Metal Bulletin ZIne 53

7/18/2019 Metal Bulletin ZIne 53

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www.twitter.com/MetalBulletinZn www.facebook.com/pages/The-Metal-Bulletin-

paper-zine Washington state, U.S.

www fuglymaniacs com (issues online, concert videos, interviews, reviews)history of Metal Bulletin Zine #1-20: (2006-2009): Wisconsin #21-26: (2009-2010): Texas #27(2010)-- now; Washington state

Metal Bulletin Zine 53www.metalbulletin.blogspot.com

Skelator (Seattle) Biotoxic Warfare (Greece) Drawn and Quartered (Seattle)

Lady Beast (U.S.) Mystifier (Brazil) Derkta (U.S.)

bands from Washington state, U.S.: Astraes Pestis, Eigenlicht, Isenordal, Eternal SedationTrepanation, A Flourishing Scourge, Black Tears

album reviews, news, updates, snippetsKeep of Kalessin, Battle Beast, NightMare World, Venom, Sarpanitum, Ancillotti, Dew-Scented,Gruesome, SoulHealer, Violent Hammer, Desolate Pathway, Carbonized, The Negation, IonVein, Black Trip, Entrails, Death Dealer, Zom, Kingcrow, Dire Omen, Kaledon, Undergang,Continuum, Bone Gnawer, Starbynary, Ad Hominem, Elvenstorm, Obtruncation, Officium Triste,Macabre Omen, Hollow Haze, Vulcano, Lady Beast, Johansson & Speckmann, Eschaton,Artizan, Wombbath, Kattah, Mystifier, Valdur, Sacral Rage, Demonic Slaughter, Derkta, BlizzarHunter, Enslaved, Majestic Downfall, Sempiternal Dusk, Hammer King, Adversarial, At the Dawn

Frosthelm, Wooden Stake, Iron Kingdom, Ctulu, Cradle of Filth, Poenari, In Defence

free metal musicViolblast, Warburst Command, Insomnio Mutante, Haunting, Razboinix


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metal programs (these are Pacific Times)Mosh Pit (Madison, WI): Monday night 9:30pm-12am WORT 89.9 fm www.wortfm.org

Sweet Nightmares (Houston, TX): Thursday

night 9pm-12am KPFT 90.1 fm www.kpft.org

Excuse All the Blood (Olympia, WA): Fridaynight 11pm-1am www.kaosradio.org

Metal Shop (Seattle, WA): Saturday 11pm-3am KISW 99.9fm www.kisw.com

bands from Washington state

Astraes Pestis (Seattle)Bestial, raw death metal that sounds like anall-out rejection of the currents of computerdeath metal that is modern death metal.This band has a different take on all that, itsthe sound of when extreme metal as aprimitive force.

The name of the recording is FlagellumHaereticorum, and you can hear it onBandcamp. It is four songs:1.(Malum Reliquiae) Rotting Stave2.Pestilential Sorrow3.(Minister of Fire) Hammer of Witches4.Whip of the Heretics (Flight from Hades)www.astraespestisvcp.bandcamp.com

Eigenlicht (Olympia)This is about 23 minutes along the lines of epic,primitive, necro, depressive black metal. It istwo songs and it is called Sacral Regicide.1.Province of Immolated Kings

2.Autor Ego AudendiOn Bandcamp the band lineup is:

Yianna Bekris (guitar)Ray Hawes (guitar, vocals)Mara Winter (keyboards, vocals)Johnny Delacy (drums)You can listen to the recording here.www.eigenlicht-metal.bandcamp.com/releases

Isenordal (Seattle)This is a free/name-your-price recording oBandcamp. The band plays doom metal witan injection of black metal. Melancholy is aimportant part of the sound, which is thecontrasted with speedy moments of blac

metal. The recording is called ImboMMXIV and it is three songs and almost 2minutes of music.www.isenordal.bandcamp.comwww.facebook.com/isenordal.metal

Eternal Sedation (Yakima)Metal Archives says the following about ththrash band:Eternal Sedation was founded in 2013

Yakima, Washington following the breakup otheir previous band Pleasantly DementedAfter many line up changes, Eternal Sedatiofinally found the sound that they have beelooking for, Old school thrash mixed witprogressive aspects of more modern metaReleasing their first EP in November of 201Convulsions of the Mind; they quickly begato play shows all around the Pacific NortWest to gain a name for themselves. In April o2015, Eternal Sedation released the Atrocitie

of Man EP, showcasing the growth in botmusic taste and ability. They are now in thprocess of writing for their full length anpreparing for tours during the summer.

Atrocities of Man is a free/name-your-pricrecording that you can hear on Bandcamp.www.eternalsedation.bandcamp.comwww.facebook.com/pages/Eternal-SedatioBand/172612636113362

Trepanation (Tacoma)This is rough demo of brutal death metcalled "Meticulous Evisceration," from 201The band calls its music filthy old schodeath metal, so theyre not trying to bfancy and modern, just sick and primitive.www.trepanationusa.bandcamp.comwww.facebook.com/trepanationusa


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A Flourishing Scourge (Seattle)On its Facebook page the band describes itsmusic:A Flourishing Scourge is an all-original metalband formed in Seattle, Washington, by long-time friends Tye Jones (guitars/vox) and JoshKeifer (drums). As of 2015, Kevin Carbrey

(bass) and Andrew Dennis (guitars) haverounded out the line-up.

Blending elements of traditional black, death,and progressive metal, A Flourishing Scourgerepresents a fresh approach to theincorporation of key elements of multiple sub-genres. The band is currently playing gigs inthe Seattle area with a dynamic, multi-medialive show that has been hailed as a hypnotic

journey into the mind and soul.

The band is currently in the studio recordingtheir initial EP, with a projected release date inAugust 2015. For booking information, pleasecontact [email protected].

Listen to some of the music here.www.reverbnation.com/aflourishingscourgewww.facebook.com/aflourishingscourgewww.twitter.com/a_scourge

Black Tears (Seattle)According to Metal Archives, Trevor Eulau isthe person behind this solo black metalproject. Forgotten is the name of the four-song recording, which is about 23 minuteslong. The music, when it is slow, is melancholic,depressive, and when it is going full blasttremolo rules the moment. This is a free/name-your-price recording.

www.blacktearsofficial.bandcamp.com/releaseswww.facebook.com/pages/Black-Tears/1505906806348305

SKELATORSkelator from Seattle is, more or less, what person means when they say heavy metalTraditional heavy metal by people who arthe craziest metalheads that you will evemeet because they are so obsessed wit

metal they decided that listening to metaevery day was not enough, reading about was not enough, writing and talking about was not enough. They had to, they just had tform their own fireblazing heavy metal bandThats Skelator. Man, is Skelator dedicated tmetal or what! Well, let me you the story oSkelator. In all began in year 3666 BC durinthe time of the ancients reign of gold anmystique No, wait, better yet, let the singeand swordmaster Jason Conde-Houston vo

San Diego tell you the story of Skelator.

Skelator is:Jason Conde-Houston: air raid siren reificatioRob Steinway: power dive incursionsRobbie Houston: unit distortion projectionsPatrick Seick: metronomical calculationsRah Davis: thunder intonation commander

Hello, Jason. Your new album King of Fea

sounds perfect for the diehards of traditionaheavy metal. Now that the album completed, what is ahead for the band 2015 and 2016?

In 2015 we are trying to take it easy in terms osong writing. I think King of Fear is a vestrong album and should be enjoyed on staguntil we get around to writing our nematerial. I think we will aim to write an EP bthe end of the year and maybe we carecord in 2016.

As far as playing live goes, we just played to sold out show with Steel Panther and we arabout to embark on our quest to Chicago tplay at the Ragnarokkr Festival. Then we w


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plan a West Coast Tour for late 2015. Let's seewhat 2016 has in store.

Can you tell us a bit about "King of Fear"? Doyou, Jason, feel nervous or have butterflies inyour stomach when it is time to do yourvocals? How difficult is it to get those high

scream right on the first take?!

Personally, I have mixed feelings aboutrecording myself. I'm not nervous exactly; I justcan't stand to have my performancedissected. I kinda turn into a bitch sometimes.But luckily my cousin Robbie is at the helmevery time and we have a long history ofrecording together (since the year 2000). Sowe understand each others boundaries not

just performancewise but personality as well.

We always tackle one song at a time. We startwith the verses in my head voice to get intothe spirit and flow of the song. After that, wemove on to the choruses and try to get theperfect one that we can copy paste over thesong. Then, we do basic backups on thechorus to make it sound meaty. Then, we redothe endings of each chorus so that they are infact different and they lead into the next part

(solo, bridge, ending, etc.). When I neededbreaks we would have Patrick do harmonybackups on various songs until I was readyagain.

Usually we do all the falsettos in one sessionwhen my voice is sharp and kicking into highgear. After that I'm basically done. Last butnot least we have Grave Digger day when Ido my gruff backups just to give the songs

more grit. The final thing we do is Battle Choirwhich is our session of gang vocals like in thesong Test the Metal. Those are usuallyrecorded to give the audience a chance to

join in when they hear their favorite songs live.

Is it correct that Skelator started in 1998 in SaDiego, in the ancient kingdom of KalifornienJason, how did you discover that you cousing? Do you remember what albums yoused to sing along to when you were a younknight?

In 1998 me and my best friend Max wanted tstart a metal band and we started writinlyrics. Basically, we were just getting intMetallica and wanted to emulate them everyway. But it wasn't until 1999 that we goPatrick to play drums for us and really start thwriting process. I went to school with Patrick aSan Diego High School and I was always likOh man he's that cool guy who playdrums in a band. Later we recruited m

cousin Robbie to play lead guitar. I left him message on his answering machine Robbyou must SAVE SKELATOR!!!! On May 19th200we played our first show to a bunch of straigedge hardcore punks. We sucked so mucbut we were the only cats trying to play thrasmetal back then so they all loved it.

