Acid Mammoth – Caravan

Caravan Album Cover Art

Acid Mammoth – Caravan
Heavy Psych Sounds
Release Date: 05/03/2021
Running Time: 40:17
Review by Chris Galea
7.5/10

“Caravan” consolidates the music style of Acid Mammoth…a Stoner Doom that’s heavy, dense and fuzzy. However, some changes are immediately noticeable in respect to the band’s previous album “Under Acid Hoof”.

For example, overall, I feel there has been a marked improvement as far as production and mixing is concerned, even though the sound of the snare drum takes some getting used to. The singing of Christos Babalis Jr. sounds less like Ozzy than in previous releases – that wasn’t a bad thing of course, but it’s good to hear Jr. try to assimilate his own personality into the singing.

Maybe it’s just my impression but there also seems to be an effort to infuse more melody into the dark atmosphere of the band’s music. And there are more guitar solos than before. Sometimes all this doesn’t entirely convince (as in ‘Berserker’ or in parts of ‘Ivory Towers’) but when this new approach works, it works marvellously. Case in point is the title-track, an epic 11-minute plus song dense with hypnotic riffs. I also felt a significant improvement in the drumming of Marios Louvaris, more in the sense of feel than technique.

So, although I’m not absolutely won over, “Caravan” is definitely a step up for Acid Mammoth.

Imagine Black Sabbath meeting Hawkwind to serenade the world as it burns…I reckon that ‘serenade’ would sound pretty close to “Caravan”.

‘Caravan’ (Official Video)

TRACKLISTING:
01. Berserker
02. Psychedelic Wasteland
03. Ivory Towers
04. Caravan
05. Black Dust

LINE-UP:
Chris Babalis Jr. – Guitar & Vocals
Chris Babalis Sr. – Guitar
Dimosthenis Varikos – Bass
Marios Louvaris – Drums

LINKS:

Acid Mammoth Promo Pic

Disclaimer: This review is solely the property of Chris Galea 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.

Acid Mammoth – Under Acid Hoof

Under Acid Hoof Reissue Album Cover Art

Acid Mammoth – Under Acid Hoof
Heavy Psych Sounds
Re-release Date: 12/03/2021
Running Time: 44:53
Review by Chris Galea
7/10

I do know a few Metal bands that have (or had) father and son within the line-up but it’s safe to say that there aren’t many such cases. One of them, though, is Acid Mammoth. Have I got your attention? Good. Now for the more pertinent matters…

Acid Mammoth is a Stoner Doom band from Greece. “Under Acid Hoof” is the band’s 2nd album, originally released in 2020 but Heavy Psych Sounds have repackaged the album, added two bonus tracks and re-released it in 2021. But was it worth re-releasing? Well, there’s a ton of Stoner Doom bands out there but Acid Mammoth seem to be one of the more interesting of the lot. So that would be a ‘yes’.

Downtuned fuzzy guitars, viscid and filthy riffs and lyrics with a penchant for the occult…that’s “Under Acid Hoof” in a nutshell. I know it’s hard to find a Metal band that isn’t influenced by Black Sabbath, especially a Doom band, but with Acid Mammoth the influence is very direct. The vocals of Chris Babalis Jr (who also plays guitar) in fact, sound like a photocopy of Ozzy. Originality and diversity of ideas are not two of the album’s strongest points. Also, I’m not 100% convinced by the sound – sometimes one instrument drowns out another. But there are other things to enjoy here if Doom’s your thing…

In ‘Tree Of Woe’, for example, the drums and guitar riffs really work great together. ‘Jack The Riffer’ is well-written and contains some scorching riffs (ah, Jack The ‘Riffer’…now I get it!). Apocalyptic scenarios are described in the lyrics of ‘Tusks Of Doom’ and the song’s music certainly strives to illustrate that.

As heavy as a stampede of Mammoths, “Under Acid Hoof” has a charm that reels you closer to the band.

‘Them!’ (Official Video)

TRACKLISTING:
01. Them!
02. Tree Of Woe
03. Tusks Of Doom
04. Far Harrad (Bonus Track)
05. Jack The Riffer
06. Under Acid Hoof
07. White Hag (Bonus Track – Live)

LINE-UP:
Chris Babalis Jr. – Vocals, Guitars
Chris Babalis Sr. – Guitars
Dimosthenis Varikos – Bass
Marios Louvaris – Drums

LINKS:

Acid Mammoth Promo Pic

Disclaimer: This review is solely the property of Chris Galea 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.

