LACRIMAS PROFUNDERE - ANTIADORE (NN PR2013) (April 22nd, 2013)

  

Definitely not my favorite album from the band, but you can check out the full review right here at New Noise!

http://newnoisemagazine.com/lacrimas-profundere-antiadore-review-by-eric-may/

Enjoy!

Interview With Classic Death Metallers, NECROCURSE!

NECROCURSE

Country of origin: Sweden
Location: Uddevalla
Status: Active
Formed in: 2004
Genre: Death Metal
Lyrical themes: N/A
Current label: Pulverised Records
Years active: 2004-present

MEMBERS

Johan Bäckman: Bass
See also: ex-Masticator, ex-Runemagick
Nicklas Rudolfsson: Drums
See also: The Funeral Orchestra, Runemagick, ex-Bells of Doom, ex-Masticator, ex-Swordmaster, Domedag, ex-Deathwitch, ex-Sacramentum, ex-Varulv
Stefan Rodin: Guitars
See also: ex-Masticator
Martin "Märda" Andersson: Guitars
See also: Sabotage
Hellbutcher: Vocals
See also: Nifelheim, ex-Pagan Rites, ex-Necronaut (live), ex-Treblinka (live)

THE INTERVIEW

1. Let's start this off by talking about the album. What was the recording process like for Grip Of The Dead? What kind of sound were you going for and do you think you achieved that sound here?

We started recording drums in Sonic Train Studios with Andy La Rocque behind the controls. As references when we set up the drum sound we used Death - Scream Bloody Gore, Iron Maiden - Killers and a few more albums. Then we continued to record guitar, bass and vocals in other smaller studios. Finally, to go back to Sonic Train Studios to mix and mastering.

As for the guitar sound it’s a mix of rather traditional heavy metal distortion and a signal with buzz-dist as Boss HM-2. We mix two sound signals per guitar track. The sound of the bass guitar is probably a fairly normal sound with little distortion. But it really makes its the overall sound. The vocals is recorded with a Shure SM57 microphone which allows to capture the raw sound from the throat of Hellbutcher which can be heard on the album.

2. The sound of Necrocurse is drenched in the most ancient eras of heavy music. I can hear a little bit of Venom, Celtic Frost, Mercyful Fate and Morbid Angel at their most vicious. What bands would you say inspired the sound of Necrocurse?

The members of NECROCURSE are aged between 37-45 years, so we are naturally colored by the bands we listened to (and still listening) from the 80's and 90's. Everything from heavy metal and speed metal to thrash, black and death metal. To mention a few bands like Sarcófago, Coroner, Iron Maiden, Mercyful Fate, (old) Death, Bathory, Judas Priest, Venom, Candlemass, Morbid Angel and so on....

3. When you write the lyrics for an album like this, what do you draw from for inspiration? I've never heard a song called the "The Devil Cobra" before and I have to say that it's track titles like that one that really stick out on the record.

One can say that it is quite traditional death metal lyrics. But some of them are written in metaphors which makes writing a little more interesting.

4. Talk to me about Andy La Roque. What did he add to the mix and master of your album? I've also noticed that you gentlemen took part in the mixing and mastering process for this album, something that you don't see many bands doing these days.

I have worked with him many times on and off over the years. So it was a pretty natural choice to hire Andy and Sonic Train Studios. Partly because it is a good studio but also because he is good to work with and he brings out the sound that you want.

5. One other thing I've noticed about the album, is that it sounds in the vein of the 80's, but has the feel of being a remastered classic. It really sounds like this album was made way back when but also sounds very clean in the mix, giving it the feel of a remaster. Is this what you were going for?

When you ask that way, I probably say yes it was like that! Mainly in view of the references we had during recording that we think sounds really great. We really do not like the modern plastic and edited synth-death-metal sound!

6. What constitutes the instrumental makeup of Necrocurse? What kind of guitars, drums and bass did you gentlemen play on this album? What kind of tuning did you use and how did you make the album sound as classic as it does?

On the album we used,

Guitars: Gibson Flying V (80’s modell), BC Rich Mockingbird (Tuning: B, Sound: signal split to two different distortions)

Bass: Specter (Tuning: B)

Drums: Sonor (Andy’s kit, I normally use Tama and Mapex)

7. What could you credit as being your inspiration to start playing music?

Bands with distortion, speed & heavy riffing and hard band names!

8. You gentlemen have been playing metal in various bands for years now, some of you have been playing in different acts for decades and I'm sure you've seen a lot of acts and trends come and go. What are some things that you guys have learned from sticking it out there in the metal scene so long and do you think that some bands are just too damned serious these days?

We do not care so much what is happening around. Trends come and trends go. The most important thing is that you like and believe in what you do.

9. Hellbutcher, your approach on vocals is something that reminds me of black thrash in the vein of Destroyer 666 and Impiety for example. It's a killer approach on an album that wouldn't have hit hard with something more in the gravelly vein of Grave for example. Who would you say that your vocal influences on this album are?

(not answered by Hellbutcher)

The voice is a very important part of the sound of NECROCURSE. The voice makes a large part of the raw sound that we have.

10. You put out several EP's before finally releasing this debut album in 2013. Were you putting those out there just to test the waters and see how the reaction o the material was going to be? And from doing all of those short EP's how did you approach doing a full length?

We recorded five songs in early 2010 and after contact with Aftermath Music resulted in two 7 "vinyls and later a shaped MCD. It was just great that someone liked it and want to release the shit, so to speak. In 2011, we received several offers to write a full album contract and we decided on Pulverised Records.

11. Since many of you also play in other bands, are there any upcoming projects you'd like to talk about?

Hellbutcher & Nifelheim doing a tour in May. I (Nicklas “Terror”) are working on some other projects. But besides that we are working on new NECROCURSE material.

12. Let's talk about the live shows. I've seen some stills in the album art and of course the band image on the back cover and have to say that I find it impressive. You guys really do match the type of metal that you play and I think that image is very important these days, with a lot of other people just wearing band shirts and calling it a day. In the live shows, you see to go all out and really embrace the image which not only enhances the music, but makes the performance exciting as hell to watch. How important do you think a good band performance is these days?

I guess it's pretty important. But it's not like we're playing theater on stage. We play in action and enjoy what we do and I think it is reflected in the performance.

13. In your tenure of playing with different bands on stage, what are some of the most awesome experiences and some of the most shitty experiences that you've ever had while on the road?

The best part is when the band is good on stage and get good response from the audience. Audience repsons is clearly the most important. More important than good stage sound etc.

A really bad memory was a gig fairly recently. When the intro was over and the first song began at full of adrenaline, one of the drum pedals breaking 5 seconds in the song = 5 minutes until the gig can go on, SHIT!!!

14. Finally, what do you think of the metal scene today? What bands do you think are really strong out there? What do you think of the whole digital music scene that we have today?

The scene is probably as it always has been, a bunch of great bands and lot of bad hahaha. Hope NECROCURSE not among the bad. As for the digital distribution then just accept that there is a channel for music. Obviously not as hard as vinyl. But that is the situation.

Thanks for your answers gentlemen and the album's fucking fantastic. I definitely hope that you'll continue to make classic metal in this vein, we need more of it!

THANKS!!!!!

Mvh / Best regards

The Monolith Deathcult - Tetragrammaton (2013 NN Promo)

Check it out over at New Noise Magazine, and don't forget to listen to the free stream of the electronic influenced "Todesnacht Von Stammheim." Hands down, one of my favorite death metal albums of the year!

http://newnoisemagazine.com/exclusive-stream-the-monolith-deathcult-todesnacht-von-stammheim/

Revenge Of The Mayans! (April 15th, 2013)

Morian - Ashen Empire (2012) - Though the first track "Dawn Brigade 4:05" might be a little misleading, Morian is not a metal band by any means. They're more or less a hard rock band that I would compare vocally to acts like Three Days Grace or Flaw but utilize slight metal influence and more complex song structures than you'll normally find in hard rock. "The World Ends With You 3:41" and "The Boy Who Cried Wolf 5:47" are good examples of their best work, as thrashing drums back up melodic vocals in the former and power rock structures back up another great vocal performance in the latter. In Flames/Soilwork style riff melodies are somewhat toyed around with on the disc, and even though this is nothing new for metal - it's not a common occurrence in rock music and seems welcome. "Nemesis Rising 2:49" is a great example of this style used proficiently. However, the album's closer "Ashen Empire 7:40" is it's strongest moment seeing good use of the orchestration (that thankfully only accompanies this track and differs from the "let's have an orchestra on every fucking track" style that a great deal of bands seem to use these days) backing up an incredibly powerful ballad.

Morian's Ashen Empire is a great bridge album for those looking for a slightly heavier dose of hard rock than they're used to and I consider it a solid hard rock disc that's well worth checking out.

