Tuesday, June 30, 2020

HORROR PAIN GORE DEATH Launches Free Bandcamp Sampler

This is the official information about the free compilation by Horror Pain Gore Death Productions.
"Horror Pain Gore Death Productions have made available for free download a 16-track sampler. Download below. Get some! With the entire world feeling the effects of Coronavirus / COVID-19, music fans are living in dark times without the ability to experience live music. Horror Pain Gore Death Productions is proud to present this free 16-track Bandcamp sampler for the fans. Thank you for supporting HPGD and our artists during these tough times, and stay healthy!"
1. MUSKET HAWK - Dios Mio
2. SAVIORSKIN - Indoctrinate
3. REDUNDANT PROTOPLASM - Intravenous Leptosporosis 4. VIOGRESSION - Execution [Execution Demo]
5. ALPHA-O-MAGA - Deceiver Believer
6. IN THE FIRE - Take Away The Crown
7. ABIGAIL - Satanik For Slaughter
8. VULCAN TYRANT - Never Stop The Tyranny
9. MOONS - Toneshaper
10. IMPERIAL SAVAGERY - From Advent To Casket
11. FORMLESS MASTER - The Clones Of Bruce Lee
12. BAYHT LAHM - Gente De Sal (Mitos Falsos)
13. HEINOUS - Shrunken Head
14. FLUIDS - Capped
15. CARRION VAEL - Black Chariot
16. LOCUST REIGN - Big Cat Rescue
Coronavirus / COVID​-​19: Free Bandcamp Sampler by HORROR PAIN GORE DEATH PRODUCTIONS

'Sparks Fly" w/ DEMISE OF THE CROWN Music Video

Here is the official music video for "Sparks Fly" from the 2020 album Life in the City by the Canadian band Demise of the Crown. Below is the official propaganda hype about the band. Listen to the album on Bandcamp.
Brandish your weapons and bare your teeth in the battle for new world order with metal quintet, Demise Of The Crown. Garnering a reputation for redefining modern metal with a sound that is a melting pot of styles, catchy choruses alongside explosive guitar solos reminiscent of Eddie Van Halen with undertones of Yngwie Malmsteen topped off with frontman Darren Beadman’s striking vocal techniques, the Montreal band unleashed their new album "Life In The City" this past April.
Demise of The Crown's music, written by guitarist Manuel Iradian and vocalist Darren Beadman, uses standard pop music songwriting skills to hook listeners into their irresistible and melodic metal sound. Iradian writes all the music, then hands it off to Kevin “Kevy Metal” to dress up each song with his high-speed, galloping rhythms, finally, Beadman crafts the anthemic lyrics rousing crowds to chant along with an anarchistic frenzy. Each song is rooted in all basic human emotions; anger, lust, depression, happiness, death, and revenge.
Each member has spent their time paying dues in the Montreal metal scene and they have banded together with the same goal and vision of a band determined to shake the foundation of power metal. The current lineup of Beadman (vocals), Iradian (guitars), Kevin Alexander (drums), Simon Doiron (bass) and Vince Doiron (guitar) has been going strong over the years playing a plethora of gigs in their area and releasing their debut self-titled record in 2016.
Influenced by headliners like Nevermore, Avenged Sevenfold, Opeth, Pantera, and Faith No More, the band is working their way up the royal bloodline to cause chaos right alongside their heroes.
Demise Of The Crown - Sparks Fly (official video)
Life In The City by Demise Of The Crown

documentary of METAL IMMORTAL FEST in the U.S.A.

Check out this documentary of METAL IMMORTAL FEST in the United States. Apparently, the band Lady Beast (Pittsburgh, Pennsylvania) has taken the responsibility of organizing the fest. This documentary is really fun to watch and hopefully we will have more such festivals for heavy metal in the United States. In the video Lady Beast explain how they organized it. Of course, there is some cool footage of the festival itself. The description on YouTube says: Featuring interviews and live footage from RAZOR, SAVAGE MASTER, NIGHT DEMON, DESTRUCTOR, FATAL CURSE, LADY BEAST and more! A documentary about METAL IMMORTAL FEST 1 in Pittsburgh PA 2019 by George Romero film student Jessie Regula. LADY BEAST frontwoman and fest organizer Deborah Levine comments:
"I was contacted while organizing MIFest by Jessie who attends the George Romero school for film. She wanted to film a documentary for her final project about the fest. I said hell yeah, and she collected all the footage, interviews, songs, etc and compiled her favorite moments for yall to enjoy! We owe her a huge thank you for allowing this moment in time to be immortal. Hope you enjoy!!!"
Immortilized: The Metal Immortal Festival Documentary
Biography: Lady Beast is a heavy metal band from Pittsburgh PA. Now in its 10th year, the band has played hundreds of shows, played festivals, done tours, and sold thousands of albums. Upon hearing a recording of the band, it’s easy for the listener to pick out the band’s musical influences (NWOBHM, Motörhead, Dio, etc), but that isn’t the only influence. The band draws heavily on the DIY ethos of the punk scene. Lady Beast has always done everything on its own. -Booking tours, doing band photos, printing t-shirts, setting up shows at home, writing songs, putting out albums (released on bassist Greg Colaizzi’s label, Cobra Cabana Records), and driving the van. Anyone that has seen the band live can attest to the band’s energy, and singer Deborah Levine’s vocal ability, charisma, and love for what she is doing. Lady Beast is getting ready to release a new album on Reaper Metal Productions April 3, 2020 called 'The Vulture's Amulet'. This will be the 5th release of the band.
The Vulture's Amulet by Lady Beast
Vicious Breed by Lady Beast
Lady Beast II by Lady Beast
Lady Beast by Lady Beast

Blood and Thunder (Washington state, U.S.A.)

