GOJIRA, still loved by all, are returning some of that love: they have relinquished a new explosive performance clip, and their fifth album, ‘L'Enfant Sauvage’, can be still streamed in full just about everywhere. Listen to ‘L'Enfant Sauvage (“the wild child”) here at No Clean Singing, here at Punk News, or here at EspyRock. Then, enchanted, listen to the man himself, Joe Duplantier, talking passionately about GOJIRA's latest album here (YouTube). ‘L'Enfant Sauvage’, issued through Roadrunner Records in June 2012 and produced by Joe Duplantier and Josh Wilbur, had charted well; it peaked at position number 7 on France's SNEP and at number 34 on Billboard's Top 200, a feat it equaled on Canadian Albums Chart. ‘L'Enfant Sauvage’ special edition CD and vinyl LP can be bought through here (GOJIRA store), while the standard CD is available here (Roadrunner store):
“… French metal quartet GOJIRA's fifth studio album, ‘L'Enfant Sauvage’, is as ferocious, frenetic, and fearless as anything their obvious influences have put their names to. … An utterly exhausting but consistently thrilling listen, ‘L'Enfant Sauvage’ is arguably a career best which suggests GOJIRA have found their spiritual home,” [offered Jon O'Brien, AllMusic – more here:]
Environment-friendly GOJIRA “have risen from utmost obscurity during the first half of their career to widespread global recognition in the second” argues Eduardo Rivadavia for AllMusic (more here). Brothers guitarist and vocalist Joe Duplantier and drummer Mario Duplantier, along with guitarist Christian Andreu and bassist Jean-Michel Labadie, formed GOJIRA in 1996 in a village close to Bayonne, France. They recorded their first mix of progressive, death, groove and thrash metal under the name “Godzilla” and as such they released demos ‘Victim’ (1996), ‘Possessed’ (1997) and ‘Saturate’ (1999). As GOJIRA they issued 2000's demo ‘Wisdom Comes’ which was wisely followed by the band's debut studio album, ‘Terra Incognita’, in 2001. Praised by AllMusic's Phil Freeman (here) and described as “schizophrenic combination of extreme metal styles” by Eduardo Rivadavia, AllMusic, ‘Terra Incognita’s successor came in 2003 in form of ‘The Link’ that “helpfully revealed that this was simply how GOJIRA “rolled”, man,” as put by aforementioned Mr. Rivadavia (more here). Next came 2005's ‘From Mars To Sirius’, issued through Listenable Records and Prosthetic Records:
“GOJIRA's third album was the one that really stamped the French quartet's all-pro credentials, gaining them access into the exclusive top echelon of the world's progressive metal elite. Meticulously conceived from the inside out, the record radiated a newfound confidence to match both the unprecedented diversity of its musical palette, and the evocative cover art (featuring a whale adrift amongst mystery planets) representative of its often otherworldly qualities,” [again, Eduardo Rivadavia – more here]
Again adorned with artwork created by Joe Duplantier, GOJIRA's fourth album, 2008's ‘The Way Of All Flesh’, broke onto American album's chart Billboard Top 200 at number 138. Recorded at their home studio, produced by multitalented Joe Duplantier, mixed and mastered by Logan Mader and featuring guest appearance by LAMB OF GOD's Randy Blythe, ‘The Way Of All Flesh’ of course busied itself with life and death, theme-wise, and was described by Mr. Rivadavia, AllMusic, as “another fascinating chapter in GOJIRA's ever more impressive catalog” (more here). ‘The Way Of All Flesh’ was issued on Listenable/Prosthetic Records.
Bangalore, India's finest, KRYPTOS, have just recently released their third album, ‘The Coils Of Apollyon’, internationally via AFM Records. (September 21st, 2012). Issued domestically on Indian label Iron Fist Records already in February this year, ‘The Coils Of Apollyon’ was mixed and mastered by Anupam Roy at Grey Studios, New Delhi and its art was created by Mark Riddick. Support one of India's leading heavy metal bands here (AFM Records) and here (KRYPTOS official store), after listening to two tracks off the recording, ‘The Mask Of Anubis’ and ‘Nexus Legion’, below:
“Anyone who loves eighties melodic metal that’s rough around the edges will absolutely foam at the mouth once they get their hands on this. We’ve gone for a clear yet raw and heavy production so don’t expect anything “modern” here. This definitely sounds like it was spat out from 1988. If you love BLACK SABBATH, JUDAS PRIEST, IRON MAIDEN, MERCYFUL FATE, KREATOR and CORONER, this will be right up your alley,” [offered KRYPTOS vocalist and guitarist Nolan Lewis:]
KRYPTOS: The Mask Of Anubis
Formed in 1998 by vocalist and guitarist Nolan Lewis and bassist Ganesh K, KRYPTOS released their debut album ‘Spiral Ascent’ in 2004, which impressed Californian label Old School Metal Records enough to sign the band for their next release, 2008's ‘The Ark Of Gemini’. In 2009, KRYPTOS opened for IRON MAIDEN at Rock’n India festival, and completed an European tour in 2010 – the first metal band from India to do so.
