segunda-feira, 23 de setembro de 2024
BEWITCHER - SPELL SHOCK
While instantly recognizable as Bewitcher, three years on from the stellar Cursed Be Thy Name, the vitriolic voice of guitarist M. Von Bewitcher is more up front in the mix, with cleaner enunciation (i.e., one can make out the lyrics, first time through the album). Yes, the band has always had a strong sense of melody that belies the over-the-top approach, but Spell Shock sees some reduction in speed and a greater emphasis on groove. Most of these nine proper songs significantly alter the tempo, at some point therein: fast-to-slow, or vice versa.
Pre-release single/video "Starfire Maelstrom" kicks things off, perhaps the most aggressive number overall, borrowing the Midnight blueprint, but at the halfway point, there's a (temporary) bit of calm, shattered by an M. Von solo and return to the frenetic pace. Speaking of which, follow-up "Lavish Desecration" is destined to stir the mosh pit to action. The title cut offers another back end jam, surrounded by frenzied, hillbilly punk ‘n’ roll. Easy to sing along, mid-tempo, "Out Against The Law" (video features cameos by tourmates, from other bands, shouting the titular chorus) peppers in a few obscenities. At 3:06, it's the shortest number thus far (and second, overall, to the jangly 109 seconds tambourine "Pagan Shadows" intro, that precedes the madcap, disc closing "Ride Of The Iron Fox").
Quite the mouthful, the title "Dystopic Demonolatry", is a full bore, old school Bewitcher number, start to finish. "Season Of Foul Harvest" lets the musicianship shine through the otherwise gritty delivery, complete with backing/gang vocals, come the chorus. Initially, "We Die In Dust" lives in a mid-paced groove, with reverberating/echo vocals, but adds urgency in the final third, before ending as it began. Wind and the clinking of chains greets hopped up "The Harem Conspiracy", another nod to the back catalog.
WINTERSUN - THE TIME PACKAGE
WINTERSUN - THE TIME PACKAGE
Well Jari, you finally did it. Time – what an appropriate name considering fans have been waiting 12 years for Time II to be unleashed upon the world. Of course, it couldn’t be a simple CD/vinyl/digital release – our man Jari concocted an idea to launch an Indiegogo campaign featuring Time II (plus instrumentals, isolated tracks, singles, and dynamic) as well as a host of other music including old demos, Jari’s Fantasy Metal Project (the best part of the package), Time I 2.0 (remixed/remastered, plus instrumentals, isolated tracks, dynamic, and single versions), The Forest Seasons: Loud And Modern (plus instrumentals), and “special secret items.”
It was enough to convince it was worth the investment and the short answer is yes, it was worth it. This however, isn’t something simple to review when taking into consideration Jari’s shenanigans behind-the-scenes and the length of time it took to release 48 minutes of music. Alas, let’s take some...time and dive into The Time Package.
Time II
LEGIONS OF DOOM - THE SKULL 3
This is a bit confusing, but what we have here are songs co-written by doom legend Eric Wagner before he died in 2021 for what would have been the third record by The Skull, who ruled.
Blind-era COC vocalist Karl Agell and ex-Saint Vitus frontman Scott Reagers here take over the mic duties, backed up by drummer Henry Vasquez (Pentagram, Saint Vitus), guitarists Lothar Keller (The Skull) and Scott Little (Leadfoot), and bassist Ron Holzner (Trouble, The Skull). So, new band, Legions Of Doom, but first order of business is paying tribute to Wagner with this material, and even one song (“Heaven”) with Wagner himself singing.
Confused yet? This review is almost over and I'm still wrapping my head around it all, and also coming to terms with this: Wagner's voice was one of a kind, and going in to this with the man on my mind then... not hearing him is disappointing, but these songs are great, “Hallow By All Means” truly a hypnotic and epic closer, and opener “Beyond The Shadow Of Doubt” is heavy, soulful, doomy, southern, memorable... man, it would have soared with Wagner.
