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Metallica is a titan of the music world. For over four decades, their aggressive riffs, complex song structures, and powerful lyrics have defined metal for generations. Their influence is so immense that countless artists have paid tribute by covering their legendary songs. This act of homage is the ultimate sign of respect in the music industry. It shows how deeply the work of James Hetfield, Lars Ulrich, Kirk Hammett, and their bassists has impacted musicians across all genres.

This article dives into the best of these tributes. We will rank 12 of the most iconic and interesting Metallica covers ever recorded. From the cello-driven arrangements of Apocalyptica to the hard rock power of Disturbed, we explore how different bands have put their unique spin on these timeless classics. This list celebrates both the original genius of Metallica and the creative spirit of the artists who dared to reinterpret their masterpieces.

The Ultimate Ranking of Metallica Covers

Here is our definitive list of 12 incredible bands that took on the challenge of covering Metallica.

12. Postmodern Jukebox – Nothing Else Matters

Kicking off our list is a truly unique interpretation. Postmodern Jukebox is famous for transforming modern pop and rock hits into vintage jazz, swing, and ragtime arrangements. Their version of “Nothing Else Matters” is a stunning reinvention that strips the song of all its metal elements. Instead, they present it as a smoky, 1920s-era torch song. The heavy guitars are replaced by a gentle upright bass and a soulful piano, creating a completely different mood.

This cover succeeds by highlighting the raw, emotional core of the Metallica ballad. Without the distortion and power chords, the beautiful melody and heartfelt lyrics shine through in a new light. It proves that a great song can transcend its original genre. While it might not be for metal purists, the sheer creativity and musicality of this version from Postmodern Jukebox earn it a place on our list. It’s a testament to the songwriting prowess of Metallica that their work can be so effectively reimagined.

11. Dark Tranquility – My Friend of Misery

The Swedish melodic death metal pioneers Dark Tranquility took on a deep cut from The Black Album. Their cover of “My Friend of Misery” appeared on the tribute compilation “A-Tribute to the Four Horsemen”. The band infused the track with their signature sound, transforming the brooding original into something far more aggressive and intense. Mikael Stanne’s harsh vocals replace Hetfield’s clean delivery, adding a layer of ferocity to the song’s dark themes.

Dark Tranquility also injects their trademark melodic guitar harmonies, which complement the original riffs perfectly. They manage to stay true to the song’s gloomy atmosphere while elevating its heaviness. The musicianship is top-notch, as they navigate the song’s complex structure with precision and power. This cover is a fantastic example of a band paying respect to Metallica while filtering the music through their own distinct style. It’s a powerful and well-executed tribute that fans of both melodic death metal and Metallica can appreciate.

10. Shinedown – Nothing Else Matters

American rock band Shinedown delivered a powerful and emotionally charged version of “Nothing Else Matters” for the film “Jungle Cruise”. Their take on the iconic ballad stays true to the original’s spirit but amplifies its cinematic qualities. Frontman Brent Smith’s soaring vocals bring a different kind of power to the track, creating a grand, arena-rock feel. The band adds orchestral elements that swell and build, turning the song into an epic, moving piece of music.

Unlike the original, which builds from a quiet start, Shinedown’s version feels massive from the beginning. The production is polished and modern, designed to have a huge impact. This cover demonstrates the universal appeal of Metallica’s songwriting, proving that “Nothing Else Matters” works just as well as a modern rock anthem as it does a metal ballad. It’s a respectful and well-crafted cover that introduces the classic track to a new audience while giving existing fans a fresh, powerful perspective on a beloved song.

9. Steve ’n’ Seagulls – Seek and Destroy

Coming in at number nine is a truly brilliant and unexpected take on a classic. The Finnish band Steve ’n’ Seagulls has become famous for their bluegrass reinterpretations of rock and metal anthems. Their version of “Seek and Destroy”, from Metallica’s thrashy debut “Kill ‘Em All”, is arguably their masterpiece. They completely strip away the distortion and aggression, replacing it with banjos, mandolins, an accordion, and even a washtub bass. This incredible transformation turns the headbanging anthem into a joyous, foot-stomping hoedown that you can’t help but smile at. The band’s rustic look and infectious energy make the performance even more entertaining.

