[ALBUM REVIEW] Kain - Omega

 

Genre - Melodeath/Black Metal

1.     Intro  

2.     Fleischeslust  

3.     Blutgericht  

4.     Freiheit ruft  

5.     Rachepfad  

6.     Instrumental  

7.     Vom Erdenleid  

8.     Sturz des Lichtbringers  

9.     Nephilim  

10.  Verkünder des Hasses  

11.  Outro

“Omega” is the latest effort from German band KAIN, and with it they continue to deliver their brand of melodic Black/Death Metal which while certainly well produced and performed, is a bit lacklustre in terms of quality. It’s not bad per se, but has all the hallmarks of a band who sound as if they’re going through the motions and a little lacking in the inspiration department. Certainly if you were to take the exterior, uninspiring band name along with similarly lazy album name and the dull cover, the warning signs are there.

The music itself lies somewhere among the hazy boundaries of DIMMU BORGIR, ‘Nemesis Divina’ era SATYRICON and DISSECTION with a heavier focus on the Melo Death side of things; it does sound like a mouth watering combination of acts, but somehow KAIN manages to extract all traces of energy, venom and general talent from the aforementioned bands and dump it aside while the rest is amassed together under the guise “Omega”.

As stated, it’s well performed there’s no doubt about that and there are a couple of passages that arise throughout which give a glimpse into what the band may be capable of, but it’s just bogged down in what seems like an eternal stream of filler. “Blutgericht” is remarkably good, showcasing the band flirting with a more Pagan oriented direction and actually has a bit of grit and direction to it with some great riffing, but unfortunately it’s really the only song on the whole album which stands out; play me any other song back and I’d struggle to pin a name to it, and in this cut throat world of Extreme Metal these days that level of quality just won’t get you far at all.

The riffing is hackneyed and thoroughly flat, the vocals one dimensional and devoid of any power or character while the song arrangements are again, pedestrian. “Omega” isn’t completely worthless, but it’s not anything I’d ever have an urge to listen to again. Listening to it was nothing but laborious and it seems if KAIN are to present any perceivable threat in the future they’re going to need to tap at  that vein of inspiration a little harder next time. Borefest. 

4/10

Originally written for Metal Observer

[INTERVIEW] Skelator

I have recently taken some time to have a few words with one of Seattle’s finest metal acts, and having just released their latest album “Agents of Power”, Skelator have a good deal to talk about. So if you want to read more about He-Man’s arch nemesis, or simply want an insight into their thoughts and influences then read on...

 

 

                                   

1. First and foremost, you've just had your second album released on Metal on Metal Records last month, and what a great album it is. What has the general overall reception been like for "Agents of Power" thus far? How do you feel it holds up against your previous effort "Death to All Nations"?

Rob: We're glad to hear that you enjoyed the release. The reviews we've seen of the album have been all on the positive side, which makes us quite happy since we really put a lot of time into the writing process as well as the recording end of things. The positive feedback from folks that have been loyal Skelator fans for a while has been nothing short of remarkable as well. DTAN is a great album, and has some of our best songs, but I feel as though "Agents of Power" is simply stronger. We took the lessons we learned during the recording session for DTAN (and also through the recording and writing process of our "Guerreros De Metal" EP) and applied them here to get a quality album. On a more personal note, "Agents of Power" (with the exception of three songs) was written with the current lineup present, so Patrick (drums) and I had more input in the material, whereas the majority of the DTAN songs were either done and ready to go or had space only for minor tweaking.

2. How was the recording process for the album? Is there anything if you had the chance you would go back and tweak or change altogether?

Rob: As with DTAN, we recorded this album ourselves at our practice space with Robbie (guitars) engineering it. We all took time off work for a week to get the bulk of the album done, but we played a show the night before starting to record which was a bad choice as it disrupted the beginning of the recording process. After that initial speed bump the process went smoothly other than the periodic argument over parts or frustration with difficult sections. We found ourselves tweaking and re-writing a couple of sections during the process as well because certain riffs weren't fitting quite how we expected them to. I know that each of us as we were in approaching the end of the mixing stage and moving towards mastering had that "itch" to go back and record a part again or to change a couple things but once you start going down that path then you'll likely never stop and you'll get a "Chinese Democracy" or "Time".

3. If there is one thing I have got to mention it's the cover art. Can you tell us more about it? Because it's fucking brilliant. Certainly one to give the great "King of the Dead" a run for its money!

Rob: The cover art for "Agents of Power" was one of the more difficult parts of the whole process. Jason had a great concept for the album art that we tapped an artist to do, but he ended up more or less vanishing and never contacting us again. We scrambled to find another artist and luckily we did. He was extremely busy but was going to fit it in to his schedule. Unfortunately, he got quite sick and with our due date looming we had to find another option. In a pinch we worked with the label to get a quality piece of art for the album. Jowita and Simone of Metal On Metal Records located some amazing artists and we decided in favor of the piece that is now the cover of "Agents of Power". Maichol Quinto created the piece as a personal tribute to Michael Moorcock and Elric. Maichol's art is nothing short of masterful!