As for my singing, I started off blasting mmom's Led Zeppelin LPs and jumping arounthe living room screaming my balls off like

was the next incarnation of Robert Plant. LateI head Blackened by Metallica and thamade me want to listen to metal all day eveday. But when I heard Aces High by IroMaiden my mind was fucking blown. Fromthen on I wanted to sing like that and writsongs like that painting picture in your minand tell a story at the same time. Then we agot into Manowar and started covering Haand Kill. But Priest is was what taught me ho

to use my diaphragm. I used to get high ansing along to Priest 8 hours a day when I wa20 working at a local head shop.

My favorite singers:Dio, Halford, Eric Adams, Ian GillaDickenson, Ralph Scheepers, Glenn Hughe


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Kai Hansen, Biff Byford, UDO, Morby, FabioLeone, James Rivera, Chris Boltendahl, RobertPlant, Peter Gabriel, Prince and the guys fromEarth, Wind and Fire.

How was the metal scene in the medievalfeudal realm of San Diego in the mid and late

90s when you started out? Was it aswampland of rap rock, groove thug metal?

Yeah, that era sucked ass. I didn't really goout to shows until I started Skelator and wemainly hung out with punks, so I didn't reallyhave to deal with all that noise. Then westarted playing with actual metal bands andbeing part of the Sdmetal.org scene in like2002/03. I mean there were death and black

metal bands that were cool, but there wereno heavy/power/thrash bands at all.It's funny, I met the singer of Fueled by

Fire a few years ago and he freaked out whenI told him I was in Skelator. He told me that hegot one of our demos at an Iron Maiden showin San Diego when he was a young cat and itblew his mind. I'm not gonna say that weinspired the thrash revival, but it was prettycool to get those kids excited before theystarted writing their own heavy metal to

come.

Then, because you were tired of the awesomeweather in San Diego, you decided to moveto grey, cloudy, rainy and depressive Seattlebecause you are crazy or a masochist? Why?!Mainly professional reasons for us. Patrick

needed to go to Evergreen State College tofinish his degree. Robbie had a degree isaudio engineering and he figured there

would be more musicians to record up here. Ineeded to get out of San Diego and becomea man. But the scene here is just better allaround for musicians and artists alike. WeACTUALLY get paid at shows here. Not like LAwhere you have to play to play and all thatBS.

Some people might think that you are crazbecause you talk about posers in your songMetal music is very trendy and there's a nebandwagon all the time and it is impossible tkeep up. It's difficult to tell if a band is thrasone year, alternative the next year, and bacto thrash the next one.

Heh, a friend of mine was about to go out ta show and I asked her Who are you gonnsee? She responds, I'm gonna see ReFang. I go, Who's that? Then she gets a littbitchy, Uhhh a heavy metal band.... I replSorry, I've never heard of them.

This is the kicker: she says, They sounjust like your band, you should know who theare. So after she leaves I look them up an

they are some fucking hipster band with realloud fuzzy bass and really boring vocals thago nowhere. Next time I see her, I say, Howas Red Fang? and she replies, Yeah, thedon't sound anything like you guys.

Hahahaha.... story of my life. Just cause itheavy does not mean it's metal. But whentalk about false metal I don't even care abouthe heavy hipster stuff. What I care about the mall-core rockstar Energy Drink white tras

bullshit that people think is metal.Thanks Ozzfest for ruining our fucking fu

and lumping us all up with a bunch of fakasses. But, honestly, let them be. Let theenjoy their noise so that we, the few the prouand the faithful, can get together and truenjoy the spirit of metal the way we see fSure, I'll write a song called Death to thFalse, but I'm not gonna go to a Korn showand start decapitating people in the name o

the metal gods. Let them drink their Faygand smoke meth in peace.

What is the worse thing ever in the history othe universe, in your opinion? Glam rock fromthe 80s, grunge, rap rock or hardcore?


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The worst thing in the universe is fuckingMetallica. Sure, it got me into metal and I'llalways remember those first four albums forbeing my road map to real metal, but fuck,man. If I was stuck with all their other albumsplaying on repeat I would go completelyinsane. As a cruel joke we listened to Load

on the road on our last tour. It's absolutelydisgusting and that's not even their worstalbum. It just get's worse and worse. Whenpeople try to justify Death Magnetic I justlaugh. Just cause it's BETTER than St. Angerdoes not mean it's worth a damn. Fuck, atleast St. Anger is funny as fuck. But LuLu isfar worse, it's not even funny, it's just terrible inevery way. I'm not a Lou Reed fan, but forthat to be your final record.... rest his soul.

I used to hate buttrock because ofMetallica, now I think it's fucking wicked. It'sjust fun and catchy with badass guitar solos.

Hey, if you had decided to spell the name ofthe band as "Skeletor" would that havebrought you a lawsuit?! Which one is yourfavorite of these three shows: He-Man,Transformers or Thundercats? Which is moremetal?

Honestly, it was a mistake, but when I realizedwhat happened I figured it was a good thing.There are a few bands called Skeletor outthere, but they have all folded over the years.

He-Man is not a good show at all, themonster design is terrible. Transformers is themost metal, for sure, and I still love the 80sanimated movie. But if you asked me as a 6year-old I would say Thundercats,Thundercats, HOOOOOO!!!!

On Metal Archives the picture of Skelator hasyou, Jason, wearing a jacket with a Mexicanflag patch. OK, how many people have askedyou about that piece of trivia? Is this the firsttime?!

No, ever since I put it on people ask me whyhave a Mexican flag on my vest. Well, itcause I'm Mexican. Why do I have a Star Trecommand emblem on my vest? Cause I'm hardcore Trekkie and Kirk is my boy.

I'm actually going to record the neSplit Heaven album in Mexico later this yea

This will help me become a better singepractice my Spanish, get connections Mexico and spread the gospel of Skelatoacross the land.

By the way, what can you tell us about youHawkwind cover "Master of the Universe"How did you get the saxophone in there?! Yothrew me for a loop!

I've wanted to cover that song since the yea2000 when I first heard that song. But it wasnuntil this album when we were trying to find perfect bonus track that Patrick brought it uand everyone was down immediately. Wgot our friend Nate to play sax on it and came out really great. Nate plays in Patrickother band Pratattack. But, yeah, Hawkwindone of my favorite bands of all time. especially love their late 70s and 80s periodthe most. I know most people like their Lemm

era, but I think it's dumb to forget that thehave like a million more albums worth listeninto.

It is very good that Skelator is alive and stronafter all these years.

Thank you, the road has not been easy, buthas been filled lots of fun. Many beers havbeen slain, towns have been ravaged

speakers exploded, guitar strings shreddeand bleeding ears all around. 15 years oplaying gigs has really paid off, let's hope foanother 15.

I just want you all to remember...Death to the Opposition


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Death to False MetalGIVE ME METAL OR GIVE ME DEATH!www.facebook.com/TrueSkelatorwww.trueskelator.bandcamp.comTHE END**INTERVIEW with

Biotoxic Warfare(Greece)

The consensus about Biotoxic Warfare seemsto be that this thrash band, in addition toshowing a promising future, has made analbum with strong songs in the thrash style andthe band brings a fresh energy, with a bit ofdeath metal (like in the vocals) that listenersare noticing, such as calling it an excellent

album, an atypical album of thrash and adark thrash album. It seems that even jadedlisteners have taken a liking to the album.When a listener first hears the album, onenotices the enthusiasm and the effort to makesolid songs. With that in mind, lets find outmore about Biotoxic Warfare from Greece.

Hello, Biotoxic Warfare! Your album"Lobotomized" is all about headbanging and

thrashing! It's a fun and intelligent album!

Hey, guys! Thanks for the interview and all thekind words regarding our latest album.

What can you tell us about life for metal bandsin Heraklion and Crete in general?

The underground metal scene of Crete is notone of the strongest and most well-known inGreece due to lack of bands and thedisadvantage that we have as an island toofar away from Athens, the capital.Nevertheless, we play several concerts here inCrete as it is our base, and our main fan baseis located there. Every one of us lives in theisland of Crete (some of us in different cities,

though) something which is very effective fothe bands co-operation and communicatioHowever, despite the fact that the scenehere, is not well-heard abroad, there arseveral bands, such as MenaceDoomocracy, Imperium Infernalis, ChaoEternal, etc. which are totally worth-to-listen.

Is it a problem for Biotoxic Warfare to blocated in Crete, in comparison to Athens?

Yes, unfortunately, it is our main problem athe moment. Living on an island is very difficuin terms of arranging concerts in other citieoverseas, due to the high pricetransportation costs. However, it is vital from band to play gigs in Athens now and then, a

it is the main center, and it gives you thopportunity to get your music heard by largeaudiences, something that is impossible in olocal live shows. Although, this is somethinthat fills us with determination to make oubest in order to overcome such difficulties anfight it harder. The scenario, however, omoving out in the main center in the nearbfuture, is something that we take into seriouconsideration.

What is going on in Greece that made yopick up an instrument and write fast metamusic with political/anti-religious lyrics?

Hahaha, through the last decade, Greethrash is like a tradition. Every day a new banburst out ready to thrash the place dowRegarding the lyrics, religion, here, has stgreat impact in everyday life, and that something that causes the youth to expre

their opposition through the lyrics. Alsopolitical themes are a very populaphenomenon, as things here are totalfucked up. In our opinion, things for younbands are difficult and rough, but there arplenty of opportunities for those, willing to takadvantage of them.


