All music columnist, and whatever the kind discussed, passes by one day, he finds himself facing a group whose career is atypical (possibly more). Nowadays, it is for my apple and RADIATION SICKNESS, you can say I'm ready! but rather judge for ... This American group was formed in 1987 and release 2 demo, 2 EPs and 2 Split (one with the French of SHUD, it certainly speaks to the oldest of us) between 1988 and 1990. Activity occurs after such separation. 's reformation took place in 2010, a concert was given for the first time in 18 years. Here we are in 2012 and all their first album "Reflections of a Psychotic Past" finally emerges: there is 7 titles for 17 minutes which we added their second EP "The Other Me" and remastered version, it lasts 20 minutes. That is definitely unusual and can not say you were not warned. Finally, with all this, what can we expect? Given the discography and the term of the securities, we already know that it will not be the progressive. listening and confirms the thing: we are in the presence of Death / Grind sometimes think that the REPULSION. Anyway, it sounds a bit dated, it smells of dust and it was all the rage in the early 90s. But there is in this sound, a time, just a state of summarized in mind some titles. And better yet, who managed to pass through two decades of experience, legitimacy and motivation oldies who know their decidedly case in point of how to ring two agreements (or slightly more, it depends on the securities ). joint EP The bonus may sound a little more current, probably due to the fact that it has been remastered by bringing power and dynamism welcome, but it still remains simple, classic and effective c 'is all that we ask. This album, if suddenly you can call it that, will certainly delight the many fans of the underground, the hardliners who swear by Splits vinyl, tape trading and fanzines black and white printed 50 copies. The time machine to go back there, RADIATION SICKNESS proves here to great effect. Approved by Doc and Marty, name of Zeus!
This review was originally written in French and has been translated using Google Translate. To view the original review in French click the link below.
Nostalgia is the first word I thought listening to this Swedish combo's first album came out of nowhere and formed in 2004 and had previously released one demo in 2010. Indeed I felt back 20 years ago when the Swedish scene exploded in the face of the world with its style and its so typical. Apart from a few local bands, no member has extensive experience in stage and studio and it shows also that there has been a spontaneity of individual securities, which are short (3 minutes on average, and some even 1 minute) without technical outrageous, one account groove and power and it is quite successful. From the first notes we find ourselves immersed in the first opus of Nihilist, Grave, Entombed, Dismember and others ... between the style (bold death metal and corrosive - saw the name of this group was easy to find), the texts dealing with zombies and undead, and typically cover time can not say that there's misrepresentation of the product. The group is not in effect to reinvent the style, we feel that the guys are fans of the genre and are looking to have fun making music they love without want to take the lead. Securities flow well, even if they resemble one side and "draft" is felt on fast passages, we can only applaud the desire and enthusiasm of the group which is nice to see, especially shows us that despite the years the style retains many fans and also newcomers who seek to extend their legacy they are still active or not. Following is a musically mixture of all the above groups, the songs are catchy and not revolutionize the genre, nor reach the level of their glorious elders this album will appeal to fans of old-school scene in the country of Zlatan Ibrahimovic, Ola Lindgren, Stefan Edberg, the Ikea stores and cakes Wasa. "The end of us all" which concludes the album is for me the most successful way: both long (about 7 minutes), powerful and possessing superb melodic passages, he finished 41 minutes of this disc quite successful overall. should be noted that they will soon release a new EP, 4 songs are canned, so stay tuned for new adventures ...
This review was originally written in French and has been translated using Google Translate. To view the original review in French click the link below.
Limited Edition CD features original "We Have Arrived" album artwork, plus "Hell's On It's Knees" 1984 Demo as Bonus Tracks.
We Have Arrived 1. We Have Arrived 2. Merciless Death 3. Falling From The Sky 4. Welcome To The Slaughter House 5. No Tomorrow 6. Hell's On Its's Knees 7. Vendetta Hell's On It's Knees '84 Demo 8. We Have Arrived 9. Gonna Burn 10. Eternal Captivity 11. Metalized 12. Hell's On It's Knees
After almost 3 years of silence one of Death Metal's most unique and outstanding voices, Johan Liiva, returned to the scene with an almost presumed to be dead sideproject, NONEXIST. On their latest release "From My Cold Dead Hands" the two Johans (Liiva & Rheinholdz) are showing again what they can do best. Namely, celebrating different facets of extreme Heavy Metal (old and modern) at its best. Mr. Liiva found time to tell us what happened (or not) in the life of NONEXIST during the last 10 years. We also got the chance to talk with him a bit about his past bands CARNAGE and FURBOWL and currently resting band HEARSE. And now quiet please. The master speaks...
Weren't you guys interested in recording a "contemporary" follow-up to NONEXIST's debut "Deus Deceptor" in 2002 as soon as possible?
"Well, of course that would've been the optimal way to go as of back then. But many things played in to effect, our label was one of the things. He was about to close the business and then I had HEARSE as well as Johan Reinholdz had ANDROMEDA to deal with. Not to forget Matte and all his bands + the distance between us and him which was more than 600 kms. However, we talked about making a 2nd album all these years every now and then, then all pieces of the puzzle melted together one sunny autumn day in 2011. And here we are! Hehe..."
How long did it take you guys to finally write and record "From My Cold Dead Hands"?
"More or less basically 10 years, though the most work (done by Reinholdz) started more seriously to take form around 2009."
How did you share the duties of songwriting and recording this time compared to the debut? Were you able in the studio to achieve your self set ambitions and expectations a 100%?
"All the music and all of the lyrics (except for one song) were written by Reinholdz. I wrote the lyrics for the song 'Presence Everlasting'. For the next album we intend to share and cut it up a bit more. However Reinholdz will most likely be behind the composing wheel most of the time. As for the recording, I think we managed to get it to where we wanted it almost all the way. Vocally, I sliced the sessions in 4 parts because I felt quite rusty, didn't growl since 2009 or something. It all went very well and I truly pushed it to the max, unleashing that starving beast within, ugghh!!"
On "From My Cold Dead Hands" you and Johan Reinholdz are the remaining members of the original line-up. What happened to drummer Matte Modin (former DEFLESHED)? Why isn't he playing on the latest recording?
"The reason "why" was because, Reinholdz already recorded all of with programmed drums over the years. Then we just said like "well, let's record a 2nd album and see what happens". Just before the vocal-dubs Pivotal Rockordings asked us, if we'd be interested in releasing it as a digital download album and, hell yeah we never hesitated really. It's not that easy to get a deal nowadays. Much has changed since "back then". For good and worse I guess."
Whose decision was it to use a soulless drum machine instead of a real flesh and bone drummer on "From My Cold Dead Hands"?
"Hmmm, soulless or not - I think if the programming is made with "fingerspitzengefühl" (?) and some touch of class and not just robocopishly straight ahead, then I for sure don't see the problem with it. It was not really a decision, it was more like we've got this all done now. And the budget really didn't allow us to dance as freely as many people may think. I'm truly pleased with it just the way it turned out. But of course I understand what you mean. There's nothing quite like "the real thing"! "
Until now, "From My Cold Dead Hands" is only available as impersonal download. What kind of release politics are you guys following with this way of distribution? Will there also be a proper release on CD or vinyl someday? Because I can't imagine, that old school Death Metallers and collectors will accept the music as lo-fi download only?!
"Tricky dilemma this one. As I mentioned before, getting a deal nowadays isn't as easy as it used to be. Much has changed in the entertainment industry. The digital download release however helped us getting a deal with Abyss Records for the release of the new album on both CD as well as LP. So far, so good! It's true most people especially fans of this genre prefer the physical thing. So now they're soon about to get it too."
NONEXIST played its very first gig on December 28th, 2012 at the Scorched Thundra Festival in Gothenburg. What can you tell us about this first show? Who is part of the live line-up? Have you played only NONEXIST songs or also covers of your former bands? What about the future of NONEXIST? Will you guys play some more shows and are there plans to record another album within a shorter period of time?
"It was THE first gig ever for the band. A small festival with 4 other acts and it was arranged by the owner of Pivotal Rockordings (Alexi). We were the first band to hit the stage that evening and it was totally freakin' incredible! Our setlist had almost 50/50 from the debut and the new one, 7 songs + intro ('Entrance'). We managed to find 3 awesome and outstanding guys to fill up the live-constallation: Johan Aldgård - guitars, Joakim Strandberg Nilsson - drums (both of them in a band called FAITHFUL DARKNESS) and Linus Abrahamsson on bass (also in ANDROMEDA etc.). We're currently working very hard finding more shows, festivals and mini-tours. Not so easy. But we've had a few really "good" offers, for example supporting DEICIDE - and paying 400 €uros per day, hahaha! Also we're right now constantly writing new songs for the 3rd album. I've got rough sketches for at least 4-5 lyrics already now and Reinholdz is shredding his brains out creating new hits as far as I know, hehe."
On the Japanese CD version of the debut "Deus Deceptor", there is a bonus track called 'Carnage Bloody Carnage'. Is it true, that this song is a leftover from the good old CARNAGE demo days? What can you tell us about the creation and history of the song?
"Yes, it was actually recorded and supposed to be on the "The Day Man Lost" demo. But we never managed to get it properly tight, so we had to leave it out unfortunately. Then we got this idea as for bonus track on "Deus Deceptor" and it turned out pretty damn cool I think."
Have you already heard the BOMBS OF HADES cover version of CARNAGE's 'The Day Man Lost'? Funny, that BOMBS OF HADES recorded the song with their old mate and original GOD MACABRE vocalist Per Boder. What is your connection with the GOD MACABRE guys? Is it true, that there were plans in the early 90s you joining them on bass guitar at one point?
"Aaah, no I haven't heard it I guess. Not yet anyway. Oh yes, I'm a little connected with Jonas Stålhammar on Facebook. We don't talk as we used to back in the 90s. But he's still active and into extreme music it seems. Uuuh, yeah that sounds likely that I'd join them on bass, so the answer to that would be, "yes"."
Lets talk a bit about your other band HEARSE. It's been a while since you released the last album "Single Ticket To Paradise" in 2009. You only did one show together with GENERAL SURGERY at Stockholm's Kafe 44 on October 24th, 2009. Is there a special reason why you guys don't play live too often these days? What are your feelings about the "live on stage situation" compared to the early days… 20+ years ago?
"Well, first of all it's a little tricky to keep a band together. Especially in our "day and age". 2 of the guys have kids, I do not. But I'm so far away from Stockholm and my job takes a lot of my time and energy etc, etc. The options to get gigs are a bit more rare these days. Or at least so it seems? But we made quite a few gigs through the years, UFTG-festival and that mini-tour in NL/Belgium with DISMEMBER. So, the live-on-stage situation nowadays compared to late 80s / 90s is well let's just say a little bit more "complicated". Much depending on what back up you've got from labels and managements etc…"
Do you have plans to record with HEARSE again soon? If yes, in what kind of lyrical direction would you like to go? Any favourite topics to write about, when you are in your early forties? Aren't you anxious to contribute some own music to HEARSE again? It's been a while since you participated as a main songwriter. Don't you have a million ideas on stock waiting to be heard?
