Mercic – 7, 8

Mercic 7 & 8 Album Covers

Mercic – 7, 8
Release Date: 04/06/2021
Running Time: 30:59/34:14
Review by Beth Jones

Another Sunday is upon us. And it has to be said I’m feeling a little delicate this morning, after another great little virtual gathering of our little Ever Metal global family last night. So obviously, when you’re not quite sure if your head is on the right way round, the best thing to do is listen to some slightly proggy industrial electronica! Thankfully, Mercic, a project from Portugal, has popped up in my review list delivering just that!

Created in 2015, Mercic is the brainchild of multi-instrumentalist, Carlos Maldito. The philosophy of Mercic is to move away from releasing singles and videos, instead choosing to only release studio albums and remix other bands. And to that end, albums “7” & “8” have just been released. Now, the eagle-eyed among you will notice that the album track numbers don’t start at 1. That’s because they all follow on from the original album. If you have a few hours spare, you might want to listen to them all back-to-back!

Musically, there are a lot of genres and influences in these two albums. Everything from full on dirty industrial metal, to flamenco acoustic guitar. The albums are mainly instrumental, but “7” does have some vocals, and spoken word, all in Carlos’ mother tongue, which is beautifully expressive, and works really well. It’s a very atmospheric sound, almost painting a picture of a futuristic industrial dystopia. It would be a great soundtrack for a dark film full of barren, tarred landscapes, and industrial factories.

The sampling and orchestration are another big plus of these two albums. I can get a bit annoyed by sampling sometimes if they’re not done right. But I don’t have a problem with this album.

Track 52, ‘Reage’ instantly grabbed me, as it reminds me a lot of another industrial favourite of mine, Jayce Lewis. It’s heavy and thumping, luscious with mechanical energy. And this sets the tone for the majority of “7”, with industrial noises appearing all over the place to compliment the music. It’s a bit of a mind fuck at times, because it’s steeped with cross rhythms and unexpected changes of mood or style in the middle of songs. It’s definitely a thinker’s album.

“8” is a slightly less mind melting affair, with more defined rhythms and refined style changes. And for that reason, I prefer it slightly to “7”. ‘The Determinant Rising’, the first track on “8” reminds me of 8-bit computer game music, which I bloody loved. It’s very atmospheric and would be the music leading up to an end level boss! But I think my favourite track on this album is ‘The Conqueror’ because it’s so different. Harsh metallic drums and low rumbling samples, but with Spanish Guitar played Flamenco style. It’s very clever.

It’s not often that I get stumped for what to say about an album. But these two albums are actually pretty hard to describe, because there’s such a mix of sounds, rhythms, and ideas going on. Now, usually, that would piss me off! But here it doesn’t. It just kinda works. It’s ambient and dystopic, and it tells a dark tale with sound. I’ve really enjoyed listening to this, not just for the actual music, but for the dark symbolism and mood it prompts in me. If you’re looking for something a little bit different to listen to, and like to explore dark ambience, then these two albums could be just what you’re looking for.

‘Reage’ (Audio) Taken From “7”.

‘The Determinant Rising’ (Audio) Taken From “8”.

51. Batalha De Egos
52. Reage
53. Começa a Viver-te
54. Sê Audaz
55. Já Não Te Pertences
56. Se Pequeno For o Teu Pensamento Jamais Seras Grande em Algo
57. Foge & Liberta-Te
58. Há Sempre Um Vazio
59. Olha-Te Ao Espelho
60. Somos Erros

61. The Determinant Rising
62. The Ruinous Damage
63. The Extermination Of What You Thought To Be
64. The Continuous Uncertainty
65. The Conqueror
66. The Most Perfect Nightmare
67. The Pain Builder
68. Nostalgia For The Past Nights
69. The Crown Belongs To Johnny (RIP)
70. The Last Ramble Of Dawn, Enough!


Carlos Maldito – Vocals, Keyboards, Samplers, Drums


André Tavares, César Palma, Manuel Melo, Hugo Areias, Cláudio Silva, Luís Coelho, Jorge Caldeira, José Costa, Jó, Tiago Tokinha, Ricardo Gingado, Paulo Dimal, Cristiano Vieira.


Disclaimer: This review is solely the property of Beth Jones 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.