4. And on the subject of our albino champion, it's great to see someone writing about Elric. I mean what can be more fucking metal than a black sword that devours its enemy's souls? It's actually how I came across you guys in the first place, I undertook a mission a year or two ago to try and find as many bands with Moorcock influences as possible. There are a few with the odd song or two dedicated to him but few with as significant an influence as you guys. What made you decide to write the ambitious 38 minute epic devoted to him?

Jason: I read Elric when I was 16, back when I started Skelator. I forced Max (original guitarist) to read it and told him we would write an epic based on this saga. I was also very influenced by Manowar's "Achilles" at the time and I wanted to encapsulate the entire Elric saga into a 30-40 minute track and blow everyone else out of the water. I "finished" the lyrics over the next couple months but if I read those lyrics now they are quite embarrassing. But believe it or not, about half of the lyrics are the same as they were 10 years ago. But ALL my riff ideas were trashed over the years because I really had no idea how to write music as epic as the subject at hand. In 2005 we started writing the "The Dark Tower", in 2006 Jesse and I wrote most of "Cymoril" and in 2008 we wrote "Stormbringer and Mornblade". I also wanted to concentrate on the event of the third Elric book "Weird of the White Wolf" because I noticed that most bands (Domine, Diamond Head, Blind Guardian... etc) mostly focused on the beginning and the ending of the 6 book saga. I think the third book is the most powerful because Elric kills his love, commits genocide against his people and even deceives his allies.

5. Aside from Moorcock, I'm sure there are many other fantasy novelists that influence you. Care to share any favourites? Maybe in the future we could even see some tracks related to Corum or Hawkmoon? *nudge nudge*

Rob: Robbie is a huge Tolkien fan, as well as of the Wheel of Time series. Zach has been tackling a lot of Neil Gaimon, and Pat reads more sci-fi than anyone I know. I've been enjoying Joe Abercrombie's "First Law" series, as well as Scott Lynch's "Gentlemen Bastards" series. I'm also dipping into the Steven Erikson "Malazan Book of the Fallen" series that I've heard high praise for as well. "The Coming of Chaos" from the "Swords" EP is about Corum and we've also discussed writing further songs based upon other Moorcock tales - but really, who knows what the future will hold.

6. Slightly on that subject, have you been watching the TV adaption of George R. R. Martin's "Game of Thrones"? Part of it was filmed an hour from me in Belfast.

Rob: I watched the first season and enjoyed it, definitely made for TV but still awesome, great casting, beautiful scenery, good dialogue. I haven't had a chance to check out season two, though.

Jason: Great show, but as good as it is, I'd rather watch Star Trek any day of the week... except Voyager.

7. When composing the songs, is there one person that does the main bulk of it or is it all spread out among the rest of the group? Do you have any special methods or techniques for drawing ideas and inspiration for the music and lyrics or is it more spontaneous?

Rob: From a writing standpoint we're all over the board. Some of the time a member of the band brings in an entire song and presents it to the rest of the band, but typically the norm is for one person to come up with a few different ideas, typically guitar riffs but sometimes either lyrics or vocal melodies and we learn that section, re-work it, and come up with the rest of the song. It is fairly common for Jason to "sing" guitar riffs like the solo section of the song "Agents of Power "(which in itself is pretty awesome and hilarious at the same time) or the beginning of "Rhythm of the Chain" and then we figure out how to adapt it to guitar. The chorus of "Agents of Power" had all of the vocals and lyrics written but needed a backing so we came up with it at practice. Songs like "Dream Dictator" started off with just one riff idea (the first riff in the song) and we built it up around that with everyone contributing ideas.

8. I noticed you're originally from San Diego and you moved to Seattle due to Patrick's commitments with his education and the local scene being so crap. This was a brave move to make but certainly seems to have worked out for you guys. What were the early days like when you first moved and where do you think the band would be now had you stayed in San Diego?

Jason: When we moved to Seattle it was hard at first because we were the new kids on the block. When we left San Diego we had a following and a reputation for dropping major rock bombs. But here in Seattle only a handful people knew who we were because we toured up the coast in 2005. We also went through A LOT of changes in the lineup since we got here. It took three years to get a solid lineup and begin to finish the writing process for DTAN. It really wasn't until then that we built up our crowd in Seattle and began playing bigger shows. Now we are turning down more shows than we can even try to play, whereas when we were young we'd play any shitty venue just to get some more exposure. Part of me wishes that we could have stayed in San Diego with our "Swords" lineup. We would have recorded our next two albums WAY quicker and we would have been younger and had more fury in our sound. But the music would not be the same for better or for worse. Either way we would have been stuck in a scene that constantly closes good venues and all the good bands always end up breaking up. Also, we would have never met all our dear friends here in the Northwest and would have have less contacts for touring. So it is better that we moved cause now we have a great home crowd and when we return to play in San Diego people will go batshit crazy.

9. Who were your heroes growing up? There must have been one vocalist that made you say to yourself "Fuck, I have got to be a metal singer and nothing else!". I can certainly hear some Halford, Geoff Tate and especially Midnight from Crimson Glory in your voice. Any tips for any would-be metal vocalists out there?

