Anaal Nathrakh – Reissues

Anaal Nathrakh Reissues

Anaal Nathrakh – Reissues
When Fire Rains Down From The Sky Mankind Will Reap What It Has Sown/
Hell Is Empty, And All The Devils Are Here
Metal Blade Records
Release Date: 13/08/2021
Running Time: 26:03/33:52
Review by Dark Juan
10/10
10/10

Good afternoon, dear friends. You find me writing this review from the depths of my bed of pain and iniquity. Yes, I am slightly off colour, but my dramatic persona insists that these are my final fleeting moments upon this scabrous planet. However, I was well enough to go to the pictures last night so clearly whatever malaise I am currently suffering isn’t all that threatening to my existence, or indeed my output for Ever-Metal.com. Added to the already calamitous news that I am clearly at death’s door is that fact that I have run out of milk for brews. This is an absolute scandal in the North of England, and my shame is such that I have closeted myself away in my oak-panelled study with a bottle of brandy and a stiletto. My undoing is complete.

However, before I dispatch myself from this mortal coil bearing the stigma of not being able to make proper brews, I must share with you my ruminations upon the music I am listening to, which frankly is what you’re here for, and Air Chief Marshal Sir Richard “GET OUT OF BED, YOU BLOODY SOFTARSE, BEFORE I GIVE YOU SOMETHING TO REALLY WHINGE ABOUT. WHERE DO YOU THINK YOU ARE? BRONTE COUNTRY? ONLY THE LASSES IN THOSE CRAPPY BOOKS ARE ALLOWED TO SWOON ALL OVER THE FURNITURE AND TAKE THEMSELVES TO BED TO MOPE, YOU FUCKING MALINGERER!” Tilley has just been escorted at the point of a rapier from my bedchamber by Mrs Dark Juan and Hodgson Biological-Warfare, who had embedded his teefs in Rick’s arse and was hanging on for dear life. Such is life in Dark Juan Terrace. For reasons of verisimilitude, I must point out that Rick hasn’t been round our gaff, Hodgson doesn’t make a point of attacking visitors and Mrs Dark Juan made me a rather lovely, cooked breakfast this morning and doesn’t really know the finer points of swordplay. Rick also isn’t THAT mean and basically allows me to get away with loads considering EM is his baby, so all in all I’m winning here… (I’m glad you cleared that up – Rick)

So, without even the slightest attempt at a segue into matters musical, let me talk about the latest reissues from Metal Blade, and more specifically Anaal Nathrakh. If you don’t know who these British extreme metal legends are by now, I suggest you rectify this immediately by buying their entire back catalogue and subjecting the inside of your head to possibly the most extreme band the UK has ever had to offer. If there were ever a band that were the epitome of recorded fury, it is Anaal Nathrakh. The song ‘Never Fucking Again’ is not music. It’s several minutes of sheer, untrammelled hatred towards everything and everyone. Kim Jong fucking Un would surrender North Korea in seconds. General Noriega would have given up in Panama after about a minute of Anaal Nathrakh being blasted at him from a US Army helicopter. I’m sure if V.I.T.R.I.O.L. saw a room full of the world’s cutest puppies and kittens and had had a blow job to completion moments before seeing the cute animals, he would still write a song that sounds like him machine gunning a host of devils in a locked room until they were basically liquid, ably backed by Irrumator basically killing every musical instrument that he has ever possessed.

“When Fire Rains Down From The Sky, Mankind Will Reap What It Has Sown” is first up, and it’s still as fucking amazing as it ever was. I know I have banged on about reissues being cynical cash grabs in the past, but that’s not necessarily true in these post-COVID times, where bands are having to clutch at every single straw of funding just to survive, so everyone re-releasing stuff is getting a big fat pass, plus the quality of the vinyl that is being produced is pretty stunning. Anyway, “Fire” (it’s far too long a title to keep typing in full) is quite simply brutality distilled into musical form. It just doesn’t let up, ever. Irrumator and V.I.T.R.I.O.L have never sounded so violent. It is unapologetic hate music and it is fucking brilliant. Every single song is faster than the USS Enterprise at Warp 9 and more violent than a pack of drunken Glaswegians fighting an equally drunken pack of Russians, being egged on by a bunch of Wrexham chavs. The fallout is spectacular, and this record never fucking FAILS in taking my breath away. Still as vibrant and exciting as it ever was (I got the original on release day, thought that a number of years of listening to black metal would make it palatable, and was slightly dismissive of the power of the band. How FUCKING WRONG I WAS!) and THE benchmark for British extreme music. Not even The Machinist come close to Anaal Nathrakh for sheer sonic Armageddon. It is the perfect extreme record. The standout song (now there’s a loose description of what Anaal Nathrakh do) will always be ‘Never Fucking Again’. It is the PERFECT distillation of the sheer hatred and misanthropy I feel towards some aspects of the human condition. I fucking ADORE “When Fire Rains Down From The Sky, Mankind Will Reap As They Have Sown” and I am stoked that it has been released again, because it is absolutely one of my favourite records of all time. Buy it and have your brains cudgelled to soup.

I also have the reissue of “Hell Is Empty, And All The Devils Are Here”. Erm, chaps, they are only here because Satan let you play a gig in Hell and all the devils fucked off up here because you scared the living shit out of them and they fled. Ever seen a devil piss himself in fear? I have, and that was because of you two, Irrumator and V.I.T.R.I.O.L. You magnificent bastards. Anyhow, this record is where the blueprint of maximum attack, howling sheer bloody murder and music that is banned under the Geneva Convention as cruel and unusual punishment changes. Anaal Nathrakh discovered clean singing, industrial and tempos below 1000000bpm. Did this change the savagery level from nuclear holocaust down to fluffy bunny? Did it FUCK! The band are still just as focused and nihilistic, from the first second of ‘Solifugae’, being a minute of crushing guitar work that launches the first actual song ‘Der Hölle Rache kocht in meinem Herzen’ (“Hell’s Vengeance Boils In My Heart” and the proper name of the Queen Of The Night aria in The Magic Flute opera. You’re welcome) which has a grandiose, operatic feel through V.I.T.R.I.O.L discovering that his vocal chords can be used for other things besides aural savagery and actually having a bloody good blast at actual singing. This gives the album more musical interest than previous recordings and allows the song to take you places Anaal Nathrakh have never been before. It’s fucking glorious. ‘Screaming Of The Unborn’ is also interesting, because it has mid-paced (for Anaal Nathrakh) sections and V.I.T.R.I.O.L’s usual murderous scream gives way to a sepulchral and extremely threatening roar with considerable numbers of people shitting themselves in abject, brown trousered fear. ‘Virus Bomb’ returns to the hyperspeed (and demented, homicidal howling) we all love Anaal Nathrakh for and mates this with a chorus and middle eight Emperor would have given Samoth’s testicles for with more of the same choral sounding clean singing as the first song. Purists won’t like the fact that they decided on a bit of, well, slightly less dark and obsidian, cloying black, rather than just the sound of Hell’s mechanised and armoured regiments screaming from the dark. But I do.