KRYPTOS features: Nolan Lewis – vocals and rhythm guitar, Jayawant Tewari – bass, Rohit Chaturvedi - lead guitar and Ryan Colaco – drums
Partially atoned and to some extent ready to face life's challenges, it is only appropriate for me to begin the new chapter in world's history with self-professed “no-frills black metal meets death & roll” masters from New Orleans, Louisiana, GOATWHORE. ‘Death To The Architects Of Heaven’ comes off GOATWHORE's latest album, ‘Blood For The Master’, recorded in St. Petersburg, Florida at Mana Studios with producer Erik Rutan and released through Metal Blade Records in February 2012. The album debuted on Billboard's Top 200 at number 171 and sold over 3,100 copies in its first week. Listen to the opening track, ‘Collapse In Eternal Worth’, via player available below, watch ‘When Steel And Bone Meet’ video, filmed with MyGoodEye's David Brodsky below and buy the album here (Metal Blade):
“With their fifth album, ‘Blood For The Master’, GOATWHORE do just that [“doing the classics incredibly well” opposite to “exploring bold new sonic waters”] delivering another album of relentless and refined blackened death metal that speaks volumes about the band's level of craftsmanship. Every element of the album is airtight, and it’s from this highly fortified position that the band are able to launch and all-out metal assault, digging into their arsenal of thrash, death, and black metal riffage to destroy the eardrums of anyone they come across,” [commented Gregory Heaney, AllMusic – read the rest here]
“One the most diligent and consistently ferocious bands of the 21st century” was formed by ex-ACID BATH and CROWBAR (click) guitarist Sammy Duet in 1997. Duet, vocalist Ben Falgoust, guitarist Ben Stout, bassist Patrick Bruders and drummer Zak Nolan began their bestial journey with the ‘Serenades To The Tides Of Blood’ demo, followed by proper album ‘The Eclipse Of Ages Into Black’ in 2000. “By 2003,” explains the group's bio, “GOATWHORE had systematically harvested a legion of followers possessed by the band's profound maze of unhallowed lyrics, CELTIC FROST-ian rhythms, and blackened bayou swagger”. In 2003 ‘Funeral Dirge For The Rotting Sun’, the band's second bloodfeast, was issued. 2006's ‘A Haunting Curse’ was GOATWHORE's first on Metal Blade Records; “ ‘A Haunting Curse’ found the revised GOATWHORE lineup of Duet, Falgoust, drummer Zack Simmons and bassist Nathan Bergeron, fleeing the debilitating floods of Hurricane Katrina. Delayed but undeterred, the album proved their most volatile yet.”
“GOATWHORE has a much nastier, harsher, more primal vision of black metal - one that is mindful of the rawness of early black metal and remembers its punk, thrash, and hardcore roots. Don’t expect any sweet, lilting melodies on ‘A Haunting Curse’; this is caustic stuff, and GOATWHORE takes pleasure in going for the jugular,” [wrote Alex Henderson, AllMusic – read the rest here]
GOATWHORE's fourth record broke Billboard Top 200 ranking in at number 190, and the Billboard Top Independent Albums chart at number 34. Once again produced by the band's longtime friend Erik Rutan, 2009's ‘Carving Out The Eyes Of God’ was met by much critical praise.
GOATWHORE features: Sammy Duet – guitar and vocals, Louis Benjamin Falgoust II – vocals, Zack Simmons – drums and James Harvey – bass
‘Fear Of Impending Hell’ was directed and produced by PARADISE LOST's own Steve Edmondson and features clips of live performances and behind-the-scenes footage. The tune itself comes from the band's thirteenth album ‘Tragic Idol’, issued through Century Media Records in April 2012. ‘Tragic Idol’ was recorded at The Chapel Studios in Lincolnshire, England and at Fascination Street Studios in Orebro, Sweden and produced, mixed and mastered by Jens Bogren. Its artwork was created by Valnoir and its promotional video, ‘Honesty In Death’, was directed by Matt Green. Listen to ‘Crucify’, yet another ‘Tragic Idol’ song below, and visit MetalSucks for ‘The Last Fallen Saviour’, an exclusive B-side from the album, here. Your shopping should be done here (CM Distro Europe) and here (CM Distro USA) or via iTunes:
“[Vocalist Nick Holmes explained the album's title:] It’s about the beauty and innocence of youth; worshipping another human being with an equal amount of susceptibility to pain, suffering and depression as the next person, but by some chance has been propelled into some godlike status. Adulation eats away and makes the person ugly on the inside, believing their self importance to be above others, not realizing their insignificance and irrelevance in the grand scheme of things.”
