Monday, February 17, 2020

Full Length Review: KUROI JUKAI "Kuroi Jikai" (Sentient Ruin Laboratories) by Devin Joseph Meaney

Band: Kuroi Jukai
Location: Edmonton, Alberta
Country: Canada
Genre: Powerviolence/noisegrind
Full Length: Kuroi Jukai
Format: Limited edition vinyl 7”, streaming
Label: Sentient Ruin Laboratories (USA)
Originally released on cassette in 2015 by Aught\Void
Release date: February 21, 2020
A short while ago, Dave Wolff sent me a Soundcloud link for “Sentient Ruin”. I have not used Soundcloud for anything in a long time, so this alone makes the review suggestion a bit unique in comparison to my usual Youtube or Bandcamp binges.
With short powerviolence blasts paired with experimental style noise oriented goodness, these tracks knocked me back in my chair while I had this release pulsing through my speakers.
The best way for me to describe the sounds held within would be if a dial-up modem, a radio improperly adjusted to a station and a powerviolence band had a ménage à trois, the resulting baby would be the best representation of Kuroi Jukai.
Heavy, unique, and packed with talent, I'm sure many fans have been born surrounding this release. It took me a while to listen to this fully when it was originally sent to me, but damn... this is pretty good!
I encourage everyone who reads this to give this band a listen. I dare say that you might not regret it (or maybe you will). Also, I get the feeling that I should check out Soundcloud more often because there seems to be a sea of great stuff on here. Maybe you should do the same? -Devin Joseph Meaney

Track list:
1. I
2. II
3. III
4. IV
5. V
6. VI
7. VII
8. VIII
9. IX
10. X
11. XI
12. XII
13. XIII


Sunday, February 16, 2020

Full Length Review: THE FRAOCH COLLECTIVE "Eyes" (Independent) by Dave Wolff

Band: The Fraoch Collective
Location: Long Island, New York
Country: USA
Genre: Alternative rock
Full Length: Eyes
Format: Digital
Label: Independent
Release date: February 29, 2020
What more can I say about The Fraoch Collective that I haven’t already indicated in my past reviews? I’ve said much to the effect that they’re the most original band to emerge from Long Island since 1993 and 1994, before LI and NYC lost its most important clubs and original music gave way to “tribute” bands. As they’re blasting holes in generic rock and garden variety pop, and giving new meaning to the term alternative, there is a dire need for them in today's music industry.
Like Patti Smith said when interviewed in Rolling Stone two days after CBGB was evicted: in the end its people and creativity that define music. And it wouldn’t surprise me the slightest bit if TFC’s vision caught on simply because it was unforeseen and hasn’t been tried before. There will always be artists who embody that principle, and that TFC can form out of nowhere and manifest the spirit of early New York punk bands is an important point to pay attention to.
My first impressions of their second full length, right from the beginning, is they’re writing songs that are even more despondent than their last go-around. “Cote du Rhone”, the opening track of “Eyes”, embraces such a prenotion of ill-fortune it can almost be likened to death-doom metal or depressive suicidal black metal bands, as much as early alternative bands. The song's conclusion is its most profound surprise, one I hadn’t expected to hear. All I can say is it concludes the song abruptly, trusting you into darkness and seclusion from which there is no return.
Indeed the entire album from that point takes unexpected turns, calling attention to Rolling Stones influence in “Dear Somebody”, underscoring mundane life with emotions far more secretive and shadowy in “Mice and Broken Things”, undermining the fleeting rays of hope it presents in “Hornsburg 49”. “No More Summers” sounds somewhat inspired by the same darkness that drove Type O Negative, heading into mesmerizing territory similar to late 60s Beatles.
“The Bay Song” is worth mentioning for its tribute to Metallica bassist Cliff Burton, as are “Sybille” and “The Judas Kiss (West Coast)” for the experimental turf those two songs head into. Altogether “Eyes” is proof that a band can branch out without completely changing or exhibiting a pretense to broad-mindedness. -Dave Wolff

Lineup:
Heather Dawson: Vocals
Gregg Gavitt: Guitar
Marc Del Cielo: Bass, drums, backing vocals

Track list:
1. Cote du Rhone
2. Dear Somebody
3. Hornsburg 49
4. Mice and Broken Things
5. No More Summers
6. Sybille
7. The Bay Song
8. The Judas Kiss (West Coast)


Split Review: SONIC DIVER/LITTLE PUPPY PRINCESS (Extreme Terror Production/Grind Father Production) by Devin Joseph Meaney

Band: Sonic Diver
Country: Netherlands, Scotland, Japan
Genre: Grindcore
Band: Little Puppy Princess
Location: Seoul
Country: South Korea
Genre: Grindcore
EP: Sonic Diver/Little Puppy Princess split tape
Format: Cassette, streaming
Label: Extreme Terror Production (Netherlands)/Grind Father Production (UK)
Release date: August 8, 2018
While scrolling Facebook, I saw a link to some grind tunes. Anyone who knows me understands that this is common for me, but as always, I clicked on it to see where the internet would take me.
Within seconds I was transported to a Youtube video for the split between Sonic Diver and Little Puppy Princess. I did not get a chance to review it right away, but the day after, I sat down to give this musical abomination (in a good way) some words and another listen.
The first band that attacked my eardrums was Sonic Diver. The guitar work and vocals on this side of the split are pretty standard (although well done), but the drums and percussion stand out quite a bit. It sounds to me to be a machine but layered alongside weird synth sound effects. It took me a few listens to get used to this, but I quickly realized this adds to the genuine uniqueness that Sonic Diver seems to have.
Little Puppy Princess is just as put together as Sonic Diver, just without the strange synth stuff that was presented previously on this release. Still, L.P.P. absolutely shreds and I would encourage anyone and everyone to give this awesome band a listen. Both bands on this split are great, but for me personally, Sonic Diver takes it for originality.
A great split and a good listen. Give it a spin, homies! -Devin Joseph Meaney

Lineups:

Sonic Diver
Extreme Martin: Vocals
Arif: Vocals
Fitri: Vocals
Hatorri: Guitar, drum programming

