MetalReview Features and Editorials

Finntastic Interviews, Chapter II: Black Sun Aeon

2010-03-16T11:08:00Z

Two and a half fans can't be wrong, so Metal Review's critically acclaimed yet poorly titled Finntastic Interviews may continue its peaceful life under the gigantic Sword of Damocles, at least for another moment. Rejoice, ye filthy plebeians, because I'm back with a vengeance!

Phallic symbolism and excellent humour aside, this time we have something for those, who get their kicks from melodic but punishing death/doom with a strong, blackened hue. Hailing from Lahti, one of Finland's many metal capitals, Black Sun Aeon may not be at the forefront of the ongoing Finnish metal expansion, but they sure as hell are a force to be reckoned with in contemporary extreme music.

Inside the studio our featured outfit is a good, old-fashioned one-man band, led by none other than Tuomas Saukkonen, the rightful uomo universale of Finnish undergound metal. His career as a musician, promoter, organizer, stage manager and livesafer for one frostbitten megalomaniac works as an example of how to devote one's life to metal or any form of art whatsoever. On stage Saukkonen gets help from the duo of Mynni Luukkainen (Horna, Sotajumala, De Lirium's Order etc.) and Mikko Heikkilä (Sinamore), who both lend their six strings of destruction and throats of doom to complete a tight three-piece, ready to whip our proverbial asses with powerful stage presence and crushing live sound.

As a tangible proof of Saukkonen's dedication to Black Sun Aeon, the band is just about to unleash their sophomore full-lenght only a year after the release of their promising debut, Darkness Walks Beside Me. Black Sun Aeon's second offering, titled Routa (Ground Frost), is going to be nothing less ambitious than a double album akin to Esoteric's colossal The Maniacal Vale. As the name suggests, Routa will take the listener on an engaging trip to the desolate, wintry landscapes of my home country, painting this breathtaking scenery with wide strokes of wailing melodies and pounding riffs.

Again, we are graced with exclusive material from Saukkonen's studio sessions, captured by the dilligent Stalkers, and the band's live performance in last year's Summer Breeze. This time, though, you will not be able to absorb much Finnish, because the interview was conducted in English. Who knows, maybe you'll catch the accent and eventually learn to speak Finglish, the lingua franca of the new decade, widely exported by our plethora of race car drivers. Anyway and to finally cut to the chase: on behalf of Metal Review and Stalkermusic, may I introduce you to Black Sun Aeon.

(Please visit the site to view this media)

- JM

Metal Review Invades Scion Rockfest II

2010-03-15T23:39:00Z

Saturday, March 13, 2010... Columbus, Ohio... Twenty-one bands... Seven and a half hours... Four stages... Five Metal Review staffers, two forum regulars and many friends... Appromixately a zillion beers... One absolutely bad-ass good time...

'Twas a rainy, craptacular Saturday when I journeyed to the netherworld of Ohio to meet up with many of my compadres, all but one of whom I'd never had the pleasure of meeting personally. We'd come from near and far to this Midwestern hamlet to see the sights of Scion Rockfest II. After convening at a nearby hotel for pre-game drinks and introductions, we soon found ourselves on Columbus' High Street, occupying the front corner booth at Skully's and downing Bell's Two Hearted Ales in fine metallic form. The festival was spread out over four venues, covering around a half-mile of High Street. I'd come to Columbus with hopes of seeing legendary acts D.R.I., Voivod, and Brutal Truth, although I was torn between seeing the latter and trying to catch some of Shrinebuilder's set--the two bands' times regrettably overlapped. As it turned out, my plan was foiled. Skully's would be my home for the evening, as well as the home of all other Metal Revew affiliates, since after one failed attempt to check out the nearby Circus (which was at capacity early in the event), we decided not to risk being quite literally left out in the cold, waiting in line to get in to any venue. Thus, we returned to Skully's, staked out a spot by the upstairs bar to watch and wait and watch.

Black Tusk and Struck By Lightning both put on quality sets, although I found Acrassicauda to be somewhat dull. (Yes, I admire their tenacity in pursuing their career--I cannot deny that. But I'm not a huge fan of their actual tunes, I must also admit.) I run hot and cold on instrumental wunderkinds Pelican, my interest in their work waning after The Fire In Our Throats, but I enjoyed their set more than I had expected to, all told. Regardless, the gold star that night undoubtedly went to Yob, whose "3.5 song" set was absolutely massive, absolutely crushing. As excited as I was to see Shrinebuilder, after Yob's stellar attack, I felt a bit let down--I relocated to the floor, which was a bit of a mistake, although it afforded me a killer view of Al Cisneros, Dale Crover, and Scott Kelly (but sadly, not so much of Wino). But something got lost in the sound, something felt muddier, less vital, which was a shame considering the sheer talent and legacy of these four dudes. Make no mistake, Shrinebuilder was good, but Yob was better, and I certainly couldn't say otherwise even if I wanted to.

