30 March, 2013
28 March, 2013
“With ‘Stallzeit’ the band sets new standards,” [the press release tells us] An amazing concept album. The killer production really nails it to the point, it´s a hard-slamming, riff-sh*tting, grind shouting record with a massive wall of guitars, goatdowns, mosh parts and ferocity. A true fest of grind/death with a twist of nonsense and craziness, the trademark of them goats]
“A guy has been dismissed by his girl. One night he passed by this huge field, all drunk of course, because of his grief and sadness. Shit happens. Not far away he saw a goat barn where he walked in and crushed on a pregnant nanny goat. They immediately fell in love and made exactly that all night long. In the morning of the very next day, the guy recognized he had connated with the nanny goat while she was giving birth to her child, a goat. Although the farmer thought this guy was one ugly bastard, he took him to his farm to milk him. Shortly after that the farmer casted him out again because of his sour milk and the fact that the flock would not accept him. Shit happens. That led the guy to the point where he ran amok, impaling the farmer and the rest of the flock with his horns. After that he made his way back to town to kill his ex-girlfriend and the rest of the population by squirting them to death with his sour milk. Shit happens.”
26 March, 2013
Taking their time, English doom metallers', MOSS, new album should be out everywhere by April 2nd, 2013 – with European release occurring yesterday, March 25th, 2013 via Rise Above. Due to a slight delay, we are informed, for now turn to iTunes for ‘Horrible Night’, the band's third full length album. The six tracks, the true “celebration of horror, the arcane and the unknown”, were recorded during the summer and autumn of 2012 at Hampshire's Earth Terminal and London's Earthworks studios. Pre-order the album here (Metal Blade Records):
“ ‘Horrible Night’ is the sound of MOSS emerging from [their] cocoon a much more savage, intelligent and all the more terrifying beast. While no longer obsessed with extremity for its own sake – with weirdly infectious riffs, eccentric vocal melodies and no song over 12 minutes – MOSS remain heavier-than-thou, broadening their horror beyond any imposed “scene” expectations. This mastery of the craft is evident from the opening moments of first track ‘Horrible Nights’ – written back in 2010 it sets the course for the album, taking the twisting death-crawl of MOSS mini-epics such as ‘Tombs Of The Blind Drugged’ and administering a lethal dose of addictive melody, cooked up by the colossal riffs of Dominic Finbow and the Ozzy-via-seance vocalizations of Olly Pearson. Cuts such as ‘The Coral Of Chaos’ and ‘Dark Lady’ expand further upon this potent formula, dragging the BLACK SABBATH blueprint to its most nightmarish conclusion and ushering MOSS further into their newest dark age. With 6 tracks, MOSS prove more than ever why this English cult band is regarded exactly as such. While still no easy pill to swallow for the uninitiated, over its duration, ‘Horrible Night’ will demand complete mind control. Nonsense prefixes such as “stoner”, “sludge” or “drone” do not apply here; this is pure doom metal, a celebration of horror, the arcane and the unknown,” [we get instructed:]
“Born from a sickening lust of horror,
24 March, 2013
Well, in this business we use the word “epic” a lot and often in vain, but not in case of WARDRUNA and their self-appointed task of musically interpreting the runes of the Elder Futhark. The second such rendition, containing 11 songs and 24 runes, is due in Europe tomorrow, March 25th, 2013 and in North America on April 2nd, 2013, on Indie Recordings. ‘Runaljod - Yggdrasil’ comes available as regular jewel case CD and as digibook CD with an exclusive 32 page booklet, as vinyl and as digibook sold together with a limited edition necklace. Go, and enrich yourselves here (WARDRUNA store), here (Indie store USA) or via iTunes. The album was produced and engineered by multi-instrumentalist and songwriter Einar “Kvitrafn” Selvik in his own, aptly named (say experts in such things), Fimbulljóð studio. As in case of WARDRUNA's first album, many of the recording sessions were executed outdoors “at carefully selected locations” with instruments or natural sounds that are relevant to the different runes. WARDRUNA primarily use old and historical instruments such as primitive deer-hide frame drums, “kraviklyra”, “tagelharpe” (Viking fiddle), mouth harp, goat horn, “lur”, as well as sound of trees, rocks, water and torches.
