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ISSUE 282 JUNE 2017 £4.99
#282 JUNE 2017


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Miranda Yardley miranda@darkartsltd.com

Darren Sadler darren@darkartsltd.com


Kez Whelan kez@darkartsltd.com

Steve Newman steve@darkartsltd.com

Clare Shoesmith clare@darkartsltd.com

Cover Photo: scottkinkade

Rhiannon Yardley

WRECKING CREW t’s safe to say most of the writing team this
Olivier ‘Zoltar’ Badin, Ross Baker, Adrien Begrand, J. Bennett,
Steve Bidmead, Alex Boniwell, Dean Brown, Ed Chapman, Faye month are suffering post-Roadburn blues.
Coulman, Robyn Doreian, Jonathan Dick, Noel Gardner, Ian
Glasper, Benj Golanski, Rod Hunt, Steve Jones, Kim Kelly, Mike
It happens every year without a shadow of a
Kemp, Connor Kendall, Ronnie Kerswell-O'Hara, Jim Martin, Andy doubt. If you want to read up on all the fun you
McDonald, John Mincemoyer, Mörat, John Muskett, José Carlos
Santos, Rob Sayce, Joshua Sindell, Kevin Stewart-Panko, Guy either witnessed yourselves or sadly missed out
Strachan, Rich Taylor, Andy Walmsley
on, for whatever reason, please turn to the live
Dan Fellowes, Steve Gerrard, Dan Gray, Kane Hibberd, Rod Hunt, section of the magazine and bathe in some of WHAT TEAM TERRORIZER HAVE BEEN SCARING
Zen Inoya, Gobinder Jhitta, Marie Korner, Mark Latham,
Enda Madden, Al Overdrive, Al Pulford, Andre Purvis,
the highlights of this year’s event. We also have THE NEIGHBOURS WITH THIS MONTH…
Christian Ravel, Antony Roberts, Ester Segarra, Alex Solca, some killer features in this issue, and as always,
Emma Stone, Taya Uddin, Leigh van der Byl
it’s a battle to feature every band Team Terrorizer MIRANDA YARDLEY
www.Terrorizer.com/Subscriptions loves. The good news is, what’s inside is a broad ULVER
Telephone: +44 20 7729 7666 'THE ASSASSINATION OF JULIUS CAESAR’
spectrum of bands who have long-established HOUSE OF MYTHOLOGY
Contact miranda@darkartsltd.com / +44 (0) 20 7729 7666 relationships with the magazine and with you guys
WORLD DISTRIBUTION too. Dying Fetus grace the cover, which we are very DARREN SADLER
Tel: +44 (0) 20 3148 3333 honoured about, and elsewhere there’s some killer ‘68
PRINTING interviews with Oxbow, who have returned after a ‘TWO PARTS VIPER’
Wyndeham Bicester
decade; horror rocker Wednesday 13, Schammasch
The views represented in this magazine are not necessarily those
of Dark Arts Ltd. Best endeavours have been taken in all cases to
talk about their new opus, VoiVod get nostalgic KEZ WHELAN
represent faithfully the views of all contributors and interviewees. with us and Vallenfyre have frankly blown the
The publisher accepts no responsibility for errors, omissions or the FULL OF HELL
consequences thereof.
roof down at Tezza Towers with their album of the ‘TRUMPETING ECSTASY’
year contender. So what are you waiting for – stop
Terrorizer is published every four weeks. No part of this magazine reading my notes and get to the real action! JOSÉ CARLOS SANTOS
may be reproduced without the prior consent of the publisher. The (SENIOR WRITER)
See you next month!
publisher cannot accept responsibility for the advertisements in HARVESTMAN
this publication. Adios 'MUSIC FOR MEGALITHS'
TERRORIZER, ISSN 135-0677, is published Monthly by Dark Arts Darren Sadler
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The death metal titans are back, and as focussed as ever

Returning after a seven year break, we talk life, death and
‘Game Of Thrones’ with Disbelief

With the world rapidly going to shit, Coltsblood argue doom
has never been more relevant

Gregor Mackintosh on their raging new record and the
importance of checking out new bands


The Dutch death metallers on the spoils of war and, erm
luxury cruise ships


The UK post-hardcore crew on pursuing your dreams


J. Bennett discusses the band’s recent line-up changes


The Swedish D-beat legends on finding inspiration in
unexpected places

The former Murderdolls frontman on teaming up with Nuclear


4. FRONTLINE The death/grind/noise outfit give not a single fuck on their
Schammasch tell us about their new 68. PANDEMONIC CULTUREBLAST crazy new album ‘Trumpeting Ecstasy’
EP New DVDs from Dimmu Borgir, Cult Of Luna and Fates
Warning come under scrutiny 40. OXBOW
6. BAR RANT Experimental rock legends on balancing chaos and order
Tim ‘Ripper’ Owens on his new band with 70. DARK RECOLLECTIONS
Megadeth’s Dave Ellefson and why appearing Voivod cast their minds back to the recording of their 42. GOLD
on reality TV isn’t all it’s cracked up to be classic ‘Dimension Hatröss’ Dutch oddballs on making your voice heard


Matt Harvey spills the beans on Exhumed’s We put The Dillinger Escape Plan through our rigorous Guitarist Herman Li explains why being a control freak can
latest platter of splatter musical identification exam be unhealthy


The low-down and the run-down on this Festival season kicks off as we report back from The Swedish death metal juggernaut prove there’s life after
month’s dose of Fear Candy Roadburn, Ritual and Lords Of The Land Vomitory


We’ve got death metal from Succumb, Oceano’s Adam Warren shares his influences with us Steve Von Till talks us through his home-studio setup and
Omnipotent Hysteria and Repulsive, black being inspired by dub for his latest LP
metal from Abduction and Dakhma, doom
from Bereft, Prisa Mata and Brume and 50. FIRESPAWN
much more The death metal supergroup have refined their craft on
album number two
We check out new albums from Full Of Hell, 52. WOE
The Bug VS Earth, Sólstafir, Oxbow, Skyclad THE DILLINGER Rising US black metal quartet explain the themes behind
and many more
p72 ESCAPE PLAN their powerful new record


16-17-18 JUNE 2017




BULLET POINTS Terrance Hobbs. “We’re going to be bringing signing with Season Of Mist, a true visionary
you some new brutal tunes from our latest metal label with a focus on creative artists,”
release ‘…Of The Dark Light’. So prepare to say the band. “It has been a long wait since
Melt Banana, Ghold, Oxbow Choir, Art Death metal legends Suffocation go ‘Beyond The Dark Light’ with us and see our last album [2010’s] ‘Hypomanic’, but
Of Burning Water, Zu and Nicholas Bullen, have announced a string of UK dates you in the pit!” you can rest assured, the new album will
(performing a special one-off set to celebrate in August, beginning on August 27th in www.Facebook.com/Suffocation blow you away in more ways than you can
the anniversary of Napalm Death’s classic Bristol before calling at Sheffield, Glasgow, imagine. Expect a mix of everything that we
‘Scum’ LP) have all been confirmed for this Newcastle and culminating in London on Belgian death-grinders Leng Tch’e have done in the past fifteen years, but taken
year’s Supersonic Festival, which August 31st. “We’re looking forward to are gearing up to release their first new up a notch in speed, extremity, heaviness,
takes place in Birmingham from June 16-18. coming back to the UK and Europe, and material in seven years via Season Of Mist. and sound.”
www.SupersonicFestival.com seeing all of our fans!” says guitarist “We are very excited to announce our re- www.LengTche.net



What inspired you to use a chapter Switzerland is not conducive to an artistic

from surrealist text ‘Les Chants De life. I identify with feeling lonely with no
Maldoror’? fellow human beings to be close to you or
“We used part of the book on [2014’s] understand how you see the world.” new records is the book’s overall theme from the
‘Contradiction’. We used quotes on the track book and the artwork. Musically the next album
‘JHWH’ and there were a couple of parts on How did you change your approach to won’t be connected to ‘Hermaphrodite’. I can’t
[2016’s] ‘Triangle’ too. After ‘Triangle’ it was songwriting from the way you wrote tell how many of these records there will be yet.
hard to decide what to do next. We decided ‘Triangle’? I’m trying to get away from big concept albums,
to do some smaller releases to challenge “I started to write this record when we were it gets too much for me. I want to create
ourselves. When I first read the story it felt producing ‘Triangle’. I had no idea if I’d use the something freer and less conceptual next.”
very personal. I kept coming back to the material or not but it came along quite nicely.
‘Hermaphrodite’ part of the book. I felt very It made sense to use more spoken word; I think Musically, do you feel you’ll move further
connected with the character and the theme it’s an element most metal bands don’t use. away from black metal?
of alienation. This work of art is too precious It adds a different atmosphere. I added a few “Each time I write a new record I always say
to limit it to one release, so we’ll release a lines of my own but it’s mainly the original there won’t be a black metal element, but I just
selection of records based on this text.” text. To use regular singing would have made it seem to write music that way. I won’t move
impossible to tell this story. I was impressed with completely away from black metal but it will
What was it in particular about ‘Les the way Ulver told the story of William Blake’s be less important for us in the future. I’m more
Chants De Maldoror’ that appealed ‘The Marriage Of Heaven And Hell’ [on 1998’s interested in the ambient world when I listen to
to you? ‘Themes From William Blake’s The Marriage Of music these days. I’m tired of the traditional rock
“There are so many negative aspects of Heaven And Hell’]. They took the whole book music set up. We’ll do more songs with a third
humanity and here all of their perversions and gave it their own interpretation. “ guitarist, it helps us recreate the music more
are laid bare. It’s described in a non- authentically. Our set at Roadburn taught us
judgemental way, as a natural part of the Will ‘The Maldoror Chants’ be a trilogy we can use different elements on stage without
nature of man. I fell in love with that like your first three records? the distortion used in metal. It’s given us the
way of looking at the negative side of “I’m not sure. I already know what the confidence to look at using more calm elements
humanity. The Hermaphrodite character second story is going to be but there’s in the live shows.”
reaches out to people who can’t find no numerological link. Choosing the
their place in modern society. I’m sure ‘Hermaphrodite’ story first came from a very ‘The Maldoror Chants: Hermaphrodite’ is
in those days there were people who unconscious point, it was the one that touched out now on Prosthetic
felt that way and I can relate to that. me the most. The only connection between the www.Schammasch.com

“I won’t move completely away

from black metal but it will be less
important for us in the future”

For daily updates check www.Terrorizer.com TERRORIZER #282 5

“75% OF

Ahead of his massive UK tour, TERRORIZER had a few beers whilst
waxing lyrical with TIM
‘RIPPER’ OWENS about endorsements, side projects with Megade
th’s Dave Ellefson and
appearing on American reality TV shows…

Words: Ross Baker

“The thing about that ‘Bar Rescue’ show was, they called us. We didn’t call ENDORSEMENTS VS RECORD SALES
them. 75% of what you see on that show isn’t real. They would make us walk “I’m sponsored by Monster Energy who are a fantastic company. They make lots
through a door four or five times just to get the right shot. They ripped on us of merch for me which has saved me a bunch of money. Working with them has
for the kitchen being dirty but they wouldn’t let us clean it the night before, allowed me to lower my performance fee to venues when I am booked for solo
then they come in the next day and are like ‘look what this looks like’. People shows. It lets me do more without promoters getting screwed over. I think a lot of
should be smart enough to realise we never failed a health inspection. When bands will do this from now often. Jägermeister have done lots of marketing with
they come in and film the show, you don’t know what it will look like. They gear bands which has been so successful. Monster has their logo on UFC fighters and
the show to look a certain way. We weren’t losing like they made us say but in so many places. They don’t tell me what to do as an artist but it’s a great way
they made great changes to the place and made the stage better. The host Jon to save on merchandise. Some people don’t like it but I think it’s a great way for
Taffer was cool too, but it is not representative of how things were.” bands to make money since you can’t count on record sales so much.”


“We had a bunch of guys come and jam at the restaurant. The Dio’s Disciples “We became such a family when I joined Priest. We still talk. Rob [Halford,
guys, John 5, Dave Ellefson. We had a couple of guys that were nearly sick vocals] and I are friends and KK [Downing, guitar] came to my last solo show in
from the hot wings. We had A.J. Pero from Twisted Sister come down and play Manchester. Everyone is so busy. I talk to KK the most. I miss hanging out with
a few tunes. That was the last time I saw him before he died. We had a band them. We had some great times, I will never forget. I got to play with those guys
called Tread with our friend Rudy Sarzo. We had five or six songs recorded. but I also got to play with A.J. and play ‘Parasite’ with Ace Frehley from Kiss. I’ve
He was an unbelievable drummer. It was great to hang out that night, John had a great career.”
Moyer from Disturbed was playing bass for us, it was awesome. I’m doing an
album with Chris Caffrey and Roy Z that’ll be coming out next year and I’m
Tim Ripper Owens plays the following UK dates:
writing music and doing vocals in a band called Killing Machine with Dave May 27 – The Iron Road, Evesham, May 28 – Bierkeller, Bristol,
Ellefson from Megadeth. We’re shopping the Killing Machine record to labels, May 29 – Robin 2, Wolverhampton, May 30 – The Venue, Westcliff-On-Sea,
we have four or five songs with vocals and ten finished. We’ve jammed a lot June 1 – Think Tank, Newcastle-Upon-Tyne, June 2 – McLeans Pub, Deeside,
in the past but I’m writing two records at once so I’m gonna take my time with June 3 – Yardbirds, Grimsby, June 4 – The Underworld, London
it. The stuff with Chris Caffrey will have more of a Savatage and Judas Priest
influence.” TimRipperOwens.com

Choose from the following formats.

LIMITED ARTBOOK (with CD, double 10“ vinyl, gold foil logo print and
extensive booklet with additional artwork and sketches and Jon Schaffer introduction)*

DELUXE DIGIPAK CD (Slipcase, extensive booklet and poster)

DELUXE DOUBLE LP (180g, etching, gatefold sleeve,
4-page lyric sheet, 12-page LP-booklet with artwork to each song)


and challenge of jumping back into
Artist: Exhumed the fray with some folks I’ve known
since we were teenagers to see if I
Title: ‘Death Revenge’
can keep up pace with their intense
Producer: Jarrett Pritchard vision of gore metal, especially since
Release date: Halloween 2017 Matt and company have welcomed
me back into the fold with open
Label: Relapse minds, hearts and abscesses.”

You’ve hinted at writing your

own concept album this time
around – is that still the case?
Matt: “I had planned to do a Dekapitator concept
record years ago, but the band fizzled out so it
never came to fruition. It’s been something I’ve
considered for a long time, but I always shied
away from it because I thought it might be too
pretentious for Exhumed. But as I was researching
random stuff on Wikipedia, I stumbled upon the
story of the Burke and Hare anatomy murders
in Edinburgh. The more I read about them, the
more I thought that the story was perfect for
an Exhumed record. There was grave-robbery,
dissection, murder and drunkenness, pretty
much covering all of the bases there. I did take
the ‘each voice represents a different character’
approach to the song-writing from King Diamond,
but I listened to all sorts of concept albums
and musicals to see what would work and what
wouldn’t in the context of this record, from the


obvious stuff like Voivod and Ghoul, to stuff
like The Moody Blues, ‘Sweeney Todd’ and Jeff
Wayne’s ‘War Of The Worlds’ album. It was a
really fun project to write and a nice challenge. I
figure, this is our sixth album, so I wanted to try


and do something that we hadn't done before,
without compromising the Exhumed sound – there
still has to be dual vocals, blastbeats, obnoxious
guitar solos, etc. etc.”
In between Gruesome and your new only with your past but also with some
Words: Olivier ‘Zoltar’ Badin

heavy metal project, it kind of felt as if former band members… How much did it Could you give us the lowdown on the
Exhumed had been put on the backburner affect the songwriting on the new album? actual story? Maybe some song titles?
lately… Is that true? Matt: “I think the main thing that came out of the Matt: “Well, the album is called ‘Death
Matt Harvey [guitar & vocals]: “Not really… but re-recording was getting Ross, who was with us Revenge’, has ten songs and is based on a true
kind of. We did so much touring for [2011’s] ‘All from 1994 to 1999, to re-join the band. That was story. It’s a fictionalized account of the Burke
Guts, No Glory’ and [2013’s] ‘Necrocracy’ that we a HUGE thing for me. The dynamic of the band and Hare anatomy murders and deals with the
all needed a break from the band and I think the back in the day was very much a team effort. culture of the resurrectionists and anatomy
audience benefitted from it a bit as well. There Whereas, as time went on after ‘Gore Metal’, it schools in England in the 1820s and ’30s. I did a
was a period in time where we were playing sort of became more and more of just me taking fair amount of reading and research when I was
certain cities four times in six months and we on all the conceptual and lyrical stuff, which was writing the lyrics and pacing the story. ‘Death,
were burning ourselves out physically, so we all kind of a bummer from my perspective. Ross is Dissection And The Destitute’ by Ruth Richardson
agreed that we needed to pull back from that. an amazingly smart and talented guy who has and ‘The Anatomy Murders’ by Lisa Rosner were
For me, though, I’m pretty restless. I’m always been an invaluable sounding board and I think his invaluable resources for getting the story straight
writing songs and coming up with ideas, it’s just input, even though he came in kind of late in the and putting it into perspective. I wasn’t able to
how my brain works. It just so happened that just writing process, will really add something to the get as into the economic and social aspects of
as Exhumed was winding down, Gruesome was record.” death and grave robbery in that time period as
taking off, to a much greater extent than I had Ross Sewage [bass & vocals]: “Exhumed has I wanted to, but that may have been a little too
anticipated, so that kept me busy.” evolved a lot since my time playing with them in tangential for the main story, which has all the
the ’90s and I really enjoyed their material as it juicy bits like murder and exhumation.”
When you re-recorded ‘Gore Metal’ two matured from the ravings of lone necromaniac into
years ago, it allowed you to reconnect not a full blown necrocracy. Now I get to have the fun Exhumed.Bandcamp.com



HERE ARE THE SEVENTEEN INGREDIENTS THAT MAKE Records. This first single ‘Fall of a Nation’ 13. RICH DAVIS
shows that none of the band’s firepower 'Past Tense' from the self-released album 'The
UP THIS MONTH’S SLICE OF FEAR CANDY... has diminished and the band are Awakening'
TERRORIZERFEARCANDY.BANDCAMP.COM sounding stronger than ever. Baltimore Maryland’s Rich Davis shares his latest
Facebook.com/CorrodedSweden track ‘Past Tense’ taken from the new CD/DVD
1. khost band that fuses powerful melodic hardcore with the ‘The Awakening’ with seventeen tracks and five
'Redacted Repressed Recalcitrant' from the Cold hard slamming breakdown infamous with the east videos from the new Rich Davis solo project.
Spring album 'Governance' coast, The band will be capturing the attention of Facebook.com/RichDavisMusic
Birmingham experimental industrial metal band fans worldwide with their powerful debut full-length
Khost have toured the UK with Godflesh and album released by Eulogy Recordings on 7 April. 14. WIND ROSE
Conan and are, as this track shows, known for www.SilenceEqualsDeath.net 'To Erebor' from the Inner Wound Recordings
sheer heaviness of their uncompromising sound. album 'Stonehymn'
Facebook.com/khostBand 5. OMNISPAWN Having toured with bands like Wintersun,
'Trevor' the self-released single 'Embers' Eluveitie and Ensiferum, and with two albums
2. TRIVERSE MASSACRE It's been eight years since the swedish death metal CELL SECTION under their belt, Wind Rose release their third
'Styx' from the self-released EP 'Hades' band Omnispawn released 'Darkness Within' and album Stonehymn, an album of epic, powerful
Carlisle-based Triverse Massacre’s new EP now they're back with the upcoming EP 'Embers'. folk-inspired power metal.
Hades is released on 26 May. ‘Styx’ cranks up Facebook.com/Omnispawn 10. CELL SECTION Facebook.com/WindRoseOfficial
the intensity levels and technicality with a 'Dismembered Souls' from the self-
guttural vocal attack, framed by sledge-hammer 6. CONTORSION released album 'Hologram' 15. MUDFACE
drumming and vicious guitar parts. This track is 'United Zombie Nations' from the self-released album Cell Section creates impulsive extreme 'The Watchers' self-released single 'The Bane of
guaranteed to start a moshpit in an empty room. 'United Zombie Nations' music, shifting from dissonant riffing to Existence'
Facebook.com/TriverseMassacre Founded in 2004, the Swiss thrash metallers are dense atmosphere combining technical, The San Francisco Bay area Metal scene has
about to release their third album with speed, groove industrial passages with breathing a long and storied history of spawning some
3. KOLLAPSE and blistering solos to offer you a short sharp trip spirals of dark touch and precise powerful and innovative acts. With the release
'Gueules Cassées' from the 5FeetUnder Records through their unique thrash metal universe. breakdown and blast parts. of the grinding single ‘The Watchers’ on 21 April,
album 'Angst' Facebook.com/OfficialContorsion Facebook.com/CellSection Mudface carry on the Bay Area tradition...
Kollapse is about communicating something www.MudfaceMetal.us
that is real, in a culture that is shallow and 7. ARSANTIQVA 11. LIV SIN
dispensable. Isolation, being broken mentally 'Hellwhore' from the self-released album 'Scavengers' 'Killing Ourselves To Live' from the 16. CASTLEWAY
and socially and the distinct coldness of This doomsday crew from Brooklyn, NY delivers a Despotz Records album 'Follow Me' 'A Shivering Sea' from the self-released album
Scandinavia, fuel the fires of angst. Finding taste of epic black 'n' roll. Its headbanging riffs and Former Sister Sin front woman Liv Sin 'The Hunt'
beauty in the harsh and the ugly, standing firmly punchy blast beats are brewed with dark symphonic returns with her powerful solo debut CastleWay is a bunch of ‘old’ Vikings, frosted
on the side of the outsider... elements. album, ‘Follow Me’, released 28 April for nine centuries in a deep caves not far from
Facebook.com/KollapseBand Facebook.com/Arsantiqva on Despotz Records. This is in your Aigle in Switzerland. Brought back to life in 2008
face, hard hitting metal co-produced by to tell you the true North stories, steal your ale,
4. SILENCE EQUALS 8. LUNATIC HOOKER Accept/UDO legend Stefan Kaufmann and burn your stages and make your head bang! New
DEATH 'Fucks All' from the Black Bow Records album featuring Destruction’s Schmier. album ‘The Hunt’ was recorded this spring and
'No More Ashes' the Eulogy Recordings single 'Embracing the Filth' Facebook.com/LivSinMusic will be released on 12 May.
'No More Ashes' ‘Embracing The Filth’ is a masterpiece of extremity, TinyURL.com/CastleWay
Silence Equals Death is a New Jersey hardcore fusing death metal, grindcore and sludge into 12. PIMEÄ METSÄ
an album that’s both crushing and captivating. 'Einherjer' from the Wormhole Death 17. KINGPIN
Overflowing with fantastic, memorable riffs, wicked album 'No Blood, No Glory' 'The Vultures Circle' from the Survival Scroll
hooks and searing lead work. Inspired by viking and nordic mythology, Records EP 'The Vultures Circle'
Facebook.com/LunaticHooker this Spanish band reaches a thicker Having already shared stages up and down the
and mature sound in their new album, UK and Ireland with bands like Iron Reagan,
9. CORRODED performing a powerful combination of Sick Of It All and Power Trip, Kingpin’s crossover
'Fall Of A Nation' from the Despotz Records album melodic death metal with epic and folk chaos will wreck your neck with tenaciously fast
'Defcon Zero' melodies. thrash riffage and then bash your brains in with
After five years away, Sweden’s Corroded return with Facebook.com/PimeaMetsaOfficial crushingly heavy hardcore breakdowns.
their new album ‘Defcon Zero’, out now on Despotz Facebook.com/KingpinGlasgow1


an Francisco’s Succumb plumb the through Transylvanian Tapes. After a small west place of trust between band members; through
depths of modern death metal with coast tour, Nicole left the band. We met Harry writing and playing together the quartet are able
primitive elegance, distinguishing [Cantwell, drums] through sharing the stage with to recognise each other’s individual strengths
themselves from their peers with vocalist Cheri Bosse-De-Nage, and since we were already great and weaknesses and utilise them to get the most
Musrasrik’s cathartic howl. Their self-titled friends it was a natural fit.” out of each song writing and recording session
debut’s juxtaposition of dissonant metal riffing Citing authors and poets like Yeats, Jean together.
and propulsive drums with Musrasrik’s unique Genet and Emile Zola as her primary lyrical “Kirk and Harry are great with moving the
voice and sophisticated lyrics make for a influences, Musrasrik tackles themes such as process along composition-wise, as I tend to be
particularly exhilarating listening experience. human experimentation, autoerotic asphyxiation, over analytical. Lyrics are left entirely up to Cheri,
“We formed in San Francisco in August of BDSM, prostitution, opium dens and dystopias which works out great because I love what she
2014 as Cloak. I met Kirk [Spaseff, bass] and our with a distinct literary flair. does. I’ve written lyrics for previous projects and
old drummer Nicole through sharing a rehearsal “When we started, it was a common love for they read like a thirteen-year-old who just heard
space when they sent me a message asking if Canadian/Australian war metal that fuelled us Assück for the first time so I’m definitely hands
I wanted to form a band, citing Blasphemy, creatively. However, we all come from relatively off with the lyrics,” laughs Derek.
Teitanblood, and Cultes Des Ghoules as the unique musical backgrounds, so our other “I feel that we have only begun to explore
foundation of the sound they were going for,” influences tend to naturally creep in during the what we want to do sonically with Succumb. In
explains guitarist Derek Webster. “The grind creative process”, Webster says. “In addition, that respect, I’m excited to see how we fine tune
project I was working on at the time had grown when Harry joined the band we immediately our sound and reach our full potential.”
stagnant, so I was eager to join them. Kirk went to work on the album, so you could say Although it may feel like Succumb have
and Nicole later recruited Cheri from Pig DNA we were becoming acquainted with each other’s already broken plenty of new ground, it’s clear
out of Oakland, who are just a fucking ugly- styles as we were writing. In that regard, you this is just the beginning…
sounding band so her vocals definitely worked could say that where we’re at now was the result ANGELA DAVEY
for what we were going for. We got to work on of a natural evolution.” ‘Succumb’ is out now on The Flenser
our demo, which was released in March of 2015 Succumb’s compositions are forged from a www.Facebook.com/SuccumbSF

of those ideas end up being the final takes. I
have an unwritten ‘three takes or less’ rule.”
That rule has granted debut album ‘To
Further Dreams Of Failure’ a raw, furious
energy, with A|V’s tortured shrieks and knack
for labyrinthine yet memorable songwriting
reeking of early Leviathan, with the odd
Darkthrone riff for good measure.
“It’s basically the document of the project’s
last year or so of existence,” he explains.
“It’s bleak and depressive black metal. It’s
just something I need to get out. Life can be
painful and I like to express that.”
Whilst remaining true to the genre’s roots,
A|V takes a refreshingly open-minded approach
to black metal.
“To me it’s about the atmosphere. We all

know it; that feeling when you listen to ‘In
The Nightside Eclipse’. It’s a mixture of loss,
sorrow, anger, all the negative emotions in one,
yet simultaneously none at all. That being said,
music will always evolve and it should. There

“BLACK METAL REPRESENTS AN OPPOSITION should be conflict and resolution, push and
pull. If you get too precious over something

– HOW YOU INTERPRET THAT OPPOSITION IS you throttle the thing that made it good in the
first place. I think black metal represents an
AN ENTIRELY SELFISH MATTER” opposition – how you interpret that opposition
is an entirely selfish matter. I think it’s best

decided last year to play around it would be a solo effort for certain from when it successfully manages to juxtapose
recording tracks at home and sort then really,” recalls A|V, the man behind black beauty with horror.”
of fell into a ritualistic routine of metal project Abduction. “There’s something KEZ WHELAN
recording late at night after lots of wine and completely pure about plucking an idea from ‘To Further Dreams Of Failure’ is out now
anything else I could get my hands on. I knew nowhere and tracking it immediately – and most on Inferna Profundus


T W “L
he word “sludge” is thrown about all too hile he admits that Doyle from the Misfts ike if Portishead were in a metal band?”