Jason: My first inspiration was Robert Plant, when I was 14 I would listen to the first Led Zepp album twice a day and scream till my heart's content. Later on I got into Metallica and began writing really bad political metal lyrics. Then Max got "Powerslave" on cassette and we were HOOKED. After that it was Slayer, Black Sabbath and finally Manowar. I was all about vocals but I didn't know how to use my diaphragm. But then I got into Judas Priest and that was the nail in the coffin for me. I worked at a smoke shop when I was 20 and would get really stoned and just sing along to Priest 8 hours a day for 8 months straight. During that time I realized how to utilize my diaphragm and hit those piercing high notes. Obviously I have some sort of ear (not perfect by any means), so it's kinda easy for me to figure out a melody and go with it. My friend Luis told me a long time ago that to reach the highest notes you have to visualize it in your head and get your body ready to deliver that note. My aunt Patricia taught me that you don't have to blow your voice to hit a higher note, you just have to contract your throat to the right degree and use a volume that is audible, because the mic will do the rest for you. Other than that, all I can say is you have to find YOUR voice before you can start doing fancy shit and last but not least, practice makes perfect.

10. You seem to gig fairly frequently in your (now) hometown Seattle, which actually had a decent metal scene back in the day with acts such as Fifth Angel, Heir Apparent, Sanctuary and Metal Church until grunge reared its ugly head and put paid to that. What is the local metal scene like in Seattle currently and are there any other 'True Metal' torch bearers such as yourselves or even any other metal bands in general from that area that us readers should be aware of? Myself, I can't get enough of the stuff, so the more the better!

Rob: Midnight Idols is really the only other Heavy Metal band that I can think of locally and they're great. There are a few thrash bands (Fallen Angels, Sword of Judgement, Blood Of Kings, Bitter End) delivering the goods. The scene in Seattle leans more towards extreme metal – a few of my favorites are Phalgeron, Terra Morta, Somnae (shameless plug!), and Shaded Enmity (who Zach and I used to play with).

11. You're quoted as saying "We are not a joke, but we also know how to have fun. Bands that take themselves too seriously bore us. But bands that don't play from the heart should be destroyed, this is our decree." How important is the element of 'fun' in Metal to you? Obviously bands like Manowar and Mercyful Fate would be nowhere near where they are now had they taken themselves 100% seriously.

Rob: If I don't enjoy myself and have a good time, musical inspiration dries up for me. We're all doing this for simply the love and enjoyment of the music we play because heavy metal doesn't really pay the bills. I really hope that those folks that see us play live catch how much fun we're having.

12. The label that released your album is Metal on Metal obviously named after the legendary Anvil song/album, who you recently played a gig with. How was that, and what were the Anvil guys like?

Rob: The Anvil show was a blast and the band themselves was professional, friendly, and genuine. Watching them they give off a vibe of a group of guys playing their music simply for the love of it, I think that anyone who has seen them live will get the same impression.

13. Who have been the best band you've played with so far and any not-so-good experiences?

Rob: I'd have to say Accept or Slough Feg. Rhapsody was amazing (Fabio's voice was remarkable) but without Luca Turilli something was missing. I can't really recall any negative experiences with other bands we've played with - everyone has always been very easy going.

Jason: In San Diego we opened up for Helstar and Agent Steel... That was one of the best moments of my life. Here in Seattle my favorites would be Accept, Primal Fear and Rhapsody of Fire. Other greats would be Slough Feg, Evil Survives and Witchaven. All three of those bands partied at our old house (Snake Mountain) and they will be buds forever.

14. I notice that you have been booked to play the Metal Assault festival in Wurzburg, Germany next year; is this your first trip outside of the US gig wise? And what can the European audiences expect from a Skelator live show? Are there any plans in the near future for a tour in Europe? I certainly wouldn't mind catching you guys live at some point!

Rob: Skelator played in Germany in 2007 at Swordbrothers festival, and has played in Mexico a few times as well. As far as Metal Assault goes, we'll be dropping the rock bombs!

Jason: MANY ROCK BOMBS.

15. It certainly seems that proper heavy metal is riding on the crest of a wave at the minute with regards to its popularity now and the increased number of bands performing it compared to say even 4-5 years ago. Of course there still is a lot of mainstream shit out there but then you've got acts like Enforcer and Atlantean Kodex all making good names for themselves now. What do you think has changed?

Rob: I'm not really sure. Regardless of what subgenre of metal people identify as their favorite, everyone likes Judas Priest and / or Iron Maiden, so I'd say it might have to do with a lot of people going back to the classic sounds that they love to listen to.

Jason: I think it's a generational thing, since people our age were raised by parents listening to classic rock and classic metal it's only natural that we want to write our own brand of traditional heavy metal. Also look at the cartoons and video games that were forced down our throats by big business in the 80's. From Transformers to Mega Man we were always surrounded by awesome harmonies, grooving bass lines and stadium rock drums.

16. It's now been 12 years since you formed, so you've certainly been around a good while now. Any regrets during that time and any moments where you look back and think "Thank god we did that!"?

