Rubicon – Demonstar

Demonstar Album Cover Art

Rubicon – Demonstar
Rock City Music Label
Release Date: 16/07/2021
Running Time: 59:53
Review by Simon Black
8/10

We don’t get too many things to listen to from Russia. A quick look at the major contributors to the genre over there quickly reveals part of the reason why…English is not widely used as a language within the community so many bands seem to stick to their native tongue. Although that should not be a barrier to international recognition (Rammstein being the most notable example of what happens when you stick to your guns regardless), international record labels might think otherwise and without them it’s damn hard to self-produce and promote outside of your native market. Consequently, Russia is still something of a closed Metal shop about which the rest of the world hears far too little. What’s also not helped is the few, that have crossed my desk in recent years, have suffered somewhat from production values that leave something to be desired. If Metal bands themselves are thin on the ground in a given market, then it follows that producers and studios with the right equipment and experience to bring the best out of their music are even more so. Which is what makes this record so refreshing to listen to.

Although Rubicon have been banging their particular blast beat driven drum since the year 2000 it took until 2018 and three years of recording effort for them to get an album released (“Welcome To Wasteland”), making this sophomore piece seem positively exuberant in its haste to follow on. First off, this record shows their twenty years of experience really clearly, even if studio recording is a relatively recent extension to their repertoire. You wouldn’t know to listen to it – as this sounds rich, professional and thoroughly well-crafted…and yes, it’s in English!

The sound is a mixture of Modern Metal, with elements of Power and some quite Industrial motes in the harmonics. Contributory to this, no doubt, is that their bassist Dmitry “Belf” Safronov is an established producer in his own right, which is clearly visible in the amount of pre-production to the arrangements that have gone into this. Not to mention that with a French guitarist and an American session musician in the mix, this really is an international project which has added much more to the richness.

And rich it definitely is, with almost a full hour’s worth of brutally efficient and powerfully delivered Metal that rushes you along like a small, helpless mammal strapped to a white water raft. That pace and momentum isn’t all about brevity and three minute wonders either, as over half the tracks clock in at five plus minutes, showing a maturity and technical ease to the song-writing and structures that hold the attention, peppered as they are with carefully restrained instrumental virtuosity. Pulling off these sorts of long and complex arrangements is a challenge to many bands, who usually save that for ‘obligatory epic album closer’ but Rubicon achieve it at least three times on this record without sounding boring or repetitive.

In guitarist Bob Saliba, Rubicon, have a highly skilled player, who can power the riffs, shred the solos with breath-taking ease and who also finds moments to deliver some beautifully delivered Spanish acoustic guitar that add depth and variety, counterpointing perfectly Safronov’s orchestrations (which presumably will involve a full blown keyboard player when they come to do this all live). Front and foremost in the mix however are Ivan “Ian” Bulankov’s roaring and dark, yet soaring and engaging vocals. As the driving force behind the band, he clearly has a robust vision in his mind, but his delivery is powerful, broad and thoroughly charismatic with a really good range. This is rich and layered but has a surface appeal that easily engages the listener from the get-go. One to watch…

‘Demonstar’ (Official Lyric Video)

TRACKLISTING:
01. Demonstar
02. Neon Gladiators
03. Last Floor Of Hell
04. Down The Darkness
05. Speed Of Night
06. Snake King
07. If It Bleeds
08. The Darkness Machine~
09. Robot God
10. I, Immortal
11. Line Of Dreams

LINE-UP:
Ivan “Ian” Bulankov – Vocals
Bob Saliba – Lead & Acoustic Guitars
Dmitry “Belf” Safronov – Bass, Arrangements
Katerina Pobedinskaya – Keys

LINKS:

Rubicon Promo Pic

Disclaimer: This review is solely the property of Simon Black 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 MERCIC

Mercic Logo

EMQ’s with MERCIC

Hi everyone! Welcome to our new EMQ’s interview with Grândola, South of Portugal based Industrial Metal/Rock project, Mercic. Huge thanks to Carlos Maldito, 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?

Hello, I’m Carlos “Maldito”, I’m the musician behind the name MERCIC. This project was created in 2015 and brings together several musical genres always immersed in an industrial environment. It focuses on releasing long-lasting albums, has no promotional video clips or commercial radio singles.

How did you come up with your band name?

MERCIC is MERCIC!

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

MERCIC comes from the south of Portugal from a paradise by the sea called Grândola. The music scene in Portugal is small; the circuit has few spaces and is often reigned by the same ones as always. Rock is not dead but is dying, metal is always underground but has the faithful support of fans. The cult bands have been the same since the 80’s / 90’s and the new bands appearing are acclaimed and disappear shortly afterwards. Life runs too fast without the necessary calm to taste the art that is made from the heart.

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

The most recent release was a double album, released on the 4th of June divided into “MERCIC_7” and “MERCIC_8” in collaboration with UNP music.

‘Batalha de Egos’ (Audio) from “MERCIC_7”.

‘The Crown Belongs To Johnny’ (Audio) from “MERCIC_8”.

