Issue 3

DISTORTED SOUND FESTIVALS | GIGS | BLOGS | ALBUMS | SINGLES | OPINIONS | INTERVIEWS & MORE

EXODUS EYEHATEGOD LAMB OF GOD GORGOROTH POWERWOLF MUCH, MUCH MORE...

EDITORS NOTE. Hey!

My name is Jim Forsyth, I am in control of the layout and overall design of this magazine - this issue is my first where I have taken the reigns with the aesthetics. Over this issue and the next we will be in a transition phase, finalising designs and ideas to give this mag a decent professional look. Between now and issue 4 things will be changing, things may well get different beyond that too - this is the sort of thing where things can be chopped and changed to match the needs of us in the DISTORTED SOUND staff, and the needs of you guys.

Whilst designing this current layout I have shot for a simplistic look that can still convey information effective whilst still being nice to look at, at least to us, but if there are any suggestions you, the reader, want or any ideas you guys think might work for us feel free to hit us up on our Facebook page (which I’ll include below).

Let me say that the rest of the team and I are so thankful for everything you guys do for us, we wouldn’t be able to do it without you. So please enjoy this months issue and let us know your thoughts! <3 Jim facebook.com/DistortedSoundMag distortedsoundmag.com

Staff.

Jim Forsyth

Katie Louise Needham

Jessica Howkins

David Creamer

Alex ‘Jay’ Piercy

Alison Clare Pitcairn

Robert Bieganski

Laura McCarthy

Tim Redman

Becky Callaghan

James Weaver

Neale McGeever (Welcome Dude!)

Jack Fermor-Worrell

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DISTORTED SOUND ISSUE 3

4 - Editors Note/Writers 5 - Contents 6 - Damnation Festival 2015 Poster 7 - Ghostfest 2015 Poster 8 - Choice Cuts 9 - INTRODUCING - Shiraz Lane 10 - INTRODUCING - Visons of Disfigurement 11 - Carnifex Decade of Dispare EU Tour Poster 12-13 - Amoral 14-17 - THROUGH THE AGES - Lamb of God 18-20 - Cut Up! 20-22 - FEATURE - Between the Buried and Me 23 - New Comic!

24-25 - Russkaja 26-27 - Powerwolf 28 - Glastonbury 2015 29 - Thy Art is Murder 30 - EYEHATEGOD 31 - Exodus 32 - Thy Art is Murder Takeover Tour Poster

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AD SP

PACE

CHOICE CUTS

Whats the DISTORTED SOUND crew been listening to this month?

Tim Redman (Writer) Ghost BC – Infestissumam

Jess Howkins (Writer) Faith No More Sol Invictus

Alison Pitcairn (Writer) Thy Art is Murder Holy War

Jim Forsyth (Design) While She Sleeps Brainwashed

David Creamer (Writer) EYEHATEGOD EYEHATEGOD

Jack Fermor-Worrell (Writer) Lindemann Skills In Pills

James Weaver (Lead/Boss Hog/Head Honcho) Lamb of God - Sturm Und Drans (and we’re all very jealous.)

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INTRODUCING

For emerging bands in the Helsinki metal scene it can incredibly difficult. With the scene over-populated with countless bands, making a name for your own is one mammoth task. Yet for Helsinki rockers Shiraz Lane, the Finnish five piece have crafted a sound that is deeply rooted in those who came before.

Taking influence from the likes of Mötley Crüe, The Darkness and Guns ‘N’ Roses and then applying a modern approach, Shiraz Lane are accessible, talented and at the utmost; fun.

Through solid riffs, soaring vocal work and impeccable solo play, the Finnish youngsters aim

to redefine what makes rock music so revered in the alternative community.

Whilst the band are still unsigned to a major record label, the talent and drive of Shiraz Lane has never been stronger. With their debut EP, Be The Slave Or Be The Change, released in May of this year and performances in Japan, Finland and Canada, the band are taking their first steps in a promising musical career.

They may still only be in their 20s and whilst some may perceive them too naïve to make a name for themselves, Shiraz Lane are a breath of fresh air in a stale modern rock scene.

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INTRODUCING

INTRODUCING

The Manchester metal scene has seen a revival of sorts over the past five years and Visions of Disfigurement champion all things brutal.

Whilst slam and brutal death metal have become stale with the scene suffering an over-population of bands, Visions of Disfigurement have created a sound that replicates the sound of the grotesque. With one EP, 2014â&#x20AC;&#x2122;s Miscreated, and a split with Chainsaw Castration, the band have firmly solidified their mark in the underground UK slam movement and rightly so. The band have enjoyed success through tours and performances with the likes of Operation Cunt Destroyer and Chainsaw Castration and have performances with Norwayâ&#x20AC;&#x2122;s mighty Kraanium scheduled for August and an appearance at the prestigious UK Slam Fest in Leeds in September.

