Overkill – The Atlantic Years 1986 – 1994

The Atlantic Years Album Cover Art

Overkill – The Atlantic Years 1986 – 1994
BMG
Release Date: 03/12/21
Running Time: 05:12:02
Review by Simon Black
Taking Over – 8/10
Under The Influence – 7/10
The Years Of Decay – 9/10
Horrorscope – 9/10
I Hear Black – 6/10
W.F.O. – 5/10
Overall – 8/10

Overkill are one of those Thrash acts that at the time barely registered on my radar. Even though they paid their dues in Europe (unlike a few of their peers). But the reality was they were very much part of the USA scene, particularly the East Coast and never achieved anything like the same level of success as some of their contemporaries. Like many acts who have struggled across the decades, Overkill have been plagued by line up stability issues. We can sit here and debate cause and effect if you like, but it’s a matter of personal viewpoint as to whether the lack of success caused the instability, or vice versa, however the reality is the two frequently fly together. 

That said, this box set covers the prolific period when Overkill and their ilk carved their niche, and for my money cut their best material, before the changing musical landscape of the 90’s kicked everything into touch for all but the established stadium players. It doesn’t include their Metal Blade debut ‘Feel The Fire’ but covers the three seminal (and then the three slightly less seminal) albums that followed it. My exposure to their back catalogue had been quite sparse to date, as I only really began to be aware of them with 1989’s ‘The Years of Decay’ so I was hearing most of the records in this set in full for the first time.

“Taking Over” really feels like a debut album, even though it isn’t. Like so many Thrash acts getting a major label debut at the time, it was very much done on the cheap, with studio time no doubt grabbed in graveyard shifts with huge amounts of time pressure. As is often the case when that happened, the pressure of this added no small amount of energy to proceedings and despite the relatively poor production standards compared to what follows in this edition, it has fire and energy in abundance. At this stage they are still playing as a four piece as well, but despite that, the sound has richness and depth in spite of the garage feel of production. I would argue that they still have their Speed Metal roots a little more visible here – tracks like ‘Fear His Name’ definitely fit in that more traditional Metal vein and show Bobby Blitz as being more than capable of carrying a tune in the higher register as he had yet to adopt the more Thrashy snarling style that became his trademark later on.

When we get to “Under The Influence”, that move to straight out Thrash is coming out loud and clear. The tunes sound more down tuned and heavy and the oodles of reverb on display last time out are gone for good. Equally the arrangements have that more staccato Thrash feel to them and the vocals are following suit, although Bltz can still hit a high note or two when required. This is raw and energetic Thrash of the finest order, stripped back and overflowing with aggression. Unfortunately, this is also where the line-up challenges start to bite, with founding drummer Rat Skates having parted way in between album cycles.

“Years of Decay” is probably the most definitive of the albums to date here though. Changing producers for the first time, the band manages to capture a solid mixture of the raw energy that makes them tick, and with some vastly improved production values. Not only that, but the band are starting to get a little more technical with their arrangements and time changes. There are some quite lengthy pieces on here to boot – most notably the title track, and the Sabbath infused ‘Playing With Spiders/Skullcrusher’, but then splicing two songs together that share a key and a time signature to make one big one is an old trick. The big change is that this is the first time Overkill achieve that elusive ‘whole album feel’. Thrash with its focus on Speed and energy frequently meant songs with a short sharp delivery and duration, and their early albums certainly exhibit this. This one feels like a lot more time has been taken to craft an album that is intended to be listened to end to end, with only their classic floor filler ‘Elimination’ feeling out of place here. This was certainly the point when for me Overkill stepped up beyond from the melee of acts this movement offered into the second tier, biting at the heels of the Big Four of the day.

By the time we get to “Horrorscope” (which was released fairly quickly after “Decay”) an awful lot has changed. Founding guitarist Bobby Gustafson has parted on bad terms and was replaced with not one but two six-stringers in the form of Merritt Gant and Rob Cannavino. This really adds something to the sound – with two players able to throw in the depth of sound of having dedicated rhythm and lead when required, plus the old standby of the harmonised riff, but suddenly this doesn’t quite feel like Overkill any more. Maybe it’s just the teething troubles of running in new players, or maybe it’s the more lavish production, but the polish this adds for me feels like something more immediate and dangerous has been lost. This is frustrating, as the technical delivery here is quite something else – take the razor sharp timing from the rhythm section on ‘Blood Money’ – it’s absolutely spot on and a complete contrast to the edgy chaos of “Under The Influence”. Don’t get me wrong, it’s their most polished effort yet, but in many ways as I started listening I found myself initially preferring the looseness of their early days. Vocally though Blitz seems to have successfully melded the Thrash with his considerable cleaner vocal skills in the right balance, and that’s here to stay. By the time we get to the end though, my rites of passage are over and I’m finding myself falling a little bit in love with this record.

