Methedras are from Italy and play Modern Thrash Metal. This is their fourth album.
A state-of-the-art heavy and crisp sound blares out of the speakers accompanied by a maniacal laugh and enough modern Thrash sensibilities to crush an elephant, (poor elephant). Methedras waste no time in preparing their mission statement and declaring it boldly.
This is Modern Thrash Metal and it’s ready to riot. Essentially the band mix elements of modern bands such as Lamb of God, Soilwork and Byzantine, Thrash bands like Annihilator and Testament and a touch of Death Metal to create an aggressively heavy album that pulls no punches. Think Testament’s Low updated for 2014.
The vocals are suitably extreme, combining screams and shouts with some deeper growling, as well as the odd melodic semi-cleaner chorus. The singer manages to achieve this with no small amount of charisma as well. Well done that man!
The songs are mature, well written and overall the album as a whole feels very comprehensive. The combination of aggressively Metal riffs and harsh vocals make for a good listening experience. With memorable choruses and hooks aplenty this is a fine collection of songs that I can imagine going down a storm live.
System Subversion is modern Metal without any of the commercial pandering or posturing that is so prevalent in today’s music. It’s modern with a heavier angle and a proper appreciation for Metal – it doesn’t let the side down.
Horizon is a one-man project from Finland. This is his second EP.
This is a short release containing Ambient soundscapes, Neo-Classical sounds and moments of Shoegaze that are all perfectly suited to night time reflection and introspection.
By its very nature a release such as this will be atmospheric and emotive and Horizon does a good job of playing to the innate strengths of the style.
There is also a good amount of variety of composition and delivery apparent in these 5 songs. We get ambient textures, piano, drums, bass, electronica, guitars and other sounds all used to create a vivid palette of emotional resonance with the listener.
This is strongly written music and creates the right mood of darkness with a hint of light; music for when night is starting to fade and dawn is approaching.
The compositions are mature and although they have elements of melancholy the overall beauty of the tracks doesn’t let this become overly negative.
The slight Electronica influence is subtle enough to have a positive impact on the songs without becoming stifling or overwhelming; rather it’s another string to the artist’s bow that he uses to enhance the songs and give them a modern flavour.
This is a very good EP and my only real criticism, such as it is, is that it’s a very short release. Apparently he’s working on a full album so hopefully this will make an appearance at some point in the future. Keep a close watch for it.
In the meantime, get a hold of this little gem. Sit back, relax and take it all in.
Feed the Ego is Algebra’s second album and a veritable delight for all fans of the harsher, darker side of Thrash Metal. Tony and Phil from the band filled me in with some insights into what makes them tick…
What are your influences?
Tony: So many things ! Regarding the effort put in Algebra I listen to a lot of not-so-easy-listening thrash, for example Forbidden’s “Distortion” record, “Time Does Not Heal” by Dark Angel or some Forced Entry. Personally, regarding my style of drumming, it’s quite easy to name: Lombardo, Hoglan, Benante and as a bonus I always put a Lars Ulrich drum fill in every record… it’s up to you to find it.
Phil: I think that every band that I intensely listen to inspires me, whether it’s conscious or not. I started listening to thrash and then thrash and then some more thrash. I think my first influences are Megadeth, Forbidden, Testament, etc. As time went along, I started listening to more and more extreme metal. And slowly some death metal parts started to appear in my songwriting.
What are you listening to at the moment that you would like to recommend?
Tony: Right now while I’m answering your interview, I’m updating my Accept compilation, which is a band I really love. Besides that, I really recommend Misery Index’s latest album “The Killing Gods” to any listener of extreme metal.
Phil: Not really new bands. I listen to a lot of bands like Dawn and God Dethroned right now
What were/are your aims with Feed the Ego?
Tony: To give the listener a real album, not just one or two songs that stand out, but a progression. Of course, it’s not a concept album, but you can listen to it in its entirety without being too disorientated. The lyrics, for us, are globally as important as the music, they also need a certain degree of coherence.
Phil: To make the best Swiss thrash record since Polymorph hahaha. I set multiple goals for this album. The first is a musical one. I think that after Polymorph, everything had to be redone regarding songwriting and searching for new ideas etc. I find it to be a difficult moment because you easily say to yourself: “damn, how will I find new ideas”. But slowly it all comes naturally and the songs started to spawn and then all your fears disappear. The second goal was to give the new album more exposure than Polymorph. When you do things DIY-style, your exposure tends to be quickly limited. We were lucky enough to have contact with Eric from UnspeakableAxe who offered us to release our next album.
Are you happy with how it turned out?