"Hmmm...as for a new album with HEARSE, right now not sure. It's been almost 3 years or more since the last release and I recall at that time I felt kind of "content" with what we had achieved so far. From time to time I feel a great urge to record something again. But maybe it's time to focus on NONEXIST only now and then maybe have some minor sideprojects, guest appearances and so on? I must admit, when I'm in my creative mode / mood, the words and / or melodies washes all over me like a flood. But right now, focusing first of all on the next NONEXIST album and trying to get that band on the road somehow. Plus maybe some kinda "secret surprise", which I'll tell more about later on. Hehe... "
On the triple vinyl re-release version of FURBOWL's "Those Shredded Dreams", there are lots of cool unreleased demo songs. Have you ever thought about re-writing these songs and record them properly for a possible upcoming official release? I mean with Niklas Stenemo you guys had a helluva great guitarist in your rows back then and an unreleased song, like 'Now You Suffer' for example, is such a raw Death'n'Roll diamond. Any chances that you guys will get it together again before it's too late?
"Thanks for the kind words, and yes. Here we arrive at the "secret surprise" part. We actually just discussed to get the three of us together and re-record some unreleased songs + maybe some new ones (if that "magic touch" is still there, haha). It would be so much fun and also maybe a great way to kinda "close the chapter" once and for all. Or maybe open new doors all over again?? Hmmm, this whole idea seems very tempting right now. It would be totally awesome and lots a fun!"
Alrighty. I guess, we covered pretty much all of it. Anything else on your mind you would like to share with the readers of VOICES FROM THE DARKSIDE? From our side thank you very much for answering our little questionaire. Always a pleasure to have you in our 'zine. Really appreciate your experience and wisdom, old man Cheers, Marc
"First of all, a thousand thanks to you Marc for the interview and the support. Always nice talking to you! And to the readers of this glorious zine. Check out the new NONEXIST album "From My Cold Dead Hands". Available now only as digital download. But in a few weeks probably this spring / early summer it will also be released physically, both on CD and vinyl through ABYSS RECORDS! Also we are looking for gigs, mini tours and festivals. So please do not hesitate to get in touch with us for bookings etc. Cheers and Metal to the bone!! m/"
BANE is not a stranger as I requested to review them after I listened and reviewed AFTER OBVLIVION’s “Stamina”, an album I recommend you all check out. What’s the connection? Well the fact that drummer, Marko Gacnik, plays in both bands unfortunately he didn’t play in “The Acausal Fire” via Abyss Records. Still it’s pretty cool that he joined BANE or else I would have reminded oblivious about this magnificent act from Serbia.
Now we begin with “Bringing Forth the Endless Dark Aeon”, right from the beginning they give us the impression of death. A scavenged battlefield void of life. A barren wasteland, churning in flames. A slow introduction into the countless murders. Staying in rhythm with an electric triangle, the subtle strikes bring a vibration unto fissures of land as far as the eye can see. About halfway through the song, battle war drums start to play as to signify the end of the world. Once this instrumental reaches its conclusion and on signal to start destruction, “The End of Humanity”, reigns its havoc.
For the next seven tracks you finally see BANE’s potential and ferocity. You are treated to a great blend of blackened Death with them concentrating more on the Black Metal aspect. Adding melody throughout you can see it thrives on bands like DISSECTION and THULCUNDRA. Even the bass has that great traditional sound on “The End of Humanity”. Next, “In Endless Silence” contrary to its name is one of the most ravaging songs on the album. Right from the get-go they establish this fantastic melody that it’s like an injection of morphine saying to yourself this is one of the best things you’ve ever tried. I came to the realization that this is a greatly produced album. Free from overproduction just authentic music without unnecessary magnifications.
What I love about Nokkturno is his ability to be versatile and flexible. On songs like, “Light the Black Flame”, for example the bass is more daring by almost sounding how a fretless would. While traditional Black Metal bass work makes a song seem darker and opaque, here its selectively permeable and accessible. It’s kind of like hearing OBSCURA (Occultum Malleus is a big factor in that assumption as well). Nokkurno’s credibility is seen even further on songs, “The Truth Unleashed” and “World of Desolation”. On the former, he summons this catchy bass line independent of the rest of the music and it fits quite well. While the instruments are soaring and invoking, the bass is subdued and aloof.
Last but not least, “Entering the Paradoxical Sphere”, another great and beautiful instrumental. These guys decided to pay DISSECTION a refuge by covering “Night’s Blood”. It’s a lot heavier and a quality difference. I think they did this song justice. I really wish I had heard this album before submitting my Top 10 of 2012 to my editor. This would have made the cut.
Nuno Ribeiro - Obrigado por falar com HeavyHardMetalmania, para quem não conhece apresenta-nos os The Gardnerz. Quem são os seus integrantes, o que fazem na banda e aqueles pequenos detalhes/segredos que ninguém conhece.
Wilhelm Lindh - Olá meu amigo, não há problema. Eu vou tentar escrever um pouco em Português, eu espero que tu vás entender. Eu estou muito feliz que tu queiras falar comigo. Nós somos, eu, Wilhelm Lindh, guitarrista e compositor, Francisco Martín, ele toca baixo, Niclas Ankarbranth o vocalista e Vedran Bencic o baterista. Todos os homens na banda gostam muito de gatos.
N.R. - Thanks for talking with HeavyHardMetalmania, for those unfamiliar with the band, present The Gardnerz. Who are your members, and what they do in the band and those little details / secrets that nobody knows.
W.L. - Hey my friend, no problem at all I'm just happy that you want to take the time and talk with me. The band consists of me, Wilhelm Lindh guitars and main composer, Francisco Martín bass player, Niclas Ankarbranth vocals and Vedran Bencic on drums. Well what to say, I know we all like cats! Every one in the band have at least one little ball of fluff. I'm not one hundred % sure if Francisco still has a cat, but we still like him anyway. I do know that he used to have many white cats when he was living in Chile. Francisco also handles the layout for our albums and shirts and such. Niclas does most of the lyrics, and Vedran is our web master.
N.R. - Bem, começando por "The System of Nature" lançado em 2011 uma das letras que me chamou mais a atenção foi "Born to Consume" fala-nos um pouco disso "We are born to consume..." A humanidade está no caminho errado?
W.L. - Sim, tens razão. A música é sobre o mal do ciclo do consumismo e produção. Nós estamos presos num ciclo sem fim.
N.R. - Well, starting with the debut album "The System of Nature" was released in 2011 one of the lyrics that caught my attention the most was "Born to Consume" tell us a little bit about that one... "We are born to consume ..." Humanity is on the wrong way?
W.L. - Yes, you are right, this song is about the evil circle of production and consumption. Inspired by the thinkers in the Frankfurt school. It is about how in order to cope with the increasing demands from our employers we need to consume more, or at least we are fooled into believing so. Think of it like this, you work your ass of and and to coupe with this you need a dream to keep you going. You are working really hard so you can save up for a new tv or what ever it is you desire. Then when you one day get the TV, you are content for a minute, then you start eying something ells, a new couch maybe, for your new TV. Then you must work even more. And the one who is really profiting from all this hard work, is the one you work for and the one you buy the things from, big business. As I see it, a lot of us are not working for our selfs because we are fooled into believing that we need so much junk, and because of that we are slaves to a society that is not based around compassion, but rather greed. Hence we are born into the hamster wheel of consumption.
N.R. - De facto todo o album, e como o próprio titulo indica é um alerta para a actual forma de vida, como é que tu vês o "sistema da natureza humana"?
W.L. - Mais uma vez, tu estás correcto, para mim, muitos problemas têm inicio na religião e no capitalismo.
N.R. - In fact the whole album, and as its title indicates is a warning to the current way of life, as you see the "system of human nature".
W.L. - You are right again, as I see it most of our problems today comes from religion and uncontrolled capitalism. I view humans as at their core a greedy animal, and I do not view this as something negative since this greed is what drives us forward. I know this might clash a bit with the answer to the previous question. But “foda-se” I'm only human, what I think is that this greed is good if it is kept in check.At the same time, I'm as strong champion of compassion and helping your fellow man. But for me this does not come from a religious point of view, it is from a humanistic point of view. I don't need any one to tell me to act like a decent human being, for me this should come naturally to everyone. If you need a priest to tell you to love your neighbor, well thats just ashame.
N.R. - A aceitação do público para o "The System Of Nature" foi muito boa e no ano seguinte aparece "It All Fades" porquê um EP? E porquê tudo desvanece?
W.L. - Gravar um álbum fica caro, e nós não temos muito dinheiro. As musicas são longas, então nós conseguimos quase um álbum.
N.R. - The public acceptance for the "The System Of Nature" was very good and the next year "It All Fades" appeared Why an EP? And why "It All Fades"?
W.L. - Well the honest truth is that it cost a shit load of money to record an album, and we are not rich people. And we don't make anything from our releases, ok we get some money through sales but if you put in contrast to the amount we spent on making the first album, its nothing. Our first album was made on the cheap and much of it was recorded by our selfs in our homes. Don't get me wrong I'm as happy as can be that our albums are put out and that people are enjoying them. The response of the public is what keeps me going, but I can't feed my cats or myself for that matter with happiness, unfortunately. And thats why we decided to do an ep. And when you think about it, our ep is as long or even longer then a lot of metal bands full length albums. And since what we make is fucking fantastic (at least I think so) we are a way better value. The title and the song “ It all fades” is basically my view on the environment issue. I'm a strong believer in that our planet will survive the human race and that in time all traces of our existence will be erased. This does not mean that I think we should just go nuts with pollution, as with our fellow human beings I think we should try to be nice and helpful to our planet. But I do not believe in all the alarmists that claim that we are bringing the end of the world. And if this now were the case, I think our planet will heal it self and keep on spinning. Tellus have existed for such a long time, and gone through so many fazes, in the big scheme of things, us humans, are not even a footnote.
N.R. - O sentimento anti religioso refloresce e é notório neste EP! Comenta a seguinte afirmação: "A crítica da religião liberta o homem da ilusão, de modo que pense, actue e configure a sua realidade como homem que perdeu as ilusões e reconquistou a razão, a fim de que ele gire em torno de si como seu verdadeiro sol." in Escritos de Juventude Karl Marx.
W.L. - Sim, é verdade! Para mim, essa afirmacão é muito linda. Porque eu vejo a religião como um cancro no mundo. Tanto tempo tem sido desperdiçado com essa merda.
N.R. - The anti religious sentiment is flourishing and it is clear in this EP! Comment the following statement: "The criticism of religion frees man of illusion, so think, act and defines his reality like a man who lost his illusions and regained his reason, so that it will rotate around each other as their true sun. in Escritos de Juventude Karl Marx (free translation).
