Ides of Gemini are from the US and play Doom Metal. This is their second album.
This is haunting, Old-School, 70’s retro-influenced Doom with a ghostly feel and abundant depths.
It’s low key and lo-fi, with the strength of the tracks not coming form the recording but from the raw emotion and power given off by the essence of the songs themselves.
Ethereal female vocals soar over the top of the surprisingly subtle music. The singer has a heartbreakingly beautiful voice that captivates and enthrals. Combined with the downbeat, percussive music it’s a hypnotic dirge-fest that you can easily lose yourself in, suddenly realising that the album is over and you’ve just been zoning out, letting it seep into your every pore.
This is good.
There is somewhat of a ritualistic, atavistic feeling to this; a feeling that at the end of the record something will be different, something will have changed. It’s almost alchemical in nature. The band’s ability to create such a rich, textured environment is such that the otherworldly seems distinctly possible and ripe for exploration.
Old World New Wave is an album capable of wrenching real change in the listener, forcing them to have a good long look at the darkness and returning as a different entity, as an other.
Do you want this to happen to you? Of course you do. Press play. There’s no looking back.
Osmium Guillotine are from the UK and this is their début album. They play Heavy Metal.
This is 80’s style Heavy Metal with a sexy guitar sound and plenty of attitude. The production is largely apt for this kind of band, although in a feat of differentiation Osmium Guillotine have a guitar tone that’s both thicker and heavier than most bands playing this genre and it works very well for them.
The music is played with passion and obvious zeal and everyone seems to know their job well. Nice solos too.
This is Old-School Heavy Metal that manages to encapsulate quite a few different feelings from early Metal and distil them into this release. Classic Metal is a given, but Doom Metal, Proto-Thrash and NWOBHM all get a look in. There’s even a touch of Punk to things now and again.
The vocals are great, and there’s not a hint of Power Metal to be seen. I love Power Metal as much as anyone, but it’s nice to hear a band like Osmium Guillotine who are just pure Heavy Metal without the more extravagant ostentation inherent in Power Metal. The singer here has a great set of lungs and possesses the charisma to do the tunes justice.
These are a strong set of songs with plenty of hooks and choruses to keep you coming back for more. Memorable melodies and good riffs flow freely and everything feels just as it should.
Iron Maiden, Black Sabbath, Judas Priest, Anthrax…if these bands float your boat then Osmium Guillotine are a logical band to check out. Along with the recent stellar release from Johnny Touch this proves once again what any real music fan already knew – True Metal isn’t dead.
This is the fourth album of Technical Blackened Death Metal from Solace of Requiem. They come from the US.
It’s fairly unusual for Technical Death Metal bands to have anything to do with the Black Metal style. It’s not unheard of of course, just relatively rare, so I was looking forward to hearing this band to see what they did with the style.
Straight away it’s apparent that they are very technical and they do wear their Black Metal influences on their sleeves.
The music is a dense, twisting affair. Technical Death Metal riffs fly everywhere at the speed of thought whilst Blackened keyboards and sounds add to the cacophony. High pitched Blackened screams add a further layer of evil and the entire thing reeks of a complicated rot.
It’s impressively harsh and the addition of the Black Metal influences to the Technical Death Metal core is atypical and done rather well.
The higher screamed vocals are joined by more traditional growls, once again sealing the deal between genres.
There are some great riffs here and the technicality doesn’t become overbearing or done just for the sake of it. Sometimes the band hits upon a great sounding mid-paced riff and they just let it settle in for a while and lot it flow naturally, which is a great thing to hear. This is frequently added to by keyboards and solos and the end result is very satisfying. As songs they work, and the entire album is top work by this band.
Everything is recorded well and the music is crisp and clear. These songs whirl by at lightspeed and you can’t fault the performances. As this is their fourth album they clearly know what they are doing by now and have the talent to achieve their goals.
This band remind me of someone like The Black Dahlia Murder if they had a lot more blazing technicality and Black Metal in their sound. It doesn’t completely describe Solace of Requiem of course, but it’s a good starting point; throw in some Spawn of Possession, Immolation and Arkhon Infaustus and you’re on the right lines.