Highlights: The World Ends With You, The Boy Who Cried Wolf, Nemesis Rising, Ashen Empire (9 Tracks, 41:00)

8/10



Reverence - The Asthenic Ascension (2012) - Just in case you might have missed it, this new album from experimental black metallers Reverance is worth more than just a listen. I was completely floored with the majority of the album, proving to be quite more than bells and whistles. From just the beginning of "Earth 4:32" with it's black thrash, symphonic and avant-garde leanings that remind me of Arcturus in all respects. Unconventional riffing mixes in with uncomfortable atmospheres and frantic drumming for the most part with constant structural changes and grueling scowls. To fully describe this album, I would say that it's a less majestic and more foreboding take on the avant-garde black metal that they pioneered and is a natural evolution. Songs like "The Descent 7:01" even feature rock guitar solos further confusing the mix of pure misanthropic putridity that flows from this disc. Despite that this album is enveloped by atmosphere and experimentation, it is also unforgivingly heavy. Those of you who would have rather pissed all over the new Shining album than would've listened to it, will find you were looking for in this one. It's almost as if these two were playing in the same studio and accidentally walked out with the opposite masters, not noticing until it was too late and already finalized.

Interestingly, you'll also hear the sound a woman crying before committing suicide in the background of "Psalm IV 7:05" which is not something I've heard on a metal album before. At least, not to my recognition. If the grimness of the album doesn't assure you that this is quite morose, the sounds of misery will. This is an album made with nihilism in mind, it elicits the feel of life being totally and utterly worthless until "Cold Room 4:51" kicks up the groove right before things get too damned depressing. And say what you want about that clean vocal part, but it's fucking beautiful. There's a slight atmosphere in "Genesis Of Everything 1:59" which follows up with the sullen dirge of "Those Who Believed 5:18" which at the end kicks up into a frenzy which brings us into the title track "The Asthenic Ascension 8:51" which begins with nearly three minutes of atmosphere and builds up to a more bombastic event that culminates in experimentation and sorrow.

Reverance's The Asthenic Ascension is well described by it's album cover. It's a work of sorrow and misery that goes well with the symbol of the illuminated ones that adorns it. Whether this be a marketing strategy or the band is literally awaiting the hell that will befall us should this all not be a marketing strategy as I have previously mentioned; the results here are extremely sickening and overflowing with despair and hopelessness. It's literally the soundtrack of a world that's about to be flushed down the shitter. I'd quite think it to be one of the many grievances that will play in one's head upon entering the "re-education camps." But that's a topic for later.

Highlights: Darwin's Black Hall, The Descent, Psalm IV, Ghost Of Dust, Cold Room, The Asthenic Ascension (9 Tracks, 52:00)

9/10



Dark Empire - From Refuge To Ruin (2012) - Picking up where Mercenary left off with Everblack and 11 Dreams, power/death thrashers Dark Empire have made an album bursting with near-limitless potential. A power metal tinged clean vocal, dirty scowl and gravelly growl make up the majority of what you'll hear as far as singing, but the drum work is right where it should be and the guitars scream into battle with a vengeance. Most certainly you can hear the influences here ranging from a bevy of power thrashers (Nevermore, Mercenary) and Swedish melodeath (Scar Symmetry, Mercenary, Soilwork) acts paint just one of the many wonderful tracks here like "Dreaming In Vengeance 7:13" and "Black Heart's Demise 4:13." Nevermore fans will especially notice the influence in "The Crimson Portrait 4:58" a song that would've made The Obsidian Conspiracy worth listening to.

Once again, let me note the playing on this album. Some of these solos are just breathtaking, not wasting their two or three minute play time when they've got it; and making good use of their time on the shorter tracks. Even lighter ballads like "From Refuge To Ruin 9:38" sound fantastic, even though nothing on this album stays too light for long and this track also contains one of the best guitar displays I've heard in years invoking a great sense of neoclassical melody that's both beautiful and mesmerizing. To be truly honest folks, this is what I was looking for in terms of good power/thrash. The fact that it was mixed in with death is a bonus as far as I'm concerned and I'd pick up this album in a heartbeat. Every track offers something different like "Lest Ye Be Judged 5:48" which really powers on a like a Testament track and leads into the Nevermore influenced technicality of "What Men Call Hatred 4:43." You guys can go on and rip off Nevermore as much as you'd like, because you're good at it and few other bands are. When you hear songs inspired by a band that you think should have been done by that band, said act is doing something right.

This album also ends it off right with a massive epic called "The Cleansing Fires 13:55." It follows the common style of light acoustic track into much heavier track, but features a nice atmospheric portion that rolls right back into the bludgeoning. After some guitar wizardry, the final chorus hits and ends the disc out with some bells.

Dark Empire have taken the best of progressive thrash and progressive power metal (definitely playing up the Mercenary and Nevermore influence) and have rolled it all into one big heap of metal mastery. These guys were signed by Nightmare and it only seems fitting that a label would pick them up, as this stuff is gold. A bunch of guys from New York really came into their own here and let's hope that this won't be the only bit of noise that we hear out of them. Potential isn't the word, folks.

I definitely recommend this one to fans of progressive power, power thrash and death metal as it's got all of these and more. Discs like this one really don't come along that often.

Highlights: All (9 Tracks, 60:00)

10/10



Antestor - Omen (2012) - Well, now it's time for some black metal. Black metal done the way that only Jesus Christ knows how!

What? Something wrong with that statement?

Yeah, hold on. Let me review that... "Black metal done that way that only Jesus..."

Hmm... something certainly seems funny with that statement, but don't tell Christian black metallers Antestor, that. Just in case you weren't aware, this isn't Antestor's debut release and they've been making Jesus-laden black metal that sometimes even rivals their satanic peers for a good number of years now. If the fact that Jesus is the subject of this material offends you, then please do me a favor and grow the fuck up; because everything that Antestor do on this album is well worth hearing like the opener "Treacherous Domain 5:32" and "In Solitude 4:33" which borrows a handful of riffs from Emperor, but those riffs have been borrowed for years now, so it's irrelevant. As far as I'm concerned, Antestor have the formula for great black metal down as far as the riff structures, the pummeling drums and the bloodthirsty (with the blood of Christ?) scowls go. Of course there is an occasional element of death metal and some dirtier clean approaches are also featured on the disc.

The resemblance to the demonic counterpart is so unmistakable that I could probably trick someone by throwing a track from this on a disc that features many other black metal bands of the more "evil" variety. Great solos are also featured on this disc, making the experience even more worthwhile. From a musical standpoint, this disc is ferocious. Almost every track on the album is primed and ready to smash your face in (for Jesus Christ of course.) Sometimes, acoustics are used on the record and the occasional violins "Tiflukt 3:42" but no matter what Antestor attempt, they're definitely making music that should please both God and the devil. "All Towers Must Fall 6:48" is a good example of this, being a little bit of an epic that utilizes more acoustic and lets loose a sort of tribal feel, almost in the sort of fashion as Primordial; but is filled to the brim with different ideas that all seem to enhance the track in the best way possible.

We could very well call this God's version of Emperor, and I really do think that bands of that sort of classy black metal would accept this disc and say, "Well Jesus sucks, but these guys are good." But that's the same thing people are saying about the new Extol album via the youtube comments. I personally don't care and never have cared what in the fuck that any of you believe, if you choose to believe in anything at all.

Music shouldn't have boundaries based on what it's about. After listening to some of the new Stryper album (Second Coming) I'm convinced that I'd certainly much rather listen to it, than to some of the more popular acts - Butcher Babies, Motionless In White, Black Veil Brides and whoever the fuck they're going to parade around as metal on this year's upcoming Golden Gods (streaming live on FB and on AXS TV May 4th) awards.

But as far as Antestor go, I would definitely recommend buying it. Just to show all of your friends and the naysayer's that even if Jesus is the subject of black metal which is an ultimate irony - the band can still kick serious amounts of ass. There's not a song that I wouldn't recommend on this one, each and everyone of them is filled with the very best that black metal has to offer. Regardless of the twist, of course.

One of the best black metal releases of the year, making even Christian black metal better than the new Shining record.

Highlights: All (10 Tracks, 51:00)

10/10



Blutmond - The Revolution Is Dead (2012) - The French band who concocted one of the most interesting (black metal?) albums I've heard in a while is back and with an even more eclectic release of songs that last years Thirteen Urban Ways For Groovy Bohemian Days (and "Martini Midnight Madness" which is a track I've wanted to put vocals on for quite some time, so perhaps I should ask them about that. I did find a good spot for a chorus on that track, after all.) The new album has a much shorter title that houses twelve genre-defying tracks but sees the band going in a much different and questionable direction

"Putting Hearts Together 5:13" had Swedish influence, saxophone and female vocals, only making it black metal in the vocal sense (so then is it really black metal at all?) That continues with "Regret 4:26" which sounds like a Swedish melodeath or even a symphonic goth metal track. "Pas De Deux 4:01" also follows the melody, turning the scowls into an odd sort of hollering that comes across with the same intention. The structure is artsy as one would expect from French black metal. "Stop The Rain, Neuzeit Jesus 5:56" mixes a ballad in with some heavier notions and still in some areas sounds quite Swedish, but I've never heard sax utilized in such a way before, either. "Absolution Lies In Evolution 4:05" starts out like Ulver having a seizure, but then picks things up a bit until piano's are introduced and ends with terrific solo work. I don't remember these guys singing so much, but they seem to be hitting the notes here and I can't fault that. About halfway through, I'm perfectly comfortable removing the black metal tag from this band, because this is now obviously not black metal in even the remotest sense and differs from Thirteen greatly.