“I Hear Black” sees yet another change in direction and unfortunately one that falls somewhat flat on its face. No doubt under major label pressure to emulate what was coming out of the Seattle scene, we see Overkill attempting to strip their delivery down to the detriment of quality. The trouble is it sounds less like Grunge and more like something a Stoner act would do and Bobby Blitz’s voice sounds completely out of place here. Although to be honest the return of producer Alex Perialas to the fold brings back some of the more immediate and energetic feel that had been polished out of their sound in the two intervening albums, but it can’t recover from the completely bum steer that the song writing has taken. It’s a massive own goal and one that the market concurred with, as at a time when evolving musical styles were creating commercial pressures, they should have stuck with their more distinctive  and pure Thrashy roots and ridden out the storm.

And to be fair that’s exactly what they did next with “W.F.O.”, which from the opening bars screams their return to their natural state, but sadly somehow this doesn’t feel like it’s going to go anywhere. The sound is flat and Blitz sounds completely off of his game, with songs that meander and fail to grab the attention. To be fair, it may show a return to the Thrashy style of yore on the surface, but it’s completely missing the energy or integrity and the songs just ain’t in the same league. 

The trouble is it’s a direction change that’s come too late and simply isn’t convincing in its delivery as the twin guitarists depart simultaneously and the label decides it’s time to drop the dead donkey. Overkill will lick their wounds, regroup and slowly regain and rebuild their credibility as the 90’s wind down and people start remembering them for their significant contribution to a style that totally revolutionised music, and swept away the old order, before ironically having the same thing happened to them with the next big new thing on the block. But these albums beautifully chart the rise and fall of a movement that literally reshaped Metal, and a band that were absolutely at the forefront of that.

TRACKLISTING:
Taking Over
01. Deny the Cross
02. Wrecking Crew
03. Fear His Name
04. Use Your Head
05. Fatal if Swallowed
06. Powersurge
07. In Union We Stand
08. Electro-Violence
09. Overkill II (The Nightmare Continues)

Under The Influence
01. Shred
02. Never Say Never
03. Hello from the Gutter
04. Mad Gone World
05. Brainfade
06. Drunken Wisdom
07. End of the Line
08. Head First
09. Overkill III (Under the Influence)

The Years Of Decay
01. Time to Kill
02. Elimination
03. I Hate
04. Nothing to Die For
05. Playing with Spiders/Skullkrusher
06. Birth of Tension
07. Who Tends the Fire
08. The Years of Decay
09. E.vil N.ever D.ies

Horrorscope
01. Coma
02. Infectious
03. Blood Money
04. Thanx for Nothin’
05. Bare Bones
06. Horrorscope
07. New Machine
08. Frankenstein” (Edgar Winter; instrumental
09. Live Young, Die Free
10. Nice Day… for a Funeral
11. Soulitude

I Hear Black
01. Dreaming in Columbian
02. I Hear Black
03. World of Hurt
04. Feed My Head
05. Shades of Grey
06. Spiritual Void
07. Ghost Dance
08. Weight of the World
09. Ignorance and Innocence
10. Undying
11. Just Like You

W.F.O.
01. Where It Hurts
02. Fast Junkie
03. The Wait/New High in Lows
04. They Eat Their Young
05. What’s Your Problem
06. Under One
07. Supersonic Hate
08. R.I.P.
09. Up to Zero
10. Bastard Nation
11. Gasoline Dream

LINE-UP:
Bobby “Blitz” Ellsworth – Vocals
Bobby Gustafson – Guitars
Merritt Gant – Guitars
Rob Cannavino – Guitars
D. D. Verni – Bass
Rat Skates – Drums 
Sid Falck  – Drums
Tim Mallare – Drums

LINKS:

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.

Sun Of The Endless Night – Life… A Tragedy Tainted By Malevolence

Life… A Tragedy Tainted By Malevolence Album Cover Art

Sun Of The Endless Night – Life… A Tragedy Tainted By Malevolence
Punishment 18
Release Date: 26/11/2021
Running Time: 49:24
Review by Beth Jones
9/10

Sun Of The Endless Night, or SOTEN as I shall now refer to them, are a UK-based Progressive Thrash band who were originally meant to be just a studio project. However, demand was so great for them to perform live, that band mastermind, Ade Stokes (Stampin’ Ground/ Suicide Watch) decided to recruit enough people to make live shows possible, and take the band out to the loving crowds. Their first performance was at 2021’s Beermageddon festival, which I was lucky enough to witness. It was by far one of the performances of the weekend, and instantly got me hooked on their brand of Old-School Thrash with added oomph! So, when I discovered they were releasing an album, I jumped in the queue to get a chance to review it.

