UK £3.50 / IRE €4.75
CONTENTS ........................................................................................
NAPALM DEATH 18
........................................................................................
www.moltenmagazine.com
Frontman Barney Greenway teaches us a thing or two about new album ‘Utilitarian’.
......................................................................................
EDITORIAL:
......................................................................................
........................................................................................
MORBID ANGEL 24
EDITOR - IN - CHIEF/ HEAD OF PUBLISHING:
........................................................................................
Bryan, Colin Cosgrove, Paul Ortiz, Robert Powderly, Anthony Redmond, Eddie White, Jen Ronan, Andy Morrison, Garry Brooks, Laurance Meade, John O’Brien, Alex Kazam, Stephen Dunne, Daniel Robinson, Zakk Appleyard, Matt Calvert, Andrew Pennington and Ross Hunter. ......................................................................................
Nicole Magill nicole@moltenmagazine.com
........................................................................................
EDITOR:
The craic behind ‘Illud Divinum Insanus - The Remixes’ from Dave Vincent.
ABORTED 28
Andrew Pennington andrew@moltenmagazine.com
CONTRIBUTORS: Jonathan Keane, Mike McGrath-
........................................................................................
Frontman ‘Svencho’ on plans for the apocalypse and new album ‘Global Flatline’.
........................................................................................
TERRORIZER 33
Layout & Design:
......................................................................................
CANNIBAL CORPSE
MARKETING & ADVERTISING:
......................................................................................
Is Terrorizer’s new album ‘Hordes of Zombies’ on par with the classic ‘World Downfall’?
Andrew Pennington andrew@moltenmagazine.com or Phone +4428 90481139 ......................................................................................
........................................................................................
subscriptions:
CANNIBAL CORPSE 39
...................................................................................... 12 Issues: £28/€41 plus P&P 6 Issues: £18/€24 plus P&P 3 Issues: £9/€12 plus P&P
........................................................................................
Bassist Alex Webster explains in gory detail the inspiration behind the band’s new album ‘Torture’.
THERAPY? 50
PHOTOGRAPHY: Irene Siragusa, Ken Coleman ......................................................................................
........................................................................................
........................................................................................
IN-HOUSE DESIGNER: Ross Hunter ross@moltenmagazine.com
For more information and special offers please visit www.moltenmagazine.com/subscriptions ......................................................................................
SUBMISSIONs:
......................................................................................
ABORTED
Local News: andrew@moltenmagazine.com Gig Listings: ross@moltenmagazine.com General Enquiries: info@moltenmagazine.com
........................................................................................
POSTAL ADDRESS:
Vocalist Andy Cairns gives his views on the current state of the music industry.
Molten Magazine, Unit A6, Castlereagh Enterprises Ltd, Carrowreagh Rd, Belfast, BT16 1QT
........................................................................................
KORN 76
telephone enquiries: +4428 90481139
........................................................................................
web:
Jonathan Davis tells us what we can expect from the upcoming Korn tour which sees them visit Ireland.
........................................................................................
PLUS MORE!
www.moltenmagazine.com www.facebook.com/moltenmagazine www.twitter.com/moltenmagazine
NAPALM DEATH
PRINTED BY: W&G Baird
distributed by: EM News Distribution
........................................................................................
Special Thanks:
08 12 16 22 32 44 48 54 62 74 78
Damien James O’Farrell at Dublin City FM’s The Moshpit, Donnchadh O’Leary at Crunch Metal Productions, James Loveday at The Distortion Project, Fergal ‘H’ Holmes at DME, Keith McDonnell at Drumming Ireland.
From The Archive Chimp Spanner Tour Diary Ones To Watch Win Festival Tickets Desaster Record Label Profile Whitesnake Gear Talk Album Reviews Live Reviews Gig Guide Ten Minutes With
TERRORIZER
KORN
The opinions expressed in this magazine are not necessarily those of the editor or the publisher. Copyright remains with the author/ photographer/designer. Reproduction in whole or part without prior permission is strictly prohibited. While every care is taken in compiling Molten to ensure that it is correct at the time of going to press, the publisher assumes no responsibility for any effects from errors/omissions.
NEWS ..........................................................................
UFO New Album ‘Seven Deadly’
......................................................................... UFO, the quintessential English hard rock/metal band have recently released new album ‘Seven Deadly’. The album, recorded at Tommy Newton’s Area 51 studio in Celle, Germany was released on February 27th via SPV’s Steamhammer label. To support the release the UFO juggernaut takes off around the UK and Ireland on a sixteen date tour rolling into Dublin’s Academy on 20th March and Belfast’s Spring and Airbrake on 21st March.
The track list is as follows: 1. Fight Night 2. Wonderland 3. Mojo Town 4. Angel Station 5. Year Of The Gun 6. The Last Stone Rider 7. Steal Yourself 8. Burn Your House Down 9. The Fear 10. Waving Good Bye 11. Other Men’s Wives (bonus track) 12. Bag O’ Blues (bonus track) You can read a review of UFO’s new album ‘Seven Deadly’ on page 56.
Check out www.moltenmagazine.com for the rest of the tour dates.
Iron Maiden set to release ‘En Vivo’ Iron Maiden will release new live/video album ‘En Vivo’ on 26th March through EMI. The DVD documents the band’s recent The Final Frontier World Tour where they visited 40 countries over 5 months playing 98 shows to an estimated 2 million people. Concerts in Santiago, Chile and Buenos Aires, Argentina from The Final Frontier World Tour were all recorded with the intention for DVD release. Steve Harris comments, “After much consideration, we chose the Santiago show as we felt it was one of our best performances of the entire tour and to play at the prestigious Estadio Nacional was a landmark moment for us.” The release will also be available on Blu-ray Disc, CD and LP. The Blu-ray and DVD will also include a documentary entitled ‘Behind The Beast’ featuring interviews with band members as well as crew. 04 | MOLTENMAGAZINE.COM
austrian Belphegor Working On New Material Guitarist and vocalist Helmuth Lehner of extreme metal commando Belphegor has revealed that the band is working on new material for their tenth full-length album. The as of yet untitled record is tentatively slated for a late 2012 release and will be the followup to January 2011´s ‘Blood Magick Necromance’. “It’s amazing to have the opportunity to be creative again and compose a new audible monster,” commented Helmuth. “I begun the compositions in November 2011, after I had to spend five weeks in the hospital and 6 weeks in a rehabilitation center because of my health issues. I survived this hard trial, which still
seems unreal. I’m not fully recovered but feel way better now, I can say. Unfortunately we had to cancel all tours until June 2012, when we will get back on the road, and will start with some European open air rituals.” Bass player Serpenth also comments on touring plans, “At this time, we don’t feel the pressure of a hard touring schedule and all the rigors surrounding that. That way we can concentrate and create these arrangements in a completely focused way and can put more energy, blood and guts inside. We are working intensely on ten tracks. We are totally concentrated, you know, the music reigns above all. It’s time for a new chapter.”
NEWS
nile new member announcement Guitarist Karl Sanders of Nile announced recently that after three months of lost contact with vocalist and bass player Chris Lollis that they’ve been forced to recruit new band member, Todd Ellis. The band started working on their latest record last December and have commented that some of the material is some of the most challenging they’ve ever written. The album is slated for a release later this year.
3 inches of blood ANNOUNCE european tour Canada’s proud defenders of real, honest, no bullshit heavy metal, finally announce their anticipated return to Europe. Their ‘Long Live Heavy Metal Tour’ will be supported by label mates Angelus Apatrida as well as Goatwhore and Havok. Vocalist Cam Pipes comments, “We are extremely excited and proud to announce our first full headlining European tour. It has been far too long since our last time over there, so we feel it is our duty to bring a mighty strong package with us to help bring heavy metal power to the fans across the continent. This will be a tour not to be missed. Long Live Heavy Metal in Europe.” The tour will also be passing through Ireland in The Limelight, Belfast on 10th May and The Pint, Dublin on the 11th.
EPHEL DUATH RECORDING After signing to Agonia with a deal for an EP and two albums the first EP has been tracked and is currently being mixed by the legendary Erik Rutan (Cannibal Corpse, Goatwhore, Morbid Angel) at Mana Studios Florida. The man behind Ephel Duath, Davide Tiso comments on the song writing, “I have never wrote lyrics that meant so much to me like the ones you’ll find in the upcoming Ephel Duath EP. This is not going to be a three song little thing to get people curious for a whole album. This is the best album I’ve ever done trapped in just three songs.” Check out Molten Issue 8 for an exclusive in depth studio report from the Italian quartet.
..........................................................................
QUEEN RETURN TO KNEBWORTH
......................................................................... Finally after months of anticipation Sonisphere have announced part of their Summer 2012 UK line-up that will see Kiss headline on Friday night, Queen with Adam Lambert on Saturday evening and Faith No More on the Sunday. Having been the last place where Queen played live with late vocalist Freddie Mercury there has been more than a little bit of controversy about the legendary band joining forces with former America Idol runner up Adam Lambert to perform as vocalist. Guitarist Brian May had this to say, “Judging by my incoming mail, this decision will make a lot of people very happy. It’s a worthy challenge for us, and I’m sure Adam would meet with Freddie’s approval. And what better place to revisit, and walk those emotional paths than Knebworth? It will be a rush.” Also confirmed to play the three day festival starting on 8th July are Marilyn Manson, Evanescene, Mastodon, Lacuna Coil, Cypress Hill, Gojira, Katatonia and Flogging Molly.
Tickets are available now from the official website sonisphere.co.uk and there are a range of options available from Day Passes costing from £82, a Three Day Weekend Pass including camping (excluding Thursday) from £180 and a full Four Day Weekend pass to start your partying in style from £190. For ultimate luxury there are also Rock Royalty passes available, the most expensive of which clocks in at a whopping £1585 including a three nights stay in a 5* rated Manor House. We’ll see you guys in the campsite though struggling through the mud and lapping up the festival atmosphere in proper style. (All ticket prices exclude fees and transfers).
MOLTENMAGAZINE.COM | 05
LOCAL NEWS ..........................................................................
Betraeus and Spires Tour
......................................................................... Progressive death metallers, Betraeus and fellow Mancunian progressive metallers Spires are heading over to Ireland in March on a Molten Magazine sponsored tour. 2011 was a big year for Betraeus where the band leaped from local heroes to a national act, with a killer Download Festival appearance, releasing their critically acclaimed ’Towards the Sun’ EP on Siege of Amida Records and embarking on their highly successful debut UK tour among their achievements. With no intention of slowing, the Manchester prog-metallers are ready to take on 2012 and have
set their sights on the rest of the world. First stop – Ireland! Spires have built up their reputation through hard work and sweat over the past couple of years following up debut release ‘Spiral of Ascension’ (2010) with an onslaught of touring, even playing two sets to packed out tents at Bloodstock Open Air. The band’s follow-up, a limited edition acoustic EP, ‘Lucid Abstractions’ is due out in April. Catch them at The Blind Pig, Limerick – 22nd March The Pint, Dublin – 23rd March The Limelight, Belfast – 24th March
INTO THE VOID ANNIVERSARY Dublin’s Into The Void record store has recently celebrated its one year anniversary and we caught up with one of the brains behind the operation Darragh O’Leary (also of Invictus Records) to find out more about the shop and as well as some background behind Dublin’s metal hub. Tell us about…
tremendous such as Bloody Kisses, Brains, Pat Walker and Kimi Karki as well as the art displays by Peter Rees and Paul McCarroll. The shop offers more than merely buying music! There have been no lows to speak of, thankfully as we are completely realistic and don’t worry about “what if ?”
…Into The Void itself? ITV is a collectively owned record store, tattoo shop and facility for the Dublin metal & punk scene where you can check out small, intimate shows as well as purchase the best and the most obscure music there is available!
…ITV events? We run different events from shows in The Pint (such as the Dublin Day of Death on March 31st) as well as more intimate shows, such as the ones described above in the basement of the shop. This offers a completely unique element and angle for the shop as well!
…Where the idea came from? The idea came from a necessity to try and make a scene focal point and a place for people to come, hang out, check out new music as well as create a hub for people. All of us have been involved in the metal scene for a long, long time going back to the late 80s and early 90s so instead of working separately and doing individual things, we all figured it best to try and pool our resources and see what we could do together. As Dublin is the biggest city in Ireland with most of the national focus on gigs and events here, it was logical for us to set up shop here as we felt it would generally attract a larger audience and customer base. The Dublin scene is varied, incredibly alive but very underground as well! …Your past year? The last year has been a whirlwind and it’s difficult to believe we’re already one year in! The highs have been getting to actually do it, maintaining it and seeing a lot of new and young faces come through the door to get their heavy metal fix! Some of the small, performances we have had in the Void basement have been 06 | MOLTENMAGAZINE.COM
…Future of Into The Void? The future of the Void for now is to continue as we have been for the past 12 months, raising awareness of the shop, supporting our good friends and local bands in the national scene, releasing the debut Wizards of Firetop Mountain album this year and hopefully continuing to fly our flag for a long time to come! Come to the Void, check it out for yourself and enjoy it for what it is. It is an anchor in the heavy metal scene here in Ireland for everyone to enjoy and participate in. Over the past year we’ve met a lot of new friends, renewed old acquaintances and helped with building the Irish scene up that little bit more. The shop is there for everyone to avail of and we have had people from as far away as Malaysia, South America and Australia come in and visit us over the past year, which is simply fantastic! Without your support we cannot continue to do what we do so to everyone who has spent even a euro in there over the past year, your support is greatly appreciated! www.intothevoidrecords.com
MAKING MONSTERS SEEK BASS PLAYER Formed late last year by former Hybris and No Mean City members, MakingMonsters, the Derry alternative metal band is on the hunt for a new bassist. The band in only a short time have already turned heads following the release of their debut single ‘Sink or Swim’ in January and are regularly heard on BBC Radio One Introducing and Electric Mainline. If big riffs, dirty beats and aggressive female vocals are your bag then why not step up to the challenge? E-mail paulmakingmonsters@hotmail.co.uk for further info.
LOCAL NEWS
war iron release LIMITED VINYL Northern Ireland four-piece War Iron have rereleased debut ‘The Faceless Sea’ on a limited edition ‘sea blue’ vinyl through Belfast’s Punkerama Records. The record featuring the two tracks ‘Inch Cape’ and ‘Face the Sea’ is available to purchase from punkerama.com or direct from the band themselves. A review of the release which has been remastered by James Plotkin can be found on page 60.
WACKEN METAL BATTLE IRELAND UPDATE
Are you set to cheer your favourite Irish and Northern Irish bands into the finals of Wacken Metal Battle Ireland? Half the final line-up has already been decided with Warpath, Beltbuckle Overdrive and Exzeltic going through from the first semi-final held on 25th Feb, then there is the second semi-final on the 24th March in Dublin’s The Pint featuring Bakken, By Any Means, Celtachor, Dirty Diamonds, Psykosis and Zealot Cult. The competition finale will be held in The Pint, Dublin on 21st April and the winner of which will go on to play at the legendary Wacken Open Air Metal Festival in Germany and are in for a chance to win a recording contract with the biggest independent metal label in the world, Nuclear Blast Records! And who will be triumphant? Well you get to decide as the audience gets to vote on each night so get yourself down to The Pint and show your support for some of Ireland’s finest metal acts.
Exhumed announce Tour dates The American death metal band will be venturing over to Ireland in support of last year’s release ‘All Guts, No Glory’ playing Belfast’s Voodoo on the 20th March and Dublin’s The Pint on the 21st March. Opening the Belfast bill will be the debut gig of new band The Obscene Machine (grindcore) featuring members of Condemned, Overoth, Hexxed and Zombified.
..........................................................................
W.A.S.P. shows announced
......................................................................... Celebrating ‘30 Years of Thunder’ with a special tour, W.A.S.P. will be rolling across Europe this autumn, stopping off at Mandela Hall, Belfast on 24th September and Vicar Street, Dublin on 25th September. The band last played in Ireland in late 2010 but since then front man Blackie Lawless has been born again and the one time hellraiser has vowed never to play ‘Animal (Fuck Like A Beast)’ ever again, “I renounce, denounce and pronounce that I will never play that song live again.” Lay any worries to rest that this show is going to be a calm affair, one thing is sure, the show will be one to be marvelled
and has been cited as “ the biggest spectacle W.A.S.P. have ever created”. The show will be split into three parts, the first half of the set will be select songs from the first four albums, then there’ll be a shorted version of ‘The Crimson Idol’ played against a movie backdrop and the finale will be songs from the new album and classics from the older releases. Expect reminders from the old W.A.S.P days, video screens and pyrotechnics. Tickets can be bought from www.ticketmaster.ie and all other usual outlets.
MOLTENMAGAZINE.COM | 07
FROM THE ARCHIVE MORAL CRUSADE Dublin Thrash (1988 – 1991) Following the demise of both Chromatic Death and Killer Watt, Ratz and Joe got together again the following June. Roped in on bass duties was Trevor Elliott who was formerly a member of another Dublin Thrash band called Panic, who had recorded their one and only demo ‘The Secret Slam’ in 1987. Dave “Pincher” was asked to come onboard as vocalist and that was the beginning of Moral Crusade. They wasted no time in writing and rehearsing new material and the following September recorded 5 tracks (including intro) in Electra Studios which they released as their ‘Immoral Condition’ demo. The demo
08 | MOLTENMAGAZINE.COM
itself showcases an aggressive and technical style of thrash that promised a lot from the still very much new band. It was very well received on the local scene and the band made their live debut as support to none other than the legendary Suicidal Tendencies, for which they received a very favourable response from fans and rave reviews from music magazines. The band took some time at the beginning of 1989 to concentrate on writing and rehearsing new material. Not long after Trev decided to leave the band and was replaced within a week by Mano, reuniting the Chromatic Death line-up once again. This lineup recorded the ‘An Act Of Violence’ LP later in the year which was officially released in early 1990. With a better overall production the album still holds up as an excellent release. Poor management, promotion and distribution of the LP combined with burn-out from constant
gigging lead to the band taking a break in 1991. They never properly got back together. KEY TRACKS: Streetwise, Hate War, A Change In Direction, When The World Dies. LISTEN: http://irish-metal.bandcamp. com/album/immoral-conditiondemo-1989 http://irish-metal.bandcamp. com/album/an-act-ofviolence-1990 BAND SITE: https://www.facebook. com/pages/MoralCrusadeChromaticDeath/82399858773 http://www.myspace.com/ moralcrusadehcthrash Brought to you by John O’Brien of Irish Metal Archives. For more information check out www.irish-metal.blogspot.com
RANDOM STUFF
Martin Van Drunen - Life In The Music Industry (ASPHYX & HAIL OF BULLETS)
“I think from the point where I’m at now I’ve achieved what I always wanted to already. All I ever wanted was to make a living. I mean I’m not rich at all, I have hardly any money really but I can pay the rent and the bills, and next to that I’m a free man and I’m happy with that. I think that freedom is a great high for a person in life in general. I don’t have to wake up in the morning at a set time to get to work every day. I do work a lot every day with all
With our new look Issue 7 finally out (the issue that would never die) we decided it was about time for the big chieftain to get her ass in gear and introduce it in typical editorial fashion. So finally, welcome to Molten! And what about this for an issue that’s packed full of treats, from our front cover feature with Alex Webster from Cannibal Corpse, to interviews across a spectrum of genres; Korn, Morbid Angel, Aborted, Desaster, Napalm Death, Therapy?, Terrorizer, Corrosion of Conformity, Confession, Hail Spirit Noir, Mojo Fury and InMe… yeah we really did get around with this one… If all that’s not enough for you we’ve lined up a beast of a competition to win two tickets to Slovenia’s MetalCamp Festival! That’s the one that provides not only an amazing line-up but also has its own private beaches so you can sun yourself in the morning, find yourself in a mosh frenzy in the afternoon and a piss up en masse in the evening.
METAL CAMP P22
THERAPY? P50 10 | MOLTENMAGAZINE.COM
the bands, but I can schedule my own days. Sometimes that can end up with things happening at 1 am because something else is going on but I am doing things that I really like to do and I think it doesn’t get better than that really. As I said I’m not rich, I can pay my rent and bills, I can buy some food and couple of beers if I want and that’s all I need. There are so many people struggling so I can’t complain. I have everything I need to get by and I don’t have to go to a normal day job. Some people think that we
would get loads of money but we don’t, I mean we get royalties and commissions from old and new album sales etc… but it’s all little amounts. For me those little amounts all add up each month and that’s what I live off. I don’t know but I’d guess I probably get the same as someone working hard every day in a factory. They just don’t have the same freedom that I have. If I had to pick anything, the only thing I really want to achieve is improving myself as a musician.” Martin Van Drunen
There’s also a loose theme that runs throughout this issue. With the struggles faced by the music industry being well documented in the mainstream media we felt that it was fitting to ask artists involved in the grind of it their opinion (hence why you’ll see a couple of regurgitated ‘What do you think of the current music industry?’ questions in this issue’s interviews). From a signed artists point of view every answer is different and yet all agree that the industry has taken a major hit in recent years and was even perhaps due a major upheaval. So, what does this mean on a ground level for bands that want to be signed, that look to ‘getting signed’ as the major pedestal they aspire to clamber on top of ? Well as Woody from Corrosion of Conformity stated in his recent interview with Molten, “The death of major labels doesn’t really matter because you can still get your music out. You don’t have to be on some major, it’s not necessary anymore. People can have access so easily, via the Internet. Opposed to back in the day when you ordered things via mail and waited on it a week to get there. Nowadays you can just push a button and it’s there.”. A lot of you are probably sighing and commenting ‘Duh, we know that already’ in that annoying teenager ‘you can’t tell me’ kind of way but yeah, you know about Facebook, Soundcloud, Bandcamp etc. and all but are you really maximising your chances to get your music out there to be heard by potential new fans? Intrigued by this dilemma faced by so many talented unsigned bands that are struggling to get their music out there, we did a bit of delving and we’ve came up with a few handy pointers that we’ve put up on our website: www.moltenmagazine.com. Enjoy! Well that’s all from me, so put on the kettle/pour yourself a nice cold one and enjoy perusing the latest and hottest news and interviews in metal. nicole magill
CHIMP SPANNER P12
RANDOM STUFF
LaR Meade - Hero in Error ON Studio TIME: DON’T WASTE IT!
effects… I have everything but an OVAL BUTTON!
I’m happy to say that in this day and age, 90% of people I have walk through the door are totally competent and confident about what they want and how to achieve it. These are the years of the computer and with that comes the ability to track and track again until something is perfect without worrying about wasting time or tape. This seems to ease any potential anxiety for most as they know not getting it perfect first time won’t ruin the record.
But when some lad who can barely hold a guitar tells you to “Put more schmutz on a glockenspiel” that’s when it becomes hard to hold your professional manner and patience. Every fibre of your being wants to tighten his guitar strings to near snapping point, pushing his smug face up to the neck and then cutting the string so it snaps into his eye. Repeat five more times and the feeling of hate might subside a little.
However, there also exists that 10% of what can only be described as ‘The Shit Head’. The guys who are in it for the haircuts and the trendy hangout spots. The guy who thinks it’s more important to have expensive gear to brag about rather than actually learning how to use said gear or his instrument. The same guys will come in, play terrible, waste time, drink beer, tell you how to do your job and then will say something shocking like, “Here man, can you put some cream cheese on that?” “Any chance of making that a bit more smoky bacon?” “I think that snare needs to sound more oval, ye know?!” NO. NO I DON’T KNOW! I have many buttons, switches, knobs,
So my advice is that if you own a vintage Fender strat previously owned by someone famous, a 2K Orange rig and 500 pedals but have only been playing a year, please, please god just ask for advice and learn from people doing it a little longer, don’t be a pretentious twat! Don’t be that guy! I love to help out and teach guys or give opinions to those who are interested. I don’t know much but what I know I am happy to share. But when guys come in, spill beer, ask me how to tune a guitar, ask me how to change strings… You’re not ready to record and should learn the 101’s before wasting money on great gear and studio time! Lar Meade
alex - mental deficiency
Rant of the month: FESTIVAL WHINGERS
During this period two sub-species of whingefester begin to emerge: Ut non purus – A highly scientific term that translates roughly as, ‘Datz Not Metulz.” These whinge-festers enjoy spotting bands not traditionally associated with the metal or hard rock genre that have been added to line-ups to provide a bit of variety. Even though a band more suited to their taste is playing at the same time on one of the 27 other stages at the festival, the inclusion of a single electronic or hip-hop act is enough for an Ut non purus to label the promoters as sell-outs and those in attendance as false. Bonus fact: 99% of the time
w w w. r o c k r a d i o n i . c o . u k .................................................................. NI Rocks: Live Shows
Working in a studio is both satisfying and stressful in equal amounts.
