Mattowarrior's Metal Madness

Interview: Jevil Project

2021-03-02T14:16:00.003-08:00

I recently had the opportunity to interview Jevil Project, a highly addictive heavy instrumental metal project from France. Here is what Jevil Project's mainman had to say:

What is the current lineup of Jevil Project? Only myself & my guitars

What do you envision a Jevil Project show being like? A show like one of Slipknot or Rammstein would be awesome. Big explosions and fireworks haha

Do you forsee playing live in the near future? No. I stopped bands & shows. In the past that was a great experience but life goes on.

What do you think the best albums of 2020 were? My fav albums of 2020 are "Hindsights" by Emmure, "Ohms" by Deftones & "Power Up" by AC/DC.

How do you achieve the very cool sludgy bass sound on the ep?

I used an 8 string guitar for this EP. I love to play with the distortion level. In my opinion, dirty things are more interesting than sanitized stuff.

What goes into producing a Jevil Project recording (gear, apps, etc)? It's simple. A guitar plugged into my Blackstar tube amp plugged into a Behringer external soundcard. I use some pedals like a small Nux compressor. I find my drumloops on the web, I just need to insert them into Audacity. I use a great DT770PRO by Beyerdynamic. Very useful. A good whisky coke is very useful too for composing.

What advantages do you think there is in releasing music in such short bursts? This isn't a criticism as some of my favorite albums growing up were albums like Misfits Earth AD, or Black Flag's Nervous Breakdown EP, but what do you see the advantages as within your musical realm? Mmm in my opinion, shaort releases in short bursts are more interesting than waiting 5 five years for listen to something. But I record when I have inspiration. My EPs have a guideline and try to be intense with short tracks is primordial to me. That's small pieces but if you enjoy 6 or 7 minutes with my stuff, you'll enjoy to click on "repeat" haha

You can check out Jevil Project at the following links:

https://linktr.ee/JevilProject

www.facebook.com/jevilproject

www.instagram.com/jevil.project

Review: Isphet- Escape Room

2021-02-17T19:06:00.001-08:00

Today I'm going to be reviewing the Slovenian Instrumental Metal Project, Isphet, who have just released their new album, Escape Room (Below this written review is a video version).

This cool album has a lot to offer a variety of fans of different types of metal and has atmosphere and depth in spades.

Escape Room's first song, "Fixated",starts with a heavy angular but melodic riff that brings the pain as it chugs along. The riff almost feels like a groovier version of something Dino Cazares would come up with in his prime.

It then settles down to some Phillip Glass-esque arpeggios sans drums and bass and then going to a more melodic section with some very modern sounding but well done harmonies.

The next song, "No Hearts In Here",starts with some cool ambient guitars and keyboards then a cool groovy riff with some great crisp drumwork and then alternating with a section much like the intro and then bringing the heaviness back, a cool trick that has a dreamy resolution.

Third song "Fail To Communicate" has some really heavy downtuned riffs and odd timings. One of the cool things regarding the guitar tone is that it is a lot drier and tighter than a lot of Djent tones I have heard, and this makes this song (along with the more ambient and almost funky parts that pop up) more interesting than more traditional fare using this approach.

The fourth song, "Prozac Nation", starts with a almost synthwave style arpeggio on synth in the beginning, and goes to more normal instrumentation otherwise. Featuring a cool slinky bass line, this song is a dreamy though melancolic exploration that continues in a melodious path throughout. It heavies up in it's second half, almost reminding me of Melodeath at times though not completely. This is probably my favorite so far, but I'm a sucker for keyboards and these types of melodies.

The next song, "Corridors", starts in a more ambient direction through some very obtuse and surreal melodies pushing an almost psychedelic fashion. It gets heavier again, as with most of the other songs, but simultaneously while taking the listener to where the more ambient part had started to take them. Some cool soft parts on guitar follow as well as a more enveloping atmosphere. A chugging prog metal onslaught follows complete with some greasy and cool mechanical style riffs.

"Above the Clouds", continues the album with more synth arpeggios, and the heaviness continues a bit earlier in this one. A more optimistic song in melodic structure, this song is definitely aptly titled complete with it's major sounding guitar melodies.

"Escape" is the final track, and doesn't disappoint with it's further heaviness and atmosphere. With some cool ambient guitar sections and bass pummeling, this song goes into different moods and feelings with aplomb being the longest track on the album.

Overall, is an interesting project. It features a lot of progressive influences but is unpretentious. It has ultra tight downtuned guitar riffs but doesn't really “djent”. This is actually a relief! I like some Djent but it's sure refreshing. One of the stated influences in the bio is Nu Metal. I can see in some places where this may be the case with how the riffs are constructed, but overall not. I can see how all instrumental bands like Animals As Leaders are an influence, but as stated as before there is a lack of pretension inherent in the music that there is nearly no “wank” or shreddy guitar solos. Some comparisons can be made with artists such as Devin Townsend in the mix of atmosphere and heaviness, and this is a refreshing angle to take in a very real way.

You can hear and find out about this amazing artist at the following links:

https://isphet.bandcamp.com/releases

Interview: Kebras

2020-09-09T09:41:00.003-07:00

Kebras is a project that recently came to my attention. As a one man band essentially, it surprised me with it's depth and complexity as well as riffs. Being a longtime fan of Symphonic Metal, Extreme Metal, and Technical Metal, it should satiate fans of all three. I recently interviewed the mainman of this project, and here is what he had to say:

I just listened to the EP and it definitely surprised me. Tons of shred and awesome dark heavy riffs everywhere. I heard a plethora of different influences ranging from Black Metal to Melodic Death Metal and beyond. Who are you main influences?

First of all, thank you for your words! I have a ton of influences: soundtracks from movies like Matrix, from old classic action movies, extreme electronic music like dutch and german Gabber, Darkstep, Drum ‘n’ Bass, classical music, traditional/ethnic music/instruments like the Indian Tabla and Turkish Bağlama, – as for Metal, my tastes range from Anaal Nathrakh, Spawn Of Possession, Meshuggah, Igorrr (I can’t consider it 100% Metal but…Igorrr is Igorrr), classic brutal death Metal acts like Deeds Of Flesh, Disgorge (USA) and Vile, Grindcore bands, Goregrind bands…then I also like Dimmu Borgir, Marduk, Belphegor, Immolation, more recently Disentomb…and then some of my biggest influences are guitar players like Steve Vai, Paul Gilbert, Michael Angelo Batio, Jeff Loomis, Jason Becker, Buckethead, bass players like Victor Wooten, Marcus Miller, Stanley Clarke…I also like gypsy jazz guitar players like Angelo DeBarre and Biréli Lagrène….there are literally hundreds of bands and artists which shaped my songwriting, and some shaped almost exclusively my approach to how understand music, and/or how to understand my instrument and be able to connect with it in order to refine my way of communicate through it.

I noticed a difference with your music and stuff in a somewhat similar vein nowadays. It actually features good riffs that are distinct and heavy. What do you think some of these other artists are missing when they get into super symphonic territory but miss out on the riffs?

I think musicians should listen to a lot more genres and try to incorporate what resonates with them into the music they want to create, instead of focusing into one genre or on their two favorite bands and try to copy them. They might be very surprised about the way certain sounds can impact their minds.

How long have you been playing guitar, and what got you started?

I’ve been playing guitar since 1998, and I was inspired by my mother and grandmother who gave me the idea of starting to play guitar. I remember back in 1994 some old friend of my grandmother came to visit her, told something like “musical education is fundamental to a child’s growth” and proceeded to offer me a Casio organ. I had absolutely no idea what I was doing but I spent HOURS a day having a blast playing that. I think that were the roots of my musical interest.

What other bands/projects have you been in?

I’m on a technical brutal death metal band called Afterbleeding, and on a death metal band called The Blood Of Tyrants.

Your project is instrumental - any plans to get a lead vocalist or are you happy with the way it is?

I’m very happy the way it is!

What is your recording/gear/software set up like? (I ask because I'm also a solo artist primarily who hires session musicians and am curious)

Well, I use a BC Rich Warlock Bass, an Ibanez RG guitar, a POD X3 bean (I still use GearBox in 2020), a pair of KRK Rokit monitors and Reaper into an i7 computer!

What is the metal scene like where you're at?

There are some very good bands here: there is predominance on more classical approaches to the genre, but the extreme subgenres have been gaining more weight and attention.

P.A.T.O has some pretty interesting cover art. What inspired it?

It was an image of some ducks stomping a pigeon, and I had the idea of “demonizing” the ducks and put it on a kind-of apocalyptic scenario.

What does P.A.T.O stand for?

Actually, “pato” means duck in Portuguese. It comes from my love for ducks, and because I usually post a lot of ducks’ pics on social media. As I’m not very good with names, I thought “why not call Pato to my Promo?”

What does the project name Kebras mean?

Kebras is my nickname since high-school.

Any plans for a live lineup of the band/project? What would a Kebras show be like if you had your way?

I thought about that yes, but there’s nothing defined!

Thanks for the interview, your EP kicked major ass!

Thank you and I’m glad you liked it!

If you're interested in hearing Kebras you can check it out at the following links:

https://www.metalkingdom.net/kebras-39592

https://kebras.bandcamp.com/

Review: Banshee- Events Occur In Real Time

2020-08-23T18:38:00.002-07:00

(For the video version of this review, check at the bottom of this article).

Banshee are a Hardcore/Metalcore band from upstate New York who have just released their new E.P., Events Occur In Real Time.

The first thing that stood out to me with this band, as the album started, was that the band was drawing upon an earlier version of this music in some ways. I am a huge fan of “Melodeath” and the “Swedish Scene” from the Nineties that included At The Gates, In Flames, Dark Tranquility, and others, but alas, the bands who usually play the style Banshee are lumped in with usually cannibalize the Melodeath scene to an extent that is outright sickening at times. Fortunately, in a refreshing way, Banshee goes back in some ways to bands like Earth Crisis or Vision Of Disorder. It's cool hearing a band that isn't always repeating something Dimebag or Jesper Stromblad invented 25 years ago for a change.

