Wednesday, June 15, 2016
interview: Bestial Invasion
Inquinok and Slutvomit this Friday, support acts for Venom Inc.
This Friday two support acts for Venom Inc. will be the Washington state bands: Inquinok and Slutvomit. Here is a bit of information about both bands.
June 17
Venom Inc., Necrophagia, Wormreich, Sunlord, Inquinok (WA state), Slutvomit (WA state) at Studio Seven, Seattle, WA
June 18
Venom Inc., Necrophagia, Sunlord at The Shakedown, Bellingham, WA
OFFICIAL INFORMATION: Inquinok is an epic, melodic extreme metal band out of Seattle, Washington. The band was founded in the summer of 2000 by Krelian and had it’s first full lineup in May of 2001.
Inquinok released their demo entitled “Shadows Amongst The Moonlight” in 2003 which featured four very dark and atmospheric tracks. The demo received much praise from fans of extreme metal and metal in general and was reviewed positively in several magazine/websites including Metal Maniacs. The band played many shows before going in to the studio to record their debut album, including supporting bands such as Cannibal Corpse, Incantation and Sadus.
Inquinok’s debut album entitled “Entranced By Twilight’s Gaze” was released in January of 2006. Entranced By Twilight’s Gaze featured ten songs, showcasing great songwriting and musicianship as well as excellent solo work from then new lead guitarist Mordred. The album established Inquinok as a promising new metal act and a band to look out for.
In early 2007, the new lineup was fully realized. The band's lineup became Krelian on vocals & rhythm guitars, Mordred on lead & rhythm guitar, Kythving on bass, and Tormentor on drums. Inquinok had become more aggressive and darker then ever, partly due to the addition of Tormentors fast and brutal drum style. The band showcased their new material at various shows including their headlining of the Northwest Deathfest in 2007 and supporting such bands Mayhem, Nachtmystium, Wolves In The Throne Room and Enslaved.
In 2010, Inquinok released a single 'Tormented Skies' before starting work on their 3rd album which would be called 'Dimension of I'. 'Dimension of I' which featured 9 brand new tracks was released digitally in January 2013. After taking a break after the release to work on some other projects (Shaded Enmity, Somnae) the band will be returning in full force for live shows and a 4th album.
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Slutvomit (Washington state)
This band does not like to provide much information because if they do, the government squads will be able to identify them. As things stand now, the band is on the run from the authorities and if you see them be sure to give them the horns up and tell them: "Keep running! Don't let them take you in alive!" The following is how this publication described this band some time ago: According to the book of heavy metal written in blood on iron pages, if you name your band with the word “vomit” in it, then you are hereby obligated to play raw extreme metal that is perfect for cult status and zealous allegiance of diehard underground metalheads. They sound like they have had enough of the hipsters and indie rock people that populate the college town of Bellingham. Hey, no need to feel sorry for yourself if you are a metalhead, form a band and play the metal that you want to hear. Metal Archives says that they formed in 2006 and they have the following discography: the “Satanic Slut Metal” demo from 2007, the “Turning the Cross Towards Hell” EP from 2011, and the “Swarming Darkness” album from 2013. Now they are threatening society with a new album!
Update: The authorities have not captured them yet, and the band now has five songs that you can access on Facebook.
www.inquinok.bandcamp.com
www.facebook.com/Inquinok/
www.facebook.com/Slutvomit-123318014412787/
NEWS: Straight Hate
The 2 Dates of Hell: Venom Inc. comes to Washington state
Tuesday, June 14, 2016
NEWS: Engraved Darkness
NEWS:
Engraved Darkness
Diabolical Scriptures
release date: 29 April 2016
label: independent
This extreme metal band from Ohio, U.S. may have slipped under your radar unnoticed. If you are interested in hearing lesser-known but serious extreme metal bands, below you will find a link to the complete album. The band has been around for years and years now, and now the album shows their brand of extreme sounds, which has a definite mentality of old, but also the blasting speeds and the extreme vocals that often characterize the modern bands. The recording is not a demo and it is not a garage recording, either. It sounds like serious business, even though they appear to be working without the backing of a company at this point. At any rate, if you like to hear independent bands that have not gotten much attention, this band's extreme metal might interest you.
OFFICIAL INFORMATION: Engraved Darkness was forged in Ohio in December 2009 by Johnnie Wallace (guitars, vocals), Matt Stewart (guitars, backing vocals), and Matt McVey (drums). Their only intentions, to bring the heaviest, most aggressive and brutal music known to mankind. In 2014, the current line up of Johnnie Wallace (guitars, vocals), Jimmy Rose (guitars), and Andy Hall (drums) was created with the addition of Colin Glover (bass, backing vocals) in early 2015 . This lineup has come to be game-changing and the turning point for the band, and is featured on their debut album Diabolical Scriptures.
The band's sound derives from a vast combination of influences, and the styles of many genres, but is still firmly rooted in death metal. This creates a sound full of dark harmonies, dual-layered vocals, blistering picking with intense beats, and mind infesting riffs that will continuously echo through your skull.
Engraved Darkness have built a reputation for themselves as a formidible live act, and have shared the stage with notable bands such as Six Feet Under, Hate Eternal, Skeletonwitch and Beyond Creation.
www.engraveddarkness.bandcamp.com/releases
www.facebook.com/EngravedDarkness/
Monday, June 13, 2016
free recording of traditional heavy metal: Weaponlord (Seattle)
NEWS: Abnormality
NEWS:
Abnormality
Mechanisms of Omniscience
Metal Blade Records
release: 29 April 2016
People craving blasting technical brutality need to look no further than Abnormality. Inhuman speeds, time changes, undecipherable low growling, a huge wall of sound and an obsession with clinical perfection, it's all here. You won't understand a single word, you'll be dizzy and the only melody you'll hear comes from the guitar solos. The stage is set for Abnormality to give everybody a run for their money, and to get the kids moshing out of their heads. If the band is new to you, the following official information will be very useful. Fortunately, you can hear the complete album at the link below. Try it out, it's going to be a workout or just total punishment in different forms. Either way, it's going to be a good time!
