Algebra – Chiroptera

Chiroptera Album Cover Art

Algebra – Chiroptera
Unspeakable Axe Records
Release Date: 19/09/2022
Running Time: 42:42
Review by Victor Augusto 

Sometimes I catch myself thinking if I really know about music or if I’ve done right when I decided to start on this beautiful journey of music reviews. The reason for these strange thoughts is because I have Thrash Metal as my favourite musical style, not only to review, but also for listening at home or during my long runs on streets. I guess the music structure and the guitar sound offers a good adrenaline, but considering how much I love this style, I still feel that I don’t know it deeply.

When I got Swiss band Algebra to review, my first impression was that they offered amazing material and at the same time I thought how I could describe them, but not only using the basic adjectives like “They are heavy, brutal fast and pure Thrash”. If you already know them (sadly I’d never heard of them before this review) you are probably tired of hearing these words, considering you all know they are good. So let me try to give my overall view of their new material.

I felt that they tried to keep their roots in the European way of playing Thrash, like their compatriots of Coroner do. It means a sound that flees from that Bay Area formula even though they have different elements depending on which country the band is from in Europe. A small example of that is how British Thrash tends to bring few classical elements for their music and maybe bands from other countries bring things from that scenario. Well, it is an impression I have, considering my lack of knowledge about it and I am not sure if Algebra tried to do the same. 

Despite all the gibberish I said, Algebra tries to navigate over everything I mentioned. Ok, I said they are more to the Swiss elements that I know from Coroner, but you still have that pure classic Thrash as the first song ‘Resuscitation’ (after the intro ‘The Fallen’). Another example is the beautiful wall of guitars allied with a fast double bass, like in ‘Kleptomaniac’, that reminded me of the musical structure of Exodus, for example. A killer track, by the way. Probably the one that I most enjoyed. 

Another interesting detail is how fearless they are to explore things that even the most loyal fan could complain about. It starts smooth and early on the album, right on ‘Constricted’ with a few clean voices which is an escape from the heavy sound so far. This freedom to not be chained only to brutality. ‘Eternal Sleep’ also shows a more ‘laid-back’ approach that even gives a small sensation of a good Punk Rock or Hardcore moment, diluted among all the heaviness. 

Overall, I loved the addition of all elements of a good Thrash band, no matter from which part of the world these influences came from. All the sonority apart from their main style just came to make it even more creative. “Chiroptera” is a mature album from a band that have been releasing materials in a good frequency throughout the last decade. Probably their experience of being on road helps to increase the amazing results.

‘Kleptomaniac’ Official Audio 

01. The Fallen
02. Resuscitation 
03. Kleptomaniac 
04. Constricted 
05. Accomplice 
06. Chiroptera
07. Suspect 
08. Eternal Sleep 
09. Losing Touch 
10. Burn the Bridge
11. The Great Deception

Ed Nicod – Vocals and Guitars
Nick Abery – Guitars
Victor Brandt – Bass
Florent Duployer – Drums


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.

DeathSlaüghter – Passing Through the Valley of Sodomites

Passing Through the Valley of Sodomites Album Cover Art

DeathSlaüghter – Passing Through the Valley of Sodomites
Release Date: 03/08/2022
Running Time: 49:28
Review by Victor Augusto 

Welcome to one more lyrical adventure through my useless writing about this musical world that we all love. Today, my adventure will be with for a specific genre that I haven’t reviewed for years. By the way, this is my first time exploring it for Ever Metal, but I confess that it was good to flee from the usual music and sonority that I always write about. Considering that I am not the most expert person on the team where Black Metal is the subject, I will start my words with an apology in case I commit any mistake or misunderstanding over my interpretation. 

But before I start, I must mention a few details that helped to create my impressions about this material. DeathSlaüghter is a considerably young band from Brazil, but this isn’t their first full-released album. Let me remind all readers of Ever Metal that Black Metal is not a popular style over here in Brasil, despite the fact that we had great names such as Sarcófago in the past. Other genres became bigger both here and globally – after we had important names like Sepultura for Thrash and Krisiun for Death Metal, but Black Metal is still growing in our land, although I now see many bands appearing over the last few years. 

Another important detail about the band in question is that they consider their style as “Occult Metal” and for me, it opens space for more elements that could be considered blasphemy for fans of the Black Metal genre. First, they have a considerably good standard of production for this genre and style. It is not the best recording sound, but we can listen to the entire album without going crazy with that creepy sound you get from some of these bands. 

Maybe for the composition process, they enjoyed the kind of freedom to add things like solos, as we can hear ‘Karteria’. Right after, on ‘Bestiality’, we even have passages of keyboards that more reminded me of the old and good Hammond sound than a typical symphonic Black Metal keyboard sounds that appeared after the year 2000. The bass sound is very present and loud in the mix as well, which also escapes from the pattern of Heavy Metal in general – and it also has good moments of highlight like in ‘For the Glory of Roma and Sparta’.

