Friday, May 31, 2019

Full Length Review: DARKTHRONE "Old Star" (Peaceville Records) by Dave Wolff

Country: Norway
Genre: Black metal, heavy metal
Full Length: Old Star
Release date: May 31, 2019
After three years, Darkthrone return with yet another full length (their eighteenth). The release of “Old Star” couldn’t have come sooner following the theatrical release of Jonas Akerlund’s black metal biopic “Lords Of Chaos”, which has received less than stellar feedback from fans and musicians the movie depicted and likely deserves a spot next to Randall Miller’s “CBGB” and Oliver Stone’s “The Doors” for gross character assassination. Movies like this, instead of fulfilling potential to be good movies, do nothing but reinforce the public’s stereotypes about rock, punk and metal. But this time it’s as if Darkthrone are here to sweep aside the film’s cartoonish sensationalism and the controversy surrounding 90s black metal. It seems like yesterday that I first heard “A Blaze in the Northern Sky” and I remember the resounding impact it had when it was needed. Since “The Cult Is Alive” (which marked their return to Peaceville Records) opinions have been mixed over whether Darkthrone albums are still worthy of their contribution to brutal and extreme music. However, it’s clear that “Old Star” is undeniably about their love of creating music. Not just black metal but doom, death and classic metal, all included in their formula here. It doesn’t seem like they’re making an effort to expand their listenership by first impressions, just playing what they feel and adding whatever fits the songs. “Old Star” was engineered and produced independently, given solid mixing and mastering by Sanford Parker and Jack Control. The black metal flavor of albums past can be heard in “I Muffle Your Inner Choir,” “Alp Man,” “Duke of Gloat” and the title track, particularly in Nocturno Culto’s raspy guitars and Fenriz’s hard-hitting percussion, but I have to admit the doom/stoner vibe following the classic metal theme of “The Hardship of the Scots” threw me. The mood and triplet feel reminds me of “Deliverance” era Corrosion of Conformity (and I mean that in a good way). There is an unspoken vibe in the epic closer “The Key is Inside the Wall” speaking of the raw mid 90s black metal attitude (bands like Fenriz’s side project Isengard on “Høstmørke”). It’s cult and grim without the need for labels. All things considered, this is a band that has aged well since they started out. -Dave Wolff

Nocturno Culto: Vocals, guitars, bass
Fenriz: Drums, additional vocals, bass, additional guitars, lyrics

Track list:
1. I Muffle Your Inner Choir
2. The Hardship of the Scots
3. Old Star
4. Alp Man
5. Duke of Gloat
6. The Key Is Inside the Wall

Serialization: "The Arcane Warrior’s Apprentice" by Roberta Downing: Chapter Seven

The Arcane Warrior’s Apprentice
Novel by Roberta Downing
Cover artwork designed by Jerry Langdon

