Metal Bulletin Zine: July 2017

Monday, July 31, 2017

bang your head to a new song by Seattle thrash lunatics Oxygen Destroyer

The thrash maniacs from the state of Washington by the name of Oxygen Destroyer have a new song for banging your head. The song has a catchy title: "Vanquished by the Unrelenting Devastation of the Celestial Behemoth." That's right, they had to call it that because that's what you do when you form a band that is all about Godzilla, night and day. Get to it now!

oxygendestroyer1.bandcamp.com/track/vanquished-by-the-unrelenting-devastation-of-the-celestial-behemoth

oxygendestroyer1.bandcamp.com

facebook.com/Oxygen-Destroyer-325474194296570

review by Matt Spall: Firespawn

Artist: Firespawn

Album Title: The Reprobate

Label: Century Media Records

Date Of Release: 28 April 2017

My rekindled love and affection for old school death metal shows no signs of abating any time soon, certainly not when there are albums like these being released into the wild. ‘The Reprobate’ is the second full-length release from Firespawn, a band that hadn’t previously registered on my radar.

Formed in 2012 under the original name of Fireborn, Firespawn is nothing short of a ‘super group’. I know that this is an overused cliché, but given the personnel involved with Firespawn, it is impossible to describe them any other way. The bassist is Alex Impaler (Necrophobic, Naglfar (live)), whilst the guitarists are Victor Brandt (Entombed A.D., ex-Satyricon) and Fredrik Folkare (Unleashed, Necrophobic, ex-Siebenbürgen). Upon the drum throne sits Matte Modin (Raised Fist, ex-Dark Funeral, ex-Defleshed, ex-Infernal) and up front is none other than vocalist LG Petrov (Entombed A.D., ex-Nihilist, ex-Morbid) Now, you tell me that this isn’t one hell of a line-up?

The really great thing about Firespawn, above all else, is that this is clearly not a vanity project or a cynical cash cow.

“To be doing death metal in our 40s means that we love what we are doing and love our way of Life. I don’t think any of us could see us doing something else. This is who we are. Death metal is the path we have chosen. It’s not just a musical style. It’s a lifestyle.”

So says Impaler within the accompanying press release. And Brandt agrees:

“Even though death metal is something extreme, it feels and comes natural. It’s in our blood for sure. This is something we must do. I’m not interested in doing anything else. And we all like to work hard and get things done. Blessing and curse, I guess.”

I love this attitude and one listen to ‘The Reprobate’ and you realise that this isn’t empty rhetoric either. This album is too damn good to be as a result of anything other than a genuine desire to create the kind of extreme music that these guys all clearly adore. And, although the content on this album doesn’t really offer too much by way of innovation, that doesn’t matter as far as I’m concerned. This is unashamed brutal death metal in the old school Scandinavian mould but it sounds fresh, invigorated and full of malevolent, subterranean life. You can genuinely tell that these five guys love what they are doing. Going through the motions? Not a bit of it.

Bearing in mind the clientele involved, it will come as no surprise when I throw out the names of Necrophobic, early Entombed and Dismember as just a few of the more obvious reference points within the ten-track, 45-minute affair that is ‘The Reprobate’. But in addition, there are nods in the direction of Morbid Angel for example via the churning, molten riffs of the title track.

Speaking personally, what I enjoy most about ‘The Reprobate’ is the way in which the album is brutal and uncompromising as all hell, but that this is tempered throughout by plenty of groove, atmosphere and a surprising amount of melody, albeit somewhat understated and shy in the main. That said, the opening track of the entire album, ‘Serpent of the Ocean’, has a more pronounced sense of melody and as such, has to be one of the best death metal songs I have heard this year, maybe even longer. It begins with a sinister, twisted melody that’s atmosphere-laden but within seconds it is replaced by some stunning musicianship. It goes without saying that these guys can play but the pinpoint, razor-sharp delivery of the tumult that blows the intro away is phenomenal. The riffs are superb and the rhythm section, led by the insane blastbeats of Modin bludgeon without mercy. And then there’s the chorus which is like melodic groove mana from the pits of hell. It is brutal and uncompromising but thanks to the fast-picked riffing from Brandt and Folkare, there’s a wonderful layer of melody that’s completely irresistible. And on top of it all are Petrov’s unmistakeably malevolent growls that top the music off perfectly throughout the record.

Speaking of the guitarists, I have to say that their combined talents are one of the big stand-out aspects of Firespawn’s sound on this record. The tones are just perfect for a start, full of bite and guts and wonderfully enhanced by Impaler’s impressive bass work throughout. There’s not a song that goes by where I don’t pause to admire a riff or a blazing solo and that’s rare for me, as I can often find a moment or two of filler within a death metal album of this ilk. The album is littered with dextrous and lightning-fast solos but in general, they tend to add something to the overall compositions, in part because they don’t always rely on speed alone. Take the lead break within ‘Damnatio Ad Bestias’ as a prime example. It is fast and aggressive, but it is also expressive and almost soulful in places.