It’s that time of the year again folks, whingefest is once again upon us! For those of you not familiar with whinge-fest allow me to explain: it’s a ritual conducted by the metaller species in the winter and spring seasons during which they unleash their opinions on various music festival line-ups onto the world.
ROCK RADIO NI
..................................................................
they had no intention of going to the festival anyway. Musicae dirae – During whinge-fest this subspecies enjoys basing the quality of the line-up solely on the headline acts. Despite loads of great bands over the weekend and a one-off, back from the dead appearance by Quorthon the fact that there is a nu-metal headliner is just too much to bear. Opinions on this injustice will be voiced from the safe confines of behind a computer keyboard. Bonus fact: in 99% of cases they will be so drunk by the time the headliner plays at a festival their memory of it will be as solid as Axl Rose’s timekeeping. Unfortunately in the past I once participated in whinge-fest. At Sonisphere I had my bottle of piss ready to hit Pendulum on their stupid non-metal faces as soon as they hit the stage. They proceeded to rock the balls off every skeptic in the audience with a tight, aggressive performance that gained at least one new fan. Alex Kazam
BACK ISSUES AVAILABLE AT MOLTENMAGAZINE.COM
Yes folks...not content with our aural assault on your ears via cyberspace, we at RRNI bring our radio friendly faces into the public domain with some live promotions. The man behind the idea (note I didn’t say brains!!) is RRNI ‘guvnor’ Phil Black, who started the live gigs for a dual purpose... firstly to promote an excellent crop of local bands and secondly to heighten the profile of our little radio station. It all started by putting on a few shows in The Pavilion Bar on the Ormeau Road, with local bands getting a stage to perform on and showcase their talents to an increasing large clientele. Worldsend, Last Known Addiction, Trucker Diablo, to name a few, all performed at these nights, which also included a fund raising event for Macmillan Cancer, and culminated in former Mama’s Boys guitarist Pat McManus putting on an excellent performance before a change of venue (and bringing myself on board). Since I had been added to the roster of RRNI dee-jays and having previous experience promoting bands such as Firehouse, Tyketto / D Vaughn solo, D. Danger, JSS, White Lion (not blowing my own trumpet folks- believe me, if you heard me sing you wouldn’t let me near a musical instrument!!) Phil thought it would be a good idea to recruit yours truly to the RRNI Live venture. A move to Ma Nelson’s on the Lisburn Road saw us adding dj’s to the nights, and saw another charity gig to raise funds towards the Japanese earthquake appeal. Bad Medicine Rock Club at Ma Nelson’s saw us sharing and alternating nights with the Paradise City crew, with dee-jay duties spread amongst the RRNI crew. Another change of venue saw us move to the Spring & Airbrake and to once again work with Pat McManus and Trucker Diablo in a very successful evening. However, with Phil’s impending marriage we decided to put things on hold until after Lisa made an honest man out of him, and in February 2012, we returned with the UK’s top Mötley Crüe tribute act, The Dirt. Another show with Pat McManus on the 20th April at the Spring & Airbrake will follow, and plans are afoot for more live gigs later in the year and hopefully a return to club nights. All will be informed via the delightful lads and lasses here in Molten magazine, and online through the various websites and Facebook pages...so keep a look out! Davy Warren MOLTENMAGAZINE.COM | 11
CHIMP SPANNER TOUR DIARY
Paul Antonio Ortiz is a guitarist from Colchester who is also the brains behind the very ambitious Chimp Spanner project. Chimp Spanner’s music is quite difficult to pin point but it draws heavily from progressive rock whilst including ambient and electronic elements. December 2011 saw Chimp Spanner grace our shores for the very first time along with his live band, supporting none other than experimental rockers, Cynic. Paul Ortiz kept a brief diary to fill the Molten readers of Chimp Spanner’s antics. 2/12 - Heathrow Airport, London, England Man oh man. What a way to start a tour. Last night we got the news that the opening band have pulled out, and everybody is pissed. I’d gotten as far as telling my folks that they might need to come and pick me up but somehow, we’re on the coach and everything is fine. Apart from the 3 hours of panic and blind terror when we realised Swan no longer had his passport. Turns out it was sitting in the back of Jim’s car. Nothing a £110 taxi can’t fix.
3/12 - The Village, Dublin, Ireland Nothing like a great crowd to see away your first show nerves - no technical hitches, only a couple of goofs. Awesome night. Lots of disco balls. Cynic blew our minds too. Such a sick band! This is gonna be a monster tour.
12 | MOLTENMAGAZINE.COM
I don’t fully trust my bunk yet. Last night, I almost fell out...WITHOUT PANTS. Think I’m gonna wear pants at all times now.
4/12 - Limelight, Belfast, UK 7/12 - Baroeg, Rotterdam, Netherlands Belfast is freezing. Literally. Full on blizzard during load in. Stopped when we were finished, naturally. Also, what exactly do you do when someone stands watching you every time you punch in the door code? Somehow I don’t think he wanted an autograph. Was great to see my old friend Jason tonight though. Friendly faces make a show that little bit easier. Cynic killed it again. Two shows in and I’m already hooked.
Woke up and everyone was already up and out. I guess these guys really like their coffee. Kept talking about coffee shops. Hello; Starbucks across the road. Pff. Kind of a quiet evening but a cool show - got to meet Tymon too! Wouldn’t fancy playing his old parts in front of him though. Nerve wracking.
5/12 - The Underworld, London, UK
8/12 - Divan Du Monde, Paris, France
Seriously? All our vinyls melted in a warehouse fire? I was surprisingly upbeat about it until I played one of the most horrible sets of my life. Came on stage to find my high E was somewhere between a C# and a D. Wouldn’t have been so bad if I had a spare 7, or had practiced the rest of the set on a 8. Weakening. Crazy crowd though. I’m hearing 50 short of capacity? But Jesus, what a night to catch me on. Good job the other guys are bang on it.
I think we may have just nailed it tonight. Damn good job too as I think there were about 10 cameras on us. Probably helped that I forgot all about them. But a massive thanks to Francois from Digital Fufux and Will Vogenhauer for filming us for free. Can’t wait to see the final thing.
6/12 - Trix, Antwerp, Belgium
05/12 - Vinyls on fire
We’re four shows in and I think the TM is already sick of hearing “is there WiFi?”. Kind of makes you realise how addicted most of us are to technology. Specifically Facebook.
Tiny stage is tiny, but a really fun show. All I kept saying to people was “this really makes up for last night”. Not like I was beating myself up about it or anything.
9/12 - Kiff, Aarau, Switzerland You know what I just realised? This is the same coach driver from the Winds of Plague tour last year. Also, all stages should have curtains. I think I broke my mind last night. Either that or Swan’s dreads were actually no clip’ing through the side of his face. Might take it easy for a few nights.
CHIMP SPANNER TOUR DIARY The replacement vinyls arrived, and they look incredible. Massive thanks to my wonderful girly for being on merch! 10/12 - Rock’n’Roll Arena, Roma Sesia, Italy Man, Italians sure know how to show the love. Some dude gave me his clothes! Just the top. Otherwise that’d be kind of awkward. Really enjoyed tonight. Apart from the rapey day room. That, I didn’t enjoy. And also the human turd I found on the floor outside. Sick venue though. The stage was so needlessly tall. 11/12 - Gala Hala, Ljubjana, Slovenia Why were there mutant baby sculptures everywhere? Why did those two dudes try and break into the coach? And why was there a giant mural of pointy nosed aliens disembowling owls? Heh. DisembOWLing. That’s pretty funny. Also, no idea who these extra people on the coach are. All I know is, one of them wants to watch animal porn. Think I’ll turn in early. 12/12 - Arena, Vienna, Austria Apparently they don’t like straight lines in buildings here. Or loud sound checks either. Nothing worse than playing through a song and having the front of house sound intermittently dying because the house guy is yelling at the dude doing your sound (thanks btw Jarret!). I may have blown up. Just a bit. But in my defense I do have tour flu. And I think he stole my Euro/ UK adapter as retribution so now we’re even.
find a Native American themed venue, especially considering I always thought Budapest is in India (yeah I know, that’s pretty ignorant). But I’d be surprised if we have a stage or a sound that good again on this tour. Sucks that we didn’t really get to see any of the city today. We took a wander but all we found was a massive shopping mall and a really angry dog that wouldn’t let us go any further. No sign of a UK plug adapter anywhere. 14/12 - Randall, Bratislava, Slovakia
09/12 - Vinyls not on fire
Free WiFi *and* free Pizza. I like Bratislava. Actually managed to go exploring today, and it was pretty cool. Still feeling like death though. I also discovered why drinks should not be kept on the merch desk. One vinyl bites the dust. But not quite as hard as the dude we found lying on the pavement on the way out. Party hard Slovakia. Still no UK plug adapter. Need to stop quoting Alan Partridge around Cynic. It’s totally out of context and I think they think we’re retarded or something. “Ooooooh you’re gonna have a good time”. Phrase of the tour that is.
10/12 - Fun in Italy!
15/12 - KD Kyje, Prague, Czech Republic
13/12 - Club 202, Budapest, Hungary
Interesting day. We arrived a little early and had to wait for a seniors Christmas party to finish. Luckily they left a number of cakes and scones for us to scavenge. Kind of a shame that we’re in Prague but totally not in Prague. I went walkies with Cynic’s stage manager and we found one shop. And it sold car spares. Nothing else.
Budapest is definitely the last place I’d expect to
Definitely no UK plug adapters.
11/12 - Mutant Baby Sculptures
MOLTENMAGAZINE.COM | 13
CHIMP SPANNER TOUR DIARY
16/12 - Paul getting his munch on!
17/12 - Foosball fun!
20/12 - Amstelveen Stage 14 | MOLTENMAGAZINE.COM
And no internet. But there’s a lake, and ducks. So that’s cool. And given that I couldn’t hear myself at all tonight, I think it all went pretty well. I also had the best shower of the tour so far. Mmmmm. Clean.
Best. Food. Ever. Other stuff happened too but Danish Christmas Dinner pretty much eclipsed all of it.
16/12 - Cassiopeia, Berlin, Germany
19/12 - Hafenklang, Hamburg, Germany
Good show - wasn’t too keen on loading out through the audience (sorry to whoever it was I hit in the head with my guitar stand...you looked mad) but it was a fun one. Most of all it was really cool to get some hang time with the Cynic guys. All the places we’ve been so far and that was the first time we hit up a bar! Played some table football, ate my first falafel and got shouted at by a very angry German man. Fun times.
Totally failed at finding the nice part of town today. We were warned that this one street was basically nothing but sex shops. But no matter how hard we tried, we ended up surrounded by filth. Stuck on some kind of mobius dildo. The waterfront was genuinely amazing though. Also, never let anyone tell you that you won’t know the difference between meat and tofu. There’s a massive difference. I’m never eating tofu again.
Massively happy with our setups so far. Haven’t had a single problem with the HD’s direct. If we had our own decent monitoring, I think we’d have the perfect, hassle-free live setup.
Good show tonight... feels kind of strange to be so near the end. Thanks again to Jarret for seeing to our sound too. Fastest soundcheck ever. Boris, take note!!
17/12 - Kleine Freiheit, Osnabruek, Germany
20/12 - P60, Amstelveen, The Netherlands
Didn’t wake up in a good mood today. Tour flu has taken firm hold and I’ll be honest...the scene outside the coach is like something from Mad Max. Luckily civilisation is just around the corner and the venue is cool.
What a great venue to end on. We were all kind of bummed out that it was all going to be over, but when we saw the stage we were all smiles. We had Jarret on sound one last time and it sounded crushing. Writing this in retrospect (was rushing around moving things into the van) I would’ve liked to have had one more show with the Cynic guys, but we’ve been really fortunate to have done this tour with them. They’re a great bunch of human beings, and we’ll miss them all. Thank you to everyone who came out and saw us and emptied us of all our merch. We never thought we could pull something like this off, so thank you! Paul Ortiz
Played some more foosball with the staff there... got my ass handed to me. Standard... Kind of a quiet one tonight though. I’m told we’re out in the middle of nowhere and it’s to be expected. Stuck around for the club night afterwards, but bailed when it hit 2am and there were 5 people ‘dancing’. Apparently it picks up at 3 but...I’m slain for now. I’m officially giving up my hunt for a UK plug.
18/12 - Templet, Lyngby, Denmark
INTERVIEWS 50 Lions. They did one of the first Byron Bay hardcore bands records and jammed there for years. The house has something special about it. It’s hard to explain. What made you decide to choose Fredrik Nordström to produce the album? There’s no question about him knowing metal... He makes shit sound massive! I recorded with him in the past and he is a legend. Just a chill dude and is hard to take serious most the time. He spends more time telling jokes and stories [Laughs]. But seriously, he’s a great producer with great ideas and makes everything come together and sound huge.
Molten’s Rob Powderly caught up with current Confession frontman and ex I Killed The Prom Queen vocalist Michael Crafter to discuss the band making waves with latest album ‘The Long way Home’ and recording in the Parkway House. It’s been a pretty explosive 12 months for Confession. How have you guys found the heavier touring schedule? Has it been an easy transition? It’s been a quick one I guess, we didn’t expect to be touring at all let alone doing headliners across Australia, festivals and now European tours as well. It’s been well documented that your latest album ‘The Long Way Home’ was written in the now infamous Parkway house. What was the band’s impetus for choosing to write the record there? Jenny and Ray are like my second parents. I’ve lived there from time to time and love that house more than anything. I wanted to write a record somewhere I felt happy about. Byron was the perfect choice. Dan used to jam there in Shoot To Kill when Ben from Parkway, Oscar McCall from
.
Have you ever heard of psychedelic prog black metal sprinkled with folk music before? I didn’t think so, but in fact it’s been done and it’s captivating and interesting on so many levels. Introducing
‘The Long Way Home’ is arguably your best and heaviest release to date. Do you feel that Nordström’s production has elevated your sound to the next level? Yeah, we recorded in Aus before or we recorded our own stuff. This is the next level for us – bigger studio, bigger budget from the label. So we obviously got to the next level with this record. We needed this; we needed to have all elements coming through on this CD. The mosh sounds huge, the melodic stuff sounds huge and the fast pasts sound so heavy. We are actually stoked on all accounts with this CD. You’re heading on a European tour in April with Parkway Drive, The Ghost Inside and Miss May I. What aspects do you bring to the live show? Is it just a straight-up non-stop mosh? I’ll tell you, there won’t be synchronised moves like some bands [Laughs]! We just have fun on stage and bang our heads. We are a mosh/metalcore band; we aren’t doing anything new. We’re just five dudes having fun and probably telling dumb Australian jokes between songs. And finally, why should people listen to you guys if they haven’t done so before? Cause we know Parkway Drive? [Laughs] I starred in their DVD and also starred in Mad Max 2. Also, I was on Big Brother in Australia and I sang for a bunch of other bands you probably like.
.
Hail Spirit Noir from Greece. When resident Molten office disc jockey Andrew Pennington heard the debut album ‘Pneuma’ like a flash he was on to Hail Spirit Noir brainchild Haris to hear more. New album ‘Pnuema’ is out on 5th March. Did you follow an overall concept on the album? The only guideline, if you can call it that, was to create a sound that was menacing in a 70s kind of way, much like the horror films of the same era where there was this feeling of constant threat ever present. The black metal elements of our sound are there for that effect. They add to the murky atmosphere we wish to create. Lyrically, we decided on creating short stories that would match the essence of the music. They are stories about the dark forces lurking everywhere around us, whether they’re imaginary or painfully real, and the thread that ties them together in a sort of concept is the fact that in the end the ‘Spirit Noir’ will prevail. You can call it human nature if you must, I don’t think it’s that far off the mark, do you? Jens Bogren mastered the ‘Pneuma’; he’s worked with some great bands over the years such as Opeth, Katatonia, Amon Amarth etc, why did you choose to work with him? One of Bogren’s qualities is that whenever he mixes or masters an album, the end result always has a spacious and live feel that we find necessary for this album. [Devin] Townsend’s ‘Deconstruction’ is a great example of what I mean. Despite the overkill of different things going on at the same time, there’s space for all of them and nothing is compressed. ‘Pneuma’ is more about flow and feel and tone and letting everything be heard than mechanised production values and extreme compression/limiting. That was one of our main goals and Jens Bogren proved to be a wise choice for it. The artwork is quite abstract and ‘arty’, it looks like a devil but there’s also a face in the body of 16 | MOLTENMAGAZINE.COM
it. Can you tell me more about any underlying meaning to it and whose idea it was for the concept? The cover artwork is based on a painting by Jesse Pepper. “Pneuma” is the Greek word for Spirit and it is pronounced pnevma. We were really thrilled when we first came across this image. Jesse’s work is very close to our aesthetics. We found this figure quite powerful and we thought it would be perfect for the lyrical concept of the album. I think it depicts perfectly that this Spirit Noir can have a face and be as tangible as you and me or it can be as abstract as the idea of The Devil or the darkness we are afraid of yet we embrace when it comes to having things our own way. And that’s what’s really horrifying about this. People usually won’t think twice and everything becomes means to an end. Our stories might be about evil forces and demons but they all feature man’s vanity and insatiable desire for more whatever the cost. That’s the real darkness and the essence of this Black Spirit. The ways of the world in a nutshell.
18 | MOLTENMAGAZINE.COM
NAPALM DEATH
VOCALIST Mark “Barney” Greenway on Napalm Death’s Musicial direction The new Napalm Death album ‘Utilitarian’ is out now through Century Media Records, can you tell me what the album’s all about? The title gives us a hint but is the whole album based around the utilitarianism theory? What we do in Napalm is that we use a lot of word association and creative writing. Do you know much about utilitarianism? I know the basics of the concept. Well, basically utilitarianism is a philosophical theory and as with any philosophical theory lots of different perspectives and interpretations are taken from it. The basic premise of it for one is, good actions make for good consequences and if it happens on a massive scale like the world then it results in worldwide happiness and the second is, happiness by any means necessary. The theory is supported by lots of different people; at one end, humanitarians and animal rights activists and at the other end, people whose motivation is really the acquisition of wealth and power at the expense of others. Their object is total happiness by any means necessary and happiness is always subjective. There are a number of people across the ideological spectrum so I’m not saying that I myself am a utilitarian. I don’t know whether I am or not but I do see a parallel in that I, and a lot of people I know, live life quite ethically. In that if I do something I always consider the consequences and whether it’ll have a negative impact on somebody else and if it does then I won’t do it. From that, if you move it up a step further I think that one trait that everyone shares, no matter what your perspective is, is self-doubt. I do go through periods where I think to myself, all these things that I think about and the ethical considerations that I make, if the ultimate aim is to make a difference, where’s the difference? I don’t see it, where are the changes? And you wonder whether you’re actually doing the right thing. Moving it up a little further, there is a conclusion to all this in that I think that you should persevere with that stuff because these
low level forms of protest and resistance in life are essential. If you take them away you leave a gap for the very things that have a problem with, that you protest about or you boycott, those things can fill that vacuum and you can allow them to exploit people and situations even more so it’s utterly essential that a certain percentage of people within the human race show that resistance. It’s absolutely essential. So that’s the concept, it’s not absolutely difficult but it’s a little more than a simple homage to the utilitarian concept itself. It’s an interesting concept, how did you incorporate it into the artwork? Did you have an image in mind or did you leave it to the artist? No, we always have a lot of involvement with the artist. It was mainly Shane [Embury] our bass player to be honest. Once I come up with the various lyrical aspects he’s very good at putting that to the artist so they both share our vision. I used to be good at that but it came to a point where I ran out of ideas and I was suggesting things that had been done before. Shane’s good at tying all those loose ends together. That goes to underline that in the band different people have different strengths, I guess that’s the same for a lot of bands. People can interpret artwork very differently. What do you see personally when you look at the final piece? A lot of people just look to the literal side of it which is a guy being stood on by various businessmen and various unethical images around it but to me it’s a little deeper than that. I see the guy that’s in the centre being trampled on as the ‘would be utilitarian’ guy, if you like. And then the guys that are around them are not just as they might look, as businessmen, they are actually the very embodiment of power, the struggles that are going on inside this guy’s head. When I just described the album title to you and described those periods of self-doubt well those are the mechanisms of power that are giving him self-doubt and that sort of physical violence that they’re inflicting on him, those
are the struggles that are going on inside his head. I think the things that radiate out from it, those images, are his thoughts. That’s how I see it anyway. Now that the album is out, if you look in the booklet you will see various continuations of the images on the front. On a musical sense can fans expect anything different? Can you relate the musical output to other Napalm records? We’re not doing anything different, it’s just Napalm… We’re not doing anything that’s going to move the world off its axis. We’ve basically made an album that’s unmistakably Napalm. I think the songs are good, I think the riffs are good. I think that one of the things that makes it sound a bit different is that we have certain influences in Napalm, ones that you necessarily mightn’t associate with usual hardcore/metal/grindcore influences and those come from the early eighties school of dark, post punk kind of pop era, bands like Joy Division, The Fall, Birthday Party and My Bloody Valentine. They might not seem like I say, the things you’d immediately associate with a band like Napalm. From a vocal point of view, some of the vocal styles that were employed in those bands are quite extreme in their own way. I’ve always wanted to incorporate those characteristics as it gives a contrast to the straight up just shouting and screaming stuff. So what I’ve done is arranged it differently, we’ve arranged that in the faster stuff whereas previously it had a place in the more slower, more ambient side so it’s given it quite a different edge. This will be the fourteenth/ fifteenth album depending on what you count. Did you ever think you’d get this far with Napalm Death? Yeah, it’s something like that. To be honest, I’ve stopped counting! I just let everyone else work it out [chuckles]. I joined in 1989 and I never thought we’d get this far. I thought, give it 2/3 years, get some stuff out, see a few places but here I am 23 years later so it’s quite unbelievable sometimes to me. I still scratch my head in wonderment about it to be honest! MOLTENMAGAZINE.COM | 19
NAPALM DEATH How does the music industry look to you now compared to what it did when you were first getting into it? I think that Napalm has never, in the traditional sense, been of that term; Napalm’s never been an industry band, we’ve always just done our thing. We’ve never relied on some of the big mechanisms in the music industry to drive us forward and we’ve always been quite self-contained. I know that making a CD, going out on the road, selling t-shirts, you could look at that as part of the industry, but there are various levels of it. I think that one of the necessary things that has happened in recent years is that the major labels and the monopolies that they had on music have been dented, I think that that needed to happen. They had such a stranglehold on music in general in things like the price-fixing of CDs, the distribution channels, etc, etc. I think that that’s now been challenged by the explosion of the Internet and people’s ability to govern their own destiny and
“We’ve never relied on some of the big mechanisms in the music industry to drive us forward” how they make their music. I think that was a change that needed to happen. So it’s different now, but there are a lot of positives to it and how things turned out.
