Interview With Melodic Death Thrashers, Vex!

Country of origin: United States
Location: San Marcos, Texas
Status: Active
Formed in: 1998

Genre: Death/Thrash Metal
Lyrical themes: Longing, Exile, Death
Current label: Horror Pain Gore Death Productions
Years active: 1998-present

MEMBERS

Bill Edgar: Bass
See also: ex-R.C.P.
Owen McCloskey: Drums
See also: Bat Castle
Mike Day: Guitars
Ciaran McCloskey: Guitars
See also: Nosferion
Joe Jackson: Vocals (2011-present)

VEX

1. Let's talk about the new album, Memorious. That sounds like a really heady title. What is being referred to as Memorious? The human race, or society in general?

The title comes from a short story by the Argentinean author Jorge Luis Borges called “Funes the Memorious.” The focus of this story is a character who spends all of his time recalling his past in precise and exacting detail. We eventually learn that he was paralyzed very early in his life so this is really all that he is ever able to do with his time, in the absence of any sort of present tense. “Memorious” is not a concept album, but one of the unifying themes of the lyrics is what happens when the self is locked into a similar state of perpetual memory that is both involuntary and inevitable. I would say the scope is more personal than societal.

2. Explain the recording process for this album. How did it all come together and how long did it take to complete? Are you pleased with the results?

The tracking of the album spanned about 6 months, starting in late summer 2011 and culminating around the beginning of 2012. The writing process was a sporadic affair spanning about eight years. This probably seems extensive by most standards, but for a handful of losers from Texas with dead-end jobs, several other groups and no recording budget, it wasn’t too bad. It’s certainly preferable to the 3 ½ years spent tracking and the first album.

The process itself was actually very enjoyable. Eoghan and I spent a few months demo tracking the whole thing before the sessions started, so we had a good idea of how it was going to flow. We felt very confident about the quality of the songs, and we were able to work completely in-house, with Mike and Eoghan engineering the whole thing at Mike’s studio in South Austin. Of course it isn’t perfect, there are things that we would all change, but that’s to be expected. Overall I am very pleased. I really like the energy and the momentum of the recording, and I like that the production has an organic quality to it. We definitely weren’t looking for a sort of “modern metal” sound.

3. There are influences of black metal, prog, doom, and death metal strewn all over this thing. What are some of your influences and how did they help in the formation of this album? Am I right to hear a great deal of influence from Irish black/doomers Primordial?

Yes, you absolutely are! Eoghan and I originally hail from Dublin, so it was a big deal for me to learn about an extreme metal group from our home country. I picked up “Journey’s End” after reading about it in Terrorizer about 15 years ago, and it had a huge impact on me. I connected with it on an emotional level, but I was also very into the open-chord riffing style that has become a big part of the Vex sound. It was like Viking-ear Bathory infused with the sort of Irish folk music that Eoghan and I grew up listening to.

There are quite a few other influences that have helped shape our sound, most notably Celtic Frost, Morbid Angel, Carcass, Death, Edge of Sanity, Dark Tranquility and Iron Maiden, to name a few. “Memorious” was mainly influenced by mid-period Fates Warning, and a lot of 70s prog/psychedelic stuff like Amon Duul II, Magma and Gentle Giant. The stylistic fearlessness and bold artistry of that period is huge for us. We’re also very into jazz artists like Charles Mingus, Eric Dolphy and Wayne Shorter. I don’t think you can really hear that as much because the influence has more to do with the sort of emotional complexity that jazz artists bring into their compositions and improvisation. I recently saw Eric Dolphy listed as a jazz artist that metal fans should know about, which didn’t surprise me at all. “Out to Lunch” is fucking intense! Very sinister, brooding and heavy.

4. What instruments are you guys using, and what inspired you to pick them up in the first place?

Bill and I decided to learn bass and guitar, respectively, while watching a televised Freddie Mercury tribute concert in 1992. It seemed a natural fit for me because I was fortunate enough to grow up in a very musical family, and I was always drawn to the look and feel of a guitar. My brother Eoghan followed through with the decision to pick up the drums some time in the late 90s, which was a decision heavily influenced by Slayer and the Meshuggah album “Chaosphere.” Mike and I prefer to play Gibson guitars and high-wattage Peavey tube heads because they afford us the thick mid-range tones that allow our open chords to ring out. A trebly, hi-gain metal tone wouldn’t really work for what we do.

5. Texas has as of late, become a real hotbed for metal music. Some of the greatest American metal acts hail from there, and you really wouldn't expect it to be so in a red-state where God and guns seem to be on the minds of the majority. What are your opinions on this?

I agree that Texas has an incredible metal heritage. You’ve pointed out an interesting paradox there, and I don’t know that I can necessarily account for it. Perhaps it has something to do with the tendency for metal to flourish in generally adverse climates. I think metal is gradually replacing rock music as the global answer to political and religious oppression. In my own case, I grew up in a fairly small, heavily religious town in West Texas, and I was initially drawn to Venom, Possessed and Bathory because the extremity of the music and the lyrics was a welcome contrast to the strong Christian presence in my school at the time. It really drew me in and fascinated me.

In another sense, I don’t know that the battles lines are so clearly drawn anymore; metal has become so widespread around here that it doesn’t really have any sort of discernable political footing. Grindcore still seems firmly left-wing, but the red-state conservative culture you mention has become fairly pervasive among brutal death metal bands. Strange times are these.

6. Speaking of guns, it looks like the president has ordered a ban on assault weapons. What do you guys think of this, especially in a pro-gun state?

You are correct that gun control is a contentious and polarizing issue here in Texas, especially in the Central area where progressive ideologies clash with the deeply-ingrained culture of gun ownership. We definitely have strong views on the subject, but not in any unified way that could be expressed as a collective opinion. We are all politically and civically engaged as individuals, but as Vex we prefer to refrain from any sort of political commentary due to the potentially ostracizing effect it can have. We aren’t interested in excluding anyone.

7. You guys released a split with another Texan band, Divine Eve that made it into Japan and Asia. That's pretty fucking awesome. What do people in those countries think about the split? Did you guys make some unexpected fans overseas?

From what I could tell, the split sold fairly well and was well-received in those areas. It was originally supposed to be released much earlier, around the summer of 2011, but the tsunami completely changed everything. We all assumed that the release had been shelved, but Naru from Obliteration Records surprised all of us by forging ahead with everything about six months later. I really like how the release turned out and I’m proud to have those songs featured alongside the almighty Divine Eve.

8. If there's anything that you want us to know about the lyrical content of this album, what would it be? What messages can one take with them after listening to Memorious?

The lyrics to “Memorious” are all fairly personal, much more so than on the first album. They’re basically just attempts to understand and reconcile the way that things tend to happen, and why things affect us in the way that they do. If there is any sort of overarching message to the lyrics, it’s really just that there is a lot to be gained by recognizing the limits of your own perception and your own place in the universe. We chose to open the album with “Terra Soar” because it’s fairly uplifting track about reaching beyond your own cognition to seek transcendence. I’m very into literature and language in general, so I spend a lot of time with these lyrics, and I hope that people dig them or even just find them to be a pleasant addition to the music.

9. You guys have played with some phenomenal acts, most of them on majors, like Origin, Krisiun, Katatonia, Goatwhore, Moonspell and Exhumed among others. Do you guys eventually want to be signed to a major label as well? Or do you prefer to be an underground act?

We were very into the idea when “Thanatopsis” started to help us gain a bit more of name for ourselves, so we did the usual rounds with the press kits. We got played during A&R meetings for a few of the household name labels and basically got written off for being a bit out of context with the market. Relapse liked our stuff but said we are way too far beyond the type of sound that’s guaranteed to sell. This was a bit discouraging but it really just motivated us to work harder to produce the best possible album that we could.

Since doing so, we had what I would consider to be a successful year where we were able to accomplish a tour on our own and release an album that we’re really proud of. It was very satisfying, and helped us realize that we’re fine on a small label. We have such a great relationship with HPGD, with our PR group and with our booking agency. These groups basically supply us with all the same resources that a large label would, and we’re in direct control of everything. Of course the added distribution and exposure of a large label would be a wonderful asset, but that almost seems like a best-case scenario these days. While we were in the process of researching the major labels, I would run through a few of their rosters and in most cases, I had only heard mention of about half of the bands. We really don’t want to be in a situation like that, locked into a binding contract with almost no promotion or touring emphasis. We’ve discussed this recently and decided that if an offer from a large label did come along, we’d really have to weigh our options and see if it’s worth taking on that kind of financial liability.

10. What are some bands that you guys are currently into? Any bands out there in the Texas scene that you want us to know about?

I am very into Obsequiae from Minnesota. They’re a melodic death metal band with a sound and identity all their own, who also manage to channel the kind of feeling and atmosphere that has all but vanished from death metal. Everyone needs to hear them. I’ve also been very into Master’s Hammer, Summoning, and Novembre as of late. My girlfriend collects obscure psychedelic music from all over the world, so I’ve also been enjoying large doses of that, particularly Turkish groups from the early 70s. That stuff is just ridiculously good. As far as Texas groups, everyone should definitely know about Batcastle, Feral Rex and The Black Moriah – all friends of ours who are working to forge their own identity without compromising integrity or extreme metal aggression.

11. Let's talk movies, books and games. What are some of your favorite? What other things do you guys do when you're not making great music?

I’m not much of a gamer myself; I couldn’t even tell you the last time I played a video game but it was probably at least a decade ago. As far as movies, I’m really into what Martin McDonagh has going on – I was completely floored by “In Bruges,” and drew quite a bit of inspiration from the darkness and complexity of it. I’ve loved all of his plays as well. His brother John also made an incredible movie last year called “The Guard” that I highly recommend. Ingmar Bergman’s “The Seventh Seal” and Dario Argento’s “Tenebrae” are also old favorites that I recently became re-acquainted with. Apart from that, I’m pretty old-fashioned so I’m glad you asked about books – I thoroughly enjoy the works of Vladimir Nabokov, Clare Keegan, Jonathan Franzen, Howard Jacobson, Samuel Beckett, Patrick McCabe, Dagoberto Gilb, James Hynes, William Trevor, Roger Boylan, W.B. Years, Paul Auster and Jorge Luis Borges, the author I mentioned earlier.