Who have been your greatest influences?

The biggest influences for me are several and of different styles but I will name the ones where I have their complete discography and I continue to buy all the new albums that come out; Sepultura, Gary Numan, Marilyn Manson, NIN, Orgy, Emika, Depeche Mode and Bizarra Locomotiva (the best Portuguese band for me).

What first got you into music?

Marilyn Manson with “Beautiful People”, I always liked drummer Ginger Fish and it was looking at his videos that I learned to play the drums.

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

Producer Ade Fenton and Trent Reznor.

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

MERA LUNA in Germany because it is the one that best fits my musical taste.

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

MERCIC has no fans, but friends who support my music and I feel very happy about it. The gifts I received were always beers and good wine.

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

I reiterate that there are no MERCIC fans. But a message; be more basic and live life instead of hiding behind the opinions of others or shitty fashions that often have nothing to do with you and just follow them because others follow. Be true to yourself there is nothing more pure than that.

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

David Bowie.

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

I love being able to express my deepest thoughts through music and I love it when there are people who feel embraced and involved in the MERCIC songs, making them theirs too. I hate the lack of critical awareness that musicians generally have. The small pubs that ask the musician to play for free and in return say that he should still thank the opportunity to promote himself and the public that takes out entire albums for free without giving a penny to the artist and without worrying about it.

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

Exactly what I mentioned in the previous answer.

Name one of your all-time favourite albums?

“The Fragile“ by Nine Inch Nails.

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

Anything that allows people to listen to music and through this experience they can feel good.

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

With MERCIC we only played once because the project was only for the studio and when we started playing live the pandemic arrived, so our first show is still our best show today.

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

Something related to music.

Which five people would you invite to a dinner party?

Trent Reznor, James Hetfield, Dave Grohl, Andreas Kisser and Eddie Vedder.

What’s next for the band?

Launch the new album and play live if possible.

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

www.open.spotify.com/artist/4FVgsPzqO3p2gspmkhxakf
www.facebook.com/groups/1012004925676903/
www.facebook.com/MERCICmusic
www.instagram.com/mercic_official/
www.store.undergroundnproud.com/category/mercic
www.youtube.com/channel/UCx74JJAezgGY8xyEaBZWyXg

Jaffa Cakes? Are they a cake or a biscuit?

I have no idea. I do not care.

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

Many thanks to Wallace for his support.

Mercic 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.

CHAOS DOCTRINE – Enjoy The Silence VIDEO PREMIERE

Chaos Doctrine Video Premiere - Enjoy The Silence

CHAOS DOCTRINE Unleash New Lyric Video, A Sweltering, Industrial Metal Cover Version Of Depeche Mode’s ‘ENJOY THE SILENCE

Ever Metal is very proud to premiere ‘Enjoy The Silence’ the new lyric video from South African Industrial Thrash/Death machine Chaos Doctrine. This is their version of the Depeche Mode classic from 1990!

Spawned in their renowned domain (Gemini AD Studios), Chaos Doctrine has taken this epic track and solidly stamped their unique brand of Industrial Thrash onto this classic, duly delivering an intense interpretation exclusively available for free on Bandcamp (From Friday7th May). The Lyric Video pays supplementary homage to the iconic imagery that saw ‘Enjoy The Silence’ and ‘Violator’ propel the band into international stardom in 1990.

Note: Best played on full blast, with a high likelihood of singing along!

EXCLUSIVE EVER METAL PREMIERE

CREDITS:
Written by Martin L Gore
Original Produced by Flood & Depeche Mode
Original Performed by Depeche Mode
Cover Performed by Chaos Doctrine
Cover Produced, Mixed & Mastered by Alec Surridge at Gemini AD Studios

LYRICS
Words like violence
Break the silence
Come crashing in
Into my little world
Painful to me
Pierce right through me
Can’t you understand?
Oh, my little girl

All I ever wanted
All I ever needed
Is here in my arms
Words are very unnecessary
They can only do harm

Vows are spoken
To be broken
Feelings are intense
Words are trivial
Pleasures remain
So does the pain
Words are meaningless
And forgettable

All I ever wanted
All I ever needed
Is here in my arms
Words are very unnecessary
They can only do harm

UPCOMING ALBUM
Chaos Doctrine came down on the metal world like the hammer of Thor in February this year with a shredding track called ‘Black Friday Bedlam’ featuring Swedish Metal Legend Jörgen Sandström on vocals (Entombed, Grave, Torture Division, Krux, The Project Hate). If you watched the Lyric Video, you would have caught a peek at the title and artwork of the band’s much anticipated second album ‘And In The Beginning… They Lied’, set for release on 25 June 2021. More information on this upcoming release will be made available on the Chaos Doctrine Socials in coming weeks!

And In The Beginning... They Lied Album Cover Art

ABOUT CHAOS DOCTRINE
Chaos Doctrine brings a unique and modern metal assault by blending old school thrash and death with aggressive industrial metal. Originally formed in 2011 in Johannesburg, South Africa by vocalist Dr D (Bedlam, Malachi, DedX), the band line up is completed by veteran guitarist and band producer Alec Surridge (Sacraphyx, The Warinsane), bass guitarist, backing vocalist and band visual artist Phil Carstens (DedX), and explosive drummer Rory Townes (Forsaking Fate).

