Saturday, October 31, 2015

news & updates: Otargos

Xeno Kaos
Kaotoxin Records
release: 13 November 2015
Here we go again with the malevolence of Otargos and its new album. The album is new to Metal Bulletin Zine because it was received just recently, so it’s difficult to say where this new work will stand in relation to the previous titles. One thing is for sure: the band continues to push its modern extreme metal. In fact, you might say that Otargos is France’s answer to Poland’s Behemoth and to Austria’s Belphegor and Germany’s Negator. This is the band’s sixth album and by now they are experts at what they want: the best possible modern sound of extreme metal. The band blasts as fast as possible, but they are skilled at slowing things down for moments of real heaviness, like people associate with sludge, but here the slow segments do not last too long as the band keeps its extreme metal close to heart always. It seems that the band has added a bit more melody. As a result, while still cold, dark and modern, there is enough melody to suggest that the band is adding new elements with each passing album, though nothing super drastic. In other words, modern extreme metal very much rules the day for Otargos, the same as it ever has. That’s exactly what their supporters expect. That’s exactly what they will get again: consistent, reliable, Otargos.

news & updates: VEHEMENCE

Forward Without Motion
Battleground Records
release: 23 October 2015
This death metal band from Arizona, U.S. apparently has been gone for 10 years or more. They used to be on Metal Blade Records and in 2004 they had the album called “Helping the World to See.” The period of absence from the public eye is over because they have a new album. The new work is an upfront, modern death metal album with gruff vocals and blasting, but the difference is that the guitar work shows a lot of effort to be memorable both in the riffs and the soloing. This type of “melodic death metal” is different from the metalcore that some people associate with the term. The band clearly considers itself part of death metal and they sound like it, while at the same time the guitar work shows that they are not afraid of skill and hard work. These veterans strike a balance between keeping the music heavy and being confident to do their own take on “melodic death metal” in 2015.

news & updates: AVULSED

Altar of Disembowelment
release date - September 9th, 2015
Xtreem Music
Avulsed is an old, old death metal band that is stronger than the cockroaches because they never die and just keep going, making death metal throughout the years, all the way from the early 90s. As usual, they are back with a new recording of nothing but death metal, in the old way of underground true traditional death metal. Check it out.
"Altar of Disembowelment" by Avulsed
1.To Sacrifice and Devour 04:52
2.Red Viscera Serology 04:32
3.Ceremony of Impalement 05:11
4.Tremble in the Darkness 04:49
5.Neon Knights (Black Sabbath cover) 03:22
total time 22:46


How much thrash/heavy metal from Colombia does your library have? This is a relatively new band that started in 2014, but Metal Archives points out that the members of this band were in the band Virgin Killer. Now they have this new band called Sexecution and you can hear the new recording called “Black Widow” on Bandcamp.
It looks like they have been doing some gigging in Colombia and like they are picking up some steam in this early stage of the band, which is:
Liseth Camacho: vocals
Paola Quitian: guitars
Patricia Prado: bass
Manuela Quintero: drums

Friday, October 30, 2015


It is the time for these zombies from Mozambique to prove that metal music will not be stopped, no matter what the circumstances may be. In 2006 the drumming maniac named Goro Fast decided to bring together a group of metalheads that could take metal from the mind to the gutter. I should warn you: if you are a politically correct individual and you get easily offended by disgusting imaginations, you better stop reading right now because things are about to get fugly. Sick and disgusting death metal is the only game in town here. I don’t have much information to tell you, except that this band is not for those with a weak stomach. The band is:
Namesis Daude: grunt screams chaos
Euclides Anatolly: guitar butcher chaos
Jubless Jubileu: bass abuser chaos
Goro Fast: horrible drumming chaos
The band writes guttural brutality with songs like the EP “Left to Rot”:
1.Ghost Monk 03:10
2.Brutal Stab 04:53
3.RATM 04:53
4.Benighted 04:29
5.Panic At Morgue 05:52
total time 23:17
If you hate brutal metal make sure you listen to this EP so that you hate it more. If you love this EP make sure that you call the doctor, you sick freak.

Slutvomit (Washington state)

Slutvomit (Washington state)
According to the book of heavy metal written in blood on iron pages, if you name your band with the word “vomit” in it, then you are hereby obligated to play raw extreme metal that is perfect for cult status and zealous allegiance of diehard underground metalheads. I have never met these maniacs, but they sound like a fine, fine metal band that would make Nifelheim and Blasphemy proud. Check the picture of the band with the mighty Nifelheim.
They sound like they have had enough of the hipsters and indie rock people that populate the college town of Bellingham. Hey, no need to feel sorry for yourself if you are a metalhead, form a band and play the metal that you want to hear. Metal Archives says that they formed in 2006 and they have the following discography: the “Satanic Slut Metal” demo from 2007, the “Turning the Cross Towards Hell” EP from 2011, and the “Swarming Darkness” album from 2013. Now they are threatening society with a new album! Meanwhile you can bang your head to the “metal of death” songs that they have available for you here:


Osmose Productions
release: 18 December 2015
This melodic black metal/Viking/folk/pagan band started in 1996 and has a discography of some seven albums. This new album is a tale of two sides. The first half has the headbanging tunes somewhere between black metal and folk metal, energy and melody. The main vocals are traditional black metal. There are also other vocal styles, such as chanting or melodic vocals. The guitars can often go at full black metal speed, yet, the melodies never stay away for long, including the folk melodies, and some symphonic elements.
The second half brings soundscapes and forest/folk atmosphere, which begins in earnest with track number 6: “The Mirror of Suffering,” in which chanting vibes come to the forefront and become substantially more pronounced on the next: “The Shamanic Whisper,” which is not a song, but an exercise in contemplation, as the title itself makes it known. Then “Another Shore” extends this very atmosphere through folk, slow energies. Album closer “The Eternal Light” takes out the album in a heavier direction, while keeping the pace slow and letting the melodies dominate.
The album does a solid job of showing the different elements of the music. Far from one-dimensional, the album takes a few listens to be understood as a total work. Those who are tolerant and open to eclectic albums in the style of folk/pagan/Viking/black metal will consider it a worthwhile album, I believe.

Wednesday, October 28, 2015


Journey Through Endless Storms
Solitude Records
Death doom requires patience, above all. Doom is popular in 2015, so maybe it is time that these Brazilians get some recognition. Fortunately for me, the band has its roots planted in British and Swedish doom/death doom, the kind in which the songs matter. Thus, it is definitely slow heaviness, but there is melody and melancholy here, there is a sense of songs. If you are up for some death doom, go ahead and sit down, grab your headphones and relax. This is going to take a while, it’s going to be slow motion, the way that melancholic death doom always is.


Project X
Scarlet Records
release: 6 November 2015
At this stage of their career, the metal veterans are living in their own world, doing their best to achieve perfection. The band built its reputation on power metal, but increasingly they are more drawn to orchestral metal. This time the band has dialed back the rocking guitars, and dialed up the classical music and the classic rock, for a sound similar to a rock opera. The band has been doing this mix of orchestral sounds and melodic metal for a while. This is another chapter in that trajectory. While the diehard power metal listener will not necessarily be thrilled with the lack of power metal, the public that likes the idea of classical music and melodic metal will take to this album quite easily. The quality shows that the band has worked hard to take new directions, and to push for something exciting for themselves and for their supporters. The band has been around a long time and the power metal crowds in Europe know them. The band began in 1993, and this album is their tenth, hence the name. Keep in mind that people know them for being a power metal band, but the last couple of albums find the band moving in a more orchestral direction. They keep making quality music, regardless of genre.


