Sunday, June 30, 2019

Legacy Black (July 12th, 2019)

Previously this publication began a commentary on Legacy Black's debut album. If you already read the first commentary, please scroll down and see the new part--the commentary on the second song--that begins after the third picture down below. Thanks.
Legacy Black
Legacy Black
July 12th, 2019
Legacy Black: Legacy Black July 12th, 2019 1.Legacy Black (3:25) 2.While All Along (7:15) 3.Mary (9:32) 4.Current State (5:24) 5.The Winter of My Discontent (11:46) total time 37 minutes
Legacy Black (Chicago, U.S.A.) issues its self-titled five-song 37-minute album. The band is Donovan Torres on bass guitar, Juan Cardenas on drums, Joyce Jenkins on keyboards and vocals, and Clint Davis on guitar and lead vocals. This publication just received the album a couple of days ago. The existence of this band, while perhaps no mystery to the fans in Chicago that have witnessed the shows long before there ever was a recording, was not clear, when seen from a long distance here in the Seattle area. Was this a tribute band? Was it a covers-only band? It wasn’t until the answer came straight from the horse’s mouth that, no, this is new and original compositions and they were working on an album. In addition, supposedly the singer was Clint Davis who, despite making music and being in bands for some two decades (maybe longer), had never been a lead vocalist, only a guitarist. However, the drummer Cardenas, a musician that has done work with Davis in a couple of other bands, has known for a long time that Davis can sing and has been putting a bug in Davis’ ear to finally do lead vocals. Cardenas apparently knew Davis’ dirty little secret: that he sings rather well. Still, the band, despite playing shows in the Chicago area, had posted exactly jack squat online for non-Chicago people to hear. Nothing. Nada. Zilch. It seemed like you had to contact secret sources in Chicago to find out what the deal was.
Until now. The summer of 2019. While still working through it all, let’s see the first song called "Legacy Black." The guitar tone is ear-friendly traditional heavy rock that just about all metal fans will recognize and be comfortable with, and it features a big riff that demands hearing it again. This one is a show-opening type of song. Relatively short, and ear-friendly big-riff music. The song is very likable, with some proggy keyboards, with a classic rock feel. The singing? It’s a very attractive singing voice that stays on the strengths of the male voice; a voice that projects, and not thin, not nasal, not high, not weak but rather robust while still melodic. The Legacy Black drummer Cardenas was right all along. Davis has an appealing rock voice. Well, now, if this is any indication of the rest of the album, then we’re about to be pleasantly surprised by an accessible adult contemporary metal album that metal moms and dads are going to enjoy, and be ok playing in the minivan while driving the kids to the ballet, kickboxing and lethal combat classes, in an effort to indoctrinate the children into metal music.
2.“While All Along” is the song that they streamed online in advance on May 24th. Lyrically, it seems like a story about the I-know-it-all fool finally understanding that they know way less than they used to think they did. Musically, the band might have chosen to make it available for advance listening as an illustration of the ideas of Legacy Black, as both classic-rock adult contemporary metal music that is listener-friendly, and as a band that works with prog elements by spicing up songs with some variety. This song is a pleasant listening experience; it’s not meant to shock you or to blow up your anger but to make people reflect and sing. Let’s look at two questions: (A) Is this a ballad?, and (B) What genre is Legacy Black?
You can tap your toes or bob your head; it’s not a headbanging tune. It is classic-rock bluesy, melancholic melodic metal, but this is not some hokey, contrived ballad calculated to imitate some 1980s cheesy model. It’s not a ballad. The song is progressive, blues-based rock, but interpreted through the skills of longtime Chicago metal musicians like Davis and Cardenas, and their friends Jenkins and Torres, without pressure to prove that they are metal because that’s what they have been for decades. The band is working with other emotions besides the usual stereotypes of raging anger, shouting contests, animal noise exercises, shredding abilities, look-at-me vocals, speed or heaviness competitions. It’s not about showing off but about letting the emotions show in the music. If you take Davis’ and Cardenas’ longtime love of metal music, as musicians and fans, when added together comes to some 50 years (maybe longer, actually) drawing from the classics of the genre, and also from other genres, that range from the 1970s to the present day. An open-minded listen will go a long way towards allowing the song to make sense.
Let’s come back to the other songs later.

Saturday, June 29, 2019


Human Cattle
12 July 2019
This French/Canadian band’s sound is coherent from song to song in a consistent way. The vocals are gruff growling but project a lot of skill and strength in the art of the brutal voice. The drumming goes into blasting, but the blasting is not the centerpiece of the work, and there’s a flow to the timekeeping. Likewise, the guitars are not much of anything else besides death metal, and there’s a confident competence in the playing that is very ear-catching for die-hard fans of the genre. The band seems to be focused not on fitting into the specific rules of a subgenre but is more concerned with turning in a quality recording with good songs. Just as important, the quality is easily audible as soon as the album begins.
Given that this is not melodic, is the lack of melody a problem? Well, it is not melodic, but the soloing offers pretty cool moments, and the riffs do have strong points, it is fast, there’s a groove, there’s heaviness, a sensibility for the style. The old-school fans will find the brutality and speed to be selling points for this album, while younger fans may enjoy the production and the grooving heaviness. This is death metal, and virtually nothing else. For instance, there’s almost nothing here for those looking for black metal or melodic death metal influences, while the big fanatics of upfront, straightforward death, should find the album something to enjoy in various degrees.
Five of these songs were previously released as an EP in 2018 (apparently from a 2015 demo). Thus, for people who already have the EP, they are getting five new songs. The album ultimately is a listen that brings together a bit of the old school and a bit of the modern in death metal for a satisfying, enjoyable exercise in no-nonsense death.
DISOWNING "Human Cattle" [Full Album HD]

Friday, June 28, 2019

NEWS: CRYPT SERMON's 'The Ruins of Fading Light' Arriving September 13 on Dark Descent Records