Words: Olivier ‘Zoltar’ Badin, Angela Davey, Kez Whelan

readily these days, but London trio Prisa and Tom G. Warrior are “two of my biggest says guitarist Jamie McCathie, describing
Mata are one of those rare bands that fully influences as a guitar player”, Jacob the sound of doom trio Brume. The
embody the term. “Jaz [bass] & I have an unhealthy Curwen feels that his band is “more on the metal band were formed in San Francisco, following
obsession with amps, gear, and massive groovy riffs,” side of that spectrum. But we are also influenced by Jamie’s departure from Gurt and move from the UK
says guitarist/vocalist Mark. “Combined with that, first wave black metal bands that were themselves to the US. They found each other through a mutual
Raquel is a drum freak, she will push herself harder heavily influenced by stuff like GBH or Discharge so love of all things slow and heavy. “Initially me and
than most you’ll ever meet to create perfect beats for I’m sure some of that has rubbed off on us as well.” Susie [McMullen, bass/vocals] had been listening to
our riffery.” On their recent split with Fuckjar, Mark They may like it crude musically speaking, but these Acid King, Windhand and Yob so wanted it to be
claims “it was love first sight! We played a couple horror literature nuts (“from Stoker and the old Gothic a doom band. The idea of crushingly heavy with
of shows together really early on and knew we had masters to Poe, Machen and Lovecraft”) have gone pretty vocals was something that came to mind as
found kindred spirits. We wanted to get our first as far as turning their third full-length ‘The Grave soon as I heard Susie sing” he explains. Their debut
tracks down, and decided a split would be a fun way Alchemist’ into a full blown concept album, following ‘Rooster’ is out now and, for them, is their defining
of doing it; cue some very intoxicated and excited the “exploits of the Alchemist who, after embracing the moment, as it’s an experience that brought them
ramblings and eventually we got our collective arses art of necromancy, turns to vampirism in his pursuit of closer together. “We had so much fun, worked really
in gear to do a DIY self-release. We’ve been real lucky eternal life” with the second half of the record taking fucking hard and I am so happy with the results.”
to meet the Fuckjar fam, they are a real inspiration place 300 years later and how his descendants attempt Having just played this year’s Desertfest, expect big,
both musically and in general tomfoolery.” [KW] to “resurrect the Old Dragon”. [OZB] exciting things from Brume. [AD]
www.Facebook.com/PrisaMata www.Facebook.com/AllHellBand www.Facebook.com/BrumeBand


he band came about four years ago with wannabes. departure was sadly a little more acrimonious after a
myself and the original guitarist growing “The album seems to be a good summarisation full-blown scrap on the Eurotunnel – we were lucky
tired of the generic slam sound that of the first three years of the band to that point we didn’t get nicked! It was possibly the most Spinal
the death metal scene was churning out,” begins and marks the end of that chapter,” reflects vocalist Tap moment we’ve had and probably a world first
Omnipotent Hysteria vocalist Jon Burr. “We had an Jon Burr. “We recorded with Tom Dring (Corrupt for a drummer to be sacked whilst under the sea.”
aim to throwback to what we feel was the peak of Moral Altar) in cloudy Southport, with little else to Enter new drummer, Hamburg based Asgard
brutal death metal in the early-mid ’00s when speed do but rinse the local Lidl of its super strength “Niels” Holub, and Laceration guitarist Hamish
and riffs still mattered, with just a smattering of ’90s beer. The overall sound is very representative of Maguire, who complete the lineup alongside former
groove without resorting to binary breakdowns to how we play live. It was all recorded without a Neuroma and Crepitation bassist Matt Jones.
appease the masses.”  click to keep the live and organic feel. Guitars were  “Our new drummer is a trained musician himself
 With Jon’s lyrics draping a host of esoteric double tracked for all eight songs in as many hours and has helped us all buck our ideas up. Hamish is
subject matter in sci-fi references, he’s “made without even a chance for a piss break! No trickery enthusiastic and bringing new ideas and he’s had
a conscious effort to steer clear of the genre’s or behind-the-scenes wizardry involved. We went a few debauched nights out with us to break him
standard gore and perversion topics. The band in with the intention of having a beginning, middle in,” Jon smiles. “With the distance between us now
name is about all-encompassing chaos and seems and end to the album – structuring it in the we’re having to get with the times and use some of
to embody the band fairly sufficiently. It also seems way that our favourite records were, making sure the modern-day technology available to record and
representative of the growing disorder across the that it wasn’t just a jumble of songs like a death share ideas. Time will tell if recruiting a German and
globe right now.”  metal playlist on shuffle.”   a Scot to the band could be a masterstroke or hinder
The quartet dropped an absolute banger of a Speaking of shuffles, Omnipotent Hysteria have us with the impending Brexit and a possible Scottish
debut album last year in the form of ‘Abattoir Of undergone a fairly drastic line-up change since the independence vote!” 
Slain Deities’, a guttural, blisteringly technical but album’s release. KEZ WHELAN
alarmingly catchy blast of finely crafted death metal “In late 2016 we had two departures with very ‘Abattoir Of Slain Deities’ is out now on
that has more in common with the likes of Origin or different circumstances. One member decided to New Standard Elite
Suffocation than it does your average Devourment move on, leaving us on very good terms. The other OmnipotentHysteria.Bandcamp.com

order to expand upon their song writing. Dylan
admits that the decision to mature their sound
is definitely a conscious one.
“As we’ve progressed the sound has become
more developed and our songs are more
thought out – we put more time into them,”
he tells us, “We’re going through a different
dynamic now, adding a bass, where we’d
previously just been a three piece. Usually I’ll
have a bunch of guitar riffs not in any order
and me and Dylan (drums) will play through
them for a while until something feels natural.”
A band who are very much still finding their
way in the grand scheme of things, Dakhma
carry a ferocious determination which carries
over into their music. Vocalist Claire takes that
aggression and uses it to her advantage, in
order to enhance her performance.
“We really care about doing this and that
comes through in our music. It can be cathartic

to be a little bit gloomy,” she says. At the heart
of this four piece lies a strong DIY ethic that’s
apparent not just in their music and image but
everyday life too.
“Our van broke down on the side of the

“IT CAN BE CATHARTIC TO BE GLOOMY” highway in the mountains of North Carolina”,

drummer Dylan reveals, “Another band lent us
their van so we could finish the tour and it’s

ichigan based crust quartet work melodies into their wall of noise, citing just a reminder of what a dope DIY community
Dakhma are into “just straight the likes of Wolves In The Throne Room, Ash we’re a part of.”
up atmospheric black metal”, Borer and Weakling as influences for recent EP ANGELA DAVEY
according to guitarist Derek. Despite the raw, release ‘Suna Kulto’. Originally a trio, Dakhma ‘Suna Kulto’ is out now on Halo Of Flies
aggressive nature of their sound, the band have since taken bassist Jimmy on board in Dakhma.Bandcamp.com


M F “A
ixed by Esoteric’s Greg Chandler, Repulsive’s ormed five years ago, Wisconsin’s newest doom mplified metal in 2017 is kind of like

Words: Olivier ‘Zoltar’ Badin, Angela Davey, Kez Whelan

debut EP ‘The Flesh Domain’ has one of outfit, Bereft, already have a demo and a full music from an alternate future based on
the fattest, most disgusting HM2 sounds length under their belts – however, with the 1980s technology, so it lends itself well to
we’ve heard in a while. “Greg did total justice to our force of Prosthetic Records behind them, they’re speculative fiction themes,” says vocalist Boone Julius
sound,” beams guitarist Vash. “I don’t think any money in now ready to release second album ‘Lands’ upon the on Former Worlds’ sci-fi inspired take on doom. The
the world could have provided us a better sound than he world. Originally recorded with the band as a trio, Minnesotan’s first release, the epic-length ‘Photos
did.” With that dense Dismember-esque tone, old school after recruiting a sequence of drummers, none of Of Eve IX-XVI’ blurs the line between EP and LP
attitude (citing lyrical themes as “death, gore, horror, whom seemed to quite work out, Bereft have now according to Boone: “I don’t feel like differentiating
evil”) and classic Swe-death sound, you’ll be surprised to drafted drummer Jerry McDougal into their ranks as a between LPs, EPs, and singles matters anymore. I
learn the quintet hail from Derby, not Stockholm. “Derby permanent fixture and are honing their craft as a four consider this the first Former Worlds album.” Latest
doesn’t offer much for extreme metal,” Vash admits, piece. While their sound is distinctively doom metal, addition to the lineup Erin Severson adds that the
but says “there is a great scene in the UK, with standout this wasn’t always the case. “When we first started, long format “brings you through a story in its entirety
bands like Seprevation, Live Burial, Blasphemer, Sathamel, Alex [Linden, guitar] and I were influenced by post- instead of just delivering bits through vignettes.”
Repulsive Vision who we enjoy gigging with. We’ve metal, black metal and hints of heavier doom”, explains But what does this story sound like? “We strive to
had fun opening for Dead Congregation, Wombbath guitarist/vocalist Zach Johnson, “As we’ve progressed overwhelm people with sound… to make music that
and Hate, but our London debut was the most insane we’ve just become more of a doom band and we’ve all feels futuristic in an ominous way,” says drummer J.
experience, seeing a packed to the brink room with just grown to love and cherish that genre in general, so J. Anselmi. “Our intent is to be felt, not just heard,”
people throwing themselves around.” [KW] it just started to influence our writing.” [AD] bassist Mike Britson confirms. [JH]
RepulsiveDeathMetal.Bandcamp.com BereftWi.Bandcamp.com FormerWorlds.Bandcamp.com



verybody has to still love what they do,” “It’s all about the music,” adds guitarist/ journalist’s point of view, at least – about how
opines Dying Fetus bassist/co-vocalist co-vocalist/lone original member, John Gallagher. they’ve survived the past three decades. Maybe it’s
Sean Beasley. “All of us still love the music “Just getting out there playing shows and bringing simply about not allowing any hubbub, positive
and what we’re doing.” And if you’ve been upfront quality music.” This, surprisingly, is about as deep or negative, to get under their skin? Maybe their
and manning stage right for a band called Dying as the analysis gets from the man who’s been low-key approach – as low-key as you can be
Fetus for sixteen of the band’s 26-year history and there since the start. Despite the potential to playing in a worldwide touring band called Dying
are still forging forward with a brand of music take advantage of controversy and capitalise on Fetus that has releases readily available via a major
commonly referred to as death metal, you had notoriety, the band turns a 180-degree, counter independent record label – has provided karmic
better be deeply in love with what you do. Saddle reactive blind eye to the tizzy that their just being opportunity such that if they don’t make a big
yourself with a moniker like Dying Fetus and there causes. They avert their gazes, ignore outside deal about themselves, then people, especially the
isn’t a lot of wiggle room left for interpretation, stimuli and operate similarly to how they have wrong people, won’t make a big deal about them?
projection, second impressions or explaining away since the early days, albeit at a higher and more “We haven’t encountered any problems
that first impression, especially if, as is the case time consuming level. As Sean and John describe with the name of the band. We’ve been very
with this Baltimore area underground institution, with an astonishing absence of complication, theirs lucky,” Sean says with an understatement that’s
popularity and profile has ticked upward over is a simple operation in which the music is the proportional to our level of shock. “Even when
the years. No matter where you go, sensitivities main focus and “management handles everything we went over to China and it was a case where
will be bristled, offense will be taken and anger else”. They present as unconcerned about looking we had to be invited by the government. The
will be stoked as overprotective parents groups, at themselves in the mirror, in turn offering a first time we played there it went over fine and
self-proclaimed media watchdogs and community frustrating lack of insight or analysis – from a when we went back we did a huge public festival
leaders, as well the members of the nanny state

righteously poke at the band, praying to whatever
they pray to that any one of Dying Fetus’ eight
forays into the world of brutal death metal will WE COULD SIT HERE AND TRY TO MAKE MOUNTAINS
feature highly atop the proverbial smouldering

pile of banned books and records with parental
advisory warnings stamped on them. But none of
that has stopped them from doing what they do.

and they treated us well and there was no big picture and way under the radar, to be Death metal is nothing new and you have all
problem.” honest,” says John. “We don’t really have to these bands, so you need something to make
The funny thing is Sean and John aren’t deal with much of that, but we’ll see what people go, ‘Whoa!’ and they’ll pay attention
ostriches with their heads in the sand, despite happens with this next record.” more. So, that’s about the long and short of it.
being surprisingly cavalier and unconcerned We wanted something brutal and, of course,

with their impact or place in the broader h, the next record. If there was any sense something memorable.”
scheme of things. This might be due to the that Dying Fetus were slowing down “It just felt right and it also became one of
fact that the band – rounded out by drummer on the rabid pace they’ve kept up since the songs,” adds Sean. “People will be coming
Trey Williams – know exactly what it says forming in 1991 or taking the booted foot off up to us and saying, ‘Does that mean that
on the tin. They’ve probably been on the the throat of polite society’s norms, it’s not Dying Fetus are the wrong ones to fuck with’?
receiving end of so much ire that they’re to be found on the band’s latest album, the It’s not a statement like that.”
immune to the braying of the religious right, charmingly titled ‘Wrong One To Fuck With’. “It’s basically just a brutal title inspired by
the politically correct left and anyone who “Basically, we just made a long list of the approach we take towards metal,” John
would whip out that old “won’t somebody names and that was the one that stuck out picks up. “People can read into it whatever
please think of the children?!” heart string the most,” relays John with a slow drawl that [they’d like]. The bottom line is that’s what we
tugger. Wipe the enraged spittle of red-faced eclipses the realms of the concerned. “And our came up with and it’s doing what it’s supposed
protesters off their eyebrows and from out of management, the label, the band and everybody to do because the first thing you’re asking is,
their beards and move on to the next level of thought that was the one that made the most ‘What’s up with the title?’ That proves that
‘What, me worry?’ provocation. impact. In this day and age I feel you have to point and I think it’s going to work well for us.”
“We’re still a relatively small band in the make some kind of statement to stand out. “The cover art is a cool picture,” says Sean.

In this day and age I feel
you have to make some kind of
statement to stand out

“The number one thing is to make it brutal. It shift away from lyrics about gore and senseless them so we weren’t confused about anything
is one of the songs on the album, but there’s violence towards socio-political topics of in the studio and therefore unrushed. I’ve been
no tie-in to it or story behind it.” interest. Maintaining a solid touring schedule reflecting back on this one about how ready and
“Right. A cool, brutal image that coincides has been a source of both pride and a method prepared we were and how smooth it was.”
with the music,” finishes John. of commanding attention. Early on, despite not

having a supportive label backing them, let alone t’s been almost five years since previous album,

ormed in 1991 by Gallagher and ex-bassist/ tour support, the band regularly took to the ‘Reign Supreme’, and in the time between
vocalist Jason Netherton, who left ten years road for long stints, eventually catching the eye albums, Dying Fetus were mostly preoccupied
later to form Misery Index, Dying Fetus of Relapse for the release of their third album, with hitting as many corners of the planet as
were seemingly designed to make a mark from 2000’s ‘Destroy The Opposition’. With Relapse in possible. From the aforementioned trek behind
the beginning. Their moniker was deliberately its corner, the band has offered the Great Wall of China and
chosen to be an offensive, attention-grabber by up five more albums of brutal, the usual whirl around North
attention-seeking teenagers seeking to offend. technical, thought-provoking America’s established touring
Their music expanded the width and breadth of and influential death metal. routes and the European festival
death metal with the inclusion of slam sections Through it all, there have been circuit; from one-offs at fests in
that grooved in a way than has been compared various line-up permutations Ontario, Canada and rural Illinois
to strains of extra-cantankerous rap or even and the ex-members list to touching down in more exotic
nü-metal and blastbeats that ordinarily paid has included prominent locals like Malaysia and the
referential homage to the then-burgeoning and recognisable names like Philippines, touring has been the
grindcore sound and ethos, which inspired a drummer Kevin Talley, guitarist front-and-centre thrust over the
Sparky Voyles and vocalist last few years which contributed
Vince Matthews amongst to the perceived delay of the
others. Their videos made it release of ‘Wrong One To Fuck
into the late Headbanger’s With’.
Ball rotation, songs turned up “Our starting to work on the
in TV shows, there have been new record came after a point
Billboard chart appearances and of a lot of touring,” says Sean.
tons of touring that has taken the band from the “We did two-and-a-half to three years of solid
dingiest of dives to experiences with the higher touring for the last release and it got to a point
profile opening slots and a fan-petitioned spot on where we needed time off. Then came the need to
the mainstage at 2014’s Download Festival. start writing again and feeling like it was time to
“We’ve been to a lot of places that I never release another one.”
expected we’d ever get to and that bucket list [of “Our process is very tedious and slow,” John
countries] is getting shorter,” replies John when explains. “It’s an inch-by-inch process. I guess by
asked about what’s struck him as most surprising the halfway point we figured we had something
having spent more than half his life playing death more tangible and something we were able to
metal. “I guess it’s a surprise that we’re still doing work with. There wasn’t really a point where we
this after 25 years.” said to ourselves, ‘Okay, we got this’ or anything
Where we’re at now is ‘Wrong One To Fuck like that. Slow and steady wins the race with
With’, an album that fans old and new as well as Dying Fetus. It’s been a while since the last
from both the old and new schools will find merit release, so it’s basically us tweaking away, taking
in. The production, songs, themes and, of course, our time and all of that is to ensure a quality
the sentiment expressed in the title are everything product. We were all about taking our time to
supporters have come to expect and find solace make this shit right, make it sing so that in ten
in. There’s been little deliberate attempt at change years from now people will look at it and be like,
or progression, not that that’s something the ‘Hey, that record was solid.’ No one will care ten
band concerns itself with. years from now that we missed a deadline and it
“It’s always gotta be banging,” says Sean, didn’t come out in a timely fashion. We wanted
simply “and ‘Wrong One To Fuck With’ is the product to stand the test of time.”

“I think this record has a few more changes nd if your nervous twitching still hasn’t
where unexpected slam riffs come in,” replies abated after hearing talk about acoustic
John when asked what makes the new one guitars being employed on ‘Wrong One
stand out from their previous seven. “Then, To Fuck With’, know that there haven’t been
we’d purposely put in a tech part and pull some any drastic steps toward left field. While they
switcheroos to keep the listener on their toes a may be mavericks of tech-death making use of
little bit. But it’s not all like that, with unexpected slam rhythms and flashy elements like fretboard
twists and turns. There’s a little eight second tapping, to them there’s nothing to ponder or
acoustic part I put in with one of the guitars in worry about, even when it comes to how to keep
an intro. We did a couple things like that to add one step ahead of an admittedly crowded scene.
some more dimension, I guess. I don’t want to “We all have things that we like, love and
scare people, though. It’s what you’d expect. The hate about our older albums,” reveals Sean, “and
guitar sound is a bit clearer and crunchier than that’s a topic – what to improve – that comes up
the past. We’re really happy with the production, every time. But the song writing is always pretty
it’s really tight.” natural.”
“I know we were more practiced when we “[In terms of recording] we didn’t really do
went into record this time,” explains Sean. “We anything differently,” says John in keeping with
got the riffs together and got to really go over the slow and steady wins the race motif. “I mean,


It’s always gotta be banging, and
‘Wrong One To Fuck With’ is banging
it’s death metal and death metal has pretty much
evolved into what it is; you have guitar, bass,
drums and vocals and you put a mic in front of
the drum kit and amps. There are people who try
doing today; making demos on computers, using
the basic software everyone else is using to do pre-
production. The only thing that’s different now is
that we used to record our ideas on cassette with a

“This album and the writing went farther
back than that,” Sean responds when asked if in
their political finger-pointing, America’s newly
elected president was a target or had them altering
to experiment with death metal and do different boombox. Now, the boombox is the computer and anything in light of his unexpected victory, “and
or odd kinds of things, but we’re not that kind the cassette is Cubase and whatever other software we weren’t going to be very specific at all on
of band. So basically, there’s only so much you there is. Nothing has really changed too much.” anything having to do with the election or any of
can do with it except for the standard procedure. As mentioned, Dying Fetus long ago moved that crap. We didn’t want to abandon those types
I wish there was a greater story to tell. We beyond the rote and customary topics covered of topics, and we didn’t, but we didn’t want to be
could sit here and try to make mountains out of in the field of death metal. This move towards specific. Time-wise this album was written far back
molehills all day, but it just comes to down to singing – grunting and growling, rather – about enough that it didn’t affect anything.”
what it is – death metal.” personal observation, social consciousness “In our defense, another reason it took so long
and political criticism and making those the was because of the label’s release schedule,” says

ut it would appear that moving in different overwhelming topics of lyrical discussion was John. “Obituary put out their record and we had
directions has something that’s been most pronounced on ‘Destroy The Opposition’. to wait until that was out so we could follow suit.
considered by the Dying Fetus trio. However The blatant, filmic imagery of the cover and lack There was scheduling, the artwork took a while,
briefly, and they always return to ol’ faithful – of subtlety lurking in the shadows of the new the music took a while and things like that. The
what they’re familiar with and what works for album’s title hints at a devolution of sorts back album has been recorded for over a year at this
them. towards the blood ‘n’ guts splattered topics on point. We’re just sitting here waiting while it’s
“We do the traditional mic in front of the early albums, but that couldn’t be further from the in the industry’s hands and they want to build
cabinet,” John continues. “Amplifier replacement truth. anticipation and hype it up.
technology, like Kempers, is great for the studio, “There’s always plenty to talk about,” offers “Hopefully this album will reach a lot of people
but I don’t think they work so well live because Sean. “There’s always violence, politics and all that and our fan base and allow us to continue to do
you’re creating a tone that’s built and engineered crap. This new album, however, wasn’t following what we do,” he concludes. “We’re just going to
for a particular room and then people try and the same sort of curve. There’s a song about take things as they come. We do what we want to
bring that into another environment and the prescription drug addiction, ‘Die With Integrity’ is do, that’s why the band was created, so we could
acoustics may not react well with the pre- a ‘going-out-with-a-bang’ mob story. This album pave our own way in life and hopefully the next
recorded tone. As far as all that’s concerned, was taken on a song-by-song basis and is really all record won’t take five years.”
we’re still a traditional band using the mic, the over the place. The song topics are settled on in a
cabinet and the head and stuff. But I think we’re discussion and that happens pretty naturally. The ‘Wrong One To Fuck With’ is out now on
doing the same thing we’ve always done which is hard work comes with creating the patterns and Relapse
probably the same thing the younger bands are parts and figuring out who goes where. DyingFetus.Bandcamp.com


After Morgoth a few years ago, KARSTEN “JAGGER” JÄGER has been
keeping busy, but has made enough time to put out a new album with his first
band, DISBELIEF, their first in seven years. TERRORIZER grills the frontman on
touring Mexico, label headaches and ‘Game Of Thrones’…
WORDS: Olivier ‘Zoltar’ Badin

hile Karsten “Jagger” Jäger’s grizzly look happens to be the last founding member left since spilled the beans on how Morgoth were basically in
suggests someone you don’t want to 2006, although bass player Jochen “Joe” Trunk has the studio with a new album ready to go except for
mess around with, the copious amount been around since the third demo. “It was just the the vocals, because they had just fired their original
of grey in his long beard and hair and weary eyes combination of our previous line-up disintegrating Marc Grewe and if I would be up for it, even if I
are here to remind you that, although he still is a and all the struggles we faced finding new members, didn’t even know the guys personally. Two days later, I
rather unknown figure to most of our UK readers, especially for the drum stool. We have had various was locked up in the studio, being tested by their two
he’s been around since the very early ’90s. Hell, prior guys helping us out but nothing serious. And we were guitar players who also write all the lyrics, tracking
to this one, his main band Disbelief have released quite undermined by the lack of support we had to two songs to see if I’d be a good fit. And ever since,
no less than nine albums in between 1997 and 2010 deal with in our own country and our deteriorating it’s been an ever increasing roller-coaster with them.
yet they’ve rarely toured the UK – or if they did, relationship with our previous label, especially after We played for instance Latin America last November
it was opening for whoever was ready to go then we started raising the budget question for our next and I played there maybe some of the most intense
and maybe not the best fit, such as Death Angel in album. When they offered not even a quarter of the shows of my career, especially in Mexico where we
2003 or Hate Eternal two years later. But then, they sum we had been offered for our previous full-length performed in front of 500 maniacs who knew all the
went awfully quiet to the point that when Jagger [2010’s] ‘Heal!’, I knew right away our relationship words and wouldn’t let us get off stage. That was
was asked at the eleventh hour to join Morgoth would soon be over.” incredible.”
three years ago, questions were raised as to whether Then, as he and Joe had finally secured the line-up Still, Disbelief “never left” his mind and he was
Disbelief, who had last put out an album to very they’ve been looking for, that’s when longtime friend, more eager than ever to carry on the third-chapter of
little fanfare four years prior, were still alive or not… Dew-Scented frontman and Morgoth manager Leif their now over two decade long career.
“I’ve never ever even considered for a minute Jensen called out of the blue. “Yeah, I agree that you can roughly split our
putting the band down,” reflects Jagger, who also “Straight up, he asked me if I had any big plans discography in three,” he muses. “There are the demos
for the next three weeks. When I answered no, he and the first two albums where we were still learning

who we were besides being fans of Slayer and Death. realizes that there are many territories to conquer for Besides, even if he tried several times to come up with
Then things kinda clicked with 2001’s ‘Worst Enemy’ Disbelief. So he’s looking at “getting the right opening songs, he’s never really contributed to the songwriting.
whose opening song ‘Misery’ is still part of our setlist spot for the right band tour wise. Even if this means Actually, it’s been Joe who’s been writing all of our
to this day, until ‘Navigator’ six years later. I now playing only 40 minutes a night with most of our set music since our debut so there’s no danger for the
realized that after two attempts to maximize our dedicated to the new album and only a handful of ‘old’ continuity of our style.”
sound, this album was a step too far into a clean songs, we don’t care, we just want to go out there.” If a few years back, Jagger’s musical life seemed
sound that wasn’t meant for us. Since ‘Protected Hell’ Even the forthcoming departure of their guitarist at a halt, now in 2017 he’s fronting not one but two
in 2009, we’re back on the right track, the metal track Alexander Hagenauer who arrived in 2010, to focus high-profile acts and he remains confident that from
should I say, since we now make sure the guitars stay on his family life and his other band Soul Demise now on, both acts will coexist without friction.
right up there in the mix.” (who are also about to release a new album this May) “It’s quite symbolic that the very same day we
doesn’t seem to cool down his enthusiasm. finished mastering the new Disbelief album, I received

etalheads and heroic fantasy fans alike will “Well, Alex doesn’t have time anymore in between by email the first sketch of a brand new Morgoth
pleased to learn that most of ‘The Symbol his job, his three kids and Soul Demise but he’s song, hinting at a possible album within a year. So
Of Death’s lyrics were inspired by Jagger’s been cool enough to let us know in advance and yeah, I’m planning to remain quite busy this year!”
passion for the ‘Game Of Thrones’ TV series, including he has agreed to help us
the album’s title itself. out until we find ‘The Symbol Of Death’ is out now on
“At first it was supposed to be called ‘Full Of a replacement. Listenable
Terrors’ as the character of Melisandre, AKA the Red www.Disbelief.de
Lady, famously said that ‘the night is dark and full
of terrors’. But then I saw the artwork Eliran Kantor
had created and I felt it fitted the title ‘The Symbol
Of Death’, another ‘Game Of Thrones’ reference, even
better. Then there’s the song ‘Into Glory Ride’, my own
take on the Wildlings who live behind the Wall and
their free spirit.”
Now with ten albums under their belt, one could
have expected Jagger to be quite demanding but he


