Monday, June 18, 2018

NEWS: HAIDUK (One Man Thrashing Black Death Project) Announces New Album

HAIDUK is extreme metal from Canada and it is a one-person entity working for years to get the music out to the fans. Haiduk now announces more information about a new work that will come out in the future. In the meantime you can hear the previous album at the link below.
OFFICIAL PROPAGANDA:
HAIDUK, the Calgary, AB one man thrashing black and death metal project fronted by Luka Milojica announces he will be releasing his third full length to follow his 2015 concept album "Demonicon" where each song pertained to the nine demons on the release’s front cover.
In a video interview with the Countess Carcass Youtube channel, HAIDUK explains details of what fans can expect from the new album and also comments:
"This will be the ultimate Haiduk album. It brings together all the best elements of the previous releases. A lot of attention to detail. Tons of dual guitar polyphony that creates a constant evil atmosphere."
About:
Haiduk is the death metal solo-project by guitarist Luka Milojica.
Emerging from the cold forests, the project arose with the raw and bone-chilling demo 'Plagueswept' (2010).
Working in solitude,Haiduk unveiled the full-length debut 'Spellbook' (2012); a black-magic conjuring of fast guitars and powerful riff attacks.
Invoking spells of demonic strength,Haiduk raised forces from the infernal depths, sealing arcane powers into the 'Demonicon' (2015); a blackened tome of blasting distortion.
Full stream and download of HAIDUK's "Demonicon" available on Bandcamp haiduk.bandcamp.com

NEWS: NEORHYTHM's 'Zetetic' Album Out Now and Streaming in its Entirety

NEORHYTHM is "metal from space" and if you like to hear what the trip is about, then enter the official propaganda and hear the music at the link below.
OFFICIAL PROPAGANDA: Zetetic, the debut album from interstellar duo NEORHYTHM is out now and streaming in its entirety. Stream and/or purchase below.
NEORHTYHM offer what can only be described as Metal from Space on debut album Zetetic. Creative in concept and aggressive in approach, Zetetic is an interstellar journey that is impossible to forget. The album was produced and mixed by Vladimir Lehtinen (SECOND TO SUN).
The origin story of NEORHYTHM, as told by the cosmic metal duo, is an intriguing one, to say the least:
On a distant planet in the constellation E61,3 (which we call Neuw ourselves), two renegade traitors of interstellar spaces from the red subrace of Nameless decided to penetrate the Virgo Supercluster. It happened on the earthly calendar in the year 1703. For more than 300 years our spaceship plowed through the galaxy until it came across the Milky Way to the bright yellow dwarf G2V, which you call Sol.
A strong stream of stellar wind carried us to the orbit of planet Earth, where as a result of a breakdown of one of the plasma engines we were forced to land in the geographic terrestrial region of Lapland, in a barren taiga. Since we needed help, we sent encrypted sound signals to all regions of the universe, as well as to the top leaders of the human Terra planet, to provide us with technological support. Our signals, converted into musical scales, were intercepted by the developed radio frequencies of earthlings, and you can now listen to them in the form that you call songs.
neorhythm.bandcamp.com/album/zetetic

Saturday, June 16, 2018

NEWS: Lizzy Borden returns with new album; new video now

American melodic metal cult act Lizzy Borden is back with a new video that you can watch below. The new album is out now and it is called My Midnight Things. Lizzy Borden is known for the melodic singing and on the new album you will definitely hear the amount of work put into making songs pleasant to the ear of the audiences supportive of traditional singing, which here is aimed at positioning itself inside your will and remaining there. In addition, the songwriting works the main idea that you do not write songs only for yourself, if you are serious about your fan base. Lizzy Borden is not beating around the bush here; these songs are friendly to the ear immediately. Classic rock and traditional heavy metal is the basis of the music, and now, after decades of practice, Lizzy Borden has honed the art of the song. --MMB
Lizzy Borden
My Midnight Things
Metal Blade Records
15 June 2018
OFFICIAL RELEASE INFORMATION: Since 1983, the name Lizzy Borden has been synonymous with heavy metal music of the highest caliber. With My Midnight Things he has reaffirmed this standing, delivering the biggest, most dramatic, moving and cinematic record of his career, and one of the most essential additions to the genre in 2018. While showcasing a diverse range of sounds, tones and moods, it is unmistakably the work of the man who released a string of classic albums in the 1980s and two more in the 00s, but with a new fire burning at the heart of the record, it is one that he has lovingly crafted for those who scream along with every word at his shows. "On our last tour across Europe, Asia and South America, I noticed that the audience had changed," he states. "It got a lot younger. I looked out to see all these kids in every country singing at the top of their lungs to songs that were written before they were born, and that made me want to start writing some full-blown albums just for them. I wanted to make songs that would be theirs, albums that they could be a part of."
Having not dropped a record since 2007's mighty Appointment With Death, fans have understandably champed at the bit waiting for new material. Though penning numerous songs throughout that period, when it became time to seriously focus upon writing an album, the multi-instrumentalist did what needed to be done to be sure of creating the best possible music. "I knew the only way I could find what I was looking for was to lock myself away and experiment, so that's what I did. I wrote and recorded in my studio in North Hollywood in a very industrial area all night every night, with only sirens from fire trucks and these songs to keep me company. It was a lonely time, but very fruitful. You might even hear some of those sirens in some of the songs if you listen closely." Starting with between forty and fifty songs, he steadily whittled these down to fifteen, and finally to the ten that made the record, only wanting the very best to make the cut. As with all of his albums, once Borden hones in on a core subject matter he builds the album around it, and in the case of My Midnight Things, the theme is that of love. However, adopting a different approach to writing than usual, rather than starting with music, he instead focused on the lyrics, and penned the music later to best serve the stories being told, wanting every song to stand up on its own while keeping the storyline of the record moving forward. "I just let the lyrics drive the mood and the way I would sing each song, but overall I kept it varied and engaging enough so that listeners will want to devour the whole album in one sitting, without you hearing me repeat myself."
The diversity of the record makes it abundantly clear that he succeeded, and it makes for a thrilling ride from start to finish. Opening with the titanic stomp of the title track, the cinematic feel kicks off from the start, a serpentine seductiveness coiling through it, and the likes of "A Stranger To Love" and the bruising "Our Love Is God" inhabit similarly dark territory. The more stripped down, haunting strains of the reprise of the title track - which was in fact the first version penned - is achingly frail, and then counterpointing all of the record's darker and more brooding moments are the upbeat "Long May They Haunt Us", the hugely anthemic and uplifting closer "We Belong In The Shadows", and the frankly glorious "Run Away With Me". While the title of the album"means many different things" to Borden, he chooses not to disclose these, allowing listeners to find their own meaning in it, which is something important to him. In terms of the record's central theme, he acknowledges that while "love" seems somewhat obvious, he tried to find a way to see it through a different lens. "Sometimes being in love is the worst thing that can happen to you if you're with the wrong person and you can't stop it, and sometimes it's the best thing in the world. I knew I could find things in between every other song that's been written about it. So that was the challenge. But, even though I write with a theme in mind and with different personalities singing each song, I never write in storyboard form. I always try to write in poetry form. I think you can search for more meaning that way, from one line to the next there can be multiple meanings, as opposed to being trapped telling a story."
Having signed a new contract with Metal Blade on the strength of three demo tracks, Borden opted to produce My Midnight Things himself,with Joey Scott as co-producer, who also handled all the drumming duties. Having an old school approach to his drumming, feeding off the vocals, lyrics and melody rather than just acting as a time keeper, he was perfectly suited to Borden's approach to the record, which also applied to his role as co-producer. "I knew what I was going for and had doubts that I could find a producer who would understand that. My approach is very different than what is happening in today's music, but Joey got that and wanted the same thing." With Marliese Quance Mildenberger handling the majority of the keyboards, her unique melancholy playing style added even more "emotion and dimension" to each song, while Borden himself handled all of the bass, guitars, some keys and all of the vocal parts. Anyone exposed to My Midnight Things will find it hard to deny that like all of his records, it is a true vocal tour de force, each track endowed with a phenomenal amount of layering to create something that is uniquely Lizzy Borden."The style that I record vocals harkens back to The Beatles and Queen. It's time consuming and tedious, but the result gives you a more multi-dimensional feel than you would get with a single vocal. When I recorded 'Master Of Disguise'(1989), I was clocked in at a seven-octave vocal range between all the backing and lead vocals. It gave the feel of multiple personalities within my voice, and I've used that technique on the last four albums."
That every song on the record could be released as a single is testament to just how strong this collection is. While truly a record for his fans, its appeal will easily reach much further, and Borden is as eager to get back on stage as his devout followers who cannot wait to see him back up there. "I've already started working on the 'My Midnight Things' Show, and I really can't wait to play these songs live. There are so many talented players out there in the world, I know I will find the right guys or girls to be on stage with me in my touring band, and just based on what is being talked about, so far it will be the best show I've ever done. I really do feel a new excitement that I have not felt in years. The best is yet to come."
Lizzy Borden "Long May They Haunt Us" (OFFICIAL VIDEO)
facebook.com/Reallizzyborden/

Dead Crown (review by MMB)