Grunt – Discipline

Discipline Album Cover Art

Grunt – Discipline
Larvae Records
Release Date: 02/04/2021
Running Time: 36:59
Review by Wallace Magri

Grunt is a Death/Extreme Industrial Metal outfit from Portugal that absolutely deliver on “Discipline”, their third album, containing seven songs that are going to turn your day darker and bring some mental chaos to your thoughts!

I want you to know that even though Portuguese is my mother tongue, I wasn’t able to understand a single word that Boy-G sings on ‘A Valsa Libitina’ and ‘Piedade’, allegedly sung in Grunt’s native tongue, thanks to Boys-G’s guttural vocal technique, increased by distortion effects, that reminded me of Six Feet Under’s Chris Barnes singing in slow motion.

Anyway, the main Portuguese Culture influence on “Discipline” is the Fado – a sad musical style that has melancholic flamenco guitar fingering on the arrangements – heard especially in the guitar solo of ‘A Valsa Libitina’, performed by Boy-S… yes, Grunt is an ‘all boy band’: Boy-G (Vocals, Guitars, Keyboards, Synths), Boy-S (Guitars), Boy-Z (Bass) and Boy-M (Drums).

I would say that Grunt is much more a Death/Extreme Metal band that takes advantage of synth programming and sampled ambiences to increase the song’s sludge aesthetics, than an Industrial Metal band that resorts to Heavy Metal musical instruments to increase the heaviness of electronic beats.

By the way, if you are into bands like Fear Factory, I am sure that you will relate to songs like ‘Relinquish Control’, that deliver dense Drop D guitar riffs along with tribal percussion into the mixture, thanks to the astonishing drum and bass work. On ‘Captivity and Abominable Idolatry’ we hear another amazing guitar solo, that provides a Prog Metal aura to the song, helped by the incredible drum rhythm brakes and transitions.

The excellent mixing and production of “Discipline” deserve to be mentioned (by Ivy Skuratov and Boy-G, respectively), giving the proper strength to each musical instrument, highlighting the guitar solos and showing good taste in the selection of beats and synth programming, in order to make every song on the album more gloomy and dismal, as you can check out on ‘Vertiginous Asylum’ and ‘The Blackest Suitors’ – both masterpieces of Avant Garde Doom/Black Electro mayhem, that open minded metalheads are gonna be pleased to listen to.

All that said, “Discipline” is the best album I’ve heard in 2021 so far, and don’t mind if you can’t understand the lyrics sung in English – I couldn’t understand the ones in Portuguese either. But what I do know is that Grunt isn’t singing about sunflowers and pink orchids, unless they are dead flowers laying in sludge.

‘The Blackest Suitors’ (Lyric Video)

01. Vertiginous Asylum
02. A Valsa Libitina
03. Piedade
04. With Agony Driving So Deep
05. Relinquish Control
06. Captivity And Abominable Idolatry
07. The Blackest Suitors

Boy-G – Vocals, Guitars, Keyboards, Synths
Boy-S – Guitars
Boy-Z – Bass
Boy-M – Drums


Grunt Promo Pic

Disclaimer: This review is solely the property of Wallace Magri 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 – Born Suffer Die

Sacred Sin – Born Suffer Die
Lusitanian Music
Date: 24/04/2020
Running Time: 11:30
Review by Victor Augusto

I am not a guy who believes in love at first sight, but when music is the subject, I can affirm that it is a perfect possibility. Maybe with a little change in the expression to “love at first listen” which is more appropriate to describe what I’ve felt on hearing the Portuguese band Sacred Sin for the first time. Just one song was enough to assure me I was hearing an incredible band and I couldn’t avoid the thought of “finally, remarkable music to listen to”, considering the massive amount of bands releasing good material, but few of them can be remarkable!

Of course, I am not talking about a young band, considering Sacred Sin have been on the road since 1991 and they have just had a short hiatus between 2011 and 2013, but they have returned with full force and this EP also celebrates the return of one of the original members, guitarist To Pica. All the years of Sacred Sin experience look like they have helped the band to know exactly what they want in their compositions.

As I said before, we have here an experienced band that plays incredible Death Metal with a mix of all the brutality of Morbid Angel with all the technique of the Swedish bands from this genre. All arrangements and compositions left me astonished by the sonority they created, from the opening riff of the first song ‘Born Suffer Die’. I was also hugely impressed with the intense atmosphere over all the brutality. This wonderful blend is what you will hear on this EP until the third and last song ‘Cursed’.