Slam may have become stale but for Visions of Disfigurement, they are a product of everything they champion. This is what death metal should be; brutal, fast and oh so heavy.

For Fans Of: Kraanium, Devourment, Cannibal Corpse

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AD SPACE

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2 page Words by James Weaver

Finland has always been known for producing some of metal’s biggest names, from Children of Bodom to Nightwish, the land of the thousand lakes has always exported metal bands of the highest quality. For Amoral, the band have endured in the Finnish metal scene for nearly two decades and now, at Finland’s iconic Tuska Festival, the band are ready to unleash their seventh full length studio record.

For Ben Varon (guitarist) and Niko Kalliojärvi (guitar/growls), the band are ready to return after an absence from the live music scene.

“The Tuska after party is our first show as a six piece and our first show in like seven or eight months because we have just been writing and recording, so it is going to be interesting in so many different ways” says Ben. With a rather hefty absence from performing live, both Niko and Ben are excited to finally take to the stage

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again. Yet Amoral’s return is something new and exciting, as the band are now actively a six-piece band, which often can cause complications to a band’s sound. Ben is confident that Amoral’s return is something fans can look forward to and get excited for, “We now have two singers we need to think about but also Niko is taking over some guitar duties while Masi (guitar/ keyboards) who used to play just guitar is now our keyboard player for some songs” explains Ben. “Some songs have three guitar players so it is a big mix of musical chairs!”

Amoral’s as of yet unnamed seventh studio record is penned for a release in 2016 and for both Ben and Niko, they explain how the band have put their all into creating a record that is both dynamic and aggressive. “I’d say it’s both. I think it’s a very natural continuation from Fallen Leaves & Dead Sparrows but also

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feature of course things have changed since Niko coming back” explains Ben. “I think on one side it’s going to be more experimental like the last album by being dynamic with lots of different sounds” adds Niko. “And on the other side it will enable us to bring back more of the aggressive side. Ari (lead vocals) has done some of the extreme vocals too but have we have two guys so everybody can focus on something.”

With Finland exporting so many household names in heavy metal, for new and upcoming bands it can be extremely difficult to build a name for your own. Yet for the heavy metal fans, Finland is a country where metal is cherished and accepted in modern society, Ben and Niko see metal in Finland as commonplace. “Metal is incredibly big here, there are a lot of bands so there is a lot of competition but I think that is a good thing because it keeps everyone on their toes”

says Ben. “With Scandinavia in general, bands seem to be more innovative, then it becomes a standard! The rest of the world is very talented for making it a working brand” adds Niko.

With the new record set to drop next year, Amoral are planning for world domination.

For both Ben and Niko, they see touring as a chance to see the world and do what they love; performing live. “We hope to go everywhere, that’s always been the case. We will literally play anywhere! We love to see new places” explains Niko. “it’s not really about getting any money from it, it’s just experiencing everything. The live show anywhere it is will be cool, it’s just a huge bonus to see new countries and play different cities” adds Ben. “I love travelling, that’s what I spend my money on. So to do that and play shows is the best thing ever!”

Words by James Weaver

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Words by James Weaver

THROUGH THE AGES

Virginia’s Lamb of God have been at the forefront for heavy metal in the 21st century and ahead of their hugely anticipated seventh studio record, ‘VII: Sturm Und Drang’, Distorted Sound takes a look back over the history over one of metal’s most cherished modern icons.

Although Lamb of God’s history begins in 1994, it wasn’t until the turn of the millennium in the year 2000 when the band become known as Lamb of God. The six years prior to this the band’s history officially falls under their

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previous name, Burn The Priest. The roots of Lamb of God track back to 1994 whereby guitarists Mark Morton and Matt Conner, bassist John Campbell and drummer Chris Adler started Burn The Priest. Shortly after Burn The Priest’s inception both Mark Morton and Matt Connor left the band to pursue master’s degrees leaving the void to be filled by Abe Spear and after three demos in 1995 the band recruited, soon to be iconic, vocalist Randall Blythe.

With Mark Morton returning to the band in

1997, the band’s first length studio record, Burn The Priest, was released via Legion Records in 1999. Chris Adler’s younger brother, Willie Adler, replaced the departed Abe Spear, the final lineup was complete and the wheels were in motion for the band to start their domination of modern metal. Following a deal with Prosthetic Records, the name was changed to Lamb of God due to the altered lineup and more importantly to avoid being associated as a satanic metal band.

