Arkham Witch - Legions of the Deep

Legions of the Deep, Arkham Witch's sophomore effort, is about as wildly inconsistent an album as a band could write. In one sense, it's incredibly varied, with Arkham sounding like three different witches throughout the entirety of the album. While this trio of sisters may have worked well for Shakespeare, I don't think the variety bodes well in the case of Arkham. For me, the band is best when they are echoing the Heavy Metal styling of bands like Running Wild, early 80's Sabbath or Manowar, influences which all seem to appear and disappear across the album. The second biggest influence is obviously that of Doom giants like Candlemass and Witchfinder General. With a couple thrashers tossed in, there are roughly three of each style of track. The thrashier numbers don't seem to work for Arkham or their Witches. While Legions of the Deep is in no means a dismal failure, it's by no means an immediate classic or contender for best of lists either.

The album's got excellent artwork by the always talented Jowita Kaminska, this time portraying gaunt looking citizens from some unnamed off-the-beaten-trail New England town staring down a squid-bat-gargoyle creature spawning off the local coast. The booklet is jam packed with expanded artwork revealing the full vista from which the cover artwork found itself cropped from. Snow giants, red haired witches and rats the size of Russian prison dogs gaze out at a  distant aquapolis, glowing under a full moon's lunar luminescence. Band photos reveal a band that has a sense of humor, and just really loves the genres that they admit they steal from. There's no hard feelings or trying to be secretive about it either. They wear the stuff on their sleeves. Why wouldn't you though? It's also cool to look in a booklet and see local a locals like Argus and Overkill (obviously a ton of bands have been influenced by Overkill) represented.

The album really has four highlight songs with second song, "At the Mountains of Madness," being give or take depending on what you're really into but I really think it's a great track with nods to Pentagram. Opening track, "David Lund," is a hard hitting doomy cut with moments similar to Briton Rites' awesome For Mircalla which came out last year. Perhaps not as busy, the foundation of this song are memorable doom riffs. Iron Man's I have Returned could be another comparison. Vocalist Simon Iff? - I have no idea what the purpose of that question mark is, but apparently if you put it after your name it makes you mysterious or something - is a treat on this album as he utilizes a few different styles across Legions. On this track he sounds like Phil Swanson, best known for his work in Hour of 13, who also sang on that Briton Rites album while on "At the Mountains of Madness" he sounds more like a looser, more soulful and less vicious version of Metal Inquisitor's El Rojo. The first of the album's best three tracks appears three in. "Iron Shadows in the Moon," aside from having a really awesome title, is a great Sabbath-on-the-cusp-of-Dio-era track with easily memorable riffs, a patented bridge / refrain section and highlight solos. Originally I thought this is where the album would really start to pick up and be phenomenal, as all things were leading to increasingly quality tracks. Unfortunately the album's biggest clunker, "Infernal Machine," craps all over that possibility.

Just like "On a Horse Called Vengeance," which also employs sub par thrash tendencies and boring riffs, "Infernal Machine," is obnoxiously amateur sounding. I guess the band felt they needed a heavier, faster track or something but it's not necessarily faster by any means and the continuous pumping of the main riff, a riff that wouldn't be at odds fitting in on a Lamb of God album, just kills "Legions of the Deep's," momentum. Followed by the awesome Running Wild placeholder, "The Cloven Sea," is damn good fun, it's another shorter track and even the vocals are tilted to sound like Rolf. There is very little to hate about this track and just when I thought that "Infernal Machine," was a flop or a dud track, we get "On a Horse Called Vengeance." I think it's the seventh track that steals the bottle though as "Gods of Storm and Thunder," is a hard-rocking Accept flavored track with Deep Purple undertones that is sure to raise glasses to the ceilings in bars. Perhaps the chorus, which I really like, is used as a crutch a little too much, and perhaps the instrumental section in the middle is samey as the other tracks, but it's just a perfect mid-album bruiser.

I honestly don't get much out of the last three tracks. Granted title track "Legions of the Deep," sounds like pirates and being on the open sea which is perfect for the album and "Kult of Kutulu," has a lot of energy and grittiness and "We're From Keighley," is a cool home-crowd anthem all the tracks also have some flaws. "Kult," has a really dumb chorus that sounds like the Munster's theme song, Though not an inherently negative comment, "Kult" and "Keighley" both have a hardcore punk tendency. "Legions" has a sample thrown into the track about two minutes into the song from somewhere - apparently it's from a radio play. It also has a sailor's song sung about a minute later with vocalist Iff? and Leo Stivala of Forsaken fame pairing over sounds of waves to really hammer home the whole ocean / sea / exploration of things that can't be known themes going on across the album. The inclusion of an acoustic cover of The Lamp of Thoth's Blood on Satan's Claw fits well with the top-tier tracks on the album and implies the band is really at heart a Doom outfit.

While there are some real slamming Heavy Metal and Doom tracks here that would warrant getting this album, the five or six tracks that do little for me may lead to some second questioning. At the cost of importing this release for those of us in the USA, I doubt we'll see the band making inroads here for a while. I say dump the thrashier parts and focus on the Doom and traditional Metal tracks - they do them so well that it really is hard to explain why the band even goes that route as well. On an album that runs close to an hour's worth of material, leaving off the ten minutes of thrashy material would have created a much more consistent and enjoyable release, regardless of those that claim the tracks add variety or whatever. They don't show the album at their best. Thinking back, I was unimpressed by their track on Metal On Metal's compilation, "For Metal," which also took this thrashier vein. A track like "Iron Shadows," or "The Cloven Sea," appearing would far better represent the band.

One Master, Morgirion, Haxen, Bog of the Infidel and Grue Live at Cherry Street Station

Cherry Street Station hosted a group of black metal bands on a Saturday night, with a unifying theme of the occult, headed by One Master. As I walked in, I was greeted by the smell of incense and a small group of people that included quite a few band members, as it was early. The venue is intimate with a bit of space due to the merch/setup area being tucked away and the bar being separated, and it brought in a solid crowd for this type of show, with some people in and out throughout the night.

Grue consisted of two men wearing robes, a guitarist/vocalist and a drummer. Their style was reminiscent of more recent Finnish black metallers who emulate/worship the second wave. Melodies playing in a typical black metal riffing fashion, impressive drumming, and a nice feel that's not very dissonant but has a distinct black metal feel. It takes a bit of a stretch to make a comparison, but they reminded me a bit of Perisynti. Quite entertaining and enjoyable

Bog of the Infidel is a five-piece band that mixed black metal with melodic death metal and a bit of power metal flair in the solos - their lead guitarist had more Manowar patches than I could count, though he really needed some better clothing as his ass was hanging out for most of their set. There were clearly quite a few influences coming out at various times here - both black and death metal ranging to thrashy and melodic varieties, even some American heavy/power metal in the solos. The mix was a bit too busy and noisy to get a clear picture of what the band was capable of, but it was interesting nonetheless.