In the end, though, the show became secondary to the event, and if I can be afforded the luxury of sentimentality for a moment, I have to say that the event I mean was simply the chance to spend an evening hanging with my brothers in metal, those fellow writers and readers and rockers who made the journey to share some tunes and some drinks and some laughs. Captain, Matt, Doug, Zach, Jason and Craig--it truly was a great time, so thanks to each of y'all. We'll do it again soon.

Here are some pics, compliments of Matt Mooring, who was the only one of us who thought to actually take some:

--J.Witt

MR Exclusive: New MASTER Track!

2010-03-10T18:58:00Z

Alongside the legendary likes of Death and Possessed, Chicago’s Master helped lay the groundwork for modern extreme metal. The band’s vicious debut album was rejected by thrash label Combat Records for being too heavy, too raw, and wasn’t released until 2001, under the descriptive (if not inventive) title Unreleased 1985 Album. The band has been cited as an influence on later bands ranging from Napalm Death to Incantation, and strains of their ferocious, snarling death/thrash can be heard on countless records. Through numerous line-up changes and a late-90s relocation from Illinois to the Czech Republic, Master master Paul Speckmann has kept the band’s violent vision intact. 2007’s Slaves To Society saw the band in raging rabid form, ripping through eleven tracks of socio-politically charged fury and showing that, even a quarter-century into their career, Master still lives up to their name.

Metal Review is very excited and very proud to offer an exclusive streaming track from Master’s forthcoming record, The Human Machine, which will be released in the US by Pulverised Records in 2010.

Bow before the Master and "Worship The Sun."

(Please visit the site to view this media)

Finntastic Interview(s) and Then Some...

2010-03-10T08:32:00Z

For my first editorial (and for my first written piece) for Metal Review I was going to compose a lenghty introduction focusing on yours truly and then move on to express my overflowing gratefulness to every single person inhabiting this wretched planet for letting me have the chance to write for one of the best metal zines in the whole wide world. I buried the idea, when it suddenly occured to me that it's really not the way to do things, if you're a Finn. Yes, it's legal, if not legitimate, for us to marry our cousins, and nobody will ask you any questions, if out of the blue you make a decision to go on a six-day binge, but thou shall not get all introspective and emotional publicly under any circumstance, or you will be swiftly deported to Sweden. I am not also a huge fan of those tiresome, scream-for-attention essays or columns, where the primary subject matter is the writer's poor, deprived psyche. Actually, as loathsome displays of ego-fapping and narcissisim disguised as a serious attempt to write something interesting they are one of the lowest forms of any kind of journalism, as far as I'm concerned.

So, instead I decided to offer you something else. Before doing that, I would like to use this opportunity to once again extend my sincere gratitude to the whole of Metal Review staff for inviting me to join their ensemble of jolly good fellows. The dedication, passion and overall professionalism, which infiltrate every single word that gets written here, are nearly unmatched in current metal journalism and something you cannot and should not take for granted especially in the world of three lower case w's. I'm proud and honored to get to work with people, who I look up to as excellent scribes, connoisseurs of heavy music and, above all, cool dudes.

Anyway, as you'll probably see my name mostly tagged on written interviews from now on, I would like to give you a chance to try something you probably don't get to do every day, i.e. to learn Finnish with Insomnium. The piece you're (hopefully) about to watch is a part of a series of video interviews we do at www.stalkermusic.com, which is the dearly beloved Finnish zine I write for. The whole shebang was shot and produced by members of the infamous Stalker crew during the last couple of months, and there's also some exclusive footage from Insomnium's latest European tour with Swallow the Sun and Omnium Gatherum. So, without further ado and with the kind permission of Stalkermusic, may I present to you: Insomnium, interviewed in Finnish and subtitled for your pleasure. Enjoy!

(Please visit the site to view this media)

- JM

Awesome Sloth's Awesome Songs, Vol: 6: Battle Angels

2010-03-08T18:45:00Z

Falsetto-haters beware: this one's not for you...

Seattle's Sanctuary debuted in 1988 with Refuge Denied, from which this piercing banshee-wail of a track is taken. Produced by Dave Mustaine, Refuge Denied was a kick-ass record, if perhaps not a particularly successful one. One more record later (1990's less-thrash, more moody-progressive Into The Mirror Black), Sanctuary disbanded, and vocalist Warrel Dane and bassist Jim Sheppard formed Nevermore.

(Please visit the site to view this media)

Awesome Sloth says, "Fall on your knees... AND HAIL TO THE DAWN."

My First Editorial for Metal Review and Screw the Digital Age

2010-03-03T20:36:00Z

First, I'm thrilled to join metalreview.com in a more extended, full time capacity and join such an enthusiastic and professional staff.

A couple of years ago, I blogged about the trend of music labels sending out voice over CDs as promos for schleps like me in the metal media to review. I basically ranted about labels expecting media outlets to review beeped or voiceover promos as opposed to a full retail CD. Well now, it appears music labels and now bands have fully dumped the sending out of physical CDs to review altogether, not even card slipcase or even voice over promos.

Once upon a time, a glorious time way back in the last prosperous decade, my mailbox was overflowing with CDs from various metal journalistic outlets. It was nothing to get 10-15 full retails CDs in the mail a week- every day was often like a mini Christmas as I tore into the packing to see what pending release would grace my ears- musical gifts from labels that appreciated a positive review or at times, any kind of feedback. Now my mailbox is as bare and dusty as Betty White's snatch.