Dead Crown
Come Hell
Dead Crown is a hip hop rap macho chugging electronica deathcore band from Portland, Oregon, United States. They perform their music in a very American fashion with lots of confidence, especially their vocalist who raps and growls and screams his way through every song cursing as much as possible for that street-credential tough-macho vibe that the young American audiences are digging about the band. The EP has the following songs:
01. South Side 00:00
02. The Seven 04:20
03. Black Sheep 08:21
04. Dethrone 12:04
05. Home 15:03
06. I Am God 18:47
Dead Crown represents that American spirit that is always searching for something new and cool to do in order to stay ahead of the curve, to outdo the competition in image and cool factor. Like Limp Bizkit and Korn before them, like Slipknot and Hatebreed before them, these Americans do their best to show they are creating something very American, tough, hip, taking cues from rap, from electronic music, from the macho toughness and thug mentality of Pantera and 50 Cent and the generalized New York street image that is now simply an American image. Dead Crown checks all the boxes, from the tattoos to the constant cursing, and to the tough hand gesturing, and of course the chugging heavy music. The music itself is not that important, but rather it's just another element in a bigger marketing plan to make it in the business.
The American audiences will welcome this band and make them a household name once the band gets hooked into the music business networks that catapult bands into stardom. Dead Crown is a good representation of the new metalcore music that is popular with American youth, and it is reasonable to expect that they will have success with their image-conscious and well-aimed simple chugging and synchronized jumping.
facebook.com/DeadCrownBand/

Wednesday, June 13, 2018

W.E.T. (review by Matt Spall)

[The U.K.-based reviewer Matt Spall gives us his take on the album by W.E.T. Remember to follow Matt on Twitter if you want to keep up with his writings. The link is the bottom of the review. --MMB]
Artist: W.E.T.
Album Title: Earthrage
Label: Frontiers Records
Date Of Release: 23 March 2018
Now this was one of those albums that I have really been looking forward to hearing. I might be the ‘Man of Much Metal’, but as you know, I have a huge soft spot for melodic hard rock. I love a good dose of extreme technical progressive death metal or grindcore – frankly, who doesn’t?! But occasionally I like to let my hair down and enjoy a slab of feel good melodic rock, the kind that delivers hooks and melodies galore, and which I can sing along with or play air guitar whilst pulling ridiculous faces.
And W.E.T. are arguably one of the very best exponents of the genre, maybe THE best. Mind you, that’s hardly surprising when you consider the clientele involved in this band. I’m sure most of you already know the background but for those who remain in the dark, here goes:
Frontiers Records have a habit of wanting to facilitate collaborations between musicians that, on paper, should create magic together. I was a moderate fan of the first couple of albums featuring the vocal talents of Jorn Lande and Russell Allen, but less enamoured with the recent collaboration between Fabio Lione and Alessandro Conti. But, with W.E.T., I will happily concede that this has been a total, unmitigated success. Comprised of Work of Art keyboardist Robert Säll (W), Eclipse guitarist Erik Mårtensson (E) and Talisman vocalist Jeff Scott Soto (T), W.E.T. was born and with their self-titled debut, they created the kind of melodic hard rock magic that fans (and Frontiers Records) could have only dreamed of. That album remains in my top two or three melodic hard rock records of all time and, depending on my mood, it sits at the summit.
The follow-up record, ‘Rise Up’ wasn’t bad either. Indeed, it even featured a track in ‘Love Heals’ to rival and possibly better the incredible ‘Comes Down Like Rain’ from the debut, something I thought might be impossible.
And so, after a wait of five years and amidst impressive output from all three members in various guises, we are rewarded with the third W.E.T record, the boldly-titled ‘Earthrage’. So excited was I to listen to this latest endeavour, I was even prepared to ignore the fact that I had to listen to a hopelessly annoying and unhelpful stream to do so. Did I want to be able to listen to this album in the car, whilst out walking my dog, or during my lunchbreak at work? Of course I did, but I had to settle for those precious moments at home when the kids were asleep and I could actually listen to the album. It wasn’t easy, but I made the time…just about. And then I realise that I’m further restricted, to a mere 20 spins of each song. Seriously? Does the label not want in-depth and fully-considered reviews?
But enough of griping at this frustrating situation that’s sadly becoming ever more prevalent because I have more important things to do, like tell you all about ‘Earthrage’ and my thoughts towards it.
To do this, I need to ask myself a series of questions:
Do I want huge choruses? Do I want plenty of giant hooks? Do I want strong songwriting? Do I want impressive musicianship? Do I want to feel the passion of the musicians? Do I want power and for the music to rock? And finally, do I want the music to make me feel happy and alive?
Somewhat unsurprisingly, my answer to all these is ‘yes’. And even more unsurprisingly, W.E.T. deliver on every single one. But they don’t just deliver on these, oh no. With everything else going on in their careers, like new Eclipse, Work of Art and Sons of Apollo records, it would have been easy for these guys to take it easy or take their eye off the ball completely. The reality couldn’t be further from this possibility however. Instead, on top of all of the other facets listed above, they also manage to make the music on ‘Earthrage’ sound fresh, vital and relevant to 2018. How the (insert expletive of choice here) do they do it?
First off, the trio, ably assisted by guitarist Magnus Henriksson and drummer Robban Bäck, are seasoned, accomplished musicians. But more than that, they have an innate understanding of what makes a great song. One album could be considered a fluke, but without even considering their primary bands’ material, ‘Earthrage’ is the third record in a row to produce top drawer material. That’s not luck. That’s skill and plenty of it.
At this juncture, I will admit that ‘Earthrage’ doesn’t have an immediate standout track, something that catches me as squarely as the aforementioned ‘Comes Down Like Rain’ or ‘Love Heals’. But somehow, as I sit here and type this review, that doesn’t seem to matter. And that’s because ‘Earthrage’ is a collection of eleven new songs that all hit the mark. And when I say all, I mean all. There isn’t a weak link, a duff track or a disappointing moment to be heard across the entire album. The whole disc from start to finish is a pure, unadulterated masterclass in how melodic hard rock should sound. Or, perhaps more accurately, it’s a masterclass of how I want melodic rock to sound.
The opening track has me salivating almost immediately. It builds with purpose and authority from humble beginnings, led by a strong rhythm and an infectious, incessant guitar riff, full of energy and forceful intent. The moment that Jeff Scott Soto sings, I get the usual chills, meaning that he is immediately on top form. The chorus is then the final piece in the puzzle, a huge hook-laden beast that begs to be sung along with. There’s even room for a swift lead guitar break and a nice momentary reduction in intensity to add variety and colour. This is a cracking way to open the record and has me chomping at the bit to explore ‘Earthrage’ further.
And the great news is that, as I’ve already alluded to, there’s no let-up in quality. ‘Burn’ underlines this point fantastically, featuring another superb chorus around which is a song with real swagger and up-tempo intensity, a hard-rocking number that proves that the protagonists mean business. The acoustic-led segment that rebuilds and in the process delivers some superb drumming from Robban Bäck, leading to an expansive lead guitar break is pure aural delight and has me grinning from ear to ear.
Next up is one of my favourites on the album, maybe the favourite. It is a slow-burner but has got to the point where it is irresistible. The verses allow the keys of Säll to come to the fore courtesy of some lovely tinkling notes atop more atmospheric tones. However, it’s the chorus that somehow, rather insidiously, suddenly catches me off guard and hits hard when it does. Lyrically, it has a wistful, care-free tone, a recalling of halcyon times, which adds to its overall impact and ultimately, its considerable charm.
‘Elegantly Wasted’ is arguably the quirkiest track on the record. It’s ballad-like in its construction, almost forcing the listener to sway, whilst waving a lighter in the air. It is deliberately-placed to dial down the full-on high-octane opening, featuring more prominent orchestral-style keys as well as a country-esque acoustic guitar lead which I have grown to love over repeated spins.
The heavier guitar riffs return on the aptly-titled ‘Urgent’, and it is at this point that I realise that the production of this disc is out of the top drawer, allowing the music the clarity and robustness to pack the necessary punch. This is a driving, forceful track that is simply an utter delight. The verses are stripped back and allow the commanding chug of Mårtensson’s bass to cut through to the fore. And again, the chorus is suitably memorable, as is the all-too-short segment where it is just keys and the heavily effect-laden voice of Soto.
Without so much as a pause for breath, we’re hit with another one of my favourites, in the form of ‘Dangerous’, another true anthem that W.E.T. can add to their ever-growing list of bona-fide melodic rock anthems par excellence. In contrast, ‘Calling Out Your Name’ starts off gently, the bold synths a real highlight in the opening moments. The song then explodes with crunchy riffs and a great tempo, with further bold synths that bathe the song in an atmospheric glow.
I’ll admit here and now that I have never been averse to a well-placed and professionally delivered ballad. And that’s exactly what you get with the huge, heartfelt ‘Heart Is On The Line’. It is a truly beautiful piece of music, executed with real conviction and deftness and blessed with a stadium-sized chorus.
‘I Don’t Wanna Play That Game’ reminds me a little of Def Leppard in their pomp. The song just has that kind of effortless swagger and style to it, capped off with yet another great sing-along chorus. There’s also a hint of 70s classic rock to it, which I rather like. By my reckoning, that’s the ninth such chorus on ‘Earthrage’ so far and yes, for those counting, this is track nine. Are you beginning to get an idea of just how great this album really is? Well I’m not finished yet, because neither are W.E.T.
‘The Burning Pain of Love’ is track ten, the penultimate of ‘Earthrage’. I feel like a broken record because it contains all of the elements that makes this such a magical band, including hooks galore and professional performances all round, albeit it’s draped in a slightly more brooding cloak. It’s not a dark song by any means, but Soto’s words have a sober edge, as evidenced by the following paraphrased lyric: ‘doesn’t matter if you’re rich, don’t matter if you’re poor, cos we all face the silence alone…’
This remarkable album is then brought to a close via the suitably enormous ‘The Never-Ending Retraceable Dream’ with its massive chorus that has a vague 80s feel to it, via the use of the backing vocals and rich keys. The lead guitar work is flamboyant and there’s a care-free, triumphant feel to the song, as if Messrs Soto, Säll and Mårtensson realise that it’s another job well done.
I’m not sure what else there is to say about ‘Earthrage’. I’m pretty sure, even at this relatively early stage, that it is W.E.T.’s best album to date and right now it is fighting hard to be my personal favourite melodic rock record ever. Time will ultimately tell on that score, but regardless, as I sit here now, ‘Earthrage’ is damn close to being a perfect record. I love this band!
The Score Of Much Metal: 9.9
twitter.com/ManOfMuchMetal

