Monday, December 29, 2014


new: Witchrist - Haruspex

new: Temple of Baal - Walls of Fire

from issue 48 of Metal Bulletin Zine: "prog extreme metal" Giant of the Mountain

Just in case you missed it, this is from issue 48 of Metal Bulletin Zine.
Giant of the Mountain (U.S.): Moon Worship
Giant of the Mountain comes from Texas and was formed in 2008, and from 2009 until 2014, the band has two EPs and three full-length albums, the third of which is this 2014 title “Moon Worship,” a six-song work that lasts about 38 minutes. Very surprisingly, Metal Archives categorizes Giant of the Mountain as “technical death metal.” That categorization seems so strange in the case of Giant of the Mountain. It’s very likely that the band members will look at each other with eyebrows raised and exclaim, “What? We had no idea we were ‘technical death metal’!” and bust out laughing.
It also appears that Giant of the Mountain has suffered for being from Plano, Texas. All the band’s recordings are independent, according to Metal Archives. Maybe the metal companies are just not ready for an ambitious and brainiac metal band from Texas. I guess that’s what you get for being from Texas and not being a low-IQ macho-posturing thug with a mouth for war, demanding respect and telling people to walk.
Here’s the deal: Giant of the Mountain is one of “those metal bands” that does it all: from abhorrent blasting death metal to mellow, peaceful pieces with melodic singing. At first it sounds like a big bowl of clutter of metal racket, as in “Is this a compilation album? How many bands are on this compilation?” Yet, no, it is all Giant of the Mountain, but if you listen to this work as an album, something else will happen: everything will come into focus and the landscape will be visible as a complete entity. The first song “Moon Worship” is a fast death-ish track, but the guitar work stands out for being prog guitar played fast, backed by fast drumming. The growling seems to have various shades of “brutality” that are something like growling by monsters, by witches and by gremlins, low and high, so on and so forth. The appearance of melodic vocals later on in this same song, at that high speed is both surprising and pleasant. I seem to recall reading somewhere that the band’s guitarist/vocalist Cody Daniels holds in high regard Opeth’s “My Arms, Your Hearse.” Giant of the Mountain’s music is way too aggressive and fast for the classic Opeth influence to be easily detected, but make no mistake, the guitar tone, the riffs and the soloing have a fundamental debt to the classic period of the Swedes. It’s just that Giant of the Mountain has ratcheted up the intensity, speed, “brutality,” and vibe so that this music turns into a different sound. In contrast, “Cult of the Moon” is a mellow song with audible acoustic or acoustic-like sounds, and now that element of classic Opeth jumps out and says, “How do you like them apples, now? Did you know that Giant of the Mountain writes songs this eclectic?”
At any rate, this review is getting too long. As you can imagine, Giant of the Mountain does not have a big budget with which to work, and just the fact that they have lasted this long on their own is a credit to them. If they had more money, I’m sure they would like to give the recording a better quality, as the drumming appears to be drum programming, even though they do have a real human drummer named Randi Matejowsky. In terms of the songs themselves, however, this album is very satisfying. FYI: The band calls its music "blackened progressive sludge metal." These kids today, they think up of all sorts of genres. "Sludge"? Really? Check out the music and argue with your friends about the genre later.

from issue 48 of Metal Bulletin Zine: heavy metal TNT

A new issue of Metal Bulletin Zine is coming up soon, but just in case you missed it, this is TNT, from issue 48.
TNT (Norway): 30th Anniversary 1982-2012 Live In Concert with Trondheim Symphony Orchestra (Indie Recordings)
I figured that this recording was going to be an awesome, grandiose work. It’s not complicated to hear why this is true: TNT is about three fundamental things: magnificent singing, memorable hooks and good songwriting. In this live recording, TNT went all out for its 30-year anniversary, supporters of the band in Trondheim came out for this, and with the symphony behind the band, it is all about quality music. This album was recorded on June 2nd, 2012 in Trondheim, Norway, the city where TNT started out all those years ago with the game plan of conquering the world.
Traditional, melodic heavy metal veterans TNT started in 1982. If you appreciate traditional metal, and you have never given TNT a chance, this would be a wonderful chance to begin. You missed the first 30 years, so here is a musical summary. At the time of the concert, the singer was the very capable and talented Tony Mills, but the band also invited Dag DD Dynamite, the singer from the first album “TNT” from 1982 for tracks like “Harley Davidson” and “USA.” In addition, the band showcases as guest vocalist the band’s iconic voice Tony Harnell on its greatest hits such as “Intuition.” Incidentally, Tony Harnell has now returned to TNT, so we’re on the verge of hearing a new album with the band’s historical singer sometime soon. This “greatest hits live” recording works really well as an introduction to the band for a younger audience, and a trip down memory lane for the longtime TNT followers. There’s no way to please every TNT supporter, considering the long history of the band and the changes that have happened over the years, as with any veteran band. Still, this album is a very good representation of the band’s strengths and its songwriting. I’m not going to do a track-by-track review of the album, but just know that the band closes this album with a bang: the three-pronged hit attack of “Everyone’s a Star,” “10, 000 Lovers in One,” and of course, what else?!, “Seven Seas.”
Alright, kids, grandma has to go now because it’s time to dust off TNT’s 1984 vinyl “Knights of the New Thunder.” Now, that’s what this grandma calls singing. You think you have heard great singing? Yeah, right! You have no idea. No idea.

from issue 48 of Metal Bulletin Zine: doom death ENCOFFINATION

There is a new issue of Metal Bulletin Zine coming up soon, but before moving on, just in case you missed it.
Encoffination (U.S.): III - Hear Me, O' Death (Sing Thou Wretched Choirs) (Selfmadegod Records)
The musicians behind Encoffination—Justin Blake Stubbs and Wayne Sarantopoulos—have in mind the heaviest, slowest funeral death doom that you could ever imagine, like Incantation’s doom parts slowed down even more, and never sped up for any reason under any circumstances. Encoffination makes Black Sabbath sound like The Beatles or The Ramones. I don’t know how other people get to understand a band like this one, except through spending time with the album and waiting for it to make sense at some point. This demands patience. If a listener wants something fun, something that rocks, that listener would find this music to be a waste of time. Only by giving yourself time for this album would it be possible to hear it in a real sense. It is always very slow, the vocals are but a low murmur-growl and the drummer sounds like he is nodding off. All the songs are slow, all the time. Encoffination is an atmosphere of crawling doom. You can fall asleep to it, you can meditate to it or any such activity. No headbanging, no moshing, no happy. This is not music for jocks or for exercising. If anything, this is music that is highly elitist in nature. The metal masses would run away from this album because it subverts the idea of why people listen to metal. You want to rock? No, Encoffination does not. Encoffination is the end of the line. FYI: Encoffination is not a stoner or drone band. Like already stated, just imagine the slow segments by Incantation turned into full songs, and imagine a whole album of music at that pace. Since 2008, Encoffination has been making EPs and albums, a total of 8 titles. This total misery of sound is the first album by the band that I really have been exploring. It will take a while to unfold.