“[Understood Marcus Jervis, About.com reviewer:] PARADISE LOST probably won’t appreciate the Hetfield [James, METALLICA] comparison any more than they’ll appreciate being reminded of their ever increasing status as elder statesmen of dark metal, but the bottom line remains that this is a band reaching the pinnacle of its career with class and style, proving beyond doubt that middle age does not necessarily have to result in crisis and middle of the road mediocrity.Maybe there’s a lesson for Hetfield and chums there. … Integrity? Check. Passion? Check. A marvelous album encapsulating everything great about PARADISE LOST? Absolutely, check.” [Read the rest here]
Formed in 1988 in Halifax, England, PARADISE LOST issued their debut album ‘Lost Paradise’ in 1990 on Peaceville Records and with it helped define the rules of doom/death metal: “grinding, de-tuned anthems of woe topped with death metal-style guttural vocals, [and] yet, even as they were laying down the blueprint, PARADISE LOST was already reaching for realms unknown to their then-amateurish abilities and latent promise,” [introduces the group Eduardo Rivadavia, AllMusic – more here.] With added atmospheric nuances and expanding beyond the original death/doom format, PARADISE LOST's second full-length, ‘Gothic’, followed quick in 1991. The group signed to the Music for Nations label through which they issued their “transition album” ‘Shades Of God’ in 1992, followed by their fourth record ‘Icon’ in 1993, described as “nothing short of glorious” by Christopher Anderson, AllMusic. One of PARADISE LOST's most successful albums, ‘Draconian Times’, was released in 1995:
In 1997 PARADISE LOST kept evolving their sound, surprising their long-time fans with ‘One Second’, with which they bid a farewell to their death/doom beginnings for a while. Dwelling even deeper into experimental rock, ‘Host’ followed in 1999 through EMI Distribution, and ‘Believe In Nothing’ came next in 2001. Heavier and characterized as “the most palatable to the band's disapproving hardcore metal fan contingent” by Eduardo Rivadavia, AllMusic, the group's ninth album,‘Symbol Of Life’, was issued in 2002 by GUN Records/Koch Records, and was followed by their eponymous album in 2005. Recovering the sound that elevated them in the first place, PARADISE LOST's next recording, 2007's ‘In Requiem’, was welcomed by fans and critics alike. Sticking with their new label, Century Media Records, PARADISE LOST completed their sonic full-circle with their twelfth album ‘Fate Divides Us Death Unites Us’, released in 2009. And yet -
“…could a full-fledged devolution into the primal dirge of the band's formative death/doom origins be next? Don’t hold you breath, but stranger things have happened throughout PARADISE LOST's increasingly intriguing career,” [couldn’t but ask the question Eduardo Rivadavia, AllMusic – read the rest here:]
PARADISE LOST features: Nick Holmes – vocals, Greg Mackintosh - lead guitar, Aaron Aedy - rhythm guitar, Steve Edmondson - bass and Adrian Erlandsson – drums
Swedish classic rockers', WITCHCRAFT, new album ‘Legend’ is already out in Europe and is about to be set loose in North America on September 25th, 2012 through Nuclear Blast Records. Visit the band's official site here to listen to song samples and to purchase the album via Nuclear Blast and do keep in mind Amazon and iTunes options. The are also two brand new WITCHCRAFT songs available to you below, courtesy the label. ‘Legend’ was produced by Jens Bogren at Fascination Street Studios.
“WITCHCRAFT and brother Magnus have been making beautiful throwback, '60-'70's-style tunes for nearly a decade now, and I support their enthusiasm 100%. Not many bands have actually created something new out of something old the way these musicians have,” [commented DOWN's Philip Anselmo:]
Started in 2000 by vocalist and guitarist Magnus Pelander with a noble intent to record a single in tribute to PENTAGRAM's Bobby Liebling and Roky Erickson, WITCHCRAFT issued ‘No Angel Or Demon’ single through Primitive Arts Records in 2002 and proceeded to record the band's eponymous full-length, released on Rise Above Records two years later. Described as “eerily authentic” and “a special treat to behold” by AllMusic's Eduardo Rivadavia (more here), WITCHCRAFT continued their enthusiastic tribute to music written before its members were even born with 2005's ‘Firewood’ and 2007's ‘The Alchemist’, issued through Rise Above, Candlelight Records and Leaf Hound Records:
“Magnus Pelander's vocal delivery is an awful lot like PENTAGRAM's Bobby Liebling, while the music would provide a fine soundtrack to a high school stoner's basement party - when the folks were out of town, the bong smoke was thick, and the black light posters were proudly on display,” [described 2007's recording Greg Prato, AllMusic – more here]
WITCHCRAFT features: Magnus Pelander – vocals, Simon Solomon – guitar, Tom Jondelius – guitar, Oscar Johansson – drums and Ola Henriksson – bass
‘Lights Out’ is described as an atmospheric and gloomy album with a melancholic undertone by its authors, POSTHUM, who, accidentally, draw inspiration for their lyrics from nature, dreams and nightmares, the material and commercial world as well as from human nature. So, compare your own ideas on these worthy subjects with those of the band by listening to their new album here (PureGrainAudio) or below. ‘Lights Out’ is out in Europe today, September 21st, 2012 and will be released on September 25th in North America, due to Indie Recordings. POSTHUM's second longplayer was mixed by Morten Opsahl Thomassen and the band and mastered by Peter in De Betou. The album cover was created by artist Kjersti Mortensen. Spend your spare Norwegian kroner on ‘Lights Out’ here, and if U.S. dollar is your preferred currency, shop here (Indie Recordings):
POSTUM formed in 2004 in Nannestad, a small town in the east of Norway, and were kept fairly isolated from the rest of musical community until 2009, when they issued their debut self-titled album. POSTHUM's music, while not particularly influenced by the trends, is firmly rooted in Norwegian black metal.
