TlДlЮk The God

Enslaved - Axioma Ethica

2013-02-07T17:28:00.003-06:00

Enslaved is a progressive black metal metal band formed in Sveio, Norway, in June, 1991. They are currently based out of Bergen, Norway

Current members

Grutle Kjellson – vocals, bass (since 1991)
Ivar Bjørnson – guitar, vocals (since 1991)
Arve "Ice Dale" Isdal – guitar (since 2002)
Cato Bekkevold – drums (since 2003 - formerly of Red Harvest)
Herbrand Larsen – keyboards, vocals (since 2004)

Studio albums

Vikingligr Veldi (1994)
Frost (1994)
Eld (1997)
Blodhemn (1998)
Mardraum – Beyond the Within (2000)
Monumension (2001)
Below the Lights (2003)
Isa (2004)
Ruun (2006)
Vertebrae (2008)
Axioma Ethica Odini (2010)
RIITIIR (2012)

Support The Band : http://www.myspace.com/enslaved

Download The Cd : http://www.4shared.com/file/Hg_cs-_E/Enslaved-Axioma_Ethica_Odini-2.htm?aff=7637829

Fatal Mutiny - Insult To Life

2012-07-16T04:14:00.000-05:00

Fatal Mutiny is a Thrash metal band from Ioannina (Hellas). The whole idea begun when five guys got together and decided to play music. While playing their favorite cover songs they started composing some songs of their own. This is how the first tracks became reality. In the meantime the very first lives had already took place. They recorded their first demo “Insult To Life” with Stam (ex member – vocals) and after that Mitsos started doing vocals. So there were four. After a lot of rehearsals they managed to compose some songs and played some more lives. Their new compositions seem to be more technical than their early songs and with a more mature perspective as concerns the structures. Their goals are to give personality to their music and create a unique sound.

Band Members:

Sakis – Drums

Mitsos – Guitars, Vocals

Kostas – Guitars

Drakos – Bass Guitar, Backing Vocals

Support The Artist : http://www.facebook.com/pages/Fatal-Mutiny/115336961904003

Check their demo here: http://soundcloud.com/fatal-mutiny/sets

Defeated Sanity - Chapters Of Repugnance

2012-06-26T13:29:00.000-05:00

Defeated Sanity is one of the unique names when technical death metal is the case. I can’t find technical...

Tracklist:

1.	Introitus
2.	Consumed By Repugnance
3.	Carnal Deliverance
4.	Salacious Affinity
5.	Engulfed In Excruciation
6.	Coerced Into Idolatry
7.	Blissfully Exsanguinated
8.	Calculated Barbarity
9.	Lurid Assimilation

Help The Band : http://www.myspace.com/defeatedsanity

Download :http://www.mediafire.com/?wayoiymvgey

Mose Giganticus - Gift Horse

2012-02-23T06:48:00.000-06:00

Mose Giganticus is a one man band constructed by Philadelphia, Pennsylvania-based Matthew Garfield, who had put in plenty of time in various punk bands of the area. Since formingt he project back in 2005, this project has seen a few albums, but none as heavy, entertaining, yet odd as far as the music for this release goes. Gift Horse, the second full-length album from Mose Giganticus,is essentially a Sludge Metal style of playing with some Hardcore and Punk influences that are brought in, but mostly through synthesizers. However, with Gift Horse, it seems that the material this time around is much more Sludge oriented with synths then anything else. This more refined sound leads to Gift Horse being a great album that really stands out amongst the many Mastodon clone bands in this style, and may very well toppled them and each doppleganger all at the same time.

While this album does seem to focus moreso on the Sludge sound of the music, there are still some tracks on here that still bring in the whole Punk and Hardcore atmosphere. Take "The Left Path" for instance. While this track has the ground work of a Sludge album, it has the speed and even the group chanting that would commonly be associated with the Hardcore music style. These elements added together work great and really make this track stand out above all on the release for how heavy it ultimately sounds. However, all of this applies only to the speed factor of the album. While this track is one of the most enjoyable and really stands out amongst the faster tracks of the album, there's no denying that "Days of Yore" is easily the most unique track on this entire album, with it's insane layer of science fiction atmosphere that gives the song an almost astral feel thanks to the synthesizers that overpower the track to take you on one hell of well composed trip right from the start.

While the Sludge aspect of this album is absolutely fantastic and really works well to create an experience all it's own, the tracks like "Days of Yore" are really where this album shines. While "Days of Yore" is enough that it could sweep you away into a whole other musical world without leaving the Sludge roots behind, it's the song "White Horse" that really drives the album home with it's epic overall sound thanks to the heavy synthesizers and accompanying guitars, all of which building a very intense song without going over the top, acting as sort of a climax track to the concept behind the album, which apparently is that of the building tension before the great war between Heaven and Hell, and the discussions between God and Lucifer.

Gift's Horse Tracklist:

Last Resort - 4:03
The Left Path - 4:14
Demon Tusk - 3:44
Days of Yore - 3:47
The Great Deceiver - 4:07
White Horse - 4:53
The Seventh Seal - 5:04

Support the Band : myspace.com/mosegiganticus

Download Gift Horse : http://www.mediafire.com/?hgv64cqjgg0jc7g

Alice Cooper - Welcome 2 My Nightmare

2012-02-19T17:18:00.001-06:00

Welcome to My Nightmare is the eighth album by Alice Cooper, released in 1975. This was Alice Cooper's first solo album (all previous Alice Cooper releases were bandefforts). The cover artwork was created byDrew Struzan for Pacific Eye & Ear. Rolling Stone would later rank it as one of the "Top 100 Album Covers Of All Time".

Welcome to My Nightmare is a concept album. The songs, heard in sequence, form a journey through the nightmares of a child named Steven.

Welcome to My Nightmare inspired the Alice Cooper: The Nightmare TV special and a worldwide concert tour in 1975, and the Welcome To my Nightmare concert film in 1976.

The song Welcome to my Nightmare is a parody of the 1968 novel "There's a Nightmare in My Closet" by Mercer Mayer.

Famed film actor of the Horror genre Vincent Price provided the introductory monologue in the song "The Black Widow".

The remastered CD version adds three alternate version bonus tracks.

In 2011, the sequel Welcome 2 My Nightmare was released.

Track listing

"Welcome to My Nightmare" (Alice Cooper, Dick Wagner) – 5:19
"Devil's Food" (Cooper, Bob Ezrin, Kelley Jay) – 3:38
"The Black Widow" (Cooper, Wagner, Ezrin) – 3:37
"Some Folks" (Cooper, Ezrin, Alan Gordon) – 4:19
Only Women bleed (Cooper, Wagner) – 5:49
"Department Of Youth" (Cooper, Wagner, Ezrin) – 3:18
"Cold Ethyl" (Cooper, Ezrin) – 2:51
"Years Ago" (Cooper, Wagner) – 2:51
"Steven" (Cooper, Ezrin) – 5:52
"The Awakening" (Cooper, Wagner, Ezrin) – 2:25
"Escape" (Cooper, Mark Anthony, Kim Fowley) – 3:20

2002 CD reissue bonus tracks

"Devils' Food" (Alternate Version) - 5:13
"Cold Ethyl" (Alternate Version) - 2:56
"The Awakening" (Alternate Version) - 4:20

Personnel

Alice Cooper - Vocals
Bob Ezrin - Synthesizer, Arranger, Keyboards, Vocals, Producer, Fender Rhodes, Remixing, Mixing, Remix Producer
Vincent Price - Special Effects, Vocals
Dick Wagner - Electric and Acoustic Guitar, Vocals
Steve Hunter - Electric and Acoustic Guitar
Josef Chirowski - Synthesizer, Keyboards, Vocals, Clavinet, Fender Rhodes
Prakash John - Bass
Tony Levin - Bass
Pentti "Whitey" Glan - Drums
Johnny "Bee" Badanjek - Drums
Greg Allen - Art Direction, Design
Craig Anderson - Mastering
Bob Brown - Second Unit Director
Spencer Chrislu - Author
David Ezrin - Vocals
Jim Frank - Engineer
Dan Hersch - Mastering
Bill Inglot - Mastering
Bret Lopez - Photography
Gary Lyons - Vocals
Allan MacMillan - Arranger
Toby B. Mamis - Project Assistant
Brian Nelson - Project Assistant
Jeffrey Morgan - Liner Notes
Rod O'Brien - Engineer
David Palmer - Engineer
Phil Ramone - Engineer
Mike Reese - Mastering
Michael Sherman - Vocals, Production Assistant
Ed Sprigg - Engineer
Corky Stasiak - Engineer
Julee Stover - Editorial Supervision
Drew Struzan - Artwork
Charlie Watts - Mastering
Gerry Yons - Guitar
Trish McKinnon

Support Alice Cooper : http://www.myspace.com/officialalicecooper

Download Welcome 2 My Nightmare : http://www.unibytes.com/zUiA9osnKv4B

Remastered Review From Wiki

For Settler \m/

Divinity - The Singularity

2012-02-03T07:44:00.000-06:00

Hailing from Canada, Divinity play a sort of mix between Progressive Death, Technical Death, and Melodic Death/Gothenburg with an overall spacey feels that gives the band a wholly original sound. If you are into any of the previously mentioned genres then this band is definitely one to check out. To be honest I'm pretty surprised that I haven't heard any chatter about this band at all this year, being that they released a new album on Nuclear Blast and their sound should appeal to many people. Despite this, The Singularity contains plenty of gems coated in intricate riffage enhanced by great sound editing (you can actually hear the bass sometimes!) it would be a shame to let this release go by unnoticed.

The album starts off with a bang with "Abiogenesis," a simple song mostly containing chugging on the same note that is arguably my favorite out of them all. This song sounds a bit like a futuristic war march, and if two planets were going to commence battle in the year 3000 this is what I would want to play when the troops clash. The tracks just get more complicated and technical from then on, some of the notable ones being "Beg to Consume," "Lay In The Bed You've Made," and "Embrace the Uncertain," which contain catchy choruses and perplexingly awesome riffs.

There are little faults with the album, but I'd be lying if I said I loved every song every time I listened to them. When I sat down and tried intently listening to the whole thing start to finish I ultimately became bored, but it was when I listened to the songs in chunks of three or four at a time that I enjoyed the release the most. It was also a grower for me, ultimately catching on after two listens. Despite this, The Singularity is a great and highly recommended release.

