Tuesday, 5 November 2013

Crypt Of Reason – Creation of Despair


When it comes to the metal scene from Eastern Europe, people often pay the most attention to countries like Ukraine and Russia, but they never pay any attention to Belarus. It's a shame because lots of people are missing out on some great stuff. First there was Alatyr which I reviewed almost two years ago, then there was Hospice with their deranged death metal, and now we have some awesome doom/death from Crypt Of Reason, who have released their first EP, Creation of Despair, in July of this year.

First of all, the production is extremely powerful. The riffs come in clear as day, the bass is really thick and adds an extra level of forcefulness to the music, and each pound of the snare resonates perfectly. Speaking of drums, they mainly play your typical slow doom/death rhythms, but they compliment it by throwing in lots of double bass and fills. I know I've said this plenty of times in the past, but when it comes to making music, you have two options: you can either push the boundaries of the genre and do stuff that no one has done before, or you can take an existing formula and perform it really well. This drummer takes the latter path.

The vocals consist of a deep, bellowing growl that perfectly matches with the slow, crushing nature of the music. There are also times when the guitars step back and let the drums take over with some slow, ominous rhythms. It is during these moments when we hear some whispered vocals that enhance the feeling of sorrow that is displayed in the music. As for the guitars, they're just plain fantastic. They play lots of plodding riffs that are heavily inspired by the Russian doom/death scene, but what makes these guitars unique is that their tone sounds like a mix of melodic death metal and depressive black metal. Hell, on the second song, they play some fast riffs that sound like they were pulled straight from the melodic death metal scene in Sweden. I love the guitar tone. It helps the music display a feeling of desolation and sorrow that wouldn't have been accomplished otherwise.

This was an amazing EP. I loved the powerful production, the excellent drumming, and the beautiful guitar tone. Back in the 90s, no one paid Belarus much heed, but thanks to sites like Bandcamp, I think we'll finally start to see more bands emerge from that country. These guys are great, and if you're interested, you can download this EP from their official Bandcamp page.

Touhou Tuesday #97


Aesir - La Estirpe del Sol Vuelve a Resurgir


Aesir is a Nazi black metal band from Argentina. Unlike all those Nazi black metal bands that emerge from Slavic countries, this one actually makes a lot of sense, as a whole bunch of Nazis fled to Argentina after World War II. This one-man band has been around for a while, but I didn't discover it until the release of their third full-length album, La Estirpe del Sol Vuelve a Resurgir. Let's see what this guy is all about, shall we?

The first thing I love about this album is that it has that classic 90s black metal production. It sounds nice and fuzzy. It's quite raw and exudes a cold, chilling atmosphere. The music itself also has a strong 90s vibe. The drums stick to playing simple mid-paced rhythms to make it feel as though you're marching through the snow. They also play some blast beats on occasion to keep the music from getting monotonous. I also like how prominent the bass is. That's quite rare in black metal. This prominent bass helps make the music sound extra thick.

The vocals consist of a sinister rasp. They don't have any reverb, but they still sound just fine. Normally, I'm unable to enjoy black metal vocals unless they're shrouded in reverb, but he manages just fine without it. As for the guitars, they just scream 90s. They have a tone that sounds like it came from the Blazebirth Hall and they play a lot of grand, sweeping tremolo riffs. I guarantee you that the guitars will make any 90s black metal fan cream his pants in delight.

Although I hate the band's Nazi ideology, I love their music. It's pure 90s worship. The vocals are wonderfully sinister and the guitars are grand and atmospheric. If you ignore all the Nazi bullshit, then you'll be in for some great black metal.

Monday, 4 November 2013

I'm A Metalhead Description

We support signed and unsigned bands of all types of metal \m/\m/
underground to mainstream bands and we do our best to promote as many bands that seem appropriate to us and to you :)


So, if you have a band that needs plugging then feel free to post your band page and songs etc to the page and we'll help you in whatever way we can ;) \m/\m/ The Admins on here devote their time and effort to share their knowledge and for you to enjoy the varied selection of metal and help get your band the recognition it deserves.SUPPORT EVERYTHING METAL!!!!!!!!!!!

