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martes, 20 de febrero de 2018

Interview with TIFON’S DOOM



by Vpower



The Band: Tyfon’s Doom
Country: Finland
Answers by: Tommi Varsala (all instruments & vocals)

We have been following this musician from Finland since he very beginning of his career, he started as a one-man band and that has not truly changed with his first full-length "Emperor's Path", although he has a new drummer on board he still composes all songs and play all instruments in the album except for Cederick Forsberg on drums, even the artwork has his signing. Old school heavy metal sound and a bright future ahead for Tommi’s Tyfon’s Doom.




Hi Tommi, as usual, we meet again after a new release of yours! Greetings for your new album "Emperor's Path"

Hi, thank you very much! It’s good to have a talk with you again.

You started Tyfon’s Doom in 2013 and it never stopped growing in popularity

The audience is growing slowly but surely. I hope that the new album would give it some boost and I believe it will. The new album is very good and as it’s the first full length, it should be more interesting than demo or EP.

The signing by Gates Of Hell Records I guess was very important in that sense to make your music available or known by a larger audience

Signing with Gates of Hell was an essential part of getting a larger audience. If I wouldn’t have signed with them, I’d still be making music, of course, but the releases would only be digital and there would be no promotion of any kind. Also, it’s clear that the upcoming album would not sound as great as it sounds.

On November 17th your first full-length "Emperor's Path" will be on the streets, any difference in terms of composition regarding your previous eps?

Not really. I did everything as I always do: First guitars and programmed drums, then bass and lastly lyrics and vocals.

By the way, taking in account the old school stuff you produce I had imagined you were older J so I was quite surprised when I saw your first pic (until now you didn’t fancy to make it public)…?

Haha, you were? I just don’t like having my photos all over the internet. One photo per release works very well. Anyway, I’m 23 and isn’t that a great age to play some heavy metal?

More news… you are not alone in the line-up, there is a new member on board, Cederick Forsberg on drums. How did he get his ticket and what has been his contribution to the new album?

It’s was my pleasure to get him to play drums for this album. I’ve known his projects for some years already and because it was necessary to get real drums for the new album, I decided to ask if he was interested in participating this project. I’m glad that he responded positively to my invitation even though he seems to have a shitload of other projects going on 24/7. That’s why it took some time to get the album finished. My recording sessions were over in February already, he played his parts in March, but the mixing and mastering took a lot of time because, well, Tyfon’s Doom just wasn’t the first thing on his priority list. And I understand that. I had no hurry and he had at least one Blazon Stone album, one Rocka Rollas album and some other projects going on.

I think it’s pretty remarkable that he recorded drums for 10 songs (there’s no drums in “Strange Aeons”), which he had just heard, in only one day, and he did an amazing job! The outcome wasn’t exactly the same as my programmed drums were. Some hits were missing but in some parts, there were much better things going on compared to what I had planned, so I’m very satisfied with his contribution. He also mixed and mastered the album, which was also very well done. After all, I’m glad that I had a chance to work with a professional like him.

Great! I also find some change in the music style regarding previous releases, although still heavy metal all the way I think "Emperor's Path" offers more melodies and a slower pace than its predecessors?

I’m not sure if anything has changed with the material I write as most parts of “Sea of Life”, “Endless War” and “The Rider…” have been written in 2013 and some parts of “Howling Danger” and “Emperor’s Path” was composed in 2014, if I remember correctly. Anyway, some songs include more guitar melodies than others and in this album, we have the kind of stuff that has those. The biggest difference on the upcoming album is the production and real drums, which probably make the material sound different than on “Yeth Hound”, for example. If I would have done everything the same way that I did when recording the previous material, I think that the style on the new album would sound pretty close to “Yeth Hound”.

Yeah, probably you are right. What didn’t change at all is the great guitar riffing and soloing and your raspy voice…

Thanks! I’m just doing the best I can. I always try to come up with riffs that are completely original and try to avoid clichés. Sometimes I come up with a great riff or melody and start wondering if I’ve heard it somewhere. For example, I was almost 100% sure that I have heard the melody of the guitar-vocal-duet in the beginning of “Emperor’s Path” somewhere, but just couldn’t figure where I had heard it. I’m still not sure if I have, but it doesn’t matter anymore, because there it stands now. I have a feeling that my vocals are a lot better than they were on previous releases. It was much easier to go through a song, so I had a chance to add some challenge in some places. I’m still not a good singer but for my music it fits like a fist in the eye!

Very interesting your comment about that riff, I guess is almost impossible to not get some influences except if you are in a David Chastain mode and don’t want to listen to any stuff out there… These new songs were recorded in your own rehearsal studio, right?

Yep. I mean, all guitars and vocals were recorded in my own “studio”, but the drums were recorded in Ced’s studio. It worked just fine that way and it’s the way I’ll use in the future is possible.

Surprisingly the artwork also has your signing and you do it right, you are like the golden boy hahaha

Thanks, haha! Artwork is quite important part of an album and it’s also the first thing that people see when they look at an album, you know. It’s the first impression what people get, so I couldn’t leave the job to anyone else. It is an important part of my projects that I learn how to do different things. There are a lot of other things to learn than just playing some instruments, to get an album released, when you’re doing everything by yourself. It takes time and sometimes it’s difficult, but that’s the way I like it.

