#04 November / December 2016
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Above left and right: Model REDD ROCKZ. Photos by Kasia Marsalek
DEMON'S BELL - EP 2016 “Demon's Bell”
label: private songs: Hell's Eternal Wheels / Neverending Nights / Fresh Corpse For The Reaper / Death Is An Illusion //
web: https://www.facebook.com/DEMONSBELL/ https://demonsbell.bandcamp.com
First set of songs materialized by U.S Metalers Demon's Bell, delivering a set of all 80's inspired Metal tracks with a certain, dark atmosphere. The EP opens with “Hell's Eternal Wheels”; a direct access, mobility riff-based up-tempo tune in the early – mid 80's US Metal tradition with a strong European / NWOBHM root. In cohesion with the slightly dark-edged, minor sphered mood, this song brings Siren to mind, partnering with hints of Bashfull Alley, Gaskin, Hyksos and Judas Priest. This is exactly how US Metal used to sound when it was still HardRock sourced, dressed with Rob Halford inspired vocals that come complete with the high pitched yells. Cool, ad-lib style HardRock solo in there as well. “Neverending Nights” is another up-tempo track, tending towards mid-80's US PowerMetal a la Liege Lord, particularly in the vocal department. The riff-based theme has NWOBHM written all over in its opening theme, powered up to US PowerMetal as the song furthers. Brilliant how the band incorporates 'ad-lib' style solos 70's style with this plug in and play feel; a thing Demon's Bell replicates really well. This is not a polished up production but a sound that just breathes 80's demo-recording! “Fresh Corpse For The Reaper” is a rhythmic drummed, mid / up-tempo number with similarities to Mercyful Fate and Hyksos, with those dark, high pitched screams. The EP concludes with the dark, grinding “Death Is An Illusion “ incorporating a muffled, Doom oriented riff over a driven, moderately fast beat. This song clocks in over 8 minutes and entertains from start to finish. The way Demon's Bell has structured their songs perfectly captures the 80's Metal spirit, as well as it has this pure and honest feel. Add to this a great, multi-range singer, a clockwork instrumentation, this dark vibe, and some really refreshing, old-school 70's like guitar solos and there's an retro-styled EP that has it all. Excellent!
Paul van der Burght
label: private songs: Hell's Eternal Wheels / Neverending Nights / Fresh Corpse For The Reaper / Death Is An Illusion //
web: https://www.facebook.com/DEMONSBELL/ https://demonsbell.bandcamp.com
First set of songs materialized by U.S Metalers Demon's Bell, delivering a set of all 80's inspired Metal tracks with a certain, dark atmosphere. The EP opens with “Hell's Eternal Wheels”; a direct access, mobility riff-based up-tempo tune in the early – mid 80's US Metal tradition with a strong European / NWOBHM root. In cohesion with the slightly dark-edged, minor sphered mood, this song brings Siren to mind, partnering with hints of Bashfull Alley, Gaskin, Hyksos and Judas Priest. This is exactly how US Metal used to sound when it was still HardRock sourced, dressed with Rob Halford inspired vocals that come complete with the high pitched yells. Cool, ad-lib style HardRock solo in there as well. “Neverending Nights” is another up-tempo track, tending towards mid-80's US PowerMetal a la Liege Lord, particularly in the vocal department. The riff-based theme has NWOBHM written all over in its opening theme, powered up to US PowerMetal as the song furthers. Brilliant how the band incorporates 'ad-lib' style solos 70's style with this plug in and play feel; a thing Demon's Bell replicates really well. This is not a polished up production but a sound that just breathes 80's demo-recording! “Fresh Corpse For The Reaper” is a rhythmic drummed, mid / up-tempo number with similarities to Mercyful Fate and Hyksos, with those dark, high pitched screams. The EP concludes with the dark, grinding “Death Is An Illusion “ incorporating a muffled, Doom oriented riff over a driven, moderately fast beat. This song clocks in over 8 minutes and entertains from start to finish. The way Demon's Bell has structured their songs perfectly captures the 80's Metal spirit, as well as it has this pure and honest feel. Add to this a great, multi-range singer, a clockwork instrumentation, this dark vibe, and some really refreshing, old-school 70's like guitar solos and there's an retro-styled EP that has it all. Excellent!
Paul van der Burght
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Photos above left and right and top: Demon's Bell
INTERVIEW WITH MESHACH / DEMON'S BELL
How and when did Demon's Bell get together?
Meshach: Demon's Bell originated with Nathan Mills on guitar and I, Meshach on Drums and vocals. It started with Nate hitting me up one day while we were working on another Thrashy project that eventually fell through and asking if I wanted to come jam just him and I. We started off with some pretty rocking Doomy stuff and the tuning was a lot lower like C sharp standard, after suggesting we tune up to E standard. Nate started unleashing a different kind of Rockin' Heavy Metal that got us both very excited, and wanting to continue to take things to the next level and start a band. Eventually a very good friend of ours, Andrew Sylvia of Magnabolt, joined the Ranks as bassist, solidifying our three piece line-up. Not long after we had jammed for a month or so. I had realized that I was constantly sacrificing either drums or vocals while trying to perform both. So I called upon my infernal brother Aidan who drummed in a band Mangled Corpse with at the time to come and try out for the band. It was an instant mesh. we all had various things that we brought to the table and from then on thus was the line up
Your first appearance into the Metal scene is with a cassette EP; now that is what I call TRUE 80's style! What made you decide to go for the cassette format?
Meshach: We are all hugely into tape collecting. The sound quality and the durability are bar none, so it only made sense to us for our first release to be on cassette
The sound of Demon's Bell perfectly captures the early 80's US Metal sound with a strong European backbone, reminiscent of bands such as Hyksos, (early) Siren. Liege Lord and Mercyful Fate. What has been the inspirational source(s) for the band?
Meshach: Thank you! We all have our own personal influences for sure, but as a band we definitely can all agree that we are channeling energy from early 70's Priest, Mercyful Fate, Cirith Ungol, Manilla Road,and Nazareth
The production and feel of the EP is, again, all out 80's without the overproduced and polished sound of most acts nowadays. How did you record the songs?
Meshach: Yes, we recorded live in the studio to get a natural real feel. Except for the vocals had to be recorded separately due to bleeding sound. So vocals were recorded after the fact in a bathroom in the shower. We also owe Charlie Koryn a massive thanks for being extremely professional and all around awesome guy to work with when recording us at the underworld studio here in Portland Oregon.
You have already toured with other bands into the retro 80's thing, how was the response to the live shows?
Meshach: We actually have done no touring yet. hahaha but we have played shows, local shows and had an overwhelming response to our music. We do plan on getting out there soon and sharing our metal magic with other brothers and sisters here in the near future
With a concept like yours, it should not be long before Demon's Bell gets snapped up by a record label, particularly from Europe...
Meshach: this is indeed what we are hoping for, we have put our heart and souls into these songs, and we will never get them back
How many Demon's Bell originals are there at the moment?
Meshach: there are about 6 with plenty more in the works. the 4 on the EP; “Hell's Eternal Wheels” ,”Never Ending Nights”,”Fresh Corpse For The Reaper”,and “Death Is An Illusion”. Other songs in the works in preparation for our full length release.
What's in store for the future?
Meshach: We are hard at work, or hardly working on finishing a full length album. We just go with the flow and let the music come out. To force and rush this process would lead to a forced fake sound and that's not what we are about. We are taking time and preparing for great things to come. Expect in the near future a full album released and some very exciting announcements on shows and possibly touring
Anything else you'd like to add?
Meshach: All in all we are very happy that people are digging the tunes and wanting more, so we shall provide. Look us up on-line and reserve a copy of our EP on cassette and check us out on face book to keep updated on shows we are playing and for what's in store in the near future
Power to you all, Meshach of Demon's Bell
How and when did Demon's Bell get together?
Meshach: Demon's Bell originated with Nathan Mills on guitar and I, Meshach on Drums and vocals. It started with Nate hitting me up one day while we were working on another Thrashy project that eventually fell through and asking if I wanted to come jam just him and I. We started off with some pretty rocking Doomy stuff and the tuning was a lot lower like C sharp standard, after suggesting we tune up to E standard. Nate started unleashing a different kind of Rockin' Heavy Metal that got us both very excited, and wanting to continue to take things to the next level and start a band. Eventually a very good friend of ours, Andrew Sylvia of Magnabolt, joined the Ranks as bassist, solidifying our three piece line-up. Not long after we had jammed for a month or so. I had realized that I was constantly sacrificing either drums or vocals while trying to perform both. So I called upon my infernal brother Aidan who drummed in a band Mangled Corpse with at the time to come and try out for the band. It was an instant mesh. we all had various things that we brought to the table and from then on thus was the line up
Your first appearance into the Metal scene is with a cassette EP; now that is what I call TRUE 80's style! What made you decide to go for the cassette format?
Meshach: We are all hugely into tape collecting. The sound quality and the durability are bar none, so it only made sense to us for our first release to be on cassette
The sound of Demon's Bell perfectly captures the early 80's US Metal sound with a strong European backbone, reminiscent of bands such as Hyksos, (early) Siren. Liege Lord and Mercyful Fate. What has been the inspirational source(s) for the band?
Meshach: Thank you! We all have our own personal influences for sure, but as a band we definitely can all agree that we are channeling energy from early 70's Priest, Mercyful Fate, Cirith Ungol, Manilla Road,and Nazareth
The production and feel of the EP is, again, all out 80's without the overproduced and polished sound of most acts nowadays. How did you record the songs?
Meshach: Yes, we recorded live in the studio to get a natural real feel. Except for the vocals had to be recorded separately due to bleeding sound. So vocals were recorded after the fact in a bathroom in the shower. We also owe Charlie Koryn a massive thanks for being extremely professional and all around awesome guy to work with when recording us at the underworld studio here in Portland Oregon.
You have already toured with other bands into the retro 80's thing, how was the response to the live shows?
Meshach: We actually have done no touring yet. hahaha but we have played shows, local shows and had an overwhelming response to our music. We do plan on getting out there soon and sharing our metal magic with other brothers and sisters here in the near future
With a concept like yours, it should not be long before Demon's Bell gets snapped up by a record label, particularly from Europe...
Meshach: this is indeed what we are hoping for, we have put our heart and souls into these songs, and we will never get them back
How many Demon's Bell originals are there at the moment?
Meshach: there are about 6 with plenty more in the works. the 4 on the EP; “Hell's Eternal Wheels” ,”Never Ending Nights”,”Fresh Corpse For The Reaper”,and “Death Is An Illusion”. Other songs in the works in preparation for our full length release.
What's in store for the future?
Meshach: We are hard at work, or hardly working on finishing a full length album. We just go with the flow and let the music come out. To force and rush this process would lead to a forced fake sound and that's not what we are about. We are taking time and preparing for great things to come. Expect in the near future a full album released and some very exciting announcements on shows and possibly touring
Anything else you'd like to add?
Meshach: All in all we are very happy that people are digging the tunes and wanting more, so we shall provide. Look us up on-line and reserve a copy of our EP on cassette and check us out on face book to keep updated on shows we are playing and for what's in store in the near future
Power to you all, Meshach of Demon's Bell
SHOTGUN RODEO – EP 2016 “The New Standard”
label: private
songs: Batshit Crazy / Uncontainable / Around The Bend / Drawing Blood From The Stone / The New Standard / Scatterbrain //
web: www.shotgunrodeo.com
Newest outing by this Norwegian 4-piece that previously released 2 E.P's and a full-lengther, “Wide Genocide”. In essence, the sound of Shotgun Rodeo is a collage of various styles, from Groove Metal and powered up HardRock toThrash with one common factor; the 90's. “The New Standard” sounds as if it came straight out of the 90's, as spotlighted on the driven, grooved up “Uncontainable” merging Thrash with HardRock in a Megadeth – meets – Skid Row fashion! The Megadeth thing comes resurfacing on the mid-paced titletrack, and the slightly modern edged and mid-paced semi Thrasher “Around The Bend” with similar, roughed up talk type vocals. The high octane riff hooks are the main power-source that is further upped by the vocalage that sounds like a fusion of Dave Mustaine (Megadeth), Sebastian Bach (Skid Row) and a lower toned Dexter Holland (The Offspring). This EP grooves from start to finish and offers a good differentiation in tempo and songs, a tip-top musicianship with some blistering solo chops and a brilliant, power-punch production. This is the sort of thing that you just want to spin over and over again. Electric!
Paul van der Burght
label: private
songs: Batshit Crazy / Uncontainable / Around The Bend / Drawing Blood From The Stone / The New Standard / Scatterbrain //
web: www.shotgunrodeo.com
Newest outing by this Norwegian 4-piece that previously released 2 E.P's and a full-lengther, “Wide Genocide”. In essence, the sound of Shotgun Rodeo is a collage of various styles, from Groove Metal and powered up HardRock toThrash with one common factor; the 90's. “The New Standard” sounds as if it came straight out of the 90's, as spotlighted on the driven, grooved up “Uncontainable” merging Thrash with HardRock in a Megadeth – meets – Skid Row fashion! The Megadeth thing comes resurfacing on the mid-paced titletrack, and the slightly modern edged and mid-paced semi Thrasher “Around The Bend” with similar, roughed up talk type vocals. The high octane riff hooks are the main power-source that is further upped by the vocalage that sounds like a fusion of Dave Mustaine (Megadeth), Sebastian Bach (Skid Row) and a lower toned Dexter Holland (The Offspring). This EP grooves from start to finish and offers a good differentiation in tempo and songs, a tip-top musicianship with some blistering solo chops and a brilliant, power-punch production. This is the sort of thing that you just want to spin over and over again. Electric!
