69 Chambers | Torque

by Joe Mis
Staff Writer –

Swiss female-fronted metal trio 69 Chambers has just released its sophomore effort entitled Torque and it is a fine follow up to their 2009 debut, War On The Inside. A bit alternative, a bit Gothic, and a bit old school, 69 Chambers delivers 14 varied and interesting tracks that should appeal to fans of almost any of the darker genres of metal.

The trio is led by the expressive vocals and multi-instrumental talents of Nina Vetterli-Treml (who is an automotive and motor sports journalist when not performing). Her voice is well-suited to the genre, and runs the gamut from soft and smoky to gritty and intense. She also contributes some fine bass and guitar to the album. Nina is backed nicely by standout guitarist (and husband) Tommy Vetterli (Coroner, Kreator) and drummer Diego Rapacchietti. The tracks on Torque stylistically range from the standard rock ballad to “beauty and the beast” metal to near pop-metal, but no matter which genre dominates melody is always present. The band’s musicianship is excellent, and the production values of the release are high.

The album opens with a bit of electronica during the intro to “Cause And Effect,” a thrashy track that sets the gritty tone for the remainder of the CD. Nina does a bit of back and forth with growling vocalist Chrigel Glanzmann (Eluveitie), and the pair change from sweeping melodic metal to snarling near death metal without difficulty. A more alternative sound (with a hint of pop metal) takes over with “Bring On The Flood.” This track features some great drum / bass coordination and a smooth layered chorus – a nice job all around. The band goes doom metal with the gloomy, guitar driven “Naughty Naughty Naughty,” and Nina adapts her vocals perfectly, coming across as a bit sinister. “Anhedonia” is a more conventional metal track with some manic drumming, well done vocals, and interesting rhythm guitars. Nina’s voice and passion are apparent on the conventional bass oriented rocker “Burn Some Gasoline.”

“The Peep Hole” is a very dark gritty track with great vocal performances (including some cool growls) and a complex rhythm line. “Ring A Bell” has an electronic opening and a bluesy vocal line. It would be a great track if it wasn’t for the distracting electronic manipulations of Nina’s voice. These last two tracks don’t seem to fit the image that 69 Chambers is trying to build – they are better suited to a pop-rock band, especially when followed up by the very dark and Gothic “Closeure” and the doomy “And Then There Was Silence.” The latter features some excellently brutal growls by Nina and slick guitars throughout. Unfortunately this track is marred by an annoying spoken (well, yelled actually) section at the end. “Temple Down” is another well-done Soundgarden influenced rocker.

The ballad-esque modern rocker “Your Fool” is a nicely done song, but again lacks the brutal edge of most of the other songs and as a result it seems a bit out of place. Fortunately the band dials the intensity right back up with the guitar-heavy and drum-centric “The Doom Of Her Power” – one of the best tracks on the release on lyrical, tone, and performance levels. “Grace” conjures up a bit of Lacuna Coil with its somber mood and strong bottom end. The soft and smooth “Elegy” wraps the album and features an emotional and heartfelt guitar solo. This final track really highlights the full range of Nina’s voice and the talent of Vetterli and Rapacchietti, as well as the stylistic depth of their songwriting skills.

69 Chambers Torque should appeal to most alternative metal fans, and to those who are into the Gothic or groove metal scenes. The band writes good dark songs without being overly morbid and depressing, and delivers them for the most part with appropriate levels of emotion and enthusiasm. The variety of styles highlights the band’s versatility, but leads to some tonal inconsistency. Not a perfect album by any means, but one that comes from the heart. Solid performances and gritty lyrics, coupled with good production techniques make 69 Chambers a band to watch in the future.

Genre: Alternative Metal

Band:
Nina Vetterli-Treml (vocals, bass, guitar)
Tommy Vetterli (guitars)
Diego Rapacchietti (drums)
Guest musician: Chrigel Glanzmann (vocals on “Cause And Effect”)

Track Listing:
1. Cause And Effect
2. Bring On The Flood
3. Naughty Naughty Naughty
4. Anhedonia
5. Burn Some Gasoline
6. The Peep Hole
7. Ring A Bell
8. Closure
9. And Then There Was Silence
10. Temple Down
11. Your Fool
12. The Doom Of Her Power
13. Grace
14. Elegy

Label: Massacre Records

Website: http://www.69chambers.com/

Hardrock Haven rating: 7.5/10

Persona Non Grata | Quantum Leap

by Justin Gaines
Staff Writer –

Quantum Leap is the second album from Greek progressive metal band Persona Non Grata. When the band debuted with 2009’s Shade in the Light, they were clearly operating from the Dream Theater/Fates Warning playbook, and that’s true of this album as well. You may occasionally detect a darker tone a la Evergrey or a quirky passage reminiscent of Pain of Salvation, but Quantum Leap is for the most part a fairly traditional progressive metal album.

