Metal News update _ Stormtide, Dorre, Anacryptic and more

Anacryptic release video for Tedious Falsehood from their latest E.P. titled The Futility of Decency released August 12th, 2016

This fall Melbourne’s symphonic folk metal warriors STORMTIDE will hit the road across Australia in support of their epic debut album “Wrath of an Empire” released on Metal Hell Records Aug. 1st, 2016. The first dates are announced:


27th Aug – Melbourne, W/ Anna Murphy, Evelyn Hotel

2nd Sep – Geelong, The Barwon Club

10th Sep – Sydney, The Valve Bar

17th Sep – Canberra, The Basement W/ Lagerstein

22nd Oct – Melbourne, Headlining Metal To my ears, The Bendigo

26th Nov – Brisbane, TBA



What reviewers are saying about STORMTIDE Wrath of an Empire:




Mist Of Misery set to release Absence on August 31st 2016


Their new album is a huge step forward in terms of production, song writing, lyrical depth and overall atmosphere. Mist of Misery has entered a new phase, one that aims to evoke depressive, melancholic and ambient atmospheres in the minds of listeners at a whole new level. On this album, it was done mainly through the introduction to even more melodic and symphonic influences. The music is intended to set the listener in a different and almost meditative state of mind in order to absorb its true depth. The sophomore album which is a unique amalgamation of two different kind sub-genres, delivers nothing but Nine tracks of Cold, Obscure and Depressive form of Arts. A musical adventure that will eventually bless the listener with a melancholic, yet beautiful experience.

Artwork – Alex Tartsus (Russia)

The artwork was drawn by the exceptionally talented Russian artist Alex Tartsus.

Track – List:

1. MelancholicThoughts
2. Euthanasia
3. Absence
4. Final Departure
5. EpitaphofPenitence
6. WistfulTwilight
7. Paragon of Perdition
8. Mist ofMisery
9. Serenity in Nothingness


MortuzDenatus – Vocals, Drums, Programming, Mixing and Mastering

Phlegathon – Electric and Acoustic Guitars, Bass Guitar

Simon Hägglund – Live Drums


Order the Album:

Black Metal Brother Duo HELLEBORUS Announce ‘The Carnal Sabbath Tour’ Presented by

Out Now! Debut Album ‘The Carnal Sabbath’ (Satanath/ Black Plague)

Colorado Springs, CO black metal blood brother duo Jerred & Wyatt Houseman’s HELLEBORUS will be hitting the road with the band’s live line up for dates across the US and Canada for their first North American tour presented by Joining them on the tour for select dates, will be Destroyer of Light and UADA (details listed below). The tour is in support of their debut album ‘The Carnal Sabbath’ released this past June via Satanath Records (Russia) and Black Plague Records (USA). A full stream of the album can be heard at the following link

Carnalsabbath1.jpg Sept 4 – Colorado Springs, CO – The Black Sheep – info
Sept 7 – Haittesburg, MS – The Tavern * – info
Sept 8 – Jackson, MS – Big Sleepys * – info
Sept 9 – Birmingham, AL – The Nick *
Sept 10 – Macon, GA – Back Porch Lounge *
Sept 12 – Raleigh, NC – Slims Downtown Distillery *
Sept 16 – White Hall, MD – Shadow Woods Metal Fest – info (Hall Stage – Set Time 11:10pm)
Sept 19 – Cincinnati, OH – Funkers
* = dates with Destroyer of Light
carnal sabbath.jpg

Oct 15 – Colorado Springs, CO – The Flux Capacitor
Oct 19 – Billings, MT – The Railyard
Oct 20 – Kalispell, MT – Order of The Eagles #
Oct 21 – Calgary, AB – Distortion #
Oct 22 – Edmonton, AB – Rendez Vous (Black Mourning Light Metal Fest) #
Oct 24 – Vancouver, BC – Red Room # w/Erimha, Panzerfaust, Idolatry
Oct 26 – Seattle, WA – The Highline #
Oct 27 – Portland, OR – Ash Street Saloon #
Oct 29 – Sacramento, CA – Starlite Lounge ^
Oct 30 – Oakland, CA – The Golden Bull ^
Oct 31 – Long Beach, CA – Blacklight District Lounge ^
Nov 1 – Phoenix, AZ – Yucca Tap Room
Nov 2 – Santa Fe, NM – The Skylight
# = dates with UADA
^ = dates with Lotus Thief

Album Band Line Up features: Wyatt (vocals, lyrics) & Jerred Houseman (producer, all instruments)

Live Band Line Up features: Brent Boutte’ – Drums, Jerred Houseman – Guitar & leads, Wyatt Houseman – Voice, Ian Horenman – guitar & rhythms, Michael Hylands – Bass

For more info, please visit the following links:

Dorre are playing Desertfest October 14-16th 2016


 The Athens, Georgia-based melodic metal band THEOCRACY will release their new album “Ghost Ship” on October 28th in Europe and North America through Ulterium Records.


With Ghost Ship, Theocracy perfects the lively and fully-realized sound of As the World Bleeds, delivering 10 muscular and streamlined tracks that never lose focus and combine for one memorable journey. You like midtempo singalong anthems? Try the “Ghost Ship” title track. Thrashy rhythms and intensity?  “The Wonder of It All” should be to your liking. Emotional ballads with huge melodic hooks? Go “Around the World and Back.”  Or if you prefer epic, progressive tracks that do all these things and more, 10-minute album closer “Easter” is sure to be a favorite. Each song on Ghost Ship stands alone and has a unique signature, but every moment sounds unmistakably like Theocracy.

