Overkhaos | Beware Of Truth | Album Review July 2017

Overkhaos | Beware Of Truth

Label: Rockshots Records
Release Year: 2017
Country: Italy
Genre: Progressive/Power Metal/Melodic Death Metal


Band Members

Mimmo D’oronzo – Vocals
Davide Giancane – Lead & Rhythm Guitar
Giuliano Zarcone – Lead & Rhythm Guitar
Anna Digiovanni – Bass
Andrea Mariani – Drums

Special Guests

Derek Sherinian – Keyboards on ‘Anna’s Song’
Mimmo D’oronzo & Luca Basile – Keyboards & Arrangements


Contact Links 

Overkhaos Official Facebook Page

Overkhaos Official YouTube Channel

Overkhaos Official SoundCloud Profile

Rockshots Official Website

Rockshots Official Overkhaos Profile

Rockshots Official Youtube Channel 

– Writers Editorial –
I have been resting on this one a lot recently. I have not seen many reviews written in the English language. Maybe I am the first. If I am first I hope I am not last. This album is well worth any attention a reviewer can give to it. I just know I can not get out of 2017 without reviewing this.

For a while now I have been aware of Rockshots Records out of Italy. They seem to recruit talent in the tradition of Nuclear Blast, Century Media, AMF Records, etc .. One band on their highly talented roster that has quickly got my attention is Overkhaos. Their new album for 2017 Beware Of Truth is a well balanced buffet of dark progressive metal and melodic death metal. On the Dark Progressive Metal side they are more like Nevermore, Ghost Ship Octavius and Evergrey. On the Melodic Death Metal side they bring the best elements of Persefone, Insommnium, Soilwork and Arch Enemy. The blend of all these elements is surely to give the band a very broad fan base going forward and without outsourcing a vocalist for the death metal style vocals.

Overkhaos’ Beware Of Truth is a true venture into progressive metal with heavy themes of social commentary on globalism, war, poverty, government secrecy, etc .. A true objective listener to the album can relate and identify with it on both a instrumental level and a lyrical level. Giving the album a great veteran boost is (ex – Dream Theater) keyboardist Derek Sherinian who shows up on Anna’s Song. This album is greatly guitar driven with a twin lead & rhythm guitar attack of both Davide Giancane – Lead & Rhythm Guitar and Giuliano Zarcone – Lead & Rhythm Guitar that both sound like if you were to put Jeff Loomis of Nevermore and Emppu Vuorinen of Nightwish in a band together. This is all blended wonderfully by the powerhouse rhythm section of Anna Digiovanni – Bass and Andrea Mariani – Drums who give this album a serious set of melodic teeth. It is all rounded out by a stellar clean and death vocal attack performed so eloquently by Mimmo D’oronzo – Vocals, who has become one of my newest favorite vocalists in the world. Now I will go further into Overkhaos’ Beware Of Truth.

Prelude opens the album with a strong and very heavy instrumental. The instrumental is done in such a way as to lead the listener into the album. The band spent the better part of 3:00 minutes really introducing the world to their skill set as musicians and give the listener a very broad example of just how well they are as musicians. The band does a excellent job with a rich guitar based chord progression and various time signatures rooted into their progressive side.The atmosphere created is definitely for the ‘metal purist’. This is a very strong way to invite fans of this style of music to your album and brand as a band. This transitions seamlessly well into the following track Silent Death.

Silent Death seamlessly and smoothly transitions right off the Prelude. The transition is served up with a special effect sounding like children at play in a playground before going into various heavy chord progressions and time signatures. Along with the various rhythm and lead chord progressions the rhythm section of bass/drum totally sets melodious roots in the track almost immediately. The drum double blast beats are insane and stay that way throughout the entire album. At the 1:55 mark there is this hugs wall of sound as the death growls and the melodic death metal side of Overkhaos is first introduced on the album. The cleaner vocals remind me a lot of Nevermore’s Warrel Dane meets Tom Englund of Everygrey. All the melodic assault of all the instruments is followed by the soaring lead vocal work of Mimmo D’oronzo. This is a very intense track for the first track with vocals on the album. In conceptual standards this track also seamlessly transitions smoothly to the next song Solar Starvation.