Support The Band :http://www.myspace.com/divinitymetal

Download The Singularity :https://rs9l32.rapidshare.com/#!download|9tl5|321802457|DIVINITY_-_THE_SINGULARITY__2009_.zip|67007|R~119697FF9CAC32F5881094D88F333175|0|0

Assjack - Assjack

2011-12-24T16:24:00.000-06:00

If you're primarily a country musician and want to cross over, don't take the Shania Twain route and softsoap your stuff with a Top 40 gloss to the point you embarass yourself--albeit the paycheck at the end of the day sure eases your ego. Don't take the Garth Brooks route and release an apposite quasi-rock album with hints of country courtre under an alternate identity. On the flipside, don't be like Christina Aguilera and do the about-face tactic, transforming from digitally-baked pop diva to a quote-unquote "serious" country performer, because it simply backfires and as she found out, nobody listens anyway. Not everyone has the natural grace and charm of a Loretta Lynn or Dolly Parton to make an easy transition to differing audiences without altering their schemes. Loretta Lynn may have benefitted from rubbing elbows with The White Stripes' Jack Black as Tony Bennett did with The Red Hot Chili Peppers, but Lynn changed not a stitch of herself, God bless her honest self.

Hank Williams III (known to the underground lovingly as Hank III or simply III) is no Chris Gaines, but he might be a Gibby Haynes at heart. It's no secret the hellbilly from Tennessee is one of the fiercest competitors on the scene, be it in a country forum or along the metal and punk avenues. Hank III staked his rep for the latter genres by ushering a crunky, curse-laden form of traditional country to the Warped Tour and hellhole bars thereafter. Whether you find his snarling attitude and sense of "fuck you" lurking beneath a sound more in tune with the Depression-era dustbowl country music Hank III's reknowned grandfather soothed a bruised nation along with Hank Snow offensive, that's your problem, were you to ask III. It's recession time in the 2000's and III would rather exhibit the modern sentiments with his music than pussyfoot about things.

As psychobilly has blossomed in the American punk underground on the heels of Reverend Horton Heat, Tiger Army, Koffin Kats and the Danish superstars Nekromantix (who've mastered the style better than anyone), it should've seemed logical a guy who drinks piss 'n vinegar from a Mason jar and then spews it out in his gnarled delivery would've taken on a psychobilly project.

Welp, Assjack is the extension of Hank III's more riotous candor, but psychobilly this is not. Yep, there's a polecat and huckleberry demeanor projecting through Assjack, but the end result to Hank III's one-man-show is more in tune with the Butthole Surfers (ala Independent Worm Saloon), latter-day Ministry and the long-ago Al Jourgensen/Jello Biafra collaboration, Lard.

Performing the whole damned thing himself, Hank III's Assjack rings like the instigation of a teenager blowing his load out a speeding car window and laughing irresponsibly at the sight of his spew slicking itself across some hapless schmuck's windshield.

In the past Hank III has been found onstage peeking from behind the drum kit in Arson Anthem as well as slapping the tar out of his bass in Superjoint Ritual. As much a fan of Pantera as Waylon Jennings, expect Assjack to be chocked full of Dimebag Darrell chunk riffs along with some rather proficient death metal shredding. Embodying everything relayed in this review on his album's closer "Doin' What I Want" where Hank III screams "don't give a fuck!" at the top of his lungs, you have to appreciate the meaty chugs and the sicko blast beat patterns the youngest Williams fuses together. He barks with all of his manhood and throws in dragged swill vocals as if Ozzy Osbourne had spent a weekend in the South and tossed back more Kentucky Gentleman than one could intake without bumbling straight into the grave.

"Tennessee Driver" kickstarts Assjack with a doom intro before taking flight on a banging rhythm ala the Butthole Surfers' "Who Was In My Room Last Night?" (just as the Surfers took on a country kitsch on the same album with "You Don't Know Me") "Wasting Away" subsequently crushes your subwoofers with a loud stomp and "Choking Gesture" is Hank III's declaration he can heavy things up with the best of them. The same guy who essentially told The Grand Ole Opry to screw itself on his current country album Damn Right, Rebel Proud wants metalhead haunts to know he can easily wrangle up a mosh pit with the same vociferous vengeance.

Hank III tears his esophagus out on "Gravel Pit" and the greased-lightning thrashers "Redneck Ride" and "No Regrets" (the latter of which shows III exhibiting some Jello Biafra gurgling) as well as scatting quickly-wrought lines like a man with the fuzz on his tail on the careening "Cut Throat" and "Smoke the Fire."

If you're skeptical about a country kid jumping ship onto a metallic plank, believe in Shelton Hank Williams, III. Assjack is as loud as advertised and III has more aptitude for this music than some spending their whole lives in it. While there's more than a share of digital assistance to this project, Assjack is mostly au naturale parts thrown into Hank III's audile meat processor and have faith he grinds it up to manic delight. Besides, he has a performing band he's taking on the road as Assjack, along with his "Damn" country band, both appearing on the same bill. That's a dude who really loves performing music.

Not really the big surprise to 2009 as much as it is the year's biggest "hell yeah!" Assjack is an industrial-metal hee-haw with its hooves raised higher in the air than Hank III's middle finger.

Support The Band: http://www.myspace.com/hank3

Download The Album: http://www.mediafire.com/?tvymmwdmjz1

Soulfly - Soulfly

2011-12-04T16:54:00.000-06:00

Now onto the music, the album starts with a bang in Eye for an eye. Max’s harsh vocals, Mikes interesting riffs and Rays accents make the song a smash start to the album. The album paces itself with the songs No Hope = No Fear and Bleed. While No Hope = No Fear featured more of what was on the previous track, being Palm muted guitars with Max’s harsh screams in the verses and short and simple choruses Bleed featured Fred Durst? WHAT?! Well any ways Bleed still proves to be a good song going to what seems like Nu-Metal almost (But of course this going to happen) with Fred rapping. The next few tracks offered just the same thing but with less appeal with the exception of a few groovy riffs and the tribal influenced drums the songs couldn’t compete with the start of the album. Though in Bumba Max takes a different approach by adding some Portuguese in the lyrics, but still Max’s screams get lazier and worse in every track even unbearable at times. The track Soulfly (yes, there’s a song that’s the same name as the band) brings the album a new look, not only as a instrumental track but also shows the tamer side of Soulfly, also it gives the listeners a break from Max’s vocals with progressive like guitar riffs and the gentle tapping of bongos the song takes you to paradise. The following track Umbabaruma keeps them coming with a pumped up chorus the song will have you out of your chair head banging. The songs become more and more equal as the album goes, Fire and No give excellent instrumentation with some good lyrics from Max, and also I quite like Max’s screams in both songs. Prejudice is an odd track, the song features many different artists singing with Max from different genres, an interesting idea. On the other hand Karmageddon was a complete bore fest and was unwise to set it as the album closer, as the second instrumental Soulfly was much better while this track was basically just Ray doing the same fill over and over again and not at any significant pace either.

How was the band? The band was excellent, the guitars are creative interesting and surprisingly are hardly ever repetitive, Ray is superb and shows the most consistency of any member of Soulfly, the bass is hard to hear at times but remains to be respectable while Max uses an at times nasty scream and usually just doubles up Mike on guitar, I would defiantly like to see more from Max. Though I said the guitar is hardly repetitive the guitar is usually repetitive during the end of songs making the songs blend which is not good. Sometimes the instrumentation is flat and only accented by the drums adding to the blending of songs.

In Conclusion Soulfly have created a solid peace of music but they can defiantly use improvement by adding a few accents and maybe adding Max’s clean voice. The consistency of the album is another issue as the beginning seems to give more appeal than rest of the album because of some of lesser tracks in the middle and that’s a shame. Besides that the album was a hit with me and I recommend it to thrash and metal fans since it’s a brutal head bangger.

Review:Sputnik

Some Things About The Band

Year Of Release :1998

Tracklist:
01. Eye For An Eye (with Burton C. Bell and Dino Cazares)
02. No Hope = No Fear
03. Bleed (with Fred Durst and DJ Lethal)
04. Tribe
05. Bumba (with Los Hooligans)
06. First Commandment (with Chino Moreno)
07. Bumbklaatt
08. Soulfly
09. Umbabarauma (with Los Hooligans)
10. Quilombo (with Benji and DJ Lethal)
11. Fire
12. The Song Remains Insane
13. No (with Christian Olde Wolbers)
14. Predjudice (with Benji)
15. Karmageddon

Members Of Soulfly :

- Max Calavera- Vocals,Guitar
- Marcello D.Rappa- Bass
- Mikey Doling- Lead Guitar
- Ray Mayorga- Drums

Support The Band : http://www.myspace.com/soulfly

Download SoulFly : http://www.mediafire.com/?ryet1xi52oz

Kataklysm - Heavens Venom

2011-11-03T14:09:00.000-05:00

You probably think you know how this review of Heaven’s Venom is going to read. I’m going to trot out some clichés about Kataklysm being one of those bands laden with backhanded compliments – “consistent”, “dependable”, “proficient” and the like – without ever saying anything really positive. I’ll throw in some spiel about side-projects to cover up my lack of enthusiasm for “yet another Kataklysm” record. If you think that, you’re completely wrong.

All of those words would’ve been appropriate at previous point’s in Kataklysm’s career. They’ve been a stalwart of the death metal scene but have never really threatened to join the leading pack – usually good, always technically accomplished, varied but only very occasionally touching on excellence (Shadows & Dust from 2002 perhaps being the closest they have come in recent years).

In between this and 2008’s fairly solid Prevail, frontman Maurizio Iacono took the band off for his side-project Ex Deo. The result was the superb Romulus, a concept album based around the rise of the Roman Empire delivered through the medium of symphonic extreme metal. In truth, it was a far more interesting outing than anything his main band had put together for some time. Yet despite several tours and barely a year passing, Kataklysm have returned to their day jobs, ditched the synths and costumes and sound refreshed and invigorated. What the fuck happened to side-projects draining creativity?

Heaven’s Venom is not simply a case of tightening things up and sharpening the attack though. Things are still very much in full-on death metal territory, with plenty of barrages of out-and-out brutality and large doses of filth, but the increased guitar melody freshens things up dramatically from recent work. Although they do drift into some inevitable Gothenburg-esque minor key lead lines, it stops well short of a tired At The Gates parody. There’s plenty of the trademark Kataklysm riffs flying around, but these sometimes sound higher up the fret board than they have previously. Iacono’s vocals are still throat-shredding and fearsome, and there are none of the Ex Deo symphonics floating around.