With the Internet and the rise of downloading, are you seeing more people coming out to shows? I think so because the accessibility of music has been improved. I would agree with you. I have seen at a Napalm show, if you want to take the UK as an indication, I have seen a lot more younger kids in the past two or three tours. Napalm is open to all people of course, I think that goes without saying, but there never
used to be such a percentage of younger kids at our shows compared to nowadays so that is indicative of the growth of the industry. What’s next in store for Napalm Death? What’s the plan once the album goes out? Well we’ve got various shows in Europe and one show in the States, the Maryland Deathfest, which is quite a notable event, it’s grown quite a lot. Then we have various European things in. It all looks a bit staggered at the minute but to be honest touring has also changed nowadays. You can’t go out and do these two to three tours back to back anymore. There are too many bands out there to do that,
kids will not come back and see you, twice or three times in the space of 6 months, they just don’t and I don’t fuckin’ blame them either! It’s way beyond a lot of people’s means so the nature of touring has changed. We actually do a lot of where we travel to different countries in Europe and we play two or three shows over a weekend, which is peak time to really get people to gigs, and then we come home again. We might do the next weekend, and then we might have the weekend after that off and so on and so forth in that kind of pattern. That’s everything for me, is there anything that you’d like to say to your Irish fans? Thanks to everyone for their support. We were over recently in Ireland and I’d heard that, certainly in the North, in Belfast, that gigs have been pretty tough, that turnouts were pretty low. But the last show we did, at The Stiff Kitten I think it was, a lot more people turned out than we expected and it was really nice to see you. It was very good fun, there was quite a lot of dialogue between the audience and myself, there was quite a lot of fun and games, and we had a really good time. So I guess the overall thing to say is thanks to everybody for their support it’s, as ever, much appreciated. Words: Andrew Pennington
NAPALM DEATH TRIVIA ............................................................. - In the popular 1996 kid’s movie ‘Matilda’, based on the Roald Dahl novel, starring Danny DeVito, Matilda’s brother is seen wearing a Napalm Death t-shirt in one scene. - Napalm Death appeared in the British comedy series Red Dwarf. - Napalm Death formed in the village of Meriden near Birmingham. 20 | MOLTENMAGAZINE.COM
- Napalm Death earned a place in the Guinness Book of Records twice, for having shortest song and the shortest music video in the world. - Lead vocalist Mark ‘Barney’ Greenway got his nickname from The Flintstones’ cartoon character Barney Rubble after he used to get drunk and bump into everything. - Barney has been a vegetarian since he was a teenager.
MOLTENMAGAZINE.COM | 21
A NEW ERA OF METAL FESTIVALS... ...and a new era of summer holidays!
Win a pair of tickets to Metal Camp 2012!
We’ve teamed up with Metal Camp to offer you the chance to win a pair of tickets to one of the world’s best festivals! All you have to do is answer the following question:
.....................................................................
Q: In what year was the first Metal Camp festival held?
.....................................................................
A: 2002 B: 2004 C: 2010 To enter head over to www.moltenmagazine.com and click ‘competitions’. 22 | MOLTENMAGAZINE.COM
Or send your answers including name, full address and a contact number to: Molten Magazine Metal Camp Competition Unit A6 Castlereagh Enterprises Carrowreagh Road Belfast BT16 1QT For more information on the festival visit: www.metalcamp.com Terms and Conditions: Competition is for two festival tickets only. Winner must arrange and cover expense of transport to and from the festival. Further T&C’s available at www.moltenmagazine.com/competitions. Closing Date: Wednesday 4th April at Midnight.
A friendly atmosphere, beautiful scenery, people from all over the world and a vacation vibe, Metal Camp in Slovenia has been the trailblazer for a new era of metal festivals. Gone are the times of cramming as much people as possible into small and not so comfy spaces such as airport hangars, industrial buildings or just a plain green farmer´s field. The concept of a headbanger’s holiday is much more than just beer and heavy metal music. Metal Camp has shown, what exactly is possible! The festival is located on a peninsula between two mountain rivers, Tolminka and Soca. Metal Camp boasts not only these nature attractions but also the beautiful scenery and the close and easy access to the Mediterranean Sea. Metal Camp offers total relaxation, where everybody – whether metal heads or families, can experience relief from all the stresses of daily life.
The rivers are cleaned daily and the festival organisation provides a 24 hours a day security net in the river Soca, where the trash will be collected. That way, one of the cleanest rivers in Europe will stay the cleanest and fans as well as holiday-goers in Tolmin are able to enjoy the beauty of crystal clear water. Nowhere else can you so easily relax, swim, bathe, drink, hang out and bang your head only a few hundred metres away than at Metal Camp! WHERE: Tolmin, Slovenia WHEN: 5–10 August 2012 tickets: Week tickets from €129 web: www.metalcamp.com
CONFIRMED SO FAR:
NILE
THE BLACK DAHLIA MURDER
EPICA
When Karl Sanders formed Nile, the band took the extreme metal world by storm with the release of their debut E.P. ‘Festivals of Atonement’. Nile raised the bar by more than just a notch or two, not only musically in terms of technicality and speed but also lyrically by delving deeper into a concept more than anyone else. As well as Egyptology Nile have also touched on a few other ancient Middle Eastern cultures.
2011 was a busy year for the five-piece with the release of their fifth studio album ‘Ritual’ in June 2011 followed by a string of tour dates and festival shows (including a storming set at Sonisphere UK). Fresh from a January 2012 UK tour, the band have another punishing year of touring ahead that will see them playing with the likes of Hour of Penance, Nile and Skeletonwitch before hitting up Metal Camp this summer.
2012 sees Epica return with their fifth studio album due for a March 9th release on Nuclear Blast Records. Songs from the imminent release entitled ‘Requiem for the Indifferent’ should be a prominent feature of their upcoming summer festival appearances that look to take them across Europe including a show at Metal Camp. The thirteen-track album explores the concepts of war, natural disasters and religion.
OTHER ACTS: Amon Amarth, Avven, Brezno, Doomed, Edguy, Eluveitie, Finntroll, Gorguts, Grand Magus, Hatebreed, Heathen, Inmate, Kataklysm, Korn, Korpiklaani, Machine Head, Madball, Morana, Napalm Death, Pain, Paradise Lost, Sabaton, Sin Deadly Sin, Sodom, Testament TOP TIP: Bring a pair of Speedo’s... Things are going to get sexy! MOLTENMAGAZINE.COM | 23
I
n 2011 Morbid Angel released ‘Illud Divinum Insanus’ a highly anticipated follow up to 2003’s ‘Heretic’. Taking a bold and controversially industrial flared artistic direction, the album received mixed responses from critics but underlying the furore lay a group of discontent die-hard old school fans. Throughout their career Morbid Angel have taken several sharp turns but debatably all for the better so why the surprise, maybe they missed the marker this time round? Later in the year the band announced plans to release ‘Illud Divinum Insanus – The Remixes’. Define remixes for me? Is it re-structured songs, new riffs and adding additional layers? No, it’s a bunch of DJ’s remixing ‘Illud Divinum Insanus’ tracks with beats, bass drops et al. Bold just became bolder.
{
wanted to have included on the album and the label also had some artists that they went after. The more the merrier.
T
hen all we did was find out who was interested and we said well here’s the album, here are the parts, you know the vocal tracks, etc, pick whichever song you want to use and do whatever it is your gonna do to it. We didn’t give anybody any direction at all. We just wanted to have a very open, unmanaged, creative windfall and I think that’s what we got.”
G
etting onto the topic of diehard old school Morbid Angel fans, it’s debatable that something like this could potentially alienate them even further. However, Dave is hopeful this won’t be the case, “I hope they like it...
I like things that dont have boundaries, that dont have pre-conceived limitations.
W
as this to be expected? Vocalist and bass player Dave Vincent comments, “If you remember we did some collaborative stuff with the band Laibach back in the 90’s so it’s not really a new thing, but we’ve never taken it to this extreme. They [Laibach] did a couple of songs, whereas this is a whole bunch of stuff by a whole bunch of people and I’m very excited about it. There’s some really, really interesting stuff and it’s vastly different to anything we’ve ever done.”
T
he band were actually not heavily involved in the project themselves and had very little input or say in the direction taken. “It’s something that the band discussed with the label (Season of Mist) from the very beginning and we had a hands off approach on it. We made some suggestions as to some of the artists we 24 | MOLTENMAGAZINE.COM
}
MORBID ANGEL
T
he purpose for this was just to have an open forum for creativity. Again, we didn’t direct this at all; this was something that’s been very organic and very bohemian and that was the intention. There’s some stuff I’ve listened to and I thought, oh that’s what I expected and there’s other stuff I was like, wow, I didn’t expect that at all. It’s neat when you throw something up and you see what comes back and yeah, that’s what we did and I’m really happy about it.”
I
n relation to the new Korn album ‘Path to Totality’ vocalist Jonathan Davis said that the “future” could be mixing electronic genres with the likes of metal. It goes without saying that Morbid Angel aren’t Korn and there is little comparison, however, as an extreme metal band is it possible the concept can hold a future in extreme metal as it could in the mainstream? “I like things that are creative. I like things that don’t have boundaries, that don’t have
{
YOU WILL HEAR LOTS OF NOISE OUT OF MY MOUTH THIS YEAR
}
pre-conceived limitations. That’s what extreme music is and that’s always been my definition of it. So when I see other people doing stuff whether it’s with electronic music or it could be with all different kinds of things, it doesn’t have to be one genre or any one style, it’s just the idea of creating soundscapes, creating art and being expressive, being emotional, sharing emotion and sharing passion. To that end, I love it.”
morbid angel Illud Divinum Insanus – The Remixes (Season Of Mist)
I
t’s not just extreme music though that Dave follows, “I have the entire collection of Laibach. I’ve pretty much everything they’ve ever done and I’m also a fan of Rammstein. There are other darker, wavy, industrial things that I’ve had, I guess going back to the early 90’s. I like different kinds of music, there are obviously some things I prefer over others but I try to find what I like about something as opposed to what I dislike about something. Something may not be my cup of tea, there are a lot of things that aren’t but you know, I’ll listen to it and if it’s not my favourite thing it’s still very cool finding different elements. You have to really listen to it from an artists stand point and think of what the people are doing and what is it they’re trying to express.”
W
hat’s next for Morbid Angel? “There are so many opportunities opening up literally everyday. I’m reeling there are so many things happening. You will hear lots of noise out of my mouth this year.” .......................................................................................................
Morbid Angel’s ‘Illud Divinum Insanus – The Remixes’ is out now through Season of Mist Records.
.......................................................................................................
26 | MOLTENMAGAZINE.COM
‘Illud Divinum Insanus - The Remixes’ is a 2 Disc Album featuring artists such as Tim Skold, Tek-One, Tantrum, Chris Pohl, Project Pitchfork, The Toxic Avenger, Black Lung, Malakwa, Brain Leisure and lots more. This album features remixes of songs from ‘Illud Divinum Insanus’ including I Am Morbid, Destructos vs. The Earth, 10 More Dead, Existo Vulgoré, Radikult, OmniDead and Too Extreme. Release Date: 23rd January 2012
....................................................................................................
Last year’s controversial release ‘Illud Divinum Insanus’ was an album that divided the devoted. The death metal legends broke the standard protocol of the scene delving into industrial and electro fields, thus leaving the majority of the faithful somewhat bewildered. Was this a brave move or simple commercial suicide? Now the Floridian heavy weights return with the possibly yet more controversial ‘Illud Divinum Insanus-Remixes’, a mixture of techno hardcore to industrial, from dubstep to electro dark. With 39 tracks and over 3 hours duration, this is a difficult album to listen to. Luminaries in their respective field, such as Liabach, Skold and Black Strobe offer their interpretations to varying effect, surprisingly there are some catchy moments, and some consummate performances scattered around this album. But you have to ask, who is this album aimed at, and what are the motives behind it? Is this an attempt by a suffering record company to recoup lost revenue from the previous effort, or is it a genuine piece of musical expressive freedom? The majority of these songs wouldn’t be out of place on a Gary Numan or Nine Inch Nails release and fans of theirs might relish these pieces, the hardened Morbid Angel fan will probably pour scorn on them! Is this the death metal ‘LuLu’? Hardly, but it’s certainly on a parallel path. EDDIE WHITE
Belgium’s Aborted have been crafting another slab of death metal in its most ferocious form under the title ‘Global Flatline’. You may have already heard the title track that was released last October as a digital single just before the band set off on a successful European tour with Decapitated and Decrepit Birth. Prior to that and for the most of 2011 they’ve been lying relatively low behind closed doors hard at work. When Molten caught wind of what was happening we had to get a preview of what was to be unleashed and also to get a catch up with frontman and founder, Sven de Caluwé or ‘Svencho’ as many know him.
S
o how does the record fare against the band’s back catalogue? Sven comments, “I think it’s our most extreme work so far but also it’s our most diverse record, I mean it’s not only fast, there are a load of dynamics. I’d say that it’s a bit more mature. If you would compare it to the really old stuff like ‘Engineering The Dead’ or ‘Goremageddon’ I’d say it has [their] intensity, it’s focused on the heaviness but it also has more mature song writing. The new elements would be the extra texture we’ve given to the songs and the whole horror vibe
back on ‘Goremageddon’ and ‘Haematobic EP’ which was released in 03’ and 04’ respectively through Listenable Records. “It was quite the nostalgic trip. I mean even from the drive we had going through Holland and Denmark, we passed all the same areas. It was really cool to re-experience what the band experienced all those years ago. Jacob hasn’t changed, he’s still the same funny guy and still easy to work with, he really knew what we were going for. It was really smooth; we recorded, mixed and mastered everything in like three weeks at most, which is probably the fastest record we have ever done.
that’s in there, with the samples intertwined. On a strictly musical point there are more doomy parts and dark melodies which is something we’ve never done before.”
e had most of the material ready before we went in [the studio]. We took two weeks off before recording and the band played every day to fine tune songs that weren’t maybe flowing too well. We actually had two more songs planned that we had some issues with when we were recording. Pre-production was with a drum machine which
A
borted once again teamed up with Jacob Hansen at his studio in Denmark, whom the band last worked with
W
we only finished the night before going to the studio and when we started recording them, the tempo changes were a little awkward with real drums. We’re not a band that believes in faking music on an album so we decided to cut those out and finish them at a later point.”
T
he album ‘Global Flatline’ also features three tracks from 2010’s ‘Coronary Reconstruction EP’, ‘Coronary Reconstruction’, ‘From a Tepid Whiff ’ and ‘Grime’. “We changed some of the harmonies that we were never really happy with; we’d actually already changed
them when we played them live. Another reason we re-recorded them was that there were only about 2,500 copies of the EP made and it didn’t really have any distribution. The EP was only really sold online and on tour by the band so we felt that some of these songs, especially because we liked playing them live, deserved to be on the real thing.” MOLTENMAGAZINE.COM | 29
a
ABORTED nother topic of discussion is the artwork; ‘Global Flatline’ imagery was undertaken by Justin Osbourn whose work is quite diverse having worked on the rather grandeur ‘Imaginaerum’ by Nightwish and Steel Panther’s simple yet effective ‘Balls Out’. Take a look at ‘Global Flatline’ and what do you see? Zombies… Should we sigh? More Zombies… but then this is death metal and some would say it wouldn’t be unless the undead are somewhat involved. Whatever you think, there’s more to it than meets the eye, “It’s actually not just zombies. The basic idea was to have a destroyed society and what it would look like. Zombies are obviously a very common post-apocalyptic theme but we also had a feeling that the whole Zombie dramatic theme was really overdone in the last few years so we wanted to give it our own twist, which is what the artist had in mind anyway. It’s more the downfall of man. Look past the Zombies and you also see several other things…”. After taking an in depth glance you see that the Zombies are eating themselves and each other which Sven describes as “an example of the social aspect” adding that “there’s so much there that gives little hints as to what the lyrics are all about and what could end up as a reason for humanities final... thankfully expiration [Laughs].”
S
peaking of which, 2012 has been predicted through interpretation of one of the Mayan calendars as the end of the world. What does Sven think? “I don’t really believe it but it’d be cool” and if he could design the apocalypse he tells us with an eerily sinister laugh that it would be “hopefully with people murdering each other so I can join in on the festivities.”
ABORTED Global Flatline
Tracklisting: 1. Omega Mortis 2. Global Flatline 3. The Origin of Disease 4. Coronary Reconstruction 5. Fecal Forgery 6. Of Scabs & Boils 7. Vermicular, Obscene, Obese 8. Expurgation Euphoria 9. From a Tepid Whiff 10. The Kallinger Theory 11. Our Father, Who Art of Feces 12. Grime 13. Endstille Release Date: 23rd January 2012
....................................................................................................
(Century Media)
Even though they’ve been going since the 90’s, Aborted are still often labelled as new school death and yet unlike much of the ‘muck’ that comes out, the difference is that Aborted are precise and write with song in mind. They’re not about overhyped, technical, ridiculously fast and brutal music but about creating something that not only inspires musically but also appeals to new listeners. The latest slab of Aborted has arrived under the moniker ‘Global Flatline’ and words that spring to mind immediately are; precise, controlled (yet unrelenting), savage, ferocious, brutal, pummelling, catchy… Do you like what you’re reading so far? It can be argued that this is the best offering in their career. It may not be to everyone’s taste but on a strictly musical sense this is the best that Aborted has ever been. The band has slightly diverted from their original outset but it’s modernisation. In ‘Global Flatline’ the band has introduced harmonies and even some doom, bolstering the old school Aborted that remains the main theme. The balance between brutality and catchiness is prevalent more than ever. This, alongside the atmosphere they’ve captured which wouldn’t be far off the experience of an Aborted live show, is something many could learn from. ANDREW PENNINGTON
A
borted formed in 95’ and since then Sven has been the only constant member. The band has seen almost ten guitarists pass through the ranks, four drummers and just as many session drummers, “when it’s happened it had to happen. I’d prefer it not to happen obviously but you know it’s a bit of a tricky situation. For a long time until we recorded ‘The Archaic Abattoir’ really, it was mainly the same people in the band leaving and after that there was a big shift.” He goes on to explain the difficulties new members have in joining an already established band such as Aborted. “People can think that things are bigger than they really are and have high expectations that aren’t obviously met financially or whatever. It’s hard because these people weren’t there from the beginning and they didn’t witness and go through the stages of building up the band to where it is now. Sometimes it’s just a conflict of goals and what not so when shit goes sour there’s no point in working with people that aren’t happy and if you’re not happy then…”
S
eeming slightly agitated having rumbled old memories we move swiftly to the new and current Aborted line-up. Last year seen two new members join the fold with ex-Abigail Williams guitarist Mike Wilson joining his former band mate drummer Ken Bedene who’s been with Aborted since ‘09 and JB Van Der Wal picking up bass duties. 30 | MOLTENMAGAZINE.COM
Sven, excited at the new band, says, “So far so good, I mean we’ve been playing shows and the feedback has been really good. We’ve really good energy on stage and the fans seemed really happy when we were on tour with Decapitated. I guess you’ll see for yourself if you come see us on our UK shows this year”
S
o what’s next for Aborted? “We’re going on tour in Brazil with Exhumed on a co-headline tour then the UK right
after that and Neurotic Deathfest. Then we have a couple more festivals like Inferno in Norway, which we’ve just confirmed. There’s some more over the summer and before that we’ll go to the USA but I can’t discuss that yet.” ‘Global Flatline’ is out now through Century Media Records and is available from all your usual merchants. Photos: Patrick Haberli
DESASTER talk about THEIR 7TH ALBUM RELEASE ailing from West Germany the black thrash band Desaster may not have been on everyone’s radar but they’ve certainly built up a deserved reputation over their past 24 years including bonding a special relationship with Ireland.
Their seventh studio album, ‘The Arts of Destruction’ has just been released, so what can fans expect if they haven’t already picked it up? Well for one, “Total Desaster”, says vocalist Sataniac. It’s a fair statement however this is arguably the calmest offering from the band but note, calm is a word to be used lightly. It’s still ‘Total Desaster’, but when we pitch it against a back catalogue, which includes ‘A Touch of Medieval Darkness’ and ‘Hellfire’s Dominion’ we’re looking at something a little, dare we say more mature, refined maybe? Current vocalist Sataniac who has been in the band since 2002 comments, “it was always going to be a very hard and fast record but we’ve got some of what I would call, ‘rock guitar riffs’ in parts of songs. Of course it’s black and thrash metal, there’s just an inclusion of a few rockier riffs that make it a bit different. There’s something for every fan actually on the album. There are fast songs, thrash songs, black metal songs and even some epic inclusions influenced by Possessed and Defiled. So all-in-all a typical Desaster album really with just a few small differences here and there.” It’s hard to disagree, the consistency over the last two decades from Desaster is worthy of applaud and from a tenure so long it’s inevitable that there will be some changes; we’d be bored with the same thing otherwise. Sataniac explains that life experience and exposure to other music has had an effect on the band and has influenced the new material, “we’re getting older and we’re having more influences from the whole of rock music”. But still to this day the main inspiration comes from “the old extreme metal gods like old Slayer, old Venom and that kind of stuff.” One thing we can be sure hasn’t changed is the band’s lyrical theme, “it goes again to the stupidity of humanity. The album instruction means nothing more than to create destruction. We destruct our own race... that’s what the album title means.” Sataniac also gives an insight (or can we can we call it a trade secret?) into how he writes songs, “I always try to get my anger into the music so when I come home and I’m a little bit worried about my boss, I sit down and think about him and write down some words.” On the production side of things the band didn’t chose to venture far recording once again at ToxoMusic studios in their hometown of Koblenz, Germany, “all of the songs we wrote for the album appeared on it. We don’t write 20 songs and pick 11 for the album. We only write the songs for an album and if it’s finished and it sounds good, we say let’s go to the studio and record.” 32 | MOLTENMAGAZINE.COM
The band turned to artist Axel Hermann to design the cover art whose work we’ve most recently also seen on the new Asphyx album, ‘Deathhammer’, which also happened to be released on the same day as ‘Arts of Destruction’. They came to the choice quickly having been impressed with the artist since seeing his front cover artwork for Morgoth’s ‘Eternal Fall’ album. “We love the Morgoth ‘Eternal Fall’ cover with the slimy red monster on it and so I said ‘let’s try and give him some words for doing a cover’. I only gave him the title in the end and that was enough. I’m very satisfied with the result. On the vinyl you can really see the detail.” This is the band’s third studio release under Metal Blade Records and Sataniac praises the strong relationship Desaster have with their label, “Metal Blade give us all the freedom that we need, that’s the main thing for working together. They don’t tell us to release an album every two years. We are completely free and we even sell our merchandise on our own which is very necessary for us; you can’t make much money on a band like Desaster. Today you won’t get anything from your record company. All the CD’s we sell go back to the recording or doing promotion.”
When you consider this is an underground band that don’t and couldn’t possibly live off the band in a financial sense and are still content sleeping on a floor a few nights just to get out and play live, over two decades later you have to admire their faith and love for what they do. Ireland is all too aware of the drive Desaster possess and in ways Ireland could be a home away from home for the band. “There is always somebody who invites the band to play. It was first Darragh from Invictus Productions years ago. He said ‘Ok, let’s meet and try to do a concert’. So everything went fine and we decided that we would come over to play. The tickets were cheap and we did it. It’s always nice to come to play for friends and not just normal company. We’re always invited over by friends and the best thing you can do when travelling is meeting people that you like. That’s the main reward from Desaster and that’s the main thing that I enjoy. The Irish fans can be very calm and then with a little alcohol and if they begin to like you then they get really crazy and explode! That’s what I like.” Another tie with Ireland is with 2007’s ‘Satan’s Soldiers Syndicate’ which featured guest vocals from Alan Averill of Primordial. Sataniac tells us that, “the first three times that we played in Ireland, and in fact Dublin, we slept at Alan’s house. It’s a great relationship and great friendship from the very beginning. We had a good party and a good time.” ‘The Arts of Destruction’ is out now on Metal Blade Records.