Friday, December 26, 2014

upcoming thrash/crossover album by SHREDHEAD

Shredhead is thrash/hardcore originally from Israel. They are currently based in Berlin.
January 12 is the release date, but you can hear a song below.

Have you heard the doom of ATRIARCH yet?

Atriarch is from Portland, Oregon, U.S.
Some call it death rock or death doom or other things.
There's no need to argue about it. Just go here and see what you think. They do sound like a Portland band, if that makes sense. Portland has a lot of doom-ish music going on.

free downloads: grind from Indonesia: Grind Chachacha - Green Zone (Official Video)

free downloads: ultra death metal from Indonesia: GILRZEROTH - Syndrome Sarcasm (yeahmusikvideoparty)

Thursday, December 25, 2014

NEWS: Euro power metal: Nocturna (U.K.): Lucidity EP

Nocturna (U.K.): Lucidity EP Nocturna’s debut EP called “Lucidity” will be released on February 17, 2015. Nocturna is melodic Euro upbeat, sing-along symphonic power metal. Things are looking positive for the band and they hope that the melodic power metal audience gives them a chance. People into a band like Stratovarius would be the logical target audience. They have a video for the song “Revelations” on YouTube.
Nocturna - Revelations (OFFICIAL MUSIC VIDEO 2014)

new issue Metal Bulletin Zine: number 48

new Metal Bulletin Zine
number 48
read PDF online
free download
metal music zine: Decibel, Vanguard!, Valhalla, TNT, Encoffination, Giant of the Mountain, Nivlhel, Murderline, Scourge, In Aevum Agere, Malpractice, Skinflint,Johnny Touch, Convent Guilt, Osmium Guillotine, Mausoleum Gate, Brimstone Coven, Void Ritual, Decay Crawler, Negativvm, Faeton, Bolzer, Chainbreaker, Predatory Light, Castle Freak, Yellow Eyes

Tuesday, December 23, 2014

the death metal of Valhalla (Brazil)

Valhalla (Brazil): Evil Fills Me
Valhalla is blasting, guttural death metal from Brazil whose origins date back to 1988. Currently the band is made up three sisters and their most recent work is the 2014 EP “Evil Fills Me.” Valhalla believes in playing direct death metal, the same way that a band like Cannibal Corpse is not trying to fool anyone by pretending to be anything other than death metal. You can tell Valhalla takes pride in their music. They sound like professionals. When can we get this band to play in the U.S.? People like death metal in the U.S., right? I think Cannibal Corpse, Deicide, Suffocation and Malevolent Creation aficionados would love to get injured in a mosh pit during songs by Valhalla.
Valhalla-Evil Fills Me

the death metal of Murderline (Mexico)

Murderline (Mexico)
Murderline has three songs of straightforward, no-nonsense death metal on its Facebook page. They appear to have only a demo so far, but it’s promising, serious death metal. The current members of the band are Alejandra, Pishi and Skwisgaar. Look this band up if you like upfront, proud death metal.

prog death metal from Argentina: DEVIUS

If you are looking for a bit of prog and death metal combination, here is Devius from Argentina.

high quality power metal from Argentina: DEUS X MACHINA

If you are looking for professional, skilled, talented and serious power metal, then do not pass this band up.
Get ready for some high singing, power metal style!

free grind from Argentina: Destroy The Humans

It's blasting fast and it's against the human race.
Grind with hatred from Argentina.

mutant metal punks from Washington state: Vanguard!

Metal Bulletin Zine is late to the party of these barbarian heavy metal punks who stalk the gutters, backstreets and sewers of the post-apocalyptic desert mountain forests of the city of Olympia, Washington. Vanguard! sounds like it was recorded with a tape deck in a garage no later than 1987, although it is actually from 2012, it seems. This band hates the modern robot metal music and wants to return to the ages of the mutant motorcycle gang rock n’ roll metal punk of the future epoch.

stoner doom from Washington state: Decibel

Metal Archives says that Decibel is a one-person project from the state of Washington, but there is not much information yet. Trevor Brown apparently has three albums in 2014 and this music is available for free/name your price. The album “Plague,” for instance, sounds like really heavy stoner doom with growled vocals. If you like the heavy, plodding sounds of one-person projects, look into this Castle Rock, Washington band. Email:

new: Nifelheim - From Hell's Vast Plains

from the EP "Satanatas" 2014

death metal Illinois, U.S.: THE EVERSCATHED "Wave of Disaster" Official Music Video

Monday, December 22, 2014

heavy metal: SKINFLINT (Botswana): Nyemba (Pure Steel Records)

Skinflint (Botswana): Nyemba (Pure Steel Records)
Skinflint is a traditional heavy metal band from Botswana, a band that records its music in such a way that, as much as possible, what the listener hears, is what the band recorded. The band’s philosophy, more or less, is to play the music so that the listener can hear the drums, the bass, the guitar and vocals clearly. It is a type of rebellion against the perfectionist/clicky sounds of so much metal music. Skinflint is critical of drummers that do not actually play the parts heard on the recording, critical of programmed/modified/repaired drums with sampled drums; critical of bands with highly processed vocals, vocal effects, vocal corrections, so on and so forth. Skinflint does not want to be like those bands that sound perfect on the recording, then you see them live and you feel disappointed because it sounds like a different band altogether due to “the studio magic.”
Skinflint’s approach has not been understood well in some quarters. Some people have said some condescending things about Skinflint, that this African band needs to be educated in a so-called proper studio in Europe or the U.S.; some people have also made racist comments about the band, so the level of ignorance can go rather high in some cases. Yet, Skinflint is not some young or insecure or confused band. Skinflint was formed about 2006. Including this 2014 album called “Nyemba,” the band now has at least four full-length albums, plus a couple of EPs, and some singles, and possibly other recordings that have not yet been published. I have not heard all of Skinflint’s recorded output, but I do have the 2010 album “Iklwa,” the 2011 EP “Gauna,” the 2012 album “Dipoko,” and this new one. The band has consistently followed its principles about recording metal music. Each album sounds fresh, genuine, transparent, and clear in sound, with certain values that at times recall the direct, less-tricks production of “No Prayer for the Dying”-era Iron Maiden (but, for instance, not the more glossy “Somewhere in Time”/“Seventh Son of a Seventh Son”); at other times, you might think of late 70s/early 80s heavy metal recordings; still, at some moments, you might detect early Led Zeppelin/Deep Purple/Black Sabbath aesthetic values of not overcrowding the song with outside distractions, a bit more upfront, and that don’t-overdo-it-in-the-studio sound.
Unfortunately for Skinflint, some people have strongly disliked the band’s traditional recording values for heavy metal and have gone out of their way to insult the band, but the band makes highly interesting music. Every time a new album is published I am reminded of what a gem the band is. It seems to me that the band’s songwriting has expanded a bit, like the band is letting the songs breathe even more now. They sound further along into the Skinflint style of metal, of recording and of writing songs. The vocalist/guitarist Giuseppe “Juice” has semi-growled vocals but in an intelligible way, while the guitars explore melody, upbeat riffs, a bit of doom, even tiny bits of the Zep/Purple/Sabbath blues in selected spots. The bassist Kebonye “Raskebo” always finds creative ways to make himself heard, working in unison with Sandra “Fire” and her steady, heartbeat-of-the-band sound and her feel for keeping a song in vibe. In short, Skinflint has done it again. Remember that the first time listening to the band might require you to adjust your mind to a band playing metal that sounds more honest. Who knows, you might start to hear metal in a new way, too, maybe.
Skinflint - Veya

FREE black metal albums: NEGATIVVM (Germany)

Negativvm (Germany)
Negativvm is a red-leaning, anti-consumer society, anti-sexism/racism German-language black metal band from Germany that has its music available for free. They have three albums at the link below. The first album is from 2011, the second one is a live album from 2012 and the third one is called “Hvngerkvnst” from 2013, an album that’s about 50 minutes of rather serious black metal that’s looking for listeners of an intellectual mind.