What are the lyrics about?

“Emperor’s Path” is actually a concept album, which, by the way, was my original goal with this project: “To record and release an awesome concept album”. At first, I tried to write the story down and add it to the album’s booklet, but it was too difficult to write it shortly. I could write a 400-page book about it but I’m not sure if it’s worth the effort, so it stays in my head, hahaha. Because of that, it may be quite difficult to understand the story by just reading the lyrics. “Emperor’s Path” is a story about the relation between power and mankind in an apocalyptic world of the future. It goes mainly into the sci-fi -section. “Tyrant’s Sceptre” states the starting point of the situation, “The Hidden Hand” is about leaders behind the curtain, “Sea of Life” tells about a new possibility of life, playing with the multiverse theory, and “Beyond Treason” goes into the reasons of the problem. “Endless War” and “Moonlight” are about despair while moving on with the story. “Howling Danger” tells about final destruction of the mankind while “The Rider…” is about a sole survivor. While the lyrics of the “Rising Earth” is deeply connected with the lyrics of the “Sea of Life”, “Strange Aeons” and “Emperor’s Path” together end the story.

Well, maybe you will write down that book some dat. You follow a high rate of production, a release by year since 2015, time for a break or the machines never stop?

If I could just go with programmed drums, I could release at least two albums per year. Now that I think about it, I have probably 20 very good demo tracks ready, without vocals, but that is an easy part. That took maybe a couple of months. I guess I’ll still make ten more and then start thinking which of those are the best ones. 2018 may be a year off as I will have some other, non-musical, things to do, so it’s highly probable that the next year will not be a year for a new Tyfon’s Doom release.

Awesome. With two Eps and your first full-length will you hit the road to present your music? Would you hire some guys to go on stage?

I’m not going to say never, but this time the answer is no, again. I really don’t have enough time, or interest, to form a band and go on stage right now.

A pitty. With the good stuff you have been delivering during the last years have you received any invitation to join other bands or projects?

No, I have not. Not that I would even join if somebody would ask me, but as I’m not playing live, even in Finland, I’m not sure if too many people here even know about my project.

Well, you are with a label, that means something as we talked in the beginning. Good to talk to you again Tommi, we await for your next step!

My pleasure, thanks!

KUBLAI KHAN



Una banda de Thrash americana procedente de Minneapolis. Banda creada en 1984. Debutaron con una demo editada de forma independiente en 1985 “Rape, Pillage and Destroy”. Una demo que salió editada en formato cassette, sin portada y compuesta por...http://metalbrothers.es/bios/biografias/kublai-khan/

HOODED PRIEST – The Hour Be None (2017)




1.Dolen - Exiting The Real  (2:35)
2.Call For The Hearse  (9:16)
3.These Skies Must Break  (9:50)
4.Herod Again  (6:08)
5.Locust Reaper  (10:32)
6.Mother Of Plagues  (8:06)

Luther “Finlay” Veldmark - Vocals
Jeff von D - Guitar
Joe “J-Maze” Mazurewics - Bass
Quornelius Backus - Drums

Banda holandesa formada en 2006 y he aquí su segundo disco, una banda que será conocida y reconocida por aquellos que están metidos en el mundillo del doom metal pues han actuado en la mayor parte de los festivales europeos que hay sobre este género metalero.

Es un doom muy lento y pesado el que practican estos holandeses, con giros que pueden tomar forma en el terreno del heavy metal, pero casi siempre muy pausado. Antes de empezar la verdadera andadura del disco una intro que ya de por sí es una declaración de la filosofía de la banda, más de dos minutos creando atmósfera y caldeando ambiente a base de sintetizadores y ambientación. Ya se meten de lleno en el disco con Call For The Hearse, minutaje extenso el de todos sus temas, como os decía, las cosas suceden a cámara lenta en el mundo que crean estos holandeses, un corte espeso, ambiental, con la característica voz de Finlay, esa voz de líder de secta, de iluminado, del que conoce la esencia de las cosas, le da una dimensión esotérica y oscura a su música. No os esperéis la típica banda doom que juega con las melodías, que hace guiños épicos o cabalgadas esporádicas, ni siquiera buscan la emotividad en los solos, la oscuridad por bandera.

These Skies Must Break  es un medio tiempo doom donde el ritmo se ralentiza todavía más en ciertas fases, aderezado con notas sicodélicas a lo Trouble y ritmos ambientales propios de unos Cathedral. Por fin, desatan un arreón final lleno de épica y no exento de rabia que le da un buen colofón a esta canción.

Herod Again hace esa mezcla entre un heavy pesado y el doom, con una deriva hacia un sonido apocalíptico a lo Black Sabbath, Pentagram o Reverend Bizarre, adormecen el tema y lo prolongan en una especie de trance sin fin. Locust Reaper  es el corte más extenso de todo el disco, un inicio calentando motores, con la voz de pequeño diablo y luego el excelente cambio de ritmo a lo Saint Vitus metiendo distorsión a raudales. Un tema con más variantes que el anterior donde incluso llegan a meter dos solos, riffs de heavy doom y uno de esos temas que va creciendo y arrastrándote sin que te des cuenta.

