Katatonia - Dethroned & Uncrowned (2013)

It only took four days. That's it. Across the world, 1150 people opened their wallets, swiped the credit cards, doled out their hard earn dollars, euros, pounds, and francs to make an album happen. The concept was simple, yet so intriguing. Katatonia would revisit their latest album, "Dead End Kings," but in a way that would change the album, and our perception of it, forever. In the words of the band, "The synopsis is simple and album title won’t lie; the drums will be dethroned and the distorted rhythm guitars will be uncrowned!" But the question remained; what would Katatonia sound like, without those elements bursting through your speakers on each and every album? And it only took four days. Enough people wanted to hear the resulting work, that the money poured in. A release date has been set, hints have been dropped, and an album is on the way. The track list remains the same, but the sound has completely changed. "Dethroned & Uncrowned" is a new vision.

Much like the remixes that have been a stalwart of their singles over the years, the tracks are particularly moody, but in a way that only Katatonia has been able to achieve. Gone are the crushing riffs and blasting snares on "The Parting." In their place, a stirring blend of acoustic guitars and various synthesized elements. Still at the helm, vocalist Jonas Renkse sees his voice allowed to softly shine through, conveying even more emotion int he stripped down setting. His lyrics become even more powerful, even in the songs that change the least. Having already boasted the most delicate structure, "The One You Are Looking For Is Not Here" might be the poster child for why this album was so well conceived. It remains airy, but even more poignant, backed by piano keys that are softer than soft. Even the darker offerings from "Dead End Kings" see new life here, as "Hypnone" takes on an entirely new identity. All of the markers are there; you know it's the same song, but perception changes.

Conversely, "The Racing Heart," thanks to background keyboards and synths, becomes an ambient delight. With every strum of an acoustic guitar, it imbeds itself further into your brain stem. The layered vocals, taken from the original, are a masterpiece when paired with this sort of medium. Arguably the heaviest track to remake, "Buildings" sees itself reborn as a twisted piano and acoustic guitar melody. Replacing the overwhelming distortion here would prove to be a massive challenge, but one done with an incredible amount of care and melodic sensibility. It's as if they simply slid that input down, and increased the volume that surrounds it, adding new layers of vocals and orchestrations, as they do on "Leech," sometimes invoking a vintage feel to the entire mix. While it isn't a surprise, the voice of Renkse becomes the glue that holds the two versions together. It is his signature crooning that turns the new version of "Ambitions" into a melancholy love song, of sorts. Gone are the bombastic drum beats, in their place, lightly touched keys and strings.

The last third of the album brings a haunting beauty to the table, in ways that may have seemed logical, but needed to be heard to be fully appreciated. There is a methodical precision to the way the acoustics are layered here, creating a depth of sound that is thoroughly enjoyable. It becomes the heaviest track on an album that has stripped that element away, and it does so with as much fervor as it allows. In the same way, the band keeps so much of the energy of "Lethean" in tact, without needing a single blaring riff or kick. It speaks to their talent as songwriters, creating tracks that can be built, torn down, and rebuilt in new configurations. As the song concludes, with Renkse asking, "What took you so long," a single chill runs up your spine. One of the forgotten tracks before, "First Prayer" gets new life here, as layer upon layer of clean guitars, clean vocals, and clean keys cascade together in a wave of down tempo morose. But it is the last track, the first single from "Dead End Kings," that might best summarize a project that seemed out there in the first place. If you remember how "Dead Letters" made you feel when it was released in 2012, you'll get to feel that all over again, a year later.

We've watched Katatonia grow and change over two decades of work. Each album has seen it's fair share of new territory, pushing the boundaries of a band that is running out of frontiers to conquer. But, even with that information in mind, we couldn't have truly seen this album coming. It was a year ago that our review of "Dead End Kings" made it's appearance on the site, and our feelings on that disc haven't changed since then; it has firmly taken a place in our hearts and our rotation. But it was something we said in that review that strikes me as we listen to this new representation of those songs. "Despite this album being an exploration of those dark corridors, this is anything but a dead end. Instead, this is an open door to the next evolution. And now the waiting starts again." We couldn't possibly have known then what we would be witness to now, let alone that it was only a year away. But somehow, it all makes sense. Evolution has a funny way of doing that, you know. And "Dethroned & Uncrowned" is the next logical step towards something else entirely.

