Thursday, February 25, 2010

Dark Covenant (Canada)

Dark Covenant (Canada): Dark Covenant
Dark Covenant projects classic doom upon the landscape of this 22-minute, four-song extrapolation of swirling, plodding, double-bass, midpaced and uptempo, as well as sweeping slow-motion massive compositions.
Not funeral, not super slothful, not drone, but traditional, classically-inspired epic doom metal, the way Mr. Edling manifested in those most ancient of days of solitude near the well of souls, when those tales of creation of doom reached the gallows end. Dark Covenant has real singing that carries with it the atmosphere, the feeling of classic doom. No growling, no funny-human or farm-animal noises, but just singing like Mr. Edling has long ago determined.
What do you think about, when someone says “doom”? Do you think “boring, slow drumming”? Do you think, some human person who can’t sing? Do you think, no feeling, just slowness? Not Dark Covenant!! Think guitar solos, uptempo moments, good singing, and that feeling of a band fighting for its life to make good on their doom-promise and their love for Mr. Edling.
It’ be easy to write about each of the four songs: “Forever amongst the Ruins,” “Black Sun Rising,” “Perennial Solitude,” and “Black Raven,” (well, just look at those titles!), but this review has to end in the next few lines, as the deadline is today. However, the totality of the matter is that the recording sounds good (and this is a demo?!): good sound quality matters. In addition, the quality of the songwriting is undeniable, and the talent is undismissable. The result is songs that put dynamics into epic doom. In this process, Dark Covenant has scored a major victory. Hear the sounds of epic doom for yourself at:

Licurgo (Spain)

Licurgo (Spain): Strongest
One of the best things about these traditional, no-nonsense black-metal-hellhearts Licurgo is their ability to carry over the raw-black-metal values to a professional-sounding album: you can hear the drums, which have a particularly natural feel to them, and the bass (!). There just seems to be room for all the instruments to breathe such necrofire through the lungs.
“Anti Human” brings the raw-black-metal aesthetics to a better quality. This is does not sound like garage-recorded black metal, but rather like raw black metal recorded in a studio, but with the intention of sounding raw in a big way, where you can hear things clearly. It’s nice to hear them do things this way.
The vocals often sound like endless, carry-on screaming black metal agonizing, howling, and growling, with a definite death-metal gruff, as a plus.
“Forgotten Identity” is a wonderful exhibition of the spiral riff hordes advancing to take their positions upon the plains of black metal. This particular song combines both traditional black metal screaming and some death metal low-guttural growling. This song is a hit around the headquarters and administrative offices of Metal Bulletin zine! (an abandoned van down by the river, under the freeway, actually.)
“Numantia” takes traditional raw black metal and packs it with Licurgo action. It spirals and revolves around itself, in an effective repetition-trance-meditation of 5:53. Nasty piece of work that sounds so good. Ridiculous, yes!
All the songs are great and this is about an hour of Licurgo. Wonderful job, human beings!

Escape From (Poland); Godspit (U.S.)

Escape From (Poland): Opętani okrucieństwem
“Obsessed by Cruelty” is what the title means, according to the band. The lyrics are in Polish, with screamed-out vocals and growling, in the lexicon of speedy/brutal growl music, and with a dose of traditional thrash/death. Upfront, mosh-friendly, speedy growl metal is what’s in store for the four songs of this 15-minute recording. In addition, the guitar uses that heavy groovy style for the midtempo crunch for that moshy sound.
The overall energy is brutality, speed, mosh and groove, growl and screams. This is a positive step for the band as they develop their songs, craft and direction. They sound like have no shortage of energy so far.

Gödspit (Washington State, U.S.): EP
In this four-song e.p. they cover the song “The Hammer” by Motorhead. Their own songs sound very much like Motorhead. Speaking of influences, the say that it’s “Motorhead, that’s it, end of story”.
For Motorhead-freaks, almost exclusively maybe! It’s whisky-phlegm vocals and biker rock for a good time at the local bar. If interested, go to:

Wednesday, February 24, 2010

the metal realms of Allmacht (Germany)

Allmacht (Germany): In namenlosen Tiefen
These black metallers Allmacht (based in Lübeck, in the state of Schleswig-Holstein) go for maximum coldness and grimness engulfed in a shroud of melancholic-midtempo bleakness that achieves a wonderful atmosphere of doom and gloom, but NOT in a funeral, super slow way; rather, in a uptempo and midtempo range, with slower moments.
As one can probably tell from the German-language title (“In Nameless Depths,” if this zine is not wrong), the lyrics-vocals are in German, and the music is meant to portray the frozen-land-of-ice black-metal atmosphere.
“Vergänglichkeit” (“Transitoriness”) (9:52) begins with acoustic guitars before moving into the midpaced, doomy, melancholic territories where the tremolo riff rules supreme. By the time the song hits the sixth-minute mark, one should be pretty long into this ride that is driven by simple but effective atmosphere. The vocals are very traditional black metal screaming, in the traditional painful and aggressive way. It ends with a melodic, slow section.
The title track (5:20) demonstrates a much more uptempo feel, even a dare-to-say-it big-riff rocking vibe: raw, noisy, but done so well with those grim-throat vocals and tremolo-rules sounds. Plus, there is a nice moment of lone-moon-wolf melancholic wail.
Another song, “Die Erhabenheit des Winters” (roughly: “The Sublimity of Winter”) is 6:13 of mid and uptempo headnodding raspy throat rawness, but pretty darn catchy, too. How you like those black metal apples, now?! The last song “Ausklang,” (“End”; “Close”) (3:38), an instrumental midpaced pagan-forest-blackmetal-tremolo spiral cloud brings this to its finality. Where is there more?
To sum up: in the violent forest or in the peaceful street, at school or at that job at the convenience store (whose name we will not say, but it adds up to 18), Allmacht will bring it. Pay them a visit.