Scouse doom crew COLTSBLOOD have upped the ante with new album
‘Ascending Into Shimmering Darkness’. Guitarist JEMMA MCNULTY tells
WORDS: Jay Hampshire

t’s the sound of the stars, darkness, the peerless in its cathartic bleakness. How much having long been fans of his artwork and music
unknown, the wilderness, love, grief, would the band say ‘Ascending…’ sounds like its with Grief. We love his work; it’s dark, primitive,
death and the beauty of all of these forebear? demented, mesmerising, and it really resonates
things,” says Jemma McNulty of Liverpool- “It still sounds like us and has the same spirit with us. When I look into his work I can sense
based doom trio Coltsblood when asked to that we’ve always had, but we have evolved. This a lot of the same emotions and ideas as we put
define the sound of their sophomore effort album holds a great energy of its own because into our music, and the two just work perfectly
‘Ascending Into Shimmering Darkness’. we were more emotionally invested this time, the together.”
The five-track behemoth which plunges to recording session itself was more intense than At a time where the world we live in seems to
the pulsating, suffocating depths of doom and before. It’s also our first album with Jay [Austin, change into an uglier, less certain and infinitely
then drags itself back into searing light, saw also of Iron Witch] on drums which has changed more fucked version of itself day in day out,
the march of time change their approach to our sound. His style is incredibly versatile and Jem believes that extreme music acts as a fitting
the record. “Some of this album was written allowed us to achieve our original vision for soundtrack to what could well be the end times.
much earlier, a time when we were just enjoying the band. When we first started working on “As humanity continues to destroy everything
jamming, beers and writing about cool stuff like ‘Abyss…’ there was a lot more uncertainty and and becomes more depraved and poisoned by
vikings and vampires,” says Jem. “Much of the experimentation with our music, but now we’re the hour, doom is one of the few things left,”
album also came later, from a very emotional far more assertive and have stronger ideas.” she says. “Mass extinction is already happening,
place, a time of grief. There was some solitary The production process has seen the band to me it feels like the end is near, so I think that
writing, some of it was a way to get through come to work with some considerably high profile doom will be more beautiful and relevant than
a difficult time. The album is inspired mostly names within the scene, not the least of which ever to those who turn to it.”
by death and we draw a lot of inspiration from is Eric Harrison, former bassist/vocalist for much Hopefully the four horsemen won’t start their
history, folklore, Celtic and Norse spirituality.” missed Boston based sludge pioneers Grief, who world tour before Coltsblood can organise their
It was back in the murky mists of 2014 that provided the disconcertingly trippy cover for the own though, as time on the road is definitely in
Coltsblood released their debut full-length, record. their future.
‘Into The Unfathomable Abyss’, a crushing and “When we first started to consider artwork, “We’re currently throwing around ideas for
remorseless endurance test of a record near we quickly decided that we wanted to ask Eric, bands we’d like to tour with and countries we’ve
yet to visit. We are discussing a tour of the UK
later in the year with some very mighty friends
‘Ascending Into Shimmering Darkness’ is
AND POISONED BY THE HOUR, DOOM IS ONE out now on Spinefarm/Universal
OF THE FEW THINGS LEFT” www.Facebook.com/Coltsblood


Starting life as a cathartic exercise, VALLENFYRE are demonstrating

just how powerful a band can become on album number three. GREGOR
MACKINTOSH talks to TERRORIZER about the inspirations behind the frankly
killer ‘Fear Those Who Fear Him’
WORDS: José Carlos Santos

ho would have thought? What started as compendium of everything that was right about Greg being unsure if the band would ever do
a very personal, cathartic sort of project the origins of several extreme genres – crust, anything else after the ‘A Fragile King’ debut
for its main instigator, and as a curious death metal, grindcore, even a bit of black metal, came out in 2011.
super-band of sorts where Gregor Mackintosh you name it, it’s all here in its primordial form and “We just do things when we feel like. It’s good
from Paradise Lost shouted like a madman after feel. All it took was seven years and three records, having no pressure,” Greg mentions as a good
decades being quiet behind a mournful guitar, has and yes, we’re counting the new bomb that’s reason for the band to keep going and to keep
now become one of the country’s most reliable about to be dropped, the massive ‘Fear Those being interesting to him. “We don’t have anyone
and most genuinely incredible bands, a sort of Who Fear Him’. And to think we still remember on our backs telling us to record a new album, or

getting rawer and angrier at every record. Our world seems a little crazier at the moment,” Greg
ear bruises from repeated listens of ‘Fear Those…’ says, slightly exasperated. “I’m not making a huge
justly confirm this notion, by the way. political statement or anything, but I am asking
“Half of this ‘devolve’ thing has to do with what the fuck is going on. ‘Dead World Breathes’
playing live, I guess,” Greg demystifies. “A lot of is basically saying that ignorance leads to war, and
the songs took on a more ferocious side when we ‘Kill All Your Masters’ is pretty self-explanatory as
played them live, and we liked that untamed edge well. I think most of it is bred out of confusion of
so we tried to put a bit of that on the new record. why people don’t learn from their mistakes. But
Also, it’s just delving further into our past, what that’s not really what the album’s about, in any
we listened to in the ’80s. This record is just like case. There’s still some miserable stuff on there
the beginnings of crust and grindcore and death – ‘Cursed From The Womb’ is about spiralling
metal all lumped together again.” depression, ‘An Apathetic Grace’ is about reaching
It’s sort of like the soundtrack to your youth, the end of your life and reflecting on it, ‘The
right? Merciless Tide’ is about time, which is a bit of an
“It literally is,” he laughs. “I actually just had abstract concept, but it’s about how you can’t
to do a soundtrack of my life for a magazine, fight it. There’s quite a few that deal with religion
and most of the records on that, you can tell as well, because I can’t help myself. I detest it so
how they’ve influenced Vallenfyre. I first got into much that it makes me write about it. And it’s at
hardcore punk because my older brother was the basis of a lot of this current craziness, so it
into that stuff in the late ’70s and early ’80s, just amplifies it. On all sides – whether you look
and he had a big record collection, so I used to at ISIS or the far right in America, whatever, it’s
go through it and I eventually picked up on a all insane. I don’t understand why after all these
couple of bands, like Discharge, English Dogs years we haven’t realised we need to keep religion
or Conflict. A lot of those bands evolved and out of politics altogether. Or out of anything! I
became a bit more metallic like Broken Bones, can’t believe it stills exists at all, actually. It’s like
Antisect, Sacrilege and stuff, and that’s how I got a huge collective mental illness.”
into metal, really because these other bands were
getting into metal too. Then that became sort good escape valve is to do what we do –
of crust punk, and when that took on elements discover new bands, go to gigs and have
of Celtic Frost/Hellhammer and stuff like that… some noise run through our skulls. A lot
it’s a very honest transition that took place back of experienced musicians seem to have given up
there in the ’80s. When it first started, I remember on new music, but not Greg, which might help
being thirteen years old, I had a mohican and I explain the continued relevance of his own music.
was on the punk side of things, metallers and “I hear new stuff all the time, I go to a lot of
punks were complete enemies back then. We went gigs still!” he says excitedly. “There’s a sort of new
to the same pubs, but we’d stare at each other venue in Leeds called Temple Of Boom, and they
across the room. It wasn’t until later, from ’86 to bring over really cool bands. I went to see a band
’88 or thereabouts, that it started to join into the called Black Tomb [at Ritual Dreadest], I just got
same thing. But it was all good times… The only their album and I bought the t-shirt too, I like the
band that straddled both genres from the word go strange, oily, dirty feeling to it that it has. Implore
was Motörhead.” from Germany are also very good, they’ve just
For all those staredowns (and sometimes worse asked me to sing a few guest vocals on the album
things), it shouldn’t have taken the two camps they’re about to record, so yeah, there’s a lot of
so long to realise that they had a world of stuff stuff out there that’s good and that I’m really
in common, honestly. The feeling given by each excited by, sometimes it feels like I’m turning into
other’s music was, and is, essentially the same. this sixteen-year old fan again, and that’s great.
Greg agrees. Right after the Black Tomb gig I actually went
“In fact, the main thing when I’m doing this, up to the singer and told him I thought it was
it’s about the feeling,” he explains. “It’s not even fantastic and that I had just bought the t-shirt
so much about the song, it’s about what I felt and stuff like that. Then I saw a review of that
when I heard those bands for the first time, back gig in Terrorizer and I was mentioned in it, that
in the ’80s. It’s trying to sum up that feeling in was funny. It said the fact I was standing in the
play here, or do this or that. We do it when we a song these days. Maybe it does work, maybe it crowd nodding spoke volumes,” he laughs. Of
feel like it and it’s kind of liberating. It also helps doesn’t, but I want to capture it and that’s really course it does! Seal of quality and whatnot. But
you to create the record you want, I suppose – I all I’m trying to do. First time I heard the A-side yes, older musicians – take Greg as an example.
mean, we wouldn’t release a new album if we of ‘Scum’, or the first time I heard, I don’t know, Don’t kill your inner sixteen-year old. You and
didn’t think it was at least as good as the previous Candlemass’ ‘Epicus Doomicus Metallicus’, or your art will be the better for it.
one. I think that the band itself has managed to Celtic Frost’s ‘Morbid Tales’, it’s trying to capture “I use magazines like Terrorizer and some cool
keep things bullshit-free. The only time we’ve felt that feeling and putting it into a record. Of websites to find out about new stuff, I skip from
pressure is maybe like when we did the American course, songs and hooks and everything are really one Bandcamp to another to get records and
tour, we needed a lot of tour support for that, but important, but it should be most of all about check stuff out, it’s something I’m very passionate
just because it was a big step for a little unknown what that song makes you feel.” about. I hope I can do gigs with these new bands!
band to go on tour over there. But as far as I always want to keep on top of stuff,” Greg
expectations go, we don’t really care.” s you might have noticed, there’s a song concludes. So when you see the big man nodding
In fact, as the frontman – as somewhat called ‘Kill All Your Masters’ on the new at one of your shows, you know what to do.
strange as it still seems to call Greg a “frontman” album. There’s also another one called
– puts it, funnily enough, in a statement on the ‘Dead World Breathes’. Someone’s been watching ‘Fear Those Who Fear Him’ is out now on
press release, whereas a lot of bands evolve and the news… Century Media
refine things, Vallenfyre seem to be “devolving”, “I can’t be the only person that sees that the www.Facebook.com/Vallenfyre




e’re going to start off with a personal Seas would factor into any of this. But it has. Henri return to active duty didn’t include a new album.
thought; one that, even if you’ve never swabs the deck and untangles the web… But after a few rounds on the festival circuit, they
considered it, you’re likely to share. “When the band first ended in 2012, we felt started to wear out their welcome and the initial
When this writer first discovered and became a fan lucky we could end on the 70,000 Tons Of Metal excitement that greeted them thinned. The band’s
of Holland’s God Dethroned, never in my wildest cruise,” he begins, discussing God Dethroned’s booking agent pointed out that if they wanted to
dreams would I have imagined that a luxury cruise recent two-year hiatus. “The cruise was a new keep going at the level they’d become accustomed,
ship would play so significantly in the band’s thing and it seemed like a special place to end. I a new album was required. With that in mind, Henri
timeline and history. This is a band whose early knew I needed time for myself and a break and I approached Metal Blade to gauge interest.
years are littered with an anti-Christian rhetoric enjoyed it for a while. At some point, I got the news “They were like, ‘Yeah, do a new album, but
acknowledged as unsubtle and juvenile on the best that Michael Trengert, the head of Metal Blade here’s the deadline’,” he recalls with a chuckle. “Not
of days, a band whose first label [Shark Records] in Europe and the guy who originally signed us, only did we have to hurry up, but we knew we
refused to release their 1992 debut, ‘The Christhunt’ died of a brain tumour. I went to the funeral and had to come up with something good. But when
with the dissected rat cover art curated by guitarist/ met up with the guys from Amon Amarth, people the pressure was on, the ideas started to come
vocalist/lone original member, Henri Sattler and a from Metal Blade and Nuclear Blast and realised naturally.”
band whose ‘Bloody Blasphemy’ album of 1999 how much I missed it. That day, I decided I wanted The result is the band’s tenth album and
was embraced by similar sympathetic satanists to play again. I got a band together [drummer conclusion to the WWI-themed trilogy (“I think I
as Marduk, Immortal and Deicide. Even when Michiel van der Plicht, bassist Jeroen Pomper and said in an interview before we split that we were
progress saw their blackened thrashing death metal guitarist Mike Ferguson] and thought about how doing a trilogy, so I decided to live up to that,”
incorporating more melody and as topical themes cool it would be to start again where we ended. I he laughs). Despite the layoff, ‘The World Ablaze’
shifted towards to the first World War on 2009’s contacted the cruise people, they said we were more not only picks up where its predecessor left off,
‘Passiondale’ and 2010’s ‘Under The Sign Of The than welcome and we played our first show there but advances the combination of harsh blackened
Iron Cross’, at no point did it seem likely that Royal in 2015.” thrash with epic, anthemic and martial melodies. In
Caribbean’s fully pimped out Independence Of The The original blueprint for God Dethroned’s analytical hindsight, it’s a progression Henri believes

comes with age and experience as well as having about war for interest’s sake, as a way to cope with Lenin and the communists came to power. Everyone
the luxury of having been able to examine the past fear or because of personal-level impact, is nothing knows about The Red Army, but not so much about
against the present. new to our scene. ‘The World Ablaze’ explores The White Army which was still loyal to the tsar and
“When you take a three-year break, you can WWI out of curiosity. Henri researched a variety of fought their own independence war in Russia. I also
recharge the batteries, reflect on older albums and subject matter for the album’s songs and found came across a lot of propaganda which was really
what could be done different or better. If you look himself diving deep into areas that may be old hat surprising. This was the time of the colonies and the
at ‘Under The Sign Of The Iron Cross,’ that album is for history buffs, academics and documentarians, United Kingdom’s Commonwealth, places like India,
so fast and aggressive that people didn’t know what but are interesting topics of discussion nonetheless. Canada, the Caribbean islands and other places
to do with it when we played live. We wanted to “This album looks at various parts of the war. all over the world. What they did was say to these
write songs that would fit better in a live situation. For example, ‘The 11th Hour’ is about the end of people, ‘we do so many great things for you, it’s
We wanted the album to be more dynamic with the war, the number eleven and how the peace time for you to give back’. There were posters saying
more mid-tempo parts where people could bang treaty was signed on November 11th at 11AM. ‘join the army and you’ll be home before Christmas’.
their heads instead of playing blastbeats all the Officially, the war ended at 11AM, but the armistice They made it look like fun and that they’d be done
time. This album is more diverse and more suitable was actually signed at 5AM. So, because some of after a few weeks of fighting. People were taken
for playing live.” the allied generals wanted to improve their battle from tropical areas and put into the cold, muddy
statistics and demonstrate that they advanced into trenches of Belgium and France to fight and they

he ‘war is hell’ theme is a prominent one and conquered as much enemy territory as possible, would either get shot, freeze to death or contract
throughout the canon of heavy metal. From they sent troops into war on the final morning diseases they’d never seen. They were lured into war
the spectre of nuclear annihilation that when it wasn’t necessary. 20,000 soldiers were killed and suffered not knowing what they were getting
loomed during the Cold War ’80s to the perpetual on that final day for nothing but the generals’ into. I think that’s quite harsh.”
conflict in the Middle East to those who choose statistics. There’s a song called ‘Escape Across The
to ‘never forget’ by focussing attention on various Ice (The White Army)’ about the Russian Revolution. ‘The World Ablaze’ is out now on Metal Blade
aspects of the past’s bloodiest conflicts, singing Russia had its tsar [Nicolas II] who was killed when www.Facebook.com/GodDethronedOfficial


With ‘The Warmth Of A Dying Sun’, EMPLOYED TO SERVE have crafted their heaviest,
most dynamic and pulverizing opus to date. Vocalist JUSTINE JONES and guitarist
SAMMY URWIN tell TERRORIZER all about the hard graft that lead to its creation…
WORDS: Serena Cherry

ith their second album set to Not to dismiss their off-kilter beginnings then people will soon get jaded and quit. But
surprise, now is the time for entirely, Sammy admits that the band “still remember, you do have to put the time in and
Employed To Serve to burst out draw a lot of inspiration from bands like Botch, make it happen yourself.”
of their mathcore shell. The Woking-based Coalesce and Norma Jean. But we were listening For Employed To Serve however, touring is a
quintet “threw a bit of a curve ball by dropping to a lot of Will Haven and Deftones for our labour of love.
the slowest tracks from our new record first,” riffspiration this time,” he notes. When it comes “There’s honestly no rush as good as playing
explains vocalist Justine Jones. “We wanted to to lyrics however, Justine likes to keep it low key. live music, I’d take it over drugs any day,”
make a statement by doing that to show we are “We tend to draw most of our inspiration proclaims Sammy. “There’s no buzz like it. I can’t
a band that will expand our sound over time. from our own lives and people close to us,” she shout in peoples’ faces in everyday life so this is
We never want to be pigeon-holed or spin our reveals. “A theme that is quite present throughout the only outlet for that need.”
wheels and write the same record twice.” the album is the uncertainty one feels when “My favourite thing is seeing people in the
“It’s definitely more dynamic,” adds guitarist pursuing a passion and not knowing what the crowd knowing the lyrics to your songs, it makes
Sammy Urwin. “We have a couple of slower outcome will be.” you feel connected with the crowd despite never
tracks on the record and have groovier riffs Pursuit is the operative word for Employed To meeting them,” says Justine. “Shows are the one
throughout. I think it adds an extra element to Serve, who have worked hard since their inception place you can be weird or just flail about, it’s
our sound, and makes the faster chaotic songs in 2013 to reach their busy touring status. fun. I’m a big fan of hair windmills and circle
on the record stand out more by comparison.” “It’s hard when you’re just starting out,” pits.”
“The album also feels a lot more confident reflects Justine. “Back in our early days no one For a heavy band, they adopt a stance which
as a whole,” Justine sums up. “We went into would book us as they had never heard of us! In is refreshingly un-elitist.
writing and recording with more experience the end, I booked shows with bands I liked just “What I don’t like is snobbery,” laments
and it felt more natural recording in a studio, so I could put us on as openers and booked all Sammy. “When people get annoyed with moshing
especially since we’d already worked with Lewis our tours. I remember going nuts when someone at heavy shows, or say ‘I used to mosh when
Johns (The Ranch) before. I felt more vocally asked us to play a show,” she laughs. I was eleven’ – I just think that attitude is so
confident as I always struggled with recording “You have to work hard,” agrees Sammy. “Just boring and lame. I mean, if we could tour with
in the past.” don’t forget to keep it fun, because if you don’t any band, I would love to tour with Slipknot.
They were the first band I was infatuated with
and still to this day inspire the music I make.”
‘The Warmth Of A Dying Sun’ is out now on

TAKE IT OVER DRUGS ANY DAY” EmployedToServe.Bandcamp.com

Quarto Terrorizer_Layout 1 08/05/17 20:25 Pagina 1


Decibel Ritual The Summoning Redemption


Altars Dammatio Memoriae The Remastered Plan


Last Day of Light Heaven or Hollywood Rock the American Way DEMOLITION HAMMER ⋆ DER WEG EINER FREIHEIT


 






our set and Kelly totally fucked up. Now, she’d fuck
IDES OF GEMINI’s third album ‘Women’ marks a number
up in practice more than anyone, but never on stage,
of important changes for the LA-based quartet, as so we knew something was up. Sure enough, she
guitarist J. BENNETT discusses with gusto kind of limped off the drum kit. My sister, who is
also a doctor, looked at her and we ended up taking
WORDS: KEVIN STEWART-PANKO her to the hospital. It turned out she had a slipped

disc in her spine and we had to drop off the tour.
e’re not in any way trying to convince of change. Slipped discs are kind of weird in that sometimes
you of a serious connection between “The band is like night and day now,” proclaims they’ll right themselves without surgery and hers did,
Ides Of Gemini and New Wave Of Jason excitedly. “It was arduous to get here, but now but my theory is that whatever she was doing to
British Heavy Metal masters Blitzkrieg and their that we are, it’s awesome!” compensate for the pain created a problem with her
1985 album ‘A Time Of Changes’. Other than the The first item on the docket of transformation hip in shifting the weight so that she’d be able to
fact that guitarist and former Terrorizer hack Jason came about after an injury sustained by former play drums. Two years later her spine is fine, but she
Bennett is a fan of said album and everyone involved drummer Kelly Johnston-Gibson which necessitated still has a hip problem. There was a long time where
is indebted to Metallica in one way or another, her replacement by Saviours sticksman, Scott Batiste. we didn’t know what was happening. We had a west
the associations between the Leicester old-school “Kelly still can’t play drums,” Jason laments coast tour that we asked Scott to fill in on and that
metallers and the Los Angeles-based post-punk/ before offering details. “This all happened in May/ went great. Some point after that, Kelly stepped
goth/doom/no-new-wave outfit are tenuous at best. June 2015 when we were on tour with The Mountain down on her own and we offered the gig to Scott.”
However, if you scratch the surface a little and think Goats. We got like four shows into the tour and Around the same time the band was dealing
in terms of nomenclature, it becomes clear that in were playing Durham, North Carolina, which was with Kelly’s uncertain future, bassist/vocalist Sera
just making ‘Women,’ their newest and third album, a hometown show for [Mountain Goats vocalist/ Timms was expressing a desire to unshackle herself,
a possibility was fraught with a veritable blitzkrieg guitarist] John [Darnielle] and my sister was also and by default her vocals, from under the literal and
of incidents that has resulted in a remarkable wealth living there at the time. We got to the last song of figurative weight of her instrument.

“The writing was on the wall
for a new era and we thought
it was important to recognise
and seize those moments”

“After that Mountain Goats tour, Sera started of experience playing his respective instrument), of day via Rise Above, a situation Jason, as a metal
talking about how she didn’t want to play bass improve as an all-around musician. Combining his fan, musician and journalist, still finds difficult to
anymore. I was convincing her to stick with it, at work in Ides Of Gemini while absorbing experience fathom.
least through this record. She said, ‘Do you really by playing bass in Mustard Gas And Roses, alongside “Even though I’ve been way in it for a while,
want me to do something my heart’s not into?’ ex-members of Isis and Black Math Horseman, and I’m still amazed that these people who I grew up
and I was like, ‘Well, when you put it that way…’” as a live member of Sera’s solo project, Black Mare listening to and have become friendly with by doing
he laughs. “We had a New Year’s Eve party going doesn’t hurt. The upgrades that have come at the this sort of interview stuff have been interested
into 2016 at our house and we just asked Adam hand of necessity, experience and associating with enough and have had enough faith in what we’re
[Murray] from an excellent goth band here in town new blood are noticeable on ‘Women’. doing to want to put their stamp of approval on it.
called Deth Crux and it worked out. Honestly man, I “It’s been awesome for me because in addition to It’s amazing, man! Rise Above approached us with a
feel dumb for resisting her. It was the best thing we getting better on my own from just playing, when great offer and we felt that with so many changes
could’ve done as neither Sera nor I anticipated how you’re playing with amazing people, it forces you to going on – Kelly leaving the band, Scott coming in,
much it freed her up to do so much more vocally. get better. This record was written with the line-up Sera stopping playing bass, Adam joining and even
Not only does she not have the responsibility of as it is. I would come up with the basic riffs and down to something like all the new songs being in
coming up with lyrics, bass lines and vocal lines, she structures and we’d take it from there, taking into a different tuning than the last record – it seemed
wasn’t confined to what she could do while she was account what Sera wants to do vocally and Scott’s like the writing was on the wall for a new era and
playing bass.” strength at arranging which was something we’d we thought it was important to recognise and seize

never had or done before and that’s why I think the those moments. And we’re thrilled! How many bands
he new additions not only had their record sounds more dynamic.” would kill to be on Neurot or Rise Above? We’re
impact on the quality and freshness of Ides Of Gemini’s time of change hasn’t just incredibly fortunate and lucky.”
Ides Of Gemini’s rhythm section, but it been internal. After having their first two albums,
has seen Jason, as lead composer (despite being a 2012’s ‘Constantinople’ and 2014’s ‘Old World New ‘Women’ is out now on Rise Above
comparative rookie when it comes to actual years Wave,’ issued by Neurot, ‘Women’ will see the light www.IdesOfGemini.com


were one and the same! So we worked with his

assistant Henrik Udd instead. We’ve recorded with
Fredrik several times before. He’s really talented but
he also has a passive-aggressive way of pushing
us by constantly being on our asses about every
little thing. It’s irritating, but at the same time very
effective,” he concludes.
Opening up about the lyrical themes on their
new album, Johan describes how “many of our
songs are about alienation and an innate desire
for freedom. It ties into the wolf theme that
we’ve always had. For us the wolf represents
nature at its wildest. The wolf is misunderstood
Going strong on album number nine, ‘Run With The in many ways, people hunt and kill it because
they think it’s dangerous. So its pure existence is
Hunted’, Swedish D-beat marauders WOLFBRIGADE a great metaphor for the conflict between man
caught up with TERRORIZER to discuss finding and nature; puppet and outlaw.” The striking
album artwork also ties in with this theme as “the
inspiration in unexpected places…
illustration, made by the German artist Karmacid,
WORDS: Serena Cherry is a two-headed wolf-like creature, either chained
and dealing with it, or breaking free of the chains.

e’ve always been popular with bridge that I steal. I can reveal that there are bits The goal of the record is to make you wanna crack
metalheads,” muses Erik Norberg, and pieces from songs by both Europe and Gary open a beer, rather than slit your wrists.”
guitarist of Swedish lycanthro punks Moore on our previous album ‘Damned’.” Rightly so, as it’s a cause for celebration: nine
Wolfbrigade. “In the beginning it was more the “There’s also some Kiss on this record, albums in and these relentless punks are still
punks who didn’t understand what we were which is probably very obvious,” bassist Johan smashing out mind blowing records. How do they
doing and had opinions about it. Our goal was to Erkenvag chimes, “but sounded so good that do it?
mix D-beat and death metal, yet the first album we couldn’t leave it out!” Sharing an array of “Well, there is no alternative for me,” concludes
actually turned out to be more punk than we musical influences between them, he admits “we Erik. “Jocke and I have been playing music
wanted it to. But if you’re into old metal like generally argue over arrangements, what direction together for 30 years, it’s my life’s work and I’ve
Venom, you probably like our raw and unrefined the song should take. Some of us push towards put so much energy into it. Sure, inspiration has
version of it,” he laughs. more melodious metal influences, others prefer the come and gone over the years, but we’ve found a
With ‘Run With The Hunted’, the bands ninth rawness and approach of pure hardcore punk.” new focus. Before, we toured a lot and rushed out
studio album (or sixth if you don’t count the first Being a heavy Swedish band, it seems a some albums just to have something to tour with.
three albums released under the name Wolfpack no-brainer for these D-beat legends to record with Nowadays, we put more energy into making better
– but why wouldn’t you?), the Stockholm-based renowned melodeath producer Fredrik Nordstrom. records and have cut down on the live gigs. It’s
quintet were “still inspired by metal from the However, despite their pre-existing working always been important for us to nurse the band to
’80s, especially song structures. I try to mould relationship, they “didn’t exactly record with him keep it fun for everyone.””
heavy metal into D-beat punk, but in that this time,” grins Johan. “We were supposed to,
process, pretty much anything can inspire me. I’ve but when we arrived in Gothenburg we found out ‘Run With The Hunted’ is out now on
also heard songs by Sting or Genesis on the radio, that he had double-booked us with Martyrdöd. I Southern Lord
which are shit songs, but with a great break or think he got our bands mixed up and thought we www.Facebook.com/LycanthroPunks

“The goal of the record is to make

you wanna crack open a beer,
rather than slit your wrists”


WORDS: Ross Baker

s frontman for horror punks actually written from the point of view of the theme that was clearly on Wednesday’s mind, in
Frankenstein Drag Queens From Planet serial killer Richard Ramirez. I watched a few particular the passing of his hero David Bowie.
13 and Murderdolls, his collaboration documentaries and read about his life. He saw It’s these events which lead to the conception of
with then-Slipknot drummer Joey Jordison, his cousin shoot his wife in the face and his the near seven-minute title track, an eerie and
Wednesday 13 has been presented as a purveyor sister’s husband used to spy on women in the sinister composition that’s a far cry from the
of kitsch shock rock, associated with films and night and encourage Richard to do the same. It’s parody song titles and sleazy, tongue-in-cheek
TV shows like ‘The Munsters’ or ‘The Addams frightening to think what these things do to a rock Wednesday 13 is known for.
Family’, but seventh solo record ‘Condolences’ is person’s mind. He claimed he killed in the name “It was on my mind 100%,” he confirms.
anything but light entertainment. of Satan, but he was just a screw up that turned “2016 was the year a lot of my heroes died. Not
“The album is written from the perspective to murder. Real stories hold more interest for me just Bowie, but actors I grew up with like Gene
of killers, victims and those mourning the than comic books or stuff like that. This album is Wilder from ‘Willy Wonka And The Chocolate
dead,” Wednesday explains. “It’s the death more serious than I’ve ever been – everything on Factory’. I constantly was seeing people saying
of relationships. I used to never write about this record is real.” ‘condolences, sorry for your loss’. The song is
personal things in my songs but it’s become Composed in September of last year, 2016 actually me writing as if I was watching my own
therapeutic for me. There are no parodies or was a year that saw many high profile celebrity funeral. To me it’s a combination of ‘Welcome to
jokes this time. The song ‘You Breathe, I Kill’ is deaths covered by the world’s media. It’s a My Nightmare’ and ‘Black Sabbath’.”