With the guidance of a new record label, a fresh faced

Lamb of God released their second studio record in 2000, New American Gospel. With a sound that was considered to draw similarities of Pantera, the record was a success and the band toured for two years in support for that record. 2003 marked the band’s next studio effort, ‘As The Palaces Burn’, which improved the band’s momentum dramatically with increased radio airplay and praise from respected publications with Revolver Magazine and Metal Hammer granting the record the number one album of 2003. The success for ‘As The Palaces Burn’ led Lamb of God to play on the

first Headbanger’s Ball and the subsequent release of their first live DVD, ‘Terror and Hubris’.

Not even a year after the release of ‘As The Palaces Burn’, Lamb of God returned with

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their fourth studio record, ‘Ashes of the Wake’, via yet another new record label, Epic Records.

With a richer and a finer balance of brutality and groove, the record debuted at number 27 on the Billboard 200 and sold over 35,000 copies in its first week of release. ‘Ashes of the Wake’ was also the first time the band had collaborated

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with gust musicians with the title track featuring Alex Skolnick and former Megadeth guitarist Chris Poland. This record cycle also featured the release of Lamb of God’s second live DVD, Killadelphia. Lamb of God extensively toured the record, with a slot on the second stage of Ozzfest in 2004 and 2005’s Sounds of the Underground

Tour being particularly successful highlights.

Considered Lamb of God’s most commercially successful record, 2006’s ‘Sacrament’, doubled the sales of ‘Ashes of the Wake’ with 65,000 copies sold in the first week and a Grammy Awards nomination for Best Metal Performance the track ‘Redneck’ in 2007. ‘Sacrament’ also paved the way for the band to appear on huge worldwide shows and tours; which included the Unholy Alliance tour with Slayer, Mastodon and Children of Bodom, the Gigantour supporting Megadeth, the main stage at Ozzfest, an appearance at the UK’s Download Festival and a co-headlining tour with Killswitch Engage.

This ultimately extended Lamb of God’s fanbase to new territories across the globe.

In the space of time between ‘Sacarement’ and the band’s next studio record, Lamb of God released their next documentary, Walk With Me In Hell, in July 2008. The same year the band commenced work on the follow up to ‘Sacrament’ and embarked on a worldwide tour as a direct support act for Metallica. Taking hold of new advancements in technologies, Lamb of God, allowed their now-swelling fanbase to view online the recording process for ‘Wrath’ which was released in February, 2009. Wrath was a success both critically and commercially with the record selling over 68,000 copies in its first week and a number 2 debut spot on the Billboard 200. With the momentum now at full speed, Lamb of God embarked on a headline world tour which included a headline slot at the UK’s Defenders of the Faith II tour, headlining the No Fear Energy Tour and supporting Metallica on the World Magnetic Tour alongside major European festival appearances. With a worldwide metal domination in their sights, 2009 closed with Lamb of God performing headlining shows in Australia and New Zealand.

Still in support for ‘Wrath’, Lamb of God performed in the Philippines for the first time in April, 2010, headlined the Summer Storm Festival in Bangalore marking their first appearance in India and performed at Download Festival for the third time. The band also released an exclusive single for the Iron Man 2 video game that become available as a digital download in February 2011 which also

signalled a return to the studio for Lamb of God to start recording their next studio record.

Towards the closure of 2011, in October, the band revealed that their sixth studio record, ‘Resolution’, would be released on January 24th 2012. Throughout the first half of the year, Lamb of God started to tour extensively in support of the new record with performances at Soundwave Festival in Australia and Download Festival in the UK, yet it was to be short-lived.

June 27th 2012 started a period in Lamb of God’s history which was never foreseen and embarked the most turbulent period in the band’s musical careers. On June 27th, Randy Blythe was arrested by the Czech police for his actions during a performance in Prague two years earlier. Blythe was charged with committing intentional bodily harm after an incident in which a 19 year old fan climbed up on stage and when pushed, hit his head on the floor and later died of the injury. The allegations of manslaughter forced Lamb of God to cancel all remaining tour dates. Following a lengthy trial and court costs which depleted the band’s funds for their planned eighth studio record, on March 5th, 2013 Randy Blythe was found not criminally liable for the fan’s death.

