Sunday 29 August 2021

All I Live For - We Are The Angels

Labels: Self-Released

Formats: Digital

Release Date: 27 Aug 2021


1. Intro

2. See My Soul

3. Godspeed

4. We Are The Angels

5. Set Me Free

6. Awaken

7. Breathe Me In

8. Rise Again

9. Brand New Day

10. Here We Belong

11. Spirit

12. Save Our Hearts

I read a mind-blowing statistic the other day that said there are 62,000 new songs uploaded to Spotify every day! That means there are 62,000 songs and countless bands competing for listeners each day. It's tough out there in the age where anyone can upload their music to the Internet and be heard instantly. The same can be said for online music sites/blogs (ironically, like this one!), where people can publish their opinions on music at the push of a button. Some are good and some are bad, but for bands any publicity can turn out to be good publicity. That's just my very general assessment of the state of things currently.

Moving on from that thought to a band that I recently featured in an introductory piece last weekend. Leeds-based alternative rock/metal band All I Live For released their debut album We Are The Angels yesterday on all digital platforms. They've been quite brave in releasing a full-length as their debut recording, as the majority of new bands tend to test the waters with shorter EPs in my experience. That's just an observation though. Another one is the fact that Bandcamp recommends that you listen to the likes of Baroness, Boris, Torche and Red Fang if you enjoy All I Live For, which is pretty encouraging in comparison terms this early on. Let's see if the album backs that up...

Beginning with a clear and melodic Intro, We Are The Angels kicks off properly with 'See My Soul', which is the album’s lead single. It features a mix of harsh vocals and clean singing, as well as similarly heavy guitar and percussion. There’s something quite progressive about it, which helps it to escape the trap of just being another modern-day rock album. All I Live For have their own influences, which are spread throughout their sound. On ‘Godspeed’ there are glimpses of those influences including well-trodden approaches borrowed from the likes of Metallica, Trivium and Alter Bridge. That’s a guide for new listeners and not hyperbole. There’s a lot more going on here and instrumentally the band are a lot stronger than I was expecting initially. 

They also achieved a major coup prior to the album’s release by working with Grammy award winning mastering engineer Gavin Lurssen. That experience shows through here and helps give the record an edge in terms of final delivery. The title track ‘We Are The Angels’ takes on the hard rock genre without sounding generic. It’s soaring chorus standing out in a really well-written song. More of that classic/hard rock vibe flows into ‘Set Me Free’, which is slightly minimalistic compared to the songs it follows, but there’s nothing wrong with keeping it simple. All I Live For maintain a chuggy metal sound too that serves them well, while not being too aggressive, meaning that they remain approachable to new listeners who might not have ventured to the heavier side of the genre just yet.

They’re never too far away from a proper rock ballad and it comes at the album’s mid point, in the form of ‘Awaken’. It sounds like All I Live For are playing it somewhat safe here musically, but then again they’re not trying to sound showy either. The addition of choir/group vocals towards the song’s conclusion, joining a more than solid guitar solo show good awareness of variation. As you reach the second half of the album, there’s much more assurance about the band’s sound. ‘Breathe Me In’ is mature and again not over-complicated. Some people would call it inoffensive and they’re right, but that doesn’t have to be a criticism. It’s certainly radio-friendly and that could prove to be important for such a new band.

One thing that I have noticed about the album’s latter half is that the songs become shorter and punchier as a result. ‘Rise Again’ is a case in point, with a more urgent tempo from the drums, more excellent guitar/bass work and vocals to match. The upbeat tempos also match the positive lyrics. ‘Brand New Day’ is a song that twists and turns it’s way through four minutes of melodic metal and even some punk-like guitars too. It’s actually really well put together. ‘Here We Belong’ is one of the more off-kilter songs on We Are The Angels, mixing time-signatures with a dramatic vocal presence. At first I was a little bit unsure about the guitars being so far back in the mix, but it adds a layer of subtlety that’s quite pleasing. They’re loud and up front when they need to be but don’t overpower the recording. 

