Posts Tagged “Metal Music”

General Music News: QOTSA man soon to finish new EODM album.

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Norwegian folk metal act Trollfest a music video for the new track “Kaptein Kaos,” the title track of the upcoming new release. The album iis set to drop on March 28th (EU) via NoiseArt Records and April 8th (North America) via Napalm Records. The track list for “Kaptein Kaos” is: 1.

The post New Music Video For “Kaptein Kaos” Released By Trollfest appeared first on Daily Heavy Metal News.

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Music journalist and band manager Jill Hughes Kirtland has self-published a book entitled ‘Not Just Tits In A Corset: Celebrating Women In Metal’.

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As the metal market slowly changes its tone, Victory Records takes a bold step out of their norm by signing Montreal black metal horde, ERIMHA. In three quick years, ERIMHA has built and rebuilt itself from a five-piece to a newly-shuffled foursome. Their second album “Reign Through Immortality” will be an instant grab for those who’ve sat impatiently waiting for the next DIMMU BORGIR album.

Employing a theatrical style of black metal, ERIMHA is a steamrolling embodiment of DIMMU BORGIR, EMPEROR, DARK FUNERAL, MELECHESH and NILE. With choral fugue supplementation, swarming orchestral samples and funeral chimes galore, ERIMHA (a Sumerian term for army or legion) rips all available airspace asunder on “Reign Through Immortality”.

If you’re familiar with all of the aforementioned associations, then you know what you’re getting with ERIMHA. Black metal has reached a maturation phase where it’s been spread into three sanctions: the stylish-expressive (WOLVES IN THE THRONE ROOM and AGALLOCH), the soul-charred purists (GORGOROTH, LEVIATHAN and MARDUK) and the would-be cinematic, the latter of which to ERIMHA subscribes.

It’s not so much actual Satanism that charges up “Reign Through Immortality”, but it is one of the most evil tones to nudge its way through a portal to the metal mainstream offered by Victory Records. ERIMHA is best savored while reading “Red Sonja”, “Conan” or “Warlord of Mars”, as the synthesized scoring behind ERIMHA‘s punishing aggression sets a nuance of gory hand-to-hand combat. The opening instrumental “Enlightenment” and a second one “Saunter to Extinction” capture a cinematic sense of bloody anticipation, with the promise of pure mayhem at the fore of ERIMHA‘s punctuated battle lines.

While ERIMHA are essential students of their dark tutelage, consider them apt pupils. “Reign Through Tomorrow” is nothing you haven’t already heard within this extension of arcane metal music, but it is hammered down with undeniable exactitude. The grisly speed of Ksoas‘ bludgeoning double kicks, rolling toms and grind patterns is seldom called back from ERHIMA‘s methods of fierce velocity. Guitarists Kthien and Diusternas, along with session bassist Leather King, interpret the winds of chaos with diligence and cadence, even if they get drowned in the mix sometimes behind the drum tracks, the orchestration modes and Gore‘s venomous wails.

There are only traces of songwriting variation between “Ascetic”, “Condemned to Desolation” and “Metaphysic Countenance”, while ERIMHA mixes up their primary schemes later on “Verdict of the Soul” and “Cataclysmic Tides”. The two-act finale “Metemphychosis” serves as a ten minute closing thesis statement to everything these well-versed understudies have outlined throughout the album. The final section, decorated by dancing synth lines and then soaring clean vocals, are inspired touches. Unfortunately, by this time, only true fans of this stuff will continue to be dialed in, while others may have grown tired of the repetitious rising and falling dirge crescendos that are milked way hard.

The biggest compliment to be paid to ERIMHA is they have their craft down as reputably as you’d want it if you’re a fan of this style of metal music. For awhile, “Reign Through Immortality”‘s effects are rousing, voluminous and superbly-polished. After the reintroduction of death bells on multiple songs, plus recurring chord progressions and blast beat sequences spread throughout the album, ERIMHA‘s exhaustive measures leave a wrung-out feeling. Not to downplay what ERIMHA (an admirably skilled band) does, but there’s always the pleasurable notion of keeping this album going while Sonja stalks and ultimately beheads Thulsa Doom. It seems like a marriage made in some unholy alter-reality.

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Illinois hardcore troopers SWORN IN have amassed a quick following in the two-plus years they’ve stormed the scene. Following their “Start/End” EP comes the band’s full-length debut, “The Death Card”. Brash, heated and ultimately toxic, “The Death Card” is chocked full of a fracas-minded denunciation of the world to the point of sheer nihilism. To borrow one of “The Death Card”‘s song titles, it is one dead soul of an album yielding a mixture of lumbering and reckless blitz patterns designed with the obvious intent of wringing out every ounce of hatred harboring within this group. Blaring vocalist Tyler Dennan steps up to the noose more than a few times and he defies an obscure hangman to pull the lever. Therein lies the spit-laden challenge issued by Dennan and company, to endure a constant fever pitch of brackish, modern-flavored hardcore with no empathy for anyone, save for maybe the disenfranchised.

