Saturday, November 30, 2013

FREE MUSIC: heavy metal from Brazil: Reliziun

FREE MUSIC: heavy metal from Brazil: Reliziun
Here's a three-song recording from traditional heavy metallers Reliziun. The band has apparently been active for three years. The sound is a bit fast, on the thrashier side and they sound like they are still finding their way. Reliziun sounds like a street heavy metal band, as their singer does not do a polished approach. This is their demo and it has several cool components, while they work on improving on others. Check it out for yourself. Get the songs for free at:

FREE MUSIC: nasty black thrash crust Automuro (Spain)

FREE MUSIC: nasty black thrash crust Automuro (Spain)
Is it black metal? Is it crust? It is thrash? Is it punk? It's one big attack of honest a black metal with shades of gutter punk.
More importantly, it sounds real and with a bite.
In this six-song recording (23 minutes total) Automuro also covers Anti-Cimex which gives you an idea of the kind of philosophy these punks have in mind.
Get it for free here:

FREE MUSIC: old school thrash Straight Terror (Chile)

FREE MUSIC: old school thrash Straight Terror (Chile)
These crazy Chileans have a 3-three song recording of traditional, old-style thrash. Cool vibes. Download it for free here:

FREE MUSIC: one-person black metal Shackles for a Crown (Holland)

FREE MUSIC: one-person black metal Shackles for a Crown (Holland)
This three song (36 minutes total) recording is definitely for those into one-person black metal: basic cave-recorded long songs with changing moods, from fast to slow and in between, and lots of personality.
Shackles for a Crown is available for free at
Here's another way to get in contact. email:

FREE MUSIC: free black/death metal Nekroskop (Sweden): "Baptized in Formalin" (2013)

FREE MUSIC: free black/death metal Nekroskop (Sweden): "Baptized in Formalin" (2013)
Great news today for those wanting to hear new "extreme" bands and new music!
Nekroskop has made its music available for free for you to check out and download.
That's what I have been listening to this morning. I like what I hear.
go here
also drop by here and say hello.

Friday, November 29, 2013

Withem (Norway): “Point of You” (Sensory Records)

Withem (Norway): “Point of You” (Sensory Records)
People knowledgeable are already familiar with the batch of high quality traditional, melodic prog metal bands from Norway, headed by veterans such as Pagan’s Mind and Circus Maximus. Bands in this genre build reputations for talent, making their names appreciated amongst the listeners of the style.
Withem’s debut puts the band in a good situation vis-à-vis the genre and its public. Those who will become part of the audience are the picky, elitist, traditional-talent-demanding listeners who prefer singers that can really sing and that do the soaring vocals that touch the sky. Such listeners demand guitar players that shred, solo and play fluid melodies, and skilled rhythm sections, of course.
With this album the band has done a great job of executing three phases of the traditional, melodic prog metal game: ability, songwriting and production. This album is on Sensory Records, a top place for prog metal, which means that before this is published, the band has done serious quality control.
Withem is prog, but all the songs are manageable for simple-minded listeners like myself. The songs are very easy to remember, and that’s a nice break from all the woof-woof zombie metal I have been listening to today. It’s not an exaggeration that Withem writes songs that sound like “hits.” In short, high recommended for the genre’s public.

NEWS: Shrapnel Storm (Finland)--"old school midtempo death metal"

On November 18th Finnish Old School Death Metal Bulldozer SHRAPNEL STORM released a new promo entitled "We Come in Peace...". This promo was recorded at Shrapnel Studios in Finland and contains two tracks from their upcoming as of yet untitled debut full length album which the band will begin recording in April of 2014. Currently SHRAPNEL STORM are hard at work creating a music video for the track 'Deathroller' in hopes of releasing the video in mid December.
To keep up to date with SHRAPNEL STORM make sure to "like" their facebook page here:
A Promotional Video for the track 'Deathroller' can be found here:

Pestilence (Holland): "Obsideo” (Candlelight Records)

Pestilence (Holland): "Obsideo” (Candlelight Records)
The music of Pestilence seems to cause many differing views, most likely on account of the constant style changes from album to album. Nevertheless, the 2009-to-the-present Pestilence appears to have settled on continuing on the path of brutal/technical/blasting death metal.
As expected, this post-reformation Pestilence chugging stop-start style is praised by some, while totally rejected by others. Closer to the truth is that it depends on one’s views on fast, blasting, intense woof-woof music. If the listener wants memorable riffs like on the 1988, 89 and 91 albums, then, Houston, we have a serious problem of unmet expectations. This is lots of chugging, zig/zag rhythms, low-string plucking in a mosquito-attention-span manner.
What does all the foregoing reveal? Well, actually, not as much as one would think. It might mean that this is too wacky even for some death metal listeners; or that Pestilence cannot/will not for the life of them figure out how to do a memorable riff anymore; or, that this music is for musicians; or, that this is great stuff mostly for moshing when it is played live.
Nor is it completely correct that one cannot remember this music. I don’t have a particularly good memory, but I certainly do remember parts of these songs, certain rhythms, solos, vocal and drum patterns. It’s easy to complain about Pestilence. It is also probably true that no album with the name Pestilence will ever reach the level of classic as “Consuming Impulse” because that was a special time. Approach this as Pestilence 2013, different era and lineup making music and one will find that “Obsideo” has many positive elements.

