Friday, February 24, 2017

listen live right now; 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

interview: The Commander-in-Chief (part 1)

The Commander-in-Chief is becoming better known every year due to her work as a guitarist. In the world of metal music people have noticed her versatility as an artist, as a guitarist and vocalist interested in various styles and techniques. After several demos, singles and EP, her debut album was released in 2016: I Am. It is great that her first full-length album has seen the light of day because now we are getting a better picture of The Commander’s music, including through a couple of official videos for tracks from said work.
That’s not all that is going on, however. Actually, there seems to be a whole lot more activities that she is taking on. In fact, it often seems like there is something, some new project, a new endeavor that is on the horizon. That feeling that there is more than meets the eye with The Commander-in-Chief motivated this interview.
The really exciting part of all this is how The Commander took the time to do this interview in proper and professional way. You know, it makes sense, The Commander has a winning personality, a winner’s will and it only makes sense to her that if you are going to do something, you better do it well or not do it all.
This publication sent her some difficult questions, but she took them on seriously and this interview is the result. The interview is long and touches on several topics, including some are considered very controversial in today’s fearful, politically-correct context.
Here is the first part of the interview. The second part will be ready soon.
Hello, The Commander-in-Chief! How is 2017 treating you so far? I keep up with your news and events, and I know that in 2016 there were several highlights, such as performances and interviews on television and also on the radio. So, what is next on the agenda for you? You have been taking on some other projects, haven't you? What can you tell us at this point?
Hi there! Yes, 2016 was a good year overall, I always appreciate national & international exposure. You always need that as an artist. The majority of my time was invested in a secret project that carried on into this year as well. I do have some major announcements coming up soon and I also have some new music to release which I’ve spent a great deal of time working on.
I just released an illustrated lyric book which I’m really excited about, I’m always happy when I bring a project to completion especially if it involves my own ideas, of course. I enjoy being a complete artist, I’m at my happiest if my days are diverse and not too repetitive. I have too much unreleased original music it actually bugs me at this point, so my aim is to release as much as I can this year, I also have enough material for a double metal album, I have the title and know exactly what I want. I’m not too sure when I will shift my focus back to metal, though.
Your album I Am was released in 2016. Before the album, you had demos and an EP in 2012. Can you give us the basics on your album? How many instruments do you play on the album? Do you have guests and session musicians for the album? Where did you record it and did you work with a producer? Are you your own producer?
I always thought that I would get the opportunity to re-record the songs from the demos I made, however we often don’t get exactly what we want and have to make choices and adjust. If I had to choose between recording new music or re-record the old, I would of course prefer to move forward. So my album is a collection of various recordings that were recorded between 2010-2015.
I spent a great deal of time working on “artist development” working towards finding and developing my style which I think we succeeded with in L.A. back in 2009-2010. Yet there was a general dissatisfaction regarding some of the instrument sounds, particularly the horrendous guitar sound which was the result of the engineer/producer trying out his new tool: a digital amp emulator. His extensive use of auto-tune did not reflect well on my voice and singing either, it’s the first and only time we’ve ever had a vocal recording sounding so fake. So we re-did some of the guitars, got some of the songs re-mixed, drum sounds replaced; etc. The songwriting was really good though which is why they were included on the album.
The Evolution EP was recorded in England with metal producer Sterling Winfield in late 2011. We both wanted an organic approach so there is no trickery on the recording, neither with the drums nor the vocals. It’s a good, solid natural recording, with strong songwriting, with solos reflecting my technical abilities at the time. I obviously arrange my songs and co-produce, my manager, mother and Bel-Canto vocal-coach Elisabeth is a phenomenal vocal producer. indispensable in so many ways. L.M.A.O was for some reason not included in the Evolution release, but is included on this album.
The track “I Am The Commander-In-Chief” was the last metal track to be released from me as a single in 2013 before I crossed over and spent 3 years focusing on classical crossover. That track was co-produced with my good friend engineer and producer James Mottershead who I’ve worked with on nearly all of my recordings since late 2011.
The rest of the tracks were recorded in 2015. I tracked the guitars myself and did the vocal recording with Elisabeth. We sent the files over to my good friend guitar shredder Stephen Platt who did a guest guitar appearance on one of the tracks, while mastering, mixing and pretty much putting it all together. We were also joined by Hans Menacho on drums who sent us his files from Peru. I was very glad to have him back on board as we worked together for very many years. He is a great drummer.
I wrote all the music, re-wrote a couple of metal classics, did all the rhythm guitar and 99.99999% of the leads and solos, I did all the singing and arranged all the instrumentation supervising session bass players & drummers. I also did 99.9999% of all the backing vocals. I have a very creative mind. The songs are best enjoyed with my lyric book as people will then get a proper impression of how my creativity works. I see the book and the album as a creative “screen shot” of how I used to work and think when I was in my late teens & early twenties.
Metal Archives says that you began in 2008 and with your first demo in 2009. How long have you been playing guitar? Nowadays you live in the United Kingdom, but you are originally from Norway. Did you move to the U.K. for career reasons? Are there more opportunities for you as an artist there than in Norway?
I started to play the guitar in 2005 and signed a management deal with my opera singing/manager-mother in 2008 when we launched me as an artist with 2 demo songs, an animated video I had made myself, my illustrations and an imaginative crazy bio on Myspace, when that was still relevant. We built an online fanbase and relocated to London from Chicago. I had my first shows in the UK, gained my first independent press and recorded a demo EP. The EP funnily enough caught the attention of producers over in L.A. so we relocated there for a year working on artist development. While we were there we solidified my musical identity as a writer, I switched to a 7 string guitar, we created the uniforms, did a proper photoshoot and almost finalised the concept of who I was as an artist, which was cemented in 2011 when we got an organic recording that reflected well on me in terms of sound. I’ve only improved as an artist since then, which I take great pride in. I’m very grateful for the support that I’ve received from my mother. She is amazing.
We have now lived in the UK since 2011 as a family. I’ve lived the majority of my life abroad and consider myself to be an international Norwegian. I think location is a bit irrelevant at this point due to how the music industry has changed. I like Norway, but have lived so many years abroad that I enjoy being in an English-speaking country. I live in the countryside but it only takes me some minutes to get into Cheltenham and a couple of hours to get into London. I’ve grown very fond of living here and become homesick quite easily actually, this doesn’t mean that I’m reluctant to travel, I do what I have to do, but I’m always very happy when I come back home. It’s not exactly ugly where I live. My ideal life situation would be to have a home in the U.S. and the U.K., with a cabin up in the fjord lands of Norway. That’s my dream.
You are probably tired of this question, but I have not read about it yet. Can you tell us a bit about life was for you growing up in Norway? What part of Norway did you grow up in? Was there a lot of music in the house? Were you obsessed with guitars from a young age?!
I was born in Bergen and used to speak the local Bergen dialect, which I’ve sadly lost over the years. I went to the “Old-Bergen" kindergarten and was surrounded by books and music at home. There are old pictures of me dancing around with a self-made “Duplo” microphone. We eventually moved to the Norwegian “farm-land” where I spent a great deal of time running around outside, which I loved. When I was six we officially moved out from Norway to Italy, where I also spent a great deal of time running around in the countryside :) I was a very happy child. I've spent the majority of my life living abroad in various Western countries but came back to Norway during the summer holidays and most Christmases when I was a kid. I also attended Norwegian schools on three separate occasions, but I never moved back. My childhood was a very happy and privileged one. I felt very loved, had everything I needed and experienced a lot that my peers did not. I don’t really have any complaints. I never did until I became a teen and our lives changed dramatically.
I was never interested in guitars. I wanted to be a pop-star and an archeologist as well. Funny enough, I loved catchy pop-music and even started a pop-duo when I was eleven with my best friend. I always loved to dance and danced all the time. My dream was to play drums. I decided to pick up a guitar in 2005 as I needed a songwriting tool and the guitar was convenient. I was never a fan of the instrument. Not even today am I a fan of instrumental guitar shred-music.
Your videos on YouTube show that you have varying interests, from history, like Vikings, and opera vocals. How do you balance all these things with your musical career?! You also have a children’s book? Is that correct?
Yes, in 2014 I published a children’s book that I illustrated and wrote back in 2013 to my younger siblings :) I’ve received opera training since I was in my late teens from my mother, who is an opera singer. She was educated in Italy by an accomplished Italian opera singer called Aida Meneghelli who had the same teacher as Maria Callas. There are videos of Aida on YouTube singing with Placido Domingo! The first time I stood on a stage I was there to turn the sheet music for my mother’s pianist. My mother was and still is a great singer, who received great reviews for her singing. She combined recitals with having a large family. She is a very good vocal coach and has several students over Skype and in real-life.
I personally like to be a complete artist I said above, but I think that the more creative you are the harder it is to keep track of everything. Something always has to be the focus and in my case that has largely been the guitar, so my opera training has dragged out as voice is my second instrument. I love to read, in fact the whole family does. I think my brother is more of a history buff at this point than I am, which is why I made the Viking video with him. There was a request on my FB from people who suggested that they wanted to see that topic addressed in a video blog.
After spending many years and hours with my nose buried in my guitar I’ve tried to come back to the person I used to be, I always had a number of interests but all of this was neglected in order to become a great guitarist. I started to play late and felt that I had to practise more than everybody else. All focus remained concentrated on the dream when I started pursuing music as a career, I’ve tried to bring more balance to my life for a while now as balance is the single most important aspect of all things. I’m also better at looking after myself which was something that I was bad at for many years. I always neglected my own well-being as I was so consumed by my obsession, whether it was songwriting or playing impossible classical pieces on the guitar.
Another project that you have is your blog. Recently you critiqued the anti-Russian propaganda and paranoia. Why do you suppose that Russia, the Kremlin and Putin are so convenient to blame for so many things, including Trump winning the election. Why do the leftists like having someone like Putin to blame when liberals do not get what they want? Clinton lost. “It’s because of Putin!” Well, what about the fact that millions of Americans, including American women, voted for Trump in the states that matter?! Have you noticed that the feminists can’t explain this issue? Millions of women wanted a politician that they saw as a businessman that speaks his mind, like on radical Islam. Do you think that the radical feminists are angry with women who think differently from them?
It’s a very primitive reaction to blame everyone else. Modern liberals seem to be governed by their emotions to the extent that they make decisions that seem generous in the moment without any thoughts about the consequences. This is how people normally act when they are very young, this is how you make mistakes and learn. It becomes a problem though when people never learn and keep on blaming everyone else, which can be commonly seen among militant Marxists and other revolutionaries. They think they are the good guys, which is why they also believe that political violence is alright. There has been a very childish reaction to Trump’s victory, I hope that those celebrities who have threatened to “blow up the white house” or who’ve said that they would like to kill the president get a visit from the authorities.... Blaming everybody else, throwing temper tantrums and encouraging the populace to “fight in the streets" should disqualify anyone from holding any type of public office, especially if they are considered adults.
It’s obvious that there are some who are just born with a “complaining gene.” We are spoilt in our part of the world. I don’t think there’s ever been a point in history where people had it better. There is healthcare for everyone, there is so much food that the poor are obese, everyone has access to some sort of education, pollution levels are much better than they were under the industrial revolution for example, you will not be imprisoned or chemically castrated just because of your sexual orientation, women can get an education, work their way up into the system. You can come from a minority background and become the leader of a nation or go into important government positions in a country that you weren’t even born in. We’ve come as close as we can get to Utopia and should just be happy, but no. Then you get people complaining about trans-gender bath room issues, micro-aggressions, sexist snow-removal and pronouns. There is no end to the stupidity. I believe in equality when it comes to the starting point and opportunity, but it has now been brought to my attention that those who talk about egalitarianism usually advocate equality when it comes to outcome. Which doesn’t make any sense to me.
In terms of Russia, to campaign for the presidency of the USA while constantly blaming Putin, doing everything to piss off Kremlin is very unwise. The fact that all of these peace-loving liberals have been calling for a full-on confrontation with Russia in Syria is equally worrying. Russia might not have the upper hand in terms of boots on the ground, but they do have nukes and it seems like all of Russia’s allies in the Middle East are “enemies” of the West. When you look at the Syria conflict, Eastern European Ukraine and the current trolling from Iran, one has to wonder where this will lead. Peace is what’s best for everyone.
It must be very difficult to lead a nation, trying to protect it while still being on good terms with the international community. There are a lot of bad people out there who wants history to be constantly altered, like the idiot over in Turkey. It is therefore important to tread a bit carefully sometimes.
Duginism for example is an ideology coming out of Russia which actually is very scary. Dugan advocates that the West has to be de-stabilized to strengthen and empower Russia. Duginism wants America to be isolated and refrain from interfering in European matters. Dugan advocates that Russia should side with whichever opposition is most convenient strategically in order to weaken the West. However, neither politicians nor the media ever mentions this and try to make us hate Putin since he doesn’t support gay people for example. We are supposed to hate Russia because Pussy Riot were arrested. So you are evil, I guess, if you don’t support disgusting anarchists and revolutionaries.
The thing about the current West is that cultural Marxism won the peace, if that could be said. We have a society “where anything goes” so if you criticise this you’ll be labeled an evil bigot. Cultural Marxism has attacked all aspects of the creative professions, journalism and the school system. Any institution that affects how people think. So rebellion against everything is promoted as good even if it doesn’t make any sense. Standards are evil, success is evil, family values are evil. Anything that holds a society together is constantly fought against by those that I’ve just started calling “deconstructionists.” They keep on moaning about social constructs, yet they are the worst when it comes to social engineering. Or should I say, failed social engineering. Of course, the West will then blame “Putin the bad guy” for everything and of course they will hate Trump. It matters little what they do, they’ll be hated regardless because they represent masculinity, patriotism and social order. It would be very easy if we could say: "Here is the good guy and here is the bad guy," but life is seldom that simple. You just have to pick a side that you feel will protect your interest in the best possible way.
TO BE CONTINUED
amazon.com/I-Am-Explicit-Commander-Chief/dp/B01DM9UDDE/ref=sr_1_1?s=dmusic&ie=UTF8&qid=1487495031&sr=1-1-mp3-albums-bar-strip-0&keywords=the+commander+in+chief
commandermusic.com/index.html
itunes.apple.com/gb/album/i-am/id1098501440
thecommanderinchief.wordpress.com
youtube.com/channel/UCjgmoxi4OTMrooHn9pYNROg?view_as=public

