Posts Tagged “Aggression”

German black metallers ENDSTILLE will release their eighth full-length album, “Kapitulation 2013”, on November 8 in Europe and November 12 in North America via Season Of Mist.

“Kapitulation 2013” track listing:

01. Aborted
02. The Refined Nation
03. Reich An Jugend
04. Sick Heil
05. Blasphemer (SODOM cover)
06. Monotonus 2013
07. Nostalgia
08. Stalin Note
09. KDF 511
10. Endstille (Abschied)

The song “The Refined Nation” can be streamed below.

With its eighth full-frontal assault, “Kapitulation 2013”, ENDSTILLE is armed and dangerous again. There is true grit and dirt in the nine original tracks as well as in the cover version of the SODOM classic “Blasphemer”, featuring a guest appearance by ex-SODOM guitarist Grave Violator on guitar.

“Kapitulation 2013” has everything you expect from German black metal and more: furious droning of deliberately monotonous guitars, relentless punishing from the rhythm section and undiluted vocal aggression from the raw throat of frontman Zingultus – formerly of legendary NAGELFAR. Now ENDSTILLE is once more ready to take on the world with “Kapitulation 2013”, combining its strongest aspects on one album.

ENDSTILLE‘s seventh CD, “Infektion 1813”, came out in May 2011 through Season Of Mist.

ENDSTILLE in 2009 announced the addition of vocalist Zingultus to the group’s ranks.

The group’s sixth LP, entitled “Verfhrer”, was released in April 2009 via Regain Records.


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Carcass: legends return

Two big albums from very different ends of the metal spectrum this week – but both are deserving of your attention.

First up comes the much-anticipated new album from British death metal royalty, Carcass! The band’s first album of new material for 17 years (yes, it’s really been that long), Surgical Steel is a stunning, muscular display of fret-tearing musicianship, relentless death metal aggression and irrepressible heavy metal melody. It’s a definite shout for the best extreme metal album of the year, and it underlines exactly why we’ve missed them. Get it now on Nuclear Blast and don’t forget to catch the guys on Defenders of the Faith in November!

Also released this week is the fifth album from Ohio metalcore heavyweights, The Devil Wears Prada. Definitely a band that have got better and better with age, TDWP continue their rich run of form with 8:18; another collection of modern metal anthems destined to have people flipping inanimate objects and pitting their way over barriers across the globe. It’s really bloody good, it’s out now via Roadrunner, and you can also read more about it in our brand new issue! How’s that for a cheap plug?!

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After 11 years as a member of CRADLE TO GRAVE, founding lead vocalist Greg Cavanagh (ex-BOTTOM FEEDER, FALLEN DECADE) has left the southern rock-influenced Canadian metal band. The split was amicable and Cavanagh will focus on other endeavors.

CRADLE TO GRAVE didn’t have to look very far to find a replacement; Brian “Messiah” Langley (ex-INFERNAL MAJESTY, TYRANTS BLOOD, AGGRESSION), who is the band’s second guitarist, will take over vocal duties.

CRADLE TO GRAVE will release two separate EPs on October 19: a physical one that is entitled “Dust” and one that will be available on iTunes via Year Of The Sun Records entitled “Ice”. Both EPs will feature the newest single “Ice”. “Dust” will include CRADLE TO GRAVE renditions of AEROSMITH‘s “Last Child”, NAZARETH‘s “Miss Misery” featuring Devin Townsend on vocals, and “Sufrira”, a previously unreleased CRADLE TO GRAVE track from 2006. “Ice” will feature the previously unreleased songs “Old Nick’s Blues”, “Within Forever” and “The End Of My Life”.

CRADLE TO GRAVE will perform at Funky’s Thrasherbalt in Vancouver, Brtiish Columbia on October 19 to introduce the new EPs.

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Fan-filmed video footage of GOJIRA‘s August 31 performance at A38 in Budapest, Hungary can be seen below.

GOJIRA‘s fifth album, “L’Enfant Sauvage”, sold almost 11,000 copies in the United States in its first week of release to debut at position No. 34 on The Billboard 200 chart. The band’s previous CD, “The Way Of All Flesh”, opened with 4,200 units back in 2008 to land at No. 138.

“L’Enfant Sauvage” entered the official chart in France at position No. 7 (No. 17 on the digital chart).

