Thursday, August 25, 2016

oh, no, thrashers Ghostblood have new single! run away, fool, run away!

"Ghostblood went to a party last Saturday night, they didn't get laid, they got in a fight, uh, huh, it ain't no big thing.
Late for their gig and the traffic was bad, got ride from the only friend they ever had, so Lita drove them to the show in a Ford pickup, uh, huh, it ain't no big thing."
The trash-talking, bug-eating kings of comedy gore thrash metal (it's a new Seattle genre thing, you wouldn't understand) have inexplicably recorded a new song and it's called Eviscerama (yes, like Bananarama). These cats dress in white sneakers because they are waiting for the day that they will meet John Petrucci in the worm-infested, slimy, crime-ridden, dumpster-divers-dominated streets of Seattle's Clyde Hill or Medrona Waterfront and they are going to tell him what is what with their sneakers in John's favorite body parts. After they give him a piece of their mind they will make him listen to their new song Eviscerama on repeat for six minutes or maybe even nine minutes and he will know what Ghostblood's "gore-splattered ghostly thrash-blackening death-blood" is all about.
In case you do not know this, when you talk about Ghostblood you are supposed to reveal if you know the band or not. Well, I do not know them and I have never met them or attended one of their many shows in the Seattle region, but just you wait, one day I will go to one of their shows! Ghostblood, I'm not done with you! In the interest of even fuller disclosure, this zine must reveal that Ghostblood sent in a copy of their new single and I am keeping in a safe vault because one day my grandkids are going to ask, "Grandma, what bands from Seattle do you like?" and I will show them that I have cds from Ghostblood. If I ever catch them listening to pop music I will grab their phones and throw them in the pool (the phones, not the kids, you sicko) and play them Ghostblood music on my boombox because I actually have one (a tiny one from the 1970s or 80s or one of those decades from a long time ago) and they will not dare be sour and they will feel the power and they will clap for the three-time world gore champions Ghostblood and it will be a new day in gore thrash and I will body slam them (the kids, not the phones because the phones will be in the pool, and you can't body slam a phone, anyway, are you keeping up?!) in the huge bouncy house that's in the backyard!
Ghostblood is back! (Well, sort of, they never go away.)
You listen, and you listen good now. You gonna be blind in Texas, blind in London, blind in Snohomish County, WA (yeah, that's real place, a place of high per capita horse ownership, too).

NEWS: Infernal Diatribe

Infernal Diatribe (Kolkata, India)
Videha Mukti
Release Date - June 20th, 2016
Record Label - Transcending Obscurity Distribution
This one is for the souls and hearts of occult black metal. Whether it is new listeners into the craft or the experienced audiences, as long as there is a passion for black metal and its allegiance, this Indian formation is definitely one to hear. This is apparently their first recording, at least that's what Metal Archives says, but they seem and sound devoted to their art already, as this is no rehearsal cassette tape demo. It is true that it is only an EP, but it's a promising one: traditional black metal in spirit, with an emphasis on songs that make an impression as songs, not just as fast or as a genre qualifier. It is only EP, and the cynics say that every band has a few goods songs in them, but let's not get pessimistic at the start. Acquaint yourself with two (out of four) songs at the link below, consider their worthiness or not, their value or their lack thereof, but give it some time and let it sink in, maybe come back to it, and reevaluate. It does sound promising, doesn't it? Let's give them a chance with this EP, and let's make a mental list of black metal bands from India to watch out for and let's see where things stand later on when they unleash a full-length album. There will be more to comment, enjoy, critique or reject then. For now, bang your head!
OFFICIAL: Infernal Diatribe, hailing from Kolkata, India, have taken the torch from Heathen Beast in further propagating the sound of black metal from the country. Along with significant albums released by Toxoid and Diabolus Arcanium, they're at the foremost where the black metal scene in India is currently poised. Playing vicious and ambitious occult black metal, this quintet is all set to unleash their underground assault on unsuspecting ears worldwide. The band have worked tremendously hard on making this debut, their dream, a reality and armed with a deal with Transcending Obscurity Distribution, one can expect the band moving out of their home base to play other cities, and hopefully, other countries as well. Nonetheless, there's little to stop their blackened spiritual attack. Superbly composed songs with an underlying dark Indian theme forms the crux of the band's music. The whole affair reeks of spiritual indulgences, the left hand path and its fatal implications this side of the world, as the band tells us about the aghori path of moksha aka spiritual enlightenment.

Calgary Metalfest on September 17th

Thrash Legends EXCITER Comment On Original Line Up Performing For First Time Since 1985 at Calgary Metalfest 2016 Line Up w/ Annihilator, Exciter (original line-up), Razor, Sacrifice, Toxic Holocaust, The Exalted Piledriver And More! Canadian thrash legends EXCITER will be taking the stage at this year's Calgary Metalfest on September 17th at Flames Central presented by Big Nate Productions. Their performance is one for the history books as they will be reuniting their original line up for the first time since 1985 plus sharing the stage with fellow Canadian thrash pioneers ANNIHILATOR, RAZOR and SACRIFICE. All have never before performed on the same stage together, making the concert a historic moment in metal. EXCITER guitarist John Ricci comments: "We are really stoked to participate at the fest with such great bands that came out of Canada and went on to establish themselves as serious contenders in the metal market around the globe. The last time the original line-up played together was the summer of 1985, our last tour together across the USA. When we got back together in 2014, it was like we never broke up, it was like instant musical chemistry!"
Friday, September 16th at Dickens Pub, Portland-based TOXIC HOLOCAUST will headline their first Calgary appearance since 2011. Support by DISCIPLES OF POWER, THE ORDER OF CHAOS, FORNICATION, BLACK PESTILENCE and CONCRETE FUNERAL.
Thursday, September 15th at Distortion sees THE EXALTED PILEDRIVER in their first ever Western Canadian performance with support from CRYSTAL MESS, SAVAGE STREETS, PROFITS OF CRIME and ACCOSTAL.
Wednesday, September 14th Kick-off Party at The Ship and Anchor, FREE SHOW with THE CADAVOR DOG, W.M.D., IN/VERTIGO, BLACKBIRD ELECTRIC, OUTLETS BAND.
About: Calgary Metalfest, in its fifth annual year, started in 2012 by Nathan “Nate Reno” Renaud after his experiences working at Monsters of Rock in 2008 and as Stage and Production Manager of Noctis Metalfest from 2008 to 2013. Nate also founded and plays bass in KYOKTYS and is a live and studio audio engineer with over forty titles and hundreds of shows to his credit. Through its live charity auction, Calgary Metalfest has raised a total of $4000 for Make-A-Wish Southern Alberta and is shooting to sponsor an entire $10,000 Wish this year! Auction items will include autographed posters, guitars, art, festival tickets, and more.

NEWS: Six-Score

Six-Score (Austria)
Release: 14 October 2016
Ok, friends into grind, it's time to get into the mosh pit with Six-Score, a bunch of speed freak lunatics raving against many things (some of them in German) and playing blasting music from here to eternity. Surprise, surprise, they hate capitalism and corporations! Since that's what they do and that's who they are, they have chosen to play grind. They claim that they began back in 2008. You know, back then capitalism was very ravenous and many working people could not find a job or had garbage jobs, but now in 2016, now that things are much, much better, no, wait, they are not much better and Six-Score is much more bitter and grind and furious and they are just about ready to burst into blasting songs at any given second because that's what politics makes them do. Go figure, go grind! Below you will find some hype about the band with big statements and all that, but maybe you can find out a couple of useful tips in there, anyway. If not, oh, well, go their Facebook page and go straight to source of the grind.
OFFICIAL: Austrian grind band SIX-SCORE will release their stunning new album Lebensräume on October 14th 2016. The band's seamless blend of d-beat, hardcore punk and metal makes for a stunning listen. Lebensräume will be released on digital, CD, cassette and vinyl as a co-release by WOOAAARGH,Hectacombe, EveryDayHate and a few other labels. After releasing their first full-length album Drudge, the band played shows both locally and in foreign countries, culminating in an appearance at the prestigious Obscene Extreme Festival in 2013. Now in 2016, the band has catapulted itself to the forefront of the grind community with the upcoming release of Lebensraume-A masterpiece of modern grindcore that will stun fans of bands such as Human Cull, Nasum, Napalm Death, Pig Destroyer, **** the Facts and Rotten Sound.
Maximum Gain by Efficient use of Affliction (DIY release) 2009
Drudge (DIY release) 2010
Split LP w Prosperity Denied (Release by Bloody Lips Records) 2013
Sampler: Dump 2014 (Release by Knochentapes) 2014

