Sunday, November 29, 2020
out now: Iron Flesh -- legacy-style death metal from France
review: Countless Skies -- melodic death metal and progressive extreme metal in harmony
out now: Ancient Thrones -- Canadian blackened death metal
Saturday, November 28, 2020
review: Contrarian -- progressive death metal for fans of Cynic, Atheist, and late-era Death
out now: Deathroll -- death brutality EP featuring drumming by blastmachine Kevin Talley
This is a short and sweet EP of three songs of blasting death metal. This EP is for fans looking for a nonsense, all-out attack of extreme metal.
OFFICIAL INFORMATION FROM DEATHROLL: Deathroll is an international metal studio project, created by guitarist David Coloma and vocal power house Diego Rojas, featuring session musicians Stephen Fernandez on bass and renowned drummer Kevin Talley. Extreme physical pain inspired the next-level technical brutality on Deathroll's debut EP Into the Vortex. Drummer Kevin Talley (Dying Fetus, Misery Index, Six Feet Under, Suffocation) supports band leader David Coloma, who endured multiple surgeries to repair a ruptured long intestine during the songwriting process. "The pain was sometimes so bad I could barely sit up, let alone hold my guitar. The wholesituation made me angry, depressed, bitter. Every riff sounds like my insides being peeled apart because that's exactly what I was going through," says Coloma. Deathroll is an international metal studio project, created by guitarist David Coloma and vocal power house Diego Rojas, featuring session musicians Stephen Fernandez on bass and renowned drummer Kevin Talley. "My bond with Diego creating music goes back to our youth when we started our first band 20 years ago, after all these years our chemistry still strong," says Coloma. Deathroll’s sound is a lethal combination of unorthodox thrashy riffs and pounding blast beats. Systematic brutality crafted on each song with lyrics that transcend language.
INTO THE VORTEX
by DEATHROLL
Friday, November 27, 2020
Ysgaroth -- Canadian furious gremlin witch caveman melodic prog metal
The music is melodic extremity, with a certain black metal feel in places and with some prog tendencies, but still moshing and headbanging metal. The vocals are shrieked a lot, although there is some growling in there, too. While the vocals scream black metal, the music points to some surprising melodic places. Ysgaroth is brutal and melodic and they plan to have their cake and eat it, too. Is it possible?! Ysgaroth is going to find out! Would you like to come along? It will be a fun ride through the minds of these Canadian brutes. Just when you think you got them figured out, they will surprise you with 17 minutes of the song "Deluge." It's like they decided to let us see that they love Scandinavian extreme metal, but maybe when you're a Canadian prog band you can't really avoid having some Rush sneak into your subconscious.
-Metal Bulletin Zine
Ysgaroth
Storm Over a Black Sea
13 November 2020
OFFICIAL INFORMATION 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.
Storm Over a Black Sea
by Ysgaroth
Rovescio della Medaglia -- orchestral progressive heavy rock for fans of the legendary & vintage
Jolly Roger Records says that this is a "special" live album, and fans of vintage progressive heavy rock should really make the time to look into this recording. This entity is totally new to this publication, and we assume that it is fair to say that many U.S. fans of prog metal are not aware of this music, either. The official information from Jolly Roger Records below has some very interesting information about Rovescio della Medaglia and guitarist Enzo Vita. For fans of vintage progressive heavy rock, this information will be very interesting, indeed. Anyway, as already stated, there is no need for us to lie to you and tell you that we know a lot about this entity. However, one thing that we can say without lying is that we have been plowing our way through this massive recording. There is no way to give you a fair assessment at this point, except to say that it is orchestral progressive heavy rock of good, skilled and experienced quality. Of course, as you will see, on Bandcamp you can hear only four songs, but those four songs are a good preview of the quality of the music, and if you like those songs, you will be pleased with the full album. One way to say it is that if in your music collection you already have bands like Uriah Heep, Rainbow, Deep Purple, Led Zeppelin, Queen, Styx and all those names associated with great 1970s prog rock, then Rovescio della Medaglia will fit very well in your collection.
-Metal Bulletin Zine
Rovescio della Medaglia
Contaminazione 2.0
Jolly Roger Records
20 November 2020
THE OFFICIAL INFORMATION FROM JOLLY ROGER RECORDS: Jolly Roger Records is proud to present a special live album from the legendary Il Rovescio della Medaglia, titled Contaminazione 2.0, on vinyl LP, CD (with three bonus tracks), and digital formats. One-hundred copies of the vinyl version will be on orange wax.
Il Rovescio della Medaglia was born in Rome in 1970 from an idea of guitarist Enzo Vita, and then Stefano Urso on bass, Gino Campoli on drums, and singer Pino Ballarini all joined the band. Unlike many prog-rock bands of the time (PFM, Banco del Mutuo Soccorso, Orme, Osanna), they chose not have a keyboard player, aiming to offer a straightforward hard rock sound with a strong live impact. Showing great skills with their instruments, they played live at many festivals in Italy.