It seems weird that the first thing that jumps out at you when listening to this technical and progressive album is the vocal performance, but it’s true. Aris Pirris has a great range, and he uses every bit of it here to great effect and conveys a wide array of emotions. Musically, there’s a lot to take in. Quantum Leap is a pretty melodic and cohesive album, so you don’t always notice how dazzling the instrumentation is at first, but after a couple spins the intricate keyboard and guitar solos in particular really stand out, as do the complex – but never needlessly so – rhythms.

Quantum Leap may be a fairly standard progressive metal album, but you have to give Persona Non Grata credit for never getting too carried away with technical wankery and keeping the songs between 5-7 minutes in length. They never give you a reason to tune out, and that can make all the difference sometimes.

They may not be re-writing the progressive metal rulebook, but Persona Non Grata is still really good at what they do. If you’re looking for the more adventurous, truly progressive stuff along the lines of Leprous, Haken or Pain of Salvation, this isn’t it. Traditional progressive metal fans – especially those into Redemption, Zero Hour, Illusion Suite, Pathosray and the like – should find a lot to enjoy in Quantum Leap.

Genre: Progressive Metal

Band:
Akis Gavalas (d)
Chris Gatsos (g)
John Ioannidis (k)
Aris Pirris (v)
Chris Vogiatzis (b)

Track Listing:
1. Imaginative Mind
2. Lend a Hand
3. Evil Feelings
4. 9AM News
5. Redemption of Sins
6. Captive
7. Grief
8. Diversity
9. Internia
10. Journey Ends
11. Journey’s End

Label: Massacre Records

Website: www.personanongrata.info

Hardrock Haven rating: 7.75/10

EXCITER: Massacre Records Release Latest Album In North America

Massacre Records is proud to bring the latest album from long running Canadian thrashers EXCITER an official North American release.

Since helping to forge the North American thrash movement in the ’80s EXCITER’s layered 34-year career has elevated them to legendary status, and their most recent album, 2010′s Death Machine delivers nine-songs of the expected headbashing mayhem fans worldwide have come to expect from the outfit. Featuring founding guitarist and mastermind John Ricci, singer Kenny Winter, bassist Rob Cohen and drummer Rich Charron, EXCITER once again worked with longtime producer Manfred Leidecker who produced nearly all of the band’s releases since 1990. The production on Death Machine compliments the grinding rhythms and speed that has held the band’s name as one of the most classic speed metal bands ever, while lyrically the the theme of the album addresses sadistic unforgiving torture and the demented individuals who deliver such horrific pain and suffering onto others. Read more

Elm Street | Barbed Wire Metal

by Mark Allen
Staff Writer

Despite hailing from Australia, Elm Street’s sound is deeply rooted in ‘80s NWOBHM and American heavy metal. Not the mousse-and-spandex model, but the denim and leather definition. We’re not talking the pretty boy gloss of Poison or Stryper, we’re talking the clenched fist aggression of Priest or Maiden. You know, the kind of metal that is more interested in kicking ass than getting ass.

Barbed Wire Metal is the band’s debut and it must have some jackrabbit DNA in its blood, because it has done its fair share of hopping around. Originally independently released by the band, the album was then snatched up for a limited run by Stormspell Records and is now seeing an expanded release via Massacre Records. Fingers crossed that the third time is the charm, because for fans of old fashioned metal fury, this is really fine stuff that deserves to find its niche audience.

The thrash attack starts immediately; with an onslaught of rapid-fire drums and speed-riffing, the band waste no time in ramming their big, loud, ballsy metal right in your face, a musical time machine transporting you back to 1986. And Elm Street bring some big hooks to back up the banging riffs. Mind you, these are heavy metal hooks, not commercial hooks; Elm Street have zero interest in catering to the corporate rock crowd clogging mainstream radio. No, these are the hooks of Accept, of Saxon, of Grim Reaper, of bands who believed the only way to sing a chorus was to shout it out with thundering gang vocal power.

