World Under Blood is collaboration between CKY guitarist Deron Miller, Divine Heresy drummer Tim Yeung, guitarist Luke Jaeger, and bassist Risha Eryavec of Decrepit Birth that has its roots back in 2006 when Yeung and Miller first met. The two recorded several songs and put them up on MySpace for fans to hear and soon pulled the other artists in on the project. Vocal recording and mixing on the album were long delayed though, which left the album unfinished for several years. After a long wait, the project’s debut album Tactical has finally been released.
Tactical is an excellent example of American melodic death metal. It features some sound guitar work by Miller and Jaeger, though it does occasionally sound a bit familiar and many of the time changes get lost in the rough. Tim Yeung’s drumming is impressive and varied, best showcased on the track ‘Pyro-Compulsive’. Miller sounds at home interchanging harsh growling vocals and cleanly sung choruses, rather than the awkward flip-flopping that so often occurs when vocalists choose to go this route.
Some of the best tracks are: the climactic ‘A God Among the Waste’ which has some of the best vocals on the album, the aforementioned ‘Pyro-Compulsive’, and ‘Under the Autumn Low’, a hook-filled track. At only 33 minutes though (unless you purchase the iTunes version, which comes with covers of Megadeth and Malevolent Creation), it’s a bit too short. For all the talent showcased on this album, it doesn’t seem like much to ask for another song or two.
When I first got turned on to these guys 2008 single “Tastes Like Kevin Bacon” I was, intrigued. Not a big fan of metal-core but the more I listened to them, I scratch my head because I am not sure if these guys are pure genius or just a bunch of clowns fucking around, but my curiosity took the better of me and I continued to seek them out. My anticipation grew as I found out they signed on with Century Media to release their album “Ruining it For Everybody” (2011) . I am pleasantly surprised that they have not been per swayed, as many bands are, to change their sound or technique.
Krysta’s vocal range in styles are impressive alone and with the combination of chaos musically, it only makes me curious as to where they are going with it. Silliness, unorthodox, and even bizarre “Ruining it For Everybody” is refreshing in its own way. Keep your eyes open for your chance to see them live.
After releasing Hate, Malice, Revenge (2005), The Price of Existence (2006) and Awaken the Dreamers (2008), All Shall Perish have returned after several lineup changes with This Is Where It Ends, an album that’s as melodic as it is brutal. The addition of Adam Pierce on drums and Francesco Artusato on lead guitar has tightened their sound, and keeps these guys at the top of their game. One of the greatest things about this release is Hernan Hermida’s vocals – he manages to belt out some throat-ripping screams and still make himself completely understood. His cleaner singing sounds top notch as well. All Shall Perish doesn’t rely on breakdowns to sound heavy on this album. Don’t worry, theres still plenty of them on This Is Where It Ends, but they are used accordingly and are consistently interesting to listen to. The guitar work also finds a nice balance between being overly technical and too simplistic, both of which are a problem in the deathcore genre.
The album opens up at a break-neck pace with “Divine Illusion”, which closes with Hermida screaming “Your god can’t save you!” over a killer breakdown. “A Pure Evil” alternates between technical passages and well-built slower chorus. “The Past Will Haunt Us Both” has a catchy melody and clean vocals on the chorus that make the song one of the most memorable of the album. Easily the best song of the album, “In This Life of Pain” is absolutely huge in scope. Every second of the 7-and-a-half minute long track adds up to create a song that is both gorgeous in the slow piano intro, and blistering in the verse and breakdowns. This song also features some of the most interesting sounding riffs of the album, showcasing Ben Orum and Francesco Artusato’s creativity and guitar chops.
Overall, this album is a fantastic addition to anyone’s collection. It doesn’t bring anything incredibly new to the table, but it’s a great piece of work that sounds refined and puts All Shall Perish at the forefront of the genre.
Deathcore leaders Suicide Silence recently came out with their third album, The Black Crown, after a two year break. Having previously released The Cleansing (2007)and No Time to Bleed (2009),Suicide Silence find themselves slightly reworking their sound on The Black Crown, tweaking their formula just enough to create a sound that’s more approachable. It still provides the same simplistic brutal chugging that they are known for and execute well, but there is a noticeable parting from their previous albums.
Vocalist Mitch Lucker utilizes mid & high pitch screams more frequently than the guttural growling that was more common in their previous recordings. Drummer Alex Lopez uses blast-beats more effectively and not as often. The guitar work hasn’t changed overall that much from 2009’s No Time to Bleed, but it doesn’t really need to: Chris Gazra and Mark Heylmun clearly understand what gets their audience moving.