The one slight complaint is the faux-philosophical macho bullshit spoken right at the beginning. It may be the way their albums have opened for a decade, but it sounds overly juvenile for a grown-up band like Kataklysm – actually sod that, it would sound like the infantile bollocks on Hackneyed's debut, but at least they’d have an excuse of barely being out the womb. Here it just blunts the roiling attack of opening track ‘A Soulless God’. But it’s still just a minor gripe at best.

The usual features of the Canadians’ work – technical proficiency, good riffs, strong song crafting and heavy as fuck – are all here, but Heaven’s Venom graduates beyond that. Haunting solos, muddily beautiful lead lines and hooks within the brutal vocals all mould into a genuinely engaging record. Starting well with the stomp of ‘Determined (Vows Of Vengeance)’, getting stronger with the misery of ‘Hail The Renegade’ and staying interesting right through the mournful horror of closer ‘Blind Saviour’, Heaven’s Venom is consistent but not in the backhanded way that can sometimes imply. The high quality is maintained throughout and never threatens to run out of steam.

I have to admit, I was expecting that so-so record I described at the beginning of the review, and by this point to be telling you how I’d prefer more Ex Deo records if Kataklysm can’t release records as good as Romulus. Instead, Katakylsm haven’t just matched that side-project for quality, they’ve surpassed it, with Heaven’s Venom the band’s best record from a career spanning ten albums across nearly 20 years. It’s nice to be proved wrong. (By Tom Dare)

Support The Band: http://www.myspace.com/kataklysm

Download Heavens Venom: http://www.mediafire.com/?3t47ri2858j3n6q

2011-10-31T16:49:00.000-05:00

Because i couldn't describe you with one song , i sumed up 5 main situations (which i feel with you) with 5 pictures and 5 songs which are (in some way) representing these situations, so that's for you mademoiselle Artemis!

When you are happy...

http://www.youtube.com/watch?v=7m7njvwB-Ks&ob=av3e

When you are angry...

http://www.youtube.com/watch?v=6NvntVb0Q_o

When you are in love...

http://www.youtube.com/watch?v=wxaFANthouM

When you are lost in your thoughts...

http://www.youtube.com/watch?v=Td6TI7p-_aU

When you are sad...

http://www.youtube.com/watch?v=LXEKuttVRIo&ob=av3e

And when you are yourself...

http://www.youtube.com/watch?v=3cc39bU4GZ0

Mastodon - The Hunter

2011-10-15T08:39:00.000-05:00

Atlanta's progressive metal quartet, Mastodon continues kicking ass and taking names on their fifth studio album. Produced by Mike Elizondo, the band delivers a majestic, modern metal album, driven by Brann Dailor's thundering drums and the dizzying guitar work of Brent Hinds and Bill Kelliher. The snarl of the riffs wrapped around the explosive beat on murderous "Curl Of The Burl" almost makes, front man, Troy Sanders' metal-kissed melodic vocals feel like an afterthought, as he belts, "I killed a man because he killed my goat / I put my hands around his throat", amidst crunchy guitars.
Finger-bleeding fret work opens "Octopus Has No Friends", morphing into frantically spraying riffs encircling the shifty, dramatic tune. For all the buzzing riffs sawing their way through rolling beats on "All The Heavy Lifting", with Sanders demanding, "Just close your eyes / And Pretend that everything's fine", and classic metal chug of grimy riffs on soaring "Spectrelight", Mastodon is more interesting here when they bury treasure within the burly metal exterior. The swirling clusters of guitars tumbling around a frayed, rapid-fire beat on "Blasteroid" has a gooey southern rock core underneath the glistening layers of prog-metal roaring on top.

Frankenstein-inspired "Creature Lives" gets a more classic rock slant, complete with choir fuelled backing vocals and more elegant guitar, while the bluesy riffs of "Thickening" finds the band channeling their jazz influences for a restlessly shifting rhythm. Angular jabs of guitar on "Bedazzled Fingernails", the spacey solo in the middle of steadily sawing "Dry Bone Valley", and swirling creak of guitar winding through metal ballad "The Hunter" are all great reminders of the band's musical prowess on an album that rarely lets you forget. The album kicks the doors open with gleaming licks and livewire drums on foreboding "Black Tongue" and only lets up to pretty up their sound on the chilled closing ballad "The Sparrow", pushing the drizzled guitars in the distance a bit as if finally letting them get a well-earned breather.

Support The Band : http://www.myspace.com/mastodon

Download The Album : http://www.wupload.com/file/398029357/Mastodon_-_The_Hunter_

FOR PUPPY MICHEAL ROUSSIS

The Black Dahlia Murder

2011-09-23T12:50:00.000-05:00

THE BLACK DAHLIA MURDER

The Black Dahlia Murder is an American Melodic Death/Metalcore band from Waterford , Michigan , formed in 2001. Their name is derived from the 1947 unsolved murder of Elizabeth Sorth, often referred to as Black Dahlia . The band comprises vocalist Trevor Strnad, guitarists Brian Eschbach and Ryan Knight, bassist Ryan "Bart" Williams and drummer Shannon Lucas . Out of their five studio albums, the latest four of them charted on the US Billboard 200 with 2009's ''Deflorate'' peaking at #43 and their latest album ''Ritual'' reaching #31.

Drawing influence from forefathers such as At the Gates, Dissection and Carcass, The Black Dahlia Murder has upped the speed and intensity of the style into a gore-soaked whirlwind all their own. They seeminglessly twist from destructively fast blast beats to beautiful and dark melodic textures, giving a soundtrack to the horror and insanity surrounding The Black Dahlia legacy. The only thing better than hearing this band on their new Lovelost Records debut EP is to catch them drawing blood in the live element. The stage presence of this band completely transcends the hair-swaying posing that this genre has become accustomed to, bringing an unbridled energy to such a widely sterile musical form. The Black Dahlia Murder are a band that is not to be missed, and once witnessed cannot be denied.

(Reviews Sputnik & angry Metal Guy)

Support The Band : http://www.myspace.com/blackdahliamurder

The Black Dahlia Murder - Unhallowed (2003)

A very unique and inspiring record. Many bands have tried to accomplish this kind of sound and style but few have succeeded. Becoming an even bigger band by each tour they headline and co-headline, along with videos being played on MTV2, they are becoming a leader in the new movement for death metal in the mainstream.
This is a great album. At times it can be very heavy and dark, but other times the melodic riffs and solos shine through. In the end, everything pieces together so well. The production value is perfect. Every instrument can be heard (except for the bass, which fits best shadowed by the rhythm guitar, giving it a heavy low end). The double bass is insane on the drums along with relentless blast beats. The tone of the guitar is perfect, enough said. The transition from power chords to tremelo picking is neat. The vocals are well orchestrated alongside the music. There is only one vocalist but he switches between high pitched screaming to the standard death metal growling style of vocals. The lyrics on each song are different. Hard to explain what they mean exactly but once you read the lyrics you can get a feel for what they mean.

Some of the best songs of the album (in my opinion) are as follows:
Unhallowed/Funeral Thirst: While "Unhallowed" is the opening track/intro, it leads right into "Funeral Thirst". "Funeral Thirst" basically introduces you to every aspect the album offers you. Fast, Heavy, Unrelenting and catchy. In the middle of the song you get a nice, beautiful solo. Elder Misanthropy, Personally, this is one of my favorite songs of this album, favorite song of TBDM and one of my favorite songs ever. It is just amazing. The riffs are brutal, the vocals are some of the best on the album and the drumming is destructive. The best part of the song is when it gets to the chorus (which is highly melodic). The followed by some breakdowns then ending by chorus and an outro. I love this song.

Contagion: The opening riff/main riff is unforgetable. You will not be disappointed in this song. It has everything. Thrash style riffs, Hardcore style riffs and amazing solo in the middle of the song.
This album is appealing to anyone who likes death metal, melodic death metal, hardcore or metalcore (as long as you have an open-minded listening experience). Alot of the album is catchy and unforgettable. Very brutal and fun.
The really isn't any negatives. Only that "Elder Misanthropy" and "Contagion" should be longer songs. Other than that, it is a matter of personal decision.

The album is a perfect chance to listen to something new and different whether to trash your room with or relax with a six pack. I highly recommend buying it. Give it a listen first to see if it is in your taste of style of music. It isn't that expensive either. About $10-$12 anywhere you can pick it up. Definitely a worthwhile record.

Download Unhallowed : http://www.mediafire.com/?kxrjkk52nyr

The Black Dahlia Murder - Miasma (2005)

Immensely dark, brutal and rabid, "Miasma" leaves you feeling like you've been left in a concrete mixer overnight. Although the album has only 10 songs, each of them encase strong structures, melodies and a mountainous amount of insanity that will leave you temporarily blind. With a new album comes a few changes, such as better production quality, and most notably, a new drummer (Zach Gibson replaced Cory Grady). The songs are also tighter than a dolphin's ass. That's a good thing because compared to a lot of other death metal, it's sloppy and all over the place like a kid with ADD, but not here my friend.
Carrying us to the river Styx is the instrumental "Built for Sin". It's a little over a minute in length and near the end, you think you have a second to get that last breath of air in before the *** hits the fan, but you don't. "I'm Charming" rams its fists through your burning flesh and rips your skull out. Oh yeah, if that weren't enough, there's also a nice little guitar solo to take your mind away from the pain. With "Statutory Ape", I would say the band has aligned themselves with PETA (people for the ethical treatment of animals). I'm just kidding! Judging by the lyrics, I'd say the gorilla talked about in this song is really a metaphor for human beings and the more you *** with us and ruin the world we live in, the bigger the consequence, downfall, and eventually the plague of doom catches up to you and brings upon morbid death.

The lyrics to "A Vulgar Picture" are lyrics that horror rock fans wet themselves over. It talks about going and prying open a casket and having necromantic tendencies. The lyrics are must deeper and meaningful than that, but you get the point. The lyrics are some of the best I've run across in a long time and it's a fantastic song as well. My favorite song "Miscarriage" is a dominant and melodic track that engulfs the emotions all the while continuing to rock on. The final track, the albums self titled "Miasma" is certainly the most melodic offering and shows that the album itself is miasmic.