“Terror Bird” is the first song. And features dissonant parts and spastic rhythms that would get any moshpit going in no time. The vocals are free from those boy band/frat boy/pop punk clean parts, and whinier parts that are usually prevalent in the music. The cleaner parts that are sung actually fit the music and have a powerful depth. And this first song has that angry but intense vibe by the end that lacks the annoyance that modern bands often have with this.

The second song, “Keep It Secret, Keep It Safe” continues the pace that almost reminds me of some of the early nineties death metal bands (not grind mind you), but then proceeds with some more breakdowns and cleaner (but definitely not wussy) singing and some more interesting Neurosis/Voivodian chords thrown in for good measure. Time changes and timing changes galore in this song, and its a real treat for that reason.

“Lizard Conditions” has a little bit more of the groove for good measure, and some more clean singing but also the time changes the prior two operate in. It has a cool moody interlude that has some of those spacey chords mentioned earlier.

“Sunflower” almost has this mid nineties groove Napalm Death spastic sounding riff with more of the dissonance piled on. I'm not sure if the band are fans of this, but the chunky dissonance displayed here reminded me of something that would be on the “Fear Emptiness Despair” album.

“Hollywood Burn” follows the pattern of the prior songs, with more sludgy dissonant madness and stop start nearly mathy riffs accelerating the intensity.

“Constable” then ends the release with a riff that almost reminded me if Dead Kennedy's “California Uber Alles” was updated for the 21^st century.

Thrashy riffs then ensue as the groove piles back on.

Overall, I really dug Banshee, as I'm a fan of the dissonance and angular, though accessible riffs, and the tolerably intense singing.

Banshee are like a boot stomping over the face of the past 15 years of the commercial garbage polluting their scene of music while at the same time being extremely catchy and accessible, but in a way that has an integrity that would not exactly be safe for the Mall.

You can find more information, including their newest release, from the following sources:

https://open.spotify.com/album/1X0HmjJfup0m5aOnb2yTVX

https://www.facebook.com/BansheeInc/

https://www.youtube.com/watch?v=tGTZWCobKO4

Review: Sound Goat Project- Deep Inside

2020-07-22T19:09:00.002-07:00

Sound Goat Project is a progressive metal/rock band from Poland. I don't know if the name is related to the term “greatest of all time” (aka G.O.A.T) but nevertheless, the name does give an image to the eclectic nature of the project's music.

Their newest release, Deep Inside, (or would that be “dEEP iNSIDE” considering how the songs are listed their Bandcamp site), starts out with one of the most unexpected things that one would imagine as far as an album like this. A full “smooth jazz” sax solo starts the proceedings on the song, “hOT pLAY”. I know a lot of readers of this blog may be mixed on horned instruments in Metal, but it definitely works. Don't expect some cheesy 80's Aerosmith song, or some cheesy Kenny G thing, it definitely works. The song then goes to a slightly (just slightly make no mistake) Djent sounding riff pattern with some more smooth fusiony guitar licks. It then goes to a more melodic refrain and almost 70's style Prog patterns. The first thing we then notice is that this project is mostly instrumental, which is actually in a way a relief. Bands like this are extremely difficult to put vocals to, and when they do it's often with mixed results.

The second song, aMulet is a bit softer and more airy, but no less catchy than the prior one.

The third song, ySTRAA vESE features some wordless vocalizations, which definitely DO fit the song at head. A bit heavier than the prior one, and back to the heaviness in many ways, the vocals create a unique feel to the proceedings.

The next song, aLTER eGO is a ballad featuring Piano and RAPPING! Now as someone who doesn't hate all Rap, it's a relief that this part does not detract from the song, and the Rapping is that of the more tasteful and quality kind. Some electronics then freshen up the sound a bit with acoustic guitar,

eLYSIUM is the next song, and the added flute gives it a cool feel. It then becomes a funky proggy metal song with some complex rhythms and even some latin style beats. Some cool John Petrucci style solos then push the song up another level.

We then go to tRANQUILITY, the next track, this one has a full fledged vocal on it. I will admit, the vocals sound like a less overdramatic version of Dream Theater's James Labrie. The closest to traditional Progressive Metal on the album, the song still has hooks galore and resolves itself very well.

The next song is called lOVE, and it's a full prog fest complete with cool keyboard solos and jamming. This epic track is among the best on the album, with many cool parts.

The next song, pERFECTION oF nON eXISTENCE is another funky number with some cool nods again to those of prog metal's past.

To top things off, the funky sounding cOSMOSQUID ends the album on a groovy note complete with a harmonica solo!

I overall recommend Sound Goat Project to those tired of some of the more played out sounds of modern Prog Metal, and want a nod to Prog Metal and Rock bands of yesteryear. . Less Djent and “Core” sounds can be a good thing when done with the infectious calculations of Sound Goat Project.

You can check out Sound Goat Project from the following links:

https://soundgoatproject.bandcamp.com/

http://www.soundgoatproject.pl/

https://www.youtube.com/soundgoatprojectofficial
https://www.facebook.com/soundgoatproject/

Interview: Eleandre

2020-07-18T20:05:00.001-07:00

Recently I was turned on to the musical project, Eleandre, a project which is dark, mystical, and alluring in a way that transcends mere genre labels or preconceived notions. Mattowarrior's Metal Madness recently got to interview it's main man Ludovic, and here's what he had to say:

So tell me about Eleandre- how was the project formed?

Eleandre is the addition of both my daughters' names. Without them, none of this could have happened. So first of all I want to dedicate this whole musical project to them. Eleandre is a solo project that I have been leading since May 2020, with the main concept of doing everything myself (voice, guitar, bass, synths and effects, songwriting and also recording). Eleandre is therefore a kind of Siamese concept between my daughters and me, it's a way for me to realize myself and also to support the fact of being far from them, it's in a way a catalyst of my difficulty to live without them. My music is mainly inspired by this distance that allows the return on oneself, it's in a way an idea that makes me think of Platon’s cave or the retreat in the catacombs of the first Gnostic Christians.

How long have you been in the music scene, any prior bands we would know about?

Musically, I've been officiating since 2012 on the experimental electronic internet scene. First under the name of Ake, when I was still a student, then under the name of Ake Project since my separation from university studies. This last project allowed me to make several albums still available on bandcamp, and also to start working on a collaborative mode with different international artists. But I felt there, that my music was starting to run out of steam and I wanted to go back to my roots, and to the rock and metal aesthetics that always attracted me rather than to pure and experimental electronics.

What are your influences? I hear what you list as far as your bio as far as the obvious ones, but also more esoteric ones as well. There is a dirgey style to some of the tracks that almost reminds me of Northern European gothic Metal bands like Katatonia in a way, as well as other stuff in that vein.

My influences, in addition to being musical, come from my more or less distended links with esoteric societies such as Freemasonry or Rosicrucians. Thus I have always been attracted by hidden knowledge and especially by medieval alchemy. The fact that I was born in Carcassonne, in the south of France must have something to do with it, I think. My music is obviously tinged with the writings of Aleister Crowley, Helena Blavatsky, Gurdjieff, Ouspensky or Alejandro Jodorowsky. Although they are not pure musicians, I can also quote Eric Satie who made me think a lot, they have by their generalist and encyclopedic knowledge led to a kind of syncretism of all my influences within my compositions. The fact that you mention Nordic music here does not surprise me, even if I am far from being a specialist, because I think very strongly of a collective unconscious as described by Carl Gustag Jung, and this psycho analytic concept makes me tend towards these Nordic and Germanic roots. Come to think of it, I remember following my father, a former soldier, to parties with his friends, who listened to German and Nordic music. Maybe it just comes from there. . . and the cold doesn't scare me. HAHA

Do you dig Darkwave/Dark Ambient or Black Metal?

So I'm not someone who listens to a lot of music. Without making me the man too busy to listen to music, I believe I remain faithful to my favourite musicians and my main influences. I'm a little afraid to get lost in it, because the choice today is so huge with platforms such as spotify, youtube or others, and the quality is more than I expected. Basically, I set aside very little time to listen to other bands (in car mainly), which also allows me not to put my instruments down and tell myself that everything has already been done. It's hard to find one's way around all the sub-genres and to understand the links and stories between the shifts from one genre to another. So my answer is no.

Would you have considered yourself a goth kid growing up?

From the age of 15, I began to have a dark and gloomy outlook on life in general, on my issues related to girls and my relationship to life and death. That's where my aspirations to all the elegiac, the gothic and industrial movement came from. Since I was on Reunion Island, there was a very tiny scene of metalheads and it was frowned upon to dress in black with all the make-up on. So I resisted by telling myself that I would wear black and that I would draw satanic symbols on my arms, or even false tattoos. Then came progressively the black varnish and band t-shirts, then the introduction in restricted spheres of dark music aficionados. . . I had my first Marilyn Manson album "Antichrist Superstar" and the machine was launched. It was from there that I invented a whole occult character for myself (to the point of doing magic on a floor of my boarding school with people from Mayotte).

Some of your releases, like the cover to “Lost in Ages” feature occult imagery. What would you consider your interest in the Occult? (Note, this question was asked before the prior one listing the occult influences).

I am less interested in the occult than in pure esotericism, which for me is more a call to recreate a more humane world. It's a pity that the movement, and all the literature attached to it, is so little understood, because it's really a question of understanding what's hidden inside us so that we can then be more in tune with the outside world. The occultism for me is similar to the play of lights in a concert, it throws a lot and it shines. . . the esotericism would be the music and the alchemy necessary between the musicians to create and play the music on stage.

How did you develop your unique vocal style?

Honestly, I only started singing a few months ago. So I can't answer your question, because I know that I still have so much to learn about it, for me it's more a way to accompany my songs by introducing a melody, lyrics and themes that interest me.