“L’Enfant Sauvage” (which translates to “The Wild Child”) features 11 tracks of mind-bending, thunderous metal. The CD was recorded at Spin Recording Studios in Long Island City, New York with co-producer Josh Wilbur (LAMB OF GOD).

In a March 2013 interview with Loudwire, GOJIRA guitarist/vocalist Joseph Duplantier stated about “L’Enfant Sauvage”‘s success: “We just give our best all the time to be available for our music and I don’t even know where it comes from. I guess the music is good and people dig it — there’s a balance in the music, there’s not too much aggression so if you’re a metal fan, you’ll get your fix, but still you will have some other moments and a door open for more people to appreciate our music.”

He continued: “When I listen to my record, I’m like, ‘Fuck, this should be better, this should be like this or that,’ and then I see all these good comments about the album and I’m just, like, ‘Wow, this is awesome.’ But I have no idea what [fans] experience when they listen to the record. We’re too close to the damn thing.”


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John Parks of Legendary Rock Interviews recently conducted an interview with vocalist Biff Byford of British heavy metal veterans SAXON. A couple of excerpts from the chat follow below.

Legendary Rock Interviews: You have been on a real creative tear lately, with the last couple albums being some of the best-reviewed and -received work you’ve ever done. Is it at all possible that some of that court battle over the band name somehow reinvigorated you or added something, passion-wise or aggression-wise, to your approach these days?

Biff: Ummmm…. I suppose maybe it did before. I suppose we wanted to unleash the beast and be sure that the last album was great and all that. I suppose it does push you a little bit further, but not really now at this point. We just like writing albums and we wanna keep making albums that people like. Our style of music is pretty unique to SAXON; we don’t really sound like anyone else.

Legendary Rock Interviews: “Call To Arms” was a really nice return to form and really rallied the fanbase, including here in the States. Was it hard to set out to top that with “Sacrifice”?

Biff: Yeah, it was actually. “Call To Arms” was a great album, a great collection of songs, but I wanted to come at “Sacrifice” from a little bit of a different angle. I wanted it to be a little heavier and more from the heart rather than the head, so, yeah, it was a task but there’s certainly a lot of passion in these songs. I worked quite hard with our guitarist on the choruses and melodies and the twin-guitar parts. I think because I was producing the album, I was in a little bit more control and felt I could take the band into more of a live direction. We really worked on the songs in terms of how they sound when we’re playing as opposed to just working on them to make them sound good in the studio.

Legendary Rock Interviews: I think you are almost a little unassuming or humble. Lots of bands put out albums as an excuse to tour or fulfill a contract but this is just a complete album of great, no-bullshit songs. Was there anything left on the table other than what made it to the bonus tracks and special editions?

Biff: Yeah, there are a few things that are on my home studio, some songs we didn’t use that might surface on the next album, but nothing really complete or finished in any way. Mostly a lot of ideas, you know. It didn’t take too much time to find the ten songs which made the record. The guys were jamming around and I was playing bass on a few of the sessions and I waited a little to do the melodies and lyrics; I just had some basic ideas about the songtitles. When we’d go to rehearse, I would really work hard with the guys to come up with melodic choruses, which is really what “Sacrifice” is: a lot of heavy riffs with very melodic choruses. That’s really a trademark SAXON thing.

Legendary Rock Interviews: Was it a challenge to work on these re-recordings for the bonus tracks? “Crusader” and “Just Let Me Rock” are pretty well-known songs, but I think this version of “Just Let Me Rock” is much better than the original.

Biff: Yeah. The original version of “Just Let Me Rock” was during a really weird time for the band really. The whole MTV era changed everything, and I think things were a bit lighter then, but the new version proves it’s still a cool song. The lyrics are great and it’s about our old manager ripping us off, so I think it deserves the heavier treatment. [laughs] The original sounded like some kind of groovy rock song and this is much more to the point. The orchestration on “Crusader” is pretty interesting. I think we may do that with “Dallas 1pm” as well.

Read the entire interview at Legendary Rock Interviews.

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Lamb Of God: overcoming the odds?

Sometimes it is almost impossible to live up to the hype and expectation that surrounds certain gigs and tonight, unfortunately, Lamb Of God have the fates conspire against them, making their headline slot very much a case of “what if?”.