The lyrics are dark, the music is brutal and the band is still very young which means only bigger and better things are foreseeable for these guys. From what I can tell, the band will continue to be one of the top American death metal bands around for many, many years. If you're unfamiliar with them. Anyway you cut it, The Black Dahlia Murder will wreak havoc on you.

Download Miasma : http://www.mediafire.com/?gmtlqwjctzz

The Black Dahlia Murder - Nocturnal (2007)

A band's third album can be a difficult one. Their first may have been the one that garnered them all that lovely attention and positive acclaim. Then, their sophomore effort may have been the slump that many had predicted - or maybe it would have signaled a move away from their roots, causing the inevitable label of 'sell-out' to come about. Luckily for The Black Dahlia Murder, neither of these scenarios need apply. Both their debut and sophomore albums were very good, displaying their signature blend of frenetic melodic death metal aptly well. Nocturnal certainly is a worthy addition to the band's discography, even if it doesn't seemingly do anything to steer them into any new progressions.
Not to say the band have regressed however. And it would also be a lie to say that they have remained completely stagnant. What has to be said is that all the trademarks of the band are here in full force; Trevor Strnad's schizophrenic vocal style is as prominent as ever, with his banshee-esque howling and shrieking almost blood curdling this time around. His lows have also improved, sounding more guttural under the better production. The fast breakneck speed of the band is also evident in pretty much all ten of the tracks on offer here; new drummer Shannon Lucas is more than capable of pulling off all the double bass, blastbeats and quick fills and rolls that made their previous outings enjoyable from a drumming perspective. The guitar riffs are quick and melodic when they need to be and heavy, chugging and menacing at other times. Where there would be some form of breakdown (say in a song like A Vulgar Picture), on Nocturnal, things just got a whole lot faster. In general, what can be said about the album is that the tempo has definitely been upped as a whole. In my opinion, this is a good thing, as the band function well at these high speeds.

I Worship Only What I Bleed also gives a small insight into some clearly audible bass. Which is nice for once. The breaks are only small and the instrumentation is relatively simplistic but it is a step forward (especially when almost all new American metal bands decide to mix out all bass from their recording). However, with all that has been said already about the album, a whole lot more has to come it, with the latter parts being mostly negative. Trevor's vocal style is bound to get on a lot of people's tits after a while; he is a competent vocalist and that cannot be taken away from him, but his high shrieking in particular can become overwhelming at times as it does bleed the ears after a while. Another negative is that songs don't really do anything to help them stand out from the pack. I see Nocturnal as a set of ten songs by The Black Dahlia Murder, whereas when I think of Unhallowed I'd say that Funeral Thirst sticks out. That's not to say Nocturnal doesn't have it's highlights. What I am saying is that you'll probably have to listen through the album a few times before they begin to show through.
Guitar solos are usually something that helps to add an extra dimension to a band's sound. Heck, some band's even rely on solos a bit too much I feel (Children of Bodom, I'm looking in your direction). But when The Black Dahlia Murder do a solo, it feels like the solo that was on the track just before it. They all sound the same; the minor arpeggios, quick runs and eerie passages that help make it into a more morbid listening experience perhaps. For me, the solo on Funeral Thirst back on Unhallowed was perfect, mostly because it was memorable as well melodic and technically proficient. But of all the solos on Nocturnal (and there are plenty of them throughout), none of them will particularly stick in your mind. The same goes for the riffs, yet this is slightly less of a negative point. All the riffs are good, it is just that the band choose to write every riff in a similar style. Which leaves you wondering what's what in each song. That said, songs like Of Darkness Spawned and the title track bear witness to some juicy guitar moments in the riff department.
Overall, whilst the band haven't really progressed in their sound, they've capitalized on what they do well and made ten songs worthy to be placed on the record. Nocturnal is a solid effort from a band that have realized their trademarks well and put them to good use. Buy it just because of Strnad's vocal performance - he truly does sound ever so manic and spits outs more syllables and complex lyrical lines than you could shake a stick at.

Download Nocturnal : http://www.mediafire.com/?0fwk7y65svhrg1x

The Black Dahlia Murder - Deflorate (2009)

The Black Dahlia Murder is becoming a veteran band among this new wave of melodic American death metal/metalcore or whatever the hell you want to call it. To get this out of the way right away: I think that The Black Dahlia Murder has been treated unfairly by a metal community sad to see the disappearance of the old school metal guy anywhere except brutal death metal. Modern American metal has come to be dominated by short-haired, tattooed hardcore lookin’ kids who often have super diverse taste in music and have never donned a leather jacket or a goatee in their lives. These hardcore lookin’ dudes put on shows that have an energy that often times metal dudes lack in their own live performances, and they’re gaining notoriety with their blending of brutal death metal and stupid core breakdowns. The Black Dahlia Murder has been lumped in with these guys because of tattoos and plugs, but they are certainly not akin to these bands. No, The Black Dahlia Murder is easily one of the best melodic death metal bands the United States has ever produced and despite them sounding a lot like At The Gates plus blast beats, I think they do it very, very well and very consistently.

And consistency definitely describes Deflorate. This album is consistent in two ways: first, every track on it is of the same quality, which is saying a lot. The tracks are solid, groovy, highly melodic but not hyper-technical and definitely not unpredictable. They are heavy, fun to listen to and energetic. The drums are pretty much blasting or on the verge of blasting 95% of the time, the guitars are heavy, trem-picked and the vocals are characteristically The Black Dahlia Murder; a blend of death growls and black metal sounding shrieks. So the album is definitely consistent and worth a listen.

But Deflorate is not only consistent in terms of song-writing and production, it’s also consistent in the terms of The Black Dahlia Murder‘s discography. This is where the controversy could be about the band: any song from Deflorate could be interchanged with Nocturnal or Miasma and I don’t know that anyone would notice. The production, at least with Nocturnal is almost exactly the same and the song writing hasn’t really changed or progressed that much. I think the solos might be better, but that’s hard to judge. This is unfortunate, because while one wants a band to be consistent, there is a desire for variation and pushing the limits of a band’s sound that, at least some people, want. If you’re looking for The Black Dahlia Murder to progress, soften or change.. well, at all, then you’re going to be sorely disappointed. On the other hand, if you’ve been a big fan of The Black Dahlia Murder‘s last records and you’re in for more of the same: congratulations, you’ve got yourself a great CD to buy!

Personally, I’m torn. Deflorate is an excellent record. Tracks like “A Selection Unnatural,” “Eyes of Thousand” and “I Will Return” (which I will admit is probably my favorite on the record: fucking excellent intro) stand out and, of course, rule. The album is paced well, short and sweet and the energy is amazing. I know, having seen these guys live a couple times, that these tracks will always be amazing live. But when does it become unnecessary to buy new albums from these guys? When do they fade into the obscurity of a band like Cannibal Corpse or Slayer that produced excellent records, but many people are of the opinion that all you really need to own is a Butchered at Birth or Reign in Blood and South of Heaven and you’ve pretty much heard their entire discography. As of now, I think these guys are on the top of their game. Line-up changes haven’t stopped them, I doubt that they’re going to sit around worrying about stagnation either: but they might want to think about it in the future.

Download Deflorate : http://www.mediafire.com/?nmnnokhzjkj

The Black Dahlia Murder - Ritual (2011)

Ah, it’s that time again. A new The Black Dahlia Murder record, full of At The Gates riffs and Trevor Strnad’s dynamic and characteristic vocals! Right? RIGHT!?!? Well, Fucking yeah !!!!!

The obvious outrage ensued from both sides. From the one side there was the claim that the band hadn’t stagnated and from the other side was the claim that no one thinks that Cannibal Corpse or Slayer have stagnated. Yeah, well, the first is arguably defensible—the second, less so. In any case, it appears that Ritual is the rebuttal to my critique. A powerful rebuttal.

By a powerful rebuttal I mean, of course, that Ritual is The Black Dahlia Murder‘s best and most experimental record. The riffing has taken a turn for the more technical at times, in tracks like “On Stirring Seas of Salted Blood” there’s almost an Ulcerate kind of vibe. “Conspiring with the Damned” has a great techy riff as a lead in before moving into more traditional TBDM territory with At The Gates-inspired guitar harmonies and thrashy feel. “Malenchantments of the Necrosphere” is another groovy, downtuned tech piece that may be my favorite track on the whole album and that sounds nothing like what the band has done previously, instead placing them more in Abysmal Dawn territory.

The other big change is the use of strings, which shows up on “A Shrine to Madness” as an intro, but on “Blood in the Ink” more broadly and to excellent effect. The use of acoustic strings creates a unique feeling that almost borders on Septic Flesh‘s new material without going to the same lengths. “Carbonized in Cruciform” also uses a piano and acoustics to create a creepy horror movie kind of vibe before ripping your face off with some trem-picked riffing and blast beats. These changes are welcome and they break open a lot of new possibilities for the band.

But the songwriting hasn’t just changed and improved, what stands out here is the guitar work that has been taken to a whole new level. Ritual starts with the tracks “A Shrine to Madness” and “Moonlight Equilibrium,” which don’t exactly break the mold of earlier records, but what stands out to me on both of these tracks are the retarded guitar solos. And by retarded I actually mean fantastic, in case you were wondering. The guitar solos on this whole record are just fucking silly. “Moonlight Equilibrium” has a solo that borders on jazzy at times, where as “A Shrine to Madness” is like 80s thrash-shred done just right. And the solos stand out on almost every track on this record, including my favorites: “Carbonized in Cruciform” again showing off almost jazz-influenced melodic structures; “Malenchantments of the Necrosphere” shows the excellent knowledge of when to shred and when not to; “The Graverobber’s Work” has a legato solo with some silly tapping that just rips your face off; and to top it all off on closing track “Blood in the Ink” the solo segues perfectly into the string laden verse. This record is special just for this because these aren’t just “fill in the gaps” solos, these are genuinely interesting, musically substantive solos that serve a purpose in the song. Fantastic.

Even when the record isn’t breaking open new ground for The Black Dahlia Murder, the more traditional tracks are really just some of the best they’ve ever written. “The Window,” for example, has some of the coolest melodic work under the verses. “The Graverobber’s Work” sounds like it could have been on Unhallowed, but it’s just a kick ass song. And by now you get the picture.

