Obnoxious Concoction - Obnoxious Concoction

Labels: Dry Cough Records

Formats:Tape/Digital

Release Date: 21 Feb 2025

Tracklist:

1. Painkiller's Steel Chariot

2. The Vampire

3. Dredd Avenging Battalions of 2025 AD

4. Orkish Apotheosis

5. Rangifer Tarandus Disembowelment

6. Carboniferous Copacabana

7. Rage of Augment

It's almost August, like how has that happened! Time bloody flies and bands pop up overnight. Leeds-based death metal band Obnoxious Concoction released their debut self-titled EP in February via Dry Cough Records on full-body printed tapes (yes, I know I'm very late with this review). The quartet features members from Mortuary Spawn, Tormented Imp, Gorgon Vomit and Nepalese death metallers Animality.

This EP is a fast one, so if you haven’t already heard it, prepare yourselves. Opening with ‘Painkiller’s Steel Chariot’, the riffs are the first to hit you as they pave the way for blasting yet technical death-grind and properly ferocious vocals. This is insane from every angle already. ’The Vampire’ flails with subtle thrash metal tendencies, but stomping death metal isn’t far away. It fills the mid-section before the pace goes all the way up. 

Not being too serious is a good trait for any extreme metal band, which usually manifests itself in song-titles. ‘Dredd Avenging Battalions of 2025 AD’ is a fine example as Obnoxious Concoction mix their finest ingredients to produce a blistering recipe of extremity. ‘Orkish Apotheosis’ is both the EP’s mid-way point and also it’s shortest song, picking up where the previous song left off. Much more grind-heavy thanks to the percussion (maybe a hint of powerviolence in there too), while the guitars/vocals add so much heft and vibrancy (if that’s the right descriptor).

I had no idea but apparently Rangifer Tarandus is the scientific name from Reindeer or Caribou. I had to look it up because of ‘Rangifer Tarandus Disembowelment’, which follows. I’m guessing that Obnoxious Concoction don’t approve of animal cruelty so the song-title probably refers to somebody being disembowelled by a Reindeer. As violent an image as that is, it pretty much matches the tone of the song. You’ll understand why when you hear it (if you haven’t already!). I’ve also gotta call out the sick guitar soloing towards the end.

Moving onto the EP’s penultimate song and only example of alliteration ‘Carboniferous Copacabana’; after an initial bar or two of old-school death metal riffs, Obnoxious Concoction explode once again into technical, uptempo grinding death, complete with added grooves. Without any pause at all, you’re slung headfirst into final song ‘Rage of Augment’. It’s the cherry on top of what is a ridiculously good EP from another brilliant UK band.

Obnoxious Concoction seem to have already found a formula that sounds pretty much complete, which is no surprise really given their collective experience. You’ve got another reason to deep dive into UK death metal now.

You can stream the EP digitally and grab it as a name-your-price download from Obnoxious Concoction below:-

I picked up a tape copy as soon as it went on sale; however, 1 copy remains for sale via Dry Cough's bandcamp page here - https://drycough.bandcamp.com/album/obnoxious-concoction. Sell this MF out!

Obnoxious Concoction Instagram - @obnoxiousconcoction

Dry Cough Records - https://www.facebook.com/DryCoughRecords

Confess - Destination Addiction

 Labels: Self-Released/EVIN Productions

Formats: Vinyl/CD/Digital

Release Date: 31 Jan 2025

Tracklist:

1. Built on a Grave

2. Slaughterhouse

3. Expedition

4. Dark on Both Sides

5. Suicide Song

6. Final Lap

7. After Goliath

8. Origami God

9. Only Shackles to Lose

10. Breathe In. Breathe Out.

Nearly three years have passed since I reviewed Revenge At All Costs, the 2022 (and third) full-length by Iranian/Norwegian metal band Confess. In January of 2025 the band released their newest album Destination Addiction, featuring percussion by George Kollias (of Nile and Contrarian, most notably) and a guest appearance from guitarist Marzi Montazeri (formerly of Superjoint Ritual and Exhorder, etc) . With Confess's main creative duo now fully settled in Norway, the focus can be placed on writing their music with freedom.