Now I say added oomph, but what I mean is a whole new breed of Thrash that’s just a hell of a lot more exciting than the run of the mill Old-School sounds that, once you’ve heard them once, you’ve heard them a thousand times. I’m going to label SOTEN’s Thrash as Kitchen Sink Thrash – it has the classic thundering rhythms and riffs, and the gruff and punishing vocals, provided by Si Cobb. But it’s also got technicality and progressive elements that take it way out of the realms of run of the mill. And it explores things like classically orchestrated introductions that wouldn’t be out of place on a banging Symphonic Death album, alongside acoustic sections, spoken word samples, and some monstrous soloing, which almost push the boundaries of Classic Heavy Metal/ Power Metal! It really is a mixed bag – a bit like Liquorice Allsorts, but without the disappointment of liquorice! 

Thematically, the clue to the contents of this album is in the title – “Life… A Tragedy Tainted By Malevolence”. An angry and bitter picture of the twisted times we live in, on a planet populated with species seemingly intent on pushing the self-destruct button. Again this gives it a very current feel.  

I’m finding it very difficult to see anything to criticise about this album to be honest. It’s got everything. Raw fucking crunchiness that you can bang you head to, some superb musicianship, and technical twists that make you smile, delicate and intricate sections that are completely unexpected, but wholly intriguing and charming, and well thought out and structured songs that don’t overstay their welcome. My only criticism is there are a couple of times that the drums sounded slightly out of whack with the guitars. But it’s only ever so slightly, and can be forgiven because it gives it a more authentic and real quality, which is often lost with perfect production… And I am the last person I thought I would hear saying that, because I’m super fussy about production. Oh, and the last track fades out… Tut, tut.

These guys really are a band to watch – exciting times are afoot, my friends, exciting times I tell you – the world might be going to shit, but at least we have damn fine music to go down to!!

TRACKLISTING:
01. Open skies, closed minds
02. Who let the night in?
03. Where there is god there is nothing
04. Once upon a death
05. Sun of the endless night – 536ce
06. Darkness is falling (for the human race)
07. The Holocene has ended
08. Beyond the reason of man
09. Take comfort in war
10. Full disclosure
11. Forest of dreams
12. Sun of the endless night (Lord of the Frost mix)

LINE-UP:
Si Cobb – Vocals
Ade Stokes – Guitar
Jim Saunders – Guitar
Ian Glasper – Bass
Colin Baker – Drums

LINKS:

SOTEN Promo Pic

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 4 KINGS

4 Kings Logo

EMQ’s With 4 KINGS

Hi everyone. Welcome to another EMQs interview, this time with German Heavy/ Thrash Metallers, 4 Kings. Huge thanks to their vocalist, Seth, 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 Seth, I do the singing, growling and screaming and I founded the band “4 KINGS” with guitar player Martin back in 2015.

How did you come up with your band name?

In the beginning we were 4 musicians and we felt like quite a good band, like 4 Kings are a pretty good hand in poker.

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

We come from different countries and are now located in the Cologne area, which was quite busy in metal before corona.

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

Our last release after the 2018 Album “Vicious, Weird and Wild” was “The 2021 EP”, released in October 2021.

Who have been your greatest influences?

All members of the band have different influences such as the classic 80`s thrash bands, Progressive metal, Black and Death metal up to Hardcore, Metalcore and Deathcore.

I personally keep developing musically and stay openminded.

What first got you into music?

I was deeply influenced by my father and my uncle, so I started listening to Classics and Jazz when I was very young. My singing career began at the age of 4.

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

I personally can imagine working with a lot of musicians. I´m always curious…

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

I would choose the W:O:A. That is where you reach most of the audience.

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

Our female fans are always throwing bras on the stage…

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

Stay metal and support your local bands!

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

Chuck Schuldiner

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

I can share my love with friends and fans, but I hate being disrespected by non-musicians.

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

Stop silly casting shows and the regime of money.

Name one of your all-time favourite albums?

“Blackwater Park”

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

I love Vinyl! Best sound ever!

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

Metal Colonia Fest.

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

Traveling.

Which five people would you invite to a dinner party?

Nikola Tesla, Charles Manson, Mahatma Gandhi, Gaius Julius Caesar, and Charles Darwin.

