Video Interview With Venomous

Video Interview With Venomous
By Victor Augusto

In February of 2021, I was lucky enough to discover another brilliant Brazilian band to review. More than just loving their music on a first listen, I was astonished just how many details the EP “Tribus” offered, despite only having just four tracks on it. The lyrical subjects, the cover art and the music were so rich that I spent way more time than usual to analyse and try to describe them. 

Today, more than a year after that, I am glad that I had the chance to talk with vocalist Thiago Pereira and the Guitarist Ivan Landgraf to understand more about what they put into Venomous’s music. 

Tribus EP Cover

I hope you enjoy this Brazilian Melodic Death Metal band as much as I’ve enjoyed discovering them.

Video interview with Venomous

Video edit by Victor Augusto
Live video of ‘Eerie Land’ and ‘Unity’ recorded by Venomous.
Images of the band taken by the Venomous official video of ‘Eerie Land’ and ‘Unity’.
Background music: Venomous – ‘Eerie Land’, Venomous – ‘Unity’ and Venomous – ‘Duality’


Venomous Promo Pic

Tribus EP review

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.

Interview with Gravehuffer

NecroEclosion Album Cover Art

Interview with Gravehuffer
By Victor Augusto

My lack of creativity in writing introductions is nothing new for all the readers of Ever Metal (by the way I am copying this intro from my review), but today I have to repeat something that I often mention in introductions to my reviews. This is how amazing it is seeing a band’s evolution while I have the pleasure to follow them, releasing their albums, since they have formed. Of course, Gravehuffer (from Joplin, Missouri) are not a young band and they are very experienced musicians, but I am the lucky guy who has reviewed all of their albums since 2017 and I have to say that Gravehuffer is one of the most intriguing and challenging bands that I have reviewed so far. 

I had the pleasure to talk with the guitarist Ritchie Randall to dig deeply on how they achieved such an amazing result on their last album “NecroEclosion”. 

Victor Augusto: I confess that I tried to find the meaning of album’s title, but I couldn’t understand it. Could you explain the definition of the word NecroEclosion?

Ritchie Randall: It means to emerge from a cocoon of death. We were going through the pandemic, lost our singer and had to cancel a lot of shows at the time. It all went into the sound of the record. 

Victor Augusto: NecroEclosion, for me, is a pure American album. Not that the album is just for American listeners, but it is a hard criticism of things from your country. You talk about those who stayed at sea a long time during the colonization, also about the disco music and even the NASA missions off of earth, but it’s always related to the USA. Was your intention to be focused on American history or American culture, or did it just happens naturally?

Ritchie Randall: That’s an interesting observation! I never thought of it that way. It was definitely not our intention, but it could relate to all of the upheaval going on in the United States at the time we wrote the album. So, I guess to answer your question, it happened naturally. 

Victor Augusto: There is the typical acid humor that Gravehuffer always uses in the best way, as you hear in ‘Death Before Disco’. It starts with a funny version of ‘You Should Be Dancing’, from the Bee Gees, that shows the wreck that Disco music made of the music industry decades ago. It also criticizes the cocaine and other stuff involved with those who were part of the scene. I think it also shows how we have plenty of excellent and varied material here, and I am not talking about that stuff from Disco clubs, that could make Robocop (with rusty hinges) dance like hell! Could you talk about this sense of humour and about this song?

Ritchie Randall: I think we always have that cheeky sense of humour going on throughout all of our records. How it manifests into a song can vary a lot though. Mike (Jilge), our bassist, has been wanting to do the ‘Death Before Disco’ idea as long as I can remember. We’re talking since the late 90’s! He learned the bass line for the Bee Gees song and so at that point, we had to do it ha ha ha! It was a lot of fun to step out of our comfort zone for a minute there. Travis came up with the idea for the lyrics to be about the disco culture of the 70’s and how it tried to ruin the music scene.

Victor Augusto: You also talks about serious historical subject for example in ‘Ghost Dance’, which is about the mass killing of the Native Americans in the USA. The backing vocals, like the ghost of the indigenous ancestors screaming for help to anyone who could stand and fight. Melodies bring the feeling of a ‘last breath of hope’ amongst all the chaos that sadly didn’t save them from the coward’s killing. Was the band’s intention to bring all these emotions for the song?

Ritchie Randall: Yes, it was. We had the subject matter of the Wounded Knee Massacre already picked for a song, and we wrote the music to specifically fit with what happened. It was very emotional to write. It’s something that means a lot to us, being from the United States. We haven’t always treated people the best ever though we’re a nation of immigrants. Travis (McKenzie – Vocals) once again came up with the lyrics and really did a fantastic job! We let a few of our Native American friends listen to it before it was released, and they really thought we did that part of their history justice.

Victor Augusto: ‘Custom Of The Sea’ also has a serious subject. It is about those who stayed at sea a long time during the colonization. Many people went mad and died. By the way it is a perfect song to understand the bands sonority! Could you explain this track? 

Ritchie Randall: Sure, it’s about cannibalism at sea and how it was basically allowed until a trial outlawed it. We just thought it sounded like such an intense thing to go through! I saw an article on the internet about it and wanted the band to write a song that put you in the headspace of the people who were living through it. We had no idea that took place back then. It was actually called the ‘custom of the sea’ and it happened very regularly. If the sailors ran out of rations, they would kill the people who were the sickest and eat them. 

Victor Augusto: Musically, you are not restricted to only one genre and you are getting heavier with each album release, even though you keep your main spirit of Crust / Hardcore and Thrash Metal. For example: ‘Quarantine Death Machine’ reminds me of Sepultura when playing Hardcore. ‘Smaller Than Death’ has a Doomy side. ‘Stingray’ is more Punk Rock in style, but it is very heavy as well. Gravehuffer is a band that always wants to surprise their fans. What makes you always want to play whatever you want, no matter the style?

Ritchie Randall: Thanks! We basically write how we are feeling at that particular time and it translates to the sound of the music. Sometimes we are feeling in a good mood, sometimes we are angry, sometimes we are bummed out, it just depends on what is happening in our lives at that time. The only rule in this band is there are no rules!

Victor Augusto: This new album is pretty organic and raw, of course it is amazingly well recorded. It is funny because in an age that most of the bands prefer to do a much-digitalized production, you went against this trend. Is it a pattern for Gravehuffer or do you think that the compositions asked for this raw production?