As I said before, it looks like freedom is the key for them, because after the guitar intro on ‘Receptacle’, this song flows with a soft and even dancing cadence, like Punk Rock played in hell, with dark moments of screaming. By the way, “hell” and all other common concept words from this genre don’t appear a lot here and the subjects are about dark themes overall. One interesting thing is the absence of vocals. I mean, it’s not an instrumental album, but you can hear passages more like narration or whispers, but not so much of the screamed vocals. When we have do these screams, they are very hidden among the instruments. 

Considering that they offered a reasonably good production quality, as I’ve already mentioned, my impression is that the band really wanted to have this sound and it is a positive aspect for them when we think of a group to create their own identity. For sure it is not my favorite genre, but if they achieved their musical purpose, it is what matters.

“Passing Through the Valley of Sodomites” is dark and heavy as they want to sound inside the genre of Occult Metal. The most important is that they have offered something with a really good level of energy and the proof of it is the closing track ‘My Descendants Will Kill Your’. They also offered material that non-lovers of Black Metal can listen to entirely. 

Good job!

DeathSlaüghter: “Passing Through The Valley of The Sodomites” Full Album: 

01. Passing Through the Valley of the Sodomites
02. Karteria
03. Bestiality
04. Serpent That Becomes the Dragon
05. For the Glory of Roma and Sparta
06. Receptacle
07. My Descendants Will Kill Your


Count Demönlust – Guitars, Bass and Vocals
Truesodomizer – Leads and Keyboards
Rudimentary Light – Drums


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.

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.

Krisiun – Mortem Solis

Mortem Solis Album Cover Art

Krisiun – Mortem Solis
Century Media Records
Release Date: 29/07/2022
Running Time: 40:13
Review by Victor Augusto

What do you think about bands that are still able to surprise their fans after 30 years of existence? How impressed would you be if I tell you about a band that has never stopped releasing albums, neither has stopped touring along all these decades and they are still releasing impressive material? Do you still believe it is possible? I can assure it is and we will talk about it today. 

The mighty Krisiun! 

If you have never heard of them, they are a band of three Brazilian brothers that decided to leave behind everything in their lives to move from their small town of Ijuí, in the south of the country, to São Paulo to stay around the biggest Heavy Metal scene in Brazil. The reason for this decision was simply to put in all efforts and dedication for the band. Their brutality and fast speed for music called a worldwide attention that resulted in non-stop tours around the world, all along the decades. 

Many things have happened so far. First, they showed how fast and powerfully they can play, especially on stage, where you can see their primal energy and adrenaline. After they conquered the world with this amazing success, they even added few grooves and more cadenced rhythms to their sound without losing the brutality, mainly since the “AssassiNation” album, back in 2006. One more interesting thing is how organic and natural they started to sound in studio. They went completely against the current trend of all digitized and soulless production from many Extreme bands nowadays. OK, I have tried to summarize their path so far, because these details will be important to understand the context of this new album which translates from “The Death of The Sun” in Latin.

It is the most mature album from Krisiun, in my humble opinion. I could hear the perfect match of everything I mentioned from their past. The brutality and fast speed, but with cadenced parts. The best part is how organic and clear they sound on the album’s production. It’s beautiful to hear a real sound from a drum. Moyses Kolesne guitar’s sound is even more straight and to the point, with riffs and a good blast of heaviness. There are not so many layers of guitars that (again) could make the music a bit plastic. Alex Camargo’s bass is strongly present as well, to increase the heaviness.

Alex’s singing is very straight and to the point with his voice as well, and his anger gives a good interpretation of the lyrics on “Mortem Solis”, that somehow represents what we live and what we suffered along these last two years, but in an even darker thematic. Max Kolesne drums surprise with such a different versatility. I really love how creative he is. In ‘Necronomical’ for example, the Motörhead spirit and cadence is suddenly changed with killer drum fills that I was not expecting. At the end, this song finishes in the traditional Krisiun style. 

On this record, the way that Max put the drum fills down is a bit different from the previous one. I felt like he tried to extend these parts and it is quite interesting because among a sequence of blast beats, these drum fills can really surprise the listeners and bring their attention back, like he did on ‘Sworn Enemies’. As reference to make it clear how Max is killing his drum set here, you just must imagine the Dave Lombardo versatile style, but played by a Death Metal Drummer. Is it enough for you?

The Middle Eastern and Oriental music on ‘Dawn Sun Carnage (Intro)’ seems like an intro to a more obscure and aggressive song that goes to the end of the album, and it is a pure carnage. Musically, they kept all the key elements, but it is a bit more brutal, especially on ‘As Angels Burn’. Everything abruptly ends on ‘Worm God’.

