Well, its been quite awhile since I sat down and got a chance to review something. Been too damn long because this album I am listening to now is kicking my ass!!!
Nekropsy is a very loud, very determined one man project that hails from Chicago Illinois USA with a brash assault of wicked death metal vocals, guitar work and blistering drum/bass back up punishment. The quality is tight sounding, mind numbing, and retard strength inducing. The main man behind this project Frank Garcia tries to make it come off as a very flashy technical death metal band but it really is not and is more about the revival of old school death metal I personally think. A+ for the revival, B+ for the direction these songs are heading. The tracks are filled with very lively solos, growling vocals in the vain of Brutal Truth and also has some thrashier elements such as Nuclear Assault but the vocals are completely and only deathly to be found.
Relentless and grinding unstoppable riffs mixed with a very upfront and personal glimpse into what death metal represents and what he personally thinks of society in general, this is what the main concept of all the songs, is all about. All the negativity and bad aspects of this world are all mixed up into a big tsunami wave that is Nekropsy, instantly destroying all that is in its path. Did I say it has excellent production sound? By jolly freaking doo it sure does, and I love it. I cant wait to hear more from this mad man Frank Garcia (aka backing vox and guitar in Waking Chaos) and delve into more hideous sounds like Bed of Nails, and Dawn Of The Explosions. Deff a keeper in a death metal fans collection, as I am a huge one myself. Keep up the awesome and grinding work, Frank.
p.s. only 40 LIMITED copies of this Split have been pressed so I am pretty darn happy to have one!!!
Next up on the split album is a little unknown band from the UK called Spiritus that are also in the mists of making black metal total warfare, all over their own tunes. I am indeed a HUGE black metal man, and do play the music but it does not neccesarily label me as the death vs black metal type of guy. Both bands fit well with each other actually, and that is what split albums are all about, strutting your stuff to one another! But having a good time of course.
The first track is very old school sounding as well but in a black metal sense with vocals that sound a lot like old school celtic frost but with a megaphone in front of the singers mouth. The music overall is something to deff enjoy as it is another band with another revival of the sorts with the old edge sound but adding there own twist and turns within it. Once again, A+ for the revival, B+ for what direction their heading in. I am not totally sure if its a one man project, but not alot of info online is telling me different, so I shall consider it as so. Wait, looking at the artwork, and yes, another one man project. Now arent we full of surprises???
With the flesh torn and the bones bare, the sound is melancholy, serene, revealing, and riveting. The way black metal should be. The songs At War, and Angels Bidding is a circus of riffs and blackened melodies, all heavy and all pure evil. Frozen In Time is very focused, like Nekropsy in a way but very mysterious and comforting to me. I can just sit down and listen to it on repeat forever. The song is one of my favorites off the split next to Nekropsys Bed of Nails. The band has a lot going for them quality wise and have a lot of potential in the underground scene to become one of those next big bands to arrive, but I would prefer if they kept the underground alive opposed to working against it. The last tune DIE is a barrage of screams, whimpers, riffs and cries, the track is significant in a sense that its the last tune of the split cd and what you just heard is the equivalent of death itself. Keep up the good work Spiritus, you are a deff keeper in my black metal collection as well.
If you wish to purchase this album if their is copies still available, I suggest you contact Frank or Spiritus at these links please, every band needs help now and then and this is the best way to go about it, getting their cd and showing your support to the bands themselves. That is the golden ticket! Thanks for making this album guys and if any more new material arises, be sure to let me know about it and I ll make a exclusive about it.
I was glad to find out about two tracks into this masterwork that Anachronaeon are in fact from Sweden. At the start of Mary, I was saying to myself this will be an epic American take on Scandinavian Metal, but in fact it truly is Scandinavian Metal, and is littered with several flavors of the scene. In just what I’ve been exposed to, I hear several of the following. Trial this simply as you would the back of a wine bottle, or if your American, the contents of a pint of Ben & Jerry’s: Emperor:-Prometheus Mayhem-Chimaira Deicide- One Upon the Cross Marduk- World Funeral & Panzer Division Marduk Enslaved- Below the Lights Opeth-….just pick one from the last 12 years…’nuff said! Vocally styled like Amon Amarth DISCLAIMER! IN NO WAY, SHAPE, OR FORM DOES THIS ALBUM SOUND LIKE, OR EVEN COMPARE TO ANY OF THE MENTION ALBUMS ABOVE! These are just flavorful notes that I, the author, can compare some similarities. This album can easily stand alone on its own merits of prestigious valor. This is a quick review based on a one time listen, while examining the lyrics (a must, to fully understand). At first I was afraid this was going to be a Christian Metal album, and slightly questioned the source of recommendation (Not that I care what an artists preferred faith is, just wasn’t expecting that caliber without fair warning). To my ecstatic surprise, it hit closer to home, and turns into an enticing psychological thriller. The protagonist of the story is on a schizophrenic trip under directions of the divine, franticly slaying with blessings above. In graphic detail, these events are painted in seaman and blood. This ends up in estrange fashion similar to the movie “Identity” without giving too much. It’s just something you must experience yourself. As for the sonic assault, I’ve already mention some flavorful notes. But as a little better detail, this is a cacophony of complexity. There are everything from 70’s arena rock solos, to bombastic black metal of the 80’s, to the shrilling riffs of 90’s black metal. But bar none, the saturation of death metal is practically homage to most of the history of the genre. The riffage of the Florida scene shines alongside the Swedish melodic forefathers. Technicality blisters along with brutality, and all is blended progressively along in a vocal style compared to Amon Amarth. The music is a jet and onyx in value and beauty. The story is fabulous, as is the vocals. A must have album for anyone that’s into Death, or Black….or Prog, or Technical…or even some Doom. Honestly, only those strictly into punk or grindcore may have a problem with this album, but if most metalhead’s are like this author, they’re willing to venture out. Also, some may have a hard time to get into another melodic Swedish band, but should be given a try with is heavy notes of black.
So this is a different way I’m doing a review. I’m listening and commenting as I go. This E.P. starts off with a track called “Celestial”. Clocks in just under 4 minutes, and is a promising instermental intro that is filled with long, deep (and clean/clear production) layered with some female Gregorian chants that is nothing short of a Tolkien ecstasy; all ambient and ethereal.
Staring on the longer “Journeyman”, a repetitive pattern scales back and forth across a few octaves melodically eases in the nocturnalscape. A vivid image of gliding through the cosmos shines beyond hope, like nebular facades surrounded by rays of darkness. A violin is heard midway through the intro, and loops back to the “octavated” lullaby. Bringing in the long stretch, another lute (a cello, perhaps?) adds something almost cliché, however deeper emotion. This track seriously glistens the beauty of the night and of darkness as a whole. Through the darkness, it illuminates the bullshit shadows of the light.
A more haunting intro transcends in the first few seconds of the title track, suggestive that something extraterrestrial is lingering in the dark hopes of man. Something that is desired, yet feared; similar to the meaning of these velvety dreams that we dream. Scarcely exotic is the somber tune, culminating the idea that possibly dreams are no more than an outer body, even an outer dimensional, experience. This bravado interpretation through this babbled audio language is only my deepest conclusions, but surely considering the subject matter, muse to author are probably on probable terms .
A deathly organ fills the aura with dank audacity mid song, that is followed closely to the end with evermore chants and slow bass plucks until the end. After only a split moment to breath, its on to the next track “Season of the Fall” beckons an awakening in heathen fodder. Almost a melancholy experience to leave this realm of enjoyment, but cannot ignore the shattering beauty of sunrays through thicken woods to truly arouse the stark realities of a dreadful world; like the wrath and lust of a woman, joy and sorrow of labors, treasures and debts of comradery.
I want to say, or I should hope, the ending track “Cthulhu Rising”, is a sense that when we face the Reaper and pay the Piper, it will be a never-ending dream. A queue of dread and frightfulness is hinted in the melody, almost a juxtaposition of the previous song (A fear of dying as opposed to a fright to awaken). However, I’m doubtful that is the intent of this track. Though the format is similar to other parts of this album, and blends well with the others…a part of this actually seems to resonate to a different idea almost all together, perhaps a concept to be dealt with a future release. Regardless, the damnation of the intro is breath taking to say the least, as it resembled those tones of what entering the first few realms of hell may sound like.
Overall, this album starts out in a mode where everything is fantastical and mythical, and turns to the truths of mankind in an equal amazement; however ends up in sheer gloom as the realization the nothing is forever. A startling album, that literally only took less that an hour to venture through, that lead through some emotions I though only possible through archaic orchestration. A fine diamond hidden in a heap of coal! This is a journey I wish to visit again, hopefully with my head rested on a well fluffed pillow with a cool breeze to wash me away in lucidity!
Dark Metamorphosis - In A Heartbeat
by Stephen Latimer
On a personal level, this album has struck so much to my soul, it’s almost perverse to actually talk about this on a public format. The Count must be a bastard step-brother of mine, or quite possibly my doomed enrage doppelganger (40). I’ve never met anyone that was quite obsessed with the video game series that Dark Metamorphosis is name-sake from, let alone the song titles. For those who have no clue to what this may be, figure it out on your own, or perish in your ignorant bliss. To the Count: L,UL,U,UR,R+ATT or DEF.
Down to the brass tax, this soundscape journey is veiled in that hunting tone we all hope to expect from black metal, but only are reminded how Dimmu Borgir single handedly destroyed that endeavor. At the heart of what’s “true”, there is fowled remnants of what the 80’s scene actually conjured into a favorable style, yet forgotten itself by glazes of synthesizers and classical orientations. Somehow, bewildered upon me, Count Draclacarde manages to blend swiftly into the night the majesties of classical tones, hallowed terror, and buzz sawed guitars of yesteryear into an incantation worthy to sit alongside Burzum’s “Det Som Engang Var”, Craft’s “Terror Propaganda”, and Horna’s “Envaatnags Eflos Solf Esgantaavne”. “In A Heartbeat” honestly sounds as if Nocturno Occulto decided to remake Satyricon’s “Dark Medieval Times” singlehandedly after listening to Bathory’s “Blood Fire Death” (song), and “Enter the Eternal Fire”.
It’s fascinating that the title of the album is actually the name of the favored song of John Murphy’s composed title featured in the film “28 Weeks Later”. As for myself, I actually thought this song, along with the score of the film, was actually very ambient in black metal form. So it’s actually a hellish coincidence to me that my favorite game and favorite musical score are actually blended into an album of my favored genre. This daunting composition of dire hope can actually be heard by the Count’s strapping ode, at the tail end of “Avert Not Thine Eyes”. This track is also infused with a brilliant rhythmic riff that’s one part groove, one part requiem; followed heavily by a simple chugging solo that is full blown nocturnal fucking hated.
Another ominous praise to those once forgotten, is Ludwig Von Beethoven’s “Moonlight Sonata”; again a lullaby that has haunted me in lustful serenade for ages since first hearing it, oddly, in another video game of the same era. This is actually preceded by a small piano composition that I am actually unfamiliar with, however gives off that nostalgic feeling of the score of the “name sake” game, but am sure is actually an original. All of this can be found in “Welcome to My Humble Tomb”. Oddly, probably the oddest yet greatest ode of all the covers in the history of covers is the bonus track Dan added. Its a cover of Ted Nugent’s “Cat Scratch Fever”. Here, you can hear the Counts precise execution on the guitar, displaying he can actually play beyond the tremolo, however, can craft a unique rendering. At first, you ask “is this fucking real, am I actually hearing a Black Metal version of Ted Nugent”, and then after hearing it you find yourself saying “That’s an honorable metal salute to a Rock icon”, and feel yourself throwing the horns out of respect as well.
A ravishing intro to “Person of Lordly Caliber” is highlighted with high octave, full notes very favorable to some metal bands pre 80’s, maybe “Judian” or “Maidenesck”. Either way, it’s not a usual commodity you’d expect out of your everyday BM project. This rumbles off into a hopelessness of a night shade shrieking in the fog, to a succulent solo. This beauty is pulverized by a groovy riff similar to the one in” Avert Not Thine Eyes” that is laced with electric wizardry that is truly spellbinding. It comes full circle with the gloomy intro only to leave me heartbroken for more.
All these examples are honestly just an emotional explanation what happens within these glorious audio hexcrafts, and are only interpreted by an individual that is drastically moved by the outwardly vibrations. It’s these emotions that are triggered, like in “Symphonic” compositions, which are hidden in plain sight. In these triumphant occultic raptures, that makes me tear with joy. These sonicscapes that are sorrow in nature, that bleed the hope of possibility “truly” leave me breathless. On an ending note, let us go out this evening for pleasure. The night is still young!
Latest update I done here in awhile and I just want to make it aware to all the 100 bands on the compilation being released by Satanica Productions that the compy is now being set up for release the best we possibly can. Now, I am busy atm recording new material for a 3 way split album with 2 bands Solace and Valkynaz with my current drummer Dietrich Mueller (Bitter Dawn/Goat Regime) and also Rashid Ghafur (Zebulon Kosted) on bass so I am pretty busy but we are slowly getting everything done and set up properly step at a time. This release will include band pics on the disc in a folder, and all the songs are in mp3 format for downloading them all to your computer, and play in your mp3 compaitable players. The art is also being worked on too and so far we are 80% done to making a master disc for release. Please be patient and it will be out probably early March I think.
More news on Strings Of Distorted Doom, the latest rough tracks of songs being worked on now with my new trio lineup working via online, could be found here. There is still alot to do with these tracks but here is some ideas I have down so far. Enjoy and I appreciate everyones positive feedback so far.
Stay True To The Doom -Danny
http://soundcloud.com/strings-of-distorted-doom
untitled rough version
http://www.satanica.org/muc2.php
Message from Xan of SATANICA PRODUCTIONS...
So what is currently happening?
The biggest thing is that we are embarking on the mastering ov this compilation. 100 bands, anywhere between 500-1000 minutes ov wildly varying programme material certainly creates it's own challenges. Unlike the MUC vol 1, this comp will be professionally mastered. Mainly to even out the volume levels from track to track, creating a better experience for the listener.
While this is happening we will also be finalising the artwork. If you look at http://www.satanica.org/muc2.php you can now see the image that will be the front cover.
And we need something from YOU too. Included on the disc will be a folder that will have an image from every band on the compilation. There is only one rule: This image MUST be a 640 x 480 JPEG. Apart from this it can have anything you like on it.
Attached to this message there is the one we have done for Beltane as an example. Yours need not be so complicated, a simple photo ov your band is fine, but it's a good idea if it includes your band-name!!! :)
For those that want to go all fancy, a point to remember is there is only so much *readable* text you can fit in a 640 x 480 image. Again, the Beltane image should give you an idea ov what's possible.
Why have we chosen this image size? Two reasons: 1) These images cannot take up much ov the disc 2) They are designed for optimal display on a television set that would be typically connected to a DVD player.
Anyone who finds they have trouble sorting out their MUC2 band image can contact Danny DistortedDoom ( danieldanielman@aol.com ) and he will be happy to help you.
Name the image simply as your band name. Nothing else. e.g. "beltane.jpg"
Once you have done your image send it to this address: mostunholyconvergence@gmail.com DO NOT send it to xanataph@gmail .com
For those who have submitted more than one project; we require an image for each one.
We would like your compleated artwork to received within the next two weeks. This is when you'll receive the next newsletter. It may announce the release date.
That's about all for now. So good job all ov you for submitting and we'll look forward to receiving your artworks...! :)
Hailz,
Xan
PS: http://www.satanica.org/muc2.php will also continue to be updated as the MUC2 nears final compleation and release..! So keep an eye on it.
This is a new review by a new member of the tf zine! His name is Stephen Latimer and I welcome him to the underground writing club! Check out his new review on Appalachian Winters latest s/t album! -Danny
‘Appalachian Winter’ was (but wasn’t) what I was expecting, to be a Doom record. And in some aspects, it has some traits what I’d expect to be on a Doom record: melancholy, slight sense of hopelessness, covered greatly in haunting second tack, “Night”. Great sense of valor and victory, and triumphant gleam is also on this record, displayed on the third track “Winter”. In fact, on this song, after a trumpet and piano intro, the guitar bursts in to a marching battle anthem that can only be characterized as riding Falkor the luck dragon into a Narnia sized battle, marching into a frozen Mordor.
The composure of this record is riddled with fantastical audio sensations, which could in fact be shelved right alongside Immortal’s ‘At The Heart of Winter” with its sonic imagery. At times, parts do reflect some black metal sounds, like the frostbitten track “Ice”. In fact, this album feels more frostbitten than probably 80% of the Norwegian albums I’ve heard. Though, it would be farfetched to actually claim Appalachian Winter as a sole black metal project. It does seem too broad in certain portions to say solidly it’s a black metal project, regardless of how umbrella that term can be (Also has some amazing pagan metal flavors, with a Pan style flute on the song “Wolfghosts”). Case in point, in the starting track “Solstice”, smack dab in the middle of the song is a delectable Blind Guardian vocal play, underlined by a soprano falsetto, Tim “Ripper” Owens style; too much power metal for a solid black metal album. With an eclectic juxtaposition, this is definitely a progressive effort to blend several different metal traits in to a lethal injection of serendipity.
On a few objections that certainly do not take away from the album, are as follows. Firstly, some of the synth work is too noticeable, mainly in some of the drum works. On a high note, it adds to the surrealism to the speedy bits. Secondly, I’m never too fond of recycled material within an album. I feel that has been downfalls to Metallica (ReLoad), Slayer (90’s portion of career), and Judas Priest (who’s actually guilty of recycling their entire career on Angel of Retribution). After a good portion of each song, “Solstice” and “Solitude”, actually sounds like they’re the exact same song. On a high note they’re the first and last tracks, and actually make a story come complete circle, which in my opinion makes the best ending to any story regardless of media. Also, a few arrangements almost seem cut and paste, however deliver the exact same emotion every time to give the same joyous feeling to deliver the story to its fullest.
As a full set this album is a total package. It starts off majestically, and sways its crystalized and nocturne magic into a spellbinding wonder. Its climax or what I’d figure to be the start of the B-side, “Mountain”, is a wonderful ode to some great classical and romantic composers. I was greatly expecting it to be followed up by the heaviest and fastest song, but tragically goes into probably my least favorite track “Winds”, which gets way to folky, and not the heathenish style…well then again, I’ve only heard European styles, and “Winds” is very American folky. That could actually be deemed as American Heathen Metal. Regardless of what you may want to call this true genuine masterwork, I would never want to call Appalachian Winter a virtuoso act. It’s not about the “what I can do”, but “what I can imagine”. And there’s a great deal of self-respect in that, playing a marionette to tell a life story. Virtuoso is like looking a realism art, whereas what Appalachian Winter does is “Spider-Man issue #1”.
https://www.facebook.com/appalachianwinter
Free downloads at of entire discography at http://www.mediafire.com/?qwvfnuv62641n
http://appalachianwinter.bandcamp.com/