Little Puppy Princess
Sexy Moon: Vocals
Jungsil Park: Guitar
Yuying Lee: Drums

Track list:
Sonic Diver
1. A.C.A.B.
2. No Mina
3. Nie Szkrobaj Sie
4. Sonic Diver
Little Puppy Princess
1. In Duress
2. Escape
3. Wondering Life
4. Collapse
5. Furry
6. Euthanasia


Saturday, February 15, 2020

Full Length Review: BEAST OF REVELATION "The Ancient Ritual of Death" (Iron Bonehead Productions) by Jorge A. Trejos

Country: Netherlands
Genre: Death/doom metal
Full Length: The Ancient Ritual of Death
Format: Vinyl, CD
Label: Iron Bonehead Productions (Germany)
Release date: March 6, 2020
The wild beast with ten horns and seven heads has been released from the underworld. He brings, under his left-wing, the debut “The Ancient Ritual of Death” that includes nine apocalyptic revelations of pure Doom Death Metal, made with the experience and riot that only three war veterans awarded with the Medal of Honor to noise and blasphemy could own. In the anti-vocal cords, we find John McEntee of the legendary INCANTATION. In percussive and bombastic artillery, the former ASPHYX Bob Bachus preside and last but not least, in the electrocuted guitar, bass and backing vocals, there is A.J. van Drenth, former guitarist of the BEYOND BELIEF, that great old Dutch Doom Death Metal cult band. The album was mostly recorded in Holland and was mixed and mastered by J.B. van der Wal (ABORTED, INQUISITOR). It also includes some solos by Eric Daniels ex-ASPHYX and Robbie Woning of DEAD HEAD. There is not much more to add, just invite you to listen to this new American / Dutch cult to Death / Doom, direct simple music, made with mastery and bravery. Keep looking forward to The Ancient Ritual of Death out next March 6th, via Iron Bonehead Records on CD / LP respectively. Check the cover of Manuel Tinnemans / Comaworx to get a visual and sound idea of the aforementioned beast of revelation, whose number is still six hundred sixty-six, call now or stick to the consequences. -Jorge A. Trejos

Lineup:
John McEntee: Vocals
Aj van Drenth: Guitar, Bass
Eric Daniels: Solo Guitar
Bob Bagchus: Drums

Track list:
1. Legions
2. The Great Tribulation
3. The Cryptic Void
4. The Fallen Ones
5. Beast VI
6. The Days of Vengeance
7. The Ancient Ritual of Death
8. The Unholy Roman Empire
9. We, the Lords of Chaos


13 O'Clock Movie Retrospective: My Bloody Valentine (13 O'Clock Podcast)

Happy Valentine's Day! Because we're kinda basic, we decided to celebrate this day of loooove by going back to 1981 and reviewing the classic Canadian slasher My Bloody Valentine. Be careful when opening those candy boxes!

The Faceless Villain: Volume Three Audio Book Link! https://www.audible.com/pd/The-Faceless-Villain-Audiobook/B07WSHS2BW

The Faceless Villain: Volume Three is out in print and ebook! https://www.amazon.com/Faceless-Villain-Collection-Unsolved-Twentieth/dp/1089373821/

Please support us on Patreon! https://www.patreon.com/13oclockpodcast


Check out the merch on our Zazzle store! https://www.zazzle.com/13oclock/products


Also check out Jenny's horror blog, Goddess of Hellfire: https://goddessofhellfire.com/

Link to the 13 O'Clock blog: https://13oclockpodcast.wordpress.com/


THANK YOU TO ALL OUR SUPPORTERS! The show is made possible by: Amanda, Anthony, Antonio, Arif, Ashley, Ben, BlackMarigold, Brandon, Christopher, Cody, Corinthian, creepy crepes, Damian, Dan, Dean, Denise, Dominic, Duncan, Dwayne, Ed, Elizabeth, Eric, Fade, Feeky, Gareth, Ginger, Greg, Gwendoline, Hayden, Heather, Holly, Ilse, Ima Shrew, Jaime, Jake A., Jake S., James, James H., Jamin, Jana & Scott, Janet, Jason, Jeanette, Jen, Jessica, Jesus, Joanie, John H., John M., Jonathan, Joseph, Justin, Justyn, Katrina, Keith, Kieron, Knothead Studios, Kool Kitty, Lana, Lars, Liam, Lindsey, Lonna, Macy, Marcus, Mary Ellen, Matt, Matthew, Maximillian, Melanie, Michael, Mike, Mother of Beasts, Natalia, Nathalie, Oddcatt, Oli, Paul, Rebecca, Rebecca L., Richard J., Richard & Sheena, Rik, Rob, Robina, Samantha, Sandra, Scarlett, Sean, Sheena, Sophie, Tabitha, Tammie, Tara, Thomm, Tiffany, Tina, Travon, Trevor, Valtrina, Veronica, Via, Victor, Victoria, Victoria E., Virginia, Weaponsandstuff93, and Will S.

13 O'Clock is hosted by Jenny Ashford & Tom Ross. Channel art and audio & video editing by Jenny Ashford. Music & sound effects courtesy of freesound.org users jamespotterboy, corsica-s, enjoypa, capturedlv, luffy, kiddpark, and justkiddink. Video clips courtesy of Videezy & Videvo.

13 O'Clock Presents The Witching Hour: Troubling Tales of Malicious Marriages (13 O'Clock Podcast)

"Here Comes the Bride"
by Jenny Ashford
Published in Hopeful Monsters (First Edition 2009)

"The Bride"
by Matthew Phipps Shiel
Published in The English Illustrated Magazine (1902)

The Faceless Villain: Volume Three Audio Book Link! https://www.audible.com/pd/The-Faceless-Villain-Audiobook/B07WSHS2BW

The Faceless Villain: Volume Three is out in print and ebook! https://www.amazon.com/Faceless-Villain-Collection-Unsolved-Twentieth/dp/1089373821/

Please support us on Patreon! https://www.patreon.com/13oclockpodcast


Check out the merch on our Zazzle store! https://www.zazzle.com/13oclock/products


Also check out Jenny's horror blog, Goddess of Hellfire: https://goddessofhellfire.com/