Skeletal Remains (review by Matt Spall)

[The U.K.-based reviewer Matt Spall gives us his take on the most recent album by Skeletal Remains. Remember to follow Matt on Twitter if you want to keep up with his writings. The link is the bottom of the review. --MMB]
Artist: Skeletal Remains
Album Title: Devouring Mortality
Label: Century Media Records
Date Of Release: 13 April 2018
There is literally no room for polite introductions here, because Skeletal Remains are on a mission; a mission to bludgeon us into bloody submission. As a result, from second number one of ‘Ripperology’, it is all-out death metal attack, as a huge, dirty riff kicks things off immediately. For the better part of a minute, the guitar riff is king and my head is bobbing furiously. It is a portent of things to come, because by-and-large, the guitar stands front and centre of ‘Devouring Mortality’, the latest full-length to emanate from the stable of the delightfully-monikered Skeletal Remains.
Now, I’ll admit that historically, I was never the biggest fan of straight-up death metal. But as the years have gone by, my love has steadily grown to the point that I love the genre. And I particularly love it when I’m faced with a band who instinctively knows what they are doing and know how to deliver their output to achieve maximum impact. Skeletal Remains fall into this bracket without a doubt, an impressive achievement for three key reasons.
Firstly, this is only the third full-length album from the band since their formation in 2011 under the relatively unpronounceable Anthropophagy. Secondly, the line-up hasn’t been the most stable of things over the past seven years or so. And thirdly, as ‘Devouring Mortality’ makes clear, Skeletal Remains are not breaking any new ground at all with their chosen formula. And yet, despite all this, it is extremely hard to ignore the results that pour from the speakers with genuinely ferocious intent.
Skeletal Remains wear their influences on their collective sleeves, never shying away from the obvious reference points that litter their music. From Death, to Morbid Angel and every other quality death metal act in between, all the bases are covered. The thing is though, that they pull it off with a swagger and a technically adept skill that means that you can’t possibly dislike this record. And then there are the aggressive thrash nuances that poke through, as well as the bucket-loads of groove and the touches of melody that mean that each track has its own identity. For nearly three-quarters of an hour, ‘Devouring Mortality’ feels like it is right on the money. Throw into the mix a sublime cover from Dan Seagrave (Memoriam, Entombed) and a rich and full production featuring Dan Swanö’s mixing and mastering skills, and that feeling of quality is only further enhanced.
One of the most impressive elements within ‘Devouring Mortality’ is the guitar work. The riffs are full of character, far from one-dimensional. They also have a delightfully dirty feel to them, allowing echoes of old-school death metal to penetrate the modern, powerful production. But Chris Monroy and Adrian Obregon also display the sophistication and technical prowess to pepper the substantial riffs with plenty of precise and flamboyant lead breaks and clever embellishments. It is a combination that can be hard to get right, but these two six-stringers certainly achieve a good balance here.
Refreshingly, the rhythm section for Skeletal Remains of drummer Johnny Valles and bassist Adrius Marquez are not all about blastbeats and unrelenting bottom-end brutality. Whilst they can pummel with the best of the genre’s heavyweights, their playing contains a touch more variety, allowing the songs to breathe and ensuring that the less complicated sections of all-out groove are not overshadowed or overly cluttered.
The dry, raspy voice of Monroy is the ideal fit, reminding me of a slightly higher-pitched and more restrained version of Obituary’s John Tardy.
With an album that rips along with such consistency, it is difficult to pick out particular tracks for individual scrutiny. However, the aforementioned opener, ‘Ripperology’ is a killer track, full of venom and malevolence, particularly when a tolling bell is introduced and then towards the end, when the song reverts to an uncomplicated blast to the finish.
The intensity and pace of ‘Seismic Abyss’ is superb, allowing Valles to go crazy with the drum rolls and fills in between fast, aggressive riffing. The change in pace that sees a bulldozing groove enter the fray is well-executed, as are the crazy lead breaks that soar and swoop all over the place, not to mention the chunky bass that cuts through the tumult nicely at times.
‘Parasitic Horrors’ is a no-nonsense death metal work-out with yet more incredible groove injected into it, whilst the title track has an even heavier vibe to it – this might be where the seven-string instruments were employed. Either way, it is a commanding and domineering track, where everything feels like it has been dialled up to the maximum. ‘Grotesque Creation’ on the other hand is easily the most melodic of all of the eleven songs, with plenty of memorable guitar work within its meagre three-and-a-half-minute lifespan.
So, all-in-all, ‘Devouring Mortality’ is a very positive experience for the discerning death metal fan. There’s not a lot to dislike and so long as you’re comfortable with listening to a record that is more focussed on the past than the future. Sometimes, the vibe of days gone by can be the biggest charm about a record. But regardless, ‘Devouring Mortality’ proves how deft and accomplished Skeletal Remains are at creating quality extreme music.
The Score Of Much Metal: 8.75
twitter.com/ManOfMuchMetal

Tuesday, June 12, 2018

Marduk (review by MMB)

Marduk
Viktoria
Century Media Records
22 June 2018
Transgression was a source of inspiration for the spark in the minds of the young Swedes in the beginning, and while it is true that nowadays through sheer longevity, doggedness and quantity of output throughout its near-30 years of existence Marduk is the establishment in black metal, I still feel like a new album means a certain level of unpredictability.
I was taken aback with the first song on the album. “Werwolf” is a blasting furious punk- fiendish black metal monument to speed and minimalism. It crossed my mind that this song seemed like the band had been listening to The Ramones or The Misfits and decided to Marduk up that energy and vibe. It also occurred to me that this song would be pleasing to the fellows in Darkthrone.
“June 44” follows. No, “Werwolf” is no oddity because track number two continues the minimalist approach. It is another scorcher, a quick injection of adrenaline. There are nine full songs (no intros, no interludes and no outros) and the album is 33 minutes long. From what I can tell at this point, it is a frenetic on-point exercise in proud extreme metal, and there are only two songs that provide moments to catch your breath: “Tiger I,” a track that still has flashes of blasting and speed in it, but overall it is a change of pace in comparison to the assault on the senses of the other songs. The final track is called “Silent Night” and it is the one that winds down the album in a serene manner. This is the one track that is plodding, as a conclusion to the latest chapter of the most accomplished black metal band.
Viktoria flies by and then it’s time hear it again. Everything is working according to the grand plan of conquering the Earth with black metal. Marduk is not a band to rest on its laurels. They are always in motion, and things keep changing. They are a touring band, a workhorse of the road, and as warriors of rock and roll they keep making the next album, tour and keep working on the album planned after that. This latest one may shock some people due to its brevity and its minimalism, but I think that just as many fans may find it refreshing to hear a catchy album by Marduk. Besides, with all the bands putting out super long albums that last 120 minutes with one long track that takes forever, it’s cool to hear a Marduk album that rocks out, does the job and ends. Marduk is taking care of business, and it’s on to the next project.
facebook.com/Mardukofficial

Sunday, June 10, 2018

Nigredo (review by MMB)

Nigredo
Flesh Torn - Spirit Pierced
April 15th, 2018
Transcending Obscurity Records
John Votsis, the Greek Freak of Drums—a veritable superstar of underground extreme metal drumming, with a résumé as impressive as the day is long, including some musically incestuous entities like Dephosphorus, Principality of Hell, Thou Art Lord and Ravencult, to name but a few from a list of current and former projects and bands involving him—has teamed up with Ravencult’s vocalist Alexis Papatheofanous for a black metal entity called Nigredo, a sound that is an execution of black thrash in the classic-minded ways.
The album provides fundamental points that keep it very coherent for the listener. You can understand right away that banging your head and metal of strength and conciseness is the order of the day. For these reasons, fans that are all in on the agenda of horns-raising, in-your-face extreme metal should be the primary focus audience. The album leaves very little doubt that the musicians themselves are knowledgeable fans of extreme metal, especially cult underground bands. In this case, classic thrash and black metal are, in my opinion, a great source of inspiration for the spirit of this work.
Alexis Papatheofanous shines on here. Besides the old-school extreme metal vocals for which he is known by the followers of his musical endeavors in the awesome Ravencult, Alexis takes care of the bass guitar on the album. So far, he is known for his vocals, a type of black metal bark that is appealing for its thrash and black metal tones; however, now we are finding out that there is another side to the man, and that’s his bass playing, assuming that the official information is factually accurate.
Even more interestingly, Alexis Papatheofanous, undoubtedly unbeknownst to many of the supporters of his work with Ravencult, plays guitar. The riffs are very concentrated and efficient, in the sense of compact, direct songs aimed straight at the thrash and black metal fanatics, and in general any metal zealot, looking to bang their heads on an album from start to finish. While Alexis apparently does not do guitar solos much, the riffs come out of the woodwork fast, sharp, strong and are very appealing in the styles of this genre.
Certain questions do remain. Is this simply a studio project or will Alexis and John recruit some friends to take this show on road? It appears that some shows may have taken place already, but if the quality of the music continues, then it should be interesting to see whether this cult will take to the streets of Europe and other places. Another question pending is, will there be guitar solos in the future?
Supporters of the Greek extreme metal bands may already know the mighty music of the cult of Thou Art Lord and memorable tunes of Ravencult, but now here is another name to investigate. This is the debut album, so Nigredo is just getting warmed up. Keep rocking this album and let’s wait and see what comes next. I’m looking forward to finding out.
nigredogr.bandcamp.com
facebook.com/NigredoGr

