Beyond The Grey

Beyond The Grey-Unthinkable Tragedy

cover BEYOND THE GREY - Unthinkable Tragedy .jpg

“Now Or Never,” starts off with that thundering bass riff, it sets the scene quite nicely, and allows for a gradual shift and change in atmosphere. When the guitars kick in you get the feeling that something truly epic is about to happen. As the song progresses that feeling is validated. “Unthinkable Tragedy,” comes in with a searing riff, and a blinding vocal performance that truly shifts the conversation several notches. “Finally Free,” slowly works its way to the fomentation of something great and heavy. It shifts the tone and the texture of the album, bringing about something that touches heaviness on high. “Pain,” is one of those great songs, shifting through. Taking turns to bring about the end of the world in a hand basket.

“Gravedigger,” moves with the thundering of the bass. Slowly shifting the tone and tenor of everything that came before. The vocals are purely haunting, showing off something that is quite precise and dark. “Insanity,” has a great riff to kick things off, it then moves into a square based shift on the tenor. “Overflow,” has a great bass riff to kick it off, and then slowly shifts into the roaring masterclass of Alice in Chains style groove. “Counterfeit,” slowly moves on the back of a darkened riff and a shifting tone and tenor. “No More,” roars into being and roars out into the light.

The album is out on August 30th.


CoreLeoni II


“Waltz,” starts things off quite nicely. The arrangements shift and change with a collection of movements, showing off some fantastic melodies and arrangements. “Standing In The Light,” has some serious riffage to kick things off. Thundering together and through the lines of the past. The vocals snarl and bite, the song truly kicks off into gear. “Love For Money,” delivers some seering riffage, turning the screw just that extra bit harder, and slowly moving through the winds. “Open Fire,” comes right out the block, throwing the gauntlet down and demanding the listener move their head approvingly. “Angel,” shimmers and shines. Slowly working its way into the listener’s conscious. “She Goes Down,” a thunderous rocker, designed to bring about some seriously catchy melodies and movements. “No Tomorrow,” thunders down the line, smashing through everything that stands in its way and then some.

“I’m Your Travelling Man,” moves about with a swagger and a pizzazz that blinds the listener completely. “Make My Day,” another song that rocks out hard. The riffs are blazing and blistering, the echoes of something heavier are there for all to see. “Mountain Mama,” has that blistering riff effect going on, showing the line and the patience of the band to deliver quite so fascinating. “Queen of Hearts,” rocks the house down. Showing off right where it knows the listener will pay the most attention. It slams into everything with growing force and patience. “Don’t Get Me Wrong,” moves with a thunderous approach. “Il Padrino,” brings the Godfather theme to life, slowly shifting the tenor and the approach with something verging on downright foreboding.

The album is out on 27th September via AFM Records.

Leaving Eden

Leaving Eden Interview

Leaving Eden 1.jpeg

  1. What inspired the name of the band and what are your influences?


Hi I am Eric Gynan cofounder of the band Leaving Eden Boston Massachusetts USA!  Nice chatting with you here. We were thinking about this whole planet being like the garden of Eden and with all its corruption and deception wouldn’t it be nice to just go somewhere else this Leaving Eden. As a band are influences Evanescence Black Sabbath Fleetwood Mac Disturbed Pop evil and we like acoustic stuff from Simon & Garfunkel to Jim Croce oh and Nickelback we just played concert with all the magic cat stage at the bank of New Hampshire pavilion.


  1. How do you approach songwriting? Are there any themes that you are keen to explore when you start off?


Great question. Sometimes someone may say something that is intriguing or most commonly, I kind of get myself into a meditative state of mind, connect with the universe and it all comes to me. The songs are based on reality, not always for me or about me, maybe something close to me exploring the good, bad or indifference. After all that’s what life’s about.


  1. Why do you write the sort of music that you do?


To add to the previous answer, I like it, our style that is. I like loud music, heavy…. I also enjoy acoustic unplugged stuff as well.


  1. How do you decide what songs to perform live and how do you transpose them into that live setting?


Leaving Eden has 200+ original songs, about 80 that has been released worldwide (7 albums) many to be released on future albums. Really we try and choose our favorites. Some songs because there are so many will never be performed live. The ones we do choose we try and stay as true to the actual recording as possible. Some songs we add extra bars for crowd participation. Some we may extend the guitar soling, add some bass or keyboard solos in there and have fun with it.


