Friday, October 19, 2018

interview: Solium Fatalis

What the future holds nobody seems to know for sure, although it might be not the happiest if you check in with the American death metal band Solium Fatalis. Their new 2018 album is prophetically named Genetically Engineered to Enslave. What death metal is in 2018 is perhaps perfectly exemplified by the sound of Solium Fatalis. Disturbing. Dystopian. Solium Fatalis is new to this publication, and for this reason it is about time to find out more about this New England band.
This is your fourth album in seven years?!
Four albums in five years is the actual number. Jeff Demarco, our bassist and vocalist and I have been in the band since the beginning in 2012. Ryan Beevers the other guitarist joined in 2015 after we released Undying Season and Jeff Saltzman the drummer has been around 2 years now.
You formed in 2012 and then in 2013 there was the self-titled debut. Did your band not go through the stage of recording demos and finding the sound?
I wrote the first album in two weeks and Dirk and Loic did drums and bass as a favor. At that point I was 33 years old. I had a professional work ethic and a very good idea of how to make metal so we established the sound of the band after that album in a very unconventional way. Since my previous bands had done the ‘demo and do shows’ route and it hadn’t gotten me anywhere.
On Facebook you mention your multiple tours. Is this a touring band?
We all have normal jobs and no we don’t tour regularly but it’s been based on opportunity and less so on capability. But we certainly have done a couple tours.
What is driving your band to be making albums at this pace? I have been listening to the album and it is a serious production.
It has far less to do with finances than you think and more to with ingenuity and work ethic. We all know how to engineer ourselves in the studio and have jobs we work at and careers that we bust our asses doing to pay for the equipment we use and record with. Effective operating systems and a little bit of learning go a long way. There is no money in this business and it’s all for the love and we love this music and that’s why we do it. And thank you for the compliment on the production that’s Christian Donaldson work at his studio The Gird in Montreal and he’s a bad ass.
You are in New Hampshire. How is your fan base there?
We are 45 mins from Boston so geographically we have no issues with fans not coming to shows or opportunities to play them. But our NH faithful sure as hell show up to our shows and it’s awesome and they rule.
Is there a concept that connects all the lyrics on the album? Have you always had lyrics dealing with futuristic themes like artificial intelligence?
There is a loose concept, yes. All our albums are themed that way but no one seems to read lyrics anymore so they’ll never know. It’s not just about AI it’s about so much more, I also enjoy interpretive art so it means what you want it to mean.
I was looking at art work of the covers of the four albums and they all have a very dark, cosmic or mechanical vibes. How much input have you had in discussions with the artist(s) about what you want?
The last three albums are the same artist Pierre-Alain D. At 3mmi and the first album was Septicflesh frontman Seth Siro Anton who’s done work for Exodus, Paradise Lost, and a whole slew of killer bands. We have brief discussions but it’s usually me saying I like single figure art and here’s the music and they have made their interpretation.
Is the art work computer generated art or is it a painting done by hand?
I believe it was computer stuff mixed with his own hand drawings. He has a bit of a process and method, I’m sure.
Metal Archives says that you are on Wicked Music Records. Is that true?
We are NOT on Wicked Music. Everyone keeps printing that statement and it’s inaccurate. We are on our own label “Disfigured Records”. Yes, self-financed because why beg someone and be an ass kissing sycophant when you can rule your own world and tell everyone to fuck themselves? Better to rule in hell...
Did you work with a producer on this album?
We’re the producer. We handle all creative direction. We do this ourselves and no outside sources tell us how to write or alter our sound. We like it that way.
I see that you have several guests on the album.
We have guest vocalists Matt McGachy from Cryptopsy and Haydee Irizarry from Carnivora on the song “A Gathering of Storms” who have been friends for while and Phil Tougas from First Fragment on the song “Fiery the Angels Fell” with a guest solo who’s work we’ve admired for such long time.
What motivated you to pick up instruments and play extreme metal?
I always loved heavy music since I was a kid. I can’t speak for the band but my early influences are all over the place from Exodus to Morbid Angel, to movie sound tracks and Prince and Hank Williams Jr. all music has something to offer creatively if you know where to look.
How do you see the future of your music?
We will destroy, pillage and annihilate everywhere we play and keep making music as long as we have people who want to hear it!
What plans for shows are there?
We are playing a few shows our schedules are snug often times so we make what we can out of it. October 12th at the Stone Church in Brattleboro Vermont we are recording our CD release show for a live DVD and CD release so people should come be a part of immortality with us. What type of merchandise do you have? Where to hear your albums? CDs, shirts, patches, clothing.... the usual fare. All of it is available through our Bandcamp. All are albums are available on Bandcamp, Itunes and Google music.
What else would you like mention that I have not asked about?
We just wanna thank everyone for listening and checking us out! Our new album is “Genetically Engineered to Enslave” right now on our Bandcamp page.