POSTHUM features: Jon – guitar, bass and vocals, Martin – guitar and bass and Morten - drums
Update: Stream the album in full here (CVLT Nation)!
Freezing cold, satanic black metal band with an interesting name, NETTLECARRIER, comprising T.Ciekals who is responsible for guitars and apparently decomposing, drummer Dirge Rep and vocalist and bassist Mannevond, have a brand new evil album out today, September 21st, 2012, courtesy Indie Recordings. The artwork for NETTLECARRIER's debut album set for North American release on September 25th, was created by artist Truls Espedal, known for his painting of ENSLAVED's album covers since 2001. Ritual shopping for sinister black metal by NETTLECARRIER should be performed here if European, and here if North American (Indie Recordings):
Now, according to “One Hundred Years In The Cumberland Mountains” by A. R. Hogue, on the mountains above the head of Nettle Carrier Creek was a village of the Cherokee Indians. In this village were two young braves who were in love with the same Indian maiden. To decide who should marry her, they went to the Chief of the tribe. The old Chief told them to each throw a sprig of green into the water of a nearby creek, and that the one whose sprig was carried the farthest by the water, should marry the girl. One threw a nettle, and the other a thorn. The nettle floated farthest, so this thrower married the Indian maiden, and from that day was called Nettle Carrier. The lucky Indian became chief of his tribe.
This, of course, has probably nothing to do with T. Ciekals and Mannevond who in 2005 felt a burning desire to create a black metal band “that will not sound like any other band” as many an Oslo resident often does. In 2006 drummer Vold felt that same desire for a short while, which resulted in blasphemous 7” vinyl called ‘To Strangle The Hero Of Heaven’, issued in 2009.
Chilean mercenaries of death, UNDERCROFT, are letting loose their newest compilation of maledictions called ‘Ruins Of Gomorrah’ tomorrow, September 21st, 2012. Their label, Season Of Mist, is preparing similar attack on North America on October 9th, 2012. ‘Ruins Of Gomorrah’ was recorded, mixed and mastered by producer Daniel Bergstrand at the Dug Out Studios in Uppsala, Sweden. Experience their craft in form of UNDERCROFT's new video directed by Carlos Aguilar for Blackshadows productions ‘El Triunfo de la Muerte’ and listen to entire album via BandCamp here or just stream it below, courtesy the label. Buy ‘Ruins Of Gomorrah’ CD here (Season Of Mist e-shop) and double LP here:
UNDRECROFT: Ruins Of Gomorrah
UNDERCROFT reportedly emerged from the obscurity of the South American underground in 1993 when they placed before the unsuspecting public two demos, ‘To Final The Battle’ and ‘Demons Awake… Revenge Is Near’. Their debut album, ‘Twisted Souls’, followed in 1995 and ‘Bonebreaker’ came next in 1997. As their reputation grew, UNDERCROFT have been invited to open for acts such as KREATOR, THERION and MORBID ANGEL. In 1998, the ‘Re-Demolition’ was issued, a re-edition of both demos, and much praised ‘Danza Macabra’ followed in 2000. Guitarist Claudio Illanes, drummer Pablo Cortez and vocalist and bassist Alvaro Lillo relocated to Europe, where they worked with producer Daniel Bergstrand on the band's first international release, 2002's ‘Evilusion’. The album was reviewed by Eduardo Rivadavia, AllMusic:
“Rooted in the classic SEPULTURA death metal school, with just a pinch of hardcore thrown in for good measure, the album was actually recorded in Sweden, where the air seems most conducive to breeding quality death metal (hence that country's prolific scene). And hey, the plan works famously for tracks four and five: the pulverizing ‘Celebration Of Sin’ and the cryptic ‘The Cartomancer’, both of which are quite simply astounding, textbook-perfect death metal songs,” [read the rest here:]
UNDERCROFT worked on their fifth studio album with the production team of Markus Geiger and Jan Rubach at the Rekorder Studios in Hamburg, Germany. ‘Lethaly Growing’, recorded with guest vocalist because of personal issues between Alvaro Lillo and the rest of the band, was released in 2006 through German label Tiefdruck Musik and distributed by Universal.
