The Same Family — 2024 - Grim Reaper - (single)


The band defines itself as a Stoner collective from Astrakhan. The story of the group began back in August 2019. Recently, they have redefined their style as a groove/stoner/dark country band.
The ensemble spent a long time perfecting their craft, performing and refining both original compositions and covers of Texas Hippie Coalition, Blues Saraceno, Black Sabbath, Nine Inch Nails, Tool, Filter, Biohazard, and Kyuss.
And here it gets more interesting, as you can see. For example, Black Sabbath and Nine Inch Nails… quite an intriguing combination.
As for the latest updates: the band has already released several singles, including the one we’re talking about, and importantly, they’re preparing to release a full album. Judging by the single Grim Reaper, it’s going to be loud and heavy, and not just for the Astrakhan scene, but for the whole Russian scene as well…
Grim Reaper is the kind of single that will make the band reconsider its tags, because, in a way, it’s industrial, infused with Stoner elements, death-metal touches, and generally, it’s “off the rails.”
Of course, the band's find is their vocalist, who delivers a fiery performance in the track with gritty Stoner overtones. This singer freely shifts his intonation almost with every line. And yes, he’s also responsible for the potential #death_metal tag, as he throws in some serious growling at 0:24—a powerful inclusion. There’s also a mix of extreme and clean vocals—variable and quite original in their transitions. Strangely enough, I felt that his clean parts are somewhat reminiscent of Peter Steele’s voice from Type O Negative.
The instrumental foundation here is top-notch, with great compositional ideas. The entire track is filled with Stoner vibes and heavy riffs, but the focus is on the massive, forward-driving industrial sound, which still feels “alive” rather than mechanical. The rhythm section nailed it, embodying the monstrous, rumbling train-like energy. The explosive, expressive guitar solo showcased an important facet of the band. It’s brief, but that’s all the musical context demands. I think there’ll be more of this on the album...

https://vk.com/thesamebandfamilyastrakhan
 

Blackdeath - 2024 - Mortui Incedere Possunt — (EAL085) End All Life Productions

BLACKDEATH continues to compose German Black Metal, I mean, in German. It has long been noted that this language is quite suitable for the genre. I’ll point out right away that for the third time, the band entrusted their friend, that is, comrade Thomas Tannenberger, with the production, mixing, and mastering of the full-length album. And just to make it clear, Thomas is TT from Abigor. He also contributed additional vocals on track 3 – "In den Wolken der Venus."

BLACKDEATH creates atmospheric BM, with the vocalist Colonel Para Bellum playing a key role. His truly venomous, dark, and hateful vocals inject each track with a heavy dose of madness and raw darkness.

It’s interesting to explore the tools BLACKDEATH uses to create this atmosphere. Aside from the fact that most of the tracks are worked out in mid-tempo, allowing space for sound elements that create the underworld ambiance, there are also ominous sound effects, lurking in the background, though sometimes they come to the forefront for a more complete effect.

These effects are given the green light and in some places are quite complex, for example, in "Wiegenlied für die Toten" – at the end, when they form an almost auditory ringing slab, from which a choral chant emerges. The coolest part is that some of the atmosphere is created by Colonel Para Bellum's vocals, which stretch his parts mercilessly. At times, he adds a booming echo...

One might think that the guitarists Abysslooker (who also composed the music) and Der Nukleare Herjann are responsible for the primary characteristic of this album—chaos. And that’s true, they do it well. It’s worth noting that in some places, Absolute Black Chaos morphs into Psychedelic Chaos—like in "Emmeleia. Dead Can March..." Oh, wait, this is a cover of Dead Can Dance. No more questions. The cover appears in the middle of the disc and fits quite organically among the other mind-bending tracks. By the way, Polar Maya (who, as expected, manages the "kitchen"—the drum "kitchen") also sings here.
BLACKDEATH is a mature band, and because of that, they play Black Metal that’s not just BM. What’s already been noted: artistic atmosphere, suffocating chaos, smoldering psychedelia (which is not only present in the cover of DCD but is much more pervasive throughout the album).

These elements are incorporated into the overall musical structure of the album, I’m sure, from the song-writing stage, and were successfully captured in the final product by Austrian producer TT.
Here’s a fun tidbit: TT is a Russian pistol, and Parabellum is German. But if you look at the musicians on this album, it’s almost the opposite. Just a side note to this dense and ferocious album, which was also released on vinyl.

