Sun Of The Suns – TIIT

TIIT Album Cover Art

Sun Of The Suns – TIIT
Scarlet Records
Release Date: 20/08/2021
Running Time: 46:31
Review by Steven Hooke
8/10

Something of a supergroup in their native scene, Sun of the Suns are an Italian deathcore troupe featuring former and current members of Nightland, The Modern Age Slavery and Carnality, among others. Armed with a session rhythm section featuring Simone Mularoni of DGM and Empyrios fame on bass (who has left the seat warm for incoming permanent bassist Filippo Scrima) and Fleshgod Apocalypse’s Francesco Paoli on drums, the group have appeared almost from out of nowhere, with relatively zero fanfare, to deliver an absolutely blistering debut.

Intro track ‘I, Demiurge pt.1’ brings with it a false sense of security and almost trepidation upon first listen. A short and delicate electro-symphonic piece which sounds like Jordan Fish has snuck in with his latest copy of FL Studios, its immediate sequel and proper album starter explodes into existence, bringing with it a huge-sounding barrage of drums backed with a serene backdrop which is levelled perfectly here, as well as throughout the course of the album, rarely – if ever – over-saturating the end product and taking away from the brutality of the record as a whole. Then, the aftershock kicks in, and along comes a furious deluge of death metal riffage, and the band getting their money’s worth out of Paoli, who leaves no drum head or crash cymbal un-twatted.

There is a wonderful juxtaposition between the duelling guitars of Righetti and Cioffi and the basslines of Mularoni. While all involved are heavier than a sumo performing a shiatsu, the riffs have a crispness about them, a clean delivery in their destructive presence, whilst the tone of the bass guitar is the album’s dark horse, the twisted sibling – the Hugo Simpson if you will. The clearest appearance of this is in ‘The Golden Cage’ where the putrid cadence of Mularoni’s bass almost serves as an homage to deathcore’s lineage of straightforward 90’s death metal, whilst the rest of the album remains firmly in the modern age, whilst its presence in ‘Hacking The Sterile System’ adds the ever-important gurn-face to the listening experience.

It’s not just in his basslines where Mularoni acts as a hidden gem to ‘TIIT’, the production on the album is astounding. The guitars, the bass tone, the duality of them together, the use of synths, all the levelling on the album is of the highest order. The technicality and soundscapes are working in tandem and not against each other, something that debut albums of similar ilk (and sometimes albums 2 and 3 and beyond) struggle to do (see Winds of Plague, Into Infernus and Walking Dead On Broadway).

Sun Of The Suns are a very intriguing group. A sci-fi-intense, deathcore barrage of extremity and world-building that appeared out of nowhere, they clearly have lofty ambitions for themselves and are putting their best foot forward to reach them. Whilst what they’re doing isn’t exactly new, they’re executing it at such a high standard, which is particularly astonishing when you realise this is their debut release. Their potential could result in a new powerhouse of the genre when considering the sci-fi-inspired lyrics, production levels, instrumental abilities, and general songwriting abilities (not least their step into more grandiose terrains with 7 minute-closer ‘I, Emperor Of Nothingness’).

‘TIIT’ (Official Video)

TRACKLISTING:
01. I, Demiurge Pt.1
02. I, Demiurge Pt.2
03. The Golden Cage
04. TIIT
05. Obsolescence Corrupted
06. To Decay To Revive
07. Flesh State
08. Hacking The Sterile System
09. Of Hybridization And Decline
10. I, Emperor Of Nothingness

LINE-UP:
Luca Dave Scarlatti – Vocals
Marco Righetti – Guitars
Ludovico Cioffi – Guitars
Simone Mularoni – Bass (Session)
Francesco Paoli – Drums (Session)

LINKS:

Sun Of The Suns Promo Pic

Disclaimer: This review is solely the property of Steven Hooke 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.

