Tuesday, October 27, 2020
Necrosomnium (Washington state, USA)
Nekro Morphosis (Washington state, USA)
upcoming in November: Harlott -- Australian thrashers bringing mosh happiness for the zombie apocalypse
Fans of thrash are a special group of people. They're not easy to fool. They don't like it when bands mess around too much. Don't try to get too cute with thrash fans because they don't suffer fools gladly. Thrash fans also tend to see eye to eye with other thrash fans: "Ride the Lightning good. St. Anger bad. Reign in Blood good. Diabolus in Musica not so much. Extreme Aggression good. Renewal nope not that great. Weapons of Tomorrow good. Conformicide not too awesome." Thrash fans get together and they check out each other's battle vests. They like new thrash but they also love old thrash and like to talk about obscure bands like Wehrmacht, Slaughter Lord, Living Death and Morbid Scream.
Thrash fans like Harlott. The Australian post-2000 thrashers seem to be so good at their craft maybe because they understand what makes good thrash and what doesn't. Give the people the riffs and then give them some more riffs, and just keep them coming. That's what it is all about. The Australians also know that shredding and soloing is indispensable. Just as important, they have the songs with feel-good energies and lots of mosh vibes.
Listen to a new song below that they have on Bandcamp and see if you feel what the thrash fans feel when they bang their heads to Harlott. Below you will also find the official propaganda from Metal Blade Records. --Metal Bulletin Zine
Harlott
Detritus of the Final Age
Metal Blade Records
13 November 2020
The official propaganda from Metal Blade Records -- biography by Dan Slessor: More than 30 years after its inception thrash refuses to die, and with Australia’s Harlott stoking the fires the genre is in very good hands. Returning with the follow up to 2017’s mighty Extinction, Detritus Of The Final Age sees them continuing to fight the good fight, delivering a collection of serrated riffs, rampant rhythmic battery and bilious lyrics, hitting hard in all the right places. “For the first time ever I went into this album with a blank slate,” says vocalist/guitarist Andrew Hudson. “No ideas or requirements, just an empty record ready to be filled with whatever took me. Obviously thrash metal is the wheelhouse of what we do, and it came out pretty thrashy, but it was great to be able to set that aside and explore other avenues.” The result is perhaps the band’s most dynamic release, while holding on tight to that signature Harlott sound that has drawn in a legion of fans from around the world.
Helping to realize the new record, the band’s ranks were refreshed with two new members, Glen Trayhern on drums and Leigh Bartley on guitar. “Both bring their own skills and abilities as well as fresh enthusiasm and ideas. Glen is an absolute machine on the kit and lays a rock solid foundation for us to play to, and Leigh is a weapon on the guitar and such a unique lead writer. I couldn’t have had a better ensemble for this release, and the live show is as violent as ever.” Spending longer writing the record than any of its predecessors, for more than a year Hudson worked on it, experimenting with ideas and styles. Determined to make a record that he would want to listen to - and proudly drawing inspiration from the many bands that have shaped the genre ahead of them - it was integral that he was proud of everything included on the record, and he focused on every aspect of the songs. “Whether its lyrics or riffs or breakdowns, I always make sure that every song has at least one bit that makes you go ‘fuck yeeeeah’. I don’t like the idea of thinking a song or line is ‘good enough’, so I try to make sure the elements of the song are strong enough for them to stand alone outside of the ensemble that they are part of.” The result is “thrash metal with a bit of darkness, a bit of sorrow, a bit of melody and a few hooks thrown in for good measure,” something that Harlott fans will recognize while surely drawing in new listeners.
With their first three albums forming a trilogy - Origin (2013), Proliferation (2015) and Extinction - Hudson states it’s hard to know what comes after death, but Detritus Of The Final Age was his best shot. “It’s the waste left over from the ending of humankind’s last moments. The refuse of the fallen kingdom of the engineers of their own destruction. I’ve never really had a good opinion of mankind and its systemic conditions - war, religion, greed, hate, evil - all of these things are so ingrained in what we are that it’s hard not to want angry words for the angry music we write.” The frontman also penned more personal lyrics than he ever has before. “I experienced a significant loss in the last few years and was blown away at how aggressively grief could take over one’s life. It would be remiss of me to not at least try to express that out of respect for the situation that put me there.” Amongst the lyrics are those of “As We Breach”, which is somewhat of a call to arms for those hard done by in this life, touching on the ambitions of those in power and the march toward that tipping point to where enough is enough - “when the people lose enough, and have nothing left to lose, then maybe the world can change.” Then there is “Nemesis”, which focuses on the internal struggle of doubt and hatred that happens inside, and the feeling of being your own worst enemy, and “Grief”, which “really just sums up the darkest parts of the journey that was watching what cancer can take away from someone”.
Recorded at Legion Studio Productions in Williamstown, Australia with Julian Renzo assisting with the tracking, production and mixing, while making a record can often be an arduous process in this instance this was very much not the case. “The sessions were an absolute pleasure. Studio time is always exciting and it can also be quite gruelling work, but working with Julian made every session quite relaxed and creative and his input really got the best out of all of us as musicians.” Admitting the double tracking of vocals was the hardest part, the vocalist pushed himself to the absolute limit of his range, but the results speak for themselves. They also recruited Cephalic Carnage guitarist Brian Hopp to play some solos on “Prime Evil”, which was exciting for all concerned. The finished record truly does demonstrate a band playing at the top of their game, and the pleasure they took in making it resonates. “I was genuinely sad when we finished the last day of tracking, knowing that I wouldn’t get to come back into that studio until I wrote another record - but that’s pretty good motivation right?”