Deprecated (U.S.): "Deriding His Creation” (1998 reissue) (Unique Leader)

Deprecated (U.S.): "Deriding His Creation” (1998 reissue) (Unique Leader)
Deprecated seeks the tracks for mass obliteration that will make the deity weep upon the effigy of the forgotten. Deprecated infects the crypts and cannot avoid the involuntary manslaughter. The act of reincremation will condemn them to habitual infamy, living the seeds of the suffering, within a liege of inveracity for breeding the spawn to despise the sun that is pierced from within. “Worship music,” indeed.

Cleric (U.S.): "Gratum Inferno” (Tofu Carnage Records)

Cleric (U.S.): "Gratum Inferno” (Tofu Carnage Records)
Cleric (Texas) follows the left-hand path where they are supposed to rot, and when life has ceased, they will find the truth beyond that has drowned in morbid devourment. The premature autopsy will reveal the carnal leftovers. It’s a bitter loss, but revel in flesh, for life goes on, even after being abnormally deceased.
Can’t enough of that olde tyme deathe metalle? Neither does Cleric. In particular, only for the truly serious Stockholm-style voracious listeners.

Tuesday, November 26, 2013

video by Cyntia (Japan) : Run to the Future


interview with atmospheric/power metallers Dimicandum (Ukraine)

Dimicandum (Ukraine)
In the previous issue of this zine, the review noted, amongst other things, about Dimicandum’s album “The Legacy of Gaia”:
“Listeners into modern melodic heavy/power metal and big choruses should look into Dimicandum today.”
“There are eight songs on here. No filler, just hit after hit.”
“Starting with the first song, ‘The Legacy of Gaia,’ things just get better and sooner than you realize, the album is over with ‘When the Sun Burns Out.’ What is a person to do? Have to play it again.”
Dimicandum sounds like melodic, traditional heavy/power metal, with some atmospheric elements and a bit of growling, but framed contextually, and keeping the music very catchy.
Roman (vocals, guitars) answers some questions about the band.
Hello, you are based in Kiev, correct? How is the metal scene in Kiev for Dimicandum?
Hi! That's right, we're from Kiev, Ukraine. Our scene is lagging behind the West and now just getting on its feet. We do not have the infrastructure for the development of metal music, all that is done, is done by enthusiast forces alone. The situation with the clubs is stable, it is not always quality concert halls, but there is where to play, there are some cool clubs. In general, each year the development of the scene is enhanced!
What are your current objectives?
In 2013/2014 we plan to release one more video, new single, and start writing the album, the material for which is now composing. The process is slow, but steady. In the summer we’ll play some festival shows. Also, we plan a concert in Poland (autumn 2014). The new album will be a logical continuation of the previous one, both in music and in the lyrics. We found the style that does not limit our scope and our sound, so we'll stay the course.
You have played more than 60 concerts, correct? What have you learned about functioning as a band?
Yeah, right. In total, we played more than 60 concerts. Geographically, it is Ukraine and Belarus. The main thing on the tour is to avoid conflicts with each other :) For us, it was very easy, because in our team is very friendly relationships between the musicians.
What is your opinion about auto-tune, drum programming/drum sound replacement technology, and other such things? Do you sing the chorus every time on the album or do you "copy and paste"?
We think that for some bands, modern technology is a real solution. For example, when there is no way to record live drums. In our case, we wrote everything completely, all the instrumental parts, without copy-paste; vocals without auto-tune, with minimal processing, etc. All lyrics in the songs also recorded completely, including repeating parts.
How is “The Legacy of Gaia” a concept album?
Yes, it's a concept album. All the songs are related to each other and placed in a playlist within the meaning and mood. The overall message of the album is legacy of our planet, what we have now and what will be left for our children. Sources of inspiration are very different, from movies, books to ancient myths and legends.
All your songs are in English. Can your ideas for the songs be expressed just as well in Ukrainian?
No, we do not have the songs in Ukrainian, Russian was [used on] a couple [of songs] at the beginning of our career. But we came to the conclusion that it is better to sing in English. This opens up more possibilities, after all, it’s the language of the original rock n roll.
What are the problems that Dimicandum confronts for reaching Western Europe, and the Americas or Japan?
Previously, the main audience was in Ukraine, then Russia and Belarus. But, after release of our album, geography of our fans greatly expanded. Currently it’s Poland, Germany, Indonesia, Mexico, Japan, France, Canada and USA. This year, two of our members must complete clearance of foreign passport, and then remains the case for [a] small [detail]: to finance our first European tour. For a start it will be Ukraine's neighbors, because going on a big tour with one album and without large-scale promotional support makes no sense, everything must be gradual.
Does the radio in Ukraine play Dimicandum?
Unfortunately, in Ukraine there is only one rock radio station. And they play Iron Maiden, Scorpions, etc., but nothing with growl/scream vocals. All radio stations playing extreme metal broadcast are on the internet.
In the U.S., some musicians, when they have a serious illness, they do not have the money because metal musicians are often not as wealthy as other musical styles. Sometimes their audience donates money for the sick musician. Can you explain something: If you are sick in Ukraine, what happens when you go to a clinic or hospital?
We have a relatively free medical care, but it is effective for simple diseases. If you’re sick with cancer or something like that, you have to pay a huge pile of money for treatment, and the state then does not help. Only charitable funds are doing something useful.
Is there a big problem of unemployment for young people in Kiev and Ukraine in general? I ask because unemployment is a serious problem in the U.S. now.
In our country, it’s also an actual problem, a lot of young people after completion of higher education don’t know where to attach themselves. We would like to earn a living making music, but for now it's impossible. Everyone has a job in the office. I am an internet marketer, the drummer is a web programmer, the bass guitarist tunes cars, the keyboardist works in an airline, and the second guitarist is a builder.
Final question: what do you think about the videos of Dimicandum on YouTube?
YouTube is a great tool to promote your music. And there's nothing bad, when fans posts video from the shows with bad sound, if the band sounds good, it can be seen and heard in any case. official website official VKontakte Facebook YouTube Reverbnation Metal Scrap Records THE END.