You use electronics in many of your songs, but they are never totally predominant.
Are you satisfied with the balance or do you ever want to delve deeper into being more electronic or dance oriented?

As I said, with my former project Ake Project I was in pure digital and electronic music. . . I don't want to come back to it in a direct way, but I like these sound layers and atmospheres that you can add to the songs and compositions. For me the sound I'm trying to shape is a cold sound (maybe from the north of Europe?). which is no substitute for synths, but they aren’t the main character (not anymore haha).

How do you write songs, do you usually have a concept in mind and then write the music or do the lyrics come first?

Mainly I work my songs in the spirit of James Maynard Keenan on his first tracks with Tool. Basically I create an instrumental track and then I try to incorporate melodies into it (mainly with synths, hence the need to keep them for Eleandre's music). The words usually come to me right away or during my regular insomnia.

What is an Eleandre live show like? Any plans (obviously when this whole Pandemic is over, barring some places allowing shows) to tour or do shows soon?

I'm not one of those bands that play live, I think that for the moment my personality and my occupations keep me in the shadows. It will be a big step to see me on stage one day, maybe I'll stay in the shadows and put the musicians in the spotlight with a lot of visual elements and theatricality. But for the moment, or at least for the next few months I don't plan to perform live on a stage for a live show.

Tell me about what you have planned for Eleandre in the future.

I have a new song called "Fall in love with yourself" coming out on July 31st, which gives me a lot of promotional work for the next few days. I have another song coming out next month that should mark a real turning point in the music I produce. I'm a hard-working guy and I'd like to keep up the pace I've set for myself, which is two songs a month, which is quite a job. Ideally, I would like to be able to reunite these tracks under an EP or an album soon. Otherwise, I can see myself being invited to Los Angeles, which remains for me the city of all dreams, and this since my childhood. If not, in some imagined future, I think you can offer me a hearse or a Ferrari, so that I can reach faraway Europe. Thank you in advance.

Mattowarrior's Metal Madness would like to thank Ludovic and Eleandre for this unique interview regarding this compelling project.

You can check out Eleandre for yourself at the following links:

https://open.spotify.com/artist/39RGaVGCxsfi85qY8AQYDm?si=cET211dSRsCmhboIA3DFxA

https://www.instagram.com/eleandre_music/

https://www.wokechimp.com/eleandre-lost-in-ages

https://www.youtube.com/c/ELEANDREMusic/videos

2020-03-04T15:24:00.001-08:00

Critical Assembly is a band with an eclectic palette of influences in metal. Ranging from thrash to Melodeath, and even some Metalcore and Blackened Death Metal perhaps, they seem to draw from a unique well. Their new Self-titled EP is being released on 3/6/2020 and is a full demonstration of this breadth. The first song, "17 Months", has this plethora of influences located in it's textures for sure. Featuring growls, barks, and some unique clean vocals that almost remind me of Serj Tankian a bit in it's delivey, it's a cool song that goes different places. The second song, Moonwalk Backflip, starts out much more like the denizens that have called bands like At The Gates, In Flames, or Killswitch Engage as influences. Somehow though, as cynical as I have been about the Metalcore scene in general, the harsh vocals don't have the annoying quality that I usually see in Metalcore influenced stuff. It then goes back into more melodious fashion and into clean vocal territory as well, and has a slight progressive tinge as well in a way. The third song, "Drop Trow", starts out mid-paced like the last song but then goes into the modern thrash territory that the first song had in common with it (but with ultra heavy breakdowns in between). Some of the vocals almost have a Lemmy quality to them, albeit at a lot more of an extreme. Piramideth is the final song of the EP, and has that modernized groove metal thing going but with a unique tinge that doesn't owe too much to cliches. The clean vocals almost have a slight Anselmo or Kyle Thomas (when doing more melodic vocals) thing to them. Almost a ballad compared to the last few songs due to it's more airy and atmospheric quality, this is an interesting change in pace.

The band definitely has potential and I can see this appealing to a wide range of Metal fans.

You can find more info on Critical Assembly from the following resources:

Website: www.criticalassembly.com
Facebook: www.faceebook.com/criticalassembly
You Tube: https://www.youtube.com/channel/UCNboOsGjXQg6wZQ2YkVlung
Spotify: https://open.spotify.com/artist/6rjI3StcYddsE0BbjXvRoK?si=CrmlP_rDRzW9wQbHCK3Oig

Review: Mike Brandon Band (Soundcloud, Various Tracks)

2020-01-25T15:17:00.003-08:00

In this installment of Mattowarrior's Metal Madness, we are going to not be reviewing a traditional “album” per se, but reviewing a soundcloud account with various songs, an EP if you will (reviewing songs). As the market increasingly (other than the vinyl resurgence) is oriented towards streaming, this may be the future of some of these reviews. The artist in question in Mike Brandon Band, is a band featuring the self described “greasy rocker/bluesman/songwriter”, Michael Brandon on guitar and vocals, Ethan Sawchyn on guitar, Jon Olcott on bass, and Scotty Roland on drums with numerous special guests littered throughout the songs. The first song I listened to was “Badlands”, since I am familiar with the Metal Church classic being one of my favorites, I said “why not”? Of course, this is not a cover of the song in question, but rather an original one, a countrified rockabillly-ish ditty with earnest but soulful vocals. It goes back and forth with this into a Southern Rock style jam for the chorus, creating a dynamic that is actually quite novel.

The second song I listened to was “Oh Brother”, a song that cleverly blurred the lines between something Stevie Ray Vaughn and the aformentioned Southern Rock influenced bands would muster up. Featuring some raunchy lyrics and tasty leads, I didn't like this as much as Badlands, but the solos (including some Hendrixisms effects-wise) definitely pushed the song up to a higher echelon.

“The Muckler” continues the harder rocking direction of the prior one, featuring a bit of the 70's hard rock tradition hinted at and excelled at. A better song than “Oh Brother” in my opinion, since the groove is obvious on this one. Leads that almost recall Michael Schenker or Slash (at least speedwise) as well as the Skynyrd greats at times really propel this one forward.

“No Place Higher to Go” continues in the same tradition, but I also hint a bit of classic 60's psychedelia in some of it's jams. With a haunting vocal melody that wavers in an out of reality and desolation, this one is a cool song that almost has a bit of Cream in it as well.

“How Come She Won't Go Down” is the last song I listened to (and I'm sure is a sentiment shared by women about many of their men as well, lol), and it's a fast number in the full Molly Hatchet hard rock tradition. A bit of (do I hear double bass on there as well?) this probably would be the song to appeal the most to readers of this blog. The song is exactly (lyricwise) as expected, but despite one's (possible( reservations about the subject matter, it's full pedal to the metal for this one, and it's quite a pay off in the end (pun intended).

Overall, Mike Brandon Band is a promising act that will undoubtedly hone their craft to perfection. The production is vintage, clean, and clear, and is another benefit to the band. I would definitely recommend this to fans of classic hard Southern Rock, as they do it right. A bit on the nostalgic side, (they definitely aren't doing anything “new” here, though a lot of “new” I will admit sucks), this band is definitely talented, and primed to take clubs and even your local radio station or streaming service by storm!

You can find more info on Mike Brandon Band at the following links:

Website: www.mikebrandonband.com
EPK: www.artistecard.com/mikebrandonband
Soundcloud: https://soundcloud.com/mikebrandonband

In Defense of...Saint Anger!

2020-01-11T09:58:00.001-08:00

The most controversial Metallica album is defended by yours truly!

In Defense of...Lars Ulrich!

2020-01-11T09:56:00.001-08:00

Did this video awhile back- kind of speaks for itself!

Review: Obsidian Tide- Pillars of Creation

2020-01-03T21:19:00.002-08:00

Obsidian Tide are a band formed in 2012 in Tel Aviv, Israel. Their new album, Pillars of Creation, came out in August 2019, and is a concept album described as telling the "tale of a man who goes on a journey of enlightenment. On his journey, he witnesses riveting stories and learns horrible truths. Finally, he makes a bold choice to follow his conscience, and his choice changes..everything." (*Band Bio).

The album starts out with something that immediately made me think of bands like Opeth, Enslaved, country mates Orphaned Land or even Tool with it's weaving melodies and droning but complex riff pattern. This first song, the title track, weaves itself into the second one "Seven" which then in it's second half brings tribal drums and flutes into the mix and more estoeric and jazzy guitar patterns that almost remind one of prime era Pain of Salvation in a way. A cool breezy jam envelops the listener for the final stages of this song.

The next song, "King of a New Realm", starts out as a ballad that starts with some cool strings and somber clean vocals and then resolves to a heavier part before settling down again with a cool piano solo and then going heavy again at the end. Speaking of vocals, the band utilizes two of them- one being Oz Avneya on clean vocals (and also guitars) and Shachar Bieber (bass and harsh vocals). At times, the two singers together almost sound like Mikael Akerfeldt if his vocals were mixed with Einar Solberg of Leprous.

The vocals are of a variety that definitely reminds one of the aforementioned influences, which is certainly not a bad thing, as I prefer the modern clean vocals of said bands to many of the average Metalcore or Djent bands currently dotting the landscape.

The fourth song, "Portent of Betrayal" has a dissonant beginning that definitely brings out that Opeth (or even Voivod) cool riff pattern and then goes to a more traditional progressive pattern. "Hireath" is the next track and it features some cool ambient sounds in the beginning and then going to a heavier prog metal part with harsh vocals and then a great guitar solo and then more orchestral parts before resolving to an epic metal close.

"The Harbinger and the Millennial Vengeance" is another song in the vein of mid-period Opeth (I mention that again, but not in a bad way). It continues with more psychedelic/shoegazing ambient rock parts make this song more of a highlight with an end bass part that almost reminds one of the band Yes. The final song of the album "Magnanimous" resolves the album with some soft prog parts followed by an almost cabaret reminding section then to some cool progressive heavy parts again and more cool riff time changes and grooves including a sax solo (!), resolving in a arpeggiated outro.