“So many kids were coming up to us after shows and telling us their stories,” says Theocracy vocalist Matt Smith. “A lot of them were searching for purpose and a place to fit in, and having grown up as an awkward and unpopular kid myself, their words really stuck with me. I started thinking about what a band of misfits Jesus’ disciples were:  fishermen, tax collectors, and people of little consequence in the eyes of the world. Sometimes the ones most people don’t see, or choose to look straight through—the ghosts of society, as it were, dead to the world—end up having the biggest impact. That’s where the title and idea for Ghost Ship came from: all the misfits, the uncool, the outcasts, there is a place where you do fit in. Although Ghost Ship is not a concept album, this is a recurring theme, particularly in the title track and ‘Castaway.’

“Ghost Ship” track listing
01. Paper Tiger

02. Ghost Ship

03. The Wonder Of It All

04. Wishing Well

05. Around the World and Back

06. Stir the Embers

07. A Call To Arms

08. Currency In A Bankrupt World

09. Castaway

10. Easter

The Athens, Georgia-based melodic metal band THEOCRACY will release their new album “Ghost Ship” on October 28th in Europe and North America through Ulterium Records. Information on different So many kids were coming up to us after shows and telling us their stories,” says Theocracy vocalist Matt Smith. “A lot of them were searching for purpose and a place to fit in, and having grown up as an awkward and unpopular kid myself, their words really stuck with me. I started thinking about what a band of misfits Jesus’ disciples were:  fishermen, tax collectors, and people of little consequence in the eyes of the world. Sometimes the ones most people don’t see, or choose to look straight through—the ghosts of society, as it were, dead to the world—end up having the biggest impact. That’s where the title and idea for Ghost Ship came from: all the misfits, the uncool, the outcasts, there is a place where you

-Badger \m/

Visit our FACEBOOK page \m/_(><)_\m/


Pennsylvania Blackened Death Duo Veilburner set to release new album “The Obscene Rite” Sept 30th

From its inception in 2014 Veilburner had set down a path to make music that would have an effect on the listeners. Taking them for a ride through the music all the ups and downs. Their debut album “The Three Lightbearers” did just that, but the two were ready for more and about a year later put out their sophomore album titled “Noumenon”

2016 is here, and they have their third installment of the Veilburner trilogy ready to be released. In just over a months time they will drop “The Obscene Rite” which will surely be an earthshattering album to wrap the trilogy up with. 

Here is the tracklist:

  1. Postmortem Exordium
  2. Necroquantum Plague Asylum
  3. Vaterchen
  4. Eucharist Of The Breathing Abyss
  5. Masquerade Macabre
  6. Baphometic Catalyst
  7. Dilemma Manifestation
  8. In The Revelations Of Bloodstained Void
  9. Phainops

Veilburner is:

Mephisto Deleterio – all music and backing vocals, recording and mixing  

Chrisom Infernium – all lyrics, main vocals, and album art

If you haven’t heard them before click HERE to listen to The Three Lightbearers, and Noumenon.

If you like what you are hearing, let Veilburner know by liking their FACEBOOK page!

-Badger \m/

Visit our FACEBOOK page \m/_(><)_\m/

Currently listening to NY death metal outfit Iscariot’s latest E.P. Blood Doctrines

Iscariot was recently recommended as a band worth checking out,  I decided to take a listen to Blood Doctrines (released August 9th), which is the latest E.P. from New York metal group Iscariot.

From what I have listened to so far, this sounds pretty badass.  Six tracks including an into track of  good modern death metal. If this is what they bring to the table I for one am looking forward to any future releases.  It is a very reasonably priced E.P. available from many outlets including iTunes, Amazon, and Bandcamp.


Have a listen and see for yourself



If you like what you hear;

head on over to their BANDCAMP page to order Blood Doctrines

Also give them a like on FACEBOOK to get all their news updates.


-Badger \m/

Visit our FACEBOOK page \m/_(><)_\m/

Coma Cluster Void – Mind Cemeteries Review -9/10 \m/

Coma Cluster Void

Mind Cemeteries

Mike Disalvo

Austin Taylor

Sylvia Hinz

John Strieder

Chris Burrows







  1. Prologue: I am                                                                                                                                                                                                                                                                                                                 This gives you a good taste of what the album will bring you. For starters this album is going to be dark, plenty of dissonance, there will be sounds you are not familiar with, and it’s going to make you think. Yes think, because this bunch wasn’t making a bland generic sounding album. They wanted to push the limits, dig deep within your minds and unearth the raw emotion and raw sound. And that my friends is what Coma Cluster Void has set out to do.


  1. Iron Empress

Right out of the gates this song hits you with so many things going on at the same time, your mind quickly tries to navigate through the notes being played to isolate each sound and what they bring to the table.  First you hear the guitars and drums. Then you hear vocals, Mike DiSalvo’s vocals are the first to invade your speakers, and I can’t think of a better sounding vocalist than Mike to bring the lower range, growling vocals. He brings a sound to the table that you just know, that’s Mike and this will be good. Now check out the drums for a second if you will. Chris Burrows is on the throne and you have to respect the guy for playing to this. It takes a different set of skills to be playing along to music as dark and dissonant as CCV.


