Melodic death metal may be the most apt descriptor, but this isn’t your typical Gothenburg fare, oh no - Slave to the Slaves is so much more than that; more interesting, more diverse and more extreme. Melding some black metal like elements with all the standards of the genre (soaring melodies, soul searing leads and solos, a growly/raspy vocal approach and aggressive drumming), Slave to the Slaves has an ominous feel to it through and through - a feeling of doom hovering over your head through all of it’s ten tracks - this isn’t “happy” melodeath - it’s almost depressing, but in a good way.

Each of these ten tracks is a winner. The first time through, I kept thinking “this is too good - we’re due for a slouch or a stinker” but as the album progressed, the quality remained. They put the biggest ass kicker up front with “The Art of Perfect Back-Stabbing”, which may as well have been called “The Art of Seamlessly Melding Extremity with Melody”, is led by blistering riffs and awesome melodic leads backed by ruthless double bass and blasts. With follow up track “Sweet Secrets” though, they begin to show some different colors - there are shades of light and dark to be discovered here and there that are reminiscent of Opeth. Around the 2/3 mark of the song, the aggressive stuff gives way to a beautiful acoustic piece that in turn fires right back into another level of intensity. Despite its placement (for anyone whose been keeping tabs, I’ve mentioned several times my disdain for this), the mid album instrumental “The Interment” is a haunting and eerie little number that works really well and could have easily found a place on an Opeth album - it basically serves as an intro piece to another standout track, “The Crows are Gathering”, a much slower track with a menacing atmosphere. Immediately following is “Unspoiled Sovereignty”, a track that rivals the opener in terms of sheer aggression. The solos in “Slave to the Slaves” and “Salvation Process” feature some of the most arresting guitar work I’ve heard all year - truly remarkable. With that latter song, which falls later in the album, they bring yet another new element to the table - clean vocals - very well done and fitting clean vocals which can also be heard in album closer “Devoured by Greed”, a track that’s just all over the place - up and down, through acoustic passages and more intense parts and back again.

It won’t be long before somebody comes running to snag these guys up - they have all the makings of a great band, and more than deserve it with Slave to the Slaves. Highly recommended.

Beginning September 5 the tour, also featuring Necrophagist, Suffocation, Aborted and Rotten Sound, marks the band’s third visit to America in support of their third and most successful album, Hellfire. Seven performances as of press time are confirmed with more to be announced in the coming weeks.

Released October 2005, Hellfire has become a milestone recording for the now decade-old band. Far surpassing sales of their earlier recordings (2003’s Liberation and 2004’s Beyond the Apocalypse), the album was highlighted by the making of their first video (for the album track “Sculptor of Flesh”). The clip received multiple plays from MTV2/Headbangers Ball as well numerous regional broadcast and cable outlets.

From their beginnings 1349 were touted as a band to watch. All Music Guide called them, “a band ripe with promise,” on review of their debut, Liberation. Featuring outspoken vocalist Ravn, guitarist Archaron with bassist Seidemann and studio drummer Frost (Satyricon) the band would tour Europe with friends Aeturnus and Red Harvest before settling down to record their second album. A busy touring schedule would follow the release of Beyond the Apocalypse, this time adding prestigious festivals to their accomplishments (to date the band have performed at Wacken Open Air, Graspop, Summer Breeze, Hole in the Sky, Inferno, Hellfest, With Full Force, and the annual/traveling No Mercy Festival). Following the release of Hellfire, the band was invited by Celtic Frost to support them on their Fall 2006 US tour. The band wasted no time pulling together a blistering set that would impress the band’s growing American fanbase. In early 2007 the band returned to headline the US for the first time, alongside Goatwhore, Nachtmystium and labelmates Averse Sefira. Nearly twenty shows would see the band visiting cities across the country. Earlier this year the band performed at the annual South-By-Southwest Festival in Austin, Texas as part of the Norwegian arts showcase. 1349 return to the US as writing continues on their fourth, and still untitled, album.

Confirmed performances include:
09/05/2008 The Palladium - Worcester, MA
09/06/2008 Nokia Theater - New York, NY
09/07/2008 Le Medley, Montreal, QC
09/08/2008 Opera House - Toronto, ON
09/09/2008 Starland Ballroom - Sayreville, NJ
09/10/2008 Sonar - Baltimore, MD
09/19/2008 The Grand - San Francisco, CA

Blue Lambency Downward has taken a sharp left turn in relation to Kayo Dot’s previous albums. Gone are Toby Diver’s raw, emotional vocal performances. There is absolutely no screaming (who can forget the primal rage from “Gemini Becoming The Tripod”?) or pianissimo musings (like in “Wayfarer” or “Immortelle And Paper Caravelle”). Now he sings in tune, but in a very restrained dynamic range. In a way this is quite disappointing. Though it’s always nice to hear anything clean and in tune, there’s not much emotion in his singing. At least not anything that can compare to his prior efforts. The instrumental performance and production has also done a complete turn around. It’s all very clean, precise, polished, and for the most part, restrained. Once again, it’s nice to hear spot on performances with a flawless production, but there’s no emotion in that. I can’t help but feel underwhelmed by all of this.

The dive into abstract, free form jazz has also affected this album a great deal. The two prior records have had moments of sheer beauty scattered throughout, powerful enough to move me to tears. The melodic material and harmonic language on “Blue Lambency Downward” is all very chromatic and almost atonal. This is a subject upon which I could talk for hours, but I’ll keep it brief. In short, such ad hoc use of chromaticism is alien to the human condition. Not only does it go against the learned acculturation every human being of western culture grows up with (due to hundreds of years of musical foundations), but goes against the very basics of music itself: the harmonic series. But I digress, any musician’s choice to go against the grain of the common practice is just that: his choice. So, let’s get a bit more in depth here.