FREE black metal album: DECAY CRAWLER (Missouri, U.S.)

Decay Crawler (U.S): Black Dream
This album is actually from 2013, but it is worthwhile looking into, if you like black metal because this band has strong opinions about modern metal. The band says that they play “rock n’ roll for the dark ear. Features real drums, real amps, vocals without effects. What we played is what you’re hearing. No gimmicks or robot instruments.” If you hate dishonesty in metal music, you probably will find Decay Crawler to be your kind of black metal, raw black metal. Decay Crawler is from Missouri, U.S., and has been active since 2011.

Saturday, December 20, 2014

the "horror metal" of CADAVERIA

Cadaveria (Italy): Silence (Scarlet Records)
Cadaveria the band started in 2001, after Cadaveria the vocalist and Flegias the drummer departed the gothic/melodic black metal band Opera IX (Flegias is also since 1998 the vocalist for veteran thrashers Necrodeath). “Silence” is Cadaveria’s fifth album, and this 2014 album follows 2012’s “Horror Metal,” which is also the self-assigned term that Cadaveria uses to describe its music. As to this album, the band has taken a major step towards a sound that seems more identifiable as its own. Part groove metal, part uptempo gothic metal, and part melodic metal, “Silence” coherently holds together a bit of variety of songs. The band shows a sensitivity to writing memorable songs, and a song like “Carnival of Doom” is a probably a song that this band could close concerts with. I would think that this track would be a favorite amongst followers of the band, given the catchy nature of the tune. However, it’s not just one song that is that way; the complete album flows well and it looks like the band has found its way towards establishing an atmosphere for the album and for the band’s own sound of groove-focused “horror metal.” Cadaveria the vocalist has become very capable, going from dark metal screaming snarls to melancholic/melodic gothic metal vocals, which takes the band’s sounds into various areas rather smoothly, not to mention that the musicianship itself transitions easily from one segment to the next. Overall, “Silence” is one savvy album that seems primed for success in the European market for modern, catchy “extreme metal” from Dimmu Borgir to Arch Enemy to gothic metal.
Cadaveria: Carnival of Doom

Friday, December 19, 2014

the excellence of: Einherjer (Norway): Av oss, for oss (Indie Recordings)

Einherjer (Norway): Av oss, for oss (Indie Recordings)
Einherjer’s excellent melodic, midtempo “pagan”/“viking”/folk metal causes diametrically opposed reactions in some circles. Now, the negative views on this album, as well as past albums, focus on some recurring themes. Perhaps the biggest one is that some listeners do not like that Einherjer does no blasting; the music stays midtempo/uptempo throughout, and at no time does the band launch into fast music. Related to this issue, Einherjer is seen as not “extreme” enough because the band insists on sticking with the midtempo/uptempo style.
In some ways, it is necessary to call this Einherjer MKII, the Einherjer of 2008-present. The 1993-2004 version of the band was known for changing styles from album to album, which also caused frustration for some listeners. Nowadays the band has settled into a midtempo/uptempo style with growled vocals that emphasizes big riffs and melodies.
To the point: this is one of the best albums that I have heard in 2014 for its creativity and its difference. It is refreshing to hear Einherjer stay the course of their style and hear them grow as songwriters through the art of making memorable music that is rather devoid of formulaic expectations, like speed to please some short-attention-span public. Einherjer is digging deeper, cultivating the post-2008 musical direction of somber-yet-memorable “viking metal,” which is folk metal with prog elements.
It is plain to see that some people cannot get it out of their heads that Einherjer is its own sound, its own band, and that to compare Einherjer to Enslaved, Bathory, Moonsorrow or some other band is asinine. It is as if some people are upset that Einherjer has not called up Moonsorrow or Enslaved on the phone and consulted with those bands. “I don’t like Einherjer because it is different from Moonsorrow” is not an observant way to assess this album, yet it is an “accusation” thrown at the band. Supposedly, there is much better “viking metal” out there. It does not enter some people’s heads that the members of Einherjer know what they want. This is what they do, and they happen to be very good at it.
Einherjer has become more confident in its style and more consistent in the projection of the desired atmosphere. Nowadays the band sounds very experienced, skilled and knowledgeable about how the music should be. The band does not lean on any crutches, like playing fast, and it appears that any sense of trying to be more successful-popular through being more aware of the times-trends is gone for good, and what remains is grown, adult men with realistic expectations about the eventual popularity of their somber/prog/folk Norwegian-language music for intelligent listeners that know that some metal takes time to understand, and takes even longer for the band to make.
EINHERJER - NIDSTONG (Official music video)

new: CHAPEL OF DISEASE - ...of Repetitive Art - OFFICIAL VIDEO

new: MELECHESH - Multiple Truths (LYRIC VIDEO)

FREE EP of heavy metal in Russian: FAETON (Russia): На небе и на земле

Faeton (Russia): На небе и на земле (2014)
This is upbeat, rocking heavy metal EP in Russian, played in an old school way.
1. Фаэтон 04:13
2. Ты была солнцем 04:01
3. Сто дорог 05:16
4. Царица льдов 04:20
5. Легенда о Фаэтоне 04:48
6. Ангел 04:01

FREE EP of doom rock heavy metal: VIOLENZIA (Austria): Krampusspiel

VIOLENZIA wants you to hear their do-it-yourself take of doom rock metal in German. This is the info about the EP and you can stream and download it for free/name your price.
VIOLENZIA: Krampusspiel
1. Einzug 02:57
2. Der Schmied 03:57
3. Der Tod 02:25
4. Lügenteufel 03:35
5. Eheteufel 03:37
6. Habgierteufel 02:58
7. Luzifer 02:36
8. Freilauf

