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November 17, 2018, 11:47 am

 

MYSTERIES OF THE NOCTURNAL FOREST

Band:EVILFEAST
Album:MYSTERIES OF THE NOCTURNAL FOREST
Label:Eisenwald
Format:CD
Genre:Black Metal

Originally released in 2004, Mysteries of the Nocturnal Forest is a sarcophagi of despair as the album’s nine tracks account for a hour’s worth of raw misanthropic misery. Hauntingly primal, the album’s evocative nature is matched by its flawless lo-fi production of ghostly guitars and ethereal synths. Evilfeast’s lone multi-instrumentalist, GrimSpirit, begins his prolific body of work with a wintry dissonance. With over two decades of depraved black metal under his belt, it is easy to see why Evilfeast belongs alongside Burzum, Paysage d'Hiver and Midnight Odyssey.

 

 

APOCALYPTIC RHYMES

Band:SEPTAGON
Album:APOCALYPTIC RHYMES
Label:Cruz Del Sur
Format:LP
Genre:MELODIC THRASH METAL

Thrash and power metal unite like never before in a socio-political firestorm that tests the mind and bangs the head. Featuring members of Atlantean Kodex, Lanfear and Them, Septagon pushes subgenre boundaries with technical, yet catchy songs on Apocalyptic Rhymes that are rife with dashing melodies and stellar vocal interplay.
As if being in Lanfear and Them wasn’t enough for German guitarist Markus “Ulle” Ullrich, his power/thrash outfit Septagon provides another canvas for him to color. Formed in 2013 with Atlantean Kodex vocalist Markus Becker, Septagon (who are completed by second guitarist Stef Binnig-Gollub, bassist Alexander Palma and drummer Jürgen "General" Schrank) was created to harness Ullrich’s desire to write fast and tight thrash with a vocalist who could carry the songs over the top. Becker, already known for his work in epic metallers and labelmates Atlantean Kodex, was the obvious choice. Born was their 2016 Deadhead Syndicate debut, an album quickly recognized for its knifing blend of Bay Area thrash and classic power metal bravado. Figuring they could better the debut, Septagon soon wrote and recorded ten songs that would become their sophomore album, the appropriately-titled Apocalyptic Rhymes. Recorded across a variety of studios and produced by the band, Apocalyptic Rhymes is punctuated by a raw, but snappy production job. In turn, the album finds Septagon offering a variety of styles and flavors both musically and lyrically, from the punchiness of opener “Weight of the World” to the bass-driven “Home, Sweet Hell” up through the churning title track, where fiery guitar solos from Ullrich and Binning-Gollub and Becker’s vocal acrobatics take form. Even as the album ascends into the spiraling melodic heights found on “The Unfathomable Evil,” it goes on the attack on “P.O.T.U.S.A.,” a song inspired by Becker’s time in America and is critical of the current presidential regime that has divided the country. Apocalyptic Rhymes eventually crests on the closing “Sunset Blood,” a lush, epic construct that allows Septagon to stretch out musically to include acoustic guitars, twin guitar harmonies and carefully-plotted vocal spots.
An album sure to stand out among the dime-a-dozen traditional thrash and power metal entries, Apocalyptic Rhymes is an unapologetic bold step for Septagon, a band unafraid to not only push musical boundaries, but political and social ones as well.

 

 

APOCALYPTIC RHYMES

Band:SEPTAGON
Album:APOCALYPTIC RHYMES
Label:Cruz Del Sur
Format:CD
Genre:MELODIC THRASH METAL

