Venomous – Tribus EP

Tribus EP Cover Art

Venomous – Tribus EP
Brutal Records
Release Date: 19/02/2021
Running Time: 21:38
Review by Victor Augusto
9/10

Is this a review of a Melodic Death Metal band?!? No, no, no, my friends. It would be so unfair to call this Brazilian band just by that genre, at least for us, the ever-amazing readers of Ever Metal. I hope you are all good and safe today as we have a paradoxical EP to talk about. Paradoxical due to the complexity of the compositions whilst being catchy at the same time. I can say that in front of us are an intriguing band musically and thematically. Of course, the melody and Death Metal are very present in their music, but Venomous are a blend of many things that are hard to explain.

First, it is obvious that Venomous are honouring the old days of Brazilian Power Metal band Angra, from the “Holy Land” album, released in 1996. Sometimes we can hear structures that sounds like Angra being played by a Death Metal band. There is also the Piano! Those who are fans of the master conductor Andre Matos, know how he put incredible classical piano in Angra’s music (also in Shaman and his solo band). Even the solos reminded me of the structures and beautiful work between Kiko Loureiro (yes, Kiko from Megadeth) and Rafael Bittencourt, from the 90’s. This is just one, very important, element apparent from Venomous. So let me summarize and talk about the songs to enlighten the readers who, like myself, have never heard of this amazing Brazilian group before (…bad Victor).

“And the hope only dies if we stop believing”. This lyric is from the opening track ‘Eerie Land’ and it carries a positive message amongst all the chaos illustrated. The piano intro that appears is typical of the regional music played in the northeast of Brazil, similar to Baião*, but arranged into Heavy Metal. It brings the sensation of those whose lives are surrounded by beautiful nature, but also cursed by the corruption and killing that has occurred due to political desires to exploit these lands. A Brazilian picture of suffering, but with a message to stay strong.

When I looked at the name of the others three songs; ‘Trinity’, ‘Duality’ and ‘Unity’; I thought that there must be some theory about the numbers three, two and one. I used all of my efforts to try and understand it and here is what I suspect could be the mystery surrounding it or what it could, maybe, be related to.

‘Trinity’ – “No Religion, nor politics. Cause races and cultures are all the same”. Universe, Sun and our planet are the three things that I saw as trinity, within the lyrics. All the energy that comes from them reflect on us because we are supposed to have no fight or division amongst ourselves, as politics and religion used to, and still, do. Our source of power and faith are out there on these three elements!

‘Duality’ – “We walk around oblivious and tamed”. Titans and Satan’s, in the lyrics, could be connected to what make people oblivious and tamed. The duality that, mentally or physically, enslaves all of us. The lovely dancing percussion right after the independent guitar riffs at the beginning of this song, alongside the melodies, are so beautiful and taken from Brazilian musicality.

‘Unity’ – “And together we’ll see better days”. In the end, we must all act and stay united to become a powerful unity. The two previous songs navigate throughout issues of humanity to show how we can overcome them and it ends with this song. The darkest atmosphere of the EP is present here. It is, probably, the most Death Metal track and what a delightful way to finish, with all the heaviness fading out, resting on just beautiful sequences of notes from the piano.

If you are thinking that I am mad with this analysis (by the way, I agree with you), you must look to the EP cover. Maybe it is just art, but maybe it has some subliminal messages too. Broken chains, a snake swallowing itself and three (Tribus) different stages of our planet. The beginning (birth), the world as we know nowadays and then the breaking of it in two parts, after so many disgraces. Have a look and tell us what you think?

Among all these ups and downs of the thematic, the band has used elements of typical Melodic Death Metal with Metalcore breakdowns. The already mentioned “Angra and Baião elements” just increase the complexity of the band. The sonority is heavy and dense, also very remarkable and catchy. If I could mention any highlight, it would probably be the way that Venomous have united so many different elements to create superb music.

This is the first time I have heard Venomous and I have immediately become a fan of them. “Tribus” perpetuates the legends that started the Heavy Metal Scene in Brazil, but also shows unique identity for the band.

Amazing EP! Parabéns!

‘Eerie Land’ (Official Video)

*Baião is a very popular and famous genre of music from the northeast side of Brazil. This area has a unique culture, not only in music, but also with their way of life and how the population handle all the issues in those states.

Here is a video entitled “Luiz Gonzaga – Baião” so that you can understand and learn about this music.

TRACKLISTING:
01. Eerie Land
02. Trinity
03. Duality
04. Unity

LINE-UP:
Thiago Pereira – Vocals
Gui Calegari – Guitars
Ivan Landgraf – Guitars
Renato Castro – Bass
Lucas Prado – Drums

LINKS:

Venomous 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.