“Mortem Solis” sounds more than brutal and aggressive. It offers excitement and adrenaline to keep us connected to the album. It also carries everything that made Krisiun so well known in the Death Metal genre, but their experience even offered a better result. They have been doing it for a long time, but as I said before, I felt they reached almost perfection now. Maybe the two years without touring due to the pandemic helped them to put out of the chest all their anger on it.

‘Swords Into Flesh’ (OFFICIAL VIDEO) 

Video interview: Alex Camargo of Krisiun:

01. Sworn Enemies
02. Serpent Messiah
03. Swords into Flesh 
04. Necronomical
05. Tomb of the Nameless 
06. Dawn Sun Carnage (Intro)
07. Temple of the Abattoir
08. War Blood Hammer
09. As Angels Burn
10. Worm God

Alex Camargo – Vocals and bass
Max Kolesne – Drums
Moyses Kolesne – Guitars 


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: Alex Camargo of Krisiun

Video Interview: Alex Camargo of Krisiun
Interviewed and produced by Victor Augusto

The Brazilian Death Metal band Krisiun became very respected among the legends that made this style so strong around the world, and they have just released a new album “Mortem Solis” after four years without new material.

Our friend from Brazil, Victor Augusto, had a chat with the vocalist/bassist Alex Camargo to find out more about the early days of the band, that is considered a legendary one, especially in their homeland. They also talked about the band’s offering.

I hope you enjoy it!


Alex Camargo – Vocals and bass
Max Kolesne – Drums
Moyses Kolesne – Guitars


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.

Sacred Sin – Storms Over The Dying World

Storms Over The Dying World Album Cover Art

Sacred Sin – Storms Over The Dying World
Lusitanian Music
Release Date: 29/07/2022
Running Time: 39:26
Review by Victor Augusto

You are probably completely exhausted to hear (or read) from me how happy I get when I discover new incredible bands through this lovely art of reviewing music. In this case, the word “new” is just a reference for how recently I discovered the Portuguese band Sacred Sin, but they have had a long journey on the musical road. My first time hearing them was when I got the EP “Born Suffer Die” that I reviewed here, 2 years ago. Still today, I listen to those songs when I run my suffered 10 kilometers on the streets, under the hot and dry weather in this central area where I live in Brazil. These songs are really like a source of extra adrenaline to keep the energy high.

At the time when I first reviewed them, I was very surprised at how good and precise they are, with a great balance between aggressiveness and cadence, considering they are a Death Metal band. This new full album helped me to understand more about their spirit and notice a few more details. But before I spread my words of love for them, just let me explain that I’ve never heard their previous materials, aside the EP I mentioned, so forgive me if I am saying some completely non-sensical things about them, which you all must be used to. So, let’s start our journey.

My first impression is Traditional Death Metal! I don’t even know if it could even be considered a genre, but it is like having the first bands from this style, but using the same good and clear productions from the newer bands of the genre. Don’t expect something extremely brutal and fast, even though these 2 elements are part of Sacred Sin’s Music. You just must hear songs like ‘Perish In Cold Ambers’ and ‘Defy Thy Master’. 

It is fast in a good measure, also carrying great solos that put value on having precise, well played notes in the perfect moment rather than just shredding the guitar with hundreds of soulless notes, as many other bands do. Maybe it brings the spirit of the traditional Heavy Metal bands, when solos were well thought out and composed, but in a Death Metal orientation.

Tó Pica and Luis Coelho show an incredible synergy when they share the changes among the solos and riffs. By the way I must highlight a small detail which was the first thing that brought my attention to their music 2 years ago. The catchy riffs. Sometimes a simple and catchy riff, allied with good melodies, can offer proper excitement to the music, and it is exactly what you will hear here.

My second impression of the music is Doomy atmosphere knitted inside a Death Metal structure! Considering the 2 years of uncertainty and darkness we have just lived on this planet, with all the consequences that the pandemic brought us, this album brings this kind of feeling. I believe it increases because when we finally had the chance to have a better life, it hasn’t happened, and we are still suffering with all the disgraces of mankind, like this war and how everything reflects on many countries. For me, ‘Skull Crushing Darkness’ is the song which best offers this feeling from their music.

Songs like ‘Hell Is Here’ show it too, with a kind of mantra being said over and over again by the singer/bassist Jose Costa. On ‘Icons Of Blood’ he does the same, but it changes to a repetitive message, like a warning broadcasted by a radio. If you close your eyes and try to imagine a picture from this song, maybe you will imagine something like a devastated city after a war, as we are seeing recently. I mean, that is what I felt, and it is not necessarily what the band is saying. The highlight on this song goes to the cadenced drum fill from Fernando Dantas, which really made this track interesting. 