W.L. - Oh yes, I think this statement is very beautiful, I view religion as a cancer on all of humanity. To much time has been wasted on that crap. I view religion as oppression and a sort of extortion. The rulers of old wanted their subjects to act in a certain way and then they invented the scary man in the sky. To me it is amazing that this old superstition is still around. I totally get that a peasant (I mean no disrespect to farmers) in the sixteen hundreds was totally blown away by entering a majestic church, and total awestruck by it's grace and power. Since I feel a certain sense of awe when I enter a beautiful church, I can only imagine how it would feel if you came from a small village and such. The idea of divine help, the total power of the church and so on. But today, come on, with all science has proven and all the advances our society has made. How can people still be lost in mystery when it clearly is not reality. The title of our first album “ The system of nature” is borrowed from a book by the same name written by Baron de Holbach, a writer living in the age of enlightenment. It is a bit of hard read cause of its scientific nature, but it has so many good arguments and considering that it was written in a time when these kinds of ideas where very harmful to your health. I think it is a book that more people should read or at least read about. For me there are so many arguments against religion that I can not understand that it is still around. I have never heard a valid argument for being religious, only arguments like “well people need to believe in something”, that kind of stuff drives me insane, since why then not believe in the flying spaghetti monster. At least no one has gone on a killing spree for your spaghettieness. I would have no real problem with religion if religious people would practice what they preach, I know its a bit of a cliché but for me that is a big deal. Most of the people that have mistreated me and misjudge me has been people with a dying man on a piece of wood around their necks. And those awful “what would Jesus do” arm bands, Well I don't think he would be an asshole to me just because we don't share the same beliefs and I happened to rock a sweet ass beard. I will leave this now cause I'm getting pissed off haha.
Pedro Ribeiro - Voltando um pouco atrás, fala-nos um pouco do processo da criacão da banda, como conheces-te a formacão dos The Gardnerz?
W.L. - Ok, agora eu vou escrever em Ingles, porque meu Português é uma merda, e eu estou cansado. Desculpa-me por isso, mas... foda-se.
P.R. - Going back a bit ago, talk about the process of creating the band, how did you met the rest of the band members.
W.L. - I started the band in the summer of 2008 as a solo project, I had been living in Florida for a while and I needed to get out some ideas. The original idea was to have a female friend of mine to do the vocals. But unfortunately that did not work out. So for a long time I was looking for another girl to sing, but after two years with no luck. I ended up using a guy, but that did not work out either. Then I met up with Francisco and he wanted to join the band and since he is the best bass player I have ever met, I let him join. Francisco knew both our former drummer Juan Pablo Donoso and our current singer Niclas Ankarbranth. And with this line-up we did our first album “ The system of nature”.
P.R. Why the name The Gardnerz?
W.L. - It is a mix of ideas of the pre-socratic philosopher Epicuros and some ideas by Nietzsche. But since writing it like “ The Gardeners” it think both looks pretentious and also yields about 10 million hits on google. So i decided to play around a bit with it. Loosing one “e” and then changing the s for the z. I like it, but I know a lot of people thinks it is stupid. But to quote Heath Ledger “ why so serious?”. I love metal but the constant stick up a lot of metal heads assez is a bit annoying. So thats why I wanted to play around with it a bit. I know we have lost people along the way, but que sera,sera. I would rather play for no one and be myself, then play for everyone and try being someone ells. ( I'm not sure if I got this quote entirely right, and I don't remember who said it). So I say worship the Z and be an individual. ( That is a nice little contradiction)
P.R. - Comment the following: The union of thoughts of each member must be in harmony so the final results can be positive!
W.L. - I totally agree with you, for me one of the most important parts is that I enjoy my fellow band members as persons. Every one has to pull in the same direction and want to do the same thing. If not the band will suffer a lot. I have been in bands where I just wanted to tell members to go and have intercourse with them selfs, and I don't want to be in that situation again. Since that is no fun and it drains all the enjoyment out of playing music.
P.R. - What are the main influences of the band and how do they intercommunicate when you are playing?
W.L. - Well the main idea when creating this band was to create a mix of old Katatonia and Bolt Thrower. Then after writing some songs I decided to add some more technical stuff as well. The other guys bring their influences and it all becomes a nice mix. When I get a new member in the band I explain my vision and if the person thinks it is ok, great and if not, then it is not meant to be. I have a clear vision of the band, and I don't want to deviate to much from that since I think we got a good thing going. Our own sound and so on.
P.R. - Is it difficult to mantain the band in the same direction without letting it fall in pieces? Have you or some member of the band forget the reason of existence of The Gardnerz?
W.L. - No not really, as I said before I have a clear vision of what I want to do. And if a member feels that this is not what he /she wants to do, well then we part ways. I write all the music, but of course everyone comes with their suggestions. And sometimes some really cool stuff has happened when we take one of my ideas and change it around. When I write songs I always create demos with guitars and a drum machine and then I give them to the rest of the members and they tell me their ideas and so on. And then drummer Vedran creates his version of the drum parts. Niclas does most of the lyrics and all vocal parts, I give him total creative freedom. I guess I do to all the members but, the drums I program mainly so I have something to play to, because by now Vedran knows what I want in the drum department. For the bass I often show Francisco the riffs and he takes what I have done and changes it around to fit his style of playing and preferences.
P.R. - What have you learned about union with your experience in other bands that can help you in The Gardnerz?
W.L. - Hehe well, I will never work with alcoholics again. And I will never work with mythomaniacs again. Since I have done that in the past, and it cost more then it is worth. And one more practical thing that I have learned is that I'm a total asshole when my blood sugar gets to low. So I always have some chocolate or something with me, so if I feel that my blood sugar is getting low and I'm getting a bad mood. I just eat that, and we are back to business.
P.R. - Initially the front man (vocalist) was in fact a girl and only later a male voice came. You have worked with at least two female vocals. Do you like to create a different atmosphere with “angelical shouts”?
W.L. - Yes, I'm all for dynamics in music, and have both of those voices, I think the music becomes way more dynamic, and interesting. I hope that we can use more female vocals in our upcoming releases, but we shall see what happens. I'm not that big of a fan of the opera metal style, mainly because I think those bands are way to over polished and over produced. I'm a big fan or the Norwegian band Funeral, and on some of their albums they have a female vocalist. And a in my mind good production, not to sleek.
P.R. - The cover song “Transilvanian Hunger” is one of those covers that aren't easy to forget and Paulina plays an important role in this. Why did you want to do an acoustic cover of such a heavy song with Paulina and were you listening to Kansas “Dust in the Wind” while doing it?
W.L. - Hehe, it all started with our bass player Francisco telling me that I should do an acoustic version of a metal song as a bonus song for our Ep. And after some thinking I remembered that I already had figured out the main riff of Transilvanian Hunger as a acoustic piece. And actually yes I was listening to dust in the wind. A few years ago I was working as a guitar teacher and a few of my students requested dust in the wind. And when I was learning it, I played it wrong, using the chords in wrong order. And voilá, we had transilvanian hunger. A perfect mistake!! The original idea was to just make it into a one minute interlude, but I liked it some much when I was recording it that I decided to do the entire song, or almost anyway, I actually think I forgot one loop of the intro or something like that. And then of course Paulina did the vocals and we had magic. I can't tell you how much I like her vocals on that song. I think she really made that song shine.
P.R. - Your music stands out in the metal scene for being so innovative and mantaing the roots of Swedish music. After being well received by the critics is it difficult to maintain or even “raise the game”?
W.L. - Oh you are trying to charm my pants off!! Thank you very much for those kind words, I just want to keep on doing my deadly doom. I think the new stuff we have is the best we have ever done, but I would think most people creating something thinks that way. The hardest part is to not create the same song over and over. Since I have some ways I really enjoy creating riffs, scales and ideas. Basically my way of creating riffs and song, and as you say we have a bit of our own sound and to maintain that sound and also create something new, that is for me the biggest problem.
P.R. - I know that you realy like Bob Dylan, you are a true fan of country especially Dylan and you have been in a lot of his concerts! Has Dylan influenced you in some way?
W.L. - Oh yes, my relationship with Bob Dylan has been called perverted on more the one occasion. In a way I think it has effected me, not so much in writing riffs and so on, but maybe more in trying to get a certain sound or mood of the songs. But the main influence by Bob Dylan is that I want to write topical songs, I want the songs to say something, lyrically. Since I have the possibility to get my ideas out, I want to voice my ideas. Now day most of the lyrics is written by our singer Niclas, but I often give him what idea I want to convey with the song. And then he writes something around my idea.
P.R. - As a Swedish man and as a musician it is natural that you are influenced by the “dark” environment of Sweden to create melancholic yet powerful soundscapes. What's the best place and time to create sound?
W.L. - Most of my music is written on acoustic guitar while I am watching documentaries or movies. Since then I don't over think things to much, if I decide to sit down and actually try to write something, I think it often comes out sounding forced or stale. I also enjoy creating music when I am a bit tired, since then I don't over think it and just let it flow. Most of my music is created in front of my computer while sitting in a red chair.
P.R. - Besides the guitar you also play drums! As a composer when you are writing do you imagine how do you want the drums to fill the music?
W.L. - Well lets not get carried away, I know how to play drums, yes, but I'm now drummer. Yes, I always create demos with a drum machine, creating the basic patterns that Vedran can use as a blue print. I actually don't enjoy playing to a click track, I think it is way easier to play to a drum machine, it's a bit odd since it is basically the same thing. But if I'm only playing to a click I think my playing often feels stressed. Sometimes Vedran has commented that my drum programing doesn't make sense, so he has to create something totally new to make it listenable. And also sometime I just leave parts blank when I cant think of anything and Vedran gets to go nuts.
P.R. - What do you think of your growth? It is notorious that you evolved a lot since “System of Nature”, your installment as musicians matured quite a lot! Which can be the main reason of that evolution?
W.L. - I guess as with everything you do, if you just keep at it, eventually you get better at it. And one day, I hope that will happened to me muhahaha. Now I have a bit of a more focused idea of what I want to do, or to say I know exactly what I want to do now days. On the first album I was trying different ideas and trying to find my own voice. And I'm still proud of that album and I like it, but there are things that I would have done differently today. But I think that is one of the beautiful things with making music, it is sort of a snapshot in time, where you were as a musician and as a person in general.
P.R. - I can say we are good friends and as such i know well that you are focused in a new work. Wanna talk about it?
W.L. - For you I'll talk about everything, darling. Yes! We have recorded two new songs, Exiting Reality prt 1 and prt 2 for a single with the same name. And I will unveil them to you right now. This is actually the time that I have shown them to anyone outside the band, so lucky you!!! This single will be released by Abyss Records in the summer as a 7 inch single. Guitars and bass was recorded at: Funky Cat studios. Drums were recorded at: Armageddon studio. Vocals were recorded at: Natas sinep. The single was mixed and mastered by Cristian Rodríguez Lunecke at 15Hz Studio.
