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.

Conflict – Decision Code

Conflict – Decision Code
Self-Released
Release Date: 01/04/2020
Running Time: 63:54
Review by Beth Jones
9/10

I’m on holiday this week! I had planned a week full of doing those niggly little jobs in the house that have been put off for months, however today’s activity, putting up shelf units in the garage, has been cut short by the nemesis of the missing piece! Damn you flatpack! But, it has given me a chance to get stuck into some reviewing! First up on my list, Russia Industrial Death metallers, Conflict, and their 4th studio album, “Decision Code”. This was released back in April, but I’ve only just got round to it! Sorry, my bad!

I’m known to be rather partial to a bit of industrial metal, so my ears pricked up when Rick offered me this one, and it also has two of my favourite industrial artists, Jayce Lewis and Burton C. Bell, guesting! With this latest album, Conflict have delved into the exploration of a concept. Set in a dystopian future, Decision Code explores the conflict between man and machine – a concept that is becoming less unimaginable by the day.

The album starts with ‘2048’, a track that melds futuristic electro synth with rhythmical and mechanical guitars and beats, and Anna ‘Hel’ Milyanenko’s tortured growls. It certainly sets the tone for the album, purveying an image of the torment of the soul in a world run by machines, where the sense of ‘self’ is being lost in automation. The album continues in this vein, with most tracks being in a minor key, adding to the weight of the whole sound. It’s industrial, but it juxtaposes the mechanical monotony with progressive and almost djent style rhythmical sections. It’s certainly apocalyptic. It brings to mind the dirty, oil drenched landscapes of futuristic disaster movies, where only the strongest can survive and must fight to save what is left of the planet. It would make a great soundtrack to a movie or video game of this ilk.

An interesting bit of diversity is added in track 5, ‘Megapolis’, with the use of a melancholy saxophone line, which almost serves as an echo of the past, where free will and free thinking were still a thing. Many of the tracks also use synth strings which add to this melancholic yearning of the whole album.

This isn’t really an album to have a favourite track on, as it is more of a whole concept, and so should be taken as a whole piece. But for me, there are two that stand out. Firstly, track 11, ‘Deadlock’. This is the track that Jayce Lewis guests on. Aside from the fact that his vocals always get me in the feels, the chord progressions within this track are very pleasing, and it brings the heat down a little in the middle section to explore more piano and string sounds. This leads into a section of bass and drums in an irregular time signature, which wet my progressive whistle!

The final track, ‘New Industrial Order’, is also an absolute banger! Fully instrumental, apart from a small section of spoken word towards the end, its creepy introduction brings to mind a battlefield, at the point of ‘calm before the storm’. The warring factions standing motionless to either side, their eyes narrowing, assessing their foe, preparing to engage. Only here I get the feeling the foe are machines, and regardless of who wins the battle, there will be no real victory. As the track builds, it progresses into chugging chords and powerful rhythms. This would be the perfect soundtrack to a battle sequence played out in slow motion. It’s mournful and melancholy, and a brilliant way to finish the album. It almost feels like there should be a ‘To be continued…’ caveat at the end.

My one criticism with Decision Code is, for me, the synth sounds are at times, too far forward in the mix, and the clean vocals a little too far back. However, this doesn’t detract from the overall effect of the album.

Musically, this is an album of tracks that are riff laden and full of steel-like chunkiness, with a combination of tortured growls and clean vocals, neither of which outstay their welcome. It’s also really bass driven, which gives it a grind that’s very pleasing, in a masochistic kind of way! It sticks with the concept and portrays it extremely well. It’s always pleasing when an album fulfils a brief, and this is certainly one of those occasions. If you like the industrial nature of bands such as Meshuggah, Gojira, or Fear Factory, you will really enjoy this album.

TRACKLISTING:
01. 2048
02. Autonomous
03. Art of Resistance
04. D-Evolution (feat. Dave Lowmiller)
05. Megapolis
06. Decision Code (feat. Alex Blake)
07. To Serve and Protect
08. Room 101
09. Speechless (feat. Karsten “Jagger” Jäger)
10. The Architect (feat. Burton C. Bell)
11. Deadlock (feat. Jayce Lewis)
12. New Industrial Order

LINE-UP:
Anna ‘Hel’ Milyanenko – Vocals
Aleksey Kurpyakov – Bass
Rodion Skityayev – Guitar
Mikhail Conflictov – Drums

LINKS:
www.conflict-metal.com/
www.vk.com/conflictmetal
www.facebook.com/Conflictmetal
www.instagram.com/conflictmetalband/
www.youtube.com/channel/UCmnwlgm9GGZHt_pWSgjaFmw
www.conflict-metal.bandcamp.com/

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

Black Vatican – Arcana Lament

Black Vatican – Arcana Lament
Self-Released
Release Date: 18/01/2020
Running Time: 47:01
Review by Dark Juan
7/10