Most notable change with this album is probably the lack of metal. It has more ties to mid 20th century classical, free jazz and progressive rock than anything else. Certainly all residue of previous incarnation, Maudlin of The Well, has faded away. None of this is a bad thing, of course. I would have much preferred to see a continuation of Choirs of The Eye, however. The album opens with the title track: A meandering and vague piece of music that I have trouble identifying with. In fact, after repeated listens (in an attempt to “get” it), I found it annoyed me more than anything. The abstraction of it, Toby Diver’s strange vocal melodies, and just a sense that it goes nowhere, really got on my nerves. But skip it and “Clelia Walking” seems a bit more inviting, for the most part. It opens with clean guitar and a bunch of clarinet mutterings, which seem to go in and out of improvisation. Then it gets heavy, guitars spazzing in fits of discordance. Drummer Charlie Zeleny (of Behold…The Arctopus fame) shows of his exceptionally impressive chops here. This album would have done well to sport more passages like this. “Right Hand Is The One I Want” shows off a lot of jazz influence. It’s dream-like and ambiguous, but in a pleasing way, like drifting between sleep and reality. The second half seems to float in aleatoric free form, lead by Mia’s violin, before returning to the same jazz passage as the first half. Overall, a good track that got my hopes back up. “The Sow Submits” is definitely fresh territory. It’s a strange and quirky instrumental, like Mr. Bungle meets a Persichetti wind ensemble piece. This is where the crystal clear production helps the album most. This track contains so many instruments and electronic buzzes, yet it’s easy to pick out what each is doing. Violin and winds (clarinets and saxophones) mix and mingle in those chromatic, slippery and jazzy melodies.

“The Awkward Wind Wheel” might be the highlight of this album for me. Not only does it show off some Behold…The Arctopus worship in the opening (which is extremely well done, and works great with the instrumentation), but Toby actually sings a sing-able melody here. It’s still quirky and strange, but not unidentifiable. This is the first track of the album that seems to harken back to the beauty and drama of their previous efforts. Definitely the strongest so far. Next is “The Useless Ladder”. Unfortunately, it brings back the annoyance I felt with the opening title track. This, again, is due to the strange and uninspiring vocal melodies (though the last 20 seconds struck me as memorable). Fortunately, its short (only two and a half minutes).

Last, but not least, is the album’s longest track, “Symmetrical Arizona”. Opening with a slow (and long) introduction, featuring some work from the winds, a guitar solo (the only one on the album) and a short violin solo. Then it goes a little bit post rock-ish. Toby once again sings something sing-able, and the violins and winds add to the lilting melancholly of this section, which leads into brooding groove and escalates until the hell’s fermata at the end.

Phew. So that’s Blue Lambency Downward in a nutshell. In a few closing notes, I’d first like to say that, even as I’m writing this, I feel this album growing on me. It’s certainly the most challenging Kayo Dot album thus far, especially when I’m hoping for a return to the style of earlier material. Yes, there were a few things I wished would be on this album (more metal, and Diver’s beatnik-like speaking passages which were so identifiable), but it’s good in its own right. In conclusion, I think all fans of progressive and avant-garde music owe it to themselves to check this out. I’ve given it 6 or 7 good listens, and I’m still working on unraveling it. Trust me, its worth the effort.

Perhaps the most immediate difference is the production. Though not as meaty or bottom heavy as past albums, it’s more focused. The drums (played by new member, Joe Fletcher), though still cavernous in typical doom fashion, are clear and precise. He shows off some impressive chops, most notably in the death metal onslaught of “Caucus of Mind”. The vocals are also more upfront. As opposed to previous efforts, which sometimes required straining to hear, now all you must do it lie back and let Greg Chandler’s growls and rasps corrode your ear drums. The clearer production also lets the subtle electronic nuances be heard with little trouble. On The Pernicious Enigma, the soundscape was often clouded with buzzes and whirls, and sometimes felt as though all the instruments were fighting to be heard. Though it was a desirable effect in its own right, the clarity of this release is certainly welcome. That’s not to say the electronics are dumbed down. They’re refined, to deal out an even greater effect, embellishing transitions in the brilliant songwriting, and sometimes creating those often needed ambient moments of fog.

Speaking of songwriting, this is definitely their most mature and well thought out release to date. Listening to this album start to finish is a harrowing experience, but only due to the extreme emotional content. Though pretty slow for most of the album (it is doom, after all), and some moments that are almost still, it always feels like the music is going somewhere. The Maniacal Vale ebbs and flows like the universe itself: slowly and without end. A continuous thread of constant change. Moments of beauty gradually morph into tumultuous aggression, like watching a storm slowly build, run its course and then die. They seem to have taken just a little from post-rock. Listen to the slow building introduction to “Circle” and tell me that doesn’t sound like Godspeed You! Black Emperor. They’ve also added some very useful accelerandi. Listen to any of the build ups in “Beneath This Face”, “Caucus of Mind”, or “Silence”. Esoteric prove that speed can mean so much more when built up from a deathly slow tempo. There are some amazingly beautiful and majestic melodies scattered throughout, as well as some truly crushing moments (which I sometimes feel could have used a little more bottom heavy production, though only a minor thought). Not to mention the few, but powerful, guitar solos. Check out “Caucus of Mind” or “The Order of Destiny” for those gems.

I could try and give a track by track run down of this album, but it would take forever, and I don’t think much could be gained from it. That would be somewhat like trying to describe a Salvador Dali painting, in that you must actually experience it. If you’re a fan of any kind of doom, you owe it to yourself to get this album. Even if you once thought the more extreme side wasn’t for you, I’d be willing to bet this might change your mind. The Maniacal Vale will surely be on a lot of year end lists. It’ll be at the top of mine.

The imagery Wold seeks to conjure with Stratification is something of a hellish snowstorm. Not a snowstorm you’d envision while listening to Agalloch, but something infinitely harsher. This takes you beneath the bowels of hell, to the underbelly of the universe itself, a barren wasteland of swirling shards of ice. There is no emotion in this, not even despair. Lying naked as the storm rips you apart, even the hope for death fades into nothingness. This album opens with the title track (an instrumental), which wastes no time in conveying its true nature. It contains no drums or vocals, just guitar, distorted into abstraction. It resembles a harsh and howling wind more than anything else. But then, to my dismay, the second track (”Sleigh Ride”) actually has something of a “riff” to it. I use the word “riff” lightly, as I don’t think anyone would want to headbang to this. It sounds almost as if you’re in the grained static between distant radio stations. Except one is playing Khanate and the other is playing Satanic Warmaster. And that’s more or less how the rest of the album works.