The production on Pillars of Creation is dry and clean in a way that has a clarity that a lot of modern metal albums lack. Every instrument is clear in the mix and none of the instruments or performances sound overbearing or suffocating to any of the other instruments. The mastering of the album is also well done, being something that does not induce ear fatigue with over-compression (thank your lucky stars that for many bands the "loudness war" era is over).

Overall, Obsidian Tide have both a familiar sound that sometimes wear their influences on their sleeves, but also with a fresh approach to the Progressive Metal medium. There's is a challenging but accessible sound that will definitely appeal to fans of the aforementioned bands in this review (especially for fans disappointed in the recent sounds of a certain Swedish band mentioned, as Obsidian Tide definitely have more of the middle period vibe of that said band I promise I won't mention again).

You can find information on Obsidian Tide from the following links:

Official website: http://www.obsidiantide.com

Facebook: https://www.facebook.com/obsidiantide/

Instagram https://www.instagram.com/obsidiantide/

Twitter: https://twitter.com/obsidiantide

Bandcamp: https://obsidiantide.bandcamp.com/

YouTube: https://www.youtube.com/channel/UCZN5tk3aptDxNBnfgYEcf3g

Review: Gemini One- Per Aspera

2019-11-07T19:35:00.003-08:00

Gemini One are an aspiring Instrumental duo from Germany formed in 2009 who play a self described mixture of post rock and doom metal (informed by post metal, sludge, and other genres). Their recent EP, Per Aspera, was just released, and features four songs that not only deliver on the promise that such a description would entail, but a whole lot more.

The first song, “CVII”starts out with a mellow, almost jazzy intro that recalls some of the best of ambient post rock. The dry and almost clean though droning heavy guitar makes it an interesting contrast with the booming drums and bass. A heavier part ensues with slightly more dissonance as the song develops and then it goes back to an almost autumnal melancholy.

The second song, "Primum Sanguis" starts out with a simple bass figure that turns into a more distorted and (somewhat) more energetic (for a style this slow that is) riff pattern than the previous song and in a far more sludgy way. This song is a bit more standard than the previous one in a way, but the heaviness definitely does not let it be trudged down into pedestrian territory. Some more ambient overdubs permeate the mix, and it’s remarkable how much is attained by a band featuring only two people!

"Per Aspera" is the third track and is in the doomier direction though it then features some softer almost funeral doom sections that occasionally take me back to the days of the underrated 90s band Disembowelment in a way. Slow and deep riffs keep the heaviness coming.

"Ad Astra" is the last track, and a simple soft figure of bass and drums introduces the song and almost has a triumphant feel with it’s figures. Though a hint of sadness makes it’s way at the end as one is hurled into deeper realms of the universe.

Also interspersed throughout the ep are NASA samples, unsurprisingly, as the band also proclaims in their bio “The EP is dedicated to all the people, who made sacrifices on scientific, progressive and human grounds – no matter if voluntary or non-voluntary. They are proof that something big can emerge from pain and that setbacks keep us moving. We bow to all of them, because they are the ones paving our way the way to the stars.”

An obvious concept album, Per Aspera takes the listener to outer cosmic realms with it’s intensely deep bass figures and evolving melodies.

One thing that stood out to me about Gemini One was how the various interweaving melodies and figures become entrapped in your brain, manifesting a catchiness that is often hard to attain for this genre. I would definitely recommend them to anyone into this style of metal, as they are able to combine their varying elements into a very coherent whole.

This immensely creative duo of visionary musicians definitely has a bright future ahead of them, and it will be interesting to see what places they can take the listener to next. You can get more information on Gemini One from the following links:

Facebook: https://www.facebook.com/geminititanone/

Instagram: https://www.instagram.com/geminititanone/?hl=de

Bandcamp: https://geminione.bandcamp.com/music

Interview: With One Word

2019-09-13T07:49:00.003-07:00

With One Word are an up and coming Metalcore band from Switzerland. They play a very aggressive style of Metalcore with a wide range of influences. Recently, Mattowarrior's Metal Madness conducted this interview with them:

How/When did With One Word start? What was the original impetus for the project?

Lex:

It all started in september 2015 when a friend of mine tagged me on a facebook post from Arran's former band "Bad Blood Behaviour" that said they were looking for a new guitarist. After a first jamsession I brought in Silvan as a second guitarist and we began to write songs together under the new bandname "With One Word"

2. What bands, or even films, games, or even books influenced the project)?

Arran:

It's really hard to say which bands influence us, as every bandmember tends to listen to different metal-genres. I feel that Lex's favourite band Avenged Sevenfold certainly has an influence in our music. Personally I get my inspiration for vocals from the punk rock scene which has always been my kind of thing. That pure, aggressive yet meaningful vibe.We also like to look at what new bands in the metalcore scene are doing.

Josh:

I also see bands like While She Sleeps as an influence to the band.

Arran:

I make you right there. We don't really take any influence from films or games but when I write lyrics I usually get my ideas from current news. All you have to do is open up a newspaper and within seconds you feel like shit. There's alot going on in the world that we really need to think about.

3. Describe the musical climate (As far as your genre) in Switzerland nowadays.

Josh:

There are plenty of metalbands in Switzerland and they all have huge potencial. Yet I feel that there are just not enough opportunities or ways to promoters here in Switzerland to actually make it as a band. Very few do apart from bands like Eluveitie, Krokus and Coroner.

Sebi:

or Breakdown of Sanity

Arran:

I think we all feel like there are so many bands here in this small country that it's hard to get noticed. You really have to try and do something new and stand out which can be really tough. On a good side though there are alot of festivals here in switzerland that give newcomer bands the opportunity to perform.

Sebi:

True. We've never had major problems getting on stage or finding gigs. We have always been asked to play apart from the one time we organized a show ourselves.

Silvan:

I also noticed that there is a huge difference between metal fans that come to shows in switzerland and the ones abroad. Swiss crowds are often reserved where as fans in other countries go absolutely insane at shows.

I noticed a Haunted or At The Gates vibe with some of the songs I listened to, are you guys into that scene (Gothenburg) at all as an influence?

Lex:

Nope. I personally don't have much to do with this "nordic scene" I don't even know where to start with death/black metal. It's o.k but just not my thing.

Arran:

It's nice to know that you can hear that in our sound but I'm pretty sure it wasn't our intention.

Silvan:

Yeah we don't really listen to that kind of music

Lex:

Ola of The Haunted is a great guitarist though.

The vocals have a refreshing style as far as the screams, etc- not your everyday metalcore (that is, less whiny, less overwrought), and almost have an old school hardcore or metal vibe, was that something you all were trying to get across?

Arran:

I didn't know I was bringing the oldschool back but thanks! Happy to hear that. Alot of metalcore bands these days sound alike and most times a bit to clean for my liking. All I'm trying to do is not fit in and do what comes naturally.

Describe the process from writing, to rehearsing, to recording a With One Word song.

Lex:

Mostly I sit at home infront of the computer and just start playing to drumsamples .From there try to work on a first foundation for a song then send the guitartrack to Sebi so he can work on drums. When we have a rough idea we start to work on details and come up with a concept to work with as a band. We practice atleast once a week and try to do as much as we can from home. Finished songs, once tight enough, might just make it to the studio.

With One Word have already released an EP and a single. Now I hear you guys are working on your first album. What are your plans for the album? How far are you with completing it? Is there a concept behind the album and when will it be released?

Arran:

At the moment we are finalising songs and working on details to get each track just the way we want it. We hit the studio in febuary next year and hope to release our debut album sometime in autumn 2020. We haven't got a set date for the release yet, we want to keep that open until we actually see things come together incase anything needs more work. We don't have a concept for the album per say we just want to show the world what we can do.

Once released we would like to take the album on tour through switzerland at first and then maybe outside.

What about touring, are there plans to tour soon and with whom/where?

Silvan:

About a year ago we toured russia for the first time where we headlined every show apart from one.

Josh:

Oh yeah that one show was a small festival where we opened for a russian guy playing his accordeon. That was both funny and weird at the same time. We'll never forget that.

Lex:

There's no set plan for new tours right now but we have a few ideas we would like to see through.

Arran:

Yes we do but we don't want to give those ideas away right now as they're not set in stone. But trust me they're gonna be good.

Thanks for the interview guys and if you want to check out With One Word you can follow these links:

Facebook:
https://www.facebook.com/withoneword.music/

Instagram:
https://instagram.com/withoneword?igshid=1hfq99ch9iagu

YouTube:
https://www.youtube.com/channel/UCC5PeG0X9ALOHVp_7YarMJA

Spotify:
https://open.spotify.com/artist/0SmSV3vqtlvBU4D8bl8s6z?si=0raPpglRRJOECsSzvruSYw

Review: Guy Freedom English- American Made

2019-09-10T11:04:00.001-07:00

From the first beginning blast of the song “Scream”, the album American Made jumps out at you out of the speakers like a smooth classic car made in Detroit that has some rust and dirt on it, but in a way almost giving it a charm that a slick, computerized, modern car made on foreign soil would not. From the first song I heard a riff that reminded me of a slightly more modern take on The Stooges if it had Bon Scott on vocals, a punky but retro dynamic that sustains itself through the song.

Indeed, it is rare to hear a band nowadays that isn’t doing something retro without sounding extremely calculated in doing so. Guy seems to be doing this in a more natural way than the bands playing occult rock following Ghost or doing Stoner Rock that sounds like an inferior version of the band Witchcraft from 15 years ago. I immediately was taken by the drums as well, the raw sound almost reminding me of the many singles that came out of the New Wave Of British Heavy Metal. No quantization nor triggers here, and that is refreshing to hear nowadays.