the death metal legions of Diamanthian (UK)

Diamanthian (U.K.)
The previous issue of Metal Bulletin zine observed:
Diamanthian (U.K.): Arcana Doctrina (Ossuary Industries)
There is an outlook on metal upon which the work of Diamanthian is constructed, and it is inextricably bound to a foundational moment. It is, if you will, orthodox or a single-purpose perspective on which their music depends: to bring under their praxis leaden heaviness of crushing riffs, regardless of the particular speeds utilized in a specific song.
Early 90s U.S. death metal, in particular New York and Florida—that heavy/thick/engulfing/downtuned guitar sound/riffs; blasting, practiced to a good extent in the Mike Smith school of the blast: heavy, strong pounding accentuated by a strictness of rhythm; very guttural low vocals as expected for this music; death and doom-death heaviness of guitar sound and slower moments in some songs, such as in “Immaculate Decay,” “Curse of the Nephilim,” etc.; or the gigantic “Catastrophic Divine Judgement,” for example.
Through the guitar solos, a variety of moods and solid songs, Diamanthian is doing right by death metal and its audience, which with this should be pretty pleased. Try listening to this and see how long you can go without growling along! Not very.

Scott Linton (vocals and guitar) explains their mortal way of live.
Congratulations on Arcana Doctrina! I think your dedication to serious metal music is evident, with the blasting and heavy sounds of Diamanthian. What are you plotting for this year?
We are very busy at the moment organising shows to promote Arcana Doctrina. We will be touring Scandinavia in May, and a whole host of gigs in the UK. Later on in the year we hope to do our first tour of the USA.

Is it correct that Scott Linton is the one writing the songs and the one whose life is centered on all the details related to keeping Diamanthian going?
I formed the band with our ex-drummer Pete Watson after our previous band DESOLATE SILENCE disbanded. Early on I wrote 90% of the music, but the latest album is much more of a group effort. I still write the bulk of the riffs, but there was much more input from the other members this time round. Regarding my life being centered around the band, does being fired twice from your job in the name of the band count?!

How have the songs for this album functioned in the live environment? What is the case, for example, for the monster that is “Catastrophic Divine Judgement’?
We have been playing all of the songs live and the response has been killer. All the people who were corrupted by the first album seem to be really into the new tracks. There are a surprising amount of masochists involved in the underground scene. Our live shows seem to bring them out, and being sadists, we are pleased to maim and abuse them.

Also, who plays those nice solos on the album? And live? Are Andy Campbell (drums) and Matt Campbell (bass) brothers? Is Matt is a session bassist or a full member?
Troy plays all the leads. I play all rhythm parts and vox. Exactly the same as 'The Infinite Descent'. Andy and Matt are not brothers, they just happen to share the same surname. Matt has fitted into the band really well. He has a great deal of musical knowledge which he applies to all the bass lines. As far as the live environment, you would have to be the judge of that, though we have been firing on all cylinders of late.

Diamanthian’s lyrics on “Arcana Doctrina” reflect skepticism about the uses of religion. For you, who writes the lyrics, how does the general situation (economic, social, political, as well as the general state of music as a cutthroat business, greed, etc.) in your life keep you motivated, frustrated, angry for you to channel all of those energies into concepts for lyrics? And are your lyrics are collaboration or the work of an individual?
All the lyrics are written by myself. The actual lyrics/concepts were dealt with a great deal of consideration and respect. I did not want to write any childish nonsense as I have always thought that juvenile lyrics totally belittle anything the music has to say. Regarding your comment about the lyrics on the album reflecting skepticism about the uses of religion, this is not the case. For example 'Christ Dementia' deals the worldwide phenomena of people thinking they are Jesus Christ incarnate, who then go on to kill people as an act of righteous faith??! A track like 'Transfiguration' hypothetically turns the whole resurrection concept on its head.

You have toured Scotland. How are things there for you?
We have toured Scotland 4-5 times and we always enjoy going up there. Total alcolunatic locals. There are a great deal of Death Metal veterans up there who understand where we are coming from so it is always an honour to be asked to return. I'm half-Scottish myself, and both the Campbell's in the band have their clan ancestry so there is definitely something in the blood as to why they relate to us.

