new video: Amon Amarth - "First Kill"

Johan Hegg: Vocals

Ted Lundström: Bass

Johan Söderberg: Guitar

Olavi Mikkonen: Guitar

Heavy metal is a way of life, but it is not for the faint of heart. The history of metal is strewn with fading memories of bands that fell apart when times were tough. But history is written by the victors, and Amon Amarth have been marching purposefully from triumph to greater triumph for the last two decades. Formed amid the fertile Swedish metal scene in the mid ‘90s, these dedicated diehards brought a new sense of drama and destruction to the world of heavy music, propagating tales of Viking mythology and mortal combat over a devastating soundtrack of crushing rhythms, refined melody and rousing, rebellious refrains. From the release of their debut album Once Sent From The Golden Hall in 1998, Amon Amarth‘s trajectory was firmly upward, as this band’s devotion to touring the world and spreading their inspirational creed began to resonate with ever-growing hordes of like-minded metalheads, first across Europe and then, in true Viking style, across the Atlantic and into North America.

With each successive album, Amon Amarth‘s reputation grew; their arsenal of heroic hymns gaining strength and depth at the same time. Perhaps the most significant breakthrough came with cast-iron classic Twilight Of The Thunder God in 2008, wherein the band – vocalist Johan Hegg, guitarists Olavi Mikkonen Johan Söderberg, then drummer Fredrik Andersson and bassist Ted Lundström – seemed to perfect their formula of pulverising, fists-in-the-air anthems and shift into a higher creative gear. The impact was immediate and vast, and since that moment they have been unstoppable, as Surtur Rising (2011) and, most recently, Deceiver Of The Gods (2013) consolidated that success and took Amon Amarth‘s explosive and exhilarating live show around the world many more times, and in front of ever-multiplying audiences.

Once again waking from their post-victory slumber, Amon Amarth are due to return with their most monstrous and spectacular album to date. A tour-de-force of cinematic melodic metal that combines the best of the genre’s traditional wing with modern heft and heart, Jomsviking is a concept piece inspired by the elite Viking mercenaries of its title, conceived and written by Johan Hegg and brought to life by the band which for the recording sees drummer Tobias Gustafsson [Vomitory] slotting neatly into the space left by the departing Fredrik Andersson.

“Deceiver Of The Gods was very successful for us and we had a good run with that and did some really great tours,” says Hegg. “Even before we changed drummers for this record we had the idea to make a concept album. It was something we’d never done before and it gave us a challenge. I started writing the story, went into it wholeheartedly and once you start going down that path there’s really no turning back.“

By far their most ambitious project to date, Amon Amarth‘s tenth album unfolds like a synapse-melting multi-dimensional epic, with countless moments of classic metal grandeur and deathly aggression but also a newfound mastery of atmosphere and evocative dynamics that perfectly compliment the highs, lows and furious battles of Hegg’s narrative.

“It’s a pretty simple story where a young man is in love with a girl but unfortunately she’s being married off. He accidentally kills a man when this happens and he has to flee,” the frontman explains. “But he swears to have revenge and win her back. He can’t let go of the past. He feels that he’s been wronged and his life has been destroyed. The story of the Jomsviking is the background – it’s the way he finds to go back and claim his revenge. The way the story evolves is not a happy story… it’s a tragedy, I guess! But I like sad endings, because they’re the ones that affect you the most.“

Veering from the thunderous attack of opening statement First Kill to the victorious heavy metal sing-along of Raise Your Horns and on to the brooding drama of the closing Back On Northern Shores, Jomsviking sounds colossal – thanks, once again, to the supreme talents of producer Andy Sneap – and confirms that Amon Amarth are bigger, bolder and better than ever before in 2016. Neither deviating from their trademark sound nor restricted by it, they have simply evolved to the next level of metallic might, broadening their sonic horizons while simultaneously glorying in their cherished metal influences.

“When you write an album like this one, you’re basically making music for a movie,” says Mikkonen. “You have to follow certain moods and we had to figure out where we needed the aggressive songs or the more mellow or sad moments, and then we had to find the right ideas for that. It was difficult and it was challenging, but it was more fun! Before we were writing typical Amon Amarth songs, but this time we felt like we had to write something different. After ten albums you really need a challenge. We rose to the challenge and we’re really proud of what we’ve created.“

Bolstered by the regal presence of legendary heavy metal vocalist Doro Pesch, who duets with Johan Hegg on the heart-rending squall of A Dream That Cannot Be, Jomsviking flies the flag for authentic, red-blooded and unapologetic heavy metal while skillfully tapping into metalheads’ unerring love for epic tales of heroism, struggle, love, death and glory. Plainly the finest record of their career to date, Amon Amarth‘s tenth album is certain to thrill and delight their global fanbase while the irresistible allure of Jomsviking‘s cinematic heart will surely draw many more people into this band’s extraordinary sonic world. This campaign will not be stopped: 2016 will be the year that Amon Amarth conquer the world like never before.

“We just want to be more,” Mikkonen concludes. “Bigger shows, more production, everything bigger and better. I’m pretty sure it’s gonna be that way too. There’s a very good vibe in the band and I think it’s gonna be one hell of a year.“

“The shows are always absolutely fantastic,” Hegg enthuses. “When you’re onstage, performing, whether it’s a festival or a club, and you have that connection with people and you feel that reaction to all the hard work you’ve put in, that’s when you know that all the hardships you’ve experienced over the years were worth it. We are still growing. We grew with each album and we were never a trend. We’ve never followed trends and no trend has ever followed us. We’re on our own. We do what we love. There are so many shows planned in 2016 that it’s almost insane, but that’s what we live for.”

Amon Amarth - "First Kill" (from Jomsviking)

Borknagar (review by The Man of Much Metal)

Artist: Borknagar

Album Title: Winter Thrice

Label: Century Media Records

Year Of Release: 2016

It’s only mid-January and already I’m confronted with an album that has well and truly put the cat amongst the proverbial pigeons. The enigmatic and evergreen Borknagar have released what I consider to be their magnum opus. ‘Winter Thrice’ is nothing short of magnificent, a triumphant album full of almost flawless music. You think I’m kidding? You think I’ve begun this review with unnecessary and frivolous hyperbole? Just wait until you hear this beast an then tell me I’m overstating things.

Borknagar are one of those bands that have been blessed by a strong and dedicated, cult-like fan base. The pay-off is that the loyal followers seem to scrutinise every move that the band makes, dissecting every detail along the way. As such, and rightly so, there are some strong opinions out there, with some fans praying for a return to the black metal-heavy early days, whilst others long for ‘Empyricism’ part two. That 2001 release is hailed by many as being the Norwegian’s greatest album and so the hope for a return to this exact style is not unexpected.

One day, this may happen but whilst Borknagar continue to evolve and grow as a band and as musicians, it is unlikely. That said the output throughout Borknagar’s career hasn’t ever been wildly different, certainly not to these ears anyway. Yes there has been a gradual increase in the progressive aspect and the folk elements have tended to play an ever-increasing role but at its heart, the music remains extreme, black-tinged metal of the very highest order. Can you name any album within the Borknager back catalogue that is anything other than excellent? No, me neither. And that’s probably why the fan base is so strong.

