ACID WITCH reveal first track from new HELLS HEADBANGERS album

Today, the ever-singular Acid Witch reveal the new song “Mutilation Mansion.” The song hails from the band’s massively anticipated third album, Evil Sound Screamers, which will see digital release on Halloween via Hells Headbangers; the CD and vinyl LP formats shall be released by Hells Headbangers in the new year.

Although their catalog is relatively sparse, Acid Witch should need no introduction. It’s been seven long years since the release of their classic second album, Stoned. That album, released to overwhelming international acclaim by Hells Headbangers, saw Acid Witch take the bewitching formula of their Witchtanic Hallucinations debut to greater, more entrancing lengths, swirling about a heady (and headfucking) brew of gutted doom-death riffage and spooky synth embellishments. And most of all, Stoned was as catchy as it was crushing. The attitude and charisma of founders Slasher Dave and Shagrat simply could not be denied: Stoned was simply something special.

Unmindful of “pressure” and other external forces, Acid Witch stayed busy enough in the interim, teasing out a split 7″ with the legendary Nunslaughter and a special covers EP where they gave their own, inimitable renditions of hair metal classics from ’80s horror movies. That latter element, in an evilly crowd-pleasing way, can be immediately felt on Evil Sound Screamers – or, perhaps, Acid Witch had always had their own starpower all along. Either way, one listen through Evil Sound Screamers and it’s awesomely apparent that the band have raised the stakes yet again. Essentially, this is the sound of Acid Witch mastering their own, unique brand of metal and delivering a landmark record for the ages.

The foremost manifestation of that mastery is the truly mindfucking layering of synth here. Slasher Dave has always possessed an authentically classic-horror approach to synths, but through his own selfsame solo-project, he’s developed that aspect in a manner truly befitting the beloved horror canon of the ’70s and ’80s. Here on Evil Sound Screamers, those synths don’t so much take a lead role as unite every thread across the record, flitting in and out of perception like a fever dream (or an LSD nightmare) and otherwise torquing all the gutsfucking riffs that now stomp ‘n’ sway with a rousingly anthemic quality. They are authentically analog synthesizers, too, just like the beloved sound design of those classic horror movies. Additionally, the acute placement of samples further threads everything together in a manner most filmic. And that’s to say nothing of the production here, which finds a hazy, crazy balance between murky and 3D.

Before you know it, the 38 minutes of Evil Sound Screamers is up and you’re immediately pressing “play” again and again. Now more than ever, there’s really no other band out there quite like Acid Witch: Evil Sound Screamers is their magnum opus, and long may their reign continue. This is the season of the Witch!

Release date for the CD and vinyl formats to be announced shortly, as well as preorder info. Cover and tracklisting are as follows:

Tracklisting for Acid Witch’s Evil Sound Screamers
1. Scare Tape
2. Mr. Beistle
3. I Hate Halloween
4. Cheap Gore
5. Nain Rouge (The Red Dwarf)
6. Enter At Your Own Risk
7. Mutilation Mansion
8. Hardrock Halloween
9. Nightmares In A Damaged Brain
10. An Evil Sound Screaming


Finnish black metal veterans Baptism announce new live dates

BAPTISM have announced a string of new shows in Europe and North America.

The Finnish black metal veterans will even cross the Atlantic again to perform at the prestigious Messe Des Morts VII Festival in Montreal, Canada on November 24th. In the year of the band’s 20th anniversary (1998-2018), BAPTISM will perform at the iconic Maryland Deathfest next May.

In Europe, the Finns will wreck pitch-black havoc on stages in four countries during December. For a list of all currently confirmed shows, please see below.

BAPTISM comment: “We are excited to hit the road again at the end of this year with The Devil Fire Tour. We will return to many places where we have not been in many years. We are also very glad to come to Canada again to an amazing festival with a great line-up. This is your opportunity to see us in great shape, in a proper dark place in front of an excellent crowd and perfect atmosphere. Don’t miss our show as we are not touring often, which makes all our live shows a quite unique experience. See you on the road!”

24 Nov 17 Montreal (CA) Messe Des Morts VII Festival
13 Dec 17 Paris (FR) Glazart
14 Dec 17 Roeselare (BE) De Verlichte Geest
15 Dec 17 Eindhoven (NL) Eindhoven Metal Meeting 2017
16 Dec 17 Berlin (DE) Nuke Club (De Mortem Et Diabolum)
17 Dec 17 Erfurt (DE) Club From Hell
26 May 18 Baltimore (US) Maryland Deathfest

BAPTISM will be performing in support of their latest full-length ‘V: The Devil’s Fire’.

Artwork and track-list of ‘V: The Devil’s Fire’ can be viewed below.