Son solo seis temas, pero una cosa es contarlo y otra es escucharlo y sentirlo, creedme que es uno de esos discos donde se hace complicado transcribir las sensaciones al papel, Mother Of Plagues es el tema que más me ha cautivado, tiene mucha fuerza, se sale un poco de los ritmos hipnóticos que predominan a lo largo de todo el album y deja un buena ristra de riffs de heavy doom poderosos y con un cadencia descomunal, salpicando el tema con las consabidas pausas ambientales. Para alguien que no esté tan metido en el doom, sobre todo en el más oscuro y esencial, este último sea posiblemente el más entretenido y a veces echas de menos que hayan metido más variantes como esta por el camino, pero esto es Hooded Priest y ellos suenan heavys pero sobre todo oscuros y enigmásticos.

Puntuación: 7,5/10

Sinister gleams (by Abysmal Grief)


viernes, 16 de febrero de 2018

Interview with UNDER THE CHURCH



by Vpower



The Band: Under The Church
Country: Sweden/Iceland
Answers by: Erik Qvick (drums, guitars)

Swedish defilers UNDER THE CHURCH unearth more deathly freshness of underworldly graves with their sophomore album "Supernatural Punishment”. Erik gives a real picture of the band’s current situation and what Supernatural Punishment is all about, we also talk about some basic musical concepts that we use to forget more often than not.


Hello Erik, Under The Church is a new death metal monster, it can be considered musically as the heir of Nirvana 2002?

Thank you for the kind words, we intend to keep on feeding the monster. This is a band which share the same members as Nirvana2002 but that’s about it, this not a continuation of that band in any way.

With your demo and the first full-length “Rabid Armageddon” you got the general recognition so this new album was very much anticipated

The demo, the Ep and the full length Rabid Armageddon were very well received, they shared the same kind of tunes and overall vibe. I wasn’t too happy with the sound/production of the Ep but we learned from that mistake and now we mix all our recordings ourselves. “Supernatural Punishment” kinda follows naturally in our evolution and idea as a band which is quite simple, we just keep on making deathmetal records that are as good as we possible can.

Erik Wahlin from the recently resurrected Merciless, former Morbid-axeman Marcus Klack and the voice of Erik Sahlström (General Surgery, Crucifyre), we could even call it a superband?

Well, superband or allstar lineup has a bad ring to it I think. I see it more as 5 dudes having a good time playing deathmetal together...

Supernatural Punishment, out on November 10th, is everything expcept boring, I think it will not dissapoint any fan of the band and the genre

Hard to tell, I personally really like the album. One on hand there will be those who criticize it saying that it’s just another deathmetal album which offers nothing new...which is completely true by the way, but maybe they will miss the point which to me is that is doesn’t have to be groundbreaking and it doesn’t have to be different than our older releases. The only thing that matters is if it’s good songs...It’s like complaining that Muddy Waters “only” plays blues...of course he only plays blues, that’s what he’s all about. Under The Church are all about DeathMetal, simple as that.

Clear as water.  I also would like to mention the fantastic artwork, one of those that makes you eager to open the cd box and play it loud

Mattias Frisk really outshined himself (again) with the artwork for the album, next time we’re gonna have to start giving him songwriting credits.

How long have you been working on Supernatural Punishment? Everything according to the designed plan?

We had the main core of music ready well over a year ago, we then finetuned the songs together with everybody pitching in ideas. It didn’t take too long to record the basic tracks and then we spent the better part of autumn/winter 2016 finishing vocals and some guitars.

Under The Church has undoubtedly that Swedish Death Metal edge, but it also shows a diversity that maybe was not so much present in previous efforts

I guess it’s that it’s the sound that makes it come across that way. The Boss HM2 is not as upfront as before, I wanted it to sound like a old Neat Records release. Musically is pretty much the same as before I think, maybe that the Accept and Venom influences are clearer this time, I don’t know.

Old school fans of Death Metal can be happy, you deliver songs direct to the throat, around the 3 minutes each

I wish I could tunes like Autopsy with many different parts but I can’t do it... we follow a formula that has worked from Chuck Berry and onwards.

Yes, old Chuck knew it very well. I also appreciate very much the chaos in the riffs in songs like The Death of Innocence

I don’t hear chaos in that specific riff but overall the guitars aren’t that well tuned on this record so maybe that’s what your hearing. There is however quite abit chaos in the lyrics to that song, it’s the first time i’ve written a “real” lyric coming from a personal perspective. It’s about fully committing your soul and body to something but experiencing a total betrayal..think Dylans “Blood on the tracks” and you’ll get the idea.

Regarding your previous releases what would you say about Supernatural Punishment?

The newest and so far best release until the next which will be better.

Supernatural Punishment is released by Pulverised Records, any especial promotion in sight?

Don’t know really, what we really need is to get in contact with booking/tour promoter.

Any tour or live shows to present your new album? Any change in the line-up for gigs purposes?

We’re really itching to go out and play gigs, hopefully something will come about early 2018.

UTC is your priority right now or you share your time with other projects?

As far as deathmetal goes this is the only band that I play and write for, but i’ve been working as a musician for 25plus years so i’m always involved in some kind of project or session.

Thanks for you attention and cogratulations for the new album

Thank you for the support and interest in our band, go out see us live and buy our releases! 