So here are some final thoughts. First, congratulations to TBDM for nailing it as hard as they have. There’s nothing bad I can say about this record (except the drum sound—SUUEEECOOOOOF!!! *shakes fist*—and the bong hit over the solo on “The Burning Nullifier”. Cheesy.). It’s 45 minutes, so it’s not too long, the cover art is really great (and it reminds me of the artwork for Dragon Age) and they’ve upped the ante for melodic death metal in the new decade, as well as raising the bar for themselves. Second, if you’ve previously written off TBDM for any reason, this is the record to give them another chance on. By breaking the mold, I think they’re going to appeal to people who may have had mixed feelings about them in the past. It’s true that “haters gonna hate,” but I think the move into more techy death metal is going to maybe hook a different crowd. Also, the addition of Ryan Knight may well have been the best thing that ever happened to this band. Total fucking win.

Download Rtual :http://www.easy-share.com/1917403078/The_Black_Dahlia_Murder_-_Ritual_%282011%29_%5BMP3%5D_ES_3605382.rar

This Is The First Discography From TlalokTheGod There Coming Many More \m/

Ж TL ДLЮKED Ж

Opeth - Heritage

2011-09-19T14:56:00.000-05:00

"If I can compare it to any other band, it would have to be Opeth, but it's different from the stuff we've done before. I've listened a lot to Alice Cooper for the last year, yet I can't say it sounds like No More Mr. Nice Guy. I hope you'll like it once you hear it."

-Mikael Åkerfeldt, on the musical direction of Heritage

Opeth has been known to experiment with their sound in the past. With 2003’s Damnation, they made a significant (albeit temporary) departure from their Death-Metal roots. Mostly a prog-rock record, it lacked the death growls and some of the heavier arrangements of Opeth’s other releases. With their latest album, Heritage, Opeth has once again stepped away from death metal, but crafts a more mystical and folk-laden sound than Damnation.

I usually find intro songs kind of pointless, but I’m willing to grant an exception to the eerie and compelling title track here. After this haunting piano piece, Opeth throws the listener into a sea of riffs and soaring vocals with The Devil’s Orchard. When I started listening, I was immediately reminded of some of the more progressive moments on Ghost Reveries, especially the middle section of Baying of the Hound. While the band has certainly moved in a different direction here, they still retain that all-important quality: when you hear the song, you know who you are listening to.

According to Mikael Åkerfeldt, Opeth didn’t necessarily turn on “The 70’s Button” for this album, but with I Feel the Dark, you could have fooled me. Smooth and entrancing, the song does indeed remind me of bands like Rush, Yes, and other prog-rock giants. But once again, Opeth manages to shine this all through their looking glass. Even better is the crescendo-like crush at the middle of the track before veering back to its folksy beginning.

Overall, the record has a very smooth feel, complimented by an almost twangy guitar sound. Mixed into the progressive-rock and heavy metal are jazzier compositions like Nepenthe. This infusion is not what I normally look for with Opeth, but I enjoyed it nonetheless. Åkerfeldt has indicated that Opeth has expanded its sound. A look at the cover art illustrates this fact: the beautiful tree sprouting from ferocious death metal roots.

As a huge fan of records like Morningrise, Blackwater Park, and Ghost Reveries, I have always admired Opeth for their use of musical “movements” that shift from beautiful and calm pastures to burning rushes of energy and rage. As I mentioned before, the band intentionally left death growls out here, as with Damnation. Throughout Heritage however, there are several heavier movements where I thought “damn, some growling would be great here”. In other words, the record can be a bit of a tease, especially on the fast paced drive of Slither. While I cheer Opeth for not becoming redundant crowd pleasers, I did miss that extra death metal edge. Yes, I know there are plenty of Opeth records that already satisfy this need. And I know that this opinion can only come from someone who has listened to their previous records, rather than one who can objectively look at this record alone. But I cannot ignore what I love about Opeth, and in some ways I felt Heritage let me down to the point where yes, I wanted to listen to some of the aforementioned records instead. Aside from stylistic considerations, there were moments during the second half where I felt the band lacked focus and meandered away from an easily relatable place.

Heritage satisfies a reflective mood and progressive taste, and Opeth carries this out with the expected musical skill and brilliance that they are known for. As a penance for whining about the lack of death growls, I should praise Mikael for his excellent clean vocals, and the rest of the band for crafting such entrancing and almost mysteriously eerie music. While the death metal sound may be subdued here, there is an undercurrent of darkness in Heritage that never ceases to engage and fascinate along with dazzling flashes beauty and energy.

Support The Band : http://www.myspace.com/opeth]\

Download Heritage : http://www.nepalunderground.com/opeth-heritage-download-leak-available-before-release-date/

Immortal - All Shall Fall

2011-09-18T07:49:00.000-05:00

Like it or not, when it comes to Immortal, their image has always preceded them. Most metal fans speak of the Norwegian band with reverence, and deservedly so, but to those nowhere near as well schooled in the history of black metal, Immortal is more commonly known as the panda-faced, axe-wielding fellas from one of the more whimsical Photoshop memes to ever hit the internet. While the pure hilarity of animated gifs of Abbath and Demonaz fighting over is undeniable (even metal fans fully acknowledge how silly their genre can get at times), the actual music the band has produced since the early 1990s cannot be ignored. While nowhere near as innovative as Burzum, as complex as Emperor, as experimental as Ulver, or as primitive as Darkthrone, Immortal has stubbornly stuck to the template set by such albums as Pure Holocaust and Battles in the North, to the point now where extreme metal has advanced so much that their deceptively straightforward approach can sound passé in comparison.

But there’s something to be said about the old metal guard, the reliable standbys we can count on for familiar sounding records. Like Motörhead, Napalm Death, and Cannibal Corpse, we know exactly what to expect from Immortal, and although their groundbreaking years are well behind them, the promise of yet another slab of grim, frostbitten tales from the fictional realm of Blashyrkh was impossible for many worldwide to resist when it was announced that the band would be putting out its first studio album in seven years. And if familiarity is what you want, All Shall Fall will not disappoint.

Like their countrymen Dimmu Borgir, Immortal’s music has always worked best when removed from the thinner, minimal strains of traditional Norwegian black metal and blown up to extravagant, pompous proportions. Interestingly, it’s the same producer, Swede Peter Tägtgren, who played such a pivotal role with both bands. Tägtgren’s emphasis on cleaner, fuller sounds Immortal hit its stride on 1999’s classic At the Heart of Winter straight through Sons of Northern Darkness three years later, and it feels as though not a day has passed between that last record and All Shall Fall. The opening title track is prototypical Immortal. Drummer Horgh’s blastbeats hit us like a blizzard wind. Abbath’s trademark snarl spews lyricist Demonaz’s post-apocalyptic imagery, which is closer to the fantasy shtick of Manowar than the overtly Satanic fare of their Nordic peers (“Besiege the thrones of reverence / Gods of all fiery fate / Besiege the thrones of reverence / Warriors crowned this day”).

It’s in Abbath’s subtly melodic guitar work, however, where this album’s appeal lies. His solos are expressive, his breakdowns often textured, his riffs often teetering towards angularity than the usual chugging, which is especially discernable on the aforementioned “All Shall Fall” and the thundering “The Rise of Darkness”. That’s not to say that the band’s more aggressive side doesn’t raise its warpainted head, though, as “Hordes to War” and “Arctic Swarm” both show off Abbath’s knack for some superb thrash metal riffing reminiscent of Celtic Frost and Bathory. Again, like Manowar, some rather obvious sound effects are utilized, like a stampede in “Hordes to War” and whooshing winds on “Mount North”, and while some killjoys will groan, it fits with that sweeping epic quality Immortal is always preoccupied with.

Support The band : http://www.myspace.com/immortalofficial

Download ALL SHALL FALL : http://www.mediafire.com/?omo5tnmni0w

Opeth - Watershed & Opeth 2011 Tour

2011-06-22T17:38:00.000-05:00

Not all prog is created equal. Take prog metal, for instance. In one corner are Mastodon, who are prog to the core: long songs, lots of noodling, worship of 1970s Genesis (at least on the part of drummer Brann Dailor, an avowed Phil Collins acolyte). In the other corner are Dream Theater, who are equally prog: long songs, lots of noodling, worship of 1970s Rush (at least on the part of drummer Mike Portnoy, an avowed Neil Peart acolyte). Hipsters love Mastodon, but they won't go near Dream Theater. Dream Theater fans are equally unlikely to sport Mastodon t-shirts.

Perhaps this split is due to friction (in the musical sense). Mastodon are closer to prog as it was in the 70s-- self-indulgent, yes, but also earthy and analog. Dream Theater are the apex of prog's, um, progression since then. They're digitally clean and hyper-precise, poster boys for Pro Tools. For whatever reason, the white belt set gravitates towards prog's older aesthetic (see also the Mars Volta), while men with ponytails discuss kick drum pedals in Dream Theater forums. If "indie" is an aesthetic, it stops at certain thresholds of precision and heaviness.

Opeth, interestingly, have straddled both prog aesthetics. The Swedish band's first record, 1995's Orchid, was wonderfully raw. It was half death metal and half "other stuff"-- folk, prog, blues, jazz. The rawness came from a low budget and nascent songwriting, but it conveyed an atmosphere that Opeth never regained. Their records afterwards decreased in friction as their chops improved. In 2002, the band became practically frictionless. It split its heavy and light sides into two records, Deliverance and Damnation; the latter was gorgeously intimate. 2005's Ghost Reveries likewise went down smoothly, like a rich hot chocolate.
Watershed is an intriguing exercise in discontinuity. Unlike Orchid, which was jagged because the band didn't know how to do otherwise, Watershed finds Opeth willfully flying their freak flag. An acoustic intro with pleasant male/female singing leads straight into barreling death metal. A piano wanders into "Hessian Peel" apropos of nothing. "Burden" has an acoustic outro in which one guitarist detunes the other's pegs. It's delightfully horrible-sounding; such goofiness is refreshing for a band that's almost offensively virtuosic.
"The Lotus Eater" offers the greatest jolts. An intro of quiet humming drops into what seems like the middle of a death metal song-- but with disarmingly sunny vocal harmonies. Three minutes in, dissonant guitar lines spiral downwards like DNA strands. Later, a downright funky vamp appears, complete with chattering clavinet, as if Stevie Wonder had dropped by the studio. Aiding such absurdity are Opeth's two new members. Fredrik Åkesson brings lead guitar flash to a band that's prided itself on restraint, while drummer Martin Axenrot swings with verve. (Near "Hessian Peel"'s end is a monstrous groove that's like Meshuggah dancing a jig.)
Despite these hijinks, Watershed won't convert Mastodon fans en masse. It still has too many renaissance faire moments; its death metal is as aggressive as ever. After 18 years, Opeth's trademarks are well-established-- sinuous riffs, retro 70s keyboards, Mikael Åkerfeldt's Jekyll/Hyde act of death growls and mellifluous singing. (He sounds like your lovable Swedish uncle who once recorded a folk album.) But Watershed has friction, and friction brings heat. Those left cold by metal's po-faced tendencies might well warm up to it.
(review:Cosmo Lee)