In keeping with the band’s old-school mentality, they bloat their lyrics with more cheese than the whole state of Wisconsin. Make room in your cheek for your tongue, because taking these songs seriously is as impossible as licking the back of your own neck. Lyrical subjects include metal power, Freddy Krueger, Leatherface, demonic disciples, and even Jesus Christ. Yes, Elm Street are equal opportunity lyricists, with no allegiance to either the dark or the light. Okay, there’s only one song about the Son of God and seven songs about metal and monsters and Satan, so maybe they do tilt toward the darker end of the spectrum. But hey, at least they tossed Jesus a bone.

The band is comprised of confidently competent musicians doing a quality job of slamming out the kind of throwback metal they have chosen to play. The vocalist sustains a snappy snarl in the David Mustaine vein, the guitarist gets to ripping with some tasty solos, the bassist keeps things beefy, and the drums, while a little diminished in the punch department, do their job well enough that they are not a detriment. Throw in an engineering mix that is just as retro as the music itself and cover art featuring a skeletal biker riding roughshod over a bunch of suit-wearing corporate types and you’ve got a heavy metal album that wholeheartedly embraces its ‘80s inspiration, not just a little, but the whole kit, kitsch, and caboodle.

Elm Street just want to bring back the good ol’ days when heavy metal was fast and fun and a little cheesy and didn’t take itself too seriously. If you find all the angst-fueled screaming and growling that passes for modern thrash metal to be about as pleasant as a barbed wire enema, you are exactly the kind of headbanger that needs to lend Elm Street your ears. Go ahead and start practicing your devil horns right now—you’re gonna need ‘em.

Genre: Heavy Metal

Band:
Ben Batres (vocals, rhythm guitar)
Aaron Adie (lead guitar)
Brendan Farrugia (bass guitar)
Tomislav Perkovic (drums)

Track Listing
1. Barbed Wire Metal
2. The Devil’s Servants
3. Elm St.’s Children
4. Heavy Metal Power
5. King of Kings
6. Leatherface
7. Merciless Soldier
8. Metal is the Way

Webpage: www.metalelmstreet.com

Label: Massacre Records

Hardrock Haven rating: 7.4/10

Love.Might.Kill | Brace for Impact

by Nikiforos Skoumas
Staff Writer

A new member in the “Firewind” family of bands has debuted! Love.Might.Kill is the hard rock/metal band of prodigal drummer Michael Ehre who joined “Firewind” in 2010. Issued by Massacre Records, Brace for Impact is the group’s debut album where Ehre is joined by long time friends Christian Stover and Stefan Elerhorst both on guitars, bassist Jogi Sweers plus Italian vocalist Jan Manenti.

While attempt to define the sound of Love.Might.Kill one’s job is made a lot easier by acknowledging that the album was produced by Victory guitarist Tommy Newton. Arguably anything touched by Newton is bound to sound like Victory; which bares truth for the case of Brace for Impact.

Much like Victory, Ehre and co. seem to understand the importance of having a non-German front man which is bound give the group an international appeal while also breaking any ‘German metal’ labeling that some would use to describe the band- which is clearly an oversimplification.

Musically you can expect thick guitar riffs, twin guitar melodies incredible rhythm section and a vocalist who flawlessly combines technique with style and feeling, resulting in surprisingly colorful vocal performance. Upon a few more plays the attentive listener will probably notice that performance-wise Brace for Impact is impeccable. The tempo is, at all times, immaculate-whether performing a groovy hard rock tune (“Pretty Little Mess”) or a power metal song (“Calm before the storm”) Ehre and Jogi demonstrate super-human precision. In addition the guitarists are just as accomplished and precise proving a perfect match for the rhythm section with all riffs melodies, harmonies and lead breaks coming through crystal clearly. Finally Jan seems to have a natural talent in putting his heart and soul in a song, no matter how technically demanding the composition might be; indeed there is a strong AOR essence emanating from his performances and if Ehre is to be described as the heart of Love.Might.Kill then Manenti is definitely the soul of the group.

Power metal attack, melodic metal drama, heartbreaker ballads, all included on Brace for Impact. The sole disadvantage this release bares is to be found on the 3rd track “Pretty Little Mess,” quite possibly the greatest melodic hard rock song of 2011, which effectively obscures the rest of the material. While, one notes, this is pretty unfair as all songs on Brace for Impact are crafted under the same high quality standards. Fans of Firewind, Victory and Crystal Ball are expected to enjoy this flawless album to the maximum.

