Take a good listen at this classy rock album by a very talented British quartet and you might be able to understand what a “bouquet of dead crows” is all about.
Although it might be a bit tough for most of us to imagine how a “bouquet of dead crows” would look like, a group of talented rockers hailing from Cambridge, UK can definitely help us in turning this difficult task into a pleasant Rock N’ Roll party, especially if you’re a fan of female-fronted bands. This is what you’ll find in the smooth and trenchant Of The Night, the brand new album by British Alternative Rock/Metal act Bouquet of Dead Crows.
Formed in 2013, Bouquet of Dead Crows truly know how to combine big riffs with big melodies, presenting a sequence of very consistent and rousing compositions led by lead singer Antoinette Cooper and guitarist Neil Bruce. Featuring an exquisite artwork by Stewart Harris Designs, Of The Night is perfect for a day on the road by yourself or with your significant other, a relaxing Sunday afternoon or any other situation where you need to soothe your spirit without giving up the electricity we all love in Pop Rock.
Instruments begin to arise from an acoustic intro in the opening track Everything Is Temporary until the beautiful voice by Antoinette Cooper fills your ears with passion and melancholy, followed by Epicentre, showcasing strong bass lines by Graeme Clarke and heavier guitar riffs by Neil to counterbalance with Antoinette’s voice. In other words, this nice tune proves how romantic and metallic the band can sound at the same time, which is also valid for Just A Little More, another great display of Alternative Rock/Metal with some progressive elements added to boost its pleasant rhythm. When this song is over, I’m sure you’ll be eager for more of it.
Graeme kicks off Without You with his resonant bass before it becomes a gentle ballad, focused on its touching lyrics about what true love is (“Hold me close, don’t let me go, because I just can’t go on without you…”). In my humble opinion, this charming song has all it takes to become a radio hit, it’s just a matter of it getting in the hands of the right people. The next song, Drownout, which by the way is another excellent choice for a rock n’ roll radio playlist, provides some “mystery” to the listener due to its elaborate bass lines and guitar solo, including a thoughtful chorus perfect for singing along with the band in a moment of reflection (“Rising up through the current / Must break free / Peaceful water laps at our skin / Letting us be”).
Then we have The Fundamental Flaw Of Solitude, a modern Rock N’ Roll chant with hints of Blues Rock and electric performances by Antoinette and Neil; and The Silent Path (Time Goes By), a minimalist but very effective song tailored for lovers of ballads with Folk Rock influences. And adding a good amount of horsepower to their musicality, Bouquet of Dead Crows fire pure Rock N’ Roll the way we love in Don’t Panic!, with the whole band providing Antoinette what’s needed for her to shine and turn this into one of the best songs of the album (if not the best), not to mention another great guitar solo by Neil.
Before Of The Night is over (and showing how well they master the art of switching between high-octane rock music and beautiful ballads), this talented British quartet still delivers the touching Like A Flower, with its poetic lyrics flawlessly declaimed by Antoinette (“The shadows fall away / Lost in the tranquility of the night / The sun warms the face / Tilted up like a flower / Sending the angst astray”), and Endless, a 7-minute rock journey with awesome guitar lines by Neil and another charge of catchy lyrics to sing together with the band, until it reaches its end on a high note.
In case alternative rock music is your cup of tea, you can get in touch with Bouquet of Dead Crows through their Facebook page, and obviously listen to Of The Night and purchase it at the official German Shepherd Records BandCamp page. Perhaps after taking a good listen to the entire album, all by yourself or together with someone you love, you might be able to create a good depiction of a “bouquet of dead crows” inside your mind to the sound of this classy rock band from the UK.
Best moments of the album: Drownout, Don’t Panic! and Like A Flower.
Worst moments of the album:Everything Is Temporary.
Released in 2015 German Shepherd Records
Track listing 1. Everything Is Temporary 3:29
2. Epicentre 3:08
3. Just A Little More 2:56
4. Without You 4:44
5. Drownout 3:47
6. The Fundamental Flaw Of Solitude 4:06
7. The Silent Path (Time Goes By) 2:51
8. Don’t Panic! 3:02
9. Like A Flower 3:50
10. Endless 7:04
Band members Antoinette Cooper – vocals
Neil Bruce – guitars, ukulele
Graeme Clarke – bass, acoustic guitar
Andrew Coxall – drums, percussion, programming
And here comes God doing his awesome magic once again.
British Rock N’ Roll veterans Motörhead can be compared to an unstoppable monster truck. While drummer Mikkey Dee provides all the necessary horsepower, guitarist Philip “Phil” Campbell makes sure there’s a smooth and effective transition between gears, and the unparalleled commander Ian Fraser “Lemmy” Kilmister, of course, keeps breathing smoke and fire through his vocals and bass guitar, smashing every living creature that dares to stand in their way. And it looks like Motörhead’s sonic machine doesn’t really care about its total mileage so far, as it keeps rolling perfecetly in the excellent Bad Magic, the 22nd studio album (impressive, isn’t it?) in their extensive career.
As “they’re Motörhead and they play Rock N’ Roll”, this time I decided to review the album on the road and not sitting in front of a computer, because this is how true and honest Rock N’ Roll is supposed to be enjoyed. Well, that was indeed the best decision I could have possibly made, because not only it kept me awake and watchful while driving due to its high intensity, but it also helped me absorb the music in a more organic way. Anyway, Bad Magic might not be a masterpiece, and do not expect to find anything different from their latest releases (for instance, it’s very similar to their previous album, the also good Aftershock), but it surely lives up to the band’s reputation and will definitely add a few extra razing tunes to your rock collection.
Enough said, it’s time to let the Rock N’ Roll party begin with Victory or Die, featuring those classic riffs by Phil while Mikkey keeps pounding his drums like there’s no tomorrow, and it’s amazing how even after 40 years on the road they’re still capable of crafting such kick-ass music. The same can be said about the thunderous newborn classic anthem Thunder & Lightning, where there isn’t a single second that’s boring or out of place, and besides, its official video is a beautiful tribute to all “motörheads” in the world and complements the music flawlessly. Every single fan that appeared on the video is 100% sure Lemmy is God, period. And you know what? They’re damn right about that.
The slower but flammable Fire Storm Hotel is another amazing composition by Lemmy and his crew that reminds why we all love them so much. In addition, the story told in its lyrics is really cool and adds a lot of value to this already excellent tune (“So wait and I will tell you what happened here / The hotel burned, no lessons learned, only ghosts got clear / They say the rooms are empty but I know they’re not / The way things are in the hotel bar, the devil buys the shots”). In Shoot Out All of Your Lights, Mikkey gives an outstanding lesson in groove and rhythm, supported by Phil’s raspy guitar lines and by the inebriate voice by Lemmy, keeping the ball rolling at an amazing level of quality; whereas The Devil, which sounds like an ode to Lemmy’s arch nemesis (or maybe his best friend, who knows?), is a well-paced and melodic tune guided by Lemmy’s vocals, with highlights to its badass chorus (“The Devil knows you now / The Devil will break your neck / Nobody will hear your call / Go, stare into the face of death”).