I do feel there is more to this beneath the surface, however. For instance, at the end of “White Winter Wanderer”, the eternal static fades out, revealing something more tangible beneath it (if only for a few short seconds). Upon repeated listens, I found that the looping riff revealed at the end was being played through the entire song. Too bad it’s barely audible. Tracks “Frost Crystal Symmetry”, “Nine Paths” and “Nine Creeks” all sounded pretty much the same to me, at first. But again, repeated listens revealed a bit more to it. In the opening seconds of these tracks, the gritty layers of chaos come in one by one, showing you each and then overlapping to create an even harsher whole. Deceptively, it gives you a lot to listen for. The album’s second instrumental track, “Wintertime”, sounds something like a rocket ship blasting off with heavily processed sleigh bells over it. “The Frozen Field” stands out from the rest of the album, as it’s the only track containing just drums and vocals. It comes across as a nightmarish Native American ritual. The final track, “Auld Tree”, seems to be the most hellish of them all. In the opening seconds, a riff not too unlike something you’d hear from Sunn0))) exposes itself, before the chaos overcomes it in the next few seconds. It continues just as the rest of them before fading out into something that, again, sounds like heavily processed sleigh bells. I could be imagining it, as it’s easy to hear strange things amidst the insanity of this album. Maybe that’s the beauty of it.

Even for an extremely open minded music enthusiast, such as myself, it’s still easy to listen to something with closed ears. My initial reaction to Wold was unfair, albeit valid in its own right. Fortress Crookedjaw and Obey (the duo who make up Wold) must have known they’d receive reactions just like mine. To create music such as this, knowing 99.9% of the world population will shun you, is certainly an admirable effort. That being said, I will never listen to Wold again. But give them a try and you might find you reside in that special 0.1%.

Although The Unspoken King, is stronger in the areas that its predecessor was flawed in (hammy production, a weakened Lord Worm, at times meandering, aimless song writing) when you sit back, digest fully and then objectively observe what has unfolded before your ears, the verdict is obvious, its not only not what you expected, its not what you truly wanted.

Aesthetically it’s so much stronger. Flo’s drums clatter, smash and roll with relentless thunder and there is plenty of earth shattering chug and squeal presented in the album’s seething guitar work, all of which is beautifully captured in a glistening, shiny production which enunciates every passage of the album. But, and this is not just any but, it’s a colossal one, it just seems that the sheer weight and overwhelming presence that flowed throughout Cryptopsy’s previous works is no longer present. The opening one two of ‘Worship Your Demons,’ and ‘The Headsmen,’ come cascading out the blocks relentlessly and seem to suggest that the legendary Canucks are back to crush all. 

Despite this, the replay value, is decidedly lacking, and each new spin doesn’t reveal new layers of intricacy that was such a feature of previous compositions but instead, blossoms a nagging, pinching doubt that neither of these two numbers, even when combined together can match ‘Crown of Horns,’ or ‘Emaciate,’ for their bludgeoning, opening impact.

Thus, there in lies a salient problem, given our nature as music listeners we are almost defined deterministically to refer back to the past, to rate the current against the former. That though is not just expected but habit, and is present in pretty much all aspects of life, but one cannot be left wondering, that if these thoughts are buzzing around your head, then what the hell what Cryptopsy thinking when penning The Unspoken King?’  Furthermore, you would have thought that remembering their legacy would have been paramount, as it seemed this was the case as each new opus (until ‘Once was Not,’) surpassed its precursor.

However, it’s by taking this cynical train of thought that the fundamental problems presented by this record are revealed and a dramatic conclusion is unearthed, this being if you were to subtract the name Cryptopsy from this equation, the end impression and feeling towards The Unspoken King, would be inherently different.

Anyway, enough digression, this point can wait till the end, as another more pressing matter has to be addressed. This being that clean singing does not (and this is key) belong in the most extreme stratum of death metal, you can get away it within the more melodic realms, but when it comes to head caving brutality, it does not belong.

Fair enough, new vocalist Matt McGachy proves he can spit raw venom competently enough in the first two numbers and then demonstrates that he has a range and the ability to swing from clean vocals back into a seething rally of rage on the album’s first (note first, there are plenty more) controversial number ‘Bemoan the Martyr.’ Now, let it be made clear that this is not pouncy dabbling ala Skinless on their From Sacrifice to Survival, no, no, no, this is far more full blown, far more risqué and far more controversial (that word again) as his voice slimly slithers through the speakers, backed by spongy rhythms that cushion and pronounce the phrasings.

Had this been any other album, it would work, hell, it would probably be even considered impressive, but Cryptopsy?

As stated above, had this been the debut album by a new band then it would be received differently and undeniably, positively, that is a given fact. The truth though, is this is Cryptopsy’s 6th album, it exists and is well and truly in print, and no matter how much you turn up ‘Graves of the Fathers,’ in the vein attempt to bury the past, the fact is, it will always, always be there.

Still, in ten years it will probably be heralded as a misunderstood classic.

Lead single “Never Wanted to Dance” certainly starts off on the right note, although it’s not what I expected. It’s a bouncy, addictive crackle of electro-pop mixed with post-punk sneer, like The Faint or The Bravery performing during a Heathers pep rally. Vocals are elastic and willfully theatrical, even cabaret - a faux Brit saunter that frequently jumps to a manic falsetto keen - it sounds like The Talking Heads’ David Byrne on Adderall. Certain to get on some people’s nerves, but I enjoyed it, as it reminded me of all that cocky, ridiculous preening from early 80s new wave. There’s little metal to be had here, aside from some safe, buzzy chords and the shouted verses, but the overall effect is both catchy and fun.

“Evening Wear” is equally as entertaining, somewhere between Mechanical Animals-era Marilyn Manson and Toni Basil’s “Mickey,” with some capricious 60s surf-era “ba-ba-ba’s” thrown in for kitschy effect. Everything here is delivered with a heavy affectation - you can almost hear MSI winking at you. “Lights Out” is more frantic and stuttery, showing more of its classic punk roots before it breaks into a sugary pop-punk chorus. Midway through, cartoonish plucked violins suggest a goofy sense of mystery - the whimsical sense of mixology here reminded me of Mr. Bungle’s California, though it’s never as unhinged.