Haxen played fast black metal at a relatively constant pace. I'm a bit foggy on remembering exactly what they sound like since both them and Morgirion were very fast and vicious. I recall Beherit worship, a few classic black/heavy styled parts, and some more fast, relentless black metal. Good stage presence too, considering how little of a stage there was.

Morgirion were very fast and sharp, playing a style with lots of blast beats and a fair amount of dissonance. They were very fast pretty much all the way through, with a very full sound as a three-piece, led by a very good bassist who was an energetic and enthusiastic frontman. A bit more tasteful and less mechanical than blast-happy bands like 1349, they were relentless, but not to a fault. Great show, I'd love to see them again.

One Master were the headliners for a reason - they're really good at what they do. If you're unfamiliar with them, think of the riffing of Under a Funeral Moon mixed with the hypnotic sense of Burzum and the ritual feeling of Unanimated's most recent album. The band was very focused, appearing very serious and having fun as well. Their first two songs were extremely loud, something I noticed despite earplugs, and admittedly they couldn't hear much of anything, which made their sharp performance even more impressive as the few slips were quickly corrected for. The loudness was up there along with the impact of the band's performance, which had a certain feeling of determination and direction propelled by their style and concept around the occult. The band's four-piece lineup had two new members and one filling in (though he fit into the band and matched up right along their frontman), and they were tight, rough but not sloppy, very befitting of the music. An excellent band that I'm looking forward to seeing in Connecticut again.

This show was a great concept to gather bands around, all five bands were excellent choices, and it turned out to be a very nice evening.

After Oblivion - Stamina

After Oblivion's 2012 release, Stamina, rides on the heels of a couple of EP's which I'm sure impressed tons of people who believe that Chuck Schuldiner is still alive somewhere out there in much the same way that there are handfuls of near-geriatrics who believe Elvis still lives or that there were about nine hundred people in the state of New Jersey who voted for Jeff Boss with the believe that their vote was meaningful in any way other than a self-ridiculing and posturing action to get a rise out of friends. The issue is that, as several people have mentioned across the spectrum of reviews, is that to blatantly attempt at riding the legacy of one of the integral individuals of Death metal sets one up for failure and creates a situation where you are only compared to that incomparable entity. Not only does After Oblivion prove they are incapable of writing songs even a third as memorable as anything Death wrote after Human (which is where the brunt of their influence seems to lie) but instead of making an attempt at writing some original material that draws influence from the legacy of their idol, they alienate several groups of listeners that might have found After Oblivion a great band to embrace and grow with. How much can you progress if you've set yourself up to be a clone of something so specific such as "the later era Death albums" as their Last.fm profile proposes.

The album cover is an obviously drastic representation of what Schuldiner was obsessed with in the later years of his career - his well documented stance on pro-life. The fetus, still alive amongst a dead landscape crisscrossed with fragmentary fissures and the not-so subtle album title just hints at what lyrically is on display, whether conscious or not, in songs such as "Deliverance" or "Vultures." I approach this all cautiously, because I am not planning on engaging in a discussion on this topic in a review of some band from Bosnia and Herzegovina. After Oblivion continues to reap the wheat sown by Schuldiner years before by lifting song titles and notable phrases to fill in lyrical gaps. I find this really fascinating because what is happening here is that After Oblivion are continuing to add context and depth to material written before they even existed as a band or even thought the thoughts their lyrics are focused on. After Oblivion are in a sense engaging in a sort of reverse revisionism where they don't rewrite history but revise it like a footnote in the sixth edition of a long-out of date book.

This is all a shame really. Because After Oblivion are incredibly talented individuals. Incredible technical ability is as obvious as their influence. The mix perhaps doesn't do the band any favors in terms of humanizing their skill though. Drummer Marko Gacnik sounds more like a programmed entity instead of a human playing with incredible skill. The triggered drums mixed with the thin guitar tone equalize half the voices on the album. Bass player Haris Hasancevic is particularly impressive though when he isn't simply copying the rhythm lines of Adnan Hatic and Jasenko Dzipa. The album would have fared much better with a significantly heavier guitar tone. Adnan Hatic is credited with Producing and Mastering the album. He probably should have consulted with someone on the mix. The one instrument that sounds really great on the release however are the sporadic moments of clean guitars which are crystal clear, vibrant and lush. Adnan's vocals are obviously in the higher register of screechiness practiced by Schuldiner on the last four Death releases but a more precise comparison would be Tim Baker of Cirith Ungol, as far fetched as that may seem.

While the vast majority of the tracks are totally mediocre a few notable high points present themselves across Stamina's nine tracks. "Breeding Perdition" is the first moment when the acoustic guitars are clear and wonderful. The production on them is such that I am really left believing that Adnan actually wanted the guitars to sound so thin as an attempt to sound like Sound of Perserverance. Obviously as a producer and engineer he knows how to mic instruments. "For The Rebels" includes one of the stranger moments of the release with a short interlude of truncated guitar chugs and snare hits. The thinness of all these tones, the clackety drums, scratchy guitar tone and minimal low end is obvious here as well as in the intro to the title track, "Stamina" which propels one of the albums' worst moments, when beautiful natural sounding acoustic guitar is accompanied by the sound of a screwdriver being slammed against the kick drum head. It's actually the kick pedal, I've been told, but I don't believe it until I see it in person.

The most egregious error here, and a lesson which After Oblivion will hopefully learn, is that riffs, no matter how complicated, sound like crap if they are all based on the same premise and same rhythmic patterns. A lot of the rhythms on the album are what I, as a bassist, call pedal-tone riffs. Chugging on the open strings with intermittent single notes thrown in and occasional flurries of fill material to round off phrases before sections change. After three or four tracks I was pretty much burnt out already on this. For me, one track was enough to hear everything on the whole album. It just so happens that track was not on this album but on the Compendium of Metal Vol. 5 sampler which featured the opening track to Stamina, "Deliverance." It was obvious from a single track that After Oblivion were a one-trick pony. They don't have to be though. With their talent I would love to see what they could do with a beefier production and more originality. At this point, I doubt that they should worry about their influence showing and try and create something unique and memorable. That's what Chuck did throughout his career and why his legacy is undeniably secure.