1. Natus Ex Ignis
2. Satananda
3. The Sacrament Of Blood And Ash
4. Devil’s Fire
5. Abyss
6. Cold Eternity
7. Malignant Shadows
8. Buried With Him

What you hear is what you get. BAPTISM deliver another album that is firmly rooted in Finnish black metal orthodoxy. Again their raw and unbound musical fierceness is counterbalanced by epic melodies buried underneath a shredding onslaught and majestic atmospheres. Yet despite staying true to course there is neither a feeling of stagnation nor of senseless nostalgia. BAPTISM excel in keeping true to their course, while appearing fresh and raising the stakes with their fifth full-length.

‘V: The Devil’s Fire’ is the result of a long evolution and the acquired craftsmanship of veterans in the field. Needless to mention that the visual trappings of their genre are not being neglected either as expressed by corpsepaint, hoods, and spikes. Nor has the Satanic mysticism on the lyrical side gone missing. The development of BAPTISM can be best explained through different periods:

Era I: BAPTISM were formed by vocalist, guitarist, and songwriter Lord S. and Demoniun on drums in the Finnish town of Ylöjärvi in 1998. As early as the summer of the same year, the first and now extremely rare demo ‘Satanic Rituals’ was released. A second demo entitled ‘Sons of Ruin & Terror’ followed in the year 2000. The band was joined by Slaughterer on bass in 2001 and this line-up unleashed first full-length ‘The Beherial Midnight’ (2002), as well as sophomore album ‘Wisdom & Hate’ (2003). Afterwards, Lord S. relocated his centre of activity to Kuopio and his former allies left the band.

Era II: BAPTISM quickly reformed in Kuopio, when Lord S. met Spellgoth and SG.7 joined the band before taking on duties as live guitarist and singing clean vocals. The EP ‘Black Ceremony’ as well as a split 7″ with Uncreation’s Dawn followed in 2004. Local musicians Kobalt on drums as well as SDS and Cinatas were added to the group, which performed their first live ritual in Kouvola, Finland. More live appearances materialised in their home country after the release of a third full-length entitled ‘Morbid Wings of Sathanas’ (2005). On the following EP ‘Evil Mysteries’ (2006), Lord . was responsible for playing all instruments.

Era III: BAPTISM experienced another change of line-up when their mastermind returned to western Finland by moving to Tampere. Cinatas handed his duties over to M, who became the band’s third bassist. The black metal outfit began to perform internationally in 2007. LRH became session drummer for the next album ‘Grim Arts Of Melancholy’ (2008), while TG took over as lead guitarist from SDS. The EP ‘Chalice of Death’ (2010) was recorded and released amidst rituals all over Europe and led to a mini tour in Russia. In the meantime Syphon became the fourth bass player for the Finns.

Era IV: BAPTISM unleashed their next full-length ‘As the Darkness Enters’ in 2012 for which the men from the north toured during the following year including a first ritual in the USA. A number of reissues of earlier material followed in 2014 as demand for these cult releases had reached new heights. This was emphasised by the rarities compilation album ‘Gloria Tibi Satana’, which was released early 2015.

Era V: BAPTISM sign a new record deal with Season of Mist. The new album ‘V: The Devil’s Fire’ is finished and ready to be released on the 22nd of July 2016.

The new era for BAPTISM is now beginning. Get ready for a black blizzard from the north to bring frost and darkness in the middle of this summer!

Lord S.: vocals, guitar, songwriting
SG.7: guitar
TG: lead guitar
Syphon: bass
LRH: drums

Guest appearances
Antti Boman (DEMILICH) on “Buried With Him”
Mikko Kotamäki (SWALLOW THE SUN) on “The Sacrament Of Blood And Ash”
Mynni Luukkainen (HORNA) on “Satananda”

DROPZONE set release date for long-awaited OSMOSE debut – features members of HIM, Gandalf and Divine Decay

Osmose Productions announces December 29th as the international release date for Dropzone’s LONG-awaited debut album, Rape Killing Murder.

Some morning in the summer of 1996, Björn was sitting at the restaurant Roskapankki in Kallio, Helsinki with Mr. Jukka Suksi, the guitar-playing guru from The Flaming Sideburns. They had enjoyed a hard day’s night in Kallio with some other members from The Flaming Sideburns as well as members from the eternally wonderful Thee Ultra Bimboos.

Björn had played a show the night before with Gandalf at the legendary Tavastia Club for a Finnish beverages company called Koff, so the beer was surely flowing on behalf of the major Finnish brewery. After Tavastia, Björn had ran into the aforementioned rockers at a now-defunct dive bar called Rock Café Maestro with whom he ended up after all bars had closed in the city at a rowdy apartment in Kallio Rock City.

And you might know – or hopefully not – how these mornings are after some marathon drinking shite session: you just need to follow it up somewhere to keep the madness going – or keep the demons away from crawling under your skin. It was one such night.