What’s next for the band?

Survive corona to play shows for everybody.

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

Spotify and FB.
https://www.facebook.com/4Kings.metal/

Jaffa Cakes? Are they a cake or a biscuit?

None of it. They´re drugs.

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

I would like to thank you for your interest and your support.

4 Kings 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.

Reaper – Rebirth Of Chaos

Rebirth Of Chaos Album Cover Art

Reaper – Rebirth Of Chaos
Self-Released
Release Date: 29/10/2021
Running Time: 48:20
Review by Beth Jones
10/10

I love success stories. Seeing other people hitting that sweet spot where they find something they love, and it brings joy into their lives. There’s not enough joy in the world right now, so we should always appreciate it when it happens. And when it happens to someone who you know personally, it makes it even sweeter. Reaper, and in particular, front man Dan Moran, are pretty high up on my list of ‘People who are fucking awesome’, and so when they do something new, and it’s superb, it fills me with a lot of joy. Their latest album, “Rebirth Of Chaos” was released at the end of October, and it’s a shining example of what hard work, dedication, and passion for their art looks like. It’s a reimagining of their 2018 album “Birth Of Chaos”, which troubled the band at the time of release, for many reasons. And with this rebirth, Reaper have shown that they’re beginning to mature, like a fine wine.

The album starts with ‘Possessor Of Evil’, opening with a solo guitar melody, then launching into furious classic Thrash, which serves as a perfect wake-up call. The vocal work of frontman Dan Moran is massive, with crisp clean vocals, and superb growling Thrash tones, which add a sense of urgency and punch to the delivery, which is echoed by the powerful rhythms and riffs provided by the rest of the band. A great way to start an album.

Power and punch are the name of the game throughout this album really. It’s exciting and in your face throughout, and oozes talent and skill. Reaper never shy away from trying things and pushing boundaries either, dabbling with Groove and Progressive sounds and ideas all the time. It’s scarily exciting.     

A perfect example of this is ‘Entropy’. Blistering Progressive Thrash, that’s laden with heavy riffs, and thunderous bass, along with machine gun drumming, and Dan’s superb vocals. It feels like that point when you go down the first drop on a rollercoaster – exhilarating and daring. It’s also got some properly sexy guitar solos, too. Just a big old pot of everything epic really.

It’s almost impossible to pick stand out tracks from this album, because they’re all so good, but ‘Wings Of Darkness’ is a blinder! This opens with a spoken introduction, then drops into heavy and dark riffs, akin to Sabbath, just with more anger about them. Progressing into more classic Thrash realms, this piece demonstrates the sheer brilliance of every single musician in Reaper, and I will challenge anyone not to move to this tune, because personally I don’t think it’s possible. And then, just when you think it can’t ramp up anymore, it does. The ‘bloody hell!!’ scale of all things good, that lives inside my head, is going off the chart with this tune, I can tell you!

The penultimate album track, ‘Sixth Circle Of Hell’ is a superb track. It starts off with moody acoustic guitar, joined by a sumptuous lead guitar solo, which has smacks of Pink Floyd about it. From there, the track explodes into (brilliantly mixed) ‘in your face’ thrash, and I bloody love it! And that leads into a 6 minute Herculean bucket of everything, ‘The Way Of Shinobi’, to close out the album. This has got blistering Thrash, Oozing prog, and some quite frankly brilliant guitar work towards the end.

Get your faces into this trough bucket of epic NOW, everyone!! You need this in your life, and if you don’t think you do, then you are wrong. Seriously ludicrous how good these guys are.

TRACKLISTING:
01. Possessor of Evil
02. Wartorn
03. World at Redemption
04. The Crypt
05. Entropy
06. Wings of Darkness
07. Checkmate
08. Area 51
09. Sixth Circle of Hell
10. The Way of the Shinobi

LINE-UP:
Daniel Moran – Vocals/ Guitar
Anthony Dalton – Guitar/ Backing Vocals
Kayne Watson – Bass/ Backing Vocals
James McDermott – Drums

LINKS:

Reaper Promo Pic

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.

Callus – A Breath Of Flesh Air

A Breath Of Flesh Air Album Cover Art

Callus – A Breath Of Flesh Air
Trepanation Recordings
Release Date: 29/10/2021
Running Time: 30:44
Review by Beth Jones
9.5/10

I always feel proud when a band we’ve seen grow put out a new release, and even prouder when that release is damn fine. And today’s subject doesn’t buck that trend. We first came across Callus a few years back, and were absolutely blown away by their massive sound, and their superior stage presence, and that was the start of a beautiful friendship. Now, after a small line-up change, and a bit of a shift in direction in terms of sound, they’re back with a new album, “A Breath Of Flesh Air”. And you should definitely get your big boy pants ready for this one, because it’s an absolute feast of Sludgy, Fuzzy, Stoner/Thrash proportions!