  1. Drowning In Sorrow

This song begins with guitars and drums and DiSalvo letting us have it with a sinister growl. For the next twenty five seconds they play a dark repetitive pattern until they come out of that with a pretty damn cool groove.  I think some people will have a better time with this song than the previous as it has a little bit more of a solid structure to it.  I find that some listeners like to have some solid concrete structure to follow along to. This is CCV’s best attempt at that, but does not take away from the sheer complexity of the song.  In fact I really dig this track myself. I mean the groove at the :25 second mark sounds great. And they revisit that same groove later in the song. But then there is the 1:13 mark where the guitars are hitting some highs and Burrows is blasting away while DiSalvo is hammering us with his vocals.  This is far too early in the album to call this my favorite, but I will say this may be a fan favorite of the album. And I can certainly see why, it has many elements that make a song good, but also interesting.


  1. Path of lies

For the first twenty seconds of the song, is just simply bad ass.  As I am typing this I have hit the back button 4 times.  Just wrap your head around this brief section for a moment and try your best not to enjoy the sounds you are hearing.  Now for the rest of the song that’s following, they lay down a beat that you will find yourself moving to.  Be it head banging, tapping your foot, you will lock into it, and then before the song changes you will hear the words “ the cycle must now be undone” you will also notice another voice spitting some lyrics, and that my friends would be Mr. Burrows. Yes he not only offers his percussion skills to this, but his voice also. And while listening to him and DiSalvo at the same time, they are not that far off from each other. So the two actually complement each other’s sound.


  1. Mind cemeteries

Ahhh the title track, typically speaking the title track has something to offer.  They chose not to hold back on this one. Chris is attacking every inch of his set while those dark guitar tones counter attack the bass lines.  For every bass note you hear, it has a counter attack from the guitars, and the drums are hitting on both at the same time.  The song takes a turn at the 1:38 mark where it slows down to a haunting stroll through the path of insanity. Yes I said it insanity, because that’s what I picture while listening to this song, a dark asylum hallway trapped by your own devices of one’s mind.  The last few notes you hear lead you right into the next track.


  1. Interlude: I see through your pain

The interlude has the sounds of Xelmya playing which is Sylvia Hinz, Alexa Renger, and also  John Strieder. Now take  Sylvia and John in a different format with their experience, put them together and you will have something interesting. However as someone who took all the band classes in elementary middle and high school, I can honestly say that I had never even known of a double bass recorder even existing. Sylvia brings that to the table, an instrument I had no idea was a real thing.   That is what I am talking about here, you just took a few people with very creative minds, and superb talent and put them in a room together.  And what you have are those eerie sounds you hear building up until a guest vocal spot by Genevieve DiSalvo wraps this interlude up and transitions the listener into The Hollow Gaze.


  1. The Hollow Gaze

Now this song is actually what I find myself listening to the most. Ultimately there is a no groove, there is nothing for the listeners to latch on to for comfort. This song is raw, its dark, it is jarring, and to me it’s the equivalent of hitting a nerve ending during a root canal.  While that doesn’t sound pleasant I have to disagree, I actually like that aspect of this song.  It’s almost as if they wanted to completely erase all the templates that the music industry has given musicians.  For example, if you don’t fit this template, then you won’t be successful.  They threw that right in the trash with this track.  For the first thirty five seconds you have a level of uncertainty that explodes when DiSalvo gets on the microphone. The rest of the band kicks things up a few notches and continues to play out until they hit a high point around the 2:30 mark. I credit this to John for his musical experience and composition skills.  I actually find myself listening to this song and losing myself in thought. I haven’t had music do that to me in a while. And why I say that this is an album that will get the listener to think. While it’s not a heavy and fast track , this is probably my favorite track on the album.  I can’t put my finger on it 100% but there is something about this song, it’s like there is a hidden element just locked away deep, but the only way to unlock it is to listen, and let that brain start processing the composition.


  1. Everything Is Meant To Kill Us

This song is a right out of the gate hitting you with sounds from every angle, and goddamn those bells Chris, I don’t know how many he has, but I find that they really fill in the gaps between the guitars.  Mike’s vocals and Chris’ vocals are like vocal poly-rhythms themselves just adding to that multi-dimensional feel.   Thus adding another example of the brilliance of this album.  CCV are using poly-rhythms in all aspects of the music and aren’t cutting any corners. The song is a perfect example of sticking to the game plan, go big or go home.  Right at the two minute mark the song goes through a change and the guitar tones especially right at the 2:10 mark. That low raw sound fuels this song. You hear it again nineteen seconds later.  The sounds coming from my speakers is downright dirty and evil sounding.  And the song ends with Mike’s voice telling us “we never want to know”, which a damn fine way to end the song.


  1. Petrified Tears

This song has all the same elements that we have covered so far, jarring, and dissonant sounds, poly-rhythms used with strategic execution, and dark vocals and lyric content. Want to note that Austin wrote the lyrics for this track, and comparing them to the songs that Mike wrote the lyrics for. I’d say everyone is on the same page when it comes to song writing and lyric content. Right around the halfway point of this song, they go through I change that involves a more abrasive vocal style from Austin. While this song is following the same elements as the rest, I just feel like this song didn’t give the 100% that the previous tracks have. However I have no doubt in my mind that this song is a little more of a “bring the listener down for a moment” track and will follow up by hitting us hard with all bitter endings.


  1. All Bitter Endings

Boom, they hit us hard, right out of the gate, a dizzying blow of discordant poly-rhythmic sounds escaping from your speakers.  The beauty of this song is all the highs and lows it has. Almost like a sine wave there are equal parts of highs and lows that the listener will go through for the duration of this song.   As before Mike’s vocals just fit this like the usual suspect in a line up.  There really is no better person to handle the lower harsh vocal duties than Mike.  The guy’s voice matches the guitar tones, and the ambiance of the music.  The last minute or so we get a few last forceful pushes of catastrophic unharmonious and unrelenting sounds.