METATRONE – Eucharismetal (2017)




1.Alef Dalet Mem 04:54           
2.Molokai  05:21
3.Beware the Sailor  03:31       
4.Wheat and Weeds 03:56       
5.Latest News from Light  04:36          
6.In Spirit and Truth     03:43    
7.Mozart's Nightmare  05:09    
8.Keep Running  05:44             
9.Salva l'anima  05:25  
10.Una parte di me 07:17         
11.Regina Coeli  04:46             
12.Alef Dalet Mem (Italian version)     04:54    
13.Lascia che sia 05:44

Jo Lombardo - Vocals
Davide Bruno   - Keyboards
Stefano Calvagno - Guitars
Dino Fiorenza - Bass
Salvo Grasso – Drums

Tiempo para el power metal con cuño italiano, se formaron a principios de siglo y hacen un power de temática cristiana, como se despendre claramente del título del álbum y de ciertos temas que suenan muy blancos. Este es su cuarto disco, una banda de power que no ha destacado demasiado, como tantas otras, dentro del universo power que ya vivió tiempos mejores.

Calidad tienen, como lo demuestran ya en el primer asalto Alef Dalet Mem, pero también tienen uno o, mejor dicho, varios problemas. El primero de ellos y, para mí el más importante, es que suenan a clon en muchos de sus temas, en este caso una mezcla entre unos Masterplan, Helloween y un vocalista con buenos registros pero otro clon de Kiske. Se regodean en los teclados, el estribillo y la subida de tono, demasiado previsible.

Molokai tiene un peso considerable de los teclados en el sonido pero lo que menos me convence son las voces guturales que meten por medio, mezcladas con las limpias, me resultan sencillamente ridículas. Parece que se ha puesto de moda lo de meter las guturales practiques el estilo que practiques y es que aquí no pegan ni con cola en medio de su power supermelódico, una coz en toda la jeta que además repiten mucho a lo largo del disco. La parada en medio del tema solo contribuye a hacerlo todavía más blando, parece un power para adolescentes. Beware the Sailor sigue las mismas directrices, solo destacaría el solo de guitarra, como ya os dije tienen suficiente calidad técnica. Wheat and Weeds no aporta nada nuevo, groove y guturales, teclados pasteleros y doble bombo a degüello, con el típico duelo entre teclados y guitarra, demasiado sobado.
Latest News from Light es un medio tiempo con teclados de pop rock y riffs muy melódicos a lo Angra, las guturales me siguen produciendo hurticaria. In Spirit and Truth es una balada de ambiente power pero en la que otra vez e increíblemente vuelven a meter las guturales, ¿a cuento de qué? Ni idea, pero sólo consiguen devaluar los temas.

Mozart's Nightmare es un tema instrumental, demuestran su destreza pero para mi gusto lo alargan demasiado y se hacen una empanada total a base de teclados, un tema de esos que te saltas después de una primera escucha. Keep Running es un power a lo Angra pero sin su magia. Salva l'anima también lleva ese sonido Angra pero le meten también un aire progresivo que es lo que hace al tema mucho más interesante, además de que nos entregan el mejor solo del disco, el mejor tema hasta ahora y de largo.

Una parte di me es otra de las canciones destacadas del disco, power metal pero con una base más potente, metiéndole algo de rollo heavy y una parte instrumental con un desarrollo progresivo a lo Symphony X realmente lograda, nada de guturales grotescas ni experimentos con gaseosa, un tema largo pero que se disfruta. Regina Coeli es uno de los temas más frescos del album y que más suenan a power cristiano, pero lo hacen interesante sobre todo gracias a los coros femeninos que abundan a lo largo del corte y le dan un aire exótico. Luego viene una versión en italiano de uno de los temas ya comentados y cierran con Lascia che sia, power metal clásico y bien ejecutado con un final con saxo que le da un toque original, una muestra de que son capaces de hacer temas más potentes y menos empalagosos, más equilbrados y menos pueriles que los que por desgracia componen la mayor parte del disco, al menos el tramo final del disco sube puntos.

Puntuación: 4,5/10

Delusions in the sky (by Vojd)


martes, 13 de febrero de 2018

DREAMGRAVE – Monuments (2017)




1.Drop The Curtain  04:41      
2.Monuments   07:50    
3.The Passing Faith in Others 11:54      
4.Monuments (live)  07:55        
5.Black Spiral (live)  07:03        

Péter Gilián - Bass
Tamás Tóth - Drums
Dömötör Gyimesi - Guitars, Vocals
János Mayer -  Keyboards, Guitars
Krisztina Baranyi - Violin
Mária Molnár   - Vocals

Esta banda húngara sacó su primer album hace tres años y ahora tenemos sobre la mesa tres temas nuevos, a los que le añaden dos en directo, un ep. Una formación con seis miembros, uno de los cuales le da al violín y no estamos hablando de una banda de folk, aunque en algunos momentos puedan hacer acercamientos a un folk melódico metalero, que es lo que uno pensaría de primeras.

Drop The Curtain es un metal a fuego lento tirando de melodías y con aires rock también por momentos, voces tranquilas, punteo en esa misma onda y muchos coros, un tema donde las melodías son el núcleo del tema.

