Fractal Generator – Macrocosmos

Fractal Generator – Macrocosmos
Everlasting Spew Records
Release Date: 15/01/2021
Running Time: 42:18
Review by Dark Juan
10/10

Greetings and salutations, dear friends! I trust I find you busily subverting the Church of lies and its nefarious teachings? Yes, yes, I know it is Sunday evening and ‘I’m A Celebrity’ is on and if you’re from Gogledd Cymru you’re very excited because its being filmed at Gwrych Castle and you might get a glimpse of those two tiny Geordie psychopaths PJ and Duncan or Liz off of Coronation Street. That’s no excuse. Myself, I prefer to flagellate myself with twigs of gorse whilst looking at pictures of Saoirse Ronan and tighten my Satanic cilice around my thigh a couple more notches rather than watch that lowest common denominator shite. I like it when the red water comes out…

And I have appeared to happily happen (pleasingly alliterative) upon an album that is a mightily satisfying soundtrack to all manner of self-punishment for the Devil’s benefit. Yes, I am currently blasting my brain to jelly with Fractal Generator’s latest offering and it is a jolly splendid piece of experimental death metal with the odd tinge of black and industrial just for shits and giggles. Hailing from fuck knows where because their Facebook “About” section is in binary (subsequent investigation says they are from Sudbury, Ontario so they are based in Canada. Allegedly – This could be deliberate misinformation and they are really a bunch of extraterrestrial robot assassins) and this already has my antennae quivering. It is well known that I am a big fat sucker for showmanship and gimmickry and performance and Fractal Generator do not disappoint in this regard, being mere numbers with a visual aesthetic not unlike Watchmen’s Looking Glass character, being faceless and masked in mirrored fabric. All’s going well so far then. How’s the music?

Fuck me, this music is savage. FG appear to have harnessed the sheer violence of The Berzerker, toned down the sheer insanity of those worthy Australian nutters and formed some kind of mesmerising new hybrid of death metal and atmospherics. You have all the elements of classic DM – earthshaking guttural vocals, the kind of drumming that should not be physically possible by a human drummer and some spiky as fuck riffing, but added to this there are electronic passages, strange little guitar parts that add a quality of uneasiness (discordant notes and strange chords) to the music and quite frankly the most fucking demented piece of cello playing I have ever heard and will ever likely be played. Cello played at death metal speed? FUCK YEAH, BABY!

The opening offering on this possibly magnum opus is also the title track and begins (briefly) with the sound of Leviathan (if you’ve watched Hellbound: Hellraiser II you’ll know what I’m on about) before dispensing with the pleasantries and just launching itself teeth first at your throat and hanging the fuck on in there for the next 42 minutes, ripping and tearing at breakneck speed with mechanical servo noises whining as it struggles for purchase on your blood soaked body. This is not a record that is in any way subtle, even though there are some quite sublime moments on it. The ultraviolence of the opening song and title track is staggering, with keyboard and industrial noise overlaying the kind of classic death metal not heard since Deicide were still good. Add into that some interesting key changes and the vocal interplay between 040118180514 and 102119200914 (no, this is not some of the usual stream of consciousness bullshit that masquerades as my sense of humour. This is actually the given names of twin vocalists and bassist and guitarist respectively. The drummer is called 040114090512, fact fans. There will be a test later.) Nine songs in (‘Ethereal’) there is a step change from sheer battering speed and a more mid tempo grind comes into play, with an intro that is very reminiscent of Emperor in their later days, until the middle eight after the solo where the band have clearly downed a shit load more billy and decided to get on with it again and the speed builds to some utterly magnificent death metal riffing over single piano notes, which ends the album in an excellent fashion. My personal highlight though, is track two, entitled ‘Aeon’, which isn’t so much a song as a musical journey through all manners of extreme metal from proggy Emperor style riffing to pure unadulterated death metal, to some of the heaviest industrial I have heard to almost romantic black metal. To pull that off without it sounding like four songs in one is fucking staggering, technically speaking and as a really, REALLY shit guitarist it just makes me want to cry like a little baby because it is absolutely fucking insane and I would lop off testicles to have written and played it. And it is faster than a trip to the lavatory after eating California Reapers too. And possibly equally as painful. ‘Contagion’, four tracks in, is another fine song with echoes of “Chapel Of Ghouls” era Morbid Angel in the keyboards and a little proggy guitar riff just to get your attention.

Both vocalists also go straight for the jugular. Each appear to have a throat made out of gravel, pitch and barbed wire and both emit tarry, sepulchral grunts capable of removing faces at three hundred yards. There’s no fucking about from either of them and this is to their credit, because I have missed the absolute war and thunder of a proper death metal vocal. However, the one demerit I can find on this record is the production, which is best described as “rudimentary”. The bass is extremely difficult to hear, even while wearing cans, and the guitar is sometimes a bit choppy. The drums are ok though even though I could only really hear the crash cymbal properly and sometimes the more experimental sounds overwhelm the rest of the music. Funnily enough, though, I cannot say it is a bad thing because Fractal Generator and their music have made me develop this idea of them and their music in my mind, which is some kind of amorphous biomech hellbeast, rotating slowly through forms, sometimes organic, sometimes mechanical and sometimes both but always absolutely lethal and supremely dangerous. And this idea has come about because of the visceral nature of the production as well as the different musical styles welded together on this most mighty of records.