Argus (U.S.): “Beyond the Martyrs” (Cruz del Sur Music)

Argus (U.S.): “Beyond the Martyrs” (Cruz del Sur Music)
What is heavy metal? Argus is, in the sense of classic, traditional heavy metal. In the near past this zine has reported about several classy albums of heavy metal with singing, riffs that you can appreciate as guitar work (not just chugging rhythms) and with guitar melodies/harmonies; bass guitar that you can distinguish, with a good, solid heartbeat drumming. Some of these more recent albums include the ones by Pharaoh, Surgeon and Power Theory, who all apparently have Pennsylvania connections.
Argus (also, with a Pennsylvania relation) must be added to that list. Listeners of traditional heavy metal, in the classic, basic Judas Priest/Iron Maiden (and forms/styles/bands associated with that tradition) would do well to seek this album. Just to explain further, this is NOT keyboard/happy power metal. It’s guitar/bass/drums/singing heavy metal. The riffs are not happy but gritty Priest/Sabbath riffs, and a clear, solid rhythm section that keeps the songs in place, and upper midrange singing (not thin, high, happy-go-lucky) and with personality. Argus, here and there, shows moments of doom/Sabbath/Candlemass, but is not really a doom band. Rather, it’s selected moments in songs, and it’s all placed very well. In addition, Argus displays the element of Thin Lizzy-ish guitar melodies, a wise component to the band’s sound.
Don’t get the wrong impression, though. Argus is no tribute group. For instance, my old ears are not telling me that Argus is ripping off this or that classic band; my ears only hear echoes of influences, in a good way.
Better than good, Argus is a special treat for those devoted to heavy metal that demands talent to play this style. The singer has to sing for real, and the guitar must have the riffs, and the band must have the songs. There is an air of serious talent to Argus and it would be very revealing to see this band perform in order to find out if they have the goods live (including the singer), as this album is very impressive. You will know a good thing when you hear this band.

Monday, November 25, 2013

NEWS: Skeletonwitch and Toxic Holocaust will tour Australia and New Zealand

NEWS: Skeletonwitch and Toxic Holocaust will tour Australia and New Zealand
In a continued quest towards planetary takeover, Ohio road demons, SKELETONWITCH, are pleased to announce their first-ever tour Down Under! The band will bring their "relentlessly intense, in-your-face brutality" (Metal Assault) to Australia in April alongside punk metal assassins, Toxic Holocaust. The tour will follow the band's stink through Europe with Overkill.
4/16/2014 The Kings Arms - Auckland, NZ
4/17/2014 Bodega Bar - Wellington, NZ
4/18/2014 The Rosemont Hotel - Perth, AU
4/19/2014 Fowlers Live - Adelaide, AU
4/20/2014 Espy Gershwin Room - Melbourne, AU
4/21/2014 TBD - Byron Bay, AU
4/22/2014 The Basement - Canberra, AU
4/24/2014 The Hi Fi - Brisbane, AU
4/25/2014 Cambridge Hotel - Newcastle, AU
4/26/2014 The Hi Fi - Sydney, AU
4/27/2014 The Hi Fi - Melbourne, AU