NEWS: CRYPT SERMON return with their highly anticipated new album, The Ruins of Fading Light, September 13 on Dark Descent Records. Album track "Key of Solomon" is now streaming and you can hear it below. A follow up to 2015's critically acclaimed debut Out of the Garden, The Ruins of Fading Light is a collection of existential meditations set to the backdrop of looming, apocryphal vestiges from a lost dark age. The lyrics explore the limits of faith and family, life and loss, strength and pride. Between thundering riffs and plaintive acoustic moments, the music explores new territories on the landscape of epic doom and heavy metal. Still, one message echos as CRYPT SERMON march onward, "We're doomed." The Ruins of Fading Light was again recorded, mixed, and mastered by Arthur Rizk (Power Trip, Eternal Champion, Sumerlands, and more) at Creep Records. Album art comes courtesy of vocalist Brooks Wilson. Regarding "Key of Solomon," vocalist Brooks Wilson comments, "We live in a time where the practices of science and magic serve distinctly different purposes. This was not always the case. The Italian Renaissance was an age where science and magic intertwined; summoning rituals connected exorcists to esoteric revelations. 'Key of Solomon' refers to a pseudepigraphical text of the same name."
BIO: By: Chris Dick: The bell of doom tolls three times for every era. In the ‘80s, the great bell heralded for Candlemass’ now legendary “Nightfall” effort. In the ‘90s, the peal of dread resounded for Solitude Aeturnus’ fan-favorite “Through the Darkest Hour.” In the ‘00s, While Heaven Wept issued landmark album “Vast Oceans Lachrymose” as the decade epically rang out. Now, as the wheel of time turns inevitably again, Pennsylvania-based Crypt Sermon’s new album, “The Ruins of Fading Light,” serves as the tocsin for a new dawn in heavy metal.
Formed in 2013, Crypt Sermon’s genesis—featuring Steve Jansson (guitars), James Lipczynski (guitars), Brooks Wilson (vocals), and Enrique Sagarnaga (drums)—wasn’t prophetical. Rather, Jansson and Lipczynski’s assembly of like-minded individuals was pragmatic, sparked by a mutual admiration of Candlemass in response to a lack of more traditional metal bands in the City of Brotherly Love. After a handful of writing sessions, Philadelphia-based musicians Wilson and Sagarnaga were added to complete the lineup. In only a handful of months, Crypt Sermon were officially cast, after which the quartet issued their digital-only, three-song demo, “ Demo MMXIII,” to much acclaim and label interest.
“James and myself had no expectations when we started jamming together” says Jansson “I can remember us agreeing that finding an even marginally decent singer for this style would be a bit of a challenge because they aren’t exactly abundant, at least in the area that we knew of”. “I can remember kind of pushing Brooks to give it a go since he had expressed interest in doing rock/traditional metal singing long before Crypt Sermon and I think that worked out very well. Again, this was merely a project and we had no idea that it would become our main band. All of us are very active and passionate about music, particularly metal and have many projects and outlets. We believe 110% in everything we do but this band seemed to resonate with people”.
Crypt Sermon then spent the next two years writing, refining, and recording songs for debut album, “Out of the Garden.” The lineup shifted to Wilson moving from bass to vocals exclusively, but the years between demo and album were fruitful. Tracks like “Temple Doors,” “Heavy Riders,” “The Master's Bouquet,” and “Into the Holy of Holies” were crafted in spirited sessions while life and work busied around the outfit. Certainly, if art is a product of the environment in which it’s created, Crypt Sermon’s “Out of the Garden” wasn’t an inner city album. Rather, Jansson and team created music that felt grandiose, storied, and not of a modern-day metropolis. Indeed, the quality of “Out of the Garden” wasn’t lost on fans or the press. Online indie tastemakers Pitchfork, Sputnik Music, No Clean Singing, and Invisible Oranges found solace in Crypt Sermon’s earnest forward lurch, while the printed press in Decibel Magazine, Metal Hammer Greece, Metal Hammer UK, Metal Hammer Germany, and Kerrang! were heavy in their kingmaking praise.
“We felt very proud of the first album, and we anticipated some positive feedback, but I don't think we could have expected the volume of praise we were awarded,” says Wilson. “Because real doom metal is a small genre with a few big players, we expected to remain a fairly underground band. When the enthusiastic responses and rare opportunities started rolling in, we were positively humbled, as we continue to see ourselves as an underground band. Of course, we had to seize all the great opportunities to play the following excellent shows and fests.”
Between sold-out gigs and prestigious festival appearances—Hellfest, Decibel Magazine’s Metal and Beer Fest, Maryland Deathfest, and Psycho Las Vegas Fest—Crypt Sermon wrote new album, “The Ruins of Fading Light.” A natural extension of but certainly several knells beyond “Out of the Garden,” the Philadelphians were purposeful in their sophomore album approach. The songwriting sessions resulted in tracks like “The Ninth Templar (Black Candle Flame),” “The Snake Handler,” and “Our Reverend's Grave,” signaling Crypt Sermon in 2019 are darker, more epic, and yet still dedicated to the doomiest of metals. Lyrically, “The Ruins of Fading Light” moves the band out of alternate takes on common, faith-based epistemology and into Wilson’s own head, where existential anxiety and the metaphysics of life form a powerful yet nuanced storyboard.
“There was little down time between finishing the first album and writing the next,” says Wilson. “Yet, with personnel changes on bass, and major life events affecting us all, we had a difficult time focusing on creating an album up to our standards. We were playing all these great fests and our writing was taking a back seat. We ended up discarding a near album’s-worth of music. After recording a cover of Mayhem’s ‘De Mysteriis Dom Sathanas’ we felt more comfortable letting our extreme metal influences become apparent. The resulting album was darker, heavier and more emotional, both sonically and lyrically. As we approached recording, we welcomed Frank Chin into the band.”
“The Ruins of Fading Light” was again recorded, mixed, and mastered by Arthur Rizk (Power Trip, Cavalera Conspiracy) at Creep Records. The sessions were spread out over two months to maximize studio time between day jobs and the vagaries of life. Crypt Sermon recorded the drums and rhythm guitars first (the foundation of “The Ruins of Fading Light”) focusing next on vocals and backup vocals. Jansson and Lipczynski’s leads were last to be tracked, with additional instruments—acoustic six- and 12-string guitars along with synthesizers—knob-twiddled by Rizk in parallel. Certainly, Crypt Sermon had the option to record their album at higher end studios like Rhythm Studios, Polar Studios, or Criteria Studios, but wanted to keep the proceedings underground and local by venturing back to Creep Records and Rizk.
“There is a level of kinship that the band had with Rizk,” Sagarnaga says. “Following the recording of our debut album, the band felt like Arthur understood what the genre as a whole meant to us. There is a certain degree of magic that we find in heavy metal; it’s empowering. Arthur’s vision for heavy metal music, as well as some of the bands he’s associated with (Eternal Champion, Sumerlands, and more) definitely align with our vision and sensibilities. Working with Arthur once again proved to be a no-brainer.”
Crypt Sermon’s “The Ruins of Fading Light” opens with a swirl of mystery, the gallop of horses, and a mighty choral, accompanied by the thunder of kettledrums. Like Bathory, Candlemass, Trouble, and many others before Crypt Sermon, the intro is the calm before the storm. The tolling of the doom to come. Indeed, lead-off track “The Ninth Templar (Black Candle Flame)” rumbles forth riffs and vocals first. It’s the standard bearer for “The Ruins of Fading Light,” but this incredible ode isn’t all that Crypt Sermon have in store. “The Key of Solomon,” with its infectious hook and insane solo, will have audiences singing along across the globe, while “Christ is Dead” is a clever lay that invokes the smell of incense and the mystery of ancient lands. Elsewhere, “The Snake Handler” is an infectious stroke of heavy metal genius and “Our Reverend's Grave” towers solemnly as if hewn from marble with purpose and wisdom by long-gone craftsmen. If “Out of the Garden” beamed Iron Age hope into doom metal, “The Ruins of Fading Light” is the beacon of changing times (and sounds). The firesteel has been struck! March with Crypt Sermon today!
“This is a special record for us,” says Wilson. “First, because it establishes a growing body of work, by which we can measure both our past efforts and our future endeavors. Second, this was a true labor of love. We are not satisfied to create a standard doom or heavy metal album, and so we took our time. There are peaks and valleys that we explored that excite us and we hope will engage the listener. Finally, these songs are crushingly heavy and super fun to perform. We can't wait to share them in our live appearances!”