Beneath The Void – …Into Oblivion

Into Oblivion Album Cover Art

Beneath The Void – …Into Oblivion
Self-Released
Release Date: 11/06/2021
Running Time: 40:16
Reviewed By Mark Pritchard
10/10

Within the last 2-3 weeks, with the UK struggling to decide if it is going to be sunny or rainy (something that isn’t new for us here, but can be annoying lol), I have been listening to the new self-released album by Hungarian Technical Death Metal band Beneath The Void, called “…Into Oblivion”. As I write this review, the rock and metal world has been in mourning with the loss of three legends. But even at this sad time, listening to this album has brought comfort, no matter how the day is. Whether bad or good, “…Into Oblivion” has suited any day for me. If you would like to know more, please continue to read.

Beneath The Void were founded only a little earlier this year, after renaming from Kill With Hate, which was the active band name from 2007-2021. They hail from the Hungarian capital city of Budapest, and “…Into Oblivion” is the band’s debut album, with only 2 EP’s and a full-length album under the previous band name. “…Into Oblivion” gives the band a completely new beginning to start from, and with the quality of the technical death metal that they play, it shows you not the past, but the present and the future and I, for one, can’t wait to see how the future goes for Beneath The Void.

“…Into Oblivion” is an intense, in your face album, that has shown me the band put everything and more into the work they did to bring this album to fruition. In a way they remind me of another intense and in your face band, Dethklok. I mean this only as a compliment, as it can’t be easy to keep such a high intensity going for a whole album. Tracks 1 and 11, named “Elegy” and “Oblivion” respectively, begin with instrumentals that give off the feeling of a horror movie, similar to A Nightmare On Elm Street or Friday The 13th, which send chills down my spine each time I hear either song.

This album has so much to offer the listener that it actually makes it really difficult to choose a song that standouts more than the others! So, for this album, I don’t have a standout song! The album as a whole stands out, amongst many other bands I listen to, which is no minor feat, as they include Judas Priest, Megadeth, Dethklok and Slayer. Beneath The Void, with this amazing ‘fresh start’ album, can stand with the best of them.

‘By The Seventh’ (Official Video)

TRACKLISTING:
01. Elegy
02. Rebellion
03. Refugee
04. Chant Of Superior Death
05. Terraform
06. Downwards
07. By The Seventh
08. The Question
09. Stargazer
10. Absolution
11. Oblivion

LINE-UP:
Krisztián Gyémánt – Vocals
Ákos Olt – Guitars
Tibor Szokán – Guitars
Patrik Pornói – Bass, Vocals
Bence Turcsák – Drums

LINKS:

Beneath The Void Promo Pic

Disclaimer: This review is solely the property of Mark Pritchard 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.

Lyric Video Premiere: BLEEDING MALICE – ‘Coming Home’

Bleeding Malice 'Coming Home' Artwork

BLEEDING MALICE Release Official Lyric Video For New Track ‘Coming Home’

Ever Metal is immensely proud to Premiere ‘Coming Home’, the new lyric video from Belarusian Dark Deathcore/Metalcore band Bleeding Malice.

It is taken from their excellent new album “Thy Kingdom Come” which is released on 6th August 2021!

Pre-Order “Thy Kingdom Come” Here:
www.bleedingmalice.bandcamp.com/album/thy-kingdom-come

Bleeding Malice are based in Minsk, Belarus and were formed at the beginning of 2020 by Olga Kann and Alex Rabets. Their music combines elements of Blackened Deathcore, Dark Hardcore and Post Metal and their lyrics talk about social issues, philosophy, religion and psycho-emotional experiences.

Huge thanks to Bleeding Malice for the opportunity.

‘COMING HOME’ LYRIC VIDEO PREMIERE

UPCOMING ALBUM:

“Thy Kingdom Come” is the 9-song story about a man with his sins and weaknesses, who for a moment realized that the scales were irrevocably tilted to one side. Memories rush one by one, but the step into emptiness has already been taken…

Mixing/Mastering – Simone Pietroforte (RØT, Distant, Sold Soul, Marina)
Cover Art/Design – Olga Kann

Bleeding Malice Pic

LINE-UP:
Olga Kann – Composing, Bass
Alexander Rabets – Vocals, Lyrics
Sergey Pinchuk – Guitars
Sergey Kuvizenkov – Guitars

BLEEDING MALICE ONLINE:

CONTACT:
bleeding8malice@gmail.com

Bleeding Malice Logo

Disclaimer: This article is solely the property 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 Impaler – AFWTD (A Fate Worse Than Death)

AFWTD Album Cover Art

The Impaler – AFWTD (A Fate Worse Than Death)
Self-Released
Release Date: 19/02/2021
Running Time: 29:31
Review by Steven Hooke
7/10

I’m starting to think the raging sun and the multitude of insects and animals that want to kill them is starting to really get to Australians.

