Skip to content

Actress. Activist. Influencer. YouTube celebrity. Filmmaker. Screenwriter. Model. Nudist. Playboy Playmate. Now add MCing to the ever-growing list of credentials of rags to riches entrepreneur Stormi Maya, the curvaceous wonder of nature from New York for whom no challenge is ever too great. On “Body Of Work” Maya teams up with producer Donald Robinson Cole (or Megadon) and is a quarter of an hour long throwback to some of the smoothest 80s and 90s hiphop nostalgia. The EP boasts two potential hit singles and has some of the catchiest beats of recent memory. Not only is Stormi Maya glib and easy to look at, her clever lyrics cut fast and deep. There's far more to this girl than a wealthy chest and ever-shrinking pieces of fabric. After having bared her body, Stormi Maya now bares her soul.

Who is Stormi Maya? She’s a multi-talented, clothing averse bombshell from the Bronx of mixed Hispanic-Irish descent that started modeling at the tender age of sixteen and cut her teeth in community theaters in the New York area. From there she reinvented herself as a YouTube celebrity and Instagram babe. In no time Stormi Maya was setting the internet alight with her bikini and lingerie pictures. Naturally Playboy followed and her October 2015 spread was such a raving success in the Croatian, Venezuelan and Slovenian editions that Playboy publishing barely was able to meet the demand in what has been called the fastest turnaround in the magazine’s history. One thing led to another and before long Stormi Maya was directing her own shorts and writing her own screenplays. Together with fellow model Alanna Forte, Stormi Maya is one of the regulars in the stock company from Californian fringe filmmaker Rene Perez. More recently she could be seen in the Spike Lee Netflix series She’s Gotta Have It. In short, Stormi Maya is a self-made woman who’s constantly looking to branch out. It’s only logical that after modeling and acting, a music career would be the next big thing.

If there’s one thing that Stormi undeniably is, it’s fun. She's one ambitious, fiercely intelligent, hard partyin' piece of eye candy. Like early Eminem she’ll poke fun at anyone and anything just because she can. Alliterative opener ‘Conscious Coochie’ is a club banger laced with porn samples that would make Gorgasm and Lividity proud. Don’t be confused by the persisting sampled moans as Stormi discusses her sexuality and prowess in the sack. In ‘Fake Ass Titties’, the EP’s tour de force and crowning achievement, Stormi candidly admits that she likes “big ass titties like everyone else.” The earworm chorus hammers the point home in case anybody was otherwise distracted. Maya is a woman clearly comfortable in her own skin and what better call for more body positivity than from a model that famously bared hers? ‘Thick Skin’ chronicles her experiences with celebritydom, cyberbullying and the darker side of fan culture. ‘Mouth Do’ is an eloquent protest against the entrenched but still socially accepted male behavior of catcalling, something in dire need of changing. ‘Aphro Puff’ is a seething scorcher that puts detractors that question her blackness in place. Nothing is more powerful than a woman unafraid to voice exactly what’s on her chest. Hers is even legendary in her own time.

Maya’s lyrics are thick on sexual innuendo and full of tacky witticisms and asides that recall the best of Lil’ Kim and Foxy Brown. Stormi is rightly indignant about a lot of things but none of her raps are overly vulgar or full of gratuitous expletives. In 'Mouth Do' and 'Aphro Puff' the few strategically placed F-bombs hit with untold power and surgical precision. Stormi Maya is an outspoken feminist and that's exactly what the hiphop world needs right now. In these times of #metoo “Body Of Work” is a natural and timely response against everything from toxic masculinity, to the recent allegations leveled at Hollywood moguls Harvey Weinstein and Luc Besson but especially in light of Ke$ha’s protracted court battle against her producer Dr. Luke, one that almost ended costing her her livelihood. Nothing on “Body Of Work” is left to the imagination, from the artwork to the music videos and the lyrics – everything is there for a reason. It’s all part of a larger plan. In just a scant 16 minutes Stormi Maya touches upon everything from sex-positive feminism, bodylove, social – and economic inequalities, to celebrity culture and the patriarchy. How often does a debut coincide with recent events? Not all that often.

