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Saturday, July 30, 2016

Review: Sorcery - Garden Of Bones

One of the most legendary names in the Swedish death metal scene, Sorcery was one of the original instigators of the style with the earliest output coming in 1987 and issuing their debut several years later before splitting up in the late 90s. Now onto their second bone-crushing release since their reformation and third overall, the heavyweights continue on with their brand of full-throttle Swedish-flavored assault released May 15, 2016 on Xtreem Music.

Being a Swedish death metal group, it’s quite apparent from the on-set what this is about and what’s featured here. This here is prime-era early-90s death metal straight from Stockholm, featuring that distinctive churning riffing style complete with plenty of raging grooves in these mostly up-tempo numbers as in “Holy Ground”, ‘Dark Waves’ or especially “Hellstorm.” Filled with plenty of raging swirling rhythms rather than the grinding buzzsaw patterns in “Insanity Arise” and “Cleansed by Fire”, it captures more of a darkened US style but the main element keeping this rooted in the Swedish scene is the simplistic, straightforward rhythm-section that maintains a distinctly charging Swedish-style template that’s featured throughout here which gives this a rather dark, heavy atmosphere to go along with the fantastic riff-work carrying this along as well. If anything, it’s probably way too similar to numerous other death metal acts in the Swedish scene for it’s own good and comes off as another cog in the machine, but it’s a minor flaw in an otherwise enjoyable release.

Though it runs into trouble only slightly with the type of release featured here being somewhat similar and overly-reliable riffing that doesn’t really deviate much from the norm, it’s still enjoyable enough to really appeal here to fans of the Swedish school of death metal or just devout old-school death aficionados regardless of genre. 8.5/10

Written by Don Anelli

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Review: Antiquus Scriptum - ...Outrora, Quando As Aguas Choravam...

Antiquus Scriptum is a band from Portugal. They play a mixture of pagan black, viking and folk metal. This 2CD album is released on 2 february.

This album starts with fast paced riffs you can hardly tell which instruments they are. The vocals keeps it together with folk rhythms. The most songs on this album are above the 8 min.. The song "Zagallos, Jardim De Falácias" is a quiet song from 1,27 minutes. Birds are singing and you suddenly feel this is a different album you are listening to. Procemium / A Viking Belief is the longest song of the first CD, 16,41 minutes. The song starts off with some drums and little guitars. By the 3 minute mark the song speeds up and keeps going to around 4,28 which is a long intro for a song. It's a nice difference from the darkness of the most songs. This was the first CD on to the second one.

The first song on the second CD begins with a flute and drums, sometimes they say "Hey". Its a very happy song that let you think of the Folk music. "Remember me as King" is a song that starts not so rough as the others, more melodic. I like that the music has 2 stages from begin to middle and middle to the end, it's like 2-3 seperate songs. "Primordium / The Skeptic Beholder" is the longest song on this whole album, 17,16 minutes long. It starts very dark and fast paced, the riffs are well balanced. The vocals are a bit screamy to make it more dark. This long song doesn't change from music like some other songs do. It's a song that keeps your attention. The last song of this 2 CD album is "The Cold Lips Of Isabelle (Conclusio Lugubris)" which starts with piano music and ends off with a sound like clapping. Good ending song for this 2CD album.

If you like epic, pagan black, viking and folk metal, this would be a CD for you, you never get bored on this album.

Track list:
1.Bula Ad Extirpenda (Innocentio IV Th, MCCLII - The Saint Office Of Inquisition Of Faith)
2.Eine Suche Nach Wissen
3.Of Dying Seasons (The Cursed Ones)
4.Zagallos, Jardim De Falácias (Antifona Moderata: Movimento II)
5.Procemium / A Viking Belief
6.A Batalha De Al-Ashbounah (Ou Lixbona MCXLVII)
7.O Adamastor
8.Inner Depression (Syndromes Of Fear)
9.Thy Visionary
10.Atlântica (Adagio In Lacrime: Movimento III)

1.Tertúlia Das Bruxas Dançantes (Adagio Allegro: Movimento IV)
2.A Hecatombe Of Slaves
3.Remember Me As King
4.Eu, O Misantropo...
5.O Outono Medieval (Equinócio Profundo: Movimento V)
6.Primordium / The Skeptic Beholder
8.In The Kingdom Of Superstition
9.The Cold Lips Of Isabelle (Conclusio Lugubris)

Written by Nathasja Voerman

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Review: Revocation - Great Is Our Sin

Revocation, dudes… you guys lied to me and the rest of the world. Let me elaborate on this matter later on in this review.

With already five flawless albums under their belt this was a hard album to prove worthy of all the previous successes. The new record started off with a solid new track called ‘Communion’. After that the hype was real. People started digging the track with amazing lightning flashes of Dave Davidson’s amazing axe skills.

After ‘Communion’ new tracks started to come out more frequently towards the release. With in my opinion the best track on the album overall called ‘Crumbling Imperium’. This song showcases everything Revocation stands for. We already knew them as a death/thrash metal band but this track stands out on technicality. I’ve watched numerous live videos just waiting for Dave to screw up his songs. He just doesn’t. It’s astounding one can play such technical leads and growl his ass of at the same time! Speaking of those vocals. I have to give this one to Dave as well (no I’m not trying to get a guitar lesson out of him). His vocals improved a lot. I already noticed it on their previous effort called ‘Deathless’ His vocal style improved in range. High screams sound more like an evil witch calling out into the darkness of the night while boiling soup of blasphemous moths in a cauldron of hate. Low growls just sound like he is summoning an army of angry fuckin’ elephants. I never felt much for Dave’s vocals up until this particular album. His improvements made this album.

Lets talk bass as well. Brett Bamberger’s string attack is vicious on this one as well. In between the technical guitar leads there are some really tasty bass licks as well. Being a real show animal, the one question popped up in my mind and that was. How do they play this out live? I can tell by looking at videos it’s absolutely spotless.

Summarizing this record is like defining Pi. I can’t name all the good stuff. There’s just too much of it. Actually I can’t really find anything that is definitely wrong about this album. Imma go ahead and rate it a 9.5 just because this album is already contestant for album of the year for me. They leave out on the half point for originality. They’re not really reinventing the wheel for themselves but yeah, why change a winning formula.

So another try summarizing the album, 9.5 for the sheer blistering brutality, outstanding musicianship and all the improvements made for ‘Great Is Our Sin’.