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What about politics and Biotoxic Warfare? Inthe news we hear that the economy inGreece is bad, and also that right-wing, fascistpolitical parties are gaining more support.

Nowadays, Greece suffers from a devastating

not only economical but moral crisis too.People are fed up with false promises and liesgiven by politicians and political parties, wholed us in this situation and as a result, it causedthe thrive of racism and fascism which can beconsidered as a very significant threatgaining more and more power by thepeoples arrogance and desperation. BiotoxicWarfare strictly oppose to any kind of fascisticideologies (both right-wing and left-wing) but

we choose to keep our political beliefs forourselves and not trying to expose themthrough our lyrics.

Who in the band is answering this interview?What can you tell us about your experience inthe recording of "Lobotomized" in the studio?

This is George (lead guitars) answering.Recording Lobotomized was definitely, one ofthe most memorable moments in our lives. We

spent many endless nights recording andrecording with few hours of proper sleep andliters of coffee. Also, it was a race againsttime, as we had some deadlines to catch on,regarding mixing and mastering. However,except from all the unforgettable memoriesthat we had from this experience, it had hugeimpact on us as individuals. We becamebetter and better as musicians, weve learntto work as a team and the most important, to

find ways to overcome any possibledifficulties. It was sure a great experience.

Now that you have a debut album out, whatare your plans?

Touring is, surely, our next priority. The maobstacle is our low budget, but we try to fina way to take care of that. We have somplans but we cannot announce them yet, athey are not 100% arranged. We are astudying in the university, but some of us arabout to complete their studies.

What are your personal tastes in metal? I thinthat people are noticing the good quality anyour dedication to metal music!

Thanks for the rewarding words! Our mainfluences are placed in the old schoEuropean thrash metal scene and also in thAmerican old school death metal movemenHowever, every one of us brings their ow

influences in the band and that is veeffective for our musical variety. Somrepresentative bands are can be considereas the following: Kreator, Slayer, Dark AngeSodom, Sacred Reich, Obituary, Cancer, BoThrower, Cannibal Corpse and Legion of thDamned.Guitar for me is a vital part of my life. So yes,dedicate plenty of hours on studying eveday.www.statictension.com

www.biotoxicwarfare.bandcamp.comwww.facebook.com/pages/Biotoxic-Warfare/427903787269059www.twitter.com/BiotoxicWarfare

THE END**

INTERVIEW with

Drawn and Quartered(part 2)In the state of Washington, death metal banDrawn and Quartered has been makinmusic for a long time, going back to the ear1990s. The band is an important piece of thpuzzle of underground metal in Washingto


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This interview with the band has a tremendousamount of history and information about theband and metal in this region.This is the concluding part of the interview.The previous issue, number 52, has the first partof this interview.www.facebook.com/drawnandquartered

In 2003 there was "Extermination Revelry."Right after that in 2004, you also had "Return ofthe Black Death." It seems like you entered aperiod of high productivity. Was the lineupstable around this time, did it have goodchemistry? If asked to recall the early 2000s,what types of associations come to mind interms of the band during this time in theSeattle area? Were you able to play shows in

the Pacific Northwest outside of Seattle? Whatabout the rest of the U.S. and internationally?

The first record 'To Kill is Human was originallyrecorded in 1998 and we released tracks oncassettes. We pressed a few hundred copies,two versions. No cover or title, just a promotape. We soon decided to release the recordon CD, and we pressed our own copies. In1999 we made a deal with MORIBUND todistribute the record, and they pressed their

own copies. The original version has color onthe image on the disc itself, the Moribundversion doesn't. Also our version has a differentprocess for recreating the cover art making itshinier, compared to the higher qualityMORIBUND version. After that that tour from1999-2001 I began writing and rehearsingregularly some new PLAGUE BEARER material.Matt was playing drums in SERPENS AEON,Greg was doing a cover band, and also was

involved with PLAGUE BEARER. Herb and Iworked on various things, and he did vocalson my PLAGUE BEARER demos. Writing withDRAWN AND QUARTERED was like pullingteeth, but we had put together some things,and did start playing a new song on our lastU.S. tour together with Matt in 2001. That song

was called 'Incinerated Faithful' and a versiowas recorded and included on our nerecord. I completed a 7-song demo calle"Defiled by Sodomy" with PLAGUE BEARER.did extensive mixes, came up art, had threcording mastered, but never released it. Buall the work, rehearsals, recording etc., helpe

bring my writing to another level, and I gosome chances to rip out some solos anpractice over and over, something I wasngetting as much out of our DRAWN ANQUARTERED rehearsals.

We'd been doing a lot of really greashows around the region that was getting umore and more experience and locnotoriety. We opened for MORBID ANGEIMMOLATION, INCANTATION, EXHUMED

IMPALED, THY INFERNAL, MONSTROSITDEICIDE and many more. Some of the locabands we were playing with were BLOORITUAL (members of DISBELIEF), TASTY GORIMMORAL INTENT, FORNICATOR, INQUISITIONLORD GORE, ENGORGED, WRAITHEN, SONEGRO and many more. In the early monthof 2002 DRAWN AND QUARTERED rehearsahad been reduced 2 twice a week from 3-for many years. The writing was dragging oWe had two finished songs since the la

record. I had plenty of new ideas, and wfinally got serious about completing music foa record. At the same time MATT and SERPENAEON were closing in on finishing the music fotheir debut. Things came to a head and MATleft the band. It was a tough time for me.was fearful, and it was hard to let go of beina road-ready band ready to open for the bein the business to start over and the possibilitof failure. Who knew if we'd ever perform a

DRAWN AND QUARTERED again? Once agaBeau Galloway referred a drummer to uDario Derna had returned to Seattle. I'd heafrom Odin he was coming back, so thahelped with allowing Matt to step away fromwhat he took seriously as a commitment tme and the band. I did contact Dario, wh


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really hadn't played drums much for years. Sowithin a week or two of Matts departure webegan rehearsing and writing again. In lessthan a month we had 5 brand new songs. Wedid a little rehearsal demo, to see how thenew songs were sound. It was intended just asa sound test for us, but we sent a copy to

Odin at MORIBUND, and it was decided wewould promote DRAWN AND QUARTERED Mk2 with our new 5-song rehearsal demo wecalled 'Crusaders of Blasphemy'. Hundreds ofcopies were created, and one version evenhad a little atmospheric keyboard thing at theend of 'Worshipers of Total Death' that wemade Dario take out of future versions! A dealwas made with MORIBUND, in a matter of afew months we began doing shows again,

and we completed 11 songs for a newrecording that began in the spring of 2003.

DRAWN AND QUARTERED was reborn. It hadtaken from until about 1992 until 2002 for meto really hit my stride as a writer, performerand player. All of the side bands, demos,shows, tours were finally paying off and wewere finally in a slightly more modernrecording environment. In 2003 we were showready and could learn as many songs as I

could bring in. The band all contributed riffsand ideas as well. We now had a label ableto fund this operation and we had a 3-albumdeal to fulfill. Our music and performanceswere coming across great and people lovedour new songs. Things in my personal life werestable, so I was able to focus writing andrecording. I knew I was in a very good, andprobably rare situation so I took fulladvantage and brought a lot of ideas and

began writing and recording as much aspossible. In early 2004 we had an offer to do asplit 7", so we recorded two songs on our ownrecording equipment, it was fast and dirty andthe songs came out great, I felt free to justshred away. Unfortunately, the split didn'thappen (as often happens in these things) but

the tracks did appear on a cassette album Germany, and as part of a bonus disc in 200for the release of MERCILESS HAMMER OLUCIFER. I pushed for the recording of our nerecord and in 2004 we were able to recorand release RETURN OF THE BLACK DEATHMuch tighter, cleaner, with even bette

performances, and some of our mortechnical music in our catalog, this is one othe highlights of my career. I wrote many othe songs, including the epic AS IDOLS FALL. received amazing reviews including a nicspread in METAL MANIACS. It was productive time. I had less of a commitmento a specific job for a few years, and it waoften challenging personally. But I had mortime to focus on music for a little while.

There was a period of time wheDRAWN AND QUARTERED was in a holdinpattern while our drummer was getting hpersonal life together. We didn't waste antime, though. Greg Reeves was our baplayer. He had a lot of drive to variouprojects, and had been working playindrums for a while. We formed a band calleWINDS OF PESTILENCE. It featured Greg odrums, Herb Burke played bass and vocals,played guitar. And Greg's' friend John Frye

was the second guitar player. This waanother great opportunity to keep my chopup, and rehearse the lead parts I wrote fomyself, work on some new ideas. The muswas thrashy, black and death metinfluenced I wrote much of the music anlyrics, but Herb started contributing later awell. Unfortunately not all of the songs we hagot recorded. From 2004-2008 we playesome shows, did a small tour, and recorded

demo that has been mastered, but noofficially released. John posted some rougmixes and misspelled some of the titles, sthey are out there. Also in 2004 I piecetogether some song scraps that became thPLAGUE BEARER EP 'Rise of the Goat'. I had friend who was playing drums for FUNERA


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AGE at the time. They rehearsed down thehall. He was eager to jam. So I threw togethersome songs and lyrics, we rehearsed for awhile, then went to the AUTOPSY ROOM thatDRAWN AND QUARTERED had been recordingat and did a very quick recording. It costabout the same as the demo I did at

LAUNDRY ROOM studio for the 'BubonicDeath' demo back 93! It took a while, but Ieventually got the recording released as avinyl EP on NUCLEAR WINTER RECORDS. Dariowas soon back and we did a lot of showsaround the region, but DRAWN ANDQUARTERED has yet to conquer theinternational market as a touring act. In factDario was never willing or able to do extensivetouring.