…As I continue to whip the poor wretch in front of me, the bands of pain across my back increase, iron hot and tightening across my shoulders, although the pain I am suffering must be nothing compared to the glistening red stripes of agony across her slim, trembling back. Her blood runs in rivulets down her back and stains her skirts a deep scarlet. Yet, still she does not cry out. This wretch, this WITCH, this doer of evil! Thankfully, the Most Holy Inquisition came across her in the commission of her crimes and all that remains is confession before we pass sentence and she goes to meet her dread maker in the bowels of the most awful hell, far from the eyes of the Lord my God, her saviour and saviour of all mankind. How I love him as I do his august work on this evildoer, this hellion! With renewed vigour from my faith in the Lord I swing my bullwhip and open up another vicious wound upon her soft flesh. The red of open slashes now has flecks of white bone showing through. Rib cage and spine are becoming gradually exposed. My Cardinal motions for me to cease my Holy ministrations upon the person of this servant of the Devil. He places his hand under the chin of the witch and raises her face to gaze into his. He speaks kindly to her.

“My child, repent of your sins and confess them and I promise you a quick and clean death and you can go forth to the forgiveness of the Lord our God and live eternally in Heaven. I beg you to confess and end your pain. Only the cleansed can go to the Lord.”

The witch spits blood flecked defiance straight into his face. Her dark, liquid eyes narrow and flash hatred and she whispers, hoarsely because of injury and pain as she replies, voice choked thick with agony and disgust.

“Never. I never acknowledged your God. Your prayers were never for the likes of me and my kin. You seek only domination and dominion over all. You crave new demesnes. Look at your wealth in the silks you wear, how well fed you are, how your skin is unmarked by pox. Yet you want more. You will not hear me scream even as I burn and I WILL NEVER DO YOUR BIDDING! I follow the Left Hand Path and I am a member of the congregation of the Black Vatican!”

Four hundred and thirty six words just to make a tenuous link to Black Vatican, an American two-piece hailing from Kansas City, whose latest offering I am currently listening to, entitled “Arcana Lament”. And a strange, ill-proportioned beast it is too. An arabesque with unsuited limbs. Beauty and perfection subtly distorted in ways that render you uneasy and afraid. Like an elegant, beautiful hand whose fingers are just that tiniest bit too long and thin, and the nails look rather sharper than normal. Black Vatican have taken Paradise Lost, Rotting Christ, Cradle Of Filth and KMFDM and early Ministry and performed gross, disgusting medical experiments upon them and fused them together in some horrific kind of gothic black metal industrial chimaera. This, as you might imagine, makes for an interesting listening experience as these are all fairly disparate influences at work. The song structures and lyrical content lean very much into the dark gothic wonderland that Dani Filth appears to inhabit but then suddenly a song will go cold and industrial and bleak. It’s surprising how well that sort of segue works even if Black Vatican relies on it a little too heavily. Equally so with the short, sharp, choral single note chants that appear on at least three songs. Still, everyone knows that Dark Juan is a sad old goff and this sort of thing is enough to worry West Yorkshire County Council because of the possibility of sex wee flooding. Again. I have to say I am really enjoying the album despite the fact that Black Vatican appear to have used a fucking Bontempi drum machine with the most appalling cymbal sounds and shitty drum tones ever. It sounds like a fucking toy monkey bashing cymbals together over a fat man hitting an upturned bucket with a drumstick composed of rats with rigor mortis. Painfully obviously sequenced does not even begin to describe how shit the drum machine is. Get an Alesis SR-16, chaps, and do it properly, please.

Vocalist Erik Ramos boasts a broad range of tones, from guttural belly rumbling through to a very engaging Dani Filth-esque howl which is regretfully sparsely employed considering this is what Erik excels at. Production wise, it’s ok – everything is clearly heard although everything can be somewhat smothered by keyboards and drums at times. There is a distinct lack of production finesse, however, and there are some unusual breaks in the arrangement of the music and the record clearly sounds like it has been recorded on a budget of 37p and a packet of fags. The guitar sound used by Cole Roberts varies wildly from Akercocke like lo-fi razorwire single string work through to full bore metal riffing with a sound not unlike the guitars on “Cruelty And The Beast” which fits the kind of cold atmosphere the record projects rather well.

I love anything gothic or industrial and to have something that is both is a real treat for me. Fans of gothic metal might find this a challenging listen because of the industrial sounds BV use – most goth metal is a warm and intimate experience closely in touch with the darker parts of your soul whereas BV operate out on the fringes. They are occupied with the darkness and the cold outside of you. The terror without rather than the horror within. Industrial fans will appreciate the cold and dispassionate feel of the record and might also enjoy the slower numbers. Stand out tracks on the record are ‘Morrigan’s Forest’ and ‘Vampiric Combat’. Special mention for unexpected comedy gold goes to ‘Witch Of Scarborough Fair’ which is a gothic rewrite of the notable Simon and Garfunkel classic. Listen, lads, if gothic doom metal gods My Dying Bride can fuck it up royally (their cover of Scarborough Fair is execrable) then you don’t stand a chance with it! Leave Simon and Garfunkel alone!