Both records have the kind of production that black metal does not normally employ. Anaal Nathrakh do not sound like they have been recorded in an interstellar fishbowl hurtling around Mars with equipment made from tin cans and string. Both albums have a rich, full sound that only enhances the bitter, vitriolic hatred that passes for their music and makes them a cut above 99% of most black metal releases. I never understood why black metal bands stuck to the wasp in a jam jar sound when they were much more powerful with a proper production job.

Anyway, it’s no secret I fucking love Anaal Nathrakh and I am fucking delighted to be writing about them, and I abjure thee to buy these reissues (both on vinyl of many colours as well as CD) because they are awesome.

The Patented Dark Juan Blood Splat Rating System has finally stopped the bleeding and the leakage of brain matter from the nose and awards Anaal Nathrakh 10/10 for both records. The very best that Britain has to offer. Absolutely uncompromising and irreplaceable.

TRACKLISTINGS:
When Fire Rains Down From The Sky, Mankind Will Reap What It Has Sown:
01. Cataclysmic Nihilism
02. How The Angels Fly In (We Can Never Be Forgiven)
03. Never Fucking Again
04. Genesis Of The Antichrist
05. Atavism
06. When Fire Falls From The Sky, Mankind Will Reap What It Has Sown

Hell Is Empty, And All The Devils Are Here:
01. Solifugae (Intro)
02. Der Hölle Rache kocht in meinem Herzen
03. Screaming Of The Unborn
04. Virus Bomb
05. The Final Absolution
06. Shatter The Empyrean
07. Lama Sabatchthani
08. Until The World Stop Turning
09. Genetic Noose
10. Sanction Extremis (Kill Them All)
11. Castigation And Betrayal

LINE-UP:
V.I.T.R.I.O.L (Dave Hunt) – Vocals
Irrumator (Mick Kenney) – Everything Else

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.

Chaos Doctrine – And In The Beginning…They Lied

Chaos Doctrine – And In The Beginning…They Lied
Self-Released
Release Date: 25/06/2021
Running Time: 40:46
Review by Wallace Magri
9.5/10

Chaos Doctrine is a South African based band, that brings to us, in their sophomore album “And in the Beginning, They Lied”, a chaotic mixture of Extreme Metal music, guided by old school bay-area Thrash Metal, elements of Black Metal, technical sections similar to Death Metal and Industrial Metal programming fuelled with noise layers, to give the proper ambience to their partially conceptual album, with lyrics addressing themes of religion, corrupt politicians, mass media control within a very dystopian scenario.

Don’t get me wrong, the fact that Chaos Doctrine allow interactions among musical styles to create their sonority doesn’t mean that they are a band without musical direction or trying to appeal to a too wide audience. On this album the band has been able to move forward from their self-titled debut record, released in 2018, developing a very peculiar sonority, that possesses unique identity.

I’ll make things easier for the Ever Metal readers: You know a band called Slayer, right? So, put Slayer in the epicentre of the musical chaos delivered by Chaos Doctrine and we have the basis to start to describe the metal assault that awaits you here! As a matter of fact, they play a cover version of ‘South Of Heaven’ on the album  and, at the same time that they pay tribute to their main influence, they also had the ability to reactivate the rage of that seminal song, with an approach which is much rawer and more disturbing.

Disturbed is a good word to help to describe how I felt when I started closely listening to the nine original tracks (the Slayer’s cover is a bonus track) on the album. I noticed some slips in the mixing, but nothing that spoilt my enjoyment of “And In The Beginning…They Lied”.

This is because they have reached the skill to keep the listener well fed during the listening experience – a hard thing to do these days when people have plenty of songs (and other things) to distract them and they see no point on wasting time listening to a whole album.

What we have here is 36 minutes of very well arranged, original, heavy music and it sounds clear that the band took their time in the composition of each one of these songs, making it tough for me to find some highlights to talk about in more detail. I will say that the opening intro, ‘And In The Beginning…’, followed by ‘Blood Serpent God’ are a superb way to kick off the album: Industrial Metal elements to help with the gloomy ambience, Fear Factory style, but, when the guitar/bass/drum assault kicks in it, personally, relates to old school Extreme Metal, in a time when bands weren’t quite aware of the distinguishing elements amongst Thrash/Death/Black Metal. In the 80’s bands like Possessed, Slayer, Exodus, Kreator, Destruction etc were creating a new musical genre based on the things they were used to listening to, and giving their best efforts to turn it more brutal and unpalatable – by their own means.

That is the same sensation I had listening to ‘Blood Serpent God’, because Chaos Doctrine pick various heavy metal element that are needed for their own music benefit – in this case, old school paced Thrash/Black Metal with a brutal chorus (reminiscent of Sepultura’s “Arise”-era) and Industrial Metal interventions.

Now, welcome to the Slayer side of the story, delivered expertly in ‘Black Friday Bedlam’ – a kick ass old-school Thrash Metal track guided by strong guitar riffs and ferocious drum and bass. I also enjoyed the duel between the screamed vocals, that are guttural as fuck, and the other vocal line, that evokes Tom Araya at his best!

Even though the songs are built around the talent of all the musicians, I think that what gives them the old-school flavour is the guitar work, because it is not full of ultra-technical playing, as many shredders use these days. The solos have more feeling, helping in the transition of the songs, like in ‘Father Grigori’.

