This is the third album from German Death Metallers Deathrite.
This is Old-School/Classic Death Metal that’s filthy and dirty as Hell. It also has a poisonous mixture of both Doom and Hardcore influences pulsating through its infected blood.
Yes, this is an interesting mixture of different types of extremity all wrapped up in a Death Metal giftbox. There’s an air of the Swedish style to their attack, as well as a whiff of a chainsaw in their sound; there’s a Doomy Asphyx/Incantation vibe going on; there’s a Hardcore/Grindcore energy à la Nasum; and there’s plenty of balls-ahead Death Metal fun for all of the family!
The songs are heavy and nasty, with plenty of bite and a substantial presence. This is a compact little album lasting 35 minutes that doesn’t outstay its welcome and is in fact the kind of thing you’ll find yourself playing again almost straight away.
The singer has a throaty growl that’s malignant and rabid. It complements the aggressiveness of the music perfectly.
This is a top quality album full of decent Metal tunes and plenty of big riffs, with everything you see and hear being covered in filth, of course.
Deathwhite’s latest EP Solitary Martyr is a professional 25 minutes of polished Melodic Metal. Find out more about them below…
For those who are unfamiliar with your band – introduce yourself!
We are a trio of musicians spread across the United States, coming together with the sole purpose of creating new music together. We do not play live, so our efforts are limited strictly to the studio.
Give us a bit of history to Deathwhite
We formed in 2012 under the idea to play darker, melodic metal. Given our current locale, it was decided early on that we would not play live, but rather be a studio entity. The approach has worked well thus far. In 2014, we released our first EP, Ethereal, and are following it up with Solitary Martyr.
Where did the band name come from?
Our name is derived from an Omnium Gatherum song, which dates back to their 2003 album, Spirit and August Light. As you are aware, coming up with a proper band name is a difficult task. However, we feel “Deathwhite” is a suitable one, for it doesn’t pigeonhole us, although there is a severe proliferation of bands with the word “death” in their name. We are simply adding to the list.
What are your influences?
Our main influences would be Katatonia, Anathema, My Dying Bride, Alcest, Isis, Junius, and Green Carnation. Surely there are countless more lying beneath the surface, although we try to be a band that doesn’t prominently display its influences on its sleeve.
What are you listening to at the moment that you would like to recommend?
A band of tremendous influence would be the Netherlands An Autumn for Crippled Children. Vocally, we are worlds apart, yet their melodic phrasing, penchant for atmosphere, and memorable nature of their songs is utterly captivating. They cannot be recommended enough.
What’s your favourite song on the EP and why?
“Suffer Abandonment” is certainly a favourite, although all five songs have their merit. It was released as the EP’s first “single” because it was probably the most immediate. On the vocal-front, it’s probably the best representation of what the band is capable of as well. It was an easy choice to release first.
What are the subjects/themes of the songs on this EP?
The themes range from self-doubt (“Pressure”), frustration with organized religion (“Suffer Abandonment”), the treatment of marginalized people based on their demographics (“Vain”), withstanding the urge to fall in line with the faceless sheep of the world (“Solitary Martyr”) and how people need to do a better job of owning up to the decisions they make in life (“Only Imagined”).
Give us a bit of information on your songwriting process
Because none of us reside in the same city, all songwriting work is done via computer. Files are traded, ideas are exchanged, then we firm the songs up prior to hitting the studio. The band’s previous version often rehearsed in-person, but that’s simply not possible with this lineup. It actually makes the whole process much easier, believe it or not.
How did the recording go?
The recording of Solitary Martyr was about as effortless and enjoyable as one could hope for. Brette Ciammara is a total pro, and is a master at getting strong, professional sounds. Plus, he did plenty of post-production work that enhanced the album. There’s not much more you could ask for in a partner like him.
How do you see your songs/direction developing in the future?
Deathwhite will never undergo a radical change in direction, but we are planning on adding keyboards to our sound. It’s unlikely we will take the bait of having growled/death metal vocals, either. Clean, well-sung vocals are very much the strength of the band, and, it’s a challenge to write for them. The end result, though, is worth it once everything is put together.
What’s next for Deathwhite?
Right now, we are composing songs for a full-length, which should see the light of day in 2016. In addition to that, we will be promoting Solitary Martyr throughout the remainder of the year.