Confess have been growing gradually in recent years, casting off the setbacks that affected them early on and Destination Addiction really feels like an album that come’s from a place a stability but also defiance. Opener ‘Built on a Grave” shows that defiance off perfectly with thrashy/groove-laden riffs, bass and authoritative death metal vocals; all kept in check by the precise and classy percussive delivery of George Kollias. It’s a full-force way to kick off the record and leads straight into ‘Slaughterhouse’, which doesn’t skimp on the breakneck heaviness. There’s a refreshing sense of passion flowing through this song. That sentence may sound like a bit of a cliche but it’s not meant to. Honing a sound is difficult for any band, but Confess seem to have found their’s here.

The instant blasting/technicality that hits on ‘Expedition’ will throw you off completely as Confess delve deeper into what made nu-metal so popular at it’s heaviest. The addition of turntable scratches and samples will bring about a feeling of nostalgia in some and to be honest, those additions are well received. Variety is a good thing and Confess aren’t afraid of it. From that little bit of nostalgia to the truly atmospheric and anthemic tome that is ‘Dark on Both Sides’. This song sounds and feels different as it’s tempo slows a touch, leading to a stripped back opening passage before shades of Fear Factory, Superjoint Ritual and Meshuggah make themsevles known. Comparisons aside, Confess have it nailed, breakdowns and all!

The curiously titled ’Suicide Song’ starts with rousing feedback and marks the mid-way point on Destination Addiction. It sees Confess at their most urgent tempo-wise, while catchy instrumental touches flourish throughout that hint to their roots. The album’s latter half starts with ‘Final Lap’, which isn’t their final song at all. It’s actually another six-minute plus song filled with exquisite metalcore riffing and brutal death metal intricacy. The mid-section retreats to a passage of introspection before the percussion takes a regimented stance, leading to guitar/bass work that builds back up to the metalcore that makes it so listenable.

After that modern metal masterpiece (sorry for too much alliteration), it’s hard to know how Confess will follow it. In true metal fashion the answer is; by going in a different direction again on ‘After Goliath’, which sees them mix thrash/death metal with the nu-metal inspired scratching once again. Add to that the exceptional guest appearance of Marzi Montazeri, who provides a truly killer guitar solo and who knows what to think! ‘Origami God’ bristles with Eastern influence once again, alongside obscenely good extreme metal that sounds so assured and focused. You could describe it as many other things as well but sometimes less is more. 

The album’s penultimate beast ‘Only Shackles to Lose’ is the fastest song on the album, glitching and grinding it’s way through two-and-a-half minutes of blunt force trauma. It rests on closer ‘Breathe In. Breathe Out’ to ensure that things end on a high (if that’s the term!). It certainly does that, as Confess throw all their sonic might into the ring one final time, with George Kollias putting everything into the drums as expected. It ends abruptly but it leaves plenty of room for more from Confess too. 

It feels like Confess are very different band to the one they were three years ago. Their song-writing, performance and their choice of collaborators on Destination Addiction act as a testament to their growth. I have no doubt that you’ll enjoy this record like I did.

You can stream and purchase the album digitally, as well on both physical formats below:-

Confess will receive more from sales placed via their own site, so please consider heading here - https://www.confessband.com/category/all-products.

Confess - https://www.facebook.com/confessbandIR

dagerman. - tragedie | VIVERE

Labels: Self-Released/Zegema Beach Records

Formats: Digital/Vinyl

Release Date: 24 Oct 2024

Tracklist:

1. luogo | PROGETTARE

2. inquietudine | SUBLIMARE

3. oggetto | PRODURRE

4. attesa | ESISTERE

5. niente | AVERE

6. direzione | OPPORRE

7. equazione | AMARE

8. domande | FINIRE

Somehow, we're made it to the month of May already. Being in the fifth month of 2025 isn't really that significant except for the fact that new Italian band dagerman. is also the fifth Italian band I have featured here this year. It all started with the exceptional instrumental/progressive guitar work of Federico Favaro, followed by the black/death/doom of both Malauriu and Sinoath, as well as more recently the epic post-hardcore of Chivala. tragedie | VIVERE was digitally released by dagerman. last October and just over a month ago it was given the vinyl treatment by Zegema Beach Records.  

Honestly, I’m going through one of those phases where I want to write/don’t want to write/am feeling overwhelmed by the sheer amount of music there is to write about. I need to get back in the saddle though and what better way to do it than with another fantastic Italian band. If you’re familiar with Zegema Beach Records (and by now you should be!), you’ll know roughly what to expect. dagerman. starts tragedie | VIVERE with ‘luogo | PROGETTARE’ and it’s every bit as dramatic as promised. An emotive mix of striking Italian lyricism and off-kilter post-hardcore that’s much slower in tempo than usual (at least on initial listen).