Genre: Hard Rock / Heavy Metal

Band:
JAN MANENTI- VOCALS
STEFAN ELLERHORST- GUITAR
CHRISTIAN STÖVER- GUITAR
JOGI SWEERS- BASS
MICHAEL EHRE- DRUMS

Track List:
01. Tomorrow Never Comes (06:02)
02. Calm Before The Storm (04:28)
03. Pretty Little Mess (04:19)
04. Caught In A Dream (03:53)
05. Through The Dawn (00:55)
06. Brace For Impact (04:28)
07. We Are The Weak (05:48)
08. Down To Nowhere (03:24)
09. Pray To Your God (04:14)
10. Reach Out (04:17)
11. The Answer (02:02)
12. Will Love Remain (04:49)

Band website: http://www.lovemightkill.com/

Label website: http://www.massacre-records.com/

Hardrock Haven rating: 8.5/10

Exciter Death Machine

by Justin Gaines
Staff Writer

2010’s Death Machine is album number ten from long-running Canadian speed metal pioneers Exciter. It’s the second album from the current Exciter lineup, which features relative newcomers Kenny “Metal Mouth” Winter on vocals and bassist Rob Cohen alongside long-time drummer Rich Charron and founding guitarist John Ricci.

With riffs and a verse structure very reminiscent of Judas Priest’s “Rapid Fire,” (fitting for a band that took its name from a Judas Priest song) Death Machine kicks off with the blistering thrasher “Death Machine,” which pretty well sets the tone for an album that boasts songs like “Skull Breaker,” “Power and Domination” and “Hellfire.” Death Machine is very much a traditional Exciter album. Aside from the (slightly) slower and almost doomy “Power and Domination,” Death Machine is full speed all the way from start to finish. John Ricci’s riffs are blindingly fast, causing you to want to dust off the old “speed metal” label instead of calling this kind of metal thrash. The riffs are matched in intensity by Charron and Cohen’s heavy rhythms and a gruff vocal performance by the “Metal Mouth.” Kenny Winter sounds a lot like Udo Dirkschneider here, which works surprisingly well with Exciter’s sound.

So what’s the down side? A sound so unabashedly old school is going to seem more than a little dated. Exciter has essentially been working from the same template for nearly 30 years, so Death Machine feels like more of the same. Then again, most Exciter fans are probably looking for exactly that. Another variation of the “Long Live the Loud” theme will do just fine, thanks.

It’s not as vital sounding as their previous album (2008’s excellent Thrash Speed Burn), but Death Machine is a perfectly solid slab of high-octane speed metal. While nowhere near as essential as the band’s classic ‘80s albums, serious Exciter fans will still want to check it out.

Genre: Speed Metal

Band:
Kenny Winter (v)
John Ricci (g)
Rick Charron (d)
Rob Cohen (b)

Track Listing:

1. Death Machine
2. Dungeon Descendants
3. Razor In Your Back
4. Pray for Pain
5. Power and Domination
6. Hellfire
7. Demented Prisoners
8. Slaughtered in Vain
9. Skull Breaker

Label: Massacre

Website: www.myspace.com/exciterofficial

Hardrock Haven rating: 7/10

Crematory Black Pearls – Greatest Hits

by Justin Gaines
Staff Writer

The 3-disc (two CDs and one DVD) collection Black Pearls is the first proper “greatest hits” package from long-running German gothic metal band Crematory. The band started out in 1992 with a sound that was mostly death metal with some gothic influences, and has since moved to a full-on gothic metal sound (with death metal influences). They’re one of the pioneering gothic metal bands, and Black Pearls provides an in-depth look at their career to date.

With 32 songs spread across two CDs, Black Pearls leaves no stone unturned. It weaves non-chronologically through the band’s discography, from the harshness of their 1993 debut Transmigration to the far more polished 2010 release Infinity. Black Pearls contains 2-3 songs from Transmigration, Just Dreaming, Illusions, Crematory, Awake, Act Seven, Klagebilder, Pray and Infinity, and four songs each from Believe and Revolution. You get a good mix of their heavier, death metal material, the more danceable gothic metal, their German language tracks, and even a pair of excellent covers (Sisters of Mercy’s “Temple of Love” and Depeche Mode’s “Black Celebration.”)