Wednesday, August 24, 2016

POWER FROM HELL (Brazil) coming to the Northwest

POWER FROM HELL plays ancient black metal the raw and occult way and they will soon do some shows in the Northwest. The band began in 2001 and they have some nine releases, including the latest one from 2015. Actually, if you would like to hear the band, see the last link at the bottom and you can hear the new album in its entirety.
Chapel of Astaroth has posted this reminder some days ago:
In just over one week we at the Chapel bring you Brazilian black thrash attack POWER FROM HELL! This is their first ever northwest appearance and they only have three dates so don't miss out!
8/26-Portland at Rose City Strip w/ Nekro Drunkz (CD release!)
8/27-Seattle at Black Zia w/ Crurifragium, Vomicus, Hereticon
8/29-Everett at Tony V's w Sacrament Ov Impurity, Sarcalogos

Doro tour in Ukraine

Doro has announced a tour of Ukraine. See the flyer for the dates.
OFFICIAL: "DORO Pesch is a living legend! That the world knows at least since 17 June 2013 as the "Queen of Rock & Metal" in England at the prestigious "Golden Gods Awards" in London's O2 Arena was awarded the first ever "Legends Award".
Highpoint of a now already three decades long lasting career. DORO can look back on a truly unique career in the music business. DORO, ie in figures: gold and platinum awards sold for about 10 million records worldwide, and more than 2,800 live performances on four continents and in 60 countries around the world, 16 studio albums, four DVDs, countless titles pictures in all relevant music magazines million enthusiastic fans around the world.
With 16 years DORO played already in first bands, but the success story started with the foundation of her band Warlock 1982 and the first album Burning The Witches, 1983, the first steps towards an international career, which in 1986 became the first woman on the stage of the legendary "Monsters of Rock "festival at Castle Donnington England led - and 120,000 frenetic fans.
That same year, DORO and Warlock were offered to go with Judas Priest on a world tour. At the point to DORO finally decided to terminate her job as a graphic designer and enter wholeheartedly, heart and soul into the professional music business. On major world tours to DORO earned henceforth be headlining in the US, South America, China, Japan, Australia and Europe a huge following. In Spain and Russia it is now even worshiped as a goddess. You also graduated more Super tours with icons like Ronnie James Dio, the Scorpions or Motörhead.
DORO and Warlock took on a total of four studio albums and managed 1987 Triumph & Agony international breakthrough. Shortly before DORO from Dusseldorf to New York was drawn, where she still lives today. Triumph & Agony sold over three million copies and reached gold & platinum status worldwide. The masterpiece contains among others two mega hits from the songwriter-spring DORO: All We Are and Forever, which are still celebrated today frenetically at every gig.
DORO successor Force Majeur tied seamlessly to the 1989 mega-success of "Triumph & Agony" at, shot right away in 5th place of the German Media Control Charts and reached within just 14 days Gold status.
1990 saw the titled with DORO album, which was produced in LA by none other than KISS mastermind Gene Simmons, who is one of their absolute musical heroes and numerous songs contributed to the album.
True at Heart in 1991 produced by the renowned Barry Beckett (including producer of the Rolling Stones). In the 90s, followed by other outstanding albums as Angels Never Die and Machine to Machine and Pearl Love Me In Black.
The deserved recognition received DORO 1994 when she was named the most important German music award "Echo" for "Artist of the Year". Overall, it has been nominated eight times until today for the ECHO.
In the Czech Republic, meanwhile, won the DORO Spark Magazine title "Sexiest Woman Alive". Calling The Wild set another milestone in 2000, are then but Love Me Forever Alone Again and heard: the first duets DORO ever. Sung with the great Lemmy Kilmister of Motörhead, with whom she today a long-standing friendship.
Even for the 13-times world champion Regina Halmich maintains DORO a close friendship. Thus arose the same four of their catchment hymns: All We Are, Fight, She's Like Thunder and The Queen.
From her love of animals and a few appearances at charity concert "Rock for Animals", which was performed with the Metal Classic Night Orchestra, was created in 2004 with the idea of ​​producing the successful Classic Diamonds album and the DVD of the same name, which DOROs biggest hits in classical Show robe. Live the fans at Wacken Open Air came to enjoy the Classic Diamonds. There DORO celebrated, accompanied by a 60-piece orchestra, in August 2004 to great acclaim.
In 2006 DORO put her acting talent, as the female lead of the warrior Meha in Luke Gasser's film Anuk - The Path of the Warrior and took her cinema debut. At the same time the film DORO wrote their first film score - Warrior Soul. The title track of the album also served as the film's soundtrack. 2012/13 DORO played again the Meha, when she participated in continuing, Anuk 2, which is celebrating 2014 theatrical release. Speaking of celebrations - on 13 December 2003 celebrated DORO their first big anniversary. For 20-year-olds in Düsseldorf Philips Halle congratulate star guests like Biff Byford, Lemmy and Udo Dirkschneider on stage.
Back in the day, five years later were on 13/12/2008 at the ISS Dome, Dusseldorf, the Scorpions, Tarja Turunen and many other guests with DORO on their stage. The pictures were on this DVD DORO - immortalized 25 Years in Rock. At the same time the end of 2008 the single "Celebrate" Album Fear No Evil developed a hit in Spain where remained "Celebrate" for seven weeks in the top ten. Spain is one of the absolute DORO strongholds. Readers of the largest Spanish metal magazine "Heavy Rock" chose DORO today 17 times (!) As the best of all singers.
Fear No Evil shot in Germany in early 2009 at No. 11th On 13 March 2010, the 2,500th concert, which was also celebrated in the home Dusseldorf followed. In summer 2010, the Metal Queen signed a new record deal with Nuclear Blast, the German premium label when it comes to rock and metal (including Nightwish, Accept).
Their latest album, "Raise Your Fist", also rose in October 2012 straight into the Top 20 a. The album represents a new climax in the life's work of DORO. Because to Raise Your Fist combines the artist not only super stars like Lemmy (duet with the soulful ballad It Still Hurts) and Gus G (guitarist of Ozzy Osbourne) on their album, but creates with the title song, a new anthem of the caliber of All We Are. In addition, the song of freedom DORO dedicated - Human Rights of the human rights organization "Terre des Femmes", whose ambassador DORO since 2009.
The current 2013 is dedicated entirely to the great 30-year-old "throne-anniversary" of the Metal Queen. The ceremonial kick-off at the anniversary concert in front of 80,000 fans on August 2 in Wacken where DORO at the 24th W: O: A is seen for the 5th time as a headliner, followed by an extensive European tour in the fall as well as special anniversary gigs.
The new Doro band consists of Nick Douglas (bass), Johnny Dee (drums), Bas Maas (guitar), Luca Princiotta (guitar, keyboard) and Harrison Young (keyboards).
On top DORO versa on 2 and 3 May 2014 two concert nights again in her hometown Dusseldorf back to the CCD hall with a classical night (2:05:14) and a flat-out rock 'n' roll show with illustrious star guests to celebrate their big anniversary."
DORO Discography:
Burning The Witches (1983)
Hellbound (1985)
True As Steel (1986)
Triumph & Agony (1987)
Force Majeure (1989)
DORO (1990)
Rare Diamonds (1991)
True at Heart (1991)
Angels Never Die (1993)
DORO - Live (1994)
Machine to Machine (1995)
Love Me in Black (1998)
Calling The Wild (2000)
Fight (2003)
Classic Diamonds (2004)
Warrior Soul (2006)
Fear No Evil (2009)
Under My Skin (2012)
Raise Your Fist (2012)
Current Album:
Raise Your Fist (30 Years Anniversary Edition) (2014)
Forever (2003)
Classic Diamonds (2004)
20 Years of Warrior Soul (2007)
DORO - 25 Years of Rock (2010)
DORO - Raise Your Fist In The Air (OFFICIAL MUSIC VIDEO)

Tuesday, August 23, 2016


Introtyl is a death metal band from Mexico. It is not for nothing that they name Bolt Thrower, Suffocation, Behemoth, Severe Torture, Cannibal Corpse, Bloodbath and Decapitated are reference points. Their recordings and their live shows bring upfront, efficient death metal, but at the same time the band has always stated that the quality of the music is important, too. It's not just playing fast or heavy as a band that is casually jamming together, but rather as musicians who are proud of their skills, their songs and their genre. Of course, they always seek to communicate musical brutality. That’s a given. According to Metal Archives, their second EP is called Inception, and you can hear songs from it on ReverbNation. This year they have some shows coming up in Mexico, for instance:
September 17: Toluca
September 24: Durango
October 7: Mexico City
October 29: Guadalajara
November 19: Celaya
A last matter that should of interest is that they actually have several videos on YouTube, including their full show in the Wacken Metal Battle and also another full show at the After Winter Fest in June of 2016. As you can imagine, YouTube videos often have a substandard sound quality, but even so, the energy of the band comes across really well and also their experience. Metal Archives says that they started in 2008. At the moment, the members of the band are: Sara (guitar), Kary (vocals), Ale (drums), and Rose (guitar).