‘inquietudine | SUBLIMARE” is the perfect coming together of both frenetic screamo/emo-violence and abject beauty. Poetically delivered vocally, as the instrumentation behind crashes, stomps and captivates with dramatic melodies, it embraces you. There’s more obvious urgency as the release progresses and ‘oggetto | PRODURRE’ embodies that urgency with yet more heart-on-the-sleeve passion, coupled with passages of raging intensity. As it ends, it draws out the frustration I’ve felt over the last couple of weeks.

‘attesa | ESISTERE’ starts off with the most unexpected panic-induced riff. It immediately lights a fire in both dagerman. and in myself, as the song flows from off-kilter mathiness to groovy punk and back in the blink of an eye. It’s the aural equivalent of a kick up the arse and it’s brilliant! After that moment of chaos, ‘niente | AVERE’ comes into view like a beacon of calm but don’t let that intro section fool you. It’s not long before dagerman. flip the switch in favour of a solid mix of epic post-hardcore and constantly shifting emo-violence. 

The latter half of tragedie | VIVERE doesn’t change direction as ‘direzione | OPPORRE’ moves through various phases, embracing everything that shapes dagerman.’s sound. The lovely indiemo feel that surrounds you at the start of ‘equazione | AMARE’ is one that should really stick around (it has that La Dispute vibe going on), which isn’t actually that far off as a comparison actually. dagerman. bring the feels here. 

Closing out with ‘domande | FINIRE’, there’s a strange feeling of peace and tranquility amongst the heaviness. Maybe that feeling is subjective because I haven’t been able to properly focus on music recently or because this album cleanses the senses and transcends conscious thought. Either way, it’s a brilliant body of work and another example of how rich Italy’s musical community is.

You can stream and purchase the album as a name-your-price download from dagerman. below:-

Physical copies are available from Zegema Beach Records below:-

CAN/INTL - http://www.zegemabeachrecords.com/zegema-beach-releases/dagerman

USA - https://zbrusa.com/collections/zbr-releases/products/dagerman

dagerman. - https://www.instagram.com/dagerman.band/

Zegema Beach Records - https://bsky.app/profile/zegemabeachrecords.bsky.social

Mutagenic Host - The Diseased Machine

Labels: Dry Cough Records/Gurgling Gore/Memento Mori/Self-Released

Formats: Vinyl/CD/Tape/Digital

Release Date: 03 Jan 2025

Tracklist:

1. Neurological Necrosis

2. Genestealer

3. The Twisted Helix

4. Artificial Harvest of the Obscene

5. Organometallic Assimilation

6. DIRECTIVE:: [kill_on_sight]

7. Incomprehensible Methods of Slaughter

8. S.W.A.R.M (Systematic War Against Restless Machines)

9. Promethean Dusk

10. Rivers Of Grief

As the world was stumbling bleary-eyed into 2025, London death metallers Mutagenic Host unleashed their debut full-length The Diseased Machine. It arrived almost two years on from their first recording The Genotoxic Demo, which was released via Dry Cough Records. Dry Cough worked alongside Gurgling Gore to release this album on both tape and vinyl, while Memento Mori Records committed it to CD and Mutagenic Host self-released it digitally. Little did they know at the time just how crazy the world would get!

Being one of the newest additions to the UK death metal ranks, Mutagenic Host have garnered quite a lot of excitement with their approach to the genre. ‘Neurological Necrosis’ shows why with it’s heavy percussion/bass, core-laden riffs and blood curdling deep bellows. ‘Genestealer’ doffs it’s hat to slam with it’s riffs but fear not, this song is still firmly rooted in the old-school death metal camp. Who says that bands can’t do both, right?

The sinister guitar melodies and tempos that open ‘The Twisted Helix’ soon give way to reveal a careening, thrash-like verse. Soon after, the instrumentation slows back down for the chorus once again, dragging the vocals down too before a brilliant solo seamlessly seeps into the song’s latter half. Ultimately, what’s offered here is extreme song-writing and musical delivery at it’s best. ‘Artificial Harvest of the Obscene’ delivers a number filled with metallic dissonance and perfect momentum. Coupled with another great lead-guitar solo and extra atmospherics (mainly due to ambient sounds and samples), Mutagenic Host lay their marker down early.