When we’re not rehearsing or writing for Vex or wasting time at our day jobs, we’re usually playing music in some form; each of us has at least two other bands that are in some phrase of recording or performing. Austin is a very musical place with a lot of very talented musicians who we are fortunate to be working with. Apart from that, I’m in the final stages of completing my English-teaching certification; the program I’m in is very demanding so that’s been taking up a majority of my time.

12. Obviously, Memorious seems to paint a bleak outlook on the future of our race. Do you think this is really the case? Are we truly fucked as a society? Or is there still hope for us?

I’m not much of a humanist – I really don’t have any sort of faith in the human condition or even in human reason as its own end. I really don’t care for ideology either. I’m more into the post-Enlightenment, Jonathan Swift view of humanity is a sort of eternal farce, worthy of the fiercest mockery and derision. As far as the future, I really have no idea what’s in store, but I don’t see how things will ever improve if puerile self-interest and stern commitment to baseless ideologies continue to be celebrated as political virtues. You mentioned gun-control legislation earlier; this is one issue that is just too deeply polarizing for any sort of national consensus to ever be reached.

13. Let's talk touring. What are some experiences that you guys can share with us about being on the road? What are some things that bands need to know before they get out there?

I would say that we’ve been very fortunate in our road experience so far, especially as a DIY band. We’ve certainly had some rough spots, such as last summer when we played to 3 people in a garage in rural Tennessee, but we understand that these sorts of things are inevitable in most cases. These gigs have been far outweighed by the great experiences we’ve had in entirely new areas where we’ve been fortunate to meet and work with a lot of great people. I’ve always been inspired by the precedent set by Fugazi, one of my favorite bands, of just going out and doing it, of creating your own scene where there isn’t one already.

As far as advice, I would say just know what you’re getting into; bring a good amount of merchandise, have a lot of backup cash saved up, and learn as much as you possibly can about the promoter in each city. You can never plan too much for these things. We were very fortunate to work with Riff Lifter Touring, a booking agency based in Philadelphia, for our last tour in that they really helped smooth everything over for us and iron out the details.

Thanks for your answers. The disc is truly incredible, so thanks for sharing your art with the rest of humanity. We really fucking appreciate it.

Thank you very much for your praise! It’s very rewarding to see that some people understand what we’re trying to do here, because it’s very important to us. Also thank you for the thought-provoking and intelligent questions!

Donate?

Alright, I will be honest and say that I'm literally running this place by myself. The Grim Tower is my child, more or less and without the bands, the labels and the distros, this would be nothing.

So I'll make it quick. I work a regular day job, probably like many of you and my hours have been chopped to the point where I'll be lucky if I work two days a week. But this gives me more time to write interviews and more time to write reviews. While this place won't grind to a halt if you don't donate a penny, it would be most appreciative if you did.

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Again, I don't care what. But I'm broke. My two week check came in today and it was just two hundred dollars. That's not much to live on, folks. So help me out, if you feel the need. I'm even going to be honest with you and tell you that I'm going to have to refile for food stamps, because what they were giving me isn't going to be enough anymore. I'm a pauper, more or less. But I do what I do for the bands, first and foremost.

In other news, Hails And Horns Magazine wants exclusive rights to my reviews. Though they don't pay me, Hails is much better promotion for the bands I feel; than this blog can do alone. But do not worry, because what they do not take WILL be posted here. That means that unsigned acts are still welcomed and encouraged. 

At any rate, you can send paypal donations to the address on the right bar, under "donate."

Thanks so much for your contribution. Any at all is appreciated. This will also be the last time I discuss this matter. Look forward to a new review set sometime the week after next. But I should hopefully be able to post some new interviews (Hails permitting) on the blog. Yes, I won't lie. I've got 4 interviews I can post right now, but I have to wait on the magazine first. Again, it's better promotion for the bands.

When they are posted, I will have the redirect links here. Sorry you didn't like my Ancient VVisdom Interview.

- Eric 

Ancient VVisdom Interview!

Per a request of Hails & Horns magazine, you will have to read this at their official page.

http://www.hailsandhorns.com/featuresandinterviews/ancient-vvisdom-vocalist-nathan-opposition-talks-about-their-darker-form-of-rock-music-satanism-and-the-shackles-of-blind-faith/

Enjoy!

Week 70 (Janurary 7th, 2013)

SKINEATER
Dermal Harvest
Pulverised Records

The debut release from the melo-death supergroup SKINEATER is exactly what I was looking for in the genre. All fans of melo-death should readily embrace this, and deserve a claw hammer to the face if they feel otherwise. The band is composed of past and present members of IN THY DREAMS, DARK FUNERAL, CARNAL FORGE, DEFLESHED, SPORTLOV, RAISED FIST and THE MARY MAJOR, so you should know what to expect - or maybe not. After all, this band certainly doesn't sound like any of those that I've named and treads through as it's own melodically brutal beast. Jorgen Strom's (THE MARY MAJOR) vocals are the fucking butter to the bread here, as his demonic growls seem to make even the most-hearted lighted riffs seem devious - and that's when I begin to smile with glee. Catchy riffs and bombastic solos fill the disc with tracks that are sure to play in your head for hours at a time. Add to this Matte Modin's (DARK FUNERAL/DEFLESHED) intricate drum work, and you've got a disc that starts off the new year right. Fans of BLOODBATH, GRAVE, HYPOCRISY, UNLEASHED, CARNAL FORGE, GOD DETHRONED, CANNIBAL CORPSE, MORBID ANGEL and others in that vein should certainly find something to like in this disc, and if they don't, then I'll once again reiterate the fact that a well-placed claw hammer to the face would be necessary. This is, as far as I'm concerned; the textbook definition of melodic death metal and is an uncanny debut. There is nothing more to say, other than to get this this album in your hands as soon as it becomes available.

E. May

10/10



Noosphera - Echoes Of Life EP (2012 Band Request) - This band posted a link to a download of their free EP right on my facebook page, drawing my immediate attention. So the first thing I thought was "Well, these guys obviously want me to review them, so I'll do that." The disc contains three tracks and is considered to be trance metal, which I can certainly tell by the electronic influences. But what I like about this disc, is how each track is different from the others. Opener "Humanity 4:40" has a female vocal imprint backed with electronic synths and a scowl vocal style comparable to Blood Stain Child. There are some certain elements of modern metal here, but it is supposed to be a modern approach; so I expect that.

"Pyramids & Androids 5:44" comes next, with it's decidedly more death metal approach, complete with some Egyptian rhythms and a great heavy vocal/light vocal chorus. I never tire of these, and it when it works, it almost makes me forget the dubstep portion of the track. Yeah, it's there and they've gotten some rash comments about it. But it's not long, and it goes back to the more interesting core of the song. Even though dubstep is used here, this song really kills and the instrumental solo portions of the track show me that this is a band brimming with talent. If people aren't catching on yet, they never will. This is the kind of music I'm looking for and when it finds me (instead of me finding it) that's an even bigger plus. So interesting bands, send me your albums! (Just not all at once. I'm still trying to get through a crowded MP3 Player full of material, and I just had to hear my female-fronted Japanese power metal in the form of Light Bringer before I got to any promos. So I apologize!)

"Echoes Of Life 5:48" is the disc's closer, which comes in with more groove and features a background guttural. The female vocals are still used, but they work well when used and are not overblown on the album. It's actually a duet male/female clean chorus backed with piano and electronics, giving it an electronic gothic melo-death feel and it works for me. The female vocals carry out the last of the chorus, as the guitar solo serenades us out with some added vocalizing. But guess what? It all works.

Seriously, this is great music. These guys are just giving this away for free and despite the dubstep portion, (the song it was used in, is still a good song) there is some promising material here. Definitely helps if you like electronic metal because there's quite a bit of electronics here; but these guys thunder a good bit and don't rely on female vocals to power them through. It's definitely heavy, yet melodic at the same time. A good mix and a stunning debut.

Expect more from these guys in the future. I will.

(3 Tracks, 16:00)

8/10



Corsair - Corsair (PR2013) - Corsair comes in like a breath of fresh air. They're no pummelers by a longshot, but they certainly remind me of acts like The Lord Weird Slough Feg, Iron Maiden, CKY and even Dinosaur JR in terms of progressive rock/metal atmospheres. The album sounds like it was recorded back in the 80's, but it sounds like it would've stood the test of time in the 80's as well. These guys are great. There's a serious charm to their music that makes it just a joy to listen to. It's not a very long disc, but "Chaemera 3:49", "Gryphon Wing 6:18" and the instrumental "Mach 3:46" are certainly worth checking out. The band might be a little on the softer side of things, but they showcase on each one of these songs the simple fact that they can play and play well. Fans of Thin Lizzy and King Crimson should certainly enjoy these Virginians, who've unleashed a terrific debut album.

I get pounded with death metal most of the time, so it's good to hear something a little more lighthearted and classic. The vocals are most certainly clean the whole way through, (and even female vocals are implemented on the dreamy closer "The Desert 5:52") but even though the frontman has a youthful vocal that might fit well in bands like Trivium, the atmospheres on the disc make the whole experience worthwhile. There's certainly some trippy stuff here, so you might want to listen to this while under the effect of "medicine." Also, I'd recommend listening to this one in some really good headphones, so that you're surrounded by the music and can fully absorb the atmospheres that these guys have to offer.

I think we're about to hear much more from them in the future.

Highlights: Chaemera, Gryphon Wing, Mach, Of Kings And Cowards, The Desert

(8 Tracks, 37:00)

8/10



Beyond Mortal Dreams - Dreaming Death EP (PR2012) - For a band who's been around since 1995 and has had several incarnations, these guys show a ton of promise on this little EP. But make no mistake! Despite the fact that this disc is little, it's filled with the spawn of vile hatred and it does a damned good job of showing that off. I would certainly recommend this one to fans of Incantation and think that it might even be better than Incantation's latest one! So sorry for not getting this one to you all sooner.

But instead of groveling on my hands and knees about how much of a fuckup I am for not covering this one sooner (even though you'd probably love to hear it) I'm going to explain the disc. It's four tracks and one of them is a Beherit cover of "Beast Of Damnation 3:17." But even so, everything on this little EP is fucking grand. Doomsayer's vocals are foreboding, menacing - he doesn't play the Corpsegrinder route like so many others. It's much slower and works extremely well with the music. But Doomsayer also plays rhythm, bass and synths and manages to perform well in those areas too. Bloodspawn plays the lead and rhythm which includes solos that slay like the very best of Deicide and Morbid Angel. As for the skinsman, Maleficus - well, that guy can play the shit out of the drums and really brings the power on this album. This is exactly what you want to hear in death metal - and in only 18 minutes, this disc delivers better than some full albums I've heard. If these guys can take 18 minutes and turn it into this, then I'd like to see what they could do with 40 minutes, or even a hour's worth of music.