Attacker - Battle At Helms Deep

 

Having known Mike Sabbatini for at least six years (Arctic Flame rehearsed in the next room over from Attacker before our rehearsal space was bought, knocked down, and turned into a TD bank) It's surprising for myself that I've only recently gave , much of their material the time it deserves, especially since Attacker have played a large part in New Jersey metal for a long time. In the case of Battle At Helms Deep, however, this is an album I've been listening to for a long time, since way before expecting to ever actually be on a first name basis with Mike. I'm not surprised, however, that it doesn't get a lot of attention since by 1985, most of the focus had shifted in the States away from thrash, a sentiment echoed by bassist Lou Ciarlo (ex-Hades) in the liner notes of this particular version of the release. Metal Blade apparently had few resources to get the band on tours with other appropriate acts and when a chance came to get on a billing with Fates Warning after their debut, lineup changes with guitarist Victor Arduini forced that opportunity to turn south.

So Battle at Helms Deep, a release which contains some classic US Heavy Metal tracks such as "Slayer's Blade" (which I sampled for my radio show promo back when I was on air) and the excellent "Disciple" make this an album which, while perhaps not essential listening for everyone, is an obvious recommendation for anyone exploring that mid 80's era of US power metal. Also worth pointing out is that with the renewed lineup of Attacker, it's definitely worth checking out the back catalog of the band since they may be popping into a local dive near you at any time and, as I've seen the band at least three times so far in the past couple months, their live show is worth seeing especially considering some of their upcoming shows in the area are with Liege Lord and Hellwitch.

I'm listening to the 1999 version of this album released by Sentinel Steel, a New Jersey based label that while never doing much local promotion, has maintained importance internationally as an important distributor. It's a great release and includes tons of additional info on the album including some great pictures in the booklet and it also includes what I expect to be the intended original cover along which is not nearly as awesome as the infamous portrayal of an incredibly frightened Sylvester Stallone versus the three legged roach dragon while Dick Clark looks on from the parapets. Also, Attacker at one point were also called, for at least one show, Allacker. What I found also really fascinating is that just like Dave Reynolds of Metal Forces also thought that the demo tracks of the three classic tracks off Helms Deep were better than the album versions due to having a bit more grit.

I don't think it is apparent on a track like "(Call On) The Attacker," but it's definitely noticeable on "Slayer's Blade" and "Disciple" particularly in the kick drum sound which is much more powerful on the demo. It's not that the sound on the album is weak though. While the kick drum lacks a bit of the punchiness the rest of the production is really great and it flatters the best attributes of Attacker's writing sensibilities - namely the twin guitar parts and Bob Mitchell's nasally, wailing and passionate vocal performance. Today, we would never be so blessed with such an original sounding guitar tone. There is definitely emphasis on the mids and treble and little low-end on the guitar tracks. Second track "Wrath of Nevermore" shows how well the mix gels with acoustic guitars clearly audible and the bass pronounced and a major rhythmic focus.

The album is not without it's faults however. As pointed out by Reynolds in his Metal Forces review, arrangements on newer tracks could have been refined to sound more decisive and less dialed in. For example, "Nevermore" has a particularly long intro theme that repeats severely with no variation, "Downfall" suffers similarly and, though a bonus track, "Trapped" is excessive, even though it is bookmarked by an awesome intro and killer solos and leads. A lot of the songs do have a loquacious nature. The best tracks are more punctual and succinct. "Kick In Your Face," is also a problem for me. It's the only track on the album which thematically has nothing in common with the other tracks. While the album in most respects is perfectly happy to fight dragons, battle warlocks and slay monsters, Kick Your Face is a cliche Heavy Metal anthem with sub par lyrics. I don't feel particularly manly touting that "beer drinkers, hell raisers and headbangers wanna cheer."

The anthem, now dead to most metal fans, however at that point was a necessary addition to an album so I can't take too much stock in it's inclusion. I would have much rather have seen a trimmed down and perfected "Trapped" as an inclusion on the original track listing. Though it's a track I am always in favor of skipping, "Kick In Your Face" goes over well live as do almost all the tracks on this album which Attacker oftentimes pull from their bag of tricks. Battle at Helms Deep is classic US Heavy Metal for a reason. A majority of the tracks here are memorable, killer songs with great guitar leads, great riffs and vocals which send us back to when metal was just as often about being unique as it was about being heavy and aggressive.

Plutonian Shore / A Transylvanian Funeral - Alchemical Manifestations Split

Sleepwalker's Forbidden Records is slowly starting to make a name for itself it seems, mostly on the back of it's owner's project, A Tranylvanian Funeral which accounts for a significant portion of the label's releases. Three of these are split releases similar to Alchemical Manifestations, the latest split - but not latest release; an accolade to be placed on A Transylvanian Funeral's newest full length album Gorgos Goetia -  featuring Texans, Plutonian Shore. The two black metal projects fit at home together on the disc rather easily - both are based on the west coast, both are newer projects forming within the past few years and both have done more splits than a porn-star gymnast. Plutonian Shore even managed to do a four way split DVD. These guys love splits.

The disc - this was also released on tape - is pretty cut and dry. I believe this is a professionally pressed CDr as no evidence of replication is present and the disc has a greenish tint to the data surface. The printing is done nicely though I have no idea what the number 2628 stands for in the middle of the cover artwork. I assume it's Sleepwalker's debit card pin number. The disc has the same design on it minus some of the background detail of the cover and I think it looks more cryptic and occult than the cover. Images of the bands reveal that Devastation, Plutonian Shore's drummer (who also plays for the excellent Preteen Deathfuk) has a great sense of smell. His facial expression is of disgust obviously from catching a whiff of unwashed black metal fans at a concert.

Musically neither band is in exceptional in any particular aspect. Plutonian Shore has the best track on the release, "Consecrating The Flesh," a live recording which presents the band in a positive manner in regards to their ability live. "Path to Amenti," is also a live track which exhibit's the band in a far more generic and boring sense. I would have left this off the release if I were them. I guess they felt that only four tracks, three if you exclude their cover of Rotting Christ's "The Fifth Illusion," wouldn't have been enough material. Their six tracks still occupy less time than A Transylvanian Funeral's quartet. The band overall isn't bad. They are competent musicians. Amethyst on keys and "incantations" whatever that means, is a major component of their sound and the band have a definite symphonic slant to their fairly generic black metal assault. They did a great job on their cover of "The Fifth Illusion," though and, unlike the original which is a bit weak in power, their version is full and sounds great. Vocally not as much passion as Necromayhem on the original though and I think the original still has more character going for it.