The second song, the title track, has a chunkier, slower feel that goes further into the more British Metal meets American Garage feel hinted at in the first song. A killer pounding riff ensues with some cool harmonies put. The lyrics are a bit jingoist for my personal liking, but I can’t deny the catchiness of the song.

The third song, Standing in the Rain, mellows things out a bit in the beginning. Not exactly a ballad, just a more mellow song, almost more power balladish of sorts, this one almost has a feel that could fit on 90s alternative radio (in a small way). There’s also no denying the excellent guitar solo towards the end of the song.

The fourth song, Cyberspace is a mid paced rocker that in some ways gets back to the AC/DC influence that permeates the album (with a bit of Priest’s more straightforward riffing put in). Lyrically, it almost reminds me of the Tubes famous song “She’s a Beauty” updated for the modern day of Porn Hub.

Take Me Back To the DPRK is like The Beatles's “Back to the USSR” for modern times but obviously about North Korea. An interesting song, but the first one that feels a bit fillerish to be honest. It has some Dictatorish/Ramonesish chants but falls short of the previous 4, since it kind of drags a bit.

Dressed to Kill is a cool AC/DC meets a touch of Metallica style rocker that features lyrics neither about the Brian DePalma movie nor the Kiss album, instead featuring lyrics about a sleazy seductress.

Broken Wings is the next track and is a more melodic mid paced metal rocker. A cool, positive song with an affirmative message. It almost reminds me of some of the more downtempo songs by WASP for some reason. The chorus also reminds me of Ozzy in some ways.

The final song, starts out with a lick that almost reminds me if you took Thunderstruck and Flash of the Blade and smashed them together. Classic metal and hard rock abounds. In fact, this song reminds me of Maiden more than the other songs on the album put together.

A song about playing live, it is a cool anthemc closer to an album that shows the boundless potential for this artist.

So what do I think overall?

Guy Freedom English is a project with huge potential to hit it big in the rock and metal scene in the coming years. A terrific songwriter with an ear for hooks and melody, his songs have the grit and energy of the past with an ear to the future. The whole album was recorded, as he says “at home on a four track”, but if we’re lucky, we will see him play arenas and stadiums soon, his ear for big rock hooks and energy cannot be understated. I have heard a lot of artists on this blog in my time and I can say this is one of the ones with the most potential.

The downsides? Obviously being a homemade project the production is rough though this is also kind of the charm as stated previously. The lo-fi feel of the project is a double edged sword, I dig the drums but there are parts that probably could be more even, there are vocals that could be better done, despite the appeal of the vocal styles contained therein. I think with some of the rough spots smoothed out it would rise to an even higher level, but do these downsides detract from my enjoyment of the record? NO. I can already see an A and R person with an eye and ear for talent (and hopefully for allowing free reign) picking up Guy Freedom English and making him a star. Just my advice for the man: don’t let them dull the edge you have in writing killer songs, and make it too slick. Keep the raw edge, and the terrific ear for melody and riffage, and Rock and Roll in general has a very bright future!

Please check out my video review of the album below and also,
you can get more information on Guy Freedom English from the following links:

https://www.youtube.com/playlist?list=OLAK5uy_mgzzBuA0b_KFDBzooJsO2jm4gbE-I4QMo

https://open.spotify.com/album/10OZ7BJ5Kt0BRWJ3kh6qwJ?si=0FUuYhW_Rz6woz4usv-1Gg

https://www.instagram.com/guyfreedomenglish/?hl=en

Interview: Draugen (Black Metal)

2019-08-23T19:13:00.004-07:00

Draugen is a one man Black Metal band from Argentina that features extremely harsh occult soundscapes that probably would've given someone like Montague Summers nightmares. Cold, "kvlt" and desolate, it could appeal to many who are into the rawer side of Black Metal. With his recently released 3rd demo (and fifth release overall), Grim Forest Sky. I caught up with Draugen's mainman Arthur, and this is what he had to say:

Tell me about the project, how did it start? Draugen began after the dissolution of a project that was me in guitars with feelings thrash, black and sights of freedom. I started Draugen, with my guitar and a youtube drum base, with a demo, the lyrics and music were a sense of obscurantist imperialism at the beginning of Draugen.

What inspired you to play the style of black metal you play? At the beginning I was interested in investigating les legions noires, French black metal cult groups, and they inspired me with their black cloak. Mayhem's ep deathcrush was the draugen eps trigger in 2015 speaking in terms of musical aggressiveness.

What are some occult concepts that inspire Draugen? The Occult concepts that inspire Draugen today are abstract concepts of witchcraft that Carlos Castaneda presents in his literature, that is actually anti-anthropology literature: the subject victory that is being studied over the anthropologist. Recounting his own transformation from common man to initiated shaman, it is a very interesting literature for modern man, return to the source of where the knowledge of the universe comes from, I spoke about that in my lyrics.

Some of the releases don’t have lyrics printed. Why is this and what are the lyrics normally regarding? At the beginning of draugen I used to record cassette music and write the lyrics on paper that have now been lost. Until I organized everything on computer, and the music is released with their respective lyrics today.

What are some ambient, noise or death industrial artists you dig, (seems like there’s an influence of this stuff on some of the releases)? I really like a project of Argentine people called "Mueran Humanos", industrial post rock. I listen a lot to the Spanish band Paralitikos albums, good panning and musically very tastefull environments. Yes, I try to be as original and creative as possible in what I do, something I would enjoy listening to, riffs of guitars on a ghostly level appears on the song "Infinity's Fighters", accompaniment on guitars emulating flies around a rot appears on the song "Reawakening Evil From Ancient Times" for some examples. Another punk thing in my music is something I call the black metal essence of Draugen, punk amid the imperially dark blackgaze in my latest songs.

Tell me about the normal recording process for Draugen.

I connect the guitar to an interface and this to a computer. The process is unique, I say, let's do it! I record a guitar today, and at night some voices, or so regulating the recording times of each thing, but it is always a ritual process, of importance and singularly, let's do it! but only when the spirit necessary for it floods me. At the time of recording my screams the neighbors must be scared or they must believe that I am dying, "Possessed". the beating of my heart increases and I create a closeness with the air singing.

How do you get the "necro" sound in particular? I got the necro sound using the low pass filter.

Have you have any plans for a full lineup or live band in the future? There are no plans in the future to play live, parallel to your question if I have other things planned, eps, splits and other things are coming. Thanks

A special thanks must be given to Arthur for this intriguing interview.

You can find more info on Draugen from the following links:

https://draugenblackmetal.bandcamp.com/album/grim-forest-sky-demo

https://www.facebook.com/RawBlackMetal666/

Review: Jevil Project- Golden Eye E.P.

2019-08-16T07:54:00.002-07:00

Jevil Project is, as his Soundcloud page describes, " is an France-based instrumental metal act, who does not perform live, but prefers to create music meant to be listened to. Jevil Project is proficient at marrying sludge metal riffery with dirtier post-rock guitar melodies."

I found this to be a pretty apt description, though there is a lot more to be examined.

His latest release, The Golden Eye EP, starts out with Paradox, a slightly djenty (but less annoying than that description would imply) slow instrumental with some interweaving melodies. I say "Djenty" only because of the super downtuned riff that somewhat "chugs" but with a way less sterile tone than the aforementioned genre would normally deliver.

The second song N.V.R.S is faster for the most part, featuring bludgeoning guitars alternating with slower sections.

Osmosis features almost more traditional sounding melodies and harmonies that make it a catchier feeling, along with more chugging.

Flashes ends the EP with blastbeats and an unexpected black/death metal feel with alternating leads interwoven through. Probably the most interesting song other than Osmosis, this shows a potential for this style of music. Slowing down to a more dissonant chug, this is full of good ideas and riffs. In listening to other releases by this project, this idea has been explored before, and it would be interesting to hear more like this in the future.

The production is extremely clear and pristine and suits the music well. The drums can be a bit mechanical at times but do fit the music pretty well for the most part.

Jevil Project has tons of potential, chops and good ideas. The downfall of the project could be seen by some as a strength- having super short songs is something that could serve many bands and projects well, but I would say in the case of this, we want to hear where these ideas lead. It would be far more interesting to see these ideas lead to different conclusions than they do. It doesn’t have to be at the expense of the songwriting, or by having plodding and ponderous ten minute “epics” but having the format of two minutes seems to limit the project to some extent where I think it could be extrapolated upon. Nevertheless, I find the project refreshing in a world of clones and attempts at sounding too much like what has done before.

You can find more information on Jevil Project from the following links:

https://soundcloud.com/jevilproject
https://www.facebook.com/jevilproject
https://www.instagram.com/jevil.project/
Merchandise: https://www.tostadora.fr/jevilproject/

Review: Lucky Monkey- Nothing To Lose EP

2019-07-02T16:18:00.002-07:00

For the most part though, they follow through on their promise of being retro-minded. The vocals almost remind me of someone like James Hetfield meets Rich Robinson. Hopefully that isn’t an offensive comparison because it works extremely well. It is again, a respite from both the whiny affectations of modern nu metal influenced “active rock” and some of the frankly, contrived vocals that you would hear on radio rock mostly nowadays.

“Traaces of Love” follows with a riff that wouldn’t be too far removed from the first Fastway album but with some real arena rock verses added in. Bluesy rock is the name of the game here and it is delivered well. I could almost think of rolling a joint in an old VW van in the seventies under a blacklight poster in the back. Almost reminds me of Foghat now that I mention this.

“All That I Wanted”features a feel that almost seems like lounge music in the beginning but goes to a stop start riff that feels like a heavier Nineties post grunge song. Not bad, and very catchy, featuring lovelorn lyrics as well.

“Tidal Wave” is an anthemic ending to the record, Stoner Rock riffs carry the EP to it's conclusion. As the last song, I would say the melodies are good, but the repetition definitely brings the song down. I get what they were going for here, but the last two songs are definitely the weakest of this release.