  1. Epilogue: As I Walk Amongst The Sick

Basically a hauntingly evil (yet human) sounding track to end the album with.  When I say human, I mean there is the evil we imagine around us, and then the evil we know and see in our daily lives. you can listen to this song and hear the elements that make this a solid, and poignant track. This is a a satisfying end to the album, It’s relatively short and to the point.  They get the job done and finished this album the best way possible in my opinion. Leaving the listener wondering what they just experienced,yet wanting more.


I like this album, it’s so much different than what I have been listening to in recent months that it gives me a different perspective on the music. Again I will say I never knew a double bass recorder existed so for that I must thank Sylvia for expanding my musical library.  I going to say this and while it may be a bold statement I stand by it. This album displays a strong understanding of musical composition and is borderline genius.  Its one thing for a drummer to play poly-rhythms Terry Bozio had been doing that before I was even born. No big deal, but it’s a whole different situation when literally every instrument and member play poly-rhythms, including the vocalists, both mike and Austin as well as the guest vocal spots by Mr. Burrows and the other guest vocal contributors.   John and Sylvia have a good relationship and both are composers with a great deal of musical education and understanding.  So you have two power player’s right there, now add in Mike and Austin, both have a solid set of vocal chords, and are covering different ranges.  Ideally I must admit I prefer Mikes vocals, but hey my first impression of Mike came from the first time I heard Cryptopsy. That leaves a lasting impression.  Now wrap it all up with Chris burrows, that guy can fucking play. I have more respect for Chris after listening to this album than I ever did before. I just didn’t give him the credit due until listening to him under these circumstances.  But wait there is more, because this isn’t just a CCV album, because for a few of the tracks the band performing is Xelmya (John, Sylvia, and Alexa).  John and Sylvia are doing double duty on this record, and my god this music they play has a dark mysterious feel that could work well for movies.  Honestly I could see them playing some music for a David lynch movie. Yep I just went there.  People that know me well enough, know I am someone who likes fast and heavy, this is outside my normal comfort zone. And even though I have had this release for a short while. I promised myself I would not write up this review until I had been able to listen to this album in full several times to open up and hear all the different elements.  This album is awesome, it will leave some speechless, and it will leave some wondering what they just listened to.  But I think anyone would agree with me, that Coma Cluster Void push the limits with this album.  I feel like my horizons have been broadened by listening to this, and I won’t think twice about labeling this a 9/10.  Not everything has to have a catchy chorus, or blast beats, or finger tapping to be great. Sometimes it’s the music that gets you to actually think, that has more value than an album with programmed drums, programmed this, programmed that. Just so that there are no flaws, and it appeals to the masses.

If you like what you hear, then go on and pre-order the album

also follow them on FACEBOOK for more up to date information on Coma Cluster Void

you can also click HERE to go directly to their website.

-Badger \m/

Visit our FACEBOOK page \m/_(><)_\m/


Virvum unveil the track list and album art for their upcoming album titled “Illuminance”

Swiss metallers Virvum have recently unveiled the album art and track list for their upcoming album “Illuminance” due out on September 16th 2016.



The band spent the past two years recording and getting this album ready.  Spending time at Ashburn Productions and Hardbeat Studios to get this album recorded, and mixed at Iguana Studios Germany.

The track-list, line-up, and recording information for Illuminance is as follows:

1. The Cypher Supreme
2. Earthwork
3. Illuminance
4. Ad Rigorem
5. Tentacles Of The Sun
6. Elemental Shift
7. I: A New Journey Awaits
8. II: A Final Warming Shine: Ascension And Trespassing

Virvum is:
Bryan Berger: Vocals
Nic Gruhn: Guitars
Toby Koelman: Guitars
Diego Morenzoni: Drums

Even better news, is that they will be premiering a track on July 22nd and for those of you, who have not heard Virvum before, here is a taste of what they bring to the table. This is a track they put out in 2015 and  this will give you a good idea as to what they are going to be hitting us with in the next few days.


So if you like what you hear, stayed tuned as a new track will be premiered this Friday, and also go check them out on FACEBOOK

and if you want to get this album and some other cool pre-order bundles head on over to their bandcamp page by clicking HERE


-Badger \m/

Visit our FACEBOOK page \m/_(><)_\m/


Unflesh- Transcendence to Eternal Obscurity Review 7/10 \m/


Ryan Beevers-Vocals, Guitars, Bass

Hannes Grossman- Percussion




  1. Dreamless Sleep

This song is an introductory track, it is a single acoustic guitar playing for the full one minute thirty four seconds.  But what comes next is not what you would expect this song to lead into.


  1. Transcendence to Eternal Obscurity

There is very little time for the listener to be prepared for what they are about to hear. As there is really only about two seconds of guitar and drums before Hannes executes blast beats. The song has a strong mid 90’s Swedish death metal sound on vocals, and then the drums and guitar work has a modernized more technical death feel to add to it. The song goes through a change around the 1:18 mark taking the song from the fast blast beat filled beginning to a darker more melodic section. Gotta love the drums happening at the 1:45 mark as you can hear how crisp the cymbals are, from the ride to the hi hat on the offbeat.  The song goes from a fast paced tempo to a  mid-paced more melodic section and then  ¾ of the way through the song they  bring it back to the fast pace with some guitar shredding happening at the 3:18 minute mark.


