Metal Bulletin Zine: October 2016

Monday, October 31, 2016

interview with Mike Coles, from The Outcast webzine

Mike Coles has been moshing, banging his head, screaming in bands, doing zines and taking pictures for a long time. Once he got into metal in the seventh grade in the late 1980s, he says, it’s been a constant in his life. He has introduced many people to new bands and to metal in general over the years, myself included, of course. He was there in person for the big wave of death metal that appeared in the late 80s and early 90s. Friendly, hysterically comical and down to earth, he also happens to be a walking library of metal music knowledge, as you will read in this interview. In this interview Mike will take you back to the 80s and the 90s big time.

You have been writing about metal music for a long time. How did you get into metal music in the beginning? Do you remember your first contacts with metal music?

My friend Jose Medrano from Houston introduced me to metal in 1988, I think it was. Whatever year it was that I was in 7th grade. He introduced me to King Diamond, Mercyful Fate, Testament, Exodus, Anthrax, and from there, after each album that I bought, I would read the "Thank you to...." and would discover other bands in that way. Funny story, when I moved from Texas, using this method of finding new bands out, there was a music store called Camelot Music store at the Cape mall in Missouri. There was a metalhead that worked there and he would let my friends and I buy tapes, go to the car and listen to them, and whatever we didn't like we would return and exchange what we didn't like for other bands. After a few months of doing this, he said we had to stop. hahahahaha!!!

Do you remember how you started doing zines? What gave you that idea? When did you start? In your experience, how was it back in those days?

It's kinda an odd story. I think the year was 1992 or 1993, and I was at this Christian Metal Festival called Cornerstone in Bushnell, Illinois. A friend of mine was doing his own fanzine, you know, simple cut and paste photocopied zine, and he asked me if I would interview some of the local Christian death metal acts that were at the festival. I was like; "Ok." So here I was, 16 years old, not knowing what to do really, not really having any questions in mind, I walked up to this death metal band and asked them if I could interview them. Of course, they said yes and so the interview began. After the interview my "boss"/friend was impressed and said he couldn't believe how well I did with it considering I had never done that before. He said my questions were really great and said he felt ashamed that I was better at his job than he was, ha, ha, ha!!!

He was way older than I was, so maybe that is why he felt ashamed? After a year or so of doing this with him, I started playing in the death metal band Existence in 1992 or 93, can’t recall. After a few years of talking to people in the underground through snail mail, tape trading with other bands with the bands I screamed in, in 1996 I met a guy named Tim from Michigan I think it was and he talked me into working with him in his magazine called Before Dawn. So we released one issue together with Before Dawn in 1996 and in 1997 I decided to go off on my own and The Outcast was born.

Back "in those days" everything was new and fresh. I remember when the first few Death albums came out. I remember when Earache released Altars of Madness, Left Hand Path, etc. I remember buying the first Deicide, Cannibal Corpse, Monstrosity, etc. albums. It was fresh. Bands didn't really sound the same as they do now, you know? Today the scene is cluttered with bands that all sound the same. Although I will still do interviews from time to time, I quit reviewing bands releases, old and new. What can I say that I haven't already said, you know? I can't even recall the last newer band I ever bought an album of. I think Orphaned Land is the only newer band that I really enjoy. Give me my old school metal/punk and I'm good to go!!!

Even though you live in the Midwest, you started out in the metal scene in Houston, Texas. What do you remember about The Axiom and other venues and the shows that you saw there?

Although I was 13 when I started going to shows until I was 15 years old before I left TX, I had an awesome mom whom would drop me off at these shows. At times with friends, other times alone, but I tried never to miss a show if I knew about it. I still cannot believe she let me go to these shows in downtown Houston, especially alone at that age. I would never let my kids do that today!! Numbers was the first venue and time I saw King Diamond in 1989 during the Conspiracy tour and GWAR during their Hell-O tour. Great memories there for sure seeing my idol at the time live!! And GWAR, well, it's GWAR!! Fitzgeralds was the first venue and time I saw DRI, Sick of it all, and Nasty Savage. First show I ever stage dove at and it was the first time I almost got knocked out because someone stage dove into my eye. The Afterdark. No comment there.

And of course, The Axiom. I saw so many bands there. Morbid Angel during their Altars of Madness tour was our last show together there before I moved from TX, huh? Great memories!! I saw Morbid Scream there, Devastation, Soilent Green, Dark Reign, Dead Horse, Lunacy, Malignant Terror, etc. I cannot recall all of the bands I saw, but I do recall having a great metal childhood!! One of my fondest memories at the Axiom was Dead Horse having to stop shows all of the time because of the skinheads. Always fighting and causing havoc. Thankfully this little Mexican survived the hate!! hahahaha!!! And let’s not forget the Laaz Rockit, D.B.C., and Devastation show at the Axiom when the fire martial and fire dept showed up. And oh yeah, when I almost got arrested for peeing in the alley that night. Great memories for sure!!!

How was the move from Houston to the Midwest at first, in terms of family, school friends and all that? Did you miss going to shows?

At first the moved sucked!! I hated living in a town of nothing full of racist assholes. And although I still hate that town with all my heart (Anna, IL), I'm not going to lie, the slower pace of life was nice. No traffic or gang violence, you know? As for friends, when I moved. I had maybe 5 friends? Everyone was afraid of me when I moved back to Illinois from TX because of my Satanic imagery due to metal. It was rather humorous. Yes, I missed out on many shows when I left Houston, but if you go to The Outcast fb page, one will see ticket stubs from around 80% of the shows I was able to catch in St. Louis, MO. back in the early 90s up until now. I still go to shows. I saw DRI and Metal Church a few weeks back, you know?