I would say that A Transylvanian Funeral is more consistent than Plutonian Shore, who experiment a bit more and take some more risks. I thought all four tracks were enjoyable, even if the obvious main influence is Darkthrone's Translvanian Hunger. What I thought Sleepwalker did the best was incorporate audible bass into the mixes of his tracks which really helps to give it a persistent momentum. Clean vocals appear on some tracks which gives A Transylvanian Funeral some uniqueness. The tone color would be best described as a 1930 German propaganda speech and it sounds really bright and textural under the music. "Moonchild," was my favorite of the tracks here because the opening melody is creepy, bitter and more of it's own style. The vocals weren't as interesting as either "The Supreme Rite of Transmutation," or "Night Hags," the previous track which had better rhythmic variety in regard to the lyrics. "Light Cast out," started off being another Darkthrone-esque track but halfway through the song falls away to reveal a section where just the guitar drones on with the bass providing the melody progression which was a highlight of the release.

The Plutonian Shore tracks weren't as much my style as A Transylvanian Funeral's tracks were. I don't know if Plutonian Shore will be able to differentiate themselves from so many other bands in that style whereas A Transylvanian Funeral offered some individually unique moments against the Darkthrone worship tracks to where I can say that I would be interested to hear what Sleepwalker has come up with on their newest album which was just recently release about two weeks ago titled Gorgos Goetia. All four of the tracks on this split are also available on their album so I would say if you want to check out A Transylvanian Funeral, just get their new CD.

Rivera Bomma - Infinite Journey of Soul

 

Christian metal. It gives people shivers. It's a strange dichotomy though when you think about it. Metal has always been about standing up for free thought, sticking it to the man and being a rebel. In a sense, aren't Christian metal bands simply epitomizing this tradition by simply existing within the genre that has so often espoused hatred and violence against their very religion? I give bands that have been doing the Christian metal thing a lot of credit. They are up against a wall in many respects. Rivera Bomma's Infinite Journey of Soul falls into the sub-sub-sub-genre of Christian progressive power metal like a pebble in an ocean; no one knew it happened, even though the project includes the original vocalist for Hades, John Bomma and the pasty skinned yet virtuoso bassist Mike Lepond of Symphony X fame. Personally, I enjoyed watching Lepond get sun-burned under the dim lights of St. Vitus bar in Brooklyn while filling in for Helstar a tad bit more than listening to the third album of these New Jersey gospelheads.

Perhaps outwardly, there would be little indication that Infinite Journey... is a Christian metal album without serious consideration of the album artwork or knowledge of the musical background of "Via Dolorosa," emphasized with an asterisk on the backside of the professional-yet minimal digipak. Knowing the deeper influences of the project though and there is no way to ignore the proselytizing nature of a track like "The Maker" or "In Blood." The disc could be a cool buy simply for the inner foldout picture. You've got John Bomma trying to recruit you for the army, Edward Faust trying to smooth-stare you into his bed and Rod Rivera was the only one told to wear makeup. Lepond... I don't even know what he's up to. He's staring at his bass like it just committed one of the seven deadly sins all over his face. In all seriousness though, it's easy to poke and prod but the disc looks fine and you can tell the band put effort into the details, with professionally photographed group photo, the huge list of additional musicians that helped out with the release and four separate pieces of artwork done for the album.

On first impression, the release runs pretty standard. Intro and outro's bookend an eight track release divided in two by a mid-track ballad, and then again into final quarters with another late snoozer. The album's first three tracks are all heavier expressions though, in the case of "In Blood," it's just sort of a false alarm heaviness. This track also suffers from a chorus/refrain section that borders on pop rock arm dragging weakness and some production flaws with panning and volume adjustment in the mix. The yelping of the song's title in the chorus is also grating. Its a shame the album plummets in quality after this track significantly because the first two tracks, especially my personal favorite, "Empty Desire," really implied that R/B might have something going here since both this track and the opening track - the album title track - both have great vocal melodies, interesting riffs in a modern metal framework and, most importantly, a real passionate delivery by vocalist Bomma. There just isn't much to latch onto in later tracks.

Via Dolorosa is a well performed ballad and it's inclusion was inadvertently fitting for the past week while the whole world celebrated Easter but I'm not sold on it being a fitting track for the CD which the band wanted to sound heavier then their previous two releases. "Angel and Demons," follows this with a pseudo-heavy chugging track which done properly would have been a well placed pick-up after "...Dolorosa," but it just seemed long and boring even though it wasn't one of the longer tracks. The song, like most others, has great leads but the backing riffs under the leads are just typical chord progressions. "Horizon's End," has a cool intro after some awkward child laughter sampled early but it too becomes repetitive. The album offers variety with "In My Dreams," another ballad, this one played on acoustic guitar ("...Dolorosa," is a piano piece).

The final track on the release is the worst track on Infinite Journey of Soul by a significant long shot. It's simply obnoxious. Thirty seconds in the listener is presented with a melody better suited to the Big Top or the radio in a clown car. It is used several times in the track, the now unambiguously titled "The Maker." The vocals are harsh too... the verses are semi-monotone bursts underscored with a deeper, possibly growled sub-dub. The repetition of the lyrics in the chorus, especially Bomma crooning The Maker! Your Maker! The Maker... as if he was inside a first responder vehicle siren and had to affect the clearing of traffic in front of him was the album's worst moment vocally. Maybe it would work if he was inside the Pope's car with Dennis Rodman but it does nothing to improve the disc.

This was a good effort from R/B but with some minor flaws in pacing and major flaws in being enjoyable to listeners that spend their Sundays drinking instead of going to church, I don't see this spreading outside small circles of die hard god-faring Heavy Metal fans. I don't know why so many Christian metal bands can't put out a really strong record. Faith Factor suffered the same problem and I expect we won't see the last of these kind of misdemeanor albums.

Strychnia - The Anatomy Of Execution

 
The immediate impression I get from Strychnia is that the band would sound like a mashed up brutal death metal band. The oozing green logo looks like something a gore-grind band would get made up for them and the cover of Strychnia's 2011 full length, The Anatomy Of Execution, looked like a left over from any one of the too many deathcore projects skittering across the Garden State. It's just not appealing to my senses but considering the band's composition of members of Condition Critical, a band whom I've never been impressed by even though I've seen them numerous times across the state opening shows, and Legionary, a well honed unit that plays stereotypical extreme metal with no real direction, I'm not totally surprised that the overall aesthetic would be somewhat trendy and clean-cut. Strychnia's style itself could be described as tough-guy death thrash and is really a great combination of the two projects' styling.