the neo-NWOBHM sounds of: Mausoleum Gate (Finland): Mausoleum Gate

Mausoleum Gate (Finland): Mausoleum Gate
This 40-minute album is from 2014, but don’t be surprised if it sounds perfect to go with all those New Wave of British Heavy Metal albums in your collection. Obscure, cult traditional heavy metal that will go straight to your memory is what Mausoleum Gate practices and preaches. What band influences you hear will depend on your frame of reference for late 70s and early 80s metal. At times Mausoleum Gate might recall the faster riffing of Raven, at other times the obscurantist feel of Witchfynde, and other times the band’s sound goes back even further with the Hammond organ to Uriah Heep and Deep Purple and similar organ sounds.
If you want to debate which NWOBHM band is a more direct influence, sure, that would be fun, but not today though, because the year is about to end and Metal Bulletin Zine must get this review out today or the new year will come and I will be debating with you.
By far and away the most important information to note is that this album sounds great, the songs are memorable from the first listen, the band’s hard work is readily obvious, the skill is undeniable, and the album is tons, tons of fun. The neo-NWOBHM sounds in 2014 seem to be getting better and better. Considering the style and the vibe the band wants, this is a very good album, and I can’t think of a single thing that is not enjoyable about it. If you are old and old at heart, old in the sense of late 70s and early 80s metal and you have more than a passing interest in this music, you should consider this band. They sound like veterans of their style, way beyond good beginners. They have been doing this since 2009, and a huge reason why this band sounds like pros is their love and dedication to this heavy metal. For instance, the bass player named Wicked Ischanius is credited with bass, Hammond organ, Mellotron and synthesizer. Or for example, the singer V-P Parpula sings in this melodic-obscurantist old-time heavy metal that instantly sounds classic. This result can only happen with practice and more practice.
Demon Droid

Thursday, December 18, 2014

the necro black metal of: Draconis Infernum (Singapore): The Sacrilegious Eradication (Ketzer Records)

Draconis Infernum (Singapore): The Sacrilegious Eradication (Ketzer Records)
In the forbidden underground sewer cities of ancient Singapura or Lion City in the year 3666 before the times of modernity there existed a mighty clan of necro black metal invocators who lived apart from the masses, always suspicious of the authorities and their desire to change the ways of antiquity’s guardians, with names such as Donatello and Raphael. The authorities would send messengers to the underground sewer cities and told them: Change your music so that the people respect you! The necro black metal clan and its representatives would respond: We follow the black metal ways, and not you! In time the respectable society decayed and the time was ripe for black metal to find the followers of the cult. Splinter, the master of the black metal cult predicted that the day would come.
Now, millennia later the dunes of the Lion City have for a decade been invisibly ruled by the necro black metal alliance of Draconis Infernum. In 2008 they launched “Death in My Veins,” and followed with “Rites of Desecration and Demise” in 2011. Now, in the year 2014 the new incursion is called “The Sacrilegious Eradication.” With the newest signal, Draconis Infernum pledges to maintain their allegiance to blasphemous, fast, tremolo, necro black metal. For 37 minutes Draconis Infernum wields the black metal calling out to the four points of horizon in search of the sibling souls of dedication to Thornspawn, Impiety, Sarcófago and the other ones that understand such language as invitations to enter this recondite world of metal.
Draconis Infernum - The Blasphemous Wrath (2014)

melodic metal in Spanish: Alquimia (Argentina) - Una vida (Videoclip Oficial Full HD)

Sweet Nightmares the metal music show has started right now

listen live right now
Sweet Nightmares metal show has started now. Listen live right now.

free download black metal: Ngemithan Mayith (Indonesia)- pengabdi sesat ( live )

The free dowload songs are at the link here below:

the masterful, the one and only: EDEN WEINT IM GRAB (Germany)

Eden Weint Im Grab (Germany): Geysterstunde II: Ein jenseitiges Kuriositätenkabinett (Einheit Produktionen)
It is likely that listeners into gothic/folk metal and horror metal are already aware of the excellence and elegance of Eden Weint Im Grab (“Eden Weeps In Its Grave”; also abbreviated as “EWIG”, which means “eternal”), given that the German-language band has been active since 2000, and this 2014 album makes it a total of six albums and one EP. EWIG is known for high-end works and it is along the lines of elegantly mad Bohemian metal runs the gamut of carnival, circus, folk compositions joined to violin, with components of classical music, dark metal, horror soundtracks, with themes of the night, madness, ghosts, poetry and dark romanticism.
Metal Bulletin Zine has in the past published an interview with this band’s songwriter Alexander Paul Blake’s other band Aethernaeum, a black metal band. This zine has also reviewed Aethernaeum’s forerunner, when the band was simply named Alexander Paul Blake. Therefore, it is quite a pleasure to report about the album by EWIG. Of course, the lyrics are in German and if you understand no German, really, don’t let that prejudice you against this wonderful band. This album lasts about an hour and ten minutes, which gives an idea of the mentality of the band about its own art and the work that goes into it.
EWIG prides itself in high quality songwriting and creating an art that sounds beyond the pressures of crass commercialism. To listen to the album is to embark upon a wondrous travel back to an imagined time, to imagined places where the night, madness and the spirits reside. It’s not the type of music about one song, but about the album as a complete work that demands time, and discourages “casual” listeners with short-attention spans who are not cut out to be witnesses to EWIG. As highly recommended as possible in 2014. If you are new to the band, this will be a new, exciting experience for you.
Eden Weint Im Grab „Die Jenseitsflugmaschine" (Album out: 29.08.2014)
Mein geysterhaftes Grammophon
Eden Weint Im Grab"Die Sage von der weißen Frau"@BfK Magdeburg 2014
interview in German.
Nightshade - Interview mit Eden weint im Grab in Mülheim, 04.07.2014

music beyond the humans: Omnihility (U.S.): Deathscapes of the Subconcious

Omnihility (U.S.): Deathscapes of the Subconcious
The state of Oregon, U.S. has been getting the reputation for lots of stoner and doom music, as well as bands that do much to sustain the reputation of weirdness by jacking up punk rock with grind with drone with space rock with whale lunar waves rock and many other things. Those bands certainly enjoy mixing genres and confusing everyone while entertaining their audiences. Is there room in Oregon for Omnihility? Does high-speed blasting tech-metal that blinds with precision and dexterity, does that count as part of the Oregon weirdness? Back in 2010 Omnihility was just getting its name out there as a brand new entry into the world of Origin-style tech-metal. In 2012 the band had the album “Biogenesis” and in 2014 they have this new one “Deathscapes of the Subconscious.”
Omnihility is not so much tech-metal as it is music made for the future cyborgs that will rule the planet. The cyborgs will think of Omnihility as classic music when a few humans were starting to sharpen up the music to the level of speed and technicality that the machines consider “normal.” Most humans cannot keep up with these sounds because it sounds like a blur to them, but to the cyborg these songs are comprehensible: inhuman speed in drumming; wrist-breaking finger work on the guitar and monster vocals that no one can understand (when the vocalist forgets his/its lines, he/it just goes: “waarrghhhroarrrr” and it’s all good). Omnihility itself is a bunch of cyborg disguised as humans. Omnihility could be the ambassadors preparing the territory for the upcoming cyborg takeover.
This is what you listen to when you are tired of human music and all of its nonsense: play melodies because the humans like melodies; play slow because the humans are not too smart. Well, you know what, humans? Your time is finished and the cyborgs don’t care about your low standards. Keep up with the blazing speed or make way for the future. You are not needed here. Omnihility has arrived. Get down with the future or get out of the present.
Omnihility - Disseminate (Lyrics)
Watch a cyborg from Omnihility demonstrate to the futile humans how to exercise the dexterity.
Omnihility -"Disseminate" Guitar play through