Ritchie Randall: Thank you once again! It’s a little bit of both actually. We come from the era of bands that had that more raw production. There are times when we will hear a band with polished production and then see them live and they sound nothing like their record. We want our live sound to translate to our albums. We’re a loud, aggressive, and intense band and we want the production to match that.

Victor Augusto: It is funny because I’ve already heard the album, to review, since October or September of 2020. I took a long time to listen to it because I was involved with other things in the end of the last year. But I clearly remember the post of a review that totally showed a person who didn’t understand the band’s idea and talked a lot of crazy things. It pissed me off and made me want to go deeper into this album to write the best review ever that I could, considering my limitations ha ha ha ha! How do you handle with these kinds of things coming from magazines and people connected to journalism?

Ritchie Randall: Your review is fantastic and also we appreciate that you think highly of the album to include on your 2021 albums of the year list! Bad reviews are rare for us thankfully, but when they do happen, they tend to be a little bit short sighted. They don’t really ‘get’ what we are doing it seems. That’s OK really. We understand we’re not for everyone. There was one that we made an example of because they got a little bit personal in the review and that’s not cool. Other than that, we don’t mind. We just appreciate that people are taking the time to listen and write their thoughts about our music!

Victor Augusto: We first meet each other when we were at Sare’s Invasion radio show. By the way Sara was the person who told me about Ever Metal. Since then, I have reviewed all of Gravehuffer’s albums and you don’t leave more than 2 years without a new release. How is the composition process working to have so much good material in a short spaces of time?

Ritchie Randall: Yeah it’s been great being a part of the family at Sare’s Invasion! We are always writing, practically every couple of weeks we’ll have new ideas to present to each other. Our phones and computers have hundreds of riffs, lyrics, melodies, beats, you name it! We have stuff from 7 or 8 years ago still sitting around. We may use it, we may not, but it’s nice to have that wealth of material to have at our disposal.

Victor Augusto: You started touring just in this year, after all issues from COVID during 2020 and 2021. How are the shows so far? Do you have any intention to tour outside of the US, such as a European tour?

Ritchie Randall: The shows have been good. A few great ones too! Attendance is still on the lower side, but I think people are just being cautious and that’s OK. Regardless, we have a blast and love meeting new people and playing our music for them! We do plan to play outside the US, it’s just the cost and timing that we have to figure out, but we are actively pursuing it!

Victor Augusto: Over all these years playing in a band, what was the band’s achievement which made you feel most proud of that’s worth all the hard work so far?

Ritchie Randall: Probably putting out vinyl. That was something I never thought I would do! It’s always been one of the dreams! NecroEclosion in particular. Just wait for our next record. It’s really going to raise the bar! We can’t wait for people to hear it!

Victor Augusto: Thanks for your time. I really hope to see you in concert someday. For sure I will be on the front row and screaming whilst you play, like the stupid crazy fan that I am. Please let your us know your final considerations for your fans and for Ever Metal’s readers, also the plans for the future.

Ritchie Randall: Thank you for the insightful questions! This was a lot of fun! We would LOVE to play Brazil! Wow that would be amazing! As far as the future, we are finishing up this new record that has a 21-minute epic song about Dante’s Divine Comedy, and another side of our crazy antics. Kam Lee from Massacre and James Murphy (Death, Testament, Obituary, Cancer, etc.) is playing lead guitar on the Dante song! Many more shows as well! Cheers! 


Gravehuffer 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.

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

Interview with The Crown

Royal Destroyer Album Cover Art

Interview with The Crown
by Victor Augusto

Ok, before I start my smooth talking, let me travel back in time. The year was 2002 and my older brother appeared at home with two albums from a Swedish Death Metal band. I clearly remember, to this day, when The Crown albums “Hell is Here” (1999) and “Deathrace King” (2000) started to play on our old stereo. After that, I understood how amazing the music from Sweden was. We became fans and we never stopped looking for the band’s new releases, even though it was not an easy task at that time in South America. 

I was living in a very poor neighbourhood, in Rio de Janeiro (Brazil), without access to the internet or a computer, even though those two things were becoming popular at that time. Heavy Metal was a very strange kind of music for people who lived in that place too. I had no money to buy magazines either, but the years have passed and after almost two decades, here I am, without words to describe how happy I am to have the opportunity to talk with The Crown. 

Thanks to the vocalist Johan Lindstrand for taking part in this interview. I do hope you have fun reading about the long career of this amazing band! We have many things to talk about, including their newest release, the killer album “Royal Destroyer”.

Victor Augusto: Since the first time that I heard The Crown, my impression was that the band prioritises creating music that brings energy and could thrill the listeners enough to bang their heads. No matter if you are playing in more of a Thrash or Death Metal style, this is the sensation that the band offers. For this new album that approach hasn’t changed. At the band’s very beginnings, was it your intention to sound so brutal or did it happen naturally?

Johan Lindstrand: The intensity was there from the beginning. We were very inspired by Morbid Angel and Deicide amongst others and we loved the fast brutal stuff. Back then we didn’t have so much of our own identity, but we grew into our own sound more and more as the years passed, but the energy kind of stuck with us. So that’s a very important thing for us for sure, but the cool thing in this band is that we have so much creativity going and we mix a lot of different elements to make the sound more diverse. That’s very important, I think. When you have many songwriters, like we do, you can create that rollercoaster album which puts the listener on high alert because he doesn’t know what will come next. 

Victor Augusto: The crown has released three albums over the last 6 years and you have kept the same line up as well. Do you think that the stable line-up and the sequence of tours helped you to reach the musical result on Royal Destroyer?

Johan Lindstrand: It’s always good to have a steady line up with people you enjoy hanging out with and who are pretty much in sync with you musically. It makes everything easier. We rehearsed really hard for “Royal Destroyer” and we also had to postpone the recording due to Covid-19, which in the end gave us more time to rehearse and make the songs better. So, it’s all about hard work mixed with great band chemistry. 

Victor Augusto: Talking about the long-time partners in crime Marko Tervonen (guitar) and Magnus Olsfelt (bass) have been together since the beginning of the band. You also stayed with them most of the time during the intervening decades. Even though you have had a few break ups and hiatus, you’ve still conquered and urged a huge respect worldwide. How is the relationship amongst you three after so many years?

Johan Lindstrand: The relationship has always been good. We have been friends for a long time now. We were only kids when we first started and we have grown up together playing Death Metal in a kickass band. Like brothers in arms. More than half our lives have been dedicated to this and it’s kinda crazy when you think about it. 