And then at Roskapankki, Björn got this sudden urge to play some good old D-beat hardcore metal punk rock. So what can one do when an urge like this occurs? Of course, to call MD-Studio in Munkkiniemi to reserve time to record some shit with legendary Finnish producer Hiili Hiilesmaa, most notably known for his work with The 69 Eyes, Apocalyptica, HIM, Lordi, Moonspell, and Sentenced among others. What a great idea! Let’s have another beer!

One problem, though: there’s no members in the band! And no songs! But why let minor hiccups such as these hinder Björn from booking a few days of studio time a few weeks ahead. What a great idea! Let us have another beer!

On the spot, Björn decides to call a few old friends of his who he thought could pull this off: namely Gas (also known from Kyyria, HIM, Valvontakomissio, Hallatar, and Ääritila among others), Jari (Gandalf, The Scourger, Demonztrator) and Pale (Hybrid Children, Divine Decay, Alaska Evil). So after a few beers at Roskapankki, Björn had a band! Let’s drink another!

The name Dropzone came from some American action movie full of clichés. Well, screw the film, but the name felt good for a band. Cheers for that! Dropzone has one or two rehearsals where these songs about to be recorded are born before going into studio.

So sometime in late summer or early autumn of 1996, Dropzone enters MD-Studio to record these eight songs in eight hours. As fate would have it, the band got to use only five-and-a-half hours of those, as Gas was late – or was it because the band had to do two trips to their rehearsal place instead of one to fit all their equipment in Gas’ tiny red VW Golf? Normally, the studio sessions at MD-Studio would take place in two continuous days, but this time, they had some other bookings, so the band had to postpone their work for next week. That was a relief because that would give the band more time to write lyrics – or drink more beer.

So, the songs on Rape Killing Murder were recorded straight live on tape, except for the lead guitars and vocal overdubs. It’s straight, no-frills metal-influenced hardcore punk rock in the vein of Discharge, Extreme Noise Terror, The Exploited, Varukers, G.B.H., Riistetyt, and Anti Cimex as well as other punk-influenced musically violent acts such as Slayer, Entombed, Carnage, and Wolfpack.

Some copies of this recording were sent out to various magazines in late 1996, it getting some rave reviews and some other interesting offers, but as the band consists of a lazy and whimsical cunt such as Björn, nothing else really happened after the recording but a TV recording of the song “Enslaved Forever” as well as a gig at the now-defunct night club Teatro later on in the evening.

This recording would probably have never seen the light of day officially if it hadn’t been for Pale, who in other matters provided Herve at Osmose Productions a link to Dropzone’s Soundcloud page, urging his old label boss with Divine Decay to check it out. In just a matter of days – if not hours – Pale got some truly ecstatic messages from France: let’s release Rape Killing Murder on physical vinyl and CD!

So here we are, Dropzone soon releasing a recording made already 21 years ago – finally. But as they say, better late than never…

There have been talks about doing new songs and also gigging with the official release of Rape Killing Murder happening, but so far, nothing has been put into fruition just yet. Only that it won’t take another 21 years from now to see that eventually happening. This is just the calm before the storm…

That aforementioned TV recording of “Enslaved Forever” can be viewed HERE.

First track to be announced shortly, but Dropzone takes no responsibility of any harm that might occur to your stereo system with Rape Killing Murder!

Cover and tracklisting are as follows:

Tracklisting for Dropzone’s Rape Killing Murder
1. Persecuted in Existence
2. Enslaved Forever
3. The Bloodbath of Innocence
4. The Blood Runs in Streams
5. Testify The Misery
6. Manhunt
7. War’s no Fairytale
8. Grande Finale

Pale – bass
Jaska – vocals
Björn – guitars, drums
Gas – vocals, guitars, drums


Sólstafir release video for “Hula” in advance of European autumn tour

SÓLSTAFIR are premiering a new video in advance of the second leg of their 2017 European tour in support of their latest full-length ‘Berdreyminn’.

The clip features impressive Ingmar Bergman aesthetics for the track “Hula” and telling a deep story. Check it below

SÓLSTAFIR comment: “When we were on the road in 2013, we came across this place, Hill of Crosses in Lithuania. At the time, we just knew that we would have to shoot a video there one day. We developed a good working relationship with Vesa and Harri back in 2015 with the ‘Miðaftann’ video, and since they are both living in Finland, it seemed a good idea to send them over with the boat from Finland with the camera and help us fulfill this dream of ours.”

Video director Harri Haataja adds: “This time we set out to do video for SÓLSTAFIR outside of Iceland. Aðalbjörn Tryggvason had this beautiful location at Hill of Crosses in mind and we thought that it would fit perfectly for this clip. We also found a couple of other great locations suitable for the story and aesthetic that we had in mind for our video.”