Thursday, February 23, 2017

new issue of Metal Bulletin Zine

Friends,
At the link below you will find the new PDF/issue of this metal music zine, Metal Bulletin. It has a couple of interviews, one with Seattle's Zero Down and the Dominican Republic's Infected Omnipotence. There are also news and reviews as always.
Zero Down (Seattle, U.S.)
Infected Omnipotence (Dominican Republic)
Cellador (U.S.)
Substratum (Seattle, U.S.)
Kreator (Germany)
Morbid Messiah (Mexico)
Washington state metal music NEWS: Necrosomnium, Sacrament Ov Impurity, Funeral Age
fuglymaniacs.com/pdf-files/MetalBulletin116.pdf
fuglymaniacs.com

Tuesday, February 21, 2017

Seattle/Washington concert calendar, updated February 21, 2017

If you have information about shows/updates/cancellations, please get in contact with Metal Bulletin Zine.
February 22 Nile, Overkill, Kill Closet at El Corazón, Seattle, WA
February 22 Thou Shall Kill at Funhouse, Seattle, WA
February 23 Ashen Pyre, Isenordal, Serpent's Chalice at Substation, Seattle, WA
February 24 Genocide Skin, Lb!, Nosretep, Thaw at Highline, Seattle, WA
February 25 Transcribing the Necronomicon, Genocide Skin, Brume, Menin at Obsidian, Olympia, WA
February 25 Oxygen Destroyer, Primordial Atrocity, Dilapidation, DarkMysticWoods at Le Voyeur, Olympia, WA
February 25 MRSA, Voidthrone, Pinned Red, Whythre at Lucky Liquor, Tuwklila, WA
February 26 Uli Jon Roth, Zero Down, Children of Seraph at Studio Seven, Seattle, WA
February 27 K'atun, Monsters among Gods at Substation, Seattle, WA
March 1 Max and Igor Cavalera "Return to Roots Tour," Immolation, Full of Hell at Studio Seven, Seattle, WA
March 5 Devil Driver, Death Angel, The Agonist, Azreal, Ashes of Existence at Studio Seven, WA
March 6 Darkest Hour, Ringworm, Tombs, Rivers of Nihil, Blood and Thunder at Studio Seven, WA
March 9 Substratum, R.I.P., Spell, Witchstone at Highline, Seattle, WA
March 11 Archgoat, Valkyrja, Hellfire, Deathcult, Void Wraith at Studio Seven, Seattle, WA
March 11 Tetrachromat, Mercy Brown, Ghostblood at The Shakedown, Bellingham, WA
March 13 Havok, Warbringer, Exmortus, others at Studio Seven, Seattle, WA
March 17 Antichrist, Drawn and Quartered, Crurifagium, Kommand at Substation, Seattle, WA
March 19 Bone Sickness, Withheld Judgement, Noceur at The Charleston, Bremerton, WA
March 26 Bone Sickness, Hissing, Pagan Scum at Airport Tavern, Olympia, WA
March 28 Kreator, Obituary, Midnight, Horrendous, The Drip at Neptune, Seattle, WA
March 29 Nails, Toxic Holocaust, Gatecreeper, Bone Sickness at Neumos, Seattle, WA
March 30 Despised Icon, Carnifex, Fallujah, Rings of Saturn, Lorna Shore at Studio Seven, Seattle, WA
March 31 Oathbreaker, Khemmis, Jaye Jayle, Dust Moth at Highline, Seattle, WA
March 31 Iron Reagan, Power Trip at Real Art, Tacoma, WA
April 1 Noothgrush, Nepenthes, Wilt, Pagan Scum at Highline, Seattle, WA
April 4 Amorphis, Swallow the Sun, Black Liquid Funeral, Rhine at El Corazón, Seattle, WA
April 4 Katatonia, Caspian, Uncured at Studio Seven, Seattle, WA
April 14 Oceano, Slaughter to Prevail, Aversions Crown, Spite, No Zodiac at The Pin, Spokane, WA
April 15 Oceano, Slaughter to Prevail, Aversions Crown, Spite, No Zodiac at Real Art, Tacoma, WA
April 22 Fifth Angel (reunion) at El Corazón, Seattle, WA
April 23 Windhand, Hell, Un, Wounded Giant at Neumos Seattle, WA
April 25 Anthrax, Killswitch Engage at Showbox SoDo, Seattle, WA
April 28 D.R.I. at El Corazón, Seattle, WA
April 29 Asphyx, Extremity, Hissing, Fetid, Mortiferum at Highline, Seattle, WA
May 4 Iron Kingdom, Substratum, Nasty Bits at Funhouse, Seattle, WA
May 6 HammerFall, Delain at El Corazón, Seattle, WA
May 8 Sabaton, Battle Beast, others at El Corazón, Seattle, WA
May 11 Testament, Sepultura, Prong at Showbox Market, Seattle, WA
May 13 Negura Bunget, Ruines Ov Abaddon, Isenordal at Highline, Seattle, WA
May 18 Y & T at Studio Seven, Seattle, WA
May 20 Evergrey, Seven Kingdoms, Ascendia, Need, Convergence at Studio Seven, Seattle, WA
May 23 Arkona, Sirenia, MindMaze, others at Studio Seven, Seattle, WA
May 26 Candlemass at Modified Ghost Festival II, Vancover, B.C., Canada
June 4 Angelcorpse, Ares Kingdom, Drawn and Quartered, Petrification, Pathetic at Highline, Seattle, WA
June 5 Cryptopsy, Decrepit Birth, Rivers of Nihil, The Zenith Passage, The Kennedy Veil, Visceral Disgorge, Seeker, Gloom at Studio Seven, Seattle, WA
June 7 Heresiarch, Ritual Necromancy, Harvest Gulgatha, Hissing, Void Wraith at Highline, Seattle, WA
June 11 Blood Incantation, Qrixkuor, Demoncy, Triumvir Foul at Highline, Seattle, WA
June 12 Morbid Angel, Suffocation, Revocation, Withered at Studio Seven, Seattle, WA
Northwest Terror Fest June 15-17 at Neumos and Barboza, Seattle, WA
Call Of The Void (Denver), Cephalic Carnage (Denver), CHRCH (Sacramento), Fórn (Boston), Heiress (Seattle), King Woman (Bay Area), Lycus (Bay Area), Nomads (Los Angeles), Pilgrim (Rhode Island), Take Over And Destroy (Phoenix), Transient (Seattle/Phoenix), Uada (Portland), Usnea (Portland)
June 15
June 16
June 17 Warning (U.K.), Young And In the Way
July 5 Castle at The Pin, Spokane, WA
August 9 Metallica, Avenged Sevenfold, Gojira at Century Link Field, Seattle, WA
www.facebook.com/The-Metal-Bulletin-paper-zine-238441519609213/?fref=ts
www.twitter.com/MetalBulletinZn

Monday, February 20, 2017

Morbid Messiah, review by Dee

Dee is a "20-something metal lady, music writer & vocalist" in the U.S. This her review of the 2016 debut album by Morbid Messiah from Mexico.--MMB
Morbid Messiah
In the Name of True Death Metal
The cover says it all. The skull of a beast falling (or floating) in darkness welcomes us into a world of the foul and macabre. Morbid Messiah provides the soundtrack. The Mexican act drives death metal straight into your ears and delivers it unfiltered. On their new EP, In the Name of True Death Metal, they show respect for the classic death metal elements that have kept this style alive throughout the decades. That means you can expect guitar riffs that roar with might, equally rowdy guttural vocals and fast, pulverizing drumming.
Sounds guide you into a cramped cellar and trap you in to experience this woe again and again. Things get good and settled in once “Putrid Voices” appears. Morbid Messiah pushes their signature formula of raw instrumentation, but prepare to worship the delicious guitar solo that soars atop of the rubble—revealing to listeners an aerial view of some disastrous scene. “Condemned to Hell Sores” trudges along in the beginning, but amps up its forces gradually. This zone is dominated by thick guitar riffs and varied shades of vocal delivery. Then we have “Legions of Death,” ending our metallic joyride under three minutes, but it’s packed with plenty of grimy goodness for us.
Morbid Messiah have whipped up a traditional death metal brew, and it hits the spot. They sought out to leave us with a genuine death metal experience, and we got it. Guitar riffs remain chunky, feral solos pop up, the percussion is quite irresistible. This is death metal that’s likely to remind you of an old school persona, and the production is great. In the Name of True Death Metal is available via Godz Ov War Productions on January 31st. Here, try a bit:
godzovwarproductions.bandcamp.com/album/morbid-messiah-in-the-name-of-true-death-metal
Read more of Dee's writings at:
metalmellowdee.wordpress.com
twitter.com/metalmellowdee?lang=en

Kreator, review by Matt Spall

Matt Spall is a rock and metal music reviewer. Check out more of his work below. --MMB