Victor Augusto: Of course Robin Sörqvist (lead guitar) and Henrik Axelsson (drums) are amazing musicians who joined the band for the 3 previous albums (Henrik just for the last 2). What could they offer to the band’s sonority of the band’s sound, considering you already had a strong identity when they joined?

Johan Lindstrand: They have been amazing from day one. They have brought in a new boost of energy into the sound and also into the band chemistry as well. Great guys that fit perfectly. I hope they stick around till the end. 

Victor Augusto: Returning to the past, I remember after discovering the band, I spent many years without knowing anything about the releases available because I was so broken that I hadn’t access to either the internet or the money to buy heavy metal magazines. When I finally had money to find and buy a new album from The Crown, I discovered “Crowned in Terror” with Tomas Lindberg (At the Gates) replacing you on vocals. It is curious that I didn’t know anything about Tomas or At the Gates, but I loved that album even knowing that you are the best man to be THE band’s front man. How was that experience to have him on the band at that period, if you don’t mind talking about it?

Johan Lindstrand: Tomas was in the band for a very short period. They did that album and went on tour in the States. It simply didn’t work out. I believe it’s hard to come into an already established band and try to fit in. But I think that “Crowned in Terror” is a great album and Tomas did a great job. Many people love it, including me. Respect!! 

Victor Augusto: On 2021, the band showed old videos from when you were called Crown of Thorns. My impression after I saw it was that you’ve always had that classic Swedish sonority, that brings a really dark atmosphere, but The Crown seems to flee from it towards a more aggressive style of music. Was it your intention to focus on this aggressive sound to be different from the other Swedish bands at that time?

Johan Lindstrand: As I mentioned before we were very inspired by classic old school US Death Metal and there wasn’t that much melodic stuff happening. I guess we just wanted speed and aggression, but pretty early on we started to mess around with more melody and made our sound wider. We have never felt like we belong anywhere in the Swedish scene. We have always drawn our own path. 

Victor Augusto: “What is happening, Victor?”. Those were my wife’s scared words after I screamed a concise and loud “Holy Shit!” when I was reviewing the newest album “Royal Destroyer” (2021). The reason for this reaction was because all the tracks from the album sound like you just wanted to create the best set of songs ever. There is not one song which sounds like it was a case of “more of the same’, just to complete an album. How hard was it to achieve this result when you were composing for this album?

Johan Lindstrand: We had a lot of songs to choose from. In the end we threw I think 2 or 3 songs away which didn’t feel as good as the others. I think we knew pretty early that we had good material in our hands and when you get that positive vibe; it’s all about rehearsing to make it even better. And we nailed the whole album in 7 days in the studio. We didn’t want to overwork it. We wanted a fresh, live feeling and those songs ended up perfectly on the album. 

Victor Augusto: Still talking about “Royal Destroyer”, it is a mix of everything you’ve done along the decades, but even more brutal. Just the fast and killer opening song ‘Baptized In Violence’ feels ready to destroy everything. I felt even a bit of diluted Hardcore in the mix on this track, amongst the Death Metal. How did you work together to compose this album?

Johan Lindstrand: ‘Baptized in Violence’ was actually my contribution to this album. Me and Magnus wrote the riffs, but I had the idea in my head before I wrote anything. I wanted something really intense that was around one minute and it was more for fun in the beginning, but the band loved this so much it ended up as the first track. I was sceptic at first because it was a more playful vibe compared to the more serious stuff but, in the end, I feel it really deserves a spot. Cool intro to the album. 

All the other songs are composed the way we have always worked. People write stuff at home, then we mess around with it in the rehearsal room to make it even better as a unit. When we have enough songs, we start to think about making an album. We have so much influence coming into this band from all five people which makes the sound more interesting. We have no boundaries in this band. If it feels right, then we record it no matter if it’s a ballad or a one-minute grind song. 

Victor Augusto: Which is the song that each of you most like from “Royal Destroyer” and why? 

Johan Lindstrand: My personal favourite is “Let the hammering begin”. It has a classic vibe to it, but it still feels fresh. Great arrangements. 

Marko Tervonen – Guitar: I think ‘Let The Hammering Begin’ is one bad mo-fo that contains all the elements a good song requires!!

Henrik Axelsson – Drums: ‘Scandinavian Satan’ 

Robin Sörqvist – Lead Guitar: Best on the album is the solo in ‘Full Metal Justice’. Energy, Thrash, shrimpsallad and a hard on!

Magnus Olsfelt – Bass: First riff of ‘Baptized In Violence’ is a highlight for me. Vintage Quorthon-style!

Victor Augusto: Despite Ever Metal being based in the UK, I am from Brazil and I know few people here who also like The Crown. How is the reaction of South American metalheads to The Crown? Do you think that one day you could tour here? 

Johan Lindstrand: We really hope to get over to South America in the future. That would have been awesome. But I really don’t know how the status of The Crown is over there. Hopefully it’s good. 

Victor Augusto: You have a DVD “14 Years of No Tomorrows” that has many good live performances from festivals and concerts you’ve played between 2000 and 2003, as well as bootlegs from the nineties. Do you have plans for new material from a live concert, perhaps with a documentary to discuss your long history?

Johan Lindstrand: We actually released a live show in 2015 on our YouTube channel. Pro-filmed and 90 minutes long. Other than that, we don’t have any plans to release more physical stuff like live DVD’s and documentaries. But who knows? It might happen in the future. 

Victor Augusto: I can’t describe how happy I am to have talked to you. I really hope to see the band live someday, no matter where in the world. Please let us know your final words for the fans and the band’s plan for the future. 

Johan Lindstrand: At the moment we are writing hard for our next album which probably will be out in 2023 and I hope that the world will go back to normal soon so we can go out and play for you all. Thanks for the support and thanks for the interview, Victor. 

Cheers / Johan 

The Crown – ‘Motordeath’ (OFFICIAL VIDEO)

Johan Lindstrand – Vocals
Magnus Olsfelt – Bass
Marko Tervonen – Guitar
Robin Sörqvist – Lead Guitar, Backing Vocals
Henrik Axelsson – Drums


The Crown – Royal Destroyer review

The Crown 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.

Interview with INFRARED

From The Black Swamp Album Cover Art

Interview with INFRARED
By Victor Augusto

I don’t know how long I will be able to keep myself interviewing or reviewing bands from all around the world. I just do my job of writing gibberish about music and seeing what the bands will think of my strange thoughts. Sometimes they like it and we become friends….