Again, considering my short knowledge of a band with such a huge history, I get the impression of this good balance between Death Metal and all the darkness from our earth, that is represented by the other elements like the dark Doom addition in their music. But if I could summarize “Storms Over The Dying World”, I would say how good they are to mix all their influences without fleeing from the “Traditional Death Metal”, and keeping their own identity strong. 

Considering we are in front of a band with more than three decades of experience, it is easy to say that they really know how they want to sound, and I can assure you they sound amazing!

Storms Over The Dying World Official Video 

01. Storms Over the Dying World
02. Perish In Cold Ambers
03. Last Man
04. Hell Is Here
05. Icons Of Blood
06. Rites Of Doom And Death
07. Shroud Of Broken Promises
08. Defy Thy Master
09. Skull Crushing Darkness

Jose Costa – Vocals  and Bass
Tó Pica – Guitars
Luis Coelho – Guitars
Fernando Dantas – Drums


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.

Forsaken Eternity – A Kingdom Of Ice

A Kingdom Of Ice Album Cover Art

Forsaken Eternity – A Kingdom Of Ice
Rottweiler Records
Release Date: 08/07/2022
Running Time: 32:34
Review by Victor Augusto

Once again, I am here stuck on another introduction of my strange thoughts in the form of what most people call an album review! This time I caught myself thinking what made me pick up this band for review. Of course, the great music of these much talented musicians was a huge detail. But I think it was that the brilliant elements we are used to hearing from bands from Finland sounded interesting and it’s cool to flee from the same old Death and Thrash Metal that I normally write about. But to my surprise, despite their Scandinavian-influenced sound, they’re an American band from Portland, Oregon. 

On the band’s release info, they mention that they’re fans of bands like Children of Bodom and Dimmu Borgir. For me, these 2 bands, out of all the others they mention, could perfectly define my first impression of hearing their music. The strong layers from the keyboards alongside a shredding technique of guitars leads was the first thing that reminded me Children of Bodom. Then, the rawness of the vocal and the constant fast drum pace, going more to blast beats, are more oriented to Dimmu Borgir. Sometimes, a few of the keyboards passages also remind me of this Norwegian Black Metal band.

It’s funny, because I always saw Children of Bodom like an Evil Death Metal version of Yngwie Malmsteen. But here the band not only has them as influence, but they also have a cover of Yngwie Malmsteen’s ‘Rising Force’, to show these influences! And the instrumental ‘Sonata Concertata In Cm’ is another example of that. 

The two other bands they mention on the “For Fans of” – Vesperian Sorrow and Wintersun – explain my feelings about hearing Finnish Symphonic Death Metal with huge Scandinavian Black Metal influences. Although Vesperian Sorrow are an American band, they are Symphonic Black Metal, and Wintersun are a Finnish Symphonic Melodic Death Metal band. And again these sounds cut through and you can definitely hear their references in Forsaken Eternity’s musical direction. If you enjoy a bit of each style, you will love this album, especially with so many different elements of the genres explored. And the fact that they’ve put it all together increases the richness of their composition. 

Personally, I am not such a huge fan of these styles, but it is blasphemy if I don’t say how Forsaken Eternity have done a great job to compose such good music. Also a blasphemy would be not to mention the amazing title track, ‘A Kingdom Of Ice’, as the highlight of the album. For me, this tack carries all the best from the band in a good balance, from melody and good atmosphere, to the heaviness and fast drum speed. 

For a debut album, it’s clear they are very talented musicians. It’s a matter of time to increase their own identity, but I am sure they’re on the right path. 

‘A Kingdom of Ice’ Official Lyric Video 

01. Skywards
02. A Dark Divinity
03. Shadow Fortress
04. Endless Light
05. Forsaken Eternity
06. Sonata Concertata In Cm
07. A Kingdom Of Ice
08. Rising Force (Yngwie Malmsteen cover)

Nathan Mote – Vocals
Vladimore – Guitar/Bass
Jason ‘The Machine’ Borton – Drums
Brian Rush – Keyboards


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.

Caravellus – Inter Mundos

Caravellus – Inter Mundos
Rockshots Records
Release Date: 17/06/2022 
Running Time: 01:13:28 
Review by Victor Augusto 

Welcome back my friends to yet another review that will is so extended, that I doubt more than one person will read it! Forgive me for willingly taking up your time with this extended writing, but this magical album is so rich musically and lyrical, that is a sin to not to try my best to explain everything. The first album from Caravellus since 2012, “Inter Mundos” tells one version of history that is very representative of what we have here in Brazil, much like the soundtrack to a movie.