NEWS: Flotsam and Jetsam touring Europe in February in support of Sepultura

NEWS: Flotsam and Jetsam touring Europe in February in support of Sepultura
FLOTSAM AND JETSAM touring Europe in February in support of SEPULTURA!
American Thrash legends FLOTSAM AND JETSAM will be heading over to Europe in February to support SEPULTURA and LEGION OF THE DAMNED!
Ugly Noise is the band's eleventh full-length album, their first release on Metal Blade since 2001, and the follow up to their 2010 album, The Cold. The record also heralds the return of original members Michael Gilbert on guitar and Kelly David Smith on drums, who haven't recorded with Flotsam and Jetsam since High in 1997.
07/02/14 DE – Bochum, Matrix
08/02/14 DE – München, Backstage
09/02/14 DE – Aschaffenburg, Colos-Saal
10/02/14 DE – Hamburg, Markthalle
11/02/14 DK – Esbjerg, Tobakken
12/02/14 DE – Osnabrück, Rosenhof
13/02/14 DE – Berlin, C-Club
14/02/14 PL – Katowice, Megaclub
15/02/14 DE – Glauchau, Alte Spinnerei
16/02/14 CZ – Zlin, Masters of Rock Club
18/02/14 SK – Zilina, Smerr Club
19/02/14 AT – Wien, Arena
20/02/14 AT – Salzburg, Rockhouse
21/02/14 DE – Stuttgart, LKA Longhorn
22/02/14 CH – Pratteln, Z 7
23/02/14 DE – Saarbrücken, Garage
24/02/14 FR – Lyon, CCO Villeurbonne
25/02/14 FR – Toulouse, Bikini
26/02/14 ES – Barcelona, Salamandra 1
27/02/14 ES – Madrid, Arena
28/02/14 PT – Lissabon, Paradise Garage
01/03/14 ES – Pamplona, Totem
03/03/14 FR – Caen, Cargo
04/03/14 FR – Rennes, L´Antipode
05/03/14 FR – Paris, Trabendo
06/03/14 NL – Den Haag, Paard
07/03/14 NL – Enschede, Atak
08/03/14 BE – Antwerp, Trix
09/03/14 NL – Eindhoven, Effenaar

Saturday, November 23, 2013

Torchure (Germany): "Beyond the Veil” (1992; reissue) (Vic Records)

Torchure (Germany): "Beyond the Veil” (1992; reissue) (Vic Records)
Vic Records reissues the 1992 album by the death metallers Torchure, a band that evidently broke up in the early-mid 90s. In the early 90s not many death metal bands from Germany received international press; not as much as bands from Florida and New York, Stockholm and the UK.
Today, this album still sounds good, like a bit of a lost gem. If you have hundreds of early 90s bands, you probably have this album, or at least may have heard it. In contrast, if you have not heard this band, and you really enjoy old death metal: the sound, the feel, the headbanging vibes and the no-nonsense heaviness, Torchure should be fun. More specifically, check it out if you are partial to bands like Asphyx, Morgoth and Obituary and other bands that balance heaviness with uptempo segments.
The melody found on the album originates from the guitar soloing, but of course, the rhythm/riffs stay as heavy as possible. As an album from that particular period, the music shows some thrash leanings, but played at a much heavier spectrum. Moreover, Torchure also exhibits a tendency for forays into doom, in a balanced way, combining all of these factors into a death metal entity.
(Torchure bangers at a show back in the day)
Stylistically on the vocals, Torchure has long-syllable roaring-growling that’s guttural and that extends the sounds: no fast-quick shouting/screaming here, only super heavy monstrous growling. Torchure does have fast, blasting moments, but those parts are not the centerpiece of this midpaced death metal band, although the blasting certainly enlivens the proceedings.
(a flyer with Torchure on the bill; possibly around 1992)
The old death metallers have most likely already heard this album back in the 90s, especially in Germany. Alas, 1992 was more than two decades ago. If you love old death metal, then Torchure should be put on the to-look-up list.
(Torchure in action)

Friday, November 22, 2013

Nightfall (Greece) see the review below.

Nightfall's 1992 debut "Parade into Centuries"
Nightfall at work.

Nightfall (Greece): “Cassiopeia” (Metal Blade Records)

Nightfall (Greece): “Cassiopeia” (Metal Blade Records)
(review contributed by JJ:
Nightfall’s ninth studio album: Cassiopeia; 11 songs, 50 minutes. Nightfall was formed in 1991 by frontman and bassist Efthimis Karadimas. Lineup changes were effected in almost every release, with Karadimas remaining the only constant. Nightfall and lineup changes go together like peanut butter and jelly, apparently. Fans shouldn't be surprised if you follow this band. Cassiopeia is a conceptual record based on our arrogant human race and they used metaphors from Greek mythology.
Cassiopeia is opened with “Phaethon,” the track which showcases all faces of this troop as it starts in more modern midtempo melodic note, but as it reaches the other half it gets much faster. As the album progresses one will understand that “Phaethon” represents the whole of Cassiopeia in a nutshell. We were pleasantly surprised and it should be noted that Cassiopeia is a very atmospheric release; keyboards are nonstop laying emotional parts, while the guitarists Evan Hensley’s &
Constantine's riffs, leads and melodies are fast, short and sweet; plus, not knowing when and where they are going to jump at you is a new trait for us. Usually they are predictable and expected, but not here. In addition they are carrying those distinct Greek riffs which connoisseurs will recognize right away.
Cassiopeia carries elements of gothic, symphonic death and black metal, and even old heavy metal yet somehow brought together nicely. Cassiopeia is original and a must have for 2013. It does demand the full attention from the listener but it pays off big time. The saga of Nightfall continues to evolve and for the better. Rarely do you find an album that has this many elements and yet sound so great. Production is excellent and at 50 minutes it's perfect.
Most of the time we will know if we like something after the first listen. After one spin we knew we needed to dive in for a closer inspection. We knew there was much more to hear. Sure enough, it got nonstop rotation for days and we are sure glad we did. We really like and recommend this album. Do yourself a favor and get it at your favorite store. Let’s hope Nightfall keeps this up.