Video credits
Director: Harri Haataja
Cinematography: Vesa Ranta, Harri Haataja
Editing: Aapo Lahtela, Harri Haataja, Vesa Ranta
Camera assistant: Aapo Lahtela
Lighting: Aapo Lahtela
Actors: Eeva-Maria Kauniskangas, Aðalbjörn Tryggvason, and Rauli Marjala

SÓLSTAFIR are roughly a month away from embarking on the second leg of their 2017 European tour. The enigmatic Icelandic rockers will be joined by MYRKUR and Icelandic label mates ÁRSTÍÐIR.

13 Nov 17 Helsinki (FI) Tavastia Bar
14 Nov 17 Moscow (RU) Volta
15 Nov 17 St. Peterburg (RU) Club Zal

17 Nov 17 London (UK) Heaven
18 Nov 17 Leeuwarden (NL) Neushoorn
19 Nov 17 Lille (FR) Maison Folie Beaulieu
20 Nov 17 Paris (FR) Alhambra
21 Nov 17 Rennes (FR) Antipode MJC
23 Nov 17 Bilbao (ES) Santana27
24 Nov 17 Madrid (ES) Caracol
25 Nov 17 Barcelona (ES) Razzmatazz2
26 Nov 17 Marseille (FR) Jas Rod (without Myrkur)
27 Nov 17 Aarau (CH) Kiff
28 Nov 17 Milano (IT) Circolo Magnolia
29 Nov 17 München (DE) Theaterfabrik
30 Nov 17 Salzburg (AT) Rockhouse
01 Dec 17 Bologna (IT) Locomotiv
02 Dec 17 Zagreb (HR) Cultura Factory
04 Dec 17 Belgrade (RS) Dom Omladine
05 Dec 17 Bucuresti (RO) Quantic Club
06 Dec 17 Cluj-Napoca (RO) Form Space
07 Dec 17 Budapest (HU) A38
08 Dec 17 Wien (AT) Arena
10 Dec 17 Krakow (PL) Kwadrat
11 Dec 17 Praha (CZ) Roxy
12 Dec 17 Berlin (DE) Heimathafen
13 Dec 17 Köln (DE) Kantine
14 Dec 17 Osnabrück (DE) Rosenhof (without Myrkur)
15 Dec 17 Rotterdam (NL) maasSilo
16 Dec 17 Bruxelles (BE) VK
17 Dec 17 Hamburg (DE) Gruenspan
18 Dec 17 København (DK) Pumpehuset
19 Dec 17 Oslo (NO) Parkteateret
20 Dec 17 Stockholm (SE) Debaser Strand

BUTCHER sign with OSMOSE PRODUCTIONS, prepare label debut

Osmose Productions is very proud to announce the signature of the infernal blackened speed metal act Bütcher from Belgium!

A statement from the band reads: “Pure, unpolished, fast, heavy, epic, blackened speed metal – Bütcher is stoked beyond belief to announce the signing of the band to Osmose Productions! A label we hold in the highest regard because of its vision and its integrity, two terms that we do not take lightly! We will work like maniacs to surpass our debut album, Bestial Fükkin’ Warmachine, and Osmose Productions will give us the chance to do just that. Join the Bütcher speed metal legion and hopefully see you guys on the road for a live metal meltdown!

official BÜTCHER biography
A burnt off’ring to the godz of speed metal – that is what Bütcher is all about. Well, we call it speed metal because it’s one of the few genres within the realm of metal might that hasn’t been contaminated by the need to sound polished as pop, the idea of fitting in on every bill, by being progressive or other overrated contemporary conceptions. As Bütcher, we present you a furious frenzy of speed, black & heavy metal – all brewed in a cauldron of analog & vintage recording material. An acquired taste in these modern times, but surely to be savored by metal maniacs that have an affection for Agent Steel, Celtic Frost, Nifelheim, Venom, Exciter, Darkthrone, Manowar, Deströyer 666, Slayer, and the likes.

Let us not bore you too much with past details. Suffice to say that the reincarnation of the band started in 2014 after a long hiatus. We existed between 2002-2007 with a dedicated local following and crazy live shows to boot, yet nothing but two forgettable demo recordings to show for it. We simply disbanded, but every time we kept meeting each other, the metal hammer of old kept striking the anvil.

Louder, harder, faster – and the backbone (R Hellshrieker, JA Pulsatör, PB Tormentor) gets back together with new shredmaster KK Ripper taking the lead, backed up by DB Deströyer. We really embraced our vision, stopped being content with just being local heroes, and we want to push through. Bring unadulterated metal pleasures to anyone that feels to crash, bang & wallop. The metal community is both united and fragmented, and while we have our convictions, we’ll let others be the judge of what’s what – but we know, feel, and see at live performances that Bütcher’s music and dedication to bringing the most energetic live show is sparking a fire in the audience. A fire that, more often than not, engulfs in a consuming blaze of metal mania.