9.5/10

Official Site - http://katatonia.com/
Facebook - http://www.facebook.com/katatonia

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Illusion Suite - The Iron Cemetery (2013)

Think about the process, just for a minute. How does music get from the band to you? Sure, it's easy to say you found something on the internet, but how did you get there? A blog? Facebook? Word of mouth from a friend? Spreading your music and message can be a very slow process for so many great bands, sometimes taking longer than the shelf life of the band itself. For Illusion Suite, a four piece from Norway, the pandemic began in 2009, with the release of their debut album. But now, some four years later, their name still hasn't appeared in our dreams, or found itself sprawled across a marquee in Times Square. It isn't for lack of talent, or even lack of opportunity. It just takes time, a lot of hard work, and patience to get to that apex. With the release of their second album, they look to speed up the process, and declare themselves not only one of the best bands to come out of Norway in some time, but one of the best progressive power metal bands in the world. If "The Iron Cemetery" doesn't get them some notice, we must be doing it wrong.

An opening track like "Intro" means very little in the scope of an album, with few exceptions. Here, it serves as the launching of the engines, rolling directly into "Orpheus' Quest." Having gotten the flames burning, the band jumps with both feet into the winding, melodic guitars that come to define them. Though, despite what your first impression might be, this is far from standard power metal. The progressive influences are apparent, and help to add an additional layer. Guitarist Kim Jacobsen lays down a bevy of riffs and fret work, never sacrificing the hard edge for a hook; the two are, for Illusion Suite, one and the same. That joint appeal is a large part of the reason songs like "Uni-Twins" can make a lasting impression. Bass players across the world will find enjoyment in the first minute here, as bassist Dag Erik Johnsen does the low end proud with his strong work. it is amazing how easily digestible and free flowing a track like this can be, without carrying the weight of pretentiousness that so many prog power bands have adopted.

In what might qualify as a signature track, "The Iron Cemetery" takes all of the aggression in the instrumental, and uses it to inflate a vocal that would stand firmly on its own. But paired together, they grow and meld into a powerful mixture of melody and hulking, distorted thrash. Singer Bill Makatowicz, who to this point may not be a household name, doesn't just hold his own, and reserve a place in the mix; he excels in all situations. His voice soars over the battery of strings and drums, tinged with electronics and synths, just enough to give an accent to the music. Thankfully, the band ignores the traditional wisdom of the ballad, as "When Love Fails" is anything but. The gallop of the drums would be convincing enough, but the constant motion of the guitars delivers a secondary punch. And while he may be hidden behind some deft and slick guitar and bass work, drummer Roger Bjørge earns his keep on tracks like this. he is the anchor that keeps the track willfully grounded, while keeping his timing both impeccable and devastating. There is a duality to "Nero," then, that makes it all the more exhilarating. Somewhere between the pulsing bass line and the thumping kicks is a space where all five elements come together is perfect balance and harmony.

The last trio of songs all share a common thread, one that extends well beyond their run time. The soaring "Nostradamus' First Prophecy" is bolstered by a strong keyboard presence that was used sparingly o the rest of the album. Quickly played keys, partnered with the main guitar riff, do wonders for the depth of the track, while still adding a different tone to the music itself. Makatowicz flexes his vocal muscle, showing that he can thrive as a cog in a massive gear, or alone, crooning over tightly kept synths. But as "The Ugly Duckling" begins, the mood seems to change, taking on a darker edge. The rhythm section is the backbone here, perhaps more than before. Bjørge and Johnsen never falter, and as a result, the song stays on track and solid. A strong bass solo even takes you to the final act. The album rounds out with a burner of a track, one that puts the pedal down to the metal in the verse sections, only to back off the gas in the chorus. "Premonition" combines the moods of the two previous tracks, brilliantly playing them off one another from movement to movement. It would be easy to single out any one performance here as a great one, but the band at this point is firing on all cylinders, together.

After only one album, it's understandable that more people aren't aware of what Illusion Suite brings to the table. After all, if there is one thing we've learned from cartoons, it's that, "When you do things right, people won't be sure you've done anything at all." And while those words may have been written to describe the plight of a robot playing God, they apply to musicians just as much. But with a second album unleashed, as it were, and results that are consistent and impressive, one would assume that their time in the sun isn't far away. Much like Infinita Symphonia's debut album in 2011, "The Iron Cemetery" may well come to define what progressive power metal is, and should be, in 2013. The combination of melodic elements with crushing guitar passages could serve as a how-to for young bands to come. They flirt with perfection at times, which is a bold statement to make in this business. If this is the career arc they've built for themselves, the follow up might come to be the crowning achievement in modern Norwegian metal.