For its members, Chaos Doctrine is more than a band: it is a comprehensive sensory experience and a brand. Everything the band produces conveys this – the band name itself, their aggressive sonic releases, explosive live shows, dystopic visual products, and stabbing lyrical content. Chaos Doctrine explores the shadow of the human condition; hatred, brutality, decay. Their approach is unrelenting, fuelled by rage and void of apology.

This is aggression. This is Chaos Doctrine!

Chaos Doctrine Promo Pic Photo by David Devo Oosthuizen (Devographic)
Photo by David Devo Oosthuizen (Devographic)

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

CHAOS DOCTRINE ONLINE:

Disclaimer: This article is solely the property of 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.

Skold – Dies Irae

Dies Irae Album Cover Art

Skold – Dies Irae
Cleopatra Records
Release Date: 05/03/2021
Running Time: 38:18
Review by Wallace Magri
9.5/10

Tim Skold is well known as a multi-instrumentalist, synth programmer plus a highly requested composer and music producer. His first musical journey was around 1987 with the Swedish Glam/Sleaze Metal band Shotgun Messiah, that recorded three albums and, by the way, the last Shotgun Messiah’s release, “Violent New Breed” (1993), was one of the very first Industrial Glam/Rock albums to date. After splitting Shotgun Messiah, Tim Skold launched himself into a solo career, releasing “Skold” in 1996, and right after that, he was invited to join KMFDM.

For those who are not that familiar with Industrial Rock/Metal Music, KMFDM is an institution in that genre. They were one of the pioneers on turning the noisy-non-commercial Industrial’s original proposal (search for Throbbing Gristle on google) into a more electronic Heavy Oriented sound, once they realized that it would be a cool idea to sample really extreme heavy guitar riffs and repeat them to the limit, until it becomes a wall of sound that fit just fine with the Industrial noisy beats and raging vocal performances.

Tim Skold collaborated on KMFDM’s 1997 album “Symbols” and remained in the band for “Adios”, released in 1999. After leaving KMFDM he started to produce and compose with Marilyn Manson and ended up playing bass guitar on “The Golden Age Of Grotesque” (2003) and also composed all the songs, programmed the samples and produced Marilyn Manson’s 2007 underrated album “Eat Me, Drink Me”. On that album there were lots of good guitar licks and solos, performed by Tim Skold. On ‘Evidence’ I heard the best guitar solo ever, on a Manson album (I am sorry, John 5…).

Anyway, after being fired from Marilyn Manson, Tim Skold went back to his solo career for good, releasing “Anomie” (2011), “The Undoing” (2016) and “Never is Now” (2019). On those albums, Skold flirted a lot with Electro Synth Industrial and relegated the live guitar element to a second place role.

“Dies Irae”, on the other hand, is another kind of monster. “So let me start from the beginning, because that will help you understand”*. Skold’s fifth album is mostly built over ferocious live guitar riffs, as heard right in the first song, ‘Dirty Horizon’. That reminded me of Mercyful Fate’s ‘Don’t Break The Oath’ NWOBHM Satanic Music (which was my favourite bedtime nightmare music, in my messed up childhood back in the 80’s).If you enjoy those kind of guitar oriented Metal songs, but also accept some dark-electro ambience in the seasoning, just listen to ‘This Is The Way’, and tell me what you think about that kick ass guitar solo in the middle. On ‘Unspoken’ Tim Skold has, arguably, performed his best guitar solo to date (* By the way, I’ve taken the first verse of the ‘Unspoken’ lyrics to help me to introduce my impressions on the album)

After listening to “Dies Irae” a bunch of times, it felt like Tim Skold is in his best shape ever, delivering the kind of music that he helped to create along with KMFDM and mostly in the Marilyn Manson years, from whom he inherited that peculiar singing technique. So, beware, because Tim Skold’s vocals are something that the listeners need to get used to. Don’t expect something like King Diamond here because he sings in a constant growling and distorted style, for the purpose of expressing his feelings through his viscera.

On ‘Terrified’, Skold explores in its perfection that sort of “singing technique” and it really gives me Goosebumps, especially while he sings the melancholic chorus: “I am not afraid of dying/I am fucking terrified”. Follow that by listening to the post-electro-punk ‘Love Is A Disease’ and keep going with ‘As Above so Below’ and ‘Kill Yourself’.

On ‘Silicon Dreams’ he invocates his best David Bowie’s melodramatic approach in the pre-chorus, that fit just fine with Industrial Rock/Metal music. I am afraid to say that David Bowie ruled the crazy minds of all those “cyberpunks and crypto-anarchists”, such as Skold, Trent Reznor and Marilyn Manson, allowing them, in silicon dreams, be kings and queens, through their noisy machines, while worshipping Baphomet (*adapted from the ‘Silicon Dreams’ lyrics and listening to Bowie’s “Black Tie White Noise”, from 1993, right now).