In 1971, Il Rovescio della Medaglia signed a deal with major RCA to record their first album, La Bibbia. Recorded live in only one day(!), it’s a “rock bomb” and immediately a triumph among critics and audiences. In 1972, they recorded their second album, Io come Io, inspired by Hegel's philosophy. Then they started to tour (also outside Italy) and play live with their “rare” huge equipment: in fact, at the time, owning more than 10,000 watts of power was a thing reserved for few groups. At their shows, audiences were hit by a sonic avalanche!
In 1973, Luis Enriquez Bacalov, famous orchestra conductor and composer of many motion-picture soundtracks (he won a Oscar with Troisi's Il Postino), contacted the band to propose to work together on a new album that would melt rock to symphonic music. For Bacalov, it was the third experience like this, after the previous successes with New Trolls (Concerto Grosso) and Osanna (Milano Calibro 9). The result of this cooperation was the album Contaminazione. It’s considered a milestone of Italian progressive rock, taking inspiration from J.S. Bach’s preludes and fugues while the lyrics tell the alleged theme of a Scottish son not recognized by the great Austrian composer. It was a worldwide success - so high that RCA also released an English-language version with the title Contamination.
To present live the new album, Il Rovescio della Medaglia recruited a keyboard player, Franco Di Sabatino, from the band Paese dei Balocchi. Unfortunately, later their truck with the equipment is stolen, and even if the most famous bands of the time organized a concert to help them, at the Piper in Rome, the band feels the blow: the singer left, and after a new single, they decided to quit.
Founder Enzo Vita then began his career as a session man, collaborating with many Italian artists, and, in 2011, gave new life to the band, releasing a new album, Microstorie, with Roberto Tiranti (Labyrinth, New Trolls) on vocals. In 2016, another new album, entitled Tribal Domestic (with major Sony), saw the band back to a progressive and symphonic rock sound like the first album. This album featured Chris Catena on vocals with the help of the first singer Pino Ballarini, as well as many international session musicians. In 2017, Enzo Vita contacted bassist Andrea Castelli (Shabby Trick, Silver Horses, Mantra, Cappanera) to form a live band to bring Il Rovescio della Medaglia's music to stages once again.
The pinnacle of this is a monumental live recording of 1973's classic Contaminazione album, now being presented by Jolly Roger Records as Contaminazione 2.0. Recorded in San Galgano, near Siena (Italy), in September 2018 in an ancient abbey from the 1200 without a roof, the setting is a magical place and a location worthy location of Il Rovescio della Medaglia's timeless music. Suitably for this special occasion, the performance includes a string quartet as well as Vittorio De Scalzi (New Trolls) on flute one track.
current IL ROVESCIO DELLA MEDAGLIA lineup (also on Contaminazione 2.0):
ENZO VITA: guitar;
ANDREA CASTELLI: bass;
NICOLA COSTANTI : vocals, keys;
CARMELO JUNIOR ARENA: keys, backing vocals;
PINO POLISTINA: guitar.
Contaminazione 2.0
by Rovescio della Medaglia
out now: White Magician -- triple-time travelling U.S. vintage heavy metal obsessed with Mercyful Fate's obsession with Blue Öyster Cult
If White Magician were a bus, it would be a bus that makes its first stop in 2020, and that's where you and I get on the bus, and then the bus goes directly to 1980, when the young bands are making heavy rock faster, adding a lot more shredding, increasing the energy (when people called it high-energy rock!) and making the music more headbanging. After that stop, the White Magician bus goes to the final stop at the bus depot in the 1970s, and this is where spirit of the songwriting comes home. The 1980s are looking great, looking awesome, but White Magician is just at the beginning of the new decade and does not jump with two feet into the 1980s. White Magician is more comfortable playing uptempo, rocking, progressive heavy metal that is based on the 1970s as the foundational inspiration, as if to say, the 1980s would have been cool if they had existed, but the 1970s did exist for real, and that's what White Magician lives. Below you will read that the official propaganda says that White Magician is like Mercyful Fate and Blue Öyster Cult. Well, this time the propaganda is true. It does sound like Mercyful Fate covering Blue Öyster Cult, like the guitar player and the drummer love Mercyful Fate a whole lot, but the singer's true passion is Blue Öyster Cult and 1970s heavy rock in general. When the band realized that they are not all on the same page, and that they are kind of pulling in two different directions, with some members looking back to the 1970s and other members looking towards the 1980s, they must have thought that they needed to break up because this is just too much, it's too retro, too double retro, if you will. Ah, but then the bass player said something really strange: "What if we just sit down and eat lots of pizza and french fries, play a couple of bowling games, and think about combining the two sounds while we stuff our faces?!" The guitar player and drummer thought that it was crazy but then they realized that it was difficult enough to find dudes (not in their 50s and 60s) in Michigan that like the New Wave of British Heavy Metal, and they thought that they better consider the idea. The guitar player just had one more question: "Yes, my dudes, but, like, can I still shred like Mercyful Fate on "A Corpse without Soul"? Everyone looked at each other, with a bowling hand in one hand and a pizza slice on the other, and the singer said, "Oh, yeah, my dude, you sure can! Go for it! We'll make it work because with bowling and pizza, we can all be brothers forever!!"
