Today I am writing about a still up-and-coming band from Finland, despite their catalog that started back in 2019. Their self-titled EP album consists of all the other singles they released over these years, with an additional new track, the album opener, that introduced me to this band.
Restriction Line – The Tide, official audio
Although I had mixed feelings while listening to The Tide for the first time about a month and a half ago, as someone who has around 20 years of investment in music, I believe the collective deserves appreciation for their foundational work showcased in this song. After hearing the song a few times today on repeat, I noticed that Restriction Line blends two major characters together: the melodic, which is the opening part with melodic vocals and fast tempo drumming that reminded me of Opeth, and right in the middle of the song, the composition resolves to Dimmu Borgir’s understanding of symphonic death metal.
Musically, the band has done everything the right way, and their performances sound flawless. While incorporating the subgenres mentioned above, the band also shows potential with their technical capabilities. The two personalities of the vocalist can definitely work, and the drummer here made a huge impact by giving the song such an uneasy but interesting feel. These two played the entire show for me, and that was good enough.
Restriction Line, band photo. Credit: Unknown.
On the other side of the medallion, I would like to share my opinion as if I were asked to produce their upcoming album because I think I can improve this band in a very short time.
Firstly, I believe the band has the necessary production quality yet not the sound personality that will distinguish them while the vocalist is not singing, even further during the growling parts. This can be improved, and the band would automatically level up in their game.
Secondly, I also think that the vocalist does have the skill yet not the character his vocals need in terms of sound design. The vocalist plays a foundational role in Restriction Line’s destiny, and he has got to have the finest sound in the entire project; then you build the rest on top of that greatness.
Restriction Line, band photo. Credit: Unknown.
In conclusion, I am simply delighted to discover such a local band from Finland. Melodic and symphonic death metal incorporated by a talented collective in their debut, drawing influences from Dimmu Borgir and Opeth. Thank you for reading.
Restriction Line, Self-Titled album front cover artwork. Credit: Unknown.
Another hectic Tuesday afternoon here in my surreal life in Helsinki, currently listening to and writing about a passionate up-and-coming band: Waves of Distortion, hailing from Sacramento, California. Their second studio album, Shattered, has been on my radar for the last week, and now I finally found the time to write about it. The album was released not long ago, on May 25, 2024.
Waves Of Distortion – ECLIPSE (Official Music Video). Video Production: Eval Entertainment Director: Eval Producers: Glen Evans – Brennen Von Slack.
First of all, I would like to start by emphasizing the fact that Shattered is a good-sounding album with the necessary quality to make an impact on the listener, although imperfect. Waves of Distortion prefers trendy-sounding modern soundscapes for their concept. I found my listening experience positive each time, and I firmly believe that they have done a good job.
Secondly, the album consists of melodic, easy-listening music regardless of its heavy instrumentation, reminding me of a modern melodic metalcore version of Linkin Park. The musical concept incorporates additional alternative and melodic metalcore influences in its origins as mentioned above, performed by a passionate collective that stands out for its commercial value. In this case, my favorite track, Mars, caught my full attention on my first listen, and that doesn't happen very often. So my conclusion is, after listening to the album a few times on repeat, that Waves of Distortion is talented at writing new music, even though they are in the early stages of development.
Moreover, the vocalist naturally stands out for his role and character, reminding me of Maynard James Keenan of Tool, Jonathan Davis of Korn, and Chester Bennington of Linkin Park. He can sing melodically and also deliver growling performances that emphasize Waves of Distortion's modern metalcore side. He solely provides the main character to the band's sound, also supported by the producer with additional vocal personalities. I see all these as part of the collective's creativity and experience.
Waves Of Distortion, performing live. Photo credit: unknown.
On the other side of the coin, I can see a few things that can help this band become better, which I would like to share not as an expert but as a music enthusiast. However, I don't want them to sound like criticism, so I will put it this way: If I were asked to produce their upcoming record, this is what I would have in mind.