By the time penultimate song ‘Spirit’ begins, you’ll know what to expect from All I Live For. I know the album’s not over yet but the musical familiarity that builds throughout it is very consistent. To complete the record, final song ‘Save Our Hearts’ comes full circle with the chorus that was used briefly during the Intro track, leading into one final highly charged yet controlled rock song. Mike Pearson, Anthony Frith and Dave Williams have pulled off a really strong debut album. Stronger than I was expecting given it’s twelve songs. So the Bandcamp recommendation algorithm was a little out, but don’t let that put you off. All I Live For are only beginning their musical journey but they deserve their chance. I’ll be watching their progression with real interest.

You can stream and purchase We Are The Angels digitally via Bandcamp below, as well as on all other major digital platforms:-

Visit their website and social media profiles below:-

Website -

Facebook -

Twitter - / @ALLILIVEFOR

Youtube -

Instagram - / @allilivefor

Friday 27 August 2021

Nullingroots - Malady's Black Maw

Labels: Beverina Productions/Casus Belli Musica

Formats: CD/Digital

Release Date: 12 Oct 2019


1. Heaven Bending

2. Ember

3. To Die In A Memory

4. Erase Your Map

5. Mendacious

6. Inculcate

7. Tellurian

One thing I've been planning to do for a while has been to begin going through my digital archive and to start writing about releases from within it. The first release I've pulled out is the 2019 album Malady's Black Maw by US blackgaze/post-metal band Nullingroots, which was released by Beverina Productions and Casus Belli Musica. They began as Solus in 2012 before their name changed to Nullingroots. Since 2014, they've released two singles and four full-lengths. Their Metal Archives page says that they're still part of the Prosthetic Records roster, but I'm not sure that's accurate anymore and they haven't been active for a while so may be on hiatus.

This review forms part of my attempt to get back into writing on a more regular basis (not that I should need any encouragement). Despite being a part of my digital archive for some time now, Nullingroots and their 2019 album Malady’s Black Maw are somewhat new to me. I’ve heard of the band before but sadly and embarrassingly, that’s as far as it’s got. I always regret sleeping on bands and on hearing album opener ‘Heaven Bending’, it’s no different. Though they’re described as a post-black/shoegaze band, Nullingroots are both a lot heavier and a lot more technical than that here. 

You just have to consider that ‘Heaven Bending’ clocks in at well over eleven minutes and you’ll realise that they’re more progressive than they are pensive. Movements go from hellish to atmospheric and then to musically upbeat. There’s way more to this record than just black metal and we’re only coming to the end of the first song! There’s certainly no escaping just how metallic the band’s sound is on ‘Ember’. At times it’s utterly barbaric and even somewhat (unintentionally) symphonic, yet at others it’s so melodic and mind-bending. I guess there’s no simple way to approach this album other than to suck it and see. Hell, it works for me!.

There are genuine moments of shoegaze and truly atmospheric post-metal woven into this album and it’s way more obvious on ‘To Die In A Memory’, which is delivered brilliantly. I think that Nullingroots would easily sit amongst some of best modern-day black metal bands, even if they don’t have the hell, fire and brimstone approach of old. Sometimes they’re considered and melodic, but as they march on into the second half of ‘To Die In A Memory’, they turn on a dime and deliver some truly icy vocals, and blasting instrumentation. They switch between both approaches for the rest of the song.

Their take on epic musicianship is carried on through ‘Erase Your Map’, which signals the mid-point in Malady’s Black Maw. Comparisons are escaping me at this point, but then again I’m not being lazy and settling for the usual thing. You’ll just have to listen to this record and make up your own minds. However you perceive the band, you can’t argue with the quality that’s on show. Curiously, as you get further into the album, the songs get a little shorter. Eight minutes (roughly average) isn’t that short in truth and the time still allows Nullingroots to make their point. ‘Mendacious’ leans further towards the traditions of black metal once again, though introspection still presides over some passages here.