Sunday, 3 November 2013

Interview: Delete The Mass


Delete The Mass is one of my favorite new grindcore bands. I especially love their full-length debut. I wanted to know more about them, so I decided to do an interview with them. It got delayed a bit, but it's finally here.

How did the band get together?
George V. (vocals): The band was initially formed by two close friends, me and the other George (drums). We decided to play some crust / grind stuff for fun, then we realized that we had some interesting ideas and the label crust / grind was replaced by anything extreme (or not) we had in mind. Therefore we took it (a little bit) more seriously and the rest of the members joined us sooner or later. After some time, a demo and a full length, plus a few changes of the members and instruments, today Delete the Mass are: George C.: drums, Sotiris: bass, Stergios: guitars/vocals, George V.: vocals.

What are your main influences?
Sotiris (bass): Well, each individual in the band has its own influences. George V. is more into experimental grind stuff like Discordance Axis and Gridlink, Stergios is a die-hard Napalm Death fan and also likes stuff such as Deicide, Repulsion, Mayhem etc., some of George C.’s favorite bands are Nasum, Phobia and Origin, and some of the bands that I consider my influences are Slayer and Voivod. The final outcome is a mixture of our influences that takes place during the arrangement of the stuff we are working on at rehearsals. Of course the bands mentioned above are just a tiny sample of the music we like; we’d spend a lot of time if I start mentioning all the bands we listen to!

Were any of you involved in other bands before Delete the Mass?
S: Before DTM Stergios had a grindcore band called Asscunt Fester, but they split up before releasing anything, and I had a two-year spell at thrashers Suicidal Angels. Nowadays, apart from DTM, George V. performs in Conspiracy of Denial and Abyssgale, a crust and a black metal band respectively, and Stergios has a brutal death solo project called Profane Deed and a black metal project called Stygian Darkness.

What is the meaning behind the name “Delete the Mass”?
G: Forget what the "normal" says, follow your own will and heart, spit blood to learn the truth, take nothing for granted, fuck the labels and the stupid grouping of people, fuck religions, throw away anything you don't need, be yourself. You don't need too much to be OK. Things that have "mass" physically collapse and rot.

I understand that Greece is undergoing a major financial crisis and intense social unrest. Do these events influence the contents of your lyrics?
G: Not all of them. Some songs in Maza, like The Yard, have a strong social content but usually the lyrics were more general with lots of allegories especially on songs with Greek lyrics. We want to play and write what we really feel the time we play and write. I'm not gonna write lyrics for politics if I don’t feel it and I'm not gonna say "tommorow I have to concentrate so that I can write something with social content". Same holds for music. We like not to have a specific pattern; instead we want to create on a whim. The proof for this fact lies in the lyrics and the songs as long as one can notice lots of variations between them. However, in a crisis like that, being influenced in creation generally is something you can take for granted. So as long as the crisis influences our lives and therefore our psychology, it is reasonable to say that it has influence on the lyrics as well, at least a bit. To be honest one of the basic factors that keeps me in the band is to kill my nerves.

What's up with all the cat people on the cover of your first demo? I'm really confused by that.
G: Me too bro...!! Isn't it confusing?

One year after releasing your first demo, you released your full-length debut, Μάζα. I understand that the word means “Mass” in english, but what is the deeper meaning behind it on this album?
G: I think the description of the band name above reveals the answer. We would like everyone to delete the "mass" and the "mass" is something bad for us. We believe that it is what you need to throw away in order to become happy. The "too much". The "common". The same shit you get every day. Or even the stupid mass of people that think they know everything except they now nothing... But in every kind of art, even so in extreme the artist needs to keep some secrets so that the audience will try to imagine what the artist needs to say, think and examine carefully the art. One same thing may have different explanations and meanings. That's why I was so sarcastic about the cat thing above… haha! (That's bullshit, we just found the cat picture on the internet and we were too lazy to put an actual cover… GRIND TILL DEAFNESS!!!).