Where is your hometown in the U.K. and how is the metal scene there? How was it back then in 2000? Are there now more bands in your town, city or region that you personally like?
We all live in different towns to each other but the band has always been based in Liverpool. Turnouts round here are usually around the 100-150 mark and every Liverpool gig is a blast as we know most of the audience who have been with us for many years. We don't know The Beatles but we do know Carcass. Jeff Walker designed our logo as you might already know. The only other Death Metal band in Liverpool worth mentioning is Neuroma who play Technical Brutal Metal in the US vain.

“Defiling the Eucharist” certainly is a heavy song. How do you get that heaviness?! What is driving those sounds of doom that Diamanthian so effectively uses?!
You should hear it live - your sperm count will go through the roof! That is one of my favourites off the album. The intro riff is quite old, '03-'04 maybe, and we couldn't fit it into any of the older tracks so it was left out. We resurrected it for this track and I'm glad we did. The whole Doom section was written one night on my friends ancient acoustic guitar that just has this fantastic, rich, resonant tone to it. I transposed it to the electric and before we new it we had the skeleton of 'Defiling the Eucharist'. Its interesting how most of our heaviest material is written in the early hours of the morning.

What is the story behind your song “Bound by the Chains of Purgatory”? What are the circumstances for that song?
This track deals with a complete and utter spiritual stagnation. Condemned to life after life as punishment. There are those who believe that after several incarnations on earth, the soul has experienced what it needs to then move on to a further level/dimension. You can apply this to most religions, and also, in some ways to the agnostic way of thinking in that there is the possibility of there being more than one corporeal existence without the acknowledgment of a single all powerful deity. 'Bound by the chains of Purgatory' is about a soul that is condemned to incarnate again, and again, without the possibility of 'moving on' so to speak, as told in the line "trapped in a cycle of incarnation, to endure this corporeal curse".

When will you play Houston, Texas? Two metal radio shows in Houston, “Ejacula” and “From the Depths” have been playing Diamanthian.
We will be coming over to Texas toward the end of the year. Nothing has been finalised yet, but the grave is being dug as we speak. Houston will be a priority I assure you.
In closing, I would to thank you on behalf of the band for contacting us. We really appreciate your support.
I wish yourself and the fanzine the best of luck.
All the best,
Scott Linton THE END.

Thursday, February 18, 2010

Six Feet Under (U.S.)

Six Feet Under (U.S.): Graveyard Classics 3
This is an album of covers of songs like “A Dangerous Meeting” by Mercyful Fate, “At Dawn They Sleep” by Slayer, “On Fire” by Van Halen, “Psychotherapy” by Ramones, “Not Fragile” by Bachman Turner Overdrive (who?), etc.
The growling is a monotonous, low growl bark with little feeling, no dynamics, etc. It is a consistent low bark that sounds the same for all the songs, regardless if it’s supposed to be Mercyful Fate or Ramones.
The guitar work sounds like a bar band “jamming” at karaoke night.
Some people hate covers because they think that cover-tribute bands use other people’s art and play inferior versions for the money and for the nostalgics, in that order. Yet for some other people, this is sort of a scam done with the hope of making money, plain and simple, to avoid working at a day job: “gotta keep your name out there with your product, selling your product.”
In contrast, others think it’s ok to work for a living at a day job, and not have rock star illusions. But just write your own songs.
Still, “for” others, “this” “music” “is” “funny.” This band “is” a “joke” “and” they like “to” “laugh.”

Wednesday, February 17, 2010

Elathan (Spain)

Elathan (Spain): Atrac a otsirc
Think raw, minimalistic, barbed wire black metal recorded in a cave. Elathan is more lo-fi than that.
“For the nostalgic ones of the true black metal, Elathan is their group,” they claim. The vocalist Agagliareth goes for the angry-agonizing approach and she does very shrieked vocals, with a certain degree of painful throat abuse. It sounds like a lunatic-temper tantrum, screaming bloody murder in a most piercing noise.
Somebody give Elathan a prize for making irritation music an art form or someone call a house painter because this is peeling off the paint off the walls. Elathan is more lo-fi than that.
Murmur’s guitar is riding high on the tremolo riff. The lyrics are written and sung backwards for every song, sung backwards in Spanish. The effect is agony and pain, all the same. The lyric matter is totally obscurantist. Elathan here has very much that demo-quality sound that they are looking for: totally nasty-fugly-irritation lo-fi shriek music-noise. Elathan is more lo-fi than that.

Deathfinest (Ohio, U.S.)

Deathfinest (Ohio, U.S.): Path ov Death
The drums and vocals are performed by King who is dad to the other two musicians on here, Raven (bass) and Frost (guitar) who are 15 years old at the time of this recording in 2009. This was recorded on the dad’s four-track cassette recorder. It’s very punk-like fast-and-slow growl music.
Deathfinest is rumbly, grinding, sometimes slow, very low guttural burp-and-pig-squeal noisy stuff. The vocals sound like wrestling match between a malevolent pig and an angry bear. This often sounds like one big burp.
Song number 9, “Death Stench” sounds like a pig vocalizing. Number 10, “Wretched Spawn,” all 56 seconds of it, sounds like it was recorded in a cave located below a grave where the dead say to themselves, “I can’t make out the instruments. And I’m dead!!”
Think sloppy rumble, basement recording: lo-fi minimalist stuff is way too fancy for Deathfinest: makes Mortician sound like fancy-studio music. How sloppy can things get? Apparently, very! And pig squeals.