Written by Joost van der Leij

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Review: Entropia - Ufonaut

You know you are in for a treat when most of the names of the songs on a album are in Latin. First of all, I want to say that I support down tuning in general until it is not ridiculously down tuned to the point you do not know guitar from bass. Now the band uses a down tuned guitar a lot this album, and it is the good kind of down tuning. The recording quality on this album is great, my only problem is the bass and drums (the drums are a bit light on some parts and too heavy on other parts). The vocals are maybe 10% louder than needed, then again that does give to some slower parts of the album. The biggest single problem of this album is a slight lack of originality in some parts, since some parts sound like they are just copy pasted or just used the same riffs with the same drum patterns. If you ignore those minor inconveniences, you may still enjoy the album, as it is not a bad album. The style of the band may be a problem for some as it eerily resembles some metal and deathcore because of the down tuning and the harsh vocals. All in all, because of the problems mentioned up there, I would give this album a 7/10. I know that the band can do better as they have shown great potential in this album, and I hope the next release will be much better.

Written by Nikola Milošević

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Review: Dust Bolt - Mass Confusion

From the outset, German thrashers Dust Bolt have been all about worshipping the old-school Bay Area thrash scene, and have from the start utilized that form of attack to create their signature style. Released July 8, 2016 from Napalm Records, this is yet another in the band’s fast-growing brand of hyper-speed old-school thrash worship.

For the most part here that old-school thrash assault is the main basis for their music. The tight, choppy mid-tempo rhythms and utterly blistering full-throttle thrash sections fired by the sort of manic rhythms found in “Mass Confusion,” “Turned to Grey” and “Taking Your Last Breath” that were featured prominently in the Bay-Area school causes the vast majority of the album comes off with the sort of ripping attitude that was evocative of that movement. As well, those choppy mid-tempo sections in “Allergy” or “Mind the Gap” balance out the aggression and intensity by acting as natural buffer-sections against the more raging, blistering sections featured throughout here, and the whole exercise is given a suitably competent old-school sheen. This is neither technical enough or varied enough to really stand-out and be all that original, though, which tends to be the main running theme with bands in that style which is again repeated here. This is the sort of band that really only takes a few tracks to make the impression of whether or not they’re worthwhile as they’re so blatantly and fervently old-school that it can reek of plagiarism at times rather than being part of their own identity, but on the whole it’s competence is what really holds it up.

Much like the majority of bands in their style, this isn’t the most original band in the genre but are certainly one of the more energetic and intense which certainly helps this one out tremendously in that it will undoubtedly appeal to ravenous revivalists looking for more or other thrash aficionados who can overlook their flaws and idolize their positives. 8.5/10

Written by Don Anelli

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Review: Dive Your Head - Le Prix Du Sang

Dive Your Head is raw and relentless, most of the time. Their new album Le Prix du Sang features no more than 8 songs and those rarely exceed 4 minutes, but all hell, those songs are packed with energy.
It’s not all glorious though, but overall a very solid performance.

Dive Your Head is a new band from Sens, France, and has just begun their journey in metal-land. For all their start-up antics and youthful appearance they don’t dick around on their first album. The songs are, though sometimes simplistic, very energetic. At first I wasn’t that impressed by the simplicity, but a couple of listens in I noticed the layering in the music, though a bit covert. The riffs aren’t passing one after the other and a song will sometimes rely on just 2-3 riffs in repetition, but good song structuring makes a song rarely come off as boring. Unlike other simplistic metalcore that often relies on a very fat sound that obliterates every other variation in the music, Dive Your Head seems to manage to mix in melodic guitars at times without becoming yet one other guitarwankery-band.

There is one other interesting choice that may put some off and others right on this music, and that’s the fact that Dive Your Head mostly sings in French. I can therefore say little about the quality of the lyrics, but the singing/screaming is on point, visceral but when clean also not bad. The problem with the album is only that it has too little variation to really be interesting all throughout. After 5-6 songs I usually need a break from this album. Overall though, it’s a very good example of “I wanna punch a wall today” kind of music, which I often use as a pick-me-up rather than a long listen. That is Dive Your Head - Le Prix du Sang; a violence and a viscerality that is refreshing.

Written by Frank van Drunen

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Review: Oracles - Miserycorde

There’s a new band in town and boy do they kick some ass! Oracles consists of Sven de Caluwé (Aborted) and Sanna Salou (ex-Dimlight) on vox, Ken Bedene (Aborted) on drums, Mendel bij de Leij (Aborted) and Steve Miller (ex-System Divide) on guitars, and Andrei Aframov (ex-System Divide) on bass. Miserycorde is categorized as a melodic death metal band, but it’s so much more than that, let me tell you that right now.

To me, personally, Miserycorde is one of the most original releases I have heard in a while. It is a record that brings together the best of several genres into something I would almost want to call something completely new. In short, you could say that Oracles’ debut is almost like an Aborted record, minus the gorey, horror interludes and samples, and with added female vocals and drama, but I would be selling them way short saying that. There’s *almost* literally something for everyone to enjoy: melody, razorsharp riffs, facemelting solo’s, harsh beats, and of course Sven’s awesome vox. BUT, here’s the catch. Female vocals. Yes, I can almost hear all death/thrash/black/etc fans among you going ‘’Oh, fuck off!’’.

Album opener ‘’An Adagio for the Callous’’ is more or less the common introduction song. Except that it ends at a point where you expect it to intensify and really go into beast mode. Still a great song, starts off with dark, echoing guitars and you’re introduced to a faded female voice. BAM! Everything goes off at once, forming a perfect storm of intense drums, beautifully performed vocals by Sanna Salou (seriously, she keeps giving me goosebumps throughout the album) and dramatic synthesizers. The song abruptly flows into ‘’The Tribulation of Man’’. A song that, at first glance, could be identified as an Aborted track, until you are once more reminded that Oracles has two vocalists. It’s a song that starts off real fast and then slows down into some more delicate parts. Amazing solo as well, it’s not your typical death-metal riffage, but it’s beautiful as fuck. ‘’Catabolic (I Am)’’ is in my opinion the most powerful song on the album, along with the album closer ‘’We, the Indifferent’’. In contrast to the majority of this album ‘Catabolic’ is a track that doesn’t really slow down, it stays powerful for almost the entire length of it, even when Sanna is on vox. After a facemelting song, the blastbeat kicks in, and at this point I couldn’t believe how good female vox could be combined with aggressive blastbeats of this level. Amazing way to end a song. ‘’Remnants Echo’’ is the ‘sensitive’ song off the record. It is a great display of how theatrical, yet heavy Oracles can be. It’s slow paced, there’s a piano, you know the drill. The heavy parts are good for some ear/skingasms, and apart from that it’s just really good, qualitatively.

That’s it. I’ve already spoiled too much. I urgently implore all of you to try out this records, and others like it. I know that female vocals are a taboo among some groups of fans, I wasn’t a big fan of it either, but this stuff right here it’s groundbreaking. It’s heavy as fuck, the whole thing was recorded and mastered beautifully and it manages to bring together the best of multiple subgenres, which is rarely a success, in my opinion. Also, Miserycorde features performances by members of Scar Symmetry, Arch Enemy, Nevermore and The Black Dahlia Murder and includes a cover of Marilyn Manson’s ‘’The Beautiful People’’, which is kinda weird, but does have its good moments.


Written by Nino Milillo

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Video: The Foreshadowing - Nimrod (I - The Eerie Tower)

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Stream: Swampcult - Chapter II The Old Man

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Video: Stages - Destiny

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Stream: Cut The Navel String - Connected

Music, film and photography on

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Video: Hellyeah - I Don't Care Anymore (feat. Dimebag Darrell)

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Stream: Memoirs Of A Secret Empire - Carried

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Album stream: Cannibal Accident - Encyclopedia Cannibalicium: Minimal Results With Maximal Effort

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Lyric video: Epica - Universal Deathsquad

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Stream: Brant Bjork - Dave's War

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Album trailer: Evil Invaders - In For The Kill

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Stream: Bloody Hammers - Messalina

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Album preview: Valient Thorr - Old Salt

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Video: Diemonds - Secret

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Lyric video: Alter Bridge - Show Me A Leader

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Thursday, July 28, 2016

Video: Nirnaeth - Nihil In Me

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Stream: Anciients - Following The Voice

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Stream: Vanhelga - Förstörd

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Video: Pseudo/Sentai - Crown Of The Crow King

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Lyric video: Necromancing The Stone - The Descent

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Stream: Robots And Monsters - Signing Off

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Video: The Noctambulant - Goddess

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Video: Forty Winters - Snuff Out The Light

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Video: Betraying The Martyrs - The Great Disillusion

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Album stream: Void Omnia - Dying Light

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Stream: Medevil - The Angel Of Rain

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Stream: Imperium Dekadenz - Dis Manibvs

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Video: Hell Camino - Vertigo

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Video: Crisix - Five As One

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Video: Onheil - The Omega Legions

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Stream: Servers - Spell

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Lyric video: Crossed Crow - Unfold Paths

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Video: If I Die Today - Cursed

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Video: The King Is Blind - Fragility Becomes Wrath

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Stream: Inquisition - Vortex From The Celestial Flying Throne Of Storms

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Video: Howling Giant - Dirtmouth

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Wednesday, July 27, 2016

Video: Corners Of Sanctuary - Victoria

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Album stream: Cauchemar - Chapelle Ardente

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Playthrough video: Katalepsy - To The Lords Of Nihil

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Video: Hatebreed - Something's Off

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Stream: Sheevaa - Depression

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Video: Lacuna Coil - Delirium

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Tuesday, July 26, 2016

Video: Revocation - Arbiters Of The Apocalypse

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Video: Black Crown Initiate - Selves We Cannot Forgive

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Video: I Am Noah - One Man Wolfpack

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Stream: Vanity Draws Blood - Haunted

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Album teaser: Excellion - Unsean

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Stream: Crucified Mortals - Behind The Lurid Mask

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Saturday, July 23, 2016

Review: Powerwolf - The Metal Mass Live

After their sixth album "Blessed and Possessed, Powerwolf is coming back this summer, on July 29th, with their Live dvd/cd "The Metal Mass". I am going to review the CD tracks for you before the release. The tracks are coming from "Live in Oberhausen Wolfsnächte-Tour 2015". There was just one thing missing from Powerwolf, exactly a DVD/CD that brings The Metal Mass to your TV.

This live DVD/CD has everything from classic Powerwolf to songs from the new album "Blessed and Possessed" from July 17th, 2015. The audio quality of this live CD/DVD is good, you even hear the communication between the singer and the public in the parts where singer speaks and audience is clapping or singing . During the intro of the first song, I think the vocals should have been more on the foreground, because the drums and guitars are taking over. During the rest of the songs, the vocals were perfectly matched with the drums and guitars. An advice: if you make/record a live DVD/CD , I know it’s a festival in Germany, but maybe speak to them in English, so we can all understand what you are saying. This is a live DVD/CD you would expect from a great metal band. The last song holds the live set strong with the catching riffs and drums. Powerwolf is always at their best if they play live performances.

So, make sure you have seen them once in your life. For the DVD/CD: turn it up really loud and enjoy. If you love Powerwolf make sure this DVD/CD is in your collection, it’s a must have!

Track list CD:
1 Blessed & Possessed
2 Coleus Sanctus
3 Amen & Attack
4 Cardinal Sin
5 Army Of The Night
6 Resurrection by Erection
7 Armata Strigoi
8 Dead Boys Don‘t Cry
9 Let There Be Night
10 Werewolves of Armenia
11 In The Name Of God
12 We drink your blood
13 Lupus Dei
14 Sanctified with Dynamite
15 Kreuzfeuer
16 All We Need Is Blood

Written by Nathasja Voerman

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Review: Cherry Grind - A Room With A View

Cherry Grind greet us today from Adelaide, Australia. The four guys have been around since 2012, but released their debut album “A Room with a View” only in June this year. According to their Facebook bio, they write “truly original, modern music with a distinct groove”. Interesting enough, so let’s give it a go!

Well, what can one say? It’s a musical time travel, as we re-enter the sound of the 70s and early 80s. It’s old school hard rock, with blasting riffs and drums and lyrics revolving around sex, drugs and rock’n’roll, but indeed with a modern touch to it. Cool sound to listen to while having a beer or two, and so it’s no surprise that Cherry Grind have mainly toured pubs up until now. The album starts with the groovy ‘No One Home’, which sets the tone nicely for the upcoming 11 songs. The second track, ‘Dusty Road’, is a hymn and played up to perfection! While the next tracks have more of a rock’n’roll vibe to them, ‘See You Again’ also has elements of blues in it. The song that is definitely the best is also the last: ‘Tin Soldier’ has choirs, strong instruments and great singing. Definitely a track with potential to become a hit!

‘A Room with a View’ is, all in all, a very strong debut album, easy to listen to and sure to raise your mood. The songs are sometimes a bit too alike, so that the variation is lacking a bit. Nevertheless, a joy to listen to. 8/10.

Written by Julia Obenauer

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Review: Be'lakor - Vessels

Australian melodic death metallers Be’lakor release their 4th album, four years after the brilliant ‘Of Breath and Vone’. So, expectations are high! The new longplayer is called ‘Vessels’ and was released via Napalm Records.

Positive thing right away: no, it’s not a copy paste of the previous album. Still with great growling, still with seemingly never-ending (in a positive way!) tracks ;) Perfect! The general tone of the album is somewhat slower, less tight than that of its predecessor, but with more grooves. Sounds worse than it is, this actually this leads to more complexity and more layers to the songs than before. The atmosphere is melancholic and reminds, for example, of Insomnium. The production is very neat and adds to this feeling, as well as the rather frequent use of acoustic guitar and/or piano parts. At the same time, the tracks are thus a tad less accessible. The songwriting, however, is definitely well thought-through and, in my opinion, even improved compared to the first three records.

“Vessels” is a great album which can definitely still be categorized in the melodic death metal genre, even though it has elements of progressive rock in it. Highly recommended! 9.5/10.

Written by Julia Obenauer

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Review: Universal Mind Project - The Jaguar Priest

Universal Mind Project (UMP for short) come from Italy and their album “The Jaguar Priest” is the brainchild of beautiful singer Elina Laveira & guitarist Michael Alexander.

Their style is a mix of power progressive metal that is quite open to a lot of influences.

Straight from the start, the album carries itself with a very impressive spacey, sci-fi artwork that certainly raises the anticipation. A closer to look to the booklet reveals a very impressive array of guest musicians. Charlie Dominici (ex- Dream Theater), Nils K Rue (Pagan’s Mind), Mark Jansen (Epica, Mayan), Diego Valdez (Helker) and this is just for the vocal department. Wait till you hear the rest!!

Mike LePond (Symphony X and numerous other projects) along with people from DGM, Vision Divine, Andromeda.

The amount of just the people invited to participate looks like a small gathering for a 2nd STARS album!

All guest are giving their best throughout the listening of “The Jaguar Priest” just listen to the amazing vocal texture from the ageless Charlie Dominici or the powerful vocals from Nils K Rue.

The rest of the UMP are also top level musicians powerful drumming courtesy of Alex Landerburg (Luca Turilli’s Rhapsody), cool bass from the mighty Mike LePond and great keyboard playing from Emanuele Cassali.

Elina Laveira is showcasing some very impressive and emotional singing and fearlessly combines melodies from pop, rock and maybe some jazz. Think of something like Amy Lee from Evanescence, at the same time Michael Alexander’s growls give something of a mild Children of Bodom aura. There are plenty of virtuosic solos from Michael Alexander who isn’t too shy in presenting his skills in guitar. This has been kind of a trademark for many Italian bands since the mid 90s fusing neoclassical shredding with influences that could range from Steve Vai to more fusion stuff. Unfortunately, I’m unaccustomed with Henrik Bath voice, so I can’t identify him for certain. However, all the male vocal parts are sung with heaviness and intensity.

So far, I have presented the highs of the “Jaguar Priest”. However, I was unable to get into this album. Maybe it’s the whole musical approach of Stratovarius meeting Children of Bodom that turned me off (weird since I consider myself a fan of both bands) or Elina’s vocal melodies that (despite her excellent voice) lack the necessary heaviness and power that a metal album should have. They sound way too pop oriented and this makes the final result unappealing, at least for my taste.

Also, while the musicianship is of high quality, the songwriting skills of UMP aren’t. I couldn’t find any highs or favorite parts throughout the listening of the album. There are plenty of interesting parts but I couldn’t pick a song that stood out from the rest. Same thing goes for the lyrics too. On the UMP’s case it’s you get exactly what you read. No hidden messages, metaphors or double meanings anywhere to be found. The lyrics simply serve the concept of the album and nothing more.

Production/mix is quite modern clear and precise but on the other hand takes away the intensity of the guitar as well as driving it in the background.

UMP is a talented band without a doubt, but that doesn’t mean that their musical offering reflects that talent. This album clearly targets fans of power/progressive but my advice to potential listeners is to check out before you buy.

Written by Manos Xanthakis

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Album stream: Despite - Synergi

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Lyric video: Sludgehammer - Ectogenesis

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Stream: Virvum - Ad Rigorem

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Album stream: Unmerciful - Ravenous Impulse

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Video: Nag - Ancient Wisdom

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Video: Five Finger Death Punch - I Apologize

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Album stream: Nothing Lies Beyond - Fragile Reality

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Video: Evil Scarecrow - Hurricanado

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Lyric video: Dys Inbunden - Through Demise And Decay

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Stream: Zealot Cult - Karmenian Crypt

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Lyric video: Lord Of War - Suffer

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Lyric video: Dawn Of Demise - Deride The Wretch

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Stream: Ghoul - Shred The Dead

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Stream: Auras - Waterstone

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Friday, July 22, 2016

Lyric video: The Agonist - The Chain

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Stream: Throneum - Darkness Of Another Circle (II)

Stream: Départe - Vessel

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Stream: Monolith Wielder - King Under Fire

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Video: Dope - Blood Money

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Video: Korn - Rotting In Vain

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Lyric video: Bizarre - Fleshless

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Stream: Regressive - Swing Of The Axe

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Stream: Sichgart - Twisted Minds

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Stream: Hell Patrol - Seven Churches

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Stream: Pyre - The Exorcist

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Stream: Kroh - Precious Bones

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Stream: Life To Those Shadows - Zenith Embodied Nature

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Album stream: Division Vansinne - Dimension Darkness

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Thursday, July 21, 2016

Video: Methra - Dead Ram

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Video: Megadeth - Post American World

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Video: The Devil Wears Prada - Daughter

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Stream: MoRkObOt - Gorokta

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Video: Excellion - Unlucky Charms (feat. Fernando of Joliette)

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Stream: Saint Vitus - War Is Our Destiny

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Video: DevilDriver - My Night Sky

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Video: In Vain - King In The North

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Lyric video: Psychoprism - Creation

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Stream: Surturs Lohe - Sumar kehre Heim

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Stream: Fimbulvet - Wälderritt

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Lyric video: Asenblut - Drachenborn

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Video: Kryptos - Full Throttle

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Stream: Devil Made Me Do It - Scream And Shout

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Wednesday, July 20, 2016

Video: Vicious Rumors - Take It Or Leave It

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Video: Dear Desolate - Fracture

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Video: Jinjer - I Speak Astronomy

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Stream: Esperoza - Periods Of 8

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Video: Thermit - Saints

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Stream: Thy Catafalque - Mezolit

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Stream: Plini - Electric Sunrise

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Stream: Grizzlyman - Adrift

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Album stream: Kommando - Distroyer/Iron Goat Triumph

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Lyric video: Hellevate - Memories Of Battle And Death

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Playthrough video: Scythia - Lineage

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Monday, July 18, 2016

Interview: GGU:LL

Last May, Dutch band Ggu:ll released their new album called Dwaling. It was already reviewed by DutchMetalManiac's Henric van Essen here and now Ggu:ll answers some questions asked by him. Read it below.

Hi, how are you?


First the probably most obvious question of all: the name. What does GGU:LL mean and where does it come from?

It sort of happened. The band evolved out of an unpronounceable long-named noise duo and developed into a four piece doom band. And in the process, more and more characters disappeared from the name, leaving Ggu:ll as the final combination of symbols. We pronounce it as Ghoul but we don’t especially feel close to an graveyard wandering demon from the Arabic mythology. It’s just our embracement of the chaos that surrounds us.

Can you tell us a little about the band and its history?

We have been making music for about seven years now. In that time we never had goals or other plans than just make the best possible music for the four of us. Along the way we were given a lot of great opportunities without a proper release, for which we are very thankful. There was a 50 copies self-released self-recorded self-everything demo and a 100 copies cassette EP release on Tartarus Records. We’ve played many great festivals and support shows with mostly an audience that understands what we are trying to do. This all concluded in our release by the mighty Ván Records this May.

Can you share a bit of information about the members?

The two guitar players Gert-Jan and William (who is also doing vocals) played in a lot of different bands before they were the initial noise-duo that started it all. Bart added his drums to this and soon asked Dave to join. Bart and Dave also played in different bands together. We are all rooted in the South of the Netherlands so we were destined to bump into each at one time.

GGU:LL seems to be shrouded in mystery, it’s almost impossible to find information about you. Why is that?

Mainly because we think it’s irrelevant to the music of Ggu:ll.. For us it’s not that important who writes and plays the music. But we’re not hiding as well. We don’t have cloths, make-up or masks when we perform. Because that would only distract as well. We just like to present Ggu:ll as the music we make and nothing more.

My compliments on ‘Dwaling’, I like it a lot, both music- and atmosphere-wise. How did it come to be?

Thank you! We are super pleased with the end result. It’s an album that displays our strongest songs in the best possible way. Joris Bonis, who recorded and mixed the album, has gone to the extreme to get the most overwhelming sound we could imagine. After that, we just send it into the world and Ván was the perfect partner to realize our music in a physical manner and attract a new audience.

It is said you never write lyrics to avoid interference with the overall experience of your music, yet there still are vocals on the album. Is it true you don’t write lyrics and if so, what is the story behind that?

That’s true. It’s not a preconceived plan but William started screaming into a microphone that was standing in the rehearsal room. Until that moment we were an instrumental band but immediately we felt the enormous power of his voice in our music. He just continued to do that and we never felt the urge to put words into his singing. It’s just an instrument, a feeling, an extra layer.

From what I have heard your aim is to make people feel, experience your music rather than simply listen to it. How do you achieve that?

That is probably more achievable live than in an uncontrolled environment. But yes, in a perfect world everybody would undergo this treatment. Our music is very primitive and “simple”. Just listening to it is to rational for the music to fully take part of your body. We use a heavy sound, a slow pace and a repetitive form to trigger some sort of primal instinct. It’s the same goal as ancient monks had or modern dance dj’s have: a trance-like state. Except our package is served cold and harsh.

Your music creates a distinct atmosphere of darkness and despair, depending on how you interpret it as listener. What, if any, is the message behind your music?

There is no real message, just that. It’s our search for the core of a song, the stripped version of a melody or the limit of repetitions by which a riff is still interesting. We play with expectations and genre boundaries. But never for the sake of experiment, always to achieve what you just pointed out. Darkness, despair, detachment, losing grip, feeling disoriented with no other option to just go with it.

Where do you draw your inspiration from?

From a lot of music. We are all musical omnivores, distilling everything into Ggu:lls output. But also from our own experience as musicians in former bands. From people we worked with in the past, art we saw, books we read, movies we viewed, ideas we heard.

What are your plans now that ‘Dwaling’ is released?

There will be a cassette release soon by Tartarus Records. Richard is a great guy and he has a loyal following, so more people will know us when that comes out.
We will be playing some shows with Terzij de Horde this fall and some really cool festivals. And we started to write new material, because that’s a slow process in our case.

Thanks for the opportunity to get to know a bit more about GGU:LL and the people behind it. Is there anything left you’d like to share with our readers?

As Timothy Leary said; Think for yourself, question authority.

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Interview: Yeti On Horseback

In september Yeti On Horseback will release their debut album called The Great Dying. DutchMetalManiac's Henric van Essen already reviewed it here and now he fires some questions at them. Read the interview below.

Hi, how are you doing? Thanks for giving us the opportunity to get to know Yeti On Horseback and the people that are Yeti On Horseback.

Doing well, thanks for taking an interest in the band.

You have picked an unusual name, what is the story behind it?

It’s funny the name is so polarizing. Some people like it, some don’t. Some find it unusual, some find it fits perfect. When we were first choosing a name it was a struggle. Too many cooks in the kitchen so to speak. We spent countless hours trying to come up with the name to end all names. But when you are over 50 years into band names a lot are off the table. So after much debate a close friend of the band said “how about Yeti On Horseback?” and that was it. It had heavy imagery and it caused debate amongst the group. So then and there, I knew we had to use it.

Can you tell us a bit more about yourself and the other members and maybe a little something about the history of the band?

We like to remain as inhuman as possible. We are Yeti On Horseback and we CRUSH. KILL.DESTROY. Our music is the soundtrack to the End of life.

You count Satan as one of your band members. What exactly is his role in Yeti On Horseback and/or what does he represent?

Satan represents freedom from the flock. Embrace yourself and your passions; don't feel like you are out of place for liking something. We are all out of place and no one truly matters.

Congratulations on your debut album, The Great Dying. I think it’s an impressive piece of work in which you have managed to create an unnerving atmosphere that greatly contributes to the overall experience. I understand your music more or less represents your view on the world and the human existence, providing plenty of, mostly negative, sources of inspiration. Who translate(s) this inspiration into songs and how does that process take place?

Thanks so much, means a lot to have people not only understand what we set out to do, but respect it as well. R.P is our front man. He’s a true front man as he writes all the lyrics, does vocals as well as provides foundation for the songs to be built upon. He identifies with the misery and negativity on this human planet. The band as a whole shares these views. That, partnered with being great musicians makes for a dominant band that looks to conquer.

When listening to The Great Dying there is no way to not feel the anger and, to some extent, despair in both the music and the lyrics. Is your perception of our world and its inhabitants really that dark and grim? And what, if any, is the message behind your music?

It’s hard to not look at the world as it truly is. We are really only animals that have become “domesticated”. We all want to take and take until the world is but a shell of death and decay. We don’t have a message. Perception is in the ear of the beholder. If we did have a message it would be skewed by personal interpretation.

I described part of the guitar work and the female vocals (Who, if you don’t mind me asking, is she? Does she even exist?) on Elephant Man as a shimmer of hope, because that’s how it felt. Are those relatively light aspects of the song intentional?

They are intentional; it’s a reflection of life. We have all given hope only to have it snatched away with our eventual death and non-existence. As humans we learn at a young age this won't last. But from a music standpoint there are only so many dynamics we have in our artillery. So, we try to utilize them effectively even methodically. The beautiful voice you hear on Elephant Man belongs to JoJo Worthington. She is real, real talented. As soon as we heard her voice and the timbre of it we knew she was the one.

Now that you soon release your debut full-length and found a new drummer, do you have plans to go on tour? And if so, where would you like to play? Please say Holland…

We would love nothing more than that. And we would love to come to Holland. That being said we are somewhat shackled to our human responsibilities. In this day and age we are fortunate to have our music travel far and wide. These carcasses we live in can only go so far. But never say never. Time is a man made tool. So who knows?

I know this one might be way too early, but I’m going to ask it anyway: Are you working on new material already?

We are and we will always continue to put our thoughts and emotions to music. We have 3 new songs that are done. We have played one live and another we will play very soon. Making music will always be a part of our existence. We would like to enter the studio soon as our debut did take some time. We know we have a loyal following and it’s the least we can do.

What are your plans when it comes to the future of Yeti On Horseback?

“ The future's uncertain, and the end is always near”

Many thanks for the interview. Is there anything left you would like to share with our readers?


Yeti On Horseback Facebook

Review: Defiled - Towards Inevitable Ruin

Finally making it to album five, Japanese brutal death metal legends Defiled are certainly known for taking their time with their releases full of uncompromising brutality and relentless technical precision. Taking only five years to deliver a follow-up this time, this samurai clan are poised to follow up the acclaimed of their previous works with this devastating effort unleashed July 8, 2016 on Season of Mist.

Offering a far more organic take than normal in regards to their sound, this one manages to come off quite well in regards to its inherent brutality as the tightly-wound paces and overwhelming riff-work take hold quite early here. The galloping pace is quite appropriate here in offering swirling, stuttering rhythms that bring about quite a pummeling style found in “Cauterized,” “Doomsday” and “Force and Obedience” that generates a wholly oppressive feel here. Its full-on intensity is generated by this stuttering style of riff-work augmented by discordant technically-complex bass-lines and the occasional burst of blasting drumming that whips up veritable whirlwinds of frenzied patterns throughout as in “Subversion,” “Conspiracy” and “Scapegoat” all fully making for a truly brutal and technical offering. Though there’s some that might not find the short length somewhat inviting as the thirty-minute running time might put some off with the feeling that it ends just as it’s building steam, overall this one is a lot of fun.

Despite some might having a problem with the overall brevity and presentation, the pummeling nature of the rest of the material here is far more impactful with its more pronounced brutality and technicality that it remains a viable choice for brutality aficionados, fans of the bands’ past work or extreme metal in general. 9/10

Written by Don Anelli

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Review: Enemy Of The Enemy - Hellequin

The first thing that will hit you on this album is the vocals, very harsh vocals followed by a heavy guitar riff with the drums and bass. Well now, the album is moderately long as in it is slightly longer than most modern albums in the metal genre, it has 10 songs with varying lengths from around 3 minutes to 6 minutes. The quality is superb, every instrument is clearly heard, especially the always forgotten bass, which is very clearly heard here with a really growling fat sound. The guitar is great sounding with maybe a little bit too much bass and compression, then again the tone of the guitar is great with the sound of the drums. As for the drums, they have a good deep tone, especially the kicks which are heard and the sound of it is not muddy, kudos for the drummer for that. Now for the songs themselves. While varying in length, the individual songs show a lot of effort and time put into them. All of the songs are different in the intro, one even starts like a techno/dance song start. All in all, the album is a great feat of the band, and I was glad to be able to review it, I give the album a 9/10.

Written by Nikola Milošević

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Review: Subliminal Fear - Escape From Leviathan

Subliminal Fear has released a new album called “Escape from Leviathan”. After two and half years working in the studio, their third album (10 track release) is finally ready and it shows several innovations about past musical style with a greater attention to melodies and with a modern sound. The early sound has evolved in a “cyber metal”-sound with extreme and melodic vocals, djent guitars, a huge groove and with electronic and industrial synth. Now, the band's line-up is composed by 2 vocalists, to express all potential of the new sound, also in live shows. The brand new members of the line-up are: the vocalist Matteo De Bellis from deathster Golem and Ruggiero Lanotte, ex drummer of The Rest Side.

The album begins with "Phantoms or Drones" which makes it very industrial right from the start. It has a mix with very clean vocals with guest singer Guillaume Bideau that go well with the music, it's not too soft nor too loud. The song "Nexus" has an 22 seconds drum opening before the vocals start. It's a very dark song with parts that are melodic before the darkness starts again. With low voices and the grunting it's a perfect song to headbang. All the first few songs start almost the same with the drums, just a little tune difference. "Living in another world" is a song that flows from begin to the end. "Self-proclaimed gods" starts with heavely drums and if you wear a headset you hear that they split the music from left to right for just a moment, very nice. This song is more dark and fast paced, but the vocals are still very clean. The last song on this album is "The disease is human emotion", this song is quiet and really plays with your emotions. This song gives you goosebumps, nice choice to let it be the last one.

This album has very nice ingredients for making it a masterpiece. If you like melodic blast metal or death/modern/electronic, this is a band for you to check out!