Solar Starvation transitions smoothly off Silent Death. This is accomplished by the band utilizing a sound effect like a radio transmission into space like a signal or message. Soon a heavy bass line along with a heavy rhythm based guitar chord progression with crunch and teeth starts to walk the listener right into the heart of the song before being hammered by a all out blistering twin guitar progression and deep rhythm tones. The band uses double vocal tracking very tastefully on this track in melody with the blistering instrumental. The twin lead guitar really supports moth sides of the vocals, the clean side and the death side. This track shows that the band have a purpose for every guitar line and bass line and drum line.

Khaos Inc. starts off after a very quick transition away from Solar Starvation. The brief sound effect is as if a car ignition has started and the track is about to serve as the motor to drive the album even further along. From this point there is a sick insane lead guitar solo almost in the galloping tradition of NWOBHM with more complex progressive elements. The double blast beats are the anchor in the beginning. The drum double blast beats come in and out with brief breaks and allow the bass and both rhythm/lead guitars to breathe where all instruments have a unique place within the song. This track lives up to its title that it is very unpredictable and takes the listener on a true melodic roller coaster. Through all the changes however, the band remains on point with the conceptual objective to the album. There are some very melodic metal portions here also.

The Lie You Need starts out with the crowd of people demanding the truth. This narrative is soon met with a explosive and thunderous rhythm based intro with big drum blast beats and bass weaving in and out of breaks. This track also has a lot going for it and goes in and out with many time signature and chord progressions just within the first 2:50 minutes. The time signatures are insane. The deathy vocals remain prevalent in this track. The death vocals serve both as a emotion of anger and a proclamation of a thought.

Crumbling starts out with a effect like that of a civil unrest. It is soon met with a blistering opening chord progression that is straight away. The vocals are soaring in nature. There is soon a very tasteful death vocal to accompany the clean vocal. The band has such advantage throughout the album of having the same vocalist shift some many gears in his voice like he does. The twin lead guitar solo puts a lot of bite into the instrumental portion as well. The lyrical content is basically as the title, a crumbling society.

White Light opens up with a atmospheric electric guitar with the vocals filtered into a more regressive passage. It is soon met with the band’s trademark intricate chord progressions and trademark sound. There is a very heavy thunderous rhythm section that beautifully anchor’s the soaring twin guitar lead and rhythm solo’s. The twin solo’s remind me a lot of early Helloween meets Dream Theater. The string section perfectly compliments the vocals. The bass is insane on here as well.

Die Catsaw! transitions seamlessly off White Light with a deep brooding opening passage. This is soon met by a more melodic death metal approach in the vein of Persefone or Mors Principium Est meets Soilwork. The cleaner vocals are more in the way of a Kamelot meets Symphony X. The bass/drum rhythm section certainly adds serious rhythmic depth to the track. This track here also seems to have two distinct sides in the same harmony, that being the stringed section and the deep rhythm section that both shine on this. The instrumental harmony is set up more orchestral.

Anna’s Song (Featuring Derek Sherinian) opens up with a explosive chord progression and of fusion proportions. The signature sound of Derek Sherinian certainly confirms his appearance on the album. This reminds me a lot of Dream Theater meets Virgin Steel in sound. This is certainly a orchestral buffet blended perfectly with heavy elements of melodic and symphonic death metal. I like how the band utilizes various breaks to set up for other orchestral passages. Every time they break in the track it sets it up for yet another passage set to another climax. The rhythm section continues to anchor the track very beautifully and holing every other part accountable where the band remains on point.