Thrash and power metal unite like never before in a socio-political firestorm that tests the mind and bangs the head. Featuring members of Atlantean Kodex, Lanfear and Them, Septagon pushes subgenre boundaries with technical, yet catchy songs on Apocalyptic Rhymes that are rife with dashing melodies and stellar vocal interplay.
As if being in Lanfear and Them wasn’t enough for German guitarist Markus “Ulle” Ullrich, his power/thrash outfit Septagon provides another canvas for him to color. Formed in 2013 with Atlantean Kodex vocalist Markus Becker, Septagon (who are completed by second guitarist Stef Binnig-Gollub, bassist Alexander Palma and drummer Jürgen "General" Schrank) was created to harness Ullrich’s desire to write fast and tight thrash with a vocalist who could carry the songs over the top. Becker, already known for his work in epic metallers and labelmates Atlantean Kodex, was the obvious choice. Born was their 2016 Deadhead Syndicate debut, an album quickly recognized for its knifing blend of Bay Area thrash and classic power metal bravado. Figuring they could better the debut, Septagon soon wrote and recorded ten songs that would become their sophomore album, the appropriately-titled Apocalyptic Rhymes. Recorded across a variety of studios and produced by the band, Apocalyptic Rhymes is punctuated by a raw, but snappy production job. In turn, the album finds Septagon offering a variety of styles and flavors both musically and lyrically, from the punchiness of opener “Weight of the World” to the bass-driven “Home, Sweet Hell” up through the churning title track, where fiery guitar solos from Ullrich and Binning-Gollub and Becker’s vocal acrobatics take form. Even as the album ascends into the spiraling melodic heights found on “The Unfathomable Evil,” it goes on the attack on “P.O.T.U.S.A.,” a song inspired by Becker’s time in America and is critical of the current presidential regime that has divided the country. Apocalyptic Rhymes eventually crests on the closing “Sunset Blood,” a lush, epic construct that allows Septagon to stretch out musically to include acoustic guitars, twin guitar harmonies and carefully-plotted vocal spots.
An album sure to stand out among the dime-a-dozen traditional thrash and power metal entries, Apocalyptic Rhymes is an unapologetic bold step for Septagon, a band unafraid to not only push musical boundaries, but political and social ones as well.

 

 

THE WATERS OF DEATH

Band:LETHEAN
Album:THE WATERS OF DEATH
Label:Cruz Del Sur
Format:LP
Genre:MELODIC THRASH METAL

Solemn doom crosses paths with epic heavy metal from this unique U.K. duo.
The 2012 creation of multi-instrumentalist James Ashbey, Lethean’s inventive combination of epic metal, NWOBHM and doom is put on full display on their six-song The Waters of Death debut, an album rife with atmosphere and imagery. Hailing from England, Lethean was formed in late 2012 by guitarist/drummer James Ashbey with the ambition of combining epic metal, NWOBHM and doom. The result was a distinctive sound rarely found in the British Isles. Two demos followed, the first forged in the U.K., the second in Athens, but these did not enjoy physical release and only reached a limited underground audience. Finally, the band got the boost it needed when, in early 2017, vocalist and co-writer Thumri Paavana came aboard. A year later, Ashbey and Paavana entered the Seven Gates recording studio in Gothenburg, Sweden under the watchful eye of producer Jamie Elton (ex-Amulet). Utilizing organic recording techniques and employing an analogue mastering job courtesy of Jaime Gomez (of Angel Witch and Paradise Lost fame), Lethean came away with six songs of sorrowful yet nuanced doom and classic metal under the title The Waters of Death. The album, kickstarted by climactic opener “Idylls of the King,” features a myriad of styles and influences, with mournful melodies and classic riffing complementing the impassioned and soulful delivery of Paavana.
Accompanied by atmospheric cover art courtesy of German artist Stefan Bleyl, The Waters of Death is an album that details themes of decline, departure and the passage of time, reinforced by diverse imagery drawn from mythology, literature and the elements. Ambitious in scope and rich in the fundamental traits of epic heavy metal, The Waters of Death firmly places Lethean into their own category where class, intelligence and a taste for the bold reign supreme.

 

 

THE WATERS OF DEATH

Band:LETHEAN
Album:THE WATERS OF DEATH
Label:Cruz Del Sur
Format:CD
Genre:MELODIC THRASH METAL

