Timeline

Video Interview: Alex Camargo of Krisiun

Video Interview: Alex Camargo of Krisiun
Interviewed and produced by Victor Augusto

The Brazilian Death Metal band Krisiun became very respected among the legends that made this style so strong around the world, and they have just released a new album “Mortem Solis” after four years without new material.

Our friend from Brazil, Victor Augusto, had a chat with the vocalist/bassist Alex Camargo to find out more about the early days of the band, that is considered a legendary one, especially in their homeland. They also talked about the band’s offering.

I hope you enjoy it!

INTERVIEW WITH ALEX CAMARGO

LINE-UP:
Alex Camargo – Vocals and bass
Max Kolesne – Drums
Moyses Kolesne – Guitars

LINKS:

Disclaimer: This interview is solely the property of Victor Augusto and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Liminal Shroud – All Virtues Ablaze

All Virtues Ablaze Album Cover Art

Liminal Shroud – All Virtues Ablaze
Willowtip Records
Release Date: 05/08/22
Running Time: 40:03
Review by Laura Barnes
7/10

Although Black Metal has its roots planted firmly in Northern Europe, recent years have seen some ground-breaking bands coming out of North America. The likes of Wayfarer and Panopticon have revolutionised the Black Metal scene, creating music that is equally as thoughtful as it is extreme. This prospective third wave of Black Metal (and Christ almighty, that is not a debate I want to get into) is one that is philosophical, unashamedly political, and unafraid of experimentation.  It goes beyond the sinister; it is black metal that connects you to the wind in the trees and the dirt beneath your feet. Canadian Black Metal act Liminal Shroud fit neatly into this tradition. 

Liminal Shroud’s version of Black Metal is far more earthy than it is hellish, but is equally as crushing. “All Virtues Ablaze” is an album designed to be listened to loudly and intently. That said, it is certainly an easier listen than their previous album “Through The False Narrows”. The production is far more polished while managing to avoid veering into an overly glossy terrority, but more importantly Liminal Shroud sound fuller and more confident than ever before. The bass and snare combo used throughout this album gives “All Virtues Ablaze” that feeling of vastness and enormity that makes Black Metal special. Album opener ‘Hypoxic’ feels like standing under a waterfall, almost drowning but not quite. Lyrically, the song is a reflection on imprisonment and solitude, and – in my opinion – can be taken both physically and metaphorically. While this may be well-travelled territory for a Black Metal band, it is clear that Liminal Shroud have approached this topic with care and attention. The free and natural world is one that has been destroyed, and replaced with one of tall grey towers and stagnation. As the instrumentals reach their bone-chilling conclusion, an epiphany is declared: ‘We built these towers / and we must tear them down’. 

The rest of the album maintains it’s heavy impact, but also adds in a slightly melodic kick. Although three out of the four tracks exceed the eight minute mark (for me, eight minutes is the border between an ‘easy listening’ song and a ‘lay down with all the lights off’ song), they never once forget that they are songs above all else, weaving the instruments together to create a tapestry of atmosphere, emotion and story. ‘Transmigration I – Pelagic Voids’ features a brief but significant moment of clean singing, and ‘Transmigration II – The Cleansing Ash’ incorporates piano and church choir-esque vocals into a track that is otherwise a twelve minute exploding volcano of sorrow. This is a phenomenal way to round off the album, and those final fading notes will have you wishing that “All Virtues Ablaze” was just that bit longer. 

Although this album is one that I am proud to have in my collection and will no doubt turn back to whenever my skies grow that bit darker, I still feel that Liminal Shroud have more to give. Their sound has become more full and consistent, yes, but I believe that Liminal Shroud can grow their sound even higher, till it reaches snow-capped mountains and is tall enough to look down on those grey, lifeless towers. On a less metaphorical level, there is also a case here for bringing the vocals forward slightly. Whilst there are some Black Metal bands in which the vocals are just one instrument among many, designed to be incomprehensible and mysterious, Liminal Shroud’s lyrics seem too relevant and poignant to be completely buried. These minor gripes aside, “All Virtues Ablaze” gives something that I, personally, will always want more of: big Black Metal with a big black heart. If you’re anything at all like me, then I promise you: this will be worth your while. 

TRACKLISTING:
01. Hypoxic
02. Mists Along Florencia
03. Transmigration I – Pelagic Voids
04. Transmigration II – The Cleansing Ash

LINE-UP:
Aiden Crossley – Vocals, Guitar, Piano
Rich Taylor – Vocals, Bass
Drew Davidson – Drums

LINKS: 

Disclaimer: This review is solely the property of Laura Barnes and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Sacred Sin – Storms Over The Dying World

Storms Over The Dying World Album Cover Art

Sacred Sin – Storms Over The Dying World
Lusitanian Music
Release Date: 29/07/2022
Running Time: 39:26
Review by Victor Augusto
8.5/10

You are probably completely exhausted to hear (or read) from me how happy I get when I discover new incredible bands through this lovely art of reviewing music. In this case, the word “new” is just a reference for how recently I discovered the Portuguese band Sacred Sin, but they have had a long journey on the musical road. My first time hearing them was when I got the EP “Born Suffer Die” that I reviewed here, 2 years ago. Still today, I listen to those songs when I run my suffered 10 kilometers on the streets, under the hot and dry weather in this central area where I live in Brazil. These songs are really like a source of extra adrenaline to keep the energy high.