It’s safe to say I’m a bit of a fan. This is extreme metal as it should be played. Crushingly, stupendously heavy, ballcrushingly intense, staringly demented and savage and absolutely fucking unmissable. To see Fractal Generator and The Berzerker on the same bill would be sex wee central. Luckily for the Hounds of Smell and Mrs. Dark Juan and the good burghers of Elland, this time I have rigged up a sex wee extraction system and underground pipeline to large storage tanks off the coast of Kodiak, Alaska. I had a feeling that there might be floods.  Yet another band have utterly fucked up my top ten of the year and now I’ll have to do it AGAIN. Thanks, numbers. You’re fucked if you

think I am typing those again in this review, boys. Assuming you are boys. There’s no way of telling with those masks. Anyway, well done, assumed gentlemen. Well done.

The Patented Dark Juan Blood Splat Rating System (Le système breveté d’évaluation des éclaboussures de sang Dark Juan pour les Canadiens Francaises. De rien) awards Fractal Generator a humungous 10/10 for a record that has excited it as very few records do. It would have been hundreds of millions out of ten but Esteemed Editor, Metal God, and Mighty Smiter Of Dickhead Record Reviewers Rick “Fists Of Steel” Tilley said I’m not allowed to do that anymore.

TRACKLISTING:
01. Macrocosmos
02. Aeon
03. Serpentine
04. Contagion
05. Chaosphere
06. Shadows Of Infinity
07. Pendulum
08. Primordial
09. Ethereal

LINE-UP:
040118180514 – Bass, vocals
102119200914 – Guitar, vocals
040114090512 – Drums

LINKS:

Disclaimer: This review is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

The Damnnation – Parasite EP

The Damnnation – Parasite EP
Xaninho Discos
Release Date: 10/11/2020
Running Time: 16:06
Review by Victor Augusto
9/10

Do you know what makes me happy in the early hours of the morning? The answer is waking up with a song glued in my mind and ideas being whispered into my ear (hello schizophrenia), ready to write a review of a debut release! Yes, I love to write about debut albums/EP’s and follow the evolution of a band after that, but today we have a slightly different situation. As I have already said, in previous reviews, I give my entire support for a band, no matter if it is a young one or a famous one. If I realise that I am investing my time in a professional group, then it is all ok for me. Amateurs can go away! Therefore, I hope you are all well, safe and also ready to understand my ideas! This is another fail, on my part, to try and write a good intro, sorry boss! (It’s a perfectly good intro Victor – Rick)

The Damnnation (yes, it does have a double ‘N’, because it is a mix of Damn and Nation, as Vocalist/Guitarist Renata Petrelli already explained in the band’s EMQ’s interview) was created last year with three musicians that have good experience with other bands, including tours in Europe. This experience has helped them to compose mature songs, with well thought out arrangements and a good production. Good balance! Yes, there is a good balance between all the instruments and the sound which is crystal clear but dirty!

The song ‘World’s Curse’ was not randomly chosen to open the EP. It was the first single released and it showed to the world the face of this young, new-born band. Even with a different line-up at that time, it is perfect to understand their musicality. Firstly, simple but catchy riffs. You get all the heaviness and speed that a good heavy Metal bands should deliver, thanks to Cynthia Tsai who smashes her drum kit without mercy and the independent bass lines of Camis Brandão which bring an extra punch to this track. The melodies from Renata ’s guitar, also her solo, are a great highlight on the band’s sonority. I really loved it.

The current line-up hasn’t changed the band’s spirit, in actual fact, bassist Aline Dutchi and drummer Leonora Mölka have helped the band’s evolution and it is notorious for what you hear from ‘Apocalypse’, the second track, until the end of the EP. Again, the melodies and all guitar work from Renata, together with the excellent bass work from Aline, is brilliant. They perfectly complement each other. As for Leonora, the word that came to my mind most while I was listening to this was versatility. Of course, she also hits hard and doesn’t let the speed diminish, but her work with the hi hat, crash, ride, and china cymbals brings a kind of simplicity in the midst of all the blast beats and fast stuff, that is very well thought out.

The title track has clean guitar and also acoustic guitar, in a perfect ‘Fade to Black’ (Metallica) style, but don’t be fooled, this is an extremely heavy song. The rhythmical cadences along with good double kicks and strong bass brings a good and dark atmosphere. The main difference here is that this song makes you feel like Amon Amarth members are banging their heads while playing ‘The Pursuit of Vikings’. Is this enough for you to enjoy this track? I hope so! The closing song ‘Unholy Soldiers’ is a mix of all elements that I’ve mentioned so far, with a good and slow distorted bass intro that progressively gains speed and heaviness. This time I felt that the song leaves more space for Renata’s vocals, with a good interpretation of what happens inside the mind of a profane soldier.

As mentioned before, The Damnnation’s members have brought good experience from all their years on the road. If you ask me about the highlight, I will answer that there is a positive aspect that goes further than just talking about the musicality. For me, freedom is what I believe is the most important definition of this EP. Freedom to explore vocal lines, work on melodies and mix different styles into the same song. As a consequence of this freedom, you can hear an incredible EP from a band with just one year of existence. Can you imagine what these three women are going to achieve on a complete album? While we wait for that, listen to “Parasite” without fear.

TRACKLISTING:
01. World’s Curse
02. Apocalypse
03. Parasite
04. Unholy Soldiers

LINE-UP:
Renata Petrelli – Vocals and Guitars
Aline Dutchi – Bass and Vocals
Leonora Mölka – Drums

LINKS:

Photo by Jessica Mar

Disclaimer: This review is solely the property of Victor Augusto and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Putrid Offal – Live at Hellfest 2017

Putrid Offal – Live at Hellfest 2017
Xenokorp
Release Date: 13/11/2020
Running Time: 28:15
Review by Rick Eaglestone
7/10

It doesn’t need me to point out the obvious reasons why there hasn’t been much live music year and I know that I’m not the only one who marked up their calendar in 2019, ready for all the festivals this year, only to either cross them off or forget to do that and when the time comes to reveal the next month seeing the reminder of what could’ve been…

Yes, there’s been livestreams, but even then they haven’t been entirely straight forward so when I threw my hat into the pot to join the Ever Metal family I was very pleased indeed to learn the band I had chosen to review have a newly released live album as I had only been playing their latest studio album “Sickness Obsessions” last month. In fact, the latest studio album contains a DVD with the full set of this show.