Opening with ‘Molar Crown’, the new direction is apparent from the get-go. Gravelly growling vocals provided by bassist Ben Wormwell, downtuned, fuzzed out guitars and bass, and riffs chunkier than a KitKat Chunky factory, are now the name of the game. The sound has got down and dirty, and then some.

‘Ka-tet’ follows suit, and then we get our heads smashed in by ‘Cinderstella’, which is predominantly Thrash, but has a hellish, sludgy sound to it. Imagine Metallica and Cannibal Corpse had a baby band, taught them to play fuzzy things, and then got them completely fucked up on booze, fags, and weed, and kicked them out on stage, and you’re somewhere near the sound of this song.

‘Sorrow Bane’ has a fair amount of groove going on, as does ‘Toadfish’, although they’re both still hellishly sludgy, and fairly doomy, too. We’re then thrown into a 10-minute behemoth next, in the shape of ‘Fatberg’. I won’t say too much about it, but I will say it’s groovy as hell, and full of some massively phat bass and licks, and some serious druuuuuuuums – Sam Kelly has done a brilliant job of stepping into previous drummer, Ryan’s, shoes. I think this is my favourite track on the album, because there’s just so much in it, and so much of it!

‘Sludge Guzzler’ closes the album, and by Jove does it guzzle some sludge, chew it around a bit, then vomit it back out at you in brilliant fashion! Another stonking album from one of the most exciting young bands around. Cannot wait to see them live again, and would highly recommend this album to anyone who fancies a dirty, sludgy aural pummelling!!

TRACKLISING:
01. Molar Crown
02. Ka-tet
03. Cinderstella
04. Sorrows Bane
05. Toadfish
06. Fatberg
07. Sludge Guzzler

LINE-UP:
Louis Clark – Vocals/Guitar
Ben Wormwell – Vocals/Bass
Sam Kelly – Drums

Guest backing vocals on Molar Crown – Chris Fielding

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.

Infrared – From the Black Swamp

From The Black Swamp Album Cover Art

Infrared – From the Black Swamp
Inframental Records
Release Date: 30/09/2021
Running Time: 1:00:13
Review by Victor Augusto
9/10

Hello my beloved readers. I hope you are still good and safe, and ready to hear about another band that I am so proud to have discovered as a consequence of writing reviews about bands from all around the world! Today’s subject is a band that heard thanks to the same lady who introduced me to Ever Metal back in 2019. I am talking about Sara McIntosh, from Sare’s Invasion radio show, also known as the Queen of Underground Metal. If you hate my reviews, she is the guilty one who motivated me to write reviews in English!

Jokes apart, she promotes only underground bands on her radio show, and I met Armin Kamal there, a few years ago. She was promoting the band’s last EP and I loved the music. At that time, I reviewed it on local radio in Brazil. It was a good experience to hear that album, which consisted of re-recorded material that had almost been forgotten about in their warehouses. Two years later and here I am with their new album, full of new compositions, to see how powerful they are today.

First of all, it’s important to highlight how the four members work in an amazing synergy. Armin Kamal, with his aggressive and melodic vocals, also works insanely on chugging riffs alongside his partner in crime Kirk Gidley. ‘No Master, No Gods’ is enough to show how they both do a killer job. Mike Forbes has the incredible job of keeping his distorted bass present in middle of this wall of heaviness, and he’s done it perfectly as you can hear in ‘Lockdown’.  Alain Groulx just completes the team with an aggressive way of playing drums.

The references to influences which Infrared put into their music are so clear, as if they are honoring their idols. ‘Tribal Junction’ opens the album, in the best ‘Criminally Insane’ way (Slayer), the style of ‘Among The Living’ (Anthrax) in the intro to ‘Evil Ascent’, or ‘Practice What You Preach’ bass (Testament) in ‘Eternal Exile’. Even Metallica’s ‘Orion’ on the closing song ‘SemitaDomum’. However, it is just a matter of references, because all the songs mentioned have only parts that nod to their influence, but soon change to a pure Infrared style of play.

I could summarize what they talk about in their lyrics using their own description of it. It goes from religious mind control, or bad relationships, to the energy of bands on stage. For what I could notice, the subjects are very personal for all members, and they’ve found a way to scream all of it out of their throats.