Paul van der Burght
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Above left: SACRILEGE, centre: FURNAZE, right: STORMBRINGER
Below left: ERADIKATOR, right: FURNAZE
Below left: ERADIKATOR, right: FURNAZE
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TITANFEST 2016 - The Dome / Tufnell Park, London – Show review
web: facebook.com/titanfestuk twitter.com/titanfest www.titanfest.uk
On Saturday November 19, the Dome @ Tufnell Park / London was hosting the mighty TITANFEST 2016 with a line-up that covered the whole spectrum of Heavy Metal; from classic NWOBHM and Power Metal to Thrash and Death Metal with some 'cult' acts from the old days.
First band up were ERADIKATOR from Birmingham, delivering some classic, mid-80's Bay Area mould Thrash Metal with 'galloping' modes, lots of double buss drummage and balanced twin guitar hooks. Next up were one of the event's heaviest acts; MECHANICAL GOD CREATION blasting out some female fronted DeathMetal with a certain, HardCore ish undertone. FURNAZE captured the crowd with their incredibly intense Thrash Metal and the superb, hyper-speed guitar action of singer / guitarist 'Krimson Le Diable'. The skill and virtuosity displayed here from this 3-piece was a pleasure to watch and listen to; a truly 'charismatic' performance by all means, and a treat for those into Nuclear Assault and Slayer. The band finished their set FURNAZE style with the fist-pumping “Fight”,showered with over the top guitar hooks, and tapping. Awesome! Veteran U.K Hard Rockers SACRILEGE brought in the show element in many ways, including girl dancers. A power-punch of 90's Metal and Hard Rock came in the shape of Northamptonshire's STORMBRINGER, given value by a gripping cohesion of adrenalin, grooves, power-riffs, and higher pitched vocals to bring in the contrast. A great band, and a tip-top performance with the groove up high down the moderately paced pounder “Grinder”. BULL RIFF STAMPEDE lived up to their name with some razor-edged Thrash with raspy vocals and some great drummage including lots of double-bass action. BEHOLDER channelled a lot of grooved-up aggression and provocation through their 90's styled Hardcore / Groove Metal, followed by some traditional mould Thrash Metal by NIGHTLORD dressed with snappy, provocative vocals. The Thrash treat continued with original old-schoolers ANIHILATED coupling an energetic performance to a lot of musical aggression with a 80's HardCore edge a la Whiplash and Nuclear Assault, the latter which was also mirrored in the vocal department, with singer / bassist Si delivering this provocative, raised vocal raps. Another strong point of the band was the allround guitar action and flash, delivered by lead guitarist Todd. NWOBHM cult act HELL gave a most entertaining, almost theatrical performance that came complete with the various appearances of frontman David Bower and the way cool choreography of the guitarists. Their set truly did stand out in terms of originality, theme and complexity without being overly technical or such The band played a selection of their classics including “On Earth As It Is In Hell”. A great show by a great band that now finally get the attention they missed out on back in the 80's! An equally great performance was given by WARRIOR SOUL from the U.S.A. Their show was electric and adrenaline fuelled, partnering the hard as nails vocals of Kory Clarke with a lot of groove and bare-knuckle instrumentation. Their unique brand of Sleaze – meets – NY Punk Rock and Roll has attitude written all over, and their set just rocked tuned after tune. Pioneers of Folk Metal SKYCLAD continued the entertainment factor and even got a Mosh pit going! Fans of Saxon were in for aright treat with the set of OLIVER / DAWSON SAXON featuring original Saxon members guitarist Graham Oliver and bassist Steve Dawson. The band went through all the classics such as 'Motorcyle Man', 'Denim And Leather', 'Crusader', 'Princess Of The Night', 'Dallas 1 PM'. This was pure Heavy Metal the 80's way with a matching look and vocal performance by frontman Bri Shaugnessy. Headliners of the festival were UK's prime Thrashers ONSLAUGHT starting their Mosh-pit frenzy with the classics “Let There Be Death” and “Metal Forces”; a solid performance all round. TITANFEST 2016 was another great festival in its series with a cool selection of bands with the entertainment factor high up. Bring on the next Titanfest!
Paul van der Burght
web: facebook.com/titanfestuk twitter.com/titanfest www.titanfest.uk
On Saturday November 19, the Dome @ Tufnell Park / London was hosting the mighty TITANFEST 2016 with a line-up that covered the whole spectrum of Heavy Metal; from classic NWOBHM and Power Metal to Thrash and Death Metal with some 'cult' acts from the old days.
First band up were ERADIKATOR from Birmingham, delivering some classic, mid-80's Bay Area mould Thrash Metal with 'galloping' modes, lots of double buss drummage and balanced twin guitar hooks. Next up were one of the event's heaviest acts; MECHANICAL GOD CREATION blasting out some female fronted DeathMetal with a certain, HardCore ish undertone. FURNAZE captured the crowd with their incredibly intense Thrash Metal and the superb, hyper-speed guitar action of singer / guitarist 'Krimson Le Diable'. The skill and virtuosity displayed here from this 3-piece was a pleasure to watch and listen to; a truly 'charismatic' performance by all means, and a treat for those into Nuclear Assault and Slayer. The band finished their set FURNAZE style with the fist-pumping “Fight”,showered with over the top guitar hooks, and tapping. Awesome! Veteran U.K Hard Rockers SACRILEGE brought in the show element in many ways, including girl dancers. A power-punch of 90's Metal and Hard Rock came in the shape of Northamptonshire's STORMBRINGER, given value by a gripping cohesion of adrenalin, grooves, power-riffs, and higher pitched vocals to bring in the contrast. A great band, and a tip-top performance with the groove up high down the moderately paced pounder “Grinder”. BULL RIFF STAMPEDE lived up to their name with some razor-edged Thrash with raspy vocals and some great drummage including lots of double-bass action. BEHOLDER channelled a lot of grooved-up aggression and provocation through their 90's styled Hardcore / Groove Metal, followed by some traditional mould Thrash Metal by NIGHTLORD dressed with snappy, provocative vocals. The Thrash treat continued with original old-schoolers ANIHILATED coupling an energetic performance to a lot of musical aggression with a 80's HardCore edge a la Whiplash and Nuclear Assault, the latter which was also mirrored in the vocal department, with singer / bassist Si delivering this provocative, raised vocal raps. Another strong point of the band was the allround guitar action and flash, delivered by lead guitarist Todd. NWOBHM cult act HELL gave a most entertaining, almost theatrical performance that came complete with the various appearances of frontman David Bower and the way cool choreography of the guitarists. Their set truly did stand out in terms of originality, theme and complexity without being overly technical or such The band played a selection of their classics including “On Earth As It Is In Hell”. A great show by a great band that now finally get the attention they missed out on back in the 80's! An equally great performance was given by WARRIOR SOUL from the U.S.A. Their show was electric and adrenaline fuelled, partnering the hard as nails vocals of Kory Clarke with a lot of groove and bare-knuckle instrumentation. Their unique brand of Sleaze – meets – NY Punk Rock and Roll has attitude written all over, and their set just rocked tuned after tune. Pioneers of Folk Metal SKYCLAD continued the entertainment factor and even got a Mosh pit going! Fans of Saxon were in for aright treat with the set of OLIVER / DAWSON SAXON featuring original Saxon members guitarist Graham Oliver and bassist Steve Dawson. The band went through all the classics such as 'Motorcyle Man', 'Denim And Leather', 'Crusader', 'Princess Of The Night', 'Dallas 1 PM'. This was pure Heavy Metal the 80's way with a matching look and vocal performance by frontman Bri Shaugnessy. Headliners of the festival were UK's prime Thrashers ONSLAUGHT starting their Mosh-pit frenzy with the classics “Let There Be Death” and “Metal Forces”; a solid performance all round. TITANFEST 2016 was another great festival in its series with a cool selection of bands with the entertainment factor high up. Bring on the next Titanfest!
Paul van der Burght
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Above left: BULL RIFF STAMPEDE, centre: BEHOLDER, right: NIGHTLORD
Below left: ANIHILATED, centre: OLIVER / DAWSON SAXON , right: ONSLAUGHT
Below left: ANIHILATED, centre: OLIVER / DAWSON SAXON , right: ONSLAUGHT
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Above left: HELL, cente: OLIVER / DAWSON SAXON, right: WARRIOR SOUL
IRON SPELL – CD 2016 “Electric Conjuring”
label: Roots Active production / Eat Metal records
web: https://twitter.com/Iron_Spell
First full-lengther by this Chilean act that is stickered as 'New Wave Of Traditional Metal'. This indeed is and a true and traditional Metal affair that pretty much sounds like melodic Euro-Metal that way it was done back in the 80's. It is not only the melodic element but also this sense for subtlety and balance throughout the disc that clicks with the traditional Scandinavian Metal sound, moreover complimented by the twin harmonies / melodies. Singer 'Merciless' is a singer with a crisp and clear, upper-mid range voice that suits the music nicely and further accents the melodic appearance There's a good variety in pace; from moderately paced, HardRock-ish Metal (such as the anthemic “We Are Legion” and the German Metal styled “Moonlight Maniac”), galloping mid-tempo Metalers such as “Night Of The Mothman” and the all NWOBHM minded, White Wizzard – meets – Iron Maiden ish instrumental “Under The Iron Spell”, to moderately fast semi-Headbangers (“Stormrider”, “Torches In The Woods”) and speedy, in the shape of the melodic Power / SpeedMetal phased “Black Candle Light” with the vocals now operating in a more roughed up, high pitched modus. Material is largely riff-oriented and showered with guitar harmonies and virtuoso solo-action “Electric Conjuring” is one very complete and entertaining album in the traditional Metal styles. Great.
Paul van der Burght
label: Roots Active production / Eat Metal records
web: https://twitter.com/Iron_Spell
First full-lengther by this Chilean act that is stickered as 'New Wave Of Traditional Metal'. This indeed is and a true and traditional Metal affair that pretty much sounds like melodic Euro-Metal that way it was done back in the 80's. It is not only the melodic element but also this sense for subtlety and balance throughout the disc that clicks with the traditional Scandinavian Metal sound, moreover complimented by the twin harmonies / melodies. Singer 'Merciless' is a singer with a crisp and clear, upper-mid range voice that suits the music nicely and further accents the melodic appearance There's a good variety in pace; from moderately paced, HardRock-ish Metal (such as the anthemic “We Are Legion” and the German Metal styled “Moonlight Maniac”), galloping mid-tempo Metalers such as “Night Of The Mothman” and the all NWOBHM minded, White Wizzard – meets – Iron Maiden ish instrumental “Under The Iron Spell”, to moderately fast semi-Headbangers (“Stormrider”, “Torches In The Woods”) and speedy, in the shape of the melodic Power / SpeedMetal phased “Black Candle Light” with the vocals now operating in a more roughed up, high pitched modus. Material is largely riff-oriented and showered with guitar harmonies and virtuoso solo-action “Electric Conjuring” is one very complete and entertaining album in the traditional Metal styles. Great.
Paul van der Burght
Model PHEXXIE BIZARRE
Model Phexxie Bizarre. Photos by Richard Perkins PHEXXIE BIZARRE - https://www.facebook.com/Phexxie.B
CHAINBREAKER – EP CND 2016 “Enslave Your Masters”
label: private
songs: Enslave Your Masters / Deterioration //
web: https://chainbreakercan.bandcamp.com
Toronto based Metalers that premiered in 2014 with the release of the “Constant Craving” 5 track demo. “Enslave Your Masters” is the band's newest material, partnering “Deterioration”. Enslave Your Masters” is a fast, straight forward and raw styled Metal number with a strong, early 80's Punk / HardCore feel to it, particularly in the vocal department. Singer Rob delivers a rough, mid-range vocalage that is gasped, sandpaper like in a talk type manner with a lot of provocation. The upbeat driven “Deterioration” employs the same style, and rolls on a plopping bass, and crunchy, early BlackMetal style guitars. The whole deal sounds pretty relentless and almost overpowered like, adding up to the pure, unpolished nature of the music that, in certain areas reminds of 80's Shock Rock Metalers Impaler. Cool.
Paul van der Burght
label: private
songs: Enslave Your Masters / Deterioration //
web: https://chainbreakercan.bandcamp.com
Toronto based Metalers that premiered in 2014 with the release of the “Constant Craving” 5 track demo. “Enslave Your Masters” is the band's newest material, partnering “Deterioration”. Enslave Your Masters” is a fast, straight forward and raw styled Metal number with a strong, early 80's Punk / HardCore feel to it, particularly in the vocal department. Singer Rob delivers a rough, mid-range vocalage that is gasped, sandpaper like in a talk type manner with a lot of provocation. The upbeat driven “Deterioration” employs the same style, and rolls on a plopping bass, and crunchy, early BlackMetal style guitars. The whole deal sounds pretty relentless and almost overpowered like, adding up to the pure, unpolished nature of the music that, in certain areas reminds of 80's Shock Rock Metalers Impaler. Cool.