Artist: Kreator
Album Title: Gods of Violence
Label: Nuclear Blast
Date Of Release: 27 January 2017
Occasionally, just occasionally, I can be a prize idiot. Like the time I sliced the tip of my finger off by choosing a knife for a job that would have been perfect for a pair of scissors. Or the time I reversed my car into another car that was stationary right beside me. In broad daylight. There are plenty of other examples but perhaps the biggest one that I can think of right now is my decision, albeit unconsciously, to never really get to grips with German thrash metal band Kreator.
Kreator have been around for practically forever and yet aside from a cursory dabble here and there, I’ve never spent any significant time with the band. Formed in Essen in 1982, ‘Gods of Violence’ represents the fourteenth studio album of the band’s career and it has taken until now for the penny to finally drop.
I mean, I always knew that they were highly regarded and I knew from the ‘Live Kreation’ album that I have squirrelled away in my collection that they could be melodic as well as aggressive and powerful. But still, I never really found the time or the desire to investigate further. Perhaps it was my general malaise towards thrash metal that was the reason or the fact that my musical journey continually pulled me in different directions. Or it could have been the fact that I was put off by criticism levelled at the band during the 90s for veering away from their archetypal sound in pursuit of a more industrial approach of which I’m not a fan per se. Whatever the reason though, I’m delighted to say that I have finally seen the error of my ways.
Back to the present day then and all I can say is: ‘Gods of Violence’ – oh yes, oh yes indeed. Given my general apathy towards thrash metal, it has to be something quite special to get my juices flowing. And that’s exactly what Messrs Miland ‘Mille’ Petrozza (vocals/guitar), Jürgen ‘Ventor’ Reil (drums), Christian ‘Speesy’ Giesler (bass) and Sami Yli-Sirniö (guitars) have delivered with this impressive new record.
I liked ‘Gods of Violence’ on a first spin. I liked it more on the second spin. And now, a week or two into my listening experience, I am loving it and I can’t stop playing it. I love the guitar tones that deliver the sharp, incisive riffs; they sound rich and full, offering the kind of primeval tone that I fell in love with all those years ago and made me realise that forevermore I’d be a slave to heavy metal.
The rhythm section is a genuine powerhouse too. From more groovy, stomping rhythms to all-out speed, Giesler and Reil lay down the impressively strong foundations, sucking you in for frequent head-banging sessions at the same time.
And then, as with all good thrash metal, the vocals are properly venomous. Petrozza is an angry man and this comes across in his snarling, spiteful diatribes. Inspired by recent world events, in particular the recent Paris terror attacks, Petrozza takes this opportunity to look at the effect of religion in the world and the way in which it can be used as a catalyst for many of the world’s ills. It isn’t a concept album per se, but the themes explored have a definite thread running through them and help to contextualise the confrontational album title and the dark, malevolent album art.
To give but one example of the lyrics in action, I’d have to go with ‘Totalitarian Terror’. The title gives a good clue of the content, but the line ‘we’re not afraid to live, we’re not afraid to die; we are the antidote, to the radicalised’ is a bold and unabashed cry of defiance against terrorists of all denominations.
On to the music itself and, according to the accompanying press release, Kreator received a bit of help and guidance from the chaps in Fleshgod Apocalypse to make the album sound more cinematic and symphonic in places. The assistance has worked, with the results immediately obvious within the opening instrumental introduction, ‘Apocalypticon’. I’m not normally a fan of these brief intros but here, it’s a minute well-spent, setting a theatrically grandiose yet dark tone.
The orchestration makes a return within a few songs throughout the album, but it never gets in the way of the core sound; it is a welcome embellishment that adds another layer to the music without ever diluting the power or the intensity.
Instead, to prove the point, the first song proper, ‘World War Now’, is a four-and-a-half-minute distillation of what Kreator and ‘Gods of Violence’ is all about. It wastes no time in getting started with an up-tempo beat and fast, incisive riffing. The barely-controlled fury of the chorus then takes things up a notch as it sounds tumultuous and full of aggression. And then it all gives way to a section that is pure melody and irresistible groove, culminating in a return to faster climes, an exuberant guitar solo and a blast-beat dominated repeat of the furious chorus.
The pace is slowed somewhat for ‘Satan Is Real’, a track that still offers blast beats and some great bass work but is much more of a stomper, a groove-laden anthem that will no doubt be a live favourite thanks to its fist-pumping, infectious chorus.
The aforementioned ‘Totalitarian Terror’ is a perfect favourite as it blends some of the fastest, most abrasive thrash metal aggression with a hook-laden sing-along battle cry chorus that has really got under my skin. The track also features a groovy mid-section breakdown and killer guitar solo, meaning that it should sate even the most demanding of metal thirsts.
The title track begins with an early Metallica-esque acoustic guitar intro, sprinkled with Middle Eastern flavour before reaffirming their thrash credentials within this hectic, no nonsense track that also begins to introduce a slight ‘New Wave of British Heavy Metal’ feel by virtue of the more melodious lead guitar lines.
The NWOBHM ingredient is yet more pronounced within both ‘Army Of Storms’ and closer ‘Death Becomes My Light’. I absolutely love the chorus of giant proportions within ‘Army Of Storms’ which transforms the song into an exhilarating aural experience. And then, just after the half-way point, in come the guitar harmonies and galloping bass that recall classic era Iron Maiden at their best.
In contrast, ‘Death Becomes My Light’ is a slightly longer, more sprawling number that sees Kreator toying with a slightly different approach. Cleaner singing takes the early spotlight atop a quiet intro before a properly galloping rhythm takes over. The chorus is strong and I simply can’t get enough of the Kreator recipe of offering big hooks and melodies atop a thunderous blast beat. It just works and it works brilliantly. Easily the most accessible and melodic track on ‘Gods of Violence’, there is even time for a more bluesy, soulful guitar solo and epic-sounding outro, ensuring that it sees the record out in real style.
I’m not entirely sure that there are any weak tracks on this record. From start to finish, I am kept engaged and delighted by what I hear. And as rich as it might sound coming from me given my previous history with Kreator, but if you don’t find ‘Gods of Violence’ to your liking in some shape or form, it might be time to question whether you actually like heavy metal at all. I’m off to explore an extensive back catalogue right now.
KREATOR - Gods Of Violence (OFFICIAL VIDEO)
The Score Of Much Metal: 9.25
Read more of Matt Spall's writings at:
manofmuchmetal.wordpress.com
twitter.com/ManOfMuchMetal?lang=en