In conclusion – I totally get what Black Vatican are trying to achieve and applaud them mightily for it. I feel that they might have a problem by having a foot in the camp of both gothic metal and industrial. A judicious lean in one direction or the other may well pay dividends, because the middle ground they inhabit is a sparsely populated one indeed. Also, for the love of god buy a decent drum machine because the one you’ve got is shite! Niggles aside, I’m a fan and I’d love to see what Black Vatican could achieve with a decent recording budget.

The Patented Dark Juan Blood Splat Rating System has regrettably only ruined one pair of trousers with a modest amount of sex wee and awards Black Vatican 7/10 for a record that impresses with the scale of its thinking, but is let down by execution.

TRACKLISTING:
01. Loss, Greed and Necromancy
02. The Alchemist
03. The Vistas
04. Witch Of Scarborough Fair
05. Dreams Of Hecate
06. Morrigan’s Forest
07. Vampiric Combat
08. Again, The Vistas Again
09. Reincarnations Of Dreams

LINE-UP:
Erick Ramos – Vocals, Bass
Cole Roberts – Guitars

LINKS:
www.facebook.com/blackvatican6/
www.open.spotify.com/artist/4kpB2ccJ7queKwRZfc2qOm
www.instagram.com/vatican.black676/
www.youtube.com/watch?v=g_g8qpFwPhU

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.

Static-X – Project: Regeneration Vol.1

Static-X – Project: Regeneration Vol.1
Otsego Entertainment Group
Release Date: 10/07/2020
Running time: 40:36
Review by Dark Juan
10/10

Hiya, you dark and seething proud beauties! I am Dark Juan and I am here to use this very powerful electric cattle prod to force you all onto the path of righteousness. What was that, Miss O’ Brien? The cattle prod? No, won’t hurt a bit. What? The Geneva Convention? What about it? No, Miss O’ Brien, it doesn’t count because we are not at war. Now, get in line or so help me, Satan, your arse is going to smell like a Burger King kitchen when I use this prod on it at some length. I’ll even supply my own special sauce…

Do forgive me, my most loyal and tolerant readership. I had recalcitrant neophytes to deal with. I doubt Miss O’ Brien will be troubling me again soon.

We are here for a most somber occasion. It is to review the last works of Wayne Static before his untimely death, which robbed me of one of my favourite vocalists. This record (“Project: Regeneration Vol.1”) features the last vocals recorded by Wayne and new music that was in production at the time of his death. Laudably, the rest of the original Static-X line-up (Tony Campos – Bass, Koichi Fukuda – Guitar and Ken Jay – Drums) spoke to Wayne Static’s family and were given their blessing to create and release this album in honour of him. Now, Static-X always had an utterly unmistakable sound and whether you’re a purist or you’re open to new (s)experiences, you’ll instantly recognise the music. It is a staccato, industrial tinged, danceable melange of pop hooks and crushing metal with added electronic flavours. It is a highly polished stiletto shaped attack vessel painted in the shiniest reds and blacks letting loose with directed energy weapons. It kills but it kills cleanly, cauterising hideous wounds instantly with directed laser beams. The guitars are sharper than a diamond edged sawblade, flaying skin and flesh from bones with surgical precision and Tony Campos’ bass is a particular point of note (on previous releases the bass tended to be suppressed in favour of more sexy guitar based stuff) as it sounds just like the ominous rumbling just before that mountain side over there comes crashing down in a glorious welter of destruction. This immediately adds a new level of heaviness to the familiar glacial, crystal clear sound that Static-X normally employ. The record sounds exactly as you would think it might – A heady mix of “Wisconsin Death Trip” era howling and spitting and the later, more considered sonic fury of “Cannibal” and “Shadow Zone”, where Wayne got to spread his vocal wings and actually proved he was a very good singer instead of just an extraordinarily coiffed howler.

A nice touch on the record is on the intro track “Regeneration” where the famous “Yeah, it was very stupid” sample that started “Push It” (the band’s first single) creeps in. Honestly, I nearly cried (Lies and slander! I have no emotions and to say otherwise is patently libellous!) I have loved Static-X ever since they first broke through and their technology-fuelled metal spoke to me in a big way and satisfied a need that was gnawing at me at the time, the need for originality. Metal was a fairly stagnant place back in the nineties (nu-metal and rap crossover were the common flavours of the month back then) and Static-X didn’t just break the mould, they booby trapped it with a metric fuckton of gelignite and rode the resulting blast wave of destruction to ever greater heights. Everything that was great about Static-X has been distilled into this album – the metronomic and complicated drum patterns, the extremely highly produced and distinctive guitar tone and the unusual vocal patterns of the verses and choruses with added thunderous bass and much more electronics then previous releases. You know what I’m like for electronics… Static-X always sounded arctic and cold and this is not the case for this album. This is warm and almost intimate compared to other releases. I wonder whether this was a deliberate choice, reminding us that we have lost a friend…

Standout songs? Ah, fuck it, the entire record is fucking brilliant. It is literally everything I loved about Static-X. It’s big, it’s bombastic, it’s shockingly danceable. It’s metal. It’s electronic. It’s evil disco! It’s strobe lights and Gatling guns and tracer bullets and mirror balls and laser beams. It’s glittering and lethal and beautiful and unique and special and Static-X will always remain one of my favourite bands. Every song is a perfect Static-X song, from the out and out rapid fire insanity of ‘Otsego Placebo’ and ‘Terminator Oscillator’ through to album closer and the nearest Static-X will ever get to a ballad, ‘Dead Souls’ with Wayne dialling back his usual rabid delivery in favour of an almost croon (don’t worry, the man still sounds like he is being tortured with anguish and uncontrollable rage.) It is also produced by the man that understood the band best, Mr. Ulrich Wild – the man responsible for the antiseptic sound Static-X primarily employed on “Wisconsin Death Trip”.