OFFICIAL INFORMATION: The fertile east coast death metal scene has poured forth some seriously formidable bands over the last decade, but there are few that can match the sheer visceral power and razor sharp songwriting skills of Marlborough, Massachusetts' Abnormality. Marrying the ceaseless brutality coming out of New York and New England to the hyper-blasting intensity endemic to Quebecois death metal, the quintet deliver music that is as unrelenting as it is passionate, and with their second full-length, Mechanisms Of Omniscience, they deliver a defiant blow. "The album is total death metal, no bullshit, no fancy shine. This is an album for the blue collar worker who's killing him or herself to live, and the kid stuck at home who's listening on headphones," states bassist Josh Staples. Moreover, tackling real world issues with intelligence and raw emotion, they create music that both moves and matters. "I am interested in the true nature of the world, the power structure and why the world is the way it is. There are many illusions out there, or blatant lies, rewritten history, and I do my own investigations and attempt to see through falsities. I want to know about human nature, how and why people can be cruel to each other, and why there is so much suffering in the world," states vocalist Mallika Sundaramurthy, who splits lyric writing duties with drummer Jay Blaisdell. "We write about the destruction of humanity, but we are not for the destruction of humanity."
Formed in 2005, the band drew its members from the ranks of units such as Teratism, Forced Asphyxiation, Goratory and Sexcrement, and they have worked patiently and persistently to build up a grassroots following, maintaining their integrity while steadily expanding beyond their local scene. While initially envisaged as a side project between Sundaramurthy, Blaisdell and guitarist Jeremy Henry, their intent was to write high quality, technical and heavy music, and as this crystallized a desire to bombard audiences grew. In 2010 they dropped their debut EP The Collective Calm In Mortal Oblivion, which immediately drew attention in the underground, followed by the crushing and critically acclaimed full-length Contaminating The Hive Mindin 2012, cementing their status as one of the heaviest and most dynamic bands in the genre. Importantly, the band have also grown with every release. "Each album has its own feeling and its own variations but remains rooted in the core Abnormality sound," Sundaramurthy says. "An album documents where we were at in that time and space, what we were thinking and what inspired us then, including world events, politics, and things in our personal lives. There are some consistent elements throughout the discography, but certainly there is an evolution you can follow if you listen to our music chronologically."
Embracing their network of fans, they have toured extensively and proved themselves a dominating force no matter what size stage they play on, performing from coast to coast and border to border, as well as racking up festival appearances in the United States, Colombia, and Europe. In 2014 they tore up the continent while on the road with Dehumanized, Malignancy and Beneath, and their appearance at The Netherlands' Neurotic Deathfest was a highpoint for the band. Disinterested in flash-in-the-pan popularity, the band focused on building momentum organically, their reputation growing both through word of mouth and via the many videos posted on YouTube, including the eerie clip for "Monarch Omega", which has racked up almost 2 million views. With such a fervent following, the band remain fiercely loyal to their fans, reciprocating the love and devotion shown them. "The people who have been with us and supported us from the beginning, it's crucial to us," states Henry. "Contrary to popular belief, being a musician in today's day and age is a shitty prospect. The sacrifices made are overwhelming at times, but it's those people offering their support that keep you motivated and moving forward, and believing that what you are doing is worthwhile despite an increasingly materialistic and shallow society."
While 2016 marks the 11th year of Abnormality's existence, the savage anger and urgency driving Mechanisms Of Omniscienceis the sound of the hungriest of bands, generating an intoxicating energy. With the lineup solidifying with recent addition Sam Kirsch on guitar, the band approached the follow up to Contaminating The Hive Mind with the intent of moving their sound forward, and utilizing the skills of every member of the band has always been important to the Abnormality creative process. "Our newest member, Sam, gave us a new perspective and influence," adds Henry. "Everyone contributes to the writing process, and it was only natural that someone coming from a different place musically would have an impact on the end result. I think the push and pull from our members' differing opinions and musical influences lend itself to the musical compositions evolving from song to song and record to record." This approach ensures that only the strongest emotions are pushed to the surface. Through focusing on individual songs rather than planning out a whole album in advance, it makes for more potent and dynamic songwriting, and by the time they headed into the studio with longtime producer Peter Rutcho, they had ten killer tracks ready to be laid down. "Rutcho has been with us for years now, and that type of familiarity and comfort level cannot be replaced," says Henry. "He knows all of us in and out, all of our flaws and strengths. He really put his mark on this record as well-- there was a lot of sonic production that went into it where his creativity was crucial." The result of this meeting of minds really does see the band elevated to the proverbial next level. The floodgates open with "Swarm", a frenzied and contorted sonic assault that destroys everything in its path, and from there on out they don't let up. Music is rarely uglier or more scathing than that unleashed on "Irreversible"; the grooves and atmospheric textures blended with unrepentant hostility on "Synthetic Pathogenesis" are almost overwhelming, and by the time apocalyptic closer "Consuming Infinity" collapses under its sheer sonic weight, the listener is left feeling brutalized. Still, the music is only part of the picture, and every lyric Sundaramurthy wraps her ferocious roar around is rooted in the ideology of the band. At the core of this is the title track, penned by Blaisdell. "The chorus is 'The abuse absolute, like a tumor you can't remove, this cancer spreads to every organ. This prison we live in, mechanisms of omniscience, relying on uniform ignorance', and the song is about the well established order of control and power in the world," the drummer explains. "It's about the people who have the real power and their means and methods of control over us, and how those methods require a level of ignorance on our part in order to be successful. The methods, or mechanisms, exist in many forms. It's unavoidable and invasive. From the endless wars and atrocities, to the fractional reserve debt slavery, the rigged elections and the criminals who are supposed to represent us, or the blatant spying on everyone and everything by intelligence agencies that are completely out of control. These are just a few of many enormous problems that have grown beyond repair. Mechanisms Of Omniscienceis about a monolithic system of control that is so advanced that it not only successfully ensures the same sadistic fucks maintain the power and control they've always had, it also does this while convincing everyone else to enjoy their own subjugation, the illusion of being free." Sundaramurthy concurs with this, and all of the lyrics she writes come from a similarly critical stance, cutting through the lies, and dissecting complex issues without flinching-- yet while there are elements of bleakness to this, it is not the whole picture. "My lyrics are rooted in realism, investigation of our reality, spirituality, with a tinge of idealism. I'm curious about where humans came from, where civilization is going, and all the darkness that goes along with those things. I like to look straight into the void of reality, past, present and future, and not shy away from it. Though this may sound nihilistic, I stand for finding and speaking truth, however dreadful it may be. I believe in morality, and in helping the oppressed and voiceless."