Hevilan – Symphony Of Good And Evil

Symphony Of Good And Evil Album Cover Art

Hevilan – Symphony Of Good And Evil
Brutal Records
Release Date: 19/03/2021
Running Time: 55:16
Review by Beth Jones
8/10

Good afternoon again my merry bunch of fellow music lovers! Tis I, Beth, come to give you more of my opinions! I’m in a jolly good mood today; the sun is shining, I’ve painted a door frame, and it is that finest of days in the sporting calendar – the day the mighty Welsh dragons take on the English in Rugby Union’s 6 Nations. That’s why I’ve decided to sit down and write now, as the likelihood of me still being able to write later is slim to none (I’ll either be happy drunk or angry drunk, depending on the score at the final whistle!)[***LATER EDIT*** It was indeed the happiest of days for me, and everyone else in Wales – Da Iawn Bois!!] Anyway, enough of this witty banter and repartee, it’s time to tell you about some music, this time in the form of Brazilian Heavy Symphonic Metallers, Hevilan, and their new album “Symphony Of Good And Evil”.

Hailing from São Paulo, and formed in 2005, this will only be the band’s second full-length release, the previous being “The End of Time”, way back in 2013. Now, I do love a good bit of crossover when it comes to genre, and Hevilan certainly do that. They are no doubt symphonic, but there’s more than a smattering of Prog and Thrash in this album too, along with very deep roots in Power and Classic Heavy Metal. Alex Pasqualle’s vocal style definitely draws influence from Bruce Dickinson and the like, and a lot of the riffs and solos are pure, bang your head, Heavy Metal.

The Album kicks off with ‘Dark Paradise’, a crunching track full of Thrash rhythms and heavy chunky riffs. It’s a fast and furious start that sets the tone and pace for things to come. There are a fair few cross-rhythms in the middle of this track, too, which adds an extra depth of complexity, and displays some incredibly talented musicianship. This track rolls seamlessly into ‘Rebellion Of The Saints’, which follows the same vein, but adds in some choral harmonies, and harsher vocals, giving the whole thing a broader feel.

After a rip-roaring 20 minutes spanning the first four tracks, the intensity comes down a little for ‘Always in My Dreams’. It’s a pure Heavy Metal power ballad, and we get to hear Alex’s vocals in full clarity, as well as a delicious guitar solo from Johnny Moraes. Lush, as they say here in the Wales! BUT, and this is one of my only qualms with the album, this track finishes with the dreaded fade out!!! Argh!

Following that little interlude, the pace picks back up again, with a mixture of Symphonic, Thrash, and Classic metal, in the two parts of ‘Devil Within’. But then it’s time for another curveball with ‘Waiting for the Right Time’, which throws in a stripped back section almost akin to David Bowie.

And then we reach the business end of the album, which really is the pièce de resistance in the shape of the four-movement ‘Symphony Of Good And Evil’. Starting with a piece using purely classical instrumentation and choir, this dark and expansive work is much more progressive, experimental, and exploratory than the previous tracks, and centers around specific musical motifs. It’s a very clever full work, within a work, and the rousing strings and choral orchestration boost everything to the next level.

All in all, this is a very pleasing album. My stand-out track would have to be ‘Great Battle’. It’s a real thumper! And, musically, there’s nothing on this album that isn’t done with technical brilliance and skill. Aside from the qualm of the fade out (which incidentally happens in the 3rd part of ‘Symphony Of Good And Evil, too), my only other slight irritant is that, on a few occasions, the mid-tones are a little overbearing in the mix. But that’s a small thing that is easy to overlook when the standard set by Hevilan on this album is so high.

A cracking listen! Would highly recommend if you like any of the aforementioned genres!

TRACKLISTING:
01. Dark Paradise
02. Rebellion Of The Saints
03. Great Battle
04. Here I Am
05. Always In My Dreams
06. Devil Within Part I: Evil Approaches
07. Devil Within Part II: Hammer Of Gods
08. Waiting For The Right Time
09. Symphony Of Good And Evil Part I: Revelation
10. Symphony Of Good And Evil Part II: Dark Ages
11. Symphony Of Good And Evil Part III: Song Of Rebellion
12. Symphony Of Good And Evil Part IV: Epilogue

LINE-UP:
Johnny Moraes – Guitar
Alex Pasqualle – Vocals
Biek Yohaitus – Bass
Rafael Dyszy – Drums

LINKS:

Hevilan Promo Pic

Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Video Interview with SCARS

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

Hi Everyone

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

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

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

SCARS Video interview by Victor Augusto

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

I hope you enjoy it as much as I did.