Paul van der Burght
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Savage Master. Photo above left by Hayley Fawn Hall. Photo above right by Peter Beste
photo below left by Renee Gardinier
photo below left by Renee Gardinier
INTERVIEW STACEY SAVAGE / SAVAGE MASTER
Kentucky, USA based 5-piece unit Savage Master truly master to sound just like real Metal used to do back in the early – mid 80's. Their 2014 debut album “Mask Of The Devil” was a highly anticipated slab of traditional Metal that rocketed the band straight onto the upper echelons of the genre, and their newest album, “With Whips And Chains” shows holds high the tradition of true Metal in sound, feel and image. Manic Mosh had a chat with singer Stacey Savage about the new album, the early days of Savage Master and beyond....
Stacey, how is the new album doing and did it surpass the response to the “Mask Of The Devil” debut?
Stacey: We are always very happy with the response to our releases. It just keeps getting better with each one. We are very fortunate for our fans.
Savage Master certainly smashed it, replicating the 80's Metal sound, and took the scene by storm ever since the first material was circulated. With so many bands out there doing the retro thing, you managed to differentiate and tower above most. Do you think the image and concept has helped in that?
Stacey: Thank you. I think it's all about commitment. Being faithful to music, the style and techniques of the music, a commitment to bringing the world of our imagination to life, to doing our best to light the eyes of our inner child aflame. It's all about creating feeling and an atmosphere that is true to our vision for this band and I think that's what people respond to and remember best.
How did the deal with Skol records come about?
Stacey: We still don't really know for certain. Of course the internet has played a major part in making our music accessible to Bart Gabriel. He contacted us 5 hours after our first show. We are very lucky that Bart, being the metal detector he is, found us and liked what we do. It's been a magical experience working with Bart for sure.
With regards to the image, is there any inspirational links to The Mentors, Acid and Bitch, particularly referring to the on-stage whipping act.
Stacey: The guys hoods and gear were inspired by the hooded executioners in Mario Bava's “Black Sunday”, my role of power over the executioners being inspired by Barbara Steele's part as the witch. We love those bands and we are inspired by them and all of the bands we love to make music and to stand out as a unique band, but we do not sit around thinking of specific things other bands do to try and replicate. Let Bitch, Acid and the Mentors be Bitch, Acid and the Mentors as they do that best. We will be Savage Master as that is what we do best. The whipping act was something we came up with for the song “With Whips and Chains” as it fits the song and adds a visual element to the performance. We are always striving to make our show the best it can be.
Getting back in time, what was your first acquaintance with Heavy Metal and when?
Stacey: Well my very first acquaintances with Hard Rock and Heavy Metal would be things like Black Sabbath, Heart, Deep Purple, Cream, Led Zeppelin, Ted Nugent, The Rolling Stones and things like that, that I heard on the classic Rock radio ever since I was very young. As far as really diving in to an album it wasn't until high school when my friend Christine let me borrow her copy of “Ride the Lightning” that my world started opening up. Later we listened to “Magician's Birthday” and “Demons and Wizards” by Uriah Heep on her record player- which was my first experience with vinyl! - Lucky me! I grew up in a small town where I didn't know music existed if it wasn't on MTV or the radio. (-Unlucky me.) I think that I found the roots of my passion in Hard Rock and then everything really blossomed with Heavy Metal. I finally felt like I was not alone. I found that people can and do care about art in music and about trying different ideas and pushing the envelope. There is a whole beautiful world out there, and boy is it enormous! I feel like I will be discovering lands in the world of Metal until I die. It took the help of some friends and the internet to really start the ball rolling for me to realize there was other music out there and I could have ways of finding it. I am very thankful for those things.
Did you play in any other bands before, and how did you make the move from listening to Metal to performing Metal, and when did Savage Master come into play?
Stacey: Savage Master is the first band I have ever played with. I've spent a great deal of my life in my room alone just singing for hours on end. I have always loved to sing. I think the first inkling that inspired me to start singing was just my dad singing along with the radio in his work truck or in the car. He would often sing the first line of the song one line before it began. Sometimes he would change the lyrics to say something funny. - Now a habit of mine. I thought it was really cool that he knew the song well enough to know all the lyrics and sing it. So I have always wanted to sing. Singing was always there for me as the most consistent part of my life. Naturally, I was really stoked when I first heard metal because I heard so many different styles of singing that I didn't even know existed before.
Who has been the mastermind behind Savage Master, as the whole band concept is just brilliant; from the musical approach to the lyrical concept, image and cover artwork.
Stacey: Thank you. Adam and I came up with the concept together. He comes up with all of the music. He wrote nearly all of the lyrics for the first album and I wrote almost half of the lyrics on the second album. The image was a joint effort between us as I was explaining before. The cover artwork is something we discuss together but it's also one of the things that falls more into the area of Adam duties so that it's not just an endless game of telephone trying to get it done. Christophe Moyen did all of our cover art and we are very lucky to be able to say so. We work together and do our own parts giving our all in making this band work, but Adam is definitely the person with the experience, creativity, skills and drive if it had to be boiled down to just one person. He probably wouldn't agree but interviews fall into the Stacey category most of the time so tough titties for him.
What is the thing you like most about the 80's Metal sound / scene?
Stacey: What I like most is the musicality, in other words, the passionate striving for good, effective music. I like the variety in how all of the best bands are set apart from the rest in their own way. I like songs that spark my imagination and create an atmosphere. I like music that makes me want to sing along with lots of variance and with challenging singing styles at times. It's a wealth of music that will effect me and give me memories for the rest of my life. That's why I love the older heavy metal sounds, in the 70s through 80s.
Your vocal style is unique; it is snappy, rough and 'sung' in a talk type manner... It is more common for female singers to sing in a melodic laden fashion. Did you draw any influences from male singers developing your style?
Stacey: I have heard many artists of each gender singing in every known style. I sing in a variety of styles ranging from gruff, almost growling at times to powerful, clean loud and proud singing and other things in between so of course I have influences from all kinds of different people with different techniques in my vocal style.
Savage Master has a really close and dedicated bond with the fans, it must be a great thing touring abroad and have people singing along with your tunes, wearing the t-shirts and meeting up...
Stacey: Oh it's fantastic touring and meeting fans, and often even meeting people that we are fans of! I can't think of anything better than seeing a room full of people singing along to our songs! We have a lot of love for our fans. They are the best!
Anything else you'd like to add?
Stacey: I just want to thank you for the interview and wish you the best of luck in all you do.
Many thanks
SAVAGE MASTER: https://www.facebook.com/savagemaster666/
Kentucky, USA based 5-piece unit Savage Master truly master to sound just like real Metal used to do back in the early – mid 80's. Their 2014 debut album “Mask Of The Devil” was a highly anticipated slab of traditional Metal that rocketed the band straight onto the upper echelons of the genre, and their newest album, “With Whips And Chains” shows holds high the tradition of true Metal in sound, feel and image. Manic Mosh had a chat with singer Stacey Savage about the new album, the early days of Savage Master and beyond....
Stacey, how is the new album doing and did it surpass the response to the “Mask Of The Devil” debut?
Stacey: We are always very happy with the response to our releases. It just keeps getting better with each one. We are very fortunate for our fans.
Savage Master certainly smashed it, replicating the 80's Metal sound, and took the scene by storm ever since the first material was circulated. With so many bands out there doing the retro thing, you managed to differentiate and tower above most. Do you think the image and concept has helped in that?
Stacey: Thank you. I think it's all about commitment. Being faithful to music, the style and techniques of the music, a commitment to bringing the world of our imagination to life, to doing our best to light the eyes of our inner child aflame. It's all about creating feeling and an atmosphere that is true to our vision for this band and I think that's what people respond to and remember best.
How did the deal with Skol records come about?
Stacey: We still don't really know for certain. Of course the internet has played a major part in making our music accessible to Bart Gabriel. He contacted us 5 hours after our first show. We are very lucky that Bart, being the metal detector he is, found us and liked what we do. It's been a magical experience working with Bart for sure.
With regards to the image, is there any inspirational links to The Mentors, Acid and Bitch, particularly referring to the on-stage whipping act.
Stacey: The guys hoods and gear were inspired by the hooded executioners in Mario Bava's “Black Sunday”, my role of power over the executioners being inspired by Barbara Steele's part as the witch. We love those bands and we are inspired by them and all of the bands we love to make music and to stand out as a unique band, but we do not sit around thinking of specific things other bands do to try and replicate. Let Bitch, Acid and the Mentors be Bitch, Acid and the Mentors as they do that best. We will be Savage Master as that is what we do best. The whipping act was something we came up with for the song “With Whips and Chains” as it fits the song and adds a visual element to the performance. We are always striving to make our show the best it can be.
Getting back in time, what was your first acquaintance with Heavy Metal and when?
Stacey: Well my very first acquaintances with Hard Rock and Heavy Metal would be things like Black Sabbath, Heart, Deep Purple, Cream, Led Zeppelin, Ted Nugent, The Rolling Stones and things like that, that I heard on the classic Rock radio ever since I was very young. As far as really diving in to an album it wasn't until high school when my friend Christine let me borrow her copy of “Ride the Lightning” that my world started opening up. Later we listened to “Magician's Birthday” and “Demons and Wizards” by Uriah Heep on her record player- which was my first experience with vinyl! - Lucky me! I grew up in a small town where I didn't know music existed if it wasn't on MTV or the radio. (-Unlucky me.) I think that I found the roots of my passion in Hard Rock and then everything really blossomed with Heavy Metal. I finally felt like I was not alone. I found that people can and do care about art in music and about trying different ideas and pushing the envelope. There is a whole beautiful world out there, and boy is it enormous! I feel like I will be discovering lands in the world of Metal until I die. It took the help of some friends and the internet to really start the ball rolling for me to realize there was other music out there and I could have ways of finding it. I am very thankful for those things.
Did you play in any other bands before, and how did you make the move from listening to Metal to performing Metal, and when did Savage Master come into play?
Stacey: Savage Master is the first band I have ever played with. I've spent a great deal of my life in my room alone just singing for hours on end. I have always loved to sing. I think the first inkling that inspired me to start singing was just my dad singing along with the radio in his work truck or in the car. He would often sing the first line of the song one line before it began. Sometimes he would change the lyrics to say something funny. - Now a habit of mine. I thought it was really cool that he knew the song well enough to know all the lyrics and sing it. So I have always wanted to sing. Singing was always there for me as the most consistent part of my life. Naturally, I was really stoked when I first heard metal because I heard so many different styles of singing that I didn't even know existed before.
Who has been the mastermind behind Savage Master, as the whole band concept is just brilliant; from the musical approach to the lyrical concept, image and cover artwork.
Stacey: Thank you. Adam and I came up with the concept together. He comes up with all of the music. He wrote nearly all of the lyrics for the first album and I wrote almost half of the lyrics on the second album. The image was a joint effort between us as I was explaining before. The cover artwork is something we discuss together but it's also one of the things that falls more into the area of Adam duties so that it's not just an endless game of telephone trying to get it done. Christophe Moyen did all of our cover art and we are very lucky to be able to say so. We work together and do our own parts giving our all in making this band work, but Adam is definitely the person with the experience, creativity, skills and drive if it had to be boiled down to just one person. He probably wouldn't agree but interviews fall into the Stacey category most of the time so tough titties for him.
What is the thing you like most about the 80's Metal sound / scene?
Stacey: What I like most is the musicality, in other words, the passionate striving for good, effective music. I like the variety in how all of the best bands are set apart from the rest in their own way. I like songs that spark my imagination and create an atmosphere. I like music that makes me want to sing along with lots of variance and with challenging singing styles at times. It's a wealth of music that will effect me and give me memories for the rest of my life. That's why I love the older heavy metal sounds, in the 70s through 80s.
Your vocal style is unique; it is snappy, rough and 'sung' in a talk type manner... It is more common for female singers to sing in a melodic laden fashion. Did you draw any influences from male singers developing your style?
Stacey: I have heard many artists of each gender singing in every known style. I sing in a variety of styles ranging from gruff, almost growling at times to powerful, clean loud and proud singing and other things in between so of course I have influences from all kinds of different people with different techniques in my vocal style.
Savage Master has a really close and dedicated bond with the fans, it must be a great thing touring abroad and have people singing along with your tunes, wearing the t-shirts and meeting up...
Stacey: Oh it's fantastic touring and meeting fans, and often even meeting people that we are fans of! I can't think of anything better than seeing a room full of people singing along to our songs! We have a lot of love for our fans. They are the best!
Anything else you'd like to add?
Stacey: I just want to thank you for the interview and wish you the best of luck in all you do.