DESASTER
The Arts of Destruction (Metal Blade Records)
Tracklisting: 1. Intro 2. The Arts Of Destruction 3. Lacerate With Hands Of Doom 4. Splendour Of The Idols 5. Phantom Funeral 6. Queens Of Sodomy 7. At Hell’s Horizon 8. Troops Of Heathens – Graves Of Saints 9. Possessed And Defiled 10. Beyond Your Grace 11. Outro Release Date: 27th February 2012
....................................................................................................
If you’re looking for a band that really just embody metal with a zero bullshit outlook on life, then here they are. Germany’s finest purveyors of blackened thrash metal, Desaster are back. ‘The Arts of Destruction’ instigates with an intro that beckons their return, in a ride into battle fashion and wastes no time, erupting into the title track with vocalist Sataniac barking his way past feverish riffing. ‘The Splendour of the Idols’ is a ripping trek of pulsating riffs, which are bountiful throughout this record. It’s Sataniac though that steals the show with a relentless and ferocious vocal performance that never gives way for a second. Desaster are certainly a band that has stayed true, for want of a not so clichéd word, to their metal art and as Sataniac put it himself, the band “spit on trends”. Their dyed in the wool metal mentality is palpable with their blackened bombardment of metal. ‘Troops of Heathens - Graves of Saints’ is a prime example of that bombardment with a hail of scathing riffs meanwhile, ‘Possessed and Defiled’ is the album’s eight minute epic, all heaving in ghastly brilliance, all proving that ‘The Arts of Destruction’ is an unruly and intense record, with no filler, just concise, earnest, no nonsense metal assaults. JONATHAN KEANE
Ask anyone to recommend an extreme metal album and you can be pretty sure ‘World Downfall’, the debut Terrorizer album will be given a fair few nods of approval. The road has been far from smooth though with the band splitting up the same year as the iconic ‘World Downfall’ release in 1989. After a sixteen year hiatus the band reformed, but out of the original members, it was only to be guitarist Jesse Pintado and drummer Pete Sandoval that would follow it through. They recruited Tony Noman, Pete’s band mate at the time from Morbid Angel and vocalist Anthony Rezhawk aka Wolf and after a few months a much anticipated new album ‘Darker Days Ahead’ was released. The reunion was short lived however with the untimely death of Jesse due to liver failure coming in the same week as the release of ‘Darker Days Ahead’, and from there Terrorizer slipped back into the depths. In the past couple of years there has been movement, with Pete and Wolf talking behind the scenes, and as a result a reformation was agreed. Now in 2012 we have
a new studio album release entitled ‘Hordes of Zombies’. As ever though, the road has been far from smooth with Pete’s well-documented back trouble, in fact initial talks began as far back as 2008. Wolf comments, “Pete approached me about recording a demo at the end of 2008 and he said ‘hey how do you feel about doing something like this, something like that’ so we talked about it and all the possibilities and our feelings, you know with Jesse not being in the picture anymore. There were things we really needed to talk about and at the end we decided that we were gonna do it. When he came to record the demo he told me he was going to be getting an operation. I thought we might as well take the opportunity right then to develop and record as much as possible so when he was getting better we could put something out. He did all his parts before the operation. We did it in like two days. We knew he was going to get that operation so we thought let’s just do it now because you never know what’s going to happen, but gladly he’s recovering well.”
When ‘Darker Days Ahead’ was released there were mixed opinions on a grand scale, mainly as it was nothing near ‘World Downfall’. For a start the line-up wasn’t the original and the sound was slightly off track with the debut. With ‘Hordes of Zombies’ we yet again have another line-up change albeit under different circumstances. However, when new guitarist Katina Culture joined, the band were inspired enough to actually end up writing and recording more than originally planned. Wolf tells us, “Our idea was just to record five songs but after we sorted things out with the guitar player and all, Katina and I got together and wrote around thirteen songs and a tonne of other material, just riffs and what not. We sent [Pete] the songs and he said, ‘I like all this so let’s work on it’...
MOLTENMAGAZINE.COM | 35
TERRORIZER
TERRORIZER
Hordes of Zombies
Tracklisting: 1. Intro 2. Hordes of Zombies 3. Ignorance and Apathy 4. Subterfuge 5. Evolving Era 6. Radiation Syndrome 7. Flesh to Dust 8. Generation Chaos 9. Broken Mirrors 10. Prospect of Oblivion 11. Malevolent Ghosts 12. Forward to Annihilation 13. State of Mind 14. A Dying Breed Release Date: 28th February 2012
....................................................................................................
(Season Of Mist)
Terrorizer’s 1989 record ‘World Downfall’ is a grindcore classic, that won’t be disputed. 2006 comeback ‘Darker Days Ahead’ on the other hand mustered up divisive opinions for the ‘supergroup’. That is why third album, ‘Hordes of Zombies’, feels like it should be the crucial record in Terrorizer’s story. Morbid Angel’s David Vincent is back, as to is one-time MA drummer Pete Sandoval, this being his first outing since his debilitating back surgery. Joined by guitarist Katina Culture, replacing the late Jesse Pintado, and Wolf Rezhawk on vocals, all eyes are on this release. Terrorizer have played it safe, but the results aren’t entirely mundane. While for the most part, ‘Hordes of Zombies’ is predictably brutal, utilising the usual arsenal, there’s still much calibre, and Sandoval delivers an utterly relentless performance, blasting his way through each track. The album has its run of the mill moments, sometimes too many, but there are still solid tracks to be heard like the barrage of ‘Subterfuge’, the polished lead guitar work found on ‘Generation Chaos’, or ‘Malevolent Ghosts’ with its clean, melodic mid-passage. Is there better grindcore out there? Yes. Is there much worse? Yes, but ‘Hordes of Zombies’ is a firm effort regardless. Jonathan keane
When he came round we were supposed to do five songs but we ended up recording a tonne of stuff.” Is that a statement in itself ? The material must be good, right? In relation to the sound, can we expect a return to the ‘World Downfall’ classic sound? It’s not likely but there’s nothing to suggest ‘Hordes of Zombies’ won’t be worth a spin and could even be an improvement on ‘Darker Days Ahead’. Wolf describes the feel of the album, “You know it’s a combination of different grindcore styles as far as I can see it and it embraces some other genres. There’s a little death metal of course and there’s some black metal, just a few sprinkles here and there. I come from a punk rock and crust background so I always have some of that in there no matter what I do. It does have a few elements that I would believe to be a natural progression. As you know bands don’t stay the same forever, I mean overall the spirit is always there but things seem to mutate, develop, that’s how I feel this recording has went. We embrace everything that we like and listen to, we’re extreme metal fans so we did whatever was in our hearts at the time.”
In line with traditional grindcore points of topic ‘Hordes of Zombies’ also incorporates an overall concept, “The concept is that humanity is sleepwalking and that pretty much makes us all zombies; we’re all victims of our own instant gratification with life. It embraces every aspect of life be it political, religious, social, economic, you know, everything. To me I believe everyone is just doing what they think they should be doing based on their wants and needs but they’re not looking around and seeing the damage that we’re causing to ourselves and our environment. I’ve had people disagree with my view of the world but that’s ok because everyone is entitled to their own opinion.”
The cover also embraces the concept with the zombie themed artwork, not exactly original to be fair but, “In this particular case the zombies are not your typical, spooky horror movie zombie, it’s more your typical Joe, your typical human being walking the streets. I think that it’s hard not to see these things. I mean, even if you’re intelligent and even if you’re doing it in your sleep it’s in your face, and no matter what it’s part of our culture. I mean someone said to me recently, ‘did you do this with the artwork just because it’s popular right now’ but that’s not the reason why we did it. As I explained, it has it’s own perspective, it’s a reality we see everyday. I see the zombies being used in so many different ways. For example I saw this guy selling a zombie kit, ‘how to keep zombies away from your house in case of a disaster’ this is actually real, [but] it’s just a way that they are marketing their home protection products.”
As of yet nothing is planned in terms of touring for the band although Wolf comments, “That’s one of our main goals. We’re hoping that we’ll be able to tour or at least play some festivals or a few shows here and there. That’s still up in the air, it’s something we’re working on but we’ll definitely play live.”. There will also be a video for the title track, “it’ll have the band pretty much playing in a studio with footage of different things representing the concept.” ‘Hordes of Zombies’ is out now through Season of Mist Records. 36 | MOLTENMAGAZINE.COM
“this will hopefully be the line-up of the band from here on out� - alex webster
Hailing from Buffalo, New York death metal pioneers Cannibal Corpse emerged in the late 80’s and has since epitomised the genre on a level far more superior to anyone else doing the rounds then or in present day. Cannibal Corpse has always had all levels covered musically, lyrically, title tracks, artwork and in image. When Molten were slipped word that Cannibal Corpse were finished with their latest opus ‘Torture’ we had to hear more and so resident interviewer Andrew Pennington popped the kettle on and sat down to a chat to the big chief himself, bassist Alex Webster. The new album ‘Torture’ is out on march 12th, speaking from a fan’s perspective there’s definitely a fresh vibe off the record. I don’t think it breaks any boundaries, although having said that, Cannibal Corpse is always going to be Cannibal Corpse. How do you feel the writing has progressed on this album? I think that this album, to make a simple comparison and of course this is not a nuance comparison, is that it’s somewhere between ‘Kill’ [2006] and ‘Evisceration Plague’ [2009] and hopefully better than both of them. We’ve tried to capture the precision and overall musical sophistication of ‘Eviseration Plague’ and combine it with the raw aggression we had on ‘Kill’. Those are also the other two records that we’ve worked with Erik Rutan. I think that out of the three Erik Rutan albums, this one will be the most powerful and it’s something that came out really aggressive looking at the song writing. We’re very happy with it. It feels like we’ve been able to capture an old school aggression and still have our modern playing abilities. The music that you hear in the new album we couldn’t have played in ’91/ ’92, we just weren’t capable of it and yet those old albums have some really raw aggression that our fans like a lot. So we’ve tried to mix the raw aggression of the old records with the musicianship that we have now.
one of the only metal bands that’s been there for a while because metal bands don’t generally have as big a recording budget. We did manage to get out there for about a month. Eric managed to do the whole record; he came up to Sonic Ranch with us. They have some fantastic recording equipment up there, microphones, preamps, compressors, excellent mixing boards, rooms to record in; it’s really a wonderful studio. I take nothing away from Erik’s Mana Recording Studio but Sonic Ranch just really has a lot of money put into it and has a lot more gear at its disposal. On top of that, Sonic Ranch is a place where you are completely isolated from the outside world and you can be completely focused on your album. None of us were out about running errands and things like that, we were just on the ranch at all times working on the album so there was a really good focus among the band members for that first month. What we did there was to record the drums, bass and rhythm guitar tracks. Once we returned to Mana Recording Studios we recorded some additional rhythm guitar tracking, the guitar solos, the vocals and of course the mix. That was good as it allowed Erik to do the mix in the studio where he’s used to being. It just worked out pretty cool to be able to do the whole album at two different studios. I’m not sure if it’s something that we’d try again but it worked quite well this time.
You worked at Sonic Ranch as well as Erik’s studio in Florida. Was there any reason for working in the two studios? Part of the reason that we didn’t finish the entire album at Sonic Ranch is that it is pretty expensive to go there and record. Most of the bands that go there are on major labels or are really, really big independent bands so we’re
The last time you were at Sonic Ranch was for ‘The Wretched Spawn’ record [2004]. What was it like going back? You know we love to record at Sonic Ranch, it has such a great atmosphere and we love that studio. It has changed a little bit, they’ve added a lot of things like studio rooms and they’ve built an additional studio about a mile away.
40 | MOLTENMAGAZINE.COM
There were several bands there when we were recording and there was quite a lot of activity as far as musicians go but if you need to get away you definitely can. You can work in total isolation there… that is just not a problem. The atmosphere is so great, and so peaceful. We really love working there. This is the third album with the current line-up. Has stability within the ranks been an added bonus? I think it has been for sure. We’ve always had great players in the band. It’s been a great career in that we’ve always had guys in the band that love death metal and are psyched about it but I think that the five man line-up that we have now, Me, Paul [Mazurkiewicz drums], Rob [Barrett - guitars], Pat [O’Brien - guitars] and George [Fisher - vocals] is the strongest in my opinion. I take nothing away from previous line-ups. It’s getting better and better and we’re really good friends and we work well together. Everyone’s doing a lot of writing these days with the exception of George who voluntarily kind of stepped back from the writing process. He loves to sing and he loves what we write for him so he just stays out of it. The rest of us have been writing really well together and have been having a really great time. I think the best is still yet to come for this line-up; this will hopefully be the lineup of the band from here on out. I want to talk a bit about the artwork; it’s an integral part of Cannibal Corpse. Looking at it, it seems quite sinister, what is the concept behind the artwork on ‘Torture’? The artwork really is the theme behind the album. A little bit of the idea came to me on a day off last summer in Rome when we went to the Vatican City. I saw on one of the doors there a bunch of tortured bodies hanging and that was the beginning of the idea. The artwork that Vince [Locke] did looks nothing like that but that was the initial idea anyway, to have tortured bodies hanging. I took it to Vince and he took it on his own direction and made something completely different as Vince is his own artist but I did suggest the concept of the hanging bodies. We had something similar on ‘Butchered At Birth’ where Vince had the hanging babies but it just seemed like MOLTENMAGAZINE.COM | 41
CANNIBAL CORPSE a good concept on an album that was going to have a few songs relating to torture and/ or execution and also for the music that was going to be on this record. The idea of being tortured and being hung there, you wouldn’t want it to happen to you, do you know what I mean?! Another thing that I thought was cool was in Hostel: Part II where they hung the girl and sort of cut her open and bleed her like an Elizabeth Bathory kind of thing. I think being hung and tortured is quite horrifying and since it’s horrifying it’s appropriate to be a Cannibal Corpse album cover [laughs], which is what we’re going for. What’s next for Cannibal Corpse? We’re going to be embarking on a huge tour throughout 2012 and hopefully 2013. We’d love to get all over the place and hopefully play to some places we’ve never been and also to visit all of our favourite spots. We’ll be in the UK in March for the Destroyers of Faith Tour. We’re very excited about that, to be able to play with Enslaved, Triptykon and Job For A Cowboy; it’s going to be awesome. We’ll be fresh off our European Tour, we’ll be broke in and ready to slaughter [chuckles]. I can’t wait because we always love playing there. We want to come back to Dublin and Belfast as well, we played there last year and it was awesome so we definitely want to come back. For some reason we get there every other time. I’ll make a point of telling our UK booking agent that we’d like to get to Ireland on this tour. I get the feeling that we’ll
get over. We have friends there that we’d love to hang out with. Hopefully we’ll get over on our own late 2012 or early 2013. How do you feel the death metal scene is at the moment in terms of new bands emerging and genre popularity? It seems like it’s doing quite well considering that it’s the type of music that’s been around now for… Oh jeez, I don’t know how many years! We’re getting close to the thirty-year mark but it’s probably around 25/26/27 depending on where you consider the start
compared to what it was like back when we got signed because back then there was definitely a lot of interest from labels to sign what was considered as a relatively new form of music whereas now, because it’s been around for a long time, there may be little less excitement on the part of labels to sign a new death metal band. That being said there are still some great bands that have came out in the past ten years or so. If a band came out in the late nineties and early new millennium I would still consider them to be a fairly new addition to the death metal scene like the band Aeon from Sweden or Hour of Penance from Italy. Those are a couple of bands that come to mind as far as newer kickass death metal bands go. Oh I can’t forget Cannabis Corpse either! They’re a relatively new addition to the scene [laughs]. There’s clearly still an appetite for death metal. There’s lots of other types of extreme metal that are also great, you’ve got black metal, thrash metal, deathcore, there’s all kinds of stuff out there but I think that there will always be an audience for pure death metal because it’s fucking awesome! It’s totally killer music and as long as the music is great there will be an audience for it.
“ We couldn’t have played this stuff back in ‘91, we just weren’t capable!”
Thanks for your time Alex, I’m going to leave the final words to you… I just want to thank everyone for their support. We’re going to try and tour everywhere that we can so hopefully we’ll see all of you at some point over the next two years.
Photos: Alex Morgan
of it. I think it’s doing quite well. I don’t think that anybody would have thought that when Possessed’s ‘Seven Churches’ came out [1985] that this kind of music would still be kicking ass in 2012 so I think it’s still doing quite well. I think it’s probably more difficult for a newer death metal band to get signed
MOLTENMAGAZINE.COM | 43
RECORD LABEL PROFILE
Record Label: Dark Descent Location: USA Formed: 2009
“I just want to continue contributing to the scene that I have loved since the EIGHTIES” - MATT calvert (Label Owner) How would you define the label for someone unfamiliar with it? Dark Descent Records is a U.S. based label dedicated to the underground. While the label mostly deals with various forms of death metal, it isn’t strictly a death metal label.
most important that I believe in what the band(s) is/are doing. If I don’t like it, I can’t put forth my full effort in promoting it and spreading the filthy word. I am a fan first and at the age of 40, I’m not doing this to strike it rich... I just want to continue contributing to the scene that I have loved since the Eighties.
Dark Descent Records is a relatively new label that remains committed to bringing some of the best bands the underground has to offer while uncovering some hidden gems.
Additionally, bands have to fit the aesthetic of Dark Descent Records. You’ll find no “party” metal on the label. I like pizza and beer but not in my metal.
What type of bands do you enjoy representing and working with? This is a real tough question as I find that representing and promoting new bands can be just as fulfilling as putting out a great compilation of an older band. I get a lot of satisfaction from the positive feedback I get from people who are really enjoying what the label is doing.
When, how and why did Dark Descent Records begin? Dark Descent Records began in 2009. A friend (who has since disappeared from the scene) was looking for a label for his second album and was having trouble finding an adequate label. The first album from his band was well received but he couldn’t find any takers. I offered to help him out through self-financing. The label kind of grew from there. Needless to say, that album never came to fruition, which is the reason for the empty DDR01 catalog number.
I also am very honoured to be working with the talented bands that I do and I put forth the maximum effort I can in order to promote them. What good is having a tremendous release if no one knows about it? How do you go about selecting bands to work with Dark Descent Records? First off, I have to like the music. I will have no qualms in shutting down the label if my first instinct for a signing becomes how many “units” I can move. While it is important to sell copies for me to continue, I believe it’s 44 | MOLTENMAGAZINE.COM
Do you have a personal highlight so far? Well, I really think the Death Strike ‘Fuckin’ Death’ reissue was a personal highlight as I’ve always been a fan of that recording. As one of death metal’s first recordings, I think it’s a piece of history and one that had been out-of-print for quite some time. It’s hard to pinpoint just one but I think this one really stands out. That and the label’s first release, Burial Invocation’s ‘Rituals of the Grotesque’.
That one really set the tone for the label and got things going right out of the box. Some other personal highlights for me are the relationships I have forged with not only the bands but fellow label owners. Labels like The Crypt, Detest, Me Saco Un Ojo, Nuclear Winter and Ireland’s own Invictus, have been supportive of what I’ve been doing since day one. Which Dark Descent releases are you most proud of? The upcoming Timeghoul compilation is really satisfying. It has really been a work in progress and it has taken two years to get to this point. By the time of this publishing, the CD compilation will be available or soon sold out. The response for this one has been tremendous and rightfully so. Which Dark Descent releases are you most looking forward to? Tough one here too... The question should be what am I not looking forward to in 2012? In addition to the Timeghoul compilation, new material from Uncanny (first recording in 18 years), debut album from Anhedonist, debut album from Sweden’s Anguish (doom) as well as a compilation of Morgion’s early death metal material will be unleashed. The new Krypts and Swallowed albums are being worked on as we speak as well as the debut full-length from Finland’s Maveth. New 7”s from Corpsessed and a split double 7” from
RECORD LABEL PROFILE
anguish
Through The Archdemons Head (Dark Descent Records)
Tracklisting: 1. (Intro) Through The Archdemons Head 2. Book Of Fox 3. When The Ancients Dare To Walk 4. Dawn Of Doom 5. Lair Of The Gods 6. Illusive Damnation 7. The Veil 8. Morbid Castle Release Date: 14th February 2012
....................................................................................................
Pentacle/Eternal Solstice are on the horizon too. This year started off in killer fashion with Horrendous’ debut ‘The Chills’ which has received tremendous positive response. There are a couple more projects in the works that I wish I could talk about now but it will have to wait! All in all, it’s going to be a big year for Dark Descent. What is the music scene like where you live? The scene is pretty decent here. I live near Denver, Colorado and there are plenty of quality shows which make their way through here.
Hailing from Sweden, doom band Anguish will no doubt be compared to fellow compatriots Candlemass, possibly for the remainder of their career. Though in this case, the comparisons are slightly justified, Anguish makes Candlemass sound rather breakneck. These guys are slower, heavier and even more doomy, if there was a band that the genre could be compared to, then Anguish are your men! Frontman J. Dee’s croaks sounds like an ailing Abbath or a sickly Tom G Warrior, he certainly won’t get past Simon Cowell in an X Factor audition, but somehow, his voice works alongside the music this band creates. The songs on this album are long and drawn out, pondering on stopping mid track, there are no catchy chorus’s here, and for anyone not familiar with the doom genre, this will become very difficult listening indeed. Those who love a bit of depression will ironically be completely happy and full of joy with this release. The most exciting and all too brief part of this album, one for the thrashers out there, is the 20 seconds of double bass and lead guitar in ‘Lair of the Gods’, Anguish has created a ruthless slab of retro classic doom, an album for the purists and not one for the faint hearted. Denver is home to Speedwolf, which is one of my favorite local bands and the band Nightbringer is based out of here as well. What do you feel about the current state of the music industry? I don’t dwell too much on the state of the music industry. I believe metal is a niche market and we’re in the business of selling albums. This isn’t pop where kids buy singles. People who listen to metal want albums and there are still quite a few fans that cherish a physical product. These are the people I cater to... Not the kid wearing a Suicide Silence or Beneath the Massacre t-shirt who download their mp3s.
The intro title track ‘Through The Archdemons Head’ starts, and ends, at a quite lethargic pace, casually leading into the second track ‘Book Of Fox’ with no hint of change whatsoever, this theme being a constant throughout the album. ‘Illusive Damnation’ offers brief bursts of energy towards the end but these happy chaps get back on the sloth like path quickly thereafter. Tracks like ‘When The Ancients Dare To Walk’, ‘The Veil’ and the lengthy ‘Morbid Castle’ stroll at a snail’s pace, rarely venturing into the almost near unchartered territory of the up tempo classic metal world. This debut release will most definitely define the path and career that this band will lead, possibly a hard one to divert from, if that’s what the Anguish guys decide not to do, then they will eventually become a leader in this subculture genre. Will this band eventually be classed in the same vein as bands such as Celtic Frost, St Vitus and of course Candlemass, the exalted, and quite rightly so, godfathers of doom? I probably doubt it, but they will have a massive impact on the doom world. Make no mistake about it, as much as monotony prevails throughout this album, which is not to everyone’s taste, this album is a quality piece of work. The only criticism is the lack of up tempo parts in the songs, but maybe this is just a thrasher talking? For all the doom fans, you will adore this album! EDDIE WHITE The minute that the label can’t support itself is the minute I will have to stop. I think you have to have realistic expectations. None of us who deal in this type of music are going to become millionaires and if that is your aspiration, you’re delusional. If you could, is there anything you would like to change? Nothing. I think things happen for a reason and they shape who/what we are. I’m a true believer that we all learn from our experiences. Running a label now is much different than it was 20 years ago... We have to adapt and change with the times.
OUR TOP FIVE ESSENTIALS FROM DARK DESCENT
Death Strike
Miasmal
Corpsessed
Horrendous
Fuckin’ Death
Miasmal
The Dagger and The Chalice
The Chills
KEY TRACKS: - The Truth - Pay To Die
KEY TRACKS: - We Will Live Forever - Death Mask
KEY TRACKS: - Crypt Infester - Alter Of Worms
KEY TRACKS: - The Somber (Desolate Winds) - The Ritual
Adversarial All Idols Fall Before the Hammer
KEY TRACKS: - Ruin Enshrined - In a Night of Endless Pain.. MOLTENMAGAZINE.COM | 45
GEAR TALK
.....................................................................................................