Adding a further dimension to the album's impact is the artwork, which was also created by Sundaramurthy. While embodying an old school spirit there is something immediate and contemporary about it, encapsulating the violence of the music beyond this image. "I am inspired by old school death metal album covers and also dark fantasy and surrealist artists, such as Zdzisław Beksiński, Wayne Barlowe, and Dan Seagrave, and I went for an abstract approach with the album cover. It is meant to represent the dark emotions and cover some different themes throughout the album songs."
Armed with the record, and thrilled to have Metal Blade behind them, the band have never been as serious about getting their message out there, as well as ensuring legions of the moshing masses incur whiplash, bloody noses and blown MCLs in the best way possible. While they are understandably proud of the hard work they have put in over the years and the finished product that is Mechanisms Of Omniscience, in many ways they are just getting started. "We would like to keep evolving our brand of aggressive, technical, yet atmospheric death metal into new and unexplored territory," says Sundaramurthy, but their intentions go much deeper than this, and she makes it clear that the drive and purpose pushing the members of Abnormality has never been more urgent. "The American dream is dead, illusions and fallacies are being exposed; the masses have been sold out to the corporate elite, the planet is being ransacked, and we're all fucked. We have never been more pissed off and inspired to spread our music and our vision of the brutal realities of our world. The machine that is Abnormality has only gotten stronger and louder over the years. We won't let up until we leave our mark on the metal scene, and the world."
www.abnormality.bandcamp.com
www.facebook.com/AbnormalityOfficial
www.twitter.com/abnormalityband
Sunday, June 12, 2016
interview: Harmonium
Harmonium recently released a grand impressive free/name-your-price recording of symphonic power metal called Symphony of Steel. The 45-minute recording (according to Metal Archives), follows two separate singles released earlier this year, too. Who is Harmonium and what is Harmonium all about? Let’s see what we can figure out through this interview. Power metal headbangers should check out this band! See the link below to hear and support the complete recording. The guitarist/composer Kakhi Kiknadze answered the questions.
Greetings! Tell us about Harmonium, friend!
Hello, Metal Bulletin! First of all thank you so much for this interview. As we have finally released our debut album SYMPHONY OF STEEL in 2016 which took about 3 years we are happy with the result. Of course, we're not going to stop and planning to make more music together but at this moment we have a little time-off. I myself am concentrated more on my other bands this year recording debut albums for IAHSARI and BEYOND ILLUSION. In IAHSARI we have even released our first official video clip and the feedback was so good that we're doing our best to record this album as soon as possible. Apart from that I'm still writing some new material for HARMONIUM's new album, but it's hard to record 3 album together. That's why I decided to record next album after I finish working on IAHSARI's album.
Harmonium is a studio project, correct? How did you find each other?
Yes, HARMONIUM is a studio project and will remain so until we'll have an opportunity to play together on stage. This project includes musicians from Georgia, Mexico, Colombia, Czech Republic, Italy, Greece and more so it's hard and needs expenses to play together live. We need a good sponsorship for that. The idea of HARMONIUM began a long time ago. I always wanted to play with such great musicians around the world and couldn't imagine this would happen in real. Once I remember sharing this idea with my friend Angel Huerta who I met on YouTube first. He also wanted such project and we decided to take this idea to the next level. Angel linked Dani Zapata's cover video of Pathfinder's song “Fifth Element” to me and I was really amazed about his vocal skills so I've contacted him who gladly joined our project as an official vocalist.
Same way I found Iliour Griften who became another official vocalist of Harmonium. I've met Jorge B. Canchola (bass player and composer) thanks to Angel again. Jorge did really great job composing Harmonium songs with me. I was really amazed about his ideas in orchestral arrangements. So as the heart of Harmonium was ready I began seeking for guest musicians. I really couldn't imagine that Apollo Papathanasio (Spiritual Beggars, ex-Firewind) would accept to sing for us. I've also met awesome Italian singer, Andrea Bicego (4th Dimension), who was also happy to record his vocals. I met my native singer as well, Mari Chakvetadze, who recorded her vocals in our track “Warrior's Revenge,” Michal Jankuliak from Czech power metal band Eagleheart has recorded guitar solo in this track as well. We have also amazing keyboard solos recorded by Colombian Victor Hugo Santafe Ossa (ATTA). So internet has played the main part making this idea real.
If different musicians recorded their parts in separate regions of the world with different equipment, how is it possible to make it sound coherent?
Of course, we have recorded our tracks with different equipment, but there's the magic of mixing them together. All tracks including guitars were recorded dry without any pre-modelling. At first I sent those tracks to Bob Katsionis (keyboardist of FIREWIND) to mix them down but during this 3 years I've decided to mix them down in my home studio by myself. However I left 'Elfhaven Forest' as it was mixed by Bob. The hardest part was mixing orchestral instruments with metal ones, but I made it anyway. Of course not alone, Jorge helped me so much in orchestral mixing.
How would you describe your metal music?
Our debut album's main influence was Rhapsody, Pathfinder, Stratovarius, but we have added some nice progressive elements in some of our songs. To sum this album up it is mostly symphonic epic metal with slaying dragons, fighting for lands and so on. However, next album is planned to be more different.
What are your objectives with your music?
This project is a dream come true for me and of course I have some professional goals with it. I get more and more motivated when I see people likes our work and so does every member of Harmonium. This project not only helped me get great musicians but friends, too. As we are happy to work together we believe we can have the success. This album is just the beginning that showed us it was worth it. Our biggest objective is to make more music together for people to like it and maybe one day we will meet each other on stage!
So far, in your music, what type of lyrics have you had?
Main concept of SYMPHONY OF STEEL is war, but it's not one story. Each song has its own story. For example 'BATTLESTORM' is about the war scene and talks about both sides of warriors who are ready to fight for their lands til the last drop of blood. 'Warrior's Revenge' is about a warrior whose land was invaded, people killed, everything was destroyed and he grieves for his loss and this grieve gives him strength and desire of revenge. 'Elfhaven Forest' is about elves and their forest who live in peace and the love of their land making it invulnarable. 'The Longest Journey Back Home' tells us a story about warriors returning from battlefield who have long and difficult way back home.
Album also contains a bonus track called 'Heroes,' written back in 2013 by my friend Beqa Chkhartishvili and I. We played that song in my old band CRIMSON HORIZON, but I have recorded it in HARMONIUM too with orchestral feel where Davit Mikautadze sang. Lyrics of this song represents the war in Georgia against Russian occupation in 2008 and it is about heroes who fought for our country. As a result I think this kind of lyrics were good for this album, but for the next one I'm going to have much more different concept of lyrics as well as songs themselves.
Do your lyrics deal with society or religion or politics or spiritual views?
I don't think our lyrics have something common with religion, politics or spiritual views. Those lyrics are general and mostly represents fantasy characters. However, there might be some of those views in our next album.
What type of equipment do you use to achieve the sound of symphonic power metal?
Currently my home studio consists mostly with digital equipment. I've worked in different DAW programs like Cubase, Sonar, Logic Pro and currently working in Pro Tools. I enjoy 'Waves','IK Multimedia', 'Izotope' Plugins. For orchestral arrangements I like using 'Native-Instruments' samples. Lately I've been using 'Positive Grid BiasFX' for guitars and bass. About my favorite guitars I'm happy with Ibanez RG370 and ESP LTD EC-407 that I have. I have modified my Ibanez guitar with Alexi Laiho's signature EMGhz humbucker pickup which I used in HARMONIUM recordings. However, I would like to have Washburn parallaxe models, Ola Englund's signature maybe and want to have one with Evertune bridge. Also I like Kiesel, Caparison, Mayones, Skervesen guitars. I hope I'll have one someday. As for amplifier I'm interested in Randall products lately.
It was hard to find a drummer who had recording equipment so I've decided to program drums in computer. All drum parts are composed by me and Jorge. I used Superior Drummer - Metal Foundry' samples for drum sound.
www.harmoniumband.bandcamp.com
www.facebook.com/Harmoniumband
Saturday, June 11, 2016
Whitechapel
Whitechapel
Mark of the Blade
Metal Blade Records
release: 24 June 2016
Whitechapel seems to be a very successful band. Their Facebook page appears to have over one million likes. This is the first time that I listen to one of their albums. Whitechapel is a band with a modern sound in the general area of hardcore, emocore, djent, chugging coregrowling rock. They are marketed as death metal or extreme metal, but they certainly do not have much in common with any of the subgenres of death metal. Most of the time the growling sounds layered and the chugging guitars are dominant. The chugging/djent/core is by far the main thing that they do. They do a bit of variety: "Bring Me Home" is a ballad. It's a hardcore/emocore power ballad. They sound like a chunkier form of a punk band. In short, this band appears to be successful, but I don't know. They sound hip and modern and marketable. They have the short hair and the tattoos that the younger crowds like, it seems. On the other hand, if you hate anything that sounds like core and djent, definitely make sure to stay away from this band.
review by MMB.
Friday, June 10, 2016
Seattle area concert calendar by Metal Bulletin Zine (Washington state)
If you know of other metal concerts in the area, please get in contact with Metal Bulletin Zine here, on Facebook and Twitter.
June 11 Voivod, King Parrot, Child Bite, Heiress, Sanction VIII, Eye of Nix El Corazón, Seattle, WA
June 12 Pygottpalooza, Defenestrator, Muppet Fetish, Ghostblood at The Shakedown, Bellingham, WA
June 15 Apothecary, Ice Teeth, Vesuvian at Funhouse, Seattle, WA
June 16 Washington Deathfest: Sarcalogos, Funeral Age, Primordial Atrocity, Dead Nexus, Fools Among Thieves at
The Charleston, Bremerton, WA
June 16 Taake, Young and in the Way, Wolvhammer, Addaura, Blood Etchings at Highline, Seattle, WA
June 17 Into the Storm, Aggression, MRSA, Hexengeist at Substation, Seattle
June 17 Cyborg Octopus, The Last of Lucy, Raiju, The Devils Of Loudun at Highline, Seattle, WA
June 17 Queensryche at Silver Reef Casino, Ferndale,WA
June 17 Venom Inc., Necrophagia, Wormreich, Inquinok, Slutvomit at Studio Seven, Seattle, WA
June 18 Venom Inc., Necrophagia, Sunlord at The Shakedown, Bellingham, WA
June 18 Obsidian, Rhine, Oxygen Destroyer, Serpentspire at Funhouse, Seattle, WA
June 18 Aggression at The Charleston, Bremerton, WA
June 19 Unaussprechlichen Kulten, Dire Omen, Drawn and Quartered, Dilapidation at Highline, Seattle, WA
June 25 Nightfell, Hallucinator, Serpentine at Substation, Seattle, WA
June 25 Trannysaurus Rex, Gygax, Substratum, Hexengeist at Highline, Seattle, WA
June 26 Profatanica,Demoncy, Fornicator at Highline, Seattle, WA
June 26 Aggression at The Pin, Spokane, WA
June 26 InAeona, Immortal Bird at Funhouse, Seattle, WA
July 1 Ashen Pyre at Obscurus, Everett, WA
July 1 Yob, Sandrider, Un at Highline, Seattle, WA
July 4 Ashen Pyre, Serpent's Chalice, Born Without Blood at Substation, Seattle, WA
July 7 Wayfarer, Alda, With The End In Mind, Falls Of Rauros Highline, Seattle, WA
July 16 Holy Grail, Spellcaster, Exmortus at Highline, Seattle, WA
July 17 Ne Obliviscaris, Black Crown Initiate, Starkill at The Shakedown, Bellingham, WA
July 18 Ne Obliviscaris, Black Crown Initiate, Starkill at The Crocodile, Seattle, WA
July 19 Inter Arma, Withered at Barbosa, Seattle, WA
July 20 Imbalanced, Anthrocene, Defenestrator, Oxygen Destroyer at Funhouse, Seattle, WA
July 21 Arkaik, Vale Of Pnath, Singularity at Studio Seven, Seattle, WA
July 22 Castle, Disenchanter, Year of the Cobra at Funhouse, Seattle, WA
July 22 Undergang, Spectral Voice, Temple of Abandonment at Highline, Seattle, WA
July 28 Riot V at Studio Seven, Seattle, WA
July 28 Inquisition, Antitheus, Sacrament ov Impurity, Guests at Wild Buffalo, Bellingham, WA
July 29 Inquisition, Antitheus, Necrosomnium, Sacrament ov Impurity, Guests at Studio Seven, Seattle, WA
August 5 Come To Grief, Bell Witch, Hissing, Dilapidation at Highline, Seattle, WA
August 8 Summer Slaughter: Cannibal Corpse, Nile, After the Burial, Suffocation, Carnifex, Revocation, Krisiun and more at Showbox SODO, Seattle, WA
August 12-14 Migration Festival at the Capitol Theater in downtown Olympia, WA: Alaric, Auroch, The Body and Krieg collaborative performance, Christian Mistress, Dead to a Dying World, False, Fórn, Full of Hell, Hell (U.S.), Khemmis, Kowloon Walled City, Krallice, Magic Circle, Mizmor, Mournful Congregation, Mutilation Rites, Nightfell, Obsequiae, Pale Chalice, Panopticon, Thou, Vastum, Vhol, Yellow Eyes
August 16 Krallice, Pale Chalice, Addaura, A God or an Other at Highline, Seattle, WA
August 21 Anthrax, White River Amphitheater, Auburn, WA
August 22 Master, Sacrificial Slaughter, The Black Order, VX36, Xoth at Substation, Seattle, WA
August 24 Sammy Hagar at The Tulip Amphitheatre, Tulalip, WA
September 1 Cobalt, Mantar at Highline, Seattle, WA
September 5 Volbeat, Killswitch Engage, Black Wizard at WAMU Theater, Seattle, WA
September 16 Marduk, Rotting Christ, Carach Angren, Necronomicon, Funeral Age, Inquinok at Studio Seven, Seattle, WA
October 1 Def Leppard at Tacoma Dome, Tacoma, WA
October 11 Gojira, Tesseract at Showbox SoDo, Seattle, WA
October 14 Between the Buried and Me, Devin Townsend Project, Fallujah at Studio Seven, Seattle, WA
October 15 Saint Vitus, The Skull, Witch Mountain at El Corazón, Seattle, WA
October 29 Himsa at El Corazón, Seattle, WA
November 26 Dark Tranquillity, Swallow the Sun, Enforcer, Star Kill at El Corazón, Seattle, WA
November 29 Sonata Arctica, Leaves’ Eyes, Omnium Gatherum at El Corazón, Seattle, WA
January 18 Udo Dirkschneider "Back To The Roots - Farewell To Accept" at El Corazón, Seattle, WA
January 28 Blue Öyster Cult at Historic Everett Theatre, Everett, WA
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Wednesday, June 8, 2016
Be’lakor (review by The Man of Much Metal)
The Man of Much Metal has written a review of the upcoming album by melodic extreme metal band Be’lakor. Check it out below, especially if you like "melodeath."
Artist: Be’lakor
Album Title: Vessels
Label: Napalm Records
Date Of Release: 24 June 2016
Some of you who regularly read my blog may have noticed something of a theme going on. Now that I am writing for myself, I can listen to exactly what I want. It means that I can now explore avenues that have, to date, eluded me. As a result, I have found myself writing reviews that start with a statement along the lines of ‘this band is new to me’, ‘I know nothing about this band’s history’ or ‘why haven’t I listened to this band before?’ It’s a wonderful feeling to discover a completely new band, however early or late you are to the particular party; it keeps things fresh and exciting.
And this review continues the theme. Be’lakor is an Australian death metal band with progressive and melodic tendencies and I could curse myself for not hearing them before. After all, they’ve been in existence since the early-to-mid naughties, have released three albums and are squarely within a metal subgenre that I really like. Never mind, I have ‘discovered’ them now and anyway, I can self-administer 50 lashes later.
Right now, I have a review to write.
I am reliably informed that if you’re already a fan, then ‘Vessels’, the Melbourne quintet’s fourth album will delight you as it does not deviate far from their own tried and trusted formula. And if you’re a fan, that’s probably enough of a review to convince you to buy it. However, for the rest of us, those heathens in the midst of the enlightened, I feel compelled to elaborate and bring you into the fold along with me.
You see, ‘Vessels’ is, quite simply, fantastic. It is one of those albums that makes an instant impression but with further listens, matures and blossoms into something even more impressive. Small and subtle nuances come to the fore, intricacies reveal themselves and the melodies burrow deeper into your psyche.
At its heart, ‘Vessels’ is a death metal album or, at the very least an extreme metal record. The guitar riffs, courtesy of George Kosmas and Shaun Sykes offer plenty of aggression, as does the uncompromising rhythm section comprised of drummer Elliott Sansom and bassist John Richardson. Then there are the vocals of Kosmas, who has a wonderfully deep and rumbling tone to his growls, thereby creating another layer of brutality. In a way, I am reminded of Jukka Pelkonen from Omnium Gatherum in terms of the vocal delivery, which is a very good thing in my book.
But Be’lakor are not content to just plough a brutal furrow. Theirs is an end product that is made all the more interesting and engaging thanks to a willingness to blend in other musical styles into the core sound. This is ably assisted throughout by keyboardist Steve Merry and the ability of the rest of the band to take their collective foot off the pedal and engage in sophisticated playing to compliment the brutality. ‘Vessels’ is, as a result, a multi-layered, multi-faceted beast full of wonderful aural textures, atmosphere, drama and grand elegance.
The album kicks off in a manner to underline all this because ‘Luma’ has an extreme metal-meets-hard rock flavour to it, not to mention a slightly off-kilter progressive beat. The opener might be less than two minutes long but it packs plenty in, not least an up-tempo urgency that heightens the expectations for what is to come.
That being said, I don’t think anything would have prepared me for ‘An Ember’s Arc’, which is a staggeringly excellent composition. It begins subtly with layers of atmospheric synths, finesse-laden drumming and a sumptuous acoustic guitar melody before exploding into something altogether more menacing and heavy. And yet, Be’lakor maintains that melodic edge thanks to some great lead guitar work. Plus the groove, when employed, is infectious. The song then drops away, descending into ambient post-rock territory before ascending back to heavier climes. Later, there’s room for another gorgeous acoustic segment complete with the sounds of birds singing which gives way to the most uplifting of crescendos, full of power and melody. This eight-minute track has so much going on within it, but the masterstroke is that Be’lakor manages to make it all sound cohesive and very smooth.
‘Withering Strands’ follows and if I was already smitten by ‘Vessels’, this is the track to tip me over the edge. It’s the longest composition of the album weighing in at over ten minutes but again is dominated by some compelling melodies courtesy of Shaun Sykes’ lead guitar work and the deep and rich synths. The track really underlines the progressive tendencies of these Australians as it ebbs and flows serenely from one idea to another, from blast beats to calmer moments where the darkness seeps into your bones. I love the fact that the production allows all of the instruments to shine and here, the bass really benefits, coming to the fore when all other instrumentation drops away. The introduction of a piano adds sophistication and the frequent tempo changes inject plenty of drama, meaning that this truly epic-sounding composition flies by in a flash.
To be honest, the remainder of ‘Vessels’ follows a similar pattern of extremely well-written, thoughtful and engaging melodic death metal with Be’lakor unable or unwilling to play it safe. And you know what? I love that.
‘Roots To Sever’ benefits from a driving tempo for the most part, acoustic guitars that are present throughout and some really memorable melodies that I find get lodged in my head long after the song has finished. ‘Whelm’ begins subtly before breaking into full flow complete with some of the most extreme and frantic drumming on the record. That being said, the mid-tempo stomp that appears as the song develops is a great counterpoint and the classical-sounding acoustic guitar lead is a brief but inspired moment.
‘A Thread Dissolves’ is a sub-three minute piece dominated by an altogether darker vibe, led by the keys and synths which offer a great deal within a short period of time. Some of the sounds are disturbing and agonising, perfectly fitting the overall vibe of the track.
Given that the album is the better part of an hour in length, it never fails to surprise me how quickly I reach the end. This, I find, is always the hallmark of a great album and further underlines just how enjoyable I find it.
‘Vessels’ closes with the duo of ‘Grasping Light’ and ‘The Smoke Of Many Fires’, the latter of which begins with one of the most compelling openings I have heard this year. A lone guitar starts things off, quickly but surreptitiously joined by some atmospheric synths. Before long though a really cool proggy riff and time signature ushers in the full power of the track. And ultimately, it is the overtly progressive structure and intelligent delivery that has the biggest impact upon me where this song is concerned.
So there you have it. Be’lakor and ‘Vessels’ is the biggest and most exciting melodic death metal discovery I have made in the last year or so, maybe longer. They do everything that I like in my metal and they do it extremely well. I am well and truly converted to the Be’lakor cause and I cannot sing their praises highly enough…now, please excuse me whilst I grab my belt and chastise myself post haste…
The Score Of Much Metal: 9.0
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interview: Zørormr
Tuesday, June 7, 2016
NEWS: Spellcaster
NEWS:
Spellcaster
Night Hides the World
Prosthetic Records
Release: 8 July 2016
Classic heavy metal masters Spellcaster (Portland, Oregon, U.S.) have a new album which comes out very soon. The band's reputation keeps growing amongst the public that supports traditional heavy metal (and also true heavy metal, melodic metal and classic heavy metal) and this new album is a perfect example of why: great singing, catchy/headbanging riffs and songs that stay around long after they stop playing. Listen to the new songs available at the link below and hear for yourself. The new album is eight songs and it's around 43 minutes long (more or less). The following official information about the album just came in to this publication today, so there is more from this publication about this band and album coming up in the future, but for now, listen to the new songs and get ready for a fantastic album. It sounds very good, fresh, talented/skilled, professional and contagious. The metal public that wants real singing, riffs, solos and serious talent will be interested in this album, as they should be!
The new album:
1.Aria
2.Night Hides the World
3.The Lost Ones
4.Betrayal
5.I Live Again
6.The Accuser
7.The Moon Doors
8.Prophecy
OFFICIAL INFORMATION: You often catch that look. A band is on stage and all the members glance at each other with that “I’m feeling it” expression. The band is in the pocket, they have gelled and have become one cohesive unit and reach a sort of runners high for musician. This is exactly what happened to Portland’s heavy metal band, SPELLCASTER, going into their third (and Prosthetic Records' debut) full length album, Night Hides The World.
Though it wasn’t on the stage where this happened, it was in the rehearsal room. Founding member and bass player Gabe Franco elaborates, “We have formed a hive mind together, which I assume will happen to any musicians who manage to play together 3 to 4 times a week for years on end.”
A team is always stronger than the individual. When synergy is reached, the group becomes unstoppable and output is at its highest, greatest and most effective. SPELLCASTER achieved this, allowing each individual to hit his peak performance which benefitted the whole. Franco explains, “during our first 2 albums we were pretty selective - others might say nitpicky, about what riffs/lyrics we would use and how we wanted to sound, with this album I think we all collectively realized we are competent musicians and learned to trust each other more”
That trust gave way to 8 powerful, classic metal tunes. Biting sharp riffs from the twin guitar attack of shredders Cory Boyd and Bryce VanHoosen blend seamlessly with the rock-solid backbone of Franco and drummer Colin Vranizan. Tyler Loner adds soaring vocals on top of massive choruses to create the ultimate SPELLCASTER album.
