metal buletin #39

Zine #39
Washington state, U.S.
www.metalbulletin.blogspot.com
www.facebook.com/pages/The-Metal-Bulletin-paper-zine
in this issue: reviews, reports, news, interviews on:
Flagitious Idiosyncrasy in the Dilapidation (Japan)
Dimicandum (Ukraine) Mortal Soul (Kenya)
Deeds of Flesh
Theoria
(Syria)
Ghost Bath
(U.S.)
Subterror
(China)
The Great Gamble
Eye of Solitude
(U.S.)
Mist
(Brazil)
(U.K.)
(Slovenia)
Secret of Ankh
also:
DEATH METAL
traditional: Cleric (U.S.), Derogatory (U.S.), Harm (Germany), Torchure (Germany)
technical/blast: Deprecated (U.S.), Oblivion (U.S.), Pestilence (Holland)
HEAVY/POWER METAL Argus
(U.S.),
MELODIC/GROWL METAL Nightfall
Cyntia (Japan)
(Greece),
Noumena (Finland)
PROG METAL Withem (Norway)
THRASH Skeletonwitch
(U.S.), Toxic
Holocaust (U.S.)
WEIRD/EXPERIMENTAL The Meads of Asphodel (U.K.), Mephistopheles (Australia)
www.fuglymaniacs.com (issues online, concert videos, interviews, reviews)
(Iran)
history of Metal Bulletin Zine
Issue 1 to 20: (2006-2009): Wisconsin
Issue 21 to 26: (2009-2010): Texas
Issue 27 (2010) -- now; Washington state
-Metal Bullletin Zine (MBZ) is a homemade publication
and it is not a business enterprise in any way. MBZ is not
business
partners
with
any
band,
record/management/publicity company, club/bar, or
any kind of for-profit organizations/individuals. MBZ is
not paid money for reviews and interviews. Neither
does MBZ seek to sell any product to anyone for
money.
-metal on the radio/internet (Pacific Time)
Metal Shop (Seattle, WA): Saturday 11pm-3am
KISW 99.9fm
www.kisw.com
FOUR ridiculous hours of the heavy stuff!
Sweet Nightmares (Houston, TX): Thursday night
9pm-midnight KPFT 90.1 fm
www.kpft.org
Bill The Master and his pirates take over Texas!
—
—
Flagitious
Idiosyncrasy
Dilapidation (Japan)
in
the
The hills are alive with the sound of grind and Flagitious
Idiosyncrasy in the Dilapidation. Besides possibly having
the greatest name for a band ever, this group is made
up of geniuses of grind. Instantly likeable, and efficiently
to the point, with no time-a-wasting, the F.I.D. sound
has taken over my “house” (a van down by the river).
The band has demos from 2003, 2004 and 2006.
Then, in 2008, that’s when the grind hit the windmill, the
band’s debut self-titled album was released.
Ridonculous: an outrageous collection of growling,
screaming, animal sounds, thundering bass, stomping
beats, blasting…and lots of yaaarrgg woof-woof
aaarrrgg!
Bits, segments and pieces in the songs suggest
all sorts of genre mixing, yet it all sounds very grind. For
short moments, you may think that they are going to do
a slow doom song, and it all gets busted up in grind;
some riffs sound kind of “rock and roll,” only to get
jacked up by grind. A lot of times F.I.D. sounds like
“brutal death metal,” but it’s so hyper that it all turns
into grind the F.I.D. way. Immensely enjoyable and
boatloads of fun; F.I.D. has a certain punk rock flair that
charms up the grind, too.
Then in 2011 their EP “Kakusei” destroyed any
doubts about where this band was heading. In a way,
the EP solidifies the achievement of the debut. Of
course, it’s an EP, so it’s short, even within a context of
grind.
That brings us to the present. The name of the
album is “Wallow.” Clearly presenting their bestsounding recording to date, “Wallow” is also another
loud scream of sonic yaaarg-blaaarg that continues
what this has band has been doing for all these years
now. It’s quite the racket the way that F.I.D. goes about
destroying people’s hearing. Everybody’s going to
need hearing aids after listening to this.
It’s not just in the studio, either. For instance, look
up this band on YouTube performing live in concert
and you will find several frenzy-whipping performances.
F.I.D. is here to chew bubble gum and to play grind,
and they are all out of bubble gum. Whether it’s
Obscene Extreme Fest in the Europe or Asia, or some
club in the middle of nowhere USA, the people who
witness the band leave very moshed up and most likely
in some form of bodily pain.
F.I.D. has made a couple of appearances in the
U.S., such as in L.A. and Oakland. Here’s a picture of
F.I.D. with those lumberjack trainhopping hoboes from
Capitalist Casualties and Slight Slappers.
People into Nasum, Rotten Sound, Napalm Death and
grind in general, this one’s for you.
www.facebook.com/Flagitious.Idiosyncrasy.in.th
e.Dilapidation
THE END
--
Dimicandum (Ukraine)
In the previous issue of this zine, the review noted,
amongst other things, about Dimicandum’s album “The
Legacy of Gaia”:
“Listeners into modern melodic heavy/power metal
and big choruses should look into Dimicandum today.”
“There are eight songs on here. No filler, just hit
after hit.”
“Starting with the first song, ‘The Legacy of
Gaia,’ things just get better and sooner than you
realize, the album is over with ‘When the Sun Burns
Out.’ What is a person to do? Have to play it again.”
Dimicandum
sounds
like
melodic,
traditional
heavy/power metal, with atmospheric elements and a
bit of growling, but framed contextually, and keeping
the music very catchy.
Roman (vocals, guitars) answers some questions
about the band.
-Hello, you are based in Kiev, correct? How is the metal
scene in Kiev for Dimicandum?
Hi! That's right, we're from Kiev, Ukraine. Our scene is
lagging behind the West and now just getting on its
feet. We do not have the infrastructure for the
development of metal music, all that is done, is done
by enthusiast forces alone. The situation with the clubs is
stable, it is not always quality concert halls, but there is
where to play, there are some cool clubs. In general,
each year the development of the scene is enhanced!
What are your current objectives?
In 2013/2014 we plan to release one more video, new
single, and start writing the album, the material for
which is now composing. The process is slow, but
steady. In the summer we’ll play some festival shows.
Also, we plan a concert in Poland (autumn 2014). The
new album will be a logical continuation of the
previous one, both in music and in the lyrics. We found
the style that does not limit our scope and our sound, so
we'll stay the course.
You have played more than 60 concerts, correct?
What have you learned about functioning as a band?
Yeah, right. In total, we played more than 60 concerts.
Geographically, it is Ukraine and Belarus. The main
thing on the tour is to avoid conflicts with each other :)
For us, it was very easy, because in our team is very
friendly relationships between the musicians.