AEON GODS FEAT. FORMER AETERNITAS MEMBERS DEBUT "AEON GODS" VISUALIZER VIDEO
AEON GODS FEAT. FORMER AETERNITAS MEMBERS DEBUT "AEON GODS" VISUALIZER VIDEO
September 23, 2024, an hour ago
news heavy metal aeon gods aeternitas
Aeon Gods have released a visualizer video for "Aeon Gods", first single taken from the debut album, King Of Gods, to be released on November 22 via Scarlet Records.
In this epic metal anthem, the Babylonian god Marduk leads his valiant warriors into a fierce battle against the dark mother goddess Tiamat. With thunderous battle chants and heavy guitar riffs, the song proclaims the glory of the Aeon Gods – making it a true outstanding heavy metal hymn. Watch the visualizer below.
After the long-standing symphonic metal unit Aeternitas dissolved, their masterminds Anja and Alex Hunzinger immediately conjured up a new concept and found a different musical home built around a cinematic sound flavoured by elements of power and symphonic metal: Aeon Gods emerged as the modern messengers of the ancient mythological gods, infusing new blood into the epic metal scen
domingo, 15 de setembro de 2024
TODAY IN METAL HISTORY 🤘 SEPTEMBER 15TH, 2024🤘 BRUCE DICKINSON, NIGHT RANGER, PINK FLOYD, KISS, SAVATAGE, MEGADETH
TODAY IN METAL HISTORY 🤘 SEPTEMBER 15TH, 2024🤘 BRUCE DICKINSON, NIGHT RANGER, PINK FLOYD, KISS, SAVATAGE, MEGADETH
September 15, 2024, 8 hours ago
news heavy metal deep purple kiss savatage bruce dickinson megadeth
TALENT WE LOST
R.I.P. John "Johnny Ramone" William Cummings (RAMONES): October 8th, 1948 - September 15th, 2004 (aged 55)
R.I.P. Richard William "Rick" Wright (PINK FLOYD): July 28th, 1943 - September 15th, 2008 (aged 65)
GENE SIMMONS Apologizes To DAVID LEE ROTH - "I Am So Sorry And Ashamed"; Video
Aniversário Jetbet, ganhe seu presenteJetbet365
Jogar
Married… With Children / Sons Of Anarchy Star KATEY SAGAL Reveals On-And-Off Relationship With GENE SIMMONS - “He Was Cute And Had A Lot Of Confidence”
If you own a mouse, you have to play this game.CombatSiege
HEAVY BIRTHDAYS
Happy 72nd
Kelly Keagy (NIGHT RANGER) - September 15th, 1952
Happy 57th
Jerry Dixon (WARRANT) - September 15th, 1967
HEAVY RELEASES
Happy 52nd
GRAND FUNK RAILROAD's Phoenix - September 15th, 1972
Happy 40th
MOTÖRHEAD's No Remorse - September 15th, 1984
Happy 37th
KISS' Crazy Nights - September 15th, 1987
Happy 27th
SAVATAGE's The Wake Of Magellan - September 15th, 1997
Happy 26th
BRUCE DICKINSON’s The Chemical Wedding – September 15th, 1998
Happy 18th
NAPALM DEATH's Smear Campaign - September 15th, 2006
BUCKETHEAD's Crime Slunk Scene - September 15th, 2006
Happy 15th
LIVING COLOUR's The Chair In The Doorway - September 15th, 2009
MEGADETH's Endgame - September 15th, 2009
MELIAH RAGE's Masquerade - September 15th, 2009
ACE FREHLEY’S Anomaly - September 15, 2009
THE BLACK DAHLIA MURDER's Deflorate - September 15th, 2009
DREAM THEATER's Wither EP - September 15th, 2009
DYING FETUS' Descend Into Depravity - September 15th, 2009
EVERY TIME I DIE's New Junk Aesthetic - September 15th, 2009
IT DIES TODAY's Lividity - September 15th, 2009
KITTE's In The Black - September 15th, 2009
MINISTRY's The Last Dubber - September 15th, 2009
PROTEST THE HERO's Gallop Meets The Earth (Live CD/DVD) - September 15th, 2009
SALT THE WOUND's Ares - September 15th, 2009
SHADOWS FALL's Retribution - September 15th, 2009
SKINLAB's The Scars Between Us - September 15th, 2009
Happy 10th
XERATH’s III – September 15th, 2014
Happy 7th
ENSIFERUM’s Two Paths – September 15th, 2017
MYRKUR’s Mareidt – September 15th, 2017
BELPHEGOR’s Totenritual – September 15th, 2017
CALIGULA’S HORSE’s In Contact – September 15th, 2017