Link to the 13 O'Clock blog: https://13oclockpodcast.wordpress.com/


THANK YOU TO ALL OUR SUPPORTERS! The show is made possible by: Amanda, Anthony, Antonio, Arif, Ashley, Ben, BlackMarigold, Brandon, Christopher, Cody, Corinthian, creepy crepes, Damian, Dan, Dean, Denise, Dominic, Duncan, Dwayne, Ed, Elizabeth, Eric, Fade, Feeky, Gareth, Ginger, Greg, Gwendoline, Hayden, Heather, Holly, Ilse, Ima Shrew, Jaime, Jake A., Jake S., James, James H., Jamin, Jana & Scott, Janet, Jason, Jeanette, Jen, Jessica, Jesus, Joanie, John H., John M., Jonathan, Joseph, Justin, Justyn, Katrina, Keith, Kieron, Knothead Studios, Kool Kitty, Lana, Lars, Liam, Lindsey, Lonna, Macy, Marcus, Mary Ellen, Matt, Matthew, Maximillian, Melanie, Michael, Mike, Mother of Beasts, Natalia, Nathalie, Oddcatt, Oli, Paul, Rebecca, Rebecca L., Richard J., Richard & Sheena, Rik, Rob, Robina, Samantha, Sandra, Scarlett, Sean, Sheena, Sophie, Tabitha, Tammie, Tara, Thomm, Tiffany, Tina, Travon, Trevor, Valtrina, Veronica, Via, Victor, Victoria, Victoria E., Virginia, Weaponsandstuff93, and Will S.

13 O'Clock is hosted by Jenny Ashford & Tom Ross. Channel art and audio & video editing by Jenny Ashford. Music & sound effects courtesy of freesound.org users jamespotterboy, corsica-s, enjoypa, capturedlv, luffy, kiddpark, and justkiddink. Video clips courtesy of Videezy & Videvo.

Episode 182 - Valentine's Day Special! Killer Couples Volume 3 (13 O'Clock Podcast)

On this lovey-dovey (?) installment, Tom and Jenny celebrate Valentine's Day with a disheartening (ha!) breakdown of two terrible serial killer couples: Martha Beck and Raymond Fernandez, otherwise known as the Lonely Hearts Killers, and the murderous Australians David and Catherine Birnie. Along the way, we also go off on many of our trademark digressions about everything from threesome erotica to doing your taxes while self-employed (yes, it's all very romantic). Settle in with your sweetie, a big-ass box of chocolate, and the booze of your choice, and spend Valentine's Day week with everyone's favorite couple (us, naturally) on episode 182.

The Faceless Villain: Volume Three Audio Book Link! https://www.audible.com/pd/The-Faceless-Villain-Audiobook/B07WSHS2BW

The Faceless Villain: Volume Three is out in print and ebook! https://www.amazon.com/Faceless-Villain-Collection-Unsolved-Twentieth/dp/1089373821/

Please support us on Patreon! https://www.patreon.com/13oclockpodcast


Check out the merch on our Zazzle store! https://www.zazzle.com/13oclock/products


Also check out Jenny's horror blog, Goddess of Hellfire: https://goddessofhellfire.com/

Link to the 13 O'Clock blog: https://13oclockpodcast.wordpress.com/


THANK YOU TO ALL OUR SUPPORTERS! The show is made possible by: Amanda, Anthony, Antonio, Arif, Ashley, Ben, BlackMarigold, Brandon, Christopher, Cody, Corinthian, creepy crepes, Damian, Dan, Dean, Denise, Dominic, Duncan, Dwayne, Ed, Elizabeth, Eric, Fade, Feeky, Gareth, Ginger, Greg, Gwendoline, Hayden, Heather, Holly, Ilse, Ima Shrew, Jaime, Jake A., Jake S., James, James H., Jamin, Jana & Scott, Janet, Jason, Jeanette, Jen, Jessica, Jesus, Joanie, John H., John M., Jonathan, Joseph, Justin, Justyn, Katrina, Keith, Kieron, Knothead Studios, Kool Kitty, Lana, Lars, Liam, Lindsey, Lonna, Macy, Marcus, Mary Ellen, Matt, Matthew, Maximillian, Melanie, Michael, Mike, Mother of Beasts, Natalia, Nathalie, Oddcatt, Oli, Paul, Rebecca, Rebecca L., Richard J., Richard & Sheena, Rik, Rob, Robina, Samantha, Sandra, Scarlett, Sean, Sheena, Sophie, Tabitha, Tammie, Tara, Thomm, Tiffany, Tina, Travon, Valtrina, Veronica, Via, Victor, Victoria, Victoria E., Virginia, Weaponsandstuff93, and Will S.

13 O'Clock is hosted by Jenny Ashford & Tom Ross. Channel art and audio & video editing by Jenny Ashford. Music & sound effects courtesy of freesound.org users jamespotterboy, corsica-s, enjoypa, capturedlv, luffy, kiddpark, and justkiddink. Video clips courtesy of Videezy & Videvo.

Friday, February 14, 2020

Interdimensionalism.com

It's not this dimension, it's not that dimension, its...... http://interdimensionalism.com/

Rashid Abdel Ghafur has been making interdimensional art and Experimental Black Metal since 1999. Listen to one while you look at the other on his official website. Escape from this world of destruction and chaos to something beyond human comprehension...... while you still can......

Thursday, February 13, 2020

Thrash or F**k Off - Chapter 4: Talkin' About Survival (Thrash Or F**k Off - Australian Thrash Metal)

Now that we have namedropped all of the bands from their respective cities, this "all in" episode looks at the DIY work ethics of Australia's thrash bands and how they operated during the 1980s. While the US and European scenes were thriving, Australia was still an isolated blip on the world radar.

This episode includes tour stories, a look into the few magazines and recording studios that specialised in Australian metal, and insights into the bands who did get a foot in the door overseas.

Follow this series on Instagram, @thrashorfuckoff

Check out the bands featured on this webseries and listen to the "Thrash Or Fuck Off" playlist on Spotify:

Series Created by:
Liam Anthony, Chalky Hill, Scott McMahon

This webseries is for educational and promotional purposes.