The release is well produced, very polished and very well performed. The focus is on the riffs, as hard as vocalist Kevin O'Laughlin tries to retain control of the listener's attention and the vocals sound more like a nuisance than anything else after all is said and done. Very standard grunted/screeched modern extreme metal vocals. Often times vocalist Kevin O'Laughlin will use these different vocal styles even in the same vocal phrase. It's tough to tell whether there was an intended point to using the two styles in terms of composition or was the usage purely an instance of "yeah dude... that sounds sick!" jumbling around in the rehearsal room. Either way, it's soft and creates the opposite effect for me. Instead of providing variety or arrangement complexity, the constant usage of both styles interdependently renders their existence invalid and, possibly, gimmicky. Kevin's performance is passionate and emotive but somehow I still find the vocal lines boring.

Turning back to the guitar parts for a moment, there is nothing really technically incredible about them in anyway. They are a typical mixture of thrash and metal-core as evidenced by the numerous breakdowns played with a thrashier air. Though not generic metal-core or death-core breakdowns due to this bay-area edge, it does little to lift the material and it does nothing to separate Strychnia from other bands. The combination of the extremely polished guitar sound and obviously triggered drums makes the whole release sound professional yet sterile. The audibly and clanky bass is often the most exciting instrument. Like a taught piece of rubber, it's bright and crisp and Mike Dreher handles the duties particularly keenly. Unfortunately, if I pick out any particular tracks I would have a hard time really pointing anything specific out about any particular one. I guess this is one of those instances where you just really have to love this modern style and though Strychnia's Antomy of Execution has all the markings of a professional release, and I don't find it worthwhile, those into the modern take on metal and core would probably find chomping material here.

Lvcifyre Interview

The Calling Depths, the debut album from Lvcifyre, quite surprised me. I'm not usually immediately impressed by death metal releases, often times needing several listens for my appreciation to simmer or dim. Not here. Not only does The Calling Depths pummel and crush, but it creeps along with the grace of a seasoned mortician, presenting something ugly and depressing in a softer more eloquent manner, letting reality sink in at a later date. The eight tracks on display are well honed and fine tuned monstrosities of the weird and queer. Vocalist and guitarist T. Kaos offered thoughts and history on Lvcifyre, an as yet slumbering beast that is sure to twist and turn minds quite soon.

CTP: How did Lvcifyre come together as a band?

T. Kaos: A few wonderers had been set to unite and co-operate in sonic spheres. All of us have a Death/Black Metal CV,  such as Adorior, Corpus Christii, Necrosadist, Isolated. Line up was totally change since "Dying Light ov God".

CTP: How would you describe the image and aesthetic which Lvcifyre has attempted to present to the public? What influences would you attribute these stylings to?

T. Kaos: What I see is the manifestation of unspeakable power enforced in aspects such as wrath and fyre, but everyone can see things differently, not unlike one of those unclear pictures where everybody sees something different, simply because their subconscious will create the image in the mind of the beholder. That is, I think, very strong in the image of Lvcifyre.

CTP: There is an occult tendency to your lyrics and to the imagery associated with Lvcifyre. Would you be able to delve into some of the themes and subjects which Lvcifyre conjures up in the lyrics?

T. Kaos: It is based on my research of Myths, religious systems, words of power, altered states of mind or divinity, night cults and human sacrifice, as well as dark literature such as HP Lovecraft.
The lyrics on "The Calling Depths" are describing realms beyond this one such as the astral paths.
Lots of texts are about exploring the subconscious side of our minds, which I think now is a main key for any Lvcifyre lyric.

CTP: Your recent release, The Calling Depths, is one of the finer releases of a Death / Black Metal mixture I've heard, invoking comparisons to Incantation and Antaeus as well as more modern bands such as Akercocke. What musical influences are at the heart of Lvcifyre's dark center? What inspirations do each of the individuals involved rely on that may be different or unexpected to unfamiliar followers of Lvcifyre?

T. Kaos: We were always based on classics from 80's and 90's, but a lot has changed in our perception and focus.

One could say we are trying to use Metal Music only as a tool to communicate  with our shadows and it does not feel like music only – there are higher intentions attached to it. I think very few manage to achieve that state, like Teitanblood.

As for non Metal, sonic wise is Lustmord, Endura, selected works of Coil or Current 93 - I think these are the very few alternations regarding what I like to listen. Menthor is studying music, so he is into all sorts of jazz and classical stuff. He didn’t like that at the beginning so much, but I think he has discover that a little bit with his heart now.

The very core of Lvcifyre is the calling Abyss within us, the Depths that we feel. Lvcifyre is sort of our vehicle to that place where you can forget yourself and your burden of ego. Eternal Darkness and Black Fyres of Abomination – these are the places we feel and see.


CTP: Describe the sounds and emotions which a listener could expect to experience while engaging The Calling Depths?

T. Kaos: It depends on how fucked up he is. If he is quite aware it could be intensity, anger, pleasure,wrath, lust or even a hard on.

CTP: Tell me about the recording of the album. What problems did you run into? Where there any particularly memorable events or occurances during the recording?

T. Kaos: 11 days and 11 nights of mental exhaustion. We worked very fast and hard from the early afternoon till early mornings sometimes. Just before we entered the studio the place was totally flooded, it was a catastrophic time by then in Poland, where we were recording and the guy was telling us that all snakes and frogs from local rivers and swamps came with the water. Even though that place had been redecorated, the horrible rotten smell of R'lyeh was with us all the time to spice up atmosphere a bit. All vocals were recorded in a massive basement with such a big reverb that we were forced to install acoustic panels around me to bring down the effect. At night the whole place was swarming with all sorts of insects and frogs.

Thunder blew all the fuses in the guitar amps, but we managed to fix it, also over takeing dump in the air was fuck it up the mixing console. (?)  quite often. Nothing short of unreal.

CTP: The Calling Depths has received quite a bit of buzz in the underground on blogs and across the internet. Are you in any way surprised by the reaction to the record? What has been the worst criticism and what has been the best criticism, in your opinion, of the record?

T. Kaos: Of course as an artist I would like to hear some feedback. There have been a few average reviews, none of them are bad. The most annoying thing is comparing us to plastic "Death Metal" like Behemoth. There have been lots of very good ones actually, where the editor really focuses on the music, but most of it is only comparing us to Morbid Angel, Immolation, Incantation etc. Classification above understanding, shit criteria to judge came to us.

CTP: You've recently agreed to release your upcoming second album with Dark Descent Records, a leading up and coming label who have, for the past three years, gained a large amount of respect in the underground for their focus in professionalism and quality releases. How did you get in contact with Dark Descent?