Monuments de nuevo tira del rock, con influencias sicodélicas en este caso, pero dejando paso eventualmente al metal con distorsión y guturales, imposible no pensar en bandas como los Orphaned Land o los Opeth de su época relajada. Hay que alabar la elaboración del tema, con múltiples cambios de ritmo, partes melódicas y otras con más garra al estilo de los geniales Savatage.

El tercer tema novedoso es The Passing Faith in Others casi 12 minutos de canción, un tema donde hacen de nuevo hincapié en el sonido metal folk, pero no folk powerata subido de calorías sino de metal más sobrio como el de las bandas citadas con anterioridad. Tienen suficiente calidad técnica para combinar el enfoque progresivo con las melodías, un tema plagado de arreglos, como los buenos pasajes con acústicas, la pausa atmosférica o la parte donde la vocalista le da un enfoque de metal oriental muy logrado. Gente con destreza como es habitual en bandas de la Europa del Este, a lo que le suman una buena capacidad a la hora de elaborar temas atractivos.

ARMORED SAINT



Armored Saint se formó en 1982 por los hermanos Sandoval y David Prichard, se conocieron en sus tiempos de estudiante en la South Pasadena High School. En sus tiempos colegiales también conocieron al cantante Jhon Bush….http://metalbrothers.es/bios/biografias/armored-saint/

Two hearts (by Magnum)


lunes, 12 de febrero de 2018

Interview with PROFESSOR EMERITUS



by Vpower



The Band: Professor Emeritus
Country: USA
Answers by:  Lee Smith (guitar), Pat Gloeckle (drums)


When I first listened to the debut album, "Take Me To The Gallows", from this US act I told myself I had to know more about the guys, because there was just too little information about PROFESSOR EMERITUS. This document is the response to that commitment, you will discover a band full of passion, ideas and still many things to offer, apart of some surprise in the text.



Hello guys, you are presenting your debut album on November 13th under the name of "Take Me To The Gallows", what are your expectations about it?

Pat: Hello! Well, we hope that people like the album, of course. We spent a lot of energy, time, and emotion to get the album written and recorded. We are very excited that is finally now about to be released by a great underground heavy metal label No Remorse Records!

"Take Me To The Gallows" is a great album, but first we would like to know a little about more Professor Emeritus, your background, etc…

Lee: Professor Emeritus began as Tyler Herring and myself (Lee Smith). This was probably around 2010. Most of the music was written between 2010 and 2012. Pat Gloeckle (drums) joined on in 2013 and then MP Papai on vocals in 2015. In terms of the writing, I wrote the majority of the music, and MP, Pat, and Tyler wrote the majority of the lyrics. I played both guitar and bass on the album. More recently, Tyler Herring has stepped back from an active role due to other commitments. The band now includes Tyler Antram (guitar) and Jose Salazar (bass) in addition to MP, Pat, and me. Tyler Herring will continue to be involved, primarily contributing lyrics.

How or why did you choose Professor Emeritus, a cool name, for the band?

Lee: I became intrigued with it as a band name when I walked by the Emeritus Professors’ office every day in college. And surprisingly I wasn’t able to find any existing bands using the name.


Professor Emeritus features members of bands like Satan's Hallow, Moros Nyx and Tiger Fight, how has it marked or influenced your style in this new project?

Lee: The biggest thing is that we have played in bands together for so long. All of us have played in bands together in the past. Professor Emeritus is probably the fifth band Pat and I have played in together. That chemistry and experience was already in place when the full Professor Emeritus lineup started to come together. Sound wise, I think there are elements of the bands you mentioned. The interesting thing is that most of the Professor Emeritus music was written before any of those bands had formed!
Cool! There is not much information about Professor Emeritus, I know you are a new band but still with your long experience… you try to keep it underground or it’s just the warming up?

Lee: I really wanted to make progress in the production and release of the album before becoming much of an online presence. We all know of bands that burst on to the social media scene months or years before any music is released. The music is the most important thing to me, so I wanted people to have a song to hear the first time they saw the band name.

Well, we got not only a song but a whole great album, "Take Me To The Gallows" was recorded and mixed from September 2014 to December 2016, a long effort it seems… what do you think?

Lee: The initial recordings were done with the intention of using another singer. That didn’t work out, so we kind of sat on the recordings until I asked MP to join. We then re-entered the studio in May 2016 to record vocals. Mixing was an iterative process that took several months.

What has been the most difficult part of composing the songs for your debut album?

Lee: As I mentioned, most of the music was written several years ago. I tend to write a lot of music, most of which nobody ever hears but me. So it was a challenge trying to sort through dozens of song ideas that could potentially have worked for Professor Emeritus. Then shortly before entering the studio in 2014, I came up with “Chaos Bearer”, to give the album a more straightforward song.

Did you have a hard time defining the style you wanted for PE of it was all clear from the very first chord?

Lee: I had a very clear vision of how I wanted the band to sound. I believe “Burning Grave” and “Rats in the Walls” were the first songs written for the album, and I think they really set the tone early on.

The artwork was done by Adam Burke (Pagan Altar, Portrait), a great reference already even before opening the booklet…

Lee: Adam is an amazing artist. I just love his style. I look forward to every time he posts a new piece he’s been working on. We have worked with him in the past, as he did the fantastic cover of the Moros Nyx album.