Tuesday, November 19, 2013

Metal Bulletin Zine #38 is available for free: this is the cover

Metal Bulletin Zine #38 is available for free: this is the cover

Metal Bulletin Zine number 38 PDF available

Metal Bulletin Zine number 38 PDF available
Here's a PDF of the new issue of the zine for you to read.

Thursday, November 14, 2013

News: SKELETONWITCH Confirms European Tour Dates With OVERKILL

SKELETONWITCH Confirms European Tour Dates With OVERKILL
Presently dismantling stages throughout North America alongside The Black Dahlia Murder, Midwestern blackened thrash marauders, SKELETONWITCH, will head overseas this coming Spring to join legendary thrash militia, Overkill, on a tour through Western Europe. The journey will commence shortly after the completion of their early 2014 US run with Amon Amarth and Enslaved. Additional international tour dates will be announced in the weeks to come. In the meantime, a complete list of currently confirmed SKELETONWITCH live assaults appears below.
SKELETONWITCH continue to ride a wave of critical adoration for their latest studio endeavor, Serpents Unleashed. Hailed by Decibel as the band's best effort yet, Serpents Unleashed -- recorded earlier this year with Kurt Ballou (Converge, High On Fire, Isis) -- recently debuted at #62 on the Billboard Top 200 in addition to cracking the Top 10 on the magazine's independent, hard rock and vinyl albums charts.
w/ The Black Dahlia Murder, Fallujah, Noisem [remaining dates]
11/14/2013 Whiskey Dick's Saloon - South Lake Tahoe, CA
11/15/2013 Strummer's - Fresno, CA
11/16/2013 Glasshouse - Pomona, CA
11/17/2013 The Rock - Tucson, AZ
11/18/2013 Tricky Falls - El Paso, TX
11/19/2013 Club Patron - Odessa, TX
w/ The Black Dahlia Murder, Fallujah, Wolvhammer
11/20/2013 Conservatory - Oklahoma City, OK
11/21/2013 Outland Ballroom - Springfield, MO
11/22/2013 Firebird - St. Louis, MO
11/23/2013 Blue Moose - Iowa City, IA
11/24/2013 The Castle Theatre - Bloomington, IL
11/25/2013 Mojoes of Joliet - Joliet, IL
11/26/2013 The Intersection - Grand Rapids, MI
11/27/2013 The Machine Shop - Flint, MI
w/ Amon Amarth, Enslaved
1/17/2014 House of Blues - Las Vegas, NV
1/18/2014 Club Red - Phoenix, AZ
1/20/2014 Backstage Live - San Antonio, TX
1/21/2014 House of Blues - Dallas, TX
1/22/2014 House of Blues - Houston, TX
1/24/2014 Center Stage - Atlanta, GA
1/25/2014 The Ritz - Tampa, FL
1/26/2014 Revolution - Ft. Lauderdale, FL
1/29/2014 The Fillmore - Charlotte, NC
1/30/2014 NorVA - Norfolk, VA
1/31/2014 The Fillmore - Silver Springs, MD
2/01/2014 House of Blues - Boston, MA
2/03/2014 TLA - Philadelphia, PA
2/04/2014 Irving Plaza - New York, NY
2/07/2014 House of Blues - Chicago, IL
2/08/2014 Mill City Nights - Minneapolis, MN
2/09/2014 Grenada Theatre - Lawrence, KS
2/11/2014 Summit Theatre - Denver, CO
2/12/2014 Murray Theater - Salt Lake City, UT
2/14/2014 The Regency - San Francisco, CA
2/15/2014 Wiltern - Los Angeles, CA
w/ Amon Amarth
2/16/2014 House of Blues - San Diego, CA
w/ Overkill
3/15/2014 The Academy - Dublin, UK
3/16/2014 Cathouse - Glasgow, UK
3/17/2014 Sound Control - Manchester, UK
3/19/2014 Essigfabrik - Cologne, DE
3/20/2014 Matrix - Bochum, DE
3/21/2014 Meyer's - Braunschweig, DE
3/22/2014 Hellraiser - Leipzig, DE
3/24/2014 Blood Club - Milan, IT
3/25/2014 Kiff - Aarau, CH
3/26/2014 Colos-Saal - Aschaffenburg, DE
3/27/2014 Rockfabrik - Ludwigsburg, DE
3/28/2014 Hirsch - Nuremberg, DE
3/29/2014 Garage - Saarbrücken, DE