T. Kaos: I dropped Matt an email some time ago, then he was staying in London for 2 days, so we met and talked about the new stuff and he seems to be really into the band and wanted to release us. We were looking for a label for our new album. Everybody just said good stuff about him and he is the type of person who puts their heart to their releases. I believe we are in good hands.

CTP: Is the new album completed? How would you compare or contrast the new album to The Calling Depths?

T. Kaos: I can’t even compare that, it’s so different, much more obscure and dark and dominating, like another step in evolution. But of course it is hard to say, it has not been recorded yet, so I will let others judge that. The recording session is scheduled for May 2013 and we have a much more honest approach to it.

CTP: The new album, I expect will include Dictator (Dictator, Necrosadist, etc) providing additional guitars. Has his inclusion affected the writing process for the band? Additionally, on The Calling Depths, Cvltus is accredited as a session bass player. Is he now a full time member of the band?

T. Kaos: Dictator joined us some time after "The Calling Depths" were recorded. The writing process is done between me and Menthor. Cultus became a full member of Lvcifyre after we released the debut.

CTP: My favorite track off The Calling Depths has been Death's Magnetic Sleep. Tell me about this particular track, musically, lyrically and contextually.

T. Kaos: It is the oldest Lvcifyre song after the EP. I wrote that one right after we recorded our first "Dying Light ov God" and it is the first song we played together with Menthor. The song is about Death, who is waiting for all of us - the Death that we are hailing to, the same Death that came to take us all into our eternal sleep. The character is taking a step behind the curtains of Death itself into the leftovers of our consciousness.

Sulphur is the symbol of that song - it hypnotises the character that helps awaken the wrathful powers lurking in Forbidden space.

These are the Fyres that consume all life - all God.

CTP: How is the underground music scene in the UK? You've done a fair amount of shows as well. How have the live rituals been received? What has been your best and worst shows so far?

T. Kaos: I think the best show we have had was the show in Denmark with Degial and Vorum. The worst one was some shitty festival made by some idiot, I think they call itSonic Obliterations. The underground is OK, we know some bands very well, such as Grave Miasma, Adorior, Cruciamentum, Diamanthian.
Of the new blood Binah is an absolutely great band, you need to check them out.

CTP: Is the music scene in the UK different from other locations? I know that Dictator and Menthor have experience with other scenes such as in Cyprus and Portugal.

T. Kaos: Yes, it is a different style, a different approach. I emigrated from Poland around 14 years ago, and before I was playing in Hodur, Sons Of Serpent and then in UK with Adorior. It is like folk music, each  country has their own unique style and I think that culturally, each nation’s atmosphere does appear in Metal as well, like in any other type of music. Have a look at Greek Black Metal or Polish Death Metal or American, Florida Death Metal or Scandinavian Black Metal. Each of them has their own unique style that corresponds to the place, culture and atmosphere where musicians or artists in general grew.

We strongly believe that this "Fatherland addiction" is the barrier, a moral to be broken. We don’t want to sound like some great bands from different regions of world, no matter how amazing they are. We don’t want our music to be related with people, but with the Gods of Hell as they use us to manifest. N o  F a c e  o f  P a s t.

CTP: What would you say is your biggest pet peave in terms of the modern music landscape? If there was one thing you could alter without consequence, what would it be?

T. Kaos: Get rid of pretenders under skins of Devil. Generally I don’t like 90% of today's so called Metal scene. If the instruments could become very difficult to get, let’s say each individual would have to show their level of genius and the message they try to convey, then it would get rated on whether to allow him to play or not – it would reduce all that shamboo and help true great minds came to the front. It does resemble a dictatorship and no liberation for the week..., but it will never happen  so... pointless really to visualise that.

CTP: When can we expect the new Lvcifyre album out? What formats will it be released in? The Calling Depths was release as a CD and LP. Will the next album be available in the same formats?

T. Kaos: Next album I think towards the end of 2013, both formats, maybe even tape, we’ll see.

CTP: What upcoming shows is the band expecting to participate in? What can black/death maniacs out there look forward to while they wait for the follow up to the excellent The Calling Depths?

T. Kaos: We have just done one with Cruciamentum, other than that there is nothing booked yet, album first.
With the new release we will become more ugly and devastating, that’s for sure, but I prefer to wait and make you feel his claws inside of you when the time is right.

CTP: Thanks for taking the time to answer the questions! You have the last proclamation here.

T. Kaos: Thanks for the interview. To all maniacs support only honest bands. If you don’t find us to be that way, burn our release. If you do, come and join the Lvcifyre Mass.

Midnite Hellion - Enter the Unknown

Midnite Hellion are a talented band that clearly worship Iron Maiden but haven't yet found a vocalist who can pull it off. These are some catchy, memorable songs, there's no doubt that "1903" pops into my head more often than any other recent retro heavy metal bands, but it's a lot better when I imagine Bruce Dickinson singing it. The instrumentalists in the band interact well, they write very strong, cohesive, and memorable songs, but they also play a style that relies heavily on the lead vocalist. Much like Iron Maiden stood out due to their exceptional and distinctive vocalist, Midnite Hellion are confined by their lack of that type of vocalist. Don't let that put you off the band though, the music is quite interesting, strong enough that I'm looking forward to the band's future after two good four-track releases, each featuring an underwhelming vocalist.

The production on this EP is quite restrained, it sounds like it could have come out of the early 80s, it's not dull, but it doesn't place a ton of emphasis on distortion and impact - it's sort of like early Iron Maiden and it fits their style quite well. A bit more impact could complement their style, but when they're playing like it's 30 years ago, they nail the sound like it's 30 years ago. The guitar tone isn't too sharp, it has a bit of crunch and bite, not a ton. The drums sound good but not overdone nor fake/triggered, which is nice too. At first I thought the production was too thin, it's not too good to listen to on treble-heavy speakers, but it sounds good on a decent set of speakers/headphones.

The bottom line is that this is some very memorable melodic heavy metal that's better than most of the retro stuff recently. It feels more authentic, they carry the spirit and feeling of older heavy metal well, without the disruption of trying to thicken it up, make it heavier, or make it a modern take. It's enjoyable to listen to, but the way they play leaves a desire for a vocalist that has the same energy and intensity that the band does. Check this one out and look for their next release as they have already parted ways with this vocalist - third time's the charm, right?