What is your opinion about auto-tune, drum
programming/drum sound replacement technology,
and other such things? Do you sing the chorus every
time on the album or do you "copy and paste"?
We think that for some bands, modern technology is a
real solution. For example, when there is no way to
record live drums. In our case, we wrote everything
completely, all the instrumental parts, without copypaste; vocals without auto-tune, with minimal
processing, etc. All lyrics in the songs also recorded
completely, including repeating parts.
How is “The Legacy of Gaia” a concept album?
Yes, it's a concept album. All the songs are related to
each other and placed in a playlist within the meaning
and mood. The overall message of the album is legacy
of our planet, what we have now and what will be left
for our children. Sources of inspiration are very different,
from movies, books to ancient myths and legends.
3
All your songs are in English. Can your ideas for the
songs be expressed just as well in Ukrainian?
No, we do not have the songs in Ukrainian, Russian was
[used on] a couple [of songs] at the beginning of our
career. But we came to the conclusion that it is better
to sing in English. This opens up more possibilities, after
all, it’s the language of the original rock n roll.
What are the problems that Dimicandum confronts for
reaching Western Europe, and the Americas or Japan?
Previously, the main audience was in Ukraine, then
Russia and Belarus. But, after release of our album,
geography of our fans greatly expanded. Currently it’s
Poland, Germany, Indonesia, Mexico, Japan, France,
Canada and USA.
This year, two of our members must complete
clearance of foreign passport, and then remains the
case for [a] small [detail]: to finance our first European
tour. For a start it will be Ukraine's neighbors, because
going on a big tour with one album and without largescale promotional support makes no sense, everything
must be gradual.
Does the radio in Ukraine play Dimicandum?
Unfortunately, in Ukraine there is only one rock radio
station. And they play Iron Maiden, Scorpions, etc., but
nothing with growl/scream vocals. All radio stations
playing extreme metal broadcast are on the internet.
In the U.S., some musicians, when they have a serious
illness, they do not have the money because metal
musicians are often not as wealthy as other musical
styles. Sometimes their audience donates money for
the sick musician. Can you explain something: If you
are sick in Ukraine, what happens when you go to a
clinic or hospital?
We have a relatively free medical care, but it is
effective for simple diseases. If you’re sick with cancer
or something like that, you have to pay a huge pile of
money for treatment, and the state then does not help.
Only charitable funds are doing something useful.
Is there a big problem of unemployment for young
people in Kiev and Ukraine in general? I ask because
unemployment is a serious problem in the U.S. now.
In our country, it’s also an actual problem, a lot of
young people after completion of higher education
don’t know where to attach themselves. We would like
to earn a living making music, but for now it's
impossible. Everyone has a job in the office. I am an
internet marketer, the drummer is a web programmer,
the bass guitarist tunes cars, the keyboardist works in an
airline, and the second guitarist is a builder.
Final question: what do you think about the videos of
Dimicandum on YouTube?
YouTube is a great tool to promote your music. And
there's nothing bad, when fans posts video from the
shows with bad sound, if the band sounds good, it can
be seen and heard in any case.
www.dimicandum.com.ua official website
www.vk.com/dimicandum_official official VKontakte
www.facebook.com/dimicandum.official Facebook
www.youtube.com/user/DimicandumTV YouTube
www.reverbnation.com/dimicandum Reverbnation
www.metalscraprecords.com Metal Scrap Records
THE END.
--
Mortal Soul (Kenya)
The name of this metalcore band keeps popping up in
articles, interviews and comments by bands. For
instance, in issue 38 of this zine the band Skinflint
(Botswana) mentioned Mortal Soul. This band started in
2010 and is based in Nairobi, the capital of Kenya.
Mortal Soul is Peter (guitars), Leon (vocals and guitars),
Celeste (drums), and Young (bass).
Mortal
Soul
has a
recording called “Ashes in the
Wind.” Fortunately for those interested, Mortal Soul has
posted some tracks on ReverbNation for everyone to
hear and download. Also, you can stream the
complete EP on YouTube, just type the following:
“Ashes in the Wind – Mortal Soul (complete Ep stream).”
Cheers to Mortal Soul for doing what they want
to do. They sound like a young band, learning the
ropes, and getting experience. A quick way to
describe their sound is to say that they are a “baby
Killswitch Engage band,” although on this matter, the
band specifically cites as influences: Trivium, As I Lay
4
Dying, Bullet for My Valentine, and Metallica, as well as
Creed, Foo Fighters and Linkin Park, amongst others. Be
that as it may, I think listeners into the Killswitch Engage
style of rocking segments and melodic components
would find Mortal Soul as a new interesting group.
For Mortal Soul, determined to play this music in
their particular circumstances, it is always nice to hear
from listeners that support and enjoy the band’s work,
so remember to send them greetings. This is a band
working on finding its sound, and things are looking up.
Let’s see what happens on their journey and where
they decide to take their music. Hopefully, it only gets
heavier and more metal. This is a good, solid beginning.
Check it out: www.reverbnation.com/mortalsoulke
Another
way
to
be
in
contact:
www.facebook.com/mortalsoulke
--
Deeds of Flesh (U.S.)
At this stage of the game, Deeds of Flesh has
accumulated enough musical capital to be
considered an institution of intense/heavy/technical
death metal, and not just a good band within the
genre. For instance, look up reviews by people who
know and you will find a general consensus that Deeds
of Flesh is right up there with Suffocation, Decrepit Birth,
Defeated Sanity, Origin and all the other main names
of the style. Actually, Deeds of Flesh is an older name
than most of those bands, with the big exception of
Suffocation, of course.
Their first EP is from 1995 and it was called
“Gradually Melted.” That was followed by their debut
“Trading Pieces” in 1996. Well, the 90s was a long time
ago, and much has changed, including in the
membership of Deeds of Flesh. However, with the
passing of time, their solid reputation has grown; and in
2013 the band has an album called “Portals to
Canaan,” which follows 2008’s “Of What’s to Come.”
“Portals to Canaan” presents several matters
that might surprise the listener. For instance, would you
believe that “brutal/technical” blasting death metal
accommodates large shares of guitar melody? That’s
exactly what this album demonstrates in its 40 minutes
of music (including a Gorguts cover).
Unfortunately, it would appear that some,
including those that enjoy the style, have painted
Deeds of Flesh into a corner when describing the
sound. Really, that’s too bad. Deeds of Flesh may be
“brutal” or “technical” music, but there is much more
here than nonstop blasting, zombie woof-woof.
I would say that you do not need to be a math
genius to understand Deeds of Flesh; the songs have
enough guitar melody that it is quite easy to approach
the compositions in that manner, as a gateway to the
complexity. Still demanding of the listener, but it helps
that Dees of Flesh has incorporated components that
liven up the monolith of death metal.
