today, we think like a company, there is a great need for innovative and entrepreneurial ideas.

William Ribas: You were working on shows to spread “666” when Covid-19 appeared and stopped everything. Things so far are moving slowly in the music industry. Few shows are happening, and everything is uncertain. For the band, how are you dealing with these new logistics to keep the name of Deathgeist growing?

Victor Regep: It was like I said earlier. There is always a need for new ideas that can be added to the band in some way. This world pandemic took us by surprise. We were motivated and excited about 3 tours that were going to happen to us in 2020. But unfortunately, we had to cancel everything. On the good side of all this, due to the social isolation that occurred, we managed to compose our third album that we are already recording. And the forecast is that by mid-May or June 2021, it will be launched. And I can say that it is simply fabulous.

William Ribas: The band has just released a new single ‘Curse Of The Mandrake” and it is the band’s first single featuring Fernando Oster, drummer for Woslom, who joined recently. I noticed a more organic sound on the drums and more melodies in this song. How was the creation process and what changes did you feel in the sound with this new line-up?

Victor Regep: Fernando is a truly kind guy and an excellent drummer. When Adriano and I presented ‘Curse Of The Mandrake’, he managed to give a new look to the rhythm part. He’s a meticulous guy and he wanted me to look like him, without breaking Deathgeist’s songwriting standards. Everything went very well and the result was better than expected.

‘Curse Of The Mandrake’ (Official Video)

William Ribas: To finish, “Deathgeist”, was a kick in the ass of who is accommodated and “666” is the evolution of it. It is common to say that the third disc is always the most important because it shows what the band really came for. Therefore, what can we expect from the next act?

Victor Regep: Really “666” was an album that we thought to “wake up” the headbangers (laughs). What I can say is that this will be one of the best jobs that we have developed. There will be surprising things, but without running away from our Thrash Metal theme. The fans will be very happy with this album, I promise.

William Ribas: Thanks for the interview; the final space is all yours.

Victor Regep: I would like to thank the entire Ever Metal team, Victor Augusto and William Ribas, for the great opportunity that you are giving us to show our work. We hope that this year 2021 will be different, and that we can return to our normal activities. Take care and take care of the people you like. Stay at home!! Soon we will be together again at the concerts. Peace! ✌ 🤘


Check out our EMQ’s interview with Deathgeist:

Disclaimer: This interview is solely the property of William Ribas and Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Video Interview with SCARS

Video Interview with SCARS
Interview, Recording, and Editing by Victor Augusto

Hi Everyone

In September 2020, Victor travelled to São Paulo to meet and interview Legendary Brazilian Thrash Metal band, SCARS. Ever Metal are beyond proud to Premiere that interview.

They talk about their history and incredible 2020 comeback album, “Predatory”, as well as depression, suicide, faith, and their loyal fanbase. They also allow us a glimpse into a SCARS rehearsal.

I would like to send my sincerest gratitude to the band for their time/passion, and to Victor, who has spent MANY hours and days, over the past few weeks, putting this video together.

SCARS Video interview by Victor Augusto

I would also like to thank DJ Jet (Gimme Metal/Sick Drummer Magazine) and
DJ Joker (Metal Messiah Radio) for their contributions.

I hope you enjoy it as much as I did.



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