Deadline opens up with various guitar time signatures that continue to be beautifully anchored by the depth in the rhythm section. The opening passage is very methodical with every note. The band also has a way to demonstrate every element they used throughout the album on Deadline. This track is done at a more deep rhythm based than for speed to allow the listener to digest the journey that Overkhaos Beware Of Truth. This is also the longest song on the album and the band does a great job making it more a epic that the listener can take a journey with. This track serves as a excellent melodic and harmonious summary to what the band has managed to perform on the album.

Overkhaos’ Beware Of Truth is a True Dark Horse album of 2017. The band bring so many metal elements and progressive elements to Beware Of Truth. It is the multiple elements that will open many doors for the band to play live. The band is also a perfect band for a festival like Prog/Power USA or Prog/Power Europe along with Wacken Open Air. A band like Overkhaos serves as a excellent reminder that this brand of progressive melodic death metal will be around for many more years to come. Rockshots Records have a franchise band in Overkhaos. I give Overkhaos Beware Of Truth a 4.5/5.

MindMaze | Resolve | Album Review April 2017

MindMaze | Resolve | Album Review April 2017 

Label: Inner Wound Recordings
Release Year: 2017
Country: USA
Genre: Power/Progressive Metal


Band Members

Sarah Teets – Lead Vocals
Jeff Teets – Guitars, Keyboards, Backing Vocals
Rich Pasqualone – Bass, Backing Vocals
Mark “Truk” Bennett – Drums


Contact Links 

MindMaze Official Website

Mindmaze Official Facebook Page

MindMaze Official Twitter

MindMaze Official YouTube Channel

MindMaze Official Bandcamp Profile

Inner Wound Recordings Official Website

Inner Wound Recordings Official YouTube Channel

Pennsylvania has been rich in history with strong working class values and ethics. It was certainly the birthplace of the first Continental Congress that declared America’s Independence from Britian, American Industrial Revolution, the Battle Of Gettysburg, and even football’s first real dynasty with the Pittsburgh Steelers. There has always seemed that there is a very relentless hard working independent spirit about that area in America. This has even trickled down to American Heavy Metal/Hard Rock. It certainly trickled down to the sister and brother duo and founders of MindMaze Sarah Teets and Jeff Teets.

To the Power Of Prog audience unfamiliar with MindMaze here is a brief biography from the MindMaze Official Facebook Page :

In a time when female-fronted metal is at an all-time high in popularity but also at an all-time high for copycats and imitators, MindMaze has striven hard to forge their own sound and identity. Hailing from Allentown, Pennsylvania (United States) the band are young but have already released two successful full-length albums since formation at the beginning of 2012. In September 2015 the band was selected to go on tour as a direct support band for metal legends Saxon and Armored Saint on the heels of an independently booked and promoted tour with the Virginia-based progressive metal band Iris Divine. The band has traveled thousands of miles and performed all over the United States over the course of the past several years.

The band’s debut album Mask of Lies has been hailed by fans and critics all over the world as an outstanding piece of independent metal that is refreshing while being firmly rooted in many classic metal mainstays. With no label support, management, or outside hired promotion, the band managed to sell copies of Mask of Lies to fans in 34 of 50 United States and a total of 17 countries worldwide, selling 100% of the album’s first pressing in the first 12 months of its release.

On the heels of Mask of Lies’ success, the band released their sophomore effort Back from the Edge (2014), on October 24th, 2014 in Europe and October 28th, 2014 in USA/Canada via Inner Wound Recordings, featuring artwork by MONOWASP (Seventh Wonder, Harem Scarem, Brazen Abbot, Crash Diet, many more), Symphony X bassist Mike LePond on all tracks, and guest appearances by members of Stratovarius, Pharaoh, LORD, and Draekon. 2015 saw the band release a fan-funded EP in support of their single “Dreamwalker” which featured a selection of cover songs, acoustic versions, alternate versions, and a new original track entitled “Slave to the Cycle”. The EP is on the verge of going out of print after only 6 months on the market.