Thursday, October 11, 2018

interview: Sage

For fans of traditional singing and very memorable songs, the way that Sage works with traditional, power, symphonic and epic heavy metal should be of interest. They hail from Croatia, in Central-Southeastern Europe. In 2018 they have an impressive debut album of eleven songs and some 55 minutes of music, called Anno Domini 1573, which is an important year in the history of the region, as explained in this interview with the band’s talented singer Davor Bušljeta.The band is Marko Karačić on bass, Branimir Habek and Enio Vučeta on guitars, Andrej Božić on keyboards, Davor Bušljeta on vocals, and Goran Mikulek on drums.
How are you?! Where in Croatia are you and how is life in general in your city?
We are doing quite alright with our day to day life. We are located in the capital city Zagreb. While living here is tolerable, for we have such great politicians that are trying their best, if you know what we mean.
And how is life for your music? Do you have a good metal scene for bands like Sage?
Yeah, we have lots of great metal bands and the metal scene itself is not too shabby, yet it has seen better days. The problem lies in the mainstream media for most of the music is mainstream and for the rest of us that do not play popular music it's pretty hard to get some airtime.
Croatia did very well during the football world cup in 2018 in Russia. Did you watch it?
Of course, if Croatians do anything properly it’s watching the game with a couple of friends and beers by the small screen.
How many recordings has Sage made? How long has the band been active? Were you all in previous bands in Croatia?
We have been active since October 2013 and since then we have released eleven songs and music videos for our debut album. Enio was famous as the frontman and guitarist of Legija (1985-2004), while Marko is currently playing with Prljavo Kazalište that has great popularity in Croatia for the last 30 years and was also playing with Shark Island and many other musicians, while the rest of the band members had several bands in the past and played locally.
What type of jobs do you all have?
We split the day to day band jobs and there is no manager, and we all do different jobs like fireworks, director in a bank, salesman, IT specialist.
The title Anno Domini 1573 seems like an epic title for the album. Where did you record the album? Was it recorded in studios in Croatia?
It was recorded in the studio of Janko Mlinarić Truli with the help of our producer Fedor Boić and sound engineer Franjo Valentić, while it was mixed at Morrisound studio in Florida by the famous drummer Casey Grillo.
The album sounds good and it has catchy songs. Is the album a concept album about the year 1573?
It is about an event that happened, to be precise the Peasants Revolt against the noble man that were oppressing the common man as we are experiencing something similar in the present; therefore, we decided to make the album with that type of a storyline.
Were your people fighting for independence or freedom in 1573?
The peasants had their final fight with the noble man at Stubica a place near Zagreb the city we live in. Back then the feudal lords had a system with high taxes and they were a greedy bunch that never knew to stop milking the cow, for they would take as much as possible from the peasant which then had to make it through the harsh winter.
Do you have any songs in Croatian?
We have made songs only in English so we could present our Croatian history to a wider audience, and our lyrics do describe the situation back in the day.
Did your parents grow up during the 1990s wars in your region? Did any of you grow up during that time?
We all have experienced the war during the 1990s, some more, some less. The war itself took five long years and even most of our family members experienced war at first hand, unfortunately.
Is life more peaceful in Croatia nowadays?
There is peace as in there is nobody shooting, yet there is no peace in the economic and political sense.
Do you think that the future will be peaceful in your region?
We sincerely hope that there will be no war here again, as we also hope for the rest of the world that are experiencing what we have will come to an end as soon as possible.
Where can people can hear the album? Do you have merchandise?
Currently you can listen to our songs on our YouTube channel, or our website, or you can buy a digital version as it was released during September by Rockshots Records. We currently have cd and a cd dvd deluxe version also guitar picks and T-shirts, and we hope that people will visit our gigs as we tour.
Do you have invitations to play in Europe so far? Do you plans to play shows? What news do you have about shows and tours?
We have recently played in Trieste, Italy, and we are currently dealing with booking agencies for the summer tour in Europe, all will be officially released on our Facebook page in due time.
What is your favorite food that is not from Croatia? Is German, Italian or Greek food popular in Croatia?
Croatian cuisine is specific for it is a mix of Italian, Turkish, French, Greek and lots of other cultures, yet we do have vege, Mexican, Chinese restaurants; people prefer Croatian cuisine.
Have you visited the United States? What did you think?
Some of us have visited the U.S.; good food, good women, what’s not to like?!! Some of us have relatives in the States.
It is cool how the last song “Heaven Open Your Gates” begins. Is that a Croatian Catholic song? It is a very nice end to the album.
The beginning of “Heaven Open Your Gates” is a sample made by Fedor Boić, yet the end is sung by the band and several girls from a quire called Medley Teatar, it is an old song usually sung at funerals and we have recorded it in loving memory to a dear friend of ours as also it is a song for the fallen hero of the Peasants Revolt, Matija Gubec
Good job on the album. Last words?
Thank you for the opportunity for presenting our work to the people in the U.S., we hope we will see you one day live at a gig.