Tracklist :
1.Coil
2.Heir Apparent
3.The Lotus Eater
4.Burden
5.Porcelain Hurt
6.Hessian Peel
7.Hex Omega

Support The Band : myspace.com/opeth
Download Watershed : http://www.mediafire.com/?tv5olwvwogy

Opeth 2011 Tour :

10/06 Bonnaro Music Festival, TN-USA

17/06Copenhell , Denmark

19/06 Hellfest , France

26/06 Graspop Metal Meeting , Belgium

02/07 Sonisphere festival , Finland

05/07 Πλατεία Νερού/Rock God , Hellas

08/07 Getaway Festival , Sweeden

10/07 Sonisphere UK , UK

16/07 Kavarna Rock Fest , Bulgaria

23/07 Heavy T.O. Festival , Canada

24/07 Heavy MTL Festival , Canada

Ж TLДLЮKED Ж

Limbonik Art - Phantasmagoria

2011-06-22T02:41:00.000-05:00

I loved Bathory growing up. I mean, I REALLY loved me some Bathory! That crazy Quorthon and his one man band really tore it up while basically giving birth to the black, folk and viking metal genres all by his lonesome. However, A.B. (After Bathory), many one man bands rose up in the frozen, gloomy black metal basements of the world, some good, many not. Therefore, when I heard that long running Norwegian black metal act Limbonic Art was now essentially reduced to a one man project for co-founder Daemon, I was more than slightly uneasy about the release of this, their seventh album, Phantasmagoria. Further enhancing my unease was the advance word that the album would again feature a drum machine (a long running negative for this band). With unease and hesitation upon all our minds (or at least mine), here we go.

Limbonic Art was always a pretty raw black metal band with very clear classic/symphonic elements, but they never strayed anywhere near the level of Dimmu Borgir or other overly symphonic, polished acts. Additionally, Limbonic Art was always exceptionally proficient at creating a real atmosphere of evil and ugliness on past albums, which is so crucial to the entire black metal experience. Happily, these elements have managed to survive on Phantasmagoria to one degree or another despite the shift to one man DIY.

What becomes pretty obvious on Phantasmagoria is that the new Limbonic Art sound is way more stripped down and simpler than in the past. There are still symphonic elements but to a lesser extent than ever before. This album is a more primal version of their sound and it works very well on most of the tracks.

Things, however, get off to a pretty rough start with the opening title track, which although starting off promisingly with hyper-speed and ugly black metal, is badly undercut by an enormously ill-conceived and fruity keyboard flourish with matching vocals that sound like they belongs on Broadway in Mama Mia. Although the song changes gears and morphs into a creepy, atmospheric plodder, that damn flourish just ruins this song and I couldn’t take it seriously. Mercifully, things get back on track thereafter and “Curse of the Necromancer,” “Crypt of Bereavement” and “Dark Winds” are all stellar examples of bleak, raw evilness and some of the better black metal I have heard in some time (“Dark Winds” standing out for its slow and evil vibe).

The production here is pitch perfect for black metal histrionics, with an under-produced raw sound that isn’t so murky and crappy that the music is lost in a frosty haze. Likewise, the album artwork is very cool and well suited to the mood of the music. In fact, it may be one of my favorites in a while. Now, for the downsides. One is the drum machine. I am very down on the programmed drum machine thing. It feels cold and emotionless and not in the cool, frowning black metal way either. At least the drum sound on here is slightly less robotic than on some albums but I still wish they had a real drummer. Secondly, the best material is all jammed into the first half of the album, with the second half being nowhere near as impressive. That isn’t to say that Phantasmagoria is only half good, just that one half is noticeably superior to the other. Lastly, that goddamn flourish in the title track!! ( Sorry, it bothered me that much.)Overall, this is a pretty respectable return for Limbonic Art and most of my fears about the quality were unfounded. If you like your black metal raw but still containing melody, you will probably appreciate this. I will always prefer their first few albums but I think Phantasmagoria will live in my iPod and get some respectable playtime as well (except that opening track).

(review:AngryMetalGuy)

1.	Prologue / Phantasmagoria
2.	Crypt Of Bereavement
3.	Curse Of The Necromancer
4.	Portal To The Unknown
5.	Dark Winds
6.	A World In Pandemonium
7.	Flight Of The Minds Eye
8.	Apocalyptic Manifestation
9.	Prophetic Dreams
10.	The Burning Vortex
11.	A Black Sphere Of Serenity
12.	Astral Projection

Support The Band : myspace.com/officiallimbonicart

Phantasmagoria : http://rghost.net/2048454

Septic Flesh - The Great Mass & Septic Flesh Tour Dates 2011

2011-06-20T05:13:00.000-05:00

Be strong, readers, because this is what they'll say: 'But this is no different than any of the other bloated symphonic projects from bands like Cradle Of Filth and Dimmu Borgir , bro.' That's what those in opposition, the enemies, the unbelievers of The Great Mass will hit you with immediately when you recommend this album to them in your next music list or during your next social gathering, what have you. For Septic Flesh (or Septicflesh, one word, following their 2008 reunion) will be facing stark levels of resistance from many music fans with their new album, even more so than their 2008 critically well-recieved Communion, and seemingly by advertisement alone, they rightfully should: these Greek metallers have gone completely overboard with their creative ambitions. Big, grandiose, and to those with set ears against show-y production values, pompous, The Great Mass is what many traditionalists of death metal will hate, ridicule, and are sure to make comical example of, without having even listened to it.

Indeed, on paper The Great Mass is a disaster of epic proportions waiting to happen. But do you know what is so awesome about it? Septic Flesh pull it off. Yeah, the grizzly, long-haired bastards somehow actually pull it off. The incorporation of the Philharmonic Orchestra, the Choir of Prague, and blackened death metal, all centered around a firm melodic base fed through the bark and snarl of Spiros Antoniou and the clean harmonizing vocals of Sotiris Vayenas, come together for the band's strongest release thus far. They escape the pitfalls of contemporaries Hollenthon and The Monolith Deathcult with The Great Mass by placing their artistic vision on an equal playing field with their talents as a band, none higher, none lower, this time while escaping the cheesiness that kept key sections of Communion back as well.

Communion's "Sunlight/Moonlight" and "Anubis" were the main offenders of said cringe-worthy moments, Vayenas' cleanly sung choruses often ruining the driving, relentless mood of the blackened death metal songs. But this time, however, Vayenas is placed in a more subordinate, harmonizing role to that of Antoniou on The Great Mass, and the difference to be heard between Communion and its songs is worth noting because of it. On first single "The Vampire From Nazareth", Vayenas harmonizes with the choir on a beautiful concluding vocal line that brings what was a sweeping orchestrated death metal assault on the senses to a peaceful refrain. Latter cut “Apocalypse”, featuring some of the album’s best songwriting, has the singer playing second fiddle to the bassist, joining in at the song’s second chorus with a powerful, and catchy, dual vocal performance of cleans and growls. The two work in perfect union with each other this time out, even making careful, noteworthy use of the choir vocals for maximized effect.

The interplay of the vocalists are not the only area that Septic Flesh show unity among its, and the orchestra's, members, though. Surely to be pertinent to any fan of Communion is the band's own humility when it comes to following the Philharmonic Orchestra’s lead on The Great Mass. The sweeping and enthralling instrumental heights that are reached by “Oceans of Grey” because of the orchestra’s direction and prevalence in the mix is among the greatest of the album's highlights, and the interplay between strings and guitars on "Mad Architect" showcase Septic Flesh letting the orchestra take the reins so that it might set the song's progressional path. No longer do the orchestrations feel tacked on, or more importantly, lacking in substance in the compositions. Septic Flesh have maximized the symphonic aspect of their music at least thrice-fold, and the results are powerful and driving.

Of course what's given to string beds and choirs is surely to be taken away from the 'metal' aspect of Septic Flesh's sound – or, once again, so it would seem on paper. Yet The Great Mass overcomes said theoretical loss of its head-banging gauge with the band’s sense of balance in managing its incorporation of styles on the album. The addition of a powerful production job and mixing from Peter Tagtgren also aids in the balance of orchestra and metal in that Vayenas' guitar tone and Antoniou' soul-gripping growl are given a powerful edge and max volume in the final mix. If there's one thing holding The Great Mass from a obtaining a classic title, though, it’s the ever so slight drop in quality that’s found in its middle section - "The Undead", in particular, with its relatively uneventful progression. But that’s really just a small flaw that does little to disrupt the flow or consistency of what Septic Flesh have unleashed upon all of us here with their best album yet. The Great Mass is everything that extreme symphonic metal bands have ever wished to make, yet have all too often fallen short: it’s majestic, orchestrated, undeniably powerful, and is actually a marvel in itself by not falling apart at its seams under the sheer weight of its creators' ambitions. What Septic Flesh have accomplished with The Great Mass is worth recognition and respect from all members of the metal community, traditional or not.