At The Galaxy in St. Louis I was able to catch Dissection and At the Gates in their prime, you know? At Mississippi nights I was able to catch Kreator during the Coma of Souls tour. I've seen Morbid Angel on every tour after I left Houston in St. Louis. I got to see Grave, Cancer, Demolition Hammer, Monstrosity, Devastation, Cannibal Corpse during their Eaten Back to Life tour, Deicide on their first tour and everyone else mentioned at CLUB 367 during their first releases. I got to meet King Diamond for the first time at Mississippi Nights in 1994 I think it was. I was able to hang out with Sepultura and talk to Igor during the Arise tour at CLUB 367. I have great memories from living in TX and going to shows, but don't think I haven't had my METAL fill here in the Midwest, either!! Let's not forget Milwaukee Metal Fest, either!! That was only 8 hours from my house. Great memories there as well!!

Now that you are older, have you grown to like the Midwest more? You went from living in a big city like Houston and to a small town. Were you miserable at first? How do you feel about it all now?

I'm currently living in Ironton (remember that horrible town?) due to my divorce, but still work in Carbondale. I live in Illinois and in Missouri. It's a crazy life, I tell ya!! I'm not miserable living in Carbondale, but I am in Ironton. Thankfully St. Louis is only 1hr 20min away so when I need to live the city life, I take off and go there. Carbondale is a cool little city, even though it’s ranked at 23 out of 100 as most dangerous cities to live in. But yeah, I call Southern Illinois my home and I'm ok with that now.

How many bands have you been in? You were the vocalist for El Pecado, which is in Metal Archives. What other bands did you work with?

It is pretty cool that some dude from Japan bought our El Pecado demo and put us in the Metal Archives. I had no clue we were in there until a couple of years ago. Since 1992 I've screamed in CLAY, Existence, TURN, Koz-E Kittens, El Pecado and played keys and handled theatrics with S.S. Bounty Hunter. In 1999 I quit playing music all together and started focusing on my photography and writing. Haven't played with anyone sense.

Do you ever the get itch to do vocals again?!

Yes, I tried reforming El Pecado with the bass player a few months back, but I think since my ideologies have changed, people think one cannot be a Christian and play metal so it never happened. Maybe one day I'll find some people who love metal and that can and will accept my lyrics.

You have kids and you have been married. Do your kids like metal? How have you approached this issue? What kind of contradictions or dilemmas did you run into?

My son is ok with metal, but my daughter hates it!! She actually started bawling the first time I let them listen to El Pecado and Koz-E Kittens. She said it scared her!! I couldn't help but laugh hysterically at her, which then made her cry even more. Bad, bad daddy!! Hahahaha!! I pretty much just listen to Christian pop music when I'm with my kids in the car anymore. It's just easier to please everyone in the car and not just me, you know? And as far as the "bad metal", I do not listen to anything evil or Satanic anymore, so I think the metal I do play for them in the car is ok. Usually power metal of some sort if I listen to it with them although they call all metal, death metal. Still trying to teach them the difference!! Hahahaha!!

Finally, you do photography of all kinds. Can you talk about that and about your business with that? You are active with The Outcast web zine. Can you tell us about that and what you do in 2016?

I've been shooting professionally since 1999 and haven't looked back. I do not photo-shop any pictures or believe that scene is for me, which has made me lose business, but oh well!! Yes, I'm an artist, but when it comes to photography I'm a purist. I don't like to manipulate pictures. Due to how I work and do not really advertise other than on FB and word of mouth, my business isn't much of a business in my book. I do an occasional wedding, band shoots, Sr. pictures, etc. a few times a year, but waiting tables at my job is where my main source of income comes from.

Digital photography and the amount of photographers around now has somewhat "killed" the photography business. About 4 years ago I had a photographer in Carbondale who had been established way before me, call me asking me for a job. I busted out laughing!! I told him what I did on the side for extra money and he said he drove school buses to make ends meet. A few months later he closed shop. For the past two years I've been taking pictures here in Ironton for the little league basketball and baseball teams. Although those are the only two big gigs I get a year as a photographer, these two gigs help me take most of the summer off from my other job so I can stay home with my kids when they aren't in school, so that is a blessing.

As for The Outcast, I still do an occasion interview or concert review, but for the most part I only take pictures of bands more than anything; even bands I do not like. I love doing concert photography the best. If you go to my FB page for The Outcast, one will see pictures from 1989-until now. Although some pictures are not on-line due to taking them with a 110 film camera back in the day, meaning they aren't that great!! :)

www.facebook.com/The-Outcast-Metal-and-more-Web-zine-317499741595406/

Sunday, October 30, 2016

Metal Bulletin Zine number 107

The latest issue METAL BULLETIN zine is number 107

read the issue online or download it for free

Wrust (Botswana)

Hexengeist (Seattle)

Blizzard Beast (U.S.)

Skelator (Seattle)

Paganizer (Sweden)

Afrobomination(“Jupiter”)

Ghostblood (Seattle)

www.fuglymaniacs.com

Saturday, October 29, 2016

Saturday metal radio in Seattle: Metal Shop

It is Saturday night in the state of Washington, U.S. and that means that Metal Shop is on. 10:00 PM TO 2:00 AM (Seattle time)

"The heaviest radio show in the PCNW!"

Seattle, WA

kisw.com

www.twitter.com/MetalShopKISW?lang=en

when Circus Maximus lost its mojo

Circus Maximus (Norway)

Havoc

Release date: March 18th, 2016

Label: Frontiers Records

This album is garbage.

The reason why their public held the band in high regard was for the combination of prog metal and accessibility. For instance, the first two albums The 1st Chapter (2005) and Isolate (2007) have several elements that are very good: the simpler, ear-friendly songs that show that they are not just prog nerds and that they were aware not everyone wants to hear 20-minute songs; they also had the usual long prog songs that made the prog dorks salivate and declare the band an example of excellence from now to eternity.

They also had great, melodic singing. The band sounded like a fantastic compromise. Personally, I was convinced that some people in the band do not care for prog as much as some other people in the band and those people would be happy with the shorter songs for a whole album. I also knew that some people in the band really would be content with having an album that goes ultra prog all the way, even at the cost of accessibility and memorability. A pop mentality and a prog philosophy somehow coexisted and it worked. There was harmony.