I think that with these tips, you can proceed on your own to the rest of the songs on “In the Beginning…They Lied”, whose quality speaks for itself. Now, you may ask me why I rated the album 9.5, if it is that good. Well, the answer is because I am sure that they will come back with new releases that are going to beat this one. They are a young band, very focused on their musical creation. So, I’ll save my 10 for the next one!

‘Blood Serpent God’ feat. Anna Hel (Official Video)

TRACKLISTING:
01. And In The Beginning…
02. Blood Serpent God (Feat. Anna Hel)
03. Black Friday Bedlam (Feat. Jörgen Sandström)
04. Harlot
05. Nocturna Mors
06. Father Grigori
07. The Rite
08. Christ Church Horizon
09. They Lied
10. South Of Heaven (Bonus Slayer Cover)

LINE-UP:
Daniel Burger “Dr D” – Vocals
Alec Surridge – Guitar
Rory Townes – Drums
Phil Carstens – Bass, Backing Vocals

LINKS:

Previous EMQ’s Interview with Chaos Doctrine:

Chaos Doctrine ‘Harlot’ Visualiser Video – Ever Metal Premiere:

Chaos Doctrine ‘Enjoy The Silence’ Video – Ever Metal Premiere:

Chaos Doctrine Promo Pic

Disclaimer: This review is solely the property of Wallace Magri 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.

Ophion – Antediluvian

Antediluvian Album Cover Art

Ophion – Antediluvian
Nefast Films Records
Release Date: 02/09/2020
Running Time: 37:43
Review by Victor Augusto
9.5/10

The magic of the music! Yes! That was my first impression when I heard Ophion for the first time. Among hundreds of things that I could list, one of them that defines “The magical side of Heavy Metal or Rock music” is meeting new and good people, who share the same passion for it. If it weren’t for those people, I probably would never know about many incredible bands around the world. Ophion are another case of lovely people who love good music. And hearing this album just once was enough to realize that I was in front of one of the best albums I’ve heard in my life, but also that I have an extremely hard job to do, where reviewing it is concerned!

Maybe the first thing that will pop up in your mind when you push the play button for this album is a Behemoth musical influence with them. For most of the people, they will probably feel it, but for me things worked different. My reference of Ophion’s sonority on first hearing them was Ukrainian band, 1914, and I will explain why. Does the title “Blackened Death Metal” mean something to you? For me, it means the kind of music that 1914 play. Of course, I am talking about two bands who explore Death Metal, in an intense dark atmosphere, that comes from the subject they are talking about. In Ophion’s case, the dark atmosphere is not the war, but another context.

I’m not clever enough to understand what they are exploring in the lyrics, but what I could understand is something like Atlantean history, with a lot of other things involved. All the songs have a very deep interpretation of these subjects. It is epical, and heavy at the same time. Imagine all the aggressiveness from good Death Metal, allied with Black Metal sounds, from bands similar to Marduk. That’s how I would describe Ophion, but again, with a hugely different context to the lyrics, when compared with these other mentioned bands.

According to guitarist Focalor, who, alongside the singer Monarch, took part in an EMQ’s interview for Ever Metal (read the interview here), the meaning of band’s name is something like “a name that originates from a treatise entitled Ophiolatreia, on the universality and worship of the serpent, as well as another work, now lost, but mentioned therein, by Pherecydes Tyrus named Theology of Ophion.” Well, I guess I could not even dare myself to enter into exploring the band’s thematic, but don’t be afraid to watch the videos on their YouTube channel. You will be amused.

Musically, the band plays exactly what I described about their genre. Most of the time it’s extremely Death Metal. Sometimes, the ‘blackened’ part appears more, as dragged riffs, or vocal lines through Monarch’s interpretations, alongside bass lines typical of a few Black Metal bands. For me, the first three songs on “Antediluvian” are enough to show how powerful Ophion’s compositions are. ‘Panophion’, ‘Kalassa’ and ‘Atlantean Gates’! What a killer way to start an album! Especially ‘Atlantean Gates’! It is the best song on the album in my opinion. It also carries a good video which helps you understand the bands visuals and concept.

After the beautiful acoustic instrumental ‘Dissolution…And Resurgence’, that shows a very technical side to Ophion, we get ‘Grand Babylonia’, that has an easy-to-understand chorus, and then the remarkable riffs from the extreme song ‘The Course Of Empire’ right after. Then, as the album nears the end, the song ‘Theology’ appears, full of melodies alongside chaotic spirit from the music driving it into a faster and more extreme song. The bonus track ‘In The Night Of Ages’ keeps the same heavy spirit.

It is the first time I’ve heard Heavy Metal coming from the Dominican Republic. But I don’t care where the music comes from, as long as it’s great, which this is! Ophion really shocked me on the first listening. It is heavy, dense, and extreme. The band have given this album good production and shown great care for the composition. As a result, we are in front of an amazing and complex album, but one that’s easy to digest at the same time. I was a little skeptical about finding a new & amazing band that could shock me as Ophion have done. But now I am a new fan of them, for sure.

‘Atlantean Gates’ (Official Video)

TRACKLISTING:
01. Panophion
02. Kalassa
03. Atlantean Gates
04. Dissolution…And Resurgence
05. Grand Babylonia
06. The Course Of Empire
07. Theology
08. In The Night Of Ages (Bonus Track)

LINE-UP:
Focalor – Guitars
Monarch – Vocals
Wolv – Guitars

LINKS:

Ophion Promo Pic

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.

Incognosci – A Biography Of Madness

A Biography Of Madness Cover Art

Incognosci – A Biography Of Madness
Extreme Sound Records
Release Date: 22/10/2020
Running Time: 27:04
Review by Victor Augusto
8.5/10

Incognosci have finally released their debut album and maybe you are thinking that in front of us is a raw album made by people without experience. Sometimes it can happen with young bands releasing their first material, but I must tell you a few details that you probably don’t know about this Brazilian group. It is not easy to have a Heavy Metal band in my country (as you already know from me writing about it hundreds of times) and it is even worse if you play extreme Metal. In this case, the members have taken more than a decade to release this debut after line-up changes and all the struggles that being in a band demand. Of course, they are extremely active in their local scene along with other bands, like Gutted Souls, for example. However, if you look at it from a commercial or business point of view, it is horrible for a band to spend so much time without a release, but if you take the time to listen to “A Biography Of Madness”, you will understand how it was actually good for Incognosci!