I would submit that “Portals to Canaan” is
indeed a strong album. If you like “brutal/technical”
but you have high standards, you demand great guitar
work and attention to songwriting, then Deeds of Flesh
is worth your time. The album can appear abstruse and
cold, but once you listen a few times, that notion is
easily dispelled.
The only thing that the band is probably too
conservative on is the vocals. The growling is a bit too
restricted, and could stand to be looser and rage in
wilder, unhinged ways. All in all, the album should be
checked out because the quality is high.
www.facebook.com/DeedsofFleshOfficial
--
Ghost Bath (China)
Ghost Bath oscillates between random-screaming
shrieking/howling “black metal”-ish rage, on one hand.
On the other, the music brings on the somber moments,
the spitting image of a cave-recorded musical
endeavor for a specialized public. Ghost Bath lets loose
the melancholic post-rock, like some sort of more
depressive version of The Smiths—angry but in a
different, more subtle way. In these sounds, you will also
find substantial portions of piano-sad music.
It’s beautifully ugly lo-fi unstable somber angry.
To the so-called average “person on the street” this
sounds like absolute, hands-down garbage trash. Case
in point, one song has lots of coughing. Yes, like when
you have a cough. That coughing.
Yet, if when you read the first paragraph of this
review, Ghost Bath peaks your interest, then it might
mean that you are the audience that this music seeks.
You never know, you might think that Ghost
Bath is the worst thing you have heard all year. Ghost
Bath could be a hoax, too: the identities are not known
and they are from a place called “China,” or so they
claim. This might be some high school kid in Nebraska,
U.S. or Istanbul, Turkey. Could be my neighbor next door
in Tegucigalpa, Honduras, where I am right now.
Ghost Bath has made this recording available
for free at Bandcamp. It’s only four songs, but that just
means that it’s easy to do repeated listens. If you like
weird experimental cave post-black metal, then pack
your bags, we’re going on a road trip to Ghost Bath.
There will be some coughing involved.
www.ghostbath.bandcamp.com
www.facebook.com/blackghostbath
--
Subterror (Brazil)
What happens
Discharge?
5
when
you
mix
Hellhammer
with
Subterror!
“Awesome” and “excellent” does not even begin to
explain how exciting Subterror sounds.
If you want to hear a band with an honest
mentality about recording, politics and music, then
Subterror is for you.
Plus, how cool is this? Their three recordings are
available for free, which is how I got them, and so can
you: “Desespero” (2011), “Subterror/Do You Think I
Care?” split (2012), “Human Beings Should Have Never
Evolved … at All!!” (2013).
Get the free music here:
www.subterror.bandcamp.com
Don’t be a stranger. Send them a “thank you” note for
making the existence on this miserable, violent and
disgusting planet a bit more bearable with this music.
www.facebook.com/Subterror
contact: [email protected]
Samuel (drums) was kind to give answers to
these questions. As you will see, Subterror has a lot to
say about music and politics.
-How are you all? You have three recordings? That's
what it says on Metal Archives. Is that correct?
Hello! Thanks for the contact and the interview! We are
fine, despite the hot weather of the city.
Well, these informations are correct. We started
the band in 2009 and we made our first release in 2010,
a demo called “Desespero” (“Despair” in English). In
2012 we released a split with a crust band from
Hungary called "Do you think I care?" and in 2013 we
released our split with another crust band, "Defy" from
São Paulo (Brasil). At the moment we’re preparing our
first full-length which will be released in 2014 by the
label Black Hole productions into CD format and on
vinyl by other labels.
Subterror sounds honest. How do you record?
We try to avoid a computerized record. Our preference
is to record raw and honest tracks, recording without
triggers or replacements. For us these details are
important because we care how the sound can
appear when someone listens and how we play alive,
how someone see our gig. So, we try to make a record
similar to our concert.
We aren't "instrument players", we are not
virtuous guys when we play. We play with the intention
of spending what we feel, pain and anger. Just that. At
the first two releases, all the instruments were recorded
in the studio, but this latest record we just recorded the
drums at the studio and the guitar and the bass at a
friend's home.
Just this last recording we use triggered drums,
not so much triggered, and some things replaced. We
still enjoy this recording, but we won't do it anymore.
We really prefer a natural record.
What was happening in 2009 when you formed the
band? What was going on in Brasilia and music?
In 2009 we were still learning many things with the
contact with several friends and underground festivals.
For example, we learned a lot watching Violator and
other bands in Brasilia and in Brasil. The cool thing of this
city we live, especially in the period 2000 to 2006 is that
the underground has always been a great mix of styles.
The town never had a specific scene of punk or metal,
everything was always mixed, punk and metal
together, with some exceptions, of course.
At that time we listened to crustcore, death
metal and grindcore. We had some projects before
forming Subterror, but none worked for several
unforeseen, so we did a break and after a while we
began to think to try something again.
We always liked to live here and enjoy the gigs,
but we searched a raw position. A space that doesn't
speak only about European problems, North American
political, wars and how life could be better if we think
positively. We respect those positions, but we don't see
the world that way.
So, in 2009, we formed Subterror with the
proposal to play a raw crust. A kind of song that we
always liked. After some time we started to mix metal
and crust. Was not a change on purpose, just
happened.
How is it recording where you live, for instance, the split
in 2013?
We recorded the drums at a studio and the rest of the
instruments at a friend's house. We decided to test
some possibilities for various reasons, one of which was
money. Studios in Brazil are very expensive. The
recording process was not very long because there
were just 2 songs. We recorded everything in 3 weeks
and 2 months to finish the mix and master.
Subterror is based in Brasilia. How is the scene for
Subterror there in that city and the rest of Brazil?
The scene is not so big, but we have a strong friendship.
We have many cool bands in the city, a scene without
divisions. We played with bands of thrash metal, death
metal, hardcore and grindcore, and other people.
Always with much respect. Everybody together
because we don't have a specific crust scene, punk or
metal scene. We are a small group of great friends.
Obviously we don’t associate with bands of
character sexist, racist, homophobic and so on. We
don't play with this kind of bands. We usually play a lot
in Brasilia and always is a great experience, playing on
punk or metal concerts. About the rest of Brazil, it's
6
interesting because we create mechanisms of
interaction with the other states. We played much
outside of Brasilia and many bands also play here. It's
like a cooperation, not competition. The bands help
each other.
How long has Harry been playing guitar?
Harry plays guitar a few years. Well, until now the guitar
had not fixed the tone, the way to specify sound. The
result was always the sound of the test with the
tentative to sound like old death metal style and
Discharge. Sometimes we fulfill our goal.