The fact is that “Dies Irae” has many exciting moments and shows that Skold is delivering the goods to keep his relevance in the growing EMB/Gothic/Industrial scene. If you enjoy this kind of music, just push the play button and I am sure that you are going to enjoy the guitar work, the production, mixing and the excellent choices of programming and layers of noise that provides the songs a good taste of gloomy ambience that defines the general aesthetic of the album.

‘Dirty Horizon’ (Official Video)

TRACKLISTING:
01. Dirty Horizon
02. Unspoken
03. The End Is Near
04. Terrified
05. Love Is A Disease
06. This Is The Way
07. Silicon Dreams
08. As Above So Bellow
09. Kill Yourself
10. Goodbye

LINE-UP:

Tim Skold – Guitars, Vocals and Programming

LINKS:

Skold 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.

SYD.31 – Machine Ready

Machine Ready Album Cover Art

SYD.31 – Machine Ready
Dys13 Records
Release Date: 02/04/2021
Running Time: 41:15
Review by Beth Jones
9/10

One of my fondest memories, back in the day, was seeing The Prodigy live at The Paleo Festival in Nyon, Switzerland, way back in 1998. I loved their heavy electronic sound, and the way they fused everything with an Industrial Metal edge. Their stage show was out of this world, too. The loss of Keith Flint left a huge hole in the music scene. He, and The Prodigy, were completely unique. I’d never really heard anything like that before, or since. That is until I heard “Machine Ready”, the new album from SYD.31.

This album encapsulates everything I loved about The Prodigy, and more. Pulling from a variety of genres, right from 70’s punk to the techno, garage, and rave scene of the 90’s, it’s a complicated and warped meld of psychotic proportions, but I bloody love it.

Dr Magic, the brains behind SYD.31 sees this as his first ever “truly solo” album, because he’s created the whole thing himself during the isolation of the Covid pandemic. He’s pulled on a variety of influences, recording the bass, guitars and vocals in a definite Punk style (but with influences from the originators of Rock ‘n’ Roll), programming the drums using techniques created by the originators of Hip-Hop, and adding in Techno beats, and the ambience of Dance and Trance. Dr Magic says about the album “If we strip away the guitars and vocals, the album is old school hip-hop, drum ‘n’ bass, and Hacienda era dance music.” It absolutely is. This is a guy who really knows his music, and that’s admirable.

His sound is also, in part, inspired by a book he was given at school in Zimbabwe, at the age of 14. “It was a Christian book warning of the demonic dangers of Punk and Shock Metal. Before I got to listen to any of the bands they mentioned, I had to imagine for years what they would sound like – demonic, unstable, sulphurous punk rock.  I never did find any bands that sounded exactly like what I imagined. So I finally went and created that sound myself.”

Thematically, it explores all that is dark. Depression, fear, vulnerability, crisis, demonisation, and the bottomless pit of realisation. The track descriptions we received to go along with the album are something I’ve found fascinating to read. There are so many thought processes, observations, and memories going on, but I can hear, and visualise them all. This really is art as much as it is music, and I could see it being the soundtrack to an installation exhibition. In fact, I would actually pay good money to see that. It would be one hell of an immersive experience.

So, what does it sound like? Well, each track is different, but the masterfully handled elements of the various genres run through them all. The best I can do is this: It’s angry Keith Flint, shouting at people at an illegal rave, while in the next room The Misfits, Prince, and Chuck Berry, are rocking out together drunk, and breaking stuff, and you’re standing in the doorway between both rooms hearing it all, on a comedown from a bad trip.

There are all sorts of other elements though. Funk bass in ‘Collapsing A New Star’, tribal drums at the beginning of ‘Demon Night’, and a smattering of Death vocals further on in that track, to name but a few. There’s even a classical twist to the ambience that opens, ‘Imitating Art’. There’s so much to explore. If you want to genre it, I suppose Industrial Techno Punk Metal would sort of cover it, but I wouldn’t bother pigeonholing it to be honest. It’s art. It’s rather damn good. And I can’t stop listening to it.

‘Machine Ready’ (Official Video)

TRACKLISTING:
01. Intro (A Night Visitor)
02. Broken Blank
03. It Came To This
04. Imminent Failure
05. As They Let You Down
06. Collapsing New Stars
07. Demon Nigh
08. Imitating Art
09. Disassemble Me
10. Machine Ready
11. We Turned the Lights Out
12. Outro (A Visitor Departs)

LINE-UP:
Dr Magic – All Music and Madness

Chris Oscillate – Mixing and Mastering, Additional Synth on ‘Imminent Failure’, Additional 808 and all additional percussion arrangement

LINKS:

SYD.31 - Dr Magic - Photo by Will Shields
Photo by Will Shields

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.