Following the closure of the most turbulent and emotion-driven period of Lamb of God’s career, the band finalised performances at festivals, including a headline performance at the UK’s Bloodstock Festival, and took a two year hiatus in an attempt to recover and regroup. Following a two year hiatus that featured little activity from the band, in April 2015 Lamb of God began teasing via their Instagram and Twitter accounts about their upcoming seventh record using the title ‘Lamb of God VII’. In May 2015, the band announced that their seventh studio record would be titled ‘VII: Sturm Und Drang’ and would be considered to be the band’s seventh studio record, therefore not taking into account the band’s first record under Burn The Priest.

Lamb of God also revealed that record would be released worldwide in July via Nuclear Blast Records. Despite the trials and turbulences of the past several years, Lamb of God have remained at the summit of modern heavy metal.

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RUMBLINGS FROM THE MORGUE VOMITORY’S demise was a sad day for death metal fans the world over. So when it was a nnounced that drummer Tobias Gustafsson and vocalist/bassist Erik Rundqvist had put together a new band, with the intention of putting out another filthy slab of death, there was an understandable excitement. We spoke to Tobias about the end of VOMITORY, starting CUT UP and their upcoming new record .

VOMITORY were one of the leading acts in the Swedish death metal scene and the band disbanded amicably at the end of 2013.

“From my point of view, VOMITORY had come to an end.” Tobias states. “It was time to call it a day anyway. We had a blast during all the years and I think we ended the band

in a respectful way, with our heads held high and at a high point in the bands’ career.”

A career that had spanned twenty-four years and eight full length records, VOMITORY were important in the birth of the death metal scene itself. There are clearly still fond memories of those early years for Tobias. “That special feeling when the death metal scene was boiling, but still hadn’t quite exploded yet. It’s something very difficult to explain. That world, that small bubble, was fantastic to be in. We felt immortal.”

VOMITORY may not have turned out to be immortal but the passion for making death metal clearly was, with the foundations for CUT UP being laid in the following months.

“Very soon after the final VOMITORY show, me and Erik started talking about putting

“I’m sure that death metal will last forever”

together a new band. Because Erik and I Nightmare CUT UP show their pedigree. The both felt the urge to keep playing together.” production on this record is crushingly heavy, the lyrics deal with death and horror and the artwork The duo picked up ex-live VOMITORY guitarist is a colourful gory mess. The eleven tracks on Anders Bertilsson and vocalist/guitarist offer here are all your traditional offerings, no Andreas Björnson, before setting out to record pomp or ceremony. The album and attitude of an album. Despite the musical similarities with CUT UP is delightfully old-school, perfect for what the members had been involved with the death metal they play. As Tobias himself says before, none of them had ever been in a band “It was all very offensive and a little mysterious, with two vocalists and according to Tobias this which is cool when you’re in your late teens. But was a cause of excitement. “When we write and it’s fucking cool in your 40’s too haha! At this play death metal the way we like it, this is how point, I’m sure that death metal will last forever.” it turns out. We knew from the start that we wouldn’t reinvent the death metal wheel, but we WORDS - TIM REDMAN knew that we could spew out contagious killer death metal, and making it fresh sounding.”

Killer it is. From the very first track of Forensic

DISTORTED SOUND MAG. Words by Jack Fermor-Worrell

With their newest album Coma Ecliptic out this month, plus tours in both the US and Europe, BETWEEN THE BURIED AND ME look set to have a great year. Distorted Sound sat down with guitarist Paul Waggoner recently to discuss it all.

“I would say it’s kind of the next evolution in our sound”, says Waggoner of the record, “We’ve been growing into a more progressive, more melodic classic prog vibe with our last couple of records and this is just another step in that direction I think. There’s probably more melody I think, definitely more clean singing”

The Coma Machine, to the cleaner, more serene guitar parts of Rapid Calm and Life In Velvet. It’s a rather long record too, with most tracks around seven minutes long, and containing multiple distinctive sections. Having an almost 70-minutelong record is quite a brave move, but one that ultimately pays off for Between The Buried And Me.

Coma Ecliptic marks yet another step for the band into the realms of the concept album after The Parallax, thanks to vocalist Tommy Rogers. “It’s about a guy who is voluntarily put into a coma state who then traverses all of these past lives he’s supposedly lived”, explains Waggoner “He’s essentially looking He’s certainly not wrong – as a whole, Coma Ecliptic for a better life to what he’s currently living, so exhibits a huge range of different sounds – from the storyline follows this character through all crushing metal riffs and breakdowns of tracks like of these different planes of existence he’s been