Wednesday, November 13, 2013

progressive metal outfit, PROPEKT, this week launched their first official video

Progressive metal outfit, PROPEKT, this week launched their first official video at massive UK publication, Prog Magazine. Hailing from the Oxford, UK-based band's debut album, The Colourless Sunrise, released via Sensory Records on October 22nd, the energetic, pro-shot video was created for the moving track, "Shutter Asylum." Filmed and directed by Chris Porter and Mikey Scrivens of LifeisArtFilms, the high-action video captures the young act's slick and crunching yet technical delivery of their enthralling, contemporary approach to the prog metal genre in a hybrid performance/storyline style delivery.
Lock yourself into the "Shutter Asylum" now AT THIS LOCATION.
Also hear the album's opening track, "A Desolate Kingdom," playing at Sea Of Tranquily HERE.
This Friday, November 15th, PROSPEKT is set to perform in their hometown at a record release show in commemoration of the triumphant release of The Colourless Sunrise, with more live plans coming together for 2014.

AGRIMONIA: Gothenburg Quintet's Nights Of Rites MMXXIII U.S. Tour Begins

Touring in support of their intense third LP, Rites Of Separation, AGRIMONIA has requisitioned support from Arizona blackrollers, Take Over And Destroy, for the full run, which kicks off tonight in Glendale, California. After that, the tour will plow a clockwise path into the map through twenty more cities until the final riff devastates Phoenix on December 4th, along the way the duo also crossing paths with Ancestors, Embers, Eight Bells, Tragedy, SubRosa, Wayfarer, Enabler, Sannhet and many more.
Following LPs on Skuld Records and Profane Existence, AGRIMONIA joined the Southern Lord roster in mid-2012. Their label debut, Rites Of Separation, was mixed by Fredrik Nordstrom at Studio Fredman (At The Gates, Opeth, Arch Enemy), and presents the band's most damaging alloy of metallic influences to more expansive realms than ever. The album's five massive, dense tracks encompass a full hour, delivering the band's crustpunk ethos through grating, doom-filled riffs and post-metal voids, merging into an emotional and crushing blend of Damad, Opeth, Bolt Thrower and Nausea.
AGRIMONIA Nights Of Rites MMXXIII U.S. Tour:
11/12/2013 Complex - Glendale, CA w/ Take Over And Destroy, Ancestors
11/13/2013 Oakland Metro - Oakland, CA w/ Take Over And Destroy, Embers, Augurs
11/14/2013 Alibi - Arcata, CA w/ Take Over And Destroy
11/15/2013 Branx - Portland, OR w/ Take Over And Destroy, Eight Bells, Night Nurse
11/16/2013 Highline - Seattle, WA w/ Tragedy, Take Over And Destroy, Death Raid
11/17/2013 Shredder - Boise, ID w/ Take Over And Destroy, Hatchet, Exmortus
11/18/2013 Bar Deluxe - Salt Lake City, UT w/ SubRosa, Take Over And Destroy
11/19/2013 3 Kings - Denver, CO w/ Take Over And Destroy, Wayfarer, Weaponizer
11/20/2013 Duffy's - Lincoln, NE w/ Take Over And Destroy, Scaphe, Vickers
11/21/2013 Fubar - St. Louis, MO w/ Take Over And Destroy, Enabler, Black Fast
11/22/2013 Cobra Lounge - Chicago, IL Take Over And Destroy, Enabler, Moral Void
11/23/2013 Now That's Class - Cleveland, OH w/ Take Over And Destroy, Locktender
11/24/2013 Howler's - Pittsburgh, PA w/ Take Over And Destroy, Wrathcobra, Wrought Iron
11/25/2013 Saint Vitus Bar - Brooklyn, NY w/ Take Over And Destroy, Sannhet
11/26/2013 Black Cat - Washington DC w/ Take Over And Destroy
11/27/2013 Pinhook - Durham, NC w/ Take Over And Destroy, City of Medicine
11/29/2013 Siberia - New Orleans, LA w/ Take Over And Destroy, Sumerian, DIAB
11/30/2013 Mango's - Houston, TX w/ Take Over And Destroy
12/01/2013 Red 7 - Austin, TX w/ Take Over And Destroy
12/03/2013 Launch Pad - Albuquerque, NM w/ Take Over And Destroy, Hanta, Laminectomy
12/04/2013 Rhythm Room - Phoenix, AZ w/ Take Over And Destroy, Cave Dweller

SPHERON Guitarists Post Play-Through Video of "Saturnian Satellites"