scientific findings on INANIMATE EXISTENCE

Inanimate Existence (U.S.): A Never-Ending Cycle of Atonement
Inanimate Existence = 1/3 tech-metal + 1/3 prog + 1/3 unknown factors (x).
1/3 tech-metal = frenzied, laboratory perfectionism in blasting + low-growl + guitar dynamics in <, >, or = quantities to Origin, Decrepit Birth et al.
1/3 prog = bursts of prog/melodic guitar segments. This report recommends that the prog is not = tech-metal, but not incompatible here, either, through the use of smooth transitions, a commendable trait.
1/3 unknown factors = exotic (exotic to tech-metal) instrumentation; it might be guest vocals, bongos and other instruments. This report points out that it is here where the unexpected takes place in the greatest amounts.
Inanimate Existence requires sharp listening skills. An experiment-minded listener will find compatibility here. Certain intelligence is required. Music for musicians might be too much of a generalization, although it is also not completely untrue at least for some listeners inclined to higher learning in fast, skilled music. Higher standards and less restrictions are also found to be necessary elements for comprehension of Inanimate Existence. No IQ test will be required to be administered for each listener at this particular time, although such an element should at least not be totally discarded for future events.
Inanimate Existence "The Rune of Destruction" Official Video

Wednesday, December 17, 2014

this band makes people hysterical: Horrendous (U.S.): Ecdysis (Dark Descent Records)

Horrendous (U.S.): Ecdysis (Dark Descent Records)
Horrendous seems to get a kick out of tripping people’s expectations. Horrendous was known for playing “old school Swedish death metal” when they formed in 2009, with their demo and with the 2012 album. Now in 2014 the band’s new album has busted out with melodic guitar solos all over the place and it’s got people making all sorts of ridiculous statements. I read somewhere that Horrendous sounded like Def Leppard (and Venom, I think they said). If you say it that way people won’t want to hear this band!
In all seriousness, Horrendous still sounds very much like 90s death metal from Sweden. The guitar tone, the riffs, the vocals and the overall spirit are similar to certain sounds from Sweden. It is true that the solos are very melodic, but they work within the context of the songs. Now, of course, it is also true that the album suggests that Horrendous may be getting a bit antsy about remaining within a certain style, and it’s totally possible that in the future Horrendous will sound like a totally different band. There’s a bit of that vibe that seems uncomfortable with this style as a total identity, probably because the band has read that some people dismissed them a retro band from the U.S. trying to sound like a band from Sweden.
However, many other people who have heard this new album are liking it very much and I have even read that it was listed as the top album of 2014 by some publication. I remember which one now, but I don’t think I am making that up. So, the album has been appreciated by lots of people. In summary, Horrendous seems to have made a move towards more melancholic, doomier sounds while still remaining in part death metal. The guitar solos point to melancholic doom, and now I’m sure that we don’t have a clue what will happen next. This band might turn out to be as unpredictable as Sentenced (I know, not Swedish) was from 1990 to 1996, when they finally started to settle down into a predictable style. The next Horrendous album is going to have some people running down street all confused: “What genre is this, please? Tell me! I can’t think for myself! I need to know what genre it is before I declare that I like it!”
The band will just sit back and smile. “We are Horrrendous, and we like your ‘hysteria’.”
HORRENDOUS - The Stranger (2014) Dark Descent Records

I like that old-time death metal: Rude (U.S.): Soul Recall (FDA Rekotz)

Rude (U.S.): Soul Recall (FDA Rekotz)
It’s taken a long time for death metal Rude to have its 2014 album out and about in the world since the band started back in 2008. The music showcases how the band has studied classic death metal for years and years, and in the process the band has put together one super impressive debut that sounds like a potent mix of the classics in a particular way specific to Rude. The band will probably hate this description, but on this day, after living with this music for a while, since the year is about to end we better do this review now.
Rude must have come up with the idea of playing death metal the following way:
The vocals should be in the style of “Leprosy”-era Death and “Consuming Impulse”-era Pestilence. The enunciation has fundamental Schuldiner/van Drunen characteristics. The result? Sounds great! By far, one the most recognizable and beloved forms of growling in all of death metal: extended syllables and aggressive delivery, not the cupped-microphone/low-murmur, fearful-of-throat-injury style. Growl like you don’t care about your “health.”
The guitar work should combine the memorable parts/riffs of “Leprosy,” and “Altars of Madnes”-era Morbid Angel, and leave room for other golden-era death metal sounds, like classic Pestilence and the others.
The drum sound should be like Morbid Angel’s “Covenant,” and the style/speed of the drumming should be a bit like “Covenant,” but with more segments of uptempo (non-blasting) beats, so it’s fast, but no one should confuse Rude with the non-stop blasting style of other bands. Incidentally, the drum sound is rather attractive on this album, contrasting a lot with the clicky/plastic/soft sound so common in metal.
Impressive album by a band that is very good students of death metal, and are becoming teachers themselves. Let’s hope that they don’t break up or begin to feel the need to be “more” than death metal. It is a-ok to be death metal, this type of death metal. Don’t change the style, Rude. You don’t have to “jazz it up” or “core it up” or “math it up” for us. Love the Rude metal.
Rude - Memorial

Tuesday, December 16, 2014

heavy metal from Brazil: Wild Witch - Burning Chains (FULL EP) with lyrics

heavy metal in Russian from Russia: VOLNAYA STAYA (Вольная Стая)

Вольная стая - Стая
Группа Вольная стая " Птицей в небо" Клуб Little Rock 11.10.14 Москва
Группа "Вольная стая в Дубрава Холл.

neo-Stockholm-style death metal from Sweden: ENDING QUEST

Ending Quest (Sweden): The Summoning (FDA Rekotz)
Neo-Stockholm-style old time death metallers Ending Quest (name tribute to old Gorement’s “The Ending Quest”) say that the death metal from today doesn’t have the same soul. For this band it’s about that old time death metal. From the sounds of this album, if you run into these lads in Sweden, don’t even invite them to a modern metal show because you won’t even get them to the mosh floor. The cynics will say that Ending Quest is retro, but of course, the cynics will say what they will. Sure, Ending Quest loves the sounds of the past, but the band is not over the hill. They started in 2009 and the members were born in 1986 and 1984. Some might call it retro, but in metal it is called respect for tradition and playing the metal that you love and being proud of it. If your interest is peaked by the idea of a young band presenting its interpretation of golden-age death metal, give this a band a chance. I have been listening to this 2014 album, their debut, a lot and I like what I hear and am curious to hear what the future brings for Ending Quest.

heavy, experimental and weird: Pyrrhon (U.S.): The Mother of Virtues (Relapse Records)