‘Organometallic Assimilation’ marks the near-midway point in the album and it’s where the superior drum production comes to the fore. Honestly, it boosts the song over and above what has come before it (to my ears anyway), not that the song’s other components don’t of course. It just hits differently because of the percussion. As is the norm now, interludes are a popular way of building anticipation and atmosphere, and ‘DIRECTIVE:: [kill_on_sight]’ is one of the better examples I’ve heard for a long time.

If this write-up seems slightly disjointed it’s because I racked up 13 hours in my day job on Tuesday, followed by normal 8 hour shifts yesterday and today. I know that’s not a lot in the grand scheme of things but it’s enough to leave me feeling a bit wiped out (especially with a new work I.T. toy to keep my brain stimulated). Maybe it’s slightly ironic that the next song is called ‘Incomprehensible Methods of Slaughter’ then. The glorious intro led by both bass and percussion leads to a doom/death-inspired monolith. Okay, it’s more OSDM than doom/death but it still hits the same.

The drumming throughout The Diseased Machine sounds massive, but it sounds even more so on ’S.W.A.R.M (Systematic War Against Restless Machines)’. Said drumming also makes the rest of the band rise up to the same level too. For a song so late on in the album to still sound so focused and intense is a joy (if that’s the right word!). Penultimate song ‘Promethean Dusk’ draws from the slam influence again, even if subtly. Mutagenic Host do a great job of settling the slam down alongside both traditional and brutal death metal. 

Closing with the album’s longest song ‘Rivers of Grief’, Mutagenic Host inject sampled-screams and haunting ambient/sci-fi sounds into an intro that heralds a full-bodied, instrumental-led death metal track. It’s actually quite a treat to hear their instruments coming to front as they do and as the volume fades, so does the adrenaline. The spacey, ethereal outro is comforting but it doesn’t hide the fact that the record is over.

From demo to debut album, it feels like the step change for Mutagenic Host has been massive. The recording work done by Boulty at Stuck on a Name Studio in Nottingham and Charlie Wilson at Monolith Studios in London (both great independent recording studios), coupled with the mixing and mastering from Ben Jones (who also worked on their demo), really elevated this release. Ash, Jack, Sami, Dan and George have nailed it here and hopefully there’s much more to come.

You can stream The Diseased Machine and purchase it digitally, as well as on tape and CD from Mutagenic Host below:-

Mutagenic Host - https://www.facebook.com/MutagenicHost

You can also buy physical copies from the labels below:-

Dry Cough Records - https://www.drycoughrecords.com/category/dry-cough-releases

Gurgling Gore - https://www.gurglinggore.com/category/our-releases

Memento Mori - http://www.memento-mori.es/store_search.php?text_search=Mutagenic+Host&genre=0&search_home=store_death

Dry Cough Records - https://www.facebook.com/DryCoughRecords

Memento Mori - https://www.facebook.com/memento.mori.label

Public Grave - Grotesque Mutations

Labels: Self-Released

Formats: Vinyl/CD/Digital

Release Date: 28 Feb 2025

Tracklist:

1. Patient Zero

2. Grotesque Mutations

3. Lockdown Brutality (feat. Tim Köhler)

4. Faking The Cadaver

5. Walking Corpse Syndrome

6. Forced Fed by Blunt Weaponry

7. Human Organ Harvesting

8. Kill Eat Resurrect Repeat (feat. Larry Wang)

Seven years on from their debut album Cadaverous Resurrection, German death/slam quartet Public Grave return with their second full-length Grotesque Mutations. This album features guest appearances from members of compatriots Knockdown Brutality and Taiwanese brutal death metal/grindcore band Gorepot. While I may sound like I know what I'm talking about here, Public Grave are completely new to me, such is the ever shifting (and growing) musical landscape I try to inhabit. 

Here we go; the chilling hospital samples and screams that make up album opener ‘Patient Zero’ depicts a scene of horror, which is befitting of Public Grave’s imagery and sound. It immediately flows into the title track ‘Grotesque Mutations’, which is an upbeat/thrash filled slab of extreme metal. it seemed as though the intro’s volume on the recording was higher than the song that bare’s the album’s name, but I’ll reserve judgement on that.