"Moonlit Chair (TM) 5:06" is an odd song that includes some black metal influence almost making me put my foot in my mouth. But one or two black metal influenced songs won't make me reinsert the tag and who gives a shit whether they are black metal or not? The music here is profoundly intriguing with powerful melodies that seem to reach out like a comfortable chair and grab you. I almost expected "Breakdown 2012 6:17" to be a song with nothing more than a whole bunch of breakdowns as a sort of joke, but instead it's a much slower and drearier number that eventually adds some electronic Ulver influence and goes back into the bag of melodies that this band has. These guys are like Felix the cat when it comes to melodies, I almost expect them to just pull one out of a million out of that little magical fucking bag that they've got and blow my mind with each one.

"Birds Of Prey 5:01" actually fucking sounds like black metal, but with some Sonic The Hedgehog guitars thrown in there making an odd, but thrashy fucking mix. There's also some odd male and female vocal elements (through voice changers) added to another great melody (and some more sax of course) which I really want to hear without the vocals because it's just that fucking great that it can stand alone. It's good enough to hum. Even though all the songs are intriguing, this one's my favorite. Would you believe me that they also use a keyboard to highlight that same melody? This whole goddamned song is built on one great melody. Been a while since I've heard that.

Ah, here's another great melody. "One World - One Feature 5:00" just comes right in with amazement and then the sax starts up but the vocals aren't so great at this point. When the chorus finally hits, it matches stuff I've heard in current era metalcore (we can't deny that's where the influence came from) but despite the fact that the clean approach here is awful, the instrumentation at the end saves the song from sounding a bit bare. "Attention Whore 4:36" is next, stealing from Ulver but doing it right before it adds the female vocals that come off a little Paramore (I'll have to admit it) and might kill some listeners right off the bat. A couples scowls might not be able to save this one, but I will admit that the melodies are just as good as always. "If I Could Reach The Stars... 6:50" is decent enough, but despite it's length it offers little new and the acoustics aren't that amazing. That track goes right into the electronic metal influenced which plays from their grab bag of wonderful melodies (both electronic and guitar) but I don't know how much the yelling does for the music. Some of you might even feel that the entire album is ruined by the vocal approach. But I strongly believe that this is due to being influenced by the metalcore scene. This album is truly marketable black-like metal for the core scene even though it does have it's definite moments.

Blutmond's The Revolution Is Dead might very well make some of you think that your interest in this band is also dead. The interesting sense of black metal from their earlier album seems to have been replaced with a much more marketable sense of metalcore, despite the fact that this album is loaded with amazing melodies and more ideas than could fit in a bath tub. But maybe this approach will help them to pick up the wider variety of core fans out there and help them to profit as an major act, rather than just a whisper in an alley.

Highlights: Putting Hearts Together, Regret, Stop The Rain Neuzeit Jesus, Moonlit Chair (TM), Breakdown 2012, Birds Of Prey, If I Could Reach The Stars... (12 Tracks, 61:00)

7.5/10



Light Bringer - Genesis (2012) - Finally. I can get one of my Japanese guilty pleasures out there. I've got more of these and happen to be an avid fan of Jap bands (as you should all know by now) so I'll get them up here when I can. The cover of Light Bringer's new album (unless they've already released another as is common practice in Japan) features the vocalist with one eye hidden behind her hair and a lightning symbol to the left, which are major symbols of the Illuminated ones. Despite that, the band is as I would guess; quite popular in the land of the rising sun as the production quality sounds as such.

"Sousei 2:08" opens the disc of exponentially short radio-ready tracks with a light electronic piece that flies into the electro rock of "Ark 4:59" which is not out place for an anime theme. The female vocals are also not out of place for rock-laden anime themes. Most of you non-anime folks (I hadn't watched anime for a long time until I broke my absence by watching Berserk Golden Arc I: Egg Of The King last night and would HIGHLY recommend it, even to metal fans who have never seen anime in their lives. Plenty of gore in that one, as well as a captivating storyline that ends on a cliffhanger) would probably wonder what in the heck this was, but like I said - guilty pleasure. "Ark" does feature some metal elements and incorporates a good solo as well as some interesting structure, but keep in mind that all the lyrics are in Japanese.

"Noah 4:43" derives into expectable neoclassical territory (as the Japanese know best) which makes it sound a little medieval in nature and in some places like Symphony X. Damn, I love these solos. You know this stuff is considered pop in Japan? We get the crappy dance shit and they get to keep their solos. "Merrymaker 4:43" has an electronic approach at thrash and sees the vocalist picking up a little mature tone (she's really got the pipes) in tune with some Egyptian influence and other oddities (kind of wish I knew Japanese, some of these songs seem like they might have to do with occult mysteries - especially with the names and effects I'm hearing - but what can I expect from the country that made Bible Black and Discipline? (The hentai and the games btw. Yes, I have them and have finished them both - Disgusting!) It makes me wonder just what in the hell they're studying in Japan.

Now we're onto "Babel 4:48" which has a lighter approach and sounds like a rocky j-pop song. Yet there is more experimentation here than you'll even find an inkling of in American pop music. Solos remind me of something you would hear in the Persona/SMT openings. The experimentation on this track is fucking fantastic btw. It's prog but even farther out there than we do prog... whoa. Then it goes back to pop? Shit. I would listen to the radio if there was that much experimentation.

Now the next song sounds a little Demon Castle Dracula at the beginning and this one I think I've heard from a game or an anime. But it says 2012. Although I could've sworn I heard this before in an anime. Definitely j-pop with rock influence, but I'll accept it. This one's more of a ballad than the others though. But she's certainly got a great vocal tone. This is what separates our pop from j-pop and k pop. I've heard other cultures try to do this, but when you get a native Japanese singer, there's just no contest.

The next track "Just Kidding! 3:51" should hit well, but it just doesn't for me. Despite the drums, synths and guitars being in sync - her vocals aren't my thing here. And what the hell happened to the solo? The next track "Hikari No Oujo 4:12" is too damned poppy for me. Next. "Espoir 4:31" has a slightly more gothic approach and she uses the deeper vocal octaves for this one - at least the guitars and drums have returned in fury, but despite that the band is thrashing, the vocals aren't so great here. The solos have more influence on this track though thankfully. "Kaze 4:28" is next, starting out with piano and I can't figure out why I've four starred this one. Perhaps it's a good ballad? Maybe I messed up and was supposed to give four stars to the more metallic "Espoir." However, I do like the end leads on the track, another thing you won't hear in American dance pop. The album ends with "Love You 4:02" which is one of the heaviest pop songs I've ever heard. Is that a bad thing or a good thing? It's certainly not my favorite track. Oddly, there's a really great solo used on the track but it fades out in lieu of piano.

Yes, this band was classified to me as power metal. Japanese power metal. I'll admit, it's there. Listen to the band without vocals and you'll hear it. But it's definitely not what you're expecting. This is the j-pop equivalent to power metal and it's getting quite popular in Japan. Light Bringer does have some worthwhile shit here, but if you just can't do J pop, I promise that I'll have some heavier bands to showcase later on. Trust me, I've heard them myself and can prove that there's still some formidable acts out there.

Highlights: Ark, Noah, Merrymaker, Babel, Karnstein No Keifu (11 Tracks, 47:00)

7/10



Cyntia - Endless World (2012) - Cyntia is an all girl power metal band, also from Japan. They're quite young, but definitely have some talent. Also, if you're any red-blooded American male, you probably wouldn't mind having all four of these talented young ladies in the sack. As long as they're overage, of course. The production here isn't as high as Light Bringer but it follows many of the same tenets of Japanese power metal. What's different, is that this band has more of a metal sense than Light Bringer and is willing to write longer songs to show their potential.

"Midnight Roulette 5:55" comes off quite slow and doesn't achieve much with it's long playing time. "Shikisaou Waon 4:16" offers a bit more piano but lets it nature as a heavy ballad show through despite a couple of heavy thumps from the guitar and some bashing drums in the background. "The Endless World 4:25" sounds like something you might hear in an anime, but then again it also mimics 80's hair metal girl groups like Girlschool but with a Japanese flair. They've got the riffs down, I'll give them that. "Run To The Future 4:11" is heard here as an album version, so I'm guessing there was a single first. The chorus is just about sung as much as can be without directly yelling and has a slight punk nature.