Chapter Seven

RavenDance and Bell traveled north from Draconos for two weeks until they finally reached the town of Ashwood. This is where they will board the ship that will take them across the treacherous sea to the Arcane Island.
“We will rest here for the rest of the day and leave at first light” he said. “For now I think it’s best if we get ourselves rooms at the inn and get some lunch.”
They headed into poor quarter because it would be a much shorter trip through town to get to the docks for morning. As they were walking to the inn there was a young boy who was street busking. He had such a beautiful voice and he played well enough given the tattered mandolin he had.
Bell waited until he was done with the song and she dropped some coins in his hat. He was handsome under all that dirt on his face.
“Hi. I’m Bell. You have wonderful voice” she said.
“Hello Miss. I’m Jake.” He said.
“Where’s your master bard”
“Oh I’m not a bard Miss. I’m just a street busker trying to make coins to help my mom pay the rent.”
She took out a handkerchief and wiped his face clean. She straightened up his doublet and combed his chestnut hair.
“An entertainer should always look his best” and she smiled.
“I try my best Miss.
She told Jake she would be right back. She went to her horse and she pulled out one of her bard bags she had been carrying with her since she left Singerville. She took out her mandolin and walked back over to the young busker. She tuned the mandolin. Jake’s eyes were wide at the sight of it.
“Here, try playing this for a few songs. I bet this will help you.”
Jake stood up, bowed deeply to the young girl and began to apply his trade. RavenDance was intently watching his apprentice and jotting down notes in a book.
The now handsome young street busker was playing exceptionally better with a higher quality instrument. He seemed to have even more pride in himself and it showed in his performance.
“Thank you Miss Bell. I earned quite a bit more with this” Jake said.
“Jake, if you had the means, what is it you would want to do?”
“I want to be a bard. I want to entertain people, I want to make people happy and I want to be famous so my family never has to go without ever again.”
Growing up in Singerville surrounded by bards of all types Bell knew this boy was special. She knew he had what it takes to become a bard. She excuses herself for a minute and went to get the rest of her bardic satchels. She sat them down beside her and pulled out a quill, a dram of ink and a piece of parchment paper. She penned a letter to the head mistress of the Singer Bardic Academy recommending Jake stating he has what it takes to make the academy proud. She signed the paper
“Jake can you read”
“A little bit.”
She read the letter to him. Then she showed him her signature. It was signed Bell Singer.
Jake was quiet for a few minutes. She could tell that he was actually thinking.
“Singer. As in The Singers of the bardic academy” he asked.
“Yes Jake. One in the same. My aunt Mandolin is the head mistress in Singertown. I wrote this letter for you to go and give it to her so you can get enrolled as a bardic student. I have some things for you. Now some of the items you won’t be able to use as they are dresses and skirts so you can sell them if you like or use them for comedy skits and the like.”
She took out her identification papers and the shadow scale that was given to her by Darklyn and then handed him her money pouch. She leaned in and told him how much was in the pouch. His eyes almost popped out of his head.
“Now purchase yourself a horse and ride with haste and make sure you give them this letter. I wish you all the luck in the world Jake.”
“I…I…I don’t know how to thank you Bell.”
“Just go and become the most famous bard of them all!”
Bell grabbed the reigns from her master and they headed to the inn. In the morning they boarded the ship for the island.

Thursday, May 30, 2019

Interview with guitarist JOHN HOLFFMAN by Dave Wolff

Interview with guitarist JOHN HOLFFMAN

How early did you decide to become a musician? Did any specific experience inspire you?
I feel I came into the material world with the purpose of being a creative soul, to express my messages. It almost feels as if I’ve been here before. As far as inspiration, my Aunt Virginia was a world famous violinist in The Philadelphia Orchestra. She also played on some of the biggest Motown records of all time (for Barry Gordy) in Detroit. She is on Marvin Gaye’s “What’s Goin’ On” and Diana Ross’ “Amongst Many”. The big Motown sound was derived from hiring classical musicians to supply string section accompaniment. My father John Sr. steered me from my first choice (drums) to guitar, figuring it wouldn’t be as loud. Thank God he did that; I feel I’m much better suited to guitar. Lou Ubrianco my guitar teacher was the best guitarist I ever heard. He is the former Mighty Joe Young guitarist and taught at Ossining Music in New York.

Do you consider yourself lucky to be from a family deeply entrenched in music?
I was blessed to be in a musical family. Some people believe you choose the people you’re with in this existence before you’re even born in this world. My Aunt Virginia was a childhood prodigy. She went to Julliard as a kid and from there to the Eastman School of Music. She was at a freakishly high level. Being around that has a profound effect. I went on tour with her for a year all over Europe with the Philadelphia Orchestra. She passed away in 2016; I flew back from Hollywood to be at her side when she passed. She was not alone. Her favorite Stravinsky played as she said goodbye. My pop was not in good enough shape to make the trip to Philly, so I was there for all of us. Although I grew up in a classical environment, Rock N Roll was always my favorite. I loved the English Wave of musicians: Jeff Beck, Black Sabbath, Cream, LED Zeppelin, Trapeze, Emerson, Lake and Palmer, Judas Priest, etc. Then I learned their inspiration came from the original Blues players: Robert Johnson, Johnny Lee Hooker, Muddy Waters and Willie Dixon. I will add Luther Allison from Chicago (I studied these guys) and newer artists like Walter Trout and Joe Bonnamassa. Also the Jazz Fusion that Jeff Beck brought into music. That is beautiful.