This album goes through so many different twists and turns within it’s individual songs, yet as one cohesive body of work it’s such an enjoyable listen. Penultimate song ‘Inculcate’ simply rages, exemplifying everything that’s good about extreme metal. It’s layers of sound wash over you and even when things settle a touch, there’s still an uneasy sense that they’re just building back up to something grander. Closing song ‘Tellurian’ is a real chip off the old block, with some added (albeit subtle) symphonic/orchestral instrumentation thrown on for good measure… to these ears anyway! Whether that’s accurate or not, it’s one final top quality slab of post-black metal from a band that deserves so much more exposure than they get. Considering Malady’s Black Maw consists of just seven tracks, it’s well worth immersing yourself in for it’s entirety. Fingers crossed there will be more from Nullingroots in the future!

You can stream and buy Malady's Black Maw both on digital and more importantly, physical formats below:-

Nullingroots -

Beverina Productions -

Casus Belli Musica -

Wednesday 25 August 2021

Sky Pig - Hell Is Inside You (by Mikey Ortega)

Label: Transylvanian Recordings

Format: CD/Cassette/Digital

Release Date: August 16, 2020



1.  Gimp

2.  The Scag

3.  Save Yourself

4.  The Strain


It’s pretty safe to say that the presence of Neurosis can be heard in the heavy underground. For more than 10 years, I’ve been hearing many bands, bring that apocalyptic sound and crush eardrums across every music venue and every year, it seems that someone in the sludge and post-metal scene, always comes and changes the game. In comes Sky Pig – a sludge band from Sacramento, that takes the genre to a deeper, darker, and psychedelic experience.  Last year, the band put out their 2nd EP, Hell Is Inside You (which is celebrating its anniversary, this month), and these four tracks sure pack a punch.


The EP opens with “Gimp” – which sets everything up and lets you know what in for. The track begins with a spacey-psychedelic sound, before that riff kicks in and you can’t help but bang along. We are then followed with a sick guitar chug to start “The Scag”. This track has a killer death rock influence, that gives Sky Pig more of a darker and brooding edge.  Especially with lyrics like “You Sold Your Soul/ Your Reward Is This Affliction/ Broken Mind, Writhing Soul/ Lost Inside Your Dead Reflection”. “Save Yourself” is the track that gets me going. If there is one Sky Pig song that I suggest people to check out, it would be this.  To me – this song is a perfect mix of sludge/doom and death rock. From the opening bass line to the guitar effects and tone, the gloomy vocals and Scott Kelly-esque screams, this is the sound that defines Sky Pig. And finally, we end it with the epic, “The Strain”. A perfect closer for such a crushing EP. When you hear a phaser on that guitar, you know you’re in for a trip. This may be the “last ride”, but I’m hoping for more Sky Pig in the future.


For an EP, Hell Is Inside You, really feels like a full-length. Every track pack a punch, that it will make the Earth shake. It’s a psychedelic trip to an apocalyptic Hell, you would think you’re in a Ken Russell film. Or a more fucked up version of Dante’s Inferno. The production really brings out that hell world to life. As if you can feel Armageddon being upon us.  Really excited to see what Sky Pig cooks up next.  They are a band that has a sound, that will leave a mark in doom and sludge. If anything, Hell Is Inside You is proof that you shouldn’t sleep on Sky Pig.


The Hand Of God/ Been Snuffed In The Cradle/ Your Hope And Resistance/ Is Bigger Than His World


Follow Sky Pig on all social media platforms and check out Hell Is Inside You on Bandcamp 

Facebook -

Instagram - @skypigsludge

Bandcamp -

Saturday 21 August 2021

Introducing: All I Live For (hard rock/alternative metal from Leeds)

Back when I started this blog, I focused heavily on bands from around Yorkshire. I started with local bands that existed in Harrogate and then moved further afield. As the blog has grown it's reach over the years, I've neglected this side of it so I thought I'd re-start it by talking about a brand new band, who're only six days away from releasing their debut album We Are The Angels.

All I Live For are a quartet from Leeds and to date they have released three singles that will appear on their forthcoming album. They have plenty of common influences, including the likes of Alter Bridge, Killswitch Engage and Muse. They've channelled those influences into music that's both heavy yet accessible, with very positive and thought provoking lyrics. They have also been lucky enough to enlist multi-grammy award winning mastering engineer Gavin Lurssen (who has mastered albums for some of rock/pop music's biggest names, including Metallica, Foo Fighters and DMX to name a few).

