Grave (Sweden): Burial Ground (Regain Records)“Liberation” (3:41) with its upfront (but not blasting; Grave is not a blasting band) illustrates the traditional death metal sound where heaviness matters. “Semblance in Black” (4:22) concentrates, after an uptempo start, on a midpaced doom feel, with substantially slowed down buzzsaw riffs. “Dismembered Mind” (6:11) shows that doom aspect, and some melody, then the energy level picks up for the “old school death metal brutality.” With “Ridden with Belief” (4:20), it’s clear it’s the midpaced, simple, guttural heaviness that’s Grave’s focus. Then, they speed up to the simple, to-the-point sound. “Conquerer” (4:46): Grave’s “brutality” is very moshable, and coincidentally, sounds perfect for the “breakdown-brutality” people who love heaviness with a groove. This song is total midpaced heaviness. “Outcast” (3:41) brings up the pace back up, and the buzzsaw guitar tone crackles with heaviness and the vocals remain total low-gruff. There is no attempt to vary the guttural vocals for one second. “Sexual Mutilation” (4:04) shows a similar aggressive-uptempo energy as “Outcast” and “Bloodtrail” (4:05) has some guitar solo work that stands out. “Burial Ground” (7:30) is a total doom death exercise, where the riff goes slow, the drums go slow (with faster-paced double bass), the growling takes its time with the enunciation of the words. Slow motion are the sounds of this track.
Unpolished, just loaded down with death, and often, slow death that’s all about the heaviness of Grave.
www.myspace.com/gravespace
www.regainrecords.com
Monday, July 26, 2010
Sunday, June 13, 2010
Omnihility (Oregon, U.S.): Omnihility
Omnihility (Oregon, U.S.): Omnihility
Omnihility is all about playing brutal death metal in the physically and mentally strenuous style: as fast as possible, blasting blast-blast in hyperactive frenzy; letting the riffs fly/swerve/dive/cut/turn and stream/zoom/rotate/slide/re-direct in rapid succession with no pauses in the action. Plus, a rather good production, too.
When Omnihility hits the ground, it is the “brutal, technical death metal” avalanche that takes over. Just how fast can this band play? How many riffs can they pack into the song? This band is finding out exactly that!
Omnihility has no time for slow songs, nor taking it easy and letting the music “breathe” or giving the listener time “digest” or anything like that. No. Not here. Come this way for the speed, the blast, the guttural growl and the technical.
This is not the door for melody, slow, melancholy or things like that.
What a lovely display of musical muscle and brain stress. Those longing for faster speeds, more technicality, and just more spazzoid death metal blasting will like this. It is 23 minutes, six songs of nonstop fun.
Omnihility originates from Oregon, with that Topeka, Kansas musical spirit running in their veins.
www.myspace.com/omnihility
Ravenclaw (Slovakia): Welcome to the Ravenland
Ravenclaw (Slovakia): Welcome to the Ravenland
Ravenclaw is a classy, elegant even, heavy/power metal band with lots of neoclassical guitar work, and melodic, high traditional metal singing.
For those into high singing and who want to hear a band who have trained in the art of melodic metal, with some songs that are uptempo, midtempo, ballads, etc. The vocals are melodic, not sounding angry, aggressive or violent. Actually, this style has a kinship with André Matos’ vocal personality or HammerFall. Those are just two examples of the singing references, not an overall sound/musical similarity.
Examples of the Ravenclaw sounds:
Track five: “Dragon’s River” (3:33): This is a piano-and-vocals ballad about waters, mental peace, etc. Definitely for those into piano ballads.
Track number six: “Patron Saint” (3:15): After such a ballad, it’s only expected that these leather-jacket-wearers step up the energy to uptempo heavy metal thunder style. And that’s what they do. Imagine, basically, the opposite of the ballad they just played before.
Number 11, “Don’t Be My Enemy” (3:37): This song has a “medieval”/folky melody; another ballad for friendship and big hugs all around.
Some of the other songs give a further framework from which to approach Ravenclaw: “Brother Sun” is a sort of folky heavy metal midtempo track; “Light from You” is a catchy, very melodic heavy metal song, midpaced, and made for sing-alongs. “Power Slaves” is one of the heavier songs, with a bit more crunch and double-bass drumming and very high, air raid siren vocals, and keyboards. “Into the Night” also has a substantial crunch going on and a very melodic chorus.
Understand?
www.myspace.com/ravenclawmetalband
Rienaus (Finland): Beneath the Black Wings
Rienaus (Finland): Beneath the Black Wings
Though Rienaus is now a band, this recording is a one-man cave-recorded super-necro over-raw black metal. It’s the type of recording that one has to really turn up the volume to hear what’s going on.
Some will think this is total garbage by a 16-year kid processing black metal through a meatgrinder for your unlistening displeasure-irritation.
Such a view is completely understandable.
But some people love this! It’s total tremolo triumphalism.
It appears that Mavrofos, the human being behind this, is currently 17 years old and working on a second album, with a band.
At any rate, “Celebrate the Dawn of a New Age” is raw black metal chaos with a good attitude and feel. “Exaltation” is vocal torture, doomy black metal. It’s “no-fun” black metal. “Beneath the Black Wings” is eight minutes of more chaos and noise. “Enemy of Christ” is exactly what the name says: antagonistic black metal expression of revenge and anger, and things like that. OK, there are another two songs and this is more than 44 minutes of cave black metal that will be liked by the ardent. If you want a good production, stay very far away from this.
www.myspace.com/rienaus
Until Extinction (Missouri, U.S.): Lament
Until Extinction (Missouri, U.S.): Lament
After a short keyboard/atmosphere/gothic intro, “Putrefaction” rolls into town and in those five minutes and 24 seconds this band displays all their wares and wherewithal: speedy gothic black metal riffing/drumming, keyboards; slow brief moments with very low, guttural growling, then picking up the speed to a more black/death tempo with a few different types of growling. Then about the two-minute mark the angry/yelled/core vocals come in and the midpace sets in; now, more keyboards, at the three-minute mark, melodic guitar soloing and background keyboards; closer to the four-minute mark, come in the high, soprano-style vocals; as the five-minute mark nears the speed picks up to the blasting level and here it sounds like “symphonic black metal.”
That’s just in one song. Can you say, “bragging”?!
Some don’t like bands that move from style to style that way, within a song. Others do like bands like this one because they don’t want every song to be similar.
Now, Until Extinction does not mix as many styles as the above song in every track. Most songs have a combination of two or three styles, not seven or nine.
However, there are certain sounds that anchor the band’s perspective: one is the melodic/thrashy guitar riffing (in the Gothenburg style); another element is the gothic/atmospheric/melancholic/keyboard and the combination of growling and high vocals; in addition, the angry/yell/core vocals are pretty dominant. For example, the very low, guttural, incomprehensible vocals are used sparingly.
The sound quality is good, overall, and sounds pretty professional. One would think the band should be content with this recording, as it shows their abilities. Guess this is a self-release, but the sound quality is good, not garage-like. For those into bands exploring different styles.
www.myspace.com/untilextinction
Mormânt De Snagov (Finland): Rise from the Void
Mormânt De Snagov (Finland): Rise from the Void
Black metal raw, minimalistic attack, with decent sound quality, actually: they like that old time black metal. Do you?
1. “Antagonism” (4:46): A yelling and raging beginning. Of course, they have to set the pace. Good start.
2. “The Serpent Undead” (4:32): Another good assault; those drums sound mighty fine. Mostly speed. They are keeping it up with the right attitude.
3. “Secluded Sleeper” (4:33): That shrieking is inspired by classic black metal vocal torture. Doing it right. This song is part speed, part midpaced rage, part minimalistic melody.
4. “Nefarious Apostle” (5:06): Starts out as total black metal. At about the two-minute mark: slow guitar work until about the three-minute point, where the speed returns and stays until the end. A bit different.
5. “Inquisition” (2:52): Short and filthy, filthy.
6. “Rise of the Sardonic Lord” (5:19): This one is a slow track, with a doom-black metal atmosphere; the shrieking fills out the spaces between those slow guitar notes. It’s a pretty big change compared to the other songs.
7. “Severe Escape” (4:42): A return to the dominant uptempo black metal. A good one, for sure.
8. “Mentor Forever Dead” (5:56): A midpaced exploration into those other moods that the band is working into their sound; there is midpaced black metal raw guitar repeated for effect; this one takes a few listens to understand better.
www.myspace.com/mormantdesnagov
Of Raven and Ruins (Texas, U.S.): Bound to Prophecy
Of Raven and Ruins (Texas, U.S.): Bound to ProphecyOf Raven and Ruins is clear, crisp guitar melodies, often with a neoclassical feel. They apply the same approach to the prevalent use of keyboards. In addition, they use growling with the melo-thrashy guitar work. The result is something like a meeting point of Gothenburg and symphonic/neoclassical, with a few hints of other little things, such as gothic and melancholic sounds, for example.
What they have in mind is making songs that are catchy.
Sometimes it’s a thrashier moment combined with a bit more uptempo pace; or, mellower midpace with a more symphonic feel. The vocals are growled. “Atrophy of the Unavailing” has guttural and some higher, shriek vocals, within a speedy/uptempo melo-thrash main rhythm; some tremolo riffs are used; guitar harmonies, too; the keyboards while present, play only a supporting role.
“Dance of Disdain” is midpaced, tremolo-riffs/melo-thrash riffs with more upfront symphonic keyboards.
While different in some ways, both songs are good examples of the main aesthetics at work here for this album, not just these songs.
This band is aiming for a polished clean production, and even though this is a self-release, it’s not a recording with demo sound, but a rather good quality recording. They probably want a big, bombastic sound, but on here they kind of already are in that territory, even if they don’t have the big budget yet. www.myspace.com/ofravenandruins
Jormundgand (Sweden): Satanic Attack
Jormundgand (Sweden): Satanic Attack
The titles of their four-song demo: “Occult Sacrifice,” “Black Winds of Death,” “Satanic Attack,” and “By the Grace of Death” speak of the pentagramist crossinverting fire.
Tobias and Erika are the 666-ers who give their music that certain feeling: basically, they want to be as good as advertised: pounding drums, fast and sharp guitar riffs, vocals consumed by revenge.
“Occult Sacrifice” is a short keyboard intro for “Black Winds of Death” (8:39), a black/death metal assault on the senses, with good riffs and a good vibe in general. It has lots of headbanging moments. Solid work here, with good guitar riffs and hooks. The song is a bit long, but they do well keeping it interesting. It’s all good here.
The song “Satanic Attack” (6:06) is a straight-up headbanging number with the title chanted repeatedly to deliver the knock out. This song will go over really well live because it will have the maniacs growling along “Satanic Attack” over and over in unison, fists in the air, heads banging, horns up. You likes!
“By the Grace of Death” is a near three-minute outtro of guitars/whispering and keyboards. The end.