Skinflick – Self Harm Smiley Face EP

Self Harm Smiley Face EP Cover Art

Skinflick – Self Harm Smiley Face EP
Self-Released
Release Date: 27/03/2021
Running Time: 26:02
Review by Beth Jones
9/10

You know those days where your brain falls into the blackness, and you need a soundtrack to accompany your trip down the rabbit hole. Well, that soundtrack is here, in the shape of another EP from the dangerously seedy uncle of Industrial Electronica, Skinflick. The deprived brainchild of Lullaby for a Unicorn’s frontman, Justin Williams, “Self Harm Smiley Face” is another trip into the night, where the depraved do play. Littered with noises, echoes, and part-whispered, part-growling vocals, it will create an uncomfortable fear in the sane, and manic appreciation in everyone else.

Opening with the title track, this 6 track EP’s ambient sounds and pulsing beats take your mind’s eye on a journey of debauchery and filth. You’ll find yourself instantly transported through a beaded curtain into a musty back room, the air acrid with thick, sickly-sweet smoke, lit only by a malfunctioning pink neon light, with some dubious stains on the wall, and a fraying couch that’s gone even further than seeing better days. It’s a dangerously exciting place, the world of the depraved, right?

Musically, this is by far and away my favourite release from Skinflick to date. It’s catchy, well structured, and ominous. It creates a presence, which melds heavy sounds with floating violins, and ethereal synth, layered with ambient effects, and synth backing vocals that give it an extra chill factor. And, as I’ve now come to expect from Justin’s solo work, it’s very well produced. There’s some brilliant panning early on, which acclimatize you to the new surroundings you find your mind in. And the positioning of each sound gives it a massive depth, which adds to the horror of it. Like staring into the void. It’s clever, and I simply can’t stop listening to it. I’ve had it on repeat for days. Proceed with caution into the world of Skinflick because it’s very addictive.

TRACKLISTING:
01. Self Harm Smiley Face
02. The Thin White Puke
03. Cock Botox
04. Puritanical Satanical
05. Rise Of The Incels
06. Fat Fleshlight

LINE-UP:
Justin Williams – Synths/ Vocals/ Depravity

LINKS:

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

EMQ’s with ANTIMOZDEBEAST

AnitMozdeBeast Logo

EMQ’s with ANTIMOZDEBEAST

Hi everyone! Welcome to our new EMQ’s interview with Florida, USA based Experimental Electronic/Industrial Metal Project, AntiMozdeBeast. Huge thanks to main man, Gabriel Palacio, 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 Gabriel Palacio. I play the electric and acoustic guitar, I sing and write lyrics, I write every beat as well as play the keyboard and synth. I write, record and produce all the instrumentals for every track under AntiMozdeBeast!

How did you come up with your band name?

Well to make a long story short. My mother was a nun, and I was born on June 6th. So, growing up especially in my teenage years, I thought I was going to be the Antichrist. Hence Anti. I believe that Mozart is the core foundation and fundamentals of Metal. Hence Moz. And I could not name my project AntiMoz alone because I sounds like I’m literally anti Mozart (or Moz), so I decided to add DeBeast. For the devil sends the beast with wrath for he knows the time is short.

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

I am from Florida, United States. The metal scene is pretty lively down here especially in Lake Worth.

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

My latest EP release will be “The Ritual” which will release on April 23rd.

‘Masquerade Of Death’ (Audio)

Who have been your greatest influences?

My greatest all-time influences include Bob Dylan, Radiohead, Pink Floyd, My Dying Bride, Windir, Satyricon, Nine Inch Nails, Skinny Puppy, Rob Zombie, Metallica, and CygnosiC.

What first got you into music?

I had an older brother that played guitar and he showed me the principles of guitar like chord theory and chord structure.

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

I would definitely collaborate with Maynard, Trent Reznor, or Thom Yorke.

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

I would play KnotFest. Because it has my kinds of people.

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

The weirdest gift I ever received from a supporter would be a hit off their homer Simpson 6-foot bong.

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

I thank you all for all the support and continued enthusiasm in AntiMozdeBeast. Without any of you listening I would not be able to continue making music. Thank You.

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

I would bring back…Robert Johnson.

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

I enjoy creating music the most as a musician. The only flaw of being a musician that I detest is trying to solve issues with other band members. This is why I now work alone.

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

Copyright Infringement (to an extent). If music is being sold and the band is making money. I don’t see why another musician can’t sample the music without fear of lawsuit or losing their rights to the song.

Name one of your all-time favourite albums?

Bob Dylan – “Love And Theft”.

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

Vinyl.

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

Just local bars and venues nothing spectacular (So far).

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

Nothing probably be homeless and/or possibly dead.

Which five people would you invite to a dinner party?

Any Five people? That’s simple. Christ, Judas, God, Satan, and Myself.

What’s next for you?

Keep making music!!!

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

www.linktr.ee/AntiMozdeBeast

Jaffa Cakes! Are they a cake or a biscuit?

I actually don’t even know what Jaffa Cakes are, so I assume they got to technically be cakes.

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

Thank you for featuring AntiMozdeBeast.

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.