The band was all over the place: poppy songs, melodic songs, prog songs, super prog tracks, but it sounded like the same band and the musical skill and great singing somehow held it all together. It sounded fun, most of the time, except when they would go totally prog on the listener, then it sounded like music for musicians, but it was done in appropriate doses and it added variety to the album. Nonmusicians could stay with the long songs, perhaps even with a little bit of a badge of honor and a bit of bragging. The band sounded intelligent and it could make the listener feel a bit more intelligent, too.

Well, forget all of that now. It's over. It's all gone. They have dumbed down the music to the lowest common denominator. The riffs are gone, now it's "prog" grooves, which is trash, because anyone with normal metal music IQ knows that bands with no riffs do grooves because they have no imagination. Where are the riffs? Where is the mojo? Where is the melody? Nowhere. What is the music now? It's simple radio rock, the type that goes over well in the U.S. with certain people, in the sense that--as a certain Seattle metal musician put it in a recent conversation--it is "Middle America rock."

Some people have tried to come to grips with what has happened, and they have mentioned that this sounds weaker than a band like Nickelback or bands like that. Others have said this is a huge disappointment due to the drop in IQ in the music. Of course, others have noticed it's the lack of energy. This band does not want to rock anymore. They were never a bunch of real big time rockers, but they had songs to be excited about, if you like melody, skill, singing and guitar work.

There is no way around it. This band has lost it. Just listen to the opening song from this album. You might think it does not sound too bad, but after a whole album of this sound, you might not still think that. Notice the lack of guitar riffs. Notice the overall loss of mojo. Listen to the pitiful "guitar solo." Sweet cheese and crackers, what happened here?!

Here is my prediction.

Some people in the band are now happier that the band has decided to have all similar songs and to sound more accessible, but some people in the band are now very, very unhappy and some people will leave. Is it possible that everyone in the band, everyone now wants to write simple rock music?! So, everyone in the band wants this?! Really? My prediction says that the band will in the future realize that they are losing their credibility and that will bother them and they will try to gain back the trust of the people. They will try to "go back to their roots" or go back to their older established sound and they will go around telling people that they "are back" for real. They will say that they are incorporating their classic sound more into their current thinking.

If they are making more money now, the discontent will not happen for a while because the money can hide the misery for a while, but some people in the band just won't be able to stomach the loss of IQ and the loss of mojo.

That's my prediction. Let's sit back and watch what happens. Maybe I don't know anything, right?! Maybe! Let's talk in 5-8 years and let's see what happens to this band's music. Remember my prediction: member changes will happen and/or a music direction reckoning is coming. Someone is not happy and it will start to eat at the band from the inside.

Here the first song from the album. Remember now: this is the opening track. This is their statement, their declaration of purpose and intention. This is the new Circus Maximus, they say with the song.

Circus Maximus - The Weight (Official Audio)

by MMB

Friday, October 28, 2016

Verminlord

Verminlord is a one-person atmospheric black metal entity from Seattle, Washington, according to Metal Archives and Bandcamp: "Verminlord emerged from an earthen dungeon in the Pacific North West. Combining atmospheric depressive black metal with blackened hymns from the darkness." The recording is from 2016 and it has the following tracks.

1.Smoldering Pentagram 03:06

2.Cloak of Insects 02:49

3.One Thousand Vile Bites 03:46

4.Conquer the Star, She Whispered to Her Fiend 08:41

total time 18:22

www.verminlord.bandcamp.com/releases

www.facebook.com/Verminlordband

Thursday, October 27, 2016

Eternal Valley

This is a one-person black metal entity from Battle Ground, in the state of Washington, U.S. Apparently, a person named Orszar takes care of "all instruments, vocals, recording" and the latest recording is called Ascend to the Unknown and it's about an hour and nine minutes of black metal aimed at the night sky stars and constellations: "Formed in late 2012. Eternal Valley is a single member Atmospheric Black Metal project. Early albums included Second-Wave and Depressive Black Metal. Now the albums will become more Atmospheric and space oriented, include space ambience."

If you are black metal and you support one-person entities, take your time with this recording. It is meant for you and it was made for you, in the state of Washington. Whether you are in Washington or Beijing, it doesn't matter, the music seeks to take you on a journey that you won't soon forget.

You are hereby invited.

www.eternalvalley.bandcamp.com

www.facebook.com/eternalvalley666

Of Corpse

Of Corpse is brutal disgusting horrific repugnant more brutal death metal to sound as repulsive as inhumanly possible. The band has a motto that they do not know of yet: "If it's not fugly, it ain't right!" That's how they do things in Seattle when you are Of Corpse. This band is making Seattle proud.

Listen below if you dare, gamblers. You like to roll with the game and sometimes you go high and sometimes you go low, but have you ever gone this low? You're about to find out just how wonderful life can be when you go all in on the sounds of vintage death metal when the genre was in its infancy. Hold on to your hats, rollers, cuz you might get seasick on this riverboat.

Ladies first.

Ok, now your turn, gentlemen.

Don't forget to breathe!

www.ofcorpse.bandcamp.com/album/disgusted-by-rites-upon-exhumed-roots-demo

ofcorpse.bandcamp.com/album/inhumed-demo

www.facebook.com/Of-Corpse-791759664244994/

Vaan War

Vaan War is cavernous bestial extreme metal the raw way. This publication has almost no information about this entity, which according to Metal Archives, is from Bellingham in the state of Washington, U.S. This is the 2016 demo, a perfect offering for the riverboat high rollers of metal who want to take a chance today on something new, unknown and sick.

Vaan War

Release date: August 22nd, 2016

1.Taxadermist 02:06

2.Thus Rut 02:59

3.Oh Pile, Oh Pit 02:30

4.A Demon of Stration 00:46

5.Stompant Narthig 04:02

6.Indicunt Ovious 02:26

7.A Rustful Future 02:06

8.A Blessing of Swine 05:28

9.Vaan War 02:17

total time 24:40

www.vaanwar.bandcamp.com/releases

Wednesday, October 26, 2016

Spektral Hatchery

Spektral Hatchery is doom black metal from Olympia, in the state of Washington, U.S. The music is raw and cavernous with horrendous vocals, doses of doom slowness and a general harsh misery, with bursts of blazing speed. Listen at the link below.