What makes this cover so successful is that it reveals the brilliant songwriting hidden beneath the original’s raw power. The iconic riff is so strong and catchy that it translates perfectly to folk instruments, proving the melodic genius of early Metallica. The cover went viral for a reason; it’s a masterclass in creative reinterpretation. Instead of sheer aggression, Steve ’n’ Seagulls deliver a performance full of character and charm, all while maintaining the song’s driving rhythm and rebellious spirit. It’s a fun, clever, and expertly performed tribute that celebrates the source material in a completely new light.

8. Volbeat – Don’t Tread On Me

Danish rockers Volbeat contributed a fantastic cover of “Don’t Tread On Me” to the massive tribute album, “The Metallica Blacklist”. Known for their unique blend of rock and roll, heavy metal, and rockabilly, Volbeat was the perfect band to tackle this track. They lean into the song’s stomping, groovy rhythm and inject their signature “Elvis metal” swagger. Michael Poulsen’s distinctive vocals give the track a classic rock and roll vibe that contrasts perfectly with the heavy guitar work.

Their version is fun, energetic, and incredibly catchy. They keep the core riff intact but add their own rhythmic bounce and flair, making it sound like it could have been a Volbeat original. This cover is a celebration, transforming the patriotic anthem into a joyous rock and roll party. It highlights the versatility of Metallica‘s music and shows how their riffs can serve as a foundation for completely different styles. It’s a standout track on an album full of great covers.

7. Children of Bodom – One

The late, great Alexi Laiho and his band Children of Bodom were masters of the cover song, known for injecting their virtuosic style into metal classics. They took on the epic anti-war anthem “One” from Metallica’s album “…And Justice for All”. Their version is a thrilling display of technical skill, transforming the track into a blistering melodic death metal showcase. The band infuses the song with their signature neoclassical guitar shredding and prominent keyboard melodies, creating a completely new sonic texture.

Children of Bodom expertly navigate the song’s complex structure. They maintain the haunting, clean intro but enhance it with atmospheric keyboards before the metal onslaught begins. Laiho’s signature snarling vocals add a different kind of aggression to the song’s powerful lyrics. When the track reaches its famous fast-paced, thrashy conclusion, the band pushes the speed and intensity to an extreme level. This cover is a fantastic tribute, honoring the original’s composition while showcasing the incredible musicianship that made Children of Bodom legends in their own right.

6. Disturbed – Fade to Black

Disturbed is renowned for its powerful covers, and their take on the iconic Metallica power ballad “Fade to Black” is a standout example. The original song from the album “Ride the Lightning” is a masterpiece of dynamic shifts, moving from acoustic despair to full-throttle metal anguish. Disturbed leans into this emotional journey, using their signature sound to amplify the track’s inherent darkness. David Draiman’s dynamic vocal range is perfectly suited for the song, capturing the initial vulnerability before unleashing his immense power in the heavier sections.

This cover, featured on the tribute album “A Tribute to the Four Horsemen”, successfully modernizes the classic without losing its soul. The band’s signature downtuned, rhythmic power makes the transition from clean to distorted guitars feel even more impactful and crushing. They respectfully handle the song’s famous structure, building the tension masterfully toward the climactic guitar solo. It’s a fantastic interpretation that showcases Disturbed’s ability to channel raw emotion. Their style enhances the themes of desperation and anger, making this a heavy, passionate, and memorable tribute to a Metallica cornerstone.

5. Bullet for My Valentine – Welcome Home (Sanitarium)

Welsh metalcore giants Bullet for My Valentine offered their take on a Metallica classic for a Kerrang! tribute album. They covered the iconic “Welcome Home (Sanitarium)”, and it quickly became a fan favorite. The band brought their signature sound to the track, blending melodic hooks with aggressive metalcore intensity. Matt Tuck’s vocals expertly shift between clean singing and powerful screams, adding a modern dynamic that perfectly complements the song’s themes of inner turmoil.

Furthermore, they respected the original’s brilliant structure. The haunting, clean guitar intro is present, building tension before the heavy, chugging riff kicks in with immense power. They successfully captured the feeling of confinement and rage from the lyrics, with sharp, precise guitar work and a blistering solo. Ultimately, this cover works so well because it updates the sound for a new generation of metal fans. It honors the genius of Metallica while showcasing the talent of Bullet for My Valentine, making it a powerful and memorable tribute.