Many thanks
SAVAGE MASTER: https://www.facebook.com/savagemaster666/
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Savage Master. Photo above left by Halley Fawn Hall. Photo above right by Renee Gardinier
KLONQUE – EP 2016 “Burn Particularly”
label: private
songs: Parasites / You Think You Know / The Hunt / The Last Stand //
web: https://www.facebook.com/klonque
Four piece unit Klonque are a new band initiated and fronted by Peter Geltat and Thomas Neitsch of Holy Moses. They brought the intensity level of Holy Moses forward but dressed it with an almost experimental palette of features and a dazzling instrumentation. The EP opens with the energetic, Progressive 90's PowerThrasher “Parasites”, rolling on a succession of fast beats, technical leads and chunky. mid-paced MetalCore hooks. A lot going on here, particularly in the guitar department being full on Progressive Thrash with a classical root, and blistering hooks, including sweep picking modes. Even comes complete with the old-school neo-classical guitar-synths harmonies, and the occasional dash of Friedman / Cacophony in terms of complexity and appearance. Next one up, “You Think You Know” is a mid-paced Thrasher with chunky guitars, grooves and a hint of Nu MetalCore melody / vocal wise. “The Hunt” has Progressive 90's Thrash written all over, and is the heaviest pick along with “Parasites”. The guitars are all over the song in a multitude of appearances, but predominantly technical and classical edged referring to its melodies. The EP concludes with the slow-paced “The Last Hunt” which harks straight back to the 90's, merging a Doom-meets-MetalCore style riff, and partnering DeathMetal gruntage with an occasional, Dark Industrial mood and appearance. Not the most obvious combination but it sure sounds interesting. The guitars are the most prominent factor within the music and mobile in nature, giving the set this Progressive / Technical undertone but also its intensity. The vocals are mostly grunt-style in the 90's tradition but a one-off turn towards the Modern Metal thing. Musicianship is clockwork type, and the all round skill that runs through the “Burn Particularly” EP is evident from start to finish. Interesting.
Paul van der Burght
label: private
songs: Parasites / You Think You Know / The Hunt / The Last Stand //
web: https://www.facebook.com/klonque
Four piece unit Klonque are a new band initiated and fronted by Peter Geltat and Thomas Neitsch of Holy Moses. They brought the intensity level of Holy Moses forward but dressed it with an almost experimental palette of features and a dazzling instrumentation. The EP opens with the energetic, Progressive 90's PowerThrasher “Parasites”, rolling on a succession of fast beats, technical leads and chunky. mid-paced MetalCore hooks. A lot going on here, particularly in the guitar department being full on Progressive Thrash with a classical root, and blistering hooks, including sweep picking modes. Even comes complete with the old-school neo-classical guitar-synths harmonies, and the occasional dash of Friedman / Cacophony in terms of complexity and appearance. Next one up, “You Think You Know” is a mid-paced Thrasher with chunky guitars, grooves and a hint of Nu MetalCore melody / vocal wise. “The Hunt” has Progressive 90's Thrash written all over, and is the heaviest pick along with “Parasites”. The guitars are all over the song in a multitude of appearances, but predominantly technical and classical edged referring to its melodies. The EP concludes with the slow-paced “The Last Hunt” which harks straight back to the 90's, merging a Doom-meets-MetalCore style riff, and partnering DeathMetal gruntage with an occasional, Dark Industrial mood and appearance. Not the most obvious combination but it sure sounds interesting. The guitars are the most prominent factor within the music and mobile in nature, giving the set this Progressive / Technical undertone but also its intensity. The vocals are mostly grunt-style in the 90's tradition but a one-off turn towards the Modern Metal thing. Musicianship is clockwork type, and the all round skill that runs through the “Burn Particularly” EP is evident from start to finish. Interesting.
Paul van der Burght
THE SATANIC FLEA MARKET - Christmas Fayre
date: Sunday 4th December 11:30 AM – 17:30 PM
location: Bethnal Green Working Men's Club, 42-46 Pollard Row, Bethnal Green, London, E2 6
web: https://www.facebook.com/events/1826634477614084/
Guerrilla Zoo and Satanic Mojo present their annual Demonic Winter affair that is THE SATANIC FLEA MAKET – Christmas Fayre. This IS the place to go for all things cool, Artistic, Alternative and Satanic. Over 2 floors, the SATANIC FLEA MARKET hosts a diverse palette of traders and artists offering vintage & bespoke Satanic collectibles, handcrafts, artworks, original art, posters and prints, comics and zines, occult books, vinyl records,tapes, badges and accessories, Tarot cards & Tarot readings, Bric-A-Brac and more. Special Guest Artist appearance by Krent Able with comics, prints and artwork. Fully licensed bar on the ground floor of the venue. The SATANIC FLEA MARKET always hits the mark as a truly unique event with a great atmosphere and a way cool crowd.
date: Sunday 4th December 11:30 AM – 17:30 PM
location: Bethnal Green Working Men's Club, 42-46 Pollard Row, Bethnal Green, London, E2 6
web: https://www.facebook.com/events/1826634477614084/
Guerrilla Zoo and Satanic Mojo present their annual Demonic Winter affair that is THE SATANIC FLEA MAKET – Christmas Fayre. This IS the place to go for all things cool, Artistic, Alternative and Satanic. Over 2 floors, the SATANIC FLEA MARKET hosts a diverse palette of traders and artists offering vintage & bespoke Satanic collectibles, handcrafts, artworks, original art, posters and prints, comics and zines, occult books, vinyl records,tapes, badges and accessories, Tarot cards & Tarot readings, Bric-A-Brac and more. Special Guest Artist appearance by Krent Able with comics, prints and artwork. Fully licensed bar on the ground floor of the venue. The SATANIC FLEA MARKET always hits the mark as a truly unique event with a great atmosphere and a way cool crowd.
DEMONA – 7” EP 2015
label: Hell's Headbangers
songs: Chasing The Speed / Allura Red //
web: https://demona.bandcamp.com/
Demona is a 'Old School Speed Metal band', fronted by singer/ guitarist Tanza Speed. Demona first entered the scene as a one-girl-project in 2007 and debuted in 2008 with a 2 song promo EP. Upon moving to Canada in 2011, DEMONA became a band but still kept the initial SpeedMetal concept intact. The latest work, coupling “Chasing The Speed” and “Allura Red” testifies to this, tapping into a classic, early – mid 80's, American style SpeedMetal “Chasing The Speed” is a fast-paced, straight forward number that reminds of a very early Slayer meets Dark Angel (“Merciless Death”). Song rolls on fast rhythm riffage, a snare drummed beat and the upper mid-range,talk type vocals of Tanza. “Allura Red” goes further beyond the speed of its predecessor, bordering on mid-80's HardCore Thrash Metal, phasing the likes of Nuclear Assault and, once again, Dark Angel which is merely due to the vocal style, that others have also compared to Sentinel Steel. This is one pure and real sounding, straight forward SpeedMetal affair in the traditional styles. Nothing polished, nothing overproduced, but exactly how independent and basement type (demo) bands used to sound in the old days! Cool
Paul van der Burght
label: Hell's Headbangers
songs: Chasing The Speed / Allura Red //
web: https://demona.bandcamp.com/
Demona is a 'Old School Speed Metal band', fronted by singer/ guitarist Tanza Speed. Demona first entered the scene as a one-girl-project in 2007 and debuted in 2008 with a 2 song promo EP. Upon moving to Canada in 2011, DEMONA became a band but still kept the initial SpeedMetal concept intact. The latest work, coupling “Chasing The Speed” and “Allura Red” testifies to this, tapping into a classic, early – mid 80's, American style SpeedMetal “Chasing The Speed” is a fast-paced, straight forward number that reminds of a very early Slayer meets Dark Angel (“Merciless Death”). Song rolls on fast rhythm riffage, a snare drummed beat and the upper mid-range,talk type vocals of Tanza. “Allura Red” goes further beyond the speed of its predecessor, bordering on mid-80's HardCore Thrash Metal, phasing the likes of Nuclear Assault and, once again, Dark Angel which is merely due to the vocal style, that others have also compared to Sentinel Steel. This is one pure and real sounding, straight forward SpeedMetal affair in the traditional styles. Nothing polished, nothing overproduced, but exactly how independent and basement type (demo) bands used to sound in the old days! Cool
Paul van der Burght
68 YEAR OLD SHOWS HOW IT IS DONE!
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GRINDMOTHER – CD CND 2016 “The Age Of Destruction”
label: private
songs: Age Of Destruction / Mother Nature / Fail To Cure / History Repeats / Beliefs Become Reality / Manufactured / Illusions / Healing The Mind / Media Spin / Like A River Flows //
web: http://thegrindmother.com/
“The Age Of Destruction” by Canadian three piece Grindmother has taken the Metal world by storm and not without reason. First, there's the novelty factor of a (at the time of the recordings) 67 year old singer! Secondly for the fact that this singer actually is a Grandma with a tough as nails voice that easily outdoes male shouters half her age! The Grindmother – who is the mother of Corrupt Leaders' guitarist Rain Forest - produces some aggressive / provocative OTT mid-range scream vocals that gel really well with the music that is a mix of classic, 80's HardCore, GrindCore and 90's DeathThrash. There's even light hints to the Industrial thing as spotlighted on the instrumental “Media Spin” that, with its 2:14 minutes of running time clocks in as the longest track of the set as most tunes move around the 1 minute mark. The slight click with the Industrial thing comes re-appearing on closing tune “Like A River Flows”which also moves in a considerably slower pace. Musical wise, Grindmother rolls on blast beats in true GrindCore tradition, but alternates these with classic HardCore style beats. The drummage - delivered by Tyson Apex - is really tight and energetic boosting the sound of the band. The guitars deliver the crunch and trigger this strong, 90's U.S DeathThrash feel on more then one occasion, and most evidently on one the heaviest offerings, ”Healing The Mind”. In all, a cool set of songs that merges some of the more extreme Metal formats in an entertaining fashion without blast beats taking over.
Paul van der Burght
label: private
songs: Age Of Destruction / Mother Nature / Fail To Cure / History Repeats / Beliefs Become Reality / Manufactured / Illusions / Healing The Mind / Media Spin / Like A River Flows //
web: http://thegrindmother.com/
“The Age Of Destruction” by Canadian three piece Grindmother has taken the Metal world by storm and not without reason. First, there's the novelty factor of a (at the time of the recordings) 67 year old singer! Secondly for the fact that this singer actually is a Grandma with a tough as nails voice that easily outdoes male shouters half her age! The Grindmother – who is the mother of Corrupt Leaders' guitarist Rain Forest - produces some aggressive / provocative OTT mid-range scream vocals that gel really well with the music that is a mix of classic, 80's HardCore, GrindCore and 90's DeathThrash. There's even light hints to the Industrial thing as spotlighted on the instrumental “Media Spin” that, with its 2:14 minutes of running time clocks in as the longest track of the set as most tunes move around the 1 minute mark. The slight click with the Industrial thing comes re-appearing on closing tune “Like A River Flows”which also moves in a considerably slower pace. Musical wise, Grindmother rolls on blast beats in true GrindCore tradition, but alternates these with classic HardCore style beats. The drummage - delivered by Tyson Apex - is really tight and energetic boosting the sound of the band. The guitars deliver the crunch and trigger this strong, 90's U.S DeathThrash feel on more then one occasion, and most evidently on one the heaviest offerings, ”Healing The Mind”. In all, a cool set of songs that merges some of the more extreme Metal formats in an entertaining fashion without blast beats taking over.
Paul van der Burght
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Above left and right: Lady Evil
LADY EVIL – Heavy Metal record collecting the lush way!
web: https://www.facebook.com/LadyEvil6666
Here's another cool selection of vinyls from the 7000+ record collection of Brazilian Metal girl Lady Evil, showcased with outfits to match!
Her taste in Metal ranges from HardRock and Metal to Thrash and beyond with NWOBHM as her favourite genre. Check out Lady Evil's page that is constantly updated with new pics that capture the true spirit of Heavy Metal record collecting!
web: https://www.facebook.com/LadyEvil6666
Here's another cool selection of vinyls from the 7000+ record collection of Brazilian Metal girl Lady Evil, showcased with outfits to match!
Her taste in Metal ranges from HardRock and Metal to Thrash and beyond with NWOBHM as her favourite genre. Check out Lady Evil's page that is constantly updated with new pics that capture the true spirit of Heavy Metal record collecting!