Infrared are one of the most notorious bands from Canada that I have had the pleasure to discover. After reviewing their last two releases, I felt that it was a good time to do this interview. Considering they are a band that appeared in the eighties and returned after a few decades of hiatus with a very intense frequency of releases, we had a lot to talk about.

Thanks to the Vocalist/ Guitarist Armin Kamal, Guitarist Kirk Gidley, and Bassist Mike Forbes for taking part.

Victor Augusto: Starting with the early days of Infrared, you appeared in 1985 and recorded a demo tape in 1986 called “R.I.P. (Recognition in Power)”. I’ve listened to this demo tape on YouTube and I was surprised, because you’ve already had some very mature compositions and even a reasonable record production for that time and for a first release. What do you remember from this period and from the recording process?

Armin Kamal: I remember we felt very green going in to record. We had never recorded anything beyond recording our jams on a ghetto blaster. So, recording instruments separately or trying to play together and hearing ourselves with a good mix in headphones was very foreign to us. And then doing the vocals separately without playing guitar at the same time was weird. 

We recorded the demo not far from where Shawn Thompson, our original bass player, lived. I also remember the recording engineer was a minister or priest and so we were really concerned about using an F-Bomb in the track ‘T.O.C.’, so instead of saying “Get fucked”, we said “Get back”. We never bowed to pressure again after that. Ha ha!

Victor Augusto: You had quite a short existence during these early years, but after seeing the video of ‘Thoughts Caught (In Between)’, from this first demo tape, I had the impression you were a very focused professional offering. What could you tell us about the shows and how much of a part of Thrash Metal scene at that time you felt you were and how famous you became?

Armin Kamal: That track was the only track we re-recorded after Kirk (Kirk Gidley – Guitars) was no longer in the band. It was done at a more professional studio in downtown Ottawa called Ambience Studios, I think. We then re-released the RIP demo in ’88 with that new version of the song on it and we shot a video with Kirk’s sister’s boyfriend at the time. That video managed to get on the nation’s music station called Much Music and from that we gained a short-lived notoriety across the country. I remember receiving all kinds of fan mail from that time which was interesting and surprising. It was Ian Myers who was on that recording and in the video. He left shortly after and the band did not last long beyond that departure.

Before he left and as even part of the video, we played at one of the city’s biggest clubs called Barrymore’s. It was a good time and lots of fun, but the band could not survive too many band member changes. The band had started as a group of friends first, then musicians second. Once that dynamic changed, it was the beginning of the end. Until, of course, the original friend group decided to fire back up the Infrared engine!

 ‘Thoughts Caught (In Between)’ video

Victor Augusto: You stopped in approximately 1990 and returned more than 20 years later. What have you done with your lives during this time? Were you involved with anything related to music along the way?

Armin Kamal: I played in several different bands after Infrared disbanded. Many of those involved Alain Grouxl (drummer), which was nice because we work so well together. There were other projects, like a couple of cover bands which I used to improve my vocal capabilities and one long standing original project called Dirty Beloved. Kirk did not really pursue music and instead focused on career and family. Mike (Mike Forbes – Bass) only started playing guitar and bass later in life, which surprised even me given how good he is. He plays like he started in his teens and yet only started in his mid to late 20’s! He played in several local bands as well including a project or two with Alain.

Victor Augusto: After this long hiatus, you returned in 2014. In 2016, the first full album “No Peace” had all the old tracks, from your demo tape, re-recorded together with some new songs. How hard was it to continue work which started over 30 years ago and what was the biggest challenge with that? 

Kirk Gidley: We had to dig up old cassettes and listen to them and figure them out as it had been such a long time. Armin extracted the songs from a cassette and sent them to me. It was challenging for me as I still played guitar, but I hadn’t played with a drummer since the 80’s. I just thought about that recently and Al (Alain Grouxl) is the only drummer I’ve played with and Infrared the only band I’ve played with.

Armin Kamal: All the songs on that album were all old songs from the 80’s. Some we had never recorded beyond on a Ghetto Blaster. So, figuring out what we played and the lyrics was challenging. We also ended up slowing some of the songs down to make sure the picking was articulate and truth be told, we were not in fine speed picking form at the time we recorded. Now we play them faster live!!!

Victor Augusto: You are keeping up a good frequency of releases since you’ve returned (“No Peace” – 2016, “Saviours” – 2018, “Back to the Warehouse” EP – 2019 and “From the Black Swamp” – 2021), averaging no more than 2 years of waiting between releases. How is the composition process for you and how do you get inspired to create so much material in such a short time?

Kirk Gidley: We kind of feel we are trying to make up for lost time in a way. We have a lot of song ideas and we enjoy writing music. I am finding with each release that we are improving, and I think we will keep releasing music at this pace. If you look back at the 1970’s and 80’s, bands released albums every year. I feel if Infrared was a full-time band, we would probably release albums more frequently.

Armin Kamal: Even as we record and produce an album, we still noodle on our guitars and come up with and capture new ideas for future songs. So, by the time an album is released and we are promoting it, we go back and start sifting through our riffs and figuring out what makes a good song and the process starts all over again.

Victor Augusto: After listening to “No Peace” and “Saviours”, I could hear a bit of Traditional Heavy Metal mixed in with your Thrash Metal style. I guess it was introduced with the cover of Iron Maiden’s ‘Wrathchild’ on the “Back to the Warehouse” EP. For the new album, this element feels less present. Could you tell us about your influences currently?

Kirk Gidley: We can’t help not sounding like our heroes growing up; it just comes out in our writing styles. Our influence nowadays is pretty much the same as it was years ago. I know we all listen to the same bands and the funny thing is all the bands we grew up with are still around which is so amazing to me. The bands that are still around today really proves the longevity of great music and great bands. It’s not like pop music, which is here today and gone tomorrow. Look at all the metal bands that are still together and successful. It’s incredible. We do listen to newer bands like Gojira and Mastodon etc. and we tend to listen to a lot of local bands as well, bands we have met playing shows.

Victor Augusto: The newest album “From the Black Swamp” came when we finally had a breather from the Covid-19 situation and it is a brutal album. It looks like you had a lot of anger and many feelings to get off your chest for this album. What changed in your lives during these two years of lockdown and what came from it that could have inspired the new compositions?