How long did you study under Lou Ubrianco? As a guitarist, how helpful were the principles he instructed you with?
I love Lou. I studied with him three years off and on. I was a very high energy kid and hard to deal with. He said if I could just direct my energy I could be a great guitarist. Still working at that. I wanted him to show me what I viewed as cutting edge techniques. Sweep picking, fast picking style like Al DiMeola. We studied Iron Maiden and Black Sabbath. He was very helpful. Just seeing someone play with his vibrato, his bends.

In the mid-1980s you founded a local Bronx, New York band called Sovereignty. Was this the first band you were involved with? How much material did they release and at what venues did you appear?
Sovereignty was my second band. I met the other guitar player in Westchester Community College, Victor Leontis music theory class. We played in New York and New Jersey and released a demo. Some of the places where we played were CBGB, The Bank, Marty and Lenny’s. The original members of Sovereignty were Eddie Moore on bass, Chris Peloso on drums, Derek Torres and John Holfmann on guitar. Vocals were split between the two guitarists. After that Imminent Destruction was my third band. The lineup was Pat Dannenhoffer on bass, Steve Olinski on drums and I. This was my first power trio setup which was a blueprint for my future sound. We released a demo as well and played The Bank, CBGB, Marty and Lenny’s and The Briar Patch.

How many copies of Sovereignty’s demo were made? Where was it recorded and who helped produce it with you? Were copes mostly distributed to local zines for review? What were the reviews like if you remember?
I think we may have released about 1000 copies of the demo. It was recorded and engineered by Gene Zoomer, produced by Gene Zoomer and Sovereignty. There may have been some reviews out there. I don’t know if I have any. It was sold at Bleeker Bob’s record store in the village and some other stores in the city. This information was provided by Derek.

How were the turnouts for Imminent Destruction when they played around NYC? Was their demo recorded at the same location as Sovereignty’s demo? How much promotion went into this release?
Imminent Destruction were developing a following opening for other local bands. We were a musician’s band and the bands we opened for were impressed by us. The demo was self-produced in Ossining, in Westchester County. We started to get a biker following which I thought was cool though some riots broke out at our shows, haha. Promotion was done from the back of my car handing out demo tapes. We were struggling.

What bands did Imminent Destruction open for during the time they were building a following? How many demos did you manage to sell firsthand at shows and elsewhere? Are any copies still available?
I think we had six hundred copies all on cassette. I would be hard pressed to find one now. I’d have to dig my tape deck out. We did an odd show opening up for the B-52s. We were doing heavy thrash and did the thrash style circuit. I remember meeting Ace Frehley from Kiss at one show.

What was it like to meet Ace Frehley? Were you a fan of Kiss beforehand?
I was a fan of Kiss when I was a kid. Even did a show in makeup as a child in summer camp. I was Paul in our kid Kiss band. More recently had the chance to meet and hang out with Uli Jon Roth. He is one of my main influences. We talked music, horror movies, special effects makeup, etc. He told me he’s heard our album and is digging it!! Hell of a nice guy. When I met him I was nervous and forgot how to speak momentarily.

Who else besides Ace Frehley and Uli Jon Roth have you had the opportunity to meet?
I did have the chance to meet the original members of Black Sabbath. I have all their autographs on a photo. I met Richie Kotzen who I’m a big fan of. I hung out and drank Jack Daniel’s with Lemmy from Motörhead at The Rainbow. He drank Jack and Coke. I met Glenn Hughes there too.

Do you remain in touch with the members of your old bands every now and then?
I stay in touch with Derek Torres who was the other guitar player in Sovereignty. I stay in touch with the drummer Chris Peloso. He was a nice jazz/rock style drummer. I just texted the bass player from Imminent Destruction, Pat Dannenhoffer. Great bass player and another Lou disciple.