Formed in 2009 and originally called Leatherwitch, the band’s debut EP, Spells of Speed, was self-released but later reissued by Heavy Artillery Records in 2010. The band toured the US with Evil Survives in support of the reissue, before returning to the studio to work on their debut full length. In the summer of 2011, Under The Spell came out to much acclaim, comparing the band to fellow Pacific NW metallers, Sanctuary and Metal Church.
Following this release, the band hit the road again, touring up and down the West Coast and all throughout the US. It was after this that band member changes and Heavy Artillery being sold resulting in them label-less painted a bleak picture for the band. Whereas other bands may have thrown in the towel, SPELLCASTER came out swinging harder than ever. New members were added and some roles were changed, then the band hit the road again, while writing for their second album. The self-titled, self-released, Joel Grind produced album garnered the most buzz the band ever had. They toured all throughout North America as well as headed overseas playing through Germany, The Netherlands and at the Headbanger’s Open Air festival. Many labels took notice and ultimately, the band signed with Prosthetic Record and began work on their third LP.
The recording for Night Hides The World was held in Oakland, CA and Portland, OR with Zack Ohren (All Shall Perish, Exmortus) handling production and mixing duties. The visceral achievement SPELLCASTER reached has created their fines release to date. Whereas previous releases were often compared to bands that have come before them, Night Hides The World sees the band standing on its own feet. They wear their influences on the sleeves ripped from their battle vests, but the unit created has given rise to a modern, mature take on the classic genre
www.spellcasterpdx.bandcamp.com
www.facebook.com/SpellcasterPDX
Monday, June 6, 2016
NEWS: Abhomine
NEWS: Abhomine
Larvae Offal Swine
Osmose Productions
release: 29 April 2016
The fanatics for Pete Helmkamp (known for Angelcorpse, Order from Chaos, Revenge, amongst other endeavors) now have a new recording to investigate. As expected, it is an exercise in extreme sounds. Pete does guitars, bass and vocals, with a session drummer. The new recording is a very raw form of demo-like primitive extremity. It is a chaotic and rather harsh form of music, even for a musician known for certain styles of uncommercial music. Below is the official information.
Although a "new" entity in name, ABHOMINE is the latest creation of underground legend Pete Helmkamp (Angelcorpse, Order From Chaos, Revenge, Terror Organ, et al), and his first true solo-project. A composition of social, artistic, and existential modes which reflect our reality, ABHOMINE is a heaving, grinding mass (hypnosis) of gnarliness and abject sonic cruelty. Across Larvae Offal Swine, ABHOMINE presents examples of truth, often ugly and offensive, but true nonetheless. Writing every note, Helmkamp here handles all guitars and bass, with his unmistakable vocals at the forefront of this mental wreckage, with all drum tracks recorded and composed by a session drummer. Together, the bleak ‘n’ bloody canvas on which they paint is stained with lyrics proclaiming that man is the root of abomination. ABHOMINE sees beyond the masks that spread untruths and falsehoods, and the sonic/lyrical warhead Helmkamp hones is a means to expose these lies.
Various links to Helkamp’s long, deadly canon can be traced, but the swirling, smothering bulldoze that ABHOMINE chunders forth with here is very much its own entity. Not one to be locked in to a studio, Helmkamp states that ABHOMINE will commence with live assaults in December of 2015.
www.facebook.com/Abhomine-487162971453007
www.facebook.com/Osmose-Productions-192865300755575
contact Metal Bulletin Zine (Washington state, U.S.)
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Metal Bulletin Zine
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interview: Born of Fire
The heavy/power/prog metal band Born of Fire (Arizona, U.S.) has gone through its ups and downs in the music business since they started in 1998. Metal Archives shows recordings in 1999, 2000 and 2001, and after that last year no new music until 2014’s Dead Winter Sun, a work that stands out for its overall quality, intelligence and seriousness of purpose. Consider what a reviewer on Metal Archives says about the album, which is rated 88 out of 100: “The band sounds really, really good though, and for fans of melodic, intricate and powerful metal, Dead Winter Sun is a pretty sure bet if you want something a little more alternative from the big bands. I dig this, and I hope they keep the same lineup and get even better on the next one.” At the moment the band is on the path to making a new album. Let’s find out more about the current happenings. Steve (drums) and Gordon (vocals) took time out of their schedule to indulge this publication.
I like your album Dead Winter Sun! Greetings! How are life and the metal scenes in Arizona treating your band?
Steve: Great, glad you like it! I think it’s treating us as well as can be. This was our first record in a long time and even then of course we weren't were we wanted to be, but we understand it may take a little time to get back in the main scene, but its sure going in the right direction!
For those interested in the history of band, the following is the band’s official biography.
Formed in 1998, Phoenix-based Born of Fire has more than earned its reputation as an internationally renowned force of metal that has stayed true to the genuine style that defined the genre. Blasting onto the scene with its original rendition of "Remember Tomorrow" on the Iron Maiden tribute album Maiden America: A Tribute to Iron Maiden Born of Fire immediately went on to release its first full length album titled Transformation. Universally lauded for having an original sound while at the same time channeling elements of the trailblazers of metal that made the genre what it is, the album garnered stellar reviews, and BoF immediately went on to record a 3 track demo which in turn earned them even more record label interest, international airplay and recognition around the world.
The band gained momentum and fandom as their exposure grew. Positive press and favorable reviews for their performances in support of worldwide touring acts such as Flotsam & Jetsam, Armored Saint, and Sacred Reich only helped to exponentiate Born of Fire's popularity. In a short time, BoF's track "In the End" had made it to #3 on the European Metal charts, and had been downloaded over 60,000 times. They continued to offer the world their brand of metal when they recorded their remake of Ronnie James Dio's classic "Heaven & Hell". The track was met with rave reviews from around the world when it was released globally as part of the 2001 Black Sabbath tribute album Hail to the Stonehenge Gods. The buzz surrounding the band created many individual opportunities for each of the members of Born of Fire, along with personal obligations (and perhaps a few creative differences) led the band to go quiet for several years.
The pursuit of the avenues that led them apart from one another only served to augment each band members' skills as multi disciplined musicians and professionals. By the time their creative paths crossed again in 2012, they were more than prepared to retake their title as one of the premier metal bands of our time. With their best-of album titled Anthology (released under Athens, Greece based No Remorse Records), Born of Fire once again saw international airplay. Their self financed music video for their classic track "In The End" combined high production values and an all-star cast that helped propel BoF back into the spotlight. The result was Born of Fire holding the accolades for one of No Remorse Records' best sellers at one point. The renewed interest in their music served to further impassion the band towards their mutual craft. Their life aspirations re-affirmed, BoF once again made their presence known in a huge way with the addition of amazing front man vocalist Gordon Tittsworth, and the release of their greatest album yet - Dead Winter Sun.
Released under Pure Steel Records, Dead Winter Sun is hailed as a visceral musical journey of dark themes and heavily atmospheric metal, and has seen rave reviews from all over the world. Cut in BoF's very own state of the art recording studio, it was nominated by multiple publications for 2014 album of the year, and has already seen two high profile, big budget music video releases in support of the album - featuring the tracks "Tears" and "Dead Winter Sun".
Since the release of Dead Winter Sun, BoF has only grown in presence across the heavy metal universe. Besides being featured across a bevy of media, the band has made high profile appearances hosting Heavy Metal Television and international radio spots. They've since released a full line of awesome merchandise, and have promised even larger things looming on the horizon.
Born of Fire has arrived, and they've brought with them a sound that channels the legends of yesteryear that's mixed with a legendary sound all their own.
What are your current recording or writing activities?
Steve: We have been working on a new single and video the last several months. We re-made a Kansas classic “Carry On Wayward Son.” I think it came out great and the video had a great throwback vibe to it. With the artistry and performance shots it makes a great package. We just released it and have gotten an overwhelming great response. We are also offering it to fans for a FREE download at our web site.
(This is the official information about it)
We are very proud to announce the release of our new single, Born Of Fire’s rendition of the 1976 Kansas classic “Carry On Wayward Son.” To accompany this single we have put together a very cool unique style video with some fantastic artistry & visuals. This is definitely a very different type of video from what you would typically see from us but we feel this unique artistry style gives it that epic throw back feel this classic song deserves.
The band wanted to put out a single before starting the writing process for the next album and to show our support to the fans we are offering the song as a free download on our website. We sincerely hope you all enjoy the song and the video. Feel free to comment and share as it’s greatly appreciated.
Most importantly thanks to everyone around the world for your support!!
What inspired you in the first place to pick up instruments and to make music?
Steve: For all of us it was a very young age. But for me personally I had music in my family. My cousins were pro musicians that traveled around the country playing music. It was a big deal when they came back home into town for a break. My parents would sneak me in to see them play, due to the fact I am sure they couldn't get a babysitter. I was about 7 or 8. But when I saw them up on stage playing music I remember standing there, extending my arm out pointing to the stage telling my dad, ”Thats what I want to do.” My dad says, “Ok, time to get you home now.” Anyway since then I have had that dream that has to this day at age 46 not died and is burning inside more than ever. Its been a fight, a sacrifice, a broken heart, loss of loved ones, money, blood, sweat and yes tears to get to where I am now. The thing is I am just getting started.
According to Metal Archives, the band has been together for a long time! What keeps you motivated for Born of Fire? In your experience, is it easy to start a band?
Steve: Yes, we have been around a long time with a 10-year break in the middle. We are back because we are all friends and love playing music together. We also have some unfinished business, if you know what I mean. It does take money to do it right! Not only your gear, but recording, video productions, artist, promotions, productions, the list goes on. If you don't do the business side of things your chances of surviving in this market are slim. If you’re also in this business to make money as your first thought, you may want to try another profession. If you play music for the love of the music thus you write good music, the rest will take care of itself.
Yeah, starting a band is not too difficult if you can find all the right players that think and feel the same way you do and vice versa, musically aligned and just as a person you can stand to be around. I been through all that and from my experience it was the most difficult thing in my entire career! First, I come from a small town, not to many musicians to choose from but you make it work some how some way even if you’re a 2 piece. Today I don't know what the kids are doing; I’m sure some is good and some not so good, then being at the right place at the right time with a little luck can catapult a band maybe that just got lucky. I stand true to my roots and work ethic and being very anal about things. That’s how we do it.
So far, in your music, what type of lyrics have you had? How do you come up with lyrics?
Gordon: Lyric writing has always been spontaneous and without much thought. When I write lyrics, I listen to the instrumental music multiple times in a row and just let the mood/ vibe of the song dictate what “comes out”, then I just let my thoughts/words flow onto paper. It does not take long to identify a subject/ pattern, etc., then I simply go with it.
With “Dead Winter Sun”, several of the songs evoked a somber, introspective mood and the lyrics seemed to have an overall theme of an internal struggle with hope at the end. Basically, fighting to escape darkness to find the inner light. Several of the songs had to deal with loss, as well as the darkness in the current state of our country (USA). The cover art depicts the US White House in a post-apocalyptic ruin. This is a very accurate snapshot of what we feel is right around the corner, and is a bit of a warning.
Do you think that your music and lyrics should have a message related to society or religion or politics or spiritual views?
Gordon: I don’t feel there “should” be any certain message, but the one thing that MUST happen is that the lyrics/vocal delivery of those lyrics must be 100% passionate, genuine and it should evoke emotion out of the listener. I feel as a lyric writer, it is my duty to convey my deepest inner emotions through words and delivery. Otherwise, the sincerity is not going to be there. If the listener gets one thing from the music, they NEED to feel the emotion and sincerity that is portrayed. Otherwise, it cannot cut to their core, which is what music is supposed to do.
Is there specialized or specific equipment that you use for the sound of your band?
Steve: No, not really just more of the up to date music and recording equipment. Our guitar player Bobby Chavez owns his own recording studio so he has all the gear and is a great producer. We are so lucky to have all this to our advantage when taking time putting music together. Jackson (guitars) is what Bob uses.
www.bornoffireusa.com
www.cdbaby.com/cd/bornoffire
www.facebook.com/Born-of-Fire-498173826897778/
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