Detritus of the Final Age
by Harlott
Monday, October 26, 2020
Namea (Washington state, USA)
Nachtengeist (Washington state, USA)
Saturday, October 24, 2020
Overt Enemy: Texas thrashers show no mercy to the vinyl treatment for Inception x Possession
The Slayer-loving Texan thrash band Overt Enemy released the EP Inception in 2018 and then another EP called Possession in 2019. Now they are putting them together for the vinyl fans and the die-hard, love-it-all thrash fans that have not heard the band. --Metal Bulletin Zine
Overt Enemy
Inception x Possession Expanded Edition
Confused Records
13 November 2020
The official propaganda from OVERT ENEMY: On November 13th 2020 thrash masters OVERT ENEMY will release both a vinyl and expanded edition of their critically acclaimed releases "Inception" and "Possession". The vinyl release will contain all 8 tracks from both EP's as one record while the digital and CD versions will contain additional instrumental and bonus tracks never before released. The band commented “We are extremely excited to finally release both of our EP’s as one full length Vinyl LP. Fans have been asking for a record since we put out our first song and we hope everyone enjoys the extra bonus instrumental & demo tracks. A lot of metal love went into this release & Joshua Lopez did an outstanding job remastering all the songs including the demos. We’ll see you on the road in 2021 with a new album. Ya’ll stay safe out there!” – Overt Enemy
About Overt Enemy: Formed in 2013 Overt Enemy is the perfect storm, a hybrid act that can deliver razor sharp originals and the best Slayer tribute show in Texas. Their distinct performances and potent songs have them well on their way to becoming Texas's go to thrash metal band. The band’s relentless work ethic and the release of two critically acclaimed EP's in 2018 & 2019 has seen Overt Enemy rapidly rise in popularity across the USA and in over 65 countries worldwide. Once a one-off tribute to late Slayer guitarist Jeff Hanneman they now pack venues & festivals throughout Texas.
2019 was a huge year for Overt Enemy. In collaboration with "DIY Co-op" label Confused Records, the band rapidly sold out of the first pressing of their sophomore EP, 'Possession’ bolstered by the support of their local rock station KFRQ 94.5FM, Castledown FM in the UK, Banger TV in Canada, publications like Metal Hammer, Power Play and Metal Injection as well as dozens of blogs, zines and internet radio stations worldwide. The EP's 2nd single 'Blood God' was selected as the title track for the So Cal Cinema Studios film 'Jaws of Los Angeles'. Simultaneously, Overt Enemy's cover of Slayer fan favorite 'At Dawn They Sleep' has entered regular rotation on Sirius XM Liquid Metal and was selected as one of the station’s 'Top 15 Covers of 2019’.
2020 was set to be a banner year on the road promoting “Possession”, but with tour dates canceled due to COVID 19 restrictions, Overt Enemy has focused on family and writing their next album and other upcoming releases. In addition, they are releasing "Inception x Possession”, a remastered full-length CD + Limited Edition Vinyl with bonus content including instrumentals and demo recordings.
With new original music planned for 2021, tour dates being locked in around Texas and a booming social media presence, Overt Enemy is on track to conquer the Lone Star State while continuing to build an engaged global fan base. They have honed their thrash sound into something fresh, thought provoking and crushingly heavy. The Texas metal scene has always been thirsty for blood and Overt Enemy plan to give it to them!
Inception x Possession
by Overt Enemy
Thursday, October 22, 2020
Myth (Washington state, USA)
Mysticism Black (Washington state, USA)
Myiasis (Washington state, USA)
Wednesday, October 21, 2020
YSGAROTH - "Sacred" (official music video) progressive extreme death metal
Canadian ne'er-do-wells Ysgaroth have a little something-something for the world to hear right now ahead of their 2020 debut album Storm over a Black Sea to be released in November. Don't let the term "progressive" fool you into thinking that this is a smooth jazz trio. This is "progressive" in the sense that it is death/black/thrash with an angry witch-gremlin screeching and growling for a vocalist and loud, abrasive musicianship that is perfect for friends in low places. --Metal Bulletin Zine
Ysgaroth
Storm Over a Black Sea
13 November 2020
track Listing:
1. Rain (1:54)
2. Nam Gloria Satanas (feat. Jessie Grace of KOSM) (7:06)
3. Sacred (5:31)
4. Altar of Scars 11:48)
5. Forward Unto Death (feat. Jessie Grace of KOSM) (5:19)
6. Deluge (feat. Erik Leonhard of KOSM) 17:24
album Length: 49:05
The official propaganda from Ysgaroth:
Ysgaroth is a progressive extreme metal band conjured in Vancouver, Canada that seamlessly blends elements of various metal subgenres into a vicious hybrid.
Initially, Ysgaroth started as Kurt Steigler’s black metal studio project, a non-serious musical outlet, but over time he grew attached to the songs and wanted to take them live.
With the desire to hit the stage, Steigler (guitar/vocals) was joined by Steve Cuddington (drums) and Shawn Hillman (bass) With these additions, the songs got more structurally ambitious, a sludge influence began to creep into the band.
Cuddington brings an absolutely crushing, hardcore-influenced drumming style that gave the songs a new vitality, and Hillman’s exceptionally musical bass playing served as the perfect bridge between the crushing drums and razor-sharp guitars. Ultimately, the sound of the band became a mix of its black metal roots, classic 80’s death metal, 90’s thrash, and sludge with the long compositions of post-metal and the shifting, churning time signatures of progressive metal. Steigler is the main songwriter, but overall the process is hugely democratic.
The debut album from the band “Storm Over a Black Sea” will be unearthed on November 13th, 2020, and considering the growing amount of music they have been writing – fans can expect a lot more from Ysgaroth.
All songs performed by: Steve Cuddington, Shawn Hillman, Kurt Steigleder.
All songs written by: Ysgaroth.
Produced by: Ysgaroth & Michael Krauschaar.
Mixed by: Michael Krauschaar.
Mastered by: Michael Krauschaar.
Album Artwork by: Braden Farr.
Music is Canadian Content (MAPL).