Christian Liljegren – Melodic Passion

Melodic Passion Album Cover Art

Christian Liljegren – Melodic Passion
Self-Released
Release Date: 26/03/2021
Running Time: 49:27
Review by Chris Galea
9/10

Christian Liljegren must be the most prolific and hardworking person in Metal…I counted more than 30 albums – released in the last 25 years – that have him as lead vocalist. One is tempted to speculate that the quality of his material would consequentially be diluted. Sometimes, perhaps, but certainly not as far as this album is concerned.

“Melodic Passion” is being touted as a solo album but if you’ve heard Christian’s previous bands…such as Narnia or Golden Resurrection…then “Melodic Passion” is something along those very lines. The lyrics are blatantly religious (e.g. ‘I trust in the Lord to show me the way’…a line from ‘I Breathe’) and I’d concede that the album abounds in clichés. But none of that bothers me because the songwriting quality is superb and Christian Liljegren’s voice has never sounded better…powerful, melodic and unfaltering. Of course, it helps that I have a soft spot for neo-classical melodies, of which “Melodic Passion” has many.

‘History’ reminds me of “Trilogy” era Malmsteen; I sensed a strong influence from early Dio in ‘Salute For The King’ and ‘The Victory’. And a lot of the guitar solos feel directly inspired by Rainbow and Alcatrazz. Stryper is another obvious comparison, both lyrically and musically.

With Liljegren are the cream of the crop of Scandinavian Melodic Metal, including drummer Andreas ‘Habo’ Johansson and bassist Per Schelander, both with Royal Hunt at one point. Completing the line-up are two ex-bandmates of Liljegren: Stephen Carlson on guitars and Olov Andersson on keyboards.

The songs tend to be anthemic and loaded with hooks. All this makes them eminently suitable to be performed live. One example is ‘The Rock’, which, in addition to a catchy chorus has some impressive high-end screams and great guitar harmonies.

The title says it all…so if you check out one Melodic Metal album this year, let it be this one.

‘Salute For The King’ (Official Video)

TRACKLISTING:
01. Melodic Passion
02. Salute For The King
03. The Rock
04. This Is My Love Song
05. The Victory
06. Dead Or Alive
07. I Breathe
08. History
09. Third Day
10. My King

LINE-UP:
Christian Liljegren – Vocals (Narnia, The Waymaker, Audiovision, Modest Attraction)
Stephen Carlson – Guitars (Brotthog, Tales, The Rise, Gil Edwards)
Per Schelander – Bass (Astrakhan, House of Shakira, Pain of Salvation, Royal Hunt)
Andreas ‘Habo’ Johansson – Drums (Narnia, Royal Hunt, Avatarium, The Doomsday Kingdom)
Olov Andersson – Keyboards (Audiovision, Grand Stand, Veni Domine)

LINKS:

Christian Liljegren Promo Pic

Disclaimer: This review is solely the property of Chris Galea 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.

Steve Hackett – Under A Mediterranean Sky

Under A Mediterranean Sky Album Cover Art

Steve Hackett – Under A Mediterranean Sky
Inside Out Music
Release Date: 21/01/2021
Running Time: 51:14
Review by Chris Galea
10/10

I first met and interviewed Steve Hackett about 20 years ago, the day before he was due to perform in Malta for the first time. The theatre where we met was (and is) one of the oldest enclosed theatres in the world. As the interview ended and we strolled into the streets of Valletta, black dust filled the air and car alarms kept going off. The Etna volcano in nearby Sicily was erupting and winds were blowing the volcanic ash southwards. Both of us were fascinated at that unusual sight.

Since then, Steve Hackett has performed in Malta, and indeed in other Mediterranean countries, several times and his fascination with the area’s quirks, history and ways of life has given rise to this album.

With “Under A Mediterranean Sky”, Hackett has coalesced his feelings for the Mediterranean into music form. There are no lyrics…the music provides all the stories…and the album is largely dependent on acoustic instruments.

Basically, each composition in the album represents a country that lies around the Mediterranean Sea, from south European to north African territories to the Middle East and all in between. For example, ‘Scarlatti Sonata’ has a Spanish flavour to it – it is one of the album tracks consisting entirely of acoustic guitar. ‘The Memory Of Myth’, on the other hand, mixes folk guitar with orchestral instruments to evoke images of ancient Greece – and the resulting effect is magical. ‘The Dervish And The Djin’ contains some spooky Middle Eastern melodies and uses a range of string and wind instruments in addition to hand percussion accompaniments.