Being your first recording as PE, "Take Me To The Gallows" is an excellent debut that places you in a good position in the current doom & heavy metal scene…

Lee: Thank you for the kind words. I don’t have any expectations in regards to popularity or anything like that. There are so many great newer bands I love, like Eternal Champion, Terminus, and Gatekeeper, among others, and that is exciting and energizing.

Pat: But at the core, the music is art that we create for us. If it catches on and people like it, well that is a bonus!

Sure, in your album we find a classic fistful of songs with a very big vocalist and a variety of sounds from doom to heavy metal

Lee: I really enjoy that kind of variety of style. A lot of my favorite bands haven’t stuck to one style throughout their careers or even within individual albums. Manilla Road and Thin Lizzy come to mind as examples of this. Both of those bands cover a wide range, while also keeping their own identities.

Lee, you are my hero! "Take Me To The Gallows" will leave the listener with the sensation that you are playing anthem after anthem, it seems the 2 years of mixing and recording are paying off…

Pat: I am definitely proud of the album and the work that went in to it. I am interested to hear what more people think of the songs after the album is released next month.

You have been able to record songs with a slow pace as Burning Grave or the one that gives name to the album, as well as tracks like Chaos Bearer that delivers the 80s vibes of bands such as Judas Priest or Cirith Ungol, amazing!

Pat: I think it is important for an album to take the listener on a journey. Since there was a lot of material written, the songs that were chosen to be recorded for the album were on purpose to give balance between the fast, slow, doom, high energy, etc. Hopefully the listener feels the music and changes emotions along with the songs.

Are you planning to present this songs live or it’s more a studio effort? Say live, please, please J

Lee: Initially it was going to be more of a studio project. But over the last few months the timing felt right to turn Professor Emeritus into a real band. We actually played our first show in early October, opening for Manilla Road.

Holy shiiiit!!! What are your plans for the future?

Lee: We are hoping to schedule some shows over the next year or so. I’ve also got several song ideas in the works, and I plan to bring them in to rehearsal at some point and see where we can take them for a follow up album.

Awesome. Thank you guys and congratulations for your awesome and stellar debut

Lee: Thank you very much for the interest in Professor Emeritus!

ONE STEP FROM THE EDGE – Beneath The Surface (2017)




1.The beginning
2.Beneath the surface
2.State of mind
4.Reigning machine
5.No more
6.One and only
7.Waver
8....from the edge
9.Trip
10.Quill
11.The end

Alex Seretis - vocals
Alex Pregou - guitars
Kostas Tsapos - guitars
Kostas Pourgiazis - bass
Nick Stakas - drums
Maria Mosxeta - keys and programming


Estamos ante el estreno de esta banda griega que combina una serie de estilos, como es habitual en el mundo del metal actual. Hasta ahí nada extraño, Grecia es un país con tradición metalera y lo que hace esta gente pues lo hacen muchas otras bandas. Donde empiezan a surgir las diferencias con la media de las bandas del panorama internacional es en el empeño que ponen y en que han decidido seguir su propio camino, editando este trabajo de manera independiente y con un estándar de calidad bastante alto para contar solo con sus propios medios. El sonido es muy bueno y la presentación también.

La propuesta empieza con una intro guitarrera que da paso a Beneath the surface, una mezcla de power con groove y nos presentan ya lo que será una constante a lo largo de todo del disco el doble juego de voces entre limpias y guturales, no me convencen en este apartado. Un uso de las voces que en mi opinión solo hace que salgan perdiendo porque Alex Seretis es un vocalista que llama la atención por su voz o su forma de cantar, pero todo eso se pierde y se cae en lo mismo de siempre cuando mete las guturales, lo que sí te hacen cientos de bandas. El corte tiene un deje moderno que no me convence tanto y una ambientación oscura que sí le sube puntos, así que lo dejamos en un empate.

State of mind es un medio tiempo con efecto en las guitarras y, lo peor, voces enlatadas,de nuevo se echan a perder cuando quieren darle ese toque de modernidad a su propuesta. Afortunadamente hay buenos momentos cuando se meten en modo thrash con groove, suenan potentes y el punteo acelera el tema y hace que el olvides los inicios dubitatitvos.

Reigning machine es un tema muy Mastodon, donde el groove y los riffs pesados copan el tema por completo, las guturales no aportan nada en absoluto, pero de nuevo la voz limpia de Alex marca diferencias y es una pena que se ande con experimentos. De nuevo vuelven a hacer gala de guitarras oscuras que recuerdan a los Nevermore, con esa mezcla entre melodía, oscuridad y potencia. Con el siguiente tema, No more, aparcan un poco las modernidades sonoras y se decantan por un heavy y un metal ambiental, en el que el vocalista vuelve a destacar y el groove me sobra, el solo bien metiéndole velocidad al corte.

One and only tiene un arranque espectacular con una guitarra muy atmosférica y una voz muy teatralizada. Como en temas anteriores ofrecen luces y sombras, las sombras cuando tiran del sobado groove metal, las luces cuando sacan a relucir las guitarras brillantes, encabritadas y los ritmos thrashers o los momentos de heavy melódico como en el solo, denotan calidad en todo momento, eso no se puede negar.