Diatonic (Sweden)
Hidden Pieces
Into the Night Records
release: 20 November 2015
Diatonic is somewhere between older "melodic death metal" and midtempo, groovy melodic growl metal in general. The guitar work is direct and chuggy, while the melodies appear layered above these chunky rhythms. Sometimes the music may sound a bit doom-ish, but it never really goes into that slow mode for an extended period of time. On the other hand, on a song like "Followed" the melodies really shine, even sound a bit pop-ish or happy. The album is nine songs and about 36 minutes. It goes by rather quick, actually. For your information, Diatonic's Joakim Antman's other bands include Overtorture, The Ugly, Decadence, and Hellicon. On Diatonic, Joakim apparently plays everything, except drums, which are handled by Fredrik Widigs, who is the drummer for black metal band Marduk. Fredrik and Joakim both play in The Ugly, a black metal band. Into the Night Records will re-release this 2014 album and Diatonic’s next album scheduled for 2016. However, keep in mind that Diatonic is not black metal at all. It's something more melodic, ear-friendly and groovy.
Diatonic - Led By The Mind

Tuesday, October 27, 2015

to metalheads in the state of Washington

Metal Bulletin Zine is a metal music zine in the state of Washington. Do you know of any metal bands from the state of Washington that would like coverage in the zine, on the blog and in a issue of the zine?
If you know of or if you have a metal band, get in contact. It doesn't matter if it's a demo or an album.
BUT please:
Only the following metal: black metal, death metal, thrash metal, heavy metal, power metal or combinations of those. Please no hardcore bands and no Hellyeah/Pantera/Five Finger Death Punch/Creed-like, nor any "groove" bands, no stoner bands.
Prog metal and doom metal are welcome, as long as it is not "prog" that comes from hardcore and no "doom" that is the indie/hipster/postrock variety.
Thank you.
If you prefer Facebook or Twitter, here you go:

Sinaya (English)

Sinaya (Brasil) has a new video.
Band formed in July / 2010 with strong influence of thrash, death metal and black metal. After many formations, Sinaya resurfaces in 2014 with a new lineup, riffs influenced by better Death Metal and guttural vocal gross.
Sinaya was established in July 2010. After several lineup changes, Mylena, who has played guitar, bass and vocals in the band in 2014 invited Renata (Marie Dolls, former Hellarise) to take the guitars, Aline Dutchi (Haze) for battery and Camila Toledo (Final Nightmare) for bass. Together, they decided to improve the style of the band, with Riffs more distorted, more fingerings, brief solos, more blast beats and double pedals, a heavy bass and well worked, a throaty vocals and backing vocals torn. Sinaya resurfaces in 2014 with a new purpose, new training, new proposal and stronger than ever!

Sinaya (português)

Sinaya (Brasil) tem um novo vídeo.
Banda formada em Julho/2010 com forte influência do Thrash, Death Metal e Black Metal. Depois de muitas formações, Sinaya ressurge em 2014 com uma nova formação, riffs influenciados pelo melhor do Death Metal e um bruto vocal gutural.
Sinaya foi criada em julho de 2010. Depois de várias mudanças na formação, Mylena, que já tocou guitarra, baixo e vocal na banda, em 2014 convidou Renata (Marie Dolls, ex-Hellarise) para assumir as guitarras, Aline Dutchi (Haze) para a bateria e Camila Toledo (Final Nightmare) para o baixo. Juntas, decidiram aprimorar o estilo da banda, com Riffs mais distorcidos, mais dedilhados, solos breves, mais blast beats e pedais duplos, um contrabaixo pesado e bem trabalhado, um vocal gutural e backing vocals rasgados. Sinaya ressurge em 2014 com um novo objetivo, nova formação, nova proposta e mais forte do que nunca!

Clair de Lune (English)

Clair de Lune from El Salvador (English)
neoclassical/avant-garde metal
Founded in San Miguel in 2003 as a heavy metal band called "Standard" whose members were Joaquin Cisneros on guitar, Mario Orellana on guitar (now in "Hemisferium" and "Days of Insanity"), Dagoberto Cabrera Battery (former "ghoul" ex "Hemisferium" and now in "Days of insanity" and Julio Sanchez on bass and vocals.
In mid-2005 Joaquin Cisneros left the band, and decide to change the musical style to a more epic sound and include keyboards and female vocals and Karen Rodriguez know. Julio Sanchez is changed to the keyboard and Ivan "Weevil" Aguilar (now in Hemisferium) is incorporated in the low and starting to work on original music. In early 2006 left the band Mario Orellana Contreras and Yul is incorporated as sole guitarist, Joshua and Quennez Flowers in transverse flute and violin respectively thus giving a twist to "Standard". Later this year they recorded a demo which titled "Prologue" which included an Intro plus 3 songs which were "attaint", "Ladava and the game of Kings" and "The last function"; For reasons in sound quality it will never distributed. Shortly after Ivan "Weevil" Aguilar left the band.
In 2007 the project was paused due to time of all members. So in October 2010, Dagoberto Cabrera, Julio Sanchez and Karen Rodriguez decided to resume the project again Yul contacting Contreras, Quennez Joshua Flores and Flores (Hemisferium), renaming the project as "ad libitum". From that time until today it has passed several members that due to time especially, have failed to keep; in October 2011 and copyright the name "ad libitum" by "Clair De Lune" French name which translated into Spanish means is changed, "Moonlight" and is so named in honor of one of the most beautiful compositions of Ludwig Van Beethoven (Sonata Mooonlight). That same year Quennez Flowers (transverse flute) decides to take his own way out of the band.
Rafael Lopez-Contratenor
Stanley Cabrera - guttural vocals
Miguel Alvarez-Guitar
Julio Sanchez - Keyboard and composition
Josue Flores - Violin, Viola
Ricardo Arias-Battery

Clair de Lune (español)

Clair de Lune (español) El Salvador
neoclassical/avant-garde metal
Fundada en San Miguel en el 2003 como una banda de heavy Metal llamada “Estandarte” cuyos integrantes eran Joaquín Cisneros en la Guitarra, Mario Orellana en la Guitarra (ahora en “Hemisferium” y "Days of Insanity"), Dagoberto Cabrera en la Batería ( ex "necrófago “,ex "Hemisferium” y ahora en “Days of insanity” y Julio Sánchez en el Bajo y voz.
A Mediados del 2005 Joaquín Cisneros deja la banda, y deciden cambiar el estilo musical a un sonido más épico e incluirle teclados y voz femenina así conocen a Karen Rodríguez . Julio Sánchez se cambia al teclado e Ivan “Gorgojo” Aguilar (ahora en Hemisferium) se incorpora en el bajo, comenzando así a trabajar en música original. A principios del 2006 Mario Orellana deja la banda y se incorpora Yul Contreras como único guitarrista, Josué y Quennez Flores en el violín y flauta transversal respectivamente dando así un toque distinto a “Estandarte”. A finales de este año graban un demo al cual titulan “Prólogo” que incluía un Intro mas 3 canciones las cuales eran “ATTAINT”, “Ladava y el juego de Reyes” y “La última función”; Por motivos en la calidad del sonido nunca se distribuyó. Poco después Ivan “Gorgojo” Aguilar deja la banda.
En el año 2007 se pausa el proyecto por falta de tiempo de todos los integrantes. Así en Octubre del 2010, Dagoberto Cabrera, Julio Sánchez y Karen Rodríguez deciden retomar el proyecto contactando nuevamente a Yul Contreras, Quennez Flores y Josué Flores (Hemisferium), renombrando el proyecto como “Ad Libitum”. Desde esa época hasta hoy han pasado varios integrantes que por razones de tiempo especialmente, no han podido seguir; en Octubre del 2011 y por derechos de autor se cambia el nombre de "Ad Libitum" por el de "Clair De Lune" nombre en francés que traducido al español significa: "Claro de Luna" y se nombra así en honor a una de las composiciones más hermosas de Ludwig Van Beethoven (Mooonlight Sonata). Ese mismo año Quennez Flores (flauta transversal) decide tomar su propio rumbo fuera de la banda,
Rafael López-Contratenor
Stanley Cabrera - vocalista gutural
Miguel Alvarez-Guitarra
Julio Sánchez - Teclado y composición
Josue Flores - Violin,Viola
Ricardo Arias-Batería