It is highly fitting that Putrid Offal chose this show as it their home country after all. The album wastes no time starting, it is straight in with the frenzied ‘Livor Mortis’ and the gut wrenching ‘Purulent Cold’.

The lead single from latest album ‘Let There Be Rot’ slices back into 2015 and revisits the track ‘From Plasma To Embalming’.

The absolute highlight for me is hearing ‘Repulsive Corpse’ I love the guitar work on this track it’s been my favourite track of theirs since I first heard it, and nothing has changed.

Skull Pounding alert here for ‘Necrotic Mutilation’ which is followed by shortest track of the album ‘Gurgling Prey’ which has drumming very reminiscent of incredibly early Slayer and both ‘Rotted Flesh’ and ‘Organic Excavation’ have a great death gore throwback feel to them. Finally, the set ends with a short savage attack in the form of ‘Suffering’.

For a live album “Live At Hellfest 2017” is incredibly short but having watched the actual live performance it is the full set, as it was performed. This is a shame as I would’ve liked to hear a few tracks from the early splits, in particular ‘Obscurum Per Obscurius’ and maybe a little more crowd noise/interaction for the real live feel.

TRACKLISTING:
1. Livor Mortis
2. Purulent Cold
3. Let There Be Rot
4. From Plasma to Embalming
5. Repulsive Corpse 2:51
6. Necrotic Mutilation
7. Gurgling Prey
8. Rotted Flesh
9. Organic Excavation
10. Suffering

LINE-UP:
Franck Peiffer – Vocals
Philippe Reinhalter – Guitars
Frédéric Houriez – Bass
Laye Louhenapessy – Drums

LINKS:

Disclaimer: This review is solely the property of Rick Eaglestone and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with THE FALLEN PROPHETS

EMQ’s with THE FALLEN PROPHETS

Hi everyone! Welcome to our new EMQ’s interview with Cape Town, South Africa based Death Metal band, The Fallen Prophets . Huge thanks to lead guitarist Francois van der Merwe for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

My name is Francois van der Merwe and I play lead guitar for The Fallen Prophets, The Band officially started in the fall of 2014 in a small town in South Africa. We launched our first album in 2016 called “Slaughtered At The Altar”. From there we launched an EP in 2017 called “Death Conquers Life” We then did some tours of South Africa and Europe and then came back to release a full-length concept album at the beginning of 2020. We also released our first ever music video at the end of 2019 which was a great success. We now are releasing a 6 Track EP called “No End In Sight” that was written and recorded in South Africa’s lockdown.

How did you come up with your band name?

The concept behind the band name is that there were 4 Prophets that were killed in their church and they came back to haunt their killers and make it a living hell for the living.

What Country/Region are you from and what is the Metal/Rock scene like there?

From South Africa, The metal scene is not that big here…we get big International bands here about twice a year, if we are lucky. The local scene is dead and awaiting revival due to Covid there are no more clubs left.

What is your latest release? (Album, EP, Single, Video)

Latest releases are “Relentless Killing Motivation” full album and the music Video ‘Nothing To Kill Nothing To Feed On’ the links are below:

www.thefallenprophets.bandcamp.com/album/relentless-killing-motivation

‘Nothing To Kill, Nothing To Feed On’ (Official Video)

Who have been your greatest influences?

There have been so many. It started with Hypocrisy and Bloodbath and grew into something faster and angrier like Cattle Decapitation and Aborted.

What first got you into music?

Playing guitar basically got me into music.

If you could collaborate with a current band or musician who would it be?

There are so many, so to list a few – Mendel Bij De Leij, Travis Ryan, Peter Tagtren, Ola Englund and Julian from Benighted.

If you could play any festival in the world, which would you choose and why?

It would definitely be Wacken in Germany, I think that one is on all bands bucket list. It would truly be a dream come true.

What’s the weirdest gift you have ever received from a fan?

A Neck Brace covered in blood.

If you had one message for your fans, what would it be?

Life is tough but never give up.

If you could bring one rock star back from the dead, who would it be?

Not a very metal artist but I would definitely bring back the Rock and Roll Legend Freddie Mercury.

What do you enjoy the most about being a musician? And what do you hate?

I love writing music and playing shows for our fans.

I hate the most how this small industry got so saturated.

If you could change one thing about the music industry, what would it be?

Better marketing Strategies and making it more accessible.

Name one of your all-time favourite albums?

“Nightmares Made Flesh” – Bloodbath

What’s best? Vinyl, Cassettes, CD’s or Downloads?

What’s the best gig that you have played to date?

Best would be Rockstadt in Romania.

If you weren’t a musician, what else would you be doing?

I am not a full-time musician; I have a day time job as well. I’m a VOIP Engineer.

Which five people would you invite to a dinner party?

Pieter, Dayna, Zariha, Pieter, Anekke

What’s next for the band?

We are releasing a 6 Track EP called ”No End In Sight” on the 11th of December 2020 via MMD Records. After that we will see what happens as COVID-19 has not been kind to us.

What Social Media/Website links do you use to get your music out to people?

www.facebook.com/the.fallen.prophets.band/
www.thefallenprophets.bandcamp.com/
www.twitter.com/tfpdeathmetal
www.instagram.com/thefallenprophets/

Jaffa Cakes? Are they a cake or a biscuit?