  1. The Dormant Darkness

A quick drum roll out on the toms sets this song up and takes a mere two seconds before Hannes tears through the speakers with his blistering fast blast beats. This song is solid, it has a great rhythm to it, and the vocals   fit well with the music.  This song has a blackened technical death feel to it. The section at the 1:06 mark is great, just listening to the guitar riff going right along matching speed and intensity with the drums. I love everything about this song, its fast, it gets me amped up, the drums are great, and the guitar work isn’t overly flashy or trying to  be the next  guitar phenomenon, the guitar riffs fit the song perfectly and the vocals bring it all together. Very good song, I’d have to say it’s my favorite track of the E.P.


  1. The End’s Will, I Become

The song begins with a guitar fading in a short before the drums join in with a mid-paced tempo, a few fills and blast beats to get the song started. Then the song  picks up in speed and vocals join in,  I like how balanced the music is,  as technical, and modern the sound is, there are undeniable influences  ranging from Swedish death metal very similar to At The Gates.  Right around the 2:30 mark, we hear a mean guitar solo. This solo is an impressive thirty seconds of guitar solo craftsmanship, ending before you actually want it to.


  1. As One With the Shadow

I really dig the beginning of this song, the drums, and the guitar riff.  The first twenty two seconds really set the song up well.  The first verse really grabs you with the groove that’s laid down, and then the energetic attack doesn’t let you go.  I do feel as though the vocals keep getting better and better with each song, especially the backing vocals in the few sections they appear.  Now the guitar solo at the 1:53 mark is stellar, it has such an old school feel about it, that gives the song some great qualities.  I know I have used the At The Gates comparison, but that’s exactly who I think of when listening to this E.P.  The only downside to this song, is that it is only three and a half minutes long.  But it is great for the entire song start to finish.


  1. Darkness For Eternity

A quick drum intro kicks things off for this song, then about ten more seconds of drums and guitars before the vocals join in.  That beginning sequence has a good driving rhythm about it. You can really get into the song by listening to the first thirty seconds. Just like the title suggests this song is a darker song for its entire five minutes of play.  The song  stays true to its style and sound, never changing into something less energetic, less impressive, or fluff. The song is solid, there was no re-inventing the wheel on this track.  The song starts out as a dark, blackened death metal song, and end on the same note.  The guitar solo that is present in the song, isn’t a flashy shredfest of showmanship,  its subtle, it fits the song, and it follows the formula of the song, which adds to the reason why this is a great track. You know what you are getting yourself into in the first fifteen seconds, and if you like what you hear in that short period of time, you will like the rest of the song.


All in all, this is a solid E.P. as this is the first musical project I have heard from Ryan Beevers, he did a great job in my opinion.  The sound quality is on point, and while I will say I am not a huge fan of session drummers, I do understand the importance of them. This is a fine example of the importance of a session drummer.  The music is great, and if Ryan didn’t have the right drummer on this, it wouldn’t have sounded right, and also would not have gotten the attention it deserves.  This E.P. is a good 7/10 score, as the sound quality was great, the music  has a groove to it you can get into, and  the musicianship all around is on point. Great  E.P. and look forward to what Ryan puts together in the future.

Have a listen for yourself below and stream the E.P.










Click here to go to the Unflesh BANDCAMP Page

Make sure to give them the thumbs up on FACEBOOK


-Badger \m/

Visit our FACEBOOK page \m/_(><)_\m/

Currently listening to Colt 45’s latest release “Extinction”

Currently listening to Extinction by Belo Horizonte, Brazil Death metal outfit Colt 45








If you like what you hear head on over to their FACEBOOK PAGE

and also check out the album on their BANDCAMP PAGE

-Badger \m/

Visit our FACEBOOK page \m/_(><)_\m/


Currently listening to “Eschatology ” the latest release from Cape Town South Africa’s own Subject to Slaughter

Hey folks if you haven’t heard Subject To Slaughter, and enjoy deathcore, or melodic deathcore. Than Eschatology is  an E.P. that you will want to check out.







If you like what you hear you can find them on FACEBOOK

As well as their BANDCAMP page


-Badger \m/

Visit our FACEBOOK page \m/_(><)_\m/



Onomasy- Ashes And Dust- Album Review 8/10 \m/


Ashes And Dust

Samuel Fernandez – Drums

Mario Gomez – Bass

Pablo Acien – Guitar

Armando Rubio – Guitar

Alvaro Valdeavero – Vocals


1) Bow Down

This track is really more of an introduction track, not bad either, just a little over a minute long. It has this melodic technical metal feel to it. But the real show begins with track two “The Maze Of Unhappiness”


2) The Maze of Unhappiness

The whole band comes together for the first note of the song with a low guttural growl getting first blood. The first ten seconds of this song go fast, but it’s a great way to get acclimated to the sheer brutality that Onomasy possesses. The vocal range happening throughout this song is killer. Alvaro can hit some disgusting lows, and then his high vocals are razor sharp. When you get to the 1:15 mark you can hear the highs in perfect form. The guitarists are tight, they are precise, and it sounds like both can play a solid lead with one of them delivering a short solo around the 1:00 mark it’s a really brief riff really. But it has a old school feel to it. It’s placed well because they are hammering away with this tech death sound then an old school riff back into the rapid fire blasting tech death explosion.