Tuesday, October 9, 2018

read online Metal Bulletin Zine number 154

The friends at Fuglymaniacs have posted online issue number 154 of Metal Bulletin Zine. This number has an interview with PARIUS, ARTIZAN, MORGENGRAU, and TEMPERANCE.
In addition, this issue has: Images of Eden, Siege of Power, Infera Bruo, Downpour, Satan, Axe Steeler

Thursday, October 4, 2018

releasing this week: Behemoth

Behemoth: I Loved You at Your Darkest
Metal Blade Records; 5 October 2018
Musically, Behemoth has found a comfortable balance between extreme metal and allowing the music to breathe. Decades of experience (the first demo is from 1992) has taught them to simplify the music (less crowded vocals, less effects; songs sound less busy than ever before) and develop the melodies a lot more and embellish the symphonic elements to fill out the background. The music is black metal, it is extreme metal, while sounding the most friendly to the ear than ever. It is a very nice achievement. All that touring has taught them a lot about what works and what doesn’t. They are no longer trying to be the fastest, most frenetic band in the world. It is quite an experience to hear Behemoth taking in the lessons in songwriting. This is their most mature album and their most accessible.
Some people have observed that the band’s ever more theatrical shock rock imagery and sexism (clothed as lyrical antireligious rebellion) is gimmicky. Of course, rock and roll was built on the capitalist marketing strategy of shocking people, so this is not exclusive to Behemoth. If you accept that Behemoth keeps changing musically, and you can get past the occult imagery, then it is very likely that this might be seen as the band’s best, most enjoyable, listenable and melodic album. The album is done very, very well.

Tuesday, October 2, 2018

Overwrought comes to Everett this Thursday

Overwrought is melodic extreme metal from the state of Washington. The name is relatively new to this publication. Apparently, the band formed in 2016. Earlier this year they made their first recording available and it is simply called Demo 2018. Said recording is three songs. The first song is called “Blinded by Time” (6:01). It begins calmly only to kick up the tempo to a good headbanging pace. It is not blasting speed, but rather a melodic black metal uptempo rocking feel. “Vigil” (6:56) demonstrates quite a bit of a dark melodic vibe that is the sound of the band. A good sense of the song is a midtempo, steady rocking pace, which then gives way to some blasting and the classic-style melodic black metal is then present in full view. Very promising. The recording closes with “Wander” (6:32). This last song feels like the band keeps the midtempo energy going longer, and the black metal vocals and the drums have quite a bit of room to shine, and then at the end the songs goes considerably slower and the melodic guitar work comes to the forefront. The song communicates a statement of purpose: this is Overwrought. Overall, the recording will leave you wondering how much further they can go in working, developing and improving this good beginning for them.