But back to the main event, ‘Winter Thrice’, and the first place to start with this record has to be with the vocals. Most bands would kill for a world-class singer but in Borknager circa 2016, there are four. Vintersorg handles the majority of the harsh parts whilst keyboardist Lars A. Nedland (Solefald) and bassist ICS Vortex (Arcturus, ex-Dimmu Borgir) contribute their own beautifully unique clean deliveries. And then, to top it all off and to coincide with the 20th anniversary of Borknagar’s debut self-titled album, Kristoffer ‘Garm’ Rygg, he of Ulver fame, is welcomed back into the fold having departed in the late 90s following the release of ‘The Olden Domain’. Suffice to say that these four artists blow me away time and again throughout ‘Winter Thrice’, enhancing the music at every possible opportunity.

Completing Borknagar is the founder, brainchild and guitarist Øystein G. Brun, lead guitarist Jens F. Ryland and drummer Baard Kolstad (Leprous, Rendezvous Point). And kudos has to go to each and every member for playing a full and vital part in helping to shape this spectacular record.

‘Winter Thrice’ opens with ‘The Rhymes Of The Mountain’, an absolute behemoth of a song in every respect. After an understated choir-led intro, the listener is confronted by a frenetic but pinpoint accurate blast beat accompanied by a vital and razor sharp riff. The track then soon opens up to allow a little room for some quieter atmospherics and a delightful melody enhanced by some superb clean vocals. I love the ebb and flow, the textures and the pulsating nature of this song, made all the more striking by a brilliantly clear and powerful mix courtesy of Jens Bogren (Fascination Street Studios). It leaves me breathless and wanting more.

Happily, my wish is granted and next up, the title track is, if anything, even better. In fact, it is a track with which I am completely obsessed. Again, the blend of extreme metal and folk with more progressive elements is something very special indeed. Nedland begins the vocal content before ICS Vortex takes over briefly. And then, in between bursts of controlled savagery and atop a groovy, mid-tempo and intensely melodic chorus of sorts, Garm takes over to deliver an utterly beguiling vocal performance. It is full of passion, surprising subtlety and not a little sorrow too. As is the Borknagar way and in keeping with the themes of the entire record, it is a song about the natural elements. As the name suggests here though, the focus of ‘Winter Thrice’ is the harsh and unforgiving face of winter. I have listened to this track on repeat more times than I care to mention and my conclusion is that it is about as perfect a composition as it is possible to achieve. Could this be the song of the year? It’s perhaps too early to say but everyone else will have to produce a slice of magic to beat it.

The fervent hope of course is that after such a powerful beginning, the album doesn’t then start to fall away. Fortunately, there’s no chance of that – this is Borknagar after all. ‘Cold Runs The River’ features an almost cheeky riff before the blast beats return. Vocally, Nedland takes the lead over what is a surprisingly buoyant and groovy number that features a great guitar solo and a myriad of different and subtle ideas. This track just underlines, if such a thing was necessary, how technically gifted and on-point this sextet are as a group.

‘Panorama’ is another real head-turner, a more experimental number that pushes the folk and progressive elements to another level. Swathes of keyboards dominate the song but in a way that evokes the prog rock of the 70s and creates some really warm and inviting textures. I love the rumbling bass and captivating drum beats in the mid-section before the song goes on to soar with yet another sumptuous up-beat melody. The folk-inspired embellishments are nicely quirky but in an understated way and everything combines wonderfully to create a cohesive and thoroughly engaging piece of music.

‘When Chaos Calls’ begins with a vibrant piano flourish before launching into more frenetic blast beats reminiscent more of Borknagar’s early days. Nedland once again shines behind the mic crooning above yet another soaring melody and I absolutely adore that Borknagar trademark dampened guitar ‘chug-chug’ that creeps into this song. It is always used sparingly but for some reason, it brings a smile to my face every time I hear it.

Borknagar show their early black metal roots most obviously on ‘Erodent’ before the song plunges into a quiet and atmospheric abyss at the half-way point. As the track begins its ascent, things turn much more progressive in nature, albeit underpinned by the ubiquitous pummelling drums. The melodies on this track are a little more subtle, thereby turning the track into a real grower that gets stronger upon each listen.

The shortest track on ‘Winter Thrice’ is ‘Noctilucent’. A word used to describe certain cloud-like phenomena, it is perhaps fitting that this track has a lighter, floatier feel to it, complete with a clean guitar solo and yet more layers of synths to create a lovely dreamy façade.

And then, seemingly in the blink of an eye, ‘Winter Thrice’ is brought to a close by ‘Terminus’. It opens in almost cacophonic fashion, bristling with almost uncontrolled fury. However this brutality is then juxtaposed with some of the most immediate melodies on the album again joined wonderfully with Garm’s smooth and heartfelt vocals. Together, they combine to ensure that the album ends on a positive and thoroughly edifying crescendo full of aural beauty and majesty.

I’m not sure what’s left to say about ‘Winter Thrice’. It is a sensational slab of intelligent, powerful and sophisticated extreme metal that is as beautiful as it is brutal. I have been captivated since the first listen and I cannot see how the spell that Borknagar has cast upon me can be broken. Mind you, I don’t want it to be broken. This is a near perfect aural experience and I am all the richer for having it in my life.

The Score Of Much Metal: 9.8

read more writings by The Man of Much Metal

www.manofmuchmetal.wordpress.com

Brainstorm (review by The Man of Much Metal)

Artist: Brainstorm

Album Title: Scary Creatures

Label: AFM Records

Year Of Release: 2016

Brainstorm are a band with whom I’ve had a patchy history. I discovered the German band whilst on holiday on the Greek island of Corfu of all places. I stumbled upon a record store in the capital and, following the advice of the owner, bought 2003’s ‘Soul Temptation’. I liked the album and, to date, it remains my favourite release from the quintet’s ten-album back catalogue.

Subsequent releases have contained some decent material but the albums have never truly and fully fired my enthusiasm. Nevertheless, when presented with the opportunity to review ‘Scary Creatures’, Brainstorm’s eleventh full length, I naturally felt curious enough to give the promo a spin to see what I thought.

After a solid initial reaction and not put off by the ever so slightly contrived and clichéd cover art and album title, I listened again. This then turned into another listen, then another and so here we are. Those familiar with Brainstorm and their previous output will in no way be surprised by the general output of ‘Scary Creatures’ because from experience, Brainstorm are not a band to tinker overly with their approach. If it ain’t broke, don’t fix it’ would apparently be their strongest motto.

However, for anyone unfamiliar, Brainstorm’s music can best be described as melodic power metal with a classic-meets-thrash metal vibe. The riffs are strong and full of meaty power as they should be with ‘proper’ metal, delivering a genuinely satisfying tone. The guitars are backed up by a metronomic and pounding rhythm section which lays a more than adequate foundation to the songs; the bass rumbles nicely and the drums are an understated delight. Double pedal tempos and tom-heavy fills are the order of the day and you know what? They sound great.

Then, on top, you get Andy B Franck’s vocals. Gritty, powerful and with a gravelly edge to them, they aren’t necessarily unique but they are distinctive, helping to give Brainstorm that harder, more confrontational and aggressive edge than many of their peers within the same niche genre.

I mentioned the word ‘melodic’ in the description above and I think that this is where ‘Scary Creatures’ comes up trumps and finds more favour with me than a few of the previous releases. I’m not saying that previous albums have necessarily been substandard because Brainstorm are one of the more consistent bands out there. It’s just that the choruses and the melodic refrains within ‘Scary Creatures’ come across, at least to me, as some of their strongest and most immediate yet.

To begin with, let’s discuss the track ‘We Are…’ Cards on the table, this is one of the most infectious and rousing metal anthems that I’ve heard for a year or two. It isn’t complex or over-thought. Instead it is a relatively simple number that pushes all the right buttons. From a straightforward, no nonsense opening riff through to a roof-raising and rousing anthemic chorus, it is addictive and is an early contender for one of the songs of the year. Yes, it is that good.