The sound quality is definitely listenable, despite being a demo. We would not hesitate to play this loud in the car with the windows down. Good job with your filthy noise, Tobias and Erika.
www.myspace.com/jormundgand666
Martriden; Ana Kefr; Black Reign
Martriden (Montana, U.S.): Encounter the Monolith
Forty-five minutes of tripping metal. A big part of the sound is inspired by black metal and prog, and a penchant for long songs and exploration. These six songs in general have smooth transitions from faster parts, to proggy parts and the mellower/space metal elements.
This music requires patience and repeated listens: “Heywood R. Floyd” (8:42) makes it difficult to remember all the parts, since the mental traveling within the song is too much to understand in one listen. Definitely for the studious.
Who writes this music? Is it total metal nerds weeding out those with short attention spans or the simple-minded? Is it absent-minded musicians who pay no attention to time?
Who knows, but at least the following is clear: there are long segments without vocals; lots of proggy moments and black metal shriek style vocals.
“Death and Configuration” is more than ten minutes of mellow guitar work, keyboard/space moments, proggy segments, etc. It’s an instrumental song in which the band enjoy the twists and turns they have created for themselves.
But this band does have some easier songs. The title song (6:32) is a bit more straightforward, sort of “black metal/prog,” for this band. And actually, “Human Error?” (4:32) is an even more “normal” song with those shriek-growl vocals and proggy heavy parts. There are keyboards in the background of this song, for that big landscape feel. The band themselves likes to use astronomy pictures and images, which to them, we guess, is how they hear their own music: in terms of other worlds and other ways to write songs.
Listeners into long songs, proggy bands with a metal edge should have in this band a serious adventure that they need to investigate. If you like bands that think big-idea music. Good sound quality, too.
www.myspace.com/martriden
Ana Kefr (U.S.): Volume 1 (Dinky)
Ana Kefr goes for an eclectic, contemporary, hard/chuggy sound with chugga/breakdown/mosh guitar for the angry/growl/“brutal” and screamo sections; they have clean vocals, of the current rock/core sound; for melody they utilize some of those twin-guitar harmonies or melodic sounds. As if that weren’t enough, they also have keyboardy moments, like interludes, for mood.
Ana Kefr could also be described a salad mix of current rock sounds: they vary within each song and throughout the album. The transitions between songs are not too smooth, but they seem to be working that abrupt feel to their advantage, making it their thing. From the chugging/breakdown “brutal” parts to the mellow interludes, it’s what they do. It could give you some pleasure or a headache, it depends on your taste or masochistic tendencies.
www.myspace.com/anakefr
Black Reign (Canada): Demo 2009; Demo 2007
The 2007 demo is pretty unintelligible. It sounds like a band recording something for themselves and their friends. It sounds like a thrash band doing their thing, but it’s difficult to hear what’s going.
The 2009 demo is a more growled, heavier, faster band. The sound quality is poor on these recordings.
Leave it at this: this is supposed to be fast and loud, energetic and “brutal.” However, what is not clear is how well these songs would sound with the correct sound quality. As it is, there is fast drumming, fast riffs, growling, shrieking: a band having fun attacking their instruments and probably annoying the neighbors.
www.myspace.com/blackreign6
Wednesday, June 9, 2010
Venomous Supremacy (Texas, U.S.)
Venomous Supremacy (Texas, U.S.)
In 2010 in Houston, Texas, Venomous Supremacy brings their metal for people to mosh and goat-fight until everyone is injured. They have a demo called Articles of Defilement that showcases its easily recognizable total death heaviness.
According to José (guitar/backing vocals), they are not nearly satisfied. This demo is just the beginning and they are already on the path to a debut album. And judging by the demo’s “brutal death metal” harsh guitar fight, the Houston metal moshing crowd will be going straight to the emergency room in a stretcher.
www.myspace.com/venomoussupremacy1
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Hi! When and where was Articles of Defilement recorded and is it available? Will you have your debut out this year?
What’s going man, I'm José Vidal (lead guitar/backing vocals); the demo was recorded in Katy, Tx with Alen (Lano Productions). He has recorded my bass player Nick’s other band Vacillation (melodic death metal), and I thought his work with them was pretty professional and tight so I went to him. Yes, we are currently writing new material, four new tracks are in the already in the oven. The album will be recorded when all material is finalized, which Duane Timlin (ex-Dying Fetus, ex-Divine Empire) will be apart of.
Y’all emerged at 2009’s end and in 2010 have been active (shows, recording, more songs on myspace, etc). What’s driving all this activity?
It’s all about extreme metal, that’s what we enjoy and that’s what you’re going to receive from us. Nick also plays bass for local Houston, Tx band Vacillation, although they haven't been active as of late. Besides that, we were in a modern death metal project named "Engraved," but it didn't work out the end due to uncommitted members so I started Venomous Supremacy. We finally have a steady line-up of focused musicians, so we are able to put our music out and do this to the fullest extent and put our staple in the Texas local scene and beyond: getting more extreme in all of our regions.
What do you have in mind with the lyrics of “Removal of the Flesh”? And where did you get the lyrical ideas?
"Removal of the Flesh" is am abominable, forceful, and ominous lyrical themed song. I created all the lyrics for the songs on our demo; I tend to write a lot, I approach sort of a poetic method and put all the lyrical themes together in sync with the music. I recorded all guitar tracks on the recordings: leads, rhythms, solos, etc.
At 2:55 of “Transcending Divinity,” from 2:55 to 5:18, you do slow-heavy sounds, where Matt (vocals) sounds in pain. Do these slower parts, become the clarion call for moshers?
Actually, those vocal parts you’re talking about was done by me. It’s the black metal influenced part, me and Nick both rejoice in these type of style of playing and feeling. We are not afraid to play slow or anything like that. We try to give the listener something different, something with power. That’s a great thing about it: interbreeding heavy brutal death metal with black metal and our organic, calculated, musical nightmares! As far as moshing goes, they can do whatever they want at any part of the song as long as it goes down.
What kind of support are you getting from your parents?
I'm getting great support from my mother, we have a close relationship. She'll support as long as I'm working hard on the subject. The other guys have a good mutual understanding with their people, but there not always fond of the live appearances ha ha!!
Who wrote the lyrics to “Prophetic Inversion”? Is it Matt and/or José? What type of collaboration do you currently have?
Yea, I came up with all the lyrics with Matt and reviewed them with him. Next, we arrange the vocal parts together into the song. Nick and I usually compose all the music together before anything else. He picks up extremely fast, we both have a lot of ideas menacing our minds. We try to play as parallel as possible, being that’s it, only us two playing guitar.
Have you decided if you want two guitar players live?
We have been searching for a rhythm guitarist since the beginning, but no one has yet to put enough time to move forward with us. So, if it remains like that, we'll just stick to this current set-up.
Artistic creation’s no easy task, moving beyond imitation/tribute or beyond profanity and shock value. As you fight your way forward, what are you aiming for?
What we are aiming for is to be recognized by the scene and for them to know we are here, and here to stay. We are a young band, but full of fresh conception with influence from all types of extreme metal. Musically, the style of playing is only going to get darker, faster, and reaching new levels of complexity to our theory. The lyrics are focused on dark revelations, will power, abhorrence, strong and obscure anti religious views. We are focused individuals looking to infect the scene.
What else should we know?!
The full length album "The Divine Principle Of Ruin" tentative release date is scheduled for fall, but might be pushed further till early 2011 depending on how quickly all the new material is mastered. Duane Timlin drummer will be handling session drums for the album. A new song should be posted by the end of May, a preview of what’s to come. Support The abomination that is Venomous Supremacy. THE END.
War Master (Texas, U.S.)
War Master (Texas, U.S.)
The War Master “Demo 2009” three-song tape is traditional death with a heavy-crunch guitar tone; and deep, guttural growling that resonates with the no-nonsense metal crowds of Texas, such as in the band’s April tour of the state.
War Master is: Daniel (vocals); Neal and Ben (guitars); Tom (bass) and Stephen (drums). They now have a 7” recording as they prepare to make their debut. Will 2010 be the year of War Master?
www.myspace.com/warmaster89
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What’s shaking in your neck of the Texas woods?
Hey, Mauricio! Not much man, just work and WAR MASTER and more work! Thanks for sending these questions!
What’s the latest information on your upcoming debut?
Yes, we just finished with the release of the Thrones of Tyranny 7" single which is now available and now we are working on the full length at the moment. We are about half way through the writing process; we are taking our time to make sure it’s what we want. We are shooting to record sometime in the summer possibly late summer. As far as a release date, hopefully by December. The name of the Lp right now is "Pyramid of the Necropolis" It’s subject to change. I guess it's a working title, but more than likely that is what it will be called. Expect CRUSHING DEATH METAL!!!!
How was your Texas tour? Was it positive or did you lose your shirt?! Any more tours?!
The tour was fucking AMAZING!!! The crowd response was excellent and we all had a great time!! San Antonio especially raged pretty hard!!! Not sure I understand your second question though. As far as any other tours, after the release of the album were going to let it sink into people's heads for a couple of months then by around this time next year I would like to do a full Texas tour and then tour the West coast. By the time we are done with that it should be time to do some stuff in Europe hopefully.
How are your guitarists channeling the power of the buzzsaw? How do you understand the idea of “heavy riff”/“heaviness”?
Ha! Ha! Ha! Man, I don’t know, you’re going to have to ask Ben and Neal that question! I'm definitely not a gear head or a musician. I guess, the "channeling of the power of the buzzsaw" as you say would have something to do with the kind of pedals they use and the tuning of their guitars, which I think we tune to B. Not sure, you'll have to ask them, not my department. Understanding the idea of a "heavy riff" or "heaviness"?? Well, that is what we are striving for I think, to crush some fucking skulls!!
Bands don’t make much money from the sales of the releases. So, from what is it that you get a little money?
I don't know, we did pretty well on our tour. We made enough money to finance the recording for the LP. I mean, yeah, your band gets money from both merch sales and sometimes from the door, it just depends.
War Master is oldschool! Weren’t y’all in diapers in the 80s?!!!
Well, the rest of the guys were either in diapers or not even born yet. I just turned 35 this month. So I would be the only one in the band to remember metal in the 80's.
Are the lyrics for the song “Thrones of Tyranny” from an event or from general observations? Will you publish your lyrics?
The lyrics to "Thrones of Tyranny" mainly come from general observations and not a specific event. The "Thrones of Tyranny" lyrics are in the 7" release and will also be released on a re-release of the 2009 tape.
If I’m 15-18 years old, in a band, and some man says he has connections for my band to “make it”; that I just need to pay hundreds/thousands of dollars to play shows, record with a “famous producer,” etc. What I should know?!
Well, first of all, I think when you go into something like creating a band to be involved in the scene you don’t go into it to "make it". I think most of the major record companies are bullshit and I would personally like to stay on a D.I.Y. level for as long as I can. That would be my recommendation to anybody is just to stay true to yourself and rely on a network of friends and fans and not the weasels in suits! It has work for us so far!
Do Neal and Ben write songs together, and with Tom present, bringing the “Tom-ness” to the chapel of War Master?
Yes, Neal, Ben and Tom all help in the song writing duties. So yes Tom would be present. In fact, Tom does a lot of writing. Both Tom and Ben wrote Chapel and War Plague. So Tom always brings his " Tom-ness" as you say, to the chapel of War Master.