8.5/10

Official Site - http://www.illusionsuite.net/
Facebook - https://www.facebook.com/illusionsuite

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Bedowyn - Wolves & Trees (EP) (2013)

We've tried for the better part of two years to come up with the perfect analogy. An old style coming back around, changed and recast to become something truly new. Unfortunately, the caterpillar into butterfly shtick doesn't work here, as the butterfly eventually dies. Perhaps this is like a campfire, started by bands like Black Sabbath, Deep Purple, Judas Priest, and Slayer. Left unattended, the fire can grow dark and burn out. Over time, the embers fade and start to break down. But every now and then, someone comes along to restart that fire, lighting the ashes in hopes of it burning as bright, if not brighter, than it has before. We've seen bands put fuel to that classic metal fire, each one adding another dash of this or that to make it their own. And as Raleigh, North Carolina's Bedowyn approach the flame, they carry with them not a match or a log, but a barrel. Their new EP, the thrashing, quasi melodic "Wolves & Trees" is like sixty gallons of gasoline on a flickering flame.

It would be hard to ignore the influences that appear early in the album, including the opening riff to "Bisha'a." There is a nod hidden there that can be traced back to the biggest bands of the past four decades. But without a vocal element this time around, they leave much of the onus to the guitars and bass to carry the load. Not by coincidence, these happen to be major strengths in the lineup, with bassist Todd Parham consistently delivering on all fronts. Having now established their instrumental depth, the band blasts right into a monstrous thrashing affair, "Evil/Right," complete with a raspy vocal that couldn't be more right for the job. It would be foolish to ignore just how dynamic a vocalist Alex Traboulsi can be, embodying the past-meets-present identity the band has forged for themselves.What remains refreshing is how seamlessly the band joins together, each cog in the gear serving his role to the maximum extent, without overstepping his boundaries. As a result, you get stone cold grooves, like the one that comes at the three minute mark, that could knock you dead, or revive your corpse, depending on your current state of life.

With the mood now set, "O' Bitter Sea" finds it's home right in the middle of the fray. The riffs just keep rolling over you, strengthened by that insanely smooth bass. Guitarist Mark Peters keeps driving the nails into the board, alternating between dense chugging portions and great pick work. But even his work has yet to peak, only increasing in weight as the EP continues. It comes to a head on the classic metal tinged "Wolves & Trees," which comes with a bizarrely accurate Ozzy Osbourne, "Crazy Train"-era maniacal laugh. When you begin to dissect the whole here, you come to the foundation, which is the hammering drum work of Marc Campbell. He might not go for flash and rhinestone jumpsuits, but his stick work is the keystone that allows everything to grow around it. The guitar lead that forms the melody in the outro is the stuff dreams are made of. If the lyrical content has somehow slipped your focused until now, "Snarling Of Beasts" would be the right time to get on board. Over a distorted wall of metal riffs, Traboulsi spins a yarn that could tickle the fancy of any metalhead. "We hear the snarling of beasts! We are the power, building the lightning," he sings with delight. An absolutely ripping solo puts the lid on a burning fire.

It's hard not to overstate the strengths present on this EP. That is to say, everything. Try as you might, it seems damn near impossible to find any way to improve upon the formula that Bedowyn has concocted. They have found a niche that combines something for everyone to enjoy. By no means does that imply that they are watered down or overly accessible. Quite to the contrary; they've harnessed the power of the forefathers of metal, and brought them kicking and screaming into 2013. They've captured all of that warm feeling, without sacrificing production, songwriting, or musicianship. We've seen our fair share of bands throw another log on the fire since it started burning some forty years ago, but very few have seen the flames rise this high. Black Sabbath gathered the kindling, and Bedowyn are burning down the camp sire. The only difference is, without question, I would take Bedowyn over modern day Sabbath any day of the week.