A hive of various iterations of hardcore over the years, the light and frilly post-hardcore of The Amity Affliction and Hands Like Houses slowly evolved into the stomp and aggression of Parkway Drive and I Killed the Prom Queen, which then in turn crept into the realms of deathcore with Thy Art is Murder and Make Them Suffer, before a quick foray into the emergence of djent with Polaris and Northlane, lead to New Zealand’s bigger brother becoming the international hotspot for the new age of nu-metalcore with the likes of Ocean Grove and Alpha Wolf. It’s almost like they were bored of being known as ‘that country with the band that’s played the same song for 50 years and whose guitarist dresses like he’s still in secondary school’.

In that bracket of ‘it’s like deathcore, except it actually sounds like someone wants to kill me’ is The Impaler, a five-piece banquet from Melbourne. Following up from their debut “Death Cult” from last year, “A Fate Worse Than Death” actually opens with a similar idea to the debut, with the intro track – in this case ‘Voices’ – keen to set the mood and the atmosphere for the album. Whereas ‘The Leper’ from “Death Cult” goes from ‘spooky spooks’ to ‘murder’ in about 30 seconds, ‘Voices’ lets the aura build, creating a darker, encroaching presence before getting to the aforementioned ‘murder’ parts. Straight away from the two openers, The Impaler’s ‘AFWTD’ has whiffs that the band has been hard at work to create a bigger feeling to their music, with the switch into ‘Failure’ showing off the wall of noise they now have in their repertoire.

A large part of it comes from an improved production job, adding in the rumbling bass tone that’s all the rage at the moment, which affects the bass drum kicks and general low-end notes. That, in turn, gives you a satisfying little rattle in your head whilst not sounding like a blown speaker. It’s particularly prominent on ‘Mourn’, which features a guest appearance from Thy Art is Murder’s CJ McMahon who trades vocal lines with The Impaler frontman Jordan Scott, ending up sounding like the pair are gargling cement.

The black metal elements are far more pronounced on this album too. Echoing tremolos dominate ‘Release’ before they melt into veering bends that feels like you’re taking a peak outside after the first bomb has been dropped, but no song adds blackened kvlt-ness as prominent – or as good – as ‘Immortal’. An almost beautiful song that feels inspired by the blackened folk qualities of ‘The Wild Hunt’ by Watain and one that is bathed in melodies, with everyone playing their part so well throughout the song. The heaven breaching swells of guitars that seamlessly transition into black metal chord progressions, drummer Jammie Hubbard leading the charge from one key change to another, before working with bassist Ben Van Looy in imploding the world on the breakdown, all the while Jordan is performing with an incredible range that almost poetically feels like a cross between Alpha Wolf’s Lochie Keogh and former Suicide Silence frontman Mitch Lucker.

I feel almost cruel giving this a 7/10, mostly because it doesn’t feel like it tells the full story – although for what it’s worth, it is a high 7. Like a 7.999*/10.

It feels like the best parts of ‘A Fate Worse Than Death’ almost hinder the album, the heights of ‘Immortal’, ‘Mourn’ and ‘Release’ are so high that they leave the rest of the album feeling quite normal (although the “…destroy the fucking world!” breakdown in ‘Hatred’ is pure filth). The world building and sadistic opera-like swells brought in from black metal work wonders for the band’s sound and should, along with this production style, be things The Impaler lean into heavily for album number three, which given their turnaround so far should be here March next year, so chop chop lads.