So, anyway, that's exactly happened. Exactly like that. --Metal Bulletin Zine
White Magician
Dealers of Divinity
Cruz Del Sur Music
20 November 2020
Cruz Del Sur Music's official propaganda: Classic, mystical metal with a high dosage of ’70s rock influences and unparalleled guitar work! On their first LP, Dealers of Divinity, Detroit, Michigan’s White Magician seamlessly blend the magic(k) of Blue Öyster Cult with the spellbinding glory of Mercyful Fate! The title for White Magician’s first full-length, Dealers of Divinity, depicts three blind card dealers who are employed by an entity who controls the universe’s behind-the-scenes gaming facility. The dealers laugh at the earth’s inhabitants’ belief that they are free. They watch them line up and play at this game called “life” and grasp at the illusion that they can actually win. But, ultimately, it is an artifice of the highest degree. Their fate has already been determined by the dealers well before the game starts. It begs the ultimate question: Do we accept this destiny or will we fight to make our own?
This theme is the backdrop of White Magician’s mystical blend of classic metal and ’70s rock on Dealers of Divinity; a challenging array of stellar guitar work and oftentimes labyrinthine song arrangements that stretch well beyond traditional boundaries. Originally formed in 2010, White Magician — featuring guitarist/vocalist The Great Kaiser, guitarist Mars Mysterio, bassist Mofang Tengrand and drummer Master Commandriani — has gradually honed their sound across three releases preceding Dealers of Divinity: 2016’s The Pledge EP; 2017’s Antipathy single, and 2018’s split with The Great Kaiser’s White Magician (not to be confused with this White Magician) and Prelude to Ruin. Through trial and error and a laborious songwriting process that is oftentimes born out of a single riff, White Magician eventually arrived at a sound that relies on imaginative storytelling and some of the most advanced guitar interplays heard in classic metal in recent memory. Recorded over many nights and weekends between May 2018 and December 2019 in Lansing, Michigan by George “The Extortionist” Szegedy, Dealers Of Divinity does not lack substance and drama. The album’s seven songs benefit from not only The Great Kaiser’s smooth vocal delivery but a regular influx of twin guitar melodies, classical guitar arrangements and technical guitar motifs, all immersed in songs that are often a journey onto themselves. Arcane and ambitious, Dealers of Divinity is an extravagance of magic and power sure to captivate any classic metal fan!
Dealers of Divinity
by White Magician
out in November: Accuser -- 1980s long-running German band back on track with headbanging thrash & groove
In 1986 they began with the demo Speed Metal and in 1987 they had their debut album The Conviction. Now on their 12th album, U.S. fans of muscular, contemporary thrash may find that the Germans have their music down to a science after decades of thrash. In the 1990s they became heavier, going in the direction of groove metal. Nowadays their music is a combination of the chugging grooves and the fast thrash. Opting to combine the best of both worlds, the new album has lots of shredding and a solid bit of melody, while keeping the pounding very much alive, too. It is true that they have changed quite a bit since the very early days, and the punk elements may not seem as present (for instance, like on the crazy demo!), but there is definitely speed on the new album but it is tighter, more metalized. The 90s groove has not disappeared but it is tempered and counterbalanced with shredding, speed, melody and thrash. Who says that old dogs do not learn new tricks?! -Metal Bulletin Zine
The information below is from Metal Blade Records.
Accuser
Accuser
Metal Blade Records
13 November 2020
Bio by: Dan Slessor (official information from Metal Blade Records): Since they began flying the flag for German thrash in the 80s ACCUSER have gone on to prove themselves one of the most enduring forces in global metal. With eleven full-lengths behind them they return in 2020 with their latest masterwork, a blistering self-titled collection that captures everything that makes the band so vital and manages to sound fresh. “You stay fresh through curiosity,” states vocalist/guitarist Frank Thoms. “Writing new songs keeps you fresh, and it is always exciting how things develop and how the listener reacts to them afterwards. This process never gets boring. It is always exciting and invites you to try new things.” The result is a dynamic album that is very much rooted in thrash but still takes the listener through various moods and styles, further cementing ACCUSER’s status as leaders, not followers.
The return of lead guitarist René Schütz to the band’s ranks, who appeared on multiple ACCUSER records prior to 2011, only served to up the ante on Accuser. “We are very, very happy to have him back in the band and as you will be able to hear, his leads are definitely over the top. From my perspective he is one of the very, very few thrash metal guitarists who are able to combine technique and feeling in a proper way.” With writing for the new record commencing as soon as 2018’s The Mastery was completed, Thoms pushed himself until he was in “100% concentration mode”, knowing he is on the right path when he forgets his daily routine and normal life falls away. With no structure or plan envisaged, the songs came together naturally, as they always have. “The Accuser sound is in our DNA, and at the end of the day it is our own blend of thrash metal. To be honest, that’s what I like best during the process of making a record, seeing how the music develops and how the album is taking shape.” The shape Accuser took is definitely versatile, and perhaps sounds simpler than it actually is. “We managed to make well thought-out songs sound simple. Crazy things don’t seem like a disturbance or a foreign body. In addition, we have inconspicuously processed various genres of metal. Ultimately, we just tried to offer the essence of the band, the groove from Repent (1992), the riffs in the veins of Who Dominates Who (1989), plus structures that could be found on first album The Conviction (1987) and stylistics that could be from Reflections (1994) or Taken By The Throat (1995), everything put together in catchy songs.”