"Through The Fire And Desire 5:10" is in all actuality, my favorite cut off the disc. It shows that these four girls can in all actuality; play metal and has some definite thunder as well as a catchy chorus. This isn't the first time I've listened to this one. "Reimei 5:37" comes next and despite the fact that in the background it's heavy and most certainly metal in sections, it sounds a bit watered down due to the "happier" sense of the song. "Beyond The World 4:25" is a great ballad, it definitely sounds like the best of classic j-pop and hits a little bit of a hair metal sense that doesn't come off too cheesy. There's also an intriguing instrumental session used in the track that's pretty unexpected and shows me that these girls do have potential for greater things in the future.

"Meteor Calling 5:56" is next and I really love the chorus on this one. The vocal acrobatics are simply killer. A little more than halfway through the song, some interesting guitar effects are utilized that go into the solo. Um... she can really play. Give her a chance to show off, will ya? "Shaman Dance 4:45" is next and it's really inventive in the fact that it really utilizes the keyboards in a fascinating way right from the beginning. The guitar really starts to show off again on the latter part of the song (again, this girl can really play) and then you'll hear the fucking awesomeness at the end. Listen to those riffs. Wow. That shit's pretty cool, folks. Never expected that from four Japanese girls. (But I also never expected Flagitious Idiosyncrasy In The Dilapidation either to be fair.)

"Voice 6:48" is a ballad, but I've given it five stars for some reason. (Bare with me, it's been months since I've heard this disc) I will say that I like the chorus and the melodies work well enough and the solos played during the ballad are pretty damned interesting too. Again, to all you dudes who think that a man is the only one capable of really killing the guitar - this is an all female band. She might not look like much, but Christ, she can play! This must be what happens when you give your daughter a guitar in Japan. Seriously, go check out the solo on this track via youtube. (Note: This is the album version of "Voice.")

"Genkaku no Taiyou 8:54" is the longest track on the album, already starting with some wonderful guitar riffs and some electronics as well. The track does certainly thrash along with the keyboard effects and does so for almost six minutes and that's when the band's guitar goddess lets loose with even more fury, eventually dueting with the keyboards and letting the drummer get a solo in before returning to the vocals. By the way, I just noticed that the guitarist is the only member of the band to display an instrument, not only the album cover; but also in the band photo included here. She's very proud of her work and very well should be.

"Bittersweet Nightshade 3:30" is the album's closer but it a little more jumpier than the rest of them, despite some great guitar work, of course. It's a little more geared at kids in a way, but hell - I'd rather my kids listen to solos like this than whatever in the hell our media's feeding them.

Cyntia have tons of potential. While not as experimental as Light Bringer, they've got serious skills and the music is definitely in the vein of metal, even if you cannot possibly force yourself to believe it. Kill yourself if you want to and feel that this is it, the straw that broke the camel's back so to speak - how can things get any worse - but as far as I'm concerned, I'd certainly like to hear more from these girls and they did deliver with a new disc this year (Lady Made (2013) which I have yet to listen to and may update on the 2013 releases, if I have time. Of course, I cannot forget about the band's wonderful fretter and hope that she offers even more great guitar work on the band's new album.

Sometimes, it takes a bunch of guys to get together and play some great metal. But in certain rare cases... it only takes four Japanese girls. You know what? I've learned a new insult.

"I've heard metal played by four Japanese girls that sounds better than your whole fucking band!"

Try using that one and see what happens to you.

Highlights: Through The Fire And Desire, Beyond The World, Meteor Calling, Shaman Dance, Voice, Genkaku No Taiyou (12 Tracks, 63:00)

8/10



Liv Moon - The End Of The Beginning (2012) - As we come to the end of our journey of female fronted metal from the land of the rising sun, I'll return us to an act that I called "the Japanese incarnation of Nightwish" and with this new album, the Japanese goddess who not only radiates sexual prowess and beauty; but also otherworldly vocal talent further confirms her divinity with the most bombastic and powerful album of her entire career. The cover of the album looks awfully odd for a Japanese album, it looks like a stone with runes carved on what appears to be a snake that surrounds the face of a Valkyrie. Not something you see everyday from this country.

The disc opens up with a sense of majesty, as I sense that this is a concept album. Concept album? How in the fuck do you write another hour of music and get it all ready in one year's time? The band just released a wonderful disc last year. Where in the heck do these people get their work ethic? It's astounding!

The real music begins with the first couple thumps of the guitar backed by a choir and we see that this is "Free Your Soul 6:37" and is completely laden with orchestra. On this one, she chooses to stick with traditional Japanese, but she is truly capable of the same skills in English. The solo on this one screams forth, backed by the choirs and orchestra when she then switches to English as seamlessly as she goes back to Japanese for the chorus. Just wait until you hear her do straight opera.

"Fountain Of Pleasure 4:29" continues in the greatness of the last album, offering heavy riffs to back Liv's excellent vocal work with no fear of throwing a couple solos in. This song apparently seems to be about having sex with her in the woods. But then there's the folk instrumentation that comes in - you catch that drumwork? - listen to the guitar riffs now backing that vocal, if your ears aren't keen, you'll miss it.

"And Forever More 4:31" sees Liv singing in English. A male vocalist joins in and they together duet on a powerful ballad. Some down-tuned thunder here but after the chorus refrain a short solo comes up... what? Where did it go? I could've sworn I heard a solo. Oh, there it goes. That's more like it. The last refrain really kicks this up a notch, I'd certainly recommend the whole track. Pretty catchy.

What's Japanese metal without neoclassical influence? And that's where "Black Fairy 4:34" comes in, backed with orchestras and some heavy riffs as we should expect. There's a solo, but it's nothing spectacular. Horns blare as the next track "The End Of The Beginning 5:16" thunders in, and I do mean thunders - the orchestras are laid on as thick as Wagner and there's a little girl singing at the beginning that later goes into full-blown opera. While I question some of the vocal effects, the chorus returns Liv to what's she's really good at. This is that Nightwish influence you wanted to hear. Closer to the end, things get really odd (hint of a solo?) little girl sings and then the chorus returns. "Valhalla 3:08" starts off with the same orchestral influence before the drums kick up and add some really great riff melodies to back it up. There are no vocals here, but it certainly shows that the band is talented with or without the frontwoman. Definitely a great show in neoclassical metal.

"Midsummer Eve 4:49" is a track that's about the hook, but features some great keyboard and guitar work that is quite easy to take notice of. "Hell 4:29" is next thrashing a bit alongside keyboards but seems to also be about the hook, yet she always seems to deliver. There's a keyboard/guitar solo utilized but it's more about the thrash riffs that back the chorus. "Kiri No Requiem 6:17" starts off with the orchestra and it takes a while to really warm up, but she kills it with the chorus again. "Land Of Spirit 1:13" doesn't do all that much as it's just a lifeless instrumentation with slight vocal harmonizing. "Immortals 4:26" comes right after with some heavy riffs that break up the acoustics. It also starts out in English vocals. Damn, that's some really powerful singing. This woman can nail it in both languages and I'd love to see her incorporate even more tongues into her work. The vocal work here is nothing short of brilliant. A solo comes in which seems slightly folk influenced (all of these solos are awful short though) as the chorus finishes it up.

"Oogon No Namida 4:24" is a little lighter but features a handful of rock riffs that mostly shows off the vocal approach, but there are a few good guitar melodies here and an unexpected solo as well as an expected one that continues into some strong leads which play off this track rather well. Really well, as a matter of fact. It's an essential ballad. "Voyage 5:11" is the technical last track of this album as the last track is an outro. It starts off as sailing music, sort of like the majestic orchestral stuff you'd hear in Pirates Of The Caribbean. Liv of course, kills it again with this great vocal approach showing that she's definitely got it where it counts. Damn, there's a violin solo. Works for me. Now things go very metal/filmscore - Now do you see where I get the Nightwish influence? The disc should have ended there, but a slight outro plays to end the album out. It's not really worth mentioning, just like the prologue.

Liv Moon has really upped the ante by hiring a full orchestra to back her and the band up. This is an unexpected move that could've had major consequences on the band had she screwed up. But she delivered some of her best vocal work to date on this work and it's definitely one of the most bombastic metal albums that you'll probably ever hear out of Japan. Unlike the other two acts, Liv has quite a few years of work on her and has plenty of notoriety in the country. I would certainly recommend this to fans of operatic metal or female laden metal of the symphonic/gothic variety. It excels in more ways than one and is certainly worth a purchase. Now, if they'll ever bring it overseas so we don't have to wind up paying ridiculous import costs...

Highlights: Free Your Soul, Fountain Of My Pleasure, And Forever More, The End Of The Beginning, Valhalla, Hell, Immortals, Oogon No Namida, Voyage (15 Tracks, 62:15)

9/10


NOTE: ALL THREE OF THESE JAPANESE BANDS ARE RECOGNIZED ON METAL ARCHIVES.