‘Mourn’ (Official Video)

TRACKLISTING:
01. Voices
02. Failure
03. Immortal
04. Mourn (ft. CJ McMahon of Thy Art is Murder)
05. Fear
06. Hatred (ft. Josh Hill of Cerement)
07. Release

LINE-UP:
Jordan Scott – Vocals
Shaun Van Looy – Lead Guitar
Lewis Ranford – Rhythm Guitar
Ben Van Looy – Bass
Jammie Hubbard – Drums

LINKS:

The Impaler Promo Pic with Logo

Disclaimer: This review is solely the property of Steven Hooke 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.

This Is Turin – T.U.R.I.N. EP

T.U.R.I.N. EP Cover Art

This Is Turin – T.U.R.I.N. EP
Self-Released
Release Date: 15/02/2021
Running Time: 13:23
Review by Beth Jones
8/10

Now, I have been known, on occasion, to really rather like a bit of technical blackened death metal! I know what you’re thinking – “Good lord, Beth, the prog/power/symphonic metal fan, stepping over to the dark side?!” Yes, it does occasionally happen. And one band that are high up on my ‘I need to listen to something aggressive’ list, are Cheshire, UK based Technical Death Metal band, This Is Turin. So, when their imminent EP release dropped in our inbox, I snaffled it away before anyone else could get their hands on it!

Now, this is only a very short EP, at a little over 13 minutes. But in that time, it explores total inner misery, failed absolution, darkness reigning over the light, losing faith, letting go to save your soul, and then the freedom of Excommunication, finding the light in the darkness. So…erm… yeah, I’ll just let that sink in for a minute!

‘Misery’ begins the EP, with guest vocals from CJ McMahon, vocalist of Thy Art Is Murder. It starts off with some eerie samples, and then launches in to a chunky, crunchy, riff-laden cacophony of torturous despair. The guttural screams and growls of CJ sit on top of the tumult, displaying the terrifying feeling of internal despair. Towards the end of the track, the mixing goes all fuzzy. For me this, is the effect of that deafening to the world that total misery can invoke. I have to say, while CJ’s vocals are good, I much prefer Darryl’s vocal style.

Track 2, ‘Absolution’ is an absolute banger, that not only melts your face, but gets to work on melting your internal organs, too. This is anger meeting hopelessness. Sections with incredibly fast paced drumming, and technical guitar work, give way to sections designed for pure filthy head banging! Darryl’s vocals are superb here, too. He has a very versatile voice, that fit so well with the overall band sound. The whole thing makes for a beautifully terrifying listen!

Bringing things to a close in ‘Excommunicate’. This starts with a quick dual guitar riff, then launches into a bit of blast beating and a scream that would chill even the coldest soul. Then it settles into a more comfortable, but no less tortured rhythm. Again, it’s an extreme wall of sound that rips out your still beating heart and uses it as a glove. And the screams!!! The screams are just epic!! There’s so much going on in this track! The technicality is brilliant, and we even get a frenetic guitar solo in the later part of the track. This signals the start of the build-up to the end! And then, as quickly as it started, it stops. “And there it was, gone” as they say here in the Wales!

All in all, I love this EP. And, if you’re a fan of technical, death, blackened death, or deathcore, then you will too! The cover art it also pretty insanely dark, as well, and it really fits with the themes explored here. My biggest criticism is I just wanted more of it. I need a new album now! Get cracking on it lads!

TRACKLISTING:
01. Misery (Ft. CJ McMahon)
02. Absolution
03. Excommunicate

LINE-UP:
Darryl “Daz” Jones – Vocals
Anthony Hayden – Guitar
Davey Langford – Guitar
James Kinnear – Bass
Ben Adcroft – Drums

LINKS:

Disclaimer: This review is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, 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 MONASTERIES

Monasteries Logo

EMQ’s with MONASTERIES

Hi everyone! Welcome to our new EMQ’s interview with Manchester, UK based Tech-Deathcore band, Monasteries. Huge thanks to drummer, Dan, 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?

Hi, my name’s Dan and I’m the drummer for Monasteries. The band started back in 2013 with the guitarist of my old band. However, we’ve had a few line-up changes over the years as many bands do but we’re stronger than ever, currently with Josh Davies on Vocals, Aaron Wright and Ben Standley on Guitars, Sam Mitchell on Bass and yours truly on Drums.

