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Casagrande Simone Delivers a Haunting Metal Single


A fresh release from Casagrande Simone brings out a thrashing metal approach that blends elements of speed, punk, and death metal all together to create a haunting and unique approach that brings together not only a slew of influences, but an edgy and dark overtone that becomes quickly infectious.


"Suicide Waltz" ferocious track with amazing guitar work that gives off a heavy aesthetic but is performed with incredible tightness and a unique approach to doubling guitars as well as harmonizing them to create a main riff.


This is a really cool approach to writing a song like this because instead of using open chords or trudging palm mutes, the guitars have this particularly different feel, and the stop/go approach of it gives way for the drums to come through with a huge drive and incredible push.


While we're on the topic, the drumming on this track is insane. Not only is it super in the pocket, but there are tons of incredible classic metal style fills in the vein of bands like Slayer, for example. The performance overall is alive and breathing, giving the song an ability to push the envelope so it gets exactly where it needs to be.


The drumming adds that speed and death metal element to the track and gives it a lifted energy that doesn't let up.


Drummer Mattia degli Agosti certainly understood the mission on this one, and it was amazing that all the players involved with this track were so on the same page that they created this perfect aesthetic.


The base performance on this track is astounding and also super tight, but inventive, done by renowned player Charles Bertoud.


With vocals and guitars performed by Casagrande Simone himself, the track came together like pieces of a puzzle.


The energy level across the board is insane and feels almost like it was recorded live on the floor, and everyone was feeding off of each other's energies the entire time in order to get this righteous and thriving approach.


Between the riffs, the music, and the vocals, this did have a big haunt to it as I mentioned earlier.


This was a heavy blend of metal styles, and it worked super well in terms of breeding something refreshing but also fierce and sharp.


As you delve deeper into the track, you get elements of progressive rock and metal, along with some great lead guitar work that showcases technique, and more influence of classic metal.


Towards the second half of the track, there is an amazing change that reminds me of Metallica circa Master of Puppets, and I loved that section, especially because it was so melodic and beautiful, performed with a love for the craft of guitar playing, and was powerful.


This part of this song spans through to the end of the track itself, and between the ferocious and grueling vocals, along with the beauty of the guitar work, it combines the edginess and the beauty of the song together, but there's also a sort of sorrow or sullenness in its undertone.


This feeling comes mainly from the melody of the riff.


There are a lot of great changes in this track and certainly more than a few surprises around its corners.


You can tell that Casagrande Simone has a real love for the craft of songwriting and is able to pull together people to help create these songs and bring them to fruition.


All of that takes persistence and a real love for what you're doing.


This was a brutal track in certain ways. The vocals were edgy and stood tall in terms of bringing that death and blackened metal feel, which goes perfectly with the theme of this song.


This track comes with an amazing music video that combines different approaches and techniques to be created but comes through with that same haunting as the song itself portrays.


This is important because it features dark imagery, and most things creepy, including plenty of clowns that don't look very friendly.


According to the artist himself, the track is a blend of horror and fantasy that was inspired by timeless films.


I can certainly see some of these films it was inspired by in the music video itself, and this video does an amazing job of displaying the same kind of energy the track has.


Along with all the haunting imagery, you also have the band doing their thing. They thrash out, they play guitar and smash drums, and you get this great vibe and aesthetic throughout the entire video.


It's the kind of video you want to watch more than once just to soak everything in.


This is also in the vein of classic metal in the way that you listen to it a few times over because the second and third times you listen, you're going to catch things that you missed that first time around.


It's full of amazing technique and approach in terms of instrumental performances, and the whole thing hits really hard.


You can tell there was a lot that went into this song and video, and I suggest you listen to this nice and Loud.


With the release of the new single and video, we wanted to chat with the artist to find out where this came from and what may be next.


Here is what happened.


Buzz Slayers: Let's talk about the "Suicide Waltz" single! This was such a killer set of riffs and guitar work and blended some different metal styles! Where did this record come from?


"Like with everything I create, 'Suicide Waltz' took time to finalize. I wanted to compose something unusual—something that blended my musical heritage with metal, and I was drawn to using an odd time signature to make it stand out. My father played the accordion, and he taught me during secondary school, so that influence naturally found its way into the composition. The title actually came to me after I had written some of the riffs.


Originally, the plan was to have the vocalist from the Italian metal band Embryo sing on the track, since I'm not particularly skilled at growling. Unfortunately, due to personal commitments, he couldn't participate. That's when I brought in Alex, who had previously played with Mattia, our drummer.


I had also considered playing the bass myself, but I struggled to bring enough intensity to the 9/4 section toward the end. I’m a big fan of Charles Berthoud, so I reached out to him through Fiverr—and he turned out to be the perfect fit for that part.


Buzz Slayers: I'm hearing a few different approaches on this track! Who are some of your biggest musical influences?