So far, If has been zany, tongue-in-cheek retro-electro fun - borderline annoying, but still so energetic and audacious that it can’t help but be entertaining. It’s as if you’ve decided to forgo the usual jocks-and-bratz high school kegger and gone to hang with the arty-farty drama crowd instead - and found out that they’re much more uninhibited partiers. However, on the fifth song, “Issues,” a gang of rap-metal hooligans (likely from Mindless Self Indulgence’s past) crashes the party and the album takes a stunning nosedive. Between the juvenile, sex-obsessed lyrics and the Fred Durst/lawyer-from-Idiocracy vocal stylings, I felt genuinely embarassed to be listening to that song - and the one after it, and the one after that. And so on, all the way to the end of the album. That effervescent, electro sound is pretty much gone by then, and my patience as well.

I guess there are people out there (a lot of them, based on that debut) that wished the rap-metal phenomenon never went away - if you’re part of that crowd, then this is for you. As for the rest of you with any interest in electro-pop or new wave, try the first 4 tracks and skip the rest - it’s as mindless as you’d expect.

Metal Mind Productions presents the double re-release of Righteous Pigs’ two offerings - “Live and Learn” (1998) and “Stress Related” (1990). The band’s debut material “Live and Learn” was launched in 1989 and instantly won acclaim on the local metal scene. However, the material was often referred to as badly produced, unpolished, unbalanced and plainly unprofessional. But in fact these were the band’s biggest advantages! The raw and sloppy production only increased the amount of aggression on the album, making it a true display of straight-forward brutality. Followed by often hilarious and misogynistic lyrics (and delightful titles such as “Hidden Zit”, “Celibate Tease” and “I Hope You Die In A Hotel Fire”), all of the sixteen tracks found on “Live and Learn” had a charming, immature and spontaneous feel to them. Even though the material lasted only 20 minutes, it had enough energy and substance to become a true embodiment of extreme music. Righteous Pigs returned in 1990 with their second full-length offering - “Stress Related”. This time the band decided to make their songs longer and a bit more complex. To achieve this they added a lot of metal to their structure, which resulted in some of the best guitar riffs ever heard in this type of music. The rest remained untouched - the band continued to deliver a fine mixture of speed and aggression, with smoother musicianship and more mature lyrics. The production was still a bit flawed - mainly because of too much high end in the mix and an ultra-loud snare sound - but again it was just a brilliant addition to their style!

This exclusive re-issue, which includes both of the group’s albums on one CD, brings back a true legend of extreme music, with almost an hour of crushing punk rock, grindcore and death metal. If you’re a fan of brutal, violent music, look no further - annihilation has arrived! New digipak edition, limited to numerated 2000 copies. Digitally remastered using 24-Bit process on golden disc. The release date is scheduled for 18th August 2008 in Europe and 30th September 2008 in USA (via MVD).

Righteous Pigs
“Stress Related / Live And Learn” (remastered)

Label: Metal Mind Records
Cat. No.: MASS CD 1210 DG
Barcode: 5907785033177
Format: CD Digipak (limited edition of 2000 numerated copies)
Genre: Grindcore/death metal/hardcore
Release date: 18.08.2008 Europe / 30.09.2008 USA

Tracklist:

1. Eulogy
2. Boundries Unknown
3. Open Wound
4. Turmoil
5. Stress Related
6. Overdose
7. Sickened By His Own Existence
8. Fly The Friendly Skies
9. Crack Under Pressure
10. Ruinous Dump
11. Incarcerated
12. Manson Klan
13. Stone Cold Bitch
14. I Hope You Die in a Hotel Fire
15. Just Friends
16. Malevolent Supplication
17. Stool Softner
18. Flee the Jurisdiction
19. Joint Effort
20. Sickened by Your own Existance
21. Fly the Friendly Skies
22. Dormant Catastrophe
23. Celibate Tease
24. Misconduct
25. Hidden Zit
26. Destined to Rot
27. Minor Consumption
28. Incontinent

Bio
The band was formed by four young metal-heads: Joe Caper (vocals), Stephen Chiatovich (bass), Mitch Harris (guitar & backing vocals) and Scott Leonard (drums). Influenced by several extreme bands, the four-piece decided to whip up some music of their own and in the same year they released “Our Demo”, containing six original tracks. This was enough to catch the attention of the acclaimed label Nuclear Blast Records. Soon after signing the record deal, the group begun working on their debut material…
“Live and Learn” was launched in 1989 and instantly won acclaim on the local metal scene. However, the material was often referred to as badly produced, unpolished, unbalanced and plainly unprofessional. But in fact these were the band’s biggest advantages! The raw and sloppy production only increased the amount of aggression on the album, making it a true display of straight-forward brutality. Followed by often hilarious and misogynistic lyrics (and delightful titles such as “Hidden Zit”, “Celibate Tease” and “I Hope You Die In A Hotel Fire”), all of the sixteen tracks found on “Live and Learn” had a charming, immature and spontaneous feel to them. Even the vocals weren’t standard death-grunts - Joe Caper definitely had more in common with Henry Rollins than with your usual grindcore screamer. Even though the material lasted only 20 minutes, it had enough energy and substance to become a true embodiment of extreme music.
Righteous Pigs returned in 1990 with a new drummer - Alan Strong - and their second full-length offering - “Stress Related”. This time the band decided to make their songs longer and a bit more complex. To achieve this they added a lot of metal to their structure, which resulted in some of the best guitar riffs ever heard in this type of music. The rest remained untouched - the band continued to deliver a fine mixture of speed and aggression, with smoother musicianship and more mature lyrics. The production was still a bit flawed - mainly because of too much high end in the mix and an ultra-loud snare sound - but again it was just a brilliant addition to their style! “Stress Related” was a big step forward for Righteous Pigs, unfortunately the group’s career didn’t go exactly as planned. In late 1989 Mitch Harris left to join Napalm Death. He agreed with Caper that whenever he finds the time, he’ll restore Righteous Pigs, but that unfortunately never happened. Caper went on to play with The Henchmen and later on to form a group called after his own name.
Despite their split-up, the band’s legacy has not been forgotten - even today many musicians, like Phil Anselmo (Pantera, Down) and Frank Watkins (Obituary), admit that they have been highly influenced by Righteous Pigs. This exclusive re-issue, which includes both of the group’s albums on one CD, brings back a true legend of extreme music, with almost an hour of crushing punk rock, grindcore and death metal. If you’re a fan of brutal, violent music, look no further - annihilation has arrived!