Where can people read the lyrics?
Good question. I think we don’t have the lyrics
available on the internet, but that wasn’t a thing on
purpose. Soon we’ll put the lyrics on Bandcamp and if
possible on Metal Archives. About the lyrics, I write most
of them, but the whole band tries to help. If someone
doesn't like a lyric or some part, we try to fix.
How would you describe the themes of "Alimentando o
abismo" ("Feeding the Abyss"?) or "Funeral"? How would
you explain the title "Human Beings Should Have Never
Evolved at All!!"?
“Alimentando o abismo” (or Feeding the abyss in
English) is about the feeling of nothing – the abyss of
nothing, created by the elimination of any support or
crumb that life can offer. Ideals of peacefulness,
harmony and stuff. Think about how a life would be
without meaning, value and truth, false hopes that
numb us and alienate the weight of existence, a life
that oscillates between boredom and suffering, elation
and despair. Without illusions we fell into a kind of abyss
of nothingness.
“Funeral” is about a failure that will follow us
until the end of our life. Regardless of our choices, all of
them have consequences, the question is, how many
wouldn't hurt anyone? Imagine the fact that you were
born was enough to harm another person. Funeral is
about that, a failure as a living being, an inevitable
failure.
“Human Beings Should Have Never Evolved at
All!” is a sentence from the song "Hands That Mold" of
Dystopia, Oakland (USA). We really enjoy this band. The
song is about the progress of man and his ability to
segregate disaster with this false ideal of progress and
peace between us and the world.
I like the fact that I can hear the bass in your music.
How long has Luan been doing vocals and playing
bass? Luan used to do vocals only, correct?! But now
he plays bass, too.
Yes, we started the band with four members, but in
2012 our bass player had to leave the band and Luan
took over bass and vocals. In fact, he had never been
a singer, he had always played bass. So, I think to play
the bass and sing was easier to him. It was nice
because he brought some kind of specific way to play
the bass and sound, a brutal and heavy way to sound,
great for the kind of music that we play.
Do you think that Brazil needs revolution? Is there a type
of change that you would like to see? Is all politics
nonsense, in your opinion? Do you think there is nothing
that can be done about the poverty in Brazil?
It's difficult to use the word "revolution". We have
libertarian positions, but we are not anarchists or
socialists. At the moment, we think that any attempt to
revolution or freedom can create a new prison. Social
or individual. At moment we have a critical point in
human existence where the subjectivity of the
individual is controlled in such an absurd way that is
hard to believe that together we can make a
considerable change in Brazil or worldwide.
About the poverty, it is possible and an
obligation to reduce it, but in the current capitalist
system which we live, while this shit continue existing,
together with the apparatus of the police, state,
church and other forms of oppression, will surely be
impossible to refrain from any form of poverty or
inequality in Brazil and worldwide.
Do you think that soccer plays the role of a "second
religion" in Brazil? To keep the masses entertained so
that they do not rebel? Maybe television in general is
the "second religion"? It's probably correct in the U.S.,
too. "Don't worry about politics. Leave it to the
'professionals.' Just watch your tv show and be happy."
In the meantime, the corporations and politicians do
what they want: steal and exploit and kill.
I agree but I need to say that not only soccer is the
responsible for the control here. The media has
enormous power over the population, probably bigger
than soccer. The Brazilian media is controlled by only
one broadcaster, the same which supported the
Brazilian dictatorship. The other channels are headed
by churches or banks owners.
The Brazilian media is fascist and manipulative.
They control news and create stereotypes. We don’t
know how it works in the USA, but in Brazil we have a
big problem with sexist, homophobic and racist
programs at most of the channels. Every Saturday you
can join your family to watch a comedy and laugh at a
joke about rape, about gays or black people. That's
horrible and nobody cares.
In fact, that’s really happen. We learn this kind
of thing in our whole life, how you say, “Don't worry
about politics. Leave it to the ‘professionals’ – the
7
professionals are the media and they want you stay
where you born. Born to die in the gutter.
What would you like for listeners of Subterror to do? Do
you have t-shirts? Do you update your webpage
frequently?
Thank you for interview! Well, we would like to say for
listeners of Subterror that each choice carries a guilt,
take care with people and with yourself. We're not
worthy of anything. Don't be fooled, by false security,
we're weak. If you came here thinking that we are a
metal band that like to put nude girls in our cd covers
or that we accept fascist people sharing the same
space with us, probably you will feel better dead.
Nazi metal and nazi punks, fuck off! If you are
interested in the band, we always update the page on
Facebook and there you can check the informations,
merch and talk to us. Again, thank you for everything!
Subterror/Samuel.
--
Mist (Slovenia)
Mist totally surprised me with this golden oldie classicstyle original-fountain doom. Whenever a band wants
to play doom in the old style of Sabbath and
Pentagram, that’s a deal that I will take any time of
day. Besides, it’s a break from 24-7 woof-woof barrage
in this zine. Want to hear doom in the old style, with
traditional vocals and songwriting, with the feel of
Sabbath’s “Volume 4”?
Mist has a two-song recording simply titled
“Demo” and it sounds honest, without lots of studio
trickery. It’s certainly a very nice beginning for Mist.
www.soundcloud.com/mist-doom
www.facebook.com/mist.doom
email: [email protected]
--
Theoria (Syria)
The black metal of Theoria, as found on the album
“Mantra” (2013; five songs; 34 minutes), showcases
certain two-lane structures enhanced with memorable
elements that make sense to the listener relatively
quickly. The sound quality is not the most polished
fancy, and of course, the primal sound identity might
not change the minds of some skeptics; however, if you
like to search out different bands in black metal, then
this is worth investigating.
Consider, for instance, how Theoria seamlessly
goes from raw, fast black metal with instant energy,
and then transitions to midtempo and some doom-like
shades. As a result, Theoria goes for a grim vibe,
balanced out by atmospherics as an indispensable
component. The glue holding things together for
Theoria consists of clever incorporations of bits of
melody smoothing out the overall songwriting, which all
makes the album one that justifies repeated listens in
order to discover nuances throughout the recording.
Theoria is based in Aleppo, Syria, according to Metal
Archives. Syria is a country that has been in the news in
the recent period due to the civil war taking place
there. I don’t know if Ahmad and Besher—the people
of Theoria—still live in Syria. Meanwhile, Theoria is very
generous and has made this album available for free
at Bandcamp.
As if that weren’t gift enough, there’s another surprise
from Ahmad and Besher: they have a second musical
project together called Crescent Moon, an
atmospheric doom death entity that has a two-song
recording called “The Wall of Light” (about 18 minutes)
that is also available for free at Bandcamp.