YSGAROTH - Sacred (Official Music Video) Progressive Extreme Death Metal
https://www.facebook.com/Ysgaroth
Ronny Munroe (Washington state, USA)
Mother Crone (Washington state, USA)
Moss of Moonlight (Washington state, USA)
Mortiferum (Washington state, USA)
Tuesday, October 20, 2020
Houkago Grind Time: California anime goregrind project streaming "Ruptured in Akkariin" to sensational-fantastic reaction from devoted fanatic of anime goregrind
Fans of all things grind and anime, reach for your wallet because Houkago Grind Time has arrived to make your dreams come true. This is a one-person project, and we assume that it is a drum machine, reaching to bring the message of anime to the world of grind and brutal metal in general. Here's a dilemma: What if you do not know what anime is? (Seriously, what is it?! Is it a new tasty coffee flavor that I can get at the store? Is it a new-age religion that explains the connection between the Bermuda Triangle, wormholes, marshmallows and the expansion of the universe? We don't know what anime is, and we have no way of ever finding out!) Thankfully, even if you are a poor unfortunate soul (a poor unfortunate soul!) and do not know what anime is, you need to know one thing only: This music goes fast, Angie, I mean, fasssssssst, Angie! There is lots of screaming, gargled sounds and a drum machine that just won't quit. This is the sound of true love. --Metal Bulletin Zine
Houkago Grind Time
Bakyunsified (Moe to the Gore)
Outrageous Weeb Power Productions / Grindfather Productions / Psychocontrol
13 November 2020
The official propaganda from Houkago Grind Time: California one-man mincegore band HOUKAGO GRIND TIME, featuring Andrew Lee (Ripped to Shreds, Azath), will release the debut album Bakyunsified (Moe to the Gore) on 12" gatefold LP and digital format through Outrageous Weeb Power Productions (US), Grindfather Productions (UK), and Psychocontrol Recs (CZ). The album was recorded and mixed at Andrew's Weeb Dungeon studio, and mastered by Colin Marston at Menegroth, The Thousand Caves. Bakyunsified (Moe to the Gore) is a love letter and a statement of devotion to Kyoto Animation's classic moe anime boom of the mid 2000s. Taking cues from K-On, a show full of friendship, growth, and positivity, Bakyunsified rejects the violence and hatred pervading the current state of the world, eschewing the genre conventions of blood, guts, and porn. In a short twenty minutes, HOUKAGO GRIND TIME celebrates the minutiae of otaku culture while simultaneously questioning the validity of substituting true interpersonal relationships for passive consumption of the simulacra of such. Punky Carcass riffs float over a bed of ultra fast blastbeats and dbeats, punctuated by bowel churning pitchshifted gurgles. Pillars of grindcore like Dave (PLF) and Leon (Impaled) contribute guest solos, and Colin Marston's dense mastering ensures that every second of every microsong suffocates the listener beneath a thousand heartwarming fluffs.
Bakyunsified (Moe to the Gore)
by Houkago Grind Time
Déluge: French blackmetalcore adventurists streaming track "Opprobre" in anticipation of sophomore album Ægo Templo
It is true that one song cannot take the place of hearing the full album, but the song "Opprobre" is a good glimpse of the band's components for their accessible contemporary extreme metal, something that they call or used to call "untrve French black metal," in which black metal, metalcore, post-metal and a bit of experimentalism coexist. The vocals might make people think of metalcore, the spacey moments seem like ambient/post-metal, but they do not neglect to kick up their heels and launch into fast, blasting segments in their music during the almost 57 minutes of the album. Actually, they might as well call themselves "untrve French metalcore" or "untrve French ambient metal," considering how much they wander between the various subgenres. The band still has plenty of metal in their tank, and they remain a metal band, once we get past all the ridiculous labels/categories/genres tomfoolery. If you like the song, and remain curious, keep an eye out for another track. Maybe they will reveal a second track for people to hear what this band is all about when they say "untrue." --Metal Bulletin Zine
Déluge
Ægo Templo
Metal Blade Records
6 November 2020
The official propaganda from Metal Blade Records: France has long been a fertile breeding ground for black metal, and one of its best kept secrets is Déluge, who have been kicking up a blend of that genre and post-hardcore since 2014. Dropping their debut full-length Æther in 2015, in 2020 they return with sophomore effort Ægo Templo, a more accessible record that pushes their sound in ever more imaginative directions. “I wanted to go further into something more ‘easy to listen to’ but I really did not want to lose what we had, that melancholia and the essence of our music.” states founding guitarist François-Thibaut Hordé. “It was a very interesting - and exhausting – challenge, and to me we have succeeded. We are really proud of this new record.”
Formed in north-east France, Déluge is the number one priority for all of the members. Creating bright, powerful and honest music inspired by black metal, the band lay no claims to truly belonging to that scene, proudly labelling themselves in the beginning as ‘untrve French black metal’. “It was almost a joke but actually I thought that it could define us well and act as a mark of honesty. I discovered the black metal scene very late and I really did not want to play the ‘trve’ card. I wanted to admit that I am not from the scene, though I hope we can add something to it.” Their inclusion of post-hardcore and post-metal influences plus “clean and vociferous” vocals helps to separate them from their contemporaries and makes for a perhaps deeper listening experience. Ægo Templo is even more layered than their previous output, featuring clean vocals on almost every track plus keyboards and additional instruments on several songs, soprano saxophone included on “Opprobre”, all the while maintaining their identity. Lyrically, vocalist Maxime Febvet dug deep too, and while Æther is “an observation of special parts of our lives”, Ægo Templo is more about the work needed to be done to be better - or more accomplished – persons. “The eponymous track “Ægo Templo” really defines the essence of the album’s meaning while “Opprobre” is about treason and the terrible consequences it has in people’s lives and minds. “Béryl” might be the darkest song we have ever written. It is about mourning, not necessarily death, but mourning of health and the way it reflects in others’ lives, while the last track “Vers” links all the tracks together and constitutes the perfect conclusion to the album, and opens a window to the next one.”