Rick
Owner/Editor

SCARS LINKS:

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

Válvera – Cycle Of Disaster

Válvera – Cycle Of Disaster
Brutal Records
Release Date: 28/08/2020
Running time: 40:30
Review by Victor Augusto
8.5/10

Maybe I am becoming repetitive with my speech, similar to what some bands do with their music, considering it is almost impossible to offer something completely new in Heavy Metal. Of course, about my speech, it is more a matter of laziness to find good words to express myself (Please boss, don’t fire me!) (Don’t worry Victor, you’re safe – Rick). Ok, what I am trying to say is that I don’t expect anything new from bands, but there are two things that still intrigue me when brutal music is the subject. Firstly, if you can offer complex and heavy music, but at the same time, make it simple and catchy, you will have my attention. Secondly, it doesn’t matter if what you play has already been played by tons of bands before, but if you can still put anger (in the very good meaning of the word) and passion into the music, then you will also have my attention. With this explanation, we can now talk about this album and review!

As you may imagine, the Brazilian Thrash Metal band Válvera does, exactly, the two things I mentioned above, and they go further. Their music is brutal, like good Thrash Metal should be, but it is not the same old Thrash Metal that other bands repeat constantly. It is something full of heaviness, very well thought out with catchy riffs, amazing song structures and good melodies too. As for the anger, well that probably comes from all the subjects covered in the tracks. This is easy to explain because the lyrics focus on many disgraces that human beings have suffered with through the years. Do you want one example? Well, ‘Glow of Death’ is about the famous case of contamination by Cesium-137, which happened in Brazil in 1987. At that time, some people tried to sell equipment found in the garbage, but it had all been in contact with a machine used for radioactive therapy. They had no idea what they were dealing with or selling, and it caused the death of hundreds of people.

Musically, I can hear a very mature band, focused on cadence, which offers good value to the riffs. Nothing is extremely fast but it’s far from being slow. Title track ‘Cycle of Disaster’ contains a wall of heaviness from guitarists Glauber Barreto and Rodrigo Torres and it is possible to understand that the band don’t want to keep repetitive structures in their music. You can hear many variations here and it brilliantly keeps the listeners attention throughout the album. Glauber also explores some melodies with his vocals on the excellent ‘The Damn Colony’, which showcases a catchier kind of music without losing its powerful sonority. Even the solo is played differently with the usual ‘Kerry King style of playing’ making way for something much more melodic and well-structured!

If Gabriel Prado has already showed sonority on his bass during the opening song ‘Nothing Left To Burn’ and drummer Leandro Peixoto shows his technique on ‘Glow Of Death’, then in ‘All Systems Fall’ both appear stronger than ever and do a magnificent job together. Maybe it is not the album’s best song but it actually feels like all the members have put their identity into the composition and if that isn’t the case then the person who wrote it has thought really closely about the feelings of their bandmates

‘Fight For Your Life’ has a more positive spirit and makes you feel stronger after listening to all the struggles and disgraces mentioned by the band. This song also shows more melodies and solos inspired by classic heavy metal bands and it opens space for the last song, the furious ‘Bringer Of Evil’ with its fast cadence. It is a perfect song choice to finish this great album.

I confess that I’ve never heard anything from Válvera before. Maybe I heard someone talking about them and it was interesting try to understand what they want to play. The first thing that popped into my head was that the band knew exactly what they wanted to achieve with this record. This is a natural step for a band releasing their third album after 10 years of existence and many tours but it is not just a case of being a mature band, I feel like they have focused on getting a good producer, not just to have good arrangements or recording sound, but who seems to have travelled deep into the band’s soul to extract their best compositions and help them to reach this amazing result.

Once again, I don’t know if that was what really happened with the relationship between Válvera and their producer Rogério Wecko, but I can assure that the final result is incredible. “Cycle Of Disaster” shows a professional band that is ready to go much further in their career.

TRACKLISTING:
01. Nothing Left To Burn
02. Cycle Of Disaster
03. Glow Of Death
04. The Damn Colony
05. All Systems Fall
06. Born On A Dead Planet
07. O.S. 1977
08. Fight For Your Life
09. Bringer Of Evil

LINE-UP
Glauber Barreto – Vocals and Guitars
Rodrigo Torres – Guitars
Gabriel Prado – Bass
Leandro Peixoto – Drums

LINKS:
www.valvera.com.br
www.facebook.com/bandavalvera/
www.instagram.com/valveraband
www.open.spotify.com/artist/3S87lwfQs6K1O1WsQrpPhz
www.deezer.com/artist/8945888
www.youtube.com/valveraoficial
www.brutalrecords.com/

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.