NEWS: BORNBROKEN Announce Western Canadian Dates "The Harsh Truth Tour" (ON/SK/AB/BC/MB)

NEWS: Following up their well-received 2013 debut album ‘The Healing Powers of Hate’, Montreal's BornBroken returned in 2018 with a 40-minute freight-train “The Years of Harsh Truths and Little Lies”. Full of aggressive music for the critical masses, the ten-track assault was heavier and angrier plus even included special guest vocals from Slaves On Dope’s Jason Rockman on 'Fight'. Thriving on the fury of the injustices of the world we are living in, BORNBROKEN is ready to take their righteous rage that feeds their creative furnace on the road for summer 2019. The metal titans from Montreal's music scene will be venturing towards Western Canada for the first time along with performing on the Loud As Hell festival in Drumheller, AB on August 3rd sharing the stage with Goatwhore, Cloven Hoof, Anciients, Planet Eater, Sludgehammer and many more. The tour will kick off on July 31st in Sudbury, ON and wrap up August 12th in Winnipeg, MB. Selected dates of the tour will be supported by Calgary's Stab, Twist, Pull. Guitarist Mike Decker comments: "We are glad to finally say we are headed out West on tour. It’s something we said we had to do at any cost and it will be. Our van lost its gas tank and then the transmission seized. I broke my elbow, shows were canceled, but some got added. Massive band line-up changes last minute, oh I did I forget to say “we’re poor”! Hahaha. So with that said, we’re all set to tour with our friends in Calgary's Stab, Twist, Pull along with many others and tell you all a little story about “The Harsh Truths and Little Lies of Life”. We got tons of merch for all to enjoy and become hand-me-downs for generations to come. We’re not holding anything back on this one. See you all on the road while we follow the sundown to your town!" BornBroken’s sophomore album “The Years of Hard Truths And Little Lies” is available on Bandcamp, Spotify and Apple Music.
Music Video - “The Years of Hard Truths And Little Lies”

NEWS: Relentless Groove Awaits With Halifax's ELEKTRIC MISTRESS’ ‘Turn To Grey’

NEWS: The first step can only be taken when the last toke has been drawn and ELEKTRIC MISTRESS is ready to unveil their single 'Turn To Grey' off their upcoming debut self-titled EP due out on July 19th. Channeling the energy of inspirations such as Black Sabbath, Deep Purple, and Pink Floyd the stoner rock quintet from Halifax, Canada is all about the groove. ELEKTRIC MISTRESS is face punching psychedelic rock firmly rooted in what has come before, and also looking ahead, their single ‘Turn To Grey’ is described as ‘smoke rings in a blizzard’. They go on to tell listeners what to expect from the track: “Perhaps the most “progressive” song on the recording, it starts the EP with an ominous psyche drone, and builds from mellow trippiness to full on smoke rings in a goddamn blizzard.” Each track on the EP has a unique sound and showcases their varied influences and songwriting abilities with riffing low guitar/bass chug fused with B3/Rhodes/Synth sounds, the EP tries to recapture the retro rock sound of the 70s with a modern tinge and stands as a tribute to the band's early influences.
Bio: Looking to witness a true retro psychedelic synth rock experience with a progressive edge? Look no further because Elektric Mistress is here to deliver! Hailing from Halifax, Nova Scotia, Elektric Mistress covers a wide spectrum of sonic grooves and influences from the early pioneers of heavy riff rock such as Black Sabbath, Deep Purple and Pink Floyd. Take a deep breath and ride the wave through a hypnotic haze of electric highs and sedated tones to take you back in time and return again. Comprised of Kieran Richardson (bass), Kyle Cantfell (guitar), Steve Poole (vocals), Riley MacDonald (keys), and Vic Canales (drums), Elektric Mistress began their journey through oblivion in 2018, creating a unique soundscape of stoner rock ignited with crunchy, groovy guitar riffs, bombastic drums, dirty keys, choice bass licks and loud and raspy vocals. This deadly combination is already starting to pay off for Elektric Mistress, having already played a handful of local shows and performing at Maritime Metal and Hard Rock Festival 2018. For those keen to experience what can best be described as ‘smoke rings in a blizzard’ the band’s debut self titled EP is set for release this coming summer 2019 on July 19th and promises to be a solid offering of tunes suitable for those looking for a classic stoner rock vibe and also those that are more experimental minded.
Listen to 'Turn To Grey'

Thursday, June 27, 2019

slam death metal coming to Everett

Angel Splitter has posted the following: October 20th at Tony Vs Garage in Everett WA! if youre local, be there! A Washington slam show is a rarity. Future shows TBA. Maybe a mini tour thats confirmed? more info down the road Esophageal Deterioration, Angel Splitter, Hacksaw Mutilation , DIRTNAP, Themyscira

NEWS: Phoenix Thrashers MOTIVE Posts New Video 'Digital Slave' + Vinyl Release of "Fight The World" + USA Tour Dates

Phoenix, AZ's MOTIVE will be unleashing their latest album, "Fight The World", on vinyl, July 12, 2019, via Metal Devastation Records. Released digitally and on CD December 1, 2018, the album is fast, aggressive, and a chunky blend of thrash that has been well met by legions of metalheads around the world. Featuring a solid collection of 10 tracks, the album's goal is to make you thrash, mosh and for the tunes to be stuck in your head with no escape.
The band adds: “Fight The World” is loaded with riffs, hooks, guitar solos, heavy ass bass, tight acoustic drums, and some strong vocals. We hope fans can’t turn it off, and we hope the energy of the songs is addictive!” Loaded with modern tones, MOTIVE takes the thrash and groove base and blends a touch of death metal and heavy rock elements into the fray. This can be experienced with their latest music video for the track 'Digital Slave'.
MOTIVE details the track: "'Digital Slave' is the third single from our album "Fight The World". The song starts with a modern slamming groove and then hits you with some thrash and death metal. It's banging all the way through, and the lyrics cover a current issue in today's world”
Watch the video for ‘Digital Slave’ below.
Not stopping with the momentum, MOTIVE will be on their “Summer Fight” Tour this summer and will play dates across the Southwest and Midwest. It’s a must see for everyone who enjoys moshing and thrashing, especially those who are fans of Carcass, Pantera, Metallica, Lamb of God, and Slayer. "Fight The World" vinyl will be available on July 12, 2019, and can be pre-ordered here. Digital stream and download available on iTunes, Bandcamp, Spotify, CD Baby.

Massacre At The Opera comes to Everett, WA

Friends in the Everett area,
Check out this information for the August 10th show at Tony V's.
Massacre At The Opera
Burn Through Life
Bleed The Stone