Thrash or F**k Off - Mini-Episode: The Festivals ( Thrash Or F**k Off - Australian Thrash Metal)

This short episode focuses on the big festivals that occurred during the golden age of Australian extreme metal.

Includes Metal for the Brain, Steel Spring, and Metalfest 1991 which featured the live debut of Australia's fukkedest metal band...

More full-length episodes coming soon.

Follow this series on Instagram, @thrashorfuckoff

Check out the bands featured on this webseries and listen to the "Thrash Or Fuck Off" playlist on Spotify:

Series Created by:
Liam Anthony, Chalky Hill, Scott McMahon

This webseries is for educational and promotional purposes.

Thrash or F**k Off - Chapter 3: Across the Board... (Thrash Or F**k Off - Australian Thrash Metal)

While the Melbourne and Sydney thrash scenes were in full swing, newer bands began to emerge from the cities of Adelaide, Canberra, Brisbane and Perth from 1987 to 1991.

This episode focuses on the development of the bands from these smaller towns and the challenges they faced in isolation from the major cities.

Series Created by:
Liam Anthony, Chalky Hill, Scott McMahon

This Episode's Special Contributors:
Phill Corpe & Paul Hayes

Follow this series on Instagram, @thrashorfuckoff

Check out "Brisbane Thrashed" by Phill Corpe:

Check out the bands featured on this webseries and listen to the "Thrash Or Fuck Off" playlist on Spotify:

This webseries is for educational and promotional purposes.

Thrash or F**k Off - Chapter 2: Sydney Sinners (Thrash Or F**k Off - Australian Thrash Metal)

In 1985, a new group of heavy bands are emerging from another major Australian city. A local band establishes a strong following overseas from the strength of a demo, while Metallica becomes one of the first major metal acts from overseas to tour Australia.

Follow this series on Instagram, @thrashorfuckoff

Check out the bands featured on this webseries and listen to the "Thrash Or Fuck Off" playlist on Spotify:

Series Created by:
Liam Anthony, Chalky Hill, Scott McMahon

This webseries is for educational and promotional purposes.

Thrash Or F**k Off - Chapter 1: The Old School (Thrash Or F**k Off - Australian Thrash Metal)

Early 1980s Melbourne, where a young group of bands inspired by punk rock and the New Wave of British Heavy Metal are finding themselves at odds with Australian pub rock audiences. Meanwhile, a small record store is opening downtown laying the foundations for Australia's metal community.

Check out the bands featured on this webseries and listen to the "Thrash Or Fuck Off" playlist on Spotify:

Series Created by:
Liam Anthony (IG: stuffbyliamanthony)
Chalky Hill (IG: moshriffcreative)
Scott McMahon (FB: The Metal Zone Radio Show)

This webseries is for educational and promotional purposes.

Saturday, February 8, 2020

Article: "1969 B.C. The bastard step-child turns 50" by Marc Del Cielo

1969 B.C. The bastard step-child turns 50
Article by Marc Del Cielo
For decades the origins of heavy metal have been fiercely debated. In the waning years of the 1960s, the peace and love sound we’re turning to a more aggressive form of rock, and new bands emerged bringing new sounds. Still steeped in the blues, country-western and rhythm and blues, new acts such as Led Zeppelin, Blue Cheer, Iron Butterfly and Grand Funk Railroad bought a more “edgy” sound to rock. The Beatles’ internal struggles produced their darker side in the form of the White Album. The Who got louder and the Rolling Stones got nastier. As 1970 began an album was released by a little known blues-based band from Birmingham, England. Rolling Stone critic Lester Bangs described it as "just like Cream! But worse". Robert Christgau writing for the Village Voice called it “bullshit necromancy” and “the worst of the counter culture”. The album was the self-titled Black Sabbath.
February 13, 2020, marks the 50th anniversary of Black Sabbath and the birth of heavy metal. Black Sabbath are considered the inventors of heavy metal, something Led Zeppelin didn’t want to be credited with. Like Zeppelin, Sabbath was a blues-based band. Much of that is evident on Black Sabbath. But what became the bedrock of metal was the all-out assault of Tony Iommi’s guitar coupled with the dark lyrical content. “Black Sabbath’s first album is the black metal bible” says actor/singer Michael Des Barres. Venom Inc. bassist/vocalist Tony Dolan: “They were the birth of what we consider heavy metal. The themes, the weight of the music”. The album was recorded on October 16, 1969, in a single day. Iommi said that the band simply went into the studio and recorded their live set with Ozzy Osbourne simultaneously recording his vocals in an isolation booth. The opening thunderstorm and the double-tracked guitar on “N.I.B” were the only additions. But what made the Sabbath sound was Iommi. After losing two fingertips in a factory accident, he improvised different prosthetics, using super glue caps and pieces of leather. In addition, Iommi altered his fingering of the chords. “I'd play a load of chords and I'd have to play fifths because I couldn't play fourths because of my fingers,” Iommi explained in a 2013 Mojo interview. Iommi began the session playing a Fender Stratocaster, which he had favored. But a malfunction in the guitar's electronics forced him to use his backup Gibson SG, which with its humbucker pickups produced a less trebly tone. When he and Geezer Butler began using lower tunings on 1971’s Master of Reality, the definitive metal sound was born.
Released Friday, February the 13th, 1970, Black Sabbath opens with the title track “Black Sabbath”, based on the “Mars, the Bringer of War” movement of Gustav Holst’s The Planets, a tritone interval play at a slow tempo: the devil’s triad, it became known. The strong occult theme on the title track, as well as “The Wizard” and “N.I.B.”, caused the album to be panned by the London press. Black Sabbath eventually reached #8 on the UK Albums Charts and #23 on Billboard charts after its June 1, 1970, US release. As the band was gaining popularity amongst rock fans, they were being ignored by the press. Returning to the studio in June 1970, Black Sabbath recorded Paranoid, and they couldn’t be ignored any longer. What came next was some of the most influential acts in rock music. Alice Cooper, AC/DC, Deep Purple, KISS, Rush, Judas Priest, Thin Lizzy, and Motorhead all came to personify heavy metal in the 1970s, yet Black Sabbath was the template for metal.
Black Sabbath marked the birth of the ugly baby: heavy metal. Never respected yet couldn’t be ignored. Several of rock’s biggest acts and albums are called heavy metal such as AC/DC, Def Leppard, Bon Jovi, Iron Maiden, Guns ‘n’ Roses and Metallica, considered some of the biggest of them all, and are still second to Ozzy. Heavy metal‘s popularity is once again on the rise, thanks to scores of new metal acts from all around the world. And it all goes back to Birmingham. It’s basically impossible to be a metalhead and say “yeah, I never was really into Sabbath.” The influence Black Sabbath had on music will always be debated because basically, mainstream music hates heavy metal. Within the metal genre, asking about Black Sabbath’s influence is like asking if you like breathing. I asked Tony Dolan about the importance of the album Black Sabbath. “Sabbath had that pure darkness. Heavy bass and guitar with (Bill) Ward’s explosive style. Then add Ozzy’s haunting vocals and oh man! What a trip.”
50 years later, Black Sabbath and Paranoid remain the blueprints of heavy metal. Sabbath has disbanded. Health issues trouble three of the four members, and old tensions still exist. As a music lover and history buff, I think of America’s founding fathers, John Adams and Thomas Jefferson. They loved and respected each other, but could no longer see eye to eye. The two men had long been estranged for some time, and on July the 4th, 1824 both men died on the 50th anniversary of their creation. Unaware that Jefferson had died, Adams said on his deathbed: “Thomas Jefferson survives.” Ozzy Osbourne’s final words may be “Tony Iommi survives,” but we might not understand him.