Noceur comes to Everett this Thursday

The Washington state avant-garde extreme metal band Noceur is nowadays on its third recording called Oprichniki and it was set loose earlier in 2018. The debut On Earth is from 2015 and the second work Apocrypha Condemno is from 2017. A noceur is a person that sleeps late, if at all, and it can be also a person that goes late into the night to party it up. Actually, Noceur is Washingtonians who like you to stay up and experience a trip to your brain. They have the ticket, but you have the vehicle with you. They are simply the switch. At times, you may think you know what is going on: do-it-yourself black metal blasting and screaming from the caves of the beyond to the necro infinity. But wait. Don’t get too comfortable. This coin has another side, and the other side is going to mess you up while you are awake and also maybe when you are finally falling asleep in the morning: trippy, psychedelic, experimental, weird, confusing, tranquil, disturbing. Bang your head. Stop. Ask a question. Go back to banging your head. Stop. You can’t touch this. Noceur time.

releasing this week: Alchemy Chamber

Alchemy Chamber: Opus I: Subtle Movements from within
self-release; released on: 6 October 2018
Alchemy Chamber (Canada) is an instrumental band featuring the cello prominently, in addition to the saxophone. The main ideas for the songs are written Anna Kuchkova (cello); Anna is joined by Kevin Arland on saxophone, Ashar Kazi on guitar, Zenon Shandro on bass and Julia Geaman on drums. Without a person singing or screaming over the music, here is a perfect opportunity to hear the music without any distractions. The music is easy to understand, actually, because it is song-focused. There are ten tracks and not a one of them is longer than 4:20. The band shows a tremendous sense of restraint and taste. To make it perfectly clear, this is not tech-metal and it is not jazz metal, and it is not musicians showing off their skills. Think of it as song-centered, compact, to-the-point instrumental progressive metal with cello and saxophone. Most of all, it is tasteful. You will be surprised by how much these musicians understand that you want songs. They understand that you do not need them to prove to you that this is intelligent music and this is art. Those things are so self-evident that they do not even need to go around reminding anyone of it.

Monday, October 1, 2018

black metal in Everett, WA this Thursday: Overwrought, Noceur

"Two of Bellingham's finest black metal exports will invade the stage for one night only at Tony V's!"