These two albums were on Moribund Recordsand the debut was independent. How was therelation with Moribund at this point in time foryou? How did that come about? Moribund is alabel from Washington, is that correct? In theearly 2000s the internet had not yet taken overas such in metal and people still bought cds,right?

Moribund started in the Seattle area, and is

based in Washington State. Odin andMoribund has been there since my first showin 1993 at the LAKE UNION PUB. Therelationship for me has always been great. Iworked as a Moribund employee for a whileand was involved with mail order andpromoting, including my own records. Odinwas a Metal fanatic who worked in localrecord stores, began his own distro, andeventually label. Unfortunately due to other

distributing partners going bankrupt, he took abig hit and had to down size for a while. Buthe also was the US distributing partner forNAPALM RECORDS, and began MetalDistribution Network. People were buying CDs.I probably didn't even own a computer yet.

In 2006 and 2007, you had another twalbums in rapid succession "Hail InfernaDarkness" and "Merciless Hammer of LuciferThe lineup seems to be same, so the banseems like it was stable at this time, you werstill on Moribund. You must have been cominup with songs day and night at this time. Ho

would you describe the period of 2003-200for your band? Were those albums financeby Moribund Records; Did that help you guyto concentrate on the music, with somstability? Or, did you guys get into a lot odebt to Moribund Records during this time?

'Hail Infernal Darkness' came out in 200[Metal Archives says it was released Janua

3rd, 2006. Ed.] This is one of our fine

moments. I absolutely loved that record, anwanted to take a slightly different approacwith the next record. I was able to securbudgets for our records, and we did somvideos for 'Hail Infernal Darkness' anMerciless Hammer of Lucifer.' The whole banwas contributing ideas and sometimes even song for these records. It was a lot of work tdo the records and videos. We couldn't havdone it without the line-up staying intact. Thfact that we had these stabilizing facto

helped me push to make another record.have amazing rough mixes for 'MercileHammer....", the final mix wasn't quite how wintended. The record can be played veloud, and with some EQ it sounds pretty goodBut by this time people are listening to musion computer speakers, not home or car audas much.

We never went into debt. We just donget any royalties until remunerable costs ar

covered. That includes recording costs, paof the advertising, video budgets anmerchandise and monies advanced for tosupport. These years 2003-2007 were veimportant for DRAWN AND QUARETERED. Wput out 4 records in the space of 5 years, awell as the videos, bonus tracks, an


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recording and shows for PLAGUE BEARER andWINDS OF PESTILENCE. It took most of free timeand energy to keep up with the projects andvarious shows, festivals and touring. At onepoint we did a small tour as WINDS OFPESTILENCE. Dario was not really willing or ableto tour. This became an issue, as Greg Reeves,

our bass player from 1997-2008 very muchwanted to tour. He was getting fed up withthe lack of financial return, and was reallyhoping to be making part of our living withDRAWN AND QUARTERED. That just wasn'thappening. We generated money, but notthe kind I'd want to try to live on. As far aswriting music for the records, that was theeasy part. We all had plenty of ideas and riffsfor the songs. We started writing a lot of things

in the rehearsal room, it was very organic attimes.

Did things kind of slow down in terms ofactivity for you after 2007? Your nextrecording came out in 2011 and it was the EP"Conquerors of Sodom" on Nuclear WinterRecords. But then you followed that up with"Feeding Hell's Furnace" in 2012, again onNuclear Winter Records. For those that do notlive in this area and who associate you with

Moribund Records, what have you guys beenup in recent years, in terms of record labels?

By 2008, with 'Merciless Hammer of Lucifer' outI had begun booking a U.S. tour I called the'Assault of Evil' tour with Moribund Recordslabel-mates SATANS HOST. Back then I bookedquite a lot of the tour with the help ofMySpace! I was able to locate bands andvenues. Some people were able to offer some

guarantees, and I negotiated deals, rented avehicle. We had to recruit Steve Fournier fromIN MEMORIUM as the drummer, as Dario wasunable to tour. We practiced with bothdrummers beforehand, and we wererehearsing doing shows as DRAWN ANDQUARTERED and WINDS OF PESTILENCE, and

recorded the WINDS OF PESTILENCE demthat never got a proper release.

I would have to say that the activity dNOT slow down after 2007! We took some timand did the tour in 2008. On the third show othe tour the drummer for SATANS HOST quWe were in Denver, and he just took his drum

and went home after our set. The shows habeen sparsely attended so far, in Seattle anTacoma. The Denver show was kind of fiasco; being moved ultimately to a dumpMexican restaurant. I'm glad we did at leaget to perform. I can't really blame people fobeing discouraged, but the tour got betteOur touring drummer Steve, ended uworking with SATANS HOST to help them finisthe tour. SATANS HOST had become a blac

metal band at this time, as opposed to thpower-metal-from-the-devil approach theoriginally had, and have returned to Ultimately, it was a fun but challengintour; gas prices were 5-6$ a gallon. That cuinto potential profits. I also printed too manshirts. I still have couple left from that 200tour, to this day. On the last leg of the tour obass player had an issue and basically quthe band in New Mexico, and tried tsabotage what was left of the tour. He too

his gear and things, and I have never hearfrom him since; after 11 years! So we finalmade it home, I took on some significandebt. I could have made a profit, except for couple of missteps. It was a great learninexperience.

From mid/late 2008-2010 we re-booteDRAWN AND QUARTERED. Herb had beeplaying bass and doing vocals in our sid

band WINDS OF PESTILENCE from 2004-200When Greg quit, WINDS OF PESTILENCE wadisbanded. Herb had to buy some bass geaAnd we started from scratch, writing nematerial and practicing and rehearsing to click track. There was a period of almost years that we didn't perform live at all.


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some ways it was nice to have a breakfrom all of the band activity. I was able topursue other hobbies a bit. Finally we decidedto self finance our next record. I'd hadconnections with NUCLEAR WINTER RECORDS,and Dario had developed a relationship withAnastasis regarding DRAWN AND QUARTERED

releasing our record with NUCLEAR WINTER.The record was done in 2010, but requiredmastering, and artwork to be completed.

We began performing again in 2010 asa three piece. The band decided to leave offa couple of the songs from the full-length. Iwas very pleased that we were ableto release the "Conquerors of Sodom" 7". Wehad an earlier recording of the title track thatwas slated for a split 7' and t-shirt deal with

Relapse Records that ultimately fell through.That version of 'Conquerors of Sodom' wasnever released. The full-length record finallycame out in 2012. The band had been doingsome traveling to play shows and festivals. Themove to Nuclear Winter, wasn't so much ofmy doing, but we decided as a group to trysomething different. We had a new logo, wewere a three piece. It was fun. We could bustout 20+ songs at any time as a live band, andmore if we rehearsed a bit. It was a good

place to be, as we'd been together with Dariosince 2002, ten years. It was easy, I had a lotof free time. We didn't have to rehearse thatmuch. We had been writing some new stuff,and even demoed an unreleased, unfinishedsong. We performed our last show with Darioat the Black Circle Fest in Portland, Oregon.

Dario had marital issues, then he got adivorce. Then met a new girl, then theystarted a family and got married. As this was

happening he got a great job offer andmoved on with his life. That's what people do.It was the end of an era. But it is what it is. Andwe weren't sure if we'd continue, do a longdistance band, take a break or what. We didcontinue and with the help of Beau Galloway,I started piecing together songs for another

record. Soon after, Simon Dorfman (SHADEEMNITY, INQUINOK) joined as our drummeWe began performing in 2013 and recordebasic tracks for a record by 2014. There wano label we were officially signed to at thatime. Due to personal and musical differencethat record did not get finished.

We are working on a deal for our nefull-length now, we have about 13 songs as othis writing. We have begun tracking somsongs for various releases we have comingAnd we continue writing and performing ashows and festivals. I have a track for compilation and a song for a split 7" we arworking on. Then I will be releasing a limiteedition cassette album. I'm also planning odoing our own 7" record and ultimately a fu

length vinyl release. All of that on top orecording our next full-length that would be CD release with a label. We just got somnewt-shirts with the 'Feeding Hells' Furnacartwork on them.

How has recording your music changed in thcase of Drawn and Quartered? It used tbe that young bands dreamed of going to big studio and working with famous producer, like Scott Burns. How do yo

go about recording your music nowadaysWhat are your views about the recording odrums nowadays?

All of the actual CD releases have been in studio, with people we paid to engineerecord and mix the music. We were alwaythere to help produce the recordThere weren't any famous producers neaenough for us to work with feasibly, withou

great expense. At one point there was talk ous traveling or working with someone. We dhave James Murphy master our 2nd recordam doing some in-house production for somprojects I mentioned previously, using mucless tracks and gear. That last 5 records havbeen recorded in the modern way wit


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tracking drums to a scratch guitar played atthe same time, then going back andrecording guitars, bass and vocals. Differenteffects and gear have been used to recordthe drums to varying effect. There are manyfactors and variables.

I want a nice natural sounding drum kit,

with punchy but not 'clicky' drums. Herb isdefinitely against the fake sounding,popcorn/typewriter drum sound. Usually thedrummer and engineer are trying things andengineering the drum sound. It all gets a bitconvoluted, and it is time consuming andchallenging to record and get a goodsounding drum performance. There are somemany possibilities. It is hard to say muchabout, as I haven't heard every possible

technique, piece of gear or engineering ofdrums being recorded. I know people try a lotof things, samplers, compressors and editingto get drum tracks. It begins to someambience with all this.