Vale of Amonition

Vale of Amonition's specialty is bluesy, tripped-out doom, for which the band likes the words: dark, epic, tribal, doom, progressive, ancient and occult. The music is simplistic, raw and strange, and that's how the band likes it. Of course, this means, that some people will be very confused when they hear what this band from Uganda has in store for them, while people interested in doom that sounds way out there might just find something to peak their curiosity. Currently, the band has posted a preview of a release that is coming up. The band says about the preview: "An unmastered snippet from the Dark Queen Chronicles and rare initial mixes of Infernal Supremacy and War Of Incantations from the upcoming compilation When We Were Earthly". Listen to the preview at the link below. The track list is as follows:
1.Infernal Supremacy 03:42
2.War Of Incantations 01:24
3.Dark Queen (Unmastered) 02:55
released May 5, 2016
OFFICIAL: The VALE OF AMONITION or "Valley of Ammunition" is a home to things of a tragic persuasion. A sanctuary for warmakers, a province for mages, an abode for ancient tribal lords and their possibly doomed descendants and a whole world of creatures divine and devious. Surrounding the Vale is the Abyss which is now inhabited by the most ancient of beasts. Light does not flow into the Abyss and its creatures never venture into the Vale. But a storm is brewing and events shall soon unfold in a harrowing and dramatic fashion.
We are the band that speaks of the Vale of Amonition to Earth. We tell of its glorious history, its troubles and triumphs and of the heavy hand of doom that refuses to abandon it.
Musically, Black Sabbath and Mercyful Fate are our most important influences but rather than remain rigid, our aim from the beginning has always been to evolve as much as we can within the heavy metal context. Therefore, "progressive" is a term of significance for us and tells of our collective spirit as musicians. Our willingness to grow, our love for dynamism and intricacy and our purpose to create and to imagine INFINITELY!
Doom is our ultimate governor and the principle by which we play. Hail Dagory!

Evergrey – Interview 2016 – “We’re getting stronger and stronger, every day”