You can stream and purchase all three singles via Bandcamp below:-

Their music is also available on all major streaming site, with links available via their website here:-

Please spare a moment to check out All I Live For and help spread their music in preparation for the album release -

Sumeru - Blood Ordinance

Labels: Brilliant Emperor Records

Formats: Vinyl/Digital

Release Date: 21 Jan 2021


1. Cold Chamber

2. Foundry Of Dread

I'm fitting in a quick writing session this morning and delving back into my ever growing digital review pile. Blood Ordinance is the latest EP release from Australian death/doom metal band Sumeru and it was released via fellow Australian label Brilliant Emperor Records back in January. Sumeru have been active for well over a decade now and have released two full-lengths, as well as two EPs in that time. 

Sumeru’s music on EP opener ‘Cold Chamber’ is made up of stellar death/doom with a leaning towards more technical music than their Metal Archives description would suggest. I was expecting some groovy and chilled out stoner/doom from that, but I’m not complaining at all! Sumeru are very adept song-writers and they prove that with the ability to switch between tempos, going from fast death metal to pensive doom with ease. The atmosphere created by the slower second half of ‘Cold Chamber’ is spine tingling.

Second song ‘Foundry Of Dread’ is delightfully deathly, with percussion taking the lead with a proper bouncing tempo, while the guitars and vocals drag you deep into the sub sewers. It’s a little more on the thrash side in places, while the guitar solo midway through just screams pure heavy metal! This is my first introduction to Sumeru and it’s the perfect one. I really enjoyed this and while this review is late compared to others, time doesn’t matter in the age of being able to instantly stream music (unpopular/controversial opinion I’m sure). With a more than decent back catalogue already, now is the best time to discover Sumeru.

You can stream and purchase Blood Ordinance on vinyl and digitally below:-

Physical copies are also available via Brilliant Emperor Records here -

Sumeru -

Brilliant Emperor Records -

Thursday 19 August 2021

Lamantide - Carnis Tempora: Abyssus

Labels: Black Fire Records/Cave Canem Records/Dingleberry Records/Epidemic Records/Frammenti Di Un Cuore Esploso/Here And Now!/Icore Produzioni/Shove Records/Zegema Beach Records

Formats: Vinyl/CD/Digital

Release Date: 26 Oct 2015


1. Caro Salutis Est Cardo

2. Lo, Caronte

3. Di Bui E Terre

4. Stagioni Di Carne

5. Untitled

6. Immortalis Lapis

I'm trying my best to write these reviews after writing two others, at least that's the plan anyway! This is the latest in my ongoing (it's going to be ongoing for quite a while, which is fine with me) Zegema Beach Records roster review series. it focuses on the 2015 EP from Italian mathcore/post-hardcore band Lamantide. As you can see from above, it was released by a ton of collaborating labels and is to date the band's most recent release.

Lamantide is one band that hasn’t really come up on my radar, despite seeing and hearing the name mentioned multiple times. They’re a lot heavier than I was maybe first expecting but that’s no bad thing at all. EP opener ‘Caro Salutis Est Caro’ is a heady mix of hardcore, screamo and mathcore with a great metallic edge. The guitars are the real driving force here, while the percussion sounds very true and organic. The vocals sound almost crusty, but without the reverb and at a lower register. 

‘Lo, Caronte’ continues Lamantide’s metallic attack in a much faster vein. Featuring grinding tempos and brief off-kilter parts, it’s filled with energy, darker energy at that! ‘Di Bui E Terre’ follows on instantly afterwards and this time, the faster tempos are replaced by sludgier ones, alongside some proper beefy mathcore too. One thing’s for sure, there is no messing around on Carnis Tempora: Abyssus so far.

Lamantide’s musical direction is very much geared towards heavier textures yet when they do go for a more traditional screamo/post-hardcore sound, they manage it really well as demonstrated on ‘Stagioni Di Carne’. It’s much more akin to similar approaches taken by compatriots like Raein and Ojne. The penultimate song is ‘Untitled’ and acts as an interlude/sound collage before closer ‘Immortalis Lapis’. That final song piles heaps of atmosphere into the mix, while still being just as explosive.