Monday, October 26, 2015

news & updates: SWALLOW THE SUN

Check out the new lyric video.
Swallow the Sun, Biography 2015, By Chris Dick
When Juha Raivio and Pasi Pasanen formed Swallow the Sun in the quaint city of Jyväskylä before the turn of the millenium, the duo’s ambition was no wider than writing a few tunes in the vein of their heroes, My Dying Bride. Between 2000 and 2003, Swallow the Sun honed their doom-inspired songwriting skills and welcomed, with dark menace, gradations of death, black, and funeral doom—a Finnish pastime, actually—to round out the sonic scope. Like their chief influence, by the time the ultra-limited demo Out of This Gloomy Light hit label desks in 2003, Swallow the Sun defied easy categorization.
“All I wanted is a channel to put these demons [to rest] and make a music that matters,” ponders primary songwriter Raivio from his woodland home. “Who cares if its doom or if it’s pop? As long as its 100% from the heart, then the goal is reached.”
Clearly, Swallow the Sun was, in sound and sight, unequivocally from the darkest of hearts. After signing to small Finnish independent Firebox Records, Swallow the Sun rapidly became an underground sensation. The group’s debut album, The Morning Never Came, was a haunting reminder doom-death had legs after the Peaceville Three (Paradise Lost, My Dying Bride, Anathema) had largely moved on. Fans, sensing greatness in Swallow the Sun, couldn’t get enough of the epic opener “Through Her Silvery Body”, the insanely dark “Out of This Gloomy Light”, and the Lovecraftian closing title track. By winter 2003, The Morning Never Came earned Top 10 placement in lists all over metaldom, while long-standing publications like Kerrang! honored the debut as “one of doom metal’s finest moments to date”.
“We had no expectations at the time,” singer Mikko Kotamäki admits. “We were just a bunch of young blokes doing what we wanted. So, in that sense nothing’s changed, except we’re not so young anymore. Of course, it made us hungrier and now we are here with a triple album. More passionate than ever.”
From The Morning Never Came through 2012’s universally lauded Emerald Forest and the Blackbird, Swallow the Sun’s ascendancy has been like no other. The group’s sophomore album, Ghosts of Loss, placed within the Top 10 in Finland’s Top 40 chart, sandwiched with woe between System of a Down and Gwen Stefani. The same year, Swallow the Sun was nominated by the Finnish Metal Awards for “best cover art” and “best band”. Chart success continued unabated. With Hope—the group’s first for Spinefarm Records—Swallow the Sun burned up the Finnish charts, landing in the Top 3. But that wasn’t enough. When the Plague of Butterflies EP landed in September 2008, the 35-minute epic splashed at Number 1, cementing the group as serious contenders to Nightwish, Children of Bodom, and Amorphis. Follow-up full-length, New Moon, also placed easily in the Top 10 when it marched glumly into stores in 2009. Some three years later, Emerald Forest and the Blackbird also hit the upper echelons of chartdom, morosely peaking at Number 2. There was no stopping golden hand of Swallow the Sun’s doom. Even in the U.S., where the group has had marginal label support, they completed successful tours with Soilwork, Katatonia, Insomnium, and Kreator.
“During 2007-2012 we toured so much from our own pockets, it’s a miracle we’re alive,” says Kotamäki. “Some of us even have stable relationships, places to crash after all those years on the road. And now it’s time to do it again after a few quiet godforsaken years. I guess we’re still willing to risk it all.”
Swallow the Sun might not be labeled as risk takers, but they are. First of all, doom-death isn’t exactly a lucrative genre. Even My Dying Bride had to re-prioritize the band years ago to make ends meet. Second of all, Swallow the Sun touring the world—particularly the U.S., where costs are exorbitant—with limited label backing is no mean feat either. Third of all and perhaps most significant, Swallow the Sun have announced the follow-up to Emerald Forest and the Blackbird as a triple full-length titled, Songs from the North I, II & III. The group’s sixth full-length isn’t a compilation, an anthology, a live overview, or a boxed set. Songs from the North I, II & III is a legitimate triple album. With it, they join The Smashing Pumpkins, George Harrison, Tom Waits, among few others as artists willing to risk it all with a single release spanning three long-players. Whatever game Swallow the Sun are playing with their music and personal sanity, it’s paying off.
“It sure is pretty much full-on madness to do a triple album these days,” grins Raivio. “When bands want to release only one or two songs online because people would not have enough patience or time to listen full albums anymore. What bullshit. I think many bands are not respecting their fans at all to think that way. Or, they are just lazy bastards. I’m all about albums being whole experiences. Something you need to live through to be able really understand the depths and meaning of music and lyrics. Who would want to read a book just from the middle, or just watch the end of the movie? Music is holy, albums are holy. But it’s a triple album and all the albums make one big picture. One long journey through the light and dark. It is not a concept album that would have continuing story, but all the albums are connected to each other.”
Make no mistake, Songs from the North I, II & III features a complete Swallow the Sun experience. One album continues in the vein of Emerald Forest and the Blackbird and the albums before it. Meaning, it’ll be jaw-dropping, first-rate doom-death. Another album is an acoustic foray representing the group’s ability to unplug and enchant in the darkness. The final part of Songs from the North I, II & III is the most extreme, a complete ride into Swallow the Sun’s most horrific abyss. In the same vein as countrymen Thergothon, Unholy, and Skepticism, the third part is finely-crafted, conscience-crushing funeral doom.
“We have always been known for these words: gloom, beauty, and despair,” Raivio says. “That really says it all. As you get older and older, the wounds will just get deeper and deeper. The hell of living will take you into the depths you would never believe you have to travel in this lifetime, but at the same time you learn to respect the beauty more and more. All these things evolve. Like the music as the years pass. But I would give it away in a heartbeat if it would end these journeys in the dark. But it sure is good for the soul and heart of the music. No great art comes without great pain. Sad but so true.”
Songs from the North I, II & III is Swallow the Sun’s first for new label Century Media. Chuffed as Finland is cold in the winter, the Finns’ move from Spinefarm to Century Media was smart. In their new label, they’ll have a team dedicated to making sure Swallow the Sun’s black-hearted music is heard far and wide. Mostly written by Raivio following the Emerald Forest and the Blackbird tour cycle, Songs from the North I, II & III is an album that has taken time to perfect. Actually, that’s not entirely true.
“To be honest, we could have released this album over a year ago already,” reveals Raivio. “I think 90% of the music was written almost two years ago, but we had huge problems with our ex-record label and we could not enter the studio and go ahead. But now we are in the wonderful hands of Century Media. Nothing is holding us back now.”
Indeed, Swallow the Sun’s chains have broken. Even a drummer switch from Kai Hahto to newcomer Juuso Raatikainen won’t impede on the Finns’ venture. Whereas other doom-death metallers have made waves with violins, female vocals, and orchestras, Swallow the Sun are making their mark indelible with Songs from the North I, II & III.
“It’s such a massive album,” Kotamäki says. “Definitely not the easiest piece to swallow. I hope people will appreciate the amount of work we put into it after hearing it. It’s real music with real thoughts behind it. From uplifting to depressing and everything between. Like human life. No disposable shit.”
In a world crass, judgmental, and myopic, Songs from the North I, II & III will expand minds, release souls, and cleanse hearts. Let’s fall into the all-encompassing dark of Swallow the Sun together.
Swallow the Sun are: Juha Raivio (guitars), Matti Honkonen (bass), Markus Jämsen (guitars), Aleksi Munter (keyboards), Mikko Kotamäki (vocals), and Juuso Raatikainen (drums).
SWALLOW THE SUN - Pray For The Winds To Come (Lyric Video)