Could you tell us a little bit about the recording process on this album?
S: The whole recording process of Maza, as well as the mixing and mastering procedure, took place at the infamous Meatbox, our rehearsal studio. It was a really low budget production, since the total cost of the equipment used isn’t more than 500-600 euros (that’s what we had available… sorry haha!!). Our drummer George took care of the entire production, we didn’t want anyone outside of the band involved. Also, note that although the album was released after the line-up changes that took place, the recordings were already done before. That’s why the line-up appearing in Maza is the old one.

What has been your favorite touring moment?
S: We really had a lot of fun at our visit in Thessaloniki last March for the 2nd Greek Death / Grind Scene festival. Apart from meeting old and new friends, we also ended up completely wasted on both nights that we spent there and we’ve got some hilarious stories to tell!!

Any plans for the future?
S: At the moment we are arranging the material we have in our hands for what will be the second DTM full-length. We already have 9 new songs completed, and we have the riffs and lyrics, as well as the main structure for the rest songs, so the only thing left is just to perform them at studio. The new stuff still has some DTM characteristics, but at the same time it’s very different from our previous work, definitely more extreme and closer to death metal. Also, unlike the previous album, most of the new songs have Greek lyrics, with only a few songs having English ones. You can hear a sample of our new work at the following link (http://www.youtube.com/watch?v=fkZjfWVazd8), where you can see us rehearsing the song “Ορίζοντας Γεγονότων” (Event Horizon).

Any final words for your non-Greek fans?
S: We really want to thank everyone for supporting us, it’s great to see that people far away from here like our stuff. Make sure to check our page www.facebook.com/DeleteTheMass for any updates. Always feel free to get in touch with us either by inbox on Facebook, or at dtmathens@gmail.com. Last but not least, thanks go to you too for this interview. Cheers!!!

Hospice – Irreparableness


One year after the release of their demo Contraries, Belarusian death metal band Hospice released their first and only full-length album, Irreparableness. Don't they mean irreparability? Anyway, I listened to this album with the hopes that it would be just as crazy as their demo, and luckily for me, they did not disappoint.

The album begins with some solemn sounding bass before launching into a wild Van Halen-like solo that has a very folksy rhythm to it. They're crazy right out of the gate. Their musical skills have improved as well. The drums are much more complex. Not only do they throw in a lot more fills and double bass, but they're also able to pull off complex beats with ease. They still play the death/thrash rhythms people are familiar with, so they still have some attachment to our world. The vocals now sound more like a black/thrash rasp, but there are also times where he pulls off these growls that remind me of a young David Vincent. The guitars are also more complex, as they are able to pull off more complex time signatures and play riffs that are a lot more orthodox. They also play a few solos that harken back to metal's early days, both in sound and structure.

Then there's the weird stuff. Near the end of “Look At My World”, I swear I heard some female vocals. I'm serious. The first two minutes of “Eternity Is Mine” consists of an Italian acoustic guitar that's playing these really fast tremolo riffs. Why? Who cares! Near the end of the song, they also throw in some violins just for fun. The song “Be In Love!!!” is essentially their deranged take on the grindcore genre, featuring pummeling blast beats and howling lead guitars. Also, on certain songs like “Life Of Sight”, they play these ominous clean guitars that remind of Sororicide and countless Floridian death metal bands that I'm unable to remember.

This full-length was much crazier and much more complex than their demo. I love it. I can't get enough of it. It's like Doritos. If you're a fan of crazy, unorthodox shit like !T.O.O.H.! and whatnot, then I'm sure you'll love Hospice.

 
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