UNDERCROFT features: Alvaro Lillo – bass and vocals, Claudio Illanes – guitar and Pablo Cortes – drums
Danish metal fusionists MNEMIC have just unleashed a new video upon this world, directed by miracle-worker Patric Ullaeus. ‘I’ve Been You’ comes from the band's fifth album ‘Mnemesis’, released in June 2012 on Nuclear Blast Records. ‘Mnemesis’ was recorded with Tue Madsen at his Antfarm studios in Aabyhøj, Denmark, and its amazing cover artwork was created by Metastazis. Download the tune ‘I’ve Been You’ for free from Nuclear Blast here and buy ‘Mnemesis’ here (Nuclear Blast Europe) or here (Nuclear Blast U.S.):
[In guitarist's Mircea Gabriel Eftemie own words:] “For the ones that are curious about our new opus, I can say it’s more melodic than what we’ve done in the past, but at the same time more energetic and not so technical. We tried to incorporate the traditional MNEMIC-esque sound and universe into the compositions, as good as we could. At the same time, we tried to move forward, like everything else in life. All in all it’s more of an atmospheric and melodic record, at least for me. In any case, hope you will enjoy it just as much as I do, and if not, no biggie, we are grateful that you at least took the time to read these lines:”
“Much like watching television,” [explains the group's official bio] “riding as a passenger is a largely passive experience which breeds a shared state of quiet inactivity. Every so often, a jolting experience to awaken the senses comes along to remind us that where we come from is gone, where we thought we were going was never there, and where we currently find ourselves is no good unless we can get away from it. Aspiring etymologists are familiar with the Greek word “mnemonic”, meaning “the art of developing memory”. But for one particular group of Danish musicians named MNEMIC who are eager to carve out their own musical niche, their name can simply be taken as “the art of developing.” [More here]
Formed in 1998 in Aalborg, Denmark MNEMIC released their first album, ‘Mechanical Spin Phenomena’, in 2002 through Nuclear Blast Records. The full-length was awarded with 9.5 (out of 10) by Blabbermouth's Chris Clayton who commented:
“Bolstered by acerbic riffs and strong, flirtatious melodies, ‘Mechanical Spin Phenomena’ could never quite be accused of being a one-dimensional recording, even if the general theme is one of pure, dirty, bloody extremism.”
In 2004, MNEMIC released their second album (and the world's first album to be recorded with binaural recording technology), ‘The Audio Injected Soul’, which sold almost 35,000 copies in North America alone. After some personnel shifting, MNEMIC issued 2007's ‘Passenger’, which has sold over 50,000 copies in North America, apparently also due to clever promotion by the band and their label. Thom Jurek, Allmusic, has praised the release:
“ ‘Passenger’ is a study in human entropy: the lack of involvement in one's life leads to not only the wrong kind of pacifism, but to the decay of the senses, of logic, and of the ability to make sense of emotions, psychological states and spiritual impulses; one can site inspirational sources from J.P. Sartre to Stanley Kubrick's “2001: A Space Odyssey”. There are many inspirations for the themes in these songs, but what matters is that they rock like an unholy prophet assembling the masses for deprogramming.” [More here]
MNEMIC described their next album, 2010's ‘Sons Of The System’, as “very eclectic, very diverse, and nothing that you would imagine coming from a band like us; more theatrical, more electronic, and just more catchy, as we have put all our focus on writing good songs and not being afraid of experimenting.” AllMusic's Alex Henderson nevertheless understood:
“So inevitably, there really will be some purer-than-thou ideologues claiming that even though ‘Sons Of The System’ leaves plenty of bruises, it doesn’t leave enough of them (which is sort of like saying that Margaret Thatcher isn’t right-wing enough or that Hugo Chavez is too much of a conservative). But let the ideologues of the metal underground say what they want - ‘Sons Of The System’ is another exciting alt-metal disc from these Danish agitators,” [read the rest here:]
MNEMIC features: Guillaume Bideau – vocals, Mircea Gabriel Eftemie – guitar, Victor Ray Salomonsen – guitar, Simone Bertozzi – bass and Brian Larsen – drums
ARCH ENEMY's fourth video released in promotion of their latest album ‘Khaos Legions’, issued in May/June 2011 through Century Media Records, deals with subjects close to Angela Gossow's heart: animal cruelty and vivisection (we will jointly venture to suppose she opposes):
“I’m very pleased we got this video done for one of my favourite songs off the ‘Khaos Legions’ album. The video is quite raw and extreme as it reflects the lyrics very well I believe, dealing with a subject matter close to my heart - animal cruelty and vivisection.”