SPHERON Guitarists Post Play-Through Video of "Saturnian Satellites"
Guitarists Tobias Alter and Mark Walther of German death metal unit SPHERON have posted a play-through video of the songs "Saturnian Satellites" off the band's most recently release, Ecstasy of God.
The video features the duo running through a guitar-only, instrumental version of the song that showcases their melodic and tech-inspired technique and skilled twin-axe attack. Check it out at this location.
Ecstasy of God was released this summer on Apostasy Records and was met with great acclaim from fans and critics across the globe. This challenging and absorbing album was produced together with Christoph Brandes at the Iguana Studios (e.g. Necrophagist, Deadborn, Imperium Dekadenz, etc.). The breathtaking cover artwork was painted by no other than the famous artist Eliran Kantor who has already worked with bands like Testament, Hatebreed, Sodom and Atheist.

Saturday, November 9, 2013

Skeletonwitch (U.S.): “Serpents Unleashed” (Prosthetic Records)

Skeletonwitch (U.S.): “Serpents Unleashed” (Prosthetic Records)
The melodic black thrashings of Skeletonwitch abate not, and unknowing of sea changes or directions of the winds. Thrash riffs, black metal leanings, shriek vocals, speedy always, blasting often, and on-mark energy songwriting. To my ears, Skeletonwitch delivers quality once again, and this time with some surprises. The biggest one this time around, I’d say, is the dedication spent on more memorable guitar soloing and melodies; and on that score, the band registers a solid success. Those traditional heavy metal melodies are showing their presence in the midst of the big thrashing riffs and the black metal tendencies. All of this makes Skeletonwitch a most interesting, well-organized puzzle of metal periodization, all condensed into their signature structures.
Whenever a band goes beyond the novelty aspect or when the “new band” shine wears off, then we can start to see what we have: a band to forget or remember? Well, five albums since 2004, that’s no one-and-done deal. Metallers who have not given a chance to Skeletonwitch certainly should do so now as the ship sailed a long time ago, but it’s not too late to find out what you have been missing.
What does this band have to do for you to give them a chance: show up at your door and play your backyard vegan barbecue party?

Friday, November 8, 2013

The Meads of Asphodel (U.K.): “Sonderkommando” (Candlelight Records)

The Meads of Asphodel (U.K.): “Sonderkommando” (Candlelight Records)
For as long as I can remember, this band has always been weird and experimental. They show that they can write catchy stuff, with almost pop or punk sensibilities, if they wanted, but they prefer to throw themselves into the eye of the storm of the weird. It sounds that for the black metal punk Pink Floyd moments they have tons of guests. It also sounds like they have spent lots of time into this project. It is 1 hour and 10 minutes long.
It is extremely vulgar, and also beautiful; poppy at times, demented at others. Approach only and only if you like the very weird side of metal: at times they sound like geniuses, and other times they sound like a bunch of street punks who in their fantasy dreams wish they could writes those classic concept albums like Pink Floyd and the Beatles; but alas, they are a bunch of black metal punks, and they can’t help but make quality fuglyeautiful sounds.

Thursday, November 7, 2013

Toxic Holocaust (U.S.): “Chemistry of Consciousness” (Relapse Records)

Toxic Holocaust (U.S.): “Chemistry of Consciousness” (Relapse Records)
All the rumors are true, Toxic Holocaust is an aggressive potion of Motorhead rough-gut vocals and speedfreak energy, plus early Bathory black thrashing primal riffs. On this album, like their previous ones, it’s total black thrashing punk growl metal, and all the songs sound like part of one big thrashfest. One song just flows right into the next one, and such style the album is suddenly finished: 28 minutes, 11 songs.
Listeners already familiar could be pleased that they got more of what they wanted, or could just easily complain that it’s more of the same; and it is more of the same. Well, what else is a band called Toxic Holocaust supposed to do? No “jazzing it up” here, no “experimenting” with the tuba and banjo here, it’s thrash. It’s not the most mind-boggling thing in the world and it sounds like this band could have recorded the album in a week, in a riff-after-riff nonstop barrage.
Be that as it may, from the perspective of this listener, this music is a-ok, tons of great vibes and tunes. Definitely recommended for un-uptight thrashing maniacs who want music to be a good time.