Saturday, February 18, 2017

review: Six Feet Under

Six Feet Under
Torment
Metal Blade Records
release: 24 February 2017
The sheer amount of talent on this album is way beyond ridiculous. Six Feet Under delivers like no one else can. On this album the multitalented, versatile singer Chris Barnes shows off the different styles that he is known for. One moment he is singing sweet notes way better than Ronnie James Dio, Michael Kiske and Klaus Meine combined. How does Chris Barnes manage to do these notes of classic heavy metal so well after all these years? He has been singing great melodies for decades and there is no slowing him down.
Let's not even get into his extreme metal virtuosity. He can do the black metal vocals better than anyone ever has. He can snarl, screech, raise his voice to the highest of highs and the lowest of lows, peppering his voice with so many levels, layers, shades, tones, colors and personalities that it makes you wonder how a human can do this.
His death metal vocals represent so many sides. The screams are reminiscent of the young Chuck Schuldiner, except that this is way better, as metal aficionados have known for decades. You think David Vincent was good in his prime, well, get a load of this album and you will be taken back to the glory of the early 90s. Chris Barnes spices up the growling with many shouts and exclamations, like Tom G. Warrior was known to do and as Barney Greenway has perfected with "thrash!," "ugh!," and other Napalm Death phrases. Immolation and Nile wish that they could have growling this good. Oh, if only death metal bands would listen to the master at work and hear the dozens of variations within death metal vocals taking place here.
The musicianship is off the charts. The guitars solos bring melody, speed and technical wizardly like nobody's business. Every song is loaded with memorable riffs and hooks, combining the best elements of Hate Eternal's speed, Nile's songwriting prowess, and Yngwie Malmsteen flare for soloing. On top of that, you can hear so much classic heavy metal riffing worked into the songs, from Mercyful Fate, Accept and Judas Priest.
But you already knew all this. All albums by Six Feet Under sound this talented and skilled. This new is no different. I better stop because there is no point in preaching to the choir. I think I'm going to go listen to Immolation so that I can laugh at those guys for their no-talent songs, then I will go listen to Kiske-era Helloween so that I ridicule the lack of good singing. After that, I'll go scorn Kreator's Violent Revolution and Enemy of God for the lack of good riffs and the pitiful solos and sorry melodies found on those albums.
A new Six Feet Under album means excellence. Everything is right in the world again.
*
*
*
review by MMB

Deserted Fear, review by Matt Spall

Matt Spall reviews the new album by death metal band Deserted Fear (Germany). Matt specializes in writing long, in-depth reviews of rock and metal albums. At the end of this review you will find links to his writings. ---MMB
Artist: Deserted Fear
Album Title: Dead Shores Rising
Label: Century Media Records
Date of Release: 2017
My ambition to try to listen to more bands than ever in 2017 is off to a flyer with yet another new discovery that ticks plenty of boxes. The band in question is Deserted Fear, a German old school death metal trio comprised of guitarist/vocalist Manuel Glatter, guitarist Fabian Hildebrandt and drummer Simon Mengs. I say old school because the music on this, their third album ‘Dead Shores Rising’ is full of that groove and understated melody that typified much of the output from around 20 years ago.
What makes ‘Dead Shores Rising’ more interesting for me but will divide opinion amongst death metal aficionados the world over, is the choice of production. Sure there are still some raw edges to be heard and enjoyed, such as the harsh, guttural and raspy vocals from Glatter or the overall tone of the rumbling guitars that sound like the aural equivalent of wading through treacle. However, thanks to some mixing and mastering magic by Dan Swanö, there is an undeniably modern sheen to the music.
From the thoroughly brilliant and rousing opening intro that sounds like it could have been culled from a Jerry Bruckheimer blockbuster, you’re under no illusion that time and effort has been taken on the production, a theme that continues at the midway mark with the minute-long pause for breath ‘Interlude’. And then, throughout the remaining nine album tracks and two bonus cuts, one of which contains a guest vocal appearance from At The Gates’ Tomas Lindberg (‘The Path Of Sorrow’) you can hear the general polish that has been applied to soften a few of the rougher edges. The aforementioned guitars are just a little too monstrous and rich, the drums are just a little too crisp and the mix is just a little too clear and balanced for this to be a bona fide old school death metal album from back in the day.
I’ll probably take a lot of flack for this but I actually have no problem with this kind of groovy mid-tempo death metal having a clearer, stronger production. As with black metal, there are some within death metal circles who will like the rawer production as it conveys, in their eyes, more authenticity. I do agree but at the same time, if the music is good, I want to be able to hear it. I certainly don’t subscribe to the ‘recorded in a shoebox with a machine powered by the tears of squirrels’ approach to production, that’s for sure. As a result, ‘Dead Shores Rising’ sounds very nice to my ears indeed. But more importantly, the vibe and intensity remains intact.
Musically-speaking, I am equally satisfied with the end result. I remember the days when I heard Entombed for the first time or Obituary, Dismember or even At The Gates. To a greater or lesser extent, these are all good reference points for the output of Deserted Fear and I get the same kind of overall feelings listening to ‘Dead Shores Rising’ as I did when I first listened to the aforementioned. The power, the brutality, the malevolence, the clandestine melodies, and the more overt hooks – it is all there and it is thoroughly absorbing. This is the kind of no-frills, headbanging, groove-laden death metal with a hint or two of melodeath that I really enjoy listening to. This stuff makes me smile, I just can’t help it. Or to save face, perhaps it just makes me grin wickedly.
From the opening moments of ‘The Fall of Leaden Skies’ to the final notes of ‘The Path Of Sorrow’, the riffs, courtesy of Hildebrandt and Glatter are the king of Deserted Fear’s world. They bludgeon, they groove, they scythe and they relentlessly pummel for nigh on 45 minutes, but they do it with no small amount of style and panache. Admittedly there is a paucity of variation on ‘Dead Shores Rising’ but why would you want the music to be markedly different from song to song when the quality of what they offer is so high in the first place? There are times where you want to be entertained without having to think too hard. And, without denigrating the musicians involved or their collective talents and efforts, this is the perfect extreme metal record for just that purpose.
And whilst the guitar riffs dominate, they are more than ably assisted by the other instruments, including the drumming from Simon Mengs, which lays down a meaty foundation upon which the relentless six string action can take place. In addition to the riffs, I like the fact that there are lead guitar lines that introduce some measure of melody and that there are just enough lead solos to keep things interesting, helping to quench my personal thirst for such things, without derailing the impact of the tracks too much.
But it is the compositions themselves that transform what is an already strong blueprint into something rather brilliant. Nothing is extraneous, nothing is unnecessary. Each composition is a tight, well drilled and excellently executed slice of extreme heavy metal. Aside from one track, ‘Carry On’, no track extends much beyond four minutes, meaning that the material is a well-honed beast that wastes no time in making its mark on the listener.
In many ways, given the strength of the entire album, it would be unfair to pick out specific highlights. But I can’t let this review pass without mentioning a couple of my personal favourites.
‘The Fall Of Leaden Skies’ is a killer composition, setting the album on its way masterfully. After a flamboyant drum intro, the blend of fast-paced and groovy riffs atop an almost perpetual blastbeat makes an instant impression, culminating in a chorus that is almost catchy.
‘Open Their Gates’ on the other hand contains hints of early Obituary primarily in the monumentally heavy and groovy mid-tempo sections and via Glatter’s more contorted and convulsive vocal delivery.
And then there’s my personal favourite, the masterful ‘Face Our Destiny’, which cuts loose a little more. It therefore features more in the way of lead guitar histrionics, stronger more pronounced melodies within the chorus and an epic-sounding 45-second outro complete with wailing lead guitar.
I have absolutely fallen for the immense charms of Deserted Fear and this, their third full-length studio album. ‘Dead Shores Rising’ is a totally compelling album that has completely renewed and reinvigorated my love for death metal. It is bold, it is savage and it kicks some serious butt. What more could you possibly want?
The Score Of Much Metal: 9.25
DESERTED FEAR - The Carnage (Album Track)
twitter.com/ManOfMuchMetal
manofmuchmetal.wordpress.com