Lament Cityscape – The Old Wet EP

The Old Wet EP Cover Art

Lament Cityscape – The Old Wet EP
Self-Released
Release Date: 21/12/2020
Running Time: 16:43
Review by Dark Juan
9/10

Good evening, you fine people out there. I trust you are all well and not tearing at each other’s flesh with nails and knives because your significant other has been breathing too loudly and in a deliberately antagonistic fashion? Well, if the annoying bastard or bitch you married has ceased their foul respiration, I request and require that you remove your teeth from the ragged, reddened ruin that is the remains of their throat and go and give your face a bit of a wash. You might wanna brush your teeth too. You look like you’ve been eating raw beefburgers and there are dangly bits of flesh between them and it is a singularly unattractive look. Flossing after using your organic mouth knives to remove voiceboxes is vitally important for good oral health.

After that extremely timely public information message I wish to share with you my views about Buffalo, Wyoming, USA based industrialists Lament Cityscape. “The Old Wet” is the last in a three EP cycle, comprised of “The New Wet” and “The Pulsing Wet” and is the record that that accepts change is occurring and that fighting against it is futile, when the previous two EPs in this adventurous concept cycle examined the fight against change and transformation. This is a three track EP, so because it’s so short I’ll briefly describe each musical piece (there is a good reason I haven’t used the word song…)

The first track is entitled ‘A Rusting Moth’ and encompasses a slowly and malignantly building soundscape from a deceptively simple and gentle sounding piano riff before there feeds in a heavily distorted and engineered animalistic roar and the biggest drums I have ever heard – all supremely destructive bass drum and floor toms rattling my skull, with a bassline that has been transformed by distortion and fuzz into some kind of sinuously weaving poisonous killing machine and keyboards, guitar, bass and voice combining into one massively unstoppable juggernaut of pure sound that is aimed squarely between your immobilized, staring eyes. There are lyrics to this, but I’m fucked if I can hear them through the industrial degeneracy on display here. Rather splendid, actually.

The second piece is called ‘Among The Dead’ and is the most song-like entity on this recording, being as there are discernible lyrics and vocals among the utterly dour electronic sounds and drums used in exactly the same way Godflesh used to use them, not as rhythm instruments, but as the base propulsive force for the madness to build and for the music to assail your senses. Fucking hell, I have missed this style of industrial so bad – the style that sits squarely between metal and electronic music, gleefully raking in influences with both greedy robotic arms and shoving it into the titanium edged maw of its furnace and smelting and recasting them both into something that is shiny and new and ever closer to machinelike perfection. Hang on. The Borg. Lament Cityscape are the fucking Borg. You can’t fool me; you bunch of half-human drone scunners. I’ve set my weapons on a rotating modular frequency. Where’s your disturbingly pale and slippery yet still worryingly desirable Queen?

The final track is called ‘Coagulant’ and immediately reminds this jaded old hack and pretend music journalist of Nine Inch Nails as it combines more electronically enhanced vocal jabbering over a simplistic keyboard line (quite reminiscent of ‘La Mer’ by Trent and his bunch of strangely coiffed misfits, and the drums reminded me somewhat of “Industrial Complex”-era Nitzer Ebb) that repeats throughout the entire song overlaid with more of those propulsive, martial, organic drums and the seemingly omnipresent wall of sound that skirts the absolute edge of what could be considered music.

This EP is an extremely  truncated Very Good Thing. I feel cheated because the three pieces on the EP are so fucking good I need more and I am prepared to open my fucking veins to make it happen. Musically, I detect Nine Inch Nails (very obviously the version of NIN around “The Downward Spiral” when Reznor was at his most drug-fuelled, insane and violent) mixed with the sheer percussive overload and power of Godflesh in their “Streetcleaner” incarnation, fused with the avant-garde drone of Swans and finally combined with the hard-edged version of “Land Of Rape And Honey”-era Ministry.

This record is not electronic industrial. It is not industrial rock. It is not industrial metal. It is not industrial mixed with anything. It is simply INDUSTRIAL. It is pure and it is fucking good and I am literally signing off this review and going on Lament Cityscape’s Bandcamp and buying all their records within the next twenty fucking seconds.

The Patented Dark Juan Blood Splat Rating System has picked its jaw back up off the floor and wired the fucker shut. It also awards Lament Cityscape 9/10 for a bloody good EP, although a mark is deducted simply because there was not enough music on the record to sate my desire for their industrial aural hellscapes. That’ll teach ‘em to give me more next time. Ha!