4. Machine Head – Battery

When Machine Head decides to cover a thrash metal anthem, you know it’s going to be heavy. Their version of “Battery”, the explosive opening track from “Master of Puppets”, is an absolute monster. Robb Flynn and his bandmates deliver a performance that is overflowing with aggression, speed, and precision. The cover appeared on a Kerrang! tribute album, and it stands as one of the most faithful yet powerful Metallica tributes ever recorded.

Machine Head doesn’t try to reinvent the song; instead, they focus on amplifying its raw thrash energy. The guitars are incredibly tight and heavy, and Dave McClain’s drumming is a thunderous assault that drives the song forward relentlessly. Robb Flynn’s vocals are pure rage, perfectly channeling the spirit of early Metallica. This cover is a love letter to thrash metal. It’s a testament to the enduring power of the genre and a nod from one of metal’s great bands to the masters who paved the way.

3. Rodrigo y Gabriela – Orion

This entry is a complete departure from the others, showcasing the sheer musical genius of Metallica. The acoustic duo Rodrigo y Gabriela covered the instrumental masterpiece “Orion” on their self-titled 2006 album. They transformed Cliff Burton’s iconic bass-driven epic into a breathtaking display of flamenco-style acoustic guitar virtuosity. Their version is a masterclass in rhythm, melody, and technical skill, proving that you don’t need distortion to be heavy.

Rodrigo Sanchez’s lightning-fast lead melodies and Gabriela Quintero’s percussive, rhythmic playing create a sound that is both intricate and immensely powerful. They beautifully interpret all the different sections of the song, from the soaring guitar harmonies to the famous bass interlude. This cover exposes the incredible compositional depth of “Orion”. It highlights that beneath the layers of metal, Metallica created a piece of music so strong it can be reinterpreted in a completely different genre and still retain all of its power and beauty. A truly stunning tribute.

2. Apocalyptica – One

No list of Metallica covers would be complete without the band that built their career on them. The Finnish cello-metal band Apocalyptica burst onto the scene with their 1996 album “Plays Metallica by Four Cellos”. While all their covers are incredible, their interpretation of the epic anti-war anthem “One” is arguably their finest moment. They transform the song into a haunting, dramatic, and powerful piece of classical music without losing any of its original intensity.

The cellos beautifully replicate every part of the song. They capture the sorrowful clean guitar intro, the chugging mid-section riffs, and the frantic, machine-gun-like ending. The dynamic range of the cellos allows Apocalyptica to express the song’s emotional journey from despair to rage in a way that is both unique and deeply moving. This cover is not just a novelty; it’s a brilliant re-contextualization that reveals the neo-classical heart of Metallica’s music. It’s a creative and powerful tribute that continues to captivate listeners decades later.

1. Motorhead – Whiplash

Topping our list is the perfect cover from the perfect band. The legendary Motorhead covered “Whiplash”, one of the fastest and most aggressive tracks from Metallica’s debut album, “Kill ‘Em All”. This version, recorded for the tribute album “Metallic Attack: The Ultimate Tribute”, is so fitting it feels like it could have been a Motorhead original. The song’s raw, punk-infused energy is a perfect match for the band’s signature “rock and roll” style.

The late, great Lemmy Kilmister, a major influence on Metallica himself, delivers the lyrics with his iconic gravelly voice, adding an extra layer of grit and authenticity. The music is a chaotic, high-octane blast of pure energy that captures the spirit of the song perfectly. This cover is special because it represents a full-circle moment: the idol covering the students. It deservedly won the Grammy Award for Best Metal Performance in 2005. For its raw power, historical significance, and sheer perfection, Motorhead’s version of “Whiplash” is the greatest Metallica cover of all time.

The Bottom Line

This ranking showcases the incredible versatility and timelessness of Metallica’s music. From the thundering thrash of Motorhead to the classical reinterpretations by Apocalyptica, each artist on this list brought their unique vision to these iconic songs. These covers are more than just simple copies; they are heartfelt tributes that highlight the profound and lasting impact Metallica has had on the entire music landscape. Their influence is so strong that their songs can be reshaped into almost any genre and still retain their power.

This list is just a small sample of the countless covers that exist, proving that the legacy of Metallica continues to grow. These tributes serve as a bridge between generations of fans, introducing new listeners to the masters of metal while giving longtime followers a fresh perspective. The music of Metallica will undoubtedly continue to inspire artists for decades to come, cementing their status not just as a band, but as a true musical institution.

The post 12 Best Metallica Covers Ranked: Motorhead, Apocalyptica & More appeared first on Rock Informer.