This being an EP Stormi lets not a single second go to waste and given how brief “Body Of Work” is, it's free of needless intros, interludes, commercial breaks, and random sonic asides that clutter up albums in this genre. Brevity is Maya’s greatest ally. 5 songs, 16 minutes. It’s enough to whet anyone’s appetite as to what she'd able to cook up in a full album format. A full Stormi Maya album is only a matter of time at this point. Her collaboration with Megadon has resulted in an unbelievably smooth production ensuring that this could be picked up by radio channels across the world. As a general rule we’d don’t ofen venture out of comfort zone when it comes to music, but Stormi Maya has massive cross-market appeal. It’s the perfect antithesis to what passes as hiphop these days. For a throwback to 80s and 90s hiphop you could do far worse. That this EP comes from a small independent artist makes it all the better. Hopefully Stormi Maya will be returning with a follow-up to this debut EP sooner rather than later.

In an illustrious career spanning three decades and as much distinct phases Piedmont, Italy-based pagan dark metal maestros Opera IX have experienced some of the highest peaks and grimmest lows. In their prime they were masters in combining occult death/black metal with ethnic Italian folk music like no other. “The Call of the Wood” laid the basic groundwork but it wasn’t until “Sacro Culto” that they truly embodied the sweltering Latin Meditterranean darkness and eroticism from the cult cinema of yore from which they partly derived inspiration. Their years with frontwoman Cadaveria were probably their most memorable and they have struggled to live up to their massive legacy with her (as has Cadaveria herself, ironically). “The Gospel” is the first Opera IX record in well over a decade that is in any way mandatory. Is it a return to the golden age of “Sacro Culto”? Not necessarily. There’s no contesting that “The Gospel” is the strongest and most complete Opera IX experience in many a moon.

After three albums (“Maleventum”, “Anphisbena” and “Strix - Maledictae in Aeternum” when they were fronted by Madras and the late Marco De Rosa) and a decade in the margin Ossian and his Opera IX scored what for all intents and purposes must be their greatest victory in years with the recruiting of Serena Mastracco (who appears as Dipsas Dianaria) of the now-defunct Riti Occulti - a psychedelic doom metal band whose very existence they in no small part helped inspire - as frontwoman. Former singer Abigail Dianaria now fronts Swiss death metal combo Amthrÿa and is on her own road to success, artistic and otherwise. “The Gospel” holds the middleground between the ritualistic occult waltzing of “Sacro Culto” and the more symfo-oriented and standardized “The Black Opera”. The +10-minute epics of yore have gradually been subsiding in the last decade or so and the longest track on “The Gospel” is just over 7 minutes long. “The Gospel” does return to the alternating witching vocal styles of the Cadaveria era. “Back to Sepulcro” already hinted at such return but “The Gospel” fully capitalizes on it. While the ethnic percussion, acoustic guitars and folkloristic chanting are likely never to return that doesn’t make “The Gospel” any less of a return-to-form.

If Abigail Dianaria brought Opera IX back from the brink of irrelevance then her successor Serena Mastracco heralds an era of grand restoration and artistic rejuvenation. Mastracco is probably the best thing to ever happen to this band and her vocals are probably the closest Opera IX is likely to come to the classic Cadaveria era. The shadow of madame Cadaveria has long loomed over Ossian and his rotating cast of musicians and now, some 18 years after her acrimonious departure, the band has finally obtained a younger version of their most identifiable frontwoman. The vital contributions from Abigail Dianaria are not unimportant or in any way diminished by the hiring of Mastracco. She definitely reaps the benefits of what Abigail did before her. Not only is Ossian playing some of his best riffs since the dawn of the millennium but Alessandro Muscio (keyboards) and Massimo Altomare (drums) deliver some impressive work within their respective departments. Altomare is probably the best drummer this band has had since Alberto Gaggiotti and Muscio is worthy successor to Lunaris from the classic line-up. “The Gospel” is probably the strongest Opera IX offering since the golden days of “Sacro Culto” and “The Call of the Wood”.