In 2002 in Bergen, Norway Einar “Kvitrafn” Selvik, whom you might know from JOTUNSPOR, GORGOROTH, SAGH and so on, set out to explore and evoke the depths of heathen Germanic wisdom and spirituality, or, in other words, he decided to combine his passion for and practice of Norse paganism and runes with music. By 2003, WARDRUNA consisted of “Kvitrafn” and singers Kristian Eivind Espedal, better known as GORGOROTH's “Gaahl”, and Lindy Fay Hella. In 2007, the project attracted some attention after it was featured on the soundtrack of documentary by Peter Beste called “True Norwegian Black Metal”. In 2009, WARDRUNA issued their nearly six-years-in-the-making debut album, ‘Runaljod - Gap Var Ginnunga’, on Indie Recordings.
WARDRUNA features: Kvitrafn - music and lyrics, vocals & most of the instruments, Lindy Fay Hella – vocals, Gaahl – vocals & conceptual contributions and Erlend Gjerde - drums
Australia's THE AMENTA will unshackle their new album ‘Flesh Is Heir’ tomorrow, March 25th, 2013, and release it upon this world through Listenable Records. ‘Flesh Is Heir’, currently streamed in its precise industrial black metal entirety here, at Terrorizer's, should be bought here (Listenable Records store). Take care though, THE AMENTA's music is not for the “tin-eared and terrified. This music is for the true adventurer:”
“ ‘Flesh Is Heir’ builds huge sculptures of sound from decayed choir loops and found percussion, the strongest riffs and guitar hooks in THE AMENTA catalogue and an immaculate vocal performance. Lyrically it deals with the constant war in the human psyche between the faction that desires obliteration and the faction that struggles in the mud. This bipolar theme is carried through to the music which is at once, ugly and beautiful, organic yet electronic, lightening fast but also crushingly slow, and always dark as pitch,” [the press release makes things comprehensible]
“Like all truly extreme artists, THE AMENTA has long been defined solely by its refusal to be defined.”
21 March, 2013
“Instead of exclusive reliance on the typical cookie-monster grunting featured on ‘The Fourth Dimension’ (the musician's first attempt at vocals), Tägtgren expands his repertoire to include sub-sonic growls and piercing black metal screeches, along with the grunts and hollers he had already mastered,” [Jason Anderson, AllMusic took notice of the musician's nearly alien-like vocal capabilities – more here]
“swayed by worldwide fan pleas and weary from the unrelenting requests to produce records for other bands,” [explains the band's official bio] “his decision was made easier by a contagious desire to experience a Swedish summer outside the confines of a studio control room, to tour more (and perform half-naked!), and use Abyss Studios solely to record his own bands, as well as a few select bands.”
“We did a different kind of HYPOCRISY record with ‘Catch 22’ and people flipped out, y’know? So all the flipping out I do with PAIN. It’s really good to have two different bands, because whatever doesn’t fit in one, you can use with the other. I don’t want to change HYPOCRISY. It’s never been pure death metal. There are elements of doom, thrash, death, some squirts of black metal. [These are] just things I listen to that reflect in the songs,” [stated the talented man in a MetalSucks interview – read the rest of it here]
18 March, 2013
“The journey to create, write, and record ‘Undead’ and ‘Unborn’ has been the most challenging and exciting musical endeavor and process I have ever been involved with,” [expressed vocalist and founder Chris Barnes] Working with all these amazing writers and musicians like Ben Savage (WHITECHAPEL) on songs like ‘Neuro Osmosis’ and ‘Fragment’ are some of the most dynamic, beautiful, and brutal songs I’ve ever had the pleasure of putting lyrics to. I believe Ben is a true innovator of the death metal genre. It was also a lot of fun working Jari Laine from TORTURE KILLER again. We wrote a great album together a few years back called ‘Swarm!’ [TORTURE KILLER's 2006 album] – one of my favorite releases I’ve been involved with – and Jari is someone who I have really wanted to work with again ever since. I wanted to revisit collaborating with Jari because of how well we work together; proof of that on ‘Unborn’ are the hook heavy sounds of songs like ‘Zombie Blood Curse’ and ‘Incision’.”