Casting Ruin is a monster of an album and quite an achievement. By incorporating Black Metal into their sound they successfully differentiate themselves from hundreds of standard Technical Death Metal bands and immediately set themselves apart.
This is an album that is better than most and won’t settle for being ordinary. Solace of Requiem have their own identity that serves them well and they’re just waiting for you to discover them.
Majestic Downfall are from Mexico and The Slow Death are from Australia. Both play Doom Metal.
This is a much longer split than the norm – 67 minutes in total with each band giving roughly half of that. It also boasts quite a striking album cover. Nice.
Majestic Downfall are first off with a crushingly heavy start to things. They play Doom Metal with a slow Death Metal influence – Death/Doom or Doom/Death, whichever you prefer.
Ready comparisons to newer bands would be the likes of Eye of Solitude and that ilk. For older bands think Paradise Lost/My Dying Bride gone full-on Doom/Death. Majestic Downfall are not a band who are totally mournful and miserable though as a lot of the riffs are more brutal or energetic and they have faster moments too.
The vocals are super-deep and the music is clear and strong. Melodies are a large part of the band’s sound and they make full use of them to produce enjoyable tracks that are largely colossally heavy but also show shading with their use of lighter sections.
With a generally more upbeat take on the genre this is a good listen and makes a decent impression.
After Majestic Downfall’s crisp energetic Doom Metal The Slow Death are like a funeral procession of depressive soundscapes. The Slow Death are a much more mournful proposition and big on proto-Gothic atmosphere.
They can be said to share similar influences and a base sound to Majestic Death but they process it in a different way and the results are therefore different as well. The Slow Death are a lot more downbeat in sound, (although they do still have upbeat moments), and the overall vibe is darker and more negative. Think a band like The Sins of Thy Beloved only with a more subtle Gothic influence.
Melodic guitars draped in misery and rotting dreams are the leading lights in this showcase of loss. The band create dirges that hold interest and have some good riffs in them.
The vocals alternate between clean, ethereal, haunting female singing and deep, dark male growls. It’s a contrast that was done to death years and years ago in the Gothic Metal style but one that’s not so popular these days. I find it makes me a tad nostalgic, even. Regardless, The Slow Death pull it off with style and it sounds almost refreshing to hear the clean female/rough male vocals trading off once again.
A top quality split from two bands who have presented two different takes on a core style. It’s especially worth getting due to the length as each band essentially contribute a mini album’s worth of material to this split.
Unwilling Flesh is a one-man project designed for a single purpose only – massive killing capacity…
Immediately as the first track starts it’s apparent this is Swedish Death Metal and it has That Sound in spades – the trademark Swedish Chainsaw Assault is in full swing. Blood and carnage is everywhere.
This is closely modelled on the early 90’s Old-School Swedish Death Metal style and this album is essential pure devotional worship of this. Even the album cover screams SWEDISH DEATH METAL at the top of its lungs. With all this in mind, your tolerance for this style of Metal will largely dictate how well you get on with this album or not.
As for me, long-standing readers of this site may have noticed that I have a giant, gore-stained soft spot for this style of music. Yes it’s been done to death and yes there’s little innovation to be had here, but all of this misses the point really. Albums like this from Unwilling Flesh just plain ROCK. I mean, here we have lots of chainsaw riffs; deep, evil growling; creepy, darkened melodies; drums that want to destroy; what’s not to like?
The songs on this release are as competent and enjoyable as any in this style. There is the odd effect and added interest to enhance the core sound and the riffs and vocals are perfectly judged. The melodies, leads and solos are all played well and the guitars drive this album forward with nothing but destruction in mind.
This is obviously a labour of love though; this is not the sound of someone slapping an album together quickly just for the sake of it. Time and effort has clearly been spent ensuring that this has an authentic sound and, more importantly, that the songs are as good as they can be. Top marks for this.
If you decry the state of modern Death Metal, (I don’t), and/or just love the older Death Metal sound, (I do), then Unwilling Flesh offer a time capsule of delights on this album.
Listen loud, and get ready to dig out that chainsaw that you have packed away somewhere. You’re going to need it.
Here we have two demo recordings from Finnish Black Metal band TKNKNTJ – Takaisinvaellus originally released in 2008 and Täällä Helvetissä Olen Aina Valaistunut originally released in 2009.