‘Damnatio Ad Bestias’ is also a good example of the way in which Firespawn have almost effortlessly managed to combine savagery with groove, melody and atmosphere. It is here where the ghost of early Entombed looms largest but at the same time it isn’t simply derivative; it has its own identity.

Other favourites on ‘The Reprobate’ include ‘Generals Creed’ thanks to the blend of frenetic riffing and catchy chorus complete with a headbanging groove and tangible atmosphere. I also really enjoy ‘Death By Impalement’, yet another bruising and uncompromising slab of full-throttle death metal with great pounding riffs and an atmosphere-laden mid-section with sinister, haunting vocals.

Firespawn hope that ‘The Reprobate’ will “make you drink insane amounts of beer and bang your head for Satan.” Well, if that’s their barometer of success, they might need to brace themselves, because ‘The Reprobate’ does more than this, a lot more. Put simply, it’s another huge example of just how strong the death metal genre is in 2017.

The Score Of Much Metal: 9

Find Matt Spall at Twitter:

twitter.com/ManOfMuchMetal

manofmuchmetal.wordpress.com

Firespawn facebook.com/firespawnofficial

Seattle and Washington concert calendar, updated July 31, 2017

Friends in the state of Washington,

Is there a metal music show in your area that is not listed in this calendar? Does your local metal band have a show coming up and is not listed here? Is your band's name spelled incorrectly? Are the dates wrong? If you have information about shows/updates/cancellations, please get in contact with Metal Bulletin Zine.

Seattle and Washington concert calendar, updated July 31, 2017

August 2 Wounded Giant at The Pin, Spokane, WA

August 2 Lungs, Serial Hawk, Witch Ripper, Githyanki at Highline, Seattle, WA

August 3 Wounded Giant at The Shakedown, Bellingham, WA

August 3 September Mourning, What Though Wilt, Sysztem 7, Pelligrini Thursday at Studio Seven, Seattle, WA

August 4 Vultures above Us, Dismembering Mary, Drug of Choice, Monsters among Gods at The Y Sports Bar, Spanaway, WA

August 5 Transcribing the Necronomicon, Oxygen Destroyer, Kömmand at McCoys Tavern, Olympia, WA

August 5 Wounded Giant, Year Of The Cobra, Swampheavy, Toecutter at Funhouse, Seattle, WA

August 5 Blistered Earth (Metallica tribute) at Capps Club, Kenmore, WA

August 5 Wounded Giant, Year of the Cobra, Swampheavy, Toecutter at Funhouse, Seattle, WA

August 5 Armed for Apocalypse, At Home from Hell, Devilation, Sausage Slapper at Tony V's, Everett, WA

August 6 Triac, Doc, Transient, Disease at Black Lodge, Seattle, WA

August 7 Hemlock, Jesus Wears Armani, TwasmonauT, others at Studio Seven, Seattle, WA

August 7 Sausage Slapper, Pelligrini, Whythre at Substation, Seattle, WA

August 9 Barbarian, Peucharist, Kömmand, Ghostblood at Highline, Seattle, WA

August 9 Metallica, Avenged Sevenfold, Gojira at Century Link Field, Seattle, WA

August 9 Eyehategod, Capitalist Casualties, The Accused AD at El Corazón, Seattle, WA

August 10 Gojira, Pallbearer at Knitting Factory, Spokane, WA

August 10 Dismembering Mary, Breather, Vesuvian, Prey the Hunter, We Were Giants at El Corazón, Seattle, WA

August 10 Breather, Primordial Atrocity, Dismembering Mary, Vevusian at El Corazón, Seattle, WA

August 11 Toe Tag, Power Skeleton, Suburban Hell Kill, The Sharp Teeth at Victory Lounge, Seattle, WA

August 11 Tit Nun, Jugs of Blood, L80 at Substation, Seattle, WA

August 11 Morrow, You May Die in the Desert, Burning of I at Funhouse, Seattle, WA

August 12 Phantom Fears (Rush tribute), Odds & Sods at Tony V's, Everett, WA

August 12 Slayer, Lamb of God, Behemoth at WaMu Theatre, Seattle, WA

August 12 Inter Arma, Atriarch, Addaura at Barboza, Seattle, WA

August 13 Hundred Suns, Deathbreaker at Funhouse, Seattle, WA

August 13-18 in Seattle: Guitar Workshop Plus with: Tony MacAlpine, Rik Emmet, others

August 17 Sentient Divide at Obscurus, Everett, WA

August 17 Summer Slaughter 2017: Headbang for the Highway, Lorna Shore, Betraying the Martyr, Rings of Saturn, Origin, Slaughter to Prevail, Oceano, The Faceless, Dying Fetus, The Black Dahlia Murder at Studio Seven, Seattle, WA

August 18 Sentient Divide at Mootsy's, Spokane, WA

August 19 Voodoo Death Gun, Convergence, Fifteen Stitches, The Bare Minimum at Louie G's Pizza, Fife, WA