Very special mention goes to second track ‘False Deceiver’. This is an absolutely incredible song. For me, it is like a classical song that easily could figure out in any mainstream Death Metal album. The guitar work, with the riffs and solos, together with the insane drum variations and the amazing vocal interpretation; make this song so special that I’ve been listening to it, without stopping, since the first day I heard it.

Despite being a short EP, “Born Suffer Die” is a perfect release to show how incredible Sacred Sin are. This EP also makes us (fans) wish for a new full-length album, at least in my case, a new fan of the band, I am very eager for it.

Parabéns Sacred Sin!!!

01. Born Suffer Die
02. False Deceiver
03. Cursed

Jose Costa – vocals & bass
To Pica – guitars
Luis Coelho – guitars
G. R. – drums


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.

Blame Zeus – Seethe

Seethe Cover

Blame Zeus – Seethe
Rockshots Records
Release Date: 08/11/2019
Running Time: 45:37
Review by ‘Dark Juan’

Good afternoon, my children of the nether face of God. I am Dark Juan, and I bring you this epistle from the dark satanic mills of West Yorkshire, rather than the Brittany countryside. There were no more church altars to defile or virgins left. I’d worked through them all… Yes, I have returned to our sceptred isle of Great Britain permanently because rural France is boring. All those people in Blighty who thought they were safe from my tender ministrations should now be quietly crapping themselves because I have returned with vengeance on my mind, murder in my heart and a total lack of beer to mitigate any bad temper. In other news, there are probably a whole lot of other people fearing my return for other reasons – like workmates who will soon be being subjected to my rapid, unintelligible and insane gabbling due to acute caffeine sensitivity and a requirement for a LOT of coffee when working 48 hour shifts. I am also writing my memoirs. Ex-girlfriends and shitbags who have done me wrong – quake in your metaphorical boots, you set of twats!
Ah, the blessed relief of a good and satisfying rant.
I’ll be honest here, I chose to review this Portuguese prog metal band named Blame Zeus simply because “Blame Zeus!” is a familiar and tediously repetitive refrain in Dark Juan Towers (excuse me, it’s Dark Juan Terrace now!) when looking at a severely depleted bank balance. Normally when Sir Zeusington Zeus VC, DFC and Bar, Croix de Guerre, MM, KCVG has cost us another £80 to get medicine to get him to shit out whatever inedible object he has ingested this time. This is something that happens frequently. Which leads us clumsily into a segue deciding whether Blame Zeus are shit or not. I’m good at this writing lark, me.
This album is named “Seethe”. Opening song “How To Successfully Implode” was not what I was expecting when reading the blurb I got with the album. I was expecting sub-grade Lacuna Coil copyism with added twiddly bits. What I actually got was a fucking kick-ass heavy metal track from an instantly likeable band. I’m always suspicious of a band that labels themselves progressive, because prog done right is absolutely magical. Prog done wrong is a bunch of musicians disappearing rapidly up their own arses playing freeform jazz solos on eight string guitars WHILE SOME PIXIE WAILS ABOUT FUCKING FAIRIES AND TROLLS AND OTHER FANTASY SHIT AND THE DRUMMER IS PLAYING 5/4 TIME! Pardon me and my shouting, I am writing this review sober. This is a rare occurrence.
Vocalist Sandra Oliveira is excellent throughout the record. She is a barrel lunged chanteuse who is best described as a combination of Cristina Scabbia with more vocal control and the much loved (in Dark Juan’s twisted black gutter of a soul, anyway) Helen Vogt of the late and lamented Flowing Tears, and the band’s command of English is actually superb. It is relevant to note this because I now know at first hand just how difficult it is to communicate in another language, let alone compose and create in one. Bonus marks for intelligence…