At the time when I first reviewed them, I was very surprised at how good and precise they are, with a great balance between aggressiveness and cadence, considering they are a Death Metal band. This new full album helped me to understand more about their spirit and notice a few more details. But before I spread my words of love for them, just let me explain that I’ve never heard their previous materials, aside the EP I mentioned, so forgive me if I am saying some completely non-sensical things about them, which you all must be used to. So, let’s start our journey.

My first impression is Traditional Death Metal! I don’t even know if it could even be considered a genre, but it is like having the first bands from this style, but using the same good and clear productions from the newer bands of the genre. Don’t expect something extremely brutal and fast, even though these 2 elements are part of Sacred Sin’s Music. You just must hear songs like ‘Perish In Cold Ambers’ and ‘Defy Thy Master’. 

It is fast in a good measure, also carrying great solos that put value on having precise, well played notes in the perfect moment rather than just shredding the guitar with hundreds of soulless notes, as many other bands do. Maybe it brings the spirit of the traditional Heavy Metal bands, when solos were well thought out and composed, but in a Death Metal orientation.

Tó Pica and Luis Coelho show an incredible synergy when they share the changes among the solos and riffs. By the way I must highlight a small detail which was the first thing that brought my attention to their music 2 years ago. The catchy riffs. Sometimes a simple and catchy riff, allied with good melodies, can offer proper excitement to the music, and it is exactly what you will hear here.

My second impression of the music is Doomy atmosphere knitted inside a Death Metal structure! Considering the 2 years of uncertainty and darkness we have just lived on this planet, with all the consequences that the pandemic brought us, this album brings this kind of feeling. I believe it increases because when we finally had the chance to have a better life, it hasn’t happened, and we are still suffering with all the disgraces of mankind, like this war and how everything reflects on many countries. For me, ‘Skull Crushing Darkness’ is the song which best offers this feeling from their music.

Songs like ‘Hell Is Here’ show it too, with a kind of mantra being said over and over again by the singer/bassist Jose Costa. On ‘Icons Of Blood’ he does the same, but it changes to a repetitive message, like a warning broadcasted by a radio. If you close your eyes and try to imagine a picture from this song, maybe you will imagine something like a devastated city after a war, as we are seeing recently. I mean, that is what I felt, and it is not necessarily what the band is saying. The highlight on this song goes to the cadenced drum fill from Fernando Dantas, which really made this track interesting. 

Again, considering my short knowledge of a band with such a huge history, I get the impression of this good balance between Death Metal and all the darkness from our earth, that is represented by the other elements like the dark Doom addition in their music. But if I could summarize “Storms Over The Dying World”, I would say how good they are to mix all their influences without fleeing from the “Traditional Death Metal”, and keeping their own identity strong. 

Considering we are in front of a band with more than three decades of experience, it is easy to say that they really know how they want to sound, and I can assure you they sound amazing!

Storms Over The Dying World Official Video 

TRACKLISTING:
01. Storms Over the Dying World
02. Perish In Cold Ambers
03. Last Man
04. Hell Is Here
05. Icons Of Blood
06. Rites Of Doom And Death
07. Shroud Of Broken Promises
08. Defy Thy Master
09. Skull Crushing Darkness

LINE-UP:
Jose Costa – Vocals  and Bass
Tó Pica – Guitars
Luis Coelho – Guitars
Fernando Dantas – Drums

LINKS:

Disclaimer: This review is solely the property of Victor Augusto and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with CTHULU DREAMT

Cthulu Dreamt Logo

EMQs with CTHULU DREAMT

Hi everyone! Welcome to another EMQs interview, this time with USA/UK Djent/ Doom/ Death/ Prog project, Cthulu Dreamt. Huge thanks to their guitarist/vocalist, Reed Reimer, for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

I’m Reed Reimer, and I play guitar and vocals (as well as other stuff) for Cthulhu Dreamt. I started the band with some friends in mid-2020 as a project to work on in Covid lockdown, and more importantly as concept to help me process my experience at having lost a child and dealing with loss, grief, and depression.

How did you come up with your band name?

I knew when it began that there would be a backstory to the project that was rooted in a science fiction and the Cthulhu mythos, so we tossed stuff around that’d make for a good metal band name, and also related to the story. Eventually, using the quote, ‘In His House at R’lyeh Dead Cthulhu waits dreaming, yet He shall rise and His kingdom shall cover the Earth,’ we took Cthulhu Dreamt as it was apropos to the thesis.

What Country/Region are you from and what is the Metal/Rock scene like there?

We’re from all over. I met a few of my friends who contribute to Cthulhu Dreamt through social media, so Jake is in Utah, Chris is in the UK, and the rest of us are in Minnesota, USA. The scene here in the Twin Cities of Minnesota is fantastic. There are so many bands here creating killer music, and because of the size of our city, we get most tours coming through here, so there’s always something new to listen to, or awesome bands to watch.

What is your latest release? (Album, EP, Single, Video)

We’ve got a new single “TRACE Amounts of Death” releasing on August 5 from our upcoming EP: https://ampl.ink/CDTraceAmounts
The track is among our heaviest, though it still takes a journey and mixes genres, which is kinda what someone should expect when listening to Cthulhu Dreamt.

Who have been your greatest influences?

Musically, influences are so varied, but generally, anything that makes me feel something: Gojira, Mastodon, Deftones, Opeth, Imogen Heap, Igoorrr, Muse, John Powell, Animals As Leaders, Hans Zimmer, John Williams, Regina Spector, Bad Religion, Lagwagon… so much stuff.