Blood and Thunder is a melodic death metal band in Washington state. Here is their Facebook description and below it is their 2018 recording The Necromancer's Cantos on Bandcamp.
BSeattle's burgeoning metal scene has given birth to a new force where the ley lines of dark melody and brutality intersect: Blood and Thunder. Weaving together intricate guitar-craft, ringing, swirling keyboards, bludgeoning bass and drums, and a mix of crack-ice blackened vocals and wolfish death-metal roars, Blood and Thunder create melodic death metal that both crushes and loads your head with barbed hooks that won't come loose after the music ends. Crafted in the winter of 2008 Blood And Thunder is modern melodic death metal from the pacific northwest.
The Necromancer's Cantos by Blood and Thunder

Bleed The Stone (Washington state, U.S.A.)

The demo by Bleed The Stone (Washington State) is available on Bandcamp. Below is their information.
Biography: Bleed The Stone is a hard rock band emerging from Tacoma, WA. BTS has been a force in the local music community since 2013, with two hiatus periods. As individuals; Michael Stone (vocals), Brandon Carnahan (bass), Justin Hodge (guitar), Andrew Foster (drums) and Timmy Berry (guitar/vox) have a wide variety of musical influences. BTS has released their first self titled demo through Bandcamp as of March 2019. They have shared the stage with a number of great bands! This includes acts such as DOPE, Motograter, American Head Charge, Mechanism, American Wrecking Company, Element A440, Unhailoed, Toy Called God, Casualty of God, Amerakin Overdose and many others. With no boundaries, BTS can be seen at any kind of show; whether it be hardcore, funk, rap, pop, rock, or anything in between. Bleed The Stone continues to play alongside and support all different genres of music.
Influences: Mad Season, Killswitch Engage, Pantera, Down, Black Label Society, Slipknot, Lamb of God, Staind, Godsmack, Alice in Chains, Temple of the Dog, Pearl Jam, Katatonia, Judas Priest, Slayer, Mushroomhead, Devin Townsend, Nine Inch Nails, Machinehead, A Perfect Circle, Incubus, Behemoth, & more.
Bleed The Stone 2019 DEMO by Bleed The Stone

Black Tears (Washington state, U.S.A.)

Black Tears was a black metal entity in Washington state. Black Tears later became Morrow. Here is a 2015 recording while this still was Black Tears.
Forgotten by Black Tears

Agony of Deceit (Washington state, U.S.A.)

Agony of Deceit was(?) a thrash band in Washington state. YouTube has the following video of the band performing live. Metal Archives shows an album called Affliction from 2003.
1. Church of the Damned
2. Affliction
3. Distortion Notions
4. Entranced
5. The Wrath (That Used to Be)
6. Madness
7. Honest Lies
8. Wage Slave
9. Pacifist
10. Militant (Bring Out Your Dead)
11. Inner Smile
12. Fighting the Elements
13. Nameless
Agony of Deceit - SMO Fest 2001

Monday, June 29, 2020

out now: Kenziner's new album Phoenix

Kenziner (Finland) is an uptempo, melodic band with high singing, guitar-hero playing and keyboards. Kenziner hits all the stops throughout the album. Fast rockers. Check. Midtempo anthems. Check. Power ballad. Check. You don’t have to tell this band “Know your audience!” because they do. Ten songs in 43 minutes. Even though it is catchy, melodic songs, there is a prog tendency while still staying away from getting pigeonholed as a prog band. They also a neoclassical vibe in the guitars, and sometimes it is an exchange between the guitars and the keyboards. Phoenix is their fourth album and it was released on June 26th, 2020.
Below is some official information about the album. If you like the music and you would like to support the band, below is the relevant link. These YouTube videos often have no value whatsoever in terms of support for the band. It is better to go through band or label if you want to support the music.
They were among the spearheads of heavy metal in the 1990s: KENZINER. The Finns were one of the leading representatives of the Neo-Classical style with a good dose of Power Metal. After their two classic albums in 1998 and 1999, it took them a few years to return to the scene in 2014 with their third album. Since then, mastermind / guitarist Jarno Keskinen had to involve a new singer, Peter "Zinny" Zalesky. But in 2020 KENZINER want to know it again and they present their fourth, huge new work. The classic keyboard sounds as well as the guitars in Power Metal style, which can be heard immediately. The extremely balanced production also brings out the strong vocals and, in total, leaves nothing to be desired. KENZINER also show a ballad-like atmosphere twice, but otherwise there is melodic Power Metal to be enjoyed by first-class musicians who master their craft and show their skills.
Kenziner - Phoenix {Full Album}

out now: Black Knight new album Road to Victory

Dutch heavy metal traditionalists Black Knight have a long history and have had their share of personnel changes, but on June 26th, 2020 they had their third album Road to Victory released. The music is uptempo, rocking songs with the riffs that are classic-style, done with expertise. The band is essentially the dictionary definition of traditional heavy metal. High vocals and high screams, riffs, solos, everything, with a gritty mentality. They want their songs to hit harder, the guitars to rock on the basis of the big riffs. The songs have a crunch to them. This is not to say that they have no melodies. They have hooks and they have solos that include melody, not just shredding. They have choruses that drive the themes home. Still, it is the guitar crunch that seeks headbanging movement from the listener.
Here is some official information about them and a couple of YouTube videos.
BLACK KNIGHT reach for the stars again. The formation from Amsterdam, founded in 1981, starts its big comeback this year. After two demos in the 1980s and early 1990s, the classic debut ´Tales From The Darkside´ (1999) and its successor ´The Beast Inside´ (2007) concluded a glorious band phase. Now the only remaining original member, drummer Rudo Plooy, has returned with a new team and a new long player named "Road To Victory". Guitarist Gert Jan Vis (3RD MACHINE) was already involved in the nineties and bassist Ron Heikens (PROFOUND) has been with the band for a number of year too. Guitarist Ruben Raadschelders and Singer David Marcelis (LORD VOLTURE, THORIUM), on the other hand, joined more recently in 2017.
And what did BLACK KNIGHT produce in the studio? Their third full-length is rigged with classic heavy metal. Stunning twin guitars that express the the eighties' flair in melodic runs and a singer who moves powerfully in medium and high pitches. “Road To Victory” sounds so stylish as if the last three decades haven't existed at all!
BLACK KNIGHT - Road To Victory - official Video (PURE STEEL RECORDS)
BLACK KNIGHT - "Road to Victory" Online Album Release Show

Black Liquid Funeral (Washington state, U.S.A.)