3) Gray Days To Live

Way too early to call this song my favorite, but I have been spinning this track a lot lately. It starts out with a short bass intro, and then   the drums come in blistering fast and heavy, while the vocals come in high and fast almost right away.   Just listening to the guitars my forearms are getting cramps. The amount of discipline that this whole band has is impressive. This is a song that really grabs you, the rhythm is so catchy it pulls you in and you can’t help but move. The lead guitars around the 1:08 mark are great, and this is only ten second portion of guitar greatness coming off this album. Right at the 1:40 mark they get low and slow with their brutal and infectious transition. Its heavy as hell and when the next verse is seeing the finishing touches the guitars are tearing shit up all leading up to my favorite part of the whole song. It starts at the 2:27 mark. When the vocals come in, its catchy, its heavy, and you know that if you are seeing this unfold at a live show, the crowd is going to get rowdy. The gang vocals in the background and then Alvaro’s vocals layered over fucking work. After that section the guitars give us a melodic guitar solo with some Latin soul feel to it. Not a shredfest, its soothing in a way, it has local flavor and then they come right back out to end the song as hard and heavy as it began.

4) Ashes and Dust

A short guitar riff starts things off with the drums following right in after mere seconds. The vocals join in at the :21 second mark just after the rest of the band has done a number on your senses with the breakneck speed on the drums to the blistering pace the guitars have set up. In the first sixty seconds of this song you will develop a thought process as to why you haven’t heard this band before now. I am really digging the rhythm right around the :30 second mark it has a menacing feel about it. Right around the 1:00 mark, they hit you with a slowed punchy section that bridges to the next verse knocking out some teeth on the way. This song takes you on a journey through the low   bludgeoning death metal style, and speed things up with their rapid fire tech death sound.

5) Digging Up The Moon

This song starts right out of the gate with rapid blast beats and then a quick precise guitar riff. The vocals come in at the :05 second mark with the high range vocals. The intensity from the guitars and matching the vocals with the drums. They have unleashed a full on audio assault, from the rapid highs to the punishing low guttural growls. This song relentlessly pummels you into submission. A perfect example is at the 2:35 mark, the vocals are infectious, and the guitars showcase their ability, while the drums are grinding away blast beat by blast beat. At times Alvaro is nailing the highs and executing with a style similar to Trevor Strnad from The Black Dahlia Murder. This song is badass, makes you eager to hear the next track.

6) Descending to The Other Side

The song kicks off subtlety with a brief intro and then a nice melodic guitar solo starts things off. The song has a nice mid paced tempo, but it doesn’t stop them from   hitting us with blast beats and a killer guitar riff leading up to the : 36 mark when the first verse begins in brutal fashion. The song has a cool groove to it, keeping you moving right along with the changes. Right around the 1:30 mark the guitars are playing a killer riff harmonized before a short solo and into the next verse. Around the 1:52 mark they get low and slow, you can feel the bass drum doing a slow roll helping elevate that sinister rhythm. This song has so much to offer in its short just shy of four minute run time.

7) The Legacy “Interlude”

This is a nice melodic interlude with some ambient sounds and an acoustic guitar playing overtop. It’s a nice mellow 1:38 long track that lulls you to your safe zone, and prepares you for what is “The Jailer of the Lives”

8) The Jailer Of The Lives

The song begins with a mellow guitar riff, and the occasional drum cymbal, this is a nice relaxing introduction that seems to pick up from “The Legacy” before the guitars get distorted around the :35 second mark. That’s when the S.H.T.F and the vocals come in hard while the drums are breaking down the walls. Listen to the guitars tear shit up at the :55 second mark, while the song gets ready to transition into its next verse. The verse is a heavy death metal feel with plenty of old school character, and then as they come out of the verse they bring the technicality of modern metal. This song is heavy, slightly slower than most of their songs, but will knock you on your ass with ease.


9) In Memory Of The Reaper

The song fades in quickly with the band exploding in to the song at the :04 second mark. That’s when the guitars show off some of their talent while getting the song cranking. When the vocals come in at the :25 second mark, they come in heavy as hell and low, and immediately replying with the high rapid fire vocals. This song has enough to get your teeth sunk into and feed of the groove that they have laid down. Between verses the guitars give us a cool little solo and the vocals come in high and fast again. Just after the halfway mark we get a short bridge consisting of high vocals and a guitar solo, and then back into the verse. Right around the 3:20 mark they kick things into overdrive and get real heavy. Making the last thirty seconds of the song brutal, and catchy to the very last note.


10)I Am

The song begins with the guitars playing a cool riff for the first forty seconds or so. This song has an evil agenda by the sounds of it. I mean what is happening at the 1:00 minute mark with the rapid blasting, and the high vocals. I mean Samuel is completely decimating the masses with his footwork on the drums. The whole song has a groove about it, something that really pulls you in. A perfect example is   around the 3:16 mark we get a killer soulful guitar solo that lasts just shy of thirty seconds and then the band comes in hard. I enjoy the fact that they give it 100% to the very last note.


11) Advantage of The Disadvantage

For the first twenty seconds these guys really showcase their technical discipline and their ability to play with precise execution of every note. When the vocals join in they are low and heavy as hell for the beginning of the verse, the follow up to the verse Alvaro is cutting through the lines with his highs. Right around the 1:30 mark there’s a short pause and then a quick shredding guitar solo for about thirty seconds before transition back into the next verse. I love the tempo of the song, it has a driving beat to it, and it really gets you moving. This is a killer track and I love the balance of the vocals. At times he is really getting those lows, and then hitting the highs. But at times they are blended without too much overlay.