Firstly, they are very experienced musicians as a consequence of all the years working together and with other bands. What every member does here is almost as if they are aliens from a distant and evolved civilization, playing on our humble planet. They are insane on their instruments. I could swear that I was listening to a band with more than three albums released and that survive by travelling around the world on long tours. This is obviously not the case with Incognosci, but what they have achieved as musicians is astonishing and they have delivered an incredibly mature work. There is a good balance between being extreme, but not sounding exacerbated or massive.

Now, let’s talk about the music itself. “A Biography Of Madness” is extreme Death Metal with Gore elements. It combines the aggressiveness and speed of Cannibal Corpse with elements of Obituary or Deicide from the Tampa Death Metal scene of the 90’s, mostly in terms of arrangements. There is also a much-diluted Djent feel which brings a modern flavour. The musical highlight are the complex variations they have created inside each song. It is insane how they vary the sonority many times with tremendous speed.

Having Jonathas “Jon” Pereira as lone guitarist sets him free to explore interesting techniques with his guitar, but it could also be because he has a killer bassist alongside him. Marcos Medeiros is highly creative with his bass and all the independent bass lines he has written are astonishing. Sometimes, it is like hearing hellish funk rearranged into Extreme Death Metal, as you can hear on the intro to ‘Perfect Specimen’. ‘Tales Of Insanity’ also has amazing bass work and Marcos fills the rhythm section during Jonathas solo, without worry. You will not notice that empty feeling, bands with one guitarist, sometimes have during solos!

Iron has a powerful, guttural voice and he has explored different vocal lines. This is the first time I have heard him doing ‘Pig noises’. He has departed from the usual style of Death Metal singers in one small detail. I can understand many things that he sings, and it shows his great ability on vocals that are noisy, but clean at the same time. Maybe, it is similar to the David Vincent (Morbid Angel) way of singing. Finally, the drum work that Braulio Drumond has put together for the album is the most impressive thing here, in my opinion. Many drummers can play faster than the speed of light, but to play fast with many tangled parts…well, few people can do that. He also hits his drum kit HARD and the music never sounds repetitive thanks to him. The opening song ‘Aftermath’ is a good example of what I am talking about!

The experience of the individuals has made “A Biography Of Madness” a terrific work. The album is short, the production is organic, the arrangements are very well thought out and the complexity of the compositions makes this an easy album to digest. It is a blend of the good and gold Old-School Death Metal, but with new elements. There is not a single song that sounds boring. All of them have received good attention and they are very professionally written. As a result of all these positive aspects this is an album that you won’t get tired of after 2 or 3 tracks, which can sometimes happen.

“A Biography Of Madness” is an amazing debut, I promise you.

TRACKLISTING:
01. Aftermath
02. Awaken The Desperate
03. Perfect Specimen
04. Traumatize The Masses
05. Eleven Years
06. Tales Of Insanity
07. Final Descent Into Madness
08. Trapped In Spontaneous Disintegration

LINE-UP:
Iron – Vocals
Jonathas “Jon” Pereira – Guitar
Marcos Medeiros – Bass
Braulio Drumond – 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 said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with OPHION

Ophion Logo

EMQ’s with OPHION

Hi everyone! Welcome to our new EMQ’s interview with Dominican Republic based Extreme Metal band, Ophion. Huge thanks to, Focalor and Monarch, 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 Focalor and Monarch of the band Ophion and we play extreme metal, or, as some would prefer to say, Blackened Death Metal. The band was founded sometime in 2017 with the intention of creating music centered around a series of concepts ancillary and very generally summed up by the name of the band.

How did you come up with your band name?

Focalor: The name originates from a treatise entitled Ophiolatreia on the universality and worship of the serpent, as well as another work, now lost, but mentioned therein, by Pherecydes Tyrus named Theology of Ophion.

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

Focalor: We hail from the Dominican Republic, even though Monarch is currently based in Spain.

The metal scene in the Dominican Republic can be understood as an ebbing and flowing of sorts, with some periods of activity driven by particular bands and supporters, who carry the scene for some time, and then retreat into inactivity, giving way to other small waves of bands and supporters, albeit with the occasional ‘survivors’. It should be remarked that extreme metal, I.e., death and black, have proven to be the most enduring.

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

Focalor: Ophion’s debut album “Antediluvian” was released a short while ago, on 2nd September. More recently, we’ve published a drum cam for ‘Panophion’, as well as a live session of sorts for ‘Kalassa’. We are currently working on a concept video for the track Atlantean Gates.

‘Kalassa’ (Lyric Video)

‘Panophion’ (Drum Cam Video)

Who have been your greatest influences?

Focalor: Dissection, Deathspell Omega, Behemoth

Monarch: As far as vocal style and arrangements, I’d say Nagash from Troll, Thebon ex-Keep of Kalessin, Satyr from Satyricon and Attila from Mayhem. However, as for focus on lyrical content, doubtless, Dani Filth.

What first got you into music?

Focalor: When I was about five, I was completely seized by guitars at music shops, after having discovered, of course, bands such as Metallica, and their “Black” Album and Black Sabbath’s “Heaven And Hell”, which I had received as a gift from my mother. Later on, at about 9, I came to discover other bands like In Flames and At the Gates – I remember being filled with a desire to dominate my instrument more fully, you know; and, when I reached my 13th year, I put together my first band: Soul of Death.

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

Focalor: Ihsahn (Emperor)

Monarch: Keep of Kalessin

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

Focalor: Wacken Open Air. I really like how so many subgenres are brought together in one place,  the audience’s incredible energy and scenography, lights, sounds, the whole deal.

Monarch: Beyond the Gates. There’s something about Norway.

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

Focalor: Beer!

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

Focalor: Thank you for supporting us and long life to metal!

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

Focalor: Jon Nödtveidt de Dissection

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

Focalor: We both appreciate the creative and recording processes. But not being able to fully live off it is quite unfortunate.

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

Focalor: More opportunities for bands to make the art economically profitable.

Monarch: No room for weakness in extreme metal. Go listen to it.

Name one of your all-time favourite albums?

Focalor: Dissection – “Storm Of The Light’s Bane”

Monarch: Covenant – In Times Before the Light

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

Focalor: Digital possession can never replace the value of physical ownership. Vinyl or CD’s.