Hey Fuzzers,

I know, it’s been a while since we’ve published anything, life’s been a bit crazy, and I was quite busy the last couple of years, and using my spare time and energy to organise cool gigs with friends, here in Hamburg, Germany. Things seem to settle down, and the venue we were using closed shop :'( so I’m gonna be a bit more active here, keep an eye out for some nice stuff coming up, but enough about me, as here’s the main reason I’m writing today:

The crazy occult psych rockers from London, Black Helium are back with a new LP “The Animals Are Coming”, released last Friday (June 20th) through Riot Season. If you have been following More Fuzz for a while, you won’t be surprised that I got out of my cave to spread the word about this, I freaking love this band, their music pushes all my buttons, thick tone, vocals drenched in reverb, killer riffs, catchy hooks, and the right dose of trippy freakouts.

I reviewed their second album “The Wholly Other”, and ranked it #2 of my top in 2020, as I just kept it on repeat the whole year. Even 5 years later, I still find myself coming back to it very regularly. In between, they’ve also released another amazing LP, “UM” in 2023 (still wonder why I didn’t review it). I also finally managed to catch them live, twice, for some epictasticly fulfilling sets. So if you’ve got any chance of catching them live, DO IT!

After their Sabath-worshipping Debut, their sound-defining second album, and the confirmation of that with the third one, it seems the Londoners wanted to experiment a bit more, and with this 4th LP, take us on their sonic exploration through the galaxy, delivering a quite versatile yet consistent album, keeping on pushing their boundaries while staying true to their core.

How is the sound?

As their press release describes: “Imagine Amon Duul II jamming with Tonny Iommi plus Carl Wilson on vocals.“, which is pretty much on point, but let’s get deeper into it…

Opening the festivities with the longest track on this album (11:44, ouw yes!), they start gentle this time, on a nostalgic vibe that feels like a fluffy and warm blanket in winter, to get you comfy for the trip ahead. And just when you start to let yourself go, they really kick off with a catchy riff, just before melting the two together and take it on a fuzzy riffadelic journey from here, as if they’re telling you “buckle up, don’t resist, enjoy the ride, and see you on the other side”.
They keep the riff coming back and forth, bring back the nostalgic vibe, go at it again, freak out in a spacey outburst ater 5min, mesmerising and enticing, playing with the tempo and the tension, keeping us on the hook in this noisey cloud, letting us wonder when they’ll bring back the riff. Spoiler alert: they don’t, choosing instead to push their jam further and freakier, until it reaches some dimentional barrier, letting it end with echoing effects that many of us concert-goers are familiar with.
It might be bold to use such a track as an opener, most bands would use that as a closer… I guess this is a statement of what the band’s core is, a reminder that most of our heavy psychedelic scene is not only about kickass riffs or hazy melodies, but that freaky jams are at least as much engraven in our DNA, if not more.

That said, here comes the second track, ‘Saviour Destroyer’, starting with tribal drumming and haunting vocals, cues in a dragging rhythm and reverberated guitar, almost cliché, right? And 2 min later it just erupts in a heavy fuzzy riff for a while, before going back and forth a bit, and then pushing it further, taking it up even another notch, melting these contrasting parts together to reach a fuzzalicious climax.

Damn, not even 2 songs in, and listening to this album makes me feel like these guys are showing us how it’s supposed to be done, all the while keeping it laid-back and easy-going. This is all carefully thought-out and ingenuously crafted, a perfect middle ground between intuition and intention.

Not easy to follow-up on that, as these two first tracks were pretty intense, but that’s where Black Helium show another kind of know-how. They just switch the mood completely, let the steam settle back down, pulling out a very krauty instrumental 4min track out of their Mary Poppinsesque sleeve to give us a bit of a breather, while displaying their undeniable sense of groove.

The intro of ‘They Have Bodies’ might let you think we’ll stay a bit longer in Krautrock territory, with a very synth-sounding bassline, just to immediately break into a melancholic hazy dream. The first half feels like they’ve reached a sort of end of their journey, bringing things down to a rest. It has a very contemplative touch that slowly soothes the listener, mostly induced by the echoing vocals, and even if the groove from the intro comes back, it is only in a dulled version, fitting the overall atmosphere. And yet here they take it up again around the 4min mark, with the guitar foreshadowing a change in the weather, the drums joining in the build-up, to bring back the same groove, on the guitar this time, in a more dynamic version, all three instruments seeming at once a bit more awake, while the singing keeps the same melancholic vibe, resulting in a mellower track full of finesse and beauty.