Overall, Lucky Monkey shows promise, especially during the first half of the EP. The second half seemed a bit more modern than the promise of the first could indicate. I would say the band is very talented at writing and performing, and with work on distinguishing themselves as far as the rest of the rock pantheon they may be on their way to bigger and better things. It is very refreshing to hear bands (as they do on their website) call out other bands and trends in rock being too “plastic” as Lucky Monkey definitely are not.

You can find more information on Lucky Monkey froom the following resources:

https://www.youtube.com/watch?v=txS19gLV9SY
https://www.luckymonkeymusic.com/
https://www.facebook.com/LuckyMonkeyMusic
https://www.instagram.com/luckymonkeymusic/
https://twitter.com/LuckyMonkeyRock
http://itunes.apple.com/album/id/1454687747
https://open.spotify.com/artist/3v8FgX0yPUyZCSYviga78U?si=R8TlfTi8Qza3lERdx9anNA

Interview: Sepsiss

2019-06-23T19:15:00.003-07:00

Sepsiss are an up and coming female fronted Metal band coming from the distinct woods of the Northeastern United States, that is, Manchester, New Hampshire. The bios of the band members mention everything from Napoleon Hill to Quincy Jones to Motley Crue, Iron Maiden and beyond, so you know you’re bound to get an eclectic mix of elements and attitudes contained in the music.

I recently conducted an interview with William Savant, the cofounder, prominent songwriter, and lead guitarist, and this is what he had to say:

What does the name signify?

(WILLIAM SAVANT : ( composer/guitars / co founder )
The name it self , spelled as it is means nothing in English until it represents something. Being a play off an actual word you might have heard before, certainly helps. We were also keen on the fact if other bands would use the obvious spelling, confusing people, making our version " ownable " google searchable. A title is only as meaningful as its operable owner.

What are your main influences? I hear a lot some modern melodic death metal and traditional metal snuck in there, as well as other more mainstream rock but with atmosphere because of the keyboards?

Judas Priest , (Iron) Maiden , Heart , evanescence . God there are so many. How ever , there are many sequences in rhythms you don’t hear in metal routinely. Konnakol, Latin, and African music. Pop and Hip-Hop are also a good to point for the writing.

What’s the scene like in New Hampshire?

We wish it wasn't so fragmented. A lot of small groups and honestly a shit load of talent also. I feel the "scene” is harmfully unseen. The revolving door in the trinity of promoter/venue/artist communication breakdown, what is means to be responsible as an act or promoter in regards to doing what’s best for the showcase, a fine line between pay to play, artists that blend in hints of being over qualified to play showcases they wont draw. Everyone wants to play the staples center. but not all if us are qualified.

What is all your opinion of another Manchester mainstay from long ago, GG Allin? God , ya know you say that , and i truly have forgotten all together. I’m gonna be really polite. I think GG and the Queen city some how make sense. Honestly, you have completely cleared my ANY fucking thought about why Manchester is Manchester and GG is GG . I get it!

What are your lyrics about and what message do you think they convey? SEPSISS writes about everything and nothing. there a lot of transparency in our music together. so people can create WITH us . a lot of erotic ideas and fantasy .

What bands/tours have you opened for or been a part of? Are you planning to do touring in the near future? yes We’re are touring our ep now, BADD BLOOD , www.sepsiss.com/shop , Please check out our Facebook page for tour dates details.

Special thanks to William for the interview!

You can find out more about Sepsiss from the following links:

https://open.spotify.com/artist/3AlLSELrqafcIl9Rwf4Xf0

https://itunes.apple.com/us/artist/sepsiss/1450891726

https://www.youtube.com/user/sepsissband

https://www.sepsiss.com/

https://www.facebook.com/Sepsiss/

https://twitter.com/sepsissband

https://www.reverbnation.com/sepsiss

https://www.instagram.com/sepsissfnband/

Review: Die Kur - All The Way Down To A New Regime

2019-06-20T20:31:00.001-07:00

With a general term such as “Industrial Metal”, it’s risky what the words conjure up when hearing them. A chugfest like Fear Factory? A spastic version of that with Strapping Young Lad? Industrial Black Metal like Mysticum? Slow, Swans style dirges in the vein of Godflesh?

For a subgenre that has been around over 30 years, it’s often an obtuse and sometimes confusing label to give.

Of course, having such a varied genre is to it’s benefit, as is in the case of London’s Die Kur. Die Kur are a veteran band that has been around over 20 years and play an often-experimental style of Industrial Metal not cut from the same grain as a lot of the mainstream artists clumped in with that label.

Their newest EP, All The Way Down To A New Regime, starts out with an almost Motorheadish (or an even sludgier like mid-period High On Fire) sounding song “The Legacy of the Fox” which also has some Celtic Frost style breakdowns as well. Not too many electronics on this one, but it definitely kicks ass. Even the chug parts later in the song are done in a way that is dramatic and engaging with some interesting sounds and moods played simultaneously.

The vocals of Die Kur are almost a half sung punkish shout but with a hardcore attitude, perhaps best compared to some of what Killing Joke had done long ago. Fitting the music in this way to me is far more enjoyable than the whiny style that many bands and projects in this style succumb to for sure.

The second song, "Primary Fear", comes in with blazing keyboards and riffs, revealing a dreamy but also dreary atmosphere. Speaking of Godflesh, this song reminds me of a less dissonant and still super heavy version of them though also more accessible (but in a cool way).

“Raise Hell” is the the third track and almost has a thrashy feel that has super heavy downtuned riffs and transitions. Arguably the most traditional song on here, it also features a long guitar solo section. The anthemic chorus and lyrics definitely contribute to the catchiness as well. Some of the chaotic sounds at the end of the song almost remind me of Hawkwind’s classic sax bursts for some reason!

The final song (it’s pretty obvious at this point that many of the lyrics are sociopolitical in nature along with some contrarian and nihilistic themes to match), “Government Zero” is a slow dirge that almost has a Neurosis style vibe to it. It’s also the longest song on here, though I will admit this one is a bit repetitive compared to what came before.

Die Kur are an interesting band with a unique take and with unique flavors to match. Their ultra heavy tones, along with excellent vocals and cool atmospheric sounds (including employing a violinist!) and pounding rhythms make for an excellent band. I will likely check out some of their earlier material as well, since the elements used here are in perfect balance, and there is no attempt at radio rock made here- something which is always a benefit to a grizzled old metalhead like me!

You can get more information about Die Kur from the following resources:

http://www.diekur.net

https://diekur.bandcamp.com/

https://www.facebook.com/DieKurOfficial

Review: New Day Revolution - Self Titled EP

2019-06-06T07:47:00.004-07:00

New Day Revolution are a Michigan outfit, releasing their self-titled EP on June 29th of this year (2019). The first thing I thought from listening to this was something familiar though with some twists. The shouted vocals of frontman Dakota Starr are definitely something that are not common in this style of this style of rock, giving an edge to the proceedings that is refreshing. The music is modern rock with a (seeming) edge of post-grunge and hardcore metal, featuring grungey bludgeoning riffs and some funky solos. There is also a faint sound of Metalcore in there as well, but it’s not overpowering. I can also hear some hardcore style choirs in Protest Song '18, as well as a few dual guitar harmonies.

Back to the vocals though, this is an element that definitely makes the band unique. Reminding one of almost a mix between someone like Roger Miret if he had a touch of Brian Johnson in there, it’s an interesting approach in the least. One would expect considering some of the riffs at hand for there to be a slicker, more quantized singer, but the band is refreshing in this regard at least.

Sick Love continues the proceedings in much the same manner as the first song. Drop D tuned riffs, and 90’s influenced refrains and strains that definitely fit it right into “Active Rock” radio. This isn’t necessarily a bad thing, though I admit that the second song reveals a bit of a formula to the proceedings, despite the unique vocal style. The last chaotic riff of the song though definitely makes up for any shortcomings in the rest of the song.

Who’s Your God is the third song, with a slight eastern tinged riff to begin and then groove metal riffs proceed to hammer on. Definitely the most “metal” of the songs so far, complete with the double bass drums, and not so coincidentally, the best song thus far, complete with a angry political intent to the lyrics. A metalcore breakdown though does drag the song down a bit though, bearing an (unfortunately) predictable turn to the song.

Prey has an almost Rage Against the Machine feel in the beginning, before jumping into familiar and more melodic territory. A more interesting riff and a vocal style that almost has a Scott Weiland style melody over the top proceeds to improve (as with the previous song) the EP as a whole.

So all in all, what do I think of New Day Revolution? Well they definitely have an edge with their vocals and some of their more novel riffs. The parts that have a more commercial or formulaic sound though I have a harder time with. With such a unique vocalist and talent at hand, I’m hoping they can do more to differentiate themselves, and not capitulate too much to the Active Rock formula.

You can find more information on New Day Revolution from the following links: www.newdayrevolutionband.com
www.facebook.com/newdayrevolution

Review: Æternal Requiem - Rise

2019-05-01T08:12:00.004-07:00

Who says Traditional Metal, or even Power Metal is dead? In fact, in the underground for a few years now there has been a rebirth of sorts with international bands of all sorts known as the “New Wave Of Traditional Heavy Metal”. Some of the bands do things super traditionally, almost sounding like their albums were recorded in 1983, others spice it up with more modern Power Metal or other influences.

One such act making their ascent are Æternal Requiem,

Their newest album, Rise, is being set to be released June 11th 2019 (and will be available to purchase, or to stream, from most digital platforms (i.e. Spotify, iTunes, Apple Music, Google Play, etc.) and here's what I thought after taking a listen:

After a cool baroque intro and majestic continuation with electrified instruments (called strangely enough, “intro”) the metal begins with a downtuned riff pattern and somewhat blast beats with orchestral backing. It then continues with a Maidenish beginning or even recalling latter day Manowar in a way.

This song, "Rise", then continues with a baritone vocal that is majestic and medieval enough to carry the song ahead.