If you like to seek out metal, Theoria and Crescent
Moon present a nice opportunity for doing so. Why not
get in contact with Theoria/Crescent Moon, too? As I
said, I can’t give definites on the personal information
or the location of Theoria/Crescent Moon, only the
music, which is really what matters, anyway. Hopefully
this is not the last that we hear from this duo.
www.theoria1.bandcamp.com
www.crescentmoon-sy.bandcamp.com
www.facebook.com/Theoria.SY
www.facebook.com/Crescent.Moon.sy
--
to absorb the album, which is a pretty good feeling,
giving you reasons to come back to this ambitious selfrelease by a young band struggling to make a name
for itself.
Some very pleasant economic news: this album
is available for free at Bandcamp.
In other news related to The Great Gamble, the
band’s guitar player Al Joseph has an instrumental
shred album called “Out in the Open” and it’s definitely
for listeners into guitar-centered shred. If you buy shred
albums by Joe Satriani, Tony MacAlpine, Steve Vai and
other legendary guitar wizards, AJ will be a new artist
interesting to you. AJ’s guitar power cannot be denied,
and although he is not yet a guitar jedi, he is on his
way. As Yoda would say, “Patience young one, be the
guitar kingdom keys yours they cannot yet. Yes, hmmm,
but yours and the treasure you will find will soon they
be. Yeessssss.”
In any case, if you are a tolerant and patient
music listener into prog and shred, then look into The
Great
Gamble
and
Al
Joseph.
The Great Gamble (U.S.)
Would you be interested in hearing a prog metal band
that really is prog? One of those bands that writes
lengthy compositions without much regard to making
“simple” music for the “average listener”? If your
answer is a positive one, then look into: The Great
Gamble and its album “Book 1.” This bunch is
supposedly planning a return to action in 2014, given
that 2013 seemed to be a year of low activity.
You could justifiably make the case that “Book
1” (2012) is elitist brainiac prog. Besides a very brief
track (1:34), there are five full songs: four are about 10
minutes on average, and the last is some 16 minutes.
Let’s not kid around. The Great Gamble is music
for musicians, for people with lots of patience, for metal
seekers, for the selective prog listeners, and new
listeners whose minds are receptive to something more
complex.
You can imagine that it takes repeated listens
for all of this music to make sense. These songs go into
meandering paths, on tangents, and it’s only minutes
later that the band may return to the chorus. Expect
guitar solos, long instrumental segments, and very
proggy passages. Personally, I do remember certain
passages from songs, but it takes at least a few listens
8
www.thegreatgamble.bandcamp.com
www.facebook.com/thegreatgambleofficialpage
www.aljosephofficial.com
--
Eye of Solitude (U.K.)
The previous album by Eye of Solitude, “Sui Caedere”
(2012), impressed me beyond expectations because
said work is a bit different from what I imagine within
“funeral death doom.” Although “Sui Caedere” is
definitely very slow and heavy, it uses enough melody
to catch the listener’s attention.
Logically, when I found out that the band has a
new album called “Canto III,” I couldn’t help but
expect low-growl, super heavy duty funeral death
doom. However, I was wrong. Or, at least, I was wrong
about several important aspects.
The main overall element about “Canto III” that
distances the album from its predecessor is how wide
Eye of Solitude has cast its net. The big umbrella under
which all of the band’s sounds can be labeled is still
“death doom.” Nevertheless, that’s not entirely correct,
given the variety found throughout the songs. Namely,
blasting speed comprises a crucial ingredient in the
music. Black metal energy has been embraced, and
both the speed and the guitar work have mutated the
frame in which the band’s sound operates. These
“symphonic, blasting black metal” passages have
altered the way that the listener will understand Eye of
Solitude here.
Of course, there are other aspects, such as the
guitar melodies in some segments, that add bright
spots to the depressive doom. In addition, a small to
moderate use of “clean” vocals brings new dimensions,
as if Eye of Solitude has thrown open the doors to its
music. Seeing that the growling by this band is low,
guttural and indecipherable, the “clean” vocals add a
discernable contrast.
All in all, this album is a tad “accessible” due to
the variety of styles. Yet, it still demands patience and
trust from the listener. For instance, one has to wait
about three minutes of introductory atmosphere,
before the first song gets going. This six-track album is
over an hour of music, meaning that instant
gratification is not the objective. Rather, it’s meant to
take several listens and lots of time before the clouds
and dust of death doom clear up a bit and give way to
the melody, nuances and intelligibility.
As we know, It’s difficult to be perfect, and sure
enough, my ears have had a bit of trouble on a couple
of different points. In my opinion, when the music is
going fast, the drums sound too plastic, like a drum
machine. My ears also noticed the “modern”
production: the “wall of loud noise” approach seems to
drown out the contrasts and shades too much,
creating the sensation of an album that is a bit too loud
for its own good.
Despite these subjective matters, I do not
hesitate to recommend this monster of an album to
death doom listeners, who will be pleased with the
heaviness, melodies and the effort on the part of Eye of
Solitude, which has again achieved a strong success
for itself.
www.facebook.com/eyeofsolitudeband
www.facebook.com/kaotoxinrecords
--
Secret of Ankh (Iran)
Secret of Ankh is about a blasphemous spirit that would
make King Diamond blush. “Frozen Forest” is the name
of the recording and it does in fact sound like it was
recorded in a cave. It’s not blasting, raging
black/death metal, although some of the music is
exactly that, but by far the most important element is
the evil-dark chanting and atmosphere. Look at it as an
experiment in sick underground music. In this case,
underground might actually be a correct description of
this duo. Go to the Facebook page and from there you
can access the free downloads, as well as a bit (not
9
much more) info. Metal Archives says that this duo is
based in Iran, but check it out for yourself and try to
contact them and see what happens.
www.facebook.com/pages/Secret-ofAnkh/557965170922285
-more REVIEWS/NEWS by MMB (unless otherwise noted)
DEATH METAL (traditional)
Cleric (U.S.): "Gratum Inferno” (Tofu Carnage Records)
Cleric (Texas) follows the left-hand path where they are
supposed to rot, and when life has ceased, they will
find the truth beyond that has drowned in morbid
devourment. The premature autopsy will reveal the
carnal leftovers. It’s a bitter loss, but revel in flesh, for life
goes on, even after being abnormally deceased.
Can’t enough of that olde tyme deathe
metalle? Neither does Cleric. In particular, only for the
truly serious Stockholm-style voracious listeners.
www.facebook.com/666cleric666
Derogatory (U.S.): "Above All Else” (FDA Rekotz)
Devotees into those old Earache and Roadrunner
bands, you better buckle up your seatbelt for a trip
back in time to early 90s death metal. I will limit this
review to three observations. The riffs are clear yet
heavy, with some thrashiness. Two: the songs are fairly
traditional and linear. It’s definitely fun and you don’t
have to be a wizard to understand it.