The fuzzed-out echoing guitar, almost sounding like a modular synthesizer, at the beginning of “Up On A Hill” might let you think we’re heading back to something more krauty, only to be (happily) deceived again. This was the sound of a noisey echoing guitar heading deep into neo-psychedelia, and it is perfectly executed, with its catchy chorus and laid-back verses, in a way that wouldn’t feel out of place on a Black Angels album…
By now you might know better but to expect them to leave it at that, and so shortly after the 2:30 mark, they kick it with a short ramp up, and krank the fuzz, bringing a nasty riff to the front, before falling back impromptuously into the neo-psychedelia of the first half for a last round before calling it off.

‘The Horror Mask’ and its 10+ minutes rounds off this mesmerising journey in the perfect way, starting slow and gentle, warm and groovy, the smooth bassline, melancholic vocals, playful drumming and sunny guitar licks puts us in a comfy mood again, somewhere between Yawning Man and early Tame Impala. It doesn’t last long, as they soon start drifting into the void for a while, as if losing foot from reality. The bass slowly anchers the band, the drums following closely, letting the guitar spin and swirl to bring back the jam feeling from the opener, slowly picking up the tempo, achieving full thrust mid-track, and taking the rest of the track to enjoy the blissful purity of this jam state, losing themselves in an endless deep dive through time and space.

Why is this album worth listening to?

• Black Helium keeps on mixing the influences of their holy forefathers and pushing it further into unknown sonic territories.
• The overall sound is still damn right on point, no matter which atmosphere Black Helium builds, they make it ring perfectly.
• With this 4th LP, the Londoners manage to keep it refreshing, expanding their sound, while confirming what they’ve achieved until now.

In what situation you should listen to this album?

• Out in the wilderness, celebrating the summer solstice around a bonfire, contemplating your soul looking back at you from the flames.

The post Black Helium – The Animals Are Coming Review appeared first on More Fuzz.

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Valcata, known today as a symphonic metal collective that thrives on remote collaborations, began as a traditional six-member band based in Dublin, Ireland, from 2008 to 2010. The original lineup featured:

• Lorelle Brownlee – lead vocals (2008-2009)

• Joanne King – lead vocals (2009-2010)

• S. Hanan – lead guitar, harsh vocals

• Diarmuid Coughlan – rhythm guitar, backing vocals

• Darragh O’Connor – bass

• David McGuinness – drums

• Oha Cade – keyboards, backing vocals

In 2009, the band recorded a six-track demo EP called Nightmares & Promises. Shortly after, Lorelle left to focus on her studies, and Joanne stepped in as lead vocalist. After about a year of live shows, the group eventually disbanded. Valcata later re-emerged as a remote project led by Oha Cade in 2019, continuing to create music today.

Now, for the first time in years, Nightmares & Promises is coming back. This lost EP will be re-released digitally, letting Valcata’s current listeners experience these hidden treasures.

As a special bonus, the EP will feature two versions: one with Lorelle’s original vocals and another with Joanne’s newly recorded vocals, giving fans two different yet equally stunning takes on these classic tracks.

Two promo singles will be released this Friday Feb 14th:

1. Memory (Lorelle Version)

2. Tuatha Dé Danann (Joanne Version)

Listeners who pre-order the EP on Bandcamp will also get immediate access to Joanne’s version of Memory and Lorelle’s version of Tuatha Dé Danann.

The full double-EP will be released on Bandcamp and streaming platforms on February 21st.

With its old-school symphonic metal charm, catchy melodies, and driving instrumentals, Nightmares & Promises captures the passion and creativity of a young band making music they truly love.

Some original members have pursued other paths, while others continue to make music. Darragh co-founded the experimental extreme metal band Horrenda. Joanne frequently performs with her various rock cover bands such as Wildheart (Heart tribute) and Lady Riot (celebrating women in music).

~ Tracklist ~

1. Memory (4:25)

2. Tuatha Dé Danann (5:19)

3. The Illusionist (3:33)

4. Live No More (6:12)

5. Weeping Pool (4:41)

6. Forgotten (7:22)

Mixed and mastered by Shannon Bowman (Studio23).