It’s not caveat enough. The recurring pessimistic lyrical themes makes “The Death Card” a downright pill if you’re looking to draw some energy from SWORN IN‘s constant fusillades of crush, dirty riff masses and deafening static. Condemnation, self-flagellation and a blatant mistrust of mankind and religion are hardly new prompts to hardcore and metal music. Yet the constant barrage of negativity on “The Death Card” becomes all-consuming you’ll have to be of like mind to catch a genuine kick from it. Only MARDUK and GORGOROTH can outmatch SWORN IN‘s fuck-everything-and-let-the-world-burn ethos.

While wrangling numerous metalcore modes into “The Death Card”, there is and isn’t an element of predictability about the album. Much of the album engineers a way-too-familiar breakdown-plundered approach as well as screeching guitar slashes in the vein of THE CHARIOT and early NORMA JEAN. Yet there’s a pervading spitefulness to SWORN IN that counters the latter bands’ Christian undercurrents. There’s nothing remotely Christian about “Hypocrisy”, “Mindless”, “Snake Eyes”, “Bitter Blood” and “Death”.

Despite a hopping drum lead on “Death”, the track immediately submerges itself in audile tar, then gradually climbs out of the muck with gradually accelerating shake-offs and yelping rants about an imminent Hell on Earth. For a moment on “Mindless”, there’s the risky emocore maneuver of stacking a swooning clean vocal track upon the choruses, but the song is still so nasty at-heart you can forget SWORN IN playing nice in any sense of the word. The rest of “Mindless” wears and minces along it’s all a big sucker-punch that rolls into the brisker opening bars of “Dead Soul”. The up-tempo choruses of “A Song for the Nameless” is about as cheerful as this album gets, and even those are screamed at sphincter’s strain.

Fortunately, “The Death Card”, for all of its interminable self-loathing, is a quicker ride than meets the eye. It’s butt-ugly, occasionally intriguing from a songwriting standpoint (the slithering instrumental “Senseless” is one of the album’s coolest breaks from the overt carnage) and it’s guaranteed to be a hot seller amongst the alienated youth demographic. Every earsplitting fret scrape from Eugene Kamlyuk and Zakary Gibson is going to sound like a transitional fist pump. Their chewy opening solo to “Snake Eyes” is going to hype up SWORN IN‘s fans as much as Tyler Dennen‘s vociferous contentions and subjective chastisement.

More than a few people out there can relate to the miasma of revulsion SWORN IN gorges into their hapless sound space. Woe be to the entire lot, but at least “The Death Card” gives them a grating soundboard with which to purge themselves.

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Swedish thrashers DARKANE has joined forces with Helsingborgs Brewery to create Darkale. The band says: “You guessed it, we’re talking beer. Ale to be specific. This delightful ale will unfortunately only be available in Sweden.”

This fall, Helsingborgs Brewery will step over to the dark side to give you a delicious hybrid of thrash metal and Skåne ölkunnande. The result is a tough and complex ale, equally inspired by fair means commodities of ferocious double pedals and heavy riffs. Meet Darkale, a proud partnership with Helsingborg, Sweden-based band DARKANE. You get a dark and tasty brew with unexpected nuances and many levels.

Helsingborgs Brewery describes Darkale as a “dark mahogany red-brown ale with a light foam. The taste is a bit malty with some burnt notes and caramel fudge. Easy hopped with fruity and some ortiga tones. Easy to drink for its variety and is perfect for your favorite metal music and some snacks. ”

Says DARKANE: “We are extremely proud of this collaboration.

“We started actually recording our latest album, ‘The Sinister Supremacy’, which came out last summer, with a beer tasting at Helsingborgs Brewery and already there were sown enough seeds of this amazing collaboration. We hope all the avid beer drinking headbangers around the country will like this ale as much as we do.”

Darkale will be on sale at Systembolaget in the Helsingborg vicinity and in the rest of the Sweden through Systembolaget‘s ordering catalog from the middle of October and for a limited period.


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“Feast”, the 14th studio album from Canadian thrash metal veterans ANNIHILATOR, sold around 800 copies in the United States in its first week of release.

ANNIHILATOR filmed a video for the song “No Way Out” last month in Hannover, Germany. The clip is expected to make its online debut soon.