9.5/10

Bandcamp - http://bedowyn.bandcamp.com/
Facebook - http://www.facebook.com/Bedowyn

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Nine Inch Nails - Hesitation Marks (2013)

Listening to a new Nine Inch Nails album is always a journey. Sometimes the albums have to grow on the listener to get the full effect. “The Downward Spiral” and “The Fragile” aren’t easy listens the first time, but their full genius comes out after a couple of spins. Once the albums click, the reward is immense. Trent Reznor created transcendent masterpieces with those albums. After “The Fragile” however, the music took a little turn and while they were good in their own right, they just didn’t have the substance that the earlier albums had. “With Teeth” was more accessible than previous efforts and it wasn’t really that good. “Year Zero” got back to the noisier sound but it still wasn’t quite up to par. “Ghosts I-IV” was a great instrumental album while “The Slip” brought NIN back to the “With Teeth” sound but was a little better than the latter. Now five years later, Trent Reznor has given the listeners what sounds like the true successor to “The Fragile.” “Hesitation Marks” is an absolute triumph and a welcome return to form. The album rarely missteps and is by far the best album in fourteen years. Yea, it’s that good.

The album opens up with “The Eater of Dreams” which sets the mood perfectly for the rest of the album and is a perfect intro to “Copy of A.” “Copy of A” is one of the best tracks on the album with a beat and chorus that will get stuck in your head for days. “Came Back Haunted” is another great track that sounds like it was written for “The Fragile.” It’s such a welcomed song and it shows all the nay-sayers that Trent Reznor is still capable of writing great fucking songs. “Find My Way” slows things down in a good way. It’s soothing and somewhat pretty sounding. The music sounds like it’s off of “Ghosts I-IV” and it creates a haunting picture of beauty and loss. “All Time Low” takes the album in a different, funkier direction. Even though it’s different that most of the NIN material, it’s still incredible. Chalk it up to another great track on a stellar album. “Disappointed” goes back to the electronic sound that started the album off, but isn’t as good as those tracks. It’s not a bad track, it just goes on a little too long and doesn’t really have a payoff. Although if you took it off completely, the album wouldn’t have the same vibe.

“Everything” is probably the biggest departure from anything Trent Reznor has done. It’s a straight poppy rock song with guitars that sound like “Wish” era The Cure. It also has harmonies! Even though it’s a big departure and it’s poppy, it’s still a good song that fits perfectly into the grand scheme of the album. It’s also one of the most happy sounding songs he’s ever written. “Satellite” is a good track that doesn’t do anything new, but keeps the album flowing perfectly. “Various Methods of Escape” is another personal favorite that just hits the nail on the head. Everything about the song, from the music to the vocals, just works. Yet another high point on the album. “Running” is another track that is so-so. Again, it keeps the mood of the album but it just doesn’t do anything to keep the listener engaged. It’s probably the only skippable track on the album. “I Would For You” brings the album back up and delivers a solid song that won’t be forgotten. The atmosphere in this song is absolutely perfect. “In Two” is a strange track that needs a couple of listens to get the full effect. “While I’m Still Here” and “Black Noise” are basically the same track and the album couldn’t close any better. They’re slower songs and mostly instrumental, but the album feels completely wrapped up once “Black Noise” is over.

So there you have it; the best NIN album in fourteen years. Don’t be fooled by the pop approach on some of the tracks, everything falls into place when the entire album is heard. As with the rest of the NIN albums, it’s supposed to be listened to all together, not just single tracks. With songs like “Copy of A”, “Came Back Haunted,” "All Time Low,” and “Various Methods of Escape,” it’s hard to ignore “Hesitation Marks.” Even though a couple of the tracks aren’t as good as the rest of the album, this is still the record that every NIN fan has been waiting for. The beauty of it all is that it gets better with each listen. There are so many layers and little details that the other albums lacked that make “Hesitation Marks” great.  Alright, enough of my praise. Listen to this album now. It’s a true testament that shows people that Trent Reznor still knows how to make great fucking music. 