Solemn doom crosses paths with epic heavy metal from this unique U.K. duo.
The 2012 creation of multi-instrumentalist James Ashbey, Lethean’s inventive combination of epic metal, NWOBHM and doom is put on full display on their six-song The Waters of Death debut, an album rife with atmosphere and imagery. Hailing from England, Lethean was formed in late 2012 by guitarist/drummer James Ashbey with the ambition of combining epic metal, NWOBHM and doom. The result was a distinctive sound rarely found in the British Isles. Two demos followed, the first forged in the U.K., the second in Athens, but these did not enjoy physical release and only reached a limited underground audience. Finally, the band got the boost it needed when, in early 2017, vocalist and co-writer Thumri Paavana came aboard. A year later, Ashbey and Paavana entered the Seven Gates recording studio in Gothenburg, Sweden under the watchful eye of producer Jamie Elton (ex-Amulet). Utilizing organic recording techniques and employing an analogue mastering job courtesy of Jaime Gomez (of Angel Witch and Paradise Lost fame), Lethean came away with six songs of sorrowful yet nuanced doom and classic metal under the title The Waters of Death. The album, kickstarted by climactic opener “Idylls of the King,” features a myriad of styles and influences, with mournful melodies and classic riffing complementing the impassioned and soulful delivery of Paavana.
Accompanied by atmospheric cover art courtesy of German artist Stefan Bleyl, The Waters of Death is an album that details themes of decline, departure and the passage of time, reinforced by diverse imagery drawn from mythology, literature and the elements. Ambitious in scope and rich in the fundamental traits of epic heavy metal, The Waters of Death firmly places Lethean into their own category where class, intelligence and a taste for the bold reign supreme.

 

 

DIAMOND CUT DIAMOND

Band:CONVENT GUILT
Album:DIAMOND CUT DIAMOND
Label:GATES OF HELL
Format:CD
Genre:HEAVY METAL

Spirited, song-first classic metal with a NWOBHM twist from the dusty Australian terrain.
Sophomore album from Australian vintage metal bangers Convent Guilt, a band whose melodic class and songwriting smarts is equaled by their intelligent, thoughtful lyrics. When Convent Guilt founder Ian was trying to come up with a band name, he reflected upon the monikers that had the most meaning to him. Black Sabbath and Judas Priest were two obvious starting points, bands that used polarity in their names to not only drive home a point, but also left a lasting impression. Not wanting to go down the oft-used path of having “steel” or “witch” in their name, Ian selected Convent Guilt as a way to represent the human race’s ongoing struggle with temptation and sin. As a bonus, the Convent Guilt name would never box in the band to one specific style, a path they’ve since followed since their 2010 formation. In 2012, Convent Guilt (who are currently rounded out by the guitar tandem of Andrew and Dario and drummer Brent) released their self-titled demo which quickly caught the attention of both Cruz Del Sur Music and Shadow Kingdom Records. The labels teamed up to release the band’s Guns For Hire debut in 2014, an album that was lauded for its compositional abilities and NWOBHM tendencies. Four years later, the Sydney, Australia quartet is back with the sevensong Diamond Cut Diamond.
Diamond Cut Diamond was recorded at various locations around Sydney in the first half of 2018 by Lachie Vercoe, who was also responsible for the album’s mix. The album was mastered by Patrick Engel at Temple Of Disharmony and features striking cover art courtesy of Lena Richter of Diamonds and Rust Tattoo that depicts a strong colonial Australian image. The attention to detail in all facets by Convent Guilt pays dividends — Diamond Cut Diamond is an album that harnesses the band’s metallic emotion and energy while working in topics that many classic metal bands won’t touch: conquerors and the subjugated, the inbuilt weakness of men, depression-era outlaws and the insanity of social media.
An album perfectly suited for the NWOBHM brigade of Iron Maiden, Saxon and Trespass, not to mention Thin Lizzy and UFO, Diamond Cut Diamond is as genuine a true metal release as you’ll find in 2018.

 

 

DIAMOND CUT DIAMOND

Band:CONVENT GUILT
Album:DIAMOND CUT DIAMOND
Label:GATES OF HELL
Format:LP
Genre:HEAVY METAL

Spirited, song-first classic metal with a NWOBHM twist from the dusty Australian terrain.
Sophomore album from Australian vintage metal bangers Convent Guilt, a band whose melodic class and songwriting smarts is equaled by their intelligent, thoughtful lyrics. When Convent Guilt founder Ian was trying to come up with a band name, he reflected upon the monikers that had the most meaning to him. Black Sabbath and Judas Priest were two obvious starting points, bands that used polarity in their names to not only drive home a point, but also left a lasting impression. Not wanting to go down the oft-used path of having “steel” or “witch” in their name, Ian selected Convent Guilt as a way to represent the human race’s ongoing struggle with temptation and sin. As a bonus, the Convent Guilt name would never box in the band to one specific style, a path they’ve since followed since their 2010 formation. In 2012, Convent Guilt (who are currently rounded out by the guitar tandem of Andrew and Dario and drummer Brent) released their self-titled demo which quickly caught the attention of both Cruz Del Sur Music and Shadow Kingdom Records. The labels teamed up to release the band’s Guns For Hire debut in 2014, an album that was lauded for its compositional abilities and NWOBHM tendencies. Four years later, the Sydney, Australia quartet is back with the sevensong Diamond Cut Diamond.
Diamond Cut Diamond was recorded at various locations around Sydney in the first half of 2018 by Lachie Vercoe, who was also responsible for the album’s mix. The album was mastered by Patrick Engel at Temple Of Disharmony and features striking cover art courtesy of Lena Richter of Diamonds and Rust Tattoo that depicts a strong colonial Australian image. The attention to detail in all facets by Convent Guilt pays dividends — Diamond Cut Diamond is an album that harnesses the band’s metallic emotion and energy while working in topics that many classic metal bands won’t touch: conquerors and the subjugated, the inbuilt weakness of men, depression-era outlaws and the insanity of social media.
An album perfectly suited for the NWOBHM brigade of Iron Maiden, Saxon and Trespass, not to mention Thin Lizzy and UFO, Diamond Cut Diamond is as genuine a true metal release as you’ll find in 2018.

 

 

THROUGH THE VOID, ABOVE THE SUNS

Band:DEADLY CARNAGE
Album:THROUGH THE VOID, ABOVE THE SUNS
Label:SNOW WAVE RECORDS
Format:2LP
Genre:MELODIC DOOM METAL

Few releases have the sweeping epic emotional journey that Deadly Carnage has produced with Through the Void, Above the Suns. It’s depressing. It’s transcendent. It’s melodic. It’s dissonant. It’s all the things. Normally a record that’s trying as much as this one suffers from being a jack of all trades but a master of none. Not so with this record. You’re going to need multiple listens to hear everything this record has to offer. Hope you’ve got some great headphones. - Heavy Blog Is Heavy

 

 

HOUSE OF MIRRORS

Band:OSUKARU
Album:HOUSE OF MIRRORS
Label:CITY OF LIGHTS
Format:CD
Genre:AOR/HARD ROCK

After only a one-year break, the Swedish hard rockers OSUKARU report back with a stable line up and a new album entitled "House Of Mirriors". The band once again manages to create an extraordinary Hard Rock album while keeping all their established trademarks just like on their last output, 2017’s “The Labyrinth”. "House of Mirrors" will be pushed by the unique vocals of Fredrik Werner as well as the fantastic axe work by six-string wizard Oz Osukaru join forces with the dynamic rhythm-duo of Vidar Mårtensson (drums) & Olof Gadd (bass) to relentlessly push the songs forward, make "House Of Mirrors" to a great Hard Rock album that does not need to shy away from comparisons. The CD comes with 11 new tracks and a 16-pages booklet.
Fans of bands like Dokken, Whitesnake, Firehouse, Ten, Def Leppard and Grand Design should not miss "House Of Mirrors".

 

 

LUST OF THE GOAT

Band:BLASPHEMER
Album:LUST OF THE GOAT
Label:GRINDSCENE
Format:CD
Genre:Death Metal

After forming in 1990, and then going into a hiatus in 1995 after the release of 3 demo’s, Blasphemer rose from the ashes in 2014. 2017 saw the release of their self-titled album, “Blasphemer, to critical acclaim. 2018 sees them team up with Grindscene Records to release their most accomplished works to date, ‘Lust of the Goat”. 8 tracks of death metal “done the old way”. Lust of the goat was recorded at Academy Studios, Dewsbury and was produced and mixed by Dan Mullins. Blasphemer simply delivers riff after riff and track after track of death metal excellence that’s practically faultless – Worshipmetal.com
Blasphemer carry a fine neoclassical flair after the manner of Necrophobic and Luciferion – olddisgruntledbastard.com
Blasphemer are reminiscent of a time when Death Metal has just uncompromising Zephyr’s-Odem.de

 

 


 
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