Sunday, February 14, 2010

Conqueror (Costa Rica)


Conqueror (Costa Rica)
A review in issue number 23 said, speaking of the band’s “In the Depths of Darkness”:
The constant-strong use of guitar solos, and the recurring additional rhythm riffs—on top of what already are fire thrash/black metal riffs—and the dedication to well-arranged, longer songs puts Conqueror in a pretty distinctive spot: they stand out based on their guitar work.
The fact that they use solos a lot throughout the songs shows that extra step, beyond saying, “that’s good enough” and going further, for better than “good.”
The riffs are based-inspired on that particular sound of raw thrash/black sound, using the 80s influence, but that’s not where the band stops. Those riffs are then spiced up with additional spiral/tremolo/black/thrash riffs that intensify the songs, and give them extra atmosphere, making them more sinister than just speed, and more interesting, too.
The band has a great attitude reflecting the classic sound that encompasses black/death/thrash, with vocals of the black/death raw, early music of foundational German/Brazilian/U.S. bands. Some listeners will hear this or that particular influence, depending on one’s own experiences and likes, but the most important thing will be to hear for yourself. Why not? It’s worth investigating.
In this interview, the band refers to itself as “thrash.” However, this is not “party/beer thrash” or “zombie horror thrash” or anything like “jackass thrash”. There is an attitude, and a concentration of guitar work, that makes Conqueror what it is. Fernando, guitars and vocals, explains some more.
“In the Depth of Darkness” has many good riffs and guitar solos! What has occurred to Conqueror in Costa Rica since then?
Well first of all we want to thank you for inviting us to be part of this review, regarding In the depth of darkness it had a lot of success among the “thrash scene” here in Costa Rica, it brought a lot of people that wasn’t really aware that we existed. We’ve played in local bars, we a lot of awesome bands so invite the readers to come down here to visit a share with us some good metal head banging!!!

How can metallers get a copy of “In the Depths of Darkness”?
You can ask us directly in fact by myspace or through our e-mails: and we’ll send you the CD itself

You have a lot of guitar solos. How long have Sebastián and Fernando been playing guitar? How much do they practice? Does your bass player Jorge know how to play guitar, too?
I don’t practice that much because I’m kinda lazy, but Sebastian (Blacid) is a guitar freak, he practices all day every day, and in fact he has improved a lot since we recorded the CD, now we just finished recording the 2nd EP with a fasted way more violent thrash metal so we had to put a lot of effort into it. And Jorge (stick) doesn’t know how to play guitar.

“Attack the Church” you speak of things of religion. What do you think in particular made you write these lyrics? What about for “Messengers of Death”?!
Attack the church was written in a moment of anger when I was watching the news at home and I saw how fucked up is the world now, priests that are people that we “ should trust” are raping kids, stealing money and selling illusions, that’s not right so I decided to put an end to it by writing that song. Messengers of death is related to that last minutes of your life when you can’t feel nothing but pain and agony when your departing from this planet.

When you play live, do people in Costa Rica react crazily?
Hell yeah!! They mosh in a friendly and violent way because you know; everybody is there for the same reason to discharge pure energy and aggression. Every show is a different story we try to put a 110% on every gig that we play so if we have to go and slam with them we’ll do and if necessary, crack our heads open with them.

What are some bands from Costa Rica that you think are trying to make interesting metal music?
Voltage, Necrolisis, Demencia Eternal… those are some of the bands that we like the most because they, as well as us, are trying to bring the old stuff back to life.

When your drummer Jimmy Zumbado is playing live, what are some emotions or feelings that he has in mind?
Well, Jimmy is not playing with us anymore due to a lot of work and personal things that he had to accomplish while he was playing with us, so we let him go but we played a lot of times with him and we had a blast! Now we have a new drummer and we offer new material more aggression and violence!!!

Your song “War for Possessions” you say: “The people are killing each other / They are blind by the lies / Dying by a foolish desire / The thirst for blood.” How do you, as Costa Ricans and Latin Americans, view the U.S. government’s imperialist invasions?
Well, to be honest with you, I don’t think that any war is necessary and this one in specific was entirely because of monetary and territorial causes. The U.S is a country with a great power, but is taking advantage of it by attacking countries that are just a scapegoat to their issues. So I dislike those invasions, I dislike civil rights being violated by governments and also the misinformation that is given to the citizens, basically they hear what is most convenient to their government. They have to open their eyes and see the reality that’s in front of them!

Do you think that a revolution is necessary in the United States in order to change this greedy system controlled by the rich?
Of course we need a world revolution because we can’t just point all of those flaws to one country in specific. In Europe, in Asia, even here in Central and South America we are experiencing disgrace and corruption since a while back. We need to take what’s ours back! We need to be heard so that is the reason why we have this band to be a voice of a generation to address all of that to the world!!