The combination of these elements that shout back to earlier ACCUSER releases - without repeating or copying themselves - alongside the return of Schütz, led Thoms to believe this album “must be called Accuser”. Coming from multiple directions when it comes to lyrics, Thoms is in part influenced by hardcore punk, though “not necessarily in a ‘Fuck the System’ attitude but in criticising political structures and calling out injustices.” With such strong music it was important that the lyrics on Accuser dig as deeply, and the frontman has not let fans down. “Seven Lives” focuses on the fact that “An attempt is being made to regulate coexistence but unfortunately, there are the same rules for different people. This is where the regulatory system begins to crumble, as justice without individuality cannot create equilibrium. On the other hand, the judiciary should not be for sale, so that privileged persons receive special treatment,” while “Temple Of All” speaks of a temple in which one can turn to every deity, and to every faith. “Through the transparency of the different religions, all directions become entangled in total contradictions and the human being stands alone in the end, which feels very relieving for him.”
To produce the record, the band turned once more to longtime collaborator Martin Buchwalter, who has worked on five ACCUSER albums, and it was mastered by Dan Swanö. “Martin has become a good friend to us over the years and knows how to transport our music, and it was great having him work with René for the first time. We had a lot of fun but it was also the most exhausting album we ever recorded. We thought the fast parts would kill us but it was the slow parts that took more time. The singing was very exhausting, I had no voice after being in the studio for three weeks.” Ask Thoms if he’s proud of any songs in particular and he answers enthusiastically. “Yes, I like “Temple Of All”, the music supports the lyrics, while “Rethink” is a fast song with an unexpected ending and “Phantom Graves” goes straight to the ear. There are so many surprises. I think every song has its own characteristic.” Despite the fact any hopes of touring in 2020 have been all but completely obliterated by the Coronavirus pandemic the frontman still sees reason to be optimistic about the state of the band. “We’re just glad René is back and that we were able to record the album before the pandemic, and hopefully we’ll have a good year of touring in 2021. Even though concerts won’t be happening this year we’re just happy that the listener still has the opportunity to hear the new Accuser at home.”
Accu§er line-up:
Frank Thoms - vocals/guitars;
René Schütz - guitars;
Frank Kimpel - bass;
Olli Fechner - drums.
Accuser
by Accuser
Thelemata -- foggy volcano mountain forest obscurantist armageddonist cave goat black metal from Altiplano Cundiboyacense, Tocancipá, Cundinamarca, Colombia
Fans of (possibly) solo basement anonymous black metal projects might just have found themselves their newest Colombian gem. Obscurantist to the bone, with song titles like "The Armageddon Has Just Begun" and "Thou Lost in My Darkest Void," this project will drive down your favorite alley, and park there until you've had enough, if that is possible. Bandcamp has almost no information about this project, so just assume it's drum programming, and a black metal freak having the time of their life at the parent's basement and doing their best to celebrate the spirits of their inspirations. It's also remarkably catchy and melodic, in a necro kind of way. -Metal Bulletin Zine
FLOWING DOWNWARDS
by Thelemata
Thursday, November 26, 2020
Schatten der Unendlichkeit -- raw & atmospheric German-language black metal duo streaming two 2020 EPs "Gedenken" & "Verschollen"
Цемра -- Slavicist paganist obscurantist black metal EP "Час адплаты, крыві та смутку"
Satan's Anger -- raw, punk black metal said to be from Jamaica
Bandcamp and Metal Archives have information that says that this band was reportely from Jamaica.
Information from Bandcamp: Relic from 2009, lost in time, now unleashed.
Members finally released from prison.
released November 21, 2020.
The Killing of God
by Satan's Anger
Stormruler -- U.S. black metal from Missouri streaming debut album "Under the Burning Eclipse"
Nuclear Winter (Zimbabwe) -- streaming new song "Corridor of Shells"
The one-person melodic death metal project Nuclear Winter is at it again. Something seems on the horizon. That something seems to begin with the new song "Corridor of Shells." For your information, below is a previous review by Metal Bulletin Zine.
Nuclear Winter
Corridor of Shells
MMD Records
23 November 2020
Corridor of Shells (SINGLE)
by Nuclear Winter
https://www.facebook.com/NuclearWinterZim
Nuclear Winter
Night Scapes
MMD Records
July 15th, 2020
A possible conclusion to arrive at by listening to the music of Nuclear Winter (Zimbabwe) is that when it comes to pop music the rules in death metal seem to be strict and frozen: “don’t let them in, don’t let them see, be the good deathster you always have to be.” The one-person project Nuclear Winter is pop death metal. “Well, now they know!” When it comes all those rules, Nuclear Winter seeks to “let it go, let it go,” declaring, “let the pop rage on, the pop never bothered me anyway.” Earlier this year this entity showed the world its version of the Toto classic “Africa,” the überfamous classic (with more than 580 million views online; how many times a day does it come on the radio around the world?!). Of course, there’s no way that an extreme metal version of “Africa” can have the original’s magical super catchy charm, but that’s to be expected.