Pyrrhon (U.S.): The Mother of Virtues
Only a mother could love the weirdo jazz-from-hell tech-experimentalists Pyrrhon’s growling, headache-inducing sounds of the absurd. Some people say: You will like Pyrrhon if you like Gorguts or tech-metal or left-field sounds like Today Is the Day or whatnot, but those bands sound pretty normal compared to this looney bin insane asylum salad of mixed nuts. Pyrrhon is like a drunk cook in the kitchen making soup with whatever he or she finds in the kitchen: Is that a pair of old shoes? Whatever, throw them in the pot! Vegetables and shoes taste good, right? Is that an old battery? Let’s use that battery, too. Soup with batteries surely will be an interesting delicacy, correct? Pyrrhon is a band of many, many personalities and it is the equivalent of an abstract painting that some people think is genius and that makes uptight people shake their heads in frustration or confusion. Fast, slow, silent, animal sounds, gentle segments, space sounds, tech-metal speed, screams, blasts, yoga moments, drone… it is all Pyrrhon taking care of business. Pyrrhon is a bad, bad band, man. These bad boys of rock and roll are throwing away all the rules of music theory. In truth, most of the metal listeners that think this band is garbage are not qualified to have an opinion. They don’t understand because this band is too much for them. Listen to Pyrrhon if you like heavy, weird music. Otherwise, this is the wrong party you just walked into. Find the exit now.
PYRRHON - "Balkanized" Official Track

black metal from Ecuador: SAYONELIGOR / SHOUT AT THE HALL OF FACES

new: Angra "Storm of Emotions" Official Music Video from the album "Secret Ga...

new: DARK FUNERAL - Nail Them To The Cross (OFFICIAL VIDEO)

Washington state's got grind: THE DRIP - "Siren" (Official Music Video)

"THE DRIP has just released their first official video, the violent visuals crafted for "Siren," which hails from the band's grinding Relapse debut, A Presentation Of Gruesome Poetics. Directed by Owen Mansfield, the "Siren" video was filmed during one of the band's regional live attacks earlier this year in support ofthe vicious EP's release in April, taking the viewer inside a hometown mutiny at Rays Golden Lion in Richland, Washington back in April.
"Additionally, THE DRIP continues booking live excursions into the coming year, the band confirmed to support Pig Destroyer in Seattle on January 10th, after which they'll join Enabler and Call Of The Void on a three-city romp through Vancouver, Seattle and Spokane from February 22nd through the 24th.
THE DRIP Tour Dates:
1/10/2015 El Corazon - Seattle, WA w/ Pig Destroyer
2/22/2015 333 - Vancouver, BC w/ Enabler, Call Of The Void
2/23/2015 The Highline - Seattle, WA w/ Enabler, Call Of The Void
2/24/2015 The Hop - Spokane, WA w/ Enabler, Call Of The Void
After a string of independent releases, Relapse signed THE DRIP for the release of A Presentation Of Gruesome Poetics, the ferocious and relentless explosion of blasting grind violence, dispatching six tracks in barely twelve minutes. The EP was the very first release to be fully recorded at Audiosiege in Portland by Joel Grind (Toxic Holocaust) and mastered by Brad Boatright (Tragedy, From Ashes Rise, Integrity). THE DRIP's violent effectiveness and intensity of their high-speed output is prime sustenance for diehard fans of Misery Index, Rotten Sound, Dead In The Dirt, Nails and Nasum."

Monday, December 15, 2014

the monolith: Primordial (Ireland): Where Greater Men Have Fallen (Metal Blade Records)

Primordial (Ireland): Where Greater Men Have Fallen (Metal Blade Records)
There are so many different eras of Primordial that it is only appropriate to ask which Primordial is the one that a person is referring to when discussing the band. The truth is that Primordial 2014 is very, very far from the black metal/pagan metal sound of the 90s, and it is the same band in name only, given the gigantic changes in musical direction. Primordial 2014 stubbornly plays midtempo, rendering Primordial 2014 a melodic, melancholic doom band. The band leaves no room for doubt: They appear to excel at the various genre changes, and as the years go by, the band seems to receive more and more ridiculously positive acclaim, making one wonder whether the band members have enlisted their moms, dads, sisters, brothers, cousins and best friends to write outrageously positive reviews all over the internet. Here’s a challenge: Can you find a band more universally praised than Primordial?!
One would think that it is the doom/sludge/“post-metal” crowds that are really enjoying the doom of Primordial. The vocals are melodic-melancholic, and the guitar works with the “less is more” philosophy of riffs, while the drummer patiently labors away. The few places where the band shows some speed, like on the song “The Seed of Tyrants,” that really sounds out of place with the slow vibe of the album as a total work. Why do it? To appease some people? They obviously don’t enjoy it and it sounds forced.
Many, many people seem to love the band’s current musical direction. For instance, the reviews on Metal Archives of the 2007 album “To the Nameless Dead” do not hesitate to call that album the greatest or the best and things like that. Now, this new “Where Greater Men Have Fallen” continues that course and the band’s feet are firmly planted in the slow music. The band has mastered the latter-day direction and now it’s only question of whether this album will be called a greater masterpiece than the others.
On the other hand, if you are the type of listener that would love to see Primordial play less monotonously slow metal, and would like a more balanced combination, as on the 2000 album “Spirit the Earth Aflame,” then you will be so, so, so disappointed and truly wasting your time. This band is so far gone from that, that only if they sense a great frustration amongst the listeners, would they possibly reconsider dialing back the repetitively, monotonously slow doom direction they enjoy so much. In that sense, Primordial sounds very now, very 2014, at a time when doom/sludge/slow/post-metal seems so popular. As already mentioned, the current musical taste seems to prefer the slow Primordial by a large margin.
Therefore, which Primordial do you prefer in 2014?
The following track is representative of the vibe of the album.
Primordial - Come The Flood

Sunday, December 14, 2014

You're living in a time machine: the doom from beyond time: BRIMSTONE COVEN

Metal Bulletin Zine reported about this band earlier this year. Now, here's the review.
Brimstone Coven (U.S.): Brimstone Coven (Metal Blade Records)
This album is recommended if you are at all interested in the following musical proposition: Are you curious to hear a band from today play music like the foundational bands of heavy metal did in the early days of the genre? If your answer is “yes,” then buckle up and hold on tight because Brimstone Coven will shock you with their time-machine retro doom. Seriously, what in the universe gets into the minds of this band to play music this way?! Brimstone Coven should do a world tour in the 1970s with Black Sabbath, Led Zeppelin, Deep Purple and Uriah Heep. They should do more tours back in the 70s with Sir Lord Baltimore, Thin Lizzy, Blue Oyster Cult, Blue Cheer, Steppenwolf, Alice Cooper, Foghat, Bad Company, Pentagram and Mountain? Brimstone Coven should tour with …ok, never mind, I think you understand: 70s heavy metal, 70s classic rock, 70s heavy rock.
They positively sound like a 70s band, but to be more accurate, Brimstone Coven, you could say, in general plays midtempo/uptempo 70s doom with smooth, musical singing, an early-friendly style closer to a band like Bad Company, for instance. There are small passages that the band quotes in tribute to Sabbath, but it is an insult to dismiss this band as a Sabbath clone because, for instance, there’s no way that you will ever find Sabbath vocals sounding as harmonious (listen to a song like “Behold, the Anunnaki” for evidence). The singing on this album is one of the highlights, actually. It’s not like some street stoner dude yelling like Ozzy; this is real singing, melodic, harmonious, a bit psychedelic singing, which also shows an earlier influence, like from the 1960s. The guitars definitely show a certain harmony, too, by the way (could be from Thin Lizzy, a major source for guitar harmonies).
This self-titled debut is the band’s first full-length album, with the band’s first EP tagged on as bonus tracks. Apparently the band was formed in 2011. These doomsters are from West Virginia, U.S. The time machine dropped them off at this decade, but their spirit really originates from the early 1970s. Don’t dismiss this band as “another stoner rock” band! The music is quality.
Behold, the Anunnaki
Brimstone Coven "The Grave" (OFFICIAL)

heavy metal from Cleveland, U.S.: Wretch - Live at the Beachland Ballroom 2014

new video from tech-metallers: Pillory "Imbeciles in Defiance" official video

Thursday, December 11, 2014

seeking the throne of "extreme metal": Sidious (U.K.): Revealed in Profane Splendour