Label head Jamey Jasta commented, “I’m pumped to have three great new bands on board, it’s an honor to have them on our roster!”

Better Left Unsaid’s debut full length, “The Fight Within,” hits streets Tuesday, July 22, and the preorder is available now at Merchnow.com and stillbornstore.com. “The Fight Within” is perfect for fans of the heaviest, most brutal metal, and melodic catchy hardcore, alike. http://www.myspace.com/blumusic

Stillborn’s re-releasing Lionheart’s debut CD, “The Will To Survive,” originally available through West Coast Worldwide on September 2. The band will be doing a full European tour in August and September and touring the U.S. with the Hoods in October in support of the release. http://www.myspace.com/lionheartbahc

She Rides, featuring Joe Krewko, original vocalist of Bury Your Dead, have just completed their debut CD, which is scheduled for an October release (exact date TBA). This self titled effort is a ferocious blend of hardcore and rock n roll. It is a must for fans of bands like the Bronx, Gallows, etc. http://www.myspace.com/sheridesmusic

Where many bands at this stage in their career start talking about melody, accessibility and radio airplay, Bleeding Through resists the trends and walks where many artists fear to tread. Declaration is heavier, darker, angrier, more pissed off, faster and more epic than anything in the band’s already impressive catalog.

The followup to The Truth (2006) and This is Love, This is Murderous (2003), which have sold a combined quarter of a million albums worldwide, was produced by Devin Townsend in Vancouver, British Columbia. Declaration is incredibly dense, layered and full of atmosphere, recalling the finest moments of classic death metal, black metal and hardcore.

Bleeding Through has always stood for the broken-hearted and betrayed. Declaration expands further upon that idea. Contrary to earlier reports of a conceptually driven album, Bleeding Through’s latest is their most diverse offering thematically, addressing a variety of topics on tracks like “There Was a Flood,” “Germany” and “Death Anxiety.”

Frontman and lyricist Brandan Scheippati has written one last song based on his angry heartbreaking muse, “Sister Charlatan,” which closes the album and features the first ever vocal chorus contribution from virtuoso bass player Ryan Wombacher, who also co-wrote the experimental and dark “In Loving Memory of England.” Keyboardist Marta is more present than ever throughout the music, including her directing of real strings and classical instrumentation.

Guitarist Brian Leppke remains the groups primary songwriter along Scheippati. Drummer Derek Youngsma has stepped up his game like never before while the band’s newest member, Jona Weinhofen (who joined the band over a year ago after the breakup of his former group, I Killed The Prom Queen), adds pure shred to the proceedings.

“Orange County Blonde And Blue” and other tracks have garnered 4.5 million plays on the band’s MySpace page.

Bleeding Through is on tour with Bullet For My Valentine throughout the US and will support them in Europe through December as well. The band has toured with Marilyn Manson, Slayer, AFI, HIM, Senses Fail, Headbanger’s Ball: The Tour, two different Ozzfests (returning in 2006 as a second stage headliner), Vans Warped Tour and several successful headlining tours and dates in the US, Canada, Europe, Australia, Japan, Indonesia, Malaysia and South America.

The album starts off proving they have not missed a beat since Armada with “A New Empire’s Birth” showcasing speedy drumming, fancy drum patterns and nicely done guitar lines. In “Against the Gods” the guitars really work to supplement and highlight the drumming and the last few minutes of the song are quite memorable. “Warmonger” screams, or is it shouts, filler. “Mark of Power” makes up for it with a slow and mellow opening with clean singing that goes on just long enough for you to hover over the skip button when the drums kick you in the face, making you give the vocals another chance, coming through harsher this time. This song is really a showcase for the vocalist and he pulls it off. My two favorites are “The Rising Sign” and “Kolossus.” The title track has a militant flair and is high speed with roaring backing vocals from the marching troops and even gets into the Middle Eastern vibe. The lead guitars on “Rising Sign” are awesome and the blastbeats do not detract from them. This song is Keep Of Kalessin’s version of a power ballad, with chorus singing, hoarse whispers and shrieking mournful guitars adding to the ambiance. The drums step out of the way to let the guitars shine, as do the vocals. As much as I like the rest of the album, I would have to say a whole album in this style would be pretty damn impressive. This is one album I’ll definitely be giving consideration to for album of the year honors.

Be Gone is a continuation of what the band has always done, an Americanized power metal that pays heavy tribute to both Iron Maiden and Iced Earth. The record opens with a slight surprise with the electronic sounds of “Speak To Me,” but soon settles into a mid-paced Iced Earth feel.

From there, we take a trip to Maidenville with the next two tunes, “Dark New Life” and “No Remains.” That’s not to say that it’s a Maiden rip-off. There are obvious nods to the band in the melodies and rhythms, but Pharaoh blends in a bit more power metal influence. In the case of “Dark New Life,” one of the stronger numbers here, vocalist Tim Aymar delivers a high-pitched vocal that even causes me to think of Mercyful Fate.

There’s really not a lot else to say about the songs on Be Gone. All are very solid, very good examples of what they are - straight up heavy metal with a strong foundation in the originals. There are occasional flashes that stick out, like the spacy guitar licks before the lead verse of “Buried at Sea,” the 1970s feel of the verse of “Red Honor,” the nice clean guitar work that opens “Cover Your Eyes and Pray.” While none of that will turn your view of the genre upside down, it should more than please fans of old school traditional metal.

As for the musicianship, it’s just as solid as the songs. Everything here is well-crafted and well-performed, but nothing jumps out as particularly inspiring. The exception is the vocals of Aymar, who should be considered a rising star in the genre. He’s got an incredibly versatile voice that can pull off the more melodic European-style vocals as well as the more aggressive American-style bits. I’d really love to hear Aymar unleashed on a more aggressive and diverse record next time around.

Pharaoh has the chops and the potential to be a rising force, but they could stand to mix it up a little more and not be afraid to throw something new at fans. They’re very good at what they do, and this record is as solid as they come, but they’ll likely have to do just a little more to break out of the traditional pigeonhole.