I’ve tried to keep things a little bit shorter with this one. Not because there isn’t much to talk about with this release but because it just happened that way. Lamantide certainly warrant more column inches and even though they’ve been quiet for a while now, hearing Carnis Tempora: Abyssus will definitely get your blood flowing. Fantastic stuff yet again.

You can stream and purchase the album digitally below:-

Physical copies can be purchased from the labels below:-

Epidemic Records -

Here And Now Records -

Shove Records -

Zegema Beach Records CAN/INTL -

Zegema Beach Records USA -

Black Fire Records -

Cave Canem Records -

Dingleberry Records -

Epidemic Records -

Frammenti Di Un Cuore Esploso -

Here And Now Records -

Shove Records -

Zegema Beach Records -

Sunday 15 August 2021

Bhleg - Odhin

Labels: Nordvis Produktion

Formats: Vinyl/CD/Digital

Release Date: 15 Jan 2021


1. Vyss

2. Alyr III

3. Gyllene Gal

4. Slukad Sol

5. Odet

6. Drommen Om Vardtradet

It's pretty safe to say that the human race is currently taking a massive nosedive. Those who have radical views seems to be coming out of the woodwork, intent on causing chaos. All it does is make me want to retreat and find solace somewhere where those idiots are afraid to dwell. That being the folk/black metal of Sweden's Bhleg and their third full-length Odhin, which was released back in January via Nordvis Produktion. Since Bhleg's formation in 2013, the mysterious duo have been very productive, releasing three albums, an EP, a split and also a couple of singles too. Odhin is still available on vinyl, cd and of course digital variants.

Bhleg’s sound encompasses the rawness of black metal with the comfort of melodic instrumentation, which is something that’s very much the preserve of Swedish black metal bands. It’s a style that they do so well and on album opener ‘Vyss’, Bhleg crafts the two approaches into a lengthy and enthralling beast. The vocals are raspy growls, broken up by melodic chants. The guitars provide a constant rhythmic buzz alongside the lively traditional percussion, while keys give it an subtly orchestral layer.

‘Alyr III’ instantly fires into life next, with riffs that are precise and beautiful in their simplicity. The song overall is oddly soothing, as Bhleg slow the tempos down slightly, adding more atmosphere as a result. That said, everything here is very focused and as the quietness of traditional folk music takes over during the mid-section, time is given over to self-reflection and calm. The song’s latter half is a fantastic example of dramatic metal that’s cinematic and clearly influenced by the nature that exists around the band.

Keyboards are used to create a gorgeous ambient feeling during ‘Gyllene Gal’. The ability to create such a wholesome instrumental shows just how sensitive this duo really are. I’d be happy with an album full of instrumental songs if they were as good as this. That being said, it’s perfectly placed on Odhin and it’s context is clear here. The striking horn that sits atop of the icy black metal of ’Slukad Sol’ will awaken even the coldest of hearts with it’s call-to-arms, heralding another raging long-player from Bhleg, that’s almost hypnotic as you drive further in. Those soaring melodic vocals also ring out once again and add to the majesty of this release.

Penultimate song ‘Odet’ heads back in a more traditional direction in places but follows the same approach as ’Slukad Sol’ for the majority of it’s playing time. It’s such a great song to get lost in and once again highlights how good Bhleg are as musicians. Album closer ‘Drommen Om Vardtradet’ is a gentle acoustic song, providing calm amongst the dissonance. As a complete body of work Odhin is very cohesive, even with the levels of variation on show. Bhleg now feel like seasoned professionals and are very endearing to listen to. Black metal always divides opinion amongst metal fans but hopefully we can all unite over this release.