I'm not telling you this to brag, nor do I expect any sympathy from you guys who don't regularly get free music just to write mindless words on a website. The point here is, when a label or band sent me a full physical CD, I felt obligated to review it. I don't get paid for any writing I do, but there was an unwritten reciprocal agreement between journalist and band/label, a sort of knowing nod that said "hey dude, heres a CD for your time and effort, thanks". Now- all I get is an email sending me to a download link, or even worse, a stream or get this, a 'beeped' digital promo.

Now, I know, free, early music is still a good thing, and I'm still grateful, but while not even touching the issue I of reviewing a faceless digital version of a physical product, I have to admit, I feel slightly taken for granted. Now I'm sure, many bands and labels feel the same way- especially if they send out a number of CDs to every mom and pop label site, blog or such, and get either some amateur, profanity laced comedic display or nothing at all. But at some point, on some level I feel a bit shorted.

Now, I'll be the first to admit, I know nothing about the business end of running a label or being in a band and what promotional costs entail, but I'm pretty sure that the $2.00 it costs to send out the CD (without jewel case even), to have it reviewed at a respectable, heavily visited site such as this, blabbermouth.net, teethofthedivine.com, teufelstomb.com, aversiononline.com or some of the other excellent long standing review site is worth the 20,000- 50,000 eyes that lay eyes on that review and whatever percent purchase that album. Now, I do understand in this digital age, that most albums are indeed readily available to download and 'preview' at blogspots like Bunalti and such, but am I allowed to have a little faith and belief that metal fans actually want physical CD or vinyl in their hands- or is that me being hopelessly old fashioned?

Instead, most sites and writers are getting mediafire and rapidshare links- and you know what- I can go google that for myself and download it if I want. And to be quite honest, when I'm sent one of these digital promos, I take it as a bit of an insult, and frankly feel less inclined to review something that has such impersonal approach and little effort put into it. Anyone can upload and send a digital file - like I said, I can do that myself. But receiving a CD in the mail from a label, PR or band, says "hey- we value and care about your and your site's opinion - please enjoy every aspect of this release", thusly I feel like putting the same effort forth in my review. And personally when I review a CD, I like to look at the lyrics, linear notes, thanks you's, production credits- even the artwork and who did it. That's kinda hard to do with a digital file. And honestly- it's almost a something for nothing deal. I'm not even getting the full lemon to make lemonade.

On average, I spend 1 hour to actually write a single review, for me, that's anywhere from 4-12 hours a week I spend writing (on top of a full time job and a family), that's not counting the many listens I have. When you send a digital file, I feel like that time is not worth anything to the offending party. I'm no different from Joe Blow going out and downloading the album for personal use. Don't get me wrong, I'm doing this because I love writing and I love metal, but at some level, with this transition to the digital age, I feel taken advantage of, and on a selfish, personal level- underappreciated.

Listen, I don't mean to sound ungrateful or bratty, though I realize I'm coming off as so, but after almost a decade of doing this for numerous outlets, the change from physical CDs to digital promos actually had some bearing on my choice to join metalreview.com full time and pass on the same duties at teethofthedivine.com/digitalmetal.com to someone else. Like labels and bands, it was a business decision, so I do 'get it'. But it doesn't change the fact that my or other experienced writers' opinions are no longer even worth the cost of postage, but simply the price of a email and a couple of clicks. - Erik Thomas

Return Of The Awesome Sloth: A Windy City Thrash Two-Fer

2010-02-26T20:19:00Z

The Awesome Sloth emerges from a months-long hibernation with this thrashtastic two-fer-one by these related and underrated Chicago acts.

First up, Znöwhite (note the Sloth's insistant use of the metal umlaut, which would come and go during Znöwhite's lifetime and actually wasn't featured in the logo by the time this song came out)... Arguably the best female-fronted thrash band, this incarnation of Znöwhite features original vocalist Nicole Lee, who was replaced by Sentinel Beast's Debbie Gunn shortly before Znöwhite's demise... "I can not; I will not; I shall not...OBEY!"

With only one full-length release to their name, Znöwhite hit hard and then vanished, but thanks to the kind souls at Metal Mind Productions, 1988's Act Of God is now available in a handy-dandy limited edition digipack with its abominable cover art intact.

(Please visit the site to view this media)

And up next:

After the departure of Lee and the defection of Gunn back to Sentinel Beast, Znöwhite added vocalist Brian Troch and changed their name to Cyclone Temple. (Guitarist Ian Tafoya also changed his name, becoming Greg Fulton in the process.) Not as furious as Znöwhite, Cyclone Temple nonetheless had a solid grasp of the more commercial side of thrash. Signed to Relativity, the Temple released their first record I Hate Therefore I Am in 1991, right around the time that thrash became passe and just in time for their label to be purchased by Sony and promptly shut down. Cyclone Temple struggled on in various incarnations to diminishing artistic and financial returns before calling it quits in 1994, morphing into something called Rebels Without Applause, which the Sloth has thusfar avoided. To the Sloth's knowledge, I Hate Therefore I Am hasn't been reissued, but it's a solid (albeit dated) slice of mid-period-Metallica-esque melodic thrashing metal if you're lucky enough to find it.