Produced by François-Thibaut with assistance from engineers Thibault Chaumont/Deviant Lab studio (Igorrr, Carpenter Brut, Birds in Row) - who also mixed and mastered the album – and Amaury Sauvé / The Apiary studio who recorded the drums, Ægo Templo marks a bold step forward from their earlier recorded output. “The recording and mixing of the instruments was a lot more natural and ‘organic’ than the first record. We took time for every detail and had the pleasure of spending entire weeks balancing those details with Thibault. I can’t tell you how grateful I am regarding the amount of time he spent, and his involvement in the whole process of the record. The resulting sound is really more personal than the sound of Æther, even if we are still very proud of that album.” With Matthieu Metzger providing the saxophone, the record also features guest appearances from Tetsuya Fukagawa of Japanese Screamo legends Envy on “Gloire au silence”, and Hélène Muesser contributes vocals on “Abysses”, “Ægo Templo” & “Digue”, all helping to add further depths to the music. Even in these uncertain times what comes next for Deluge is clear, their goals are undeniable: “We want to be touring as much as we can, spreading our bright music as much as we can, and going much further than the metal scene can offer us.” Bio by: Dan Slessor
Ægo Templo
by DELUGE
"IMPURITY's Classic Album Into The Ritual Chamber To Be Released For The First Time On Deluxe Vinyl and Cassette via Greyhaze Records!"
Impurity is for fanatics of the South American philosophy in the ways of the early days when the bands sounded possessed by a loyalty to making filthy extreme metal played by fanatical, zealous musicians who were virtousos in their allegiance to metal music, no matter how imperfect their human skills and recording equipment were. This album is from 1996 and it is black metal in all its personality. Of course, as the die-hard fans know, there always was a lot more to black metal than the Norwegian variety, as great as that was, and the Brazilian bands took their inspiration from Motorhead and Venom, and then from the early black metal stylings of Sepultura and Sarcófago, all of which goes right in line with early Sodom, Destruction, Hellhammer/Celtic Frost, Bathory and those primal sounds. Just throw Impurity into that cauldron of bands, and you will feel at home with this album. --Metal Bulletin Zine
Impurity
Ritual Chamber
Greyhaze Records [vinyl/cassette remastered reissue]
6 November 2020
The official propaganda from Greyhaze Records: After exhaustive reviews of the release catalogues from many classic Brazilian extreme metal bands, including Sarcófago, Holocausto, Mutilator, Vulcano, and Sextrash, the Florida-based label now turns its eye into one of the most extreme, dark, and mythical bands in Brazil’s rich and diverse metal landscape.
Into the Ritual Chamber was IMPURITY's second album and was originally released in 1996 by Cogumelo Records on CD only. Despite being released only in Brazil, over the years the album found its way to all corners of the world, captivating maniacs with its doomy, Black Metal assault.
Thematically, Into the Ritual Chamber is certainly a departure from typical Black Metal. Its focus lies entirely on a Latin American mystical journey, delving deep into the entrails of the “Cerro Rico” mountain of Bolivia, where, in the Sixteenth Century, seemingly endless amounts of silver were collected, and where throes of natives perished in the attempt to collect the precious metal. Enslaved by Spanish colonizers, the mine workers would seek protection from the devil, rather than submitting to Christian conversion.
This unique saga is tempered with IMPURITY's signature maniacal Black Metal, which is felt the album over.
In celebration of the album’s magnitude and power, Greyhaze Records presents Into the Ritual Chamber in a carefully restored from original master tapes remaster, housed in a lavish package including a gatefold sleeve, double insert and poster. The album is also presented as a 7-panel J-card cassette.
Into the Ritual Chamber
by Impurity
https://store.greyhazerecords.com/index.php?route=product/product&filter_name=IMpurity&product_id=352
Surma: symphonic metal newcomers streaming "Reveal the Light Within" and "Until It Rains Again"
This entity is new to this publication. On Facebook it says: "SURMA is the new metal project/band of Viktorie Surmová (Bohemian Metal Rhapsody (CZ)) and Heri Joensen (Týr (FO)). Our goal is to lift your spirits out of your everyday humdrum and high into the sky with our epic music." To tell the truth, we are listening to the album now and finding out more about the album as a whole. This can be stated rather accurately, these two songs are a good introduction to their melodic symphonic style. It is meant to be very melodic, pleasant, poppy at times even, and an uplifting type of listen. Given that this is new music from a new project, you might like to read the official information below to learn more about it. --Metal Bulletin Zine
Surma
The Light Within
Metal Blade Records
6 November 2020
The official propaganda from Metal Blade Records: Soaring, dramatic and moving, The Light Within introduces Surma as one of the most riveting symphonic metal bands on the contemporary scene. Spread out across 13 tracks in 47 minutes, there is not a moment wasted as they weave their epic stories of optimism around music that is suitably gigantic but compressed into relatively short songs. "I think the real message of the album is to give hope to everyone, no matter what they are struggling with," states vocalist Viktorie Surmøvá, best known for her work with Bohemian Metal Rhapsody. "Some songs are not really happy, I admit, but in most of the stories, I really tried to see something positive. The most powerful way to express this was in the opener, 'Reveal the Light Within'. Most of the songs are inspired by statues and the sculpture that inspired us to make this song ('Expansion' by Paige Bradley) says it all. We all have the chance to reveal our true selves and be happy even after the worst ordeals that leave us damaged in one way, but also provide opportunity to let out what is best in us, symbolized by the light within."