“The Old Wet” (Full EP)

TRACKLISTING:
01. A Rusting Moth
02. Among The Dead
03. Coagulant

LINE-UP FOR THIS RECORDING:

Mike McClatchey
Seanan McCullough
David Small
Peter Layman
Lee Bartow
Live Drums, Additional Percussion And Additional Vocals by Ben Hirschfield

LINKS:

Lament Cityscape Promo Pic

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

Null Cell – Eternally Ill

Eternally Ill Cover Art

Null Cell – Eternally Ill
Machine Man Records
Release Date: 08/12/2020
Running Time: 33:02
Review by Dark Juan
9/10

Hello. This is Dark Juan and I exhort thee to listen to my Gospel. There is no God, there is only the Dread Lord Satan and you are all going to be consigned to an endless fiery hell unless you seek His redemption through service to the Dark Master via the means of preaching his twisted faith. Then, and only then will you get to attend the Lounge Bar in Hell where the One That Walks Backwards has kindly assembled the greatest band there has ever been – comprising Robert Johnson and Randy Rhoads on guitar, Keith Moon on drums, John Entwistle on bass and the incomparable Ronnie James Dio on vocals with backups from Amy Winehouse and Layne Staley. Now, I don’t know about you, but I’d fucking sell my testicles to see that line up playing…

None of which has, as usual, a damned thing to do with what I am actually doing, which is being wired on French blend coffee, and slowly suffocating to death under a wall of canine flesh, composed of Air Chief Marshal Sir Zeusington Zeus KCVG, VC, MM, DFC and bar, Croix De Guerre and the Dread Lord Igor Egbert Bryan Clown-Shoe Cleavage-Hoover, where they have decided that I am warmer than the frigid environs of West Yorkshire and I don’t actually need to breathe. Thereby, in their mad doggy heads I fulfil two requirements for their survival – warmth until I expire from the gentle releases of poison gas (mainly Igor) and then I will be a viable supplementary food source after my untimely death. Mrs Dark Juan is currently laughing at my lack of comfort and cheerfully inviting me to try and do her fucking job when she is under a pile of silly dogs. But she’s an artist and doesn’t need a comfortably situated computer to write nonsense on.

Again, I digress. It’s the caffeine. I can’t type fast enough to get the thoughts out of my head. You are actually reading this babble so you can be informed about the latest platter of splatter I am listening to, being Null Cell’s “Eternally Ill” album, released last December through Machine Man Records. Null Cell is a one-person project encompassing the sounds of metal, industrial and EBM (Electronic Body Music, if you don’t already know, fact fans) composed of the very annoyingly talented Isabella Chains of Omaha, Nebraska. Now, listening to this music, it makes me think that Omaha, Nebraska (never been there, I’m British and the furthest I ever got was Iceland. Wonderful place and lifelong friends made) is an arctically cold, industrialised wasteland in the arse end of America, filled with slaughterhouses and meat-packing plants and endless production lines, manned by grey skinned, emaciated drones carrying out endless robotic tasks until they drop and are replaced by equally grey faced and clearly defeated humans. Yep, industrial music speaks to me in a manner which a lot of music doesn’t, and as far as I am concerned, it is the musical accompaniment to the machine apocalypse which is going to kill us all…

The album opens with ‘The Rabbit Hole’ which is a distorted and percussive assault on your senses, somewhat akin to being attacked with an automatic and rapidly firing 40mm grenade launcher – mercifully short but goosebump inducing before there is a short pause and then the first track proper kicks in, ‘Texas Chainsaw’ which blends slamming industrial beats with super distorted, chopped up blues rock guitar and screaming, slowly building into an impenetrable wall of sound with heavy as fuck industrial keyboards until the fade. Think ZZ Top being anally violated by Terminators playing Suicide Commando albums. I shall leave you with that mental image. You’re welcome.

Null Cell have successfully gained my attention.

Now, I know I am writing for a primarily metal audience here, but I have to recommend Null Cell to your attention too. Electronic music can be just as heavy as metal and this is not so much an album as an atmosphere with musical additions. Null Cell’s sound on this release could best be described as Skinny Puppy’s pure electronic industrial output combined with Ministry around their “Mind Is A Terrible Thing To Taste” era output, where the guitars and the more metal elements began to creep through. Add this to “Pretty Hate Machine” and “The Downward Spiral” Nine Inch Nails beeps and squelches and you have a rough idea of what this record sounds like. It is rather more electronic industrial than metal, however, relying more on stabbing, shiny keyboards than slashing guitars and dementedly howling vocals. Isabella employs a harsh, almost spoken word style of vocal, which comes across almost like a particularly demented preacher exhorting his flock to follow the right path lest they all perish in storms of fire and brimstone. This level of controlled aggression makes for something rather scarier than some long-haired Herbert hitting notes that cause bats to crash into trees on a regular basis and is somewhat reminiscent of Nivek Ogre in delivery. In fact, the more I listen to Null Cell, the more I find myself comparing “Eternally Ill” to Skinny Puppy’s “Too Dark Park”, “VIVIsectVI” and “Rabies”. This, you will be utterly unsurprised to note, is a Very Good Thing. Especially if you like late 80s electronic industrial music. Track three, ‘Thrashing Creature’ is a particularly virulent song, mixing elements of the sounds of Belgian industrialist pioneers Front 242 and Cabaret Voltaire with the muscular guitar driven industrial metal of Die Krupps. It’s fair to say I haven’t heard a single person’s musical project this virulent since I first heard Unter Null’s “The Failure Epiphany”.