9.5/10

Official Site - http://www.nin.com/

Facebook - http://www.facebook.com/ninofficial

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Past Undone - Time Lapse (EP) (2013)

We've all seen those pictures of metal bands before; all of the members, wearing black, stare intensely at the camera. You wonder, maybe out loud, what they are thinking about, or how hard they have to focus so as not to crack a smile. The band photos of Past Undone are no different, with all four members (two male and two female) dressed head to toe in the most dominate color, looking directly into the lense as if they are looking through the camera, and into your soul. Farbeit from me to guess what is on their minds; only they would know for sure. But listening to their new EP, "Time Lapse," I could venture a guess or two. In their eyes, you'll find a confidence that maybe, just maybe, their symphonic, progressive doom metal will hit you like a ton of bricks. Or maybe, just maybe, that their atmospheric melodies and distinct vocal performances will have you scouring the internet for more like them. A picture is, afterall, worth a thousand words. Whatever the case may be, "Time Lapse" is sure to be a lot of things to a lot of people; these three tracks ay more than any photo ever could.

The opening to "Condemned by Scars" is heavy, but not in the basic way you'd think. With the mix packed full, syncopated drums punctuating every beat, it immediately weighs down on your shoulder. Yet, at the same time, it is structurally sound from all side, including a dual set of vocals that are surprisingly balanced. A melody permeates the entirety of the track, driven very deliberately by the strong bass and keyboard components. It's a mixture that works beautifully, yet mysteriously. Going further, "Place in Heaven" actually takes that dynamic even further, taking you down a haunting path. The tempo here is slow, but by no means is it boring. They've colored outside the lines, and injected an intensity in the drum work that adds a jolt to each and every kick. But here, it is the female vocal that blows you backwards into your seat. As she pushes the boundaries of her range, your eyebrows raise, and your eyes widen. The title track is like an awakening, a snap to attention that you simply can't ignore. With the deep growls of the verse, the damn nearly operatic vocals of the chorus, and the sheer density of the guitar, bass and drums, you would be hard pressed to listen only once. But it is the way those things play off of each other here that makes the world of difference.

There are times, as most review writers would probably agree, where a score is very hard to determine. You've weighed the pros and cons, tallied up points and deductions, and you stare at your screen blankly, hoping a number magically appears. You could wrestle with it for hours or days. Luckily, Past Undone have taken all of the hard mental anguish out of the review process here, and given us something that we can be certain of. There are no cons to be found on this offering; not a single thing stands out as being inherently wrong or unpolished. They've done it all. Three songs, spanning almost exactly twelve minutes, with not a single second of time wasted, miscalculated, or misused. Every track, separately, is packed to the brim with a stunning and nearly unmatched combination of airy tones, distortion, and beauty. And together, they flow in a way that elevates them to new levels. It seems like "Time Lapse" might be the EP that is too good to be true. But, I assure you, it's real. And it is everything you want it to be.

9.5/10

Bandcamp - http://pastundone.bandcamp.com/
Facebook - https://www.facebook.com/pages/Past-Undone/555965854445885

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Blizzard At Sea - Certain Structures (2013)

It was said decades ago that space was the final frontier. We've explored so much, and yet there is seemingly endless corners of the galaxy to see. Unless you can claim to be one of the chosen few who have been fortunate enough to visit the vacuum that expands all around us, you have to find other ways to get the feeling of floating. Iowa City three piece Blizzard At Sea are no strangers to the concept of space and it's mysteries. Having tackled some intelligent material on their first two offerings, their career could be likened to early rocket launches; with each take off, they go further than before, hoping to one day reach the stated goal. But with their first full length album on the way, it was time to move beyond the "small step for man" effect of their EPs past. With a successful Kickstarter campaign funding their return to the studio, they emerge ready to make the transmission their adoring fans on the ground below have been waiting for. In a crackling, barely audible message, they declare that "Certain Structures" is the giant leap we've been waiting for.

Having forged a style that is immediately recognizable, "Under The Firmament" is the epitome of what Blizzard At Sea has become. With the guitars and bass work now tightened to absurd levels, they tighten their grip around you within mere minutes. Drummer Pat Took, then, must keep pace; which he does with a eclectic barrage of snare and cymbal combination that pack every bit of the punch necessary. While they infused melodic vocals on their last EP, the band now flows seamlessly between clean and growled lyrics, with the former sometimes taking on the form of chanting. By allowing everything around it to grow organically, they keep each passing movement fresh and vibrant, including the warm beginning to "Subjugated Apophenia." But when the time is right, something only they could figure out, the waves crash down with little to no regard for the safety of man, woman, or child. By no means are they reckless; each stanza is timed and executed with brutal precision and a keen sense of conceptualization. There is, however, a new wrinkle to the mix here, with some beautifully spacious post-rock sections that cleanse your pallet before the next taste of sludge.The title track, "Certain Structures," could be looked at as the mission statement of a band on the rise. Mastering the on and off switch - the one that controls the weighty riff work - is a learned skill, one that guitarist Steven Douglas Ross can now add to his resume. Transitioning from dense chugging to widdling solo is no easy task, and it is handled here without so much as a hiccup.