W.L. - I think this is our best work to date, but hey, what am I supposed to say. I mean I really think so, if I ever feel that what I'm producing is not up to snuff, it will not be released.
N.R. - You were on holiday in Portugal ... At my house , what did you think of our country, for those who don't know what would you advise to visit?
W.L. - Your house, oh no my good sir, this is my house now!! No but seriously thanks a lot for letting me stay at your house and treating me so good.I must say that I'm having a very good time, Portugal is extremely beautiful. And everyone has treated me fine, sure, as I have a lot of hair and a massive beard some people have been a bit suspicious, but a smile and a "Olá" has solved most problems. But fuck what is up with your dogs, they are always barking at me. I found people very nice and calm, and for me that is fantastic. I'm Swedish and we are a very quiet people, we don't like when people are loud, generally speaking of course. We have our share of loud idiots as well, but I prefer when people are quiet. I have to say that I really enjoyed walking around in Sintra, that was like walking straight into a fairytale. Bu I have enjoyed all the cities I have visited so far. But as you know I would like to buy a holiday home in your home town (Porto) , and I guess that says a lot about how I feel about this city.
P.R - will thanks for everything you taught me, I learned a lot about Sweden and your customs not only that but I also had a great time with you around my friend. Putting friendship aside I absolutely love your music and wish you the best luck. I hope I can see you some day here in Portugal not only as a friend but also as a musician in a concert. Any last words Kompis?
W.L. - Thank you very much my "amigo de foda-se," for letting me staying here and also for embracing me into your heart and family. I hope that one day I can put on one hell of a show for you.
ERUPTED (Sweden) "In the Grip of Chaos" CD review by Clandestine Metal Zine
By Clandestine Metal Zine
BEYOND HELL was his name at the start for a couple of years ago when they were only a trio. With that name manage to record an EP (3 tracks) titled "Face of Death", then as a quintet adopted the name of CARNIVORE, finally in the year 201 1 these same mentally ill chose erupted as name will accompany them to the grave (or who knows, maybe it will change tomorrow). The musical style is based erupted atavistic sounds of Old School American (Florida) Death Metal as regards taking more colossal and bands like OBITUARY MASSACRE, but adding touches Modernist his heavy, guttural and phlegmatic DM Besides his lyrical message is far from those used by conspecifics, avocando full attention to write letters a bit more interesting than the typical stories of ghouls and chef anorexic child specialists, but are inclined to the occult, as well as developing and writing about his own philosophy. The album includes 8 songs + 2 bonus tracks, from a previous demo.
This review was originally written in Spanish and has been translated using google translate. The original review appears below.
BEYOND HELL fue su nombre en el inicio hace un par de años atrás, cuando sólo eran un trío. Con ese nombre alcanzan a grabar un EP (3 temas) titulado “Face of death”, luego como quinteto adoptan el nombre de CARNIVORE, para finalmente en el año 201 1 estos mismos enajenados mentales optaron por ERUPTED como nombre que los acompañará hasta la sepultura (O quien sabe, tal vez lo cambien mañana). El estilo musical de ERUPTED está basado en los atávicos sones del Old School American (Florida) Death Metal, teniendo como mayor referente a colosales bandas como MASSACRE y OBITUARY, pero agregando toques modernistas a su pesado, gutural y flemático D.M. Además su mensaje lírico dista mucho de los utilizados por sus congéneres, avocando toda su atención en escribir letras un poco más interesantes que las típicas historias de necrófagos anoréxicos y cheff especialistas en niños, sino que se inclinan por el ocultismo, además de desarrollar y escribir sobre su propia filosofía. El disco incluye 8 temas + 2 bonus tracks, provenientes de un Demo previo.
Angist: We (Edda and Gyða) knew each other for a while before the band started and had always talked about how much fun it would be to start a band together. We both had very similar taste in music and since we both played guitar, we decided to jam together and that went really well. We are both very passionate about our music and we have the same vision which makes working together very easy. After a while we wanted to make more of our music so we got Edda’s brother, Halli, to play bass and we’ve gone through a few drummers. We are very lucky to have Tumi with us now.
MetalWizard: How is the metal scene in Iceland?
Angist: The population of the entire country is only around 320,000 people, so it's quite obvious that our scene is rather small, but it's also very close knit; everyone knows everyone. But because it's a small scene people try to help each other out so for example when someone is going to record an album they usually put up a fund raiser gig and the other bands help out by playing for free, making posters, lending equipment, advertising etc. But we have a lot of bands and different styles, so within the scene there is are black metal bands, death metal bands, technical death metal bands, hardcore bands etc. and when there's a gig on you get a range of bands almost every time, which is great because it can broaden your musical horizon and you can get into a genre of music that you didn't even know you liked. What I would also say about the scene here is that the people are very dedicated and hard working. We have so many amazing bands here, and even though we are usually just playing for the same people, there's always a gig going on, people recording and releasing records on their own, financed out of their own pockets, and lately bands are getting more attention outside of Iceland and scoring record deals, which is great!
MetalWizard: What do the band members do for a living besides being musicians?
Angist: Tumi and Edda are students. Gyða is a high school teacher and Halli works for the government.
MetalWizard: What are your musical backgrounds/influences?
Angist: As we said before, we are very passionate about music and have been listening to death and black metal for a long time. Your style of playing evolves from the music you listen to. As for influences, we'd definitely say old Metallica and Slayer and then more recent stuff like Suffocation, Decapitated and Bloodbath, mixed with black metal influences as well. Gyða is a band promoter in Iceland. One day, she realized that she wanted more to play and create music rather than put up the bands, so she bought her first guitar, extremely hungover after a New Years’ party and it was a point of no return. Edda got her first guitar and Metallica's first five albums tablature book (from her grandparents!) at the age of thirteen and locked her self in her room playing loudly with their songs, pretending she was the third guitar player in Metallica!! Halli got into metal through Edda as a teenager and was in a metal band with her once, as well as on another metal project. Tumi has been playing in different projects including prog-rock and technical death metal, and also studied jazz drumming at the Icelandic Music University.
MetalWizard: I understand you’re working on an album at the moment. How’s that coming along?
Angist: Yes we released our demo in 2010, our EP, Circle of Suffering, in 2011 and now a full length is due this year. We are now in the process of writing the album and it’s going well. A lot of new ideas and we are just having a blast writing new material. It’ll be released later this year with Abyss Records.
MetalWizard: Are you planning on touring outside Iceland?
Angist: This year we have few things booked. We are playing Desertfest in London in April and then at the G! festival in the Faroe Islands in July. That’s what we have planned so far, but we always welcome more shows abroad. Hopefully, we can go on a tour later this year. Icelandair supports musicians in Iceland and has flight grants for bands that are going abroad, which makes it much easier for us to get off our little island, hehe.
MetalWizard: Do you have any plans for a Canada/North America tour in the future?
Angist: Well, our label is from the U.S. so we really hope that one day, we can go there on tour. It would be so much fun!
MetalWizard: Are there any special bands you would love to tour or be on stage with?
Angist: Yes there are many! Suffocation, Bloodbath, Decapitated and other bands that have inspired us would be amazing to tour with! We wouldn’t say no to watching those bands every night! But touring with awesome people is always fun too. Our friends from Iceland, Skálmöld, are sweet dudes, so taking Europe by storm with them doesn’t sound so bad!
MetalWizard: Do you have any advice to new musicians looking to start a band?
Angist: Good question! Well, practice, practice, practice and don’t give up. And don’t compare yourself to everyone else. Compare yourself to you and your own progress. Find people you like to hang out with and start a band with them. Communication and dedication is important, or at least that everyone agrees to be dedicated, or not to be dedicated haha.
MetalWizard: What’s it like to be female in a metal band?
Angist: It’s fun. Especially since it’s the two of us. We can have a conversation about metal and shoes at the same time! When we did the France tour we were putting on make up together at filthy McDonalds’ toilets. If that isn’t bonding…. hahaha
MetalWizard: Has being female opened doors for you on the metal scene?
Angist: Well, some people might be more willing to check out bands with female members, while some might steer clear. It all comes down to taste, but for us gender doesn’t really matter. We are just having fun and making our music, no matter what. It’s also a joint effort - we have two guys in the band and without them there wouldn’t be a band! They are really great musicians. But I guess we get comments that all-male bands don’t get, like how we should dress, pose on pictures and even lighten up our music. We’ve also gotten comments from people who have heard our music that they think we can’t play that music live, but guys in very technical bands would not get comments like that. But it’s always fun to be an element of surprise. People don’t know what to expect when we get on stage and then we come at them full blast.
MetalWizard: How do you communicate with your fans?
Angist: We started out just with a Myspace page and we are still in contact with a lot of people that contacted us through there. Daniel, the owner of our label, Abyss Records, first contacted us on myspace and that’s how we got in contact with him. We also value our fans so much, and we wouldn’t be where we are today without them, so it’s very important to us that we can keep them close and stay in contact with them. It’s also easier to share pictures, articles, interviews, videos, advertising gigs etc. through the internet. How did bands manage before?!
MetalWizard: People from all over the world know about your music because of the Internet. How do you feel about that?
Angist: It’s amazing. It really is. We get mails from all over the world from dedicated people, like yourself, putting up websites, zines etc. and they are making time to check us out, a small band from Iceland and asking for reviews and interviews. It’s humbling.
MetalWizard: How do you manage your time between work, band practice & shows?
Angist: Planning, planning, and more planning! We just have to be very organized since we are very busy. But we all help each other out and we make it work.
MetalWizard: Is it hard to get time off work to go on tour?
Angist: Yes, it can be because it’s bad if Tumi and Edda miss out in school, and teachers (Gyða) can hardly get days off in the winter. So summertime is good for us but we are all willing to make things work and we’ve been quite lucky so far with our bosses, who have been very supportive and understanding.
MetalWizard: Thanks for The time you took in answering this questions Guys
Angist: Thanks for the interview, Sigrid! Your interest in our band and music is appreciated.
NONEXIST signs to Abyss Records, album tracklisting revealed
Melodic Death / Thrash Metallers NONEXIST which feature in their ranks Johan Liiva (Hearse, ex-Arch Enemy / Furbowl / Carnage) and Johan Reinholdz (Andromeda, Skyfire) are set to release their sophomore album "From My Cold Dead Hands" through Abyss Records in early 2013. This is the first time "From My Cold Dead Hands" will be released in a physical format (CD). The album will feature twelve tracks in all including three bonus tracks (Coroner, Merciless, Eucharist covers). The album was released exclusively in digital format in November of last year through Pivotal Rockordings and can be purchased at this location: http://label.pivotalalliance.com/purchase/
"From My Cold Dead Hands" is the first NONEXIST album since their debut "Deus Deceptor" which was originally released in 2002.