August 19 Thou Shall Kill, The Morning After, Dilapidation, Urdr, Religicide at El Corazón, Seattle, WA

August 19 Thread the Sky, Ergo I Exist at Funhouse, Seattle, WA

August 19 Countless the Dead at McCoys Tavern, Olympia, WA

August 20 DevilDriver, 36 Crazyfists, Uncured at The Pin, Spokane, WA

August 24 Diamond Head, Substratum, Skelator, Ape Machine, Salem Knights at El Corazón, Seattle, WA

August 25 Hell's Belles at Uncle Sam's Bar & Grill, Spanaway, WA

August 26 Ashen Pyre at Black Lodge, Seattle, WA

August 26 Oxygen Destroyer, Religicide, Blood and Thunder, Religicide, Wuththphuk at Black Zia Cantina, Burien, WA

August 28 Metal Mondays at Substation, Seattle, WA

August 30 Weedeater, Telekinetic Yeti at The Pin, Spokane, WA

August 31 Decapitated, Thy Art Is Murder at The Pin, Spokane, WA

September 1 Queensryche at Walla Walla Frontier Days, Walla Walla, WA

September 3 Decapitated, Thy Art Is Murder, Fallujah, Ghost Bath, Dismembering Mary, Aethereus at Studio Seven, Seattle, WA

September 5 Inquisition, Uada, Volahn, Noceur at Studio Seven, Seattle, WA

September 8 The Drip at El Corazón, Seattle, WA

September 9 Blaze Bailey, Killian Mahaffey at Funhouse, Seattle, WA

September 9 Versus, Dead Crown, Follow the Lights, Down the Scope, Rucker, Vesuvian at El Corazón, Seattle, WA

September 9 TitanFest 2017: Motograter, Chronological Injustice, The National Guard - Music, Invasive, Bleed The Stone, Syztem7, Jesus Wears Armani, Vial 8, Heart Avail, Salem Knights, Hammerz Down, Voodoo Death Gun at Louie G's Pizza, Fife, WA

September 11 Epica, Lacuna Coil, Insomnium, Elantris at The Showbox, Seattle, WA

September 13 Venom, Inc., Goatwhore, Toxic Holocaust, The Convalescene, Rutah, Dysfunktynal Kaos at The Pin, Spokane, WA

September 14 Venom, Inc., Goatwhore, Toxic Holocaust, The Convelesence, Noctium at Studio Seven, Seattle, WA

September 14 Isenordal, Vradiazei, Omens, Exulansis at Obsidian, Olympia, WA

September 15 Hell's Belles at Lucky Eagle Casino, Rochester, WA

September 16 Thrash or Be Thrased: American Overdose, Method 13, Chronological Injustice, Devilation, Chamber 6, Casualty of God, Massacre at the Opera, What Thou Wilt, Violent Hallucinations at Uncle Sam's America Bar and Grill, Spanaway, WA

September 18 Orphaned Land, Pain, Voodoo Kungfu, Wythre at Studio Seven, Seattle, WA

September 22-23 Famine Fest Seattle at Highline, Seattle, WA. Friday September 22nd. Witchtrap (Colombia), Witchaven (Los Angeles), Drawn And Quartered, Malleus (Boston), Xoth. Saturday September 23rd. Hirax (from Los Angeles), Plague Bearer (Ancient Seattle Death Cult reunion), Effluvia (recently refomred death Metal from Washington), Raptor (Portland, Oregon), Oxygen Destroyer

September 25 The Casualties at The Pin, Spokane, WA

September 29 Dark Tranquillity, Warbringer, Striker, Last Bastion, ReEvolution at El Corazón, Seattle, WA

September 30 Scorpions, Megadeth at Tacoma Doma, Tacoma, WA

October 2 Bat, Savage Master, Bewitcher, Substratum at Highline, Seattle, WA

October 3 The Devils of Loudun at The Pin, Spokane, WA

October 4 Cerebral Incubation, Cordyceps, Angel Splitter, others at Studio Seven, Seattle, WA

October 5 American Wrecking Company at El Corazón, Seattle, WA

October 7 A Flourishing Scourge, Anthrocene, Shades Of Static at The Charleston, Bremerton, WA

October 10 Soulfly does Nailbomb performing "Point Blank"; Cannabis Corpse, Noisem, Lody Kong, others at Studio Seven, Seattle, WA

October 15 Warning, The Body, Worm Ouroboros at Highline, Seattle, WA

October 17 Cattle Decapitation, Revocation, Full of Hell, Artificial Brain, Transcribing The Necronomicon, Dismembering Mary, others at Studio Seven, Seattle, WA

October 24 Aura Noir, Mutilation Rites, Weregoat at Highline, Seattle, WA

October 25 Wolves in the Throne Room at Obsidian, Olympia, WA

October 28 Vale of Pnath, First Fragment, Virvum, Aethereus at The Pin, Spokane, WA

October 28 Hell's Belles (AC/DC tribute) at Jazzbones, Tacoma, WA

October 29 Vale of Pnath, First Fragment, Virvum, Aethereus at Studio Seven, Seattle, WA