From the clear to the unclear, "Invisible Surfaces" is a directional shift, from aggressive to atmospheric. Clean guitars, with minimal backing, drip through your speakers. Layered on top of them, a clean vocal that reinforces the maturity seen in their career arc. While there are some who might find this sort of effort to be contradictory to the album as a whole, it's impact on the following track, "Almost Awake," is undeniable. With the mood set, much like the exposition in your favorite book, it allows for musical freedom. The rhythm section dominates the verse here, with bassist Jesse Cohen's work being felt in the rattling of your chair. There is something that becomes noticeable in the mixing aspect of the album here; the clarity of the drums is impressive, allowing each element of the kit to stand out from the others. With that strong foundation at the base of the mix, it elevates Cohen and Ross, as they lay down a catchy, almost mind altering chug and slide combination. For a track that goes well into double digits, there is no shortage of tempo changes and shifts, including arguably the best solo the band has gotten onto recorded media. The track fades, as do you, floating off into some distant space, only to be dragged back by the much more insistent "Planeswalker." The vocal line here boasts a new degree of power, drilling into your pre-frontal cortex like a knife through melted butter.

The final trio of songs sees yet another change, but this one coming in the dimensional field. Anyone outside of the bands inner circle that says they could have predicted the clarity, beauty and dream inducing simplicity of "Anomie" is either a pathological liar, or a soothsayer in need of study. It seems to come out of right field, or left field, or a magnetic field; but this is not a one off. Sure, it's clean guitars are replaced on "Dreaming Of Distant Things," but it is the spirit that remains. They embrace all things post-rock here unlike ever before, making the title seems all the more perfect. Took as it his very best here, his drumming doing more than forming a pedestal or base; he actually commands the lead at times, an array of snares, toms, and metallic clang of cymbals adding to the ambient, albeit heavy, melodies. One of the more impressive album comes at its conclusion, with the finale track "The Golden Hour" coming at you on two different levels. The track, clocking in at eight minutes, is a journey of its own. Hazy guitars and bass echoing through measures after measure. There is no lazy, convoluted filler to be had here.  But it is also the apt conclusion to the floating journey the album has taken you on. That significance can not be lost here.

There is always going to be a certain amount of skepticism involved when a band makes the leap from Ep to album. It has little or nothing to do with talent, as it does with concept. Blizzard At Sea have proven, through their first two releases, that they have mastered the sort form recording. But with "Certain Structures," they have proven to both themselves and their growing legion of fans that three songs is not their limit. Instead, they've carefully thought out, planned, meticulously organized their thoughts, and put them onto digital media in a way that is both profound and reassuring. There will, undoubtedly, be a certain amount of prejudice that you'll have to let go of. This isn't "Invariance," or even "Individuation"; nor should you want it to be. It goes beyond what those two EPs did, harnessing all of their elements and adding more along the way. You'll get everything that made you believe in the first place, enough to make you realize that there is far more to come. Because while the structures of which they write might be certain, they are expansive, and sometimes boundless in nature. And it could take years before we finally explore them all.

9.5/10

Bandcamp - http://blizzardatsea.bandcamp.com/
Facebook - http://www.facebook.com/blizzardatsea

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The Podcast: Episode 96 (Save your bitchin' for the kitchen, idiot)

With Brian and Rachel back in the office for the podcast, we delve into so many pressing world issues. Not really. We talk about body odor and metal albums. Brian has a rousing endorsement for the latest Tierramystica album; seriously, it's like a threat. Listen, or else. The new Avenged Sevenfold album, on the other hand, is the exact opposite of that. Darrell has good things to say about Die Like Gentlemen, however bizarre their vocals might be. But mainly, we talk about random metal things, and stories, and go on and on about random shit. Why? Because we have the microphones, and that's what we do.

A special thank you this week goes out to Russia's own Antillia, for graciously allowing us to use their amazing track "La Diosa Fredda" for our podcast. The track, a metal take on the classic "Legend Of Atlantis" song is available on their new EP, "Last Starfall."

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