Tuesday, November 5, 2013

Aldious (Japan): ”District Zero” (BrightStar)

Aldious (Japan): ”District Zero” (BrightStar)
First and foremost, Aldious albums have always been fast, uptempo and melodic power metal, seemingly influenced by melodic, fast metal from Sweden and Finland, and probably Germany, too. Not a power metal speed fest per se, but the pace is generally on the faster side for sure. The 2013 album “District Zero” continues that tradition. The drummer Aruto and bassist Sawa continue to keep up the speed and uptempo rhythms, and while the guitarists Yoshi and Toki focus on fast riffing, solos as well as melody.
“District Zero” is the first album with new singer Re:NO, who replaces Rami, whose health problems led her to step aside. Breaking down the song sequence, it comes out to some fast, uptempo songs, with a couple of mitempo/slow tracks.
The new singer Re:NO has a voice substantially different from the more traditional singing with screaming done by the previous singer Rami. Re:No works with a rather melodic, very smooth style that shuns super high screaming in general. Re:NO focuses on melody and catchiness, instead. The album in general is a rocking collection, at the tempo and feel found in early Sonata Arctica, before the Finns unfortunately slowed down their music. For this reason, Aldious’ new album is very much a fun, catchy listen.
Aldious has quite a history, with the previous singer Rami, too. In 2009 Aldious releases the EP “Dear Slave,” a speedy, uptempo) short recording. Rami wails on this one. Then, in 2010 it was the full-length album “Deep Exceed.” Once again, Aldious went for a generally fast, uptempo, melodic approach, very much in the traditional, classic-metal style. This was followed in 2011 by album “Determination,” another near-thrash power/heavy album. As always, with Aldious, these albums offer a couple of breaks from the fast pace with a couple of mellower songs.
At any rate, Aldious in 2013, it seems to me, continues their established style with a different singer, but the spirit of the music remains in line with the Aldious tradition, something for which the band’s listening public will be pleased. It’s a bit more melodic than before perhaps, but it is uptempo, fast, rocking, with a couple of slower tracks.

Earthen Grave (U.S.): “Earthen Grave”

Earthen Grave (U.S.): “Earthen Grave”
When someone mentions “Chicago doom band” you may think Trouble, but there are other bands to consider. Case in point is Earthen Grave. Within a traditional doom context, the mood moves from the heavy, thick riffing to upbeat, headbanging moments and then onto mellow sections, and back to the doom. These songs also have an additional element that should be mentioned: classical violinist Rachel Barton Pine, whose playing adds a fundamental difference to the sound of Earthen Grave. At times, Earthen Grave approaches speeds beyond doom, although the band always finds its way back to the base of the songs. “Death on the High Seas” is a little monster of a composition of doom, thrash and classical music, for instance. Overall, the doom is balanced well with these other elements.
If you like hearing bands that labor below the radar of the mainstream big-name metal, and you are a doomhead, then Earthen Grave will be a band to research.
Earthen Grave covers on this album Witchfinder General, Pentagram and Rainbow. The album sounds just fine without the covers. Earthen Grave stands on its own just fine. A case in point, they cover Witchfinder General’s “Burning a Sinner” and give it the Earthen Grave treatment. Like Witchfinder General, Earthen Grave is not the most polished of doom and the vocals are not technically proficient, and to be frank, the singer here works within his range. Recommened for those that like to check out Chicago-area bands and doom.

Reptilian Death (India): "The Dawn of Consummation and Emergence” (Demonstealer Rec.)

Reptilian Death (India): "The Dawn of Consummation and Emergence” (Demonstealer Rec.)
These word wizards work a world of disgusting disseminations of sick sounds. The putrid poetry proposes “Distorted by Bondage, Blood and Bestiality” and also “Soaked with the Imperfections of Puerile Blood.” They like the word “blood.”
Chugging and blasting is the way of Reptilian Death. They have breakdown/hardcore energies, brutal, heavy and fast death metal. You know how some bands have a message that they want to get across? Well, Reptillian Death also has a message and a goal.
First, the message. The world of zombies and ghouls is in Reptilian Death. In that world, reason and logic do not achieve much, but loud obnoxious musical anger goes a long way towards gutter blasting metal.
Second, the objective. Reptilian Death tells a tall tale of trapping together speed and the brootalz. The sound of the death metal of the reptiles, of mud and dirt. It’s getting hot in this pool of mud where Reptilian Death is knocking down the breakdowns and pounding out the r stories of fury and slime.

Nephren-Ka (France): "The Fall of Omnius” (Kaotoxin Rec.)

Nephren-Ka (France): "The Fall of Omnius” (Kaotoxin Rec.)
Nephren-Ka will fit perfectly in the section of your music library right next to Origin, Obscura, Decrepit Birth and Necrophagist and other technical/blasting bands.
Bedazzled and frazzled, bewildering and staggering, it is all the grand plan of Nephren-Ka. Absurdly fast, monstrously technical, abhorrently dexterous. When George from Cannibal Corpse hears this band, he will immediately launch into a 20-minute windmill headbanging marathon. Upon hearing these sounds, the whole town of zombies will run away. That’s right, zombies, run away, run far away, confused zombies can’t hang with the technicality and bruuhuutahaleetee.
Beat those drums, bite the microphone and eat your guitar. Nephren-Ka plays at warp speed and slows down to play faster again.
Is this melodic and easy to remember? Of course not! That’s not the deal! The deal is to overwhelm with technicality, speed and an endless stream of growling that lasts until the goats come marching home.
I have listened to this album so many times now that I feel like my ears are finally starting to understand this monolith. The monolith is not beyond comprehension, after all.