Smerdead — 2025 - Волколачья (Single)
A single? It's a strategically sound decision, especially since singles have this expected tendency to gather into full-length albums. Of course, for an album, you need something more—an unexpected approach, an original idea, or a knockout hook...

Right off the bat, Smerdead kicks things into high gear with a fast and punchy tempo, wasting not a single second in the confines of a single. Relentless guitar riffs are seamlessly carried forward by captivating solo parts. It might seem simple and straightforward, but it’s highly effective in creating an aggressive and deliberately intense atmosphere.

A special mention must go to the energetic rhythm section, which delivers a confident and powerful performance, giving the track a driving force capable of igniting a frenzy of headbanging and unrestrained excitement among fans.

This is an archaic yet not ancient incarnation of Heavy Metal on steroids, infused with the spirit of Speed Metal, Thrash Metal, and a genuine sense of modern metallic sound. Zombie Metal.

I’ve noted Kozlodyor’s vocal abilities more than once; he delivers the lyrics in an extreme range with remarkable clarity. A cold, almost wolf-like delivery, backed by what feels like a hundred liters of primal energy. Incidentally, the lyrics were penned by Demetr Grail.

Finally, the overall sound of the single deserves praise. It's been expertly mixed, resulting in a cohesive and well-balanced, massive sonic experience.

I’m confident that on a future album or during any live performance, this song will claim its rightful place.

https://vk.com/smerdead

INSTANT FURY - 2025 - Burn - (Single)

Are there too many Power Metal bands in Russia? Perhaps, but if at least half of them deliver the quality of the new band INSTANT FURY, it wouldn't be such a bad thing. This is a fresh formation, yet they've already released their second single to the eager ears of metal fans.
Their first track was a fast-paced banger in the best traditions of the genre, while the new one is a classic metal ballad. And it made me wonder: how do you even begin to describe the vocals and guitar performance that were so spectacular in the debut single? Let's listen.
And then it hit me—of course, these musicians are preparing an album. The new track exudes a sense of detachment from the current moment, and it’s clear that this piece will shine at 100% among others on INSTANT FURY’s full-length record.
The first half of the track features acoustic guitar layered over electric guitar textures, with vocals that are calm, “mature,” and brimming with inner strength. They showcase their potential even in this restrained opening. It’s an epic and melancholic segment.
But by the midpoint of the track, the vocals soar to incredible heights, delivering vibrato in an extraordinary range. This isn’t just about vocal skill—it’s true artistry, plain and simple. And after the track’s crescendo, the vocalist of INSTANT FURY leaves you absolutely stunned (around 4:30).
At that moment, I thought, “Good thing the song lasts 7 minutes.”
Finally, the blazing lead guitar joins the fray (I was starting to worry). The intricate string-driven climax emphasizes the track’s finale in style.
One of the best Power Metal compositions of early 2025.
P.S. The band cites Running Wild, Blind Guardian, RAGE, and Gamma Ray as their influences. To that list, I’d add Scorpions.

https://vk.com/instantfury

Voroth - 2025 - Covered by Time and Dust

Metalheads from Nevinnomyssk, Voroth, are preparing to release their latest album. In the meantime, they've put together an EP showcasing their take on songs from well-known Russian bands, along with their own track, which may appear on their full-length album. It's a smart move to offer new material to the audience so they don't get bored. Just a reminder, the band plays in the styles of MDM, Thrash Metal, and Progressive Metal.
The EP kicks off with their own track, an allegorically titled piece called “At the Edge of Thought.” The composition reflects the band's growth and stylistic preferences—MDM with thrashy and modern twists. The rhythm section handles all the twists and turns well, focusing on dynamics and even attempting something progressive. The vocalist has a lot of challenges, switching from clean thrash vocals to harsh, but he does his best to stay on top. He’s supported by a solo guitar, though it doesn't get enough room to shine. The overall impression is that the band used this track to summarize their musical journey over the years.
Next, they cover the song “Phoenix” by the band OUTCAST. This is quite an atmospheric track, and they really nailed it in the studio. It's Alternative Metal in its strong, almost metallic form. What stands out is the compositional power of the track, where every musical element reinforces the previous section and leads towards the next. The vocalist easily handles all the nuances, even when the track is full of tension and emotion—especially anger.
Then there’s the track “Evil,” a cover of the band SLOT’s song. In some ways, it’s a more Alternative Metal piece compared to the previous track. It could be described as a slow song, but where the vocalist expresses deep emotion, the track intensifies, almost as if it might explode from the tension. The guitar has plenty of space for lyrical exploration, and it’s used wisely and thoughtfully.
Their cover of Amatory's “Snow in Hell” marks a return to basic metal sounds, and here, Voroth really feels in their element. Creating powerful sound is their true calling. The cover is done freely, without any preset limits, and the changes in tempo emphasize the theme. The vocalist once again has a lot to handle, and the open guitar solos are a highlight, flowing freely with energy.
Lastly, they tackle "Height 776" by Radio Tapok. Wait, is this not alternative metal? It seems to play a significant role in this EP. A metal track with a folk twist and notable guitar sections—pretty much everything you’d expect. Voroth creates their own version of the track, emphasizing some of the vocal parts. The composition is well-structured, divided into contrasting sections that enhance the overall impact of the track.
The overall impression of the EP is mixed. On one hand, it seems like Voroth is leaning toward an alternative style, but on the other, I’m 90% sure they’ll stick to Thrash Metal and MDM in the long run.