Promising? Fuck promising. This is tried and true death metal from a band that you've probably never even heard of - but hopefully you'll get off your asses and check it out now.

But the band wants your corpse to rattle, so they decided to let you stream "Feast Of Carrion" and "The Filth Of Their God" as well as the full "From Hell" (which I haven't heard yet and will now be checking out (grins) album exclusively at their bandcamp page:

http://beyondmortaldreams.bandcamp.com

Everything on this disc is nothing less of fucking awesome. Even the Beherit cover. Keep your eyes on these guys. I fucking will.

Highlights: All (4 Tracks, 18:00)

10/10 (Yes, I realize it's only an EP. But it fucking kills.)



Corpus Mortale - Fleshcraft (PR2013) - I'm not familiar with these guys, but after hearing this one I can't find too many reasons to want to get familiar with them. Corpus Mortale is a death metal band with an awesome drummer. There are certainly some good riffs here and there as well, and you certainly will get your vocal gravel; but I don't hear anything else. While there's certain structure here and some eerie melodies, I'm not hearing anything that really jumps out at me.

I've got to be brutally honest, this is solid death metal but not much else. It's worth checking out but won't leave any lasting impressions on you. There are some solos on the record as well, but again - nothing worth writing home about. However, fans of groove will certainly find something to like here as the disc most certainly delivers in that department. It's also a pummeler, which means there are no dull moments and nothing less than a forty minute beating. Corpus Mortale did a great job at crafting a solid death metal disc, but I'll repeat myself once again and say that it's a solid attempt that should only appeal to the most hardcore of death metal fanatics, despite the core and technical elements that appear at times on the disc.

If I would describe this album as a weapon, I'd describe it as a rusty axe. But it's still useful, and perhaps this rusty old axe will serve you against the oncoming zombie hordes. Could be sharper, but it'll do the trick.

(10 Tracks, 41:00)

7/10



Nervochaos - To The Death (PR2013) - These guys have been out since 96 and their latest offering proves to be just as strong as anything else in their catalog. The riffs are strong, the solos sound classic and the vocals are full of spite. The quality of the recording is a little low, so you'll have to turn it up a bit; but it's certainly worth it, as I enjoyed this album's catchy death metal much more than the band I reviewed previously (Corpus Mortale.) I was actually listening to both albums back to back on my MP3 player and when these switched over, I wasn't aware and had to check to see that I had just about listened to this entire album and was immensely enjoying it.

There's just something about this band I like, but I can't put my finger on it. Maybe it's the riffs or the vocals that really stand out to me - but it could be again, that the damn thing is just catchy. Some of you might find it all too simplistic, but when I hear a vocal approach as strong as this, it really does enhance the experience for me. The band certainly draws on lots of old school thrash and death metal, so fans of those old school genre-takes will certainly like this. Of course, my personal favorite track on this one is "Warlords Unbound 3:59" which I could listen to much more than once, to be blunt. The disc offers a variety of classic extreme metal and I'm pretty sure that more than a few people are going to check it out. Well, they should. It perked my ears up and that should say something.

There's plenty of great classic death metal here, so pick it up. And go check out these guys live. They've played with everyone from Cannibal Corpse to Agnostic Front to Mayhem to fucking Venom. I'm almost certain that these guys are going to be much better in person than on this disc!

Also grab the "Live Rituals (2011)" disc for a disc of live material. You can't beat that, eh? Yeah, I know... you can just "youtube" a fucking show. But that's not like being there, feeling the amps and getting the full experience. Go see them live for REAL!

(13 Tracks, 42:00)

9/10



Ulcer - Grant Us Death (PR2013) - The death metal band Ulcer (comically labeled as Blues) has this time moved into a new direction of "ancient Swedish death metal." Jeez, thanks guys for making me feel old. I remember it when it wasn't so ancient. That was only like... alright, so it's not important how fucking long ago it was since there was Swedish death metal. (Back creaks.) At any rate, Ulcer comes on incredibly strong, and with a noticeable fuzzy bass. I don't know how people are going to take to this fuzz on the bass, but it does sort of work for the album. The vocals are delivered with extreme prejudice towards every living thing, and the guitar solos snake their way throughout the songs, only adding to the raucous drum assault that follows most of the album. While comparing this to other Swedish death metal stalwarts like Revolting is gonna be tough; it's certainly a capable Swedish death metal disc with moments of experimentation. Take "The Love Song 4:44" for instance, where you'll hear some sullen clean vocal (I'd call it a dirty vocal) that follows up into death metal rage and some killer melodies.

The album is certainly as catchy and eerie as one would expect from the horror drenched melodies of Swedish death metal, and should certainly be well received. The band say that fans of Entombed, Nihilist, Repugnant, Autopsy and others in that vein will love this disc, but I'd also throw in Revolting, Bloodbath, Skineater, Unleashed and tons of older shit that I just can't recall at the moment. Let's talk about the melody on "Thanatoeuphoria 3:59" which has riff melody that you certainly must hear and some odd vocal ideas that might come off as comical. It sounds like someone's being strangled at one point.

Of course, I'm also going to mention "My Lord Has Horns 5:14" because it comes off as a fucking classic and works well with that title. This one might even become a live staple - it just reeks of fucking greatness, but it should have ended the album. That's where I have to take points off though, and I'm sad to do so but I just can't forgive the waste of recording time that makes up the disc's actual closer "When Horror Comes 2:39." It sounds like the frontman is reading Poe while some foreboding riffs are playing. It makes a decent atmosphere, but they got carried away with it and it winds up sounding like a mash of ideas. The intention was an outro, something dark and poetic; but the yelling portions really don't work and kill the atmosphere. If it had remained a foreboding atmosphere with louder clean vocals doing the reading (with some sinister effects/sounds in the background) it would have come off as much more ominous. How about reading the selection while the sounds of hundreds of people are being tortured or killed in the background? That would've come off as devious, a worthy end to a great release.

Other than that, the disc is certainly strong and a treat for fans of Swedish death metal fans. But the year has only begun and there are far more to come...

Highlights: Grant Us Death, Devilspeed, The Love Song, Godcremation, Thanatoeuphoria, Devitalized, The Pact, My Lord Has Horns (10 Tracks, 42:00)

9/10



Sonic Reign - Monument In Black (PR2013) - Though I've not heard any of the band's previous albums, the press release information tells me that the band is for fans of Dark Fortress, Satyricon(Later Era) and Secrets Of The Moon. These are three of my top favorite black metal acts, and if you didn't know that already; my recent reviews of their albums will state that fact.

The disc comes in loud and furious with "Abhorrence Vs. Scum 5:57" reminding greatly of Satyricon's "Volcano" or "Now, Diabolical" album, which are some of my personal favorites. Yet I can also hear the Dark Fortress influence, reminding me of "Eidolon." Yes, this is the kind of modern sounding black metal that is rife with frostbitten riffs, frantic drums and thick scowls amidst slight moments of grim atmosphere. It's certainly got it's occasions of thrash and comes forth with a sort of misanthropic force that makes me smile with glee. The material is well structured, but probably of a much higher sound quality than some people would like. There are also some who might feel that many of the songs on the disc sound of the same caliber, not really differentiating from the pattern as much as Secrets Of The Moon have as of late.

Nonetheless, all seven of these tracks bubble with the chaos and negativity of black metal culminating with the closer "Soul Flagellation 7:50" which may sound more to the liking of those who prefer traditional black metal. But as far as I'm concerned, I love each and every fucking minute of this disc; even though some might be quick to use the term "Satyricon knockoff" after hearing just the first few minutes of this album. Though if one keeps listening, they will certainly hear moments of dark melody, foreboding atmosphere, and some worthy moments of guitar wizardry. Yes, this album does contain several well-written solos which help to enhance the work even more.

Definitely one of my favorite black metal discs thus far, but the year has only begun. Regardless of that, I still recommend that you pick up this album if you are indeed a fan of Satyricon, Secrets Of The Moon and Dark Fortress. Because I am most certainly a hardcore fan of these acts and this band spoke to me in that same language.

Highlights: All (7 Tracks, 45:00)

9/10



Polluted Inheritance - Ecocide (PR2013) - These death metallers from the Netherlands certainly have something to offer with their mix of raw technical death metal that sort of reminds me of a mix of Suffocation and technical era Death. The quality of the disc is of a low but audible production, with the cymbals ringing in my ears, the drums delivering a vicious but calculated assault, and the riffs bellowing out in a quite technical manner. The gravelly vocals of the frontman certainly match the tone of the music well, and the solos that appear on the album are rather short but play along the lines of oddity rather than what would consider to be a traditional solo. The music is very much of a technical experimentation like that of early Cynic or Athiest, but instead of everything being of a high produced (though one might say over-produced) caliber; the album sounds like a technical death metal disc that might have been made in death metal's heyday. There are also no core elements, nor any clean singing to be found on this disc that should certainly sit well with old heads as well as the new.

Simply put, it's calculated destruction of an old-school caliber. I certainly recommend it; especially at full volume blaring into your ears by means of headphones or earbuds. Some of these guys are also quite young, the music is highly evolved for musicians of this age; yet I've no doubt that these guys are full of the vigor of youth and could probably tear the roof off of any club or venue that they'll play in. If you get a chance to see these guys live, definitely do so.

Highlights: All (A very good album) (11 Tracks, 39:00)

9/10



Ancient VVisdom - Deathlike (PR2013) - First of all, this isn't metal at all and it was a band that I was commissioned to interview for Hails & Horns magazine. I completed the interview, (and you will see it soon, possibly closer to the time of the release of the album) but I will now review the promo that I have for that interview. The disc is very much one of dark rock, and there is certain influence from Alice In Chains, HIM and softer Marilyn Manson. I could also say that bands like Lacrimas Profundere and possibly darkwave like Audra and "Scarecrow" era Black Tape For A Blue Girl are very much in the same realm as this. Though there is some electric guitar influence in a few parts of this album, it sounds very much like it would be fitting in a small dark club with a tiny crowd of people dressed as if they were about to mourn the dead.