Nuclear Winter is a very poppy death metal project and completely unashamed of it. For American fans, they might think Fear Factory is an influence and for European fans, they might think that Soilwork and Scar Symmetry are influences. American metalcore fans might also like the growl/sing combination. This recording also has a cover version of “New York, New York,” sung by ol’ blues eyes himself Frank Sinatra. Several metal bands have covered the song before, but it’s still a relatively novel idea to cover it. It sounds pretty ridiculous, and experience shows that when children hear the Nuclear Winter version they think it’s fun, too. You decide which version is more ridiculous: this one or Devin Townsend’s? In a way, this new one is musically closer to the original. Really, the Devin Townsend version does not even sound like the original and he (surprise, surprise) over sings on it, screams and rants all over it, whereas this one does have the main rhythm swag of the original, done with the help of synths or keyboards.
Mark these words. Nuclear Winter will one day perform the song “New York, New York” in New York City. Nuclear Winter will close the show with that song, and when that happens, holy guacamoleee, the crowd is going to go so nuts! I make this prediction right now in 2020, the year of the coronavirus. Remember what Metal Bulletin Zine told you. Nuclear Winter in New York City performing “New York, New York.” One day it shall happen. So it is written, so it will be done.
StormScapes EP by Nuclear Winter
Prey The Hunter (Washington state, USA)
Revolting (Swedish death metal) -- Rogga Johansson's project streaming four out of nine songs
The Swedish death metal machine Rogga Johansson* has a new Revolting album to satisfy the Entombed-Dismember cults around the world. These four songs are a faithful representation of what you are going to get. Saddle up, gamblers, because the Entombed-Dismember worship has begun. Below you will find the official propaganda from Transcending Obscurity Records. -Metal Bulletin Zine.
*[Bloodgut, Dead Sun, Down Among the Dead Men, Echelon, Eye of Purgatory, Fondlecorpse, Furnace, Ghoulhouse, God Cries, Grisly, Humanity Delete, Johansson & Speckmann, Lobotomy Dept, Massacre, Megascavenger, Monstrous, Necrogod, Paganizer, PermaDeath, Pile of Skulls, Putrevore, Reek, Ribspreader, Rogga Johansson, Severed Limbs, Stass, Svitjod, The Cleaner and Mr. Filth's Van Murders, The Dead Cold, The Skeletal, Those Who Bring the Torture, To Descend, ex-Carve, ex-Demiurg, ex-Eaten, ex-Foreboding, ex-Minotaur Head, ex-Skeletal Spectre, ex-Swarming, ex-Terminal Grip, ex-The Grotesquery, Troikadon, ex-Banished from Inferno, ex-Graveyard After Graveyard, ex-Sinners Burn, ex-Soulburn, ex-The 11th Hour, ex-Deranged (live), ex-Bone Gnawer, ex-To the Gallows]
Revolting
The Shadow At The World's End
Transcending Obscurity Records
27 November 2020
Track listing -
1. Defleshed
2. 1888
3. The Shadow At The World's End
4. Sorrow As Companion
5. Daggers That Mimic Life's Pain
6. Dragged Back To The Cellar
7. To The Bitter Bleeding End
8. Carnage Will Come
9. Revolted By Life Itself
Revolting happens to be one of Rogga Johansson's most prominent and long-running bands along with Paganizer. The band is also one of the most active ones. Fans will know that they've honed their craft over the years and they do things in a better way with each one. For the seventh full length, Rogga Johansson has done his best blending classic Swedish melodies with the brute force that his bands are associated with. Imagine a mix of Paganizer and Rogga Johansson and you've got something that has the best qualities of both the Swedish-sounding bands, which are presently at the peak of their respective careers. There's of course the added groove and memorability that's hard to dislike. All in all, if you're a fan of well-rounded Swedish death metal that has everything in spades, Revolting is for you. For fans of: Paganizer, Rogga Johansson, Entombed, Dismember, Edge of Sanity, Hypocrisy, Grave, Unleashed, early Tiamat. Line up -
Rogga Johansson - Vocals, Guitars;
Tobias - Bass;
Martin - Drums.
Artwork by Juanjo Castellano (Goregang, The Black Dahlia Murder).
Layout by Turkka G. Rantanen (Paganizer, Henry Kane).
The Shadow At The World's End (Death Metal)
by REVOLTING (Sweden)
Wednesday, November 25, 2020
black metal Inquisition (Washington state, USA) -- streaming new album Black Mass for a Mass Grave
Below is a share of the YouTube link that is streaming the new Inquisition album. For information purposes, below is a review that is already up on Metal Archives. The review is not written by Metal Bulletin Zine. It is here for your information, in case that you would like to see what reviews are saying. The review below is from a devoted fan that gave it a perfect rating of 100 out of 100. Anyway, read it in agreement or with skepticism. The important thing is to listen to the album yourself and see what you think.