Blame Zeus’ music is difficult to describe accurately. I wouldn’t say its progressive metal. I’d say its heavy metal with progressive elements. The riffs are meaty and satisfying, the production quality very good (if bass heavy, my poor headphones were buzzing like a swarm of seriously perturbed hornets on more than one occasion – I think the producer of the record is possibly a devotee of Phil Spector’s wall of sound) with generally excellent clarity apart from the previously mentioned overwhelming of my cans, and the musical arrangements inventive – and this is where the progressive elements part of my description comes in – in the middle eight of the song, or in the intro and start of a song is where you’ll find the most progressive sounds. Apart from ‘The Warden’. This song could be off any Tool album in the “Aenemia, Lateralus” and “10,000 Days” era. Luckily, these are splendid benchmarks to be judged against, so please do not count this as a demerit. ‘The Crown And The Gun’ has an extremely unusual start where it sounds like a bizarre three way musical coupling of Muse, Tool and Alice In Chains before the guitars kick in and lay you out with a hobnailed boot to the solar plexus. The solo on this tune is extremely prog though – all Eastern sounding before Sandra launches into ethereal wailing with lashings of reverb, chorus and echo before the song is dragged kicking and screaming back into the glorious light of metal and reminded what it actually is, which is a fucking heavy metal song and its only reason for existence is to be spectacularly violent and to cause ears to bleed. Which it did!
I like Blame Zeus. They were a fortuitous choice to review. Highlights are the opening song, which is an absolute heavy fucking metal triumph, ‘Down To Our Bones’ which has some excellent interplay between male and female vocals and ‘The Crown And The Gun’ which I believe represents EXACTLY what Blame Zeus are aiming for. I want to hear a lot more. I love Sandra’s voice, which is operatic without being overpowering, the music because it is after all heavy metal with added intelligence and the band sounding like they are enjoying themselves. There is far too much totally po-faced prog metal that causes this hellpriest to imagine the band spending hours discussing how to synocapte the drums in the most obscure time signature possible whilst sipping green tea and complaining that seven notes are simply not enough, before crapping out some 22 minute “song” about the siege of the Elven Kingdom of Walpurgia by the Orken Hordes of Shitbaggium. Anyway, Blame Zeus are good. If you like bands like Tool, Visions Of Atlantis, Flowing Tears and the like, then you will like them too. That was a deliberate attempt to see how many grammatically correct “likes” I could fit into a single sentence. You should buy their records. Do it. Do it NOW.
The Patented Dark Juan Blood Splat Rating System would have done this bit in Portuguese, but doesn’t have Google Translate as we are currently sans internet (maybe the mighty beast of metal that is Victor Augusto of Ever Metal fame will be able to assist!) awards Blame Zeus a thoroughly disreputable 8/10 for an hell of an enjoyable record.
01. How To Successfully Implode
02. Déjà Vu
03. Down To Our Bones
04. White
05. Bloodstained Hands
06. The Obsession Lullaby
07. Into The Womb
08. No
09. The Warden
10. The Crown And The Gun
Sandra Oliveira – Voice
Ricardo Silveira – Drums
Paulo Silva – Guitar
Tiago Lascasas – Guitar
Celso Oliveira – Bass
Promo Pic1
Disclaimer: This review is solely the property of Dark Juan 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.