The Best Of 2019 On The Zach Moonshine Show (Metal Devastation Radio)

Shared from Metal Devastation Radio

https://metaldevastationradio.com/thebeast/blog/5915/the-best-of-2019-on-the-zach-moonshine-show

Listen To New NAPALM DEATH Song 'Logic Ravaged By Brute Force' (Blabbermouth.net)

Link shared from Blabbermouth.net.

https://www.blabbermouth.net/news/listen-to-new-napalm-death-song-logic-ravaged-by-brute-force/

Wednesday, February 5, 2020

Interview with Andrey V. Tollock of HAISSEM and SUNSET FORSAKEN by Dave Wolff

Interview with Andrey V. Tollock of HAISSEM and SUNSET FORSAKEN

What made you found Haissem as a solo project in which you play all the instruments as well as doing the vocals? Does this give you more creative freedom to write and compose?
Answering the first part of the question, I can say the project appeared because of an accidental dispute between me and my friend, who was an absolute metalhead. The matter is that in 2012 (at the time of the dispute) I was a member of a pop-rock band. That time we’d been recording an album and my friend asked me to listen to the result. His reaction had been quite positive, however, the verdict was “this music is simple, no technical difficulties at all, it requires no skill, etc.” I told him that I could play cardinally opposite musical stuff which was closer to the music he preferred. The answer was: “That is not your cup of tea, Andrey! I make 100$ bet you’ll never play extreme music (though he knew that I was a member of a death-metal band in the later ’90s).” But he turned out to be totally wrong. I’ve composed, arranged and recorded the song “Fire Eternal” and that was the beginning of Haissem. Sunset Forsaken (my second doom/death-oriented project) appeared a little bit later. Then, I’d caught the wave of inspiration and continued to compose music, the thing that I do still to the present day. Nevertheless, I’ve never seen my 100$. That is the story so far.
As for the second part of the question, I cannot compare creative freedom in writing and composing music in a band to composing it myself, because I’ve never had any collaborations with a full band , only episodical participations and as a session musicians. I’d made an attempt to form the band, but my efforts weren’t successful. Therefore I am the only member of my projects.

How generally difficult is it for musicians to find a full band in your country? As far as you know, is there a greater number of one-man projects than bands these days?
It’s awfully difficult. First of all, there is a lack of people who are really devoted to extreme music on both sides, as musicians, and as fans. There is a certain amount of them and they do exist, but if you want to attract them into a band, you have to interest and motivate them. What are the ways of attraction/motivation? The most common are: 1) exclusive material and musical stuff; 2) financial perspective, a real possibility of development and promoting the band by investment. You don’t need to be Sherlock Holmes to guess that the second variant is more preferable, because qualified and experienced musicians require the guarantees and perspectives; enthusiasts are like endangered species nowadays. I’m not a millionaire and the second variant disappears like the vapour to the sky. That’s why, I think, there’s a growing tendency to start one-man bands these days. People such as I, simply cannot find associates, adherents or supporters. Herewith I wanna demonstrate my music to the fans and the one-man approach is really the way!

Tell the readers about the death metal band you were involved in during the late 1990s? How long was the band active, and did they release anything that is still available?
The band was called Devastation and we were active for a period of approximately one year, from autumn 1998 to August 1999. We had no idea about the existence of the American thrash metal band Devastation (from Corpus Christi, TX) at that time. We would release only one demo-song “Relentless” during the period. In 2019, Haissem released the “Demonotone” album (which was supposed to be a part of the 2017 “Hatavism” album by my original plan) that included approximately 70% of Devastation material. That was a show of respect from me to the band. I’m really proud of this album!

What format was “Relentless” released on, cassette or CD? How many copies were made of this demo when it came out, and how well do you remember it being received?
There was no release of this song either on cassette or CD. It was kinda a homemade version that was recorded at our rehearsal room in two takes. On the first take guitar, bass and drums were recorded, and the second take was vocals and additional guitar. Everything was done with the help of a Soviet (!) analog tape-recorder “Mayak” (“beacon” in English). That’s all. Later, with the appearance of advanced technology, I made a digital version and downloaded it for free access and listening. It’s a re-recorded version of “Relentless” and there are no changes in the music, structure or arrangements yet the lyrics are a little bit re-arranged.

What was the technology you used to re-record “Relentless”? In what ways does the remix compare to the original?
The new version was recorded and mixed at a professional studio (Vetkin Records Studio, Donetsk) by means of Pro Tools. The accumulation of material was rather standard: guitar rough draft, then drums, bass, guitars, samples/synths, and finally, vocals. The music, arrangements, lyrics, etc. are as same as in the original version. Both of the versions really don’t differ and are almost identical. The only significant difference is the sound; the re-recorded version sounds much better.