Biscuits

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Grimorte – Esoteric Ascendance EP

Grimorte – Esoteric Ascendance EP
Self-Released
Release Date: 31/10/2020
Running Time: 18:01
Review by: Tammy Lomax
10/10

My head has been battered since starting my new job, systems overlapping systems galore! But the weekend is here Mofos! And do you know what this entails? That’s right, MUSIC!

Let me introduce you to Grimorte. They are a new two-man project consisting of…Kieran Scott from the band Ashen Crown, who is the vocalist and Lewis Borthwick, from the band Archierophant, who plays the instruments and is Master of Production. The project itself sits somewhere between atmospheric Black/Death Metal and Doom.

Grimorte are all things chilling and they explore the mysteries that surround Aleister Crowley and the occult, with this debut EP telling us of a woman’s journey, whose innocence is ripped away and replaced by possession.

Ok, at this point I am shitting it!

I can’t even sleep with my feet outside the bed and I am, admittedly, a huge fluff pants! Friends have stated many times “It’s just a film” But that is NOT how I see it! It’s a script FYI! Someone out there has this in their head, and do you know what is worse?! SOMETIMES THEY ARE BASED ON TRUE EVENTS!!

Right, where was I? Oh yeah, this possessed lady, right, (ok, I’m calming my tits).

“She is lulled into the esoteric pagan and Satanist practices of the golden dawn and awakes to find her new demonic form.” I would be livid if I woke up to this, mind you first thing in the morning…there is definitely a resemblance.

To add to the dark story, obviously “Esoteric Ascendance” was released on 31/10/20, Halloween…

Now let’s get to the music.

Opening Esoteric Ascendance is track ‘The Procession’ The vocals hit you immediately, personally the most deathly vocals I’ve heard in a while. You begin to unravel and visualize unsettling scenes, breaking down the story piece by piece and become drawn in with the simple note progressions. It’s truly poetic and full of passion. This duo are definitely onto something.

The following track ‘Sequestrate’ slowly builds with the most haunting atmosphere. It is more melodic, and it marches you into the EP. It feels nostalgic with a doomy edge and vocals that are accompanied by a depressing energy and added layers. This is a much more beefy and weighty accomplishment.

Third track ‘Esoteric Ascendance’ is definitely an eye opener for me, or shall I say a chaotic roller coaster. The shrieking vocals and slow tempo lead me to a distorted guitar section, catapulting me straight into the plot of the story! They then proceed to rip me away, hurling me back and forth, my head is all over the place, in the best possible way, of course.

Finally, ‘Firvir’ is 100% advanced modern black metal. By this point I feel possessed, and maybe that’s exactly Grimorte’s aim? This is my favourite track on the EP, there are layers upon layers, and you can really explore and hear the depths of their combined talents and ideas. It is an offering of chilling detail and rich tastes; you cannot dismiss the infinite variety of intonations that have been used meticulously.

This 18-minute EP had me enthralled from the first second. It is elegance at its finest, with the combined skills of Kieran and Lewis brought to the fore. Just like baking the perfect cake, It is carefully structured, and the sections do not over spill or run into each other and as a debut release they have done an unreal, first-class job.

TRACKLISTING:
01. The Procession.
02. Sequestrate.
03. Esoteric Ascendance.
04. Firvir.

LINE-UP:
Kieran Scott – Vocals.
Lewis Borthwick – Instruments/Production.

LINKS:

Disclaimer: This review is solely the property of Tammy Lomax and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Six Feet Under – Nightmares Of The Decomposed

Six Feet Under – Nightmares Of The Decomposed
Metal Blade Records
Release Date: 02/10/2020
Running Time: 43:57
Review by Dark Juan
6/10

Good afternoon, my dear friends and lovers of all things dark and gloomy. The weather at Dark Juan Terrace is inclement to say the least, to the point where the hellhounds are refusing to go for walkies and the Dread Lord Igor Egbert Bryan Clown-Shoe Cleavage-Hoover is wearing a most fetching Halloween jumper, mainly because he’s a spoilt little fucker. Mrs Dark Juan is sitting opposite me as usual, fabricating a Krampus mask (as you do) as I sit in my little darkened corner of West Yorkshire listening to some heavy metal music for your edification and interest. Obviously, the weather has prevented any subverting of God’s word or proselytising, and frankly day time TV is a bit shit unless you want to watch a pity party every commercial break.

Having dragged myself away from the painfully slow fermentation of the IPA I am brewing in my cellar, I instead have decided to utilise my time in a profitable manner and share with you my thoughts (disjointed and perverse as they are) on the latest platter of splatter from death metal legend Chris Barnes and Six Feet Under. This review is fuelled by fried egg sandwiches and copious amounts of coffee.

Album opener ‘Amputator’ kicks things off with a sinuous guitar riff before crashing into a speedy, classic DM song – indeed this could be a product of the Morrisound era of classic death metal, until Chris starts to vocalise. Note I don’t use the word sing. Singing is not what Chris Barnes does. His voice resonates in lower registers and vibrates internal organs to frequencies that turn them to chunky salsa. It’s a worthy, if unimaginative opener, one that’s perfectly listenable but does nothing new for the genre.

The second tune, ‘Zodiac’, is where it falls apart somewhat. Whilst laudable in its effort to do something unusual with the classic DM sound, SFU elect to mix death metal with groove. And while the music is satisfyingly both groovy and chunky and played with vim and vigour, Chris’ vocal talents are sadly lacking. During the points where there is just silence and his voice, it does unfortunately sound like Six Feet Under are fronted by a tone deaf, horrifically stoned and mutilated Muppet.