What first got you into music?

To be honest, the first instrument I ever played was the saxophone, and that’s because Lisa on the TV show The Simpsons played. But before that, my parents always had music playing, whether it was my mom’s 50’s bubblegum music, or dad’s classic rock: Zeppelin, Floyd, Rainbow, or Black Sabbath.
I think my love of music blew up when I first laid my ears on “Rust In Peace” by Megadeth, and “…And Justice For All” by Metallica. From there, I descended the rabbit hole to glory.

If you could collaborate with a current band or musician, who would it be?

I think Igorrr would be a trip to collaborate with. Their style is so rad to me, and I think we’d work well together. And if Igorrr isn’t available, Hans Zimmer could shoot us a call, LOL.

If you could play any festival in the world, which would you choose and why?

In 2022 it’d be ArcTanGent… this way when we weren’t playing, I could go and watch some of my favorites!

Whats the weirdest gift you have ever received from a fan?

I haven’t gotten anything weird… yet. At least nothing I would consider weird.

If you had one message for your fans, what would it be?

The message would be that I’m so grateful our music is meaningful to them, and I thank them for their support.

If you could bring one rock star back from the dead, who would it be?

Dimebag Darrell.

What do you enjoy the most about being a musician? And what do you hate?

I love creating. Whether it’s music, words, videos, or projects with other people, the act of making things is my lifeblood.
On the flip side, I don’t really hate anything about being a musician per se, but it does become a slog sometimes. I love starting stuff, but working on them and bringing them across the finish line doesn’t have the same dopamine rush.

If you could change one thing about the music industry, what would it be?

If I could change one thing, it might be having the creatives get a larger share of the pie. I don’t know if it’d take much, but at fractions of a penny per stream, maybe a slightly bigger fraction would be okay?

Name one of your all-time favourite albums?

There’s a few, but one that consistently is in my tops is “The Shape of Punk to Come” by Refused. It just slays so hard, is a beautiful mix of sounds, and makes me feel good.

Whats best? Vinyl, Cassettes, CDs, or Downloads?

For practicality, downloads/streaming. For best experience: vinyl. CD for sound quality 100%.

Whats the best gig that you have played to date?

Cthulhu Dreamt, being a concept studio project, hasn’t played any shows yet, but creating the music video for ‘Change of Scenery’ was an awesome experience.

If you werent a musician, what else would you be doing?

Urban planning, or working on the railroad in some capacity.

Which five people would you invite to a dinner party?

After friends and family, my backup dinner would be Dave Grohl, John Powell, Edgar Wright, John Scalzi, and Keanu Reeves. This would be predicated on the assumption that we would all be friends and stay in regular touch afterwards.

Whats next for the band?

We’ve got an EP releasing this fall, which will begin the momentum into the announcement and launch of the Cthulhu Dreamt TTRPG that we’re creating in collaboration with game studio Action Fiction. Combining an original game, novel, and sprawling original soundtrack, this is a massive project in the universe of Cthulhu Dreamt.

What Social Media/Website links do you use to get your music out to people?

https://cthulhudreamt.com
IG – @cthulhu.dreamt
FB – @CthulhuDreamt
TW – @CthulhuDreamt
https://cthulhudreamt.bandcamp.com

Jaffa Cakes! Are they a cake or a biscuit?

Because I’m from the US, I had to look these up. From the picture, they look like a mini cake biscuit hybrid… but I’m going to side on cake based on how I imagine the texture.

Thank you for your time. Is there anything else that you would like to add?

Thank you for supporting the Cthulhu Dreamt project! We look forward to bringing you so much good stuff in the near future!

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Montrose – I Got the Fire: Complete Recordings (1973-1976)

I Got the Fire Complete Recordings (1973-1976) Album Cover Art

Montrose – I Got the Fire: Complete Recordings (1973-1976)
Cherry Red Records
Release Date: 29/07/22
Review by Paul Hutchings
8/10

For many of us born in the 70s but not finding our musical roots until the 1980s, Montrose were one of those bands who were heard on rock stations thanks to covers of their music by other bands. Tunes like ‘I Got the Fire’ and ‘Space Station #5’ as well as the classic ‘Bad Motor Scooter’, which is still a favourite on the likes of Planet Rock. But now, this comprehensive collection of the band’s music allows a much deeper dive into the Montrose catalogue, and its an interesting voyage from start to finish. 

Formed in 1973, the original Montrose comprised of guitarist Ronnie Montrose and singer Sammy Hagar, bassist Bill Church and drummer Denny Carmassi. Montrose had formerly been a member of the Edgar Winter Group, playing on the hit ‘Frankenstein’ as well a being a successful session musician with credits for Van Morrison amongst others. The band’s self-titled debut is a genuine classic, and whilst it didn’t set the world alight on release in 1973, one listen to it in this collection demonstrates exactly why it has now sold over a million copies. Tracks such as ‘Rock Candy’, ‘Rock the Nation’ and of course, ‘Space Station #5’ and ‘Bad Motor Scooter’, are hard rock classics. It’s worth a listen just to hear the fluidity of the band, with Hagar bringing a defining vocal performance that would later land him the role in Van Halen, as well as huge success as a solo artist. Accompanying “Montrose” we have a selection of demo tracks as well as their debut performance for KSAN radio recorded at the Record Plant in Sausalito, California on 21st April 1973. 