Friday, June 8, 2018

Void

"A black, empty hole, both inside and out. There is a veil between something and nothing and we stand on the one side staring eternally over to the other, knowing that one day we will cross. For thousands of years established thought has been that once on the other side, we will be able to look back to this one."
We would like to introduce to you the music of VOID from the U.K. The music is eclectic black metal that is meant for the more adventurous listeners looking for a bit of a personal take on extreme metal. Fortunately, you can go to the first link below and hear the music for yourself. Here is some useful information about Void. This biography gives a good explanation of the band's thinking about the roads that have brought them to the present time.
Void is a metal band based in London.
Void mixes black metal with a wide range of influences that include DHG/Dødheimsgard (Norwegian post black metal), CARCASS (pioneers of grinding hooks), SLEEPY TIME GORILLA MUSEUM (avantegarde rock), MORBID ANGEL (classic death metal), VENETIAN SNARES (breakbeats and electronica). Somewhere between these extremes, lies the heart of Void, with its work spanning almost twenty years.
Void was formed in 1999 by Mat McNerney (Kvohst: Hexvessel, Code, Grave Pleasures, DHG) and Matt Jarman (Bad Princess Productions). Sharing a commitment to create metal music unbound by any convention, and enlisting the help of Carl-Michael Eide (Czral: Virus, Ved Buens Ende, Aura Noir) on drums, they released a three track demo at the turn of the millennium.
In the two years that followed, becoming ever more influenced by experimental music, the duo self-released two more demos/EPS, that took the fusion of black metal and electronica to a new level. These early releases attracted the attention of outfits such as Moonfog, Terrorizer Magazine, and of cult bands like Red harvest, Aborym and Zyklon, with whom Void collaborated with remixes and original material. This phase culminated with the debut album POSTHUMAN, released for Samoth’s (Emperor) Nocturnal Art Productions and Candlelight Records in 2002. A live line-up was formed to play shows with ZYKLON in London and Oslo.
In 2004, when Kvhost left the band, the band went on a hiatus until 2009, when Matt Jarman formed a new live line-up with Joe Burwood (Antisect/FOFAB/Cythraul), Rob Archibald (Ackercocke, Leech Woman, Rong) and Ben Lowe (Dead Existence, Mundane). In its aftermath, VOID shared the stage with bands like Ramesses, Dragged into Sunlight, Astrohenge, Dead Existence, El Shlong, The Rotted and many more. Building on the raw black metal sound of its earliest demos, and mixing it with grind and hardcore, VOID wrote new material that resulted in a fierce eponymous album, released on Einar Sjurso's (Virus, Beyond Dawn) Duplicate Records and Vendlus Records in 2011.
In the same year vocalist Ben Lowe emigrated, and lost his life shortly afterwards. The band enlisted Levi Leblanc (Cythraul) on vocals, and honoured the memory of their lost companion by organizing the Benstock memorial show. There, they shared the stage with Dead Existence, Mundane, Flowers of Flesh and Blood and Nebukadnezza. Although new songs were recorded at the DSI studios in London, these remained unfinished. With bassist Rob Archibald leaving the band, VOID went on standby until 2016 when, at the newly established Bad Princess Productions studio, new vocals were recorded and the recording revisited. The same year Gerardo Serra joined on bass. In 2017 the new EP "The Unsearchable Riches of Void" was released on cassette. The live gig to launch the EP saw the participation of SHRINES, FZV, Bloodwork & Crusm.
In 2018 VOID wrote its third full album. This concept album translates notes into stories, recombining all the band’s disparate influences, and producing a narrative score of grief and loss. Elliot Parkin (Clunge Plunger) has recently joined as guitarist. Currently VOID is playing new shows to showcase the new material.
ukvoid.bandcamp.com

Friday night: Excuse All the Blood

Listen to the live broadcast right now, Friday night:
radiofreeamerica.com/station/kaos
Excuse All the Blood is a metal music show from the state of Washington, U.S. The show features black metal, heavy metal, death metal and other metal genres, too. The show is on Friday nights, but it is also available any time here: www.radiofreeamerica.com/dj/seamus-o-reilly
Friday night, 10pm to 1am Pacific Time (Seattle), listen to Excuse All the Blood metal music, out of Olympia, Washington state, U.S.
www.kaosradio.org
www.twitter.com/EATBRadio?lang=en