Jeff Waters and his bandmates tear through each release with honest, raw power and energy, along with excellent technical skill, giving the metal world the most-tasteful mixtures of huge, metal riffs with the idea of the perfect song and some legendary solo shredding as the icing on the cake. That’s why Jeff and ANNIHILATOR have been a major influence on countless well-known metal acts and musicians around the world. Tours with everyone from JUDAS PRIEST to PANTERA to TRIVIUM, plus dozens of headlining tours and festivals around the world, have been going on steady since 1989 for this band; no rest as the demand for this band never ends.

ANNIHILATOR has been touted as one of the best live acts in metal music. High-end musicianship, tight playing and massive energy and fun are what these lads are known for. Their music? Honest, melodic thrash and heavy metal, combined with traces of blues, classical and jazz. Hell, there is even some death and punk in there, too.

Says Waters: “We truly are among the few bands with a long history that have always waved the flag for honesty, integrity and perseverance in this hard-edged category of music.”

“Feast” track listing

01. Deadlock
02. No Way Out
03. Smear Campaign
04. No Surrender
05. Wrapped
06. Perfect Angel Eyes
07. Demon Code
08. Fight The World
09. One Falls, Two Rise

Bonus disc: “Re-Kill” (best of ANNIHILATOR, re-recorded in 2012)

01. Fun Palace
02. Alison Hell
03. King Of The Kill
04. Never, Neverland
05. Set The World On Fire
06. Welcome To Your Death W.T.Y.D.
07. Nozone
08. Bloodbath
09. 21
10. Stonewall
11. Ultra Motion
12. Time Bomb
13. Refresh The Demon
14. Word Salad
15. Brain Dance

“Feast” will be made available in the following formats:

* Limited-edition eco-book + bonus disc “Re-Kill” (best of ANNIHILATOR, re-recorded in 2012)
* CD jewel case
* LP gatefold
* Digital download
* D2C fan-package

ANNIHILATOR touring lineup:

Jeff Waters – Guitar, Vocals
Dave Padden – Lead Vocals
Mike Harshaw – Drums
Alberto Campuzano – Bass

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Behemoth Bike, a custom motorcycle created by Polish company Game Over Cycles (GOC) won 2 awards at the European Bike Week (EBW), one of the biggest motorcycle rallies in the world held annually in Austria. In a Custom Bike Show contest organized at EBW 2013 by Harley-Davidson brand, the diabolical machine from Poland took second place in the “Radical” category and won the prestigious audience award — “People’s Choice Award”.

Behemoth Bike is custom motorcycle inspired by and created in collaboration with by the global Polish icon of metal music BEHEMOTH and particularly the band’s leader, Adam “Nergal” Darski.

European Bike Week is one the biggest motorcycle rallies in the world (110,000 participants in 2012).

Game Over Cycles is a Polish custom bikes manufacturer, which started its activity in 2012.

At last year’s edition of the European Bike Week, Game Over Cycles‘ chopper was also awarded with “People’s Choice Award”.

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Look, we know that when it comes to gnarly, crust-tinged, heavy-as-fuck hardcore music we’re all a bit spoiled right now. From the scorching mayhem of Trap Them to the thrashy leanings of Enabler all the way through to the catchy punk ‘n’ roll of Kvelertak, there are few subgenres in as rude health in 2013, which is why we’re really not taking it lightly when we suggest that Palm might be the very best of the lot of them.

Formed 13 years ago in Osaka, Japan and weaned on a diet of Slayer, Converge, Entombed, Sepultura and Neurosis, the four-piece have only made it to our shores once so far – way back in 2010 on an extremely well-received if rather brief tour – but with fellow Osaka natives Crossfaith currently blowing up all over the place due to their similarly crushing live shows, more and more Japanese metal bands are beginning to get some deserved attention – and Palm easily sit at the top of the pile.

“Palm was formed just to play heavy and hardcore music,” states frontman Toshihiko Takahashi plainly. “There are good metal bands [inOsakaandJapanin general], but honestly, there’s not a very good scene going on. But, with Crossfaith’s exposure, the new generation are becoming active and I hope that Japanese hardcore and metal music will get more exposure to the world!”

On why Japanese metal has struggled to gain international recognition on a large scale until relatively recently, Toshihiko is certainly in no doubt that it’s not for a lack of trying. “We want to,” he muses, “but a lot just don’t know how, and there’s also the language barrier and lack of connections. I know that we all aim to get out there.”

Judging by last year’s incredible Our Darkest Friends album, which boasts artwork by Converge legend Jacob Bannon, Palm are certainly ready to stake their claim as leaders of the Japanese underground, and their live shows – “impulsive, hard and no-bullshit. Pure live energy” – aren’t to be messed with either. Just get your asses back over to theUKsoon, alright, lads?