Inquisition
Black Mass for a Mass Grave
Agonia Records
November 20th, 2020
1. Spirit of the Black Star 05:17
2. Luciferian Rays 06:34
3. Necromancy Through a Buried Cosmos 06:25
4. Triumphant Cosmic Death 07:12
5. My Spirit Shall Join a Constellation of Swords 07:03
6. Ceremony for the Gathering of Death 01:27
7. Majesty of the Expanding Tomb 05:48
8. A Glorious Shadow from Fire and Ashes 06:26
9. Extinction of Darkness and Light 05:39
10. Hymn to the Absolute Majesty of Darkness and Fire 06:33
11. Beast of Creation and Master of Time 04:25
12. Black Mass for a Mass Grave 01:55
01:04:44
Four years after the release of Bloodshed Across the Empyrean Altar Beyond the Celestial Zenith comes Black Mass for a Mass Grave, with a disappointingly short album title and diverse tracks from front to back (minus the aforementioned title of course). I have given this record about three or four full listens now, and I have to say that this is definitely better than a couple of the band's older releases. Enough rambling now, onto the contents contained within.
The production is more or less in keeping with Bloodshed and Obscure's sound. A crisp yet not overproduced sound, which lets every note played be heard. Nothing really tends to get buried here, and I believe that there is a bass presence here as well, keeping with Bloodshed's use of bass guitar, which gives the album as a whole a beefier and fuller sound. The leads here are some of the best Dagon has ever written for this band. Think of a toned down version of Inversion of the Ethereal White Stars' leads all throughout the record. Not as high up on the fret board as that song's leads were, nor as bright sounding as those leads. Here, they more so create a sublime and almost lush atmosphere over the rhythm guitars, and as a person who generally prefers melody to brutality, this really hits the spot. Vocally, this album stays more in line with Bloodshed's vocal style, and less with the frog vocals of years and albums past. Even as someone who really liked the frog vocals, I think I might like these more honestly. They just sound right. Drumming wise, this may be my favorite album of theirs. Incubus really shows off what he can really do on this album. He isn't always blasting away. A lot of the drumming is more akin to a typical rock beat anyone plays when warming up on drums, which I like. Thomas really displays what he is capable of, both technically, and feel wise. Here, he isn't afraid to pull things back and add some simplicity. Everything here in the album as a whole really fits together is what I'm trying to say. Nothing overpowers another thing. Nothing is forgettable. Everything is just simply amazing.
The next logical step here would be to point out a few favorite songs and standout moments on the record as a whole. My Spirit Shall Join a Constellation of Swords is quite a track. It's probably my favorite doomier song on this album, and it's also quite melodic too. Spirit of the Black Star, the first song on the album, contains a nice mixture of the more upfront melodic sound of this album and the signature brutality of Inquisition. However, my favorite track off this album has got to be the song with the Goliath title of Hymn to the Absolute Majesty of Darkness and Fire. A mid pace song that clocks in just barely over six and a half minutes. If you thought Spirit of the Black Star was the true melting pot of the best ideas on the album. It isn't. It's this song right here. It has the mid pace sections of Swords, the melody of Luciferian Rays, mix of drumming on display throughout the whole album. This may in my top song by this band now. If there was one song I had to recommend anyone, it would be this song, for it is the concoction within a cauldron filled with ingredients of every other song on the record.
This has got to be my favorite release of 2020, and eleven and a half months into the year, I doubt it'll be dethroned from its position as my favorite of the year. A truly sublime experience worth experiencing.
INQUISITION - Black Mass for a Mass Grave (Official Album Stream)
Tuesday, November 24, 2020
Oreamnos -- Bloody Mountain Records artist streaming two new songs
Bloody Mountain Records (USA) tends to release extreme metal that is more on the primal, raw side. This time around the name is Oreamnos. Below you can hear the songs "Shadows of Misery" and "March Towards Oblivion" from Bandcamp. The two songs, one might say, lean towards an old-school death metal sound with doom atmospheres. The rest of the recording is not radically different from these two songs, but as you can imagine, the combination of this death metal goes deeper with the bestial, barbaric style while also delivering some surprises melodies. Of course, this project is not meant to be an all-out assault on the senses but rather something a bit more measured, less intense, while still keeping the extremity very much at the center of it all. --Metal Bulletin Zine
Below is the official information about this project.
Oreamnos
Into The Night
Bloody Mountain Records
27 November 2020
From the ashes of Weverin comes a new band from sole members Samuel and Matthew, both of whom worked together for the entirety of Weverin's lifespan. A different approach rises up to bring a mix of old and new, combined with a heavy atmosphere and precise riffing. Oreamnos allows Samuel's guitar playing and Matthew's precise drumming to dive into the minds of unsuspecting listeners with weight and imagination. Line-up: Sam-guitars, lead guitar, bass (Weverin, Phthisis, Governmental Crucifixion); Matthew-drums, vocals, lead guitar, mixing/fx (Valdur, Sxuperion, Weverin, SXAP).
Album Credits: Doug White- Watchmen Studios.
Kevin Andreassian- Backroom Studios.
Matthew S.- Bloody Mountain Bunker/Canyon Lodge Studios.
Sean K.- mastering.