https://vk.com/dark_heavy

HUMAN TIME — 2025 - The Last Bastion (Single)
The single begins grimly and solemnly, even tragically (which is no exaggeration), with a Doom-like forecast that quickly shifts to a Death Metal vibe. Then it picks up pace with machine-gun speed, a few breakdowns, and the band leans towards an old-school rhythm, while still maintaining a modern and even ultra-modern sound.
The track is almost 7 minutes long, allowing the author to explore their ideas within a more substantial timeframe.
The crunchy guitar takes priority, handling all the challenges of a techno-death plan: sometimes lightning-fast, rapid-fire, and at other times, it seems to envelop the surroundings with bitumen-like slowness, halting the track’s flow a couple of times.
After the middle of the track, we encounter an ambient, depressive interlude—a bridge that pulls the track into Doom-Death territory, accompanied by vocals that clearly don’t mind such a shift.
In addition to the crushing guitars, there are some subtle sonic touches, carefully placed at certain points. These elements are almost imperceptible but add an artistic refinement to the otherwise heavy musical landscape.
It’s worth making sure to listen to the single in good quality... For example, I thought I heard a female vocal or an instrument like the theremin in the final third of the track, hidden deep in the mix. It’s a ghostly sound—too carefully concealed.
A few words about the vocals: a solid harsh growl seems to drill through the dense guitar mass, successfully interacting with the growl in a dialogical manner.
It’s important to highlight the sound engineer’s work, who allowed this musical hurricane to be mixed in such a way that all the individual breezes and currents are audible. Notably, there are moments of calm and moments of devastating movement, which contrast in the listener’s perception, creating a striking musical image.
It seems that this single is a herald of HUMAN TIME’s upcoming album.
I asked the author.
Answer: Yes.
https://vk.com/humantime19

 

KA’APER - 2024 - The Darkest of Times (single)

The hot Dark Metal project KA'APER actually incorporates a wide range of musical elements, offering quite complex structures that are prominently displayed in this single, highlighting the melodic and rhythmic positions that will be featured on the upcoming album—hopefully.
Starting with a full-fledged ambient intro with sparse, dripping keyboards, and then... a massive musical assault, yes! It hints at Melodic Death Metal, spread out—like on an autopsy table—over a Melodic Death Doom Metal foundation, which might serve as a pedestal in upcoming tracks. I mean, it will likely be expressed more powerfully to the delight of fans of this subgenre.
The concept of the KA'APER single isn’t exactly traditional, but it still allows for the main collision to stand out. 1. A vocal storm delivery, sometimes complicated by a second vocal layer—a less extreme vocal style, but mostly brutal rasping harsh vocals that carry almost all the aggression of this track. 2. Plus, the guitars lend support—melodic reinforcement for the vocalist, whose experience seems to suggest he could sing and play not only Dark and MDM but full-fledged Death Metal as well.
In terms of composition architecture and the guitar work, it's important to note that competent composers and string masters are behind this. The guitarist executed his spectacular parts (with a nod to neoclassicism) excellently, at least promising to “do it beautifully” moving forward. And if you listen carefully to his work, it’s clear that more complex structures are no challenge for him.
Regarding the sound, in this rather complex musical (and ultimately extreme) conglomerate, all the parts and melodic layers are laid out professionally, so that the individual instruments don’t clash with each other but instead interact in a way that creates the best immersive effect for the listener.
KA'APER doesn’t have a keyboard player, but such elements add significant and attractive shades and tags like #Sympho...