Aerosmith - Music From Another Dimension (2012) - Well, Steven Tyler and Joe Perry... this seems to be where I no longer give one fuck about Aerosmith. Obviously, the act is now well past it's prime and considered legendary hence Tyler's appearance on American Idol last season. While I'll admit that "Luv XXX 5:16" has it's potential with the jazzy grooves that we'd expect of tracks like "Love In An Elevator" this track sounds too much like it wants to be "Love In An Elevator." The next two tracks "Oh Yeah 3:40" and "Beautiful 3:04" are alright, but that's about it. "Tell Me 3:45" is too much of a weak acoustic ballad for me.

But this disc does have a peak. "Out Go The Lights 6:55" returns us to the Aerosmith I did give a fuck about. Joe Perry also lights the song up and the harmonica influence works well enough, but the female vocal line is too corny "Do you wanna take a lookie, cookie?" Nope. That's fucking lame. Thank god that Perry comes in and saves this fucker. Can't say too much is wrong with this one, musically it's what we want from these guys. "Legendary Child 4:13" is next and as you know, that's the first single that made me curious about this disc (and I'll admit that it's not a complete failure.) This is the kind of song that made Aerosmith and it's got the whole cowbell and jazz riffs intact. Perry of course kills this one too. If only they all could've been like this...

Shit. "What Could Have Been Love 3:44" brings us to the ballads that may have helped to commercialize the band, (even though I like "Hole In My Soul" so don't fucking diss that one) but it isn't that bad from a song standpoint. This one will help them to sell singles, but I don't know about the record. "Street Jesus 6:43" is the last good song on the album before the hiccup. It sounds like Aerosmith at their earliest, Toys In The Attic days. This sounds like a really great fucking fluke that no one was expecting. Awesome? You bet. Joe Perry also lights this fucker up and Steven Tyler deserves proper recognition for this one, it's actually worth a fucking damn.

Hiccup. The next track is the "sounded good on paper, but will be a commercial success, or maybe not" duet with Carrie Underwood called "Can't Stop Loving You 4:04" Obviously, I fucking hate Carrie Underwood and pop music; even though I'll admit there's something in the trippy riffs. "Lover Alot 3:35" sounds like it's got riffs ripped from the theme to Top Gun but there's a good middle portion. Pretty damned catchy. I really like the guitar or whatever the fuck that is... is taht guitar? Give Perry plus one for confusing me. Next we have "We All Fall Down 5:14" and I notice that this is by Dave Warren, not Joe Perry. Someone fire Dave Warren. But somewhere, some woman and some man are getting married to this. "Freedom Fighter 3:19" is Aerosmith, but who in the hell is that singing? It's not Steven Tyler. Not a bad track, just odd hearing Aerosmith fronted by someone else. This track seems to be anti-war, which I didn't know was something that Aerosmith supported. But I guess these guys are lovers, not fighters. You know, I think with repeated listens I could accept this one. "Closer 4:04" is an alright ballad, nothing special. "Something 4:37" I gave four starts too, so it's got to be worth something. Again, it's the other vocalist on this one - not sure who he is. Hell, it might be Joe Perry. Vocally, it doesn't offer much, but the prog-jazz fusion that I hear musically is worth the score.

The disc ends on a ballad called "Another Last Goodbye 5:46" There's a female vocalist backing him (Tyler) up in areas and a violin influence. It's a soft ballad that mainly shows off Steven Tyler's vocal range. Now the album returns me to my normal perception of reality, until next time.

In all honesty, it ain't half bad. I've never had a problem with Aerosmith despite their big operatic ballads. "Dream On" showed off just as great guitar work as it did vocally, that's one of their most known songs of course; but "Don't Wanna Miss A Thing" became way too goddamned popular. I think it became even more popular than the damn movie it was used for (Armageddon.) There was a point where I was ready for an asteroid to take that fucking song out of rotation. But seeing the band returning to their old stuff is a welcome relief. There's a couple of good songs here, not all of them sung by Steven Tyler - but it's not garbage and offers some great classic rock. Just be ready to skip the crap. I suggest taking the good songs and burning them onto a shorter 40:00 CD, personally.

Highlights: Out Go The Lights, Legendary Child, Street Jesus, Lover Alot, Freedom Fighter, Something (15 Tracks, 67:00)

6/10



Prozak - Nocturnal (EP 2012) - Prozak, what the fuck happened to you? I remember hearing a disc in 2007 that saw metal playing around with horrorcore rap music and doing a decent job of it and now I see this stripped down little cover with your name in an artistic font that looks like you're trying to make it as a mainstream hip-hop artist. To tell you the truth, you look like an old fucking man there. Maybe you found Jesus.

From the sounds of the album, you did. Does Jesus = mature for some reason? It's like every time some finds Jesus, they all of a sudden get mature or something. Like Jesus is what separates the boy from the man - like it's some kind of right of passage or something. You're still a child until you find Christ. What does that say for science?

At any rate, this EP is less than thirty minutes and just a little over twenty. It's basically him saying "Yeah, this is the new me. Found God." Is that like a Where's Waldo book? Instead it'll say, "Where's God?" Spiritual beliefs aside, this is a decent record. It ain't great, but it's passable. There's a short intro that sounds like it would horrific stuff, but it's not. "Molotov 3:43" starts us off with some riffs that go into beats and rhymes with a little bit of d-tune in the background. The guitars and drums kick up a bit during the chorus. It's more like the album I heard in 2007, but not as good.

"Shadow Of Death 3:15" is next and it brings some great horrorcore with it. It's a song about the reaper with a creepy atmosphere and some great demonic vocal effects. Definitely want to hear more shit like this and the rhyme delivery is quite sharp. "Giving Up 3:45" is next and it's got a female vocal that I don't like so much, but I do like vocal delivery and the beats. "Vigilante 3:36" throws Twiztid into the mix and they made one of the best horrorcore albums in years, so I expected good things from this song and I got them. A little bit of guitars decorate this tale about a serial killer who believes he's doing God's work. All three of these guys deliver great vocal work as well. This is what horrorcore should be.

"Knuckle Up 3:26" features two other guys I haven't heard of (R.O.C. and Dirtball) which has a good vocal delivery from Prozak, but I don't like the other two guys. One raps like a regular old black guy and the other just tries to rap as fast as he can. The last track on this thing is "No More 3:58" and starts with a female harmonizing. The rhymes come off well, but he talks about career resurrection which is exactly what this is, like a demo for Prozak II: After Jesus. Then all of a sudden, I hear something familiar... "STRANGE music."

Yep. Tech N9ne brought him back. But he had to have a cleaner image and that's what he's eliciting here. There's no doubt that Tech N9ne sold out, even though his earliest material is not horrorcore at all. Even though Klusterfuck and Boiling Point were both decent, they were light compared to the lyrics that Prozac uses here. But I expect that to change as horrorcore music is even beginning to go corporate. I really didn't want this underground murder rap genre to go popular, but with Brotha Lynch Hung doing quite well and with some revolting shit that can be likened to death metal in it's ferocity (Coathanga Strangla) the genre is becoming mainstream as stuff like ICP now gets marketed to people who get lumped into this "white trash redneck" category and now gang music, as peculiar.

Oh well. Nothing lasts forever.

Highlights: Shadow Of Death, Vigilante (7 Tracks, 22:00)

6/10

Device - Device (2013 PR)

Check it out exclusively on New Noise Magazine!

http://newnoisemagazine.com/device-device-review-by-eric-may/

Note to the hordes of The Grim Tower: You'll notice that I gave this album a 3/5 because that is what it deserved. It's about a 7/10 and a decent enough effort. This is the same score and kind of review that I would have done for The Grim Tower and keep in mind that I now get to chance to preview other big names (much earlier than usual) and will have those linked right from here.

No one paid me for this review and I listened to the album heavily before I came upon my final score. Remember that if I don't like something, I'll make sure that everyone knows it. The fans consider this album to be amazing, but I don't feel that structurally, it's all that great. Worth checking out, but don't expect any hard driving metal.

I just want to make sure that you guys know that I am still the same guy I always was, just now I'm doing work for a bigger zine. And yes, I will still be updating this site and you are still free to send me work. NOTHING HAS CHANGED.

And make sure to recognize the importance of fire safety. That is all.

- Eric

Week 76.5 (April 13th, 2013)

Super73 - Untitled (What Matters) 2:51 - Yes, you haven't been fooled. Some bands are opting to send me just one song to review. Which I don't mind, it makes things much easier; but on the other hand it gives me just a one-song impression of the band which could make or break the entire experience. I could tell you that this song is amazing, but then again - it could be the only good song. Or I could tell you that the song is horrible, but the rest of the release the song was taken from might be fantastic. I've never been a "single" kind of person, I know many people however who only do like "that one song" and skip out on album listening completely.