You can stream and purchase Odhin on all formats below:-

Bhleg -

Nordvis Produktion -

Thursday 12 August 2021

Storie Grubb - Crawlspace (by Mikey Ortega)

Label: Self-Released

Format: Digital

Release Date: Jan 25, 2021



1. Tempted

2. March of the Toy Children

3. Glimpse

4. Flash Bang

5. Sideways with Brittany

6. Such Sights

7. Ragtime Wars

8. High Dreams

9. Room 237

10. Backseat Motors

11. Silent Signs

12. New Life

13. Opposite


I don’t think I’ve come across a workhorse like Storie Grubb’s Sean S. Kelly. Back in 2019, he made the effort to release an album for every month, during that year. Which – I have to admit – it was pretty impressive. Every one of those releases were unique in their own way. But of course, with Sean being a talented individual, it shouldn’t come to a surprise. And now Storie Grubb has graced us with a new album for 2021 – called CRAWLSPACE – an album that will impress those who have listened to Sean’s early work.


CRAWLSPACE begins with two instrumentals that will catch people by surprise. “Tempted” has a very brooding sound. Almost as if there’s an Egyptian ritual is happening. But, then again, Sean does mention “This collection is as dark as it is allowed to cast a shadow by the light of it’s own subtleties and blemishes”. “March of the Toy Children” is upbeat and reminds of the theme for Midnight Cowboys. “Glimpse” is a fun lo-fi bedroom jam that makes Storie Grubb a loveable project. One line that really got me was “a desperate god, will blame the fallen, and bite it’s own heels to keep ordinary life, like mine, to decide what to do with an open mind”. “Sideways with Brittany” is a cool and catchy jam about a non-conformist chick, who has zero fucks to give. “High Dreams” is probably only track that has a very epic feel.  It has a very Spaghetti Western feel, which probably why I can picture a lone gunslinger, just riding around the desert with his horse. The album ends with “Opposite”, which is a song I can totally relate. I’m not much of a “people’s person”, and this song explains why.


Storie Grubb definitely explored some new territories with CRAWLSPACE, especially with those keyboard instrumentals and it’s one of the things I admire about Sean. Not only as a musician – but, as an artist. If there’s an album that can be described as a “best friend”, it would totally be CRAWLSPACE. If you’re ever feeling down, this album will pick you right back up. Really glad that Sean’s creative juice kept going, as 2021 really needed a new Storie Grubb album.


You can listen to CRAWLSPACE on Bandcamp and follow Storie Grubb on all social media platforms. Also, if you’re in the Boise area, be sure to catch Storie Grubb perform at the Treefort Music Fest on September 22 – 26:-

Monday 9 August 2021

An Introduction To Bleeding Malice: Interview + Thy Kingdom Come Review

I came to the realisation a while ago that the blog had lost it's way a little bit. I was too focused on reviews and had become disillusioned with sending out endless interviews that never got answered. I was going through some e-mails around the same time and I received one from Belarussian dark deathcore/metalcore band Bleeding Malice. They asked if I could interview them regarding their debut album Thy Kingdom Come, to which I agreed. 

Bleeding Malice was formed in 2020 by composer/bassist Olga Kann and vocalist Alex Rabets, though the band has expanded to a four-piece for the album with the addition of Sergey Pinchuk and Sergey Kuvizenkov on guitars. It was Olga who kindly answered my questions, which as well as being about the band and the album, also tied in slightly to my will to dig deeper into the lives and socio-political situations behind those who make music. Many of you will be aware of the current repression taking place within Belarus at the hands of their increasingly dictatorial regime. The answers that Olga gave don't directly reference that repression,  but it's clear to see that things are difficult in the country, as they have are across the globe.

1. I want to start by asking about the how Bleeding Malice formed. Were any of you in previous bands? How did you decide to start Bleeding Malice?

In fact, like any previous project, this band began with a challenge. It originally planned to play hardcore to take out the accumulated anger and fatigue just for fun. The project started with 3 people: bassist-composer, vocalist and drummer. As a result, everything went as usual not according to plan and grew into heavier, darker and more evil material. In the end, the drummer said that we were too depressed and left us to play punk. 

We have many guitarists in our country, but they all hide far away in the bushes or are busy with their own business. Probably, it has been this way since the days of the partisans. Finding a permanent, motivated guitarist who is not busy with his projects is a whole quest. So bassist-composer called his old friend in session to record the guitars. A little later new permanent guitarist joined the project. Therefore, for the live line-up we still have vacant places for the second guitarist and drummer.