Thursday, February 16, 2017

NEWS: new Substratum album ready now for listening

Seattle traditional heavy metal heroes of glory Substratum now have their self-titled debut album ready for all the headbanging that your body can take. If your body just can't take anymore, keep headbanging until you break on through to the other side of pain. Expect classic-style heavy metal and get ready to sing along.
This is what Noisey has said about the band:
Pound for pound the most tuneful and raucous old-school metal band in Seattle, Substratum are already a headlining local act and have been tapped for a slot on the Ragnarokkr metal fest—even though they've only got a single demo to their name. Vocalist Amy Lee Carlson established her crust punk bonafides on the folk punk touring circuit as both a solo artist and part of Leonhardt and Company with Chris Ruetledge of Antique Scream. Her voice lends the band a hard, streetwise edge, and musically, Substratum splits the difference between Accept and early Iron Maiden. Their songs hit hard, but never skimp on riffs and hooks. On guitar, Max Nazaryan and Jonny Haynes work as a lead-trading duo in the vein of Judas Priest's K.K. Downing and Glenn Tipton, whereas most other Washington bands use dedicated rhythm and lead guitarists.
This is what Ancient Visionz has said about the band's new album:
Substratum are a female fronted traditional heavy metal band from Seattle. The self titled LP is nice solid stuff for the genre, and good straight up metal. The riffs and drums are delicately interlaced, which keeps the listener focused on the album. I did enjoy the concept approach Substratum used, and it does feel like a story of another time and place. The self titled album is Substratum's debut full length, and I'm curious to see how they progress with future releases. The figure on the bottom left corner of the album cover reminds me of the Predator. I'm trying to behave myself, and stop with my nerd references to comics and movies, but Substratum would fit any fantasy themed movie or Sci-Fantasy.
The vocals are strong, and I'm sure fans of metal and rock & roll will highly appreciate Substratum. Hope to see more from the band in the coming months.
FFO: Metal, Traditional Heavy Metal, Heavy Metal, Rock & Roll, NWOBHM.
substratum-seattle.bandcamp.com/releases
facebook.com/substratumseattle/

NEWS: Necrosomnium

Black metal band Necrosomnium (Mukilteo, Washington state, U.S.) now has its demo streaming at the first link below. This is a free recording.
necrosomnium.bandcamp.com/album/demo
facebook.com/Necrosomnium/

NEWS: streaming now; new album by Sacrament Ov Impurity

Black metal band Sacrament Ov Impurity (Washington state, U.S.) now has the new album ready for the world. This is the band's fourth work.
OFFICIAL:
Our new album, The Purest of Sins is available NOW via Bandcamp for download. Physical release on CD and cassette will be coming soon after.
Track list:
1. An Apparition of Bygone Lament
2. Your Sleep, I Covet
3. Sepulture of Modern Man
4. A Time of Darkness and Decay
5. Bowing Unto a Monolith of Grief
6. Sacrificial Descent
sacramentovimpurity.bandcamp.com

Seattle/Washington concert calendar, updated February 16, 2017

If you have information about shows/updates/cancellations, please get in contact with Metal Bulletin Zine.
February 17 Rhine, Blood and Thunder, Sacrifice to Survive, Odyssian at the Kraken, Seattle, WA
February 17 Wounded Giant, Heiress at Obsidian, Olympia, WA
February 18 Wounded Giant, Heiress at The Valley, Tacoma, WA
February 19 Alterbeast, Depths of Hatred, Aenimus, Aethere, Aethereus at Studio Seven, Seattle, WA
February 19 Wounded Giant at The Kraken, Seattle, WA
February 20 Marduk, Incantation, Svart Crown, A Flourishing Scourge, Dilapidation, Xoth at Studio Seven, Seattle, WA
February 22 Nile, Overkill, Kill Closet at El Corazón, Seattle, WA
February 22 Thou Shall Kill at Funhouse, Seattle, WA
February 23 Ashen Pyre, Isenordal, Serpent's Chalice at Substation, Seattle, WA
February 24 Genocide Skin, Lb!, Nosretep, Thaw at Highline, Seattle, WA
February 25 Transcribing the Necronomicon, Genocide Skin, Brume, Menin at Obsidian, Olympia, WA
February 26 Uli Jon Roth, Zero Down, Children of Seraph at Studio Seven, Seattle, WA
February 27 K'atun, Monsters among Gods at Substation, Seattle, WA
March 1 Max and Igor Cavalera "Return to Roots Tour," Immolation, Full of Hell at Studio Seven, Seattle, WA
March 5 Devil Driver, Death Angel, The Agonist, Azreal, Ashes of Existence at Studio Seven, WA
March 6 Darkest Hour, Ringworm, Tombs, Rivers of Nihil, Blood and Thunder at Studio Seven, WA
March 9 Substratum, R.I.P., Spell, Witchstone at Highline, Seattle, WA
March 11 Archgoat, Valkyrja, Hellfire, Deathcult, Void Wraith at Studio Seven, Seattle, WA
March 11 Tetrachromat, Mercy Brown, Ghostblood at The Shakedown, Bellingham, WA
March 13 Havok, Warbringer, Exmortus, others at Studio Seven, Seattle, WA
March 17 Antichrist, Drawn and Quartered, Crurifagium, Kommand at Substation, Seattle, WA
March 19 Bone Sickness, Withheld Judgement, Noceur at The Charleston, Bremerton, WA
March 26 Bone Sickness, Hissing, Pagan Scum at Airport Tavern, Olympia, WA
March 28 Kreator, Obituary, Midnight, Horrendous, The Drip at Neptune, Seattle, WA
March 29 Nails, Toxic Holocaust, Gatecreeper, Bone Sickness at Neumos, Seattle, WA
March 30 Despised Icon, Carnifex, Fallujah, Rings of Saturn, Lorna Shore at Studio Seven, Seattle, WA
March 31 Oathbreaker, Khemmis, Jaye Jayle, Dust Moth at Highline, Seattle, WA
March 31 Iron Reagan, Power Trip at Real Art, Tacoma, WA
April 1 Noothgrush, Nepenthes, Wilt, Pagan Scum at Highline, Seattle, WA
April 4 Amorphis, Swallow the Sun, Black Liquid Funeral, Rhine at El Corazón, Seattle, WA
April 4 Katatonia, Caspian, Uncured at Studio Seven, Seattle, WA
April 22 Fifth Angel (reunion) at El Corazón, Seattle, WA
April 23 Windhand, Hell, Un, Wounded Giant at Neumos Seattle, WA
April 25 Anthrax, Killswitch Engage at Showbox SoDo, Seattle, WA
April 28 D.R.I. at El Corazón, Seattle, WA
April 29 Asphyx, Extremity, Hissing, Fetid, Mortiferum at Highline, Seattle, WA
May 4 Iron Kingdom, Substratum, Nasty Bits at Funhouse, Seattle, WA
May 6 HammerFall, Delain at El Corazón, Seattle, WA
May 8 Sabaton, Battle Beast, others at El Corazón, Seattle, WA
May 11 Testament, Sepultura, Prong at Showbox Market, Seattle, WA
May 13 Negura Bunget, Ruines Ov Abaddon, Isenordal at Highline, Seattle, WA
May 18 Y & T at Studio Seven, Seattle, WA
May 20 Evergrey, Seven Kingdoms, Ascendia, Need, Convergence at Studio Seven, Seattle, WA
May 23 Arkona, Sirenia at Studio Seven, Seattle, WA
May 26 Candlemass at Modified Ghost Festival II, Vancover, B.C., Canada
June 4 Angelcorpse, Ares Kingdom, Drawn and Quartered, Petrification, Pathetic at Highline, Seattle, WA
June 5 Cryptopsy, Decrepit Birth, Rivers of Nihil, The Zenith Passage, The Kennedy Veil, Visceral Disgorge, Seeker, Gloom at Studio Seven, Seattle, WA
June 7 Heresiarch, Ritual Necromancy, Harvest Gulgatha, Hissing, Void Wraith at Highline, Seattle, WA
June 11 Blood Incantation, Qrixkuor, Demoncy, Triumvir Foul at Highline, Seattle, WA
June 12 Morbid Angel, Suffocation, Revocation, Withered at Studio Seven, Seattle, WA
Northwest Terror Fest June 15-17 at Neumos and Barboza, Seattle, WA
Call Of The Void (Denver), Cephalic Carnage (Denver), CHRCH (Sacramento), Fórn (Boston), Heiress (Seattle), King Woman (Bay Area), Lycus (Bay Area), Nomads (Los Angeles), Pilgrim (Rhode Island), Take Over And Destroy (Phoenix), Transient (Seattle/Phoenix), Uada (Portland), Usnea (Portland)
June 15
June 16
June 17 Warning (U.K.), Young And In the Way
July 5 Castle at The Pin, Spokane, WA
August 9 Metallica, Avenged Sevenfold, Gojira at Century Link Field, Seattle, WA
www.facebook.com/The-Metal-Bulletin-paper-zine-238441519609213/?fref=ts
www.twitter.com/MetalBulletinZn