One of the most interesting points on the album is “Witness the Addiction”, with guest vocals by Johnathan Davis of Korn. Featuring some solid riffing, it has lyrics that could have been on 2007’s The Cleansing, but Davis’ vocals sound slightly out of place. “You Only Live Once” has one of the best breakdowns of the album, and showcases the gravely spoken-word vocals that Lucker implements more frequently on this album. “Fuck Everything” becomes fairly repetitive by about halfway through, eliminating the suspense that Suicide Silence is typically very good at crafting. “Human Violence”, is a faster track and one of the best on the album. It switches between a hardcore sounding verse and a more typical chorus.
Overall, The Black Crown doesn’t find Suicide Silence re-inventing their sound, just refining it. It’s a crowd-pleaser: older fans will surely be satisfied with the new but not completely different material, and the little changes from their previous albums are sure to garner more fans.
Unfortunately The Age Of Metal was unable to assist to the Mayhem Fest date here in Phoenix. However, we had the opportunity to talk with Daniel Svensson drummer of In Flames about their new album Sounds Of A Playground Fading, the change of line up, their collaboration with Pendulum and their participation in the 2011 Mayhem Fest here in the United States.
After dominating the early 2000’s with albums such as Winds of Creation (2000) and Nihility (2002) DECAPITATED became a new, young band that had nothing standing in their way. Sauron growling his way alongside Vogg Kiełtyka’s shredding guitar solos and Vitek Kiełtyka blasting beats right into the hearts of old school death metal fans, they too, were welcomed with open arms by younger fans as well. On the Organic Hallucinosis (2006) album, they hit a slight change by bringing in Adrian “Covan” Kowanek as vocals. This changed the overall vocal point but kept them in the hearts of the new metal genre with their musically, technical approach. In 2007 an automobile accident took the life of Vitek and left Covan in a coma.
With a slow recovery from this tragic loss, DECAPITATED’S highly anticipated fifth album Carnival is Forever is made up of singer Rafał Piotrowski, Filip Hałucha on bass, Vogg on guitar and has his hands in producing this album as well, and Krimh Lechner on drums. Lacking the technicality that you hear in their first two albums, Vogg’s stuttering guitar and repetitive chunks make up for most of the guitar riffs throughout this album. Although, Vogg does solo on one song, track two ‘United’ and believe me, he just nuts’ all over it! The last track ‘Silence’ is a nice, soothing way to wrap up the album.
Carnival is Forever I am afraid, may lose the respect they once gained from the old school fans. Taking samples from every well may keep their sound current, but it just doesn’t deliver the technicality that Decapitated is best known for. I would have to give this 2 ½ stars out of 5. Although this may not be their best album, I have not lost all faith in them just yet! I do anticipate what future albums will bring.
Talk about Draconian is talk about a band pioneer in the gothic doom scene, that brings us their latest album A Rose For The Apocalypse. this album is a modern conception in the way to do gothic doom metal.
The album opens with The Drowning Age a very catching song with a great work guitar that shows the talent of guitarists Johan Ericsson and Daniel Arvidsson on the strings. The Last Hour Of Ancient Sunlight is a poetic track fill with sorrow that get you to the inside by the voice of Anders Jacobsson guttural singer of the band. End Of The Robe is a more settle song that manage to takes from early gothic doom basics and revamp it in a modern way. Elysian Night is a heart pounding song that get into your skin for the again magnificent use of the beauty and the beast vocals by Lisa Johansson and Anders. Deadlight is a more progressive song, full of articulated guitar riffs and an excellent drum fill
Dead World Assembly is a track a bit more modern and with some sparks of electronic music on it or maybe is the keyboard work that make it so sublime. A Phantom Dissonance present us a very melodic voice that fits a rock guitar that has a 70′s sound very in the path of Santana. The Quiet Storm track has a radiophonic sound that makes the voices sounds like if they were recorded in a vintage vinyl. The Death Of Hours closes this masterpiece with a traditional Doom sound at the best style of Anathema or Paradise lost.
Draconian does not present an innovation in Gothic Doom metal, but they present an honest album in A Rose For The Apocalypse. What the album presents is a deep work in a single line that by taking from the basic sound, revamp and enhanced the gothic doom sound.