Spektral Hatchery

Release date: October 24th, 2016

1.Intro 02:57

2.Trans-Temporal Being 14:32

3.Psycosmic Immersion 08:45

4.Fata Morgana 08:39

total time 34:53

http://spektralhatchery.bandcamp.com/releases

www.facebook.com/spektralhatchery/

Excuse All the Blood: Washington state metal music program

Excuse All the Blood is a metal music radio program that you can catch live on air or on archive. The show comes on Friday nights at 11 pm (U.S. time). The show lasts for two hours and it is from the city of Olympia, in the state of Washington, U.S., with Seamus O'Reilly at the helm.

In case that you miss the live version, you can listen to the archive. Check out the links below.

"Excuse All the Blood is a heavy metal radio show based out of Olympia, WA. On it you can hear the most brutal death metal, blasphemous black metal and even some oldschool thrash metal mixed in." The DJ is Seamus O'Reilly at KAOS Radio 89.3 FM in Olympia, WA.

www.radiofreeamerica.com/dj/seamus-o-reilly

Seamus is on Twitter at: www.twitter.com/EATBRadio?lang=en

remembering Znöwhite, part 3

PART 1www.metalbulletin.blogspot.com/2016/10/remembering-znowhite-part-1.html *

PART 2 www.metalbulletin.blogspot.com/2016/10/remembering-znowhite-part-2.html

In 1986 there was a live EP called Live Suicide, but it wasn’t until 1988 that the band had its full-length album ready for the world: Act of God.

Before talking about the music on the album Act of God, I want to mention some things about the album. On Metal Archives there are some eight reviews of the album and the total average score is a 93. That’s not bad at all, right? Apparently, the album has some very vocal defenders.

Seamus O’Reilly (@EATB on Twitter), who is the host of the radio Washington state’s 20-year-old-and-still-going-strong Friday night metal music show Excuse All the Blood, says that this album is one of his top five thrash albums of all time. As I have mentioned, this album has some very dedicated defenders.

The album and the band are underrated, as many people have pointed out. That has led some people to speculate as to why the band did not make it bigger. Some have said that the band needed a better name; others have said that the album’s cover artwork must have been made bad on purpose, otherwise they ask, who would choose to have such a cover for their debut album in the 1980s when bands often had really cool artwork to catch people’s attention. Others have underlined that the band was from the city of Chicago, which despite being a big U.S. metropolis simply has not left much of mark on the history of metal, not in the same way that California, New York and Florida have. The metal music media have never honed in on Chicago as a hot spot for metal and this means that this particular band had this factor working against it.

Anyway, let’s get to the music itself. Some important changes have taken place. First of all, the production on this album is much heavier than before. Thrash bands generally did not have such a ton-of-bricks guitar tone heaviness. There is also a heavy bottom end to the recording; the drums and the bass create an album anchored very well by the rhythm section and the result is a muscular album sound. The speed metal has morphed into a power-packed crunch thrash. The guitarist Greg Fulton got himself a mighty guitar sound. In addition, Nicole Lee brings her best work to the table. Sounding stronger and more professional than ever, she has a voice that is spot-on perfect for the music. Both the music and the vocals have grown into rightful contenders.

The album is almost 49 minutes long and this has caused some people say that it is a bit too long because it’s a punishing guitar tone crunching for a long time. Essentially, what those people are saying is that they can’t handle this much heaviness for that long. There is nothing wrong with the music, it’s just that it’s a bit too much for them. Of course, that’s a very subjective issue and the previously mentioned defender of the album, Seamus O’Reilly, would probably like to have a word with anyone that complains that the album is too much of a good thing. Others would prefer for the last song to be omitted because it’s not a fast thrash track; it’s a more a midtempo crunching track and sounds a bit too different. I am not convinced about the idea that the last song should be omitted.

My own personal view is that the album, given that it lacks nothing in terms of strength, power and heaviness, it could have used some more melody in the form of the guitar solos. My impression is that more solos and longer solos make a strong album as close as possible to perfect (Man, I’m probably going to hear from Seamus for uttering such blasphemy about one of his top five thrash albums of all time!). Actually, the guitar solo on the last song is one of my favorite moments on the album. This is definitely a guitar solo that matches the song, which by the way, it is not as slow as some people say and not only that: after the guitar solo, the pace picks up big time and thrashes to the finish in fine, fine fashion.

Listen, friends, I do have some bad news. After the album the singer Nicole Lee left the band and the band tried other singers, but it just did not work out. The band had run out of road. It was the end.

Well, not the total, final, complete end. There is something more: after Znowhite, some changes took place and a new incarnation emerged with a new singer and it was called Cyclone Temple.

I will tell you a bit more about Cyclone Temple at a later time. Ok, gamblers, it’s time to roll the dice and go get you some thrash in the form of the album Act of God.

Znowhite - Disease Bigotry

by MMB

Tuesday, October 25, 2016

review: Opeth

Matt Spall has written a review of the new Opeth album. Matt is an expert on prog and a devoted fanatic lunatic of the those genres. Since that is the case, what does Matt think of the new Opeth album? You might be surprised! ---MMB.

Artist: Opeth

Album Title: Sorceress

Label: Nuclear Blast Records

Date of Release: 30 September 2016

I debated long and hard about whether I should review this album. Normally, I try to shy away from writing reviews of albums that I’m not so keen on because I like to focus on the music and those albums which I like and believe are worthy of spending my precious spare time writing about. However, with Opeth, I felt compelled to pen something.

Let me start by saying very clearly that I have never really been an Opeth fan, despite somehow having almost the entire back catalogue in my possession. Try as I might, the music has never really clicked with me whatever the chosen approach of Akerfeldt and co. ‘But this is Opeth’, I keep telling myself, ‘everybody loves Opeth, so I mustn’t give up’. And I haven’t. Yet.