I have been a dedicated follower of Glauber Oliveira (the guitarist and the mind behind the concepts) since 2018 gave birth to this material. Sometimes I feel that he has probably been entered into the soul of this history, like he is part of it, and the result you will hear in the music. It’s full of interesting details to give to the listener a good sensation of what is going on. And it is not the first time he has put so much effort into something so rich, considering his last work with Dark Avenger* in 2017 where he was very present in the creative process, alongside our dear friend Mario Linhares. 

Let’s start this journey and I hope you have fun. 

Concept Context

Arteiro, the main character had his parents killed by the father of his love, Aurora. His parents were servants of Aurora’s parents in a village, in 1938, and they both grew up very close to one another. After Aurora’s mother death, her father thought it was Arteiro’s mother fault, accusing her of poisoning them and the darkness came to that village. Aurora was sent to another place outside of Brazil and Arteiro’s parents were punished and taken away from Arteiro. This album represents what happened ten years later, when Arteiro is preparing his vengeance, but he didn’t expect that Aurora was to return to that land after so many years without seeing her.

The story takes place in the Northeast of Brazil, where there is a typical sub-tropical environment called Caatinga. People that live in small villages, far from the big cities, are called Sertanejos in this part of the country. Always when I use the term Northeast influence or Northeast music, I am referring to the traditional music which comes from those people. By the way, the band is from Recife, also in Northeast of Brazil, which explains the reasons behind an album that is so deep in this specific culture. 

This part in Brazil is marked by poverty and by the extreme hot and dry weather that used to kill many people through starvation in the past. It is also a place that has been totally abandoned by modern politics. It has made those people very strong, almost like warriors, who fight just to survive in their daily lives. Nowadays they have a much better quality of life, despite still having many issues, as we all do in Brazil overall. This kind of story was very common to hear about until a few decades ago. 


‘Visagem’ opens with a very typically Brazilian North Eastern acoustic song, with Arteiro telling how he has had many dreams from a kind of Oracle. He is learning to interpret them and he receives the new of the arrival of Aurora.  ‘Knight of the Sun’ is a reference to sun, one of the biggest symbols for anyone who lives in the North East, because of all suffering It causes, as I mentioned previously. In this case is more like a guidance for Arteiro, as he wants to be the guardian to the suffering people in that village, commanded by the tyranny of Aurora’s father. The Sertanejo / North Eastern influence now is clearly audible in Glauber’s solo in the intro, but the aggressiveness of the music goes more towards Progressive Metal, the main style of the band.

‘Panis et Circenses’ is the start of the rebellion, when people are tired of that tyranny and ‘Triumvirate’ is the beginning of planning to execute the war. It also shows Arteiro’s anger for revenge when he shows his love for his father and mother, that he is sure that they are probably dead. But also, a lament because he knows that his long-time love Aurora came back to the village. He is determined to kill her father, who is responsible for the death of their parents, but he is living a duality on his thoughts even though he is determined to go forward with his plans. So far, we have a good Progressive Metal feel in good measure, without that exacerbated speed or excessive technique that such bands can overuse.

Right after, ‘While I Am Still Here’ appears as a short ballad, with the singer Daísa Munhoz playing Aurora when she finally meets Arteiro, after many years without seeing each other. This time, his love for her makes him immediately give up any thoughts of revenge. He decides to flee with her, but he is shot by those who considers him a traitor in the current reign of tyranny (‘Ambush’), while riding a horse in preparation to travel. Covered in Arteiro’s blood, the horse continues riding alone and Arteiro flees, crawling, to a dark cave where he meets Death, but not, as you would imagine, as one of the four horsemen.

Guitarist Glauber Oliveira describes this part on ‘Memento Mori’ as follows: “Death appears to Arteiro without a sickle or hood. She arrives smashing bones, in the form of a jaguar, named Caetana, and her three hawks: Sombrifogo, Caintura and Malermato. This personification of Death was created by the fantastic Brazilian writer, Ariano Suassuna. We have inserted it as a tribute to this great Brazilian writer.” By the way, this description of Death is what you will see on the cover art of this album. 

Here, Daniela Serafin interprets Death’s dialogue with a poem in Portuguese, where she offers a deal to him to see the light of the sun again. With a kind of wine made of Manacá and Jurema (plants), they seal the deal.

So he survives, but he stays stuck in a dimension out of reality – an Umbral*. Here, in this place called Inter Mundos (which means something like “between the worlds” in Portuguese), the musical heaviness personifies darkness and suffering, like as in the Catholic purgatory, and becomes a strong theme. But at the end we start to hear more elements very typical of Brazilian music. This includes some very dance-like elements, by the way. Almost like a mix of jazz with Baião (one of the many North Eastern typical music forms) played by a Heavy Metal band.