Miasthenia – Sinfonia Ritual (feat. Ifall)

Sinfonia Ritual Cover

Miasthenia – Sinfonia Ritual (feat. Ifall)
Mutilation Productions
Release Date: 31/08/2019
Running time: 30:32
Review by Victor Augusto

One thing that I do admire in some bands is when they constantly keep evolving even after two decades of existence. If they can still impress their fans after so much time, they probably deserve all the attention they get. Firstly, I do have to describe Miasthenia’s music to make it clear. Miasthenia are a Pagan Metal band who bring the creepy sonority from Black Metal, but they play it incredibly with the harmonies, melodies and techniques of a great Heavy Metal band. The Portuguese lyrics are far from the silly Satanism or Antichrist themes you often get. Vocalist Susane Hécate delves deep into old civilization histories and describes how the Christians enforced their dogmas and culture, sometimes with bloodshed, during the 16th Century colonization. She has a Doctor’s degree in history and teaches at a local university and both of these things help her to create romances based on the theme.
Her keyboard parts are very noticeable on the compositions and have a great contrast with all the riffs. Marcos Thormianak is a killer guitar player too and his riffs and guitar work, together with Hécate’s keyboards, create a dense atmosphere. It is not superbly overblown like the symphonic parts from bands like Dimmu Borgir, however, it is as well composed, and Miasthenia just play it in a simpler manner. Basically the band have extreme and aggressive songs, that talk about Maya or Indians. All of this is strongly highlighted with an awesome record production, but don’t forget that I am talking about a band that was born from Black Metal influences in Brazil. Can you believe that this is possible? Yes, it is!
“Sinfonia Ritual”, specifically, consists of songs from Miasthenia’s last three albums, Antípodas (2017), “Legados do Inframundo” (2014) and “Supremacia Ancestral” (2008) that have been rearranged into totally symphonic versions. If the original tracks are amazing by their arrangements and heaviness these versions, created in collaboration with producer ‘Ifall’, create a vastly more epic atmosphere. Orchestration has reproduced all the riffs, vocals and keyboards. Just the drums and solos have been left behind.
The extract from the five songs that you can read on the CD booklet says: “In the ritualistic disease of the singing and dancing of Taqui Ongo’s preachers, Andean priests lamented the forgetfulness of ancestral rites and they announced the rebellion of the Huacas (Andean spirits) against the Christian religion. In Yucatán, the Mayan priest Chilam Balam predicted the “13 Ahau Katún”, that is an age marked by the arrival of Christians colonizers and it corresponds to the end of an ancient era, when agony evokes the force of blood sacrifices in the revival of death-rebirth-life rites to Xibalbá. In North America, the great tribal alliance of the Iroquois gave rise to the “Kayanerehn Kowa” or “The Great Law of Peace” which celebrated the end of wars and conflicts, in rituals that ensure the balance and harmony among native nations that fight for your rights. In 1542, in the South America forests, the powerful female Indian warriors Coniupuyaras confronted the Orellana conquering troops on the huge Amazonas River, disturbing the Christian and patriarchal order imposed by colonialism. “Deuses da Aurora Ancestral” celebrates the ancient tribal resistances that inspire us and connect us with the infinite ways of be, ways of being and ways of resist; in the past or in the present”.
Listening to “Sinfonia Ritual”, I felt like I had entered inside the soul of Miasthenia and discovered thorough details from them. It is like I can see their skeleton and ‘spinal tap’ from them their melodies, music structures and harmonies; all of it without the “Skin” of heaviness of the original songs. You just have to open your mind and embark on this saga to feel how glorious Miasthenia are.
01. Taqui Ongo
02. 13 Ahau Katún
03. Kayanerehn Kowa
04. Coniupuyaras
05. Deuses Da Aurora Ancestral
Susane Hécate – Vocals, Keyboards
Thormianak – Guitars
Prometheus – Drums
Ifall – Arrangements, Synths, Vocals and Percussion
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.

Glasya – Heaven’s Demise

Heaven_s Demise Cover

Glasya – Heaven’s Demise
Pride & Joy Music
Release Date: 12/07/2019
Running Time: 50:08
Review by Chris Galea

Female-fronted Symphonic Metal bands are a dime a dozen and so it’s easy for Portuguese band Glasya to get overlooked. It happened to me…I had been postponing this review since July. But let me tell you, once I got a taste of this album I was immediately hooked.
It might sound dismissive to refer to Glasya as Nightwish clones (they doubtlessly are) but the band exudes passion and you can’t help be enamoured by these songs. Their songwriting quality is great and soprano Eduarda Soeiro is so jaw-droppingly good.
With the anthemic ‘Eternal Winter’, the addictively catchy ‘No Exit From Myself’ and the stirring ‘Coronation of a Beggar’…amongst other gems…”Heaven’s Demise” was a welcome discovery for this reviewer.
1. Heaven’s Demise
2. Ignis Sanctus
3. Coronation Of A Beggar
4. Glasya
5. Eternal Winter
6. Birth Of An Angel
7. The Last Dying Sun
8. Neverland
9. No Exit From Myself
10. A Thought Of You
Eduarda Soeiro – Vocals
Bruno Prates – Guitar
Hugo Esteves – Guitar
Davon Van Dave – Keyboards
Manuel Pinto – Bass
Bruno Ramos – Drums
Glasya Promo Pic1
Disclaimer: This review is solely the property of Chris Galea 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.