(Please visit the site to view this media)

The Sloth says, "Watch. Listen. Rock...err...thrash."

Memory of a Mayhem Festival

2010-02-18T16:16:00Z

Patrick Rennick of MetalReview recounts his journey to the Mayhem Festival in the summer of '09

...(read more)

Winners Announced! Limited Edition PHARAOH Vinyl!

2010-02-16T00:21:00Z

Thanks to all that entered, but only 3 readers have emerged victorious:

Randy

GwynethPaltrow'sHeadInABox

Keegan

Congrats! We'll be in touch.

Our friends at Cruz del Sur Music have done it again. Pharaoh's acclaimed 2008 album, Be Gone, is the label's inaugural vinyl release. To celebrate this event, they're giving away THREE copies to THREE lucky Metal Review readers.

Universally hailed as one of the must-hear acts amidst the current crop of trad / power flag-bearers, Pharaoh certainly delivered the goods on Be Gone, their third full-length. Be Gone came in at Number 21 on our Best of 2008 list, topped Matt Mooring's retrospective, and was bested only by Iron Will in Michael Wuensch's book. An excerpt? "Each song on Be Gone flashes multiple moments of some of the most nimble soloing I've heard in quite some time. And by hell, if I were amongst a troop of war-ready metalheads, I'd need little more than Tim Aymar's raucous, embattling vocal delivery to howl me into avid combat-frenzy.

Most importantly, there's enough exaltatious Pharaoh catchiness on Be Gone to stick each and every one of these tunes in your head for days. But the true gems of this endeavor -- the ones most likely to set adamantium roots and become an essential part of your day -- are surely "No Remains", "Red Honor" (this album's "By The Night Sky"), "Rats and Rope" (one of the most scorching cuts the band's ever written) and the emotive "Cover Your Eyes and Pray..."

So, if you needed proof of this album's might, there it is. In order to properly contain its sonic weight, this killer album has been issued on heavy-duty, 180 gram vinyl and wrapped in a gorgeous gatefold package. As an added bonus, it also comes with a full-color poster and a 7" EP with two as-yet unreleased bonus tracks. This run has been limited to 500 copies, but three have been set aside for you: the MR faithful.

This is one of the sweetest packages we've had the pleasure of giving away, so don't hesitate to throw your hat in the ring. Per usual, anyone that posts in the thread below will be automatically entered to win the record. In the past, we've accepted random blathering as a valid entry, but let's spice things up a bit this time. In order to be considered for the prize, you must answer three questions:

What has been your favorite album thus far in 2010?
What is your single most anticipated forthcoming release?
What band (if any) would you like to see us interview this year?

Answer the questions! Win some vinyl! Good luck, legions!

Getting the Most Out of Your Metal: a Louisville Case Study

2010-02-15T17:54:00Z

This past Sunday I woke with a touch of hangover and a sharp ache in my neck. Going out on a limb, I'll assume that many of you have an intimate familiarity with these symptoms. Either I got drunk and fell asleep awkwardly on my couch, or I got drunk at a particularly kickin' metal show. Considering I also had a fading ring in my ears, it was obviously the latter. The ringing was the remains of the previous night's din. The event was Nile and by-god Immolation at Headliners Music Hall in Louisville, Kentucky. But this isn't a live review. This is a quick lesson in how I got the most out of my evening of death metal.

One essential element was the crew (friends, not the sweaty guys wearing laminates), which consisted of myself, a couple of the Cincinnati boys, our very own Matt Mooring (Eminor to you forumites), and two friends from the Bloomington area. There is just something extra special about a gathering that includes friends from all around, and also something about the timeless heavy metal road trip. The latter always includes lots of "Dude, you gotta hear this shit!" This particular drive down I-71 nearly resulted in my friend Jon soiling the driver's seat at the sound of the new Overkill.

Another element is to pick the ideal venue for the pre-game. My usual concert hot spot is Bogart's in Cincy, making nearby Steelers-backers bar Martino's the default pre-gamer. Both are ok, but when I head to Louisville for a show, it's GAME FUCKING ON. First, no Steelers fans. Second, a selection of a few hundred beers courtesy of the New Albanian Brewing Company in New Albany, Indiana just across the river. Third, the best pizza on this planet Earth. I really don't mind enjoying some signature Upside Down Pizza, an NABC smoked ale, and a Founder's Red Rye while missing obnoxious openers like Rose Funeral.

Another experience enhancement came from Headliners, a club with a great setup and consistently good sound mix. Love the elevated bar in the back, the shallow depth of the club, and the strangely courtious staff (a rarity when metalheads are involved). And holeeeeee shit was our timing right in arriving late. As we walked in, Dreaming Dead were taking the stage, who were followed by Brazil's Krisiun, New York's Immolation (who owned the night for me... most likely something to do with my buzz reaching a perfect balance about the time they played "Father, You're Not a Father"), and of course the incomparable Nile. I think I just love death metal. And drunken me likes it even more.