Track Listing:
1. Into the Night 2:31
2. Shadows of Misery 4:03
3. Bombastic Utterances 1:22
4. Torrid Hate 6:31
5. March towards Oblivion 4:19
6. Forlorn (Fire of Despair) 6:08
Into the Night
by Oreamnos
Prestige (2011-2015; Washington state, USA)
Pound (Washington state, USA)
review: Awaken -- monster work of an album clocking in at 90 minutes
The Plot Sickens (Washington state, USA)
Plague Bearer (Washington state, USA)
Monday, November 23, 2020
Shores Of Null -- Italian gloomers streaming segments of new downward spiral called "Beyond the Shores (On Death And Dying)"
The new album is a single-track of 38 minutes. They kind of roll up proggressive extremity, like death and black, with growling and singing, and just let all the chips fall where they may. As long as the listener is not frustrated by the changing landscape for the duration of this adventure, things are going to be fine. It is not crazy experimentation, and it is certainly melodic in plenty of places, but the growling and singing and the tempos changes are a central part of the music. The recording sort of moves by segments, if anything, or by moods, actually. Sometimes things get very doomy and at other times things seem more proggy, while melancholy never seems too far behind. In fact, the creation of melancholic vibes through the guitar work seems to be the one objective that the music never abandons. If you enjoy melancholic guitar, and you have 38 minutes of free time, the recording should be rewarding. After a few listens, it won't even matter if it's minute 6 or minute 16 or 26 or 36, it all just kind of melts into one big pool of melancholy. By the way, we are not ready to say accurately how much of the music is copied and pasted and used again, and how much of it is not, but you know how it is with technology. Depending on the situation, this could be a case of lots of copying/pasting the same parts in order to make it seem ambitious. To get more accurate information on that issue, fans might need to see if the band has done any interviews on this matter and explain the situation. --Metal Bulletin Zine
Shores of Null
Beyond The Shores (On Death And Dying)
Spikerot Records
27 November 2020
This is the official propaganda from Spikerot Records: Shores Of Null is a Rome-based metal band, an unwavering presence within the metal underground since their musical outset in 2013. They have churned out two impressive records: the melodic and somber “Quiescence” (Candlelight, 2014) and the darker and more complex “Black Drapes For Tomorrow” (Candlelight/Spinefarm, 2017), both of which were highly praised by the worldwide music press. Shores of Null stands out from its contemporaries with its ability to blend seemingly disparate elements and their ability to sound overwhelmingly heavy and soothing at the same time. Blackened aggression stands alongside gothic-doom sections without either sounding out of place. Their music can be both melancholic yet majestic, made of chorale-like guitar textures across the instrument’s entire range, sustained by a powerful rhythmic section and punctuated by a refined mixture of clean and growled vocals, along with extensive use of pleasing vocal harmonies which have become the band’s trademark through the years.
Shores Of Null has performed over 150 shows, including six European tours (with In The Woods, Ereb Altor, Hooded Menace, Mourning Beloveth, Novembre, Harakiri For The Sky, Sylvaine, and more), dozens of shows and tours in their home country (with Primordial, Arcturus, Candlemass, Moonsorrow, Leprous, Saturnus, Negura Bunget, etc.) and many European Festivals (Inferno Festival, Eindhoven Metal Meeting, Winter Days Of Metal, Doom Over London, Metalitalia Fest, Frantic Fest, and more). Shores Of Null’s third work, “Beyond The Shores (On Death And Dying),” is expected to be released in November 2020 via Spikerot Records, continuing to prove the band’s willingness to go off the beaten path and create their ultimate doom manifesto, a 38 minute-long suite emphasizing their heavier, slower and dramatic side, inspired by the five stages of grief formulated by the Swiss-American psychiatrist Elisabeth Kübler-Ross. The band has collaborated on the dark opus with many special guests, including two doom-titans, Mikko Kotamäki (Swallow The Sun) and Thomas A.G. Jensen (Saturnus), along with the angelic voice of Elisabetta Marchetti (Inno). The band is able to present an even more diverse and eclectic sound on the album thanks to the addition of classical instruments like piano and violin, along with the return of the talented Marco “Cinghio” Mastrobuono (Hour Of Penance, Fleshgod Apocalypse) behind the production desk.
Discography:
2020 – Beyond The Shores (On Death And Dying) (Spikerot Records) - LP;
2017 – Black Drapes For Tomorrow (Candlelight/Spinefarm) – LP;
2014 – Quiescence (Candlelight Records) – LP.