 We’re introduced to both acts early on in the record. Opener “Cold” is a slower number, and while you can hear the influence of melodeath acts like Soilwork, you can hear just as much progressive. The second song, “Reason is the Truth” is a sonic attempt at ripping the listener’s face off after lulling them with the first song. The record continues in that fashion, progressive metal with some death and black influences, dueling with full-on, in your face death, thrash and black numbers. And there are gems to be found in both styles.

For me, the more progressive songs, like “I Divine” and my personal favorite on the record, “Bloodline,” fare better than the heavier numbers. Of course, I’m willing to admit that could be my own personal prejudice, since I do prefer a more melodic style. But songs like the black metal-influenced “Delirium in Vengeance,” while enjoyable, strike me as more than a little cliched and behind the times.

One of the more interesting moments on the record comes when they try to blend the sounds into one song, “Decide by Pain.” At its heart, it’s a solid traditional metal song, but on the bridge we get a little vocal squawk and some more atmospheric sounds. They do lose a little steam at the end of the record with the industrial-flavored “The Passing” and the lethargic “Waiting for the Wave,” neither of which works as well as any of the first seven tracks.

As I said at the beginning, there’s a great deal of promise in this band. I love the mood and atmosphere that they create on the darker songs, and I really like the versatility they display. I’d like to hear what they could do if they could get all of that together at the same time. I’m not jumping up and down about this record, but I like it. I’d recommend giving it more than a passing listen.

This is how the style should be done. Rather than layering those vocals over typical power metal riffs as so many bands do, Todesbonden bonds the music and the vocals beautifully. There are Celtic influences, Middle Eastern influences, classical, medieval balladry, and, of course, metal.

Rather than simply trying to impress the listener with her vocals, singer Laurie Ann Haus uses her complete range to complement the songs here. Though she’s the creative power behind the band, the focus is not always on her vocals either. On songs like “Surya Namaskara,” her chant is but one instrument in an instrumental that builds to a nice, crunchy metal crescendo.

Album opener “Surrender to the Sea,” is more akin to what you may be used to hearing from this style of music, but it has much more in common with Blackmore’s Night than Nightwish. That’s the key on Sleep Now Quiet Forest - everything here comes off as more authentic than other bands in the style. The mournful gypsy fiddle that pervades tracks like “Trianon” and “Fading Empire” is striking. The keys are at times mournful, at times playful. There’s a real reverence for the classical instruments and styles that they weave into their music. In fact, I might go so far as to call this a world music record that happens to have metal influences rather than the other way around.

Don’t get the wrong idea, though. The record still rocks on tunes like the aforementioned “Surrender to the Sea,” the dramatic “Sailing Alone” and the epic “Battle of Kadesh.” Todesbonden just knows when to use the metallic emphasis and when not to try to force it into a tune.

Certainly, Todesbonden won’t be everyone’s pint of ale, but those who enjoy true traditional folk sounds with their metal should be pleased.

I’m always willing to admit when a record just isn’t for me, and that’s the case here. I’m sure there are people out there who will consider Iron Flavoured Candles absolute genius. You probably know who you are. By all means, enjoy it.

They have managed to capture the old stripped down style, but their version is a bit overly repetitive and lacks any flourishes or embellishments that would grab your attention. I like the sound quality, especially the guitar sound, and I am appreciative of the effort, you have got to start somewhere, and I’m glad they started with 1984. It is nice to know these guys are paying attention, check back in a few years for their next album, meanwhile they are well on their way to being an entertaining act. The world needs bands like this to keep us tied to our roots. This disc has lots of familiar ideas and younger fans that did not get to see first wave bands play live in their prime should check out Deathcult. Saying that, I hope they perform live.

Now that you have read this far I’ll tell you who is involved. Herr Ekkel of Gaahlskagg and Taake, Hoest of Ragnarok and Taake, Thurzur of Gaahlskagg and Taake, and Collaborators include Dirge Rep (Enslaved, Gehenna), Vrangsinn (Carpathian Forest, Hatepulse), Svartulv (Taake, Gigantomachy). If I had told you that up front you would not have needed to read the review.

Things kick off with the two minute instrumental intro “Darkening Skies” which really shows the style, skills and flavor of one of the newest shred kings on the block, Julz Ramos. Seriously, this guy has got some chops - it’s as if his arsenal is comprised of all the best Exodus, Metallica and Testament riffs that never got used, and he’s put his own little stamp on them. No doubt the band leader, he’s got music writing credits on every track, a couple of them solo and even a good chunk of the lyrics (which aren’t bad even if a bit cliché) are credited to him. That intro track is the only respite given before diving into a relentless thrash assault that starts with “Frailty of the Flesh” and doesn’t end until the self titled album closing monster. There’s really no point in breaking them down track by track, as the killer riffs, leads and solo’s pop up frequently and the tempo pretty much stays breakneck. That’s not to say everything sounds the same though - each track has its own quirks that makes it identifiable and stand on its own.

One of my favorite aspects of the album though is the length - 43 minutes over 9 tracks (including the intro) - just the way a thrash album should be - get in, punch the lights out and get out.

Normally I won’t talk about an albums production unless it’s really good or really bad, but I must say Awaiting Evil is just about perfect. It really captures the 80’s thrash feel, but it’s cleaned up and cleared up to where everything is on par with the others. Hell, even the bass of Dan Voigt is audible all the way through which gives the songs that little extra punch.

I must sound like a giddy little school girl every time I review on of these young thrash bands - Hatchet may not be the absolute fastest or meanest or technical or heaviest of the crop, but damn it, they do right through and through, and that’s all you really need. Just get this - now - and get thrashed!

The first thing I have to mention is the guitar tone. I have never heard a tone so razor sharp and absolutely biting than the one here. It’s unique - in the same way that Annihilator’s Waking the Fury had an absolutely unique guitar tone that I’ve never heard duplicated or found prior. Mind you I’m not saying that it’s the same tone, but that both albums have an extremely unique guitar tone and is easily embedded in your skull.

The focus of Man Made Paradise is pulverizing riffs, and they’re not just heavy - they’re surprisingly catchy. This is a guitar lover/players wet dream. Mr. Cordova just bludgeons you over the head repeatedly with stellar thrash riff after stellar thrash riff - everything else is just a bonus. I’m sure if he thought anyone would have it, he would have done an album full of riffs designed to beat you into submission and nothing else. Truth be told, I had several of these monster riffs (”Ticket to Hell”, “Dynasty” (a total fucking beast I tell you), “A.H.”, “I Am I”, “Man Made Paradise”) lodged in my head after just one listen. That’s called superb craftsmanship right there. Then there are the solos - they slice right through you like a hot knife through butter, with precision and no remorse, provided by the one guest musician throughout the album, Cesar Tarello.