ARCH ENEMY's third video released and available to you below along with its companions, ‘Under Black Flags We March’, was directed by Patric Ullaeus and features the band's new lead guitarist Nick Cordle who replaced Chris Amott earlier this year. ARCH ENEMY's eight studio album, produced by the band and Rickard Bengtsson, reached position number 3 on the Japanese international albums chart, peaked at number 9 in Finland, at number 15 in Germany, at number 25 in Sweden, and debuted at number 78 on the Billboard Top 200, thus becoming ARCH ENEMY's highest charting album in the USA:
“The eighth studio album by Swedish melodic death metal powerhouse ARCH ENEMY is superficially as strong as anything else in the band's impressive catalog. Since the day frontwoman Angela Gossow joined, ARCH ENEMY has been one of the most consistent bands in metal, cranking out 11 or 12 fist-pumping, anthemic tracks every couple of years,” [commented on ‘Khaos Legions’ Phil Freeman, AllMusic – more here]
Formed in 1996 in Halmstad, Sweden by Michael Amott (also of SPIRITUAL BEGGARS), along with his brother guitarist Cristopher Amott and singer Johan Liiva, ARCH ENEMY quickly recorded their debut album, ‘Black Earth’, with then session drummer Daniel Erlandsson in producer's Fredrik Nordström Studio Fredman. ‘Black Earth’ was released through Wrong Again Records and described as a “promising debut, consistent and memorable effort” by Alex Henderson, AllMusic. The first ARCH ENEMY album to be released worldwide through Century Media, 1998's ‘Stigmata’, which featured bassist Martin Bengtsson and drummer Peter Wildoer, reportedly “disappointed some fans with what some called a more restrained sound and lesser material [comparing to their debut],” at least according to Jason Anderson, AllMusic. Bassist Sharlee D'Angelo joined the group in 1999, and drummer Daniel Erlandsson was invited back on permanent basis before ARCH ENEMY entered Studio Fredman for the third time; 1999's ‘Burning Bridges’ was reissued with remastered sound and bonus tracks in 2009.
“Sounding like a particularly rotten day during the apocalypse, ARCH ENEMY is a ferocious gang of Swedish death metallers bent on throttling their listeners, and they succeed most magnificently on ‘Wages Of Sin’ … ‘Wages Of Sin’ is the first album from the band featuring their new singer, Angela Gossow, a German blonde whose vocals never sound as if they could possibly be emanating from a woman. Rather, they sound like a guttural blast from the sewers of purgatory. She is just the right touch to add to a band who ranks among metal's most progressive and unique outfits,” [introduced ARCH ENEMY's 2001's album and the band's new vocalist Angela Gossow, Adam Bregman, AllMusic – more here]
ARCH ENEMY turned to producer Andy Sneap with their next effort, 2003's ‘Anthems Of Rebellion’. Described as “reasonably solid album” by Todd Kristel, AllMusic, the twin guitar attack of brothers Amott was nevertheless fittingly recognized and exemplified as “appetizing, tuneful, without getting bogged down too much in self-indulgent displays of virtuosity”. In 2005, the band finally broke onto Billboard Top 200 Albums chart at number 87, with their sixth alum ‘Doomsday Machine’. Produced by Rickard Bengtsson, Eduardo Rivadavia, AllMusic thought of it as “yet another immaculately produced ARCH ENEMY album, forged first and foremost by the vision of Michael Amott's guitar”. ARCH ENEMY continued their upward chart climb with 2007's ‘Rise Of The Tyrant’. The album, portrayed by Michael Amott as “the ultimate ARCH ENEMY, pure fucking metal at its absolute best, the ARCH ENEMY way!” peaked at position number 18 in Finland, at number 20 in Sweden and at number 84 on Billboard Top 200. ‘Rise Of The Tyrant’ was co-produced once again by Fredrik Nordström. A compilation album, ‘Manifesto Arch Enemy’, preceded another compilation album ‘The Root Of All Evil’, both issued in 2009.