interview by Matt Spall, The Man of Much Metal.
Matt writes some of the most in-depth reviews and interviews to be found in 2016. Matt’s particular preference is prog music and that’s what he covers on his blog The Blog of Much Metal. He writes only about music that he enjoys and the adult contemporary metal band Evergrey (Sweden) is music that he loves excessively. Evergrey happens to have a new album coming up, The Storm Within, about which he already wrote up a review. The next project he’s tackling is the interview that he did in London with vocalist/guitarist Tom Englund and drummer Jonas Ekdahl. He has not finished writing the complete interview yet, but he has now posted the first part, which you will find below. If you are interested in reading more of Matt’s work, please see the links given at the end of this interview.
When you have a job and a young family, it can be tough to get out of the house sometimes, even if it is to just nip to the shops briefly. So you can imagine that it is almost impossible to get an entire evening off. However, when you are summoned to London by your favourite band to undertake an interview, you have to try. And you have to succeed. And so, late in the afternoon, I found myself heading towards the capital, in direct contrast to the 4th birthday party that I’d attended earlier as part of my ‘Daddy Daycare’ responsibilities. It’s the way I roll.
Knowing that I was running late, I abandoned the car, got on the tube and headed to Russell Square eventually arriving in a sweaty mess. The unmistakable shapes of Tom Englund and Jonas Ekdahl could be seen through the windows, enjoying a quiet chat on the hotel patio. The greeting is warm from Jonas, but I’m gathered in a bear hug from Tom who, since our last meeting even, has somewhat unbelievably become a closer friend. You ask why I do this writing for no monetary reward? This. This is why.
After the usual pleasantries have been exchanged and beers have been delivered to the table, we get down to business. I begin by asking the guys whether their present outlook is as positive as it was around the release of the highly-lauded ‘Hymns For The Broken’. Tom is first to reply and his response is emphatic.
“Yeah, for sure”, he nods. “Better. Now that we have had the amount of time that we have had in between those albums, our confidence as individual players and as a band has increased. We feel strong, we feel confident and we feel respected too which is an important part of feeling great.”
“[Expletive] no”, Tom fires back with brutal honesty when I enquire as to whether this confidence has always been present within the Evergrey camp. “I would say that it has been 20 years of self-doubt up until the last album. Even then we doubted if we were good enough to come back to do another album. You second guess yourself so much in this business, it wears you down. But it also makes you stronger. When things are going great, then you are the strongest person on Earth. But when things start to fall, then it’s just shit.”
The softly spoken and articulate Jonas adds his first thoughts of the conversation at this point.
“Especially nowadays”, he offers, whilst I silently admit to being jealous of the guy’s hair. “Because it is so easy to get a hold of your stuff on line, with all this social media stuff and people writing about you or your music. It’s like heaven or hell, highs and lows. So you have to be careful what you take in from that. You have to know yourself and that you are good at something, no matter what people say. Even if they think you are the best in the world or the worst in the world.”
“You can read 400 comments”, Tom agrees with his percussionist colleague, “where people say that you are genius, a God , gifted or the best band in the world. But then you get this one comment that says you are [expletive]. For me, it is a matter of me being bullied when I was a kid. These comments stick to me immediately, so I don’t look. When we put the video online the other day, I didn’t look at the comments. I just saw how many views we had. It’s not good for me.”
This is a response that resonates deeply with me. I too suffer with self-confidence and mental fragility, often lacking the self-belief that what I’m doing is either the right thing or any good. Therefore, when I receive any kind of negativity, I tend to take it to heart. To know that I’m not alone in this is more than a little comforting.
“I’m trying to be better at it”, Tom continues. “I don’t care if people say that they don’t like it. That’s fine. But when people are stupid, unintelligent and say things because they want to hurt people, then it makes me want to tear them to pieces in text…but I don’t.”
I remember speaking with Tom and Johan Niemann around the release of ‘Hymns For The Broken’ and the return of Jonas Ekdahl and Henrik Danhage about the effect the feedback had on them. Tom admitted that the positivity almost moved him to tears. It is surprising therefore to note that this time around, a decision was made to consciously not look at the social media feedback. I ask Tom for his reasoning.
“I don’t know”, he shrugs, looking around for inspiration. “I just took the decision that I felt I didn’t want to look. Maybe it’s because I’m super tired right now from doing all this work for such a long time. I didn’t want to know if somebody hated it because we have done exactly the album that we wanted to do in every aspect; everything from the production to the final imagery of the videos. All of it. For us it might be one of…”, Tom pauses, “maybe it is the album. I don’t know.”
“That’s how I look at it”, Jonas agrees with a big smile. “I’m super confident. Usually I am über sensitive about the comments and things. I take in very easily all the bad comments. But here, I felt so confident when we released the video, almost like I didn’t recognise myself…”
“I didn’t” Tom interjects with a broad grin and a good-natured chuckle, emphasising the friendship between the two. Jonas responds with light-hearted laughter of his own before continuing.
“I almost felt arrogant”, he states with wide-eyed disbelief writ large across his face. “The comments don’t matter, because I know what the five of us did and what Patric (Ullaeus – rEvolver) and the five of us did. If you don’t like it, it’s your problem and maybe you should just listen to something else.”
“That’s just it”, Tom responds, bringing this particular topic to something approaching a natural conclusion. “It is weird if you make an effort to tell everyone as much and as loud as you can that you don’t like it. But we have to think about it differently. We have to think that people are caring about us. They care so much that they are pissed off that we don’t sound like we did before, based on their love for the band. If they can’t handle their emotions now that we sound different or can’t follow the evolution of the band, it’s up to them. But it’s not like those albums are gone. You don’t have to miss them, they are there.”
“Yes, they are”, I quip. “They are all in my car.”
“That’s what I’ll say next time”, Tom laughs, “they’re all in Matt’s car”
One of the most noticeable things to a long-term fanboy like me, is that ‘The Storm Within’ offers a number of subtle and not-so-subtle references to the now extensive back catalogue. Hints of ‘Solitude, Dominance, Tragedy’ can be heard as well as a vibe of ‘In Search Of Truth’ here or an echo of ‘Recreation Day’ there. ‘The Storm Within’ is definitely the next stage in the gradual Evergrey evolution but to hear these flashes is strangely comforting and entirely welcome as far as I’m concerned. What I’m keen to identify is if this was a deliberate move from the quintet.
“Some lyric lines were deliberate”, Tom counters referring to the line ‘…in search of truth’ within the song ‘Astray’. “But no, it wasn’t deliberate, we never thought about it like that.”
“We just went with the flow”, Jonas interjects before struggling to elaborate further. “It is hard to explain.”
“But it might be”, considers Tom, helping his friend out, “that we said ‘wouldn’t it be great if we had a ‘Touch of Blessing’ melody run here’ for example, but I don’t really remember that we did on this album. The guitar line melodies were done by Henrik just like that”, he clicks his fingers. “But it is good if we have influences from our old albums.”
And yet, from some of the comments on social media, some people have, after hearing only ‘Distance’, dismissed the new album as ‘Hymns For The Broken’ part two or worse. Having been lucky enough to hear the entirety of ‘The Storm Within’, I disagree vehemently with this point of view and am very keen to know what Tom and Jonas think about these comments as well.
“It’s like judging a four-course meal after the salad”, Tom quips with more than a hint of acidity to his words. “‘I know that the steak will suck because I hate this tomato’. We cook for ourselves. It’s not like we cook, think it tastes like [expletive] and then eat it. We cook and then we’re happy. And if the rest of the customers don’t like it…”
“…Then go to a different restaurant”, finishes Jonas with impeccable timing. “We can’t help it. This is how it sounds and how it is supposed to sound.”
“And we are the ones who decide how it should sound”, adds Tom, now in bullish mood. “This is the right that we have. And this is what I mean by unintelligent comments. It’s like judging a TV show based on the first episode. ‘That sucked’. Yeah, maybe you didn’t get into it with that song, but we are not Britney Spears or Justin Bieber. We’re not writing hit singles. This is not a single; it is the first song to represent the album. A single? What the [expletive] is that? It is a video, the first video to set the tone for the album.”
“In general”, offers Jonas when I ask for the reasoning behind choosing ‘Distance’ as the first song, “it represents the album better, in the sense of the vibe and the atmosphere.”
“We wanted to make it dark”, nods Tom in agreement whilst taking a large glug of his beer. “We wanted to have the slower paced thing and it is one of the first songs that we wrote.”
“Yeah, yeah, yeah”, continues Jonas eagerly, clearly engaged with this particular subject. “And it was the song where we realised the vibe for the album. This is it! The video goes well with the story and the concept of the record, so many different factors. It was the most obvious thing to do and we wouldn’t have been true to ourselves to release any other song. We need to follow our hearts with what we do.”
“Everybody said that we should have released ‘Passing Through’ as the first song”, Tom admits candidly, “but we’re not even making a video for that one.”
This isn’t the first time that the ‘vibe’ has been mentioned during this conversation. I ask the gents to elaborate and they duly deliver, in the process offering a brief insight into the songwriting for ‘The Storm Within’. Jonas kicks things off.
“We were sitting in the rehearsal room when me and Tom discovered this vibe”, he explains, smiling at his colleague and friend across the table. “We were thinking that it felt like Iceland where you’re so deserted and lonely. We got so inspired and had visions in our heads and we knew that this is what we had to aim at.”
“We had written stuff for a month or three weeks already before that”, Tom reveals. “All of a sudden, a lot of this stuff didn’t fit into that vibe at all.”
“It still exists for the future”, Jonas clarifies, “but that was hard because there was some really beautiful stuff. One evening we realised that we had to decide what we were doing. There were some songs that didn’t fit into this vibe; they would just clash if we put them on the album.”
Will we see these ideas on a future album?
“They are good enough for sure”, affirms Tom, “but it depends if they’ll fit into a vibe for another album. The thing is, we usually write and write and write and then we find the vibe. We take parts from ideas that didn’t fit previous albums to work on to see if they fit into the new vibe. All of a sudden, you have 30-35 song ideas to work from.”
The words used by Evergrey themselves to describe ‘The Storm Within’ are ‘eerie, desolate and cinematic’. These are powerful words, emotive words and entirely fitting with an album from the kings of dark melodic progressive metal.
“The first image that I had in my head”, reveals Tom fascinatingly, “was a guy standing on top of a planet on his own with his loved one orbiting around him, but orbiting in circles that were so far stretched that it would take light years to reach them. I have all these lines in the album, like in ‘Paradox of the Flame’ where Carina (Englund) sings exactly that, ‘even though there are light years between us’. That’s how we tried to create the vibe, using these interstellar terms as well. It is something that I am very happy with.”
One of the biggest strengths with ‘Hymns For The Broken’ was the intensely personal subject matter, reflecting Tom’s own health problems over the preceding years. Evergrey are at their best when dealing with such things so naturally, I want to find out if the bold and emotive concept on ‘The Storm Within’ has a basis in reality for the band. Tom thinks for a moment before responding in considered fashion.
“I think this album is still personal”, he says, “but it is more based on experiences of close friends over the past years. Of course, being an empathetic person as I think I am, I think I have the know-how of putting myself in a person’s shoes and understanding…well, not understanding them”, he qualifies carefully, “but understanding how I would feel being in the same position. And then writing about that makes it feel sincere and honest. Everybody has been heartbroken sometime, been left by someone or left someone. You can even draw influences from people who have died.”
Jonas and Tom both agree that the concept applies to any relationship with a loved one, not necessarily just a partner. It leads me to make a ridiculous comment that it could therefore even apply to the death of a pet goldfish. I’m rightly ridiculed but I’m glad I said it, as it prompts Tom to offer a humorous aside, one that leads to plenty of laughter around the table.
“I’ve not told you this”, Tom giggles to Jonas before composing himself. “When we were recording the video for ‘The Impossible’, I sing ‘I’ll cross the dark side of the moon’. We find this place in Iceland that we think looks like the moon. Patric and me were like ‘Let’s film!’ We come back after 4 hours of filming and we were so excited. We’re describing the landscape, saying it looks just like the moon, with this cool waterfall over there and…and then Patric’s wife says quietly ‘water? On the moon? Really?’ We were like ‘…oh [expletive]’. She ruined it all in one sentence.”
One story leads to another as both Jonas and Tom cut relaxed and happy figures in the last remnants of the late evening sunshine. It transpires, to more loud laughing that Tom managed to get a speeding ticket in Iceland from the police at around 2am. Apparently, the police car was the only other vehicle Tom had encountered in around two hours!
It genuinely feels by this point less like an interview and more like an evening out with good friends. However, the Dictaphone on the table reminds me otherwise and I pull the conversation round to hone in on one of the descriptive words in particular, namely ‘cinematic’. I want to understand exactly what is meant by this.
“For me, when listening to Evergrey, I get visions”, Tom offers more seriously than anything uttered in the last ten minutes. “Somebody wrote in the very early days that ‘Evergrey is music for the inner eye’. I thought was very well put because when we write, we get all these images.”
“It’s like this”, Tom then offers after a pause for reflection, apparently not satisfied with his previous explanation. “I listen to a band called M83, a French electronic band. I also listen to a girl called Susanne Sundfør from Norway. I listen to them a lot. All of a sudden, I watched this movie called ‘Oblivion’. I loved the music in the movie and I realised that M83 did the whole soundtrack. ‘Fucking great!’, I thought. And then the ending song comes and it’s Susanne Sundfør and M83 together. The coincidences were amazing and it felt like they did that just for me.
‘Ah, the smell of grass in the morning!’, mutters Tom in his best posh English accent, as the unmistakeable waft of cannabis floats in off the breeze, momentarily tearing Tom’s attention from the topic at hand.
“Anyway”, he continues after the brief pause, “I presented M83 to Jonas who started listening to it. When we started writing, he came in with some song ideas and I guess it had that M83 vibe with the synthesizer sounds. So then we started vibing on that. I started watching movies like ‘Oblivion’ again, ‘Interstellar’ and ‘Prometheus’. ‘[expletive], let’s do this, this is the world, let’s do that’, I said. Carlos (Fides – Artside) did the booklet artwork quite early and we were like ‘woah, he’s got it, he understands us exactly’. And then we discover that all of these movies were shot in Iceland. We didn’t know that. So we were like ‘we have to go to Iceland’. Luckily we had the means and the record label pushed us actually to finance it. So that whole build-up thing is great.”
“I remember sitting there with an acoustic guitar and a keyboard”, offers Jonas, taking up the story. “It was just me and you”, he says pointing to Tom, “and we were talking, saying things like ‘imagine this in Iceland’. We thought about shooting a video there, so we got back to work and were so creative.”
“And I can assure you, at that time”, Tom grins wickedly, “the music did not sound that good.” Cue the playing of an air banjo complete with dodgy sound effects.
As the guys are talking, I begin to wonder whether the song ‘Disconnect’ has been influenced by M83 a little, a band with which I have a passing familiarity. After brief internal wrangling, I decide to voice my query.
“That’s the first one we wrote”, cries Jonas animatedly, leading me to throw my arms in the air and couple it with a suitably smug face.
“They are very good at finding the sound or the vibe for the song”, explains Tom. “And that’s what Jonas did with he created that synth sound.”
“And the working title for ‘Disconnect’ was actually ‘M83’, smiles Jonas, allowing my annoying smug face to immediately return.
Changing tack slightly, I move onto the contributions of the female vocalists on ‘The Storm Within’. I’m delighted to hear Tom’s wife Carina involved again on the song ‘The Paradox Of The Flame’ and I’m intrigued by the guest appearance from Nightwish’s Floor Jansen on the song ‘In Orbit’. Both do great jobs but I must be honest. I therefore suggest, perhaps controversially, that I prefer Carina’s voice. Naturally the guys are too polite to either agree or disagree.
“I think you’re painting with a different brush when you use Floor for sure”, Tom suggests. “And Floor definitely does add something.”
Raw power?
“[expletive] Me, yes”, agrees Tom vehemently and without pause, before Jonas takes over.
“Floor adds the perfect spice to the song and the lyrics, to where the story goes. When Floor comes in, it’s perfect and when Carina comes in, it makes sense too.”
With “The Paradox Of the Flame”, Tom reveals, “we wrote the vocal lines in half a day for that. Carina is just a tremendously talented singer, end of story. It’s not technical; it’s just raw talent and a quality voice.”
“She growled on Hymns”, Tom replies when I ask whether his daughter Salina makes an appearance having made such an impact on ‘Drowning Alone’ on ‘The Glorious Collision’. “And yes, she’s on this album too. She is part of the girl choir on ‘Distance’, with her class.”
One of the reasons why Evergrey are so special to me is because they connect with me on an emotional level like very few other bands out there. And I’m not alone. Based on the comments via social media and to the band directly, there are many fans who quote Evergrey as a big source of comfort, support and strength. I’m keen to find out how the band responds to this very positive by-product of their labours.
“It’s overwhelming”, admits Jonas with brutal honesty. “What do I say to this, how do I answer? We just do this for us. It is so weird that we do what we love but we can help other people in their lives too. I can’t get it into my head somehow.”
“We make music and if that aspect at all helps people then”, Tom offers before tailing off, apparently unsure of how to continue. “I get a lot of emails too and I can’t take it all in.”
“Somehow”, Jonas continues, “you need to draw a line because if you take too much of that stuff in and make it personal, when it comes to the next album, it might not be about us anymore.”
“We’re super happy of course”, Tom is eager to clarify, “but I don’t know how to respond when I hear the words. I don’t know how to describe it. It is such a big feeling, it has to be the music for us. If people find comfort in it and it helps them, then that’s an additional thing we’re grateful for.”
The sense of camaraderie and positivity that emanated from the Evergrey camp upon the return of Ekdahl and Danhage was like a breath of fresh air, welcomed by fans the world over. It is now a couple of years on but as the duo explain, the relationships within the band show no signs of diminishing like they did in the past.
“I think it’s even better now”, responds Jonas. “We’re getting stronger and stronger, every day and every week. Where we are now, it’s fantastic.”
“Also”, adds Tom, “we’ve been able to approach the music in the way that we want to. We know how to talk to each other now, which we didn’t before. It is just as easy as that.”
And how do you approach things?
“Everything is on our terms”, is the succinct and immediate answer from Tom. “We don’t have to do gigs just for the sake of it anymore. It needs to be on our terms and we need to look, sound and feel the way it should be to be a proper Evergrey show. Then it doesn’t matter if we play the Underworld or at a festival in front of 60,000 people, as long as we feel confident when we go up there. We play music because we love to play music and we don’t want to do that half-assed.
Tom and Jonas touched briefly on the songwriting of ‘The Storm Within’ earlier. However, I want to explore this a little more and the guys oblige, beginning with Tom.
“We found the format on ‘Hymns…’ where me and Jonas wrote most of it and produced it.”
“The other guys came in”, Jonas states, “with their parts and pitched in with their objective views.”
“They weighed in more than us sometimes”, Tom adds with an agreeing nod. “For example, the piano ending at the end of ‘Distance’ was initially removed but Henrik was really stubborn to keep it. There was no democracy there”, he chuckles. “But when someone thinks so strongly about something, they are usually right. But even though we do a lot of demos, when they come in and put their paint on the canvas, that’s what makes it what it is.”
At this point, I’m advised that Tom and Jonas have a table reserved at their favourite curry house in Camden. What I wasn’t expecting was the invitation to join them and to continue the interview in different surroundings. How could I refuse?
THE END of part 1.