I can’t help thinking the brevity of this review is not doing the record justice. It’s an absolute fucking killer 3am blast down the motorway record. It’s an ultra-polished, original sounding heavy metal record from a true band of innovators. Without Static-X there would be no King Satan and that would be a very bad thing indeed. It’s machine music for organic lifeforms and it twists genres and metal itself into such interesting new shapes I can’t help but have my breath taken away by it. Even if I wasn’t already a fan, this record would have turned me into a squealing fangirl instantly. The guitar riffs are things of deconstructed perfection. Yes, metal purists will whinge their fucking studded leather panties off that it is “not metal” but which motherfucker set them up to be the arbiters of taste and judgement? I AND MY FELLOW REVIEWERS AROUND THE WORLD ARE THE ARBITERS OF TASTE AND JUDGEMENT! They are still listening to fucking Accept records from 1986 and not seeing the irony in slightly homoerotic lyrics such as “Surprise attack, coming from the back…” and refuse to accept that metal is a diverse and exciting genre encompassing all kinds of sounds and influences – Christ, Static-X list everything from Mortician to The Crystal Method and the Sisters Of Mercy as influences and a style of music that evolves has to be better than one stuck in the 1980’s, in a corner of a bar, beer belly straining over the skinny jeans and biker boots it is still wearing, and the same Motorhead Bomber t shirt, lamenting how metal stopped when Metallica released the Black album. Give me cyber metal like Static-X any day over the tired rehashing of the same songs again and again. Metal has grown into so many different new things. Give Static-X a go if you haven’t before. It’s heavy and it’s violent and oppressive but it is also shiny and fresh and exciting. Kinda like the first time you discover you’re incredibly submissive and you need a Dom/ Domme…

Static-X – music to have disturbingly kinky and violent sadomasochistic sex to involving shiny black PVC and lots of oils and unguents. It is the perfect soundtrack and I am quite sure Wayne would approve!

The Patented Dark Juan Blood Splat Rating System has listened to this album so many times he will be singing it when he’s dead. Static-X are awarded an untouchable 10/10. Absolutely flooding the local area with sex wee ready for Vol. 2. RIP Wayne. You were taken from us too soon.

TRACKLISTING:
01. Regeneration
02. Hollow
03. Worth Dyin For
04. Terminator Oscillator
05. All These Years
06. Accelerate
07.Bring You Down
08. My Destruction
09. Something Of My Own
10. Otsego Placebo
11. Follow
12. Dead Souls

LINE-UP
Wayne Static – Vocals
Tony Campos – Bass
Koichi Fukuda – Guitar
Ken Jay – Drums

LINKS:
www.static-x.org
www.facebook.com/staticx/
www.twitter.com/OfficialStaticX
www.instagram.com/staticxofficial/

Photo by Jeremy Saffer

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.

EMQ’s with NUCLEAR WINTER

EMQ’s with NUCLEAR WINTER

Hi everyone! Welcome to our new EMQ’s interview with Harare, Zimbabwe based Melodic Industrial Death Metal project, Nuclear Winter. Huge thanks to Gary Stautmeister 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?

I’m Gary Stautmeister and I started Nuclear Winter in 2013 – After all the years of playing guitar and having nothing to show for it, I finally decided I needed to start recording my own stuff and work on my own ideas. So Nuclear Winter became my solo project where I could experiment and record my own thing.

How did you come up with your band name?

When I worked on the ideas for my first album, where the lyrics dealt a lot with the extremes from things like love/hate etc and the fine line that separates them, I thought Nuclear Winter worked well with that – as being the extremes of heat and cold but is a devastating thing within itself.

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

I’m from Harare, Zimbabwe. The rock/metal scene here is almost non-existent. Apart from a few metal heads and Zim’s only other metal band Dividing the Element, are about all we have here.

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

My latest release is “Night Shift” which came out end of last year, but I have an EP called “StormScapes” which will be out on 15th July.

Who have been your greatest influences?

Wintersun and Devin Townsend. Although I don’t do anything that really sounds like DT – it’s just what he does in his songs is really impressive to me. There’s a way he manages to pack so many things into a mix and have it all working together well that I find very impressive.

What first got you into music?

As a kid when I first heard Bon Jovi and Def Leppard, I thought wow – I gotta have an electric guitar! I just loved the sound and energy of it. Then came Nirvana and they were a huge influence for me. At least as a young guitarist – their songs were fun and easier to play than most other bands. Down the line someone introduced me to Paradise Lost and I was amazed – they were heavy and melodic, and they are one’s that got me into melodic death metal – with Dark Tranquillity being my next favourite band then.