https://kaaperofficial.com/

 

Restless Mind - Ice Of Me - Мой Лёд — 2024 (ЕР)

Heavy Metal, Groove Metal band Restless Mind released their latest energetic EP last year, which, of course, didn’t go unnoticed by interested listeners. And if it did pass by, let’s give it a listen now.
The main thesis of this work is the vision of experienced musicians within this subgenre, the further development of the project's ideas in both musical and broader worldview terms.
In this sense, the intro is characteristic—lyrical guitar with intricate synthesized keyboard inclusions.
Do we need to mention that Heavy Metal here clashes with Groove Metal? No. The organic Fusion of these two spiritually close subgenres forms the foundation of the EP's musical structure. Of course, guitar work is key—ranging from simple riffs and passages to standout sections where the instrument (played by Roman Novichkov) seems to soar above the track and start creating something transcendent ("Ice of Mine"). Or it dives into solos reminiscent of progressive rock (“Reset”). And the masterful, intricate solo in the hard-hitting track “Don’t Go Insane” links back to the guitar experiments of classic 70s rock monsters.
The riff-based composition of the EP allows for a Heavy Metal pressing and pounding. It’s easy to notice that the solid compositional work organically maintains a balance between the strings and the vocalist, giving each performer space and time to shine.
Undoubtedly, the vocals (Anton Gruzinsky) are the trademark of the album Ice of Me. He is just as convincing in clean vocals as in harsh ones. In his FIRST persona, he is often brutal, assertive, and commanding—and paradoxically. In more extreme and transitional parts, he sometimes sings in a demonic voice. In contrast, you can occasionally catch ironic intonations in his voice (“Voices”), and it almost feels like the singer is smiling. It's that kind of vibe.
The vocal work on the album makes extensive use of backing layers and vocal underlays to add volume and various impressive effects.
The album also features drummer Andrey Ishchenko. + in the karma.

https://vk.com/restlessmind

Теория света — 2025 - Проект бессмертия
While famous (and not so famous) musicians are pushing the idea that Metal is dead or that Heavy Metal is finished, lesser-known musicians are recording albums for themselves— to mark a certain point in their creative journey, but also for other music lovers. They’ll listen, get inspired, and maybe even record something of their own. So, this story is timeless.
In this context, the band THEORY OF LIGHT (who’ve been playing for over 15 years) gathered their work over the years and decided to release a full album. Here it is— “Проект Бессмертия -The Immortality Project.” In both a literal and figurative sense. Heavy Metal with influences—of course.
Yes, this is a Heavy Metal album, and first of all, I’ll say it doesn’t consist of any genre standards or clichés. That’s what makes it interesting.
The musicians of THEORY OF LIGHT confidently and competently explore pop-rock, synth elements, and some alternative sounds (slightly). And one thing you’ll notice— the lyrics, which aren’t just about love and dragons (as is usually the case), but about the life that surrounds us (including the rotten life in the virtual world).
I noticed the vocals— seemingly simple, without any special flourishes, but soulful and appropriately emotional. The vocalist can sing about both lofty and down-to-earth things in a way that makes you believe in him.
Some people might have complaints about the vocalist, saying he doesn’t sing like our (your) great XXX. That’s the wrong approach. OUR metal began when people who were once kept a mile away from the sound equipment stepped up to the mic.
So the vocalist is fine, balanced, knows his strengths and weaknesses, handles lyrical and minor parts well, but can also sing something heavier (“Мимо жизни”). By the way, this track features an additional female vocal, a nice touch.
I’ve already mentioned the confident compositional work of the THEORY OF LIGHT team, but it’s worth noting the guitarist, who, it seems to me, played with real passion— in the best possible way. He delivered solid, excellent rock and metal riffs, but also soloed, as required by the style— with inspiration and lyrical power. I was waiting for him to really let loose, and it happened. The guitar especially impressed me in the song “Радиоморе.” I think the band Black Sabbath and Tony Iommi are highly respected by this musician. By the way, this is a slow, lyrical track.
The album also makes good use of keyboards (and synthesizer sounds), which add original spice to the overall sound.
“The Immortality Project” is a confident full-length album with quality production, both in terms of arrangements and sound engineering.

https://vk.com/tcband