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Above left and right: Lady Evil
RAVENSIRE
– 2016 “The Cycle Never Ends”
label: Cruz Del Sur music www.cruzdelsurmusic.com
songs: Cromlech Revelations / Crosshaven / Solitary Vagrant / Procession Of The Dead / Trapped In Dreams / Eternal Sun - White Pillars part I - / Blood And Gold - White Pillars part II / Temple At The End Of The World - White Pillars part III //
web: https://ravensire.bandcamp.com/
Portugese act doing some old-school, Epic themed Metal that dates back to the mid 80's sound produced by U.S bands. The concept, melody element and twin harmonies trigger a strong liking with Omen whilst the roughened vocal roar and guitar hooks click with the early Savatage sound (“Power Of The Night” era). The Epic Metal themes are best captured on “Eternal Sun”, the galloping “Cromlech Revelations” and turn towards the Folk thing on the bobbing, mid-paced “Crosshaven” with its Viking like chants and shout along chorus. The atmospheric element is pushed forward on the slow pounding “ Procession Of The Dead” and The similar paced “Blood And Gold”, featuring an all out Epic / Folk Metal riff and atmosphere with slight hints of Doom. Faster moments come in the shape of the semi-Headbanger “Solitary Vagrant” that sounds like a mix of Omen, Griffin, Metal Church and particularly Savatage “Rage”. The click with Griffin comes re-appearing down the driven Metaler “Trapped In Dreams”, alternating fast hooks with up-tempo beats. There's a good sense for balance, structure and melody throughout the material and one finds the band working a lot with accelerations and galloping riff themes over a predominant moderate / mid-tempo drive. Great
Paul van der Burght
label: Cruz Del Sur music www.cruzdelsurmusic.com
songs: Cromlech Revelations / Crosshaven / Solitary Vagrant / Procession Of The Dead / Trapped In Dreams / Eternal Sun - White Pillars part I - / Blood And Gold - White Pillars part II / Temple At The End Of The World - White Pillars part III //
web: https://ravensire.bandcamp.com/
Portugese act doing some old-school, Epic themed Metal that dates back to the mid 80's sound produced by U.S bands. The concept, melody element and twin harmonies trigger a strong liking with Omen whilst the roughened vocal roar and guitar hooks click with the early Savatage sound (“Power Of The Night” era). The Epic Metal themes are best captured on “Eternal Sun”, the galloping “Cromlech Revelations” and turn towards the Folk thing on the bobbing, mid-paced “Crosshaven” with its Viking like chants and shout along chorus. The atmospheric element is pushed forward on the slow pounding “ Procession Of The Dead” and The similar paced “Blood And Gold”, featuring an all out Epic / Folk Metal riff and atmosphere with slight hints of Doom. Faster moments come in the shape of the semi-Headbanger “Solitary Vagrant” that sounds like a mix of Omen, Griffin, Metal Church and particularly Savatage “Rage”. The click with Griffin comes re-appearing down the driven Metaler “Trapped In Dreams”, alternating fast hooks with up-tempo beats. There's a good sense for balance, structure and melody throughout the material and one finds the band working a lot with accelerations and galloping riff themes over a predominant moderate / mid-tempo drive. Great
Paul van der Burght
WHIPSTRIKER – 2016 “Only Filth Will Prevail”
label: Unholy Anarchy / Hell Music / PRC Music / Morbid Tales records / Goat Prayer records
songs: Waiting For The Doomsday / Satan' Slave / Nuclear Metal Blood / Electric Bloodbath / Flames Of Hate / Flag Of Cruelty / Armless Dance / Death Vigilance (Warfare cover) / Armageddon Delight //
web: http://www.whipstriker.bandcamp.com
Newest work from Brazilian act Whipstriker, catapulting straight back to the extreme Metal formats of the early 80's with their 'Mayhemic Speed Metal'. The impressive catalogue of Whipstriker releases tell the tale; this band masters the old-school Metal sound like it is 1984! “Only Filth Will Prevail” is a collection of compact, fast-paced songs that partner bare-knuckle roughness and HardRockin' grooves. Picture a mix of Motorhead, Warfare, Venom and Bathory with a classic U.K Punk / HardCore vibe and drive! The gruff, talk type vocalage adds up to the pure and unpolished feel of the sound as a whole. The click with Warfare is materialized in the shape of a cover, “Death Vigilance” that perfectly fits within the set alongside similar styled tunes such as the Punked up Metaler “Satan' Slave”, the slower paced “Flames Of Hate” and the speedy “Nuclear Metal Blood” that features some BlackMetal ish rhythm riffage. The classic BlackMetal sound reigns supreme down the fast, snare drummed “Flag Of Cruelty” whilst maintaining the groove element in true Headbanger fashion. Great, uncompromising and relentless, retro-styled album.
Paul van der Burght
label: Unholy Anarchy / Hell Music / PRC Music / Morbid Tales records / Goat Prayer records
songs: Waiting For The Doomsday / Satan' Slave / Nuclear Metal Blood / Electric Bloodbath / Flames Of Hate / Flag Of Cruelty / Armless Dance / Death Vigilance (Warfare cover) / Armageddon Delight //
web: http://www.whipstriker.bandcamp.com
Newest work from Brazilian act Whipstriker, catapulting straight back to the extreme Metal formats of the early 80's with their 'Mayhemic Speed Metal'. The impressive catalogue of Whipstriker releases tell the tale; this band masters the old-school Metal sound like it is 1984! “Only Filth Will Prevail” is a collection of compact, fast-paced songs that partner bare-knuckle roughness and HardRockin' grooves. Picture a mix of Motorhead, Warfare, Venom and Bathory with a classic U.K Punk / HardCore vibe and drive! The gruff, talk type vocalage adds up to the pure and unpolished feel of the sound as a whole. The click with Warfare is materialized in the shape of a cover, “Death Vigilance” that perfectly fits within the set alongside similar styled tunes such as the Punked up Metaler “Satan' Slave”, the slower paced “Flames Of Hate” and the speedy “Nuclear Metal Blood” that features some BlackMetal ish rhythm riffage. The classic BlackMetal sound reigns supreme down the fast, snare drummed “Flag Of Cruelty” whilst maintaining the groove element in true Headbanger fashion. Great, uncompromising and relentless, retro-styled album.
Paul van der Burght
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INTERVIEW WITH VICTOR / WHIPSTRIKER
Have you been in bands before Whipstriker, and if so, what style where they in?
Victor: Hey! Yes; my first band was Farscape. We started in 1998 when we were 13 years old, and the band is still active. Farscape plays Thrash Metal influenced by early Kreator, Sacrifice, Slayer, Destruction etc. We will record our 4th album in 2017. The second band I formed was Diabolic Force; a project initiated in 2001. That's why we release only few stuff in 15 years. We´re recording the 3rd album at this moment. Diabolic Force plays raw / early Thrash / Death Metal in the vein of Hellhammer, Sodom and Bulldozer. In 2003 we formed another band, Atomic Roar, also active these days. We will record the 3rd album later this year. We play MetalPunk influenced by Voivod, Warfare, Discharge, Anti Cimex. Important to say that we are almost the same members in these 3 bands and also in Whipstriker.
How did Whipstriker get together?
Victor: Whipstriker never 'got together' because we have no official line-up. I always tried to invite my friends to record and play live gigs. If some of them can´t play or record, I invite other friends. That´s why the stuff has different line-ups. The guys from Farscape used to record and play on most of the stuff and tours. But, there are also other guys playing regulalrly : Rodrigo from Cult Of Horror, Hugo from Cemiterio , Kev from Venefixion / Perversifier / Demonic Oath (France), Tony from Nuke (USA). All of these guys are great musicians and friends.
Since you first materialized your songs in the shape of the 2010 “Midnight Crust” demo, you have released a huge number of split releases alongside the Whipstriker catalogue. Do you prefer such collaborations over own releases?
Victor: I have to say I love splits. I think it is a kind of underground union. We have splits with bands from different countries (USA, Brazil, Germany, Australia, Sweden, Peru, Colombia, Serbia, Italy, Croatia, etc). Good to know we can play and drink with these bands in different local scenes... I'm a underground maniac.
Brazil, and in particular Rio De Janeiro seem to be a hotbed for producing old-school styled Metal bands with a huge following as well, how is the scene like?
Victor: Yes Rio has a lot of good bands. I recommend Grave Desecrator, Apokalyptic Raids, The Unhaligast, Tyranno, Cult of Horror and Velho. We have a metal collective here and we promote many shows all the time. We always bring international bands to Rio. Then we keep the scene alive. Our equipment isn't that good, the venues are not very good. But we do what we can to keep the scene alive.
The music of Whipstriker really works in terms of accessibility with these added, HardCore style grooves to it; Have you been influenced by the early 80's UK HardCore bands as well, or the later crossover to Metal as produced by bands such as Warfare?
Victor: I don´t know what you mean with “Hardcore”. This label doesn't work sometimes. The UK Has the bands I like the most. Both, Metal and Punk from UK. Discharge and G.B.H are my favourite bands (are they Hardcore? I don't know). UK Metal really kills. Venom, Judas Priest, Iron Maiden, Diamond Head, Tank, Motorhead, Warfare, Holocaust and a lot of NWOBHM bands are awesome. And we can´t forget the 60´s and 70´s bands. All of these styles and bands are good influences.
Not only does the music of Whipstriker date back to the 80's Underground, it is also you that truly hold the 80's Metal spirit high, including the contact with the fans, the split releases, independent record labels and general attitude. That is a thing that you cannot market, it is in a person... So, what instigated that spirit? Back in the 80's this was by means of tape-trading, fanzines, and supporting demo-bands..
Victor: As I said before, I am an underground maniac. I love to discover new bands, printed zines, cassettes. I really live for this. This is the only thing I like to do. Fuck my Jobs and problems. I like to play tours, drink with friends from underground bands, talk about new stuff. This is a life style. I don´t know what instigated that spirit. I live this way since 1996 / 1997 when I started to listen to Motorhead and Iron Maiden. And I am sure there are a lot of people worldwide that live this way...
How is the new album, “Only Filth Will Prevail” doing?
Victor: We recored in March 2016 here in Rio de Janeiro. I asked Joel Grind to máster that and Mark Riddick to do the artwork for the cover (good team, I´m a fan of these guys). There are 5 labels releasing this stuff. The LP version will be released by Unholy Anarchy from the U S.A and Hell Music from Brazil. The C.D version by P.R.C Music from Canada and Mobid Tales Records from Brazil. And the tape version by Goatprayer Records from the U.K. Some of these versions are already out now. The album sounds the way we wanted it to sound like; I mean, we mix all of our influences. You can hear some Motorhead, some Venom, some Warfare, some Kreator, some Bathory. I don´t know. It´s hard to explain your own stuff. Listen to the album and draw your own conclusions.
Message to the readers...
Victor: Thanx a lot the interview. Keep on working for the underground! Our new songs and others are available in our bandcamp storewww.whipstriker.bandcamp.com
Cheers from the Wild Lands.
Have you been in bands before Whipstriker, and if so, what style where they in?
Victor: Hey! Yes; my first band was Farscape. We started in 1998 when we were 13 years old, and the band is still active. Farscape plays Thrash Metal influenced by early Kreator, Sacrifice, Slayer, Destruction etc. We will record our 4th album in 2017. The second band I formed was Diabolic Force; a project initiated in 2001. That's why we release only few stuff in 15 years. We´re recording the 3rd album at this moment. Diabolic Force plays raw / early Thrash / Death Metal in the vein of Hellhammer, Sodom and Bulldozer. In 2003 we formed another band, Atomic Roar, also active these days. We will record the 3rd album later this year. We play MetalPunk influenced by Voivod, Warfare, Discharge, Anti Cimex. Important to say that we are almost the same members in these 3 bands and also in Whipstriker.
How did Whipstriker get together?
Victor: Whipstriker never 'got together' because we have no official line-up. I always tried to invite my friends to record and play live gigs. If some of them can´t play or record, I invite other friends. That´s why the stuff has different line-ups. The guys from Farscape used to record and play on most of the stuff and tours. But, there are also other guys playing regulalrly : Rodrigo from Cult Of Horror, Hugo from Cemiterio , Kev from Venefixion / Perversifier / Demonic Oath (France), Tony from Nuke (USA). All of these guys are great musicians and friends.
Since you first materialized your songs in the shape of the 2010 “Midnight Crust” demo, you have released a huge number of split releases alongside the Whipstriker catalogue. Do you prefer such collaborations over own releases?
Victor: I have to say I love splits. I think it is a kind of underground union. We have splits with bands from different countries (USA, Brazil, Germany, Australia, Sweden, Peru, Colombia, Serbia, Italy, Croatia, etc). Good to know we can play and drink with these bands in different local scenes... I'm a underground maniac.
Brazil, and in particular Rio De Janeiro seem to be a hotbed for producing old-school styled Metal bands with a huge following as well, how is the scene like?
Victor: Yes Rio has a lot of good bands. I recommend Grave Desecrator, Apokalyptic Raids, The Unhaligast, Tyranno, Cult of Horror and Velho. We have a metal collective here and we promote many shows all the time. We always bring international bands to Rio. Then we keep the scene alive. Our equipment isn't that good, the venues are not very good. But we do what we can to keep the scene alive.
The music of Whipstriker really works in terms of accessibility with these added, HardCore style grooves to it; Have you been influenced by the early 80's UK HardCore bands as well, or the later crossover to Metal as produced by bands such as Warfare?
Victor: I don´t know what you mean with “Hardcore”. This label doesn't work sometimes. The UK Has the bands I like the most. Both, Metal and Punk from UK. Discharge and G.B.H are my favourite bands (are they Hardcore? I don't know). UK Metal really kills. Venom, Judas Priest, Iron Maiden, Diamond Head, Tank, Motorhead, Warfare, Holocaust and a lot of NWOBHM bands are awesome. And we can´t forget the 60´s and 70´s bands. All of these styles and bands are good influences.
Not only does the music of Whipstriker date back to the 80's Underground, it is also you that truly hold the 80's Metal spirit high, including the contact with the fans, the split releases, independent record labels and general attitude. That is a thing that you cannot market, it is in a person... So, what instigated that spirit? Back in the 80's this was by means of tape-trading, fanzines, and supporting demo-bands..
Victor: As I said before, I am an underground maniac. I love to discover new bands, printed zines, cassettes. I really live for this. This is the only thing I like to do. Fuck my Jobs and problems. I like to play tours, drink with friends from underground bands, talk about new stuff. This is a life style. I don´t know what instigated that spirit. I live this way since 1996 / 1997 when I started to listen to Motorhead and Iron Maiden. And I am sure there are a lot of people worldwide that live this way...
How is the new album, “Only Filth Will Prevail” doing?
Victor: We recored in March 2016 here in Rio de Janeiro. I asked Joel Grind to máster that and Mark Riddick to do the artwork for the cover (good team, I´m a fan of these guys). There are 5 labels releasing this stuff. The LP version will be released by Unholy Anarchy from the U S.A and Hell Music from Brazil. The C.D version by P.R.C Music from Canada and Mobid Tales Records from Brazil. And the tape version by Goatprayer Records from the U.K. Some of these versions are already out now. The album sounds the way we wanted it to sound like; I mean, we mix all of our influences. You can hear some Motorhead, some Venom, some Warfare, some Kreator, some Bathory. I don´t know. It´s hard to explain your own stuff. Listen to the album and draw your own conclusions.