I first discovered this prog/powerhouse back in 2013 around the time their debut Mask Of Lies was to be released. I wrote a review for it during my brief tenure over at Lady Obscure Magazine. Due to respect and good faith I have never reissued that review anywhere else. However you are free to read that review by clicking insert link >> Mask Of Lies Review at Lady Obscure Magazine. I was totally floored to hear a female fronted band come more in the vein of a Savatage meets Dream Theater meets Crimson Glory and Iron Maiden. The last review I wrote for MindMaze seen the band wearing their influences on their sleeves. In 2017 with their third album Resolve I have seen a band mature into one of the most under rated powerhouse’s in the progressive and power metal communities.

With Resolve MindMaze have taken all their influences placed them into a melodic furnace and now have forged their own mature sound. With Resolve Sarah Teets has really come into her own and established her a vocal force to be reckoned with. With Resolve being just their third album the band has really come together like a bad that has been in the industry for 15 to 20 years and have a further developed sense of confidence on this.

The fact that such a powerful album like Resolve is a third album is not a band thing whatsoever. Many many bands have set the table and strides for a long lasting career off the third album. I call it ‘The Third Album Stride’. I will elaborate on that later in this review. Now I would like to point a out a few highlights from every track on MindMaze’s Resolve.


Reverie opens up the album with a very melodic acoustic guitar section. Soon the track explodes and the band delivers a powerful wall of sound. The rhythm section with the piano and lead guitar take the listener on a ride and immediately hook their interest. The time signatures are very intricate and mature.This track is written and arranged quite well and also bleeds seamlessly into the following track Fight The Future. This is the first of three instrumentals on Resolve.

Fight the Future begins seamlessly off Reverie. It makes Reverie appear to be the opening credits to a film story or short film before any vocal dialogue is handled by Sarah Teets – Vocals. The opening instrumental section takes on many twists and turns in and out of various chord progressions and time signatures and thunderous rhythmic sections. This contains both power metal and progressive metal elements. The vocals come in very clear, aggressive and with some serious conviction behind them. Sarah has really established herself as one of the more unique and distinctive voices in the progressive/power metal community. The solo’s have a very Iron Maiden vibe about them meaning heavy galloping guitars with highly distinctive bass work that is evident.

In This Void is the second of three instrumentals on the album. Once again the band very eloquently and seamlessly enters into this very effectively off Fight the Future. Although it is only 1:12 do not mistake this for just a filler on the album. There is a purpose served with it. This track moves beautifully with ease into the following track Drown Me.

Drown Me starts off with some really heavy neo progressive elements on the keyboards. The guitar is even tuned to match the neo progressive element. Soon after the band take the more conventional pure progressive/power metal chord progressions. This is a very very guitar oriented track. While taking a European flavor with the power metal half of the track the progressive metal element is much more American. The band have managed to bring both styles in a well balanced harmony along with the wicked time signatures of the rhythm section. This is a track that will appeal to both a North American and European audience thus opening more opportunities for the band on live bills. The track takes a bit of a break for a more ethereal element around the 5:30 mark. The guitar solos seem to be getting stronger and more complex the further into the album the listener gets. This track has a thunderous outro to finish it where it bleeds seamlessly into the next track Sign of Life.

Sign of Life is the first single off the album. It begins as a very traditional melodic progressive metal track much in the vein of Crimson Glory’s Lonley, Queensryche’s Eyes Of A Stranger or even Dream Theater’s Another Day. This opens up with a harmony of a well executed guitar solo in harmony with the rhythm section. The track drops and takes a break where some acoustic guitar is present along with a beautiful vocal harmony. This track is one of the heavier tuned down tracks on the album. The use of a double vocal with back vocals adds a depth not heard on previous albums. There is not only a conceptual theme developing here but a very vocally oriented and mature album. The guitar solo’s are very insane but remain on point with the main objective of both song and album.

Video Courtesy of: ( Inner Wound Recordings Official YouTube Channel )


Abandon opens up and continues the guitar oriented assault. The drums are more present in the scheme of things with the rhythm sections. This track is where the band starts to display that European flavor of power metal with more up tempo guitar riffs and aggressive vocals. The vocals are a bit more aggressive on this one and rightfully so. This is a total rhythm and vocal assault from opening to close with more aggressive guitar solo’s as well. There is a very Iron Maiden influence presence on the portions of the guitar solo’s.