The second album, “Paper Money”, saw Alan Fitzgerald replace Church, with producer Ted Templeman again at the helm. The album features similar hard rocking songs such as the riff heavy ‘The Dreamer,’ the sci-fi edge of ‘Starliner’ and of course ‘I Got the Fire,’ whilst ‘Connection’ demonstrated the softer side of the band, and echoes of Led Zeppelin. Interestingly, Montrose were sometimes called the US answer to Zeppelin, and you can see why with some flashes of musical genius and variety that match the UK behemoths at times. With additional stereo and mono singles of the title track and ‘Connection’, this is another excellent copy for the collection. Disc four sees another KSAN radio recording session with some of the debut classics featured alongside newer tracks.

1975 saw Hagar depart, due to building acrimony, and singer Bob James replaced him. Keyboardist Jim Alcivar also joined the band, bringing a wider and broader sound. “Warner Bros. Presents Montrose!” saw Ronnie Montrose taking over production duties. Whilst it may not have the instancy of the first two albums, there’s plenty of rock ‘n’ roll in evidence with the ‘Twenty Flight Rock’ bringing the jive, and James proving to be a more than capable replacement for Hagar. 

The final disc sees album number four, “Jump on It” which boasts one of the most appalling covers of all time (I’ll leave you to search for it). Alcivar brings the bottom end on the album, but only three songs feature an actual bassist with Randy Jo Hobbs filling in. It’s another solid if unspectacular release, but the guitar work is especially pleasing with some sparkling play on opener ‘Let’s Go’ as your starter for ten. ‘Music Man’ may be one of the more recognisable songs here, a slower, melodic piece which verges on ballad at times. 

This is a lovely package which showcases what a superb musician Ronnie Montrose was. He sadly took his own life a decade ago. It’s a worthy tribute to a fine guitarist and if you are curious about this influential US rock band, then this is the ideal place to start your journey. 

‘Bad Motor Scooter’ Video

TRACKLISTING:

Disc One: Montrose (1973) 
01. Rock the Nation
02. Bad Motor Scooter 
03. Space Station #5 
04. I Don’t Want It 
05. Good Rockin’ Tonight 
06. Rock Candy 
07. One Thing on My Mind 
08. Make It Last 

Bonus Tracks: 
09. Rock the Nation (mono) 
10. Rock the Nation (stereo) 
11. Space Station #5 (mono edit) 
12. Space Station #5 (stereo edit) 

Disc Two: Demos (1973) 
01. One Thing on My Mind (Demo) 
02. Shoot Us Down (Demo) 
03. Rock Candy (Demo) 
04. Good Rockin’ Tonight (Demo) 
05. I Don’t Want It (Demo) 
06. Make It Last (Demo) Live KSAN Radio Session. Record Plant, Sausalito, CA, USA 21st April 1973 
07. Intro 8 Good Rockin’ Tonight 
09. Rock Candy 
10. Bad Motor Scooter 1
11. Shoot Us Down 
12. One Thing on My Mind 
13. Rock the Nation 
14. Make It Last 
15. You’re Out of Time 
16. Roll Over Beethoven 
17. I Don’t Want It 

Disc Three: Paper Money (1974) 
01. Underground 
02. Connection 
03. The Dreamer 
04. Starliner 
05. I Got the Fire 
06. Spaceage Sacrifice 
07. We’re Going Home 
08. Paper Money 

Bonus Tracks: 
09. Paper Money (stereo edit) 
10. Paper Money (mono edit) 
11. Connection (mono edit

Disc Four: Live KSAN Radio Session, Record Plant, Sausalito, CA, USA 26th December 1974
01. Intro 
02. I Got the Fire 
03. Rock Candy
04. Bad Motor Scooter
05. Spaceage Sacrifice 
06. One and A Half 
07. Roll Over Beethoven 
08. Trouble
09. Space Station #5 

Disc Five: Warner Bros. Presents Montrose! (1975) 
01. Matriarch 
02. All I Need 
03. Twenty Flight Rock 
04. Whaler 
05. Dancin’ Feet 
06. O Lucky Man 
07. One and A Half 
08. Clown Woman 
09. Black Train 

Bonus Track: 
10. Matriarch (mono edit) 

Disc Six: Jump On It (1976) 
01. Let’s Go 
02. What Are You Waiting For? 
03. Tuft-Sedge 
04. Music Man 
05. Jump On It
06. Rich Man 
07. Crazy For You 
08. Merry Go-Round

Bonus Tracks: 
09. Music Man (stereo edit)
10. Music Man (mono edit) 
11. Let’s Go (stereo edit) 
12. Let’s Go (mono edit

LINE-UP:

Montrose
Sammy Hagar – vocals
Ronnie Montrose – Guitar
Bill Church – Bass
Denny Carmassi – Drums

Paper Money
Sammy Hagar – vocals
Ronnie Montrose – Guitar
Alan Fitzgerald – Bass
Denny Carmassi – Drums

Warner Bros. Presents Montrose!
Bob James – Vocals
Ronnie Montrose – Guitar
Alan Fitzgerald – Bass
Denny Carmassi – Drums
Jim Alcivar – Keyboards
Randy Jo Hobbs – bass

LINKS:

Disclaimer: This review is solely the property of Paul Hutchings and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Grima – Frostbitten

Frostbitten Album Cover Art

Grima – Frostbitten
Naturmacht Productions
Release Date: 29/07/22
Running Time: 48:55 
Review by Rick Eaglestone
10/10

The bleak and nightmarish duo return with new album “Frostbitten”.