Hivelords - Grand Cromlech

Grand Cromlech, a quick fifteen minute 7" from Philly murk-dwellers Hivelords is an excellent example of a local band putting out a killer couple tracks that really captures the live feeling of their music perfectly. I was impressed by the band live... it's literally a wall of sound with one of the most versatile and interesting vocalists / frontmen I've ever seen. Kevin North utilizes multiple effects to create layers of vocal noise and combinations of melody / harsh screeches to give off the feeling of something totally unique in the field - which it is. The music is mostly slow, brooding dirges of melancholic progressions. The bass handles a lot of melodic undertones and direction but the guitars on top are often involved in counter-tempo tremelo strumming in the higher registers to create the feeling of swarming insects. Live it was awesome and while this release is far less massive sounding, it's is a great accompaniment since it provides a crystal clear - but dirty and scratchy - recreation. It's much easier to hear the band's penchant for reverb and smooth guitar tones caked with fuzz when those tones aren't bouncing off poorly sound proofed cement walls in a dive somewhere.

The first track, "Upon Arrival At The Grim Structure," epitomizes all these attributes. Second track, "Divining Goliath Astragals," is faster, a bit more upbeat but equally left-field - right on the foul-post - uncomfortable in it's hideous vocal performance and repetitive hammer-to-the-skull style as it's predecessor. I'm sure that the lyrics will appeal to anyone that likes vague, semi-lovecraftian and cult stuff. This a short awesome EP worth anyone's time if your into underground extreme metal and retain an open mind. Fans of repetitive slow black metal will probably dig this the most. I know I'll be trying to catch another show from them and I'll be looking out for their first album, The Cellar Scrolls which I'm sure is an excellent example of experimental blackened doom done exceedingly well.This is also produced by Chris Grigg, as are so many local underground black metal bands and the perfect production shows it. Chris is quickly becoming a go-to dude in the area for recording and releases such as this prove it.

Sapthuran - The Wanderer

This review was written by a good friend of mine and I told him I would post the review since I agree with his admiration of this release and with the strength of the release. Thanks again for the willingness to allow me to post the review. (Orion_M)

For what it's worth, Sapthuran is easily my favorite band that fits into the "USBM" category. America is so easily discredited when it comes to black metal, and oftentimes for good reason. Every band is either a hipster magnet or a bunch of 40 year olds trying too hard to recapture the "glory" of the old days (when they weren't great to begin with). So I can understand the misconception that this country is barren when it comes to good black metal acts. However, there is an exception to every rule, and that is exception in this case is Sapthuran.

Sapthuran plays raw black metal, the way it was meant to be. The sound is very old and analog sounding, no fancy studio equipment and no polished overproduction ("bare bones" is probably a fitting description). The drums sound organic and somewhat dull - the snare has little punch and is often reduced to a blast of sound in the background of the overall pattern. The bass drum is rarely audible, being that it too is buried under the crash and ring of the cymbals. The most prominent beat here is a type of full on blast - everything being played at once in rapid succession (hi hat, bass drum, and snare all at the same time). What really adds interest to the drums is when they do show variation, as it becomes all the more noticeable and in turn appreciated. Blast riffs are accompanied by distinctive accents with the cymbals, usually a loud splash or china type sound used repeatedly to emphasize the note changes. This really brings the riffs into focus and adds a memorability factor. Speaking of riffs...these are very distinctively Sapthuran riffs. Proud, grandiose, and epic. They are extremely simple, consisting mostly of power chords and their variants, yet are arranged in such a way to be very particular of melody and mood changes. Emotion is a big factor in their construction and you get the feeling that nothing is done by accident. It really is impossible to describe the exact nature of such sounds in mere words, so I would most closely compare them to the emotional riffs of bands such as Kristallnacht/Seigneur Voland and scenes like Blazebirth Hall.

The bass has a fantastic clean sound, and follows the riffs in almost every instance. Anything else would be unacceptable. I'm really glad it is so clean and fairly audible, as it adds an extra dimension to the sound that would otherwise be quite flat without it. Anyone who says bass isn't necessary to raw black metal really has no idea what they are talking about.

The vocals suit the music perfectly. High and raspy, P.T.H. sings words that paint vivid pictures. The accompanying music only adds to the atmosphere, and the scenes seem to come alive:
"In the deep rests an unknown power,
one which binds the Earth as one.
One which tells the stars where to shine
and knows where next the winds will blow.

The weave of life is in the trees,
in the snows and in the hill,
in the sea so deep and mountains high,
and in the realm where spirits dwell
and turn the cogs of fate and time."

"The Wanderer" really is raw black metal at its finest. Minimalist song structures (2-5 riffs in most cases) ensures each riff gets played out as much as it deserves. Droning chords and haunting melodies paint a picture while plodding, ignorant blasts and sparse croaks tell a story of fate and nature, taking you to a place where the constructs of man are nonexistent and the will of nature is all that matters. Highly recommended.

- Z.S

Master Fury - Circles Of Hell Release Date

 

Contaminated Tones is proud to finally announce the official release date of Circles Of Hell. This compendium of Trenton. New Jersey's Master Fury entire discography epitomizes what modern thrash lacks. Intimidatingly fast, massively aggressive... for 25 years, Hell Party (1988) and Circles of Hate (1989) lay hidden and now they are available for the first time on CD. This release is limited to 300 handnumbered copies and marks Contaminated Tones first pro-CD. Accompanying the disc is an 8 page booklet with an intro by Don "Digg" Rouze. 

Officially out on March, 15th 2013. Preorder now for $10 + Shipping. To order, simply email me: Orion_metalhead@hotmail.com.

Pig Destroyer - Mass & Volume

Pig Destroyer pulled this EP from the archives for a noble cause, to benefit the family of a recently passed comrade at Relapse Records. Good intentions, not good music. This was written and recorded in a day of leftover studio time and it sounds like it. It wasn't released for a reason, it's not very good. Pig Destroyer's forte is blazing, riffy grindcore, and Phantom Limb proved that Scott Hull can delve into sludge riffing and some other groovy stuff. The band are one of the best at what they do, and they're fairly versatile, but this EP demonstrates what they don't do well.

The 19 minute title track is full of aimless guitar feedback, lost of noise and almost no riffing. Pig Destroyer without riffing is sort of like grindcore without the grind - well, uhm, this is it, a bunch of feedback, a few drawn out guitar chords, and some screaming that's clearly lacking something to accompany. Though the EP is advertised as doom metal, there's little doom there - perhaps "drone doom" but that should always be specified so you don't expect actual metal. It doesn't sound like much went into this one, the band probably jammed with the idea of Melvins' "Spread Eagle Beagle" then played it back and shelved it.