12) The Heritage of The Loyal

The song begins with a chugging guitar riff for only a few short seconds before the drums and vocals join in. All the other songs before this one seemed to be more of a precise note by note lay out of the song. Whereas this one seems to have a less technical approach to it, incorporating some dissonant sounds with more chugging riffs. This song is like all the animosity that has built up, has now exploded and this is the effect of that. The song is more death metal, with a slower pace, and low vocals for the majority of the song. Right around the 2:23 mark the song goes through a funky transition and then blasts out to a more melodic death metal feel. With a piano being heard in the background.


All in all this album is badass, and completely surprised me as I had not heard Onomasy until today. This album is easily an 8/10 rating from me, they showcase serious talent among the group from the guitars to the drums, the bass is not shy either we get to hear the bass stand out in quite a few of the songs. And Alvaro’s vocals are on point, seamlessly going from guttural lows to precision highs, the guy adds so much dimension to the songs by utilizing his range so well. This album  is more than just a tech death album, it breathes life into a genre that is starting to get more and more popular by the day. With so many bands playing similar styles of tech death, Onomasy try to break that pattern, by even changing things up with the last song being less tech death and more melodic death metal. One thing is for sure, if you haven’t heard Onomasy, or this album you need to. Right now.






Find Onomasy on FACEBOOK and give them a like so that you can keep up to date on any news.

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-Badger \m/

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Skin Drone – Evocation Album Review 7/10 + Interview

Skin Drone – Evocation

Otto Kinzel & Erik Martin

Bluntface Records



  1. Scarlet Road

The song starts out with a subtle drum roll out and then they waste no time blasting the doors down and getting right into the gritty extreme/grinding industrial spirit of things. Right from the get go, you will be head banging right along with the beat. I like the guitar tone also, it has an old school buzz to it that gives the song some character. Right around the 1:27 mark the song drops out to the sound of some atmospheric sounds and then whisper clean vocals “ another night passes , another victim left to find their way to hell” is heard and then it’s not long before they go back into full force. The song slows down once more about halfway through and   they come out around the 3:56 mark back into a similar riff used in the beginning of the song.


  1. God Complex

The song starts out with what sounds like an orchestral arrangement and then before you can acclimate to that they explode with blast beats and chugging guitars. This song actually reminds me of Winter solstice many of you probably have no idea who that is, but they put out a killer album about ten years ago and fell off the face of the earth. Its songs like this that bring floods of memories of other great sounds and bands I have heard over the years. I won’t lie this song is going to be a rollercoaster for many. It hits hard and fast, and then they slow it down quite a bit for a section, but go right back into the hard and fast approach. This is where the Experimental tag comes from I am assuming. Normally I don’t care for “Experimental” because half the time it does not sound good. However, I am really digging this track.


3. Death Sentence

Some spoken dialogue with vocal effects kick the song off, and the song gets hard and fast quickly. I just can’t get passed the guitars and drums, the vocals are good don’t get me wrong. But these guys are really trying to give us whiplash with the changes they make and how it will go from a heavy section to a funky sequence around the: 54 mark and then back into something much heavier at the 1:09 mark. But you can’t help but really get locked into the schizophrenic styling’s of this song and enjoy yourself trapped in your own mental asylum while listening to the song and getting the imagery it creates for the listener.


4.Shepard Of The Damned

The sound of a record player with the needle dropped and record spinning can be heard as that sounds gets louder, vocals join in not quite muffled but layered under the record player sound. It is done so subtly, that the end product is very easy to follow along with and enjoyable. This song is not as fast paced in the beginning as the previous two tracks but that doesn’t last too long before they go right into steamrolling over you with grinding blast beats and guitars. Right at the 4:48 mark the double bass roll, is perfect, rapid crushing bass for that section before the song starts to mellow out again.


5. Ghost Reflection

Sounds of nature can be heard, a woodpecker and other birds for the first 15 seconds or so, and then acoustic guitar and stringed instruments play out a nice serene melody. This is much like an instrumental interlude and at 3:29 minutes long it really doesn’t feel like it. It’s a nice little track to listen to in between songs.


6. City Lights

This song starts out with an industrial feel, and I am digging the drums for that opening section just as the vocals join in. The vocals are low and more guttural than previous tracks giving you a sense of the vocal range happening on this album. What I like about this song, is that it’s not trying to be the heaviest, but has a solid stance on what the ratio of melodic to heavy should be in this song. Of course as a drummer I will be focusing more on the drums and I really like how the drums are for the entire song, and how they get more industrial right before the end.


7. Witching hour

There is a groove about this song just after the opening sequence that you can really get into. The vocals are in the mid to high range, I am not taking anything away from them, I will say I could easily enjoy this as an instrumental also. Because while I am listening to the vocals, I am paying more attention to the drums and guitars and   going along with every change they transition in and out of. I’m thinking this could be a fan favorite just by listening to it. There is a lot going on, but not too much to the point you just can’t follow it. It’s like controlled chaos, and I can get behind that real easily. All the way to the jazzy section right around the 3:00 minute mark, I am really digging this.


8. Darkness Within

A piano starts this song out, with some whispered vocals for the first few minutes before the drums and guitars come in. and I gotta say, as basic as the guitars are right here, there is something about it that I am really enjoying. It’s like a little bit of echo but there is something about that with the tone of the guitar that really makes the song sound like what you would expect by the title. What I like is that they throw in a few brief sections of double bass rolling heavy guitars and harsh vocals.