Black Liquid Funeral is extreme metal in Washington state. This publication does not have knowledge of any other recordings besides what they have on the Band Profile section of their Facebook page. The demo is a raw thrash/death-style recording of brutal metal.

Blackgoat (Washington state, U.S.A)

Blackgoat (Washington state), according to Metal Archives, issued two albums: Blackgoat (2000) and By Unseen Forces (2003). This publication does not have much information about the band. It is assumed that this band is defunct. At any rate, YouTube has their 2003 album in its entirety. They are an extreme band, and people generally classify them as a death metal band or a death/doom band.
Blackgoat - By Unseen Forces (2003)

Black Breath (Washington state, U.S.A.)

This is what Wikipedia says about Black Breath (Washington state): Black Breath is an American heavy metal band from Washington that formed in Bellingham in 2006 and later moved to Seattle. They play hardcore punk-influenced extreme metal. A key factor of their sound is the "Boss HM-2 Heavy Metal Pedal", which was popularized by bands such as Entombed, Dismember and Edge of Sanity in the early 1990s. Black Breath began in 2005, playing local bars and house shows in Bellingham. They released a few demos, and toured the underground before finally recording an actual EP in 2008. In 2008 they released the Razor to Oblivion EP under their own label, Hot Mass Records. The EP gained attention in the local music underground and the band signed with Southern Lord Records, a Los Angeles based metal and hardcore punk oriented label, in October 2009. Black Breath toured across the country to support the EP as a support act for Victims, Rise and Fall, and Trap Them. Southern Lord then took over the distribution of the EP, which was re-released under the new label, and Black Breath went to the east coast to record their debut album, Heavy Breathing, at GodCity Studios, owned by Converge guitarist Kurt Ballou. Heavy Breathing was released on March 30, 2010 by Southern Lord. Their second album titled Sentenced To Life was released March 27, 2012 also on Southern Lord Records. In October 2014 it was announced that Black Breath would be returning to GodCity Studios to record their follow up, Slaves Beyond Death, for an early 2015 release. Elijah Nelson, the band's bassist, was found dead on December 29th, 2019.
Slaves Beyond Death by Black Breath
Heavy Breathing by Black Breath

Bitter End (Washington state, U.S.A.)

This is Bitter End (Washington state). YouTube has their album Have a Nice Death! (2011) and here's a couple of their songs from there.
Biography: Though Bitter End was an integral part of the late 80’s / early 90’s Seattle Thrash scene, the band’s musical roots trace back to Orange County, CA. There, in the early 1980’s, high schoolers Matt and Chris Fox would see “local” bands like Slayer and Armored Saint, and Bay Area-bands like Exodus and an early version of Metallica featuring Dave Mustaine. Jamming together for days, weeks, months, and years, Matt (guitar) and Chris (bass) learned dozens and dozens of songs. In the course of imitation, they began to develop their own sound: acrobatic unison riffs, precision picking (with finger-style bass!), and traditional metal rhythms played at breakneck speed. But judging by the songs the band later would cover (“My Generation” by The Who, “Hocus Pocus” by Focus) what came to be the Bitter End sound owed as much to the late-1960s – early 1970’s record collection of Matt and Chris’ parents as it did to the NWOBHM then storming the airwaves.
In 1983, the Fox brothers moved to Edmonds, WA, a suburb of Seattle, and by 1985 had managed to land powerhouse, double-kick drummer Harry Dearinger. Two years of woodshedding followed, during which the band wrote a dozen original songs. But despite their best efforts, they could not find a suitable vocalist. In 1987, Matt and Chris rented “the House of Deth” in Seattle’s University District, and began hosting parties every Sunday night during KCMU’s “Brain Pain” metal radio show. The parties became a locus of the Seattle metal scene, with members of Forced Entry, Sanctuary, Coven, Panic, and Heir Apparent among the regular attendees.
All of this musical and professional progress, however, was no help in finding a vocalist. The band’s first show, opening for Forced Entry and Coven in 1987, was played as an instrumental three-piece. Finally, the band decided to DIY the vocals themselves, and Matt ultimately became the voice of Bitter End. The next year, 1988, the band recorded the “Meet Your Maker” demo with Chris Hanzsek at Reciprocal Recording. More gigs in and around Seattle followed, with acts such as Alice In Chains, Wild Dogs, and My Sister’s Machine, and the band added a second guitarist, Melcon Wagner. A 1989 showcase attracted the interest of then-Metal Blade A&R rep Dyana Kass, and the band enlisted the help of legendary Seattle producer Jack Endino to record a five song development demo. Melcon left the band soon afterward, and Bitter End signed a seven-album deal with Metal Blade/Warner-Elektra-Atlantic.
As pre-production got underway for the debut release, guitarist Russ Stefanovich (Mad Hatter) joined the band, and the contribution of his neoclassical shredding (his nickname at the time was “Russ-wie”) to the band’s sound was immediate and powerful. In February of 1990, under the guidance of producer Randy Burns (Megadeth, “Peace Sells”, Kreator), Bitter End recorded “Harsh Realities”, at Dodge City Recording in Studio City, CA. The album was released in June of 1990, receiving an 83 from Metal Forces, and three out of five stars from Kerrang! In Europe, the album was issued on the Music for Nations imprint, and was produced in both CD and vinyl formats. The band went on the road in support of DRI, touring the Western United States, Canada, and Mexico in the heat of the summer, and played with other up-and-coming thrash bands such as Excel. In late Fall 1990, the band again took to the road, this time in support of Sacred Reich for another tour of the West, accompanied by Atrophy. And in 1991, with financing from Metal Blade and working with videographer Tom Ensign, the band produced a black-and-white video for “Harsh Realities” that received airplay on MTV’s “Headbangers’ Ball”.
In early 1991, disagreement over next steps led the band to request a release from their recording contract, and they amicably parted ways with Metal Blade. The rest of the year was spent gigging, incorporating the more thrash-friendly rhythms contributed by Russ, composing new songs, and preparing to go back on the market. During this time, they played local and regional gigs with The Accused and Soundgarden, as well as touring acts such as Anvil, Heathen, and Scatterbrain. The band tracked a number of songs at Robert Lang studios in Seattle that were mixed by Jack Endino, and prepared to start shopping for a deal. But Metal’s stock within the larger music industry was falling, and by the time Nirvana released “Nevermind” late that year, it was clear that heavier forms of music were headed back underground. No label deal was imminent, and the members of the band felt the pull of other musical possibilities and life paths. After seven years of effort, one commercial label release, touring the Western part of North America, and a great ride, Bitter End played its final gig in August of 1992.
Since then, the members of the band have pursued a wide variety of musical endeavors, some heavy, some not. Matt played with Dr. Unknown throughout the 1990s, as well as a reformed version of Holy Terror, and currently plays with Zero Down. Russ started his post-Bitter End career with The Family, and currently plays with Metal On Metal Records act Midnight Idols. Chris relocated to Memphis for graduate school, and upon returning to Seattle, played on Geoff Tate’s solo 2002 release. All three have, at various times, played in the outlaw country band Hartwood. Harry continues to play with a variety of local acts. And sadly, the “fifth member” of Bitter End, stalwart road warrior, tech, and companion Damon Teras passed away in 2002.
In 2011 Russ presented the still-unreleased 1991/1992 recordings to Metal On Metal Records. The label felt that the tracks definitely deserved to be heard, and has scheduled to release them in July 2011 under the title “Have A Nice Death!”. With this release, the members of Bitter End are confident that today’s metal audiences, young and not-so-young, will appreciate the chance to hear sounds that were still coming together even as one of Metal’s great, unsung episodes - the 80's and 90's Seattle thrash scene - was coming to a close.
Tiny Minds
Right To Lie