November 4 Narcotic Wasteland, Dreaming Dead, Countless the Dead at Studio Seven, Seattle, WA

November 7 Children of Bodom, Carach Angren, Lost Society, Uncured at El Corazón, Seattle, WA

November 7 Cannibal Corpse, Power Trip, Gatecreeper at Neumos, Seattle, WA

November 17 Washington Deathfest at The Charleston, Bremerton, WA: The Charleston (Monsters Brawl Main Stage) 6pm: Embryonic Devourment, Violent Hallucinations, Progenitor, Whythre, Ghostblood, Nihilist Nation, Ashen Pyre, Oxygen Destroyer. High Fidelity lounge (The Chaos stage 2) 4pm: Monsters Among Gods, Abiosis, Inside Defiance, Prey The Hunter, Noceur

November 18 Boycott the Baptist at The Charleston, Bremerton, WA

December 2 Ghoul, The Plot Sickens, Crud Guns, Misuse of Power, Kömmand at El Corazón, Seattle, WA

December 4 Ghost Ship Octavius, American Wrecking Company, Avoid the Void, Omnisight at Studio Seven, Seattle, WA

December 22 Black Bone Exorcism, Thou Shall Kill, others at Substation, Seattle, WA

December 29 Zoso - The Ultimate Led Zeppelin Experience at Knitting Factory, Spokane, WA

March 19 Udo Dirkschneider, Zero Down, Children of Seraph at El Corazón, Seattle, WA

March 22 Michael Schenker at Neptune Theatre, Seattle, WA

April 6 Nightwish at Knitting Factory, Spokane, WA

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Friday, July 28, 2017

review: Thou Shall Kill

by MMB

Thou Shall Kill

Death King Enthroned

release date: August 19th, 2017

label: independent

Thou Shall Kill is a metal music fanatic's band. This is a headbanger’s headbanging band, for those that live and breathe metal music, that are proud of the word metal, that identify as heavy metal lifers. The name Thou Shall Kill could not be more intense and it represents the nature of this Seattle death metal formation. Led by the larger than life stage presence of the barbarian warrior himself, under the name of Dragonis Khan, Thou Shall Kill is a band with the mission to win your heart and mind. When guitarist growler Dragonis Khan takes the stage, he walks in warrior regalia like someone with a purpose in life. To his left, his partner in brutality is the incorrigible Freak who commands you to form a mosh pit or bang your head or he will scowl at you with the thoughts of revenge. When he gives you the signal, it’s time to thrash, mosh and get moving. He plays the bass, roaming, looking to start the fire in the crowd. To Dragonis Khan’s right, you will find Demonia, the executioner of the strings, who along with the warrior, form a guitar monger’s strategic alliance that lives and dies by the riff. Lastly, the throne is occupied by Animal, a new name given to him right now by this publication, blasting his way through the fog and the thunder.

I have been fortunate to catch the band’s live performance a couple of times so far and I have been wondering how the music would translate in the studio. Can a recording capture the energy and spirit of the band? Let's take a look at the contents and see where things stand with Thou Shall Kill in 2017.

1.Epitaph 1:31

2.Judas Behold: The Scourge of the Nazarene 4:40

After the introduction of deathly peaceful clean guitars, the veil to the madness and chaos is lifted with a huge roaring blasting out of the gates and the band sounds like they broke the chains that were holding them back. They are not holding back anything anymore and are giving it their all to make a proper, traditional death metal track that establishes unwavering allegiance to the sounds of classic extreme metal, turning all the dials to eleven.

3.Kingdom Of Shadows 4:04

This song is unmistakable. You won't forget it, either. I have heard it live and I knew which one it was immediately on the recording. It has a very particular blasting beginning of stop/start, then the speed kicks into high gear after the song takes off. On this track shredding soloing takes over toward the end of the song. Sharp and fast, it’s a very cool part of the song.

4.Weapons of War 4:53

A scorcher blasting from beginning to end, basically. The inspiration and spirit of classic death metal is alive in the form of Thou Shall Kill. The scream at the beginning of the song reminded me of a certain sound in particular, one that is used to announce that it's time to bang your head with what's to come. Sure enough, in an instant the guitars are shredding and on the march. The drums are pummeling as fast as possible. The linear, direct structure of the song is definitely pleasing to the ear, especially for when what you really want to do is bang your head or rock out. This song will make you drive fast and go faster than the speed limit. You can't drive 55 to this one.

5.Buried Beneath 5:19

Don't get the wrong impression about Thou Shall Kill. This is not a one-trick pony at all. The previous song is a celebration of everything blasting, speed, brutality and frenzy. Nonetheless, this track here is a completely different dimension: super heavy, marching at a slow pace through some chugging, with tremolo parts, with slow drumming, while the fast double bass kicks provide a constant jumpstart. In the last minute a melodic guitar solos warns that the end is at hand and it's not until the last 37 seconds that the band decides to go full speed down the stretch as a way to bring it home.