My favourite album, if such a one exists, is probably ‘Still Life’. However, this does not mean that I favour the heavier, death metal-infused days of the band. It just means that there are a couple of tracks on that record that stand out more than others. That and the fact that it was my first exposure to the band.

Indeed, to underline this point, I did find myself singing the praises of Opeth’s last full length, ‘Pale Communion’ to a certain degree. It found itself nestled in my top 20 albums of 2014, much to my own surprise. There were some stronger compositions and engaging melodies to be heard and I began to wonder whether I was beginning to fall under the subtle but strong Opeth spell. Thus, I was, for the first time, looking forward to a new album, eager to find out what they had in store next.

The answer is ‘Sorceress’, album number twelve in the Swedish band’s increasingly lengthy career than now adds up to over a quarter of a century. Given what I’ve said above, I have listened to ‘Sorceress’ frequently and without any bias or any preconceived ideas about what an Opeth album should be or how it should sound.

To describe the music as succinctly as possible, it follows the rough blueprint of both ‘Heritage’ and ‘Pale Communion’, making it the third album to feature a much more overt 70s-inspired progressive rock approach where more analogue and authentic instrumentation has been used to create the sounds and textures of the music. However, there are moments of heavier music weaved within this aural tapestry and it is fair to say that whilst it sounds unequivocally Opeth, it certainly doesn’t tread the exact same path of previous albums. I don’t think Opeth will ever do this to be frank.

Written over the course of six months but recorded in just twelve days at Rockfield Studios in Wales, the most noticeable thing with ‘Sorceress’ is the even more pronounced organic and ‘live’ feeling that the record has, as well as a sense of rawness and honesty in places. This is a very nice asset and for that, the band should be complimented. The adeptness of each of the musicians is also without question; here is a band made up of musicians that could probably play anything and everything with consummate skill and style. This prowess shines through on ‘Sorceress’.

Be that as it may, I have to now focus on the music. And, on the subject of the music itself, after lots of effort, I have to say that it just doesn’t do anything for me. Ambivalence is perhaps the most apt adjective regarding my feelings towards this record and I’m genuinely disappointed to report this. I have listened and listened in the hope that it might click with me and that I would discover that sweet epiphany. Sadly, it hasn’t happened.

The opening track, ‘Persephone’ is gorgeous. The melodies are sublime and I instantly love this rich, almost romantic-sounding acoustic guitar-led composition. At this point, I am very excited and cannot wait to hear more. Unfortunately, nothing within the ensuing ten songs even comes close to the opener and, if anything, that’s what I find the most disappointing more than anything else.

The title track follows however, and I’m immediately less smitten. The deliberately fuzzy tones are awkward-sounding to these ears and in spite of some incredible musicianship, I’m unmoved. The doom-esque heavy riff and associated stomping groove is a very nice touch which I warm to a little more whilst Akerfeldt’s clean vocals are nicely deployed. This is arguably one of the better tracks on the record and it has grown on me to a certain extent with repeated listens.

‘The Wilde Flowers’ takes over and, to be honest, it just plods on for close to seven minutes with little on offer that engages me. The instrumental prowess is clearly present but the melodies don’t do much for me. Again, it does get better the more I listen, but nowhere enough to encourage me to return on a frequent basis.

And so the pattern has been set. ‘Sorceress’ is an album comprised of sprawling 70s-inspired prog rock, lovingly created, expertly executed and beautifully produced. Unfortunately, to this jaded hack, I find the whole thing rather dull and uninspiring. I’m not for one second saying that this is a bad record because to say such a thing when confronted with so much evidence to the contrary would be foolish in the extreme.

I’m occasionally pulled from my thoughts by a succulent and moody guitar solo or, as in the case of the latter stages of ‘Chrysalis’, a properly engaging melody that speaks to me more forcefully than elsewhere.

However, too many of the melodies in general don’t do anything for me. The sounds, the textures, the atmospheres – for the most part, they leave me cold and, dare I say it, rather bored. Too much of the record is too dreamlike and whimsical for my tastes, meaning it just floats by unremarkably.

‘Sorceress 2’ is a fine example of this, as is the bulk of ‘Will O The Wisp’; neither register with me and I suddenly realise that they have finished and I’m listening to a different song. Equally, ‘The Seventh Sojourn’ is a song that I would skip if I was paying sufficient attention.

I couldn’t care less about the ‘where’s the growled vocals’ arguments or the ‘they shouldn’t be called Opeth anymore’ whining. As far as I’m concerned, these arguments are academic and pointless. I simply and regrettably don’t engage with the music that I am being offered here

‘Sorceress’ will certainly appeal to a large number of fans of the band, those fans who are capable of accepting the fact that Opeth are well and truly a different band when compared with the early days. The content is simply too good for this to not be the case. Unfortunately, I have to be honest and say that I’ve given ‘Sorceress’ a decent go but it simply isn’t for me. Maybe Opeth will convince me with lucky album number thirteen? I hope so, but I seriously doubt it.

The Score Of Much Metal: 6

review: Eye Of Solitude

Matt Spall has written a review of the funeral doom band Eye of Solitude (U.K.). The band has some four albums, in addition to EPs and other recordings, but Matt focuses here on the latest recording from 2016: the new album.---MMB

Artist: Eye Of Solitude

Album Title: Cenotaph

Label: Independent Release

Date Of Release: 31 August 2016

I’m not the biggest fan of pure doom metal, but once in a while, I will succumb to it if it is good enough. And today, I have well and truly succumbed. Referring to themselves as ‘lugubrious doom metal’, London-based funeral doom quintet Eye Of Solitude create one hell of a noise and have had rather a profound impact upon me.

Formed in 2010 and now comprised of the somewhat enigmatically-named vocalist Daniel N, guitarists Mark A and Steffan G, bassist Chris D, and drummer Adriano Ferraro, Eye Of Solitude live up to their billing as they well and truly sound sad and dismal. Not only that, but they have the knack of crushing the listener with uncompromising monolithic-paced riffing one minute, and then opening up into something intense and gorgeous the next.