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on. And then of course he realises when it’s too the case that there’s just too many for us to even late that his present life wasn’t so bad after all”. really name”, says Waggoner, “We all write music for the band, so you have five people basically It’s a lofty concept, but one that becomes more coming up with different ideas and building from understandable when listening to the album in full. those ideas. We’re each individually influenced by First single, the “classic prog” inspired Memory so much stuff that when it all comes together, it just Palace is perhaps the best snapshot of Coma sounds like Between The Buried And Me”. Despite Ecliptic’s overall sound – almost ten minutes long, this, Paul does reveal that some of the guitar work the track alternates between clean, melodic vocals in tracks like Famine Wolf was inspired partly and dark, guttural growls seemingly at random. It’s by the bands Blotted Science and Watchtower. a lot more accessible than it sounds, mostly due to the sheer proficiency of the musicians behind it. One area where Coma Ecliptic excels as an album “We released that song first just because we thought is in its balance between the heavy and the more it was a good representation of the direction of the melodic sides of the band. One minute you’ll whole album”, Paul states, “It definitely stands alone be hearing almost ethereal sounding guitar and though as being the most classic prog-rock inspired keyboards, the next a furiously fast distorted riff track on the record. Some of the guitar tones are very with venomous growling layered on top. “We minimal gain, in kind of an homage to the sounds of always try to focus on the dynamics in a song or on the 70s. There are definitely some heavier songs on an album, we try to make it have peaks and valleys”, the album and there’s even a song or two less heavy Paul explains, “To us, when you write a 70-minute than it but I feel that overall that one was a good record, it’d get kind of boring to listen to if it were all representation of the overall feel we were going for”. the same thing, so we like to try and mix it up a little bit and have it be a journey from start to finish”.

Between The Buried And Me have always had a deeply complex style, with a range of musical The band are currently on tour in the US and Canada influences across several genres. “I think it’s always with Animals As Leaders and The Contortionist,

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a mammoth trek set to last until the middle of August. “Those are two of our favourite bands and some of our good friends so we’re certainly excited about that”, Waggoner says of the US trek, “We’re really excited to share the road with those guys and share the stage with them”. A short series of UK dates is also on the cards for September, with the band due to hit Southampton, London, Manchester, Glasgow, Leeds, Nottingham and Brighton.

With regards to setlists for the upcoming tours, Waggoner claims the band expect to play Memory Palace, Famine Wolf and The Coma Machine from the new record, alongside older material. He also notes how they hope to be able to play the album in its entirety on tour in the next year, as with The Parallax II and Colors. “I think when we write albums like this, we have the intention of presenting them live in their entirety”, Paul notes, “It’s a challenge to do but it’s a lot of fun. We wrote the album to be listened to as one piece so obviously we want to present it live in the same way. Sometimes if you just play one song it feels unfinished because you’re used to expecting it to go into the next one”.

With such grand ambition, and an excellent

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release to back it up, Between The Buried And Me are undoubtedly a band to watch in future. Miss their UK tour at your peril.

Coma Ecliptic is out July 10th via Metal Blade Records.

Between The Buried And Me tour the UK in September.

Words by Laura McCarthy

If there’s a kind of music you probably haven’t heard much of its, Russian turbo Polka. However, RUSSKAJA have you covered. Originating from Vienna, RUSSKAJA bring fun, energy and a completely new blend of musical influences within the new record, Peace, Love & Russian Doll. It’s a big chunk of sound to dive into, but what a party it is!

The band consists of Georgij Makazaria (vocals), Dimitrij Miller (bass), Engel Mayr (guitar), Mia Nova (violin), Rainer Gutternigg (trumpet), H-G. Gutternigg (potete)unfortunately it’s hard to actually find out what that is- and Mario Stübler (drums), together

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they make a rather big and rather glorious din.

Rock and Roll Today kicks the record off like the biggest knees up you could imagine. It’s a carnival of a sound, trumpets, guitars and drums. High levels of dancing, jumping and singing could be induced from this track, so you have been warned. It’s a hell of an opener, and definitely what you want after a few drinks down the hatchet. We swing on in to Slap Your Face, a funkier, ska sounding track, which is just as fun and humorous and keeps the movement up.

Hometown Polka feels more “traditional”, if anything could be categorised as such on Peace, Love & Russian Doll, with Russian lyrics and a

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more toned down tempo. However, RUSSKAJA change direction again in There Was A Time, an acoustic track with a little more of an emotional heart. However, while it’s easy to take these tracks as jest, there’s some very good melodies in this album that you have to be impressed with.

Mon Amour is something of a love song, and partially making fun of such big blaring ballads.

Taking again a rising tempo throughout the track, the Russian lyrics work perfectly integrated with the English. Certainly RUSSKAJA don’t like to be boxed in with their sound. The best way to depict this track is part football chant, part rowdy Slavic wedding.