I will be 100% transparent immediately, Grima’s last release “Rotten Garden” was phenomenal. And when it comes to this album, I have seen the cover, watched the first released video, and pre ordered the album, along with the repress of the previous album. So already I am expecting big things from this, so let’s go… 

The first track ‘Gloomy Heart of the Coldest Land’ is an ambitious nine and half minutes, and I have to say it has already justified top marks – it is just a plethora of bleak, foreboding black metal and still carries the air of mystery that surrounds the Russian duo. 

‘Giant’s Eternal Sleep’, the first released track from the album,  starts off with sweeping melodies which engulf into absolute fury, the accompanying video is wonderfully cinematic and worth more than one viewing. 

My highlight track of the album comes in the form ‘Into the Twilight’. The start has clean vocals and is full of atmospheric parts, and for me it just slots in so well with the overall aesthetic of the album. The heavier parts later effortlessly mould themselves in between swirling guitar parts. Heavy and rampart ‘Hunger God’ grips the listener for the entirety of the track, the melodic parts weave throughout only making the heavier parts feel even more unrelenting.

The howling winds of ‘Moonspell and Grief’ captivate and honestly, I would not have minded if this track has been completely instrumental, as it has some very well-structured elements, again the torment returns but this time it is slightly less harsh and does not entirely take over the track.

I am absolutely obsessed with the opening part of ‘Winter Morning Tower’ this maybe largely due to the introduction of the Bayan – I am a complete sucker for its inclusion, especially with black metal, and the gentler guitar laden throughout only justify why I cannot stop playing this track over and over, even at 10 minutes long.

Lastly, the album concludes with the short instrumental ‘Mana’ which is so well placed with the previous track that I had not realised it was a separate track after the first listen, but it is just a perfect way to end such a wonderfully prefect album.

A conceptual nightmare of human detachment.

‘Giant’s Eternal Sleep’ Official Video

TRACKLISTING:
01. Gloomy Heart of the Coldest Land
02. Giant’s Eternal Sleep
03. Into the Twilight
04. Hunger God
05. Moonspell and Grief
06. Winter Morning Tower
07. Mana

LINE-UP:
Vilhelm – Vocals, Guitar
Morbius – Guitar

Studio:
Serpentum – Bass
Vlad – Drums
Valentina Astashova – Keys
Sergey Pastukh – Bayan

LINKS:

Disclaimer: This review is solely the property of Rick Eaglestone and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s With WAITING 4 APRIL

Waiting 4 April Logo

EMQ’s With WAITING 4 APRIL

Hi everyone! Welcome to another EMQs interview, this time with South African and USA collaboration project, Waiting 4 April. Huge thanks to Jesse and Colton for taking part.

What is your name, what do you play and can you tell us a little bit about the history of the band?

Jesse: Hey, I’m Jesse and I play the drums for Waiting 4 April.
We’re actually a pretty new band, having formed in early 2021. I’m from South Africa, and I came across Colton’s (who lives in the United States) YouTube channel. I ended up sending him a message asking if he’d be interested in collaborating, and he was – so we started with a little acoustic project. It went well, and we became good friends throughout the process of video calls etc. and then decided to put Waiting 4 April together, sending files back and forth to each other over the greater part of a year, and ending up with the Photo Memory EP.

How did you come up with your band name?

Colton: Waiting 4 April means so many different things. Someone once told me they thought it was waiting for that true love in your life, another mentioned they thought it meant waiting for the springtime. I’ve always thought it was so cool how many different interpretations there are, but for me the meaning is much deeper. My younger brother Caden was born in the month of April. When he was conceived, they found that he had a terrible heart condition and the doctors estimated that he’d leave our family at an early age. He’s now 18 years old and doing amazingly well. Waiting 4 April basically means waiting for his birthday each year.

What Country/Region are you from and what is the Metal/Rock scene like there?

J: As I mentioned I’m from South Africa, and I have to say even though the community is kind of small in comparison to other countries, the Metal/Rock scene is pretty solid. There aren’t a ton of bands or venues, but where it is, it goes hard. I can’t wait to get back out to the US and start touring over there though.

What is your latest release? (Album, EP, Single, Video)

C: Our debut EP “Photo Memory” just came out on July 1st, and we’ve seen a really great response. It’s available on all streaming platforms so definitely go check it out! We’re so stoked with how it turned out and we’ll be getting some videos out in the next couple months after I head over to South Africa to meet up with Jesse in October!

Who have been your greatest influences?

J: There’s too many to name. You’ll hear this EP is pretty dynamic from start to finish, but you can definitely hear influences from bands like Paramore, early Saosin, a bit of I See Stars probably. I think we homed in on the early 2000’s scene and kind of entangled it into the sound.

What first got you into music?

C: Definitely Kurt Cobain.I used to play guitar hero a lot as a kid and loved the song “Heart Shaped Box”. Made me want to learn every Nirvana song haha!

J: For me it was definitely Blink-182. I was obsessed. I wanted to sing like Tom and drum like Travis haha.

If you could collaborate with a current band or musician, who would it be?

J: Doing a song with Oli Sykes (BMTH) would be F-ing rad. I’d also love a collab with Devin Oliver (I See Stars) or Vic Fuentes (Pierce The Veil).

If you could play any festival in the world, which would you choose and why?

C: Oh man, bring back Warped Tour! There’s nothing better. You get to spend 2+ months touring most of the US with like 50 bands. You make tons of friends, connect with musicians, play to epic crowds… it’s just the coolest experience in the world.