“Now, as for everyone else who actually digs SIX FEET UNDER for reasons known or unknown, rest assured that ‘Undead’ is, well, pretty good,” [came across decisive Eduardo Rivadavia, AllMusic] Heck, the dreadlocked old goat is sort of like that wacky uncle (if he sounded like, you know, Cookie Monster) that keeps things interesting for the family: you can’t really miss him ‘cos he won’t go away, but you still invite the old coot for kicks on Thanksgiving. The same is true, in roundabout fashion, of SIX FEET UNDER, even if ‘Undead’, like most of their albums, makes better stuffing than cranberry sauce. Who doesn’t like a little stuffing now and then?” [Read the rest here]
17 March, 2013
You can’t get rid of them even if you try; they have a new video out, ‘Sharkpool’, and their brand new album is making waves over at Amazon where it is conquering charts fast. If you can imagine “BLACK LABEL SOCIETY inviting the NICKELBACK guy over for some THIN LIZZY covers, all dressed in PANTERA shirts”, then THE NEW BLACK is just what you need. The German rockers' new album, ‘III: Cut Loose’, was released on March 15th, 2013 on AFM Records and you can still download yourselves their new single ‘Count Me In’ for free here (AFM Records – enter the code: MG52K2V) or here (ReverbNation). ‘Count Me In’ comes also in video form that will stand the test of time and awaits you below. The video features a young lady called Cindy Wenk who, shortly after the filming, has been voted “Bild Girl 2013” (Bild is Germany's biggest tabloid) and is also featured in the current issue of Playboy:
“[Commented THE NEW BLACK:] Blackies & Blackettes [referring to their fans]! Thanks for the impressive click rates and all the comments to the ‘Count Me In’ clip. Now you can take the song with you wherever you go, in the car, to the bar, visiting mom or your next stint on a red carpet somewhere. Download it, crank it!”
‘III: Cut Loose’, THE NEW BLACK third album, can be found here (AFM store), here (AFM MP3 store) on iTunes and Amazon. The album's regular edition contains 12 tracks, whereas the limited digipak version offers additional song and no less than “four moody acoustic compositions”. Furthermore, the tune ‘Superhuman Mission’ proudly presents two guest vocalists, Chris Birx of MOTORJESUS and Tyler Voxx of THE BULLETMONKS (“the result: FAT!”). ‘III: Cut Loose’ was mixed and mastered by Jacob Hansen:
“Not ones to be accused of cranking out basic three chord pint-of-beer rock 'n' roll, the band keeps the songs heavy, intricate, yet catchy all the way through. THE NEW BLACK's established arsenal of trademarks is fully loaded for ‘III: Cut Loose’, making rockers like ‘Superhuman Mission’, ‘Any Colour You Like (As Long As Its Black)’, ‘Muzzle & Blinkers’, ‘Sharkpool’ and ‘Not Quite That Simple’ guaranteed fan favourites. Ultimately, however, it comes down to finding your earworm of choice amongst the familiar and new twists on a working theme; there are plenty to choose from. Whether it’s the party crash MOTORHEAD-flavoured opener ‘Innocence & Time’ (if Lemmy could sing he’d sound like TNB vocalist Fludid), the groovy stomper ‘Count Me In’, a balls out '80s-with-a-harmonica rocker ‘Cut Loose’, or the oddly infectious ballad-esque “screw you” tune ‘One Thing I Know’ – it’s very clear that nothing about ‘III: Cut Loose’ was phoned in or blueprinted from previous efforts,” [added the label]
Formed “by coincidence and heavy drinking” in 2009 in Würzburg, Germany, THE NEW BLACK, after putting forth their self-titled debut album which was reportedly “an enthusiastic exploration of new territory”, self-produced their second offering entitled ‘II: Better In Black’, which was mixed by Michael Dotzler and guitarist Fabian Schwarz, mastered by Achim Köhler and issued through AFM Records in 2011.