Washington state concert calendar, updated October 1, 2018

Friends in the state of Washington,
Is there a metal music show in your area that is not listed in this calendar? Does your local metal band have a show coming up and is not listed here? Is your band's name spelled incorrectly? Are the dates wrong? If you have information about shows/updates/cancellations, please get in contact with Metal Bulletin zine.
Washington state concert calendar, updated October 1, 2018
October 2 Incantation, Dying Fetus, Gatecreeper, Genocide Pact, Oxygen Destroyer at El Corazón, Seattle, WA
October 3 Graham Bonnet Band, Zero Down at El Corazón, Seattle, WA
October 3 Un, Witch Ripper, Shrine of the Serpent, Old Iron at Highline, Seattle, WA
October 4 Revocation, Exhumed, Rivers of Nihil, Yautja at The Pin, Spokane, WA
October 4 Overwrought, Noceur at Tony V’s, Everett, WA
October 5 Revocation, Exhumed, Rivers of Nihil, Yautja at Highline, Seattle, WA
October 6 Generation Decline, Gravewitch, Oxygen Destroyer, Schmutzhund at The Charleston, Bremerton, WA
October 6 The Accused AD, Zero Down at The Plaid Pig, Tacoma, WA
October 9 Satan, Substratum, Skelator at El Corazón, Seattle, WA
October 9 Carach Angren, Mors Principium Est, Wolfheart, Blood and Thunder, others at Club Sur Rocks, Seattle, WA
October 9 Zeal and Ardor at Neumos, Seattle, WA
October 12 Czar, Odyssian, Deathbed Confessions at The Kraken, Seattle, WA
October 12 Overwrought, Monstress, Fuchsia Groan, Gallows Hymn, Opropos at Little Roadside Tavern, Everson, WA
October 13 Hatebreed, Miss May I, Ringworm at Knitting Factory, Spokane, WA
October 13 Avoid, Into The Flood, As Pillars Fall, I Am Infamy, Lurch at The Charleston, Bremerton, WA
October 14 Cognizant, Rottenness, Impulse Noise, Seizure at Funhouse, Seattle, WA
October 15 Enemy Soil, Antigama, Violent Opposition, Treasonist, The Drip at Funhouse, Seattle, WA
October 15 Paradise Lost, Sólstafir, The Atlas Moth at Neumos, Seattle, WA
October 15 Gwar, Hatebreed, Miss May I, Ringworm, American Sharks at Showbox, Seattle, WA
October 16 Vile Effigy, Overwrought, Born Without Blood, Speaks in Tongues at Highline, Seattle, WA
October 17 Expain, Kömmand at Funhouse, Seattle, WA
October 18 Steve Grimett’s Grim Reaper at El Corazón, Seattle, WA
October 18 Witchaven, Xoth, Oxygen Destroyer, Sentient Divide, others at Highline, Seattle, WA
October 19 Witchaven, Oxygen Destroyer, Sentient Divide, Effluvia at McCoy’s Tavern, Olympia, WA
October 19 Tetrarch, others at Knitting Factory, Spokane, WA
October 20 Nekrogoblikon, others at El Corazón, Seattle, WA
October 21 Hell’s Belles (AC/DC tribute) at Tulalip Casino, Marysville, WA
October 21 Windhand, Satan’s Satyrs at Neumos, Seattle, WA
October 21 Hell’s Belles (AC/DC tribute) at Tulalip Resort Casino, Tulalip, WA
October 24 Captured by Robots, The Drip, others at The Big Dipper, Spokane, WA
October 25 Captured by Robots, Xoth, Toecutter at Funhouse, Seattle, WA
October 25 Danzig, Venom Inc., Power Trip, Mutoid Man at Showbox, Seattle, WA
October 26 The Accüsed A.D., others at Black Zia Cantina, Burien, WA
October 27 Jesus Wears Armani, Casualty of God, Anthrocene, others at The Plaid Pig, Tacoma, WA
October 27 Blistered Earth (Metallica tribute), Live Undead (Slayer tribute) at Tony V’s, Everett, WA
October 27 Method 13, Arisen from Nothing, The War Within, No Such Season at Madison Pub, Everett, WA
October 27 Hell’s Belles (AC/DC tribute) at Jazzbones, Tacoma, WA
October 27 Ingested, Enterprise Earth, Bodysnatcher, Aethere at El Corazón, Seattle, WA
October 27 Weaponlord (performing a Running Wild set), others at Highline, Seattle, WA
October 28 Hissing, Bone Sickness, Cavurn, Foul at Highline, Seattle, WA
October 29 Ingested, Enterprise Earth, Bodysnatcher, Aethere at The Pin, Spokane, WA