Jason: Regrets? We should have recorded "Give Me Metal..." v2 with the "Swords" lineup instead of trying to teach all those songs to our first Seattle lineup. It was a waste of time and made many rifts in the band for years to come. Thank the gods of metal all that is over with. As for "Thank god we did that"? Going to Germany in 2007, opening for all the bands I mentioned earlier, and last but not least, starting the band in the first place. I am very happy with the way our friends, fans and family have treated us over the years. The support is what keeps us going and wanting more, as long as that is the case, we will keep writing True Metal Anthems for many years to come.

17. What's going on in the land of Eternia at the minute and what does the future hold for Skelator?

Jason: We have so many song ideas still brewing. No plans on an actual release but we do have a new song that we are playing live entitled "Stronger than Steel".

Rob: West Coast tour in October, a trip to Germany early next year, and writing a ton of new material.

18. I know it's kinda clichéd this question, but if you were forced to go and live on a desert island and take only 5 albums and 5 books with you, what would they be?

Rob: This is an extremely difficult question... No particular order...

Judas Priest - Unleashed in the East
Iron Maiden - Killers
Helloween - Walls of Jericho
Slough Feg - Down Among The Deadmen
Slough Feg - Traveller

Joe Abercrombie - The Blade Itself
Scott Lynch - The Lies of Locke Lamora
Jonathan Howard - Johannes Cabal: The Necromancer
Michael Moorcock - Elric of Melnibone
JRR Tolkien - The Silmarillion

Jason: If I'm stuck on the same island as Rob then I will have to choose different albums:

1. Judas Priest - Defenders of the Faith
2. Black Sabbath - Live at Hammersmith 1981
3. Manowar - Kings of Metal
4. Hawkwind - Warrior on the Edge of Time
5. Slayer - Show No Mercy

Books??? Just give me a Super Nintendo with:
1. Street Fighter II Turbo
2. Zelda Link to the Past
3. Super Metroid
4. Secret of Mana
5. Super Mario All Stars

19. How do you like to unwind whenever you're not recording or gigging?

Jason: Street Fighter, so much fucking Street Fighter. Honestly just with the Street Fighter 4 series I have logged at least 350 hours since 2009.

20. I must thank you for taking the time to answer these questions and really appreciate it. Good luck for the future and keep slaying those falses and flying that old-school flag high. Any last comments before we go?

Rob: Thank you for the amazing interview and the huge variety of questions! To the readers that haven't heard of Skelator, please check us out, our ReverbNation page (http://www.reverbnation.com/trueskelator) has a variety of tracks from our releases, give 'em a listen! Other than that... Cheers! True metal!

Originally conducted for The Metal Observer

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[ALBUM REVIEW] Morbidity - Pits of Eternal Torment

Genre - Death Metal

1. Morbidity

2. Let there be Chaos

3. Pits of Eternal Torment

4. Killed by the Cross (Nunslaughter Cover)

Everything about the presentation of and image given off by Morbidity just screams ‘Old School’, from the fantastic logo to the depraved Xerox styled scrawling that passes for a cover to the song titles themselves. So you’d be forgiven for thinking in all their ancient idolatry that this death metal outfit crawled out of the gutter somewhere remote in Scandinavia, when in actual fact they hail from rather more unfamiliar climes, Bangladesh in fact. Not exactly a place renowned for its metal prowess never mind bone grinding death metal, and given the country’s highly conservative Islamic background is certainly not a style of music that would be looked down upon with much sympathy.

Even though only a demo, Pits of Eternal Torment actually contains some very promising material even if it does sound like it was recorded in an aluminium toilet cubicle. Musically the band is shooting for that erratically loose and rabid death metal sound exemplified by those of the Swedish scene such as Morbid and Nihilst together with the stripped back thrash rhythms and energy of Hellhammer. They hit it with a good deal of success, the riffing while suffering from a strikingly weak tone is pretty damn good at times, propelling through a welcome heavy dose of macabre groove. The drumming is similarly very impressive but the vocals are suffocated heavily by the poor production and it’s difficult to decipher any discernible patterns or power from them.

Basically with song titles such as “Let there be Chaos” and a Nunslaughter cover added in for good measure, Pits of Eternal Torment” does what it says on the tin, no nonsense filth laden death metal that’s rougher than a hooker’s arsehole. It’s extremely short and there’s still wide scope for improvement but nonetheless the promise is visibly apparent and there’s enough to make me believe the band are capable of taking that next step. With a decent label behind them, I can easily see Morbidity releasing something exceptional indeed, and it’s interesting to note they’re bringing out a full-length on Me Saco un Ojo Records soon, which should really give them that push to the next level. Here’s hoping, because this is the sort of encouragement bands like this need from those lesser known corners of the metal globe to get their music out there. 