How did you meet Brandon Whynaucht with whom you formed Black Sun Trine?
Brandon Whynaucht worked with me in the film industry; we do special effects. I didn’t even know he played the drums. My friend AJ Venuto also a special effects artist. Heard him rapping on the table and they got to talking. He found out Brandon has played drums since childhood. AJ suggested us getting together for a jam in the garage. I was skeptical about whether it would amount to anything; I thought he would suck. But in the first two minutes I realized this guy was a serious drummer. I was sold. I said right there and then we would make an album. That’s the truth. Four weeks later I went into Brandon’s Paradise Studios and started recording Black Sun Trine. We initially had a bass player we started working with: John Avila who was producing and engineering took over on bass. It was meant to be; destiny. Anyhow, we play beautifully together. The original idea was to do a demo, but it turned into an album. There was something special there. Guitars in the right hands are a very deadly weapon. It demanded to be released to the world.

What were some of the projects you and Brandon Whynaucht worked on together?
Brandon and I worked on Alien Vs Predator and a bunch of the Spider Man movies. I think Narnia? The Stephen King movie The Mist.

How long has Black Sun Trine been active, and how much material has been released to date?
Black Sun Trine was born in February of 2018. Before our album was released, I didn’t consider even being alive. It was collecting dust on the shelf but there was something special about it. We released only that one original self-titled album. We are currently working on a new album of ten new songs. We are currently in the process of mixing it. It’s exciting because we have the legendary Vinny Appice from Black Sabbath and Dio playing drums.

Was BST’s debut released independently, or did you go to a label to release and distribute it?
Black Sun Trine is independently released by us on CD Baby. But we are seeking a two record deal.

How many copies of your debut have you sold through CD Baby? How is the search for labels to distribute the album going so far? Is your search mostly for US labels or are you also seeking overseas distribution?
I think I have sold about 450 CDs. I can’t remember how many I had made but I still have two boxes of them. I was gonna go to Amoeba record store in Hollywood and supply some there for local support. I’ve gotten nothing but positive feedback so far. I can’t remember a single bad review yet. Is that odd? I don’t know. But it feels good to have people happy with what you’ve created and given. I was contacted by a bunch of promoters about helping with that end of things. And we will decide with John Avila how to pull the trigger on a promoter. I am open to an overseas record label. I was contacted from one in London and another in Italy. I wouldn’t rule anything out. We are available overseas now already and have been getting radio play all over Europe and South America. They seem to be digging the heavy grooves a lot more all over the world than the United States. Although it’s my belief that we are in a resurgence of Rock n Roll right now. I’m hearing a lot more heavy style stuff on radio again.

Are those labels from London and Italy well known? How much overseas exposure do you think they would help you achieve?
They are well known; I don’t want to screw anything up so that’s all I’m gonna say on that matter. I am very interested in overseas help with promotion in Europe, South America and the Far East. I think we have wide appeal. As B.S.T. has been getting airplay from radio all over the world. Our goal is to get heard all points of the Earth.

What European and South American stations have been supporting BST since you sent them your material?
I’ve kinda lost track of them but I can remember some: Metal Devastation Radio, Rock Rage Radio, Alloy Radio, Metal Groove Radio, 89.5 FM Australia, Metal Nation Radio, College Underground Radio, Total Metal Radio, Metal Public Radio, Insane Realm Radio, ITNS Radio, Tattoo Metal Radio, Indie Radio Network, Metal Is The Law, Dark Zero Radio and Gimme Radio. We also hit some stations in Brazil and Argentina. I would suggest people listen into those stations; they are a lot of fun. There’s a lot of creative stuff going on.
Amazingly, Black Sun has not been rejected by any programming directors, DJs or administrators yet. Everyone seems to get it. And we seem to be liked. We are going to stay on track. We are not gonna sell out. We are staying heavy.

Where on the radio are you hearing a resurgence of rock music? Is this mostly on traditional radio or internet radio?
I don’t know if it’s my imagination or desire, but I honestly believe there is a grassroots groundswell movement towards hard rock and heavy style music again. I’m hearing it a lot on internet radio which I view as a good and free. That’s the American way. I’m also noticing a trend towards that on terrestrial radio. I think it’s a great movement. As hard rock and heavy metal is a great style to express yourself artistically. You can interject jazz, blues, funk, classical, almost anything. No limit to your creativity.