BEYOND THEORY (Washington state, U.S.A.)

This is BEYOND THEORY (Washington state) and they're all about "mixing older thrash/death with an up to date metal sound." Go the section Band Profile on their Facebook page to hear their music. Here's a clue: One of their songs on there is called "Modern Day Primitive" and right there tell us that their music is as ugly as their inebriated souls. Another one is called "Rude Awakening" and once again the angry American music lives up to the title. This is drum-pounding, obnoxious, socially unacceptable metal that would scare the social workers that visit you every week. The band is: Don Bossart-Rhythm/Lead Guitar/Vocals, Paul Clark-Lead/Rhythm guitar/Vocals, Frank Wicklander-Bass/Vocals, Joe Aird-Drums, Jamie Carter-Lead Vocals.

Beretta (Washington state, U.S.A.)

Listen to the 2019 self-titled recording by Beretta, traditional, old-school heavy metal rock and roll from the state of Washington, U.S. They even have a cover of "Stormtroopin'" by Ted Nugent, the legendary pioneer of U.S. hard rock and heavy metal.
Beretta EP by Beretta

Sunday, June 28, 2020

Volturian new video for "Haunting Symphony"

Check out the latest video from Volturian (Italy). It is called "Haunting Symphony." This publication reviewed their 2020 album some time ago. Below is said review, in case you missed it. Below the review is the new video, after which you will also find other videos from the band.
Scarlet Records
24 April 2020
Techno/dance/electronic music often has a huge, simple big beat that grabs the attention. Volturian uses that idea for the production, and then applies it to their songs for a very ear-friendly pop-oriented sound. The drums do not sound like acoustic drums, but like drums of electronic music, and the beats are very vertical, up down, up down, and will prove effective for instant gratification. Besides simple pop-like beats, the music relies on sweet melodies by the guitars. The rhythm guitars also use simple, direct ideas that sound pleasant to the ear, and above the rhythms the guitar melodies pour on the sugar. The keyboards pour on even more syrup. These songs won’t make you bang your head, but maybe make you dance. Pop-electronic music married heavy metal, and they had a big, bouncy baby and the baby’s name is Volturian. “You gotta see the baby!”
The melodic-pop singing completes the circle. These vocals could be on top pop hits that the radio plays. There is some growling/screaming in a few spots throughout, but it’s not very much. The little bit of screaming does not make or break the album. It’s the melodic singing that makes the album. Know one thing: You need to hear no more than 30 seconds to know if you like it. Do you like it or not? From elementary school kids to adults, the music is instant and people understand it quickly. It’s meant to be fun, poppy songs to put you in a happy mood. True story, “I like this!,” said a seven-year-old right after some 10 seconds of the song “The Killing Joke.”
VOLTURIAN - Haunting Symphony (Official Visualizer)
VOLTURIAN - Broken (Official Video)
VOLTURIAN - New Life (Official Visualizer)

review: Ninth Circle

Ninth Circle
Echo Black
June 26th 2020
Pure Underground Records
The melodic singing and catchy hooks, and the sound of ear-friendly songs that are reminiscent of the bygone times of when rock excited young people when they heard it on the radio, before the genres became such divisive, compartmentalized pseudo religions for metal audiences. That’s California’s Ninth Circle. Their music is vintage in spirit and reality. The sound, the songs certainly are, maybe even the equipment is! Anyway, the songs are catchy and easy on the ears, and this classic rock-based heavy metal has plenty for fans looking for something very different from the unmelodic loudness of today’s extreme-dominated scenes. The public that has ears for melodic singing, lots of catchy riffs and direct guitar solos should give this album a chance. The type of energy of the band is the excitement of the young heavy metal that, let’s say, around 1976 begins to head in a more uptempo, less bluesy, more compact style and eventually will lead to the classics of traditional, melodic, non-thrash in the 1980s.
Fans like reference points. Fine, let’s play that game. One way to understand this music is that the band chooses to maintain the sound of the young heavy metal before extreme metal reared its head. No screaming/growling, no downtuned guitars; just the classic, hard rock that is identified with the New Wave of British Heavy Metal (the more melodic bands like Angel Witch, Gaskin, Praying Mantis); with Canadian bands like Rush (not the super proggy stuff) and Triumph; Heavy Load (Sweden); U.F.O., Scorpions; U.S. bands like Riot, Y&T, Sammy Hagar, Van Halen. You might notice the Thin Lizzy vibes!
The songs are memorable. With “Tokyo Nights,” for example, you might find yourself stuck on the song and will have to consciously make the choice to stop repeat listening to it, so you can continue on to the next track. Two warnings: (1) This is vintage-style. By comparison, just about all the rock that you listen to is angry and ugly. You might be surprised that this music doesn’t make you feel so angry and does not incite the ugliness of your soul. (2) The singing is more hard rock than air raid siren, glass-shattering, super high singing. Listen for yourself and decide how you feel about it.
Ninth Circle - "Riding the Storm" Official video