It certainly starts well enough, the anticipation of the band’s return to the UK after the trauma of the last year is sky high. When, through the lights and dry ice, steps Randy Blythe, the reaction from those in attendance is one of universal elation. Even the people here who aren’t familiar with the band’s material, and strangely enough there is a large proportion of curious bystanders present tonight, seem to have nothing but genuine goodwill for the man. As the opening to Desolation starts the set it seems that the band are keen to match the adulation with pure aggression and intensity. Unfortunately the sound doesn’t do LOG justice; the guitars are muddy, the vocals overpowering and it’s just plain too quiet.

It then goes from mildly annoying to potentially gig threatening as the front barriers collapse, ironically enough during Ruin. There is a monumental gap whilst the problem is sorted and unfortunately when the song restarts it has robbed the band of any momentum, the crowd have mellowed and, most surprisingly of all, Lamb Of God seem uncharacteristically sloppy.

It takes a good portion of the set before their game is raised back to anything near the level that you would expect from such an exceptional band, and, to be fair to them, when they sign off with Laid To Rest, Redneck and a brutal, scorching Black Label not many bands could touch them. Ultimately though, this is not the iconic moment that it promised to be. To coin a popular ad campaign; tonight, through no fault of their own, it’s good, but it’s not quite Lamb Of God.


Ghost Walking
Walk with Me in Hell
Set to Fail
Now You’ve Got Something to Die For
11th Hour
The Undertow
The Passing
In Your Words
Laid to Rest
Black Label

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Italy’s Exhumer (not to be confused with German band Exumer), will soon be releasing a new album. Comatose Music comments on the coming release: “Ruthless and calculating, Italian death metal sickos Exhumer release their first album since 2008 entitled ‘Degraded by Sepsis.’ “This new release displays rabid skills of technical brutality, inhuman speed and supreme aggression while leaving a trail of bloodsoaked anguish in the unavoidable aftermath

The post Exhumer Announces New Album “Degraded By Sepsis” appeared first on Daily Heavy Metal News.

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Lords Of Metal recently conducted an interview with vocalist Johan Hegg of Swedish death metallers AMON AMARTH.

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Dark Sermon: Crushing

When it comes to making fans of heavy shit prick up their ears, there are three ingredients a band needs at least one of: be fun, be convincingly pissed off, and write good, memorable songs. If you’ve got one, you may be on to something. If you have two, you’re in business. And, if you’ve got all three, you’ll make people sit up and pay attention fast. Hailing from death metal capital Tampa, Florida, Dark Sermon manage all three spectacularly.

Sounding something like a royally riled up version of The Black Dahlia Murder with added modern technicality a la Job For A Cowboy, the newcomers have just released debut album In Tongues, and it’s a vicious arsehole of an album in the best possible way. So much so that you wonder where the hell do they get all that aggression from.

“I’m pissed at myself for thinking the way I do,” explains frontman Johnny Crowder. “A majority of my lyrics are introspective. I talk a lot about what’s wrong with me, and with my brain. I am just naturally a very spiteful and pessimistic person. I find countless faults in the society we call our own; the way humans treat each other and the earth they inhabit. We are a disgusting race, and sadly enough, I’m a part of it.”

While there is no doubting their vicious musical quality, don’t let the above attitude lead you into thinking this band are unrelenting, misanthropic brutality. They are destructive, yes, but there’s a melodic core to their wrath that makes them far better at hooking you in than the Immolations of the world. Apparently, that nearly wasn’t the case, however.

“The guys were really into bands like As I Lay Dying and August Burns Red,” Johnny tells Hammer. “I was more into hardcore and punk, but also awkwardly into brutal death and slam. I was convinced we would be some sort of Trash Talk/Devourment hybrid. Thank God that never came to fruition!”

The balance between melody and viciousness is a difficult one to find, the risk being that one will either water down or overpower the other. But In Tongues manages to weld the two expertly – particularly impressive for a debut – and the result are pit-losing-its-marbles moments aplenty. So it makes sense they seem keen to make an impression when you see them live.

“We put a lot of work into our live performance,” emphasises Johnny. “I think that our live show, beyond recordings or merch or tours or management or any of that stuff, is what makes us truly stand out. We give 150% or we don’t play. And we always play.”

In Tongues is out now via Nuclear Blast

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Arutz Sheva conducted an interview with SLAYER drummer Dave Lombardo prior to his May 1 drum clinic at the Barby Club in Tel Aviv, Israel.

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