Taking their name from the vocalist's last name, it is surprisingly multifaceted. "In Ukraine, it is a very specific kind of Cossack trumpet. In Finnish mythology, it is a terrible beast guarding the gates of the Underworld, and it also literally means 'death' in Finnish. We also know about Surma people in Ethiopia, and I am pretty sure it means much more in other languages." Teaming up with guitarist/vocalist Heri Joensen of Týr, the band began in 2018 and spent most of 2019 writing, arranging and recording the music that would comprise their debut. Starting from vocal melodies and building the songs up around them, all are very dense, rich with orchestrations and searing guitar and propelled by driving rhythms. That they are all compact comes down to the influence of Joensen. "I've worked on the epic songwriting register since I started writing music decades ago," says the guitarist. "But with my other bands, I can't say I've always tried to be compact, though for Surma, it is more fitting. We were very aware of the arrangement of the songs, and we did try to get to the point of each song quickly and without too much fuss." Despite being very cinematic sounding, cinema was not in fact an influence on the musicians, Surmøvá stating that she is most inspired by the predominantly Dutch symphonic and progressive metal she listens to. It was also important to her that a diverse range of emotions be expressed on the record, which did not come easily. "We were really trying to keep all the emotions I felt from each sculpture that inspired me for the lyrics. I honestly struggled a bit with expressing emotions during recording, because even though I really feel it inside, when I listen to the final recording, I feel that there are not enough emotions in my performance. It is something I have to work on a bit more since this is a new experience for me. Sometimes when I listen to music, I get bored very easily. It is not necessarily the fault of the band, but to avoid that feeling, I was trying to give each song a different emotion than any other on the album."
Looking for inspiration in sculpture is certainly an unconventional approach when it comes to lyric writing, but once Surmøvá seized upon the theme she knew it was exactly the path she needed to follow. "I was looking for sculpture that moved me, emotionally. I looked into the story behind each sculpture, and we wrote lyrics inspired by those stories. Those stories are kind of all over the place, but the common theme is overcoming hardships. The only exceptions to the sculpture theme are 'Desire' and 'Until it Rains Again'. I wrote 'Desire' when I was 15, based on my first heartbreak, and 'Until it Rains Again' was my personal message to everyone who feels emotionally unstable from time to time. No one has a perfect life, and it is up to us how we deal with it. I am generally a very positive person so the message usually goes in that direction." Among these tracks are "The Selkie", which is a story from Joensen's native Faroe Islands and is inspired by a statue of a woman holding a seal skin that stands on the shore. "The story behind the statue is about a seal woman whose hide is stolen by a young man and so is forced to live with him for years. She finally gets her hide back and returns to the ocean as a seal. The man takes revenge on her seal man, and she takes revenge by casting a curse on all the islanders." Then there is "Lost To Time", which is based on a statue by a Norwegian sculptor, Fredrik Raddum, and is about a series of events on the Galapagos Islands, when a group of Germans tried to escape civilization by moving there resulting in some deaths that have gone unsolved to this day. The song "Cages of Rage" is based on a sculpture by the Ukranian sculptor, Alexander Milov, called Love. "It is a couple of child statues facing each other, standing within a couple of adult statues seated back to back. We wrote the lyrics about the human need to connect, and the ego, resentment and conflict standing in the way of this connection."
Alongside the core duo, the record features performances by Rens Bourgondiën on bass, drummer Andrey Ischenko (ex-Arkona), and Lars Vinther arranged most of the orchestrations with Joensen contributing a little to this side of recording too. Maintaining overall control over proceedings, Surmøvá and Joensen produced the record themselves in the guitarist's home studio with the drums tracked in Moscow. With touring commitments with Týr and other interruptions, the recording process was broken up, but Joensen asserts it was a "walk in the park", again confirming the chemistry that comes when the two work together. Looking ahead, the general positivity that exists around them is once more pushed to the fore. "I would love to perform a lot. I would love to have a strong friendship with my bandmates, and I would love to touch people with our music and our performance," states Surmøvá. "I believe we can make something good in this world, and we can help people through hard times and inspire them to have hope in the future, and generally inspire a better mood and a better feeling in those who listen to our music." Bio by: Dan Slessor.
The Light Within
by Surma
Mortal Remains (Washington state, USA)
Morrow (Washington state, USA)
Morlok Von Grimorog (Washington state, USA)
Monday, October 19, 2020
Fates Warning: American royals of progressive metal streaming new songs "Now Comes the Rain" and "Scars"
The long-running pioneers of progressive heavy metal, whose 1980s albums opened doors in terms of fusing prog and heavy/power/thrash metal, are about to reveal their 13th studio album. Known for skilled musicianship and quality albums throughout their career, the new work is not going to surprise the longtime fans, as it is the top notch music that they have grown to expect from the band. On the other hand, with these two songs new listeners should be able to get a good idea of the sound and overall feel of the album and perhpas see for themselves why the band is so critically acclaimed in prog. --Metal Bulletin Zine
Fates Warning
Long Day Good Night
Metal Blade Records
6 November 2020
The official propaganda from Metal Blade Records: Bio by Dan Slessor:
Fates Warning have been a formidable presence in progressive metal for more than 35 years, helping to shape and drive the genre without ever compromising their integrity or losing relevance. They return in 2020 with Long Day Good Night, the most epic and longest album of their storied career. "The styles of music we've written distinguish this record from the rest of our catalogue," states vocalist Ray Alder. "There are some songs with electronics and some with a nice ethereal feel, as well as some pretty straightforward grooves, at least for us. And there are also some pretty heavy songs. We tried to give the listener a host of different things to listen to, as opposed to an album where every song sounds the same." As such, the album is something of a rollercoaster ride, moving through various moods and making for perhaps their most vital release to date.