It’s fair to say that ‘We Are…’ does, for me at least, stand above the rest of the album but elsewhere there are further highlights in the form of the stomping ‘Take Me To The Never’, the more grandiose and symphonic, almost cinematic-sounding title track, the groove-heavy hardcore vibe of ‘How Much Can You Take’ and the harder and faster ‘Where Angels Dream’ that erupts into a hook-laden chorus accented by more of Franck’s gritty and quasi-gruff vocals. The album then closes with ‘Sky Among The Clouds’, a slightly softer and even more melodic track that has a great upbeat, feel good vibe to it. The riffs remain big and chunky but there’s a demonstrable melodic hard rock sheen to the song that I find quite irresistible, ending the album in a really positive fashion.

The more I listen to ‘Scary Creatures’, the more fond of it I become. It isn’t perfect and if I’m honest, there are a few moments where I think the quality dips a little. However, it is the strength of the melodies and the no nonsense, pounding heavy metal heartbeat that carries the day, making this one of the best releases of Brainstorm’s career yet.

The Score Of Much Metal: 7.8

Read more of the reviews by The Man of Much Metal: www.manofmuchmetal.wordpress.com

free extreme metal: Afrobomination

Afrobomination

Space Motherfuckers from Space (2015)

This is a free recording. It is homemade, garage-style extreme metal. Regrettably, not much information is available and said information is unreliable. It could be a joke. Afrobomination may not be three brothers with fros. It could be some kid from Bellevue, Washington state who has been watching too much BET and listening to old Celtic Frost. Maybe it’s a middle school metal kid from Tokyo, Japan who thinks fros are cool.

The official information is as follows: “From the deep chasms of space comes AFROBOMINATION to bring doom & blackness to the masses. Afrobomination is Afro Metal from space. They are black as the night, have huge afros, and they are a threat to NASA. They call their style "Afro Crust".”

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discography: Space Motherfuckers (demo) 2014

Fröst of the Frözen Frö EP 2015

Space Motherfuckers from Space 2015

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Space Motherfuckers from Space

release: December 31st, 2015

1.I'm Black 02:35

2.Iron Claw 04:21

3.Afro of Death 03:29

4.You're Whack 02:43

5.The Afro-pick of Funk 03:40

6.Fro-pick Wielder 03:42

7.Fuck You, I'm Black 02:55

8.The Power of Funk 04:36

9.Hail Master Motherfucker 04:17

10.Afro Assault 03:21

11.Chronic-Ills of the Motherfucker 04:43

12.Mystic Motherfuckers 03:38

13.Black Steele 04:44

14.Afro Metal Command 03:21

15.Rims of Steele 03:25

16.Afronihilation 01:38

17.Sathanas Afromous 03:30

18.Galactic Rampage 03:03

19.Afro Noise 03:10

20.We Are the Fro 04:42

21.Tales of the Macabre (Slaughter [Canada] cover) 03:39

22.To Ride, Shoot Straight, and Have a Fro! (Entombed cover) 03:11

total time 01:18:23

www.afrobomination.bandcamp.com

www.facebook.com/Afrobomination

free black thrash: Lethal Cross

Lethal Cross (Chile)

Maldita nación (demo)

This is a free recording.

This is black thrash from Chile, pretty close to black metal. Regardless, the recording is rather good quality. The music is filled with conviction and the metal hunger for guitar maniac riffing and more guitar and mania. If you don't pay attention, the riffs will leave you behind in a flash. Plenty of shredding, solos, riffs, hooks and speed. You can bang your head, but if you don't want to do that then you could also bang your head. Besides the fact that the songs sound infectious, I also like the fact that this is metal by a band dedicated to the metal. People into death metal, black metal and thrash metal, this is for y'all. This band has no interest in and no intent of wasting your or anyone's time, so come this way for seriously headbanging metal. This recording does not sound like a garage demo, either. It's a short recording, but it's full of passion for metal, and for restoring the guitar to its rightful place as the king of metal music, the way it should be. Fantastic.

1.Falsa mirada 05:14

2.Sueños torturados 02:52

3.Hijos de la oscuridad 03:09

4.Maldita nación 03:02

total time 14:17

www.letalcrossmetal.bandcamp.com

www.facebook.com/letalcross

read Metal Bulletin Zine PDF issues

If you would like to read Metal Bulletin Zine as a PDF, you can read online and/or download it at the link below:

**NEW** METAL BULLETIN #72

Exterminas, Inner Sanctum, Mefisto, Nordjevel, free metal: Helhest, My Own Demise, Asgëir

www.fuglymaniacs.com

Ripper

Ripper

Experiment of Existence

Unspeakable Axe / Dark Descent

Release: 4 March 2016

When a band sounds hungry to prove themselves, that can be a very exciting time! Look to Ripper to hear exactly what that means now.

genre: tight, riffing thrash with extreme metal vocals similar to “Beneath the Remains”-era Sepultura, “Agent Orange”-era Sodom and other similar voices

instrumentation: the riffs grab the attention big time; the bass guitar is easy to hear and lively; the band works very well as a complete entity

vocals: definitely not the punk-like screaming, but rather the death/thrash fast-delivery extreme metal vocals; the vocals fit the music very well in style and also in the music-vocals phrasings, patterns and syllabification/enunciation

production: very good for this style; everything is audible and sounds good

songwriting: fast songs for headbanging, moshing, stage diving and fist raising; immediate impact achieved; no multiple listens needed to figure out what’s going on; it’s real metal, with no nonsense

general assessment: Those searching headbanging metal that is very much dedicated to creating thrash that immediately sounds ambitious in the sense of seeking to make an album that is professional, creative and inspired by the classics, should consider giving Ripper a real chance. The album deserves to be heard by thrash and extreme metal people who want to hear something that sounds great and fun. It seems like so much metal recently does not have actual riffs and playing slow is fashionable, but those listeners that want to bang their heads may not be enjoying all that slow poke stuff of late. That’s where Ripper makes the difference. No worries about all that hipster emo post-rock or whatever, it’s metal by metalheads for metalheads. This band also has a very good energy going for it and the album maintains the quality throughout. The soloing, the shredding, the riffs and hungry metal vibe contribute greatly towards making the album a convincing effort.

caveat: It is common for the old folks to criticize young thrash bands for not being original or creative and for copying the old classic thrash bands. Those people that are just burnt out or jaded will probably not be convinced by Ripper, although if there are young bands that really don’t deserve the above criticism it would be Ripper because they are very good at what they do. People who don’t like headbanging metal for whatever reason should also avoid Ripper because this is not a game. This is a band ready to stand and deliver thrashing metal with pride.

official band information: “Experiment of Existence from Death Thrashers RIPPER will be out March 4, 2016 on CD from Unspeakable Axe Records, and on LP from Dark Descent Records.

Some of extreme metal's classic acts have had simple, one-word names that told you just what to expect from them: DISMEMBER. DEATH. SLAYER. Add to that list Chilean death/thrashers RIPPER whose debut album - released just in 2014 and then swiftly reissued by Iron Pegasus in 2015 - was exactly as advertised: a destructive barrage of thrash riffs and beats in the Teutonic and South American mold, with harsh vocals in the Mille Petrozza vein and ridiculously technical bass-playing a la Steve Di Georgio as bonuses.

Now in 2016, this young band will follow it with their new full-length, Experiment of Existence. With more advanced songwriting and somehow even tighter playing, but without losing any of the aggression and speed, this is as good as death/thrash metal gets. Featuring 11 tracks total and amazing, detailed artwork by Paolo Girardi (Craven Idol, Power Trip, Blasphemophagher, and others), Experiment of Existence is a likely best-of-2016 album for anyone who loves thrash that is old school but not "Retro" in quotation marks and capital letters, and anyone who loves thrash that skirts as close as possible to the edge of death.”

discography:

Ripper Demo 2008

Destroy the World Demo 2009

The Exit Demo 2010

From Prison Hell Compilation 2011

South American Thrash Death Assault Split 2013

Fatal Memories EP 2013

Raising the Corpse Full-length 2014

Experiment of Existence Full-length 2016

the album:

1.Magnetic Solar Storms 04:18

2.Anthropophagic Life 04:07

3.Experiment of Existence 04:29

4.Anatomy of the Galaxies 05:28

5.Stellar Evolution 06:02

6.The Alpha Orionis 04:48

7.Rotten Dreams 03:09

8.Chromatic Fantasy 01:18

9.Neuronal Unity 03:48

10.Spherical Energy 04:05

11.Humanity Was Wrong 04:03

total time 45:35

www.facebook.com/ripperchileoficial/

www.unspeakableaxerecords.com

RIPPER - "Neuronal Unity" (Unspeakable Axe Records)

Sarasin

Sarasin

Sarasin

label: Pure Steel Records

release: February 26th, 2015

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genre: traditional heavy rock and heavy metal

instrumentation: guitar/riff-driven and big pounding drumming

vocals: traditional singing

production: clear, big rocking sound

songwriting: the guitars provide the power, the drums the heart, and the vocals seek to make people sing along

general assessment: The band sticks to the idea that they should not show all the cards on the first song. The first song is “The Hammer,” a midtempo/uptempo song of big/heavy/classic/metal rock, all rolled into one. In this song, the band shows their wares, but they don’t give away all their secrets yet. Instead, they show that they are all about rocking, and that’s the main thing. If the listener wants to hear whether the band has faster, slower, heavier, more melodic or crazier songs, then it’s necessary to listen to the whole album. They do the whole range of melodic songs to uptempo headbanging songs, but the band’s fundamental sound is big rock. They want to sound like a real band, playing real instruments and they succeed in that, for sure. At times, the sound might veer more towards classic heavy rock and its melodies, at other times the classic heavy metal might come out at bit more. Either way, it amounts to about the same thing with this band: fist-raising rocking sounds to which their audience can sing along. Overall, keeping in mind the objectives of the band, the album is a success for them. They sound real; they have the songs; and the album sound quality is solid.

caveat: As with any song-centered traditional band, the listener will have to hear the singing and see if the vocals are appealing. In this case, the vocals are more along the lines of “street rock” than “metal siren” singing. It is possible that the listener might detect a bit of a 90s rock edge in the vocals. In addition, listeners who are strict in their definition of metal should listen to decide if there is too much traditional rock in the sound of the band.

band information: “The Canadian band SARASIN was originally formed in the 80's when their first EP "Lay down your guns" was released. Only guitarist Greg Boileau remains from the bands original line-up.

Long time bass player and other founding member Rob Grant died after a battle with cancer in 2012, the new SARASIN album is dedicated to him. The band convinces with heavy riffs and deep feelings. Please check out the songs "The Hammer" and "Soul in Vain" to get an impression. Vocalist Michael Wilson is sometimes reminiscent to OZZY OSBOURNE which is to the bands advantage. Fine melodic songs with great choruses will convince old and new fans of classic Heavy Metal! Welcome back, SARASIN!”

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“Forged in the steel mills of gritty Hamilton Ontario, Sarasin has been satisfying the palette of “The Hammer's” Metalheads for 30+ years. As visionaries, they recorded their 1st indie EP in the 1980's long before other bands realized it was possible. However unlike the fame seeking “poser” bands of that era they did it quite simply for their fans. Fans who are loyal to this day and could care less about viral videos and “likes”.

Whether playing a dingy local bar or on the stage of a concert hall, the throttle is always fully open. Unpretentious persistence has kept this band driving forward with their heads down simply doing what they love, smashing their fans in the face with hard hitting, pulse driving Metal.

This most recent album was concieved when founding bass player Rob Grant fell ill and cofounding guitarist Greg Boileau wanted one last recording with him. Sadly Rob never got to play on it and lost his battle in 2012. It took some time but Greg along with longtime members drummer Roger Banks and vocalist Mike Wilson, pushed ahead to finish the CD and have dedicated it to their brother Rob.

In May 2015 the band signed a record deal with Pure Steel Records based out of Germany the band’s goal is to promote the CD and resume playing shows in Canadian cities, they will also be embarking on a Europian tour (where metal is still flourishing) for the summer of 2016.”

SARASIN "The Hammer" - official video (PURE STEEL RECORDS)

www.puresteel-records.com/bands/view/365/Sarasin

www.facebook.com/SARASIN-155676316805/

www.twitter.com/SarasinRocks

Benefactor Decease

Benefactor Decease

Anatomy of an Angel

release date: November 20th, 2015

label: Xtreem Music

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genre: fast crossover thrash

instrumentation: fast riffing and drumming; unexpectedly, the bass guitar is definitely audible

vocals: traditional punk-style vocals of crossover thrash

production: solid sound quality for this style; listen to the complete album on Bandcamp at the link below

songwriting: the band’s enthusiasm seems obvious in the fast songs, soloing, drumming and fast energy; straight to the point fast music

general assessment:

Moshing and headbanging is the mission of this band from Greece. As dedicated thrashers know, Greek thrash bands have been making a name for themselves in the recent period. Is it a coincidence that this is happening at the same time that Greece continues in the grip of an economic crisis? Is the anger boiling over into the metal sphere? The band pulls no punches, does no tricks, it’s thrash the way it once was, the way it is. The album is recommended for the absolute diehard love-it-all thrashers.

caveat: The vocals may be too punk for some thrashers and listeners in general that prefer more professional or serious or metal-style vocals.

band information: “Benefactor Decease were formed in 2007 by Zissis (Guitarz), Andrew (Drums) , Hara (Vocals) and Apollo (Bass) as founding members, willing to play ultra violent 80’s thrash metal like Dark Angel, Slayer, Exodus, Razor and Kreator. The female vocals by Hara was a real challenge for the band. After a lot changes in the line-up the band records their first EP titled “Massive Spreads Of Death” and it was released by Anger Of Metal Records (Germany) in 500 LPs with a new female vocalist Xanthi and Billy as lead guitarist. Benefactor Decease gave many live gigs and supported band like Onslaught and Necronomicon. Then it was time for the next release of the band. A split EP titled “ Authorization: Legal Offence “ in 1500 CD copies from the Korean Infernal Kaos Productions (korea) and became a sold – out. Then Billy was replaced by Dimitris “Abba” Abatzidis as lead guitarist and Xara returned as lead singer. For personal reasons just before the release of the first full length album Andrew leaves the band and was replaced by Peter (100 Bullets), Dimitris was replaced by Nick also. But for personal reasons and health problems the band took a long inactivated break. Today Benefactor Decease are back with fresh line up with Panos “Cut-throat” Toufexidis on Vocals , Zissis “Coroner” Rhythm Guitarz, Nick “Chainsaw Murder” lead guitarz, Apollo “Parafiliak” Bass + Back up, and Vaggelis “Technical Arrogance” on drums…. Thrash Back….!”

track list:

1.Intro - Intermental Excitation 01:01

2.Electrical Death 06:02

3.Chronicles of a Paraphiliak 07:03

4.Anatomy of an Angel 05:51

5.The Finest Form for Body Modification 01:40

6.Feeling the Razor's Touch 04:18

7.Abandonement to the Hanger 09:01

8.Subsistence for Regeneretic Impulse 03:49

9.Lyssa 02:27

10.A Blade in the Dark 04:53

total time 46:05

www.xtreemmusic.bandcamp.com/album/anatomy-of-an-angel

www.facebook.com/Benefactor-Decease-121278161219300/

Chronos Zero

Chronos Zero

Hollowlands - The Tears Path: Chapter One

release: 22 January 2016

label: Scarlet Records

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genre: traditional prog metal (real metal; no core, no djent, no “post-rock”), with some extreme metal elements

instrumentation: heavy, chugging prog guitar, with melodic soloing; the songs are important, not just showing virtuosity; the keyboards play a major role in the background and upfront, during the neoclassical guitar/keyboards exchanges

vocals: variety of vocals, including melodic vocals, male and female, and extreme metal scream/growling

production: modern, pro level prog metal sound quality

songwriting: memorable songs; the guitar soloing and keyboard melodies, along with the different voices, give the songs their character

general assessment:

This band spices up the prog metal with a heavier guitar tone and some extreme metal vocals for an album within the framework of prog, but with other elements not found in traditional, melodic prog. The album definitely sounds serious, in the sense that this band is keenly aware of the state of prog metal at the moment. They know that there is a standard that they have to meet in order to be taken in earnest by prog audiences that back the bigger names in the genre, like Dream Theater or Symphony X. People that have stereotypes about prog as a weak-sounding, super melodic or even whiny genre might be surprised by the muscular sound of this band. It’s not that it doesn’t have melody, it’s that it does not sound whiny, emo, weak and irritating. It’s traditional and proggy, but still heavy.

caveat: It might surprise some people to hear prog be this heavy, while remaining within the confines of traditional prog metal. The variety of vocals and the use of extreme vocals might be a deal maker or a deal breaker for some listeners, depending on how ready they are for the more intense vocals.

official band information:

“Chronos Zero released their debut album ‘A Prelude Into Emptiness' in 2013, with very positive reaction from the press. The band is now back with a renovated line-up and a new album which is the follow-up of the epic saga introduced on their debut, diving into a sea of mystery, darkness, deception, hope mythology, physics and philosophy. ‘Hollowlands’ displays plenty of beautifully written melodies, top notch musicianship and classy arrangements, in the vein of Dream Theater, Symphony X, Adagio, Meshuggah and Nevermore, with ethnic influences and a cinematographic feeling surrounding the whole work. The album was recorded, mixed and mastered by celebrated producer Simone Mularoni (DGM) at Domination Studios in San Marino and features three notable guests: Simone Mularoni himself, Matt Marinelli (Borealis) and Jan Manenti (Love.Might.Kill.). The Artwork was handled by Enrico Zavatta Design & Multimedia.”

“Chronos Zero borns in 2011 as a solo project of Enrico Zavatta. Beside the orginal idea we made our way during these few years and the resulting project is what we are today! Everything starts with Enrico Zavatta and Federico Dapporto since forever and in the late 2012 with Davide Gennari we start to get into right feelings. In 2012, on the way of recording the the prelude chapter album (A Prelude Into Emptiness, 2013) due a stylistic choice we decided that we needed an aggressive but still melodic oriented singer and that he could perfectly suit the chemistry of the composition. The best choice been found: Gianbattista Jan Manenti (singer of Love.Might.Kill) and from then on we started this awesome cooperation. During 2013 Giuseppe Rinaldi been Chronos Zero keyboardist.”

current line-up:

Margherita Leardini: singer

Manuel Guerrieri: singer

Enrico Zavatta: guitars and composition

Federico Dappporto: bass

Davide Gennari: drums

Featuring Jan Manenti (Love.Might.Kill) as singer

track list:

1.The Compression of Time

2.Fracture

3.Shattered

4.On the Tears of Path

5.Who Are You? (A Shape of Nothingness)

6.Who Am I? (Overcame by Blackwater Rain)

7.Ruins of the Memories of Fear

8.Phalanx of Madness

9.Oblivion Pt. 1 - The Underworld

10.Oblivion Pt. 2 - The Trial of Maat

11.Oblivion Pt. 3 - The Harp

12.The Fall of the Balance

13.Near the Nightmare

14.From Chaos to Chaos

www.scarletrecords.it/releases/chronos-zero-the-compression-of-time/

www.facebook.com/chronoszero

www.twitter.com/chronoszeroprog

Procreation

Procreation

Ghostwood

Vic Records

release: 22 February 2016

(Metal Archives gives November 14th, 2014 as the original release date)

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genre: traditional, fast song-centered death metal

instrumentation: the guitars and the drumming are solid; the guitar soloing really stands out; the riffs are often memorable while also fast

vocals: traditional death metal growling

production: good, upfront sound quality; not too clicky; sounds like real instruments

songwriting: despite the intense music the band is attentive to making songs that the death metal listener can understand

general assessment:

The band finds a balance between the uptempo and often blasting death metal barrage, on one hand, and compositions that are actual songs, from the perspective of the death metal audiences, on the other. Regardless of the fact that not much information is available in terms of the band members’ past musical endeavors, the album exemplifies the sound of experience and vision. For the death metal supporter that seeks bands that know what they are doing, bands that are past the novelty aspect of extreme metal, that know how to play extreme metal while also writing songs to remember, this album is one to watch out for. The name may be new and the band may not be well known, but the songs make it abundantly clear that the hands of experience are at work in the various elements that are necessary for a good death metal album, from playing skills to vocals, from sound quality to songwriting. Consider for instance how the band uses melody. Of course, this band is not “melodic death metal” in any way and there are no emo elements whatsoever, but underneath the tough-as-nails death metal muscle, there are songs for rocking out, and the observant listener will quickly notice the quality.

caveat: The growling is an element that the death metal diehards should focus on to determine whether it fits their preferences. There are many types of growling, and some styles may or may sound good, depending on the death metal tendencies at hand. Here, it is gruff, aggressive, upfront (not low and murmured, for instance) and the vocals knock right at the ears, declaring their obnoxious presence.

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band information:

“New Dutch extreme metal band PROCREACTION. Procreation started in 2012 as a deathmetal side project merely for the sake of fun. Wilfred (drums) and Richard (guitar) started working on some ideas and asked Mark (bass / vocals) and Ronald (guitar, ex Beyond Belief, ex Stone in Egypt)) to join. With deathmetal as a main reference point, some black- and thrashmetal influences also found their way in Procreation’s music. With the current line up enough material was written for a full length debut, ‘Ghostwood’, which is mastred by Fredde at Dirty Bird Studios (Massive Assault, Buring Hatred, Anarchos). ‘Ghostwood’ is destined to be a supernational themed concept album about the dark side within us all.”

track list:

1.Killing Culture

2.Menelik, the Sovereign

3.The Frenzy Is Tideless

4.Violent Rays

5.Ghostwood

6.The Cycle in Black

7.Death Is My Beat

8.Reflections (of a Dying World) instrumental

9.Can't Stop the Bleeding

www.procreationmetal.com

www.facebook.com/procreationmetal

www.youtube.com/user/ProcreationMetal

Nordjevel

Nordjevel

Nordjevel

Osmose Productions

release: 28 January 2016

This Norwegian black metal band will have its debut album ready for the metal world very soon now. The album is very fast, blasting modern black metal, but the riffs and the songs are memorable. Let’s learn more about them right now! Below is some band information and then some questions and answers.

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biography:

“Nordjevel was started in this unholy year of 2015 by Nord and Djevel, after conversations about views, music, black metal and all things occult about Norway. They found out they had so much in common, and they thought they should start playing together as their views on black metal, the origins of Norway and the occult were matching 100%. Later the idea of this band was aired to Fredrik, who jumped onboard immediately. He will be a member on all future releases, as he also contributes to the writing of the music, but will only be able to appear live when he has time from Marduk. A session drummer for live appearances is already in place.”

members:

Doedsadmiral: vocals, lyrics (Svartelder, Doedsvangr)

Nord: guitars, bass (Fatal Impact, Tvangeste, Byrdi)

Fredrik Widigs: drums (Marduk, Rage Nucléaire, The Ugly)

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Hello! I have been listening to your self-titled debut. Is it correct that Nordjevel began in 2015? If your band started in 2015, then how is it possible to have full album ready so soon?! Was the music already written?!

Nord: We got together in may of 2015, and after a short talk we found out we all had the same vision. The writing process began right after that, the album was written in a month or two. After that we went straight to recording. Anything is possible with an effective unit with a clear vision, discipline and hard work.

How did you get in contact with Osmose Productions? Did they know you already?

Doedsadmiral: I spoke with Herve on mail, and sent him 2 tracks from the album, and he was really blown away by them, and he just said. Let's do this!

Nord and Djevel (now Doedsadmiral) began the band because their perspectives were the same about black metal, says Facebook. How would you describe your views on black metal? As you know, most of the old bands from Norway don’t play real black metal anymore, they play punk or prog or experimental.

Nord: Doedsadmiral had a vision of what kind of band he wanted to hear, and after a short conversation I realized that we had the same outlook on this music. There are countless amounts of black metal bands all across the planet, but very few that actually bring something to the table. As you say, most of the old bands have moved on to something else. I completely understand that these artists want to transcend and develop their music into new areas, but in the process they left a void newer bands haven't been able to fill, with a few exceptions. We are all about bringing the old and the new together without tarnishing neither in the process.

Doedsadmiral is in another two bands called Svartelder and Doedsvangr. How would you describe those two bands? I have not heard them yet, unfortunately.

Doedsadmiral: I would say Svartelder is very experimental, dark without any boundaries. Black Metal without restrictions. We have an upcoming album coming in 2016 on Dusktone. Doedsvangr is very dark, ugly, violent and pitch black. We will record our debut album sometime in 2016.

Nord is in Fatal Impact, Tvangeste and Byrdi. Fatal Impact is on Metal Archives, but I cannot find the other two bands. Fatal Impact is traditional heavy metal, says Metal Archives. Therefore, how does Nordjevel give Nord a chance to express other ways of making music?

Nord: Tvangeste is a quite well known band in the semi-underground. They are a Russian band based in Canada. Due to various factors, the band isn't very active at the moment, but will come back in the near future. Byrdi is a pagan/folk music band and has nothing to do with metal, and I left that project after finishing the first album, just when Nordjevel began. Fatal Impact is the band I have been the most active with, and the whole package is very different from Nordjevel. It is a very different expression. The darkness in Fatal Impact is more layered and hidden amongst other things, and I love experimenting with that.

On the album, is it drum programming or does Fredrik from Marduk play drums? Are you satisfied if the drums sound too much like drum programming?

Nord: I know there is a lot of programming and copy/pasting in drums nowadays, but not with us. Fredrik is a machine, and there is absolutely no cheating with his playing. I have the raw recordings, and the drums sound like they do on the album. Check out his videos on the internet, and you will understand what I mean.

Doedsadmiral: Personally, this doesn't sound close to a drum machine to me at all.

Black metal often takes pride in having a raw production? What is your opinion about the type of production that you seek for your babd? How did you come into contact with Fredrik?

Nord: The production we wanted on this album was powerful but cold. We realized pretty early in the writing process that this music wouldn't fit a raw production. You gotta keep in mind that the necro bands usually play much slower and less intense than we do.

Doedsadmiral: I knew I needed at great drummer for this album. And I was just sitting listening to Marduk's "Frontschwein" and was really impressed with Fredrik, so I took a chance and reached out, and we tried with a couple of tracks, and from there he became a permanent member

Was it difficult to choose which song to start the album? “The Shadows of Morbid Hunger” starts off with a traditional black metal energy, fast and intense, but also with a bit of melody in the guitar. Then, “Sing for Devastation” wastes no time in continuing the black metal. Actually, even towards the end, the songs with Norwegian lyrics keep up the intensity high. Yet, there is always a bit of melody in the songs. Is this a difficult balance: to play really fast and still have melody?

Nord: We had some discussions about the opening track, but quickly landed on the piece you mentioned. It's not very difficult to balance the insane intensity with the melodies. It's all about the composition and the balance between the different stems. Our music would lose its depth and dark atmosphere if we got rid of the melodies. It would be hard for us to express what we want to express without the melodic aspect.

I find that the album is fast, but it’s memorable, even catchy. At first, it was a bit of overwhelming with the speed and blasting. I think that the songs would go well live, for the audiences looking for fast black metal today. What are your hopes for Nordjevel for 2016 and beyond? Do you plan or want to tour?

Nord: It's always nice to hear that the album is memorable. Too many albums leave you with no recollection of any riffs or parts at the end of the album, and that doesn't exactly make you wanna spin it again. We hope to play as much live as possible in 2016, and we hope to get some festival shows even though the album is a bit late for that. Nordjevel on stage will be quite an experience, both for us and the audience.

Some black metal bands express political views a lot in interviews. For you personally, how important is it to have Nordjevel be a band that expresses political views or opinions about Christians, Jews and Muslims or about the governments and politicians?

Nord: That stuff has no importance in Nordjevel. Nordjevel is a vehicle for something entirely different than what is happening on the surface in contemporary society.

Metal bands sometimes say: “We have great fans!” and things like that. Yet, everyone knows that record sales for metal music are low and for extreme metal music that they are very low. Why is that, in your opinion? Are there too many bands? Are cds too expensive? Do the metal publications cover too many trendy bands? Speaking of this problem, how can people who like your music support your band? Obviously, clicking and giving a band a like is pretty ridiculous as a form of “support.”

Nord: It's no secret that downloading and online streaming killed album sales. I think there are too many bands, but most of them never hit the shelves anyway. Cd's aren't too expensive, but people simply have no use for them anymore. I don't think most kids today even have cd players. If fans wanna support their favorite bands, go to the shows and actually pay for their work instead of streaming their songs online. With no source of income, more and more bands will simply reduce music to a hobby and channel their focus elsewhere to stay alive.

By the way, who plays the keyboards on a song like the last one on the album. It’s only a bit of keyboards, but it’s a nice touch to have. Is it a guest on the album or is it Doedsadmiral?

Doedsadmiral: This is a guest, namely James Fogarty, who I also play with in Svartelder. A really musical genius.

**

the album is:

1.The Shadows of Morbid Hunger

2.Sing for Devastation

3.Djevelen i Nord

4.The Funeral Smell

5.Denne tidløse krigsdom

6.Blood Horns

7.Det ror og ror

8.Når noen andre dør…

9.Norges sorte himmel

www.nordjevel.moonfruit.com/

www.facebook.com/nordjevelofficial

www.soundcloud.com/Nordjevelofficial

www.youtube.com/channel/UCQBQPM_iEe9kJeZq_nFdcug

Denne Tidløse Krigsdom - Official Video

Mefisto

Mefisto

2. 0. 1. 6

Vic Records

release: 22 February 2016

Here is a bit of information about the cult and long-defunct 80s extreme metal band Mefisto (Sweden) and its return. After that, you will find a general evaluation by this publication of the new album.

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Recently the folks at Vic Records revealed a compilation of two demos from Mefisto, an extreme metal band from Sweden that had two demos in 1986. Of course, Mefisto is not nearly as well known as other, more successful names in 80s Swedish metal, but Mefisto’s demos showed a band with a lot of promise, a promise that was left unfulfilled because in time, Mefisto ended and left those demos as its legacy in the history of lesser-known extreme metal bands from Sweden.

Now, decades later, Mefisto returns with its first album. This is the official information about the return of Mefisto:

“MEFISTO started back in 1984 under the name Torment. Along with Obscurity, the two were the first Swedish extreme bands to follow mighty BATHORY. Both bands were of superior quality, however after just 2 demos, both folded as they were simply too early with their extreme music at the time and getting no support.

MEFISTO since gained a cult status, heavily influencing the upcoming extreme music underground, especially the local Stockholm Death Metal scene. Featuring mega-talented guitarist Omar Ahmed, who delivered tight riffs and great solos, played out in a classic yet extreme manner, that to this day sounds fresh and relevant. Roberto Granath delivered violent drumming like only a few have before. After the departure of bassist / singer Sandro, guitarist Omar took over the vocals aswell.

30 years after the demos there is finally the MEFISTO debut album 2. 0. 1. 6. Recorded in Stockholm, mastered by Dan Swano (Opeth, Katatonia, Bloodbath). Coverart by Roberto Toderico (Tygers of Pan Tang, Soulburn, Sinister).”

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general assessment of the new album:

Mefisto’s old style was the general sound of 80s black metal, extreme metal vocals reminiscent of early Bathory, Sodom and Hellhammer, three bands that really took Motorhead/Venom’s vocal influence and ratcheted up the extreme factor substantially. Mefisto’s music sounded, basically, like cult, evil, dark thrash.

To people that have certain expectations the new album will be a huge surprise, let’s find out why. First, there’s the issue of the vocals. As you already read, given that the old vocalist is gone, the guitar player has taken over the vocals, which sound very, very different. The vocals now are aggro-metal, tough-guy scream-growl, a harsh tone, with some punk/street traits, very “in-your-face.”

The new album is new recordings of old songs from the demos. Comparing the instrumentation itself, the new versions simply sound like modern, better-quality recordings, and the new songs do sound similar to the old songs, in broad terms. Yet, the songs do not sound alike. The energy, personality and mood are very different. As strange as it may seem, the music sounds like prog thrash now: still thrashy, but more musical; more skilled, but the old cult spirit has been replaced in the process. (If you ask them, the band might tell you that the “cult” spirit was just bad-quality recordings by a band with no money and no experience.)

This general direction is the overall sound of the new album. In a way, it makes no sense to expect the band to sound similar to the old days, but the truth is that the old and few Mefisto maniacs that expected the old magic to return will be severely disappointed due to the sheer number of new differences: the vocals, production, instrumentation, vibes, amongst other factors. On the other hand, Mefisto is “new” to most people and there is no doubt as to the quality of the new album. Plus, the metal audiences that like to discover old cult bands and that like to hear the old folks get back on the horse should be glad to hear Mefisto ride again. Just in case it is not clear: if you really expected or wanted Mefisto to be black metal (80s black metal or otherwise), then stay far away from this album. If you are not so uptight, then explore the new sounds and see what you think.

www.facebook.com/Mefisto-234630006720804/

www.vicrecords.com

Inner Sanctum

Inner Sanctum (India)

Legions Awake

release: April 26th, 2015

label: independent

It seems that here in the U.S. the band Inner Sanctum is a new name to many metal audiences. The band gives the following short description:

"The story so far... Inner Sanctum was formed in the early months of 2007. Chintan and Michael, the founder members having played with each other for several years decided to join forces and form a band that would best express their influences in music. Tejas who previously played for Premonition was roped in as the second guitar player. In search of a drummer and vocalist the trio auditioned several but zeroed in on Abhinav (ex Illusion) and Gaurav, thus completing the line up."

In general, these are the elements of Inner Sanctum:

style: groove metal; similar to Lamb of God

instrumentation: groove-centered, uptempo pounding rhythms; generally uptempo, aggro feel

vocals: semi-comprehensible thick growling in the style of Lamb of God

production: modern metal, pro-level quality

general assessment:

Grooves and aggro rhythms are the main focus. Inner Sanctum will appeal to a much wider cross section of the mainstream metal public that goes for the aggro sounds, speaking broadly in a range that includes Lamb of God, Pantera or Slipknot or latter-day Slayer. They prefer to keep pounding hard, keep chugging hard. It appears that the album has been well received by the metal press in India and in other places. You can listen to the complete album on Bandcamp.

1.Incipiens 01:54

2.Wake of Destruction 04:28

3.Reflections of the Past 04:36

4.Realms of Oblivion 03:39

5.Legions Awake 04:34

6.Tainted Soils 04:36

7.March of the Wounded 05:48

8.Existence Denied 05:48

9.Guardian 05:18

total time 40:41

www.innersanctum.bandcamp.com

www.facebook.com/innersanctumindia

Man of Much Metal's top thirty: number 21

Man of Much Metal's top album number 21 The Man of Much Metal has been doing a countdown of his top 30 albums. Below is an example, and the link. *

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Number 21

Moonspell

‘Extinct’

Napalm Records

I first discovered Moonspell as a teenager around the time when 1996’s ‘Irreligious’ was released. I knew nothing about the Portuguese band but I took a punt whilst standing wild-eyed in one of the large central London record stores. Coming from a sleepy town like Ipswich, I wasn’t used to a specific metal section, let alone one that was nearly the same size as the entire store back home. I remember loving the album almost from the very beginning and it has held a place in my heart ever since. In fact, I’d state without hesitation that ‘Irreligious’ is my favourite album by Moonspell. Until now that is because ‘Extinct’ pushes it mighty close.

The past few albums have seen Moonspell experiment with more a aggressive and extreme sound with, to my mind, differing levels of success. However, coming from an ‘Irreligious’ background, it is with sheer delight and an abundance of newfound enthusiasm that I can say that ‘Extinct’ has reverted to more of a mid-90’s approach. By that, I mean that the album returns to what I personally believe are the key Moonspell strengths: creating music with plenty of groove, an overt Gothic atmosphere and lots of melody. This album has all three and plenty of each.

If I’m being honest and genuinely not falling foul of unwanted gushing hyperbole, ‘Extinct’ features a collection of compositions that border on anthems, such is their strength, power and immediacy. Whilst it was love at first liten to this record, I was also worried about the fact that it may be lacking in the longevity stakes. However, listening as I type this review, I needn’t have been concerned. The songs sound as vibrant and enjoyable now as they did on the first spin, much to my delight. ‘Extinct’ brings all the tunes.

Opener ‘Breathe (Until We Are No More)’ is an enormous statement of intent. It is heavy, has a great chorus and benefits from some really sumptuous, some might say over-the-top symphonics. Whether or not it is intentional, the focal point of Moonspell is their talismanic vocalist Fernando Ribeiro – with a deep melodic croon such as his, how could he not be the focal point? And on this record, Ribeiro is on top form, barking, snarling and crooning all over the track with his exotically-accented smooth, deep voice.