Our first full-length album, Bestial Fükkin’ Warmachine, is aptly named when you consider the lack of edits, digital sound compression, or most modern recording techniques. Take a look at our stage wear, inspired on Hellhammer/Celtic Frost, Sarcofago, Sodom, Nifelheim, Living Death, Slayer… But above all, simply absorb the metal assault that we edged into black wax, burned into silvered jeweled discs as well as coded into streamable format. Yet, Bütcher is only getting started. By now being in the stable of worldwide force Osmose, we are eagerly writing material for our next album, and we keep trampling like a black steed straight from in our live performances… Onwards into battle, like Sentinels of Death!

BÜTCHER lineup:
R Hellshrieker – screams, invocations & astral planes (vocals)
KK Ripper – morbid visions of 6-string elektrik kraft (lead guitar)
JA Pulsatör – bulldozing bass mayhem (bass)
PB Tormentor – apocalyptic drum raids (drums)
DB Deströyer – hellstorm of speed and vengeance (rhythm guitar)

Interview with Sanhedrin – Brooklyn Heavy Metallers

Sanhedrin play out and out metal, no shame in that game. Today I spoke with guitarist Jeremy about playing metal ,  life in Brooklyn, the making of their debut album and much more – read on

* Can you tell me some history of the band? I know you guys formed in 2015 and that you are all vets of the NY scene – but how did you all meet – how did you decide to write in that classic metal style Sanhedrin is etc
Nate and I used to play in a band together prior to Sanhedrin. When that band split up, the 2 of us kept jamming together, just hashing out riffs and ideas with the idea of eventually starting a new band. As time went on, he mentioned he had a friend named Erica who was a great singer and played bass. We had her come in to check out what we were up to and things came together from there. Over time, we learned how the three of us could best accentuate each other’s strengths and Sanhedrin was born. There was no conscious decision on what the style would be. Our sound is a reflection of what our 3 personalities give to one another when we get into a room with guitars, amps and drums.

We seem to have a lot of unspoken expectations of each other and what we expect of the material

* How did you guys approach the song writing on this album compared to your 2015 demo?
The 2015 demo actually contains 3 songs that were eventually re-recorded and put on the debut album. In terms of songwriting, we work very organically. We have songs that were written very quickly, while others were really labored over for months. Typically, I’ll come to practice with some riffs that work well together and throw them at Erica and Nate. At that point, it’s a very democratic process to turn it into a song. We seem to have a lot of unspoken expectations of each other and what we expect of the material, so knowing when a song is done just sort of happens on its own. Bouncing ideas off of each other to see a song to fruition is one of the primary joys we take from being in a band together.

* When recording did you plug straight into the desk or do it old school mic’ing up a couple of Marshall stacks?
Well, nobody in this band uses Marshalls at the moment, but it was definitely a case of plugging into amps and letting them rip. We’re certainly not opposed to using modern technology in the studio, but we really dig our live setup and try to capture those sounds in the studio. That said, we do experiment in the studio when appropriate. Overall though, the sounds you hear on the album and how we sound live are pretty much in line.

* As a guitarist what are your thoughts on digital versus analog rigs? (I have seen bands wheel in massive stacks of cabinets into clubs and see guys come in with a digital rack and a guitar. The old days it was definitely about tube amps to get your sound but it definitely seems like the digital effects have come a long way)
The only rule I have is if it sounds good, it is good. I play in a couple bands, and my gear choices really come down to what serves the song and the vibe of the band. For Sanhedrin, my rig is pretty much all analog. That said, I don’t have a moral opposition to using digital gear if it gets the point across. They’re just tools used to create the big picture. If it serves the material, I will use it no matter what.

* What tricks did you learn production wise that you utilized in your debut album?
The most important thing we did was demo the whole album on our own before going into the studio to make it for real. It’s an important process to sit back and listen to things critically and demoing songs allows you to do that. It also saves you a lot of time in the studio later mulling over small details that chew up precious time. You may hear things quite differently when you’re able to focus on the material without also having to play it. It sort of puts things into perspective so that you can visualize what you want the record to be before you go into a studio and spend precious time and money recording.

Our backgrounds lend themselves more to a realistic take on the world and a desire to bring attention to some of its ugliness

* Subject wise you guys write more about “real life” versus lyrical content of traditional hard rock bands (sword and sorcery etc) what was the deciding factor is taking that route?
Erica is the primary lyricist for the band, so I don’t want to totally speak for her on that front. That said, I think our environment and our backgrounds lend themselves more to a realistic take on the world and a desire to bring attention to some of its ugliness. There are some themes and metaphors that are less direct in some of our lyrics, but Erica definitely has something to say with her lyrics and Nate and I back her intentions 100%. I personally think that the lyrics are the most important aspect of the band’s music, and Erica delivers them with an emotional fire that is a real as anything I’ve ever heard. The world is in a real state of tumult right now, and it’s no coincidence that we titled the album as we did.