Finally, Derogatory plays fast. They blast and
also play at speed-metal velocity. Derogatory is not a
“melodic” band but a sick, heavy one. The melody that
is heard comes from the only place in traditional death
metal: in some moments of the guitar solos. It’s
“melody,” but it’s not sweet, sugary stuff.
Death metal: “baby Malevolent Creation” or
“baby
Monstrosity.”
www.facebook.com/DerogatoryDeath Metal
Harm (Germany): "Cadaver Christi” (FDA Rekotz)
Is there a company more obsessed with classic
Stockholm death metal in the style of Entombed and
Dismember? FDA keeps releasing these Entombedworship albums and there’s no stopping now. The
cynics won’t be happy about this new “trend.” Really,
though, it’s not like this music will make Harm
millionaires. Plus, it’s death metal, I’m not going to
complain.
If you like old-time death metal and you want
more of it. Yes, you are a love-it-all death metaller, then
consider the latest result by another reliable FDA band.
www.facebook.com/pages/Harm
Torchure (Germany): "Beyond the Veil” (1992; reissue)
(Vic Records)
Vic Records reissues the 1992 album by the death
metallers Torchure, a band that evidently broke up in
the early-mid 90s. In the early 90s not many death
metal bands from Germany received international
press; not as much as bands from Florida and New York,
Stockholm and the UK.
Today, this album still sounds good, like a bit of a
lost gem. If you have hundreds of early 90s bands, you
probably have this album, or at least may have heard
it. In contrast, if you have not heard this band, and you
really enjoy old death metal: the sound, the feel, the
headbanging vibes and the no-nonsense heaviness,
Torchure should be fun. More specifically, check it out if
you are partial to bands like Asphyx, Morgoth and
Obituary and other bands that balance heaviness with
uptempo segments.
The melody found on the album originates from
the guitar soloing, but of course, the rhythm/riffs stay as
heavy as possible. As an album from that particular
period, the music shows some thrash leanings, but
played at a much heavier spectrum. Moreover,
Torchure also exhibits a tendency for forays into doom,
in a balanced way, combining all of these factors into
a death metal entity.
Stylistically on the vocals, Torchure has longsyllable roaring-growling that’s guttural and that
extends the sounds: no fast-quick shouting/screaming
here, only super heavy monstrous growling. Torchure
does have fast, blasting moments, but those parts are
not the centerpiece of this midpaced death metal
band, although the blasting certainly enlivens the
proceedings.
The old death metallers have most likely already
heard this album back in the 90s, especially in
Germany. Alas, 1992 was more than two decades ago.
If you love old death metal, then Torchure should be
put on the to-look-up list. www.vicrecords.com
DEATH METAL (technical/blasting)
Deprecated (U.S.): "Deriding His Creation”
(1998 reissue)
(Unique Leader)
Deprecated seeks the tracks for mass obliteration that
will make the deity weep upon the effigy of the
forgotten. Deprecated infects the crypts and cannot
avoid the involuntary manslaughter. The act of
reincremation will condemn them to habitual infamy,
living the seeds of the suffering, within a liege of
inveracity for breeding the spawn to despise the sun
that is pierced from within. “Worship music,” indeed.
www.facebook.com/DeprecatedUSA
Oblivion (U.S.): "Called to Rise”
(Unique Leader)
The überteknikall karpaltunnel neckbracebreakers
Oblivion is to be heard, not to be read about. The
guitarring, drummering and growlscreamering brings
down the cloud of extremity right to your door, and lets
10
the volts just go wild. Moreover, the clarity of the sound
helps those of us mere mortals to comprehend the
wavelengths we are hearing. The bassering is not
always upfront, but it does show up all the time,
thundering and rumbling all over the place.
Generally speaking, Oblivion’s strength, more
than anything, in terms of listenability, probably is the
clarity of the guitar playing. Oblivion seeks to fool no
one: any and all able ears can hear the riffs being
used, as the band is not hiding behind trickery in that
department. The chord progression can and do go
fast, yet how is it that it sounds decipherable and
intelligible? Well, it’s not that I have especially good
ears or that I have any particular intelligence; it’s that
Oblivion makes the music that way. Oblivion sounds
approachable. On the account of the guitar playing,
it’s easy to say well done.
Further, the songwriting, I’ll just limit myself to
saying that the first time I listened to the full album at a
reasonable, comfortable volume, I had the feeling that
the songs functioned well. Part memorable, part
technical/prog, part shredding, on-point drumming
and great vibes all around: that’s more than enough
strengths for an album.
As you can see, this is on Unique Leader, which
says that it’s modern death metal performed at a
strong level. This is my first time experiencing Oblivion,
but I have the feeling that we all are going to hear this
name more in connection to technical and modern
death metal. www.facebook.com/OBLIVION
Pestilence (Holland): "Obsideo” (Candlelight Records)
The music of Pestilence seems to cause many differing
views, most likely on account of the constant style
changes from album to album. Nevertheless, the 2009to-the-present Pestilence appears to have settled on
continuing on the path of brutal/technical/blasting
death metal.
As expected, this post-reformation Pestilence
chugging stop-start style is praised by some, while
totally rejected by others. Closer to the truth is that it
depends on one’s views on fast, blasting, intense woofwoof music. If the listener wants memorable riffs like on
the 1988, 89 and 91 albums, then, Houston, we have a
serious problem of unmet expectations. This is lots of
chugging, zig/zag rhythms, low-string plucking in a
mosquito-attention-span manner.
What does all the foregoing reveal? Well,
actually, not as much as one would think. It might
mean that this is too wacky even for some death metal
listeners; or that Pestilence cannot/will not for the life of
them figure out how to do a memorable riff anymore;
or, that this music is for musicians; or, that this is great
stuff mostly for moshing when it is played live.
Nor is it completely correct that one cannot
remember this music. I don’t have a particularly good
memory, but I certainly do remember parts of these
songs, certain rhythms, solos, vocal and drum patterns.
It’s easy to complain about Pestilence. It is also
probably true that no album with the name Pestilence
will ever reach the level of classic as “Consuming
Impulse” because that was a special time. Approach
this as Pestilence 2013, different era and lineup making
music and one will find that “Obsideo” has many
positive
elements.
www.facebook.com/Pestilenceofficial
HEAVY/POWER METAL (traditional)
Argus (U.S.): “Beyond the Martyrs” (Cruz del Sur Music)
What is heavy metal? Argus is, in the sense of classic,
traditional heavy metal. In the near past this zine has
reported about several classy albums of heavy metal
with singing, riffs that you can appreciate as guitar
work (not just chugging rhythms) and with guitar
melodies/harmonies; bass guitar that you can
distinguish, with a good, solid heartbeat drumming.
