Monday, October 30, 2017

a commentary on Seattle's A Flourishing Scourge's 2017 album

Sometime ago I commented on the first few songs from this self-titled debut full-length album by the Seattle band A Flourishing Scourge, and I said that I would come back to the whole album, given the magnitude of the whole work. Therefore, here is the full commentary. If you read it before, the part is that is new begins after the band pictures below, with song number 4.--MMB
A Flourishing Scourge
A Flourishing Scourge
release date: June 9th, 2017
label: independent
1.Tidal Waves 09:54
2.To the Stench of a Rotting Corpse 06:30
3.Insatiable 06:50
4.Onerous 08:18
5.Awakened 02:58
6.Vacant 07:17
7.The Hedonist 08:12
8.Solace 09:20
total time 59:19
Seattle's A Flourishing Scourge is progressive extreme metal, but maybe we need to say what they are and what they are not, given that progressive has so many meanings. Some people have noticed that progressive is often used for various forms of punk, hardcore, postrock, djent, deathcore, metalcore and that type of groove-guitar/chugging stuff. That's not A Flourishing Scourge. This band has big riffs, hooks, melodies, the type that come from heavy metal because this is a heavy metal band: anyone into thrash, death and black metal will feel at home with the guitar work, and with the intense drumming. This is not a band that plays “grooves” and this is not a band that chugs away at the low strings. The drumming is, basically, traditional death and black metal drumming, it’s not “groove” drumming.
The vocals are growled and deep, not whiny or screamo. This may or may not be a problem for some. You'll have to decide. It's traditional extreme metal growling, basically; not microphone-cupping, low-intensity growling. It's extreme metal vocals with fullness and depth.
Supposedly, there is a problem with the length of the album. It is almost an hour of music and this is a turn off for some or it is too much for others or whatnot. Is the music too much today and don't feel like listening to the complete album? Press pause or stop and come back to it another time. Maybe you can handle it only a couple of songs at a time? I bet A Flourishing Scourge has no problem with that.
This is a professional album by an independent band. I can tell you for a fact that this album has cost a pretty penny to make. Who knows if there will be another album? Maybe they will break up? Maybe the next album won't be for another seven years? If a band spends its own money, and they have gone way above the call of duty to make an album that makes them and Seattle metal proud, isn't that something to celebrate?
Maybe you don't like extreme metal. Understood. Maybe you don't like prog. I get it. But if you want skills, professionalism, intelligence, dedication to the craft, a love of metal music, thoughtfulness, effort, hard work and songs by a heavy metal band that is thinking big, then this is what you will find on the album. Let me show you.
1.Tidal Waves 09:54
You could say that A Flourishing Scourge starts the album with a song of melodic black metal with a robust death metal production. Right away you can hear the importance of black metal for the band. The guitar work is definitely based on black metal, then around the three-minute mark the pace changes through a mellow pause before once again diving into extreme metal territory and before you know it, now there is a big progressive feel in the guitar while the speed seems to have increased. Lots of tremolo moments backed up with a thick, thrashing rhythm. Then, down the stretch, things slow down a bit, the bass guitar transitions to slower guitar work, then some tremolo melodies wrap it all up. Big statement from the band: Here we are, this is what we do. How do you like them apples?!
2.To the Stench of a Rotting Corpse 06:30
The title is the most different of all the songs. You would think it's a brutal death metal band. Kind of strange. Sure. This track begins very softly and contemplatively, but then out of nowhere the blasting black metal tears through the peace, then a transition to less frenzied pace yet still very much uptempo. The song does have vocals, but the guitar power is so decisive that the guitars are rulers of this realm. In particular, the last portion of the song is very melodic and the melodies go at a nice, ear-friendly pace, and that’s how the song ends. Very nice.
3.Insatiable 06:50
Total blasting black metal at the beginning. This is A Flourishing Scourge going as fast and as black metal as they can. At about the 1:30 mark the speed lets up a bit, for an uptempo mood, with some lower, brutal growling. At about 3:00 the song is still a headbanging tune, still going strong, but something else has crept up: the progressive riffs, the thrashiers bits, the melodies all have entered the door and have made themselves comfortable and by 4:30 the guitar solo is in full swing. The guitar harmonies, the melodies are taking this one home, but not before a very pleasant segment, about a minute, of acoustic guitar comes in and takes the song to the very end.
4.Onerous 08:18
After spending time with three songs in which the songwriting is characterized by black metal and death metal intensity enriched with progressive complexity, and a professional production, it’s a bit easier to see how these musicians think and how meticulously they approach their work. This particular song is another long track that requires several listens to make sense and only after repeated listens do I get a good feel for this song. Overall, it starts out as a heavy progressive track which then goes into extreme metal territory, like blasting and speed. This one rounds out the massive first half of the album comprised of four songs that require the listener’s full attention. Essentially, the band does four epic songs with the intention of giving any other album in 2017 a run for their money.
5.Awakened 02:58
After four songs that take the listener for a twisted ride, wouldn’t be it nice to have a break? The band just took the listener on an all-out intense listening session that is taxing on the senses. Consider how long it takes to write these songs. Consider how much work it is to get them right when they play them at first. After that intensity, a break might not be a bad idea, eh? It’s about three minutes of serene piano, and some gentle background sounds; a completely different experience from what has preceded this transitional piece.
6.Vacant 07:17
This song continues the peace. The bands does not throw you to the wolves again. Not yet. This song takes the long winding road to its destination. The keyboards are prominent is some spots. The mellow side of the band and their crazy side finally show up in a much more full coexistence. The soloing towards the end is beautiful before stepping aside for the extreme metal’s arrival, which marks the end of the song.
7.The Hedonist 08:12
My impression is that this is the most straightforward, upfront extreme metal song on the album. The song has all sorts of fun details. Some American brutal death metal blasting, some European black metal blasting. This is the band getting down and making a bit of music for the moshpit. In fact, it is an instrumental because they must have not wanted to ruin the fun with any more interferences. It begins quietly, but it builds up quite well and in a measured manner. I think it is cool how the band even shows a bit of the old blasting style of the Mike Smith school of drumming. By the 2:45 mark the song has entered the extreme metal threshold and it is going at a high speed. The song pretty much stays that way until the end: fast, intense and headbanging.
8.Solace 09:20
I am convinced the introduction to this song is an inside joke. For some 53 seconds the song lures you into thinking that it is going to be like Beethoven's "Für Elise," but just when you thought that they were going to take it easy on you because it is the last song, then they burst out of the gate with a moshing and headbanging segment, which then turns into an extended solemn part of the song and it looks like this is the way that they will open the door and take their leave, but not quite. Just before leaving, they launch into a short bout of extreme metal to close the album out with a bit of a bang.
Now it's your turn. Give some of your time to the creation of extreme and progressive metal named A Flourishing Scourge and perhaps you will also discover the music behind the sounds.

Saturday, October 28, 2017

Excuse All the Blood

The metal program Excuse All the Blood is on Friday nights, from here in the state of Washington, in the West Coast of the United States.
However, if you missed the live broadcast, listen on archive. Check out the archive, and bang your head. This is the Halloween-themed episode link below. The captain and commander in chief is Seamus O'Reilly, who is a walking library of metal music.
Seamus plays black metal and traditional heavy metal, and death metal, the New Wave of British Heavy Metal, thrash, doom, and all sorts of obscure metal music. He plays Washington state metal music bands, too!
Here is the link to the archive.
Do you love it loud? Are you a war machine? Do you want to rock and roll all nite? Are you a creature of the night? Are you dressed to kill? Are you ready to set heaven on fire?

Hexx's undying loyalty to metal music

I’m not even going to attempt to tell you about the history of this American band from California. Every time I try to figure it out and I run against a bunch of holes in the story, so I’ll just leave it alone. The changes that have taken place over the decades is not easy to understand. Let’s just say that they have done a wide variety of styles in their history, including radical changes in sound that confused more than a few people, myself included. They released their early music in the middle of the 1980s and have continued with ups and downs, and whenever they came to a fork in the road, they took it. However, instead of talking about the past. Let’s talk about this brand new album of heavy metal in the traditional way. True metal, thrashy heavy metal, power metal or whatever you prefer to call it. Traditional heavy metal meets thrash metal, and that's the new Hexx album. Hear a new song at the first link below. --MMB
HEXX - "Wrath Of The Reaper"
Label: High Roller Records
Release date: 15. Sept. 2017
OFFICIAL: The infamous Bay Area has a long and extensive Metal history. Responsible for many of Metal's most trendsetting acts (just think of Exodus, Testament, Forbidden, Heathen or Blind Illusion) for over three decades now, the city by the bay has spawned some of the most innovative and exceptional talents there is. HEXX, one of the third-generation Power Metal bands emerging from San Franciso, were formed in late 1984. Their first album entitled »No Escape« was released only in the United States of America (by the legendary Shrapnel label) and began shaping a steadily growing fan base for the band. It was followed by »Under the Spell« and »Quest for Sanity« marking the end of HEXX Mark I.
At that time, internal changes were taking place within the ranks of HEXX that would alter their musical direction. On the strength of a new song called “Watery Graves“ (released as an EP on Wild Rags Records), HEXX signed to Century Media Records. The following album, 1991's »Morbid Reality«, marked HEXX's evolution from a more or less traditional Speed/Power Metal band to a brutal, technically-inclined Thrash/Death Metal outfit.
With the brand new record »Wrath Of The Reaper«, however, Hexx are returning to their traditional Power Metal roots. “Perhaps HEXX phase three is a good way to describe it,” says founding member and guitarist Dan Watson. “This new record is mostly rooted in our old Power Metal style of our first two albums but there is a track on the album called ‘Exhumed For The Reaping’ that has a lot of very fast riffs that almost sound like it could have been from our Speed/Thrash Metal era. Eddy’s vocals are very high and melodic, so it still sounds like very fast Power Metal and not like true Thrash Metal. We consciously tried to take what we thought were the best elements and style of our first two albums »No Escape« and »Under the Spell« and use that as the mainframe feel and vibe for this new record. I think there are slight elements echoing back to »Quest for Sanity« as well in some songs. We think this new album is by far our best offering.”
BIOGRAPHY: The San Francisco Bay Area based Power/Thrash Metal band HEXX was formed in 1983, and released its debut album, "No Escape", on Mike Varney's Shrapnel Records label in 1984. Since then the group has been through several lineup changes and musical style variations. The first lineup for the "No Escape" album was: Dennis Manzo (vocals), Dan Watson (guitars), Bill Peterson (bass) and Dave Schmidt (drums). The group’s second effort, "Under The Spell", was released in 1986 once again on the Shrapnel label, and with European distribution support from Roadrunner Records. For this album Dennis Manzo was replaced by Dan Bryant on vocals, and Clint Bower was added on rhythm guitar. The musical style for this album was still very much Power Metal, but with a hint of the Speed and Thrash influence that would define the band's subsequent musical style and direction.
By 1988 HEXX recorded the "Help Your Self" demo demonstrating a shift away from traditional Power Metal to the Speed/Thrash style that was taking over the Bay Area musical landscape at the time. Clint Bower took over on vocals, and Dave Schmidt was replaced by drummer John Shafer. England's Music For Nations label signed the band and released the "Quest For Sanity" EP in Europe. This album was released in the United States the following year by Wild Rags Records. In 1990 HEXX released a single on the Wild Rags label called "Watery Graves" which included two Speed/Thrash bonus track versions of "Under The Spell" and "Edge Of Death" from their 1986 "Under The Spell" album.
In 1992 HEXX signed with Century Media Records and released their most technical and speed driven album to date, "Morbid Reality". A year or so after this release the group disbanded and lay dormant until spring of 2013, when founding members Dan Watson and Bill Peterson reformed with original "No Escape" vocalist Dennis Manzo, and new drummer Gary Gutfeld, to perform at the Keep It True Festival in Germany in 2014. The reformed HEXX recorded the "Up From The Grave" demo that is in the similar Power Metal style of their first two albums. Due to Bill Peterson's mounting health issues he was replaced by bassist Mike Horn just prior to the bands performance at the Keep it True festival.Mike Horn remains as the bands bass player to this day.
After returning home from performing at the Keep It True Festival in Germany, history seemed to repeat itself, and Dennis Manzo was once again replaced by Dan Bryant on vocals, and Gary Gutfield was replaced by original member John Shafer on drums. This line up recorded two new songs, "Burn Or Boil" and "Swimming The Witch", and in July of 2015 performed at the Headbangers Open Air festival in Germany. A new deal was signed with Metal Blade Records to re-release both "Under The Spell" and "No Escape". "Quest For Sanity" and "Watery Graves" are being re-released on Vic Records, and "Morbid Reality" is being reissued by Dark Symphonies Records. Dan Bryant has recently been replaced by new vocalist Eddy Vega, and Bob Wright from BROCAS HELM has signed on to share guitar duties with Dan Watson.

Thursday, October 26, 2017

Seattle and Washington concert calendar, updated October 27, 2017

Friends in the state of Washington,
Is there a metal music show in your area that is not listed in this calendar? Does your local metal band have a show coming up and is not listed here? Is your band's name spelled incorrectly? Are the dates wrong? If you have information about shows/updates/cancellations, please get in contact with Metal Bulletin Zine.
Seattle and Washington concert calendar, updated October 27, 2017
October 28 Hell's Belles (AC/DC tribute) at Jazzbones, Tacoma, WA
October 28 Blistered Earth (Metallica tribute) at Capps Club, Kenmore, WA
October 28 Vale of Pnath, First Fragment, Virvum, Aethereus, Withheld Judgement, Odyssian at The Pin, Spokane, WA
October 28 Skelator, Githyanki, Omni, Tiger Blonde at The Central Saloon, Seattle, WA
October 28 Weaponlord, Iron Nightingale, others at Highline, Seattle, WA
October 29 Vale of Pnath, First Fragment, Virvum, Aethereus at Studio Seven, Seattle, WA
October 29 Metal Yoga at The Shakedown, Bellingham, WA
October 29 Felled at Black Lodge, Seattle, WA
November 1 The Black Dahlia Murder, Suffocation, Exhumed, Decrepit Birth, Necrot, Wormwitch, Ashes of Existence at Studio Seven, Seattle, WA
November 3 The Drip in Yakima, WA
November 4 Narcotic Wasteland, Dreaming Dead, Countless the Dead at Studio Seven, Seattle, WA
November 4 Reevolution, Blood and Thunder, Aethereus, Thou Shall Kill, After the Fallout at El Corazón, Seattle, WA
November 5 Systematic Death, Capitalist Casualties, Deathraid at El Corazón, Seattle, WA
November 7 Children of Bodom, Carach Angren, Lost Society, Uncured at El Corazón, Seattle, WA
November 7 Allegaeon, Ne Obliviscaris, A Sense of Gravity, A Flourishing Scourge, Vesuvian at Studio Seven, Seattle, WA
November 9 Suicide Silence, Upon a Burning Body, Slaughter to Prevail, Prison at El Corazón, Seattle, WA
November 9 Rhine, Rat King, Ghostblood, Hexengeist at The Kraken, Seattle, WA
November 11 Children of Bodom, Carach Angren, Lost Society, Uncured at El Corazón, Seattle, WA
November 11 Trojan Swamp Monster, Dilapidation, Effluvia and Oxygen Destroyer at Erebus, Kelso, WA
November 12 Within The Ruins, Aversions Crown, Currents at The Pin, Spokane, WA
November 13 Suicide Silence, Upon A Burning Body, Slaughter To Prevail, Prison at The Pin, Spokane, WA
November 14 Origin, Archspire, Defeated Sanity, Dyscarnate, Visceral Disgorge, The Kennedy Veil at Studio Seven, Seattle, WA
November 15 Gwar, Ghoul, U.S. Bastards at Showbox Sodo, Seattle, WA
November 17 Cannibal Corpse, Power Trip, Gatecreeper at Neumos, Seattle, WA
November 17 Washington Deathfest at The Charleston, Bremerton, WA: The Charleston (Monsters Brawl Main Stage) 6pm: Embryonic Devourment, Violent Hallucinations, Progenitor, Whythre, Ghostblood, Nihilist Nation, Ashen Pyre, Oxygen Destroyer. High Fidelity lounge (The Chaos stage 2) 4pm: Monsters Among Gods, Abiosis, Inside Defiance, Prey The Hunter, Noceur
November 18 Blistered Earth (Metallica tribute) at Jackson St. Bar, Spokane, WA
November 18 Boycott the Baptist at The Charleston, Bremerton, WA
November 21 Crowbar, Tombs – Incite, Tricounty Terror, Sausage Slapper at Studio Seven, Seattle, WA
November 24 Arch Enemy, Trivium, While She Sleeps, Fit For An Autopsy at Showbox Sodo, Seattle, WA
November 25 Castle, Kömmand at Funhouse, Seattle, WA
November 25 Monsters among Gods, Born without Blood, The War Within, Karma's Playbook at Darrell's Tavern, Shoreline, WA
November 26 Castle at The Shakedown, Seattle, WA
November 27 Belphegor, Cryptopsy, Hate at Studio Seven, Seattle, WA
December 1 Bell Witch, Monarch, Usnea, Isenordal at Highline, Seattle, WA
December 2 Drawn and Quartered, Effluvia, Nekro Drunkz at The Valley, Tacoma, WA
December 2 Ghoul, The Plot Sickens, Crud Guns, Misuse of Power, Kömmand at El Corazón, Seattle, WA
December 2 Oxygen Destroyer, Violent Hallucinations, Grim Ritual, Battle Axe Massacre, Thonis, Transcribing the Necronomicon at McCoy's, Olympia, WA
December 3 Hell's Belles (AC/DC tribute) at the Manette @ Bremerton, WA
December 4 Ghost Ship Octavius, American Wrecking Company, Avoid the Void, Omnisight at Studio Seven, Seattle, WA
December 7 Weltesser, Body Void, Isenordal, LB! at Highline, Seattle, WA
December 8 Darkest Hour, Warbringer, Exmortus, ReEvolution at Studio Seven, Seattle, WA
December 8 Heartbreaker Led Zeppelin Tribute at Rocko's Fireside, Everett, WA
December 9 Jesus Wears Armani, Massacre at the Opera, Chamber 6, Method 13, Odyssian, Born without Blood, Children of Seraph, As Pillars Fall, Blood and Thunder, After the Fallout, Prey the Hunter, Anthrocene, Bleed the Stone at at Tony V's, Everett, WA
December 15 Demon Hammer, Hallucinator, The Devils Of Loudun, Oxygen Destroyer at Highline, Seattle, WA
December 16 All That Remains, Alter Bridge at Knitting Factory, Spokane, WA
December 16 Phobia, Xoth, Vitriol, The Great Sorcerer, Nosretep, EnVenom at Highline, Seattle, WA
December 20 Putrid Temple at Mercury, Seattle, WA
December 22 Black Bone Exorcism, Thou Shall Kill, others at Substation, Seattle, WA
December 29 Zoso - The Ultimate Led Zeppelin Experience at Knitting Factory, Spokane, WA
December 29 Queensryche at Snoqualmie Casino, Snoqualmie, WA
January 5 Fates Warning at Studio Seven, Seattle, WA
January 6 Infernal Coil, Theories, Wake of Humanity at Black Lodge, Seattle, WA
January 19 Hell's Belles (AC/DC tribute), Elephant Gun Riot at Knitting Factory, Spokane, WA
February 17 Anthrax, Killswitch Engage at at Knitting Factory, Spokane, WA
February 19 Black Label Society, Corrosion of Conformity, Eyehategod at Showbox SoDo, Seattle, WA
March 6 Wolves in the Throne Room at El Corazón, Seattle, WA
March 7 Machine Head at Showbox Market, Seattle, WA
Msrch 9 and 10 Northwest Metal Fest at El Corazón/Funhouse, Seattle, WA: Skelator, others
March 19 Udo Dirkschneider, Zero Down, Children of Seraph at El Corazón, Seattle, WA
March 22 Michael Schenker at Neptune Theatre, Seattle, WA
April 6 Nightwish at Knitting Factory, Spokane, WA
April 15 Uli Jon Roth, Killian Mahaffey at Studio Seven, Seattle, WA
April 15 Saxon, Black Star Riders at ShoWare Center, Kent, WA
June 10 HammerFall, Flotsam and Jetsam, Skelator at El Corazón, Seattle, WA
Metal Bulletin Zine
P.O. Box 1339
Lake Stevens WA 98258 USA

Thursday, October 19, 2017

an interview with the death metal wizards from Greece: Necrovorous

The death metal keepers Necrovorous (Greece) have been concocting their particular potion of primal preeminence amongst the gods and the mortals, within the dark alleys of the holy, the filthy and the insane, and they have been doing it for a long time, churning out demos, splits, EPs, an album and other such articles. They have been recording music for years and years, but things are getting even more interesting now with the band’s second full-length album, after more than ten years of confronting the mud and the swamp of the music business. The Greeks have found their way to Dark Descent Records, which if you think about it, seems like a perfect home for them. Necrovorous has one thing in mind: the creation of classic-style death metal. Fine, fine, fine, but who is Necrovorous and what do they want with you? Why does the death metal fanatic find themselves in the aim of Necrovorous? Let’s find out now. By the way, now you and all of your sick friends can gather around the chimney on a dark and stormy night, drink some hot apple cider and do a test listen of the new Necrovorous work called Plains of Decay in its entirety because it’s available for full streaming at Bandcamp. The link is at the end of this interview with the wizards themselves: Necrovorous!
Your band did good work with your new album Plains of Decay! Now that the album is finished, how is life for Necrovorous in Greece? How is life in general for your metal band in the ancient and legendary city Athens?!
Athens has been cool for metal for years. We are in the middle of a metal renaissance right now, there was a great scene that produced tons of masterpieces back in the late eighties up to the mid nineties and right now we are going through a similar phase. Life for the Necrovorous chaps has always been simple and straight as nails, it’s mostly work, family, working out, music and flicks nowadays. As far as Plains of Decay is concerned, it seems that the album has created a quite positive buzz around the reviews keep on coming in and are mostly very positive. The cd is already out and we are waiting for the LP/MC versions. We are still very satisfied with what we managed to unearth with the new album.
Necrovorous is classic-style death metal! I am new to Necrovorous. When did the band actually begin and have you been active since the beginning? Who are the members of the band now and who is answering this interview? On Metal Archives it shows that you have recorded a lot of music!
It’s Kostas answering this interview and currently Necrovorous is consisting of Vaggelis: drums, Kostas: vocals and Marios: guitars/bass. The band was founded in 2005 by S***eater (Vaggelis) and Pig*****r (Perikles), their goal was to fill a gap they felt it existed in the scene. Back then slam death metal and hi-tech brutal death metal was the order of the day, there wasn’t any dark and brooding death metal left except for the well known bands like Dismember, so the guys decided to get their acts together and create a combo influenced by old grindcore and death metal. The early sound of the demo tapes was mostly a hybrid of AUTOPSY, IMPETIGO, MASTER/DEATHSTRIKE, REPULSION, DR.SHRINKER, PUNGENT STENCH with some punky stuff thrown in for the good measure. The “Crypt of the Unembalmed Cadavers” 7”ep from 2009 was definitely the major turning point for Necrovorous. At that particular EP everything fell into place and the then new line-up seemed to have the ability to create extremely dark yet energetic music with uncanny ease. We pretty much resumed the same course for the first full-length, for the split EP with ANATOMIA and ultimately for the second album “Plains of Decay” which we feel encompasses our sound in a very effective manner. Everything fell into place on Plains of Decay, the tracks are better, the performances tighter, the production is great for what we do and the atmosphere is very morbid and twisted.
I think that Plains of Decay has a good production! Where did you record the album? Do you record your own music in your own studio? How do you make the classic death metal production? The album feels good to the ear, and I can hear the instrumentation well.
Thanks! We used the best gear possible and we tracked in several places. The mixing/mastering was handled by Stamos Koliousis and took place at Nest studio in Norway where Stamos is currently located. There are so many different production styles that can be classified as “classic” death metal productions that we dig and are not necessarily “technically” proficient. We just wanted to keep the instrumentation spontaneous and the atmosphere grimy and somber without having to compromise the technical aspect, some old school fans tend to think that sloppy equals great but they keep on forgetting that the old school bands actually had their stuff together and knew what they were doing. In terms of sound engineering we didn’t want to brickwall the whole thing, we opted for as great tones as possible and we kept it as organic as we could. We think it works.
Do you plan to tour in Europe to celebrate Plains of Decay? I hope your Greek fans like your new album! Do you have plans to play shows in the United States? Has your band ever played here in Seattle? Do you want to play a show in a dark, cloudy, grey and rainy city?!
There are no tour plans as of yet but we are discussing with Matt from Dark Descent the possibility of getting the beast on the road again. We haven’t ever set foot on U.S soil before and we would very much like to do so. We want to play everywhere possible without losing tons of money.
Can you tell us the story behind the song “Psychedelic Tribe of Doom”? That song is heavy, but melodic and it’s also like a melodic death doom song. Did you know you wanted the song to have a feel of doom before you gave it a title?
We always want the lyrics to fit the music, this is a bet actually since I never write lyrics based on ready musical parts, but I somehow manage to achieve the perfect marriage of sick texts and even sicker music. “Psychedelic Tribe of Doom” deals with a perverted, drug consuming killer hippie commune in the vein of the Manson family that lives off hallucinogens and act as predators. I have a soft spot for such stories, I love reading and watching videos about sects, ritualistic suicides, messianic megalomaniac religious leaders, etc. That song is a rollercoaster of a song and yes it starts in a brutal manner but ends as a hymn to despair, misery, hopelessness and desolation. Marios also played a killer solo in the end of the song that further enhances the feelings I am talking about, it makes me wanna rip my flesh apart…killer.
“Misery Loves Dead Company” is a fun name for a song. It’s not as funny as “Revenge of the Booger” from your demo from 2006! Was Necrovorous a gore death metal band in the early days? “Misery Loves Dead Company” is a more brutal song. The heaviness and brutality are a strong element in Necrovorous.
Nothing can top the inane antics of the “Booger” days, the guys were total “Revenge of the Nerds” freaks back in the day. “Misery Loves Dead Company” is about a love story tainted by substance abuse that ended up in a really horrific manner. Yes, Necrovorous used to be more gore inspired back in the day but now we are mostly dealing with whatever we find disturbing, as for heaviness, yeah, we want it to be so heavy that can crush you under its weight, we also want it to be dark and hopeless. I think we succeed in being a band that diminishes every sense of hope even though we are not a doom band.
“Lost in a Burning Charnel Ground” shows the guitar tone at the beginning when one can hear the slow sound. I am curious. How do you get the guitar tone? I’m not sure, but do you like the early Dismember/Entombed guitar sound? They used the HM-2 pedal, but what equipment do you use? Something similar?
No Boss HM-2 pilgrimage here. We love the Swedish buzzsaw patented sound but it is as I said already done ad nauseam. Our tone is much more multi-faceted dare I say. We wanted to convey a mixed bag of a tone as our influences range from MANTAS/DEATH to DISMEMBER, TIAMAT to ROTTREVORE, DETERIOROT to GOREFEST, SEMPITERNAL DEATHREIGN to BOLT THROWER and early CARCASS. Stamos worked with a variety of heads and cabs and I honestly don’t remember what he actually ended up using.
The song “Cherish the Sepulture” is one of more direct tracks on the album. It’s a headbanging song for sure! But I cannot decide if I have a favorite song because they all sound good to me. What is your favorite song on the album? Or, is it like asking, which one of your children is your favorite?!
Seriously I really cherish (pun intended) the new album as a whole but I think the “Cherish the Sepulture”, “Psychedelic Tribe” and “The Sun Has Risen” are the most representative of the bunch. Yeah, we love all of our children they are as ugly as we are, like father, like son.
Do you have any news that you want to share now? Thank you for your time!
We have shirts and cds for sale, plus some of the older tapes and cds, get in touch or be brainwashed by a Jim Jones wannabe and drink his lethal koolaid.
We sincerely hope we play some killer shows, score more records, cds, tapes and killer flicks.
Die by Power!

Wednesday, October 18, 2017

the barbaric thrash of Schafott from Germany

Supporter fanatics of primal thrash will meet the Saxons by the name of Schafott, whose debut album is called The Black Flame. The sound is in the territory of black thrash, more or less, inspired by 1980s black metal savage thrash for today. You are definitely going to hear the German thrash, especially the earlier, classic mayhem of the pioneers of the genre. Schafott's album is already released on High Roller Records the summer of 2017. To get an idea of the sound of the band visit the band's Facebook page where they have posted some of these new songs. Expect the Schafott horde to play it dirty and mean.
OFFICIAL: German extreme metal hopefuls SCHAFOTT hail from Dresden/Saxony. The four-piece have been around since 2011, released their demo ‘Satan’s Throne’ in 2014 (which was picked as “Demo of the Month” by German Deaf Forever magazine) and are now presenting the world with their first full-length effort “The Black Flame”.
Even though often filed under (slightly drunk and occult) “black/thrash”, SCHAFOTT really stand on their own, carving their own dark niche with vicious songs both full of incessant aggression and a dazzling melodic ingenuity. With their lyrics always focussing on all sorts of blasphemous forces and their dealings, SCHAFOTT never content themselves with your run-of-the-mill, bang-along metal song, but always aim for song-structures that go above and beyond.
The recordings for “The Black Flame” were done in SCHAFOTT’s own rehearsal room and in the ‘Lava Vault’ in Chemnitz: “We were able to use equipment from the ‘Time and Dust’ studio in Chemnitz and from another one in Dresden, which helped creating a very satisfying sound. We tried to do everything ourselves to have complete control over the whole process. Jonty Lava (Heretic, Abyssous) helped us a lot with everything and did a great job with mixing the album. We are very thankful for all the effort put into this release by all the people involved. The mastering was done by Patrick W. Engel, whose work and music we highly respect. This really rounded everything off.”
“The Black Flame” is adorned by a stunning cover artwork, contributed by talented artist Patricia Huck, who created the perfect visualisation both of the lyrics and the overall feeling of SCHAFOTT’s debut album. Apart from great art, “The Black Flame” also contains a really special feature: guest vocals done by Paul Schlesier from Black Salvation. Keep it burning!

Sunday, October 15, 2017

free death metal from Denmark: Xettia

If you love old-school, direct death metal and you have very little money, there is a Danish band that wants to have a dangerous meeting with you. They have a recording and they are asking you to pay whatever you want, including zero money, but maybe don't be a total zero and be a hero. Give them something because death metal is all fun and zombies, but it takes money to run the show, no matter how small it is.
Feather Storm
release date: November 6th, 2016
1. Feather Storm 05:55
2. Hells Dimension 06:17
3. Slay the Slain 07:29
4. Triumph of Death 07:17
5. Worn Out 05:08
total time 32:06

Friday, October 13, 2017

Thursday, October 12, 2017

BLOODSTRIKE Streaming 'Execution of Violence' / Embarking on U.S. Tour with FORCEPS

Bloodstrike is a classic-style traditional death metal band from the city of Denver, Colorado. The band's debut album is from 2015 and it is called In Death We Rot. Now they are back with a new one called Execution of Violence and it releases tomorrow, Friday. The band also has some shows coming up in the United States. Execution of Violence will be released October 13 on CD and digital formats through Redefining Darkness Records. A limited edition (100 copies) cassette version of the album will be released through Raw Skull Recordz.
The band has announced: "TOUR STARTS TOMORROW! Bloodstrike and Forceps will begin with the Execution for Violence release party in Denver at 3 Kings tomorrow, Friday the 13th! We then hit":
10/14 ABQ - Launchpad w/ Suspended
10/15 El Paso - Rockhouse
10/17 Dallas - Reno's Chop Shop
10/18 San Antonio - Hi-Tones
10/19 Laredo - Cold Brew
10/20 Corpus Christi - Boozers
10/21 Harlingen - Hop Shop
10/22 Houston - Rudyard's
10/29 Denver Death Fest 1 w/ Macabre
11/14 Denver - Lost Lake w/ Necrot
Biography: The initial idea for the punishing old school death metal assault that would become Bloodstrike was first conceived by guitarist Jeff Alexis (ex-Silencer) and vocalist Holly Wedel (ex-Nexhymn) in 2013. They recruited Joe Piker (ex-Dripfed) on guitar, Ryan Alexander Bloom (ex-Havok) on drums to round out the band and began developing a collection of massive riffs and crushing arrangements. Blood strike's veteran lineup exploded onto the Denver metal scene in June of 2014 with their three-track Necrobirth demo. The demo gained instant popularity with the death metal underground and drew comparisons to bands like Bolt Thrower and Entombed for both its ear-catching simplicity and blood-curdling heaviness. Impressed by the success of the demo and the work ethic of the band members, Redefining Darkness Records signed Bloodstrike to its roster in September of 2015 and quickly released their debut album In Death We Rot. After a successful round of touring and writing in 2016, the band went back into the studio in the spring of 2017 to record their second full-length album, Execution of Violence.
The folks over at No Clean Singing are streaming the complete album if you want to hear the sound of Bloodstrike. See the first link to hear it.

News: CORROSION OF CONFORMITY To Join Black Label Society On North American Winter Tour; Tickets On Sale FRIDAY!

CORROSION OF CONFORMITY will join Black Label Society this winter for a mammoth North American live takeover. The tour begins December 27th, 2017 in Denver, Colorado and will wind its way through nearly four dozen cities, the journey coming to a close February 27th, 2018. Additional support will be provided by Eyehategod and Red Fang on select shows. Tickets go on sale Friday, October 13th at 10:00am local time. See all confirmed dates below.
CORROSION OF CONFORMITY w/ Black Label Society, Eyehategod (12/29 - 1/20; 2/11 - 2/27), Red Fang (1/26 - 2/9):
12/27/2017 Ogden Theatre - Denver, CO
12/29/2017 Anthem at Hard Rock Hotel & Casino - Sioux City, IA ^
12/30/2017 Uptown Theater - Kansas City, MO ^
12/31/2017 Pop's Nightclub - Sauget, IL^
1/02/2018 Sokol Auditorium - Omaha, NE^
1/03/2018 House Of Blues - Chicago, IL ^
1/04/2018 Egyptian Room at Old National Centre - Indianapolis, IN ^
1/05/2018 The Fillmore Detroit - Detroit, MI ^
1/07/2018 Upstate Concert Hall - Clifton Park, NY ^
1/08/2018 M Telus - Montreal, QC ^
1/09/2018 Rebel - Toronto, ON ^
1/10/2018 20 Monroe Live - Grand Rapids, MI ^
1/12/2018 Diamond Ballroom - Oklahoma City, OK ^
1/13/2018 Bomb Factory - Dallas, TX ^
1/14/2018 Emo's - Austin, TX ^
1/15/2018 House Of Blues - Houston, TX ^
1/17/2018 House Of Blues - New Orleans, LA ^
1/18/2018 Marathon Music Works - Nashville, TN ^
1/19/2018 Bogart's - Cincinnati, OH ^
1/20/2018 Center Stage - Atlanta, GA ^
1/26/2018 Jannus Live - St. Petersburg, FL *
1/27/2018 House Of Blues - Myrtle Beach, SC *
1/28/2018 The Ritz - Raleigh, NC *
1/29/2018 The Fillmore Silver Spring - Silver Spring, MD *
1/31/2018 PlayStation Theater - New York, NY *
2/01/2018 The Palladium - Worcester, MA *
2/02/2018 Aura - Portland, ME *
2/03/2018 Electric Factory - Philadelphia, PA *
2/05/2018 Town Ballroom - Buffalo, NY *
2/06/2018 The Goodyear Theater at East End - Akron, OH *
2/07/2018 Stage AE - Pittsburgh, PA *
2/08/2018 Eagles Ballroom Club Stage - Milwaukee, WI *
2/09/2018 Myth Live - St. Paul, MN *
2/11/2018 O'Brians Event Centre - Saskatoon, SK ^
2/12/2018 The Ranch Roadhouse - Edmonton, AB ^
2/14/2018 Commodore Ballroom - Vancouver, BC ^
2/16/2018 Bowes Event Center at Revolution Place - Grande Prairie, AB ^
2/17/2018 MacEwan Hall - Calgary, AB ^
2/19/2018 Showbox SoDo - Seattle, WA ^
2/20/2018 Roseland Theater - Portland, OR ^
2/21/2018 Ace Of Spades - Sacramento, CA ^
2/23/2018 House of Blues - Las Vegas, NV ^
2/24/2018 The Marquee - Tempe, AZ ^
2/25/2018 Sunshine Theater - Albuquerque, NM ^
2/27/2018 The Fonda Theatre - Los Angeles, CA ^
^ Dates With Eyehategod
* Dates with Red Fang
CORROSION OF CONFORMITY has completed the follow-up to 2014's IX offering. Helmed by longtime producer John Custer, who's recorded such prior CORROSION OF CONFORMITY classics as Deliverance, Wiseblood, America's Volume Dealer, and In The Arms Of God, the record will mark the band's studio reunion with vocalist/guitarist Pepper Keenan and their first full-length record together since 2005.
CORROSION OF CONFORMITY emerged from hibernation as a trio and released 2012's self-titled album and 2014's IX to wide acclaim, but many fans have been eagerly and patiently awaiting the return of Pepper Keenan. The band was originally an influential hardcore punk/heavy metal crossover act before reaching critical success with a then new lineup on 1991's Blind album. That trajectory continued with wider appeal as Keenan took over as the group's primary vocalist on Deliverance (1994) and Wiseblood (1996). These two recordings in particular fused the raw energy of their previous albums, with some great strides forward in classic rock inspired songwriting and more spacious production and execution. Since then the band has often been copied but rarely equaled. This juggernaut gained mass and momentum with relentless touring alongside such greats Metallica, Clutch, Eyehategod, and many more. Eventually, following the release of In the Arms Of God in 2005, Keenan decided to focus all his energy on his hometown band Down...until now.
Pepper Keenan - vocals, guitar
Woodroe Weatherman - guitar
Mike Dean - bass, vocals
Reed Mullin - drums, vocals

keep on riding Pale Mare

The Canadian sludge stoner cowboys Pale Mare are about to open the barn and go to the prairie of doom. This publication cannot locate a page for the band yet, but below is a link to the label that will be running with these broncos from Toronto. The preparations for the rodeo are underway. Pale Mare is the name and sludge stoner is the game.
Pale Mare
Pale Mare
Medusa Crush Recordings
Release: 10 November 2017
OFFICIAL: Medusa Crush Recordings is pleased to reveal that they will release the self-titled EP by Toronto sludge band PALE MARE on November 10th 2017. The EP will be available on limited edition cassette. Pre-orders will be made available in the next few weeks.
About Pale Mare:
Pale Mare is a Toronto-based heavy metal band born out of the common desire to play music that is loud, aggressive and full of thick groovy riffs. Formed in the summer of 2015 by Eytan Gordon (guitar, vocals), Tommy Gervais (bass, vocals) and Luke Roberts (drums), the band put their backs to the grindstone in order to forge the sounds which are heard on this, their self-titled debut EP.
After a successful local debut and the release of their single debut ”Descolada”, they have been fortunate at this point to open for many hot touring acts and supplied local show support for artists such as Windhand, Weedeater, Set and Setting and Pertubator. Their sound has been likened by some in the same sonic territory as say early Baroness, High On Fire, Mastodon and Black Tusk; full of fire, attitude, brimstone, tone and soul - all vital ingredients for quality metal.
Through relentlessly crushing live performances, they have attracted a loyal fan base locally by showcasing the bands ability to play with high emotion and skillful execution. With the release of their EP set for November 10th, and material for a full length already in the works, Pale Mare are finally ready to give the world a taste of things to come as they prepare to bring their high-energy live show on the road to the masses that follow.

keep on riding Pale Horseman

Enter this rodeo and ride the bucking bronco or get kicked in the face by the stallion. Sludge from the USA's Pale Horseman is on the way in November!
Pale Horseman
The Fourth Seal
Release: 24 November 2017
OFFICIAL: On November 24th 2017, sludge/doom metal band PALE HORSEMAN will release The Fourth Seal. The album was recorded, mixed, and mastered at Comatose Studio in Bradley, Illinois, U.S.A. by Dennis Pleckham of Bongripper.
The band commented about the album "We are very pleased with the new album and more optimistic than ever about the future of the band in general. We put a lot of time and effort into this recording; more so than any of our previous releases.
Back in May of 2016, we made a major line up shift with the addition of new drummer, Jason Schryver, and he has given the band a newfound power and energy which had not been present in our previous releases and live shows.
The drums are better and the overall attitude of the band is more professional now too, which has made for a much more efficient and flourishing environment in the way of creativity as far as writing riffs and fleshing out song structures. We feel that this is by far our strongest and heaviest release to date.
About Pale Horseman:
Pale Horseman is a 4 piece metal band from the Chicago area which combines elements of sludge, doom, and death metal. Featuring a dual attack of guitarists/vocalists and a pummeling rhythm section, their live shows are most often described as “crushing" and their studio recordings have been done by some of their biggest influences including Dennis Pleckham of Bongripper, Noah Landis of Neurosis, and Justin Broadrick of Godflesh.

keep on riding A Pale Horse Named Death

Where have all the horses gone? Where are the cowboys and cowgirls when you need them?
Biography: On the surface, A Pale Horse Named Death are impressive. But you´ll want to dig deeper and immerse yourself in all the sonic and lyrical layers, because the band isn´t afraid to plume the depths of darkness that humanity is capable of. It´s murky stuff, but someone has to do it.
Sal Abruscato and Matt Brown have followed 2011´s incredible introduction And Hell Will Follow Me with Lay My Soul to Waste, which keeps the band´s patented signature formula of slow, deliberate sludge and head-down doom in tact and as flawlessly executed as ever. Think Alice in Chains, only harder, angrier and with a more perverse view of the world, as if they were reared in a row house in Bensonhurst, as opposed to the rainy landscape of Seattle, all the while feasting on a steady diet of Black Sabbath records.
Abruscato is open about the fantasy that dominates his lyrical point of view. He admits that all songs "have a line to reality…things that could and do happen everyday." But like any skilled storyteller, Abruscato likes pushing buttons. His lyrics are no different than the narratives of the horror movie playing at your local multiplex. It´s largely fiction, with some nuggets or kernels of truth embedded within.
Musically, the record matches that pallor and "will hit you in the gut." There are more harmonies this time out, and the piano is a bit more front and center, while guitarist Eddie Heedles contributed some leads. But for the most part, the formula remained largely untouched. "If it´s not broken, don´t fix it,´" Abruscato said, matter-of-factly. "We wanted to display the advancements, musically and artistically, and retain the core element."
Mission accomplished!
A Pale Horse Named Death arrived with And Hell Will Follow Me. They have firmly implanted their roots in the metal scene with Lay My Soul to Waste. It’s a metal album that headbangers who enjoy a walk on the darker side of life will end up revering and responding to.

Matt Spall reviews Arch Enemy

Our friend the British music critic Matt Spall, who specializes in long reviews, has stated that he is a big fan of "melodic death metal." As everyone knows, Arch Enemy has a boatload of talent and experience and they have had success for many years playing the "melodic death metal." When the new Arch Enemy album arrived, as expected, an committed enthusiast of the genre like Matt Spall is bound to get around to pour his energies into analyzing the work.
What did he find? What is going on with Arch Enemy in 2017?
If you love detailed and loquacious reviews, especially in the field of progressive music, it is difficult to go wrong with Matt's writings. He writes about it a lot, as you can read at the link at the end of this review. --MMB.
Artist: Arch Enemy
Album Title: Will To Power
Label: Century Media Records
Date Of Release: 8 September 2017
Have I ever mentioned that I love early Arch Enemy? I’m talking ‘Burning Bridges’ and before. This, as far as I am concerned, was the pinnacle of their career, with ‘Stigmata’ remaining my personal favourite. I loved the dark brutality that married so effortlessly with blazing solos, soaring melodies, a touch of progressive intent and topped off by the characterful growls of Johan Liiva. This was proper, unadulterated melodic death metal that delighted and beguiled me on each and every spin.
Since the departure of Liiva and the recruitment of Angela Gossow, I have to be honest and say that the output from this undeniably talented quintet has been disappointing and frustrating. Sure each album remains littered with muscular riffing and lightning fast and expressive solos, because to a certain extent, with the likes of Michael Amott and now the newest recruit, Jeff Loomis in the fold, there has to be a certain amount of six-string exuberance. It is part of the Arch Enemy DNA. However, in almost every other department, Arch Enemy have taken a step backwards as far as I am concerned.
To be crystal clear though, I am not blaming Gossow for the reduction in my enjoyment. Sure, I preferred Liiva’s delivery but this is only part of the story. Overall, I have found the post-Millennium material too dull, too prescriptive and lacking in that magic ‘je ne sais quoi’. I appreciate that I am likely to be in a minority with this view but I have to be honest otherwise what else do I have?
But that being said, there are moments within the likes of ‘Wages Of Sin’, ‘Doomsday Machine’ and even ‘War Eternal’ that make my ears perk up. I’d be a fool to say otherwise given my undying fondness for heavy guitars and wailing solos, particularly when handled by such accomplished musicians.
And now, in 2017, Arch Enemy find themselves fronted by the utterly gorgeous Alissa White-Gluz for whom ‘Will To Power’ is her second studio album having replaced Gossow in 2013. She is joined by the founding duo of guitarist Michael Amott and drummer Daniel Erlandsson as well as long-time bassist Sharlee D’Angelo and now second axeman Jeff Loomis.
This being the first studio record to feature Loomis as a fully-fledged member of the band, I had a tingle of excitement about a new Arch Enemy album for the first time in the better part of two decades. Being a huge fan of Nevermore and their more unique style of melodic prog/power metal, I was hoping Loomis’ songwriting abilities would have an effect on ‘Will To Power’. Imagine the huge lump of disappointment I experienced then, when I found out that Loomis has zero input into the songs on this record. Nevertheless, I find it difficult to let go of bands that have historically been so important to me. As a result, I wanted to give Arch Enemy one last chance before giving up on them once and for all.
Sadly, I can honestly say that my relationship with Arch Enemy is at an end. And I am genuinely sad to say this. I really wanted to like ‘Will To Power’. I really wanted to welcome the band back into my life with open arms. And, after hearing the infectious anthem that is ‘The World Is Yours’, I dared to believe that the spark might be reignited. It contains some devastating riffs, savage drumming from Erlandsson, bold bass work from D’Angelo and some excellent growls from White-Gluz. The chorus is hook laden and the lead guitar trade-offs between Amott and Loomis are full of energy and mind-bending dexterity. There’s even a riff at the two-minute mark that’s classic ‘Burning Bridges’ territory.
The unfortunate truth however, is that this is by far and away one of the best tracks on the record, leaving much of the rest in its dust. Hell, a few songs in and I find myself getting bored, wondering when I can listen to something else – ‘Stigmata’ for instance.
In the interests of fairness and as I have hinted elsewhere, I will gladly admit that the musicianship throughout this record is of the very highest order. There are plenty of bruising and satisfying riffs to be heard as well as some crazy lead work. But I have come to realise that these ingredients alone are not enough. I need more. I want to be blown away by the music that I listen to, or moved, or fascinated. ‘Will To Power’, does none of these things. Even the painfully inevitable dabble with clean vocals within the ballad-like ‘Reason To Believe’ does very little to stir my interest. White-Gluz has a tremendous voice, with a rich, smouldering tone. But when she executes something in between this and her all-out extreme delivery, it just sounds a bit cringe-worthy.
Speaking of cringe-worthy, I now find myself addressing the lyrics on ‘Will To Power’. I’m all for bands spouting positivity if that’s what they want, but the content here hits an entirely new level. ‘The World Is Yours’, ‘Reason To Believe’, ‘A Fight I Must Win’ and the album title itself; these all sound like chapters in some kind of self-help book rather than heavy metal song titles. Being this overt and in-you-face, I find the lyrics just a little too positive and a little too toe-curling. It’s all too saccharine and nauseating to be perfectly honest.
That said, tracks like ‘Murder Scene’ with its lovely dual guitar harmonies and very strong melodies are rays of sunshine in an otherwise murky and unfulfilling record. There’s also ‘Blood In The Water’ which has more of a ‘Burning Bridges’ bright and breezy feel to it. And the closer ‘A Fight I Must Win’ has a certain gravitas thanks to a lush orchestral intro and symphonic overtones throughout.
But at this point, there’s not much more to say really. I will state once again that I am almost certain to be in a small minority with my views and there will be legions of fans chomping at the bit to deride my review. Some might even use an occasional swear word in my direction. That’s fine, everyone’s entitled to their opinion and if you like a polished and conventional style of extreme metal, ‘Will To Power’ will be a triumph. But in all honesty, there are far too many excellent records out there that I’d rather listen to. I wish that it wasn’t the case but hey, you can’t win them all. And with that, Arch Enemy and I have officially parted ways.
The Score Of Much Metal: 5

Wednesday, October 11, 2017

extreme metal from Iran/Germany: Zurvan

Zurvan is based in Germany, but they claim that they began in Iran years ago. Unfortunately, this publication cannot provide much more information about the "Persian nihilistic black metal" of Zurvan, but the complete album is available for listening.
Gorge of Blood
release date: June 28th, 2017
label: Satanath Records
OFFICIAL: Zurvan released third album "Gorge of Blood" after 3 years of silence. This album includes 13 bloody and wild tracks. Dark and poisoned guitars with hammer and vain power chords, horrific and wild riffs, which changed any second and are full of violence, grief and hate. Solos, which screaming any seconds and don’t have any calm and quietness and at the same time are in persian and oriental mood, that their ode to sad takes the soul out of the body. Drums pounding and furious rhythms are like constant fire and explosion in deadly ups and downs, that make maniac space with guitars and bass, and at the same time changing the rythm every second. Bass guitar are being melodic and sometimes fast and rough and sometimes make a tragic and sad situation. Nervous and aggresive vocal, who screaming persian lyrics and sometimes sinks in sorrow, that drags blade on your vessels. Lyrics, which are full of darkness, absurdity, death, blasphemy, revolt and rebellion and slaughters the religion. For fans of: The True Mayhem, Urgehal, Merrimack, Tsjuder, Svarttjern (Official), Valkyrija, Unlight, Marduk Official, Dark Fortress (Official), Lifelover, KRYPT.
1. Gorge of Blood 04:16
2. Convulsion 04:27
3. Kiss of Death 04:51
4. Isolation of Sense 04:51
5. Self-Mutilation 05:07
6. Kafir 04:58
7. Zurvancide 05:03
8. Aggression 05:46
9. Hallucination 05:09
10. Swamp 07:22
11. Filthy Calendar of the Time 05:15
12. Freezing 04:42
13. Massacre 05:05
total time 01:06:52
OFFICIAL: Satanath Records has a knack of discovering great bands from even the most unexpected countries for metal in the world. This time around, they've unearthed a band from Iran, playing a form of black/death metal that leans towards the Scandinavian template but add their own flavour to the mix. ZURVAN have created a sublime blend of semi-melodic, DISSECTION-meets-BOLZER kind of sound which it infuses with riffing that is distinctly Eastern-sounding. They're on their way to forming their own identifiable sound but even as of now, their music is a breath of fresh air and holds immense promise, especially for a band from a place like Iran. Like AZOOMA, they're likely to leave a mark in the genre.

the traditional heavy metal of Blazing Rust from Saint Petersburg, Russia

In the Russian city of Saint Petersburg there are many interesting to experience. For instance, you can see the famous Church of the Savior on Blood or maybe you want to see the infamous Peter and Paul Fortress, and so many other things. All very interesting. Do you know what else is interesting? Traditional heavy metal coming from this very city in the form of Blazing Rust. Don't cut your hair! Bang your head! Put on your leather jacket and your bullet belt and get down with the denim-and-leather glory of heavy metal that goes by the name of Blazing Rust. If you can't get enough guitar solos and traditional heavy metal is your middle name, then make sure to go to the first link and find out more about time-defying Russians and their quest to bring their steel to the world. There are songs and other information there, including a video from the band's 2017 album called Armed to Exist.
OFFICIAL: BLAZING RUST is a heavy metal band from St. Petersburg (RUSSIA) which sound and music direction are soaked with spirit of 80s - classic unpolished metal at its best! The band was formed in November 2014 and consists of former and current members of well-known Russian metal acts, such as Pyre, Drama, Ulvdalir, Internal Damage, Grenouer. Having their own tinge and vision without limiting themselves to the rigid frameworks, Blazing Rust pay homage to real heavy metal gods such as DIO, JUDAS PRIEST, BLACK SABBATH, DIAMOND HEAD etc.
In May of 2015 BLAZING RUST released a debut cassette demo tape that was sold out among the loyal headbangers fairly quickly. 2015 also saw the band playing several shows in Saint Petersburg and other cities of Russia. In march, 2016 the band took part in “The Ultimate Revenge of Heavy Metal Festival” held in Helsinki, Finland, sharing the stage with such legends of old school metal as WITCH CROSS, SAVAGE, OZ, SCANNER etc. From March to October 2016 the band has been working on recording and mixing of full-length album named "Armed To Exist" which consists of 9 tracks and totally continues the way of authentic heavy metal sound which Blazing Rust has started from.
Check out what the Metal Temple scribes have observed about Blazing Rust: It is virtually about the execution and how the band’s spawned material arrangements made this old school experience to become one of the profound outcomes out of a newcomer Heavy Metal. The main reasons are that BLAZING RUST never did really innovate anything, like most bands of the age, they followed their gods, embracing their heritage and coming with their vein of music. Nonetheless, the Russians fashioned the mixture of 70’s Hard Rock / catchy Heavy Metal and even a few salutations to Blues Rock, to end up as inspiring and motivating for further listening sessions. “Armed To Exist” pumped up the classic riffery, a sort of a polished version of RAINBOW meets JUDAS PRIEST, DEEP PURPLE meets DIO and BLACK SABBATH meets NWOBHM, whether through the twin guitaring through the soloing, diverse vintage beats to the immensely strong vocal line that takes charge of the cavalry force. Nothing over the top regarding technical merits, yet not as fundamentally basic as it would seem, Armed To Exist is a delivery of soulful passion.

Monday, October 9, 2017

the symphonic/folk metal of Crimfall from Finland

The Finns call their own music "epic cinematic metal" and they have returned with their their album to present another chapter in the quest to take on the world of metal music. Fortunately, the new album is available for listening in its entirety at the link below. When will there be more Lord of the Rings movies? Maybe Crimfall can get the job of composing music for those movies, or just listen to the new album and hear for yourself what "epic cinematic metal" is all about.
Metal Blade Records
Release: 25 August 2017
OFFICIAL: Wearing many a mask, Crimfall's cinemascopic metal eludes easy descriptions. Harsh influences from their northern homeland and its violent roots meet echoes of black metal, but it is all iced with epic orchestration and symphonic soundtrack atmosphere. The melodies convey soundscapes of majesty and long lost histories as the interplay of Mikko's demonic screams and Helena's heavenly vocals bring forth the raw despair and beauty, painting contrasts with a heavy hand as seasons of war cycle in their unforgiving descending spiral.
Crimfall's story began in 2007 in Finland as Jakke Viitala gathered talented musicians around him to drive forth his lifelong vision of music that would respect no boundaries. Two albums have been released since then: debut As the Path Unfolds... (2009) and The Writ of Sword (2011), which they supported with European tours. Crimfall is now known for uncompromising visual live shows and diverse albums crafted with patience, as they never do anything half-hearted.
After six years of battle preparations, Amain - set to be released on August 25th, 2017 by Metal Blade Records - is their most ambitious album, combining familiar elements with fresh inspiration, and wreathed in massive crisp production from Fascination Street Studios. Featuring music that spans from monumental orchestrations to songs whispered over fading pyres, Amaincontains layers upon layers of grand melodies woven between jagged shadows. On this latest release, Crimfall also continues to sing the stories of wars waged in vain, advocating freedom from religious dogmas and the bloody chains of tradition.

free death metal: Grave Ascension from Tampa, Florida, U.S.

Grave Ascension is raw and classic-style death metal filled with the primal spirit. Judging from the way this recording sounds, they believe in making death metal demanding that only the diehard enthusiasts of the genre enter this realm. They function as a tight, cohesive unit big time, meant to sound like real drums and the music overall seems inspired by the young death metal of the late 1980s, maybe 1988 to 1990, in heaviness and execution. Put this recording next to the early demos of Immolation, Incantation and this Tampa, Florida, U.S. band seems to fit right in.
This is a name-your-price/free recording.
Grave Ascension
Sin Never Dies
release date: April 2nd, 2017
1.Bestial Perversion 03:24
2.The Body Decayeth 03:16
3.Trench Warfare 03:00
4.Ceremony of Mutilation 03:49
total time 13:29

Morbid Angel's new album Kingdoms Disdained out on December 1, 2017

Morbid Angel
Kingdoms Disdained
release date: December 1st, 2017
1. Piles of Little Arms 03:44
2. D.E.A.D.
3. Garden of Disdain
4. The Righteous Voice
5. Architect and Iconoclast
6. Paradigms Warped
7. The Pillars Crumbling
8. For No Master
9. Declaring New Law (Secret Hell)
10. From the Hand of Kings
11. The Fall of Idols
OFFICIAL: Morbid Angel’s 9th studio album will be released worldwide on Dec 1st on Silver Lining Music and via JVC in Japan, reuniting guitarist and founder Trey Azagthoth with bassist and vocalist Steve Tucker to create this world beating apocalyptic soundtrack.
The album will be available in CD (jewel case and digipack with lenticular cover), 180gms Vinyl in a Gatefold and Digital download...& don’t forget you will be receiving the immediate download of “Piles of Little Arms” when you pre-order. A special Edition Boxset will be available to order very shortly.
Just one play of Morbid Angel’s searing, incendiary Kingdoms Disdained, and you’ll realize that this is the only true current aural document of a world sinking into uncharted despair. “The album title says it all,” states Tucker, “everybody’s fed up and nobody can figure out how to fix it. We’ve got all these miniature wars in neighborhoods, cities, countries, and we’ve got people with varying opinions causing chaos, yet everyone is doing what they feel is right. Which all makes it feels like the world has reached a point of utter madness and confusion.”
Recorded at Mana Recording in St. Petersburg, FL and produced by Morbid Angel with Erik Rutan (Morbid Angel, Cannibal Corpse, Hate Eternal, Six Feet Under, Belphegor), Azagthoth, Tucker, and drummer Scotty Fuller, have created 11 pieces of devastatingly dynamic death metal!
Formation, demos and Altars of Madness (1983–1990)
Morbid Angel was formed in 1983 in Tampa, Florida by guitarist Trey Azagthoth and drummer/vocalist Mike Browning. The band made their debut in 1987 on the New Renaissance Records record label. They recorded their debut album, Abominations of Desolation, in 1986, but the band was unsatisfied with the final product and it remained unreleased until 1991, printing 10,000 copies. In the early stages of their career the band developed a reputation for "gruesome stage antics."
In 1986, David Vincent joined the band, replacing Michael Manson and Sterling von Scarborough as vocalist and bassist respectively. Fellow Terrorizer drummer Pete Sandoval soon followed. Their first studio album, Altars of Madness, was released in 1989, and is regarded by many as one of the most important death metal albums of all time. It is also considered the first true death metal album. Music journalist Jason Birchmeier writes that: Few albums struck a chord within the ears and minds of the late-'80s underground metal scene like Morbid Angel's Altars of Madness did at the end of the decade, setting a new precedent for metal bands to reach. With the arguable exception of Chuck Schuldiner's Death, never before had a heavy metal band carried their lightning-fast guitar riffs and equally spellbinding guitar solos into such horrific territory. Venom and Slayer redefined the extent to which a metal band could align itself with all things evil during the beginning of the decade, but Morbid Angel made these two groups sound like children's music compared to the Florida-based group's assaulting death metal sounds and their blasphemous lyrics.
Rise to success (1991–1995)
1991 saw the release of their second album, Blessed Are the Sick, which was met with widespread critical acclaim, and is considered by many to be a landmark release in the death metal genre. The album differed from its predecessor, showcasing a more "sludgy" side to the band. Following the success of Altars of Madness' and 'Blessed are the Sick', in the Spring of 1992 Morbid Angel were signed by Irving Azoff to Giant Records for one album, with the option of five more. Later that same year, second guitarist Richard Brunelle was kicked out of the band due to alleged substance abuse.
On June 22, 1993 the band released their third full-length album 'Covenant', which went on to sell over 150,000 copies in the United States alone. Their record label dedicated promotional resources to the album, and commissioned music videos for the songs 'Rapture' and 'God of Emptiness'. These music videos were put on heavy rotation by MTV, and the latter also appeared on the television show Beavis and Butt-head. The success of the album enabled the band to tour with Black Sabbath and Motörhead across the United States from February through March of 1994, which David Vincent credits with helping the band significantly expand their audience.
The band released its fourth studio album, Domination, on May 9, 1995, which featured new guitarist Erik Rutan of Ripping Corpse. It proved to be a somewhat controversial album among fans, featuring a slower, more atmospheric and experimental sound than on previous albums. Music critic describes the album's sound as "more groove-oriented". The album has gone on to sell over 100,000 copies in the United States alone. Regardless, following the release of the album their record label dropped them from their roster.
Steve Tucker era (1996–2003)
In 1996, shortly after the release of their live album titled Entangled in Chaos, bassist/vocalist David Vincent departed the band and was replaced by Steve Tucker. They released their fifth full-length album Formulas Fatal to the Flesh in 1998, which was considered more aggressive and complex than their previous album 'Domination'.
With Tucker, the band went on to release Gateways to Annihilation and Heretic in 2000 and 2003 respectively. Tucker briefly left Morbid Angel in 2001 and was replaced by former Hate Eternal bassist and vocalist Jared Anderson. In 2002 however, Anderson left the band and Tucker re-assumed his position as bassist and vocalist.
Reunion with David Vincent (2004–2014)
In 2004, Steve Tucker once again left the band, paving the way for former vocalist/bassist David Vincent to return. The band continued by touring and playing festivals such as Wacken Open Air in 2006.
Morbid Angel's appearance on some of the mid-summer 2008 European festivals was announced as a "short break from writing and pre-production of their new 8th studio album".
In May 2008, it was announced that Destructhor from Zyklon would be the band's new guitarist, and Destructhor would appear on the new album. On March 18, 2010, the band announced that Tim Yeung would play drums on the upcoming album, allowing Pete Sandoval to recover from back surgery. On June 22, the band entered the studio to begin the recording of their new full-length album. On March 5, 2011, the band headlined the Scion Rock Fest in Pomona, California. This performance was their first in the US in six years, aside from a one-off show in Los Angeles in May 2009. On March 9, Morbid Angel confirmed that their new album would be called Illud Divinum Insanus.
The album was released on June 7 via Season of Mist. In an interview in December 2013, David Vincent confirmed that Pete Sandoval is no longer a member of the band, claiming that Sandoval had "found Jesus", and stating, "Pete Sandoval and Morbid Angel are not compatible", laying to rest speculation that Sandoval would eventually be returning to the band.
Asked in a December 2014 interview about Morbid Angel's plans for 2015, Vincent replied, "We're done [touring] for awhile. It's time to write." Yeung said that the band was in talks of recording an EP.
Reunion with Steve Tucker (2015–present)
On June 15, 2015, it was reported that David Vincent and Tim Yeung were no longer in the band. Former vocalist/bassist Steve Tucker has once again rejoined, and a replacement drummer has yet to be found. Later that day, however, Vincent denied that he had left the band.
On his official Facebook page, Steve Tucker hinted in a post on the 17th of June that guitarist Destructhor is no longer part of Morbid Angel either: "Who will play second guitar? Time will answer that one..."
On June 18, 2015, this was confirmed, as Destructhor announced his departure from Morbid Angel to focus on the Norwegian death metal band Myrkskog. On June 19, 2015, David Vincent confirmed that he left Morbid Angel, due to creative differences. Both Vincent and Yeung teamed up together in late 2016 to form the band I Am Morbid.
On August 3, 2016, it was announced that Morbid Angel was signed to UDR Music and is currently at work on a new studio album, which will be released in 2017, with a tour to follow. On January 9, 2017, Trey Azagthoth announced on his Facebook page that Scott Fuller from Annihilated joined Morbid Angel for the recording of their new album. Additional details indicated that the album title would presumably start with the letter "K", given the band's history on naming their albums alphabetically.
The next day, the band announced that they had hired Dan Vadim Von from Vadimvon as their second guitarist. They also announced a U.S. tour with Suffocation, Revocation and Withered, which would begin in May. In a March interview on The Metal Magdalene With Jet show on Metal Messiah Radio, Steve Tucker explained that the album would be a "death metal album".
When speaking to Orlando Weekly, Tucker said that the tour setlist wouldn't feature any David Vincent era material and would then perform songs featuring him instead. He also said that they would play "probably one or two new songs" from the new album, in which he said that it was "almost done, but we don't want to put out too much with YouTube putting it up the next day." The opening night on May 23, they performed a new song entitled "Warped".
In July, Morbid Angel were forced to cancel their summer festival appearances in Europe due to "unfortunate and last minute, unforeseen problems with a passport for one of the members of the band." The band's management explained that a new passport wouldn't be issued in time for the shows. Morbid Angel were upset with the news and apologized thereafter. They are currently working on rescheduling their performances for the fall.
On October 4, the band revealed the cover artwork for their forthcoming album titled Kingdoms Disdained, which is due for release on December 1. The next day, the brand new song "Pile of Little Arms" was made available for streaming.
Piles Of Little Arms