Electricity is (guess what?) an electric display of Rock N’ Roll played at full speed, showing that Lemmy still got it despite all his health issues and that his electric soul will never stop firing awesome rock songs like this one, followed by another traditional tune entitled Evil Eye, which will please most fans of the band mainly due to the great job done by Phil with his dirty and soulful riffs, and the superb rock hymn Teach Them How to Bleed, which I would love to see them playing live. When Motörhead speed things up they always deliver the best Rock N’ Roll you can think of, in special with Mikkey playing on his “ beast mode”. Till the End is a melancholic ballad that albeit good it sounds a little out of place amidst so many fast tunes. It’s still very enjoyable and might be a good break for fans who cannot bang their heads for a long period of time, but it’s below average in Bad Magic. Fortunately, Tell Me Who to Kill puts the album back on track with its traditional punch, lots of feeling and Lemmy excelling once again with both his rough vocals and his vicious bass lines. This was born to be a classic, obviously enhanced by its fun lyrics (“Stand up right keep your fingers still / Pretty sure I think I know you now / I just got to know, so whisper sweet and low / Speak the name, tell me who to kill”).
I’m not sure what happened to Lemmy’s voice in Choking on Your Screams, maybe he was trying to sound as if he was actually being choked, but anyway it didn’t work as expected. However, although it’s by far the weakest of all songs, it doesn’t make any harm to the overall result of the album (you just need to skip it if you agree with my opinion). When the Sky Comes Looking for You offers a magnificent blend of Blues Rock, Hard Rock and Rock N’ Roll all backed up by Motörhead’s trademark. While listening to it in my car I realized this is one of the best songs to hit the road I can think of, with kudos to Phil for his amazing guitar solos and to Lemmy just for being who he is. But that’s not the end of Bad Magic, as the band still delivers an interesting tribute to a band that’s probably the only active one in the world older than Motörhead, The Rolling Stones’ all-time classic Sympathy for the Devil. And what’s even more interesting is the fact that Phil was the one responsible for the piano parts, which in my opinion is beyond awesome.
In short, another solid album by Motörhead (you can listen to it in its entirety on their YouTube channel), and another beautiful proof of how much Lemmy, Phil and Mikkey love Rock N’ Roll and will never give up, not even when it seems they’re getting “too old for this shit” and people start saying they need to retire. Always keep in mind that Lemmy is God, so we shouldn’t be too worried about the fact his health hasn’t been the best lately. Actually, he’s probably just “sick” of people who, instead of sharing some cold beers with their friends and listening to rock music, are destroying the world he created. Let’s just hope he’s strong enough to keep crafting his Rock N’ Roll magic for many years to come, otherwise, the world we live in becomes meaningless.
Best moments of the album:Thunder & Lightning, Fire Storm Hotel, Teach Them How to Bleed and Tell Me Who to Kill.
Worst moments of the album:Till the End and Choking on Your Screams.
Released in 2015 UDR
Track listing 1. Victory or Die 3:09
2. Thunder & Lightning 3:06
3. Fire Storm Hotel 3:35
4. Shoot Out All of Your Lights 3:15
5. The Devil 2:54
6. Electricity 2:17
7. Evil Eye 2:20
8. Teach Them How to Bleed 3:13
9. Till the End 4:05
10. Tell Me Who to Kill 2:57
11. Choking on Your Screams 3:33
12. When the Sky Comes Looking for You 2:58
13. Sympathy for the Devil (The Rolling Stones cover) 5:35
Band members Lemmy Kilmister – vocals, bass
Philip Campbell – guitar, piano on “Sympathy for the Devil”
Mikkey Dee – drums
As you read through the pages of The Book Of Souls you’ll inevitably realize that Iron Maiden’s gonna get us all, no matter how far.
“Here is the soul of a man…”
Unless you were one of the luckiest bastards in the world who joined Mr. Bruce Dickinson on a special 737 flight from Cardiff, UK to Paris, France on August 26 to hear in its entirety the brand new album by Heavy Metal titans Iron Maiden, the 92-minute Mayan-inspired masterpiece The Book Of Souls, I’m pretty sure you have been suffering lately from several “withdrawal symptoms” such as anxiety, palpitations, restlessness and poor concentration, counting every second left until today to close that excruciating five-year gap since their 2010 album The Final Frontier. However, you can definitely relax now, because the band’s first ever double studio album is not only ass-kicking, but so dense and multi-layered we have enough Iron Maiden at their finest to soothe our souls for the next five decades or so.
Furthermore, there are so many noteworthy details surrounding The Book Of Souls it’s hard to summarize everything in just a few lines. For instance, the album was recorded at Studios Guillaume Tell in Paris, the same studio used for their 2000 release Brave New World, with several songs being written and recorded immediately after to give them a live and fresh taste. Also, the album cover features the original version of the Iron Maiden logo, not used on a studio album since their 1995 release The X Factor. And finally, although The Book Of Souls is not a concept album, many songs have references to the human soul, mortality and death, depicted in the artwork as the idiosyncratic “Eddie Sapiens” by English illustrator Mark Wilkinson, who by the way has already worked with other music icons such as Marillion, Fish and Judas Priest, as well as with Iron Maiden themselves in previous works like Best of the ‘B’ Sides and the single The Wicker Man. In addition, the band hired Mayanist scholar Simon Martin, who also translated the song titles into hieroglyphs, to validate the accuracy of the artwork. If there’s a band that pays attention to every single detail in their albums, that’s undoubtedly Iron Maiden.
Nevertheless, it’s when the music starts that we’re all reminded why we love these British veterans so much, and in the case of The Book Of Souls there’s A LOT of music for us Maidenmaniacs to relish. Starting with the first disc, the intro in the excellent If Eternity Should Fail already gave me goosebumps, and besides, it’s really comforting to see that Mr. Bruce Dickinson’s voice continues to be stunning after his battle against cancer (even knowing the album was recorded before his treatment started). After that it’s pure Iron Maiden, which means powerful riffs, galloping bass and drums, and a gripping storyline, with the creepy narration at the end (“the harvester of souls”) reminding me of what Bruce did in some of the songs from his excellent solo album The Chemical Wedding. And if you think this is a lengthy song with its imposing eight minutes, let me remind you it’s only the fourth one in terms of duration. Moving on to the next track, it’s not Iron Maiden if you cannot enjoy some extra freebies such as a behind-the-scenes exclusive footage of an official video or playing a special game inspired by a song, which is the case in the high-octane Speed of Light, where Hard Rock is taken to the next level with the help of some dashing cowbell, Bruce’s vibrant screams and a fuckin’ awesome rhythm led by Iron Maiden’s guitar triumvirate formed by Dave Murray, Adrian Smith and Janick Gers, taking us fans back in time to a Piece of Mind-ish musicality with a touch of Brave New World. Moreover, this electric tune has that type of chorus you’ll be singing nonstop in the shower, in your car, at work, school and anywhere else in the world with your fists in the air and a huge smile on your face (“Shadows in the stars / We will not return / Humanity won’t save us / At the speed of light / Shadows in the stars / We will not return / Humanity won’t save us / We’re slippin’ through the night”).