out tomorrow: Anthrocene: Nucleation

Previously, this publication already commented on the first 10 songs (1-10) of the Anthrocene (Seattle) album Nucleation that will be released on the 28th of June, 2019. Not wanting to make you click too much on stuff, here below you will find said previous article, but at the end you will now find the concluding commentary on songs 11 through 15 (11-15).
Again, the new commentary is for songs 11-15 below. If you already read the previous commentary just scroll down to see the new commentary. Thanks.
Anthrocene sent in their new album Nucleation that will be released on the 28th of June, 2019. Below is some official information about the band and album. Anthrocene is Jesse Mazur and Danny Tormoen on guitars, Matt Ward on drums, Bo Sagal on vocals, and Keith Wyss on bass.
BIOGRAPHY: Hailing from Seattle, Anthrocene has accumulated a sonic arsenal that draws elements from wide-ranging influences across many metal sub-genres, while maintaining a consistent sound and style. Anthrocene performances take listeners on a journey spanning from blackened thrash bangers to neo-classical power metal anthems to melodeath breakdowns. In support of this musical variety, the lyrical content draws from a cautionary world created by singer Boris Sagal, featuring cosmic perils, nihilistic lumberjacks, Slavic oligarchs, space travel, and mole people.
They are ready to take the metal world by storm with the release of their debut album Nucleation. Nucleation is a concept album telling the story of a self-inflicted global conflagration, exploring themes of survival, loss, and transcendence with a sardonic sense of humor. Anthrocene teamed up with Aaron Smith (Jeff Loomis, 7 Horns 7 Eyes, Ghostship Octavius) for mixing, and Caspian Priebe to create a lyrical comic book that accompanies the musical experience.
release date: 6/28/2019
1.Spirit of the Maelstrom 4:11
2.Acceptance of Decay 5:50
3.Agent of Chaos 3:23
4.Lumberjack Daniels 2:58
5.Witness the Sublime 3:33
6.Immolator 3:35
7.Celestial Steel: The Cursed Black Blade 4:26
8.Battle Unseen 3:32
9.Defcon 0 3:40
10.Taking on Water 3:33
11.Children of the Earth 6:32
12.Nowhere to Be 3:27
13.Departure of Humanity 4:24
14.Surveyor of the Surface 4:13
15.Exogenic Eyes 3:47
total time: 61 minutes
The most general observation about the 61-minute, 15-track album is how cohesive the various subgenres of this prog power band come together. If one listens to just one segment or even one song, chances are that this cannot provide a good view of the differences in the terrain covered. Given the duration of the album, I have been working my way through it and will do a brief commentary on the songs.
1.Spirit of the Maelstrom. There is a sense of American raucousness to this prog power song. It sounds like prog power but the neoclassical shredding and the bits of extreme vocals hint that there are other components at work. The instrumentation is top notch, and the guitars practically sing melodies. The singing itself has a certain theatrical aspect to it. This song is a good, not-too-complicated way to begin to introduce the album. Personally, I have grown to really enjoy this track.
2.Acceptance of Decay. This track is a roller coaster ride. The theatrical vocals, the growling and screaming. The fury. The breakdowns. All of it. However, the most poignant thing has to be the band’s dare to make a song so anti-anthem. To be sure, there are parts that are repeated, but even after having heard the song at least a dozen times it is still impossible to speak of a chorus. The song seems to have a unique and odd energy because the mind is used to hearing a chorus part of some sort, and in my experience, I don’t feel like there is a big chorus here. This one is more out there in left field. Kind of a twisted little piece, this one.
3.Agent of Chaos. This one sounds a lot easier to grasp. There is a sense that it is more a linear track. The guitars take it easier on the listener and the drumming even sounds like traditional heavy metal grooving, most of the time. (The one negative nitpick here is the prominent potty-mouth word in the song. When bands do this, it means that I cannot play the music to my tribe of children, grandchildren and greatgrandchildren. No Anthrocene for the children; I guess the kids can keep listening to “Rime of the Ancient Mariner” and “Alexander the Great.”) Anyway, this song is a good rocking time. I find this one to be closer to power metal yet it sounds like melodic death metal; that’s the charm of Anthrocene, friends.
4.Lumberjack Daniels. The bass guitar seems more prominent here. The groove on this track is so easy to get into. The vocals are kind of demented in some places. Mr. Daniels must not be having a wonderful day because he’s kind of ready to rumble. There is a chainsaw involved here, but you’ll have to read the lyrics (I don’t have them) to find out what he is planning to do. A good mix of the various components of the DNA of the band. The melodic thrashing riffs make it easy for headbanging. (I think I heard another potty-mouth word towards the end; this one will also have to be disqualified from children’s listening, too; that’s ok, always keep “Withstand the Fall of Time” handy for the kids.)
5.Witness the Sublime. This is probably the catchiest song so far. The singing is very melodic, but underneath it there is some gremlin growling going on at some points. (The background growling is only slightly distracting, as I would have been 100% satisfied with just the awesome melodic singing.) This seems like the most ear-friendly track. I like the singing and the chorus a lot. The guitar solo sounds really good. It has a bit of guitar hero vibe; like it! I also like the slightly more subdued part, a bridge-like mini-segment in in the solo. Towards the end, the song launches into a faster, double-kicking speed and the more extreme vocals sound perfect for it there. This one should be a hit with all Anthrocene fans.
6.“Immolator”, as the name suggests, is a heavier track in which thrash and death metal come out a bit more and the vocals are also more on the aggressive side. This one is less chorus-centered, and is more focused on heaviness. Here you get those chugging breakdowns for the moshing and the karate chopping in the pit.
7.“Celestial Steel: The Cursed Black Blade” is a more melodic side in comparison to the previous song. The guitar harmonies sing a lot more and the theatrical heavy metal vocals take to the center, and next thing you know the fist-raising anthem vibes have arrived. This song is closer to the more muscular American forms of power metal, with the combination of melodic hooks and the high singing.
8.“Battle Unseen” is a good example of how capable Anthrocene music is. Thrash, power metal, melodic death metal, it all kind of rolls into a single song but coherently, and after a while the elements don’t matter as much as the actual song. Overall, this song shows the band’s heritage in classic-style melodic death metal, with both growling and singing coexisting very well. In this song the rhythm section is highlighted a bit more in some segments.
9.The guitar melodies on “Defcon 0” are inescapable. The song gets heavier towards the middle, but the compact, efficient use of the melodies will make you want to hear it again and see if it’s two guitars or more (not counting the rhythm guitars) doing it. The sense of climbing or spiraling melodies is ear candy.
10.“Taking on Water” uses the chugging, breakdown heaviness more. The song encourages more physical movement with chugging and the breakdowns. It begins in thrashing fashion but that quickly shifts to the grooving for the drumming to do its thing, and it’s the type of song in which other elements (the singing, the guitar melodies, so on and so forth) are good and are present, but the drumming grooves seem more prominent. This track responds to the band’s love of breakdowns, and some moshing or some audience movement should ensue by the melodic death metal and metalcore fanatics.
11.One of the longer tracks and more progressive sides stands out on “Children of the Earth.” After ten songs, this title seems ominous. There is melody in here, but it is less direct and the song is one of the more challenging ones. It is possible that Lumberjack Daniels is not happy with the human race and some chopping might be called for.
12.On “Nowhere to Be” they must have told the drummer, “Do your thang, baby, and rock everybody out.” This is actually the last truly melodic song on the album, for the rest of the album is going to get heavier. This song is very listener-friendly. It’s a rocking, fist-raising tune of U.S. thrashy power metal.
13.”Departure of Humanity”: Things are not looking good for the humans, from the looks of it, but that’s ok because there is always the moon as a second option. With all that cheese on the moon, it’ll be no problem finding something to eat there. Do you know what goes well with the departure? A heavy, grooving tune. The previous track was melodic, but this is squeezing some more heaviness as the end of the line approaches. In the middle part there is a bit of a break, but then the song gets heavier again.
14.”Surveyor of the Surface” reminds us once again that in this story, everything is not alright, judging by the multi-style singing, which is a little unnerving, actually. The vocal go from death metal to high singing to twisted cat-scowling. The main rhythms are galloping chugging, and the guitars give a hint of melody, and shredding while underneath it all, the chugging is the foundation, the driving element.
15.That’s it, that’s how it all ends, with “Exogenic Eyes,” a groove-oriented stomper. Chugging and grooving is how they are going to take out this 15-track mutant. They are not going out mellow and light. The chugging-groove and growling invite you to go out stomping and moshing.
In conclusion, the compact-song format is a such a good idea. They could have made this recording into two separate albums and release them with months or even a year in between them. Maybe that would have been better for business, but that’s not how they roll. They are not sticking to one genre and the music reflects an array of interests. It’s going to be interesting to hear in what ways this talented bunch harnesses the powers and skills at its disposal. Of course, the multifaceted vocals and the duration time of the album are a declaration that they want to do a lot and offer a lot for those that are willing to pick up the challenge of Anthrocene. Let’s hope that there is more music coming and that it won’t be an extremely long period of time before we hear more.