‘Elegia’ has the famous popular singer Elba Ramalho as Celeste, who became like a mother for Arteiro after he lost his parents. The unique voice of a 70-year-old lady touches our ears with a lament of a mother after realizing that her son is dead. Celeste sings it after seeing Arteiro’s horse arriving alone, covered with blood from Arteiro. It is like a funeral, but this lament will be key to the later turn of events.

Somehow, Arteiro’s Death was a spark to explode a rebellion that all the village had wanted for a long time against the tyranny (‘Insurrection’) and they win this battle, fulfilled by anger, while Arteiro stays lost on another plane or dimension in Inter Mundos’. From now one, the heaviness and darkness as a metaphor for the death and war give space to much happier style of Brazilian percussion and music, maybe like a kind of hope to Arteiro find his way back. By the way, what a beautiful Maracatu percussion is used in this song.

Somehow, Arteiro can feel and hear the lament from Celeste (mentioned on ‘Elegia’) like a guiding beacon and he finds his way following… guess what?… The sun, his king and source of energy, that was hidden behind a rock as the gate to left Umbral. Even this kind of dimension has similarities to Caatinga, so the regional music sounds aremore present to describe it, along with a bit of Progressive, with many rhythmical changes to offer a kind of confusion on your mind. Probably it represents the confusion that Arteiro was living while he was lost.

Arteiro makes it back to the real world, and how better to describe Arteiro waking back up for life, than during a sunrise, on the arms of his love Aurora? Yes, with a ballad, of course! And this is what you hear on ‘So Near, So Far’. Here, he enjoys the moment, expecting that Death will take his soul soon, at the end of the dawn. He is so close to her, but at the same time he will be so far away when Death arrives. But Death never comes out after the sun has finally risen.  

So, everything ends on the acoustic ‘Vynno D’agua’, where Arteiro learns the lessons of fulfilling his heart with love and carrying no more resentment. Maybe this redemption made Death postpone taking his soul. Here we have the last piece of the purest Sertanejo chant. 

Overall View

Many bands have released conceptual albums covering different subjects, sometimes more to fiction and other subjects, like many of the gods of Progressive Rock have made over the years. Here we have a historical snapshot of events that used to happen in this part of Brazil over the centuries – less fiction and more reality for many. We have the elements that makes you immediately know that it is a Progressive Metal album, but nothing too exacerbated. Sometimes things are easier listening, more like Progressive Rock, which makes the more than one hour run time feel cool and easier to digest.

My honest congratulations to Glauber for his guitar work and concept. Daniel Felix gives many amazing keyboard parts, as well as Emerson Dácio offering good bass and rhythmical parts. The drums of John Macaluso and Rafael’s percussion work are an important component, considering all the percussion we know from Brazilian music. 

I can’t forget to mention Leandro Caçoilo. What superb work he’s done. I’ve already known he is that kind of musician who transforms everything he touches to gold as a singer, but his performance in this album goes further still. There are elements totally different from Heavy Metal, especially when he sings the North Eastern music elements in Portuguese.

The Brazilian elements here go really deep into what North Eastern culture can offer, and for me it is the greatest thing on “Inter Mundos”. This is so different from the classic albums from other Brazilian bands that have already used similar elements. Caravellus went deeply into only one part of the many different cultures we have here. For me it makes this album unique. Maybe a masterpiece.

*Dark Avenger was a very influential Heavy Metal band in Brazil that sadly quit their activities after the death of Mario Linhares, one of the greatest voices in the world and my first review at Ever Metal was a small tribute to him.

*Umbral is a term from the spiritualism of Allan Kardec which could be named as Low zone or threshold. Like the Purgatory.


01. Visagem
02. Knight of The Sun
03. Panis et Circenses
04. Triumvirate
05. While I’m Still Here
06. The Ambush 
07. Memento Mori
08. Incantation
09. Elegia  
10. Insurrection
11. Inter Mundos
12. Ouroboros
13. So Near, So Far 
14. Vynno D’agua

Glauber Oliveira – Guitars
Leandro Caçoilo – Vocals
Daniel Felix – Keyboards
Rafael Ferreira – Drums
Emerson Dácio – 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.

Sacramentia – IX

Sacramentia – IX
Release Date: 14/04/2022 
Running Time: 39:53
Review by Victor Augusto 

How many friends do we discover on this musical journey of being an album reviewer? Yes, it is very weird how I start my reviews, but it is important to highlight how happy I am when I discover good bands, where I can become friends with the members, after being connected with them through music. And today’s subject are some of them – Sacramentia – young guys from the Brazilian Heavy Metal scene, bringing with them another release. Considering they have been on road since 2019 and haven’t had much time, it is honorable how they have been able to record their second release so fast, after the great repercussions of their debut album. 