What’s the weirdest gift you have ever received from a fan?

J: A box of cereal (Cinnamon Toast Crunch). Weird, but I wasn’t complaining.

If you had one message for your fans, what would it be?

C: Not to sound cliche, but honestly if you have something you’re passionate about, just F-ing go for it man. Life’s too short to be weighed down by “what if’s”. We threw this band together in the middle of a pandemic, and now we get to make music for people all over the world. It’s been tough, but there are no regrets. So, if you want to do something and you’ve been putting it off… Stop, and just go for it.

If you could bring one rock star back from the dead, who would it be?

J: Freddie Mercury.

What do you enjoy the most about being a musician? And what do you hate?

J: I love being able to create. I have so many ideas in my head that I don’t know how to properly express, but the one place I really do know how to is with music.

What do I hate? How hard it is to get into the scene! And how streaming services stuff you on compensation haha. Stop being so stingy, Spotify!

If you could change one thing about the music industry, what would it be?

C: I think number 1, the industry is a lot of who you know, rather than being able to shine through outright talent, you know? And I think the people who have influence disregard a lot of bands who are really really good because of that. So, I think I’d want everyone to just have a fair shot.

Name one of your all-time favourite albums?

J: The Used – “In Love & Death”
C: Circa Survive – “The Amulet”

What’s best? Vinyl, Cassettes, CDs, or Downloads?

J: Vinyls are cool, but a bit cumbersome. A bit hard to bring your gramophone in the car with you! Downloads are convenient, but there’s nothing like a CD, right? You get the awesome artworks with the liner notes inside, and you keep that massive folder of your CD collection in the car – super nostalgic.

What’s the best gig that you have played to date?

C: Well, due to the pandemic, and the fact Jesse and I live on different continents, we haven’t managed to play a live show as of yet! But, we’ve got some cool shows lined up for South Africa around October, so we’ll get back to you on that haha.

If you weren’t a musician, what else would you be doing?

J: I’d probably have spent more time learning about crypto and NFT’s and have retired as a billionaire by now… But, who needs money right!? Haha

Which five people would you invite to a dinner party?

J & C: Michael McIntyre, Freddie Mercury, Morgan Freeman (to narrate the whole thing), Anthony Bourdain, and Margot Robbie.

What’s next for the band?

C: Well we’ve dipped our toes with the release of the EP. The next thing is to start touring and getting our music out to as many ears as possible. We’re getting started with writing the next LP already, and we just want to hit the ground running with whatever momentum we may have!

What Social Media/Website links do you use to get your music out to people?

Instagram – @waiting4april    

Tik Tok – @waiting4april

Jaffa Cakes? Are they a cake or a biscuit?

J: We’ve both never had one before (*audible gasps)… But we can say this. If they’re soft, they’re a cake. If they have ANY sort of crunch… It’s definitely a biscuit.
Fight me.  

Thank you for your time. Is there anything else that you would like to add?

Likewise! Thanks so much for the interview. We had a blast answering.
Keep an eye out for updates on W4A, check out the EP on Spotify, Youtube Music or whatever platform you use, and hopefully we’ll be bringing you new stuff soon!

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s With ANTHEMS OF GOMORRAH

Anthems Of Gomorrah Logo

EMQ’s With ANTHEMS OF GOMORRAH

Hi everyone! Welcome to another EMQs interview, this time with USA Melodic Black/ Death Metal project, Anthems Of Gomorrah. Huge thanks to them for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

We are Anthems of Gomorrah. We play Black/Death Metal with a melodic sound. The band first started in the early 2000’s but split in 2012 before reactivating in 2022.

How did you come up with your band name?

It represents a parallel between modern society and that of the cities of Sodom and Gomorrah, destroyed by God for their vanity, excess, hedonism and sin.

What Country/Region are you from and what is the Metal/Rock scene like there?

We are from the Tampa Bay area in Florida. The metal scene here is thriving and it has decades of very important history

What is your latest release? (Album, EP, Single, Video)

Our third album, “Aelvica II” will be released on August 15th. It’s our most dynamic work yet. We are very proud of it.

Who have been your greatest influences?

Musically? Cannibal Corpse, Hate Eternal, Belphegor, Zyklon, Limbonic Art, countless OSDM bands and black metal bands.
Non-musically? History, cultures, literature, fantasy etc…

What first got you into music?

The first time I heard Van Halen play a guitar solo, that was where it all started with music. For extreme metal, I discovered that in middle school. There was no looking back after that.

If you could collaborate with a current band or musician, who would it be?

We would love to work with Erik Rutan or anyone from Morbid Angel. MA is a huge influence for both of us.

If you could play any festival in the world, which would you choose and why?

Wacken, without a doubt. Most amazing Metal festival in the world.

What’s the weirdest gift you have ever received from a fan?

Never received any gifts.

If you had one message for your fans, what would it be?

Don’t be afraid to pursue your passions.

If you could bring one rock star back from the dead, who would it be?

Peter Steele. I miss Type O Negative so much.

What do you enjoy the most about being a musician? And what do you hate?

I enjoy the freedom of creativity the most. What I hate about it is how an audience will base their expectations or opinion of your music based on someone or something else they have heard before. Every band has its own sound.

If you could change one thing about the music industry, what would it be?

Artists deserve to be taken care of. Labels have killed the music industry and musicians are screwed over by them every day.