How do you think that you can improve your music in the future?
By practicing and reading what is going on in the world right now!! We have to be part of a world change, NO MORE RACISM, NO MORE FASCISM, NO MORE CORRUPTION!!!

When do you plan to play in Houston, Texas?!
We want to go this year to the states to play, we are trying to get what’s necessary to go, but we have to wait because we’re trying to collect some money for the trip and everything! So right now if there’s any label interested don’t hesitate contacting us!! Well thanx a lot for this interview I had a great time answering to all the questions!! Cheers!!! Best of luck!!!! Resist, Fight, Thrash Metal Alive!!!!!! THE END.

Saturday, February 6, 2010

interview with Dominant Obscurity (France)

Dominant Obscurity (France)
Massive black metal riffs, of the big-riff type: “Fall of the Unlucid” (7:39) is a good illustration: the first three minutes have big, ambitious black metal guitar, of the school of the mighty riff. The vocals are gruff and guttural, not shrieked, with a tone of heaviness to them. In fact, some might say that the vocals are closer to the death metal style (maybe the Immolation and Bolt Thrower style, but of course, others will disagree, etc.). After three minutes there is a brief moment of pause on the way to the middle section of the song, which is black metal prog/doom. This gives the band a chance to show a different side besides their black metal speed, here you can clearly hear the bass guitar, the intricacies of the drumming and a feel of abstruseness; then, this gives way to the speed once again and now the bass guitar just seems so much more obvious than before, and a nice headbanging last section of the song.
After the first song, “Profiles of Delusion” (4:36) just seems so much more a discernible entity once the foundation has been laid: the bass guitar is audible, there seems to be a bunch of interesting details taking place in the barrage that is this song; another strong effort.
The last one, “Unleashing the Whispers” (9:55) begins in blasting fashion, but that’s one of many valleys and trails that this travels. After a while, it makes no sense to analyze it too much, because, if you like it, it’s more fun to just take the trip. Dominant Obscurity is not a melodic band by any stretch of the imagination and they don’t write songs that use the listener’s preconceived expectations of where the song as a whole will develop, it’s not “ear candy.” However, they transition from one moment to the next so well, that it’s easy to forget how different this is. This certainly does require more than one listen. The first response will probably be, “It does nothing for me,” or “Sounds like another black metal band to me,” etc. That’s because this is Dominant Obscurity, and not something else that might have been expected.
Eric (drums), Fred (lead guitars) and Vincent (bass) answered here. Evidently, no one told Metal Bulletin zine that some questions are not ok, as you will see.

What is going on in 2010? Was 2009 a good year for your band in France and Europe?
ERIC: 2010 is going to be a year of uncertainty. Members of D. O. have all not the same possibilities and opportunities as far as the time devoted to the band is concerned. We do not always share the same idea concerning the way every one of us must involve in D.O. There are some divergences that we hope to solve and to get through this year. Our line-up has not been stable since 2006 and 2 members are still session members at the present time. The future will tell us about that. Line–up changes have often occurred in the band. Year 2009 was a little bleak for different reasons, but I prefer to spare you the details.
FRED: In 2009, D.O. has been trying to spread his name in South of France. I think this 1st recording is a good first attempt. We received encouraging reviews as far as our demo was concerned. We also did 5 gigs in Sept. and Nov., still in South West of our country, which were my first steps on stage. A full length cd is planned in 2010, but it's not absolutely sure. We'll see how many songs we will be able to gather and it also depends on the time we have left. We'll certainly reduce the number of live shows.

What is the situation for your band? Is there an audience for your black metal? Do you think you have opportunities for recording more music, etc.?
ERIC: The French scene has its trends and fashions; we don't care about it. And I think we have a place in the French metal music. We'll have to get more songs and learn how to handle the stage during live shows, in terms of sound and in terms of emulation, but first of all, we will concentrate on the recording of a full-length CD that could perhaps be ready around September 2010.
FRED: Unfortunately, in France, Metal music is not widely spread. There's a little audience, but few people come to gigs where local bands are playing. This is what happens in South of France. And it's also difficult to get a deal with labels. Live and recording opportunities will certainly happen in the future, but we still have to work on the band's sound and live performance. I also hope that we'll get some stability in our line-up and get through our disagreement. I believe in change.

“Fall of the Unlucid” lasts 7 minutes and 39 seconds. This song has massive riffs and attitude. What can you tell us about the story of this song? Do you know how many riffs you use in this song?
ERIC: «Fall» stands for the transition between the early years of the band and what we consider to be the second period of D.O. It had often been modified because I am a bit slow when I'm composing a song and I need time to get my final version. Our lead guitarist, Fred, had also modified his guitar's lines, and the result made this song a masterpiece of our list. I think there are some 10 riffs in this song, but they rather evolve and complement each other. Guitars parts were doubled in the studio to make the song more massive.
FRED: In my opinion, «Fall of the unlucid » is one of our best songs, very massive, captivating and atmospheric, it's pretty progressive with intro, interlude, changes in tempos and sounds, etc. These are the elements that contribute to a musical progressive structure. It will certainly be recorded again for the full-length, with better sound and improved by melodic arrangement. When recording, we had 3 guitars sound tracks: rhythmic, lead and solo, but the latter was not enhanced enough. How many riffs in the song? Well, I let you have fun counting the riffs ...Ah Ah!