Tony: I’m the happiest guy on this damn earth. I’ve been fighting ever since the first time I sat down behind the drumkit and played songs from Kill Em All to make an album of this quality, even if it’s not related to Kill Em All. Right now, when listening to my own album, I can objectively say: Damn, this is not bad!
Phil: Oooohh yeeeeeesss. First off, I’m very happy with how the CD turned out, at all levels. Whether it’s the playing, the lyrics or the production. Furthermore, our expectations were fulfilled, like I said, by the fact that UnspeakableAxe released our record. The communication and exposure is already y so much bigger than it was for Polymorph, thanks to their job.
How do you feel about the recording/production of the album?
Tony: We are more than satisfied with the job Andy Classen did in only 4 days on our first record “Polymorph”. Because of that, we worked with him again and are very happy about it. The sound remains very natural compared to a lot of modern productions, and that was our main goal. Furthermore, having played with Holy Moses, he very easily understands our examples and comments.
Phil: I’m really happy with the way the album sounds. We all worked really hard for it to be as clean as tight and right as possible. Some songs needed more hours of work than others and at many times we were on the verge of kicking us in the nutsack but globally speaking, everything sounds like we wanted it to sound. Because we like our sound to be as natural as possible, we once again recruited Andy Classen, who already worked on Polymorph. His job is even better this time.
What can you tell us about the lyrics?
Tony: The lyrics are strong and in accordance with my opinions and thoughts. I will never talk about something I don’t believe in or that has no interest. I like to study human relationships, the current state of the world, and many other subjects. It seems like it’s too well thought of for thrash, but I’m not so sure of that!
Give us a bit of information on the songwriting process.
Tony: Two words: Guitar Pro (version 3.0. haha). It’s actually very easy for us to write songs. Phil and myself are the biggest input of raw ideas. After that, I sit down and think about not putting 52 riffs per song, but to develop a single idea in many different ways. And that’s what’s funny in Algebra’s music, many people here think that we spend a thousand hours to arrange our songs, but in general, the same idea will be used for the main riff, the arpeggios, the clean bits, etc… It’s a question of arranging and that makes all the difference when you listen to it, believe me.
Overall you work in the heavier/darker side of Thrash Metal I’d say – was this a conscious decision or something that developed naturally?
Tony: Both. Like everybody, we started by playing Slayer and Sepultura covers among many others, but it didn’t totally complete all of our wishes and ambitions, albeit the genius of these bands and the undeniable contribution to metal music, they lack of musical elements that we keep close to our hearts. Slayer, for example, did it really well on a record like “Divine Intervention”, with a wide range of riffs, vocals, great arrangements, without losing the aggressive and fast side that defines Slayer. I listen to a lot of things with great care, Voivod, Coroner, Pestilence, Atheist, thus when I write songs, I want to add as much variation in the music as possible.
Phil: I’d say that’s something that developed itself through time. Regarding myself, I don’t write songs saying to myself “ah shit, this needs to sound more evil”. I roll with sensations in music and it’s that part that I like the most. When I write songs, I will not propose something that doesn’t touch me, even if the riff is cool.
Your song My Shelf is a little different to the rest of the album – it works really well and adds a bit of variety. Tell us about this song.
Tony: Simple (as usual): Reviews. We listen carefully to positive and negative reviews that listeners make about our music, that’s what allows us to move forward. I can very well recall the day when I read the next comment, on Youtube I believe: “Never slow down and never play ballads, it’s for pussies.” That’s when I was forced to show that we also like that and that it can rightfully be put on a thrash record. For example, Testament’s ballads are musical pearls that shouldn’t be ignored.
How do you see your position in the wider Thrash Metal musical framework/genre?
Tony: I’m really happy we can spread albums on a worldwide scale like we did with “Polymorph” and now thanks to UnspeakableAxe Records, this is going beyond our expectations. We reach a lot of listeners that are very demanding and genuine connoisseurs, that are satisfied with our records. And I won’t hide to you that not reaching the 15-year-old thrash revival fans isn’t important to us, because that style doesn’t affect us, we think it’s empty, musically speaking, and redundant.
Phil: We’re not that bad at all hahaha. All jokes aside, I think it’s hard to find your place in a scene satiated with “revival” bands that nag all the people that like real thrash. I believe that thrash isn’t just about having Ed Repka artwork, tight pants and Converse Weapons.
How do you see your songs/direction developing in the future?
Tony: We are going to continue in the same direction by keeping ultra solid foundations of old school thrash while adding all the other musical elements that influence us.