Cover art & tracklisting
1. Dark and Tortured Universe 2. Presence Everlasting 3. Flesh Falls from the Bone 4. Days Without End 5. Fire at Will 6. Collective Coma 7. From My Cold Dead Hands 8. Lost in Darkness and Confusion 9. Here Comes the Pain BONUS TRACKS 10. Masked Jackal (Coroner cover) 11. Realm of the Dark (Merciless cover) 12. Greeting Immortality (Eucharist cover)
"Again NONEXIST are satisfying the demands of early ARCH ENEMY fans and beyond that. "From My Cold Dead Hands" is featuring Death Metal in the vein of early ARCH ENEMY (first three albums), CARCASS ("Necroticism" / "Heartwork"), a breeze of progressive EDGE OF SANITY and some blackness, which remembers a bit of UNANIMATED and MERCILESS. On top of all that the music is accompanied by MINISTRY like "political" samples. What makes this album outstanding are the superbly composed and performed songs and Johan Liiva's one of a kind voice in Death Metal." - Voices from the Darkside
"From My Cold Dead Hands" actually manages to escape from the path of thousands and thousands of other bands with zero class and innovation..."// "...the album leaves me with a lot of feeling, as though Liiva experiments quite a lot, but never loses the thread. Very, very cool!" - Bleeing4metal.de
"This album is a nostalgic look back to the late 90's/early 00's and the sounds of bands like Carcass, Arch Enemy and Dismember are all there. But the album still clearly has its own niche with its excesses and its experimentation. This re-used style feels pretty fresh when it's done this professionally. Already in the first song, the bar set high, and in the second one even higher and so it continues without being boring. Johan and Johan are truly children of their time and fans of the genre. They know how to do it properly and simultaneously with a twinkle in the eye. This disc should not disappoint any deathmetal-fan." - Flaming Dick Magazine
"After laying dormant for 10 years we had the privilege to premiere a new track from this Swedish Death/Thrash band featuring Johan Liiva (ex-Arch Enemy). With the intensity of Napalm Death and the precision of a Swedish Megadeth, Nonexist concocts something strange and new with their anticipated come back. Definitely worth a listen." - Metainjection.net
Limited Edition Gatefold on 180 gram colored vinyl
1. Bastards Of A Lying Breed 2. Master Of War 3. The Sound Of Eight Hooves 4. Risen From The Sea 5. As Long AS The Raven Flies 6. A Fury Divine 7. Annihilation Of Hammerfest 8. The Fall Through Ginnungagap 9. Releasing The Surtur's Fire 10. Eyes Of Horror (Possessed cover) 11. Bastards Of A Lying Breed (Live) 12. Masters Of War (Live) 13. The Sound Of Eight Hooves (Live) 14. Risen From The Sea (Live) 15. As Long As The Raven Flies (Live) 16. A Fury Divine (Live) 17. Annihilation Of Hammerfest (Live) 18. The Fall Of Ginnungagap (Live)
RADIATION SICKNESS (U.S.) Interview by Agathokakological Webzine
1. Hello and who is this from Radiation Sickness?
A. I am co-founder Doug Palmer I started Radiation Sickness with Ryan Rollins (RIP) in 1987. Ryan killed himself in 1989 and is still missed till this day.
2. The band formed in 1987 could you please give us a BRIEF history?
A. Four drunks suffering from depression with nothing better to do. Totally into the cross-over movement and the euro crust punk that was going on. Started a band played a lot, drank a lot, split up in 1993. Got back together in 2010. Having the time of our lifes.
3. Tell us about some shows and gigs you guys did, you where around at the start up of Death Metal-Grind core.
A. We of course we played “A Day of Death” the first ever death fest. Used to play with gods of grind Repulsion. Played with Macabre a lot once in a garage show. Impetigo, Vital Remains you name it.
4. So you just started playing again in 2010 what is the story behind that?
A. Re-connection with old pals. Sick of the life and lies I was living. Trapped in this fake plastic world by a wife that I have divorced. I got back with friends at first did not want to do it, but I said hell yea lets do this. Two years later have played all over, two releases, one new and the other the early demo tapes, live show and a DVD. Plus real cool things in the works.
5. Radiation Sickness' lyrics man, graphic and to the point, what is that story.
A. I write lyrics about the most evil thing of all “Life”. A brief moment in time between birth and death filled with suffering and misery. That is it. I suffer from serious clinic depression and have recovered from addiction over and over. I am not proud of it, but life it is. I have see so many friends, family members die to over dosing, killing yourself, murder. It sticks with you. I wish it could be all butterflys and winning lottery tickets but that is not what it is about. Depression and addictions drivers us. Life is an evil thing.
6. Tell us about recording “Reflections of a Psychotic Past”
A. It was a blast, I was a tad nervous at first recording in the computer era. Last time I recorded was in a 24 track studio. After a few hours in we where having a blast. Friends stopping by hanging out. It is funny most bands get slower with age. We blasted like fuck on this. You can get this CD from US or Abyss records.
7. You just re-released all the old demo tapes, “The bounds of Reality” ep and a live DVD called “The Madness Begins 87-90” on Negative Reaction Records can we get a briefing on that.
A. Mark Murray old RS fan and friend where chatting one day and said let’s put this stuff out. Stuff like “We are all the victim” demo was re-mixed and sounds so much better. The video was proffesional done in Flint, MI. It was our first gig with Repulsion.
8. Who is the line up now?
A. Myself Doug Palmer founding member, Byron Holton Bass, Tom Ball guitar, Mike Herald (OG drummer) played on the new CD but due to family issue’s left on good terms. He was replaced by Kevin Gibson who is a major asset to the band. He is younger very fast and way more driven then Mike was to play live.
9. In your live shows you seem very pissed off on stage why?
A. Well first of all I am a pissed off person. Life leads us down paths some right some left. I have made great choices in my life but always seem ending up getting fucked. I also suffer from Bi-polar disorder and clinical depression, It shows it’s ugly face when on stage. I let all my anger and intrusive thoughts out when we play.
10. Closing words thoughts, information on contacting the band or getting merchandise.
A. Thanks for the interview. I am home again in the underground, surrounded by the people I need to be around. Cheers and miss all my friends lost on this fucked up journey we have all been through.
HAT (Norway) "Vortex of Death" DIGI CD review by Pest Webzine
This is the first time I'm listening to Hat's music, although they have released a quite well acclaimed debut album in 2009 on the same Abyss Records, and the band was founded in 1993, but I guess back then they were only teenagers trying to get to know their instruments as they have released the first demo in 2008 only. Anyway, although their name could sound pretty funny, especially for English speaking countries, it really means "hate" in Norwegian, and what I like about it is that they are expressing this in their music also. Their music is full of hatred, raw, razor-sharp, as all bands playing this genre should sound. There is nothing innovative or groundbreaking on "Vortex of Death", but the guitar riffs are creating a perfect ground for an overall dark and freezing cold atmosphere that Hat delivers. There are not so many tricks used on this album, no influences from other genres, no compromises, only pure raw Black Metal skillfully composed. An album recommended to all Black Metal fans.
DARKTHRONE - UNDER A FUNERAL MOON 12" LP - $25.00 + S/H
This vinyl edition is limited to 2000 numbered copies and is issued on 180gm heavyweight vinyl in a gatefold sleeve, which features new liner notes by Nocturno Culto
1. Natassja in Eternal Sleep 2. Summer of the Diabolical Holocaust 3. The Dance of Eternal Shadows 4. Unholy Black Metal 5. To Walk the Infernal Fields 6. Under a Funeral Moon 7. Inn i de dype skogers favn 8. Crossing the Triangle of Flames
SEPTEKH (Sweden) "The Seth Avalanche" CD EP review by Valkyrian Music
By Luke Hayhurst
I get the distinct impression that this bunch of fuzz-loving death thrash ‘n’ rollers don’t take themselves too seriously. You want proof? Listen to the opening tracks from the bands new EP ‘The Seth Avalanche’ entitled ‘F*ckslut From Hell’ and you’ll have your answer. Incredibly silly but a delight to listen too, Septekh cite influences from the ever changeable Fenriz and Emperor to the more obvious Raw Head & Motorhead. Indeed it is a shame that this is only a six track EP as this catchy blend of filth laden riffs, sporadically fast drumming and a grime soaked vocal style really is very endearing. ‘Shoot Them All’ is a shout back to the earliest of Metallica in both song name and in sound whilst ‘Blunt Force To The Head’ is a slowed down beast of a song, heavy, venomous and crawling with ill intent. In contrast to the previous track, ‘Not What I Had In Mind’ is a balls out thrash feast that is somewhat reminiscent to the UK’s own Evile. Featuring full throttle riff-age with some excellent break downs, this is a track that will have heads banging throughout. Hilariously titled ‘Eating The Maneater’ adds a vast element of groove in almost a stoner doom meets ‘Sacrament’ era Lamb Of God moment and has by far the most sing along chorus of any tracks on display. sadly there has to be an end and that end comes in the shape of the release title track ‘The Seth Avalanche’. Fast, raucous and spitting venom from the off, this is what you would have come to expect from such a down and dirty band. As a whole you won’t want to stop playing ‘The Seth Avalanche EP’, it’s catchy, fun and carries with it a real sting in its tail.
Entrench from Sweden play violent "classic" thrash metal. The band seems to be influenced mostly by the early German gods of yesterday. The musicians of Entrench have a lot of good musical ideas to keep the music both fresh and memorable while keeping the pure thrash sound and attack alive within Entrench's songs. Chaotic fast guitars that while being played at insane speeds also have some complex structures and solo's that are pulled off flawlessly. It seems their are a lot of thrash metal bands coming out of nowhere in the scene but Entrench have a lot of great ideas added within their thrash that makes this band definitely one to stand out and above the endless sea of others currently flooding the scene. Fans of intense, raging thrash definitely get a hold of Entrench's Inevitable Decay today!!
DESULTOR (Sweden) "Masters of Hate" CD / LP review by Autothrall Blogspot
Swedish duo Desultor deal in such a balanced contrast of extremes that you have to wonder why a lot more bands haven't tried it, and Masters of Hate is the sort of debut which should rocket them into the radars of many modern enthusiasts. Formed in 2007 and drawn from members of lesser known acts like Auberon and Machinery, they write in a hybrid of aggressive death and thrash metal, but use a clean and charismatic style of vocals that would take you instantly unawares had you not had prior warning. Markus Joha, who is also the guitarist, has a timbre somewhere between Bruce Hall (late of Agent Steel), Urban Breed of Tad Morose and a few shreds of Warrel Dane's haunting psychosis, sans the screaming.
In fact, Nevermore is not a bad comparison towards Desultor overall, or those late 90s/early 'oughts Agent Steel records, only the first is more choppy and technical in its riffing and song structures and the latter clearly cast in a speed/power mold. Desultor are more about blowing you over with these brazen, textured floods of chords and tremolo picked guitars over tight and muscular drumming that very often accelerates into a pure blast beat. It's this extremity that will be sure to win over the younger crowds, since Masters of Hate almost never lets up with regards to its sheer force. There are segments of more progressive, melodic and slower guitars embedded in a number of the tracks (like "Black Monday" and "The Luxury of Pain"), usually surrounding the fulfilling lead sequences, but for most of the 34 minutes they are content with tearing us a new one, and they do so with a mechanical precision that is frightening.