Sanity’s Collapse is the third and final instrumental on Resolve. It seamlessly picks up where Abandon left with a slower more rhythmic chord progression throughout the track. The tuned down atmosphere allows for the band to set up the last half of the album and the listener to digest the listening experience.

One More Moment opens up with a ballad like piano passage in harmony with a deep bass tone for depth that adds to the vocal harmony quite well. The band have slowed this one down much more than some of the other tracks on the album. If there is a power ballad on the album this track is it. This is album also takes a very appropriate conceptual element making references of previous song titles like Fight the Future. This is also a very introspective track and it certainly stands out that way.

Twisted Dream has this wicked fade in in the introduction that is absolutely a brutal assault with both the guitar stringed section and the beast of a rhythm section. The band has certainly added a level of heaviness and layered it upon a melodic chord progression. The vocals once again are high priority and upfront. There is some nice vocal effects layered over some spoken word portions serving as a backing vocal. There is some serious depth with a seven string guitar present on the track that is becoming more and more common in progressive and power metal circles. This track just builds layers upon layers of heaviness and depth. Lyrically there is some serious internal issues at work here.

True Reflection opens up much in the vein of a Awaken The Guardian era Fates Warning track. There is some serious guitar work both on the electric heavy and the acoustic atmospheric sides. The rhythm section allows the string section to really stand out without being lost itself. The vocals are some of the most appropriately emotional vocals perfectly complimenting the intricate lyrical issues going on here. The guys perfectly compliment the lead vocal with the back harmonies. This is another track where the band utilizes building layers upon layers with great execution.

Shattered Self opens up with a thrash metal style power metal element. A style more heard on a Iced Earth style power metal. The rhythm section and rhythm guitar are relentless. The vocals are very melodic and ethereal over the instrumental portion. That is something very rarely heard in a thrash power metal atmosphere as this song is. There is even the use of a small choir in the backing vocal.

Release begins with a almost classical chamber music style piano passage before the acoustic guitar and vocals come into play here. On the surface Release appears as a ballad. I kind of see this as more of a slower paced song to allow the listener to digest the album thus far and for the band to set the tone to close the concept out on the final track The Path to Perseverance. The guitar solo is very atmospheric in nature.

The Path to Perseverance once again with ease and simplicity seamlessly comes over from the previous track Release. These seamless transitions make the album stand out as the concept album it is allowing the listener to remain immersed in the album and story. The Path to Perseverance is the epic on the album. It has a powerful atmospheric opening set of intricate chord progressions adding both electric guitar and acoustic guitar passages. The lyrical content really is a melodic summary of the overall totality of the conceptual element of the album. With this being well over 11:00 minutes expect longer instrumentals. The ethereal vocal effects add yet another layer upon which this album has been known for throughout. This is also a great closing track in the arrangement if the band ever decides to or has opportunity to play this concept in its entirety live.

Bands whose careers have exploded off the third album are as follows, Dream Theater – Awake 1994 ,Iron Maiden – The Number Of The Beast 1982, RUSH – 2112 – 1976, Fates Warning – Awaken The Guardian – 1986, Savatage – Hall Of The Mountain King – 1987, Nightwish – Wishmaster – 2000 , Blind Guardian – Tales From The Twilight World – 1990 , Ayreon’s – Into The Electric Castle – 1998 , Shadowside – Inner Monster Out – 2011, Evergrey’s – In Search of Truth – 2001 ,Pain Of Salvation’s – Perfect Element Part 1 -2000. I see MindMaze’s Resolve in 2017 being in the conversation 10 to 15 years from now. Resolve is also a perfect title for this album as well. It shows the bands grit and determination that they are going nowhere anytime soon. I give MindMaze’s Resolve a strong 5/5 for maturity and growth.