6.Doomsday Creation 6:33

Is it better to fade into the end or to go out with a bang? On this occasion, the decision has been made and the intentions are unequivocal. The marching orders are clear. Go big or go home. Rather, go out the door kicking and screaming like maniac. There's quite a bit going on here. There's blasting speed, but not exclusively; there are bits and echoes of extreme metal's past; some quick shredding. The song begins like a closer with some chords that say "let's go, let's go" and soon this creature is barreling down the road, with the band throwing down as hard as they possibly can.

In conclusion, Thou Shall Kill is a band that has done their homework. They took this recording seriously. This does not sound like a demo or a rehearsal. It's meant to be a professional recording for those that take their extreme metal seriously. Even though the shredding soloing and the more melodic soloing have a bit of a reduced or shortened role, it is a good element of the band's identity. Finally, Thou Shall Kill is traditional extreme metal, mostly in the realm of classic-style death metal, in which tight execution and skill are paramount, and the fundamental focus—despite all the chaos, brutality, speed and a general love for high-energy intensity and heaviness—remains the songs. The band should be proud of this recording for sure. It is their best yet.

facebook.com/thoushallkill/

right now, Friday night, Excuse All the Blood metal music show

Listen to the live broadcast right now, Friday night:

radiofreeamerica.com/station/kaos

Excuse All the Blood is a metal music show from the state of Washington, U.S. The show features black metal, heavy metal, death metal and other metal genres, too. The show is on Friday nights, but it is also available any time here: www.radiofreeamerica.com/dj/seamus-o-reilly

Friday night, 10pm to 1am Pacific Time (Seattle), listen to Excuse All the Blood metal music, out of Olympia, Washington state, U.S.

www.kaosradio.org

www.twitter.com/EATBRadio?lang=en

interview: Al Joseph

The earlier work of Al Joseph was The Great Gamble, a progressive metal band that is now inactive. Subsequently, he did the solo instrumental progressive album Out in the Open originally released in 2013 and that was a good sign that Al’s music mission was just beginning. In 2017 there is a new album called All of Creation, an instrumental progressive and melodic album that shows hard work, thoughtfulness and quality. Supporters of instrumental progressive guitar music will enjoy the songs that you can remember. When confronted with a million questions from this publication, Al was generous with his time and gave a professional and interesting interview, including some very exciting new developments, as you will see. Read on and learn more about Al Joseph and the new work All of Creation.

Congratulations on the album! Very skilled and it has real songs. It has been getting repeated listens around here for months now. We wanted to dig deeper into your new album. For the record, can you tell us who are the musicians playing on the album?

AJ: Hey, guys thanks for having me. As far as the musicians go I played all guitars on the album, except the guest solos for which I am honored to have the great Marco Sfogli play on the title track, Per Nilsson on “Ocean Levels”, and good friend Jack Gardiner on “Nightlights”. What an amazing experience working with these guys. Couldn’t ask for a better turn out.

The drums were programmed originally and later on I had my good friend Billy Gerrity play electric drums to it. We kept a good mix of what I programmed and what he actually played. Just time, money, and place determined that process.

I played most of the bass guitars, but I had help from my friend Sam Bouvé on Shogun and Nightlights. He’s an amazing soul and bass player.

On keys I had my friend Chris Mansi play on the entire album except the keyboard solos on “Eve in Flow” and “Calling”. I saved those for my buddy and amazing talent Santiago Vidal from Uruguay.

So the line-up was pretty thick on this one. I have all these incredible artists and players to thank!

Does the album sound close to the music as you heard it in your mind or do you feel like you are still pretty far away from making it sound like you hear it in your mind?

AJ: In my mind this album is my best work due to the process of how the music came to be. I made it a point to only write within my means as I was inspired. With the solos especially I made it a point to construct them for the song and not for my peers. I didn’t want to write anything that I would regret having to play live later LOL.

As for the arrangements I just feel like these are tunes that even I as the creator can sit back and listen to without judging them too harshly. This is the sound that I was looking for, for sure. But as my influences continue to grow and change so does my music.

For you, how do you go about choosing the sequence of the songs?

AJ: I definitely spent time on this. I believe in the flow of a song and thus the flow of an album. For some reason my more R&B and fusion styled songs end up toward the end of the record, but it’s just how I like listening to solo albums and such. But I don’t do it purposely to attack listeners. I just do it because it’s how I’d want to listen to the record. Ultimately I think this matters but it’s up to the artist I think.

Do you ever hear a voice or a lyric for a song?! You have done vocals before, with your previous band The Great Gamble. Do you hear music in your head pretty much all the time? If so, then, how do you deal with the times that you hear a lyric or a singing voice to it?

AJ: I’m usually inspired by one of three things to start out. A strong melody, a chord progression, or a rhythmic idea. For example, “Calling” was inspired by only the piano at the beginning. Then it pretty much built itself from there. I hear melodies all the time. It’s a blessing. I just love melodic ideas and I’m always sneaking away to a bathroom or something to sing them into my phone for safe keeping LOL.