Name one of your all-time favourite albums?

“In Abhorrence Dementia” by Limbonic Art.

What’s best? Vinyl, Cassettes, CDs, or Downloads?

It really depends on your preference. People support physical format because it’s something that can accrue value. Others support digital because it’s convenient and not obsolete. There are countless arguments you could make for each side. I support digital because of the convenience but also because it’s easier for artists to release music on their own.

What’s the best gig that you have played to date?

I haven’t played any shows since I was a teenager.

If you weren’t a musician, what else would you be doing?

Probably a writer, maybe a teacher.

Which five people would you invite to a dinner party?

Tomas Haake, David Vincent, Ihsahn, Henri Sorvali and Devin Townsend

What’s next for the band?

We are hard at work on several different projects. Some will release later this year, and some will release in 2023. Our third album “Aelvica II” releases in August and the Debasement record will release in September.

What Social Media/Website links do you use to get your music out to people?

You can follow us on Facebook, BandCamp, Instagram and my personal SoundCloud where I post solo material and clips from upcoming tracks.

Facebook: www.facebook.com/anthemsofgomorrah
Instagram: @anthemsofgomorrah
Bandcamp: www.bandcamp.com/anthemsofgomorrah
Soundcloud: www.soundcloud.com/tucker-kilpatrick

Jaffa Cakes! Are they a cake or a biscuit?

I’m going to say biscuit because I believe ‘biscuit’ is the UK equivalent of US ‘cookie’ and those things definitely look like cookies to me.

Thank you for your time. Is there anything else that you would like to add?

Thank you for this interview! Please continue to follow us. We have a lot of music to share and look forward to doing so with you all.

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Trivium (!!) – Violence Breeds Violence

Beyond Your Design Logo

Trivium (!!) – Violence Breeds Violence
Roasted by Rob Sutton

Never in my wildest dreams did I think when I started these roasts would I have the honour of roasting Trivium, but here we are! Now Trivium has been one of those bands I have grown up with, (like many of you reading this) but I am afraid to say that they have really dropped the ball with this song Violence Breeds Violence. First off I was sure they were signed with some big record label such as Roadrunner or some other big time label but now they’re signed with some UK based bottom feeder management called Unearthed? I mean who? Clearly Trivium has taken a step backwards and that is obvious by their attempt to infuse Killswitch Engage into their sound, it’s not even nostalgic, it’s just bland. Onto the growls on this song, now Heafy has never been known to be that strong in this department but these are really not great, they sound even more strained than me at a gym, which really isn’t a pretty sight. The cleans aren’t bad mind you. The solos here also seem to have lost the complexity of previous albums and have been replaced with mediocre trash solos and a vague attempt to be groovy, but in the end just sounds like a crap breakdown. I mean let’s take the video, Trivium are known for their big budget narrative based videos but here we have a performance based piece where it looks like the lot of them have just crawled out of a prostitute’s vagina while she is on shark week, not a good look at all! What happened Trivium, you’re breaking my heart! Honestly I can’t see why anyone would want to buy their upcoming album with this shite!

***Edit***

Fuck I have just noticed I wasn’t listening to Trivium and in fact it’s a band called Beyond Your Design! For fuck sake, which donkey decided it was a good idea to so blatantly copy Trivium and then give them a Killswitch name, the creativity here is just insane… Don’t get me wrong I like both of the bands as I explained but what the actual fuck? It honestly is like they have downloaded both bands discography and mashed them together to make a song. Did they not get Rick Rolled? This is becoming a common trend with Unearthed bands reliving the MySpace era of metal and doing it badly. So far I have had Budget Carnifex and now we have Charity Shop Trivium, Unearthed this is a call to you, send me something original please! Also, I just went on Beyond Your Design’s Facebook page and it says ‘genre: Melodic Death Metal’ GET FUCKED this as far away from Melodic Death Metal as these guys are to getting to the final of M2TM! 

To sum Beyond Someone Else’s Design up, it’s a shitty copycat version of bands everyone loves that really has no place within the current scene but yet they still seem to think it is relevant, I mean it is kind of relevant but only when done by professionals, not a group of amateurs soaked in fanny blood!

***Disclaimer***

None of what I have said above represent my thoughts towards Beyond Your Design nor Unearthed and both have given me permission to roast them in this review (though still Unearthed can volunteer more of their bands if they want).

Who am I kidding; I still love the name Beyond Someone Else’s Design!

‘Violence Breeds Violence’ Official Video

LINKS:

Disclaimer: This review is solely the property of Rob Sutton and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Whiplash – The Roadrunner Years

The Roadrunner Years Album Cover Art

Whiplash – The Roadrunner Years
Cherry Red Records
Release Date: 22/07/22
Running Time: 
Power and Pain: 34:00
Ticket to Mayhem: 36:00
Insult to Injury: 37:00
Review by Paul Hutchings
7/10

“You know that you’re dead when your nailed to the cross” screams vocalist Tony Portaro at the end of “Power and Pain”, the debut album from the legendary cult US thrash machine that is Whiplash. If that doesn’t confirm what you’ve just been listening to, then maybe a visit to the head clinic is prescribed. 

This smashing three CD set from Cherry Red Records captures not just “Power and Pain” but also the follow up albums “Ticket to Mayhem” and 1989’s “Insult to Injury”. Always a cult band, for those whose desires in the mid-late 1980s was for it to be harder, more aggressive, and extreme, Whiplash were the mutts. Founded in 1984 by guitarist/vocalist Tony Portaro, the three albums are all worthy of a listen, although the crazed speed/thrash style which rages on the debut and part of the sophomore stand out, music that suddenly has become very much en-vogue with the blackened thrash movement. 