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

Focalor: Destrucción Masiva 2017

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

Focalor: Sound engineer, photography, and video production for metal bands

Monarch: Music should not impede one’s other industries.

Which five people would you invite to a dinner party?

Focalor: My band brethren.

What’s next for the band?

Focalor: Finish music video for ‘Atlantean Gates’ and continue working on new music for the next album.

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

www.ophion-official.bandcamp.com
www.open.spotify.com/album/3dM33JvJLstCIgcxfg1O2e
www.youtube.com/channel/UCrBJQKz3pQh53ungXTWw7YA
www.facebook.com/temple.of.ophion

Jaffa Cakes? Are they a cake or a biscuit?

Focalor: A Cuiskit? Nay, not all problems can be solved by the mixing of parts…

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

First of all, we have to thank for the support in the Europe scene, waiting this way also to get in touch deeper in other countries, also letting all you know we are currently working on our new material, let’s keep in touch and long live to metal.

Ophion Promo Pic

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.

Eximperitus – Šahrartu

Eximperituserqethhzebibšiptugakkathšulweliarzaxułum – Šahrartu
Willowtip Records
Release date: 29/01/2021
Running Time: 38:34
Review by Dark Juan
8/10

Alright, muckers? It is January, it’s pissing it down outside and I am being forced to dispense cuddles to the warhound that goes by the name of Sir Zeusington-Zeus VC, KCVG, MM, Croix de Guerre, DFM and Bar because he’s feeling sorry for himself. Hence, I am typing this with one hand so it’s taking a while. Now I have been invaded by the rest of the pack – the Dread Lord Sir Igor Egbert Bryan Clown-Shoe Cleavage-Hoover is trying to attack my feet whilst Hodgson Biological-Warfare is insisting it is time for his tea, three hours too early. The travails! The travails I go through to bring you high quality record reviews, my dear, beautiful readership! (Insert dramatic collapse upon my chaise longue with a hand to my fevered brow here.)

However, January has brought me some music to listen to, and as you all know I am a child of extremity in both styles of music and concept. The bar has been set extremely loftily indeed for high concept extreme metal of late, with Manchester’s The Machinist and Canada’s Fractal Generator releasing genre smashing works of absolute genius – have a root on Ever-Metal’s review section and you’ll find me unleashing disturbing torrents of enthusiasm about them. However, we are not here for me to tell you how great they are in this instalment of manic frothing about metal. We are here to discuss something rather more exotic.

Eximperituserqethhzebibšiptugakkathšulweliarzaxułum (I shit you not and I’ll only be spelling that fucker once, everyone else shortens it to Eximperitus, but I am an annoying bastard and I have decided the band for the rest of this review shall be known as Dave) are from Eastern climes, more specifically Minsk in Belarus, which, let us be fair, is not a hotbed of metal talent normally. ‘Šahrartu’ is Dave’s second album and a companion piece to their debut, nattily entitled “Prajecyrujučy Sinhuliarnaje Wypramieńwańnie Daktryny Absaliutnaha J Usiopahłynaĺnaha Zła Skroź Šaścihrannuju Pryzmu Sîn-Ahhī-Erība Na Hipierpawierchniu Zadyjakaĺnaha Kaŭčęha Zasnawaĺnikaŭ Kosmatęchničnaha Ordęna Palieakantakta, Najsta” which is apparently written in a transliterated form of archaic Belorussian. Whereas that worthy release (which I am NEVER typing again) concerned itself with life and creation, “Šahrartu” (translated by the joy of Google Translate as something resembling Devastation) is a companion piece more interested in the darker side of life and more specifically the end of it. Also, the lyrical component of “Šahrartu” follows a fairly unique path, being composed to a specific form and having only eleven lines to each song and I am probably not having the full experience of the album as Dave themselves say that there are (and I’m quoting them here) “In comparison with previous releases, the lyrics of ‘Šahrartu’ seem drained. There is no former plethora of terms, names, allegories, epithets and metaphors. But despite the apparent simplicity and accessibility, this is an extremely conceptual work. The design of [the] physical format contains a lot of connecting links, references and unique elements, without which a complete understanding of the release is impossible. The spells on the album noticed by a watchful listener serve the focus of Black Logos within microcosm. They are composed in so called artlang, a constructed language for a work of art.”

Which for this Satanic simpleton means that Dave are extremely interesting. The music they play (there appears to be three members in the limited photos of Dave that I can find and ABSOLUTELY no suggestion of their names anywhere on the interwebs) is technical death metal with a large and puissant esoteric component. The production of the record is somewhat…unusual. The drums are muffled and lack punch, yet the cymbals are pin sharp. The bass is satisfyingly huge (fnarr, fnarr) yet the guitarist’s pedal box appears to be a Boss MT-2 and a compressor and that’s it apart from the echo and chorus. However, Dave 1 (I have ascribed numerical values to the members because I have no other way of telling you who’s doing what) is a fine player and his riffs run from the awesome to the sublime. Dave 2 (bass) is also a worthy musician, twatting the cables that pass for strings on his instrument with speed, precision and considerable aplomb. Dave 3 (drums) appears to be an amphetamine fuelled madman – on opener and instrumental (emphasis on the mental) ‘Šaqummatu’ he goes from slow, gentle tinking on cymbals over the sound of arctic winds through to what can only be described as a rampant, speed fuelled onslaught on his kit as the guitar builds up from quiet to fucking loud. So, all three Dave’s in Dave are very good musicians. Thankfully, they can write some absolutely brutal music as well as being skilled players. They have mastered a rare thing with death metal – they have managed to light and dark work. The sheer sonic mayhem of death metal is occasionally mastered and it flows organically into beautiful, quieter passages that still drip with venom. VocalDave (or possibly Dave 4 – fuck knows and trust me I have scoured the internet for hours trying to find out for you all) is a mighty DM vocalist – his throat has been constructed from RSJs and hydrochloric acid and his is a bowel shaking rumble. Clearly, he is not human.

I can’t pick out standout tracks because this is an, “Antique tragedy in six acts, each of which is a chapter dedicated to a certain stage in the existence of being” and therefore has to be taken as a complete body of work in six movements. Using that as a basis for my opinion, I have to say this is one of the most expansive and experimental esoteric records I have heard in a long while and I am definitely going to be buying a physical copy so I can get the full experience of Dave. Plus, I am a denizen of the underground and for our kind of music Eastern frontiers are about as underground as you can get at the moment.