Sometimes I wonder if just asimpler approach might be best. I wouldprefer a live sounding kit in a studio drumroom. But in the end, I trust the drummer andengineer. I can't do everything, for better orworse, I have to allow them to try what they

think is best at the time. I really don'tknow enough about it to comment.Sometimes even after all the efforts to createthe drum track, the mix gets screwed upanyway. Sometimes when dealing withbudgets, deadlines and logistics and realitiesof life things get screwed up. Sometimes adrummer changes their heads right beforerecording and they end up unhappy with thesound of the heads for whatever reason.

There might be a tone or ringing they can'tget rid of that youre then kind of stuck with.All I can say is find a really good drumengineer.

How difficult is it for you (financially, time-wise,work/job, family, health...) to continue making

your metal as you get older? When bands aryoung they'll travel across the country in van and come back home with nothing, butsomeone offers you a gig all the way acrothe country and you're going to sleep someone's house on the sofa, how appealinis that to Drawn and Quartered at this point

time?

Honestly it was always difficult. Instead orelaxing with friends and family, doing regulaactivities, enjoying hobbies and down time, aof your free time goes into writing, practicingrehearsing, recording and doing shows. Anmaking money to pay for gear, rehearsrooms, travel and whatever else you have tinvest in. It takes a certain amount of drive

dedication and discipline to consistently deven more work. And the work environment a challenge, I work really hard to make amuch money as I can sometimes multip

jobs, side businesses and whatever you havto do to survive and thrive and finance youdreams and goals.

Having never stopped, and after doinmultiple bands and projects, at this point isn't that hard at all. We currently rehearse my house. I've had to work very hard t

create a lifestyle for myself and create thfinancial and personal situation for myself tbe able to do this. You have to have your shtogether, and that can be harder the dointhe music for sure. Most people eventualquit. They get sick of it all. You have tabsolutely love it. It can't be just for moneybecause you might not see much of a profor a long, long time.

It doesn't make as much sense to ju

drive around in a van playing shows ansleeping on couches. I've done plenty of thaIt's about utilizing your time and resources tthe maximum effect. I'd rather fly out and dsome shows. Why do I need to cart guitacabinets around anymore, there are plenty tuse. It seems silly for 3-5+ bands to all brin


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cabinets and each move them on and off thestage for a show. I'm going to do shows andmake sacrifices when I get to play for newaudiences, at promising shows and festivals.And I expect some money to help defrayexpenses. It's is not very wise as a businessperson to take a loss year after year. You're

doing it wrong. Being metal doesn't mean youhave to be broke and stupid. It means you'rea warrior and you'll do what it takes to makeprogress. I have to be more critical aboutwhat shows and projects I agree to. I amgetting older, and to me that means I don'thave time to screw around. I expect aguarantee usually, especially if I'm traveling.I'm already going to take a loss from notworking. No amount of guarantee can make

up for that. But I'm not going into debt as well,so I can be more metal!Running around doing random shows is

a waste of time, if you could stay home makesome records that are going to reach morepeople. Then maybe it would be worthtraveling and doing shows, you have to doboth. You just have to be careful with whatyou commit to. I have to turn down showsevery week. We just can't do them all, some

just don't fit with other band and personal

plans we might have. I like to take somevacation time NOT doing shows or work.

How do you see yourselves as a band inmetal? Would you say that you feel a certainconnection to bands like Incantation andImmolation, and Sadistic Intent, Blaspherianand Funebrarum?

I think we have potential to take this band to

another level. It will take hard work, travel,making some more great records; improvingour performances and recordings. We willalways be an underground band. We have aconnection to those bands because we haveperformed with, met and toured with theseguys. We have finally carved our names into

the scene, like the bands mentioned wcontinue to create the darkest momalevolent music we can come up with. Thbest is yet to come, as far as I'm concernedThe industry is evolving, and the fan bascontinues to expand worldwide.

What metal bands in the local scene in thSeattle do you think are making metal that interesting to you?

Off the top of my head I'll name some bandscan think of. FUNERAL AGE, TREPANANTIONSLUT VOMIT/ WARP VOMIT, are a few. Therare quite a few people and bands exciteabout underground death metal right nowOur local scene is a strong as ever with goo

turnouts to local shows.

Can you tell us what your plans for 2015 areHow was Famine Fest in Portland? My phonsays that you will play a show at Highline witAntaeus. Anything else you would like us tknow about Drawn and Quartered for 201and 2016?

2015 has been busy so far. I put together little recording studio at home where w

rehearse, and we have been writing anrehearsing as well as doing some showWe've done a couple Seattle shows, thFAMINE FEST in Portland, Oregon waexcellent. We have a show with UADA anINFERNUS in Portland on April 18th, in May whave a couple of slots at the MARYLANDEATH FEST to play. In June we are headlinina festival in Bend, Oregon. We'll also statracking for our next full-length CD as soon a

we secure the deal/budget, and I stobooking shows for us for a bit so we carecord. I hope to at least have completed threcord this year; hopefully, it will also get release date. After all that I hope to focus osome high profile festivals, and there has beea mention of a world tour that may eventual


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come to pass! I will be selling some newmerchandise on our Facebook page for nowuntil I can get some distribution again, or myown webstore, so stay in touch, everyone!THANKS! HAIL INFERNAL DARKNESS!!!!

THE END

**

REVIEWSKeep of Kalessin (Norway): Epistemology(Indie Records)

by Matt Spall, the Man of Much Metalwww.manofmuchmetal.wordpress.com

Im not afraid to admit when I am wrong. This,I believe, is one such occasion. I have hadcursory listens in the past to previous releasesby Keep Of Kalessin and not been overlyimpressed. To this day, I cant really put myfinger on why I wasnt lured into the fold; forsome reason, the black-tinged extreme metalofferings didnt really click with me and sowith more music to listen to than I have spare

time, I wasnt in a position to give theNorwegians much of a second chance. Untilnow that is. And you cannot believe howpleased I am that the stars aligned andsomehow forced me to give album numbersix, entitled Epistemology, a chance. This isone hell of a record. It has well and trulymade its mark and left a previous sceptic withmuch to ponder. I will certainly go back andre-explore the back catalogue, thats forcertain.

I talk about stars aligning because itsounds exotic, windswept and interesting. Inreality, my interest in Keep Of Kalessin was re-ignited a while back when I discovered thatthey had entered the race to represent theirnative Norway in the Eurovision Song Contest.

And then, more recently, there was thintriguing competition that the band ran tdesign the artwork for this album. The result beautiful, striking and markedly different frowhat has gone before. As a complete suckefor a great album cover, I felt compelled texplore the music contained within.

The nice thing about my personcircumstances however, is that I am able tlook upon Epistemology with fresh eyes annot be swayed or influenced by what hagone before. To me, Keep Of Kalessin circ2015 is a brand new band and therefore brand new discovery about which I can bcompletely honest without being hindered bthe baggage that a back catalogue cabring. Its quite exciting actually.

What surprised me initially is that such huge, epic sound can be created by a merthree people. Obsidian C handles the vocaguitars and the bulk of the writing it wouappear. However, he is more than abassisted by drummer Vyl and bassist Wizziacboth of whom make an impact on this recordIn true extreme/black metal styleEpistemology opens up with a short, minutelong instrumental piece, Cosmic RevelationIt serves its purpose well as a tension-builde

because its a surprisingly suspense-fillecinematic sci-fi inspired piece, full of dark anforeboding drama despite its diminutivlength.

What follows is, frankly brilliant. ThSpiritual Relief is off-the-scale superb. It beginwith a furious blastbeat and dominant riffinwhich together threaten to spiral out ocontrol at any moment such is their combinefrenetic vigour. Underpinned by swirling synth

the track has a classic, grandiose symphonblack metal feel to it. But then somethinmagical happens. At first, the guitar rdescends into semi-discordant proggy territobefore the composition opens up into one othe most epic and anthemic sections Ivheard in extreme metal circles for some time


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The blast beats remain at breakneck speedbut the clean, soaring vocals and subtleguitar melodies send goosebumps up anddown my spine. Then, as if this wasnt enough,at about the halfway point, the track collidesheadlong into power metal territory,complete with groovy riffing, lead guitar

breaks and catchy melodies beforeexperimenting with what I can only describeas heavy ambient stylings. The central melodybecomes ever more glorious and joyousbefore eventually reverting to the more blackmetal approach encountered at thebeginning. Ten minutes never passed soquickly.

Dark Divinity follows and whilst theunique clean vocals of Obsidian C are

present, he defers more readily to what Idcall a gruff black metal bark. The entire trackis more straightforward if thats not toodisingenuous but whats most striking is theunique guitar playing. Ive used the wordunique a lot within this review but I genuinelythink its justified. The phrasing, the executionand the entire sound of Obsidian Cs guitarplaying is unlike anything Ive heard before.Epistemology is comprised of only eighttracks but the album as a whole does not feel

too short. Indeed with the vast majority of thecompositions weighing it at over sevenminutes in length and up to ten on occasions,Keep Of Kalessin impress me by the way inwhich nothing really feels too drawn out orbloated for the sake of it. The Grand Designis another well-worked epic and memorabletrack that blends extremity with sumptuousmelodies whilst Necropolis has a greatgroove and some really powerful mid-paced

drumming that forces the listener toheadbang whether or not they wanted to.Introspection begins quietly with a theatricalsynth-led opening before hurtling towards ahuge, anthemic power metal-esque chorusvia more lightning-fast rhythms and riffs.

The album then closes with the title

track. Classic 90s-inspired symphonic blacmetal is the bedrock, although the cleavocals are somewhat reminiscent of a toneddown ICS Vortex or Vintersorg, therebfleetingly calling to mind the likes of Borknagaor latter-day Arcturus. But then a beautifulmelodic lead guitar break or quiet synt

segment is never far away, thereby revertinto their unique approach and blowing out othe water any further easy reference pointThe track builds throughout and is led to itconclusion for the final couple of epic minutevia a recurring melody atop which sits sommajestic choral vocals and a breezy upbeaguitar melody.