NEWS: Funeral Age (Seattle)

Seattle extreme metal band Funeral Age has posted news about the upcoming album. The band's origins date back to 1997 when they were called Suicide Culture, and later changed it to Funeral Age. So far they have two albums, according to Metal Archives. Fistful of Christ (2004) and Thy Martyrdom Come (2010). Listen to the band's music at the link below.
OFFICIAL: We are in pre-production for our third album!
It has been a while since we have posted anything on here to keep you guys informed with what we are up to, so here is an update on everything going on with Funeral Age.
At the moment we are taking a break from playing any live shows to put all of our time and focus into getting our long awaited third album recorded and released. The writing process has been completed for eight new songs, four of which we have played live over the last few years, and we are currently working on mapping out the proper tempos and recording scratch guitar tracks. After all of that has been finished we will record the drum tracks and get into the actual tracking of guitars and everything else.
We do not have an actual time frame for a release date, but the album is finally in the process of being recorded and will be in your hands before you know it!
Our last album, "Thy Martyrdom Come", was released in 2010 and continues to gain us new fans to this day, so we can't wait to get another album out for all of you to listen to.
- John
funeralage.bandcamp.com
facebook.com/FuneralAgeOfficial/

NEWS: new lyric video from Cellador

Power metal band Cellador now has a new lyric to present a taste of the new album. Below you will find the relevant information about the return of Cellador.
CELLADOR
Off The Grid
Scarlet Records
Release: 10 March 2017
OFFICIAL: Rip out the cables, tear out the cords, destroy your laptops, and smash your smartphones. Cellador returns with a vengeance, exploding onto the world circuits with its massively anticipated album ‘Off The Grid!’
Meticulously crafted at the helm of founding member, songwriter, and producer Chris Petersen, the long awaited follow up to the critically acclaimed ‘Enter Deception’ is finally here, setting the bar even higher and faster on its trademark brand of steroid injected, high intensity power metal music. An allegory to the band’s free spirited nature, ‘Off The Grid’ musically conceptualizes a self-empowered approach to living, including tearing yourself free from the hive-mindedness of an increasingly collective thinking technological society, and paying tribute to the often neglected original personality and identity we retain within ourselves.
Spiked with a unique ferocity and infectious melody, this is an album not for the faint hearted. Within its audible depths the band continues the high energy power and speed metal of its previous album, while adding more clarity, more focused vision, and a cohesiveness never before achieved in its songwriting until now.
Tracing its roots back to the early 2000’s, Cellador has continuously persisted as a near antithesis to the ever fickle American metal scene. With their brand of high speed power metal, soaring vocals, catchy songwriting and intense live show, the band continues to buckle the changing trends and stick out like a sore thumb. Upon the release of its critically acclaimed debut album ‘Enter Deception’, critics quickly hailed the band as the new “Kings of American Power Metal” with universally positive reviews across hundreds of news outlets, and seeing the band tour all over North America and Japan. Quickly the band transcended beyond normal barriers of the power metal genre and enjoys a near cult-like status to this day. The band’s unique ability to draw fans of all types far has led to many touring opportunities, including sharing the stage with the likes of Trivium, Helloween, Sonata Arctica, Queensryche, Gamma Ray, Bullet For My Valentine, Behemoth, Hatchet, Havok, Vale of Pnath, Protest The Hero, Moonspell, Amaranthe, and many others.
Return to present day where after several years of hype and enthusiasm, the next opus is ready to be unleashed worldwide. Signing with Scarlet Records in 2016, Cellador again takes the metal spotlight with its latest release.
Buckle up and hold tight, this bullet train of an album has no brakes! ‘Off The Grid’ was mixed and mastered by Peter Rutcho at Damage Studios (Havok, Revocation, Vomitron, Armory) in Southbridge, MA with artwork created by Colin Marks at Rain Song Design. The album will see the light of the day on March 10, 2017.
CELLADOR - 'Shadowfold' official lyric video
facebook.com/Cellador/

NEWS: new official video from Chronos Zero

Prog metal band Chronos Zero has revealed a new official video: "Oblivion Pt. 02: The Trial Of Maat", which comes from the band's second album Hollowlands (The Tears Path Chapter One) [Scarlet Records].
Chronos Zero
Hollowlands - The Tears Path: Chapter One
release: 22 January 2016
label: Scarlet Records
“Chronos Zero released their debut album ‘A Prelude Into Emptiness' in 2013, with very positive reaction from the press. The band is now back with a renovated line-up and a new album which is the follow-up of the epic saga introduced on their debut, diving into a sea of mystery, darkness, deception, hope mythology, physics and philosophy. ‘Hollowlands’ displays plenty of beautifully written melodies, top notch musicianship and classy arrangements, in the vein of Dream Theater, Symphony X, Adagio, Meshuggah and Nevermore, with ethnic influences and a cinematographic feeling surrounding the whole work. The album was recorded, mixed and mastered by celebrated producer Simone Mularoni (DGM) at Domination Studios in San Marino and features three notable guests: Simone Mularoni himself, Matt Marinelli (Borealis) and Jan Manenti (Love.Might.Kill.). The Artwork was handled by Enrico Zavatta Design & Multimedia.”
Biography: Chronos Zero borns in 2011 as a solo project of Enrico Zavatta.
Beside the orginal idea we made our way during these few years and the resulting project is what we are today!
Everything starts with Enrico Zavatta and Federico Dapporto since forever and in the late 2012 with Davide Gennari we start to get into right feelings.
In 2012, on the way of recording the the prelude chapter album (A Prelude Into Emptiness, 2013) due a stylistic choice we decided that we needed an aggressive but still melodic oriented singer..and that he could perfectly suit the chemistry of the composition. The best choice been found: Gianbattista Jan Manenti (singer of Love.Might.Kill).
..and from then on we started this awesome cooperation.
For the year 2013 Giuseppe Rinaldi joined Chronos Zero as keyboardist.
In 2013 we presented ourself with 2 products :
“A Prelude into Emptiness – The Tears’ Path Chapter Alpha” Bakerteam Records-Scarlet Records – 10 tracks album Guest Claudia Saponi (Absynth Aura) and “Zaza Helheim” Sara Cusato from Hyperborean.
“Inner Gates of Oblivion Suite Pt.01 : Overture” a side story from the main narrative which willl help the narrative itself in the last chapters of The Tears’ Path with an amazing solo by Michele Dr Viossy Vioni (Absynth Aura, Maestro)
In summer 2014 Margherita Leardini and Manuel Guerrieri (Crawling Chaos) joins officially Chronos Zero.
To celebrate this event we published the second part of Inner Gates of Oblivion Suite: Amanomurakumo.
CHRONOS ZERO - 'Oblivion Pt. 02: The Trial Of Maat' official video
www.scarletrecords.it/releases/chronos-zero-the-compression-of-time/
www.facebook.com/chronoszero
www.twitter.com/chronoszeroprog