Kirk Gidley: Well, we had more time on our hands being locked up in a house especially in a Canadian winter. Lockdowns are frustrating and I guess that came out in the songs. I think the album is also strong as I mentioned earlier. We are gaining more experience in song writing and working as a team. I think our next album will be strong as well. I believe if you don’t strive to improve every album what’s the use? Time will tell.

Armin Kamal: Not only did the pandemic piss us off, but I also went through a separation / divorce of a long marriage shortly after the pandemic started. Speaking with the guys in the band, we found we had similar experiences and the theme of hardships in relationships seemed to be common and we had never really written about it to this extent. Whether it was with a partner, girlfriend, boss, co-worker, friend, etc., it is something every human can relate to. Write what you know. 

‘From the Black Swamp’ video 

Victor Augusto: Summarizing what you talk about in the lyrics the subject matter goes from religious mind control, or bad relationships, to the energy of bands on stage. From what I could see, all the subjects are very personal for all members and you’ve found a way to scream it all out on a record. Do you create the music inspired on the lyric concept, or do you fit the lyric over the songs?

Armin Kamal: For us, it almost always starts with a riff or group of riffs that seem to fit together well. Then this gives us a vibe, and then a topic we may have on the mind might fit one of those songs and then the lyrics are written. 

Victor Augusto: Musically, I could hear many amazing references from good Thrash bands in this album. ‘Tribal Junction’ opens the album, in the best ‘Criminally Insane’ way (Slayer), the style of ‘Among The Living’ (Anthrax) in the intro to ‘Evil Ascent’, or ‘Practice What You Preach’ bass (Testament) in ‘Eternal Exile’. Even Metallica’s ‘Orion’ on the closing song ‘Semita Domum’. Nevertheless, it is all a matter of references, because this album showed us a band with a much stronger identity than before. If you could do a self-analysis of it, what could you tell us about the band’s musical evolution for this record?

Mike Forbes: We took more time to refine the songs for this album. If anything, the pandemic gave us reason to take our time finishing the album as the music scene had really taken a hit. The songs were originally done early into the pandemic, but we felt that releasing an album when we couldn’t get out and play live to promote it didn’t make sense. We chose to take the time to really listen to the songs and refine them. I’m glad we did because some great ideas came up during this time. 

I suppose you could say that there may have been a little more emotion put into the album to make up for not being able to express ourselves in a live setting. An emotional “all in” effect, if you like.

Armin Kamal: Not only that, but with 2.5 albums recorded (2 albums and one EP before the new full), a lot of lessons were learned and we gained some more maturity in song writing and trimmed a lot of fat. We became more efficient at delivering a vibe, even though there are still some longer songs on the album, most are not. That alone takes some skill. As Kirk mentioned, if you are not improving, learning and growing, why continue?

Victor Augusto: After the album release, you’ve started a tour in Canada to promote it. How is the Heavy Metal scene for shows there, and how big are you in your own country? 

Mike Forbes: The pandemic is still affecting our ability to tour very much. We have a few shows with Exciter lined up in February that have now been postponed until the July timeframe. We played one show in Ottawa in support of the new album and get a strong sense that the scene will still be good once things open back up from the pandemic.

As far as how big we are in our country, I would say that we are known in the Canadian Metal scene by a fair amount of people. I really have no idea how to guage this.

Victor Augusto: Do you have any plans for tours out of Canada, like in Europe, USA, or even in South America?

Mike Forbes: We would love to play in Europe, the USA and especially South America. Those are the places where the best Metal communities and festivals are. Our goal is to get out and expand our audience.

Victor Augusto: About your personal lives. Infrared is an active band, but we know it is hard to keep a band running without having a side job. How do you manage your work and personal lives with the band’s schedule? 

Mike Forbes: We usually rehearse once a week as a band. When we have upcoming shows, we will usually double up on our weekly rehearsals. Each of us rehearses on our off time from our work schedules. I am fortunate enough to work from home which means my bass is always close by in case the urge arises.

Victor Augusto: Do you guys meet each other when you are not playing, like friends and put the families together for a barbecue?

Mike Forbes: Yes. We are in touch daily and hang out with each other. In fact, we are due for another camping trip. That’s one of the great things about this band, we are friends. It makes everything so much more enjoyable to experience all of this with people you like being around ha ha!

Victor Augusto: Last question before we finish. The song ‘No Masters, No Gods’ is my favourite track and last year I was out of my city working in a very complex Air Traffic Control activity. Every day, my workmates and I heard this song when we were preparing to go to work. It was like a source of adrenaline to ease our anxiety. Have you ever received any kind of feedback like that from your fans about how your music helped them or followed them through something in their lives?

Mike Forbes: I love hearing stories like this. I know there are songs that are essential to my being. Songs that give me a certain feeling every time I hear it, like a drug. I have had a few people tell me stories of how listening to one of our songs gives them inspiration. 

Not to sound selfish but, we write music for ourselves. By this, I mean that we don’t try and please people. It’s an amazing feeling to know that music that obviously connects with us, also connects with others. To know that our music can inspire good feelings inspires me to never stop making music.

Armin Kamal: I just received a text message the other day from a friend who also went through a separation and he uses our latest album as therapy. This made me happy beyond belief, because it made every ounce of effort that went into the album worth it. And then to hear your story! Wow! Please, please … do not let any planes collide or we will be blamed and hated in Brazil!

‘No Masters, No Gods’ video

Victor Augusto: Thanks for your time. I really hope to see you all in concert someday. By the way, when I shared my review of “From the Black Swamp”, I discovered that few people know the band here in Brazil. Please let us know your final thoughts for your fans and for Ever Metal readers, the band’s plans for the future.

Armin Kamal: First, it is very cool to hear that we are known in different places around the world. We do hear this quite a bit and say if we could just travel all the people who know and like us to one location, we might have a hell of a concert! Ha ha! We really hope to meet many of the people who have bought our albums and support us. It really means a lot to us. Once the pandemic subsides, I think we will be playing like hungry teenagers again and leaving a lot of aggression on the stage! Peace!


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.

Bullet Ride – At The Gates of Hell

At The Gates Of Hell Album Cover Art

Bullet Ride – At The Gates of Hell
Français Music Records
Release Date: 21/01/2022
Running Time: 47:35
Review by Victor Augusto

Hello my beloved friends! Welcome back to more confusing thoughts from a brain damaged Brazilian person. Today I got my first band to listen to from France since back in 2020, when I reviewed Sins of Shadows, and it is always cool discover to new bands from a country that has a great history of embracing Brazilian bands like Angra during the nineties (and also Kamala on their recent European tour). Today we have a very good debut album for those who love Power Metal, or maybe I can even say that we have in front of us a good mix of Traditional Metal and Power Metal, with a lot of extra heavy stuff to offer as well.