As for lyrics I have a harder time. But I have learned from many of my peers how to write lyrics. So I’m getting better. I’m actually releasing an album with my new band soon and I am singing lead again. It just feels right for right now. More on that later LOL.

I have noticed that online you do not go crazy commenting on every news or event. I see musicians who feel the need to take sides in political arguments about whoever a president, senator or representative is or maybe something that they said or whatnot. Do you think that it’s better to stick to what you do best and let the politicians do politics?

AJ: Yes. I agree to let politicians do politics. I’m a professional musician and artist not a politician. I get it that we are all human beings and we have our opinions, or concerns, and fears. In fact, my friends and family will tell you that I’m a very opinionated and outspoken person but when the time is right. I don’t let that get into my profession because it’s not necessary. There are many times where I want to say something on Facebook or Instagram about another person or topic, but I’ve tried my best only to give the world what I was blessed to give and that is love and music. I think time will decide when it is best I give my opinions on such sensitive subjects.

Let’s talk about some songs. “Elysium” has some nice interactions between guitar and the keyboards. How did that idea come about?

AJ: Well for “Elysium” that interaction was premeditated. At that point I had written most of the songs and wanted to mix up the song form a bit. So having the keys in the verse for example freshens up the writing process for me. I brought my friend Chris Mansi into the studio and just had him shred for his life over the parts and then later directed him through the phrasing I imagined over the tune. He’s very easy to work with and very talented. I can’t wait to work with him again.

As far as guitar parts I just play what I hear. I don’t remember how many guitars I might have layered, but lately I’ve been layering and layering parts in newer projects to get a more solid arrangement. You can definitely expect more and more of that in the future.

Why is “Master Builder” so short?! Did you conceive “Master Builder” as an introduction to the last song, “Purpose”? By the way, “Purpose” is very pleasant on the ears. The guitars really sing on that song. Of course, one can say that this is your style, anyway. Did you always know that “Purpose” would end the album?

AJ: Well, “Master Builder” is a song that my brother Chris Joseph had written and produced for the record. I was done with all the other songs, but felt the album just needed a breather. Just a cool different vibe to compliment the record and then finish hard with a nice anthemic/farewell tune. And that’s where “Purpose” came into play. I love that song because once again it was about singing and melody and not giving my listeners a headache LOL. It’s definitely going to be one of my favorite songs to play live. I’m glad you liked it. I was worried there wasn’t enough shred actually LOL.

Now that some time has passed, what do you think about the pacing/sequence of the album? Sometimes I get the impression that you wanted to have a wide variety of moods. I don’t necessarily feel like there is one particular mood; some of it is fast, some melodic, some of it proggy, some shred. How conscious is all of that?

AJ: I am very conscious of that. I want to be able to sit back, relax, and listen to this album later and not feel like I overdid anything. That’s what an album is all about to me. A build up, a climax, and a cooling down. I definitely wanted to showcase my influences and execute those traits in an authentic yet sensitive way for me and all my listeners. I’m also glad you caught on to that because that’s exactly what I was going for. I didn’t want to make just a metal, rock, or fusion album. I wanted it diverse yet still all part of a progressive rock work.

You have some moments of big shredding, but were you consciously trying to hold back a little? Of course, on the song “Shogun” you display the metal music side, with the double bass drumming and the speedier tempo. Do you feel like you want to avoid being seen as a shredder?

AJ: I believe in branding 100%, but I won’t be molded into anything that I’m not. For me it’s not so much about my image, it’s about the art. There will always be someone faster, more technical, and just better than the next. My mission was to play what was physically, mentally, and melodically comfortable for me at all times. I want my sound and lyrical choice, so to speak, to be my stamp or my brand. Not my technique.

To be honest, I’m quite tired of the idea of the “next level’ or “pushing the boundaries” of playing being associating with technique. It’s ambiguous at best and oftentimes quarantines the musician or artist from their listeners. There are only a few players in my opinion that can actually balance this. There are also a few that are not subject to “keeping up” with the “level” of skill they display as well. In other words it’s truly a part of the way they speak and they can use it in may different settings. They just have it. And that’s the type of player I want to be. To show my truer emotions through the instrument in any setting. That is my strong point and I’m sticking to it.

Does it bother you that, since you do instrumental music, people do not know if you are a liberal, conservative, socialist, atheist, Muslim, Jew or whatever? Or, does it feel very nice, actually, that if someone is a fan, it is strictly based on the music? As you know, some rock and metal musicians really want the world to know that they are atheists or that they hate religion or whatever!

AJ: LOL I know what you mean. These subjects are way too personal to be mixed in to the industry of art. Too much talk. They should be shown. That’s the vulnerability music brings. And I look for that in people.

Take Christianity for example. I grew up Christian but do not practice religion. I know what I believe and it works for my good and I work it for the good of others. If that is true then I would share the result of that good with people not push my views on them. And social media is the perfect place to do that whether intentionally or non-intentionally.