7/10

Sounds like - Morbid, Nunslaughter, Hellhammer

Originally written for Metalcrypt

[ALBUM REVIEW] Antisemitex/Selbstmord - We Bring Desolation

Genre - Black Metal/Death Metal

1.            Antisemitex - Smak Zwycięstwa              

2.            Antisemitex - Dni Ktore Nadchodzą       

3.            Antisemitex - Eihwaz    

4.            Antisemitex - Koszerna Świnia Przybita Do Krzyża           

5.            Antisemitex - Cienie z Nożami  

6.            Selbstmord - Gwałciciel Aniołów             

7.            Selbstmord - Żniwo Krwi             

8.            Selbstmord - Necrosadysta       

9.            Selbstmord - Dziś podpalimy cały świat

Originally released back in 2008, We Bring Desolation is the union of Polish hatemongers Antisemitex and Selbstmord which is now being given the vinyl treatment with a re-release on Darker than Black Records. Selbstmord I was already familiar with, in fact I hold Spectre of Hate in such high standing that I regard it as one of the greatest albums ever to come out of the Polish NSBM scene, an album as brutally unforgiving as it was hateful and stills holds up as such ten years on. Antisemitex on the other hand I was rather oblivious to, and going by the awful name which sounds like a self parody on the genre it’s that ridiculous it’s fair to say my expectations weren’t exactly high.

Surprisingly Antisemitex aren’t actually all that bad if their side of the split here is anything to go by and surprisingly it isn’t black metal at all, instead a more primitive style of death metal. Fair enough they aren’t exactly pushing the boat out stylistically with their brand of ugly, mid-tempo death metal which contains heavy RAC undercurrents most prevalent in the vocalist’s hostile performance which is a sort of shouted death metal style. The music itself is elementary as far as death metal goes; dense, downtuned riffing and an unremarkable one dimensional drum machine backing them up which certainly to these ears gives off vibes of early Unleashed among others, only not nearly as good. For as heavy as the guitar is, the poor production of their half is so weak it gives it no real power at all and this isn’t helped by the excessively loud production on the vocals which only proceeds to overpower the guitars even more.

It’s the second half, Selbstmord’s side of the split that really saves We Bring Desolation from mediocrity though and only furthers to prove just how average Antisemitex were. These four songs was their first new material since Spectre of Hate and it follows on in much the same vein, their raw and uncompromising black metal further cementing their status as stalwarts of the Polish scene. It’s utterly frenzied; the drumming is ruthless and surrounded by the riffs which are brilliant, tearing through each track like a length of blood soaked of razor wire gouging everything it comes into contact with, which is none more evident than on standout track “Dziś podpalimy cały świat”. It doesn’t have quite the same impact as their previous material (not much else does) but then again I didn’t really expect it to.

We Bring Desolation isn’t a release for the weak willed and easily offended, nor one for those seeking any sense of melody or atmosphere and post-nonsense. What it does bring to the table though is a heavy dose of intolerance and hatred which won’t be to everyone’s taste but for fans of NSBM such as Thor’s Hammer, Sunwheel and Ohtar I would recommend this for the sheer frenzied brutality of the Selbstmord side alone. Antisemitex on the other hand while not exactly awe-inspiring, do enough to pass the time with their scorn filled sermons without ever really threatening much more and I can only imagine a full length would be a little too much mediocrity to handle. Still though, certainly not a bad release at all. 

7.5/10

Sounds like - Dark Fury, Thor's Hammer, Sunwheel

Originally written for Metalcrypt

[ALBUM REVIEW] Jess and the Ancient Ones - Jess and the Ancient Ones

Genre - Psychedelic Occult Rock

1. Prayer of Death and Fire

2. Twilight Witchcraft

3. Sulfur Giants (Red King)

4. Ghost Riders

5. 13th Breath of the Zodiac (CD Bonus)

6. The Devil in G Minor

7. Come Crimson Death

Unless you’ve been living under a rock for the last couple of years, you’ll have come across at some point at least one of the many decidedly retro acts who would rather revisit a time when Rock music wasn’t an overproduced shambles and artists in the relative ‘mainstream’ were dabbling in the occult for the very first time. Such acts I’m talking about are the likes of COVEN, BLACK WIDOW and JACULA whose progressive rock and overtly satanic sermons gained them all significant cult followings and laid the foundations for many other acts who would follow suit. One such act is the Finnish septet (yes seven of them!) JESS AND THE ANCIENT ONES who have not one, not two but three guitarists of which believe it or not one who just happens to be Antti Boman, guitarist for none other than Finnish Death Metal legends DEMILICH. To say this is a big gulf in style from DEMILICH is an understatement.

Comparisons with the likes of JEX THOTH and THE DEVILS BLOOD are going to be inevitable, generally due to the fact JESS also like the two aforementioned have a fantastic frontwoman at the helm; though where JEX THOTH are more focused around all things doomy and Sabbath-esque and THE DEVILS BLOOD prefer dropping acid to riffs, JESS have a substantial and rather eloquent and catchy 70’s Prog Rock and even pop slant and are considerably more accessible than the others. Recorded in the infamous Necromorbus Studios which has a stellar reputation and past roster of releases, “Jess and the Ancient Ones” could not sound more impeccable, encapsulating everything great about this style of music with its fuzzy, analogue sound which is a welcome throwback to a time when music production wasn’t just a pro-tools plagued loudness war. For a slightly more accurate representation of their sound, take the occult blasphemies of genre progenitors COVEN and add the guitar genius of psych lunatic ROKY ERICKSON together with the rhythm and drive of IRON MAIDEN and finish it off with the fuzzy psych pop of THE SHOCKING BLUE. If that isn’t a dream amalgamation of musical styles then I don’t know what is.