“The Gospel” concerns the goddess Aradia, the daughter of Roman goddess Diana and the sun god Lucifer, an important figure in Italian folklore and a key figure in Gardnerian Wicca (and its various offshoots), South European Stregheria, and contemporary neopaganism. Aradia was the subject of a fifteen-chapter treatise by American folklorist Charles Godfrey Leland and his Aradia, or the Gospel of the Witches that was publicized in 1899. Leland’s text is widely considered to be a composite of an English translation of an earlier original Italian manuscript called the Vangelo (gospel). The Gospel of the Witches was what Leland believed to be a religious text of a sect of witches in Italy that documented their beliefs and rituals and his own research on Italian folklore and witchcraft. The majority of the manuscript is believed to have come from one Maddalena or Margherita from Florence, a fortune-teller and alleged witch from an Etruscan lineage, who claimed to be well versed in the traditions, spells and doctrines of the Old Religion providing him with hundreds of pages of material. Leland used The Gospel as evidence for witch lore in 19th century Italy although various scholars and historians have since questioned and disputed both the accuracy and the legitimacy of the text. Raven Grimassi on the other hand claimed Aradia was Aradia di Toscano, who led the Cult of Herodias, or a band of "Diana-worshipping witches", in 14th-century Tuscany. Even within Wicca, Stregheria, and contemporary neopaganist circles the veracity of The Gospel remains a controversial subject even to this day.

Stylistically “The Gospel” is an apparent fusion between the waltzy atmospheric Meditterranean darkness and romanticism of “Sacro Culto” and the more symfo-inclined “The Black Opera”. The record is uniformly strong and there’s truly no weaker track to speak of. An early highlight is ‘Chapter III’ and a track as ‘The Moon Goddess’ is more reminiscent of “The Black Opera” than it is of any of the band’s earlier era. ‘House of the Wind’ even reuses a very familiar melody/riff heard earlier in ‘Congressus Cum Daemone’ from “The Black Opera”. Closing track ‘Sacrilego’ uses the third movement, widely known as the marche funèbre, of Frédéric Chopin's Piano Sonata No. 2. Interestingly, relative newish cuts ‘Consacration’ and ‘The Cross’ from “Back to Sepulcro” weren’t given a make-over. Understandable since “The Gospel” is nearly an hour long and an additional 9 minutes of bonus content would be overkill, even by opulent Opera IX standards. In short there’s a wealth of material to be found on “The Gospel” making it well worth the years that it took to finally materialize. Serena Mastracco has brought a sense of rejuvenation and even a mild form of artistic resurrection to Opera IX. Even an impressive three decades into their existence Ossian and his cohorts manage to stay relevant in a completely different musical landscape.

Don’t call it a comeback because Opera IX never was truly gone. It’s true that they spent more than a decade in the margin when the wave of millennial symfo black metal crested and they found themselves a mere second-tier. “Back to Sepulcro” already hinted that Opera IX was brewing on something. That something has become “The Gospel” and while our relationship with them is iffy at best, this is some of their best work in years. That a thirty year old band can still conjure something this powerful from the altars of whatever deities they worship is impressive, to say the least. It’s as if the sacred fire from “Sacro Culto” has been rekindled and Serena Mastracco possesses the same serpentine quality as Cadaveria, even though Mastracco’s delivery is not quite as theatrical nor as dramatic. Opera IX is at its strongest whenever they’re fronted by a woman as that is, after all, how they initially made a name for themselves. They might no longer engage in the “occult experiments” that used to be their calling card, but if “The Gospel” is the sound of their future – then count us among the faithful…