Though there are some certain show stoppers on the album, like the title track, "Deathlike 4:45" which contains a rather compelling vocal performance and should certainly be used as a single. If these guys aren't planning to make a video out of this one, they should fire their manager. Trust me, get this track out to the masses and you'll have instant fans. If the radio got hold of this, it would certainly be in constant rotation. But after that, the disc starts to fall apart. The gothic nature of the album might appeal to some still, but I'm hearing some very weak tracks and the vocals don't seem to hit as hard on tracks like "Far Beyond Good & Evil 4:47" and "Look Alive 1:58" and "Waiting To Die 4:06" which seem to capitalize on a new type of darkwave/emo which makes me want to choke myself to death. Sandwiched in there is a track called "Rebirth 3:04" which actually has some merit though.

Closer to the end of the disc, there's a wonderful blues piece called "Last Man On Earth 2:16" which is too damned short, and too damned interesting to be that short. They should have made an entire album like this and I'm sure that there are fans will agree. This is another track that should be a single/video/used in some horror film or popular television series like HBO's True Blood. But here I am making marketing decisions. Good marketing decisions.

Electric guitar influence will come back in "Never Live Again 4:43" which seems to be an edgier goth rock track that should appeal to some people. This one makes me think of "Mechanical Animals" era Manson. Again, another good single for the disc. Finally, we have the closer of the album "Here Is The Grave 4:35" which is a very strong closer, one of the strongest songs on the disc backed with electric guitar, but still sounding very ritualistic in nature.

Though the album has it's holes, it's certainly got plenty of strong material that is ultimately catchy. These guys will certainly amass a truckload of face-painted fans with this material and might usher in another age of goth. But I'm not so sure if we need another one of those, especially with the onslaught of the new trends brought on by "The Host" and "Beautiful Creatures" which will start a new trend among our youth with the belief that they're aliens, and/or the revival or witchcraft. Yes, I said the revival - as in people will walk around jingling their hands in attempt to cast spells. (Some of the more devious variety might even "sucker" these new initiates.)

At any rate, this album is about death. It's quite apparent from the reaper on the cover and the subject matter. It's "goth" in and out, even if they didn't want it to be. This is what you call a stripped down "goth-rock album." And I know, because I've heard a ton of them.

The question is... will it work?

Highlights: Deathlike, Last Man On Earth, Never Live Again, Here Is The Grave (12 Tracks, 40:00)

7/10



Holy Grail - Ride The Void (PR2013) - When I first heard this album, I'll admit that I didn't care for it. The mixture of power metal and core left an extremely sour taste in my mouth. To be blunt, this is what you call modern Trivium and Dragonforce influenced power metal, so we might as well call it "modern power metal." I will admit that there are a few good tracks on this album though, but I can honestly say that I'd rather go back and listen to a "real power metal" act like Blind Guardian for example.

The band thunders along, adding elements of thrash with a very clean approach to sound and recording. This album seems very processed to me, it sounds very much like it would be for fans of Avenged Sevenfold then Helloween or Hammerfall. Not surprisingly though, the kids love it. (Slaps self in face.)

But back to what I was saying was good about the disc. There's a strong title track, "Ride The Void 4:42" which has a decent enough chorus and there's also "Crosswinds 4:18" which is decent enough as well. "Sleep of Virtue" is another strong track on this album, proving that these guys do have some staying power but they won't break you away from your power metal collection anytime soon. I'll also recommend "Silence The Scream 5:43" which has one of those epic power metal choruses that we all like. "The Great Artifice 3:59" however, thrashes again and again.

Though I have singled out a few tracks, (that follow near the end of the album) the disc is still going to have that Avenged Sevenfold quality of modern metalcore to it that some of you will immediately be turned off by at the very first sound of the album. I can guarantee with a stark accuracy that as soon as the intro fades into "Bestia Triumphans 6:03" some of you will just say "Fuck that. That's not metal, it's crap."

But for those of you who think that you can wade the waters of modernism just a little further, you might just be able to find a handful of tracks on this disc to suit your fancy. Realize that this disc was not marketed for the aged listener either, it was clearly marketed as "bringing back the classic sound to power metal to the kids who have grown up with Guitar Hero, emo and metalcore bands." It's more than likely not for you.

(13 Tracks, 55:00)

6/10



Screaming Savior - Infinity (2012 W/ Bonus Tracks) - Screaming Savior's new release is about to re-released on Metal Hell Records with an all new mastering, mix and added bonus tracks. What I am reviewing is the "name your own price" version of the album on bandcamp, which will have no bearing on the new product which I imagine will be a "pay their own price." At any rate, the version of the disc that I have is incredible, remarkable and definitely worth a purchase for fans of Sigh, Bal-Sagoth, Opeth, Cthonic, and Dimmu Borgir. That's the best way to describe it, and I promise that it's just as good as it sounds.

The band comes in hard and fast with heavy riffs, frantic drum blasts, demonic scowls and the like - but it's all backed by orchestral instrumentations which feature traditional Asian instruments as well as sweeping guitar melodies, moments of sure majesty and the inclusion of some acoustic and slightly erratic elements that even recall game music. The closer, "Across The Boundary Of Cosmos 5:41" reminds of the sort of electronic meets guitar music that was featured on the latter games in the Megaman X series, and the track features the inclusion of a digitized vocal comparable to Dimmu Borgir's "Puritania." Perhaps the ending of the disc is an odd place to describing it, but this closer is very well one of the disc's finest moments apart from the heavily Bal-Sagoth influenced "Ode To The Expedition 4:59" which I've already listened to quite a bit. it's easily one of the best "triumphant space marches" I've heard since Bal-Sagoth perfected the style long ago.

Let's also discuss "Wings Of The Vast Sea 6:02" which has a little more of that progressive death metal influence pioneered by bands like Opeth. Though it starts off like a symphonic black metal track, the mood changes into that of a slow and melodic style that reminds me heavily of Opeth, replete with clean vocals that are actually quite good. Not all the clean on this disc are perfect, but damn it; they really tried on this album and I'm quite impressed. Listen to the solo portion on "Ocean Of Asura 5:46" and tell me that I'm wrong. Do it, I dare you!

When I pick bands to interview, I look for some of the absolute best - maybe not what's in everyone else's musical stew; but what is certainly in mine. When I hear an act that literally takes my head off my shoulders with brilliance, I've simply got to get them out there. Screaming Savior is doing just that, with impressive melodies, mind-blowing musicianship, capable vocals and the ability to not fear the changing of musical styles during the album. When a disc like this transitions as much as it does, it means something. It means that the artists want to make an amazing album where each and every track has something new and different to offer.

I can only imagine how these guys would be on stage with a full live orchestra. Seeing "Ode To The Expedition 4:59" live in that fashion would be absolutely mind-blowing. You see, Bal-Sagoth was never that good live. I've seen very few of their live performances and the ones I have seen are not near as good as what was on the disc. However, this band might leave more of a mark paving a new way in the world of metal music, in the same way that bands like Sigh, Arcturus, The Kovenant, and Solefald have done. You never expect when you hear some amazing bands in your youth, that there might one day be a band who can incorporate everything from those bands that you ever found to be amazing.

The bonus tracks on this album are an orchestral version of "Ocean Of Asura 5:45" and a wonderful 8-bit version of "Across The Boundary Of The Cosmos 5:42." And yes, I am one to judge 8-bit music, as I am a huge fan of classic video game soundtracks and not just the popular ones that everyone knows. This is an absolute great representation of the track and well worth hearing. In all actuality, I could break it down and say that there's a stage portion and a mini-portion, followed by a boss portion on the track. Yes, I'm an old-school gamer and find this to be one of the best ideas for a bonus track ever.

I'd shit bricks if they included an 8-bit version of "Ode To The Expedition" on the new version of this album. At any rate, I'll keep guessing as to what those extra tracks will be.

I would certainly recommend this to fans of most of the bands that I've mentioned here, as it's a great disc available at whatever price you choose to pay for it. But if you'd rather wait, the new version of the album will come out in February and it will already be one of the year's best albums for me - without a shadow of a doubt. (Unless the mixing/mastering gets messed up somehow. Will have an update on the release as soon as it comes out, as I plan to purchase one for myself!)

http://screamingsavior.bandcamp.com/album/infinity-2012-mort-version

Highlights: Star Of Fatality, Wings Of The Vast Sea, Nacha The Demon, ODE TO THE EXPEDITION, Curse The Dreamland, Across The Boundary Of Cosmos, Across The Boundary Of Cosmos (8-Bit Bonus Track)

(12 Tracks, 60:00)

9/10



The CNK - Révisionnisme (2012) - Now I've got to tell you. I've heard a lot of cover albums in my life, but few of them have been this interesting. The CNK (Cosa Nostra Klub) is an eccentric industrial black metal act from France that incorporates plenty of orchestral influence but keeps things still very metallic and militaristic in the same right. You might think it was quite natural for them to record a cover of Rammstein's "Weisses Fleish 4:10" (White Flesh), but might find it odd that they've also decided to cover Guns N' Roses "You Could Be Mine 5:39", The Beastie Boys "Sabotage 3:15" Motley Crue's "Too Fast For Love 3:42" and oddly enough, Nick Cave and the Bad Seeds "Where The Wild Roses Grow 3:55" a sort of low water mark for the disc. But interesting enough, the disc opens with a medley of Gary Glitter covers called "Gadd Ist Gott 4:05" which opens and closes with a familiar American sports anthem.

Of course, there is also a cover of Slayer's "Seasons In The Abyss 6:24", Impaled Nazarene's "Blood Is Thicker Than Water 4:12" and amazingly, Emperor's "I Am The Black Wizards 5:27" which may piss off a few black metal heads who feel the song is untouchable. Of course I'll also mention that there are plenty of guests on the disc, in particular Snowy Shaw (I reviewed his Alive! disc for my quick list just a few days ago) who does the vocals on quite a few of these tracks. Believe it or not, the band tears up "You Could Be Mine 5:39" which features Snowy Shaw and Pills from Prime Minister. I had no idea Shaw could emulate Axl Rose's vocals. There's no word yet on what Axl will have to say about this version, but I consider it one of my favorite GNR tracks and they've certainly done it and the awesome James Cameron film (Terminator 2) that it first appeared in (as well as Use Your Illusion 1 &2 - these are my favorite 2 GNR discs, don't give me shit about it) justice. An absolute standout.