Were there any bands you worked with after Devastation disbanded, besides the pop-rock band you were in around 2012?
After Devastation, I played in different local bands and projects. Their names are totally unknown. The range in musical styles was also rather mixed. Some of those bands were RexStout (art-rock), Breed Jee (alternative/indie rock), The Rыба Fугу (“a pufferfish”) (rap-core), Ceber Kasala (“a bucket of lard”) (folk-punk) and so on. I was and am an active session musician and songwriter, and there have been a certain amount of songs and releases with my participation as a musician, composer, and lyricist.

How did those bands you worked in post-Devastation help you evolve as a musician? Can people hear any of those bands on streaming sites or purchase CDs from them?
My musical evolution was a gradual event and each band deserves to be a part of this process. All of them made the contribution and I truly appreciate it! As for streaming services and CD purchasing, it should be noted that there’s some video stuff loaded on YouTube, and as I know it’s still available. All the CD editions were strictly limited and are sold out now. The mp3 files are available mostly on social networks.

Was the album you were working on with your pop-rock band completed and officially released? How much notice did it receive?
The album by my former pop-rock band Simona Lee titled “Endorphin” was finished in autumn of 2012. A little bit later it was self-released on CD. That time there was a possibility to get a copy at our local shows and at gigs out of our native city. Now, the edition is sold out. I cannot tell about the great success of this release, but definite attention of the local press and fans was attracted and there was rather positive feedback from those who listened and bought this album. Throughout almost 10 years, we participated in a great number of gigs, shows, and fests either in our hometown or around the country. Simona Lee disbanded in 2014.

Name some of the fests where Simona Lee performed and some of the magazines and/or webzines that favorably reviewed “Endorphin”.
The Fests were mostly local and all Ukrainian. Some of them are Chervona Ruta, Ya Mayu Vlasnu Dumku, Kino Snachala, Moloda Hvulya, Eco Art and Kror U Rock. There were no actual reviews except for a pair of articles in local zines and newspapers (some of the newspaper clippings are in my Mom’s personal archive).

Is Sunset Forsaken also a one-man project or do you have musicians working with you?
Sunset Forsaken is also a one-man band. No collaborations with other musicians for a while, but I suppose it’s possible in the future. Sunset Forsaken has two albums: “Chameleon Waters” (2018, digitally released by Redefining Darkness Records, USA) and “85 Nerves” (2020, not released yet). There are some lyric videos out of Haissem and Sunset Forsaken. You can watch them on my YouTube channel and the Facebook communities of both projects.

Do you write the lyrics for both Haissem and Sunset Forsaken? How similar or different would you say the lyrical content of these bands is?
I write all the lyrics for both projects. The only thing that unites them is they are written in English but the themes and contents are rather distinguished. Haissem’s lyrics are provided by fantasy and based upon mysticism mixed with anti-religious concepts. Sunset Forsaken’s verses are mostly about inner senses and experiences, emotions and despair.

Describe some of the fantasy settings that are part of Haissem’s lyrics? How does mysticism fit into said lyrics? And how would you define the anti-religious concepts you write?
In “Maze Trilogy”, the last three tracks from the debut Haissem album “Maze Of Perverted Fantasies”, a crowd of people find themselves in a strange labyrinth where everything happens vice versa. In my attempt to make a kind of conceptual release, “Hatavism,” where hate (the main subject) appears in unusual forms and substances such as blood, seed, wind and human souls. That was an attempt to classify hatred in a way (as you know, hatred cannot be classified because it’s a human feature).
I mention religion as the root of all evil. Sometimes the lyrics transmit of a god who claims that he inspired all of us to erect cathedrals, and who gave us “Panacea For A Cursed Race” (I meant “death” in this case) and “the Earth is braided into Pralaya” by his will and so on. Please read some of the lyrics (it’s all in free access) and you can find references to anti-religious stuff.

What is the purpose of writing themes of inner senses and despair into Sunset Forsaken’s lyrics? Are you looking for an effect similar to bands like My Dying Bride and Mortiis, or something entirely different?
I’m not aiming to attract negative emotions and to be an epitome of death/doom titans such as My Dying Bride, Paradise Lost, October Tide etc. Unquestionably I’m a big fan of these bands and they definitely influenced me and still inspire. I think that doom/death as a genre supposes such lyrical themes as despair and loneliness. But there are also some fantasies taking place in Sunset’s verses.

Discuss some of the fantasy-oriented songs that appear on Sunset’s releases. In what ways do their fantasy settings incorporate themes similar to doom metal and death-doom metal?
In my case, they are stories and themes from my dreams. Not constantly, but sometimes it happens... Less often, I use the stories told to me by my friends as a basis for the lyrics. But this happens only if the story is really interesting, curious, intriguing and contains kind of mystic stuff. I could tell you a pair of occasions but, I’m afraid it’ll be too long to read and might seem contrived.

What other bands are you listening to of late? Are any of them inspirational enough for you to reflect them in your songwriting or lyricism?
I am a really huge fan of music. Furthermore, music of different genres. On my shelf of CDs at my home you can find Behemoth, Coldplay, System Of A Down, Led Zeppelin, The Prodigy, Suffocation, Dream Theater, Pantera, Breaking Benjamin, Maroon 5, Katatonia, Madonna, Black Sabbath, Antonio Vivaldi, Jimi Hendrix, Tool, Joe Satriani, Paradise Lost and many more... The music I like is quite contrasted and, of course, inspirational and motivating regardless of genre and style. And my latest discoveries in music are Soen, Deafheaven, Trees Of Eternity, Greta Van Fleet, Bent Knee and Vektor.

Will the new Sunset Forsaken album be released on the same label or are you seeking other labels?
There was no distribution of Sunset Forsaken by Redefining Darkness Records except in digital format. So due to these circumstances I’ve found another label to release “85 Nerves” but I cannot tell you about the details for a while, complying with the request of the label owner. By the way, Haissem’s albums “Hatavism” and “Panacea For A Cursed Race” were released on cassette via another American label, Winter Solace Productions (100 copies of each edition). And the brand new Haissem album “Kuhaghan Tyyn” (“evil spirit”) will be released via Satanath Records on March 22, 2020.