Washington state concert calendar, updated June 8, 2018

Friends in the state of Washington,
Is there a metal music show in your area that is not listed in this calendar? Does your local metal band have a show coming up and is not listed here? Is your band's name spelled incorrectly? Are the dates wrong? If you have information about shows/updates/cancellations, please get in contact with Metal Bulletin zine.
Washington state concert calendar, updated June 8, 2018
June 9 I Am Infamy, Groundfeeder, Toarn, Within Sight, Vesuvian at El Corazón, Seattle, WA
June 9 Led Zeppelin tribute show at Tony V’s, Everett, WA
June 9 Calcemia, Disembowel, Skulls, Cerebral Rot, Cavurn at Highline, Seattle, WA
June 10 HammerFall, Flotsam and Jetsam, Skelator, Convergence at El Corazón, Seattle, WA
June 10 Skulls, Crematory Stench, Disembowel, Oxygen Destroyer at Erebus, Kelso, WA
June 11 Vintersea, The Devils of Loudun, The Anima Effect at Funhouse, Seattle, WA
June 12 Vintersea, The Devils of Loudun, The Anima Effect at The Pin, Spokane, WA
June 14 Queensrÿche at Clearwater Casino, Suquamish, WA
June 15 Shizerdome, Dilapidation, Effluvia, The Accüsed at The Valley, Tacoma, WA
June 15 Simulation Theory, ApHelion, Weaponlord, LUNGS, Orator at The Mirkwood, Arlington, WA
June 15 Desolate, Dysfunktynal Kaos, Ironwood, Sins & Sinners, Twelve Gauge Saints at The Big Dipper, Spokane, WA
June 15 Black Sabbitch (Black Sabbath tribute) at El Corazón, Seattle, WA
June 15 Filth; Insvrgence; Loser; Scourged, Imposter of Humanity at Funhouse, Seattle, WA
June 15 Blistered Earth (Metallica tribute) at Union Square, Longview, WA
June 15 Neck of the Woods, Darkness Stole the Sky, Monsters Among Gods at Ben Moore’s Olympia, WA
June 16 Filth; Insvrgence; Loser at The Pin, Spokane, WA
June 16 Blistered Earth (Metallica tribute) at Louie G’s, Fife, WA
June 16 Bitter End, Coven, Accused AD at El Corazón, Seattle, WA
June 16 Obsidian, Oxygen Destroyer, Born Without Blood, Schmutzhund at Funhouse, Seattle, WA
June 16 Washington Deathfest III: Infernal Legion, Thou Shall Kill, Cryptic Enslavement, When The Broken Burn, Divide Paths, Helles, Religicide, Shred Bundy, Whythre, Voidthrone, At Home In Hell, ApHelion at Erebus, Kelso, WA
June 16 Noceur, Xoth, Blood and Thunder, DTI at Boscoe’s, Bellingham, WA
June 16 Chemical Rage, Neck of the Woods, Sins and Sinners at Eagles 2485, Kennewick, WA
June 17 Volumes, Upon a Burning Body at El Corazón, Seattle, WA
June 18 Voidthrone, Grave Gnosis, Skulsyr, DTI at The Valley, Tacoma, WA
June 18 Isenordal, Void Omnia, Addaura at Black Lodge, Seattle, WA
June 19 Isenordal, Void Omnia, Czar, Goon at The Valley, Tacoma, WA
June 19 The Devils of Loudun, Beekeeper, Iron Nightingale at The Kraken, Seattle, WA
June 19 The Body, Lingua Ignota, Bloom Offering, Lye Feast + Scarcity at Highline, Seattle, WA
June 20 Isenordal, Void Omnia, Addaura at Cryptatropa, Olympia, WA
June 21-25 Thirst for Light V festival: Addaura, Alda, Isenordal, Void Omnia, many, many others in Pe Ell, WA
June 21 Gloam, Drawn and Quartered, Blood Atonement, Cerna Krev at Highline, Seattle, WA
June 23 Bone Sickness, Rat King, Effluvia, Speaks in Tongues at Erebus, Kelso, WA
June 24 Will Haven, Heiress, Into the Storm, Old Iron at Highline, Seattle, WA
June 24 Ancient Elm at The Pin, Spokane, WA
June 24 Canyon of the Skull, Giant of the Mountain, Swampheavy, Bad Magnet at Victory Lounge, Seattle, WA
June 25 Ancient Elm, Thou Shall Kill at Substation, Seattle, WA
June 26 The Faceless, Lorna Shore, Dyscarnate, Nomvdic at El Corazón, Seattle, WA
June 28 Krallice, Wayfarer, Addaura at Highline, Seattle, WA
June 28 Crimson Guardian at Hogan’s Pub, Clarkston, WA
June 28 Orator, Empyrean, Necrosomnium, Melancholia at The Shakedown, Bellingham, WA
June 29 Into the Flood, Marrowstone, Monsters Among Gods at The Charleston, Bremerton, WA
June 30 UADA, Wolvhammer, The Black Moriah, DTI at Club Sur, Seattle, WA
June 30 Spectral Voice, Superstition, Mortiferum, Cerebral Rot at Highline, Seattle, WA
June 30 Sweatfest 2K18 at El Corazón/Funhouse, Seattle, WA
July 6 I Am Morbid, After the Fallout, Thou Shall Kill at El Corazón, Seattle, WA
July 6 Neurosis, Converge, Amenra at The Showbox, Seattle, WA
July 7 Crimson Guardian, Morbid Fascination, others at Erebus, Kelso, WA
July 7 Glass Canons, Wet Temple, Tetrachromat, others at Mirkwood Public House, Arlington, WA
July 7 Hell’s Belles (AC/DC tribute) at 7 Cedars Casino, Sequim, WA
July 7 Oxygen Destroyer at Alki, WA
July 7 Walking Corpse Syndrome, Dysfunktynal Kaos, others at The Big Dipper, Spokane, WA
July 7 Violent Hallucinations, Darkness Stole the Sky, AOG at Plaid Pig, Tacoma, WA
July 7 Deathgrave, Fetid, Cliterati, Open Veins at GLC, Seattle, WA
July 9 Mortuary Drape, Volahn, Domitian at Highline, Seattle, WA
July 10 Deathgrave, Caustic Wound, Warp Chamber, Cryptatropa, Olympia , WA
July 11 The Kennedy Veil, Aethereus, The Devils of Loudun at The Valley, Tacoma, WA
July 12 Crimson Guardian, Incidia, Divine Skies at Central Saloon, Seattle, WA
July 12 Inanimate Existence, The Last of Lucy, Aethereus, Odyssian at Funhouse, Seattle, WA
July 13 Bleach Black, Mad Culture, Face the Sun, Raygun Jones at The Charleston, Bremerton, WA
July 13 Dispirit, Drawn and Quartered, Ignis, Cerna Krev at Highline, Seattle, WA
July 13&14: WADM Metalfest at Erebus, Kelso, WA: Cursed, Oxygen Destroyer, Hang the Kode, Battle Ace Massacre, Inside Defiance, Crüd Güns, Simulation Theory, Noose; Aggression, Violent Hallucinations, Antiform, Hyborian Rage, Pre Embalmed, Dilapidation, Kömmand, After the Fallout, Trojan Swamp Monster
July 14 Queensrÿche at Lucky Eagle Casino, Rochester, WA
July 14 Crimson Guardian, Eroder at Anchor Pub, Everett, WA
July 14 Damn the Flood, Casualty of God, Zenith, Whythre at Louie G’s Pizza, Fife, WA
July 14 Havok, Extinction AD, Vultra, InComing Days at The Pin, Spokane, WA
July 14 American Wrecking Company, Helles, Drug of Choice at The Plaid Pig, Tacoma, WA
July 15 Havok at Revolution, Seattle, WA
July 19-21 The Backyard Festival (40 bands/2 stages) at Louie G’s Pizza, Fife, WA
July 20 Rest, Repose; Drewsif Stalin, For the Likes of You, As Pillars Fall, ReEvolution at Funhouse, Seattle, WA
July 20 Red Fang at The Pin, Spokane, WA
July 21 Skelator, Expain, Substratum, Xoth at The Kraken, Seattle, WA
July 21 Infernal Legion, Blood and Thunder at Plaid Pig, Tacoma, WA
July 22 Exmortus, The Absence, Hatchet at Club Sur, Seattle, WA
July 23 Isenordal, Suicide Forest at Highline, Seattle, WA
July 25 Graveshadow at Funhouse, Seattle, WA
July 25 Mournful Congregation, Bell Witch, Mortiferum at Highline, Seattle, WA
July 27 Demon Hammer, Oxygen Destroyer, Kömmand at McCoy’s Tavern, Olympia, WA
July 27 Armed for Apocalypse, Deathbed Confessions, Nograves at Brews and Cues, Yakima, WA
July 27 Thou Shall Kill, others at Plaid Pig, Tacoma, WA
July 28 Zero Down (album release show), Detonator, The Plot Sickens at Funhouse, Seattle, WA
July 28 Soiree Macabre III: A Flourishing Scourge, Voidthrone at Barboza, Seattle, WA
July 28 Leed Zeppelin (Led Zeppelin tribute) at Tony V’s, Everett, WA
July 29 Hell’s Belles (AC/DC tribute) at Stones Summer Jam, Seattle, WA
August 4 Blistered Earth (Metallica tribute) at The Emerald of Siam Thai, Richland, WA
August 7 Summer Slaughter Tour at Showbox, Seattle, WA
August 8 Night Demon, Blood Star, Demonhammer at Highline, Seattle, WA
August 9 Pathology, Within Destruction, Parasitic Ejaculation at Tony V’s, Everett, WA
August 10 Pathology, Within Destruction, Parasitic Ejaculation, Transcribing the Necronomicon, Cold Hearts, Xingaia at The Pin, Spokane, WA
August 10 Night Demon, Blood Star, Demon Hammer at Highline, Seattle, WA
August 17 The Accüsed at Slim’s Annual Hillbilly Headbanger’s, Seattle, WA
August 19 Alice Cooper at Angel of the Winds, Everett, WA
August 20 Powerglove, Xoth at El Corazón, Seattle, WA
August 20 Apotheon, Aethereus, Enigma, Increate, Odyssian at Funhouse, Seattle, WA
August 22 Lamb of God, Napalm Death, The Accused AD at Knitting Factory, Spokane, WA
August 22 Bewitcher, Substratum at Highline, Seattle, WA
August 24 Slayer, Lamb of God, Anthrax, Testament, Napalm Death at White River Ampitheatre, Auburn, WA
September 3 Vicious Rumors, others at The Pin, Spokane, WA
September 4 The Exploited, Total Chaos at El Corazón, Seattle, WA
September 5 Vicious Rumors at Tony V’s, Everett, WA
September 8 Effluvia, Oxygen Destroyer, Disease at Le Voyeur, Olympia, WA
September 15 Speaks in Tongues, The Crüd Güns, DTI, others at The Valley, Tacoma, WAj
September 15 Northwest Tribfest at Historic Everett Theater, Everett, WA: tribute bands Dr. Crue, Infinity Project (Journey), Blistered Earth (Metallica), Second Sting (Scorpions), Almost Human (Kiss)
September 17 Alestorm, GloryHammer at El Corazón, Seattle, WA
September 20 Amorphis, Dark Tranquillity, Moonspell, Omnium Gatherum, Blood and Thunder at El Corazón, Seattle, WA
September 22 Coven, Disciples of Dissent, others at Wally’s House of Booze, Wenatchee, WA
September 26 Angra, Scarlet Aura, Forsaken Fortress at El Corazón, Seattle, WA
September 29 The War Within, Corvoid, Metaphoria at Darrell’s Tavern, Seattle, WA
October 3 Graham Bonnet Band, Zero Down at El Corazón, Seattle, WA
October 5 Revocation, Exhumed, Rivers of Nihil, Yautja at Highline, Seattle, WA
October 15 Enemy Soil, Antigama, Violent Opposition, Treasonist, The Drip at Funhouse, Seattle, WA
November 2 Second Sting (Scorpions tribute) at Tulalip Casino, Marysville, WA
November 10 Dilapidation, Oxygen Destroyer, Effluvia, Drawn and Quartered at The Valley, Tacoma, WA
December 28 Zoso (Led Zeppelin tribute) at Knitting Factory, Spokane, WA
*
*
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metalbulletin.blogspot.com
Metal Bulletin Zine
P.O. Box 1339
Lake Stevens WA 98258 USA
www.facebook.com/The-Metal-Bulletin-paper-zine-238441519609213/?fref=ts
www.twitter.com/MetalBulletinZn

Tuesday, June 5, 2018

Wednesday, June 6th: Devastation on the Nation w/ Aborted at TONY V'S in Everett, WA!