The Great Unknown, which reminds me of some of the songs from The X-Factor but with the addition of the high-end progressiveness found in their latest albums (especially The Final Frontier), showcases the always superb Nicko McBrain firing his unique beats and fills, as well as another eerie story told by Bruce, keeping The Book Of Souls at an incredible level of quality. But it’s from The Red and the Black on that the album becomes a brilliant tribute to Heavy Metal. No words can describe the verve of its intro, and it doesn’t matter if you consider it old school or more contemporary Iron Maiden, as long as you acknowledge its awesomeness. It’s obviously another masterful and epic creation by the one and only Mr. Steve Harris, with highlights to the combination of Steve’s flawless bass lines and Dave’s, Janick’s and Adrian’s riffs and solos. I can’t wait to scream its electrifying “Ooh-Oooh! Ooh-Oooh!” together with the band when I see them live next year (if they play it, of course), and while some people might complain this song is too long, I prefer complaining it has “only” 13 minutes. Too short for its greatness, don’t you agree?
With hints of Seventh Son of a Seventh Son and their Punk Rock attitude from Iron Maiden and Killers, the fast-paced tune When the River Runs Deep, written by Adrian and Steve, truly makes my blood run wild, and I’m certain that if this song was part of any of their old albums it would have become an all-time classic without a shadow of a doubt. Bruce and Nicko are absolutely on fire, making me wonder if they’re really over 50 years old as they sound like they’re in their 20’s, so fiery their performances are. Then closing the first album we have the title-track, The Book of Souls, exhaling beauty from its melancholic intro to the poetry in its lyrics. Everything was meticulously put together by the whole band in this song, which has actually two distinct parts if you pay good attention, the first composed by a grandiose and marching rhythm enhanced by the keyboards in the background, while the second is a lot faster and heavier, showcasing Maiden’s traditional guitar riffs and solos until the songs fades to a somber and calm ending.
In order to properly kick off the second disc and tear the house down, Adrian and Bruce got together to craft another fighting anthem the likes of The Duellists entitled Death or Glory, the perfect soundtrack to an epic battle movie where nothing sounds out of place, with highlights to its exciting backing vocals, blazin’ guitar solos and a potent battlefield sonority. Truth be told, I can’t stop banging my head and playing air bass guitar to this straightforward tune, which is also the case in Shadows of the Valley and its “Wasted Years 2.0” intro, another strong candidate for their live performances. Despite beginning in a very similar way as one of their biggest classics of all time, it ends up following a pattern closer to songs such as “The Fallen Angel” and “Montségur”, mainly due to its characteristic galloping bass guitar and Nicko’s solid drumming. One thing I love doing while listening to Iron Maiden is closing my eyes and absorbing the story Bruce is telling me while the other band members generate a thrilling ambience, and let me tell you this song is perfect for that.
Iron Maiden’s Boeing 747-400 Jumbo Jet, also known as Queen of the Skies
Tears of a Clown, a reverent Heavy Rock tribute to one of the most important actors in the world, Mr. Robin Williams (R.I.P.), is a lot more inclined to Bruce’s solo career, and albeit its instrumental parts sound very cohesive what really stands out in this song is the story told through its lyrics. And The Man of Sorrows, which also sounds closer to something Bruce would do on his own rather than with Iron Maiden (it was written by Steve and Dave, by the way), is completely different from Accident of Birth’s “Man of Sorrows” regardless of their almost identical names. It starts as a heavy ballad, evolving to a darker, more progressive and more melodic musicality than usual, increasing its complexity and impact on the listener.
And last but not least, Empire of the Clouds, featuring Bruce on piano for the first time ever and based on the historic crash of the titanic airship R101 in 1930, replaces “Rime of the Ancient Mariner” as the band’s longest song ever at 18 minutes in duration. It is perhaps the most melancholic and sorrowful song ever composed by the band, and as we all know they have the guts to play something like this live I bet it will be part of their upcoming setlist next year for our purest delectation. Bruce gives a History lesson about the R101 during the whole song, taking its epicness to the second power, with the music perfectly representing the audacity, dreams and failure involved in that important historical fact. Additionally, after nine minutes it becomes a music voyage full of changes in rhythm, progressive passages and symphonic elements, culminating in a gentle and passionate climax that closes The Book Of Souls with a flourish.
In summary, Iron Maiden triumphed once again (as if anyone is really surprised with that), delivering a bold, venturous and elaborate album that will keep them atop the highest mountains of heavy music, consequently attracting more and more fans to their extensive family and keeping Heavy Metal strong and relevant for many years to come. Now all we have to do is wait patiently for their gigantic world tour next year on board of their Boeing 747-400 Jumbo Jet (aka Queen of the Skies), listening to The Book Of Souls over and over again until then. And as you read through the pages of the new epic album by Heavy Metal’s greatest band of all time, you’ll inevitably realize that Iron Maiden’s gonna get you, and you, and you, and you, and all of you… no matter how far.
Best moments of the album:The Red and the Black, When the River Runs Deep, Death or Glory, Shadows of the Valley and Empire of the Clouds.
Worst moments of the album: WHAT!?
Released in 2015 Parlophone/Sanctuary Copyrights/BMG
Track listing Disc one 1. If Eternity Should Fail 8:28
2. Speed of Light 5:01
3. The Great Unknown 6:37
4. The Red and the Black 13:33
5. When the River Runs Deep 5:52
6. The Book of Souls 10:27
Disc two 1. Death or Glory 5:13
2. Shadows of the Valley 7:32
3. Tears of a Clown 4:59
4. The Man of Sorrows 6:28
5. Empire of the Clouds 18:01
Band members Bruce Dickinson – lead vocals, piano on “Empire of the Clouds”
Steve Harris – bass, keyboards
Dave Murray – guitar
Adrian Smith – guitar
Janick Gers – guitar
Nicko McBrain – drums
Sit down, relax and enjoy this beautiful display of Blues Rock by an emerging British band destined to conquer the world with their elegant music.
Sometimes we all must slow down a bit in our hectic lives, relaxing our minds before we go nuts with all the wildness surrounding us. In order to achieve that desired level of peacefulness, there’s nothing better than enjoying some soft and passionate Rock N’ Roll, and the music crafted by British Contemporary Rock band Cherry White has exactly what it takes to help soothe our weary spirits. However, do not think the music you’ll find in their brand new EP entitled Staring at the Sun lacks excitement. Quite the contrary, the EP emanates electricity, gripping your attention even during its smoothest passages.
Insired by life in London during its austerity era, encompassed by the greed of the wealthy, the six tracks in Staring at the Sun circle around an aspiration for this London-based four-piece band to reach higher and achieve their goals in the music industry and beyond. Blending the Soft Rock by Fleetwood Mac with the Blues Rock from bands like The Raconteurs, Cherry White seem to be in the right path to accomplish their mission, offering their fans high-quality rock music that sounds incredibly authentic and original, making you feel good while listening to it.
Despite never getting truly heavy, the opening tack Drifter can still be considered badass Southern Rock, starting in a groovy and catchy way with frontwoman Donata Sounds needing only a few seconds to show her exceptional skills as a singer. In addition, it’s when the rest of the instruments hit the music (especially the power of the harmonica) that things get really exciting without exaggerating on the dosage, making it the perfect example for the famous expression “less is more”. The next tune, Do It Better, sounds a lot more commercial, a mix of Alternative Rock and Pop Rock that could be played on any radio station in the world, with highlights to guitarist Russell Jones and drummer Felipe Drago for their superb job building the atmosphere for Donata to deliver her gorgeous vocal lines.