If you could read my review of their previous album, I’d probably tell you how these guys work hard to promote their music and how hard it was to record. They are from a small city, without good studios, and they managed some sort of magic using the equipment they had available for it. The result was reasonable production that offered a kind of rawness that fits well on their sound. Sometimes having a raw production brings this atmosphere, and the band managed to balance something that was organic, but still sounded good enough to be released.

The biggest change for “IX” was the concept although, there is still a relation to the dementia of those who are part of the sacred*. Here, they went deep into the “9 circles of hell” from the book Divine Comedy (Dante Alighieri). Each song is one of these circles, that are connected sometimes amongst themselves. Basically, we have Dante and Virgil facing all the darkness. Of course, it easily could be connected to the sins we know from the bible, and if you go deep into the book, you can find this relation.

The clean and calm notes suddenly fade out to begin the first part of this saga, on the opening track ‘Between the Knowledge and the Valley of the Forgotten’ and it brings feelings of despair and confusion about what Dante is seeing or living in this first stage. 

The band shows good versatility and creativity with many rhythmical changes, like in ‘Condemnation’, where the brutal Death Metal sounds insane with the addition of a good solo. 

Musically, they created an atmosphere like a soundtrack for each episode (or circle). Most of them are brutal and fast songs, but sometimes we have a more depressing and desperate vibe, as you can hear on ‘Whispers of Repentance’, like is representing someone stuck in the darkness. Listening to this album, I had the sensation of listening to the Austrians of Belpheghor, but more Death Metal oriented, also with a different concept, because we have the specific theme from Dante.

I don’t have great knowledge about the book and the history, but listening to ‘Sink’ I felt that this is what makes difference in this saga: to be able to leave hell, is how you can change the wrongs you made before. In this song, Dante is fleeing on a river of blood, full of sinners who are suffering there because of their wrath in life. When you read the lyric for this song, there is a part written “Drowned by their feelings” that made understand that these sinners keep sinking on their own wrath. It is interesting how we can see an analogy of our real life in many songs.

Although many great bands have already recorded albums inspired by Divine Comedy, like Sepultura and Scars here in Brazil, Sacramentia went deep in just one part of the book (Hell), and they were able to be free to explore it. The lyrics and the great vocal interpretations are all from Renan Bezan. The team of guitarists André Guimarães and Guilherme Mendes offered a wall of heaviness, but with good melodies. To keep the energy high all along the record, Leo Michelazzo plays at a good and fast pace on drums, almost on every track, and last but not least, Guilherme Melo’s bass, which always increases the doomy spirit of their musicality.

I am glad to see bands working hard to offer a good album. We all know how hard it is in some situations, but all the passion to keep doing it is something that I do admire in Sacramentia works. I hope you all enjoy it as much as I am enjoying it. 

See you in Purgatory, because it is not the end*.

*The name Sacramentia comes from the combination of the words “SACRA” (from Sacred) and “DEMENTIA” which reflects religion when people blinded by faith become sick by it. 

* The lyrics of the last song ‘In Absentia’ finish with the words “This is not the end”, which represents Dante going to Purgatory after leaving Hell.  Maybe it also means that the band could record the next album talking about it. 

‘In Absentia’ Official Video 

01. Between the Knowledge and the Valley of the Forgotten
02. Condemnation
03. Halls of Cerberus
04. Convicted by Gold
05. Sink
06. Beyond the Eyes of the Herectics
07. Whispers of Repentance
08. The Laws of Malebolgia
09. In Absentia

Renan Bezan – Vocals
André Guimarães – Guitar
Guilherme Mendes – Guitar
Guilherme Melo – Bass
Leo Michelazzo – Drums


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.

ChrysalïD – Back On The Streets

Back On The Streets Album Cover Art

ChrysalïD – Back On The Streets
Self – Released
Release Date: 01/04/22
Running Time: 48:57
Review by Victor Augusto

The passion for Heavy Metal! Maybe It is the most dated cliche to start a review with, but there are still people who truly believe in it, and I think that it totally represents the album to be reviewed here. To explain this, I need to start by mentioning the name Emannuel Thorsen. This guy is a Brazilian musician that keeps his dream alive and works so hard to make it become possible. Even when he started his musical career in the Brazilian band Hell Bound, he never stopped working on this project ChrysaliD. Now he lives in England and has become the singer of a band called A Fool’s Mockery, (you can also check the review of them here at Ever Metal.) Now, the first work from ChrysaliD has finally seen the light of the day and has hit the world full of incredible musicians from all around the globe.