Scars – Predatory

Scars – Predatory
Brutal Records
Release Date: 07/08/2020
Running Time: 57:35
Review by Victor Augusto
9/10

I know that the Heavy Metal industry is not always fair with bands, no matter which part of the world they’re from. If you live in a country like Brazil, where the industry is a nest full of snakes and this kind of music is not even close to being popular, it can be even worse. Just playing good music is not enough. Bands must give their lives working on it, but like everything in the world, this nasty scenario brings a positive side. This hostile environment can be a beacon to guide us to find bands who have survived their passion throughout the years. For those who know the history of Scars, you will understand that this band is a pure example of persistence and loyalty to their fans and to the local scene.

The band has been on road since the 90’s with two long hiatuses. The first one ended in 2004 when the band had huge success with the incredible “The Nether Hell”. The second one finished in 2018. Now, Scars have finally delivered the gift that their fans have been waiting for, for so long! A gift called “Predatory”. Probably the most mature and complete album from them, it carries a mix of everything the band have done so far, but with new and improved elements. The band sound thirsty for blood, as always, but with enough experience to know what to do or not do in their music. The heaviness, and everything from good Thrash Metal, is very well balanced, and they have incredible technique.

The title song ‘Predatory’ opens the album, and it’s immediately possible to feel the blast of the purest Thrash Metal that we (fans) all know from Scars. As well as all the incredible riffs and a little bit more groove this time, I felt that the band have also taken some further steps. I am talking about Thiago Oliveira’s solos. He has brought virtuosity to the band without losing the furious side of the solos. He and his partner in guitar, Alex Zeraib, provide a masterclass when riffs are the subject, considering it’s the band’s trademark, as you can hear in ‘These Bloody Days’. João Gobo shows incredible drum variations that go from classic Thrash beats to fast double kicks, but it doesn’t let the music become overpowered by the heaviness. ‘Beyond The Valley Of Despair’ is a slower song, but it is perfect to explain the versatility of João.

Régis F. is even better in his vocal interpretations with the concept of human beings destroying themselves and the entire world around them. Even in ‘Ancient Power’, that has some massive cadenced and strong riffs, he shows all of the aggressiveness of his voice, screaming full of hate. Marcelo Mitché has his highlights too, when his independent bass lines appear and increase the groove, such as in the great song ‘The 72 Faces Of God’. This is a song that flees a little from the strong punch but is still an immensely powerful track.

Another new element in Scars sonority, at least for me, is what you can hear in the instrumental song ‘The Unsung Requiem’. It reminded me of the sort of things Steve Vai or Yngwie Malmsteen might play, but with a dark and hellish atmosphere. Again, it is obvious that Scars have worked hard to increase their technical side. I don’t remember anything similar to this song in any previous Scars albums. The amazing harmonies in the beginning of ‘Ghostly Shadows’ is another example that demonstrates what I’m saying. It is like a guitar shred influence, without sounding exacerbated or repetitive.

As a fan, I think back to 2005, when I read many interviews and good words about Scars, for the first time. After listening to this record, I still have the same impression about the band that I had 15 years ago. That we are looking at one of the most honest and persistent bands from Brazil. They have survived this ‘predatory’ industry, despite some adversities throughout their career. Their desire to be strong and relevant is connected to their respect for the fans. It is enviable, and probably a good source of energy to keep strong in front of any issues. This passion and truth will inspire people who take this music seriously. “Predatory” is another Scars’ masterpiece. A lesson in Thrash Metal, and it shows that Scars are definitely back!

TRACKLISTING:
01. Predatory
02. These Bloody Days
03. Ancient Power
04. Sad Darkness of the Soul
05. The Unsung Requiem (Instrumental)
06. Ghostly Shadows
07. The 72 Faces of God
08. Beyond the Valley of Despair
09. Violent Show
10. Armageddon (Bonus Track)
11. Silent Force (Bonus Track)

LINE-UP:
Régis F. (vocals)
Alex Zeraib (guitars)
Thiago Oliveira (Lead guitars)
Marcelo Mitché (bass)
Joāo Gobo (drums)

LINKS:
www.brutalrecords.com/
www.instagram.com/scars.thrash/
www.facebook.com/scars.thrash/
www.youtube.com/channel/UCVxq9GLRKzsP5CnZ8GcEisw
www.open.spotify.com/artist/4FCGqzVWLxkupz86e6bhgJ

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.