Seriously, it’s got to be listened to to be understood.

Slowing down again, we come to Salty Rain, another flamboyant song with a sadder quality.

There might be a few references to alcohol in this review, simply because it feels like this record has completely lacking in inhibitions. Even this more heartfelt track feels a little tongue in cheek, one for the heartbroken to belt out sound the feeling take them. One would imagine it quite cathartic.

You are the Revolution is probably as heavy as you’re going to get on that Peace, Love & Russian Doll. Actually, Makazaria’s voice suits

this more aggressive performance just as much as his hearty performances on earlier tracks, before slowing into a very beautiful trumpet instrumental. Poking fun or not, this is still a cracking addition to this already eclectic album.

Radio Song is a complete play around with the good old American Country/Blues that even Johnny Cash would crack a smile at it. Coming to the close, the album finishes as strongly as it starts with the title track Peace, Love & Russian Doll. As ever, the traditional feel of Russian music with a blend of other influences makes for a great ending to a very strange and high energy record.

Safe to say that Peace, Love & Russian Doll has a huge amount of influences, making the genre of Russian Turbo Polka something of a complicated thing to pin down. Rock, blues, ska, all wrapped up in Russian tones, very rarely does this album take a serious tone. Fantastic fun, RUSSKAJA should be a welcome addition to your music collection, if for no more than the novelty and the fact you will have a great time blaring this out after a few drinks with mates. Looking for something completely out of its mind, and truly original- RUSSKAJA are your band.

6/10

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Words by Jess Howkins With their new album, Blessed & Possessed ready to hit the shelves in July, German power metal band POWERWOLF are on another journey to take on the world.

With Blessed & Possessed’s predecessor Preachers of the Night being the most successful POWERWOLF record to date, the band spoke out publically about how it affected and influenced the writing and recording of their new works.

The band spoke out about the respect they had for Preachers of the Night when writing Blessed & Possessed, describing it as very difficult at first to start writing new material. POWERWOLF spoke out how when they started writing the new material, they was left wondering how they could do justice to the situation and how they could top their most successful record.

POWERWOLF looked back at

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a certain point and remembered how they had come about writing Preachers of the Night, they just made the music that they loved without worrying about how it would shine over their previous releases. With that in mind, POWERWOLF applied that work ethic to Blessed & Possessed.

Having the chance of playing lots of shows and festivals thanks to the success of Preachers of the Night, POWERWOLF themselves feel extremely grateful in terms of the direction it has pushed then, The band announced that it was not their main goal at first to be playing big shows and in fact just making music they love, however now their goals have changed.

The German quintet have a focus now on not only writing music that they love, it’s about making it work live, they consider it to be the most important part of

the song-writing phase. In their recent online videos ‘The Road to Blessed & Possessed’ they describe it as, if you can imagine that song being played live and you want to be on stage as you play it, then it goes on the album.

Through the entire making of their sixth album, POWERWOLF made a constant reference to Preachers of the Night and how well it was received live. This time, they wanted to do bigger and better and give the fans what they wanted, explaining how they could just imagine the crowd to each new song.

Despite POWERWOLF feeling like the time before the release should be less stressful, it has in fact been more-so. The band are putting in all their effort for the set-up of the live shows that will support the bands album.

Looking forward to the summer

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festival shows, POWERWOLF have announced that there will be a unique stage show to accompany the theatrics that the band pull off so well.

Behind all of the talk about making Blessed & Possessed work live and putting on the best show they possibly can for fans, POWERWOLF also speak out rather fondly about the fun in making a record.

Despite saying there has to be a balance of hard work and fun, the band have stated that with each album, rehearsing and writing becomes more and more fun. They believe if they let the pressure of working too hard take over that, then the result of the album would be nothing compared to that based on fun.

They describe their writing process as they ‘want to’ rather than ‘have to’ and believe that, that can be heard in the finished piece.

As with every POWERWOLF record, you can expect religious and historic references in the music, it is unsurprising that The Bible played another huge part in the writing process of Blessed & Possessed too.

The band are yet to give up on using religion as a focus for their music, making a very bold point in that there is still lots of paraphrasing to do in their music and room to explore it themselves, even describing it as another ten probable albums to follow suit!

With religion taking a huge role in their music, POWERWOLF also state that they visit a certain church in France, just to record the organs. For them, it is about knowing the instrument, how and where it is played to get the correct sound, noting that it is a hugely important part on the process of their playing.

Throughout the making of Blessed & Possessed, the talented power metal band speak out about how each of these intricately thought ideas influence and help the process of their writing. POWERWOLF have masses of dedication to push forward both studio and live, Blessed & Possessed is something to look out for.