For example, I can release music and share my expertise through tutorials and videos. But I take time with my students on a one-on-one basis to see where their hearts are leading them. Even if it leads them away from me and to do other things or study with someone else. I look for a few things when sharing ideas with people. 1.Is it something that works good results in their lives and others and 2.is it an experience they are willing to share with me freely?

Do you see yourself as a Christian and as someone whose life is guided by Christianity? For instance, I long ago noticed that online you don’t use vulgar language in order to be edgy or cool or funny. Of course, as already mentioned, you keep it very professional, and on point about music, aside from the rare comment about whether to go or not go to the gym!

AJ: LOL. I am a Christian but I’m more a person than a Christian. Just like I’m more a human than I am an African American. I have a dirty mouth, I like to party A LOT, and I’m not the nicest fellow all the time. But I love life and people in my own way. Isn’t that what a human being is?

I’ve been a bit edgier lately on social media and you can expect more of that in doses LOL. But I abstained from it because it just wasn’t professional for me at the time. I’m so big on that, but social media is getting more and more personal and demanding the realer side of people. Especially public figures.

I find that people (myself included) are becoming much less impressed with the “mystique” of being “famous” and calling on the realer “Al Joseph” not the corporate “Al” if that makes sense. A lot of people just assumed I didn’t swear online because I’m a Christian but that’s not true. To be honest I just didn’t want to deal with the backlash of offending my community back home. Just seemed I could still be just as affective as an artist with or without the use of profanity. Lately I just don’t care though LOL.

By the way, do you ever see yourself singing again? If not, do you no longer have the urge to express yourself by singing, too? Do you still sing while you are cooking or taking a shower? Or, is the desire to sing totally gone at this point?

NOOOO. Not all gone. In fact, I’m singing again in my new band and it feels awesome! I can’t wait to get this music out to all of you. It’s a new direction and my band and I just love it. I can’t speak more on it yet, but the new album with me singing is done and waiting for mixing and mastering. So stoked.

What is next for you? You have two albums now. I don’t know, but it looks like your career is on the upswing. What are some of your plans for the rest of 2017 and for 2018? Do you have shirts? Do you have videos planned or already done for these new songs?

AJ: Well, right now I’m just getting my house in order, figuratively speaking. Financially, network wise, and just inspirationally all together. It’s hard out there and a lot of what goes on shapes you no matter what. I’m excited nonetheless and most of all I’m ready. Tours, more videos, building my site, the whole nine. Just expect all of that real soon.

Has it been worthwhile to dedicate your life to music so far? As you know, music is not a great business nowadays, in part because the stealing of music is considered normal. Do you ever doubt yourself and think that maybe you should have become an insurance salesperson or a lawyer?

AJ: It’s hard, man, but hell to the no. I’m a musician period. I love being me in this world of music more than anything. I hope to hire insurance people and lawyers some day but I’m sticking to music!

Finally, can you tell what is that sound at about 2:50 in the song “Shift”? It’s a bit like rattlesnake or echo or something! It’s also the sound that we hear at the very end. What is it?

AJ: LOL. Yeah. I believe you’re talking about just a rhythmic/synth patch I used. That’s all it is. I heard it, liked it, and used it. That’s all I can say. I need to get better with synth and programming. I’m sure my bro can help me with that. Expect that in our new project soon!

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Tuesday, July 25, 2017

review by Matt Spall: Damnations Day

Fans of traditional melodic metal, traditional progressive metal and adult contemporary metal in general will, if they have not already done so, find Damnations Day (Australia) to be an outstanding band for several reasons. Let’s cut to the chase, the singing on this album is out of this world. If the band plays in your town, it would be worthwhile to hear how the voice holds in the live environment. On this recording it sounds incredible. Another point of interest is that the band is very much a heavy metal entity, meaning that there is rocking, not just melody going on. In fact, our friend Matt Spall, who specializes in prog music, explains very well below what Damnations Day does. --MMB

Artist: Damnations Day

Album Title: A World Awakens

Label: Sensory Records

Release date: 24 March 2017

I have gone on record before about the strength of the heavy music scene in Australia; there is literally no let-up in the number of bands that are coming through. It’s like a torrent. But more than that, these bands almost all display an incredibly high standard, whatever their chosen subgenre. And now you can add the name Damnations Day to the list because, as ‘A World Awakens’ demonstrates, they more than threaten to muscle their way into the competitive antipodean melodic prog metal scene.

In fact, come to think of it, the title of this record is very apt. Prior to the arrival of this sophomore release, I had never even heard of Damnations Day. I suspect I am not alone. But now, the world must surely awaken to the merits of this talented band from Geelong, Victoria.

Damnations Day, who released their debut ‘Invisible, The Dead’ back in 2013, is comprised of vocalist and guitarist Mark Kennedy, his brother Dean Kennedy on drums and Jon King on guitar. Those already familiar with this kind of music will almost certainly recognise the name Teramaze and it might therefore be of interest to know that Dean Kennedy is also their tub-thumper. The Teramaze links don’t stop there either, as Dean Wells was drafted in as session bassist and knob-twiddler extraordinaire.