Like I said, this wasn't a live review, just a quick write-up of how I got the most of my most recent concert experience. Make an event of it: muster the crew, grab a bite, get a little buzz on, and headbang like its 1989.

-ZD

Note #1: no vegetarians or straight-edgers were harmed in the writing of this editorial.

Note #2: Rose Funeral, fuck off. If you are so hard up for traveling funds that you have to walk around the crowd trying to sell merch, don't get so drunk at the show and be shits to all of the fans while the good bands are playing. Hipster assholes.

Metal As Art In Nashville (Title Stolen From Zach)

2010-02-12T03:35:00Z

'Twas a cold and rainy February night in Nashville when myself and about ten other resilient metalheads journeyed forth to our most metal-friendly of local clubs (The Muse, bless its blackened concrete heart), ready to put the self-described Metal As Art tour to the test. The attendance was regrettably weak (embarrassingly so for us natives), but the performances were far from that.

I missed the two local openers, arriving just as The Binary Code were finishing setting up their gear and preparing to hit the stage. Despite an audience with arms crossed, daring the band to impress them, this New Jersey-bred progressive-minded death-metal-slash-hardcore collective ripped through a vicious set, earning their money by simply doing what they do and doing it well. I wasn't familiar with their record, I'll admit, and sadly, I think many of the subtleties of their compositions were lost in the ultra-loud confines of the Muse, but even devoid of jazzy subtext or wheedle-doodle guitar runs, their brand of metal still pounds, even if it's a bit too spastic for my own tastes.

Boston's Revocation followed, and of the three acts, I was most interested in hearing them because I was most familiar with their recorded work. Metal Review's own Patrick Rennick introduced me to this band many moons ago--his praise of a local (for him) thrash band piqued my interest, and I pursued his lead to discover the band's frantic technical savagery every bit as killer as he'd described. I was excited to see them live, if only to see if Revocation could bring the proverbial noise in that setting as well as they do on record. The presence of a touring guitarist allowed vocalist/guitarist David Davidson freedom to shred, which he did in spades, and between the tight performance and Davidson’s occasional wisecracks and goofy persona, the band’s set was equally frenzied and friendly.

By comparison to my emotional excitement to see Revocation, it was the last band by which I was most intellectually intrigued. Hypno5e travelled all the way from France to play for all ten of us, which was a bit of a bummer (and probably more so for them than for me, of course). Or perhaps the band didn’t care at all—their stage presence was introspective, quiet, reserved, almost oblivious to the audience. Regardless of the lack of rock-star antics or garrulous interaction, the band's cinematic, cerebral Gojira-meets-Isis metal was impeccably constructed and nearly perfectly performed. Vocalist/guitarist Emmanuel Jessua’s microphone was too low in the mix, but given that vocals are sparse in Hypno5e’s atmospheric attack, the loss was regrettable but not insurmountable. Jumping effortlessly from off-time crushing riffs to spacey post-metal, the band were easily the most musical act of the evening, even above and beyond Revocation’s finger-bending fretplay. I had heard their sole release, 2007's Des Deux l'Une Est l'Autre, and I'd been impressed by it despite being somewhat bored by the whole post-metal tag these days, but their live performance exceeded my expectations, to say the least. Regrettably, thanks to the combination of a late start time and an early start the following morning for Day Job Me, I missed the last bit of their set. Here's some video of the band live (from Chicago, not Nashville--thanks to Sasha Horn for the cinematography):

(Please visit the site to view this media)

To the three bands on hand, I assure you that, though the show may have been sparsely attended, the music was thoroughly enjoyed.

--JWitt

Metal As Art in Cincinnati

2010-02-11T14:59:00Z

The first leg of the Metal As Art Tour just wrapped up here in the ol' US of A, and one of the last stops was my oft-overlooked hometown of Cincinnati, Ohio. This was good for the bands in that they surely impressed some new fans (myself included), but bad because they could have impressed more elsewhere. In total, I don't think 75 people circulated through Dirty Jack's that night, including the bands, the fans, and those working the bar. Still, there were more than I was expecting for a Thursday at a particularly low-profile venue, and those that came out got far more than their $8 worth.

The shit-tastic local openers do not factor into that value. Not at all. 'Scuse me while I hop on my soapbox. To local opening bands that get tacked on to an actual tour, don't act like you have some scripted stage show. Just rock and play your absolute best. Thank the crowd, thank the touring bands, and get the fuck off the stage. That's your best bet to make some new fans. That was mostly for the first band (who were godawful anyway). The only thing I remember about the other is a blatant ripoff of "Mandatory Suicide" somewhere in their set.

So, after we got that out of the way, it was on to the actual Metal As Art touring bands. First up was The Binary Code. I was really expecting a big pile of breakdowns, spinkickery, and bree bree nonsense, mostly due to their scratched up logo. Never judge a book by its cover kids. While you could still say they're a bit in the "deathcore" grouping, this would be in the ideal sense of the term, much in the way Converge (not As I Lay Dying) would be the ideal definition of "metalcore." What they brought was a very technical mixture of Meshuggah-ish rhythms, Between the Buried and Me's prog-plus-spastic tendencies, and plenty of classic brutal and technical death metal. Plus, axeman Jesse Zuretti provided some very smooth leads, providing the glue for their songs.