* You guys worked with Colin Marsten on this album right. He is reknown for his work with NYC extreme bands. Why did you choose to use to work with him?
My other band Black Anvil did our last record with him prior to Sanhedrin working with him, so I was already familiar with his studio and his demeanor. He was one of a few names we were looking at as the album was coming together, and it all lined up to where he became our top choice. While he is best known for working with more extreme metal bands, I knew that he would be able to understand what we were going for with our music and capture it. He has a very organic approach to recording and a great disposition as an engineer. Upon hearing the final product, I can’t imagine having had anyone else record this album. All 3 of us are very pleased with how it turned out sonically.

* What’s the reaction been to the new album so far?
We’ve been pleasantly surprised by the reaction. We self-released it, so we didn’t have the PR machine of a record label to put it out there. We just told our friends, put it up on Bandcamp, and the word continues to spread! We’ve gotten messages from people from all over the world telling us how much they like it, which is gratifying. It’s really cool to cut the middle man and bring your art straight to the people and let them do what they want with it.

* I know I have seen you guys play a bunch of times on NYC – but have you done much national touring yet? If so whats been your favorite city to play?
We actually have not played outside NYC yet unfortunately. Black Anvil has had a really busy touring schedule this year, so I’m mostly to blame. That said, Sanhedrin is definitely looking to get out there and play wherever people will have us in the coming months and years.

We’ve been able to share bills with amazing bands, both local and national, that we may not have if we were elsewhere

* Speaking of playing NYC what would you say are the pros and cons of being a band in NYC – I know probably half the bands in the country would die to relocate to a major city like NYC or LA and half the NYC bands would die to move out to say Richmond VA or Philly.
There’s a lot to like about being in a band here. We’ve been able to share bills with amazing bands, both local and national, that we may not have if we were elsewhere. I think my favorite thing about being a musician here is being in a melting pot of music in general. Every type of music has a home here, and you get exposed to sounds from all over the globe living here that people who live in less diverse places may never get exposed to. I’m a generally curious person, so hearing all these different sounds definitely informs what I do.

There are drawbacks too. The obvious one is the cost of living, which is really high here. Couple that with making music in an era where it’s been devalued in a lot of ways, and it can be stressful sometimes. It’s also tough to find rehearsal space, and venues have a hard time staying afloat here too. That said, there are a lot of great people here who work hard to put on shows and keep things vibrant in the face of hardship.


* Have you guys played overseas as Sanhedrin yet? If not any plans to do so?
We would love to get overseas. In fact, our record is doing pretty well in Europe so we would like to go over there and play for all the great metalheads over there. All in due time I suppose.

* Sanhedrin is Greek for “assembly” or “council” right? What does the name mean to you guys?
It is Greek as well as Hebrew. I suggested the name when we were trying to figure out what we should call ourselves. We feel like naming the band after a “council” accurately reflects our creative process. In terms of songwriting and how we go forward with presenting our art, it’s important that we do so with a sense of unity amongst each other. We make the decisions as a team, not as one individual telling everyone else what to do.

We will be playing a couple shows in the Bay Area of California

* What can we expect from Sanhedrin in 2018?
Well, in January it looks like we will be playing a couple shows in the Bay Area of California. We’re still working out the details, but we are really look forward to that. Erica used to live out there and played in some pretty accomplished bands, and I know she’s excited to show her old friends what she’s been up to lately. After that, we hope to get out of town when we can and spread the word of Sanhedrin with as many people who will listen. We’ve also begun writing the next album, and I expect we will get a lot done on that front in 2018 as well.

* Any final words?
I just want to give a big “thank you” to everybody who has supported us to this point. We have been pleasantly surprised and touched by the feedback coming our way upon releasing “A Funeral For The World.” It’s been very encouraging and we hope to see as many of you all as we can in person in the coming year.


Interview with Crypt – Aussie Death Metal Legends

Today I spoke with Nathan from Crypt, Aussie Death Metal legends – for those who don’t know they were a big name down under who were active from 1990, splitting in 2000 only to reform in 2016. here’s my interview with guitarist Nathan

Why the break for so long? Were you guys all doing the family thing or?
At the time we stopped in 2000 the band had run out of gas. There was no plan to any of it, we just went our separate ways. I kept playing in bands and Cliff was doing Audio stuff, Allan was drumming in the Hymies for a long time too. Resurrecting the band happened naturally, Chris from Infernal Devastation asked Cliff about reissuing the 90s stuff which got us back in touch with each other. Initially it was just going to be about making the music available again but eventually the idea of us playing became a big deal to us all so we booked some shows that went really well and before long I was writing new songs.

The scene has a renewed energy with so many younger people being into it, there’s some exciting new bands and labels around- its great!