Super73 is an alternative rock band that sort of reminds me of Rage Against The Machine/Tool in the riffs, with a little bit of core or punk influence in the vocals (usually in a sort of background yell) and a frontman with a more mature tone who sort of reminds me a little of Corey Taylor at his cleanest. The song is an odd mix of punk and proggy hard rock that left me both confused and intrigued at the same time. It's punchy but intelligent rock music that seems like it would be quite marketable. I'll also add that a little more thought was put into this than most bands of their genre, so give them a plus for that.

7/10



U.D.O. - Metal Machine 4:46 - So this will be the second time checking out the only track I've heard from German metal legend Udo. Though he's had many albums, I've only heard this track and certainly would like to hear more as I'm curious to hear anything done by a metal legend. I got the Judas Priest vibe just by looking at the album cover (for the forthcoming record Steelhammer.) It's very much in the style of Ram It Down and the music displayed here reflects that. Udo sounds like he's reaching high for Halford inspiration and I'll admit that on the second listen that damn chorus is pretty catchy. The track certainly sounds like something from Priest at their heaviest with hard-driving rhythms, a few classic solos and backup shouts that enhance the chorus, bringing a certain old-school flavor to the mix. Unfortunately, I feel that this song is too much like Judas Priest and would like to hear something that sounds more unique. I hesitate to use the word knock-off in this sense, but I feel that it very much comes across as such. But it does have a certain nostalgia value that might just resonate with the rest of the metal world.

5/10

(No Artwork Available)

Ugly Distance - Because Of You 4:55 - Posted on The Grim Tower's FB page was a set of about four or five tracks from an electro metal band called Ugly Distance. Obviously I don't have enough time to stream, so I downloaded the one track that was available and promised a review. As far as the music, I could liken it to Scream Machine, early NIN, Ministry or current electronic era Mortiis. Strong electronic-laden riffs compose most of the song along with some electronic buzzing that seems to leave the (slightly enhanced) vocals as the strong point of the music. The musician definitely has some potential (I'm guessing he's a DIY) and his angry vocals come across in the right context. The latter part of the track comes off much better than the beginning which I will admit drones a bit more than I'd like. While not completely polished, this track is a free download from the band and is worth checking out. I'd be curious to see what Ugly Distance will offer us in years to come and applaud all DIY musicians.

The band's music can be found at Myspace, ReverbNation and Facebook via a simple search. Enjoy!

7/10



Severe Mutilation - Spawn Of Hatred (2013 Band Request) - If you're looking for something to rip your fucking face off right from the beginning, look no further than Puerto Rican death metallers, Severe Mutilation. Originally under the name Bloodspill (just in case you've heard of them by that name) the band has since changed their name and with that change came the idea to incorporate more old school death metal influences into the music. Influences like "Morbid Angel, Cannibal Corpse, Dying Fetus, Vomitory, Vader, Behemoth, Napalm Death, Soltice, Decapitated, Suffocation and many more."

The drums are rife with fury, the vocals are scathing, switching between influenced gravel and scowls on the fly and it really conveys the band's "fuck you and your god" message quite well. The riffs charge into the fray with the fervor of death and thrash, albeit letting some deathcore influences in every once in a while. But if I'll say anything about the music, it's that these songs really kill. These guys aren't trying to be anyone other than themselves, they're just going out there and putting out ball smashing death metal that's well worth recognition. There was a five star rating from me on every track but the intro, showing that I enjoyed every track but will admit that I heard nothing here that reinvents the genre of death metal. Nor did I expect to hear anything of that nature. And if that sounds good to you, then chances are that you'll enjoy every blistering moment of this beast.

Severe Mutilation's Spawn Of Hatred is nothing new, but it will definitely leave a mark on you if you're a diehard fan of the genre. The core influence is still there, but it's not going to leave a bad taste in your mouth unless you really don't like the vocals. I'd recommend checking it out when it's available on May 5th, 2013.

Promo Singles: (All Respect For Life Is Lost & I Kill For God)

http://www.youtube.com/watch?v=dyyu6DpXiW4

http://www.youtube.com/watch?v=J701FT7on7w

(10 Tracks, 29:00)

8/10



Soliloquium - The Concept Of Escape (2013 Band Request) - This short release from doom/deathers, Soliloquium (try saying that one three times fast) actually impressed me a bit more than heavy hitters in the genre like October Tide, Be'lakor, Swallow The Sun, Saturnus and others. Maybe it's because there's nothing expected of them at this point and that gives them the free reign to do what they want with this release. The guitar melodies certainly have it, as they weave through the tapestry of these dark sonnets like a chill November wind. Even if you don't think the production is as "flashy" as you'd like, at least it sounds natural. After hearing "Remnants Of Dying Dreams 7:39" I am clearly reminded of death/doom favorites Rapture - but I feel that the melodies here might even be better than theirs and that excites me greatly. The drums pound but never get too overbearing, while gravel consumes most of the vocal area. Occasional clean vocals are used and they come off quite soft for the most part, yet there are also a few background screams to add extra emotion in the music. Things are not always so heavy though as atmosphere does creep up in the vein of light yet dreary, acoustic melodies.

As for the record as a whole, I believe these guys have the potential to become as big as their influences and hopefully this will get enough promotion for them to reach that level. They are just as talented as all of the bands I named earlier and well worth checking out for fans of both those bands and the death/doom genre in general. These guys really do a lot in less than thirty minutes and I'd be curious as to what they could conjure up in a full hour's time. Each and every one of these three lengthy tracks is fully recommended.

Once again, the melodies have it for this extremely hard to pronounce band. But after you get done hearing this disc, I think you'll find that you'll be trying to pronounce (and probably misspell their name) to all of your friends and fellow band members, if that be the case. This is what the early fiddlings of future legends sounds like and I most certainly recommend it.

Highlights: Crossroads, Remnants Of Dying Dreams (3 Tracks, 24:00)

9/10



Wings Denied/As Oceans - As Oceans/Wings Denied Split EP (2013 Band Request) - This bandcamp split between two bands who do more or less the same sort of djent influenced prog/core but with different approaches comes off as both mediocre and interesting at the same time. While it is true that As Oceans' "Witness 3:48" comes off a little expectable, I do like the use of a technically influenced solo that balances out the angry core vocals that back the djent riffs and technicality. There's a clean vocal approach that's also expectable and a light atmosphere to end the song. The next track "Requiem For A Planetary Burial 3:33" contains some odd structure changes and a spacey solo - so at least they're trying.

Wings Denied starts off their half of the EP with "Signs 4:52" which is the most refreshing breath of air on the whole damn thing. True, some might see it as core going as prog as it can without reaching into the veins of screaming and hardcore grunts; but I like the fact that it doesn't feel it has to go into that territory. The vocalist doesn't feel the need to have to sound like anyone else other than himself and it has a sort of Deftones feel to it in areas. Though it would be doubtful that I would have any effect on the band's music, I think an entire record in this vein would be a refreshing change of pace for the whole genre. These guys have already showed me that they can do it with "Signs" and if they just cut the whole djent deathcore that everyone else and their mother is doing, they'll stand out. Someone will give a damn. Not only that, the blazing solo that creeps out of this corner further ensures me that I would actually care a bit more about this band if they made an entire album in this style. But then there's "Kill, Eat, Pray! 4:44" which though even contains some gravel and yells amidst the haunting djent core, (it is original in that sense) I still have to say that I really want to hear more like "Signs."

I think that both bands have something to offer, but obviously I'm more inclined to Wings Denied on this one. As Oceans' have their points, but it brings up a nostalgia value every time I see their name as it's close to one of my still favorite industrial black metal acts, the now defunct ...And Oceans. But honestly, the fact that both of these bands offered me something that didn't sound like everyone else is refreshing. Every time a new trend in metal comes out, you get 45,000 bands who want o capitalize on it. It's good when you've got some bands out there that say, let's approach this a little differently.

"Impressive." remarks Darth Vader.

Highlights: Requiem For A Planetary Burial, Signs (5 Tracks, 18:00)

As Oceans

6/10

Wings Denied

8/10

Final Score

7/10



Desiderium - Autumn Tales EP (2013 Personal Interest) - While on the download page for the previous split EP, I found an another EP from one of the band's old vocalists. He's apparently doing some sort of black metal. I said to myself, well - let's throw the guy a bone. I like black metal, so maybe this will be good.

Yet here's the thing. It wasn't black metal! But hold on, don't stop reading just yet. This odd record certainly had potential in it's Goatcraft/Ulver style flair of three different atmospheres, each one of them quite interesting in their own right. Obviously there's nothing to band your head to here, but if you've heard Mortiis's atmospheric material I think you'll quite love this. In truth, I used to fall asleep to the lovely sounds of Mortiis's atmospheric albums (and sometimes Burzum and Karl Sanders) every night and always woke up quite refreshed. I do believe that this would also be useful for lulling one into another dimension whilst they dreamt. "October Chill 5:56" actually reminds me a bit of atmosphere master Steve Roach (please get some of his great music if you've not heard it) and that is a compliment that should make this guy smile from ear to ear. It's not necessarily easy to do atmospheres. I've done some of them myself and know that it takes a great deal of time and patience to achieve the right kind of mood for the piece.