THE CONTORTIONIST’s Clairvoyant – September 15th, 2017
CRIPPER’s Follow Me: Kill! – September 15th, 2017
FLESHKILLER’s Awaken – September 15th, 2017
A HILL TO DIE UPON’s Via Artis Via Mortis – September 15th, 2017
NOTHING MORE’s The Stories We Tell Ourselves – September 15th, 2017
PROPHETS OF RAGE’s Prophets Of Rage – September 15th, 2017
SOIL’s Scream: The Essentials – September 15th, 2017
VATTNET’s Vattnet – September 15th, 2017
Happy 1st
Baroness - Stone - September 15th, 2023
Brujeria - Esto Es Brujeria - September 15th, 2023
Corey Taylor - CMF2 - September 15th, 2023
Electric Boys - Grand Explosivos - September 15th, 2023
Gridlink - Coronet Juniper - September 15th, 2023
Mayhem - Daemonic Rites - September 15th, 2023
Molybaron - Something Ominous - September 15th, 2023
Night Verses - Every Sound Has A Color In The Valley Of Night: Part 1 - September 15th, 2023
Otep - The God Slayer - September 15th, 2023
Ronnie Romero - Too Many Lies, Too Many Masters - September 15th, 2023
Shade Empire - Sunholy - September 15th, 2023
Shining - Shining - September 15th, 2023
Tesseract - War Of Being - September 15th, 2023
War Of Ages - Dominion - September 15th, 2023
HEAVY METAL HISTORY: Leviathan – Mastodon
METALLICA had Master Of Puppets in 1986, ENTOMBED had Left Hand Path in 1990 and BRITNEY SPEARS had In the Zone in 2003. Many artists have had their breakthrough from an iconic album and, In 2004, for MASTODON, Leviathan did much the same for their trajectory.
The early-mid 2000’s surged with heavy metal releases. Nu-metal dominated the era, and 2004 saw a particular rise in metalcore. It was a time for angsty, moshing, I-hate-everyone anthems, as LAMB OF GOD dropped Ashes Of The Wake in 2004, and metal favourites SLIPKNOT broke the mainstream with Vol. 3: The Subliminal Verses the same year. MASTODON didn’t fit within this “New Wave of American Heavy Metal” in which they were placed; Trading the easy-on-the-ear melodies and emo underpinnings of bands like SHADOWS FALL and KILLSWITCH ENGAGE for a grittier, more progressive offering.
2002’s Remission was an ambitious debut. Rough around the edges, but packed with fiery passion. The band didn’t hold back on unleashing their unique sound in a time where no metal sounded like theirs. While Remission was by all means a potent start, it missed the spark that ignited in Leviathan and burned throughout later albums. Released on the 31st August 2004 on Relapse Records, Leviathan took off instantly and would elevate MASTODON from an underground metal treasure to one of the biggest names in the scene. From playing clubs and bars the album saw them join the bill on the 2004 Unholy Alliance European tour with SLIPKNOT and SLAYER, plus a place on the second stage at 2005’s Ozzfest. Picking up ‘Album of the Year’ awards from Revolver, Kerrang! and Terrorizer, Leviathan‘s impact would last for years to come.
It’s not difficult to understand why Leviathan had the impact it did. The record is a powerful amalgamation of sludge, prog and heavy metal, loosely based on Herman Melville’s classic novel, Moby Dick. The second album in their four-part elemental theming (Remission (2002): fire; Leviathan (2004): water; Blood Mountain (2006): earth; Crack The Skye (2009): Air), the concept was conjured up by drummer Brann Dailor after reading the novel in 2003. Despite concerns that this could have gone down like a lead balloon, the rest of the band excitedly adopted the novel’s aesthetics. Their lives touring in vans, seeking out their musical obsession, became an analogy to Captain Ahab in search of the white whale – ‘the sea-salt Mastodon’ as it is referred to in the book.