Monday, August 22, 2016


The long-running death metal squad from Brazil named Coldblood has a new album this year. As it is the tradition of the band, the new album focuses exclusively on no-nonsense, intense death metal for the devoted crowds. Fortunately, the complete new recording is available for listening at the link below. Those that live for total death metal dedication shall be in perfect company. Speak the name of the death metal and it shall appear endlessly.
Indescribable Physiognomy of the Devil
Release date: released June 16, 2016
Label: Satanath Records
1. Indescribable Physiognomy of the Devil 04:31
2. Tetragrammaton 03:02
3. Darkness Above the Firmament 02:24
4. The Synchrony of the Cursed Star 02:53
5. Cocoon of Neophyte 02:31
6. Demons of Nox 03:54
7. Sulphur 02:56
8. Draco / Pneumatik Phenom 03:17
9. Bury the Universe 03:47
10. Metaphysical Evil 07:21
11. Indescribable Physiognomy of the Devil 04:36 instrumental
12. Draco / Pneumatik Phenom 03:16 instrumental
13. Metaphysical Evil 07:19 instrumental
total time 51:47
OFFICIAL: Band formed in January 1992 practicing a fast and aggressive Death Metal influenced by great names in the style of the 80s and 90s, combined with a profane and anti-christian thematic. In September of that year, was recorded the Demo-Tape "Terror Stench" launching Coldblood to concerts nationwide. After a long break the band returns in 2000 to release the Demo-CD "... And It Comes The Winter" and after a few presentations were given another break. In 2005 the band finally returns to release the demo-CD "Reicarnating a New Black God" bringing a Coldblood more brutal, violent and bestial than ever. In 2007 the band released the highly anticipated debut album "Under The Blade I Die "and went on making presentations throughout Brazil and sometimes sharing the stages with bands as Cannibal Corpse, Master, Onslaught, Mayhem, Gräfenstein among others. Following the release of debut album in 2010 the band performed a South American Tour named "UnderThe South American Tour 2010 I Die." in countries as Ecuador, Peru and Bolivia. In 2011 was released a Split-CD Coldblood / Luvart - The First demo's and the band continued working on a new release. In celebration of the 20th birthday of the band was released in 2012 the EP "The Other Gods" wich has 5 new sings and brings as a bonus the first 3 demos. Coldblood follows it´s saga preparing a new release scheduled to June of 2013 willing to destroy the Headbanger´s eardrums wich are avid for a Death Metal made by who is acting with dedication to the underground scene for the two last decades.
Coldblood - The Synchrony Of The Cursed Star

reminder: tonight in Seattle!