Secondly, we've got "The Golden Evening 7:38" which continues this otherworldly music (that I think needs a cover more fitting of it - the current cover doesn't match the style of music and it's misleading) into the very reaches of the stars. This is extremely gripping material, it's as if the music itself is carving a story into my conscious with sound alone. I feel as if I can see the planets, Saturn with it's mighty rings and the gaseous clouds of Neptune (maybe there's life inside of those clouds?) and the many moons of the titan Jupiter, spinning about in orbit to an fro, completely free from the parasitic man - it's a splendor unlike any I've witnessed. Aye, the sounds of the universe have been indeed captured and displayed before us in a fashion unreal. This is not just the highlight of the album, it is the highlight of most atmospheric music that I've heard in a while. On this song alone, I would give the disc a 10/10.

The disc ends with a spacey (and yes it works) cover of "Cicely 3:24" as originally performed by the Cocteau twins. This is the first and last that we'll hear of the vocals, but they certainly aren't my thing. Perhaps with time I could learn to like them though. The emotion is there, it's just not my style of vocal.

This EP is incredible nonetheless. I hope this guy just drops black metal forever and continues to follow in the footsteps of great atmospheric visionaries like Steve Roach and whatever the heck it was that he channeled in "The Golden Evening." I grabbed this on a whim and never expected to be blown away so much by that song. Labels, if you are listening (and I know that you are) please review this music yourself and determine whether or not you think this man should be signed. He should at least make some sort of deal with the darkwave/atmospheric collective that Projekt controls and maybe get his name out there to a broader audience. If Sam and his wife are still running the label, I'm sure that they'd be more than glad to have him among the roster of such incredible artists that they feature.

Music this good should not have to struggle to reach the masses. Especially when there is dire need for it.

Highlights: October Chill, THE GOLDEN EVENING (3 Tracks, 16:00)

9/10

(Remember, The Golden Evening is a 10/10 by itself.)



Ghost B.C. - Infestissumam (2013) - However you pronounce that title, (and spell it) this is Ghost's... I'm sorry, Ghost B.C.'s (WTF?) second album and is a complete departure from their beloved debut, Opus Eponymous. So, what the fuck happened here? First of all, let's just observe if you will; the "B" and the "C" in the band's new moniker and the changing of Papa's. (He's now simply Papa II.) This is merely to let the fans know that Ghost has changed into something that has been identified with the letters "B" which stands for Became and "C" which stands for Corporate. So the new name for the band is, Ghost Became Corporate. Who can we thank for that? Phil Anselmo and Metallica. Dave Grohl even plays drums on one of the bonus tracks, an Abba cover of "I'm A Marionette."

Are the King Diamond/Mercyful Fate influenced odes to the horny one downstairs still intact? Yes. They actually get rather blatant with this one, if you couldn't already tell that these guys either worship or want to worship or want to make people believe that they worship Satan. Of course, the singer has a slight pronunciation problem, so I'm not sure whether or not they're singing about Satan or the color satin, as in bed sheets. There's one track in particular "Year Zero 5:50" that goes "hail satin, welcome year zero" and all of the sudden I'm thinking about them singing in some kind of department store (because remember, they're corporate now) about the color satin, each one of them holding those little paint cards and influencing people to paint their houses that color. So if they intended on brainwashing people with their music to buy satin carpets, bed sheets, curtains and paint for their homes among other things - then they've succeeded.

But if you're not a satin carpet and you don't sell them, you probably won't like this album as much as the last one. It is true that vocally it has the same style, but the band decided to kind of kick things up a notch and make things a bit heavier than they really needed to be. The album opens with "Infestissumam 1:42" which has a choir chanting in the beginning with some nice riffs, but it's just an intro piece with some indie rock melodies. Good indie rock melodies, but still indie rock melodies. Guys, did we really need the choir? Less is more. Next, there's "Per Aspera Ad Inferi 4:09" which has a dirty but heavy prog sense and a very strong chorus. It's certainly catchy and you can hear the 70's influence for miles. My only problem, is that they should have just found a place in "Per Aspera Ad Inferi" for what composed the intro to the disc. Mainly those indie rock melodies, which would have gone great in the back of that final chorus section. The whole fucking intro should have been scrapped to back that last part of the chorus. If the guitar melodies were playing in the same style but matching the riffs in "Per Aspera" I think it really would have brought the track out. To tell you the truth, the fucking keyboard should have been scrapped in the background of that track and the guitar melodies should have been used instead. There. That's how it should have been done.

Alright. What the fuck is "Secular Haze 5:11." Makes me think I'm on a goddamn ferris wheel funhouse that's on the back of an elephant taking a shit. Decent prog riffs but now I know why I didn't like this one that much. Haven't I heard this kind of stuff from Opeth already? Oh wow... you tried to scowl. Goodness, I guess I can start typing "black metal influence" now. On second thought, I'll scratch that out because I know better. Couple of good riffs towards the end and a solo... huh? What happened? I heard couple riffs in a solo motion and then all of a sudden some strange man in a long overcoat says "No" and the guitarist just kind of frowns. He keeps playing, but frowns.

Well, now we've got bluesy, jazzy stuff going on in the form of "Jigolo Har Megiddo 3:58." As a matter of fact it sounds like the evil Beatles. After the keyboards take a break, the guitarist finally says "Fuck you, I'm gonna play a solo this time!" and he does to a great extent. The middle part of the song sounds like Tommy in the background until it goes back to the chorus. But you know what's funny about this? It's marketable enough to be put on the radio. Like you'll have people who are religious listening to it and saying "I want to hear more from this band called Ghost and they mention Megiddo, where the battle between God and the devil takes place so they must be Christian right?" Oh yeah. It's that kind of marketable. I could play this for my mother and she'd like it. It's that kind of prog rock stuff that appealed to most of the generation who grew up with the Who and The Beatles.

The whole "I'm a Satanist thing" dies after hearing "Ghuleh/Zombie Queen 7:29" it's more horror themed, so that means that all this is SCHLOCK. But even so, I will certainly say that I like the spacey keyboards in this one. Heard them before, they were ripped right out of 70's prog album X but they work. Guitars come in nice and mellow - again, prog album X. More keyboard before the riffs kick up into something that sounds like traveling prog rock. Again, an attempted scowl. Should I hesitate and put "black metal influence" now? Nope. Not going to do it now either. The chorus hits well and goes into surfer music. It really reminds me of a grindhouse film (and the shit that Rob Zombie did this year, which I will get to next.) I kind of dig this one, in all actuality. But maybe that's because it doesn't take itself so seriously and the chorus is catchy.

When you pre-order the album, you'll get "Year Zero 5:50" as a free download, which in all actuality is a good song that mentions both the names of Lucifer and satin carpets. It's also electronic influenced which is a first for the band. Yes here's the one where he says "Hail satin!" in appreciation of the color. I've always thought it was decent enough, but to each their own. Maybe on the next album they'll sing about burgundy or fucking periwinkle. Maybe in year zero, everyone will have satin carpets. Oh. There's a really great solo portion here too, but it's short. Those who don't notice that the band appreciates satin might get the feeling that this is a highly evil song capable of brainwashing the mind and that's why it's being offered to usher in the forthcoming new world order and the dark seed behind it. In the big fucking ziggurat they're going to build in the middle east (Dubai) that I just learned about a few days ago. Yes, a ziggurat.

That's why the next song is about Jesus. But it's certainly not praising him. In an interview, Papa II (in one of the many interviews I've read from him) describes the track as what happens later in the body after you've tasted his body and blood (defecation if you didn't get it.) It's about shitting out the body and blood of Jesus Christ. Not very nice, I'll add - but these guys could care less. They're going to live in a big fucking ziggurat full of beautiful whores and I'll be dead and forgotten. At any rate, the chorus of this one is quite good. It's a strong song with healthy repetition and a heavy portion (there goes that scowl again) that leads into the solo.

"Idolatrine 4:23" is a radio ready track. It's essentially The Beatles at their most evil. Little bit of questionable keyboards going on, but as far as the chorus goes, that's about as close as you're going to get to The Beatles ever singing anything in the vile category. There's a nice solo portion in the end. You know what? This also kind of sounds like The Beach Boys. I'm serious. Yes. I do like the track, it's catchy as most of these have been in the latter portion of the album.

"Depth Of Satan's Eyes 5:26" comes next, bringing back the proggy nature of the first album. The only other thing about this one is that it brings a little bit of a sinister flair to it with the chorus and features a couple more heavy riffs than the others. Little bit of vocalizing and then some keyboards that enhance the weak riffing here - vocals are truly the main point of this one. I don't think these guys could do it without their current vocalist (who of course hasn't been revealed to the public.)