Closing the album, ‘The Call Of The Sea’ is a haunting track dedicated to the Mediterranean itself. The arpeggios flowing up and down the guitar neck symbolise the sea’s waves. Some grand orchestrations within this composition reminded me of the countless days – and nights – that I spent lying by the same sea simply listening to the music created by the waves as they brushed against the shore. Such are the evocative qualities of this album!

“Under A Mediterranean Sky” is prevalently romantic in nature but also contains several moments of drama. Despite recurring elements all tracks have their own personality. Credit for this is due to Steve Hackett’s enduring talent as a composer. Case in point is the opening track ‘Mdina (The Walled City)’. Mdina (pronounced ‘Imdina’) is a Maltese city that has changed little since the time of Christ – the composition’s cinematic orchestrations alternating with Hackett’s folk guitar have a spirit that’s unmistakably Maltese.

It’s hard to fault the quality of these tracks. Ever since the time he played with Genesis, Steve Hackett has regularly crafted albums around guiding themes, but he has also proved that there are many ways to go about doing that.

I know, this publication is called ‘Ever Metal’ and although Hackett has often been involved in Metal and Rock music before, there’s none of that here. But who cares! Good music is still good music, no matter the genre.

‘Mdina (The Walled City) (Official Audio)

TRACKLISTING:
01. Mdina (The Walled City)
02. Adriatic Blue
03. Sirocco
04. Joie de Vivre
05. The Memory Of Myth
06. Scarlatti Sonata
07. Casa del Fauno
08. The Dervish And The Djin
09. Lorato
10. Andalusian Heart
11. The Call Of The Sea

LINE-UP
Steve Hackett – Nylon, Steel String & Twelve String Guitars, Charango, Iraqi Oud ( Tracks 1 – 11)
John Hackett – Flute (Track 7)
Roger King – Keyboards, Programming & Orchestral Arrangements (Tracks 1 – 11)
Malik Mansurov – Tar (Tracks 3, 8)
Arsen Petrosyan – Duduk (Track 8)
Christine Townsend – Violin (Tracks 5, 10)
Rob Townsend – Soprano Sax (Track 8)

LINKS:

Steve Hackett Promo Pic

Disclaimer: This review is solely the property of Chris Galea 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.

Liquid Tension Experiment – LTE3

LTE3 Album Cover Art

Liquid Tension Experiment – LTE3
Inside Out Music
Release Date: 16/04/2021
Running Time: 61:39
Review by Chris Galea
10/10

It’s hard to believe that it has been over 20 years since the first Liquid Tension Experiment (LTE) CD popped into my letter box but on listening to the band’s 3rd album, it feels much less than that.

For the uninitiated, LTE was formed after 4 academically trained musicians got together in one room hoping that something worthwhile would emerge from their collaborative efforts. The musicians were guitarist John Petrucci and drummer Mike Portnoy, who at the time were both parts of Dream Theater; ex-King Crimson bassist Tony Levin and keyboardist Jordan Rudess. Well, something worthwhile had emerged…in fact so productive was the chemistry between them that Jordan Rudess ended up being invited to join Dream Theater…where he remains to this day. The first LTE album was quickly followed by another but that was the distant 1999.

In a nutshell LTE is an instrumental band that inhabits the boundaries of Progressive Metal. The beauty of this project is that there are no significant constrictions, whether artistic or commercial, on what to create. Having said that, I’d say that “3” feels Jazzier, Bluesier, Funkier and perhaps more eclectic than the previous 2 LTE albums. And yet the source of the music is immediately recognisable. Case in point is ‘Beating The Odds’, which John Petrucci recently described as the “feel-good song of the pandemic”.

The tracks I liked most are also the ‘weirdest’…the most adventurous…of the lot: ‘Liquid Evolution’ and ‘Rhapsody In Blue’. The latter track, in particular, seems to possess the musical playfulness often associated with Frank Zappa.

When you hear Tony Levin extracting a series of harmonics from his bass, you know that Chris and Kevin (whoever they are) are about to embark on another journey. I’m referring to the track ‘Chris & Kevin’s Amazing Odyssey’ (Note: the 1st LTE album had featured a track called ‘Chris And Kevin’s Excellent Adventure’).