The third song (entitled ‘The Rotting’) is somewhat better although Barnes appears to be leaking at some points in it, where there are odd little bits of high-pitched squeaking. It’s a shame because it starts and fills the middle eight with a fucking magisterial riff of complexity and splendour and a skin flaying solo that every death metal guitarist would have given several appendages to have written.

The bizarre squeaking continues on track four at the end of several lines. It’s almost as if Chris is trying too hard to vocalise in the register he normally employs. In fact, throughout the whole album, it appears that Chris is struggling with his voice – gone is the sepulchral, deep throated roar that graced the finest of his work with Cannibal Corpse, replaced with a scratchy, painful sounding grunt that detracts mightily from the listening experience. He sounds short of breath as well.

This is a crying shame because Six Feet Under as a band serve up some of the grooviest death metal this hellpriest has ever heard. Dialling down the savage speed a few notches has enabled the music to breathe and allows the tiniest bit of melody to creep in. The production on the album is also bang fucking on. The drums are all perfectly audible, and the bottom end heavier than your sister in plutonium panties, the bass guitar thunderous and the bass drum (which normally sounds like men machine gunning dead rats against taut stretched shrink wrap on death metal) resonant and bowel shakingly present. The cymbals (DM drummers are beloved of the bell on the cymbal – lamentably less so of the cowbell) are arctically clear and pure and cut through the mix perfectly. The guitars are well produced and meaty and the solos effective and deadly.

‘The Noose’ is another song where the musicianship outstrips Chris Barnes’ vocal. His limitations are once again laid bare during quiet moments and the odd strangled squawk he’s employed liberally throughout the record is back. It’s a shame because the music on this tune fucking slams, the band is tighter than a gnat’s chuff and it’s a mightily effective slab of metal goodness.

‘Blood Of The Zombie’ is a fucking mighty tune, bass led and groovy as fuck, with lacerating solos and death march paced chugging from the guitars, and a subtle electronic undertone lending a menacing ambience normally lacking from DM. Thankfully, Chris stops doing mynah bird impersonations on this one and grinds out a meat-mincing growl instead.

By far the weakest song on the record is ‘Dead Girls Don’t Scream’. The band dissolve from inventive, groove metal influenced death metal to simply chugging their way through a number devoid of all inspiration and excitement apart from more ferocious soloing on the guitar. ‘Drink Blood, Get High’ is another weak link in the record – more mid tempo standard chugging along before an interesting middle eight and Chris Barnes just barking “Drink blood, get high”, swapping the lines around and repeating this ad nauseam does not a good song make, no matter how cool the key they are playing in is. And then it peters out before coming to a clattering, unresolved end.

The closer is ‘Without Your Life’ and suddenly SFU remember they are a classic DM band again. The tempo is punishing, the riffs fast and lethal and the vocal much more fitting to the music. Even though it ends abruptly, as if the song was chopped roughly in half.

In conclusion then – A damned fine amalgam of death and groove metal marred by a vocalist who either can’t cut it anymore or was trying far too hard. It leads to some unintentionally humorous moments when the scratchy, unpleasant grunt turns into mental squeaking. When you have the likes of contemporaries like The Black Dahlia Murder taking death metal further into experimentation and exploration, you have to hand it to Six Feet Under for trying to update the blueprint of classic death mental without straying too far away from the purists. My problem is that this record and the quality of the musicianship and the arrangements would benefit mightily from the vocal of someone like Trevor Strnad, who encompasses a vocal range able to convey light and dark, from gut-churning growls through to icy, cold screaming. I hate to say it, but Chris Barnes has become a liability for Six Feet Under. His vocals are tortured, and not for the right reasons. Even legends need to stop sometime. Perhaps it’s Chris’ time, and that’s sad because he was my gateway into death metal.

The Patented Dark Juan Blood Splat Rating System is very disappointed in Six Feet Under right now. It was expecting magnificence, and all we got were flashes of inspiration. 6/10 for a record that could have been utterly monolithic. But isn’t.

TRACKLISTING:
01. Amputator
02. Zodiac
03. The Rotting
04. Death Will Follow
05. Migraine
06. The Noose
07. Blood Of The Zombie
08. Self Imposed Death Sentence
09. Dead Girls Don’t Scream
10. Drink Blood, Get High (Medical note: Do NOT do this. You won’t get high. You’ll need to visit the lavatory a lot because blood is a diuretic…)
11. Labyrinth Of Insanity
12. Without Your Life

LINE-UP
Chris Barnes – Vocals
Jack Owen – Guitar
Ray Suhy – Guitar
Jeff Hughell – Bass
Marco Pitruzzella – Drums

LINKS:

Disclaimer: This review is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Death – Death By Metal Documentary

Death By Metal
Directed by Felipe Belalcazar
Produced by Mental Pictures
2016
Review by Chris Galea
8/10

Consisting almost entirely of interviews, “Death By Metal” is an engrossing documentary that tells the story of Chuck Schuldiner and Death, the band Chuck spearheaded, and which was fundamental in spawning an entire Metal sub-genre…Death Metal.

The interviews gather testimonies and thoughts of persons closely associated with Death…persons such as family members of Chuck, band members, journalists and Death’s band manager. Although the documentary was produced after Chuck’s death, there are even archival interview excerpts with him.

What emerges is that Chick was yes a musical genius but also a flawed one with his own idiosyncrasies such as impulsivity, paranoia and susceptibility to mental exhaustion. In fact, while director Belalcazar’s admiration for Death and Chuck is obvious throughout, “Death by Metal” is more than a eulogy to the USA musician. For example the documentary reveals the extent of Chuck’s tantrums and his inability to pin down a stable line-up. It reminiscences on the numerous European tours, including some crucial ones, that Chuck cut short…and consequently alienated several people.