And with that, Epistemology is donealthough the music stays with you long afte

the final notes have faded away. Fosomeone who wasnt expecting much, I muadmit that Keep Of Kalessin have well antruly blown me away with this recordEpistemology contains just about all ththings I like from extreme metal these daythe combination of extremity, technicaliand overblown grandiose melody anatmosphere is truly a thing of beauty ansomething special to behold. Magnificent.The Score Of Much Metal: 9

www.facebook.com/keepofkalessinwww.indierecordings.no

Battle Beast (Finland): Unholy Savior (NucleaBlast Records)

by Jojo from www.fuglymaniacs.com

2015 started off with a new band to us: Batt

Beast. These guys have been around sinc2008 and are a big deal in Finland, apparentwith many accolades from winning battle othe bands contest to chart toppers.

They are capable musicians with two othealbums under their belts. Unholy Savior is


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release that will confuse the listener. They areall over the place with their Europower metalinfluence to club pop rock ballads.

They are trying to cover a lot of ground withone album. Funky keyboard driving pop songslike "Touch me in the Night" and "Angels Cry"

are outright embarrassing.

We are jaded and ugly so we are probablyNOT the people to enjoy this, BUT if you likeWisconsin cheddar (we do in our food!)cheese topping off that fried Twinkie with atouch of power sugar, you came to the rightplace...enjoy!

2015 is off to a weak start, but we got Napalm

Death, Hate, UDO, Venom to look forwardtoo...YES!!www.facebook.com/battlebeastofficial

NightMare World (U.K.): In The Fullness Of Time(Pure Legend Records)

by Matt Spall, the Man of Much Metalwww.manofmuchmetal.wordpress.com

Now this is exactly the kind of album that Iwant to feature on the Blog Of Much Metal; astrong record that deserves attention butwhich might not get the exposure it fullydeserves. To be honest, had it not been forthe inclusion of a certain musician that I followvia social media, it may never have evenregistered on my radar either. Thankfully it hasbecause the music is too good to beoverlooked and not brought to peoples

attention.

By way of a bit of background, NightMareWorld are a British-based band, that cametogether with one sole aim, to createpowerful, dynamic heavy metal. Comprisedof guitarists Sam Shuttlewood and Joe Cleary,

bassist David Moorcroft, keyboardist NicClarke and drummer Billy Jeffs. Oh and ovocals, the band features Pete Morten, thachap who plays guitar in Threshold and who the singer, guitarist and principal song writewith My Soliloquy. In The Fullness Of Time the debut album following a well-received E

back in 2009 by the name of No Regretsreckon that, by now, I have the full attentioof many, so lets crack on.

I dont think that the members of NightMarWorld will take too much offense if I suggethat the content of In The Fullness Of Timedoesnt set the world alight in terms of ouand-out originality. Theirs is an approach thais relatively familiar in that it offers melod

power metal with lashings of synths and thodd foray into prog territory. Howevecrucially, where NightMare World really deliveand show their quality is in the song writinstakes. When it is well written and presentedthis kind of music can be the kind of tonic thais infectious, addictive and something that wplaster a big smile on the listeners face. This exactly what NightMare World do and theshould get great credit for it.

Benefitting from a great production jocourtesy of Karl Groom (Threshold) and thmastering of Peter Vant Riet (Symphony XTransatlantic), there are many ingredienlittered throughout In The Fullness Of Timethat combine to great effect. First up, eacmember of the band can really play theinstruments. Everything is executed well, with clarity and sureness of purpose to ensure thathe compositions hit the mark from the ve

first note. The guitar tones are very nicecrunchy and crisp to accentuate the riffs anto play a perfect counterpoint to the softekeyboards that dip in and out with subtletbut also come to the fore occasionally via well-placed solo or grand atmosphersweep. The rhythm section lays a soli


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foundation with the drums in particularpacking a punch. The progressive elementsare not overplayed, meaning that the songsare never compromised by an ill-judged forayinto overindulgence. This latter point isunderlined by the fact that the album is a verysuccinct affair, with the nine tracks lasting for

a total of 38 minutes. It means that NightMareWorld do not outstay their welcome; quite theopposite in fact. The band get in, do theirthing and get out, meaning youre leftwanting more as the final notes fade.

And then, inevitably, there are the vocals.Those familiar with My Soliloquy will already beconversant with Mortens delivery. Onceheard, never forgotten. His delivery may be in

the higher-pitched ranges but they remainpowerful and never veer into screechyterritory. Mortens phrasings are alwaysinteresting and coupled together with hisrange, top the songs off in a very positivemanner and help provide that je ne sais quoithat all bands need. With a vocalist like PeteMorten, theres always the danger that hecould have stolen the show and plunged theremainder of the band into the shade. Thegreat thing is this never happens, such is the

all-round quality on display.

In terms of my favourite moments on thealbum, I have to point initially to In MemoriaDi Me. After the cinematic instrumentalopener of The Mara, it wastes no time indelivering an up-tempo and groovy riff atopsome sumptuous keyboards that maintain thetheatrical feel. It then opens up into one ofthe best choruses on the album, a real

earworm as Ive discovered over the past fewdays. The slightly more melodic hard rockstylings of Burden Of Proof are very welcomeas are the quieter, darker and more broodingtones of The Ever Becoming. The NewCrusade is out-and-out power metal joy butthe best is arguably saved for last in the shape

of the closer, the truly epic and grandiosEuphoria which is a part cinematic and pametal anthem.

In closing therefore, if youre after professional, highly competent and fun dosof melodic metal with prog touches, le

NightMare World into your life.The Score Of Much Metal: 8.0www.facebook.com/nightmareworldwww.purelegend-records.com

Venom (U.K.): From the Very Depth(Spinefarm Records)

by Jojo from www.fuglymaniacs.com

From the Very Depths is Venom's fourteentstudio album.

When we heard Venom had a new album brightened our day with anticipatioNeedless to say we enjoy the hell out threlease, its a good one.

First, a word from our "fugly guy" : If youre swaiting for the old Venom sound & line-umove along. Those days are gone and if yo

cant move pass that, then go fly a kite anquit your bitching! Yes, we know you are true, elite metalhead.

We're back, as we were saying this albumdelivers. The production is top notch, thspeed and heaviness is there. Cronos stsounds good. Their sound is a bit morprogressive with blaring guitar solos coming and out like a drone dropping bombs on

locked target.

Some would dismiss this as not being a Venomtrait. You would be right. If you play lonenough you will actually become pretty gooat your craft. Yes, Rage (guitars) is showing ohis skills and some will hate that. Cronos ba


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sounds filthy and Dantes thundering drumssound great. We like this trait better thansounding old and lame. It's 2015, people, letsmove forward; the 80s are long gone and inthe rear view mirror fading fast.

Tracks that stand out: From the Very Depths,

Smoke, Long Haired Punks, Evil Law, GrindingTeeth, Wings of Valkyrie.

Truth be told we like it all. Support Venom.www.venomslegions.com

All album reviews, news and updates beloware by MMB, unless otherwise stated.

Sarpanitum (U.K.): Blessed Be My Brothers (Willowtip Records)When I first heard this album my interest waspeaked by the obvious high quality of themetal. It struck me as a bit special in metal,which made me take a more serious attitudetowards the album. Speaking truthfully, this isthe album that I have heard the most in 2015.

In part, Sarpanitum, like most metal bands,faces a certain range of problems. One of the

most difficult things to do in metal is to standout because, on one hand, the genre is so old(with origins that reach back to the late1960s), and on the other, the metal industry(e.g., listeners, musicians, press) are musicallyconservative: the biggest metal bands areliterally senior citizens who are not just verywealthy but multimillionaires. This makes itmore problematic for younger generations tobe seen and heard. If the grandpa bands

refuse to leave the stage, and the press givespriority to the corporate-millionaire bands, theyounger bands have to wait around for a longtime, playing to an audience of seven drunkpeople at a bar on Monday nights. Thus, it isdifficult to find quality under circumstancesthat discourage quality.

Yet, despite all these problems in metal musicthere are lesser-known bands that want tcreate something exciting and a bit uniquelike Sarpanitum, which appears to bmusicians focused on quality, above all. Yocould describe Sarpanitum in a variety oways, yet none of those descriptions will wo

well: Sarpanitum plays a type of metal thaimmediately gives the sensation opainstakingly crafted songs, with a standarset straight on the high quality of NileImmolation, Death, Morbid Angel: generalblasting speeds, Nile/Immolation-likheaviness topped with melodybut nosugar/cheap melodies, more like melancholic/hypnosis melodiesthat perhapcould come from Symbolic-era Death, a

done with a major symphonic tapestrperhaps coming from an Emperor/DimmBorgir-style of foundations towards thbackground of the songs.

You will notice that people writing or talkinabout Sarpanitum describe the band in termof death metal, which is normal, but then thacreates the impression that this music wouappeal to death metal audiences, maybexclusively. However, Sarpanitum is no

concerned with a single-genre sound, in narrow sense, as we shall see.

What is the difference, then?The difference is the idea that (1) it is noenough to play fast (which Sarpanitumcertainly does) and expect that that will be athat you need to make a lasting impressio(2) Sarpanitum is not satisfied with the lostandards in death metal; you just cant chu

along and expect to call it a song.; (3Sarpanitum has spent lots of time thinkinabout the guitar melodies, how to make song memorable, but not make it somclich, happy melody.

It is not easy doing these things, which is wh


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Sarpanitum sounds superior. More is more,better is better, talent is better, skill is better,maturity is better. You will know it when youhear it.