Other notable tracks are the black metal vocal meets rap version of "Sabotage", the much heavier Rammstein cover of "Weisses Fleish" which sounds very much like another day at the office for the band and "Seasons In The Abyss" which I recommend that every metal head checks out. This version of the track is very atmospheric, orchestral and extremely dark. Darker than when Slayer did it. Make no mistake, it's punishing and probably one of the best tracks the band has ever released. It might only scarcely resemble the original, but it truly classifies the true meaning of "taking a cover and making it your own." I think that Tom Kerry and the boys would be rather flattered by it, honestly. Shaw's vocals on the chorus isn't my cup of tea, I'll admit. He should have used a slightly harsher tone on that chorus.

There's also the cover of "Too Fast For Love 3:42" which is worth explaining in the fact that it's different but it's probably not going to be for everyone, (I'll admit that I've never heard a mix of symphonic industrial black metal and hair metal before) so just remember that. As I said, there's a very weak ballad of "Where The Wild Roses Grow." It's majestic and such, but I don't know how many people will actually enjoy this one. Sort of has a gothic nature to it, reminds me of some of Shaw's Notre Dame and less of The CNK. As for Leonard Cohen's cover of "Everybody Knows 5:20" I've never heard the original version of the track, but the extreme nature of the cover seems to work well and I love how the "everybody knows!" portion of the song is screamed with such vehemence.

Of course, everyone wants to know about the cover of Emperor's "I Am The Black Wizards 5:27" and I will say that it does have electronic influence and is a bit jumpier but definitely sticks to the original material. It's a very good rendition of a classic black metal track and definitely keeps the fury of the original. I'm still curious as to what Ihsahn would think, now that he's doing much of this experimental material himself.

The disc closes with another cover of Impaled Nazarene's "Blood Is Thicker Than Water", this time renamed to "Blood Is Thicker Than Snow 4:16." The difference is that Snowy Shaw is featured on this version, and it's a bit more beautiful and melodic than the original. Not personally my favorite track, but let's consider it an unnamed bonus to the disc.

All in all, The CNK and Shaw (as well as other guests) have worked together to make a wonderful cover album unlike I've never heard before. An unlikely team-up, but it all worked out well in the end and there is certainly some magic being made on this disc. Calling it a "Revision" seems to be just right. Fans of Shaw and The CNK will either love or hate this disc. But I am fond of both acts and certainly consider it one of 2012's best that slipped under the radar. Just like most interesting or unique albums tend to do.

There's nothing more to say. Give it a listen and see what you think.

Highlights: Gadd Ist Gott, Sabotage, You Could Be Mine, Everybody Knows, Blood Is Thicker Than Water, Seasons In The Abyss, Weisses Fleish, I Am The Black Wizards (11 Tracks, 50:03)

9/10



Saturnus - Saturn In Ascension (2012 W/ Bonus Track) - It's been a long time since we've heard from the death/doom masters, Saturnus. These guys were known for putting out masterpieces like 96's "Paradise Belongs To You" and "Martyre." The band's last album, "Veronika Decides To Die (2006)" however, wasn't one of my personal favorites. But I had no idea that it would be another six years before I would get a follow-up to that release.

But Saturn In Ascension is just the kind of follow-up that I wanted. It's morose, thunderous and majestic, filled with the same wonderful guitar melodies that made tracks like "Christ Goodbye" so memorable years ago. There are solos on this album and meaningful solos at that - solos that were spent a great deal of time on, solos that you can really feel; as well as guitar melodies that are just electrifying. My Dying Bride should take a note from these guys, as the gloom and gothic nature of this album turned out ultimately better and for good reason - the melody was there.

Yes, you will even have spoken words of gothic prose on this album, but they will flow well with the melodies and take you away into a realm of misery of despair. Atmospheres and captivating melody certainly make this every bit of that comeback album I was waiting for, with crisp production and the ability to really feel the riffs like never before. Technology is a marvel and to use it in such a way that allows me to absorb the wonderful guitar work on this disc is a damned good use of it, I'd say. As with a doom album of this nature, expect dreary acoustics and poetic prose in addition to the heavier moments, which certainly crown over My Dying Bride's attempt at the same thing. Of course, I hadn't expected to hear the female chanting on the back of "A Lonely Passage 5:21" but did certainly welcome it.

There is only one song on this disc that I absolutely despised, and that was "A Father's Providence 5:02" because it just came out horribly. What in the hell were they thinking with that vocal style? If that's a guest, he needs to not be on this album and try out for some beatdown hardcore band. I want to like the song for it's musicality and wonderful spoken pieces, but there is absolutely no muting that guy who seems to be attempting a vocal style that Nicholas Barker (Paradise Lost) attempted and succeeded with on a few PL albums. Please, leave it to Nicholas, guys. That vocal style ruined a perfectly good song.

But even despite that slight slip, we've still got a very powerful Saturnus record here that's worth checking out for all fans of doom/death metal. Though not as prolific as some bands in the genre, Saturnus do make it count when they record a new release and this one certainly seems them recharged with a new sense of energy and devotion to their music. Perhaps it was better that Veronika died, if only to make way for this monumental disc which is just as thunderous as it is melancholy.

If you've passed this one by for some odd and unknowable reason, now is the chance to go get it. However you folks do that nowadays.

Bonus Track: Included is "Limbs Of Crystal Clear 6:37" from the band's 1994 demo, which I haven't even heard before. Oddly enough, the band decided to not re-record the track and leave it as is - raw quality and all. In it, you'll get a feel for the very beginnings of Saturnus. It might have been mastered and cleaned up a little, but it's nothing amazing. But I will say that the band was a bit heavier in their old days.

Highlights: Litany Of Rain, Wind Torn, A Lonely Passage, Forest Of Insomnia, Between (9 Tracks, 74:00)

8/10



Destruction - Spiritual Genocide (2012 Special Edition) - Destruction's new disc seems to more of a 30th anniversary album for the band, if nothing else. Don't expect anything new on the disc; but if you're a die-hard thrasher the disc will give you just what you're looking for. There are some change-ups and it doesn't stay completely constant, but it is a thrash album with the majority of tracks in the range of 4 minutes.

For the most part, the disc is nothing but fast-paced, face-melting thrash metal and that's a good thing. There's no crap thrown around on here, it's just thrash. However, there are a few questionable parts as I've noted like on the slower title track, "Spiritual Genocide 3:39" and the odd intro to "To Dust You Will Decay 4:21."

Guests (like Tom Angelripper from Sodom) are featured on "Legacy Of The Past 4:50" which is a tribute to the majesty that is metal. If you can't already tell from the lyrics, there are many album titles used in them. Very easy to point out. I'll also talk about "Carnivore 4:28" which has that Venom mentality about a femme fatale. Yet I'm also wondering if it's a tribute to Pete Steele's old thrash band before Type O Negative of the same name? Being that this a metal tribute album, it would make perfect sense.

"Spiritual Genocide" is a great tribute to metal, but it doesn't really offer much from the band that we haven't heard before. Destruction certainly sound strong here, but it's nothing that we haven't heard from them before. I mean, face it - it's better than anything Metallica's done for quite a while as far as true thrash goes, but other than that - it's just a thrash disc. I know that's what Destruction intended on creating and that's what they made. Take that for what it's worth, I guess. It's a solid album, but just a thrash album.

Bonus Tracks:

The first femme fatale track is "Princess Of The Night 3:51" which is a capable track. I certainly like it, it reminds me of Venom for sure. Definitely has that feel of classic thrash. (Update: It's a Saxon cover I've never heard. Saxon, I'm quite familiar with - but not this particular track. Will try to remedy that this year.)

The second femme fatale track is "Carnivore" again, but this is a guest version of the track which also includes Tom Angelripper, so there's that for extra incentive on the digipack version of the disc.

Apparently, the Japanese version got a Motorhead cover of "Hammerhead." But unfortunately, I don't have that cover. But I'm sure there are those of you who will go out looking for it. This album has 66% on Metal Archives right now, but with the bonus tracks, it makes it just slightly better and warrants a 7 or 70% rating.

Highlights: Spiritual Genocide, Renegades, No Signs Of Repentance, Legacy Of The Past, Under Violent Sledge, Princess Of The Night (Saxon Cover), Carnivore (Guest Version) (13 tracks, 49:00)

7/10



NonExist - From My Cold Dead Hands (2012) - The last Non-Exist album came out in 2002. That was ten years ago. Children have grown into teenagers and teenagers have grown into adults. I was one of those teens that grew up in that period. After "Deus Deceptor" (Get your hands on this if you can, it's a fucking classic) came out with no follow-ups, I was convinced that the band was done for. So when I saw that this had come out and appeared under my radar, (just like the new Sammath Naur, which I will get to next list!) I was quite excited for it. The ratings were terrible though, for some reason and I could not figure out for the life of me why.

Immediately thoughts of "Oh fuck! Don't tell me that NonExist finally made another one, only to bomb completely!" went into my head, but I batted them out of my head like bothersome flies. I told myself that I was going to get the album and judge it for myself. So there at work one day, I sat unpacking boxes and said "this is the moment of truth" as I pressed the play button on my MP3 player. But what I heard was quite surprising and much different then I expected.

This two man project from Johan Liiva (ex-Arch Enemy, Hearse) and Johan Reinholdz (Andromeda, Skyfire) has in a way been revitalized with a new energy. The other disc actually sounded a little like black thrash with classic rock instrumentals and great melodies, but this one is a highly structured and experimental work with plenty of interesting ideas. One of these is featured on the title track, "From My Cold Dead Hands 5:48" which goes to so many different places, it's unreal. It's been a long while since I've heard a song that teleported you all over the goddamned place in the way that that one does. But this continues with "Days Without End 4:22" which isn't afraid to throw an awesome guitar solo into the mix. Then there's the opener "Dark And Tortured Universe 3:40" which brings a much more vicious assault backed by drum butchery. Of course, the vocals aren't perfect - but that riff/blast section is.

"The Flesh Falls From The Bone 3:40" however is one that I could do without as far as some of the vocals, but it's hard to wonder why the man decided to use an almost spoken approach to the vocals during the blasts, rather than something harsher. There's definitely heavy vocal approaches used here, but at sometimes it just sounds off key and doesn't work well with the melody assault I'm getting in the background. A gothic style croon actually appears in this one too, right before another one of those amazing solos. It really is a jack of all trades disc, but will probably be trashed (sadly.)