Revocation followed, garnering by far the biggest reaction from the modest crowd. And for good reason: these boys tore the place down. DOWN I SAY! With a live presence far beyond their years, they played a combination of jams from both full lengths. To say that I was impressed would be a gross understatement. To say that I've been spinning debut Empire of the Obscene nonstop for the past week would be a tad more accurate. Revocation really seem to have that special "IT" factor that connects with fans, combining the classic death-thrash of bands like The Crown with an extra layer of shred and a distinctly modern American feel. It is also extra refreshing when you can't punch the smiles off of the band member's faces, and guitarist/vocalist David Davidson was sporting a particularly wide grin the entire time.

Finally we got to Hypno5e. Unfortunately, most of the kids left the venue after Revocation played, and there weren't 15 people left in the crowd. To bad for them, as these Frenchmen have a kickin' (see: HEAVY) live show. Comparisons to countrymen Gojira are apt, but Hypno5e are much more expansive, adding a flair for post-y tendencies, trippy clean sections, and extended breakdowns (in the acceptable sense of the term, trust me). An extra cool touch was that frontman Emmanuel Jessua played rhythm guitar without a pick, adding to their sludged-up bottom end, while making his clean guitar work that much more interesting to watch. Another extra entertaining bit came from very skilled bassist Gredin, who I honestly thought was going to get on the mic and scream "WARRRIOOOORS, COME OUT AND PLAAAAAAAAYEEEEEEEEEEEEE!" at some point in their set. Goofy, talented, AND crazy-eyed.

All in all, a great reason for my 8 am-workin' ass to stay out until 2 am on a Thursday. The name Metal As Art may only really refer to Hypno5e, but I must say, all three of these bands could have a viable future in the scene, with Revocation being especially primed for success. So if you didn't see it, too bad for you, but Hypno5e will be coming around for another leg with Starring Janet Leigh and Fallen Martyr, so catch that if you have the opportunity. The headliners alone validate it, and they deserve much larger crowds than my native town gave them.

Sorry for the lack of pictures, I hadn't really planned on doing this write-up until after the show. Being unexpectedly impressed leads to unexpected actions.

Metal As Art Tour: Rapid Fire Winners Announced!

2010-02-04T22:27:00Z

Polls are closed, and the winners have been selected! Congratulations to:

deathfreak

Heiress of Hades

plah

Enjoy! We'll be in touch.

Apparently, quitting is not an option for French avant-metallers Hypno5e. Fresh off their first month of Stateside touring with support from Revocation and The Binary Code, the band is diving right into the second leg of The Metal As Art Tour, this time joined by Starring Janet Leigh and Fallen Martyr.

As one of the (many) sponsors of this venture, Metal Review would like to christen this voyage by firing a few rounds of free heavy metal in your direction. Three lucky winners will receive the most recent releases from this trio of artists:

Hypno5e - Des Deux L’une Est L’aurte

The acclaimed 2007 full-length from the ambient metal manipulators.

Starring Janet Leigh - Spectrum

Canadian tech-ness in the vein of Beneath the Massacre, with on-your-toes progressive freakouts tossed in for good measure. Brutal and provocative, especially for a band plying the already-tired female celebrity and/or fictional character reference.

Fallen Martyr - The Six Roots of True Will

An EP showcasing these unsigned DC dwellers' energetic take on progressive death / thrash. Packed with quality riffs.

Three albums. Three winners. But that's not all, folks. In addition to scoring the albums, the winners will also be placed on the guest list at a Metal As Art show of your choice.*

With that stipulation, it's obvious that this contest is time-sensitive. So enter now, people! Just post some nonsensical bullshit below, and you'll automatically be thrown in the ring. Do the damn thing, and good luck!

*(We know that there are some ominous TBA' s on there, but they should be cleared up within days.)

Cruz del Sur 'Triple Six' Package: Winners Announced...

2010-01-12T17:44:00Z

After weeks of anticipation, the time has come for our three winners to claim their spoils:

The Metal Mallet

SlayerM

dimejaguar

Congratulations! We will contact you shortly to gather your vital information. Thanks to all that entered!

Italy's bastion of traditional heavy metal, Cruz del Sur Music, had a banner year in 2009. We here at Metal Review had one hell of a year as well. The key to this success? You. The metal fan.

In appreciation of your dedication and loyalty, we've teamed up to extend the season of giving well into January. Three winners will receive an epic package of six new Cruz del Sur releases:

Crescent Shield - The Stars of Never Seen

The acclaimed follow-up to 2006's The Last of My Kind.

"In the throwback era of heavy metal, it is getting more difficult to for classic minded bands to forge a suitable familiarity with panache enough to steer clear of clichéd clichés. But, while many such bands wear their influences on their sleeves, Crescent Shield wears them like bloodied badges of honor."

