Wednesday, November 21, 2012

Pagan Altar: The Time Lord (review)






Pagan Altar  (U.K.): The Time Lord  
The quick version of a long story:
Pagan Altar is a New Wave of British Heavy Metal doom band that is amongst the least known of bands that recorded full albums. According to Metal Archives, their debut “Volume 1” was released in 1998, but it was recorded in 1982. To what extent, the songs were re-recorded, or repaired or whatnot, that is unclear.
If you like classic doom, I high recommend Pagan Altar, as they are definitely a good band and their albums “Volume 1,” “The Lords of Hypocrisy,” and “Mythical & Magical” are very worthy of your time, if you enjoy classic doom proper. Quite simply, Pagan Altar will make you angry that you have not heard about them and you have been missing out, big time, on their doom metal.
Now, about this EP called “The Time Lord”: Metal Archives says that these songs were recorded in 1978-79.

Can you believe that?! Again, I don’t know how much they have restored or re-recorded the songs. This zine has sent them an interview asking them about this matter, but the band has not responded. At any rate, it sounds incredible that the band has been sitting on this material since 1978.

What is believable is this: This instantly sounds like classic doom because it is: their appreciation for Black Sabbath’s first four albums is clearly heard on here, alongside other classic, early heavy metal sounds, such as Deep Purple and Led Zeppelin, and just a general vibe and attitude in favor of classic 70s heaviness. The guitar solos are done with feeling, the rhythm section rocks these songs, and the riffs are classic doom all the way through. The vocals are not “air raid siren,” but rather have a grit to them, a charm, if you will, with a slight quirk to them, so that it sounds like Pagan Altar.

This release is five songs and it is over 30 minutes. It has banging moments, melancholic, space rock moments, moody passages, classic rocking metal shades, and very English classic metal episodes.
The sound quality is very good, perfect for the style. Pagan Altar is must for fans of “ye olde metal” as the critic Martin Popoff would maybe say. www.paganaltar.co.uk

Tuesday, November 20, 2012

Incantation (U.S.): Vanquish in Vengeance




Incantation  (U.S.): Vanquish in Vengeance  (Listenable Records)
Brutality, doom and blasphemy = Incantation.
Their previous album is from 2006, so this here “Vanquish in Vengeance” has taken a long while to surface, but all is well with Incantation.
This death metal institution is built upon a relentless work ethic: play death metal in the style of when they emerged with their highly regarded 1992 debut “Onward to Golgotha.” They continue playing in that style: low growling, passages of total blasting speed, contrasted with episodes of heavy-duty death doom.
Reliable, consistent, and predictable, Incantation plays death metal in the same fundamental way, always. Meat-and-potatoes death metal is exactly what Incantation specializes, and in fact, it is the only thing they do. If people want to sweeten things up with melody, keyboards or clean singing, Incantation is deaf to such opinions.
As usual, of course, Incantation’s album is a contrast of two sides of death metal they always have done. First, they blast their way in an undeniable manner. These moments are a thunderous roar of downtuned guitar, low growling and intense, fast drumming.  
Second, Incantation seriously slows things down to a crawling pace, where everything is in slow motion. There is usually a simple, big, fat riff that moves like a cloud of gloom and doom. It’s not cheerful and it is not light. That’s the part where the band works the listener's patience, building up to the fast parts.
It is true that Incantation in 1992 had a more claustrophobic, thick, thick sound quality that sounds a bit muffled, in 2012 Incantation has a clearer production, but the foundation remains blasting death metal and death doom. On here, the song "Legion of Dis" is more than 11 minutes long, and it is maximum death doom heaviness. That song is some of the slowest they have done and one of the slowest/heaviest things you will hear in 2012.

Dreaming Dead review



Dreaming Dead (U.S.)Midnightmares

Dreaming Dead’s speedy/blasting progressive growl thrash skillfully emphasizes quality, good instrumentation and intelligence. Dreaming Dead illustrates an inclination for bringing together several styles into a coherent identity, while maintaining the intense moments as an integral component. “Into the Depths” is a blasting, speedy number that with one listen impacts. That is also true for “Overlord” and “Corpse Mountain,” pieces in which the headbanging and also the progressive sides are prominent.

The instrumental track “In Memoriam” displays the progressive side. Various shades of their music are evident, the thrashy/energetic side, as well as the proggy guitar element is clear. “Departure” is also another instrumental, a rather mellow ending to the album, where guitarist/vocalist Elizabeth Schall decided to take it easy on the listener.

In all, Dreaming Dead still has their best work ahead of them, for sure. “Midnightmares” is a good second album for them, and one that they apparently released independently, taking matters into their own hands, instead of waiting around for someone else to make it happen. What this band will do is obtain more experience, and become a more dangerous machine! I want to hear it happen. www.dreamingdead.com


Sunday, November 18, 2012

Immensity (Greece): interview






Immensity  (Greece)
Immensity’s melodic, melancholic doom unexpectedly stood out when I first heard it because the band is different from the majority of the black/death/thrash barrage that this zine covers. Their EP is called “The Lonely Aquarelle” and you can download it for free at immensity.bandcamp.com and it features two long songs: “Eradicate (The Pain of Remembrance)” (8:54) and “Adornment” (10:49).
The quality of the recording is very good, and coupled with their well-written songs, Immensity makes music to be heard again and again. It is certainly quality and distinctive melodic doom.
Andreas (guitars) responded to the zine’s questions.
--
How is life for your band Immensity, in Greece? You recorded a very good promo, “The Lonely Aquarelle.  
Hi, there, I'm Andreas. Thanks for your kind words and thank you for your time and the opportunity you give us to express ourselves. Very difficult to live as you want in Greece at this time, but we're tough as people and humble at the same time and we will succeed. Generally up till now we have been receiving very positive reviews from known webzines, there is a positive atmosphere and this comes to us a pleasant surprise. We are very thankful to everyone who supports us.

So, do you have more songs already recorded? Maybe you have a complete album ready to be published?
There are songs written since 2004 that are re-arranged with the current line-up, as well as new songs. We have enough material in the process and that helps us being productive. When we finish the orchestration of all the songs we will have a large number of them. Then we get into the screening process. However, the material for our album is not complete yet, it will eventually take some time, but If everything goes well by the end of winter we will have it all ready and done.

At a time of economic crisis, what is the situation for playing shows for your band in Greece? Is there an audience in Athens, Greece for your music? Do you find that you are outsiders to the metal scene? Are you all college students?
Immensity since 2009 has not made a single show. But we all have a long history of experience in concerts from older bands. Until now we have decided to devote ourselves in writing songs. Generally, the conditions here to do a show are not the best for a band to play at a known venue. Most of the underground bands play in front of 30 to 70 people the most, I guess basically due to economic reasons or according to the band's popularity, there are many issues and problems.
             The truth is all expenses are on the shoulders of the bands playing on stage. Nobody thinks that the payment of the band is a great device to make a step further, which money will help move quicker on technical issues (studio rehearsal, recordings, new instruments etc.) and for that we are not at all arrogant. This means delay and waste of time, I've witnessed very good bands lost in time and forgotten, we dearly hope not to end up in that dark road or dead end. In recent years I see more traffic in this kind here in Greece, new bands are born and it is very pleasant, but we're still few and scattered, but it comes to a good event I think we all support the Greek Doom Metal scene.
As time goes by things will get better and the audience will grow. As Immensity we are still unknown, but we do not mind, everything should be done properly without rushing things. It's Metal the music we play, we do not belong elsewhere or feel strangers in the Metal scene. We grew up with this music. Yes, we are all finished or still college students with degrees which are gathering dust in closed drawers. Half of the members of the band are unemployed and those who are working spend life with very low wages.

Do you want to be a band that tours a lot or is Immensity a side project? Do you want to be professional musicians? Does the idea of living on a bus, from hotel to hotel, sound interesting to you?
Certainly would fulfill a dream, but we are not in the era of 80's and 90's when everything was different, right? We are integrated with permanent band members, and we will stay as so until nature destroys us. hahahahahahahahahaha ....
Is professional  to be communicative with the people who are the cause to become "known" ? Is Professional to play well in live shows to thank those who see you? Is Professional to write music that touches the soul of man [humankind! Women would like Immensity, too!]? You can do this and without being Professional? I'm kind of divided concerning the term "professional," yes as an optimistic person you want to live your life, to go and visit places, meet and connect with the audience while we're playing, if we manage to create certain kind of images and emotions, even better! We surely would like to make this invisible bond between Immensity's music and the ones who watch and listen, not really in a professional way, but in an artistic and entertaining form if you know what I mean.

Most metal bands want to play fast or have speed, but Immensity wants a feeling of doom and melody. Why is that? Where do you get inspiration to play atmospheric music?
Any band can express itself differently depending on how it feels and how to manifest music from their influences. Some bands express it with Death Metal standards, others with Black Metal or Thrash, Heavy, Power, Etc.  This is the magic moreover in Metal music, you have many ways to express yourself. We as Immensity express ourselves into more Doom paths with sadness and depressive landscapes, but of course this doesn't really affect us negatively in our daily lives as individuals. Doom metal is for us the most important part of expression, Doom Music holds all the secrets and keys from life to unfold in a sad way, what is around you, how you see the world and humanity but also with your imagination. We are happy and positive people but we burst out in music, if the music wouldn't exist there, I do not know how we'd be like as entities. Influences and inspiration can also come from an ugly incident, happening a lot lately in our country, but inspiration of course comes mostly from the music itself. For example I've been listening much in the last year to New Age Music, World Music, Ambient, Neoclassical & Classical Music, but of course I listen to Death Metal, Progressive Metal, Funeral Metal and Doom Death Metal. Avantgarde and of course, never forget classic Metal and Hard Rock. So we are all members of the "same mold" you could say. We are strange people, I know hahahaha.

What is the story behind “Eradicate”? It is almost nine minutes long. I found your music to be different, in a good way, since this zine reviews a lot death/black/thrash metal. “Eradicate” contrasts the heaviness of death metal, with the melody of doom metal. Is this one of your earliest songs?
Personally I do not know how to explain the difference, we write music as we feel, yes you might say we play along with the Death metal character combined with melancholy and intrigue or diversity, but the lyrics are based on personal experiences and thoughts, stretching to means of facts of reality, dreams, metaphor even sorrow and solitude. The meaning of "eradicate (the pain of remembrance)” is about to rid the pain within from a sad loss or fight your personal demons, a way to the light then just living in the darkness and fears. It's an earlier song though, the music was written back in 2005 if I recall well, but all the lyrics were written a few years later by our singer.

What about “Adornment”? That one is almost 11 minutes long. So, you are not planning to write a “hit song” of 3 minutes?! “Adornment” made me think of My Dying Bride at the beginning, which is not a bad thing, but then the melodies are really upfront and that’s kind of Immensity’s trademark.
Lots of people say that “Adornment” reminds them of My Dying Bride, the truth is we're not just based on that fact, since our influences are numerous to mention, but some of the bands we really like and I guess share a similar path, but always focusing on our own direction are surely November's Doom, Daylight Dies, Novembre, Swallow The Sun, Draconian, Katatonia, Evoken, Shape of Despair, older Anathema, older Opeth, even more older the Gathering just to name a few, but getting back to "Adornment" we liked the feeling coming out from that song, we played along and wrote it, simply. We do not mind if as a song brings in My Dying Bride which is a part of our influences, truly it's an honor for us if people say that.
Actually it is very pleasing they like so much "Adornment", this might mean that we share the same emotions and have a mutual understanding. Musically we like to go with the flow of a current coming from the music itself. We don't really limit ourselves in a specific time frame, if the composition "tells" us to push the envelope even further in length we just do it. We don't really plan things, even when sometimes we ask ourselves:
"Hey this song is almost as long as the epic movie The Ten Commandments or Ben Hur (starring Charlton Heston). Are we nuts? Nah, what the hell, let's keep it that way.”
But by all means, in a logical basis with diversity to keep things interesting, and of course, lots of melody and memorable moments. Then you never know, the next song might be as short as Danny De Vito, which I doubt it haha!

By the way, does your music sound depressing to you? Do you find that the slow melodies and the heaviness are full of joy, just in a slow way? Immensity wants to slow things down and explore the feeling of doom, and not the aggression in metal, correct? Did you have a difficult time finding a good clean vocalist? A lot of people can growl, but clean vocals are sometimes more difficult to find, right?
We consider that we manage to sound depressive, we like this kind of expression with various alternations that characterize us. We love to play melodic, heavy and slow, aggression is not the prime element, but will not renounce to our music, there may be some outbreaks through a natural progression as we evolve in the future. All sorts of people have passed from Immensity for the last 7 years, finally after so much effort we found the most suitable for the band since musically carries a duality of emotion but also reasonable aggression.
Concerning Leonidas, our singer, well I was fortunate to know him before I started working on the current line up, by listening to the songs and realizing how much he liked them, it wasn't long till I offered him the job to sing for Immensity, who of course accepted, with great pleasure. Coming really from a Progressive metal background and though singing occasionally with Brutal/Growls surely needs some specific technique for avoiding fatigue or harming the voice, but I'm pleased to say and can assure you that Leonidas can handle both very well. There aren't really standards in his way of singing in Immensity, however he continues to adjust and progress on emotions and flow of the music.

What else do we need to know? Your promo is a lot fun and I have been listening to it a lot. Take care!
Oh that's great to know you enjoy our music. Well, next week we begin rehearsals for the actual orchestration of songs and subsequently we will enter the studio to record. As humble, simple, ordinary and happy people we are, love to write sad music (pretty weird right? Hahahahaha). Thank you very much for your kind words and support Mauricio and wish the best in whatever you do and we're so pleased that our music intrigued you enough for this wonderful interview. Cheers...Doom on!  THE END.

Ominous Crucifix (Mexico): The Spell of Damnation




Ominous Crucifix (Mexico): The Spell of Damnation (FDA)
Fresh air!
Ominous Crucifix is quite a gem. They allow the riffs to work their magic on the listener, with a steady, uptempo and midtempo style that is easy to feel the crushing heaviness. The band does not pull musical gimmicks or tricks; each song allows the listener to hear it, without depending on blasting for impact or really, anything besides just letting one’s ears absorb the music, and decide if you like it or not based on the song, not on how fast or slow they play.
In this death metal style, the vocals, drums, and riffs are clearly heard. Think, perhaps, Death’s “Leprosy,” Autopsy, Massacre, Grave and death metal that really works on the art of playing midtempo, in which the guitar riffs are all revealed to the listener. That is, Ominous Crucifix puts all their cards on the table and hides nothing because they have no fear.
Essentially, when a band plays really fast it can potentially trick the listener: the songs go so fast and they do satisfy the desire for intensity and speed on the part of the listener, but ask the listener to tell you what they just heard, and they might be at loss to tell you.Maybe you just got bamboozled. The method of overwhelming the listener with speed can easily cover up deficiencies in guitar playing, hide the drummer’s inability to keep a beat by playing monotonously and by growling so fast that all we hear is actually a loud murmur.
Ominous Crucifix is not like that and the deep, gruff vocals are actually intelligible (if you like death metal) and Mr. Rubens Nergal does the patented Tom G. Warrior “ugh!” and other such sounds. It is good to hear a band really work on the art of serious death metal growling. Of course, the guitar riffs do not go at a blazingly blinding speed, but rather are a magnet for headbanging.
I get the impression that the band has not thrown themselves 100% behind doing guitar solos, but things are good the way they are, and maybe in the future they will bust out with more guitar solos, which would be a good thing. There are some catchy riffs like on “Secular Omens of Doom” or “Primitive Sin,” but really the whole album is guitar riffs midpaced/uptempo immediate-impact-for-headbanging.
Death metal that lets the songs speak for themselves. www.facebook.com/pages/Ominous-Crucifix

Emptiness (review)




Emptiness  (Belgium): Error               (Dark Descent Records)
Super doom sludge midpaced steady massive dark heaviness, with moments of black metal riffs, shades of prog, but the central thing is that it is cold, unmelodic doom-sludge groove landscapes. Emptiness wants to take their very fat, 50-ton anvil of sound as far as they can. They would like you to join, as long as you have the patience to be dragged through caves and swamps of darkness and sludge. I have listened to Emptiness quite a bit and they have convinced me with their landscapes of doom-death-black-sludge.  It’s a nice feeling when you begin to understand the music, you just have not let the extreme heaviness and coldness of sound cause confusion. These are good songs, but surrounded by gigantic clouds of fog that are there to make it a little bit of puzzle to figure things out. www.emptiness.be

Friday, November 16, 2012

Dogbane (review)




Dogbane  (U.S.): Residual Alcatraz  (Heaven and Hell Rec.)
Dogbane goes back and forth between traditional heavy metal and doom metal, and in any case, it is “big riff” metal, so that the guitar work sounds like it comes from a secret riff vault that Tony Iommi has put away somewhere in a hidden corner of Greensboro, North Carolina, where Dogbane found it, opened it and hit the jackpot.
Dogbane basically has a bit of everything for people who like different moods in their heavy metal, but this is key: variety only within the field of straight traditional heavy metal. For Dogbane, the metal genres that came after 1982 are essentially of no interest to them. Thus, no thrash, death, black, grind, no core, no emo screamo, no breakdowns, no poppy melodies and no funny-looking haircuts and things like that.
“Born to Die,” “Devil in the Dark,” “Ride the Serpent,” “Residual Alcatrazz” and “How the Mighty Have Fallen” are songs with uptempo mood, the kind that makes the Europeans at metal festivals start to shout “hey, hey, hey” with their fist in the hair, and a beer in the other, saying to each other, “Dogbane ist gut! Bier und metal!”
On the other hand, “Banished,” “Annihilator,” and “Fire and Brimstone” take things at a slower tempo to emphasize the heaviness of doom. Sabbath, Trouble and Candlemass are all reference points for the slow motion riffs that circle around. These songs have some melody to them, but it is not too sugary. The longest song on the album is “Burning in the Light” and it is almost 10 minutes long. In said track they summarize everything they do, from the uptempo, to the doom, the heaviness and the melody.
Naturally, Dogbane is about clarity of sound, so the bass guitar is audible and alive in this album. The clear vocals fit the music, in a 70s doom/New Wave of British Heavy Metal, sort of slightly rough, street-metal style. The sound quality has an honesty to it that doomheads will like. 
Dogbane is a balance of heavy metal and doom. C’mon, now doomsters got to check out! www.dogbaneband.com 




Thursday, November 8, 2012

Chaos Inception review




Chaos Inception  (U.S.): The Abrogation  (Lavadome)
Super tight and compact death metal of constant blasting, as an expression of a zealous attachment to the one-track mind blasting variety of death metal, ably carying out the task. Chaos Inception will be interesting to the total death metal fan, but perhaps not so much to the casual listener that likes “only some death metal, once in a while.”
On the other hand, the quality of the sound is good and the execution of the songs is strong, with very brief moments of semi-melody here and there. Essentially, you hear three things: furious drumming, fast/thick guitar and growling. Have your phone handy to call 911 with headbanging-induced neck injuries. www.myspace.com/chaosinception

Sunday, November 4, 2012

Eternal Helcaraxe (interview)


Eternal Helcaraxe  (Ireland)
Melodies within a black/viking metal framework, with slight symphonic/folk overtones (not too much, though), Eternal Helcaraxe is a solid proposition, with good arrangements and songs. It is a matter of listening to the songs and hearing where it goes, to places of mood and melody joined, for the listening ear to assemble it in coherence.
Praetorian (guitars, vocals) answers questions about their strong album “Against All Odds.”
At the end of the interview you will find all the contact information about the band.
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“Against All Odds” took little time to convince me that it is a good album. How have people in Ireland learned about it?
Thanks. Mostly through word of mouth I'd say, through the internet, too, probably. There was a lot of hype about the album before it's release here in Ireland, because the release "To Whatever End" before it seemed to do pretty well.

What is the story of “One Stands Still Here”? It’s the black metal feeling of the guitar speed/feel and the drumming style, but the melody echoes in the listener’s mind after the song ends.  It will probably stay in your live setlist for a while?
“One Stands Still Here” just came together. We've only played one show since the release of "Against All Odds" and it was our second song. Didn't realize it was so popular till we played it to be honest! But it's a funny release, as everyone seems to have a different favourite song, my personal favourite changes depending on my mood.

“As the Snow Gathers” has lyrics that communicate the idea of cold freezing death. You used clean vocals on this one, but you have the sense not to make it a formula for every song. How many vocalists are there on that song?
There are three vocalists on every song on the album. We find that the three vocals can add another dimension to the songs. Thule our bass player does the clean vocal on that song. I think less is more when it comes to this type of music, but if it suits the song, that's all that matters. We always just try to write the best song we can.

“Shadow of the Wolf” catches the listener’s attention and it is about 4 minutes long, probably the most all-out black metal song. Did you feel that you are becoming too epic and need some balance? Is it closer to your earlier songs? Was your demo “Palest Kingdom” (2008) less multidimensional than “Against All Odds”? Maybe not? I have not heard it yet!
No, didn't really think of the album as a whole when we were writing it, as I said we just wrote one song at a time and try to give each one what we thought it needed. I'm not too sure if our writing style has changed to be honest. We have been playing three of the songs from "Palest Kingdom" in rehearsal because we're re-recording them for a re-release of "To Whatever End" with bonus tracks through Abyss Records. We're re-recording "Burning Light", "Palest Kingdom" and "The Undying Lands". It'll be out next year at some stage. If anything "Palest Kingdom" was probably more epic to be honest, the songs were longer and there was a lot more keyboards on it, too. It was a bedroom recording though so the production really lets it down. 
  
The song “Against All Odds” could be the love song on the album! The war/blood/sword/wolf imagery on the other songs can come across as macho/nationalistic (and homophobic), but on this one, the lyrics worked out very well for the epic feel.
Yes, it's been described as a love song before which is nice, that's what I was aiming for when I wrote it, homophobic is a new one though! Anyway, I think lyrics have to be honest to have impact and that's just how I was feeling when I wrote them. When I'm writing lyrics I don't think of stupid shit like if they are Black metal or Viking metal enough, mainly because most Black metal lyrics in bands are pretty crap, bar a couple of band like Primordial, 40 Watt Sun/Warning or whatever.

Metal Archives says that both Tyrith and Praetorian play drums on the album and Praetorian does drums, guitars, keyboards and vocals?
No, Tyrith done all the drums. I don't know were they got that from, they should probably do some research into these things! I do guitars, keyboards and a third of the vocals.  

Do all of you live in the same city? Only Praetorian remains from the old days? Was it hard to find like-minded people?
We all live in the same town, yeah. No, myself and Maulgrim (guitars, vocals) have been in the band from the start. Haha, maybe you should do your research, too! Yeah, both of us couldn't find members to work and stick with us until after the "Palest Kingdom" release. But the line-up we have had for the last two releases have been great. We've also started writing the new album, too and it’s really strong.  

What type of childhood did Praetorian have that he learned guitar, drums, keyboards and vocals? “Drums” does not mean “drum machine programming” in this case, does it? By the way, what is “Éadóchas”?
I just loved music when I was younger. Still do. Yeah, I programmed the drums for the first release, badly. “Éadóchas” is an ambient side project I do. First release "Beneath The Lonely Mountain" is out on Sword Production. (http://www.sword.pt.vu/)  Any one interested, check it out. http://www.reverbnation.com/eadochas  http://www.myspace.com/eadochas
  New album "Against All Odds" is available from:  www.officialabyssrecords.com 
THE END.

Thursday, November 1, 2012

Brume d'Automne (Canada); Cellgraft (U.S.)





Brume d'Automne - Brume d'Automne


Brume d’Automne  (Canada): Brume d’Automne  (Sepulchral Productions)
Raw, noisy and chaotic black metal, with a technical/progressive edge. In particular, the combination of the good, distinctive guitar work and the howling/screaming vocals. The songs sound very well written and have a lot to offer for the listener to experience.
However, the sound quality is too poor and hinders the songs greatly. I went back and compared this 2012 album with the debut album from 2005 “Fiers et Victorieux” and the quality on the old album is better, specifically the drums. On the 2012 album the drums sound like pots and pans and cans being banged on.
Investigate only if a really garage sound quality is no problem. www.facebook.com/BrumeDAutomne



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Cellgraft  (U.S.)Cellgraft LP  
17 songs in 12 minutes results in short bursts of blasting speed. They carry on screaming and growling and quickly move on to the next exercise in musical nihilism and absurdity taken to the limits. Play this battering ram of an album and get the grindcore on. The sound quality is pretty good and it sounds ridiculous, just like this was meant to be. Hooray for grindcore! cellgraft.bandcamp.com/album/cellgraft-lp