The sheer volume of music on Black Pearls makes it a very comprehensive overview of Crematory’s career. Those unfamiliar with the band will find it an ideal introduction to Crematory, and it should also appeal to those who enjoy the band’s sound, but who don’t feel compelled to own all of their studio albums. Crematory’s albums are consistently enjoyable, but they’re also consistently…consistent. Black Pearls may end up being all the Crematory you need.

Edition Notes: The physical release of Black Pearls includes a bonus DVD that collects the band’s promotional videos, a 60-minute live performance from the Wacken Open Air festival and various other behind the scenes extras. Hardrock Haven was provided a digital copy of the audio, so this review does not cover the video material.

Genre: Gothic Metal

Band:
Gerhard Stass (v)
Matthias Hechler (g) (v)
Katrin Goger (k)
Harald Heine (b)
Markus Jullich (d)

Track Listing:

Disc 1
1. Infinity
2. Fly
3. Tears of Time
4. Hollenbrand
5. Eyes of Suffering
6. Left the Ground
7. Sense of Time
8. Greed
9. Shadows of Mine
10. Pray
11. Ist Est Wahr
12. Temple of Love
13. Tick Tack
14. The Fallen
15. Kein Liebeslied
16. Perils of the Wind

Disc 2
1. When Darkness Falls
2. Deformity
3. Kaltes Feuer
4. For Love
5. I Never Die
6. In My Hands
7. Open Your Eyes
8. Caroline
9. Ewigkeit
10. Black Celebration
11. The Holy One
12. Endless
13. Revolution
14. My Way
15. Hoffnungen
16. Away

Label: Massacre

Website: www.crematory.de

Hardrock Haven rating: 8/10

Winter’s Verge Tales of Tragedy

by Derric Miller
Staff Writer

The more bands like Pagan’s Mind, Steel Attack and others stray from the happy Helloween Power Metal sound, the better off the genre is. You can only have so many Hammerfalls before you crave something in that genre that is darker, more violent and therefore … different. Welcome the boys from Cyprus, Winter’s Verge, to that arena, courtesy of their new album Tales of Tragedy.

“World of Lies,” a is a heavy, gritty Power Metal anthem, complete with the double-bass frantic drumming from Chris Ioannides you’d expect, but singer George Charalambous brings a certain “manliness” to his vocals that you’ll never hear in Stratovarious or Royal Hunt. “They call you a fool if you’re a dreamer,” he nearly grunts on key before showing he can hit those insane high notes Power Metal bands always wield like a broadsword, showing off the “power” aspect of their singer.

A song like “I Swear Revenge” is one of the reasons Winter’s Verge is begin to define their own niche in the genre. Most of their songs are actual tales—they are sonic storytellers. As the song gallops forth, you hear the morbid vocals, “I swear revenge, I accept what I am—eternally damned!” The keys from Steganos Psillides add to the overall melody and creeping darkness. Harry Pari on guitar rarely plays in a helter-skelter, speed freak manner; his solos are typically understated yet mesh with the flow of the composition at all times. The harsh death vocals make this track another shade viler at the end.

“For Those Who are Gone” is their first ballad on Tales of Tragedy, replete with angelic, operatic female soprano vocals and woodwinds. Charalambous brings his voice out front, singing adeptly in harmony with the female lead at times. While not their most interesting contribution here, it’s still effective.

Their fastest and heaviest track on Tales of Tragedy is “Dark Entries,” a furious, frantic composition that is nearly neo-classical in its speed and intricacy. Pari’s riffs amaze, blazing and mammoth. Psillides adds majestic elements to the song with his keys, but this is all about the racing rhythm and Pari’s stellar slinging.

When they get to the next slower composition, you have to appreciate the title, “A Madness Once Called Love.” This is what Winter’s Verge does well, taking what you’d expect and making it shades darker. This is the closest they get to Dream Theater musically, with tempo changes and odd rhythms and passages, but it’s still more Power Metal than Progressive Metal. The song crescendos to the end, becoming heavier and faster until its frantic end … “A madness NOW called love!”

Tales of Tragedy ends on “Reflections of the Past,” one of the more mysterious songs lyrically. “Time curses everything for all of mankind. A better future, nonsense exists in their minds.” And on that note, making sure you realize that mankind is forever cursed, the album closes with a thumping, brazen exit.