Sidious (U.K.): Revealed in Profane Splendour
Sidious has a simple plan: conquest of the “extreme metal” world. The winner takes it all and Sidious is out to be the winner of the competition. The benchmark that the band has set for itself seems to be the major successes of “extreme metal,” such as Dimmu Borgir’s “Death Cult Armageddon” (2003) and Behemoth’s “Demigod” (2004). You know, the albums that made waves. Perhaps more accurately, Sidious is “modern, glossy symphonic extreme metal,” with growled vocals and blasting speed, but balanced out with some melodic singing or slower, atmospheric moments. Sidious is meant to be fast and heavy, grandiose and “brutal,” but also memorable. This band wants the audience, especially the modern death metal and modern black metal public to get into the music. Sidious wants it all: the big production, the perfect sound, the heavy songs and the melodic parts, too; and they want you. Sidious is the definition of “extreme metal” in 2014. They had an EP in 2013, and now they have arrived with the album, demonstrating that they are ready to take all the chips and to leave the losers with nothing. Recommended to followers of Behemoth, Dimmu Borgir, Cradle of Filth and similar sounds.
SIDIOUS "Obscenity Ov Old"
SIDIOUS "Revealed in Profane Splendour"

abstruse black metal: Cainan Dawn (France): Thavmial

Cainan Dawn (France): Thavmial
Cainan Dawn’s “Thavmial” is from 2014 on Osmose Productions. “Thavmial” is black metal that avoids cheap/expected hooks, melody and memorable parts at all costs. It is made to alienate and keep a distance between the band and the listener with a sound that is unapproachable, making sure to keep away certain unwanted people. Cainan Dawn does not play black metal by the rules of connecting with the listener. They know 99% of metal people won’t understand this sound. That’s fine. Look into this band only if you are in the small minority of people that searches black metal for the initiated: “cold,” “distant,” “unfriendly,” and “uncatchy” elitist black metal sounds. This band is not going to beg you to give them a like or thumbs up or whatever else garbage it is that some people want. This is what abstruse black metal is.
Caïnan Dawn - The Brood

traditional heavy metal: Osmium Guillotine (U.K.): Osmium Guillotine

Osmium Guillotine (U.K.): Osmium Guillotine
Osmium Guillotine has been around since 2009 and has a total of some eight works in total. This is the band’s full-length album from 2014; it is almost an hour long. This band plays at an uptempo/midpace and retains a grit, toughness in the sound and vocals. This band has studied classic heavy metal a lot and you can hear the devotion. This album sounds like a serious proposition by a band that means business. Look into this band if you like the street style of early Saxon, early Maiden or if you also like the current sounds of Kaine, another British band with a somewhat similar attitude.
Osmium Guillotine - Phobophobia

traditional heavy metal: Axe Crazy (Poland): Angry Machines

Axe Crazy (Poland): Angry Machines
Axe Crazy’s 2014 four-song EP celebrates old heavy metal in the classic NWOBHM style. Of course, they got their name from the NWOBHM band Jaguar’s song called “Axe Crazy.” This is sing-along heavy metal. This is the band’s first recording, but it’s definitely a good beginning for this band. The band lives up to the name!
Axe Crazy - "Angry Machines"

Wednesday, December 10, 2014

Alltheniko (Italy): Fast and Glorious (Pure Steel Records)

Alltheniko (Italy): Fast and Glorious (Pure Steel Records)
Alltheniko is a keep-it-true, true-as-steel, metal-on-metal metalhead’s dream come true. If you have ever thought: Are there no traditional heavy metal bands that have heard songs like “Painkiller,” “All Guns Blazing,” “Freewheel Burning” (by Judas Priest) and “Angel in Black,” “Kiss of Death,” and “Back from Hell” (by Primal Fear)—and said to themselves, “That’s the way I want my heavy metal! Fast, shredding, screaming and with no stupid time-wasting ridiculous nonsense like ballads,”—Alltheniko’s new album “Fast and Glorious” is exactly that! Name-taking, no-prisoners, no-fat, no-filler, glass-breaking, door-down-kicking heavy metal. You know how Judas Priest and Primal Fear often start albums with heavy metal that is the very definition of heavy metal, but then they ruin it by slowing down for a ballad. Why?! Stop for nothing! Pedal to the metal; fire up the double bass, get the shredding on, and start the fire, and end it only when the album is over with silence. You might feel like saying, “Finally, a metal band that understands! Finally, a band that knows how a metalhead actually thinks!” Alltheniko takes the fast elements of Judas Priest and Primal Fear and runs away with the speed. This band has been around since 2002 and has five albums. If you want your heavy metal fast and shredding, start with this album. By the way, if you like thrash, but you don’t like the punk-like vocals of thrash bands, you should hear this fast metal band that has singing. Alltheniko is not a thrash/speed metal band per se, but they sure are fast heavy metal.

80s old death metal demo: TERMINAL DEATH

Terminal Death (U.S.): Terminal Death (compilation of 1984 and 1985 demos)
Terminal Death was a Chicago band that played early death metal. This is a compilation of a 1985 demo and a 1985 rehearsal session. This band is pretty much almost forgotten, as you will notice that it basically never gets mentioned when people talk about early death metal. These recording are pretty rough. It sounds like demo recordings and the quality is garage-style. As you can imagine, the songs are ferocious and raw; for the demo fanatics.
Terminal Death - Judge Death

early 90s death metal: MORTHRA (Holland)

Morthra (Holland): Desecrated Thoughts
Morthra’s “Desecrated Thoughts” is a compilation of the 1991 and 1993 demos, plus live tracks. This is prime-time early 90s death metal. Young listeners will love the genuine feel of real-deal death metal, when death metal was just death metal, and did not need subgenres. “Brutal, heavy and sick,” would be how people described this sound. It is mostly uptempo and midpaced death, along the lines of Obituary and Grave, more or less, and definitely not the Morbid Angel/Suffocation speedy death.
Morthra - Hollowed Carcass

80s old metal demos: MEFISTO

Mefisto (Sweden): The Megalomania Puzzle (compilation of two 1986 demos) When it comes to 80s black and death metal from Sweden people think of Bathory, but Mefisto formed in 1984 as Torment and in 1986 had two demos as Mefisto: “Megalomania” and “The Puzzle.” As someone who had never heard this band, I think these demos sound very good. I don’t know where Vic Records finds these bands, but it is always nice to hear “new” bands like this one. Vic Records does a great service to people into cult metal by releasing these recordings.
Mefisto - Frost Of Inferno