‘Cenotaph’ is an album consisting of just four songs. However, as each has a running time of over ten minutes apiece, the record has a total length that approaches the hour mark. This gives you a good indication of what to expect but far from being overwhelmed or indeed underwhelmed, I find myself ensconced in the bludgeoning beauty and sheer unrelenting intensity, easily ready to press play again the moment ‘Cenotaph’ comes to an end.

‘Cenotaph’ opens with the title track and initially, I’m not entirely sure what to make of it. For several minutes, the guitars churn and writhe, almost in slow motion. Like a river of lava, the bruising riffs keep coming, inching forward and relentlessly destroying all in their path. They are joined by a voice that, by all accounts, took a day off from maiming and torturing souls in the pits of hell to ‘sing’ on this record. Deep, guttural growls that are occasionally barely audible over the guitars add a further layer of brutality, conveying a sinister, malevolent despair and anguish.

There are moments of intensity where the drums are concerned, although the instrument is used sparingly for large parts, acting as an embellishment or as a vague metronomic beat, out on the periphery much of the time. The use of simple synths to underpin the riffs and provide a modicum of softening atmosphere is a good move too, a welcome addition to the uncompromising tumult elsewhere, even though they create another layer of despondency.

Out of nowhere, clean vocals join a prolonged quiet synth passage before the hitherto suffocating composition opens up like a delicate flower in the spring sunlight. The pace isn’t increased but the melodic intent certainly is. The lead guitar-led melody is stunning in its fragility and simplicity, to a point where I am utterly smitten and entranced on a first spin, a feeling that just intensifies over repeated listens.

Each of the four tracks has very much its own identity but there is a definite pattern within them all. Each features those brutal slow-paced riffs, atmospheric keyboards, guttural growls and at certain points, an injection of sumptuous melody.

The synths open up ‘A Sombre Guest’ with the promise of an inner beauty before the bludgeoning begins. This time however, the early presence of melody is carried through the entirety of the track, even when the doom metal is at its most severe and bruising. I also love the cinematic and brooding mid-section that acts as a breather, not to mention a heightening of the drama and an increase in the melancholy inherent within the composition. When the riffs re-enter the fray, their impact is all the greater, coaxed along by grandiose and epic synths that are inspired. Hell, I like this.

It takes a while for ‘This Goodbye. The Goodbye’ to launch into all-out funeral doom mode, as the early stages are dominated by dark, cloying atmospheres. And, whilst I enjoy the heavier parts of this track, the most striking part has to be the lone piano that plays a mournful dirge atop the sounds of a windswept and lonely vista, only to be replaced unceremoniously by pained cries and forlorn shrieks which accompany the returning brutality and borderline musical discordance.

‘Cenotaph’ is then closed out by ‘Loss’ that features more great intense doom riffs. However, like the predecessor, it is another section of the track which catches my attention. This time it is the extended section of emotional-sounding clean vocals that is worthy of plenty of praise. Mind you, the ensuing melody that wraps itself around the riffs to create something truly epic and majestic is equally wonderful and fulfilling. The blastbeat drums are a nice touch even if they sound a touch plastic and devoid of anything approaching an organic feel. But to focus on that would detract from the sheer beauty and majesty of this composition.

All-in-all, I am nothing but thoroughly impressed by Eye Of Solitude and ‘Cenotaph’. It has come out of nowhere to quite easily become one of the best, if not the best, doom metal albums of 2016. I simply cannot get enough of the inspired mix of brutality and sombre beauty. Now, if Eye Of Solitude can continue to produce music of this quality over future albums, in direct contrast to their output, their future might be very rosy indeed.

The Score Of Much Metal: 8.5

Eye Of Solitude - This Goodbye. The Goodbye (Official Video)

Dilapidation in Everett Nov. 4 with Shrine of the Serpent

The Seattle death doom monsters Dilapidation will make an appearance in the wastelands of Everett, Washington state on the 4th of November. If you have never heard the band, listen at the Bandcamp link below. They have new song in 2016 and it's also available below.

The show is: Shrine of the Serpent, Buttafuko, Dilapidation.

Below you can find the links to Shrine of the Serpent.

At this time, the publication does not have information about the third band.

www.dilapidation.bandcamp.com

www.facebook.com/dilapidation1

www.shrineoftheserpent.bandcamp.com/releases

www.facebook.com/ShrineoftheSerpent?fref=ts

reminder: new issue of The Sentinel metal music zine (Seattle)

It’s that time again! The Sentinel, a metal zine from Seattle, has a new issue and it’s time to let you know about it.

If you are new to The Sentinel, here’s the basic idea: it is a paper-only zine from the Pacific Northwest in North America. The zine is not all over the internet, but it’s easy to get, just get in contact with them at info below.

The new issue is number 5 and it features UADA, Un, Hiding, Wende, Slugged, Age of Nefilim.

H.S. is the editor of the zine and H.S. says the following in the intro to the new issue:

“Whether you’ve found this zine in a record shop, mailed package, or trash bin, thanks for reading our fifth issue. This rag has been a long time in the making, it being almost a year since the printing of our last issue, but our continued release of propaganda proves that while the underground is slow-moving, it is very much alive."

EMAIL: thesentinelseattle@gmail.com

www.sentinelzine.com

Seattle's Isenordal news

Seattle extreme metal band Isenordal has announced that they are from the dusts of oblivion returned. Go unto yourself's metal reiteration at the links below. Their music is free/name-your-price, thus the excuses just ran out out right now.

OFFICIAL:

After a year long hiatus, we are happy to announce that Isenordal is an active band once again. Our line up has changed, we are now: Kerry Hall, Boone Sinsel, Marisa Kaye Janke, Sam Smallidge, Brian Hazard Spenser, and Jeff King.

We will be playing our first show with the new lineup on Oct 26th with UADA, HELLEBORUS, and Pagan Scum at the Highline Bar. We will be releasing an LP early next year, and touring the US after its release.

www.isenordal.bandcamp.com

www.facebook.com/isenordal.metal/

Seattle & Washington concert calendar, updated October 25, 2016

If you have information about shows/updates/cancellations, please get in contact with Metal Bulletin Zine.