“Death by Metal” is a treasure-trove of trivia that will delight the most hardened fan but even viewers unfamiliar with the band or the music genre should find it quite interesting. For at the end of the day this is the story of a human being’s pursuit of his dreams and the importance of a loving family in providing an environment conducive to those very dreams. These are factors anyone can relate to. When Chuck’s sister recalls that the day Chuck was told he had a brain tumour was also his birthday, you can’t help feel a tinge of sorrow.

As far as being a musician was concerned, Chuck Schuldiner was the epitome of avant-garde in the sense that his mindset was constantly aiming to be creative besides cultivating musicality and technique. This sometimes conflicted with market demands and is another factor the documentary tackles.

Towards the end Glenn Drover (guitarist who played with bands such as Death, Megadeth, King Diamond and Testament) shares a reflection that’s actually a good summation of Chuck’s raison d’etre. Drover said “[Chuck had…] the balls to do something that he wanted to do and not conform to what everybody else though he should be. That is the testament to a true musician….somebody who follows his own path and not caters to what he thinks other people expect from him.”

“Death by Metal” is about life as much as it is about Death.

Watch the trailer here:

LINKS:

Disclaimer: This review is solely the property of Chris Galea and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with ESCARION

EMQ’s with ESCARION

Hi everyone! Welcome to our new EMQ’s interview with Melbourne, Australia based Melodic/Blackened Death Metal band, Escarion. Huge thanks to them for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

We are Escarion, we play melodic-progressive-post-apocalyptic-experimental-blackened-death-jazz and we’re here to make you dance like it’s the 1920’s. The 30’s were too dark of a time, man.

No, but actually we do play Death Metal with melodic, progressive and black metal elements. The four members of this band have unique musical interests, which combined gives us our sound.

Originally, we started out as a three-piece and we had a different drummer. He left on mutual terms for personal reasons but we’re still great friends with him, he continues to support the band.

We released an EP together, “Pinnacle of Neglect” after the three of us had broken away from our original thrash metal band, Vintage Ruin. It was a messy break, and the EP reflects this notion with anger fuelled songs recorded and produced at a home studio.

After we rode the wave of this EP, we decided we wanted to tackle bigger and more ambitious projects, which is how the idea for the album was conjured.

Seven deadly sins, seven songs to explore them, as well as an opening song and a finale.

At this time we recruited Tommy Lewko (formerly of Omegacron and Tyrant’s Blood) as the second guitarist and Tim Bottams (of Wulfenite) as a drummer. After writing was completed, Escarion set for the studio with Monolith Studios in the Mixing/Engineering/Producer & Support chair. Although the recording was disrupted by the COVID-19 pandemic, Escarion managed to complete recording by mid-2020.

The singles ‘Envy’ and ‘Greed’ are out now, and will be followed by the release of the album, “Pillars of the Faith”.

How did you come up with your band name?

An Escarion, according to the Oxford Dictionary, is a love child of a Bear from Space and a Hydra from the depths of the Yarra River with a fatal scream…

What Country/Region are you from and what is the Metal/Rock scene like there?

Melbourne, Australia. There are heaps of fantastic bands here, however our government doesn’t support our scene very much. They’re more interested in destroying the environment and feeding the rich than to associate with heavy metal artists (the real legends of Melbourne). Sigh.

What is your latest release? (Album, EP, Single, Video)

Our latest release is our single ‘Greed’, off our upcoming album “Pillars of the Faith” which is out 29th January 2021.

‘Greed’ (Audio)

‘Envy’ (Lyric Video)

Who have been your greatest influences?

Death, Behemoth, Trivium, Mayhem, Darkthrone, Megadeth, Iron Maiden, Mgla, Revocation, Rivers of Nihil, Rush, Black Sabbath, Opeth, Judas Priest.

What first got you into music?

The Wiggles.

If you could collaborate with a current band or musician who would it be?

I would say Behemoth, but that’s wishful thinking, maybe a more realistic or even artistic collaboration would be someone from a different genre. Kendrick Lamar would be fantastic, or even someone more low-key like Boogie.

If you could play any festival in the world, which would you choose and why?

Wacken, is it even a question? (You would be surprised at some of the answers we get!! – Rick)

What’s the weirdest gift you have ever received from a fan?

Someone gave us an old shoe that they drew our logo on it, it was, ah… flattering…  and smelly.

If you had one message for your fans, what would it be?

Thank you! You awesome & patient beasts!

If you could bring one rock star back from the dead, who would it be?

Just one? Probably either Eddie Van Halen or Neil Peart, maybe both at once, maybe we’re just that powerful…

Or maybe Euronymous. Just so we can watch Varg Vikernes have an aneurysm.

What do you enjoy the most about being a musician? And what do you hate?

The best thing about being a musician? Getting to play in front of an audience, playing the music you love and have a genuinely fun time playing. Moreover, if you’re lucky enough, to collaborate with the best musicians, producers to create the best music you’re capable of. The worst? When you’re stuck in a lockdown and you really can’t do much, not even see the people that make life easier (the band).

If you could change one thing about the music industry, what would it be?

Spotify and other music streaming services to pay artists properly.

Name one of your all-time favourite albums?

“Exercises in Futility” by Mgla. I could say others, but this album is flying way under the radar for how impressive and inspiring it truly is.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Vinyl! However, we’re currently getting CD’s made so I think we’re required to say CD’s so you can buy ours (do it, we dare you).

What’s the best gig that you have played to date?

The best gig that we have ever played was our last one. It was at The Tote in Collingwood, Victoria. We played downstairs and we had a massive bill of great Melbourne death/ progressive metal bands which included Shredder, Werewolf, Wulfenite & Headless. We had a larger audience that night than ever before, we premiered three new songs live and then we saw our biggest mosh pit ever. Couldn’t have felt better seeing people mosh this good and enjoying our music.