NEWS: U.S. Dark Metal Outfit DEATHWHITE Releasing First Full-Length in March

OFFICIAL:
"The future influences the present just as much as the past." - Friedrich Nietzsche
American dark metal outfit DEATHWHITE has set a March 10, 2017 release date for their first full-length album, For a Black Tomorrow. New song "Dreaming the Inverse" is streaming below.
The follow-up to the band's two well-received EP's (2014's Ethereal and 2015's Solitary Martyr, respectively), For a Black Tomorrow finds DEATHWHITE weaving emotive clean vocals with melodic, sweeping riffs, and elaborate drumming under a depressive atmosphere. For a Black Tomorrow was recorded from August to October 2016 at Cerebral Audio Productions under the careful supervision of producer/engineer Shane Mayer.
For a Black Tomorrow track listing:
1. The Grace of the Dark
2. Contrition
3. Poisoned
4. Just Remember
5. Eden
6. Dreaming the Inverse
7. Death and the Master
8. Prison of Thought
9. For a Black Tomorrow
This is what Metal Reviews has said in the past about the band:
"Last year I reveiwed [sic] Deathwhite's first EP, and they've already released another one for our listening pleasure. Already, there are signs of change, and no changes but for the better. Solitary Martyr has fewer influences from folk and the songs sound both more complete and more depressive, and the riffing has a strength I didn't expect based on hearing Ethereal.
The acoustic approach is mostly gone in favor of slightly dissonant two-guitar rhythm harmonies that have a much more metal sound, but the crispness of the production and songwriting remains; you could cut diamonds on some of those crunchy chords on Pressure. Suffer Abandonment sounds similar but is much catchier, and the ringing riffs used here, minus the Katatonia-like vocals, sound more blackened than gothic. Speaking of those vocals, they're still emotional, but sound less whiny than the ones I complained about last time. For being this depressive-sounding, the music now progresses smoothly and without introspective pauses, and the guitar work turns on a dime, especially on the title track. The jerking double-crunch of Only Imagined finishes the EP out. I didn't enjoy this one quite as much as the others -- its slower tempo doesn't seem to lend itself as well to the overall sound of the album --, but the muted guitar break in the middle is good.
Solitary Martyr shows a substantial improvement in Deathwhite's abilities and overall sound, and many of the weak points from their first EP have been polished out. It's another $5 EP like Ethereal -- but you now get a good deal more value for the money."
This what Rock n Reel has said in the past about the band:
Deathwhite have followed up last year’s ‘Ethereal’ EP with a brand new EP, begging the question, why is this band self-releasing material and not with a massive record label? ‘Solitary Martyr’ is the name of this name of this 5 track EP, and it is particularly good!
With a sound drifting between Anathema, especially in the excellent vocals, and Paradise Lost, the EP is not shy in displaying its influence. It is no mere copycat though. Deathwhite are a band who obviously know their own minds. Each track is supremely crafted, from the subtle acoustic sections to the muscular riff in ‘Vain’ to the urgent drive of the title track ‘Solitary Martyr’. Each member of the band plays their individual parts well, creating a warming buzz through each song.
Unfortunately, there is a dearth of meaningful information on Deathwhite which, in the context of today’s social media lifestyle where absolutely nothing is secret, is nothing short of remarkable and also pretty damn cool! It may also be the thing that holds them back. Social Media is a particularly effective tool for getting a band out there, but you have to admire them for keeping themselves to themselves!
‘Solitary Martyr’ is a cracking, enjoyable, EP. If you go to their bandcamp page, http://deathwhite.bandcamp.com/ , 5 of your US dollars will purchase this EP. That is just over 3 of our Great British Pounds! Buy this, you won’t be disappointed.
DEATHWHITE - Dreaming the Inverse (New Song)
deathwhite.bandcamp.com/album/for-a-black-tomorrow

Wednesday, February 15, 2017

NEWS: THE DRIP To Support Kreator And Obituary On Seattle Show Of Decibel Tour + Additional Shows Supporting The Haunting Fear Of Inevitability Announced

OFFICIAL: Washington-based grindcore outfit THE DRIP has booked several new upcoming shows across the Pacific Northwest in support of their Relapse Records-released The Haunting Fear Of Inevitability debut album.
THE DRIP's new shows include an opening slot at the Seattle date of the upcoming Decibel Magazine tour featuring Kreator, Obituary, Midnight, and Horrendous on March 28th. That set is followed by a headlining show in Olympia the following night, March 29th, and the weekend cones to a smoldering finale with a show in Portland March 30th, with Nails, Toxic Holocaust, and Gatecreeper. Additional shows are to be expected.
THE DRIP Live:
3/28/2017 Neptune - Seattle, WA @ Decibel Tour w/ Kreator, Obituary, Midnight, Horrendous
3/29/2017 Obsidian - Olympia, WA
3/30/2017 Analog Café & Theater - Portland, OR w/ Nails, Toxic Holocaust, Gatecreeper
Marking ten years since the band's inception this year, THE DRIP began the year with the delivery of their proper debut album, The Haunting Fear Of Inevitability, released through Relapse Records. Fusing together the rawest elements of crust, powerviolence, d-beat and grind, the album offers thirteen frenzied tracks, chock-full of slaughterhouse riffage, lightning fast blastbeats, and pulverizing breakdowns, produced by Joel Grind of Toxic Holocaust and mastered by Brad Boatright (Skeletonwitch, Gatecreeper, Weekend Nachos).
thedrip.bandcamp.com