In case you haven’t already guessed, it’s probably quite obvious I like this album, in fact I liked it so much the day I heard the promo I bought the vinyl version straight away, so make of that what you will. Anyway, onto the actual music itself, the sheer amount of bass driven groove on this album is obscene, right from the outset with opener ‘Prayer for Death and Fire’ your assaulted by a barrage of absolutely fantastic bass licks, Jake’s eerie organ work and a web of interweaving guitar duels certainly to some degree influenced by the classic Smith/Murray partnership but more rooted in 60’s and 70’s psych. Just hearing Jess’ smokey and sulphurous vocals wailing “Hear my prayer for death and fire/ Love, lust and desire” is enough to draw you into their damp dark dungeon of starlit curiosities and induce you into that vociferous satanic ritual which Jess commands and delivers with an astute conviction. Technically, no they aren’t the best I’ve ever heard, but the sheer amount of passion and desire burning within suits this music so fucking well.

‘Twilight Witchcraft’ is a lot less direct, much more of a slow burner but no less impressive than the last, continuing with the captivating vocal performances, rumbling bass and fuzzy guitar riffs and is catchy enough I found myself singing along to it more than a few times. ‘Sulfur Giants (Red King)’ continues with a slow brooding, piano driven intro before descending into an almost anthemic epic, a devastatingly rapturous journey through the self, the astral and the arcane consummated by those transcendent vocals. Mid way it dies down again before exploding into a behemoth of galloping bass and blistering solos with those previously mentioned pop sensibilities; sublime doesn’t even come close. ‘Ghost Riders’ again tones it down a touch, but turns the bass up to eleven for what is probably the grooviest song here. Its one-two restrained and sullen swagger is provocative yet again outstandingly infectious; if these guys have written a bad tune then I have yet to hear it.

CD Bonus (which unfortunately us vinyl nerds don’t get), ‘13^th Breath of the Zodiac’ is up next, and is a little polished up from the single, this time containing dual vocal harmonies on the chorus with Thomas and follows more in the direct suit of the opener in its punchy rhythm and snaking guitar work. ‘Devil in G Minor’ is the anomaly of the release, foregoing all things noisy and rock opting for what can only be described as a supremely noir, jazzy number with a piano melody which crashes over you like a cascade of fire while the superb organic vocals of Jess again set off every corner of it. There’s not much to say about ‘Come Crimson Death’ that I haven’t said about any of the others previously, again beautiful in its execution another twelve minute epic which builds up to a crescendo of DEEP PURPLE-esque organs and guitar genius.

So, in case you didn’t know, I liked this album, so much so it’s my favourite album so far this year. For every bit of press they’ll get due to having a female front and as impressive as she is, it’s every bit about the marriage of the fantastic abilities of the guitar trio as well and mesmerizing basslines as well as Jess’ straddling vocals that emblazon the music like an exalted spirit. Fans of the genre will love this, for me it’s the best album this vintage 70’s timewarp has produced yet; maybe not as ambiguous as THE DEVILS BLOOD but it far outstrips anything they’ve done so far, and I adored their last album. Your move then Selim...

10/10

Sounds like - The Shocking Blue, Coven, The Devil's Blood

Originally written for Metal-Observer

[ALBUM REVIEW] Syn Ze Sase Tri - Sub Semnul Lupului

Genre - Symphonic Black Metal

1. Sorocul         

2. Născut în negură                   

3. Vatra strămoşească              

4. Legea străbunilor                  

5. Sub semnul lupului               

6. Sîmbăta apelor         

7. Nemuritor şi veşnic               

8. Înţeleptul întrupat                  

9. În pîntecul pămîntului            

10. Pustnicul munţilor               

11. Înaripat şi împietrit               

12. Venirea        

Featuring one time vocalist from NEGURA BUNGET’s last effort “Vîrstele Pămîntului”, SYN ZE SASE TRI are another one of those acts with connections, albeit loose, from that small cluster of atavistic and nature centred group that includes NEGURA, MARTOLEA and DOREDEDUH. But that’s essentially where the comparisons cease as this group of Romanian’s toil away at a rather more symphonic and accessible style of Black Metal that is vastly distanced from the primitive atmospheric endeavours of their peers, choosing to mould their sound around that exhibited by DIMMU BORGIR and ANCIENT among others.

A swift dissection of the cover tells you all you need to know about “Sub Semnul Lupului” really; on first glance it’s rather impressive, detailed and vibrantly coloured but typically full of the old clichéd CGI and wolves and warriors and all that twaddle. Closer analysis reveals an album that could have been so much more, one which often showcases brief flashes of brilliance unfortunately bogged down with a multitude of genre-notorious clichés and stacks of untapped potential for a hugely talented band. Given the rather awful name, which translates to “I’m With Triple Six”, first impressions weren’t too hot and on the first run through my opinion wasn’t exactly favourable.

The first half of the album is mediocre at best really, by the book Symphonic Black Metal with the keys and synths marauding around all over the place adding a ‘gothic horror’ type vibe which is the strongest aspect of the album and integral to their sound. None of the songs really stand out and grab you by the throat though, yet they threaten so much more. The guitar riffing is so flat and clinical, melo-death-esque thick chugging riffs with no imagination or thought at all really put into them, and at times it becomes comepletely overwhelmed by the keyboard infused blur that it often descends into. The lead guitar is better though nothing awe-inspiring; indeed it serves its purpose sufficiently without ever threatening much more.