How prominent a label is Winter Solace Productions in the US? How much has their distribution of Haissem’s two albums boosted their exposure there?
I don’t know about the prominence and authority of Winter Solace in the US and any other things about it. As I know, recently it’s become a NSBM-oriented label and Haissem’s stuff turned out inappropriate for the label’s roster. That’s the reason why we’ve stopped collaboration.

How did you and Haissem get the distribution deal with Satanath Records for the release of “Kuhaghan Tyyn” this coming March?
Periodically I’ve been suggesting my music to the labels via correspondence. Once I’d sent my material to Satanath Records and a little bit later I got feedback from Alexei Korolyov, the owner of Satanath, with the proposal of an album release, which was accepted by me happily.

How many labels had you contacted before landing the release deal with Satanath Records?
The question is pretty difficult. Suppose it was approximately 500 labels of various caliber. But, my music doesn’t follow common trends, it’s totally unpopular among metalheads and it’s not in demand. Due to oversaturation of the music market, even small labels become picky and fastidious choosing the stuff for their roster. Besides, I like experimentation in music, yet labels prefer stability.

From your experience as a songwriter and musician, does innovation and experimentation in much make more of a lasting impression in the long haul?
Only when the experiment is listenable and “catchy”, you may consider it successful and impressive. Frequently, the author’s vision and the public’s reaction differs. I think that’s why some famous bands prefer to follow the beaten path which once led them to success and risks with no reluctance. In most cases, experimental material is a feature of unsigned/independent bands who are totally free in their creative work. Besides, the experiments are not always supported by labels, because there’s a definite financial risk. Only in the case of positive feedback from fans and metal society you may consider the innovations appropriate and relevant.

What direction has the market of underground music in Russia been taking in the last ten years or so? For example, are there more bands promoting their material independently as opposed to on labels? More webzines than print zines etc?
Fanzines, webzines and metal blogs exist, but I compare the quantity of fanzines ten years ago and nowadays. About the bands: as far as I know, everything depends upon such factors as the financial possibilities of the band and their capability to promote and sell their music; in other words, how effective the managers of the bands and the band’s members could be in perspective. Everyone chooses the path individually. Some bands flatly refuse to collaborate with labels in order to dispose their musical property on its own; some bands look for a label to promote their stuff; some bands combine the first and the second ways/methods. I think everything depends upon the band’s skill to create competitive material, the ambitions of the band/project, and, of course, fortune. And, finally, unique, advanced, professional bands such as Arkona, Shokran and Jinjer have contracts with major labels, so they are well-known worldwide.

Social media has made it easier for bands without the financial backing to promote their material and get their name around. Do you see this happening more in the future?
I suppose, in the near future, things will remain the same because free promotional stuff offered by networks is quite ineffectual. I mean, that all the same, for the better promotion the musicians will have to invest their music. By means of own budget or by means of a label, that’s a numbers game.

How much is social media giving fans who support the bands by streaming their music and buying their releases more of a voice?
The first and the main thing about it is that social media provides a possibility to get acquainted with the bands and its music, submitting their stuff for insight absolutely free.

Do Haissem and Sunset Forsaken have the financial backup to make a name for themselves at this point? All things considered, how will your music stand out in extreme music and inspire other musicians once you become better known?
I pay studio sessions, I compose music, write lyrics, make arrangements, record all instruments at the studio and also try to promote it as much as possible within my capacities. I’m still not a well-known musician to talk about my music standing in the future out. I have to work hard with commitment and devotion to offer fans the better stuff each time. That’s why there are no questions about the uniqueness and originality of both Haissem and Sunset Forsaken. It will take years or even decades to produce their own style and to deserve the love of the fans!

Are there any other projects in store for the coming year? How aggressively do you plan to promote it when it’s made available?
There will be only Haissem with “Kuhaghan Tyyn” (out March 22, 2020, via Satanath Records) and the second album by Sunset Forsaken “85 Nerves” (will be released in the end of 2020). Promotion is the prerogative of Satanath Records now, so we’ll see where it goes. I hope for the best result.

What kind of impact do you want your bands to have on the music industry? What is your definition of success?
I just want my music to be heard by the fans. The more, the better. It’s the main thing about it. For me personally, in the context of music, success is neither money, nor glory. It’s in the positive feedback from fans, the people for whom my music is created.


-Dave Wolff

Tuesday, February 4, 2020

Video Review: DANIELFROMSALEM "So Loco" by Devin Joseph Meaney

Location: Los Angeles, California
Country: USA
Genre: Nu metal, experimental
Video: So Loco
Taken from his full length "Best Damn Party", released independently June 2019
Release date: June 12, 2019
While scrolling my Facebook, I happened to stumble upon the video for ''So Loco'' by DanielFromSalem. Musically, this is a stretch from what I normally listen to, but I found the content within the video for ''So Loco'' to be highly catchy and unique. Creepy vibes are brought forth with a flair of personal style, depressive tones, and modern beats and production.
This is my first time hearing DanielFromSalem, but if he puts out any more tracks any time soon I would love to hear them! While searching Youtube, I noticed he has a handful of other songs and videos posted, so after I finish with this review I plan to give some of his other offerings a spin.
This video premiered on June 12th, 2019, so this is not exactly a new video. Still, I feel the need to give DanielFromSalem a bit of publicity. His music puts me in party mode, and it does so without relying on cliché or excessive lyrical vulgarity.
There is not much more to say except that I hope this song/video gets the proper limelight it deserves. I currently have this song on repeat, and it will most likely be my anthem for the day.
Great job, Daniel. Keep up the good work! -Devin Joseph Meaney