First of all, I think Waves of Distortion needs to have the main focus on their vocal characterization. In other words, their sound design has to start from the vocal character and build on top of it because that is the basis of everything humanly happening in the music, which at the same time is the most foundational element in music regardless of everything else.
Secondly, has the band already dropped their tuning specifically for the vocalist's vocal range? Or did they just drop it to the most trendy and generic tuning and continued with it because it's somehow the standard? I asked myself this while listening to the record because I am not convinced that this is his best-performing range, and that can cause a problem. This would be another element that I would work on as a must.
Lastly, the band can deliver good songs, so they can use all the character and value the producer can provide. Shattered is a good-sounding album objectively, as I mentioned earlier. However, this is just a step forward in the band's development, and they have so much room to improve in terms of distinctive sound designs.
Waves Of Distortion, performing live. Photo credit: unknown.
In conclusion, Shattered is a good-sounding album that was performed, recorded, mixed, and produced properly, which I enjoyed most importantly for its balanced standards. A good-sounding modern melodic metalcore record that stood out to me for its balanced approach and commercial value, evoking memories of Linkin Park and their ability to write catchy songs with heavy instrumentation and electronic elements. Thank you for reading.
Waves Of Distortion, Shattered front album cover artwork. Art credit: Unknown.
Waves Of Distortion: Bass: Glen Evans Drums: Dustin Slack Guitar: Brennen Von Slack Vocals: Joe Fox
Audio Production: Producer: Brennen Von Slack Written and Performed by: Waves of Distortion Produced, Engineered, and Mastered by: Nick Miller Drums recorded and edited By: Jesse Fíoren “CrowKeeper Studios” Drums written and performed by: Isaiah AR
Another blessed daytime here in St. Helsinki with an absolutely clear sky and sunshine, I am listening to a special record that has been repeatedly played in my library for the last two weeks. Headshrinker, a vintage black/death metal project hailing from Denver, Colorado, has released their debut album titled Callous Indifference on August 27, 2021.
Headshrinker, Suffocating Tomb (Official Audio)
My listening experiences of Callous Indifference started with a sour taste that kept me hooked for a few days. Although I don’t have enough clarity in my thoughts even as of today, there was enough quality that earned my respect, so I will try to share my honest opinion here.
The album caught my attention with its familiar concept that incorporates death, black, doom, and progressive metal influences with a contemporary sound and vintage character. Musically, it stands out for its ugliness above everything else since the understanding behind it doesn’t involve anything related to beauty. While the band maintains an album concept of this specific taste, they explore extreme, blackened, technical, and progressive worlds, accompanied by the collective’s monstrous performances. As a guitarist with 20+ years of experience in the music world, Headshrinker has one of the best contemporary guitar and drum combinations with so much power, liveliness, and an old-school character, evoking memories of Death records that I admire; they both aim to capture analog sounds with top-notch musicianship performances.
Moreover, Callous Indifference has a structure that is rather based on instrumentation rather than the vocals as we are accustomed to from these genres, which is at the same time, one of the strong qualities of Headshrinker. The collective deserves the utmost respect for their understanding of a tight metal sound that will make them sound as established as industry-leading records, in my honest opinion.
Headshrinker, band photo. Credit: Unknown.
On the other side of the coin, the album regrettably didn’t resonate with me in its musical language. I have to admit that I found it a bit too narrow and limited, even though I imagined myself playing guitars with them on the seventh track, "Suffocating Tomb," my favorite song on the album, and its signature riffs made me feel this way.
Headshrinker, band photo. Credit: Unknown.
In conclusion, Headshrinker is one of my strong recommendations for those who specifically enjoy these worlds. Offering an established contemporary sound with vintage characteristics, incorporating death, black, doom, and progressive metal influences with top-notch musicianship performances, although in a traditional language. Thank you for reading.
Headshrinker, Callous Indifference album front cover image. Released August 27, 2021.