THE NEW BLACK features: Fludid – vocals, Christof Leim – guitar, Fabian Schwarz – guitar, Günt Auschrat – bass and Chris Weiß – drums
15 March, 2013
HATE, described by Greg Pratt for Revolver Magazine as “death metal's unsung greats” and “Polish MORBID ANGEL-lovers”, have just issued a brand new video for ‘Alchemy Of Blood’ off their new album ‘Solarflesh’, released in January/ February 2013 on Napalm Records. ‘Solarflesh’, containing:
“full-speed blast beats, grimy sludge, and just enough experimentation to keep things interesting, keyboard flourishes and a sense of drama that borders on ludicrous, militaristic marching, mid-tempo near-blackened metal, and so many great death riffs NILE's Karl Sanders is probably twitching a little just thinking about it,” [as put by aforementioned Greg Pratt – read the rest here]
was recorded at Sound Division Studio in Warsaw, Poland with Filip Halucha and Arek Malczewski, and mixed at Hertz Studio in Bialystok, Poland with producers Slawek and Wojtek Wieslawski. Check out the “Making Of ‘Solarflesh’ ” short documentary below and shop for the album here and here (Napalm Records).
HATE was formed in Warsaw, Poland in 1990 by lead guitarist and vocalist ATF Sinner who, in a band that endured quite a few line-up changes, is the only constant. HATE issued several demos (‘Abhorrence’ in 1992, ‘Evil Art’ in 1994 and ‘The Unwritten Law’ in 1995) before releasing their first full-length record entitled ‘Daemon Qui Fecit Terram’ in 1996, followed by 1998's ‘Lord Is Avenger’, considered a highlight of their early years, on Polish label Vox Mortiis. ‘Cain's Way’, released in 2000, was HATE's first to be distributed in United States (through World War III/Mercenary Musik). HATE signed a record deal with Listenable Records in 2001, the year ‘Holy Dead Trinity’, a collection of their best material from the first three albums, was released internationally via World War III Records. Next, HATE released their acclaimed album, ‘Awakening Of The Liar’, in 2003, succeeded by their first DVD titled ‘The Litanies Of Satan’. HATE's experimental album, 2005's ‘Anaclasis: A Haunting Gospel Of Malice And Hatred’, received praise from nearly every European metal magazine; in its support, the band embarked on a mega tour across Europe, Russia, Brazil, Mexico and the U.S. Their sixth full-length, ‘Morphosis’, followed in 2008 and HATE's seventh blackened death metal attack came in form of ‘Erebos’, issued in 2010.
HATE features: Adam “ATF Sinner” Buszko – guitar, vocals and synthesizer, Stanisław “Hexen” Malanowicz – drums, Konrad “Destroyer” Ramotowski – guitar and Sławomir “Mortifer” Kusterka – bass
Visit BandCamp here and immerse yourselves into an hour of seemingly effortless mix of doom, psychedelic sludge, grind and black metal with added elements of noise and southern Americana in short: INTER ARMA's new album ‘Sky Burial’, due March 18th, 2013 (March 19th, 2013 in North America) on Relapse Records. Virginians' Relapse debut was recorded at Dark Arts Studio in Madison, Tennessee, with engineering, mixing and mastering duties helmed by Mikey Allred. The album's truly amazing art was created by Orion Landau and James Rexroad, with special effects by Drew Pierce of Cutthroat Studios. Listen, be blown away and buy ‘Sky Burial’, surely a contender for heavy music record of the year, here (Relapse store):
“ ‘Sky Burial’ is an album that requites the listener to encompass the fabric of the album as a whole, capturing the full contextual meaning and representation therein. The album is built around creating a journey through veritable prowess expressed both musically and conceptually. Resulting in an experience that is very personable, spiritual and deeply rooted into representing a sound that will reflect the band's solemn roots within live performances,” [wrote CLVT Nation reviewer – more here:]
14 March, 2013
“Out of the murky depths of the Black Forest rise IMPERIUM DEKADENZ. The dark chasms of these steep mountains have witnessed the rise and fall of empires in bloody battles and glorious history. Celts, Romans and Germanic tribes have lived and perished in these fog ridden, harsh and yet exquisite landscapes. The ancient past and lost peoples left lingering feelings of longing and a deep melancholy, which none have ever captured more intensively than native IMPERIUM DEKADENZ on their fourth full-length ‘Meadows Of Nostalgia’,” [tells us the press release]
“When winter falls upon the Black Forest, its steep peaks cover chasms and valleys with darkness and harsh frost. Even in summertime the sun does not reach every slope and it comes as no surprise that this rough and sinister environment gave birth to an equally somber sound,” [relates the band's bio]
“The album was recorded during the coldest and most snow plagued winter of the new millennium. Yet despite the harsh condition, this work was a dream come true for the two protagonists and the beginning of their deep and lasting friendship.”