Power Tracks: The Last Hour Ancient Sunlight, Elysian Night, A Phantom Dissonance, The Death Of Hours
Soft Tracks: The Drowning Age, Deadlight, End Of The Rope
01. The Drowning Age (7:18)
02. The Last Hour Ancient Sunlight (5:26)
03. End Of The Rope (6:34)
04. Elysian Night (7:52)
05. Deadlight (6:32)
06. Dead World Assembly (5:52)
07. A Phantom Dissonance (5:39)
08. The Quiet Storm (6:37)
09. The Death Of Hours (7:48)
10. Wall Of Sighs (5:14)
Recently The Age Of Metal had the oportunity to talk with Ole Vistnes bass player of the band, we talked about their latest album Rubicon, their singer Mariangela Demurtas, the current tour of the band and future plans of the band.
Mayan is the side project of Mark Jensen guitarist of the gothic metal band Epica, in this new adventure Mark shows a more heavy side and a more aggressive musicalization. moving far away from his primary band, with the aid of Issac Delahaye (guitars) and Arien van Weesenbeek (drums & vocals) of Epica, Frank Schiphorst (guitars), Jack Driessen (keyboards & vocals),and Rob van der Loo (Bass Guitar) the project has some operatic approach but a more heavy approach, with the guess vocals of Simone Simons(Epica) and Floor Jensen(Revamp) this projects stands in its own as a different idea.
The album opens with Symphony Of Aggression a heavy and fast song that caught you by surprise on how powerful the musicalization is done and the guttural work of Mark syncs perfectly with Simone’s clean voice. Mainstay Of Society is a more melodic track that has some oriental air in some of the melodies without leaving the aggresivity of Arien on the drum kit. Quaterpast is a more operatic track that could fit in a Lord of the Rings scene. Course Of Life is a more pace track that get to the climax when the guttural voice of Mark sings along with the powerful and clear voice of Floor. The Savage Massacre is one of the best tracks of the album, because of its musical complexity and its vocal flexibility. Essenza De Ti is an operatic intermezzo that provides the introduction for the rest of the album.
Bite The Bullet is a song with many voice contrasts from clear voices and guttural voices all in a great musical pattern that is a mix of symphonic, progressive and death metal. Drown The Demon is a track that had a lot of Epica influence, but in a different level of heaviness. Celibate Aphrodite has a great guitar work and a vocal flexibility that makes the track one of the best of the album. War On Terror is one of the heaviest and fastest songs out of Quaterpast, also the music on it is quite complicated a real mixture of metal.
Is not doubt that the release of Mayan marks a new chapter in the musical career of Mark Jansen, with a total new concept way different at what Epica does, that reflects a more heavy and fast way to do music, without leaving the symphonic part but I guess in a more intricate way.
Power Tracks: Symphony Of Aggression, Quarterpast, Bite The Bullet, War On Terror, Celibate Aphrodite
Soft Tracks: Drown The Demon, Course Of Life, Essenza Di Te, The Savage Massacre, Quarterpast
01. Symphony Of Aggression
02. Mainstay Of Society
04. Course Of Life
05. The Savage Massacre
06. Essenza Di Te
07. Bite The Bullet
08. Drown The Demon
09. Celibate Aphrodite
10. War On Terror
Progressive metal pioneers Symphony X returns with a new album after two years of absence of the scene. Their new work titled Iconoclast is a concept album which is based in the idea of the alienation of men by machines a idea that we have seen already on movies like The Matrix or Terminator, and that was explained to us by singer Russell Allen when he talked to The Age Of Metal a couple of months back.
The album opens with the title track Iconoclast a very epic track filled with choirs and keyboards on which the riffs of Michael Romeo breakthrough them. follow by The End Of Innocence a fast paced song full of syncopations and denounces of machine domination. Dehumanized is a raging track full of fast riffs about human consciousness. Bastards Of The Machine is a track full of futuristic atmospheres that would fill perfectly on any sci-fi film’s soundtrack. Heretic have a persecuting beat that would follow all day, and is one of the most catchy songs of the album.
Children Of A Faceless God is a song that put to the test the vocal ability of Russell Allen and from which he rises victorious. Electric Messiah is a fast track with a great guitar work by Michael Romeo that shows why he is one of best shredders out there. Prometheus (I Am Alive) is not only an allegory to greek mythology like is already familiar in Symphony X‘s imaginary but a real trip of song and a very enjoyable piece of music. When All Is Lost is a ballad and the only one in the album, a soft piano song that closes the album a great interaction between voice and keys and an atmospheric background music
Symphony X again wows their fans with a great album, a great musicalization and a concept that is today out there. The relationship between men and machine and the alienation of man by it, that makes the day by day a dependency of those machines, from the toaster to the electric car.