Who is coming out on Wednesday, June 6th to Devastation on the Nation at Tony V'S in Everett, Washington?
ABORTED
Psycroptic
Ingested
Disentomb
Arkaik
Venom Prison
Vale of Pnath
Primordial Atrocity
facebook.com/events/152680998720676/

Friday, June 1, 2018

June 2 in Arlington, Washington: Battle For Mordor: Blood And Thunder / ReEvolution / More

The Northend Roar Roar presents: Elves have come to Arlington to discuss a new battle. A battle for Mordor. The Lord of Arlington has spoken and a battle for Mordor must commence. With bloody Metal bands of the PNW to split the ears of the weak. Who will conquer Middle-Earth? Metal... Metal... Metal. \m/
Headlining this event: Blood And Thunder (Arlington, WA)
ReEvolution Official(Everett,WA)
Odyssian (Seattle, WA)
Oxygen Destroyer (Seattle, WA)
Violent Hallucinations (Seattle, WA)
Simulation Theory (Everett, WA)
$12@the door
$8 online
All Ages
facebook.com/events/878352232323423/

Washington state concert calendar, updated June 1, 2018

Friends in the state of Washington,
Is there a metal music show in your area that is not listed in this calendar? Does your local metal band have a show coming up and is not listed here? Is your band's name spelled incorrectly? Are the dates wrong? If you have information about shows/updates/cancellations, please get in contact with Metal Bulletin zine.
Washington state concert calendar, updated June 1, 2018
June 2 Insomnium, Oceans of Slumber, Anthrocene, ApHelion at El Corazón, Seattle, WA
June 2 Headbang at the Harbor: Dismembering Mary, Monsters Among Gods, others at Raymond Theatre, Raymond, WA
June 2 Battle for Mordor: Blood and Thunder, ReEvolution, Odyssian, Oxygen Destroyer, Dilapidation, Violent Hallucinations, Simulation Theory at The Mirkwood, Arlington, WA
June 2 Born Without Blood, Jugs of Blood, Ocreata at Le Voyeur, Olympia, WA
June 2 Metal Night: Sponsored by the CIA (Suicidal Tendencies tribute), othersat Bubba’s Roadhouse, Sultan, WA
June 3 GBH, The Accüsed at El Corazón, Seattle, WA
June 4 Aborted, Psycroptic, Ingested at The Pin, Spokane, WA
June 4 Primitive Man, Addaura, Isenordal, Doom Lit Sky at Mootsys, Spokane, WA
June 5 Sleep, Bell Witch at The Showbox, Seattle, WA
June 6 Behold the Octopus, Spacebag, Xoth at Highline, Seattle, WA
June 6 Devastation on the Nation: Aborted, Psycroptic, Ingested, Disentomb, Arkaik, Venom Prison, Vale of Pnath, Primordial Atrocity at Tony V’s, Everett, WA
June 7 The Skull, Earthride, Hyborian at Highline, Seattle, WA
June 8 Hailshot, Kamikaze Zombie, others at Skylark Lounge, Seattle, WA
June 9 I Am Infamy, Groundfeeder, Toarn, Within Sight, Vesuvian at El Corazón, Seattle, WA
June 9 Led Zeppelin tribute show at Tony V’s, Everett, WA
June 9 Calcemia, Disembowel, Skulls, Cerebral Rot, Gavurn at Highline, Seattle, WA
June 10 HammerFall, Flotsam and Jetsam, Skelator, Convergence at El Corazón, Seattle, WA
June 10 Skulls, Crematory Stench, Disembowel, Oxygen Destroyer at Erebus, Kelso, WA
June 11 Vintersea, The Devils of Loudun, The Anima Effect at Funhouse, Seattle, WA
June 12 Vintersea, The Devils of Loudun, The Anima Effect at The Pin, Spokane, WA
June 14 Queensrÿche at Clearwater Casino, Suquamish, WA
June 15 Shizerdome, Dilapidation, Effluvia, The Accüsed at The Valley, Tacoma, WA
June 15 Simulation Theory, ApHelion, Weaponlord, LUNGS, Orator at The Mirkwood, Arlington, WA
June 15 Black Sabbitch (Black Sabbath tribute) at El Corazón, Seattle, WA
June 15 Filth; Insvrgence; Loser; Scourged, Imposter of Humanity at Funhouse, Seattle, WA
June 15 Blistered Earth (Metallica tribute) at Union Square, Longview, WA
June 15 Neck of the Woods, Darkness Stole the Sky, Monsters Among Gods at Ben Moore’s Olympia, WA
June 16 Filth; Insvrgence; Loser at The Pin, Spokane, WA
June 16 Blistered Earth (Metallica tribute) at Louie G’s, Fife, WA
June 16 Bitter End, Coven, Accused AD at El Corazón, Seattle, WA
June 16 Uli Jon Roth at El Corazón, Seattle, WA
June 16 Obsidian, Oxygen Destroyer, Born Without Blood, Schmutzhund at Funhouse, Seattle, WA
June 16 Washington Deathfest III: Infernal Legion, Thou Shall Kill, Cryptic Enslavement, When The Broken Burn, Divide Paths, Helles, Religicide, Shred Bundy, Whythre, Voidthrone, At Home In Hell, ApHelion at Erebus, Kelso, WA
June 16 Noceur, Xoth, Blood and Thunder, DTI at Boscoe’s, Bellingham, WA
June 16 Chemical Rage, Neck of the Woods, Sins and Sinners at Eagles 2485, Kennewick, WA
June 17 Volumes, Upon a Burning Body at El Corazón, Seattle, WA
June 18 Voidthrone, Grave Gnosis, Skulsyr, DTI at The Valley, Tacoma, WA
June 18 Isenordal, Void Omnia, Addaura at Black Lodge, Seattle, WA
June 19 Isenordal, Void Omnia, Czar, Goon at The Valley, Tacoma, WA
June 19 The Devils of Loudun, Beekeeper, Iron Nightingale at The Kraken, Seattle, WA
June 19 The Body, Lingua Ignota, Bloom Offering, Lye Feast + Scarcity at Highline, Seattle, WA
June 20 Isenordal, Void Omnia, Addaura at Cryptatropa, Olympia, WA
June 21-25 Thirst for Light V festival: Addaura, Alda, Isenordal, Void Omnia, many, many others in Pe Ell, WA
June 21 Gloam, Drawn and Quartered, Blood Atonement, Cerna Krev at Highline, Seattle, WA
June 23 The Accüsed AD, Rat King, Effluvia, Speaks in Tongues at Erebus, Kelso, WA
June 24 Will Haven, Heiress, Into the Storm, Old Iron at Highline, Seattle, WA
June 24 Ancient Elm at The Pin, Spokane, WA
June 25 Ancient Elm, Thou Shall Kill at Substation, Seattle, WA
June 26 The Faceless, Lorna Shore, Dyscarnate, Nomvdic at El Corazón, Seattle, WA
June 28 Krallice, Wayfarer, Addaura at Highline, Seattle, WA
June 28 Crimson Guardian at Hogan’s Pub, Clarkston, WA
June 28 Orator, Empyrean, Necrosomnium, Melancholia at The Shakedown, Bellingham, WA
June 29 Into the Flood, Marrowstone, Monsters Among Gods at The Charleston, Bremerton, WA
June 30 UADA, Wolvhammer, The Black Moriah, DTI at Club Sur, Seattle, WA
June 30 Spectral Voice, Superstition, Mortiferum, Cerebral Rot at Highline, Seattle, WA
June 30 Sweatfest 2K18 at El Corazón/Funhouse, Seattle, WA
July 6 I Am Morbid, After the Fallout, Thou Shall Kill at El Corazón, Seattle, WA
July 6 Neurosis, Converge, Amenra at The Showbox, Seattle, WA
July 7 Crimson Guardian, Morbid Fascination, others at Erebus, Kelso, WA
July 7 Glass Canons, Wet Temple, Tetrachromat, others at Mirkwood Public House, Arlington, WA
July 7 Hell’s Belles (AC/DC tribute) at 7 Cedars Casino, Sequim, WA
July 7 Oxygen Destroyer at Alki, WA
July 9 Mortuary Drape, Volahn at Highline, Seattle, WA
July 12 Crimson Guardian, Incidia, Divine Skies at Central Saloon, Seattle, WA
July 12 Inanimate Existence, The Last of Lucy, Aethereus, Odyssian at Funhouse, Seattle, WA
July 13 Bleach Black, Mad Culture, Face the Sun, Raygun Jones at The Charleston, Bremerton, WA
July 13 Dispirit, Drawn and Quartered, Ignis, Cerna Krev at Highline, Seattle, WA
July 13&14: WADM Metalfest at Erebus, Kelso, WA: Cursed, Oxygen Destroyer, Hang the Kode, Battle Ace Massacre, Inside Defiance, Crüd Güns, Simulation Theory, Noose; Aggression, Violent Hallucinations, Antiform, Hyborian Rage, Pre Embalmed, Dilapidation, After the Fallout, Trojan Swamp Monster
July 14 Queensrÿche at Lucky Eagle Casino, Rochester, WA
July 14 Crimson Guardian, Eroder at Anchor Pub, Everett, WA
July 14 Damn the Flood, Casualty of God, Zenith, Whythre at Louie G’s Pizza, Fife, WA
July 14 Havok, Extinction AD, Vultra, InComing Days at The Pin, Spokane, WA
July 15 Havok at Revolution, Seattle, WA
July 19-21 The Backyard Festival (40 bands/2 stages) at Louie G’s Pizza, Fife, WA
July 20 Rest, Repose; Drewsif Stalin, For the Likes of You, As Pillars Fall, ReEvolution at Funhouse, Seattle, WA
July 20 Red Fang at The Pin, Spokane, WA
July 22 Exmortus, The Absence, Hatchet at Club Sur, Seattle, WA
July 23 Isenordal, Suicide Forest at Highline, Seattle, WA
July 25 Graveshadow at Funhouse, Seattle, WA
July 27 Demon Hammer, Oxygen Destroyer, Kömmand at McCoy’s Tavern, Olympia, WA
July 27 Armed for Apocalypse, Deathbed Confessions, Nograves at Brews and Cues, Yakima, WA
July 28 Zero Down (album release show), Detonator, The Plot Sickens at Funhouse, Seattle, WA
July 28 Soiree Macabre III: A Flourishing Scourge, Voidthrone at Barboza, Seattle, WA
July 29 Hell’s Belles (AC/DC tribute) at Stones Summer Jam, Seattle, WA
August 4 Blistered Earth (Metallica tribute) at The Emerald of Siam Thai, Richland, WA
August 8 Night Demon, Blood Star, Demonhammer at Highline, Seattle, WA
August 9 Pathology, Within Destruction, Parasitic Ejaculation at Tony V’s, Everett, WA
August 10 Pathology, Within Destruction, Parasitic Ejaculation, Transcribing the Necronomicon, Cold Hearts, Xingaia at The Pin, Spokane, WA
August 17 The Accüsed at Slim’s Annual Hillbilly Headbanger’s, Seattle, WA
August 19 Alice Cooper at Angel of the Winds, Everett, WA
August 20 Powerglove, Xoth at El Corazón, Seattle, WA
August 20 Apotheon, Aethereus, Enigma, Increate, Odyssian at Funhouse, Seattle, WA
August 22 Lamb of God, Napalm Death, The Accused AD at Knitting Factory, Spokane, WA
August 24 Slayer, Lamb of God, Anthrax, Testament, Napalm Death at White River Ampitheatre, Auburn, WA
September 3 Vicious Rumors, others at The Pin, Spokane, WA
September 4 The Exploited, Total Chaos at El Corazón, Seattle, WA
September 8 Effluvia, Oxygen Destroyer, Disease at Le Voyeur, Olympia, WA
September 15 Speaks in Tongues, The Crüd Güns, DTI, others at The Valley, Tacoma, WAj
September 15 Northwest Tribfest at Historic Everett Theater, Everett, WA: tribute bands Dr. Crue, Infinity Project (Journey), Blistered Earth (Metallica), Second Sting (Scorpions), Almost Human (Kiss)
September 17 Alestorm, GloryHammer at El Corazón, Seattle, WA
September 20 Amorphis, Dark Tranquillity, Moonspell, Omnium Gatherum, Blood and Thunder at El Corazón, Seattle, WA
September 22 Coven, Disciples of Dissent, others at Wally’s House of Booze, Wenatchee, WA
September 29 The War Within, Corvoid, Metaphoria at Darrell’s Tavern, Seattle, WA
October 3 Graham Bonnet Band, Zero Down at El Corazón, Seattle, WA
October 15 Enemy Soil, Antigama, Violent Opposition, Treasonist, The Drip at Funhouse, Seattle, WA
November 2 Second Sting (Scorpions tribute) at Tulalip Casino, Marysville, WA
November 10 Dilapidation, Oxygen Destroyer, Effluvia, Drawn and Quartered at The Valley, Tacoma, WA
December 28 Zoso (Led Zeppelin tribute) at Knitting Factory, Spokane, WA
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Thursday, May 24, 2018