‘Shades Of Hope’ contains some of the emotional intensity of ‘Out Of The Blue’, a track that appeared on Petrucci’s recent “Terminal Velocity” solo album.

Mike Portnoy sounds relentless in ‘The Passage of Time’, the closest the album gets (musically speaking) to Dream Theater. In this track his drumming works particularly well with Petrucci’s fiery riffs.

All musicians are in excellent form, individually and collectively. There’s no doubt in my mind that this third LTE outing delivers on its potential and expectations in leaps and bounds.

‘The Passage Of Time’ (Official Video)

‘Hypersonic’ (Official Video)

TRACKLISTING:
01. Hypersonic
02. Beating The Odds
03. Liquid Evolution
04. The Passage Of Time
05. Chris & Kevin’s Amazing Odyssey
06. Rhapsody In Blue
07. Shades Of Hope
08. Key To The Imagination

LINE-UP:
Tony Levin – Bass Guitars, Chapman Stick
John Petrucci – Guitars
Mike Portnoy – Drums
Jordan Rudess – Keyboards

LINKS:

Liquid Tension Experiment Promo Pic

Disclaimer: This review is solely the property of Chris Galea 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.

Ken Hensley – My Book Of Answers

My Book Of Answers Album Cover Art

Ken Hensley – My Book Of Answers
Cherry Red Records
Release Date: 05/03/2021
Running Time: 45:10
Review by Chris Galea
8/10

“He was a wizard of a thousand kings. And I chanced to meet him one night wandering.”

(‘The Wizard’ – Uriah Heep)

The above verse, from the classic song penned by Ken Hensley when part of Uriah Heep, roughly sums up how this album came into existence. A chance encounter between Vladimir Emelin, Russian superfan, and Ken Hensley quickly developed into a strong friendship. Before long Emelin sent Hensley some poems he had written and his idol agreed to work those poems into songs. The result of all that is this album, “My Book of Answers”.

Sadly, Ken Hensley passed away a few months ago just as the album’s recording had been finished. Of course, the dark cloud’s silver lining is that we get to indulge in a new set of songs from Mr Hensley.

I sensed a particularly strong resonance of The Beatles in this album. Overall, the songs are well-balanced with choir vocals, opportune guitar solos and tasteful keyboards sounds. ‘The Cold Sacrifice’ is cathartic in spirit; ‘The Silent Scream’, by contrast, feels nostalgic; in ‘The Darkest Hour’ amongst other elements we find the Hammond and guitar working together to exorcise some interesting vibes. I also cannot fail to mention the song ‘Suddenly’ with its magnificent orchestrations and glorious melodies. On the other side of the coin ‘Lost’ and ‘Cover Girl’ lack memorable hooks but they’re no slouchers, mind you.

All compositions possess an aura of bleakness but also driven by hope and this was very typical of Hensley’s songwriting style.

In today’s world of over-produced and bombastic music it’s sobering to be able to, once in a while, delve into nothing other than good songs. It’s an apt swansong from Ken Hensley.

The wizard may be gone but his spells endure.

‘The Cold Sacrifice’ (Official Video)

TRACKLISTING:
01. Lost (My Guardian)
02. Right Here, Right Now
03. The Cold Sacrifice
04. The Silent Scream
05. Cover Girl
06. Light The Fire (In My Heart)
07. Stand (Chase The Beast Away)
08. The Darkest Hour
09. Suddenly
10.The Darkest Hour (Alternative Version, Bonus Track)

LINE-UP:
Ken Hensley – Vocals, Guitar, Hammond
Izzy Cueto – Guitars
Moises Cerzo – Bass, Piano, Backing Vocals
Tommy Lopez – Drums

Francesco Severino – Bass (Track 8)
David Gonzales – Piano (Tracks 6, 8)
Jacke Knight – Piano (Track 5)
Roberto Tiranti – Backing Vocals (Track 7)
Ekaterina Nadaresihvil – Backing Vocals (Track 7)
Belinda Campbell – Backing Vocals (Track 7)
Rosie Doonan – Backing Vocals (Track 7)

LINKS:

Disclaimer: This review is solely the property of Chris Galea 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.