August 22 Master, Sacrificial Slaughter, The Black Order, VX36, Xoth at Substation, Seattle, WA
August 22 Belphegor, Origin, Shining, Abigail Williams, Ashen Pyre, guests at Studio Seven, Seattle, WA

Sunday, August 21, 2016

Seattle/Washington concert calendar, updated August 21, 2016

Seattle/Washington concert calendar, updated August 21, 2016. If you have information about shows/updates/cancellations, please get in contact with Metal Bulletin Zine.
August 22 Master, Sacrificial Slaughter, The Black Order, VX36, Xoth at Substation, Seattle, WA
August 22 Belphegor, Origin, Shining, Abigail Williams, Ashen Pyre, guests at Studio Seven, Seattle, WA
August 24 Sammy Hagar at The Tulip Amphitheatre, Tulalip, WA
August 27 Power from Hell (Brazil), Crurifragium, Vomicus, Hereticon at Black Zia Cantina, Burien, WA
August 27 Funeral Age, Progenitor, others at McCoy's Tavern, Olympia, WA
August 28 The Devils Of Loudun, A Sense Of Gravity, A World Without, Children Of Seraph, Thieves of Eden, Vesuvian at El Corazon, Seattle, WA
August 29 Power from Hell (Brazil), Sacrament ov Impurity, Sarcalogos at Tony V's Garage, Everett, WA
September 1 Lesbian, Nosretep, Xoth at Chop Suey, Seattle, WA
September 1 Cobalt, Mantar, Into the Storm at Highline, Seattle, WA
September 2 Dissidence, Athamé, Toecutter at Georgetown Liquor Company, Seattle, WA
September 3 Begrime Exemious, Drawn and Quartered, Oxygen Destroyer, Ashen Pyre at Highline, Seattle, WA
September 5 Volbeat, Killswitch Engage, Black Wizard at WAMU Theater, Seattle, WA
September 6 Phobia, Nomads, Wilt, Colombian Necktie at Obsidian, Olympia, WA
September 7 Phobia, Rutah, others at The Big Dipper, Spokane, WA
September 8 Wolves in the Throne Room, Dispirit at Obsidian, Olympia, WA
September 8 Phobia, Nomads, Wilt, Colombian Necktie at Highline, Seattle, WA
September 9 Mortuary Drape, Dispirit at Highline, Seattle, WA
September 9 Ghostblood, others at The Kraken, Seattle, WA
September 11 Body Void (SF), Rhine, Morrow, tbd at Highline, Seattle, WA
September 13 Black Nights Rising at Studio Seven, Seattle, WA
September 13 Inanimate Existence at High Dive, Seattle, WA
September 14 Savage Master, Substratum at Funhouse, Seattle, WA
September 15 Hellgoat, Vimur, Vomicus at Substation, Seattle, WA
September 16 Hellgoat, Vimur, Sacrament Ov Impurity, Ashen Pyre at Tony V's Garage, Everett, WA
September 16 Marduk, Rotting Christ, Carach Angren, Necronomicon, Funeral Age, Inquinok at Studio Seven, Seattle, WA
September 27 Megadeth, Amon Amarth, Suicidal Tendencies, Metal Church at WAMU Theater, Seattle, WA
September 29 The Devils Of Loudun, Without Mercy at Highline, Seattle, WA
September 30 The Devils Of Loudun, Without Mercy at Obsidian, Olympia, WA
September 30 Kataklysm, Deathmocracy, A Flourishing Scourge at Studio Seven, Seattle, WA
October 1 Def Leppard at Tacoma Dome, Tacoma, WA
October 4 Black Death Resurrected, Christian Mistress, High Spirits, Acid Wash at Highline, Seattle, WA
October 6 Discharge, Eyehategod, Toxic Holocaust, Oxygen Destroyer, Disciples of Dissent at Studio Seven, Seattle, WA
October 10 Black Breath, Hissing, Of Corpse at El Corazón, Seattle, WA
October 11 Gojira, Tesseract at Showbox SoDo, Seattle, WA
October 12 Brujería, Cattle Decapitation, Piñata Protest at Studio Seven, Seattle, WA
October 13 Leprous (Norway), Earthside, Binary Code, Dissona, A Sense of Gravity at Studio Seven, Seattle, WA
October 13 Ringworm, others at El Corazón, Seattle, WA
October 14 Between the Buried and Me, Devin Townsend Project, Fallujah at Studio Seven, Seattle, WA
October 15 Saint Vitus, The Skull, Witch Mountain at El Corazón, Seattle, WA
October 15 Gorguts, Intronaut, Odyssian at Studio Seven, Seattle, WA
October 15 Skeletonwitch, Iron Reagan, Pathbreaker, Homewrecker, Gatecreeper at Highline, Seattle, WA
October 16 Anthrax, Death Angel at Knitting Factory, Spokane, WA
October 17 Tony MacAlpine at Studio Seven, Seattle, WA
October 19 Alestorm at El Corazón, Seattle, WA
October 23 Sleep at Showbox, Seattle, WA
October 25 Opeth at The Moore Theater, Seattle, WA
October 29 Himsa at El Corazón, Seattle, WA
October 29 Soilwork, Unearth, Battlecross, Wovenwar, Darkness Divided, After the Fallout at Studio Seven, Seattle, WA
October 31 The Drip at FBK House, Seattle, WA
November 1 Wake, Theories, Vermin Womb at Highline, Seattle, WA
November 5 Ulcerate, Zhrine, Phobocosm at Highline, Seattle, WA
Nevember 10 Vektor, Black Fast, Xoth at Highline, Seattle, WA
November 15 Armored Saint, Queensrÿche, Midnight Eternal at Showbox at the Market, Seattle, WA
November 16 Epica, FleshGod Apocalypse, Arkona, The Agonist, Xandria at Studio Seven, Seattle, WA
November 26 Dark Tranquillity, Swallow the Sun, Enforcer, Star Kill at El Corazón, Seattle, WA
November 26 Castle, Mos Generator at The Shakedown, Bellingham, WA
November 29 Sonata Arctica, Leaves’ Eyes, Omnium Gatherum at El Corazón, Seattle, WA
December 31 Trans-Siberian Orchestra at Key Arena, Seattle, WA
January 18 Udo Dirkschneider "Back To The Roots - Farewell To Accept" at El Corazón, Seattle, WA
January 28 Blue Öyster Cult at Historic Everett Theatre, Everett, WA
February 22 Nile, Overkill at El Corazón, Seattle, WA
April 4 Swallow the Sun at El Corazón, Seattle, WA

Vanhelgd (review by MMB)