It does have its pluses though, the title track does begin with some interesting and moody Gregorian styled chanting before commencing its faced paced symphonic assault and “Vatra Stramoseasca” contains echoes of SEAR BLISS in its subtle use of brass which is no bad thing. The dual vocals of Corb and Lycan are somewhat interesting and the deeper Death growls add a welcome touch of brutality to a genre not otherwise renowned for such, while you have the more typical high pitched Shagrath styled rasp slotting in alongside.

It’s from the middle of the album where it really shifts up a level altogether, notably in the acoustic grandiosity of “In Pantecu Pamantului” which bears a remarkable affinity to NOKTURNAL MORTUM’s “Sky of Saddened Nights” and is utterly enthralling in its astral stroked melancholy. This significant shift in their musical focus I feel is a direction they should delve into in the future, as these Romanian acts have proved time and time again how fucking great they are at this style. “Inaripat Sie Impietrit” continues this furrow of organic, introspective and atmospheric brilliance with more focus on the ‘metal’ this time summoing crystalline visions of freshly bloodied snow and the dwindling embers of a setting sun.

As it closes, I’m left so frustrated that they didn’t choose to produce the whole album in this vein; it’s that fucking good. Still, those in need of an acceptable dose of sugary Symphonic Black Metal from the same furrows as CATAMENIA, ANCIENT and GRAVEWORM I would say give it a shot, though the album's true power and grandiosity really doesn’t begin to materialize until its far far too late, though the potential is there clearly for all to see, it’s just what they decide to do with it next is the real question. 

6/10

Sounds like - Catamenia, Ancient, Dimmu Borgir

Originally written for Metal Observer

[ALBUM REVIEW] Holodomor - Témoignages de la Gnose Terrestre

Genre - Black/Death Metal

1. Fall into Time
2. The Spell of Black Affliction
3. Tribulation Stigmata
4. Evoke
5. The Iconoclast

 War metal has always been a somewhat abstract and controversial tag for this style of music, it is a somewhat loose description for the uninitiated but when you look at its roots that go back to bands like Blasphemy, Bestial Warlust and even the thrashier Sarcofago it begins to become clear how this tag emerged. For me it’s a perfect description for the unforgiving brutal, primitive depravity that current acts like Revenge and Conqueror are peddling; the musical embodiment of bullets, barbed wire and barbarity, and a sound which this act, Holodmor lean themselves towards. My initial thoughts were “Wait, this isn’t Canadian?” No they’re actually from the rather more trivial South West England, certainly not an area known for its metal to say the least.  

As expected Témoignages de la Gnose Terrestre is just downright filthy and unpolished and while the aural assault only sticks around for a brief seventeen minutes or so it’s more than enough to appreciate what they have on offer as anything more would have started to become a bit onerous to say the least. Straight from the opening chords to “Fall into Time” and through to the end of “The Iconoclast” you’re bombarded with a flurry of incendiary riffing and drumming and Adam’s savage vocals dripping in desperation, almost verging on the edge of insanity.

You can instantly tell their main influences are derived from that of the Teutonic thrash scene with a major dose of dishevelled Helmkamp influenced barbarity clawing through in all aspects of the band’s music. Though while influenced by a lot of those aforementioned ‘war’ metal bands, it avoids the genre’s biggest problem in that as volatile and berserk as the blast ridden drumming, riffing and vocals are, it still manages to retain an element of a coherent structure that many others lack. You could argue a lot of the songs are pretty similar but then again this is a genre for which diversity was never a forte, though the riffing is varied enough and constantly shifting form to avoid needless repetition.

Fair enough it’s not quite as memorable as some of the acts that spearhead the Canadian and Aussie scenes, and it is rather short but it still is utterly potent, twisted as hell and never lets up in its unholy purge right until the very last note, leaving you nothing but a pile of smouldering ashes by the end. For those musical sadists who love their black and thrash metal from the outermost extremities of the genre, those that worship at the temples of Angelcorpse and bands of similar ilk then Holodomor’s Neitzschean influenced annihilation is an must listen. Violent doesn’t even cut it, with material as brutal as this they’ll be getting a GBH charge filed against them soon. 

8/10

Sounds like - Angelcorpse, Sarcofago, Bestial Warlust

Originally written for Metalcrypt

[ALBUM REVIEW]Fhoi Myore - The Northern Cold

Genre - Black Metal

1. Intro
2. Orage

3. Souvenirs (Anticosmic Version)

4. Miist

5. Untitled
5. Forest Of Doom
6. The Walkyries (Ancalagon Cover)
7. Songes Funestes (Acoustic Version)

French black metal has always been one of the more fascinating and dynamic scenes within the black metal sphere, it has a rich and oft overlooked history and never lets up in consistently yielding a wide array of new and impressive bands. Acts such as Aorlhac, Peste Noire and Celestia to name but a few are hard to ignore and remain testament to the quality of black metal being produced in the south of France at the minute. Fhoi Myore themselves are from Nice, bearing many similar traits to the ‘mini-scene’ which appears to exist in that region; a strong traditional DIY aesthetic and a heavy distaste for shiny production values and all things modern are the foundations of which The Northern Cold is built upon, and for what was essentially a ‘test’ EP for the band to hone their recording skills in preparation for a full length it’s a pretty damn fine effort.