Elsewhere, ‘Medusalem’ calls to mind Orphaned Land thanks to traditional Middle Eastern instrumentation and melodies. It’d stick my neck on the line and suggest it’s the best track on the album too, thanks to a scintillating and addictive chorus. ‘The Last Of Us’ is a more up-tempo no-nonsense Gothic track that strangely calls to mind something that The 69 Eyes might have penned had they been of a slightly heavier persuasion ‘Funeral Bloom’ includes a few The Cure-esque Goth-pop influences whilst ‘The Future Is Dark’ which has yet another superbly catchy chorus and an irresistible lead guitar solo to truly rival ‘Full Moon Madness’, my very favourite Moonspell track of all-time.

I could go on, but I won’t. Instead I’ll end by concluding that ‘Extinct’ really is a monster of a Gothic metal album that showcases Moonspell at their beguiling best.

www.manofmuchmetal.wordpress.com

Man of Much Metal's top album number 23

The Man of Much Metal has been doing a countdown of his top 30 albums. Below is an example, and the link. *

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Number 23

Enslaved

‘In Times’

Nuclear Blast Records

Enslaved are one of those bands that, if I’m being entirely honest, I’ve only really admired from afar. There is no disputing the fact that they are a highly accomplished band but up until now, their output has never truly resonated with me. That has changed with ‘In Times’, hence their inclusion within this list despite it being the strongest year to date since I started these mammoth countdowns.

The word ‘unique’ gets thrown about far too often when describing the output of heavy metal bands. However, Enslaved have become truly unique. A constant evolution over the years still sees their extreme metal roots intact but as the albums pass, the roots have become ever-more intrinsically linked to, and entwined with, other elements. Progressive rock and metal, ambient, post-rock, jazz and a whole host of other ideas collide in what can only be described as some of the most fascinating and rewarding heavy metal currently being created anywhere in the world.

But more than that, to these ears at least, ‘In Times’ is as warm and inviting as it is cold, extreme and challenging. There are accessible moments on this record and strong passages that stick in the mind long after the record has stopped playing, more so than on any previous release by the Norwegians. I may be shot down by that last statement, but it is certainly how I perceive things.

‘Thuriasz Dreaming’ may begin in a spiky and confrontational manner, much more aligned with their black metal roots, but as the track develops, more in the way of experimentation comes to the fore including quieter passages, almost discordant sounds and those clean vocals that juxtapose the more guttural delivery excellently.

By contrast, ‘Build With Fire’ is a much more catchy and up-tempo track that bounds along and even introduces a lead guitar solo in the latter stages. ‘One Thousand Years Of Rain’ injects a touch of folk metal into proceedings whilst ‘Nauthir Bleeding’ changes the pace yet again. It is more symphonic and epic in nature but features a great riff at the midway point as well as yet another guitar solo to hammer home the almost euphoric nature of this track.

Containing just six tracks, it is fundamental that each of the compositions adds weight to the overall album and that there are no weak moments. That’s exactly the case here as Enslaved, assisted by a great in-house production and mastering job by Fascination Street Studios, are seemingly incapable of delivering anything short of superb. I love the increased black metal elements and coupled with an increased sense of experimentation and drama throughout, ‘In Times’ is arguably the best that Enslaved have ever sounded.

www.manofmuchmetal.wordpress.com

this week's issue: number 71 of Metal Bulletin Zine

The issue for this week is number 71 of Metal Bulletin Zine. At the link below you can read it online and download it.

**NEW** METAL BULLETIN #71

Septagon, Under the Blade, Flight, Tribünal (free) Blood of the Wolf, Aethernaeum, Maximum Carnage (free), Maniac Abductor (free), In Glorious March (free), Living Altar (free)

www.fuglymaniacs.com

Man of Much Metal's Album Of The Year 2015 – Number 30

The Man of Much Metal has been doing a countdown. Check out this example and find out more at the link below.

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Here we are again, at year’s end. I can’t believe that another 12 months has passed since I began my countdown for 2014, it doesn’t seem that long ago. And yet, in the intervening period, a lot has happened. My eldest daughter has started nursery whilst my youngest has changed from a new born baby into a cheeky, happy one-year-old. I have also moved house, relocating about 15-20 miles but remaining in the beautiful county of Suffolk. I therefore have a new ‘Mansion of Much Metal’ to use as the Blog Of Much Metal HQ.

Then there’s my decision to leave Powerplay Magazine after ten great years. The reasons are numerous but the result is that I get more time to focus on the Blog, my labour of love.

But, most importantly of all, the last year has blessed us with some amazing music. 2015 has been unbelievable in terms of the sheer quality of music but moreover, the depth of the quality is staggering. I have spent weeks mulling over my Top 20 of 2015 but it has proved impossible. On the advice of many of my kind and loyal followers, I decided to increase the countdown to 25. However, when it came to compiling the list, this was still impossible.

The aim of this blog is to get as much exposure for great music as possible. It feels unfair therefore to limit the countdown to 25 bands/artists when there are bands that miss out that are equally worthy of the plaudits they deserve. As a result, I have expanded the annual countdown to 30. I hope this doesn’t put too many of you off, but I honestly believe every entry in this year’s list deserves their place. I shall spend the next month trying to prove it to you.

Whilst I number each release and will count down from 30, the spots from 30-16 are more arbitrary and each can be considered to be as equal as each other, with the final 15 in a solid order according to my personal and very subjective tastes. I’m sure there will be some debate about who I’ve missed or who shouldn’t have made the final cut, but I’m keen to hear all views – bring it on!

Number 30

Subversion

‘Animi’

Rogue Records America

I’m not the biggest fan of the whole djent/tech metal subgenre and it’s a style of music that I don’t automatically gravitate towards. However, sometimes you just have to doff your cap and say to a band ‘well done, you’ve proved me wrong’. On this occasion, it’s Subversion with their sophomore release, ‘Animi’.

Subversion hail from Kent in the UK and their music has been dubbed as ‘symphonic tech metal’ which, I have to say is an accurate description because the music is huge, rich and powerful. There are plenty of those archetypal chugging riffs that helped to coin the ‘djent’ tag as well as those Meshuggah-like gruff vocals which lay the foundations of a heavy and complex, progressive sonic output.

However, for me, it’s the other side of the Subversion sound that gives me the biggest buzz and enjoyment. Almost every composition on this 10 track album relents on the all-out spiky, tech aggression at some point and, in genuine contrast, allows something altogether more majestic to come to the fore.

‘Born Of The Sun’, for example, is an absolute monster that benefits from some truly sumptuous melodies that are enhanced by synths and programming to create a wall of sound that is epic, spine-tingling and almost euphoric. ‘Imperfect’ delivers some great post-rock atmosphere, ‘Pariah’ is a simple yet effective palette-cleanser whilst ‘Novation’ is nothing short of anthemic. The synths and huge riffs combine to great effect, creating an almost cinematic experience whereas the melodies are immediate and Kai Giritli’s vocals are some of the best on the entire record, full of passion and energy.

In spite of myself, I find a hell of a lot to enjoy about ‘Animi’. Sure it taps in to many of the aspects of modern heavy music that I generally don’t overly enjoy but such is the band’s enthusiasm, on-point musicianship and innate understanding of strong song-writing, I can’t find much to fault about it at all. Subversion have set the benchmark for me in 2015 for this kind of music & I’m excited to hear what they come up with next. A very worthy inclusion in my end-of-year ‘best of’.

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