Wednesday, June 26, 2019

in case you missed it: Stormlord

The symphonic black metal band Stormlord have a new album in 2019 and it's out now. It is called Far. For those that are new to the band, they began some two decades ago. Check out this official information.
Biography: With a career spanning over 20 years, six full-length albums released and hundreds of live gigs performed worldwide, Stormlord is one of Italy’s most celebrated extreme metal bands.
Founded as a death metal trio in Rome during 1991, Stormlord started off in 1992 with a self-titled demo, coming back on the musical scene the following year with the “Black Knight” promo tape. In 1997 Stormlord cut the three tracks EP “Under The Sign Of The Sword” and toured regularly Italy and Germany, sharing stages with acts such as Atrocity and Overkill. After dispensing with their death metal roots on 1997's EP, Cristiano Borchi (vocals), Pierangelo Giglioni (guitar), Francesco Bucci (bass) began establishing their future sound, self-classified as "Extreme epic metal", on 1998's “Where My Spirit Forever Shall Be” EP. Signed to the German Last Episode Productions, Stormlord unleashed their first full-length debut album, “Supreme Art of War” – nowaday considered as a cult album in the epic black metal genre – in August 1999 and, with new members David Folchitto (drums) and Simone Scazzocchio (keyboards) in tow, set out on more European gigs supporting Mystic Circle, Graveworm and Suidakra on the "Infernal Gods Of War Tour" in late 1999. The year 2000 saw Stormlord moving to Scarlet Records for the release of their “The Curse of Medusa” EP, and, along with 2001's second album “At the Gates of Utopia”, these established Stormlord as top metal contenders across the Italian boot, earning them appearances at many major festivals in the process (“Un Dia De Leones” 2002, ft. Soulfly, Arch Enemy etc., “A Summer Day In Hell” 2003, ft. Prong, Annihilator, Lacuna Coil, Virgin Steele, Opeth, Type O Negative, Blind Guardian etc., and more…). After touring Europe together with Ancient and Thyrane in late 2001, the additional guitarist Gianpaolo Caprino (Chthonian Nemeton, Perfidy Biblical, Run With Wolves, The Legend Of The Sleeping River), was brought on-board for ever-increasing touring engagements. In 2002 Stormlord shot their first videoclip, “I Am Legend”, now turned to an incredible success on You Tube.
Following a short break, Stormlord delivered their third album, “The Gorgon Cult”, in 2004, performing a huge live promotion featuring two appearances at the world famous “Gods Of Metal” festival 2004/2006 (ft. Alice Cooper, Testament, Motörhead, Twisted Sister, W.A.S.P., Sodom, Naglfar, Dragonforce, Stratovarius etc.), several other open air festivals and shows all over Europe and, of course, Italy. Later this year, the band gained attention after the release of the "Under The Boards" music video, which featured large amounts of blood and gore. The clip was banned from most TV channels but, once again, it gained popularity due to massive internet downloads.
Stormlord severed ties with keyboard player Simone Scazzocchio in June 2005, drafting an immediate replacement in former DGM keyboard player Maurizio Pariotti. In June 2006 the band conducted the first shows oversea, headlining a tour in Canada. These shows were filmed for the Dvd “The Battle Of Quebec City: Live In Canada 2006”, released in 2007 via Scarlet Records.
Their sucessfull fourth album, “Mare Nostrum”, was released in 2008 for the Spanish label Locomotive Records and shown Stormlord’s Extreme Epic Metal at its best, innovative yet loyal to the roots. During The following months the band was busy playing all across Europe, storming the stages of several Italian and international festivals featuring Destruction, Axxis, God Dethroned, Ensiferum etc., then attending once again to the “Gods Of Metal” 2008 together with acts such as Slayer, Carcass, Meshuggah, Testament, At The Gates, Dillinger Escape Plans, Between The Buried And Me and more. On November 2008 the band had the privilege to headline the 2J Rock festival in Tunis, playing for the very first time in Africa: due to the outstanding feedback shown from the crowd, the band was also requested to headline Tunis’ “7ème Festival Méditerranéen De La Guitare” on March 2010.
In the meanwhile, the band parted ways with Pierangelo Giglioni and Maurizio Pariotti, welcoming guitarist Andrea Angelini (Withate, Stick It Out, Outbreak) and conservatory classical piano/keyboards player Riccardo Studer (Opus Maledicta, Lord Vampyr) as new members.
In September 2013 the band was back in the saddle releasing the fifth full length album, titled “Hesperia”, for the German Pagan metal label Trollzorn Records: based on the “Aeneid”, the epic poem written by the ancient Roman poet Virgil (Publius Vergilius Maro) between 29 and 19 BC., “Hesperia” is the first concept album in the Stormlord career and it takes their Extreme Epic Metal sound to its full development.
The overwhelming feedback from both the music press and the crowd led Stormlord to hit the road touring all across Europe between 2013 and 2014, playing at several open air and indoor festivals like the world renowned Ragnarok Festival (with Satyricon, Finntroll, Manegarm, Borknagar etc.), DarkTroll Festival (Heidevolk, Obscurity etc.), Boarstream Festival (Hate, Aborted etc.), Metalcamp Sicily (Alcest, Korpiklaani, Marduk etc.) and more.
So far, all their albums have been licensed worldwide (Japan, Taiwan, South America, North America, Canada, Europe, Russia etc.).
The sixth album "Far", their most bombastic and aggressive to date, have been released in Digi CD/LP on May 24th 2019 via Scarlet Records.

in case you missed it: Smoulder

Smoulder is "epic doom metal" and their 2019 is out now: Times of Obscene Evil and Wild Daring. Check out this official information.
BIO: First full-length from firebrand Canadian quintet that escapes into realms of fantasy, glory and heroism, all under the banner of epic doom and power metal! Buoyed by the success of their The Sword Woman demo comes Smoulder, a Canadian epic doom/power metal quintet who combines obscure metal savvy with brilliant storytelling on their first full-length, Times of Obscene Evil and Wild Daring.
An impromptu jam session at a house party was all it took to light the fire under Canadian metal aficionados Sarah Ann and Shon Vincent. The two shared a fondness for doom bands such as Reverend Bizarre, Lamp of Thoth and Solitude Aeternus, utilizing this synchronicity to throw around ideas that while crude, were the foundation for what was to come. Originally, Sarah was on drums; Vincent on guitar and vocals, resulting in the name Smoulder, as in “smouldering ruins.” After doing the perfunctory check on Metal Archives to ensure the name wasn’t taken, Smoulder was forged in 2013.
Smoulder’s first few years was slow-going, though, as the two struggled to find reliable bandmates in their hometown of Calgary. The pair relocated to Toronto in 2017 and came to the realization Sarah would be better off singing and Vincent should concentrate solely on guitar. Faced with the high costs of a rehearsal room and delaying the band for another year so they could afford space, Sarah and Vincent reached across the border to Illinois to secure the services of Collin Wolf (guitar) and Kevin Hester (drums). Shortly thereafter, Smoulder trekked into the studio to record their debut 2018 demo, The Sword Woman.
The Sword Woman was released by Hoove Child Records on a limited run of 100 copies. The demo quickly sold-out, prompting the band and label to push the run to 150 — which sold out just as quickly. Soon, the label had no choice but to press a 300 run of the demo to vinyl. Smoulder (who are completed by bassist Adam Blake) eventually caught the eye of Cruz Del Sur Music owner Enrico Leccese, who extended an offer to the band at last year’s Hammer of Doom festival in Germany. Pen now put to paper, the band got to work on its first full-length, Times of Obscene Evil and Wild Daring. Recorded throughout 2018 at Chicago’s Swift Road Studios and Toronto’s Lincoln County Social Club, Times of Obscene Evil and Wild Daring was mixed and mastered by Arthur Rizk (Eternal Champion, Sumerlands). Artwork is courtesy of iconic fantasy painter Michael Whelan (Cirith Ungol). Featuring six songs of climatic and challenging epic doom crossed with elements of power metal, Times of Obscene Evil… is the result of countless songwriting sessions and intercontinental file-sharing. With lyrics provoking the imagination while testing the mind, Smoulder emboldens the listener with literary and fantasy-driven stories on cuts like the nine-minute epic “The Black God’s Kiss,” power metal-ripper “Bastard Steel” and “Shadowy Sisterhood,” Smoulder’s ode to Iron Maiden’s immortal “Rime of the Ancient Mariner.” Times of Obscene Evil and Wild Daring is for the bold, brave and daring; those with a hardened metal spirit and thirst of the epic. Point your swords to the sky — Smoulder has arrived!