BlackEternal – Darkness Embrace II: The Oakenford Chronicles

Darkness Embrace II, The Oakenford Chronicles Album Cover Art

BlackEternal – Darkness Embrace II: The Oakenford Chronicles
Self-Released
Release Date: 13/01/2021
Running Time: 145:19
Review by Chris Galea
7/10

It’s hard to compare this album to anything else. I’m almost tempted to say Ayreon meets Dimmu Borgir but that doesn’t half give the picture.

“Darkness Embrace II: The Oakenford Chronicles” is a Self-Release that’s over 2 hours long (so I don’t suppose it exists in CD or LP formats). It’s a concept that continues directly from Black Eternal’s previous album. ‘Nightmare Eternal’, based in the U.S.A., is the solitary guy behind the ‘band’ Black Eternal but he relies on the services of voice-actors to help shape the album. In fact, the actors’ dialogues and narrations represent a significant part of the album’s unique selling points.

The intriguing story centres around one Tiffany J. Morgan who ends up in a horrific mental asylum after she is considered responsible for the brutal murder of a team of paranormal investigators, which also included her own boyfriend. As psychiatrists and police try to uncover what really happened, an unspeakable evil risks being unleashed. The events are depicted within a distinctly noire-ish ambience where the asylum of Oakwood Isle almost develops a life of its own…this is a salient characteristic of classic Gothic literature.

As the story unfolds through voice-acting and Symphonic Black Metal music, the cinematic quality of the album becomes quite striking. Black Eternal is very adept in using sound effects to enhance the realism of a scene and the orchestral melodies are excellently composed. Symphonic music, Black Metal and acting all work together to create some impressively dark and dramatic moments. Besides, the story is well written, the dialogue feels genuine and the level of acting is quite high.

Sapping some of those positive qualities are pitfalls that are commonly associated with one-man-bands. For example, the drum sounds sound like bubble-wrap popping, there are no discernible guitar solos, very little bass and the mixing sometimes makes listening uncomfortable. I realise this music is meant to feel raw but when you have something as ambitious as this, the rawness should be more contained. At least in my opinion.

This is a very niche album but as far as one-man-bands go, it’s certainly a cut above most.

Album Trailer

‘Halls Of Madness’ (Audio)

TRACKLISTING:
01. The Oakenford Chronicles (Prologue)
02. Pavor Nocturnus
03. Chronicles I
04. Voices From The Crypt
05. Halls of Madness
06. Chronicles II
07. Nocturnem Infernalis
08. The Haunting of Oakwood Isle (Intermission)
09. Thorne’s Domain
10. Chronicles III
11. Demonic Spirits II
12. Darkness Embrace II
13. Capta Est (Chronicles IV)

LINE-UP

‘Nightmare Eternal’ – Vocals and all Instruments.

LINKS:

BlackEternal Promo Pic

Disclaimer: This review is solely the property of Chris Galea 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.

Labÿrinth – Welcome To The Absurd Circus

Welcome To The Absurd Circus Album Cover Art

Labÿrinth – Welcome To The Absurd Circus
Frontiers Music srl
Release Date: 22/01/2021
Running time: 60:17
Review by Chris Galea
8.5/10

Progressive Rock tends to be a strong part of the genetic identity of Italian bands in general and around the turn of the millennium Labÿrinth infused that approach with a Power Metal where the keyboards, guitars and the rhythm section are equally emphasised. Over the course of several albums the band tweaked with that formula to varying degrees but in their new album “Welcome To The Absurd Circus”, my impression is that Labÿrinth have gone stylistically close to “Return To Heaven Denied”, the band’s 1998 magnum opus.

There are several qualities that make “Welcome To The Absurd Circus” a Power Prog Metal gem. One of the first things to impress me, however, is the superlative quality of the sound, courtesy of Frontiers mainstay Simone Mularoni. But then, as the album hits its stride, other factors become apparent…

…the lead vocals, for example. After having fronted Labÿrinth for most of the band’s existence, Roberto Tiranti’s singing is still in solid form. Guitarists Olaf Thorsen and Andrea Cantarelli imbue the album with strong melodies, melancholic swoops and moments of sheer virtuosism. ‘Finally Free’ is a good place to find most of that.

Completing the line-up are keyboardist Oleg Smirnov (Death SS, Eldritch…now on his 3rd Labÿrinth album), Nik Mazzucconi on bass (who also plays with Joe Lynn Turner’s band Sunstorm) and newly recruited drummer Mat Peruzzi (who replaced John Macaluso just before Labyrinth started working on this album).