While not a total narration of the novel, its influence and theming is immediately evident from the now-legendary cover of the ferocious white whale destroying a ship. Deliberately placed upon the head of the white whale sits a crown of cobras. In doing this, artist Paul Romano likens the whale to Vishnu, who in Hinduism, “is essentially the creator: He dreams us, and we dream him”. This mystical imagery is continued through the album’s lyrics, and enhanced by the vibrant creativity of the instrumentals. Capturing the intensity of the great voyage, the motion of the rolling waves, the mental state of Captain Ahab, and the mystery of the creatures that lurk in the deep.
If any band wonders how to open an album, they should be directed to Blood And Thunder. Creating the most face melting riff with three chords, Leviathan erupts without warning. From Troy Sanders’ first screech of “I think someone is trying to kill me!” We are teleported into the mind of Captain Ahab and his monomaniac obsession with hunting the white whale, his holy grail. The madness of interwoven riff work, bellowed repetitions and ferocious drumming echo his paranoia and loss of control. Not only did the track move mountains, or oceans in this case, it demonstrated the band’s evolution from 2002’s Remission.
I Am Ahab showcases the band’s mastery of complexity. The track falls nowhere short of the album’s beast of an opener, but it’s more technical, more emotive. I Am Ahab takes a different stance to the intense perspective of Blood And Thunder, detailing the sailors’ attraction to the sea and their decision to hunt the mighty whale:
“There’s magic in the water that attracts all men. Across hills and down streams… Built to slay and conquer. All with teeth of beasts”
In contrast, Seabeast delves into the deeper, heavier side of MASTODON. Initially melodic and slow, it gives you serious whiplash by the monstrous heaviness towards the end. The musical weight of the song is underpinned by an emotional heft, with the lyrics providing an introspective take on life at sea. While the direct references to Moby Dick disappear in the subsequent songs, Iron Tusk and Megalodon, the ocean theme is maintained. Iron Tusk takes a look at the dangerous use of harpoons, while Megalodon lives up to its name as a beast of a track. The latter opens with a swirling melody reflecting the deceptive calmness of the sea. An unexpected country-esque jingle marks a turn in the tide, launching the track into thunderous thrashing riffs with key changes that hit your ears perfectly.
Hearts Alive concludes the story of Moby Dick and, arguably, the album. At almost 14 minutes long, it’s the longest in MASTODON history, and weaves through their full array of sounds. Some fans have criticised the song for being too long or not captivating enough. And while, yes, music is subjective, that opinion is incorrect. Intentionally reminiscent of METALLICA‘s Call Of Ktulu, its opening sets the dark atmosphere for the final struggle against the whale. The shifting pace of the track echoes Ahab’s final moments with his nemesis, which culminates in the masterful repetition of a truly heartfelt riff. It’s hard to see this as anything other than MASTODON‘s masterpiece.
Leviathan is still hailed as one of the best metal albums of the 21st century, and there are few albums which have catapulted a band’s career like this. The influence of this record is not only heard throughout the MASTODON back catalogue, but has worked its way throughout the world of modern metal. Even listening to it now, 20 years on, it hits with a pummelling force which will no doubt sustain its legacy.
Leviathan was originally released on August 31st, 2004 via Relapse Records.
Like MASTODON on Facebook.
sábado, 7 de setembro de 2024
Orange Goblin: Commence Transmission
ORANGE GOBLIN are stalwarts of the British heavy metal scene. Having started out as a stoner rock band with their debut Frequencies From Planet 10, over the next three decades their sound has evolved to incorporate elements of traditional heavy metal, punk, thrash and blues. Their tenth album, Science, Not Fiction, is set for release in July on Peaceville Records nearly 30 years into the band’s career.
“Next year will be our 30 year anniversary,” says Ben Ward, the band’s giant of a frontman. “It’s over half of my life. Sometimes it feels like a prison sentence but it’s been a fun, enjoyable ride. When we started out we were bored teenagers that just wanted to make music and we had no preconceptions of where it was gonna go. We’d have been chuffed with doing a three track demo and some shows in the local pubs. But it kind of snowballed from there.”