Acid Tears

On July 24th, 2020 Acid Tears (Zimbabwe) will release the song "Drowning" on Bandcamp. Here is the official information about the band.
Zimbabwean metal trio Acid Tears are excited to release the hard-hitting single "Drowning" to an international audience. The band says, "Acid Tears was formed in 2015 but wasn't fully active until years later. We had a passion for rock, but the local scene in Zimbabwe didn't have any bands like us -- at least so we thought, because the local radio didn't play any rock music at all. This changed when we met Chris Van of Dividing the Element. That's when we knew we weren't the only ones, which hyped us to get serious with the band. The song 'Drowning' is about dealing with life's low moments and how you gotta find something you love to keep you going." Drowning will be available on Bandcamp on July 24.
Vengai Ota (vocals and bass)
George Ota (lead guitar)
Billy Ngwira (drums)
Connect with Acid Tears

review: Diabolic Oath

Diabolic Oath
Profane Death Exodus
June 26th, 2020
Sentient Ruin Laboratories
Hundreds of years from now when the futuristic year 2020 finally arrives people will not need to play instruments to make music because the future will be so advanced that, besides society living in peace and harmony in the world of milk and honey, people will have intelligent machines to make music. Drummers will not be necessary and the machines will be utilized for the complete production of music. The future will be so advanced that humans will not even need to eat. They will just take nutrition pills. No pizza, no hamburgers, no meat, no tacos. Only pills. That future is so far away that we cannot imagine such a year of peace, love, food pills and music-making intelligent machines. For us, for now, living in these backward times hundreds of years before 2020, we must rely on barbaric tools for making music. Real drums, guitars and human-made growling. If we tell this band about the futuristic world of the machine music of 2020, they say, “We don’t want that future! We like to make the music ourselves with our hands, feet and voices. We don’t want the future of the machine-made music. And anyway, what kind of future is that, with no tacos and no pizza?! No, thanks!”
In this barbaric age that we live in, centuries before 2020, extreme metal is bestial and primal, and it sounds like excited young brutes have been listening to Motörhead, Venom, Hellhammer and Bathory and they want to play even faster, by blasting away on the non-computer jackhammer drums and their non-computer electric guitars and deranged human-animalistic growling, drilling and blasting, and carrying on screaming as savagely as they can to make you—you beloved listener stuck here in these ancient times before the glorious future that you will never see—go ballistic with your brutish emotions running through your agitated, primitive, non-robot body of adrenaline. The band also loves to slow things down. Often. They can and do play fast, but expect some places when the time is a droning piece of sludge, and everything moves in slow motion, only to jump back into chaos once more. True, we are stuck here forever in the past, but we have this barbaric music to helps us survive these days of disease, violence, crime, looting, corruption and anarchy. It is music of our times. The year 2020 will never arrive.
Profane Death Exodus by Diabolic Oath

Gallows Hymn announces new album

The "progressive folk metal" band Gallows Hymn (Washington state, U.S.A.) today announced:
We are proud to announce the release of our second album "The Age of Decadence" on October 1st of this year. The album is currently being mixed and mastered at Mana Recording in St. Petersburg, Florida. The track list is as follows:
The Age of Decadence
Son of Arrius
Hymns to Sekhmet
One Signed Under the Cross
Into Woven Wilds
Chiaroscuro, Feat. Olga Milovanova and Revere Taylor
Draculestei Part I: Order of the Dragon
Draculestei Part II: Serpent Kingdom

Beltfed Weapon (Washington state, U.S.A.)

Beltfed Weapon is a band, at least in part, in Washington state. It looks like they do not have music on Bandcamp but here a couple of tunes from YouTube.
Biography: Seattle-based BELTFED WEAPON was founded in 1999 by rhythm guitarist/song writer Frank Hetzel. After writing songs and securing members, a self-titled six-song demo was released in 2003, followed by an EP, "Peacekeeper" in 2009. The latter was recorded, engineered, mastered and co-produced by Aaron Smith (7 Horns, 7 Eyes) at Envisage Studios and featured a guest solo by Jeff Loomis (Arch Enemy, Conquering Dystopia, ex-Nevermore).
During this time, BELTFED WEAPON played with many national acts including OVERKILL, METAL CHURCH, CRYPTOPSY, NILE, KREATOR, SADUS, NEVERMORE, OBITUARY and TESTAMENT to name a few, garnering fans and a good amount of support with their frenetic, go-for-the-throat aggressive precision and gritty themes.
Hetzel put the band into hiatus in 2009 after various line up changes. In 2014, Hetzel began focusing on new songs and decided to re-launch the Beltfed assault by reaching out to professional friends and peers in the industry with the aim of recording and releasing an EP. The resulting six-song effort, "Raining Plague," has recently been completed and was once again co-produced, recorded, mixed and mastered by Aaron Smith at Envisage Studios.
"Raining Plague" will be released in the summer of 2015 and features Hetzel along with the recording lineup of Steve DiGiorgio (Testament, Death, Sadus) on bass, Fredrik Vidigs (Marduk) on drums, Dean Sternberg (Where Evil Follows, Ashes Of Ares, ex-Into Eternity touring singer) on lead vocals and Andy Beech on lead guitar. Jeff Loomis returns for a guest solo along with Matt Wicklund (Ghost Ship Ocatvius, God Forbid, Warrel Dane, Himsa).
Sonically, the EP expands BELTFED WEAPON'S sound with increased speed, precision and additional melody while retaining and accentuating the aggression fans have come to expect.
BELTFED WEAPON is currently working with friends/ musicians and preparing to play some live shows in 2016 as well as working on new material for full length album to be recorded sometime in 2018.
Beltfed Weapon - "Darkness Falls"
Beltfed Weapon - P.O.W. (lyric video) Fundraiser

Bell Witch (Washington state, U.S.A.)