‘Morning Rain’ is the new video created by Mauro Marani Studio for KINGCROW's tune taken from their fifth studio full-length ‘In Crescendo’, released in February 2013 through Sensory Records, a division of The Lasers Edge Group. ‘In Crescendo’ was recorded at Sound Under Pressure studio in Rome, Italy, produced by KINGCROW guitarist Diego Cafolla and drummer Thundra Cafolla, mixed by Giampiero “PapeDroga” Ulacco and mastered by Alan Douches at West West Side in New York, USA. Its cover art was created by Devilnax. If you like what you hear, and I hear nothing that should make you fell differently about the record especially if you’re into PORCUPINE TREE, RIVERSIDE, OPETH, ORPHAND LAND or DREAM THEATER, order your copy of ‘In Crescendo’ here (KINGCROW store).
Founded in Rome, Italy in 1996 by guitarist Diego Cafolla and drummer Manuel Thundra Cafolla, KINGCROW's name was inspired by Edgar Allan Poe's poem “Raven”. With singer Stefano Tissi , the band recorded their first demo in 1997, ‘Eyes Of Memories’, followed by second promo CD ‘Hurricane's Eye’, issued in the year 2000. KINGCROW found their true calling on progressive-leaning debut album ‘Something Unknown’, which they released in 2001 when the lineup became richer for guitarist Ivan Nastasi. In 2002, new vocalist Mauro Gelsomini replaced Tissi, as KINGCROW was getting ready to record their second LP, a concept album titled ‘Insider’, which they published in 2003. Having build their own recording studio, the band recorded ‘Timetropia’, apparently heralded by media and fans as a true rock opera along the lines of “Tommy” and “Jesus Christ Superstar”, KINGCROW's first album to be released internationally by Lucretia Records International. Years 2007 and 2008 KINGCROW spent on the road promoting the album, their lineup strengthened with bassist Angelo Orlando. In 2009, during the recording sessions for the new album ‘Phlegethon’, the band experienced some turbulence which resulted in new bassist Francesco D'Errico as well as new singer Diego Marchesi. ‘Phlegethon’ followed in 2010 through Scarlet Records.
KINGCROW features: Diego Marchesi – vocals, Diego Cafolla - guitar & backing vocals, Ivan Nastasi - guitar & backing vocals, Thundra Cafolla - drums & percussions, Cristian Della Polla – keyboards and Francesco D'Errico – bass
13 March, 2013
“17, 18, 19, 19. No, that’s not today's lottery numbers, but the age of the band members of Finland's most promising contemporary newcomer combo,” [the press release kindly introduces us to LOST SOCIETY. Adds Metal Hammer UK:] Ludicrously young and prodigiously talented.”