Phil: Regarding myself, I never know which direction I’m taking whenever I write new riffs or new song ideas. But I think that over time, I’d like to have songs with more complicated structures. Having more technical songs will come naturally with time but I don’t want to leave the “in your face” side.
What’s next for Algebra?
Tony: Gigs! Gigs! Gigs! We really love to play live and to share our music with fans and listeners.
Phil: Since the departure of our vocalist/guitarist, the main priority is to find new members. A lot of work is ahead for us!
Hailing from Denmark, The Manipulated are an Instrumental Sludge Band and this is their second release.
Well, I must admit that the album cover immediately puts me off this release. I mean, who wouldn’t be put off by that? But let’s persevere and see what lies within, as ultimately it’s only the music that matters.
It’s immediately apparent that the music is well worth the listen, as interesting and crushing Doom riffs come falling out of the speakers. The music they create is rich and textured in the gloomy-but-devastating arts.
Whether slow and miserable or upbeat and despondent, The Manipulated create an aural tapestry of doubt, wretchedness and recrimination. It’s effective and noteworthy.
The band combine noise and trumpet into their Sludge assault to add extra layers of filth and intrigue into their dismal sound.
It’s not all crushing Doom and Sludge however, as there are plenty of lighter moments too, although these are just as dark as the heavier ones. This aspect of their sound shows a Post-Metal influence and is reminiscent of bands like Isis, only with more shadows and places to hide.
The Manipulated have produced a very enjoyable and solid piece of work with Neon Messiah. It’s bleak and unforgiving but that only adds to its charm in my book.
This is the second album from Finland’s Fractured Spine.
Fractured Spine play Blackened Gothic Doom/Death Metal. Which is to say that they take the Doom/Style, add Gothic touches to the music and then layer a Black Metal fuzziness, melody and feel over everything. Early 90’s Gothic Black Metal mixed with Doom/Death.
They are also a bit more experimental than a lot of bands who play the Doom/Death style, which again gives them more of a Black Metal theme to my eyes.
Vocally the band eschew the normal purely Doom/Death deep vocals for a more varied approach involving a mix of deep growls, high screams and Gothic cleans.
Some songs have more of a Black Metal feel, others more of a Gothic Doom feel and occasionally even an early Lacuna Coil or …In The Woods style makes an appearance.
The keyboards and Gothic effects are prevalent throughout the album and it’s a refreshingly different take on the Doom/Death sub-genre.
A surprisingly varied album that experiments with its sound to create a mixture of related styles under one album.
Protestant are from the US and play Blackened Hardcore Metal.
This is raw, dirty and exceedingly violent in nature.
The riffs have a real Blackened colour to the melodies, which are merged with a Punk attitude and delivery style. The Blackened Punk style has yet to be done to death and Protestant do it very well indeed.
Protestant inhabit a similar space stylistically to bands such as Hexis and Flesh Born, and if you like them you should check out Protestant, (and vice versa). All three bands are exemplars of this kind of music.
Protestant write good riffs and sound thunderously impressive. They let the darkness pile on thick and heavy, all the time allowing the driving Hardcore mentality to energise the songs and propel them forwards.
The vocalist croaks and rasps his way through the 8 tracks like his lungs are going to give out at any minute. He accompanies the apocalyptic sounding music like the final harbinger of the worst things yet to come. His is the voice of anger, rage and dark tidings.
Protestant have released an album that bridges the gap between the sometimes dissonant worlds of Hardcore and Black Metal in a way that sounds like they were born to do this.
In Thy Name is an album propelled by exquisite Blackened riffs and Hardcore energy the likes of which we don’t see very often.
Columns are from the US and this is their début album. They are a Grindcore band.
Columns play Grind that’s groovy and passionate. This is the kind of music that ignites pits and gets even reluctant Metalheads to start moving. Even when they’re playing at top speed and blast beats are flying everywhere the band have a definite swagger and rhythm to their grinding destruction.
Think rhythm, groove, brutality and individuality; think Pig Destroyer meets Aborted with the odd Carcass riff. That’s right, it’s wet-dreams-made-reality time.
The music is full of high energy riffs, crushing chugs, eviscerating speed and the occasional, remarkably Rock ‘n’ Roll, solo. For songs that are this short and brutal there is a surprising amount of variety and interest to be had.
The vocals are deep and growled or higher and intense. The singer has a good voice and range with some variety between these two ends of the spectrum occurring throughout the tracks as well.
Please Explode has a Hell of a lot of personality and each song is a hothouse of great riffs and brutal design. The thing Columns excel at, however, is ensuring that the songs become more than the sum of their parts. These riffs make full use of the band’s songwriting skills to really maximise the impact they have throughout the songs.