Discuss where your new album is being recorded and what songs will appear on it.
The new album is tentatively entitled “Ascension”. It is from a demo I created in my home studio (the soul bunker). I sent the demo with twenty or so songs to Vinny Appice to see if he wanted to do the drums. He called and it was on! Next I contacted John Avila, my bass player and our producer. His studio is Brando’s Paradise Studio. The first song we recorded for the new album was “Can’t Live In The Past”. It’s a heavy anthem. I don’t know how I came up with the song. It was almost like I channeled it from the unknown. I was in a great deal of pain while recording it from my near fatal car accident in September 2016. The road to recovery has been daunting and needed an ungodly amount of painkillers. You can’t play the blues until you live the blues. It was the near death experience that made me reflect on things I needed to do before I go. One was record the songs I had in my head. On February 10, 2018 we recorded “New York City”. It’s a heavy groove laden love song to New York (Vinny is from Brooklyn and I’m originally from Queens).
“Upsidedown” came to me while driving on the way home from taking my son to school. I laid down a scratch track of it and it came out good. We just left it as a one take deal, just an improvisational solo. “Another Way” was a track I was saving for the next album. But I thought we needed an up tempo song so I included it. “So Cold” was a meditation exercise I made up to help me get through my pain from the accident. It developed into that song. “Hollywood” came to me in a dream. I woke up and recorded the harmony in the middle of the night so I wouldn’t forget it. It has a haunted vibe and it’s about a deal with the devil. Scary. “Blinded” is about the struggles of addiction. The last song “It’s Hard To Say Goodbye” is one I haven’t recorded yet. I wrote it after my favorite Aunt Virginia died, along with my Dad. It’s got soul and it’s dedicated to them. I have it arranged several ways in my head. I’m gonna bring it to the table with John and see how he would best like to see it arranged. That’s the Art. Heavy issues, heavy lyrics and heavy soul. I’m trying to put more emotion into the music from my heart and soul.

From the twenty songs you demoed, how long did you take to choose tracks for the album?
I sent the twenty new tracks to Vinny first to see if he was interested. He called me at my studio, we talked and I asked him which songs he liked and would be interested in doing. He said he liked them all. To which I said great let me get with my people (by which I meant John Avila) and we’ll be in touch. I went over to John’s that night and gave him the demo to listen to and we began arranging the new songs. Avila knows all styles. He is a natural born musician and a genius. I really have to bring my A game to be working with these legends. I feel I bring something to the table too. I was born to be an artist.

The songs to be included on the album sound deeply personal. What sort of experience was it to record them?
Creativity is something I feel compelled to do. I write songs in the night, while driving or wherever. You never know when the inspiration will hit. How we chose the first ten tracks: I thought which songs would paint the picture of what I’ve been going through. The pain from my car accident, the recovery and the pain meds. The dark stuff your soul goes through. It’s good for emotion in the music and something I felt I needed more of in my writing. I lost my family when I lost my Aunt Virginia. Then I lost my Dad. Then the near fatal life changing car accident. I had a lot of heavy, heavy stuff going. During my two and a half year disability I began to write the Ascension album. It helped me get better and to play again. I would say it saved my life and my soul. The songs on the album are intensely personal and I was hugely emotional when I wrote them. I wanted to capture that intensity when I recorded them; the mood, atmosphere and feeling. I had to try to capture all of that. Avila is also quintessential in that process. He knows what feel we are going for. I communicate it as best I can, from the heart and soul. That’s what you gotta try to do, touch someone’s heart and soul. What more can you do than that?

Describe the car accident you were in, if you want the readers to know.
The car accident was a life changing experience. I was coming home from the studio on the freeway and got hit from behind in a multi car accident. The Jeep got hit rear left at 75 mph, skidded sideways across all lanes and hit the center wall. It became airborne upside down hit and flipped five more times. When I regained consciousness I was upside down in the Jeep and smelled leaking gasoline. I unhooked my seatbelt and crawled out the side window which were all smashed out. I was in shock from neck back and dislocated thumbs from holding the steering wheel when I hit the wall. I bit the left side of my tongue off and knocked out two teeth. The pain has lasted to this day. The immense pain is something I think you can hear in not only the writing but the performance.