“From the Black Swamp” shows that Infrared are friends doing what they love after more than 20 years. That’s probably the reason they returned after many years of hiatus. Are they having fun? I have no doubt of it. Despite the fact they’re playing brutal Thrash, with serious subjects, I could feel a kind of happiness and humour around it. Maybe it came from my subconscious that you all know is a little insane! But one thing I’m certain of is that Infrared is a killer band.

Everything in “From the Black Swamp” is so amazing that is almost impossible to stop listening to it, even after finishing my review. If you are fan of the best of what Thrash Metal can offer, listen to it. It is Heavy and brutal, but at the same time it carries something light on its spirit. I could mention many “It is something plus a good adjective”, but let me be restricted to “It is just Infrared! Period”. Listen to it as loud as you can! Cheers!

TRACKLISTING:
01. Tribal Junction
02. No Master, No Gods
03. Lockdown
04. Left Lane F√₵K!
05. Eat Your Own
06. From the Black Swamp
07. Evil Ascent
08. Blood & Sweat
09. Eternal Exile
10. Tradimento
11. Beautiful Death
12. SemitaDomum

LINE-UP:
Kirk Gidley – Guitar
Alain Groulx – Drums
Mike Forbes – Bass
Armin Kamal – Vocals, Guitar

LINKS:

Infrared Promo Pic - Credit Carissa Broeren
Credit: Carissa Broeren

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

EMQ’s with TORN FABRIKS

Torn Fabriks Logo

EMQ’s with TORN FABRIKS

Hi everyone! Welcome to our new EMQ’s interview with Portuguese Old School Thrash Metal band, Torn Fabriks. Huge thanks to them for taking part.

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

Torn Fabriks’ story is short, as the band is only a year old. It started in April 2020 in full pandemic situation. What started out as a fun project by two OSTM lovers, quickly became a serious project with the input of Paulo Soares (Drummer and Producer). And consequently the 2021 edition of our first EP “Mind Consumption” through Firecum Records.

How did you come up with your band name?

The name Torn Fabriks came up almost spontaneously, I remember at the time mentioning with Ricardo Santos that i liked the word “fabrics” and the way it sounded. Ricardo, in turn, emerged from Torn Fabrics and as it sounded good to us, we just changed the “c” for the “k” and that was it.

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

We´re from Portugal, me and Paulo, we are from Almada/Seixal, and Ricardo is from S. Miguel Azores. The Rock/Metal scene here still alive and strong, there’s a lot of new bands going on. Its alive and well.

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

Our latest and only release was “Mind Consumption“ EP from January 2021.

‘Bring Me Down’ (Official Video)

Who have been your greatest influences?

We´re strongly influenced by Old School Acts like Destruction, Sodom, Razor, Slayer, Testament, Exodus and so on…

What first got you into music?

I think it was the influence of my old brother and my dad too. Since I was a little boy, I remember always listening to Rock n´Roll at Home. My Dad is a huge fan of Elvis, Jerry Lee Lewis, Credence Clearwater Revival, I think it was my first contact with Rock.

Later on, I discovered AC/DC, Maiden and Manowar, that’s when and where, I realized that I´ve got to buy a guitar.

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

Lol Funny question, I think maybe Skolnick from Testament or Petrosa from Kreator.

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

That’s an easy one lol, Wacken for sure, Because it’s the biggest one on Metal scene and it’s kind of magic and mythical.

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

I don´t receive gifts that much, but let me see, maybe sex lol, when I was touring with my ex mates from Simbiose.

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

Please be nice and polite to each other.

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

Lemmy Kilmister.

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

First of all, I hate to be in the recording studio, and all that recording process. Its funking boring for me. The coolest thing is playing live, rehearsing with my band mates and making songs. Good ones preferably lol.

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

I don´t know mate, I truly don´t care at all about what’s going on in the music industry. I don’t really give a fuck, I just do my own thing in the best way I can, it´s just like that.

Name one of your all-time favourite albums?

“Reign In Blood” – Slayer

“Schizophrenia” – Sepultura

“Agent Orange” – Sodom

Just to name few!!

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

Vinyl mate, for sure.

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

Maybe Barcelona, back in 2000’s.

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

Maybe painting or drawing some action figures lol.

Which five people would you invite to a dinner party?

My wife, my daughter, band mates and close friends.

What’s next for the band?

We´re, at the moment, recording the songs of the new album. It’s gonna be about eleven songs on the record, and it will be Thrashy as Hell.