Blessed & Possessed is available July 17 via Napalm Records.

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GLASTONBURY 2015 Words byAlex Piercy

There is a recurring debate on the apparent dilution electronic methods are providing to the quality of the live performance provided by modern artists, and after last Saturday night I found this issue racing round my head at breakneck speeds. Wrist banding at Glastonbury this year luckily allowed me to catch the majority of the weekend while gaining a free ticket to possibly the biggest and most famous active festival in the world today. If you have never been to worthy farm before, (regardless of your passion for rock and heavy metal) the festival boasts a huge variety of artists and genres throughout the weekend on over 100+ stages. Of all the festivals in the UK it provides the best representation of the general public opinion on music with over 200,000 attendees of all ages and backgrounds. Last year marked a turning point for worthy farm, as controversial booking Metallica finally brought a heavier side to the world famous pyramid stage, and despite early heckling the critics all agreed they won the majority of the festival to their side.

This year it seems the Eavis’ had decided to continue the growing divide in opinion on the Saturday night headline slot, whilst making a U-turn in dynamics by booking the infamous Mr West. By now you will have surely seen or heard about the rappers performance Saturday night, but from the honest opinion of someone unfortunate enough to be there for the first few opening numbers, let me save you your time an effort by summarising it in one simple word, abysmal. Kanye’s debut on the pyramid stage has summed up for me exactly what has gone wrong with the opinion on “live music” over the past few years, and the contributions the laptop generation have provided. Never have I been to a performance where someone has been so unprofessional to stop mid-way through a track and via their stage mic (so the entire audience can hear them) ask for their “tape” to be re-winded so they could start over again. I just couldn’t believe it, it may be OK down your local open mic, but this is meant to be the biggest festival in the world and what shocked me even more was that there were some people that still lapped this up.

As the sun sets on worthy farm the more you realise the gravity of the situation with Glastonbury slowly resembling more of a European clubbing destination than a performing arts festival. My issue here isn’t with the youth drug culture, everyone deserves to have their fun now and then (and they

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definitely provide me with enough entertainment), but the more I migrated between stages the more the music on offer seemed to blur into one repetitive bassline. With each passing year, more software support arises, and more people believe a copy of fruit loops and an auto-tune system is enough to get by and performances like Kanye West’s (especially his viral bohemian rhapsody cover), and the majority of these sadly support this ideal. It can’t just be us metal heads that are infuriated by the situation though, other rap artists such as JAY-Z (who made such an incredible effort to defend his genre with his own performance), EDM producers and electronic music producers must all be banging their heads against the wall at the saturation of their beloved genres, and the lack of space for the real talent to surface. Electronics do have a place in the music industry, many artists especially THE PRODIGY, JUSTICE, DAFT PUNK, NIN, THE CHEMICAL BROTHERS, and THE BEASTIE BOYS all sit firmly in my playlists, but they use the technology at their disposal as the tools they are intended to be (another form of instrumentation) rather than a support system, allowing them to diversify their tracks and create original material rather than simple regurgitations. I understand art and therefore music is all subject to opinion, and past 2 o’clock in the morning is suited to specific audience, but as the masses opinion continues to side with these bedroom producers after snorting a mountain of MDMA, and the facebook generation flocks to these fools for their second in the spotlight, the next generations of music lovers are slowly begining to believe this is genuinely the norm, creating a distorted picture of what defines “live” music. Luckily there is still a good proportion of us who still believe in keeping music live, and I may be being harsh on the many artists over the weekend who still blew me away, it just saddens me to think that when our generation decide to take our own children to Glastonbury the abundance of “push play” artists in the industry will have created such a fleeting attention span on modern artists who truly deserve it that we won’t possess any legends such as the incredible LIONEL RICHIE or DOLLY PARTON to showcase. If things don’t start moving in the right direction we may as well take a leaf out of the laptop generations book, stay at home, just plug in their little headphones, hit the play button and save us all a lot of money, effort and heartache.

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It seems a lot longer than three years since Thy Art Is Murder’s last record, 2012’s Hate, but after extensive touring across the globe the Australian deathcore giants have come to reclaim their throne with new offering Holy War. With lyrical concepts embracing recent conflicts of religious extremism, war and child abuse, Holy War is dark to say the least. Continuing on the groundwork from ‘Hate’, ‘Holy War’ is an all-out assault of the ears in grand fashion.

Opener ‘Absolute Genocide’ eerily creeps in until breakdowns ensue backed behind CJ McMahon’s signature roars. This trend continues throughout the duration of the record through consistent double bass drumming, solid guitar work and a superb vocal deliveries.