(review Sputnik Music)

Support The Band : http://www.myspace.com/septicfleshband

The Great Mass : http://www.mediafire.com/?iu3rghmwo90yb3p

Here Are The Next 20 Upcoming Sjows:

24/06 Los Angeles *House Of Blouse*

25/06 San Fransisco *Slim's*

26/06 Portland *Roseland*

27/06 Seatle *Showbox At The Martket*

28/06 Vancouver *Commodore Ballroom*

29/06 Chicago *House Of Blouse*

30/06 Calgary *McEwan Ballroom*

02/07 Edmonton *Edmonton Events Center*

03/07 Sanskatoon/Canada *Odeon*

04/07 Winnipeg/Canada *Garrick Center*

05/07 Sait Paul *Station Four*

07/07 Louisville *Phoenix Hill Tavern*

08/07 Atlanta *Masquerade*

09/07 Orlando *Beacham Theater*

10/07 Ft. Lauderlade *Revolution*

12/07 Pittsburg *Mr.Smalls*

13/07 Norfolk *The Norva*

14/07 JAXX *Springfield*

15/07 JAXX *Springfield*

16/07 New York *Best Buy Theater*

Ж TL ДLЮKED Ж

Ludicra - The Tenant

2011-06-19T03:54:00.000-05:00

It’s always a pleasure as a man nearing forty to hear the occasional CD that makes you sit up a little straighter in your chair, cock your eyebrows a bit in a knowing manner, and just generally enjoy the CD. Those little moments seem fewer and farther between these days, especially from bands from the home sector. If it isn’t some mallcore inanity of a Shadows Fall/In Flames rip off, it’s some emo/gothic wannabes killing time and my ears with the most pedestrian sounds I’ve heard in two decades. So when a band emerges from San Francisco and manages to attract and keep my interest, as in the case of Ludicra, I’m only too happy to indulge myself accordingly.

Tracklist:

1. Stagnant Pond
2. A Larger Silence
3. In Stable
4. The Undercaste
5. Clean White Void
6. Truth Won't Set You Free
7. The Tenant

Support The Artist : http://www.myspace.com/ludicra

Ludicra - The Tenant : http://www.mediafire.com/?uzzn3zmezyo

Fleshgod Apocalypse - Mafia

2011-06-18T17:14:00.000-05:00

Last year, Fleshgod Apocalypse's Oracles threatened to make some significant waves. A close cousin of the acclaimed Hour of Penance, Fleshgod crafted a claustrophic blend of ridicu-blast brutality and classical embellishments. The combo raised a unibrow or two, but, ironically, their formula worked against them. Their death metal attack was familiarly Teflon'd (it did, after all, sound a lot like Hour of Penance), and the classical elements came across as tacked-on and awkward. Oracles' tide waned severely before it reached shore.

But, as bands like Beneath the Massacre have previously proved, sometimes amped-up devastation is best served in bite-sized bursts of violence. Mafia, a five-song EP, showcases Fleshgod Apocalypse's best material yet, and in an ideally sized portion.

The first track, "Thru Our Scars," runs the band's stylistic gamut. In short, it's a mission statement. Opening with a two-second orchestral snippet, the song quickly dives into insane blasting and lightning-fucked riffing, before topping itself off with rapid-fire verses that bludgeon and bounce with fervor. The mad sweeps and operatic vocals that comprise the chorus are cool as hell, too, but when taken as a whole...it's a little much. And that was the problem with Oracles--restraint was in short supply. These guys like to beat you over the skull with the kitchen sink before shoving the plumbing down your throat.

Thankfully, they let the next two tracks breathe a bit, and the results are impressive. "Abyssal" is a fast-but-focused cutter that has a shoutalong hook reminiscent of Aeon (circa Bleeding the False); the wildly triggered double bass work tries to launch the song into hyperspace, but emotive and stout guitar work keeps it grounded. A brief orchestral segue (a fucking fluid one, at that) leads into "Conspiracy of Silence," which succeeds in spite of some recycled noodling--mostly because the pseudo-operatic vocals add some tasteful depth to an otherwise merciless attack.

So, yeah, sorry for getting a little long-winded about a decidedly second-tier death metal EP, but it's an impressive piece of work. Time will tell if Fleshgod Apocalypse will use "Abyssal" as a stepping stone to more laconic (and therefore more engaging) full-length exhibition, or simply become one of those bands that fares better in the shorter format (Vader and Jesu, we're looking at you). If the latter scenario proceeds to unfold, well, keep these nuggets coming, Fleshgods. Mafia is an essential listen for modern DM freaks--if not for its powerful original material, certainly for its absurdly destructive cover of "Blinded By Fear."

Tracklist :

1. Thru Our Scars
2. Abyssal
3. Conspiracy Of Silence
4. Blinded By Fear (At The Gates cover)
5. Mafia

Support The Artist : http://www.myspace.com/fleshgodapocalypse

http://www.mediafire.com/?ymhjm0wzznt

Ж TL ДLЮKED Ж

Suicide Silence - The Black Crown

2011-06-14T13:24:00.000-05:00

Suicide Silence were founded in 2002 in Riverside (California) and were at that time, a side-project of many of the members of other groups. The band performed their first show at a local area within Riverside and at that time, the line-up consisted of the members Chris Garza and Rick Ash as guitarists, Mike Bodkins as bassist, Josh Goddard as drummer and two vocalists, Mitch Lucker and Tanner Womack. Shortly after their first performance, Womack was fired from the band and they released their first demo the following year. They released their second demo in 2003. After the replacement of Josh Goddard in 2004, the members took the band more seriously and were no-longer deemed as a side project. They would then advance to record their third and final demo in 2005. Following within 2005, the band released their first public release entitled, "Suicide Silence EP" which was released in the United Kingdom through Third Degree Records and later re-released through the English label^.

Two years later, the band released their debut full-length album "The Cleansing" The album was recorded with Krissan Duwason, mixed by Tue Madsen, produced by John Travis and features artwork by Dave Mc Kean .

It debuted at number 94 on the Billboard 200 selling 7,250 copies the first week, and became one of the best-selling debut albums in Century Media history. With the success of their debut album, Suicide Silence were included to take part in Mayhem Festival that took place during the summer of 2008. They toured Europe with Parkway Drive and Bury Your Dead, following a successful US tour with the same bands. Also touring with Parkway Drive,A Day To Remember and The Acacia Strain in mid 2008 during the time when they were included to perform at Sweat Fest. At this point Suicide Silence were beginning to gain a wide range of fans throughout the world.

The arch "enemy" of puritan deathmetallers, american act Suicide Silence have reached the "love it or hate it status" faster than they should have although they have only been around for 6 years. But if you put aside the scene kids and the trend around their name you may discover fresh yet brutal music. So, this is their third album so far and the bar is already too high.

After 2 very successful full lengths and countless fans praising deathcore hymns like "The Price of Beauty" the youngsters bring us "The Black Crown" only to remain on top of the cream. Not much has changed, not much has been added to their style, yet with a strong frontman/throat they offer tunes to beat your friend to death and to destroy the neighbour’s garden statues. I think that what made them hit the spot is the fact they keep it simple. Their songs are short and straight forward, something you are bound to meet again in "The Black Crown". Groove, faster parts everything is weighed to the last details so the result is balanced and extremely catchy to the ear. On the other hand this could prove to be a kickback at some point. Repetetion, not daring enough can lead to boredom but this is just me running off too far..

It’s way too early to be talking about such a thing, though I think their next move will be a career defining one. The band is in a productive period and after a mediocre "No Time To Bleed" gains ground with a good newcomer, able to draw some attention to it. With a surprising guest appearance by Jonathan Davis from Korn on "Witness the Addiciton" and mosh anthems like "Fuck Everything" and "You Only Live Once", "The Black Crown" is destined to climb the charts sooner or later. We only need to see them on stage to have a first hand view of what today’s music can do. Oh, did I mention Frank Mullen(Suffocation)is here too? DIG!

Tracklist:
1. "Slaves to Substance"
2. "O.C.D."
3. "Human Violence"
4. "You Only Live Once"
5. "Fuck Everything"
6. "March to the Black Crown"
7. "Witness the Addiction" (featuring Jonathan Davis of Korn)
8. "Cross-Eyed Catastrophe"
9. "Smashed" (featuring Frank Mullen of Suffocation)
10. "The Only Thing That Sets Us Apart"
11. "Cancerous Skies"

Support The Artist : http://www.myspace.com/suicidesilence

Download A Couple Of Songs : http://www.mediafire.com/?g28zftukqa3bub2

The Acacia Strain - Wormwood

2011-06-05T17:48:00.000-05:00

In the past, I’ve never gone out of my way to listen to The Acacia Strain. The first time I actually sat down and paid attention to a song of theirs was when they released the first single, Jonestown, off of their fifth studio album titled Wormwood. I loved it. It had a simple groove, angry and emotional lyrics, and I loved the sound of Vincent’s growl. Even though I really enjoyed the song, I had mid to low expectations for the album. All I can say after listening to the album thoroughly is, wow. I did not expect such a pissed off, misanthropic, sonic assault. Not only is it angry, but boy oh boy is it heavy. These two aspects obviously walk hand in hand and The Acacia Strain use that to their advantage, and to full effect.

The first four songs hit you in the face with a sledgehammer swung by a bloodthirsty gorilla. The band whips out an eight string beat down that never lets up. What should turn into a monotonous chug fest is saved by Vincent’s emotionally seeping and brutal screams and dark/mysterious melodies layered over each other in an expertly manner. Each breakdown is placed in a precise moment in order to reach each songs desired dynamic potential and they aren’t thrown in for the sake of “teh br00talz”. The breakdowns are almost needed. Yes, I just said that. You need something slow and crushingly heavy in order for Vincent’s ferocious and offensive chants to seem appropriate and not out of place. Listen to songs such as Ramirez and Bay of Pigs for examples, the latter arguably has the best breakdown of the album. The Acacia Strain really had a good idea of what they wanted this album to sound like. Every song flows into another, in a good way, and without trying hard at all you can easily pick out a memorable moment in each song.

Many may find the lyrics horrendous, cheesy, or maybe even offensive, while only some will understand what Vincent was going for. Vincent stated before the album release that these would be the most personal lyrics he has ever written. After listening to the record the previous statement becomes an obvious fact. He is angry, really angry. The themes involve Christianity, whores, and misanthropy, lots of misanthropy. Nothing totally new or innovative, yes, but I’m quite confident in saying that I have never heard someone pull it off as well as this. The lyrics are so emotional and in your face that they become therapeutic. If you are ever pissed off, this is the album to listen to. You can really hear the anger behind Vincent’s voice and it makes the lyrics much more meaningful. It’s easy to relate to them as well. If you hate Christianity listen to The Hills Have Eyes. If you are pissed off at an ex, listen to BTM FDR. The album is filled with memorable lines that you just want to yell to the world; however the trick is to not take them seriously. For example, in BTM FDR, you’ll hear one of my favourite lines: “You spread disease when you spread your legs. Time to suck today’s dick. I hope you choke on it.” The line is laughable, in a good way though, but it’s not like Vincent was going for something very emotional and deep here. There are lines like this throughout the album and makes the overall listening experience much more exciting.