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

Either Devin Townsend or Jari Mäenpää- both musical geniuses’ way beyond my level but they would be really interesting to work with and to learn stuff from, I think.

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

I don’t have a preference really. I think any of the big ones like Download or Bloodstock etc would be cool.

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

My fan base is still small, so I haven’t received any gifts.

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

Just a big thanks to anyone who is supporting the music I make.

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

Kurt Cobain. Nirvana was my favourite band in high school and the biggest influence for me as a teenager learning the guitar.

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

The main thing for me is the creative freedom to do what I like. There’s not anything particular I don’t like. I find I struggle a bit with self-promotion. Also, one thing I find really tedious to record is the bass guitar. I find it very boring. I think I need to get EZBass so the bass can just be automated lol.

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

To be honest I don’t know enough about the music industry so I can’t really offer any suggestions.

Name one of your all-time favourite albums?

Strapping Young Lad – “City”. That was an immense album.

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

I think downloads. Just more convenient. I used to enjoy getting CD’s though years ago but digital is the way forward, I think.

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

As a one-man band recording my stuff at home, I’ve not performed any of my music live yet unfortunately.

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

My main job is doing 3D design, so music is actually a secondary thing for me. I would prefer to just focus on music though seeing as I’m quite bored of doing graphics work now.

Which five people would you invite to a dinner party?

I think this list would be very interesting Morgan Freeman, Ricky Gervais, Jessica Lang, Kathy Bates, Jordan Peterson.

What’s next for the band?

I’m starting to work on some new songs for a new album. But that will probably only be out mid to end of next year hopefully.

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

I just use the usual ones – Facebook, Twitter, Bandcamp, Soundcloud etc
www.facebook.com/NuclearWinterZim/
www.twitter.com/NWStauty
www.nuclearwinterzim.bandcamp.com/
www.soundcloud.com/nuclearwinterzim

Jaffa Cakes? Are they a cake or a biscuit?

I was a kid when I last had one of those and to me, they were closer to a pie. But between those two I’d choose a cake.

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

Sure, and thanks for the interview. Nothing to add really.

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 Abysmatic

EMQ’s with ABYSMATIC

Hi everyone! Welcome to our new EMQ’s interview with Bulgarian Industrial band Abysmatic. Huge thanks to singer-songwriter, Dennis Nikov, for taking part.

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

My name is Dennis Nikov, I’m the producer-singer-songwriter for Abysmatic, a three-piece industrial band from Sofia, Bulgaria. Completed by Hristo Simeonov on guitar and Dobromir Vulkov on drums, the band had its first official release in 2013 and has since released 2 LPs, numerous singles, and has been a constant presence in the Bulgarian alternative scene. We just recently released our definitive self-titled album, a single from which was picked up by Bulgarian national rock radio, and which in turn led to us landing local opening spots for artists like Combichrist and Leeroy Thornhill (ex-The Prodigy).

How did you come up with your band name?

Abysmatic is a combination of the words “abysmal” and “automatic” and sort of refers to the Fibonacci sequence spiral, which in turn could be seen as a symbol for the passage of time and the inevitability of death. It also obviously refers to the depths of hell and has some Satanic overtones.

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

There is a thriving underground metal, punk and hardcore scene in Bulgaria, however everything is very DIY and there’s almost no mainstream outlet for heavy music. There are no big rock and metal labels and it’s very hard for a new band to develop an audience, but there’s definitely a demand for quality alternative music.

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

Our latest release is Abysmatic’s definitive self-titled album, which features a unique mixture of industrial metal and old school rave, and lyrics written entirely in Bulgarian. Check it out if you want to hear a truly rare combination of styles coming from the weirdest of places.

Who have been your greatest influences?

We all grew up during the late nineties and obviously the nu-metal era, so the likes of Nine Inch Nails, The Prodigy, Static-X, Limp Bizkit, Rammstein, Marilyn Manson etc. definitely shaped us musically. All of them incorporated guitars and synths or programming in some way, which we took to heart, and really decided to run with.

What first got you into music?

For me it was when I got my first Walkman and the soundtrack of the movie The Matrix on tape.

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

We’d definitely love to do something with our hero Liam Howlett from The Prodigy, and with a lot of other UK bands and artists actually. Bring Me The Horizon, Chase & Status, Ocean Wisdom, IAMDDB… The UK is where it’s always been at musically.

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

There’s a festival not too far away from us actually, called Electric Castle. It’s in Romania and it’s held in a medieval Transylvanian fortress. The line-up is always super diverse but heavy, and it’s just our cup of tea.

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

Our latest album actually sort of has a unified message, and it’s to believe in one’s power to do it all on their own.

If you could bring one rock star back from the dead, who would it be?The three that I miss the most are Keith Flint from The Prodigy, Chester from Linkin Park and Wayne Static…

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

When you think about it, music is probably the most visceral art form, as it’s the only thing that can just set your mood instantly on its own. Just being able to create something like that feels like magic. What I hate is having to deal with the business side of it!

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

I’d probably make trap illegal at this point.

Name one of your all-time favourite albums?