About our other projects, the bassist-composer and the vocalist have a couple of projects of completely different genres. In this year, a new album by Withered Land (epic atmospheric black project) is released, for example.

2. My knowledge of Belarussian bands is small but those I have listened to, including Eximperitus and Pa Vesh En, have been very heavy and dark. What is special about the bands and the heavy music community in Belarus compared to other countries?

In fact, we ourselves know the local scene rather poorly too. New collectives constantly formed, but then they fade away. Not so many bands go a long way. In our country, due to economic, political and other conditions, it is not so easy just to live, and even more so to be creative. Regarding the gloom/dark of the local scene, Belarusians really know a lot about pain. We have many hardworking people; we work hard and suffer a lot. We are also very patient. It is a pity that this does not always apply to creativity. So it goes.

3. You will shortly be releasing your debut album Thy Kingdom Come, which includes lyrical content about social issues, religion and human emotion. What influenced your lyrics?

Life influenced it. On the one hand, the vocalist drew more inspiration from more understandable and truly human feelings. Some songs inspired by their own experience, some by films / books / stories. An existential theme part was introduced by the bassist-composer, not tied to specific stories, to the suffering of an ordinary person.  Rather to general metaphorical concepts. Therefore, the content of the album, songs and the overall musical component turned out to be both sincere and simple, and at the same time philosophical, pompous and existentially deep.

4. Following that previous question; you talk about the album being a story. Is it purely fictional or is it rooted in real life? How does it relate to life in Belarus at the present time, if at all?

Partly there are references to real life; partly general existential moments are touched upon, as I wrote earlier. This is partly due to life here. But still, it seems to me that in any place you can be absolutely anyone. Reality is a rather shaky concept. We often do not notice many things around us; we do not want to notice. Everyone focuses on what is important to him. Or what cannot be denied. We are all, to some extent, hostages of morality, but in fact, we are always on the other side of good and evil. Some of the songs on the album respond to this theme and show "what if" and "good that is not".

5. Moving onto something a little lighter, how excited are you about the album’s release?

It's hard to say, on the one hand this is one of the fastest releases for us. Most of the completed projects accumulated many years in the composer's drawer. And their implementation required a lot of determination, time and nerves. The same album seemed to have been made in one breath. Not without difficulties, of course, they always happen. However, this time, 2 motivated people just went and made it possible. Because there was a lot to say. And somehow everything worked out so harmonic, the concept, the music, the lyrics. Well, we think it worked out well. We do not hope to become famous all over the world. Nevertheless, it was necessary to us to share this with the world, for those for whom the album can become a revelation and give new supports for life. Yes, despite the fact that the album is too depressing, and without a happy end, it still speaks in several dimensions. Moreover, hope does not play a last role in it, albeit in a slightly different way.

6. As well as being a fan of heavy music, I’m also becoming more interested in how bands promote themselves and how they push their music to new listeners. How do you plan to promote Bleeding Malice and your album going forwards? 

Many a little makes a mickle, as says. Now I like to collaborate with webzines, magazines, I focus on collectors of physical merch and like to use more classical methods. My colleague bets more on Spotify and digital distribution. Anyway, I can only guessing which works best. Everything is useful.

7. As musicians and performers, how do you think music consumption and gigs/touring will change following the Covid-19 pandemic? Do you think live streaming events will become more popular and do you plan to play live when you’re able to?

About gigs.
To be honest, I am absolutely disappointed with live lineups (for many of the above reasons). And so far it is difficult to say whether this project will be able to position itself as live-band in the future. Everything has definitely changed in this world and so far we have not seen any improvement, everything will only get worse (in terms of live performances). We all were be putted under a dome. And we will be here as long as it is beneficial for the ruling elite. We live in some kind of fucking post-irony. In the "World War Z". And 15 years ago, just starting music life, it was difficult for me to imagine that this world would come to this. I played a lot of concert, organized it too. I don’t recognize the situation around me. For me, the format of online concerts is still wild, although I'm not such a dinosaur. But the very essence of the concerts is lost from this, it is better then to watch a beautifully produced music-video. 

About music consumption.