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

We use:
www.facebook.com/TornFabriks
www.tornfabriks.bandcamp.com/
www.instagram.com/tornfabriks/
www.open.spotify.com/artist/0WiHK15VnZwRI4ZZ2hkBoY
www.youtube.com/channel/UC6oQwQaLLAWpvuNtHcp4ehQ

Jaffa Cakes! Are they a cake or a biscuit?

It’s a biscuit with the shape of a cake lol, I just googled it.

Never heard about it lol.

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

Thank you so must for having us and for the support and interest in the band.

Keep it Metal and insane mate

Cheers .

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 – ‘BEDS ARE BURNING’ VIDEO PREMIERE

Beds Are Burning Video Premiere Image

CHAOS DOCTRINE Release Visualiser Video For Their Unique Cover Version Of ‘BEDS ARE BURNING’ By MIDNIGHT OIL.

Hello Everyone,

Ever Metal are Incredibly proud to exclusively premiere the brand new visualiser video by South African Industrial Thrash Machines CHAOS DOCTRINE!

In their tradition of covering great classics between major releases, CHAOS DOCTRINE is paying tribute to iconic Australian Rock Band MIDNIGHT OIL with a unique rendition of their classic 1987 cult classic ‘BEDS ARE BURNING’ from the “DIESEL AND DUST” album!

Huge thanks to Chaos Doctrine for, once again, having faith in us and to Devographic Music Media for the opportunity!

Burn Those Beds and Bang Your Heads!

EXCLUSIVE EVER METAL PREMIERE

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 Hannes Matthysen (Chromium & The Drift).

Chaos Doctrine  - Beds Are Burning Single Cover Art

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; from 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 (Credit Amanda Kuhrau)
Photo by Amanda Kuhrau

LINE-UP:
Daniel Burger ‘Dr D’ – Vocals
Alec Surridge – Guitar
Hannes Matthysen – Drums
Phil Carstens – Bass & Backing Vocals

CHAOS DOCTRINE ONLINE:

DEVOGRAPHIC MUSIC MEDIA, PR, EVENTS & AR AGENCY SOUTH AFRICA ONLINE:

Chaos Doctrine Logo

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.

Granada – Sistema Nervioso EP

Sistema Nervioso EP Cover Art

Granada – Sistema Nervioso EP
Self-Released
Release Date: 20/07/2021
Running Time: 18:56
Review by Victor Augusto
9/10

Mis hermanos del Granada! Excuse my bad Spanish calling my friends as brothers. It is what I like to call these amazing guys from this killer Thrash Metal band from Argentina. Once again, they are one more incredible example of how music can connect people from all around the world, no matter their culture or how far they live from you. As a South American citizen, it is even easier for me to feel connected to everything the band want to express in their music, because we share the same anger and the same feeling after decades seeing our beautiful countries, full of cultural richness, being devastated by misfortune and chaos.

Their previous EP “Amarre” really touched me with the dense subject around the music and the lyrics. I felt that release was so phenomenal that we even did a video interview, here at Ever Metal, to understand more about what they wanted to express. Now, we have another EP full of anger. As the title suggests passion and anger are still key (Nervous system is the title in English that could be related to the human body but also about a political system that kills thousands of people with all its bad management), but things have changed a bit on this EP. The band have returned to a cleaner record production and now they have a bass player. The sound overall is still Thrash Metal with strong Hardcore/Crust influences, but the spirit of the release shows more criticism to politics with the lyrics rather than the sonority.

They still offer a thunderous punch to the face, not only with their heavy music, but also how they manage to open our eyes to see all the issues that surround us. The main change, for me, is that they do not sound as dark as on the previous EP, because they are not so focused on personal problems that hit families, within their homes, but the problems we deal with in a more overall way. At least, I guess, that this is the main change. “Amarre” is still my favorite Granada release, but the sound that you will hear from the band on this EP is, for sure, more representative of their identity.

‘Teatro de Sangre’ opens proceedings with all the pure Thrash Metal you could ask for. Fast and straight in your face. It is cool how Marcos Edwards puts some new elements, like his interesting double kicks, onto his versatile way of playing the drums. New guitarist Lucas Simcic offers amazing solos that are very well structured for the songs. Marcos Colombi makes the sound even heavier with his work on bass and brings new ideas as the intro of ‘Tiempo Muerto’ shows. By the way, this song shows how singer/guitarist Guille Estévez is exploring more clean and melodic vocal lines for this EP.

‘Los Celos del Fantasma’ also brings something heavier, even with some Classic Heavy Metal elements, but ‘En Nombre de Los Condenados’ rescues the Punk Rock/Hardcore/Crust spirit of the band. This spirit is also present on ‘Enterrate, Eliminarte, Renovarte’ until the amazing version of ‘Dig Up Her Bones’ which is a bit heavier than the original track from Misfits.