If you weren’t a musician, what else would you be doing?

Lying on my bed and slowly slipping into madness.

Which five people would you invite to a dinner party?

Gordon Ramsay, Nergal, Kendrick Lamar, Jimmy Page and Matt Heafy. Could you imagine? We’d change the world.

What’s next for the band?

We’re getting ready for our release of the album on January 29th. We’re just a local band but we are determined to make a huge statement with this album. We have put our blood into these songs and we’re ready to share it with the world.

What Social Media/Website links do you use to get your music out to people?

We have our Linktree here!
https://linktr.ee/escarion

Jaffa Cakes! Are they a cake or a biscuit?

Doesn’t the name imply the answer? And who likes Jaffa?

Thank you for your time. Is there anything else that you would like to add?

Septem Peccatis Mortis, Septem Virtutibus Vitae. Memento Mori.

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with INANIMALIA

EMQ’s with INANIMALIA

Hi everyone! Welcome to our new EMQ’s interview with Ribeirão Preto, São Paulo, Brazil based Death Metal band, Inanimalia. Huge thanks to vocalist, Alessandra Lodoli for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

My name is Alessandra Lodoli and I am the vocalist of Inanimalia. The band was originally formed by Rafael Cazuza (Ex-guitarist), Thales Carosia (Bassist), and me, having at first the proposal of a more direct sound and influenced by Death Metal. We released our first EP, “A Message”, and soon we called drummer Vagner Venâncio to participate in the project. Over time, we incorporated influences from Doom Metal, Groove Metal, and Progressive Metal, with longer and more melodic songs. With Rafael’s departure, we chose to call two new guitarists Victor Prado and Marcelo Gratão, to complement the guitar arrangements and fill the songs more. We are currently launching a new work, “Intrínseco”, which will feature 5 tracks.

How did you come up with your band name?

Rafael Cazuza came up with the band’s name. When it was created, he sent to Thales, and to me, a list of possible names, so we selected the name Inanimalia, which means “without a soul”.

What Country/Region are you from and what is the Metal/Rock scene like there?

I’m Brazilian born in Ribeirão Preto, São Paulo. The metal scene in the region is weakened, and we have few places to present even though it is a large city. I would say that it is practically always the same faces who have been going to the events; unfortunately, I feel that the public has not been renewed.

What is your latest release? (Album, EP, Single, Video)

Our latest release was the song “Eye of Isis” and it’s on our new album “Intrínseco”.

Who have been your greatest influences?

I can’t mention just one influence, but several like Angela Gossow, the singer who made me want to learn guttural, Alissa White-Gluz, John Tardy, as well as lyrical singers like Tarja Turunen, Ana Netrebko and Elina Garanca.

What first got you into music?

Since I was very young, I liked to sing, inspired by the singers Tarja Turunen, Simone Simons, Floor Jasen and Sharon den Adel. I was very influenced by my brother and my cousin who listened to rock and metal. When I discovered Arch Enemy, at age 15, I fell in love with Angela Gossow’s vocals and so, I decided to learn experimentally. When I was 16, I decided to enter the music conservatory but with a focus on piano. When I was 19, I decided to participate in choirs from my city and it was from there that I started taking singing lessons, focused on the lyrical singing technique, in addition to developing a great passion for Opera. I decided to continue my music studies by joining the USP music course, and it was then that I met Thales Carosia (current bass player from Inanimalia).

In 2016, Thales invited me to join a band of authorial songs along with guitarist Rafael Cazuza, a project without a drummer until then. I embraced the project with body, soul and voice, using the extreme vocals together with the lyrical.

If you could collaborate with a current band or musician who would it be?

I would love to sing with Alissa White-Gluz, I’m a huge fan of her work.

If you could play any festival in the world, which would you choose and why?

I would choose Wacken for sure, since a lot of metal bands dream to play at that fest besides having incredible ones on all line-ups.

What’s the weirdest gift you have ever received from a fan?

Some pick-up lines hahahaha.

If you had one message for your fans, what would it be?

Enjoy our songs because they’re my most precious assets.

If you could bring one rock star back from the dead, who would it be?

Freddie Mercury, his voice is unique.

What do you enjoy the most about being a musician? And what do you hate?

Well, first of all, singing / playing is always quite fun. Having a band, rehearsing, playing and creating becomes a kind of addiction. I think that creative work has both the bad side and the good side of being a musician: on one hand, it’s really cool when you can put something personal in a composition, when the creative work yields something new. On the other hand, frustration is part of the creative process, since in a way you can compose 10 songs and enjoy 4 of them, for example. Trying to create something original at the same charges you and leads to more authentic results.

If you could change one thing about the music industry, what would it be?

Well, talking about the Brazilian underground scene, I think there’s a lack of professionalism, a better level of appreciation for the bands’ musical work, especially the creative work. For example, it can be very costly to make a presentation and if there’s no return, it’s not viable in the long run. On the other hand, many bands manage to circumvent this difficulty with alternative ways of making a return. But in general, it ends up being quite common creative musicians prefer to work with covers in their repertoire, because it brings return. Unfortunately, this weakens the “renewal” of Rock / Metal bands.

Name one of your all-time favourite albums?

There are so many good albums that becomes hard to choose one, but I’ll choose “Doomsday Machine” from Arch Enemy.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

I like the sound of vinyl, but downloads are more practical.

What’s the best gig that you have played to date?

We participated in many awesome events, for example one called “Rock Solidário”. It was a very well organized event, with several very good bands and nice audience. The band was very well synched, and it ended up being a very remarkable show for us.

If you weren’t a musician, what else would you be doing?