Some of these more recent albums include the ones by
Pharaoh, Surgeon and Power Theory, who all
apparently have Pennsylvania connections.
Argus (also, with a Pennsylvania relation) must
be added to that list. Listeners of traditional heavy
metal, in the classic, basic Judas Priest/Iron Maiden
(and forms/styles/bands associated with that tradition)
would do well to seek this album. Just to explain further,
this is NOT keyboard/happy power metal. It’s
guitar/bass/drums/singing heavy metal. The riffs are not
happy but gritty Priest/Sabbath riffs, and a clear, solid
rhythm section that keeps the songs in place, and
upper midrange singing (not thin, high, happy-golucky) and with personality.
Argus, here and there, shows moments of
doom/Sabbath/Candlemass, but is not really a doom
band. Rather, it’s selected moments in songs, and it’s
all placed very well. In addition, Argus displays the
element of Thin Lizzy-ish guitar melodies, a wise
component to the band’s sound.
Don’t get the wrong impression, though. Argus is
no tribute group. For instance, my old ears are not
11
telling me that Argus is ripping off this or that classic
band; my ears only hear echoes of influences, in a
good way.
Better than good, Argus is a special treat for
those devoted to heavy metal that demands talent to
play this style. The singer has to sing for real, and the
guitar must have the riffs, and the band must have the
songs. There is an air of serious talent to Argus and it
would be very revealing to see this band perform in
order to find out if they have the goods live (including
the singer), as this album is very impressive.
You will know a good thing when you hear this
band. www.argusmetal.com
Cyntia (Japan): “Endless World” (2012); “Lady
Made” (2013)
(Victor Entertainment)
Cyntia believes in making songs rocking in a heavy
metal way, but Cyntia also constructs super catchy,
happy-joyous compositions, with a very pop, televisionfriendly style. As a result, the music depends on both
the rocking and the sugary melodies to make its point.
Cyntia also happens to be very good at its chosen
field.
It seems that this style is popular in Japan, but I
don’t know in particular how much of a chart-topping
success Cyntia is. At any rate, it is clear that the
combination of chocolate-sweet rocking songs and a
tv-friendly image would inevitably find a sizeable
audience.
Cyntia works the upbeat guitar vibe, including some
crisp, fast guitar melodies for the uptempo songs. The
guitar is from the power metal style, something like a
Sonata Arctica/Yngwie-sounding feel. During these
songs, the drumming goes at a matching speed, too.
These songs are topped off with Saki’s vocal melodies,
as well as catchy choruses. As expected, some tracks
go at a more midtempo, radio-friendly ear candy beat.
Recommended for people into super melodic
happy power metal and rock. FYI: Cyntia has a more
recent EP called “Return to Myself” and it appears that
the band might be going in a more midtempo
direction, an even more hit-oriented style. It’s an EP, so
let’s see what happens in the future.
www.cyntia.jp
www.facebook.com/Cyntia.BrightStarRecords
MELODIC GROWL METAL
Nightfall (Greece): “Cassiopeia” (Metal Blade Records)
(review contributed by JJ: www.fuglymaniacs.com)
Nightfall’s ninth studio album: Cassiopeia; 11 songs, 50
minutes. Nightfall was formed in 1991 by frontman and
bassist Efthimis Karadimas. Lineup changes were
effected in almost every release, with Karadimas
remaining the only constant. Nightfall and lineup
changes go together like peanut butter and jelly,
apparently. Fans shouldn't be surprised if you follow this
band. Cassiopeia is a conceptual record based on our
arrogant human race and they used metaphors from
Greek mythology.
Cassiopeia is opened with “Phaethon,” the
track which showcases all faces of this troop as it starts
in more modern midtempo melodic note, but as it
reaches the other half it gets much faster. As the album
progresses one will understand that “Phaethon”
represents the whole of Cassiopeia in a nutshell. We
were pleasantly surprised and it should be noted that
Cassiopeia is a very atmospheric release; keyboards
are nonstop laying emotional parts, while the guitarists
Evan Hensley’s and Constantine's riffs, leads and
melodies are fast, short and sweet; plus, not knowing
when and where they are going to jump at you is a
new trait for us. Usually they are predictable and
expected, but not here. In addition they are carrying
those distinct Greek riffs which connoisseurs will
recognize right away.
Cassiopeia
carries
elements
of
gothic,
symphonic death and black metal, and even old
heavy metal yet somehow brought together nicely.
Cassiopeia is original and a must have for 2013. It does
demand the full attention from the listener but it pays
off big time. The saga of Nightfall continues to evolve
and for the better. Rarely do you find an album that
has this many elements and yet sounds so great.
Production is excellent and at 50 minutes, it's perfect.
Most of the time we will know if we like
something after the first listen. After one spin we knew
we needed to dive in for a closer inspection. We knew
there was much more to hear. Sure enough, it got
nonstop rotation for days and we are sure glad we did.
We really like and recommend this album. Do yourself a
favor and get it at your favorite store. Let’s hope
Nightfall keeps this up. www.facebook.com/nightfallgr
Noumena (Finland): “Death Walks with Me” (Haunted
Zoo Productions)
What is your idea of 1990s metal? Does your
imagination move towards In Flames and Dark
12
Tranquillity? Perhaps you think of Amorphis? Maybe
your thoughts gravitate in the direction of the sounds of
bands with growled vocals, memorable hooks, and
melancholic tendencies?
What about the continuation of that style
nowadays? Do you enjoy the aesthetics of Insomnium,
and possibly Omnium Gatherum, Be’lakor, Eternal Tears
of Sorrow, and of course, Dark Tranquillity?
If your answer is in the affirmative, then, add
Noumena to your list. This band, however, is no novices,
so worry not about Noumena being an acolyte entity.
For instance, according to Metal Archives, this band
has been active since 1998. It seems that, in addition,
several of the band members were in metal bands in
the mid 90s; therefore, as you can see, Noumena has
been around the block.
The first thing that I noticed is that the music is
expertly done in all phases: a professional sound,
capable (and non-barked) growling, good traditional
singing, and catchy songs. This is the band’s fourth fulllength album, and with it, Noumena runs the gamut of
upbeat riffs and growling, while also working midtempo
catchy segments and gothic/melancholic traditional
singing and mellower moments. Songs have the
multiple guitar approach: the low-tuned semi-thrashy
riffs, which are then topped off with a layer of very earfriendly guitar notes. This method of writing is
represented throughout the album, and evinces a
great deal of care taken in the compositions.