We’ve toured the UK and Mainland Europe extensively having shared the stage with the likes of Aborted, I Declare War, A Night In Texas, Aversions Crown, Aegaeon, Black Tongue and many more.

How did you come up with your band name?

I’ve a long history with World of Warcraft and took inspiration from a dungeon in the game called Scarlet Monasteries. I think the only people who have managed to work out its origin have been people who played WoW.

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

I’m from the West Midlands. Historic home of metal. My most local venue The Haygate (RIP) was shut down many years ago and shows died out in my local area a while ago sadly but there’s some great bands such as Suffer, The Scumbags, Old Wharf and many more from a stone’s throw away in Wolverhampton.

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

We have our new single ‘Allowing Your Traitors To Die’ coming out on 29th January.

(That’s TODAY and it’s a banger – Rick)

‘Allowing Your Traitors To Die’ (Official Video)

Who have been your greatest influences?

Neil Peart from Rush and Inferno from Behemoth, no question. John Longstreth as well because he’s absolutely insane.

What first got you into music?

My dad did mainly, he’s always been a metalhead, so I grew up on the likes of Judas Priest, Iron Maiden, Black Sabbath and Rush. I think one of my earliest memories was blasting ‘Run To The Hills’ in bed when I was like 5-6 years old on cassette and I haven’t looked back since.

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

Reflections, definitely Reflections.

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

Hellfest, it’s the best festival I’ve ever been to and I’d love to play it one day.

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

I don’t think we’ve ever received one to be fair, other than the time someone gave us a dildo on stage which proceeded to be whirled around like a helicopter mid-song, but we didn’t get to keep it unfortunately.

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

We’ve got a lot of cool stuff coming up for you, be ready!

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

Lemmy, guy was an icon.

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

The thrill of playing shows and having a good time with your mates for sure, the thought of having to lug my drum gear around is definitely something I hate but I guess that’s my own fault for choosing drums and wanting so many cymbals etc!

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

Fairer pay from the big platforms who monopolise on the fact there’s nowhere else for you to put your music.

Name one of your all-time favourite albums?

Chimaira – “Resurrection”, Absolute riff city.

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

Vinyl all day.

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

Tilburg, NL with Black Tongue, I Declare War, Aegaeon and A Night In Texas. Was an awesome show and the venue was super cool.

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

Tour driving for sure, always about the music.

Which five people would you invite to a dinner party?

Gordon Ramsay – Just want him to roast me and my food to be honest.

Brian Shaw & Eddie Hall – Just to laugh at the way they act together.

Warren Buffet – Because stonks.

And Christopher Lee if he was still around, had a career spanning 7 decades. He’s gotta have some cool stories.

What’s next for the band?

When everything returns to normal, we’re hoping to be out on the road playing shows as much as possible, you can look forward to catching us on tour with Tenside 13th-16th May and at Tech Fest on 1-5th July!

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

You can use this Linktree below to find us on all major platforms!
www.linktr.ee/monasteriesuk

Jaffa Cakes! Are they a cake or a biscuit?

As ruled by a court of law, they are most definitely a fantastic VAT free cake. I mean the clues in the name…

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

Thank you!

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.

Bleed From Within – Fracture

Bleed From Within – Fracture
Century Media Records
Release Date: 29/05/2020
Running Time: 42:10
Review by Steven Hooke
8/10

It’s mad to think we almost lost Bleed From Within to nothing more than sheer ignorance once upon a time. Frontman Scott Kennedy had the audacity to have a fringe in the early 2010s, at the height of modern metalcore’s popularity, and the scourge of “that’s not metal!” music fans tried their damnedest to ignore and dismiss the Scottish outfit before listening to a single note. However, what they weren’t counting on was the absolute thunderbastard of BFW’s third studio album “Uprising”, an extension of their deathcore sound, now featuring melodies rooted in Sweden’s melodic death metal scene that firmly separated them from any Horizon or Alexandria-based contemporaries.