How has the DM scene changed since you have returned?
The scene has a renewed energy with so many younger people being into it, there’s some exciting new bands and labels around- its great! There’s also a lot more scope in metal now, it used to be metal and nothing else, now people into extreme metal listen to all kinds of stuff, its really helped to broaden the sound of extreme music, from stuff like SUNN O)))) to some of the newer synth stuff like Pertubator and S U R V I V E, even extreme noise shit like Russell Haswell or Fushitsusha is likely to be found in record collections that contain a lot of metal. Look at a band like Faceless Burial, all 3 of them are in other projects, Max and Alex play ALL kinds of music.

How was it to play with Nocturnus? Were you in contact with them in the early days?
It was great to see Nocturnus, although I would have loved it if Mike Davis was on guitar, that guy was out of control. I wasn’t in touch with them back in the day but those first 3 Nocturnus releases (up to the 7″) are killer, The Key is obviously a classic.

Both Death Metal and to a slightly lesser extent Black metal have thrived in Australia – do you see much similarities between the Queensland DM scene and say the Tampa one of the late 80s early 90s?
Not much other than both places being humid.

Brisbane has a very rich history of interesting bands. It’s a strange place.

Can you tell our readers what the scene in Queensland is like these days?
I moved to Melbourne in 2004 so didn’t have much to do with the current scene there until recently. It kind of feels much the same these days, there’s a lot of metal and punk bands around and only a couple of venues so not much has changed there. I’ve always found the scene in Brisbane a little claustrophobic being a smaller town there’s the same faces at every gig when it’s a local band, and a whole other crowd that appears for internationals. That said, Brisbane has a very rich history of interesting bands. It’s a strange place.

What are your thoughts on the new cannibal corpse album?
Haven’t heard it, I stopped listening to them when Chris Barnes departed.

How did the deal with EVP come about?
I work at the label, we were originally going to self-release but Mike who runs the label was keen to do it on EVP so of course we said yes!

Bandcamp exists now, not just an awesome place to discover music but a great tool for bands/musicians/labels.

Is there anything you miss from the old days of the scene? Eg: writing letters instead of emails? The thrill of discovering new bands and hunting down rare import copies of their vinyl etc?
Not really, it’s much easier now to get your music heard – there was no internet when we started out hahaha. It was exciting discovering new stuff back then but a lot of that had to do with our ages at the time I think. The 90s were a bad time for vinyl, it got to the point where new albums didn’t even come out on wax, whereas now everything comes out on vinyl. And venues are much better now, they usually have good PAs! I’m not all that sentimental for the ‘good old days’, things are just as good now, you just need to work a bit harder to cut through all the crap that’s out there. also Bandcamp exists now, not just an awesome place to discover music but a great tool for bands/musicians/labels.

Has your guitar set up changed much over the years? What would you tell your younger self if you could send one message back in time as far as guitar playing or gear?
Yeah it’s much better now I can afford real good shit haha! But the basic idea has stayed the same -using a tube head with built in gain, and a flanger pedal. I’ve never found a distortion pedal I’ve been totally happy with. Back in the 90s I was using a Peavey Ultra Plus head, now I have a 50W Soldano head in tandem with a Fender Prosonic head, the gain in the Soldano is the best I’ve ever heard. If there was one ‘gear’ related thing I could tell my younger self it would be to buy as much 70s Fender stuff as I could, it was real cheap in the early 90s and is worth a fortune now!

We’re definitely wanting to play in the USA next year

What goals would you love to achieve this time around?
Yeah playing MDF would be amazing. We’re definitely wanting to play in the USA next year, we have tentative plans to do so in the 2nd half of 2018. There’s almost an albums worth of music written for a new Crypt album so hopefully we can get that out next year too. We’re spread out across Brisbane/Sydney/Melbourne so we need to plan when we’re going to get together and get the most out of it, we only tour once a year so generally recording is done at the same time while were all together.

Any final words?
Thanks for the interview! Anyone interested in what we’re up to head to our facebook page –

All Pigs Must Die share the title track from Hostage Animal

All Pigs Must Die share the title track from their upcoming album Hostage Animal (Southern Lord) as the release date nears on the 27th October. Hostage Animal is a 10-song album that distills aggressive music to its purest tenets. The band, now a 5-piece with the addition of Brian Izzi (Trap Them) on guitar, is comprised of some of the most well-seasoned musicians on the eastern seaboard — Kevin Baker (The Hope Conspiracy), Ben Koller (Converge), Matt Woods, and Adam Wentworth (both of Bloodhorse). Hostage Animal is their most dynamic collection of work thus far; concise, intense, aggressive and carrying a bleak world view.