While Heaven Wept - Vast Oceans Lachrymose

Number Eight on the MR Top 25 of 2009.

"...While Heaven Wept play epic doom with strong traditional and progressive metal leanings. You can clearly note the influence of sole founding member Tom Phillip's supplementary bands, Solstice and Twisted Tower Dire, but throw in healthy measures of Solitude Aeturnus and John Arch-era Fates Warning to better paint a true picture of what's in store."

Slough Feg - Ape Uprising!

A stout Number Six on our Top 25.

"This entry showcases a Slough Feg that is brimming with confidence and pushing their limits to the brink. Ape Uprising! is an exciting, exuberant entry into theSlough Feg catalog, and one of 2009's most essential albums."

Handful of Hate - You Will Bleed

Not just a two-fingered grip...a whole freakin' handful. That's a notable amount of hate.

The fifth album from these depraved Italian black metallers.

High Spirits - High Spirits

A digipack compilation of the band's 2009 demos. This Chicago-based, NWOBHM-worshiping outfit features Chris Black of Pharaoh, Nachtmystium, Dawnbringer, and Superchrist.

Fool's Game - Reality Divine

An international concept band put together by both American and European musicians, featuring members and ex-members of Ark, Malmsteen, TNT,Redemption, Manticora, Pharaoh and Division.

Featuring guest vocals of Tim Aymar (Control Denied / Pharaoh) on 'The Conqueror Worm'.

Three lucky winners will win ALL SIX OF THESE ALBUMS. And we say 'lucky' because we mean it -- per usual, winners are chosen at random. All you have to do is post something in this thread. Tell us why you want to win, tell us how much we suck, complain about Porcupine Tree making the Best of 2009 list (again)....it doesn't matter what you post. Just as long as it's something.

We'll run this contest for about two weeks, so tell your friends. (The ones that like kick-ass trad metal, anyway.)

On behalf of Cruz del Sur and the MR Staff: Thanks for hanging with us in 2009. Here's a token of our appreciation. Good luck, legions!

John Ray's Top 20 of 2009

2010-01-10T21:33:00Z

First, my apologies for being so late with this. Thing is, I spent the last couple of weeks battling an upper respiratory infection and simultaneous nasal staph infection. If you’ve never had the pleasure of experiencing a staph infection, particularly one so kind as to take up residence in your schnoz, let me assure you that it is about as enjoyable as a Brillo colon scrub. Mine had me spewing mucus enough to fill a swimming pool, feverish enough that I shook like a dog shitting a peach seed, and swollen to disfigurement rivaling that of the handsome Jackson gracing the cover of Death’s Leprosy. But, after enough antibiotics to choke a horse, including no fewer than nine hours of IV, and one million hot compresses, I have emerged with horns held high and at least most of my nose fully intact.

So, without any further fucking around, here’s a list and some discussion of the albums that most thoroughly kicked my ass this year.

1. The Chasm – Farseeing the Paranormal Abysm

Of all the places I’d like to one day visit, the weirdest and most wonderful might be the space between Daniel Corchado’s ears. It would likely take a lifetime of steeling my nerves to endure the swirling genius mindswells that gave rise to Farseeing, but I’d give an eye for the chance. This album’s intricately layered and latticed mystical death metal floored me in a way that only a handful of heavy metal records ever have. I haven’t seen enough talk about Farseeing outside of MR and a smattering of niche sites, but in all honesty I don’t really give a shit because, as far as I’m concerned, The Chasm forged this glorious metal monolith for mine ears alone.

2. Los Natas – El Nuevo Orden de la Libertad

My favorite heavy music transports me somewhere and most often this year I’ve chosen to journey with Los Natas. In fact, El Nuevo Orden de la Libertad has become my go-to record when I have the slightest trouble deciding what to listen to. This Argentinean free rock floats my spirit over a dusk black desert sea, ranging to distant purple mountains, their peaks reaching into orange gradient horizon. Nestled within captivating songcraft, the album’s sweet, smoky vocal melodies are finely balanced with fuzzy, insistent stoner rock riffs to create an incredibly rich sound that is heavy like a favorite old quilt on a drizzly November morning.

3. Vreid – Milorg

That’s a Norwegian Milorg officer on the cover, beating the living fuck out of a Nazi. And there you have the perfectly simple, unapologetic premise of this near masterpiece from Vreid. This is an album of intensely proud Norwegian black metal given color by traditional metal ideas and shape within forward thinking structure. Beautifully triumphant and tragic in its ire, Milorg hasn’t released my throat since its first spin way back in January.

4. Porcupine Tree – The Incident

PT’s latest opus is an emotional exposé of the disconnect between the way we see tragedy around us and how we experience it ourselves. Crafted as a series of seemingly unconnected events, the parallel is drawn via the music, progressive, punctuated and poignant. It is Porcupine Tree, so you know what to expect, but this one somehow translates the ingenuity of Steven Wilson and Co. into perhaps the band’s most personal entreaty to the individual listener.