Lineup: 
Daniel From Salem: Vocals, all instruments


Sunday, February 2, 2020

Single Review: OTTO KINZEL "I Bleed For You" (Independent) by Sarah McKellar

Artist: Otto Kinzel
Location: Manchester, New Hampshire
Country: USA
Genre: Industrial, experimental
Format: Digital
Label: Independent
Release date: January 16, 2020
Originally written to be a part of the short film “A Dream Of Distant Skies
Otto Kinzel has been a figurehead in the New England music scene for 2 decades-as a musician and many other diverse roles. Kinzel’s solo projects have been self-described as ambient, stoner doom rock and certainly live up to their description. “I Bleed For You” is his 2019 solo release, inspired by the murder of Katrina Holmer in Boston. An ambient and stoner rock feel introduces the song with a slightly mournful intensity which contrasts really well with the stoner groove guitars. Consistently strong, clean vocals at the start of this track add a really emotive touch, so that when the intense screaming vocals kick in- it adds a complete shift to a mournful and regretful musical tone. Unquestionably well-written lyrics add an emotive and mournful aspect to “I Bleed For You” which when combined with Kinzel’s vocals are both hard-hitting and ambient in their musical approach. “I Bleed For You” is the first of Otto Kinzel’s solo releases and displays yet another aspect in which he is more than technically sound and highly proficient in. I am genuinely looking forward to seeing which direction musically he continues in. -Sarah McKellar



Full Length Review: TOXIC HOLOCAUST "Primal Future: 2019" (eOne) by Sarah McKellar

Band: Toxic Holocaust
Location: Portland, Oregon
Country: USA
Genre: Speed/thrash/black metal
Full Length: Primal Future: 2019
Format: Vinyl, Digital, CD
Label: eOne
Release date: October 4, 2019
Toxic Holocaust is a classic thrash/speed metal project from Portland, Oregon founded in 1999. “Primal Future: 2019” is their sixth full-length release through eOne.
“Chemical Warlords” is a thrashing, punk track featuring the distinct gravelly vocals Toxic Holocaust is known for. A hard rock element is seen is the blistering riffs and “balls to the wall” attitude which instantly commands your attention. Hard-hitting, musically tight and lyrically leaning towards a strong dystopian aspect- Toxic Holocaust has successfully bridged the gap between all their prior releases while still remaining true to their distinctive sound. Another lyrical theme that is consistent throughout this release is a focus on the evil of man and this dystopian feel reflects in Toxic Holocaust’s aggressive and unrelenting attitude towards “Primal Future: 2019.” Speed metal elements are also reflected throughout this release in Toxic Holocaust’s musically unrelenting attitude which adds a more aggressive and brutal tone. “Primal Future”, the namesake track of this release, starts with a more eerie approach focusing more on the heavy metal aspect of Toxic Holocaust and is a welcome and refreshing change after so many brutal and technically soundtracks. I will admit to personally enjoying every track on this release- Toxic Holocaust’s brutal and diverse musical approach has not changed or diminished within the many years they have been active as a band and “Primal Future: 2019” is no exception. I genuinely look forward to seeing what Toxic Holocaust will continue to release in the future and the musical direction in which they continue as a project. -Sarah McKellar

Track list:
1. Chemical Warlords
2. Black Out the Code
3. New World Beyond
4. Deafened by the Roar
5. Time's Edge
6. Primal Future
7. Iron Cage
8. Controlled by Fear
9. Aftermath
10. Cybernetic War


Saturday, February 1, 2020

Full Length Review: BLUE HOLOCAUST "Flesh for the Cannibal God" (Headsplit Records) by Devin Joseph Meaney

Band: Blue Holocaust
Country: France
Genre: Goregrind
Format: 12” vinyl (limited to 300 copies), digital album
Label: Septic Aroma Of Reeking Stench, A Symphony Of Death Rattles Records, Headsplit Records
Release date: June 21, 2018
Recently, I got around to listening to/reviewing the latest release from Vomi Noir. Shortly after, I was talking to Pierre de Palmas (Braindead Webzine, Vomi Noir, Blue Holocaust) and he informed me that there was a new Blue Holocaust album to listen to!
I have been a fan of Blue Holocaust since “Twitch of the Death Nerve” (2004), so I jumped at the chance to give Pierre's new offerings a view.
The first thing I noticed about “Flesh for the Cannibal God” was that the sound and production of Blue Holocaust has really been improved upon since 2004. The vibes presented are the same overall, but one can for sure tell that time and effort went into the making of this grisly new-ish release.
As always, the vocals are disgusting (in a good way). Ranging from splattery gargles and gurgles to “clean” rancid vocalizations, fans of goregrind should without question revel in the sickness that Pierre has put forth. When it comes to the instruments, everything is played well, is on time, and skill was for sure a factor in the writing and musical orchestration of Flesh for the Cannibal God.
Unlike Twitch of the Death Nerve, Blue Holocaust is not a one-man band on this release and the drums are organic as opposed to a machine. Personally, I love drum machines when they are programmed well, but I guess that having a real drummer really helps when it comes to playing live. And anyone that has used a machine in the past knows that programming drums can be a pain in the ass, so cheers to Pierre for making the move to full band status.
Fun fact! After talking to Pierre via Facebook messenger, I found out that the lineup for this album and the recent Vomi Noir album is the same! Although there are strong similarities between these two releases, both stand out on their own and have their own distinct sound and feel.
In closing, I still love Blue Holocaust just as much as I did in 2004 when Twitch of the Death Nerve was released, and overall, the project has made great leaps and bounds when it comes to production and clarity. This is a great album and I encourage all gore-fiends across the globe to give this a listen... if you are brave enough, of course! -Devin Joseph Meaney

Lineup:
Pierre: Guitars, vocals
David: Bass
Laurent: Drums

Track list:
1. Frenzied Machete Ravages
2. Left to Fester
3. Eaten Raw
4. Sinews of Carnage
5. Human Sacrifices
6. Feeding Fury (of the Piranhas)
7. Open Cranium Delicacies
8. Ritual Disembowelment
9. Totem Pole of Skeletonized Corpses
10. Harmony of Overwhelming and Collective Murder
11. Excruciating Invasion of the Candiru Vampire
12. Cannibal World
13. As the Dipterous Larvae Hatches
14. Night of the Sorcerers
15. Naked Prey
16. Impaled
17. Burned to Death
18. Abominio
19. Last Survivor Left
20. Green Inferno
21. O-Kee-Pa Ferox
22. Driven to Anthropophagia
23. Flesh for the Cannibal God