Next up it’s ‘Lockdown Brutality’, featuring Tim Köhler from Knockdown Brutality. It leans much more towards slam and the volume is definitely higher, which puts pay to my earlier comments. Aside from the gnarly vocals delivery, it’s the percussion that really leads the way on this record, with the guitars somewhat deeper in the mix at times. There’s a subtly humorous side to Public Grave too. Naming a song ‘Faking The Cadaver’ could either be a nod to US slam/brutal death legends Waking The Cadaver or just a clever play on words, but whatever the answer, the song itself is generously filled with breakdowns and guttural vocals.

If it’s succinct death metal you’re after, ‘Walking Corpse Syndrome’ is definitely that! It’s the shortest song on Grotesque Mutations aside from the opener and because of that Public Grave are even more focused on delivering the best music they can. With the stark imagery conjured by the title ‘Forced Fed Blunt Weaponry’, the mood switches between the band’s usual up-tempo bludgeoning and more mid-tempo, old-school atmosphere. Public Grave don’t stray too far away from their characteristic sound but there’s definitely something extra going on here.

As they reach the album’s final two songs, ‘Human Organ Harvesting’ offers up more groove with added mosh sensibilities. The tempo changes led by the percussion are handled really well, while vocals and guitars compliment each other. On album closer ‘Kill Eat Resurrect Repeat’, Public Grave are joined by Larry Wang of Taiwanese band Gorepot and it’s a match made in brutal death heaven! Larry’s vocals add an extra layer of extremity to the recording and Public Grave feed off of it, loosening the reigns even further.

Grotesque Mutations is a strong death metal release that will appeal to those who already obsess over the style. Public Grave themsevles are very proficient musically and seem to mature as the album progresses. A solid performance all round.

You can stream Grotesque Mutations via all the usual outlets (except for Bandcamp curiously). They're linked up here - https://publicgrave.de. Physical records, CDs and other merch is available here - https://publicgrave.de/shop/.

Public Grave - https://www.facebook.com/publicgrave

Canary Bones - Demo

Labels: Self-Released

Formats: Digital

Release Date: 03 Jan 2025

Tracklist:

1. I Heard You Die at the End

2. Pearls Before Swine

3. Hard Year

4. Service Delivery Failure

Later this year I'll be able to celebrate fifteen years of writing and building this blog. Even after all that time I still love receiving messages/e-mails from bands who have discovered This Noise Is Ours through other reviews I've written. In January I wrote about the recent 7" release from Australian post-hardcore/screamo band Keratin, which led to David from fellow Australian noise rock/post-hardcore band Canary Bones reaching out about the band's debut demo.

The Naarm (Melbourne, Aus) sextet released their four-track debut demo early last month. Their sound is recommended for fans of everything from the grunge rock of Helmet and Sonic Youth, to the alt/noise of Jesu and Swans, right through to the early punk/post-hardcore of Fugazi and Hüsker Dü, as well as the likes of At The Drive-In, Botch, Coalesce, Deftones and Poison The Well. Those influences are both varied and music (sorry!) to my ears. Let's dive in...

I couldn’t wait to get home from work today. Aside from being able to order the debut tape from a new UK death metal band (featuring members of bands I’ve been a fan of for years), I wanted to also delve into some new music by a band that reminds me of why I started writing in the first place. Enter stage right Canary Bones. Starting with ‘I Heard You Die at the End’, the sextet provides a groovy/danceable take on noise rock. It’s predominantly mid-paced, which is a nice change of pace given what I’ve been listening to of late and is catchy too.

‘Pearls Before Swine’ is much more riff-laden, especially thanks to the melodic/metallic delivery while the overall feel of the song is heavier. That owes a lot to the organic and raw mix on the demo, which nails down the sextet’s sound even though it’s surprisingly brief. We all get to a point in life where every year is considered a ‘Hard Year’ but Canary Bones condense post-pandemic life into less than four minutes of punk-fuelled noise that describes the tiredness both they and we all feel now. Being careful how I word this next sentence; there’s a similarity between the snotty old-school punk of the UK and the sound crafted by Canary Bones here.

The demo ends with the excellent ‘Service Delivery Failure’, which is something we can all relate to here in the UK. The slightly harrowing sample at the beginning leads to lone guitar lead-work and ambient distortion, as things build slowly. This is where the band’s post-punk influence grows and takes center stage. It’s simplistic and almost primitive but at the same time it’s cleansing too, showing the many layers this band has.

Ultimately, any band worth their salt has worked their way up from the bottom. I don’t use the word “bottom” in a derogatory way, just as a term to differentiate those bands from others that were born with silver spoons in their mouths. Canary Bones are just starting their journey and their demo is a snapshot in time, a strong one at that. It’s always hard to tell where a band is headed after just one release, but the only way is up if this is anything to go by.