When will you allow Stephen to use more cowbell in your songs?! He has repeatedly told you, “Fellows, I’ve got a fever and the only prescription is more cowbell!”
Wow! hahahha! Gee, Mauricio, that's a silly question! First of all, we have never nor will we ever have a cowbell in our songs, we are not Guns N roses! So I don’t know who told you that but it’s incorrect.
Into what other lawless battles and chaotic realms will you be crusading-worldeating during 2010 and 2011?!
Well, expect more heavy DEATH METAL in the old tradition. The new LP later this year more shows more heaviness!!!! Thanks again for the interview. THE END.
Züül (Illinois, U.S.): Out of Time
Züül (Illinois, U.S.): Out of Time (Planet Metal)
Züül plays uptempo, rocking, gritty street heavy metal.
It appears that this band has a bit of an unusual attitude about their traditional, no-nonsense rocking music:
1. Unlike the vast majority of heavy metal bands, Züül has opted to do no midtempo or slow songs, nor anything like a ballad, certainly no “power ballads.” It’s all uptempo all the time.
2. Then there is the fact that the band sounds like nothing that this zine has heard this year. They seem oblivious to pleasing any expectations of sounding “contemporary” or “keeping up with the times.” There is no thrash, growling, blastbeats, nor any emo, core, breakdowns; no keyboards or no “brutality,” nor anything like that.
Of the nine songs, try the first song “Out of Time,” or the last one “Return to Yagi” or the middle track “Warhammer,” or the second one “Warriors” or the penultimate track “Ride Ride” or the antepenultimate song “Darkness on the Ice”—it’s all rocking heavy metal, no midtempo and no ballads.
How’s that for a concept?
The sound shows no attempts to be supermelodic with keyboards or ear-candy sounds, no fancy-slick studio trickery, no funny-effects: it’s just human beings plugging in their instruments and rocking.
The vocals are not air raid siren, but a midrange tone that does not steal the thunder of the other instruments, but rather fits in. That’s a bit different, too.
By the way, this is no demo-sounding stuff, either. It’s a good, solid-sound full album.
Someone in this band likes the second wave of heavy metal of the late 70s-early 80s?!
www.myspace.com/zuulcontact
Ritos (Brazil)
Ritos (Brazil)
Raw black metal is Ritos’ medium to chronicle the “Pagan Tales” of indigenous-themed songs. Relatos Pagãos carries raw black metal into concepts of history about Brazil and its historically ignored indigenous cultures.
Of course, Ritos is classic-black-metal influenced: blasting, speedy drumming; THAT guitar tone; and those vocals, it’s all here. It won’t take but a moment of their music to hear that. However, there is another side to Ritos, which is what bassist Incredulous and her cohorts in Ritos explicate here.
www.myspace.com/ritoshorda
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Hello! What’s the latest with Ritos from Aracaju, Brazil?!
Hello, Mauricio! We would like to thank for the opportunity to participate in this edition! We are currently working on spreading the demo Relatos Pagãos and the compilation Manifesto Negro - A Arte do Black Metal, where we are participating with more than seven Brazilian bands.
Is Aracaju a big city? Is there a good scene? What kind of jobs do you have? Tell us about Aracaju.
Aracaju is the capital of Sergipe, the smallest state in northeastern Brazil. It is a small city, compared to the other from Brazil, but as the city with better quality of life in the region. The metal scene is small here. We have a few shows, few bands, especially in business, few spaces for events open to metal concerts. Currently, we are all just students.
We're not doing shows for a while. Currently we have few spaces for concerts and this is one reason for the shortage of concerts here. Aeternus Actus Ater Corpus [drums] is a member of the [black metal band] Litany Ater. Into Black Metal, we can cite Ad Aeternum, Imperious Symphonic Noise, Mahanvhantara, among others.
Incredulous, tell us about yourself!
I play bass for nearly two years and had a greater identification with the instrument when I attended a black metal project called “Desdenha do Norte”. I appreciate the weight and fill the bottom gives the music. I joined Ritos in 2009. For nearly six years I hear metal and think one of the first bands that I enjoyed was Obituary.
Who writes the lyrics for Ritos? Did the same person write the lyrics for the songs “Yará” and “Guariní Caá”?
We work together through the music at home and then move into the studio. It is a very good experience! I very much appreciate the sound and the lyrics reflect the feeling of everyone in the band: exalt the pride of our ancestors.
Yeah, who wrote the lyrics of the demo "Relatos Pagãos" was Guarini Una [guitar], but Aeternus Actus Ater Corpus also had involvement of the composition. He also participated in the final review of the letters, along with Incredulus.
Aeternus Actus Ater Corpus, what is your view on your music?
I like to hear many things like heavy metal, black, thrash, death, a bit of doom, punk, grind, crossover and love blastbeats, but Ritos I seek other influences such as Indian music, African-Brazilian and folk to put them in my compositions that, going forward, mingle more and more extreme metal with these other types of music. Guarini Una generally brings the melodies. Sometimes I give a suggestion and then I imagine the battery and when we go to the studio put the ideas into practice.
Guarini Una, have you taken guitar lessons?
Initially I had guitar lessons, but just enough for some chords and gradually I discovered metal. I was at home studying the riffs and melodies of metal, but I intend to return to study at a music school to diversify my work.
Guarini Una, did you form this band? Are you and Aeternus Actus Ater Corpus friends from school?
Yes, I was the founder of the band, along with Aeternus Actus Ater Corpus and former vocalist Chaos Verin. Although Aeternus Actus Ater Corpus and I studying at the same school, we are not just friends, we are brothers. I do not have a band in particular that made me play Black Metal, but the fact that the strand of metal which had greater identification.
Are you history students? Do you speak any indigenous languages? Why are the lyrics not available with the cd?
We do not make school history, but we all like a lot of history and we are always researching various topics, especially those addressed in Ritos. We don’t speak indigenous languages, but tried to learn more those dialects, because the letters have small parts in Tupi [indigenous language]. The lyrics are not available on CD for financial reasons, because it would increase the cost of reproduction of copies, but all are available on the internet.
Where is the forest that you have pictured on the album?
On the cover we used an image of the Amazon forest; in the background we also believe it is the same forest, but we can’t say for sure. The only certainty is that it is Brazilian.
In school, do Brazilian students learn English and Spanish?
Yes, English and Spanish are taught in Brazilian schools, along with the other disciplines. We have knowledge of languages, but very little. We know the basic things to deal with the day-to-day. If the Brazilians want to deepen the knowledge in these languages, we need to look for specific courses.
What are your future plans for Ritos in 2010 and 2011?
We will continue to release the demo Relatos Pagãos. We are making new music and lyrics for the next material that will be more focused (sonically and lyrically), in Brazilian cultural roots. The material has no release date. THE END.
death metal guitarist Susan Gerl (Holland)
Susan Gerl (Holland)
Death metal guitarist Susan Gerl has executed axes for squads God Dethroned, Murder Syndicate, Cliteater, Desensitised and Catafalque. Considering that, recently this zine caught up with her, and as it turns out, there is a new flame on the horizon. In the meantime, here’s death metal to investigate!
Also, here is a list of the albums in which she has participated.
www.myspace.com/susangerl
www.myspace.com/murdersyndicatemetal
----
Band history
1994 – 2001 Catafalque
2001 – 2008 Desensitised
2007- 2008 Cliteater
2008 – 2010 God Dethroned
2008 – present Murder Syndicate
Discography:
Catafalque - Your final ride (demo 1995)
Desensitised - Thriving on carnage (MCD 2001)
Desensitised - Bought Beauty (split CD 2003)
Desensitised - Virus of violence (CD 2006)
Cliteater - Scream bloody clit (CD 2008)
Murder Syndicate - Rage and Retribution (unreleased yet)
--
Hello, how are you? What are the plans for Murder Syndicate’s Rage and Retribution? Do you play only death?
Hi, Mauricio. Life over here is good and calm at the moment. The band I’m playing in at the moment is called Murder Syndicate. Wilbert (former singer of Desensitised) and I formed Murder Syndicate in March 2008 and recorded our debut CD Rage and Retribution in September of that same year.
However, when we recorded the CD we knew that our drummer Herman wouldn’t stay, so after the recordings our line-up wasn’t complete anymore which consequently put the whole band on hold.
In December 2008 I joined God Dethroned and my fellow Murder Syndicate bandmates understood perfectly well that that band was to be my priority. So in 2009 I focused full-time on God Dethroned, but when that came to an involuntary end early 2010 I recently met up with the Murder Syndicate guys again and we came to the conclusion that simply none of us were motivated enough to continue this band, because we had all done different things in the meantime. However, we are all 100% positive about the CD we recorded that we are promoting it again now and try to have it released soon, which is not an easy thing to do, especially these days, but we’re looking into more different possibilities at the moment.
I personally can’t imagine my life without (making) music so I started a new project a week ago J. I can’t really say that much about it yet, since it’s simply too early for that right now. At home I don‘t only play or listen to death metal. I also love Satriani’s music for example and practise music like that or try to play a bit of acoustic guitar (which I’m still rubbish at, ha ha!)
When did you begin playing guitar? How did that happen?
I started playing the guitar in ’93. My main reason for wanting to play the guitar was that I loved metal so much and wanted to be able to do the same as I saw all these other guitarists doing. Especially Carcass and Bill Steer have always been a huge influence to me. At school there was this group of metalheads I became friends with and of course me and my sister always went to gigs together (still do). One morning she told me that she had discovered a metal radio show the night before and I should have a listen. I did and was hooked to metal ever since.
Do you also do vocals, play bass and/or drums?
That’s a nice question, because I don’t think that many people know that I also used to do vocals when we just started our first bands. I did additional vocals and guitars in Catafalque and Desensitised. In Catafalque together with our bassist and in Desensitised together with our singer. I also play a little bit of bass guitar every now and then, but definitely prefer playing the guitar. And of course, I always try to become a better guitarist.
What guitar equipment do you use?
I have used pretty much the same equipment for the last decade: Boss pedals (Metalzone, Delay, Noise surpressor, tuner), a Bad Horsie wah pedal and my modified Marshall head and ENGL cab. I have 7 guitars: three 7-strings, three 6-strings and one acoustic.
Are you currently working at a day job? What do you do?
Yep, I am. I teach English at a secondary school for higher education.
What type of lyrics do you like? Cliteater had typical gore, horror/shock value lyrics. What are your own ideas?
I have written most of the lyrics for both Desensitised and Murder Syndicate. I usually write about everyday life situations, things I see around me or things that bother me.
Ha ha, the Cliteater lyrics are all meant tongue in cheek and therefore should not be taken too seriously. The line–up the band had when I played with them was really cool. These guys were very nice and kind and not sexist at all. This whole porn concept just fits the band well and is obviously liked by a certain group of people, but shouldn’t be taken too seriously.
What else do you have going on in 2010 and 2011?
I have a number of things in the works, but can’t really say much about them yet since these are all brand new ideas, but this year will be a year of redirecting my goals which will hopefully be realised in 2011J. THE END.
Wednesday, April 7, 2010
Infinitum Obscure; Liktjern; Rotting Christ; Skogen
Infinitum Obscure (Mexico): Sub Atras Caelis
Metal occultism—in the sense of certain guitar/drum patterns (not necessarily referring just to the lyrical methods) is a particular metal strand informed by its own perspective/tradition—is a real entity, as Infinitum Obscure amply shows on this album.
Quite a classy approach, this one takes, with the mighty metal of death guitar tone/sound/heritage, and with the drumming, too. This guitar tone is one of the bravest: with this guitar tone, you can hear what the band is playing because it is upfront and clear. Therefore, devoid of trickery or deceit, you can decipher the guitar and hear how the band has organized each song, from one riff to the next, and the one following that, until the song ends.
The first impression will be black/death metal, with the sounds of “darkness” and the “underground” tradition. It does have those things.
But listen closely and these guitar riffs, licks and solos will practically reach out and grab you ear. What is the result? Metal that sounds meticulously constructed down to the last detail, but which appears unusually smooth, fluid and with a particular elegance of style and harmonious.
These riffs are an open invitation to bang your head. Or, if like some people, your neck has health problems, you can at least nod along in metal agreement throughout the whole cd: the sounds of the metal of death have a very specific tradition, but they are also, pound for pound, some of the most talented of metal guitar work.
About the vocals: the vocals are closer, possibly, to black metal, but this is NOT shrieked/raspy vocals, but a thicker/heavier/deeper growl. In other words, its appeal is for both death and black metal.
The drum work is done so well and correct and smoothly, that it doesn’t distract from the song. It’s not about showing off or doing strange beats or things like that. Rather, the drumming is like very organized, but big-idea drumming. Check out the track “Messenger of Chaos, I” (from this album and available on myspace, too) and hear for yourself a great example of the type of guitar tone and sounds, the proficient drumming, the vocals, the swirling guitar work and the general atmosphere that has been created. Some would say, it is the “cold darkness” of this band that stands out.
OK, well, fine. One more thing: the whole album is at that level of quality. The above example song is no fluke and it is representative.
www.myspace.com/infinitumobscure
Liktjern (Norway): Kulde, Pest & Død
Necrogrim black metal with the corpsepaint, chains, spikes, hatchets, bullet belts, leather, inverted crosses, skulls and every kind of obscurantism you can imagine.
These vocals are tortured by the black metal insight; the guitar sound is no friend of the studio or your ears!
The four songs waste no time on experimentation or any funny business for that matter. Chaotic, sloppy black metal pounding along to tremolo riffs.
An abrasive sound that they go for in this recording, which has demo-quality sound. Avoid if you require good production.
“Kirkebrann” (4:57) is no friend of certain buildings but friendly to fire and pyromaniacs. The speed is not blasting or super speedy, though it is a nice headbanging/uptempo pace and those tremolo riffs wind their way in trance-repetition mode: it pretty much sounds like it’s the same chord for the whole song.
There are three other songs and they are demonstrations in how to make music that sounds like the vocalist is taking his vocal chords to the limit. And he likes it! And he’s not the only one that likes.
The band declares that what they have in mind is called “true Norwegian black metal” and that’s their story and they’re sticking to it.
It is fugly, fugly metal.
www.myspace.com/liktjern
Rotting Christ (Greece): Aealo (Season of Mist)
“Eon Aenaos” (3:59): A chunky chug-chug upbeat rhythm drives this, as well as an ear-candy melody (even pop-ish melodies); the growling is deep; uptempo song meant to be for headbanging; the result is something like a “rocking” upbeat, heavy-melodic goth track.
“Demonon Vrosis” (4:56): Midtempo goth-growl melodic, with a bluesy-melancholic guitar solo done in a very clear guitar tone, as are just about all the guitar melodies.
“Noctis Era” (4:49): Midtempo melodic goth-growl song; the energy level seems to have settled into a comfortable middle-of-the-road “rocking” along vibe; this is enhanced with background sounds that are kind of symphonic (but not too loud; it’s not upfront); of course, then there are those melodies played at a clear, high range.
“dub-sag-ta-ke” (2:59): Uptempo, harder “rocking” speedy track with some gang-shouting chanting and some high-clear singing. It goes by quickly
“Fire Death and Fear” (4:34): Another uptempo/midtempo track with some background “world-music” sounds (chanting, etc.); the track is part heavy, part light, but not in separate sections; rather, they run together and mix: “goth-growl” music? There is some “weirdness” or “experimentation” going on, but that’s taking place throughout the whole album
“Nekron Iahes” (1:08): Nothing but chanting something that sounds like the word “hey” being stretched out, as in “hhhheeeeyyyyyy heyyyyyyyyyyy” (don’t know exactly what the word could be) chanted in high voices and then it’s over; is this joke, genius or just plain annoying?!
There are other songs, of course. These are some examples from the first half of the album.
Hopefully that conveys the idea of what’s going on here. To some, this band is very hip or ahead of its time or adventurous or something like that. Whatever the word would be for people who are a pretty weird bunch but still use some, even substantial, metal elements. Maybe this is considered totally normal in some circles; or just normal goth metal. Don’t know.
This is the kind of album that some people will say that it opens their perspective to experimenting and things like that. The band obviously knows what they are doing.
On the other hand, if you are interested in words like “true” anything or “pure” this or you are “anti” this or “against” this or that “false” thing or whatever, you may want to stay away as far as possible because this band, this Rotting Christ, will make you angry or you’ll start ranting and raving. Save yourself the stress attack.
By the way, “Orders from the Dead” (Diamanda Galas cover) (8:57) is a spoken-word track, with some background music. It’s some sort of poem read aloud or something similar. Don’t know who they are covering. There is no singing or growling, but some person talking, sounding like a mystic or prophet or something like that (don’t know, really) declaring facts or observations. Some will understand and like; others might not; you decide.
www.myspace.com/rottingchristabyss
Skogen (Sweden): Vittra (Frostscald/Hexenhammer)
How can Skogen be diverse elements and then bring them all together into cohesiveness?
Skogen is traditional, raw: tremolo riffs and those black metal vocals. Skogen is a prog metal band that has taken their prog to the lands of black metal; their songs often are eight or nine minutes long, where they work it out and bring it to fruition. Skogen is a folk/forest/atmospheric band that incorporated black metal into their craft; there are acoustic passages, and such other characteristic, important components. Skogen also uses some very clear and shiny guitar melancholies and even a bit of clean vocals for atmosphere. Of course, they do NOT use those clean vocals a lot and it’s not a formula; it’s a tiny bit, for background feeling, in a few places.
The album as a totality shows that they have done a lot with raw black metal, giving their music other angles, edges, sounds. This is big-idea, ambitious music and they sound as if they are making music only for themselves (there are only two people involved) and with no major goal of pleasing anyone else. The fact that other people like it, that’s a bonus. (Svensson and Nilsson play all instruments; drums are not listed, which may mean it’s a drum machine; the overall sound quality is good, though; maybe next time use a real drummer)
Something adventurous, different, but still very much for metal people, especially those into more ambitious music.
Here’s where you can listen:
www.myspace.com/skogensweden
Metal occultism—in the sense of certain guitar/drum patterns (not necessarily referring just to the lyrical methods) is a particular metal strand informed by its own perspective/tradition—is a real entity, as Infinitum Obscure amply shows on this album.
Quite a classy approach, this one takes, with the mighty metal of death guitar tone/sound/heritage, and with the drumming, too. This guitar tone is one of the bravest: with this guitar tone, you can hear what the band is playing because it is upfront and clear. Therefore, devoid of trickery or deceit, you can decipher the guitar and hear how the band has organized each song, from one riff to the next, and the one following that, until the song ends.
The first impression will be black/death metal, with the sounds of “darkness” and the “underground” tradition. It does have those things.
But listen closely and these guitar riffs, licks and solos will practically reach out and grab you ear. What is the result? Metal that sounds meticulously constructed down to the last detail, but which appears unusually smooth, fluid and with a particular elegance of style and harmonious.
These riffs are an open invitation to bang your head. Or, if like some people, your neck has health problems, you can at least nod along in metal agreement throughout the whole cd: the sounds of the metal of death have a very specific tradition, but they are also, pound for pound, some of the most talented of metal guitar work.
About the vocals: the vocals are closer, possibly, to black metal, but this is NOT shrieked/raspy vocals, but a thicker/heavier/deeper growl. In other words, its appeal is for both death and black metal.
The drum work is done so well and correct and smoothly, that it doesn’t distract from the song. It’s not about showing off or doing strange beats or things like that. Rather, the drumming is like very organized, but big-idea drumming. Check out the track “Messenger of Chaos, I” (from this album and available on myspace, too) and hear for yourself a great example of the type of guitar tone and sounds, the proficient drumming, the vocals, the swirling guitar work and the general atmosphere that has been created. Some would say, it is the “cold darkness” of this band that stands out.
OK, well, fine. One more thing: the whole album is at that level of quality. The above example song is no fluke and it is representative.
www.myspace.com/infinitumobscure
Liktjern (Norway): Kulde, Pest & Død
Necrogrim black metal with the corpsepaint, chains, spikes, hatchets, bullet belts, leather, inverted crosses, skulls and every kind of obscurantism you can imagine.
These vocals are tortured by the black metal insight; the guitar sound is no friend of the studio or your ears!
The four songs waste no time on experimentation or any funny business for that matter. Chaotic, sloppy black metal pounding along to tremolo riffs.
An abrasive sound that they go for in this recording, which has demo-quality sound. Avoid if you require good production.
“Kirkebrann” (4:57) is no friend of certain buildings but friendly to fire and pyromaniacs. The speed is not blasting or super speedy, though it is a nice headbanging/uptempo pace and those tremolo riffs wind their way in trance-repetition mode: it pretty much sounds like it’s the same chord for the whole song.
There are three other songs and they are demonstrations in how to make music that sounds like the vocalist is taking his vocal chords to the limit. And he likes it! And he’s not the only one that likes.
The band declares that what they have in mind is called “true Norwegian black metal” and that’s their story and they’re sticking to it.
It is fugly, fugly metal.
www.myspace.com/liktjern
Rotting Christ (Greece): Aealo (Season of Mist)
“Eon Aenaos” (3:59): A chunky chug-chug upbeat rhythm drives this, as well as an ear-candy melody (even pop-ish melodies); the growling is deep; uptempo song meant to be for headbanging; the result is something like a “rocking” upbeat, heavy-melodic goth track.
“Demonon Vrosis” (4:56): Midtempo goth-growl melodic, with a bluesy-melancholic guitar solo done in a very clear guitar tone, as are just about all the guitar melodies.
“Noctis Era” (4:49): Midtempo melodic goth-growl song; the energy level seems to have settled into a comfortable middle-of-the-road “rocking” along vibe; this is enhanced with background sounds that are kind of symphonic (but not too loud; it’s not upfront); of course, then there are those melodies played at a clear, high range.
“dub-sag-ta-ke” (2:59): Uptempo, harder “rocking” speedy track with some gang-shouting chanting and some high-clear singing. It goes by quickly
“Fire Death and Fear” (4:34): Another uptempo/midtempo track with some background “world-music” sounds (chanting, etc.); the track is part heavy, part light, but not in separate sections; rather, they run together and mix: “goth-growl” music? There is some “weirdness” or “experimentation” going on, but that’s taking place throughout the whole album
“Nekron Iahes” (1:08): Nothing but chanting something that sounds like the word “hey” being stretched out, as in “hhhheeeeyyyyyy heyyyyyyyyyyy” (don’t know exactly what the word could be) chanted in high voices and then it’s over; is this joke, genius or just plain annoying?!
There are other songs, of course. These are some examples from the first half of the album.
Hopefully that conveys the idea of what’s going on here. To some, this band is very hip or ahead of its time or adventurous or something like that. Whatever the word would be for people who are a pretty weird bunch but still use some, even substantial, metal elements. Maybe this is considered totally normal in some circles; or just normal goth metal. Don’t know.
This is the kind of album that some people will say that it opens their perspective to experimenting and things like that. The band obviously knows what they are doing.
On the other hand, if you are interested in words like “true” anything or “pure” this or you are “anti” this or “against” this or that “false” thing or whatever, you may want to stay away as far as possible because this band, this Rotting Christ, will make you angry or you’ll start ranting and raving. Save yourself the stress attack.
By the way, “Orders from the Dead” (Diamanda Galas cover) (8:57) is a spoken-word track, with some background music. It’s some sort of poem read aloud or something similar. Don’t know who they are covering. There is no singing or growling, but some person talking, sounding like a mystic or prophet or something like that (don’t know, really) declaring facts or observations. Some will understand and like; others might not; you decide.
www.myspace.com/rottingchristabyss
Skogen (Sweden): Vittra (Frostscald/Hexenhammer)
How can Skogen be diverse elements and then bring them all together into cohesiveness?
Skogen is traditional, raw: tremolo riffs and those black metal vocals. Skogen is a prog metal band that has taken their prog to the lands of black metal; their songs often are eight or nine minutes long, where they work it out and bring it to fruition. Skogen is a folk/forest/atmospheric band that incorporated black metal into their craft; there are acoustic passages, and such other characteristic, important components. Skogen also uses some very clear and shiny guitar melancholies and even a bit of clean vocals for atmosphere. Of course, they do NOT use those clean vocals a lot and it’s not a formula; it’s a tiny bit, for background feeling, in a few places.
The album as a totality shows that they have done a lot with raw black metal, giving their music other angles, edges, sounds. This is big-idea, ambitious music and they sound as if they are making music only for themselves (there are only two people involved) and with no major goal of pleasing anyone else. The fact that other people like it, that’s a bonus. (Svensson and Nilsson play all instruments; drums are not listed, which may mean it’s a drum machine; the overall sound quality is good, though; maybe next time use a real drummer)
Something adventurous, different, but still very much for metal people, especially those into more ambitious music.
Here’s where you can listen:
www.myspace.com/skogensweden
Ensemble of Silence; Hellsteed; Immolation
Ensemble of Silence (Malaysia ): Dark Moon Rising
1. “A Force to Kill” (5:09): For the most part, on here, it is a thrashy guitar sound with semi-growl vocals that takes precedence. Quite a few influences come across, such as that style of melodic-thrashy guitar playing: sounds like a band still working out its musical direction.
2. “Dark Moon Rising” (5:14): Despite the scream/growl vocals, there is quite a bit of that guitar sound described above that pretty much dominates. The band goes for some slower, more melodic moments.
3. “Kiss of the Whisper” (4:47): Once again, the guitar work is the centerpiece. For the main guitar rhythm parts, it is a thrashy style, but there’s a decidedly melodic-metal guitar sound for other parts, like some licks, solos, etc.
Ensemble of Silence is closer to that more successful and commercially viable sound that some Swedish bands have made popular, and which has become very popular amongst U.S. rock bands that play “hard rock” or “metal.” This band sounds like a metal band, but definitely different from the majority of the bands reviewed in this zine.
This is their demo and it’s hindered by the sound quality, but their musical style comes across relatively intact. Having no knowledge of the metal scene in Malaysia, it is difficult to judge, so, if interested, check them out, if you don’t mind that melodic/twin-harmony thrashy guitar sound and would like to hear this band’s take on it.
www.myspace.com/melodicdeathmetal
Hellsteed (U.K.): Bastion of Cruelty
Hellsteed should be pleased with the sound quality on here. For example, the bass is very easy to discern and it’s heavy with a rumble. These three songs are a good representation of their seriousness of purpose.
1. “Bastion of Cruelty” (6:19): The vocals have a definite clenched-teeth black/death metal anger, but with pretty good enunciation. The song is uptempo, but this is not blasting death metal. The result is a song that utilizes its own sound to attract, where the band has to show what it is made of, without resorting to just playing fast: let the guitar convince or dissuade the listener, hear the riffs and see if you like.
2. “Behind Me a City Burns” (5:47): A more straightforward song, easier to remember simply because it emphasizes the uptempo speed. Is Hellsteed “progressive brutality”? Maybe “cold, prog brutality”? Part of the time the guitar riffs lean in the direction of dissonant sounds that underline non-melodic licks. Then they bust out with some headbanging moments. The two worlds coexist and thrive.
3. “Alone We All Die” (5:14): Begins with mellow guitar leading to uptempo, rumbly track with compact riffs that build a frame to a memorable verse, “Life has no reason, no bigger picture, in isolation, alone we all die.” It’s a good way to end the song with such an upbeat guitar part, raising the question as to what else this band is capable of.
So far, it’s got serious songs somewhere between brutality and prog metal. The growling will give the impression of a death metal band, but it’s really not just that, for the musical objective is a combination of several origins. Hellsteed doesn’t sound like anyone in particular. Few bands have the bass this upfront. Despite the framework of black/death metal, Hellsteed’s guitar work has some different elements (could be prog) in it that’s a bit hard to place. There is an integrity to the sound, and professionalism. It doesn’t sound like a bunch of people just recording stuff in their garage. This is not to say that it sounds like a big-budget production, but it’s pretty solid.
www.myspace.com/hellsteed
Immolation (US): Majesty and Decay (Nuclear Blast)
Of the ten songs on this album (plus an intro and an interlude), it would be acceptable to write reviews for each composition. However, instead, consider these four random examples of the work delivered, and from there, extract the necessary conclusions, since each of these songs is representative of the level of artistic expression at which Immolation functions.
7. “A Glorious Epoch” (4:39): From 0:00 to 1:43 this is hovering doom; the speed and major contortions begin at 1:43 and from there it’s riff upon massive riff building a monolith that twists and turns upon itself. Riffs and licks fly about the place, giving the impression that only repeated listens will clarify just what is happening here.
5. “Divine Code” (3:40): Interspersed with compact sections of speed and blasting, this is an exemplary praxis of that big-riff heaviness that’s key to the Immolation sound. It is framed with several of those contorted tempo changes. The two guitar solos are different, both of them short: one is crisp, crystal clear and fluid, while the other one is circular, simpler. This song does have lyrics and vocals, but the song sounds a bit like an instrumental, though obviously it is not.
12. “The Comfort of Cowards” (5:52): Mr. Dolan’s vocals are very low and gruff, but his enunciation is clear enough that some of what he’s growling can be understood when he’s not growling very fast. When growling slower, he sounds like a diabolical character-monster in a movie. Look at how long this one lasts. As you can imagine by now, it’s fairly representative of the more complex side of Immolation.
10. “The Rapture of Ghosts” (5:21): It sounds like there are at least three guitars very audibly swirling into a bundle of plodding heaviness, with a fast double bass drum balancing the weight. Mr. Dolan’s vocals are pretty deep and there are some crisp guitar licks that appear and disappear, like sparks. Plus, towards the end there is a guitar melody worked and reworked until the song’s finality.
These ten songs all display a serious effort to engage the composition at its multifaceted focus. Those that enjoy guitar work that is challenging and non-linear will find much to explore. Notice, for example, how Immolation actually uses what are called “traditional black metal riffs” (but with a thick/heavy sound) in some places and yet this hardly ever gets mentioned because supposedly Immolation is considered “pure death metal.” Or check out the “melodies” and how Immolation utilizes them, trespassing limits, yet doing it in an intelligent way, the opposite of ear-candy sounds or sounds that pander to the audience’s nostalgia (re-hashing other band’s melodies). As if this weren’t enough, take a few listens to those dissonant, riffs-working-against-each-other-in-harmony elements that impel to the listener to return to the songs: how is it that these riffs work together when they sound like they are colliding against each other?
This album is about feeling and vibe, heaviness and a twisted way of writing songs. This requires more than a couple of listens to understand, but this is not a new situation with Immolation. Of course, this has bursts of speed and blasting, but simplicity and linear songs are not Immolation’s main features: massive riffs, dissonant riffs, quality licks and solos, deep vocals, well-placed speed, capable drumming with carefully done technical elements and lyrics contemplative of the band’s perceived state of the planet.
This is the band whose music will give you hand cramps when you play along on your guitar to what captain Vigna is playing.
www.myspace.com/immolation
1. “A Force to Kill” (5:09): For the most part, on here, it is a thrashy guitar sound with semi-growl vocals that takes precedence. Quite a few influences come across, such as that style of melodic-thrashy guitar playing: sounds like a band still working out its musical direction.
2. “Dark Moon Rising” (5:14): Despite the scream/growl vocals, there is quite a bit of that guitar sound described above that pretty much dominates. The band goes for some slower, more melodic moments.
3. “Kiss of the Whisper” (4:47): Once again, the guitar work is the centerpiece. For the main guitar rhythm parts, it is a thrashy style, but there’s a decidedly melodic-metal guitar sound for other parts, like some licks, solos, etc.
Ensemble of Silence is closer to that more successful and commercially viable sound that some Swedish bands have made popular, and which has become very popular amongst U.S. rock bands that play “hard rock” or “metal.” This band sounds like a metal band, but definitely different from the majority of the bands reviewed in this zine.
This is their demo and it’s hindered by the sound quality, but their musical style comes across relatively intact. Having no knowledge of the metal scene in Malaysia, it is difficult to judge, so, if interested, check them out, if you don’t mind that melodic/twin-harmony thrashy guitar sound and would like to hear this band’s take on it.
www.myspace.com/melodicdeathmetal
Hellsteed (U.K.): Bastion of Cruelty
Hellsteed should be pleased with the sound quality on here. For example, the bass is very easy to discern and it’s heavy with a rumble. These three songs are a good representation of their seriousness of purpose.
1. “Bastion of Cruelty” (6:19): The vocals have a definite clenched-teeth black/death metal anger, but with pretty good enunciation. The song is uptempo, but this is not blasting death metal. The result is a song that utilizes its own sound to attract, where the band has to show what it is made of, without resorting to just playing fast: let the guitar convince or dissuade the listener, hear the riffs and see if you like.
2. “Behind Me a City Burns” (5:47): A more straightforward song, easier to remember simply because it emphasizes the uptempo speed. Is Hellsteed “progressive brutality”? Maybe “cold, prog brutality”? Part of the time the guitar riffs lean in the direction of dissonant sounds that underline non-melodic licks. Then they bust out with some headbanging moments. The two worlds coexist and thrive.
3. “Alone We All Die” (5:14): Begins with mellow guitar leading to uptempo, rumbly track with compact riffs that build a frame to a memorable verse, “Life has no reason, no bigger picture, in isolation, alone we all die.” It’s a good way to end the song with such an upbeat guitar part, raising the question as to what else this band is capable of.
So far, it’s got serious songs somewhere between brutality and prog metal. The growling will give the impression of a death metal band, but it’s really not just that, for the musical objective is a combination of several origins. Hellsteed doesn’t sound like anyone in particular. Few bands have the bass this upfront. Despite the framework of black/death metal, Hellsteed’s guitar work has some different elements (could be prog) in it that’s a bit hard to place. There is an integrity to the sound, and professionalism. It doesn’t sound like a bunch of people just recording stuff in their garage. This is not to say that it sounds like a big-budget production, but it’s pretty solid.
www.myspace.com/hellsteed
Immolation (US): Majesty and Decay (Nuclear Blast)
Of the ten songs on this album (plus an intro and an interlude), it would be acceptable to write reviews for each composition. However, instead, consider these four random examples of the work delivered, and from there, extract the necessary conclusions, since each of these songs is representative of the level of artistic expression at which Immolation functions.
7. “A Glorious Epoch” (4:39): From 0:00 to 1:43 this is hovering doom; the speed and major contortions begin at 1:43 and from there it’s riff upon massive riff building a monolith that twists and turns upon itself. Riffs and licks fly about the place, giving the impression that only repeated listens will clarify just what is happening here.
5. “Divine Code” (3:40): Interspersed with compact sections of speed and blasting, this is an exemplary praxis of that big-riff heaviness that’s key to the Immolation sound. It is framed with several of those contorted tempo changes. The two guitar solos are different, both of them short: one is crisp, crystal clear and fluid, while the other one is circular, simpler. This song does have lyrics and vocals, but the song sounds a bit like an instrumental, though obviously it is not.
12. “The Comfort of Cowards” (5:52): Mr. Dolan’s vocals are very low and gruff, but his enunciation is clear enough that some of what he’s growling can be understood when he’s not growling very fast. When growling slower, he sounds like a diabolical character-monster in a movie. Look at how long this one lasts. As you can imagine by now, it’s fairly representative of the more complex side of Immolation.
10. “The Rapture of Ghosts” (5:21): It sounds like there are at least three guitars very audibly swirling into a bundle of plodding heaviness, with a fast double bass drum balancing the weight. Mr. Dolan’s vocals are pretty deep and there are some crisp guitar licks that appear and disappear, like sparks. Plus, towards the end there is a guitar melody worked and reworked until the song’s finality.
These ten songs all display a serious effort to engage the composition at its multifaceted focus. Those that enjoy guitar work that is challenging and non-linear will find much to explore. Notice, for example, how Immolation actually uses what are called “traditional black metal riffs” (but with a thick/heavy sound) in some places and yet this hardly ever gets mentioned because supposedly Immolation is considered “pure death metal.” Or check out the “melodies” and how Immolation utilizes them, trespassing limits, yet doing it in an intelligent way, the opposite of ear-candy sounds or sounds that pander to the audience’s nostalgia (re-hashing other band’s melodies). As if this weren’t enough, take a few listens to those dissonant, riffs-working-against-each-other-in-harmony elements that impel to the listener to return to the songs: how is it that these riffs work together when they sound like they are colliding against each other?
This album is about feeling and vibe, heaviness and a twisted way of writing songs. This requires more than a couple of listens to understand, but this is not a new situation with Immolation. Of course, this has bursts of speed and blasting, but simplicity and linear songs are not Immolation’s main features: massive riffs, dissonant riffs, quality licks and solos, deep vocals, well-placed speed, capable drumming with carefully done technical elements and lyrics contemplative of the band’s perceived state of the planet.
This is the band whose music will give you hand cramps when you play along on your guitar to what captain Vigna is playing.
www.myspace.com/immolation
Saturday, April 3, 2010
Crypt (Bosnia and Herzegovina)
Crypt (Bosnia and Herzegovina): Controlling the Madness
1. “Fresh Cadaverous Flesh” (4:23): This demo is low-guttural death: basic and cozy, jackhammer-drumming-driven growl music. With this band, the drummer sounds like the heartmachine of the band: such dominant drumming just anchors the whole proceedings. There certainly is a Mike Smith school of drumming going on. Not too shabby, Crypt!
2. “Maggots” (5:09): this song’s lyrics are actually not jackass gore-zombie lyrics, but about mental domination. With a title like that it’s easy to observe, “Not another band with the lyrics about zombies, worms and excrement.” But it’s not. However, it is true that the other lyrics are still very much into the gore, but maybe in the future they can find a way out of this cliché, as they did with this song.
3. “Throne of Insanity” (5:09): Crypt flexes their fast, blasting and uptempo, and occasionally midpaced, musical muscles to get what they want by way of a “brutal death metal” sound. There are a couple of brief guitar solos, and this track goes straight for a pounding-drum attitude.
4. “Tomb of Abomination” (5:56): They use a little of that groove/mosh/crunch. Sure, the band is still honing their sound.
It’s a demo with easy-to-enjoy songs by a band clearly developing their sound. Crypt is very a meat-and-potatoes death metal band and they are not pretending something else besides loud, blasting, growling music for the moshing crazies. It is “sick death metal” that motivates them.
www.myspace.com/cryptold
Burning Thy Symbols (Germany)
Burning Thy Symbols (Germany): Superior E.P. (Mountain King Records)
1. “Superior” (5:57): No introductions, just black metal storms from the start: raw, speedy and blasting traditional-torch black metal of raspy-throat-shrieked vocals. Due to the shriek and overall noise, it’s a bit difficult to notice the gem: this song has several twists that take the tempo in nonlinear directions. It’s raw metal, but it’s not two-chord music. If it were, maybe it would not be easy to do a six-minute song? Do they mean to sound this raw or is it simply a lack of resources?
2. “Lords of Chaos” (6:05): Here the band displays a raw-tremolo-melodic edge, but then with those total-shriek vocals, how this vocalist can raise a noisy jamboree all by his corpsepainted self! Of course, he gets help from the rest of the band. Again, this is not repetitive-riff black metal, raging on the same riff for one song. For instance, by the middle of this song, there quite a bit of road that has been traveled, pretty far from the beginning’s riffs.
3. “Burning Thy Symbols” (6:17): I’m starting to think that the vocalist MS is a raging sado-masochist: he loves to torture his own throat. Yes! And wouldn’t you know it, at 3:10-4:00 these crazies show a little guitar-catchiness, before another round of rage.
4. “The Slaughter of God’s Child” (5:07): Plenty left in the tank. Nice part with some tapping, at 1:50-3:23, gives it a rocking vibe, but of course those shriek-vocals are screaming over the tapping. This whole part lasts a little while and the song is better for it.
5. “Invoke the Emperor” (7:10): This one starts out like another we-play-black-metal-and-that’s-that track. Fine. Bring it! But this song has an unexpected twist: they bust out with some clean singing at 1:55-2:23, then until 2:53, there is simple but very effective solo, and all of this is followed by a return of the grimness and chaos. Later on, those same clean-vocals lyrics appear to be done in the shriek style, giving it a different angle.
With this last song a clearer picture emerges: raging black metal, but they have a constant tendency to change the patterns within a song, so it’s not a one-trick pony. Final answer: yes, it’s raw and shrieked, but not one-dimensional. Speculation: expect more ambitious undertakings in the future.
Cynics might say that this is just typical angry-Donald-Duck-vocals black metal, but there is more to it than just shrieking and blasting.
www.myspace.com/burningthysymbols
1. “Superior” (5:57): No introductions, just black metal storms from the start: raw, speedy and blasting traditional-torch black metal of raspy-throat-shrieked vocals. Due to the shriek and overall noise, it’s a bit difficult to notice the gem: this song has several twists that take the tempo in nonlinear directions. It’s raw metal, but it’s not two-chord music. If it were, maybe it would not be easy to do a six-minute song? Do they mean to sound this raw or is it simply a lack of resources?
2. “Lords of Chaos” (6:05): Here the band displays a raw-tremolo-melodic edge, but then with those total-shriek vocals, how this vocalist can raise a noisy jamboree all by his corpsepainted self! Of course, he gets help from the rest of the band. Again, this is not repetitive-riff black metal, raging on the same riff for one song. For instance, by the middle of this song, there quite a bit of road that has been traveled, pretty far from the beginning’s riffs.
3. “Burning Thy Symbols” (6:17): I’m starting to think that the vocalist MS is a raging sado-masochist: he loves to torture his own throat. Yes! And wouldn’t you know it, at 3:10-4:00 these crazies show a little guitar-catchiness, before another round of rage.
4. “The Slaughter of God’s Child” (5:07): Plenty left in the tank. Nice part with some tapping, at 1:50-3:23, gives it a rocking vibe, but of course those shriek-vocals are screaming over the tapping. This whole part lasts a little while and the song is better for it.
5. “Invoke the Emperor” (7:10): This one starts out like another we-play-black-metal-and-that’s-that track. Fine. Bring it! But this song has an unexpected twist: they bust out with some clean singing at 1:55-2:23, then until 2:53, there is simple but very effective solo, and all of this is followed by a return of the grimness and chaos. Later on, those same clean-vocals lyrics appear to be done in the shriek style, giving it a different angle.
With this last song a clearer picture emerges: raging black metal, but they have a constant tendency to change the patterns within a song, so it’s not a one-trick pony. Final answer: yes, it’s raw and shrieked, but not one-dimensional. Speculation: expect more ambitious undertakings in the future.
Cynics might say that this is just typical angry-Donald-Duck-vocals black metal, but there is more to it than just shrieking and blasting.
www.myspace.com/burningthysymbols
Friday, April 2, 2010
Botritis Cinerea (Germany)
Botritis Cinerea (Germany): The Burning Slave Mark
The black metal hunger of Botritis Cinerea is compact and to the point: six songs of traditional/raw black metal, each song lasting approximately 2:30 to 3:30. Botritis Cinerea is about a vibe: their desire is to keep it elemental. The sound is transylvanian: the musical values of a purposely fugly, primal feel. (In addition, the seventh track is 2:29 of solemn instrumental piano, in contrast to the other six songs. Is it a hint of future things?) Anyway, their songs stay at the shorter end of the spectrum and their impact is felt immediately. Their idea is not that you should wait around for the “good” part of a song, since the good part is the song itself. Then it’s time to move on to the next one.
Now, Botritis Cinerea is no fancy proposition and they are in the area of “for total-black-metal-maniacs.” The band likes black metal oriented towards the old school, so while they might be one-dimensional to some, to others this will be exactly what they like, as if the band has been asking: “Whatever happened to just plugging in your guitars and going crazy on basic black metal?” Accordingly, it is revenge, grief, dogma, obscurantism, etc., that are the topics of the lyrics.
“Multiple Personality” lasts 2:31and the vocals are complete throat-destruction and pain-amplification in the shrieked style. The guitar riffs on a black/thrash tone and rides it out until the wheels come off. The drumming doesn’t exactly always sound like blasting, but it’s pretty much in that speed, chaotic, etc.
“Bitter Song” (3:05) is a barrage of noise pounding away, screaming bloody murder to the breaking point of the vocalist’s throat and the guitar player’s tired wrists. The drums sound like they will fall apart any second now from the beating they are taking.
If someone told the band that “My Own Hell” (3:00) sounds pretty much like all their other songs, they would probably say, “Thank you very much, you are so kind.” Or invite that person to fly a kite. Their recording is a good demo and it allows the band to bring their songs to life and for metallers to check it out, particularly the black metal devotees.
www.myspace.com/botritiscinerea
Wednesday, March 31, 2010
Blaspherian (Texas, U.S.)
Blaspherian (Texas, U.S.)
This year will be a special one for the band and its audience: death metal artisans Blaspherian have something exciting in store: Infernal Warriors of Death is the name of the release!
Matt (the cannons; and inverted crosses), Apollyon (the grit; and bullet belts), Joe (the thunder; and spikes), and Wes (the crunch; and pentagrams) bring the fire.
Houston = deer; Blaspherian = headlights. Your town is next!!! www.myspace.com/blaspherian
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Hello! Infernal Warriors of Death will be unleashed in 2010, correct? Blaspherian maniacs in Houston are ready for it!
Wes: Hails, Mauricio! Thanks again for the honor to be included in the pages of the Metal Bulletin! Yes, we will record Infernal Warriors of Death sometime around April/May 2010 Anno Satanas, so it should be released sometime in the summer 2010. Hails to the Houston metal hordes! It’s nice to see the scene getting better, not just for us but for other local bands as well.
In a previous interview we talked about your album Allegiance to the Will of Damnation. Where will you take the dark-heavy sounds of the blasting death doom?!
Wes: We are looking forward to unleashing new material upon the metal world. We've been busy writing sick unholy hymns, that will make you bang your fuckin head for Satan. New titles, “Exalted in Unspeakable Evil,” “The Disgrace of God,” “Invoking Abomination,” and of course the title track, “Infernal Warriors of Death.” I do believe they are a natural progression from our previous works, all the classic elements are there, the only real difference is that there are more tempo changes, as well as a touch more speed.
Maybe you can talk about a couple of songs?!
Wes: Well, I think the final 2 tracks we've written are among our best and most chaotic, doomy and yet sick that we've written, we are BESTIAL UNHOLY DEATH DOOM, I think that says it all! When the new cd is released I truly feel it will represent the true Blaspherian sound.
How’s Apollyon’s role evolving since joining? How’s the chemistry for songwriting been changing as Blaspherian advances?
Wes: Apollyon has added a new depth to the vokills, he has a much broader range than Desecrator, mixing in highs as well as the killer lows. Also, his lyrics are fuckin sick. The chemistry is strong, and powerful, he fits in perfectly. We could'nt have found a better replacement for Desecrator than Apollyon!
Where do Matt’s thoughts go when performing a Blaspherian song?
Matt: It depends on where we’re playing, I listen to the song as we play it, but also I pay attention to the crowd, and watch people going off, stage diving, etc. We rehearse so much that we all know the songs well enough that even if we fuck up, we know where were at. Also I think of scenes af absolute devastation, and hellish realms of demonic supremacy.
Where’s Joe Necro in the overall structures of Blaspherian?
Wes: Joe Necro has been a very good addition to the Blaspherian musical chemistry, getting him back in the band has been awesome, he’s a great musician, a true metal head. One other quick note, we're looking for a bass player, we would really like to move Joe over to guitar, so in reality Joe’s a fill in bassist till we get someone else. So if any bassists are reading this, if you wanna try out get in touch.
Where do you record? Is it in Houston?
Wes: So far we have only recorded at Dead City Sound, which is a studio on Houston’s north side. We feel absolutely comfortable there, the atmosphere is super relaxed, and trust me, that makes a huge difference. It’s owned by our friend Chris Ryan, he’s a killer engineer and I totally recommend all bands record there!
Blaspherian is now on Deathgasm Records, along with the metal allegiance known as Abominant. Are there any plans for getting these two metal loyalists on a tour, maybe a southern tour?
Wes: It’s an honor to be affiliated with Deathgasm Records. I've personally known Evan [Deathgasm mainman] for many years, hes’ a hardworking guy with strong metal ethics. We felt it would be the best thing for us to work with Deathgasm at this time, the only other label we would have considered would have been Ibex Moon, and fuck yes, I fuckin love Abominant. All their records are sick but my favorite is their newest release Warblast, it’s highly recommended, and a tour would be sick, we shall see.
What do you think about “pay-to-play” concerts? Is it from the 80s? And is it the most blatant, greed-driven operation? Napalm Death have criticized that mentality of money-above-all-else.
Wes: Pay to play simply is the gayest possible situation. It’s from the 80s and yes, of course, it’s greed driven. It began from promoters selling opening slots at concerts to the highest bidder, to make more money. It’s a good thing that Napalm has spoken out about that kind of bullshit, those type of ethics do not belong in the metal scene, as an example I would cite the downfall of the Milwaukee Metalfest, which was huge years ago. They offered pay-to-play opening slots and to me it creates a shitty situation for the concertgoers who were forced to see bands they didn’t want to and this, to me, is one reason the Maryland Deathfest is a much stronger event than Milwaukee ever was, because you cannot buy your way onto the stages on the Maryland Death fest, it has much more intergrity, and is a better value for the concertgoer.
Given your critique of religious dogma, do you feel the same about these endless wars, the corporate greed-dominance and all this thievery? Is it compatible to be a Blaspherian maniac, and then listen to Rush Limbaugh and Glenn Beck and agree with them?
Wes: Simply: yes, all the wars, greed, corporate thievery, all that bullshit is the same as the bullshit we fight against in Blaspherian; it’s all tied together. I do not and never will support the lies of corporate greed mongers, false messiahs, right-wing ideologues, with a Christian agenda, i.e. Lamebaugh, Beck, Hannity, etc., those cretins fight against freedom, and fight for a Christian America, they completely support a brainwashed subservient America, they do not want you to criticize or think for yourself. I will never support such un-American values. Also, I want to state that family values equal Christian values. I think that gets lost in the political debate, and I will never support Christian values, period.
What are y’all’s 3 most listened-to bands in the last six months?
Wes: Nile: Those Whom the Gods Detest, Asphyx: Death...the Brutal Way, Embrace of Thorns: Atonement Ritual
Matt: Blasphemophagher: For Chaos, Obscurity and Desolation, Cruciamentum demos, Vasaeleth 7"
Joe: Morbid Angel: Altars of Madness, Archgoat: The Light-Douvering Darkness, Pestilence: Consuming Impulse
Apollyon: Morpheus Descends: Ritual of Infinity, Mork Gryning: Tusen år har gått, Incantation: Mortal Throne of Nazarene
Who amongst you are the Candlemass listeners? Epicus Doomicus Metallicus and Nightfall, anyone?!
Wes: I think I can say we all love Candlemass, especially the first 2 records made a huge impact on me. I've been a fan, even before they were Candlemass, as I have a copy of Leif's previous band, they were called Nemesis, I have that 12" in my collection, and from what I hear its pretty rare, so they are an influence, to be sure, especially Epicus, which is an all-time doom metal classic!
Anything else you’d like everyone into Blaspherian to know?!
Wes: Thanks for the interview, and your support of metal. Metal Bulletin is a very important zine in Houston, and I'm glad someone is finally supporting the metal scene with this type of endeavor, because we must show that metal is about a lot more than computers, and downloading music. It’s good to see you, Mauricio, doing the hard work it takes to support the scene. I think sometimes people forget how much work, time and effort that goes into a zine, and I want you to know that we appreciate it, so thank you and hails for the excellent support.
Also, look for our split 12" with Mutilated Messiah, which will be out through Hells Headbagers records in the coming months. For more info on that release keep an eye out at www.hellsheadbangers.com. Of course, look for our debut full length this summer! Hails!!!!!!!!
Wes Infernal, 2010 Anno Satanas. THE END.
Friday, March 5, 2010
Mordenom (Slovenia): AGNVS DEI
Mordenom (Slovenia)
Mordenom achieves a very professional sound on their debut AGNVS DEI: uptempo/midtempo/blasting death/black with emphasis on guitar melody/riffs/solos and atmosphere, and some melody. This is a self-release, but it sounds professional, definitely not a like rough demo. Having spent all that money on the recording, you would think that they are now totally broke and living in a van down by the river.
You only live once and you might as well go for it and make the album you wanted to make, consequences be ignored. Mordenom, you have made the cd you did want to make and your hard work has been worth it.
If you want a little melody and atmosphere, with your metal, and good production, begin here. Mordenom will not disappoint.
Air guitar time! Marjan (lead and rhythm guitars) will be the guide. If you like what you hear, be supportive!
www.myspace.com/mordenom
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Hello! AGNVS DEI has such good, memorable songs and good sound quality. What have you done to support the release?
Hi, Mauricio. First, thanks for the kind words. Yeah, we are definitely satisfied and proud with ourselves and the record we’ve made. I think it was two weeks after the album was finished when a release party was organized. Then we did a mini tour around Slovenia - few concerts to support the album. We've also played one open-air summer festival, MetalCamp. We’ve sold few copies of our CD, I don't know the exact figure, but I can tell you, it isn't a big number. Slowly we’re getting there, but we are realistic. For this kind of music and in the situation we're in there really isn't much more we can do. Our primary goal is to make music that sounds good to our ears and enjoy the whole process of being in a band.
Currently we are working on a video for a song from Agnvs Dei - Conjecture about Reality. That's our next "big" project. We are also working on brand new material, so we keep our selves busy. For merchandise please check out our website (www.mordenom.com) where you can order our debut album and various t-shirts.
Your album is a self-release. Impressive! Have you recovered some money? Are you optimistic about the band’s future?
We’ve managed to recover about 1/5 of the money we’ve spent for the album. But that really isn't an issue or a problem. We knew that long before we entered the studio. Or in other words: we are not in it for the money. I mean, don't get me wrong, we would all like to do this for a living but unfortunately it's just not possible (yet?). Nevertheless, I think you could say we are optimistic. I am constantly writing and working on new material, we have three interesting songs already written and a lot of good stuff is still waiting, so to speak, to come alive. As soon as we got enough material we'll demo it and head to the studio. So, second album is in being written as we speak and probably will be properly recorded in the near future.
“Towards the Iron Gates of Aeon” lasts 11 minutes. What was it about the original idea that made it 11 minutes? Would you like that song to be played at your funeral?