HellgardeN – Making Noise, Living Fast

HellgardeN – Making Noise, Living Fast
Brutal Records
Date: 10/04/2020
Running Time: 34:27
Review by Victor Augusto
7.5/10

Many bands could seem to be totally unknown or new when they appear with a first release, but some work extremely hard before this first step to increase the expectations and anticipation of their first recorded release. Brazilian thrashers HellgardeN are a great example of this. They have been making noise and living fast for a few years, and I had the privilege of seeing them live before hearing this album, so I am one of those people who waited eagerly to hear it.

On the subject of all things that any band must plan and prepare before entering the studio, I have to mention the production of this album. It pleased me. It is raw, but good at the same time, and is refreshing, as there are plenty of albums sounding over digitalized and soulless. The distorted vocals and few guitar effects reminded me a little of Crust/Grindcore bands, just in terms of arrangements.

So, let me talk about the music. The Thrash Metal of HellgardeN has a lot of excitement in compositions and uses many good tempo variations to avoid repetition. So far, nothing new from what a good band in this genre must play. Guitarist, Caick Gabriel, does a great job with good riffs. Diego Pascuci screams a lot, and the mix makes his voice blend very well with all the other instruments. Guilherme Biondo has good bass lines which complement Caick’s guitar work and Drummer, Matheus Barreiros had the hard work to brake and change all cadences. In my opinion, his work, together with Caick are the highlights in the music and they create a good sonority with groove.

All the songs are good, but a couple stand out for me. ‘Evolution or Destruction’ shows the band’s ability to create catchy riffs. ‘Brainwash’ is my favorite due to the straight structure and more aggressive riffs. The album’s title track ‘Making Noise, Living Fast’ has a good bass sound opening it, as well as a good chorus, and lyrics that express the band’s spirit. ‘Possessed By Noise’ follows the same idea, but this last one has a fast and amazing ending to close the album.

Now, I should say what has worried me about HellgardeN’s music, and what I haven’t enjoyed since my first listening. Between many bands that have inspired them, probably Pantera is the strongest influence and it could be a problem. Of course, Pantera are a legendary group and I don’t need to explain why, even if anyone who is reading this review doesn’t like them. The problem is not being influenced by them, but when you sound exactly the same, like a copy sometimes, it could be dangerous. I will mention just two songs to enlighten what I am saying. The first one is ‘Spit on Hypocrisy’, with almost the same riff and cadence from ‘A New Level’. The second one and worst offender is ‘Fuck the Consequences’, that is totally like ‘Fucking Hostile’. Even Phil Anselmo’s counting (one, two, three, four) to open the song is identical on HellgardeN’s version.

Of course, I love to hear Pantera and everything that reminds me of them, but not when it sounds like a cover band. Probably this similarity will help them to conquer a few fans, as we all miss this important band since they quit almost 20 years ago, and a reunion is becoming (or has already become) almost impossible, after everything that’s happened during this time. But in my opinion, if HellgardeN are working on having a longer career, they must look for their own identity; this similarity will not work. Worse than that, the band could suffer by gaining the title of “Pantera Cover Band” and making this disappear, even when they create their own identity, could be hard. Considering that band’s members are working hard to be professional (different from most Brazilian underground bands, by the way) I think it is a subject to pay attention to.

However, it is not the end of the world (right, COVID 19?). The band did an amazing job for a first release and I can assure that you are going to have exciting concerts with these guys exploding with energy on stage. If you like powerful shows, just grab a beer and go to see them. The main thing here is that “Making Noise, Living Fast” shows a band hungry for blood with a great sound, great cover art, and it’s easy to listen to. Enjoy it!

TRACKLISTING:
01. Spit On Hypocrisy
02. Evolution Or Destruction
03. Learned To Play Dirty
04. Fuck The Consequences
05. Brainwash
06. Making Noise, Living Fast
07. Believe In Yourself Or Die
08. Possessed By Noise

LINE-UP:
Diego Pascuci – Vocals
Caick Gabriel Cavallari – Guitars
Matheus Barreiros – Drums
Guilherme Biondo – Bass

LINKS:
www.facebook.com/OfficialHellgardeN/
www.instagram.com/officialhellgarden
www.twitter.com/HellgardeNbr
www.spotify.com/artist/5TaQEYrbgw7mdKGtVNI2ye
www.youtube.com/channel/UClHK28vwf-Kkavveir7AhoA

Photo by Thiago Victal II

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.