Drums and vocals - while he’s obviously a guitar guy through and through, Cordova is no slouch behind the kit or the mic. His drumming is an endless barrage of blasts and double kick - rarely letting off the juice. Vocally, he employs a venomous, raspy snarl/growl. While not totally distinguishable, it gets the job done and is mostly clear in understanding the lyrics.

I’d like to see Ticket to Hell turn into a full on band with Cordova still calling all the shots - I think it would be a great live show, as these songs are begging for a live audience. It would be nice to see more material from him in the future under the Ticket to Hell banner, regardless if the rest ever materializes - he has more than proven himself as a top notch axeman not to mention a well rounded musician overall.

To make a long story short, Ticket to Hell serves up a great dish - what’s on the menu? Your ass, sliced and diced, and totally fucking raw. Enjoy.

THE AMENTA - n0n :

1. On

2. Junky

3. Vermin

4. Entropy

5. Slave

6. Whore

7. Spine

8. Skin

9. Dirt

10. Atrophy

11. Cancer

12. Rape

Of course those that simply despise melodic American death metal/metalcore, especially that of a Christian kind, should simply avoid Arise and Conquer as it has all the trappings of the what you hate about modern American metalcore. However, for those that enjoy well crafted, melodic death metal with some hardcore undercurrent and a heavy dose of Christianity, War of Ages, along with label mates A Plea For Purging offer the very best of the genre (even more so considering The Showdown’s turn for the worst).

Getting right to it with the superb, sumptuous guitar work of opener “All Consuming Fire” and short but swift stab of “When Faith Turns to Ashes”, War of Ages grab you immediately, though the slightly overdone gang choruses of the otherwise decent “Through the Flames” is a slight misstep. However, the rest of the albums 10 tracks are all sturdy, galloping numbers with only limited clean vocals or hokey moments of clichéd Christian grace and introspection. The guitar work of Steve and Branon Bernatowicz is the highlight of the album as they weave and dance a dual layered, pure Gothenburg assault under the hardcore exterior that few American bands can match. Tracks like “Salvation”, “Sleep of Prisoners”, standout “Wages of Sin”, “The Awakening” (which was on the reworked Fire From the Tomb), high octane “Generational Curse” while superficially stomping under the weight of Leroy Hemp’s generic hardcore roar are accentuated by numerous solos, and cantering flourishes in the riff department that cull from heavy metal and thrash as well as hardcore and NWSDM. Only “Yet Another Fallen Eve” and closing “The Deception of Strongholds” and fall slightly into more sugary clichéd Christian realms, but fit in the overall scheme of the bands obvious beliefs.

Ironically the album, as with the reworked debut, was produced by Tim Lambesis of As I Lay Dying-nothing like producing an album that by a band that blows your last two efforts away, huh Tim? Still the sound is less heavy handed that Fire From the Tomb, and treads the fine line between a well produced big sound and a natural sound. Also, I kinda dig they have used similarly themed Dave Quiggle artwork for all their albums (except for the original debut). The end result is a stellar if by the numbers example of, melodeath/metalcore that’s arguably one of the standouts on the genre, regardless of faith.

It was only then that I flipped the promo over and saw that this was not some random underground punk act - it’s a monster supergroup featuring Shane Embury and Danny Herrera from Napalm Death, and Kevin Sharp and Danny Lilker from Brutal Truth. Poisoned Apple is their second disc (their 2004 debut, Retroactive Abortion, featured Buzz Osbourne from Melvins), and captures the raw ferocity of classic hardcore/punk from the good ol’ days: Black Flag, Poison Idea and Systematic Death.

It’s just as dangerous, too - the 17 bursts on Poisoned Apple pick your ass up and hurl you into a moshpit full of epileptics all wearing the spike-dildo Lust contraption from Se7en. Insanity level here consistently ranges between 10 and 11, spasming from groovy punk furnace blasts like “Workers Unite,” “Water Cooler” and “A Case of the Mondays” to more grind-influenced, high-impact vomit like “Life” or “Screwball.” What’s most amazing is that Venomous Concept can still craft catchy, replayable and intelligible songs out of such unintelligible fury and energy.

While Poisoned Apple is uniformly thick, corrosive and meaty, the recording quality varies at times. Songs like “P.R.I” (a demolition derby soundtrack if I’ve ever heard one) and the barbarians-on-meth anthem “Artist Friendly” sound decidely lo-fi and muddy, whereas others are brighter and crisper (though not any prettier). Normally, this would be a knock, but given as this is kind of a greatest hits of hardcore, punk and grind, it feels like we’re getting multiple flavors of retro mayhem, and so the inconsistency feels genuine and intentional.

If any of these genres are your thing, you probably have this already. And given that my experience with punk is admittedly somewhat limited, let me just say that the fact that I enjoyed the hell out of this should give the rest of you non-believers reason to check it out as well.

Surprisingly, “Nymphonomicon” and the Kiss-influenced “Kockstruck” are the two best (and I use the term very loosely) songs on the record. I kind of get the idea that they’re a bit tongue-in-cheek, and I can laugh along with the juvenile machismo of lyrics that seem to be an excuse to use the word fuck in every possible way they can. You don’t get that on songs like the title track, “Hellfire” or “Upon Cloven Hooves We Ride,” which feature an ultra-serious delivery of often laughable lyrics. (The scowling photo on the cover also doesn’t give the idea that they’re joking, either.)

We’ve seen that bands who have a style firmly rooted in the past can be relevant with acts like Slough Feg, who released one of the best records of 2007. This record, on the other hand, comes off corny, derivitave, and in honesty, silly. As a tongue-in-cheek 1980s metal tribute band, Midnight Idols would work pretty well, and it would probably make an entertaining show in a bar. As serious recording artists? Well, it might be time to retire the spiked wristbands.