Also difficult question. A positive trend is likely to emerge here. If not one "but" for every band. With the growth of technology, the opportunity for music production also grows, the number of bands and competition grows. We are all drowning in information noise. If believe Google, 200 to 300 songs are released every day (but in reality, probably much more), huh, can you imagine that number? People have more time and opportunities to listen to new music; that's becoming more accessible thanks to the Internet and streaming services. However, the music itself is getting more. At the same time, the old classics titan-bands do not diminish their positions. Sitting under the dome, what else to do, how not to listen to music, watch movies and read books? People will listen to music more and that's a fact. The only question is whose music will be listened to. 

I’m talking too much haha. In any case, it is always pleasant for a listener to find new projects for themselves. And as for a musician - to find new listeners. Each such "meeting" of two understanding parties is very valuable.

Thanks a lot for your questions! I hope you and the readers find something interesting in the answers.

Labels: Self-Released

Formats: CD/Digital

Release Date: 06 Aug 2021


1. The Last Prayer

2. I Claim Death

3. No Remorse, No Redemption

4. Coming Home

5. Thy Kingdom Come

6. A Wolf Among Sheep

7. Bleed

8. Stillborn Hope

9. Nothing Left Worth Living For

Apologies for the delay in posting this feature, I had my second Covid jab on Saturday and while I only had minor side-effects on Sunday as a result, I felt more tired and ached as the day went on. I feel more alive this evening so attempting to dissect the debut album from Bleeding Malice is the right thing to do. Darkness was always expected when hitting play on album opener ‘The Last Prayer’ but that darkness is punctuated heavily with technical musicianship and plenty of old-school metalcore influences too. The deathcore tag doesn’t come across as prominently, except in the vocals, which veer from higher pitched scream to a low growl.

I can’t quite make out whether Bleeding Malice use a drum machine or not, but the member/instrument listing on their bandcamp page doesn’t list percussion as one of those, so it’s possible. Either way, it doesn’t do them any harm and I’m not that idiot on Facebook who questions bands about their use of analog/digital drums. ‘I Claim Death’ is a blasting mix of both new-school and old-school metal approaches, all wrapped up in an intense package.

Despite the darkness that’s entwined within this release, there’s also subtle light as well. It’s encased in the opening bars of ‘No Remorse, No Redemption’ and carries through during further passages of the song thanks to synths (I think? Or at least well disguised guitar) and some masterful lead work. So far this record is a real surprise! In a time when both deathcore and metalcore have both become very copycat, Bleeding Malice seems to be breathing new life into the sub genres without breaking a sweat. The slight sludgy undertones of ‘Coming Home’ make that last statement all the more real and add so much atmosphere to the recording as well.

The title track ‘Thy Kingdom Come’ begins with a spoken word portion of the well known prayer, only then to descend into a haunting yet groovy death metal song, with some clever choral elements too. Not what I was expecting at all but it’s great to have curveballs in albums like this. It shows the breadth of their song-writing and performance. Things go back in a more brutal direction on ‘A Wolf Among Sheep’ and while their brutal might not be your br00tal, there’s still plenty of neck-snapping tempos and death metal to grab on to.

‘Bleed’ is another great example of how Bleeding Malice create shorter songs that still have plenty of impact. A song being less than three minutes in length doesn’t mean it has to be an afterthought when it comes to progression. It’s pulled off brilliantly throughout this album. Penultimate song ’Stillborn Hope’ is hard-hitting from the off, though it’s structure seems a little familiar, in a hardcore vein almost.

As endings go, you can’t get much bigger than the starkly titled ‘Nothing Left Worth Living For’. It’s tempo is slower, the overall feel is more cinematic and the vocals are the most scathing they’ve been throughout, at least these ears anyway. It’s a very befitting way to end. Debut albums don’t often make such waves within the underground metal community but Thy Kingdom Come makes it’s mark immediately. Bleeding Malice may well end up on plenty of end-of-year lists later in the year (or in early 2022 when the year’s actually over) and if they do, they really deserve it. 

You can stream and purchase the album on both physical CD and digital formats below:-

Bleeding Malice -

Thanks again to Olga and Bleeding Malice. Please go and check them out and support them!