Melodic vocals are always a thing that can be a bit hard to talk about, at least for me. I personally don’t like it too much when bands use high notes all the time and I tend to prefer styles more oriented to what Ronnie James Dio used to do, not just with his voice, but for all the emphasis he used. Here, Emmanuelle Dal Grande does a great job on her vocal lines, working on a thin line between the high and not so high ranged notes. In contrast to this melodic way of singing, the rest of the band offer a few guttural parts, although it wasn’t always exactly well executed, for example in ‘Somewhere Else’. 

These vocals sounded a bit powerless, sometimes even slightly annoying in places, although they fitted in well in some parts. But what is undeniable is the fact Emanuelle really knows how to create good vocal lines. Maybe with a little more improvement on the guttural parts, it would sound better. But the best aspect is how clear and understandable her words are on the more melodic parts. Even for me, a monkey Brazilian who barely knows how to speak my own language, I could perfectly understand most of the lyrics. 

Musically, there are some great passages of heaviness and speed. I couldn’t exactly find the Thrash Metal references as the band mentioned in their press release, and I felt that there were more Death Metal influences, judging by the blast beats delivered by Thibaut Meunier, plus those guttural vocals as well. Nevertheless, don’t fool yourself – the main style here is good Power Metal, very much oriented and akin to Blind Guardian. 

By the way, the guitar work of Alexandre Duffau and Hernandez reminded me in many parts of what we hear from those German masters, mainly on “Imaginations from The Other Side” and “Nightfall in Middle-Earth“.  Things like the good technical solos, without the extreme abuse of speed, and not many melodies or short solos alongside the rhythm guitar, when the focus was supposed to be the riffs and not the melody.

From the opening song ‘World on Fire’ until ‘Eternity’ you will be fulfilled by some great heavy music, full of good moments and energy. In ‘All At Sea’ though, things calm down in terms of cadence, which is quite cool. Bassist Stéphane Laborde also has his space throughout the record, especially on the beginning of ‘Dead and Back’.

“At The Gates of Hell” is a good album despite not being my favourite kind of music. The highlights here are how they offer a good slab of heaviness and don’t let the melodic side become massive or boring. For sure, with more experience, they will be able to offer amazing releases, considering that this debut is already pretty good.

‘At The Gates Of Hell’ Official Video

01. World on Fire
02. What Comes After
03. Point of No Return
04. Somewhere Else
05. Weather the Storm
06. Naked Greed
07. Eternity
08. All at sea
09. Dead and Back
10. At The Gates of Hell

Emmanuelle Dal Grande – Vocals
Alexandre Duffau – Guitars
Hernandez – Guitars 
Stéphane Laborde – Bass
Thibaut Meunier – Drums


Bullet Ride 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.

Deadscape – Of The Deepest Shade

Of The Deepest Shade Album Cover Artwork

Deadscape – Of The Deepest Shade
Release Date: 14/01/2022
Running Time: 47:42
Review by Victor Augusto

Melodic Death Metal. Maybe you’ve already read these words in my introductions to reviews before but if you don’t remember, it was in reference to a band which is not related to the subject of this review today. About a year ago I started my review for the Brazilian band Venomous in the context of saying that it was kind of restrictive for me to call them just a Melodic Death Metal band. Guess what – today I find myself basically using the same words to describe the music that Bulgarian band Deadscape play (albeit with slightly different arguments).

First of all, I have to say that my first impressions were that I was in front of a well-balanced Doom and Atmospheric band. I won’t risk saying if the style is more Doom, Atmospheric or Shoegaze, because I see these Metal genres as being something very specific for the people who understand them, which is not my case. By the way, my honest congratulations if you are the kind of genius reviewer who is able to go deep into all these different styles, because it is not just anyone that can have expertise in this field. 

But what the hell do you want to say, my dear prolix Victor? Well, the band describe themselves as influenced by bands like Dark Tranquillity, In Flames and other good names from the Scandinavian Melodic Death Metal scene. From this list, I have listened to a lot of Dark Tranquillity’s music, but it is undeniable that Doom and Atmospheric fit well as terms of reference. Nevertheless, this is a positive aspect, because I am talking about two different worlds that can perfectly match here. Probably I am being a little stupid in just discovering a hybrid something which has existed for a long time, but forgive me as it is not a of style I know very deeply.

So to try to demystify the mess of information I have given you so far, Deadscape put a great amount of heavy and distorted work into the guitar sounds, delivered by Ivan Bratoev and Ani Dimitrova. Most of this work is built on some amazing melodies and harmonies. Probably these two last elements are  70% of what they focused on here, but all the rest are good riffs that make the words “Death Metal” a huge part of the mix. Ivan Kolev also had a mission to split a strong beat on his drums with good cadence, creating a great mix of heaviness and dense mood. Just on ‘The Artist’ and ‘Stillborn’ the music seems to get heavier with great riff introductions in a faster cadence, but still with all the elements, despite this little turn of sonority. This last song was the track which most reminded of the old days of Dark Tranquillity, probably the closest in style in particular.

I like it when a bass player has a role in bands that helps everything to disappear into the mix with their instrument. In the context of Death Metal, this can easily happen, but Alexander Trifonov doesn’t, as we can hear on ‘The Shadow of the Clouds’ and ‘Ending’. By the way, this last song is one that brings a more happy vibe along with a bit of a faster pace. There are few clean voices also on this track, which I imagine is the bassist Alexander complementing the heavy vocal of Mirela Kaneva. And talking of Mirela Kaneva’s vocals, she does a great job given what the style asks for, but don’t expect anything extraordinary. The interpretations are OK, but I felt a few more variations in style, or a little more feeling of expression, to really bring out what the words say, would have helped enormously. Sometimes the delivery sounds a bit of samey, but, as I mentioned, she accomplishes her task well regardless. 

Let’s not forget we are listening to a debut full album of a band who are very young. For me, their main goal is to offer music which will perfectly please fans of Melodic Death Metal, but who perhaps don’t like things to be so Extreme; to also appeal to fans of Doom, but who also miss something more exciting. I am sure that with a bit more experience behind them, they will achieve something truly incredible, because “Of The Deepest Shade” is already amazing.