I graduated in Architecture College, but as soon as I finished the course, I entered the Music College. I believe that I would follow this profession if I hadn’t come across music.

Which five people would you invite to a dinner party?

I would invite my family. Having to choose between my friends is something I’d rather not be doing.

What’s next for the band?

For now, we are promoting our material. As soon as the pandemic issue is over, we will resume the rehearsal routine, mingle with the new guitarists. We hope soon to be able play at shows again too. In addition, we have songs and lyrics in progress to work on future recordings. We are also planning new ideas for marketing and selling merch.

What Social Media/Website links do you use to get your music out to people?

www.instagram.com/inanimalia_official/
www.facebook.com/inanimalia/
www.youtube.com/channel/UCQFvodF6lAxpbAl8h0WcsJw
www.deezer.com/us/artist/60652042
www.open.spotify.com/artist/7v0Y0EIIb98gemi9NNmuS1

Jaffa Cakes? Are they a cake or a biscuit?

Would they be cakes? I’ve never tried one…hahahaha

Thank you for your time. Is there anything else that you would like to add?

Support the artists! Follow us on social media and share the songs you like. This is already a great help to promote our work.

I thank Ever Metal for the opportunity to be here and for the support.

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Sacramentia – Prophecies Of Plague

Sacramentia – Prophecies Of Plague
Extreme Sound Records/Old Shadows Records
Release Date: 06/06/2020
Running Time: 39:18
Review by Victor Augusto
8.5/10

Since I’ve joined forces with this incredible team called Ever Metal, I have seriously put into my mind that I should keep my focus on professional bands for reviews and promotion, no matter if it’s a new or famous band. I also believe, that all people are like radio frequencies and we have a connection with people that are on the same wavelength, and who have the same spirit and passion for the cause. Within this scenario, I had the great opportunity to meet the young people from Sacramentia, a band from a small city called São João da Boa Vista, in the state of São Paulo (Brazil). After our first contact, we worked a lot to spread the word of their debut album and a good friendship has appeared from all of it.

With all I have explained, you are probably asking why I took so long to write a review about them (I know you are not really asking, hahaha), but my honest answer is that I didn’t know if I could write good words about them. “So, Victor, Are you telling us that Sacramentia’s music is not good?” (Again, I am imagining some of you asking it). No, my friends, it is just the opposite. It is so good, and also so complex, that I took a long time to understand their sonority. I was first confused when vocalist Renan showed me the single ‘Crucifiction’ before the album’s release. The title is a fiction about the crucifixion of Christ. Firstly, I thought they were a Black Metal band, but the lyric video of this song shows the exact history of the crucifixion that you read in the Holy Bible. Right after that, I got very confused, if they are a Black Metal Band or a band that worship God or Christ, as many bands do in Brazil (then they are called a White Metal band).

Sacramentia are, actually, not Black or White Metal. The band just play a dark and heavy music that navigates in a Death Metal and Thrash Metal sonority. They talk about lunatics that are involved with religion but from the corruption side…men that use this institution for their own good and the people who are blinded by faith. Actually, the band’s name is a combination of ‘Sacra’ and ‘Dementia’ which explains perfectly what they want to tell us. Most of Renan’s vocal interpretations sound like a priest vociferating religious dogma or trying to corrupt his followers. The most interesting interpretation is on ‘Silent Sinner‘, where he really looks like a devilish priest whispering to his believers.

Musically, this is extremely interesting, utilizing a bunch of influences which mix hugely different bands and genres. The bass of Guilherme Melo is an important instrument that received good volume in the recording process and increases all the darkness and heaviness. The guitar work of André Guimarães and Guilherme Mendes is also very interesting, with the riffs and solos, and even the clean notes, like on the track ‘Scum’, giving an obscure sound. This song shows how good the band are band at creating good variation in their music. ‘In Integrum Pandemonium’ is another example of a mix of their inspirations. For me, this song is like Marduk playing Slipknot, because the initial riff reminds me of ‘Before I Forget’, but the song structure and arrangements is more akin to Black Metal. It also has good Brazilian drum percussion from Leo Michelazzo.

Another good song is ‘Black Psalm’, the longest on the album, which creates a mixed atmosphere. ‘Necrolust’ is the fast track and, again, it is about sacred sins related to sexual temptation within the Church. Brutal song by the way! To summarize what you can expect from “Prophecies Of Plague”, it is an album which combines all the energy of a Thrash/Death Metal band but with Black Metal arrangements. Sometimes, they even sound like Swedish Melodic Death Metal with obscure Norwegian musical influences.

Throw away your thoughts of silly Satanism subjects and instead, listen to a narration of the obscure histories that have happened inside the sacred temple of god and all the moral and personal conflicts that the people involved with it have suffered. For sure, “Prophecies Of Plague” is a pretty intense album, but with a good power too. Become immersed, musically, and thematically, in a subject that always messes with our minds. Maybe it looks like an old-fashioned theme, but it is still a TRULY relevant theme.

Considering all the restrictions new bands here have with affording a good production, Sacramentia have undoubtedly extracted the best from their musicians. They used a four-track soundboard to record this album, but it is not a bad record, they have just put a good level of rawness into their sound. Nice job!

TRACKLISTING:
01. Scorn Fate
02. Scum
03. In Integrum Pandemonium
04. Black Psalm
05. Silent Sinner
06. Necrolust
07. Crucifiction
08. Falling State ov Mind
09. Ancient
10. Unknown Gods

LINE-UP:
Renan Bezan – Vocals
André Guimarães – Guitar
Guilherme Mendes – Guitar
Guilherme Melo – Bass
Leo Michelazzo – Drums

LINKS:

Disclaimer: This review is solely the property of Victor Augusto and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.