There is obviously black metal in your music, but is there another big element in your sound? Is it prog? Is it strange to call it progressive black metal?
ERIC: I think that in fact «progressive black metal » is commonly used. It's a kind of coverall term. DO does not completely belong to this category, but there's something in our music's atmosphere which extracts us from standard black metal. Our different and respective influences are the main point. You can find in DO an epic and Norwegian touch inspired by bands like ENSLAVED but also a more rambling and disjointed aspect close to true black metal, in the style of DEATHSPELL OMEGA, for example. There's something like that in some of my guitars' intentions and we also try to include (in a coherent way) more ethereal sections, influenced by the 70's music. So, in this sense, it's progressive.
FRED: I will not find it strange. Indeed, you can call it progressive black metal. I agree with you. There is also a death metal touch in the vocals. D.O.'s style falls into the black metal category. Eric is the composer. Vincent and myself are in charge of making arrangement and we add our personal touch to the songs. We all have different influences and the way we interpret Eric's stuff brings originality; So that it can be defined as a progressive style. However, there's no precise progressive style that can be applied to a metal band. When listening to music, it's prog' or it's not. It's just a matter of feeling.
VINCENT: Basically, D.O. is a black metal band . Eric's influences are to be found in Norway with masters of black metal like Emperor, Enslaved, etc. Fred likes black metal bands too, but he also brings into the songs some prog' and technical metal influences . His lead parts and solos are a plus for D.O. As for me, I really appreciate the 90's Scandinavian black metal but I 'm also a huge fan of heavy metal music from the 80s and the early 90s. Bass lines in DO 's songs are not really what you can expect from a black metal band. It could be seen as heavy metal bass blended with black metal guitars riffs.

On myspace you have a friend called “Metal Fans Against Nazis.” Do you have this problem of racist metal scumbags in your city? Do they have neo-Nazi concerts in France? Do other people into metal in France stand up and speak against these perspectives?
ERIC: Obviously, this kind of deviance can be found everywhere and unfortunately, no one can prevent it from existing. It often tarnishes the metal scene reputation in the public opinion. There is often some hodgepodge. People are led into confusion by TV reports which are totally «off the subject» and people consequently get it all mixed up between music, nihilistic black metal and Nazi movements. It's a threat for music and for ignorant people who look at music from the outside. Anyway, skinheads and all this sort of scum are generally not welcome in French concerts.
VINCENT: Yes, there is some Nazi bands in France. It's a minority, I will not give you names cause I don't want them to be more known than they already are. It's a real problem. We're against fascist metal. It's in contradiction with what metal means, I think; Black metal has often emphasized on the flaws, the stupidity, the sordid aspect, the insanity and the absurdity of human beings and the ideology that they create, but without drawing any distinction between races. That's why Nazi metal bands are a nonsense to me. Anyway, politics should have nothing to do with metal music. Neo Nazi bands are a minority even if they do exist in Europe and everywhere. I've never heard about Nazi bands live shows. Actually, the problem is that most of these fools do not explicitly show their political opinion into their lyrics, they promote their ideas in a more underground and implicit way. Fuck them!

What it is that you have done so that the bass guitar is so easy to hear in your music? Why is the bass guitar so difficult to hear in metal music?
FRED: That's true, the bass is scarcely heard when listening to metal recordings. I found that its presence in the mix is good and fits in well (even in live situations) without disturbing the atmospheric nature of D.O., on the contrary it makes this aspect more emphasized.
VINCENT: Raphaël of the EHOES STUDIO did a great job when he mixed the bass guitar sound track. He's a really good sound guy who has recorded many metal bands in France such as ASMODEE, ANGMAR, WAY TO END, SAEL, ANNTHENNATH, etc. Check: He really wanted the bass to be heard and achieved his goal. It was not so easy because D.O.'s equipment and amplifiers were not so good but, he spent time for us and he succeeded in making a good mixing and found a good balance between guitars and bass. On most metal records, the bass cannot be heard, that's true, but I think it's up to each band to choose if they want their bass player to be heard or not; But beware, sometimes, most people think that they do not hear the bass because the bass supports and reinforces the guitars in the low frequencies register or just because it sticks with the drums. But, in fact, in this case, the bass does its job and is present into the sound. But low notes are often the most difficult to hear. And sometimes the guitar sound is so big and powerful that the bass cannot cut into the mix. In short, it depends on each band's choice of sound.