in case you missed it: Steel Night

Steel Night is traditional heavy metal from Mexico high vocals and guitar-hero solos. The official information says: Steel Night was born in february of 2017 in Durango México by Raúl Domínguez, Jahaziel Rangel and Alberto DeMartini. Steel Night is a Traditional Heavy Metal band, with classic sounds like the 80s years. In 2018 the band participated in the Wacken Metal Battle in Mexico, winning the first place and in that same year participated in Wacken Metal Battle in Germany. A lot of people are really surprised of this traditional and powerfull played heavy metal band from Mexico! Now it's time for the first full album "Fight Till The End", let the Metal flow!" Online they also say: "Formed in February 2017, Steel Night is a Heavy Metal band (NWOTHM). In 2017 we released our first EP called Steel Night, broadcasted in different countries such as Germany, United Kingdom, Japan, Colombia, Argentina, Brazil and others. In 2018 we won the Wacken Metal Battle Mexico, which led us to be part of Wacken Open Air Metal Battle 2018. Currently we release our first album "Fight Till The End" through the German label Iron Shield Records."

Metal Bulletin Zine number 178

Hi, friends. Here is issue number 178 online of Metal Bulletin Zine. It features Sawyer Path (metalcore), Nucleus (death metal), Temple Koludra (experimental industrial robot alien black metal), Haze of Summer (hipster black metal), Kat (Polish HM legend), Mavradoxa (black metal), Moonlight Haze (symphonic power metal), The Lord Weird Slough Feg (old heavy metal), Lifes (bassdrumscreampunknoise), Howling Sycamore (progressive metal), Tony Mills (anthem heavy rock), Pestis Inferos (traditional black metal), Dreams in Fragments (symphonic power metal).

Tuesday, June 25, 2019

Blind Cross

Blind Cross
Merciless Time
Pure Steel Records
July 5th 2019
Blind Cross features veterans of traditional heavy metal. The vocalist is Juan Ricardo (U.S.), with Rocco Stellmacher on guitar, Andy Korte on drums and Hörold on bass, all from Germany. Ricardo has done vocals for a long list of entities. Currently he sings in Wretch, Ritual and Sunless Sky, according to Metal Archives, which also names some other nine former projects and bands. Metal Archives gives other information: Stellmacher has worked with some eight bands and projects. The rhythm section comes from Double Action, and said band dates back to 1979, but it’s not clear how active they are now because it’s been some 20 years since the last studio album, information which may or may not be accurate about all these lesser-known bands and projects on Metal Archives. At any rate, this is old-school traditional heavy metal when it comes to Blind Cross.
The singing is high and it is important that listeners familiarize themselves with Ricardo’s high-pitched screaming style of vocals. It is a pretty intense and true-to-the-old-school-screamer singing. The music is total loyalty to the 1970s and 1980s ways of making metal music. The rhythm section is the bottom end and the guitar is the driving force and the singing is the center of attention. The music is hard-edged songs with no distractions and nothing poppy about it. It is blue-collar, direct songs without any leanings or attempts to be anything else than what the tradition already is. The album is specifically for collector fans of old-school, no-tricks heavy metal bands that often labor out of the limelight of the mainstream metal music press.

re-issue of Exhumation's 1997 debut

Nowadays many fans of Swedish melodic death metal are familiar with Nightrage, which formed almost 20 years ago. Fans of 1990s melodic death metal might be interested to know that Nightrage's founder, the Greek-born guitarist Marios Iliopoulos had a band called Exhumation that formed in 1990 and broke up in 1999. Vic Records in 2019 has reissued the band's 1997 debut Seas of Eternal Silence. The album is readily available on YouTube and other places, but if you want the new Vic Records version go to the Dutch label's website and contact them and see about getting the new version.
Seas of Eternal Silence
1 May 2019
EXHUMATION was formed in early 1990 in Thessaloniki, Greece. The band recorded 3 demos and three full length album and split up late 1999. Guitar player Marios Iliopoulos formed Nightrage when EXHUMATION broke up. The EXHUMATION debut album ‘Seas of Eternal Silence’ was recorded at Unisound , Orebro, Sweden in 1996 and produced by Dan Swano (Opeth, Dissection). Mastered at Cutting Room, Stockholm, Sweden by Peter In de Betou (Dismember, Edge of Sanity, SepticFlesh). As bonus the debut album re-issue has the 3rd EXHUMATION demo ‘Deepest Side of Fear’ from 1994, remastered by George Nerantzis (Abbath, Dark Funeral, Evocation).
01 intro 1:33
02 Seas of Eternal Silence 6:11
03 Dreamy Recollation 5:01
04 Beyond the Eyes of the Universe 5:09
05 Forgotten Days 6:29
06 Passing Suns 5:49
07 Ceaseless Sorrow 5:49
08 Guilts of Innocence 5:27
09 Monuments 4:34
10 Whispers (demo 1994) 6:25
11 Sensation of Deadness (demo 1994) 4:39
12 Deepest Side of Fear (demo 1994) 6:01
13 Monuments (demo 1994) 4:56

in case you missed it: Red Cain

Red Cain (Canada) is melodic progressive metal. Their first album was released earlier in 2019. Prog fans can listen to the album by clicking at the link at the bottom.
Red Cain
Kindred: Act I - Out March 1, 2019
1 March 2019
About: Born out of the emerging metal scene of Calgary, AB, RED CAIN is a modern melodic metal project with European roots. With intricate songwriting, a heavy yet melodic feel reminiscent of progressive acts, and eerie ambient elements, RED CAIN champion a fluid, dynamic, and unique musical style centered around telling dark, conceptual Faustian sagas and constructing those into an unforgettable live experience. Listeners might well pick out elements reminiscent of such luminary acts as Kamelot, Symphony X, Tesseract, Draconian, Marilyn Manson, whipped into a venomous new shape. Having released three singles in 2018 Wing of The Crow ft. Kobra Paige (Kobra And The Lotus), Zero and Snakebouquet off their upcoming debut full length Kindred: Act I, the band is proud to announce its official release date on March 1st, 2019. The album was produced by Sascha Laskow (Every Hour Kills, ex-Divinity) with the band at Perfect Filth Studios and features guests Kobra Paige (Kobra And The Lotus), Daniel Louden (Benevolent Like Quietus) and guitarist Tyler Corbett.

in case you missed it: SkeleToon

SkeleToon (Italy) is proud to be happy power metal. Their third album came out earlier in 2019. Check out this information for power metal fanatics.
They Never Say Die
Scarlet Records
8 March 2019
The new album from the band that invented Nerd Metal! They Never Say Die is the new album from SkeleToon, a Power Metal tribute to Eighties classic flick The Goonies by Richard Donner/Steven Spielberg. With eleven guests taking over the main roles, They Never Say Die is the third of five chapters in the band's Nerd Saga, a fictional journey that goes way beyond a natural love for the geek world of cult movies, videogames and comics, to describe the world seen through the eyes of those forcibly removed from the masses because of their passions. They Never Say Die has been recorded, mixed and mastered at Domination Studios by Simone Mularoni (DGM) and includes many special guests including Michele Luppi (Whitesnake), Giacomo Voli (Rhapsody Of Fire), Morby (Domine) and Alessandro Conti (Trick Or Treat). The beautiful artwork has been made by Stan W. Decker (Primal Fear, Stryper, Ross The Boss, Jorn, Masterplan). SkeleToon released their first album The Curse Of The Avenger in 2016, while the second chapter Ticking Clock was released the following year and featured notable guest appearances by Roland Grapow, Dennis Ward (Unisonic), Jonne Jarvela and Piet Sielck (Iron Savior) among others.