Another afternoon under a gray, cloudy sky, I am writing my review while taking my daily walk outside. Master Splinter, hailing from Portland, Oregon, and their self-titled debut studio album which was released independently on September 20th, 2024, has been my focus during this week.

To begin with, Master Splinter has left a clear mark in my memory for its production standards and music style. Although I experienced the record in different moods and environments numerous times this week, my attention has always been on the general picture rather than any details. So right now, I feel that I have a clear idea of the American collective and what they are trying to achieve with their approach.

The foundations of Master Splinter go back to the late 80s and early 90s, incorporating heavy rock influences from Metallica with the psychedelics of Black Sabbath, including a twist of stoner rock, and even a bit of sludge metal. Those into heavy music will have a familiar experience while listening to this record, just as I did. It took me back to the times when I used to jam such music with my friends every week during high school. That was when I fell in love with this kind of music, which changed everything for me.

Production-wise, Master Splinter is an album made up of pieces from different periods, individuals, and producers, which can be felt while listening. Although the songs have a cohesive musical theme from start to finish, I sensed differences in the vocal mix, dynamics, and track volumes.

Moreover, I read that the band went through challenges, and in the end, the guitarist and vocalist Mick Arrell had to learn how to produce and mix this album himself.

Lastly, the album's theme of heavy, psychedelic, and stoner rock influences—as mentioned earlier—is reminiscent of Metallica’s Load/Reload/Garage Inc. periods with its approach to song compositions, toning, and general sound characteristics. The music is mainly led by the guitars in a Western/American musical language, accompanied by a drummer who brings prog and psychedelic vibes, and a bass player who also contributes to vocals. The trio, without a doubt, has a dynamic altogether, which you can easily tell by their choice of music style and from checking out some of their rehearsal videos uploaded to YouTube.

On the other side of the coin, I might argue a few points as someone who has worked on such music for a long time.

Firstly, Master Splinter proves something for the collective, yet not for the outside world due to two reasons: limited musical language and a familiar sound. Although everything was done by the book in the making, it lacks personal characterization, aesthetics, and the artistic edge that will help distinguish the band and help them grow. As a musician and music enthusiast, I would enjoy listening to a passionate band playing such music live, yet I would not prefer listening to the record for the reasons I mentioned.

The general sound character of the album does not entirely belong to Master Splinter. It has such a familiar quality that it does no longer matter if the band is playing their original material or a classic like Master of Puppets, the feeling is the same. In 2024, this kind of record will provide the collective with an foundation, but does not help revealing their potentials. This was the main reason why I did not feel the urge to dive deeper into the album.

The musical language, on the other hand, also contributed to the sense of familiarity, reminding me of Clutch, Black Sabbath, and Metallica as mentioned earlier. However, as a guitar player myself, I could not make out enough fresh ideas from this record to feel the need to keep listening.

If I were their producer for an upcoming album, I would strongly suggest working on a sound that highlights their personalities, and then the individual strengths. They are a live-playing band, so their music should crafted accordingly.

In conclusion, Master Splinter is a well-produced debut that will certainly appeal to fans of classic heavy rock and stoner metal. While the album offers a nostalgic trip through familiar sounds, apparently the band is still in search of their own voice. Nonetheless, it’s a solid foundation for what I hope will be a more distinctive and adventurous future. Thank you for reading.

Master Splinter on the Web:

Join the ranks of the metal explorers. Dive into 'Monsters of Metal Underground' and unearth the future legends of the genre.

It is one of those last sunny days here in the North, and I sense a feeling similar to a Sunday vibe with its calmness, along with my day off. While taking my walk outside, I’m writing these words after listening to Paranosis for the last time, the most recent EP by the contemporary doom metal band Neomantra, from Perth, Western Australia. Let’s begin.

First and foremost, Paranosis is a fantastic-sounding album that easily qualifies Neomantra as an established band. Although I’ve never been a fan of doom metal myself, I would listen to these Australian gentlemen not only for their sound—but it plays a crucial role regardless. It wasn’t a surprise to hear that they’ve earned support from bands such as Karnivool. Paranosis is solid proof of their standards.

Musically, the album draws inspiration from the Western world and doesn’t necessarily stray from this comfortable zone. Many times during my listens, the music brought back memories of my childhood heroes. Among their major doom metal influences, Neomantra delves into vintage death metal with surprising twists of psychedelic, sludge, and even progressive elements. In the end, there was no doubt left in me that whatever they do, they do it well.