Is it worth your pennies/dollars/kopecks then? Oh hell yes, as long as you can ignore the slightly dodgy production and are able to grasp that song titles are in a variety of ancient languages, you’ll love it. I did.

The Patented Dark Juan Blood Splat Rating System (Запатэнтаваная сістэма ацэнкі брызг крыві ў цёмным коле) makes its first appearance of 2021 in a spangly, ABBA inspired new jumpsuit and awards Dave (Eximperituserqethhzebibšiptugakkathšulweliarzaxułum) a mighty 8/10. Marks off for shocking guitar sound and dodgy production. Otherwise, it’s a great record.

TRACKLISTING:
(Thought you might appreciate the translations and the languages)
01. Šaqummatu (Sumerian – Silence)
02. Utpāda (Sanskrit – Genesis)
03. Tahâdu (Assyrian – Becoming/Prosperity)
04. Anhûtu (Akkadian – Dilapidation)
05. Inqirad (Arabic – Decay)
06. Riqûtu (Akkadian – Absence)

LINE-UP:
Dave 1 (GuitarDave )- Guitars
Dave 2 (BassDave) – Bass
Dave 3 (DrumDave) – Drums
And possibly a Dave 4 (VocalDave) doing vocals.

It’s not me not doing due diligence. I have spent rather a long time researching this Belarusian band and it is nigh on impossible to find anything out about them as people. Hence, they are all called Dave, as every band in the western hemisphere has had a Dave in it at some point.

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.

A Nameless Dread – The First Nothing

A Nameless Dread – The First Nothing
Self-Released
Release Date: 31/10/2020
Running Time: 27:36
Review by Dark Juan
8/10

My Legions! Fear not for your exile for the good of the realm shall soon be over! Then you can go back outside and continue your work of subverting the word of the False God while you are rampaging around Heron Foods and Iceland and Bargain Booze (or CK’s if you’re in Wales) buying anything that catches your fancy for Yule, and checking out the arse of that attractive checkout attendant on the way past after making such a dent in your plastic, you’ll be paying for it until the Rapture. It just so happens I might have the soundtrack for the madness of Yuletide (I refuse to use the name of the False Lord with regard to this time of year. I have no time for imported Middle Eastern death cults. Transubstantiation, indeed… Our Lord Belial would be mocked unmercifully if His minions wandered around claiming eating a bit of dry bread and supping some wine turns into a bit of prime evil rump steak and Holy vampirism. I mean, just fuck off) in the form of this South African extreme metal band named A Nameless Dread. See what I did there?

Yes, Africa. Not a continent that is YET currently renowned for heavy metal music. However, we at Ever Metal are committed to sharing with you metal from across the globe and especially from underrepresented nations. There will be more from Africa, I can promise you, because from what I can judge from AND (I’m not writing it a million times so sod off) there is a rich and untapped vein of talent in that there continent. Anyway, A Nameless Dread are from Johannesburg and quote that they have influences from cosmic horror to gore. These are interests that Dark Juan can only encourage.

So, yeah, this is my first foray into the world of African metal and I’m excited by it, so far. AND play a form of extreme metal that has leanings towards the earlier death metal end of the spectrum with added At The Gates and Deicide. Vocalist (to say singer would not be strictly accurate considering what he does with his voice) Rhett Freeman unleashes the kind of vocal apocalypse that would delight any fan of early death metal, being as he appears to be able to cover a range from vomiting up his own anal tract to screaming like there’s sharp stuff being jabbed into his eyes. He has a fine voice for this style of music. The guitar work of Damian Buys is also punchy and excellent, and to his eternal credit, he does not just rely on mid paced chugging. There’s some interesting and unusual discordant riffing in places that lifts AND above the usual pile. The songs are all fresh and original and all sound different to each other (Six Feet Under’s last record was a shocker for the songs sounding the same). The bass work is also satisfyingly huge and the drums complex and engaging. However, the production (I know I bang on about production a lot but it’s important for your listening pleasure) is woolly as fuck, man. The guitar work sits far too far forward, the vocals also and the bass sound, although loud as fuck and guaranteed to shake all your organs loose, overpowers the drumming to the point all you can hear is crash cymbal, a bass drum that sounds like it is being played by a wet and limp herring rather than a pedal and an absolutely inaudible snare drum. This is a shame because there are some lovely passages, especially the solo on the opening salvo, entitled ‘The Great Unclean’, which opens with some gentle guitar work, very briefly before the band get bored and instead hit you like a Rooivalk attack helicopter salvoing rockets at your sorry and soon to be violently exploded arse. A Nameless Dread then up the ante a bit on second song ‘Enter Chaos’ with a break that is almost fucking jazzy, whilst still being heavy enough to grind your balls to fluid. Rhett shows his versatility here as well, ranging from subterranean to stratospheric on the vocal front. ‘When God Blinks’ has some lovely African influenced soloing, too.

So, it’s fair to say I’m a bit of a fan of A Nameless Dread then. For my first foray into African metal, this is a fucking good record. The rest of Africa has some work to do to maintain this standard. While it’s not the most inventive record, AND have taken extreme metal (a genre that frequently disappears up its own arse in a welter of identikit riffs and roars) and kept it varied and interesting. The sub-28 minute running time for seven songs also shows the intent of the band to keep it short, punchy and meaningful. And while the production could be charitably described as a bit rough, it does manage to give the band and the songs a raw, dangerous quality that is missing from more polished releases. This album oozes sustained threat and implied violence and that can only be a good thing, boys and girls and everybody of all other genders. You could do a lot worse than buy this record as it is head and shoulders over the recent releases of some of the more established bands in the world (Six Feet Under, I am looking at YOU!)

I like it. I want more, thank you please.

The Patented Dark Juan Blood Splat Rating System (Die gepatenteerde Dark Juan – bloedspatgraderingstelsel – Google Translate is a wonderful thing because I shamefully know ZERO Afrikaans) awards a worthy 8/10 for a good, but flawed record that shows considerable promise for the future. Heavy as a pair of lead underpants.