You can stream and grab a digital download of the Demo from Canary Bones via bandcamp below:-

Canary Bones - https://www.facebook.com/profile.php?id=61565754681613

Yarostan/Aleska - Split 2xLP

Labels: Bad Mood Asso/Bike Punk Salamanca/Bus Stop Press/Crapoulet Records/Longrail Records/Seaside Suicide Records/Self-Released/Smart & Confused/Zegema Beach Records

Formats: Vinyl/CDr/Tape/Digital

Release Date: 04 Apr 2019

Tracklist:

1. Yarostan - Des parkings pour admirer

2. Yarostan - Nous contre nous

3. Yarostan - Effondrement

4. Yarostan - L'inertie du mouvement

5. Yarostan - Commencement

6. Aleska - (Re)commencement

7. Aleska - Indispensables

8. Aleska - Vanite Illusoire

9. Aleska - La Derniere Lueur

10. Aleska - Construire

11. Aleska - Un Enternel Recommencement

12. Aleska - Detruire

14. Aleska - Quand La Lumiere Disparait

For the first time this year I'm jumping back into my ZBR roster review series, due to focusing my attention on 2025 releases where I can. This particular split is a special one, as it combines two albums (Yarostan's Self-Titled debut and Aleska's 2nd album Construire ou detruire). ZBR made a limited run of tapes in April 2019 for this comp, while many of the labels mentioned above helped make vinyl, cdr and additional tape runs for Yarostan's album while Aleska self-released their record on LP and cdr. I'm going to write this review as if I was writing about both albums separately, to try and make things slightly easier.

Yarostan are first with their self-titled album, opening with ‘Des parkings pour admirer’. Ringing feedback leads to semi-melodic post-hardcore that’s rooted in the sound of the early 00’s, to my ears. The instrumentation is lovingly performed and the mix of both harsh, and clean vocals make it more accessible than at first it might appear. Having already reviewed the 2022 album II, as well as being the proud owner of a copy of Cinq (the 2020 five-way split), I’m familiar with the band’s newer recordings but not so much their earlier ones.

‘Nous contre nous’ is a glorious piece that builds with an extended instrumental that takes up almost the entirety of it’s first half before Yarostan’s heaviness takes over for a short while. What’s great about this song is that the heaviness doesn’t detract from it’s atmosphere (it actually adds to it) and the mathcore-esque ending gets the heart rate going.

Sometimes, sitting and just listening to music without trying to dissect it for review purposes is lovely and I’m trying to do it more this year but so far February’s been a slow month for various reasons. Listening to ‘Effondrement’ nearly brings a tear to my eye because it itself sounds so emotive. I’m also reminded that being shackled to a computer all day and then again most evenings doesn’t help either.

Yarostan’s penultimate song ‘L’inertie du mouvement’ brims with both noisy punk attitude and emotion-filled post-hardcore. It’s a song that makes use of their heavier side early on before the second half sees a retreat. Gentler instrumentation from the band is joined by additional brass tones as it reaches it’s conclusion with ambience and French spoken-word.

The grandest song of all on Yarostan’s self-titled album and indeed this split is ‘Commencement’; all twelve+ minutes of it. Aa you’d expect, it’s a slow build but one that’s filled with anticipation. It’s instrumental, moving through different passages of gentler melodic guitar and percussion, to heavier sludge-like riffs and off-kilter time-signatures later on. Again, they use spoken-word elements to dramatic effect. It finishes as it began before segueing into cinematic, yet distorted guitar noise.

The second side belongs to Aleska’s album Construire ou detruire and as if it was meant to be, it opens with ‘(re)commencement’, which acts as an intro and leads into ‘Indispensables’. It’s here that I understand why ZBR chose to put Aleska alongside Yarostan on this split. Their take on post-hardcore is very similar musically but with the addition of much more caustic screams. It’s great. There’s a slightly unnerving edge to ‘Vanite Illusoire’ thanks to it’s earthy heaviness, though that uneasy feeling is soon banished by more excellent musicianship and song-writing craft. It kind of reminds me of the twinkly emo/screamo of UK band Healing Powers.