ARCH ENEMY features: Angela Gossow – vocals, Michael Amott – lead guitar, Nick Cordle – lead guitar, Sharlee D’Angelo – bass and Daniel Erlandsson – drums
Upholders of English Heritage Black Metal (EHBM), WINTERFYLLETH, have a new album out; released in Europe on September 10th, 2012 and awaiting its North American release on September 25th, 2012 on Candlelight Records, listen to full ‘The Threnody Of Triumph’ right now here (Terrorizer), courtesy the label. Described by Terrorizer magazine as “an album that aptly and vividly captures the feelings of departed loss and reminisced joy” and recorded at Foel Studios aptly set in the idyllic Welsh countryside, do happily hop over to Plastichead here and buy ‘The Threnody Of Triumph’ or pre-order it here (Candlelight store USA):
Comprised of members from UK doom outfit ATAVIST, WINTERFYLLETH formed in 2007 in Manchester, UK with the noble intent of honoring England's ancestral heritage and rich national culture. WINTERFYLLETH named themselves after the first full moon in October (and the Anglo-Saxon festival of the arrival of winter) and released a demo titled ‘Rising Of The Winter Full Moon’ in 2007, thusly fully disclosing their purpose as well as seriousness with which they eventually won over Profound Lore Records. Released on the Winterfylleth of 2008 and just recently re-mastered by Colin Marston and re-issued by Candlelight Records with two additional tracks, listen to WINTERFYLLETH debut album ‘The Ghost Of Heritage’ here (BandCamp) or below. Kindly buy here (BandCamp):
WINTERFYLLETH: The Ghost Of Heritage
Surviving personnel changes, WINTERFYLLETH retold the tales of England's archaic history, recounted major events and battles and draw inspiration from sites and scenery that grace the English countryside and have played a part in its history once more in 2010. Issued through Candlelight Records and receiving great reviews from metal press, listen to the full ‘The Mercian Sphere’ as well as buy it here (BandCamp):
WINTERFYLLETH: The Mercian Sphere
WINTERFYLLETH features: Christopher Naughton – guitar and vocals, Simon Lucas – drums, Nick Wallwork – bass and backing vocals and Mark Wood - lead guitar
KONTINUUM's excellent debut album called ‘Earth Blood Magic’ is out now in Europe, September 10th, 2012, and can be listened to in its hypnotic and spiritual entirety below, courtesy Candlelight Records. ‘Earth Blood Magic’ was recorded in 2011 at the Sundlaugin studio in Iceland and will be released in North America in January 2013. Listen to it, be impressed by it, and then buy the album which is getting rave reviews across the board here (Plastic Head) and here (Candlelight USA). KONTINUUM's video for ‘Lightbearer’, available below, was created by Alistar Gentry:
Envisioned in 2001 by Reykjavik, Iceland resident and founding and current member of dark metal act POTENTIAM, Birgir Thorgeirsson, who thereafter recorded an EP called ‘Burned And Battered’ - a doom mixed with punk and dark atmospheric metal affair - with drummer Kristjan Heidarsson. The experimental metal project known then as “Pornea” was put on hold during the years that followed as the two musicians were engaged with their other bands:
“After the standard musical frustration, self doubt, and in absence of his main band, Birgir began working on KONTINUUM with more focus,” [indulges the press release. Explaines Thorgeirsson:] “I wanted to make music I liked, honest music with less constraints and room for various genre influences but without leaving my musical roots, one that could surprise, tell me something and take me somewhere. It was and is a spiritual process.”
KONTINUUM features: Birgir Thorgeirsson – vocals and guitar, Engilbert Hauksson – bass, Ingi Þór Pálsson – guitar, Kristján B. Heiðarsson – drums and Thorlakur Thor Gudmundsson – guitar
ABSU, arrogant mythological occult metal discoverers (and sometimes referred to as Texan extreme metal mummies by certain Mr. Rivadavia), apparently showcase their signature style of occult black/thrash mythology to dark, new, calculating territories with their just released video ‘Hall Of The Masters’. Before watching the video you are advised to read the accompanying words uttered by ABSU vocalist and drummer Proscriptor as well as tremble in fear:
“ ‘Hall Of The Masters’ is a conceptual video concerning the wedlock between a speculum of apparitions and the rite of transfiguration. The mortality featured in the video is unexpectedly visited by the Elder Ones and swept from Earth by the form of the Master. Every dream of man and woman is superlatively coiled by the Lamia!”
Pondering, it is hard to imagine that ‘Hall Of The Masters’ sound was recorded at Nomad Recording Studios in Carrollton, Texas and mixed by J.T. Longoria. It’s even harder to believe that the video for the song was then filmed by director Daniel Garcia. I intend to completely ignore the fact that the above video was brought to us from depths of hell by [adult swim].
In related news, ABSU's latest longplayer, ‘Abzu’, came out in October 2011, courtesy Candlelight Records. You can listen to the album in its metaphysical and murky entirety here (BandCamp) or below. Buy here (Candlelight Records). ‘Abzu’, part two of a planned trilogy of albums, was recorded at Nomad Recording Studios in Carrollton, Texas and mixed by J.T. Longoria, and features drummer and vocalist Proscriptor and bassist and vocalist Ezezu sharing equal vocal duties as well as debuts new guitarist Vis Crom. ‘Abzu’s artwork was created by Polish artist Zbigniew Bielak.