And here we have the usual quandary we face whenever Dark Juan goes screamingly off-piste with his choices from the ever-metal.com review list. I am reviewing this record for a heavy metal website and what I am listening to, although it is very extreme music, isn’t really heavy metal, and I am faced with the question of whether I should score it entirely on the merit of the music, which is fucking kick ass killer industrial EBM with plenty to interest the passing metaller if they can get past the fact it is predominantly electronic music, or whether I mark it down for not being metal. The thing is, this album shares the sheer power that metal has and the same sense of not belonging to the mainstream and being alternative. My views on alternative cultures sticking together are well known to you all.

A decision has been made by The Patented Dark Juan Blood Splat Rating System because frankly it got fucking bored of listening to the writer gibbering to himself and awards Null Cell a thoroughly flagellant 9/10 for an album of music suitable to flog your submissive to vigorously and at some length. An album for the more adventurous fan of extreme music.

TRACKLISTING:
01. The Rabbit Hole
02. Texas Chainsaw
03. Thrashing Creature
04. Wonderland
05. Dead Skin
06. The Ceremony
07. Hardware
08. Cruel
09. Missing Moments
10. Boiling Point

LINE-UP:

Isabella Chains – Fucking everything on this record including the production, mate. Multi-talented people get right on my tits because I can’t even do writing right! Bet Isabella is spectacularly good looking as well just to REALLY rub it in. No head like an amusingly shaped ice cube for Isabella, I bet…

LINKS:

Null Cell Promo Pic

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

EMQ’s with STEALTH

Stealth Logo

EMQ’s with STEALTH

Hi everyone! Welcome to our new EMQ’s interview with Corridonia, Italy based Industrial/Nu-Metal band, Stealth. Huge thanks to guitarist, Lorenzo Pimpini, for taking part.

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

Hi Folks, my name is Lorenzo and I’m the guitar player of STEALTH. The band was founded in 1997 after the meeting between me, Ivan (vocals and rhythm guitar) and Daniele (Bass player). We started as a Metallica tribute band, but we immediately started producing our own music after some months.

How did you come up with your band name?

I’ve chosen that moniker! One of the reason was the name born from STEALTH fighter plane in 1997 during the war in Middle East. We liked this name ’cause that plane was struggled and incisive like our metal sound!

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

We come from Italy, more precisely from a little city in the centre east of the country called Corridonia. The Rock/Metal scene here was (and actually is) very poor with few venues to play. This is the reason why we played a lot abroad.

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

“Live For Your Faith” is our latest live album released on 31st December 2020. Together with the original album and the remix one is a special concept trilogy: Live from London and other foreign places, ‘disco-metal music’ remix album “Fight For Your Fate” released in 2018 and original album “Fight For Your Faith” released in 2014. Now we are working on a new single with 2 songs that we will release shortly.

‘Perpetual War’ (Official Video)

‘Inner Land’ (Official Video)

Who have been your greatest influences?

I think that the power of STEALTH arrived from different influences between us. I like prog metal and epic cinematic sound; Ivan likes industrial and nu-metal while Daniele is into prog metal and hard rock/old school stuff.

What first got you into music?

When I was 8 years old my mother brought me playing piano. I remember I learned fractional time (4/4, 6/8…) with my music teacher before learning that to school. It was amazing!

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

I really don’t know. I think that every band is special ’cause every band speaks its own language. This is the power of music!

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

I think that WACKEN OPEN AIR would be perfect for the style of music we play with STEALTH.

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

Actually, was a gift…I did. It was an autograph on the tits of a wonderful girl! So maybe I gave her a weird gift…

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

We love you and I hope we’ll start to play live again and that we’ll hug together as soon as possible.

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

Randy Rhoads on guitar, Cliff Burton on bass, Vinnie Paul on drums and Ronnie James Dio on vocals. What an amazing band that could be!

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

We love creating something that lasts over time, something that creates an emotion. I don’t know if we can, but we try and we play, first of all, for us.

I hate the poor consideration of musicians in general.

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

The reality music show. Now your fame lasts as long as a song. There is no longer the desire to search for bands that last over time!

Name one of your all-time favourite albums?

Dream Theater’s “Awake”.

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

Everything is cool! The most important thing is to pay even a little for these music ‘devices’ otherwise the music will die.

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

It was 11 years ago in Kiev, Ukraine at Route 66 pub. It’s been an unforgettable show.

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

Luckily, I am also a cardiologist!

Which five people would you invite to a dinner party?

It will be great to invite for a dinner party the other guys that played with us in the past and creating just for a night a great STEALTH band with 4 drummers and 3 guitar players!

What’s next for the band?

We are working on new material. We are gonna to release a new single with 2 new brand songs next spring.

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

We mostly use our official website www.stealthattack.it but we are also on all the other social media like Facebook, Instagram, You Tube…

www.facebook.com/stealthattack.it
www.youtube.com/user/stealthattack1997

Jaffa Cakes! Are they a cake or a biscuit?

I don’t know, I think it’s a cake cause the name sounds like it…???

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

Stay connected with us and I send a big hug to everyone out there. We’ll see you quickly!

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.