The band’s previous “Anatomy of Life” album is
from 2006, and this one is from 2013. As for this long
pause in action, I do not know if the band broke up
and then reunited, but the results here speak to a band
working hard on each song, and it’s readily clear that
Noumena has crafted a work that goes very well with
the classics of this particular style, namely In Flames,
Dark Tranquillity and Amorphis. Whether it’s Amorphis’
“Tales from the Thousand Lakes,” or Dark Tranquillity’s
“The Gallery” or “Projector,” Noumena has many
qualities that also appeal to those attentive to the
current practitioners of this sound, such as Insomnium.
To end, give this album a few serious listens in order for
the complete picture to emerge, and I believe that you
will agree that Noumena has delivered quality.
www.noumena.info
www.facebook.com/Noumenaband
www.noumena.bandcamp.com
PROG METAL
Withem (Norway): “Point of You”
(Sensory Records)
People knowledgeable are already familiar with the
batch of high quality traditional, melodic prog metal
bands from Norway, headed by veterans such as
Pagan’s Mind and Circus Maximus. Bands in this genre
build reputations for talent, making their names
appreciated amongst the listeners of the style.
Withem’s debut puts the band in a good
situation vis-à-vis the genre and its public. Those who
will become part of the audience are the picky, elitist,
traditional-talent-demanding listeners who prefer
singers that can really sing and that do the soaring
vocals that touch the sky. Such listeners demand guitar
players that shred, solo and play fluid melodies, and
skilled rhythm sections, of course.
With this album the band has done a great job
of executing three phases of the traditional, melodic
prog metal game: ability, songwriting and production.
This album is on Sensory Records, a top place for prog
metal, which means that before this music is published,
the band has done serious quality control.
Withem is prog, but all the songs are
manageable for simple-minded listeners like myself. The
songs are very easy to remember, and that’s a nice
break from all the woof-woof zombie metal that I have
been listening to today. It’s not an exaggeration that
Withem writes songs that sound like “hits.” In short,
highly recommended for the genre’s public.
www.withemsite.com
THRASH
Skeletonwitch (U.S.): “Serpents Unleashed” (Prosthetic
Records)
The melodic black thrashings of Skeletonwitch abate
not, unknowing of sea changes or directions of the
winds. Thrash riffs, black metal leanings, shriek vocals,
speedy always, blasting often, and on-mark energy
songwriting. To my ears, Skeletonwitch delivers quality
once again, and this time with some surprises. The
biggest one this time around, I’d say, is the dedication
spent on more memorable guitar soloing and melodies;
and on that score, the band registers a solid success.
Those traditional heavy metal melodies are showing
their presence in the midst of the big thrashing riffs and
the black metal tendencies. All of this makes
Skeletonwitch a most interesting, well-organized puzzle
of metal periodization, all condensed into their
signature structures.
13
Whenever a band goes beyond the novelty
aspect
or
when
the
“new band” shine wears off, then we can start to see
what we have: a band to forget or remember? Well,
five albums since 2004, that’s no one-and-done deal.
Metallers who have not given a chance to
Skeletonwitch certainly should do so now as the ship
sailed a long time ago, but it’s not too late to find out
what you have been missing.
What does this band have to do for you to give
them a chance: show up at your door and play your
backyard
vegan
barbecue
party?
www.skeletonwitch.com
Toxic Holocaust (U.S.): “Chemistry of Consciousness”
(Relapse Records)
All the rumors are true, Toxic Holocaust is an aggressive
potion of Motorhead rough-gut vocals and speedfreak
energy, plus early Bathory black thrashing primal riffs.
On this album, like their previous ones, it’s total black
thrashing punk growl metal, and all the songs sound like
part of one big thrashfest. One song just flows right into
the next one, and in such fashion the recording is
suddenly finished: 28 minutes, 11 songs.
Listeners already familiar could be pleased that
they got more of what they wanted, or could just as
easily complain that it’s more of the same; and it is
more of the same. Well, what else is a band called
Toxic Holocaust supposed to do? No “jazzing it up”
here, no “experimenting” with the tuba and banjo
here, it’s thrash. It’s not the most mind-boggling thing in
the world and it sounds like this band could have
recorded the album in a week, in a riff-after-riff nonstop
barrage.
From the perspective of this listener, this music is
a-ok, tons of great vibes and tunes. Definitely
recommended for un-uptight thrashing maniacs who
want
music
to
be
a
good
time.
www.facebook.com/ToxicHolocaust
WEIRD/EXPERIMENTAL
The Meads of Asphodel (U.K.): “Sonderkommando”
(Candlelight Records)
For as long as I can remember, this band has always
been weird and experimental. They show that they can
write catchy stuff, with almost pop or punk sensibilities, if
they wanted, but they prefer to throw themselves into
the eye of the storm of the weird. It sounds that for the
black metal punk Pink Floyd moments of this album
they have tons of guests. It also sounds like they have
spent lots of time into this project. It is 1 hour and 10
minutes long.
It is extremely vulgar, and also beautiful; poppy
at times, demented at others. Approach only and only
if you like the very weird side of metal: at times they
sound like geniuses, and at others they sound like a
bunch of street punks who in their fantasy dreams wish
they could write those classic concept albums like Pink
Floyd and the Beatles; but alas, they are a bunch of
black metal punks, and they can’t help but make
quality
fuglyeautiful
sounds.
www.themeadsofasphodel.com
Mephistopheles (Australia): “Sounds of the End”
(Willowtip Records)
The first impression might be “brutal death metal,” and
while the growling/screaming and heaviness may
further support that thesis, the realities of the sound
complicate things.
The guitar sounds very little like death metal,
despite the low tuning. Really, the guitar sounds very
little like norm-restricted metal, period. Is this jazz, prog
and math guitar played in a heavy way?
Mephistopheles
is
no
“easy
listening”
experience. It’s a puzzle of heavy and technical jazzy
math growl metal. Sometimes the music goes fast.
Correction, make that: blasting fast. Just as likely, the
drummer sounds like he’s doing a drum solo, inside of a
bigger composition.
Maybe the audience is the “brutal death
metal” listeners, but anyone who likes dissonant and
twisted songwriting will enjoy the band’s refusal to
comply with strict rules by making off-putting, brainiac
fast experimental metal.
Shouldn’t Voivod listeners enjoy something like
Mephistopheles? If a person wants more than linear,
predictable songs, then Mephistopheles would be one
band to look into for something a bit different.
www.facebook.com/MephistophelesAustralia
-CORRECTION: RE: The previous issue’s review of Sorrows
Path (Greece) stated that the band’s debut album was
published some 20 years after the band’s founding in
1993. That information is incorrect. The album “The
Rough Path of Nihilism” was released in 2010, some 17
years—not 20—after the band’s founding, according to
Metal Archives.
-December 30, 2013
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