“Last time we came, we were able to experience great towns, the people were great and we had a great time,” enthuses the singer. “We always want to come back so we ask all of you to spread our name and bring us back!”

You heard the man. The campaign starts now.

My Darkest Friends is out now. Order it from

Interview by Merl

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Jay Nanda of the San Antonio Metal Music Examiner recently conducted an interview with FOZZY singer and WWE wrestling superstar Chris Jericho. A couple of excerpts from the chat follow below.

San Antonio Metal Music Examiner: You don’t hear of many tour pairings having a classic/current feel like this one does. What are you looking forward to the most about touring with SAXON?

Chris: I think that’s one of the reasons why we like it. It’s one of the reasons why SAXON liked it. It isn’t just your typical, “OK, it’s SAXON, let’s stick ’em with ANVIL or something like that.” I think one of the reasons why you do a big tour like this is to gain new fans. We toured last summer with SHINEDOWN and GODSMACK throughout the States. And now this summer we’re doing it with SAXON. So I think one of the most important things for our band that’s been able to see us grow so much over the last few years is the diversity of what we do and the diversity of who we play with. We always knew we could play with anybody from SHINEDOWN to SLAYER, and we believe that because our music appeals to a lot of different people. So getting back to what you’re saying and how the idea for SAXON came up, obviously we’re huge SAXON fans. Very legendary band, very influential. But the thing that really appealed to me is the fact their last couple of records, more specifically their last record, “Sacrifice”, is one of the best records they’ve ever done. They’re still putting out great material even at this stage of the game. And they’re really a breathing, vibrant rock ‘n’ roll band, which I thought was really, really important. They’re not just phoning it in. They’re still out there to kick ass. And also too, they’ve got something good in the States. They’re still headlining major festivals in Europe and in the U.K., but they haven’t toured the States for awhile. And this is kind of a big return. There’s going to be a lot of SAXON fans that don’t know FOZZY or FOZZY fans that don’t know SAXON. But at the end of the night, those people are going to leave being fans of both bands, and that’s why you do something like this.

San Antonio Metal Music Examiner: “Chasing The Grail” is a great, heavy record virtually throughout the whole album. “Sin And Bones” obviously has its heavy moments as well, but it’s also a more diverse record. Would you agree with that?

Chris: Yeah, we got a lot of momentum from “Chasing The Grail”. A lot of new ears were listening, a lot of new eyes were upon us. And we knew we had the chance to go to the next level with “Sin And Bones”, especially since we had just signed to Century Media, which is the biggest record label we’ve ever been on. So I knew that we could hit a home run with the record and take it to the next level. So Rich [Ward, guitar] and I worked really hard to kind of figure out what it is that we do best, which is very heavy riffs and very melodic choruses. I always say if METALLICA and JOURNEY had a bastard child, it would sound like FOZZY. That was one of the things we do that a lot of other bands don’t do. We use a lot of singing in our songs. We love METALLICA, we love AVENGED SEVENFOLD, but we also love JOURNEY and STYX and FOREIGNER — those bands from the ’70s where everyone in the band sang. And we kind of wanted to utilize that trick in FOZZY. We started doing that when we were working on “Sin And Bones”. It really kind of showed us this is what we need to be, this is who we are. And it is a little bit more diverse, but it still fits that heavy/melodic vibe. It’s our biggest-selling record of all-time, it’s our highest-charting record, most critically acclaimed. It’s far and above and beyond what we were hoping for. It looks like our plan paid off. And I think in the future, it’s going to be kind of what we’ll stick with.

San Antonio Metal Music Examiner: You’ve hosted the [Revolver] Golden Gods Awards several times, and obviously you’re tailor-made for that. This past May, how difficult was it to keep the humor and things going given that Jeff Hanneman [SLAYER] died that day?

Chris: Well actually, it’s obviously a terrible day, but it was probably in retrospect the best day that could’ve happened. Because you had all of his friends gathered together, and instead of a real despondent, horrible time, it was almost like a real big celebration for Jeff. It was a real coincidental thing but in a positive way. If there’s anything positive about that, from him passing away is that, you know, you’d (otherwise) have some guys over here, some guys over there, some guys over here — (but) everybody was there. You had people from the “Big Four” [METALLICA, SLAYER, MEGADETH and ANTHRAX] gathered together that day. And it was a really cool experience because everyone was there to celebrate Jeff‘s life. Some of his closest friends, guys that he influenced the most and then of course 2,000 of his biggest fans that were in the crowd. It actually ended up being kind of a big, giant wake, and it was actually a positive experience in the middle of a horrible situation.

Read the entire interview at San Antonio Metal Music Examiner.

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