Antropofago are a French Death Metal band and this is their second album.
Antropofago’s latest release is based around the concept of dementia and is a mixture of brutality and technicality.
The Brutal Death Metal influences propel the band’s carnage forward effortlessly while their Technical Death Metal side allows them to experiment with all manner of interesting ideas. The two warring sides complement and rein each other in so that the songs don’t go too much in ether direction.
It’s also important to note that the songs are, in fact, actually songs. A lot of Death Metal has a tendency to focus on the individual riffs or sections of a track with only a superficial regard for the song as a whole. Antropofago take a holistic view of the tracks and each song is recognisable as such. The album benefits from this consistency of vision and the tracks on Æra Dementiæ are memorable, surprisingly catchy and actually individually identifiable as distinct entities.
The band have a decent heavy sound that complements their style. The groovy bits sound meaty, the fast bits sound unstoppable and the technical wizardry and lightning melodics sound hot enough to burn. The bass is just audible enough to make an impression and the drums are crazily inhuman on occasion.
The singer has a classic Death Metal growl that seems to suck all of the air out of the room.
Antropofago have unleashed a very strong album on the world. This is some quality Death Metal that combines songs, brutality and depth into an appealing package. In a world of disposable music this one has some longevity to it.
Effa Lente is a one-man Irish project that plays Instrumental Progressive Rock. This is his first release.
Apparently inspired by watching a Quentin Tarantino film, this is noticeably cinematic music that has a lot of different moods and themes throughout its 45 minute playing time
Did I mention that it’s just one 45 minute track? Well it is.
Various moods, emotions and feelings play out during this extended playing time and the impression is very much one of a Progressive Rock film score.
It’s as if Steven Wilson, Anathema, Opeth, Queen, King Crimson, Glorie and The Monroe Transfer all got together to score a film. It’s a very impressive listen that manages to fully engage and hold the attention despite not having any vocals to act as a focal point.
The music jumps around all over the place in a seemingly natural way, rather akin to how the different scenes in a film move from one to the next. It never seems jarring and almost has a narrative feel to it as different themes are taken, explored and then left until we meet up with them again at a later point for either a resolution or a cliffhanger.
70s moods and contemporary Rock sounds merge together in a cinematic melange that is very impressive. Considering this is the brains behind the outfit’s first attempt at doing something of this nature it’s a huge success.
This is the début album from German Brutal Death Metal band Intravenous Contamination.
Intravenous Contamination play USDM/Slam style Death Metal with plenty of chug, groove and blast.
The vocals are guttural pigsqueals that are as inhuman as any in the genre. The singer has a voice that’s as brutal as the music and she sounds utterly deranged.
The songs are the equivalent of boulders dropping form the side of a mountain. Unsubtle, blunt-edged and dangerous to get in front of.
The recording is dense and thick, layered with violence and ill-intent. This gives the songs a squirming, alien feeling that makes their aggressive assault all the more effective in some ways, but curiously muted in others.
Heavy riffs abound and there are no flashes of colour or melody. Everything is blood-red and determined to cause maximum damage.
This is one for hardened Death Metal fans who only care about the ugliest music. Brutal carnage and bloody rage resides within. Dare you listen?
Kataklysm are from Canada and this is their twelfth album. They play Death Metal.
Veteran band Kataklysm have returned with another 46 minutes of music that continues with their trademark vision of Death Metal as a balancing act between brutality, melody and groove.
After decades of practising and perfecting their art Kataklysm have their formula nailed down. Their Death Metal combines blasting brutality with a melodic sensibility that means these are actual songs first and foremost. Kataklysm were never going to put out a dud album, and Of Gods and Ghosts once again shows why they’re at the top of the Death Metal pile.
As with all of their work it’s very riff-heavy, with colossal grooves a way of life for the band. Their songwriting has been perfected to the point now where these riffs merge seamlessly into their more melodic counterparts and Of Gods and Ghosts is so incredibly catchy and full of hooks it’s just a surefire winner for anyone how likes Melodic Death Metal.
With all of this being said, I like the fact that there’s still extremity here; this is Death Metal after all. Kataklysm can still blast with the best of them and there’s plenty of Northern Hyperblast alongside the slamming riffs and melodic refrains.