  1. What are your plans for the future?


We have just released our newest album “The Agony of Affliction” released by Dark Star Records/Sony. The song will be in Massimiliano Cerchi’s movie Lockdown starring Michael Pare (The Philadelphia Experiment,  Eddie and the Cruisers).


Watch the Lyric video The Agony of Affliction:


We are excited about this new album not only because of the production value but the entire album will also be featured in a new fake reality comedy movie titled “The Nitwit”


Watch the teaser trailer For THE NITWIT MOVIE


Originally I had written this movie script loosely based on real life events with the intention of having Leaving Eden’s music throughout the movie and procuring other pros to make the movie. Where Leaving Eden has been involved with having our music placed in different movies and TV series this simply made sense. While in Iowa after wrapping up on a shoot I sat down with Ray Van Blarcom and Matt Moody “production crew” over a scotch and threw the script down on the table. They started reading it, thought it was hilarious so we decided let’s make the movie. For me being the director of several music videos it was a very simple transition to direct The Nitwit. Finally, I was intrigued by Matt Moody’s experience not only in production but as an actor. Ironically Matt fit the leading role as The Nitwit perfectly then he also brought in Jordan Smith as his costar and the rest is history. We expect the movie to be released in 2020 by SGL Entertainment.


For More Info on Leaving Eden go to:


Hellsingland Underground

Hellsingland Underground A Hundred Years is Nothing


“Carnival Beyond The Hills,” takes an interesting twist and turn and makes it last through, ensuring the listener knows where to look and find the chills they are chasing. “Strangelands,” takes another journey twisting into a unique position and allowing for some breathing space. “Criminal Summer,” takes a delightful turn, and shows off where and when and how. “The Blessing/The Curse,” an ecletic song that shows the potential of the band to the backing of a catchy beat. “Rainbow’s Gold,” rocks down and shimmers through the light and the dark. “Elephant,” a rocker with some shifting perspectives.

“A Hundred Years Is Nothing,” a good old call and shout, with some epic ballad proportions thrown together. “I Win, You Lose, I Guess,” a fascinating rocker that really takes some shimmering melodies together into a fascinatingly catchy song. “Pig Farm,” a rocker with some bluesy elements to it. “From Here To The Grave,” a song that reminds this reviewer of Springsteen mixed with the Eagles, a fascinating jaunt. “Bloodlines,” shows off where to go and how to go.

The album is out on 30th August via Wild Kingdom.


Pandemonium Monuments of Tragedy


“And Death Way The Way,” is a fascinating introduction, soaring and shimmering, producing some discordant melodies whilst throwing everything in. “Effacing The Decadence,” goes all out, shredding to the guitarists content and ensuring the listener gets a full guttural content. “  In Search For Euthanasia,” smashes and grabs and destroys. “Necromania Unleashed,” is a soaring masterpiece, that filters through certain elements. “The Code,” smashes and grabs.

“A Therapy In Blood,” takes a nice little soujourn into different little territories. “Severance of Unity,” takes the cake and brings about the raging monster machine. “Under The Banner Of The Blood Red Sun,” has some fascinating piano melodies, and a changing shifting tenor. “Under A Cold Stone,” takes the time to fly through the wind. “The Only Catharsis,” snarls and bites.

The album is out on 30th August via Black Lodge.

Imperium Dekadenz



“When We Are Forgotten,” a soaring and complex monster of a song that shows off numerous changes and clangers. “Bis Ich Bin,” dark and foreboding, a song that clamours for attention and then smacks you in the face for handing it. “My Solace I,” a song that ventures into the deepest pits of hell and brings back a cackling mad man. “Trauma,” heavy, simply put. “A Cave Called Wisdom,” a song that veers one way and then another, shimmering through on the doors, projecting darkness and chaos. “Transcendence,” a song that veers one way and then another, shimmering brightly on the light. “Seance,” hauntingly complex.

“Absenz-Elysium,” shimmers through and produces something aggravating. “My Solace II,” a song that goes to the heart of the guttural savage and produces something infinitely beautiful. “Reverie,” shimmering and simmering through the lines of the world. “Frozen In Time,” heaviness incarnate on the back of a slapping riff and an excellent give and take. “Behold The Flames Of Time,” shifts through, and delivers something quite terrifying. “Owl of the Black Forest,” snarls.