Following a brief hiatus and a change in the guitar guard, BFW returned for their fourth album in 2018. “Era” was the confirmation, should anyone have needed it, that the lads could still go, settling further into the melodeath direction of “Uprising” with an ample selection of riffs and grooves, whilst also using the opportunity to dabble with cleaner vocals, with FNG Steven Jones largely backing some of Kennedy’s lighter screams, causing the kind of vocal layering that sounds like the vocal choir of Hell’s Fifth Circle.

“Fracture” sees Bleed From Within’s musical evolution continue into heights few could predicted, even when taking into consideration the trajectory of their last few albums. It’s not just about taking more influence from melodic death metal or the step-forward in the use of Jones’ clean vocals, every aspect of the band’s sound now feels sharpened, the performances of everyone involved is of the highest tier and Bleed From Within now look like a band of limitless ascendancy.

Opener ‘The End Of All We Know’ puts the tone of the album firmly into place. No floaty intro track, no spoken-word world builder, it is a succession of neck-snapping riffs backed by the stomp of Ali Richardson’s beats that tell the listener that COVID isn’t the only thing about to fuck your world up. The track is also the first time we hear the trade-offs between Kennedy and Jones. Any clean vocal style would typically bring fear and terror to the troo metal purist (anyone remember Suicide Silence?), but Jones’ tone and delivery only seek to add to the diversity of the band’s sound, allowing for moments of genuine melodic brutality, that we’ll see in its fullest on tracks like ‘Ascend’ and the title track.

While the first half of the album establishes what this album is, the second half is a whirlpool of white-hot energy and power that should define exactly just who the fuck Bleed From Within are.

‘Night Crossing’ sees Scott prove that he’s no slouch in the clean vocal department, belting out a rattling thrash chorus betwixt a series of leering grooves and a cameo appearance from everyone’s heavy metal best friend Matt Heafy. It is a pretty much a half-and-half split in the album’s latter half between vocal superiority and being torn asunder by resident riff machine Goonzi which occurs somewhere in ‘Ascend’. Backed by the rhythm section of Richardson and Davie Provan, Goonzi – who has already been on top form for the duration of the album – finds that extra little something, laying waste to ‘Ascend’ to almost comical levels, before employing a stomp on ‘Utopia’ that would make Meshuggah sweat, before finishing off on a groove from the school of Deftones’ ‘Swerve City’ for closer ‘A Depth That No One Dares’.

You would be forgiven for being caught off-guard by “Fracture”. Even if you had been following the band since their first note nearly 15 years ago, the step-up here is reserved for metal’s elite. In the year of our lord 2020, we’ve had high profile metal releases from the likes of Trivium, Sylosis, The Black Dahlia Murder, an influx of the next generation from Loathe and Irist, for Bleed From Within to standout in the way that they have speaks volumes for the band they have become and the potential for what may come next.

TRACKLISTING:
01. The End of All We Know
02. Pathfinder
03. Into Nothing
04. Fall Away
05. Fracture
06. Night Crossing [ft. Matt Heafy (Trivium)]
07. For All to See
08. Ascend
09. Utopia
10. A Depth That No One Dares

LINE-UP:
Scott Kennedy – Lead Vocals
Craig “Goonzi” Gowans – Lead Guitar
Steven Jones – Rhythm Guitar, Clean Vocals
Davie Provan – Bass
Ali Richardson – Drums, Percussion

LINKS:
www.bleedfromwithin.com/
www.facebook.com/bleedfromwithinband/
www.instagram.com/bleedfromwithin/
www.twitter.com/BleedFromWithin
www.open.spotify.com/artist/5ZvwJikDgdP1PFU4PkAPVG
www.youtube.com/user/BleedFromWithin

Disclaimer: This review is solely the property of Steven Hooke 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 DISPOSITIONS

Logo

EMQ’s with DISPOSITIONS

Hi Everyone. Welcome to our new EMQ’s interview with Fort Worth, Texas based Deathcore / Metalcore band Dispositions! Huge thanks to Ethan Massey 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?