Musically, my roots are definitely in classic thrash—Metallica, Slayer, and Megadeth shaped a lot of my early inspiration. But with 'Suicide Waltz,' I also pulled from bands like The Black Dahlia Murder and Cradle of Filth, especially in terms of vocal aggression and atmosphere. The progressive structure and complex rhythms were influenced by bands like Dream Theater. I wanted the song to reflect that blend—technical yet emotional, dark but intricate.


Buzz Slayers: When did this all start for you as a band?


It didn’t really start as a band. I began this project back in 1999 as a solo artist, mostly using virtual instruments. Honestly, the results were pretty rough until around 2013, when two old friends—who played drums and bass—jumped in to help with my Old School EP. That collaboration marked a turning point for me. That EP was recently remastered and released by Soman Records, along with my full-length LP Casagrande in 2020. Since then, I’ve continued building on that foundation, always trying to push my sound further while staying rooted in my early influences.


Buzz Slayers: The video was awesome but creepy! All those clowns! Did it take long to put the video together?


Over time, my approach to production and visuals has evolved a lot. For Suicide Waltz, I initially had a visualizer made with AI—called Broken World—but it didn’t really meet my expectations. It lacked the personal touch I was aiming for. So, I decided to take matters into my own hands: I shot scenes of myself singing and playing, added some great drum footage that Mattia had recorded, and blended it all with some stock imagery. The final touch was restyling everything with Kaiber to bring out the mood I wanted. It was a long process—around three months—but in the end, it felt much more authentic and aligned with the song’s energy.


Buzz Slayers: It seems like you are constantly releasing music. Is this right? What's next?


I just finished mixing and mastering a new track, which I'm now working into a video project myself. This time, I'm aiming for a more polished and professional result—building on what I learned from creating the video for Suicide Waltz. I'm really focused on growing my audience, so it's super important that people subscribe to my YouTube channel and follow me on social media to stay up to date."


Follow Casagrande:

Listen to Casagrande:

Buzz Slayers: Are you performing live right now? Any touring in support of this release?


As much as I'd love to bring Suicide Waltz to the stage, realistically it’s very difficult. I’m based in southwest London, but the drummer lives in Italy, the singer is Canadian, and the bassist—though British—is currently based in the US. Coordinating rehearsals across those distances would be a logistical and financial challenge. Not to mention, the song itself would need some serious rearrangement for live performance—the guitar solo alone is technically demanding, shifting between harmonic and melodic minor scales. It’s not impossible, but at this point, it’s more of a studio project than a live act.


Buzz Slayers: Did you record this in a home studio setup, or did you go to a big studio for this?


This project was a mix of professional and home production—what I like to call a 'half-studio, half-bedroom' setup. Alex, the vocalist, runs a professional studio and delivered fully edited vocal tracks. The drummer and bassist also recorded their parts independently and professionally. The rest—guitar recording, editing, mixing, and mastering—was all done in my bedroom studio. Even with that split workflow, I’m really proud of how polished and cohesive the final result sounds. I think it stands up well alongside fully studio-produced material.


Buzz Slayers: Who's in all your headphones right now?


My core influences are rooted in metal—bands like Metallica (Master of Puppets, ...And Justice for All, The Black Album), Megadeth (Rust in Peace, So Far, So Good... So What!, Killing Is My Business...), Soulfly, Pantera (Vulgar Display of Power, Cowboys from Hell), and The Black Dahlia Murder—especially Nightbringers. These shaped my playing, songwriting, and the intensity I aim for in every track. At the same time, I’ve recently started listening to Bob Marley as well. Working in Brixton, which has a strong Jamaican community, made me want to better connect with the culture around me. It’s been refreshing to step outside of metal sometimes and appreciate the emotional power and message in other genres.


Buzz Slayers: What would you tell people they can expect on this release?


Casagrande crafts metal that’s intense, unusual, and unapologetically technical—fusing old-school thrash roots with progressive structures and modern aggression. Influenced by giants like Metallica, Megadeth, Pantera, Soulfly, and The Black Dahlia Murder, his sound channels raw power through complex rhythms, shifting scales, and bold arrangements. Built on a hybrid of bedroom production and pro studio collaboration, his music defies borders—geographically and sonically. It’s metal that respects tradition but pushes boundaries, one dissonant chord at a time.


Buzz Slayers: Before we go, what would you like to express to fans of the music? 


I get that some people might expect a certain 'look' from someone playing this kind of music, but to me, metal isn't just about the appearance—it’s about the music, the passion, and the authenticity. I may not rock the classic 'old-school metalhead' aesthetic anymore, but my sound is still rooted in that same spirit—raw, technical, and unapologetic. I’ve evolved as an artist, but the heart of what I do is the same. Metal has always been about pushing boundaries, and that goes beyond just the way you look—it’s about the music you create.





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