Message to the readers...
Victor: Thanx a lot the interview. Keep on working for the underground! Our new songs and others are available in our bandcamp storewww.whipstriker.bandcamp.com
Cheers from the Wild Lands.
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An impression of the LIVE EVIL festival with BARROW WIGHT (above left), INCONCESSUS LUX LUCIS (above centre), MILLENNIUM
(above right), LIVE BURIAL (below left) and VULTURE (below right). Photos by Manic Mosh
(above right), LIVE BURIAL (below left) and VULTURE (below right). Photos by Manic Mosh
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LIVE EVIL FESTIVAL London - show review
web: https://www.facebook.com/liveevilfestival
On Saturday 08 and Sunday 09 October, The Dome in London / Tufnell Park was once again host to the supreme true and old-school London Metal festival that is LIVE EVIL. With a great mix of traditional HardRock / Metal, Thrash, Speed, Death and Doom Metal, Live Evil packed the place out with hordes of Metal Maniacs dressed in Denim, Leather and spiked attributes like it was the 80's al over again! This year, all the bands played in the upstairs venue, with the ground-floor venue acting as a social area with bar, DJ's and a Metal Market. Opening the festival were veteran NWOBHM act MILLENNIUM, delivering some toe-tapping HardRock / Metal that got heads bobbing with the mid-paced fist pumper “We Don't Trust You” from their 2016 “Caught In A Warzone” album. Next act, WYTCH HAZEL brought to the stage some catchy, Folk / Medieval inspired HardRock with a strong sense for melody, ending their set with the anthemic “We Will Be Strong” from their latest album. As its moniker suggests, LIVE BURIAL delivered some energetic, and incredibly intense DeathThrash with the shriek vocals of Jamy Brown adding up to it all. Some groove-laden and 70's style HardRock came in the shape of Sweden's HORISONT that really got the crowd going with some great, grooved up guitar work and this all round Scandinavian sense for balance and melodies as evidenced on one of their new tracks, “Electrical”. Norway's BLACK MAGIC were up next with their largely guitar / instrumental oriented HardRock / Metal with that earlier outlined Scandinavian finish. Veteran NWOBHM act DEMON delivered a retrospective of their catalogue, including “Blackheath” from 'The Plague' album, and their most famed track “Don't Break The Circle”. Headliners for the Saturday show were ANTICHRIST from Sweden, thrashing the night up with their gruff, bare-knuckle DeathThrash in the 80's tradition, enticing a true stage-dive frenzy! Sunday openers were INSURGENCY with some hard as nails DeathThrash / old-school Black Thrash, occasionally reminding of Sodom. Three-piece INCONCESSUS LUX LUCIS continued the musical onslaught with some pure, Blackened Thrash in the 80's vein. Canadian trio BARROW WIGHT injected the grooves with their entertaining and electric mix of very early style DeathMetal a la Venom – meets – the HardCore / Punk element of Warfare with a shade of Carnivore. Their music got the groove, energy and this pure, unpolished appearance of the old days, further complimented by the 3-piece band setup; a band to watch! London's DUNGEON were up next with their intense, old-school styled DeathThrash with gruff, talk-type vocals. Another veteran act to make an appearance at the festival were BluesRockers GROUNDHOGS, the Rockiest band on the bill. On the other end of the musical spectrum were High Speed Metalers VULTURE. Their brand of high octane Thrash / Speed, dressed with high pitched shrieks and lots of guitar was a recipe for stage-diving. The crowd went mental on this one, and proved that old-school German Thrash / Speed is still very much alive! Sunday headliners were traditional groove Doomsters PENTAGRAM from the U.S.A that got the crowd shouting along with tunes such as “Deathrow”, “Relentless” and “Forever My Queen”. Once again, organizer Marek Steven managed to create a monumental event in true Metal tradition with a great selection of bands and a brilliant atmosphere.
web: https://www.facebook.com/liveevilfestival
On Saturday 08 and Sunday 09 October, The Dome in London / Tufnell Park was once again host to the supreme true and old-school London Metal festival that is LIVE EVIL. With a great mix of traditional HardRock / Metal, Thrash, Speed, Death and Doom Metal, Live Evil packed the place out with hordes of Metal Maniacs dressed in Denim, Leather and spiked attributes like it was the 80's al over again! This year, all the bands played in the upstairs venue, with the ground-floor venue acting as a social area with bar, DJ's and a Metal Market. Opening the festival were veteran NWOBHM act MILLENNIUM, delivering some toe-tapping HardRock / Metal that got heads bobbing with the mid-paced fist pumper “We Don't Trust You” from their 2016 “Caught In A Warzone” album. Next act, WYTCH HAZEL brought to the stage some catchy, Folk / Medieval inspired HardRock with a strong sense for melody, ending their set with the anthemic “We Will Be Strong” from their latest album. As its moniker suggests, LIVE BURIAL delivered some energetic, and incredibly intense DeathThrash with the shriek vocals of Jamy Brown adding up to it all. Some groove-laden and 70's style HardRock came in the shape of Sweden's HORISONT that really got the crowd going with some great, grooved up guitar work and this all round Scandinavian sense for balance and melodies as evidenced on one of their new tracks, “Electrical”. Norway's BLACK MAGIC were up next with their largely guitar / instrumental oriented HardRock / Metal with that earlier outlined Scandinavian finish. Veteran NWOBHM act DEMON delivered a retrospective of their catalogue, including “Blackheath” from 'The Plague' album, and their most famed track “Don't Break The Circle”. Headliners for the Saturday show were ANTICHRIST from Sweden, thrashing the night up with their gruff, bare-knuckle DeathThrash in the 80's tradition, enticing a true stage-dive frenzy! Sunday openers were INSURGENCY with some hard as nails DeathThrash / old-school Black Thrash, occasionally reminding of Sodom. Three-piece INCONCESSUS LUX LUCIS continued the musical onslaught with some pure, Blackened Thrash in the 80's vein. Canadian trio BARROW WIGHT injected the grooves with their entertaining and electric mix of very early style DeathMetal a la Venom – meets – the HardCore / Punk element of Warfare with a shade of Carnivore. Their music got the groove, energy and this pure, unpolished appearance of the old days, further complimented by the 3-piece band setup; a band to watch! London's DUNGEON were up next with their intense, old-school styled DeathThrash with gruff, talk-type vocals. Another veteran act to make an appearance at the festival were BluesRockers GROUNDHOGS, the Rockiest band on the bill. On the other end of the musical spectrum were High Speed Metalers VULTURE. Their brand of high octane Thrash / Speed, dressed with high pitched shrieks and lots of guitar was a recipe for stage-diving. The crowd went mental on this one, and proved that old-school German Thrash / Speed is still very much alive! Sunday headliners were traditional groove Doomsters PENTAGRAM from the U.S.A that got the crowd shouting along with tunes such as “Deathrow”, “Relentless” and “Forever My Queen”. Once again, organizer Marek Steven managed to create a monumental event in true Metal tradition with a great selection of bands and a brilliant atmosphere.
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An impression of the LIVE EVIL festival with WYTCH HAZEL (above left), DEMON (above right),
ANTICHRIST (below left) and BLACK MAGIC (below right). Photos by Manic Mosh
ANTICHRIST (below left) and BLACK MAGIC (below right). Photos by Manic Mosh
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IRON FIRE – 2016 “Among The Dead”
label: Crime records www.crimerecords.no
web: www.ironfire.dk
Denmark's Iron Fire have been going strong for years with a whole catalogue of releases and an ever growing fanbase. “Among The Dead” is their newest offering, addressing to quite a few styles and interpretations under the blanket of PowerMetal that dominates most of the album. Quite a few tracks start off in a Thrash type modus, particularly riff-wise but then tone down and continue as (melodic laden) PowerMetalers (“Ghost From The Past”, “Tornado Of Sickness”, “Higher Ground”). With the PowerMetal / Thrash fusion as the main factor throughout, Iron Fire has also phased The PowerMetal thing with classic Euro Metal (“Hammer Of The Gods”, “Iron Eagle”), and vocally even tends towards melodic Nu Metal down “The Last Survivor”, after starting out with a great riff a la The Scorpions' “Dynamite”.The PowerMetal style Iron Fire has addressed to sounds like the modern interpretation of the traditional genre for most of the time with a rather cheerful than aggressive approach. The vocalage of singer / bassist Martin Steene covers the whole spectrum of genres but do better in the melodic fashion rather than the roughed up style, delivering a solid vibrato and a clear, mid-range voice that suits their brand of PowerMetal. Some gripping riffage and solid guitar work throughout with the solo action highlighting on “No Sign Of Life”. The variety in songs is high up, although a perfect cover version of Metallica's “For Whom The Bells Toll” (bonus track) do not add up, neither is the Steel Panther ish US Billboard Rock Ballad “When The Lights Go Out”). The album sticks together really well in the musical / songwriting department, with a good sense for groove and a clear, power punch production to beef it all up. Enjoyable.
Paul van der Burght
label: Crime records www.crimerecords.no
web: www.ironfire.dk
Denmark's Iron Fire have been going strong for years with a whole catalogue of releases and an ever growing fanbase. “Among The Dead” is their newest offering, addressing to quite a few styles and interpretations under the blanket of PowerMetal that dominates most of the album. Quite a few tracks start off in a Thrash type modus, particularly riff-wise but then tone down and continue as (melodic laden) PowerMetalers (“Ghost From The Past”, “Tornado Of Sickness”, “Higher Ground”). With the PowerMetal / Thrash fusion as the main factor throughout, Iron Fire has also phased The PowerMetal thing with classic Euro Metal (“Hammer Of The Gods”, “Iron Eagle”), and vocally even tends towards melodic Nu Metal down “The Last Survivor”, after starting out with a great riff a la The Scorpions' “Dynamite”.The PowerMetal style Iron Fire has addressed to sounds like the modern interpretation of the traditional genre for most of the time with a rather cheerful than aggressive approach. The vocalage of singer / bassist Martin Steene covers the whole spectrum of genres but do better in the melodic fashion rather than the roughed up style, delivering a solid vibrato and a clear, mid-range voice that suits their brand of PowerMetal. Some gripping riffage and solid guitar work throughout with the solo action highlighting on “No Sign Of Life”. The variety in songs is high up, although a perfect cover version of Metallica's “For Whom The Bells Toll” (bonus track) do not add up, neither is the Steel Panther ish US Billboard Rock Ballad “When The Lights Go Out”). The album sticks together really well in the musical / songwriting department, with a good sense for groove and a clear, power punch production to beef it all up. Enjoyable.
Paul van der Burght
Model MZ SHANK
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Photo above left: by Crazy Angel. Photo above right: by Dark Edge Media www.darkedgemedia.com
Model MZ SHANK: https://www.facebook.com/ShockValueShank42/
Model MZ SHANK: https://www.facebook.com/ShockValueShank42/
HEADSTONE HORRORS – 2016 “Tales from The Murder House”
label: Headcheck records
web: http://headstonehorrors.bigcartel.com
New material from U.K.'s female fronted Horror Punksters Headstone Horrors, that made a commendable introduction to the scene with their 2014 “Like The Morgue” debut E.P. “Tales From The Murder House” continues the concept of the EP, delivering a set of short, catchy and instant access Punk / HardCore tracks, that are energetic but without the provocation. Instead, Headstone Horror's interpretation of the genres is subtle and cheerful, moreover complimented by the semi upper range vocals of singer Nat. There's a certain click with bands such as The Offspring and in particularly No Doubt referring to the vocalage. Songs mostly move between upbeat, moderately fast and fast paced with a few up / mid -tempo tunes thrown in there. Album sports a good, all round differentiation including a Horrorbilly like semi-acoustic tune (“Outside The Door”) and a very fast, 'easy going' SpeedMetal Punkster (“Horror Of The Embalmer”) at the other end of the spectrum. Entertaining.
Paul van der Burght
label: Headcheck records
web: http://headstonehorrors.bigcartel.com
New material from U.K.'s female fronted Horror Punksters Headstone Horrors, that made a commendable introduction to the scene with their 2014 “Like The Morgue” debut E.P. “Tales From The Murder House” continues the concept of the EP, delivering a set of short, catchy and instant access Punk / HardCore tracks, that are energetic but without the provocation. Instead, Headstone Horror's interpretation of the genres is subtle and cheerful, moreover complimented by the semi upper range vocals of singer Nat. There's a certain click with bands such as The Offspring and in particularly No Doubt referring to the vocalage. Songs mostly move between upbeat, moderately fast and fast paced with a few up / mid -tempo tunes thrown in there. Album sports a good, all round differentiation including a Horrorbilly like semi-acoustic tune (“Outside The Door”) and a very fast, 'easy going' SpeedMetal Punkster (“Horror Of The Embalmer”) at the other end of the spectrum. Entertaining.