read online Metal Bulletin Zine 177

read online Metal Bulletin Zine 177
Stargazery Wykan
Skelator Vulture
Hate hell bent

read online Metal Bulletin Zine 176

read online Metal Bulletin Zine 176
Hath Iron Griffin
Protector Aubzagl

read online Metal Bulletin Zine 175

read online Metal Bulletin Zine 175
A Vintage Death
Illimitable Dolor

read online Metal Bulletin Zine 174

read online Metal Bulletin Zine 174
Pirates in Black
Andrey Tollock

Monday, June 24, 2019

NEWS: Kamikaze Zombie

The "horror-punk-gutter-punk-noise-rock-shock-rock-thrash-metal-stoner-doom-black metal"-loving Southern-fried-thrash rednecks Kamikaze Zombie already issued their new 2019 album called The Destroyer of All Things. Their music is not suitable for young children, easily offended hipsters, easily offended Democrats, Republicans and even the Libertarians are looking at each other like "You sure you still a Libertarian, Bubba?, b'cuz this stuff, ooh wee, man, I don't know what these boys be doing with them instruments rat there. Their momma sure didn't give them no love just smacking'em upside the head in the grocery store and at the dollar store b'cuz look how they turned out, man, they don't wanna play no good ole Lynyrd Skynyrd and no Allman Brothers and no CCR and this noise sure don't be no music for nothings, I tell ya, I better just mind my own business right here b'cuz I don't want no trouble with no boys calling theirselves Kamikaze Zombie or whathaveyou. Check you later, Bubba. Ima go dip some marshallows in Pepsicola and chill out with some Clint Black. Laterz."
Or something like that.
Now just go listen to this stuff but you best toughen up because it ain't going to be no summer of love right there.
Biography: Kamikaze Zombie started in 2014. They are heavy crossover band from Birmingham Al, with multiple influences from hard rock, metal and punk. All of these very different influences led them to become their own genre of heavy music with multiple styles flowing through every KZ song. Kamikaze Zombie pushes to bring "old school" back to the masses with horror movie, serial killer themed stage shows and lyrics, black metal melodies, doom/sludge/death metal breakdowns, and in your face punk /thrash aggression. Kamikaze Zombie has share the stage with Superjoint (Phil Anselmo and Jimmy bower) , Max and Igor Cavaliera, Doyle, Crowbar,Raven, OverKill, Venom, Child Bite, GoatWhore, Iron Reagan, Battle Cross,Valient Thorr, Havck, Toxic Holocaust, Decapitated, Hammer Fight, Dark Sermon, Exalted and many more.

NEWS: Heaven and Records to release the third DOGBANE album

Below is the official news about Dogbane (U.S.) and their new album that is coming up. Listen to a new song below from YouTube.
After four years since DOGBANE’s last album When Karma Comes Calling, the North Carolina traditional heavy metal band has finally completed work on their much anticipated third full-length album entitled Idylls of Woe. Since 2010 DOGBANE have continued to stay active in the North Carolina metal scene, releasing two albums of solid doom laced traditional heavy metal. DOGBANE stay faithful to the foundations of traditional heavy metal while forging a sound of their own. Listen to the album track "The One I Was Warned Of" below. Heaven and Hell Records will be release Idylls of Woe July 19 on both CD and vinyl in a very limited quantity.

NEWS: ASTRALIUM to release debut album August 2019

Below is the news about Astralium (Italy) and their upcoming album Land of Eternal Dreams on Rockshot Records. This is the official information regarding the band and album. Below is a teaser for the album from YouTube.
Italy’s symphonic metal band ASTRALIUM announces they will be releasing their debut album titled “Land of Eternal Dreams” on August 23rd via Rockshots Records (worldwide release) along with the full length being available in Japan via Spiritual Best on the same date. A pure symphonic album with power heavy prog metal influences, epic choirs, high pitch vocals plus lyrical sections and baroque/magniloquent arrangements, “Land Of Eternal Dreams” is a concept release about dreams and the astral universe, but also the fantasy world that lives in us. It's an inner journey through imaginary stories about myths and legends from the past. The band explains the release: "First of all, I want to say that we are very excited about our debut album “Land Of Eternal Dreams”. Fans can expect an amazing album of great melodies, blended with cinematic, symphonic and classical music, along with metal guitar riffs and epic choirs. We believe that music evokes sensations, emotions and real fantastic worlds in our minds" The album also features specials guests Tommy Johansson (Sabaton, Majestica), Jo Lombardo (Ancestral, ex-Metatrone), Andrea Martongelli (Arthemis), Stefano "Ghigas" Calvagno (Metatrone, NefeshCore), Adam Cook (A Hill To Die Upon), Davide Bruno (Metatrone, NefeshCore) and more. ASTRALIUM was formed in 2014 by soprano Roberta Pappalardo and bass player Giuseppe Pappalardo. Drummer Salvo Grasso (Metatrone, Hypersonic) and guitarist Emanuele Alessandro complete the line-up.

in case you missed it: Dire Peril

Dire Peril's album The Extraterrestrial Compendium was issued towards the end of 2018 on Divebomb Records, but in case you have not heard the thrashy power metal, it's never too late to hop on this ship. Below is some official information.
Biography: In October 2009, guitarist Jason Ashcraft combined his love for Metal music and science-fiction into a singular vision that would become Dire Peril. The first year and a half were spent composing a bulk of the songs that would soon appear on the band’s 3 scheduled EP’s: “Astronomical Minds”, “Queen Of The Galaxy”, & “Through Time And Space”. Without a solid line-up in place Jason utilized a handful of musicians he knew from fellow bands to bounce ideas off of and perform live. The pattern of utilizing hired musicians continued into the studio when it came time to begin recording the album. The most notable of the group was bassist Jeremiah Bear who appears on the band’s debut and would eventually join the group’s ranks full-time. In 2011 writing for the album concluded and recording was in full force at Alien Productions Studios. The missing piece was a vocalist that could deliver the performance Jason was envisioning for this band. He quickly reached out to vocalist Norman Skinner (Skinner\ex-Imagika) and asked if he would be interested in lending his voice to the recording. After hearing a few samples of the songs Skinner agreed and began to construct melodies around the compositions and rework the lyrics supplied. The pairing of Ashcraft’s writing and Skinner’s vocals mixed brilliantly and Norman was the next member to agree to join the band on a full-time basis midway through the recordings. Drummer Ben Jackson was brought aboard to finalize the band’s line-up and live sound. In January of 2013 the band self-released the EP “Astronomical Minds” featuring 3 outstanding tracks as well as a cover of Blue Oyster Cult’s Classic “Godzilla”. The EP was met with open arms and rave reviews by both fans and critics alike. The band is currently performing live and putting the final touches on the 2nd scheduled EP “Queen of The Galaxy”. The album will be released Fall of 2014 and the 3rd “Through Time And Space” in 2015. The band is currently finishing up writing for a yet unnamed full length effort and a 2nd full-length concept CD is in the works as well. Fans of the band can be delighted knowing that a plethora of new music lay ahead for “Dire Peril”