From songs such as ‘Live Today’ – driven by some furious double-bass drumming, to ‘A Reason to Survive’ – a power ballad which I really liked, “Welcome to the Absurd Circus” is a solid album. ‘Den of Snakes’ wouldn’t sound too inappropriate on an Iron Maiden album. ‘The Unexpected’ strikes me as a song that would fit snugly in live scenarios…once the ongoing pandemic loosens its grip on society.

Negative points? Well, I felt that the cover of Ultravox’ song ‘Dancing With Tears In My Eyes’, while not badly done, was pointless. And if I were pushed further, I’d say I wasn’t excessively enthusiastic about the songwriting of ‘Sleepwalker’ and ‘One More Last Chance’, although the latter contains some great guitar solos.

But perhaps I’m being finicky because in truth I really enjoyed listening to this album very much. In fact, while some Labyrinth albums needed time to grow on me, “Welcome To The Absurd Circus” is one that I fell for immediately…from the very first spin. In fact, I dare say that no self-respecting Power Metal fan should be without this album.

‘The Absurd Circus’ (Official Video):

TRACKLISTING:
01. The Absurd Circus
02. Live Today
03. One More Last Chance
04. As Long As It Lasts
05. Den Of Snakes
06. Word’s Minefield
07. The Unexpected
08. Dancing With Tears In My Eyes
09. Sleepwalker
10. A Reason To Survive
11. Finally Free

LINE-UP:
Roberto Tiranti – Vocals
Olaf Thorsen – Guitars
Andrea Cantarelli – Guitars
Oleg Smirnoff – Keyboards
Nik Mazzucconi – Bass
Mattia Peruzzi – Drums

LINKS:

Labÿrinth Promo Pic

Disclaimer: This review is solely the property of Chris Galea 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 Gary Shea (Alcatrazz)

Alcatrazz Logo

Video Interview with Gary Shea (Alcatrazz)
Interview, Recording, and Editing by Chris Galea

Hi Everyone

In January 2021 Chris had the honour of chatting to Alcatrazz founding member/bassist Gary Shea, about their forthcoming album, the history of the band, and Gary’s musical journey.

Huge thanks to Gary for the interview and to Chris for putting this together.

Gary Shea Video interview by Chris Galea

Enjoy!
Rick
Owner/Editor

ALCATRAZZ LINKS:

Alcatrazz 2021

Disclaimer: This interview is solely the property of Chris Galea 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.

Evangelist – Ad Mortem Festinamus EP

Ad Mortem Festinamus EP Cover

Evangelist – Ad Mortem Festinamus EP
Nine Records
Release Date: 18/12/2020
Running Time: 36:16
Review by Chris Galea
8/10

It’s not often I review a mini-album…for me to do so it’s got to have something interesting to put on the table. Don’t get me wrong, I wouldn’t describe Evangelist as ground-breaking but “Ad Mortem Festinamus” possesses an honesty that makes it appealing and easy to hook on to.

This music style can safely be described as Epic Doom Metal…a sort of mix between Manilla Road, Forsaken (from Malta), Cirith Ungol and Candlemass. In this EP, Evangelist tackle themes that are characteristic to this kind of music, such as a knight of King Arthur’s round table (‘Perceval’) and the concept of afterlife within the mythology of Ancient Egypt (‘Anubis’).

One of the strong points of “Ad Mortem Festinamus” (“We embrace death” in Latin) is the quality of its songwriting, which is very intuitive. On top of that, the guitar solos are just great…in fact the sound of some guitar sweeps reminded me of Cacophony (the 1980’s band).

Not-very-surprisingly, the EP concludes with a cover of ‘Mystification’, the title-track of Manilla Road’s classic 1987 album. Happily, Evangelist breathe new life into the song while remaining faithful to its original spirit.

Oddly, the identities of Evangelist’s members are unclear but there seems to be a connection with the Polish Doom band Monasterium. Evangelist has already released three albums prior to this EP but I don’t suppose the band has played live very much in view of the aforementioned ambiguity. In any case the music sounds great, that much I can say for sure.

So, especially if you enjoy immersing yourself into traditional Metal sonorities, make sure you grab a copy of “Ad Mortem Festinamus”.

TRACKLISTING:
01. Perceval
02. Anubis (On The Onyx Throne Of Death)
03. The Puritan
04. Pale Lady Of Mercy
05. Towards The End
06. Mystification (Manilla Road Cover)

LINE-UP:
Unknown

LINKS: