Zandelle Axemaster Suspended Soradra Fedra One Machine

Metal Bulletin Zine #54
August 2015
www.twitter.com/MetalBulletinZn
Zandelle
www.metalbulletin.blogspot.com
w w w.fuglym aniacs.com (issues online, videos, …)
Leather Leone (Chastain, Sledge Leather)
Suspended
Soradra
Axemaster
Fedra
bands from Washington state: Rutah, Inquinok
album reviews, news, updates
One Machine, Arcturus, My Refuge, Morbid Slaughter, Suspended, Satanika, Evil
Force, Secret Sphere, Tentation, Cattle Decapitation, Mongol Metal: Tengger
Cavalry / Nine Treasures / Ego Fall, DarkTribe, Goat Torment, Ogotay, Kaledon,
Antropofago, Norylsk, Deathwhite, Fedra, Gutter Instinct, Soradra,
free metal music
Crânula, Eldertale, Dead Conception, Hereditary
—
Metal Bulletin Zine
P.O. Box 1339
Lake Stevens WA 98258
The band has some free downloads on
ReverbNation. They are also on Facebook
and Twitter.
www.facebook.com/pages/The-Metal-Bulletin-paperzine
Metal Bulletin Zine
#1-20: (2006-2009): Wisconsin
#21-26: (2009-2010): Texas
#27(2010)--now;
Washington state
If you would like to hear more of this
Washington state metal definitely go to
ReverbNation, as they have some songs on
there.
-—
metal programs (these are Pacific Times)
Mosh Pit (Madison, WI): Monday night 9:30pm12am WORT 89.9 fm www.wortfm.org
Sweet Nightmares (Houston, TX): Thursday
night 9pm-12am KPFT 90.1 fm www.kpft.org
www.reverbnation.com/rutah
www.facebook.com/pages/Rutah/442544779
100745
www.twitter.com/RutahBand
contact: [email protected]
Inquinok
Excuse All the Blood (Olympia, WA): Friday
night 11pm-1am www.kaosradio.org
Metal Shop (Seattle, WA): Saturday 11pm3am KISW 99.9fm www.kisw.com
—
bands from Washington state
Rutah
Rutah is an extreme metal band from
Spokane, Washington state.
According to the band bio:
“Formed in the summer of 1999, Rutah was a
group of friends that wanted to listen and play
extreme metal, so the band was formed and
has been going strong since. Over the years
we have had the privilage to play with many
great bands local and international and have
had some great shows on tour and at home.
Our goal as a band is to stay true to what we
started out as, a extreme metal band that
does not change to fit the popular trends of
the time, but to play the music we love and
the way we love to play it, HEAVY, FAST,
LOUD!!”
The discography is:
Hate from Days Long Past
Welcome to the End of Days
A Place of Outer Darkness
2005
2007
2012
If you have not heard this black metal entity,
you’ll be surprised to find out that the
recording on Bandcamp is free/name-yourprice. It’s a bit surprising because it is a fulllength album, Inquinok’s third, “Dimension of
I.”
The discography is:
Shadows Amongst the Moonlight
Entranced by Twilight's Gaze
Immortal Dawn
Dimension of I
track list for Dimension of I:
1.Shrouded in Chaos
04:45
2.King 06:29
3.Illusion
04:57
4.Dominion 04:09
5.Dimension of I 07:59
2002
2006
2009
2013
6.Banner
05:49
7.Shattered 07:07
8.Tormented Skies 05:45
9.Engines Defined 08:12
total time: 55:12
This is the band’s bio:
“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
3
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.”
Hear/download the music here:
www.inquinok.bandcamp.com
www.reverbnation.com/inquinok
www.facebook.com/Inquinok
**
REVIEWS
All album reviews, news, updates below are
by MMB, unless stated otherwise.
One Machine: The Final Cull
(Scarlet Records)
Warning: Do not check your brain at the door.
You will need it for One Machine! If you hate
high-pitched heavy metal singing, move on. If
you abhor prog metal that requires several
listens and needs for the audience to make
an effort to understand the music, you should
also move on.
One
Machine
is
midtempo/uptempo,
chuggy, proggy metal with an aggro/thrash
pounding
heaviness,
and
with
both
aggro/angry shouted vocals and air-raid-siren
singing, like fusing shredder metal with
Symphony X, Nevermore and Cowboys-era
Pantera, with the aggro of a young Phil
Anselmo and the high screams of Rob Halford.
For the solos the band unleashes major
fretboard action upon the ears of the listener.
Guitar maestro Steve Smyth, who according
to Metal Archives is originally from the great
state of Texas, U.S. and now lives in grey and
rainy London, U.K., first came to people’s
attention through his work with Vicious Rumors
and Testament, and then perhaps most visibly
with Seattle’s kings of misery and self-loathing
metal Nevermore. Mr. Smyth has done work
other projects, such as Forbidden and
Dragonlord, and other names, too, but those
are some of the most well known for the metal
music public.
A few years ago Mr. Smyth revealed a new
monster that he and fellow conspirators had
been frankensteining in the mad laboratory:
One Machine. In 2014 they brought out the
behemoth known as “The Distortion of Lies
and the Overdriven Truth,” a work that was a
marriage between classic metal and modern
metal, coming across as prog/thrashy metal,
heavy, yet still melodic. Now, on September
18th, they unveil “The Final Cull.”
In my opinion, the first album was a strong
exhibition of hard work and dedication, by an
experienced team that expects that the
listener is willing to put some effort into the
music. The band seems impossible to limit to a
category or label, and this new album
demonstrates once again that the music is
the result of experience.
Mikkel Sandager, the former vocalist for
Mercenary, is no longer with One Machine,
either. In his place we find Chris Hawkins, who
is a new name to me. The band has a new
4
rhythm section, Stefano Selvatico (bass) and
Michele Sanna (drums). Jamie Hunt (guitars)
and Steve Smyth, according to Metal
Archives, have been in One Machine since
2008. The first album from 2014 was a bit
overwhelming at times, to me. A little too
heavy-handed on the prog/thrash, perhaps a
bit too much music-for-musicians, so I was
looking forward to hearing the new material
to see if I would understand it better.
Since this is the second time around for me, I
was more prepared for the high skilled
combination of prog metal and modern
metal, that particular concoction that is One
Machine. I hear the melodies a lot more this
time around. Or, maybe the album is more
melodic? The song structures have a bit of a
twist to them, providing the sensation that this
band does not sound like any other band
right now. The guitars can be fluid, but they
can dig down and get heavy and chuggy,
too. Add the variety of vocals of high and low,
and the picture of versatility comes into focus
rather well. It may sound a bit strange at first,
due to the various elements of prog, thrash,
traditional, modern and groove metal, but all
of it put together adds up to One Machine.
As for me, this new album has been a good
transition. I understand One Machine a bit
better now, and that’s a good thing because
the album sounds like a lot of hard work. Mr.
Smyth and Mr. Hunt will probably get
tendonitis in the future, and Mr. Hawkins is
mostly likely still in the hospital getting therapy
for the destruction of his vocal chords during
the recording of this album. I wish for good
health for everyone in the band!
www.facebook.com/OneMachineOfficial
www.feedtheonemachine.com
www.twitter.com/one_machine
review by Matt Spall, Man of Much Metal
Arcturus:
Arcturian
(Prophecy
Productions) Year Of Release: 2015
‘Idiosynchratically beautiful’. These are two
words that have stuck with me for nearly 20
years and which I recall almost every time I
hear or read the name Arcturus. These words
were quoted on an advert for the Norwegian
band’s 1997 release, ‘La Masquerade
Infernale’ within an issue of either Terrorizer or
Metal Hammer magazine; I can’t remember
which. What I do remember was that I was
deeply into a stage of black metal discovery
at the time and this quote resonated with me
for some reason. I took the punt and received
the album as a Christmas present. It wasn’t
love at first listen; instead it was a slow and
steady slog that has ended in a lasting and
deep love affair. It was the track ‘Ad Astra’
that was the catalyst for repeat listens. Full of
drama, avant-garde vaudevillian oddness
and a compelling crescendo, it impressed me
and forced me to listen to the remainder of
the album more than perhaps I might
otherwise have done.
It is arguable that in the intervening years,
Arcturus have never managed to hit the
heights of ‘La Masquerade Infernale’. Neither
2002’s ‘The Sham Mirrors’ nor ‘Sideshow
Symphonies’ spoke to me in the same way
and despite containing some outstanding
moments, I came away both times with
feelings of slight disappointment. And that, as
they say was that. In terms of original studio
albums, nothing has been released since;
indeed after the release of ‘Shipwrecked in
Oslo’ in 2006, the band called it quits with the
individual members going on to do different
things. And so it has remained until now.
Rumours were rife from around 2011 when
various members made comments that
alluded to a resurrection of the band and
5
later that year the rumours were confirmed.
However, for one reason or another it has
taken until 2015 for a new original recording to
see the light of day, a development that has
been greeted with great euphoria amongst
the loyal Arcturus following.
Arcturus version 2015 is comprised of Steinar
Sverd Johnsen (keys), Hellhammer (drums),
Knut Magne Valle (guitar), Hugh ‘Skoll’
Mingay (bass) and ICS Vortex (vocals).
Together, they have created an album very
much worthy of their lofty status and one that
I would argue just about manages to match
the quality of ‘La Masquerade Infernale’. The
only reason I hedge my bets and say ‘just
about’ is because I’ve only had about three
days with ‘Arcturian’ as opposed to the 18
years I’ve had to enjoy ‘La Masquerade
Infernale’. That said, I’ve listened to ‘Arcturian’
more times than I care to mention in recent
days and it gives me chills on each and every
listen. It is complex, quirky, brilliantly
composed and professionally executed. I
have no doubt that with even more time and
attention, it’ll delight and captivate me even
more than it does already.
The one thing that perhaps I wasn’t expecting
was the sheer amount of melody and
accessibility that ‘Arcturian’ displays. It’s no
exaggeration to say that for all of the
complexity and raw heaviness, almost every
track on the album contains a melody, lead
vocal or some kind of hook that makes me sit
up and take real notice. When I listen to new
music, I have a tendency to make an ‘oooh’
noise and smile broadly if something excites
me. I suspect that there will be some of you
out there who do something similar. On
‘Arcturian’, I admit to ‘ooh’-ing all over the
place.
One of main reasons why this album feels so
melodic and accessible is, I believe down to
vocalist ICS Vortex. Yes he is an acquired taste
but so unique is his delivery and so impressive
is his range that seemingly very little is off-limits.
He complements the music beautifully,
managing sound both majestic but also a little
unstable, as if he could spiral out of control at
any moment. I mean, at times, he sounds like
he’s yodelling for heaven’s sake; it’s superb.
Onto the compositions themselves, they are
all dense, multi-layered affairs that contain an
abundance of richness. There are no songs
that tend to extend over six minute mark and
yet, such is the ambition of Arcturus that it
feels like a million different ideas are injected
into each composition, testing the listener and
toying with them at every turn. I strongly
suspect that this has been done with a certain
playful, yet mischievous intent. Those strong
Vaudervillian overtones of the band’s past
make a welcome return, as do a number of
various influences that pull Arcturus away from
being simply discarded as a black metal
band. As they demonstrate on ‘Arcturian’,
there are elements of black metal to their
underlying sound but they deliver so much
more that to pigeonhole them in such a way
would be inaccurate and disingenuous.
Opening track, ‘The Arcturian Sign’, starts off
somewhat
disconcertingly
with
weird
electronic noises and sounds. It’s a typically
6
eccentric beginning which soon gives way to
those unmistakable vocals of ICS Vortex and,
at its core, a black metal meets prog
composition. Dominated by powerful synths
and relentless double pedal drumming, those
odd sounds like laser guns nevertheless resurface throughout. But within the tumult and
idiosyncrasies is a really catchy, hook-laden
chorus.
‘Crashland’ has a light and breezy feel to it,
taking in influences from space rock, folk
music and more extreme climes. The
sweeping synths are immediately reminiscent
of the ‘La Masquerade Infernale’ era, as they
are during my personal standout track,
‘Game Over’ with its addictive melodies and
the way it builds and morphs so elegantly
from
one
guise
to
another
almost
imperceptibly, ending in a crescendo of sorts
that elicits another ‘ooh’ from my lips.
‘Angst’ is a powerful and more extreme slab
of metal, dominated by a blistering tempo,
tortured screams atop another strong synth
melody and the threat of a descent into
chaos on more than one occasion. ‘Warp’ on
the other hand introduces more electronic
influences but has such an imposing and
catchy melody that it’s impossible to ignore.
‘Demon’ has demonstrable Gothic synth pop
overtones whereas ‘Pale’ delights with a
marvellous driving central riff, a great chorus
of sorts and some of the most varied and
brilliant vocals on the entire record. The album
ends with ‘Bane’, a track that further backs up
the gorgeous ‘The Journey’ by providing
amongst other things, some truly beautiful and
subtle acoustic guitar playing which is a real
joy.
For all that, I have to say that ‘Arcturian’ is an
album that’s best enjoyed in its entirety rather
than picking and choosing individual songs.
The album has a distinct flow and overall feel
that helps to make it as special as it is,
something that could be lost if listened to in a
piecemeal manner.
For the sake of balance, my only small gripe
relates to the production which I think is a little
on the weak side and robs some of the
aforementioned richness from the music.
Occasionally, the layers of music come
together is a slightly messy muddle of
impenetrable white noise which is a bit
disappointing. But then again, there’s a
certain ‘old-school’ charm to the mix too,
reminding me of their heyday more than
once. Maybe therefore, the production is
entirely deliberate, those naughty scamps.
It’s almost impossible sum up ‘Arcturian’ in a
concise manner and do it the justice it
deserves, except to say that if you’re a fan of
Arcturus at their most original, challenging,
audacious and quirky, prepare to take
‘Arcturian’ straight to your heart.
The Score Of Much Metal: 9.0
Read more of Matt Spall’s reviews and
interviews at:
The band had an EP in 2010, the year the
band started out as a solo project for Mauro
Paietta (guitars). There was another EP in 2013.
Nowadays My Refuge is a full band and this is
the debut full-length album.
The album is professional. The recording
sounds solid, in the style of modern heavy
metal. The songs are memorable, and rather
easy to understand. The riffs work well with the
songs, and the guitars have hooks. The singing
is not only melodic but emotional, too, as is
expected. If you want melodic metal or if you
know that you like traditional metal bands
from Italy, then check out My Refuge. This is
the debut album, so it’s fair to say that we
could be hearing bigger things from them as
they gain more experience!
Mr. Paietta started the band, but today this is
the full legion of power and glory:
www.manofmuchmetal.wordpress.com
www.twitter.com/ManOfMuchMetal
My Refuge (Italy): A Matter
Supremacy (Bakerteam Records)
Of
My Refuge’s album is a solid work of
modern/traditional/melodic heavy metal. It’s
a bit on the side of power metal and some
prog elements are present, but it’s melodic
metal all the way. They have melodic singing;
it’s not aggressive shouting; just singing. They
do uptempo rockers, midtempo songs and
some slow songs.
7
Davide Vella – lead vocals
Mauro Paietta - lead guitar
Simone Dettore - lead guitar
Salvatore Chimenti – lead bass
Valerio Ferrari – lead drums
www.facebook.com/pages/MyRefuge/357637697668118
www.myrefuge.it
www.bakerteamrecords.com
Morbid Slaughter (Peru): A Filthy Orgy
of Horror and Death (Boris Records/Inti
Records)
Fanatics of South American raw and primitive
extreme metal have September 4th to which
to look forward. That is the date that Morbid
Slaughter will have the new album ready for
those that live and breathe barbaric metal.
These Peruvians are totalitarian bestial metal
alchemists through their secret of occult, sick
metal. Play this album, hear it, and it sounds
great! The members of the band have
appropriate names, such as Ripping Corpse
and Necrophiliac Sodomizer, names that we
can all say aloud when we are gathered
together around the water cooler at the
office, talking about the newest music that we
like. The conversations will go like this, “Oh
yeah, Christine, that Necrophiliac Sodomizer is
unstoppable on the new album! You should
check out Morbid Slaughter for sure.”
perfect for headbanging, very memorable, in
an extreme metal way, but also in a dirty rock
and roll kind of way. They know what they
want: they want you to bang your head and
get into the barbaric metal right now.
C’mon, join the barbaric metal brigade!
www.boris-records.com
www.facebook.com/IntiRecordsPeru
www.facebook.com/MorbidSlaughterOfficial
www.facebook.com/IntiRecordsPeru
www.intirecordsperu.bandcamp.com
Suspended
(Albuquerque, New Mexico, U.S.)
These thrashers have a new recording in 2015
called “Hollowed Minds,” a six-track EP that
continues their path of bringing together old
thrash and new thrash. The band bridges the
gap between the old school and the new
school through the use of growl vocals, and a
bit of the modern energy and speed.
They apparently started in 2009, but the spirit
of
the
music
says
venombathorysodomhellhammermotorhead
from the 80s. They have several demos and
other recordings to which the metal freaks of
Lima, Peru have been raging. These criminals
do not want to exclude the world, so here
they are now just about to let their songs loose
on the world. The vocals are handled by
Envenom, whose style comes proudly from the
tradition of 80s Bathory.
“Hollowed Minds” became available July
2015 and the track list is:
1.Latrom
2.Hollowed Minds
3.Escape the Pain
4.Beast Within
5.When the Smoke Clears
6.Embrace the End
The best part of the album is that it is really
8
The band is moving along fine in their
trajectory of thrash, sounding tighter and
more experienced. Previously, in 2010 they
had a four-song EP called “Dig Your Own
Grave.” Before that, they had the nine-track
album “Prelude to Indignance” in 2008. Keep
in mind that this band’s recordings are
independent (from the information that is
available) and that goes to show the kind of
determination for metal that they have.
Furthermore, according to Metal Archives,
Suspended began in 2003, so they have been
at it a while. Give credit to Suspended for
sticking to their story and not giving up. That’s
how it should be.
www.facebook.com/Suspendedchickz
metalheads can understand quickly. At the
same time, listening to the music, it’s a bit of a
surprise how clean the production is. Perhaps
that’s
just
another
example
of
the
professionalism that I mentioned earlier.
Satanika means business.
www.facebook.com/satanikattack
www.satanika.bravesites.com
www.osmoseproductions.com
Evil Force (Paraguay): Ancient Spores
Evil Force is as honest as possible with the
sound of their thrash (think Nuclear Assault,
Vio-lence, Hirax, and “Thrash Zone”-era DRI)
for 2015.
Satanika (Italy): Total Inferno (Osmose
Productions)
Satanika’s extreme metal has growled vocals
and some blasting, yet the spirit of the music is
all about 80s primal thrash. It’s a good
combination; it works for them. The band
exudes a level of professionalism that is
impressive. This could all be due to their
unusual
recording
history:
the
band
apparently released four different EPs in 2010,
which is basically something that seems highly
unprecedented. Then, in 2011 the band had
an album and EP. In 2012 they had an album
and a split. 2013 was a bad year for them:
they had “only” an EP. In 2014 they bounced
right back with an album. They did not allow
too much time to go by, so in 2015—surprise,
surprise!—they have a new album: the tensong lesson in thrash called “Total Inferno.”
Such a flurry of activity means that the band
believes in wasting no time: songs that
9
This band is also exclusively for the lunatics
that never get enough thrash from the old
school. The band began in 2005 and has a
multitude of demos and splits that glorify
thrash metal as much as humanly possible.
The band has three recordings EPs/splits
released as splits in 2014 and this album seems
to include some or all songs from those. The
band is not a Johnny-come-lately and they
sound like experts at thrash with the mentality
of the classic days brought into today. The
people that appreciate the direct impact of
thrash songs, like the old Bay Area bands, and
want to hear new (or new to you) bands, Evil
Force would be perfect for those seeking
thrash with the attitude of the golden age.
www.facebook.com/evilforcepy
Secret Sphere (Italy): A Time Never
Come – 2015 Edition [Re-recorded]
(Scarlet Records)
Secret Sphere, according to Metal Archives,
began in 1997. Before this new re-recording,
they have seven full-length albums. Those in
the know in Italy do not need an introduction
to the band, although the band is new to me,
given that I have missed the boat in this case.
I am not qualified to say anything about the
previous albums, including the original
recording of this album from 2001.
As you know, the metal public that does not
like re-recordings. Some people really hate it
when Exodus and Manowar and Anthrax and
other bands go back and re-record old music.
They say it loses the magic of the original. I
expect that some of the band’s older listeners
will be not be pleased that their nostalgia is
being ruined with a new version.
This leaves me in a strange situation because I
think this album sounds awesome. If you listen
to power metal and you have never heard
this band, you will enjoy it a lot. The album
sounds like it is the work of an experienced
bunch of musicians, which of course they are;
they’ve been at it for a long time.
In my case, I cannot help but think this is an a
very good album of power metal from Italy,
with the talent, attitude and dedication that
traditional metal bands from Italy show in their
10
albums. I am not able to compare it, and can
only say that this album is a keeper for sure. If
you have not heard Secret Sphere and you
would like to hear power metal from Italy, I
recommend this album. I have been listening
to it a lot to see if the quality is strong for the
complete album, and not just a few songs,
and have determined that the album as a
complete work sounds catchy, melodic and
rocking.
Why did the band re-record the album?
Really, it does not matter to me, being out of
the loop as I am. The band says that this new
recording of the album was originally meant
for the Japanese market. As you can imagine
with bands, the band has gone through
membership changes since 2001 when this
album was first recorded. One of the main
attractions is that the new lineup, including
the new singer Michele Luppi (with the band
since 2012), gave it the new production.
This was an excellent introduction to Secret
Sphere for me.
www.facebook.com/secretsphere
www.scarletrecords.it
Tentation (France): Tentation (Infernö
Records)
How much traditional heavy metal in French
have you heard? This band sounds like they
wake up headbanging to French heavy
metal, have breakfast headbanging to
French heavy metal and go to bed
headbanging to French heavy metal. Can
you say Sortilège?
I do not speak French, but I speak a little bit of
heavy metal. I understand this music perfectly.
Nothing needs to be translated because
everything is perfectly clear: 80s traditional
heavy metal will not die as long as this band is
alive and kicking up the jams.
The band has not been around too long,
formed in 2012, and this is their debut EP.
When you listen to this band, expect heavy
metal similar to the New Wave of British Heavy
Metal in the sense of the old school metal,
and expect basically nothing from modern
metal. Tentation will bring back the 80s and
they want to take you with them. The songs
are generally fast heavy metal, and they get
to the point quickly.
I have not heard that much heavy metal in
French, so this sounded both familiar and
different because of the language, but, like I
say, in the end the language is heavy metal,
regardless of whether you speak English,
Spanish, German, Japanese or Martian.
Definitely give this band your time if you love
traditional heavy metal. If in your music
collection you don’t have too many bands
doing metal in French, then that’s another
reason for finding out more about Tentation.
www.facebook.com/tentationfrance
www.tentationfrance.bandcamp.com
review by Matt Spall
Artist: Cattle Decapitation
Album
Title:
The
Anthropocene
Extinction
Label: Metal Blade Year Of Release: 2015
If you’re looking for a way to make an impact
with your music, I suggest you take a listen to
Cattle Decapitiation. In a world where
extreme music seems intent on getting ever
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more extreme, many of the protagonists
would also do well to take a listen to Cattle
Decapitation. Why?
Because here is a band that make brutal and
extreme music into something of an art form.
Where others may up the complexity in an
effort to become more extreme or even add
strings to guitars for more bottom-end rumble,
Cattle Decapitation just effortlessly blend
everything together to create a genuinely
unsettling aural experience that’s just about
as good as anything I’ve heard for a long time
in this particular scene. It’s not extreme for
extreme’s sake; it is music that uses it’s
extremity as a tool or a potent weapon to
make a statement.
You want technicality? You want groove? You
want aggression? You want heaviness
capable of shaking the very ground you walk
on? Then you need ‘The Anthropocene
Extinction’ in your life.
On a first listen, I was, I must admit, a little
thrown by this, the seventh record from the
San Diego-based quartet. I’m not the biggest
out-and-out extreme metal fan and my only
real exposure to Cattle Decapitation was via
their debut ‘Homovore’ and, to a lesser
extent, the follow-up ‘To Serve Man’. Both of
these were all-out unmitigated grindcore,
albums chock full of quick-fire extremity in
bite-sized chunks of around one-to-two
minutes in length. As a newbie to the
grindcore scene, I rather liked the output
because within each frenzied assault was a
snippet of real groove, something to latch
onto. It was enough for me when what I was
yearning for was some unmitigated savagery
to cleanse my mind and rid me of pent-up
frustrations. The fact that I kept coming back
to the debut meant that there was definitely
something special about it.
Having missed the intervening four albums
however, I was initially surprised to discover a
slightly
different
approach
on
‘The
Anthropocene
Extinction’.
Cattle
Decapitation circa 2015 is undoubtedly a
more refined, more structured and, dare I say
it, more accessible proposition. They’re still
brutal as all hell of course, but with a
modicum of added subtlety, which I
personally welcome with open arms. Theirs is
now best described as an extreme metal
hybrid where death metal influences for
example, are apparently as much a factor as
those of grindcore. It’s also an album that
sees the band focusing on the ‘less is more’
principle and, as such, the songs seem to take
precedence
over
the
individual
performances; another example of the
increasing maturity of the band.
Opening track ‘Manufactured Extinct’ begins
very quietly and ominously before launching
into a slow-paced and measured riff at the
hands of Josh Elmore. The vocals of Travis
Ryan are almost indistinguishable from Derek
Engemann’s bass rumble but, as the track
suddenly picks up pace launching the track
into a brief tumult of ferocity, so does the
voice into a more discernible growl. What I
wasn’t necessarily expecting was the ‘clean’
vocal delivery that emerges to compliment
the chorus of the song. To call it clean is
wrong though; when I first heard the almost
demented but contained shriek I wondered
what on earth I was listening to. It’s genuinely
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harsh, disturbing, uncomfortable and I love it.
If the opener was surprisingly melodic and
mid-paced at times, follow-up ‘The Prophets
of Loss’ goes on all-out attack from the off.
Bringing in a Behemoth-esque quasi black
metal feel to the track is a master stroke that
works to great effect. The pace is significant,
as it the utterly ridiculous drumming courtesy
of Dave McGraw which absolutely pummels
with relentless power and precision.
To pick out all of the good bits on this album
would be a futile exercise given that there are
so many. Instead I’ll mention the irresistible
stomp and majesty of ‘Plagueborne’, the
shifting tempos of ‘Clandestine Ways (Krocodil
Rot), the out-and-out grindcore-meets-midtempo-groove workout that’s ‘Mammals In
Babylon’ and the contemptuous snarling
within ‘Not Suitable For Life’. The latter is
venomous and it has that aura to it – no
messing, just genuine revulsion and disgust put
to music.
Referring back to the ‘relentless’ adjective I
used earlier, that’s the overwhelming feeing I
get when listening to this album – it may
display a surprising amount of variety given its
brutal nature but the content of ‘The
Anthropocene Extinction’ is exhausting. But
then that’s exactly how it should be. For all the
groove, all the melodic flourishes and the brief
moments of relative quiet, there’s no
possibility at any moment to forget that you’re
listening to a properly extreme metal record
that is designed to pummel and test the
listener’s endurance as much as it is intended
to entertain.
The one thing I’ve yet to mention thus far is
the lyrical content. Cattle Decapitation are
an angry band, that’s for sure. Whether it be
animal cruelty, politics, the general state of
the world, Cattle Decapitation are open to
explore it; they’re not what you could class as
an ‘activist’ band but it is refreshing to hear a
band that has such strong views, airing them
without fear of the repercussions. It all adds
yet another layer of authenticity to what is,
unquestionably one of the best extreme metal
records that I have heard for a long time. It
has everything that I could ever ask for and
more besides.
that have names like “throat singing” and
other features.
The Score Of Much Metal: 9.0
Read more of Matt Spall’s writings at
www.manofmuchmetal.wordpress.com
Mongol Metal (compilation) (China):
Tengger Cavalry / Nine Treasures / Ego
Fall
(Mongol Metal)
Whether you are into folk metal or not,
consider exploring these three bands from
China because this compilation is something
good, very interesting and something
different, and you will hear and feel the
difference. The compilation exhibits several
characteristics that will be worthwhile to those
looking to hear metal approached from these
angles.
However, in this case, thankfully, all three
bands rock out on this compilation. The bands
have particular elements of folk metal from
Inner Mongolia, China. The vocals sound like
extreme metal, but some of the vocals will
sound new to the metal ear, with elements
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It makes you wonder about the road that
these three bands—Tengger Cavalry, Nine
Treasures and Ego Fall—have travelled in
order to arrive at the sound that they have. Of
course, they sound different from each other,
but this compilation does a good job of
showing the world what folk metal from China
sounds like, by these three bands. The songs
are memorable. There is a youthful energy to
them, regardless of whatever their ages may
be.
To conclude, if you are into folk metal or if you
are curious to hear some metal from China,
this compilation is very, very helpful.
www.facebook.com/egofallband
www.facebook.com/tengger0cavalry
www.facebook.com/ninetreasuresofficial
www.tengger-cavalry.com
www.mongol-metal.com/#!ninetreasures/c2366
www.mongol-metal.com/#!ego-fall/c1mle
www.mongol-metal.com
www.facebook.com/mongolmetal
DarkTribe (France): The Modern Age
(Scarlet Records)
first EP and in 2012 the debut album. In 2015
they have this new album. At any rate, if you
love melodic metal with a prog/power bent,
listen to DarkTribe and see if these songs
speak to you.
www.facebook.com/DarktribeOfficial
www.darktribe.fr
www.twitter.com/DarktribeMetal
www.scarletrecords.it
Every time I listen to this album I can’t help but
notice what solid work of modern melodic
metal it is. DarkTribe is a perfect example of
the type of bands that will take melodic metal
into the future. They may not be famous and
they may only have two albums, but there is
enough on this album to showcase what they
have to offer to the public into bands like
Dream Theater, but an audience that is
perhaps not as excited as the aging sound of
those bands. DarkTribe is not reinventing the
wheel of modern melodic proggy power
metal, but is taking the tradition of the past
and sharpening its own interpretation of the
style. That’s what I want. I want to hear bands
that are comfortable in their own skin, that
know that they don’t have to invent new
genres, but really want to write catchy songs
and have professional recordings. The singing
is probably the most immediate attraction
about the band. It’s melodic and pleasing to
the ear; good, solid singing; the type that
delivers the goods and promises more for the
future.
Goat Torment (Belgium): Sermons to
Death (Amor Fati Productions)
According to Metal Archives, the band has
been active since 2004. In 2009 they had their
Bestial metal, war metal, barbarian metal,
necro black metal, whether it’s Revenge,
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Goat Torment formed around 2008/2009 and
ever since then the objective has been to live
up to the name of the band. Let’s face it,
once you make this left turn and head down
this road of perdition, you either live up to the
name Goat Torment or you die a miserable
death. There’s no going back and there is no
changing
musical
direction
because
otherwise it’s no longer Goat Torment. You
must play black metal like you want to beat
up Marduk and Endstille in the dark corners of
the streets at night. Either you jump into
moving traffic and survive or get forgotten by
the fast moving hordes of black metal. This is
black metal, this is Goat Torment black metal:
blasting, primal metal that will challenge the
clans of the spikes to fight skinheads, drug
addicts and the police in the sewers of the
city. Goat Torment has the goal of sickening
your normal life and infecting you with black
metal scum mentality and you will like it
because you want this band to be your
enemy to hate.
Sarcófago, Blasphemy or whatever you want
in the bestial, the bestial you need, you want
this now, you come and get it down here.
www.facebook.com/Goattorment
www.amor-fati-productions.de
Ogotay (Poland): Dead God’s Prophet
(Selfmadegod Records)
The sounds of true death metal make it easy
to bang your head. Extreme metal fanatics
know that Poland has a reputation for reliable,
consistent death metal. Such bands from
Poland are appreciated for knowing how to
work within the genre, and these bands are
conscious not to disappoint their listeners by
releasing weird, disastrous albums. It’s almost
like a warranty from death metal bands from
Poland. In metal in general, consistency is
appreciated, due to many people feeling
alienated by their favorite bands getting all
electronica
experimental
dance
club
dubstep spoken word jazzy glam hardcore
hipster postrock and whatnot.
Ogotay is bassist/vocalist Marcin Świerczyński
(ex-Yattering), drummer Szymon Andryszczak
(ex-Pandemonium), guitarists Artur Piotrowski
(Mess Age) and Andrzej Peszel (Fulcrum). Such
information only confirms that this is death
metal of the old guard of the Polish extreme
metal sounds. People into the sounds of
Vader, Behemoth, and Hate can find so much
of those fundamental sounds in Ogotay and
this new album. I mention those bands
because I notice that the professionalism of
Ogotay is top notch.
This death metal is a bit more “traditional,”
you could say, and by that I mean that it
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sounds like true death metal, without any
need to go into the whole mess of subgenres.
The vocals are guttural and strong, the speeds
vary from blasting to uptempo double bass
attack, the guitar tone is thick, the solos shred
and the songs are easy to understand and
very listenable. Ogotay is professionalism in
death metal. This album follows “Eve of the
Last Day” (2012), which I have not heard, but
this new album, which is already out, is a
definitely a winner for me. Solid, solid work.
www.facebook.com/ogotay666
www.selfmadegod.com
www.youtube.com/user/SelfmadegodRecord
s
www.facebook.com/selfmadegod
Kaledon (Italy): Chapter IV: Twilight Of
The Gods (Scarlet Records)
If in your heart the glory of true power metal
resides, and somehow the magic of Kaledon
has passed you by, then, you, true power
metal warrior, will be triumphant upon your
discovery of this mighty album by Kaledon, a
band that formed in 1998, and their fourth
album (as you can tell from the title) is from
2006. Scarlet Records is reissuing this album for
all of those, who like me, never heard the
young Kaledon on the rise.
Recently I wrote about the band’s 2014
album “Antillius: The King of the Light” and
observed that the bands “sounds in their
prime, it is a band ascending, searching to
make masterpiece albums that will capture
the hearts of the catchy metal world
audience. Kaledon has plenty of sing-along
power rockers, but they also do some
midpaced headbanging tunes and a few
slower moments. It’s a good balance, but
keep in mind that Kaledon on this album is
about rocking out to power metal, so that’s
what they do.“
This album “Chapter IV” is a younger Kaledon,
when the band was spreading its wings upon
the kingdom of power metal; Kaledon was a
young dragon, flexing its wingspan, breathing
balls of wild fire and roaring power to show its
majesty. The band, however, is consistent and
in 2006 or in 2014, it does not matter, Kaledon
does it all well in the name of true power
metal. The riffs can go very fast and the
singing can also reach summit heights, and
the songs reach out to the true power metal
supporters wherever they may be found.
Expect speed, but also uptempo rockers and
ballads.
As an extra goodie, the 2015 lineup of
the band has done a new recording of two
songs: “Holy Water” and “Into the Fog,” so
that the legions can hear now the current
lineup doing some old Kaledon songs. Ride
with the dragons and oversee the land, the
sea and the snow-covered mountains, join
with Kaledon, join with the dragons of the
multitude lands of grand Italia.
www.facebook.com/kaledonofficial
www.kaledon.com
www.twitter.com/kaledon
www.scarletrecords.it
Antropofago (France): Æra Dementiæ
(Kaotoxin Records)
I have the 2010 demo (thank you,
Antropofago!) simply called “Antropofago.”
The band’s demo has songs like “Barbecued
Baby Back Human Legs.” Morbid themes and
Antropofago go together like horse and
carriage. Now, years later, the band writes
songs that push the tech-metal machinery to
the brink. Things are looking up for the band in
16
2015: a new album and they are on Kaotoxin
Records. Not too shabby, eh? Naturally,
blasting and fast riffs are the backbone of the
band’s sound. In that respect, the song
remains the same in 2010 or 2015, but you
know what they say: the more that things
remain the same, the more that they change.
The first time that you listen you will hear a wall
of low-growling blasting speed. That’s what I
heard the first couple of times.
Then, with a bit of time, I began to notice how
diverse the songs are. Despite the speed and
the impression that all the songs might sound
the same, there is variety, changes, bits of
melody, small segments of sideways energies
and other such small things. Unfortunately,
due to the fact that they are still an extreme,
raucous, overwhelming band, some people
will not or might not want to delve deeper into
what this album has to offer as a modern
tech-metal band. Thus, while undoubtedly this
music is completely in the category of techmetal with all the features (dizzying speed,
robotic drums, so on and so forth), the band
has traits about its music that give it its own
little sick twist within the context of tech-metal.
www.kaotoxin.com
www.facebook.com/antropofago.deathmet
al
www.twitter.com/antropofago_bdm
Norylsk (Poland): Catholic Dictatorship
(Selfmadegod Records)
There are 14 tracks of modern, heavy, brutal
grind on this album. Norylsk has come to chew
bubble gum and play grind, and they are all
out of bubble gum now. Here’s the deal, so,
the first song sounds awesome, fast and
perfect, but then the second starts and it
sounds awesome, too.
Then, the third songs gets going immediately,
but this track starts to sounds a bit better than
awesome. Next, the fourth number certainly
kicks down the door, and then all kinds of hell
breaks loose and everything in the house is
shaking at this point. The neighbors are upset
because Norylsk is too noisy, and the other
neighbors are angry because they don’t like
grind, only classic rock, but this is rock and roll,
people, this is most definitely rock and roll, too.
C’mon, now, that’s what Lock Up, Nasum,
Squash Bowels, Insect Warfare …and now
Norylsk are.
www.norylsk.q4.pl
www.facebook.com/norylsk
www.selfmadegod.com
www.facebook.com/selfmadegod
Deathwhite: Solitary Martyr (selfrelease)
Deathwhite’s depressive/melancholic metal
at first sounded interesting to me for being
different. The singing is melodic, in a low-key,
emotional way, very much in the style of
present-day Katatonia, while the music
sounds like metal, maybe a bit melodic and
prog, in the sense of Opeth, by which I mean
that it’s clear and pleasant to the ear, not
abrasive. The music never kicks into high gear
associated with metal, it stays melodic, the
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guitar is a just a tad thick, thick enough to
sound like metal (but if you say it’s rock, you
might be right, too); the clean guitar moments
add to the spirit of melancholy, which this
band seems to have mastered. Adding it all
up, the music, I would say, would be the most
appealing to supporters of melancholic
metal, melodic doom metal, and I would also
say
that
if
latter-day
Katatonia/Opeth/Agalloch are sounds that
you really appreciate, Deathwhite will be a
good, strong band.
Deathwhite shares some traits with the lateperiod Katatonia, in the vocals and the
overall vibe. Nevertheless, do not dismiss this
band as some sort of “alternative” band. If this
band will one day be a non-metal band,
that’s not something that I know. Right now,
with this album, this band definitely sounds like
a metal band, a non-extreme metal band.
There is no growling here. The EP is some 24
minutes long and it goes by fast, as the five
songs are compact, lean, direct, with no fat,
no excess. Let’s hope that they do not
incorporate growling because, really, it’s so
cliché, like you have to do it to please certain
people. Forget certain people! Just do
Deathwhite. Lots of people can growl, scream
and yell, but not lots of people can sing.
That’s the difference.
I realize that the review does not make the
band appear “exciting,” and it might even
give the impression that the music is a bit dull.
While it is true that this is not headbanging
metal, per se, if you like adult contemporary
metal, low-key metal, with strong songs, give
this band a real chance. It is very likely that
they will sound like something new and
different, in a good way, if you are willing to
explore some new melodic metal.
www.deathwhite.com
www.deathwhite.bandcamp.com
Fedra (Colombia)
Fedra is traditional black metal from
Colombia. In 2015 the band has a new album
called “The Gates of Hell.”
The band says about itself:
“In early 2006 FEDRA was born between
dreams and laments emanating from the
depths, inhabited by templation, lust and
mundane, where men have been sentenced
to eternal torture and suffering.”
12.The Next To Die
13.Recuerdo oscuro
Go their Facebook to find out more. On
Twitter the band is offering the 2011 demo
available for free.
www.facebook.com/fedrafemaleblackmetal
oficial
www.twitter.com/FEDRABLACKMETAL
email: [email protected]
Gutter
Instinct
(Sweden):
Insurrection (Prosthetic Records)
The band is:
lead singer: Carolina Araque
guitarist: Janis Gutiérrez
bass and choirs: Ana María Briñez
drummer: Catherine Correa
The discography is:
The Queen of Darkness I demo 2008
The Queen of Darkness II demo 2011
The Gates of Hell full-length 2015
track list to "The Gates of Hell."
1.Intro
2.Engraved on a Tombstone my Name
3.Fuerza sombria
4.Fedra
5.La muerte
6.Eternal Blasphemy
7.La ley del infierno
8.Crow
9.Hija de la noche
10.Voodoo Magic
11.Oda al mal
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The
Gutter Instinct (Sweden) is traditional death
metal that wastes no time with nonsense. They
have a new EP on Prosthetic Records. The EP is
the four songs listed below. It is called "The
Insurrection. The EP is short and sweet, and
gives a great idea of the death metal of
Gutter Instinct, which formed in 2012. Those
that want death metal with the mentality of
the old school will find Gutter Instinct to be a
band that is worth their time. Give it a listen
below at the Bandcamp link.
1. War Command
2. Under the Scythe
3. The Invisible Hand
4. We Hate You
www.gutterinstinct.bandcamp.com
www.prostheticrecords.com
www.facebook.com/gutterinstinct
Soradra (Madagascar)
Soradra has a recording and below there is a
link where you can hear it. The recording is a
rough one, but it gives a solid idea of the
thrash that they play. It is called “Ho sora-drà.”
The band is:
Bass guitar: Balita
Drums: Ando Ranady
Guitar, vocals: Faniry Ram
Guitar: Lito M
This is the band’s bio:
“SORADRA is a Thrash Metal band founded in
2006 by students of the Lycée Jules Ferry
Faravohitra (Antananarivo, Madagascar)
following jam sessions. Faniry Ram, Balita,
Ando Ranady Rapa and are then the first
members in the group.
SORADRA spent the first 3 years of his life to
the compositions and in the rehearsal studios
to prepare well its future appearances. In
September 2009, the 4 guys, supported by
Tojo (Back vocals on occasion), executed
their first performance at the festival 'Metal
Wave at Falda Antanimena - Antananarivo,
Madagascar.
This was the first and last concert rapa as a
member of SORADRA. He left the group
because of his studies but will still be on good
terms with his former comrades in arms.
The group is transposed composition Trio
concerts during 'Challenge's Metal' (27
December 2009 at the ECAR Isotry Antananarivo, Madagascar) and Animation
of the African Cup of Nations' (January 10,
2010 at Gymnasium Covered Mahamasina Antananarivo, Madagascar) waiting to find a
replacement for Rapa.
In 2010, Faniry contact Locki to become the
new guitarist SORADRA. Upon his arrival in this
fraternity, he is very motivated and began
working piece by piece. That same year, the
new line-up in studio (in ValiMad) to run the
first recordings of Maso Mena and miaramila
Miloko (to be reconstituted in 2012). After
relentless repetition, as usual, Balita, Ando
Ranady, Faniry Ram and Locki take the stage
April 23, 2011 during the first festival 'Big Metal
at Kianja Maitso of Analamahitsy 19
Antananarivo, Madagascar. Then, the selfproduced concert entitled 'Metal Warrior' with
other groups of the independent scene
(SHARKS, SAKRAMETA and FAMBARA) at the
Municipal Theatre Analakely - Antananarivo,
Madagascar. It is not finished for 2011
because September 6, 2011, SORADRA
mounts a festival entitled 'Together As Metal'
(in collaboration with the group SHARKS) and
gives another performance at the Municipal
Theatre Isotry.
In 2012, the band entered the studio to record
the first album 'Ho Sora-Dra'.
The same year, after recording half the album
playlist, Locki announces his departure from
the group for academic reasons. He entered
the Military Academy (Antsirabe) and will
finish her training in 2015.
SORADRA
therefore
returned
to
the
composition during the concert Trio 'Metal
Absolute', 14 July 2012 (at Jed One
Ankazomanga - Antananarivo, Madagascar),
but also during the recording of Aizina.
During recording of Aizina, Lito (a friend of
Ram Faniry during his years of college) was
contacted to lend his acoustic guitar to the
group (you can hear the acoustic part at the
beginning and the end of the song). Resulting
from this cooperation, Lito million was taken as
a new guitarist SORADRA and participate in
the finalization of the album (which will be
delayed for financial reasons).
The season of concerts of the 2013 group is
started on April 27 to mark the second edition
of the festival 'Pic Fest at Itaosy Guest House Antananarivo, Madagascar. Continuing with
his
new
quartet
formation
SORADRA
participates at the festival Big Metal Café
'May 20, 2013 at Akorondrano.
The year 2013 is very important to this group of
Thrash Metal as it marks the release of "Ho
Sora-Dra." To promote the album, the four
thrashers set off to Antsirabe and participate
in concert 'M'Rock Vita Bacc' the French
Alliance of Antsirabe with two groups from
Antananarivo and local groups on August 25
2013. After the show, they took advantage of
their trip to shoot the video for "Thrash Mirevy"
(3rd video of the group).
Meanwhile, the compositions and the search
for new inspirations continue, as improving
and strengthening the performance of each
group member.
On May 31, 2014, coinciding with the
anniversary of Faniry Ram SORADRA is called
to carry out work during the concert
'BijaMetRock
at
Pariss
Ambatoroka
Antananarivo, Madagascar. During the same
year, in response to the promotion of the first
album, the group went back in the direction
of self-production to establish a special
concert titled Thrash Metal 'Thrash Metal in
Blood'.”
track list for “Ho sora-drà”
1.Maso Mena
2.Ho soradra
3.No More Trust (Tribute to Cherokees)
4.Bala ho anlah
5.Aizina
6.Miaramila miloko
7.Thrash Mirevy
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8.So Dizzy
Listen here:
www.soundcloud.com/aniryam
www.facebook.com/pages/Soradra/2241900
17666362
FREE METAL MUSIC
All these recordings are free when last
checked August 10, 2015.
Crânula (Brazil)
“Human Savage” is the name of the 2015 EP
available for free on Bandcamp. The band
delivers a solid recording with nonstop
blasting death metal action. The band
proudly proclaims itself defenders of death
metal by stating: “We like death metal. We
play death metal. We are free to do death
metal since 2011.”
The band lists its influences as: Morbid Angel,
Terrorizer, Napalm Death, Carcass, Deicide
and Cannibal Corpse. Therefore, this band
promises death metal and that’s what they
give you: death metal of the old school. This
band is all about “true death metal.”
www.cranula.bandcamp.com
www.twitter.com/cranula
www.facebook.com/cranula
Eldertale (Ukraine)
“Melodic folk metal” is how the band
describes itself. The music of the 2014 threesong EP “Land of Old” is uptempo and
catchy, and the recording definitely shows
that they have something a little bit special
going on because it’s palpable in the quality
of the songwriting. The EP is about 17 minutes
long, and it creates great anticipation for
what the band will do in the future.
worthwhile for people into checking out new
death metal that is upfront and no nonsense.
Back in April the band reported that their
rehearsal space burnt down and along with it,
of course, the band’s gear. For this reason, the
band is asking for your support on Bandcamp.
The recording is free/name-your-price.
Regardless of the rehearsal space situation,
though, the music is worthwhile for people
that love folk metal. The band demonstrates a
serious level of understanding of songwriting,
which is why the folk metal public that has an
interest in hearing new music of the genre will
be pleased to hear this band.
www.eldertale.bandcamp.com/album/landof-old
www.facebook.com/eldertale.metal
www.twitter.com/EldertaleMetal
email: [email protected]
Dead Conception (Poland)
“Rebirth Painted Death” is the name of this
free recording on Bandcamp. The band
impresses for its serious devotion to death
metal, thick guitar tone, strong growling and a
bit of melody in the guitar solos. I realize that
you may have never heard of this band
because they are new, but if you like serious
and true death metal, I believe this
free/name-your-price
recording
will
be
21
This is the band’s bio.
“Dead Conception is a death metal band,
which was formed at the beginning of 2014 in
Tomaszow Mazowiecki, at the initiative of
drummer Jakub Woskowski and guitarist Kamil
Jachym. After eight months, they released
their first single titled "Life Crusher", which was
recorded still at full strength team. After
leaving the team of Marcin "Sacza" Saciński
(bass) and Przemysław Walczak (guitar), the
band has been suspended until the beginning
of 2015 years. Working on a new demo
entitled "Rebirth Painted Death" co-founders
started alone, without the participation of the
vocalist Przemysław Juzwa. The theme of
songs are stories from the life of murderers and
mentally ill people as well as misanthropy or
finding strength in helplessness.”
www.deadconception.bandcamp.com
www.facebook.com/deadconception
Hereditary (Germany): Angel of Decay
The band is “death metal from Bonn,
Germany.” Once you listen to the free/nameyour-price EP on Bandcamp, the band’s area
of specialty comes into focus a bit better. The
band plays that older “melodic death metal”
that a band like Dark Tranquillity helped to
define, but please do not confuse this band
with a band like In Flames nowadays because
this German band sounds like death metal,
with some thrashy riffs and more memorable
structures.
There are no melodic vocals, just growls and
snarls. The drumming has some blasting and
it’s generally fast. Overall, this is a great start
for this new band, formed in 2013. The band
has put together a recording of which they
can be proud.
The band is:
Flo (vocals)
Stefan (drums)
Jesco (guitars)
Flo (guitars)
Marcel (bass)
The EP is about 22 minutes and it is called
“Angel of Decay.”
1.Angel Of Decay 03:46
2.Buried In Exploited Flesh 02:54
3.Prophecy Of Fear 03:23
4.Resurrected Persecutor 04:20
5.Flesh & Bones 02:51
6.Impurity 03:25
7.Evilution 01:13
Hear and download the full recording for free.
Better yet, donate whatever you can. New
bands need all the help that you can give
them. Let them know that you are out there.
www.hereditary.bandcamp.com/releases
www.facebook.com/hereditarymetal
www.hereditarymetal.de
email: [email protected]
ZANDELLE
Zandelle, from New York City, is a traditional
heavy metal band formed in 1996 and
recorded its debut EP “Zandelle” that same
year, according to Metal Archives. Zandelle
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now has some seven studio recordings, the
latest of which is the 2015 album called
“Perseverance,” the new album that comes
out on July 24th. In view of the band’s new
album, here is a little discussion with Zandelle’s
singer George Tsalikis, who also was the singer
for heavy metallers Gothic Knights from 1990
to 1994.
Currently, according to Zandelle’s Facebook
page, these are the members Zandelle.
George Tsalikis (vocals)
Joe "Jofu" Cardillo (drums/backing vocals)
James Corallo (bass)
TW Durfy (guitars/backing vocals)
Josh Tuckman (keyboards/backing vocals)
www.facebook.com/pages/Zandelle/180777
448619659
www.zandelle.net
Hello, Zandelle! Your new album sounds
great! How is life in New York City for you all?
Does everyone in the band live in NYC?
Thank you for reaching out to us and for the
kind words regarding the new album. We’re
glad you like it. Life in NY is pretty hectic as
usual. Yes, we all live in the NYC area but in
different parts. I (George) live in Brooklyn.
Jofu lives in Staten Island. James lives on Long
Island. Josh lives in Manhattan and TW lives in
Westchester.
The world thinks of NYC as this awesome
place in general, but what is it like for a
traditional metal band? The vast majority of
bands from NYC that get media coverage are
hardcore or brutal metal or hipster/fashion
gimmicky, weirdo stuff.
NYC is indeed an awesome place in general.
If you play traditional metal however, it’s not
so awesome. As you’ve stated the genre of
music that gets the most publicity in the NYC
area is not at all what we play. In fact, most
people do not even know that bands such as
us even exist or what we sound like. On
average, if I mention to someone (who is not
a metalhead) that I sing in a metal band, they
automatically assume some sort of brutal
metal with harsh vocals that one cannot even
understand or discern. Then I’ll play them a
sample and their response is usually that of
complete shock, followed by comments such
as “This is actually really good.”
Zandelle’s debut EP came out in 1996. What
was the situation in NYC at the time for
traditional metal and for Zandelle? There was
much trendy death metal back then and you
came out in 1996 with your heavy metal! What
do you remember from that time?
That time was actually the worst. During the
80s metal was very dominant. Of course, like
anything else, once the industry realized there
is money to be made, people in suits who
know nothing about music ruined it by oversaturating the market with carbon copies of
those bands that hit it big during that time,
which created a backlash.
So in the early 90s a new form of rock
music dominated the scene: grunge. So the
80s metal bands were quickly replaced by
bands like Nirvana, Stone Temple Pilots and
Pearl Jam.
But an interesting thing
happened. It wasn’t just that people
migrated to a new genre of rock. The attitude
became very hostile toward traditional metal.
It suddenly became very “un-cool”to play
or listen to metal. Radio stations stopped
playing metal bands. Venues stopped
booking metal bands and the scene went
crap.
For me personally, that was the time
when I discovered the European power metal
bands such as Stratovarius, HammerFall, Blind
Guardian and Rhapsody. We kept playing
throughout the 90s, but we were considered
23
the “old” band because of the fact that we
continued to play metal (the music from the
previous decade) when so many other bands
were playing what was more “timely and hip.”
Zandelle seemed to have continuous activity,
but after 2009, band activity seemed to slow
down. What had been happening the last
several years?
In 2009 we had our first European tour with
Grail Knights. It was a fantastic experience,
except for the fact that we realized that our
two guitarists at the time were not cut out to
be in the band and upon returning from tour,
we parted ways with them. It was at that time
that Jofu, James and myself decided to
continue working on the album “Shadows of
the Past” which featured re-recordings of
songs we had released independently, prior
to our first record deal. We recorded all the
guitar parts ourselves for that album and got it
released in 2011. But without any guitarists to
play live with it seemed that Zandelle was
facing its final days.
Shortly thereafter, we did a reunion
show with a bunch of our old members,
including Anthony Maglio and TW Durfy. The
chemistry on stage was undeniable and so
they rejoined the band and we began writing
new material. During that process however, it
became apparent that Anthony would not
work out with the band and he was let go. We
then had to find a replacement. TW then
suggested we try keyboardist Josh Tuckman.
Being the open-minded individuals that we
are, we agreed to try him out and he very
much impressed us with his talents and ability
to add a new enhanced sound to the music.
We instantly took him in and continued the
writing process while also taking time to teach
him some of the older material for live songs.
Keep in mind, all this happened over
the course of a few months. So once we
completed the writing, it was time to start
recording. The problem here is that when the
band is not the primary source of income (or
in our case not a source of income at all ha
ha!!) jobs take precedence and band work
sometimes takes a back seat to earning a
living so that can significantly slow down
progress.
Now you’re back! Did it take a long time to
have stable lineup again?
As with any relationship, there are always
issues and problems that need to be dealt
with. The biggest problem we have always
faced as a band is scheduling. The older we
get, the more responsibilities we have and
therefore making time for a band becomes
more and more challenging for some of us.
So we do what we can. Those of us who have
more time to dedicate to our musical pursuits
join or start other projects in the meantime.
But in answer to your first question, it certainly
did take a long time to have a stable lineup.
We have had so many different guitarists in
the band that they can probably form two
different Zandelle tribute bands.
On the topic of the new album, Zandelle now
has a keyboard player. Did you feel the need
to add keyboards for more epic songs and
elegance?
24
Adding a keyboardist wasn’t so much of a
conscious preconceived decision. Instead it
was more of an opportunity that we decided
to try out and found to work out very well for
the music. We have recorded keyboards on
all of our previous albums, only then it was
more as a backup instrument rather than a
lead one. Josh however is an unbelievably
talented keyboardist and being that he
replaced a guitarist, there was no doubt that
he should featured as a lead musician. The
final version of the songs sound far beyond
what we had imagined and that is the beauty
of what we do being that everyone in the
band contributes to the production of the
album. Every member adds their own
influence and element to each song so that
the end result far surpasses our expectations. I
do in fact feel that the songs sound a lot more
epic with Josh’s influence.
For you, personally, what have been some of
the highlights in the history of Zandelle?
I would say that the European tour in 2009 was
probably one of our biggest highlights. It was
incredible to travel abroad and play to our
fans overseas. There is something amazing
about playing to people you’ve never seen
before in person, but who are singing your
songs as you play them on stage.
In any event, we would love to tour for
the new album. So far we haven’t heard of
any opportunity to do so, but that can
change and hopefully we will all be ready.
Each album we release is also quite
important to us because we always strive to
outdo the previous one and I believe we
accomplish in doing just that. With each
album, our production as well as our
performance improves drastically.
We’ve recently began working on
video production as well. The latest video we
just released “Unending Fortitude” was the first
video we did where we had 100% control
over its production from beginning to end.
And we have two other new videos which we
will be releasing in the coming months that we
are very proud to unveil to the world.
How does having a band when you are a
grown person, with spouses, children, regular
jobs and all these things, how does having a
band present challenges for you all?
You are indeed correct. The older you get,
the more responsibilities you inherit and
playing shows, touring and taking time for
other band-related work does in fact become
more and more challenging. But you also
become wiser (hopefully) so that the time you
do spend on band related activities is far
more productive and produces far better
results.
Unlike the old bands from the previous era, a
band like Zandelle doesn’t become rock stars
overnight with radio and MTV. Yet, don’t you
think that Zandelle’s time will come?
It’s difficult to say. Although perseverance
does factor in (see what I did there?), today’s
technology makes it easier for more bands to
put themselves out there but that also makes
is more difficult for one of those bands to get
noticed.
When I was younger my goal was to be
a rock star. Now my goal is to create good
music and I’m doing just that. If the day
comes when I get recognized by the masses
for doing so then I will be extremely happy,
but if it doesn’t I’ll still keep doing it because
it’s what I love to do. But I’m hoping you’re
right and our time does come because that
would be awesome!
Do you find that there is an audience in metal
music that wants to hear singing again? You
have been around the block, so you must
have a sense of how the times are changing?
25
Okay, that’s the second time you made a
point of how “old” I am watch it! Just
kidding. I feel that the “uncool” factor of
melodic singing vs. growling, shouting or
barking was more prevalent in the 90s as a
backlash to the 80s sound (as I mentioned
earlier in the interview). I think nowadays a lot
more people are, in fact, wanting to hear
melodic singing.
One thing we’ve always done as a
band is to incorporate some elements of
different sub-genres in our songs. Although I
much more favor melodic singing to the more
aggressive approaches, there are some parts
in certain songs that have growly vocals, but
we use that as an accent to at dimension to a
song. What I’ve noticed in general is that
tastes always cycle because people get tired
of what is over-played and want to hear
something new which turns out to be a
rehashing of something old.
Your new album is called “Perseverance.”
What does the title mean for you and your
band in 2015?
Perseverance is basically what we had to
have in order to survive this long in an industry
that is far less than hospitable to those who
don’t have it. It’s what this band is all about.
It’s what I’m all about. It’s easy to push
forward when everything is going your way,
but life isn’t like that. There are many
challenges one faces over the years and it’s
during the hard times that we need to dig
deep within ourselves to find the strength to
fight on, otherwise you will never succeed.
And that is what this album means to us. No
matter what difficulties we faced over the
years, Zandelle lives on and we are stronger
than ever.
THE END
**
LEATHER LEONE
Metal singer Leather Leone is known for her
work with traditional heavy metal/shredder
band Chastain in the 80s, early 90s, and
Leather is back on vocals with Chastain. She
has worked with other bands and projects, like
Sledge Leather, Malibu Barbi and Rude Girl,
and has done some solo work, too. This indepth interview seeks to shed light on the
various phases of Leather’s participation in
music. www.facebook.com/LeatherLeone
www.leviathanrecords.com
What are some of your earliest memories of
music playing in the house when you were a
child?
There was always music in my house as a
child. I recently had this conversation with
my Mamma about how she was always
singing. I am not sure exactly what, but she
was constantly smiling and carrying a tune.
Even as I think of it now it makes me feel
peace. Growing up there was always a
stereo blasting, Glen Campbell, Al Martino,
Dean Martin, Elvis Presley. My Pappa loved
country music, Buck Owens, George Strait, lots
of Johnny Cash!
My brother had quite
eclectic tastes from the Spinners to the
Beatles. How cool is that!!
So absolute music throughout my kid days. I
never took any music lessons. I just don't
remember ever not singing. Going to a small
Catholic school I was the one who would
volunteer to sing anything, anywhere. Being
raised Italian Catholic, I of course went to
weekly mass. The church had a 10:30 mass
with a choir that I had joined very young. We
would sing vital music of that time, Eagles, Led
Zeppelin, songs from the popular Broadway
plays of that era, Jesus Christ Superstar,
26
Godspell. It was a true breeding ground for
me to find my voice, although I didn't realize it
then. I can remember singing the first verse of
"Stairway to Heaven" a cappella, feeling so
light headed and exhilarated; it was the
beginning for me. The beginning of the
realization of what a voice could truly be.
When you were in middle school or high
school, what music did your friends like? Had
the music bug bitten you at this time or did
that happen later?
The music of my middle/high school years was
all that incredible arena rock. Styx, Boston,
Elton John, Zeppelin, Fleetwood Mac, Heart.
Such big, huge reverberated sounds. I knew it
all. Every night after dinner I would lock myself
in my bedroom and sing as loud as I possibly
could to all those records. When Led Zeppelin
"Houses of the Holy" and Heart's "Dreamboat
Annie" came out I was blown away by what a
rock vocal could do and be!! It was another
turning point for me.
Yes, the bug had bitten me in the ass
big time. I had no exposure to Motown, or the
British Invasion at this point. But believe me,
my love of Jimi Hendrix was just around the
corner.
Were you into other activities, like sports, too?
What kind of hobbies did you have? Did you
write poetry or have a journal in which you
wrote?
I was a head cheerleader, what a surprise
huh? I got to yell, scream, and lead people in
chants!! I played volleyball, softball, was
deeply involved in riding and showing horses.
All the typical adventures of an upstate NY
young person. And yes, I did write poetry,
although I never shared or even told anyone.
Wow, I hadn't thought of that for years. I need
to go home and try to find those journals!!!
What was happening in your life in the senior
year of high school?
My senior year was quite exciting, just
because I knew my independent life was
about to begin. I went to college (I use that
term loosely) outside of NY City. I was a
horrible student, but was introduced to
fronting rock bands there. I began to sing in
cover bands, singing everything from Pat
Benatar to AC/DC. I hung out there for about
4 years, when I had gotten in touch with friend
who had moved to California. I was bored
and partying way TOO much, so I hopped on
a plane to San Francisco. Again not ever
really
thinking
about
doing
music
professionally. Nor did I care about how the
world perceived me.
At this age, how had your taste in music
changed?
At the age of 23 my musical taste and
seriousness came to light. Or the dark, as
others may view it!! I had been hanging in
Berkeley with a friend. Someone had brought
me a flyer from a telephone pole, a metal
band looking for a singer. Actually they were
looking for a nail spitter, ha ha!! The rehearsal
studio was located at Haight and Ashbury.
That alone got me stoked, as the
Haight/Ashbury was a historical place of
music from the 60's. Not knowing where I was,
I got on a bus in the pouring rain (which is my
favorite weather) and went to the studio at
27
6:30 on a Weds night. I met 2 musicians who
were starting a metal band. Lois Larue, guitar
player and Sandy Sledge, drummer. We got
right down to business as I sang Heart’s version
of Zeppelin 's "Rock and Roll" I sang it a couple
times, then they asked me if I knew who Bon
Scott was? Of course I did. They requested I
sing with his vocal conviction. I did, I was
hired. The band was called "Rude Girl" and I
began to take myself seriously as a singer. It
was through my relationship and hard work
with "Rude Girl" that I was drawn into metal
music. Ronnie James Dio to be exact!
How was the chemistry early on? How did you
feel within Rude Girl at first? You are in your
early 20s and in a band!
The early chemistry in "Rude girl" was how it
always is when a situation is new. Exciting,
hopeful and we were full of fucking Metal.
Nothing could stop us, we were fearless,
which opening for some of these hardcore
bands we truly had to be. It was crazy!! It
was an incredible time...We had chose this life
style of true dedication, sweat and plain love
for metal music.
Believe me it was not a rock star life. It
was extreme hard work. Rehearsal every
night, shows most weekends opening for the
big boys. And since we were not doing the
sex thing, we had to be on top of our game.
Looking back, I wasn't really even aware of
my situation, I was sincerely just trying to
become the vocalist that I heard in my head.
But that being said, I knew it was a special
time . As I had mentioned earlier. I and been
introduced to Ronnie James Dio personally
and musically. In my mind I had a steep
mountain to climb. The voice I had and heard
inside of me was not yet coming out.
I have him and his encouragement to thank
for anything vocally I have. He fuels me still.
his wife Kathy had become good friends of
mine. He had always appreciated my talent
and taught me the truth about the business. I
told him what had happened. Within 1 week
he told me he had demos he wanted me
record. Those demos were with a guitar player
from Ohio, David T Chastain.
Do you ever go back and listen to the first two
Chastain albums from the mid 80s?
CBS/Columbia offers Rude Girl a seven-album
deal and Black Sabbath manager Sandy
Pearlman was scheduled to produce. Of
course, this did not happen. What would you
like to share with us regarding this time?
Yes, on paper it all looked perfect. Sandy
Pearlman, a CBS deal. Howie Klein, who later
became a hotshot behind Madonna, was
courting the band. But I always felt something
wasn't right, especially when they wanted us
to sign for 7 years. Although back then it was
common. We had got rid of our bass player
looking for a more accomplished musician.
That had really upset the label, which I found
weird that they wouldn't encourage true
musicianship.
Through all of that mess the cracks
started to show. "Rude girl" had become a
selfish, controlling entity which left a sour taste
in my mouth; the final straw being as I waited
for the band on a Friday afternoon at 1 pm to
sign the big deal and start our new careers. I
was still sitting there alone with my pen 1 hour
later. To this day it is a real problem I have
about punctuality. It sends me over the edge
if you are not on time.
So I picked up my pen and my bag,
thanked the receptionist and walked out.
Fucking pissed off I went home and called
Mike Varney from Shrapnel records. He and
28
I don't go back to listen to that older material
that I have recorded. Very hard for me. I just
hear the lack of perfection. The wrong notes,
the wrong melody, how it could have been
done much stronger. Especially as you ask
about the first 2 albums. "Mystery of illusion"
and "Ruler of the Wasteland." I was very
young and very green. I have so much
appreciation
for everyone
who finds
inspiration from that early Chastain music.
That is all that matters, inspiration, it’s magic
when it finds you.
For you personally, in the mid 80s, how do you
remember this period?
Me remembering the mid 80's is all positive. A
time I would run back to immediately. We
were young, strong, fearless, out to be the
best due to the fact that I was in the middle of
the best. I always had a feeling that the San
Francisco scene was very special. It was again
extremely hard work, but the drive I had was
insatiable. It was, at the time where I
belonged.
According to Metal Archives, you were in
Malibu Barbi starting in 1986. How long were
you in Malibu Barbi?
It was never my band or band I wanted to be
involved with. They had called me to record 2
songs as a favor, not sure where their vocalist
was that day. I did the 2 songs in an hour. I
left, end of story. I hear they sell it throughout
the world. I have never received any
royalties.
In a way, "For Those Who Dare" (1990) seems
like a culmination of your 80s work. The songs
are more memorable; the pace is more
varied; the songs breather more; the melodies
and the singing shine more. Was Chastain
gaining ground? In terms of the working
relationship between David and yourself, were
you clicking at this point?
Working with David T Chastain, material is
never an issue. He is a writing machine. I
could and still just give him an idea and he
creates a story.
I appreciate that you found the songs
enjoyable on "For Those Who Dare." As I
always say, it is hard for me to judge. I create
music, then leave it for a long while. "For Those
Who Dare" was released on Road Racer,
which later became Roadrunner. So the
distribution was enormous for us; our first MTV
video. It was quite exciting, and in my mind
well deserved. And to all of that, yes it
seemed we were gaining a ton of ground.
And yes, you are correct. At this point
DTC and myself were certainly in the groove. I
had actually began feeling that way on
"Voice of the Cult." The creative process was
incredibly simple. Although I must say DTC
(David T Chastain) was always very respectful
and trusting of my vocal ability. I never felt a
lack of respect with him, although I'm sure I
drove him crazy much of the time. Though at
this point it became two fold. I started to feel
that DTC opinions and mine regarding the
push forward and touring were different.
Leviathan (which was DTC's label) had been
suffering the financial struggle of having a
band and a crew on the road for years.
Leviathan wasn't very excited to take
on bigger ventures. I still hear stories of larger
offers that DTC turned down. He says not, and
29
I guess we were a bit burnt out from the club
circuit. The crowds weren't growing, we did
seem to be in a slump not taking on a bigger
tours.
In 1989 you had the solo album "Shock
Waves." How did the solo album come
about? Did you know the album’s guitarist
Michael Harris very well?
As far as "Shock Waves,” DTC tells me, I was a
bit discouraged back then not getting
enough recognition. So he suggested a solo
record. It was a very uncomfortable
suggestion, but, hey, I took it. He had tons of
music just sitting around. I hooked up with
Mark Shelton (Manilla Road) and Pat O'Brien
who had been touring with us before
Cannibal Corpse and wrote some material.
Looking back, it was basically just a Chastain
record with me writing most of it. But I was and
still am into what is now considered that
classic metal sound. I am extraordinarily proud
of it. Especially "Something in This Life" which
was written about a conversation I had with
Ronnie Dio.
I never actually met Michael Harris. We
did our parts separately. To this day I'm not
sure I thanked him for his work. It was exquisite.
I believe he is on the new Veronica Freeman
solo record "Now or Never" as I am. It was
great to hear his name again
In 1993 you left the music industry. What can
you tell us about this? Did you stay in contact
with David?
As far as my departure from the business, it's
not a very interesting story. After Chastain had
come to an amicable end, which I always
thought would be temporary! I gave myself 6
months to decompress. I then started having
meetings in L.A., and calling in for auditions.
The response was not what I expected. I had
little respect, or any offers that held up to my
integrity. I did some demos for a larger band
in L.A. In that process I realized I was grabbing
at something that had nothing to do with me;
nothing to do with my voice or my belief.
I was extremely proud of what I had
accomplished, so I went back (as Lita says) I
went back to the cave. It was not easy, it was
frustrating, it was years of mental change. I
got into animals. I got into Pit bulls. As soon as
I met the breed I was hooked. My passions in
life have always been music and animals. So
I am a blessed person, able to experience
both.
I was in touch with DTC occasionally. He
would constantly tell me to get back into the
studio. But at that time in my life it was not in
the cards
You returned with Sledge Leather around 2011
and then to Chastain for the 2013 album,
"Surrender to No One." What finally did it for
you?!
The reason I came back was the death of my
father, Peter Leone In 2009 and Ronnie Dio in
2010. They both told me to never stop, that I
was good enough, that I inspired people. And
as you can imagine, my friend inspiration
came
back
banging
at
my
door.
Unfortunately, I had been so out of then
scene, I didn't know Ronnie was ill until the
end. I never had the chance to be in touch.
have become active around 2010? What can
you tell us about Sledge Leather and returning
to music?
So I took small steps. I had very kind people
who allowed me to go in and out of
L.A. studios. To get it back together. I had re
connected with Sandy Sledge from "Rude Girl"
and we wrote. We had the privilege of
connecting with Scott Warren, and Jimmy
Page from the Dio family. We then hooked up
with an incredible guitar player from
Germany, Matt Weishart. We did a cd in 2012.
"Imagine Me Alive," played a few shows. It
was very cool. The response had been
indescribable. Chastain metal friends are
everywhere. I am extremely thankful and will
kick ass for all of you, as long as you will have
me.
Through this whole process I have
reconnected with DTC. We decided we were
not done yet. We released "Surrender to No
One" in 2013. Our new music "We Bleed Metal"
will be out in November of this year.
Unfortunately DTC is not interested in touring
still. So it is a frustrating situation from me. I
have been blessed enough to get some
interest as the Voice of Chastain. I played
Brazil last year and have hooked up with a
promoter who is behind me. We are trying to
get out again soon.
What are the plans for 2016?
Your other band, Sledge Leather seems to
30
There is a lot of talk but nothing in cement yet.
I am older and wiser. I understand my place in
metal, so there is no drama. I don't accept it
any longer.
I have been very blessed. I became
friends
with
Veronica
Freeman
from
"Benedictum," and Jimmy Durkin from "Dark
Angel". I hooked up with Debbie Gun from
Sentinel
Beast,
celebrated
Doro's
30
anniversary with her on stage in NY. Life is
good.
Thank you for taking the time to answer these
questions.
Thanks so much for your interest.
Love and Dio
Find me at Leatherleone.com
Xoxoxo
www.facebook.com/LeatherLeone
www.twitter.com/LeatherLeone
THE END
**
AXEMASTER
Axemaster is traditional heavy metal from the
state of Ohio, U.S. The band’s brand of music
is rough-and-ready, honest, gritty, blue-collar
heavy metal. The band started in 1985, and
has gone through lineup changes, including
name changes, but lead guitarist Joe Sims,
the only remaining member from the old
formation, continues to steer Axemaster
today. In 2014, the band signed with Pure
Steel Records (Germany), and Sims produced,
mixed, and mastered the new album
"Overture to Madness.” Pure Steel released
"Overture to Madness" in March of 2015, an
album which, according to the band, “helps
to define Axemaster's overall general style as
a combination of the dark riffs and feel of
doom metal and the energy and aggression
of non-speed thrash metal.”
BAND MEMBERS
Geoff McGraw - vocals/rhythm guitar
Joe Sims - lead guitar
Denny Archer - drums
Jim Curtis - bass
This interview seeks to be an in-depth look into
the
history
of
Axemaster.
www.facebook.com/axemasterofficial
31
Axemaster has returned with a new album on
Pure Steel Records. What can y'all tell us
about the current members of the band?
JOE: I'm Joe Sims and I play lead guitar. The
other guys are Geoff McGraw on vocals and
some rhythm guitar, Jim Curtis is the bassist,
and Denny Archer is the drummer. I will tell
you what, the metal gods were smiling on us
when I put this band together, I don't know
how a lineup could be any better all the way
around than this one is. Geoff is a hell of a
singer with the PERFECT sound and style for
the kind of thing we do. He also plays rhythm
guitar on some tunes which definitely helps
our live sound, and is one hell of a songwriter.
Jim and Denny are both world class
musicians in their own right. It's really kick ass
to not have to take into account any
limitations in their playing when I write music
because they are more than good enough to
play anything I would ever want them to play.
Above all that, all the guys are great people
and I consider them all close friends. They are
all veteran musicians who are true
professionals with great attitudes and no
egos. This band never has any kind of drama
or bullshit with any of the members which is so
VERY rare. We all work and write so well
together it's almost unreal! For me, the totally
positive atmosphere you can feel whenever
we're all together keeps me power-motivated
to work as hard as I possibly can. I'll tell you
what, I'm proud as hell whenever I walk out
onstage with those guys!!!!!
Only Joe Sims remains from the early days of
the band, formed in 1985, correct? So, how
did the current incarnation of the band come
together?
JOE: Yeah, I'm the only one who has been on
all the Axemaster releases. When I finally
decided to put a new version of Axemaster
together for good, the first couple guys I
contacted were original Axemaster drummer
Brian Henderson and our current bassist Jim
Curtis. I had worked with them a couple years
before on a CD project under the name Inner
Terror and we worked well together, so asking
them to join was basically a no brainer for me
and they wanted in right away.
That whole situation went pretty
smoothly, but finding a permanent vocalist
was a whole different story. Originally I found
a good singer fairly easily, but it was a tough
situation right from the start because he didn't
have much time at all to put into the band.
Then after he had already written and
recorded a couple songs for the album, he
had to leave the band altogether for personal
reasons, so we were stuck. It's usually so
damned hard to find a decent singer, and at
that point we had already recorded all the
music for the album so we were pretty much
dead in the water until we could find
someone. It was frustrating as hell!!!!
After what felt like forever, I found an
ad Geoff had put on Craigslist. Yeah, I was so
desperate I was even checking there! After
talking to him for a short time and hearing him
sing just a couple lines unrehearsed, I KNEW
he was the man. Then in spring of 2014 we
replaced Brian Henderson with Denny Archer
on drums. I don't want to go into the reasons
why, but it was necessary to do in order for
the band to be able to move forward the way
we wanted. I've known Denny since we were
kids and we played together in the mid 90's in
a band called Reign, so it was a great fit.
Geoff: I find it funny when Joe talks about
being so desperate to find a vocalist that he
checked Craiglist. I too had never posted an
ad on Craigslist before, and was myself pretty
desperate to find a band. I had never had a
good experience with musicians from
Craigslist and had gotten a bunch of weird
stuff and only 1 or 2 things that even had any
potential when Joe called. So it was
serendipitous that we were both so
32
"desperate"...lol.
Looking on Metal Archives, I notice that it is
possible that everyone knows each other from
years in the scene. However, for your vocalist
Geoff McGraw, Metal Archives does not list
previous bands. That's not right, or is it? Is he a
"newbie"?
JOE: Well, I guess you could say that Geoff is a
newbie to the international scene, but he's
not at all new to being in bands. He's been
doing this almost as long as the rest of us, and
has been in some original projects, not just
only cover bands. He has just never been with
a band that was able to get past the local
scene.
Geoff: Joe is exactly right here, I have done a
lot of stuff. While hard rock and metal has
always been my passion, I have been in
everything from metal to folk music, just
nothing so notable as to have had any real
impact anywhere. The longest any of my
previous projects have lasted is 2 or 3 years,
and except for a couple of self produced
discs that were available only on CDr, there is
virtually nothing recorded. I was just never in
the right place or time.
The last couple of things I did before
joining Axemaster was playing guitar in a
theatrical metal project called Psych Ward,
and on my personal pet project called
Morrigans Cross. I had always wanted to
experiment with the concept I had, but it
never got off the ground where I was living at
the time. I had a group of guys but some
personal issues arose and I found myself
having to leave, so when I arrived here I had
tried to get musicians for it again but
consistently failed at finding the right people.
Which is why I had placed the internet ad, I
really needed to play with someone.
On a side note, no one in this band
created the Metal Archives entry for me, and I
was shocked and pleasantly surprised to find
that someone had made it, so "asphaalanx",
whoever and wherever you are...Thanks!
How was the experience of putting together
the new album and getting a new version of
the band, too? Was that stressful? Was it a full
band collaboration?
JOE: Like I mentioned in the second question,
adding Brian and Jim was pretty easy, but
finding Geoff was a total bitch and pretty
damned stressful!!!! I wrote all the music for
the album mainly on my own. Other than a
few suggestions about some little things here
and there, it was all on me. So there was a
very small amount of collaboration, but not
much. For the most part I didn't feel any stress
when I was writing all the music, except for
maybe when I was trying to decide which riffs
and tunes we should use for the album, that's
just because of how important those decisions
were. Overall, all the writing cames pretty
easy for me. I was on a real roll, and what's
even more kick ass is that the roll hasn't
stopped! I have been writing music for
something like 35 years now and not only is
my creative well FAR from being dry, but over
the last 5 years my writing has actually gotten
33
a lot better and easier!!! Anyway, I spent a lot
of time on small details which can be tedious
at times, but overall I totally enjoyed the
whole writing process. Creating new music
that will be heard all over the world is
probably my favorite part about being a
musician. As far as the lyrics go, I'll leave that
to Geoff.
Geoff: I felt no stress at all....lol. Aside from the
fact that I was, at the time Joe called, pretty
sure that I was just spinning my wheels in trying
to A) put my personal pet project back
together, and B) finding any project that was
a fit. So then I went to the audition, Joe
started playing some of the music he had
written for the album and one song just
clicked with some lyrics I had written. We
rolled on half a verse and the chorus, and the
rest as they say is history. Incidentally that song
became "Forsaken", and the lyrics are exactly
the same ones as I had on that day. Once I
was invited to join the band, I just began to
write lyrics. I have always enjoyed the writing
process and was extremely happy to be able
to put my words on Joe's music.
How is the new Axemaster different from the
old band, and what are the similarities, in your
own opinion?
JOE: Well, the way I see it, there are 2 HUGE
differences in the band itself. One is Geoff's
vocals. Not meaning to put down any of the
previous Axemaster singers, but Geoff's singing
is a major plus in what we are doing now. His
voice fits this material like they were made for
each other, and he's a hell of a songwriter.
The other thing is that, like I said, all the guys in
the band are total top notch pros who have
excellent attitudes and never cause any
problems or drama. You just don't find bands
with a lineup that works this well together and
never has internal problems very often.
Frankly, it's like a dream for me.
As far as the material goes, I think the
newer stuff shows that we now have more
experience in music in general and
songwriting in particular. Both the music I
wrote for the album and the tunes we are
now writing as a unit have more of a
professional feel about them, better put
together and I believe more interesting
overall. The current material is slightly
morethrashy than a lot of the older Axemaster
stuff with more complex rhythms and a lot
more interesting guitar layering. I still like the
older songs, but to me the newer stuff shows
improvements in pretty much every aspect,
both in writing and performance.
The new Axemaster album is called "Overture
to Madness" on Pure Steel Records. Is it a
concept album? What motivated the lyrics of
the album this time around for Axemaster?!
JOE: I wrote a lot of the words for all the old
Axemaster releases. But even though I always
liked the lyrics and phrasing I came up with, I
think it works out better when the singer does
them and besides, I don't like writing words
anywhere near as much as I like writing music.
34
So I left that to Geoff and he did a hell of a
job, especially given the circumstances we
had with this album.
Geoff: Honestly, no the album isn't a concept
album. However when we were talking about
album titles I noticed that a lot of the things I
had written lyrics about dealt in types of
"madness". Whether it was actual insanity or
things that might be referred to as "mad". So
when I submitted a list of album title ideas to
Joe that one ended up being the one
everyone seemed to like.
As far as the motivation behind the
lyrics, well there are a lot of different things.
For the most part I have always written in
metaphor, so very few things on this album
actually are talking about what they seem to
be. There are a lot of personal stories, and
genuine anger and rage in the lyrics, which I
still don't feel like revealing. In many ways I
think sometimes it's more interesting for the
listener to abscribe their own meanings or
perhaps try to figure out what it actually is
about. I love to hear theories from fans about
what they think songs are about, so it's fun for
me too.
I will go so far as to tell you about a
couple songs that aren't too deeply personal:
"Chylde" is exactly what it appears to be,
based in the world of the supernatural, each
verse is about a different supernatural
creature. The lyrics were written in a couple of
hours, once I heard the music it just spilled out,
like the song itself knew what it was about and
I just wrote down what it told me.
"Dream Or Nightmare" started because
Joe said he'd always wanted to have a song
titled that, and I said "OK, lets do it." Everything
in that song is intended to give the impression
of that point when you are asleep and are
stuck between having a dream and falling
into nightmares.
"Statute Of Liberty"...NOT Statue as in a
sculpture, Statute, as in law or rule. This is the
1st political song I ever attempted, and it was
based around a speech by President
Eisenhower which warned against investing
too much trust in the "military industrial
complex." Joe had the sound bites and I
wrote the lyrics to describe the situation we
find ourselves in now, where the populace is
distracted from the things that our
government does by bread and circuses,
keeping them at each other’s throats rather
than noticing the man behind the curtain.
I'll stop there, gotta keep some mystery after
all. Plus, I still want to hear what others think
our songs are about.
Axemaster was formed in 1985. Were the
members of Axemaster in other bands before
1985?
JOE: We had all been in garage bands and
jammed with different people through the
time we were in high school, but none of us
had ever been in a band that did anything
more than maybe play at a few parties or
something. I was only like 19 when we first
started Axemaster, damn, seems like a lifetime
ago!!!
The main thing I had done at that time
was a year or so before I had recorded like 8
or 10 of my original songs in some guy's
basement on his 4-track, dubbed some
copies on cassette, made a cover for it that I
just photocopied, and gave it away to some
of my friends at school. Looking back, doing
that little homemade release back then really
showed where my mind was at and the
direction I was going. While the musicians I
knew who were my age were mainly learning
cover songs to play small gigs and show off to
their friends and the girls, I was writing,
recording, and putting together my own
"album" of sorts! That was actually the first time
the name Axemaster was used. I wanted to
make the tape appear like a band did it and
wasn't a solo thing, and I had thought before
35
that Axemaster would be a cool name, so I
just used that. By the way, I named the tape
"The Heirs to Revolution."
What was happening in Ohio that inspired the
formation of the band back in the day?
JOE: It really had nothing to do with anything
happening in this area. I loved metal, totally
addicted to it, loved to play, and loved to
write music. So I wanted to put together an
original band really for no other reason than
that the music was and still is my biggest
passion. It might sound clichéd, but it was
honestly ALL ABOUT THE MUSIC. I had a bunch
of original songs and wanted a band to play
them, all of which is why I started Axemaster. I
honestly didn't know much about the local
club scene and what was happening with
bands in our area, so that had no bearing on
my wanting to start an original band.
What type of expectations did the members of
Axemaster have in 1985? Did the band expect
to make it? Why or why not?
JOE: I can't speak for the other guys, but for
myself, I was hopeful but had no real
expectations. I was a stupid kid but I still knew
it was tough to do something major in the
music business. I just didn't realize how tough it
actually was (and is)!!!!!! I thought there was a
possibility that the band could "make it", but
always knew it was a big time long shot. I
never kidded myself by thinking we were
gonna be the next Black Sabbath or Judas
Priest, I just hoped we could get with a
company that would allow us to record, put
out albums, and go on tour without having to
spend a ton of money out of pocket (which
we never had) to be able to do it. But it wasn't
an expectation, just something I thought was
possible and hoped for.
Even back then I knew that expecting
to "make it" was way unrealistic, which wasn't
a problem since I've always been in this totally
because of my love for metal, not because I
was looking for fame and fortune. Of course, it
would have always been kick ass if that
happened, but that wasn't the reason I got
into music to begin with and is why I never
gave it up and never will!!!!
Are any of you old enough to grow up in the
1970s? What do you remember about heavy
metal in the 70s in your part of the U.S.?
JOE: I was a little kid in the 70s, I'm not QUITE
that old HAHAHA! I really didn't know any
hard rock or metal bands outside of Kiss until
around 78 when I went to junior high school
and some of the kids there turned me on to
some different stuff like Aerosmith, Foreigner,
AC/DC, and Ted Nugent. So I was pretty
ignorant of the scene until then, and even
then I didn't know much until I got into high
school and started going to concerts.
What bands inspired you all to go from
listening to rock music to picking up an
instrument? What memories do you have
about getting inspired to play an instrument?
JOE: When I was like 10 or 11, me and all my
friends in my neighborhood were HUGE Kiss
fans. It was just a short time after they had put
36
out Alive 2, so they were at the top of their
popularity here. Anyway, and it sounds goofy
as hell but it's true, one guy I knew who lived
by me played guitar and another played
drums, so I thought "if I played bass we could
make a band like Kiss!!!" So I talked my mom
into getting me this cheap ass bass and amp
from J.C. Penney's department store and I
started jamming on it on my own. I loved
playing and stuck with it even though we
didn't make the next Kiss HAHAHA! But after a
year or 2 I got a little bored with bass and
wanted to try the guitar, so I got a cheap
used one and my buddy showed me the
major chords. From that point on I was
ADDICTED! So the main influence for me to
start on the bass was obviously Kiss. But when I
switched to guitar I was getting into bands like
AC/DC and Aerosmith. I didn't start getting
into heavier stuff until a little later on.
When thinking about the 80s for the young
Axemaster, what are some highlights? What
comes to mind, that brings a smile to your
face?
Joe: Old folks??? HAHAHAHA! We're not quite
there yet, still got a ways to go, can still put on
a show like I was in my 20's!!!! Anyway, three
totally kick ass things come to mind right off
the top of my head. One is when I first saw the
letter from Azra Records saying they were
prepared to offer us a record deal. Another is
when I saw our debut album ("Blessng in the
Skies") for the first time. And third is the first fan
letter we got from Europe. There were a lot of
other cool things that happened in the 80s,
some memorable times, but those were the
most special. Definitely things that not
everyone gets the chance to experience and
that I definitely don't take for granted!!!!!
What were the major
Axemaster in the 80s?
obstacles
facing
Joe: There were a WHOLE HELL OF A LOT of
obstacles, too many to mention them all! But I
would say the biggest would be lack of
money, especially to record. The second full
length thing we did was "Death Before
Dishonor", but there was no cash to have it
done in a studio so the sound isn't even
decent which sucks because there's some
killer stuff on there. Even with the crap sound
that kept it from being picked up by a label (it
was released on cassette by a management
company and promo company in Europe), it
got GREAT reviews worldwide, even from
bigger magazines like Metal Hammer. And
the fans loved it, hell, Unisound Records
practically begged to re-release it in like 2002
and we still get requests for it!!! So I think the
history of the band would have been A LOT
different if we had had the cash to give that
album a label quality recording. Another big
problem was my having to change band
members all too often (especially singers) and
band members being unwilling and/or unable
to travel much if at all. So we didn't tour like
we should have which really kept us from
moving forward. There were definitely a lot of
other obstacles but I see those as the main
ones.
Was being from Ohio, and not California or
New York, a problem?
Joe: The main downside to this area back
then was that so many of the clubs around
here didn't want to give an original band a
chance to do a decent show, so we had a
hell of a hard time getting good gigs (which
made it even worse that nobody wanted to
travel to play!). I really don't know if being in
Cali or NY would have helped a lot with that
because I don't know A LOT about those
scenes back then, all I know is that we had a
hell of a hard time gigging here. But one
thing's for sure, no record execs other than
from a small metal label in the area (Auburn
37
Records) were gonna happen to see us play
at a club in Akron!!!! So, especially back
before the internet, not having the main
labels or management based in this area did
make it tougher to get noticed. So in those
aspects, being outside Cali and NY was an
obstacle.
[interview to be continued]
**
August 10, 2015