October 25 Opeth at The Moore Theater, Seattle, WA

October 26 Uada, Helleborus, Isenordal, Pagan Scum at Highline, Seattle, WA

October 29 Vultra, others at Checkerboard, Spokane, WA

October 29 Dio Disciples, Zero Down at Tony V's, Everett, WA

October 29 Himsa, others at El Corazón, Seattle, WA

October 29 Soilwork, Unearth, Battlecross, Wovenwar, Darkness Divided, After the Fallout at Studio Seven, Seattle, WA

October 31 The Drip at The Kraken, Seattle, WA

October 31 Halloween party: Substratum, Weaponlord, Truth Decay, Anthrocene at Substation, Seattle, WA

November 1 Theories, Vermin Womb, Wilt, Hissing at Highline, Seattle, WA

November 3 A Collection of Cyclops Skulls, Shrine of the Serpent, Noceur at The Swillery, Bellingham, WA

November 3 A Flourishing Scourge, others at Studio Seven, Seattle, WA

November 4 Shrine of the Serpent, Buttafuko, Dilapidation at Tony V's, Everett, WA

November 5 Ulcerate, Zhrine, Phobocosm at Highline, Seattle, WA

November 6 Un, Fister, Heiress, Shrine of the Serpent at Highline, Seattle, WA

Nevember 10 Vektor, Black Fast, Xoth, Sarcalogos, Lb! at Highline, Seattle, WA

November 14 Grim Reaper, Skelator, Substratum at Highline, Seattle, WA

November 15 Armored Saint, Queensrÿche, Midnight Eternal at Showbox at the Market, Seattle, WA

November 15 Animals As Leaders, others at Studio Seven, Seattle, WA

November 16 Epica, FleshGod Apocalypse, Arkona, The Agonist, Xandria at Studio Seven, Seattle, WA

November 18 Subrosa, Eight Bells, Eye of Nix, Nox Vellum at Highline, Seattle, WA

November 19 Sacrament ov Impurity, others at The Oak Harbor Tavern, Oak Harbor, WA

November 20 Felix Martin, The Fine Constant, Lb.! at Funhouse, Seattle, WA

November 25 Castle, others at Funhouse, Seattle, WA

November 26 Dark Tranquillity, Swallow the Sun, Enforcer, Star Kill, Deathmocracy at El Corazón, Seattle, WA

November 26 Castle, Mos Generator at The Shakedown, Bellingham, WA

November 27 Castle, others at Obsidian, Olympia, WA

November 29 Sonata Arctica, Leaves’ Eyes, Omnium Gatherum at El Corazón, Seattle, WA

December 1 Lord of War at Funhouse, Seattle, WA

December 2 Ghoul at El Corazón, Seattle, WA

December 9 Macabre, Witchaven, Xoth, Inquinok, MRSA, Weaponlord at Highline, Seattle

December 17 Devastation in December 5th Annual: Dilapidation, others at The Charleston, Bremerton, WA

December 17 Abigail Williams at Obsidian, Olympia, WA

December 19 Neurosis, Yob, others at Neumos, Seattle, WA

December 20 Void Omnia at Highline, Seattle, WA

December 21 Void Omnia at Obsidian, Olympia, WA

December 31 3pm Trans-Siberian Orchestra at Key Arena, Seattle, WA

December 31 9pm Trans-Siberian Orchestra at Key Arena, Seattle, WA

January 5 Hissing, Bone Sickness at Obsidian, Olympia, WA

January 18 Udo Dirkschneider "Back To The Roots - Farewell To Accept" at El Corazón, Seattle, WA

January 19 Ash Borer, Bell Witch, Hissing at Highline, Seattle, WA

January 21 Entombed AD, Full of Hell, Turbid North, Deathraid at Highline, Seattle, WA

January 28 Blue Öyster Cult at Historic Everett Theatre, Everett, WA

February 22 Nile, Overkill at El Corazón, Seattle, WA

April 4 Amorphis, Swallow the Sun at El Corazón, Seattle, WA

April 29 Asphyx, Extremity at Highline, Seattle, WA

May 6 HammerFall, Delain at El Corazón, Seattle, WA

May 18 Y & T at Studio Seven, Seattle, WA

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Monday, October 24, 2016

interview: Hessian Wolf Children

Here is the interview Hessian Wolf Children, a traditional, vintage-style grind band from California, U.S. that has a new self-titled EP. The band’s mode of operation is to play fast, thrash it up like nobody's business and keep it to the point. The guitar tone is the classic-style crossover thrash sharp sound, the drumming is blasting and chaotic and it sounds like a person (not a computer). The vocalist: a total lunatic screaming from the top of his lungs along to the blasting speed grind crossover thrash punk. The band is: Steve Bishop on vocals, Lee McNamara on guitar, Matt Henderson on bass, and Jovani G. Rivera on drums. Steve and Lee answered these questions.

Hello! I have listened to your self-titled EP many times now. How is life for a grind band in the state of California or in the city where you live? How has 2016 been treating you?! Has your band been playing shows in the area? I think that you are in the Ventura County, correct? Is that an exciting place, a big place or a small town?

Lee: Thanks for listening to it a bunch! We're stoked on the e.p.! Yeah, me and Steve are from Newbury Park and Matt and Gio are from Simi Valley. They're small suburban towns in the Ventura County which is between Los Angeles and Ventura. Life for a grind band out here? We get booked with stoner and doom bands all the time so it's pretty grim!

Steve: 2016 has been pretty good to us. Despite our original drummer (Rob) having to quit early in the year, we lucked out and got a replacement we had in mind cuz we knew at some point Rob would most likely bail. As far as playing shows in the area, most have been in Ventura with a few others in L.A. and Glendale thanks to the help of promoters we've managed to get in touch with since we started playing out.

What is the history of your band and who are the members of the band; who is answering this interview? The band formed and broke up in 2007? What happened then? Then, in 2012 you got the itch to play again? Is it the same people from before? What was different in 2012 as compared to 2007?!