Here is the review of the new Vanheldg album. After the review, you will find some official information that will be very useful. In addition, at the bottom of this feature, there is a link where you can hear the complete album.
Vanhelgd (Sweden)
Temple of Phobos
Dark Descent Records
Release: 22 July 2016
Vanhelgd’s fourth album is a very good one and it is the highlight of the band’s discography so far.
People who have heard the band’s music before this new album noticed that these Swedes’ traditional extreme metal has taken elements of death metal and black metal and they have been laboring at it, refining it and sharpening it up. The production, vocals and heaviness of death metal filled up with an abundance of black metal guitar work, has been one way of explaining the band by some reviewers who have heard the preceding albums.
One thing seemed clear: this was a promising band and it was a good idea to keep an eye on them.
Was something great on the horizon?
Well, something has happened. The band remains as committed as ever to their metal of death, but that’s not the most important thing. You could say that the band has now reached a better level of confidence, coming into their own, now you can hear them take their music in various directions, yet it is very compatible with the previous, traditional values of songwriting. Basically, this is how a band can expand and grow and be greater and sound better than ever before.
It is the feeling that the band’s skills in instrumentation and songwriting are really catching up to their own creativity and imagination and we are now hearing the music that they were hearing in their heads. They can play fast or slow, and it doesn’t matter, it sounds very good, regardless if it seems like death, black or doom.
For instance, they have a pronounced doom element on this album, but they make sure to add melancholy and melody. When the music is going slow, it has melody and makes doom sound good, not just slow. No one will call Vanhelgd a doom band, but listen to this album, there is plenty of doom here, but it’s memorable and done well.
Overall, this band plays fast occult extreme metal and it is their mission. The Nödtveidt-style riffing, speed and spirit is not something that the band shies away from, nor they do reject the best elements of classic death metal from Sweden. What’s different now is the quality of the songs: the various ways that the components have been configured. Perhaps it is the sense of confidence and the sense of freedom that explains it best. They know what they are doing and are gaining the confidence to do many things within the framework and tradition of Vanhelgd and the results are revealing. For example, the melodies are very pronounced, but they are not clichéd, expected, easy tricks. The bringing together of melancholy and melody works well for the band, and there are even a few surprises that show that maybe the band has reached the conclusion that they can do many different things, and that if things are done right, it can work for them.
This is not to say that everything is perfect. The last song is divided into two parts by two minutes of silence and it’s a questionable decision: the first part is a formidable end to the album and it has the feel of a strong doom and melancholy end, with some melodic, operatic, choir-like guest vocals. The album should have ended there. Instead, there are two minutes of silence and then the band launches into fast black metal. The problem is that it seems like an apology, like they are apologizing for having added melancholy and melody to their sound, as if to show that they can still play black metal, but there is no need to apologize to anyone. The two minutes of silence are unnecessary and this last fast song should have gone as the next-to-last track, opening the way for ending the album in an atmospheric doom manner.
The band has balanced out the new elements very well on the album and they do not have to prove anything to anyone. Case in point, even in the old days bands, like Celtic Frost (To Mega Therion), Bathory (Blood Fire Death) and Master’s Hammer (The Jilemnice Occultist) showed that there is a lot of room for creativity in extreme metal. What matters is the way that it is done and the intentions with which it is carried out. The real limits are things like our imagination, skills, and resources, and lack thereof.
Still, this matter of the track order does not cancel or take away from the fact that on this album the band’s previous works have come to fruition in a serious way.
This complete work is available for listening at the link below. It is a worthwhile investment of time to give a listen to the full album and to get to know it.
Below is some additional information about the band.
OFFICIAL: The Swedish masters of aversion and forlorn VANHELGD return with an even darker aspect of Death Metal surpassing what is deemed traditional and into the realms of blackened Doom Metal with Temple Of Phobos. While still firmly locked into that unmistakable VANHELGD sound, it is clear that on Temple Of Phobos they have steered into a much more despondent territory; very reminiscent of the early ‘90s Doom. VANHELGD have managed to capture the essence and vibe with such perfection on Temple Of Phobos that perhaps this will go down in VANHELGD's history as one their heaviest, gloomiest and blackest record ever.
Recorded and mixed at Studio Underjord with Joona Hassinen (Year Of The Goat, Saturnalia Temple, Ocean Chief, etc) , mastered by Tore Stjerna at Necromorbus Studio (Watain, Repugnant, Desultory, etc) and once again gracing the ominous artwork by VANHELGD frontman Mattias 'Flesh' Frisk (Ghost, Entrapment, Vampire, etc).
Dark Descent Records will release Temple of Phobos in North America on July 22. The album is scheduled for European release July 1 via Pulverised Records.
1. Lamentation Of The Mortals
2. Rebellion Of The Iniquitous
3. Den Klentrogenes Klagan
4. Temple Of Phobos
5. Gravens Lovsång
6. Rejoice In Apathy
7. Allt Hopp Är Förbi
With the band formed in 2007, VANHELGD very quickly earned their reputation of churning out anguish and hate-filled old-school Death Metal.
VANHELGD have released three full-length albums and one 12-inch MLP to date, with the MLP being released exclusively at the NWN! Fest II.
VANHELGD have performed at several notable festivals such as Kill-Town Death Fest and NWN! Fest, etc.
For fans of early At The Gates, Eucharist, early Paradise Lost, Brutality and Swedish Death Metal!
Bass - Albrektsson, Jonas
Drums - Andersson, Björn
Guitars and Vocals - Frisk, Mattias
Guitars and Vocals - Johansson, Jimmy
BIOGRAPHY: In the end of the year 2007 Vanhelgd was formed by Björn Andersson (drums), Jimmy Johansson(guitars, backup vocals) and Mattias Frisk (guitars/ vocals). The intention was to play dark, blood soaked death metal in the vein of the old masters. Songs were taking form and the need for a bass player became more and more urgent. In the beginning of 2008 the old friend Viktor Gustafsson stepped in to handle the base guitar. A very ruff demo was recorded during a rehearsal and some of the songs where published on the internet. Soon the interest for the band grew and Vanhelgd recorded eight songs in Backbone studios in Mjölby and the first full length album Cult of Lazarus was released by Crematorium Records in November 2008. The band got in contact with the US based Nuclear War Now! Records who decided to release Cult of Lazarus as a 12” LP in 2009. In the summer of 2009 Vanhelgd recorded a couple of new songs as a demo. One of the tracks from that session, “Nec Spe, Nec Metu” was featured on the Invocation of Death compilation, released in June 2010 by Death invocation records. Vanhelgd started to work with the recording for their second full-length album Church of Death in April 2010. Due to various problems they didn’t finish until September the same year. Two of the songs were taken out to be featured on the EP Praise the Serpent which was released on the Nuclear War Now! Fest Part 2 in Berlin where the band also performed. In 2013 Jonas Albrektson replaced Viktor on bass and signed with Pulverised Records.

Saturday, August 20, 2016

Satanic Warmaster

Since 1998 the black metal from Satanic Warmaster from Finland has established itself as one not to disappoint its supporters. There is no ambivalence in this music; it's black metal or nothing, as been recognized for years. Below is a link where you can gorge on a whole lot of music from Satanic Warmaster. There is so much music there that you won't be able to get through it in a day, but if black metal is your calling, you'll now have a brand new mission: to meet the black metal of Satanic Warmaster.
OFFICIAL: When the Carelian woods rustled in thepassing of ancient shadows and the full moon shone its dismal Glare upon the kneeling worshipper, the demons whispered their horrid decree. By the binding rites of darkness and witchcraft, Werwolf bestowed life upon Satanic Warmaster in the year of infamy 1998, in order to finally realize his true expression in art, prepared for by years of battles in crafting unholy Finnish Black Metal in other hordes. Though men and their minds never cease to evolve, the core principles of Satanic Warmaster that were laid out in the brief ritualistic exhortations of the cult demo "Bloody Ritual" recorded in 1999 A.S. have never changed in essence. While forgotten and dreaded because of its unforgiving nature, this release laid out the symbols and signs of initiation to the pact with Satan, which remains the original source of revelation for Satanic Warmaster. Around the same time, Werwolf explored a more triumphant, militant and Germanic musical style with demo "Marsch Zu Neuen Zeitaltern" 1999 A.S. and while the concept of this demo would have only a little resemblance with Satanic Warmaster's intentions, it was important in forging the pattern of melodies used in the hymns that Satanic Warmaster composes in the name of Satan.
During the next years Werwolf devised and recorded in darkness and solitude, perfecting his sombre art with unreleased demos, untainted by social commentary and human morality. Some of these recordings were later released to the benefit of the Satanic Black Metal underground, which has always been a vital element of contact, collaboration and criminal partnership for the personal, extreme projects and actions of Werwolf, the ultimate mastermind of Satanic Warmaster. By far the most famous and influential release of the Finnish Black Metal underground of the 21st century, the album "Strength & Honour" 2001 A.S. revolutionized the composition and thought of a whole generation of young bands, spawning a series of imitators and causing more discussion (both positive and negative) than almost any other Finnish release of the decade. Harkening back to the spirit of ancient times, occult war, bestial vampirism and satanic lust, "Strength & Honour" boldly and arrogantly recalled the history of Black Metal from Nordic and European regions, shooting a rune engraved bolt to the back of the head of everyone who thought that Black Metal should have progressed beyond the radical beliefs of early Norwegian, Polish or French Black Metal innovators.
Satanic Warmaster was not destined to be hypocritical and experimental pseudo-progressive mental masturbation, but brutal, honest and dangerous as a bloodthirsty wolven hunt, a nocturnal trip into His realm... the majestic, feral moods of "Strength & Honour" gained an even more sublime and tormented soul in the mini-album "Black Katharsis" 2002 A.S. which expressed profound sadness for lost glories and the vanquished fallen. In addition, it explained the ritual sufferings of the devotee to Satan in his passage towards understanding the mysteries of the master.
The third storm of Satanic Warmaster, the "Opferblut" album 2003 A.S. saw the beginning of a long line of releases for No Colours Records, the infamous German Black Metal label who had originally discovered such diverse bands as Dimmu Borgir and Graveland for public release. The music continued as intricate, spirited and raw, as in the follow-up mini-album "...Of the Night" 2004 A.S., firmly placing Satanic Warmaster as one of the more reliable and consistent bands in the underground Black Metal of the new millennium.
The first live rituals of the warmaster happened in 2004, commencing with great success in Turku, Finland and continuing to devastate that year's Under the Black Sun festival in Germany. The provocative and powerful performances have never since ceased, as the Legion Werwolf has continued to share the stage with diverse acts from Isvind to Krieg, deeply memorable because the atmosphere is in keeping with the true intentions of the music.
All this was somewhat only preparation for the masterwork that is "Carelian Satanist Madness" 2005 A.S., a solitary, maniacal woodland procession, which united the archaic heritage of Carelian folklore with Luciferian mythology and viciously hateful Black Metal.
For many bands this would have been more than enough, yet embraced by the demons of victory and the sorceries of sun and hellfire, Satanic Warmaster devastated the audiences in 2007 with a new mini-album of melodic, aristocratic, yet horrific Black Metal, in the name of "Revelation" 2007 A.S.
And the blood-drenched, fiery and despondent summer of 2010 A.S. saw Satanic Warmaster commit the most heinous crime of its existence. No one could have predicted the cruel manifestation of "Nachzehrer", besides a glimmer of prophecy in the form of "W.A.T.W.T.C.O.T.B.W.O.A.A." ("We are the worms that crawl on the broken wings of an angel), an advance compilation of old and new tracks released earlier in 2010 A.S.
The monument of "Nachzehrer" 2010 A.S. sees Satanic Warmaster to return to its oldest battlegrounds, the mythology of European vampiric nightbeings which carried through years of torment the shades of witchcraft embedded in the deepest layer of the human subconscious. Even though christ had abolished the pagan temple, the beast was growing stronger with each drop of consumed blood. And as apocalypse bides nearer and the cold mist descends on the depths of the woodland, the warmaster rides out with vengeance once again. By the power of Lucifer, those who do not wear the mark shall suffer and perish...