The vocals are the first aspect I recognized as having real appeal, since the genre of Power Metal can go either way, with a squeaky clean super high falsetto vocal abusing the high notes, or a growling Accept-derived clean style vocals. This band does neither (refreshingly). Having a more “crooner” style vocalist isn’t common in this style of metal, though lower vocalists do range in the style from Mathias Blad to the (underappreciated) Blaze Bailey. I could also add Pelle Ahman from the sadly broken up band, In Solitude, or even Tom Ecklund and there is also a slight Horror Punk vibe to some of the vocals as well (note: upon reading their press kit, AFTER doing this review, seeing that singer/guitarist Austin Zettner is influenced by Glenn Danzig was not a surprise!)

Some of the vocal melodies and melodies in general, at least early on in the album, Aeternal Requiem does in general also remind me of Folk Metal acts such as Tyr, etc, but with an added emphasis on heavier riffs than many of those bands. The raw yet smooth production on the album, which sounds neither too triggered nor sterile, does the music justice more than a lot of albums I’ve heard in awhile. If other bands got the memo that you can make great metal music without it sounding quantized 1000 times, it would arguably be in a better state right now. The fact that they recorded it on analog equipment (another fact I found out after the above lines were written) again comes as no surprise!

“Never Return” continues the album with an intro that almost reminds one of prime old school Amorphis with the it’s intro melodies, though it’s back to speed zone again after awhile.

One of the things that Æternal Requiem does that might not appeal to fans of many of the modern Power Metal genre is something that is actually a benefit. They have a very musical, sometimes understated style that is never too wanky for the sake of being wanky. This might actually appeal to some fans of bands of Slough Feg and other traditional acts rather than your average Dragonforce fan

To me, since much of the more modern style is played out in some ways (even if I liked the past couple Dragonforce albums to some extent), it’s a benefit that the band seems (despite blast beat parts and more extreme metal influenced parts) so owing to their traditional influences. The fact that a Traditional Metal band can sound so fresh is something that I treasure and gives doubt to the fact that the genre is dead in any way!

"On My Way" continues the album, with no less aplomb, though in much the same vein, but it’s the next song "Day Of Reckoning", an instrumental (which I usually always like on an album) that really kicks one in the gut. Full classic Maiden melodies intermeshed with almost black metal or brutal death blasts and then some awesome tones on guitar.

The next song is a ballad, about a very dark subject (in this case as the title suggests, a “Succubus”). The song is an almost perfect mesh of the gothic ballad and NWOBHM doomy Power ballad sound. A second half that Mercyful Fates it up is an awesome transition to melody and power even recalling some prime Norwegian Black Metal in a way (complete with subtle keyboards) towards the end.

“Dead to the World” begins with a bass intro, and a somber melody sets the tone for a song that then gets more epic (and fast). The galloping rhythms and changing intervals give a way to another darker gothic sound that is no less powerful. The hooks envelope you, with an awesome panache that will stick to you for days.

“So Far” ends the album with another Folkish style offering, complete with the choir vocals that appeared earlier on the album.

So would I recommend this band? I would wholeheartedly say yes. They mix a lot of different influences together, and have a fresher sound than many of the bands playing similar styles today. The earlier comparison to Falconer is especially apt, as (much like that band) none of the instrumental players take precedence over each other. There is some shred, and some virtuosic drums and bass, but it never gets overbearing. The band never gets formulaic though, which is common way too much in these genres, and there are enough epic parts and tempo changes to not exactly be Prog Metal, but definitely spicy!

If you want a band that values great melodies and great songs in the Metal genre today (not to mention production that has pure soul), I will again hesitation that you should keep an eye for these guys. There are definitely big things coming ahead!

You can get more information on Æternal Requiem from the following links:

https://www.facebook.com/AeternalRequiem/

https://www.facebook.com/Austinzettner

https://www.austinzettner.com/bio

Review: Manowar- The Final Battle (Part 1)

2019-04-02T18:33:00.005-07:00

Manowar are a band that in recent years, have had an unprecedented amount of bad luck and bad will encumber their status of being the “Kings of Metal”. Lawsuits, albums recorded and then outright scrapped, the death of longtime drummer Scott Columbus, re-recordings of some of their classic albums, and..well we’ll leave the other recent big event alone because there’s been plenty of talk of that controversial (as well as devastating) subject. The band has encountered controversy after controversy in recent years, and in many ways, been denigrated to be a running joke in the metal community.

Any regular reader of this blog is probably familiar with many of my takes on the various controversies, and how I view much of their recent trajectory (that is, not so favorably).

That said, when it comes to the music, the question on many fan’s minds is what they would do next. After announcing their final tour, they have now decided to release a series of EPs to mark their “final” tour (and if it’s actually final of course remains to be seen). The first in the succession of these EPs is the aptly named “The Final Battle Part 1”.

One of the first things I noticed is an immediate improvement to the production. Their last album, The Lord Of Steel, had abysmal production, confounded by the fact that there were two different mixes of the album, one exclusively available with the purchase of Metal Hammer magazine, and the other available through online sources and retail. The “magazine” mix arguably being more trebly and less muddy, and the “retail” version sounding very murky indeed.

The Final Battle, in contrast, is back to at least “Gods of War” level of production. The drums, actually sound less mechanical it can be argued than anything since 2002’s Warriors of the World actually, and considering the low standards I had for this release, is an amazing improvement. Also, the recruitment of former Yngwie Malmsteen/Hammerfall drummer Anders Johannson is certainly a course correction as well.

The guitars are also improved. As far as the last few albums, Karl Logan had a very weird tone at times, and an even worse lead tone. I always thought he had an idiosyncratic style, but hearing the tone of the guitars on this ep (assumingly their new guitarist), the improvement to the overall guitar tone (especially on leads) is obvious.

Hearing a smooth guitar tone on a Manowar album (or in this case, EP) is very refreshing after many years of weird mixes (even on the “remake” albums to some extent). The mix is the best mix probably since 90’s Manowar, and this is another improvement that is an exciting course correction.

You can hear the bass, drums, guitars, vocals, and orchestration in even amounts, something that recalls albums such as Louder Than Hell, or Triumph of Steel!

But how does the songwriting stack up?

The album begins with an orchestrated intro piece, March of the Heroes Into Valhalla, and I must admit, it reminded me of those YouTube ads for RPG mobile phone games that feature video game music, even if it succeeded at being exciting to a certain extent.

The first "proper" song, “Blood and Steel” is about as hackneyed as Manowar can get, lyrics wise. The riffs almost make up for it though, featuring groovy somewhat old school riffs and turnarounds. The second song another “touching Manowar ballad” as in the tradition of ballads of their past. Not on the Swords of the Wind, or Heart of Steel level of epicness by any stretch, it’s still refreshing to hear a Manowar song with a somewhat Celtic feel, something that they hadn’t attempted before. And of course, the excellent vocals of Eric Adams catapult this song to a higher level as well. New guitarist E.V. Martel brings one of the best solos in a Manowar song in a very long time as well.

The final song should prove a huge surprise to long time fans. Entitled “You Shall Die Before I Die”, it almost recalls the beginning of Bridge of Death in some ways, but features vocals by none other than..Joey Demaio! It’s an interesting, somewhat doomy dirgey song, with a somewhat extreme vocal style from Demaio, along with some very low melodic vocals in the beginning. It’s somewhat of a challenging approach to vocals, but the song remains dramatic and interesting enough to carry it along.

One thing about the release that is clear is that Manowar seems not to be playing it as safe as they have often in recent years. Case in point: the album that Lord of Steel was intended to be was an album called “Hammer of the Gods”. According to the band themselves, they completely deleted the album (other than the Thunder in the Sky EP/Single) and recorded “Lord of Steel” instead. Many fans have long suspected the reason for this was the backlash that Gods of War had for being a hugely “orchestral” album, and following that up with another album in the same vein seemed to be controversial to a lot of diehards.

Even through the short running time of “The Final Battle” though, they seem to have returned some of the orchestral direction/influence that they were going towards with Gods of War. This is refreshing, given the underwhelming response that even Lord of Steel (which granted, wasn’t the worst album in the world) received, Manowar aiming higher with their music even to the dismay of critics is something that is indeed admirable and the response to Gods of War should in many ways not have swayed them to go so far in a “rawer” direction just to please the critics bashing the orchestral direction.

Overall, to call The Final Battle Part 1 a “return to form” would be premature. However, if the band continues in such a direction then this may very well be the case. Correcting the production issues plaguing (some of) their recent releases, releasing more original material instead of rerecording classic earlier albums (granted, many bands do this, and Manowar may be no exception behind the scenes, because of some of the horrible record company contracts that were signed in the 60s, 70s and 80s, and the only way for a band to have the rights to their earlier albums in some cases is to rerecord them), as well as having a fresh recording lineup may inject literal new blood in the band, even if they are truly in their “final” years as a band.

Interview: Evestus

2019-03-12T12:42:00.000-07:00

Evestus is an Electronic/Industrial/Rock Band from Estonia who has just released their new EP, Post 18 Depression. I found them to be an intriguing example of a modern band playing a classic sound that exudes atmosphere, attitude, and angst. Here is my recent interview with mainman Ott Evestus, covering a variety of topics:

How/When did Evestus start? What was the original impetus for the project?

I used to play drums in a few bands and then do vocals in a metal band for some years until I started experimenting with computer music. My first album came out in 2005 called “Destiny In Life” and it's absolutely horrible glitchcore/samplecore experimental piece of work mainly consisting of samples from movies and cartoons.. I decided to call this project after my last name which is Evestus and .. well.. despite this horrible creation I got signed to Canadas Dtrash records and just kept going. I've come quite along way since then haha!

Who are your influences, (and definitely include films, games, or even books if they’ve influenced the project)?