The 2 albums that just instantly come to mind are Limp Bizkit’s “The Chocolate Starfish And The Hot Dog Flavoured Water” and Linkin Park’s “Hybrid Theory”.

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

Well, obvious any physical medium is a lot better than downloads, but you can’t beat the convenience of having all your music in your pocket.

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

Supporting Combichrist in our hometown was probably one our most exciting shows.

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

Well, the reality for most middle tier artists is that you shouldn’t really quit your day job, as the music industry is tough, especially for niche alternative bands such as ourselves. That’s why all of us actually have separate careers in software engineering, graphic design and finance.

Which five people would you invite to a dinner party?

The other two guys from the band and three hookers!

What’s next for the band?

We’re currently working on a couple of new singles, and videos, and are hoping to hit the festival circuit this summer.

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

Official website:
https://abysmatic.com
Social media:

https://www.facebook.com/abysmatic
https://www.youtube.com/abysmatic

https://www.instagram.com/abysmatic
Spotify:
https://open.spotify.com/artist/4rcaQpPwFC21FcwQeLSu77

Jaffa Cakes? Are they a cake or a biscuit?

Well, it’s in the name, isn’t it?!

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

Thank you and keep rocking!

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

EMQ’s with 5 R V L N 5

Logo

EMQ’s with 5 R V L N 5

Hi everyone! Welcome to our new EMQ’s interview with Chicago based Industrial Metal Project 5 R V L N 5. Huge thanks to songwriter/multi-instrumentalist Chuck Clybourne for taking part.

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

My name is Chuck Clybourne. I am the sole songwriter of the Industrial Metal project, 5 R V L N 5 (pronounced sur-vāl-ens). I pretty much play everything but live drums on this record.

This project was born out of a need to express myself completely as a solo artist. After being in a band for 7 years prior to this project, I had gotten to the point where I felt I had hit a ceiling of sorts. I wanted to branch out musically and I knew that the songs I was putting together weren’t going to fit anywhere within the current framework of the band I was in at the time. So, I trusted my gut, left that group, and ventured into what was unknown territory for me. Here I am now.

How did you come up with your band name?

The rise and rapid growth of technology in recent years has led us into an age of deep state politics and mass surveillance. The name, 5 R V L N 5, is a reflection of those times.

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

USA – I would say metal has a strong underground presence here in the States. Those who are fans of the genre know where the good shit’s at. Here in Chicago, we have a wide variety of talented musicians in the metal community and beyond. You can pretty much a catch a good show on any given night of the week if you know where to look.

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

I just put out my first single/video titled, ‘Flesh’ from my debut album, “The Black Mark”. The song features my good friend, Lara Noël on vocals and Danny Garcia (Faces of the Bog) on drums.

https://www.youtube.com/watch?v=XqSsoNtbl1o

Who have been your greatest influences?

Stanley Kubrick, M.C. Escher, Aleister Crowley

What first got you into music?

My Uncle Jon (RIP)

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

Neurosis.

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

Roadburn.

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

Sex, drugs, and rock n’ roll.

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

Thank you. Your support and interest in this project is greatly appreciated.

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

Kurt Cobain. I’d be interested to see who he’d be working with and what kind of music he’d be making these days.

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

Playing live is definitely my most favourite thing about being a musician. Nothing comes close.

What do I hate about being a musician? Downtime on tour. Musicians with too much time on their hands is not always the best thing.

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

I would change the predatory nature of record contracts and management. I’d tell more artists to manage themselves. Any bands or artists putting stuff out there need to make sure they own the rights to their music. There are some smaller labels that offer contracts, with the caveat of giving up publishing. Worst idea for an up and coming band. Sure, you’re on a cool label, but you don’t own shit! If that band breaks big, the label gets all the revenue from publishing and the band basically become indentured servants. It’s tragic.

Name one of your all-time favourite albums?

Nirvana – In Utero

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

Vinyl is KING.

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

Probably the last show I did with Faces of the Bog. We were pretty on fire that night. Not a bad note to leave on.

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

My day job! Which I still do. I’m a freelance animator/graphic designer by trade.

Which five people would you invite to a dinner party?

Al Jourgensen, Snoop Dogg, Iggy Pop, Lemmy Kilmister, and Henry Rollins

What’s next for the band?

We’ll be playing some shows local to Chicago and the surrounding areas. We have vinyl coming out this fall and are currently putting together a few extra goodies that will be exclusive to that release.

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

5 R V L N 5 is on Bandcamp, Facebook, Instagram, YouTube, and Twitter.

https://www.facebook.com/5RVLN5

https://www.instagram.com/5rvln5

https://5rvln5.bandcamp.com

https://twitter.com/5rvln5

Jaffa Cakes? Are they a cake or a biscuit?

What?!

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

‘The Black Mark’ drops March 13, 2020. It will be available on all digital platforms. Limited physical copies on CD and Cassette are available through my Bandcamp page. Be sure to grab a copy.

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.