“[Comments Proscriptor:] ‘Abzu’ is the first studio release to feature a co-vocalist alongside myself since our third album, ‘The Third Storm Of Cythraul’ [1997]. Ezezu's vocal presentation is beyond superlative and I am overly pleased with his execution and delivery. The songwriting undertakings were equally distributed between both Ezezu and Vis Crom and I must admit it brings an admirable multiplicity to the album as a whole. The last song on the album, ‘A Song For Ea’, was composed in six movements, as it brought the entire band together as an equivalent songwriting team. Vis Crom has definitely proven to be ABSU's most proficient guitarist in the history of the band. This album has not only been the most challenging in ABSU's discography, but the quickest paced – composition and arrangement wise. The current line-up is scattered all across the United States, so the album was physically written utilizing internet file sharing. We even rehearsed, at times, while communicating via cell phones. Lyrically, the album descends deeper into Enki's lower world as well Thelemic and Enochian Magic(k) Systems. My lyrical architecture is extremely convoluted, so I decided to create a generalized synopsis explaining the themes behind each song. I feel these are my best poems since 2001's ‘Tara’.” [Visit ABSU's official site for lyrics which you’ll find in the “lyrical magick” department – here; scroll/descend way down into darkness, since ABSU have much to say]
“It’s also rich in both extreme metal fundamentals and enough amusing quirks to once again distinguish ABSU's vision from most of the competition, including piercing squeals (‘Earth Ripper’), blackened thrash breakaways (‘Skrying In The Spirit Vision’), and Spanish guitars (‘Circles Of The Oath’), not to mention the oft-recurring Celtic music ingredients. … To put it simply, it’s irresistibly confounding. And then there’s the aforementioned epic, ‘A Song For Ea’, which unfurls all of six distinct songs within a song, immersed one and all in Sumerian religion and specifically the mythical Abzu, from whence all of the earth's fresh subterranean waters supposedly flow. Catch the drift? Bottom line is that ABSU's intriguing musical visions may fade into lengthy silence now and again, but whenever they emerge with something new, fans of thought-provoking black metal would do well to listen up,” [complimented the recording aforementioned Eduardo Rivadavia, AllMusic – more here:]
ABSU: Abzu
Back in 1989 in Plano, Texas, Shaftiel and Equitant Ifernain founded ABSU under the moniker “Dolmen”, changed their minds after a while and dubbed the project “Azathoth”, reconsidered once again and finally came up with the name that stuck, ABSU. Basing the lyrical content within ABSU's music on such themes as Sumerian, Mesopotamian and Celtic mythology, Goetic, Chaos, Enochain Magic(k), Thelemic Mysticism, Metaphysics, Necromancy and Barbarism, the band released their debut demo ‘Return To The Ancients’, followed by ‘The Temples Of Offal’ 7” EP in 1991. Early members departed from the band and drummer Proscriptor McGovern, keyboardist Black Massith and guitarist Daviel Athron Mystica were conscripted in 1992. ABSU released their debut full-length entitled ‘Barathrum: Visita Interiora Terrae Rectificando Invenies Occultul Lapidem’ (V.I.T.R.I.O.L., for short) in 1993 via Gothic Records. 1995's ‘The Sun Of Tiphareth’ and 1997's ‘The Third Storm Of Cythraul’ (both released on Osmose Production) ABSU recorded as a three-piece, with Proscriptor on drums, vocals, synthesizer and flute, Equitant Ifernain Dal Gais on guitar and bass and Shaftiel (Lord Of Shadows) on guitar, bass and vocals. In 2001 out came ABSU's fourth full-length, ‘Tara’:
“ ‘Tara’, or “Exhibit V”, as they like to refer to it. And this is only the beginning, as you’d be hard-pressed to find a band in any genre who invests so much storytelling detail into their musical tapestries. ABSU excels at it, using their virulent wall of black/death metal as a mere backdrop to their epic legends of Celtic conquest and warfare. Unwavering speed and intensity are the main course, only occasionally interrupted by eerie synth breaks or sound effects, as demanded by the story line. Oh yeah, and they’re from Texas,” [explained Eduardo Rivadavia, AllMusic – more here]
After a 2-disc collection spanning the band's career, ‘Mythological Occult Metal: 1991-2001’, was released via Osmose Productions, ABSU signed with Candlelight Records. Their fifth album, 2009's ‘Absu’, featured new members guitarist Aethyris MacKay and bassist Zawicizuz as well as numerous guest appearances including MELEHESH's Ashmedi, extraordinary Paul Harbour and others.
“In 1989, the vast majority of headbangers in the United States didn’t even know what black metal was. But black metal has come a long way since 1989, and ABSU's work became increasingly Scandinavian-influenced as they went along. Black metal, in fact, is the main ingredient on this 2008 release; there is some thrash metal in ABSU's sound, but the material is black metal more than anything. From the ominous harmonies to the sinister-sounding rasp vocals to the blastbeats, this 53-minute CD could easily be mistaken for the work of a Norwegian or Swedish black metal band. But ABSU are definitely from the United States, and the phrase “black metal band from Texas” is certainly an attention-grabber in light of the fact that the Lone Star State isn’t exactly considered a black metal hotbed,” [commented AllMusic's Alex Henderson – more here]
Ex-PANZRAM member Ezezu was added to the line-up in 2008, as Zawicizuz left and was duly replaced by Vis Crom.
ABSU features: Proscriptor McGovern (Russley Randell Givens) – drums, percussion, vocals, mellotron, lyrics and arrangements, Ezezu (Paul Williamson) – bass and vocals and Vis Crom (Matt Moore) – guitars