When the band formed in the late 90s it was in the midst of a stoner rock explosion in the UK. Alongside ORANGE GOBLIN, there was a thriving scene developing with bands such as ELECTRIC WIZARD, CATHEDRAL and ACRIMONY, while American bands like KYUSS, FU MANCHU, and MONSTER MAGNET, were making trips over the pond. “We were the go-to support to play those shows, which really helped escalate our profile,” reflects Ben. “Then signing to Lee Dorian’s [CATHEDRAL, ex-NAPALM DEATH] label in 1995 and releasing our first album cemented our position within that scene. It’s been an amazing journey since then.”
Ben and his bandmates cut their teeth in an age before social media, where building your following was all about going out, playing shows, sleeping on the equipment in the back of a clapped out van, recording demos and trading tapes, and getting their name out via fanzines. They’ve stuck to this DIY ethos throughout their career, which Ben believes is firmly rooted in the heavy metal lifestyle, and it’s clear from their lyrics and live shows that ORANGE GOBLIN are lifers.
“Heavy metal isn’t something you just dip your toe into. It’s a lifestyle,” says Ben. “As a kid I went through different phases at school where I was into stuff like THE BEATLES and THE KINKS because my dad was into that and my mum was into Motown and soul and I still love all that stuff but it was only when I discovered hard rock and heavy metal that I found my calling. As you get involved in it you notice that camaraderie within the scene. We’re all deemed as freaks and weirdos by what people would call normal society and I loved that and bought into that whole thing. For anyone who plays our style of music it’s what fuels us and drives our ambition.”
Booze has always been a big part of Ben’s life, having grown up in a pub. During his career as musician he admits to using heavy metal as an excuse to indulge and in doing so developed a reputation of one of the scene’s most hedonistic wildmen. But, as he says, it got to a point where he had to make a change. “I was going through bouts of depression and my weight ballooned and I wasn’t a nice person to be around. I made the call to change once and for all. I didn’t go to any counselling or anything I just had the willpower and decided enough was enough. I’ve got a son, a wife and my bandmates and my behaviour was detrimental to all of that. My only regret is not doing it sooner. I used to think that I needed a drink to go on stage but I realised there’s a natural adrenaline that I get now which is far better than any drink or drug.”
It’s certainly a change for the better. There is a newfound clarity in Ben’s performance, not just in his forceful, preacher-like delivery which he says is inspired in part by CLUTCH’s Neil Fallon, but also in the lyrics. It’s a much more personal album than previous offerings.
“This album is more personal to me because of those lifestyle changes that I’ve gone through and it’s opened my eyes to what’s going on in the world around me. In the past I used to bury myself in the idea of fantasy, which is something I love about heavy metal and is one of the things that drew me to it in the first place, DIO singing about wizards and dragons but I wanted to do something a bit different for ORANGE GOBLIN. There’s commentary on social events that have gone on in the last few years. That’s where the album’s title Science Not Fiction comes from.”
Perhaps the most explicit example of social commentary on the album is on the track False Hope Diet, in which he deals with issues such as the COVID pandemic, vaccines and even chemtrails. These are potentially contentious issues but Ben isn’t worried about facing backlash because of them. “No because I think those issues need facing. What I’ve come to realise is that I’m not the best singer in the world, I’m not Bruce Dickinson, but what I am good at is not giving a fuck about what people think of me or what they say about me. These things are just my observations, they don’t necessarily mean that they’re the thoughts of the whole band, it’s just me pouring my thoughts onto a song. False Hope Diet is me saying we’re fucking sick of the lies that we’re getting fed on a daily basis by the television, the newspapers, the government. It’s bullshit and there’s only so much we can take.”
Fittingly, with it being the band’s tenth album, the alien world depicted on the cover is a subtle nod to their debut, Frequencies From Planet 10. They bring thing’s full circle with the barnstorming closer, which serves as a reflection of the band’s career to date and hints that this could be the end for ORANGE GOBLIN. “The last song on the album is called End Of Transmission because that first album was our first signal to the world and the end of this one could possibly be our last thing we ever do. Whether it is or not is to be seen. I certainly hope it’s not.”
Science, Not Fiction is out now via Peaceville Records.
Like ORANGE GOBLIN on Facebook.
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