news & updates: KORPIKLAANI

Check out the new video.
"The foundation of Korpiklaani in 2003 in Lahti, Finland brought the traditional folk music back to life. No one could have foreseen that such a large audience would be interested in Finnish and English mythological texts.
The Folk Metal band rose up from the ashes of the former act Shaman and released their debut ''Sprit Of The Forest'' in November 2003 via Napalm Records. Korpiklaani quickly prepared and recorded a new album called ''Voice Of Wilderness'' which came out in January 2005.
Their third album ''Tales Along This Road'' was released the next year, followed by a successful promotion tour through Europe. The band kept on untiringly working on new songs, took part to the Wacken Open Air in 2006 and released both DVD and album ''Tervaskanto'' in 2007.
After a few sessions in studio came out the album ''Korven Kuningas'' in 2008. A music video to the song ''Keep On Gallopping'' was shot and broadcast on different channels.
Even in 2009, the band didn't lazy and released their sixth album ''Karkelo''.
After some tours and appearances in festivals, the album ''Ukon Wacka'' was published in February 2011 under the label Nuclear Blast.
One year and a half after the previous release ''Ukon Wacka'' came the workaholics back from their refuge in the Finnish forests to bring us into a fascinating trip in the underworld. Alongside Tuomas Rounakari, successor of former fiddler Jaakko Lemmetty, and his impressive violinist skills, Korpiklaani proudly reveal''Manala'' their eighth studio album. The summarized story of Jonne gives a good of the concept behind the album: 'Manala' is the land of the dead, the Finnish underworld. This place has been mentionned several times in the finnish national epic 'Kalevala', which is the basis of many songs. In the 16th Kalavala's poem called 'Väinämöinen', a shamanic hero travels into the Manala in order to acquire knowledge from the dead. He meets there a girl named 'Tuonen tytti' or 'Tuonen piika' (maid of the dead), who will make him cross the river Tuoni. However, he does not find on the island Tuoni the spells he was looking for, and could only just escape. Now, the shaman curses every survivor who tries to enter the underworld.
As special gift for every fan outside their homeland, Korpiklaani released the original finnish version of ''Manala'' with a bonus CD including the album in English in August 2012.
The band came back once again from the Finnish forests in May 2015 to deliver their new effort ''Noita''. It is the first album featuring newcomer Sami Perttula and his accordion, after Juho Kauppinen left the band. As well as fiddler Tuomas Rounakari, Sami was very involved in folk arrangements. The album was once again recorded at the Petrax Studios with producer Aksu Hanttu.

Fuglymaniacs posted the new issue of Metal Bulletin Zine

In case you missed it, there is a new issue of the zine. It is number 60. You can read it and download it at the link below.
**NEW** Metal Bulletin #60
Kusenpolttamaruumis (free EP) Full Terror Assault Open Air report (by Mike Coles) Waken Eyes (by Matt Spall), Armored Saint (by Fuglymaniacs) news & updates : [Evertrapped], Cryptopsy, Abhorrent Deformity, Prowler, Exquisite Ending, Vastum, Night Screamer

Sunday, October 25, 2015

Walter Berterame

Walter Berterame
"Walter is a solo guitarists Berterame nationality Argentina that after participating in the Arthois band (playing in a metal holder and being all Forks, Jeriko, Lörihen and shrapnel etc.) decides to begin his solo career.
In June 2013 he released his first instrumental EP of 5 songs which influences ranging from classic to Neo Metal melodic, through blues, funk, hard rock and experimental stand.
Throughout 2013 and until the end of 2014 presented his EP in more than 20 places in Buenos Aires and Capital Federal Zamarbide sharing the stage with Alberto, Pablo Soler and Carina Alfie among many other important bands of Under. With an excellent reception from the public, Walter had a lot of radio shows and invitations to charity events in addition to the live shows.
Currently this virtuoso guitarist is close to releasing their first official album "Forza Nova", due out in late April 2015, with guests like the recognized guitarists Pablo Soler and Carina Alfie. This presentation was made in one of the most important shows of Walter in his career next to guitar god Yngwie Malmsteen on April 24 at the Teatro Flores." (Facebook)
"Forza Nova" by Walter Berterame
Release date: April 2015
1.Forza Nova 04:54 instrumental
2.Black Jack Night 03:50 instrumental
3.Celestial 04:27 instrumental
4.Gods of Olympus 04:58 instrumental
5.Burning Riders 03:38 instrumental
6.Dreams Come True 04:48 instrumental
7.Osiris 02:48 instrumental
8.Dancing Butterfly 02:13 instrumental
9.Speed in My DNA 05:11 instrumental
10.Magnificum Partita 01:54 instrumental
total time 38:41
Walter Berterame - Speed in my DNA (Tema)
Walter Berterame - Osiris (Tema)

Saturday, October 24, 2015

news & updates: Tyranny

After a pause of 15 years, Tyranny has a new album.
"Tyranny is an uncompromising Funeral Doom band from Finland, formed in 2001. The current discography of the Tyranny Duumvirate comprises of “Bleak Vistae” EP released in 2004 and “Tides of Awakening” full-length released in 2005. The Latest album "Aeons in Tectonic Interment" will be released in 2015.
TYRANNY was conceived under the strain of a Stranger Will to channel the Ageless resonations of Earth and Oceans and sonorous visions and fevered dreams by the means of epic, Funereal Soundscapes."
L. Lindqvist - Vocals, Bass, Keyboards
M. Mäkelä - Guitars, Vocals, Samples
live members:
J. Lustig - Guitars
A. Mäkinen - Keyboards, samples
J-P. Manner - Drums
If you support really slow music, you might be interested in the band. This is what various people at Metal Archives have said about the previous album "Tides of Awakening" from 2005:
"It's really the atmosphere that makes this album work. If I'm being totally honest, it's the only element that I can even recall or appreciate about it in most instances. Here I am giving a high score to an album that I'll fully admit to not even knowing the track names for (and there are only fuckin' five of them), but it's because this doesn't still with you for the same reason something from a more energetic genre will. I'm never going to hear a part in any given funeral doom album that makes me go "Whoa shit, that was awesome, what track was that?" like I would with an album in pretty much any other genre. That's a characteristic of funeral doom as a whole to me, and Tides of Awakening just exemplifies it. From start to finish, this is basically one monstrous plateau of misery and helplessness. Sure, each song builds and climaxes appropriately, but at no point does the music take me anywhere other than the loneliest place imaginable. It's basically just one huge, hour long experience where you just sit at the bottom of the ocean while the weight of all the water pushes down upon you, and you struggle for air for a short while before understanding the cosmic futility of your perseverance, and then simply waiting to lose consciousness underneath all the pressure. The entire experience is just one long funeral dirge, wherein you spend all of the time alternating between reflecting upon the mistakes you made and then cursing yourself for allowing it all to end with those loose ends still hanging. I can't even call this a "journey" like I tend to when trying to be vague and metaphorical with my description, because it's very static. At no point do I feel like my story is progressing, I'm just sitting here, being pummeled ever so slowly by the increasing weight of each wave."
"Tyranny is a Finnish duo that plays glacially slow and extremely crushing funeral doom that leave the listener shaken and uncomfortable. It's like the painfully slow march into impenetrable darkness. The riffs are massive, moving along at a pace so slow it's downright glacial, but the production quality is clear. The growled vocals are absolutely inhuman as they wail from the deep. The low tuned guitars create an absolutely chilling soundscapes of horror that swallow the listener completely. The keyboard/ sound-effects are very creepy and flow seamlessly in and out of focus. I must say that the second track "Sonorous Howl From Beyond the Stars" is one of the most gloriously nightmarish songs I have ever had heard as it easily captures extremely dark and suffocating mood Howard Phillip Lovecraft was so famed for. But not only Lovecraft and the works of his colleagues are the main source of inspiration for Tyranny: a certain dreamlike flow is always present in their music and dreams play a significant role in creating the atmosphere of utter hopelessness and desolation. If you enjoyed Tyranny and their mauling Lovecraftian doom I would also like to recommend Fungoid Stream and Catacombs."
"Many people may be distracted by this album because there's no progression in songwriting. The album consists of four lengthy tracks, that all sound more or less the same and flow into one another perfectly (when I first heard "Tides of Awakening, I couldn't tell when one song ended and the other began.), and a rather pointless ambient outro. This not an album you should buy if you like great songwriting. It's the atmosphere, which is delivered perfectly, that makes this a great release."
"Uncompromising and extreme, to be sure, and those without a taste for excruciatingly slow and oppressive music are urged to approach Tides Of Awakening with great caution. But if you love Thergothon as much as these guys obviously do, then snap this puppy up, because you will love it."
"The first track is the best one on account of the slow, winding lead guitar. See everyone, that's how you do it: instead of trying to impress everybody by tossing in an accordion or some other stupidity, just let your instruments talk but have them speak in a very erudite fashion. It reminds a bit of Esoteric at points, but more in the manner of using the same good ideas as opposed to plagiarizing. The slow tempo and “depressive” (I do hate that word) conceptual themes and pipe organs and growling vocals and all the rest don't mean much to me by themselves: what makes this kind of music good, in general, is the flowing, layered sound and its deliberate evolution across the course of a song, and that is captured here quite well. After that my interest declines, as in the following songs there's a bit less epic lead playing and a lot more dragging repetition, and I find myself thinking, “Well, this track's getting a bit dull but at least we're drawing to the end of it” only to look at the timer and see that we're but nine minutes into a sixteen-minute song. Albums like this set the standard for the current wave of funeral doom and leave bedroom band amateurs choking dust, but I'd rather that the bar were raised instead."
Tyranny - Aeons in Tectonic Interment Album Teaser
Tyranny - Aeons in Tectonic Interment (Full album)