About the only thing here that doesn't really stand out much is the bass, which is contributed by a guest musician; but not because you can't hear it barreling along in the mix, it's just impossible to consciously register it next to the vocals, drumming and corpulent guitar tone. The band is not afraid to incorporate more aggressive snarls and sneers where it suits the music, from a rasp to a more gruff tone, but these points never feel quite so distinctive as Joha's memorable, unique chorus patterns in tracks like "Division Insane" or the crazy "Caged". As I hinted, the leads here are quite well written, never unique or innovative but sure to sate fans of Jeff Loomis, Dave Mustaine or other comparable axe luminaries. Yet it's the rhythm guitar that really exacts the most emotional damage, from the insane matrix of tremolo hammering to the brighter spikes of clinical thrash that pepper "Denies", which is perhaps my favorite single track here.
All told, Masters of Hate is one of those albums capable of playing to a broad audience. Those into faster, modern power or thrash metal which sounds as if it escaped the 80s, the more aggressive melodeath acts out of Scandinavia (Darkane, etc), hell even people into the rather generic 'extreme' mutations you hear in the gimmick band Dethklok will appreciated the music (if not the vocals). But don't mistake Desultor for some shallow, emerging trend. They know just how to rein in their skills and keep control of their compositions. None of these explode past the 5 minute limit, and most are held to a respectable 3-4 minutes of ass kicking with few if any arbitrary indulgences. I found that it lost a layer or two of shine after a half dozen listens or so, the lyrics I've seen were rather bland, and I wouldn't brand a number of tracks unforgettable. However, it's talented, fun and fresh, and I have no doubt we'll be hearing a lot more from them once this starts to circulate.
SINCERA (Norway) "Cursed and Proud" DIGI CD review by Metal-Revolution
Sincera was a phrase that the ancient Romans used to describe a statue that were so perfect that it didn’t have to be vaxed, to cover up all the cracks and splits. When I came across this name a couple of days ago, Sincera sounded as a female led Gothic band. Fortunately, it is a side project consisting of members from Norwegian Black & Death bands, Fester, Algol, Decipher and Psychotic Pain.
The quartet was founded in 2002 where the band started up as ‘Evening’, but changed their name, due to some line-up changes, to Sincera after a couple of years. Nine years later Sincera finally releases their first full-length recording entitled Cursed And Proud.
Cursed And Proud contains nine tracks in all; four studio tracks recorded in 2005, and four live tracks from a gig in 2006, and finally a bonus closing track “Byron Lawless”, made as an entrance song for the infamous Norwegian wrestler Byron Lawless. On this opus the band still plays a furious old-school metal, mixing old Rotting Christ, Fester, Dissection, Kreator and touches of Norwegian Death Metal in general. In other words; it is actually a vicious blend of several genres within the extreme metal. It is slow – yet fast, melodic – yet extreme, atmospheric – yet furious.
I particularly enjoyed ‘Live In The Essense…’ part where the guys successfully captured the essence of Sincera live. Thus, Cursed And Proud is definitely worth getting just for the sake of the live tracks included. The most diverse thing is the guitars, shifting from emotional and melancholic melodious riffs and aggressive black metal riffs.
Despite of a couple of flaws and awkward moments through the release, Cursed And Proud, with its crispy production, is a nice foretaste of what is to come from this extreme and brutal supergroup in the future.
BONE GNAWER - FEAST OF FLESH DIGI CD - $13.00 + S/H
1. Feast of Flesh 2. Sliced and Diced 3. Cannibal Cookout 4. Make You Die Slowly 5. Hammer to the Skull 6. The Saw Is Family 7. Hatchet Face 8. Defleshed and Skinned 9. Anthropophagus Beast 10. The Lucky Ones Die First
Death metal stars Angist have never been busier - having just signed a record deal with US label Abyss, they are currently working on their first full-length album, and are heading over to the UK to appear in a star-studded line-up at Camden's Desertfest in April. We managed to grab some time with them to find out more...
Hello Angist! Please introduce yourselves to the IMX-reading public.
We are a four-piece death metal band from Reykjavík. We started out in 2009 and have been very busy since then. We have released a demo, EP and we are currently working on our first full-length which will be released this year. We signed a record deal last fall with the U.S. based Abyss Records and it will be released through them.?The band consists of Gyða Hrund, guitars, Edda Tegeder, guitars and vocals, her brother Haraldur Ingi masters the bass and Tumi Snær keeps us on track with his drum skills.
We're excited - as is everybody else - about your new LP. Tell us about how the songwriting process has been going for that?
We are excited too! It’s going well. We’ve taken a break from playing shows (except from few selected shows) so we can concentrate on writing the album. We have few songs written already and few more to go. We have progressed a lot in our song writing, we have a clearer sense of direction where we are going with our songs. Fredrik Rheindal, who recorded Sólstafir’s Svartir Sandar will be recording our album and we are really looking forward to that process.
You were recently featured in the Telegraph in a feature about female heavy metal artists - go Angist! What did you think about that, and what are your thoughts also on the general onus on 'female' metal artists?
Yeah, we were pretty stoked about that, especially since we didn’t know about it until it came out!? Metal shouldn’t be about gender, it’s an open party for everyone so the more the merrier! Gyða and Edda are the only girls playing in the metal scene in Iceland and there haven’t been many but we hope to inspire one or two. But there are a lot of girls that go to gigs in Iceland, support the bands, take amazing photographs and are just big fans in general so that’s also important. Any involvement is great, whether it’s playing or any other participation.
What first attracted you to metal?
Edda and Gyða both share the story of having parents listening to classic and progressive rock. So from an early age it was natural for them to listening to harder styles of music. That interest later developed into wanting to hear something more extreme and aggressive so it evolved into loving metal from an early age. Haraldur was fortunate enough to have a cool sister like that (hehe) so he got into metal with Edda and Tumi being younger than the rest had the Internet as a resource of harder music. But we see so much beauty in this music: the leads, harmonizing, outlet of playing it and most importantly the sincerity of this kind of music. This music takes on the whole emotional scale, from anger, ugliness, anguish to being a salvation in tough times.
What are some of the preconceptions of heavy metal, do you think?
Well we find Icelandic people in general to be very open minded about metal music but of course there’s the cliché of devil worshipping drug abuser. But I think over the years, bands and their members have become more visible and people see that we are just normal people making music.
Who are some of your favourite Nordic metal bands? And why do you think the Nordic territories do metal so damn well?!
The list is endless! Norway has the great black metal scene with amazing bands like Satyricon, Emperor, Taake, Zyklon, Ved Buens Ende and more. Then Sweden has great death metal bands like Bloodbath, In Flames, Opeth, At the Gates, Dissection, Spawn of Possession and the list goes on! And Iceland has of course great bands as well, Sólstafir, Skálmöld, Svarti Dauði, Beneath, Blood Feud, Atrum and more. ?I think it’s all the darkness and maybe the landscape inspires us too. Maybe also that we are remote and some places are a bit isolated so there’s nothing better to do than make music. It’s an outlet.
You're heading to London in April for Desertfest - tell us about that!
Yeah we are really excited to play at Desertfest. It sells out every year and we’ve gotten a lot of attention in the UK since our announcement there. We, for example, had a pretty big interview with Iron Fist magazine which is a great honour so we are expecting a great show. There are many cool bands playing there like Unida, Ufo-Mammut, Bong Ripper, Dozer and the almighty Pentagram. ?It’s a great opportunity for a band like us to be able to attend festivals like this with a lot of media coverage and big sponsors (Metal Hammer magazine, Orange Amps, Classic Rock Magazine) so we are very thankful for them giving us a chance. The Loftbrú grant is also important for us to be able to attend these events that we get offered so we are lucky to have them. ?This year we have also been selected to do the Ferðin til Heljar tour, which is a collaboration project between the metal scene in Iceland and Faeroe Islands. This tour started in 2011 when Bibbi from Skálmöld joined forces with Hamferð (FO) and the main goal is to create a link between the two islands and introduce great music to each country. Momentum (IS) and Synarchy (FO) went last year and this year it’s Angist and Earth Divide from Faeroe Islands. There will be gigs in each country but the obvious highlights are Eistnaflug festival here in Iceland and G!Festival in Faroe Islands. Playing G!Fest will be awesome!
What are you most looking forward to doing when you come to London?
Of course playing the show and meeting all the incredible people who helped us getting there! We love playing for a new crowd, we went on a tour in France fall 2011 and we’ve been dying to get back on the road.
Any last words before we conclude?
As always we just want to thank all our fans that are supporting us and we are very grateful for the opportunities we are getting. We hope to see some friendly faces either here in Iceland, at Desertfest or G! Festival! If people are interested in checking us out then please check our facebook and our Bandcamp site to listen to our EP, Circle of Suffering, and there it’s also available for sale. ?Thank you!
DAEMONICUS (Sweden) "Deadwork" CD review by Aristocrazia Webzine
The death of the Swedish DAEMONICUS back on the scene with the second chapter "Deadwork", the Scandinavian group I was particularly excited with the debut of "Host Of Rotting Flesh" album honest in content, but definitely not in a position to compete with the multitude of formations that are being debated within the same circle of sound. In fact lacked songwriting ideas that go beyond the standard commonplace and therefore also in discussion with friends the catalogai as the classic work by "six political." Three years have passed, marked by a change behind the drums (Johan Hallback instead Magnus Boström) and the label change with the transition from the ViciSolum Productions Abyss Records. You can then rediscover the real news? Yes, something moved and positive. Assuming that we are still faced with a training "ordinary", the traces of this test are once again derivative to the marrow and daughters of that sound combative holding out her cheek to his mother home and the other in the British zone. You will be able to appreciate some small but significant improvements, you'll see it as the songs are more sliding, with melodies slightly sharper and have a compact granitic even larger; much of this is mainly due to the performance style " rock "offered by Johan. All these props reveal greater security in their own ability on the part of the band, the rest of the cliches of the genre, there are all of them, but the use to which it is done time to get the ear finds a way a little bit more interesting. Once you hit "play", four episodes have immediately to take proper account ("The Grandeur Of Total Termination", "We Feast On Your Flesh", "Alive From Dead To Life" and "Nothing But Dead") , you will detect an accurate production and "modern" and you can then decide on the spot whether to opt for a repeat passionate hard of hearing or relegate the role of occasional pleasant company. Ultimately, as the DAEMONICUS are far away from excellence or make you share experience revivalist superior perform their duties without smudging and a gear advanced than in the past that it came to them that the alarm needed? We'll find out only in the future, for now be satisfied with "Deadwork."