MARSHALL AMPLIFICATION
..................................................................................................... We’re at X-Music, Dublin and two massive personalities in the world of rock, current Whitesnake members, guitarist Doug Aldrich and drummer Brian Tichy are here for a guitar and drum clinic. As well as his time with Whitesnake, LA based Doug Aldrich is renowned for his work with Lion and Bad Moon Rising and more notably in the last decade having played guitar with Dio. Brian Tichy is cited as the best drummer in rock today and has played alongside a string of big names such as Gilby Clarke, Billy Idol & Derek Sherinian. Backstage we join the rockers to talk gear and also about Natal, Marshall Amplifications relatively recent drum company acquisition. Can you talk us through your rig Doug? D – Well my rig is constantly in motion. I’m always searching for the perfect tone that I’ve wanted since I was a kid and it’s always been with Marshall. I always like to experiment with Marshall. All of my favourite guitar players played Marshall from Clapton, Hendrix to Page. Mainly Jimmy Page, he was the first one I saw with the cabinet set up, and then Jeff Beck so it was always Marshall. Michael Schenker, Gary Moore, Randy Rhodes and Eddie Van Halen as well. I always think, ‘what can I do to make it my own?’ You’ve experimented with mods too? D – I have experimented with mods but there’s not really any need to do
48 | MOLTENMAGAZINE.COM
that now. I’ve been playing Marshall since I was a little boy. Eventually I got to meet some guys that worked in Marshall and I bought some of their newer stuff. After
Doug Aldrich and Brian Tichy performing at X-Music, Dublin.
a while I became friends with the guys so they used me as a beta tester. They would have a new amp that was about to be released and I checked it out and took it on tour. At one point there was a time when I had a huge rack of
Marshall’s on tour that were all different. I had a JVM, a Vintage Modern, this and that. Then I heard about the JMD1 and I was like that’s interesting, what’s all that about? Basically it’s like a hybrid of previous amps. It’s a complete Marshall tube, screaming midrange, just wicked tone but you’ve got the choice between the total vintage Marshall all the way through to the super hyped up modded Marshall and everything inbetween. It’s all programmable and it’s got great effects. My main go to amp is the JMD1 right now. Now that they’ve came out with the Slash and the Yngwie signature models, I’m trying to get those too but the JMD1 is an amazing amp and is super easy to use so that’s kind of what I’ve been doing recently.
GEAR TALK
.....................................................................................................
NATAL DRUMS
..................................................................................................... Let’s talk about your gear Brian, you recently hooked up with Natal? B – Yeah! I became aware that Marshall had taken over a drum company called Natal so I got a kit and checked it out.
Marshall is a family, it’s been that way forever, not just because of Jim (Marshall founder), Paul and everyone but it’s that they believe in what they’re doing. They treat each other with respect and they build a quality product.
The big thing for me is always about the hardware; on tour this thing has to hold up and be durable. The guys like to do splits off my drums and Doug likes to smash Les Pauls off it [Laughs]. The hardware’s killer, the drums are great, the name’s cool, the look’s cool and they sound real loud, that’s all important but the hardware, that’s the biggie for me. You don’t want to be messing around with all the little bits and pieces every night and the pedals have to hold up. It’s a lot to take on. We play aggressive and hit hard and they’ve been holding up the whole year long.
In LA back in the mid-eighties there were ads in the paper saying ‘Wanted guitar player, must have Marshall and a Les Paul’. There’s no substitute man. Whitesnake to me is classic British, just like Marshall, and now all of a sudden we’ve got a complete Marshall back line on tour. We went to maybe 40 countries this year and almost 100 gigs and it all stood up and that’s the bottom line. I’ve always used Marshall and I wouldn’t dream of using anything else.
I was also thinking that when Marshall takes over a drum company well, that’s got to say something right there. Marshall is the biggest name in amplification… in rock! So if they’re going to take over a drum company they mean business. They’ll want to make it what they made Marshall. D – The cool thing is that Brian’s in the band and he’s signed with Natal. Just like with the amps, everything is quality first.
designer of the drums as well I realised that these guys aren’t just some little drum company, they’re ready to go head to head with every other drum company that’s been around. That and the hardware itself is great. How do you compare it? I mean if Starbucks affiliates with something… everyone knows Starbucks, it’s worldwide known for coffee, we drink it everyday so if they affiliate themselves with something you know there’s something going on there! Words: Andrew Pennington Find out how Doug and Brian joined Whitesnake at www.moltenmagazine.com
You just said it Doug, musicians tend to be very loyal and Brian you recently only switched to Natal… B – There were two reasons really, one was that Marshall now has a drum company so you look at that affiliation and you know that it means business. When I talked to the
MOLTENMAGAZINE.COM | 49
THERAPY? With the new album recently released on Blast, we were absolutely psyched to get a chat with Therapy? frontman and all round nice guy Andy Cairns, who gave us an insight to ‘A Brief Crack of Light’, what growing up in Ballyclare was like, ‘Troublegum’ and also how the music industry has changed. Here we are almost 23 years into Therapy?’s career. When you and Fyfe first started the band did you have any inkling that you would get to where you are now? No, not at all! I don’t think so because of the kind of people we were and we still are really. We never thought beyond what project we had in mind. We didn’t want to do a demo like everyone else; we wanted to have a 7” single. We put money aside, made our own 7” single and got it out. After that we thought well, we’d like to do an album, so we met up with a record company that liked us and it kind of went like that, project to project. So you just took it as it came? Yeah. I think that’s been the best for us. We didn’t really sit down and have a 5 or 10 year plan. What gave you the inspiration to start? I think it was because I listened to so many different genres of music and because everybody else that I knew in other bands always seemed to be quite focused on one particular genre. Whenever I grew up in Ballyclare there were loads and loads of people who were into The Jam, and they formed tons of bands that sounded like The Jam. Or else there were people who were really into their metal and all their bands would sound like Maiden or whatever. I listened to different things. When I met Fyfe and Michael, they really surprised me. Their music tastes were just as eclectic as mine. I found that to be really refreshing because when I first met Fyfe he was in a punk covers band doing Dead Kennedys, The Damned and stuff like that. But whenever I got chatting to him he was into music that went way back like MC5 and also Sonic Youth and Big Black. I also like quite a lot of early dance music and Fyfe liked a lot of early hip hop. Then when we met Michael he was really into underground black and crust metal. That was his big thing but at the same time he had a real soft spot for really bizarre, ambient dance music. I was used to growing with musicians or people who played instruments in Ballyclare and Glengormley that whenever I stuck on something they’d go, “What’s that dance shite?” or “What’s that hip hop shite?”, so to be with people where that wasn’t an issue was brilliant. Do you think that the mix of influences going into the band over the years has kept it going and keep it fresh? I think that’s what has kept us going from the very start. It hasn’t always been easy. Once we got quite popular in the 90’s and got on a major label that was quite difficult because whenever you’ve become a bit of a commodity people expect a certain thing of your product and we always said that we didn’t want to go down that route. It did make it difficult because people get used to hearing a certain thing and especially when you’ve a record that becomes popular. We rode that through, it took a few years and we evened out the cracks and we’ve stuck to our guns really. That means that people who really get the band are still there and it means that occasionally we can sway people that aren’t convinced in the band because we’ll do something occasionally which makes their ears prick up. in a previous interview you mentioned that Therapy? have quite an honest policy when it comes to writing, that if one member doesn’t like an idea you scrap it altogether. Has there ever been a time that you’ve been particularly determined about something that the others haven’t come around to? Not really now… This whole policy has started again. There used to be a time like that whenever the band first started and we lost our way a little bit. When Neil Cooper joined the band in 2002 we started recording, then it was really 50 | MOLTENMAGAZINE.COM
THERAPY? INTERVIEW when we recorded ‘High Anxiety’ that we decided to bring that policy in. There are a couple of times when that happens. There was a song on the new album ‘A Brief Crack of Light’ that I really loved, it was called ‘Dark Naughty Steps’ there was a Jamaican dance hall rhythm but with really heavy riffs and Neil didn’t really get it. He didn’t feel comfortable doing the whole Jamaican dance style and didn’t think the whole thing worked so we decided not to put it on the album. At the same time, one of Neil and Michael’s favourite tunes was called ‘The Glamour of Potential’ which was really this off kilter thing and I didn’t like my vocal performance on it so we left it off the album too. It’s hard sometimes, especially when you’ve a tune that you really, really love and you think is great but at the end of the day we’ve learned in the past that if you do something that someone doesn’t like, there is nothing worse than being onstage and looking around at the drummer and him sitting there with this big miserable face on him. At the same time we’ve had songs in the past that I’ve hated and we’ve had to play. There is nothing more dishonest than playing through something to keep someone else in the band happy.
“There is nothing more dishonest than playing through something to keep someone else in the band happy.” Looking at your most recent album, ‘A Brief Crack of Light’. The title came from Vladimir Nabokov who described life as, ‘a brief crack of light between two eternities of darkness’. Where else did you find inspiration both lyrically and musically? For the lyrics I was looking at aspects of the absurd. I looked at Flann O’Brien the Irish writer and Samuel Beckett. I also looked at a bit of Albert Camus and Fernando Pessoa the Portuguese poet and Dante’s ‘Divine Comedy’, there is a little bit of that mentioned in ‘Living In The Shadow Of The Terrible Thing’. The last song ‘Ecclesiastes’ is from the King James bible. Music wise it’s a mixed bag. On the rock side of things we were listening to a lot of early Black Flag. We were also listening to stuff like The Ash Eaters and some of the guitar bits on ‘The Buzzing’ comes from the likes of Brown Jenkins who is more black metal. Also, some of the classic hardcore bands that we grew up on. ‘The Buzzing’ has a dub infused influence on it from Digital Mystikz, people like Mala. We like the darkness of the whole music. There is a little bit of free jazz on that tune too. The vocoder influence that I desperately wanted on the album came from Kraftwerk’s ‘Radio-Activity’ album where they have this really old analog vocoder on some of the tracks that sound really creepy and really intense. There were lots and lots of different influences throughout the album. On ‘Plague Bell’ you’ve got bits of Slint in the guitar bits. It’s kind of from all over the place, really. Excellent. Well that’s kind of Therapy?’s signature to mix things up. Yeah. The thing we have with Therapy? is that we have certain sounds that people recognise. We’ve got that snare sound, Michael’s bass is always really growly and raspy and I’ve got a really buzzy, punky guitar sound. I think even if we were to listen to a track which was influenced by dub, we’d play it in that style but use our sounds so it doesn’t sound like we’re sticking in a dub bit here or sticking a Kraftwerk bit in there. It’s still played on the instruments we use in the rehearsal room so it still sounds like us. Would you plan to incorporate particular elements or does it all come about naturally? A lot of it comes about from trial and error. When we’re on tour we listen to an awful lot of music. We’ve this knackered old ghetto blaster that we’ve had for like 10 or 12 years and before we go on stage we always say, ‘right, we want the dressing room cleared for half an hour’ and we just blast tunes to get us in the mood. That’s where quite a lot of the conversing of bands comes from. For example we were in Spain last week doing a show and Michael was blasting a band called Retox and the album was called ‘Ugly Animals’, I’d never heard of them before and it absolutely blew my mind. Then we were chatting about a band we really like from Manchester called Demdike Stare, which is a really dark, trance, atmospheric electronic band. So I know that the next time I’m in the studio I’ll say something like ‘I’ve got this really dark riff MOLTENMAGAZINE.COM | 51
THERAPY? INTERVIEW from experience, that in the 90’s we would have got sent around the town with ‘Infernal Love’ to hugely expensive studios for five weeks with full catering, and with a lot of vintage equipment rented in. A lot of the time was spent messing about. Looking back at it now whenever we recorded our albums we recorded them the way we always did in the early days and there isn’t really much difference. If you want to work and you’re prepared to do stuff, you can cut corners. I think it’s actually good as it means that people have to use the time they’re in a recording studio or rehearsal studio actually working. I don’t think it’s a bad thing.
“music now is free, that’s it. The floodgates have opened and music will always be free” which is a bit like Demdike Stare’, and they’ll know what I’m talking about. Then Michael will say ‘I’ve got this bass riff because I was really digging that Retox album’. That’s the kind of the way we operate. We have little bits and pieces like that when we go into the studio. We write the songs ourselves. We write all the notes and bits and pieces ourselves but when we’re talking about how we’d like it to come across we can name other bands and other bits of music that we want to try and get. You appear to be quite openminded when it comes to different genres when sometimes you find, particularly in metal, that people can be quite close-minded to other types of music. Is it important for you to approach new bands and genres with an open mind? I think it is. Michael is the more the metal head and I’m more the punk head. Take the Altar of Plagues album that came out last year, ‘Mammal’, Michael turned me onto that. You hear some of the tunes on that and it’s just absolutely mind blowing. Take their song ‘All Life Converges To Some Centre’, it’s very ambient, it takes a long time to build up and it’s absolutely gorgeous. If you back at Faith No More right through to Alter of Plagues and bands like Krallice, they’re all so open-minded, it’s more exciting and can make for a more challenging listen. If you get someone who just likes Pantera and Slayer, end of and that’s it, they maybe like to drink eight pints and head-bang to Pantera and Slayer… There’s nothing wrong with that but if you’ve got that conservative outlook where you think ‘that’s all I want to listen to’ then you’ll find it difficult. In today’s current climate the way that music is distributed and freely available I do think that a lot of people under the age of 30 are very, very open minded to all kinds of music and it’s a good thing. As part of your 20th anniversary you played ‘Troublegum’ in its entirety. How was that for you? I enjoyed it! Some of the countries we played in we got bigger audiences than we’ve had because the album was a big thing in parts of Europe in the 90’s. It was nice going back. What was open52 | MOLTENMAGAZINE.COM
minded about it was that a lot of younger people obviously came to the show either with their parents or their brothers and sisters and it was good to see them getting blown away by it. It was nice to do and it made sense to do this for the anniversary. It just gave a little extra incentive for people to come along. It’s a double-edged sword really. It was really, really good to do, it was good to play bigger venues in countries and revisit some of those old songs that we haven’t played in years. But, it also helped us to realise how far we’ve came on as a band. Some of the songs are just… If we ever played any of them in the rehearsal room now, they’d be dropped straight away because they seem a bit basic. It was nice... It’s just not something I’d want to do all the time. You’ve been involved in the music industry for a while now. From the band’s point of view, what do you think of its current state? Well, it’s in a state of flux at the minute really, isn’t it? The landscape is completely changed from what it was whenever we started the band. There’s good and there’s bad. Music now is free, that’s it. The floodgates have opened and music will always be free. So that’s just for everyone to accept. The thing is, what is so amazing, is that if you have an idea, within ten minutes you can record that idea on your laptop and publish it on the Internet. So you can get your music out there. The way that people deal with these kind of things is going to have to be structured differently though. With people not selling records, artists do need to get some money somewhere for studio time and economics is dictating. Originally when the downloading thing started, a lot of people on major labels were crying ‘this is terrible, we can’t afford anything’. I think what it has done, and this is the good side of it, is that it has made people tighten up their belts and realise were we really right paying £2000 a day for a studio? Was it actually justified? Who got all this money whenever we didn’t see much of it? Some of it was actually shameful. I actually heard Trent Reznor on the radio last night talking about the same thing and he made a few interesting points. He said maybe there was too much money involved in the music industry in the 80’s and 90’s. I certainly know
I do think for the established bands... I mean, if you’re Lady Gaga, Green Day, the Chili Peppers or U2, you’re making an awful lot of money and I don’t think it’s going to hurt you that much. Plus, you’re going to have enough money to put on a grand stage show, which people will pay money to go see. It’s the whole concept and package of music people are going to have to readdress. They will have to readdress how they put their show on, the way they sell their merch and the way that they present their music to people. I think it’s adapt now or die later. It’s something we’ve learnt over the years and peers of ours who are still playing have been doing the same thing. I can’t help but notice that there are no Northern Irish dates on the upcoming tour… ...Oh, there are no Northern Irish dates yet! Firstly the album comes out in February. We’re also putting more shows on, in May or June. We’re doing the festival season so we’ll see what we can get there. But we know for a fact that we’re coming back in September and touring right through to Christmas and that’ll be mostly in Europe, so there will be dates to look out for then. It’ll be a 6 or 7 week tour so that’s why we haven’t advertised anything yet. In a few weeks time everything will fall into place so keep an eye out for more dates. Is there anything you miss about good ole NI? Ironically, I do miss it. I’m back a lot. My Mum and Dad are still there so I go back either with the band or to visit them. I suppose the thing I do miss is the attitude. The people’s attitude and their outlook on life is completely different. I’ve lived in Ireland, and I’ve lived in England and spent a lot of time in different places be it America or whatever and I think I just miss the attitude. There is also a sort of uniqueness to the people in the music industry. People in Northern Ireland have got a really good taste in music. Whenever we grew up, there was a whole gang of us who we were desperate to find out about new bands. It was mostly hardcore and early thrash metal with us when we started and really early acid house records. We’d be really obsessed with those records. Whenever I go back there now and speak to young people in bands or bump into people there is still that sense to them. Music means a lot to them. The thing that used to happen in NI is that very few touring bands ever played, and I think that the mentality that came from that, even though there are a lot more bands coming over now, has stayed with the people. The music is a lot more precious.
Classic Albums ........................................ Therapy?