utside of Murderdolls, Wednesday has family than career these days. overthink things like I might have done in the
forged his career his own way, and it’s “I’m not sure,” he counters. “I don’t think past.”
fitting that the more metallic direction [Zoie] knows the level of where we’re at. She Death and dying remains the overriding theme
‘Condolences’ has taken would mean a deal with hasn’t seen all the touring we do. We talked about of ‘Condolences’ up until final track ‘Death
a more renowned metal label. her getting into the music world but I’m not sure Infinity’, which sees Wednesday musing on the
“The last few records I did independently and she’s interested in that now. It’s a shame, I’d love concept of an afterlife. While not a religious man,
did the crowdfunding thing, but when it came to be able to ‘kill’ my daughter onstage like Alice he is clearly product of his environment in that he
to doing this album, I saw bigger things for us. Cooper does every night!” is a reaction against the boredom and intellectual
People have asked me if I decided to make a more ‘Condolences’ sees Wednesday reunited with malaise of small town America, having grown up
metal record because we signed to Nuclear Blast, Murderdolls producer Zeuss Harris. Harris may not in Charlotte, North Carolina.
but the record was written before we had the have written any of the material, but his influence “It’s something I think about. I’m not sure
deal. It’s a natural evolution, the guys in my band in arranging and production is all over the album. about what happens. I grew up in the Bible belt in
are into everything from death metal to rock ’n’ “We got along great when we did the North Carolina where there was a church on every
roll. I just turned 40 last year and I’ve been doing Murderdolls record and kept in touch afterwards. street corner. Lots of people thought I was a devil
this twenty years now. I want the future of this I knew when I wanted a bigger sounding record worshiper as I had long black hair. My upbringing
band to be bigger and better and go to the next that he was the right man for the job. We didn’t shaped me, it’s such a weird little town. The only
level. If we ever do, now is the time. We’ve got to even have the deal yet but he was happy to do it. cool thing from Charlotte was my wrestling hero
go full throttle, all the way.” I’ve always produced all my solo records myself, Ric Flair was from there. I’m just glad I got the
Wednesday emphasises he “loves to entertain so handing over that control to someone else was fuck out of there and managed to achieve what I
and play the old songs live” but admits “the a big deal to me. It was great to have someone have.”
horror punk thing is done,” citing evolution else to discuss ideas with. He really helped trim
and getting older as the reason for his desire the fat from the record and made us sound so Wednesday 13 plays Download Festival on
to try new things. Now the father of a teenage much better. I’ve always produced my own stuff, Saturday, June 10th
daughter, Zoie, the man who once penned a track not because I’m an egomaniac but because I never ‘Condolences’ is out now on Nuclear Blast
entitled ‘I Take Drugs’ seems more focused on had the budget to do otherwise. It meant I didn’t www.OfficialWednesday13.com


“It gets so pretentious and stupid

trying to describe your own music,
so we try to avoid it”

WORDS: Angela Davey

t doesn’t really bother me when that Dylan considers responsible for the sound was into this kind of music,” Dylan explains.
people try to pigeonhole us, it’s not they’re now producing. “We thought it would be cool to have a
our business how each individual “Merzbow taught us the value of melodic, female voice on the record and, again,
chooses to think or feel,” states Full Of Hell improvisation in a free jazz sort of sense and that is something that’s come from The Body,
vocalist Dylan Walker. The so-called “harsh that’s been applied to everything we’ve done because they always have these amazing guests
grinding death” quartet have been causing since live and on record,” he reveals. “The Body on their records with beautiful voices.”
quite the stir in the metal scene for the past are masters of creating brilliant pieces of work “We started this band to go on tour and we
six years, blurring the lines of genre definition in the studio, without any planning beforehand. toured without even having a pressed release,
through marrying together death metal and There’s a song on the record where the which was a stupid idea, but I feel like it shaped
power electronics with elements of grindcore. drummer from The Body produced a beat for us us as people,” Dylan tells us, talking of the
It has ruffled feathers to the point that some and we built a song in the studio based around band’s steady rise to notoriety. Despite only
websites such as Metal Archives refuse to even that – that’s something we would never have existing since 2009, Full Of Hell have released
list the band, but Dylan and co. could not done a couple of years ago, but now we have splits and worked with artists who are prolific in
care less. these new toolsets thanks to their influence.” the underground scene and have toured all over
“On our tour with Immolation, they kept The newest record features some extremely the world. For Dylan, he feels it’s their plucky
calling us a powerviolence band and a couple high profile guest vocals from the likes of Aaron attitude, stupidity and pure luck that have put
of weeks into it I did have to correct them,” Turner (Sumac, Old Man Gloom, ex-Isis), Nate them where they are today.
he laughs. “It gets so pretentious and stupid Newton (Converge), Andrew Nolan (The Endless “Touring DIY and doing things perhaps
trying to describe your own music, so we try Blockade) and Canadian singer/songwriter before they should be done has had mixed
to avoid it.” Nicole Dollanganger. While the likes of Aaron results,” he explains. “Going in blind, without
The band’s third full-length album under and Nate make for understandable choices, it’s knowing how things worked and having
their name alone, ‘Trumpeting Ecstasy’, has difficult to see where Nicole would fit within people shit on the records and losing money
recently been released and, in the four years the turbulent sound of Full Of Hell. However, has been a quick method of growing up. It’s
since previous opus ‘Rudiments Of Mutilation’, for the band, she was an obvious choice. kept us humbled and grateful when things go
their sound has evolved and transformed “We found Nicole through Grimes; her voice our way.”
into a beast that is almost unrecognisable to is totally sublime and angelic, I love her music
where they first started. Full Of Hell have of and we found out that she was a really big fan ‘Trumpeting Ecstasy’ is out now on
course collaborated with the likes of Merzbow of Full Of Hell and we thought that it was the Profound Lore
and The Body and it’s these partnerships craziest thing that this pop artist from Ontario FullOfHell.Bandcamp.com


Despite their constant activity in one form or another, the truth is that it took a
decade for OXBOW to come up with another full-length album to follow up 2007’s
‘The Narcotic Story’. It’s been worth the wait, as ‘Thin Black Duke’ is a major
kick in 2017’s head, a grandiose piece of music that defies just about everything –
expectations, categorisation, stagnancy, even the band itself…
WORDS: José Carlos Santos

t the beginning of our conversation, the really the point – I like to say Oxbow is a machine instead after all. As a necessary bridge from ‘The
loquacious, opinionated and larger-than-life that runs on friction. I think that in the end, when Narcotic Story’ to ‘Thin Black Duke’, it seemed
figure that is frontman Eugene S. Robinson you listen to what we do, what we end up with is that the character from that previous record started
tells us in detail how Oxbow records don’t stop something that is greater than the whole. There is to have heft and dimension, it seemed to me like
feeling like a dream sequence and become real to a great melting pot feeling, with all the tensions a real person, and of course it was inspired and
him before a certain point in time, and reiterates and all the differences, but despite that, what I driven by real people. Or person. Increasingly, there
a lot of the work both the band and its members hear is something that works together. That’s why seems to be an unforgiving kind of arithmetic that
have had in parallel over these last ten years. it works, that’s why it’s interesting, and that’s the drives personalities like that. So much so that you
Guitarist Niko Wenner then summarises the whole most important thing to me.” have to wonder why are we here. I mean, you can
speech with efficiency: “What he means is that “I think that functionally, it becomes easy to think about this largely when you think about
we’ve been working our asses off!” he exclaims see this Apollonian and Dionysian divide, where people in power. When I express confusion about
with a laugh, and right here in this exchange, you’ve got order on one side and chaos on the some of the actions of someone who’s wealthy;
part of Oxbow’s essence is clearly visible. In the other, but we’re not really thinking of things like ‘guy’s got a hundred million dollars, why would
red corner, fighter/writer/singer/serial undresser that during the whole process,” Eugene offers. he do that?’ When I say something like that, Greg
Eugene, crooning, moaning, roaring and screaming “We’re answering not only the dictates of our [Davis, drummer] is fond of saying, ‘well, why do
his tremendously deep and impactful lyrics, a sort souls, but also kind of what the music is calling you think? He wants more money!’, and I’m like,
of chaotic, wild presence within the band. In the out. In my view of my vocal contribution, I’m ‘but he’s got a hundred million dollars!’, and Greg
blue corner, Niko, Dan and Greg, a super tight, not thinking of it in terms of chaos. I’m thinking goes, ‘That’s not enough. It’s never enough.’ See,
controlled three-headed machine of strength and of it in terms of a one-to-one relationship with it’s this spirit that embodies human activity, that it
precision, providing an almost incomprehensible an emotional truth. And I’m also listening to the seems quite comfortable with the notion that it’s
level of musical richness in a way that hits music, which dictates largely whether I’m doing it never enough. And if it’s never enough, it’s not
instantly and flows seamlessly. better or worse, whether I’m aiding and abetting really about money. It’s about something else, and
“The short version is yes,” Niko says when we or interfering… and at the same time, after giving it’s that something else that I feel increasingly is
ask if this duality is not only something deliberate, the lyrics to the rest of the band, we do make guiding and controlling very clearly my life and
but also nurtured in the way the adjustments in the traditional sense, like repeating very possibly the lives of others, despite the fact
band writes and performs. “The this part here twice, or something like that. We’re that people are routinely telling me that cash is
more interesting version is all involved in making the best Oxbow that we can not everything. You’re right, but that doesn’t mean
two things – first, that we make.” we’re skipping through strawberry fields. It’s much
have tried to change it, and “I’d just like to say, at the danger of pursuing more ominous for me to hear somebody say that
second, that in the end, we that polarisation question, I think it’s important that cash isn’t everything. Cash would be a much more
didn’t. For this record, we we do think about the fact that the music on this comfortable explanation for people to do what
use a lot of push and take. album was sometimes some of the most controlled they do, but that ‘never enough’ that Greg talks
Everybody contributes to we’ve ever done,” Niko explains. “For example, we about, that’s what disturbs me, and that’s what I’m
it, and that friction is did two and a half days of orchestral overdubs, and focused on.”
those folks, these amazing players, they want to see In a way, the whole Oxbow body of work traces
music on the page. You have to write it, you have the story of these vague characters.
to use that printed language and communicate it, “In my mind, you can take the records and
and yet, still, within all that precision, there’s an lay them one after another and lyrically it will
element of improvisation. So even with the element probably make as much sense as any single modern
of control, there’s always some improvisation, and novel,” Eugene suggests. “You can’t separate ‘Ecce
on the other hand, even with planned improvisation, Homo’ from ‘The Snake And The Stick’, these
there’s always some control behind it.” songs are connected in a lyrical landscape, with

the minor exception perhaps of moving between
f course, most of you have surely first person and second person. The preoccupations
recognised the David Bowie reference in tend to circle around the same sorts of things, I
the album’s title. So, why hark back to one feel that the preoccupations that have kicked off
of the late great’s most creative (and intoxicated) [1989 debut] ‘Fuckfest’ have concluded with ‘Thin
periods? Black Duke’ insofar as the emotional tone given
“I don’t know,” laughs Eugene. “Well, I do by the record largely feels like the characters, or
know, but it was a complicated series of real the person, or the people, are in a different place.
events and thematic events. Coming off ‘The Which I like – if you think about it, rock’n’roll
Narcotic Story’, these were some of the prevailing is predicated in a certain kind of hysteria. Chuck
lyrical ideas… initially we didn’t know if we’d get Berry just died recently, and whether it’s the agita
[producer] Joe Chiccarelli to do it, and one of the of being an adolescent, which he kind of framed in
people we had met about it at the time was Tony some of his earlier songs, to the twenties and the
Visconti, David Bowie’s producer. It started to seem unspecified disasters, love-related or not, these are
like a weird harmonic convergence. He was great all different stages of life. At this point now, it ’s
and wonderfully self-effacing, I think his comment the coldly, dispassionately existential concerns that
to us was ‘you don’t need me! You’re doing fine!’ occupy my time and my days…”
This was well before they started working on
‘Blackstar’ and had a kind of late career revival. He ‘Thin Black Duke’ is out now on Hydra Head
was a wonderful guy, but we ended up getting Joe www.TheOxbow.net



Dutch gang GOLD have upped their ante once more with ‘Optimist’, burrowing deeper
into their unconventional, post-everything path after ‘No Image’ had already sent them
into the wilderness – yet the continuity is obvious, with the personality of the band still
present. TERRORIZER asks guitarist THOMAS SCIARONE whether this shape shifting
nature was cultivated in a conscious manner…
WORDS: José Carlos Santos

here is one thing that I’m very of perspective and that’s really when I find out we don’t talk about it until we do. To me, it is
pleased about in the way that you what it’s about, myself. When I write the lyrics important that everyone has an opinion, but if you
introduced the question, which is I’m not thinking about the themes of the songs, have a stage, as small as it is, if you have people
when you said that the personality of the band is that’s something that becomes clear afterwards. listening to you, it’s even more important to
there,” says main songwriter and guitarist Thomas I have to say I feel a lot more comfortable with express yourself.”
Sciarone. “I think that’s somehow the key of it this process than when we started this band. I’m “If you consider yourself an artist, you should
all. ‘No Image’ was about a lot of things, but not more comfortable with everything in life than never let yourself be reduced to just being an
the title was also like a middle finger to identity, I was five or ten years ago, but with this means entertainer,” says Thomas, picking up the subject.
to all these bands that are so busy portraying of expression, I do. I’ve been writing songs pretty “If you have a stage, use it to confuse, to bewilder,
themselves and then put so little effort into much my whole life, and they have always been to inspire, to voice your opinion. We saw that
doing something original and worthwhile. A very dark, but somehow things are getting a little the other day at the women’s marches, and the
lot of work on identity and very little work on bit more clear now.” actresses and the singers were the most vocal
personality, and the goal should be personality. What is also very clear is the band’s willingness people out there. Not because they were saying
It’s about being the best you can be, as a person, to have a very vocal opinion on current events and anything different to the other people, but because
as an artist, as a band, as a lover, as everything worthy causes – both Thomas and Milena have they have a stage. Everyone knows who Madonna
you are. We’re very aware that it’s impossible to been strong advocates for feminism, social equality is, for instance, so if she uses her stage to say
not have an image – that’s an image too. That and other crucial matters in several interviews and something political, she’s going to be heard. That’s
was the irony.” statements. Does it still matter to try to reach a powerful weapon. When a black metal band like
As for the lyrical approach, singer Milena Eva people when you’re in a band, in this day and Krieg make all the Bandcamp profits from that day
tries to explain something which is often too age? Milena instantly jumps to the reply… go to planned parenthood, that’s a very important
vague for words. “It’s the most important thing in the world! It’s message being sent out from a scene that’s often
“I think that, with all our albums, the lyrical very important that at any time, at any moment, perceived as narrow-minded and even conservative,
concept is always something very personal,” she you reflect, you think about what you think using that platform to say ‘this is what I think
says. “I am inspired by lots of things, I try to about things,” she states. “Thomas and I gather is important’, as an artist. You don’t have to be
listen to other people, the way they say things, a lot of information about a lot of issues and we political as an artist, but if you have an opinion,
the words they choose… I like to read a lot too, like to have our own opinions and ideas about why not share it?”
and the things I write are the reflection of my everything, we’re very strongly opinionated and
life and the way I experience it. When the album we know what we’re talking about – because if ‘Optimist’ is out now on Ván
is done and I can listen to it in full, I get a lot we don’t have any knowledge about a subject, www.TheBandGold.com




even albums into their career, extreme power metal sextet When Sam and I worked with Babymetal we learned a bunch of things
Dragonforce (comprised of guitarists Herman Li and Sam about live presentation. When I played with Tool a few years ago, I
Totman, keyboard player Vadim Pruzhanov, bassist Frédéric was only onstage for one song in London, but I learned something.”
Leclercq, singer Marc Hudson and drummer Gee Anzalone) take ‘Reaching Into Infinity’ deals with man’s progression through
umbrage with the idea that their music is just fantastical nonsense for technology, something Herman is passionate about. While Dragonforce
entertainment only. Polite and fairly mellow, Herman bristles at the have all the usual social media channels, the band members are
notion that his songs don’t discuss serious issues. reluctant to have much of an online presence, preferring to keep
“People may think that the music sounds very happy, but there their private lives to themselves. To Herman, technology is a tool for
are some sad songs on this record,” he begins. “We don’t write learning and the idea of voicing opinions or using social media to put
nonsense – it’s actually harder to write nonsense than have a subject his views out there is something that is of little interest.
to write about! Fred wrote the song ‘Silence’ about a friend of his who “I don’t really care, we’re not here to tell people what to think,”
committed suicide. It’s a deeply personal track that was very difficult for he scoffs. “We’re pretty secretive and don’t post much on social
him to compose. Subject matter gives you a direction and structure to media. We don’t care about always having the final word on
work to, every song means something.” Twitter. If I see someone write something incorrect online
New album ‘Reaching Into Infinity’ saw Frédéric handle the majority I’m not going to bother correcting them. You can’t
of songwriting, though Fred was quoted as saying that this was not give too much power to social media. I hate when I
a straightforward record to make, with tempers flaring on more than see a sea of iPhones at a gig. Fans should watch live
one occasion during the writing and recording processes. While his musicians without a phone in front of their faces.
bandmates may have been getting hot under the collar, Herman tries to You’re missing the magic of the show if you’re too
downplay any talk of dissent in the ranks. busy taking photos. You’re left with a digital
“He might have been getting stressed, but I wasn’t,” Herman laughs. memory that’s worse than the one in your
“I used to get very stressed but I’ve tried to change how I approach brain. I suggest people try it once and see
being in a band because it’s supposed to be fun. There’s no such if they experience it better. It needs to be
thing as an easy album. [2012’s] ‘The Power Within’ was the hardest said more. I’ve seen iPads too, it’s stupid.
album we’ve ever made. The first album was difficult too, I think it was I decided to spend my time learning how
because we were playing festivals in between recording sessions.” to do new things with technology and
Since their inception, songwriting in Dragonforce was largely instead of sitting on my PC refreshing
overseen by Herman and Sam. Herman admits to being “somewhat of Facebook or Twitter I read about how
a control freak” in the past, but now sings the praises of his colleagues, to sound engineer. I do audio and video
with the band more collaborative than ever before. editing and like to learn things to improve
“In the beginning we had to have it our way, ‘you gotta play it my abilities. I’m a musician, I go on
this way, you gotta sing it that way’, that kind of thing. We thought tour all the time. I don’t need to use the
that was the way to create our sound. The thing I’ve learnt is how to internet to enhance my social skills.”
work with people – we’re not like that anymore. I know people think Looking to the future, Herman is keen
that Dragonforce are all about Herman and Sammy being annoying to travel far and wide despite complaints
and telling people what to do, but that’s not the case. When it came of being “screwed over by airlines” and
to recording the album, Marc did all the vocals by himself. Our new the long hours of travelling that come
drummer Gee is really passionate with a fantastic work ethic, he ripped with touring a record for the next two to
it up. Even though it’s his first studio album with us, we demoed the three years. Driven and ambitious, he’s keen
songs with a drum machine to guide him before he wrote all the drum to set realistic goals for Dragonforce while
parts. You have to be comfortable to try things out and put your trust remaining optimistic about the band’s future.
in the abilities of others. We don’t even produce the albums anymore, “We’ve done this for so long, it never gets
we learned that the way to extract better results from people was easier,” he smiles. “We don’t concern ourselves
letting them do their thing. This is a better way for Dragonforce to with how big our band is. If you’re going to
improve and progress.” make your hobby into your career then try
not to destroy the enjoyment you get from it.

hile Dragonforce has been Herman’s focus since 1999, the I’m glad that people still care about what we
guitarist has collaborated with a diverse collection of artists do.”
from Tool to Babymetal and is extremely supportive of
Fred’s involvement in death metal supergroup Sinsaenum. ‘Reaching Into Infinity’ Is Out Now On
“All musicians need to learn from other musicians to improve and earMUSIC
get better. Any other projects we’re involved with are so different. www.Dragonforce.com



“we wanted to be
more brutal, but
maybe perhaps
not in the way
that’s most easily

Back with second album ‘Wherever They May Rot’, CUT UP’s ANDERS BERTILSSON
talks about how everything just got even more brutal
WORDS: Kevin Stewart-Panko

fter the dissolution of Swedish OGs prolific creativity, kept rehearsing and churning and we wanted the aggression to be obvious.
Vomitory in 2013, drummer Tobias out songs. Brutality and aggression is the sum of it all; the
Gustafsson and bassist/vocalist Erik “Not touring led us to start writing album riffing, the singing, everything. In a way, we
Rundqvist figured that since the glorious gristle number two and Andreas is like a machine gun wanted to be more brutal, but maybe perhaps
of HM-2 death metal still coursed through their when he writes stuff,” praises Bertilsson. “He spits not in the way that’s most easily interpreted. We
veins, they were going to forge ahead even out songs faster than anyone I’ve ever met, and wanted our brutality to carry some weight and
it meant starting from scratch. By the time with a consistent quality.” be… good, more or less,” he laughs.
early 2014 rolled around, the pair had quickly The result of this quick turnaround is Aside from the tricky balancing of schedules
recruited the guitar slinging tandem of Anders ‘Wherever They May Rot’. Their sophomore and everyday responsibilities with the increasing
Bertilsson [ex-Coldworker] and Andreas “Björte” album is an amped up offering of the elements demands of a buzz-worthy band looking to
Björnson [Fetus Stench], christened themselves showcased on their debut: the riffs and choruses, capitalise on that buzz and grow, an additional
Cut Up and created the caustic catchiness of especially in ‘From Ear To Ear’ and ‘Necrophagic issue confronting Cut Up is their emerging from
their debut, ‘Forensic Nightmares’. Madness’, are simultaneously more incisive and the shadow of Vomitory’s 24-year, eight album
“We had already all thought it would be fun playfully infectious; the lead work is fiery and career.
to do something together,” recalls Anders about furious, yet masterfully phrased; the lyrical “Of course there are going to be similarities
the band’s origins. “Then, I received a call from topics are splattered with old time gore ‘n’ guts with there being two members of Vomitory in Cut
them asking if I was interested. Of course, I said (‘Cranium Crusher’, ‘Raped By The Blade’); and, if Up. Also, myself and Andreas, we love Vomitory
yes and before we knew it, we were a four-piece there is in fact a “brutality” dial on the recording as well [Bertilsson had actually filled in for
as we asked Björte to sing and play guitar and console at Big Balls Studio in Karlstad, then it Vomitory live at various points], so perhaps there
he was onboard from that moment. Everything was liberally turned to the right. will be hints in what we write. I guess it’s hard
went smoothly and we’ve been very productive “We tried to take everything we thought we to avoid certain similarities with two members
song writing-wise. We got the material for the did right on the first album and improve upon and the simple fact that we play death metal. If
first album together really quickly, especially it. Whenever you do a new album, there’s always you want to pick stuff apart and find similarities
when you look at how long we’d been around. the excitement of doing something new and here and there, it’s easy, but we all feel Cut Up
The first album was released in June 2015, but fresh. We tried to incorporate more variety in the is its own thing and Andreas has written most of
it had been done for a long time as we had to songs and the fast stuff we wanted to do even the songs on both albums. To us, it’s clearly two
wait on Metal Blade’s release schedule.” faster. Not for the sake of being fast, but for separate entities.”
Sporadic festival appearances and one- the satisfaction of becoming better players and
off gigs followed ‘Forensic Nightmares’, and using those skills. We love brutal music and we ‘Wherever They May Rot’ is out now on
despite – or in spite of – a lack of sustained love doing it in the way we feel is the right way. Metal Blade
touring, the band, bolstered by Björnson’s Brutality, to me, is synonymous with aggression www.CutUpOfficial.com



e have to admit we were more excited than combination of all the things that interest me that the floor and letting it feedback through different
usual with these things when we realised don’t find expression in Neurosis or my solo work. things and turning that into something else
Steve Von Till had put together a new It’s just the love for home-recorded psychedelia, before it gets to the recording device… it could
Harvestman record. Existing parallel to his activity folk music, ambient and electronics, the love be anything.”
in Neurosis and his solo work under his own name, of ancient stone places and history, but not a

Harvestman has always felt special and unique, in logical history, not what you read in the books t seems to be a sort of freedom that even
the way that it combines all the aspects of Steve’s but an intuitive meditation upon earth and stone, Neurosis or Steve’s other solo work couldn’t
artistic personality into a cohesive hole that is elements and our place in them. It’s more of a provide.
profoundly evocative, thought-provoking and also primal, spiritual history.” “There are definitely no rules,” he says
seemingly directly tied to nature, human thought thoughtfully. “There’s also some parameters I’d

and history. Having laid mostly dormant, at least t’s interesting how Steve is able to extract such like it to exist in. For example, I don’t use… well,
to the public eye, since 2010, Harvestman rises a raw and honest portrait of nature using a lot I guess there’s no rule against it, but I’ve chosen,
from the slumber of the ancient this time with of instrumentation and methods that would and the music hasn’t demanded, for me to use
‘Music For Megaliths’, and it’s yet another journey be completely off the radar for any other artist, my voice, not the way I do with my solo material.
into mind, spirit and past. or dare we say it, any other folk artist. You don’t Although I can imagine those two things merging
“Since it’s a home studio project, with usually hear folk people talking about electronics. a bit more than they do, but it never seems to
Harvestman it’s always been about collecting, “Well, I’m not a traditional folk player,” Steve work out that way. I mean, it’s improvised – the
revisiting, reapproaching and reimagining things,” laughs. “I don’t really feel like grabbing a fiddle solo music is not improvised, Neurosis is most
Steve starts, explaining the inner workings of the or a mandolin and trying to revisit things I’m not definitely not improvised, it’s kind of forged in
project. “It’s not like sitting down and making an expert in. It’s more like a reimagining through their own ways. With the solo work I’m writing
one record. Some of these ideas were probably my own weird filters. It sounds crazy when I say songs that are concise and succinct and have
recorded the last time a Harvestman record came it and I hear my own words back at myself, but lyrical flow and patters, with Neurosis we have
out, a few of them, definitely right after that. It for me it makes total sense to draw straight lines our own strange, epic way of creating flow and
happens when I’m in my studio experimenting, I’ll through things like electronic music, krautrock, arrangement that once it’s set, it doesn’t vary,
put down little moments of inspiration and often Brian Eno’s ambient music, Tangerine Dream’s but this is very improvisational. Actually, it’s
just walk away from them and put them aside for synthesizer beds, Hawkwind’s psychedelic rock very inspired by dub. Not in the musical styles,
a while. Then I’ll open up and revisit old things in a Stonehenge free festival, going right back because I don’t play with those rhythms and
some time later, with a fresh new perspective, through the British folk rock revival of the ’60s basslines, but with the idea of the great mixers,
overdub some new idea on top and twist it into and ’70s, back to the people who were collecting like Adrian Sherwood or King Tubby or these
something else, and then I’ll put it away again. folk recordings after the invention of recording guys – it doesn’t matter what the band tracked,
When there’s enough of these pieces that I feel devices, all the way back to our primitive ancestor that just becomes the paint. What matters is
are good, when the reimaginations become kind that first discovered they like making sounds by what happens in the mixdown, in the dub mix
of cohesive and I feel that I have an album’s hitting sticks together. It’s all just the tools of you’re totally manipulating instrument sounds