Is it cathartic to sing your lyrics? Do you present them in a way for people to relate to?
It is greatly cathartic to write music, perform music, even to listen to music. I developed some of the riffs on our new album in that energy. The music is almost channeled. When you reach a higher state, I think you can extract from a higher consciousness. I don’t know, but it’s a theory. Where does creativity come from? I do present lyrics in a form hopefully people can relate to. I experiment with different tempos until I find its perfect timing. That is just a gut feeling. Where does it feel right? I read about John Lennon experimenting with solfeggio frequencies. He used it on “Imagine”. This is the science of different geometric frequencies that may be linked with healing, developed in the fifteenth century. This ancient 432 hrz “A” tuning was actually standard tuning until I believe the 1950s. These frequencies have been found tuned into ancient Neolithic chambers, temples in the Far East and many more surprising places. Some people theorize that maybe switching away from that more natural tuning to 440A is the reason the world is so disjointed now. Long story short, I am using this ancient tuning to hopefully help heal, and if it helps others that is intended too.
The struggles I sing about are universal. Everyone goes through pain in one way or another. Why are we even here? It’s to feel these heavy things. That’s why heavy music is popular fifty years after Black Sabbath invented it. Because it’s a heavy world.

How much research have you done concerning solfeggio frequencies? Any books published on the subject that you’d recommend?
I don’t know of specific books written on Solfeggio frequencies. But there is plenty of scientific research into its effects on water and biology as well as plant life experiments. It’s interesting. Look on Youtube. A picture is worth a thousand words.

Will any songs that didn’t make it onto the new album be considered for future releases?
There are songs left over of another albums’ worth. My original plan was to release a double album but I’m gonna just save them for the next album.

Do you imagine that lyrics you write in the future will be of the same personal nature?
They say write what you know. So I will be interjecting into the music my heart and soul. I do want to get more into some different story telling in the future. It’s my desire to steer clear of politics in our music because that’s only going to divide. There’s enough of that going around now, without me adding more negative vibrations. I wish to convey universal truths that everyone can agree on.

There is a lot of media spin when it comes to politics and racism, usually meant to divide the public. How do you want to provide an alternative, and what do you mean by universal truths?
The media is a propaganda machine used for control. A lot of news gets distributed across all the networks in almost the same wording. Issues like racism are intended to divide so they can conquer. Classic Marxist or Nazi mind control propaganda. Schools are indoctrinating young impressionable minds. It’s all about control. I don’t speak for everyone but I’d like to remain a free thinker. As far as universal truths, what is truth? What’s true for you may not be true for half the country. Maybe we can concentrate on things that we all can agree on. Small steps.

Do you think people will be able to find common ground with each other? These days we seem pretty far from doing so, especially if you look on social media. Do you still hope that things will somehow change for the better?
I do think people will come back together again. I don’t want to appear polyannaish. Although it seems so far away right now I think it’s right around the corner. It’s time. We need to do that in America, because the rest of the world looks to us as an example. Music is a great way to bring people together and find common ground. Thank God for music; I believe it saved my life.

-Dave Wolff

Wednesday, May 29, 2019

Full Length Review: HYPERDONTIA "Nexus Of Teeth" (Dark Descent Records) by Kelly Tee