9. Salvation

Ahhh the final track begins with a guitar melody playing and whispered vocals. With the drums playing a beat that really follows the guitars and vocals well. Its part hard rock, part tribal, and part modern metal. I am really enjoying the turn the song takes at the 1:41 mark. This has me tapping my foot and thinking about throwing some haymakers. The 5:00 minute mark is a highlight of the track where the song abruptly goes into heavy dizzying circle pit detonator. This is the longest song on the album. And it covers everything from dark melodic, to industrial, death metal, and pretty much everything in between, except polka.




All in all I will say that this does not sound like a two man band. What I mean is that the mixing and mastering was done so well that if you did not know Skin Drone’s line up you really would not be able to tell its only two guys. The album does not display only one form of heavy music, but blends several different styles together creating this rather unique dare I say experimental metal band. I tend to stay away from using the term experimental metal because I have come across “experimental metal” bands that sound awful. Whether it is so far out of having a sound that you can follow, or the production sounds like it was done in the back alley next to a McDonald’s dumpster. This is not the case for Skin Drone, the production was clean and professional, the style is easily enjoyable. The way they can go from playing something heavy to something jazzy back to something heavier than before, then mellowing out, taking the listener on a musical rollercoaster ride.– 7/10 \m/

The two that make up the band, One being the man behind Bluntface Records himself Otto Kinzel, and Erik Martin.  Luckily I was able to catch up with Otto about the Skin Drone release as well as what Bluntface Records has planned for 2016.



1)      So Otto, how did the idea of Skin drone come about? Is this something you have had been working on and then brought Erik on board, or vice versa?

Otto: Erik and I met when his other band, Critical Dismemberment, was involved with a compilation Album my label (Bluntface Records) was releasing. I really liked their music and I reached out to them, to see if they would be interested in working with the label on more releases. I got to know both Erik and his bandmate Chase Fincher pretty well. It just naturally flowed in terms of what we had in common and our musical and non-musical interests. It was a natural step to start collaborating on music. I had been working on a version of Skin Drone for awhile and had been trying to get it off the ground, but with no luck. So when I finally reached out to Erik to see if he would be willing to give it a shot at doing vocals, I figured I had nothing to lose. Luckily, he hit a home run with his performance! That song ended up being Witching Hour and it kicked everything off in our collaboration.

2)      Listening to this album, I have to say, if there ever was a band to really bend sub-genres to form a unique sound. I’d say Skin Drone is like the matrix of metal sub genres. What were the influences for the album?

Otto: We each have so many influences that it’s almost impossible to list them all. We knew we wanted to challenge ourselves in both the performances and the songwriting. There’s a lot of elements from technical-death metal in there but also a lot of industrial and avant-garde influences as well. We wanted to take a lot of big risks, as far as extreme metal goes. That included trying to use a lot of darker, more ambient and dissonant type sounds. We want the listener to think of the songs in a different way; for it to feel more like scenes from a movie.

3)       The sound is amazing, I know you  (Otto) have some experience under your belt.  This album sounds amazing, I always look at sound quality as a big part of my review process, and this album sounds great. The quality is great, where did you guys do the recording and mastering.  How long did it take from start to finish?

Otto: Erik and I each have our own recording studios in our homes, so all the tracking was done between those two. After all the basic tracking was done, I did the majority of the editing and production related stuff. After that, we hired Chase Fincher to do the mixing and mastering. He did a fantastic job and we could not be happier with his work. The three of us had a lot of discussions beforehand about the theme of the album, the type of sound we were going after, the goals we had for the finished product. And Chase took those notes and really made them into his own goals. I can’t praise his efforts enough, Chase really is the guy who tied the whole thing together and helped craft the finished sound you’re hearing.

4)      I have read a few of the reviews for the album so far, and the general consensus is the unpredictability of the music.  Were you guys really going for that sound of musical schizophrenia? Or when they ideas came together did you feel that they had to blend the way to achieve what you wanted from the album?

Otto: That’s hard to say because on some level I think we subconsciously wanted to make the album really challenging for the listener. We wanted to create something that forced the listener to pay attention to what was going on & have to go back and listen several times in order to “get it”. But having said that, all of the songs and all of the various layers we have within them came about very naturally. Once Erik and I got into the creative zone, it just flowed. That’s not to say that this process was easy, because it wasn’t. Writing these songs and recording the album was very difficult. It took a long time and involved a lot of self-editing and revision. We worked our asses off on it. But it was always fun and always incredibly rewarding creatively.

5)      Lastly, and I ask this of many bands, but I feel it’s a very pertinent question in regards to the music. Is there anything you want to tell the listeners about the album?  For example, when listening to the album, would you recommend listening to the album while glancing at an unopened bottle of vermouth, or that a specific sound on the album is actually a fire extinguisher. Maybe a disclaimer, people who suffer from epilepsy should be warned, etc. Anything that you want the listeners to imagine while listening to the album or specific song. Or simply that this is just the beginning, and that Skin Drone is here to bend the rules, and create new sub genres within metal.

Otto: Haha, my only suggestion would to listen to Evocation with headphones. Chase did an amazing job with the stereo panning of within the mixes and there is so much subtle layering that a lot of the smaller “detail” type sounds we have interwoven within the mix can get lost if it’s being played at really loud volumes on huge speakers. This is a “headphone” album all the way. We want you to turn it on, turn off the lights so you’re sitting in the dark, put on the headphones and lose yourself in the music. Let us take you on a dark journey and come out the other side with you.




Follow them on Twitter @skindrone

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Bluntface Records Website

Skin Drone on YouTube


-Badger \m/

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