Lee: Me and Steve are answering the interview. We started at a party house in Simi Valley just for fun. The members of the first line-up were: Matt Henderson - vocals, Lee McNamara - guitar, Steve Bishop - bass, and Chris Pitzel - drums. We did a 7-song recording that is still unfinished (only 4 songs have vocals) and we did 2 shows but split up after 9 months. In 2012 Matt and Steve asked if I wanted to play again and switch things up. I was into it but wanted to shorten the songs and play faster. We started writing new material, fixing the old stuff and did a rehearsal tape.

Steve: When we decided to give it another go in 2012 it went down the same way things started originally. Matt and I were having a few beers and talking about how we want to play in a heavy band and not be the two old f**** playing with a group of teenagers. I said I was down but wanna give doing just vocals a shot since we both play bass and do vocals. After that I called Lee and Rob (who I've played with in bands before and we've all been long time friends) to see if they would wanna start something new. A few practices later we felt pretty good about the way things were starting to sound.

You play grind, but you don’t sound like a lot grind in 2016, with all the postrock, sludge, drone, chugging, grooves or experimental and indie rock things that have filtered into grind. Your band sounds very different, even though it is the sound of the original grind from the 80s. Why is this? Don’t you want to “jazz it up”?!

Lee: To be honest, I haven't heard any new grind bands! I like early Napalm Death. Especially their 'From Enslavement to Obliteration album. I also like Cryptic Slaughter's 'Stream of Consciousness' album. I think what makes us sound a little different is that we throw in occasional metal riffs that sound like they're from the early 80s. Stuff like Judas Priest or Metallica's 'Kill 'em All'. I don't know of any other Grind bands that do that.

Steve: Truth be told, I don't listen to much grind. Always leaned more towards heavy stuff, guess that's where the screaming comes from. Dropdead and ACXDC would be a couple favorites of mine that are probably the closests to grind, even though they're more power violence.

What does Hessian mean, in the sense that your band uses the term?

Lee: Hessian just means metal and punk kids to me. Wildchilds I guess you could say. I read a story called The Wolfboy of Hesse. It's about a child in Germany who was raised by wolves and he died when the people captured him and tried to make him civilized. I came up with the name after reading that story. The name makes me think of me and my friends when we were kids. Just a bunch of wildchilds riding around on skateboards listening to Metallica and Slayer. Good memories!

Are the lyrics to the EP new or old from back in the day? Does 2016 have more reasons and motivations to write lyrics in the style of grind bands? They say that people mellow out with age, so when can we expect your lyrics to preach love and peace, ha ha?!

Steve: The lyrics on the EP and other songs we have are all new. When we got back together we wanted to start fresh, also we never knew what the fuck Matt was saying when he was singing. I don't write lyrics to fit any sort of style. It's usually something I wanna say and I have about a minute to do so. I don't know about "mellowing out with age" I've always been kind of an angry person and don't see that changing anytime soon. So there probably won't be any hippie inspired lyrics in the future.

In 2016 some people say to vote for corporate candidate A and others say to vote for corporate candidate B. Usually, grind bands are not shy about expressing their views and they don’t care if people get offended. What is your opinion about corporate candidates A and B?

Steve: We're f***** either way.

Terrorism, Islam, racism, nationalism, national security, immigration, borders are constant topics in the news. I wonder if your band feels like it has plenty of material for writing raging grind and lyrics in this day and age. What do you think?

Steve: We'll always have plenty of raging material to write and scream about aside from the topics in current media you mentioned. To me, lyrics don't always have to be about major world concerns. We're just four friends having fun playing loud, fast music.

Lee: I wrote the lyrics to our song 'Rise and Grind' and it pretty much describes the artwork on the front cover of our 7". Steve and I were having a few beers in my garage discussing lyrics and I told him about this idea of a Mad Max / The Road Warrior world with teenagers running wild and an occult atmosphere. 'Hessian Aggression' is the closest we've come to that but I'm looking forward to what we do in the future. We wanna take it somewhere else besides politics.

What are you favorite guitars and its accompanying equipment? How do you get your guitar sound to be a certain way?

Lee: I play a 1961 Gibson SG and a Peavey Ultra 120 Halfstack. I've had the amp since I was a teenager and it's really easy to dial in a good sound. Our bassist uses distortion so I back off the bass eq on the guitar so it cuts through all the noise and sits on top of the low end of the bass guitar if that makes sense. My favorite guitar is definitely the Gibson SG. I love B.C. Rich Warlocks, too. They sound great and are very comfortable to play sitting down, but not so much when you're standing up hahaha.

Is what we hear on the album the real drums that your drummer played? What is your opinion about the drum sound that works for your band?

Lee: It's real drums. No triggers or anything like that. We recorded with Armand who has his own studio in Ventura and also plays guitar in Night Demon. We told him we were looking for a raw garage sound and I think we got it. The drum sound is one of the most important things to me when it comes to recording. I always want a big raw drum sound.

What other news do you have?

Lee: We have 3 new songs but wanna write a few more. I think we have 22 songs at the moment. Then we wanna head back down to Ventura, record everything and use the best songs for another 7". We wanna do a few 7 inches before doing a full length. Other than that we've just been playing shows, jamming with the new drummer and doing some interviews with fanzines. The oldschool paper ones of course!!!

www.hessianwolfchildren.bandcamp.com

www.facebook.com/hessianwolfchildren

THE END

issue 106 of Metal Bulletin Zine

Evergrey interview part 2

Mausoleum Gate

Infected Omnipotence

Almah

Ghoul

Oceans of Slumber

Lord Almighty

FREE metal music:

Storm Horizon

Indecixive

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Sunday, October 23, 2016

Metal Bulletin Zine on Facebook and on Twitter

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Seattle & Washington concert calendar, updated October 23, 2016

If you have information about shows/updates/cancellations, please get in contact with Metal Bulletin Zine.

October 24 Thou Shall Kill, Born Without Blood, Wutthphuk at Substation, Seattle, WA