Not disagreeing with either, let me point you to Metal Hammer here, where the wunderkinds debut album, ‘Fast Loud Death’, is being streamed in full. Crafted under the aegis of famous producer Nino Laurenne in the Sonic Pump Studios, LOST SOCIETY's rite of passage will be released via Nuclear Blast on March 15, 2013 in Europe and on April 2nd, 2013 in North America. The album's art was designed by “no less a figure” than Ed Repka, while the first video released in ‘Fast Loud Death’s promotion was shot by LEGION OF THE DAMNED frontman Maurice Swinkels, who explained:
“I spent a fun evening with the LOST SOCIETY boys in Finland, creating the music video for ‘KILL’. It was a blast – we shot the video at drummer Ossi's place, where his parents welcomed us with open arms. They were very co-operative and lots of fun - especially his father's physical commitment was great to watch!” [He has since put together, along with the band, second video, ‘Thrash All Over You’, available for your viewing pleasure below:]
“ ‘Fast Loud Death’ can be ranked among this year's best releases of it's genre, despite all the outputs of seasoned long-established thrashers that may follow. It’s their fresh, catchy, highly energetic songs, forged in the fire of youthful passion under the sledge-hammer of boundless joy of playing, presented with most likable winking snotty attitude – making LOST SOCIETY become unrivalled, even in direct comparison with old hands of the scene. That’s because the quintet adds pots of a special ingredient to its creative work that many routiniers have lost over the years: pure heart’s blood, overflowing with adrenaline,” [provided the recipe for success Nuclear Blast Records]
Founded in 2010 in Jyväskylä, Finland by guitarist and vocalist Samy Elbanna who surrounded himself with fellow speed and thrash metal fanatics, LOST SOCIETY quickly established themselves as one of the most energetic newcomers Scandinavia has seen in years. After numerous gigs performed in “every nook and corner” of their home country, the band took part in the GBOB (Global Battle Of the Bands) 2012's world finals held in London. Not blind to their potential, LOST SOCIETY were quickly snapped up by Nuclear Blast.
LOST SOCIETY features: Samy Elbanna – guitar and vocals, Arttu Lesonen – guitar, Mirko Lehtinen – bass and Ossi Paananen – drums
12 March, 2013
It is hellishly hot here today - hence ‘Supremacy’. Because, “after years of lying dormant in forgotten silence, the icy menace of THE EYE has risen anew”. But beware: THE EYE is BLUT AUS NORD's Vindsval before we discovered his pleasant singing voice on ‘777 – Cosmosophy’. Originally released in 1997, ‘Supremacy’ is made up of “eight unholy canticles of cold, hypnotic black metal in its purest form”:
“Conceived and executed by Vindsval, THE EYE's sole full-length explored the cruel mythos of odinism and delved into a poetic worship of nature in its dark, repetitive compositions, foreshadowing its creator's later work with star-driven black magicians BLUT AUS NORD. Wreathed in an ancient, otherworldly atmosphere, ‘Supremacy’ is both deeply misanthropic and hauntingly beautiful. Saturated with epic, elegant keyboards and clean, ringing guitar tones, it recalls the grandiose paeans of SUMMONING and glorious ride of latter-day BATHORY as often as it offers a window into Vindsval's darkened shrines. It’s accessible but commanding; an experience, rather than a mere distraction. THE EYE's final testament is a lost classic that has been found and elevated to its rightful place,” [commends the label, Debemur Morti Productions]
It’s hard to keep up with EKTOMORF, them being such a busy band. They have a new video out (actually two, and a new record and, it turns out, a new acoustic album as well, and, we can safely suppose, a very obliging label watching their backs, that being AFM Records) for ‘Black Flag’, off their August 2012 release of the same name. ‘Black Flag’, the album, was mixed and mastered by Tue Madsen at his Antfarm Studios in Denmark, and its cover designed by Tim Eckhorst. Shop here (AFM Records store).