Signed to Metal Blade, and with their eighth album, “Old School American Way” rumoured to be on its way either late 2022 or early in 2023, what better time to dip back into the thrash pond of 1986. “Power and Pain” is of its time with nine tracks of savagery and frenetic speed metal with charred edging. The frantic pace of classic opener ‘Stage Dive’ belies the heavier raging that will erupt as the album progresses, such as the Metallica/Exodus tinged ‘War Monger’ which appears to have fused ‘Phantom Lord’ with any number of tracks from “Bonded by Blood.” It’s still a fabulously thrashy number, and alongside ‘Power Thrashing Death’ combines influences of the time with their own take on things, and proved that the band could mosh tunes with the best. It’s the sinister ‘Nailed to the Cross’ with its ball breaking introduction that really brings the dirt under the nails – a bizarre hybrid of Venom and Twisted Sister, if this was released today the metal world would be wetting its pants. And there is also the matter of subtle backing vocals provided by Pete Steele and Louie Beateaux (Carnivore) and Vinnie Stigma and Rob Kabula (Agnostic Front).

“Ticket to Mayhem” maintained the chaos, with an even more blackened and devilish style. With new drummer Joe Cangelosi taking over the skins, Whiplash provided another 37 minutes of explosive thrash. Kicking the shins with the muscular rager ‘Walk the Plank,’ it initially appeared that the high-speed tempo and power that was present on the debut was also racing through this album like electricity. Portaro never claimed to enjoy singing but his aggressive and raspy delivery works with the gnarly, gritty tracks. 

Whiplash also took on board some of the changing styles of the time, and provided a total contrast with ‘Last Nail in the Coffin,’ a much calmer, measured song; in fact, it’s bloody awful and as an attempt at slowing down the tempo demonstrated the weaknesses in their song writing. Whiplash was much better going full bore, such as the pulverising ‘Drowning in Torment.’ Although “Ticket to Mayhem” contains some solid songs, the impression overall is that the band were struggling to match the raw power of the debut. The songs are not as cohesive, veer away from the real nasty sound on “Power and Pain,” and whilst there are some solid tracks much of the album presents as inferior in quality, even though it’s still worthy of a listen.

Move forward to 1989 and Glenn Hansen joined the band and took over the vocal duties, allowing Portaro to concentrate on guitar. From the opening bars of ‘Voice of Sanity’ on “Insult to Injury” there is a broader sound to the band with Hansen’s traditional melodic voice suiting the band’s more power metal style – Whiplash had moved towards the classic metal sound of Manowar, Cirith Ungol, Manilla Road with a side helping of Helloween and Iron Maiden. “Insult to Injury” is an album of variable quality. ‘Essence of Evil’ switches between the heavy metal of Metal Church and the speed metal of Exciter in a raging bull of a song. Elsewhere the tracks work in the main but this certainly isn’t the album that fans demanded. ‘Witness to the Terror’ for example, draws from Agent Steel with its technical elements, but Hansen’s singing remains an acquired taste. Overall, it’s not that difficult to see why Whiplash packed it in shortly after this album. By 1989 it was dated and whilst now it is certainly more enjoyable to listen to, one can imagine that at the time, fans would have been somewhat disillusioned. 

The three albums here are inconsistent, with “Power and Pain” head and shoulders above the other two.  Of note, Tony Scaglione who drummed on the album was sufficiently impressive to fill in for Dave Lombardo on the “Reign in Blood” tour. As the three albums that Roadrunner released, they do stand as a moment in time for a band who, for a moment, threatened greatness. 

TRACKLISTING:
Power And Pain 
01. Stage Dive
02. Red Bomb 
03. Last Man Alive 
04. Message In Blood 
05. War Monger 
06. Power Thrashing Death 
07. Stirring The Cauldron 
08. Spit On Your Grave 
09. Nailed To The Cross

Ticket To Mayhem 
01. Perpetual Warfare 
02. Walk The Plank 
03. Last Nail In The Coffin 
04. Drowning In Torment 
05. The Burning Of Atlanta 
06. Eternal Eyes (Last Nail In The Coffin, Pt.2) 
07. Snake Pit 
08. Spiral Of Violence
09. Respect The Dead 
10. Perpetual Warfare (Reprise)

Insult To Injury 
01. Voice Of Sanity 
02. Hiroshima 
03. Insult to Injury 
04. Dementia Thirteen 
05. Essence of Evil 
06. Witness To The Terror 
07. Battlescars 
08. Rape Of The Mind 
09. Ticket To Mayhem 
10. 4 ES 
11. Pistolwhipped

LINE-UP:
Power and Pain
Tony Portaro – vocals, guitar
Tony Bono – bass
Tony Scaglione – drums
Peter Steele and Louie Beateaux (Carnivore) – backing vocals
Vinnie Stigma and Rob Kabula (Agnostic Front) – backing vocals

Ticket to Mayhem
Tony Portaro – vocals, guitar
Tony Bono – bass
Joe Cangelosi – drums

Insult to Injury
Glenn Hansen – vocals
Tony Portaro – guitar
Tony Bono – bass
Joe Cangelosi – drums

LINKS:

Disclaimer: This review is solely the property of Paul Hutchings and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.