On that note, it has to be said that ‘A World Awakens’ sounds very good indeed. The production affords the music the power required for a metal band, providing plenty of grunt and muscularity. However, there is clarity too and so the melodic sensibilities, the technicality and the vocals are given the best opportunity to shine.

Speaking of vocals, there’s really no other place to start because boy, this guy can sing. Low range, upper range, soft, powerful, emotive; there’s no place he can’t seemingly go and nothing is off limits. And you can hear that he is giving it everything. There’s an enthusiasm and a vibrancy that comes through, even when Kennedy is leading the music down a darker or more aggressive path. What this means is that Damnations Day are able to compete in a genre that already boasts some amazing singers, when they might have otherwise struggled.

t’s just as well because the music that sits alongside the vocals is genuinely out of the top drawer. When Damnations Day hit full pelt, the riffs are big and bold, the drumming is aggressive and the tone is brooding and intense. Opener ‘The Witness’ is the perfect example, coming out of the blocks with fists flying. The guitar tone that delivers the bruising riffs catches my ear immediately, as does the surprisingly sophisticated rhythm section. The bass rumbles but with understated finesse and the drums deliver both intricacy and an all-out double-pedal assault.

But within the same song, there are some great melodies to be heard, a catchy chorus and brief moments when the foot is taken off the pedal to allow something more subtle and nuanced to come through.

‘Dissecting The Soul’ reminds me of a cross between Circus Maximus and Tomorrow’s Eve. It is a moody composition that has a slightly greater progressive edge whilst the sophisticated chorus is sprawling, dreamy and utterly irresistible, topped off by some dextrous lead guitar work. And I love the dramatic and dark outro too.

The high quality continues as the album develops. For example, ‘Colours of Darkness’ plays around with light and shade to great effect, underlining the bands’ progressive leanings in the process. And then there’s ‘I Pray’ which is an ambitious composition that pulls together a number of different elements into a cohesive and compelling listening experience.

Then there’s my favourite track of them all, ‘A World Awakens’. It was the track that I heard first and immediately pulled me under its spell. It begins with a slow, atmospheric intro before opening up into a galloping verse aided by a commanding vocal performance. It takes a while to materialise but after a suspense-filled build-up, the chorus is absolutely enormous, begging to be sung along to with gusto. Everything about it is just about perfect, culminating in a hair-raising scream from Kennedy that segues into a quieter, more introspective passage before skipping towards its conclusion.

Like most good melodic-leaning metal bands, Damnations Day are not averse to a ballad either, giving us two on ‘A World Awakens’. The first, ‘Into Black’, is dominated by an acoustic guitar and sumptuous vocals initially but introduces well-placed orchestration to provide an elegant and grandiose conclusion. The second, ‘Diagnose’ is also the closing track, bringing the album to an end in style. Again, acoustic guitars figure in the opening stages alongside some deeper and more sombre vocals but are eventually placed by a wonderfully strong and emotive guitar riff that compliments and indeed enhances the melodic intent of the composition. However, the real strength of this last song is its relative simplicity, which allows the atmosphere and the tangible emotions to take centre stage.

To be honest, I can find very little to criticise about Damnations Day and their sophomore album ‘A World Awakens’. It has certainly caught my attention for all the right reasons and deserves to be heard by anyone who enjoys properly powerful melodic metal with a progressive edge.

Powerpoints: 8.75

Seattle and Washington concert calendar, updated July 25, 2017

Friends in the state of Washington,

Seattle and Washington concert calendar, updated July 25, 2017

July 26 Undergang, Necrot, Hissing, Fetid at Highline, Seattle, WA

July 27 Glacier, Noceur, Cavurn, Twin Sibling at Alt Library, Bellingham, WA

July 27 Crimson Guardian, The Randy Savages, Reverent Circle, Eroder at Funhouse, Seattle, WA

July 27 Jugs of Blood, Power Skeleton, Himiko Cloud, Mudslug at The Valley, Tacoma, WA

July 28 Hell's Belles at Ocean Shores Beach Resort & Casino, Ocean Shores, WA

July 28 Led Zepagain (Led Zeppelin tribute) at Showbox, Seattle, WA

July 28 Edge of Paradise, American Wrecking Company at Funhouse, Seattle, WA

July 28 Jesus Wears Armani, Whythre, Mandamus at Obsidian, Olympia, WA

July 28 Sentient Divide at The Big Dipper, Spokane, WA

July 29 Zeke, Acid Teeth, Boxcutter PNW at The Shakedown, Seattle, WA

July 29 Power Skeleton, Himiko Cloud, Mind Beams at Parliament Tavern, Seattle, WA

July 29 Storm the Tower, Iron Nightingale at The Kraken, Seattle, WA

July 29 Carnotaurus, Resurgence, Alcohology, Dysfunktynal Kaos at The Reserve, Spokane, WA

July 30 Blue Oyster Cult, Foghat, Spike and the Impalers at The Tulalip Amphitheatre, Tulalip, WA