Waver es el tema más sencillo de todo el disco, groove metal con variaciones en el ritmo pero que solo cobra algo vidilla con el solo heavy que desmelena el tema. From the edge mezcla las guitarras atmosféricas con el groove, un tema en formato balada muy ambiental, donde las guitarras dominan por completo, aunque las guturales no pegan para nada, una vez más.

Trip es un tema de heavy con aderezos góticos en los teclados y un estribillo muy comercial, el solo muy afilado. Quill tiene mucha pegada, con su combinación clásica entre groove metal y thrash, culminado por un buen solo técnico. The end pone el punto final con un tema que se desmarca un poco del resto del disco, un corte oscuto, lento y atmosférico a lo Candlemass, Moonspell, por fin se dejan de groove ni de voces impostadas y redondean un tema muy grande, demostrando la clase que atesoran.

En resumen, estos griegos tienen muy buenos mimbres, pero su pegada sería mucho más brutal si abandonasen los aires comerciales y modernos que meten en casi todos los temas, porque cuando tiran de un sonido de puro heavy o thrash literalmente te hacen vibrar, con una base rítmica muy fresca, guitarras técnicas y un vocalista realmente original en sus voces limpias. Un buen comienzo pero creo que pueden y espero que den mucho más en el futuro.

Puntuación: 7,25/10

Hell and high water (by Alien Force)


jueves, 8 de febrero de 2018

Interview with RESISTANCE



by Vpower



The Band: Resistance
Country: USA

Throughout the years RESISTANCE performed everywhere, on many stages and  international arenas, a long experience accumulated gig after gig. So, it was about time to get new material from these guys and certainly they have delivered the goods with their new album “Metal Machine”, the band is more than ready to hit and get your attention. Time to learn more about this great band that hopefully will be playing around again.


                             
Hello guys, Resistance’s origin is not very clear, what can you tell us about your history? Some webs point out 1987 as your birth date, is it right?

Hello and thank you for the interview. We get this question a lot and it is a bit confusing.   I’ll try and make it as short as possible.   The core of RESISTANCE (Matt Ohnemus, Dan Luna, and myself, Paul Shigo) was born in 1986 through our collaboration together in several different bands, lineups, and name changes before officially choosing the name RESISTANCE in January of 2000.  The three of us played together in the bands Heathen (not the bay area Heathen), Caustic Visage, and Anarchy Divine. We started Heathen together in 1986, so I suppose that would be our birthdate.

We self-released the first RESISTANCE EP "A Certain Sorrow" in 2002 and followed up with 2004's "Lies in Black" (Lion Music), 2007's "Patents of Control" (Lion Music) and 2015’s "Volume 1 Battle Scars" (MMR Records).  Volume 1 Battle scars is interesting because it’s listed as an EP because of the number of tracks (6), however it’s the same running length as a full album. The song “Why so Frightened” is over (7) minutes long itself. We’ve also contributed tracks to (5) compilation CD’s. Most recently the track “Dirty Side Down” from the “Metal Machine” album was included on the “Music 4 Mexico Volume 4” CD compilation which donates the sales proceeds to help earthquake victims in Mexico.

In 2017 we signed a deal with No Remorse Records (Greece), who released our brand-new studio album, "Metal Machine." worldwide on June 27, 2017.  “Metal Machine” is also scheduled to be released on limited edition vinyl.

Throughout the years RESISTANCE performed everywhere on stages and festivals both nationally and internationally including Germany's "Head Bangers Open Air", Greece's "Up the Hammers Festival" Milwaukee Wisconsin's "NYDM Spring Bash" and Ventura California's "Frost and Fire Festival" all while gaining Legions of loyal fans worldwide. We’ve supported the bands Riot, Primal Fear, Armored Saint, Fates Warning, Exodus, Dokken, Ross the Boss, and Metal Church, just to name a few.

Until 2002 you didn’t release your first EP and till 2004 your first full album “Lies in Black”, so what happened, why so a long wait to get your first album released?

We started out at a very young age (we were all around 16 years old) and did not get a record deal until after we self-released our first EP. We actually have another EP that was recorded in 91-92 under the Anarchy Divine lineup that has never been released.

Resistance is formed by people with long experience in the business, how has it all influenced your sound?

We are all huge fans of music in general, but especially Heavy Metal Music. We were fortunate enough to have attended some legendary concerts and festivals at a very young age. Namely the US Festival in 83, Dio on the “Holy Diver” and “Last in Line” tours, and Judas Priest on the “Screaming for Vengeance” and “Defenders of the Faith” tours.  Living in L.A. we were also a part of the Sunset Strip era explosion and we experienced the rise of Thrash Metal.  It was a glorious time in Metal music history. I watched in person as girls pulled off their tops while Vince Neil and Nikki Six signed their breasts at the “To Fast for Love” Tower Records appearance in West Covina California where we grew up. Ha-ha.

We have also shared the stage with many legendary acts as I mentioned above, including opening for Dream Theater on the “Images and Words” tour on one of their California stops at The Marquee Theater.   So all of these experiences and styles of music have influenced our sound.  As a matter of fact our bio reads “ The band delivers a full-on metal assault from a broad range of influences.” It’s a bit hard to pin down or categorize our style of Metal. I would call it a mix of US Metal, Traditional Metal, Power Metal, Thrash Metal, and Classic Metal. In short, it’s Heavy Metal.

Awesome. This year you have released your third album, "Metal Machine", how do you feel about it?