After almost two weeks since my discovery, I still sense the freshness in the album’s contemporary sound. It’s valid to say the album has flawless production. Technically, it sounds impeccable, but more importantly, capturing such real performances with such spacious, airy feeling made me think that it has a sound that will never get old, just like the classics don’t.

Lastly, I’m also convinced by the capabilities and experience of this collective. While you get to hear them playing the purest forms of vintage doom and death metal, songs like Dualism II and Boltzmann Brain brought back memories from the classic eras of Metallica, Black Sabbath, and even Mastodon. In addition to all these qualities that could make a band great alone, the vocalist, in my opinion, makes them special. Too many times, he commanded my utmost attention with his singing; I must say I’m convinced. Fundamentally, he is a fantastic singer with a death growling style and a characteristic deep voice, who can also sing melodically.

On the other side of the coin, I have a few suggestions to make, and the first one is about the limited musical language. From my perspective as a guitar player, composer, and music enthusiast, my journey through the album didn’t have the excitement that urges you to listen again and again, mainly because of the familiar ideas in a familiar language. I guess it’s the only thing standing in their way of becoming an internationally renowned band.

Secondly, Neomantra has, in my eyes, one of the most characteristic vocalists, yet they don’t seem to know how to fully take advantage of it. I think this is a mistake. I would argue for giving him the leading role in their production without hesitation. He has everything in his DNA to take the band further.

In conclusion, Paranosis has become my most-listened-to album recently, and it’s been a great pleasure. Vintage doom metal with a flawless contemporary sound by an established band, incorporating psychedelic and sludge metal influences, brings back memories of the finest. Thank you for reading.

Neomantra on the Web:

Let the exploration of metal's finest underground acts continue. Our 'Monsters of Metal Underground' playlist on Spotify is your gateway to the genre's best-kept secrets.

Another autumn day in the life of a vagabond, taking long walks outside under grey clouds after too much of reality. Meanwhile, another great talent—Megamass—is playing in my ears with their latest EP at maximum volume, and I stopped believing in coincidences for some time now. Let’s begin.

Ukraine has been a home for around 10 years until the war separated us (for now). During those years, I had the chance to know and meet many great talents from all over the country, and although the name always felt familiar, Megamass was carved into my memory by Eugene Abdukhanov of Jinjer, who named them as his top Ukrainian band in heavy music. After quite a long time and only remembering them for their modern sound and hardcore/prog-core style, I was recently introduced to their latest EP with three new songs. Today marks my fourth listen after exploring their Spotify and previous releases.

First and foremost, I have to admit that Divide and Liberate! had an impact on me that I won’t forget. I feel like I now have a clear sense of their capabilities, character, and music style. While showcasing impressive musicianship and production value, this album also confirms how accurate Eugene was in highlighting them as top talent from his country.

Character-wise, the album embodies a post-modern progressive metal concept with its musicality, subject matter, production, and sound. It’s one of the most polished/processed sounds, reminiscent of Jinjer or Space of Variations.

Musically, the album was highly satisfying to me during all my listens, even though I don’t usually listen to this genre in my personal time. I thoroughly enjoyed hearing Megamass’ unfamiliar-sounding musical language, which also featured long and progressive compositions. With this EP, the band got me excited with their similarities to TOL (my all-time favorite metal band from Ukraine) in terms of songwriting and perspective. Megamass simply proves they have the creativity, knowledge, and vision to create music as brilliant as them. All three songs feature thrilling examples of post-modern heavy music, led equally by instrumentals and vocals.

Production-wise, the album undoubtedly represents industry-leading work, though with a question mark that I’ll mention later. It’s loud, brutal, dark, clear, and super dynamic, incorporating vocals, guitars, drums, and additional electronic elements that recall demonic sounds from hell. It is a top-notch production from start to finish.

On the other side of the coin, I would like to share some thoughts, even though the album ranks as impressive for me.