suicide pact - you first Ark 21 Records (1999)
It’s easy today to sing Therapy?’s praises for their longevity, because that praise is entirely justified by their output and aptitude for progress. In 1999, that was the furthest thing from anyone’s mind. Dropped by Universal after A&M Records got folded into its empire, and frustrated after the protracted process behind the divisive ‘Semi-Detached’, the then-four-piece was stuck in a hard place. This situation would have sank a lesser band. Not Therapy?. Instead, signing with ARK21, and holing up in a manor with only each other and producer Head for company, they committed to tape a ‘fuck you’ not just to their former bosses, but also to the musical climate. It not only confirmed their refusal to go away, it set the tone for everything they did afterwards,
classic album: therapy? proving in the process that an institution was in the making. ‘He’s Not That Kind of Girl’ is a strange, joyous dichotomy, a rhythmic, jazzy broadside for dancing and destruction in equal measure, flicking the switch between the two with a shiteating grin. ‘Wall of Mouths’ drags proceedings into more turbulent territory, dour and urgent, yet invested with remembered teenage bile. ‘Jam Jar Jail’ halts the anger for heads-down rock ‘n’ roll, dirty bass underpinning a paean to the role of music as an escape, right before ‘Hate Kill Destroy’, a gloriously wretched tune, about as harmonic as intended, and wracked with all the discord vocalist Andy Cairns can wrench from the depths of his throat. Awkwardness being the watchword, it fits that the album be suddenly thrown into instrumental territory, with ‘Big Cave In’ eschewing soundscapes in favour of riffs. However, all this is prelude to where the album comes into its own, and transcends noise for its own sake. Sparse, haunting, and burdened with a regretful narrative, ‘Six Mile Water’ is an affecting, breath-taking work. The utmost care exists in the band’s performance, aware of the subtleties and how best to manipulate them, before letting Cairns’ love for Thin Lizzy shine with soulful, bluesy soloing, augmented by cellist Martin McCarrick’s otherworldly high-end strings. It’s an experience that will stay with you the rest of your life. Of course, jarring left turns are par for the course with Therapy?, and ‘Little Tongues First’ veers sharply into punk territory right from the opening salvo; defensive, full of fire and overlaid with frantic urgency. ‘Ten Year Plan’s’, heavy blues and derailment of corporate rock and the fads of the age ought
to have left industry suits spitting out teeth. ‘God Kicks’, on the other had, recorded in the woods near Great Linford Manor, is spinechilling, using background noise to desterilise the listening experience, Cairns’ shambolic monotone masking a terrible sense of dread. And then, shaking you from your trance, ‘Other People’s Misery’ snaps you into the front row of the best hardcore gig you care to remember. Sending ‘em home sweating, ‘Sister’ proceeds to indulge fully in the glimpses of rock ‘n’ roll glee betrayed earlier in the record, a sprightly classic rock anthem with a Therapy? twist. The hidden track known among fans as ‘Whilst I Pursue My Way Unharmed’ is 666 seconds of Therapy?, casting off the shackles of traditional composition. A freeform jam recorded in a shopping centre and marked by Cairns’ unsettling screaming and rambling over the string-heavy proceedings; its twists and turns summarise those of an album that wastes not one second in dragging the listener around them, and in turn, all the places and situations that led to its creation. It would’ve been easy to sit down and write a fluff-piece about ‘Troublegum’. Everyone has had it; everyone enjoyed last year’s gigs. It is a belter, but had they cynically revisited that sound in an attempt to find higher ground, odds are on they wouldn’t be here. They didn’t. And they are. As we celebrate over twenty years of a growing legacy that deepens with new studio release, ‘A Brief Crack of Light’, it would have been easy to harp on about such a popular record. But ‘Suicide Pact - You First’ was the album that helped make them a long-term proposition, and in many ways, the album that helped make them what they are today. Thank fuck for that. MIKE MCGRATH-BRYAN
MOLTENMAGAZINE.COM | 53
CD REVIEWS: ALBUM OF THE MONTH:
ALCEST Les Voyages De L’Âme Prophecy Productions
French black-metal veteran Neige’s journey back to the fairyland of his childhood imagination has formed the basis of Alcest, and it’s been an idyllic voyage that over the course of two albums and an EP has drawn comparisons to Jesu’s blissful vibe and the wistfulness of My Bloody Valentine. Comparisons, however, are all for nothing this time, as the transcendence between this plane and the dreamworld is taken to a greater scale than ever before. Simply put, this is the biggest step forward into Alcest’s otherworld that anyone could have imagined. Pushed to the side somewhat is the band’s trademark breathy, otherworldly vibe, eschewed for bigger songs and stronger composition, showcased beautifully in leadoff single ‘Autre Temps’ and followed through wonderfully and to staggering effect on ‘Là Où Naissent Les Couleurs Nouvelles’ even harkening back to the project’s black metal roots for added gravitas. The dichotomy of an ever-expanding sonic palate and Alcest’s
considered plaintiveness is showcased in both the title track and ‘Nous Sommes L’Emeraudes’. ‘Beings of Light’, though, is where the album takes on textures distinct from previous works, unifying in stunning fashion the concurrent spectres of black metal and shoegaze that have informed it all so, while ‘Faiseurs de Mondes’ reverses the roles with harsh vocals breaching the breath-taking backdrop. The spirit journey that so consumes Neige and the Alcest project takes definitive shape over the course of this album. And where once it was an oasis of calm in the harsh, jagged metal landscape, ‘Les Voyages De L’Âme’ has developed it, into an absorbing, thoroughly immersive odyssey that at once boldly demands your attention and leaves you physically craving another excursion into its intricacies, like Narnia, like Pandora, like Middle Earth. And when all is said, Alcest’s tale of innocence redeemed will be remembered and spoke of in the same hallowed breaths as the aforementioned. MIKE MCGRATH-BRYAN
EARTH Angel of Darkness, Demons Of Light II Southern Lord
Since Earth was reactivated in 05, a grand musicality has permeated its dense, distorted drone. ‘Angels of Darkness, Demons of Light’, a two-part work, is the next (very) gradual progression. In keeping with its companion piece, ‘Angels... II’ is an experience that demands the full range of your attention to truly appreciate its genius. ‘Sigil of Brass’ eases the uninitiated in by condensing the oeuvre of Earth in 2012 into three otherworldly minutes. The result is much akin to a heightening of the senses, a theme that unfolds beautifully as the album winds on, drawing your concentration unto itself. Every shivering string, every gentle note is made to count and each person will likely perceive it all differently. It’s that subtle, yet that intense. ‘A Multiplicity of Doors’ meanders beautifully, while ‘The Corascene Dog’ provides an oddly downbeat twist on proceedings, painting the experience another colour entirely. ‘The Rakehell’ finishes the album with a gentle, patient flourish, oddly straightforward and comparatively strident. It’s a testament to Carlson and crew that brave new ideas such as this are given rein, especially in a world of tacky trends and half-arsed reunions. Immerse yourself and never regret it. MIKE MCGRATH-BRYAN
CHIMP SPANNER
Christian Mistress
Coldworker
All Roads Lead Here
Possession
The Doomsayers Call
The explosion of instrumental tech metal outfits in the last two years, under the banner of djent or otherwise, has resulted in gross saturation. One need not look too far to find such a band with some rearing their heads more than others, Chimp Spanner, the project helmed by Paul Ortiz, is an example. While this crop of bands are still quite young, Chimp Spanner stretches back as far as 2004 but really came to the fore with 2010’s lauded ‘At The Dream’s Edge’ album. In that time, Ortiz has become a prog metal darling and taken Chimp Spanner on the road, even touring with Cynic. Now, in 2012 with a much larger profile, he’s dropped this new EP – ‘All Roads Lead Here’. All the elements of Chimp Spanner are intact. Dizzyingly technical guitar wizardry and intense chugging riffs, it’s all here across the EP’s 25 minutes. Ortiz has stuck to his guns for ‘All Roads Lead Here’, made clear when ‘Dark Age of Technology’ creeps through the speakers to kick start the EP with dense, atmospheric riffs. The three part ‘Möbius’ feels like the centrepiece of the EP, and despite becoming wishy-washy at times, it regains that grand feel, and perhaps would have been a more apt closer than ‘Cloud City’, but the EP remains a reasonably solid showing from Ortiz. JONATHAN KEANE
Christian Mistress’ second album, ‘Possession’ and first with Relapse Records is very much an album in the traditional heavy metal vein that has been doing good business as of late with bands like Ghost rising to superstardom. So a good time then to play this style of music and play it well and after this release US based Christian Mistress will certainly get noticed. ‘Possession’ has a mix of metal speeds with faster numbers like ‘Conviction’ reminding of Portrait with the twin leads, guitar heroics and the slower doom style numbers like ‘Possession’ displaying a Pentagram feel. The female vocals are raw which suits the traditional style of metal the band are aiming for. Singer Christine has a gruff Patti Smith vocal style with plenty of spunk. There is a lot of variation on the album which doesn’t sound stretched for a young band; a compliment in itself. The songs are well crafted and the band are comfortable mixing in some blues and ballads into the mix with great ease. This band could develop to the stature of Dutch band The Devil’s Blood who are truly unique within the genre and create something original. If the Christian Mistress musical palette expands further we should expect even greater things from them a few albums down the line. GARRY BROOKS
Coldworker feature Anders Jakobson, drummer of grind legends Nasum, the band, that by Napalm Death’s own admission, gave them a jolt in the writing department a few albums back sending them back on a upward grind trajectory. The band play Swedish death metal with hints of the grind legacy left behind by Nasum and immediately bring to mind fellow Swedes Bloodbath’s later releases. In other words, a bit too polished, crystal clear blast beats and a production too modern for the classic death metal sound Sweden is known for. The style of production magnifies the neck breaking riffs but would have made even more impact with an old school sound. A bit of dirt under the nails would be very welcome in future releases as well as some chaos in the mix as this is almost too tight for its own good, again, I’m thinking old school! However, Coldworker are a perfectly serviceable yet unspectacular Swedish death metal band in the vein of newer bands from the genre such as Demonical. They’ve also some riffs on display here that will please older fans of the genre. With Nasum being given a fond farewell with a final tour, now is the best time for Coldworker to step out of their shadow and establish themselves from the myriad of bands playing this style. GARRY BROOKS
Basick Records
54 | MOLTENMAGAZINE.COM
Relapse Records
Listenable Records
CD REVIEWS:
SOULFLY Enslaved
Roadrunner Records
Love him or loathe him in his postSepultura days, it doesn’t make that much of a difference, Max Cavalera isn’t going anywhere any time soon. ‘Enslaved’ marks his eighth Soulfly record, the most amount of albums he’s done with any band, including Sepultura – a noteworthy nugget of information. Much has changed in the Soulfly camp since their last record, 2010’s ‘Omen’. For one, there’s a new drummer and bassist in tow, in Tony Campos and one time Borknagar drummer David Kinkade. Long-time guitarist and riffing backbone of the band, Marc Rizzo remains of course, his presence being the often unsung, but pivotal, ingredient of Soulfly. A concept album written by Max, with ideas dating back to the mid-1990s, ‘Enslaved’ is, as you could probably gauge, centred on the theme of slavery. The record overtly explores all these themes in a suitably brutal and dark fashion. ‘Enslaved’ is still all Soulfly though. Max’s unmistakeable thundering bark comes biting through every song from the faint old school death metal flavour of first song proper ‘World
Scum’ through to the ridiculously titled ‘Revengeance’. The lyrics of ‘Gladiator’ draw themes from slaves in the Colosseum. The song really makes for the album’s cheesiest moment, with some gang vocals and Max bellowing repeatedly “GLADIIIIATOR!” in that usual bellow. It’s not really a surprising feature; as such choruses are a Soulfly mainstay of every record. Marc Rizzo once again holds down the fort on the riff front throughout the entire record. His playing lives in the shadow of Cavalera’s presence and his ability to peel off some catchy riffs and flaring solos is often overlooked, not to mention some beautiful flamenco guitar work, as evidenced by ‘Plata O Plomo’. ‘Enslaved’ is another Soulfly album and it’s another soundly solid outing from Cavalera. Of course he has stuck to his usual guns and is not really ruffling anymore feathers. ‘Enslaved’ most certainly won’t be one of the metal albums for 2012 that you will recall with glee in a few months, but with that said it’s a reasonably pleasing effort. jonathan keane
Corrosion of Conformity Corrosion Of Conformity Candlelight Records
The underground metallers with punk influences return with their first album in six years, gracing us with their original line-up. The back to basics approach is noticeable and attributable to the fact they began jamming older songs following the long lay off which planted the seeds for the new material. On single ‘Your Tomorrow’ there is a frankness in attitude matched by a scintillating hook that harks back to early 80’s punk energy meeting metal and is one of the more complete tracks on the album. It’s all played at a high velocity though which means when it does veer off course, and it does at times, the crashes can be all the more pronounced. ‘River of Stone’ and ‘The Moneychangers’, while technically impressive, lack much structure and the slowed down trebly riffs in the middle of the aforementioned just seem out of place. The instrumental ‘El Lamento de Las Cabras’ is a timely placement and flows effortlessly with some fantastically pure electric guitars creating an aura of invincibility and momentarily reigns in the unchanneled and unfocused noise missions building around. It all descends once again though to a mind melting noise fest with little else attached. COLIN COSGROVE
DEAD TO THIS WORLD
Carnalation
GOATWHORE
Sacrifice
Deathmask
Blood For The Master
Dead To This World’s ‘Sacrifice’ is a fine black metal offering. While it’s only a short album, it does a lot to impress and provides everything you could want from a black metal band. The production is quite remarkable, as it treads the border between a raw and a polished sound. It comes across as intentionally rough at times while at others there is simply a wall of atmospheric music that demands attention. The record opens with the blisteringly fast ‘Har Megiddo/Satans Storm’ which is a tight shred fest that allows drummer M.A Fog to really show what he can do. While this isn’t the best song it still packs a punch and is an impressive opener. Moving on, the title track itself is as intense as you could ever ask for and provides us with an absolutely brilliant main riff. There is a great groove to this track as well as the straightforward heaviness that’s expected from such a band. ‘Death Courageous’ and ‘Altar of Mahakali’ both offer something to the record stylistically as the former takes a more down tempo route than the other tracks on the album while ‘Altar of Mahakali’ is an epic track, with over eight minutes in which Dead To This World show off their melodic side. A short but very well made album, a must for black metal fans. ANTHONY REDMOND
Carnalation’s debut album, ‘Deathmask’ proves to be an unmistakable statement. The Finnish five-piece can play heavy and brutal yet controlled death metal and with all due respect, manage it quite well. The album is brimming with potential. ‘Deathmask’ is relentless, never breaking pace and constantly providing heavier and heavier sounds. While parts of the record are reminiscent of earlier Whitechapel, the majority of the songs do themselves justice in their own right by doing exactly what it says on the tin (or CD case as it were). Despite the many pleasing aspects of this album there is little here to really make Carnalation stand out from the extremely over-saturated genre that is modern death metal. While the album acts effectively on playing strong, intense metal it does nothing that hasn’t been tried many times before. By doing this with their first album, however, it leaves Carnalation with time to polish things up. The album doesn’t disappoint, but simply lacks that touch of personality that would help to define it. There are some great death metal tracks here with ‘Virus Design’, and ‘Contamination’ and to produce an album of this quality while only existing since 2008 is a formidable feat and future releases are eagerly awaited. ANTHONY REDMOND
When you slap on a Goatwhore record, you pretty much know what you’re getting - a concentrated blitzkrieg of blackened and thrashy death metal. The band has a formula that hasn’t been meddled with for years. ‘Blood for the Master’, isn’t reinventing the wheel, it has set out with one task - to pummel, and that it does. Comprehensively. With Hate Eternal’s Erik Rutan once again manning the production desk, the record is slick in its deathly deliver. A brisk and rich production doesn’t hamper any of the vehemence in Sammy Pierre Duet’s throaty vocals or the powering, battering ram-like riffs. Heaving with unashamed Venom-isms and dashes of Motörhead, with all the usual black and death ingredients, Goatwhore serve up one solid slab. The record’s relentlessness is its greatest strength, Duet’s vocal stamina is impressive, his voice shredding through each song mercilessly. ‘Collapse in Eternal Worth’ explodes from the speakers, opening with reckless abandon, solidly setting the tone for the album. It’s straightforward, no frills death metal with plenty of riffs to sink your teeth into like ‘Judgements of the Bleeding Crown’, which is rife with lead guitar work exhibiting the flair of the playing with ripping solos. Another solid outing for Goatwhore. JONATHAN KEANE
Soulseller Records
Spinefarm Records
Metal Blade Records
MOLTENMAGAZINE.COM | 55
CD REVIEWS:
UFO Seven Deadly SPV
UFO have graced us with some phenomenal albums over the last four decades. A true crossover band who, throughout their career, have lived by the statement that metal and hard rock can be one. The current line-up has stabilised nicely and exudes a tried and tested feel with original members Phil Mogg, Paul Raymond and Andy Parker complemented by new guitar hero Vinnie Moore who stamps his authority all over this latest release in sumptuous fashion. Recorded at Tommy Newton’s Area 51 Studio in Celle Germany in the Autumn of 2011, the result is an accomplished album, more rock than metal on this occasion, but well written songs, great playing and all in all just vibrant colours of edgy rawness exploding all around. Another defining factor of the album is Phil Mogg’s voice. He’s lost none of his impressive range and, while no doubt taking advantage of some small modern technical fine tuning enhancements, it’s the soul and melody soaring over the otherwise gritty and structured licks and rhythms meandering beneath that leave a lasting impression.
‘Fightnight’ is a tremendous start with heaps of channelled turbulence and ‘Wonderland’ kicks things on with added attitude and funk heavy riffs. Not afraid to slow things down now and again, ‘Angel Station’ is a slow burning treasure and provides some neat relief from the rockier edgier central theme. The production is spot on too with a clarity in sound allowing the earthy licks and Mogg’s impressive vocals to really come to the fore. Andy Parker on drums has the job of keeping the ship on a steady path and does so expertly. While more competent than complex on this record and not one to overly steal the limelight, he has an ingrained level of understanding with his fellow bandmates that is a catalyst to the more forthright energy bursting through from Moore and co. All in all the band have nailed this one pretty much on the head and one can only hope there are not some ‘not’ so hidden meanings in last song ‘Waving Good Bye’. If they do materialise as being true they could definitely say they went out in style. Let’s not contemplate that though. COLIN COSGROVE
GROMTH The Immortal White Label
Despite being made up of members of the black metal elite (ex Dimmu Borgir, Susperia) Gromth are certainly more than the sum of their collective parts. Specialising in majestic orchestral BM, the major difference between Gromth and their contemporaries is their willingness to let the sprawling orchestration take centre stage and allow the band to weave in and out when needed. This not only lends an air of uniqueness and maturity to ‘The Immortal’, but also gives the listener full license to lose themselves in the gorgeous polyphonic soundscapes that populate the album. While this is the album’s undoubted strength, it also attributes to its greatest weakness – the collision of sounds occurring when the vocals enter. Though fairly typical for BM, Ole’s none-more-grim vocals sometimes clash with the more serene arrangements, and it’s jarring when it jolts you out of the immersion that the album can provide. Gromth see ‘The Immortal’ as a 66 minute piece and so it’s only fair to take it as a single entity as oppose to its 16 song format – though the title track offers the best representation of the sound as a whole. Even for non BM fans this is certainly an interesting and engaging listen, that gives a sometimes stale genre a real shot in the arm. ZAKK APPLEYARD
BLACK HOLE OF CALCUTTA
PULLED APART BY HORSES
SPAWN OF POSSESSION
Black Hole Of Calcutta
Tough Love
Incurso
Black Hole of Calcutta offer twelve tracks of intense metal, clocking in at a mere twenty minutes. Each track is as extreme as the last, and has an average length of around a minute and a half. Their sound consists of high tempo, blast beated riffs and rough vocals, reminiscent at times of those of the late Seth Putnam. This sound comes across as being more amateurish than extreme at many points and the novelty of the intense nature of the music is lost around the records midpoint. Most tracks follow a linear trend of blast beated verses with boring vocal patterns, a few bars of the songs main riff or an uninteresting bridge section, finally leading back into the same dull verses. Naming tracks almost seems redundant as they all come across as being extremely similar. ‘Myth of Progress’, which is the only song that runs for over two minutes seems completely unnecessary. The first minute and a half consists of drawn out crashes and hanging notes, the following three minutes present the same blasted, rhythmless verses, while the final minute replicates the introduction. They deserve kudos for writing a decent and intense song, but ultimately lose points for repeating that song twelve times over. ANTHONY REDMOND
Bands often like to brandish words like ‘maturity’ in the lead-up to their second album, but there are some with whom the association of these marketing slogans are beyond unimaginable. Not least Pulled Apart By Horses, a band propelled by hazardous lunacy and the scarcity of fucks their hardcore testicular riffage gives. There’s no cause for concern, mind. Although breakneck opener, ‘V.E.N.O.M.’ sounds a bit like Refused challenging Lemmy to a game of dunking for apples in pure gin and comes with a disclaimer noting it isn’t wholly representative of the album. ‘Maturity’ is a word one would loosely apply to ‘Tough Love’. Hardly a bad thing though. The band still sound like they’ve been born and bred on activities like flapping their fizzy drinks before opening them into a bull’s face and swimming directly after eating – except only with irate piranhas. Incessant thrashers ‘Shake Off The Curse’ and the feral buddy punk of ‘Bromance Ain’t Dead’ benefit from songwriting slickening courtesy of former Foo’s desk-man Gil Norton while the latter end strives for a moodier progression making for a less manic, but nevertheless damn formidable follow-up. DANIEL ROBINSON
Technical death metal brings to mind the mighty and currently reformed Atheist who is at the top of genre and a natural yardstick for this sub genre of death metal. ‘Incurso’ is pure Necrophagist worship who, like aforementioned Atheist, can balance technical riffs and memorable songs, but sadly Spawn of Possession can only manage neo-classical guitar solos throughout. With an ex-member of Necrophagist on guitar the influence is cemented. As you can imagine there is lots of skill on show here but there’s very little in way of memorable songs with very little memorable riffs underpinning the entire technical display. Across metal as a whole the mighty riff is essential, needing always to be present in its unadulterated form. Overtly technical riffs and layers of protools polish render this album impotent in all departments. Clicky drums, pinging bass and processed vocals border on the absolute annoying. There’s little feeling here, just fret board gymnastics at the sacrifice any semblance of a song or hook. However, if you like bands like Obscura and Decrepit Birth then this could be worth you checking out but for me is the complete antithesis of any other facet of death metal or metal as a whole due the lack of feeling. GARRY BROOKS
Give Praise
56 | MOLTENMAGAZINE.COM
Transgressive
Relapse Records
CD REVIEWS:
WHAT THE BLOOD REVEALED The Devils Harbour Field Records
‘The Devils Harbour’ is the debut album from Glasgow’s What The Blood Revealed, a release which was long overdue with their last release dropping in 2009. It kicks off in a similar way to Scottish peers Mogwai in the form of ‘Embrace The Rational and Seek The Truth’, with a stark guitar line which beckons a menacing build up that features some absolutely solid drumming before making way with an explosive riff, reminiscent of early Tool, accompanied with a flourish of guitar melodies and pounding ¾ rhythms. ‘To Travel Deadly Ground’ puts me in mind of Irish bands such as Stand-Up Guy and ASIWYFA, which is no bad thing, although I must admit, it killed me to mention ASIWYFA in another instrumental band review as it’s verging on becoming a stereotype. However, with that in mind just compare it to the feel of the outro in ‘Gang (Starting Never Stopping)’. The song closes up with one of the highlights of the album; a slow, dark and beckoning drone that
makes way for some chug, melody and then onto a gently picked chord section. The only flaw that I find throughout this album is that it feels rushed tempo-wise and would benefit in reducing the tempo ever so slightly. However, this is very much corrected on ‘Waiting For The Storm’, which sees the band return in a similar vein to their previous material. Starting off with a simple bassline, which leaves plenty of space sonically for the other respective instruments to breathe and this really lures the listener in, gradually starting to surge, picking up in volume and expecting a crescendo before returning to the original motif. This leads to one of the band’s more open, heavier sections that feature all members driving the song before giving away to signature melodic guitar lines. We are also treated to a re-recording of ‘The Corporation As We Know It Is Dead, Dead, Dead’ which appeared on 2009’s EP2. This is a perfect example of what WTBR are all about and a song that first time around blew me away. The song is quite air-y and slowly builds and broods over time, before exploding into a monstrous riff that would challenge most listeners to not headbang along to... This only betters once the lead guitar drops with a powerfully emotive melody. I’ve been a big fan of the band for quite sometime and I love EP1 and EP2, but I just can’t help but think that the band were a tad ambitious at releasing a 53 Minute Album. Less is more.. But do not let this put you off picking this album up. Keep an eye on this lot. ROSS HUNTER
(DRAMA) Zastor Tišine
Altsphere Productions
Not a large amount of metal surfaces from Croatia, at least not into the wider metal sphere. This alone adds to the complete sense of surrealism upon laying ears on doom metal outfit (drama)’s re-released 2011 album. It’s a liberating surrealism that is so thoroughly invested in its cultural roots as to be almost alien. Album opener ‘U Tugu Zagledan’ almost weeping under the weight of distinctly Eastern European strings before the serious business kicks off with heavyweight ‘Novi Dan’. It’s the overtly serious mood throughout the record that makes it such a compelling proposition; the harsh vocals taking a harder hew, with the Croatian language lending itself perfectly to the likes of ‘Olovo i Sjene’. However, it’s the sheer onslaught of riffs, wrought from a more progressive slant on doom, that will maintain the interest long after translations have been sought and the mystery wears off, as demonstrated in the frankly stunning centrepiece, the serpentine ‘Pred Beskrajem’. Fans of progressive and technical metal will find much, much joy among the desolation here. Intriguing, intricate and undeniably bleak, invested with a melodic streak that keeps the atmosphere at once accessible and bitter. A harrowing listen, but a nigh on perfect album. MIKE MCGRATH-BRYAN
THE LAST TWILIGHT
EVOHE
ULVERHEIM
La Octava Copa De Ira
Annwvyn
När dimman lättar
Spain isn’t exactly known for its exhilarating extreme metal scene. Although in recent years, Teitanblood brought some attention to the country with their utterly pummelling ‘Seven Chalices’ record. Meanwhile, Looking For An Answer is a storming band that doesn’t deserve to be merely sniffed at either. The Last Twilight, from Galicia, have been around for nearly a decade at this stage but after a series of demos, EPs and splits have only recently released this, their first full-length record, ‘La Octava Copa de Ira’. The band is essentially a black metal band but there are plenty of death metal nuances to be heard. The buzzsaw riffs are clearly imported from Norway, as too are the devilish shrieks, but semblances of old school death metal can be heard running underneath, noticeable from the off in some of the scorched ruffing on murky album opener ‘Initiation Ceremony’. The heart of the underground is beating ferociously within The Last Twilight, that’s for sure. There’s a lot going on in ‘La Octava Copa de Ira’, but perhaps what The Last Twilight lack is a true sense of individual identity amongst the plethora of bands doing this kind of thing, and doing it well. That said, this record makes for a reasonably solid effort – good just not great. JONATHAN KEANE
French black metal pagan traditionalists Evohe’s second album (released on Unlight Productions, a subdivison of French underground label Drakkar) is a conscious move away from their worship of the Norwegian oeuvre and toward a bigger sound, as evidenced by the decidedly un-kvlt production values on display, a wide net of influences from around the metal sphere pinned down by a nice, even mix that creates a sense of space atypical for the genre. Unfortunately the six track album doesn’t drag this progress far enough in comparison to a number of other black metal alumni, with the rot beginning to set in from the album opener, ‘The Deluge of Genesis’, which, interesting male choir aside, does very little to reinvent the wheel. It’s fine for fans of the genre, for damn sure, bar the elitists, a shame considering the fleeting nods to Bathory here and there, but it does little to rouse the interest otherwise, which is heartbreaking given the effort placed in the thrash and death influences that make up a considerable chunk of the album, such as the beginning of third track, ‘When the Winds Blow Over the Aging Skins’. Such moments of genius are lost in the tr00 and kilt mire and the overall impression is one of a missed opportunity. Shame that. MIKE MCGRATH-BRYAN