Paul van der Burght
DARK FOREST – 2016 “Beyond The Veil”
label: Cruz Del Sur music
songs:On The Edge Of Twilight / Where The Arrow Falls / Autumn's Crown / Blackthorn / Lunantishee / The Wild Hunt / Earthbound / The Undying Flame / Men-An-Tol / Beyond The Veil / The Lore Of The Land //
web: http://darkforest.co.uk/
Newest work from this UK based 5-piece, engaging a subtle and 'neat' mix of melodic 80's Metal and PowerMetal with an Epic / Folk ish feel. The set is largely guitar oriented with a lot of melodies, twin hooks and some nice, balanced solo-action. Singer Josh Winnard has a pleasant and clean voice in a mid-range tone, adding up to the melodic element of the music. Songs are in-depth and run from 5 / 6 minutes on average up to 13+ minutes (“The Lore Of The Land”). The essence of 'Beyond The Veil' lies in the tandem of catchy, double-bass drummed drives and mobility riff-themes that accent the Medieval atmosphere that surrounds the songs. The more melodic minded tracks such as ”On The Edge Of Twilight” and “Blackthorn” have a hint of the traditional Scandinavian Metal sound, including the earlier work of a band such as Europe, whilst heavier songs, such as the PowerMetaler “Where The Arrow Falls” and “Earthbound” click with respectively Helloween and Omen, and come complete with those anthemic chorus lines. This is one entertaining, Medieval sphered album well taken care of with some great drummage running underneath. Solid.
Paul van der Burght
label: Cruz Del Sur music
songs:On The Edge Of Twilight / Where The Arrow Falls / Autumn's Crown / Blackthorn / Lunantishee / The Wild Hunt / Earthbound / The Undying Flame / Men-An-Tol / Beyond The Veil / The Lore Of The Land //
web: http://darkforest.co.uk/
Newest work from this UK based 5-piece, engaging a subtle and 'neat' mix of melodic 80's Metal and PowerMetal with an Epic / Folk ish feel. The set is largely guitar oriented with a lot of melodies, twin hooks and some nice, balanced solo-action. Singer Josh Winnard has a pleasant and clean voice in a mid-range tone, adding up to the melodic element of the music. Songs are in-depth and run from 5 / 6 minutes on average up to 13+ minutes (“The Lore Of The Land”). The essence of 'Beyond The Veil' lies in the tandem of catchy, double-bass drummed drives and mobility riff-themes that accent the Medieval atmosphere that surrounds the songs. The more melodic minded tracks such as ”On The Edge Of Twilight” and “Blackthorn” have a hint of the traditional Scandinavian Metal sound, including the earlier work of a band such as Europe, whilst heavier songs, such as the PowerMetaler “Where The Arrow Falls” and “Earthbound” click with respectively Helloween and Omen, and come complete with those anthemic chorus lines. This is one entertaining, Medieval sphered album well taken care of with some great drummage running underneath. Solid.
Paul van der Burght
DARKHAUS – 2016 “When Sparks Ignite”
label: Oblivion / SPV
web: http://www.darkhausmusic.com/
Newest material by this 'Intercontinental Modern / Dark Rock outfit', bundling a variety of styles and atmospheres with a radio-friendly appearance. The catchy, “The Last Goodbye” is a fine example of this, merging Poppy, Industrial Rock and Nu Rock with the 90's Goth thing hinting at Sisters Of Mercy in a mild, and melodic laden fashion. More hit potential comes in the shape of the ballad esque Nu Rocker “Feel My Pain”, the catchy, sing along Rocker “Second Chance”and the up-tempo driven “Helpless”. The heavier picks of the album include the riff-based upbeat guitar Rocker “Bye Bye Blue Skies”, the Industrial riffed, Dark Wave brushed “All Or Nothing” and the minor sphered, lightly Alter Bridge tinged “Oceans”. The piano – vocal oriented “Tears Of Joy” compliments the quality of the musicianship that runs through the set, and somehow links to A.O.R balladry. |Somehow there's this click with A.O.R running underneath some of the tracks on the disc, both in feel, delivery and commercial appeal. In the centre of attention are the sparkling and melodic laden (upper) mid-range vocals of Ken Hanlon that are capable to adopt to any style. The set on “When Sparks Ignite” is played with a lot of conviction and sticks together very well with a lot of delicate twists underneath its instant access and allround entertainment value. Strong.
Paul van der Burght
label: Oblivion / SPV
web: http://www.darkhausmusic.com/
Newest material by this 'Intercontinental Modern / Dark Rock outfit', bundling a variety of styles and atmospheres with a radio-friendly appearance. The catchy, “The Last Goodbye” is a fine example of this, merging Poppy, Industrial Rock and Nu Rock with the 90's Goth thing hinting at Sisters Of Mercy in a mild, and melodic laden fashion. More hit potential comes in the shape of the ballad esque Nu Rocker “Feel My Pain”, the catchy, sing along Rocker “Second Chance”and the up-tempo driven “Helpless”. The heavier picks of the album include the riff-based upbeat guitar Rocker “Bye Bye Blue Skies”, the Industrial riffed, Dark Wave brushed “All Or Nothing” and the minor sphered, lightly Alter Bridge tinged “Oceans”. The piano – vocal oriented “Tears Of Joy” compliments the quality of the musicianship that runs through the set, and somehow links to A.O.R balladry. |Somehow there's this click with A.O.R running underneath some of the tracks on the disc, both in feel, delivery and commercial appeal. In the centre of attention are the sparkling and melodic laden (upper) mid-range vocals of Ken Hanlon that are capable to adopt to any style. The set on “When Sparks Ignite” is played with a lot of conviction and sticks together very well with a lot of delicate twists underneath its instant access and allround entertainment value. Strong.
Paul van der Burght
HELLGOAT – EP 2016 “Eden In Flames”
label: Boris records / Pale Horse records
songs: Inner Sanctum Ablaze / Scars Of Our Devotion //
web: https://www.facebook.com/Hellgoat-359498710801448/?fref=ts
Newest release by this U.S.A based act that has been around ever since 2004. “Inner Sanctum Ablaze” couples DeathThrash to BlackMetal in a Nordic – meets – Tampa style. This is one very harsh and raw sounding affair, alternating blast beats with rhythmic, moderately paced sections, and slow, Doom infused phrasing. Vocalage is incredibly aggressive and raspy in a talk type manner. The guitars have BlackMetal written all over, sporting this thin, overpowered sound and matching riff-patterns. The fast paced “Scars Of Our Devotion” is all BlackMetal fuelled by Nordic style, high-low-and-reversed riffage, and a more straight forward nature with a slow Doom tinged excerpt as the song ends. Again, it is the vocal brutality of singer / guitarist Amon Demogorgon that is in the centre of attention, further lifting the band in terms of aggression and impact. Solid
Paul van der Burght
label: Boris records / Pale Horse records
songs: Inner Sanctum Ablaze / Scars Of Our Devotion //
web: https://www.facebook.com/Hellgoat-359498710801448/?fref=ts
Newest release by this U.S.A based act that has been around ever since 2004. “Inner Sanctum Ablaze” couples DeathThrash to BlackMetal in a Nordic – meets – Tampa style. This is one very harsh and raw sounding affair, alternating blast beats with rhythmic, moderately paced sections, and slow, Doom infused phrasing. Vocalage is incredibly aggressive and raspy in a talk type manner. The guitars have BlackMetal written all over, sporting this thin, overpowered sound and matching riff-patterns. The fast paced “Scars Of Our Devotion” is all BlackMetal fuelled by Nordic style, high-low-and-reversed riffage, and a more straight forward nature with a slow Doom tinged excerpt as the song ends. Again, it is the vocal brutality of singer / guitarist Amon Demogorgon that is in the centre of attention, further lifting the band in terms of aggression and impact. Solid
Paul van der Burght
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ROD SACRED – 2016 “Submission”
label: Pure Underground records
web: www.rodsacred.it/
Italian based Rod Sacred are one of such acts that moved under the radars of recognition back in the 80's despite delivering a brand of quality Metal. With the more obscure acts and traditional Heavy Metal being in the spotlights at present, there should be no problem for Rod Sacred to claim their spot. The “Submission” album is a collection of old songs – dating back to the '85 debut demo “Speel Of Steel” - all new recordings, and material released in between. The style of the band hasn't changed much over time, engaging melodic laden, European style HardRock / Metal that sounds like a mix of early 80's Scorpions, Loudness and Dio. The first 2 refer to the accented, semi-upper range vocalage, whilst the Dio thing mostly finds its expression in the guitar department with a seemingly Vivian Campbell inspired guitar style and riffage spotlighted on “Don't Fear The Rain”, the slower sectioning of “Lonely Between Mass Of Puppets” and in particularly the solo-action of “Crazy For You”. The melodic vocalage of Tonio Derlu adds a spark to the music and is easy on the ear, as is the music a s a whole. Rod Sacred opts for rather static song patterns that are riff-based and preferably mid-paced, but also reveal a more in-depth approach as showcased on the multi structured “Rod Sacred” that runs well over 6 minutes. There's a good differentiation in pace throughout the set; from slower, mid-tempo tracks to fast picks such as “Rod Sacred”, “Circle Of Lust” and the riff-based Headbanger “Don't Fear The Rain” (although both alternate with slower sections). Music is largely riff / guitar oriented and fuelled with twin harmonies, riff-based themes and some nice, balanced solos. Entertaining.
Paul van der Burght
label: Pure Underground records
web: www.rodsacred.it/
Italian based Rod Sacred are one of such acts that moved under the radars of recognition back in the 80's despite delivering a brand of quality Metal. With the more obscure acts and traditional Heavy Metal being in the spotlights at present, there should be no problem for Rod Sacred to claim their spot. The “Submission” album is a collection of old songs – dating back to the '85 debut demo “Speel Of Steel” - all new recordings, and material released in between. The style of the band hasn't changed much over time, engaging melodic laden, European style HardRock / Metal that sounds like a mix of early 80's Scorpions, Loudness and Dio. The first 2 refer to the accented, semi-upper range vocalage, whilst the Dio thing mostly finds its expression in the guitar department with a seemingly Vivian Campbell inspired guitar style and riffage spotlighted on “Don't Fear The Rain”, the slower sectioning of “Lonely Between Mass Of Puppets” and in particularly the solo-action of “Crazy For You”. The melodic vocalage of Tonio Derlu adds a spark to the music and is easy on the ear, as is the music a s a whole. Rod Sacred opts for rather static song patterns that are riff-based and preferably mid-paced, but also reveal a more in-depth approach as showcased on the multi structured “Rod Sacred” that runs well over 6 minutes. There's a good differentiation in pace throughout the set; from slower, mid-tempo tracks to fast picks such as “Rod Sacred”, “Circle Of Lust” and the riff-based Headbanger “Don't Fear The Rain” (although both alternate with slower sections). Music is largely riff / guitar oriented and fuelled with twin harmonies, riff-based themes and some nice, balanced solos. Entertaining.
Paul van der Burght
MEDEVIL – CND 2016 “Conductor Of Storms”
label: private
songs: Nightwalk / Machination Factory / An Empty Glass / In The Distance / The Angel Of Rain / A Sacrifice / Escape / The Fabled Uxoricide //
web: http://www.medevilmusic.com/
Debut album by this Canadian 5-piece, addressing to '86 – onwards Power / Thrash Metal with traces of Metal running underneath. Think a mix of Annihilator, Metal Church (“The Dark era”) and Iron Maiden. There is a lot happening within the music and songs individually, incorporating a whole lot of twists and turns, but all in balance without sounding Progressive or technical. This is proper songwriting on all accounts with a solid musicianship to back it up. This includes a good lot of instrumental passages and some great, all round guitar-action, highlighted on “An Empty Glass”, “A Sacrifice” and “Escape” featuring sweep picking and melody speed chops. The added strength comes in the form of singer Liam Collingwood, producing a prominent vocal style that sounds like a cross between David Wayne (Metal Church) and Udo / Accept, delivering a rough and raised voice that is sung in a talk type manner. The songwriting peaks on the chunky and atmospheric, 7+ minute PowerMetaler “The Angel Of Rain” that is caked with semi-acoustics, Folk-ish features, dramatic guitar harmonies, and 'clean' vocals alongside the rough modus. “The Fabled Uxoricide” is another showcase of the band's arranging skills, partnering Epical features and atmospheres with PowerMetal over a mid-tempo drive and a whole series of melody changes and settings, spanning well over 11 minutes. It is also here that the Megadeth influence comes surfacing in the riff / structural department, as it does down the guitar oriented “Nightwalk”, additionally gelling with Annihilator and Metal Church. The driven Thrash / PowerMetaler “Escape” ranks among the heavier picks and features some impressive mobility drummage and Maiden-style guitar action. The album is dressed with the whole palette of tempos, and never plods on one specific drive or rhythm which further compliments the allround entertainment factor. This is one very complete album by a very promising band that tower high above others in terms of delivery, professionalism and concept! “Conductor Of Storms”is a true Headbanger's delight that will appeal to a wide spectrum of Metalers, and towers high above most modern made classic PowerMetal / Thrash albums! Excellent!