Do you dis/like it when people interpret your lyrics a different way from what you intended it? Your
song “Profiles for Delusion” could be interpreted a critique of the military and it’s policy of not wanting
soldiers to think and speak, just follow orders?!
ERIC: It's no use being naÏve. We know that most people do no take time to read the lyrics. The topics we deal with have to be seen in a general way. There is no really precise details to guide the reader. It actually depends on the way I or Vincent write the lyrics.
VINCENT: People can interpret our lyrics in their own way, i do not dislike it. We write lyrics in a way that allows people to think and to ask questions to themselves. You can understand «Profiles for delusion» as a critic against the army. That could be an interesting interpretation. In fact, it describes how people are ready to give up their own identities and opinions in order to fit in a social circle, or to have a job, to have a false life. It's a song that criticizes those who blends in with the majority, they submit to the mass without being asked to do so and for the wrong reasons. Fuck imitations!

“Unleashing the Whispers” lasts 9:55. In your opinion, what is the musical element that ties the whole
song together? At the beginning, did you think it was going to be about 10 minutes long? Does the song sound like you heard in your mind before recording it?
ERIC: As far as I am concerned, I make songs and compose according to my mood and my desire to express; I never know what I will create but when I find the first riff, a consistency is settled and it gives me a framework that I can change at anytime in order to achieve and complete the music all this lies in short moments when I 'm enjoying myself, feeling that the riff I get is the good one and not another, and step by step, this leads me necessarily to the overall consistency of the atmosphere.
FRED:«Unleashing the whispers » was patiently composed. It took pretty much time to finish this song. Furthermore, new additions and arrangement have been made since the demo was released, but we didn't plan how long it would last.

Have people ever asked you—directly or indirectly—why do you make music that you know will never be financially successful? Why do you think that the idea—making music or (making a zine like this one!) with no financial advantages—is so useless and stupid, to those people?
ERIC: Each one has to know what he [or she; MB] wants to do. Metal music is not made to make you a millionaire. Those who do not understand this must stop playing metal music or never start to make metal. As for D.O., we just want to enjoy ourselves playing what we like; we just need to have our travel expenses paid when we move somewhere to play concerts.
FRED: This question has been asked to me very often. i think that the audience and the musicians do not share the same interest as far as the making of a record is concerned. The audience of today is too much influenced by the radio, the TV, and what they're are told by people close to them.
VINCENT: I just think these people only see music as an entertainment. They just believe musicians are professional entertainers. They can't imagine that musicians can make music just to express their dark thoughts and feelings in an artistic way.

What new songs do you have? When will you record them?
ERIC: Step by step, new stuff is being composed. We may have our full-length album ready for September 2010.
FRED: Since our first demo was released, only 2 songs have been composed and completed. Three more songs are needed if we want to make a full-length in 2010.

What foods do you like? What drinks do you have with it?!
VINCENT: It's a very strange question in a metal band interview. I would just say this: «Fuck MacDonald’s and Coca Cola!»
ERIC: Are you interested in French food? Ah Ah...Just get a gastronomy book!

Final comments? Thoughts about France’s entry into the football (soccer) World Cup with a hand goal, by cheating? Would it be funny and ironic if France won the World Cup??!!!
ERIC: Fuck soccer!
VINCENT: Sorry, we don't give a shit about soccer! We do not care about mass entertainment. As for DOMINANT OBSCURITY, well, i hope we 'll be able to continue the way we started, writing metal music and lyrics to criticize institutions, dogmas, social systems, absurd behaviours. Goodbye. Thanks for the interview.
FRED: I've never been interested in soccer and it's still not the case today. I prefer music and guitar playing. There is no cheating in music. Thanks for the interview. It's good to know that someone, who is so far in the US, can be interested in our music. THE END.

Friday, February 5, 2010

Suicide Silence: No Time to Bleed

Suicide Silence (U.S.): No Time to BleedSomething like angry emo/core with with chugga-chugga breakdowns and the hardcore: angry rock played by the Jonas Brothers or by Hannah Montana or The Muppets. The vocals are mostly screech Muppet yelling and hollering with some Cooke Monster vocalizing. Cartoonish: “angry youth” because their “relationships” are “not” working out or “people” are “mean” to them “or” no one “understands” them or “no one” knows how “conflicted” or “confused” or “complicated” their lives “are.”

Fear Factory: Mechanize

Fear Factory (U.S.): Mechanize
This music relies on a very clicky, robotic, plastic sound: like it has a lot of loop and sample/cut and paste/studio effects going on. The guitar sounds very similar in each song and it’s those heavy-chunky-fat chugga-chugga-chugga guitar riffs that say “loud”, in the “nu metal”/“heavy/hard rock” ways. “Designing the Enemy” exemplifies the type of “angry-man rock” that they play at professional wrestling matches (or car racing or monster truck events, etc.) on television or like the kind of “hard rock” prevalent in cities where they play “contemporary hard rock” on the radio or television. The clean vocals sound very sampled, computerized and looped, so it’s hard to tell how real it all is.
“Metallic Division” is a case of a simple, play-on guitar choppy chug-chugg repeated over and over and over and over, with sampled sounds of industrial/machine shop noises. “Final Exit” has those computerized/distorted/robotic clean vocals again. The guitar is chugga-chugga-chugga over and over again; and there is the stop/start shouting over the “nu metal” guitar sounds.
“Oxidizer” is a more aggressive track, with more compact chugga-chugga guitar work. The guitar riff sounds like it is the same being used in all the other songs. For some it is “chuggchugg chuggchugg chug”; for others, “chugg chuggchugg chugg”; yet for others, “chugg chugg"; for others, “chuggchuggchugg chuggchugg chuggchugg,” etc.
The album is generally enhanced with background keyboard/synth/computer, industrial and machine noises; and some voice samples saying short phrases with comments about whatever is hip with some people who think about some things dealing with miscellaneous wanderings relating to whatever or such something or other like that, or thereabouts and stuff.