This review was originally written in Italian and has been translated using Google Translate. To view the original review in Italian click the link below.
1. Into the Desolate Halls of Death 2. Hidden Face 3. Bloody War 4. Nihilistic Vision 5. Fed to the Lions 6. Mercenaries of Hell 7. Ride the Incubus 8. I Am Possessed 9. Attack from the Back 10. Death Chasing the Flock of Mortals
Again, I take a bag full of rattling bones on his back and went on a trek to the Swedish death metal death hill. Like the mythical Sisyphus vainly trying, as well as a band DAEMONICUS, to reach the top. But that was a long time ago already subdued old teacher Dismember, Grave, Bolt Thrower, Unleashed, etc. Now it's just about how the young band that knows how to build. It convincingly play death metal can Rattling few. DAEMONICUS set out on the difficult journey in 2006 with the first timid demo recording. He wore down his spurs as a full album Host of Rotting Flesh in 2009, which did not meet very positive response. But already at that time was a great feeling from the recording enthusiasm and rock lobster lovers deadly metal they must have been satisfied. I personally had a little bit worse was angry sound recordings.
This year, the record with the name of former Deadwork avoid abuses, put their heads together and decided to reach just below the summit. They took from their teachers the best and blended it into a very tasty cocktail, in which it rattles just like in the nineties. Added to the songs chilling melodies, and the result is a very tasty and savory bloody. My tiny bit at times this album reminds German colleagues Revel in Flesh, or the last recordings Entrails (and Putaraeon, Blood Mortized and Feral). The board is due to "líbivejším" melodies certainly more palatable to a wider listener base. But it also lost the right "northern" charge, which is at such recordings so much wanted.
Deadwork plate is full of twists and turns, changes of pace, enthusiasm and composer Stefan Hagstrom great voice. It makes the band can distinguish between hundreds of similar ones. Especially in slower passages proves that it is truly pan singer and the band it can be justly proud. Guitars death'n'rollovém often go by the pace, but not afraid of rolling and secondary passages. So you'll get exactly what the Swedish death metal band playing expect.
I must commend the clear sound of the whole album. All instruments, including singing, sounds as they rot and literally sprayed in all directions. Beautifully "Nordic" is the album cover. Even when you first open the booklet left no one in doubt about what will take place for music CDs.
For young bands is very difficult to play the music of their designs. Most are now labeled as plagiarists in some circles immediately condemned. Of course it depends on your perspective. How to actually build a music critic to the recording on which students overcome some of the last recordings of their designs? I refuse to approach the game pupil - teacher. Always take music as a whole, and just in case DAEMONICUS me my intuition and callous ears suggest to evaluate slightly above average. Not do so because I am convinced again that enthusiasm, the drive emanating from the board. DAEMONICUS recorded a great album full of Swedish death metal. Nothing more, nothing less. And it is not enough. On the contrary, nowadays, when listeners are already "eaten" pretechnizovaných and plastic bands are definitely on it, the more break. At least the fans who have already pulled the nineties that bag full of bones and chrestícího death metal.
This review was originally written in Czech and has been translated using Google Translate. To view the original review in Czech click the link below.
The debut of the Doomster from Indianapolis came back in 2004 with "Final Chapter Records". In 2011 they released their last regular album "The Wretch", then took Abyss Records in the matter, and throws out the debut again. The heartbeat intro with the clock tower heralds the fall, and you grooving to Saint Vitus moderately through the song while singing is more like the Swedish Count Raven. The quality of the nine songs, scrape the happy times at the ten minute mark, is not open to doubt. The trio named after a song by Cianide delivered, then from an official album, which we now have to re-acquire. Three small differences to the first edition are here. The intro and the first song are now separated, there's "The Cloaked Figure" at the end of a bonus track, and the new version uses a different cover. None other than Ken Kelly, who already for Kiss, Manowar and Rainbow handed in his works, stands responsible for the pictured Warrior. Pretty round thing, because not only the beat-Hard'ler.
This review was originally written in German and has been translated using Google Translate. To view the original review in German click the link below.
I read an interview with Eternal Helcaraxe prior to listening to the band’s latest album “Against All Odds”. The band member that was interviewed stated that their name came from Middle Earth. The interview also stated that the band played black metal and was Irish. The Lord of the Rings reference immediately raised my hackles because I fucking hate the LOTR. Both the movies and books bored the pants off of me. I thought for sure the album was going to be rife with cheese and that I would hate it. With trepidation I sat down to listen and was pleasantly surprised as “Against All Odds” is a very good album. The album opens with a beautiful instrumental called ‘Claim Your Place with the Gods’ which leads into ‘One Stands Still Here’, which caused me to pause my MP3 player to check I was listening to the right album, as this totally shattered any stereotypes I had about these guys. The band I thought I was going to listen to was a bunch of croaky hobbit lovers. But what I was listening to instead was a cross between Gorgoroth and Amon Amarth. Yes, you read the above right. Instead of opting for a completely “evil” and “troo” vibe, Eternal Helcerax has crafted a refreshing and unique sound which combines Swedish melodic death metal with black metal. Perhaps this is being done elsewhere, if so, I’ve never heard it and I listen to at least 50 albums a month. The whole album is so unbelievably and unexpectedly good with rousing riffs and majestic harmonies. If you’re into Amon Amarth or “Whoracle” era In Flames you will absolutely lap this stuff up. One thing of particular comment is that much like Amon Amarth, whose name I’ve now mentioned about a thousand times in this review, the band does not come across as gimmicky despite having the Tolkien name and battle lyrics. Instead, they come across as genuine and in some cases the songs sound downright inspiring. Almost like I was getting ready for some epic battle to take place on the battlefields in Europe. For those Amon Amarth fans who could never get into black metal, check this out and see if it turns your crank. As for highlights, I really can’t pick anything specific as the album is so good. This is album is already on my list of best of 2012. Check it out and support the band by buying a copy of the album! You won’t be disappointed.
DISEIM (Latvia) "Holy Wrath" CD review by Rock Music Critic
By George Washburn
“Holy Wrath” appears to be the first album from Latvian death metal band Diseim. I make a lot of (often bad) judgments about albums based on the album cover before ever listening to a note, and in this case I was expecting something mediocre and poorly produced. Well, you know with that kind of lead-in that when I gave the album a listen that is not what I heard.
The production on “Holy Wrath” is not really all that spectacular; it definitely sounds like they were on a budget. But they seem to have made the best of what they had available, because the music is fairly stripped down and tight sounding making this a diamond in the rough. The vocals are harsh but are seated above and a bit apart from the music, and while they are harsh, they also have a subdued quality that gels really well with the music. The album falls mostly under death metal, but there is a heavy, ponderous aspect that leaves the door open for appending them with the doom tag.
Chalk this one up as the surprise of the day. I really enjoyed this album.
If you’ve heard the music of Fester before, you’ll be as confused as anyone to see them releasing a new album – we’re dealing with a real buried gem here. Back in the early 1990s these Scandinavian anomalies made something that hung precariously between black and death metal, at a time when the former was all the rage and the latter was yet to settle in Norway. They bowed out to limited applause a few years later. But, as if from nowhere, founding member and guitarist Bjørn ‘Tiger’ Mathisen has brought the name back from the crypt and written a new album, and the results are an intriguing and unique listen.
The opening combination of ‘Rites Of Ceres’ and ‘The Black Tower’ sets out Mathisen’s desired sound – dark, gritty palm mutes, with atmospheric screams and outbursts of emotive harmony. As was the case in the band’s original stint, this album is carried by an individual riffing style that plugs away with simple effectiveness and refusal to commit itself to any particular genre convention – the key difference is in aggression. A Celebration Of Death rarely breaks out of middle pace, but the riffs dig deep and ensure the intensity is high at all times, thicker and more menacing than both the esoteric Silence (1994) and their 1992 debut, Winter Of Sin.
As the album rolls on Fester begin to explore a little, with the guttural rumble of ‘Metalized’ offering the album’s heaviest moments and ‘Last Day Of Battle’ going through several mood changes over a seven-and-a-half minute duration near the close of proceedings. The lo-fi, almost industrial clang of the drums provides snare stabs which are vital at times, breaking through what could otherwise be rather lethargic sequences of riffs. With clear parameters and no time for novelties, this album’s sound makes enough sense that it’ll take you until the end to realise that nobody besides Fester has really made music like A Celebration Of Death before.
This is a band that deserves to be heard, offering an eye-opening look at what extreme metal can be. To come back after almost 20 years and do this with the same unique voice, and with equal or even greater success, is incredibly impressive. It is, as they say, in the blood.
A beacon of light that shines through in the foggy haze that is the current retro death metal movement, Stockholm’s Desultor (go figure) have created a cacophonous maelstrom of DM madness on their Masters of Hate debut. Thrust up against dizzying guitar work, pounding, active drums, are of all things…clean vocals. It’s a combination that is mute in the death metal world, probably because few can figure out how to do it properly. Desultor certainly has, and it’s good enough to suggest that this is 2012’s best debut.
Comprised of guitarist/vocalist Markus Joha and drummer Michael Ibrahim, Desultor draws an instant comparison to A Celebration of Guilt-era Arsis, who at the time (2003) were a duo just like this. The parallels don’t end there, for Desultor has the same knack for savory melodies (see: “Denied”) and a similar technical fortitude, a defining trait that bolsters frenetic songs like the excellent “Another World” and whiplash-inducing “Division Insane,” one of the few songs that sees Joha employ a more hard-edged vocal style.
Joha is the make-or-break aspect of Masters of Hate. The Swede has a slight Warrel Dane-like curdle to his vocals, and if we really want to stretch things, comes across like a less-polished Oddleif Stensland of Communic. Regardless, Joha manages to plop his vocals down amidst a flurry of blinding riffs, most of which are well-suited for gurgles and grunts. Yet the man’s work on “And So We Bleed,” “The Luxury of Pain,” and “Caged” is natural-sounding and fluid, with nary a trace of sounding forced.
The progressive-minded who fawn over the essential works of Atheist, Cynic, and Death will easily find something to like about Desultor. Masters of Hate is multi-faceted and brims with enough versatility that any lateral moves out of the death metal realm should be rather effortless. In fact, calling this “death metal” might even be a reach. This could be the new age of progressive extreme metal…
Radiation Sickness is one of those bands that started off with a boom and then DISAPPEARED off the face of the earth. But they came back recently and have started to make some noise again. They were all over the underground back in the day. It seemed like every fanzine I got or every piece of mail I received had some sort of Radiation Sickness ad/flyer in it. Their demos and EPs are total underground classics. It’s killer to have this band back. I had to track down Doug Palmer, the singer of this band of lunatics, and see what they are up to! READ ON FREAKS!
1. Hails Doug ya maniac, thanks for doing this interview. How are things over in Indy land and Rad Sickness world? What are you lunatics up to?