Rather then merely a few, (or a lot of), riffs stitched together to create a fast song, as a lot of Grind bands do, Columns create dynamic and purposeful riffs that gel with every other instrument and work synergisticly with the rest of the tracks to create a complete listening experience. It’s even more remarkable that this happens in songs that average about the 2 minute mark.
This is impressive, modern Grind that has a unique identity. It’s destined to be mentioned in the same breath as bands like Pig Destroyer as forerunners of the genre.
I loved this album. I’ll be very surprised if this doesn’t place highly on my year end list.
Essential listening for Extreme Metal fans everywhere.
Unaussprechlichen Kulten are from Chile and this is their third album of Death Metal.
HP Lovecraft-themed Death Metal is never going to be completely run-of-the-mill and Unaussprechlichen Kulten are no exception. This is Death Metal with an evil, occult feel to it.
They superficially draw comparisons with Incantation/Immolation, (only with shorter songs), as well as the odd bit of Morbid Angel. They have the kind of interesting songwriting that seems to be more related to the Old-School than a lot of current Death Metal, which gives them a Classic Death Metal sheen to their gloriously nefarious sound.
The relatively short songs add up to a relatively short album, so Unaussprechlichen Kulten definitely don’t outstay their welcome. What is here, however, is a very enjoyable collection of tracks that mix the aforementioned bands/styles into a melting pot that’s probably to be used as the basis of a potion or concoction that will end up summoning some long lost god or other. Until that time of our ultimate demise, however, we are free to enjoy the Death Metal that these Chileans have unleashed on the world.
The dark, heavy riffs and eerie leads are propelled by solid drumming and a singer who is doing his best Incantation impression. The songs have a darkly dynamic feel to them and the malevolent aura they exude is toxic to the touch. I also like that the bass is actually audible and provides a useful backdrop to the rest of the music.
If you’re bored of the same old generic Death Metal then have a good listen to Baphomet Pan Shub-Niggurath; for fans of well-played, interesting Death Metal that’s far too wicked and corrupt to be normal.
Almøst Human are from Switzerland and play Metal with a modern, Electronic twist.
This is well-recorded and has a solid sound. The band have a late 90’s/early 00’s vibe to them that recalls bands like Spineshank, Mudvayne, Downthesun and Mnemic, only updated for 2014 and with keyboard/electronic effects added in.
This is not a style that I hear too much any more but Almøst Human are convincing and this is an enjoyable little release. The songs are longer than you’d expect for this style, which allows the band to develop the themes and feel of the songs without rushing them or purely focusing on mosh-friendly sections or what not.
These are good songs and I like the focus on developing a completed feeling rather than just stringing several riffs together with a chorus. Almøst Human appear to be attempting to pick from the rotten corpse of Nu-Metal; they aim to take what so many liked from the style and leave what made it so disposable. I’m pleased to say they have largely been successful in this regard and Ø is a comprehensive and enjoyable release.
This means that we have ended up with a heavy, modern Metal release with added effects/electronics that has a lot of enjoyable melodies. This vocalist shows himself to be a very capable singer as well as being able to scream when he needs to.
This is the third album from Austrian Black Metallers Stormnatt.
Stormnatt immediately score points by not messing around with pointless intros; first song Ascension of the Scarlet Angel gets straight down to business and introduces the band with their fast and atmospheric style of Black Metal.
Influenced by the second wave of Black Metal, we have plenty of darkly melodic riffs and more evocative guitar parts than you can shake a stick at. The guitars are the foremost feature of Omega Therion for me as they carry the songs along on waves of darkness and have a warmer than average sound for Black Metal. Like liquefied crushed velvet.
The riffs are even quite varied on occasion; everything from the standard Darkthrone-template-riffs, to a touch of Blackened Thrash to Blackened Trad Metal to Blackened Doom Metal…it’s all here. The key word is Blackened, of course, as everything sounds as Black as night and twice as evil. This works wonders for the songs as it keeps things interesting. The band know their chosen style and know it well, but these added variations on the theme help keep things fresh and the listener engaged.
Works for me. This is an album I’ve really enjoyed.
This is not experimental, or avant garde, or pushing new boundaries, or whatever; this is Black Metal done with purity and strength of purpose. Backing this up you have songs that are comprised of emotive riffing and a singer who knows how to rasp a good performance. This is Black Metal done well and done right.
At just under 40 minutes in length this is a storm of night and blackness that it’s easy to find yourself lost in.
Methedras are from Italy and play Modern Thrash Metal. This is their fourth album.
Wonderbox Metal 