"Red Tar" is a decent track, it's groovy sludge, but it lacks the energy and aggression that characterizes Pig Destroyer. The riffs are slow and heavy, but not crushing like they could be. The vocals are slowed down and sound relatively tame, lacking the hostility of the band's faster material and having neither the groove of heavy sludge vocals nor the aggression of Eyehategod. It's about what I'd expect from a bonus track in another style, it's alright but nothing special, nothing I'd go out of my way to listen to again. I'd put in another CD before hearing this as a bonus track, if it came on a re-release.

This EP is for a good cause, but there's a reason it was shelved for six years and pulled out overnight.

Available for streaming HERE.

Humanity Delete - Never Ending Nightmares

We all know and respect Rogga Johansson for his undying love of death metal and for all the effort he puts into his music. The guy has been in a million bands, he's an extremely talented musician and he really puts a lot of time into everything he does. The problem is that lots of time spent and effort extruded doesn't necessarily equate to a release nothing less than incredible. Humanity Delete is another one of Rogga's sound-a like projects with only subtle, practically invisible differences that just adds to the resume of one of the most prolific modern day death metal compatriots. For all I know, Rogga is an awesome dude but unfortunately with Humanity Delete's (or Rogga, Himself and Him - he plays every instrument except for a few solos) debut, Never Ending Nightmares, there is very little to really get enamored with, even if the whole album from birth to casket is produced and performed really well.

Short, spiffy songs that sound influenced by the swath of Swedish Death metal that exists in almost every way comprise a twelve track, twenty-nine minute jaunt through stereotypes such as d-beats, short blasting sections and tremolo riffs with weird and 'evil' melodic phrases caked on top. The best example of this album is if you broke up Unleashed's more recent albums into short songs, simplified everything down and lost whatever small sense of memorability existed to begin with. The riffs here are very standard and other than the intro to "Retribution of the Polong" or "The Eight Fire Narakas" which exhibits a pummeling pre-solo bridge, songs are mostly interchangeable.  What seems to be the albums version of a single, "Necromantic Sorcery," includes a verse riff which was probably dropped from being part of a far superior "Haunted" (off Grave's Into The Grave for anyone not following me here) but aside from the Grave worship on this track, the track is rekindled by a strong solo section and the obvious amounts of fun it would be to circle pit to the track.

To break down the release into specifics isn't warranted... you know what you're getting here if you're familiar with Paganizer or most of his other projects. Production on this is done tastefully, with a great vibrant and hot sound. Guitars are crusted over chunky blocks of riffing as would expected to come out of every guitar run through an HM2 pedal. No need to discuss the bass guitar as it never does anything of note across the album. The drums are produced at a high level of clarity and you can easily hear every single component though the floor tom is mixed way too high and each wallop elicits a massive overpowering boom that masks any other sound that tries to squeak through. Rogga's vocals are awesome though on this... deep, powerful, aggressive and mucus-filled rumbles which handle the Never Ending Nightmare's East Asian ghost and paranormal superstition focused lyrics (written by Jill Girardi of Dead Beat Media - the label that released the album) well.

Overall... listeners who really thrive on all things Swedish death metal wouldn't be disappointed with Humanity Delete's Never Ending Nightmares but more selective and critical listeners might find the whole thing just a tad too generic to warrant much attention. I mean, Rogga is so good at everything he does the fact that he just can't seem to come up with something to set his music apart from all the other stuff out there these days really is a shame. He deserves some sort of reward for all his hard work but that reward can't just be earned from album after album of stereotypical death metal with two or three above average tracks on it.

Von - Satanic Blood

An old demo that sucked in 1992, sucked in 2002, and continues to suck 10 years after it's most prominent re-release.

Satanic Blood puts to shame the drum sound of Death's "Scream Bloody Gore" and the goofy vocal-only tracks at the end of Havohej's "Dethrone the Son of God" - otherwise great albums with notoriously bad components that would be embarrassing for the legendary content of the releases. Von don't have any quality to redeem themselves from the poor sound quality of this demo. The sound quality of the demo is actually the best thing here, because the songs are boring as hell. The drums clunk away on slow blast beats for nearly the whole album, the exception being "Veadtuck", which is a reminder of how poor the guitar work is. There are no riffs, just repetitive droning of power chords shifting two or three times then repeating, and some occasional noodling that sounds like an amateur with poor phrasing trying to pick out a melody.

The worst part is the vocals. They sound unforgivably goofy, like a comedian trying to imitate David Vincent in a silly voice. There's no charm to them, like the awkwardly phrased but excellent vocals on Stillborn's "Necrospirituals" where the vocalist drones pleasantly like a drunken Transylvanian. Those sound a bit goofy in a good way, this sounds goofy in a bad way, a vocalist in the earlier days of death metal who hadn't figured out how to pull it off but tried anyway. So many amateurs have made charming, memorable, or at least entertaining vocal performances that were technically horrible but fun to hear. This one is bad and drenched in reverb that makes it sound even worse under a thin, trebly guitar tone.

The potent amateurism is unsurprising considering that it's from 1992, and there weren't many terrible black metal bands around yet at that time. Bestial Summoning matured and put out a classic that Von could strive to be - Von sounds like a Bestial Summoning cover band that couldn't play their way out of a wet paper bag nor find their way to the second part of the song by way of a transition. The complete lack of anything to make the music memorable - hooks in the guitars, vocals, and drums, is terminal for this demo. It's not atmospheric, the feel of it is quite crappy, but there's no hook that grabs you, something you'll find in every black metal band that didn't suck - it was quite a highlight of the French LLN scene, especially Vlad Tepes, and the Norwegians and Greeks blended melodic and rhythmic hooks and atmosphere quite well. Such pronounced attributes of songwriting were out of this band's grasp in 1992, and seem to be to this day.

Von did absolutely nothing well. Pitiful.

Orion_M - Personal Trade List

This is my personal trade list. It will grow and shrink like my... nevermind. Just let me know if you want to trade against any of it. This has nothing to do with the CTP releases or stuff in the CT Store.

Annihilator - Set The World On Fire MC
Clot - The Unholiest Resurrection CDr
Corrosion of Conformity - Deliverance CD
Empire Of The Scourged - Transcend Into Oblivion CD
Glenn Tipton - Baptizm of Fire CD
In Defence - Into The Sewer CD
Licrest - Misery CD
Murderbeast - A Call To Severed Arms CD
Nasum - Human 2.0 CD
Rimsky-Korsakov, Nicolai - The Maid of Pskov 2XCD
Skepsis - Skepsis Sampler CDr
Stravinsky, Igor - The Composer, Vol. IX CD
The Who - Who Are You MC