DOUG: Mike, just living the dream. Back in the metal scene after 16 years locked up in minivan hell jail. Putting out some new re-leases, playing some gigs. Doing interviews for a heathen like yourself.
2. Radiation Sickness was formed back in 1987, while the old tape trading, fanzine era was in full force. How did you guys all get together?
DOUG: Drugs, booze and sick music. I met Ryan somewhere he had a SOD shirt on, me a Bathory. It was metal hell love at first site. To bad the fucker had to kill himself a year or so later. RIP Ryan. Just a bunch of kids into the underground extreme music scene. Nothing less nothing more with nothing to do.
3. There were a couple of demos put out in 1988 and 1989, tell me about this time. Were you guys able to get those out to the worldwide underground? And how was the response?
DOUG: We spent a lot of time promoting the second demo “Elvis ain’t dead”. The first demo sounded too poor to push (Man the way Mark Murray made the first demo sound on The Madness Begins 87-90” is unreal). It got all over the world. All of our visits to the post office, tape trading hard work back then. Any response was a good one, you knew people heard it.
4. How was the underground scene in Indy back then? You guys had a mix of hardcore punk/death metal/grindcore. Did some people ever give you the “what in the fuck?” response that some extreme bands got?
DOUG: Indy was great back then and still is they way I was welcomed back was humbling. I loved being the band that put Indianapolis on the map as far as extreme bands. I have got the what the fuck my whole life. We hand so many influences and liked so much music we just wrote what we liked. Here is what Radiation Sickness is: Death Metal from the ghetto, Black Metal from the methadone clinic, Crust Grind from the graveyard. We are just RS man.
5. 1990 was a busy year for Radiation Sickness. The “Bounds of Reality” 7 inch was released on Putrefaction Records( at the time, also home to bands like Fatal, Agathocles, Order From Chaos, Arcturus and others!) This slab is now considered a classic. Also “The Other Me” 12 inch was put out by Old World Records, which this EP is ALSO considered a classic. Tell me about this time and how did you get in contact with those labels to put out those killer blasts of goodness?
DOUG: Andre from putrefaction just sent me a letter one day and said call me I want to put a seven inch out for you guys. I called we recorded. What a label that turned out to be. I want to re-press that Bounds of Reality seven inch. It is in CD format on the Madness Begins. As far as Old World same way. Tomas flew over hung out for a few days. Went to watch us play with Macabre. I am so lucky to be a part of that. Any label that wants to re-press The Bounds email me.
6. I DID say busy in 1990 because I have to mention the 3 way split with Nomicon and Shud on Hard Blast Records. AND the 4 way split with Wartburgs für Walter, Lost and Horse Laugh on Panx Productions. What made you guys decide to work with these labels and bands to get these records out there?
DOUG: I did not even know about a couple of the releases. We just liked putting stuff out. The labels would ask for a song we would say yes. This year we want to do four split sevens with all new songs and covers.
7. Radiation Sickness then seemed to fall off the face of the earth at some point. When did the band break up? And what were you all up to all those years?
DOUG: Man I just walked away, walked away. It fell apart after I left. I was in school got married to a (C U N T) just locked in jail I have very bad depression, I was depressed so many years I was away. It was a stay in the hospital for depression that got me back in touch with the scene.
8. Fast forward to 2005 and the “Circle of Sickness” discography was put out. Who released this?
DOUG: This home made job was released by Mike Rippy front man for Indy’s best punk band ever The Dockers and Byron Holton. I think Byron’s kids did the cutting and folding of the inserts!!!! This rules that they did this.
9. Was there a recording done as Radiation Sickness without you at some point around this time?
DOUG: Yes there was a demo cut after I left. I have heard it, the music was great. We used a lot of those song’s for Reflections of a Psychotic past. The music was changed some and all new lyrics written. Plus we had Tom Ball come back with us instead of Ricky on guitar. So his sound is killer. They did not have anyone with the drive to push it. We had a nice deal when I left for those songs to be put out.
10. Then in 2010, you guys decided to get back together. How did this all come about? Tell the maniacs out there about this time.
DOUG: Depression brought RS back together. I was out done with life went to the hospital for depression. While this was going on, I got back in touch with Mike Rippy soon I was surrounded by old friends. They where talking us into doing a re-union show. We did and here we are. Life works in strange ways sometimes.
11. In 2012, the mighty Dan and Abyss Records put out “Reflections of a Psychotic Past”. Talk to me about how this deal came about and how has the response been so far for this killer album?
DOUG: Well Danny lives 10 minutes from me I have know him since he was like 14. It was a done deal before we even decided to record. The response has been amazing, I am just awe struck over the reviews and show responses.
12. Tell me about the Radiation Sickness live shows! What bands have you had the chance to play with, both in the past and recent times? You guys were on the first and legendary DAY OF DEATH Fest back in the day AND also played this last year as well right?
DOUG: Yes we played the Day of Death III with some amazing bands Like Gravehill, Cardiac Arrest and Prime Evil. We also played the first one way way back in 1990. Bands well we played a garage with Macabre once, Repulsion several times. Deicide, so many great bands I cant list them all. Anytime we share the stage with any band is a great time.
13. There was also a compilation put out last year called “The Madness Begins”. Tell me about this release.
DOUG: Mark Murray an old pal we all know put The Madness begins out on Negative Reaction records. It is amazing. It has the Bounds seven inch and the first two demo tapes, re-mastered. A live set and DVD from Flint MI, (wonder who we played with in Flint). Also a file full of old flyers and photos. To get it go to : https://www.facebook.com/negativereacti ... ds?fref=ts
14. Going back to your past Doug, how did you first get involved in the extreme music underground?
DOUG: I hated everything that was mainstream. I used to hang at Karma Records and it all got started there.
15. What are the future plans for Radiation Sickness moving forward?
DOUG: Ok we want to get Reflections out on wax and do four split seven inches this year. Reflections is also being put out as a split on Patac records on cassette. If you own a underground label and want to do a split seven for say like RS and Gravehill reach out to Doug Palmer at: firstname.lastname@example.org
16. I want to thank you Doug for the interview. Now is the time to get the maniacs any links or info on how to get in contact with you guys and get your merch info out there. Any other last words?
DOUG: Thanks for the interview man, no last words but get a prescription for what you do so you don’t get busted!!!! It was great sharing the stage with Gravehill last October.
DAEMONICUS (Sweden) "Deadwork" CD review by Ripple Music
By The Ripple Music
Old style death metal from Sweden and although Daemonicus aren't reinventing the wheel Deadwork is excellent fast, furious death that puts so-called modern-day death metal to shame. This is how it should be! Throughout Deadwork the band never lets off speed keeping the pedal to the metal which could have made the album boring. But the skillful musicianship and a great knack for changing things up at the right moment keeps it fresh and vibrant.
Another thing that makes me like the album is the sound and feel of the mighty The Crown, especially singer Stefan Hagström who resembles Johan Lindstrand a lot but with a raspier voice. Also the song structure is akin to their Swedish counterpart and I just love it.
DEAD AWAKEN "Where Hope Turns Dripping Red" CD release date and tracklisting announced
The debut album from the Swedish Death Metal band DEAD AWAKEN will be released on Abyss Records April 1st, 2013 in CD format. "Where Hope Turns Dripping Red" will feature nine tracks of Old School Death Metal with both European and American Death Metal influences. "Where Hope Turns Dripping Red" was recorded at Studio D-Man in Västerås, Sweden. Dead Awaken officially signed on to become a part of the Abyss Records roster last year.
1. Carnivore 2. Kingdom of Damnation (Where Hope Turns Dripping Red) 3. Deutsches Afrika Corpse 4. Rocket Symphony 5. Mudhell 6. Manic Destructive 7. Envy the Dead 8. Venom of the Population 9. State of Corrosion
So I'm going to start the review of Bane's - The Acusual Fire with one, no, with two questions! Do you like Dissection? and do you like Dark Funeral? If you answer yes to one or more of these questions, stop reading and go and pick up this album since you will like it, and you know what you will get more or less. I say this because Bane sounds like the two aforementioned bands spent a satanic and romantic evening together and 6:66 months later Bane was born.
So what do we get in The Acusual Fire? To put it simple, we get melodic black metal, we get an intro, seven songs and outro and a cover of the song Night's blood by one of the bands I mention in this review, we get the signature riffing and use of harmony of Dissection mastermind Jon Nödtveigt combined with the signature riffing of Lord Ahriman from Dark funeral. Am I saying that this is a bland rip off?? Well no, there are some strong similarities and influences in the riffing but Bane has their own personality for sure, I would like to say they have taken their influences and made something of their own with it.
You say, what is black metal? dissection that sounds disgusting and why is the funeral dark?? Ok, so what I'm ranting about is fast paced extreme metal music, called black metal. As in the case of Bane we get a lot of tremolo picking at blistering speeds, a lot of minor bar chord in the guitar department. The drums bang away at mostly frantic paces, using blast beats, 2/4 and 4/4 beats (I'm not entirely sure if that is the way you write it in English). The use of double bass is almost constant, and why not, the drummer most surely knows how to use his double pedal, very nice. Sure sometimes they slow it down and give us some more epic and almost symphonic moments.
The vocals are typical black metal screams and growls, something that caught my attention thou was the use of clean vocals, it's a bit weird, it is in no way bad, it just caught me a bit off guard, since they are disharmonic, a bit out of key or something, I can't really put my fingers on it actually. But anyway I think it is cool, and they serve as a cool little break from the demonic shouts.
And speaking of the vocals, they are very good. The singer sure got his stuff down. Since he varies the vocals with both screams and growls the stuff is always varied and interesting. I have to say that the playing overall is very good on this album, every one of the members seams to really know what they are doing! Another cool touch is the melodic guitar solos, very nice, since they serve as a bit of a breather in all the brutality. And they don't feel out of place at all. In the last song (excluding the outro and cover) Existence in denial, we are treated to a more shred solo. And that is always welcomed!!
The first thing I thought about when I started to listen to this album is that you can actually hear the bass, this makes me very happy. I'm a big bass fan, and in most black metal albums the bass is buried so far back in the sound landscape that it is almost impossible to hear it. But in the case of The Acusual fire this is not the case, the bass is clear and heavy, so this is one of the things that makes this album sticks out a bit. It is an black metal album with some balls, and some weight behind if. Don't get me wrong there are many black metal albums that I love that are just big treble fests, but some bass is a nice change.
The second thing that struck me was the use of some middle eastern sounding scales, and this is also something I really think is kick ass. Since plain and simple minor key riffing in black metal is a bit done to death if you ask me. And here we get some different spices in our black metal soup. The production you ask, it's great, everything is clear and you can hear everything very well. Nothing is over powered, everything is balanced.
So what about the cover?? It is a straight up cover, the only difference is that Banes version has a better production, or should I say a more modern production. It has a bit more power to it.
To conclude, if you like melodic black metal, this is really an album you should own and worship. Everything is great, the songs, the musicianship and the production.