Dispositions started out in 2015 as an internet project by guitarist, Ethan Massey. Soon after finding band members, Dispositions entered the studio to record their debut EP “Dead Era” which released in January 2017.Dispositions then began playing local shows around the Dallas/Fort Worth area. They then hit the studio in late 2017 to record with producer, Cory Brunnemann in San Antonio, TX to record two singles. One being a Linkin Park cover called ‘QWERTY’ and the other called ‘Imitator’, which Dispositions shot a music video for. With the momentum of those singles Dispositions started playing shows and going on runs with bands such as DevilDriver, Jinjer, Upon a Burning Body, Bury Your Dead, Drowning Pool, Attila and MANY more! Adding a second guitarist in the mix in 2018, Dispositions hit the studio again with Cory to record two more songs later that year. One being the song ‘Pitiful’ and the other being ‘For You’.

How did you come up with your band name?

It’s from a Tool song.

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

We are from the US, specifically, Texas. The music scene here in Dallas/Fort Worth is extremely active with lots of local bands of all genres and a good amount of venues that allow big tours to come through.

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

Our latest release is our song called ‘Pitiful’. We have a new song/video coming out.

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

We’d like to eventually work with Landon Tewers from The Plot in You.

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

Rock AM Ring would be pretty insane. Some of our favourite bands have played that one.

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

#spreadthehate

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

Dimebag Darrel or Chester Bennington

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

The shows and travel are by far the most fun part. Being a local band all this mostly come out of our pockets to fund at the moment so that’s probably the part we hate.

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

I’d personally love for it to go back to the 80’s style and you were signed based off your talent and showmanship other than social media numbers and streams.

Name one of your all-time favourite albums?

“10,000 Days” by TOOL

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

Downloads are the most convenient but CD’s were the coolest in the early 2000’s when they’d actually come with cool behind the scene booklets about the album.

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

There’s a few that come to mind but I think when we played with DevilDriver at Gas Monkey Live or playing to a totally sold out crowd with Upon a Burning Body in Dallas.

What’s next for the band?

Next for us is to release our song, ‘For You’ on 11/15 as well as playing a few shows with Bury Your Dead, Fit for an Autopsy and more.

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

Facebook, Instagram, Twitter, distrokid, Spotify, Apple Music, google play, etc.
https://www.facebook.com/dispositionstx%20/
https://twitter.com/dispositionstx
https://www.instagram.com/dispositionstx/

Jaffa Cakes? Are they a cake or a biscuit?

Honestly have no idea what those are. Lol!

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

Hit our website up, DISPOSITIONSTX.COM to get your merch and tickets!
https://dispositionstx.com/
Ethan Massey
Facebook.com/dispositionstx

 

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 both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Whitechapel – The Valley

The Valley Cover

Whitechapel – The Valley
Metal Blade Records
Release Date: 29/03/2019
Running Time: 40:29
Review by ‘Dark Juan’
9/10

Greetings and salutations, my hordes of evil, nefariousness and downright mischief! I am Dark Juan, hopefully you have deflowered virgins of all faiths according to my word and you will all worship at my anointed feet because I have a massive and overweening sense of my own self-importance. In other news, there are no snacks in the house besides crisps and considering I work in the factory that makes them I’m sick of the fucking sight of potato based snacks and therefore I am consumed with righteous rage and furious anger because all I fucking want is cake. There is no cake in the house. WHAT MOTHERFUCKING KIND OF HOUSEHOLD DO I LIVE IN WHEN THERE IS NO AVAILABLE CAKE?

Pardon my outburst, please. It is probably because I am listening to one of the angriest records I think I have ever heard, being Whitechapel’s “The Valley”. This music is visceral, vein bulging fury of the kind that is seen shortly before it has launched itself teeth first at its hated enemy and buried said dentistry in the carotid artery and is busily masticating its way through flesh, tendon and muscle. To say this record is angry is to say that Lewis Hamilton can drive very, very fast and is also boring as fuck as an interviewee. However, Whitechapel are not boring as fuck. Far from it..!