Ralf Scheepers, Timo Tolkki, Tim Owens and Steve Grimmett. How’s that to start? Is it enough for you to enjoy this album? Well, they are just four names that are part of this album. Every track has a guest musician putting their own identity there.  To make this hard work possible, Emannuel had his long-time partners in crime Fabricio Rocha on guitars and Guilherme Peixoto on bass, both from Hell Bound. He also has his new partner in crime Jase Tyler who plays drum in A Fool’s Mockery. 

The first track after the intro narrated by Rich Daigle is ‘Words To The Wind’, with the powerful voice of Tim Ripper Owens to give even more heaviness to the band. Then we have a masterclass song called ‘Running Against The Time’ with Ralf Scheepers doing a killer job. He also joined the band for a video for this track. Steve Grimmett comes right after on ‘The Passage’ which has an amazing cadence. So far, we’ve had enough name dropping to make any Metal Head lose their breath and we are just on the 4th track of the album. 

The versatility of the guest musicians goes further. There is a kind of tribute to the local legends of Emannuel’s hometown (Brasília, the capital of Brazil, also my hometown) having people like Fellipe CDC (maybe the most important person that support our local music) Itazil Júnior (Flashover), Adan Hessen (Nightwölf) and many others take part. The difference now is how they make a space for something more aggressive, as you hear on ‘Back on the Streets’, with a mix of guttural and melodic voices provided by musician who play in bands with a different style from ChrysaliD.

It is hard to talk about all the great musicians and songs here. My favorite song is ‘Running Against The Time’, but if I could mention a highlight moment, it is the closing track ‘Hell Bound’ for sure. This song was originally recorded by the Hell Bound band on their debut album. Alongside Emannuel, Fabrício and Guilherme in this version is Tim Owens aggressively singing on it. This would have been a dream coming true for those who have music as a passion, which I’m sure these guys do.

I must mention how incredible their composition work is on this album – to compose so much music that could perfectly receive all the guest musicians they use, crossing so many genres. Sometimes you will have something more Power Metal, with Timo Tolkki’s influence, like in ‘Screams’, but also something very introspective like the acoustic ‘Heart Breaks Free‘ with a beautiful solo by Bill Hudson.  

I am used to be skeptical with projects that so many different people are part of, because I feel that most of these works just sound confusing and without space for every musician to really put their identity on. But here it is different. ChrysaliD is not a young band, despite “Back On The Streets” being their debut album. They have been working on it for more than a decade. As result, you have a mature and brilliant album for lovers of a good Traditional Heavy Metal. 

It is brutal, fast and technical. Everything well balanced so it doesn’t sound too massive. For me, it is a memorable work. Please, take some time to listen to it. 

‘Running Against The Time’ Official Video:

01. Welcome Back
02. Words to the Wind
03. Running Against The Time
04. The Passage
05. Your Voice Remains
06. Back on the Streets
07. Chrysalïd
08. Screams
09. Heart Breaks Free
10. Freedom Call
11. The End
12. A New Silence
13. Time to Live
14. El Wolf
15. Caprice N°1 In G Minor (For Mallu)
16. Hell Bound (Hell Bound cover)

Emannuel Thorsen – Vocals
Jase Tyler – Drums
Fabricio Rocha – Guitars
Guilherme Peixoto – Bass

Narration on track 1 by Rich Daigle. 
Additional vocals on track 2,10, 16 by Tim Ripper Owens. 
Additional vocals on track 3 by Ralf Scheepers. 
Additional vocals on track 4 by Steve Grimmett. 
Lead vocals on track 5 by Eric Bruce. 
Additional vocals on track 6 by Laura Guldemond, Fellipe CDC, Junior Nnv, Itazil
Additional vocals on track 7 by Olöf Wikstrand. 
Additional vocals on track 8 by Timo Tolkki and Aldeir Donovan.
Additional vocals on track 10 by Polibio Aguiar. 
Additional vocals on track 11 by Marius Danielsen and Leandro Caçoilo. 
Additional vocals on track 13 by Rick Janke. 
Lead vocals on track 14 by Terence Holler. 
Additional vocals on track 14 by Marius Danielsen. 
Lead vocals on track 16 by Ronaldo Silva. 
Guitar solo on track 4 by Timo Tolkki. 
Guitar intro on track 4 by Gustavo Freitas.
Acoustic guitar solo on track 9 by Bill Hudson. 
Acoustic guitar on track 12 by Waldson Farias. 
Guitars on track 15 by Fabricio Rocha. 
Guitars on track 16 by Adan Hessen.
Bass on track 2,6,8,10 by Thomas Hewson. 
Bass on track 4 by Michel Brasil. 
Bass on track 11 by Przemyslaw Przytulo. 
Bass on track 13 by Ricardo Araujo. 
Bass on track 16 by Jean Oliveira. 
Drums on track 6,16 by Fabio Alessandrini.


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.