5. Riverside – Anno Domini High Definition

I remember seeing that Riverside had released a new record and thinking to myself that I hoped they’d let up on the PT worship, expand their sound and, above all, rock a little bit, for fucksake. Imagine my surprise to hear on Anno Domini that they had done exactly that. Steeped in a vibrant new take on their classic prog sound, this new one sacrifices none of the band’s songwriting chops, but augments them with a welcome intense heaviness. Most notably, Riverside appears to have developed a fiery love affair with the classic rock sounds of the Hammond organ (and others), adding a rich layer of authenticity to their fierce new duds.

6. Woods of Ypres – Woods IV: The Green Album

I am not a fan of Goth-anything, really. I just don’t buy the shtick. But the doomy, dark despair pitched here is so sincere as to defy the shiny patent leather associated with so much of the sound, and that’s what makes it so appealing. I must have listened to this album 1000 times while I was sick. I smiled just a little every time I heard the refrain, Life is just pain and piss/ It’s nothing that I will miss, knowing that Mr. Gold meant just what he said and, in that moment, I knew just how he felt. This is bona fide gloom in a black trench coat and I love every minute of it.

7. Blut Aus Nord – Memoria Vetusta II: Dialogue With the Stars

Cascading. That’s the best word I’ve seen used to describe the sound on MVII. It’s just an endless flow of absolutely stunning effervescent riffing. Call it bright black metal, I suppose, because despite its obvious BM genealogy, this music elevates far more than it subjugates. It’s impossible to escape the countless layers of exquisite melody, it’s so utterly hypnotizing. I regularly find myself at the end of the last track wondering where I’ve been the last hour. That tendency to engulf and whisk the listener away is the mark of a superbly crafted record.

8. Crescent Shield – The Stars of Never Seen

Hurtling through space on an intergalactic voyage of discovery is just one of the many compelling metaphors Crescent Shield use to celebrate life’s endless tribulations and triumphs. And, boy, do they nail it. Brimming with inspiration, the band’s second album of power-laced traditional metal is as uplifting as it is expertly crafted. This is a record that takes me back to my youth, filling me again with an unbridled optimism; the sense that, if I always felt the energy that this music generates in me, I could conquer the fucking world. The Stars of Never Seen is a classic manifestation of the spirit of heavy metal.

9. While Heaven Wept – Vast Oceans Lachrymose

Perfect artwork. Perfect sound. Perfect execution of a premise. It engulfs like an epic doom tidal wave, tosses the listener about in a riptorrent of emotional introspection, and ebbs quietly, leaving serenity in its wash. I was a little apprehensive about new singer, Rain Irving, because I am such a fan of the earlier vocals from guitarist Tom Phillips, but Mr. Irving’s ardent execution wasted no time in setting me straight. This is a fantastic album from every angle.

10. Argus – S/T

I honestly can’t think of a way to succinctly describe the awesomeness of Argus’ brand of doom. Suffice it to say that this monster could very well be the modern representation of the archetype of heavy fucking metal. That is to say, if one were to gather all the greatest aspects of the genre’s foundations and stir them up in a cauldron, the resulting brew could only be this record. Doesn’t matter what I’m doing when I listen to it, Argus pulls me from it and I end up leaned back, eyes closed tightly, mouthing the lyrics and picking my air guitar. Every bit as invigorating as it is addicting.

11. OSI – Blood

12. The Prophecy – Into the Light

13. Between the Buried and Me – The Great Misdirect

14. Krallice – Dimensional Bleedthrough

15. Slough Feg – Ape Uprising

16. Absu – S/T

17. Razor of Occam – Homage to Martyrs

18. Urna – Iter ad Lucem

19. Glorior Belli – Meet Us at the Southern Sign

20. The Devin Townsend Project – Addicted!

Some albums that came damn close include offerings from Black Boned Angel, Zoroaster, Weapon, Sinister Realm, Sun of the Blind, The Firstborn, Altar of Plagues, Megadeth, Wino, and on and on and fucking on. Honestly, this list could go on for days. Such was the incredible depth of 2009’s heavy metal crop. Fuckin’ A.

Best EP: Marțolea – Gâlmele Întunericului

This is a demo from Alin Drimus, a Romanian dude that contributed wind instrumentation to Negură Bunget's OM. It’s awesome and it’s free for download at the band’s website. Go get it.

Best Non-Metal Album: El Creepo! – S/T

Biggest Disappointments: Cage – The Science of Annihilation, Deströyer 666 – Defiance

I’d also like to say that it’s been just about a year that I’ve been reviewing with MR and it’s been a truly enriching experience. Between the staff and all the regular forumites, I’ve come to feel as if you all are an extension of my family, complete with all the unconditional support and hilariously Springer-esque dysfunction. Love ya one and all, folks.

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Cruz del Sur 'Triple Six' Package: Winners Announced...

The Metal Mallet

SlayerM

dimejaguar

Crescent Shield - The Stars of Never Seen

While Heaven Wept - Vast Oceans Lachrymose

Slough Feg - Ape Uprising!

Handful of Hate - You Will Bleed

High Spirits - High Spirits

Fool's Game - Reality Divine

John Ray's Top 20 of 2009

Randy

GwynethPaltrow'sHeadInABox

Keegan