NEWS: Canadian progressive band Kosm

The Canadian band Kosm will issue Eyes on the Inside on the 28th of June, 2019. Below you will find more information about the band. It looks like the new music is not yet available on Bandcamp, but they do have lots of other music on there for fans to check out. Below is some official information. Below is also a new song from YouTube.
KOSM is a progressive metal band hailing from Vancouver BC, Canada. Combining influences from Mastodon, Tool and Gojira; their sound is dynamic and unquestionably lethal. Since their induction in 2016, they have been making their mark in Vancouver’s metal scene as an absolute force to be reckoned with. The origin of the band starts with Mike Slater (guitars) and Erik Leonhard (guitars) as a casual project, and they were quickly joined by Jessie Grace (vocals), Sterling Paterson (drums) and Michael Mastracci (bass) for some jolly cooperation. Swiftly, like hunters, they took off from there and released three singles; including the well-received “Ancient Heart” music video. Familiar to members of the progressive metal covenant, and playing with themes from the H.P. Lovecraft and Bloodborne universes; KOSM is quite unique and authentically its own being. Their first release, 2018’s “Cosmonaut” was an album loosely based on the Lovecraftian myth of Cthulhu and each song was meant to walk the listener through a story from beginning to end. Following this, the band is now gearing up for the release of their latest release in 2019, “Eyes On The Inside”, an EP exclusively based on the Bloodborne video game. Not just committed to the challenging Bloodborne related games, KOSM dedicates their energy to their music especially in the form of live shows. Taking a page from the books of some of their influences, they indulge the audience in a diverse performance to showcase their talent. With even more material in the works and future albums planned, KOSM summons you to join them on this journey full of experimental and progressive metal.
“KOSM delivers the goods while touching bases in the same ballpark as TOOL, MASTODON and PERIPHERY, (they’ve previously covered Mastodons “Blood and Thunder”) with an emphasis on plenty of space rock intermissions” – Powerplay Magazine
“Remember when Mastodon were special, circa Leviathan, Blood Mountain and Crack The Skye, before that vision was lost? […] Well, Kosm are like Mastodon in those days.” –
“KOSM does a solid job of mixing technicality, mood and groove. […] They’re a well versed band with all kinds of moods and changes engaging your ears every split second.” – Technical Music Review
“Vancouver’s KOSM kick the door in with Cosmonaut, their monstrous full-length debut. Brace yourself for a satisfying trip through an exciting mountain range of cascading, meaty riffs, swelling rises and heady drops, all led by the powerful, soaring vocals of the dynamic Jessie Grace. ” – Beatroute BC
“KOSM cite Tool, Gojira and Mastodon as three of their main influences, and all three can be heard loud and clear on their new album, Cosmonaut. The technical, progressive musicianship of Tool meets the crushing grooves and rhythmic vocals of Gojira, and Mastodon’s ear for riffy, thunderous prog are all present on Cosmonaut, which features some of the most technical metal I’ve heard this year outside of, you know, technical death metal. ” – Decibel Magazine
“Lovecraftian progressive metal is on the table for Kosm’s debut. While bands like Mastodon and Tool come to mind in the way that the guitars are maneuvering around, limiting the band in that manner downplays what they are trying to do. There are so many different textures and flavors along the way it is really hard to get a grasp on what best defines them. But that’s perfectly okay, and keeps Cosmonaut interesting for its 66-minute runtime. The concept to it all keeps it on the rails while exploring a variety of emotions and levels of heaviness (including some that aren’t so heavy). There’s loads of potential here for the band to experiment with in future offerings. ” – Dead Rhetoric
“KOSM definitely show enough potential with this release to be a band that should be on your scopes.” – Noizze UK

Legacy Black

Legacy Black
Legacy Black
July 12th, 2019
Legacy Black: Legacy Black July 12th, 2019 1.Legacy Black (3:25) 2.While All Along (7:15) 3.Mary (9:32) 4.Current State (5:24) 5.The Winter of My Discontent (11:46) total time 37 minutes
Legacy Black (Chicago, U.S.A.) issues its self-titled five-song 37-minute album. The band is Donovan Torres on bass guitar, Juan Cardenas on drums, Joyce Jenkins on keyboards and vocals, and Clint Davis on guitar and lead vocals. This publication just received the album a couple of days ago. The existence of this band, while perhaps no mystery to the fans in Chicago that have witnessed the shows long before there ever was a recording, was not clear, when seen from a long distance here in the Seattle area. Was this a tribute band? Was it a covers-only band? It wasn’t until the answer came straight from the horse’s mouth that, no, this is new and original compositions and they were working on an album. In addition, supposedly the singer was Clint Davis who, despite making music and being in bands for some two decades (maybe longer), had never been a lead vocalist, only a guitarist. However, the drummer Cardenas, a musician that has done work with Davis in a couple of other bands, has known for a long time that Davis can sing and has been putting a bug in Davis’ ear to finally do lead vocals. Cardenas apparently knew Davis’ dirty little secret: that he sings rather well. Still, the band, despite playing shows in the Chicago area, had posted exactly jack squat online for non-Chicago people to hear. Nothing. Nada. Zilch. It seemed like you had to contact secret sources in Chicago to find out what the deal was.
Until now. The summer of 2019. While still working through it all, let’s see the first song. The guitar tone is ear-friendly traditional heavy rock that just about all metal fans will recognize and be comfortable with, and it features a big riff that demands hearing it again. This one is a show-opening type of song. Relatively short, and ear-friendly big-riff music. The song is very likable, with some proggy keyboards, with a classic rock feel. The singing? It’s a very attractive singing voice that stays on the strengths of the male voice; a voice that projects, and not thin, not nasal, not high, not weak but rather robust while still melodic. The Legacy Black drummer Cardenas was right all along. Davis has an appealing rock voice. Well, now, if this is any indication of the rest of the album, then we’re about to be pleasantly surprised by an accessible adult contemporary metal album that metal moms and dads are going to enjoy, and be ok playing in the minivan while driving the kids to the ballet, kickboxing and lethal combat classes, in an effort to indoctrinate the children into metal music.
Let’s come back to the other songs later.

Sunday, June 23, 2019

Dreams in Fragments

Dreams in Fragments
Reflections of a Nightmare
Rockshots Records
28 June 2019
The symphonic power metal works well for fans looking for soft, high feminine singing and gentle chugging, play-on-riff guitar, the prominent use of keyboards and the catchy songs for a fun, poppy listening experience. The album should be checked out by true, die-hard, love-it-all collectors of all things symphonic power metal. The band prefers to keep the guitars less important than the keyboards, in the sense that there is no shredding, no neoclassical, no guitar hero gymnastics, and no guitar heaviness. Overall, the guitars are there to provide rhythm, and generally this means a softer, gentle chugging type of play-on riffs that have a very functional, practical purpose to keep the song going. Fans who want big guitars, big distinctive riffs and guitar showmanship might be disappointed, but fans searching for music that keeps the guitars restricted to rhythm almost exclusively (with a few exceptions), and that want more melody coming from the keyboards than the guitars, those fans should be pretty pleased with this approach. The effect is a very ear-friendly, pop-oriented type of melodic music. The music is animated, although the band seeks a gothic or melancholic type of poppy sound. The singing is light and soft, although the band uses a bit of low, male growling, but this is always done with a gentle touch and it is not harsh, it is not upfront. The high singing does not have big power behind it, it does not project big time, and it’s kept at a volume or tone that does not give it lots of prominence. To these ears, some of the singing, at times, seems to have a certain processed quality, although it’s not clear what exactly that is, and only a more expert and knowledgeable set of ears with experience in sound engineering (or musicians) might be able to recognize it and name it immediately. The singing is not super high upfront operatic but rather a more subtle style, and whether this is by choice, by virtue of being a newer band, by lack of experience/skill or by lack of natural talent, that is not clear yet, although it seems like the band is not yet well established and we should not rush to judgment because bands can have big resilience and can often improve tremendously with more time and experience.