The intro sets the tone for the rest of the release, a soft acoustic passage surrounded by samples of thunder cracks and rain which initially threw me a bit as I was expecting something much more rough from these guys. The guitar tone and riff structure throughout “Orage” is lifted straight from Autumn Aurora, not that that’s a bad thing, on the contrary. That hypnotic glare is replicated extremely well and lays a heavily haunting vibe which lingers throughout. “Souvenirs” though is a much more frenetic number containing some rather devastating riffs and a battery of drumming that lies somewhere between Horna and Peste Noire in its vicious and melancholic fervor. “Mist” would be my pick of the release though; a skull crushing bulldozer of a track driven by the hugely aggressive drumming and Balahr’s freezing, razor sharp guitar harmonies and Sreng’s piercing vocal delivery.

Rough, chaotic and unpolished; it’s what black metal is supposed to sound like, none of this gay fancy pro tools shit here, just pure authentic black metal hell. And aside from “Forest of Doom”, a track much in the same vein as the others, the black metal ends there. The others, a cover of the cult Parisian band Ancalagon which doesn’t really diverge too much from the original and an instrumental acoustic closer called “Songes Funestes” which I have to admit does nothing for me other than coming across almost as an extension to the intro and sending me half to sleep. As far as the black metal side of the release goes, it’s pretty much top drawer, the last two tracks are a bit unnecessary though but it’s only a minor fault as it’s only an EP.

The original material on this release I would recommend to anyone who’s into the whole ‘underground’ feel that comes affixed with bands like this and is an ethos more bands could do with adopting because Fhoi Myore show here on The Northern Cold anyway that it can still sound professional and allow appropriate room for all the different elements to interact while avoiding sounding like it was recorded by a socially reclusive teenager in his bedroom on a four-track. It recalls everything from Drudkh to Peste Noire and a lot in between, and any self respecting fan of proper black metal could do worse than check this out. Who’d ever have though when black metal was in its infancy that the rather sunny climes of the Mediterranean would harbour such cold and unforgiving music? I was also subtly impressed by the nice nod to Moorcock as well. Recommended. 

8/10

Sounds like - Peste Noire, Aorlhac, Drudkh

Originally written for Metal crypt

[ALBUM REVIEW] Gun Barrel - Brace for Impact

Genre - Hard Rock/Heavy Metal

1. No Survival On Arrival
2. Brace For Impact
3. Dancing On Torpedoes
4. Books Of Live
5. Start A Riot
6. Stand Your Ground
7. Diamond Bullets
8. With Might And Main
9. The Wild Hunt
10. Turbölence & Decadence
11. Big Taboo

It’s been two years since the untimely death of previous vocalist Xaver Drexler, and GUN BARREL have finally returned with their latest effort entitled “Brace for Impact”, continuing on their journey to deliver their own cheesy variety of hard-rocking Metal to the unsuspecting masses and further imprint their ethos that if a song doesn’t contain a catchy hook, sharp solo and reckless attitude then it ain’t worth a shit. Hailing from Western Germany and a region famous for giving us acts such as GRAVE DIGGER, RAGE, and BLIND GUARDIAN among many others, GUN BARREL have always had a lot to live up to. “Brace for Impact” is a fairly fun albeit simplistic release laden with a heavy attitude and foot-stomping numbers that take their lines from AC/DC’s riff driven sleaze and SAXON among many others.

Being the first time I’ve heard these guys I’ve no experience as to what their previous material with Xaver sounded like, but if it sounded at all like this then it can’t have been too bad at all. Their new vocalist Patrick actually sounds like some sort of a hybrid between Andi Deris and AXEL RUDI PELL’S first vocalist, Charlie Huhn, I mean as far as vocalists go in this vein of Metal he’s more than apt, but there’s no real personality or range in his voice and it gets rather mundane after a while. Again guitar wise it’s competent enough, by the book AC/DC and MOTORHEAD rhythms and short solos are littered all over “Brace for Impact” but there’s nothing that really hits you and makes you think “Wow!”

A handful of tracks I can stomach, but by the time it reached eleven though I just started to switch off; still, for those who have a penchant for that kind of thing along with those sugary HELLOWEEN and GAMMA RAY styled choruses like those ingrained on ‘Stand Your Ground’ and the title track then by all means take a shot, but for every one of those or ‘Big Taboo’ there’s another coma inducing ‘With Might and Main’ or trite and clichéd ‘Turbolence and Decadence’ to balance it out in the wrong direction. It’s far from earth shattering material, and though it lacks any real longevity and individuality it is a briefly entertaining, well produced listen with albeit limited replay value. The song writing could do with a little more flair and potency to add a bit more depth to proceedings as the way it stands it becomes a little too commercially safe and one dimensional  to these ears.

6/10

Originally written for The Metal Observer

Sounds like - Axel Rudi Pell, Deris era Helloween, AC/DC