interview: Labyrinth Entrance

Labyrinth Entrance is the extreme metal solo project of the musician named Hunger (Norway/Poland). In 2018 LE has its debut recording published and it is called Monumental Bitterness and it is divided into six sections, each one called Canto. Find out more about LE in this interview and hear the complete recording at the link at the end of this interview.
Monumental Bitterness definitely lives up to its name! The official information says that Hunger plays all the music on the album. Can you help us here in the United States to learn more about Hunger? What motivated you, Hunger, to start Labyrinth Entrance? Did anyone help you to make the album?
It's Hunger here. Labyrinth Entrance is my own solo project created round two years ago in a quite natural way. For many years I spent playing the guitar I used to focus on the old school death metal and especially American one due to the simple fact that I had been brought up on this music. Before joining Stillborn as their bass player, I had recorded EP Horror of Naatu with the help of August (the drummer in Stillborn). Afterwards it appeared a rather difficult period in my personal life with lot of problems whirling around, and at that time the first sounds of Monumental Bitterness began to form in my mind. I literally closed myself in four walls for a couple of days and that's the way how the main skeleton of the album has been created. I managed to include in this album all the emotions dwelling inside me, but also the sounds and motifs that I couldn't fit into HON music but that have been going through my head for a long time. When I possessed a certain outline of the album, I came up in the studio at the other end of Poland and there, with the help of Darek G. during 4 days I recorded the instruments and after a few months I recorded the parts of the vocals.
Do you prefer to play drums or to program the drums on the album?
As far as the drums are concerned Monumental Bitterness used the drum application to create drums tracks. When I was young I played drums in my own death metal band but in this case what I wanted to achieve on my album in many moments required really high technical skills and I couldn't afford it for the time being. Generally, I wanted the drums to sound powerful and I believe I achieved the goal. I am very satisfied with them. In fact, what counts for me is the real sound flowing from speakers and not the amount of money spent for the arduous recording of drums. That's why I did not ask for the help of my friend drummers.
Do you prefer to work alone? Is it faster to do something by yourself than having meetings or discussions about how something should be done?
The fact that I create two separate metal projects on my own is not connected that e.g. I do not want to cooperate with other musicians. The prosaic reason is lack of the time and my actual family circumstances. I have 3 children and I work in Norway, which is connected with frequent travelling. I simply do not have enough time for traditional rehearsals with my friends. I play at Stillborn where I fulfill my music aspirations as a professional crew member in man-of-three metal "beast."
Here in the U.S. I have not read much about the musician named Hunger. Who is Hunger? What other bands or projects have you done? What is the situation for Hunger as a musician in Poland?
Regarding my position in the Polish "metal underground"- despite the fact that I have been a musician for a long time, I perform on stage for about 5 years. We play with Stillborn both in Poland and in Europe, we just released another EP. My separate solo projects remain just studio projects. Soon I will be recording the first full album with HON and next year I plan to release the second album LE. I am promoted by the GodzOvWar Prod. label in the media and it goes professionally both when it comes to LE and Stillborn.
Can you tell us about your vision with Monumental Bitterness? When you began the project, did you have a vision of a melancholic, doom and black metal album?
Concerning the leitmotif of MB, the whole album is my own concept presenting the hell on the basis of Dante's "Inferno". When I started composing the album, I did not have any lyrical vision, I only knew that I wanted to record a depressive and melancholic album because that exactly reflected my state of mind at that time. And after watching INFERNO, I was enchanted by the enormous amount of paintings and visions which Dante contained therein. Then I knew that this is the direction which I want to follow. I have read several studies on this outstanding work and all the lyrics based on them, I even used some complete fragments from the original.
Canto II is a very good melancholic, melodic track, but towards the end it goes into the speed of black metal. It is an instrumental song. What made you decide not to have lyrics on this song?
As for Canto II, it is an instrumental piece, because its structure and the emotions that I have included in it are complete, and from my point they do not require any text, what's more I think that there is even no place for that. Additionally, in fact the whole album originally was supposed to be instrumental, but Greg from GOW persuaded me to try to create and record some vocals parts and today I'm happy that I have agreed because I'm finally very satisfied with the whole. This is a very personal album for me.
On the other hand, Canto III is more of a headbanging heavy metal song, in particular extreme metal. How do the Latin lyrics fit into the overall picture of Canto III and Monumental Bitterness?
Canto III is probably the most outstanding form the whole album. This was confirmed also by the amount of opinions of people who listened to it. This song is probably the best one I've ever created. I like it very much. Latin fragments of text are the above-mentioned original fragments of Dante. My parts of the lyric express all the fears and frights about the death and what is after. This is my own Monumental Bitterness. The song consists of two parts, where the second one is a monotonous slow motif colored with keys, trumpets and strings that leads to the unknown.
Canto IV almost reads like a story about kings and struggles in context of the kings. And Canto V certainly increases the tension to the conflict of murderers, traitors and destruction. When you were thinking about the conclusion to the overall story of Monumental Bitterness, how did you imagine that it should end?
Despite the fact that each of the individual songs differs significantly from the others, when you listen to this CD you can have the impression that the whole album is something like a single piece divided into parts. The same applies to lyrics. They all merge into one whole and tell about the fall of a man, his vanity and powerlessness. About sins, guilt and punishment. That there is the Hell and everyone can get there.
Now the album is complete, where does Monumental Bitterness fit in with the future plans for your project?
As for my future plans, I already have about 50 minutes of material for the second LE album and it will be completely different from Monumental Bitterness, although it will not lose climate contained in the LE. This project allows me to compose music without any limits and when composing songs I do not care if any piece stylistically fits to another one, no matter it is death metal, black metal or any other kind of music. That's why I have heard many opinions that LE music cannot be pigeonholed, because all included genres interference with each other in a skillful way creating the coherent whole.
Do you think that you ever want to perform live with some session musicians?
Playing LE live would be quite difficult to perform, because I used a lot of effects while recording and would require a lot of efforts to reproduce it all live. Besides, I wouldn't like to hear the live version in a small club with a poor sound system. I think that the whole atmosphere of the album could disappear in such conditions. This CD has a very special sound and I would like it to be remembered as it is.
Finally, how can your fans support your music?
The album is available on the CD version on the GOW Prod. website and all information about the LE can be followed on the official Facebook page, although to be honest it is not rich with the content because I do not belong to effusive people. I encourage everyone to open their minds to go deeper into Monumental Bitterness and rethink their lives from scratch. Thank you for LE's interest and for an interesting interview.
Regards - Hunger
facebook.com/labyrinth.entrance
godzovwarproductions.bandcamp.com/album/monumental-bitterness