Nachtfalter – was bleibt

was bleibt Cover

Nachtfalter – was bleibt
Echozone
Release Date: 24/05/2019
Running Time: 42:23
Review by ‘Dark Juan’
4/10

Good evening, droogies, boozers, strumpets and losers! For which greeting we thank the puissant and magnificent Krusher Joule of Raw Power TV fame back in the nineties. This Hellpriest considers Krusher, a splendid gentleman of metal, a formative influence and a man to look up to, even if I was more interested in Ann Kirk in a short, tight dress at the time… If you’re of a similar age, you’ll understand. If not, you’d best get Googling, sunshine!

Anyway, in an effort (probably misguided; Most of what I do is…) to maintain some level of brevity in this review after what could only be described as an epic, last time out, I am resisting the urge to describe to you what is (might be… you’ll never know what shit I make up and what is real! Suffice it to say the more outlandish things I write about are more likely to be the truth) going on in my life and am of the opinion we should plunge straight into dealing with Nachtfalter’s “was bleibt”. That’s German for “what remains”, fact fans. Nachtfalter are a duo of talented gentlemen who wish only to be known by their initials and they play gothic metal with an industrial undertone with vocals in the German language. You’d imagine this to be so far up my street I’d be hailing (Satan?) a taxi to get there quicker, wouldn’t you? Normally you’d be right, but…

Unfortunately, this record is ponderous. And it has the world’s most inappropriate guitar sound. The vocals are sub – Till Lindemann German guttural and the whole sound of the record is off, somehow. It’s as if Nachtfalter could afford Stock, Aitken and Waterman to produce the album. The production is FAR too poppy for my tastes. Especially when we are talking industrially tinged gothic metal with low register German vocals. It should be shaking internal organs loose and making me make a large and unpleasant mess in my underwear, but it doesn’t. In fact, it is basically leaving me with a feeling that could charitably be described as, “Meh.” This is a crying shame because there are some fucking good ideas on this record and they are simply not taken advantage of, at all. The vocals are uninspiring and it would be brilliant, just once, to have a German metal band sing in their native language without doing their best Till Lindemann impersonation. Even Laibach (yes, I know they are actually Slovenian but they sing in German so the point holds, ok?) are guilty of this. Nena didn’t grunt ‘99 Luftballons’, did she? A bit more range would have been a definite bonus. It’s telling when the best song on the record is an electronic body music version of ‘Maschinenklang’. Actually, the electronic version (of already the best song on the album by a country mile) kicks serious amounts of arse and if it doesn’t end up being a cybergoth hit on the dancefloor of Sheffield Corporation then I’ll eat my flat cap (cos I am from Lancashire innit? I’m sending this one out to my homeboys in Radcliffe and Bury…) and put a ferret down my trousers. Other tunes worthy of note are ‘Vollkommenheit’ and ‘Folge Mir’, both being good songs ruined by terrible production values. I have issues also with the homespun quality of the production throughout the entire record. It sounds like it was recorded in a bedroom in suburban Leipzig. There’s no punch to any of the instruments, the guitar sounds like it belongs in a Pretty Boy Floyd cover band and the synths have a disturbingly 1980’s Bontempi quality about them. It sounds cheap as fuck, basically. I’m actually genuinely upset because this band could have been gothically magnificent. They could have been dark wonders. They could have had this Goth loving hellpriest crawling at their feet begging for their attention. Instead, they are pedestrian, inadequate and hollow. There’s no soul to the music. It’s mechanical, not in the industrial sense of the word, but it is gothic metal by numbers and that is extremely intolerable in a genre that is based on emotion. It should be melodramatic and bombastic and rich and lush and powerful and “was bleibt” is none of those things. “was bleibt” is the aural equivalent of the horrible feeling of bleak, crushing sadness you get when you discover a cold cup of tea you forgot about.

Heart. Broken. Send beer and nubile young metal chicks to cheer me up.

The Patented Dark Juan Blood Splat Rating System awards Nachtfalter 4/10 for destroying his faith in a genre that has previously never failed to deliver some form of excitement. They have managed to corner the market in beige gothic metal. They are the metal equivalent of painting a wall magnolia.

TRACKLISTING:
(With helpful English translations for those of you too fucking lazy to use Google Translate)
01. Fur Mich (For Me)
02. Anderes Leben (Other Life)
03. Maschinenklang (Machine Sound)
04. Eine Stimme (One Vote)
05. Vollkommenheit (Perfection)
06. Im Schatten (In The Shade)
07. Folge Mir (Follow Me)
08. Nacht (Night)
09. Nur Noch Einmal (Just Once More)
10. Maschinenklang Elektro-Version (If you can’t work this one out for yourselves, go and see the doctor and get yourself seen to…)

Nachtfalter ist:
T.S. – Vocals, bass, synth, drums (Vocals, Synth, Bass, Schlagzeug)
T.G. – Rhythm and lead guitars (Rhythmus und Leadgitarren)

LINKS:
http://nachtfalter-band.de/
https://www.facebook.com/nachtfalterband/
https://www.instagram.com/nachtfalter_official/

https://www.youtube.com/channel/UCDmODwD-Lqg_x5pmQ6glNAg

 

Promo Pic2

 

 

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.

