Symphony of Malice | Judgement Day (the Aftermath)

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United States - Connecticut

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Metal/Punk: Heavy Metal Metal/Punk: Metalcore Moods: Mood: Angry
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Judgement Day (the Aftermath)

by Symphony of Malice

Ferocious riffs, relentless harmonies and tight rhythm perfectly describe the phenomenon this four piece Heavy Metal band from Connecticut. if you like melodic and aggressive metal this album is for you.
Genre: Metal/Punk: Heavy Metal
Release Date: 

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  song title
1. The Aftermath (Intro)
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1:23 album only
2. Endless Desolation
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4:48 album only
3. Nothing Left in Us
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4:30 album only
4. Turn to Ashes
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4:54 album only
5. Hands of Justice
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5:01 album only
6. Ruins of the Empire
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5:52 album only
7. War Conspiracy
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6:15 album only
8. Exit to My Escape
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5:19 album only
9. Hole in My Soul
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4:36 album only
10. This Nightmare
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4:22 album only
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Album Notes
The strength of SoM’s debut release lies in the songwriting; each track is a concise and coherent thought while also contributing to the overall feel of the album. The band has done a great job with arrangements, cleaving off unnecessary bits – think the polar opposite of Metallica’s magnum abortion St. Anger. “The Aftermath” kicks off festivities with the obligatory air raid siren and guitar/drum build up, finally spilling into the storming “Endless Desolation.” The third track, “Nothing Left In Us,” sounds like Trivium’s Matt Heafy singing an unreleased All That Remains track from the Overcome sessions. “Turn To Ashes” takes the intensity down a notch before “Hands Of Justice” cranks it back to a fevered pace.

The musicianship on Judgement Day is never in question. Every player, from guitarist/singer/songwriter Gus Sinaro to drummer Steve Libero, handles their instrument with confidence. Bassist Jeff Curtiss adds tremendous bottom end while playing for the song. “Ruins Of The Empire” starts with a churning bass riff and gets the song rolling downhill before the rest of the band crashes in, morphing a rolling stone into a house-crushing monolith. Sinaro and Joey Concepcion work as an efficient tandem, both pummeling the listener with jagged riffage and singing leads. Harmonized solos sit comfortably on top of Libero’s agile drumming; the carpet-bomb double-bass run in “War Conspiracy” was an album highlight for this writer.

Recorded and produced by Nick Bellmore [Kingdom Of Sorrow/Toxic Holocaust], the production value adds tremendous value to the overall vibe of the album. Every instrument has a defined place in the mix with the entire sonic spectrum built on a very punchy drum mix. The bass rides very nicely between chugging guitars and the kick drum with just enough grit to make Lemmy smile. Judgement Day could be played back-to-back with any major-label release with no way to discern what was recorded and mixed for nearly six figures in four months and what was hashed out in three weeks for less than a used car.

Is this a textbook example of high-quality N.W.O.A.H.M.? Absolutely… But the focus is on ‘high quality’. Everything you love about the genre – pounding drums, candy-sweet guitar harmony, bouncing rhythm, screaming verse into sung chorus vocals – is present and done with conviction. Judgement Day doesn’t break many boundaries or reinvent the proverbial wheel but, honestly, it doesn’t have to. Mix in incredible production value and you have a potent offering by an up-and-coming band. This is the type of self-released album that opens up doors on a bigger scale. With N.W.O.A.H.M. bands gracing stages and selling albums all over the world it isn’t hard to envision Symphony Of Malice taking the next step toward the Musical Holy Land.
(Jeff Miles)


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