“Nothing is sacred in the process. I’ll track all kinds of

things, then I’ll mutate it, destroy it, make it into something
else right up until the last moment”
worth of material, that’s when I’ll specifically sit who we are at a given time, and it seems foolish on the go and that becomes the performance,
down and mix those pieces. So that’s what I did, to not use all the tools we have available in our and that’s definitely how I look at it too. That’s
I narrowed the material down to the pieces that current age to express it. I think all of it is a valid what I meant by saying nothing is sacred – I will
seemed they were going somewhere, and then way of using sound to trigger the imagination filter, destroy, distort, delay, phase, flange, mutate
it became a concerted effort. That still involves and a meditative state. And electronics are any of the original signals into something new
a little subtraction or addition, but I think most fantastic for that.” in the mixdown, so that it has kind of a life and
of all mixing it all in one go gives it a cohesive Really, why limit ourselves with imaginary performance of its own, whereas the original
nature as an album, as opposed to pieces over boundaries? Everything is a tool, and just a sneak things that were tracked were just colours on the
different years, the last shaping all happens with peek at Steve’s “writing” process for Harvestman way.”
the same mindset, same equipment, in the same proves that completely. Although they have points of contact, and
time period. Nothing is sacred in the process. I’ll “Whatever happens first,” he says, when we even if he plays shows where he mixes both
track all kinds of things, then I’ll mutate it, destroy ask him what the initial spark to these songs things, Steve Von Till and Harvestman records
it, make it into something else right up until the usually is. “It’s religious, almost, walking into my keep existing as separate entities. Might we see
last moment.” home studio and turning on some equipment and a Harvestman vs. Steve Von Till album at some
And while the records might seem like deep seeing what comes out. Sometimes I’ll have an point? How would it feel doing a collaborative
conceptual pieces when you’re engrossed in idea that I’ll chase in any given way, but usually split with yourself? Steve laughs at the idea, but
them – which will happen quite easily, as few it’s mostly improvisation, I’ll just hook some also realises it’s not just a joke.
other pieces of music exhale an atmosphere this pieces of equipment together and start making a “I don’t think the two things will merge in
thick, and this prone to sweep you away – that sound. Most of the time I move on to something that way, but who knows!” he says, still with a
just speaks volumes about the evocative power of else, occasionally something will resonate and I’ll booming laugh. “It’s such a free project, so maybe
the music, because there’s actually no underlying put it down, and I have no idea where it’s going they can, maybe they can’t. Who knows, time will
specific concept. to go. Maybe it’s just a drone, maybe it starts tell…”
“No, there’s actually no real concept with the with just the electronics, the keys taped down
records, it’s more like a concept of the whole in one place to make a drone, and I’ll filter it ‘Music For Megaliths’ is out now on Neurot
project,” reasons Steve. “It’s kind of this illogical through different pedals. Or leaving the guitar on www.VonTill.org


“We had a black canvas and

no expectation, apart from
pleasing ourselves”
suggests FIRESPAWN’s mainman VICTOR BRANDT about the band’s new
album ‘The Reprobate’. Victor talks about schedules, death metal and
the importance of a good drummer
WORDS: Olivier ‘Zoltar’ Badin

h, the supergroup. Metal in general and functioning and touring band, not some studio built his axis around two specific elements: his
death metal in particular love them. The thing we felt like doing after we realized we had love of classic US death metal such as Vital
problem is to sort the wheat from the chaff. a two-week hole in our schedule. This involves Remains or Morbid Angel, and Matte’s extremely
Some of these gatherings of (great) minds leave some serious planning; I mean, for this record, fast yet super precise snare hit. While the former
behind a couple of albums that only begged Matte recorded the drums when the rest of us could already be perceived in his short-lived mid-
for more (Meathook Seed, Death Breath) while were on tour with our respective main bands. ’00s project Dominion (whose sole album, 2006’s
others are condemned to remain a studio only Then he left for Australia and we did our thing ‘Born God And Aware’, can almost be regarded
thing (Voodoo Cult, Comecon, Sinsaenum, most before sending the whole thing to Lawrence as a blueprint for Firespawn), it was truly his
of Rogga Johansson’s projects!). And then, Mackrory from Darkane and F.K.Ü. for the mix comrade’s drumming style that pushed him the
there’s the real deal; actual proper bands who and the master. And while me and LG we were most.
are here to build a career with albums, tours touring the US with Entombed AD, we exchanged “These days, a lot of young and upcoming
and the whole nine yards. Following the recent internet files for weeks on end to fix all the little drummers can play fast. Very fast. But only a
examples of Bloodbath and Memoriam, and details and voilà!” handful are actually mature enough to go beyond
well aware that another quickly-put-together- With about twenty shows already under their that ‘speed-for-the-sake-of-speed’ thing. Matte
just-for-cash thing wouldn’t have taken them belt, booked Australian and Asian tours, plus always remains at the service of the song and
very far, Firespawn’s main composer, and an appearance at Hellfest, Victor confirms they knows when to slow things down. When you have
Entombed/ Entombed AD bassist, Victor Brandt felt they needed to strike while the iron was still somebody as diverse as him beating the drums,
knows damn well that by assembling around hot, even if it’s been only eighteen months since there’s no limit to what you can do. And while LG
him LG Petrov, Unleashed’s Fredrik Folkare, their debut. Hence a new album which, like its keeps his ear to the ground to make sure we’re
Necrophobic’s Alex Friberg and former Dark predecessor, sports a triptych-like painted cover still relevant in the wake of the more recent death
Funeral and Defleshed drummer extraordinaire by Paolo Girardi, strongly suggesting it mainly metal acts and Alex helps me with the lyrics,
Matte Modin, he’s walking on eggshells. expands on what ‘Shadows Realms’ first launched somebody like Fredrik makes sure we have the
“Of course, if we were a bunch of nobodies, in late 2015. right arrangements and choruses. All in all, it’s a
things wouldn’t have happened so fast,” he “We had a black canvas and no expectation, great team and as cliché as it may sound, we’re in
reflects. “But the downsides of having us playing apart from pleasing ourselves. In between all it for the love of death metal first and foremost.
in other bands is that we’re all super busy so the experience we’ve accumulated between all And I already have two songs almost ready for the
we have to schedule things ahead to make them five of us, we knew exactly what we wanted. So next album so we ain’t going anywhere!”
happen. But to answer your question, that’s ‘The Reprobate’ ain’t about changing, but more
one thing we made very clear from day one a matter of sharpening our weapons, one could ‘The Reprobate’ is out now on Century
ever since we decided to put together what was say.” Media
initially called Fireborn three years ago: this is a Responsible for most of the ten songs, Victor www.Facebook.com/FirespawnOfficial

c a p t u re the
a n ted to this
“W e w g i n

e of li v i n
ex p e r i e n c
a n d p ut it
ig ht now
wo r l d r
a n a l b um”

After a decade of existence, Us black metallers WOE have significantly increased

their profile with new album ‘Hope Attrition’. TERRORIZER spoke to mastermind
CHRIS GRIGG about soundtracking turbulent times…

t’s a shame we had this conversation with Woe’s reasons they might have dreamed up should be one of horror and despair at the same time, so that’s
vocalist, guitarist and songwriter Chris Grigg forced to listen to over and over until their brains what I’m drawing from.”
before the band went on their European tour, melted. Chris continued, ironically enough not even In any case, with that off our chests, Woe’s
during which they were on the receiving end of feeling the need to use it as a political statement tour continues at the time we’re writing this and
a seemingly random ban from playing a show in by this time: “Particularly live, when it’s boosted fortunately all other audiences apart from that one
Germany (because they’ve played with Inquisition, a good 5-10 BPM and more unhinged. It was show so far have had the wonderful chance to have
seemed to be the excuse this time) – we’re sure Chris written to embody the ‘Hope Attrition’ approach: their faces ripped off by the Brooklyn quartet. They
would have been extremely vocal about this issue. fury and despair, riffs introduced and reworked and have come a long way, and we don’t mean from
Still, Woe’s statement published on their Facebook reintroduced, barely any time to breath until the their original neighbouring New Jersey origin, but for
really does speak by itself, as does the curiously end. Lyrically, it’s about people, not politics, and it something that started quietly and undramatically
premonitive analysis Chris gave when asked about a makes the statement that I wanted it to make. The (pun intended, of course) as Chris’ solo thing, to
song that might represent their amazing new record, world is a constant inspiration and I draw from it in witness the whirlwind of impressive fury that Woe
‘Hope Attrition’, in the best way. different ways. There’s an anxious, desperate quality has turned into is nothing short of breathtaking.
“I’m drawn to ‘No Blood Has Honor’,” he said that I try to capture in Woe riffs. I think it represents “Man, when I think about how it all started and
instantly, a song that whomever took the decision the chaotic spirit of modern life. The world feels so what I expected from it in the beginning, this is just
of banning this band for whatever fictional political fucked up right now and the human experience is unreal,” Chris says, apparently still getting to grips

with the current dimension of the band himself. “It and this abrasiveness has come from. Is it just the drummer] is superhuman and recognize him as one
was very much just an experiment, something I was natural progression of the band or were any demons of the best drummers in extreme metal.”
doing as both a fan of black metal and a songwriter tugging at Chris’ songwriting bones? Trust us, Chris, we do. We’ve heard Bloody
who wanted a bit more control over my work. I “When I wrote [2008 debut] ‘A Spell For The Panda, Krallice, Anicon and a whole bunch of other
didn’t think it would really take up much time, never Death Of Man’, I wanted a very particular, very black bands he smashes his kit in for, so we know.
expected anything. In many ways, this is all so true metal sound in mind,” he reasons. “I knew what

– I don’t expect anything, I don’t think we deserve the influences were, I knew how the whole thing o wrap this up, we throw Chris the usual
anything, and I am still 100% doing it because I am should feel, and since I had a completely clean slate, “inspirations” question, and the reply is
a fan first. But the way it evolved, the places it’s I was free to just work on it until everything felt refreshingly candid, so here we go.
brought us… very surprising. We’re leaving for Europe right. With the subsequent albums, I still didn’t have “I’ve drawn a lot of influence from many bands
in one week. I still don’t quite understand it.” much in the way of obligations, but I did have this over the years. We’re built on a pretty typical
self-imposed belief that I had to be careful to not foundation, I think: old Emperor, old Ulver, Dawn,

n fact, the band are now old enough to have just rewrite the first album over and over again. As Drudkh,” he lists. “I took more than a little Bolt
even had a sort of reimagining in this latest a result, I wound up going some places sonically Thrower influence this time around, mostly their
record, even going to the often maligned lengths that I didn’t expect. Since I didn’t enter into the attitude and focus, their willingness to stay the
of changing their logo. Did that mean to signal songwriting with as clear a vision, I’d follow the course and keep pummelling you with a sound
anything in particular? song and let it go where it wanted to go, but this that is distinctively theirs – that really sunk in. A
“That is an excellent question!” he exults, meant there was less accountability, fewer rules. lot of the momentum and the decision to focus
so apparently we hit upon something that was Creatively, this is cool, and as a songwriter, I found on low vocals on this album can be traced back
important for Chris to explain. Let’s have it then. it very fulfilling. We got some songs out of it that to them. Outside of metal, I think you could hear
“Originally, I had this idea for the logo to be slightly I’m very proud of and I hope everyone on those some different influences in my arranging. I’ve been
reimagined for each release to match the themes records is, too. But with ‘Hope Attrition’, we reeled listening to a lot of Depeche Mode again lately and
and tone. We moved away from the overt occult it back in, narrowed focus again, and – much like realized just how much I draw from their approach
imagery and instead focused on the passage of time, the first album – worked to ensure a particular to building on themes and introducing subtle
introspection, and a subtle reminder of our anti- consistency of feeling, even if it meant a less diverse variations to keep things moving but still familiar.
Christian roots, but it still felt a bit too smooth and album in comparison to the last two. It’s funny Prince has been on rotation almost constantly, too.”
serene to us. ‘Hope Attrition’ is a jagged, abrasive to come across reviews that complain about this, All of them timeless artists, as Woe themselves
album. It’s direct, straightforward. The logo needed as if it wasn’t the goal! We wanted something seem to have become. And will be for a long time,
to match. Equitant did an amazing job capturing the dark, unrelenting, and identifiably a Woe album. too. “We are already thinking about what comes
spirit of aggressive negativity that is the essence of We wanted to capture the experience of living next,” Chris concludes. “We will be talking shit for a
Woe and ‘Hope Attrition’.” There we go, from ‘new in this world right now and put it on an album. long time.”
logo’ to ‘perfect album description’, it wasn’t a big The listener should come away from it feeling
leap. exhausted. They should remember riffs if they’re ‘Hope Attrition’ is out now on Vendetta
We’re wondering, however, where this intensity paying attention. They should think Lev [Weinstein, www.Facebook.com/WoeUnholy




‘Trumpeting Ecstasy’

Y ou might think you like intense, loud, heavy music,

but you don’t really. Not, like, properly; of course,
that band you like are pretty heavy, probably. But they’ve
this album is the one to catch
up with if you’ve missed Full
Of Hell so far. On the one hand,
most convincing impressions
of Pig Destroyer/Agoraphobic
Nosebleed’s Scott Hull you’ve
got nothing on Full Of Hell. it’s far more straightforward ever heard. Full Of Hell could
This isn’t to say that Full Of Hell are louder, more than those collaborative albums sound like other bands if
de-tuned, deeper or have a crunchier guitar tone than all – this is, first and foremost, they wanted to, but they
those crappy death metal bands your weird mate likes. a grindcore album. However, don’t. Mention must be made
It’s something far more unsettling than that. There’s a saying it’s a grind album of the title track, featuring
genuine intensity to their music that isn’t found in any doesn’t really do this justice. deceptively calming – or
amount of roaring about praising a great demon who you Full Of Hell are one of the few creepy, depending on how
don’t really even believe in. The horror in Full Of Hell’s contemporary bands who’ve you look at it – singing from
world is something far deeper than gore or monsters: really captured the spirit of old-fashioned powerviolence, Canadian singer-songwriter Nicole Dollanganger, before
it’s the horror of self-hatred, genuine misanthropy, the in the sense that it all just feels kind of… wrong. There’s all hell breaks loose again. The track is one of the most
realisation of the way we’ve utterly failed the world and something unsettling about this album. It’s not just obvious places on the album to show the band’s penchant
each other. To set the tone: the album opens with a aggression and anger, but also something more deeply for power electronics, although noise is used throughout
distorted Werner Herzog telling us that even trees “are in troubling that motivates this album and band. in an interesting and subtle way.
misery.” Full Of Hell could easily do the things other bands This is a full-on blast of an album that shows how
While it’s hard to keep up with the band’s seemingly do, if they wanted. The screeching and bellowing vocals one-note a lot of other extreme bands are. Essentially, if
endless stream of split releases, EPs and collaborations – could go toe-to-toe with any number of death metal you want to feel uncomfortable in your own skin, this is
last year saw the release of ‘One Day You Will Ache Like I bands, and there’s riffs that prove that the band could just the ticket.
Ache’, produced along with The Body, while previous effort play hardcore punk or even black metal if they felt like it. [9] ED CHAPMAN
‘Full Of Hell & Merzbow’ does what it says on the tin – ‘Crawling Back To God’, meanwhile, features one of the


“W e met via the guy who was eventually

responsible for the ‘Concrete Desert’
artwork, Simon Fowler. I mentioned to Simon, when
THE BUG VS EARTH I began making my ‘Angels & Devils’ album, that
‘Concrete Desert’ I would love to work with Dylan, and wanted to
electronic beats as the foundation of each like a serpent, dropping out at all the right approach him to appear on ‘A&D’. But once Dylan
track, leaving breathing space for Dylan moments. Martin and Carlson are undoubtedly and I worked together, I realised my collab with him

S prawling electronic soundscapes,

wrapped up in western guitar twang
– there was never going to be a title for
Carlson’s unmistakable guitar tone to work its
magic over the top. The two elements play off
of each other to create an atmosphere that
figureheads of their corresponding genres, so
this is a meeting of minds that would obviously
yield impressive results, and yield impressive
deserved its own space, and it would be better to
release the material separately. Those initial record-
ings would subsequently become our first single,
this record more appropriate than ‘Concrete feels desolate and melancholic.There is the results it has. ‘Concrete Desert’ is one of the as The Bug Vs Earth, ‘Boa/Cold’ on Ninja Tune. The
Desert’. This collaboration between industrial/ occasional moment that will have your toe most creatively unique releases to grace the reception had been pretty emphatic, and more to the
electronic artist Kevin Martin (AKA The Bug) point for me, I felt that sound of the single was totally
tapping, however. The highlight of the album alternative music scene this year and it makes
FRESH, and could be a perfect foundation to build
and Dylan Carlson of psychedelic drone band is most definitely ‘Snakes VS Rats’ – it’s the for an intriguingly addictive listen – there is
upon. I liked the fact we had come from different
Earth doesn’t feel so much like a “versus” as most up tempo of all the songs here, starting something new to discover with each and every
musical backgrounds but seemingly bonded via our
it does a partnership, with each respective with a static intro that leads into an almost playthrough, making for a release that has love of drone, dub, cinematic soundtracks and disori-
act’s contributions complimenting each other dubstep like dynamic, before strong and steady staying power. entating volume.”
perfectly. The Bug lays down cold, bleak chords ring out over the top. The beat writhes [8.5] ANGELA DAVEY


‘Det Nya Svarta’ ‘Enkar’ ‘Hurricanes And Halos’ ‘Upon A Pale Horse’

T his is the third effort

from Sweden’s black
’n’ rollers, Alfahanne. ‘Det
‘A narchy’ in Western
music these days has
pretty much devolved to just a
A vatarium’s third album
continues to mine a
rich vein of modern doom
N arrowing Below to the
new heir to Candlemass’
throne circa ‘Chapter VI’
Nya Svarta’ (or ‘The New symbol affixed to pop-punkers’ and traditional blues rock, wouldn’t exactly hit the mark
Black’) is a high energy denim jackets. In the Middle with the same sense of and doesn’t do this or their
romp through the side of black metal that East, however, where playing metal can literally creative exploration and song-writing flair which first album justice. Yes, there’s still plenty of
doesn’t take itself quite so seriously. Each result in being stoned to death or beheaded made their previous releases praiseworthy. drama and dark overtones here but their far more
song is well produced and stupidly catchy, for apostasy, Saudi black-metallers AlNamrood Candlemass’s Leif Edling wrote six of the eight complex and epic structures recall another great
however, with each album since the release bring renewed legitimacy to the ideology. Now songs and he brings a wealth of experience and Swedish tradition from the first half of the ’90s,
of debut ‘Alfapokalyps’ it feels as though six albums in, the three-piece continue to put direction to the music, while Marcus Jidell’s as represented by Memento Mori, Hexenhaus or,
the band are less impactful. This isn’t to their lives at risk to create art. AlNamrood’s guitar playing across the board is both delicate to a certain extent, Morgana Lefay. Yes, that very
say that this is by any means a bad record, black metal might be fairly rudimentary (they’re and impactful, just like the band’s jewel – peculiar mix of classic doom and power metal
it just doesn’t grab you with the immediacy primarily influenced by the punkish sting of first vocalist Jennie-Ann Smith. Smith’s jazz and blues with almost progressive arrangements can be
that their first effort managed to. It’s clear wave bands), but there’s palpable passion to the background gives the soulful singer the requisite quite demanding, especially when rounded off by
that, without the buzz of high profile guest delivery, fitting exotic embellishments, and a truly gravitas needed for keyboard-enhanced doom this a bombastic production and an operatic singer,
musicians such as Niklas Kvarforth and original vocal performance from Humbaba, who dynamic. And now that The Devil’s Blood are sadly but it sounds beautifully alien in 2017. Too bad it
Hoest propping up Alfahanne’s sound, they maniacally jabbers and shouts like the Arabian no more, Avatarium fill the void with aplomb wasn’t released through Black Mark in 1993 with
struggle a little bit. kin of Attila Csihar, Jello Biafra, or Juan Brujo. while still growing in stature with each release.  a crimson-tainted Kristian ‘Necrolord’ Wåhlin…


‘The Grave Alchemist’ ‘Raise The Torch’ ‘In Extremis’ ‘Lands’

W hat is immediately
evident upon first
hearing this latest album
H ere’s some advice. If
you’re going to get
a dog, don’t get yourself
T he idea of going “back
to basics” is a popular
one right now, with everyone
R einforced by drummer
Michael Kadnar for this
recording (shame he was
by the North Carolina black a so-called “pure breed”. from DC Comics to Donald only a session musician,
thrash trio is the amount Get yourself a mongrel, a Trump touting a return to hopefully the new guy can
of hooks contained within the songs; All Hell proper mutt, as you’ll be getting a hardier, some mythical golden age when everything was replicate this fantastic performance), Bereft
have them in abundance, and very sharp healthier, and happier beast… words which better/simpler. So how does the same approach have stepped up their game immensely from
they are too. There’s a strong punky edge to could also be used to describe Reading work out for Polish blastmeisters Azarath? their 2014 debut. ‘Lands’ provides four songs
their sound too, with raucous Frost-ian riffs riffmongers Ancient Ascendant on their Honestly, it’s a slightly mixed bag. The sheer in 44 minutes, during which they rip shred after
speeding along at an energetic pace, alongside latest album, ‘Raise The Torch’, which cross- ferocity of tracks like ‘Annihilation’ and ‘Parasu shred off your soul with punishing, blackened
mercilessly thundering drums and barking, breeds everything from death ’n’ roll and Blade’ definitely gives your eardrums a solid doom dirges that feel as desolate and barren
blackened vocals. They know how to mix things blackened thrash to hook-infused stadium- beating, and there’s no questioning the pure as the best funeral doom and as devastating
up effectively too, slowing the tempo down in rock in a gloriously “give no fucks” fashion. percussive punishment doled out on the utterly and headache-inducing as the best slow-paced
places and launching into mid paced sections Granted, there’s still a little bit of room for savage ‘Sign Of Apophis’, but the album as a black metal, without actually being either of
which bludgeon you like a sledgehammer. The improvement, as the album takes a few whole seems a little less than the sum of its those things. File next to Bell Witch or Loss and
combined mix of influences and variation makes tracks to really find its feet, but once things parts, making for one furiously intense, but let those longing guitar leads cut through your
this album an engrossing listen which keeps get going, the AA train really builds up some frustratingly predictable, listening experience heart as well as they cut through the enveloping
your attention throughout. steam. Get on board ASAP. overall. noise.



‘The Shackles Of Mammon’ ‘Cursus’

“S ummon the
S an Antonio duo
fucking flames!” Cursus come flying
is not only a great way to out of the blocks on this,
kick off a song but also a their debut album. CJ ‘The Warmth Of A Dying Sun’
Salem and drummer Sarah HOLY ROAR
decent estimation of Craven
Ann have fashioned something bleak and

Idol’s intentions with their second full length.
funereal over six brooding and dark songs.
ive years on from their first EP, Woking’s
Drawing on early Teutonic thrash and black
metal, ‘The Shackles Of Mammon’ is built on Neurosis, YOB and Ufomammut are clear Employed To Serve are still venomously
rock-solid black thrash foundations – complete influences: some drone, fat slabs of riff and angry. Sophomore effort ‘The Warmth Of A
with Crosswrecker cover – but is nevertheless much melancholy. But what sets this release Dying Sun’ confronts with all the jagged, atonal
full of surprises. Bumping head-banging apart is second song ‘Waters Of Wrath’, a guitars, dizzying, shifting grooves and throat-
down the agenda, ritualistic choral chanting huge rumbling beast of a doom tune with a ripping screams you’ve come to expect. ‘Good For
and twisted lead work help signpost a highly hook so large you could catch a shark with it.
Nothing’ leers with muscular chugging, evoking atonal, frantic tremolo and punishing drums,
individual black magick that stamps its Their cover of Pink Floyd’s ‘Set The Controls
For The Heart Of The Sun’ is unnecessary and Code Orange, and ‘Church Of Mirrors’ shifts slowing into a majestic, uplifting locked-in
authority all over the album’s eight tracks. Far
from short on ragers, head-banging is still very laborious, but that aside Cursus’s amplified constantly through mathy noodling and tumbling climb. ‘Apple Tree’ ends in a similar vein,
much on the menu but in this context feels dirges and raging distortion bear repeat blastbeats, refusing to be pinned down. If the wandering, jangling guitar that slowly exhaust
more like repeated bowing to the Dark Lord.  listens. A band to watch. band left it there, this would be a solid enough their wistful melancholia with repeated looping.
[8] TIM HORROCKS [7] ANDREW FIELD modern metallic hardcore record, but when It’s a nice enough climax, but perhaps ending
‘Lethargy’ blooms into life with lush chords, slow with the fist-skyward euphoria of ‘Half Life’
CRYPT ROT DØDSENGEL melodic builds and a soaring tremolo section would have been a stronger finale. The only true
‘Embryonic Devils’ ‘Interequinox’ before crashing to earth with dagger-sharp riffs criticism here is that some tracks shine a little
SOUTHERN LORD DEBEMUR MORTI and layered screams, it becomes clear that the less brightly than these more varied efforts, the

A n Ohio-dwelling five-piece
who feature one current B lack metal is a funny
genre. It rewards both the
orthodox and the unorthodox
five piece are after more than just rage.
The title track runs from spoken word
likes of ‘Never Falls Far’ a tad ‘safe’ in their
hardcore foundations. No matter, this is ETS
and two former members straight into uplifting, cathartic drives before grabbing you by the throat, staring into your eyes
of metallic hardcore sorts in different ways, and it’s
really only those who play it
unravelling into held chords and lashings of and compelling you to believe.
Homewrecker, Crypt Rot have
wasted no time on demo tapes or other introductory safe, or who refuse to fully commit themselves, unexploited negative space. ‘Half Life’ jars with [8] JAY HAMPSHIRE
niceties, going straight into twenty-minute debut who fail to prosper. Thankfully there’s nothing
‘Embryonic Devils’. Comprised of five proper safe or noncommittal about Dødsengel. Part
songs and five creepy interludes, the vibe here is
equal parts downtuned death metal and crusty
Mayhem, part Pink Floyd, part King Diamond,
and part King Crimson, their latest collection of
HC battery, not a thousand miles off Young And In occult hymns is brimming with all the slithering
The Way, Nails or Homewrecker themselves. It’s not grooves, seductive melodies, and unsettling,
always distinguished, but ‘Coffin Birth Post Mortal
Fetal Extrusion’ – not the wilfully foolish goregrind
unconventional twists which you’d expect. And
while it’s perhaps a song too long, this is still
one hell of an album – visceral, moody, and
“T he lyrics for ‘The Warmth Of A
Dying Sun’ are inspired by our
generation’s apathy for life and the bitter
people griping about the inadequacy of their
lives and doing nothing to change it. Do
everything in your power to achieve what you
its title suggests – zips from a momentarily
glorious melody into a passage of kickpedalled disturbingly catchy – that’s perfect for those sweet feeling of knowing that all good want in life before you become a withered
ferocity, while ‘Pit Of Morbidity’s pristine doom intro who like their black metal with a dose of eerie things come to an end. We’re tired of shell.”
is both incongruous and impressive. eccentricity.