Seattle/Washington concert calendar, updated February 15, 2017

If you have information about shows/updates/cancellations, please get in contact with Metal Bulletin Zine.
February 16 Wounded Giant, Heiress at The Shakedown, Bellingham, WA
February 17 Rhine, Blood and Thunder, Sacrifice to Survive, Odyssian at the Kraken, Seattle, WA
February 17 Wounded Giant, Heiress at Obsidian, Olympia, WA
February 18 Wounded Giant, Heiress at The Valley, Tacoma, WA
February 19 Alterbeast, Depths of Hatred, Aenimus, Aethere, Aethereus at Studio Seven, Seattle, WA
February 19 Wounded Giant at The Kraken, Seattle, WA
February 20 Marduk, Incantation, Svart Crown, A Flourishing Scourge, Dilapidation, Xoth at Studio Seven, Seattle, WA
February 22 Nile, Overkill, Kill Closet at El Corazón, Seattle, WA
February 22 Thou Shall Kill at Funhouse, Seattle, WA
February 23 Ashen Pyre, Isenordal, Serpent's Chalice at Substation, Seattle, WA
February 24 Genocide Skin, Lb!, Nosretep, Thaw at Highline, Seattle, WA
February 25 Transcribing the Necronomicon, Genocide Skin, Brume, Menin at Obsidian, Olympia, WA
February 26 Uli Jon Roth, Zero Down, Children of Seraph at Studio Seven, Seattle, WA
February 27 K'atun, Monsters among Gods at Substation, Seattle, WA
March 1 Max and Igor Cavalera "Return to Roots Tour," Immolation, Full of Hell at Studio Seven, Seattle, WA
March 5 Devil Driver, Death Angel, The Agonist, Azreal, Ashes of Existence at Studio Seven, WA
March 6 Darkest Hour, Ringworm, Tombs, Rivers of Nihil, Blood and Thunder at Studio Seven, WA
March 9 Substratum, R.I.P., Spell, Witchstone at Highline, Seattle, WA
March 11 Archgoat, Valkyrja, Hellfire, Deathcult, Void Wraith at Studio Seven, Seattle, WA
March 11 Tetrachromat, Mercy Brown, Ghostblood at The Shakedown, Bellingham, WA
March 13 Havok, Warbringer, Exmortus, others at Studio Seven, Seattle, WA
March 17 Antichrist, Drawn and Quartered, Crurifagium, Kommand at Substation, Seattle, WA
March 19 Bone Sickness, Withheld Judgement, Noceur at The Charleston, Bremerton, WA
March 26 Bone Sickness, Hissing, Pagan Scum at Airport Tavern, Olympia, WA
March 28 Kreator, Obituary, Midnight, Horrendous, The Drip at Neptune, Seattle, WA
March 29 Nails, Toxic Holocaust, Gatecreeper, Bone Sickness at Neumos, Seattle, WA
March 30 Despised Icon, Carnifex, Fallujah, Rings of Saturn, Lorna Shore at Studio Seven, Seattle, WA
March 31 Oathbreaker, Khemmis, Jaye Jayle, Dust Moth at Highline, Seattle, WA
March 31 Iron Reagan, Power Trip at Real Art, Tacoma, WA
April 1 Noothgrush, Nepenthes, Wilt, Pagan Scum at Highline, Seattle, WA
April 4 Amorphis, Swallow the Sun, Black Liquid Funeral, Rhine at El Corazón, Seattle, WA
April 4 Katatonia, Caspian, Uncured at Studio Seven, Seattle, WA
April 22 Fifth Angel (reunion) at El Corazón, Seattle, WA
April 23 Windhand, Hell, Un, Wounded Giant at Neumos Seattle, WA
April 25 Anthrax, Killswitch Engage at Showbox SoDo, Seattle, WA
April 28 D.R.I. at El Corazón, Seattle, WA
April 29 Asphyx, Extremity, Hissing, Fetid, Mortiferum at Highline, Seattle, WA
May 4 Iron Kingdom, Substratum, Nasty Bits at Funhouse, Seattle, WA
May 6 HammerFall, Delain at El Corazón, Seattle, WA
May 8 Sabaton, Battle Beast, others at El Corazón, Seattle, WA
May 11 Testament, Sepultura, Prong at Showbox Market, Seattle, WA
May 13 Negura Bunget, Isenordal at Highline, Seattle, WA
May 18 Y & T at Studio Seven, Seattle, WA
May 20 Evergrey, Seven Kingdoms, Ascendia, Need, Convergence at Studio Seven, Seattle, WA
May 23 Arkona, Sirenia at Studio Seven, Seattle, WA
May 26 Candlemass at Modified Ghost Festival II, Vancover, B.C., Canada
June 5 Cryptopsy, Decrepit Birth, Rivers of Nihil, The Zenith Passage, The Kennedy Veil, Visceral Disgorge, Seeker, Gloom at Studio Seven, Seattle, WA
June 7 Heresiarch, Ritual Necromancy, Harvest Gulgatha, Hissing, Void Wraith at Highline, Seattle, WA
June 11 Blood Incantation, Qrixkuor, Demoncy, Triumvir Foul at Highline, Seattle, WA
June 12 Morbid Angel, Suffocation, Revocation, Withered at Studio Seven, Seattle, WA
Northwest Terror Fest June 15-17 at Neumos and Barboza, Seattle, WA
Call Of The Void (Denver), Cephalic Carnage (Denver), CHRCH (Sacramento), Fórn (Boston), Heiress (Seattle), King Woman (Bay Area), Lycus (Bay Area), Nomads (Los Angeles), Pilgrim (Rhode Island), Take Over And Destroy (Phoenix), Transient (Seattle/Phoenix), Uada (Portland), Usnea (Portland)
June 15
June 16
June 17 Warning (U.K.), Young And In the Way
July 5 Castle at The Pin, Spokane, WA
August 9 Metallica, Avenged Sevenfold, Gojira at Century Link Field, Seattle, WA
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Tuesday, February 14, 2017

NEWS: Arduini / Balich

Traditional doomsters Arduini / Balich will have the debut album released soon. Sometime ago this publication had a review of the album. Listen to a song below. Here you will also find the review of the album.
Arduini / Balich
Dawn of Ages
Cruz Del Sur Music
release: 24 February 2017
Many dedicated supporters who follow the current state of traditional doom most likely already know very well that Argus (Pennsylvania, U.S.) has been for quite some time now climbing the ladder in terms of reputation as a serious band. Many of those amongst that audience might recognize the name Balich immediately. Balich is the Argus singer Butch Balich who also does vocals for this project began by Victor Arduini, whose name longtime Fates Warning listeners know from the early days of the band.
Arduini/Balich is big-riff, big-melody, big-voice epic doom metal. Don't be fooled by the word project. It is true that many side projects sound like second-rate leftovers from musicians' main bands. That's not the situation here at all. It's very serious and very good. Contrary to some present trends in doom, this is not a slow/super slow recording. It is not one of those doom works that rejects guitar riffs, guitar solos, real singing and traditional songs. What a breath of fresh air it is to hear big-time, big-league traditional doom. Arduini and Balich are both pros and this recording brings everything to the table. This is a great example of how doom is heavy metal, real heavy metal. I, for one, don't like a whole lot of doom because so much of it sounds like some people cannot come up with any good riffs and they don't have the skills to write a song, so they pluck away at a low string over and over in a slow way because that is supposedly what doom is. Arduini and Balich completely disagree. You have to learn to play your guitar for real and you have to have the riffs. There's no getting around that. All the space rock samples, sound feedback and simplistic sludge grooves is not going to cut it.
Listen to this album and hear how the veterans do it. You can bang your head to these song; maybe not all the time, but there’s rocking going on. Sure, there are slower moments, there's plenty of heaviness, but it's not all slow, all the time. There are excellent melodies here. You can sing along, too; Balich has a strong voice and it is the real thing. It is a pleasure to listen to him sing. As for Arduini, well, who would have thought that a guitarist known and respected for his classic prog works would bust out with something this awesome, heavy and rocking like this?
A wonderful triumph.
Note that this album will not be available for a little while and this publication is not able to give you any links to the music yet, but put this album on your list of titles that are of high quality coming out in early 2017 and be sure to keep the list handy. If you, like I, believe that doom is and should be heavy metal, real heavy metal, then I cannot imagine that this work will not interest you.
In addition, read this official information that can be helpful in making an informed decision about this album.
[review by MMB]
track list:
01 The Fallen
02 Forever
03 Into Exile
04 The Wraith
05 Beyond the Barricade
06 The Gates of Acheron
07 Sunrise (Uriah Heep cover)
08 Wolf of Velvet Fortune
09 After All (The Dead) (Black Sabbath cover)
OFFICIAL:
"Doom Laden Progressive Wall Of Metal!" Sounds like the perfect definition of ARDUINI/BALICH's debut album "Dawn of Ages" which will be released on Cruz Del Sur Music on Feb. 24, 2017.
ARDUINI/BALICH is the result of two very powerful figures in their own right of the metal scene. VICTOR ARDUINI needs no introduction being one of the founding members of FATES WARNING, same can be said for BRIAN "BUTCH" BALICH, the mighty voice of ARGUS.
The story goes back in time to the end of 2013 when Arduini put a final word to his experience with FREEDOMS REIGN. Victor needed more freedom to express his creativity, feeling his ideas weren't much fitting into the style of FR anymore.
"At that time I was at a creative peak. It seemed like I wrote new riffs every day which seemed heavier and darker than anything I've done before," commented Victor Arduini. "They were becoming more intricate and challenging which fueled my passion to see how far I could take them. I was really close to the whole process and soon realized it had to be a project where I could have complete artistic control and produce an album that represented who I am as an artist, guitarist and musician."
In search of musicians who could get along with this challenge, Victor recruited Freedoms Reign's drummer Chris Judge and was on the lookout for a singer when his path crossed with Butch who had recently shared stages with him.
"I truly feel Brian's vocals are some of the best he's ever done. It's like when Dio went from Rainbow to Sabbath," Arduini stated. "Same voice but new music around it inspired new melodies and gave a different presentation. While it took longer than both of us expected for many reasons we reached the finish line and are both very proud of the music and our collaboration together. It is truly a joint collaboration and we hope our fans will enjoy what they hear."
"Dawn Of Ages" is one of the most ambitious records ever released on Cruz Del Sur Music. A monumental piece of music on the level of WHILE HEAVEN WEPT or ATLANTEAN KODEX's releases (to name two Cruz Del Sur recording artists). A rollercoaster of emotions, an album that captures the collisions of two worlds, progressive and doom. The final result is a really amazing journey inside human soul. Through six original compositions that last for more than an hour, the audience will be captured and hypnotized by the eclectically familiar Victor's guitar melodies empowered by Butch's passionate interpretation. Indeed "Dawn of Ages" is an album that could have been easily recorded in the mid/late 70s for the total dedication that transpires through each and every note of it. It is not an album that wants to please any old or new trend in metal, rather an intimate expression of two musicians who have always put their passion for heavy music before anything else.
"Dawn Of Ages" will be released in a deluxe 6-panel digipack embellished by a wonderful, original Michael Cowell's (Alunah) artwork. The vinyl version will be released in a gatefold colored vinyl double LP with three incredible cover songs as a bonus. URIAH HEEP's "Sunrise", BEAU BRUMMELS' "Wolf Of Velvet Fortune" and BLACK SABBATH's "After All (The Dead)."
ARDUINI/BALICH - "THE FALLEN"
ARDUINI / BALICH: "Dawn Of Ages" teaser
facebook.com/arduinibalich
cruzdelsurmusic.com
cruzdelsurmusic.bandcamp.com/
facebook.com/cruzdelsurmusic
Twitter.com/CruzDelSurMusic
Arduini/Balich - Dawn Of Ages Promo Video