news & updates: TYGERS OF PAN TANG

New Wave of British Heavy Metal band TYGERS OF PAN TANG (formed in 1978) has new album of new recordings of the band's classics: "Tygers Sessions: The First Wave": 11 classic songs re-recorded and re-arranged by the current line up of the band.
"The Tygers of Pan Tang are Robb Weir (Guitar), Jacopo Meille (Vocals), Gav Gray (Bass) who played with the band at the 1999 Wacken festival re-union, Craig Ellis (Drums) who has been with the band since 2000 and the latest recruit was local North East guitar prodigy Micky Crystal who joined in 2013.
The band was originally formed in 1978 by Robb Weir (guitar) who then recruited Brian Dick (drums), Rocky (real name Richard Laws, bass), and Jess Cox (vocals). Rapidly building a local following from relentless touring, they were first signed up by local independent label Neat Records who released the debut single Don’t Touch Me There before MCA gave them a major record deal. The Band released their debut album `Wild Cat` in 1980.
Also in 1980 John Sykes (later of Thin Lizzy, Whitesnake) was added as a second guitarist to compliment the musical direction the band wanted to pursue. Jess Cox was replaced by Persian Risk vocalist Jon Deverill and this line up released the Classic LP `Spellbound` in 1981. The album was critically acclaimed and loved by the fans. Instead of promoting `Spellbound` to the full with worldwide touring the record company wanted the band to record a third album almost straight away which produced the under-rated Crazy Nights album. The frustration became apparent within the band and shortly after recording Crazy Nights and just before the start of a European tour John Sykes decided to leave. The band approached ex-Penetration guitarist Fred Purser who had to learn the set in two days before the tour began.
The bands fourth album `The Cage` (1982) was their most accomplished effort so far and the future looked promising. Unfortunately again the record company intervened and were not prepared to promote the band unless they agreed to play more cover recordings (this followed the band's worldwide hit with `Love Potion No. 9`). The band tried to break free from their contract to concentrate on their own material, but MCA's demands exceeded the willingness of any other record company to buy out the contract and the band broke up in frustration.
In 2001, Robb Weir decided to reform the band as a going concern, despite being the only original member. Robb wanted to keep the Tygers name alive, play the music he loves and to play for the fans that he had remained close to.
In 2008 the band released their real comeback album `Animal Instinct` and the reviews were spectacular. Geoff Barton from Classic Rock Magazine gave the album a 8/10 with comment that he preferred the album to both Whitesnake's `Good to be Bad` and Def Leppards `Songs from the Sparkle Lounge`. The album received fantastic worldwide reviews in almost all the major publications and websites alike.
2010 was regarded as the 30th Anniversary of NWOBHM, this saw the Tygers celebrate the 30th Anniversary of their debut release `Wildcat` and to commemorate this, the band re-recorded five tracks from the `Wildcat` album and called the release `The Wildcat Sessions` EP. In 2011 the second instalment of the Sessions EP was released `The Spellbound Sessions EP.
2012 was a special year for the band, not only were the Tygers invited to play one of the premier music festivals `Sweden Rock Festival` it also finished the writing of the new album ` Ambush`. A new record company was also on board `Rocksecter Records` and Chris Tsangarides was engaged to produce and mix the new album as was Rodney Matthews who was commissioned to produce the albums artwork. Chris was the producer for the `Wildcat` and `Spellbound` albums and who better to get that Tyger signature sound and Rodney painted the iconic `Crazy Nights` cover. The back-room team was back in action and the band really have excelled with `Ambush` which gives everything expected from the Tygers of Pan Tang.
In 2013 the Tygers hit the road to promote `Ambush` and played a number of venues around Europe, 2014 is expected to be the same.

The spirit and camaraderie within the band has never been better and this is reflecting in both the writing of new songs and the live performances. It’s exciting times for the Tygers and 2014 should be another busy year." (Facebook)
TYGERS OF PAN TANG "Gangland" taken from the "Tygers Sessions: The First Wave" CD (Skol Records 2015). Music and lyrics by: Robb Weir, Richard Laws, Brian Dick, Jon Deverill & John Sykes.

Excuse All the Blood

Excuse All the Blood, a metal music show from the state of Washington, U.S., is available to listen to anytime at the link below.
Seamus O'Reilly is the host of the show. The show plays lots of traditional heavy metal and black metal, and death metal and other genres, too. The show is on Friday nights, but if you missed it or are unable to listen to it at its regular time, you can catch it on the archive below.
Go to the section called "Station Archive" and click on "Excuse All the Blood."
This the show's Twitter link:

Friday, October 23, 2015

news & updates: METAL CHURCH

NEW!] METAL CHURCH / New Album EPK / Part 1 / "The Return of Mike Howe"! Part 1 features a behind the scenes look at the making of the new Metal Church album featuring singer Mike Howe and guitarists Kurdt Vanderhoof & Rick Van Zandt.
Metal Church is an American heavy metal band. They originally formed in San Francisco, California in 1980 before relocating to Aberdeen, Washington the following year and briefly using the name Shrapnel. Their eponymous first album was released in 1984, and their latest, Generation Nothing, in 2013.
The band is credited as a formative influence on the thrash metal subgenre, melding the aesthetics of the New Wave of British Heavy Metal and American hard rock with "incredibly tight musicianship" and "piercingly screeched" vocals. Early lyrical topics such as conflict and paranoia later expanded into philosophical and social commentary.
Founding guitarist Kurdt Vanderhoof remained the group's sole consistent creative force throughout its career, despite reducing his role strictly to composition in 1986 after tiring of performing. Vanderhoof, vocalist David Wayne, guitarist Craig Wells, bassist Duke Erickson, and drummer Kirk Arrington composed the group's classic lineup featured on its first two records, while vocalist Mike Howe and guitarist John Marshall later contributed to the group's sound. After releasing five full-length albums and touring extensively throughout the 1980s and early 1990s, Metal Church disbanded in 1994. They reformed four years later with their classic lineup, including Vanderhoof's return to performance, yielding the Masterpeace album. They endured numerous lineup changes thereafter, releasing three further studio albums while fronted by Ronny Munroe before again disbanding in July 2009. The group once again reunited in October 2012 and issued Generation Nothing a year later.
Formative years (1980–1984)
Then based in San Francisco, Kurdt Vanderhoof formed the band in 1980 with various musicians. This era included a brief audition period with future Metallica drummer Lars Ulrich. The three-song, instrumental Red Skies demo appeared in 1981, featuring Vanderhoof, guitarist Rick Condrin, bassist Steve Hott, and drummer Aaron Zimpel.
Vanderhoof returned to his hometown of Aberdeen in 1981 and began the new group Shrapnel with Craig Wells, Duke Erickson, drummer Tom Weber, and vocalist Mike Murphy. Murphy departed before their next demo, which was recorded without vocals, and Weber departed shortly thereafter. The enlistment of Kirk Arrington and David Wayne completed the group's classic lineup. They released the demo Four Hymns and spent following years touring and accruing material, readopting the Metal Church moniker in 1983.
First two records; commercial success (1984–1988)
In 1984, they released their self-titled debut album, which included three songs from the Four Hymns demo and a cover of Deep Purple's "Highway Star". They sold 70,000 copies of the album independently before signing to Elektra. According to Wayne, Ulrich and Metallica band mate James Hetfield urged Elektra to sign the band before another label did.
By the time Metal Church released their second studio album, The Dark, in 1986, they were touring with high-profile acts like Metallica. The Dark was a commercial success, helped by the fact that the band's first music video, "Watch the Children Pray", received frequent airplay on MTV.
Shortly after the album's release, however, they were plagued by lineup changes: Vanderhoof ceased performing with the group in 1986, to be replaced briefly by Mark Baker and more extensively by John Marshall. Vanderhoof nonetheless continued to work with the group in composing thereafter, co-writing much of their subsequent material. Wayne also departed shortly thereafter and was replaced by former Heretic singer Mike Howe.
Further albums; first breakup (1988–1994)
With Howe, the group released their third studio album, Blessing in Disguise, the following year. Critics responded favorably, including some assertions that the record was the group's strongest effort. After being replaced by Heretic's former singer, Wayne recruited the remaining members of Heretic to form Reverend.
Following extensive touring, Metal Church released its fourth studio album, The Human Factor, via Epic Records in 1991. Critics applauded the group for transitioning to a major label and successfully retaining the vitality of their sound, while also releasing a record with conceptual accessibility beyond the heavy metal genre.
The band followed with their fifth studio album, 1993's Hanging in the Balance on Mercury Records, but disbanded the following year, later citing management problems and poor record sales as factors.
Reunion of classic lineup; Masterpeace (1998–2001)
Founding guitarist Kurdt Vanderhoof began performing with the group for the first time in 12 years for their 1998 reformation. The members of Metal Church began compiling their first live album in 1998, Live, which featured songs from their first two records performed by their classic lineup. During the production of Live, Wayne, Vanderhoof, Wells, Arrington, and Erickson decided to reform the band and began work on a new studio album. Wells was forced to depart the band due to familial obligations, however, and was replaced by the returning Marshall.
The resulting album, Masterpeace, was released in 1999 on Nuclear Blast Records. Critics responded positively, hailing it as a focused product that increased the energy over previous releases, despite it ultimately failing to break new ground. Arrington and Erickson were unable to tour behind the record, so the band enlisted members of Vanderhoof's side projects, bassist Brian Lake and drummer Jeff Wade, for live performances later that year.
Wayne expressed regret regarding the record, which influenced his musical output that followed.He again departed in 2001 due to personal and creative differences, forming the group Wayne with Wells and releasing the curiously titled debut album Metal Church thereafter. Vanderhoof objected to the album's name and cover art; according to Wayne, the purpose of the album's name was to alert the audience of his involvement. Erickson and Marshall also ceased involvement with Metal Church after Wayne's departure.
Munroe-led lineup, Wayne's death, and second breakup (2004–2009)
Vanderhoof's eponymous band released A Blur in Time in 2002, and he began working on new material for Metal Church's next album thereafter. In 2004, he and Arrington recruited singer Ronny Munroe, ex-Malice guitarist Jay Reynolds, and bassist Steve Unger to form a new lineup of Metal Church. They released the band's seventh studio album later that year, The Weight of the World. Critics generally reacted to the record with a lukewarm response, recognizing its accomplishments while noting its lack of consistency and innovation.
On May 10, 2005, David Wayne died of complications from injuries sustained in a car accident that occurred months before. He was 47 years old.
In 2006, Arrington left the band due to health complications with diabetes. His replacement was Jeff Plate, who previously worked with Savatage, Chris Caffery and the Trans-Siberian Orchestra. Later that year, the band released their eighth studio album, A Light in the Dark, which featured a re-recording of "Watch the Children Pray" as a tribute to Wayne. Vanderhoof said that the tribute was a way of showing fans that he harbored no ill will towards Wayne despite the contentious situation that existed between them before Wayne's death.
Reynolds left the group in 2008 and was replaced by Rick Van Zandt. The band's ninth studio album, This Present Wasteland, followed in 2008, which was hailed generally as an effective release consistent with their previous material. After subsequent touring, the band took a hiatus from performing due to Vanderhoof's back problems. They nonetheless continued studio work, while Munroe and Vanderhoof also completed the former's solo album.
After Vanderhoof's health improved, they returned to performing and composing new material. On July 7, 2009, however, the group announced unexpectedly that they were disbanding following a final performance at Rocklahoma two days later, cancelling numerous further live dates. They cited industry frustrations as a major factor influencing the decision. Several former members remained musically active, including Munroe and Vanderhoof in Presto Ballet and Plate in Machines of Grace.
Second reformation and Generation Nothing (2012–2013)
In October 2012, the band announced resumption of activity around a lineup featuring Vanderhoof, Munroe, Unger, Reynolds (soon replaced by Van Zandt), and Plate. Their first performances came the following January during the 70,000 Tons of Metal event, a heavy metal cruise. During one of these two shows, the band played their debut album, Metal Church, in its entirety. Shortly thereafter, Vanderhoof told Music Life Radio that Metal Church had been working on a new album. In order to promote their new album, the band played festivals in the summer of 2013.The new album, Generation Nothing, was released in October.
Reunion with Mike Howe (2014–present)
Munroe left the band in September 2014 to "pursue other interests". The band announced its plans to continue nonetheless.[19] On April 30, 2015, Metal Church announced on their Facebook page that former singer Mike Howe had rejoined the band, some 20 years after first leaving the band. The band has also been working on a new album. [Wikipedia]
METAL CHURCH / New Album EPK / Part 1 / "The Return of Mike Howe"

new issue: no.60 Metal Bulletin Zine

This month of October 2015 there have been four issues of Metal Bulletin Zine. The most recent issue is now posted and you read online below.
The new issue has:
Thy Emptiness (WA state)
Hath (free EP)
Kusenpolttamaruumis (free EP)
Full Terror Assault Open Air report (by Mike Coles)
Waken Eyes (by Matt Spall
Armored Saint (by Fuglymaniacs)
news & updates: [Evertrapped], Cryptopsy, Abhorrent Deformity, Prowler, Exquisite Ending, Vastum, Night Screamer
available here:

this week's issue: no.60 of Metal Bulletin Zine

This week's issue of Metal Bulletin Zine is number 60.
Check it out here:

Thursday, October 22, 2015

free EP of crust/metal: Kusenpolttamaruumis

This is a free EP of raw crust/metal. It was free when last checked on October 21st, 2015. This one is exclusively for those into DIY raw recordings. If you have a strong interest in crust and you would like to learn a bit of Finnish in the process, here you go, this is for you. It is a self-titled EP. The project is Patrik Albrecht on drums and Joel Aukusti Peksujeff on guitars, bass, vocals. Both musicians have other projects that also are listed at Metal Archives.
1.Palvelija 02:18
2.Kruunusta sisään 01:52
3.Sinä olet kuolema 02:16
4.Olet polvillasi 02:08
5.Purkaus syvyydestä 01:40
6.Krypta nyt 02:24
7.Paennut häveten 02:15
8.Loppuun kulunut 02:28
total time 17:21


Witchblood is the work of Iron Meggido, also known as Pagan Megan Leo, according to Metal Archives. In this black metal entity she apparently plays guitars, bass and does vocals, with session drummer. There is a demo from 2009, an EP from 2012 and a full-length album from 2014. The 2014 album is called “Hail to Lyderhorn.” From the sounds of it, Witchblood represents a commitment to black metal with headbanging riffs.
The necro black metal is a huge part of this sound, but you can hear the music well in this context. You can also definitely hear that there’s dedication to the guitar work. In short, you may not have heard of Witchblood, but if traditional black metal is important to you and you are searching for new bands and projects to immerse yourself, go here:

free EP of extreme metal: Hath

Free album; free when last checked on October 19th, 2015. This week I would like to tell you about Hath. They are a death metal band from New Jersey. They don’t have lots of information on their Facebook page, but the most important thing is that they have an EP for you to hear. The music is a bit on the side of “blackened death metal,” which means that there is a certain level of skill and experience involved. I just found out about this band and I’m still listening to the EP to know it better. It sounds promising. Really, it sounds like serious extreme metal, which is what matters. Maybe they will start publishing more information. Regardless, if you want to hear a new band (new to you) that seeks to make quality extreme metal, then Hath is for you.
"Hive" by Hath released October 14, 2015
1.Apparition 07:46
2.Replicated 06:24
3.Swarm 05:57
4.Commandment 04:22
5.Hive 07:38
total time 32:07


Adore is a solo project of Shantell Daggs, according to Metal Archives. Adore is black metal from Louisiana/Texas, U.S. There is a demo from 2013 and the 2015 album, which you can stream on Bandcamp. I would say that the music is necro-depressive symphonic black metal, with the characteristics of a solo work: an artist going crazy making the black metal she wants to make; the atmosphere might be necro and fast in places, but the symphonic and depressive vibes are never too far way.
"Wanderers of Oblivion" by Adore release date: March 29th, 2015
Adore - All music, lyrics, vocals
guest vocalists:
Cernunnos (of Hæresiarchs of Dis): lead vocals on "The Bitter Winter" & "The Hidden Path" Grant Gordon: backing vocals on "Dreary"
cover artwork: Steven Askew
1.A Mystic, Transcendent Spirit 06:27
2.Last Night's Sky for Dying Eyes 06:20
3.The Bitter Winter 07:47
4.The All-Deceiving 04:42
5.The Great Escape 04:03
6.Venus Ablaze 04:56
7.Tombs of Dead Stars 07:43
8.Cold World 05:11
9.Unearthed 07:24
10.Exiting This Fleshy Vessel 05:19
11.Dreary 05:28
12.The Hidden Path 04:41
13.There's Something Out There 07:26
total time 01:17:27
Adore expresses a preference for: Xasthur, Absu, Summoning, Shining, Sargeist, Horna, Bethlehem, Enslaved, Cold World, Hakuja, Membaris, A Transylvanian Funeral, Krieg, Secrets of the Moon, Judas Iscariot, VorKreist, The Ruins of Beverast, Poccolus

Thy Emptiness (Washington state)

Thy Emptiness
Thy Emptiness is melancholic gothic death doom from the town of Battle Ground in the state of Washington, U.S. Thy Emptiness is comprised of OldNick and The Witcher, who are both known for the black metal band Ceremonial Castings.
Ceremonial Castings was active from 1996 to 2014, and if you look it up on Metal Archives you will find an extensive discography that is worth investigating. The albums often receive very positive reviews. Unfortunately, Ceremonial Castings has disbanded (for now?).
Meanwhile, Thy Emptiness is a different sound altogether. It is doom, but it’s traditional doom in the classic style of old Paradise Lost or old Katatonia and that type of bands.
"Crowned Under Cascade Rain" by Thy Emptiness (October 28th, 2013)
1.Forever the Ghost 10:02
2.Crowned Under Cascade Rain 09:09
3.Your Beauty My Burden 09:26
4.For a Love Colder than Death 11:09
5.For You (My Dying Bride cover) 06:38
total time 46:24
I would like to remind you of another project related to Ceremonial Castings: Mysticism Black, which is symphonic black metal and the album is available for free.
"The Dark Erudition" by Mysticism Black (December 14th, 2006)
1.Erudition Part I - Knowledge 09:39
2.Motorium Transcendence 04:19
3.Erudition Part II - Wisdom 11:29
4.Defilement of the Essence 04:43
5.My Lord 05:00
6.Erudition Part III - The Highest Order 10:27
total time 45:37
Mysticism Black has made the following announcement on Facebook: “MYSTICISM BLACK has confirmed for Famine Fest 2016. We will be sharing the stage with SADISTIC INTENT, MIOCHONDRION, N.M.E., and many other great bands from all over. More groups are to be announced soon. We hope that you come to support one of the greatest festivals in the northwest.”


Einheit Produktionen
release date:
September 18th, 2015
Saxorior’s first recording is from 1994, and ever since then the band has been perfecting its art. Now, for this 2015 new album they went all out to make the album that would sound as if it were the last thing they would ever do in this life and possibly the next. New and old listeners alike will be surprised by this encounter of epic headbanging melodic symphonic extreme metal. The new album finds Saxorior, whose name combines Saxon and warrior, reaching into the ancient past of their cultural heritage. The music shows the band bringing all of its experience for the best possible album that they can realize.
Saxorior has spent serious time working on this album, and the listener can immediately tell. The album is an aural documentary, a concept album that stands as a high achievement for the band, and its dedication to and love of metal.
The album is called “Saksen” [modern German spelling: “Sachsen”], the ancient peoples that settled in what is now Germany. Of course, the Saxons, Angles, Jutes and other closely-related ancient Teutonic peoples are historically known for invading and settling in Britain.
However, the Saxons on the continent are documented as being particularly resistant to Christianity and to the expansion of the Frankish kingdom in what is now France. The Frankish king Charlemagne waged wars in order to expand his influence and to Christianize the Saxons. Some see a thirty-year period of wars between the Frankish kingdom against the Saxons, from 772 to 804, some eighteen battles in what is now northwestern Germany. Afterward, Saxony was made part of the Frankish kingdom and there took place a forced conversion from aboriginal Teutonic beliefs to the new and foreign religion of Christianity.
The album “Saksen” has the following songs:
1.Hinreise 03:38
2.Saksen 09:15
3.Litus Saxonicum 06:56
4.Irminsul 05:21
5.Blutbad von Verden 10:44
6.Sax 04:45
7.Stellinga 06:21
8.Rückkehr 04:44
total time 51:44
As you can imagine, the history of the Saxons is important to Saxorior. For instance, “Blutbad von Verden” is the episode of the Massacre of Verden in which some 4,500 Saxon prisoners were executed in cold blood by the Frankish king Charlemagne in 782, as part of his campaign to subjugate and Christianize the Saxons. Or, for example, “Stellinga” is the last Saxon uprising that happened between 841 and 845.
After listening to the album for some time, the music on display is really impressive and I can imagine how much difficult work it must have been over the years to put together this work of art. Can there be any other explanation as to why this band has made such an album, the kind of work that probably drove them mad more than a few times and caused lots of stress? It must be the all-consuming passion for metal music.
By the way, some politically correct people have accused the band of being a right-wing political group.
On its website the band has posted a statement regarding this matter. The band says that at no time have they made political declarations in favor of right-wing political parties. According to the band, any such accusations come from people who do not even know the band.
Well, clearly, on this album, the band’s concern is the myths, legends and history of the Saxons. History, religion, culture and politics of ancient times are the topics of the album, not some type of present-day political message in favor of a political ideology.
Support the metal of Saxorior, not rumors and gossip.