Firstly, I would argue that the work lacks an important detail that often separates the greats from the goods: the presence of a leading vocalist. Divide and Liberate! takes an approach that provides equal emphasis to both instruments and vocals, which I experienced as a disadvantage. The album has all the magic in both vocals and instrumentals, and I could appreciate the fine characterization in each vocal style, guitar tone, and drum tone. It truly is a marvelously detailed work. Yet, many times I expected the vocals to take the lead—whether through volume or the confidence of the vocalist. These expectations weren’t met, and I couldn’t get enough emotional impact from the music, I must admit. It reminded me of Gojira’s latest album Fortitude, where the vocals are not prioritized. In this case, I would strongly argue that this band needs a stronger vocal presence, which would change the entire picture. Just think about the difference a strong vocalist makes in Tol’s Flag—for me, it’s night and day. (important note: My words do not reflect on the current vocalist’s capabilities, only on the role itself.)

Secondly, the music unfortunately did not sound good on cheap stereos, particularly on my iPhone speakers, requiring a certain level of sound quality for the optimal experience.

In conclusion, Megamass is undoubtedly a fantastic collective that, in my eyes, deserves international recognition. And without hesitation, Divide and Liberate! will help lead the way, leaving a lasting mark in listeners' memories. Her Name is War earned its place in our Monsters of Metal Underground playlist on Spotify. Thank you for reading.

Megamass on the web:

One of the first gloomy days of the new season, Monday, I’m listening to the debut studio album Terra Firma by the modern progressive djent metal band; Vision of Verity, from Vancouver, Canada. The album is set to release on September 28th, 2024, and as the second track, Neurosis plays in my ears, I finally get the chance to write this down. Let’s begin.

Terra Firma has only been in my life for the past week or so, and I've listened to it on different days and in different moods. First and foremost, it is a well-written, performed, and recorded modern progressive metal album that showcases advanced musicianship throughout. Vision of Verity is a collective of talented individuals, and that is the first thing I was convinced of from the start.

Musically, Terra Firma reminded me of some of my favorite names like Animals as Leaders, Marco Sfogli, John Petrucci / Dream Theater, Tool, and at times, even Mastodon. The Canadian collective take these influences and craft their own material in modern progressive metal tones, reminiscent of Tosin Abasi, which also defines the entire album sound.

Furthermore, the album incorporates long progressive compositions that are heavily guitar-driven, or in other words, led by the guitar player. You get the feeling of listening to a step forward in guitar music, supported by two other fantastic players on bass and drums. As a new band with their debut album, I never had any doubt about these musicians from the first moment I heard them, and really appreciated the live performance feel, even though everything is quite processed in their musical concept.

Production-wise, the album consistently sounded satisfying to me, despite our differences in sound characterization. Most of the time, I experienced it at maximum volume. As mentioned earlier, the sound is a blend of modern progressive pioneers, but for some reason, it reminded me more of individual guitar players rather than collectives. It is a three-piece performance with clear boundaries; I didn’t hear any additional instruments prominently, unlike Mastodon often includes pads/keys.

Additionally, I have to admit that it is a solid-sounding album without question. I enjoyed the tone of each instrument, as well as the sound balancing—it didn’t sound too computerized—and the dynamics and overall loudness were well-executed.

In terms of musical language, Terra Firma also features a style I was already familiar with. It's quite Western, with influences from the names I mentioned above. More than a few times, I was reminded of Dream Theater’s underappreciated masterpiece Six Degrees of Inner Turbulence, which I’m a big admirer of.

On the other side, here’s what I would recommend if I were somehow involved in this project, as a producer or guitar player:

To begin with, while the album showcases technical skill, it lacks a distinct artistic perspective. On many occasions, it draws inspiration from the same small circle, whether in sound, tone, mood, production, storytelling, compositions, artwork, or visuals. This makes it difficult to distinguish the band, whether they're from Canada or Honduras, or whether it's three or six individuals. My experience of this record felt familiar, created in a similar form I have seen before. That’s why I would suggest adding a unique touch to each aspect, moving away from the strong Tosin Abasi influence as much as possible. This would also address my second concern that I will mention below: the twist.

Terra Firma proves that Vision of Verity possesses excellent technical abilities to an extent that these gentlemen could likely play Animals as Leaders live if necessary. However, moving forward, the first thing Vision of Verity needs, in my opinion, is a clearer, more original, and more definable concept throughout. Otherwise, they risk being remembered only for their Animals as Leaders style and sound.

In conclusion, listening to Terra Firma and discovering Vision of Verity with their debut studio album has been a great pleasure for me regardless. As a guitar player and music enthusiast myself, I have nothing else but sincere appreciation for their creation. Thank you for reading.

Terra Firma will be released on September 28, 2024.

Vision of Verity on the web: