Sunday, September 30, 2018

releasing tomorrow: Foaming At The Mouth

Foaming At The Mouth: Writhing
Self-Release 1 October 2018
Foaming At The Mouth is brutal death metal by two persons from the state of New York: drummer Kyle Eddy (Mucopus, Internal Bleeding) and guitarist Jeff Leifer (Tentacles, Crator). The band has been active since 2013. The music itself is heaviness, brutality and sickness, focused on groove and slam. The recording is 30 minutes of pounding and mosh pit rhythms and blasting and a bunch of farm animal noises.
The main thing to know here is that the noise is meant to be brutal fun. There is a bit of melody, and plenty of chugging and slamming. They can go fast, really fast, but the band does not want you standing on the sidelines in awe. Rather, they want you sweating, throwing your elbows around in friendly physical sports-like activities in the pit. Grab a partner by the hand, or better yet, drag them to pit and see if they can break a sweet, sweet sweat or get a little bit bruised by the workout.

Saturday, September 29, 2018

interview with Arallu, music from Israel

Arallu is extreme metal from Israel. The music began in the late 1990s and in 2017 they released their sixth full-length work titled Six. Said work was welcomed by reviewers who enjoyed the black metal and Middle Eastern sounds that is the heart of Arallu. In 2018 there is a new version of an album that they made some ten years ago. Originally it was called Desert Battles – Descending to the Sands. This publication is finding out more about the new version of Desert Battles. Here is an exchange about said recording and about life in Israel and Palestine. Listen to the band's music at the link given at the end of this interview.
Greetings, Arallu. Here in the U.S. people every day are hearing from the media’s furious derangement syndrome about politics. How you are all in Israel? Are people there as crazy as they are here? What is the situation with the new album?
Hello, Metal Bulletin magazine. I’m Butchered, the main former of Arallu. Humans are crazy all long the globe, unfortunately, and you can see it between the countries leaders. They play "I’m stronger than you" all the time.
Yes. We working those days for Arallu 7th album as expected to release in 2019. We finish the written process of 9 full songs. we finish the pre-production recording sessions of all instruments and now we are in the final mix process. The name of the new album we will expose really soon.
How much live activity have done recently? Have you played in 2018 in the neighboring countries like Turkey or Egypt? What about Europe?
Unfortunately, we can’t play in our neighboring counties like Egypt, Syria or Jordon. The conflict around the Middle East don’t let us do it. We played in 2015 in Turkey with a lot concerns, but we did it and it was really great experience.
We out for a tour to Switzerland and Germany for the 3rd time and to France for the first time this October and we back Israel for 3 shows and to complete the process for our new album.
Some ten years ago there was the fourth album called Desert Battles – Descending to the Sands. However, in 2018 Arallu has a new version of the album. First of all, what can you tell us about the ideas of the album in 2009? You called it Desert Battles, and to people in the U.S. the title suggests all the conflicts of the Middle East. What do you remember about the time of the album in your country and that part of the world?
The situation around the Middle East not changed from 1967 and its even worst from then. With Desert Battles album we go back to the ancient time of the Middle East, in the time of Mesopotamia. Around the battles between kings and demons of the ancient regime. Like in the song "THE DEMON CURSE", and "DESERT BATTLES" you can see how the ancient world was. When kings and demons ruled the world. From the other side "THE KEEPER OF JERUSALEM" was written when my wife was in pregnant with my first daughter. This song talks about the dilemma of brining children in to this cruel world and how to protect them.
DESERT BATTLE album of 2009 is talking about the ancient kingdoms and rulers of Mesopotamia days. The battles between those kingdoms and ancient demons, and makes a mirror to the situation of today in the Middle East. Actually, the texts of this album relevant for today as well and I believe will be relevant even for 100 more years from now.
Why is there a new version of Desert Battles?
"DESERT BATTLES album finally coming again via "Raven Music" who released the first version as well, but after long time of waiting. The original album released 2009, but we never was satisfied with the results of the final mix and mastering, and that’s why we didn’t release it again after the 2000.
Thinking about the idea of battles and conflicts and problems in the desert as a real issue for today in the Middle East, how do you feel about the situation in your country now? Do you feel like there are Jewish Israelis and Arab Israelis and others in your country today that want peace and work towards peace? Personally, do you feel any sense of pessimism about the possibilities for peace? Is war, permanent war, the future of Israel? Occupations, illegal settlements, suicide bombings, religious violence, rocket attacks, distrust, paranoia, people blaming other people, religious extremism, so on and so forth, is that the future of Israel?
Like the previous albums of the band we talking about the situation around the Middle East as it crawls to Europe and the US, and some personal issues we deal with our everyday life. The song "Adonay" from our "Six" album for example, is talking about a simple man from Jerusalem killed by terrorist attack and left behind him a huge world of people who loved him, but actually this song was talking about the last days of my grandfather who really suffered before he died a few months ago. He was my model and I really admired him.
The song "Possessed by Sleep" is about the murder of a little girl named Hillel Yaffe Ariel who was killed in her bed by a terrorist while she was sleeping. When you live around Jerusalem and you have 3 children all you're thinking about is how to keep them safe in this horrible world. From the other aspect we have the song "Soulless Soldier" which is about a soldier in the army service who fights the wars around Israel and when he killed a terrorist who tried to kill soldiers the government put him to trail for that. It's absurd. Arallu is the horn of the situation in the Middle East and specially the horn of the wars all around the years in Jerusalem. We don't look for paper news headlines. We play and live black metal from the 90's. It's more than a decade that Arallu screaming about the global terror.
"Satanic War In Jerusalem" our second album from 2002, talking about the situation in Jerusalem that spread to the world. I wrote this album in 2001 when the Islamic terror attack everywhere in Israel and especially in Jerusalem. Unfortunately, "Satanic War In Jerusalem" become a self-fulfilling prophecy and today we all know it. "The War On The Wailing Wall" our debut album from 1999, was the mix between our daily life and extreme black metal against religions.
When I’m writing my music and my lyrics I'm not looking for some victories. I mean I'm looking for something fresh, something that no one touched before. Arallu always looks to bring something different to the global metal scene and we're doing it in small steps. The atmosphere of this album is similar to the old albums. It's the feeling of the desert force and battles around the Middle East. We’re coming against what is offensive and hurting us. Us as human beings, us as individuals. The people in Israel don’t know what good life is. We are busy with worrying about personal and national security. Our lyrics are straight in your face, against the religions and what they represent and of course the people behind them.
Our last album GENIEWAR and "SATANIC WAR IN JERUSALEM talk about all those things. From the wars of the ancient times as kings tried to rule Jerusalem. With that, "SIX" album talking about the wars of today as ISIS are trying to destroy and kill anyone who doesn’t agree with their religious views. Like in the song "Only One Truth". Arallu concept is the mirror of the human race, hypocrisy of the governments all around the world including Israel, and the unwillingness and fear to fight against the extreme religion leaders. We live in the Middle East, as you know. The situation here is not easy here in Jerusalem and Israel. We live in days of war religions, and religions hatred that inspired our music and lyrics.
Is it common for Jewish Israelis and Arab Israelis to form friendships today? Do you see that happening in 2018? Are there young people who are sick and tired of the hatred of the older generations? Do you see things changing?
I'm always think to myself, we are all tired from fights and wars and maybe soon all will over, but then after a few days the headline of the news brings an evil news of dead people by terrorist who stab them or crushed people by his car. So I think that hatred not died yet and the Palestinians needs more time to understand that we not going anywhere and we still here and they needs to learn how to live here with us.
How can American fans get your merchandise?
Thanks for asking we have many fans who ordered our merchandise via All our albums cds, vinyls, patches, T shirts are there. So if someone looking for our music he can defiantly find everything there.
Thank you for your time!
Thank you very much for this great interview!

Friday, September 28, 2018

out today: Revocation – The Outer Ones – Album Review by Matt Spall

The U.S. extreme metal act Revocation today has its seventh full-length studio album available from Metal Blade Records. The hardworking, music-obsessed British scribe Matt Spall took the new Revocation album for a spin, and this is his wise verdict. At the end of this review you can find out how to keep up with Matt at Twitter.
Artist: Revocation
Album Title: The Outer Ones
Label: Metal Blade Records
Date of Release: 28 September 2018
I’m someone who can barely hold an instrument, let alone play one well. Equally, I haven’t the first idea how to write a kick ass song. So for me, the thought that a band can release xx albums in 12 years since their inception in 2006 beggars belief. The fact that the band is Revocation and their back catalogue is of such a consistently high quality, it only makes the feat even more incredible. From the beginning, this Boston-based quartet have always sought innovation, with each album trying something just a little bit different. And album number seven, entitled ‘The Outer Ones’ is no exception.
It goes without saying to a certain extent that, at its core, ‘The Outer Ones’ undoubtedly remains an extreme metal record, with strong death metal overtones and a hint or two of thrash as well. But mixed in with this are a number of other important influences, some previously explored and some new.
What’s particularly striking about ‘The Outer Ones’ is how immediate it is for what is intrinsically a powerful extreme metal record. And I really, really like that. You all know by now that melodic intent receives a big thumbs up from me, so this has been a positive revelation. That’s not to say that previous records have not offered their fair share of accessibility of course. However, if anything, the injection of this element is arguably greater than ever before, leading to a greater level of enjoyment and connection on my part.
Hell, after a few spins, the opening track, ‘Of Unworldly Origin’, becomes almost catchy. The early central riffing courtesy of guitarists David Davidson and Dan Gargiulo is impactful, incisive and the rhythmic battery from drummer Ash Pearson and bassist Brett Bamberger is impressively intense. A blend of deep, guttural growls and higher-pitched gruff vocals stalk the instrumentalism, with caustic intent and then two things happen: firstly there’s an expressive and exuberant lead guitar solo laced with melody and infectious enthusiasm that’s magnificent. Secondly, the band inject a fair amount of groove in the latter stages. It all adds up to a precise, sharp racket that’s electrifying and hugely gratifying.
The latter ingredient pales into insignificance when compared to follow-up ‘That Which Consumes All Things’, which delivers Grand Canyon-sized groove into a track that is more of a slow-burner, not one to give up its charms without a fight. There’s more of a raw black metal-like atmosphere at the outset, but it is wiped away at the half-way mark when the down-tuned death metal tones become more pronounced. Frenzied blastbeats greet the conclusion of another intricate lead guitar solo before Pearson delivers some mind-boggling sticks work that acts as the prequel to the monstrously groove-laden and bruising stomp that’s the song’s outro.
‘Blood Atonement’ then underlines one of the biggest features of ‘The Outer Ones’, namely the overt jazz element to much of the material. Firstly, there’s the dancing and deft bass playing of Bamberger that emerges from the depths to come far more to the fore. Then there’s the central quieter and more spacious interlude that wears its jazz influence on its sleeve to excellent effect. Think of a more extreme metal version of Cynic and you’d not be far off. Somehow, in Revocation’s hands, the blending of soothing jazz and technical death metal works really well. That word ‘immediacy’ springs back into my mind again. I’m not complaining.
Any band that can fuse together an uncomfortable dissonant atmosphere with a sheen of warmth and some welcoming melodic flourishes has my respect, a feat achieved by Revocation within ‘Fathomless Catacombs’. Again, it is the intricately wrought lead guitar solo that steals the show, but every corner of the band, via every twist and turn, is at the very top of their game to create another compelling composition that is happy to reveal yet more jazzy intent.
Not content to rest on their laurels, the title track decides to dredge the depths of death metal depravity, thanks to some lightning-fast instrumental work, meaty churning riffs and some of the most in-your-face confrontational vocals on the record. And yet, an homage to melody and technicality remains.
Elsewhere, the instrumental ‘Ex Nihilo’ allows the listener to revel in the technical abilities of the quartet unencumbered by those commanding vocals. The guitars literally dance across the track, sprinkling it liberally with some delicious licks, riffs and solos, whilst the drums and bass create some engrossing beats and rhythms. And then there’s the album’s finale, the seven-minute ‘A Starless Darkness’, which slows the pace down to something approaching doom metal territory. The vocals are so low, they have to look up to view Hell and the grinding, writhing riffs are dirty but superb, allowing yet more understated melody to creep into their DNA. Plus, I just love the way in which the song plays with tempo so effortlessly; one minute we’re lurching along, nodding our head in time with the laboured pace. Then, in the blink of an eye, we’re confronted with blastbeats and a slick, rapier-like riff to cut the atmosphere in two.
Listening to an album like this should be exhausting, draining and daunting. However, in the hands of these accomplished musicians, ‘The Outer Ones’ instead is an enthralling experience. Every spin is greeted with a sense of anticipation and more often than not, I am rewarded with a new discovery, be it subtle or more overt in nature. And best of all, the music doesn’t feel impenetrably heavy and extreme. Simply put, with ‘The Outer Ones, Revocation are a revelation.
The Score of Much Metal: 9.25

Monday, September 24, 2018

Madder Mortem – Marrow – Album Review by Matt Spall

The following is a review by the dedicated music critic Matt Spall (U.K.). Find at him at Twitter telling the world about his reviews. See the info at the end of the review.
Artist: Madder Mortem
Album Title: Marrow
Label: Dark Essence Records
Date of Release: 21 September 2018
If all music was simple, straightforward and easily digestible, it’d get very boring very quickly. There is a time and a place for music that requires no real investment of thought or effort from the listener and I’m a fan of that kind of thing when my mood dictates. However, I also like to be challenged and made to work hard by the music that I listen to. Quite often, it is the album that initially sounds too complicated, inaccessible or lacking in immediacy that will ultimately make the biggest impact if the requisite effort is made to get under the skin of the record.
Take Katatonia as my finest example. When I first heard ‘Last Fair Deal Gone Down’, I hated it. But over time, I persevered and now it enjoys a place at my top table. The same could be said for Meshuggah, Pain of Salvation and a plethora of others too numerous to quote here.
Instead, I wish to turn my attention to ‘Marrow’, the seventh album from Madder Mortem, a Norwegian quintet that have spent more than 20 years challenging themselves and listeners with new ideas and influences, whilst at the same time cleverly carving out a unique but identifiable core identity. Madder Mortem are certainly one of those bands that deserve the ‘unique’ tag as no-one sounds quite like them. On second thoughts, no-one sounds even remotely similar to Madder Mortem. And it is because of this that I like the band so much.
So, when I received a direct message from vocalist Agnete M. Kirkevaag, offering me the opportunity to get an advance listen of their latest baby, ‘Marrow’, I couldn’t turn down the opportunity. Even though I’m drowning in new releases as the post-summer festival glut of new albums starts to take full effect, I had to give ‘Marrow’ my full attention. I’m glad I did too.
According to the press release that accompanies ‘Marrow’, this record is “…about sticking to the essence of yourself. Your ideas, your thoughts, your values. To stay true to your roots – your Marrow.” It is a subject matter that resonates strongly with me and only serves to underline what I was referring to about Madder Mortem being a unique band and not conforming to any genre ‘norms’. They do what they want, producing music that they believe in.
Until this point, if you were to place a gun to my head, I’d reveal ‘Eight Ways’ as possibly my favourite record to date. However, having spent significant time with ‘Marrow’, I may be tempted to change that answer. With Madder Mortem, it is wise to never make a snap decision, so time will ultimately tell. But as I sit here now, ‘Marrow’ is in with a shot at the title.
As with every previous release, it is difficult to accurately describe the Norwegian’s music into a pithy soundbite because it is just too multi-faceted and varied for that. Sound like a cop-out? Just take a listen and judge for yourself. Suffice to say that there are very few stones left unturned across the 11 tracks that comprise ‘Marrow’. Everything from progressive rock to Scandinavian-inspired folk, and from avant-garde to doom metal gets an airing. The textures, tones, emotions and atmospheres can vary greatly, often within individual songs. And yet, the final product manages to remain cohesive and never disjointed. Equally, I find the music to be fresh-sounding, remaining modern and relevant in today’s metal world.
The opening instrumental, ‘Untethered’, is typical Madder Mortem – equal parts beautiful and unsettling. The acoustic guitar is simple, rich and inviting, reprised in the much shorter closing twin-track, ‘Tethered’. But as the short opening piece develops, eerie and haunting sounds rise up around the guitar to smother it in a dystopian, almost malevolent cloak. I’m listening…
The driving bass of Tormod Langøien Moseng and drums of Mads Solås create an intro to ‘Liberator’ with genuine energetic intent, something that is further built upon by urgent-sounding, jangly guitars of BP M. Kirkevaag and Rickard Wikstrand. Agnete’s clean and crystal-clear vocals are next to arrive before being joined by some deep, resonant and heavy guitars to juxtapose their lighter approach elsewhere. The stomp of the guitars alongside a commanding rhythm section is infectious, as are the quiet choral-style vocals that sit below Agnete’s commanding delivery. In addition, the melodies within this bold song are surprisingly catchy some of the most immediate in recent years.
‘Moonlight Over Silver White’ sees a continuation of those chunky, stomping and lurching guitars but not before a quiet intro sets something of a creepy, twisted nursery-rhyme-like tone. There is a greater sense of contrast here, as the choruses are much more restrained affairs to counteract the power of the choruses, whilst the song joyfully veers into more avant-garde territory on occasion. And yet for all its quirks, it’s a composition dominated by some strong melodies that get stronger the more one listens.
The initial honesty and simplicity of ‘Until You Return’, led by some of the softest and most angelic singing I’ve heard from Agnete, is temporarily unseated by the bang and crash of Madder Mortem on all-out attack mode, a clamour that borders on the barely-contained, threatening to spiral out of control at any moment. But the masterstroke is the way in which the understated and delicate melody is built upon in the latter stages and replicated in a heavier guise. This track serves as a perfect metaphor for the Madder Mortem school of music, where no matter how melodic and ‘pretty’ the music gets, you’re never fully relaxed, always waiting for the chaos to descend as inevitably, the Norwegians like to toy with the listener, test and confuse them. ‘Marrow’ is certainly no different.
Even the more whimsical, folk-imbued and acoustic-led ‘Stumble On’ cannot help but build through its lifespan to something more commanding and powerful. It doesn’t quite descend into the dark recesses of some of its peers but nonetheless, I love the strength of the composition, especially the multi-layered and striking closing third which shows a bucketload of intensity and drive.
Elsewhere on ‘Marrow’, My Will Be Done’ has the sheen of groovy death metal at points, whilst others it offers passing resemblance to an industrial metal track, complete with rasping male vocals spitting venom all over one of the most abrasive cuts on this album. Then there’s the nine-minute monster that’s ‘Waiting To Fall’. Heavy, plodding doom metal riffs and screamed, gruff vocals are expertly juxtaposed with sensitive, minimalist atmospheres where Agnete’s voice sounds brittle and poignant.
The bass of Tormod Langøien Moseng comes to life many times on this record, never more so than on ‘Far From Home’, a song that is nestled at the heart of this record and which leads me to wonder if perhaps, despite some of the overt heaviness and experimentation at play, we are witnessing the most accessible Madder Mortem release of their career to date. As wild and unruly as the music gets, such as the opening bars of the title track, we are never far from a melody that manages to break through the oppressiveness to offer more than a mere chink of light.
Speaking of oppressiveness, there’s a strong argument to return to the title track. Even though it dallies with some subtle, minimalist avant-garde soundscapes, it remains a challenging listen thanks to the range of tones and almost overbearing textures that it explores, not to mention the downright odd nature of some parts.
I could go on but instead I’ll draw the review to a close by reiterating my gut feeling that ‘Marrow’ might just be my favourite Madder Mortem yet. Despite the generous proportions of this record, I get to the end and invariably feel the need to go back and enjoy it all over again, invariably discovering something new that I’d conspired to miss the last time. In that sense, ‘Marrow’ just gets better and better. If only more bands were as unique and inspiring as Madder Mortem…
The Score of Much Metal: 9.25

read number 153 of Metal Bulletin Zine online

The friends at Fuglymaniacs have posted number 153 of Metal Bulletin Zine. The issue features:
Cryonic Temple, Lords of the Trident, Void Ritual, Against Evil
ALSO in this issue: Eskhaton, Crawl, Monstrosity, Imperialist, North of South, Gabriels, Panzer Squad, Gnaw Their Tongues & Crowhurst, Exmortus, Chevalier, Defecal of Gerbe

Thursday, September 20, 2018

Last Pharaoh album out now: songs streaming now

Pure Steel Records has now released the debut album from Last Pharaoh (U.S.). The band plays traditional high screaming shredding heavy metal. Be sure to hear some songs at the links below the official information.
LAST PHARAOH combines the rhythmic power of eighties heavy metal with the virtuosity of neo-classical master shredders. The US hopeful hails from the Hudson Valley region of New York. The band consists of vocalist Tommy Santangelo, guitarist Ron Toth, bassist Michael James and drummer Ed Shelinsky.
In contrast to other bands of this genre LAST PHARAOH delivers powerful and melodic songs without getting too progressive, they hit the heart and brain of all headbangers instantly. Their debut album “The Mantle of Spiders” is not only recommended to fans of Malmsteen and Impellitteri, but also Queensryche and Judas Priest.
1. Into The Darkness
2. The Headless Horseman
3. Jekyll And Hyde
4. Deadly Dreams
5. Machinic Non-Conscience
6. Slave To The Kill (The Son Of Sam)
7. Desert Dreams
8. Mantle Of Spiders
9. Psycho House
Total Playing Time: 46:09 min
Tommy Santangelo – vocals
Ron Toth – guitars
Michael James – bass
Ed Shelinsky – drums
LAST PHARAOH is a melodic Power Metal/Progressive Metal/Neo-Classical band from the Hudson Valley-Westchester region of New York. Their sound features melodic and refined vocals, blistering solos, and a driving rhythm section. All flow fluidly well into crafted catchy songs. Recently formed, the band consists of veteran pros with years of performing and recording experience.
Ron started playing music at a very young age. He first started on the clarinet, but quickly switched to guitar when he heard the opening guitar riff to Alice Cooper's, "School's Out." From then on he was hooked on guitar. His band Pegasus made it to #13 band in Ohio while he was still in High school. He then moved to New York & got a gig with William Ames {Conductor of the London Symphony Orchestra} doing Neo-Classical Hard Rock/Metal. Ron has appeared on ESP records, and Prisonrock records. Ron has now found a perfect musical fit in LAST PHARAOH.
Tommy fell in love with, "The Voice Of Metal" in 1982 while giving Iron Maiden's The Number Of The Beast its first initial listen after receiving a copy from his Uncle. From there, he took on the vocal styles of Queensryche, Dio, King Diamond, Grim Reaper, Savatage and Helloween, melding all those vocal aspects into his own unique style. Tommy's vocal range is very wide and dynamic. He can switch from aggressive melodic, (DIO) to stratospheric, piercing falsettos (King Diamond) at the blink of an eye. Tommy's vocal style is a perfect fit for LAST PHARAOH.
In 1986, Michael picked up the bass for the first time, and began a voyage that would see him fusing the technicality of Progressive Metal, and the speed of Thrash, with his own adaptive and versatile style which transcends the Metal Spectrum. Michael's bass playing is a perfect fit for Ron's style and they compliment each other wonderfully. Michael's fingers blaze through notes and progressions with pin-point accuracy, making him the perfect fit for LAST PHARAOH.
Ed started playing drums at the age of 8. Beginning with Led Zeppelin, then moving on to Metallica, Iron Maiden, Slayer and Pantera. A hard hitting drummer, Ed can play anything thrown his way. Melding wonderfully constructed rythms into gigantic drumming beats and incredible fills, Ed has finally found his home as the backbone for LAST PHARAOH.

Wednesday, September 19, 2018

NEWS: out now: Lost Tribes of the Moon

The self-titled, independent debut album by Lost Tribes of the Moon was released on September 18th, 2018. The band is from Wisconsin, United States.
Lost Tribes of the Moon is doom metal. The guitar riffs and tone come, more or less, from the school of classic Trouble and Candlemass. It is a heavy tone (but not sludgy; not stoner). The vocals are singing, with some moments of slightly more aggressive comprehensible semi-screaming. The singing is clear and strong, and done mostly in a slow manner. Again, Lost Tribes of the Moon employs traditional singing, as one would hear in Candlemass and Solitude Aeturnus. The strength of the voice is communicated effectively on the album.
It turns out that, as the official information below explains, the album is a debut and the band may perhaps be new in name, but the musicians involved are veterans. That’s the difference in quality that is readily heard. By the way, this is not a rough, home recording. It seems like the band spent the money necessary to make the album be a concerted effort to deliver a debut that can have an impact on fans of traditional doom in the classic style. It is also very good to hear a band that has done the homework in knowing what they do. They have the skills, not just the desire, to be good doom, and to have, above all, good songs. If the above statements have created an interest, then don’t hesitate to listen to the complete album at the link below.
A final word about propaganda. Read the official information below, but remember: this is basically traditional doom metal, with a bit of progressive tendencies. Don’t be confused into thinking that this is experimental, weird music.
Lost Tribes of the Moon
Lost Tribes of the Moon
18 September 2018
LOST TRIBES OF THE MOON's self-titled debut album features three main compositions that showcase a vast and dense variety of influences including but not limited to forms of heavy metal, prog rock and folk. Long and indulgent song lengths give these songs the proper vehicle to fully tell each story within. A few supplemental tracks surround the beginning, middle, and end of this album to help tie the atmosphere of this musical universe together, and which contains expanded instrumentation and sounds that open the doors even further into this auditory journey that is LOST TRIBES OF THE MOON. Features inside album artwork by critically acclaimed artist Martin Mercer who has worked on movies such as Nightbreed, Lord Of Illusions, Iron Man 3, Suicide Squad and Aquaman.
Band: Jon Liedtke - guitars, synthesizers, theremin; Jacob Muchin - bass; Jeremiah Messner - drums, percussion, tabla, bells; Janine Rohde - vocals, screams, violin.
Guests: Carl Storniolo - singing lids; Victor DeMichael - gongs; Noah Mezsick, Ron Blemberg, Jon Liedtke, Jeremiah Messner - choir chants on the song "Lost Tribes of the Moon."
1.Intro / The Rise and Fall of Midian 03:34 (instrumental)
2.Wych Elm 10:09
3.Revenant 08:06
4.Ka-tet 01:36 (instrumental)
5.Lost Tribes of the Moon 13:22
6.Outro / In Search of a New Midian 01:27 (instrumental)
total time 38:14
BIO: Lost Tribes Of The Moon is a band that follows their own path musically and allows their music to speak for themselves. Based in Milwaukee,WI, Lost Tribes Of The Moon is a band that doesn't try to be defined by one or two genres, rather using "metal" as it's main vehicle of sound but citing influences ranging from 70's hard rock, Prog rock, Doom, Black Metal, NWOBHM, folk, and ambient/experimental to make up a reference for what the listener has in store for their ears. The band focuses on dynamics within their musicianship and proper use of inspiration to deliver a sound that doesn't sit neatly into any single description or genre. Lost Tribes Of The Moon takes their name from a reference to Clive Barker's Nightbreed movie and graphic novel and uses that type of dark story telling fictional (or not so) universe combined with lyrics based on stories of mythical figures and old tales to influence the vibe of this band.
Lost Tribes Of The Moon has been performing as a live band since September of 2017, but in that short time have hit the stage hard and have been a support act for such bands as Today Is The Day, Black Tusk, Immortal Bird, Doomstress, Dreadnought, Ails, Owl, Savage Master, and Vile Creature. The band's goals for the remainder of 2018 and 2019 is to promote their debut album and venture out to further regions beyond their hometown and the midwest to share their music and live sound with more and more audiences. Never are they satisfied with being content, the band also stays focused on progressing and regularly composing new material to evolve to the next phase of their existence.
Band Members: This Ka-Tet was founded in late 2015 by Jon Liedtke, a veteran guitarist and musician. While he has spent most of his career as a lead guitarist for previous Milwaukee bands such as Shroud Of Despondency, Face Of Ruin, and Ara, Jon is probably most recognized nationally and internationally as the theremin player for Relapse Records recording artists Inter Arma. His multi instrumental skills landed him in a unique working relationship with the Richmond, VA band and has appeared on their last 2 albums "The Cavern" and "Paradise Gallows". Jon has also played noteworthy festivals with them such as Maryland Death Fest, Roadburn Festival, and Psycho Fest as well as a recent European tour as direct support for the band Deafheaven. When conceiving the mindset for this band, Jon took influences from bands like Uli Roth era Scorpions, Trouble, Rainbow, St. Vitus, Iron Maiden, Bathory, Mercyful Fate, and of course some Black Sabbath with other genres of rock bands like King Crimson, Queen, and Genesis to put together the material for what is the band's debut album. As the guitarist and leader of the band, Jon combines all of his college music degree skills with his veteran experience as a performing musician into the sounds of Lost Tribes Of The Moon.
Jeremiah Messner plays drums and is the 2nd longest tenured member in the band. Jeremiah is veteran of the Milwaukee underground music scene and has played with a who's who of black metal bands including Cold Beyond, Shroud Of Despondency (where him and Jon Liedtke met) and Owl's Cry. As a performing drummer for over 20 years and well versed in the aforementioned influential genres for this band, his drumming style is the perfect compliment to the feel of each of their songs.
Janine Rohde is the voice of Lost Tribes Of The Moon, providing a wide range of vocal abilities as well as her violin skills to the intro and outro on their debut album. Janine arrives from her previous band, Nadoula where she learned the ropes of being a lead singer and front person in a metal band. Something else very noteworthy is her role as the voice of Bruce Dickenson in a local Iron Maiden tribute band called Maiden Milwaukee. This kind of experience and skills in the vocal department add an extra layer of powerful dynamics to the music of Lost Tribes Of The Moon.
Ben Wright rounds out this group as the newest member on bass. Ben stepped in to take the place of original bassist and recording member Jacob Muchin. As a well rounded musician, Ben provides an extra dynamic to his approach on bass for this band live and for future recordings, playing a more Geezer Butler/Bob Daisley style to fill in the pockets with notey bass lines where the music has more spacing.

NEWS: out now: Prezir

This month (September, 2018) sees the release of the debut album by Prezir, a black metal band from Wisconsin, United States. If asked what is it that they do, their response is unequivocal: “metal. black, death, and thrash. nothing modern.” Prezir is sword-wielding, double-headed eagle necro black thrashing extreme metal that it is as good as advertised. Actually, they are way better. Previously they had a five-song recording called Contempt, which apparently is the English translation for “Prezir,” the Serbo-Croatian word that is the flag under which they represent their interpretation of primal metal.
The album should be interesting to fans that love the old German and Brazilian sounds of bands like mid-80s Kreator and 80s Sarcófago, and classic 1990s black metal. Prezir does have the speed, the blasting frenzy, the vocals, the riffs, and the solos that fans demand. Frankly, that is not why Prezir should be interesting. The bells and whistles need to be there, sure, but those things are simply tools here. There are two reasons why Prezir should be looked into. Once one gets past the frenzy, the blasting, and all that, one will hear the skillful utilization of chaotic, dark, fast melodies that invite more listens. “What was that? Let me here it again.” The word melody here means the way that classic black and bestial thrash bands use it.
The second reason for the black metal audiences to give Prezir a chance is the songwriting. The experience and the knowledge will come across to the listeners, who will know it when they hear it. It is a very convincing characteristic of Prezir. Find out more about the band and album below through the official propaganda, and know that the entire album can be heard at the link below.
As Rats Devour Lions
Godz ov War Productions
17 September 2018
Milwaukee black metal group PREZIR are releasing their first full length album, As Rats Devour Lions, on September 17 via Godz of War Productions. The follow up to 2017 debut EP Contempt, As Rats Devour Lions delivers a scornful blow to the wasteland of safe metal modernity. A contemptuous rebuke of all extremist ideologies, both present and historical, PREZIR epitomizes black metal ferocity (DESTROYER 666, DAWN, EMPEROR) laden with thrash (MEGADETH, SLAYER) and death metal (MORBID ANGEL, IMMOLATION, DEICIDE) influences. This record is a faster, more melodic, and heavier auditory assault than their previous effort. A black metal cyclone, PREZIR features guitarists Rory Heikkila (SHROUD OF DESPONDENCY) and Tyler Okrzesik (SHROUD OF DESPONDENCY), vocalist and lyricist Luka Djordjevic (KHAZADDUM), drummer Brian Serzynski (PIGS BLOOD), and bassist Jerry Hauppa (ARA/NORTHLESS). As Rats Devour Lions was skillfully recorded and mixed by Shane Hochstetler at Howl Street Recordings. Bass recorded by J.Hauppa; artwork and layout by L.Djordjevic; and photography by David Warner.
Biography: Formed in 2016, Prezir is a Serbian word that means contempt. We are thusly named because the goal of this band, and the music that we write is to create acrimonious heavy metal in the vein of our influences, with a mutual disgust for the safety of modern metal. The nature of ideological dogmas and herd like adherence to the fables of superstitious charlatans is anathema to the pursuit of intellect and reason. Bad ideas are best fought with good ideas and truths. Derision of the false is essential to the preservation of philosophy.

NEWS: out now: Verminlord

It is possible that fans of the one-person black metal project from Seattle were starting to get worried because this whole year there had not been new music, but the lord of the vermin comes through once again. New music every year for three years running. The new recording is called Sojourn. Fans of the one-person left-field black metal entities now have another Verminlord recording to enjoy. Currently it says on Bandcamp that this recording is “name your price.” Expect black metal with a bit melancholy, and a bit of strangeness, of course.
release date: September 18th, 2018
label: independent
1. Shed Your Skin 06:03
2. Phra Rahu 04:29
3. Sojourn 11:24
total time 21:56

NEWS: out now Morrow (Seattle)

This publication has neglected to mention that Morrow (Seattle) now has its 2018 debut full-length album available for listening at the link below. It is a long album and the music is moody as can be, from extreme metal to quiet passages, progressive sounds and a bunch of other vibes. The band has taken its time to make an album that listeners with patience will be interested in. The main thing is to let it go where it wants to, and see if you can stay with it. If not, maybe another listen will shed light on the wide landscapes that Morrow is working on this challenging album.
The Weight of These Feathers
release date: July 21st, 2018
label: independent
1. Allure 10:02
2. Hiraeth 06:56
3. Elysium I 07:10
4. Elysium II 05:59
5. Embers 10:45
6. Beneath the Waves 03:10
7. Last Light 11:21
total time 55:23

Monday, September 17, 2018

hear the Xoth 2018 single Plague Revival

The Seattle "space shred" group Xoth has a single in 2018 called "Plague Revival." Xoth is thrashing, headbanging metal of aliens, diseases and horror, and happen to be ridiculously skilled. Check it.

hear the Drawn and Quartered album: The One Who Lurks

Seattle death metal stalwarts Drawn and Quartered have a new album in 2018 and it is called The One Who Lurks. This is album number seven for the long-running band that began in 1993. The entire album is available for streaming in its entirety courtesy of Krucyator Productions (France). Listen to the album at the link below.
Drawn and Quartered
The One Who Lurks
release date: July 27th, 2018
1. Nefarious Rites 05:44
2. Ravage the Cadaver 05:40
3. Horned Shadows Rise 04:32
4. Deliverance to the Worms 03:18
5. Temples of Arcane Devotion 06:01
6. Carnal Transmigration 02:41
7. The One Who Lurks 06:50
8. Portals of Communion 05:28
total time 40:14

check out the new Zero Down (Seattle) music

The Seattle hard rocking heavy metal band Zero Down has a new album called Larger than Death. This is album number five for the 16-year veterans of rock and roll. Hear a new song below.
About: ZERO DOWN consists of five veteran musicians from the Seattle metal/punk rock scene that cast iron 70's Arena Rock and NWOBHM guitar riffs with hardcore punk intensity.
Biography: Formed in 2002, ZERO DOWN consists of five veteran musicians from the Seattle metal/punk rock scene that cast iron 70's Arena Rock and NWOBHM guitar riffs with hardcore punk intensity. ZERO DOWN has shared the stage with a variety of national acts including UFO, Motley Crue, Diamond Head, Y&T, Raven, Accept, Godsmack, The Accused, The Supersuckers, Michael Schenker Group, Prong, Paul Dianno and many more over the years and have released four full length CDs. Their latest release "No Limit To The Evil" was released on Minotauro Records in Jan of 2015 and includes artwork by the master of metal art, Ed Repka (Megadeth, 3 Inches of Blood, Death, Misfits, etc).
Zero Down - High Priestess (Official Music Video)

Fuglymaniacs has posted issue number 152 of Metal Bulletin Zine

The friends at Fuglymaniacs have posted number 152 of Metal Bulletin Zine.
Blood of the Wolf
Rock and Roll in the 1940s (The Blues and Heavy Metal, Part 3)

Friday, September 14, 2018

NEWS: out today: Black Viper

This is one for fans of speed metal with the vocals of the air raid siren. Black Viper is from Norway and this is their debut album. Find out more about them below.
BLACK VIPER - "Hellions Of Fire"
Label: High Roller Records
Release date: 14.09.2018
BLACK VIPER is a new metal outfit hailing from Oslo in Norway. The band started out as a solo project in late 2012/early 2013 when drummer Cato began to write some songs inspired by traditional heavy metal and speed metal that did not suit his other band DEATHHAMMER. He takes over the story: “I recorded a couple of instrumental demo tracks in 2013 and also began recording an EP which didn’t get finished, probably because I was moving to Oslo. When I moved there, I finally got a band together and we started to rehearse and recorded and released our demo »Storming With Vengeance« in 2016. Then we played a few gigs and started to record our debut album »Hellions Of Fire« which is now finished and due for release very soon. We also lost our bassist in the process of recording the album, but we quickly found a new one and are now ready to ‘kill with power’!”
“The album is pretty much a mix between heavy metal and speed metal (fast heavy metal anyway)”, continues the drummer. “If anything, then »Hellions Of Fire« sounds a bit like the first Savage Grace album.” According to Cato, BLACK VIPER are big US metal fans: “Yeah totally, at least Agent Steel. The US metal bands just sounded so larger than life and so over the top metal it hurts. Of course, without Priest and Maiden it would not have happened, but yes, we are very inspired by the massive power and supremacy of the US metal gods. The first Heathen album is a total ripper!”
Although coming from Oslo, BLACK VIPER do not feel inspired by the metal heritage of Norway in any shape or form (not even by classic 1980s bands like Witchhammer): “Ha, absolutely not! Many people seem to think that black metal is the shit in Norway, but it’s not. I mean, people who are genuinely into music of course listen to good black metal, but it’s not like people gather in dark cellars with candlelights listening to Gorgoroth or something. At least many people in Oslo are open-minded music wise and that’s always a plus in my book.”
Black Viper - Hellions of fire

NEWS: out today: Ominous Eclipse

Ominous Eclipse is a melodic extreme band from Canada and today is the day their new album, their third recording overall, Sinister is out. Fans that are looking for melodic extreme metal that is lesser known and independent will want to check out the album. It is available for streaming in its entirety at the link below. See the information below, too.
Ominous Eclipse
14 September 2018
Drawing their inspiration from a wide variety of genres, OMINOUS ECLIPSE is a brutal quartet that create a unique hybrid sound with death metal being the main aspect combined with elements of thrash, groove, black, melodic, etc. Unleashing their sophomore album “Sinister” officially this Friday, September 14th, the band is now streaming it in full at the following link.
The band comments:
"There's no concept or theme on this album so all the songs have different meaning. The title track itself divulges into the inevitable end to humanity and potentially the world with it. It discusses the issues around the globe and also addresses the ignorance and selfishness of those indirectly affected by the chaos. It has a strong "United We Stand, Divided We Fall" theme in regards to how people can turn their backs on those in need in order to save their own skin, which ironically will lead to our end as it causes people to turn on each other. Musically for this album, you will notice we have evolved from the first release and have moved away from thrashy overtones to become more diverse including more heavily stated melodic and technical with a solid groove and death foundation."
The album follows their 2015 debut full length “End Of Days" and EP “Beyond The Apocalypse” released that same year. Active since 2014, OMINOUS ECLIPSE is a very ambitious band passionate about writing and playing extreme music. They have already shared the stage with the likes of Revocation, The Agonist, Kalmah, Archspire, Incantation, Vesperia, Beyond Creation, Rivers of Nihil to name a few. Their Ottawa CD release show for "Sinister" will be held on October 6th at House of Targ with local support from Lord Almighty, Infrared, Scepter. Event info here.
Album download and stream available on Bandcamp, iTunes, Amazon, Google Play and Spotify.

Thursday, September 13, 2018

Metal Bulletin Zine 150 and 151 online

The friends at Fuglymaniacs have posted issue number 150 and 151 of Metal Bulletin Zine.
Read it online at this link.
Metal Bulletin Zine 151
Nigredo, Hoth, Dygora De Profundis
The Electric Blues, and Country Music (The Blues and Heavy Metal, Part 2)
Metal Bulletin Zine 150
Ghostblood, Voidthrone, Marduk
The Blues and Heavy Metal (Part 1): The Rise of the Blues

NEWS: releases tomorrow: HITTEN

Hitten is a group of traditional and melodic heavy metal dream warriors. They are now on their third album, and their debut is from 2014, but unfortunately (for us) they are new to us, but maybe that’s alright, too, because we have never heard of them and never have read about them, either. Here’s the thing about Hitten, they really know their classic heavy metal and they are breaking their backs to give the fans a fun, headbanging and rocking product.
They have studied their art. They make it easy on the listener. As long as one wants to hear some tunes that one can remember, and guitar riffs and solos, and singing, then it’s on. The album proves its worth by getting better with repeated listens. The guitars have a pleasant tone. There is a certain adult contemporary melodic rock feel, too, friendly to the ears. The band has a preference for vocal harmonies and that makes the choruses sweeter. The high screams are classic-style efforts to hit the glass-breaking notes.
Hitten is on its way to the future. With albums like this one, it will not be long before the European audiences that support traditional heavy metal take note of the Spanish band.
Check out a couple of songs below and the official information.
HITTEN - "Twist Of Fate"
Label: High Roller Records
Release date: 14.09.2018
HITTEN formed in 2011 in the city of Murcia in the South-East of Spain (near Alicante). The same year the band issued their first demo entitled »Darkness Queen«. Two EPs and one full album entitled »First Strike With The Devil« (2014) followed, before HITTEN signed to High Roller Records for their second full-length record »State Of Shock«. With captivating heavy metal songs such as “Don’t Be Late”, “Endless Race” and “Eternal Force” »State Of Shock« was a clear improvement on the band’s rather naïve debut effort, altogether a more rounded effort. Founding member and guitarist Dani Meseguer cites Accept, Iron Maiden, Judas Priest and Saxon as HITTEN’s musical inspiration, as well as US Metal bands such as Fifth Angel, Crimson Glory, Shok Paris and Metal Church.
“Me and the boys are pretty satisfied with how »State Of Shock« was received,” explains Dani Meseguer. “The album reached a lot of shops, labels, magazines, and webzines all over the world. It also took us on a really good tour around Europe, we played cool festivals and appeared in Japan for the very first time. We are really happy with how High Roller Records works overall.”
However, the period between »State Of Shock« and the brand new album »Twist Of Fate« saw some changes in the HITTEN camp: “In September 2017, our singer Aitor played his last show with HITTEN and then left the band. As we all know, it’s very hard for a band to find a new vocalist. Well, not for HITTEN though. Alexx is a gift from heaven, he was there for us at the perfect time.”
“We are more than happy with the final result of »Twist Of Fate«,” continues Dani Meseguer. “From the cover art to the music, it’s all high quality stuff. We truly believe that people who enjoyed »State Of Shock« are going to enjoy »Twist Of Fate« even more. The mix (by Javi Félez) and the mastering (Patrick W. Engel) is simply incredible. The album is full of crazy twin guitar passages, very emotional solos, high-pitched screams, vocal harmonies and powerful backing vocals … all the necessary ingredients for a great metal album! Alexx did a hell of a job with the vocals, he really is amazing. He has a very broad vocal range. He can perfectly sing in a low range but at the same time also go for those insane high-pitched screams that we all love.”
HITTEN - On the run (Official Video) | High Roller Records
HITTEN - In the heat of the Night (Official Tour Video) | High Roller Records

Wednesday, September 12, 2018

NEWS: releases on Friday: Druglord

Life is too fast. Time goes by too quickly. People eat too fast. They talk too fast. Most of all, music is too fast. Quit your job, drop out, tune out, ignore everything. Go to sleep on Tuesday and wake up sometime on Friday afternoon.
This could be the view of Druglord. Besides having the perfect name for a band in the field of stoner sludge, they have a gnarly super fuzzed out guitar tone, like they found an old guitar in the forests of sweet home Virginia and they picked it up and it was covered in moss and they just started playing it, and it took them back in the time machine.
Besides having Flash Slothmore as the perfect audience for the Virginians, who else would be down for some Southern fried doom? Between Blue Cheer, Iron Butterfly, Led Zeppelin, and Black Sabbath is the deep burned out currents of Electric Wizard and Sleep, and it’s likely you might find the answer there.
Slow down, you're moving way too fast, children of the modernity. Take this medication listed below.
New Day Dying
Sludgelord Records
14 September 2018
Sludgelord Records is pleased to announce that they will release New Day Dying by DRUGLORD on September 14th 2018. The album will be released both digitally and on cassette.
Hailing from Richmond, Virginia, Druglord was formed in 2010 and later recorded 6 songs, which were intended for demo purposes but ended up being released as the “Motherfucker Rising” LP on Last Anthem Records in October 2012.
This activity resulted in STB Records offering to release the next LP. In July 2013, the band began recording with Garrett Morris of Windhand in his former recording space known as The Darkroom, and the result was the “Enter Venus” LP, which was released in Feb. 2014. The band would also release the "Deepest Regrets" EP on STB Records in December 2015.
In Feb 2017 the band started recording 6 new songs (their first with new bassist Julian Cook) with Garrett Morris in his current space, Phantom Sound Recording And Reproduction . Fast forward to 2018 and these recordings will be released as “New Day Dying”, their first album in 4 years set for release via Sludgelord Records on 14th September 2018.

NEWS: releases on Friday: Hyperdontia

The necrobrutal death metal of the Danish/Turkish goregang satisfies the desire for super duper low growling blasting massive heaviness that detests the dilution of the music by way of shooting melody, sugar, spice and everything nice into a creation that is supposed to be Hyperdontia ugliness. The personnel involved is filled to the brim with old-school and brutal death metal, and that explains a lot about this album. Undergang, Diabolizer, Decaying Purity, Phrenelith, Apparatus, and the like are Danish and Turkish bands hellbent on extreme metal, mostly death metal. As for Hyperdontia itself, it is the low, incomprehensible growling that goes with blasting, brutal, claustrophobic death barrage.
A question for the audience is, have you spent money on Undergang or Diabolizer? If so, get your cash out because these musicians live and die for death metal in 2018. This is what is happening in low, sick and dirty death metal in 2018. In case you don’t know, Hyperdontia is all about a rebellion against modern, clean metal music, especially the many forms of death metal. Nothing here is clean, not the vocals, not the production, not the guitars.
Hyperdontia is uglyrotting death metal. Read about it below with the official information and listen to a couple tunes at the link at the end.
Nexus of Teeth
Dark Descent Records
14 September 2018
Turkish/Danish Death Metal group HYPERDONTIA will release their full-length debut, Nexus of Teeth, on Dark Descent Records. The level-jumping follow-up to 2017 debut EP Abhorrent Veil will be available for direct purchase from Dark Descent on September 14 (the album will be released through international distribution channels on November 9). That gnarly cover art comes courtesy of Paolo Girardi.
Some of the best death metal out there was made out of accident. But yes, sometimes magic does happen. A bunch of people who, on paper, sometimes weren't even supposed to meet, let alone make music together, share a beer or two, get talking, realize that more in common that they first realize, book a rehearsal room 'just to see' and boom, come up with a monster they never thought they would create in the first place.
In a nutshell, that's basically the case with Hyperdontia, a surprising gathering of forces of what the Danish and Turkish scenes have the best to offer in term of vile, sick and disgusting music.
Mustafa (guitar) and Malik (bass) had been playing together for years in many different bands (in)famous in the Istanbul scene, among them Burial Invocation. When the latter got invited to play the 2010 edition of the Kill Town Death Fest in Copenhagen, they met co-organiser but also Undergang/Phrenelith frontman David and the trio just clicked. Then, after Malik had moved permanently to Denmark, Mustafa showed his friend all those "cool"' songs he had came up that just didn't fit the bands he was involved at the time and asked for advice. Malik urged him to start a new venture, offering his service and suggesting David as their vocalist in the process. Last piece of the puzzle was Phrenelith, Polish-born drummer Tuna. "That when what was initially just a home project turn into an actual band" confirms Malik. "Although Mustafa wrote all the riffs, David and Tuna put a lot into the songs. It was David who came up with the name and when we all looked it up on google (it describes a condition where you have supernumerary teeth that can appear everywhere) and saw how disgusting it was, we instantly all loved it!"
Just to tap the waters, the quartet came up with the Abhorrence Veil EP in 2017. But such was the feedback that soon enough, the idea to write more songs and even play live became a reality. Hence Nexus of Teeth, recorded in between Copenhagen and Istanbul, a eight tracks monstruous death metal masterpiece where, to quote the song 'Stapled Down' the human body is reduced to a pile of bones, blood, pus and organs that easily fester so it can be "To be pissed on/left to rot/ravaged through by instruments of for prey". No wonder that famed cover artist Paolo Girardi came up with an equally horrific image... As they're getting ready to play their first ever gig at this year edition of the now world-reputed Kill Town Death Fest in Copenhagen, David summarizes very easily what this is all about: "Well, we all love death metal. So this is a cool way to expand our friendship and create something others might care about in the process too." Let it rot then!

Tuesday, September 11, 2018

NEWS: releases on Friday: Anisoptera

As a work of prog-death/jazz extreme metal, Anisoptera offers several expectations that are the standard for the genre, and a few that are a bit more unique to this project. For a debut, and an independent one at that, the sound quality is strong and it is as loud as fans of the style would want.
True to the jazz metal attitude, the music crosses boundaries and genres and at some moments this gives a glimpse of musicians with minds not loyal to a genre but rather loyal to a mentality of tentative experimentation. They seem willing to try out different moods, and they are not committed to one in particular. For now, they go in the direction of heaviness and progressiveness. Progressive to Anisoptera does not mean a genre, but rather ideas about pushing themselves in loud, extreme music. Genres don’t mean that much. Deathcore, melodic death, groove, tech-death, metalcore, djent, shred, blasting speed, and chugging heaviness is all in various ways here.
They are working hard to make it worth the time of the listener. For instance, the vocals show a desire to have growling that is a bit more comprehensible. As a debut, it is worth for the die-hard prog-death fans and collectors to check out the tunes that are available now for listening at the link below, after the official information.
Spawn of Odonata
14 September 2018
“Float like a dragonfly, sting like a bee.” That’s probably how Anisoptera prefer to think of the legendary Ali quote, as they explore the wonders of this carnivorous insect on their début full-length through the medium of progressive death metal. Spawn of Odonata lands straight in the middle of the Californian hotbed of metal in the Bay Area, fully formed and fighting fit.
As a mission statement, Spawn of Odonata is ambitious; fusing jazz, technicality, melody, and blistering death metal, Randall Krieger knows precisely how to craft the right balance that darts all over the place but without becoming tiresome. His riffs and solos echo the greats in Obscura and Decrepit Birth, interwoven into a death metal tapestry that offers much on repeat listens. Robby Perry, meanwhile, lays down a gauntlet of harsh vocal dominance. His lows are a roar that offsets well against the higher screams, not unlike Travis Ryan in decimation mode.
Aside from the wealth of talent between the duo, there are a few other names of note. Behind the mixing desk is producer Mick Kenney (Anaal Nathrakh, Bleeding Through), while guesting in the vocal booth are Jared Christianson (Arkaik, on “Aerial Predator”) and Jimbo Patton (Aethere, on “Cursed”), both of whom provide unique dynamics against Perry’s already varied harsh vocals.
Having already shared the stage with a bewildering list of bands - from Deicide and Dying Fetus to Sepultura and Septicflesh - Anisoptera are just getting started with making a name for themselves. Spawn of Odonata is a quintessential example of a band emerging from their cocoon, ready to take on the world at large.
FFO: Cattle Decapitation, Obscura, Deeds of Flesh
Anisoptera is:
Randall Krieger - Guitars
Robby Perry - Vocals
(Guest) Jared Christianson (Arkaik, on “Aerial Predator”)
(Guest) Jimbo Patton (Aethere, on “Cursed”)
Mixed by Mick Kenney at The Barracks Recording Studio.

Monday, September 10, 2018

interview: Dracena (part 3)

This is an interview with Dracena, extreme metal from Sweden that began in 1994. The interview has been done in segments. The person answering the interview is Mia, who is the creative force behind Dracena. The objective is to do an extensive interview that covers the past and present of Dracena, whose most recent work is called Cursed to the Night (2017).
The previous parts of the interview are found below, and after that, is the new segment. This is not the last part of the interview. There will be more!
Previously we discussed the 2017 album Cursed to the Night, and looked back at the 1980s and also we began looking into the 1990s, leading into the Demo ’97 recording.
Before we continue to 1997 and after, can you help us understand how the idea of an all-female line-up came up?
The idea to seriously form a female metal band took shape during a party. Almost all our friends played in bands from the Gothenburg scene and during this evening, while we listened to their albums, me and some friends thought it would be a cool thing to start a band of our own with only girls. It was quite easy to start up since I already played with some other female friends and we also rented a rehearsal room. We shared the room with a few other bands, for example Sacramentum and Swordmaster and therefore we had a complete back-line available to use with drum set and amplifier.
So, we just went to the rehearsal room, everybody chose what instrument they were interested to handle and we started to play covers and write our own material. At this time we had no band name and we never decided to play any specific kind of genre, but because we all listened to heavy, black, thrash and death metal we ended up playing a more extreme kind of metal.
All members during the years have been close friends and the band was basically an extra activity for us to hang out and have fun and play and create the metal we loved to listen too. Dracena would probably have continued to be all female if we had had the chance to find a good enough female drummer which fit with the band and style.
Of course, nowadays Dracena is not an all-female entity. Now that you are older, and that you have lots of experience with the complete process of music, from writing to recording, from money matters and the music business, how has your thinking changed/ matured about Dracena about whether you work with men or women?
Most of the music industry (not only in metal) is dominated by men, labels, music stores, management, studios etc., which makes it difficult to not work with men. If there was a 50/50 choice for me to work with a man or a woman I would go for the most competent person in every case. In my opinion, gender has no important role in music, it’s all about talent, dedication and being able to cooperate with other egos. Playing the extreme genres of metal is a level you’ll never reach without sacrificing a lot of social and family time. As any art form, it demands a certain dedication and hours of practise and rehearsing, to be able to play with speed, technique and tightness/rhythm.
I would love to have an all-female band, but I think it would be difficult to form such a line-up, even today there’s still so many more guys than girls playing metal that it would be easier to find a male musician who would suit the demands.
In your own experience, what has happened that Dracena had ended up as a solo project with friends helping out with drumming and solos?
After the permanent line-up broke up in 2002 I haven’t felt that I needed a full band to be able to write and record. The possibility to afford to buy and build a studio and record at home made it easier to become a one-person band. I can record all instruments myself and rehearse them one at a time at home with head phones and re-write and develop the songs anytime I feel like it. When I engage other musicians I can share the songs online and we can work from our own homes as well as sit in a rehearsal room. On the other hand, when, sometimes, the progress of the material slows down and the ideas dry out it is nice to have other persons helping out with the writing and adding their touch to the songs as well. I do not dictate the way my studio musicians should play their drums or guitar solos, just indicate a direction and let them work their magic, which has worked out excellent this far.
Have you ever wondered about what has motivated you to continue while other people stopped?
Metal is my life and to be able to create my own music and lyrics and albums is just awesome! It’s much like writing a book or painting a picture and when it’s finished it doesn’t matter if anyone likes it or not, it’s something I have created and given my soul to.
Luckily, I have fans who appreciates my work and gives me great feedback which keeps me on track when things get heavy.
I think it’s sad when great musicians/bands can’t make a living on their art. Even when they are on big tours and signed to large labels they don’t seem to make the money they deserve. Being forced to have a job on the side is killing creativity, and a society without art and music is a dead place to live in. Buying music and merch through legal channels ensures your favourite bands to survive.
Going back to the times of the demo, can you tell us more about the 1997 demo?
In 1997 we’ve had the longest lasting line-up so far and with great anticipation we booked a studio to record three of our original songs and the Venom cover.
The track list and line-up is:
2.Dark River of My Soul
4.In league with Satan
MiA - guitar & vocals
Emma - guitar
Camilla - bass
Karin - drums
We chose to record a cover because when Dracena played live we always had a Venom cover on the set list, usually “Countess Bathory” but we thought ”In league with Satan” fit better on this demo. The title wasn’t very original, Demo ’97 and the only official release has been a limited edition cassette tape of 100 copies. The demo sold out quickly and we started to get reviews and interviews in zines like Slayer Mag and Swedish Close Up and soon earned a reputation in the underground scene.
What happened with the line-up of the demo after the demo was recorded?
Camilla and Karin (Deathwitch) decided to leave the band sometime after the first demo was recorded, as I recall they moved away from Gothenburg. We already knew Asa and she started to handle the bass almost immediately but we had trouble finding a female drummer who played our kind of metal. For a year or so we had Terror (Sacramentum/Runemagick/Necrocurse) as a session drummer during rehearsals and gigs and he also plays on the Demonic Women demo from 1999.
Who was the line-up for 1999’s Demonic Women. By the way, this demo shows a tighter, much more black metal sound. It has good melodies. Do you remember who is playing some keyboards on this demo? Where was this demo recorded? In your opinion, how had your vocal style changed from the first demo to the second one? What about your guitar playing from the first to the second demo?
We still didn’t have a permanent drummer in 1999 so the line-up was me (vocals/guitar), Emma (guitar) and Asa (bass) and we had help from Terror to play the drums on the Demonic Women demo. Terror also played the few keyboard melodies.
This demo was recorded at Andy La Rocque’s studio Los Angered as we wanted a professional studio where we could get a good metal sound and we knew that Andy would be great working with as well. We had a great time recording this and it was a really cool experience!
Musically we had developed a lot since our first demo and also starting to shape the Dracena-sound. The material was better, we all have influences from different genres and our favourite bands spans from Black Sabbath and WASP to Bathory and Morbid Angel, which makes a very interesting mix for Dracena’s material, a mix I have tried to keep when I write new material. In preparation for the studio, since we had only 2 days for recording and mixing, we rehearsed several times a week which of course made us better musicians as well as developed and sharpened my vocals.
Then in 2001, there was Labyrinth of Darkness. How you feel about this demo now?
In 2001 we finally had a permanent drummer, Daniel ”Mojjo” Moilanen (Heavydeath, Runemagick, Katatonia) and we went to the studio for a third demo.
This is a demo with potential, but I am not completely satisfied with this release. The material went a little bit away from the thrash direction which I wanted to go towards.
The recording was in a home studio and the production sound is a bit blurry and muffled and I would have loved to make a re-mix, but sadly I never received the original files of the recording. We had a lot of technical problems during the recording and the vocals was recorded in a friend’s bedroom behind a mattress with no effects in the feed back to my head phones, which made me sing a bit darker and growlier than usual. Anyway, the songs are still good and a lot more melodic than previous demos.