Bell Witch is duo of "sludge/funeral doom" in Washingont state.
One reviewer at Metal Archives has given the band a perfect rating of 100 out of 100: "After a few listens in different contexts I’m confident my attitude toward, and sentiment for, this musical work has solidified. I am no experienced listener of funeral doom metal, or even doom metal in general for that matter. I grew up and matured a lover of thrash, death, and black metal which are all faster forms of metal that are more to the point and many times don’t naturally facilitate the desire to stop and contemplate a real-life issue at the forefront of our minds concerning the human condition with some notable exceptions, of course.
My first listen was in a context that is in no way fair to this genius duo freshly grieving the loss of their former band mate. I caught Bell Witch’s “Mirror Reaper” on Spotify after a recommendation from a friend on my workstation while in my office, which is my usual mode of listening to new artists. Despite the limited conditions, the music instantly made mincemeat of my work concentration. It lead an immediate and effective assault on my emotions and sensibilities. I payed no attention to any of the vocal utterances, much less made any effort to journey through the sonic tide with the aid of the lyrics, and yet the music alone was effective enough at forcing me to confront my existential dread head on. I was immediately bombarded with the vivid memory of my father’s last breaths on his death bed as soon as the full mix kicked in after the clean-bass intro. Each note, like a powerful explosion, is released one by one instilling the sense of doom one likely feels when the sudden transition from life to death is in effect. The finality expressed by the contents of the first 17 minutes placed me back in that hospital room that I had successfully hid my mind from for the last several years. It demanded of me that I contemplate what might have gone through my father’s feverish mind as his existence was drawing to a close. The emotions spewing forth were real, intense, and altogether disagreeable to me. However, as a lover of metal and epic music in general, I could not turn myself away because of the beauty being unveiled as each excruciating second passed by. I cannot count how many listens I gave this piece in the days following this initial experience, and I’m left spellbound every time I listen to it.
Now after having listened in a proper setting with the vinyl discs, good quality headphones, and the lyrics sheet that comes with the record it made for a bittersweet confirmation of the emotions I felt on that first listen. The lyrics are an elaborate discourse on death that is reminiscent of Dylan Thomas’ “Do Not Go Gentle into that Good Night” early on. It delves much deeper into the matter as it narrates the struggle, the acceptance, and then the ultimate unification with the eternal abyss. Without going into any more detail, since I don’t identify as any sort of qualified literary expert, you’d do well to read them yourself instead of hearing me go on and butcher their contents in proper death metal-head fashion. All I can add onto my testimony to their excellence is that they greatly enhanced my dealing with the subject matter while listening to the album.
As the album draws to a close, and after having effectively convinced you that the finality of your own death is more of a release into peace than the lament of unwilling descent, it effectively hallows you out of yourself. It closes on a peaceful note; the peace of nothingness. It cures you of the evil of “self” that is the very reason you fear your demise. It touches on your final act of letting go and “straying beyond the shadows” as you heed to the imperative utterance to,
“Vanish in the I”, “Vanish in the eyes”, and “Vanish in the sky”.
Another reviewer has given the band a nearly perfect score of 97 out of 100: From start to finish, this album is an incredible masterpiece. It is an emotional journey to say the least. At the start, you have everything. You have all of the emotional baggage that you carry and all of the pain you've ever experienced in your life weighing down hard on your shoulders. That pain is slowly lifted off of you throughout the song. By the end, you feel refreshed. You also fell empty, though. Everything has been stripped off of you. The pain and misery in your life is lost. It's just gone. The good is gone too. You've been robbed of all of the life and love you had before. You're a blank canvas. The scars time has left upon your shoulders fade away. If all I just said sounds depressing to you, then this album is not for you. If you like your metal fast, then this album is still not for you. If what I just said sounds like a refreshing escape, then this album is probably for you. This album is all about the atmosphere. Everything is atmosphere. If you don't get lost listening to this album, you're doing it wrong. This album is not fast. It's not flashy. It's not excessively polished. It's a raw masterpiece. That's the only way to describe it. It's just a passageway to a blissful and cleansing peace.
Desmond does a fabulous job on his bass and the drums and organ compliment everything very nicely. I think the use of massive amounts of reverb are a nice touch, especially after the kind of dead sound of Bell Witch's previous albums. The reverb helps all of the instruments just fade out into the background letting your thoughts be the main instrument. Around the 34 minute mark, your mind has a habit of just slipping into a seraphic bliss. It's very easy to lose yourself, but it's still easy to find yourself again. Many say that Mirror Reaper is just boring and long just for the sake of being long. You're very welcome to disagree with me, but I disagree with that statement to the fullest extent. I see where they're coming from, but I don't find it boring at all. I don't find anything boring in such an incredible and well written piece of art. When I look for good music, I try to find stuff that is art. I try to find stuff that is honest. I don't like songs that are heavy just for the sake of being heavy. I don't like songs that are just for the money. If it's art, the artist is making the music because he is passionate about the works he is creating. Mirror reaper is not for the masses. It is not just for the money. It is art.
It's kind of funny to say this about a metal album, but the organ is used quite well and and compliments the atmosphere of the album quite nicely. The bass tone is very nice, too. It is heavy and emotionally draining without being obnoxious and taking away from the atmosphere, and it never seems to get tiring at all. The drums are actually surprisingly pleasing, and Bell Witch was smart to only use them in the places necessary. They add to the heaviness without being too loud and distracting. Now, the only thing I would really critique is the clean vocals. They are definitely not very refined, and Desmond's voice isn't exactly Broadway quality, but, then again, that just adds really well to the quality of just a modest and humble work. His voice goes a little bit sharp and flat in areas, and sometimes the reverb works a bit against his favor, but overall, his vocals are pretty good, and they work in favor with the atmospheric quality of the whole album.
If you're not in the mood for an hour and a half long journey, then you're not in the mood for Mirror Reaper. I would strongly suggest this album to anyone who loves a good funeral doom album and loves his music raw and emotional. It is definitely one of my favorite albums of all time.
About: With their third full-length album, “Mirror Reaper,” Seattle’s doom metal duo BELL WITCH have created a truly enormous work – one continuous 83-minute piece unfolding as a single track.
Engineered and mixed by veteran producer Billy Anderson (Swans, Sleep, Neurosis), the duo of Dylan Desmond (bass, vocals) and Jesse Shreibman (drums, vocals, organ) have pushed the band’s sound further than it’s ever gone before. While retaining the monolithic heaviness of their previous releases, “Mirror Reaper” sees the band explore the more meditative, melancholy, and introspective aspects to their sound through the introduction of long, lonely organ passages and the return of honorary BELL WITCH member, vocalist Erik Moggridge (Aerial Ruin), offering a prominent presence.
Formed by Desmond and ex-drummer/vocalist Adrian Guerra, BELL WITCH released their first self-titled demo in 2011 and partnered with Profound Lore Records for their debut album, “Longing,” in 2012. The duo’s second LP, the acclaimed “Four Phantoms” (2015) was recognized as one of doom metal’s triumphs of the year. The band extensively toured in North America and Europe, securing notable festival appearances (Roadburn, Basilica Soundscape, Sled Island, Psycho CA).
On the themes surrounding the concept and lyrics of “Mirror Reaper” the band state:
“The title ‘Mirror Reaper’ is indicative of the Hermetic axiom ‘As Above, So Below,’ written with two sides to form one whole. The song is both its own and its reflection, as an opposite is whole only with its contrary. Our focus as a band has always been the perception of ghosts and the implied archetype of the dichotomy of life/death therein. ‘Mirror Reaper’ is a continuation of that concept.
During the writing process we were devastated by the loss of our dear friend and former drummer, Adrian Guerra. In love and respect to his memory, we reserved an important yet brief section in the song for him that features unused vocal tracks from our last album. This specific movement serves as a conceptual turn in the piece, or point of reflection. We believe he would be proud of it as well.
‘Mirror Reaper’ was the first collaborative writing project with the new line up, and Adrian's death during it brought extra emotional weight. We sought to match the complexity and weight of these events within the composition of the piece.”
Mirror Reaper by Bell Witch
Stygian Bough Volume I by BELL WITCH and AERIAL RUIN
Four Phantoms by BELL WITCH