From what seemed like an urgent demeanour from Aleska, ‘La Derniere Lueur’ changes things with a slower tempo and airwaves filled with precise drumming/guitar work that deserves your full attention. Those harsh vocals take hold later on alongside their more familiar passion and poise. ’Construire’ is as long as the song it follows, just with more of an At The Drive-In influence in places. It’s more mathy than others on the album too. Basically the culmination of this song is just top-tier post-hardcore/metal delivered in a way that sounds pretty retro, which is always fine with me.

Aleska’s urgency is back in spades on ‘Un Eternel Recommencement’, though only for a short time and for greater impact as a result, because as soon as they’ve started they too retreat slightly into a lighter mid-section that’s followed by more off-kilter trickery. Their majestic long-player comes in the form of ‘Detruire’. True to form and just like Yarostan did, Aleska provide a lovely track filled with cinematic melodies all of their own. I’m imagining at this point what it would be like if both bands just did a proper collaborative album together. It would certainly be a spectacle.

After such a journey, album closer ‘Quand la lumiere disparait’ sounds very lo-fi to the ear initially before there’s one last gasp for air from the lungs of Aleska. Joined by subtle blues/jazz tones, it still has a lot of personality as it drags you through a violent end. 

Trying to reflect on both albums individually and in terms of this split release without repeating anything I've already said is tough. There's a real affinity between both bands and it shows, especially when both albums sit so well alongside each other. Having spent all my time so far this year listening to new 2025 releases, going back in time a bit doesn't hurt, especially when the music is a flawless as it is here.

You can stream and buy the individual albums on all formats from both bands here:-

 

Note: Aleska has one copy of the ZBR split tape still available via their bandcamp page.

ZBR also has one other copy available here - https://zegemabeachrecords.bandcamp.com/album/yarostan-aleska-split-2xlp

Yarostan - https://www.facebook.com/yarostanband

Aleska - https://www.facebook.com/Aleskaband

Bad Mood Asso - https://www.facebook.com/assobadmood

Bike Punk Salamanca - https://www.facebook.com/seitanshellbikepunks

Bus Stop Press - http://busstoppress.weebly.com

Crapoulet Records - https://www.facebook.com/Crapouletrecords

Longrail Records - https://www.facebook.com/longrailrecords

Seaside Suicide Records - https://www.facebook.com/seasidesuiciderecords

Smart & Confused - https://www.facebook.com/smartandconfused666

Zegema Beach Records - https://www.facebook.com/zegemabeachrecords

Federico Favaro - Abstractions

Labels: Self-Released

Formats: Digital

Release Date: 21 Feb 2025

Tracklist:

1. Automata

2. Daydream

3. Horizon

4. Liquid Quartz

5. Polaris

I started putting this review together on Sunday evening after I had spent the afternoon in the company of friends, beer and vinyl records of varying genres. I realised fairly soon after starting that I was in no fit state to carry on so I paused. I'm glad I did because I wouldn't have been able to give this new EP from solo Italian progressive guitar phenom Federico Favaro the justice in deserves. 

Federico's debut EP Abstractions is due for official release on February 21st and he kindly wrote to me recently. I'm currently going through a phase where I'm bouncing from instrumental prog to technical death metal. This release obviously sits in the former category and I'm excited, and honoured to be able to hear it in advance of it's official release date.

This month is flying by and I haven’t written nearly as much as I would have liked. That being said, I’ve purchased and listened to more records at the same time, so you win some you lose some right? Italy has long been a bastion for epic, progressive music and a new name can be added to the ever growing list of exceptional talents this year with the debut EP from solo guitarist Federico Favaro. 

Abstractions begins with ‘Automata’ and it’s classically-inspired intro that flows seamlessly into an aural mosaic of epic guitar-work, alongside equally enjoyable bass and percussion. All instrumentation has been performed by Federico himself on this release (as I understand, please correct me if I’m wrong), making this more than just a “guitar” record.  

I know a lot of people recoil at the thought of progressive music because they think it’ll go on forever but it’s not the case here. ‘Daydream’ builds from Flamenco-like guitar plucking to much heavier and indeed engrossing progressive rock/metal soon after. One thing Federico wrote when he contacted me was that his music was nowhere near the standard of Plini (for example) but I disagree. 

There’s something really upbeat about ‘Horizon’ early on. It has bit of a punk sound to it (at least to my ears). It’s not too long though before any nod to punk disappears in favour of classically-tinged/off-kilter music that’s an absolute joy to listen too. Like the rest of the songs on Abstractions, it could be considered short in prog terms but that’s no bad thing.