Paul van der Burght
label: private
songs: Nightwalk / Machination Factory / An Empty Glass / In The Distance / The Angel Of Rain / A Sacrifice / Escape / The Fabled Uxoricide //
web: http://www.medevilmusic.com/
Debut album by this Canadian 5-piece, addressing to '86 – onwards Power / Thrash Metal with traces of Metal running underneath. Think a mix of Annihilator, Metal Church (“The Dark era”) and Iron Maiden. There is a lot happening within the music and songs individually, incorporating a whole lot of twists and turns, but all in balance without sounding Progressive or technical. This is proper songwriting on all accounts with a solid musicianship to back it up. This includes a good lot of instrumental passages and some great, all round guitar-action, highlighted on “An Empty Glass”, “A Sacrifice” and “Escape” featuring sweep picking and melody speed chops. The added strength comes in the form of singer Liam Collingwood, producing a prominent vocal style that sounds like a cross between David Wayne (Metal Church) and Udo / Accept, delivering a rough and raised voice that is sung in a talk type manner. The songwriting peaks on the chunky and atmospheric, 7+ minute PowerMetaler “The Angel Of Rain” that is caked with semi-acoustics, Folk-ish features, dramatic guitar harmonies, and 'clean' vocals alongside the rough modus. “The Fabled Uxoricide” is another showcase of the band's arranging skills, partnering Epical features and atmospheres with PowerMetal over a mid-tempo drive and a whole series of melody changes and settings, spanning well over 11 minutes. It is also here that the Megadeth influence comes surfacing in the riff / structural department, as it does down the guitar oriented “Nightwalk”, additionally gelling with Annihilator and Metal Church. The driven Thrash / PowerMetaler “Escape” ranks among the heavier picks and features some impressive mobility drummage and Maiden-style guitar action. The album is dressed with the whole palette of tempos, and never plods on one specific drive or rhythm which further compliments the allround entertainment factor. This is one very complete album by a very promising band that tower high above others in terms of delivery, professionalism and concept! “Conductor Of Storms”is a true Headbanger's delight that will appeal to a wide spectrum of Metalers, and towers high above most modern made classic PowerMetal / Thrash albums! Excellent!
Paul van der Burght
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METAL WITCH – 2016 “Tales From The Underground”
label: Iron Shield records http://www.ironshieldrecords.de/
web: www.metalwitch.de
The origin of German Metalers Metal Witch dates back to 1985 although their career only but spanned 2 years. The band reformed in '98 and first captured their material in 2002 in the shape of a MCD, followed by a full-lengther and a split-release with Vindicator. “Tales From The Underground” is their newest work, and is entirely played in the 80's tradition. Think a Teutonic, German Metal mix of Gravedigger and Accept with a strong taste of Belgian, 80's HardRockers Black Widow, generating a concept that is riff-based and largely guitar oriented with prominent, all out German style vocals over catchy, straight forward themes. There's the semi-Headbangers “Cheers To the Underground”, “Standing In My Way”, “Weapons Of The Night” and “The Man Who Shouldn't Live”, alongside the moderately paced, and seemingly Accept inspired Rockers “Balls To The Wall” and “The Heart Of England”, the mid-tempo driven “God Save The Heroes” and “Still Going Strong” and the Blues rooted upbeat Hard Rock And roller “Heavy And Roll”. The roary, talk type vocals have a hint of Metal Church as evidenced on “The Man Who Shouldn't Live “and “Stay True” but tend to sound a bit 'overdone' in roughness. In accordance with the classic German Metal sound, a good lot of the songs here have this anthemic, shout along feel, and another thing that complies with the genre is the unpretentious approach that marked the majority of bands doing this sort of HardRock / Metal thing.
Paul van der Burght
label: Iron Shield records http://www.ironshieldrecords.de/
web: www.metalwitch.de
The origin of German Metalers Metal Witch dates back to 1985 although their career only but spanned 2 years. The band reformed in '98 and first captured their material in 2002 in the shape of a MCD, followed by a full-lengther and a split-release with Vindicator. “Tales From The Underground” is their newest work, and is entirely played in the 80's tradition. Think a Teutonic, German Metal mix of Gravedigger and Accept with a strong taste of Belgian, 80's HardRockers Black Widow, generating a concept that is riff-based and largely guitar oriented with prominent, all out German style vocals over catchy, straight forward themes. There's the semi-Headbangers “Cheers To the Underground”, “Standing In My Way”, “Weapons Of The Night” and “The Man Who Shouldn't Live”, alongside the moderately paced, and seemingly Accept inspired Rockers “Balls To The Wall” and “The Heart Of England”, the mid-tempo driven “God Save The Heroes” and “Still Going Strong” and the Blues rooted upbeat Hard Rock And roller “Heavy And Roll”. The roary, talk type vocals have a hint of Metal Church as evidenced on “The Man Who Shouldn't Live “and “Stay True” but tend to sound a bit 'overdone' in roughness. In accordance with the classic German Metal sound, a good lot of the songs here have this anthemic, shout along feel, and another thing that complies with the genre is the unpretentious approach that marked the majority of bands doing this sort of HardRock / Metal thing.
Paul van der Burght
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POWER FROM HELL – 2015 “Devil's Whorehouse”
label: Hell's Headbangers records
songs: Old Metal / Revelations Of Flesh / Howling At The Blood Moon / Armageddon / Nightcrawler / Torture Garden / 666 Ways To Blasphemy / Black Forest / The Evil And The Lust Never Sleeps / Mais Um Ano Estria / Long Road To Hell //
web: https://powerfromhell.bandcamp.com/
Fifth full-length album by one of the pioneers of the old school BlackMetal sound, Brazil's “Power From Hell”. The “Devil's Whorehouse” album is a collection of raw, bare knuckle songs in the early 80's tradition, produced by the more extreme bands at the time such as Venom, Bathory, Celtic Frost, Slayer and Destruction. At some point, one or the other come surfacing down the set, with additional traces of Possessed in there as well. Songs are essentially fast paced and straight-forward type, patterned upon a repetitive, riff-based theme and gaspy, gruff-sounding vocals that are sung in a growling talk type manner. Slower moments come in the shape of the double bass drummed “666 Ways To Blasphemy”, and the Nordic BlackMetal oriented “Black Forest” that with its 4:47 minutes clocks in as the longest song. The approach of Power From Hell is geared towards feel and attitude rather than technique, although there's quite a few twists and turns. At times, the music has this old-school Punk / HardCore feel to it as evidenced on the fast, chord riffed “Armageddon” that also relates early Celtic Frost / Hellhammer; bands that Power From Hell also relate to on the crunchy groovster “Howling At The Blood Moon”. Strong
Paul van der Burght
label: Hell's Headbangers records
songs: Old Metal / Revelations Of Flesh / Howling At The Blood Moon / Armageddon / Nightcrawler / Torture Garden / 666 Ways To Blasphemy / Black Forest / The Evil And The Lust Never Sleeps / Mais Um Ano Estria / Long Road To Hell //
web: https://powerfromhell.bandcamp.com/
Fifth full-length album by one of the pioneers of the old school BlackMetal sound, Brazil's “Power From Hell”. The “Devil's Whorehouse” album is a collection of raw, bare knuckle songs in the early 80's tradition, produced by the more extreme bands at the time such as Venom, Bathory, Celtic Frost, Slayer and Destruction. At some point, one or the other come surfacing down the set, with additional traces of Possessed in there as well. Songs are essentially fast paced and straight-forward type, patterned upon a repetitive, riff-based theme and gaspy, gruff-sounding vocals that are sung in a growling talk type manner. Slower moments come in the shape of the double bass drummed “666 Ways To Blasphemy”, and the Nordic BlackMetal oriented “Black Forest” that with its 4:47 minutes clocks in as the longest song. The approach of Power From Hell is geared towards feel and attitude rather than technique, although there's quite a few twists and turns. At times, the music has this old-school Punk / HardCore feel to it as evidenced on the fast, chord riffed “Armageddon” that also relates early Celtic Frost / Hellhammer; bands that Power From Hell also relate to on the crunchy groovster “Howling At The Blood Moon”. Strong
Paul van der Burght
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INTERVIEW WITH SODOMIC / POWER FROM HELL
Power From Hell started early into the new millennium, way before the old school (Black)Metal sound reincarnated. What do you sense as the most significant change of the genre over the years?
Sodomic : Hail, It's true, I started Power From Hell at the beginning of 2001. At the time here in Brazil we had just Apokalyptic Raids doing this type of sound. Today, there's a lot of bands around the world doing this sound. For me, the main change was the way of recording the albums; many bands record albums the clean way, I don't like that. For me, 'old Metal' needs to be recorded raw/ Just few bands manage to keep this power in their records.
In Europe it is fairly easy for an old-school minded band to tour and build a fanbase. Brazil has a massive scene now into the more extreme formats of Metal, but how was it when you first started out with regards to fan-base and gigs?
Sodomic : I was lucky; since the beginning the people supported Power From Hell and the band grew up quickly here in Brazil.
There is an apparent Venom, Warfare and Bathory influence but does Destruction also rank among the inspirational sources of the band gauging a song such as “Nightcrawler”?
Sodomic : I don't know; For me Power From Hell is a big mix of all the bands of the 80's, so any song that I compose will seem like some song of the 80's anyways.
Looking at the album covers, there is a strong BDSM feel to its concept...
Sodomic : Yeah... Power From Hell is highly sexist with themes like BDSM and general lust.
What do you think is the best thing that came out of the 80's Metal scene?
Sodomic : Bathory and Slayer... For me the best bands of all time!
How are the Power From Hell live gigs? There must be a lot of Mosh-pit action going on... and what has been your most memorable gig so far?
Sodomic : Yeah, the people go crazy with Power From Hell live! I remember 2 special gigs; first time in Colombia when we played for 1000 people, and the first time in Los Angeles; these gigs were the most memorable till date.
How has the response to the new album, “Devil's Whorehouse” been so far?
Sodomic : The response has been very good. The label Hell's Headbangers has done some good promotional work around the world, I'm happy with the album.
Message to the readers...
Sodomic : I thank you for all the support and I see you warriors on the road.
Power From Hell started early into the new millennium, way before the old school (Black)Metal sound reincarnated. What do you sense as the most significant change of the genre over the years?
Sodomic : Hail, It's true, I started Power From Hell at the beginning of 2001. At the time here in Brazil we had just Apokalyptic Raids doing this type of sound. Today, there's a lot of bands around the world doing this sound. For me, the main change was the way of recording the albums; many bands record albums the clean way, I don't like that. For me, 'old Metal' needs to be recorded raw/ Just few bands manage to keep this power in their records.
In Europe it is fairly easy for an old-school minded band to tour and build a fanbase. Brazil has a massive scene now into the more extreme formats of Metal, but how was it when you first started out with regards to fan-base and gigs?
Sodomic : I was lucky; since the beginning the people supported Power From Hell and the band grew up quickly here in Brazil.
There is an apparent Venom, Warfare and Bathory influence but does Destruction also rank among the inspirational sources of the band gauging a song such as “Nightcrawler”?
Sodomic : I don't know; For me Power From Hell is a big mix of all the bands of the 80's, so any song that I compose will seem like some song of the 80's anyways.
Looking at the album covers, there is a strong BDSM feel to its concept...
Sodomic : Yeah... Power From Hell is highly sexist with themes like BDSM and general lust.
What do you think is the best thing that came out of the 80's Metal scene?
Sodomic : Bathory and Slayer... For me the best bands of all time!
How are the Power From Hell live gigs? There must be a lot of Mosh-pit action going on... and what has been your most memorable gig so far?
Sodomic : Yeah, the people go crazy with Power From Hell live! I remember 2 special gigs; first time in Colombia when we played for 1000 people, and the first time in Los Angeles; these gigs were the most memorable till date.
How has the response to the new album, “Devil's Whorehouse” been so far?
Sodomic : The response has been very good. The label Hell's Headbangers has done some good promotional work around the world, I'm happy with the album.
Message to the readers...
Sodomic : I thank you for all the support and I see you warriors on the road.
WENDIGO - EP 2016 “Initiation”
label: private
songs: Play It / Sail On / Holy Hypocrite //
web: https://www.facebook.com/wendigoband
Debut release by this German 5-piece that got together in 2012. Entering the scene as a cover-band, Wendigo has now captured their own material in the shape of a 3-songer. The EP starts with the Bluesy laced HardRocker “Play It” that sounds like AC / DC meets NWOBHM, rolling on a groovy, riff-paced tempo and several solo-slots with an ad-lib feel. The driven and compact, up-tempo “Sail On” continues the groove-element in a live (studio) take appearance. Main asset of Wendigo is Singer Jörg “Schorsch” Theilen who delivers this warm, muscular vocal tone in the (upper) mid range that suits the music really well. However, the accent is more on the guitars rather than the vocalage throughout the EP that concludes with the slow Blues Rocker “Holy Hypocrite” that accelerates in the mid-section of its 7+ minutes of running time.
Paul van der Burght
label: private
songs: Play It / Sail On / Holy Hypocrite //
web: https://www.facebook.com/wendigoband
Debut release by this German 5-piece that got together in 2012. Entering the scene as a cover-band, Wendigo has now captured their own material in the shape of a 3-songer. The EP starts with the Bluesy laced HardRocker “Play It” that sounds like AC / DC meets NWOBHM, rolling on a groovy, riff-paced tempo and several solo-slots with an ad-lib feel. The driven and compact, up-tempo “Sail On” continues the groove-element in a live (studio) take appearance. Main asset of Wendigo is Singer Jörg “Schorsch” Theilen who delivers this warm, muscular vocal tone in the (upper) mid range that suits the music really well. However, the accent is more on the guitars rather than the vocalage throughout the EP that concludes with the slow Blues Rocker “Holy Hypocrite” that accelerates in the mid-section of its 7+ minutes of running time.
Paul van der Burght