Winter’s Verge is vying for positioning in a genre already stocked with world-class acts. The fact that you almost always have to measure Power Metal bands against Keeper-era Helloween is extremely daunting and perhaps unfair, but maybe the new measurement should be how much the band DOESN’T sound like Kiske’s version of Power Metal, but a more daring, less soaring and more realistic amalgam. If that’s the measuring stick, then Winter’s Verge is well on their way …

Label: Massacre Records

Online: www.myspace.com/wintersverge

Track listing:
01. World Of Lies
02. Old Man’s Wish
03. I Swear Revenge
04. For Those Who Are Gone
05. Captain’s Log
06. Envy
07. Dark Entries
08. A Madness Once Called Love
09. Tomorrow’s Dawn
10. Reflections Of The Past

Hardrock Haven rating: 7.8/10

Elysion SILENT SCR3AM

by Derric Miller
Staff Writer

After building a strong amount of momentum on their debut, Greek band Elysion nevertheless parted ways with original singer Maxi Nil and instead went with the perhaps more vocally seductive Christianna on their sophomore release, SILENT SCR3AM. Going the alpha numeric route on the title may conjure images of an industrial band, but Elysion is even more Gothic and symphonic on SILENT SCR3AM, and the sterile beauty continues to flow from every single composition.

Founder Johnny Zero has a strong presence in each track, as he provided the synthesizers, guitars and programming. You get all three on the opener, “Dreamer,” and it doesn’t take more than a couple vocal passages to understand why the band chose Christianna—she is a skilled singer. It may be unfair that big fat ugly dudes can front a band and not be judged by their physical appearance, but the more often beauties front successful Metal bands the more bands will continue to look for both talent and appearance in their female singers, usually giving up one quality to gain another. Elysion gave up nothing by bringing Christianna into the fold.

“Killing My Dreams” is one of those Evanescence type hit songs, with overflowing melodies on the vocals, razor-sharp riffs surrounded by otherworldly keys, and a hooky chorus. The word “polished” doesn’t go far enough in describing the Elysion sound. Zero’s solo is one of his fiercest on the release, but it’s the refrain of, “You’re killing my dreams …” that you’ll remember the most from this track.

The ballad “Weakness In Your Eyes” allows Christianna to sing in a less Rock vibe and effortlessly croon in a Gothic voice you demand from this type of music. Petros Fatis on drums plays intricately yet behind the scenes, but here it’s the song itself that is the highlight, all members working perfectly together to craft what should be a major hit for the band.

If there is any negative on the release, it’s that the songs tend to run together. You can’t always hear an intro and immediately pick out what track it is, even after hearing them multiple times. On the other hand, they are all good, so who cares. “Bleeding” is one of those songs, one that begins with programming and keys, fires into guitars and then softens back to down-tempo verses that crescendo to a soaring chorus. Elysion may be on to a formula, and it works for them.

“Loss” is one mesmerizing track because you just get bass, guitars and vocals on the opening verse. The beat is hypnotic, and you can get lost in Christianna’s vocals, rich and standing aurally out front. After the first chorus, Zero lays into a fiery solo, intricate yet typically emotional, and the stark contrast from his solo to the next chorus is proof that Elysion wields plenty of talent.

The noisy “Erase Me” ends SILENT SCR3AM, more industrial than most of the other songs. Christianna speaks over the music at the onset, and this is the heaviest song on the album. The lead vocals don’t even start until 1:45 into the song, and they are accompanied by the spoken words from before. This is about the only track the accent somewhat gets in the way, but that’s negligible at best. Gothic music can sound antiseptic and cold at times, but the passionate vocals counter the more emotionless music, bringing it together for one of the more interesting compositions here.

Elysion shouldn’t lose any ground on their second release, and in fact, will gain more notoriety. It would be interesting to see Elysion step outside their comfort zone next time, maybe even cover a Heavy Metal anthem and put the Elysion spin on it, because it just seems like they could get heavier and not lose their overall personality. Regardless, SILENT SCR3AM has a lot to offer.

Label: Massacre Records

Online: http://www.myspace.com/elysionmyspace  

Track listing:
1. Dreamer
2. Killing My Dreams
3. Never Forever
4. Weakness In Your Eyes
5. Don’t Say A Word
6. The Rules
7. Bleeding
8. Walk Away
9. Loss
10. Far From The Edge
11. Erase Me

Hardrock Haven rating: 7.3/10