Following touring with Queensrÿche, guitarist Jim Matheos began writing the album in mid-2019, working closely with Alder for about a year, honing the songs, completing 13 for their 13th full-length - which un-coincidentally has a total running time of 72:22. Despite their long history of making records, Alder makes it clear that the songs take a lot of work to realize. "Like all albums, nothing comes easy. It's quite a process to go from the idea to the actual finished song. Sometimes you think you're done with it, then you hear something else and you have to try that. Sometimes it works and sometimes it doesn't, but you at least have to try it just so you know that in the end you've done everything possible to make it as good as it can be. Jim and I spent practically every day for the last year writing this album. I am very happy with the outcome, and with the blend of styles. I guess I could say that this album represents all of the years that we have been together." From opener "The Destination Onward", which is a dynamic romp that covers a lot of ground, to the warmer, more contemplative strains of "The Way Home" or the 11+ minutes of "The Longest Shadow Of The Day" that pushes in a number of directions without losing focus, they don't repeat themselves, always delivering the goods with heart. While gratified by all of them, Alder is particularly proud of "Under The Sun", which came about unexpectedly. "It was actually a small section of another song on the album. I don't think Jim had any vocals in mind for the particular part, but one day he sent me the guitars and asked me if I thought we could possibly make an entire song of it. I said let me work on it. Ironically, I had a melody in my head that I had been singing for a couple of months, I didn't know what I would use it for, but it was there. While I was walking my dog that night, I realized that it fit perfectly in the part that was to become the chorus. I recorded the melodies the next day and sent them to Jim. We decided that day to make it an entire song. Serendipity, I guess."
While he elects not to discuss the meanings behind any of the songs, Alder makes it clear that there is no unifying concept on Long Day Good Night, his method of working dictating the directions he goes in. "Whenever I write melodies, I usually sing a lot of nonsense words just so that I can find which particular vowels or consonants work best for the notes being used. A lot of it is subliminal. Sometimes a lyrical idea comes from this gibberish and I can go from there. The word 'home' came up a lot, whether it be missing home or just being comfortable there. Not sure why exactly." With Matheos acting as producer, the musicians tracked their parts in their various homes/studios in Los Angeles, San Antonio, Texas and New Hampshire while Alder, who lives in Spain, recorded in a small studio in Madrid. His commitment to completing his contributions on time saw him going above and beyond. "Spain was on total lockdown due to the Coronavirus pandemic. This meant that no one was allowed to leave their homes for any reason other than to get groceries or walk the dog. Due to ours and mixer Joe Barresi's timeframe, I had to record in May or the album would have been delayed for a very, very long time. So I basically snuck to the studio in a moving van under the pretense that I was moving - which was allowed - and slept in the vocal booth for two weeks. It was pretty nerve racking since there were checkpoints set up on the highways to stop anyone that was going about without a good reason. If you were caught, you would be fined around 600 euros and maybe jailed. I also had a timeline that I had to finish by so the days were long. There wasn't time to mess around and think, 'Oh, I can do that later'. As soon as I finished a song, it was being mixed. This was the first time this has ever happened, but it all went well and I was able to finish on time." The record also features guest appearances from touring guitarist Mike Abdow, who contributed some solos, plus Porcupine Tree/The Pineapple Thief drummer Gavin Harrison plays on "When Snow Falls", and "Under The Sun" sees the band incorporating a full string section for the first time. The result of all the hard work put in by all involved is undeniable, and with Long Day Good Night, Fates Warning once again take a bold step forward into the next phase of their exhilarating career.
Long Day Good Night
by Fates Warning
Shaidar Logoth: black metal depression-expansionists from Land of Ten Thousand Lakes streaming brutal black metal track "Consume Pieces of God"
Sit up and take notice of the new song from the black metal ambientists Shaidar Logoth, but let's not get too comfortable thinking that we know what is what here because this blasting track is only a part of a much bigger puzzle of dry-lung black metal that goes super slow and trippy for substantial stretches at a time. Check it: Below are the durations for the songs, just to give an idea that (1) this won't be a simple one-way trip, (2) you may want to sit down for this one, (3) you won't be able to absorb the album in one session, (4) we are still trying to figure out where these roads are going, and (5) this entity is seeking to deliver their magnum opus as if to say that it's going to be a long time before you hear from them again. It's possible that somebody is putting some funny stuff in the water of the ten thousand lakes in Minnesota. Alright, alright, this album is not going to be easy homework, friend. Minnesota, Minnesota, what have you done, Minnesota?! --Metal Bulletin Zine
Shaidar Logoth
Chapter III: The Void God
Sentient Ruin Laboratories
November 6th, 2020
track list:
1. Nest of Pigs 18:58
2. Anguish Cradle 05:20
3. Consume Pieces of God 07:16
4. Withered on the Vine 16:00
The official propaganda from Sentient Ruin Laboratories: Shaidar Logoth return with their brand new third album "Chapter III: The Void God", a massive three-sided 2XLP that that sees the Minnesota black metal specters completing both musically and narratively their inaugural trilogy opened in 2011 with "Chapter I: The Peddler". The Peddler has become The Ritualist, and now summoned The Void God to consume the world and rebuild it in its own image. Three years in the making, "The Void God" sees Shaidar Logoth dwell in familiar torments as well as evolve into a new transfiguration of themselves, dominated by a more defiant and unpredictable experimentation of moods and torn by a more profound and enigmatic dualism than ever before. Throughout the four monstrous songs that comprise the forty-eight minute double LP, the band's sound shapeshifts dramatically, designing increasingly claustrophobic and erratic trajectories and leaving the listener as helpless bystander to a disfigured and mangled ritual, while the songs evolve in and out of each other in a constant duality of ominous abjection and puzzling beauty. Sonically ungraspable but stylistically grounded in the fiercest and proudest black metal tradition, on "Chapter III: The Void God" Shaidar Logoth have conjured the same inverted and lurid atmospheres we've seen in bands like Leviathan, Funeral Mist, Misþyrming and Sargeist, while their unique and unmatched penchant in eviscerating beauty and grace has given birth to their most luminous and magnificent album to date.
releases November 6, 2020
All music & lyrics written, recorded and mixed by Shaidar Logoth.