news and updates: hear CHASTAIN – “All Hail The King” – official single from the upcoming album "We Bleed Metal"

CHASTAIN – “All Hail The King” – official single from the upcoming album "We Bleed Metal"
CHASTAIN "All Hail The King" is the first official single from the upcoming new album "We Bleed Metal" - official release date: 06th of November 2015
By mentioning the name CHASTAIN, Metal maniacs and lovers of female-fronted Metal bands fall into endless rapture. Active since 1985, the band featuring legendary vocalist Leather Leone and guitarist David T. Chastain has earned an almost godlike status with albums such as "Ruler Of The Wasteland“ (1986) and "The Voice Of The Cult“ (1988).
Now, Pure Steel Records has the honour to welcome this band. With the release of the new, now tenth album, "We Bleed Metal,“ the cult act still delivers the old spirit and celebrates traditional Heavy/Power Metal at its best. The unique heavy vocals of Leather Leone and the dark, shredding riffs of the eponym are still full of contemporary impact. Not pandering to any trends, this is pure steel from the U.S.A.!
To sum it up: With "We Bleed Metal“ CHASTAIN releases their best effort in at least 25 years!
Leather Leone – vocals
David T. Chastain – guitars
Mike Skimmerhorn – bass
Stian Kristoffersen – drums

Wednesday, October 21, 2015

Waken Eyes

Artist: Waken Eyes
Album Title: Exodus
Label: Ulterium Records
Year Of Release: 2015
review by Matt Spall, Man of Much Metal
I don’t like the description ‘super group’; it conjures up too many negative connotations including the falsehood that the group of musicians themselves subscribe to the notion of being super or better than other bands. Occasionally, this might be the case but I find it a rarity. The other problem is that the minute a band is labelled as a super group, focus is removed from the most important thing; the music itself.
That said, if you’re a fan of the same kind of music as I am, the clientele involved in the Waken Eyes line-up is certain to get pulses racing and eyebrows more than a little raised. Formed by solo guitarist of note Tom Frelek, Waken Eyes soon took shape thanks to the additions of Darkwater’s Henrik Båth on vocals, Symphony X’s Mike LePond on bass and the prolific drummer Marco Minnemann who has appeared on several solo releases as well as alongside Steven Wilson, Ephel Duath and Joe Satriani to name just a few. As such it is difficult not to get sucked into the notion of a super group but I will refrain and instead judge ‘Exodus’, the debut from Waken Eyes on the basis of the musical output. And happily, on that score, the word ‘super’ can most definitely and legitimately be used.
Defined loosely as a melodic progressive metal band, Waken Eyes draw influences from across the rock and metal genres as well as from all corners of the musical world. These wide-ranging influences can be heard throughout an album which is definitely rich and multi-layered, with plenty of twists and turns. On a first listen, the compositions come across as deceptively simple, something that could potentially lead to the dismissal of Waken Eyes by those with short attention spans. Give ‘Exodus’ more time to unfold and the rewards are surprisingly gratifying.
The ten compositions are definitely melodic, with each containing a chorus, hook, vocal-line or bridge that will immediately grab the attention or infiltrate the subconscious in a quiet, insidious manner. The melody is generally quite understated however, as is the more ‘progressive’ element. We’re not talking polyrhythms, 15-minute instrumental passages where the musicians trade-off solos or showcase their technical abilities for the sake of it. There are instrumental passages here and there of course but these are more integrated within the songs, if that makes sense. As you’d expect, the execution is of a very high standard but the individual prowess of each musician never gets in the way of the composition. Instead, a sense of drama, complexity and ‘prog’ is created via the many layers of music, the exploration of light and shade and the injection of numerous, quite subtle different influences that all come together to create something extremely cohesive and focused. For that, the band deserves a lot of praise.
The album opens with ‘Cognition’, a four-minute instrumental composition that underlines the sense of the theatrical and the love of cinematic soundscapes. It begins quietly with a myriad of sampled sounds before a powerful drum beat joins with keys and synths as the track builds like a film score inexorably to a strong and dramatic conclusion via some rather luxurious lead guitar work from Frelek.
‘Aberration’ flows seamlessly from the opener and is a driving hard rock/metal track that’s not afraid to pull back and allow the bass of Mike LePond to dominate alongside a simple piano melody. The first notes from Båth are almost whispered but they build throughout the track. Synths are never far away, adding an atmospheric richness whenever necessary but the star of the show is the simple but oh-so effective lead guitar melody that takes centre stage throughout the first half of the track. The song then explodes into a dramatic finale again dominated but not overpowered by a virtuosic guitar solo, made all the more potent thanks to a great rhythm performance from Minnemann and LePond in particular.
Elsewhere, ‘Back To Life’ is a surprisingly emotive quasi-ballad that is book-ended by a spoken-word sample. In between, the track is complimented by a power metal-esque hook-laden chorus and an all-round execution from each member that screams quality. The vocals are particularly striking, as is the inclusion of an acoustic guitar which adds another dimension to the track and lends a slightly more mainstream edge, but in a positive manner. The piano that accompanies the spoken word intro/outro is simply beautiful; so rich and deep, it’s wonderful.
‘Palisades’ is another personal favourite. The intro is dramatic and the initial guitar and bass combo reminds me of Iron Maiden at their most introspective and broody. The synths join in to increase the atmosphere before the song explodes in pure unadulterated power metal worship. The guitar sings and is joined by some surprisingly strong head-back wailing from Båth. From there, the gears are shifted and a more straight-up hard rock vibe takes over complete with stomping rhythm and seductive swagger. Head nodding is compulsory, as is a touch of impromptu air guitar. This track is a great example of the subtle progressive nature of Waken Eyes’ music as almost imperceptibly, a myriad of different musical ideas are shoe-horned into four minutes of music without it ever feeling over done or messy; everything flows as it should, everything feels natural and before you know it, the track is at an end.
Each track more or less maintains this high quality. ‘Cornerstone’ is another ballad of sorts with a prominent acoustic guitar, emotional lead lines and another impassioned performance from Bath, who is joined by a female vocalist with whom he duets to nice effect. The instrumental composition ‘Still Life’ has an almost country rock vibe which I surprisingly rather like in spite of myself whilst ‘Arise’ sees Waken Eyes at their most extreme, with an occasional thrash metal edge to the choppy rhythm guitars and a harsher vocal delivery at times, albeit interspersed with quieter, more dreamlike sequences.
‘Exodus’ is then brought to a close via the 18 minute epic title track which pulls everything that Waken Eyes does well into one gloriously indulgent composition. The cinematic and theatrical elements are reprised in all their splendour, spoken-word samples make a return, the track ebbs and flows from all-out power to subtle, gentle restraint with ease and it is here that the band do indulge ever so slightly and showcase their considerable musical prowess. Nevertheless, the track remains cohesive and enjoyable throughout its many twists and turns and it’s a very strong conclusion to a highly commendable debut album, one that sees four musicians of note come together and create a soundtrack to match the hype and expectation that a collaboration of this nature is sure to bring with it. To be honest, this is a rarity but Messrs Frelek, LePond, Båth and Minnemann have delivered the goods. As such, ‘Exodus’ is certainly one of the melodic progressive highlights of the year. Who needs the term ‘super group’ when the music itself is super?
The Score Of Much Metal: 8.5
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