EMQ’s with DECENT NEWS

Decent News

EMQ’s with DECENT NEWS

Hi Everyone. Welcome to our new EMQ’s interview with New London County, Connecticut based Hardcore/Industrial band Decent News! Huge thanks to Eddie LaFlash for taking part!

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

My Name is Eddie LaFlash, I play Guitar, Synth and I do occasional Vocals. Decent News was formed after one of my older projects imploded. I think it was roughly March of 2016; our former drummer Collin and one of his friends wanted to form a metal band and wanted a second guitarist or bassist so I jumped at it, having working with Collin before. I showed up at the E.O Smith building at Uconn a few days later with my shitty Peavey Raven combo amp and BC Rich Bitch 10 to meet up with Collin and the other guitarist and we all had pretty good chemistry. The next week we dragged Laken along to fill in at bass and that became our first line up. I don’t think Laken had ever even touched a bass before his first practice with us. A few months in and everyone started butting heads with the other guitarist because any music that we wanted to submit to the group got shot down and we were stuck playing the same three songs over and over at every practice so we decided that he had to go. We started fresh in 2017 writing our asses off and trying to find a vocalist. We recorded a live demo that summer with me on vocals but I can’t sing and play guitar at the same time so we knew we had to find a permanent vocalist. Enter, Caleb Moore. He might look the type of dude that will steal shit from your house and help you look for it, but he was a natural fit and plus we’ve been friends for 10 years and we always work better playing with our friends. We started working on our First album “Filth” and sent the single “Skin Puddle / Deafland” to Chris at Machine Man Records and got signed in January 2018. Laken left for a little while because he was having a kid and Collin ended up leaving to focus on school. Fast forward to right now, Laken is back and we just released our second album “Monolith”. Fuck that was long winded, I’m sorry!

How did you come up with your band name?

We were originally called Freakquency because we thought it was a clever name, but so did a lot of other bands. We made a list of about 100 names and just narrowed it down till we were left with two names ‘Decent News’ and ‘A Few Boys’. Every bit of us wanted to go with ‘A Few Boys’ but Decent News was way easier to design a logo for.

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

We are from the United States. More specifically we’re from Connecticut. The Metal/ Rock scene here is mostly cover bands. There is a Doom/Stoner metal scene here and a pretty good chunk of Metalcore bands in our area.

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

On August 30th we released “[M O N O L I T H]”. It’s a 10 track album that mixes a lot of our unique styles to make a very pretty okay album.

Who have been your greatest influences?

Personally, my greatest influences are a lot of Industrial and thrash metal bands. KMFDM, <PIG>, Armageddon Dildos, Melvins. Caleb’s more into hardcore and pop punk and Laken is our little scene queen.

What first got you into music?

I got into music because my Mom was a musician. She always had instruments lying around and it was always something I wanted to do. I think Megadeth was the first band I heard that made me want to start writing.

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

Probably Street Sects! I am in awe of how those guys can take something that at its base is so harsh and noisy but actually structure it and make it catchy.

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

Ooo, that’s a tough one. For me I’d either say Rock am Ring in Germany (which is highly unlikely) or Cold Waves. I think we’d fit into Cold Waves very nicely.

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

I think the weirdest gift is actually showing up and seeing us play.

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

We’re sorry we ruined your night out, there’s probably better bands playing whenever we have a show.

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

It’s got to be Chuck Schuldiner. He probably had a lot more music left in him and his death was super untimely.

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

I like the occasional praise that we get. It makes all the hard work we do kinda mean something. One thing I hate is being in a constant state of trying to prove ourselves.

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

It’s probably more of a local thing, but I’m not a fan of the cliqueyness of local scenes. When you’re starting out just about zero people are willing to give you a chance unless you’re going to literally every local show. When we were starting out it was really hard to break into the scene because we all work 2nd shift factory jobs and we couldn’t really make it to a lot of local scene shows. Whenever we did we’d usually get brushed off because we’re Decent News and we don’t really fit into any of the scenes out here.

Name one of your all-time favourite albums?

Melvins – “Houdini”

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

I like vinyl, I really do, but I get really annoyed when they don’t come with a digital download card.

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

33 Golden Street in New London is always a blast. The place is always full and the staff are always really nice to us.

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

I’d probably just cosplay as a factory machine operator working myself to death as is my current alter ego.

Which five people would you invite to a dinner party?

Keith Richards, Lightning Hopkins, Lady Gaga, Steve Wilkos and 寶親王

What’s next for the band?

Next year we’ll have a remix album for “[M O N O L I T H]” coming out and eventually we will be working on a third album. For right now we’re just gonna keep playing as many shows as we can.

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

https://decentnews.bandcamp.com/
https://www.facebook.com/decentnews/
https://machinemanrecords.com/decent-news
https://open.spotify.com/artist/25d1l8Nle2nHekQJOLxEjd

Jaffa Cakes! Are they a cake or a biscuit?

After googling Jaffy Cakes and learning everything there is to know about them, for taxation purposes, it’s a cake!

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

To anyone reading, please go out and buy “[M O N O L I T H]”, Laken has promised to rip his own head off with his bare hands if you do it. He’s strong as fuck.

 

 

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