There are a couple of notable misses on the record. “Born in the ’70s” is a real mess. It’s a bit Spinal Tap-ish and really, really silly sounding all the way around. It’s one that probably should have been reconsidered. “Metal from Hellas” has smaller problems when vocalist Marco Concoreggi goes for a soaring Bruce Dickinson-style vocal that comes off a little too thin for the song. Likewise album closer “Death Before Disgrace,” which is perhaps one of the strongest songs on the record from a musical standpoint, loses a bit with the vocals, which I think are intended to sound exotic and end up sounding more like they’re being sung with a lisp. Still, the song is worth a listen for the epic nature and some nice riffing, particularly the chunky gallop around the six-minute mark.

They recover nicely from those missteps though, with songs like “Hyrkanian Blades,” which features one of the heavier riffs on the album and has this huge, adventurous spirit that, fittingly, sounds almost like the soundtrack for a Conan movie. “Warlord of Mars” has some great riffing and a strong chorus. It suffers a little from the “metal warrior” lyrics, but some of that is to be expected and overlooked by fans of the genre.

The band is tight throughout the record and the guitar work of Kostas Tzortis and Manolis Karazeris is top-notch. They deliver some great traditional metal riffing reminiscent of Manowar and Iron Maiden, as well as some nice epic, moody stuff. Though he occasionally tries to overreach a bit, Concoreggi’s vocals are mostly well-done, a good balance between the melodic sound required for the style and the manliness required for the lyrical content. I’d still like to see him give us a little more grit at times, a la Eric Adams.

All in all, if you’re looking for some songs about strapping on your sword and shield and riding into battle, you can’t go wrong with Battleroar.

The popular five-piece on tour now through August 11 have recorded a special/limited edition ep titled Imperial Bastard which will see domestic release on September 30. It will be followed by the band’s Billy Anderson-produced full-length label debut currently planned for release in early 2009.

Formed in 1993, Sourvein relocated to Cape Fear, North Carolina after Hurricane Katrina ravaged their long-time home base. Blacktide Music says, “ominous riffs, which launch into despair-ridden breakdowns the likes of which would make Eyehategod tremble with fear.” Currently featuring vocalist T-Roy Medlin, former Buzzov-en drummer Ramzi, bassist Bonne Doom with guitarists Cool Clyde and Sleepy Doom, the band have released two full length albums - their self-titled (often referred to as Salvation) debut released in 2000/Game Two Records and Will to Mangle released in 2002/Southern Lord. Numerous eps and split recordings have kept the band in the eyes of their growing fanbase as well their commitment to consistent touring both in the US and overseas.

Confirmed tour dates include:

July 10 - Nara Sushi, Richmond VA

July 11 - Talking Head Club, Baltimore MD

July 12 - Manhattan Room, Philadelphia PA

July 13 - Knitting Factory, New York NY

July 15 - Great Scott, Boston MA

July 17 - 31st St. Pub, Pittsburgh PA

July 18 - Annabelle’s, Akron OH

July 19 - Mac’s Bar, Lansing MI

July 20 - Reggie’s Rock Club, Chicago IL

July 21 - High Noon Saloon, Madison WI

July 22 - Big V’s, St. Paul MN

July 23 - Vaudeville Mews, Des Moines IA

July 24 - Jackpot Music Hall, Lawrence KS

July 25 - Kingdom of Doom, Denver CO

July 27 - Studio Seven, Seattle WA

July 28 - Tube, Portland OR

July 30 - Annie’s Social Club, San Francisco CA

July 31 - Stork Club, Oakland CA

August 1 - The Relax Bar, Los Angeles CA

August 2 - The Stray Cat, Tempe AZ

August 5 - Rubber Gloves, Denton TX

August 6 - Rock Bottom, San Antonio TX

August 7 - Red 7, Austin TX

August 8 - Olive Street Bar, Monroe LA

August 9 - Checkpoint Charlie’s, New Orleans LA

August 10 - Springwater, Nashville TN

August 11 - The Earl, Atlanta GA

Sourvein are the latest to join London-based Candlelight’s growing US roster, a strong concentration of artist development for the rising label. Home to all catalog from Emperor, Ihsahn, Zyklon, 1349, Insomnium plus early recordings from Opeth and Burzum, Candlelight’s American roster includes Obituary, Crowbar, Daylight Dies, Abigail Williams (new album this fall), Absu, Averse Sefira and Sothis. The label is distributed exclusively in the United States via Caroline/EMI, PHD Canada for the northern country and Plastichead Music for Europe.

Now on Metal Blade Records, youngsters Whitechapel have delivered their anticipated sophomore album, and as you’d expect with residing on a higher profile label and the expectations following a well received debut, Whitechapel have made the expected changes in their sound to tighten up, and improve from their already impressive debut.

The best analogy I can make that that Whitechapel have made the same kind of honing to their sound that JFAC made between the Doom EP and Genesis (but with far better results) and more accurately, All Shall Perish did between Hate. Malice. Revenge and The Price of Existence. That’s too say, there’s been a further lean towards a more death metal sound, an overall fine tuning of song writing and skill, less reliance on breakdowns and an increase in solos and melody, allowing the three guitars to breath a bit more. Opener “Father of Lies”, “Possession”, “To All That Are Dead”,  as well as instrumental “Death Becomes Him” and vaguely experimental, epic closer “Messiahbolical” are perfect examples that highlight the bands ever so slightly tweaked and matured sound.

Fear not though kiddies, This Is Exile still has plenty of blast beats and fearsome, chest collapsing breakdowns, highlighted by the likes of the title track (with a video that features an awesome five person, synchronized, if mostly hairless head bang to the album ending breakdown), “Daemon (The Procreated)”, “Eternal Refuge”, “Exalt”, “Somatically Incorrect” and instrumental “Legions”, that I’m sure will make you all kick each other and innocent bystanders in the face at the 2008’s Summer Slaughter Tour. Just please try and avoid me if you don’t want to be killed by having your trucker hat jammed up your ass.

Vocalist Phil Bozeman still has an inhumanly deep, inhaled sounding bellow and his lyrics have progessed from slightly forced death metal brutality and Zeuss has once again upped the ante on what heavy truly sounds like. The end result is a more developed and tighter album than The Somatic Defilement, which may have been the overall heavier effort, but Whitechapel, either way are easily one of the cream of the crop when it comes to this style of oft maligned music.