I got to speak to Joseph Rowland of Progressive Rock / Metal act Pallbearer about the band’s latest album Mind Burns Alive. Joseph sheds light on the album’s exploration of fate, mental duress, and the poignant impact of loneliness. With a backdrop of the pandemic, the album’s vignettes offer a deep, emotional resonance that most listeners can connect with. Discover the unique recording process behind the album, how having their own studio space shaped its sound, and get a sneak peek into the band’s tour plans.
The solo album from Kerry King (Slayer), From Hell I Rise is really impressive, I played the single, Toxic at the start of the episode.
Another afternoon with a bright clear sky that warms hearts and blesses with vital energy here in my surreal reality in Helsinki. Today, I am writing about a project that inspired me as a guitar player; Goro, hailing from Quito, Ecuador. I discovered them with the song called "Emperor Prophet," from the band's debut studio EP titled "Last Wave of Summer," released on April 19, 2024.
Goro – Emperor Prophet. Animation by Zulfajri MB.
It was one of those rare occasions that I experienced listening to Goro for the first time with "Emperor Prophet," and their mastery of guitar tones urged me to write about this special project of Jose Romero, the guitarist and vocalist. Musically, I found many similarities in Goro with my personal appreciation of heavy music. Even further, I have discovered many fantastic talents during the last decade, yet no one has come this close to the type of guitar sound I prefer, together with the necessary action.
First and foremost, "Emperor Prophet" stands out for its concept that incorporates analog sounds, even though well produced, with the Metallica drive in guitars, Mastodon’s understanding of sludge music, and a pinch of alternative metal influences that I felt during my listenings. Although it has safe boundaries in terms of regular progressive compositions, the essence showcased in this song leaves you wanting to hear more from Goro.
Technically, the band shows promise with their ability to explore strong personalities, along with their capability to establish industry standards in their sound production. "Emperor Prophet" does not only sound promising, but more importantly, it marks the exciting beginning of an interesting sonic journey. This song sounds as badass as possible in my understanding, being only the fifth official single release in Goro’s catalog.
Goro, band photo. Credit: Unknown.
On the other hand, I don’t have much to add since I appreciate the band’s personal direction. However, at the same time, I can’t help but expect to hear them exploring deeper musical languages in the future, unlike their approach to "Emperor Prophet," just because I feel like they are capable of such a demanding task. They reminded me of one of Mastodon’s classics; "Sleeping Giant."
Goro, band photo. Credit: Unknown.
In conclusion, I am delighted with my discovery of such a talented collective, Goro from Ecuador. An irresistible concept that incorporates Metallica’s drive with Mastodon’s understanding of sludge/prog metal, accompanied by masterfully crafted iconic guitar tones and analog soundscapes. Strongly recommended metal. Thank you for reading.
Goro, Last Wave Of Summer EP Album front cover artwork.
Goro, Last Wave of Summer EP Released April 19, 2024
Produced by José Romero Mixed by Derek Mattin Mastered by Juan Pablo Rivas Cover illustration by Haryo Awonggo Guest vocals on 'Wage Slave' by Diego Rojas Drums, bass and guitar tracks recorded at Xerbero studios in Quito, Ecuador Additional guitar tracks recorded by Omar Miranda at La Bulla studios in Quito, Ecuador Vocal tracks recorded by Diego Rojas in Ascazubi, Ecuador Edited by José Romero Music and lyrics by José Romero
Don't stop here. There's more to discover in the metal universe with our 'Monsters of Metal Underground' Spotify playlist, featuring the finest selection of emerging artists.
Another numbered sunny day here in Helsinki, I am writing about a song that has been sitting in my library for about two weeks. Avalon Stone hails from Toronto, Canada, and this is their most recent single, Drag Me.
Avalon Stone – Drag Me (Official Audio)
Avalon Stone is an emerging artist from Toronto, and Drag Me is only her third official single release so far. I remember my first listening experience of this song, and after about two weeks, nothing has changed in my feelings towards the music. As we can all agree, the song stands out for its production standards as well as its familiar-sounding alternative rock concept. Although the song was structured around the idea of having a radio-friendly product with commercial potential, hearing analog instrument sounds has always been a great experience for me, especially in impressive soundscapes such as this.