Thursday, February 4, 2010

interview with Azarath (Poland)


Azarath (Poland)
The drummer Inferno, who handles bashing duties for Behemoth (Poland), also has the jam-packed death metal allegiance Azarath whose most recent album “Praise the Beast” exercises the art of obscurantist, blasting, marching-riff death. These artisans procure an action-dynamic, claustrophobic-sinister, thick-riff music whose workings, like those of dissonant-aggressors/contradictory-harmonics death metal sensei Immolation, are very obvious and upfront, but whose structures do invite repeated listens to better understand. Azarath’s music points in that direction, and confidently on this album, their fourth one, according to guitarist Bart, who is the human being answering these questions.
“Praise the Beast” is high-caliber music of guitar solos, licks and cool riffs appearing from every which way, massively heavy death metal downtuned riffs, blasting, low-guttural aggressive growling. The cd is very professional, with a solid sound quality (to these ears, anyway), and well-arranged songs. This is not gore-burp-and-pig-squeal cupped-microphone breakdown-chugga-chugga, but rather guitar-oriented fast and heavy, blast-and-shred death. Impressive!!.
Hello, how’s Azarath’s world in Poland for the moment? “Praise the Beast” is such a good album!
BART - Hello. Thanks for good words about our last album! Everything is going well. We just have new member - Necrosodom (from Anima Damnata) who replaced Bruno as vocal/bass player. We cannot continue with Bruno further, he had to focus on his private life and he was not engaged in the band matters.

How many albums do you have in total?! And how can people get them, from you, from the internet?
We have four albums so far, you can check them all on our website or myspace and listen to few songs available online. You can buy those albums through some labels/ distributions. Please contact US DEATHGSAM or Agonia records, or Pagan Records. Yes, they are also available from the internet.

Do your songs, like “Throne of Skulls,” cause controversy and problems for you with the government in Poland? Have you had some problems like Behemoth?
I haven't heard about any problems considering that song. But we had some problems for live shows. Once, few years ago we cannot play in Opole city during the tour with Vader in Poland. We and Vesania were banned for this show for as they said "satanic reasons'. This autumn, during the tour with Behemoth in Poland, we had some problems together with Behemoth. Some people, including the man who bring Nergal to the court earlier, tried to cancel some shows. But fortunately they failed. The tour went fuckin great with all shows!

How many guitars are you playing in your songs in the studio? Is it really just two guitars or 3 to 5 guitars?!
We really put just two guitars tracks. Only in some moments, special parts we put 3-4 guitars, but it is not rhythm guitar parts, I mean something special, melody, higher parts and something like that. For the last album "Praise the Beast' we recorded one guitar using Laboga amp and second using Peavey 5150 amp, both amps with Laboga cabinet.

Was your song “Obey the Flesh” written together by Bart and Inferno? Does Inferno play drums, but he also knows how to play guitar? Bart and Inferno write ALL songs?! What about lyrics?
Yes, Inferno composes songs and riffs on guitar, that's true. We work both for all guitar parts for the whole album. So there you can have songs composed by both of us, some strictly by Inferno (like "Queen of the Sabbath" for example) and some by myself. Lyrics for the last album wrote Baal (from Hell-Born band)

How many concerts have you played in Europe this year? Have you received interest from other places, like Brazil or Japan??
We haven't played any European tour. We've just played some festivals this year, like Inferno Fest in Olso, Party San in Germany, Devilstone in Lithuania. But the main area for shows was Poland, we played some single shows and tour with Behemoth in September/October 2009. We got many e-mails, messages for playing Brazil and South America, for North America. But not real offers to come there.

Your instrumental song “From Beyond the Coldest Star” is surprisingly catchy and melodic! Did you plan it this way?
It was planned, not done in the studio. I compose this song as one of the latest ('Azazel' was the last) for the album. I knew that it should be outro track. And I wondered if it should be instrumental or with some speech maybe. I played those riffs to Inferno and he said, "let's do it instrumental, I will do simple drums for that, it will be great". So we did it.

When will you play and tour in the U.S.?! You should tour with Immolation! Both make fantastic music!!
Yes, we truly would like to come to US and support Immolation. Our live drummer - Adam Sierzega - talked to them when he was their drum technician for their last European tour and they said it would be great idea. But we have to get real offer from US and some support to cover flight tickets.
Thanks for the interview! THE END.