Well, musically there's mainly The Prodigy, Marilyn Manson and Nine Inch Nails but this only does make up about 25% of the influences – the rest is games like Fallout 2, Vampire the Masquerade, Bioshock – films like Fight Club, They Live and graphic novels such as Transmetropolitan and The Maxx – just weird shit that looks like fantasy until it actually happens to you you know. Or maybe there are just certain people who live these kind of lives and the rest live on thinking this shit only happens in movies haha.

Describe the musical climate (As far as your genre) in Estonia.

Haha! That's really simple. We've got Evestus, Freakangel, Forgotten Sunrise and Pedigree. If you're a really hardcome industrial music nerd, you might actually know all of these bands, but yeah, that's pretty much all the industrial there is over here. And whenever any of these bands has a gig, the local rivetheads get together and have a party. And it's really sweet, but after playing a couple of years, you realize that you're playing to the same people and they're amazing people and all, but as an artist, there's nothing like the expression of the crowd who sees you for the first time! That's a hard drug for me and that's why I play outside of Estonia as much as I can!

Evestus is an interesting project to me because the atmosphere and instrumentation seems to have elements that are modern, but also recall some of the yesteryears of electronic music going to the 80’s and 90’s, was this your intention?

I didn't exactly think this through went I got into it – I still don't really.. I think these are the things that have stuck to me and what I feel like doing at the moment. I do love the sound and atmosphere of nineties industrial rock – I think the 90's was the darkest era in any style of music – and I draw a lot of inspiration from there.

What goes into your mind when you write lyrics?

My lyrics tend to be quite personal. Just about how I feel towards this world and my place in it. And other times I go into social criticism. I've tried to, you know, “come up with stories” aswell.. but I just, you know, if I don't feel it, I can't really describe it.. so I just stick you what I know and feel.

What do you write first, the lyrics or compose the music first?

I usually do the music first, then listen to it and figure out what emotion is in there – what's the story this melody or beat is describing.

Is Post 18 Depression a concept album of sorts?

Yes, it is. As a whole. The artwork and music and everything forms a really solid package. We've spent 18 years since the millennium change and the world is pretty much fucked and we're all pretty fucking depressed. That's (roughly put) one of the concepts – but there's a few more layers to the EP.

The album features a cover of (Tears For Fears, who I’ve been actually listening to lately) Mad World, what inspired you to cover the song and do you think the lyrical ideas fit into the other tracks in a way?

Yes, this cover is like a centerpiece of the EP – it fits perfectly into the concept of Post 18 Depression. I actually had the idea of this version of the song in my head for about a year – it just came to me one day that this song could work really well in this sort of gothic vibe. I tried it out at some live shows and the audience really dug it. It might have been the spark that made me create the Post 18 Depression ep. To give it a nice home.

Was the idea of the cover in part to kind of return it to its original (New Wave, Electronic) roots, since the piano/vocal only one seems to be more well known nowadays?

You know what – I listened through about five pages of cover versions on youtube before recording this. And 90% of the covers made were either just a piano or an acoustic guitar. They all sounded like versions of Gary Jules's cover. And that DID make me feel a bit sorry for the original Tears for Fears version. But as I said, I just had this concept in my mind and right now I feel like this version of the song has always been there as well.

Where/when can we expect Evestus to tour?

Right now it looks like the next tour will be in Poland and then UK.. but not until the end of the year.

What is your favorite equipment/plugins/software when it comes to recording/composing music?

I love Cakewalk, Sound Toys, Spectrasonics and my Novation Mininova. I don't need much :D

A Special Thanks to Evestus for this terrific interview.

You can find more info about Evestus from the following links:

http://www.evestus.net

http://youtube.com/Evestus

https://evestus.bandcamp.com

Review: IDEK- Battered and Blue (Single)

2019-03-08T15:50:00.001-08:00

“Battered and Blue”, the new song by IDEK, has appeared, and it definitely represents an evolution in their sound. The band has been reviewed on these pages before, and it’s remarkable how much they’ve evolved in a few short years, if this song is any indication.

The song starts out with some soft, somewhat dissonant guitars and goes to a heavier, somewhat odd timed flourish that almost reminds me of current Prog-Metal superstars such as Leprous.

I found the vocals much to my liking, for some reason, the singing (the normal melodious singing that is) reminded me of singers such as Voivod’s Denis Bélanger, which, being a big Voivod fan as I am, is a welcome treat.

The song continues with the surreal sense of foreboding, with some extreme vocals in the background (though done in a very way, not too overpowering). The song also features a cool midsection with some jazzy instrumentation with horns continuing the winding melody from the rest of the song.

It then concludes in it’s second half with heavier guitars and more extreme vocals but then resolving with some (nearly Voivodish again (!) style chords and then the chorus. The band has definitely evolved into something intriguing, and I would definitely keep an eye on what they have in store for the future. You can get more information on IDEK from the following resources:

https://www.facebook.com/IDEKband

https://twitter.com/IDEK_band

https://idek3.bandcamp.com/releases

https://soundcloud.com/idekband

https://open.spotify.com/artist/6M0dhWufQA2flWNxzrQ4E3

Review: Lana Laws - Kalasin

2019-03-06T17:25:00.003-08:00

Lana Laws in her bio, describes herself as: "A transgender multi-instrumentalist and innovator, Lana Laws has gone from relative obscurity to national identity in only a few short years. The creative mind behind progressive metal project, ‘Kalasin’, Lana uses her talents for singing, keyboards, guitar, and bass to create symphonic metal compositions that flow with definitive grandeur. "

So does the music live up to the hype? Let's find out for ourselves!

The first song, "The Chasing of Perfidious Mists" reminded me of bands ranging from Stratovarius to

Reinxeed or Sonata Arctica to the mighty X Japan, if only for the regal piano melodies that become more prevalent later in the song. I noticed early on that this is a (mostly) instrumental project, which to some may not seem appealing, but being a musician myself and someone into instrumental projects/songs, I definitely can appreciate.

The second song is "The Mutilation of Heritage" and it comes in with a very "tribal" sounding intro and "middle eastern" style melody. Very cool and classy I would say! It proceeds with an almost Black Metal style of orchestration, going into a more majestic section and then a more extreme section again, complete with blast beats.

The next song, "Identity : Prosperity: Obscenity" continues with the Eastern feel of the prior song, and features a novel beginning that has some Electronica inserted. The song goes to some more slightly dissonant sections and again, a more hopeful piano interlude.

The following song, "To Glidge The Competing Winds To Freedom" almost reminded me of a mid-Nineties Castlevania video game (think Symphony of the Night) if the original had a full band soundtrack. Reminding me of some of my favorite acts such as (especially early) Arcturus, to me this was the standout song of the album.

I also dug the drum (programming?) on this one, more so than some of the earlier tracks especially. The next song, "A Tortured Score" continues sort of in a similar vein, though a bit more mid-paced and cleverly quotes Andrew Lloyd Webber's Phantom of the Opera at a certain point (see if you can spot this).

"One Final Swell, The Fatigued Orchestra Retires, Farewell" is the second to last track and kind of recalls the early tracks that had more of a power metal influence. I liked the dreamy atmosphere on this song, as well as the drums. The album concludes with "The Skin That I'm In", which is a huge departure from the previous proceedings. Reminding one of mid-period Hypocrisy both with guitar tone, vocal feel and also general vibe, this is an angrier, more guitar oriented track that almost nearly scraps the keyboards that are lushly placed on the rest of the album.

Now onto the bad of the album: There aren't a lot of bad things to say, but I would definitely have recommendations. Instrumental or mostly instrumental music is an extremely tricky genre to get right, especially within the metal medium.

I would say some things could've spiced up some of the songs, like more shred style guitar, or a seperate melody that is more "vocal like" without having to have vocals. Guitarists like Steve Vai or Joe Satriani have wide appeal because they are able to have a melodic theme develop above the rest of the music, and while Lana definitely has a huge amount of melody at her disposal, a few of the songs sound a bit hollow as far as lacking this intriguing bit.

A band like Behold The Arctopus is instrumental, but since they shift so much in modes and riffs it becomes a thing all it's own.

For the (somewhat) more straightforward music Lana plays, it would only benefit the music to have more of a simple melody going over a few of the song to make things more "catchy", though most of the time, it definitely transcends this issue and it's definitely only a few of the songs that suffer from this "ailment".

I also found the music a bit unbalanced as far as mix and mastering goes. A few songs are a bit too compressed and a few songs not as much. This is a relatively small quibble as most of the time I was too enveloped in the music to care, but a few times it was definitely noticeable.

One last critique would be the drums. I am not certain that the drums are programmed, but if they are, I think there are a few parts that could use a smoother way of programming, or better yet, an actual drummer to do session work. Bands ranging from Limbonic Art to the Sisters of Mercy can make programmed drums work, in part because they add to the atmosphere and are programmed in a way to do such things, but in the case of the project in question, it seems to be begging for a drummer to do a more organic recording.

Overall though, this is definitely a project to keep one's eyes on in the future, and I would recommend it to people who dig dark dramatic symphonic metal.

You can find out more about Lana Laws from the following links, and make sure to also watch the video version of the review below:

https://lanalaws.bandcamp.com/releases
https://www.deezer.com/en/album/83787052
https://open.spotify.com/album/7eXjvzAdHhLNrWAyOd2fkl
https://itunes.apple.com/us/album/kalasin/1448947608
https://www.amazon.com/Kalasin-Lana-Laws/dp/B07M7G6RVB
https://play.google.com/music/preview/Blghzqqxpmdqk5s6hj5tj2jta6y?play=1
https://www.iheart.com/artist/lana-laws-31699834/albums/kalasin-67765102/

www.facebook.com/lanalawsmusic
www.instagram.com/lanalawsmusic
www.twitter.com/lanalawsmusic
www.snapchat.com/lanalawsmusic
www.youtube.com/lanalawsmusic
www.soundcloud.com/lanalawsmusic