‘Six’ ‘Vol 1: Solar’

‘The World Ablaze’

METAL BLADE W hen it comes to heavy
metal, Dream Evil wrote F rom the ever-morphing minds
of Carmen Simões and Rune

W ho ever truly believed God Dethroned’s the book in 2004, and it was an Eriksen (AKA Blasphemer of Aura
so-called short term ‘split’ five years epic tale of borderline-parody Noir and ex-Mayhem fame) comes
ago? For a start, Henri Sattler had long been status. But the sequels are the Portuguese/Norse experi-metal
stirring the ship by himself with a rotating cast never as good, are they? It’s been seven years since power couple’s latest move. Following the collapse of
of musicians, and secondly, when they released Dream Evil have released an album, and ‘Six’ fails to Ava Inferi, the doom/goth sound and Skeletor costumes
‘Passiondale’ back in 2009, he repeatedly said reach their previous cartoonish heights of balls-out have been shucked in favour of Yes, Deep Purple, flares
this was the first volume of a planned trilogy heavy metal. Opening with ‘Dream Evil’ – where the and Bill Ward’s ‘Sabotage’ get up. But it’s not all nerdy
dedicated to World War I, now finally complete chorus features Niklas Isfeldt repeatedly singing prog rock/proto metal as there’s a definite psychedelic
thanks to ‘The World Ablaze’. And yes, this is the band’s name, perhaps to prevent listeners from leaning towards Simões’ soprano channelling Lucy’s
for the best. Simply put, if you dug the third muddling this tediously straightforward album diamonds in the sky, and how Messenger keyboardist
part of their now 25-year existence from 2004’s with the latest Hammerfall release, which is easily Dan Knight stamps this debut with a dynamic organ
‘The Lair Of The White Worm’ onwards, where his new brigade, with a special mention to done when both records are equally uninspired and moan. However, it’s very clear that without session
they started injecting the right dose of melody Detonation shredder Mike Ferguson, gives God simplified. Unfortunately, this brazen attempt to write player Knight’s contributions, Earth Electric is very
and thrash into their death bravado, you’re Dethroned a strong new lease of life that turns a no-nonsense album of headbanger anthems sees much a progressive metal band à la Madder Mortem
in for a treat. While not much has changed their tenth full-length into a damn fine death Fredrik ‘melodeath master’ Nordstrom creating a brain- and post-‘Focus’ Cynic. It’ll be interesting to see what
and the lyrical concept has that strong sense metal album. dead monster that stomps around loudly, but aimlessly. direction this takes next.
of déjà vu, the freshness and tightness of [7] OLIVIER ‘ZOLTAR’ BADIN [3] SERENA CHERRY [7] KEVIN STEWART-PANKO



‘Raw Rock Fury’ ‘Extremely Fucking Dead’

‘R aw Rock Fury’ is self-

descriptive – Ecstatic E xtremity are about
as subtle as an axe
blow to the back of the
Vision play heavy psychedelic
rock with grooves and rhythms head, the crude title of
that are more energetic than
lackadaisical. The record is still very warm and
their debut offering giving
an indication of what this album contains
‘Thin Black Duke’
fuzzy, but slightly more focussed than your average musically – DEATH METAL! And a very HYDRA HEAD
psych-rock outing. Ecstatic Vision’s secret weapon deadly strain of the genre will infect your
is their saxophone, which essentially handles the
duties that a lead guitar would, but adds another
texture to the music. Album closer ‘Twinkling Eye
senses from the onset, with its relentless
barrage of solid heavy riffage, bludgeoning
bass, low deep growls and powerful, potent
T rying to adequately describe, quantify or
codify what Oxbow does in the limited
amount of space available in this magazine,
Pt. 3’ is the highlight, with feelgood vibes that percussion. These six tracks are as old let alone on the entire planet, is virtually
escalate to screaming psych madness. ‘Twinkling school in both sound and style as you can impossible. The Bay Area outliers are arguably
Eye Pt. 1’ feels like an unnecessarily long interlude get, unapologetically savage and sadistic the most singular and unique sounding band and Niko Wenner’s strangled guitar for Eugene
of sorts, running at six minutes, a sizeable chunk in their intent with every instrument sharply in rock music, if not all of music. The past has Robinson to wreak havoc with his transfixing,
of the 37 minute runtime. ‘Raw Rock Fury’ might cutting through the mix. Extreme by name, had desperate critics – including this one – chameleonic vocals. At once, Oxbow’s seventh
not do anything particularly new, but it’s good at extreme by nature – this is pure death album is the most conventional (the driving
referring to them as ‘avant-garde gutter blues’
what it does. metal.
or something of the sort, which considering rock of ‘A Gentleman’s Gentleman’), classiest
[6] TOM SAUNDERS [8] KAT GILLHAM the indescribability of every moment of the (the parlour smoothness of ‘Cold And Well-Lit
band’s almost 30-year history, is as correct Place’), densest (‘The Finished Line’ which
teems with noise orchestration) and esoteric
EXTINCTION OF MANKIND FARSOT and incorrect a descriptor as ‘experimental
(well, pretty much everything else) slice of art
‘Fail·Lure’ noise rock’ or anything else you care to haul
‘Storm Of Resentment’
AGI-PUNK PROPHECY out. It’s been a decade since ‘The Narcotic scraped off the surface of their twisted minds.

Story’ and if you give Oxbow that amount of This is a record that can’t be done justice in
I f you’re not really feeling ith ‘Fail·Lure’
the new material from thematically part time to tinker, it should be a given that ‘Thin a couple paragraphs, can’t be digested in a
Antisect but still crave that inspired by Peter Greenaway’s Black Duke’ is the band’s most expansive and few listens and it’s one we’ll be coming back
rush of adrenalin you felt ‘Drowning By Numbers’, all-encompassing work yet, drafting in more to repeatedly.
when you first heard the Farsot’s conceptually dense neo-classical layers, Prohibition-era horns [8.5] KEVIN STEWART-PANKO
metallic crust punk they peddled so expertly darkness is always going to be considered
in the mid-’80s on releases such as ‘In avant-garde music for the real thinkers out
Darkness There Is No Choice’ and ‘Out From
The Void’, then look no further than this new
there. Glistening guitar work adds atmospheric
light and it is the subtler shades within the THE LAST GOOD TIME
Extinction Of Mankind album, because these framework that draw into this illuminating world
guys continue to channel the spirit and sound rather than all-out burgeoning blackness. When
of that long-gone era better than anyone else.
‘Storm Of Resentment’ is literally just that;
a perfect storm of metal and punk, equal
that hits and 10.XIXt’s vocals rear from clean
harmonies to guttural clamour, this makes it all
the more effective. Lushly augmented by a deep
“C ertainly we all became increasingly
aware that none of us are getting
younger. For this record I wanted to go even
was inspired by pieces like Bach’s ‘Goldberg
Variations’ and the formal technique in
classical music where a small idea, a kernel, is
parts early Slayer, Motörhead and Sacrilege, and gorgeous V. Santura production, as with further in the way we always make recordings, reiterated, morphed, expanded and truncated,
that shreds asunder everything before it Secrets Of The Moon, these Germans are really as music that hangs together over an entire to make a piece of music permeated with the
in a blizzard of jagged thrashing riffs. An taking their craft to another level; one just a album, ‘large scale coherence’ if you will. I potent perfume of that small element.”
awesome noise by anyone’s standards. step away from pure genius.

‘The Reprobate’ ‘Ablutionary Rituals’

‘The Waning Moon’

P ower is nothing without
control. And no matter
how brutal or how fast you
G rog’s fourth full-length
also signals the 25th
anniversary of this Portuguese

‘T he Waning Moon’ finds Cornish doom duo

Monolithian expanding their sound whilst
retaining their glorious heaviness, with the
want to roar, you’ll never be
as good as your drummer.
That is, unless you have Matte Modin in your
institution, and fortunately
maturity has also come along
with age. Quoting the band themselves, they’re
dreamy, delay drenched ‘Nyarlathotep’ recalling team. Not to undermine the rest of Firespawn’s more interested in what lies beyond the wound now,
Kyuss’ more intoxicated moments and ‘Ixodes’ effort: Entombed’s LG Petrov distinctly growls rather than just poking at it with dirty fingers, and
utilising some seriously harsh, noisy screams. in a more guttural and menacing way here and ‘Ablutionary Rituals’ focuses much more on the
Drummer Shannon Green provides more vocals Unleashed’s Fredrik Folkare’s tasteful soloing also psychological dark side of (in)humanity rather than
too, with her impassioned screech complementing make a difference, but it’s really Modin’s uncanny just stomping on the usual severed limbs and guts.
bassist Simon Walker’s lower, guttural bellow technique (enhanced by Darkane vocalist Lawrence The music follows suit – while Grog maintain the
perfectly on opener ‘Crone’, as thunderous, rolling Mackary’s pristine production) that propels ‘The dizzying technical heights they’ve spoiled us with
double-kick bursts give way to torturous sludge, gel smoothly, without ever compromising Reprobate’ into the A-list. Yes, you’ve heard it in the past and their blitzkrieg death/grind hasn’t
before an ice-cold black metal midsection blasts the colossal, earth-shaking groove that runs before, yes, the title-track owes some royalties to slowed down or mellowed out one iota, the depth of
out of nowhere and the duo trade call-and- throughout the record – we dare you to keep your Morbid Angel’s ‘Where The Slime Live’ but since the songwriting and the variety of ways in which a
response vocals over a righteously punky outro. head stationary during the gargantuan bounce of Vital Remains’ ‘Forever Underground’, you haven’t listener’s brain can be pummelled have increased
On paper, that might sound a bit schizophrenic, closer ‘Mantis Rider’. It’s impossible. heard maliciousness propelled at such pace. tenfold. Dive in, if you dare.
but Monolithian make these disparate elements [8.5] KEZ WHELAN [7.5] OLIVIER ‘ZOLTAR’ BADIN [8] JOSÉ CARLOS SANTOS


‘Skullossus’ ‘Tremedum’

T here’s something leaner

and meaner about
London based sludge slingers
A nytime a death metal
band can claim ten
albums under its bullet
Gurt on second album,
‘Skullossus’. Their relentlessly
belt, it’s an accomplishment
steeped in the amazing SÓLSTAFIR
sarcastic approach lives on, made clear with and unbelievable. And while Hate may be
song titles like ‘Battlepants’, ‘The Crotch overshadowed by fellow Polish passport holders SEASON OF MIST

Wobbler’ and ‘Meowing At The Fridge’. What’s

changed is the bands’ tone, which bristles
Vader and Behemoth, they should always be part
of the conversation as it pertains to longevity and A lot has happened in camp Sólstafir since
the release of the critically acclaimed
‘Ótta’ in 2014. In 2015, the Icelandic band
with new menace, and their approach to song quality. ‘Tremedum’ doesn’t offer much in the
construction, seeing them throw elements of area of surprises; it still sees the Warsaw warriors had a very public, tumultuous parting with
something approaching hardcore into their trucking along in their grandiose, haunting, their drummer of twenty years and have been
usual sludgy mix. The result is a more varied moody manner. Listeners with limited exposure to locked in an ongoing court battle with him
and intimidating listen than their debut that’s the band’s discography and/or the works of Septic ever since. This hasn’t stopped them from peels back their dense layers to reveal an
familiar enough to keep diehard fans happy Flesh and Samael might find their chromatic forging ahead to write album number six, their eclectic range of synth-based influences at play.
while dragging in new ones by the scruff. Still, riffing style, up front vocal mix and colossal first studio offering without Guðmundur Óli By the time the delicate delayed guitar of ‘Hula’
there’s a lingering sense that the best from guitar tone revelatory. Otherwise, ‘Tremedum’ is a Pálmason on drums. Sitting somewhere roughly rings out, it becomes clear that ‘Berdreyminn’
Gurt might be yet to come. refining of what Hate knows and does best. between the gorgeous soundscapes of Sigur Rós is one of the most varied sonic journeys you will
[7] JAY HAMPSHIRE [6.5] KEVIN STEWART-PANKO and the transcendental heavy riffing of Isis, take this year. From the reverberating space
‘Berdreyminn’ – like everything else Solstafir rock melodies of ‘Hvít Sæng’, to the distorted
have released– is very hard to define, and that’s guitars wailing against descending piano
HARVESTMAN HEY COLOSSUS precisely what makes it such an exciting record. chords in ‘Dýrafjörður’, the seamless blend of
‘Music For Megaliths’ ‘The Guillotine’ In the stark opening track ‘Silfur-Refur’, atmospheres on this record is like nothing else.
NEUROT ROCKET massive riffs combined with distinct, emotive It’s mad to reflect on how Sólstafir have

teve Von Till’s first release nce a respectable volume vocals perfectly showcase the bittersweet beauty flourished from the primitive roots of viking
as Harvestman for seven dealer, Hey Colossus of their wintery brand of post-metal. But after black metal, to now create one of most unique
years is a welcome return for have gradually descended into track one reaches its post-rock climax, ‘Ísafold’ and engaging post-metal albums of recent
the Neurosis man’s psychedelic jangling mediocrity. Attempts follows with a completely different dynamic. years.
folk sideline, yet ‘Music For to build tension here often Stripped down and subtle, this spacious tune [9] SERENA CHERRY
Megaliths’ manages to switch up styles. The amount to naught, lacking aggression, bite
cloudy, drone-powered atmospheres of releases like or any sense of direction. ‘In A Collision’ tries
2005’s traditional-arrangement-peppered ‘Lashing
The Rye’ endures, but overall Von Till moves further
to assert itself but the aimless repetition and
lifeless vocals prevent it from adding a dash of
away from the kinda ‘folk’ you might hear in a real much needed excitement. The vocals are perhaps
ale pub. ‘Ring Of Sentinels’ and ‘Levitation’ are the biggest let down of all, doing nothing to
aided by a puttering drum machine; ‘Cromlech’
traces delightful spacerock patterns, reminiscent of
elevate these tedious compositions. Seemingly
content to meander in self-indulgence, the ‘Ó tta’ is a lot less screamy, and I sort
of missed putting some balls into it.
Not really screaming-screaming, but these
Motörhead, that’s what I listen to. When we play
the soft stuff, I’m like, more rock’n’roll! I wanted to
write more potent stuff. We were doing stuff like ‘She
acts like Flying Saucer Attack and Roy Montgomery. lack of variation in tempo and feel makes ‘The
The idyll is pricked by ‘Sundown’, which punctuates Guillotine’ a ponderous exercise in mid-paced new songs aren’t soft all the time. Hell, I even Destroys’ on the last tours, and I missed singing like
its minor chord mooching with repetitive sheets drudgery which fails to retain attention. A dour miss singing in English sometimes. Personally that! It’s like an emotional Lemmy or something.
of abrasive white noise, but this remains a fine, and frustrating release from an outfit capable I don’t like slow music, I like AC/DC and Emo-Lemmy! I like singing like Emo-Lemmy.”
emotionally resonant release. of far better.


‘A Stirring In The Noos’
‘Forward Into The Past’
I t feels a little hard
to get excited after N ame courtesy of the
cargo cult from ‘The
D espite never having broken up at any point
since their 1990 formation, ‘Forward Into
The Past’ is the venerable folk metallers first
Isis hyped up a new
release on social media
God Delusion’ and the Werner
Herzog volcano documentary
only for a live set from ‘Into The Inferno’, John Frum
album since 2009. And while it’s an enjoyable
seven years ago to be the end product. are an assemblage of elite musicians with their
offering of a subgenre once thought of as
‘Live VII’ captures one of the masters of minds set on disorienting, proggy tech-death.
novelty, it’s still challenging to not pine for the
atmospheric sludge metal on their final ‘Presage Of Emptiness’ offers a disarmingly
gravel of former vocalist, Martin Walkyier, even
tour performing an entire set in Melbourne, accessible way in, bouncing along like a lost Ted
if guitarist (and producer) Kevin Ridley has held
Australia. Whilst the performance is Maul track, before shit gets peculiar, never entirely
the position since 2001. What’s noticeable is how
solid, the setlists on Isis’ previous six live alienating but far from moshable. ‘Memory Palace’
Graeme English and Steve Ramsey’s involvement
albums are all superior, with only ‘Hall is insistently horrible, laden with menace and a
in the rejuvenated Satan has spilled over into
many years on speaks more about society-at-large Of The Dead’, ‘Wills Dissolve’, ‘Carry’ and piercing guitar solo finale, ‘He Come’ is prime
‘Starstruck’s sinister tri-tone runs, the Metallica-
than it does any lack of creativity. If, on the other ‘Celestial’ really igniting excitement this ominous instrumental fodder, ‘Wasting Subtle
quality ballad of ‘Borderline’ and the rapid fire
hand, you’re looking for old-timey metal to drink time around. With brilliant acts such as Body’ a suitably batshit last chapter. The vocals
‘Change Is Coming’. And considering the way of
and jig to, there’s ‘Queen Of The Moors’, but this Sumac and Palms following in the wake of are overly professional when surreal and unhinged
the world, lyrical themes in ‘State Of The Union
album’s more metallic moments are its brightest. Isis, it feels safe to put this group to bed would have worked better, but that comes with the
Now’ hit closer to home, regardless of who’s
[7] KEVIN STEWART-PANKO and move on now. genre territory and every band can’t be Pyrrhon.
expressing the same complaints; doing it this



‘A Place Where There's No ‘Horizonless’

T he speed with which


R ejoice, for after assuring

us there’d never be new
songs, the legendary Life Of
Nashville’s Loss roll out
albums truly befits the glacial
music they create; six years ULVER
Agony are back with their since their debut, ‘Horizonless’ ‘The Assassination Of Julius
celebrated ‘River Runs Red’ is the sound of a band happy to take their time Caesar’
(1993) line-up. It's been twelve years, but fifth and do things their way. Opening track ‘The Joy HOUSE OF MYTHOLOGY
studio album ‘A Place Where There's No More
Pain’ was well worth the wait. The New Yorkers
deliver ten heavyweight sonic slabs of their
Of All Who Sorrow’ sets the tone for the record
– bleak, gloomy chords and guttural grunts of
anguish ring out over slovenly tempos. With
I f you were granted access to a time
machine which only had the ability to
go back to 1997, basically you’d have two
signature mid-tempo groove and classic Caputo similarities to label-mates Bell Witch, the tracks choices. You could advise Princess Dianna
vocals. Mina (formerly Keith) Caputo wastes are epically grandiose, but this melodrama is and Dodi Fayed against getting in a car with
no time stealing the show with her stunning counterbalanced by atmospheric segues such a pissed chauffeur and racing paparazzi
voice soaring over Joey Z’s bulldozing riffage. as ‘i.o.’ and ‘Moved Beyond Murder’. Elsewhere through Paris; or seek out fans of Norwegian
For newcomers, imagine Alice In Chains if they the bombast gives way to sparse instrumental black metal icons Ulver, doubtless thrilling
were from Brooklyn and raised on NYC hardcore. sections which only serve to heighten the to their blazingly raw third album ‘Nattens
Let’s just hope it’s not another dozen years till melancholy. With no hope coming over the Madrigal’, and inform them that in twenty favoured Friday night going-out music. Drops
the follow-up. horizon, this is an album to weep to. years’ time, Kristoffer Rygg and co will kick of blood do get added to the shark tank: the
[8] RAY HARMONY [7.5] TOM MCKIBBIN off an LP with a song whose lyrics are an later section of the eleven-minute ‘Rolling
allegory about the death of Princess Di. And Stone’ collapses into a spiral of frantic drum
whose music is smooth adult synthpop, a bit machines and guest sax from Hawkwind’s
LIV SIN MALEVOLENCE like Garbage meets George Michael. Nik Turner. The themes, too, tend towards
‘Follow Me’ ‘Self Supremacy’ It’s hardly breaking news that Ulver have the dark, with a loose running concept of
DESPOTZ BDHW strayed far from their black metal roots, (attempted) assassinations – Sharon Tate and

T he break-up of Sister Sin

in 2015 left frontwoman
Liv Sin without an artistic
’S elf Supremacy’
comes out swinging
with its opening track,
of course, but ‘The Assassination Of Julius
Caesar’ is a giant stride into accessible
waters. It’s laden with glossy, twinkly synths,
the Pope among those pored over by Rygg.
Naturally, this album is only given space here
because of its personnel and their history, but
outlet. But the veteran a strong contender for harmonied vocals and pleasantly pulsing anyone with a sweet tooth for cerebral avant-
Swedish singer didn’t waste “hardcore gym anthem of programmed beats – ‘Southern Gothic’s pop should cheer Ulver’s evolutionary arc.
much time in starting afresh: she swiftly 2017” (excuse the pun). Lyrics brimming bombastic dance-pop is already your aunt’s [8] NOEL GARDNER
formed a band under her own name, and her with self-affirmation, and riffs that sound
new music has taken on a more aggressive like Lamb Of God covering Hatebreed, it’s an
approach than before. While Liv’s lyrics are
still quite hackneyed and aimed to appeal
energising and exciting start to the record.
‘Trial By Fire’ has an irresistible bounce to AGONY AND ECSTASY
to those who drunkenly fist-pump in fields it too, but you can have too much of a good
at Wacken, the grit of her voice is generally thing; running at 50 minutes with little

stirring and authoritative. The vocalist’s variation in pace (save for some seriously ransverberation’, the Ecstasy of itself is based on the Spanish saint’s mystical
backing band also do well to match her stance questionable sludgy bits, like the first verse Saint Teresa, is a famous sculpture writings, in which an angel pierces her heart with
with riffs and rhythms which take influence of ‘Slave To Satisfaction’), the album gets a by the Italian baroque artist Bernini. It’s the arrow of divine love. A detail from another of
from classic metal sources yet come with a little exhausting. Being punched in the face amazing, it’s like the marble is floating, Bernini’s sculptures (The Rape Of Proserpina) adorns
contemporary bite that, overall, might draw in the first time really fucking hurts, but if they being pulled up towards the sky. The scene the front of the album, by the way.”
fans of Arch Enemy. keep punching, you’ll pass out eventually.


‘Of Empires Past’ ‘Versus 1’
THE FLENSER F ormerly known as
Mannheim but since N ot taking themselves
very seriously has always

S an Francisco’s Succumb haven’t entirely sprang

from thin air: a 2015 demo tape recorded as
Cloak (and titled ‘Succumb’) is in circulation, and
having done the vaguely
fashionable, vaguely naff thing
of removing the vowels from
been The Monolith Deathcult’s
main advantage, allowing
them to be as over the top
freaks of the noisepunk underground might know their name, MNHM are a Dutch four-piece whose as possible and attempting
vocalist Cheri Musrasrik from her other band, Pig take on post-rock is noisy and maximalist. You’ll stuff other bands of the same style wouldn’t
DNA. This seven-song debut album, however, is a not have heard guitars with this much tinnitus- dare. While that hasn’t always been enough
demented blast of mathematical precision and few inducing potential since the first two Mogwai to translate into amazing records, when the
nailed-on reference points. Echoes of grindcore, albums, or perhaps A Place To Bury Strangers; balance between things is just right, it has
death metal and black metal ring out in Succumb’s added bully muscle comes from Otto Kokke, produced great, hard-hitting death metal with
music, but in each case it’s a technically dizzying saxophonist with exceptionally fierce jazz combo disorienting atmospheric and electronic touches.
iteration – Discordance Axis, Portal and Krallice Dead Neanderthals. Accordingly, on the evidence ‘Versus 1’ features that same inconsistency
meets the avowed hope that the band’s three grindcore hog-squeal tone; often the arrangements of their second album MNHM don’t so much write – not all of it is essential, but on songs like
instrumentalists know to limber their wrists up sound like they’re being played backwards. And songs as rock out bombastically until a song’s ‘Die Glocke’ or the unsettling closer ‘From The
before playing. Sometimes the riffs are chunky Musrasrik is a lethal weapon at the centre, her potential is exhausted. It’s energetic stuff, but Stalinic Perspective’ (the concept deals with
and moshable, in a quasi-Converge way (the latter rangy howls and growls rendered extra bizarre by ill-served by a production which seems to be Nazi occultism), their industrialised death metal
halves of ‘Bedchambers’ and ‘Seeding’), sometimes swathes of cavernous echo FX. trying to paint them as generic post-rockers. flair is as bleak and impactful as it can come.
Derek Webster’s guitar has that lovely olde tyme [8] NOEL GARDNER [6.5] NOEL GARDNER [7] JOSÉ CARLOS SANTOS

TERRORIZER_HalfPage.indd 1 5/6/17 4:34 PM

LP/CD/Digital May 26th CD/2LP/Digital May 12th LP/CD/Digital May 12th

Attila Csihar, Stephen O’Malley & Oren Ambarchi’s new free-metal opus! Ajattara’s comeback album is the best kind of satanic adult entertainment. Norwegian ambassadors of morbid romanticism explore death in all its
forms on fourth full length album.


LP/CD/Digital April 26th LP/CD/Digital May 12th
w w w. s v a r t r e c o r d s . c o m

Foreseen’s new old school crossover smash feels like being hit SA’s new album sees the American mysticists tread further down a
in the face inside a hurricane. doomier, more metallic path.
et’s get the bad news out of the way first; Purson are no more, though vocalist, guitarist
and songwriter Rosalie Cunningham vows to return as a solo artist. She’s given us one last
MUTATION PERVERTED CEREMONY parting gift with Purson in the form of ‘Chocolate Money’ [6, Spinefarm], an upbeat,
‘III – Dark Black’ ‘Sabbat Of Behezaël’ Slade-esque jaunt with Comus’ Jon Seagroatt on sax and backing vocals from Vodun’s Chantal
Brown. Squeezing a Jethro Tull style midsection (complete with squealing flute) into this three

M utating yet again,

Ginger Wildheart
gathers a host of
T o describe Perverted
Ceremony’s debut full-length
as ‘unpolished’ would be a
minute glam-a-thon, it’s a typically whimsical and progressive offering, but fairly underwhelming
as a swansong, lacking the flamboyant swagger of the ‘In The Meantime’ EP.
As one band ends, so another rises from the dead – well, kind of. Come To Grief is
musicians with Devin catastrophic understatement. original Grief guitarist Terry Savastano’s tribute to the sludge pioneers’ early work, and ‘The Worst
Townsend, Phil Campbell Equipped with their trusty eight- Of Times’ [8, self-release] does total justice to his idea. The queasy, swinging gloom of ‘No
and Cardiac’s Jon Poole belting out an track recorder and, one assumes, a tattered copy of Saviour’ and ‘Futility Of Humanity’ would feel right at home on one of Grief’s early EPs, whilst
electronic melange of nuttiness here. It’s like Beherit’s ‘Drawing Down The Moon’, the Belgian duo ‘Killed By Life’ exhibits the slightly faster, punkier side of the band with raging intent. Guitarist/
a speed jigsaw contest with all the pieces exist under a perpetual cloud of buzzing blackened vocalist Jonathan Hebert does a good job of emulating Jeff Hayward’s iconic rasp, and with Grief
rammed in willy-nilly. The short-sharp nature mirk. However, there’s more to this album than themselves having been out of action since 2009, it feels good to have these guys carrying the
is confounding, especially when “did I really its lo-fi aesthetics, with cuts like ‘Necrolactation torch.
just hear that?” melodies invade such as Unborn Goat’ and ‘Dark Necromancy’ featuring Speaking of original bands that formed to pay tribute to a defunct band, Gruesome are
what sounds like the theme from ‘Phantasm’ some tasty mid-paced doom sections that offset the back with ‘Fragments Of Psyche’ [7, Relapse], a two-track seven-inch honouring Death’s
on ‘Devolution’. The notable stamp of the Archgoat-esque battery that dominates elsewhere. ‘Human’ era, right down to the presence of that album’s drummer, Sean Reinert. The title
individual contributors pass in a blur of In addition, a satisfyingly punchy bass tone gives a track is a great homage to that record, with its elastic basslines, skittering drums and heroic
BPM’s faster than a merry-go-round spinning bit of low-end oomph to proceedings. Granted, these guitar harmonies, whilst the B-side offers a version of Death’s ‘Choke On It’ performed in the
at 1000 miles an hour. Strap that lad down, are only minor variations on a well-worn theme, proggier style of ‘Human’ rather than the blunter, more barbaric ‘Leprosy’ original. Some may
hang on to your britches and pray you make but they serve to elevate Perverted Ceremony above cry blasphemy, but if you’re a fan of all Death’s stages of development, this is bags of fun. A
it out the other side! some of their basement dwelling peers. download code with some raucous demos from Gruesome’s ‘Savage Lands’ debut sweetens the
[7.5] PETE WOODS [7] MIKE KEMP deal, too.
Cult death/doom legends Imindain return, a full decade after their highly revered debut
‘And The Living Shall Envy The Dead’, with new EP ‘The Enemy Of Fetters And The Dweller In The
NECROMUTILATOR POSSESSION Woods’ [8.5, Weird Truth], and their eerie, mournful atmosphere is more potent than ever. The twelve-minute
‘Ripping Blasphemy’ ‘Exorkizein’ ‘The Final Godhead’ offers up some truly vast funeral doom riffs (courtesy of Cruciamentum guitarist Dan Lowndes)
whilst vocalist Lee Bullock alternates between forlorn, sorrowful chants and utterly deranged, rabid barks. There’s