Well I’m biased, ha-ha, but to me, “Metal Machine” is an absolute masterpiece. I feel it’s the best album we’ve ever done. There is something for everyone on this album. It has crushing duel guitars, big hooks, and huge sing along choruses. I feel it’s one of those rare compositions that will stand the test of time.

Comparing "Metal Machine" with your previous 2 albums what would you say?

As I mentioned, I think “Metal Machine” is the best thing we’ve ever done. The song writing is more focused, refined, and precise than on our previous albums.  We spent a lot of time trying to craft and write great songs. We weren’t trying to reinvent the wheel or be the heaviest, most technical, fasted, etc. We concentrated on writing memorable songs that encompassed our influences while maintaining the Resistance sound. This one’s going to leave a mark! We raised our own bar on this one. “Lies in Black” has more of an old school live feel to it and “Patents of Control” is a full on uncompromising thrash metal album set to a concept.



"Metal Machine" delivers a wonderful game of guitars in the vein of US power metal, one of your marks

Yes it does. Thanks for noticing. It showcases Dan Luna’s massive pile driving guitar tone that’s heavy and thick as hell while also maintaining melody and emotion. It’s definitely one of our trademarks.

You also count with an outstanding singer, Robert Hett, although we don’t know much about his career he proves to be the right guy for the band in every single song

Yes, you’re right, Robbie has been with us since 2002 and is the unmatched, classic voice of Resistance. His voice is like a blowtorch and his delivery like lightening in a bottle, yet also clean, powerful, and melodic. Along with this, he is one of the best front men in Metal today. In the early eighties he fronted a Sunset Strip era band called “Little Kid Twisted” which earned him his nickname, “the kid” ha-ha.

Haha the great kid…There is a point in the album when you start three songs in a row in the same way, this is with a guitar solo that makes me rise my fist, it’s kind of we are not going to leave anything in the saddles…

Once again you are right.

Who is more responsible for the composition tasks?

Our guitarist Dan Luna is the musical genius behind the compositions. He also engineered and produced the guitars and vocals on “Metal Machine.” We have all contributed to the Lyrics but our drummer, Matt Ohnemus writes the bulk of them.

How long have you been working on the album? Any especial difficulty to finish it up?

We worked on “Metal Machine” for about a year. The bass and drums were recorded with Bill Metoyer and the guitars and vocals were recorded in our own “Metal Room” studio by Dan. The final mix and master was done by Neil Kernon.

What are the lyrics about?

METAL MACHINE- Is a metaphorical lyrical theme.  The Metal Machine represents Resistance as we continue to push forward and fight for our place in the Metal world and decimate all of those who are negative toward us and our music, tell us we can’t do something or try to block our path. Many “bigger” bands who followed us live on stage found this out first hand. The Metal Machine is also depicted as the robotic, warrior, knight, wielding the war hammer on the album cover.

HAIL TO THE HORNS- This song is a homage to Ronnie James Dio to express the impact and influence he had on each member of Resistance.  It is a reminder to us that, although Ronnie does not walk the earth anymore, he is still with us through his music and still inspires us and many others.

RISE AND DEFEND- This one started off as yet another look at Leonidas and the Battle of Thermopylae and turned into a closer look at what motivated him and the 300. It delves into the gods and their lineage in how they inspired the 300 to stand firm and fight.

SOME GAVE ALL- Is a first-person perspective of a police officer who was willing to sacrifice his life, and did, to protect people he didn’t even know and even those who despised him for his selfless act of wanting to serve his fellow man/woman.  The impact his death has on his family and the fear police officers set aside every day to fight the evil that threatens the quality of life and the freedoms most people take for granted every day.

DIRTY SIDE DOWN- A parting expression between bikers meaning ride safe.  The lyrics are about the feeling you get when you’re out riding your motorcycle and enjoying the peace it can bring. Matt and Robbie are avid riders.

HEROES- A homage to all of our musical influence’s that have passed away and a plea to the Grim Reaper not to take anymore from us.

Great Picture. The last song in the album is a cover of Scorpions’ classic anthem Blackout, it would seem that it doesn’t fit so much with the rest of your pounding stuff, how did you decide to include it?

We have always wanted to include a cover song on one of our CD’s but could never agree on what song it should be. I was pushing for Triumph’s “Fight the Good Fight” but we ended up going with Scorpions “Blackout” which Robbie’s voice really complements. We wanted to take the song and make it our own while doing justice to the original version. I think we did that.

Resistance has already made some gigs around Europe, the Germany's "Headbangers Open Air", Greece's "Up the Hammers Festival", etc. We will see you through here soon again?

 Yes, you will!!! We have some irons in the fire right now and are working on festival appearances for 2018. I do all the sheduling, so feel free to email me at themetalmachine2003@yahoo.com  for any bookings.

"Metal Machine" includes 7 songs of your own, have you kept something in the drawer for a new release coming soon?

Yes, we have. We are already working on the follow-up to “Metal Machine”

That’s the way! If you have to choose a specific year in history to play Metal, the best year you could name in Metal history would be…

Well that’s a tough question, but I would have to say anytime during the 80’s and right now.



I buy it! Thank you very much and congratulations for your new album!

We will see you on the road soon, Cheers and “Hail to the Horns”