I also need to mention that there are only two people on this release and that's probably another reason why it took so long to release. It says that the project was recorded from (2009-2012) on the project's information sheet, and that's because Johan Reinholdz is responsible for the guitars, bass, synths, programming, and clean spoken vocals. Apparently the drums on this disc were programmed and that pissed some people off. I personally don't notice that much a difference. "Fire At Will 5:24" blasts in and it sounds just fine. The guitars on the disc are crisp and clear, the electronics are used when needed and don't overfill the album and each of the tracks on the album carry their own merit, rather than all sounding the same. Certainly, it sounds like the NonExist all of the way through to the very end of the album, but at least they didn't do what they could've done and rehashed the same album. If they hadn't gone the route of technicality and experimentalism in addition to great guitar riffs and melodies, I have no idea what this would've turned into.

Some might say that they just didn't like Johan Liiva's voice on here and I can understand that. It's a bit boisterous and might put some listener's off. Again, it is very difficult for any fan of heavy metal music to deny the guitar work on the album, even if the drums are not real. There are some truly great leads and melodies here and if you're really listening to this album, you're going to have no choice but to notice them.

Sure, it's short - there's only 40 minutes of playing time here; but I'd still recommend that you give an old band another try. People were born in the time since the last album was released and those people need to go check out this album. Yes, I'm sure there are ten year old metalheads out there. It might be better to get your kids checking this one out, instead of the core stuff and the umm... well, Gagnum Style. Wop. Wop.

Wop + Wop = Music?

Humanity + Wop = X Where X is equal a plane hitting the ground and then incinerating, leaving nothing but ash in it's wake.

Horrible media trends aside, definitely go check this one out for yourself regardless of what the critics say. The physical disc has not yet released, but it will have five covers, one of which (Megadeth - In My Darkest Hour) has been considered by MetalSucks to be one of the worst Megadeth covers ever. I haven't personally heard it, so I can't judge. But the site did like "Fire At Will" and that's a good track, so it balances out. I can't say that I'm familiar with any of the other bands that they are covering though.

Nevertheless, just check out the album. If one Megadeth cover kills it for you, then I'm truly sorry. But for the rest of us who judge albums by their content and not by their bonuses, there is certainly some worthwhile musicianship and some interesting ideas embedded into this relatively cheap mp3 album that's only 8.99 on CD Baby. It's 9 tracks for 9.00. If you don't like certain tracks, then only get the ones you do like at a 1.00 a track.

I'd at least recommend you pay a dollar for the title track. It's well worth that dollar.

Highlights: Days Without End, Fire At Will, From My Cold Dead Hands, Lost In Darkness And Confusion (9 Tracks, 39:00)

7/10



Holy Knights - Between Daylight And Pain (2012 Jap W/ Bonus Track) - Holy Knights are a Neo-classical power thrash band who originally split up in 2002 and reunited in 2012. At any rate, this new album is a showcase of the band's strengths and for the most part it's all done rather well. You can expect the same neo-classical laden (hence why it got ported to Japan with an exclusive bonus track) power thrash for a large portion of the album, and it certainly has it's share of orchestral atmospheres being overblown as humanly possible. Yet it still manages to shine and shows that these gentlemen were right to get back together. I highly recommend a trip through this melodic and beautiful beast.

While powerful solos and strong vocals like on "Mistery 5:10, Beyond The Mist 5:40", Glass Room 5:18, "Awake 4:15" fill this disc with absolute wonderment, tracks like "Wasted Time 4:50" and closer "The Turning To Madness 6:01" are definite low points that should be further analyzed. The longest track on the album should surely include some metal moments, right? But nope, there is not even a hint of metal on that closer which makes it very boring and makes me scratch my damn head.

As for that bonus track, "Resolution 4:58" it's actually sung in Japanese as sort of a tribute. Apparently, Japan loves this kind of stuff and so do I. Perhaps I should move there, like the otaku bastard that I am. I also believe that "Resolution" should be where "The Turning To Madness" is. Exchanging a track devoid of metal for one with metal is a great idea, as far as I'm concerned.

Highlights: Mistery, Beyond The Mist, Glass Room, Awake, Resolution (Bonus) (9 Tracks, 46:00)

7/10

The 2012 Quick List

Alright, the time has finally come to unleash this monstrously massive review list of everything that I've checked out this year. (Well, everything worth mentioning. I've been hearing some older shit that dates back to the 80's and early 90's, and I'm sure you're not too worried about those releases.)

On this quick list, I'm doing something that I've never done before - I'm going to discuss each release in just three sentences (for the most part.) Quick, concise and to the point - just how some of you might like it. No promos or band requests will get this treatment, but if you see your album here and want a full review, just give me a comment and you will be automatically boosted to next week's reviews.



Nordor - Erga Omnes (2012) - Nordor have nothing to do with Narnia, and everything to do with Satan. That being said, the band mixes their style of melodic brutal death metal in well with atmospheres like "Vow 3:11" the most Satanic thing I've heard in a while. Though the songs are short, they're powerful and well structured enough to slightly mesmerize, making this one of the year's undiscovered death metal gems.

(14 Tracks, 40:00)

8/10



Snowy Shaw - Snowy Shaw Is Alive! (Unique Live Cover Album 2012) - Though I don't normally do live albums, this one is altogether different being the fact that it's a live concert with ex-Therion/Notre Dame frontman Snowy Shaw, tearing it up with covers of Therion's "Typhon 6:50", Dream Evil's "The Book Of Heavy Metal 5:54", Dimmu Borgir's "Progenies Of The Great Apocalypse 3:26", Mercyful Fate's "Eye Of The Witch 5:23", and Notre Dame's "Vlad The Impaler 6:20" managing to do justice to each and every one of these tracks. There are nineteen tracks in all, and a DVD recording of this to back it all up. I strongly recommend that you get either the visual or audio element of this outstanding show, which is probably one of the best ideas that Shaw has ever come up with; making him a true man of metal.

(19 Tracks, 98:00)

10/10



Eluveitie - The Early Years (2 Disc 2012) - This is a re-recording of the band's demo EP "Oro" which is about as short as you can expect (but deathier than their later material - "Lament 4:06" and "The Song Of Life 3:58" have the feel of early In Flames) and a remaster of the band's first outing "Spirit" in case you missed it. I thought both were decent, as far as folk metal goes and perhaps if you're a major fan of Eluveitie or folk metal, you will pick this up. But I've heard much better from folk metal, and these discs didn't do much for me; yet the Pagan spirit is certainly strong within each of these albums.

(2 Discs, 17 Tracks, 73:00)

7/10



No Return - Inner Madness (2012) - These guys play a very intricate (think later era Death) and melodic style of death metal replete with it's share of growls and clean vocals. It's a style we've all heard before, but these guys do it justice and definitely know their thrash just as much as their death metal. Most of all, the great riffs (and killer overall musicianship, "Morgane's Song 6:57" for example) are only enhanced by the wonderful fucking solos on this album; making this band one worth keeping your eye on - from the sound of this magnificent display, I certainly hope that we'll hear even more impressive material from these guys and even more fucking great guitar work.

(Didn't realize this was so good. I might have to go back and long review this one. Might even get the band in for an interview.)

(9 Tracks, 47:00)

10/10



[b]Krampus - Survival Of The Fittest (2012) - So named for Santa's demonic friend, this modern electronic folk/death/core band seems to be trying to one-up acts like Eluveitie, (either that or they're just really influenced by Eluveitie - is it already time for next-gen folk?) but mixes them with more core then some of might want. It's certainly folk metal, but I don't know how the electronics in the band will be received by some. Mixing traditional folk instruments with modern electronics could very well leave a bad taste in some mouths - still, not bad and features some good moments with strong clean vocal choruses backing up the core riffs.

(12 Tracks, 45:00)

8/10



Botanist - III: Doom In Bloom (2 Disc Set 2012) - This guy likes plants, demons, and doom. That's pretty much the basic elements that you'll need to know for this disc, other than the fact that it seeks to create very sullen (yet sometimes beautiful and melodic with pianos and the like) atmospheres backed by soft black metal scowls and slight screams of torture. It almost sounds like a peaceful flower garden, but only if that garden were in hell and full of man-eating plants.

(There's also a certain mystical and occult nature to the feel of the music, as it sounds very ritualistic. As a bonus, there is a second disc "Allies" that includes Botanist covers by Matrushka, Cult Of Linnaeus, Ophidian Forest, Arborist, Lotus Thief, and Bestiary.)

http://verdant-realm-botanist.bandcamp.com/album/iii-doom-in-bloom-allies

(2 Discs, 14 Tracks, 114:00)

7/10



Order Of Nine - Seventh Year Of The Broken Mirror (2012) - This prog/power/thrash band is certainly strong and worth checking out, even though the deep vocal croon might not be your thing (but the frontman also uses a few screams and growls.) These guys offer a lot in the way of musicianship and aren't afraid to showcase it on longer numbers like "Spiral Staircase 7:04" and "Eye Of The Enemy 8:25." These guys have a lot of talent and have crafted one hell of an album that seems to showcase it all (great solos included), so please give them a stream at least!

(11 Tracks, 69:00)

8/10



Unisonic - Unisonic (2012) - I was going to long review this, but decided a short list would be good enough. It's a new project from some rather famous power metal musicians (Helloween) and really captures the spirit of classic (not core influenced) power metal. It's also catchy as fuck and full of ripping guitar solos - just try to get tracks like "Never Too Late 4:30", "I've Tried 4:56", "Star Rider 4:16" and "We Rise 4:43" out of your head. These choruses are so catchy, that there should be a fucking law against it, and I've just went over the limit to add that - but I enjoyed this one immensely! You can see where Tobias Sammet gets it from now.

(11 Tracks, 50:00)

10/10



Halloween - Terrortory (2012) - Not Helloween, Halloween is a heavy metal of damn near the same merit but with less production value. Considered to be a sort of power/doom metal, these guys excel in making interesting atmospheres with soundclips and effects that enhance the heavy and dark nature of their music. Things definitely thrash, and they're backed by the croons of a capable enough frontman. Apparently these guys are quite an old band and this is their latest outing - nonetheless, it's a decent release with a great song dedicated to the band's namesake (Where Is Michael? 6:30.)