‘Stillborn’ (Official Video)

01. To Ashes  
02. Forsaken
03. The Brightest Light  
04. The Artist
05. Stillborn  
06. In Desolate Silence  
07. As Seasons Change  
08. Witherer  
09. From the Colourless Skies 
10. The Shadow of the Clouds  
11. Ending 
12. The Ever-Pouring Rain

Mirela Kaneva – Vocals 
Alexander Trifonov – Bass/Vocals 
Ivan Bratoev – Guitars 
Ani Dimitrova – Guitars 
Ivan Kolev – Drums


Deadscape 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.

Bonded – Into Blackness 

Into Blackness Album Cover Art

Bonded – Into Blackness 
Century Media Records 
Release Date: 12/11/2021 
Running Time: 53:54 
Review by Victor Augusto 

How do I choose albums for review? What an intriguing question. Well, most of the time I pick an album by the genre I like to hear or that I understand enough to talk about. Most of them are Thrash and Death Metal bands. Sometimes, I try to change for something more to Grindcore or Classic Metal. This time, I asked for Bonded because I thought “A Thrash Metal band with Bonded as their name must be influenced by Exodus”. I am pretty sure that nobody cares about how I select the bands for review, but it was an interesting shot in the dark.  

Luckily, I found myself presented with an awesome band, but are they inspired by Exodus as I was expecting? Maybe yes. Is it their main influence? Maybe not. I confess that I still can’t decide even after hearing the album many times. My conclusion is that it is impossible to create a killer Thrash Metal album, full of insane riffs and fast and furious solos, without being associated to Exodus. So, this is my answer. Am I being confusing? Welcome to my strange way of thinking! After a few weeks listening to the album, I discovered the band were part of Sodom and it was a great surprise for me. By the way, thanks to DJ Jeanne E Thomas of Gimme Metal radio. Without her interview with Bonded, I would never know about this detail. 

But what really matters in their music is how they put many elements into a blender to give a special taste to their Thrash. It has A bit of Motorhead, also a bit of Classic Metal in a few melodies. And the Thrash elements carry a bit of German Thrash (Is Teutonic Thrash Metal that you call?) as well. 

Everything I mentioned is well diluted and mixed, but I still think the band is more Exodus oriented, musically. ‘Into The Blackness Of A Wartime Night’ highlights the melodies I’ve mentioned and the cadenced ‘Destroy The Things I Love’ does the same for the Motorhead influences. 

Lyrically, the album has a concept taken from the book “The Division Of The Damned”, by Richard Rhys Jones. And the song with (almost) the same name, ‘Division Of The Damned’, has a show of riffs from Bernemann and Chris Tsitsis. There is some killer drum work from Markus Freiwald too, and he shows amazing versatility with changing tempos, and alternating between cadenced and brutal parts. Marc Hauschild had the hard work of not sounding hidden by all the heaviness, and Ingo Bajonczak does a great job on his vocal interpretation. It is impossible to not be reminded of Lemmy Kilmister’s voice on Ingo’s work. 

No matter what I thought about them. Even if everything I said about influences are wrong, there is one thing I am sure I am right about. If You love Thrash Metal which is brutal, but also brings good technique, you will love this album. It is a master class of furious solos, great riffs, well balanced melodies, and a music which totally brings excitement and energy for the listeners.

Watch (While The World Burns) – Official Video

01. The Arsonist  
02. Watch (While the World Burns)  
03. Lilith (Queen of Blood) 
04. The Holy Whore 
05. Division of the Damned 
06. Into the Blackness of a Wartime Night  
07. Destroy the Things I Love  
08. Final Stand  
09. Ill-Minded Freak  
10. Way of the Knife  
11. The Eyes of Madness  
12. Humanity on Sale (Bonus) 
13. Will to Survive (Bonus) 

Marc Hauschild – Bass 
Chris Tsitsis – Guitars 
Ingo Bajonczak – Vocals 
Markus Freiwald – Drums 
Bernemann – 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.

NervoChaos – Dug Up (Diabolical Reincarnations)

Dug Up (Diabolical Reincarnations) Album Cover Art

NervoChaos – Dug Up (Diabolical Reincarnations)
Release Date: 19/11/2021
Running Time:37:39
Review by Victor Augusto

For passion, Not Fashion! Yes. This phrase, taken from one of the NervoChaos song, is perfect to describe what this band represents for the Brazilian Heavy Metal scene, and also worldwide! Hello again my friends and readers of my nonsense thoughts. Today, I am very honoured to have this legendary band to talk about. I am happy not only because of their importance for our scene, but also happy to be fortunate enough to have followed them for a pretty long time. Before I really starts to describe the phonographic material, I must describe a picture of the environment NervoChaos have grown from along their 25 years on the road.

If you think it is hard to keep a band active for so long time, you have no idea how hard it is to achieve it in Brazil. Especially for Death Metal bands. Many are the obstacles that NervoChaos have faced throughout these decades. Firstly, to record a good album, with this style, in the late nineties, was not an easy or a cheap task. The equipment they had to use when playing on tour and at the Heavy Metal venues (the underground ones) was awful (maybe still is). Roads in Brazil are terrible and dangerous so not good at all for a band in a van/bus travelling hours and hours between each city. And the country is also huge, which makes everything worse.

And that’s only the logistic! I am not considering all the other issues like dishonest promoters failing to pay the bands, and the daily living among members when you’re on an extended tour. Line-up changes are something that have tracked NervoChaos’ career. Each of the three NervoChaos concerts I’ve been to were with different line-ups. But even with this chaotic scenario, the band has never stopped. They are always releasing new albums and have been going on long tours around the world for many years. Put this success that the band has strived for and conquered, allied with a loyalty to their fans and for their music, and it’s easy to see how they survived and became so respected.

“But what about the album, Victor?”. Ok, let’s talk about it. Like the title suggests, we are in front of re-recorded songs from their first 4 albums, which were all originally released between 1998 and 2010, along with one bonus track from “The Art of Vengeance” (2014). Instead of just putting out a “best of” or a collection of albums, they decided to show what NervoChaos is nowadays, as a band. Following their pattern of album recordings, this one represents their attitude on stage. It is like a live album, but recorded in a studio. I felt it because it sounds like they have gone straight into the studio, and just plugged their instruments in and played. There aren’t so many studio tweaks like there would be with a new album, but it is still pretty good, clean and true to the music.