NEWS: Feanor

Feanor is a very proud true heavy metal band from Argentina. Their 2016 album is called We Are Heavy Metal and they made a video for the title track and below you can watch the video. Learn more about the band below.
We Are Heavy Metal
Release date: 2016
OFFICIAL: BLESSED by the secret of steel and fury called Heavy Metal, FEANOR was formed in early July 1996. After some rehearsals the songs "On Wings of Storm", "North Star" and "Your Suffering Is Very Slow "they were born. However, due to the difficulty of finding musicians with enough balls FEANOR recently debuted live at the Marquee on November 26, 1998, a great show full of power!
After presenting numerous recitals in Buenos Aires and the rest of the country, the band enters the studio for the recording of which was his first demo On Wings Of Tempest including 5 songs which received very good reviews both nationally and in the Foreign. During this period, more lineup changes occurred. With these reinforcements, the group continued performing live on their land and sharing the stage with numerous bands from the local scene and generating links of steel with international groups such as Virgin Steele, Wizard, Steel Warrior, Sacred Steel, Twisted Tower Dire, Anorimori, Battleroar, Wotan among many others.
Then, duty calls, the time comes to enter the studio again! The name of your second demo album is This Is For You, which is edited "OFFICIALLY" and is dedicated to the public the True Metal City Bahia Blanca, who supported the bellicose band during the toughest moments of his career. This recording also represents a gift of extra power with the collaboration of Sven D'Anna, the German band Wizard, as the leading voice on "Houses of Fire" -Casas del Fuego (the voice for this track was recorded on well known and respectable "Youngblood Professional Studio in Germany". Thanks to this work the band manages to enter the European market, breaking the sales record of the Greek label PORT SECRET RECORDS (, and starting in this way the bond with the seal. It is at this time when FEANOR includes "This is for you" song in "Metallic Brotherhood Vol. 1" edited by Metal Fanzine of Argentina, then continue this tradition in all previous editions of this prestigious publication. (
More concerts came, and once again, Gustavo and his Brothers of Metal demonstrated their incredible skill with weapons instrumental forcing a lot of fake running like rats !!
The controversial FEANOR attitude earned them a lot of enemies but the pure and true heart of this young institution obtained the alliance of the Community of True Metal, and that was when all the traitors and false were a little worried.
Without denying its Epic Metal style that characterizes a band like FEANOR, the group continued performing and spreading his second demo CD This is for you all Bs. As. E interior. Not important contemporary movements or musical fashions, distanced from any commercial interest ... Just for the sake of Metal, just for the sake of Steel.
In 2003 a new battle shone on the horizon. A new Test Steel and the opportunity to dethrone the infidels rising to a higher level occurs again !!!. The turbulent fury of FEANOR began preparing the material of what was their great debut album. However after 3 nights of frantic recording a sequence of events that would fail to ordinary mortal bands is merciless with FEANOR, it is how after recording the foundation of 13 Hymns steel father guitarist Flavio Bianchi dies thereupon said musician left the band, supported by drummer Emiliano Wach, who moves away from music for purely personal reasons, immediately the inevitability of the death of the father Gustavo Feanor Acosta, as well as that of the studio owner Jerry Guiardino adds . After such shocks, long tapes remain captive in the recording studio until much effort are taken from the site for restoration and completion.
In this way 12 tracks of more roaring steel saw the light, with the participation this time the leader of the German band MAJESTY "Tarek Magharty" playing the guitar solo in the song "Too slow is your suffering" and Facundo Coral (Paul Gillman) taking over the heavy task of guitar solos work is completed in the study "the Oseberg ship."
Released in Europe and distributed worldwide through Secret Port Records, properly the name of this album is "INVINCIBLE" including the clip of the song "North Star" as bonus CD. The album devastates in Europe and the first edition sells out quickly, excellent reviews raining down from all over the globe !.
Again steel prevails once more the conviction is stronger than fate, once again defeat mediocrity determination.
FEANOR is here to prove it every day, are ready to fight on our side ???.
FEANOR - We Are Heavy Metal Videoclip

Neuro Attack

Neuro Attack (Brazil)
Thrash Returns
Release date: May 2016
Label: independent
Don’t you appreciate a band telling it like it is? Don’t make promises you can’t keep! If you promise thrash, you best give it good, fast, lean. They promise thrash and that's what they deliver. The riffs just keep going, one on top of the next, as fast they can get them out, piling them, pushing them together, and with the foot on the gas pedal. They do not know the meaning of the word slow and they have no plans to look it up in the dictionary any time soon, either. The drummer plays as if he had a personal vendetta against his kit, like the kit has done something to him and he wants nothing than corporal punishment for his kit. This is the band's first recording, according to Metal Archives, so it is a raw recording and it's dirty, and the vocals are furious, in a style close to black metal. It’s a promising start for the band. Let’s hope that this is just the beginning and that things will only get better and better for them!
track list:
1. The Real Government 05:14
2. Chaos 04:03
3. Psychopath 02:36
4. Thrash Returns 04:07
total time 16:00

Al Joseph

Al Joseph is a prog/shred guitarist from the United States. Al's music is unapologetically guitar-oriented with emphasis on melody within the framework of prog instrumental songs. He has recorded an album called Out in the Open and has worked with various musicians, in addition to doing guitar instruction videos. The first link listed below has several songs that you can hear and get a good idea of Al's work. This artist is for those into serious guitar virtuoso playing, prog and shredding.
OFFICIAL: Al Joseph was born in 1987 on Highland Park, IL and was raised in Scranton, PA. His musical journey started young, playing drums from 10 years old. However, his passion for the guitar soon took over and a year or so later he laid down his sticks and started his guitar-led journey! ​
After earning a prestigious spot on "Jam Track Central's" artist roster in 2013, Al has proven to be one of the worlds most exciting new virtuosos to hit the scene to date. Now a proud Alumni of Berklee College Of Music, Al presses on to an already promising career as guitar player, composer, songwriter, and producer. Expect to see more exciting things over the coming years.
You can expect to hear the lyrical texture of legendary artists such as Joe Satriani, John Petrucci, Andy Timmons, and Greg Howe. As far as songwriting goes Al has a never- ending list of influences in his arsenal. From bands like Creed, Rage Against The Machine, P.O.D, to Pillar, Pantera, Sevendust, and many more. If you can dig on any of the above, then get ready to add another artist to your list. ​
"Out In The Open” is Al's debut solo instrumental record which was re-released through JTC Records in 2015. It's a story of emotion, new beginnings, unknowns, and all the new challenges Al has faced throughout his life. Let's not forget about an hour’s worth of world class shredding as well. If you enjoy the workings of guitar legends Joe Satriani and Andy Timmons, look no further. This record has it all wrapped up in a nice basket for you with some jazz-fusion elements as well. “Out In the Open” is a wild ride for sure!
The Al Joseph Group
After earning a prestigious spot on "Jam Track Central's" artist roster in 2013, Al Joseph released his debut solo record "Out In The Open". This EP has proven to be a hit with fans all over the globe and now The Al Joseph Group plans to go into the studio and track this record together!
The AGJ group plans to release "Out In The Open - Reprise" by the end of the year, just in time for the Winter NAMM Show in Anaheim, CA.
Al Joseph has already recorded an entire album with many other successful artists such as Guthrie Govan (The Aristocrats), Marco Sfogli (James LeBrie), Andy James, Martin Miller, and Jack Thammarat to name a few. If AJG's goals are met, you will also put them on the road with these world renown virtuosos as well.
Al Joseph 'The Shores Of Cybertron' at