Takaisinvaellus is the longer of the two releases at just under 28 minutes, with Täällä Helvetissä Olen Aina Valaistunut clocking in at just under 16 minutes.
This is Underground Black Metal with a surprisingly satisfying sound that hits all of the rights spots for people who have a lust for all that is Blackened.
The vocals are scathing and full of razorblades. The rhythms and patterns of the vocalist are pleasingly interesting and although he pretty much has a standard Black Metal croak, it’s nonetheless a great voice delivered with passion. Not content with this, however, we’re also treated to a cleaner approach on occasion and the singer pulls this off admirably. He’s sometimes backed up by the odd deeper growl as well.
The band primarily play upbeat and fast but they also have enough slower, sinister passages to keep things varied and interesting. Blackened melodies seep out of the speakers like insidious rotting worms ready to corrupt the unwary and eat away at the unworthy.
This is evil music created for the love of darkness and sin. There is a malevolent aura to the grimness of the tracks on this release.
The fact that these were originally demo recordings is hard to believe in some ways as the quality of both the music and the recordings are better than some albums from similar bands.
Neverworld are from the UK and this is their début album. They play Power Metal.
Visions of Another World starts with a short, atmospheric intro track before launching into their first song proper which is immediately all double bass, speedy riffs and keyboards/horns. It’s a strong opening that clearly states the intent of the band and the genre they play. Once the vocals kick in it’s cemented and you know it’s going to be a good run.
The band specialise in long songs that make the most of their many talents. The songs are colourful, rich and above all Metal. Soaring guitar melodies and omnipresent keyboards ensure that there’s never a dull moment to be had. There are also more solos than you can shake a stick at and it all sounds goooood.
The band boast a strong vocalist with a grand voice. He carries the tunes effortlessly and provides a focal point to the extravagant and showy music. He delivers a sterling performance.
This is a band that could never be mistaken for anything other than pure fucking Metal. This is epic, grandiose and pure class. The UK is not really known for Power Metal as much as the rest of Europe is, but Neverworld have created a shockingly good album that will surely see them rival the best that other countries have to offer.
If you’re a Power Metal fan you should make it your mission to snap this album up as quickly as you can.
Favourite Track: Blood and Romance. An epic song, the longest here and also features a great duet with Christina Gajny, (ex-Interlock). Fantastic stuff.
This is the second album from US Death Metal band Horrendous.
Firstly; what an album cover! Top marks for that for a start.
But what of the music? Horrendous play Traditional/Old-School Death Metal with a good bit of the Swedish style chucked in, although they are certainly not limited to this one particular subgenre. Their style is a wider one that encompasses pretty much all of the Classic/Traditional/Old-School Death Metal sounds and delivers them wrapped in entrails as a horrendous, (heh), package of delights for the listener to chew on.
Good riffs and good melodies are apparent from the off; this is band that knows how to rip your face off but also knows how to show restraint and take the slower, more considered route to its slaughter. Some of the guitar leads and solos on this release are sublime, enough to take your breath away. There really are some impressive moments here.
A warm, organic sound means you can almost feel the breathing of the Metal as it clobbers you to death. Even the bass is audible. The guitars have a bit of That Swedish Sound, but not oppressively so. Instead the whole thing has a Classic Death Metal stomp.
The vocalist falls somewhere between an Obituary and a Covenant-era Morbid Angel style. He has a relatively varied voice as he ranges deeper or higher than his core voice as necessary.
The songs chug and churn, flatten and demolish their way through the 44 minutes playing time with the confidence of a killer and the talent of a professional. These are diverse and dynamic songs with strong songwriting clearly stamped all over them in a big, bloody mess.
This is an album that every fan of Death Metal should get their greasy mitts on. Play loud and play repeatedly.
Death Vomit are from Chile and this is their début album. They play Death Metal.
Now that’s what you call a band logo!
This is brutal underground Death Metal played in the Old-School style.
As would be expected from a band named Death Vomit, the music is ugly and unrepentant. It’s filled with malevolent riffing and hateful drums. Savage vocals echo with the afterthought of torture and bloody carnage.