The final track on the album is "Monstrance Clock 5:53" which, and let me describe this to you; the word "monstrance" means "a container for sacred bread. To Christians, this would hold the bread of Jesus Christ. To Satanists or whatever kind of Satan Worshipers these guys are, that would hold the bread of their Christ - the son of Satan. IE: The Antichrist. Now, the clock portion relates mainly as it's almost time for the monstrance, for the container that holds the bread of Satan to arrive onto the Earth. Which doesn't surprise me, as things already suck enough as it is. See? That was easy. Now when someone asks you what the hell a monstrance is, you'll know. It's kind of hard for me to listen to this one to be perfectly honest. It's definitely a good track when the chorus lights it up with the great guitar melodies and keyboards in the right place but damn, should I really be singing along to "Come together, together as one - Come together for Lucifer's son"? Again, I guess that things can't get any worse. They've also got a choir singing it for extra effect. Pulls at my strings a bit, guess it's my religious upbringing taking hold - but yeah, if that means microchips and martial law and war and all that other fucking stuff; I'm not probably going to be entirely accepting of that - all religion aside. You know, if I don't actually have to believe in this stuff for it to affect me, then it's quite deplorable. Of course, some people will love it. But they'll all be in that ziggurat (wait, it only holds a couple thousand people - so maybe not) and I'll be a bunch of forgotten bones in the desert.

Additionally, even if this is as I've noted - SCHLOCK but may have some sort of agenda push (hence the fact that the ghost is seen hidden behind the antichrist's infant body and you should also take notice of the masquerade mask on his face) it could signal the rise of a such individual. Not actually having to do with Satan, you can always use religion to purport something onto another person or groups of people and a tyrant can always use a belief to back him (Hitler and his beliefs in Germanic paganism and occultism for example) so it's very possible that this heralding could be to a man drenched in the ideals of a new world order. A charismatic individual (one of the Rothschild's looks just like Jesus Christ) who would steer people towards these new ideals and then have them wipe out... everyone else. He does say that the band's cover of Abba's "I'm A Marionette" goes along with the idea that he is a puppet for the devil. Or whatever agenda the industry wants them to push. Remember, these guys were admittedly broke on Opus Eponymous and now have the industry backing, which always comes with some red tape.

Finally, there's the simple fact that these guys might just have wanted to piggyback on a marketing scheme and bring back occult rock as pioneered by Witchcraft in the 70's. There's nothing to the lyrics or the message, it's a storybook as they come. It's just a bunch of guys playing music with no intention whatsoever but just to pay respect to their influences in their own style. Even if the vocalist does really worship the devil, that doesn't mean that the other members do and even then - he's been known to crack a lot of jokes.

So there's Option A: Satan is real and the music is about the arrival of the antichrist which leaves everyone of merit to live in this ziggurat and me to be a forgotten pile of bones in desert.

Or B: Satan is not real, but they're using the music to purport an agenda that declares this individual to be one to follow, like a Christ. But in reality he represents the new corporate age and wants to control my mind and body with his machines. They'll all live in this ziggurat and I'll be a forgotten pile of bones in the desert (again.)

Or C: These guys are just capitalizing off a cult trend of occult rock back in the 70's. The whole Satan thing is schlock and it holds no bearing on their actual beliefs. These guys are probably atheist, agnostic, nihilist, pastafarian or worship the great chicken lord of Kulokas. They're just playing music. In that case, they won't be going to live in a ziggurat and I won't be a forgotten pile of bones in the desert.

Proof: "The idea has, all along, been to be a theatrical horror-rock band with a grand stage-show." the album concept is (other than birth of the devil's son) "...how mankind chooses to tag things either as works of the devil or as something else, something that she feels shouldn't be confused with human ambition and her will to progress."

- Nameless Ghoul, Revolver

So option C is correct. But I have no idea why he is referring to this in the feminine. But that's probably because he prefers satin carpeting.

No matter what's really true about these guys, the new Ghost album is a definite departure from the band's last record but with some experimentation that at sometimes enhances and other times completely ruins the music. The vocals on the record are great either way and whoever the hell Papa is, he could sing the goddamned phone book and I'd listen to it. These songs are catchy long after the first listen and even catchier after the second. I hesitate to listen to this album again, because after doing this review I had most of the choruses from the album stuck in my head as they played around in random constant repetition... if that's not the devil's work, then I don't know what is!

...And that's the new Ghost B.C. album in a nutshell.

Highlights: Per Aspera Ad Inferi, Ghuleh/Zombie Queen, Year Zero, Body And Blood, Idolatrine, Depth Of Satan's Eyes, Monstrance Clock

8/10

What The Fuck is This?

Now, as most of you know - I love metal. As in really love metal. As in, if metal was some extremely hot chick clad in black leather and lace and spikes (which it fucking is) I would marry it. Now, as I went about browsing the inter-webs I stumbled upon this picture of the pop star Rhianna at a Clipper's Game. I know next to nothing about basketball, but a hell of a lot about metal. Can someone please tell me what in the living fuck a pop star is doing wearing the all black pentagram and goat head laden attire that I see here? Am I really supposed to believe that while doing her hair and listening to Venom's Welcome To Hell album, she said to herself "Well, I think I'm going to dress like a metalhead today."

What the fuck? What did the basketball players think? Ah, she's Jay-Z's bitch and he'll break my fucking nose if I say that his woman is just fucking nuts? Some of those basketball players were probably religious guys and they're thinking "WTF? I thought she loved Jesus? That looks like Satan to me!"

What the hell does Jay Z think? I mean, maybe somewhere in the house he's got a shitload of black metal records? "I'm a black man, so I thought black metal was for black people and it turns out that I really like it." Is that what I'm supposed to believe? I'm not trying to be racist, but how in the world does a man who is known for his beats and rhymes all the sudden decide to cross over into the boundaries of metal?

Does he say, "I got tired of listening to rap music and decided to try rock music, but I want something deep and heavy, so I got into Venom and Mayhem."

Sure you did. Sure you did, Mr. Z. What's gonna happen next? Are we finally going to hear black metal destroyed when Jay Z decides to mix it in with rap? What about Rhianna's new pop black metal album?

Well... here's my response to all of this in the form of a country song. And I'm sure you'll agree. Now, it goes a leetle sometin' like this...

"If Black Metal Ever Becomes A Thing"

Well I've heard those people talking
Bout how the media's always changing
First we're talking bout hip hop and now we're talking bout going to the clubs
Well I ain't never been to one, and I don't think that I ever want to go
Wish the radio would quit with all this nonsense
It's only a matter of time before they make everything their own

Someone told me maybe, that they could get a hold of metal too
But not old hair and leather, I'm talking Satan and his buddies too
You might see Bieber wearing, a bullet belt or two, you might see ol' Lady Gaga
Painted up like some corpse painted old fool
Well if that ever happened, let me tell you what I'd do.
Now I'll make it nice and easy, so that you can follow along too

(Well I'm gonna get)
Rip roaring drunk, if black metal ever becomes a thing
I'll strip off all my clothing and jump right into a ravine
(and then I'll get)
Rip roaring drunk
If black metal ever becomes a thing
I tell you that I'll climb the highest mountain, and then see if I can fly

Those same people keep on talking
Bout these pop stars and their love of metal
Heard Demi Lovato's growling but she only did it for a little while
It seems that the media don't take too kind to black metal or the devil's name
They sure don't like church burnings, but I never though that vampires would become a thang

Never thought in my wildest dreams
That people would be cheering and shouting
For damn near naked women, who don't have any kind of damned brains
Don't have to work a day in their life, yeah that's who you wanna be
Because Uncle Sam, well he done fucked us - with his rough economy

(Well I'm gonna get)
Rip roaring drunk, if black metal ever becomes a thing
I'll strip off all my clothing and jump right into a ravine
(and then I'll get)
Rip roaring drunk
If black metal ever becomes a thing
I tell you that I'll climb the highest mountain, and then see if I can fly

But I'll probably die
Oh yeah, I'll probably die

Seeing all those kids dressed up in corpse pain and bullet belts, and then they're wearing the little goddamned spiked bracelets. Then they'll carry around those little plastic battle axes and Wal-Mart will start selling  pentagrams. Man, it's all over then. The world's done gone and fucked itself right in the asshole.

But I'll probably die
Oh yeah, I'll probably die
Cause black metal wasn't made for children
And man, well he wasn't made to fly

Oh yeah, I'll die
But I'll probably be better off
Because black metal wasn't made for children
And it might just be better off to die

I can't sit around and cry. Hell, it'd probably be anarchy in the streets by then.
Sure enough. Just tell the old man, "I didn't kill myself! I just slipped on a rock and fell off, you see."
But then he'd shake his head and probably banish me.

But not to hell, it'd already be on earth. And if that was the case,

(Then I'm gonna get)
Rip roaring drunk, if black metal ever becomes a thing
I'll strip off all my clothing and jump right into a ravine
(and then I'll get)
Rip roaring drunk
If black metal ever becomes a thing
I tell you that I'll climb the highest mountain, and then see if I can fly

Then I'll see, Oh then I'll see, if I can fly!

Geronimo!