interview: Voidthrone

Just like that, Voidthrone has returned with a new recording in 2018 called Kur, which follows the 2016 title Spiritual War Tactics. One way to think of Voidthrone is dissonant extreme metal. Fortunately, the new recording is available for listening now and you can hear for yourself the band’s interpretation of black metal. Be sure to check out the links at the end of this interview.
Hello. This is Metal Bulletin zine. On Metal Archives it says that Voidthrone began in 2016. Who are the members of the band now and what they do in terms of instruments and other responsibilities for the band?
Mac Boyd: Guitar
Ronald Foodsack: Guitar. Recording/mixing. Oil painting on Kur cover
Zhenya Frolov: Vocals
Joshua Keifer: Drums
Austin Schmalz: Bass
Is it true that the band began in 2016? So then, how is it possible that there already was an album in 2016? Was the music already written and all that was needed was the personnel for a band to record it?
Dan (Morris, previous Voidthrone vocalist): The band started with just Ron and Josh jamming together in the Winter of 2015. We were terrible. Ron had just returned from France where he sang in a death metal band called Obnoxious and had not really played guitar in about 3 years. We also didn't know what we wanted to play yet. We waited a few months until we got better and had something that resembled a couple songs. A full line up was realized in 2016, which is also the time when we adopted the name Voidthrone. Another name we almost went with was Rotfeast, but that sounds like a 90s old school death metal band. Anyways, spring 2016 is when we had a solid line up with what you may call all of the original members. This line up was steady enough to write more material, record, and eventually start playing shows.
The 2016 album is called Spiritual War Tactics. Can you take us back to the debut and tell us about your vision of the album? Musically, what did you have in mind for your band?
Musically, the intent was to create music that would make the listener curious, but uncomfortable. We wanted to incorporate dissonance in the music but still provide some hooks and payoff for the listener. It's the contrasts that make music impactful. When writing songs, we stop after playing a riff and ask each other, "how does that riff make you feel?" It might seem humorous, but it is sometimes best to develop songs based on the feeling born from the seed riffs.
Conceptually, what spiritual war were you thinking of? How do you see the spiritual war taking place generally in the world and locally in the Seattle region? How does it manifest itself? What is your role in the spiritual war?
Dan: The spiritual war was not one that conflicts in an outside sense, but more as an inner conflict. Going to war with one's demons and not knowing what the correct voice of reason is. SWT starts in the physical realm and morphs into a tale of metaphysical revenge ending with total consciousness in the "spirit realm". The metaphors used in some of the lyrics revolve around a tribal warrior who is betrayed by his own people and comes back as a spirit. We sketched out the general lyrical concept for the SWT album on a dry erase board and this helped frame things.
For you, how does your thinking about your music a couple of years ago compare to now that you have two recordings under your belt? What have you discovered about yourselves as musicians as your journey deepens and continues? For instance, are you running up against contradictions or into certain turning points in your views of your music, black metal and the execution of the musical ideas? What are your learning?
The songs on Kur feel more like songs and are probably more coherent. They are less of a giant mess of non-repeating riffs than SWT.
On Spiritual War Tactics, we wrote the songs in the order of their appearance on the album. In that way, you can see perhaps how we grew musically. The first song on SWT, for example, has some more generic metal riffs à la Behemoth, Deathspell Omega, 90s death metal, etc. Now we have a much better idea of what our general sound and vision should be and what Voidthrone sounds like. This makes it easier to write.
We have discovered that we still write most of our best riffs and song ideas by jamming together and improvising. This is probably not typical for this style of metal. This can often not be the most efficient way to write music, but it is very fun and results in unexpected sounds. We have learned that it is absolutely key to be willing to throw away riffs. There are good riffs and ideas buried under a vast number of bad riffs. You just have to be confident enough to let mediocre-but-acceptable riffs go if they don't work or make sense.
By the way, are you all in other bands in the Seattle region? If so, what bands are those?
No.
This year there is a new recording by Voidthrone and it is called KUR. In terms of musical directions, in your own view, where have the new songs taken your sound as a band now with a second work completed? Does it sound like you expected in your mind or did you realize that your creation took on a different form? If so, what did you think when you first heard the whole recording as a finished work?
Feeling/soundwise, the album sounds almost exactly the way we wanted it too, so we are thrilled with the result. It is a short album, but we tried to expand our range and have lots of contrasts and small nuances from song to song. Musically, most of the songs were not very deliberately written - they developed as we wrote and discovered them. The only exception is "Phantasm Epoch" which was designed to be short, fast, and aggressive at the prodding of Dan, our old singer who has since moved to California.
Because we recorded and mixed the album ourselves, it was difficult to have an objective ear when it was first complete. You get burned out for a few weeks after hearing the same song countless times! However, listening to it now, it feels rich, emotional, and gets our blood pumping. We're proud of it.
What does KUR as a word? Is it KUR or Kur? After the provocative title of the debut, why a more mysterious title for the album? What purpose does the title serve in relation to what you want for your music now?
Zhenya: I take the title as 'Kur', personally! Kur is a Sumerian word for their version of the afterlife. It's a featureless landscape filled with the afterimages of all people that have ever lived. All they do is wander in isolation and eat dust. That's what everyone looks forward to upon death. A friend told me about it a long time ago, and the existential horror that comes with that concept left an impression! I think the fear of total isolation is relatable to most social creatures and I think the Nihilistic emptiness allows for a certain freedom of direction for us.
How did you go about recording the new music? Are you knowledgeable enough to do it by yourselves or do you prefer at this point to work with some experienced people that bring out a better sound for you? Are there good places in Tacoma to record? And in Seattle?
Ron: I recorded everything at my house, which also happens to be where we practice. We recorded scratch guitars to click tracks, then recorded the drums in my garage. After that, we tracked the bass and guitars direct. We reamped the guitars through a Mesa Boogie oversized cab. The heads used were a Peavey 5150 and an Orange CR120. Reamping the bass didn't turn out very good, so we just used plugins for the bass amp sound. Vocals were recorded last, also in the garage. In the middle of all this, my wife gave birth to our son! It was tricky tracking guitars with a sleeping baby, but fortunately he seemed to like the white noise of black metal guitar.
As for the mixing, I mixed Kur using Cubase 8 in my office. I have been using Cubase for a while and it is the DAW I am comfortable with. That being said, I do not do this for a living. Consequently, the mixing takes a long time since I am often figuring things out as I go or am agonizing over small decisions, like which reverb sounds best on the drums, fixing errors I made, etc. It was fun but a very time intensive, inefficient process, and involved lots of late nights. I am glad I do not do this full time! Nevertheless, it was enjoyable and part of the experience. We save a lot of money doing things this way. We probably mess a lot of things up too, but everything we do is DIY (like the album art).
However, for mastering this time we sent our music off to Audiosiege mastering in Portland. It was a smart move - it was relatively affordable and ultimately effective. We got a much fuller and less fatiguing sound that we had on Spiritual War Tactics, which I mastered myself with Ozone. If any of your readers have any questions about recording or mixing, let me know. I will do my best to answer them.
It is common to see bands posting online that they have tickets for a certain big show with an artist that is from out of town. In that situation, does a band pay hundreds of dollars by buying tickets and then attempting to sell them to the fans? Is this the pay-to-play that so many bands have spoken about? What is your opinion about it? Is this the state of the music business for metal bands? In your own observations, does this method of doing things result in money losses for the bands participating in it?
Zhenya: We haven't yet completed our first pre-sale show process, so I can't totally comment on the outcome. That in mind, there does seem to be an obligation for bands to peddle tickets to people and groups (Muted by 90% of Seattle Metal and Punk Scene, probably… Sorry, dudes!). While stressful, it does require a fair bit of reaching out, which is a nice way to talk to people and get them to listen to The Word of the Void. It's a pleasure to share something we think is cool and are proud of. I think the pay to play model makes sense from a venue's perspective, but shuts out a lot of people that are starting out and may not have resources. It'd be a step forward if the expectation to sell tickets was explicit and transparent. Then, at least, the awkward dance of negotiating with venues would be more straightforward. I don't know what the "standard" way of doing anything in music is yet. Hoping to get there!
What is next for your band now that there are two albums done? Do you have any plans that you want to tell us about?
Josh: More visceral presentation and music.
Mac: Dissonant melodies.
We aim to advance our sound and allow plenty of time to experiment on the outer edges of our musical bubble. We strive to be more visceral and breathtaking. We need to have dissonant melodies. We must spread our otherworldly sickness - the beautiful Void.
What do you have in terms of merchandise for fans to support your music? For the album's online availability, what are some places where you have your music?
If people want to sport our profane name, they can do it with shirts, stickers, and patches! We're proud to say that all of the design on our current goods is done by Voidthrone's own, Dan Morris. Any artists working with our incomprehensible prophecies must be hand-picked and have a grasp of the foul divine.
Anything else that you want to tell us?
Death to false metal.
voidthrone.bandcamp.com/releases
facebook.com/voidthrone/