Additional vocals on "Nest of Pigs" by Ayriel Steffes.
Mastered by Adam Tucker at SignatureTone.
Artwork & layout by Brian Sheehan / LGRDMN.
Chapter III: The Void God
by Shaidar Logoth
Ancient Thrones: Canadian aquacosmic melo-tech-prog virtuoso gremlins streaming three songs
Ancient Thrones is streaming "The Sight of Oblivion," "The Soul to Flesh," and "Divided/Dissolve" ahead of their album The Veil. They have a youthful, all-over-the-map, post-2000 young metal sound to them: tech-death, death metal, melodic death metal, prog, black metal vocals, black metal blasting, big guitar melodies, thrashy riffs, tremolo/black metal parts, shredding type of extreme musicality. It's headbanging metal for the mosh pit, regardless. In addition, it sounds a lot smoother that you may be imagining. This is not a genre-mixing style. It's a smooth conglomeration, if you will. Really, all three songs sound uniform as Ancient Thrones, not like a compilation of bands. Finally, we have one question: Are those real, live drums on this albums, and not the lame, impotent, soft-pillow sound replacement stuff that so many bands like to use?! We do not know for a fact, but that drummer sounds like a human, not like a computer-robot drum machine. Speak up, Ancient Thrones! The world wants to know if you are defenders of human drumming in extreme metal. We sure need more! Down with the fake drumming, metal bands! Up with the human drummers! Human drummers, greetings to you! --Metal Bulletin Zine.
Ancient Thrones
The Veil - Out November 6th
6 November 2020
The official propaganda from Ancient Thrones: “The Veil is a 57 minute descent into the afterlife. We wanted to tell a compelling story of grief that people could relate to through a dark and progressive package droning with cosmic anguish, where nothing is as it appears both musically and lyrically. Much like the album, we went through a metamorphosis writing this piece and grew together as musicians, songwriters and people. It pushed us to unthinkable territories and really opened the box to new ideas. This was the most challenging and gruelling process we have ever gone through to make an album and the product is infused with that passion from the opening track until the end. We hope like the character in our story, you learn something about yourself, about your own legacy on earth and feel enlightened and connected to pain and the pain we all cause to ourselves. We’re all on the same journey to death, remove the veil and look forward.”
All music written and performed by Ancient Thrones.
All lyrics written by Sean Hickey.
Dylan Wallace: Guitar;
Nick Leslie: Guitar;
Matt Leblanc: Bass, Cello;
Sean Hickey: Vocals, Drums.
Guest piano performance in "The Soul to Flesh" by Ashley Cates.
Produced & Engineered by Don Walls.
Mixed by Matt LeBlanc & Don Walls.
Mastered by Matt LeBlanc.
BIOGRAPHY: Ancient Thrones, formerly “Abysseral Throne”, is an Atlantic Canada acclaimed blackened metal outfit that rebranded to suit major changes in line-up and songwriting.
Formed in 2011 in New Brunswick and now residing in Halifax, NS, they quickly went to work to establish themselves among their scene and gained local notoriety eventually allowing them the opportunities to open for renowned metal acts from across the globe.
Sean Hickey (drums/vocals) is the sole original founder of Abysseral remaining, Matt LeBlanc joined in 2015 on bass and improved and refined the sound and operation drastically. Once they lost their original singer and guitar player Jonny Rains, Dylan Wallace joined and took over main songwriting duties. Hickey took over completely on vocals with a black/death metal vocal style, and Nick Leslie joined shortly after on the second guitar. Work began on writing a new album which took about 3 months to write the music for. The new material sparked the name change to Ancient Thrones as an homage to one of Hickey’s favorite bands and inspirations, Wolves in the Throne Room.
In 2013, the band released its debut record and its subsequent follow-up in 2016, “Storming The Black Gate”, which was nominated for an East Coast Music Award. Ancient Thrones have toured throughout Canada, and played at several festivals, sharing the stages with bands such as Silverstein, The Agonist, Black Crown Initiate, and Skull Fist.
2020 sees the release of the concept album “The Veil” showcasing the band’s desire for storytelling and pushing them to new heights musically. The new album explores the journey of a man faced with tragedy, his mortality and ultimately the permanence of our actions told through technical soundscapes and haunting atmosphere.
“The Veil” is due out November 6, 2020.
Discography:
2020 – The Veil – LP;
2016 – Storming the Black Gate – EP;
2013 – Reflections Enthroned – LP;
2012 – Chasm in Permafrost – Demo.
The Veil
by Ancient Thrones
Forsaken Age: New Zealand denim-and-leather heavy metal rockers music video "Heavy Metal Nightmare"
Forsaken Age is gearing up for their new album Heavy Metal Nightmare to be revealed on November 6th, 2020. This is the video for the title track.
Forsaken Age
Heavy Metal Nightmare
November 6th, 2020
Pure Steel Publishing
The official propaganda from Pure Steel Records: FORSAKEN AGE from Auckland / New Zealand are active since 2009! In this time some material was recorded but only one album was released so far. "Heavy Metal Nightmare" is finally their second work and convinces with typical heavy Metal sound and a really good female vocalist! The musical style is 80s Metal and if you wouldn't know it better you surely thought it was made in the 80s! The focus is on catchy songwriting with remarkable hooks! Combine German 80s Metal and NWoBHM and you have as a result the new album from FORSAKEN AGE! Definitely recommended for 80s Metal maniacs! LINE-UP:
Chrissy Scarfe – vocals;
Billy Freeman – guitars, backing vocals;
Lee Scarfe – bass, backing vocals;
Aidan MacNaughton – guitars;
Tam Cramer – drums. special guest:
Tim RIPPER Owens (song 2) – on vocals.