Saturday, June 27, 2020

review: Falconer

From a Dying Ember
Metal Blade Records
26 June 2020
Falconer’s ninth album is the last one. They have announced the end as the album is being released. For 20 years the Swedish band has been marching to its own beat of traditional, melodic songs with the air of “folk” vibes. Falconer is, basically, a traditional melodic band with singing, and the music is readily intelligible as classic-style heavy and power metal, but they have a distinct extra vibe in their sound, and that’s why people use the term “folk” to describe it. Maybe it is simply better to call it something like a Renaissance element. There is an elegance and skill about it all that it might not be helpful to lump the band with the beer-music groups of folk. Falconer is “folk” in the way that Rainbow’s “Sixteenth Century Greensleeves” is or in the manner that some of Iron Maiden’s post-2000 melodies sound “folky.”
The singing is one of the most appealing aspects of the album. It is a voice that works that attractive range in which it is melodic, not too low and certainly not too high. There is no braggadocio in the singing, no showing-off of super high notes. There is a subtle strength to the voice. In some ways, the singing is that type of beautiful male singing that has always sounded good to ear when done right. Here, there are not excessive attempts at impersonating someone else, no ridiculous attempts to sound overly masculine (no irritating things like screaming, unnecessarily high notes, show off singing, exaggerated voice personas, whiny/frail tones, fake macho/masculine elements, so on and so forth). In short, the pleasantness and maturity of the singing should be a wonderful discovery for new fans. Add all this together to experienced songwriting, and it’s a great combination. Such a classy album.
From a Dying Ember by Falconer

Befoulment (Washington state, U.S.A.)

Listen to the old-school primal extreme metal of Befoulment in Washington state.
Black Sodom Hymnal by Befoulment
BEFOULMENT live (full set) - 02/28/2020

Barefoot Barnacle (Washington state, U.S.A.)

Barefoot Barnacle is (was?!) an experimental band in Washington state. It looks like they have been quiet since 2014. Anyone with information leading to location or capture of these bandits share your information.
Barefoot Barnacle- Mike
Barefoot Barnacle
Barefoot Barnacle @ Hell's Kitchen!!

Bacon Grenade (Washington state, U.S.A.)

These are some songs by Bacon Grenade (Washington state, U.S.A.): "We are a Heavy Metal band, with death metal lyrics, growls and screams, monster riffs, thunderous drums and face melting solos!!!!! Our lyrics are stories that have one thing in common, Death. The Stories though vary from cult leaders, to deranged killer, ghosts, and monsters and demons. With our shrieking highs and brutal lows, and a touch of harmonies and trade offs, we can portray them more vividly. In the background we have the fancy hands and the thunderous pounding of the drums that shake the earth. Next are the guitars with a old thrash but with a new age taste of riffs. Also there are sweet ass harmonies and some intense solos. Last but not least is the booming bass, the drive will make the shit just seep out of your asshole. All of this together you get Bacon Grenade, we are here to keep the metal Alive and to kick destiny in the face!!"
King KroK by Bacon Grenade
Black Infusion by Bacon Grenade
Silent Fill by Bacon Grenade

Avoid (Washington state, U.S.A.)