These tracks have a primitive presence; they have an almost atavistic existence as paragons of raw, underground Death Metal as was. Death Vomit play the kind of timeless, Classic Death Metal that no matter what mood you’re in it can’t help but raise a rictus grin to your face.
The songs are strongly written and it’s hard not to enjoy them as they’re so earnestly and honestly played.
If you’re looking for the latest, newest thing then this is not for you; here we have Traditional Death Metal that could honestly have come from almost any era. Suffice to say that it’s good and that’s all that matters.
With their latest EP It’s Time to Paralyze The Von Deer Skulls have shown a willingness to experiment and test the waters of their burgeoning sound. Find out more below…
For those who are unfamiliar with your band – introduce yourself!
Peter: Hi, we’re The Von Deer Skulls a France based band. We’re a trio, but some other musicians play with us sometimes. We play something the press defined as Rock Doom Ambient, sometimes Indus or Post-Rock.
Give us a bit of history to The Von Deer Skulls.
Freke: The band started in the end of 2012, we have recruited Peter at the beginning to make the visual stuffs of our last band (The Dead Sound), but after talking a long with him we decided to make a new project.
Peter: Yeah at that time I worked on some songs that have become the basis of the project, then we wrote the song “B*tches Of The Wood” which is the one was entirely composed for the band like the interludes, intro and outro.
Hektor: Then we decided to make our biography like a history to serve the visual aspect of the band.
Where did your band name come from?
Hektor: The band name come from the artist pseudonym of Peter (Peter Skull), because like a leader to the band, and the “Von Deer” come from the semi-fictional biography of the band and because we have often antlers on our video-stage costumes.
Freke: It’s also to making us a family.
What are your influences?
Peter: Influences are from everywhere, each one listens to different things, I’m a big fan of Jazz, Tool, Godspeed You! Black Emperor, indus things. Hektor listens to a lot of Post-Rock, Electro, but also Radiohead, Kadavar and Freke listens to old Rock ’n’ Roll like Black Sabbath, and some loud things like Sunn O))) or Indus.
What are you listening to at the moment that you would like to recommend?
Freke: Right now I listen to a lot of Kadavar, go to listen this German band if you don’t know, otherwise some old Marilyn Manson & NIN period.
Peter: On my side, I listen some more soft things right now as The Decemberists, Miles, Coltrane and Goon Moon and Pelican a lot.
Hektor: I listen some Queens Of The Stone Age’s songs, Pelican too and the Godspeed You! Black Emperor’s discography.
What did you want to achieve with your new album?
Peter: We would like to record songs which are the beginning of the project, to know each other a little better as a band and to show the public who we are. But it is just the beginning, a presentation.
Are you happy with how it turned out?
Hektor: Yes, we think that’s a good beginning. We worked hard to develop the visual aspect as much the music, both are equally important in our universe.
Freke: We were actually surprised to have such good returns.
Give us a bit of information on the songwriting process.
Freke: Peter works on the structure, and we’re making all the atmosphere.
Peter: As for the songwriting process it changes according to the songs. Sometimes we want that song sound like that and sometimes they grow up alone.
How do you see your songs/direction developing in the future?
Freke: I think the next songs will be more loud, maybe more direct.
Peter: We’re working on it right now, some different songs, some heavy, some more ambient, but yeah maybe more direct for the moment.
Tell us a bit more about the visual aspect of your band.
Peter: As we say before the visual aspect is as much important than music. Because it opens so many possibilities. At first I’m a visual artist, I love painting, shooting videos… for this band, because we create our own mythology and histories with that, it’s like a tale what we are proposing to the people, with the costumes, the videos…
Freke: And it’s also a way to distance ourselves from what we’re doing. The important isn’t what we look like, important is the music, the tale.
What’s next for The Von Deer Skulls?
Peter: Next, we’re working on new songs right now like I said, we hope to record them at the end of this year or in the beginning of 2015. And we’re going to do new videos to go with it.
Hektor: Yeah, don’t forget to follow us, new costumes and visual stuffs are on the go!
Ides of Gemini are from the US and play Doom Metal. This is their second album.
Are you happy with how it turned out?
Wonderbox Metal 