TRACKLISTING:
01. The Great Unclean
02. Enter Chaos
03. Rot With Me
04. When God Blinks
05. Bleached Bone
06. The Resurrectionist

07. Cold Black

LINE-UP:
Rhett (I keep wanting to put Butler, but I am resisting!) Freeman – Vocals
Desmond Cook – Drums
Damian Buys – Guitar
Tim Botes – Bass

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.

Anaal Nathrakh – Endarkenment

Anaal Nathrakh – Endarkenment
Metal Blade Records
Release Date: 02/10/20
Running Time: 41:04
Review by Steven Hooke
9/10

There may not be a band that completely and totally summarises the state of planet Earth in 2020 quite like Brummie extreme metal titans Anaal Nathrakh. There’s been plenty of punk albums this year that rag on US and UK politics, social commentaries and global injustices, and there exists a near-limitless supply of blood-curdling grindcore, black metal, death metal, etc. albums to really amplify the feelings of internal frustration, Mick Kenney and Dave Hunt though bring together both sides of the turgid, decaying coin and leave you constantly coming back for more.

And it’s been pretty much the case since their inception over 20 years ago. Although Anaal Nathrakh have offered a rare glimpse into their lyrics for the latest album, they have traditionally remained reserved and protective of them, with tr00 necro experts piecing together unofficial lyric sheets, depicting the inner-monologue of Hunt’s mind as he lambasts religion, modern society and political leaders all in the name of a false freedom. The title track – which both opens the album and was used as the lead single prior to the album’s release – shows no shred of backing down, admonishing people for their callous mindset of “I side with whomever gives me a better reward” instead of looking at the bigger picture of how any particular declaration, political or otherwise, helps a broader audience.

It’s a real, organic response to the world. Hunt even states “personally, I feel more cynical, more bitter, with a greater sense that the world is fucked, and is continually re-fucked by people who have no idea what they are doing.” It’s all stuff that’s happening today too, ‘Punish Them’ acts as a short but scathing commentary to the situation involving a British woman in Malaysia being sentenced to death for allegedly smuggling drugs into the country (reportedly against her will). As barbaric as it seems to condemn someone to death for a crime even in 2020, the infamous comment sections of newspaper pages showing people to have no compassion or empathy when dealing with a person’s life. ‘Singularity’ deals with the human race’s innate ability to destroy itself, and that we’re losing our own identities to artificial intelligence, social media culture, all the while allowing a small room full of people dictate the behaviour of entire countries just to please a small fraction.

As previously stated, it’s not just lyrically where A.N. excel at bringing forth clouds of despondency; always expanding the realms and limitations of black metal to create images of horror in their sound, “Endarkenment” continues the trend of “let’s make something really bastard heavy, add a melodic bit that people can sing along to, but sing in a King Diamond-falsetto and sound like a ravenous harpy”.

Again, the title track is an early example of this as well as a prime example of Mick Kenney’s ability to tell a story through music and structure. Pitched as the complete antithesis of ‘enlightenment’, the high-pitched shrill vocal echoes Hunt’s clean delivery of “endarkenment”, the encroaching evil in an already chaotic and unstable environment. ‘The Age of Starlight Ends’ is another great example of this, with the pitch of the chord progressions steadily increasing, only to drop on the bellow of the chorus.

The deeper into the album you go, the more experiences you are sure to find. ‘Thus, Always, To Tyrants’ is a song that sounds like it’s collapsing in on itself, with some exceptional guitar work from Kenney for good measure, ‘Libidinous (A Pig With Cocks In Its Eyes)’ and ‘Create Art, Though The World May Perish’ sound plucked from an alternative universe where Niklas Kvarforth pursued a career in power metal and ‘Beyond Words’ is dissonant noise that make Author & Punisher blush.

“Endarkenment” is a triumphant onslaught of aggression. An ever-elaborate world of discordance and melody, knee-jerk reactions and patience, fear and, well, more fear. But if nothing else, it is a testament to a band 20+ years and 11 albums in that can remain concise and relevant to the world around them, but to also maintain such a profound level of quality in their delivery.

Anaal. Fucking. Nathrakh.

TRACKLISTING:
01. Endarkenment
02. Thus, Always, To Tyrants
03. The Age Of Starlight Ends
04. Libidinous (A Pig With Cocks In Its Eyes)
05. Beyond Words
06. Feeding The Death Machine
07. Create Art, Though The World May Perish
08. Singularity
09. Punish Them
10. Requiem

LINE-UP:
V.I.T.R.I.O.L. – Vocals
Mick Kenney – All instruments

LINKS:

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 DEATH PLAGUE

EMQ’s with DEATH PLAGUE

Hi everyone! Welcome to our new EMQ’s interview with Queensland, Australian based Extreme Black/Death Metal band, Death Plague. Huge thanks to vocalist, Dam Kel 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?

Dam Kel, I’m the vocalist of extreme metal band Death Plague, from the Sunshine coast of Australia. The band formed in 2017 and we’re a 5-piece act. In these early years we have already done a demo/EP called “Smear Your Blood”, we have a new album coming out this year, and we have played many shows and mini fests , as well as organising and running our own shows and mini fest.

How did you come up with your band name?

At the time we wrote our first lot of songs, we felt plagued by our own creation. And for myself personally, the band had become my reason to die, so if this is the last project I do then I’m taking it to the end. Death Plague is who we are, it’s our way of life and we are in it until the end.

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

We are Australian based band and Brisbane is the main city near us. The scene is ok but can be fairly hard to judge as to how gigs will plan out. There is a solid following, but with the way the restrictions are with licenced venues it makes it very hard to get people motivated to come out and make a night of it.

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

So, the last release we did, the ‘Parasitic Homicide’ music video, was a while ago, however, stay tuned for our upcoming tracks. It’s heavier then before and really showcases us as a full-on machine.

Who have been your greatest influences?

My greatest influences have been Wednesday 13 (not just the music but the amount of work he puts in, the guys a freak) Satyricon, Soulfly, Psyclon Nine, basically anything that’s creative and catchy.

What first got you into music?

Oh man, just the feeling of being able to express yourself on that kind of a platform! It’s absolutely awesome being able to make a connection with people live or even through recording.

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

Locally (Australia underground wise) I’m currently collaborating with members of both Awful Noise and Terra Mortem. I think international it’s a massive playing field and hopefully we can collaborate with many different bands out there.