Location: København
Country: Denmark, Turkey
Genre: Death metal
Full Length: Nexus Of Teeth
Label: Dark Descent Records (USA)
Release date: September 14, 2018
Hyperdontia is a multicultural bunch, made up of members from Denmark and Turkey and hailing from bands such as mighty Phrendelith and Burial Invocation, it is no wonder that the sound created within Nexus Of Teeth is of a hybrid nature. Given this is their debut album, I will go as far as saying this is imposing and commendable.
Expect tracks curdled with dirty gritty guitars, exceptional rhythmic drum tracks, a chaotic brutality of deep dark riffs and of course infamous blast beats. Notoriously, David Mikkelsen's vocal style is ever so monotone and mean and almost inaudible, however, this works! By way of creating a level of savagery that feels extremely secular and evil. This is an album that lacks any impressive breakdowns, however, holds its own on its sheer continuous forceful sound and relentless heaviness. It turns out I didn't miss that element at all and only realized it was void of those breakdowns, on my second listen. The element of blackness within this album surely did win me over, of course, those oh so blackened elements combined with delicious guitar technical solos was an excellent contrast and pure to the death metal genre.
Every song on Nexus Of Teeth provides a deep sense of aggression and violence and while the lyrics aren't clear, it forces you to use your own senses, musical appreciation and imagination to create your own story within this album, and it won't be one of roses and lollipops, let me give you the tip. Do yourself a favour and do read the lyrics, because they are rather poetic and disturbing. Some tracks should come with "listen with the light on" warning.
Nexus Of Teeth is full of vocals, that I'm sure has been damned in hell and possibly one of the best album I have heard so far in 2019. Tracks such as “Of Spine and Thorn” will provide a very secular and drive fast vibe for the listener. David has pain to his screams, which are incredibly addictive when he hits his (albeit subtle in height) shrieks and knotted my tummy in the best death metal way.
Stained with darkness only you can appreciate if you listen, Nexus Of Teeth is a vile and opaque listen. The interesting drum tracks and patterns create such a heaviness to their sound, with those stocky thick riffs and droning bass. This almost feels doom-like at times, and I enjoyed that element. This album has a lot of appeal in the blackened compositions, together with the roots of death metal, being its intense and heavy pace with technical guitar patterns, overall creating an impressive metal structure of notable heavy levels.
There is no release from this albums tyrant grip as it smashes you from one heaviest matter track to the next. It is an onslaught to the ears. I had my picks off this album, such as Teeth and Nails for its sheer brutality and violence and Majesty for its mysterious and adverse style, brutish atmosphere and technical musicianship. Escaping the Mortal Embodiment is lyrically smart and carries an unrelenting darkness, which is full of animosity. I properly enjoyed each of the eight tracks from this album. This is sweaty shirtless people moshing hard across the pit stuff.
My only hope to wrap this review up is that this band creates more metal for us to indulge in. Enjoy. -Kelly Tee

David Mikkelsen: Vocals
Mustafa Gürcalioğlu: Guitars
Malik Çamlıca: Bass
Tuna: Drums

Track list:
1. Purging Through Flesh
2. Of Spire and Thorn
3. Teeth and Nails
4. Aura of Flies
5. Majesty
6. Euphoric Evisceration
7. Escaping the Mortal Embodiment
8. Existence Denied

Monday, May 27, 2019

Poem: "Little Derelict" by Jeremy Void

Little Derelict

A cacophony
a cocoon I sit in
the disarray
it wraps me up and tries
to smother me down.

I’m innocent. I’m bright.
Will I survive the night
without trying to start a fight?
I don’t know, I’m lost
falling into your arms.
You’d catch me, but then you’d
drop me, kick me, hit me
till I bleed.
I’d plead for you to stop
but to be honest I kinda like it
makes me feel nice and raw
like an animal in the wrong.

I creep behind the city
in the backstreets, lingering in
derelict taverns.
These are my people,
but they hate me,
but they don’t know me,
but I’m totally deranged.

I see the fires burning
I’m learning to love
but I can’t stop this hate
coursing through my brain.

It’s rough and twisted
it treats me like a bitch
but then I lick it
I say give it up
give it to me
give it over
before I have a fuckin fit

but then my knees give out
and the floor breaks my fall

Poem: "Opulent Mantle" by Sky Claudette Soto

Opulent Mantle
By Sky Claudette Soto

As with mantle an opulent cup, sits cradled in the palm of my hands joyously overflowing
In a days brilliant light as bright as glittering stars that glisten, down ever so rambunctiously as a rekindled and convolving
heaven above and an entwining heaven below sits an ever so graciously.. and bestowing golden, silver of stars that are seen that only passers by envision a great knowing of all that Ostara is closest and nearest to thine heart, as we searcheth,
forth most, endowed within our own inner and outer crystalline egg of life in a rein of rains towards a ravenous Successor whom is a seer, aware
Of mystical beauties.