The piano that greets you on ‘Liquid Quartz’ is beautiful and fits in perfectly with the jazz elements that flow through the EP. The djent-like guitar/bass tones later on show that Federico isn’t afraid of sudden direction changes and as with the rest of the EP, doesn’t shy away from ripping up traditional musical structures. 

Closing with ‘Polaris’, Federico offers up a song that’s deceivingly gentle and before you know it, you’re whisked off to another realm filled with dissonance and mind-bending riffs/tempos. I was reading an article earlier from somebody who thinks that musicians hate making music. If that’s actually the case then EP’s like this would not exist.

Federico Favaro is a genius and his music deserves so much attention for being genuine, and a true labour of love. Abstractions will hopefully be an example of what’s to come on future releases. What this space.

If you'd like a sneak preview of some of the songs that appear on this EP, head over to Federico's YouTube channel for some play-throughs and other videos - https://www.youtube.com/@FedericoFavaro/videos

Abstractions will be available digitally on February 21st.

Federico Favaro Instagram - https://www.instagram.com/federico.favaro_guitar/

Aeon Of Awareness - The Embracing Light Of Rarohenga

Labels: Self-Released

Formats: Digital

Date: 17 Jan 2025

Tracklist:

1. Intro

2. Lebenslast

3. Lysis

4. Hine-nui-te-pō

5. Te Atua

6. Ira Di(e)mensions

7. Tūmatauenga

8. Fort Forest

9. King Kauri

So here we are. 2024 is behind us and a new year has already begun. 2024 actually turned out to be a very good year for the blog and I'm optimistic about 2025 as well. I'm hitting the ground running by focusing on this year's releases whenever I can, starting with the debut album from German death metallers Aeon Of Awareness. 

The Embracing Light Of Rarohenga promises to be a mix of melodic death metal and Maori mythology (two things I wasn't expecting to say in the same sentence!). Aeon of Awareness formed in 2020 as a duo, releasing two EPs prior to this full-length recording (and an expansion of their line-up), which will be officially available digitally on 17th January. 

Starting with a dramatic and orchestral ‘Intro’, Aeon Of Awareness do nothing to prepare you for their Aotearoa-themed German death metal (yes, I know that sounds weird!). ‘Lebenslast’ contains much more European influence with driving blasts, marching riffs and typically harsh vocals, that are accentuated by the quartet’s mother tongue. So far so good in the musical department. ’Lysis’ takes up the exact same form as ‘Lebenslast’, but with additional Scandinavian influences. Those influences won’t come as a surprise if you’re an avid death metal fan, as it’s such a prominent sub-genre across Europe. Aeon Of Awareness make it sound effortless, especially for a debut album!

‘Hine-nui-te-pō’ is a fine way to integrate their love of Maori mythology, as Aeon Of Awareness allow their instrumentation to take centre-stage with glorious melodic riffs and towering atmosphere. To my ears, the vocals are still in German, so the Maori influence may only be found in the lyrics (please correct me if I’m incorrect here though). ‘Te Atua’ breaks up the heaviness briefly thanks to it’s use of soothing piano and delicate strings. The album’s latter half kicks everything back into gear after a mere pause for breath and ‘Ira Di(e)mensions’ re-introduces you to the band’s full-flowing death metal, except there’s greater use of tempo and time changes now. It’s hard to ignore just how mature this album sounds. 

‘Tūmatauenga’ is the longest and grandest song on The Embracing Light Of Rarohenga. The lyrics early on sound very much like they’re being delivered in traditional Maori language but I’m no expert in this field and later on the band switches between different languages to heighten the intrigue. Penultimate song ‘Fort Forest’ sees Aeon Of Awareness moving back in a proper thrash/death metal direction with up-tempo everything. It’s a clever way to pep things up towards the end of the album and once again stirs the rousing feeling that was created earlier on. The chunky, melodic riffs do a great job too!

That up-tempo atmosphere carries on through to album closer ‘King Kauri’, where it’s abundantly clear that Aeon Of Awareness are serious about their craft. The use of Maori themes/language could easily have come across as a gimmick but that isn’t the case. While the music isn’t breaking any new ground progressively or experimentally, it is performed with true heart and passion, which is all that matters. The Embracing Light Of Rarohenga will be well received I’m sure.

You can stream purchase album single 'Hine-nui-te-pō' via bandcamp below, in advance of the full-release:-

Aeon Of Awareness - https://www.facebook.com/AoA666