Highlights: Caught In The Webs, Re-Inventing Fear, Where Is Michael?
(16 Tracks, 72:00)

6/10



Witchrist - The Grand Tormentor (2012) - These doom-laden death sludgers probably won't be what you'd expect when you see a cover with a pissed off Hindu god on the front cover. But despite the tough to hear sound quality of the thing, it's eleven tracks of pure bestial rage and should certainly appeal to a good chunk of metalheads. Though I'd actually love to be able to hear the band, (as it sounds very muddy most of the time) I can discern powerful drumming amidst truly agonizing bellows and an overall sense of ill omen - but let's not forget that these guys are entirely capable of brutally assaulting you and then giving you just enough time to think about it; before it happens all over again. Slow, deep and hard - really fucking hard.

(11 Tracks, 51:00)

7/10



Verdunkeln - Weder Licht Noch Schatten (2012) - Verdunkeln is a melodic doom/black metal act that performs five rather long tracks on this 48 minute disc. Some of the tracks are laden with atmospheres, while others are backed by gloomy instrumentations "Am Ende Des Abgrunds 12:17", giving a feeling of certain despair to the recording. The disc certainly does have it's punchier moments in "Die Letze Legion 10:52" and there's an odd keyboard thing going on in "Unsre Richter 6:09, finishing it all up with the heavier nature of the album's title track which features one of the oddest guitar solos I've ever heard to close out the disc. Different and worth checking out.

(5 Tracks, 48:00)

8/10



Whourkr - 4247 Snare Drums (2012) - Whourkor is a grind band that's different then many other grind bands I've heard, and maybe that's because they use so much electronic influences and other little oddities that it makes this disc something of an outlandish experiment. It's certainly heavy, but you'll have electronic beats and chopped up saxophone solos that accompany the piggie and garbage mouthed vocals which are standard for the genre - but even though these standards remain, nothing else on this disc is standard. Trust me when I say that this one of the most fucked up albums you'll hear all year, and it got some praise in the metal community. What the fuck are you waiting for?

(Includes a remix of Gastro-Esquetre by Ruby My Dear)

(11 Tracks, 35:00)

9/10



Periphery - Periphery II (2012) - Apparently, this is the future of progressive metal; the genre in it's most modernized form - but instead of giving it the myriads of praise that others have, I'll be fucking blunt and say that this is what happens when you mix post-emo-core with bands like Dream Theater, Fate's Warning, Spock's Beard, Pagan's Mind exc. At any rate, there are some good portions on the disc as far as musicality goes, but I have no idea what the fuck some of this disc is about as far as the lyrical content (but the clean vocals aren't that bad.) At any rate, it'll get the kids into prog metal; so maybe that's a good thing. And yes, there's a solo from John Petrucci on it. But it's still emo-core with prog elements.

Highlights: Have A Blast, Facepalm Mute, MAKE TOTAL DESTROY, Erised, Epoch, Masamune

(14 Tracks, 68:00)

7/10



Syn Ze Sase Tri - Sub Semnul Lupului (2012) - I gave this band's last album a long review, but due to the amount of material I've got; they are now on the short list. This new album sees the band as strong as ever, but a little muddy in the recording which doesn't seem to phase the album so much as you would think. The release still comes off as elegant, dark and frost-bitten as you might expect - it's most certainly a great mix of orchestration, black/death metal and gothic charm. Well worth getting your hands on.

(12 Tracks, 55:00)

9/10



Magnum - On The 13th Day (2012) - When I got my hands on this, I was reminded of everything but metal and I suppose that's okay. If you want me to be honest, I'll say that I was thinking of 80's rock like Survivor, Queen, Europe, and Blue Oyster Cult. But for some odd reason, I've always loved that stuff and ended up playing this album more than just a couple of times. Definitely not a heavy disc by any means, it's even hard to call it metal - but I loved it. Fans of classic rock might very well enjoy this too. Magazines hated it, but I loved it. And yes, I've gone way over the limit - but fuck it, this album was one of my favorite rock discs this year. Maybe I'm just showing my age.

Highlights: All The Dreamers, Blood Red Laughter, Didn't Like You Anyway, On The 13th Day, Dance Of The Black Tattoo, Putting Things In Place, Broken Promises, From Within (11 Tracks, 57:00)

9/10



Muse - The 2nd Law (2012) - Alright, Muse had a couple of good songs on some of their earlier discs, but I have no idea what kind of brain fart happened here. When I look at my ratings list for this one, I can see clearly that I only enjoyed the disc's electronic rocker "Supremacy 4:59" and "Prelude - Survival 5:09" which sees these guys trying to be Queen. But they do it more than once, and this is the only attempt that I find to be worthwhile. For the most part, it's mediocre soft rock with very little prog influence, the "mature" album.

But we already have a Coldplay and they suck.

(12 Tracks, 52:00)

3/10



Nonpoint - Nonpoint (2012) - This is what you call "hard rock 101." If you took the 90's nu-metal scene and condensed it into one fucking disc with every track sounding the same (with the same damn down-tuned riffs on every track) then you'd get this one. I did like the band's last disc, but this shows them playing it safe and making a very watered down hard rock/metal album. It's as generic as can possibly be, and it's obscenely catchy. They'll sell records, but they won't get my fucking money.

What's more, is that all of these songs are under 4 minutes and it's not grindcore. I'll pass.

(12 Tracks, 39:00)

4/10



Purvaja - Dark Goddess Divine EP (2012) - This is a one man project with an emulated guitar and programmed drums, but in all honesty it's not bad (and every metal musician who plays their own instruments just put their hand over their face) and the black metal vocal scowl is not too bad, even though it's definitely a guy at home screaming on his computer mic. But guess what? I've been there. That was me, so maybe I can understand this. He's a much better programmer of music than I am, I'll definitely give him that. But I really don't know how many people are going to dig emulated black metal as opposed to real black metal played with real instruments - cause let's face it, that shit's fucking awesome. Any guitarists or drummers want to help this guy out?

(7 Tracks, 20:00)

4/10 (Decent enough. At least the effort's there.)



Skunk Anansie - Black Traffic (2012) - This is a rock/punk (with hints of electronics) effort from a female fronted band from England. The singer hits a couple of good notes and the band thumps along quite a bit with tracks like "I Will Break You 3:11", "Spit You Out 3:28" and "Satisfied? 3:19." But they also have some ballads like "This Is Not A Game 3:21" (which is pretty damn sad) and "I Hope You Get To Meet Your Hero 3:42" which is a pretty powerful song in terms of the lyrics (she also sings it beautifully.) It should already be certain that I don't just review metal (read the banner) and this would most definitely NOT fall into that category. Still, a nice release.

(11 Tracks, 37:00)

7/10



Soul Cycle - Soul Cycle II (2012 Name Your Price) - Well, Soul Cycle is back but they've decided to add more djent and technical elements to their melodic death/groove instrumentals. That's bad news for me, because I can't come up with any lyrics for these unlike "Prime" from the last album. Every track on the disc is full of shredding, and some even feature electronics "Evolutia 8:25." The disc is pretty thick, three sentences or even five won't be enough to describe this thing, and even if I had all the time in the world, it wouldn't fully describe this album. Just stream a couple tracks or name your own price and check it out, even if that's a 0.00. It's got plenty of good instrumentals and you should find at least one track/section/portion of one of these songs that captures your fancy. Plus, there was a load of different guitarists on the disc.

http://soulcycle.bandcamp.com

Highlights: Instar - Soul - Reborn, Against the Iron, Transcendence, One Fleeting Moment, Evolutia, Break The Cycle (11 Tracks, 68:00)

8/10



Toxic Grind Machine - Embryonic Emission (2012) - Well, I had plans to interview the mastermind behind this, as it seemed like a good enough project from the first track I sampled from it; but when I heard the disc in it's entirety - the whole thing fell through. It definitely has the feel of bands like Fear Factory, Sybreed and Meshuggah but it doesn't really sound like anything altogether new. There's your heavy parts, there's your electronic influenced parts, and there's your clean vocal which is definitely pleasing to the ear. I think with time this band could go somewhere, but they need a bit of work still. However, they sound fine here doing what they're good at. I'd just like to hear a little more variety.

Still, check out "Cell 600 4:29." It's the band at their most brutal. There are signs of promise there.

(8 Tracks, 38:00)

5.5/10



Putrevore - Macabre Kingdom (2012) - There are some brutal death metal bands that bore me to tears, and I'm sorry to say it; but Putrevore is one of those bands. There are good ideas on this disc, just about every song starts up with some worthwhile riffing; but then it all goes to blasts and growls. If they had done anything else, I might have been encouraged to give them a higher score; but I've been reading some other reviews for this disc that also seem to share my views. There just wasn't enough here to matter and make it standout from the pack. They made an extremely generic brutal death metal album with just a hint of a bell and whistle. Good for sleep, I'd reckon.

(8 Tracks, 32:00)

5/10

Malignancy - Eugenics (2012) - Now this is what I'm talking about, a death metal band with something more to offer than just drums and growls. There's a great deal of structure just in the first track, "Type Zero Civilization 2:53" and listen to the drum play there - that's when you know that magic is happening. This sounds like the kind of technical death metal that bands like Cynic and Cryptopsy used to make and might be a good alternative to those of you who didn't like the Cryptopsy self-titled release this year. Track after track shows that these guys aren't afraid to experiment, but still keep things brutal enough for fans of the most pummeling brutal death metal. If you missed it, now is a good time to go check it out.

(11 Tracks, 32:00)

9/10



Murw - Kanker (2011) - Now three years old, this interesting disc is still worth checking out. It's a mesmerizing mixture of soundscapes, atmospheres and black metal. This band is literally all about structure, with dazzling guitar work that helps to illustrate the art that this music portrays. There is a certain line between music and fine art, and this is very close - there is even a light piece called "De Buitenstaander 7:38" which includes acoustic melodies and the sound of a gentle stream of water. Most of Kanker is quite heavy, but that doesn't mean that it won't transport you directly into the imaginative story that is told with sound, not words. An absolute must if you have not heard it already.