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rhythm at breakneck speed and Sean Delander’s bass work is absolutely solid. The mould is only reinforced with CJ McMahon’s vocal deliveries, with roars and growls that replicate the sound of war, it really makes for one momentous listening experience. This is best experienced throughout the record, with ‘Violent Reckoning’ and ‘Coffin Dragger’ being particular highlights.

There are moments, however, where the record falls under the trap of repetition. With the band’s song structure nailed under their previous record, it would be difficult for the band to top what has come before. With such a heavy sound and little room to breathe, tracks can be lost in the noise barrage, but by no means is it a bad musical aspect. Thy Art Is Murder have crafted a monster of a release with ‘Holy War’ and thus will send the band on a musical career to reclaim the deathcore throne.

Musically the band’s form is tighter than ever.

Andy Marsh’s balance of brutal riffs combined with intricate solo play is finely woven, Lee 9/10 Stanton’s blast beat and rapid drumming keeps the Words by Alison Pitcairn

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DISTORTED SOUND MAG. Words : David Creamer Photo: Becky Callaghan Check out the full article at Distortedsoundmag.com

SOUND CONTROL, MANCHESTER

live reviews With everybody patiently but excitedly anticipating the arrival of EYEHATEGOD onto the stage, there was something in the air telling us that this was going to be a good show. And it wasn’t the faint scent of cannabis. Beginning things off with their trademark haunting feedback, the room quickly descended into an excitable mass of roars, cheers and chants chanting EYEHATEGOD over and over. All the hiccups to do with sound were long gone, and thankfully so.

These guys live sound is absolutely phenomenal, almost recreating the sound found on their recent self-titled LP. MIKE’s curdled milk voice reigned supreme through the mix, with all string instruments getting equal say in the sludge. And the drums. Oh the drums sounded perfect once again, with a rich bass ridden snare and a monster of a player behind the kit. These guys had the

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perfect live sound, and wasted nothing in using it.

One of the key features of EYEHATEGOD’s performance was the satisfying variety in the setlist. Each album got quite a meaty spot in the show, and each song flowed into another perfectly.

Some songs were played that aren’t normally debuted live as well, for example, both versions of Methamphetamine being showcased. A very satisfying array of songs, just a shame classics such as Depress or Left to Starve didn’t make it into the set, but this is well and truly made up for.

With the crowd going absolutely mental for the NOLA sludge legends, what really made the show memorable was EYEHATEGOD’s connection to the audience and the obvious enjoyment they got out of seeing their adoring fans love every moment of their performance. EYEHATEGOD sure as hell know how to play one epic show.

Rating: 9/10

DISTORTED SOUND MAG.

Words : David Creamer Photo: Becky Callaghan Check out the full article at Distortedsoundmag.com

ACADEMY 3, MANCHESTER

live reviews

Topping off a night full of thrash metal that came in different flavours and armed with their classic singer Steve “Zetro” Souza, EXODUS stormed on stage to really show the crowd what thrash metal really is, and what it can do. Sadly,Gary Holt was nowhere to be seen due to commitments with Slayer, but fortunately, Kragen Lum of HEATHEN stepped in to fill his considerable shoes and suffice it to say, he did a pretty damn good job of it. The Californian thrashers kicked off their set to a flying start with tracks of their new release such as Black 13, and then quickly mixed then many songs from their other albums as well, providing us with a great variety of the material spanning their 35

year career. The audience absolutely lost it. Instantaneously, a group of people patiently but anxious waiting for the madness to begin, descended into absolute bedlam. A never ending whirlwind of sweat laden hair, denim and leather battered through the audience as EXODUS unleashed their onslaught. This would go on until the gig ended, proving how well liked the band is from the response of the crowd. Oh, bruises galore.

The sound quality of their performance was phenomenal.

If you shut your eyes during the performance, you would not be able to assume they were down a crucial member. Both guitars boasted a very meaty sound, even with single

notes, the drums thundered through your ribcage with every strike of the sticks and the bass, albeit somewhat clicky and annoying at times, chimed through the mix alongside Zetro’s very distinguishable and recognisable voice. Altogether, the sound very much recreated the sound quality heard on Blood in Blood Out, a feat which many bands could only dream of achieving. Eventually drawing their monstrous set to a close with classic songs such as War is my Sheppardand The Toxic Waltz amongst others, EXODUS came to Manchester to destroy and left absolutely nothing in the wake. A brilliant performance, despite the suffocating heat.

Rating: 8/10

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