R abid, blasting and

blasphemous black/
death with hints of thrash
R ich in the nitrates of
decaying corpses, the
no-man’s-land between black
a fantastic cover of diSEMBOWELMENT’s ‘Cerulean Transience Of All My Imagined Shores’ that manages to honour
the original whilst making it feel like an Imindain song, but even at a solid half-an-hour, this EP leaves you wanting
more. Here’s hoping we won’t have to wait another ten years for a second full-length…
assaults you when this and death metal has proven Unique one-man/machine project Author & Punisher delves into dreamier, less noisy territory on
album starts, there is no let fertile pasture for bands wanting ‘Pressure Mine’ [7, Relapse]. Well, for the most part; ‘Nazarene’ finds Tristan Shone delivering his best Trent
up in the aural attack from start to finish. to connect with heavy metal’s evil traditions, with Reznor impression over a brash industrial stomp, but ‘Enter This’ finds a cleaner croon drifting in between gently
Raucous riffing collides with clattering ‘Exorkizein’ the latest album helping to assert the pulsating synths, whilst ‘Pressure Lover’ bounces histrionic Game Boy blips across a sparse, moody, Scorn-esque
cymbals, thunderous toms, hellhammering Invictus label’s claim to this dark and dangerous beat. It’s an interesting and diverse set of songs, and though it may lack the visceral impact of his earlier works
snare and bestial bass that rolls over your territory. Setting the scene with horror samples (save for perhaps ‘Black Wands’ squelchy dubstep indebted bounce), it proves the versatility and inventiveness of
senses like an out of control bulldozer, and recalling ‘The Exorcist’, ‘Exorkizein’ feels like it Tristan and his custom built machines.
the chaotic carnage is completed by vocals was written recorded in Regan’s bedroom at peak If it’s noisy you want, then Berlin’s Cuntroaches are an essential listen, coming across like a noise-rock
that sound like a man who is truly possessed possession; cold as the grave yet burning with the band with a black metal atmosphere. Sounding even harsher than last year’s demo, their new self-titled EP [9,
by evil. There is also a raw, punked up fires of hell, its sledgehammer grooves keeping self-release] is an absolute monster, combining cochlea-shredding feedback, bestial, untamed screeches
energy to the songs and the production time with the to-and-fro of her misappropriated and brutal, primitive rhythms. ‘Fraud’ and ‘Short Fuse’ sound like Beherit and Brainbombs beating the shit out of
values here are simple but effective, giving crucifix. Marrying old-school heavy metal with one another, whilst ‘Pig Woman’ slows down to a grinding, Godflesh-ian pulse, allowing all manner of fretboard
the songs an authentic old vibe. The use of old-school religious practices, Possession have mutilating guitar fireworks to explode overhead. If you’ve heard a more intense EP this month, get in touch
‘necro’ in their chosen moniker is very apt created a fearsome record that will turn heads the immediately…
in this case. full three-sixty. Words: Kez Whelan


ORCHESTRA ‘The Murky Black Of Eternal Night’ ‘Within The Sphere Of Ethereal Minds’ ‘Pluriorgasmic Alcoholic Nun’

T he second album from

I t’s only natural that leeriness
G onna guess it’s pretty

S hredders by day, classic Pyriphlegethon, a side surrounds the reconvening obvious what sort of
rockers by night – NFO project of Mories de Jong of a band that has essentially ride these Italians take the
features members of Soilwork and (best known as Gnaw Their been dormant since 1994. The listener on here. Though, if you
Arch Enemy paying homage to Tongues), also handling years haven’t been kind to can look beyond the elements
their ’70s rock roots. As the album all instrument and production duties here. these Uppsala originals, but after finally releasing that presume this trio to be bargain basement
kicks off with ‘Midnight Flyer’, you can practically see This project is an even truer love letter to their ‘Burial Dimensions’ debut last year (22 years pornogrind dwellers – basically everything outside
the aviators, flared jeans and Chevrolets race into your his black metal influences, largely leaving after it was recorded!), it’s time to forge ahead. their actual music – you’ll find a band dipping
mind. It’s one hell of a sonic time capsule. With their out the electronics, noise and dark ambient Sarcasm’s second album colours their Dissection and its tentacles into as much old school death metal
pumping synths and clean-ish twin guitars, these of his main project, although gothic synths Sacramentum influences with bold strokes of Emperor and Agathocles’ mincecore as grind and punk.
belting, catchy tunes may sound as though they were are used to great effect throughout. ‘Murky and Immortal. A sometimes-healthy, sometimes- At times, they sound as lumbering and creepy as
written decades ago, but ‘Amber Galactic’ is simply Black…’ is just the right title, as de Jong curious balance of atonality (‘In The Grip Of Awakening a drooling stalker, other moments it’s like you’ve
far too exciting to be dismissed as another ironic belts out a very doomy, haggard and ferocious Times’), heaving hard rock (‘Scars Of A Land unearthed an Autopsy pre-production demo or
misappropriation of classic rock. From the huge chorus sound somewhat reminiscent of the solitude Forgotten’) and terrible acoustic intros are dominant discarded Raw Power song ideas. ‘Pluriorgasmic
of ‘Sad State Of Affairs’ to the Scissor Sisters-esque of Xasthur and Leviathan, but with much features, as is the tendency for timing deviations. Alcoholic Nun’ may not be riddled with shockers,
piano-led stomp of ‘Jennie’, this feel-good record is livelier drums and compositions. Though not Ultimately though, we’re glad the band aren’t but that it doesn’t completely sound like
as rocking as it is drenched in pop sensibilities. The as unique as Gnaw Their Tongues, black metal completely resting on past laurels, instead choosing to something called ‘Pluriorgasmic Alcoholic Nun’ is
perfect soundtrack to wild summer road trips. purists will find plenty to enjoy in this project. contribute to blackened death’s forward motion. the most relieving shock of all.

the optimist 9 JUNE 2017
Zippo Encore Stage
anathema.ws kscopemusic.com


Features guest vocals from Spencer Sotelo (Periphery)

2nd june 2017

Saturday 10th MAIN STAGE
17-19th August
sikth.band / peaceville.com

Classic Album
Picture Discs
available from peaceville.com/store

nitially, the whole idea behind Ectoplasma was to quench two Vultur
members’ endless thirst of for classic Floridian death metal, but whereas
SHORES OF NULL ULSECT their debut album last year felt more or less just like that – a cool but limited
‘Black Drapes For Tomorrow’ ‘Ulsect’ tribute – their brand new EP ‘Skeletal Lifeforms’ [7.5, Repulsive Echo]
CANDLELIGHT/SPINEFARM SEASON OF MIST/UNDERGROUND ACTIVISTS sees them both expanding their line-up and their musical horizon as well.

B ack in 2014 Italian

quintet Shores Of
Null released their debut
T he post-Gorguts style of
death metal seems to be
all the rage these days, with
Rounded off by a pretty faithful yet cool Demigod cover (‘Towards The Shrouded
Infinity’), this five tracker testifies how much they’ve grown as musicians,
suggesting a next album (due next fall) destined to crush them all.
‘Quiescence’ to critical acclaim everyone from Ulcerate to Nero If you thought that a gang of former or current members of Morbo, Gravesite
in these pages. Three years on Di Marte putting their own spin and Undead Creep (originally signed on Razorback) would be just another
and the self-styled blackened gothic metal titans on the Canadian’s triple-A (angular, atmospheric, Repulsion/Impetigo cult worshipper, think again. Yep, Haemophagus still fit
reappear with a fresh lick of paint and a signif- avant-garde) sound. Well, now you can add the picture somehow with their short two-minute outbursts of death/grind, but
icant upgrade under the hood. Everything is a Ulsect to that list, as every track on this album the Voivod-ian leanings of ‘Meteor Mind’ or the progressive (in a very deranged
bit more widescreen, from Gabriele Giaccari and is a tightly-packed, tightly-wound explosion of way) closing instrumental ‘The Dark Trip’ just show how much more ‘Stream Of
Raffaele Colace’s riffing to the sheer power in calculated chaos and catharsis, mixing complex Shadows’ [7, Selfmadegod] actually has to offer.
Davide Straccione’s vocals. There are still sturm layers of sonic texture and technicality with an You think Skinless never sounded better than when they had Jason Keyser
and drang moments but overall the band have almost primal undercurrent of convulsive, com- (now fronting Origin) in their ranks and bounced on the dancefloor like mammoths
gone for a more polished and honed sound which pulsive rage (characterised by the vein-busting, on steroids? Then do yourself a favor and check out Kalopsia. Despite the fact
takes them a little closer to the mainstream. hardcore-tinged howl of vocalist Dennis Maas). they have a few old-schoolers in the house (members of Deteriorot, Ruinous), it’s
There are several earworms among these eleven From its lurching riffs, as dense and as heavy not how ‘Angelplague’ [7, Horror Pain Gore Death] manages to mix a
songs, including the outstanding instrumental as dark matter, to its mind-mangling drum work very European melodic sensibility with a typically American swag, but more about
‘Tributary Waters’. It’s very European, and all the and crushing, claustrophobic atmosphere, this is how incredibly groovy and catchy it can be. They’re not John Travolta and haven’t
better for it. one stunning debut, start to finish. invented a whole new lifestyle but they sure as hell can boogie all night long and
[7] ANDREW FIELD [8] ANDY WALMSLEY score all the chicks on their way out…
Probably sensing that Gruesome had beaten them anyway at the ‘let’s see
who does the best Death personification here?’ and boosted by the renewal of half
SYNAPTIK UNEVEN STRUCTURE of their line-up, LA’s Morfin get dirtier and thrashier on ‘Consumed By Evil’ [6,
‘Justify And Reason’ ‘La Partition’ FDA]. Their singer may still sound uncannily like a young Chuck Schuldiner, they
TRIBUNAL LONG BRANCH still love ‘Leprosy’ to death (excuse the pun), and a limited production (especially

T his is the second album

from the Norwich based
progressive-power metallers,
A s with many tech-metal
bands, France’s Uneven
Structure were born as a
on the guitars) cuts some of their power, but their old-school trip back to the late
’80’s nastier gutters still is worth embarking on.
While we’re still waiting on a hypothetical successor to 2009’s ‘Awakening Of
who’ve gained recognition for studio project. In 2008, The Gods’ from Séance (where a young Patrick Jensen learnt his chops before
their down to earth take on the guitarist Igor Omodei and moving on to The Haunted and Witchery), the long-awaited reissue of their sole demo ‘Levitised Spirit’
genre. Think mid-range vocals and tasteful solos, bassist Benoit Friedrich started writing togeth- [6.5, Chaos Records] is a good reminder on how different they sounded from their Swedish
as opposed to screeching virtuosity. As opener ‘The er, later evolving into a full band with solid peers right from the get-go. While the lack of bonuses or even liner notes leaves us with a barebones
Incredible Machine’ bursts into life with energetic debut ‘Februus’ (2011). The band have grown five-tracker (with four of them later rerecorded for their debut album), this proves that back in 1991,
riffing, it promises all kinds of progressive, technical immensely since their early days though, and Sweden wasn’t only about HM-2 pedals and D-beat.
excitement ahead. But while there are some decent ‘La Partition’ is the result. With nothing left to Valgrind are a strange case of a band who have been around in one way or another since
moments – juicy guitar leads, complex song struc- prove, the new album explores far beyond their 1993, yet whose members had to get elsewhere (Voids Of Vomit, Blood Of Seklusion, Hateful) to
tures and the unwavering hard rock tinged vocals of original Meshuggah & co influences. Pushing somehow get some recognition. Their new EP ‘Seal Of Phobos’ wears its creators’ classic background
John Knight – ‘Justify And Reason’ isn’t well-rounded the extremes of songwriting as opposed to and age on its sleeve with its barebone thrash/death and street punk guitar sound that link them
enough to warrant the listeners full attention. technicality, ‘La Partition’ is a bold and brave more to, say, Headhunter DC than Obituary, albeit without much fury or imagination. Only the solos,
Jumping from the shredding intro of ‘Conscience’ to offering from a progressive band in their prime. totally out of control and high on whammy bar madness à la Trey Azagthoth, bring a sense of urgency
the off-kilter nu metal simplicity of ‘Esc Ctrl’, the And yes, there are still jaw-dropping sections sadly lacking on this otherwise pretty standard gap-stopper.
smorgasbord of musical ideas they present is disor- of complexity, but only ever in a way that adds WORDS: OLIVIER ‘ZOLTAR’ BADIN
ganized and delivered in a proficient yet bland way. value to the songs.


‘Motherless’ ‘Scars Of Aeons’ ‘The Great Cold Steppe’ ‘Run With The Hunted’

T rial made their name

with ‘Vessel’ (2015) by
combining the NWOBHM’s
T his six-piece from
Plymouth feature no
less than three guitarists in
W ith the amount
of projects that
Roman Sayenko already
I t’s been five years since
their last album, 2012’s
‘Damned’, but Stockholm’s
melodic forward rush with their line-up, but don’t go has on the go (Drudkh, Old Wolfbrigade haven’t forgot-
the theatrics of King Diamond expecting any galloping gran- Silver Key, Precambrian ten how to batter out savage
and the extreme edge of Swedish melodeath. diosity à la Iron Maiden. No, Warcrab use the and Rattenfänger), it’s a wonder he has time metallic D-beat in the interim. Nine albums in,
‘Motherless’, their Metal Blade debut, zones in extra sonic muscle to great effect, to thicken for anything else; however, he has now put and you’d expect them to have perfected their
on the aspects of their sound which would work their sludgy death metal to almost ridiculous forth his ninth musical project into the world. approach by now, so it’s no real surprise this
best in the context of the mainstream metal proportions (and this being one of those rare Windswept is raw, aggressive black metal kicks massive amounts of arse, but they’ve dug
exposure their new label affords. This might sentences where ‘ridiculous’ has positive con- that’s made distinctively Sayenko by the unmis- deep with this one; the guitars are raw as fuck,
sound like a contrived move, but it’s not – it’s notations). This takes all the best bits of Bolt takable throaty rasp of the vocals and Slavic and very prominent in the mix, totally in your
actually very smart. By pairing the arrange- Thrower, Cancer and Crowbar and mashes them guitar tone. This could easily be written off as face, and there’s lots of dark melodies to coun-
ments back and accentuating the consummate into a swampy miasma of crushingly slow and another clone of the likes of Blood Of Kingu, terpart all the yelling and angst. ‘Kallocain’
playing of lead guitarist Andrew Ellström and heavy riffage, occasionally tinged with a down- etc., however, what makes ‘The Great Cold even features a cheeky Anti-Cimex reprisal,
Linus Johansson’s booming high-register vocals, beat mournful melody. There may only be five Steppe’ truly impressive is that it was written as well as a jiggy little guitar refrain which is
Trial have evolved in a shrewd fashion and will songs on offer, but with a running time of well and recorded in just three days, and manages more Iron Maiden than Discharge – but that’s
undoubtedly gain a greater following because of over thirty minutes there’s plenty of measured to sound better than most black metal albums the only time the brutality levels drop below
their streamlined approach. brutality for your buck. that take three months. insanely violent.

Fourth full length album from Swedish heavy metal band MEAN STREAK, released by Rock Of Angels Records (Monument, Outloud, Phase Reverse, Sarissa etc.).
Recorded by Peter Andersson Andy LaGuerin and Thomas Johansson at The Panic Room.
Mixed by Max Norman (Ozzy Osbourne, Lynch Mob, Armored Saint, Lizzy Borden, Megadeth, Y&T).
Mastered by Thomas Johansson (Soilwork, Onslaught, Armageddon, Degradead, Dynazty) at The Panic Room Mastering


P arodying 1971 animated

C ult Of Luna are one of this kids’ classic ‘Peter

musical generation’s stalwarts, Cottontail’, this rabid rabbit is
consistent in their delivery of earth far from child-friendly and one
shatteringly heavy records and hot cross bunny. Reminiscent
moving live performances. Their of low-budget travesties
decision to keep touring to a bare such as William F. Claxton’s
minimum is one that has deeply ‘Night Of The Lepus’ & Nathan
saddened their fans, but to help Schiff’s ‘Weasels Rip My
ease the torment, the band have released a live DVD ‘Years In A Flesh’, directors the Snygg
Day’, featuring two hours of professionally shot footage from Paris Brothers somehow got together a miniscule budget,
last year at their La Gaîté Lyrique show. The set list from this some nice woodland locations, a few women prepared
particular date is eponymous of Cult Of Luna’s career, featuring to take their tops off and a giant animated moth-eaten
classics such as ‘Finland’ and ‘Owlwood’. Beautifully filmed, this monster looking like it is suffering from myxomatosis.
footage is a stunning sensory experience – the sound quality, light As CGI gore is thrown with abandon at the screen and
show and camera angles are all truly breath taking. The whole bodies are liberally dismembered around a tale of a
package includes a DVD of this two-hour spectacle, as well as corrupt mayor and group of nerdy dog-catchers, this
two live CDs from Roadburn 2013 and 2016, HD video and audio bottom of the barrel B-movie is somewhat reminiscent
download files and a twenty-page booklet. Limited to just 7000 of Trey Parker ineptly handling the worse Troma film
copies, this will be the ultimate fan must-have; whether you have you have ever seen whilst Uwe Boll films second unit.
seen Cult of Luna live before or not, this is an essential purchase Of course, that might actually be good, but this is
as it gets as close to the experience of watching them in person as absolutely hare-brained and will have you questioning
one can possibly get, allowing viewers to share in all of the goose your bad movie viewing tolerance and counting down
bump inducing moments. the seconds till the end. If only a holy hand grenade
A Cult Of Luna live show is a magnificent sight to behold, and
the fact that they are such a rarity these days makes ‘Years In A
DIMMU BORGIR had been available to lob at this blasted buck we
might have avoided this mess. Beatrix Potter must be
‘Forces Of The Northern Night’ turning in her grave!
Day’ priceless in its ability to help fans relive the experience an NUCLEAR BLAST
infinite number of times. [2] PETE WOODS
[8] ANGELA DAVEY I f there were ever a band tailor-made
for the full pomp and circumstance of

performing with a live orchestra, Dimmu
DVD Borgir are it. And in May of 2011 they did
just that, bringing aboard the Norwegian

Radio Orchestra and Schola Cantorum Choir
for a spellbinding celebration of their near
‘Awaken The Guardian Live’ twenty-year career.
‘Tenebris Deos’
METAL BLADE Although various issues, professional

E very band is reforming nowadays.

If the ’80s were poodle-rocking,
and logistical, prevented the band from
releasing this recording until now, thankfully the wait was well worth it, as the
D o you know what’s super
refreshing? Horror where
evil triumphs. This animated
the ’90’s were grunge, then this final package is a real triumph, showcasing a band on absolutely top form,
motion comic begins with
decade belongs mostly to former surrounded by nearly 100 other musicians all clearly relishing the strangeness of
every hero dying, thank God.
glory. However, bands who broke up the experience.
It’s nice and bleak, bloody and
yesterday reforming to sell out venues The sound quality is, of course, impeccable, but there’s also a certain
threatening from the get go.
twice the size is one (albeit, cynical) rawness to it – a sharper edge to the guitars and a thickness to the bass – which
The obvious selling point is the
thing. But Fates Warning assembling suggests that Silenoz and co. resisted the temptation to adulterate the DVD with
all-star metal cast, featuring
the line up from their 1986 classic ‘Awaken The Guardian’ to unnecessary and obtrusive overdubs, meaning what you see and hear really is
David Vincent, Dani Filth and
perform the album in its entirety is something completely different. what you get.
Jill Janus as voice actors. Couple these legendary
This is something truly special, which fans of the progressive The heavy focus on the band’s post-millennial material (a climactic ‘Mourning
appearances with one blisteringly heavy soundtrack
metal pioneers have been wanting a long time. Reunited with their Palace’ is the only pre-2000 cut on
and undoubtedly, this is the motion comic for metal
original vocalist John Arch, who left the band directly after they offer) might be a little off-putting
heads. But that’s not to say that it has limited appeal;
recorded the Billboard chart-topping album, this DVD captures to the more old-school fans, but
the intriguing original story by Alec Worley could draw
the only two shows that Fates Warning performed as the classic considering that you get both
in the most po-faced, straight laced Radio 1 listener.
line up. Firstly, we see them storming the stage to deliver a an informative (if slightly short)
David Vincent is deep and eloquent as Albrecht Van
note-perfect lesson in prog to Keep It True XIX in Germany; then documentary revealing just how
Helsing – one of the few maverick survivors in a world
we see them rouse the huge crowds of Prog Power USA in Atlanta much work went into the event
now dominated by vampire queen Athena Petrova
with a stirring rendition of ‘Guardian’ – often rated as one of the behind the scenes, plus an extra DVD
(voiced by Jill Janus). Dani Filth plays Balaur – an
best power metal ballads of all time. Clocking in at just under featuring their similarly impressive
all-powerful vampire madman with unquenchable
three hours running time, this live footage shows Fates Warning (if not quite as atmospheric) set
bloodlust and a penchant for shrieking, naturally.
nailing the complex riffs and tempo changes that excelled them from Wacken in 2012, alongside
Beautifully illustrated by Simon Parr with a restricted
into the top leagues of progressive metal. From the thrashy riffs of the extravagant main feature, we’d
palette of dark greys and red, this gory hour-long
‘Valley Of The Dolls’ to the beautiful acoustic interludes, the band hazard you’ll still get more than
bloodbath is part one of a four part series. Start
certainly know how to deliver a masterpiece in the live setting – enough blackened bang for your
watching and it will almost certainly leave you craving
their relatively simple set up and humble stage presence allows buck with this one.
the music to do the talking. [8.5] ANDY WALMSLEY



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WORDS: Kevin Stewart-Panko

he story of Voivod keeps getting more their primary song writer, guitarist Denis ‘Piggy’ drummer Michel ‘Away’ Langevin to discuss the
and more amazing. Briefly, theirs is the D’Amour succumbing to colon cancer in 2005. The upcoming reissues of the band’s second, third and
unlikely tale of a (iron) gang of prog rock story of how their ‘Katorz’ album (released in 2006) fourth albums (‘Rrröööaaarrr’ ‘Killing Technology’
and punk obsessed metal dudes from way the was written by Piggy without his band mates’ and ‘Dimension Hatröss’ respectively), more
fuck up in northern Québec who revolutionized knowledge and given to the band by the guitarist incidences of just how amazing the Voivod story
thrash metal both musically and conceptually. while on his deathbed borders on fantastical is keep coming to light. Take the circumstances
They survived experiences with major labels, Netflix-sponsored fiction. And with Daniel ‘Chewy’ surrounding the creation and recording of 1987’s
sonic transformation and a slowly, sometimes Mongrain holding down the six-string position ‘Killing Technology’ and 1988’s ‘Dimension Hatröss’
tragically, revolving membership door that had since 2008, the band have been rejuvenated and in their Montréal homestead and at Musiclab
former Metallica bassist Jason Newsted as a are producing material that holds pat against the Studios in Berlin.
member throughout most of the aughts and beloved old-school goods. However, as we corner “It was a situation where, in 1985, we recorded

with mat hcore legends THE
During their final UK tour, TERRORIZER caught up ringer…
them through the musica
DILLINGER ESCAPE PLAN to putes Pics: Emma Stone
Words: Mark How

MALDOROR MAHAVISHNU Mahavishnu we got our friend Earl to come in and play
‘Butterfly Kiss’ FROM ‘She’ ORCHESTRA violin as well, to take it home, so, once we saw it was
(IPECAC, 1999) ‘Birds Of Fire’ FROM ‘Birds sounding that way we said ‘let’s do it all the way’.”

hrowing them in at the Of Fire’ Greg: “We’d talked about it sounding proggy, then
deep end with noise duo (COLUMBIA, 1973) with the violins and that John Frusciante

Maldoror, one of Mike Patton’s aving noticed a few musical flavour.”
most obscure releases alongside Masami Akita, AKA references in their work, can The violin matches the solo note for note, right?
Merzbow. TDEP have worked with Patton before, but TDEP detect these jazz fusion legends? Ben: “Yeah, he came in and worked it out super quick
will they recognise this? Greg: “Collective Soul?” and just went for it. I can’t understand
Greg [Puciato, vocals]: “Sounds like Kevin: “Three Doors Down.” that level of prodigy.”
Disney!” Greg: “Alien Ant Farm.” Extra points if you can tell me what the time signature
Kevin [Antreassian, guitar]: “Mr Bungle?” Ben: “Is that an Oriental cymbal?” here is.
Close… Liam: “[Just as the song kicks in] Oh, Mahavishnu Greg: “How should we know?”
Liam [Wilson, bass]: “Mike Patton?” Orchestra!” You’re The Dillinger Escape Plan, who better to ask?
Ben [Weinman, guitar]: “Oh, with John Ben: “YES!” Billy [Rymer, drums]: “Hang on, one of those
Zorn?” Liam: “‘Birds Of Fire’?” measures was a six… 5/16?”
Nope. Yep! There’s a solo at the end of your song ‘Low Feels Liam: “[frantically tapping along] It’s not 5/16…
Ben: “And it’s not a solo record?” Blvd’ that sounds very Mahavishnu, was that a conscious 3,4,5,6, 1… Ah, I don’t know!”
No, it’s Maldoror. thing?
Ben: “Ahhh, sure” Ben: “Well, the chord changes and stuff had been
Kevin: “Sounded like Looney Tunes…” predetermined, but the solo was improv and we liked
Ben: “This was probably around the time we did the vibe of it. We didn’t know what we were going
‘Irony Is A Dead Scene’. to do over it, but then the improv solo sounded so

‘Lost In Moments’ FROM ‘The Passage (Pearl Grey)’ Tesseract?”
‘Perdition City’ FROM ‘The Painter’s Palette’ Greg: “Oh, we were just
(JESTER, 2000) (EARACHE, 2003) talking about these…”

or a change of pace, let’s vant-garde jazz metalcore Ben: “Rolo Tomassi? Oh
see if they’re familiar with from Italy that never really wait, iwrestledabearonce? We
everyone’s favourire shape-shifting Norwegians’ ambient got the credit they deserved; one could be forgiven toured with them! But earlier
electronica phase… for assuming their paths would have crossed at some with
[Blank looks] point… the old singer, this must be new
It’s Ulver. Liam: “Is this Brain Temples?” stuff. All the guitarist likes to talk
Greg: “I would know other tracks of theirs but I didn’t A clue; they’re known as the Italian Dillinger Escape about is merch.”
know that one. Some of their stuff is Plan… Greg: “I think they’re in LA now.”
awesome.” Ben: “Oh it’s… Two words in their name, we played with Liam: “I remember they had a dog
Kevin: “Vulva?” them… I did something on their album…” on tour. That was awesome.”
Greg: “They used to be all black metal then turned into Kevin: “Ephel Duath?” Greg: “I remember that singer was really
this weird trippy thing.” Yes! talented and really nice.”
Ben: “He produced that Myrkur record too.” Kevin: “I got one? I GOT ONE!” Liam: “They were all super nice!”
Greg: “It’s hard to keep up with them, they put out like, Ben: “I should have known that, I worked with these Ben: “I think she left to have a baby. It might
six records a year, it’s too much.” guys. It was interesting, they had the old have been the bear’s, I don’t know.”
jazz guy on drums when we played with them.”
ATARI Greg: “He had everything charted out, it was cool to see TORCHE
TEENAGE RIOT that old jazz dude in the clubs play like that.” ‘Grenades’ FROM
‘Digital Hardcore’ FROM ‘60
Second Wipe Out’ THE ALGORITHM (HYDRA HEAD, 2008)

(DIGITAL HARDCORE, 1999) ‘Floating Point’ FROM ‘Brute e reckon at least

ince chaotic noise is a key Force’ Greg would know
element for Dillinger, we (FiXT, 2016) of this melodic stoner/ sludge outfit, considering

thought they might recognise these pioneers… rench guitarist Remi Gallego’s ex-guitarist Juan Montoya plays alongside him in
Ben: “[Immediately] Atari Teenage Riot! ‘Digital techno infused tech metal Killer Be Killed…
Hardcore’! I love this shit!” outfit – TDEP have dabbled with Greg: “This is… Torche!”
Correct! Did you ever play with these guys? similar sounds throughout their career, but have they kept Ben: “This doesn’t sound like us! We used to
Ben: “No, but I wish we had. Love them.” up with its current crop? hear Floor sounded like us and they sound
Greg: “Sikth?” exactly like Torche.”
MASTODON Kevin: “Is it Textures or Tesseract?” Greg: “Well, it’s the same guy.
‘Seabeast’ FROM ‘Leviathan’ It’s The Algorithm. We played some festival in France
(RELAPSE, 2004) Ben: “Sounds mathy. It’s great!” with them, and there were all these

his should be a given due to obstacle courses and shit that were
the band’s shared history, IWRESTLED shut down, and me and these guys
not to mention Ben is in Giraffe ABEARONCE would climb the trees and go fuck
Tongue Orchestra with guitarist Brent Hinds… ‘Thunder Chunky’ FROM ‘Late around on the obstacles.”
Ben: “Mastodon, ‘Seabeast’. Too easy, what are we For Nothing’ Liam: “Torche are a great band!”
meant to say?” (CENTURY MEDIA, 2013) Ben: “I remember seeing them when

Kevin: “I thought it was ‘Don’t Fear The Reaper’.” ental Louisiana based Juan was in the band, they were awesome
Greg: “What else can we say? They’re good friends.” mathcore nutjobs have then.”
Ben: “They’re good friends, we came up on the same shared many a stage with TDEP, but will the presence of www.DillingerEscapePlan.org
label, we’ve known these guys forever.” new(ish) singer Courtney LaPlante throw them off?
Liam: “I saw a giant mastodon tooth in the museum
yesterday, so I sent them a photo.”