(4 Tracks 37:00)

10/10



The Wolves Of Avalon - Carrion Crows Over Camlan (2011) - A side project from The Metatron (Meads Of Asphodel) this is a blackened folk metal album filled with loads of appearances, including Alan Oavey (Gunslinger), Arvid Vermote (Krigavar), Steve Wallace, E Walters, Rob Oarken (Graveland), Roibeard O' Borgail (Mael Mordha), Verst (Instinct), Magnus O' Wolfheart (Yggdrasil), Rob Wakerfield (Aurora Project), Petra Jadrna (Cruadalach), and Roland Schropp (Wurzlzwerg.) At the most, it's a black metal folk tribute to what Metatron refers to as "our Pagan ancestors." It also has a short history lesson about the history behind the album, because history is very important. Despite the fact that it's not near as overproduced as Eluveitie, (it sounds organic and real) you should certainly check it out if you're a fan of folk metal at all. There are so many musicians taking part on this album that it would be a waste to not listen to the work that they've contributed.

Real folk instrumentations follow the darkened folk nature of the piece, but it is not filled to the brim with blast beats and harsh scowls. Metatron does the majority of the vocals, but this is much different from his work in Meads. You will hear some terrific melodies, but it's much darker and less "jolly" then you'd like, being more real to the age. This is folk album stained in the blood of our ancestors. Embrace the history and hold reverence to their sacrifice as you enjoy this work. It's like Folkearth, before they got too theatric. And yes, this is a full length review, because this project deserves one. So go check it out.

(12 Tracks, 58:00)

10/10

Interview With Mystical Death Metal Project, Haiduk

HAIDUK

Country of origin: Canada
Location: Calgary, Alberta
Status: Active
Formed in: 2009

Genre: Atmospheric/Melodic Death Metal
Lyrical themes: Fantasy, Supernatural, Folklore, Nature
Current label: Unsigned/independent
Years active: 2009-present

MEMBERS:

Luka Milojica: All Instruments, Vocals

THE INTERVIEW

1. First, let's talk about the album "Spellbook." Why did you decide to make an album based on various spells and does this have any occult reference? Obviously, I find things that are far out of occult realms like the first song about summoning undead and the final track about summoning a black hole. If these things were feasible in society, I probably would've already been sucked into a black hole of my own creation.

Yeah, it would be a fucked up world if magic was real. The album is inspired by the fantasy genre, not the occult. I sought to create a tangible “spellbook” which bridges the realms of music and fantasy magic using the medium of heavy metal. The lyrical themes stem from stories and ideas relating to a fictional world I’ve been developing for some time, and this album deals with elements of magic within that world: fire, lightning, necromancy, curses, etc. I felt I could relate to the solitary and ambitious nature of “sorcerors” who seek knowledge in order further their dark arts, and this inspired me to further my own desire for creating dark music.

2. What went into the album as far as it's creation? You're a one man band more or less and I would assume, did most of the album's composition. How long did all of this take to carefully calculate and compose? I'm also curious as to your drum program. It's quite killer.

It took about a year and half to make the album. I wrote all the music during 2011, then spent a couple of months finalizing drum tracks and fine-tuning volume, panning and velocity levels for each hit, basically trying to make the Drumkit From Hell sound as realistic as possible. Then another few months to put everything together; lyrics, texts, concept, artwork, equipment, studio....

3. The album's artwork is fantastic (cover, inside book, inlay, back cover). Can you talk about it? Who is this Gragoth character and how did he come to bring about this concept? How long did something like this take?

The album art, booklet concept, and spell symbols were designed by me. The artwork was done by Gragoth from Luciferium War Graphics. The ideas for the theme and album art were conceived around the same time that the songs were being written. The cover is meant to look like an evil book which, once you look at the cover, it sucks you into its vortex making it impossible to look away.

4. Now I would like to talk about the lyrics for the disc. Am I right to assume that the white colored words in the spell descriptions are the actual lyrics to the songs? Why did you do it like this?

I wanted the CD booklet to resemble a real grimoire filled with long texts detailing each spell held within, but this conflicted with my desire to keep the song lyrics short, so I decided to carefully embed the lyrics into the spell descriptions in a way that both can be read from the same text. This way you can read the full description, but if you only want the lyrics, then simply follow the words highlighted white.

5. I'm also curious as to the "spells" in the book. Where did you get the ideas for these definitions?

I always had plans for writing a fantasy book and have written many short stories. The concept of this album allowed me to combine story-writing with my passion for playing metal. Some of the “spells” were selected based on what a certain song or riff sounded like to me while writing it, for example a riff that would make me think of fire, or lightning.... I wanted to go into full detail and really try to conceive how some of these spells would actually work and what would be required to cast them, in a fantasy setting, of course.

6. Let's talk tech. What did you use to record this album, and how long have you been playing. Also, what are some of your influences?

I’ve played guitar on and off for some ten years. To record “spellbook” I went into a local studio where we used several programs to put it all together. I focus more on writing and playing music than recording so I left most of the tech stuff to the studio engineer. I’m influenced by rhythm guitarists who can shred and write good songs; originally guys like Mustaine, Jon Schaffer, Jon Nödtveidt, and later on Galder, Satyr, Jari Kuusisto, etc...

7. Out of the vast metal spectrum, what are some bands that you're currently into?

So much good metal, so little time to unearth it all! Couple of albums I’ve been getting into lately are Dew-Scented – “Issue VI”, and Vomit the Soul – “Apostles of Inexpression”.

8. What do you do when you're not making music?

Usually immerse myself in fantasy games/books/movies and take a break from reality, so to speak. I also do my fair share of partying, drinking, smoking, listening to music and going to metal shows with friends.

9. Are there any books, films, or video/computer games that you'd recommend?

The Dragonlance series are some of my favorite fantasy books, particularly the Legends trilogy which focuses more on the character of Raistlin Majere. I enjoy playing old strategy games like Age of Empires, Civilization 2, and Heroes of Might and Magic 3.

10. I'm also curious as to your promotional photo. How did the uniform come about and the effect with the fire coming from your palms? That's quite fucking amazing, to say the very least. It certainly conveyed the message.

The robes were obtained from a local medieval shop and the hood was a special order custom-stitch according to my design. I’m wielding fire using devices I constructed which allow me to hold a gasoline-fueled burning wick in each hand.

11. What will you be working on next? Are there already plans for new material?

I haven’t decided if I’ll make another album yet. With “Spellbook”, I had an idea, a story to tell, a concept to create, and now it’s complete. If I’m struck by inspiration to create something new then there will be another album.

12. Are you going to take this project to the stage?

I play regular live shows as a one-man unit. The bass, drums, and some guitar backing tracks are played through the PA while I do vocals and play the main guitar parts. It’s a cool feeling when you’re playing and suddenly the ground starts shaking as people start moshing and smashing into each other. Pure music-induced destruction!

13. What are your general thoughts on life? On society?

Be your own god. Live for yourself, think for yourself, question everything. Seek knowledge and be wary of the false knowledge that religions preach. Study the realms of truth and fields of science. Avoid triviality. Be different.
As for society, we all as a human race must encourage education, scientific progress, and academic study in order to resist sliding into violent and ignorant ways of thinking caused by extremist religions.

14. Since we're coming to the end of another great year of metal, I'm curious as to what some of your favorite albums were this year. You can provide links to the band's pages, if you like.

No idea. It’s been a busy year for Haiduk and I’ve hardly had time to listen much new metal. I’m usually a few years behind catching up with what’s good anyway, that way the hype has died and all the shit has sunk to the bottom by then. Although I admit was kind of hoping for something new from Galder and Old Man’s Child this year.
 


Haiduk - Spellbook (Band Request 2012) - This is a melodic death metal album like no other. It's intricately crafted and is more about creating an atmosphere than bashing you over the head. The one man powerhouse known as Haiduk (Luka Milojica) sent me this disc in the mail, and I immediately opened it up and checked out the booklet, which wasn't actually a booklet of lyrics. Sure, the songs were named and there were certainly words below each song heading; but I believe that the musician might be taking the name of this album, "Spellbook" quite literally. Of course, myself being an avid studier of the occult; I was certainly interested, but wanted to make sure that it wasn't some sort of hokum. Upon flickering through each incantation, the book outlined how one would create an undead, call upon a storm, a wind of plague, a self-protected force-field, (although I believe I have a certain friend who claims that he can make one that acts like a sort of metaphysical black hole, of course) the process of wielding fire and several other things that I'm not so sure as to their application in society.

The occult is a wonderful thing, but to paraphrase one of the members of Enslaved, "It can open up the mysteries of the universe, or it can be the first step towards hell." Of course, he wasn't talking about a sort of hell in the fact of devils and demons, but rather a hell in which one never leaves their surroundings, to get lost in dusty old tomes; just as some men have done ages ago. But regardless of the nature of the album, it is an experimental beast of a record, brimming with potential and some absolutely amazing riff structures. The drums on the album are programmed, but they seem to work well enough with the disc and Luka's vocals are scattered throughout the album in various growls that work to the advantage of the disc.

Now, I must tell you once again that "Spellbook" is not your ordinary death metal release. It relies heavily on guitar atmospheres and does a hell of a job with each and every one of them. Each song carries a different tone, but stays well within the lines of melodic death metal. Being a vocalist, I could certainly see where lyrics could be added in places, but he definitely wanted to showcase the instrumentations that sometimes get covered up with thick vocal lines. The majority of the disc is instrumental, but I don't find myself upset with that factor. It also helps to read the album's booklet while you're listening to each track, to get a feel of the incantation behind each instrumentation. For instance, while listening to "Hex", it may help to read the book's definition of Hex, and give you a sort of background for the music that you're hearing. A unique concept, but not everyone will buy it, of course.

There will certainly be those people who think that this album seems a little unfinished. Some of the songs only feature a line or two of vocals, and there are those of you who will still require that "extra element." However, if the music wasn't even as half as good as it is on this album, I would've also jumped in that boat. But there's just something about the catchy, hypnotic sense of the riff intricacies on this album that appeal to my ears and they certainly should appeal to yours. This guy is by no means a shredder of sorts, and I'm glad that a guitar-shred album is not what makes up this Spellbook. This album is all about making good leads and melodies, and showcasing your skill to others.

It also provides a worthy atmosphere to gaming. Perhaps this guy should look into composing game soundtracks, as these instrumental pieces are much better than some of the simplistic metal tracks that I've heard on a great deal of first-person shooters.

Whatever the case, I certainly would recommend that you give your full attention to this magickal work; and let yourself be swept up in the melodies of this powerful effort.

(10 Tracks, 47:00)

8/10