Beyond The Shores (On Death And Dying)
by Shores Of Null
Temple -- Swedish stoner doomsters streaming miserable new song "Funeral Planet"
Temple is a Swedish group that plays 1970s Sabbath worship music. Their take on the style is a fuzzed out heaviness for that feeling of slowed-down stoner metal with trippy singing. All of the children of Sabbath and the grandchildren of Sabbath that can never get enough of riffs that sound like grandpa Iommi might have written them will be smiling that this week they have a new baby Iommi to listen to. The official information below also seems to say that the Swedes believe that the world is going to end soon, the human race will expire soon, the sun will collapse on itself probably within the next couple of years, and the universe will disappear a month after that; therefore, the end of time is upon the world, and what better way, says Temple, to go out with a bang than listening to Sabbath-y songs for the Sabbath-y fans and relaxing and chilling while, according to Temple, the Earth dies. Only Temple knows if the Earth will die next year or this year. Either way, it is going to be a fun party for everyone. This is your invitation. --Metal Bulletin Zine
Temple
Funeral Planet
Ozium Records
25 November 2020
01-Sea Of Grief 4:40
02-Magma 6:33
03-Whipped 4:57
04-Changes 4:06
05-Drain 5:17
06-Ashes 5:05
07-Funeral_Planet 7:11
This is the official propaganda from Ozium Records: “Listen to the planet and she’ll tell you where she stands.” According to Temple, a fresh doom metal band out of Sweden, it’s not in good stead with humanity. On their début record Funeral Planet, the four conjure a blend of melancholic yet fuzzy doom that sets the perfect ambience. This is not their first rodeo, either - those familiar with Silver Devil and Surfing In Hell will instantly know they are in good hands, but for the rest, it’s time to strap in for a riffing ride. The first wave to hit is the sheer weight of the tone on “Sea of Grief”. The guitar hits that sweet spot between melody and fuzz, with lines that crawl up the sides of the processed chorus. The whole record swims in a treacle-like consistency of doom, stoner metal, and hints of a slowed-down garage rock, each track its own variation that maintains the quality and consistency throughout. The claustrophobic nature of the riffs, heavy and oppressive like the planet itself, contrasts the relentless crash of the drums (or, like in “Changes”, a more complex affair) and the warbling solos, such as on the title track.
The message is as important as the music on Funeral Planet - the name alone a powerful social commentary, and the lyrics support this. The constant thread throughout is one of the abuse that Mother Nature has suffered, and the wrath that she will inflict (“She paints the ground with her lava brush”), written with the same pained emotion that frontman Otto Molin wails them. Each song carries a unique perspective, from the man-tames-wild-nature take on “Whipped” to the appeal to reason on “Ashes”. A stunning set of performances. If bands like Windhand and Electric Wizard regularly hit your turntable, then Temple is the next logical step. Funeral Planet is a bold opening statement, and a call to make the right changes before it’s too late.
Funeral Planet
by Temple
Sunday, November 22, 2020
Stallion (Germany) -- ready to celebrate a very metal Christmas
The German heavy metal band Stallion has a Christmas recording coming up in November. They have a couple of teasers on YouTube. Below is the official information about the new Christmas songs. If you are interested in traditional heavy metal, below you will also find a previous review of Stallion by Metal Bulletin Zine.
Stallion
Christmatized
Glory Stables Records
27.11.2020
TRACKLIST
1. Santa (Can You Hear Me) (4:11)
2. No Presents For Christmas (King Diamond) (3:37)
3. Christmatized (A Very Merry Medley) (4:39)
- All I want for Christmas is You (Mariah Carey)
- Happy Xmas - War is Over (John Lennon)
- Wonderful Christmas Time (Paul McCartney)
4. Let it Snow! Let it Snow! Let it Snow! (Sammy Cahn and Jule Styne) (2:25)
Official information from Glory Stables Records: After their last full-length album “Slaves of Time”, which was celebrated by the press and fans alike, German Old School Metallers STALLION are back again - this time with a rather unusual release by through band's own label Glory Stables Records. Since the release tour and all other shows for "Slaves of Time" had to be canceled due to the Corona crisis STALLION used the time to implement a long-cherished plan and put together a special kind of Christmas compilation, in "STALLION-style". You immediately ask yourself the following questions: Old School Metal and Christmas – is that right and do we need that? Of course, it just has to be authentic! STALLION approach everything a little differently and give the songs that special something. In addition to the original composition "Santa (Can You Hear Me)" the band brings everything back to normal with their interpretation of King Diamond's "No Presents For Christmas". Also with a medley from Pop Xmas-Songs and the cover version of the evergreen “Let It Snow”, STALLION show all along the line how to create a Christmas record in a confidently stylish and authentic way. Guitarist Äxxl was in control again this time as the producer, who is increasingly making himself known with engagements for bands such as Indian Nightmare, Vulture or newcomers Venator. STALLION prove their irrepressible attention to details once again with an elaborately compiled "Christmatized" vinyl box, limited to 250 pieces and including a knitted sweater, STALLION christmas ornament balls, cookie cutter and special patch. So, may your days be merry and "Christmatized"!
Stallion Release Teaser #2 Winter 2020
Stallion Release Teaser Winter 2020
Stallion
Slaves of Time
High Roller Records
February 28th, 2020
The Stallion rockers are so obsessed with classic-style speed metal, big riffs, shredding and screaming banshee vocals that you have to be quite cynical not to catch on to the headbanging songs. Listen once and you will be infected immediately with their speed metal virus. One main strength of the album is the German group’s dedication to making rocking songs no matter what. Anyway, what is speed metal? Well, you know how some Judas Priest albums begin with a fast song? This band takes that idea as its official declaration to this world and the next.
Fans of traditional heavy metal with high singing and uptempo tunes will find a refuge here. Of course, there is a 1980s vibe and it’s no accident, it’s their mission. The album has one power ballad, a softie called “Die with Me.” About the half mark the song picks up steam, and ends up rocking, even though you did need the lighter at the beginning. I guess you have to put the lighter away when the headbanging begins. At any rate, get your hair spray out, prepare those leg warmers and spandex tights for sexy time aerobics headbanging. Classic speed metal has mutated and is on the loose again.
Slaves Of Time
by Stallion
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