One issue that might discourage somepossible listeners is the low-growling vocals.

Sarpanitum faces a dilemma: all of theelements of the music are very developed,and only the vocals sound underdeveloped incomparison to the instrumentation andsongwriting. The problem for the band is tofind the corresponding style of vocals, andwhichever style they do, they will not pleaseeveryone, of course. That being said, it shouldbe noted that a band like Nile has shown thepossibilities for creating a variety of vocals,

within the framework of extreme vocals, asyou can find on Black Seeds of Vengeance,for instance. It is just a matter of putting ideasto work towards finding other ways forextreme/heavy vocals to come to life.

At any rate, like I mentioned earlier, this is thealbum that I have heard the most during 2015.There is much, much for the discerning listenerto absorb here. Of course, this is highlyrecommended to anyone that likes serious,

mature, talented extreme metal. Even if youprefer traditional metal, I would say, give thisalbum a listen and see if your ears perhaps dohear the difference of Sarpanitum. Themelodies should go a long way towardshelping you understand the music. I believethat this is a special album. Will you agree?www.facebook.com/sarpanitumwww.willowtip.com

Ancillotti (Italy): The Chain Goes on (Pure SteelRecords)Ancillotti is a legendary name when we aretalking about heavy metal in Italy. The singer,Daniele Bud Ancillotti is the vocalist for thehighly-regarded heavy metal band StranaOfficina, whose origins date back to 1977.

Since 1982 Bud Ancillotti is the voice of StranOfficina.

Now, Ancillotti is another band in whicBud sings, a band with his brother Bid (basand Buds son Brian (drums). The guitar taken care of by Luciano Toscani.

Therefore, when you consider th

people that are involved in this music, yoknow that the music will be a monument theavy metal, and it sounds like it was crafteby experts of heavy metal. What this means that the music aims to please. The uptempbangers and the midpace rockers, the singalong choruses, the air guitar moments, thshred segments, its all here.

Ancillotti, to me, will please people intU.D.O./Accept because the singing style use

by Bud is a rough, tough rocking singing thaoozes rocking metal all the way. By the wafor those people that also like 70s and 80AC/DC, maybe the album Back in Blackand that whole vibe in the guitars and thsinging of that album, you will like the spirit oAncillotti because this music a bit like a mormetal version of AC/DC.

Bud is one of the most distinguishinmarks about this traditional heavy metal. MAncillotti has a voice that is rough around th

edges, hes so good at what he does that htwists and turns the vocal chords for a sounall of his own. Mr. Ancillotti does this semgrowl, but its not like death metal, itmelodic, a gritty rock and roll growl. Then, halso does melodic singing, and changes thtone of his voice. Its all very U.D.O.-SaxonAC/DC in spirit, and its very appealing, anpleasing to the ear, if you like those singinstyles.

In addition, of course, the band knowvery well how to make an album that will bfun and headbanging. Anyway, as you caprobably tell, Ancillotti is about heavy metsongs for rocking out, the band seeks to writmetal songs that will hit the target and thaplease the listener into this style of metal.


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cant imagine that if you like Saxon,U.D.O./Accept, AC/DC, that you would notenjoy this music by this very recognizable andknown name in the history of heavy metal inItaly. For those about to headbang, Ancillottisalutes you with heavy metal. This band knowshow to rock. Come and get it.

www.puresteel-records.comwww.ancillottiband.comwww.facebook.com/AncillottiBand

Dew-Scented (Germany): Intermination(Prosthetic Records)Dew-Scented, like Overkill, Sodom and otherthrash bands, has developed a solidreputation for reliability. Dew-Scentedsextreme thrash (thrash with growled vocals

and some blasting) is aimed at thrash loyalistswho want more, more, more moshing-chugging grooves, more. There are 14 songson this album. Here and there, the bandshows a bit of melody and whatnot, butoverall, this is all about brutal thrash andforming giant mosh pits. I have noticed thatthe reason why supporters of the band like themusic is because of the thrash constant, theconsistent songs, the meat and potatoesstyle, the no-funny experimentation and stick-

to-what-you-do-best approach. This is anotherway of saying that Dew-Scented is fordiehard, fanatic, thrash-is-my-favorite-genrelisteners that love bands that keep themoshers happy. If thrash is what you want,and what you love, and you have not givenDew-Scented a chance, right now would bea good opportunity. Heres the door, watchyour elbows, and watch out for elbowscoming at your face right about now.

www.prostheticrecords.comwww.dew-scented.dewww.facebook.com/dewscentedwww.twitter.com/dewscented

Gruesome (U.S.): Savage Land (RelapseRecords)

Many people already know that Matt Harvefrom death metallers Exhumed loves Carcasbut now we are learning that he loves Deathalbum Leprosy (1988) a lot, too. Matt another old timers got together to pay tribute tDeath by making an album that is meant tbe a sibling album to Leprosy. In a parall

universe separated by decades aparGruesome beams up those unique vocals bChuck Schuldiner and those riffs into 2015. Ocourse, these senior citizens in 2015 know hoto make the songs sound like 1988 Death. Dyou, the listener, want late 80s Death-likmetal or not? If you do, if you really do, thethis is a very good clone transported from th80s to 2015. The old kids have gone back time to the music that turned them on t

death metal, and have shown that they havlearned well from the teachers.www.facebook.com/gruesomedeathmetalwww.relapse.com/gruesome

SoulHealer (Finland): Bear the Cross (PurLegend Records)This album happens to be one that has beegetting many repeated listens, for many gooreasons. SoulHealer is a band that is very gooat melodic metal; they write songs that soun

like hits; they have a sound that will appeal tpeople into rocking music with memorabchorus and catchy hooks. Plus, it just soundlike the band has a lot of fun interpreting iversion of traditional rocking melodic metmusic. To me, if you like Helloween, GammRay, Stratovarius, Edguy, Saxon, U.D.O., Doroand you enjoy those bands that emphasizbig-time choruses that seek to get thlisteners attention with one listen, SoulHealer

made for you.The first thing that I noticed abou

SoulHealer was the good singing. The singing very, very appealing because it is that stythat walks perfectly the line between naturatalent and acrobatics; the singing is melodicpleasing to the ear, and I find no possib


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problems that could turn some people off,like, with some bands, such as high screams,nasal singing, weird voice traits or unusualquirks. In fact, if rock radio played SoulHealer, Isuspect that many non-metal listeners intorock in general would absolutely love themusic because even though SoulHealer is a

metal band, the music is also big rock,anthem rock and sing-along hard rock, andthe Van Halen or Journey crowds wouldunderstand the spirit of SoulHealer, which istraditional to the bone. This is music played byadults, not insecure/unscrupulous peopletrying to get your attention with funny haircuts,masks or jumpsuits. These guys are probablyparents and could be teachers, socialworkers, mechanics, so on and so forth. This is

music for men and women, and of course,young people, but it exudes confidence andthe love of traditional metal and rock. It isparent metal or middle-age metal. Call itwhatever, it is just SoulHealer.

The main concern for SoulHealer is thequality of the music, and the quality is verygood, like I have been telling you. Things like,Is this fast enough? Is this heavy enough? Willit sound like modern metal? Would be itcool? and those silly questions are irrelevant

here. Of course, I think it is very cool, but Iknow that here in the U.S. the metal mediadoesnt give this form of metal much attentionbecause, well, its the U.S., and chug-rock isconsidered metal and thug-core isconsidered metal.

However, in the U.S. there are peoplewho appreciate this music. We just have toget it to them. If you find that you really enjoymetal that has singing, and metal that

concentrates on writing songs that you canremember for days and days, you cannot gowrong with SoulHealer. Give this band a listen.You will know immediately if this is for youbecause there is no mystery here: SoulHealeris melodic metal and the name of the game isquality and big-time songs.

Is it possible that SoulHealer will be yonew favorite band? Can you imagine a banthat writes hit and hit of melodic metal? Doethe idea interest you?

I cannot recommend this album highenough. I cant stop talking about it, buthave to. Ok, its your turn now. Lets see wha

you think!www.soulhealermusic.comwww.twitter.com/SoulHealerMusicwww.facebook.com/soulhealermusicwww.purelegend-records.com

Violent Hammer (Finland): More Victims dem(Shadow Kingdom Records)This demo is 17 minutes of barbaric extremmetal that contradicts all the modern notion

of brutality. Violent Hammer plays deatmetal like Venom, Hellhammer and Mantasped up to more savage, faster forms. Thguitar tone is utterly foul, the vocals sound lika dinosaur or a bear in your living room yoknow, super ugly aural primitive barbarism.www.shadowkingdomrecords.comwww.violenthammer.bandcamp.comwww.facebook.com/violenthammer

Desolate Pathway (U.K.): The Valley of th

KingDesolate Pathway is traditional Candlemasstyle of doom, and is led by former PagaAltar guitarist Vince Hempstead. This is classicminded doom with a metal guitar sound (nostoner/sludge/postmetal) and a real singeone that will appeal to those into the soulfstyle of traditional doom in 2015, with greasongs, with a wonderful vibemelodic/melancholic, soulful doom metal th

way that the master of doom Leif Edlinhimself likes it. Look, lets do this, if you liktraditional doom like I have been describinggive this band a try and see if you agree witme. If you like Candlemass, Solitude Aeturnu(and newer bands like In Aevum Agere fromItaly), then I think that you are the audienc


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for this band. What do you say? Try it out?www.desolatepathway.comwww.facebook.com/desolatepathway

Carbonized (Sweden): For the Security (VicRecords)This is a reissue of the 1991 Sunlight