Written by and copyright first American Publishing rights only. Sky Claudette Soto, Eros Fy

Poem: "Shame" by S.C.C.

By S.C.C.

I see the TV.
They keep speaking, yapping and keeping us waiting, for a simple decision.
Just vote already.
How many people must be hurt How many people will still be screwed over.
We are a democracy... Right...
I don't know anymore why did we had to end like this.
I'm ashamed... Scared, enraged...
But mostly ashamed.

Poem: "The ruins of my youth" by Steven Michael Pape

The ruins of my youth
By Steven Michael Pape 

The ruins of my youth,
The wandering eyes of pity,
Smoky rooms, endorphins,
The darkness of the City.

The wreckless in our nature,
That we all seem to explore,
Searching for the answer,
Through every open door.

And past the Midnight hour,
As things are seeming frightful,
We're all singing in a loud voice,
An early morning recital.

A cacophony of laughter,
Alcohol drug, induced,
Behind our glassy eyes,
We're now speaking the truth.

Poem: "Unsettled Stones!" by Rich Orth

Unsettled Stones!
By Rich Orth

Thru gardens of decay
Unwittingly alive... we traipse
Genuflect as we traverse
Barely stepping upon each unsettled stone..

In full bloom
Spring unleashed
Tickles humanity pink..
Saturates pollenesque skies
Smiles..ear to ear, resume
Bless thee my child...
oh, thee all consumed

Though in the periphery...
Under eons of earthen debris
Souls ebb and flow
Spirits wane...
Consummating untruths
Obstreperous clamorings
Ring in defined hours of misery
Deafening as the silence above...............
Deafening as the silence below..........

Poem: "Architecture of Creativity" by Alan Lisanti

Architecture of Creativity
By Alan Lisanti

The artist's blood is blue like 30,000 leagues of the deepest frigidity
The artist's blood seethes like the core of the Sun
The artist's blood depletes itself in the name of creativity
The artist's blood is bleak like aurora skies cleaned to blank canvases
The muse never sleeps despite the throes of exhaustion plummeting
The soul of a mere mortal melted in the palms of the world's hands
The life of these tragic cycles eviscerate flesh to purge hope from atrophy
The world is so vacant and bare without us there
The silence that invades when the song stops momentarily propels the demons to stir and manifest in thin air
The blank pages unmarked are just dead trees and drink coasters on glass coffee tables, they hold empty cups of unanswered but containable despair
The ends of shelves prop up crooked spines from falling victim to gravity
But no words leap from pages just white voids undeclared
And time fades these purposeless collections of infamy
To yellow off-white hues of forgotten lifetimes in disrepair
The artist's blood is infinite but not in the face of mortality
There is a gutter in Boston with your name waiting for mythology
To proceed your departure and propel your legacy
In the hearts and the minds of those that still breathe the fresh air
There are pockets with change needles and threads in them
That weave the influence beyond discoveries of stiff limbs, poor lungs
Dead hearts and speculations of
Genius that once graced the world with existence and briefly gave gifts to paint the stars that dulled out in the canopy
To relight the burnt candles in the eyes of tomorrow's forever then
As words outlive their makers
The spirit is spared
In the songs that the records spin and spit into consciousness received by the new
In the shadow of heirs
And colours in a world gone deprived as in Pleasantville with fires alive that funnel the spectacle announcing intrigue to hearts winded by searches for
Something, anything, to fill the holes in humanity the glue in experience
The spirals of longevity
The kaleidoscopic brilliance that kills voids and sadness in the pupils of the living that dive deep into isolations or purposes that hide from themselves but
Find it all there
I thank them for all the times over years
They have captured me
Saved me from myself
And offered tranquility
Inspired new will when hope ran away from me, and gave themselves to the world-all to the world
So selflessly
Time cannot claim what transcends
The limited
Carried on the undying wings of infinity
To live on
To live on
To live