October 29 Trivium, Avatar at Showbox, Seattle, WA
October 31 Trivium at Knitting Factory, Spokane, WA
October 31 After the Burial, The Acacia Strain, After the Fallout at Club Sur Rocks, Seattle, WA
October 31 Psychostick, others at El Corazón, Seattle, WA
November 2 Second Sting (Scorpions tribute) at Tulalip Casino, Marysville, WA
November 2 Suffocation, Cattle Decapitation, Krisiun, Soreption, others at Club Sur Rocks, Seattle, WA
November 3 Resistant Culture, Viveka, Huldrekall, Goon at Funhouse, Seattle, WA
November 4 Mac Sabbath at Jazzbones, Tacoma, WA
November 6 Stryper at El Corazón, Seattle, WA
November 7 Atriarch, others at Highline, Seattle, WA
November 7 Pound, Neck of the Woods, others at The Kraken, Seattle, WA
November 9 Arsis, Decrepit Birth, Internal Bleeding, Pyrexia, Angelmaker, Within Destruction, Orator at Club Sur Rocks, Seattle, WA
November 9 Neck of the Woods at Eagles 2485, Kennewick, WA
November 9 Large Marge, Dilapidation, Oxygen Destroyer, Effluvia, Drawn and Quartered at The Valley, Tacoma, WA
November 9 ApHelion, Salem Knights, Wet Temple, The Wreck’d, Boxcutter PNW, Johnny Yuma at Mirkwood Public House, Arlington, WA
November 9 Coven, Kömmand, Sabateur, Cerna Krev at McCoy’s Tavern, Olympia, WA
November 10 Raven, others at Tony V’s, Everett, WA
November 10 Sadistic Intent, Drawn and Quartered, Oxygen Destroyer at Highline, Seattle, WA
November 10 Valhalla (Led Zeppelin tribute) at The Brothers Gemini, Port Angeles, WA
November 12 Raven, others at The Pin, Spokane, WA
November 12 As I Lay Dying, others at Chop Suey, Seattle, WA
November 13 Korpliklaani, Arkona at El Corazón, Seattle, WA
November 13 Goatwhore, others at Club Sur, Seattle, WA
November 14 Eyehategod, Cro-Mags, Philip H. Anselmo and The Ilegals at El Corazón, Seattle, WA
November 16 Underoath at Knitting Factory, Spokane, WA
November 16 Noisem, Blame God, Bruceexcampbell, Gün, Pustulous at The Plaid Pig, Tacoma, WA
November 17 Neck of the Woods, Darkness Stole the Sky, others at McCoy’s Tavern, Olympia, WA
November 18 Noisem, Blame God, World Peace, Impulse Noise at Highline, Seattle, WA
November 20 Behemoth, At the Gates, Wolves in the Throne Room at Showbox, Seattle, WA
November 21 Municipal Waste, High on Fire, Toxic Holocaust, Haunt at Showbox, Seattle, WA
November 25 Castle, Holy Grove at The Shakedown, Bellingham, WA
November 27 Castle at Highline, Seattle, WA
November 28 Whitechapel, Chelsea Grin, Oceano, Slaughter to Prevail at The Pin, Spokane, WA
November 29 Whitechapel, Chelsea Grin, Oceano, Slaughter to Prevail at Showbox, Seattle, WA
December 5 Yob at Neumos, Seattle, WA
December 7 Zepparella (Led Zeppelin tribute) at Tractor Tavern, Seattle, WA
December 7 Heartbreaker at Rocko’s, Everett, WA
December 8 Yob, others at The Shakedown, Bellingham, WA
December 8 Devastation in December: Infernal Legion, Oxygen Destroyer, Nocturnal Slaughter, Orator, Violent Hallucinations, Beyond Theory, Something with Teeth, Trojan Swamp Monster at Erebus, Kelso, WA
December 28 Zoso (Led Zeppelin tribute) at Knitting Factory, Spokane, WA
January 4 Chemical Annihilation, At the Seams, Trojan Swamp Monster at The Heavy Metal Brewing Co., Vancouver, WA
January 25 Hell’s Belles (AC/DC tribute) at Snoqualmie Casino, Snoqualmie, WA
January 25 Hell’s Belles (AC/DC tribute) at Knitting Factory, Spokane, WA
February 16 Keep Metal Alive Fest IV: Xoth, Witch Ripper, Gravewitch, Vile Effigy, Nocturnal Mayhem, others at The Charleston, Bremerton, WA
March 22 Y&T at Club Sur, Seattle, WA
April 19 Washington Deathfest IV at Erebus, Kelso, WA
May 30-June 1 Northwest Terrorfest at Neumos/Highline/Barboza, Seattle, WA
June 9 Flotsam and Jetsam at El Corazón, Seattle, WA
Metal Bulletin Zine
P.O. Box 1339
Lake Stevens WA 98258 USA

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)