The album, of course, does not come without its flaws. While the album helps The Acacia Strain stick their neck out of the tired deathcore genre, it does little else. It’s not very innovative, and variety is rarely found. On the first few listens some songs will seem very boring. Besides that, it’s hard to find anything to complain about. Although I quite enjoy Vincent's growl, it gets dull by the end of the album and it's disappointing he has such little range. The guest vocal appearances are rather useless as well, playing fairly small roles. What I can't seem to understand is how the guest appearances sound so similar to Vincent's vocals. If I was left totally unaware of the fact that there were guest vocals, I wouldn't have even noticed it was a totally different person.

Without exaggerating, I can easily say this is one of the heaviest albums I’ve ever heard. That reason alone is worth checking this out, but there is so much more to it. The songs flow well, and song writing is ace overall, it is very emotional and relatable, and features many well done breakdowns that will remind you why the abused technique ever became popular. This isn’t the run of the mill deathcore album, and several listens are acquired in order to give final judgement. I love pleasant surprises, and so should you. In other words, listen to this album.

Support The Artist : http://www.myspace.com/theacaciastrain

http://hotfile.com/dl/54852689/d6e829f/The_Acacia_Strain_-_Wormwood_%282010%29.zip.html

Ж TL ДLЮKED Ж

Salem - Yes I Smoke Crack

2011-06-05T17:34:00.000-05:00

Bass becomes Salem, a witchy Chicago/Michigan/New York trio consisting of John Holland, Heather Marlatt, and Jack Donoghue. In the wake of last year's resurgence of lo-fi noise pop, an aesthetic that leaned heavily on treble, their emphasis on the low end distinguishes them from other young bands immersed in 4AD haze. And, as part of SALEM's apocalyptic lo-fi murk-pop aesthetic, it no doubt helped bring them to the attention of Patrik North, previously associated with Montreal label Summer Lovers Unlimited (Crystal Castles, the Tough Alliance, the Teenagers). Last year North co-founded a new label, Acéphale, with DJ friend Rory Them Finest, and SALEM's debut, the Yes, I Smoke Crack EP, was their inaugural release. London-based Merok (Klaxons, Crystal Castles, the Teenagers-- getting the picture?) picked up SALEM for a follow-up, the Water EP. Each limited-edition, vinyl-only release reveals a group with a distinctive style and a couple of should-be indie hits, but not quite the craft or consistency of their finest labelmates just yet.

Their best track, "Redlights", opens both EPs. Marlatt's ghostly, Cocteau Twins-like vocals ring around scything guitar textures, funereal synths, and a rudimentary, bass-heavy electronic beat you might expect from Polow Da Don. It's the kind of disembodied, hard-to-pin-down pleasure that made Burial's Untrue so welcome a couple of years ago, with the indie production values and cigarette-smoking nihilism (Crack? ...Really?) of 1980s goth. As on Burial's "Archangel", the hook is just an evocative fragment, in this case about some things that are hard to remember, and some things-- the ones we haven't done yet-- that are hard to forget. It's not really so far from M83's electronic shoegaze circa Dead Cities, Red Seas & Lost Ghosts.

What "Redlights" illuminates, the rest of the EPs explores, to mixed effect. Slowed-down spookout muddles "Water" and "Snakes" hint at, but fail to fully inhabit, the downtuned alien vocal style of the Knife's Silent Shout. One of the quietest tracks, the calypso-tinged murderscape "Deepburn", sounds so rough as to seem unfinished-- are we really ready to get just as excited every time some new band without proven-tastemaker connections sends us a track like this? Still, listening to the Halloween shoegaze of "Dirt", the thudding violence of "Skullcrush", or the deadly sexual confidence of "Whenusleep", you can hear not just bass, but also a promising new group who-- like Glass Candy in the realm of after-hours Italo disco-- have a signature style, and now just need to develop it. Bass should be a means, not an end.

Support The Artist : http://www.myspace.com/s4lem

http://www.mediafire.com/download.php?mmdwjj4dwki

Megadeth - Endgame

2011-05-06T13:32:00.000-05:00

"Endgame" was helmed by Mustaine and acclaimed British producer Andy Sneap (EXODUS, NEVERMORE, ARCH ENEMY, MACHINE HEAD). Sneap also manned the boards for 2007's "United Abominations".

According to a press release, "Endgame" "boasts the technicality, ferocity and snarl that's synonymous with Megadeth and Mustaine. It's a violent masterwork that represents Mustaine's best work in nearly two decades. In a musical world dominated by bands that make generic, blanket statements, 'Endgame' finds Mustaine, once again, making informed and substantial lyrical declarations about the state of the world we live in."

Commented Mustaine: "Thematically, I've never been known to be a silent bystander in a world that needs our participation. As more is revealed about our former President's legacy, a little-known yet staggeringly frightening document which was signed into law, named 'Endgame', has been uncovered. The album 'Endgame' is the most energetic music offering I have penned in over a decade and is far more believable than knowing someone signed 'Endgame' — the document — into law. The album is also the perfect 'ass-kicking' music to listen to once you are done reading the aforementioned document!"

He added, "This new album is my proudest moment since the famous (or infamous) 'Rust in Peace' album. With this album, I am also very excited to be introducing my new lead guitarist, Chris Broderick, to the world. I have always felt lucky to have had top shredders in that position, but after touring with Chris in support of my last album, I couldn't wait to get into the studio and see what he could do."

"Endgame" track listing:

01. Dialectic Chaos
02. This Day We Fight!
03. 44 Minutes
04. 1,320'
05. Bite The Hand That Feeds
06. Bodies Left Behind
07. Endgame
08. The Hardest Part Of Letting Go... Sealed With A Kiss
09. Headcrusher
10. How the Story Ends
11. Nothing Left To Lose

MachineHead - The Blackening

2011-04-03T13:48:00.000-05:00

Sometimes it can be difficult to review an album that actually deserves the hype it has received by the less critical masses, and this is such a review for MACHINE HEAD‘s newest release, The Blackening. I personally have been unable to stand any of this band’s releases since The More Things Change… until now. This album is one of those rare occurrences when all of the hype referring to a “return to form” is actually true.

Although this release is certainly not the “be all, end all” of metal as some may be hyping it, The Blackening is definitely the best release in MACHINE HEAD‘s catalogue since The More Things Change…, and it is also the most mature release of their career by far. Although they only serve up eight tracks on this album, each one is jam packed with quality songwriting, performance, and vocals. The shortest song on the album is “Beautiful Mourning” at under five minutes, while the longest track is the opener “Clenching the Fists of Dissent” clocking in at ten and a half minutes. The average song length on this album is over seven minutes, and none of the songs contain any fluff as might be expected. Perhaps the greatest aspect of this album is the extreme emphasis on great guitar work. The songwriting for the guitars won’t set any new precedents in the genre, but this is the best guitar work from this band in a long, long time. It’s also very refreshing to hear little to no pandering to the mainstream hardcore crowd. “Aesthetics of Hate” is the only track that contains what some may consider a “breakdown,” but credit should be given to this band for delivering an album full of straight up aggro-thrash in the same vein as their debut and sophomore releases. Every track is high quality, but stand out tracks are “Clenching the Fists of Dissent,” “Aesthetics of Hate,” “Halo,” and “Wolves.” Not bad for an album with eight tracks.For those of you who have abandoned hope that this band will ever release an album as worthy as their first couple releases, I recommend checking out The Blackening as it’s likely the closest thing this band will come to reliving their early days. Recommended for fans of their old stuff, and highly recommended for those who want a taste of the MACHINE HEAD glory days without going back in their early career.

Fear Factory - Demonfacture

2011-03-30T01:35:00.000-05:00

If ever there was a purpose to the "Mortal Combat"-soundtrack, it was to introduce me to FEAR FACTORY.

And what more fitting of a role could FEAR FACTORY's music have played in that movie than to have broken in during what I consider to be the most climactical and intense battle the length of the film? Whatever dissatisfaction I was granted as Mr. Cage delivered the final blow to finish the mighty Scorpion was balanced by my 2nd, 3rd, and 4th times through the scene as I began to focus not so much on the battle, but on the now-classic crushing of "Zero-Signal". I began to view the scene not as theatrics in a movie already riddled with them, but as a brutal duel to the death with room only for one man to claim victory, and retain their mortality. I was obsessed. I had to have the album, and not Raiden, Sub-Zero, or even Goro himself would dare stand in my path.

What lay in store for me you ask?

Initially, the album places you in a cold setting of chains, gears, and steel with it's title track, "Demanufacture". You'll notice right away that FEAR FACTORY place a lot of emphasis on the double-bass, and with Ray Herrera behind the kit, they couldn't be in more capable, er.. feet. Aside from that, this sets the stage pretty much for the rest of the album nicely. Laden with fairly basic, yet essential riffing and chugging, along with Burton's aggressive/at-times-tranquil vocal approach, FEAR FACTORY have written an album that is sure to please most looking for something to thrash to. Not convinced? How about if I tell you that Colin Richardson produced this one? I thought so.

Well, before you rush off, I will warn you that there are many parts ("New Breed", "Dog Day Sunrise", "Pisschrist", etc.) where you might get the overwhelming sense of deja-vu as Burton simply refuses to end a chorus, or simply put down the mic, and let the musicians take over for a bit. If you dislike repetitiveness, be wary.

…I STILL say that Scorpion should have destroyed that silver-spoon.

TlДlЮk The God

Enslaved - Axioma Ethica

Current members

Studio albums

Fatal Mutiny - Insult To Life

Defeated Sanity - Chapters Of Repugnance

Mose Giganticus - Gift Horse

Alice Cooper - Welcome 2 My Nightmare

Contents

Track listing

2002 CD reissue bonus tracks

Personnel

Divinity - The Singularity

Assjack - Assjack

Soulfly - Soulfly

Kataklysm - Heavens Venom

Mastodon - The Hunter

The Black Dahlia Murder

Opeth - Heritage

Immortal - All Shall Fall

Opeth - Watershed & Opeth 2011 Tour

Limbonik Art - Phantasmagoria

Septic Flesh - The Great Mass & Septic Flesh Tour Dates 2011

Ludicra - The Tenant

Fleshgod Apocalypse - Mafia

Suicide Silence - The Black Crown

The Acacia Strain - Wormwood

Salem - Yes I Smoke Crack

Megadeth - Endgame

MachineHead - The Blackening

Fear Factory - Demonfacture