Ulverheim’s ‘När Dimman Lättar’ opens with the very atmospheric sampled intro to ‘Allting är dött’. This minute or so of eerie samples paves the way into quite an extreme album that provides not only a lot of heaviness, but also a huge amount of unsettling and foreboding sampled sections. These two aspects compliment each other, capturing the exact mood and tone that the band were clearly searching for. Songs with titles like ‘Rop från de döda’ (Whispers From the Dead Ones) and ‘Levande begravd’ (Buried Alive) simply beg to be played to. The long song introductions, while they become a little overbearing near the closing tracks, work fairly well by and large, as a way of delaying the fast paced music and giving it more impact when it arrives. This tried and tested method is used to great effect on the album and tracks like ‘När dimman lättar’ and ‘Pest’ showcase this it being put to good use. The album has no major flaws and there are no complete dud tracks. The standard set is consistently high. ‘När Dimman Lättar’ offers aggressive metal with a bit of character which can often be lost in heavier productions. There are nice melodies on offer here and while Ulverheim produce nothing groundbreaking, some solid metal is always welcome. ANTHONY REDMOND
Drakkar Productions
Drakkar Productions
Soulseller Records
MOLTENMAGAZINE.COM | 57
CD REVIEWS:
OUTCAST Awaken The Reason Listenable Records
With metal becoming ever more ubiquitous, it’s becoming increasingly difficult for bands to really stand out from the ever bulging pack. However, every so often a gem appears amongst the stone, the figurative gem this time being Parisian prog metal masters Outcast. For those of you who may not have heard of them before, Outcast have been plying their trade all of fourteen years thus far with ‘Awaken the Reason’ being their third full length release. As to why they haven’t made a more global impact is anyone’s guess, but perhaps now is their time to bring their sound to a much wider circle. There’s no messing around here with these guys, no dodgy instrumental intro, no wanky solo... It’s in your face from the very beginning and album opener ‘Elements’ pretty much musically describes the band to a tee. This record is visceral in its delivery and makes for a compelling listen, the riffs are aplenty and there’s plenty to keep drummers amused alike. As for their sound we get hints of fellow Frenchmen Gojira, early Textures, and a touch of Opeth, but all these similarities
are crafted together to create a sound of uniqueness. It becomes apparent upon reaching ‘Awaken The Reason - Part IV When Dawn Brings Clarity’ that these guys realise just how intense their sound is, as the listener is unexpectedly treated to a beautiful ensemble of piano and strings. A piece of composition worthy of a listen whether metal is your thing or not, this serves as a great respite amongst the chaos. Another aspect to Outcast which I feel needs pointing out is their skilful ability to launch at any given moment into a sublime groove. Rich examples of such are found in ‘Unspoken’, ‘What Would be my Final Commitment’, and ‘Fallen Years’, with plenty more examples throughout. This album is a statement of intent from Outcast. Now is their time to shine and be seen, and with the ever growing European prog metal circuit in full bloom at the moment one can only expect big things to come. ‘Awaken the Reason’ is truly outstanding album. ROB POWDERLY
Vengeance Crystal Eye SPV
Combining ex-members of AC/DC, Alice Cooper and Michael Schenker Group the super group ethos of Vengeance is given an added poignant twist on their latest release ‘Crystal Eye’, with guest guitarist Timo Somers coming in to replace his recently deceased father Jan Somers (who passed away at just 46 years old last year). The record itself is a consistent and unflinching mix of straightforward with Brian Johnson type vocals (courtesy of Leon Gowie) and dirty but at times over-baked guitar riffs giving rise to tracks that ooze well versed experience yet unfortunately sometimes lacking in real imaginative twists. Kicking off in fine fashion ‘Me and You’ and in particular ‘Bad to the Bone’ hit back to back nails on the head with lively in your face power slogans and melting solos while the stop start riffs in ‘Barbeque’ create a funky summer in February metal vibe. As you power through the eleventh track release it begins to regress somewhat with tracks like ‘Desperate Woman’ and ‘Whole Lotta Metal’ lacking in substance and creative impetus. The ambition on title track ‘Crystal Eye’ restores faith while closer ‘Jans End Piece’ (featuring the last guitar solos recorded by Jan Somers before his unexpected death) is a touching and fitting finale. COLIN COSGROVE
RAM
CANNIBAL CORPSE
WIZARD’S BEARD
Death
Torture
Four Tired Undertakers
For most, when a discussion about Swedish metal arises, the term progressive often follows. The likes of At The Gates, Meshuggah, and more recently Vildhjarta have only reiterated the fact that Sweden has produced some of the most technically proficient bands in the genre. Fellow Swede metallers RAM are an entirely different offering altogether. Formed in ‘99 they strive to bring back an old school heavy metal sound and attitude. ‘Death’, the band’s fourth offering, pretty much epitomises late 70’s to early 80’s metal. It’s apparent that RAM are definitely attempting to tap into the ‘blast from the past’ metal market as we are fed a barrage of Iron Maiden-esque riffing, winding solos, and falsettos. However, it’s also blatantly clear that the Swedes are passionate about their potentially dated sound and ironically make it feel fresh and new in some areas particularly in key tracks ‘Frozen’ and ‘Hypnos’ leading you to believe that the band possess another gear. Unfortunately though, for the majority of the record, a huge reliance is placed on a dated song and structure plan. By all means throw on your leather pants and give modern metal a big ol’ ‘Fuck you!’, but make sure you offer the listener more than B-grade Maiden riffs and solos. Rob Powderly
They’re almost a household name now really but after so many years in the game do they still hold the knife to cut the butter? You’ve heard the saying you can’t teach an old dog new tricks but here that couldn’t be farther from the truth with ‘Torture’, the latest Cannibal Corpse album, taking the band’s musicianship to a new level altogether. They’ve always been technical in their own sense but even with that, when ‘Torture’ is properly dissected, there’s a lot of incorporation that verges on traits and territories more associated with modern death metal. And yet, in an overall sense the band still manage to retain their ‘Cannibal Corpse’ trademark and albeit that there’s nothing really all that new here it needs to be reminded that this is Cannibal Corpse and let’s be honest, no one really expected/wanted a deviation. Unlike some previous offerings, ‘Torture’ is more killer than filler and each mood being conveyed is more focused and emphasised than ever before. Everything expected on a killer Cannibal Corpse release is here from raw and loose savagery on ‘Demented Agression’ to heavy and brutal ‘Crucifer Avenged’ to more old school ‘Caged… Contorted’. This album will also go down as a good initial introduction to Cannibal Corpse for newcomers. ANDREW PENNINGTON
Less than a year after the release of their debut, ‘Pure Filth’ (where we gained the infectious offerings of ‘Paint The Skies’ and ‘Albatross’), Leeds-based doom band Wizard’s Beard have released their follow up, ‘Four Tired Undertakers’, a six-track behemoth that expands their sound beyond the basic formula that the genre so often provides. At just under an hour long, this album, their debut release on Altsphere Records, is very much a riff heavy affair, and it certainly delivers. Opener ‘Subirse El Muerto’ sets the scene nicely, an eight-minute mid-tempo assault on the ears. However, it’s really through tracks like ‘Abandon The Wolf ’ and ‘Accursed’ that showcase the band at their best - pushing the groove element of their music to give each of their songs a little more individual identity. Influences such as Eyehategod and Crowbar are apparent throughout the album, and tracks like ‘Daemon’ and album ender ‘Harbinger’ hint toward the more experimental bands of the scene such as Italy’s Ufomammut and America’s Old Man Gloom. Whilst the production isn’t the greatest you’ll ever hear, the key thing here is that ‘Four Tired Undertakers’ shows a band with plenty of potential moving in the right direction. Definitely a band to watch out for. ANDY MORRISON
Metal Blade Records
58 | MOLTENMAGAZINE.COM
Metal Blade Records
Altsphere Productions
CD REVIEWS:
HOPES DIE LAST
ENTHRONED
BLAZE
Trust Noone
Obsidium
Blaze
With the ever dwindling profitability of the music industry, music labels appear to be taking fewer risks and subsequently sure-fire homogenous bands are becoming ever more ubiquitous. Sharing the same label as superstars Black Veil Brides, Italian post-hardcore outfit Hopes Die Last could perhaps be another of those risk-free investments. Their sophomore full length ‘Trust No One’ is a rather predictable affair, with the over-used shouty verse/clean chorus blueprint being run-ragged throughout its 12 tracks. There’s a real sense that the band is trying too hard to emulate the likes of Of Mice and Men, The Color Morale, and Underoath to name but a few. Aside from the obvious criticism, there are moments you wish HDL would focus on more. ‘This Song Plays Suicide’ finds its flow and along with ‘Air Raid Siren’ we are given great examples of the band’s more ‘Epic’ sound. ‘The Same Old Fears’ attempts to break the mould and is where vocalist Marco Calanca really shines, choosing excellent vocal melodies to blend with the piano/sample ensemble to create a song that could compete with the likes of Linkin Park and closer ‘Keep Your Hands Off ’ successfully ventures down the electronica route. If you like post-hardcore with a very minor twist then get this. ROB POWDERLY
Headlong into their 19th year, Belgian black-metal survivors Enthroned continue to forge their own path, with ninth album, ‘Obsidium’, being a decided return to their roots. Traditional black metal is the order of the day served up with the savagery of the greats. It’s not going to win any new converts, but long-time fans of the band will find much to celebrate here. The crushing assault of ‘Sepulchred Within Opaque Slumber’s’ opening gives way to a taut, tense build towards a swelling coda that sets a stark tone for the album. ‘Deathmoor’ is an altogether more visceral and dour affair, balancing black metal theatrics and a full on distorted squall. ‘Oblivious Shades’ is a potential point of access for the uninitiated, a rollicking statement of vigour, rounded off nicely by the sprinting, frantic ‘The Final Architect’. The pace alters with the varied ‘Oracle ov Void’, but the real crown jewel lies in ‘Thy Blight Vacuum’, a forceful and fluidly shifting blast. Enthroned execute their work with a verve and passion that would put bands half their age to shame. And though this is greatly refreshing, it’s not quite enough to stop an over familiarity in places. A shame, as there’s a very real spark throughout, attached to some unreal ideas. MIKE MCGRATH-BRYAN
There’s some exciting noise coming through from Japan, with bands like Sigh and Blood Stain Child really pushing the boundaries of experimental and progressive metal, Blaze are sticking though with the classic heavy metal formula. Originally formed in ‘98, the band have been fraught with various obstacles. Recently signed to German label High Roller Records, the band are seeing some light of day with this self titled album. This is a solid release and they’ve got huge potential to hit the European festivals this summer! So what is it about this album that makes it stand out? You have to remember that this band has been around for nearly 14 years. Their musicianship and song writing skills have been honed and reworked to perfection. Guitarist Hisashi Suzuki explains: “I do love the New Wave Of British Heavy Metal, that sound is in my blood.” This rings true with every riff on the album and from the absolute beginning the listener is blasted with razor sharp guitars set to an explosive pace. The rhythm section holds up to the assault and this really shows their song writing abilities. Their structures are flawless and nothing is rushed. I for one want to see these guys hitting some big venues and festivals this year. They undoubtedly deserve it! STEPHEN DUNNE
DEAR SUPERSTAR
TIGER STAR
RE-ARMED
Damned Religion
Tiger Star
Worldwide Hypnotize
The Manchester quintet return with their second album which sees them attempt to be all things to all people, ranging from ‘Madchester’ attitude to classic hard rock, delving into modern metal and touching it up with even some up to date pop sounds. Do they pull it off ? In parts, yes. They really happened upon some secret sauce for lead single ‘Our City Sleeps’ with its catchy edge and admirable poise. Unfortunately though at times it all just tastes like your favourite meal blended with your favourite dessert and attempting to pick through it to separate the bits ultimately proves a fruitless exercise. There is no doubt that Dear Superstar have come on leaps and bounds and this record should establish them in the new nu-metal wave as one of the new energy kids on the block. The playing is tight and regimental, the production is spick and span and Satiar’s vocals take on a Blink 182 clean feel (in particular on the more stripped down ‘Tomorrow’ which momentarily sees the band allow themselves to breathe). For the most part though the songs get lost beneath a wall of sound with Ashmead’s drums rarely even threatening to break through the production and what results is a bizarre cocktail of good intentions and sadly bitter-sweet results. COLIN COSGROVE
Canada and rock are two words that often crop up beside each other and Toronto based project Tiger Star do more than their bit to keep this association intact. In 2009 vocalist Mila Star, dubbed by her fan base as ‘the Marilyn Monroe of Heavy Metal’, set up the band as a platform to bounce her ideas from. The result is a debut album of hard rock integrity principally characterised by Mila’s impressive vocals. A backbone to which are tight knit riffs and harmony guitars that exude a confidence and dexterity likened more to some of the seasoned hard rock acts out there than some Toronto debutant’s. From the opening speed riffs of ‘Running In To the Night’ there is simultaneously both a great familiarity and freshness that pump out with Mila’s endearing vocals impressively harmonising with guitars while also being let off the leash to forge different paths within the context of the cut and thrust songs. From the snappy ‘Sweet Heaven’ to the harmony guitar highlight of ‘Obey the Fire’ the standards remain elevated throughout with Mila time and again cutting through the riff forays like a gleaming and unrelenting blade, slicing the listener into willing submission. An excellent debut and thrilling ride from start to finish. COLIN COSGROVE
Re-armed’s debut album ‘Worldwide Hypnotize’ excels stylistically. The band, who have been together since 2001, have had plenty of time to find their own sound and the result is quite effective. We are presented a seamless mixture of melodic death and technical thrash metal, with vocals that compliment both perfectly at different times throughout the record. Unfortunately one of the first things you notice here is the questionable production of the vocals. At times they are far too low and at others they are simply not defined enough to prove effective, a sad fault in an otherwise excellent sounding album. ‘Worldwide Hypnotize’ contains thirty minutes of blistering metal and shows that the band can play multiple metal styles whilst retaining the quality of a band specialising in just one branch. There is no aspect of their music that does not deserve applause as it remains tight, precise and striking from the thrashy opening ‘Save Yourself ’ to the behemoth closing track, ‘Natural Backlash’. Re-armed display their heavier side often, as extreme sections are peppered through the tracklist, most observed in ‘Hoax’ and the aptly named ‘Deathtrap’, which has a strong melodic death metal undertone. The record is certainly worth the purchase. ANTHONY REDMOND
Standby Records
Blast Records
Agonia Records
Cherryfire Records
High Roller Records
Massacre Records
MOLTENMAGAZINE.COM | 59
CD REVIEWS: ALBUM OF THE MONTH:
LAMP Sagittarius White Label
A two piece progressive, psychedelic rock duo from Cork, Lamp are one of those rare beasts in that while they’re blessed with insane bundles of raw talent, they know exactly how to hone it into something altogether original and mind blowing. Not that the album is devoid of references - there’s no shortage of shades of everything from The Mars Volta to White Denim with touches of King Crimson in-between. Guitar-singer/drummer duos aren’t a new phenomenon but what sets Lamp aside from many of their peers is their eerie ability to dominate their chosen fields with such a natural assuredness. The combinations of O’Leary’s varied guitar attacks with Murphy’s jazzy and rugged drumming conjure up a gritty and exhilarating result. On the first listen of opener ‘Equestrian Arrows’ the disjointed up and down, heavy and suave rollercoaster is a tough ride, and may just leave you scratching your head and wondering what sort of tobacco these Cork boys might be smoking.
Fortunately though the duo introduce more melody to the brilliantly brimming madness with ‘Memory Like A Fish’ in particular working emphatically on so many levels while ‘Brick Ticker’ sees O’ Leary excel with classy vocals. It’s the vocals that time and again add further musical colour and help reign in the unconstrained mini symphony of gritty and gentle melodies sparring about. There is plenty of time for moments of virtuoso playing too (Murphy’s quick fire and jazzy drumming on ‘Waiting Forward Looking Back’ is reminiscent of Bill Bruford era Yes) however it never comes at the expense of the song and the over-arching principals at work. Support for the duo comes courtesy of Eleanor Healy (double bass) and on title track ‘Sagittarius’ Clare O’Brien contributes on the viola to close on a stupendously epic and grandiose note, perhaps signalling the possibility of a bigger sound coming sometime down the road. For now though Lamp have made their mark with a debut album of such creative vibrancy and spellbinding energy that it deserves to have ears awaiting far and wide. COLIN COSGROVE
DRAINLAND/TRENCHES Split EP
Vendetta Records/DeGraanrepubliek
Hardcore has become a fixture in Irish metal, if not the centrepiece, no more fortuitous a time then, for this, a split LP with a side apiece from Dublin luminaries Drainland and Drainland and Galway lads Trenches. Drainland’s side is an inestimably bleak concept work of three tunes, collectively known as ‘The Abduction Diaries’. It is what it is - a worryingly detailed account of a kidnapping and torture from the victim’s perspective and the resultant media spotlight. The music is as weighty and hopeless as the subject matter, proceeding through the chapters of the tale with a frightening aplomb. Crust influences spar with d-beat and crushing, downtuned distortion. The tawdry story unfolds and engrosses in unprecedented fashion. Trenches’ side of proceedings is an altogether different affair, a dry, sound-art-inflected, almost desert-rock excursion that dips into sludge and hardcore to devastating effect. At once groovy and heavy, it’s a treat, and an encouraging sign of more to come from the Galway collective. If you’re not yet acquainted with either of these bands, do yourself a favour, go to your local distro and partake in this and as much of these bands’ body of work as possible. Not only is this a good place to start, it’s a thrilling portent of what’s next. MIKE MCGRATH-BRYAN
ESPIAL
SINNER FALLS
WAR IRON
Espial
Tawgle Schmaush
The Faceless Sea
Containing former members of death metal act Kiriath, Belfast’s Espial have veered down a loftier progressive route blending electronics and post-rock to deliver some impressive textures and completeness in sound that defies the short existence of the band. Almost entirely instrumental the two track EP comes in at a combined eighteen minutes and, while displaying some impressive playing, the emphasis is more about vivid sounds and instruments working together to build towards something stratospheric. ‘Merrow’ has a slow atmospheric build as some expert programming and atmospheric guitars and drums lead into the only vocal interlude of the piece about half way through the track. The slightly dark and jazzy ‘Key of Solomon’ is the deeper of the two tracks and sees you fall into a chasm of death metal guitar onslaughts and speed drumming before the piano and acoustic guitars kick in later in the track in a Porcupine Tree meets Cynic moment. At this stage it’s more of a showcase of what the band is capable of rather than a finished product but the stuff at play is so exciting one can’t help but be drawn in. The sound quality and artwork evoke professionalism too so this all augers well for an album expected sometime end of 2012. More please. COLIN COSGROVE
Belfast alt space rockers Sinner Falls are keen to prove with their debut EP that more is better when it comes to mixing different styles of rock together, sometimes all in the space of a few bars within a song. Yet, unfortunately, it’s quite a dismal affair with the attempt to juxtapose some middle of the road riffs with spacey guitar notes and formulated time changes all falling a bit flat in the bigger picture. Initial track ‘Kill Me First’ starts promisingly with a tremendous and well-timed riff delivering the goods but once the vocals kick in (and support vocals paying little attention to harmony) some lyrical frailties are exposed. ‘After Dark’ fares somewhat worse with the mish mash guitars not leading anywhere and some interesting timing changes not working in the context of the song. Things do get momentarily better with track of the album ‘Silence’ seeing the band temporarily stabilise somewhat in what could be a potential choice of direction. The eerie guitars build in a more straightforward fashion towards a strong centre hook line with almost Muse like space rock type solos finding their feet eventually. Definite elements of promise and some good basic ingredients but they need to find their feet before reaching for the stars. COLIN COSGROVE
From the ashes of slow burning, sludgy Sabbathworshippers The Naut comes Northern four-piece War Iron. This release has been doing the rounds for a while now, but a recent reissue on sea-blue vinyl through Belfast’s Punkerama, with remastering for extra low-end by James Plotkin, gives us an excellent reason for a revisit. This does what it says - a nautical theme reverberates through both 20-odd minute tracks. That’s it for any other pretensions; aside from filthy low-end designed expressly to obfuscate those unaccustomed to unconventional song structure. No solos, no pretty hooks, just guttural bass along a crawling rhythm section, peppered with vox from Baggy. The effect is so crushingly heavy that immersion in its thicker moments is akin to being constricted. Though the album is split in two by a need for definition, it flows best as a cohesive work, something that the vinyl format suits very well. The new production job places even more emphasis on the already-brutal low-frequency destruction, and ensures that War Iron’s original intention is executed with authority. There are a great many bands looking to punish you sonically - War Iron wish to plunge you face-first into the turbulent waters of their oeuvre and ensure you don’t re-emerge. MIKE MCGRATH-BRYAN
White Label
60 | MOLTENMAGAZINE.COM
White Label
Punkerama/Infected Wound
HAIL THE GODS OF WINTER FESTIVAL
Celtachor/SIROCCO/OVEROTH COLDWAR/ON PAIN OF DEATH/ I’LL EAT YOUR FACE + MORE THE PINT DUBLIN (28/1/2012) Photography: Irene Siragusa 62 | MOLTENMAGAZINE.COM
A
fter last July’s successful Hail the Gods of Summer all day show, it seems only fitting that on the last weekend of January, Crunch Promotions and The Pint would host its winter companion in Hail the Gods of Winter. It’s a breezy, cold one in Dublin, so the weather is fitting somewhat and throughout the day and night, the heavens eventually begin to open with a downpour so characteristic of Dublin, winter or not. Meanwhile, with 12 bands, from nearly all corners of Ireland to get through, Hail
GIG REVIEW the Gods of Winter proves to be quite the showcase.
unnecessary breakdowns may advance Sebek and we could be onto a winner. [6]
It’s only three in the afternoon and Cork’s fresh faced Sebek are charged with the task of starting the proceedings off. Obviously there’s a very sparse audience on hand to catch their dense brand of death metal, which is to be expected considering the early start time but it certainly doesn’t hamper the band’s attempts to get things off to a strong flow.
Second up is Summoner, from Belfast, who certainly turn a few heads, all garbed in druid-like brown hooded robes with their vocalist sporting a spiffing Gandalf-like wig and big fake white beard.
It would be unfair to call their output completely predictable and there are still plenty of slick guitar flourishes throughout their set that make for some interesting moments. Perhaps ditching some of the
It’s unclear exactly what to expect, but what we all get is some nicely blackened thrash with corrosive and scathing vocals from Gandalf. The gimmick can become a little tedious to watch at times but it becomes an afterthought eventually and much like Sebek prior, Summoner are a pleasant surprise. [6]
I’LL EAT YOUR FACE
I’LL EAT YOUR FACE
I’LL EAT YOUR FACE
ON PAIN OF DEATH
MOLTENMAGAZINE.COM | 63
GIG REVIEW Following that is the first Dublin band of the day, Syphor, who deliver a tight, no frills, no nonsense, straight to the jugular thrash/ death set. The usual frantic and bombastic guitar soloing is all here in spades and after powering through the set, the band churns out two new offerings in ‘Evolution of Aggression’ and ‘Inferno’, hinting to the band massively stepping up their game come the next album. [7] Limerick instrumental progressive metal four-piece Shardborne have a criminally short set, given the nature of the gig, and have only about half an hour to work with. They utilise it well though, further exhibiting why they are definitely one of the most exciting bands on this island right now. From their sole
ON PAIN OF DEATH
COLDWAR 64 | MOLTENMAGAZINE.COM
EP so far, ‘Aeonian Sequence’, ‘B141’ is the obvious set opener with its pulsating intro into wondrous prog metal terrain, and ‘Deimos’ too delights in its cerebral brilliance, rife with sickeningly technical fret bothering. However it is with new, as yet untitled, songs that Shardborne really make their mark on The Pint on this night, proving that the band will have a lot to say in the future, just with no words. Everything that made their EP so impressive has been dialled up to 11, with some pensive melodic passages and breath-taking crescendos all combated by towering riffs and thunderous drums. Does it really need to be said again? Miss out on Shardborne at your peril. [8]
Belfast’s Gacys Threads meanwhile are a band that has reinvented themselves of late, with their new EP, ‘The Ignorance of Purity’, released just late last year. Much like the EP, their live set is a punishing and adrenaline fuelled tour de force of metalcore but without all the obvious clichés. Vocalist Aaron Vance in particular is on fine form alongside the erratic and volatile riffs wildly thrashing around. The fury of the set is palpable straight from the off, and the simplest of things like a guitar string snapping during the utterly ferocious ‘Weight of the Wretched’ show all this but the band still manage to wrap things up seamlessly. The only complaint to really note is how the crowd thinned out somewhat before the band’s slot kicked into full gear – their loss. [8]
COLDWAR
GIG REVIEW
COLDWAR
After that maelstrom the intermission is more than welcomed with the beer garden’s winter BBQ proving popular upstairs and works wonders for the well-oiled punters but it’s not long before the ball gets rolling once more. Fat Actress, from Cork, kick things off again with their rancorous metalcore. Unfortunately, they’re following Gacys Threads’ polished modern metal assault, which set a pretty heady and high standard within this ilk so the Corkonians fall rather short in their wake. Don’t be fooled though, the band still has some interesting moments with a few hooky riffs and a drummer that more than stands out from the rest of the band. Perhaps a more precise honing of these strengths could yield interesting results in the future. [5] Fellow Cork natives I’ll Eat Your Face are up next and their performance is almost a foregone conclusion really. They don’t seem to ever do off days and are always a treat to catch live, and this is no different. The two-man
OVEROTH
OVEROTH
instrumental grinders make full use of the short time allocated to them with the usual melee of frenetic and furious drums and a myriad of angular and scorching riffs all in abundance with, once again, cuts from ‘Hot Brains Terror’ truly stealing the show overall. [8] On Pain of Death play a strange set in some regards. To begin, there’s clearly some confusion amongst the band before they start into their set, seemingly regarding the opening song or perhaps something isn’t right with the gear, it’s difficult to tell from the crowd’s vantage point. There are some errors to be noted throughout but none hamper the performance in any significant way. Their deathly, wretched doom slimes around in a filth ridden air and as always with the invigorating trade off of the duo of vocals, and the drums, while mostly slow are still outright pummelling in their delivery. It has to be asked again, when will that album come out? [8] The night is moving on nicely and it’s just
after nine bells. Coldwar were drafted in as a near last minute replacements for Waylander, who pulled just about a week or so prior. They’re certainly a good call for the slot and not a band that will ever disappoint or ever phone in a half-arsed performance and that’s clear from the get-go when these Dublin death metal veterans launch into their bombardment. The set is also marked by the arrival of their new guitarist, Dominik McMahon (formerly of Nephridium) who seems to have melded perfectly with the band as they speed through their crushing aural assault, like the intense shelling of ‘In Rapture’. ‘New Jerusalem’ then sees the band rein in the chaotic pace just for a moment. It’s a trudging dirge-like track with some almost doomier passages and, as expected, a foreboding vocal delivery from frontman Trevor McLave. The whole, near hour long set, is a tightly executed barrage and the band return to rapid riffing to close off, dedicated to former bassist, the late Paul ‘Skinny’ Kelly. [7]
SIROCCO
MOLTENMAGAZINE.COM | 65
GIG REVIEW
Celtachor
OVEROTH
Celtachor
Belfast’s Overoth meanwhile get off to a slow start with their slab of classic death metal. It’s only by the midway point that they really gather pace and end up delivering one of their tightest performances yet, with ‘Death Personified’’s title track being a more than a striking and imposing standout in the set. No gimmicks, just brutality. [8] Following that, Waterford’s Sirocco have a task ahead of them. They seem to be giving it a go but their heavily melodic metal descends into some samey territory after only two or three songs. It’s not until they start blasting out some completely new material that one starts to take notice. They don’t appear to have any shortage of riffs on hand in this latest creative flurry with twin guitar leads 66 | MOLTENMAGAZINE.COM
and meaty riffs to sink your teeth into. It is definitely a notable turnaround to end their set, it was perhaps slightly too long though. [7] Finally, it’s Celtic metallers Celtachor that will pull the curtains on this night, and it’s been a long day with plenty of action coming from all angles. Coming from the same school of thought as Cruachan and Mael Mórdha, melding the ideals of Celtic mythology and folk with metal, a band like Celtachor can often run the risk of becoming a walking cliché or a little humdrum. Thankfully, just like their peers in Cruachan and Mael Mórdha that is not the case and the band bring Hail the Gods of Winter to an energising close in a suitably spirited fashion.