The vocals are shouted growls that are a little higher on occasion than some of their past releases, but still do their job well in providing a focus point other than the frenetic riffs or pummelling drums.
For Death Metal that’s straightforward, instant, heavy, melodic and very, very catchy you can’t get better than this.
This is the third album by Canadian Heavy Metallers Iron Kingdom.
After enjoying their second album Gates of Eternity, Ride for Glory promised much. Once again we’re treated to Iron Maiden/Iced Earth-style Heavy/Power Metal that’s epic and embraces fully everything about True Metal.
The solos and leads are shred-tastic and everything is flashy, ostentatious and overblown. Although they don’t reach the totally over-the-top heights of a band like Freedom Call, (one of the best), it doesn’t seem to be for the want of trying.
The vocals are just as histrionic as the previous album and work just as well with the music.
Iron Kingdom know their style very well and Ride for Glory is the complete Heavy Metal care package. Loving attention has been lavished on this release and the songs may not be perfect but what they sometimes lack in creativity is more than made up for with passion and zeal.
Unless you’re completely allergic to fantasy/mythology-inspired Heavy Metal it’s hard not to like this. The band have an enthusiasm for their subject and genre that is positively infectious.
This is the second EP from US Melodic Metal band Deathwhite.
We’ve met these before on their début EP Ethereal. Katatonia, Paradise Lost and Anathema remain prime influences but once again Deathwhite put their own spin on things.
The songs have a confidence and maturity about them that belie the band’s youth; these are the songs you would expect from a group that had been together for many more years than this. These are well-written tracks that wear their influences on their sleeves and yet don’t sound derivative.
I can easily imagine these tracks being played on a large stage. The melodic nature of the band stands up to scrutiny well and this is a memorable, catchy collection of songs.
It’s all very easy listening and just seems to melt out of the speakers. The singer’s voice in particular is soft and enticing.
My only complaint with solitary Martyr is that it could do with a little more variety as it relies a little too much on the heavy/light approach that was so popular in the late 90s/early 00s, but this is really only a minor thing as ultimately these songs are very enjoyable.
This is the second album from Nergard, a solo project from Norway that features a multitude of guest singers and musicians from bands such as Aeon Zen, Amaranthe, Pagan’s Mind, Primal Fear, Withem and others.
The songs are Melodic/Power Metal with a side of quality Rock.
The combined experience and talent of the various singers means that there’s no issue in the vocal department. The myriad styles of the different vocalists all add something to each track and no guest is wasted or under-used. It’s not a complete testosterone-fest either, as we are also treated to a few female singers whose presence raises the bar.
The multiple singers give the album a diverse feel while the music and production gives it a cohesiveness that is necessary to avoid it sounding like a compilation. The singer of Aeon Zen appears on many of the tracks, either doing main or backing vocals, so he remains a familiar thread throughout, too, helping to keep things stitched together.
The songs are well-written and are chock full of hooks, catchy melodies and harmonies. Each song has its own character and personality, and this is further enhanced by the vocal variety.
The brain behind the outfit plays drums, bass and keyboards, with everything else being handled by one of the many guests. The musicianship is first-rate and there are enough solos included for the guest musicians to get their teeth into.
At 45 minutes in length it doesn’t outstay its welcome and overall A Bit Closer to Heaven is a really enjoyable listen. The songs grow on you even more upon repeated listens and I know I’ll be spinning this again and again in the future.
Die Krupps are from Germany and play EBM/Industrial Metal. This is their eighth album.
This is music that’s catchy and can carry a good beat. For easy and lazy points of reference think Rammstein and Nine Inch Nails.
The songs incorporate a wealth of electronic and Industrial elements into the tracks and these form the basis of the band’s sound; an electronic base with guitars built on top.
There are some good grooves on this release and the songs give the listener plenty of excuses to bounce along to the energetic music.
Die Krupps are a veteran band that have influenced a whole host of other groups and on V – Metal Music Machine they clearly know what they want to achieve and how to do it. These songs are written and performed by experienced hands and this comes out strongly in the music.
Most enjoyable – check out the latest from Die Krupps.
This is the third album from German Death Metallers Deathrite.
Wonderbox Metal 