Hi Everyone. Welcome to our new EMQ’s interview with London based Alternative Metal band The Mariana Hollow! 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?
Richie – My name is Richie and I play guitar in The Mariana Hollow. We’ve been in existence for around 10 years now and have released 3 albums – “Coma Hear”’, “Velvet Black Sky” and ‘”The Abandoned Parade”, as well as an EP called “Scars, Not Wounds”.
How did you come up with your band name?
Richie – We really struggled to find a name that would suit our music when we first started, but as we started to play people our demos, a lot of them remarked that it made them think of the ocean. The Mariana Hollow was the original name given to the Marianas Trench (which is the deepest part of the sea) and it fitted perfectly.
What country are you from and what is the Metal/Rock scene like there?
Richie – We are an English/Portuguese band, but as one of the English chaps in the band I can confirm that the UK scene is absolutely bursting with incredible bands, especially at the heavier end of the spectrum. I think we’re quite unusual within the UK scene as although we have our more aggressive moments, there are no screamed vocals or breakdowns in our music! We try and keep our songs at the forefront of what we do and we’re not really influenced by any one genre or sound.
What is your latest release? (Album, EP, Single or Video)
Richie – Our latest release is the video for ‘Swear to God’, from our new album “The Abandoned Parade”.
Who have been your greatest influences?
Richie – We all have pretty diverse and different tastes, but some of the bands we all love are: Alice in Chains, A Perfect Circle, Katatonia, Faith No More, Deftones and Pantera.
Personally, I am a huge fan of The Haunted, Days of the New, Type O Negative and loads of obscure UK 90’s bands like Send No Flowers and Headswim.
What first got you into music?
Gabriel – My dad is also a guitar player, so since a very young age I felt compelled to play an instrument even though it was never imposed upon me.
If you could collaborate with a current band or musician who would it be?
Gabriel – Mike Patton, I think the musical outcome could be very difficult to predict.
If you could play any festival in the world, which would you choose and why?
Gabriel – Hellfest, it has such a diverse crowd and cool vibe, I’d really enjoy playing there.
What’s the weirdest gift you have ever received from a fan?
Spinky – I have never received any ‘weird’ gifts, but I have received some really lovely things – flowers, chocolates, and one time an amazing picture book of live photos of the band which was really awesome.
If you had one message for your fans, what would it be?
Spinky – I think it would be to firstly thank them for sticking with us on our long (and sometimes stop-start) journey as a band! But also to thank them for being so supportive of our new album. It’s been really amazing to see the responses to the album, and to know that all our hard work has paid off and that people are really enjoying listening to it. It’s been more than we’d dreamed of.
If you could bring one Metal/Rock star back from the dead, who would it be?
Spinky – I think it would have to be Dimebag Darrell. He was such an extraordinary talent, and was taken from us in such shocking circumstances.
What do you enjoy the most about being a musician? And what do you hate?
Spinky – The thing I love the most is having been able to create such strong bonds with my bandmates, through our emotional connection to the music we make and play together. Being able to write songs and share your creative outlets with your closest friends is a very unique and special experience. It can take you to all sorts of places emotionally, and on journeys that you may have never thought possible, but the outcome is always totally worth it – and often an unexpected surprise.
I think the worst thing is the difficulty that bands face in getting decent shows, working with decent promoters and getting their music out to the right people. Although the internet has helped in a way, it has also hindered the experience – as the internet is saturated with music (not all of it good), and less folk are inclined to support live music, especially on the smaller scales. It’s so sad seeing great small venues die out.
If you could change one thing about the music industry, what would it be?
Richie – That everyone would pay for music that they love.
Name one of your all-time favourite albums?
Gabriel – Alice In Chains – Facelift
What’s best? Vinyl, Cassettes, CD’s or Downloads?
Spinky – I love my CD collection and always will!
What’s the best gig that you have played to date?
Spinky – I would actually say the acoustic show we played for the launch of “The Abandoned Parade” was my favourite. It was such a genuine and warm atmosphere with many friends and loved ones there to support us. The set list was great, and I think we transferred the songs from heavy to acoustic versions really well. Everyone was on form, and it felt great performing the songs in such an intimate place – and to finally be able to share the album with everyone.
If you weren’t a musician, what else would you be doing?
Gabriel – I’m a part-time musician and even though I take it very seriously, it’s a passion project. I’d be doing what I do for a living, which is graphic design.
Which five people would you invite to a dinner party?
Richie – If living or dead, it would be:
Peter Steele (Type O Negative)/ Carrie Fisher/ Bill Hicks/ Peter Dolving (The Haunted)/ Phoebe Waller-Bridge
What’s next for the band?
Gabriel – At the moment we’re trying to promote the record as much as we can, and we’re looking to release at least one more video as a single. We also have an EP’s worth of material which we’re planning to release, hopefully within a year’s time.
What Social Media/Website links do you use to get your music out to people?
Gabriel – Facebook & Youtube mostly. To stream the new album we’re mostly directing people to our Bandcamp page, however, the album is also available on Apple Music, Spotify, Deezer & Google Play.
Jaffa Cakes? Are they a cake or a biscuit?
Spinky – I’m going to say biscuit – as they’d live in my biscuit tin if I had any 😉
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 parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.