Musically I must mention a few elements that I consider NervoChaos trademarks. Even though Death Metal is the main style, there are few Thrash additions, like the beginning of ‘I Hate Your God’. I like the work on riffs, not too many complications or too much virtuosity, but keeping a good technique. The drum work is another positive aspect which holds things together, because Edu Lane (The only original member) plays in a good pace and changes the rhythms. A highlight for him is on ‘Upside Down Cross’, where he plays an amazing drum intro. The result of all this is you will always have brutal and aggressive music, but not over exacerbated in the way extreme bands use to do.

For me, as a fan who has followed them since 2012, it’s almost impossible to not go nuts hearing the classic track ‘Pazuzu is Here’. It makes me feel like I am seeing them on stage. By the way, it is the best thing on this album. It really does give the feeling of hearing them live! The closing track ‘The Devil’s Work’ shows how is possible to increase the satanic and blasphemous atmosphere just with guitars, bass, drums and a powerful vocal. 

25 insane years of underground persistence from a band who has never stopped playing brutal Metal all around the world! Line-up changes, members who passed away, discrimination in countries with strongly religious orientations, and many other battles they’ve fought; And no-one was able to keep them down. While NervoChaos haven’t released a book to tell every bit of history they lived (and I think they should), you can enjoy “Dug Up (Diabolical Reincarnations)” to get an idea of what NervoChaos are all about.


‘Pazuzu Is Here’ – Official Audio

01. I Hate Your God
02. Envy
03. Putrid Pleasures
04. Pazuzu Is Here
05. Mighty Justice
06. Upside Down Cross
07. The Urge to Feel Pain
08. Dark Chaotic Destruction
09. Nervochaos
10. Pure Hemp
11. Scavengers of the Underworld
12. Perish Slowly
13. The Devil’s Work

Brian Stone – Vocals
Luiz “Quinho” Parisi – Guitars
Wesley Johann – Guitars
Pedro Lemes – Bass
Edu Lane – Drums


NervoChaos 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.

Heretic – Feast

Feast Album Cover Art

Heretic – Feast
Soman Records/Tree House Records 
Release Date: 31/08/2021
Running Time: 56:44
Review by Victor Augusto
8.5 /10

Hello my friends! I hope you are all good and safe for this new year. Even though I wish to forget everything that happened in 2021 in my personal life, and pray for a better 2022 (at least a less bad one), I still have things to talk about from last year, and Heretic is one of them. I won’t repeat everything I mentioned about the band, because you can check it on my introduction of the “Entity” EP review, that I did here at Ever Metal previously. The only thing I will emphasize is the fact that I am hearing the 5th Heretic release in a space of 3 years. Keep this info in mind to understand what I want to tell you.

Basically, I can describe Heretic as a Heavy Metal band that has Oriental and Middle Eastern sounds very present in their music. It’s the band’s trademark, by the way. And how strong these elements are could change in each release. On the last EP, I felt a good balance between the guitar work and the Oriental music. I guess they kept it for this album. I believe the addition of keyboards is the new element, and I can hear that the band is giving a kind of space on the instrumentals for Erich Martins to work in a good atmosphere based on his vocals. You can hear it on the entire album, especially on the beautiful bonus track ‘Anno Mundi’ (Black Sabbath cover).

Guilherme Aguiar and Laysson Mesquita have worked together to create a ground or path, on guitar and bass, to add all the other elements over. Guilherme uses his inspirations from all the Death Metal bands he plays (or played) for to program the drums, adding a few very aggressive short blast beats, as you hear in the opening track ‘Sudden Awakening’, which has these fast beats after a smooth Sitar (I guess it is a Sitar) intro, and few guitar riffs among a cadenced rhythm. The good thing from it is how he’s kept the main essence of the band’s sonority despite this small addition.

By the way, talking about smooth cadences, this is something I noticed for this whole album. Maybe not only to fit the vocals, as I’ve already mentioned, but for an atmosphere for the instruments as well. ‘The Storm’, despite the title track suggesting chaotic music, shows this good and calm vibe. Again, there is a constant keyboard to increase this sense of peace that the sound is offering, even with the heavy riffs and a strong solo from Nym Rhosilir. 

The album also offers aggressive tracks like ‘Hiding Moon’, or brings more visibility to good and simple riffs in tracks like ‘Staring at Blazes’ and on the intro of ‘Powerless’. These last two mentioned songs even reminded me a bit of Gojira, in terms of guitar work. There are a few minor changes to sound throughout the album, such as the funky bass intro of ‘Sacred Sea’. ‘Whistleblower’ and the closing song ‘Reza’ look like they left the album pattern behind, though, offering something more brutal than the rest of the album. 

Now changing the subject from music to a small detail. I can say the year is new, but my insane thoughts about analyzing references are still old, and it’s getting worse every day! If you read my review of their last EP, I emphasized how they have an amazing sequence of material released in a short space of time. Basically, they had 5 albums in 3 years (two full albums, one cover album, one EP and a live album). It is like they are always hungry to compose and record material. Despite the number of releases, this is the first full album with new composition since 2019 and we have a lot of music here. The EP “Entity” was like an appetizer for this feast. Sorry if I’m talking just gibberish stuff, but it is how I see their ability to compose so much music.

By the way, what matters is the capability to create good and complex music like Heretic have been showing along the years – complex because it is hard to put together so many different musical genres in this way. I just have to congratulate this Brazilian/Portuguese band on the brilliance they keep offering to their fans! Amazing work.

‘The Storm’ – Official Video

01. Sudden Awakening 
02. The Storm 
03. Hiding Moon
04. Staring At Blazes
05. Tenderness
06. Sacred Sea 
07. Whistleblower 
08. Powerless 
09. Reza 
10. Anno Mundi (Bonus Track – Black Sabbath Cover)

Erich Martins – Vocals
Guilherme Aguiar – Guitars, Synths, Orchestration, Drum Programing, Sitar, Tabla, Baglama, Bouzouki, Esraj, Zourna, Shennai and Tampura
Laysson Mesquita – Fretless bass

Pete Mush – Keyboards on ‘Sudden Awakening’
Nym Rhosilir – Solo guitar on ‘The Storm’
Thiago Tsuruda – Solo guitar on ‘Tenderness’
Luis Maldonalle – Solo guitar on ‘Sacred Sea’, ‘Powerless’ and ‘Whistleblower’


Heretic 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.