‘43% Burnt’, in what was, to
We swear we didn’t rig this, but The Dillinger Escape Plan
be fair, a challenging contest…
Fifteen minutes, no limits. One point for each artist and another for the song. No Argument




are. Long may they reign!

Back on the Main Stage, Wolves In The Throne
Room deliver one of the best performances we’ve ever seen
from them, with the addition of Aldebaran guitarist Kody

Keyworth and keyboardist William Hayes adding extra depth
and detail to their live sound, and Lycus drummer Trevor
Deschryver bringing a ferocious level of energy. Gnod begin
the first of their daily performances with some spaced-out,
ambient electronica, rendered all the more hypnotic by Het

Petronaat’s beautifully resonant interior, whilst Fórn unleash
their mournful doom with a surprising amount of vigour in
Extase, as vocalist Chris Pinto throws himself around the stage
with unhinged passion.
The iconoclastic Coven prove a big attraction. Jinx
Dawson is an enchanting figure, emerging from her coffin in
TILBURG, THE NETHERLANDS her sparkling mask to deliver sermons to the Dark Lord. The
band sound tight and well drilled but make no mistake, Jinx
THURSDAY as Lycus crush both our skulls and our souls with their is the centre of all; a High Priestess of Satan whose unearthly

retch get Roadburn 2017 off to a great start, dark funeral doom, occasionally lapsing into savage bursts howl has not been mellowed by Father Time. They draw heavily
with ex-The Gates Of Slumber frontman Karl Simon of black metal. It’s an astonishingly heavy set, one that our from 1969 debut ‘Witchcraft Destroys Minds & Reaps Souls’,
sounding rejuvenated, and clearly elated to be withered psyches were perhaps not fully prepared for at three a captivating work that demonstrates just how important this
welcoming us all in to this celebration of Thee Riff. Meanwhile, in the afternoon, but such is the beauty of the Roadburn act are in the development of occult rock. The Het Petronaat’s
the new Extase venue showcases its weighty sound system experience. With little time to recover, it’s off to witness fellow PA is pushed to its limits by Dälek, who kick out an earth-
Oakland gloom-mongers Alaric jostle their way through a shaking amount of low end whilst storming through cuts from
set of hefty Killing Joke-indebted post-punk in the Green Room, last year’s ‘Asphalt For Eden’. The vibe is electric, with the trio
Rick Jacobus’s scuttling, cantankerous bass tone providing a getting more and more fired up by the cheering, bass hungry
stirring tonic to Noothgrush guitarist Russ Kent’s doom-laden crowd.
riffs. Despite the pair often being mentioned in the same breath,
SubRosa’s first set of the weekend is utterly captivating, watching Deafheaven so soon after WITTR, it’s apparent
as the band treat a rapt audience to all of last year’s ‘For This just how different they are, with the former’s angular, jangly
We Fought The Battle Of Ages’ LP on the Main Stage, with the chords owing far more to post-hardcore than the latter’s more
booming yet crystal clear sound highlighting the subtleties contemplative atmospheres. Not that that’s a bad thing; far
and restraint in their performance. Whilst it’s easy to get a from it, as the Californian quintet sound refreshingly vicious
good spot at the Main Stage, you’ve got to be swift to get into tonight regardless of what you wanna call them, and even
the Green Room sometimes, especially when Unearthly jaded music critics find themselves moved during a climactic
Trance are raging through material both new and old with ‘Dream House’. Bongzilla are the perfect band to draw the
such enthusiasm and ferocity, with the tightly packed crowd first night to a close, as guitarist/vocalist Muleboy urges us
treating them like returning heroes – which, in many ways, they to smoke up before dropping riff after riff after riff, with the



band’s loose, squelchy groove and a bucket load of sludge Tonight’s headlining performance is a masterful salute to old
classics getting the whole room headbanging. and new fans alike, with John opting to dip into the vaults more
frequently than of late. Baroness’ music may have taken a
FRIDAY more sophisticated melodic route but the crowd laps up ‘Shock

he sweeping choral vocals and jazz rock adventure that Me’ and closer ‘Take My Bones Away’, raising their hands and
is Magma is bewildering and engaging. Christian voices in unison to salute Savannah’s finest.
Vander’s percussive dexterity still defies belief while Telepathy may be a new name to many festival-goers, CHELSEA WOLFE

his wife Stella is mesmerising upfront, holding the audience but their fusion of shimmering post-metal atmospherics with
with each soaring note and Kobaïan phrase. The enthusiastic scathing black metal battery goes down a storm in the Cul The seering intensity of Cobalt is a sight to behold,
applause that greets the climax of their performance De Sac, with tracks from new album ‘Tempest’ gaining huge with the deranged snarl of former Lord Mantis man Charlie
demonstrates how wonderfully their appeal has transcended cheers from the busy crowd. Het Petronaat is even busier for Fell riding high atop vicious blackened sludge. Erik Wunder
the generation gap. Iceland’s Zhrine provide a cathartic Zeal And Ardor, with the audience going wild before is a whirling dervish behind the kit, pouring with sweat. It’s
change of pace, with their blistering black metal blasting the Manuel Gagneux and co. have even played a note. His live band a heart stopping performance that makes you wish their live
audience like a cold shower. Ævar Örn Sigurðsson wields his do a great job of bringing these songs to the stage, but Manuel outings weren’t so few and far between. At least they’re more
double-bass with style, elegantly working its curious tone into himself is of course the centre point, roaring out songs like regular than Razors In The Night, a one-off performance
the band’s furious compositions. ‘Blood In The River’ with fierce conviction. We’re treated to a from John Baizley and his Baroness chums teaming up with
Oathbreaker’s ascension from cult hardcore act to surprising amount of new material too, which seems to retain Neurosis’s Scott Kelly to race through punk classics from The
genre-straddling, critically adored behemoths has been a the essence of Manuel’s vision whilst taking it into both weirder Stooges, Ramones and Misfits with such enthusiasm that we
pleasure to witness, and it feels like the band have earned and more accessible avenues, before disaster strikes and the wish they’d take this thing on tour.
every minute of their Main Stage slot today, with the emotive, PA dies. That unquenchable Roadburn spirit saves the day At this point, it almost feels like we’re doing Oranssi
widescreen scope of songs from ‘Rheia’ translating very however, as Manuel calls out the refrain to ‘Devil Is Fine’ and Pazuzu a disservice referring to them simply as “psychedelic
smoothly to the bigger stage. Big Business are on fine the whole room bellows the next part back at him, making the black metal”, such is the wild, untamed energy that powers
form in the Green Room, delivering all the chunky riffery you’d most of a fantastic but abruptly finished set. their increasingly hard-to-define music. Their Main Stage set
expect but also daring to dip into quieter songs like the power Back in the Cul De Sac, Dutch duo Folteraar careen today emphasises what a tightly knit unit they have become,
balled-esque ‘Send Help’, all of which is warmly received by through their raw, ear-shreddingly harsh black metal with thundering along with a free-wheeling, almost improvisational
the grinning crowd. Back on the Main a gloriously primitive, ‘no fucks quality that feels more like the vibrant collective approach of
Stage, Chelsea Wolfe conjures BARONESS given’ attitude, inspiring some Amon Düül II than anything in the black metal canon. Following
up a completely enveloping wall of truly frenzied headbanging from yesterday’s more standard ‘rock’ set, the Gnodyssey continues
sound, with songs like ‘Iron Moon’ the crowd. Meanwhile, hardcore in the Green Room as Gnod & Kuro ride taut motorik
and ‘Dragged Out’ sounding even legends Integrity are definitely rhythms to infinity, accompanied by violinist Agathe Max’s eerie
heavier than their studio counterparts. suited to smaller, more intimate tones.
Chelsea’s vocals are note-perfect, venues, but they still give it Reunited and beloved doom act Warning deliver
and wrought with a heartfelt, visceral their all on the Main Stage, with ‘Watching From A Distance’ from start to finish to an
passion that makes this one of the frontman Dwid Hellion cutting enraptured Main Stage crowd, as vocalist/guitarist Patrick
day’s finest performances. an imposing figure as he barks Walker continues to be one of the most expressive vocalists
With a “subdued” set in Het out fist-pumping anthems like in metal, his face flush with heartache during an incredibly
Petronaat, SubRosa prove that ‘Systems Overload’. powerful ‘Footprints’. The band may not have performed live
their songs are powerful enough to in years, but they’re impeccably tight and the guitar tone is
work even without huge amp stacks SATURDAY perfect, raining thick, gloopy chords down from the PA with

and swathes of distortion, as a highly trecht black metal trio soul-shaking force. Patrick is visibly humbled as the entire
respectful crowd ensure you can hear Laster have always been room sings along to ‘Bridges’, and we’d wager this set will
a pin drop throughout. Local death an intense live band, but go down as one of Roadburn’s most unforgettable moments.
metallers Antropomorphia new LP ‘Ons Vrije Fatum’ seems After such a powerful, emotional experience, Casual Nun
struggle to really hit their stride in to have taken them to an entirely somehow manage to lighten the mood whilst still being heavy
Extase, plodding along with little in the new level, as their ferocious, as fuck in Extase, as they engage in a joyous, sweaty bout of
way of conviction or stage presence. Amenra, on the other progressive and fearlessly imaginative black metal provides riff worship not too dissimilar to early Gnod.
hand, are stunning, treating a jostling Main Stage crowd to the perfect wake-up call for today. Over on the Main Stage, it “Is that drugs? We’ll have that later,” Karl Willets jovially
an hour of absolute sensory overload, tearing through bleak, may seem a tad early for a performance of such magnitude, quips as a fan hurls a bag of kush towards the stage as an
gigantic riffs with sickening force. After a day of maverick but The Bug VS Earth provide an ideal way to dissolve offering to his heroes. While Karl is justifiably in high spirits
experimentation however, who better than this year’s curator our hangovers. Whilst it feels as though the pair are both considering the impact new album ‘For The Fallen’ has
John Dyer Baizley to deliver a set of soaring sing-a-long perhaps holding back slightly to fuse their disparate styles, made, there is nothing funny about the merciless onslaught
anthems with Baroness. The surprise inclusion of seven this disciplined and meditative approach creates an absorbing Memoriam wage upon the bloodthirsty hordes that greet
minute colossus ‘Tower Falls’ from their first EP is rapturously atmosphere that feels fresh and significantly different to them. The quartet have honed a set of punishing death metal
received, with John delivering the harsh vocals with gusto. either’s back catalogure. that’s delivered with ruthless precision: a neck snapping show

For More Live Reviews Visit www.Terrorizer.com TERRORIZER #282 75



Ulver, to which Kristoffer Rygg deadpans “…no.” Yep, the

Norwegians are in full Depeche Mode, erm, mode this evening,
drawing solely from new album ‘The Assassination Of Julius
Caesar’; however, the propensity for live improvisation they
demonstrated on ‘ATGCLVLSSCAP’ is in full effect tonight too,
with many of these songs expanding into vast, Vaneglis-esque
jams. Emma Ruth Rundle manages to keep a packed,
spellbound Green Room in hushed reverie for the duration of
her acoustic set, with closer ‘Real Big Sky’ being a particular
A huge cheer greets David Tibet on the Main Stage, before
his flamboyant roar of “Create Christ, saaaaaaaiiiilor boy!”
heralds the beginning of Hypnopazūzu’s sombre, elegiac
performance. It’s remarkably subtle and introspective for a
headline set, but testament to both the Roadburn crowd’s
varied tastes and the quality of Tibet and Youth’s unique
of righteous fury which effortlessly picks up from where Bolt and pounding electronic blastbeats like a satanic acid trip. musical creation, it’s greeted with open arms. Come To
Thrower left off. Afterwards, it’s off to the Green Room to see Grief are absolutely devastating in Het Petronaat, truly
yet another record played in full (Roadburn really is the gift SUNDAY capturing the original Grief vibe and airing classics like

that keeps on giving, isn’t it?), as Ahab unleash classic riginally meant as a gentle way to ease yourself back ‘Depression’, ‘World Of Hurt’ and ‘Fucked Upstairs’. The crowd
debut ‘The Call Of The Wretched Sea’. Any fears they wouldn’t into reality after Roadburn, Sunday’s Afterburner has lose the minds, leading guitarist Terry Savastano to beam “this
be able to pull it off given their lighter sound of recent years since grown into a fully-fledged fourth day in its own is one of the best shows I’ve ever played,” and we don’t doubt
are quashed as soon as ‘Below The Sun’ comes cascading right, as evidenced by today’s busy schedule. The final Gnod him for a second.
like a veritable flood, Daniel Droste’s guttural vocals sounding performance comes in the form of Temple Ov BBV, as the Having but a sole release under their belts does not
especially deep and resonant. Performing breakthrough band team up with Radar Men From The Moon to provide some deter Pillorian from delivering an outstanding Main Stage
sophomore release ‘Turn Loose The Swans’, My Dying thick, squelchy and severely intoxicating grooves to wake up performance. Conjuring shimmering acoustic passages
Bride are simply glorious. Aaron Stainthorpe is reminiscent to. Author & Punisher’s clunky industrial is a fantastic from stygian gloom, the quintet exude calm confidence.
of a Shakespearian actor in his raw and unpretentious delivery, spectacle in the Green Room, as Tristan Shone operates a John Haughm has the aura of a man who knows he is onto
accompanied by violinist Shaun Macgowan to perform the hefty mechanical arm, pulsing his fist to create stark beats something, weaving glorious tapestries of folk noir punctuated
lavish ‘Sear Me MCMXCIII’ before the rest of the band take the whilst yelling into a bizarre voice-altering mouthpiece. It’s like with raging black metal. The spirit of Agalloch may hang about
stage for ‘Your River’. A venomous encore of ‘Your Shameful a scene from ‘Tetsuo: The Iron Man’ set to an early Ministry his neck but masterful performances like these show he is not
Heaven’ sees Aaron clutching his limbs and thrashing around soundtrack, and it’s a blast to behold. content to rest on his sizeable laurels. And neither, for that
like a man possessed, before the mournful glory of ‘The Pallbearer initially seem a bit nervous on the Main matter, are the Roadburn organisers themselves, delivering
Cry Of Mankind’ leaves the congregation dumbstruck. An Stage, but any pre-show nerves soon evaporate as the band what has to be one of the strongest, most diverse and exciting
unforgettably miserable performance to revel in. throw themselves into songs like ‘Thorns’ and ‘Dancing In line-ups in the festival’s history.
After all that doom ’n’ gloom, Disfear are a refreshing Madness’ with palpable emotion. The inclusion of
jolt in the arm, their righteous D-beat anthems sounding more non-album track ‘Fear And Fury’ is an unexpected but
vital than ever in Het Petronaat as Tomas Lindberg goads welcome addition, it’s chunky, palm-muted riffs getting
the crowd into what is unquestionably the biggest moshpit heads banging after the more soaring, delicate beauty
of the weekend. Meanwhile, that same sense of celebratory of their newer songs. There’s nothing delicate about
camaraderie can be found in Extase as Serpent Venom’s Sumac, as Aaron Turner’s new power trio threaten
rousing, Trouble-esque doom is treated like manna from to raze Het Petronaat to the ground with their hulking,
heaven, the audience wailing along with Garry Ricketts’ soulful brutishly heavy riffery, sounding more like early Swans
howls. than Isis. Though there’s obviously something missing
Resplendent on a trifecta of podiums, Mysticum without the presence of sorely missed bandleader
deliver Roadburn’s most Spinal Tap moment to date, with a Daevid Allen, it’s great to see psych-rock legends Gong
level of titanic industrial mindfuckery which is disorientating continue to carry the torch for far out, progressive
but decidedly myopic, all strobe lights and Satan with little whimsy, and classics like ‘You Can’t Kill Me’ sound as
or no variation. Still, the band themselves sound lethal, with timeless as ever.
Cerastes and Prime Evil trading snarls over barbed wire riffs “Play some black metal!” someone yells at

Words: Kez Whelan, Ross Baker Pics: Falk-Hagen Bernshausen

76 TERRORIZER #282 For More Live Reviews Visit www.Terrorizer.com



and ‘Welcome To Hell’ result in rapturous applause, and

despite a problem with the guitar amp mid-set, the
band ensure it was inconsequential with their crowd
banter throughout. Celebrating the twentieth anniversary
of their album ‘Heaven Shall Burn… When We Are
Gathered’, Swedish black metallers Marduk play a
set comprised primarily of songs from said record. Their
sound is relentlessly pummeling with blasting drums,
cutting guitars and shrieking vocals. A real treat arrives
in their penultimate number ‘Accuser/Opposer’, when
Alan “Nemtheanga” Averill joins the band for a duet with
Marduk frontman Mortuus.
Following his previous performance, Alan Averill
storms back onstage with Primordial like he’s just

been ripped from a vengeful grave. Fists are raised and
heads are nodding to fan favourites like ‘The Coffin
Ships’, and the cheers in between songs are wall to
wall. The performance is particularly dramatic with the

frontman’s stage actions making the band’s folk/black
metal sound especially engaging.
Mayhem performing ‘De Mysteriis Dom Sathanas’
in its entirety is a nostalgia trip for any black metal

fan. The lights go out, smoke eats up the stage, cloaked
figures appear, and ‘Funeral Fog’ hits the eardrums. If a
note is out of place or a vocal out of time, as they often
seem to be, everyone is too drunk and ecstatic to care.
GLASGOW, BARROWLAND BALLROOM Death metal legends Autopsy close the festival
with an uncompromising aural assault and the hordes

rage throughout the set. The energy in the room is high
he line-up for Lords Of The Land 2017 offers paced death metal, with Karl Willets tearing about the
and clear enjoyment is had by all as they mosh to classic
nostalgia and only a dribble of fresh blood, but stage like a mad cross between Lucius Malfoy and Aerys
tunes like ‘In The Grip Of Winter’, and ‘Charred Remains’.
it has proven to be enough to tempt even the Targaryen. A confident, assertive band with seasoned
It’s been 27 years since Autopsy last played in Scotland
least stalwart of metal fans: eight bands of international members, the crowd laps every song up, cyclones of hair
and hopefully after Lords Of The Land, it won’t be long
acclaim, some legends from inception. in every row.
before they return.
Delays result in Finnish grindcore band Rotten The energy and crowd continue to grow for Yorkshire
Sound taking to the stage at the exact time they thrashers Acid Reign. There’s mosh pits and crowd-
were expected to finish. “Sorry for being late,” says surfers aplenty to classics like ‘Humanoia’, as well as
frontman Keijo the band’s new single ‘The Man Who Became Himself’.
Niinimaa, sporting a Frontman H even gets in on the action as he traverses
Dead Kennedys shirt and the length of the hall on the hands of the headbangers
an unapologetic grin. below.
As it passes midday, Dragged Into Sunlight are the band most
the sober crowd are anticipated to steal the show. And they certainly do
barely prepared for 30 so, in an incredibly abrasive performance that reeks of
minutes of face-melting intelligence and technical flair. The band provide a set
ferocity. Memoriam of insane visuals in the form of a black and white video
are saturated with montage, candles, and the craziest mic stand made of
obvious Bolt Thrower skulls and bones.
associations. They Playing a set of classics from the extreme metal
specialise in a pioneers, Venom Inc invoke the biggest mosh pits
particular brand of mid- and loudest cheers of the day. Songs like ‘Black Metal’ MARDUK

Words: Georgia Curran, Sean Merrigan Pics: David Hayes




FRIDAY fingers waggling from the off. The sound is unfortunately a inebriated dance moves. Leaving the front rows in tatters

arming up for Saturday’s main event, Ritual offers up little off for The Infernal Sea, robbing sparser, more after closing with a totally savage ‘A Skin For Dancing In’,
some of the UK’s finest black metal at the Belgrave experimental numbers like ‘The Bearer’ of much of their there’s no doubt that Akercocke are back – and they mean
Music Hall tonight. Taking to the stage in full corpse potency, but undisputed bangers like ‘Plague Herald’ ring business…
paint, Yorkshire quintet Sathamel’s blackened death through nonetheless, generating a sea of headbangers as
onslaught is a perfect opener, getting heads nodding and vocalist Dean Lettice wretches up some delightfully macabre SATURDAY

Attila Csihar-esque croaks. hose who manage to shake off last night’s hangover
Thankfully, the sound seems fine for Fen, who deliver and get down to Leeds’ spacious Canal Mills venue
an utterly hypnotic voyage deep into their heart of their for 2PM are treated to one of the heaviest sets of the
progressive, sumptuously atmospheric black metal, with cuts weekend, as local sludge trio Groak kick off the smaller
from latest album ‘Winter’ sounding even more energetic and stage with a cacophony of tortured shrieks, bowel-jostling
engaging than on record. Finally, the mighty Akercocke bass tones, humongous grooves and frantic blasts of grinding
arrive to a huge roar from the crowd. Surprisingly, and fury, like their blistering cover of Assück’s ‘Salt Mine’.
somewhat boldly for a headline set, their performance tonight Opening the main stage, Rugby’s Conjurer are an
largely consists of unheard new material from their upcoming unstoppable force that grows with every performance.
album – not that anyone here is complaining, mind, as With delicate eastern scales culminating in cacophonous
though unfamiliar, these new songs are Akercocke through blackened sludge, the quartet deliver a passionate set full of
and through, containing all the dramatic, intricate brutality unshakeable conviction. New song ‘Hadal’ is huge with each
we’ve come to expect from them. Old favourites like ‘Son Of member pouring his heart into the performance. Guitarist
The Morning’ have the whole room singing along, and ‘The Brady Deeprose’s face turns scarlet with each anguished
Dark Inside’ sees the crowd busting out some particularly scream and bass player Andy Price wields his instrument



like a man possessed. Back at the smaller stage, Sheffield After that quick breather, the circle pits continue with The killer backbeat of Converge man Ben Koller the engine room
three-piece Kurokuma get heads banging with a set of Afternoon Gentlemen’s light-speed grind assault on of this vicious assault. Vocalist Kevin Baker looks utterly
deliciously off-kilter doom, including a cover of Kraftwerk’s the smaller stage. The bands’ shows are usually high-octane deranged, barking like a feral dog whilst audience members
‘Radioactivity’ and a djembe solo, of all things. The trio’s experiences, and even more so on their home turf, where the hurl themselves into each other at the front of the stage
imaginative and bizarre sound is nothing less than crushing, quintet are granted a hero’s welcome and a sea of bodies with reckless abandon. That energy is maintained on the
however, leaving a big impression on all who witness it. and flailing limbs greets their boozy, powerviolence indebted second stage by US death metallers Misery Index, who
Lurching, lumbering doom with the odd gallop, microsongs. tear through most of their latest album ‘The Killing Gods’
Serpent Venom recall Cathedral but are let down Due to an airline screw up, Brummie noise terrorists (plus a few old classics for good measure) with frightening
by the mundane vocals of Garry Ricketts, leaving them Anaal Nathrakh are without founder Mick Kenney. efficiency and lethal intent.
sounding decidedly second Reduced to playing with one guitarist Ihsahn experiences some technical issues that delay
rate. Corrupt Moral Altar means ‘Nathrakh are fighting a losing the beginning of tonight’s headline set, yet it’s nothing that
instigate the first moshpit of battle from the off, despite the best prevents the former Emperor mainman from delivering a
the day with their feral grind/ efforts of charismatic frontman Dave masterclass in progressive metal. A rare show outside the
sludge combo, as vocalist Hunt. They fight valiantly but it’s a capital has many hotly anticipating tonight’s performance,
Chris Reese whips the crowd shambolic affair; ‘Depravity Favours and ‘Hiber’ provides a suitably grand entrance for this
into a frenzy whilst roaring The Bold’ sees the bass rig crash and auspicious occasion. Five records into his solo career, Ihsahn
and shrieking like an absolute Hunt threatens to play all night, killing has incorporated black metal, hard rock, acid jazz and
lunatic. With live performances the vibe stone-dead by having a pop shimmering prog flourishes that see the Norwegian master
as raging as this one, it’s not at the festival’s organisers onstage to expand his sonic pallet. 2016’s ‘Arktis.’ saw him rein in the
hard to see why grind elder a round of boos and one very audible experimentation, delivering a set of more accessible material
statesmen like Napalm Death “oh, fuck off!”. Anaal are a titan of which blends perfectly with his pioneering spirit. ‘Until I
are big fans of these guys. extreme music but this was a day Too Dissolve’ has a chorus riff that Jake E. Lee would’ve
Back on the main they’ll no doubt wish to forget in a killed for and the soaring ‘Frozen Lakes On Mars’ receives
stage, the infernal blast hurry. a rapturous response. A softly spoken character, at odds
of Unfathomable Thankfully, the mood is saved by with the visceral, demonic jazz metal epic ‘The Grave’ which
Ruination attempts to keep Canvas’ cathartic second stage set, concludes tonight’s set, Ihsahn is rare figure that possesses
the momentum going. There’s BOSSK
as the reformed local post-hardcore the maverick spirit of a true artist who listens only to his
not much variation to their troupe burn through classic, intricately inner voice. An exhilarating end to a fantastic event.
brutal tech death but their savage heaviness and precise composed tunes with passion to a crowd who scream every
rhythm section makes for set of neck snapping efficiency word back at them. Sure, reunions are ten a penny these Words: Ross Baker, Kez Whelan
nonetheless. Crepitation are an absolute riot over on days, and whilst it’s hard to begrudge bands for reaping Pics: Kirsty Garland
the small stage, with their fat, weighty slams hitting the the rewards they
crowd with the force of… well, not so much a bull in a china missed first time
shop, more an elephant pushed out of a sixth storey window around, this feels
directly onto a commemorative plate. New drummer Trippy like something
blasts away with fervent precision, whilst the gurgling, more; rather than
raspberry-blowing dual vocal approach of Chris Butterworth a simple nostalgic
(Kastrated) and Mark Pearce (ex-Amputated) is supremely trip, Canvas feel
entertaining, with the pair’s rhythmic grunts tightly in tune like a band in their
with one another. There’s a knowingly ridiculous element to prime who can build
their sound, that, when combined with their frankly massive from this and go on
riffs and breakdowns, makes them one of the most fun to create even more
live acts in the UK’s brutal death metal scene – the crowd vital, refreshing
responds in kind by turning the whole room into one big, and original new
messy mosh pit. material. We await it
And now for something completely different; with with open ears…
ethereal melody giving way to colossal heaviness, Kent All Pigs
mob Bossk are on form, trotting out a set culled largely Must Die trade
from last year’s excellent ‘Audio Noir’. Shifting effortlessly in pissed off,
between ambient soundscapes and crushing post-metal, take-no-prisoners
this is a hypnotic performance that holds all under its spell. hardcore, with the ANAAL NATHRAKH

For More Live Reviews Visit www.Terrorizer.com TERRORIZER #282 79

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