We are proud of all the songs on the record, every second of every song is there with purpose. That being said, Towards the “Iron Gates of Aeon” is definitely a special song. I’ve noticed it’s seen by many as the culmination of Agnvs Dei. It's the longest one and it sort of concludes the concept of the record. I knew from the first riff it would become this long, epic song and the one, which will end the record (at least in some way). Even the working title was "Ep" (translation: epic). When a song is that long you have more freedom to experiment with different themes and it wouldn't be logical to have eleven minutes of blast beats, tremolo picking, and growls. So, from the start we knew we wanted a diverse, dynamic song, with lots of drama and I think we got one.
Funeral? Well, I think in certain way the lyrics would fit pretty well, but musicaly speaking I would rather hear something mellower. Let's say Death’s Voice of the Soul would be nice :-)
You played the Metal Camp Festival. What did you like about it? I hope that some people wanted copies of your cd!
It was great. The time was good, the weather was good (in the time of our concert, otherwise it was terrible – raining all the time). That was our first open-air festival; big stage, there was a lot of people, etc. MetalCamp is really a beautiful festival and if you're a metal fan it's just cool to be there and experience it. It was actually our goal to play there since we were all fans of the festival, so when they selected us among circa 400 bands we were hyped. During the concert we had some minor techical difficulties but that didn't ruin the overall impression.
“Blessing or the Curse” makes an impact right from the beginning: Good job! This song was written by Marjan. Was it arranged by everyone? Is Marjan the one who started the band?
Yes, I wrote the song and the lyrics while Jernej, Rok and myself did other arrangements. The three of us were also founders and first three members of Mordenom. We actually don't write songs or even riffs on rehearsals, which I guess is a little unusual. We practically use them (only) for practising and "strategy". Sometimes we have little jams, and when we do them, we usually switch instruments and just play for fun. Not that it matters – “Blessing or the Curse” is the fastest (tempo-wise, 250 BPM) and clocking at 4:30 shortest (vocal) song on the record. But basically it's a pretty brutal "in your face" piece and a fun song to play live.
Are there metal bands in Slovenia that have women members? How is the metal scene growing in Slovenia?!
There is one all-women heavy metal band, I think Hellcats is their name, but I really don’t know anything about them or any other all-women band, sorry. The metal scene in Slovenia is getting stronger every day. We have good bands in all genres and some of those guys really should get more recognition for their work. Check out some of them (Noctiferia, Burning Legion, Negligence, Obduction, Neurotech, just to name a few) because they deserve it and you won't regret it. Though, I must “warn” you, for some (unknown) reason there are a lot thrash and black metal bands in our country.
“Above the Mysterious Worlds” (8:10) has a longer guitar solo/melody from 3:40 to 4:23. Do you remember when you constructed that particular part of the song?
Of course, I remember. First part of the melody was written at the same time as the riff. I knew we needed a change in rhythm and atmosphere, a break if you want, and that arrangement was perfect for it. The 2nd part was actually improvised in the studio. I was just playing around with a melody I had and when the right one came we just pressed the record button and record it (along with it's harmony). As for solos goes, I see them as a little "song in a song". Before I begin writing one, I always have a general idea of how it should sound, where it should go. Usually I hear certain melodies in my head before I actually start to play. Then on some parts I just improvise and get some quality passages from that. This normally gives me about 90% of ideas, the other 10 are always in the air :-)
Are you college students? How expensive is the university? In the U.S. it’s expensive: more and more only for the kids of the rich and middle classes, but not for the working class?
We all have jobs, except our vocalist, he still goes to college. He studies at Faculty of Electrical Engineering. Yes, we know all about your education system. Things are a little different here. The education (tuition) isn't that expensive, but the cost of living is high, scholarships are low and very few get them. Meanwhile, a good education doesn’t necessary mean a good job. It's probably more important to be in the right place at the right time, gain as much experience as possible or to have some kind of connections, but I don’t know, man. You probably know how things currently stand as the global economy continues to weaken. I must also point out that we all come from a middle class working families, so it's been/is pretty hard for us to finance ourselves because we rarely get money from our music and we basically do it for the pure love and passion for the music.
You use a lot solos. Do you think that your music would lack the dimension of melody and memorability without solos? Does Rok Stopar play any solos or are all done by Marjan?
Yeah, I think our music would lack if solos weren't there. We are a guitar/riff-oriented band. Our songs simply call for good lead parts. Basically it all depends on what kind of music you listen or play. For example, if I listen a band like Gojira, I don't miss them. On the other hand, when I'm listening Nevermore or let’s say Necrophagist, I would miss them. I grew up on rock and metal bands that have solos in their songs and when I discovered instrumental (guitar) music and all those crazy jazz-fusion players I fell in love in it, so they were always part of my playing.
I think they definitely add something to the song, but a song should never depend merely on solos. I take them like some "cherry on top" kind of thing. Good, strong, interesting riffs are music bones and therefore rhythm is way more important than any solo, so we are very careful that a song (or talking about solos) has a good progression of riffs and rhythm.
I wrote and played all solos on Agnvs Dei.
You live in Slovenia. Unlike the U.S., it’s not far to go to other countries. So, do you go to metal shows in other countries?
We are surrounded by 4 countries; Italy, Austria, Hungary and Croatia. And since we're in the EU it's pretty easy to travel to other countries as well. We also have a lot of concerts in Slovenia (approximately one every day) so there really is no need to travel far away. And with festivals like MetalCamp and Paranoid Open Air you’re able to see a lot of different bands in just few days (although we all know the difference between festivals and headlining shows). Personally, I'm very picky with the bands I listen and concerts I see. So, in 2009 the one that stuck with me would probably be Opeth on Progressive Nation Tour. I prefer quality over quantity, so if I see one good concert once a year, it’s been a good year." THE END.
Wednesday, March 3, 2010
Avenger (Czech Republic): Feast of Anger/Joy of Despair
Avenger (Czech Republic)
Avenger has done their part of the bargain with a great release, Feast of Anger/Joy of Despair.
The problem is getting metalheads to check it out. Once you do, it will be an attractive proposition, and a difficult one to turn down.
Here’s an argument for it. The band, who are well versed in classic metal/death/black, have a tremendous ability to utilize their own creativity/feeling/atmosphere: through their use of the tympan (which gives their music a solemn tone of classical heaviness), well-placed melody/catchy riffs while retaining a decidedly traditional black/death metal sound, the solid sound quality of the recording, and a certain Avenger-ness, like talent and songwriting ability, that makes the band click; plus, guitar catchy solos, the combination of uptempo, blasting and midtempo patterns. They certainly have made a serious effort and it shows very well.
How good can it be? It’s got the metal tradition, memorable songs and a creativity that is not be taken lightly or to be dismissed.
Hear the song “Vitriol” on their myspace and just think about it. Is it generic guitar playing? Does it sound like it has no feeling? Or does it suggest something else? Are they actually that good? Their release answers in the positive. And yet here they are, waiting for the metal-hunters to discover Avenger.
Honza (guitars and vocals) answers the questions.
www.myspace.com/avengerofficial
www.myspace.com/deathgasmrecords
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Congratulations! Feast of Anger/Joy of Despair is very good!
Hi, Mauricio thanks for nice words.
Has it improved your situation in the Czech Republic?
We have received mostly very positive reviews in the Czech metal media, a few interviews but that’s all. As with every album, you can find people who like it and people that don’t. We haven’t watched any great increase of fans interest in our band. But at the same time, we are not complaining about it. Our Dark Metal path has been always for those who wanna discover emotions and harmonies that are deep and obscure and are not attractive for the uninitiated. The past 17 years have proved that we are probably never going to do a music for the masses.
And what about the rest of Europe?
Our last gig outside CZ was I think in 2002 or 2003. We would like to set up a small tour over Europe in 2010. But its only a plan so no idea if it really comes to reality.
Your lyrics are in Czech. What are the concepts for “Voices of Delirium” and “Ritual of Wrath”?
Yes, Czech is my native language that’s why I can use it much better and more effective or maybe even poetic way, simply much better than English for me personally. “Voices of delirium” is an instrumental track, full of sounds of alcoholic delirium halucinations sounds. “Ritual of wrath” is about letting wrath go its own way without any limits or moral borders. If you wanting to kill, why not to do it. If you wanting to eat human flesh, why not do it. It’s also parallelly compared to sonic brutality, flaming nails, hammers whatever. Any ritual that helps you handle your anger in your fantasy is cleaning, liberating, washing stress away.
You have a tympan player: Jarda. Is this an inspiration from Master’s Hammer? Celtic Frost has some moments like that on “To Mega Therion,” too. Does Jarda come from classical music?
Ha ha, no, he is not a classically skilled musician. He is normal metalhead like all of us. This guy first appeared in Avenger as a session bass player. Adam, our that-time-bassist was a professional soldier and he went for a mission to Bosnia for 6 months. So Jarda took it as his replace for a few gigs. When Adam came back, we were too sorry to let Jarda simply go as he proved himself as very good friend and mate. So we bought tympans and he has kept playing with us since then. Yes, the inspiration is of course coming from Master’s Hammer. But generally the sound of this instrument is the most fucking diabolical it could ever be. So we have always longed for having it in a band.
Avenger is a band since 1992! How has your musical philosophy changed from 1992? Do you have day jobs?
Yes, of course, we have daily jobs. One has to live out of something. I’m probably the most lucky guy, I have built a recording studio that earns me for living. But all the other guys have jobs totally unrelated to music. Our music path has been less or more still the same all the time. We are dark pilgrims. That is probably what made us form the band back then.
Do you have other bands or is it just Avenger?!
No, I’m the only creative power in Avenger since 2002. In the past Ramus was also writing lyrics and/or a few riffs but life is life and sometimes it keeps you more busy with other things than just hobbies and music. We will see with the next album, maybe Ramus will join the process again. But I have always been very majoritarian music author in Avenger and I think it will always remain so. As for my other bands, I’m at the moment member of these: Panychida, Radiolokator, Oblomov, "25". My past is also connected to bands as Maniac Butcher, Darkstorm, Judas Iscariot, Nargaroth, Krieg, Morrior, In Articulo Mortis. About 30 bands in total.
How has the economic situation affected you? Less concerts?
Strange question, to be true. I don’t know what to say. Is it a politic question or a music question? Because I’m not able to tell you something serious about economic situation (maybe except that I do shopping today for what I earn yesterday, with no fucking reserves ha ha :-) Generally, yes, there are maybe not so many gigs in here like it was in 98 - 2002. But I think money is not the only thing in the background. I was so lucky to give intensive gigging when not so fucking too many bands were in here. Today the amount of bands in unbearable so people are overloaded and lose their interest. That’s why gigs and everything ends in shits. But I guess this is not a problem of just Czech Republic.
How can people get your other albums, like Godless? And you have a DVD, too?
You can check www.avenger-cz.net or www.myspace.com/avengerofficial where you can check our news, merchandise and/or find a contact. First 2 albums are sold out, we have a few last copies of Godless album, and the DVD is a half profi recording of our 15 years anniversary gig. It was shot on 3 cameras, the sound was taken by 2 condenser microphones in the hall. Anything can be ordered also directly over email: ramus.avenger@tiscali.cz .
What else do you have to say to readers of Metal Bulletin zine?
Thanks, Mauricio, for this intie. CHAOS AND DARKNESS FOREVER!! DARK METAL RULES! H. THE END.
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