The album is out on 30th August via Napalm Records.


Mysterizer – Invisible Enemy

“Take and Go,” comes in off the bat, with a battling riff, slowly shifting the tone and the pace, increasing in frequency and delivering a smashing song. “Trails of Blood,” riffs the house down, slowly shifting and changing the rhythm to fit the sonics. “Angel of Mercy,” is a galloping anthem, that allows the listener a chance to fully digest what is happening and why that might be going on. “No Return,” another rocker, that shifts the balance of power once more. “Just Wait,” shimmers and shifts. Blowing down the doors with concrete precision. “The Dead Man’s Hand,” gallops and soars, bringing about some fascinating changes and clamour.

“Behind the Masquerade,” gallops and soars, showing off some fascinating little bits and pieces, and growling into the business. “Splitting The Darkness,” grows and soars, turning endlessly into something else, shifting the change and growing through. “Two Lives,” roars and brings with it something new and refreshing. “Fire with Fire,” roars and soars through the complete song, showing off some fascinating changes. “Invisible Enemy,” finishes things off with some awesome guitar and melodical work.

The album is out now.

The Colony

The Colony – Smoke And Mirrors

“Smoke,” is a great intro, distorted and seering. “On My Own,” is guttural and anthemic. The guitars shift and change with great movement, ensuring the listener really pays attention. “Soul Saviour,” moves with the changes and the times. Bringing about a fascinating interlude and change, shifting between tones and movements. “The Flood,” slowly eases its way into the listener’s conscious before smashing the door down completely. “Here We Stand.” another anthemic song, with a brutal breakdown and vocal melody, ensures the listener is given an absolute treat.

“Always,” thrashes down at the world, showing off some fascinating riff work, and an ever changing melodical line of sweeps and stakes. “Mirrors,” serves as the interlude between textures and melody. Shifting the tone ever so slightly, to bring about a fascinating cascade. “Carry On,” takes a sharp edge and produces something magnificent and terrifying all at once. “Disconnected,” slows things down enough to ensure the listener knows where to look and change. “Sands of Time,” an epic finish.

The album is out on 28th September.


NecroticGoreBeast – NecroticGoreBeast

“Prostate Deflowering Primate,” is heavy as anything that exists. Blistering riffs and guttural vocals take the lead into chaos. “Autoerotic Rectal Prolapse,” screams the house down, showing off right, left and centre, and ensuring the listener cannot easily forget about it. “Flesh Eating Ejaculation,” beats down. “Sterilized Infant Fleshdoll,” swarms through the ground, shimmering this way and that. “Leprosy Induced Through Sodomy,” jugs along quite nicely, and then shimmers and slams with abandon.

“Ripped Entrails Baptism,” screams and roars. “Hacksaw Masturbation,” shimmers down the line, and produces something quite fascinating. “Gagging on Feces,” is pure filth. ” Boiling Epidermis Ingurgitation,” is horrifying. “Half-Body Self Amputation,” is sick and twisted.

The album is out on October 11th via Comatose Music.


Rozu Interview



  1. What inspired the name of the band and what are your influences?

The main inspiration for Rozu was it being the Japanese word for the rose. We have all been in a number of projects that failed, and we wanted this band to be THE band for us. We are a blooming rose forming from a pile of dirt. Our main influences are Underoath, Wage War, Like Moths To Flames, and The Plot In You.



  1. How do you approach songwriting? Are there any themes that you are keen to explore when you start off?

We don’t necessarily go to themes instrumentally but more so of a feel. How are we feeling today? Let’s bring out these feelings in the form of art. Lyrically we get the feel of the song then write about that emotion that we feel from it. I would say if we had any theme it is about positivity or finding the light in dark shitty situations or feelings.



  1. Why do you write the sort of music that you do?

For us we have just always been drawn to this music and the raw energy and emotion it brought to us as kids just listening to our heroes. We want to push the boundary and expand this genre as much as we can while dabbling with other sub genres.



  1. How do you decide what songs to perform live and how do you transpose them into that live setting?

Really when it comes down to it, we just want to play the songs that A. have gotten good reactions from their release and B. which ones have the most energy and will fill a room with all these emotions and energy. Transposing that to a live setting makes it super easy and exciting for us.



  1. What are your plans for the future?

Currently we are in the final stages of finishing our album. We are planning some tours for winter and looking to hit the road very hard in 2020.