80s old death metal demo: INCUBUS

Incubus (U.S.): Incubus (1987 demo) This 1987 Incubus demo was recorded after Mike Browning and Sterling Scarborough left Morbid Angel. This is rough, early death metal, making the thrash of that time sound tame in comparison. This recording is definitely for those into old death metal demos. Expect dirty death metal.
Incubus - Engulfed In Unspeakable Horror - Demo 1987

old metal from the 80s: POWERLORD

Powerlord (U.S.): The Awakening (1986) Powerlord was a thrash band from Oklahoma, U.S. The album should appeal to total thrash fanatics that want thrash to sound the classic style of speed and tightness. This is not a demo-quality recording, either. If you like to go back and discover forgotten thrash this will be a good one for that old Forbidden/Testament pace of thrash.
Powerlord (US) - Malice

80s old metal: MANILLA ROAD

Manilla Road (U.S.): Out of the Abyss (1988) Manilla Road is a cult name, of course. The band started in 1977 in Kansas, U.S. This was the band’s seventh full-length album and it is considered the band’s most “dark and thrash” album. Personally, I think that you can’t go wrong with this album, if you like 80s cult metal. Recommended for those into cult metal like Mercyful Fate, Brocas Helm, Cirith Ungol or more recently a band like Slough Feg. Manilla Road is the personification of cult occult metal. Shadow Kingdom Records is keeping alive the old metal. Manilla Road - Out of the Abyss

ancient death metal: PENTACLE

Pentacle (Holland): The Fifth Moon…Beyond and Back (2014 expanded edition) Personally, I don’t think that death metal gets much better than Pentacle, particular this recording and the follow-up album “Rides the Moonstorm …” This “new, improved, and expanded” reissue will appeal to the Pentacle fanatics. Pentacle exhibits a huge early Celtic Frost/early Death vibe and it is very proud of those influences. The band started in 1989 and the original version of this recording is from 1996, and the new version is from 2014. If you live for “ancient death metal” as Pentacle calls it, don’t forget Pentacle, and as the band says, “Don’t forget the ancient feeling.”
Pentacle - Black At Heart

tech-metal from Italy: BLOODTRUTH Obedience (Unique Leader)

Some people say ridiculous things like: “I don’t like bands that play tech-metal because those bands do not play with any feeling.” What is that supposed to mean, anyway? Is it an excuse for being a slowpoke that cannot keep up with inhuman speed and arthritis-causing musicianship? Everyone in Bloodtruth will end up with arthritis or tendonitis or carpel tunnel syndrome or something like it. “Obedience” is the 2014 debut by Bloodtruth, tech-metal freaks from Italy that started in 2009. What a debut it is! A thousand riffs packed into a few minutes, a growler that sounds like a crazed bear running down the street knocking down all the trashcans, and a drummer who will need some serious pain medication after playing these songs. Bloodtruth uses a bit of “monk chanting,” but they need to use it more as part of their songs because it gives them something that is a bit unique. Sometimes the band uses the chanting as an intro, but on a song like “Suppurating of Deception” they actually use it as part of the song, in the background, and this is when it works the best because it is an integral part of the sound, not just a side element. Bloodtruth has hit upon something a bit different within the realm of superhyperultra fast blasting tech-metal. Good work.
Bloodtruth – Suppurating of Deception

Tuesday, December 9, 2014

thrash: Game Over (Italy)

Game Over (Italy): Burst into the Quiet; For Humanity
Game Over’s “Burst into the Quiet” is the 2014 album and “For Humanity” is from 2012. Of course, the band’s name comes from the Nuclear Assault album and the band’s logo is in the style of Nuclear Assault. Game Over concentrates on classic-style riffs, speed, shredding and gangshouts. Nobody wants Game Over to slow down and the band aims to please. The 2012 album is no different, thrash and speed all the way. The glory days of thrash were not just the 80s if you listen to this band: this is now and this is classic-style thrash. Game Over - Masters Of Control (2014)

thrash: NervoChaos (Brazil)

NervoChaos (Brazil): The Art of Revenge
NervoChaos’ music has got to be one of the most shamelessly mosh-inducing albums of the year. This is probably as perfect as an album can get for causing mass mosh pits. This riffing is practically made to make a thrash and death metal fanatic jump of out her or his seat and start a pit. NervoChaos makes songs to play metal live and instigate a physical reaction. In some ways you could say that they take the best of early 90s thrash in the guitar sound, that chunky, groove-laden sound somewhere around the neighborhood of Slayer/Sepultura/Pantera: direct-impact and to-the-point riffs. Nervochaos - For Passion Not Fashion

thrash: Algebra (Switzerland)

Algebra (Switzerland): Feed the Ego
Algebra plays a technical form of thrash, with vocals reminiscent of early 90s Sepultura, perhaps the intensity/complexity of technical-thrash-era Coroner, and huge riffs to make thrashers feel the music. Algebra’s combination makes it a unique form of thrash, though: technical, uptempo and serious. This is not “party thrash.” This 2014 album sounds vibrant and detailed. A success.
Algebra "Survival Nowadays" (Unspeakable Axe Records)

thrash: Foreseen HKI (Finland)

Foreseen HKI (Finland): Helsinki Savagery
You know how Finland has a reputation for melodic, symphonic and sad bands? Foreseen is here to change all that. These gutter punk hardcore thrashers make people in Helsinki run away in horror. Foreseen is rude, barbarian, angry, violent and disgusting by day, and smelly, sweaty, criminal and violent by night. They are up all day, and up all night; dirty punks playing a dirty form of thrash. It’s not melodic thrash, it’s not technical thrash, it’s not progressive thrash. Really, Foreseen barely knows how to play two chords, but they play fast and they are angry about Finland’s reputation or just angry because it’s frickin freezing in Finland, Mr. Bigglesworth. Recommended if you like thrash to be urban, street, angry and fast. All of Finland is feeling angry right about now. It’s December.
Foreseen - Death Injection

thrash: Shards of Humanity (U.S.)

Shards of Humanity (U.S.): Fractured Frequencies
Shards of Humanity is thrash/death along the lines of Sepultura’s “Beneath the Remains,” but perhaps the pace of this band is tighter, faster. The vocals are semi-growled, not too death-ish. The drummer makes sure to keep it intense and fast, and the guitars are all about big riffs and shredding. Shards of Humanity is a more modern of form of thrash, you could say. Expect tight execution, a bit on the technical side of thrash.
Fractured Frequencies

thrash: Necrodeath (Italy)

Necrodeath (Italy): The 7 Deadly Sins
Necrodeath started in 1985 and these veterans have a long history in thrash. On this 2014 album the band balances the speed and simplicity of thrash, with a bit of melody and a bit tempo changes, too. Everyone in this band has lots of experience, so you don’t have to worry about professionalism and sound quality. The sound is mostly direct “old school thrash,” with a bit of the modern sound. In 2014 Necrodeath keeps thrashing, fast, with a bit of melody.
Necrodeath - Gluttony