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

Definitely would have to say Wacken. I know, reach for the sky’s, but that place is just a freak of the best talent the world has to offer in metal, it’s my Graceland.

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

A hug (laugh) ok back story… At a show, some member of the crowd went to knuckles me, I did and said into the mic “is that how humans connect?” then another member from down the back ran up and said “no this is how we connect!” and gave me a hug. Very weird moment but hey, if that’s not metal…. I don’t know what is!!

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

Album is almost finished, not too much longer! We will be seeing you all very soon and the party will be massive!

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

I don’t think I’d bring one back to be honest… they would be cranky, pissed off and smell really fucking bad. I think we should let their legacy live on. They were who they were and that’s what makes them special in almost every way.

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

I love being creative and connecting with people and crowds. I don’t think I hate anything… oh… I stand corrected, I hate having to wait for our own stuff to be ready to showcase. I just wanna get it out there and have some fun.

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

Downloads. All the way, they should not be allowed. Yes, it’s convenience but it’s worth nothing to the eyes on the computer screen. The physical copy always has cool designs and a booklet and is just… so much more worth it. Can’t sign a computer screen for someone. Think about it…

Name one of your all-time favourite albums?

Soulfly “Dark Ages”. So many great tracks, never gets boring.

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

Yea… I’d say CDs, unless it’s great vinyl. Cassette tape was never really a great idea. I think it was good for the time but yet it was never timeless.

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

By far it would be an interstate show in a place called Newcastle! Best crowd, shot them beers (like a whole fucking keg), it was incredible just how much love we got from that place.

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

I think Marketing. I’m creative and always trying to do some weird stuff with posters and designs and how to reach people. It’s all really fun to me.

Which five people would you invite to a dinner party?

My band members, they are the best mates and the strongest team I’ve ever had in my life.

What’s next for the band?

Studio time, upcoming shows, and focusing on where we go next and how we achieve that. It’s always good to have goals and accomplish them.

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

www.facebook.com/pg/deathplagueww

Jaffa Cakes! Are they a cake or a biscuit?

They are clearly biscuits, although, maybe we are wrong about that as well. Maybe the are not either cake or biscuits, one of those questions that will keep you up at night that’s for sure.

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

Stay tuned, some awesome stuff coming, support your local scene and help the bands make your life a little bit less sucky It’s ok to escape and shut off the world while listening to music. Stay safe.

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.

EMQs with BLOOD OF ANGELS

EMQs with BLOOD OF ANGELS

Hi everyone! Welcome to our new EMQ’s interview with Tampa, Florida based Extreme Metal band, Blood of Angels. Huge thanks to guitarist, Aaron Robinson, 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?

Aaron Robinson, I am the guitarist for Blood of Angels. I formed the band in October of 2015. Our debut EP, entitled “Rise of the Fallen Gods”, did well and won a few awards.

How did you come up with your band name?

Blood of Angels was a name that I had in mind for a couple of years before I formed the band. The name really suits us. As far as a business sense, it’s a name that works with metal music that does not pigeonhole us into a single sub-genre. It is easy to remember. From a personal side, we are a band that does not subscribe to any form of organized religion. Since most religions have this mythological idea of angels, spilling of their blood is a metaphorical statement to abandon organized faiths.

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

We are from Tampa, Florida USA. Our Tampa metal scene is resurging. You can see the building blocks being put back into place. We have a great studio in town that loves punk and metal music. The venues that started in the 80’s, that are still around, are getting great attendance for the scene. It is fantastic to see the Tampa metal scene make a comeback.

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

We released our debut EP “Rise of the Fallen Gods” in 2017. We’ve recently completed our new album “Failure of Faith.” We hope to have a release date soon.

Who have been your greatest influences?

We are influenced by Slayer, Cradle of Filth, System of a Down, and Dark Tranquillity.

What first got you into music?

My dad was a fan of the early metal bands. Led Zeppelin, Black Sabbath, and Blue Oyster Cult, among others. Listening to heavy rock was something we bonded on. When I was ten my dad picked up the Ozzy Osbourne “Randy Rhodes Tribute Album.” I became obsessed with that album. I just fell in love with Randy’s guitar playing. I wanted to be able to do it as well.

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

They are really is not one musician that I would love to collaborate over any other. I am always open to create new songs with different artists. Recently we did a collaboration with hip-hop artist Amiss Omega. We did a killer track with hip-hop blended with black metal influenced riffs and drums.

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

Wacken Festival for sure. That is the grand-daddy of all metal festivals!

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

Nothing weird, I got some cool friendship bracelets. Also, a Viking style drinking horn.

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

We cannot wait to get on the road and see everyone. Hopefully, our tour with Laang in August will be able to go on.

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

That is a tough question. Besides Randy Rhodes, probably Jim Morrison. He really understood philosophy and I am sure the conversations we would have would be transformative. I would be interested in what he would say about the current situation.

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

I love connecting with people who love music as much as we do. I do not like having to buy-on to tours and festivals.

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

As I stated in my last answer. I do not like having to buy-on to tours and festivals. I do not see the reason behind charging bands $2,500 to play a festival.

Name one of your all-time favourite albums?

Dark Tranquillity – “Where Death Is Most Alive.”

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

Since I am a 90’s kid, I really love the polished sound of CD’s.

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

The Tampa Death Fest last October. It had an awesome and very receptive crowd. We had a great show.

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

I would have pursued a career in academia. I would have done research and published books on ancient societies.

Which five people would you invite to a dinner party?

Kerry King, Neil DeGrasse Tyson, Daniel Tosh, Steve Harris, and Johnny Depp.  It would be one eclectic dinner party.

What’s next for the band?

To release our new album “Failure of Faith” and tour as much as possible.

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

www.bloodofangels.net
www.facebook.com/bloodofangels1
www.twitter.com/bloodofangels1
www.instagram.com/bloodofangels
www.youtube.com/bloodofangels
www.numberonemusic.com/bloodofangels
www.reverbnation.com/bloodofangels1

Jaffa Cakes! Are they a cake or a biscuit?

Both, it’s hard to decide!

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

Thank you for the opportunity to connect with your audience. We hope to see everyone as soon as Covid-19 passes.

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.