Studio/Tomas Skogsberg-produced album byCarbonized, which involved Therion bossChristofer Johnsson and bassist LarsRosenberg, known for his time in Entombed.Carbonized had a reputation for being ratherweird, wacky extreme metal, but that's later inthe 90s, this is 1991, so in grind and deathmetal the really jazzy/looney sounds have nothappened yet in a big way. In 2015 this albumsounds rather normal as extreme metal,

perhaps more direct and simpler than thedominant Entombed-like sound associatedwith growling metal from Sunlight Studio at thetime. Christofer's vocals are deep/gruffgrowling (like early Therion, of course), whilethe guitar is chugging/groove-ish, so that this isnot really death metal, but more punk-ish inthat sense. Check out Carbonized if you havean encyclopedic love of old Swedish bands orof Christofer Johnsson-related music.www.vicrecords.com

The Negation (France): Memento Mori(Kaotoxin Records)The Negation is a major cacophonous carpileup of clinical modern black metal. Whenthis album is on, the aural chaos is in motion,moving from one dumpster dive of modernityto another upheaval underbelly of the guttersof grime of the cities. It sounds like cyborg-robotic hybrid of hate and fury illustrated in a

musical form. The blasting is going on all thetime and the screaming seems to stop for asecond only to start again. The bottom line:you want to hear modern extreme metal in2015 and The Negation is glad to oblige. Youmight even say that The Negationincorporates some elements of industrial

music, in the sense that it is meant to balienating and unfriendly and machine-like precision. The band surely wants to embodchaos in the sound and this they do very weI would be very interested to see how thmusic sounds live. For now, speaking of thalbum, this is the sounds of modern extreme

2015. Prepare yourself for a rather disturbinlisten and just know that this album will nevesound comfortable to the ear. There is a tinbit of melody in the black metal guitar worbut there is a whole lot of racket taking placetoo. You wanted chaos, and you got chaonow what are you going to do with it?www.facebook.com/the.negation.bandwww.facebook.com/kaotoxinrecords

Ion Vein (U.S.): Ion Vein (Mortal Music)What a perfect balance of metal Ion Vein iThe discerning metal audience into traditionaforms of metal should notice many thingabout this album that are excellent anoutstanding. One initial element to observe how remarkably complete the album soundthe experience and the skills shine througvery well, and there is an overall vibe that thband has worked a lot on the album, showinthat this work is the result of years of thinkin

about how to construct their art. This aspectwhen an album sounds carefully craftedsomething that should be commendebecause it demonstrates respect for thmusic, respect for themselves as musicianand respect for the audience that will listen tthis album. It is like the band knows that if thtargeted listener hears this album, thalistenerif that listener pays attentionwnotice that this work is no hurry-up or minima

effort project.The perfect balance of Ion Vein consis

of bringing the best elements and puttinthem to great use on this album: traditionaheavy metal, prog metal, thrash, powemetal, shred metal and classic rock. Listehowever, dont misunderstand: Ion Ve


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sounds very smooth and not like someannoying mixture of different styles. Ion Veindoes not sound like an irritating compilationalbum. Above all, Ion Vein sounds likeexperienced, intelligently crafted heavymetal.

Perhaps the greatest difference with Ion

Vein is the sound of experience. For instance,the prog metal is there, but Ion Vein does notsound too proggy, like music for musicians. IonVein is heavy metal, but the musicians havebeen around the block and sound like it. Itsnot like some bands that are happy that theycan make their songs sound like Angel Witchor Blitzkrieg or whatnot. Its not like, Wow!Look, we can write songs that sound likeJudas Priest! This band could do that in their

sleep. Seriously, this band could play thosePriest-like riffs until the cows come home ifthey wanted, but Ion Vein is beyond thenovelty aspect of heavy metal. Anotherexample would be Ion Veins incorporation ofthrash. In thrash metal, it is often the case thatthe bands seem satisfied and content thatthey have fast, galloping riffs, as if that is themain thing that is necessary for a song. The greatness of this Ion Vein album is tobe found on how smooth the band makes the

songs. To illustrate the point, I will not talkabout any of the first eight songs. Why?Because bands tend to frontload the albumswith the good songs upfront and leave thefiller at the end, as if they figure that nobodywill notice. This album has 12 songs, so,actually, I will not talk about the first eightsongs at all, which all sound very good, by theway, excellent, actually, but lets not talkabout them now. Lets go straight to the last

four songs and lets see if Ion Vein left the fillersongs at the end of the album.

Lets really put Ion Vein under themicroscope and lets see what we find! Is theband hiding the mediocre songs? Songnumber nine is called Alone. First of all, itsounds wonderful, perhaps a little bit like

Recreation Day-era Evergrey working witSymphony X. It is heavy and emotional, ansounds like a hit. It is a hit with me! So, lets gethis right, Ion Vein left this excellent song fonumber nine? I like the soloing and the overaatmosphere, too.

Lets go to number ten, then: The W

of One. This is a thrashy, heavy-metal-thundeheadbanging song. What a nice contrast witthe previous song, too; this is Ion Vein lettintheir hair down and rocking out. The bandisplays its heavy tone to the guitars, a bdowntuned thrash/prog. Number 11 is calleIn the End and the music displays not speebut rather feel. The band lays down somheavy prog/thrash rhythms and lets thsinging take over the song with a catch

chorus. Number 12 is called Twist of Fateand with it the band has decided to go ouwith a bang, not a whimper. If you want thear a heavy thrash, and even a bit oextreme metal guitar feel done in the contexof Ion Vein, then check out this song. This is headbanging song and how does it managto sound like prog metal, too? Thats Ion VeinAwesome-sounding soloing, too. The song is nice little summary of the great consolidatioof styles that is Ion Vein. It goes to show yo

that some heavy metal bands do paattention to the metal music around them.

Think about this: I did not even tell yoabout the first eight songs on this album. Ifwere to tell you about them, this review woube too long and it might as well be an essay.

The origins of this band reach back tthe 1980s in Chicago and the musicians havbeen around the block more than a fetimes. As you can tell from this review, th

band can play. The final thing I would like tmention is the singing. The vocals are botmelodic and gritty, and sound strong anupfront. There is a great quality to the singingits one voice, and it is noweird/schizophrenic, just traditional metsinging, but traditional in the sense that


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sounds like one voice that has shades andnuances. The only question that remains iswhether this band can deliver live. Being thecurious George that I am, I went to YouTubeand did not find a whole lot. However, I didfind one video of the band performing FoolsParade (song number 1 from this album) in

2013 in Chicago. Upon hearing and watchingthe video, which sounds very, very good andvery impressive (it shows that this band can, infact, really bring home the bacon live), Iwonder if this is the bands live performanceor was it enhanced in the studio. Hey, I am askeptic! So, heres the situation: to my ears, thislive video sounds like great evidence that IonVein is the real deal. It means that this band,and this album should not be ignored by any

serious metalhead into looking for quality andtalent. It looks like Ion Vein can do it all, afterall. I want to buy plane tickets to Chicagoand witness this band live for myself becausethis band sounds that good.

Very, very highly recommended forlisteners into quality metal of traditional forms.www.facebook.com/MortalMusicIncwww.facebook.com/ionveinwww.ionvein.comwww.twitter.com/IonVein

Black Trip (Sweden): Goin Under (ThreemanRecordings)Black Trips first demo is from 2012 and this isthe 2013 album. Black Trip is late 70s-stylemetal, maybe similar to the more melodicbands of the New Wave of British HeavyMetal. No Tomorrow may, in places, sounda bit similar to Running Free by Iron Maiden,for instance; other songs will give a similar

sensation. This band has former members ofNifelheim, Necrophobic, Dismember and abig whole bunch of bands. The band seemsto be led by Peter Stjrnvind, who has been inEntombed and is in Krux with Candlemass LeifEdling, and who basically can play any formof metal music, black metal, doom, death,

black thrash and now neo-70s heavy metaThat pretty much completes the circle, theAre you ready to travel back in time? BlacTrip has a good ticket for it. Of all of Peterbands, this could be the most surprisinbecause it is so different from the extremmetal for which he is known. As he gets olde

Peter cant run away from the metal of hchildhood. Peter is running free, not confuseabout the sweet danger brought about bthe lightning to the nations and the devil eyewith their backs to the walls but still fit tboogie, still fit to rock and roll and ready tmake a jailbreak when the boys are back town. www.blacktrip.sewww.facebook.com/pages/Black-Trip/184303701663532

www.threeman.net

Entrails (Sweden): Obliteration (Metal BladRecords)Entrails transports old 1989-199Stockholm/Sunlight Studio/Tomas Skogsberdeath metal from the past to 2015 in a biway. The question: Do you want, do you realwant to hear a band that takes the ball (othe early Entombed sound) and runs awawith it for a touchdown? It all depends o

you, if you cannot get enough of that soundthen you should look into Entrails and eithereminisce or discover what people mean bSwedish death metal because this is it, this exactly what the term means in 2015. Ocourse, if you have Entombed anDismember and all those bands in yocollection, and you want more of it in 201this is your invitation. The past is alive.www.facebook.com/Entrails666

www.metalblade.com/us/

Death Dealer: War Master (Pure Steel RecordsThis 2013 album from Death Dealerwhicinvolves Ross the Boss (Ross the Boss, eManowar), Sean Peck (from Cage), anmusicians from other bandsis hard-hittin


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traditional banshee-screaming heavy metal,modeled after the Judas Priest album"Painkiller" (1990), namely near-thrash/speedmetal songs, tough-as-nails sound, poundingrhythms, and some midpaced moments hereand there; its upfront traditional heavy metal,of the serious/no-happy type. Its not a new

album, but maybe you missed this one when itcame out. By the way, Death Dealer will tourEurope in July 2015.www.facebook.com/deathdealerbandwww.deathdealer.co

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