Hungary's EKTOMORF was founded in 1994 by brothers Farkas, vocalist and guitarist Zoltán “Zoli” and bassist Csaba, with the intention of adapting SEPULTURA's brand of “world metal” to their own national aesthetic; a mix of 90's death metal spiced with Gypsy folk music. These days, Zoli is the only remaining original bandmember. EKTOMORF's breakthrough came in 2003, when Danish producer Tue Madsen took an interest in the band. Under his guiding hand, the group released five albums: ‘Destroy (2004), ‘Instinct’ (2005), ‘Outcast’ (2006), ‘What Doesn’t Kill Me…’ (2009) and ‘Redemption’ (2010):
“When faced with the improbable realization that ‘Redemption’ is EKTOMORF's ninth album devoted to some manner of serious SOULFLY karaoke, with nary a lawsuit or death threat from Max and Gloria Cavalera, one feels compelled to pause and wonder whether perhaps it’s time to stop bitching about this weird state of affairs and just live and let live. After all, there’s no denying that EKTOMORF typically come up with a few pretty decent SOULFLY songs every time out, and ‘Redemption’ is no exception, thanks to infectiously rudimentary chant-alongs with one combat boot planted in the realm of groove metal and the other in nu metal. And the band even breaks out of type on very rare instances, including the forbiddingly melodic ‘I’m In Hate’ and the cleanly sung, acoustically infused ‘Sea Of My Misery’. Heck, should one simply cave in and give EKTOMORF leader Zoltan Farkas credit for proving that Hungarians can speak English with a convincing Brazilian accent? (All that’s missing is an occasional “um, dois, tres, quatro,” or “jumdaf**kup!”)…” [due thanx should be reserved for Eduardo Rivadavia, AllMusic – read more here]
In February 2012, EKTOMORF issued an acoustic album called ‘The Acoustic’, featuring newly recorded songs from previous albums, new material and two cover songs by LYNYRD SKYNYRD and Johnny Cash.
EKTOMORF features: Zoltán Farkas – vocals and guitar, Szabi Murvai – bass, Tomi Schrottner – guitar and Robert Jaksa – drums
11 March, 2013
Punk rockers rejoice: THE CASUALTIES, the voice of the disenfranchised, the disillusioned and the dispossessed on this planet, have released new, Lewis Smithingham-directed video for ‘My Blood. My Life. Always Forward., the track off their latest recording ‘Resistance’, released through Season Of Mist in September 2012. ‘Resistance’ can be streamed in full here (BandCamp) and below and ordered from here (Season Of Mist e-shop) or here (THE CASUALTIES shop):
“[Explained and advised the label:] These street fighters are still angry and their album. ‘Resistance’ takes up their fight against injustice, police brutality and the corporate onslaught. ‘Resistance’ fuels the anger of undiluted raw punk with crunchy riffs and anthemic chants, coupled with the precise energy from thrash and a melodic dose of rock. Kick it!”
06 March, 2013
“Eeriness, darkness, coldness, despair, and riffs, this is how I would describe WAR FROM HARLOTS MOUTH's new record, ‘Voyeur’, in one sentence to anyone who asked,” [offered Chuck Haller, Sputnik Music – read the rest of his review here]“With their fourth full-length ‘Voyeur’, WAR FROM A HARLOTS MOUTH continue on their outrageous course charted on their previous three albums by riding a maelstrom of sound fusing metalcore, mathcore, death metal, jazz and other elements into new shapes with ultimate complex drumming, grinding and booming bass lines as well as intricately shredding guitars and hoarse vociferation. For their unique style WAR FROM A HARLOTS MOUTH have won the praise of critics as well as the die-hard support of fans,” [added the label. Season Of Mist]
Formed in 2005 in Berlin, Germany, AllMusic's elder Eduardo Rivadavia tells us WAR FROM A HARLOTS MOUTH play a violent blend of math metal, grindcore, and assorted unrelated genres - and they strongly disagree:
“We don’t claim to be a band that’s true to any kind of genre. So don’t tell us we are not whatevercore or blablametal, 'cos you are right: we are not.”
Every member of the band demonstrates total command of his instrument, including vocalist Nico, who switches back and forth between a guttural roar and a bloody-throated screech seemingly without blinking. The group has all the discipline of grindcore and death metal, but leaps into space when the mood strikes them,” [is what Phill Freeman, AllMusic heard – more here]
“WFAHM have moved from the arty grindcore to a more metalcore/deathcore sound, with some detuned MESHUGGAH-style riffs thrown in, while retaining the occasional interjections of raw dissonance and, even more jarringly, gentle jazz chords and brushed drums that make this German band's music unique:”