My final impression is that Granada has found the perfect match between Thrash and Crust/Hardcore influences. Maybe you will listen and have a completely different vision of what I felt, and I am happy with that. This is the magic of music and I love to see everyone’s different reactions. However, there are two things that I can assure for you. You will always have something new with each Granada release and you will always have compositions that come with strong feelings and from the heart. Maybe this is the reason that I am such a huge fan of these guys!

Aguante Granada!

“Sistema Nervioso” (Full EP Visualiser)

TRACKLISTING:
01. Teatro de Sangre
02. Tiempo Muerto
03. Los Celos del Fantasma
04. En Nombre de Los Condenados
05. Enterrate, Eliminarte, Renovarte
06. Dig Up Her Bones (Misfits Cover)

LINE-UP:
Guille Estévez – Vocals, Guitars
Marcos Edwards – Drums
Lucas Simcic – Guitars
Marcos Colombi – Bass

LINKS:

Granada 2021 Promo Pic

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

Endust – Cycle EP

Cycle EP Cover Art

Endust – Cycle EP
Self-Released
Release Date: 05/03/2021
Running Time: 18:51
Review by Victor Augusto
9/10

Life goes in cycles. Yes, I’m beginning my review with this cliché. By the way, in my new cycle of trying to be a very polite and human person, I often ask how you all are and wish you are all well and safe (and I am being honest). However, I have a good reason to mention cycles. Endust are not a new band to me. I first met them in São Paulo, a city far from mine, when I was travelling there to meet my friends (reviewers at that time) as well as Glauco Rezende (guitarist/new singer) and Fernando Arouche (drummer). What impressed me most, on this first meeting with them, was that they had travelled from their city Jundiaí, which is about one hour distant, on a Saturday morning, in person, to deliver their physical CD’s to one of the most important CD stores in Brazil.

After this great first impression, I bought a copy and, to my surprise, I was in front of one of the best Thrash Metal bands from Brazil. At that time, they had Leandro Caçoilo as their singer and Leandro is very famous for being a part of important Power Metal bands in Brazil, but his vocal versatility fitted pretty well on Endust’s powerful music. Time passed and they decided to take different paths in a very friendly way, so we just have to say thanks to Leandro for what he left the band.

What changed? First, let’s understand Endust’s music. I clearly remember, in my first review about them, I mentioned how Glauco was the “spine” of the band. He is a master of riffs and he creates incredible arrangements. We (reviewers, musicians and myself) used to call him ‘the Jeff Loomis from Jundiaí’ and you just need to hear the opening, and title, track ‘Cycle’ to understand that. His new position as vocalist is something totally different from how Leandro approached the music. He sings very aggressively, but it is incredibly clear and different from the typical creepy guttural vocals, that many bands use, which are annoying and can often be hard to understand.

His partner in crime, Fernando Arouche, is even more killer on this EP. He is a machine gun; more about heavy punch than the speed, but the fast beats are amazing as well, with double kick suddenly appearing in the middle of the songs like a sonic blast. The synergy among them both is something that is very hard to describe, considering they have been working together since the embryonic age of the band, about ten years ago. If Glauco is the spine then Fernando is also something pretty important in this biological connection. However, I cannot think of a good reference/word to describe it, due to my lack of intelligence. (Absolutely not true Victor, it’s a language thing. Having listened to this fantastic EP, I will use the phrase ‘he adds muscle to the bones’ – Rick)

Musically, they still play strong Thrash Metal, full of groove and technicality, but for this EP, there is also a highly explicit Death Metal vein. It is not only in the vocals which have changed from melodic to guttural, but also in the heaviness of the guitars and drums. Maybe the track ‘Giving Up’ is the best option to understand and describe the new face of Endust. If you’ve already heard them on their “All Ends In Dust” album (2019) and want to compare that with this new release, then check out ‘Only One Will Stand’. which is a re-recorded song from their last album.

A new cycle? The EP title does represent what Endust is living through at the present time. They are almost the same band, but a restructured band. “Cycle” not only shows a new era for them, but it also represents the essence of what they have created throughout their career, but with a serious addition of aggression.

‘Cycle’ (Visualiser)

TRACKLISTING:
01. Cycle
02. Seller Of Illusions
03. Giving Up
04. You Made Your Choice
05. Only One Will Stand (Re-recorded)

LINE-UP:
Glauco Rezende – Vocals, Guitars, Bass
Fernando Arouche – Drums

LINKS:

Endust Promo Pic

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