Celtachor’s sound too borrows from the black metal realm with Stephen Roche’s menacing and ominous shrieking vocals. Meanwhile, the tin whistle and bodhran rein the sound back to the folk age, and at the same time a thundering battering ram of drums keeps the driving metal offensive brewing, while Roche has a strong presence on stage too that is vital to the band’s overall show. They seemingly finish out their set, only to be called back from for a quick one song encore that eventually brings the long day and night to a close. [7] And so as the dust settles after the assault of 12 bands, one must ask if Hail the Gods… is to become a bi-annual tradition in the future. If so, roll on summer. Jonathan Keane
Brigantia ZEALOT CULT DARK_MATTER THE BLIND PIG (Venue Launch 2/12/2011)
W
Photography: Ken Coleman
ith fire-breathers, Pig on a Spit, and BadReputation Ireland at the musical helm, something told me everything was going to be okay...
It was a manky, rainy Saturday night on the streets of Limerick last December 2nd, but the metal masses were out in force to witness the opening of Limerick’s newest rock & metal bar, The Blind Pig. Located on Thomas
68 | MOLTENMAGAZINE.COM
St. just off Foxes Bow, this small but mighty venue offers as much to old-school metal aficionados as it does to the newcomers who pump fresh blood through the veins of the alternative music scene of this great city of ours. Even after only the first night, there were many who talked excitedly about how they now had a new bar to call ‘home’ on their forays into town. In a single night, The Blind Pig managed to generate an atmosphere of familiarity akin to that of a pub that had been running for decades. One of the first things you notice when you
arrive into the bar is the archway right in the middle of the seating area. The old original brickwork arch, which is around 300 years old, is an awesome centrepiece, adding to the venues character. The walls are adorned with album cover artwork of rockers and metallers past and present, reminding us why we are there – to witness great music played from the heart by genuine music fans. One could be forgiven for playing the ‘Which ones do YOU have?’ game while trying to establish oneself as the most musically literate of all fans in the place...but who would do that, honestly? *looks away sheepishly*
GIG REVIEW The Blind Pig opened as it meant to carry on, with local metal acts lining up to play with such testicular fortitude that this fun-size metal fan feared for her life up front while watching it all kick off. So I hung back and left others to prostrate themselves at this new Altar of Rock. Those to whom the Metal Gods looked upon favourably were blessed with the physical prowess to headbang solidly for three hours, thus earning the respect of all those in and around the stage area. The first band on stage (therefore the first band to ever perform in The Blind Pig) was the frenetically paced Dark_Matter, who threw themselves into the breach full-force with some serious riffs and ear smacking instrumental pieces. This Limerick based progressive metal band pulled no punches and delivered a performance
worthy of any metal opening ceremony. The cosiness of the gig area ensured none of the multilayered sounds from their thumping tracks escaped notice, and the appreciative crowd lapped up every riff and drum roll. [7] Second up to the coalface of Satan’s furnace (metal translation: the stage) was much-loved local band Zealot Cult, bringing an impressive contrast in pace to the previous two acts. Fast, furious and frenzied, these guys didn’t mess about. Launching into tracks like ‘Chainsaw Ritual’ and ‘Shroud of the Damned’, they kept the pace well and truly on track for the night. Thundering rage-infused vocals, pulsing basslines and some seriously speedy pedalthumping brought the crowd right to the edge and back to finish, leaving all involved feeling
sweaty, panting, and afraid to look each other in the eye after the intensity of all. Who was going to call who the morning after? Nobody knew. It was all part of the mystery and wonder of a night where pub and punter came together in perfect chemistry. [8] Brigantia were the final band to raise their goblet of rock, bringing their established doom metal sound waves to the hyped up crowd. Brigantia are firm favourites on the Limerick scene, with the guys telling me it was their favourite place to play apart from their home county of Tipp. These harbingers of doom played with their usual aplomb and showmanship, belting out crowd favourites like ‘Prisoner’ while the crowd sang – and growled – along enthusiastically. [8]
BRIGANTIA
DARK_MATTER
ZEALOT CULT
MOLTENMAGAZINE.COM | 69
GIG REVIEW The speed with which the crowd seemed to make The Blind Pig their own speaks volumes about the place, and how it is more than ready to carve out its own niche in the Limerick social scene, especially for those who tire of bubble gum pop-saturated superpubs. There are those who long to hear the music they used to hear in their bedroom as young rockers and metallers being played out loud in similar company, while they smile wistfully and order another delicious pint. Ray and Fintan, the two DJs who polished off the night, played some seriously nostalgic tunes and brought what was left of the house down around its ears. The proof was in the dancing. In all my years heading to metal gigs, I don’t think I’ve ever witnessed the calibre of shape-throwing that surrounded me as classics like Megadeth’s
‘Symphony of Destruction’ and Rammstein’s ‘Du Hast’ had all ages and styles hopping and giving it welly. Since the demise of various metal and rockcentred venues around Limerick, the heavy metal scene has been crying out for a new place to call home, and from what I’ve witnessed so far, The Blind Pig looks set to carry forth the banner. Lord knows we have more than enough local musical talent to showcase, and a big enough audience to appreciate them. With both acoustic and electric live music throughout the week, all of us who like our music more than a little on the alternative, rowdy, rapid and raucous side seem to have found a haven in The Blind Pig. Long may it reign. Jen Ronan
..........................................
UPCOMING GIGS AT THE BLIND PIG: .......................................... MARCH 3RD - MAEL MORDHA MARCH 10TH - MCGALLIGOG MARCH 16TH - DEAD RED LIGHT MARCH 17TH - DIRTY DIAMONDS MARCH 22ND - BETRAEUS, SPIRES, FOR RUIN MARCH 24TH - I’LL EAT YOUR FACE MARCH 30TH - KASPER ROSA
DARK_MATTER
BRIGANTIA
70 | MOLTENMAGAZINE.COM
ZEALOT CULT
gig guide FRI 9TH MARCH
thu 22nd MARCH
THE PINT, DUBLIN: Fleshgod Apocalypse, Dyscarnate, Bloodshot Dawn, Warpath, Vile Regression
The blind pig, limerick: Betreaus, Spires, For Ruin
the spring and airbrake, belfast: Stand Up And Shout - A Ronnie James Dio Tribute the playhouse, portrush: Chocolate Love Factory, Steering Fail AMPLIFIED BAR, NEWRY: Gacys Threads
SAT 10TH MARCH THE BUTTON FACTORY, DUBLIN: Stand Up And Shout - A Ronnie James Dio Tribute THE ULSTER HALL, BELFAST: You Me At Six THE OLYMPIA, DUBLIN: Rick Wakeman The Castle Bar, Derry/londonderry: Moth, NoZone, LibidoSwitch, Acari
WED 14th MARCH MANDELA HALL, BELFAST: Amon Amarth, Grand Magus, In Solitude
THU 15TH MARCH VICAR ST, DUBLIN: Amon Amarth, Grand Magus, In Solitude Cypress Avenue, Cork: White Hills AN CRUISCIN LAN, Cork: Tygers of Pan Tang
FRI 16TH MARCH CRAWDADDY, DUBLIN: White Hills THE DIAMOND ROCK CLUB, BALLYMENA: Tygers of Pan Tang THE PINT, DUBLIN: Suffocation, Cattle Decapitation, Blood Red Throne, Sadist, Cerebral Bore, Sephirah
sat 17TH march SPRING AND AIRBRAKE, BELFAST: Mojo Fury, InMe, LostAlone the limelight, BELFAST: Sinocence, Black Sheriff, By Any Means, Rebels By Nature
tue 20th MARCH THE ACADEMY, DUBLIN: UFO Voodoo Bar, Belfast: Exhumed, Zombified, Xenocide, The Obscene Machine
wed 21ST MARCH THE LIMELIGHT, BELFAST: Vain, Stala & Co, Ancara THE PINT, DUBLIN: Exhumed, Slave Zero, KillFace, Xenocide THE SPRING AND AIRBRAKE, BELFAST: UFO 74 | MOLTENMAGAZINE.COM
fri 23RD MARCH MANDELA HALL, BELFAST: Spititualized THE PINT, DUBLIN: For Ruin, Betreaus, Spires, Wound Upon Wound
SAT 24TH MARCH The Limelight, BELFAST: For Ruin, Betreaus, Spires THE PINT, DUBLIN: Wacken Battle Ireland Semi Final
SUN 25TH MARCH MANDELA HALL, BELFAST: Black Veil Brides, D.R.U.G.S
mon 26th MARCH the academy, dublin: Black Veil Brides, D.R.U.G.S
WED 28TH MARCH THE SPRING AND AIRBRAKE, BELFAST: Stormzone, Sinocence
SAT 31ST MARCH SANDINOS BAR, DERRY/LONDONDERRY: Triggerman, Slomatics, Hornets THE MANDELA HALL, BELFAST: Korn THE PINT, DUBLIN: Day of Death: Necros Christos, Cruciamentum, Scythian, Zealot Cult, Zom
SUN 1ST APRIL THE OLYMPIA, DUBLIN: Korn
MON 2ND APRIL THE PINT, DUBLIN: Obscura, Spawn of Possession, Gorod, Exivious
SUBMIT YOUR GIG
To submit gigs for listing, please email ross@moltenmagazine.com with the venue, location and line-up.
DON’T MISS
SUFFOCATION When: Fri 16th March. Where: The Pint, Dublin. It’s not often a gig lands on our shores this heavy and ridiculously death metal which makes this a gig not to miss. It’s a shame Frank Mullen won’t be ‘vocalising’ for Suffocation on this tour because that thing he does with his hand sure is a mighty spectacle. Not sure what we mean? Google it!
gig guide
GIG OF THE MONTH
MOJO FURY/INME/LOST ALONE SATURDAY 17TH MARCH - THE SPRING AND AIRBRAKE, BELFAST In the build up to St Patricks Day we managed to get in touch with MoJo Fury bassist Ciaran McGreevy and InMe mainman Dave McPherson. MoJo Fury have still been reaping the benefits from their album ‘Visiting Hours of A Travelling Circus’ which was released in May 2011 and have already packed out the Spring And Airbrake twice in 2011, proving a force to be reckoned with. Peers InMe have just released their new album ‘The Pride’ and it will be interesting to see if they can top the success of ‘Overgrown Eden’. How’s the ‘vibe’ around mojo fury at the moment in regards to the tour? C - We are all really excited about the tour and the vibe is great! We’re looking forward to sharing a bill with InMe & Lost Alone for six weeks!
Will you be playing much material from the new album? D - Yes indeed! We’ll be playing five songs, so half the album!
What can fans expect from the band on this tour? C - We’ll mainly be playing tracks off our album ‘Visiting Hours of a Travelling Circus’, along with a few new ones. We’ll be trying to cram in as much as possible in to our short set.
What can fans expect from the band on this tour? Will you be bringing anything new into your show? D - We have a completely new set list with loads of surprises. We’ve been rehearsing it for months and it’s the strongest set we’ve played, the advantage of having five albums! Extra electronic elements, orchestral stuff etc so it sounds a lot bigger!
Is there anywhere in particular you are looking forward to visiting? C - We can’t wait to get back to Colchester Arts Centre. Also, halfway through the tour, we play Belfast on St Patrick’s Day which will be a very special show for us!
Is there anywhere in particular you are looking forward to visiting? D - Brighton is always incredible and the London venue (O2 Academy, Islington) holds a lot of great memories for me. We’re also playing Europe in April and that’s always a dreamy experience!
Touring can be a very cramped affair and it can be hard to get some ‘me time’, how do you get away from it all while on tour? C - I can’t really think of any ways to ‘get away from it all’. The only way is to go to sleep.
And what about Ireland? D - We haven’t visited Ireland for far too long so that’ll be amazing. The crowds over there are ridiculous and we’ll be there for St. Patrick’s Day so Guinness will be sunk!
Apart from the necessary equipment needed to tour and perform, is there anything you personally can’t go without on tour? C - Not really. You have to go without a shower and good food for a while so anything extra is a bonus! Has anyone got any bad habits in the band? C - Mmm... We’ve all got plenty but I don’t think I’m at liberty to say! There’s always a snorer, who’s the Mojo Fury snorer? C - Sorry James!
WHAT HAS YOUR EXPERIENCES BEEN OF IRELAND FROM PREVIOUS VISITS? D - Incredible. It’s been a truly breathtaking country in so many ways. I love the atmosphere from my experience everyone has been really friendly. And finally, apart from the necessary equipment needed to tour and perform, is there anything you personally can’t go without on tour? And why? D - It would have to be my iPhone, MacBook, DVD collection etc. All for entertainment reasons as well as getting work done on the road and keeping touch with people. I watch a hell of a lot of films too! MOLTENMAGAZINE.COM | 75
KORN INTERVIEW
“We didn’t want to alienate any of our fans, we just wanted to experiment and have sOme fun.” - Jonathan Davis, Korn Vocalist.
It’s been a busy past year for Korn jumping back into the limelight with tenth studio release ‘The Path To Totality’. Prior to their upcoming Irish shows Korn frontman Jonathan Davis talked to Molten’s Andrew Pennington about… …the ‘Path to Totality’ “I think the album’s been received amazingly for what it is. We put it out there and we did something that we really enjoyed. We didn’t want to alienate any of our fans, we just wanted to experiment and have some fun. Some of our fans like it, some of them don’t and some of them are in the middle but that’s fine! I’m not in the game anymore to try and please everybody, I’m just trying to make music I like. I think it’s been very successful.” 76 | MOLTENMAGAZINE.COM
…the musical direction “I think the direction has just been updated. Back in ’94 we mixed elements from hip-hop and stuff that was going on at that time and that was almost… seventeen/eighteen years ago? This is what’s going on now. I’ve been really involved in the electronic scene since I was sixteen, it’s what I lived and breathed for. When Fieldy, Head and Munky go back, they were listening to glam and hair metal at that time. I was listening to Kraftwerk and things
like that. So for me it was a dream come true. We just melded those two elements together.” …the band’s reaction to his idea “They were really excited because I played them some songs and they were like, “Oh my God!” and I said, ‘imagine mixing some Korn with that, we could work with some guys that know how to make sounds like that and we’ll try and do a couple of songs’. At first it was just to please me [Laughs] but I didn’t have to twist their arms… I didn’t have to twist their arms at all. They were into it. It was challenging, it was abnormal and it inspired them to do different kind of shit.” …the writing process “On each track the producer usually came in with a basic idea of a beat and some bass lines. Munky jammed out guitar on them and really built it into some creative shit then
…the lyrics “Each song is different, there’s not a concept, it’s from all over the place man, relationships, fake ass people, secret societies… There’s a lot of secret society shit, it was just where my head was at.” …secret societies “I’ve always been interested in societies. I was groomed and raised to be a Mason; I was placed in the Deacon league when I was 12 years old, which is the kid’s version of the Masons but when I got into Korn I didn’t go further in Masonry and all that stuff. From the first male in my mother’s side of the family there’s been a Mason here for over a hundred years so I have blood ties that go way back. I’m going to put up a press release piece soon that explains all that and I’m releasing some songs from my side project J Devil.” …J Devil “I’m going to take off and progress and do my J Devil thing more, play more electronic and hopefully embody everything that’s bad [Chuckles]. You’ll see it when I release it. I’ve written a whole manifesto I’m going to write a couple of songs and then I’m going to send it out to everybody.” …bagpipes and Scottish heritage “The bagpipes are very important to me, it’s where I come from, I’m of Scottish descent. I grew up listening to bagpipe music. It’s really funny; I’m a fucking Scotch/American/ Indian, that’s probably why I got so fucking drunk in the early days. I really wanted to make my grandmother proud of me by playing the bagpipes. What also really made me want to play the bagpipes at the start was, well firstly I’m a nerd, and also I saw them being played to ‘Amazing Grace’ in a movie. I thought I’m gonna have to learn how to play these things! I went to a high school that actually had a pipe band, so I learnt there and went on to compete professionally for a couple of years.”
Fieldy came and did his bass parts. With Ray, he basically got to play his own set but we took his kick and snare away from him because the electronic ones were way better. He trained to play over them, but that wasn’t working, they were slamming and it just didn’t sound right. When we had him just on the straight electronic drums there was something missing so we took him to a studio and got some mics up, and it just seemed to feel right.
some older Korn songs then we’ll play the bass, dubstep stuff and then we’ll play all the hits after that.”
Then I came in and it was my job to put it all together [Laughs].”
When we did the show in Hollywood for the DVD he played guitar with us for ‘Narcissistic Cannibal’ and ‘Get Up’ and it was really fucking cool. He wasn’t behind the decks, he was playing guitar with us onstage. We haven’t put anybody on Head’s side of the stage... that’s Head’s place, and we’re waiting for him coming back. Skrillex was the first person to play up there with us since the last show [with Head]. So that was really nice.”
…playing new songs live with older songs “We don’t mix it together; we have to play it as a block of music somewhere in the set. We can’t mix it up as they’re so different from the other stuff. It actually dwarfs the original Korn as it’s so much bigger. So we’ll play
…Skrillex “It was fun working with him, he’s my fucking buddy. I’m so proud of him and all his success and if anyone in the world deserved to be successful it’s him, he’s such a sweet, nice and amazing guy.
…Ireland “I love Ireland, it’s a great place and I love playing there. It’s an amazing fucking wonderful country. I wish it all didn’t have that bullshit before, but we all have our own problems. It’s very beautiful and everybody’s fucking cool.” …things to change this year “I guess I’m going to stop smoking again I think. My life’s been very blessed and I think if I could stop smoking for my kids it would be awesome. [Random noise] Sorry I’m writing at the minute, I’m always up late at night writing music. I have an addiction to music.” 2012 sees American metallers Korn return to Ireland for the first time since 2008. Make sure you catch them at the following dates showcasing material from the new album ‘The Path To Totality’: March 31st: Mandela Hall, Belfast April 1st: The Olympia, Dublin MOLTENMAGAZINE.COM | 77
2012 has seen Corrosion of Conformity release their first album since 2005’s ‘In The Arms Of God’ which ultimately led the band to undergo a 6 year hiatus. The seven year gap between these two albums is the longest the band has underwent between putting out a release and is coincidentally the first album not to feature Pepper Keenan since 1987’s ‘Technocracy’.
Did it feel different writing and recording as a three-piece? Yes and it does harken back to our earlier days when we were a three-piece. I think the majority of this record was really written in anticipation of it being us three. The songs were written that way, they are a little simpler, and made for one guitar. That being said, we always try to build the songs so that we can pull them off live with them sounding realistic.
We met up with Woody Weatherman to discuss the new album and how the line-up has slimmed down to a three piece.
It’s publicly been stated that the door’s still open for Pepper [Keenan] to return to the band, but didn’t he also have something to do with this reunion of CoC? He did. He kind of initiated the crank up and getting back with Mullin. He’d been out with Down quite a bit and had noticed there was some interest in CoC, especially to do some festivals overseas. So Mike, Reed and I, because we’re in the same town, in close proximity, started working. The festival dates with CoC never worked out but we just kept on going and it was cool, no big deal [Chuckles].
What was it like to get back into the studio after the six-year hiatus? Mike [Dean – bass/vocals] and I are always spending time in the home studio, sitting around and messing but it was great to get back in a real studio; Dave Grohl’s joint is pretty awesome [Studio 606 in California]. It felt like we were back in the real world to be in an actual studio. Did you have ideas that been floating around in the interim? We did. Of course Reed [Mullin], our drummer and Mike had a side band called Righteous Fool and they had continued doing a little bit of work on that. We always try and stay busy in-between stuff; we never plan on taking so long between records! It just seems like it’s just our luck once in a while to not get back together for a few years…We’re going to try not to replicate that this time. 78 | MOLTENMAGAZINE.COM
You’ve got a string of American dates coming up to support the release. Are you looking forward also to coming over to Europe again this year? Yeah, we’ve got a couple of dates lined up. We’re going to be over in April, in London to headline Desertfest. I’m not sure about Ireland but I’m pushing for it. I wana go back especially because of the last trip to Dublin and we had to
miss the initial show because an unmentioned drummer lost his Passport as we were getting on the plane… [Chuckles] We did wind up making up the date about a week later but we do owe Dublin another show. What drives you musically? For me it’s always about having a good time, having fun and playing live. Travelling, getting to see stuff. Coming to a place like Ireland is awesome, I get to see so much and just enjoy it… And sample some local ales and stouts, [Laughs] that’s very important to me. Those are the things like drive me. What bands are you listening to at the minute? Ahh… well there are always the staples. I tend to stick to my staples, the old guys, the Carlos Santana’s and the ZZ Top’s. I did have a chance to hear a couple of the new Orange Goblin tracks, which I really like and Eyehategod always stays on the I Tunes. I’m a big Eyehategod fan [Chuckles]. I don’t really delve into the really heavy stuff. I have a fondness for old bluegrass and really old country from back in the 50’s and 60’s. I like some of the real heartfelt stuff. Some of the old outlaw stuff I really enjoy and I try and soak some up when I have time. Thanks for your time! I’ll leave it with you to sign off. Well, we’re trying like hell to get back to Ireland and I’m pretty confident that we will on this trip and I’m looking forward to it.