Musically, the song incorporates 90s pop, alternative, and rock influences in its origins, led by a talented vocalist with the necessary charisma and character in her voice to make it sound promising. In fact, her vocals play an indispensable role in their music since the instrumentation has familiar foundations.
Avalon Stone, band photo. Credit: Unknown
On the other hand, I think the only concern I have in mind for Avalon Stone would be to keep on keeping on. She is on the right track, and I believe her unique essence in music will develop together with her progress in her career. I genuinely found Drag Me as successful as it can be, in addition to the fact that it musically has so much room to grow.
Avalon Stone, artist photo. Credit: Unknown
In conclusion, it has been a pleasure discovering Avalon Stone from my side. Timeless analog instrument sounds masterfully crafted with mainstream qualities, led by a passionate and talented singer with alternative rock roots. Thank you for reading.
Avalon Stone, Drag Me single front cover. Credit: Unknown
Shane Jost from technical death metal act Cognitive discusses their latest album, Abhorrence with Peter ‘Trendcrusher’ K. Shane shares the joys and challenges of the band’s seven-year touring streak, the creative alchemy behind their evolving sound, and the nostalgic influence of MySpace-era bands.
Tune in to hear how Cognitive‘s latest work promises to be the soundtrack to your heaviest workouts and the wildest mosh pits!
Garry Brents from Memorrhage/Gonemage andBilly & Peter from Timepiece share bands from their regions that played nu-metal, Gizmachi, and Stillborn Nursery.
Peter ‘Trendcrusher’ K also shares 2 bands from India, Medicis and Pin Drop Violence along with a current act from Australia, The Last Martyr.
Tune in to hear some gems from the early to mid 2000’s
Track List
Medicis – Stay Far
Gizmachi – The Answer
Stillborn Nursery – Cold Knife (Cervix Biopsy)
Pin Drop Violence – No Regrets
The Last Martyr – Antidote
Update
Phlegm from Stillborn Nursery shared a link to dSIVY tracks and I found one track on Youtube
Another week ends and begins anew, leaving significant changes for another time while life in Helsinki continues at full throttle. Today, I explore a song that has repeatedly caught me by surprise, performed by a band the metalhead community ought to know—Horror of Pestilence from Guangzhou, China. This marks my first feature of a band from this region and my first personal discovery. As I pen this review, I listen one final time to their latest single, "Death Within a Dream," featuring Kyle Schaefer from Fallujah.
Horror Of Pestilence – Death Within a Dream（feat.Kyle Schaefer from Fallujah)
"Death Within a Dream" initially stood out for its well-produced yet somewhat overly processed soundscapes that blend technical, progressive, melodic, gothic, and symphonic metal influences. Despite not usually favoring such symphonic and processed sounds, I found their execution impressive—a notable achievement given their unique origins. This 6:26-minute symphonic progressive metal piece conjures memories of Dream Theater and Symphony X, showcasing the band's promising musicianship despite the predominant processed sound. Although the technical performances often feel too computerized, lacking human warmth, "Death Within a Dream" manages to demonstrate undeniable potential.
Horror of Pestilence band photo. Photo credit: Unknown.
However, my reservations lie mainly with personal preferences regarding the production style. As previously mentioned, the overly processed sound tends to feel outdated over time, and "Death Within a Dream" is no exception. Its sound production felt excessively digitalized, which might alienate those who prefer analog sounds and organic performances.
Horror of Pestilence band photo. Photo credit: Unknown.
In conclusion, "Death Within a Dream" by Horror of Pestilence has carved out a distinct space within the technical death metal scene. Featuring Kyle Schaefer from Fallujah, this track merges sophisticated musical complexity with a modern processed sound that, while not to everyone's taste, showcases the band's ability to push genre boundaries. For those drawn to the technical side of metal, this song—and Horror of Pestilence—deserves attention. Thank you for reading.
Horror of Pestilence – Death Within a Dream, single front cover artwork. Art credit: Unknown
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.