“The Valley” is written from the perspective of vocalist Phil Bozeman looking back at his childhood and the struggles his mother suffered with mental health and other issues. This immediately gives the record a personal, intimate feeling, whereas some metal by its very nature is almost… aloof from the listener. Arch Enemy are a good case to cite to prove that theory – technically super competent, entertaining, but somehow cold and distant. Whitechapel are the wide eyed, staring, drooling madman screaming incoherently at you an inch away from your face, blasting you with spittle and bad breath. You cannot hide from Whitechapel and this album lays feelings and dreams skinned, bare and raw. It is NOT a comfortable listen for me because I suffer from certain difficulties with my mental health and there are certain parallels with my own childhood (hard to believe, I know, what with my jocularity and everything) and this record is the musical equivalent of setting a razor to my vein and slashing the fuck away. I’m literally looking into the soul of a damaged man who has decided to come out fighting everyone and everything forever. Phil’s voice is the sound of a man who has spent most of his life staring into an inky black abyss containing…. something. Something that has tested his sanity, and it’s hanging by a thread and he’s carrying a loaded shotgun. And he’s just caught you shagging his 17 year old daughter…

There are a couple of occasions where Phil sings in a clean style on the record – ‘Hickory Creek’ being the notable example of this. It lends the Whitechapel sound a valuable extra dimension beyond the sheer, uncompromising, crushing rage they normally display. Phil’s vulnerable, wounded side comes out and although not the most accomplished singer in the world, the pathos and raw emotion in his voice makes the whole song… complicated. You don’t want to say you like something that someone is clearly bleeding their soul out on, but I like it. You know what I mean. However, Phil normally employs a method of vocalisation that is akin to flicking the love spuds of a large predatory animal until it is enraged and staying there to be mortally savaged with tooth and claw. It is primal roaring of the highest order, and again, much like Nathanael Underwood of Damim’s vocals, entirely clean in diction rather than an incomprehensible hurricane approximation of words. I can hear what he’s singing about and this is a very good thing indeed.

So, as intimate as you can get then! No mean feat for a band whose sheer brutality normally means they stand apart from the mainstream, and from the affections of some metal fans. Every song on this record is excellent for different reasons. My brain is now liquid. It has been absolutely beaten to a pulp. There’s nothing like music with emotion and soul, and “The Valley” is the epitome of it.

The guitar work of Ben “Perfectly Named” Savage, Zach “Not Quite As Perfectly Named As Ben” Householder and Alex “My Name Is Not Relevant To This Joke” Wade is magnificent, downtuned, semi-djent ultraviolence of considerable class, and the drumming of Ben Harclerode the sound of a man determined to kill everyone in a four mile radius with the power of percussion. The bass is a solid rumble that shakes organs loose and causes internal bleeding. There’s some standout songs in what is an utterly magnificent record – the previously mentioned ‘Hickory Creek’, ‘Third Depth’ (almost Tool-esque in parts!) and the huge and rabid beast that is ‘Forgiveness Is Weakness’. This is one of the most dense listening experiences I have ever heard, running OHHMS’ last record a close second. Extraordinary. Truly a one of a kind album!

Yet again, another metal band proves the naysayers wrong. Metal has never been in such rude health as it is now, and the amount of superb records acquiring my attention has never been higher.

Brothers and Sisters of the One True Faith, buy this record. Buy it now. I command you.
The Patented Dark Juan Blood Splat Rating System awards “The Valley” by Whitechapel 9/10 for an emotional journey (for me personally, at least) that’s ended up covered in blood and viscera. An incredible record of power, depth, complexity and raw fucking emotion!

TRACKLISTING:
01. When A Demon Defiles A Witch
02. Forgiveness Is Weakness
03. Brimstone
04. Hickory Creek
05. Black Bear
06. We Are One
07. The Other Side
08. Third Depth
09. Lovelace
10. Doom Woods
11. Sea Of Trees

LINE-UP:
Phil Bozeman – Vocals
Ben Savage – Guitar
Zach Householder – Guitar
Alex Wade – Guitar
Ben Harclerode – Drums
Gabe Crisp – Bass

LINKS:
https://www.whitechapelband.com/
https://www.facebook.com/whitechapelband/

https://www.instagram.com/whitechapelband/

https://www.youtube.com/user/WhitechapelTV

 

Whitechapel Promo Pic

 

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.