Track List:
1. Phantoms Or Drones (feat. Guillaume Bideau)
2. All Meanings They’ve Torn (feat. Lawrence Mackrory)
3. Nexus
4. Escape From Leviathan
5. Evilution (feat. Jon Howard)
6. Living In Another World (Talk Talk Cover)
7. Dark Star Renaissance 4:07
8. Self-Proclaimed Gods
9. Limitless
10. The Disease Is Human Emotion

Written by Nathasja Voerman

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Lyric video: Ringworm - Innocent Blood

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Video: Hydra Kyll - Call Of The Void

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Video: Despised Icon - Bad Vibes

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Video: Ashaena - Tapae 87

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Stream: Iron Fire - Tornado Of Sickness

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Video: Necronautical - Nihilartikel

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Stream: Usurper - Frantic Fanatics

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Sunday, July 17, 2016

Review: Degenerate - Demo 2016

The band Degenerate plays thrash metal as we know it from the 80's. Good, fast, loaded with speedy melodic solo’s popping up now and then.

As this album is called their 2016 Demo, I assume they already had some songs before these 4.

Honestly, I didn't hear these before, but I can hear the band does a fairly good job on the 4 songs on this demo.

It starts with the song ‘’Gaia's Voice’’, slowly with an alarm going off, and after that a loud bass drums filled intro. The guitars sound clear, especially for a demo recording, the bass drum could sound more bass to me, now sometimes the drums sound a bit cut off. The song is good in terms of thrashy aggression and speed, but lack good vocals to me.

The singer sings aggressively and strong, but too monotonous to me.

It sounds like an aggressive rapper, singing all in one tone.

And to be honest, the whole down part I can hear on this demo are the vocals and bass

The guitars are played well, even though sometimes they appear little out of tune with the bass drum, but that can be what they wanted to reach. The bass and bass drums are strong but have a more cut off sound, and I like the bass rolling in the speakers instead. This demo never has a ‘wow’ moment for the bass.

There are also some good thing going on here, the songs are interesting with speed and melody changes. And even the vocals have some interesting if it weren’t for the same tone constantly going on. The solos of the band are great and played very well with lot of feeling in it.

So, if this band is going to record a full album, I will definitely check that album out properly, and if they manage to make a little more variation in the tone of the vocals and give the guitar/bass/bassdrum combination a big deep roar with it, then this band could make a great album.

Lot of potential in it, but lack of good sound and vocals to complete it.

Written by Maurice Hermans

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Saturday, July 16, 2016

Review: Crimson Fire - Fireborn

Having been formed in Greece over a decade, power metallers Crimson Fire have been a part of the classic mold of Greek traditional metal bands that excels at those glorious old-school scenes. Now onto their second full-length effort released June 3, 2016 on Pitch Black Records, the group continues their ploy of mixing the stylings of old-school heavy metal and power metal crunch.

This here is incredibly straightforward and rather unsurprisingly simplistic music here, simply taking the form of classic heavy metal with vibrant fiery melodic power metal melodies over the top of everything. The underlying rhythms here are tight, to-the-point and offering the kind of classic metal crunch usually favored by the more mid-tempo groups in the style, leaving this one with a solid, heavy thumping backbone that tracks like ‘Take to the Skies,’ ‘Right off the Bat’ and ‘Eternal Flame’ take full-advantage of in weaving them throughout in an unwavering fashion. Sprinkled nicely amongst these dense rhythms is the band’s penchant for sterling, soaring melodic leads and soloing that comes into play here, giving this a rather fun and engaging majestic gallop to the heavier rhythms where ‘Hunter’ and ‘Knightrider’ offer the variations of the type. The fact remains though, that despite this enjoyable enough presentation their so simplistic and straightforward that the band offers virtually no varied approaches or styles throughout here, as the one attempt at a ballad turns back into a mid-tempo cruncher which is the only real variance within the music and it does make this quite a one-note album overall.

Though the band does tend to play it safe from time-to-time, there’s plenty of elements that do work here in their sound that they remain a fine choice overall for fans of the Greek scenes other classic heavy/power metal bands or those looking for a starter band in that genre since they are evocative of the style without being 8/10

Written by Don Anelli

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Review: Sig:Ar:Tyr - Northen

¨I am King, where is my crown!¨ It is very hard not to imagine being in some sort of Game of Thrones scene when this sentence is yelled at you while listening to ‘’Crownless’’, second song on this amazing Sig:Ar:Tir record. And in a sense, it is not a strange image. ‘’Norther’’ describes the journey of Norwegians, or Vikings if you like, at the end of the Viking age, who set out to discover the areas now known as Canada. The coldness, desolation and inner and outer battles that had to be fought are heard in this steady black pagan metal album.
‘’Northern’’ is the first album in which Sig:Ar:Tir is a band, and not just the one-man project of Daemonskald. Although it might be the first, the band sounds as being a solid base and the music can flourish through this unity. In nine 6 to 7 minute songs, the band takes us through the icy journey that the Norse had to go through during their trip of discovery. And in all fairness, all songs are well balanced and great to listen to. There is melody, heaviness, guitar solo’s, a little acoustics here and there and of course the haunting screaming, barking vocals that are characteristic for black metal.

The album grabbed me from the beginning, because of the strong way to put the songs on the audience’s plate: There you go, take it or leave it. This is us.

The downside of the album is its length. The songs are sometimes all too similar, even though they really stand on themselves. The album is a great background, but to really intensely listen to it at full length, will most certainly give you moments where you think ´I have heard this before´. Basically, the first two songs are the strongest. ‘’Helluland’’ and the above mentioned ‘’Crownless’’ really take you deep into Sig:Ar:Tir’’s world. I am very happy to have ‘’Crownless’’ on endless repeat for an hour or so and feel like some spoiled king of the GoT-series. What follows after these songs is still nice, but feels so much as a oneness, that it is hard to differentiate the songs apart.

Nevertheless, Northern is a great black metal band with pagan influences, accessible for people who find black metal a bit too much, yet heavy enough for black metallers to enjoy to the full.

Written by Martijn Bakker

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Review: Oceans Of Slumber - Winter

Kicks off with a very melodic title song, that immediately introduces the warm sensual vocals of singer Cammie Gilbert. Oceans of Slumber is not simply a´femalefronted metalband´, though. Three male musicians contribute with their grunts and screams and produce a mingled harsh-melodic sound.
Combined with technical guitarwork and the broad style range of Cammie, the album stands for a diverse dive into metal. A bit slick, but with an edge to it.
Interestingly enough, the band chooses to make a cover version of the ‘’Moody Blues Nights in White Satin’’. The song itself is very well suited to be made into a heavy version. Rock Goddess made a great raw version of it, keeping the bluesy character in shape. Oceans of Slumber chooses a more romantic approach. The mesmerising voice fits perfectly, with the danger that it turns into a ´rock ballad´. Halfway, however, the band wants to make clear that they are still a metalband and kick in the distortion and fast drums. In my opinion killing the song with it, because basically, the part has nothing to do in this song. The song was great by itself with a little heavy guitars, which is luckily picked up after the distorted part.

As a sort of interlude, short song ‘’Lullaby’’ is put right after this cover version. Again portraying the beautiful voice of the singer, but especially when after this song the instrumental ‘’Laid to Rest’’ is played I am starting to miss the metal content.

‘’Suffer the Last Bridge’’ brings some sort of heavy metal/hard rock mix reminding me of loads of bands, changing from Guns´n´Roses to Skunk Anansie.
Halfway through the album we find ´Good Life´, which makes me think of Nightwish´s ‘’Creek Mary´s Blood’’ from the ‘’Once’’ album. A panflute song on a metal album. Hmm. Then again, it does make clearer and clearer that this album is about everything. In an interview, drummer Dobber Beverly says ´´We want to be in everybody’s ears, heads, and hearts” If you want to be in everybody´s heart, you will have to make music that everybody kind of likes. And I think there could be hardly anyone who does not like any of the songs. It does, however, make it very hard to make out where the band would like to be. They say they have a death and doom background, but unless American Death and Doom standards differ very much from European it is only very hard to find.

Tenth song ‘’Apologue’’ does have it though! One of the longest, most complex songs on the album gives a good mix of doom and death and has a main stage for different male vocal capacities.

After another instrumental song +they seem to be the cement of the longer song+ ...’’This Road’’ is a strong song with a perfect balance of melancholy, anger, softness and heaviness. An emotional song that is the penultimate one of the album. ‘’The Grace’’...well that one came unexpected! A classical pianopiece! Being a lover of (neo)classical music too, it came as quite a nice surprise.

And basically, that last song was the final chapter to saying that Oceans of Slumber’s album ‘’Winter’’ is an album with many sides to it. One can say that makes an album strong, because it feeds many different lovers. One can also say it makes the band indecisive. Maybe it is silly to say you belong in one genre, but to basically say you belong in every genre is another thing. So what do we learn from this all: the album is nice. The singer is great. The music is slumbering but indecisive in where the music belongs. So yes, we have an interesting album, that in my opinion, is too diverse to be just reviewed on a metal basis. But are you openminded...give it a try!

Written by Martijn Bakker

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Review: Totenmond - Der Letzte Mond Vor Dem Beil

Totenmond (Moon of the dead) has been around for quite a while. Being formed in 1984 as Wermut by singer/guitarist Pazzer and drummer S.P. Senz, still the backbone of the band, they changed their name to Totenmond in 1990. Their debut full-length ‘Lichtbringer’ dates back to 1996 and since then they have released six more albums, an EP and a few compilations. Whatever you can say about them, they sure take their time to compose an album, because only now, eight (!) years after their last release ‘Thronräuber’ they’re back with a new album called ‘Der letzte Mond vor dem Beil’ (The last moon before the hatchet). Totenmond plays a gripping type of crust punk, with plenty of variety. Despite this they are not well-known throughout the metal world, save in the German speaking countries, which quite likely has something to do with the language in which they sing, which is, of course, German.

They are a trio, and the list of current and past members is remarkably short. Apart from the two members of the first hour, there’s only Senf, who is the current bass player, and Roberto Garcia, the previous bass player. Having so few personnel changes usually means the band is a well-oiled machine so the signs are good for this one. Technically, that assumption holds true. The songs are solidly composed, with a well thought out structure with both expected and unexpected variety in them. Their play is impeccable, without the one instrument getting favored over the other. It is said they play a mean live gig, which is one of the main reasons they have a good reputation in the aforementioned German speaking countries, which I am determined to find out for myself after hearing their latest release.

‘Der letzte…’ opens with ‘Die Entheiligung des blasphemischen Josef und der ewige Rege’ (The desecration of the blasphemous Josef and the eternal rain), which is basically an intro that, like its name, goes on and on. It starts friendly, with birds, but pretty soon the rain sets in along with a short repeating bass riff that gets spun out further and further as the song progresses. After a while the guitar joins followed by a whispering Pazzer and some undetermined shrieking sounds, giving it a black metal feel. It reaches the climax towards the end, with Pazzer no longer whispering, but instead growling provocatively, until thunder stops him. A peculiar song compared to the rest of the album, but definitely interesting. After this somewhat misleading opening, the guys ram the pedal to the metal with the high-voltaged ‘Hölle mit Hof’. The speed goes up a dozen of notches, with drums that double that speed at times. A neck breaker if ever you have heard one, to be placed at the opposite end of Totenmond’s musical spectrum as where the opener is located. Here’s for setting boundaries…

There’s eight more songs on the album, exploring every corner of the set musical boundaries, which, I might add, are set pretty damn’ wide. Many different styles are to be found on ‘Der letzte…’ even within every single song. They change styles so fast you’ll be seriously challenged to keep up with it. The doomy sounds of ‘Giftköder’, with its thrashy end, the stirred up ‘Blut auf Krank’ with its heavy bass lines and its weird-ish outro, the slow, heavy riffs in ‘Kehrwoche’ that pick up speed along the way, the more accessible ‘Tötet den König’, the aggressive ‘Zu den Waffen’ with its high speed, there’s something for almost everyone here, without sounding chaotic or incoherent anywhere. To conclude this, they came up with ‘Die Salbung’, in which I suspect you are being cursed by a backwards speaking, insane-sounding Pazzer on the sweet, twisted tones of a church organ rather than receive your unction.

Like I said, ‘Der letzte…’ is a varied album, set within the wide musical borders the guys of Totenmond allowed themselves to wander around in. Though their core business remains crust, people who don’t like that particular style are in no way to be discouraged by that. It really has a lot more to offer, I think metal fans with a wide variety of tastes will find something to their liking on this album. And that might be the album’s only flaw, if there is one in the first place: It’s not an album that has preset musical outlines, it’s a journey through styles, so the number of people who like all of it might be limited. Regardless this, I’d strongly suggest anyone to give it a try, I for one actually did enjoy all of it. A lot.

Written by Henric van Essen

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