APMD unleashed their first full length in 2011 with God Is War, and the 30-minute rip was a nod to primeval disdain and anger. Exploring facets of human conflict one track at a time, God Is War introduced the world to a whole new spectrum of rage. In 2013, APMD upped the ante with Nothing Violates This Nature. Honing their craft with more speed and filth, APMD pushed their sound closer to the edge of the cliff. Now, in 2017, the band is gearing up for the release of Hostage Animal which, like its predecessors, was recorded at Kurt Ballou’s GodCity Studio. But that is where the similarities end; Hostage Animal ushers in 10 new songs that pulverise, gnash, and whirl with the band’s most punishing delivery yet.

Hostage Animal showcases that All Pigs Must Die are far more than the sum of their parts, and their fusion of crust punk, hardcore and metal is more ferocious than ever before.
Live dates:
October 19 Brooklyn, NY @ Saint Vitus
October 20 Boston, MA @ Great Scott
October 21 Providence, RI @ AS220

Kevin Baker (vocals)
Brian Izzi (guitar)
Ben Koller (drums)
Adam Wentworth (guitar)
Matt Woods (bass)

Hostage Animal, Track Listing:
1. Hostage Animal
2. A Caustic Vision
3. Meditation of Violence
4. Slave Morality
5. End Without End
6. Blood Wet Teeth
7. Moral Purge
8. Cruelty Incarnate
9. The Whip
10. Heathen Reign

further info:

French Atmospheric Black Metal Band Cepheide release their new album Saudade

Oh man I just love these guys..last week French Atmospheric Black Metal band Cepheide released their new album Saudade. I don’t know about you guys but I am old and jaded and have “heard it all before” but someone these guys always continue to push the boundaries of Atmospheric Black metal, with their music.

Here is the link to the bands bandcamp – listen to it and at the very least go to their facebook and give them a like – at the best buy the damn album from them even if it is just the digital download. If anyone deserves your hard earned money its these guys.

album cover and tracklisting below:

1.I.Une Nuit qui te Mange 09:56
2.II.Madone 06:31
3.III.La Lutte et l’Harmonie 07:47
4.IV.Le Cinquième Soleil 07:18
5.V.Auréole 08:54

more info:

Here is an interview I did with the band December last year : click here

BEASTIALITY set release date for INVICTUS debut, reveal first track

Invictus Productions sets December 15th as the international release date for Beastiality’s highly anticipated debut, Worshippers of Unearthly Perversions.

Although their moniker might suggest bestial metal in the mold of Beherit and other elder gods, Beastiality instead brim with the sulfurous sensation of classic blackthrashing METAL. Indeed, they rise from the sewers of Stockholm and become the very bastard sons of plutonium anthropology, whiplashing a filth and fury that can only be harnessed through sheer iron will. Not to mention copious amounts of alcohol, and else… For verily, Worshippers of Unearthly Perversions is aptly fucking titled: Beastiality explode with unremitting violence and force as well as pure Piledriving perversity, ancient servants of darkness to the very, vomitous end.

Beastiality was formed in Göteborg, Sweden in 2011 by Heinrich and E.von (guitar and bass, respectively) with the aim to shake the dead corpse of extreme metal and provide a dignified final chapter to the already dead scene in Sweden. In 2012, they recorded their debut demo, Ancient Bell Chimes, and relocated to Stockholm, where other members joined the band: Axxxelerator on drums, Funeral Führer on guitar, and M. Molester on vocals.

The Ancient Bell Chimes demo was released in the spring of 2013. Some new songs – “Shadowside Path,” “Sadistic Fornication,” and “Apocalyptic Storm” – were recorded later that summer. “Apocalyptic Storm” was included on the compilation Evil Spells vol. 1, released by Electric Assault Records and Stygian Black Hand in 2014. The same year, the band was unveiled for a couple of public manifestations onstage and also recorded their upcoming debut album, Worshippers of Unearthly Perversions.

Says the band, “After some curses and struggles which struck upon us during the recording of the album, we are now ready to reap the foundation of the earth!”

Too fucking right. Comprising newly recorded versions of “Apocalyptic Storm,” “Stanken av uråldrig död,” and “Shadowside Path,” five more brand-new tracks buttress the record to poison the mind with utterly RIPPING classic ’80s black/speed metal mutated in decaying city ruins. Worshippers of Unearthly Perversions will be the lethal forcefuck on mankind and stand out from other contributions of the hipster scene of today! DRA ÅT HELVETE!!

In the meantime, hear the new, album version of “Apocalyptic Storm”

Please note that the band’s logo shall be embossed on the cover art.
That cover and tracklisting are as follows:

Tracklisting for Beastiality’s Worshippers of Unearthly Perversions
1. The Mist of Mayhem
2. Witchblood
3. Sadistic Fornication
4. Riders of Imminent Death
5. Apocalyptic Storm
6. Hill of Crucifixion
7. Stanken av Uråldrig Död
8. Shadowside Path

BEASTIALITY lineup 2017:
E.von – blitzkrieg bass
Heinrich – holocaust guitars
E.Jaculator – genocide guitar
Axxxelerator – extermination drums