Angel is a smooth Rock N’ Roll ballad that will unquestionably become a fan favorite, and although the main focus is on Donata’s voice there’s room for all band members to shine. Pay good attention to the strong bass lines by Ralph Beeby in the background and you’ll see what I’m talking about, and also don’t forget to enjoy the melancholy in the last part of the song as it will touch your heart in a lovely way. Following that gentle music exhibit, we have the modern but at the same time very old school rock song 7 Days, where the dirty and exciting riffs sound totally inspired by the music from the 70’s, and there’s no way you won’t get thrilled with the song’s amazing guitar solo and chorus.
Then it’s time for Cherry White to sing the Blues in Blue Eyes, an introspective tune where all instruments sound so clean and polished to the point that, by just closing you eyes, you can perfectly imagine a scene at a first-class pub with Donata’s sexy performance in the spotlight while the rest of the band is wearing black suits and playing in the shadows. Moreover, some passages remind me of the classic ballads by Faith No More, and if you know how much I like Mike Patton and his crew you can have an idea of my joy while listening to this song. And closing the EP we have another delicate and progressive rock tune brought forth by these talented musicians, the title-track Staring At The Sun, a song full of passion and sorrow with a short but very enjoyable rockin’ ending that could work as a bridge or connection to their next release, if they haven’t thought about that already.
Cheery White can be found on Facebook, Twitter, YouTube and SoundCloud, and if you’re a fan of softer and lively rock music and want to grab your copy of Staring at the Sun, simply go to their BandCamp page to do so. Now please excuse me because it’s time to relax and enjoy this beautiful display of Blues Rock by Cherry White, an emerging band from the UK that will soon conquer the entire world with their elegant music, no doubt about that.
Best moments of the album:Drifter and Blue Eyes.
Worst moments of the album: None.
Released in 2015 Independent
Track listing 1. Drifter 3:39
2. Do It Better 3:11
3. Angel 7:06
4. 7 Days 3:25
5. Blue Eyes 4:42
6. Staring At The Sun 6:16
Band members Donata Sounds – lead vocals
Russell Jones – guitars, vocals
Ralph Beeby – bass guitars, piano, organ, harmonica, vocals
Felipe Drago – drums
Fill the void you feel within with the Blackened Death Metal crafted by this devilish British horde.
Dealing with the occult, death and transcendence, here comes British Blackened Death Metal band Vacivus and their debut EP entitled Rite of Ascension, an album that has enough power to darken your mind and spirit despite being relatively short. If you are already aware of how impactful both the music and the message generated by other Blackened Death Metal bands in the world such as the iconic Behemoth, Belphegor and Goatwhore are, you might have a pretty good idea of what Vacivus have to offer. If not, you better get ready because things are about to get heavy and atrocious.
However, this promising horde is not emerging from the depths of the UK depending strictly upon the heaviness of their music, but they also rely on their undeniable capability to add feeling and intricacy to a vortex of wickedness, showing beyond doubt their skills as musicians. On a side note, Vacivus seem to be extremely attentive to all details involving their music, as for example what they did with the already sold-out special cassette edition of the EP, releasing it on a special “Noir Void Shell” and inked with the “blood of their enemies”. In other words, they’re another good example of how the fusion of hard work and talent always results in awesomeness.
When you start listening to the opening track, Dark Apotheosis, you’ll feel like you’re descending into the fires of hell, where a dark void of despair is forged through the demonic vocals by Nick Craggs and the sinister guitar lines by Dan Rochester and Ross Oliver. Although this song is primarily raw Death Metal, you can taste the venom brought forth by its Black Metal elements. In the title-track, Rite of Ascension, it’s time for drummer Ian Finley to guide the rhythm with his raw blast beats, helping the musicality flow from faster and harsher moments to primeval Blackened Doom. I don’t know if anyone will agree with me, but the “filthy” production of the EP ends up enhancing the obscurity of their music, and therefore the overall quality of the album.
Ageless, Nameless starts in a more melodic way before evil dominates the sounding again, with the suffocating growls by Nick reaching a whole new demonic level. It’s dense and ominous, with highlights to the way its last part morphs into melancholic and infernal Doom Metal. And there’s no sign of hope when Hostis Rei (which probably means “the accused enemies” or something similar to that in English) begins, sounding like this song was literally crafted in hell. The whole band keeps delivering darkness and evil in the form of heavy and constant guitar lines as well as reverberating bass lines, turning it into my favorite of all five tracks. And lastly, we have one more solid display of malignancy in Vacivus Aeternum, which are the Latin words for “eternally void” and also the name of the band if you haven’t noticed yet. A lot closer to Black Metal than the other tracks, its nice guitar solo works as a downward spiral back to the original den where the EP started in a somber and effective way.
As aforementioned, the special cassette version of the album (strictly limited to 100 copies) released through Goatprayer Records is already sold out, but you can still purchase a digital copy of Rite of Ascension at the Gotaprayer Records BandCamp page, or wait until later this year to grab your CD version of the album via Hellthrasher Productions. Vacivus can easily help you fill the void you feel within with their Blackened Death Metal, all you have to do is embrace their nocturnal and unearthly aria and let their poisonous and metallic words intoxicate your psyche.
Best moments of the album:Hostis Rei.
Worst moments of the album: None.
Released in 2015 Goatprayer Records/Hellthrasher Productions
Track listing 1. Dark Apotheosis 3:51
2. Rite of Ascension 3:57
3. Ageless, Nameless 5:24
4. Hostis Rei 4:37
5. Vacivus Aeternum 5:31
Band members Nick Craggs – vocals
Dan Rochester – guitars
Ross Oliver – guitars
Dan Jones – bass
Ian Finley – drums
The metallic coven instituted by one of the most important Extreme Metal bands of all time keeps haunting our world with their thrilling and malevolent music.
I don’t understand why some people are so skeptical when British Extreme Metal behemoths Cradle of Filth are about to release a new album. Despite some very few letdowns, and I’m not talking about entire albums but just one or another song, Dani Filth and his sinful horde have always delivered first-class dark music, where the combination of symphony, heaviness, controversial themes and intricate and deranged lyrics goes beyond what almost all metal bands in the world can do. And now joining their collection of perversity, which includes masterpieces such as Cruelty and the Beast, Midian, Damnation and a Day and Godspeed on the Devil’s Thunder, we have Hammer Of The Witches, the eleventh studio album in their distinguished career and, more important than that, another solid display of black magic by one of the most important extreme bands from the past decades.
The album is named after the Malleus Maleficarum, a medieval document of guidelines regarding the persecution and torture of witches, just for you to have an idea of how obscure Hammer Of The Witches is. In regards to the artwork, designed by Latvian artist Arthur Berzinsh, Dani mentioned in one of his interviews that it is “a lavish walk-through of the lyricism, drawing on rich renaissance themes and displaying them in beautiful-yet-unsettling scenarios. Half of the detailed pieces are totally original for the release, others are Berzinsh classics cunningly tailored to the themes of the album, which are themes rife with heady witchcraft, be it persecution, retribution or unfettered spiritual liberation. The female form is rampant throughout the artwork, unashamedly displayed in its classical rendition of beauty… and horror.” In my humble opinion, that stylish explanation summarizes not only the imagery, but also the music found in the album. You can also see Dani giving more details about it in this official interview on YouTube.
Is there a better way to start a Cradle of Filth album than with one of their traditional intros, like Walpurgis Eve? This is already a good sign that the album will be kick-ass, which is confirmed when the havoc begins in Yours Immortally…, a song that perfectly represents the mix of raw Black Metal and traditional Heavy Metal only Dani & Co. can provide us. In addition, while Dani delivers his trademark high-pitched demonic screams, Martin “Marthus” Škaroupka keeps improving his importance in the bestial sounding crafted by the band. Enshrined In Crematoria has its good and bad moments, the good ones happening when they speed up the rhythm and the guitar riffs by Richard Shaw and Marek “Ashok” Šmerda lead an awesome sonic attack, whereas its slow parts sound too bland and generic; followed by Deflowering The Maidenhead, Displeasuring The Goddess, with its musicality containing elements from Midian and The Manticore and Other Horrors boosted by some crazy guitar solos. Moreover, I guess I don’t need to say Dani is by far one of the best lyricists of all time (“Religion caw epistles / Twisted laws extend their thristles / A crown to justify / Our place atop this hellbound carriage”), and Lindsay Schoolcraft not only delivers some wicked keyboard notes but her smooth and powerful voice also adds a lot of passion to the song.
Blackest Magick In Practice showcases a beautiful and melancholic start, focusing on Symphonic Gothic Metal without losing the band’s characteristic ferociousness. Its guitar riffs couldn’t sound more amazing, and Dani’s vocals sound great during the entire track, it doesn’t matter if he’s simply screaming like a demon or delivering his deeper dark growls. Then the band offers us the calm but somber intro The Monstrous Sabbat (Summoning The Coven), right before the title-track Hammer Of The Witches comes ripping with its imposing sounding where the keyboards by Lindsay get a lot more focus. It’s the most symphonic of all tracks so far, an awesome feast of the Symphonic Black Metal that longtime fans of the band learned to love. I have to say the initial “electronic” seconds in Right Wing Of The Garden Triptych (check the uncensored version of the official video HERE, it’s much better than the censored one on YouTube) scared the hell out of me especially because this was the first single released, but fortunately that was just a quick intro as the music itself is simply outstanding, varying from sheer brutality to gentle piano passages. Dani is absolutely on fire with his diabolic screams as well as Marthus and his wicked blast beats, not to mention the band’s Stygian lyrics being a delight for fans of devilish music as always (“Unforgiving proof accrual begs this cruel rebirth / A living fuel for the blaze of renewal, razing the earth / Pariahs and Messiahs of the highest worth / Fodder for the denizens of risen, hissing Hell”).
It’s not a true Cradle of Filth release without a ghoulish song about vampires, and in Hammer Of The Witches that comes to light (or darkness) in The Vampyre At My Side, an old school Cradle of Filth tune where you can feel the music rising to its climax amidst rawer moments in which the guitar riffs get thrashier than usual. Do I need to say anything about yet another excellent performance by Dani and Marthus? Anyway, the organ intro in the next song, Onward Christian Soldiers, generates a somber atmosphere perfect for the dense and violent exhibit of modern Extreme Metal that follows. This is one of the best tracks of the album (if not the best), a stunning epic composition with lots of variations where its riffs remind me of some of their songs from the brilliant Dusk… and Her Embrace. And finally, Blooding The Hounds Of Hell is a more-than-suitable symphonic outro to close all the stories told throughout the album, transpiring sorrow and darkness.
You can choose your version of the album at the Nuclear Blast webstore, but if I were you I would definitely purchase one of the special editions that come with two bonus tracks, King Of The Woods and Misericord, as they’re both savage and erotic. Based on the magnificent witchcraft found in Hammer Of The Witches, it looks like the metallic coven instituted by Cradle of Filth, who are in their best shape of the past few years, will keep haunting our world with their thrilling music for many years to come.
Best moments of the album:Yours Immortally…, Right Wing Of The Garden Triptych, The Vampyre At My Side and Onward Christian Soldiers.
Worst moments of the album:Enshrined in Crematoria.
Released in 2015 Nuclear Blast
Track listing 1. Walpurgis Eve 1:29
2. Yours Immortally… 6:00
3. Enshrined In Crematoria 5:46
4. Deflowering The Maidenhead, Displeasuring The Goddess 6:59
5. Blackest Magick In Practice 6:50
6. The Monstrous Sabbat (Summoning The Coven) 1:51
7. Hammer Of The Witches 6:28
8. Right Wing Of The Garden Triptych 5:54
9. The Vampyre At My Side 5:45
10. Onward Christian Soldiers 6:59
11. Blooding The Hounds Of Hell 2:10
Deluxe Edition bonus tracks 12. King Of The Woods 6:17
13. Misericord 6:19
Band members Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums
They’re the most amazing plague within the world of Doom and Gothic Metal, and they’re back with more of their unique dark music.
When the band in question are British Gothic/Doom Metal icons Paradise Lost, we all must forget about that disposable Goth teen attitude that infests thousands of websites, TV programs, YouTube channels and alternative nightclubs. These guys don’t need all those shenanigans to craft the darkest and most melancholic sounding you can think of, and they’ve been doing that with their faces “clean” for decades, releasing masterpieces such as Draconian Times and Icon. This is Doom Metal for grown-ups, and a true pleasure to listen to anytime of the day.
Now once again Mr. Nick Holmes and his crew offer us all their doomed excellence in The Plague Within, the 14th studio album in their stupendous career. Everything in the album was meticulously put together, from the album art to its obscure lyrics, without losing that raw feeling that made them famous worldwide two decades ago. If you think their previous album, Tragic Idol (2012), was a strong release, you’ll probably enjoy this new one as well, as it keeps up with the same level of complexity and deepness, but of course always providing the listener some fresh and exquisite elements to differentiate it from their other albums.
No Hope in Sight is a great tune to open the album, where its first few seconds take us back to the 90’s when Paradise Lost were rising to stardom. I believe everyone, including myself, loves how Nick can deliver some growls and his deep dark clean vocals at the same time, and of course those superb heavy riffs accompanied by the slow beats which are exactly what diehard fans of the band wanted to hear. Speeding up things a bit we have the excellent Terminal, with highlights to its truly obscure lyrics (“I can hope as silence and torture grows / The violence we now condemn infests our inner souls”) and to the amazing guitar duo by Greg Mackintosh and Aaron Aedy, enhancing the musicality to Blackened Doom (with even the vocals by Nick getting darker than usual). In An Eternity of Lies, an orchestral intro turns into a beautiful display of melancholy and hate, and as much as I enjoy guttural vocals, in my opinion Nick’s clean voice sounds simply perfect in this song.
The lyrics from the following song, Punishment Through Time, are perfect for the sounding provided by the band (“Neglect afraid to say / Repentance awaits / Rejected jaded decayed / A vengeance awaits”), and it’s practically impossible not to get thrilled by this tune. I see it as a modern version of the music in Draconian Times, boosted by the awesome riffs and solos by Greg and Aaron. And if you love when Paradise Lost let their doomed side take control of the music you’ll go crazy with Beneath Broken Earth, where Nick’s vocals are so demonic you might even feel disturbed with them, with highlights to the low-tuned bass lines by Steve Edmondson and the constant and dark beats by Adrian Erlandsson. Furthermore, the lugubrious shadow doesn’t give any sign of going away with Sacrifice the Flame, another beautiful composition of sorrow and pain led by the powerful voice by Nick. Long story short, it’s slow and soulful, and that’s all we need from Paradise Lost to have a good time.
When Victim of the Past starts just as somber as the previous tunes, you will notice how dark the second half of the album is, with the atmosphere created by the keyboard notes being amazingly gruesome while the rest of band delivers some solid obscure lines. However, Paradise Lost get a lot faster and heavier in Flesh from Bone, an old school Doom Metal tune with imposing lyrics (“See the righteous fall at the rise of the damned, denied / See others crawl in the hour demand and fight”), and when a band has a superb musician like Adrian on drums they can range from the slowest Doom Metal to the most bestial Black Metal flawlessly. Letting their Stoner Rock/Metal vein arise, Cry Out is an awesome pub-fighting song which will make you headbang and raise your beer to the band for sure, with the addition of an 80’s Gothic touch to make the whole experience even better. And lastly, the masters of the genre deliver the most traditional Doom Metal in Return to the Sun, where its symphonic/choir intro is a work-of-art and every element contained in the entire song is thoroughly connected. It doesn’t matter whether you prefer the harsh vocals by Nick or the funereal drums by Adrian, if you don’t fall in love for this song forget about Doom Metal, because that’s definitely not your cup of tea.
The deluxe edition of this beautiful album comes with three interesting bonus tracks: Fear of Silence, Never Look Away and Victim of the Past (which is a live recording of an orchestral version of the original song, by the way), and you can also enjoy or even study all its lyrics HERE. As long as Paradise Lost keep releasing strong albums like this one, maintaining the fires of darkness alive, they will always be the awe-inspiring plague within the world of Doom and Gothic Metal.
Best moments of the album:Terminal, Punishment Through Time, Sacrifice the Flame and Return to the Sun.
Worst moments of the album:Victim of the Past.
Released in 2015 Century Media
Track listing 1. No Hope in Sight 4:54
2. Terminal 4:28
3. An Eternity of Lies 5:58
4. Punishment Through Time 5:13
5. Beneath Broken Earth 6:09
6. Sacrifice the Flame 4:42
7. Victim of the Past 4:29
8. Flesh from Bone 4:19
9. Cry Out 4:31
10. Return to the Sun 5:44
Deluxe Edition bonus tracks 11. Fear of Silence 3:59
12. Never Look Away 5:17
13. Victim of the Past (Orchestral Version) 5:13
Band members Nick Holmes – vocals
Greg Mackintosh – lead guitar
Aaron Aedy – rhythm guitar
Steve Edmondson – bass guitar
Adrian Erlandsson – drums
What are you waiting for to put your hands on one of the best and most professional Progressive Metal albums from the past few years?
Described by renowned British magazine Metal Hammer as “one of the most imaginative and formidable” Progressive Rock/Metal bands available in the market today, London-based four-piece group Deadly Circus Fire will blow your mind with the high-end fusion of raw metallic riffs and complex melodies found in their brand new album entitled The Hydra’s Tailor, telling you stories and invading your psyche in a brilliant way. And especially if you’re addicted to innovative bands such as Tool and Mastodon, the music by these British guys is mandatory to your collection.
Formed in early 2009 in the UK, the band released a self-titled EP in 2010 and their first full-length album The King and the Bishop in 2013, both receiving excellent feedback from fans and critics due to the band’s unique progressiveness and melodic lines. In addition, they’ve already supported Welsh Alternative Metal/Hardcore Punk band Skindred on one of their European tours, counting it among their career highlights so far. Of course, nothing would have been possible if the musicians involved weren’t as skilled as they are, because in the end the music itself is what really matters, don’t you agree?
Now turn up the volume and you’ll feel the reverberation inside your mind while lead singer Adam Grant declaims some thoughtful words in the excellent intro In Darkness We Trust, right before Animal hits you like a bullet to the head so progressive and heavy it is. I love those songs where you can clearly listen to the powerful sound of a bass guitar, and the low-tuned lines by bassist Mike Enort are spot-on. Fans of Tool will go crazy with this song, as well as with Where It Lies, where its acoustic notes open the gates for more creativity and intricacy, providing the listener a good balance between heavier riffs and smoother vocals, closer to what Mastodon do but with a Metalcore touch. Not only that, a Dream Theater-ish voyage was chosen by the band to conclude the song, and once again kudos to Mike for a superb job with his bass guitar.
Victim, which starts in a truly wicked way, showcases powerful riffs by the amazing guitarist Save Addario while drummer Paul Igoe smashes his drums with so much talent it’s hard to explain it in just a few words. Besides, the sounding of bass and drums during the guitar solo is at the same time complex and pleasant, turning the song into one of the best moments of the album. And their vision of a devilish opera couldn’t sound more obscure and interesting than in Devil’s Opera, where Progressive Metal is flawlessly blended with Sludge Metal and tons of groove. I would love to see them replicating that sonority live one day, that should be great.
More Americanized than all previous tracks, especially the vocals by Adam, Rise Again is an excellent choice for an alternate rock n’ roll radio station, with the duo Save and Mike giving a progressive lesson with their strings. It’s heavier than lots of Death and Thrash Metal bands I know, with its second half being one of those weird trips that musicians like the guys from Deadly Circus Fire always have an awesome time playing. Then we have the calm instrumental intro Martyrs, introducing the listener to the superb House of Plagues, which despite starting in a very groovy way it morphs into a creepier and more violent tune, especially the vocals by Adam when he screams “Lies, lies, lies!”. Although totally insane and progressive, it’s at the same time an easy listen, with its lyrics matching perfectly with every single second of it.
Aeden is perhaps one of the most complete examples of Progressive Groove Metal you can find, with highlights to its wicked guitar lines enhanced by the complexity imposed by Paul on drums. Moreover, pay attention to how the chorus goes from smooth to harsh in a matter of seconds. The title-track The Hydra’s Tailor has a great atmosphere with a strong Doom-ish vein, and its melancholic lyrics guide the music to a heavy ending, followed by Turning the Tide, which proves once again that despite most songs surpass the 6-minute barrier that doesn’t mean they get tiring at all. The band yet again focuses on a musicality similar to the work done by Mastodon, in special the outstanding heaviness generated by Save and Mike with their guitar and bass lines. And guess what? The last track (and also the longest of all) entitled Universe is another feast of progressiveness and talent, where its semi-acoustic beginning marvellously evolves to a much darker sounding. You can sense the music is about to “explode” anytime but somehow the band intelligently prevents it from happening, holding (almost) all their anger inside and transmitting that excruciating pressure to the listener.
To be fair, it’s hard to find the right words to describe such complex and cunning music. With that said, in order to get more details about this work-of-art, you should check the band’s Facebook page or SoundCloud, and also listen to a promo of the album on YouTube. And if you’re more than convinced of the band’s capacity and are eager to buy The Hydra’s Tailor, simply go to iTunes or to the Musicarchy Media webstore to lay your metal hands on one of the best and most professional Progressive Metal albums from the past few years.
Best moments of the album:Animal, Victim, House of Plagues and Universe.
Worst moments of the album:The Hydra’s Tailor.
Released in 2015 Musicarchy Media
Track listing 1. In Darkness We Trust 2:32
2. Animal 4:25
3. Where It Lies 6:44
4. Victim 6:02
5. Devil’s Opera 3:49
6. Rise Again 7:31
7. Martyrs 1:46
8. House of Plagues 6:44
9. Aeden 5:20
10. The Hydra’s Tailor 3:59
11. Turning the Tide 6:07
12. Universe 7:43
Band members Adam Grant – vocals
Save Addario – guitars
Mike Enort – bass guitar, vocals
Paul Igoe – drums
Do you want to know what goes on inside the mind of a young and talented black metaller? Check out this great interview with the architect behind British Blackened Death Metal band Goatchrist, Dominator Xul’Ahabra, and you will find the answers to most of your questions.
The Headbanging Moose: Let’s start with some basic information about you and Goatchrist, for the readers who are not totally aware of your work as a musician: could you please tell us who Dominator Xul’Ahabra is, as well as how and when the band was originated? What’s the main concept or idea behind Goatchrist?
Dominator Xul’Ahabra: Dominator Xul’Ahabra is the character I view as being the manifestation of all of my ‘left hand path’ aspects (Xul being Arabic for evil). The band began as a vessel to release music I’d written whilst auditioning for Sathamel, but thereafter I realised it could be directed and used as an application of chaos magick and the Order of Nine Angles (hence the constant theme rotation). My core vision for Goatchrist is to ascend the band to a level where I can accurately teach others about what I see as being the most advanced philosophical view that man has conjured.
THM: I really enjoyed your brand new EP, The Epic Tragedy Of The Cult Of Enlil. This is the type of music I believe all metalheads in the world want to hear, something that is at the same time electrifying and substantial. How were the writing and production processes for this EP? What worked really well and what were the areas where you think you could have done better than the final result?
Dominator: My gratitude to you for your compliments. ‘Enlil’ was an EP that essentially was a directed and remoulded series of songs I’d written over a large period (January 2013 to December 2014) that I saw potential in. The writing process usually consisted of myself, my laptop, obscure locations and drugs. The entire thing wasn’t written together so there was no distinct writing process. The recording occurred at my home studio, except drums which I recorded on an electronic kit at my friend’s house (who then quantised them, as my drumming proficiency leaves much to be desired).
THM: How do you sense the evolution of your music based on your previous releases, such as She Who Holds the Scrying Mirror? Do you feel there are any limits to where you can get with the type of music played by Goatchrist?
Dominator: I see Goatchrist as a limitless band. I think specific musical styles fit certain themes so the musical direction will always change. There must be a natural progression from release to release, otherwise peoples’ interest stagnates.
THM: One thing that really draw my attention while listening to songs like Inferno, The Triumvirate’s Flight to Nippur, Plaguewood and She Who Holds the Scrying Mirror is the exceptional harmony found in each one of them amidst all the necessary violence and negativity found in Black Metal, in other words, they’re not just disgruntled noise, and that’s corroborated by the fact the song Inferno has already been selected twice to be played on The Metal Moose Radio together with lots of non-extreme bands. How do you manage to keep your music so extreme but at the same time relatively easy to listen to? Which special techniques do you apply to the recording or editing of your songs to make them so cohesive and melodic?
Dominator: Thank you very much. Haha, I don’t know the answer to that one. I just write what I think sounds good and then play it. My recording technique is so basic, everything goes through a UX1 through Pod Farm and into Audacity. That’s pretty much all I can offer in the way of ‘how I do what I do’.
THM: Moving on to your personal life, when and why did you choose to follow the path of Black Metal? What does extreme music mean in your life and how do you see the impact it has on your interaction with the society you live in?
Dominator: Extreme music doesn’t always appeal. There’s only a few bands that actually do it well. Sure, those bands (Absu, Nachtmystium, Summoning, for example) are amongst my favourites, but as regards their influence on the society I live in, I don’t see it much. Society is only influenced by one thing, and that’s philosophy. We’re mostly all bound to a stupidly mundane way of thinking and analysing things, and it dulls our creativity and doesn’t let specific, niche art forms overly influence society in a great way anymore.
Album Review – Goatchrist / The Epic Tragedy Of The Cult Of Enlil EP (2015)
THM: It’s a known fact that you’re a very young guy with a huge passion for extreme music and that’s very inspiring, but what do your parents, friends and teachers think about it? Do they understand at all what you’re doing or is there a lot of misconception on their side due to the nature of the music you’re creating?
Dominator: They don’t really pay much attention to it. My mum shows a moderate interest, but it’s not her cup of tea. Some of my metalhead friends listen to my stuff but that’s about it; to most of my friends I’m just Jacob, not Dominator.
THM: Talking about your creative process, it’s remarkable that such a young person can go from traditional Sumerian folklore, like what we can see in The Epic Tragedy Of The Cult Of Enlil, to 17th century French occultism and Luciferianism as the concept for your next release, which you’re already working on. What are your sources of inspiration that help you maintain your music at such interesting level? Do you read a lot of books, focus on detailed researches on the Internet, watch a lot of documentaries or have any other hobbies that foment your creativity? And how do you know a specific theme or concept is the one you will transform into music?
Dominator: Thank you. My album concepts are based upon my own logical layout and general flow, over which researched ideas are placed. All the above aforementioned research methods are used, as well as a lot of meditation.
As far as knowing which one I’ll use, I have no set way of deciding. It just all comes together, haha.
THM: Although your young age is good on one side in terms of energy and creativity, on the other side it can also bring some unwanted consequences such as not being able to perform live at a specific venue, just like what has recently happened to you and your band. Could you tell us more about that incident and how that impacted you as a musician and Goatchrist as a band? And what are your plans for future tours with Goatchrist?
Dominator: We weren’t allowed by law to play the show, after which I made some rude comments about the venue which I sincerely apologised for. I don’t particularly want to talk about this event, but Goatchrist did suffer because of it. I have no plan to play live in the near future (not with Goatchrist, anyway).
THM: What’s your opinion on the current state of Black Metal and extreme music in general in the UK and all over the world? Do you see yourself not doing extreme music in the future or maybe not even working as a musician? Do you already feel ready to face the heavy burden that comes with a career in music, especially in Black Metal?
Dominator: Generally the same as it’s always been: shit. The UK scene is an exception, where this form of music is flourishing at the minute, though black metal is only a perfected art form in the hands of a few individuals. I’d say America has the best black metal in the world at the minute. I’ll never not play music, whether it stays extreme is simply a question of time.
I’m not sure what burden you refer to. Goatchrist is essentially my glorified hobby, the moment it burdened me is the moment I’d drop it forever.
THM: In the demo She Who Holds the Scrying Mirror you recorded an interesting cover version for Fatal Equinox (Perpetual Resplendence), by Brazilian Black/Death Metal band Goatpenis. Do you have any plans for future cover versions, or was that a once-off recorded as a tribute to one of your favorite bands? And regarding your personal preferences, who are your biggest idols and influences in music and life in general?
Dominator: Goatpenis are a band I relate to because they’re Brazilian, and I’m Portuguese. I’d been wanting to cover Fatal Equinox for a few years before I actually did it too. There might be a cover coming soon, I’m unsure as of yet. I can confirm that it won’t feature my vocals, anyway.
My personal heroes are varied in character; people from Varg Vikernes to Brian Molko. I look up to artists that push to create a certain image and sound against the trend.
Album Review – Goatchrist / She Who Holds the Scrying Mirror (2014)
THM: What do you do in your free time (if you have any), and what bands are part of your current playlist? Are there any new or underground bands that you could recommend to people who appreciate Goatchrist and to all fans of heavy music?
Dominator: In my free time I’m usually out and about with friends, or practising guitar. I don’t have time for much else. My current playlist is an incredibly varied mix, and the top ten most featured artists would be Nachtmystium, Absu, Placebo, Scars on Broadway, Deafheaven, Darkspace, Melechesh, Slowdance, Rob Zombie and Naked City (the latter there being a truly amazing band on another level, with their album “Torture Garden” being my favourite album of all time).
As far as recommending bands to fans, there’s a fair few I could name. My vocal style is inspired by Nyogthaeblisz, who are a truly amazing outfit and well worth a listen. Conqueror and Revenge are both bands I tried to draw parallels with in the first demo, and there’s certainly similarities to Absu with ‘The Epic Tragedy…” There’s some other local bands that have a loosely similar (though incredibly powerful) sound, these being Slaughter Throne and Sathamel, who both serve as inspiration to Goatchrist. Other bands I’d recommend checking out are Grimsvotn, Written in Torment and Moloch, whose respective sole members have all contributed to my musical outlook.
THM: Thanks a lot for your time, and keep up the excellent work you’re doing in Black Metal. Last but not least, please feel free to send one final message to your fans and to anyone who’s just getting to know Goatchrist here in Canada, in the UK and anywhere else in the world.
Dominator: You’re very welcome. Thank you to everyone who’s supporting Goatchrist, I’m truly appreciative of everyone who’s given positive feedback as regards the EP. Prepare yourself for the upcoming split we have due out with Angmaer sometime in the future too. Agios o Noctulis!
If you believe in God, start begging Him to have mercy on your spinal cord when you listen to this very talented Black Metal act from the UK.
There’s a technical term in medicine named “avulsion”, from the Latin “avellere” (meaning “to tear off”), which describes an injury or fracture where a body structure is forcibly detached from its normal point of insertion by either trauma or surgery, in other words, it’s a type of amputation where the extremity is pulled off rather than cut off. That, my friends, is what will happen to your cervical spine after listening to Àglæccræft, the brand new wicked album by British Black/Death Metal band Avulsion Rupture.
If you love the extremity of bands such as Marduk, Morbid Angel and Dissection you’ll undoubtedly have fun with the aggressive music by this Nottinghamshire-based band, but I must warn you it’s not an easy listening for the average person. Originally formed back in 2000 and having released the demo 1000 Weeping Souls in 2001 and, after a long hiatus, the EP Blasphemous Resurrection in 2014, what Avulsion Rupture offer us in Àglæccræft (an Old English word for “evil art”) is the crudest form of Black Metal you can think of, supplemented by elaborate subject matters that help spread the obscurity intended by the band.
It takes less than 10 seconds for Avulsion Rupture to start blasting their evil music in the opening track, Apocalyptic Resonance, a song that might be too dark and sinister for the faint-hearted where old school Black Metal riffs and blast beats come striking your ears the rawest way possible. And there’s no sign of Avulsion Rupture decelerating at all when you listen to Fortress of Desolation, another brutal Black Metal tune with even darker vocals by the band’s “one man army” Paul Bobrucki, or to the best track of all in my opinion, Massacre at Fin Cop, a song based on a hill and an associated Iron Age hill fort in Monsal Dale, close to Ashford in the Water in Derbyshire, England, where a mass burial containing only women and children was found in 2011 during escavations. Of course the music couldn’t be soft or easy to digest, with lots of Death Metal elements elevating the song’s fury, and if you enjoy nonstop heavy riffs piercing your mind it will surely satisfy your cravings.
A gibbet is an upright post with a crosspiece, forming a T-shaped structure from which executed criminals were formerly hung for public viewing, which is perfectly represented in the next song, Gibbet on the Moor, where you can feel its heavier atmosphere due to its somber riffs and vocals dictating the carnage. The following track, Coils of Pain, is an excellent Black Metal tune where rawness and complexity are put together to make it even more bestial, with highlights to its very unique rhythm thanks to the job done on guitars, while Concocting Hallucinations is wicked old school Black Metal that will disturb your poor mind. Besides, what Avulsion Rupture do on drums in this song is beyond violent.
Are you tired already? Because there’s a lot more extreme music to go, starting with Monument, where the inclusion of more headbanging riffs halfway through the song is very interesting, followed by the awesome The Scucca, a word that comes from Old English meaning “evil spirit” or also the Black Shuck, a ghostly black dog which is said to roam the coastline and countryside of East Anglia, in the UK, which is indeed another great display of how Black and Death Metal can sound even more malevolent when properly combined. Finally, if you have a strong stomach and enjoy crude and dark sounds you’ll love Universal Vortices, where the ghastly growls by Paul match perfectly with the musicality, and closing the album we have The Carnificum, the genitive plural of carnifex (which by the way means butcher or executioner). Well, that’s exactly what the song represents: sheer violence with riffs transpiring cruelty.
In summary, do not be a coward and face Avulsion Rupture and Àglæccræft, which will soon be available at the band’s official BandCamp page, and you can also take a listen at some of the songs from the album and their previous releases at their SoundCloud page. Well, do I really need to ask God to have mercy on your spinal cord while you listen to this very talented Black Metal act?
Best moments of the album:Massacre at Fin Cop, Coils of Pain and The Scucca.
Worst moments of the album:Fortress of Desolation.
Released in 2015 Independent
Track listing 1. Apocalyptic Resonance 3:20
2. Fortress of Desolation 3:06
3. Massacre at Fin Cop 3:07
4. Gibbet on the Moor 3:14
5. Coils of Pain 3:02
6. Concocting Hallucinations 2:56
7. Monument 3:18
8. The Scucca 3:21
9. Universal Vortices 3:01
10. The Carnificum 2:55
Band members Paul Bobrucki – vocals, all instruments and programming
Although it might be a bit tough for most of us to imagine how a “bouquet of dead crows” would look like, a group of talented rockers hailing from Cambridge, UK can definitely help us in turning this difficult task into a pleasant Rock N’ Roll party, especially if you’re a fan of female-fronted bands. This is what you’ll find in the smooth and trenchant Of The Night, the brand new album by British Alternative Rock/Metal act Bouquet of Dead Crows.
Then we have The Fundamental Flaw Of Solitude, a modern Rock N’ Roll chant with hints of Blues Rock and electric performances by Antoinette and Neil; and The Silent Path (Time Goes By), a minimalist but very effective song tailored for lovers of ballads with Folk Rock influences. And adding a good amount of horsepower to their musicality, Bouquet of Dead Crows fire pure Rock N’ Roll the way we love in Don’t Panic!, with the whole band providing Antoinette what’s needed for her to shine and turn this into one of the best songs of the album (if not the best), not to mention another great guitar solo by Neil.
THE HEADBANGING MOOSE 