Avoid is a melodic metalcore/hardcore band in Washington state. Check out some of their official music videos.
AVOID - By Myself (Official Music Video)
AVOID - 28 Days (Official Music Video)
AVOID - Thoughts of You (Official Music Video)
AVOID - End of an Era (Official Music Video)

Friday, June 26, 2020

Stryper new song "Blood from Above"

Even the Devil Believes is the name of the new album by Christian metal legends Stryper. The album is scheduled for September 4th, 2020. "Blood from Above" is the opening song. Below the new song there are some previous videos from the band. This is the band's Facebook biography.
Established in southern California in 1983, multi-platinum crossover Christian metal band, Stryper, continues to share their positive message and energetic stage presence with a passionate following throughout the world. Since the band’s inception over 30 years ago, the founding members have stayed true to their deepest convictions, turning from “the ways of the world” and following their hearts instead.
“In the past 34 years, we’ve evolved into what we are now,” says vocalist and guitarist Michael Sweet. “This is what we always really wanted to be. I love the progression. The story of Stryper is that of an underdog. We seem to go against the grain with everything we do, and our fans tend to be the same – They’re good hardworking people who believe in love, respect, and not conforming to the ways of the world.”
The members of Stryper have proven themselves as metal stalwarts, leaving an indelible mark on the genre with each new release. With such hits as “Calling On You,” “Free,” “Honestly,” and “Always There For You,” Stryper’s album sales now exceed over 10 million worldwide. Add to that one of the most successful Christian rock albums ever, 1986’s multi-platinum To Hell With The Devil, and the unique distinction of being the first band in history to notch two songs in MTV’s Top 10 with “Free” and “Honestly.”
The band has managed to leave an enduring impression on pop culture, as well. Singer Michael Sweet spent months trending online when he was identified as the doppelganger of 2016 presidential candidate Ted Cruz, who went on to discuss the comparison on an episode of Jimmy Kimmel Live! Several movies have paid homage to Stryper’s cultural significance, too, including Drew Barrymore’s “Whip It” and “Pain & Gain,” starring Mark Wahlberg and Dwayne “The Rock” Johnson.
Since returning from a 12-year hiatus in 2003, Stryper has managed to release new music annually. Their most recent full-length album, Fallen [Frontiers Music SRL], reached #44 on the Billboard Top 200 and #2 on the Top Hard Music Albums chart. The group is now recording their next original album, which is due in April of 2018 and promises to be their most groundbreaking yet.
This year will also bring Stryper back on the road, where they’ll have a chance to connect with fans, new and old. The line-up still features three of the original members, including singer songwriter Michael Sweet, his brother and drummer Robert Sweet, and guitarist Oz Fox. Recently, the group welcomed iconic bassist Perry Richardson (formerly of Firehouse), who will be joining them on tour.
“We’re excited about the next season of Stryper,” says Sweet. “ We have the best fans in the world and the band is at the top of its game musically and spiritually. We look forward to seeing everyone on the road.”
Blood from Above
Stryper - "Sorry" (Official Music Video)
Stryper - "Pride" - Official Music Video
Stryper - "No More Hell to Pay" (Official Video)
STRYPER - Soldiers under command [Official Music Video] HQ
Stryper - To Hell With The Devil

Greyhawk (Washington state, U.S.A.)

Listen to the fresh new 2020 album Keepers Of The Flame by Greyhawk (Washington state). Their previous recording Ride Out is from 2018.
Keepers Of The Flame by Greyhawk
Ride Out by Greyhawk

deathCAVE (Washington state, U.S.A.

There will be new music by deathCAVE (Washington state). They call themselves "cosmic doom": "deathCAVE is a cosmic doom trio from Seattle, WA and formed in 2018 when Freiburger asked Benny Koslosky to join his project with Tony Muñoz. They hit the ground running as all three are veterans of touring underground bands. Their music incorporates elements of thrash, psychedelic, stoner, and doom metal, with lyrics based on personal stories reinterpreted in the realm of mythological tales."
Smoking Mountain by deathCAVE

Eye of Nix (Washington state, U.S.A.)

Ligeia is the 2020 album by Eye of Nix (Washington state). They describe their music as "avant-garde, doom metal, black metal, alternative." The new album is available at Bandcamp.
Biography: Formed in Seattle in 2012, EYE OF NIX has released two albums and a demo EP to date and has shared the stage with artists like Voivod, Alcest, Jarboe, Worm Ouroboros, Sabbath Assembly, and Eight Bells. The band’s creative intent is to craft music that is threatening, beautiful, and harsh through mesmerizing rhythms, emotive melodies, and intense dynamics.
In 2018 the group joined the roster of German/US label Prophecy, and has a new full-length album slated for release in 2020. Their 2017 LP Black Somnia (recorded by Billy Anderson) was initially released on Scry Recordings and re-issued by Prophecy the following year. The album centers on themes of fear, control, and anxiety while shape-shifting through a lens of blackened psychedelia and doom. The band collaborated with ritual visual artist Anima Nocturna and an international group of Butoh dance artists to create the album’s stunning artwork.
EYE OF NIX has appeared at Northwest Terror Fest, Prophecy Fest US, Litha Cascadia & Thirst For Light, and toured the western and northeast states. In 2018, founding vocalist Joy Von Spain, guitarist Nicholas Martinez, and sound artist Masaaki Masao were joined by bassist Zach Wise (Hissing) and drummer Luke LaPlante.
Moros, their first LP, was released in 2015 via Eugene-based imprint Belief Mower (Muscle And Marrow, Hungers). The album was captured by the hands of accomplished Seattle-based engineer Brandon Fitzsimons (Bell Witch, Anhedonist) at Airport Grocery and mastered by Justin Weis at Trakworx in San Francisco. The record was reissued digitally with two bonus studio tracks: Blood in the Fire and Rome Burned. Michael Ray Sheets and Joy Von Spain created a short film for Elysium Elusive in 2015, featuring movement by Vanessa Skantze.
Ligeia by EYE OF NIX

Zan (Washington state, U.S.A.)

Behold the Key is the 2020 album by Zan from Washington state. Listen to the complete album on Bandcamp. This is the band's Facebook biography: "Zan is an American metal band from southeast Washington State, founded by members Ace Michel (vocals), David Huber (guitar) and Jason Turner (drums) in the year 2000. Chase McClendon (guitar) joined the band in 2010, followed by Ryan Johnson (bass) in 2013. Starting with a handful of original songs, the writing style of the band progressed over the years from traditional metal to a more technical, polyrhythmic, 'mathy' approach."
Behold The Key by Zan