TRACKLIST:
1. Death Terror
2. Raven‘s Cry
3. Ride On
4. Fire In Our Hearts
5. Blood Magick
6. Iron Overlord
7. Heavy Metal Nightmare
8. Running In The Dark
9. Hail And Farewell
10. Guardians Of The Damned
11. Time Warrior
Total Playing Time: 42:07 min
FORSAKEN AGE - Heavy Metal Nightmare - official Video (PURE STEEL PUBLISHING)
https://www.puresteel-publishing.com/releases/view/691/Heavy_Metal_Nightmare
https://www.facebook.com/ForsakenAgeNZ/
Sunday, October 18, 2020
Dark Quarterer: volcano-loving Italian cult heavy metal progsters streaming new song of ancient brutality "Gladiator"
Dark Quarterer works traditional heavy metal and prog in a contemporary sound while continuing their inspiration from 1970s prog and 1970s/1980s hard rock/heavy metal, forging it into their cult-style heavy metal with a bit of cinematic, theatrical or epic vibes. Listen to "Gladiator" for yourself and see if you can imagine the band's objectives of the precariousness of ancient life. --Metal Bulletin Zine
Dark Quarterer
Pompei
Cruz Del Sur Music
6 November 2020
The official propaganda from Cruz Del Sur Music: Prog-tinged epic metal from one of Italy’s most venerable acts!
A concept album detailing the eruption of Mount Vesuvius in 79 AD, Dark Quarterer has crafted an album of high drama and impeccable musicianship with Pompei!
Playing original material was considered taboo in the early 1980s Italian metal scene. Clubs wouldn’t book acts who wrote their own material, prompting countless Italian metal bands to hone their craft playing other people’s songs. The domino effect was obvious: Without any bands releasing original material, the European metal scene overlooked Italy for years, all the while Germany became the dominant force. One such band who swam against the tide was Omega R, who, after growing restless playing just covers, changed their name to Dark Quarterer in 1982 and started recording and releasing their own songs. It hasn’t always been easy for the band, who, thirty-eight years after the fact, are guided by founding members Gianni Nepi (bass/vocals) and Paolo “Nipa” Ninci (drums). During their halcyon years, venues for live music were scarce, forcing the band to retreat to their rehearsal room to work on their unique sound, one that has made Dark Quarterer one of Italy’s most respected cult metal acts.
The quest for individuality and the desire to blaze their own trail continues today with Pompei, the band’s eighth studio album and first for Cruz Del Sur Music. The album was recorded this January and February at the band’s own W.R.S. Studios in Piombino, Italy. Vocals and keyboards were tracked in May by sound engineer Andrea Ramacciotti, with mastering handled by Alex Marton of First Line Studio in Follonica. Like previous Dark Quarterer albums, Pompei is an adventurous set of progressive-leaning epic metal songs, driven largely by the band’s compositional flair and advanced musical capabilities. Accordingly, the songs on Pompei took several years to come together — the members of Dark Quarterer are admittedly, “very picky” when it comes to composing, prone to discarding dozens of ideas until a song is fully realized.
The Pompei album title was inspired by the Italian writer Alberto Angela, whose 2014 The Last Three Days of Pompei tome became the foundation for which Dark Quarterer built the concept. The Pompei concept resonated with the band — both Nepi and Ninci took separate trips to the city and immediately felt compelled to adopt Angela’s story about the volcanic explosion of Mount Vesuvius in 79 AD which caused the death of 20,000 people. The album is told from various points of view, including the volcano itself, which serves as a living and thinking entity that is in perpetual need to relieve itself from deep pain.
An enveloping concept wrapped up in atmospheric doom flavors and challenging prog metal, Pompei is ideal for those seeking adventure and drama in their music. Nearly four decades after their formation, Dark Quarterer has delivered its crowning achievement!
Pompei
by Dark Quarterer
MRTVI: Serbian madman experimentalist extremist obsessed with destroying music through cacophony ... Oy vey!
MRTVI is an experiment in something like trippy-horrific industrial-electronica, and with some extreme metal sort of rearing its head here and there. Avoid this recording if you are looking for proper songs, catchy songs, headbanging songs or anything that is understood as rock songs. The listener better consider themselves as a person that is very interested in hearing crazy studio projects pushing buttons on computers while living in grandma's basement and attempting to cook up electronica, industrial and extreme metal in the same dirty, oily frying pan. --Metal Bulletin Zine
MRTVI
Omniscient Hallucinatory Delusion
Transcending Obscurity Records
6 November 2020
The official propaganda from Transcending Obscurity Records: MRTVI from UK/Serbia shocked audiences around the world with their previous album 'Negative Atonal Dissonance' which was a surreal experience in black metal experimentation and improvisation. It was almost subconsciously executed with three mammoth tracks blending noise, ambient and black metal music. On their follow up album, MRTVI have concocted shorter songs segregated in four chapters, with the underlying purpose of infiltrating your thought waves and inseminating harrowing sounds that will alter your consciousness. Listening to 'Omniscient Hallucinatory Delusion' is like a nightmarish drug-induced trip that will take you to the darkest recesses of your mind and carve out memories that have been long subdued. That is why it is recommended to listen to the album from start to finish, or at least individual chapters collectively, as they represent something significant, a particular altered experience that will evoke feelings of fear and turmoil, and even relief. It's a parallel hallucinatory experience of the vagaries of life, concentrated and powerful, meant only for the strongest of minds that are able to withstand urban darkness, alienation, rot and horror. Chapter I: Cosmic Sadness - Tracks 1-3;
Chapter II: Condemned to Life - Tracks 4-7;
Chapter III: There is No Hope - Tracks - 8-10;
Chapter IV: View of Denial - Tracks 11-12.
Omniscient Hallucinatory Delusion (Experimental Black Metal)
by MRTVI (UK/Serbia)
